Architecture of: Reversal of Fortune [1990]

As Jeremy Irons, as Claus von Bulow, says, in his over-the-top, exaggeratedly laconic upper crust British drawl:

         "Her bahhhhhthroom was her private sank-sheeary. Neyow one entuhed it, except the maid, of    cawse, to clean up. Sometimes she stayed thaah for HAWRES, or se-ow 't seemed. One could ehonly speculate what goes on behind the closed dawwhz."   

Such is the apt description of the bathroom of Sonny von Bulow, the scene of her demise, and the metaphor for her overly-indulgent life. 

The Newport, Rhode Island "cottage" - 

Bedroom

.

The bedroom's entry to Sunny von Bulow's bathroom: 

Dining Room   Living Room

 

Foyer

And finally, two of the stranger shots in this anatomy of highly decorous, louche depravity: 
Notice the gilded-footed, enamel ornamental desktop statuettes depicting two frogs..... copulating, doggie-style.  Lovely!

And this portrait of a woman dining at home:  tranquillizers; alcohol; ice-cream sundae; cigarettes; sunglasses.

Architecture of: American Gigolo [1980]

Director Paul Schrader was no architect, but Giorgio Armani is. He showed us a new way of seeing AND a new way of being seen: men could be dressed (fashionable) without being old-fashioned. Or effete, or [100%] queer. Bringing jacket-&-tie back to men's wardrobes may not seem like much. But with his un-constructed but expertly tailored suits, as employed by a guy whose job it was to please women, Armani made heterosexuality sexy again, even while helping to redistribute the balance of sexual power.  This scene was his entre-manifesto.