Navegando em Cartografias Virtuais: Las Vegas como cenário hiperreal

Ícone ◽  
2007 ◽  
Vol 9 ◽  
pp. 125-135
Author(s):  
Denize Correa Araújo
Keyword(s):  
Las Vegas ◽  
Robert Venturi ◽  
Charles Jencks ◽  
Denise Scott Brown

Charles Jencks, o proponente mais influente da arquitetura do pós-modernismo, afirma que a arquitetura moderna morreu em St. Louis, Missouri, em 15 de julho de 1972 às 3: 32 da tarde, e define o pós-modernismo como sendo auto-consciente, irônico e lúdico (Jencks 9). Neste ensaio, pretendo discutir alguns pontos de vista sobre mediações entre simulacros e cenários desterritorializados, tomando por objeto de estudo a cidade turística de Las Vegas e por base o conceito desenvolvido no livro Aprendendo com Las Vegas, de Robert Venturi, Denise Scott Brown e Steven Izenour: "Las Vegas é analisada aqui somente como um fenômeno de comunicação" (Venturi 27).

Lessons at the roadside

2004 ◽  
Vol 8 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Colin Davies
Keyword(s):  
Fast Food ◽  
Las Vegas ◽  
Vernacular Architecture ◽  
Architectural Theory ◽  
Architectural Practice ◽  
Gas Stations ◽  
Robert Venturi ◽  
Commercial Strip ◽  
Denise Scott Brown ◽  
Roadside Architecture

Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.

scholarly journals Flows from early Modernism into the Interior Streets of Venturi, Rauch and Scott Brown

2010 ◽  
Vol 14 (1) ◽  
pp. 53-62
Author(s):  
Karin Theunissen
Keyword(s):  
Urban Form ◽  
Las Vegas ◽  
Architectural Discourse ◽  
Urban Research ◽  
Robert Venturi ◽  
New Type ◽  
Definition Of ◽  
Denise Scott Brown ◽  
Commercial Environment

In 1972 the famous diagram of the ‘Decorated Shed’ was introduced into the architectural discourse; it implied a definition of ‘architecture as shelter with decoration on it’ [1]. The diagram was part of urban research into the commercial environment of Las Vegas that was interpreted by the researchers – Robert Venturi, Denise Scott Brown and Steven Izenour – as ‘a new type of urban form’ that they meant ‘to understand’ in order ‘to begin to evolve techniques for its handling’. Yet the critique on this and other research and designs by Venturi, Rauch and Scott Brown focused essentially on questions of form and more specifically of the image of architecture.

scholarly journals Loos y Venturi & Scott Brown. Del ornamento en la modernidadal símbolo postmoderno

2019 ◽  
Vol 11 (27) ◽  
pp. 106
Author(s):  
Prudencia Inés Arnau Orenga ◽  
Sergio Bruns Banegas ◽  
José María Lozano Velasco
Keyword(s):  
Robert Venturi ◽  
Josephine Baker ◽  
Siglo Xx ◽  
Denise Scott Brown

<p>Bien pudiera afirmarse que Adolf Loos y Robert Venturi junto con Denise Scott Brown, marcaron el inicio de dos de los movimiento arquitectónicos más importantes del Siglo XX. Sus escritos sirvieron para fundar los postulados del Movimiento Moderno y de la Posmodernidad. A pesar de tratarse de arquitectos tan diferentes, sus actitudes no son tan distintas, al defender una arquitectura honesta, cargada de mensaje y dispuestos a transgredir los dogmas pasados, al no considerarlos ya aptos para la sociedad de su momento. Permítasenos elegir dos ejemplos de cierto carisma. El proyecto de la casa para Josephine Baker sirve para ilustrar la posición de Adolf Loos. Se trata de un proyecto cargado de simbolismo, donde la propia fachada se convierte en mensaje. Décadas más tarde, Venturi &amp; Scott Brown construirían al otro lado del Atlántico la Guild House, el primer gran edificio etiquetado como posmodernista por su carga simbólica y el uso irónico del ornamento, en gran parte debido a la falsa antena. Estos proyectos del maestro austriaco y de Robert Venturi &amp; Denise Scott Brown sirven también para ilustrar su teoría, convirtiéndose de esta manera en manifiestos construidos. Teorías que hoy siguen perdurando.</p>

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