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More group research please check on Our Are.na

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More group research please check on Our Are.na

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Are.na is a platform for connecting ideas and building knowledge.

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Most of us have known the agony of trying to find an original and interesting costume for a fancy dress party. The hours wasted in panicky brain racking, the abortive forays online, the misguided experimentation with papier-mâché before ultimately one throws down the superglue in disgust and dons the sexy cat outfit after all. Perhaps that sense of dread is the reason behind our latest Love of the week. Taken at the 1931 Beaux-Arts Ball, it is an effortless demonstration of how to nail a dress code, depicting seven architects dressed as their buildings, as loved by Laura Havlin.

The inspiration for New York's Beaux-Arts Ball came from the annual costume ball given at the École Nationale Supérieure des Beaux-Arts in Paris. A night of surreal excess and extravagant costumes, students created elaborate allegorical floats, featuring fabulously designed nudity, louche antics, cross-dressing and high style, which swirled around the room before being assessed by a panel of judges. E. Berry Wall wrote, "It is a riot, a revival of paganism, known elsewhere only in Italy. It is also, in its way, a hymn to beauty, a living explosion of the senses and the emotions." A truly joyful celebration of high art and hedonism, the concept took hold across the Atlantic, with many American architecture schools holding their own versions. This picture from the New York party in 1931 perhaps marks the high point of costume creativity, starring Leonard Schultze as the Waldorf-Astoria, William Van Alen as the Chrysler Building, Ely Jacques Khan as the Squibb Building, Ralph Walker as the Wall Street Building, Arthur J. Arwine as a low pressure heating boiler, A. Stewart as the Fuller Building and Joseph Freelander as the Museum of the City of New York.

So, as Halloween looms and costume parties beckon, we ask Havlin to name her wearable building of choice.

Why did you love this picture?
It's architects having a laugh, clearly proud of their work. They get loads of practice at making tiny versions of their buildings in their jobs all the time (I imagine), so of course they were going to be amazing at making costumes based on them.

Where would you keep it if you owned it?
I'd frame it and hang it on my living room wall.

What building would you come dressed as?
Well, I don't know if I'd be able to join in since I haven't designed any buildings, but perhaps Nicholas Hawksmoor's St. Anne's Church in Limehouse, East London. There is a pyramid in the grounds and nobody quite knows why it's there. Apparently, it was supposed to be part of the church and was in Hawksmoor's original drawings. If I had to wear it, I imagine its A-line shape would be quite flattering.

What is your favourite building in film/art?
Union Station in Los Angeles is beautiful with an art deco design, cool marble floors and luxurious large leather seats in the waiting area - it even has a flower garden. It's a pleasure to pass through and puts British railway stations to shame. The building is used in a lot of movies, most notably the courtroom scene in The Dark Knight Rises.

If you could design your own building, what would it be, and where would you place it?
Something space-ship-like in the Hollywood Hills.

Who is your favourite architect and why?
Frank Lloyd Wright, for creating so many houses that look like a pleasure to live in with their clean American aesthetic and huge windows, and for being a lovely man, creating this entire house with every detail made bespoke for this man in a wheelchair.

What are you looking forward to about October?
I'm looking forward to the screening of Gore Vidal's United States of Amnesia at the BFI London Film Festival on the 12th.

What was the last thing you bought?
Fro-yo.

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Most of us have known the agony of trying to find an original and interesting costume for a fancy dress party. The hours wasted in panicky brain racking, the abortive forays online, the misguided experimentation with papier-mâché before ultimately one throws down the superglue in disgust and dons the sexy cat outfit after all.

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The stage class in costumes from the play The Staircase Farce by OskarSchlemmer, on the roof of the Bauhaus building, 1927

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hussein gravity fatigue dress runway coffee table chalayan spring summer chalayan fall chalayan autumn winter collection

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https://www.erwinwurm.at/artworks/clothes-sculptures.html

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59 POSITIONS 1992 - ERWIN WURM

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Chelsea Arts Club (founded in 1891) had sponsored at the Royal Albert Hall. The annual celebration was interrupted by World War I, which began in 1914, and only near the end of the war, in 1919, was it decided that the Chelsea Arts Ball could resume. This time however the theme chosen was the disruptive crazy-quilt patterns that had been applied to wartime dazzle-painted ships, intermixed with the public's bewilderment toward emerging styles of Modern Art: Cubism, Futurism, Vorticism, Surrealism and Dada. As a result, the 1919 fancy dress ball (held on the evening of March 12, 1919) became known as the Chelsea Arts Club's Dazzle Ball.
在英国举办的一年一度的切尔西艺术舞会，这是切尔西艺术俱乐部(成立于1891年)在皇家阿尔伯特音乐厅举办的。这场一年一度的庆祝活动被始于1914年的第一次世界大战所打断，直到1919年第一次世界大战接近尾声时，切尔西才决定恢复举办艺术舞会。然而，这一次的主题选择了战争时期用在炫目彩绘船只上的颠覆性的疯狂被子图案，混杂着公众对新兴现代艺术风格的困惑:立体主义、未来主义、漩涡主义、超现实主义和达达主义。因此，1919年的化装舞会(在1919年3月12日晚上举行)被称为切尔西艺术俱乐部的炫目舞会(Dazzle ball)。

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Tilde Grynnerup