VSBA Bibliography - Writings About Venturi, Scott Brown and Associates (2000S)
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The Critic As Producer: Essays on Architecture Columbia University GSAPP / Fall 2014
The Critic as Producer: Essays on Architecture Columbia University GSAPP / Fall 2014 James Graham, [email protected] This seminar will examine the role of critics, criticism, and the essay form in shaping how we understand architecture, in public life and within architectural discourse. We will consider reviews as testing grounds for the author’s own intellectual commitments (theoretical, architectural, political) as those ideas are refracted through the work of others. Readings will include foundational texts in critical theory, histories of reviewing and essay writing, and predominantly the essays themselves. We will explore the complex responses to buildings across generational shifts through selected case studies, and we will speak with practitioners of the review in various forms. Finally, we will consider current trajectories within architectural writing and publishing, particularly a recent resurgence in the essay format (spawned in part by the rise of digital publication formats). This seminar is being taught in conjunction with the launch of The Avery Review, a new digital journal for critical essays on architecture run by the GSAPP Office of Publications (www.averyreview.com). While the essays there will not be required reading, the seminar is intended in part to help shape the direction of the journal and to explore the theoretical and historical underpinnings of this mode of writing, and students are asked to follow the journal so that it might enter our conversations from time to time. Students will be expected to participate vigorously in all class discussions, take an active role in leading the seminar once in the course of the semester, complete one group presentation on an architectural magazine or journal, and produce their own critical work in the form of two essays (strictly 2,000–3,000 words). -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Sublime Modularity
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Sublime Modularity A graduate project submitted in partial fulfillment of requirements For the degree of Master of Fine Arts in Art, Visual Arts By Curtis Taylor May 2017 i A graduate project of Curtis Taylor is approved: __________________________________________ ____________ Christian Tedeschi, M.F.A. Date __________________________________________ ____________ Lesley Krane, M.F.A. Date __________________________________________ ____________ Michelle Rozic, M.F.A., Chair Date California State University, Northridge ii Acknowledgements To Genevieve, All I have earned I owe to you. I could not have done this without your support. You have guided me through this process and kept me sane along the way. Thank you, my love. Evan, Sophie and Inès, Thank you for all your patience throughout this program. I can’t express how much your understanding has helped me complete this program. Thank you. Mom and Dad, You have always been there for me with encouragement and inspiration. The genetic material to keep me moving and creating is especially appreciated! Monica and Jerry, You have always supported me, even before I knew I wanted to go on this adventure! Michelle Rozic, Thank you for all your support, encouragement. Your expectations have raised the expectations I now hold for myself and made me a better artist. Lesley Krane, You have always been so welcoming and gracious with your support; especially that one time in review when you commented about the absence of my, then secret, abstract prints. Christian Tedeschi, Thank you for introducing me to Googie architecture; an important puzzle piece which opened a new understanding of myself and my art. -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Decadence 1969-76 (These are excerpts from my book "A History of Rock and Dance Music") As usual, the "dark age" of the early 1970s, mainly characterized by a general re-alignment to the diktat of mainstream pop music, was breeding the symptoms of a new musical revolution. In 1971 Johnny Thunders formed the New York Dolls, a band of transvestites, and John Cale (of the Velvet Underground's fame) recorded Jonathan Richman's Modern Lovers, while Alice Cooper went on stage with his "horror shock" show. In London, Malcom McLaren opened a boutique that became a center for the non-conformist youth. The following year, 1972, was the year of David Bowie's glam-rock, but, more importantly, Tom Verlaine and Richard Hell formed the Neon Boys, while Big Star coined power-pop. Finally, unbeknownst to the masses, in august 1974 a new band debuted at the CBGB's in New York: the Ramones. The future was brewing, no matter how flat and bland the present looked. Decadence-rock 1969-75 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Rock'n'roll had always had an element of decadence, amorality and obscenity. In the 1950s it caused its collapse and quasi-extinction. -
Remembering Robert Venturi, a Modern Mannerist
The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966). -
From Lasvegas
.c .~ OJ ~ ~ <Il ~ u [) o > --~----- -- r t'11 > ~ ,....z z o "'!j ~ ~ r >C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke i1> tronic or mechanical, including photocopying, recording, or by any information storage and re ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ , J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip. -
Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites. -
