Bernard Rudofsky Research Papers

Architecture without Architects (AWA) se proyectó como una exposición menor en el MoMA (Nueva York, 1964). Ampliamente citada, AWA acuñó incluso un neologismo para designar la arquitectura tradicional. Comisario, arquitecto, diseñador,... more

Architecture without Architects (AWA) se proyectó como una exposición menor en el MoMA (Nueva York, 1964). Ampliamente citada, AWA acuñó incluso un neologismo para designar la arquitectura tradicional. Comisario, arquitecto, diseñador, crítico y fotógrafo, Bernard Rudofsky (1905-1988) evitó categorizaciones históricas o geográficas construyendo una experiencia en la que lugares muy distantes quedan conectados visualmente a través de sus paisajes vernaculares, siendo la fotografía la base principal de su mensaje. Cuestiona la hegemonía occidental de la historiografía arquitectónica y denuncia el paralelismo entre tradicional y subdesarrollado. Su crítica a la Modernidad provocó la reacción y censura del American Institute of Architects, aunque no evitó su itinerancia durante 11 años a más de 80 lugares del mundo. Esta investigación muestra las metodologías y estrategias visuales que caracterizan su discurso controvertido y desobediente hacia la Modernidad. El viaje es un componente esencial de su trayectoria; él documentó su experiencia peripatética especialmente con fotografías. Comenzando con un análisis de las metodologías rudofskianas en AWA y publicaciones, la investigación revela su aproximación naturalista, sin pretensiones antológicas, donde la imágenes no ilustran un texto sino que construyen un discurso visual paralelo. Su mirada creativa de arquitecto presenta la arquitectura tradicional como material para la construcción del presente. Con su vivienda en Frigiliana (Málaga, 1969-1971), el caso de Andalucía constituye objeto de estudio destacado hasta su muerte. Usando la metodología visual del autor y centrándonos en su fase madura, se presentan las fotografías de Rudofsky en tres escalas temáticas: la calle, la ciudad y el territorio. La investigación reflexiona sobre la naturaleza de su producción gráfica, transita entre la fotografía de paisaje y documental, y excepcionalmente de arquitectura. Se constata una aproximación fenomenológica, multisensorial, que la fotografía recoge parcialmente desde su componente plástico. La experiencia prevalece sobre el medio y la fotografía no puede ni pretende sustituirla.

Architecture without Architects (AWA) was expected to be a minor exhibition at the MoMA (New York, 1964). Widely quoted, AWA even brought about a neologism used to refer to traditional architecture. Curator, architect, designer, subversive critic and photographer Bernard Rudofsky (1905-1988) avoided historical or geographical categorization, creating an experience in which very distant geographies are connected through their vernacular architectures, with photographs as the core of his message. He challenged western hegemony in architectural history and denounced the presumed parallelism between traditional architecture and the under-developed world. His critique of Modern architecture provoked the reaction and censure of the American Institute of Architects, although this did not prevent it from travelling to over 80 locations worldwide over an eleven-year period. This research shows the characteristic visual methodologies and strategies of his controversial discourse, which rebelled against Modernity. Travel is essential in Rudofsky’s trajectory; he documented his peripatetic experience especially in photographs. Using an analysis of Rudofsky’s methodologies in AWA and publications as a starting point, this research reveals his naturalist approach, with no anthological aspiration, where images build a parallel visual discourse instead of merely illustrating a text. His creative architect’s gaze presents traditional architecture as a material for the construction of the present. The case of Andalusia became a major object of study from the time his residence in Frigiliana (Malaga, 1969-1971) was built, until his death. Using Rudofsky’s visual methodology and focusing on his later period, his photographs are presented at three thematic levels: street, city and territory. The paper reflects on the nature of his graphic production, which ranges from documentary, landscape and exceptionally architectural photography. A phenomenological multi-sensory approach is observed, and partly reproduced by photography through its visual aspect. The experience prevails over the medium, and photography cannot replace it, nor does it aim to.

