He remained based in New York City until his death, although he continued to travel sometimes for years at a stretch. He was a Ford, Fulbright and Guggenheim Fellow. Influence[ edit ] Rudofsky was most influential for organizing a series of controversial MOMA exhibits in the s, s and s. He is best remembered today for a number of urbane books that still provide relevant design insight that is concealed in entertaining, subversive sarcasm.

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Please upgrade your Flash player to version 8 or higher. Word and Image, the means through which Rudofsky communicated his ideas. Bernard Rudofsky Austrian-American, — was an architect, curator, critic, exhibition designer, and fashion designer whose entire oeuvre was influenced by his lifelong interest in concepts about the body and the use of our senses.

He is best known for his controversial exhibitions and accompanying catalogs, including Are Clothes Modern? He was also famous for his midth-century Bernardo sandal designs, which are popular again today. Drawn primarily from the Bernard Rudofsky papers at the Getty Research Institute, this exhibition analyzes his contributions to architecture, anthropology, fashion, and design, and illustrates his thinking through a diverse presentation of sketches, architectural models, travel notebooks, photographs, sculptures, fabrics, and footwear.

View of Oia, Santorini, Bernard Rudofsky, Travel as a Lifestyle As a student, in , Rudofsky traveled to Santorini, one of the Cycladic islands in the Aegean Sea, to write a dissertation about the barrel-vaulted houses found on this island. Here he encountered a lifestyle radically different from the one in which he had grown up in Austria. He explored Europe and Asia Minor as a student from to , moved to South America in the late s, and settled in New York in After becoming an American citizen in , he traveled regularly to Europe.

He made a large number of drawings, watercolors, and photographs during his journeys images at right and above. In his travels, Rudofsky became fascinated with building design based on old traditions passed on from generation to generation without the input of an architect also called vernacular or indigenous architecture. He completed his best-known work, the Casa Oro, on a cliff overlooking the Bay of Naples, in collaboration with Italian architect Luigi Cosenza. It contains design elements that would distinguish his later home designs—a spatial arrangement integrated within the landscape, front courts, forms appropriated from traditional architecture, and an intimate atmosphere for the people living in the house.

Rudofsky was particularly interested in the architectural and cultural traditions of the Mediterranean and Japan. In Japanese architecture, Rudofsky admired the lightness of the wood, paper, and bamboo construction; the sparse, integrated furnishings; the generous, variable and modular spaces; as well as the close relationship between the traditional Japanese house and its natural surroundings.

In the late s Rudofsky did collaborate with Italian sculptor Costantino Nivola on a design for a house-garden in Amagansett, New York. Their concept recognized and valued the connection between buildings and nature.

Illustration from the exhibition Are Clothes Modern? The main visual strategy was the juxtaposition of traditionally ethnographic artifacts with similar-looking consumer products.

The goal of the exhibition was to immunize the public against the persuasive power of advertising and the seductive appeal of continually changing fashions, thereby challenging accepted behavior and habits.

At the same time, the exhibition was a covert architecture show through which Rudofsky continued to engage in the modern discourse on architecture designed for the individual rather than for the masses. In the image above, Rudofsky juxtaposed a lateth-century woman in a bustled dress with her undressed version in order to show what the female body would look like if it filled the dress.

Rudofsky used this photograph to show how modern shoes do not match the shape of the human foot. Together with his wife Berta, Rudofsky worked to promote a universal lifestyle of comfort through his clothing designs. He abhorred the fashionable tendency to cram fragile feet into what he considered personal torture devices masked by colorful leather patterns and alluringly shaped heels.

In his book Are Clothes Modern? He preached the virtues of sandals as liberating footwear that transcend conventionality and ever-changing fashions.


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