1905 Born April 19, Zauchtl, Moravia (now the Czech Republic) | 1922–28 Attends Technische Hochschule, Vienna | 1925–27 Travels to Bulgaria, Turkey, Switzerland, France, and | 1929 Two-month stay on Santorini | 1931 Submits his dissertation on an early concrete construction method in the Cyclades, Greece | 1932 Moves to Capri; collaborates with Luigi Cosenza | 1934 Meets Berta Doctor in Ischia, Italy | 1935 Moves to Procida; designs Casa on Procida and Casa Oro, | 1935–36 Travels to the United States for the first time; marries Berta Doctor | 1936 Birth of son Peter, who dies in 1938 | 1937–38 Moves to ; becomes editor at Domus magazine | 1938 Immigrates to South America (Buenos Aires, Rio de Janeiro, São Paulo) | 1939–41 Completes Casas Hollenstein (Itapetirica), Frontini, and Arnstein (São Paulo) | 1941 Prize-winner of the Organic Design Competition (MoMA); moves to New York | 1944 Exhibition Are MoMA, New York Clothes Modern? BERNARD Rudofsky x x of sketches, architectural models, travel notebooks, to each room encourage free interaction between pursuit of beauty. His books acquaint- personal torture devices masked by colorful our heads” (Lecture, Tokyo, 1958, p. 3). assemblage of whimsical and unexpected items berta Rudofsky Berta Doctor was born on May 9, 1910, in Vienna. Influenced by her x fold Exhibition Lessons from Bernard Rudofsky, Life as a Voyage photographs, sculptures, fabrics, and footwear. the domestic chambers and their natural surround- ed large international audiences with leather patterns and alluringly shaped Many architects believed that the exhibition representing each state in the Union. New York was parents, she studied musicology at Universität Wien. In 1934, Berta met x catalog (Basel, 2006) is on sale in the Museum bookstore. x Rudofsky’s first design efforts were in the field of ings. Lacking an American architecture license, the concepts of neck rings, cranial heels. In his book Prodigious Builders (1977), Architecture without Architects (1964)—an represented with a display of all 500 pages of the Bernard Rudofsky on Ischia during a trip to Italy, and in 1935 they x x architecture. Trained as an architect at the Technische Rudofsky built very little after his move to the deformation boards, and foot binding. Rudofsky remarked: “With today’s know- installation at the Museum of Modern Art Sunday New York Times. Alaska was highlighted by the moved into an apartment together on the island of Procida. They x x Hochschule in Vienna, he left for southern Italy United States in 1941. Instead, he channeled his Some of his finest illustrated comparisons how we are no doubt able to cultivate (MoMA) in New York of photographs of exhibition’s smallest object: a facsimile of the married in November of the same year at New York City Hall. The x x immediately after his graduation. There, in collabora- creative energies into the development and design document how European society unknow- peanuts on Mars, but nobody knows, or anonymous architecture around the world— cancelled $7,200 check used to purchase the territory. couple’s only child, Peter, was born in 1936 and died in Como two years x brochure Fold and Stand the brochure to create x the gallery space. Fold lines are on tion with the Neapolitan architect Luigi Cosenza of a series of pioneering exhibitions and books ingly imitated the physical alterations of cares to know, how to make shoes for promoted the notion that their profession was The most captivating component of the show for later. More than wife and eyewitness, Berta participated anonymously x