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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. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents
NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents 1 Message from the Chair The National Building Museum explores the world and the Executive Director we build for ourselves—from our homes, skyscrapers and public buildings to our parks, bridges and cities. 2 Exhibitions Through exhibitions, education programs and publications, the Museum seeks to educate the 12 Education public about American achievements in architecture, design, engineering, urban planning, and construction. 20 Museum Services The Museum is supported by contributions from 22 Development individuals, corporations, foundations, associations, and public agencies. The federal government oversees and maintains the Museum’s historic building. 24 Contributors 30 Financial Report 34 Volunteers and Staff cover / Looking Skyward in Atrium, Hyatt Regency Atlanta, Georgia, John Portman, 1967. Photograph by Michael Portman. Courtesy John Portman & Associates. From Up, Down, Across. NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 The 2003 Festival of the Building Arts drew the largest crowd for any single event in Museum history, with nearly 6,000 people coming to enjoy the free demonstrations “The National Building Museum is one of the and hands-on activities. (For more information on the festival, see most strikingly designed spaces in the District. page 16.) Photo by Liz Roll But it has a lot more to offer than nice sightlines. The Museum also offers hundreds of educational programs and lectures for all ages.” —Atlanta Business Chronicle, October 4, 2002 MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR responsibility they are taking in creating environmentally-friendly places. Other lecture programs, including a panel discus- sion with I.M. Pei and Leslie Robertson, appealed to diverse audiences. -
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 the Robert Menschel Architecture and Design Gallery, Third Floor
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 The Robert Menschel Architecture and Design Gallery, third floor Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways. The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines. Organized by Pedro Gadanho, Curator, Department of Architecture and Design, The Museum of Modern Art Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America. -
Blueprintsvolume XXVII, No
blueprintsVolume XXVII, No. 1–2 NATIONAL BUILDING MUSEUM In Between: The Other Pieces of the Green Puzzle in this issue: HEALTHY Communities, GREEN Communities Word s ,Word s ,Word s Winter & Spring 2008/2009 The Lay of the Landscape Annual Report 2008 in this issue... 2 8 13 18 19 21 23 In Between: The Other Pieces of the Green Puzzle The exhibition Green Community calls attention to important aspects of sustainable design and planning that are sometimes overshadowed by eye-catching works of architecture. The environmental implications of transportation systems, public services, recreational spaces, and other elements of infrastructure must be carefully considered in order to create responsible and livable communities. This issue of Blueprints focuses on the broad environmental imperative from the standpoints of public health, urban and town planning, and landscape architecture. Contents Healthy Communities, ! 2 Green Communities M Cardboard Reinvented Physician Howard Frumkin, of the Centers for Disease Cardboard: one person’s trash is another Control and Prevention, brings his diverse expertise as B an internist, an environmental and occupational health N person’s decorative sculpture, pen and pencil expert, and an epidemiologist to bear on the public health holder, vase, bowl, photo and business card holder, above: Beaverton Round, in suburban Portland, Oregon, was built as part of the metropolitan area’s Transit-Oriented Development Program. implications of community design and planning. p Photo courtesy of the American Planning Association and Portland Metro. stress toy, or whatever you can imagine. Bring out your o Creating Sustainable Landscapes creativity with these durable, versatile, eco-friendly LIQUID h CARDBOARD vases that can be transformed into a myriad from the executive director 8 In an interview, landscape architect Len Hopper discusses s his profession’s inherent commitment to sustainability and of shapes for a variety of uses in your home. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
The Things They've Done : a Book About the Careers of Selected Graduates
The Things They've Done A book about the careers of selected graduates ot the Rice University School of Architecture Wm. T. Cannady, FAIA Architecture at Rice For over four decades, Architecture at Rice has been the official publication series of the Rice University School of Architecture. Each publication in the series documents the work and research of the school or derives from its events and activities. Christopher Hight, Series Editor RECENT PUBLICATIONS 42 Live Work: The Collaboration Between the Rice Building Workshop and Project Row Houses in Houston, Texas Nonya Grenader and Danny Samuels 41 SOFTSPACE: From a Representation of Form to a Simulation of Space Sean tally and Jessica Young, editors 40 Row: Trajectories through the Shotgun House David Brown and William Williams, editors 39 Excluded Middle: Toward a Reflective Architecture and Urbanism Edward Dimendberg 38 Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology Robert Mangurian and Mary-Ann Ray 37 Pandemonium: The Rise of Predatory Locales in the Postwar World Branden Hookway, edited and presented by Sanford Kwinter and Bruce Mau 36 Buildings Carios Jimenez 35 Citta Apperta - Open City Luciano Rigolin 34 Ladders Albert Pope 33 Stanley Saitowitz i'licnaei Bell, editor 26 Rem Koolhaas: Conversations with Students Second Editior Sanford Kwinter, editor 22 Louis Kahn: Conversations with Students Second Edition Peter Papademitriou, editor 11 I I I I I IIII I I fo fD[\jO(iE^ uibn/^:j I I I I li I I I I I II I I III e ? I I I The Things They've DoVie Wm. -
Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh. -
A Field Guide to Gas Stations in Texas
Historical Studies Report No. 2003-03 A Field Guide to Gas Stations in Texas By W. Dwayne Jones A Field Guide to Gas Stations in Texas by W. Dwayne Jones Prepared For Environmental Affairs Division Historical Studies Report No. 2003-3 Prepared by Knight & Associates October 2003 A Field Guide to Gas Stations in Texas Copyright © 2003 by the Texas Department of Transportation (TxDOT) All rights reserved. TxDOT owns all rights, title, and interest in and to all data and other information developed for this project. Brief passages from this publication may be reproduced without permission provided that credit is given to TxDOT and the author. Permission to reprint an entire chapter or section, photographs, illustrations, and maps must be obtained in advance from the Supervisor of the Historical Studies Branch, Environmental Affairs Division, Texas Department of Transportation, 118 East Riverside Drive, Austin, Teas, 78701. Copies of this publication have been deposited with the Texas State Library in compliance with the State Depository requirements. For further information on this and other TxDOT historical publications, please contact: Texas Department of Transportation Environmental Affairs Division Historical Studies Branch Lisa J. Hart, Supervisor Historical Studies Report No. 2003-3 Bruce Jensen, Series Editor Editing and production of this report was directed by Knight & Associates 3470 Jack C. Hays Trail Buda, Texas 78610 ISBN 1-930788-51-7 A Field Guide to Gas Stations in Texas Table of Contents Introduction . 1 Looking at Gas Stations . 11 1910-1920: Drive-Up Gas Stations . 23 1920-1930: Full Service / Corporate Identification Gas Stations . 33 1930-1940: Machine Made / Streamlined – The Depression Era . -
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Society of Architectural Historians University of California Press "The Century's Triumph in Lighting": The Luxfer Prism Companies and Their Contribution to Early Modern Architecture Author(s): Dietrich Neumann Source: Journal of the Society of Architectural Historians, Vol. 54, No. 1 (Mar., 1995), pp. 24-53 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991024 Accessed: 25-10-2015 18:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians and University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 128.148.252.35 on Sun, 25 Oct 2015 18:45:40 UTC All use subject to JSTOR Terms and Conditions "The Century'sTriumph in Lighting": The Luxfer Prism Companies and their Contributionto Early Modem Architecture medium to another, as from air to water or, in this case, glass. DIETRICH NEUMANN, BrownUniversity Throughoutthe eighteenth and nineteenth centuriesconically characterize this new prism as one of the most shaped glassesalready had been used to redirectlight into dark .L remarkable improvements of the century in its bearing rooms in basementsor in ships.5Thaddeus Hyatt, one of the on practical architecture, is to speak but mildly. -
Download the Complete Architecture of Adler and Sullivan, Richard
The Complete Architecture of Adler and Sullivan, Richard Nickel, Aaron Siskind, Richard Nickel Committee, 2010, 0966027329, 9780966027327, 461 pages. В Louis Sullivan (1856–1924) was a giant of architecture, the father of architectural modernism, and one of the earliest builders of the skyscraper. Along with Dankmar Adler (1844–1900) he designed many of the buildings that defined nineteenth-century architecture not only in Chicago but in cities across AmericaвЂ―and continue to be admired today. Among their iconic designs are the former Chicago Stock Exchange, Chicago’s Auditorium Building and Carson Pirie Scott flagship store, the Wainwright Building in St. Louis, and the Guaranty Building in Buffalo. This first-of-its-kind catalogue raisonnГ© of the work of Adler and SullivanвЂ―both as a team and individual architectsвЂ―is a lavish celebration of the designs of these two seminal architects who paved the way for the modern skylines that continue to inspire city dwellers today. The quest to pull together a complete catalogue of their work was first undertaken in 1952 by photographer Aaron Siskind and Richard Nickel, one of his graduate students at what is now the Illinois Institute of Technology in Chicago. This intense, decades-long labor of love has resulted in an extensive and unique resource that includes a complete listing of all of the buildings and projects undertaken by Adler and Sullivan. Each listing contains historic photographs, architectural plans (when available), and a description of each project. Alongside over two and hundred fifty essays are eight hundred photographs of their buildingsвЂ―many of which have since been demolishedвЂ―including images by Nickel, Siskind, and other noted photographers.