In Georges Perec’s chapter, “The Street” from his book, “Species of spaces and other pieces” (1974), the writer demonstrates a new way of seeing the street to demonstrate how we become desensitised to the structures and spaces around us. Perec encourages the reader to focus on the mundane and minor details of the environment we see every day. In the chapter, “A Significance for A&P Parking Lots or Learning from Las Vegas” from the book, “Learning from Las Vegas”, by Robert Venturi and Denise Scott Brown (1972), the writers discuss the architecture of the Las Vegas strip, analysing the prevalence of bold signage and large parking lots, discussing its importance as a representation of true American culture. In this written response, I will discuss how both texts explore the street as place of visual communication and the importance of the “ordinary” or “low brow”.
The focus on observation of the environment on the street is present in both texts to illustrate different points. For example, in “Species of spaces”, Perec outlines a method for true observation, encouraging the viewer to “set about it more slowly, almost stupidly. Force yourself to write down what is of no interest” (1974, pp. 50) Perec is urging the reader to observe as if the reader hasn’t truly seen before, taking in all minor details. Similarly, Venturi and Brown begin their text, stating “Learning from the existing landscape is a way of being revolutionary for an architect…that is to question how we look at things.” (1972, pp. 3). Both share a method of looking, setting an intention to see without judgement. For Perec, this is to immerse himself into the outside world to a point of unfamiliarity; “Carry on Until the scene becomes improbable… until you can no longer understand what is happening” (1974, pp. 53), disconnecting from preconceived ideas of his own environment. Alternatively, Venturi and Brown use this method to argue for their appreciation of the Strip, describing Vegas’ landscape as “an architecture of bold communication rather than one of subtle expression” (1972, pp. 9), something they feel the preceding Modernist architecture movement does not tolerate, describing it as “anything but permissive” (1972, pp.3).
Perec’s meditation and attempt to be present in his daily environment on the street supports the methods and themes explored in Learning from Las Vegas. The “practical exercises” (1974, pp. 50) he outlines lend themselves to highlighting the everyday aspects of the street. He begins, “Observe the street, from time to time, with some concern for system perhaps.” (1974, pp. 50). Similarly, Venturi and Brown emphasise the importance of observation “We look backward at history and tradition to go forward… with-holding judgment may be used as a tool to make later judgment more sensitive. This is a way of learning from everything.” (1972, pp.3). Perec is describing visually observing, while Venturi and Brown are also looking figuratively to understand better their reality in present day and as a critical tool.
In conclusion, I believe Perec and Venturi and Brown use observation as a tool to critically examine their reality. For Perec, this is to situate better understand his position in his environment. For Venturi and Brown, this functions to illustrate their argument for Vegas as a representation of American culture.
Perec, G. (1974) Species of spaces and other pieces. 1997. Penguin Books Ltd.
Venturi R. and Brown, D. (1972) Learning from Las Vegas. Routledge.
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