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Venturi Scott Brown and Associates, Franklin Court, Model, Philadelphia, Pennsylvania, 1972
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vintagelasvegas · 1 year
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Las Vegas Blvd, 1968. Robert Venturi and Denise Scott Brown driving south towards Sahara. Foxy’s Deli, left, El Mirador Motel, right. Photo by Steven Izenour; Venturi, Scott Brown, and Associates, Inc.
The New Yorker: Fifty Years of “Learning from Las Vegas.”
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lossycompression · 4 months
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juliaknz · 18 days
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DENISE SCOTT BROWN THE IRONIC COLUMN, 1977 Allen Memorial Art Museum, Oberlin, Ohio Image © Matt Wargo
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conformi · 1 year
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Great Sphinx, Giza, Egypt, 2558-2532 BC VS Robert Venturi, Denise Scott Brown, and Steven Izenour, Long Island Duckling | Learning from Las Vegas, 1972
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federicoperugini · 1 year
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D. Scott Brown & R. Venturi
on Ducks and Decoration, 1968
“Our thesis is that most architects’ buildings today are ducks: buildings where an expressive aim has distorted the whole beyond the limits of economy and convenience; and that this, although an unadmitted one, is a kind of decoration, and a wrong and costly one at that. We’d rather see the need admitted and the decoration applied where needed, not in the way the Victorians did it but to suit our time, as easily as the billboard is pasted on its superstructure;“
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thelibraryofbabel · 2 years
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Denise Scott Brown and Robert Venturi (Source: x)
Illustration by Sophia Foster-Dimino
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beardedmrbean · 3 months
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The Biden administration is removing William Penn from Philadelphia.
New plans by the National Park Service to renovate Old City’s Welcome Park include removing the centerpiece statue of William Penn permanently and redesigning the park to highlight Native American history — a move that has angered Pennsylvania’s Republican leadership.
The plan is a major shift, considering that the park was built on the site of Penn’s home, the Slate Roof House, and is named for the ship, Welcome, that transported him from England. Penn actually landed first in 1682 near the intersection of the Delaware River and Chester Creek in Chester.
Welcome Park is part of Independence National Historical Park and was completed in 1982 on designs by Venturi, Scott Brown and Associates to commemorate the 300th anniversary of Penn’s arrival.
The wide-open park across from the former site of City Tavern aims to tell the story of Penn’s vision for the city. Although a lesser-known area of Independence Park, it provides visitors with an overview of the city layout and history of Penn’s landing. The Penn statue includes a farewell ode to Philadelphia, imparting “what love, what care, what service, what travail have there been to bring thee forth.”
Now, the National Park Service wants to rehabilitate the park in time for the 250th birthday celebration of America in 2026. The park on Second Street between Chestnut and Walnut Streets has fallen into disrepair with rows of broken granite floor.
Representatives for the National Park Service could not be reached for comment Monday. They are seeking public comment on the proposal, according to their website.
Plans announced Friday call for “an expanded interpretation of the Native American history of Philadelphia” in consultation with Indigenous nations of the Haudenosaunee, Delaware Nation, Delaware Tribe of Indians, Shawnee Tribe, and the Eastern Shawnee Tribe of Oklahoma.
Designs would keep some parts of the current park, including the original Philadelphia street grid, but the “Penn statue and Slate Roof House model will be removed and not reinstalled,” according to the plans.
Republican outcry
“The decision by President Biden and his administration to try and cancel William Penn out of whole cloth is another sad example of the left in this country scraping the bottom of the barrel of woke-ism to advance an extreme ideology and a nonsensical view of history,” Pennsylvania House Republican Leader Bryan Cutler (R., Lancaster) said in a statement.
Cutler said the treaty signed by Penn with Native Americans was historical and with “mutual respect shown between Penn and Native tribes.”
“This issue is also deeply personal to me,” Cutler said. “The first Cutlers came to Pennsylvania in 1685 on the ship Rebekah, not long after Penn’s arrival in 1682. They came to Pennsylvania because they were Quakers who shared Penn’s view of religious tolerance and peace.”
Cutler said removing the statue creates an “absurd and revisionist view of our state’s history.” He said he plans to introduce a resolution honoring William Penn and “encouraging” the National Park Service to halt the plan.
Pennsylvania State Sen. Scott Martin (R., Berks) and chair of the Senate Appropriations Committee, on social media called the plan “absolutely disgraceful.”
