From Atlantis in The Spy Who Loved Me to Nathan Bateman's ultra-modern abode in Ex Machina, big-screen villains often live in architectural splendor. From a design standpoint, the villain’s lair, as popularized in many of our favorite movies, is a stunning, sophisticated, envy-inducing expression of the warped drives and desires of its occupant. Lair celebrates and considers iconic villains’ lairs from recent film history.
Lair, the first title in Tra Publishing's Design + Film series, celebrates and considers several iconic villains’ lairs from recent film history. Like evil itself, the abodes of big-screen villains are frequently compelling and seductive. They tend to be stunning, sophisticated, envy-inducing expressions of the warped drives and desires of their occupants.
From futuristic fantasies to deathtrap-laden hives, from dwellings in space to those under the sea, pop culture and architecture join forces in these outlandish homes and in Lair, which features buildings from fifteen films, including The Spy Who Loved Me, Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb, The Incredibles, Ex Machina, Blade Runner 2049, You Only Live Twice, and The Ghost Writer.
Lair, edited by acclaimed architect Chad Oppenheim with Andrea Gollin, includes interviews with production designers and other industry professionals such as Ralph Eggleston, Richard Donner, Roger Christian, David Scheunemann, Gregg Henry, and Mark Digby. Contributors include director Michael Mann, cultural critic Christopher Frayling, museum director Joseph Rosa, and architect Amy Murphy. Architectural illustrations and renderings by Carlos Fueyo provide multiple in-depth views of these spaces.
Lair is visually stunning and unusual. It is printed in silver ink on black paper to highlight the photographs and renderings. The elegant design showcases the lairs to full advantage.