Culture and Identity
AS Sociology For AQA [2nd Edition] Unit 1: Culture and Identity Chris. Livesey and Tony Lawson Unit 1: Culture and Identity Contents 1. Different conceptions of culture, including subculture, mass 2 culture, high and low culture, popular culture, global culture. 2. The Socialisation Process and the Role of Agencies of 15 Socialisation. 3. Sources and Different Conceptions of the Self, Identity and 21 Difference. 4. The Relationship of Identity to Age, Disability, Ethnicity, 30 Gender, Nationality, Sexuality and Social Class in Contemporary Society. 5. Leisure, consumption and identity. 53 1. Different conceptions of culture, including subculture, mass culture, high and low culture, popular culture, global culture. Secondly, we can note a basic distinction between two Culture: Introduction dimensions of culture: Material culture consists of the physical objects Culture is a significant concept for sociologists because (“artifacts”), such as cars, mobile phones and books, a it both identifies a fundamental set of ideas about what society produces and which reflect cultural knowledge, sociologists’ study and suggests a major reason for the skills, interests and preoccupations. existence of Sociology itself – that human social behaviour can be explained in the context of the social Non-Material culture, on the other hand, consists of the groups into which people are born and within which knowledge and beliefs that influence people’s they live their lives. behaviour. In our culture, for example, behaviour may be influenced by religious beliefs (such as Christianity, In this Chapter we’re going to explore a range of ideas Islam or Buddhism) and / or scientific beliefs – your relating to both culture and its counterpart, identity view of human evolution, for example, has probably and to do this we need to develop both a working been influenced by Darwin’s (1859) theories. -
London Explorer Pass List of Attractions
London Explorer Pass List of Attractions Tower of London Uber Boat by Thames Clippers 1-day River Roamer Tower Bridge St Paul’s Cathedral 1-Day hop-on, hop-off bus tour The View from the Shard London Zoo Kew Gardens Shakespeare’s Globe Theatre Tour Westminster Abbey Kensington Palace Windsor Palace Royal Observatory Greenwich Cutty Sark Old Royal Naval College The Queen’s Gallery Chelsea FC Stadium Tour Hampton Court Palace Household Cavalry Museum London Transport Museum Jewel Tower Wellington Arch Jason’s Original Canal Boat Trip ArcelorMittal Orbit Beefeater Gin Distillery Tour Namco Funscape London Bicycle Hire Charles Dickens Museum Brit Movie Tours Royal Museums Greenwich Apsley House Benjamin Franklin House Queen’s Skate Dine Bowl Curzon Bloomsbury Curzon Mayfair Cinema Curzon Cinema Soho Museum of London Southwark Cathedral Handel and Hendrix London Freud Museum London The Postal Museum Chelsea Physic Garden Museum of Brands, Packaging and Advertising Pollock’s Toy Museum Twickenham Stadium Tour and World Rugby Museum Twickenham Stadium World Rugby Museum Cartoon Museum The Foundling Museum Royal Air Force Museum London London Canal Museum London Stadium Tour Guildhall Art Gallery Keats House Estorick Collection of Modern Italian Art Museum of London Docklands National Army Museum London Top Sights Tour (30+) Palaces and Parliament – Top Sights Tour The Garden Museum London Museum of Water and Steam Emirates Stadium Tour- Arsenal FC Florence Nightingale Museum Fan Museum The Kia Oval Tour Science Museum IMAX London Bicycle Tour London Bridge Experience Royal Albert Hall Tour The Monument to the Great Fire of London Golden Hinde Wembley Stadium Tour The Guards Museum BAPS Shri Swaminarayan Mandir Wernher Collection at Ranger’s House Eltham Palace British Museum VOX Audio Guide . -
How Globalization Makes All Cities Look the Same
INAUGURAL WORKING PAPER SERIES DESTINATION CULTURE: How Globalization makes all Cities Look the Same SHARON ZUKIN VOL. I, NO. 1 SPRING 2009 Destination Culture: How Globalization Makes All Cities Look the Same* Sharon Zukin Department of Sociology Brooklyn College and City University Graduate Center 365 Fifth Avenue New York, New York 10016 [email protected] *Revised paper delivered as a keynote for Conference on “Rethinking Cities and Communities: Urban Transition Before and During the Era of Globalization,” Center for Urban and Global Studies, Trinity College, Hartford, Connecticut, November 14-15, 2008. Comments on the original version were provided by Ahmed Kanna, Raether postdoctoral fellow at the Center for Urban and Global Studies during 2008-09. We also thank our Managing Editor, Jason C. Percy, for his skilled editing of this version. Please contact the author for permission to quote or cite material from this paper. 2 Introduction Debates about the effects of globalization during the past few years often focus on the question of whether the rapid migrations of people, images, and capital have reduced differences between national cultures, or just given them a wider territory and more means of expression. Skeptics argue that this is an age-old question that can never be resolved. In every era, trade routes and travelers have carried new ideas and materials across great distances, permitting indigenous groups to create fusions that gradually grow into new historical traditions. From this point of view, current global trends are neither stranger nor more innovative than “native” weavers who integrate imported dyes into traditional rug patterns or musicians who learn to play traditional instruments in a foreign rhythm. -
03.031 Socc04 Final 2(R)
