As so often with Unknown, influential – for example, because your world of thought has influenced several generations of students and teachers, and more. This is especially true for today’s eighty-seven year old American town planner, sociologist and architecture theorist Denise Scott Brown, previously better known as the wife and partner of Robert Venturi, who died in the autumn of this year at the age of ninety-three years.
Hannes Meier background
editor in the features section, responsible for New non-fiction books.
F. A. Z.
in 1991 he received the Pritzker prize, the most prestigious architecture award, what was on the one hand, on the other hand, unjust, because they had not honored its symbiotically with him-working wife. Venturi reacted to the announcement that he was to receive the award, with the question: “what about Denise?” Nothing was with Denise, and it remained in reset, even than five years ago to 20,000 signatories demanded that Scott Brown subsequently comply with.
Radical access and a sense of Humor
Today, the child has a name and is called a “joint creativity”, and that is why it is divide is not easy, apart, wherein in each case exactly the creative contribution of Scott Brown or Venturi; the question is idle, because the bulk of the planning was developed in a community process. Of course: Venturi, descendant of Italian immigrants, and a classic in Rome, trained, had created in 1966, with the treatise “complexity and contradiction in architecture” for attention. The Zambia-born, Johannesburg-and London-trained, early widowed, Denise Scott Brown came right with your radical access and your sense of Humor as a Supplement.
she taught after graduation at the University of Pennsylvania, where she met her second husband, Robert Venturi, the 1967 raised a office. The southwest of the United States attracted it; with a camera and a notebook you decrypted in the desert of Nevada, the casino city of Las Vegas. Lured by this context-free temporary and non-market cry, very direct communication, she fell in love with this city that evokes many of the rather opposite feelings. Scott Brown wanted to learn from the Junk. Their findings pooled in “Learning from Las Vegas” (1972), written with Robert Venturi and Steven Izenour, a classic of architectural theory, often translated, an eye-opener, of the new functionalism of the light in the Scriptures, billboards and Drive-ins pries: that’s the city in the American variant.
Both architects, will be located as a pioneer of post-modernism, both of which negated this label always out of hand – they felt the early Modern required. In case of doubt, your buildings are a mitten and closer as a finished glove, because the Former could be made in terms of a hybrid architecture, later still something else. It is calculated according to the realized projects, is the yield of the buildings, which are known to the wider Public, rather skinny. To call, among other things, the Sainsbury wing of the National Gallery in London, the Mielparque Nikko Kirifuri Hotel in Japan, and the regional Parliament in Toulouse.
In the architecture centre Vienna, the world’s first solo exhibition, to Denise Scott Brown shows, was chosen for a kind of Piazza, in the middle of a white papier-mâché fountain with the inscription “I am a monument”, all in capital letters. Around the hall is lined with display Windows in real buildings that exist in Vienna. The window panes are taped with photos, quote snippets, Videos, sketches, plans. And, although almost entirely in English, the catalogue is only monolingual. There are many quotes on the walls and in the catalogue are the results of a collective zeal that has something tiresome Casual. What you take home from this Look, the you have refined yourself. The didactic Ambition is limited to the gesture: Here, an icon is paying homage to, it’s mandatory!
The game with the quote, the insouciance, the properties of Denise Scott Brown, who graced the young Generation of architecture students, says Katharina Ritter, who has curated with the Director of the architecture centre, Angelika Fitz, and the long-time assistant Scott brown, Jeremy Eric Tenenbaum, the Look. On the question of what the connection to Vienna was to refer the curator to a discomfort, the befiele many Viennese, in view of their non-functioning places.