The city’s frenetic neon signs, blazing like beacons along the highway, both captivated and overwhelmed her. It was a cascade of interaction divorced from traditional architecture, and she found herself wondering if architects could learn something from this unique urban vernacular.
Half a century later, Scott Brown returns to las Vegas, this time accompanied by her husband, Robert venturi. Together, they redefined modern architecture, championing popular taste and everyday aesthetics – the “ugly ordinary” – over the austere, minimalist trends of modernism. They reintroduced wit, color, and meaning into architectural design, embracing diversity and defying the bland homogeneity of the built habitat. Las Vegas, with its theatrical neon spectacle, had become a wellspring of inspiration, a muse meticulously chronicled in their seminal 1972 book, Learning from Las Vegas.
Venturi, standing amidst a graveyard of rusting neon signs in a dusty lot, poetically declares the site “the equivalent of Michelangelo’s Piazza del Campidoglio in Rome” – a veritable “holy relic of vulgar commercial America.” A mischievous glimmer in their eyes, the pair shares a laughter that echoes their enduring love for the city and its architectural eccentricities.
Their son, Jim Venturi, captures these intimate moments in Stardust, a poignant documentary offering a rare glimpse into the lives and work of this influential duo. The film, premiering at the Barbican next week, showcases not only the iconic architects but also features interviews with leading architectural voices, many of whom tragically passed away before its completion, making Stardust a captivating time capsule of architectural discourse. Scott Brown,at 93,remains as sharp and tenacious as ever,her spirit undeterred by time.
Stardust joins a growing niche genre of architect-centric films spearheaded by their children. The demanding profession seems to spark both filial admiration and a morbid curiosity, prompting these cinematic explorations. Each film appears to ask: “Why did my parents devote themselves to this?” Stardust, following on from My Architect, Nathaniel Kahn’s Oscar-nominated 2003 film about his father, Louis Kahn, and Rem, the 2016 hagiographic portrait of starchitect Rem Koolhaas directed by his son Tomas, avoids the schmaltz of the former and the introspective nature of the latter. Jim Venturi chooses to remain behind the camera, allowing his parents and their colleagues to tell their own story. Guided by co-director Anita Naughton’s skillful editing and insightful writng, the film seamlessly weaves together archival footage, intimate moments, and expert commentary, painting a multifaceted portrait of this complex and contradictory duo. A loving tribute, Stardust doesn’t shy away from revealing the complexities and tensions that often accompanied their groundbreaking work.
The London premiere of Stardust coincides with a brewing controversy surrounding the only UK project by the architects,the grade I-listed Sainsbury Wing of the National Gallery. The film doesn’t delve into the current transformation of Venturi and Scott Brown’s masterpiece by another US firm, Selldorf Architects, but it does shed light on the initial design process – a process marked by fractiousness and the Venturi - Scott Brown’s sometimes domineering presence.
The documentary reveals that the Sainsbury Wing, while revered today, was not without its struggles during its inception.Colin Amery, a late architectural historian who advised on the project, diplomatically describes navigating the volatile genius of Venturi, who famously walked away from the project at one point over a disagreement about a window. Amery remembers Venturi declaring, “They don’t seem to realize they’re dealing with a genius!” Then, in a move that underscores his irreverent wit, Venturi added, “They wouldn’t do this to Shakespeare!”
While the Venturis were ardent advocates for the visual appeal of signs, viewing them as powerful elements in the urban landscape, they were not so thrilled when signage interfered with their own buildings. A poignant scene shows the aging couple revisiting the Sainsbury Wing in London, only to find a row of advertising banners obscuring the facade. “Awful!” Venturi exclaims, his face a portrait of dismay. “It’s one of the great facades of the 20th century, and they’re putting that in front of it? It’s like putting a billboard in front of Falling Water!”