Bernard Rudofsky (Austrian-American, 1905–1988) was (1905–1984), he built the stunningly beautiful Casa Oro that challenged the field of architecture’s foreign cultures by using corsets, bustles, human feet” (p. 113). His Bernardo superfluous to the building trade. The president of foreigners was a display of tumbleweed. While in the work of her husband in a wide variety of ways: as coworker, x opposite side. x an architect, curator, critic, exhibition designer, and (1935–1937; fig.1.) on a cliff overlooking the Bay of traditional boundaries. heels, and codpieces. One wonders how sandals reintroduced designs that the New York chapter of the American Institute of European audiences declared Rudofsky’s pavilion a traveling companion, manager, driver, translator, sandal-producer, x x fashion designer whose entire oeuvre was influenced Naples. Situated on a narrow lot between two The interests expressed in Rudofsky’s books Rudofsky would have responded to the ease had been tested and approved Architects protested against the exhibition before it great success, American visitors fumed at its lack of teacher, editor, model, muse, and administrator of his estate. After x xxxxxxx fold image side to image side x by his lifelong interest in retaining walls, the long and exhibitions resulted from his direct experience with which we can now sculpt and carve over thousands of years by civiliza- even opened. A professor at the University of patriotic bravado. Bernard Rudofsky died in 1988, Berta lived alternately in Vienna, New x x fold text side to text side March 11–June 8, 2008 concepts about the body and and slender structure with the Mediterranean lifestyle on the Greek our bodies into nearly any desired shape tions more concerned with comfort Michigan condemned it in print as “subversive.” The While piqued by these responses, Rudofsky did York, and Frigiliana. She died on June 22, 2006, in Vienna. x ^^^^^^^ lessons from x the use of our senses. He is follows the topography of islands and his readings about Japanese culture. or proportion. and survival than fashion runways. dean of Yale University’s School of Architecture vetoed not alter his radical approach. As he declared in a x best known for his controver- the land, allowing the Rudofsky concluded early on that people in Western Using an image of leg tattoos from the Rudofsky’s sandals became extremely Rudofsky’s invitation to lecture on campus because he lecture in Tokyo later that year: “The principles x related events Learning from Bernard Rudofsky x sial exhibitions and accompa- house to open up society had lost their spontaneity and innate ability Marquesas Islands (fig. 2) as a comparison to popular during the 1950s and 60s. Thanks felt non-pedigreed architecture was too “controver- underlying the design of such an exhibition are . . . to x Saturday, April 5, 2008 x nying catalogs, including Are completely to the bay and to design houses, clothing, and shoes that liber- an illustration of patterned stockings from to the current emphasis on stylish comfort sial” (Lecture, Provincetown, p. 7). Despite the uproar, distract and intrigue the visitor with optical illusions x 4:00–6:30 p.m. x Clothes Modern? (MoMA, capture as much sun and ated, rather than restricted, the body. He believed 1902 (fig. 3), Rudofsky observed in Are Clothes in walking and athletic shoes, they have the show traveled for eleven years to nearly eighty and to display the objects out of context; to pamper x Museum Lecture Hall, The Getty Center x