Native Americans
Welcome Park, though not necessarily the statue of Penn, has also been the site of some resentment among Native Americans. The plot had been given to the Haudenosaunee (Six Nations from the Iroquois Confederacy) in January 1755 by John Penn, William Penn’s grandson. In the 1700s, Native American groups often visited Philadelphia for diplomatic and trade meetings. They sometimes numbered in the hundreds and visited so frequently that John Penn asked the Provincial Council of Philadelphia to consider setting aside a piece of land for these gatherings. The delegations often refused to negotiate treaties until they could stand on their own ground and build a council fire.
A 2020 Inquirer article chronicled a trip by six women from the Iroquois Confederacy in upstate New York to reconnect with the patch of tribal land on the site of Welcome Park.
“I anticipated a park in a natural pristine state. Like any other park, it would have trees, grass, water,” said Louise McDonald (Native name Wa’kerakátste), a Mohawk Bear Clan Mother from Akwesasne, N.Y. “I was frozen for a minute because I felt it had been choked and that it wasn’t a true representation of the original intentions of the space. It just seemed to be purposely buried with a cover-up narrative. There certainly seems to be a feeling of erasure intended to remove any spirit that would imply that we were once there.”
Penn in Philly
William Penn’s likenesses will still remain in Philly. The statue of Penn atop City Hall is a landmark, visible from many parts of the city.
And there is another Penn statue at Penn Treaty Park off North Delaware Avenue at the corner of East Columbia Avenue and Beach Street. Legend says Penn and a local Lenape clan made a peace agreement under an elm tree. The original “treaty elm” has long been replaced, but the park contains an obelisk and plaque memorializing the agreement, as well as a statue of Penn.
The discussion of the Penn statue’s removal is not the first time in recent years that Philadelphia has seen a struggle over statues.
The statue of Frank L. Rizzo, the late mayor and police commissioner, was ordered removed from in front of the Municipal Services Building in 2020 by then-Mayor Jim Kenney amid sweeping protests after the murder of George Floyd. Also in recent years, people have petitioned to have the Christopher Columbus statue in Marconi Plaza removed, though it still remains. _______________________________________
Time to start finding problematic people the folks on the left like and tearing monuments to them down, maybe Fredrick Douglas was sexist, we already know MLK was a Zionist that should count against him for some people, know who else was a Zionist
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Wonder where the "Ruth Sent Us" group is now.......
Maybe we find something bad Harriet Tubman did and start to disqualify her, she may have been mean to native Americans or something.
Given enough time they're going to find something wrong with everyone that has a statue eventually.
Start with every single statue and bust of karl marx
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Venturi Scott Brown
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The renovated home of architects Robert Venturi and Denise Scott Brown reflects their philosophy of variety, complexity, and symbolism in design.
Inside Today’s Home, 1986
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archiveofaffinities · 1 month
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Venturi, Scott Brown and Associates, Murphy, Levy, Wurman (Denise Scott Brown, partner-in-charge), The City Edges Planning Study, Philadelphia, Pennsylvania, 1973
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vintagelasvegas · 1 year
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Members of the Learning from Las Vegas Studio, Stardust, 1968.
Photo: Venturi, Scott Brown, and Associates, Inc. 
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When people drive by Cary and Simon’s 1830s farmhouse in Ghent, New York, they usually think it’s a restaurant b/c of the façade. The Façade, by artist Robert Venturi, was inspired by the Halfpenny Brothers chinoiserie pattern book from England.
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Believe it or not, Dollar Store finds mingle with the art and antiques. The mushroom center hall table is from a discount store children’s garden set.
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Their house exudes a madcap whimsy- in a sitting room, rainbow streamers hang from the ceiling, leftover holiday trimmings were strung up by Simon. When they started drooping, he was going to take them down, but then strung a streamer across the middle instead.
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This Empire sofa has Grandma Moses fabric and a Doggie doll pillow by Peyton Jefferson.
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Then there are the giant corn-on-the-cob side tables (I have one!)  Wing chairs are upholstered in Obama fabric.
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They share a wicked sense of humor, and it shows throughout the house. Flip a switch on the wall and that painting begins to spin.
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I’m obsessed with the big pink faux fireplace made by artist Robert Venturi.  Chairs and table are by Robert Venturi and Denise Scott Brown.
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In the powder room; plaster figurines of U.S. presidents.
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The house itself is a wonderful mishmash of old and new.
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Collection of group photos around “Mount Vernon with George Washington,” 1975, by Alex Katz, in the center.
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Going up the stairs, they hung a purple flower garland from the Dollar Store to soften the look. 
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This guest room features a giant packet of Sweet ‘n Low. 
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I thought this was a pony tail, but it’s called “Endless Column.” The suitcase belonged to late actress Carol Channing. What great decor.
https://www.upstatediary.com/cary-leibowitz
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aulel-process · 9 months
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Jay Steffy, Interior, Circa 1980
I can't find much on Jay Steffy's design philosophy but I read his 1980s interior as postmodern.
