Learning from Las Vegas de Robert Venturi, Denise Scott Brown and Steven Izenour - 1972

Cambridge, MA: The MIT Press, 1972. Pictorial cloth. Near Fine/Very Good -. The 1972 1st edition, in its printed glassine dustjacket. Tight and Near Fine in a perfectly serviceable, VG- example of the fragile dustjacket, with a 3" chip at the front panel's upper tip and light loss --with small closed tears and minor creasing-- along the panel edges. Still though, quite presentable. Folio, a remarkable, exhaustive examination of the architecture of The Strip.

Cambridge, Massachusetts, and London, England: The MIT Press, 1972. First Edition. Hardcover. Near fine/Very good. First edition, first printing with the errata slip laid in. Inscribed by Robert Venturi, Denise Scott Brown, and Steven Izenour on the front flyleaf, alongside two post-it notes inscribed by Venturi. Folio: xvi, [2], 189 p. with numerous photographs, architectural plans, etc. Original gray cloth binding, lettered in gilt, with a color photograph mounted on the front panel. In the original printed glassine dust jacket, which is a bit edgeworn with a few unobtrusive tape mends. Learning from Las Vegas caused a stir in the architectural world upon its publication, as it was hailed by progressive critics for its bold indictment of Modernism, and by the status quo as blasphemous. A split among young American architects occurred during the 1970s, with Izenour, Venturi, Robert A.M. Stern, Charles Moore, and Allan Greenberg defending the book as "The Greys", and Richard Meier, Peter Eisenman,… Leer más

The MIT Press, 1972. First edition. Small folio, green cloth with inset label. Fine copy, dust jacket lacks small chips on the spine costing two letters (the first "L" and "M"), and with some little edge wear. Errata sheet present.

Cambridge, MA: The MIT Press, 1972. Pictorial cloth. Near Fine/Very Good. WARMLY INSCRIBED BY ROBERT VENTURI (AND SIGNING ALSO FOR HIS PARTNER DENISE BROWN) on the front free endpaper. A solid, well-preserved copy to boot of the 1972 1st edition of this seminal manifesto in urban planning. Clean and Near Fine in a crisp, price-intact, VG example of the notoriously fragile, printed glassine dustjacket. The jacket is at least 95% complete but does show just a bit of inevitable chipping -- in this case at the lower-tips, the foot of the spine and along the top-edges and the spine crown. Still though, solidly VG to VG+, very presentable and a significantly above-average example. Folio, a remarkable, exhaustive examination of the architecture of The Strip. Uncommon as such, the 1st edition inscribed by its principal author (and architect) and in such sharp condition.

Cambridge: MIT Press, 1972. First Edition. An exceptional copy of an exceptional book, probably the most important architectural publication of the last fifty years, often described as the manifesto of architectural post-modernism. A fine copy in the printed tissue dust jacket, showing only slight wear; in a custom clamshell box. The book’s design was widely praised at that time, as well as since. If not for the seismic influence of the work itself (although not universally accepted, given controversy and disagreement over its observations, conclusions, and view), it would be celebrated for this alone.

Cambridge: MIT Press, (1972), 1972. First edition. Folio (14 x 10.5 inches); pp. xviii, 189; illustrated from photographs, drawings, plans. A very good copy or better in original gilt-stamped charcoal cloth with color illustration affixed to front cover, in a chipped and worn dust jacket. An important architectural and city planning study. Architecture city town planning.

Cambridge: The MIT Press, 1968. Fine in a near fine jacket with a few edge nicks and a subtle vertical crease to the front flap. A remarkable preservation of a jacket that is usually missing or significantly perished: one of the best copies I have seen. Housed in a custom clamshell box.. First Edition. Folio. Errata slip laid in. In 1968, Robert Venturi, Denise Scott Brown and Steven Izenour taught a third year studio graduate class at Yale that would have great implications on the study of architecture in the postmodern era. The class was called Learning from Las Vegas, or Form Analysis as Design Research. There were 13 students in total. In the end, their work would comprise the basis for the landmark architectural work Learning from Las Vegas, authored by Venturi, Brown, and Izenour, but compiled, researched and photographed by the students themselves. The seminal architectural text of its era, right there with Ruscha in terms of prescience and influence.