APRENDIENDO DE LAS VEGAS VENTURI PDF

Este libro, como ya he dicho, es el resultado de un trabajo docente. Ambos edificios se construyeron al mismo tiempo para la Expo de Nadie ve esos edificios y les da un valor. El valor se lo das cuando los has estudiados y entiendes lo que supusieron en su momento. Y no fueron.

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Start your review of Aprendiendo de Las Vegas Write a review Shelves: architecture Venturi has undoubtedly become the black sheep of late twentieth-century architecture. This book is part of the reason why. His symbolical relativism more or less diminishes every formal masterpiece ever Venturi has undoubtedly become the black sheep of late twentieth-century architecture.

His symbolical relativism more or less diminishes every formal masterpiece ever constructed, and he praises Las Vegas for being the ideal architectural environment for efficiently accommodating urban automobile culture. Social concern, in the context of city planning is completely absent from this text. Billboards, or those big flashy neon signs that sin city is so well known for function as symbolic representations of what a particular building or structure is trying to say.

Ugliness is efficient here because it represents the point of the value of the building; what it does, what is sold within, what people go to this building for. Venturi calls for the ordinary over the beautiful in approaches to a new architecture because he feels that the time period calls for it.

He expresses it somewhat well in the following passage. Because this is not the time and ours is not the environment for heroic communication through pure architecture.

Each medium has its day, and the rhetorical environmental statements of our time-civic, commercial,or residential-will come from media more purely symbolic, perhaps less static and more adaptable to the scale of our environment. The iconography and mixed media of roadside commercial architecture will point the way, if we will look.

I suppose that eyesores are eyesores for a reason. Frederic Jameson, a thinker bound to confuse readers about what Venturi was actually trying to say more than anyone else, was enormously influenced by him. We can also see in this sort of reasoning that attempt to bridge the gap between high and low art that has become so typical of the postmodern sensibility.

The specter of Adorno certainly lingers. But maybe Venturi was onto something a little more useful than his postmodern contemporaries, something a little more important than a bunch of neo-marxist theorizing and empty talk about cultural hegemony.

It seems to me that he was merely attempting to show people how to reevaluate ugliness with a sympathetic eye. This book is full of suggestions, and to me the most important when in an architectural sense was to see the metaphorical or symbolical value of these structures and their usefulness.

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