"Postmodernism had begun as a radical fringe movement in the 1970s, but became the dominant look of the 1980s, the 'designer decade'. Vivid colour, theatricality and exaggeration: everything was a style statement. Whether surfaces were glossy, faked or deliberately distressed, they reflected the desire to combine subversive statements with commercial appeal. Magazines and music were important mediums for disseminating this new phase of Postmodernism. The work of Italian designers – especially the groups Studio Alchymia and Memphis – was promoted across the world through publications like Domus. Meanwhile, the energy of post-punk subculture was broadcast far and wide through music videos and cutting-edge graphics. This was the moment of the New Wave: a few thrilling years when image was everything." ( 1 )
"The postmodern outlook is characterized by self-referentiality, epistemological relativism, moral relativism, pluralism, irony, irreverence, and eclecticism; it rejects the "universal validity" of binary oppositions, stable identity, hierarchy, and categorization." ( 2 )
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Piazza D'Italia, Charles Moore and August Perez III, 1978
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Robert A. M. Stern: Residence and Pool House Llewelyn Park, New Jersey, 1982
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M2 building, Kengo Kuma, Japan, 1991
"Less is More" "Less is a Bore" LOL:
"If the Modernist movement could be epitomized in a single phrase, many would choose Mies van der Rohe’s succinct utterance, “less is more.” Three authoritative words, three stern syllables: The slogan came to embody the very architectural language it engendered, spawning a whole generation of architects who sought to strip back buildings to their bare essentials.
Mies and many of his Modernist peers advocated the abolition of the superfluous, arguing that ornamentation was a distraction from the beauty of structural rationality, or — worse still — an unethical symbol of extravagance.
Of course, as with any ideological action, there is a reaction, and this is where American architect Robert Venturi came in. Together with his wife Denise Scott Brown, the late Robert Venturi strove to rewrite the book (sometimes quite literally) on modern architectural design, challenging the principles of the Modernist movement with experimentation and witty provocation.
Venturi pinpointed Mies’ sound bite as a key source of influence and countered with his own, simultaneously playful and cutting in its candor: “Less is a bore.”
Venturi’s instantly memorable quote — its fame perhaps only surpassed by Mies’ oxymoronic original — became the mantra for an entire architectural movement. Postmodernism ushered in an age of warmer architecture, buildings full of character that displayed a greater sensitivity toward context, urban landscapes ingrained with more humor and humility than the earnest monuments of 20th-century Modernism.
... For [Venturi], this was the architecture of gentle anarchy, of free-spirited optimism, of unbridled joy." ( 3 )
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50 years ago, in 1972, Robert Venturi, Steve Izenour and Denise Scott Brown published what would become a hallmark book for postmodern architecture: „Learning from Las Vegas“, a collection of studies of the Las Vegas strip carried out during a Yale research studio course. With its emphasis on the social, economic and cultural dimensions of the city the book quintessentially represented Denise Scott Brown’s approach to urban planning: already during her master studies of city planning at the University of Pennsylvania she got in contact with sociologist Herbert Gans, then teaching at Penn, whose urban sociology Scott Brown adopted. Consequently she intensively exchanged views and ideas with the urban sociologist and vice versa, an exchange that resulted in her multifocal perspective on urban and architectural forms. This is among the many aspects addressed in the recently released anthology „Denise Scott Brown: In Other Eyes - Portraits of an Architect“, edited by Frida Grahn and published by Birkhäuser: the book contains 23 chapters grouped into the sections Learning, Teaching and Designing that provide comprehensive insights into Scott Brown’s intellectual formation, the development of her methods and theoretical concepts through extensive teaching and the subsequent practical work she pursued from the 1970s on. The result is a multifaceted portrait of an architect and theorist whose work and thought finally receives its due appreciation: Denise Scott Brown is a highly original thinker who broke down intellectual and subject-specific barriers for the sake of better planning in terms of both architecture and urbanism. Simultaneously she operated in a society and profession that kept down women, a fact she criticized openly and which is also being addressed in the book.
„Denise Scott Brown: In Other Eyes” is a fabulous anthology and a thought-provoking testament to the ingenuity of an architect and theorist. At the same time the 23 essays, occasionally juxtaposed with personal recollections and perspectives, open up new views on her work that will likely stimulate additional research on DSB. A highly recommended read!
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furiousheartbeats · 1 year
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Robert Venturi, Denise Scott Brown, Steven Izenour, Learning from Las Vegas, The MIT Press (1977)
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