I Am a Monument: On Learning from Las Vegas Hardcover Book, eBook Download in EPUB, MOBI and PDF

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Rereading one of the most influential architectural books of the twentieth century-as intellectual project, graphic design landmark, and prescient introduction to issues of concern today. Learning...

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This edition of book was issued in Hardcover. The volume of the book is 234 pages (approximate value, can be different depending on the edition).

Original Title
I Am a Monument: On Learning from Las Vegas
ISBN13
9780262220828
Edition Format
Hardcover
Book Language
English
Number of Pages
234 pages
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I Am a Monument: On Learning from Las Vegas

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Description of "I Am a Monument: On Learning from Las Vegas"

Rereading one of the most influential architectural books of the twentieth century-as intellectual project, graphic design landmark, and prescient introduction to issues of concern today. Learning from Las Vegas, originally published by the MIT Press in 1972, was one of the most influential and controversial architectural books of its era. Forty years later, it remains a p Rereading one of the most influential architectural books of the twentieth century-as intellectual project, graphic design landmark, and prescient introduction to issues of concern today.

Learning from Las Vegas, originally published by the MIT Press in 1972, was one of the most influential and controversial architectural books of its era. Forty years later, it remains a perennial bestseller and a definitive theoretical text. Its authors-architects Robert Venturi, Denise Scott Brown, and Steven Izenour-famously used the Las Vegas Strip to argue the virtues of the "ordinary and ugly" above the "heroic and original" qualities of architectural modernism.

Learning from Las Vegas not only moved architecture to the center of cultural debates, it changed our ideas about what architecture was and could be. In this provocative rereading of an iconic text, Aron Vinegar argues that to read Learning from Las Vegas only as an exemplary postmodernist text-to understand it, for example, as a call for pastiche or as ironic provocation-is to underestimate its deeper critical and ethical meaning, and to miss the underlying dialectic between skepticism and the ordinary, expression and the deadpan, that runs through the text. Especially revealing is Vinegar's close analysis of the differences between the first 1972 edition, designed for the MIT Press by Muriel Cooper, and the "revised" edition of 1977, which was radically stripped down and largely redesigned by Denise Scott Brown.

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