"Robert Venturi’s Rome is a guidebook to the city of Rome seen through the eyes of Robert Venturi and re-interpreted by two subsequent Rome Prize fellows and architect, Frederick Fisher and Stephen Harby. Published in 1966, Venturi viewed architecture, landscape, and art as different manifestations of common themes. Fundamental to the develo9pment of any young architects’ outlook on architecture, Venturi wrote this seminal publication following a two-year Rome Prize fellowship at the American Academy in Rome. Many buildings in Rome serve as examples that illustrate his theories, underscoring the city’s profound influence on Venturi’s thinking: from the Pantheon, through works by his favorite artist, Michelangelo, and on to 20th century buildings by Armando Brasini and Luigi Moretti, Venturi reveals Rom as a complex and contradictory city." -- Book jacket.

Foreword by Arthur Drexler. Introduction by Vincent Scully.

The observer-designer-theorists who analyzed the Las Vegas strip as an archetype in "Learning from Las Vegas" now turn their iconoclastic vision onto their own remarkable partnership and the rule-breaking architecture it has spawned for this fascinating retrospective of their life work.

"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. Thirty-five years later, it remains a perennial bestseller and a definitive theoretical text. Its authorsاarchitects Robert Venturi, Denise Scott Brown, and Steven Izenourاfamously 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 Learning from Las Vegas is not only of historical interest but of absolute relevance to current critical debates in architectural and visual culture. Vinegar argues that to read Learning from Las Vegas only as an exemplary postmodernist textاto understand it, for example, as a call for pastiche or as ironic provocationاis 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. Vinegar's close attention to the graphic design of Learning from Las Vegas, and his fresh interpretations of now canonical images from the book such as the Duck, the Decorated Shed, and the "recommendation for a monument," make his book unique. Perhaps most revealing is his 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. The dialogue between the two editions continues with this book, where for the first time the two versions of Learning from Las Vegas are read comparatively."--Publisher's website.

This book stems from the seminal work of Robert Venturi and aims at re-projecting it in the current cultural debate by extending it to the scale of landscape and placing it in connection with representative issues. It brings out the transdisciplinary synthesis of a necessarily interdisciplinary approach to the theme, aimed at creating new models which are able to represent the complexity of a contradictory reality and to redefine the centrality of human dimension. As such, the volume gathers multiple experiences developed in different geographical areas, which come into connection with the role of representation. Composed of 43 chapters written by 81 authors from around the world, with an introduction by Jim Venturi and Cezar Nicolescu, the volume is divided into two parts, the first one more theoretical and the other one which showcases real-world applications, although there is never a total split between criticism and operational experimentation of research.

10 Buildings that Changed America tells the stories of ten influential works of architecture, the people who imagined them, and the way these landmarks ushered in innovative cultural shifts throughout our society. The book takes readers on a journey across the country and inside these groundbreaking works of art and engineering. The buildings featured are remarkable not only for aesthetic and structural reasons, but also because their creators instilled in them a sense of purpose and personality that became reflected in an overarching sense the American identity. Edited by the staff of WTTW, the Chicago PBS affiliate that is the most-watched public television station in the country, 10 Buildings will be released alongside the national broadcast of an hour-long special by the same name. This television event will be promoted over digital media, on-ground events, and educational initiatives in schools, and the book will be a significant component to all of these elements. 10 Buildings retells the shocking, funny, and even sad stories of how these buildings came to be. It offers a peek inside the imaginations of ten daring architects who set out to change the way we live, work, and play. From American architectural stalwarts like Louis Sullivan and Frank Lloyd Wright, to modern revolutionaries like Frank Gehry and Robert Venturi, this book examines the most prominent buildings designed by the most noteworthy architects of our time. Also profiled are Americans less noted for their architectural acumen, but no less significant for their contributions to the field. Thomas Jefferson, a self-taught architect, is profiled for designing the iconic Virginia State Capitol. Taking its inspiration from ancient Rome, America's first major public building forged a philosophical link between America and the world's earliest democracies. Similarly, Henry Ford employed Albert Kahn to design a state-of-the-art, innovative factory for Ford's groundbreaking assembly line. Reinforced concrete supported massive, open rooms without any interior dividing walls, which yields the uninterrupted space that was essential for Ford's sprawling continuous production setups. What's more, Kahn considered the needs of workers by including astonishingly modern large windows and louvers for fresh air. The design of each of these ten buildings was completely monumental and prodigious in its time because of the architect’s stylistic or functional innovations. Each was also highly influential, inspiring a generation or more of architects, who in turn made a lasting impact on the American landscape. We see the legacy of architects like Mies van der Rohe or H.H. Richardson all around us: in the homes where we live, the offices where we work, our public buildings, and our houses of worship. All have been shaped in one way or another by a handful of imaginative, audacious, and sometimes even arrogant individuals throughout history whose bold ideas have been copied far and wide. 10 Buildings is the ideal collection to detail the flashes of inspiration from these architects who dared to strike out on their own and design radical new types of buildings that permanently altered our environmental and cultural landscape.

An illustrated reevaluation of the seminal architectural manifesto Learning from Las Vegas. It explores the significance of this controversial publication by situating it in the artistic, architectural, and urbanist discourse of the 1960s and '70s, and by evaluating the book's enduring influence of visual studies and architectural research.

Until the mid-twentieth century the Western imagination seemed intent on viewing Rome purely in terms of its classical past or as a stop on the Grand Tour. This collection of essays looks at Rome from a postmodern perspective, including analysis of the city's 'unmappability', its fragmented narratives and its iconic status in literature and film.