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Sign language: Pop Art, vernacular a...

Smith, Katherine Anne.

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Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown)./
Author:	Smith, Katherine Anne.
Description:	516 p.
Notes:	Advisers: Jean-Louis Cohen; Robert Lubar.
Contained By:	Dissertation Abstracts International64-05A.
Subject:	Architecture. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3089339

Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown).
Smith, Katherine Anne.

Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown). - 516 p.

Advisers: Jean-Louis Cohen; Robert Lubar.

Thesis (Ph.D.)--New York University, 2003.

This dissertation investigates the work of architects Robert Venturi and Denise Scott Brown and the dialogue they establish between architecture and art. From their early examinations of American commercial environments, most notably their studies of Las Vegas in the late 1960s, the architects have understood the changing methods of representation and the significant shifts in scale, which reoriented urban space to the experience of the highway and presupposed the car as a primary means of perception in the contemporary city. Pervasive in their writing on postwar architecture is their acknowledgment that Pop artists shared their interest in vernacular landscapes. Particular artists, while matching Venturi and Scott Brown's attention to an aesthetics of the everyday, also directed the architects' conception of contemporary architectural symbolism and specifically influenced their representational strategies in several projects.Subjects--Topical Terms:

523581
Architecture.

Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown).
LDR:03281nam 2200301 a 45 001 927501
005 20110425
008 110425s2003 eng d
035 $a (UnM)AAI3089339
035 $a AAI3089339
040 $a UnM $c UnM
100 1 $a Smith, Katherine Anne. $3 1251061
245 1 0 $a Sign language: Pop Art, vernacular architecture, and the American landscape (Robert Venturi, Denise Scott Brown).
300 $a 516 p.
500 $a Advisers: Jean-Louis Cohen; Robert Lubar.
500 $a Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1441.
502 $a Thesis (Ph.D.)--New York University, 2003.
520 $a This dissertation investigates the work of architects Robert Venturi and Denise Scott Brown and the dialogue they establish between architecture and art. From their early examinations of American commercial environments, most notably their studies of Las Vegas in the late 1960s, the architects have understood the changing methods of representation and the significant shifts in scale, which reoriented urban space to the experience of the highway and presupposed the car as a primary means of perception in the contemporary city. Pervasive in their writing on postwar architecture is their acknowledgment that Pop artists shared their interest in vernacular landscapes. Particular artists, while matching Venturi and Scott Brown's attention to an aesthetics of the everyday, also directed the architects' conception of contemporary architectural symbolism and specifically influenced their representational strategies in several projects.
520 $a Venturi and Scott Brown's exhibition <italic>Signs of Life: Symbols in the American City</italic> organized in 1976 at the Renwick Gallery, Smithsonian Institution presented America's vernacular landscape, bringing together lessons from courses they had taught on Las Vegas and Levittown. In these studios and in the exhibition proposals, the architects specifically engaged with Pop artists whose work informed the visual format of their curatorial efforts and shaped the objectives of later architectural projects. Through a comprehensive analysis of Edward Ruscha's and Claes Oldenburg's investigations of, and incursions into, the urban context, my study examines the ways that their art, as well as that of others associated with the Pop style such as Edward Kieholz and Andy Warhol, paralleled, and even anticipated, Venturi and Scott Brown's conceptualization of city spaces. Looking at several built projects, such as the Allen Memorial Art Museum, the Basco Building, and the Best Products Showroom, this dissertation considers Ruscha's representations of urban strips, Oldenburg's large-scale sculptures and monuments, as well as his and Coosje van Bruggen's architectural designs executed in collaboration with Philip Johnson and Frank Gehry, all of which exist in dialogue with Venturi and Scott Brown's theorization of urban vernacular architecture.
590 $a School code: 0146.
650 4 $a Architecture. $3 523581
650 4 $a Art History. $3 635474
650 4 $a Fine Arts. $3 891065
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690 $a 0377
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710 2 0 $a New York University. $3 515735
773 0 $t Dissertation Abstracts International $g 64-05A.
790 $a 0146
790 1 0 $a Cohen, Jean-Louis, $e advisor
790 1 0 $a Lubar, Robert, $e advisor
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3089339