1944), Architecture without wind as possible. The this cultural inertia had profoundly negative Modern? (1947) that “civilized people are become coveted accessories once again. venues, an unheard-of accomplishment. his eye with shapes and colors. In the child, the fold Specialists in the fields of fashion, architecture, and plastic surgery x Architects (MoMA, 1964), and front of the house is sociological and physical consequences. As a result, anxious to avoid any permanent decoration; Rudofsky understood that he could reach Rudofsky’s notorious installations for the response to this sort of environment is spontaneous; x explore Rudofsky’s ideas about architectural design, the body, comfort, x Now I Lay Me Down to Eat composed as a play of he devoted his life to exposing the West to foreign it would interfere with the rotation of a broader audience through exhibitions than American Pavilion at the Brussels International and unfortunately, not so in the average adult who tries x and sensuality, and discuss their relevance for contemporary culture. x (Cooper-Hewitt Museum, projecting and receding architectural paradigms, unfamiliar customs, and fashions” (p. 111). He would undoubtedly be through books. His provocative displays Universal Exposition of 1958 even caused Presi- too hard to stay aloof” (p. 9). x The panel includes Dr. Valerie Steele, director, the Museum at FIT, New x Bernard 1980). He was also famous for volumes that diffuse the evolving attitudes about the body, fashion, architec- surprised by the fact that today tattoos are as attracted a significant amount of attention dent Eisenhower to launch a special investiga- x Exhibition Curators: Monika Platzer (Architekturzentrum Wien), and York; Steven Ehrlich, principal, Steven Ehrlich Architects, Los Angeles; x his mid-twentieth-century transition between inside ture, and design. likely to be found under the shirt collar of a and controversy during his lifetime. tion into his unconventional methodologies. x Wim de Wit and Christopher James Alexander (Getty Research Institute) and Dennis Comeau, designer, Bernardo Footwear L.L.C., Houston. x Bernardo sandal designs, fig. 1. Bernard Rudofsky and Luigi Cosenza, architects, Casa Oro as Seen from and out and provide shade Utilizing surprising visual juxtapositions corporate executive as they are on the back of Risqué themes of bodily comfort, sensual- In his Face of America exhibition, Rudofsky x Below, Naples, Italy, 1935–1937 The lecture papers cited in this brochure are held by the Research Library at the Getty Exhibition curator Wim de Wit is the panel moderator. x which are popular again for the terraces and and engaging commentaries, Rudofsky’s popular a rock star. ity, modesty, and intimacy accompanied sought to “ban the grimmer aspects of Research Institute (Bernard Rudofsky papers, 920004). x today. Drawn primarily from the Bernard Rudofsky gardens. Houses subsequently designed by Rudofsky exhibitions and books were designed to provoke Together with his wife, Berta (Austrian- by explicit visuals, often generated lively progress; the satellites and robots and x Exhibition Tours with Curators Wim de Wit and x papers at the Getty Research Institute, Lessons from in São Paolo, Brazil (Casa Arnstein and Casa Frontini, audiences into challenging the status quo. American, 1910–2006), Rudofsky worked to debate among people shocked by such machined entertainment, and to Christopher James Alexander x x Bernard Rudofsky analyzes his contributions to both 1939–1941), display the same orderly arrange- Rudofsky was captivated by the extreme promote a universal lifestyle of comfort through