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Kurzbeschreibung
Dieses Buch ist die grosszügig illustrierte Hommage an einen Architekturklassiker. «Learning from Las Vegas» heisst eine der einflussreichsten Schriften der Architekturtheorie, die seit 1972 in vielen Sprachen und zahlreichen Auflagen erschien. Sie entfaltete eine nachhaltige Wirkung in Architektur und Städtebau und gilt heute als Startschuss der Postmoderne. Die Abbildungen in diesem Meilenstein aber waren (ausser in der allerersten US-Ausgabe) nur klein und in schlechter Qualität abgedruckt. Dabei basierte die Studie wesentlich auf den Medien Fotografie und Film, die Mittel der Stadtanalyse wie der Argumentation waren.Die Originaldias wurden seither im Firmenarchiv von Venturi, Scott Brown and Associates in Philadelphia aufbewahrt. Nun hat das Büro sein Archiv geöffnet. «Las Vegas Studio» präsentiert Bilder und Filmstills, die bei der legendären Las-Vegas-Recherche 1968 aufgenommen wurden, erstmals in Farbe und repräsentativer Auswahl, grossformatig und erstklassig reproduziert. Die Essays von ausgewiesenen Spezialisten zeigen, wie hier mit den Mitteln des Bildes über die Stadt nachgedacht wurde, und machen den Brückenschlag zur Architekturpraxis der letzten Jahrzehnte.
Synopsis
"Learning From Las Vegas" is arguably one of the most influential texts in theory of architecture of the 20th-century. Since its first publication in 1972 it has been reprinted again and again and translated to many languages. Robert Venturi and Denise Scott Brown's treatise had, and still has, lasting effect and is regarded until the present day as the starting signal of postmodernism in architecture and urban planning. The authors' thesis and arguments are essentially based on the media of photography and film, on the countless pictures Venturi/Scott Brown and Steven Izenour took during their field research of 1968 in the city of Las Vegas. Despite of this fact all editions but the very first one of 1972 use only small black and white images of poor quality to illustrate the text."Las Vegas Studio" is the first to present a large selection of these iconic images and film stills in colour, large format and first rate quality. The Essays complement the pictures and investigate how Venturi, Scott Brown and Izenour used images to contemplate the phenomenon of the modern city, and forge the link to the architectural practice of the past decades.
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Format:Gebundene Ausgabe
I've only ever seen mono 'Learning from Las Vegas' photos in the MIT paperback edition where they are, for the most part, poorly printed. This book of the photos, in colour, is based on their exhibition in Germany during 2009. After looking through the pages several times I wonder why they were exhibited or printed because they are really no better than snaps.
Photography has lots of uses besides art or consumer snaps: police mug shots; time-lapse security; aerial reconnaissance; or anywhere that a visual record is required. The 102 Las Vegas colour photos printed over 125 pages in the book fall into this working category and I really don't think they could be considered artistic or worthy of presenting as one to a page in a classic photo book format. Frequently badly cropped, too much contrast, repetitive or just inconsequential regarding the subject matter nevertheless I can see that they could well underpin an architectural theory that is still thought provoking today but presenting student taken photos like this seems an editorial mistake so two stars.
Four stars though for the rest of the book that falls into three parts: an essay by Martino Stierli; a conversation between Peter Fischli, Rem Koolhaas and Hans Ulrich Obrist; an essay by Stanislaus von Moos rounds out the pages. I thought all of this content was far more interesting than the bland photos. In particular Stierli's essay was fascinating overview of architecture, popular and car culture in LA and Las Vegas over the last few decades. He pulls together New Topographic photographers, mixed media artist Ed Ruscha, photorealist painter John Baeder (who incidentally has a whole collection of impressive roadside photography waiting for a publisher) authors like Reyner Banham and Peter Blake. Blake's 'God's own junkyard', published in 1964, was a strong influence with Venturi.
Of the other two chapters the conversation between Fischli, Koolhaas and Obrist was mildly interesting and von Moos writes about the architecture, photography and Pop art. The essay is a chapter from his book about Venturi, Scott Brown & Associates and I found it rather elitist with its (predictably) extensive footnotes.
The book was produced in Germany and reflects contemporary European publication design. Two of the chapters have the main text on the right-hand pages with photos and graphics on the left-hand page, nicely, all the footnotes are with the text they refer to so no searching pages at the back of the book. The Las Vegas photos are printed with a two hundred screen on semi-matt art paper with the rest of the book on standard stock.
Photography has lots of uses besides art or consumer snaps: police mug shots; time-lapse security; aerial reconnaissance; or anywhere that a visual record is required. The 102 Las Vegas colour photos printed over 125 pages in the book fall into this working category and I really don't think they could be considered artistic or worthy of presenting as one to a page in a classic photo book format. Frequently badly cropped, too much contrast, repetitive or just inconsequential regarding the subject matter nevertheless I can see that they could well underpin an architectural theory that is still thought provoking today but presenting student taken photos like this seems an editorial mistake so two stars.