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- by Mar Loren-Méndez and +1
  Daniel Pinzón-Ayala
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- Bernard Rudofsky

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- by ugo rossi
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- 3
  Mediterranean Architecture, Bernard Rudofsky, Luigi Cosenza

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- by Sascha Roesler
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- 3
  Umweltgeschichte, Ökologie, Bernard Rudofsky

Review of “House and Site. Rudofsky, Lewerentz, Zanuso, Sert, Rainer”, edited by E. Mantese, Firenze University Press, Firenze, 2014

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- by Eliana Martinelli
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- 5
  Architecture, Housing, Bernard Rudofsky, Marco Zanuso

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- by Mar Loren-Méndez
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- Bernard Rudofsky

This study examines the designed and built architectures, the published works and the theoretical contribution of architect Bernard Rudofsky. Following a chronological order, his complex and multifaceted work is to be considered as one... more

Una riflessione sulla mostra "Are Clothes Modern?" curata da Bernard Rudofsky al MoMA nel 1944 e sui rapporti con la disciplina della moda

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- by Gabriele Monti
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- 4
  Fashion design, Fashion Theory, Fashion Curating, Bernard Rudofsky

Bernard Rudofsky (Moravia, 1905 – New York, 1988) was an architect, critic, exhibition curator, publisher, clothes and furniture designer, photographer, researcher, and university professor in different countries (Yale, MIT, Waseda). A... more

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- by Mar Loren-Méndez
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- Bernard Rudofsky

Bernard Rudofsky (Moravia, 1905 – Nueva York, 1988) fue arquitecto, crítico, comisario de exposiciones, editor, diseñador de ropa y mobiliario, fotógrafo, investigador, profesor de universidades de prestigio en todo el mundo (Yale, MIT,... more

Bernard Rudofsky (Moravia, 1905 – Nueva York, 1988) fue arquitecto, crítico, comisario de exposiciones, editor, diseñador de ropa y mobiliario, fotógrafo, investigador, profesor de universidades de prestigio en todo el mundo (Yale, MIT, Waseda). Creador polifacético y crítico irreverente, su figura se perfila hoy, más que nunca, como la de un creador de enorme actualidad, no sólo por su actitud crítica frente a los progresos de la sociedad de consumo, sino también por su reivindicación pionera de la economía, inteligencia y sostenibilidad de las arquitecturas anónimas del mundo, que documentó y estudió en sus viajes y publicaciones. Fue un destacado teórico del diseño, en concreto en el campo del diseño sociocultural comparativo, desarrollado en obras como The Kimono Mind, The Unfashionable Human Body o Now I lay me down to eat. A ello se le suma el profundo impacto de su actividad como comisario de provocadoras exposiciones y su labor como editor y director artístico de revistas de arquitectura y diseño de referencia como Domus, Pencil Points o Interiors. Uno de sus proyectos más influyentes fue la exposición Architecture without Architects (Arquitectura sin arquitectos), impulsada por el Museum of Modern Art de Nueva York en 1964. Bernard Rudofsky. Desobediencia crítica a la modernidad celebra el cincuenta aniversario de Arquitectura sin arquitectos, cuyo catálogo es quizás uno de los más conocidos sobre arquitectura vernácula. Sin embargo, a pesar de su proyección internacional, las ideas de Rudofsky quedaron durante su vida silenciadas por la preponderancia de los postulados modernos, más fieles a los centros académicos y al discurso de los grandes maestros. Su producción, por ello, resulta poco conocida en sus ámbitos de referencia: el diseño, el arte y la arquitectura, así como para el público en general.
Desobediencia crítica a la Modernidad es el catálogo de una exposición homónima que tuvo lugar en 2014 en el Centro José Guerrero, Granada, España.