unfamiliar material. Rudofsky called his concentrate on human matters” fig. 2. Detail ofTattooed Legs, Marquesan Islands, from Bernard Rudofsky, Are Wednesday, March 12, 11:00 a.m. x Clothes Modern? (Chicago, 1947), p. 110 x architecture, anthropology, fashion, and design, and ment of precisely defined volumes set within a firmly methods of body manipulation prac- his clothing designs. He abhorred the fashionable approach “exhibition design with a sting, [which] (Lecture, Tokyo, 1958, p. 13). To Tuesday, March 18, 3:00 p.m. x Rudofsky fig. 3. Detail of American Stockings, 1902, from Bernard Rudofsky, x illustrates his thinking through a diverse presentation defined perimeter. Lushly landscaped patios adjacent ticed by non-Western cultures in the tendency to cram fragile feet into what he considered pricks our complacency [and] puts doubts into achieve this goal, he created an Are Clothes Modern? (Chicago, 1947), p. 111 Wednesday, April 2, 11:00 a.m. x Thursday, April 10, 1:00 p.m. x fig. 2 fig. 3 Design © 2008 J. Paul Getty Trust x

x

, , Exhibition published is published is Spain Frigiliana, in home his Casa, La builds and Designs published is published is York New MoMA, exhibitions, touring other and Exhibition Japan to Travels Harnden) Peter (with Fair World’s Brussels the at Pavilion American the Designs York New MoMA, , Exhibition Japan to trip first his takes published; is Nivola) Costantino (with York New Amagansett, in House-Garden Nivola Designs Europe to trip postwar first his takes citizenship; American Granted sandals Bernardo famous his sells commercially and Designs | 1980 | 1977 | 1971 | 1969–71 | 1969 | 1965 | 1960–65 | 1958–60 | 1957–58 | 1956 | 1955 | 1949–50 | 1948 | 1946–64 | Now I Lay Me Down to Eat to Down Me Lay I Now Builders Prodigious The Body Human Unfashionable The People for Streets Mind Kimono The Architects without Architecture U.S.A. Textiles, Dies March 12, New York Dies March Exhibition Sparta/Sybaris , MAK, Vienna | 1988 | 1987 Cooper-Hewitt Museum, New York Window Picture the Behind Paris Marseilles San Rafael Nice Milan Capri Naples Bern Dijon Fontainebleau Monte Carlo Positano San Gimignano Pisa Chambersburg Knoxville Jackson Mexico City Oaxaca El Paso Las Vegas Denver Chicago San Francisco Honolulu Tokyo Kyoto Osaka Kamakura Boston Rochester Barcelona New York Philadelphia New x x x x x Canaan Rotterdam Antwerp Brussels Detroit Washington, D.C. Tehran Bangkok Hong Kongx Okinawa Hiroshima Kobe Yokohama Los Angeles Salem Versailles Toulouse Montpellier Arles x x x x x x ^ x x x ^ Luzern Ravello Positano Prato Charlottesville Remington New Haven Amsterdamx London Istanbul Aspen Split Como Sperlonga Lucca Bologna Ferrara x ^ x x x ^ Ávila Toledo San Domingo Bordeaux Salamanca Nice Corfu Patras Corinth Athensx Páros Náxos Íos Thíra Oia Mýkonos Árgos Tripoli Sparta Kalámai Olympia Delphi Utrecht Pamplona x x x x x x ^ x x x ^ Guadalajara Madrid Dover Nerja Toronto Lorca Monte Carlo Arles Salon xValencia Aspen Málaga Tallahassee San Francisco Vienna Innsbruck Paris Marseilles San Rafael Nice x ^ x x x ^ x x ^ x x x ^ Milan Venice Rome Capri Naples Bern Dijon Fontainebleau Monte Carlo Trento Vicenzax Bologna Florence Positano Salerno San Gimignano Pisa Chambersburg Knoxville Jackson Mexico City x ^ x x x ^ x x ^ x x x ^ Oaxaca El Paso Las Vegas Denver Chicago San Francisco Honolulu Tokyo Kyoto Osaka Kamakurax Boston Rochester Barcelona New York Philadelphia New Canaan Rotterdam Antwerp Brussels x ^ x x x ^ x x x x x Detroit Washington, D.C. Tehran Bangkok Hong Kong Okinawa Hiroshima Kobe