Interestingly, for a film about two architects, Stardust focuses more on the impact of their ideas than on showcasing their visually rich structures. Aside from the Sainsbury Wing and Venturi’s mother’s home, their other buildings appear briefly in still images – postcard glimpses that hint at their focus on facades and two dimensions.
the film also sheds light on the contentious relationship between Venturi and Scott Brown, especially regarding recognition for their collaborative work. Scott Brown passionately argues that while Venturi received accolades and solo recognition, including the prestigious Pritzker Prize in 1991, her contributions were often overlooked. Stardust adeptly restores a sense of balance, highlighting she was instrumental in shaping the very ideas and aesthetics that catapulted Venturi to fame. As Scott Brown put it: “Maybe there’s a shortsightedness in stardom: you can’t see enough because you’re blinded by the light that you’re generating.”
What are the key themes explored in “learning from Las Vegas”?
Interview: Exploring the Legacy of “Learning from Las Vegas”
Time.news Editor: Welcome to our special segment, where we delve into the captivating world of architecture and its cultural impact. Today, we are honored to have Scott Brown, a pioneering architect and co-author of the influential book Learning from Las Vegas, alongside her son, Jim Venturi, who has documented their journey in the new film Stardust. Welcome, Scott and Jim!
Scott Brown: Thank you! It’s great to be here.
Jim Venturi: Yes, thanks for having us!
Time.news Editor: Scott, your journey with Las Vegas started over fifty years ago. What was it about the city that captivated you and Robert Venturi?
Scott Brown: Las Vegas was unlike any other American city. The neon signs, the chaos, the interaction—it was a living canvas of american life. At that time, architecture was leaning heavily towards minimalism, which felt sterile and disconnected from what people actually experienced. In Las Vegas, I found a language of design that spoke to the vibrancy and complexity of everyday experiences. It was a revelation.
Time.news Editor: It’s fascinating how you and robert turned what some might consider “the ugly ordinary” into a source of inspiration. Jim, what drove you to create Stardust and how do you feel it contributes to this legacy?
jim Venturi: I wanted to capture not just my parents’ work but their playful spirit and their love for the unconventional. The film serves as both a tribute and a reflection on their beliefs about architecture—that it should embrace diversity and meaning rather than conform to a singular aesthetic.It was also poignant to include interviews with voices from the architectural community, many of whom we lost before the film’s completion.
Time.news Editor: Scott, in Learning from Las Vegas, you famously highlighted the city’s neon spectacle. Can you share how your outlook has evolved as that original publication?
Scott Brown: Over the years, my appreciation for las Vegas has deepened. The city is this amazing repository of commercial culture,and it challenges customary ideas of beauty and function. Going back and witnessing the “graveyard” of neon signs was emotional; it’s a reminder of how architecture isn’t just structures but a reflection of society. Even in dilapidation, ther’s beauty, history, and a story waiting to be told.
Time.news Editor: Jim, in the making of Stardust, what were some unexpected challenges you faced, and how did they shape the final product?
Jim Venturi: One major challenge was the loss of key architectural figures who we interviewed. Their passing brought a sense of urgency to the project. We were compelled to honor their voices and ideas, essentially creating a time capsule of architectural discourse that we hope prompts reflection on where we’ve been and where we’re going as a community.
Time.news Editor: scott, at 93, you are still actively involved in discussions about architecture. What do you think modern architects can learn from the “theatrical spectacle” of las Vegas?
Scott Brown: The most important lesson is to embrace complexity and to find joy in diversity. good architecture reflects the culture and spirit of its time. Instead of fearing or ignoring the “vulgar” aspects of our built environment, I believe we should celebrate them. Las Vegas teaches us that architecture can be meaningful, approachable, and, yes, even a little irreverent.
Time.news Editor: Such enlightening insights! As we wrap up, what message do you hope audiences take away from Stardust?
Jim Venturi: I hope it inspires viewers to see architecture not just as buildings, but as a dialog with society.It’s about connection, storytelling, and community.
Scott brown: And I hope it encourages younger generations of architects to look beyond traditional confines and to learn from the world around them, even if that world is a little chaotic like Las Vegas.
Time.news Editor: Thank you both for sharing your perspectives with us today. It’s been a pleasure exploring the legacy of your work and the significance of Las Vegas in architectural history!
Scott Brown: thank you for having us!
Jim Venturi: Yes, thanks! We appreciate the opportunity to discuss these important ideas.