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- by Mar Loren-Méndez
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- Bernard Rudofsky

Emerging European Modernist architecture in the 1920s and 1930s apparently shared certain principles with Japanese traditional building: The construction principles and aesthetic qualities that Modernism strove for – ‘asymmetrical plan’,... more

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- by ugo rossi
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- 3
  Modern Italian Architecture, Gio Ponti, Bernard Rudofsky

La ricerca ripercorre il sodalizio di Gio Ponti e Bernard Rudosky sotto il tetto di Domus, il cui culmine è raggiunto nella costruzione di Villa Oro di Luigi Cosenza (che risente particolamente del dibattito e dei temi dello stesso... more

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- by Monica Prencipe
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- 5
  Costantino Nivola, Italian Fascist Architecture, Domus, Gio Ponti

The work of Bernard Rudofsky (1905-1988) is generally associated with critical acclaim and success of the exhibition at MoMA Architecture without architects. Trapped by the publishing success of the exhibition at the MoMA, his thinking... more

The work of Bernard Rudofsky (1905-1988) is generally associated with critical acclaim and success of the exhibition at MoMA Architecture without architects.
Trapped by the publishing success of the exhibition at the MoMA, his thinking and his work have been completely ignored by historians because his writings were unscientific, because the architects did not recognize him a foundation of design and composition, his architectural design was indeed associated with vernacular architecture, spontaneous, and non-transferable. The lesson of this architect, generally defined cultural worker, or even clothing designer, has therefore not been considered for a long time.
The cultural scene of the research is that of Vienna and Italy in the years preceding World War II. The Fin de Siecle Vienna characterized by a modern “bourgeois”, “no revolution”, represented by the Wiener Werkstätte, and the historical continuity of “Ecletism”, upon an architecture developed pluralistic and polyglot, who represented the liberal ideal of the bourgeoisie in the Ringstrasse construction, this intersects
the Italian situation, characterized by the affirmation of the primacy of the modern, interpreted as a derivation of the roots of ancient greek-roman myth associated with the Mediterranean.
The research focuses on the period of training took place at the Technische Hochschule in Vienna, from 1923 to 1928, then a doctorate from 1928 to 1931, and seeks to define the possible lessons learned from the masters that may have influenced his thinking. Similarly, the survey covers the likely influence of the Italian cultural context. The stay in Italy by Bernard Rudofsky was brief, from 1932 to 1938.
By this time, the research looks at some of the most important works and analyze developments in a brief selection of works after the Italian sojourn. Rudofsky began working with Luigi Cosenza (1905-1984), who invited him to collaborate on the project for the Palazzo del Littorio Competition in Rome, worked on some projects with Gio Ponti (1891-1979), he developed his thoughts as a contributor and editor of Domus.
The research addresses the issue of proper placement of the work of Rudofsky in the overall context of the architectural culture of his time in establishing its own architectural language, the transmissibility of operational research. The methodology by which the research is constructed corresponds to the construction of “models” interpretive reading of the writings and projects looking “made in the text,” the
definition of the practice and technique of the “model” is translated and interpreted.
It’s important to the gradual development of syntax in three main phases: the first building of vocabulary, analyzing the house for Procida that Rudofsky designed in 1935, the second corresponding to subsequent projects and its first application, the Oro House, the last considers some works in which the syntax defined now becomes constant and permanent.

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- by ugo rossi
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- 4
  Vernacular Architecture, Architectural Theory, Modenism, Bernard Rudofsky

La mostra "Are Clothes Modern?" curata da Bernard Rudofsky nel 1944 al MoMA di New York affrontava la moda come un fenomeno in contrasto con i principi di un “design senza tempo”, dando così inizio a un rapporto controverso fra design e... more

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- by Gabriele Monti
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- 6
  Fashion Theory, Fashion History, Diana Vreeland, Fashion Curating

The city of Hyderabad in Pakistan was widely known as manghan jo shaharu, the city of the wind catchers. In the second half of the 20th century, these wind catchers became part of a modern iconography of the winds. Since images have been... more

