UGLY AND ORDINARY ARCHITECTURE
Messages, connotation as practiced by Modern architects is scarcely important. The Shape of façade, in fact, disguises the silhouette of nave and aisles behind, and the doors and the rose windows are the barest reflection of the architectural complex inside.
SYMBOLIG EVOLUTION IN LAS VEGAS
Just as architectural evolution of a typical Gothic cathedral may be traced over the decades through stylistic and symbolic changes, a similar evolution-rare in contemporary architecture-may also be followed in the commercial architecture of Las Vegas. However, in Las Vegas, this evolution is compressed into years rather than decades reflecting the quicker tempo of our times, if not the less eternal message of commercial rather than religious propaganda. Evolution in Las Vegas is consistently toward more and bigger symbolism. The golden Nugget casino on Fremont street was an orthodox decorated shed with big sign in the 1950s-essentially Main street commercial, ugly and ordinary (Fig. 89). However by the 1960s was all sign ; there was hardly any building visible (Fig. 90). The quality of the “electrographic” was made more strident to match the crasser scale and more distracting context of the new decade and to keep up with the competition next door. The freestanding signs on the strip, like the tower at San Gimigano, get bigger as well. They grow either through sequential replacement, as at the Flamingo, the Desert Inn, and the Tropicana or through enlargement as with the Ceasars place sign, where a freestanding, pedimented temple faced was extended laterally by one column with a statue on top- a feat never attemted, a problem never solved in the whole evolution of Classical architecture (Fig. 91)
THE RENAISSANCE AND THE DECORATED SHED
The iconography of renaissance architectur is less overtly propagandistic than is that of medieval or Strip architecture, although its ornament literally on base on the Roman, Classical vocabulary was to be and instrument for the rebirth of classical civilization. However, since most of this ornament depicts structure-it is ornament symbolic of structure-it is less independent of the shed it is attached to than ornament on medieval and strip Strip architecture (Fig.92). The image of the structure and space reinforces rather than contradicts the substance of the structure and space. Pilaster represent modular sinews on the surface of the wall; quoins represent reinforcement at the ends of the wall ; vertical moldings protection at the edges of the wall ; rustication, support at the bottom of the wall ; drip cornices, protection from rain on the wall ; horizontal moldings, the progressive stage in the depth of the wall; and a combination of many of these ornament at the edge of a
สถาปัตยกรรมปกติ และน่าเกลียดข้อความ นัยเป็นสถาปนิกสมัยใหม่เป็นสิ่งสำคัญแทบ รูปร่างของกระจก จริง disguises รูปเงาดำของบูชาและเก็บด้านหลัง และประตูและหน้าต่างกุหลาบจะสะท้อน barest สถาปัตยกรรมภายในซับซ้อนSYMBOLIG วิวัฒนาการในลาสเวกัส Just as architectural evolution of a typical Gothic cathedral may be traced over the decades through stylistic and symbolic changes, a similar evolution-rare in contemporary architecture-may also be followed in the commercial architecture of Las Vegas. However, in Las Vegas, this evolution is compressed into years rather than decades reflecting the quicker tempo of our times, if not the less eternal message of commercial rather than religious propaganda. Evolution in Las Vegas is consistently toward more and bigger symbolism. The golden Nugget casino on Fremont street was an orthodox decorated shed with big sign in the 1950s-essentially Main street commercial, ugly and ordinary (Fig. 89). However by the 1960s was all sign ; there was hardly any building visible (Fig. 90). The quality of the “electrographic” was made more strident to match the crasser scale and more distracting context of the new decade and to keep up with the competition next door. The freestanding signs on the strip, like the tower at San Gimigano, get bigger as well. They grow either through sequential replacement, as at the Flamingo, the Desert Inn, and the Tropicana or through enlargement as with the Ceasars place sign, where a freestanding, pedimented temple faced was extended laterally by one column with a statue on top- a feat never attemted, a problem never solved in the whole evolution of Classical architecture (Fig. 91)THE RENAISSANCE AND THE DECORATED SHED The iconography of renaissance architectur is less overtly propagandistic than is that of medieval or Strip architecture, although its ornament literally on base on the Roman, Classical vocabulary was to be and instrument for the rebirth of classical civilization. However, since most of this ornament depicts structure-it is ornament symbolic of structure-it is less independent of the shed it is attached to than ornament on medieval and strip Strip architecture (Fig.92). The image of the structure and space reinforces rather than contradicts the substance of the structure and space. Pilaster represent modular sinews on the surface of the wall; quoins represent reinforcement at the ends of the wall ; vertical moldings protection at the edges of the wall ; rustication, support at the bottom of the wall ; drip cornices, protection from rain on the wall ; horizontal moldings, the progressive stage in the depth of the wall; and a combination of many of these ornament at the edge of a
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