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Books on the topic 'Entertainment architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Iannacci, Anthony. Gensler: The architecture of entertainment. Milano: l'Arca Edizioni, 1996.

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2

Florian, Holzherr, ed. Dream worlds: Architecture and entertainment. Munich: Prestel, 2006.

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3

Nakata, Kiyoshi. Perspectives for entertainment facilities. Tokyo: Shōten Kenchiku-sha, 1998.

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4

Kuhlman, Thomas A. Baroque Nebraska: An architectural entertainment. Bloomington, IN: AuthorHouse, 2007.

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5

Alexander, Vertikoff, ed. The architecture of entertainment: L.A. in the twenties. Layton, Utah: Gibbs Smith, 2006.

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6

Winter, Robert. The architecture of entertainment: LA in the twenties. Salt Lake City, UT: Gibbs Smith, Publisher, 2007.

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7

Rebori, Stephen J. The influence of Disney entertainment parks on architecture and development. Chicago, IL: Council of Planning Librarians, 1995.

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8

David, Pagel, ed. Cowboys stadium: Architecture, art, entertainment in the twenty-first century. New York: Rizzoli, 2010.

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9

name, No. Experience: the media rat race: Photography, art, architecture, fashion, publicity, advertising, entertainment, technology. Rotterdam: NAi Publishers, 2003.

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10

Lucia, Baccelle, ed. Gli edifici per spettacoli nell'Italia romana. Roma: Quasar, 2003.

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11

Luciani, Roberto. The Colosseum: Architecture, history, and entertainment in the Flavian amphitheatre, ancient Rome's most famous building. Novara: Istituto geografico De Agostini, 1990.

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12

Heredia, Edwin A. An introduction to the DLNA architecture: Network technologies for media devices. Hoboken, N.J: Wiley, 2011.

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13

Espectáculos en Augusta Emerita: Espacios, imágenes y protagonistas del ocio y espectáculo en la sociedad romana emeritense. Badajoz: Museo Nacional de Arte Romano, 2000.

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14

M, Hall Ben, ed. The best remaining seats: The golden age of the movie palace. New York, N.Y: Da Capo Press, 1988.

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15

The city of collective memory: Its historical imagery and architectural entertainments. Cambridge, Mass: MIT Press, 1994.

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16

The city of collective memory: Its historical imagery and architectural entertainments. Cambridge, Mass: MIT Press, 1994.

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17

United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. Privacy and piracy: The paradox of illegal file sharing on peer-to-peer networks and the impact of technology on the entertainment industry : hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, One Hundred Eighth congress, first session, September 30, 2003. Washington: U.S. G.P.O., 2004.

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18

Ivy, Robert, ed. Architectural Record: Office building, Libeskind, Holl, Tschumi, bulding systems for entertainment, residential. The magazine of AIA. 2nd ed. United States of America: The McGraw-Hill Companies, 2007.

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19

International, PBC. Entertainment Architecture. McNally & Loftin Publishers, 2000.

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20

Inc, The Editors of PBC International. Entertainment Architecture : Technology & Design. Rizzoli Publications, 2003.

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21

Gensler the Architecture of Entertainment. l'Arcaeedizioni, 1996.

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22

Herwig, Oliver. Dream Worlds: Architecture And Entertainment. Prestel Publishing, 2006.

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23

Atrium. Places of Entertainment - 9 (New Architecture). Sanchez Teruelo, 1995.

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24

Steele. Theme Park Builders: Architecture of Entertainment And Fantasy. John Wiley & Sons Inc, 2000.

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25

Bandstands: Pavilions for Music, Entertainment and Leisure. Historic England Publishing, 2018.

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26

CITY MADNESS: ENTERTAINMENT. CHOICE ENTERTAINMENT, 2014.

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27

Casino Design: Resorts, Hotels, and Themed Entertainment Spaces (Interior Design and Architecture). Rockport Publishers, 2003.

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28

(Editor), Anthony Iannacci, Gensler Entertainment (Corporate Author), and Robert L. Ward (Introduction), eds. Gensler Entertainment: The Art of Placemaking. Edizioni Press, 2001.

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29

Heredia, Edwin A. Introduction to the DLNA Architecture: Network Technologies for Media Devices. Wiley & Sons, Incorporated, John, 2011.

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30

Galway, Angelene J. Copyright law, digital technology and the future of entertainment. 2005.

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31

Galway, Angelene J. Copyright law, digital technology and the future of entertainment. 2005.

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32

Burden, Michael. Dibdin at the Royal Circus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0003.

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In 1782, Dibdin entered into a partnership with Charles Hughes to set up a new entertainment venue, the Royal Circus. Its unique feature was the combination of an equestrian ring with allegorical and musical entertainments on a proscenium-arch stage, an innovative hybrid that drew upon the respective talents of Hughes and Dibdin. This chapter analyses how the Circus sought to compete with its rivals through its architecture and location, spectacle, music, novelties (including performances by children), and the mixing of genres and forms. Ultimately, however, Dibdin’s time at the Circus ended in ignominious disputes, a product of licensing problems, but also a failure to collaborate successfully in the manner demanded by this form of entertainment. Dibdin’s spell as a theatre-manager at the Circus thus reveals the wider driving forces—competition, innovation, miscellany, and collaboration—that lay behind the flourishing of London’s minor theatres in the late eighteenth century.

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33

Kuhlman, Tom. Baroque Nebraska: An Architectural Entertainment. AuthorHouse, 2007.

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34

Magnificent Entertainments Temporary Architecture For Georgian Festivals. Yale University Press, 2013.

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35

Digital Culture Industry A History Of Digital Distribution. Palgrave Macmillan, 2013.

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36

Ming Cho Lee: A Life in Design. Theatre Communications Group, 2014.

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37

Hughes, Kit. Television at Work. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.001.0001.

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This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the twinned rise of the technologically mediated corporation and a globalizing information economy. Among other things, business and industry built extensive private television networks to distribute live and taped programming, leased satellite time for global “meetings” and program distribution, created complex closed-circuit television (CCTV) data search and retrieval systems, encouraged the use of videotape for worker self-evaluation, used videocassettes for training distributed workforces, and wired cantinas for employee entertainment. Television at work describes the myriad ways the medium served business’ attempts to shape employees’ relationships to their labor and the workplace in order to secure industrial efficiency, support corporate expansion, and inculcate preferred ideological orientations. By uncovering industrial television as a prolific sphere of media practice—one that continually sought to reshape the technology’s cultural meanings, affordances, and uses—Television at Work positions the medium at the heart of Post-Fordist experiments into reconfiguring the American workplace and advancing understandings of labor that increasingly revolved around dehumanized technological systems and information flows.

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38

Lasc, Anca I. Interior decorating in nineteenth-century France. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.001.0001.

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This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.

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