STATEOF CENTER CITY 2008 Prepared by Center City District & Central Philadelphia Development Corporation May 2008 STATEOF CENTER CITY 2008 Center City District & Central Philadelphia Development Corporation 660 Chestnut Street Philadelphia PA, 19106 215.440.5500 www.CenterCityPhila.org TABLEOFCONTENTSCONTENTS INTRODUCTION 1 OFFICE MARKET 2 HEALTHCARE & EDUCATION 6 HOSPITALITY & TOURISM 10 ARTS & CULTURE 14 RETAIL MARKET 18 EMPLOYMENT 22 TRANSPORTATION & ACCESS 28 RESIDENTIAL MARKET 32 PARKS & RECREATION 36 CENTER CITY DISTRICT PERFORMANCE 38 CENTER CITY DEVELOPMENTS 44 ACKNOWLEDGEMENTS 48 Center City District & Central Philadelphia Development Corporation www.CenterCityPhila.org INTRODUCTION CENTER CITY PHILADELPHIA 2007 was a year of positive change in Center City. Even with the new Comcast Tower topping out at 975 feet, overall office occupancy still climbed to 89%, as the expansion of existing firms and several new arrivals downtown pushed Class A rents up 14%. For the first time in 15 years, Center City increased its share of regional office space. Healthcare and educational institutions continued to attract students, patients and research dollars to downtown, while elementary schools experienced strong demand from the growing number of families in Center City with children. The Pennsylvania Convention Center expansion commenced and plans advanced for new hotels, as occupancy and room rates steadily climbed. On Independence Mall, the National Museum of American Jewish History started construction, while the Barnes Foundation retained designers for a new home on the Benjamin Franklin Parkway. Housing prices remained strong, rents steadily climbed and rental vacancy rates dropped to 4.6%, as new residents continued to flock to Center City. While the average condo sold for $428,596, 115 units sold in 2007 for more than $1 million, double the number in 2006. -
National Register of Historic Places
Form No. ^0-306 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY - NOMINATION FORM FOR FEDERAL PROPERTIES SEE INSTRUCTIONS IN HOWTO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS NAME HISTORIC Independence National Historical Park AND/OR COMMON LOCATION STREET & NUMBER 313 Walnut Street CITY. TOWN CONGRESSIONAL DISTRICT t Philadelphia __ VICINITY OF STATE CODE COUNTY CODE PA 19106 CATEGORY OWNERSHIP STATUS PRESENT USE ^DISTRICT —PUBLIC —OCCUPIED —AGRICULTURE 2LMUSEUM -BUILDING(S) —PRIVATE X-UNOCCUPIED —^COMMERCIAL 2LPARK .STRUCTURE 2EBOTH —WORK IN PROGRESS —XEDUCATIONAL ^.PRIVATE RESIDENCE -SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS -OBJECT —IN PROCESS X-YES: RESTRICTED ^GOVERNMENT —SCIENTIFIC —BEING CONSIDERED — YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER: REGIONAL HEADQUABIER REGION STREET & NUMBER CITY. TOWN STATE PHILA.,PA 19106 VICINITY OF COURTHOUSE, ____________PhiladelphiaREGISTRY OF DEEDS,ETC. _, . - , - , Ctffv.^ Hall- - STREET & NUMBER n^ MayTftat" CITY. TOWN STATE Philadelphia, PA 19107 TITLE DATE —FEDERAL —STATE —COUNTY _LOCAL CITY. TOWN CONDITION CHECK ONE CHECK ONE ^EXCELLENT —DETERIORATED —UNALTERED 2S.ORIGINALSITE _GOOD h^b Jk* SANWJIt's ALTERED _MOVED DATE. —FAIR _UNEXPOSED Description: In June 1948, with passage of Public Law 795, Independence National Historical Park was established to preserve certain historic resources "of outstanding national significance associated with the American Revolution and the founding and growth of the United States." The Park's 39.53 acres of urban property lie in Philadelphia, the fourth largest city in the country. All but .73 acres of the park lie in downtown Phila-* delphia, within or near the Society Hill and Old City Historic Districts (National Register entries as of June 23, 1971, and May 5, 1972, respectively). -
Arts, Culture, and Economic Prosperity in Greater Philadelphia
arts culture & economic prosperity in Greater Philadelphia Peggy Amsterdam, President Greater Philadelphia Cultural Alliance One of the most frequent requests to the Greater Philadelphia Cultural Alliance is for the economic impact of the region’s cultural sector. It is with great pleasure, then, that we present Arts, Culture, and Economic Prosperity in Greater Philadelphia, the latest data available regarding the economic activity of our region’s nonprofit arts and cultural organizations and their audiences. This report is the result of collaboration among many partners, including Americans for the Arts, the Pennsylvania Cultural Data Project (PACDP), Metropolitan Philadelphia Indicators Project, and Drexel University’s Arts Administration Graduate Program. We thank the cultural organizations whose participation in the PACDP made this report possible, in particular those who allowed us to survey their audience members. We are also grateful to The Pew Charitable Trusts and the William Penn Foundation for their support of the Cultural Alliance, and to Tom Scannepieco and 1706 Rittenhouse Associates for supporting the design, printing, and distribution of this report. We express sincere gratitude to our external reviewers, board of directors, and staff, who guided the work through its inception and development. Much growth has occurred in our sector over the last decade. Through the information, analysis, and tools contained within this report, we trust that Arts, Culture, and Economic Prosperity in Greater Philadelphia will help us all in the quest to continue building an ever-stronger, more vibrant region. Tom Scannapieco, Partner Joe Zuritsky, Partner 1706 Rittenhouse Square Associates Over the past decade, Greater Philadelphia has experienced remarkable growth.