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Review: Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film , by Martino Stierli

2015; University of California Press; Volume: 74; Issue: 2 Linguagem: Inglês

10.1525/jsah.2015.74.2.258

2150-5926

Glenn Forley,

Photography and Visual Culture

Book Review| June 01 2015 Review: Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film, by Martino Stierli Martino StierliLas Vegas in the Rearview Mirror: The City in Theory, Photography, and FilmTrans. Elizabeth Tucker; Los Angeles: Getty Research Institute, 2013, 352 pp., 136 color and 88 b/w illus. $50, ISBN 9781606061374 Glenn Forley Glenn Forley 1Parsons The New School for Design Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2015) 74 (2): 258–260. https://doi.org/10.1525/jsah.2015.74.2.258 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Glenn Forley; Review: Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film, by Martino Stierli. Journal of the Society of Architectural Historians 1 June 2015; 74 (2): 258–260. doi: https://doi.org/10.1525/jsah.2015.74.2.258 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Shortly after the publication of the first edition of Learning from Las Vegas in 1972, Robert Venturi commented, “I don’t know why, but we irritate architects very much.”1 As Martino Stierli’s Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film demonstrates, that irritation was prompted by a deep-rooted strategy of provocation. Stierli’s book locates Learning from Las Vegas within its intellectual antecedents, a set of theoretical positions and methodological propositions centered on the relations among urban form, modes of perception, automobility, and popular culture. As a contextual study, it posits that Learning from Las Vegas was more closely aligned with modernity than its critics allowed. Scholarship on the relation between theory and practice in the work of Venturi and Denise Scott Brown is plentiful.2 Stierli’s focus is on Learning from Las Vegas as a work of urban theory in its own right. Because of... You do not currently have access to this content.