Four stars though for the rest of the book that falls into three parts: an essay by Martino Stierli; a conversation between Peter Fischli, Rem Koolhaas and Hans Ulrich Obrist; an essay by Stanislaus von Moos rounds out the pages. I thought all of this content was far more interesting than the bland photos. In particular Stierli's essay was fascinating overview of architecture, popular and car culture in LA and Las Vegas over the last few decades. He pulls together New Topographic photographers, mixed media artist Ed Ruscha, photorealist painter John Baeder (who incidentally has a whole collection of impressive roadside photography waiting for a publisher) authors like Reyner Banham and Peter Blake. Blake's 'God's own junkyard', published in 1964, was a strong influence with Venturi.
Of the other two chapters the conversation between Fischli, Koolhaas and Obrist was mildly interesting and von Moos writes about the architecture, photography and Pop art. The essay is a chapter from his book about Venturi, Scott Brown & Associates and I found it rather elitist with its (predictably) extensive footnotes.
The book was produced in Germany and reflects contemporary European publication design. Two of the chapters have the main text on the right-hand pages with photos and graphics on the left-hand page, nicely, all the footnotes are with the text they refer to so no searching pages at the back of the book. The Las Vegas photos are printed with a two hundred screen on semi-matt art paper with the rest of the book on standard stock.
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Working snaps
1. Oktober 2010
Format:Gebundene Ausgabe
I've only ever seen mono 'Learning from Las Vegas' photos in the MIT paperback edition where they are, for the most part, poorly printed. This book of the photos, in color, is based on their exhibition in Germany during 2009. After looking through the pages several times I wonder why they were exhibited or printed because they are really no better than snaps.
Photography has lots of uses besides art or consumer snaps: police mug shots; time-lapse security; aerial reconnaissance; or anywhere that a visual record is required. The 102 Las Vegas color photos printed over 125 pages in the book fall into this working category and I really don't think they could be considered artistic or worthy of presenting as one to a page in a classic photo book format. Frequently badly cropped, too much contrast, repetitive or just inconsequential regarding the subject matter nevertheless I can see that they could well underpin an architectural theory that is still thought provoking today but presenting student taken photos like this seems an editorial mistake so two stars.
Four stars, though, for the rest of the book that falls into three parts: an essay by Martino Stierli; a conversation between Peter Fischli, Rem Koolhaas and Hans Ulrich Obrist; an essay by Stanislaus von Moos rounds out the pages. I thought all of this content was far more interesting than the bland photos. In particular Stierli's essay was fascinating overview of architecture, popular and car culture in LA and Las Vegas over the last few decades. He pulls together New Topographic photographers, mixed media artist Ed Ruscha, photorealist painter John Baeder (who, incidentally, has an impressive collection of roadside photography waiting for a publisher) authors like Reyner Banham and Peter Blake. Blake's 'God's own junkyard', published in 1964, was a strong influence with Venturi.
Of the other two chapters the conversation between Fischli, Koolhaas and Obrist was mildly interesting and von Moos writes about the architecture, photography and Pop art. The essay is a chapter from his book about Venturi, Scott Brown & Associates and I found it rather elitist with its (predictably) extensive footnotes.
The book was produced in Germany and reflects contemporary European publication design. Two of the chapters have the main text on the right-hand pages with photos and graphics on the left-hand page, nicely, all the footnotes are with the text they refer to so no searching pages at the back of the book. The Las Vegas photos are printed with a two hundred screen on semi-matt art paper with the rest of the book on standard stock.
***LOOK INSIDE THE BOOK by clicking 'customer images' under the cover.
Photography has lots of uses besides art or consumer snaps: police mug shots; time-lapse security; aerial reconnaissance; or anywhere that a visual record is required. The 102 Las Vegas color photos printed over 125 pages in the book fall into this working category and I really don't think they could be considered artistic or worthy of presenting as one to a page in a classic photo book format. Frequently badly cropped, too much contrast, repetitive or just inconsequential regarding the subject matter nevertheless I can see that they could well underpin an architectural theory that is still thought provoking today but presenting student taken photos like this seems an editorial mistake so two stars.
Four stars, though, for the rest of the book that falls into three parts: an essay by Martino Stierli; a conversation between Peter Fischli, Rem Koolhaas and Hans Ulrich Obrist; an essay by Stanislaus von Moos rounds out the pages. I thought all of this content was far more interesting than the bland photos. In particular Stierli's essay was fascinating overview of architecture, popular and car culture in LA and Las Vegas over the last few decades. He pulls together New Topographic photographers, mixed media artist Ed Ruscha, photorealist painter John Baeder (who, incidentally, has an impressive collection of roadside photography waiting for a publisher) authors like Reyner Banham and Peter Blake. Blake's 'God's own junkyard', published in 1964, was a strong influence with Venturi.
Of the other two chapters the conversation between Fischli, Koolhaas and Obrist was mildly interesting and von Moos writes about the architecture, photography and Pop art. The essay is a chapter from his book about Venturi, Scott Brown & Associates and I found it rather elitist with its (predictably) extensive footnotes.
The book was produced in Germany and reflects contemporary European publication design. Two of the chapters have the main text on the right-hand pages with photos and graphics on the left-hand page, nicely, all the footnotes are with the text they refer to so no searching pages at the back of the book. The Las Vegas photos are printed with a two hundred screen on semi-matt art paper with the rest of the book on standard stock.
***LOOK INSIDE THE BOOK by clicking 'customer images' under the cover.
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