Mark Wigley White Walls, Designer Dresses; the Fashioning of Modern Architecture Summary
White Walls, Designer Dresses: The Fashioning Of Modern Compages
White Walls, Designer Dresses: The Fashioning Of Modernistic Architecture
- Used
- Condition
- VG-. covers scuffed & marked; edge toned. java-like spotting to textblock edges. pgs edge-toned; clean.
- ISBN 10
- 0262731452
- ISBN 13
- 9780262731454
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Cambridge, MA: The MIT Press, 1995. Softcover. VG-. covers scuffed & marked; edge toned. coffee-like spotting to textblock edges. pgs edge-toned; clean.. square, white wraps due west/ pocket-sized encompass illustration & black press. 423 pgs w/ bw illustrations. In a daring reconsideration of modern architecture, Marker Wigley opens up a new agreement of the historical avant-garde. He explores the nigh obvious but to the lowest degree discussed feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a class of clothing - the newly able-bodied trunk of the building, Similar that of its occupants, wears a new kind of garment. Non but did almost all modern architects literally pattern dresses, Wigley points out, only their arguments for a mod architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress blueprint. Wigley follows the trajectory of this fundamental subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern compages's. Human relationship with the psychosexual economy of way much more than ambiguous than the architects' repeated rejections of fashion would suggest. By drawing on arguments about the human relationship between wear and architecture get-go formulated in the center of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture past transforming the status of the surface. White Walls, Designer Dresses shows how this. Seemingly incidental clothing logic actually organizes the detailed design of the modernistic building, dictating a organisation of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the event of a historiographical tradition that has worked hard to suppress the colour of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies. Discussions of wearable and color, recovering those sensuously colored surfaces and the extraordinary arguments virtually clothing that were used to defend them.--FirstSearch.
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