Abstract
Architectural historian P. Reyner Banham (1922–88) is widely known for his numerous writings on the modern built environment, including the book Los Angeles: The Architecture of Four Ecologies (1971). In the BBC television film Reyner Banham Loves Los Angeles (Julian Cooper, 1972), he concretized his earlier insights about the importance of mobility in the Southern California metropolis by employing the proclivity of the cinematic medium to represent movement. While traditional notions of the urban icon commonly understand it as a static monument or landmark, in these two works Banham challenges the suitability of this view to a city as inflected by automobility as Los Angeles and proposes the motorway and the experience of driving as its most characteristic iconic forms.
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