Yokohamax Los Angeles Salem Versailles Toulouse Montpellier Arles Turin Ferrara Luzern Ravello Positano x ^ x x x ^ Prato Modena Charlottesville Remington New Haven Amsterdam London Istanbul Aspenx Split Como Parma Messina Sperlonga Perugia Lucca Bologna Ferrara Ávila Toledo San Domingo x ^ x x x ^ x x ^ x x x ^ Bordeaux Salamanca Nice Arezzo Corfu Patras Corinth Athens Páros Náxos Íos Thíra Oiax Mýkonos Árgos Tripoli Sparta Kalámai Olympia Delphi Utrecht Pamplona Guadalajara Madrid Dover x ^ x x x ^ x x ^ x x x ^ Nerja Toronto Lorca Monte Carlo Verona Padua Arles Salon Valencia Aspen Málaga Tallahasseex San Francisco Vienna Innsbruck Paris Marseilles San Rafael Nice Milan Venice Rome Capri x ^ x x x ^ x x x x x ^ Naples Bern Dijon Fontainebleau Monte Carlo Trento Vicenza Bologna Florence Positanox Salerno San Gimignano Pisa Chambersburg Knoxville Jackson Mexico City Oaxaca El Paso Las Vegas x ^ x x x x x ^ x x x ^ Denver Chicago San Francisco Honolulu Tokyo Kyoto Osaka Kamakura Boston Rochesterx Barcelona New York Philadelphia New Canaan Rotterdam Antwerp Brussels Detroit Washington, D.C. x ^ x x x ^ Tehran Bangkok Hong Kong Okinawa Hiroshima Kobe Yokohama Los Angeles Salem Versaillesx Toulouse Montpellier Arles Turin Ferrara Luzern Ravello Positano Prato Modena Charlottesville x ^ x x x ^ x x ^ x x x ^ Remington New Haven Amsterdam London Istanbul Aspen Split Como Parma Messina xSperlonga Perugia Lucca Bologna Ferrara Ávila Toledo San Domingo Bordeaux Salamanca Nice Arezzo x ^ x x x ^ x x x x x Corfu Patras Corinth Athens Páros Náxos Íos Thíra Oia Mýkonos Árgos Tripoli Sparta Kalámaix Olympia Delphi Utrecht Pamplona Guadalajara Madrid Dover Nerja Toronto Lorca Monte Carlo x ^ x x x ^ x x ^ x x x ^ Verona Padua Arles Salon Valencia Aspen Málaga Tallahassee San Francisco Vienna Innsbruckx Paris Marseilles San Rafael Nice Milan Venice Rome Capri Naples Bern Dijon Fontainebleau x ^ x x x ^ x x ^ x x x ^ Monte Carlo Trento Vicenza Bologna Florence Positano Salerno San Gimignano Pisa Chambersburgx Knoxville Jackson Mexico City Oaxaca El Paso Las Vegas Denver Chicago San Francisco x ^ x x x ^ Honolulu Tokyo Kyoto Osaka Kamakura Boston Rochester Barcelona New York Philadelphiax New Canaan Rotterdam Antwerp Brussels Detroit Washington, D.C. Tehran Bangkok Hong Kong x ^ x x x ^ x x ^ x x x ^ Okinawa Hiroshima Kobe Yokohama Los Angeles Salem Versailles Toulouse Montpellierx Arles Turin Ferrara Luzern Ravello Positano Prato Modena Charlottesville Remington New Haven x x x x x x ^ x x x ^ Amsterdam London Istanbul Aspen Split Como Parma Messina Sperlonga Perugia Luccax Bologna Ferrara Ávila Toledo San Domingo Bordeaux Salamanca Nice Arezzo Corfu Patras Corinth x ^ x x x ^ x x ^ x x x ^ Athens Páros Náxos Íos Thíra Oia Mýkonos Árgos Tripoli Sparta Kalámai Olympia Delphix Utrecht Pamplona Guadalajara Madrid Dover Nerja Toronto Lorca Monte Carlo Verona Padua Arles x ^ x x x ^ Salon Valencia Aspen Málaga Tallahassee San Francisco Vienna Innsbruck Paris Marseillesx San Rafael Nice Milan Venice Rome Capri Naples Bern Dijon Fontainebleau Monte Carlo Trento x ^ x x x ^ x x ^ x x x ^ Vicenza Bologna Florence Positano Salerno San Gimignano Pisa Chambersburg Knoxvillex Jackson Mexico City Oaxaca El Paso Las Vegas Denver Chicago San Francisco Honolulu Tokyo Kyoto x x x x x x ^ x x x ^ Osaka Kamakura Boston Rochester Barcelona New York Philadelphia New Canaan Rotterdamx Antwerp Brussels Detroit Washington, D.C. Tehran Bangkok Hong Kong Okinawa Hiroshima x ^ x x x ^ x x ^ x x x ^ Kobe Yokohama Los Angeles Salem Versailles Toulouse Montpellier Arles Turin