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She begins with an intriguing tour through the history of the mirror, from its origins in prehistory right up to the present. With the help of 200 spectacular photographs, she demonstrates the many remarkable ways in which mirror has been used over the past three centuries to transform spaces of every size and shape. Using dozens of examples, ranging from the Palace at Versailles to a modern shoe store in New York City, she describes techniques developed by architects and designers to alter perspectives and change the way people respond to both private and public spaces. Ms. Heyne explores the use of mirror in a variety of settings - from bedrooms, living rooms, exercise rooms, and nurseries, to restaurants, lobbies, clothing stores, and hospitals. She offers valuable technical advice on the uses and misuses of mirror in a wide variety of settings and summarizes what is known about the psychological impact of mirror in each setting.
Essays charting the diverse works of renowned conceptual artist Dan Graham.
The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.
Twenty-six visual projects and essays explore the role architecture plays in the construction of both heterosexual and homosexual male identity. While examining such environments as the bachelor apartment, the gym, and the men's restroom, contributors provide arguments about the structure of identity, the gendering of space, and the fabrication of masculine identities at specific sites and at precise moments in history. No index. Annotation copyright by Book News, Inc., Portland, OR
Containing original essays; historical narratives, biographical memoirs, sketches of society, topographical descriptions, novels and tales, anecdotes, select extracts from new and expensive works, the spirit of the public journals, discoveries in the arts and sciences, useful domestic hints, etc. etc. etc.
Describes 250 architectural treasures of the 20th century, gives notes on their history and design, and provides practical information for visiting them, with addresses, phone numbers, visitor hours, and maps. Each entry includes a bandw photo. LeBlanc is a writer and editor who specializes in architecture and landscape design. Annotation copyrighted by Book News Inc., Portland, OR
The first book to focus on the solo residential work of the visionary interior decorator Stephen Sills. Simultaneously classical and modern, Stephen Sills’s design work is a dialogue between past and present. Filled with luxurious fabrics, furnishings from across centuries, and unusual finishes, his work is polished, seemingly effortless, and quietly rich, with a muted color palette that serves as a brilliant foil for modern art. In this striking, meditative volume, the follow-up to his best-selling book Dwellings, Sills presents sixteen breathtaking homes, gorgeously photographed by the legendary François Halard, in locations as varied as a penthouse on Manhattan’s Fifth Avenue, a modern Aspen retreat, an estate on the North Shore of Long Island, and his own country house in Bedford, New York (dubbed the "chicest house in America" by Karl Lagerfeld). Common to them all is a sense of atmosphere, point of view, and soul—the sense of a master craftsman at work.
What does a collective process in architecture entail and how does it influence the planning of our built environment? Although the hierarchically organized office with its claim to individual authorship is still the dominant form of architecture firm, more and more horizontally organized collectives with alternative approaches to architectural planning are emerging. In this insightful survey of renowned European collectives, Natalie Donat-Cattin offers an overview of their working methods, organizational forms, goals, and projects. The book includes statements and projects by: A-A Collective, (ab)Normal, Assemble, baukuh, CNCRT, Colectivo Warehouse, Collectif Etc, constructLab, false mirror office, Fosbury Architecture, la-clique, Lacol, n'UNDO, orizzontale, raumlabor, X=(T=E=N), and Zuloark.
Foreword by Arthur Drexler. Introduction by Vincent Scully.