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At the height of his career as the leader of the Hudson River School of American landscape painting, Thomas Cole listed himself in the New York City Directory as an architect. Why would this renowned painter, who had never before designed a building, advertise himself as such? The importance of Cole’s paintings and the significance of his essays, poems, and philosophy are well established, yet an analysis of his architectural endeavors and their impact on his painting has not been undertaken—until now. In celebration of the recreation of the artist’s self-designed Italianate studio at Cedar Grove in Catskill, New York, now the Thomas Cole National Historic Site, this book focuses on Cole’s architectural interests through architectural elements found in his paintings and drawings as well as in his realized and visionary projects, expanding our understanding of the breadth of his talents and interests. An essay by noted art historian Annette Blaugrund and a contribution by Franklin Kelly, illustrated with Cole’s famous works, sketches, and architectural renderings, reveal an unexplored, yet fascinating, aspect of the career of this beloved artist—and thus, a crucial moment in the development of the Hudson River School and American art. Published to coincide with the exhibition “Thomas Cole: The Artist as Architect” at the Thomas Cole National Historic Site and travelling to the Columbus Art Museum, the book adds a new dimension to scholarship on the artist.
Winner of the AIGA'S International Competition for Notable Graphic Design. “It’s both an architecture and movie fan’s dream.” - Los Angeles Times "Strikingly designed." - Publishers Weekly “Explores the cinematic tradition of antiheroes with architecturally significant private spaces." - Architectural Digest “A fascinating gift for that highbrow nerd in your life.” - Syfy Wire Why do bad guys live in good houses? From Atlantis in The Spy Who Loved Me to Nathan Bateman's ultra-modern abode in Ex Machina, big-screen villains often live in architectural splendor. From a design standpoint, the villain’s lair, as popularized in many of our favorite movies, is a stunning, sophisticated, envy-inducing expression of the warped drives and desires of its occupant. Lair: Radical Homes and Hideouts of Movie Villains, celebrates and considers several iconic villains’ lairs from recent film history. From futuristic fantasies to deathtrap-laden hives, from dwellings in space to those under the sea, pop culture and architecture join forces in these outlandish, primarily modern homes and in Lair, which features buildings from fifteen films, including: Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb Star Wars The Incredibles Blade Runner 2049 You Only Live Twice The Ghost Writer Body Double North by Northwest Edited by acclaimed architect Chad Oppenheim with Andrea Gollin, Lair includes interviews with production designers and other industry professionals such as Ralph Eggleston, Richard Donner, Roger Christian, David Scheunemann, Gregg Henry, and Mark Digby. Contributors include director Michael Mann, cultural critic Christopher Frayling, museum director Joseph Rosa, and architect Amy Murphy. Architectural illustrations and renderings by Carlos Fueyo provide multiple in-depth views of these spaces.
Drawings, floor plans, elevations, specifications, and vintage cost estimates depict 20 distinctive Victorian structures, from cottages to mansions. Includes more than 580 black-and-white illustrations, reproduced from a rare 1869 catalog.
Featuring paintings by American icons like Winslow Homer and Thomas Eakins, this book illustrates the ways American artists have viewed themselves, their peers, and their painted worlds over 200 years.
Showing how the upswell of paranoia and growing demand for security in the post-9/11 world has paradoxically created widespread insecurity, these varied essays examine how this anxiety-laden mindset erodes spaces both architectural and personal, encroaching on all aspects of everyday life. Starting from the most literal level—barricades and barriers in front of buildings, beefed up border patrols, gated communities, "safe rooms,"—to more abstract levels—enhanced surveillance at public spaces such as airports, increasing worries about contagion, the psychological predilection for fortified space—the contributors cover the full gamut of securitized public life that is defining the zeitgeist of twenty-first century America