1978

Venturi and Rauch

Roma Interrotta: Sector VII

1



It's probably also fair to say that most people that saw Venturi and Rauch's entry at Roma Interrotta saw sarcasm as well.

1999.09.24
since equinoctial augury
The Philadelphia and Rome connections do not always have to be evident, but I'm sure that enough interesting notions will arise. There are already good connections, the Ara Martis-Independence Mall coincidence, the Fairmount-Campidoglio coincidence, dies sanguinis, the Hadrian tomb-Logan Circle coincidence, cardo and decumanus (and this can compare to Eros and Thanatos).
Overall, this project will hold together because I have the Center City model and the Campo Marzio database, and I also have all the Rome books and the Philadelphia guide books. I just also remembered the Roma Interrotta connection via Giurgola and VRSB, and then also the general Kahn and Venturi Campo Marzio connection.


2005.10.14 14:11
Jimmy Venturi's new website...
I still remember what Brigitte Knowles (the blonde student you see in one of Kahn's classes in My Architect, and in 1978 one of my teachers and my employer) told me after returning from Rome and having there seen the Roma Interrotta exhibition: "Venturi's boards were terrible, really a disgrace. They just pasted some Las Vegas stuff on the Nolli map, and that was it. I think they are now finished."


2007.07.12 11:06
Sarcastic Architecture
...you're misrepresenting when you say V, SB and Izenour were "excluded from the High Modernist cocktail party" and therefore bitter. Venturi a Rome Prize recipient, Complexity and Contradiction coming out of MoMA, V and SB teaching at Penn and Yale, Learning from Las Vegas coming out of Yale. I'd say they were definitely guests at the "cocktail" party. The exclusion, you could say, came after Learning from Las Vegas was published (thus no bitterness before the publication, as you imply).
I did begin to re-read Part II of Learning from Las Vegas last night, and I agree that sarcasm isn't really the modus operandi. It may be too hard now-a-days to recognize the "Pop" sensibility of the critique--the whole mixture of high art and low art which was then something like sacrilege. Plus, the "in your face" stance (i.e., naming names rather than remaining cautiously abstract) was "just not supposed to be done."
For sure there is much taunting and ridicule within "the ugly and the ordinary," as there is always taunting and ridicule whenever an orthodoxy is questioned and critiqued, but the task was accomplished without much sarcasm at all.
...you and others may well see sarcasm as an effect of "the ugly and the ordinary" critique, and I concur that that is one fair interpretation, but there is very little sarcasm within the actual text itself.
It's probably also fair to say that most people that saw Venturi and Rauch's entry at Roma Interrotta saw sarcasm as well. But was "Pop" sensibility too often just confused for sarcasm? Does "Andy W" suggest more Andy Warhol rather than Andy Williams? Does Lennon suggest more John Lennon than the Lennon Sisters?


2012.07.06 12:19
The Philadelphia School, deterritorialized
The Philadelphia School, deterritorialized will often investigate the (early) relationship between Giurgola architecture and Venturi architecture, as well as their respective relationships with Kahn architecture. One of the last episodes between Giurgola and Venturi occurred at the very beginnings of Roma Interrotta. When each of the invited architects received their section of the Nolli map of Rome, they also got to see what sections the other invited architects received. The Venturi office preferred the section received by the Giurgola office, so the Venturi office asked the Giurgola office if they wouldn't mind exchanging sections. The Giurgola office said they'd be happy to exchange, but they would rather ask the Roma Interrotta people before doing so. The Roma Interrotta people said the exchange was OK, and the rest is architectural history.


2013.07.30 10:29
Learning from Learning from Las Vegas (again)
A sentence within the last paragraph of Scott Brown's 'Preface to the Revised Edition' (1977) gave me pause:
"We feel too that architects, bar a few diehards, are coming to realize that what we learned from Las Vegas, and what they by implication should learn too, is not to place neon signs on the Champs Elysees or a blinking "2 + 2 = 4" on the roof of the Mathematics Building, but rather to reassess the role of symbolism in architecture, and, in the process, to learn a new receptivity to the tastes and values of other people and a new modesty in our designs and in our perception of our role as architects in society."
Pause because I immediately thought of two instances where work of 'the firm' appears to contradict what should "not" be done.

Venturi and Rauch, Roma Interrotta: Sector VII (1978).
Neon signs at the Roman Forum? Perhaps not just that, but also an indication of how the Las Vegas billboard is 'today's' symbolic equivalent. Maybe, maybe not, or perhaps the Rape the the Sabine Women scupture up in front subliminally delivers a more potent symbolic message. Anyway, the fact remains that Venturi and Rauch sought out this particular section of the Nolli map--"One of the last episodes between Giurgola and Venturi occurred at the very beginnings of Roma Interrotta. When each of the invited architects received their section of the Nolli map of Rome, they also got to see what sections the other invited architects received. The Venturi office preferred the section received by the Giurgola office, so the Venturi office asked the Giurgola office if they wouldn't mind exchanging sections. The Giurgola office said they'd be happy to exchange, but they would rather ask the Roma Interrotta people before doing so. The Roma Interrotta people said the exchange was OK, and the rest is architectural history." "I still remember what Brigitte Knowles (the blonde student you see in one of Kahn's classes in My Architect, and in 1978 one of my teachers and my employer) told me after returning from Rome and having there seen the Roma Interrotta exhibition: "Venturi's boards were terrible, really a disgrace. They just pasted some Las Vegas stuff on the Nolli map, and that was it. I think they are now finished.""
Working title: Learning from Mixed Messages.

Venturi, Scott Brown & Associates, Philadelphia Orchestra Hall, second scheme (1987-96).

A bar of orchestral music on an orchestra hall? Personally, I thought this was just plain pathetic when I first saw it. This commission turned out to be a sad loss for the firm.
One can well conclude that "a new receptivity to the tastes and values of other people" actually boils down to opening a very unpredictable 'can of worms'. And, for all the seemingly positive talk of "a new modesty in our designs and in our perception of our role as architects in society" there is still a somewhat elitist aesthetic filter.

««««

»»»»


3155o
www.quondam.com/41/4187.htm

Quondam © 2017.12.06