{"id":10200,"date":"2016-10-13T19:49:57","date_gmt":"2016-10-13T19:49:57","guid":{"rendered":"http:\/\/www.antondee.com\/archive\/?p=10200"},"modified":"2016-10-13T19:49:57","modified_gmt":"2016-10-13T19:49:57","slug":"beautiful-symmetry-lookbook-42","status":"publish","type":"post","link":"https:\/\/antondee.com\/archive\/beautiful-symmetry-lookbook-42","title":{"rendered":"Beautiful Symmetry \/\/ Lookbook 42"},"content":{"rendered":"

In my previous post I talked about how architecture and building materials are used to define an\u00a0era. The metal used to build the Eiffel Tower for example was looked upon as crude and unnecessary at the time and yet the\u00a0landmark\u00a0achieved iconic status and stands proud as a symbol of the capital. I feel that in the 21st century glass is fighting the same battles. Just look at The Shard in London<\/a> or Burj Al Arab in Dubai<\/a>, both are amazing feats of engineering and yet during my visits I heard people\u00a0scoffing at them. \u00a0During my trip\u00a0to Paris,\u00a0Louvre’s 27-year-old modernist glass pyramid from I.M. Pei was\u00a0made to disappear\u2014but not permanently. The optical illusion is part of French street artist and photographer JR<\/a>‘s latest public installation. By\u00a0plastering the pyramid’s nearly 700 glass segments with enlarged black-and-white photos of the portion of the Louvre Palace, viewers can see the complete stretch of building when looking at it straight on.<\/p>\n

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Get The Look<\/h2>\n

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