DUE September 18, 2014
Journal Article Analysis Summary
I am a Monument, On
Learning from Las Vegas.
I am a Monument was written by Aron Vinegars and On Learning from Las Vegas was written
by Robert Venturi, Denise Scott Brown and Steve Izenor. Aron Vinegar was the
one who reviewed the importance of architectural
in 1972. Vinegars titled his book with the signifier I am the Monument after he examined the subtitle On Learning from Las Vegas. The authors
of LFLV then came together to include Vinegars title words on a printed billboard
sitting atop of a building to announce that it is in fact a monument. Vinegars
2008 book released in paperback for both signifiers owe thanks to Rene
Magritte’s painting for reinforcing the distinction between words and the
objects to which they refer.
In
1972 the original book was published by three teachers from Yale University.
The students and architects traveled to Nevada City to see what they could do
to build the environment to influence popular culture. Rather than bemoan the anti-intellectual
commercially driven nature of the Las Vegas strip, the group embraced and
elevated its very character. Venturi, Scott Brown and Izenor introduced a new
dichotomy in defining the building that express their function, meaning with decorated
sheds that can change the meaning by the sheer switch of a sign.
The
new look of the Las Vegas strip, then called ugly ordinary, was developed to
help define post modernism in architecture and was presented in heroic forms.
Vinegars theories explored the ugly and the ordinary architecture and found a
new way of interpreting and uncovering its relevance for the early twenty-first
century. The LELV becomes more than a historical polemic which stands as a
theoretical treatise with those who appreciate and study the building
environment. He begins his investigation through the lens of skepticism which
allows him to question the sincerity and the seriousness of LELV.
Acknowledging
his own debt to philosopher Stanley Cavell, Vinegar redefines the modern duck
and the post- modern decorated shed not as dichotomy, but as a way to
understand the others. Mr. Vinegar is particularly intrigued by the graphic
differences between the first and second editions of LELV. Muriel Cooper
designed the initial publication in 1972 and Denise Scott Brown redesigned the
more modest and stripped down revised edition in 1977, both published by MIT
press.
Ms.
Cooper approach to the book’s layout to present a visual equivalent to the
experience of the Las Vegas strip, Ms. Scott Brown’s was to refocus the book’s
emphasis from the visual interpretation to the conceptual content of the text.
The former design was duck and Mr. Vinegar postulates that the true
understanding of LELV can be understood only in a comparison of the two
visualizations. This parallels the conclusions he reaches about the current
relevance of the book. David Hickey suggests that while America is a very poor
lens through which to view Las Vegas, Las Vegas is wonderful lens trough which to
view America. LELV has held our attention for 40 years and the reason why Mr.
Vinegar has delved so deeply into the ideas of architecture sign, symbol and
meaning.
In
my own words I will say this article was very important and very educative and
shows how architect can change our surroundings. Today Las Vegas has become the
heart of America and is well known for the beauty of its architectural and
visual designs. Examples are Caesar’s Palace, Venetian, Excalibur, Wynn and
others. All came together to make the face of Las Vegas we all see today.
Mr. Vinegar’s important re-analysis of Learning From Las Vegas and I am a Monument,
likewise reinforces the relevance of reassessing developments in architectural forms
and meanings.
Reference
Levine, S. (2012). I am a Monument, On
Learning from Las Vegas. The Journal of Popular Culture, 45(6), 1337-1339.