Denise Scott Brown demands Pritzker recognition
(Photo by Frank Hanswijk)
Architect Denise Scott Brown has asked to be retrospectively acknowledged for her role in her husband Robert Venturi’s 1991 Pritzker Prize.
Speaking in a pre-recorded address at an Architect’s Journal Women in Architecture Awards lunch in London last week, where she was an honorary guest, Scott Brown said her exclusion from the prize was “very sad”.
“They owe me not a Pritzker Prize but a Pritzker inclusion ceremony. Let’s salute the notion of joint creativity,” she said. (Dezeen)
You can sign a petition to demand the Pritzker Architecture Prize Committee to recognize Denise Scott Brown for her work in Robert Venturi’s 1991 Prize.
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Pattern from the “Queen Anne” table designed by Robert Venturi for Knoll in 1984.
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Domesticities | Lieb House, Saved
(Lieb House, designed by Venturi & Rauch and completed in 1969, has a new life as a guest house in Glen Cove, N.Y. Photo by
For such a little building, the Lieb House has a notorious history. Designed by the Philadelphia architecture firm of Venturi & Rauch (now Venturi, Scott Brown and Associates) for Nathaniel and Judith Lieb and completed in 1969 in Barnegat Light, N.J., the house — a two-toned, asbestos-shingled box with a giant, Pop Art-influenced number 9 on the front and a huge crescent window on one side — caused outrage even in a neighborhood where clotheslines and telephone poles were essential parts of the landscape. (New York Times)
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DENISE SCOTT BROWN AND ROBERT VENTURI
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The Lessons of Las Vegas Still Hold Surprises
Nicolai Ourisoff reviews the show “What We Learned: The Yale Las Vegas Studio and the Work of Venturi, Scott Brown & Associates,” on view at the Yale School of Architecture Gallery through Feb. 5.
“Mr. Venturi and Ms. Scott Brown (…) were on a search for a way out of the dead end of postwar Modernism, whose early hopes had by then deteriorated into a dreary functionalism. The book they produced four years later, “Learning From Las Vegas,” was one of the last of the big architectural manifestos and a heartfelt embrace of American popular culture that would be hard to imagine anyone attempting today.” (New York Times)
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