Ferrara Luzernx Ravello Positano Prato Modena Charlottesville Remington New Haven Amsterdam London x ^ x x x ^ x x ^ x x x ^ Istanbul Aspen Split Como Parma Messina Sperlonga Perugia Lucca Bologna Ferrara Ávilax Toledo San Domingo Bordeaux Salamanca Nice Arezzo Corfu Patras Corinth Athens Páros Náxos x x x x x x ^ x x x ^ Íos Thíra Oia Mýkonos Árgos Tripoli Sparta Kalámai Olympia Delphi Utrecht Pamplonax Guadalajara Madrid Dover Nerja Toronto Lorca Monte Carlo Verona Padua Arles Salon Valencia Aspen x ^ x x x ^ Málaga Tallahassee San Francisco Vienna Innsbruck Paris Marseilles San Rafael Nice Milanx Venice Rome Capri Naples Bern Dijon Fontainebleau Monte Carlo Trento Vicenza Bologna Florence x ^ x x x ^ x x ^ x x x ^ Positano Salerno San Gimignano Pisa Chambersburg Knoxville Jackson Mexico City Oaxacax El Paso Las Vegas Denver Chicago San Francisco Honolulu Tokyo Kyoto Osaka Kamakura Boston x ^ x x x ^ x x ^ x x x ^ Rochester Barcelona New York Philadelphia New Canaan Rotterdam Antwerp Brussels xDetroit Washington, D.C. Tehran Bangkok Hong Kong Okinawa Hiroshima Kobe Yokohama Los Angeles x x x x x x ^ x x x ^ Salem Versailles Toulouse Montpellier Arles Turin Ferrara Luzern Ravello Positano Pratox Modena Charlottesville Remington New Haven Amsterdam London Istanbul Aspen Split Como Parma x ^ x x x ^ x x ^ x x x ^ Messina Sperlonga Perugia Lucca Bologna Ferrara Ávila Toledo San Domingo Bordeauxx Salamanca Nice Arezzo Corfu Patras Corinth Athens Páros Náxos Íos Thíra Oia Mýkonos Árgos Tripoli x ^ x x x ^ Sparta Kalámai Olympia Delphi Utrecht Pamplona Guadalajara Madrid Dover Nerja Torontox Lorca Monte Carlo Verona Padua Arles Salon Valencia Aspen Málaga Tallahassee San Francisco x ^ x x x ^ x x ^ x x x ^ Vienna Innsbruck Paris Marseilles San Rafael Nice Milan Venice Rome Capri Naples Bernx Dijon Fontainebleau Monte Carlo Trento Vicenza Bologna Florence Positano Salerno San Gimignano x ^ x x x ^ x x ^ Hand Ornament, Ahmedabad, India, from The Unfashionable x x x ^ Pisa Chambersburg Knoxville Jackson Mexico City Oaxaca El Paso Las Vegas Denver Chicagox San Francisco Honolulu Tokyo Kyoto Osaka Kamakura Boston Rochester Barcelona New York x x Architecture without Architects Exhibition Installation, MoMA, New York, November 11, 1964–February 7, 1965. x Foot from a Classical Sculpture (detail). Photo: Bernard Rudofsky. Courtesy x “Si, No” Fabric, 1949, Stimulus Collection, designed by Bernard Rudofsky Dress Pattern, 1873, from Bernard Rudofsky, Are Clothes Book Cover, from Bernard Rudofsky, The Kimono x x ^ Human Body (Garden City, New York, 1971), p. 218. Courtesy Musée x x x ^ PhiladelphiaList of CitiesNew Visited Canaan by Bernard Rotterdam and Berta RudofskyAntwerp during Brussels Their Travels Detroit Washington, D.C. Tehranx BangkokBernard RudofskyHong Kong in Kimono, Okinawa from Domus Hiroshima (June 1956), Kobeno. 319 Yokohama Los Angeles Salem VersaillesFloor Toulouse Plan, Casa Arnstein, São Paulo, Brazil, 1939–1941 x ^ de l’Homme, Paris x Courtesy Jane and Benjamin Thompson, Thompson Design Group Inc., Boston x MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst Wien x for Schiffer Prints Modern? (Chicago, 1947), p. 146 ^ Mind (Garden City, New York, 1965) Montpellier Arles Turin Ferrara Luzern Ravello Positano Prato Modena Charlottesville Remingtonx New Haven Amsterdam London Istanbul Aspen Split Como Parma Messina Sperlonga Perugia x ^ x x x ^ Lucca Bologna Ferrara Ávila Toledo San Domingo Bordeaux Salamanca Nice Arezzo Corfu Patras Corinth Athens Páros Náxos Íos Thíra Oia Mýkonos Árgos Tripoli Sparta Kalámai Olympia