Wall Dressing Mirror

In a daring reconsideration of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious but least 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 form of clothing - the newly athletic body of the building, like that of its occupants, wears a new kind of garment. Not only did almost all modern architects literally design dresses, Wigley points out, but their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design. Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' repeated rejections of fashion would suggest. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface. White Walls, Designer Dresses shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hardto suppress the color of the surfaces of the buildings that it describes.

Fairy tales and their exaggerated characters, from the "evil stepmother" to the "virginal bride", have been a resonant chord throughout Western culture, providing provocative challenges to and mirrors of women's complex sense of themselves - and the expectations of the world around them. In Mirror, Mirror on the Wall, Kate Bernheimer brings together twenty-four of our foremost contemporary women writers to discuss, in poetic narratives, evocative personal histories, and penetrating essays, how the fairy tales we all grew up with - from "Cinderella" and "Little Red Riding Hood" to "Bluebeard" and "The Princess and the Pea" - have affected their emotional lives, their work, and the culture they live in. For some of the writers, fairy tales were their first formative experience of literature, and several turned to fairy tales in creating their own fiction as adults. Others rebelled utterly at the cultural stereotypes and the roles assigned to women in these tales, and in their essays explore the impact such fairy tales have had on our mores and thinking.

Mirror, Mirror (TV series) - Mirror, Mirror, a co-production between Australia and New Zealand, is a complete story given in a serial (in the same way that a complete story is sometimes given in a mini-series). "Mirror, Mirror" lasts for 20 episodes altogether, with all of the episodes continuing immediately on from the previous episodes in a serialised fashion, including having a cliffhanger between each of the episodes.

Mirror, Mirror (1990 film) - Mirror, Mirror is about a shy girl named Megan who moves into a new neighborhood with her mother. She doesn't make very many friends but she finds an antique mirror with special powers that seems to possess a demon inside of it.

The Wall of the Sky, the Wall of the Eye - The Wall of the Sky, the Wall of the Eye is a collection of seven short stories by Jonathan Lethem published in 1996. In 2002 a collection of the same name appeared in the UK which contained a different set of stories.

walldressingmirror

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