Konstfacks bibliotek

*00000969nam a22003377a 4500
*00126854
*007|||||||||||||||||||||||
*008110824s1995    xxu    |      001 0 eng c
*020  $a0-262-23185-9
*020  $a0-262-23185-9
*020  $a0-262-73145-2 (pbk.)
*020  $a0-262-73145-2
*035  $a(Ko)30949
*040  $dQ
*084  $aIc.5
*084  $aIc:d
*1001 $aWigley, Mark
*24510$aWhite walls, designer dresses :$bthe fashioning of modern architecture  /$cMark Wigley
*260  $aCambridge, Mass. ;$a1995 :$bMIT Press ,$ccop. 1995
*300  $axxvi, 424 s.  :$bill.
*650 4$aWhite in architecture
*650 4$aArchitecture, Modern
*650 4$a20th century
*697  $cArkitektur Modern Tid
*697  $cArkitektur Teori Filosofi
*697  $cArkitektur: 1905-
*697  $cArkitektur: teori, filosofi
*8520 $hARKITEKTUR -  Ic:d
^

Mark Wigley offers an understanding of the historical avant-garde. He explores a feature of modern architecture - white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by 19th-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing - the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design.