Much of our time at the movies is spent in other people’s homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the “spectator-tenant,” with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man. Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinema’s relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.

Text in English and German. Early in the 20th century, Robert Bosch, the founder of the Stuttgart electrical business, built a large villa on the hills east of the city. It was half Palladian, half in the reform style of the period before the First World War. The building was to meet the head of the company's need for prestige, and to provide a private refuge thanks to the pleasant qualities of its large park and open position. The foundation of the same name is now housed in the Villa Bosch, but the space available has not been adequate for some time. As the company also needed rooms for seminars and other events, a decision was taken to build new accommodation next to the villa. Seven well-known teams took part in a restricted competition, including Tadao Ando, Richard Meier and Richard Rogers. The commission went to Peter Kulka, based in Cologne and Dresden. He found a convincing solution to the problem of leaving the dominance of the old building untouched and at the same time making the foundation's new accommodation attractive in its own right. He came up with a second 'villa' slightly below the first one, precise in its volume and minimalist in its resources. The building responds impressively to the challenges of the topography, the landscape around it and its neighbouring building. Kulka's work combines transparency with physical presence, structural austerity with poetry. This villa suburbana represents a milestone in his career. Kulka, born in 1937, was a pupil of Selman Selmanagic and worked with Hermann Henselmann, Hans Scharoun and in various partnerships before setting up his own practice in 1979. He has been seen as a member of the German architectural avant-garde since his Dresden parliament building (1991-94).

The discovery, during the early 1960s, of the site of a Roman Palace and its garden at Fishbourne, near Chichester, remains the most important and exciting event in Romano-British archaeology over the last half-century. Since his original excavation, Barry Cunliffe has kept in close contact with work on the site and more is now known about the building itself and about its place in the development of Roman Britain. It is still believed that this huge building - covering 10 acres and furnished with many mosaic floors and other luxurious appointments - was indeed a palace, probably belonging to Tiberius Claudius Togidubnus, who has been granted Roman citizenship under Claudius and who as a client king was responsible for governing the area in which the palace was situated. As remarkable as the palace itself is the large formal garden, laid out with paths, hedges, fountains and basins. No comparable Roman garden has been discovered west of Italy. Professor Cunliffe describes the whole story of the historic excavation, unfolding the history of the site from the early military beginnings down to the final destruction of the palace by fire.

Chambord occupies a special place among French Renaissance chateaux. Designed by Francis I as a hunting lodge for his friends and family and subsequently transformed into an immense residence, Chambord is an astonishingly bold architectural creation. To mark the 500th anniversary of this prestigious piece of French heritage, Jean-Michel Turpin invites us into the chateau, and especially into lesser-known and mysterious wings of Chambord, and throughout its beautiful grounds in the Loire Valley. The story spans five centuries and is illustrated by archival and contemporary photographs, many never before published.

Die kompromisslose klare Bauweise macht die 1931 fertig gestellte Villa Savoye von Le Corbusier zu einer unverwechselbaren Ikone in der Architektur des 20. Jahrhunderts. Andre Malraux stellte sie denn auch 1964 unter Denkmalschutz. In diesem Guide wird sie anhand historischer Dokumente und neuer Aufnahmen sowohl dem Besucher vor Ort als auch dem architekturinteressierten Leser zuhause umfassend vorgestellt."

The mansion along with its magnificent furnishings, art, gardens, and the owners' striving, hubris, and ultimate failure are the dramatis personae of this saga. Stanford White, the architect, wrote, "with the exception of Biltmore, I do not think there will be an estate equal to it in the country." An extravagant product of the desire for social acceptance, the portrait encompasses western mining and old versus new wealth, religious differences and the building of a church, art collecting, and the many people, from the architects, builders, and workers to the servants and staff who ran the house and gardens. Harbor Hill's story includes elements of farce and tragedy; in a sense it is an American portrait.

Classic Country Estates of Lake Forest is the first systematic study of this richly textured built environment. Beginning with suburban villas in the manner of Andrew Jackson Downing, Lake Forest was transformed by the work of Henry Ives Cobb, Howard Van Doren Shaw, David Adler, Harrie T. Lindeberg, Charles A. Platt, Holabird & Roche, Delano & Aldrich, Arthur Heun, and others. It was also distinguished by a tradition of innovation in landscape design, from the original Romantic picturesque town plan of 1857 to the later estate work of O. C. Simonds, the Olmsteds, Warren Manning, Rose Standish Nichols, and Jens Jensen. Architectural renderings, landscape plans, drawings, and period photographs of architecture and gardens, many of them not previously published, illustrate the work of these masters.

Combines evidence from archaeology, standing structures, and literary sources to provide a thorough treatment of one of the dominant architectural forms of Britain and continental Europe from Anglo-Saxon times to the Renaissance. Concerned mostly with architectural features, but also explores the so

In this work, the author overturns the theories that Scottish Renaissance country houses were merely 'castles' or fortified houses, alongside a country left behind in a backwater, and reveals 16th-century Scotland as vivid, colourful and European.

The West Yorkshire families who grew rich through commerce and industry during the Industrial Revolution used their newly acquired wealth to build houses and gardens that were markedly different from those of older landed and commercial families. "Brass Castles" is the first book to explore these nineteenth-century mansions as a group in their own right. In this fascinating sociological approach to architectural history, George Sheeran examines the urban as well as the rural homes of ninety-two of the wealthiest families from the 'New Rich' section of the population. He analyses their wealth and where it came from, contrasts the architecture and functions of their houses, compares them with the general development of the nineteenth-century house and looks at how far they were modified by local or individual conditions.

Die kompromisslose klare Bauweise macht die 1931 fertig gestellte Villa Savoye von Le Corbusier zu einer unverwechselbaren Ikone in der Architektur des 20. Jahrhunderts. Andre Malraux stellte sie denn auch 1964 unter Denkmalschutz. In diesem Guide wird sie anhand historischer Dokumente und neuer Aufnahmen sowohl dem Besucher vor Ort als auch dem architekturinteressierten Leser zuhause umfassend vorgestellt.

The Crace family were the most important firm of interior decorators working in Britain in the 19th century. They earned this title by the sheer number and importance of their commissions, working for every British monarch from George III to Queen Victoria and on a range of buildings that includes royal palaces, Leeds Town Hall and the Great Exhibition building of 1862. This book examines the history of the Craces, from their humble origins as coach decorators to interior decorators of the Royal Pavilion, Buckingham Palace and Windsor Castle. The text also analyzes the artistic styles of the period and discusses the conservative nature of the Craces' work.