The city of Hyderabad in Pakistan was widely known as manghan jo shaharu, the city of the wind catchers. In the second half of the 20th century, these wind catchers became part of a modern iconography of the winds. Since images have been published in Bernard Rudofsky’s influential book Architecture without Architects in 1964, the roofscape with its scores of wind catchers has repeatedly appeared in publications on architecture and the ecology movement. The recurring reference to the roofscape shown by Rudofsky has imbued these images with a twofold reference character which follows the interpretation of Hyderabad that was created by the New York MoMA exhibit. Rudofsky’s exhibit and exhibition catalog have constituted the framework for an interpretation of the circulating images of Hyderabad’s roofscape ever since. By tracing the photographic tradition of Hyderabad’s wind catchers, this article reveals the historical character of this motif and thus an allegorical concept of the relationship between architecture and environment which, given today’s focus on sustainability, is becoming increasingly important. “Nature,” says Walter Benjamin, “has always been allegorical,” thus anticipating an insight of contemporary science and technology studies (STS). A rereading of the interpretational approaches to the wind catchers reveals the questionable character of the one-sided transfer of modern energy and technology concepts onto architectural forms that originated in different historical contexts. An allegorical interpretation of the wind catchers may help to recognize vernacular forms of knowledge as mediated and as circulating on a global scale. Illustrations of wind catchers in modern architectural publications tell us as much about the energy societies in Europe and the U.S. as about the vernacular thermal forms of knowledge in Pakistan. Beyond the cultural, the sculptural, and the technological interpretation of the wind catchers, the motif directs our eye to a general solution for the entire city, which is gaining importance in today’s reflections on urban forms of energy supply. The task of cooling is transferred from the building scale to the urban scale and from high to everyday culture.

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- by Sascha Roesler
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- 8
  Wind Energy, Allegory, Hyderabad, Wind Catcher

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- by Gabriele Monti
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- 6
  Fashion Theory, Fashion History, Diana Vreeland, Fashion Curating

La puesta en valor patrimonial y la protección de La Casa se consigue gracias a una labor continuada e intensa que culmina con su declaración como monumento en 2011. El Centro José Guerrero comienza en 2005 un papel activo en su defensa,... more

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- by Mar Loren-Méndez
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- Bernard Rudofsky

¿Son casa y arquitectura lo mismo? Si no lo son, ¿cuánto hay de arquitectura en una casa? Adolf Loos, que se preocupó a lo largo de toda su vida por esa diferencia, enuncia en sus escritos dos arquitecturas posibles: una con propósito... more

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- by Alejandro Campos Uribe
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- 5
  Domesticity, Housing, MODOS DE HABITAR, Adolf Loos

I viaggi e a volte i lunghi anni di residenza nei paesi mediterranei hanno fornito a Bernard Rudofsky il materiale per la sua ricerca sulle costruzioni spontanee sino a condurlo alla “mediterraneità” come incarnazione di un sentimento... more

I viaggi e a volte i lunghi anni di residenza nei paesi mediterranei hanno fornito a Bernard Rudofsky il materiale per la sua ricerca sulle costruzioni
spontanee sino a condurlo alla “mediterraneità” come incarnazione di un sentimento nostalgico verso l’architettura vernacolare e la sua evoluzione impercettibile nel tempo. L’oggetto del suo studio è dunque l’architettura non nella sua classica definizione di “arte del costruire” ma come espressione tangibile di un modo di vivere, concentrandosi sulle specie che vengono tradizionalmente neglette o del tutto ignorate, certamente non-blasonate. “L’architettura senza architetti [...] è la testimonianza silenziosa di modi di vivere che hanno gran peso per chi li intenda a fondo, e ben poco invece per il progresso. Essa attinge le radici
dell’esperienza umana e riveste perciò un interesse che va oltre quello tecnico ed estetico. Per giunta, si tratta di un’architettura senza
dogmi.”
Il bianco immacolato delle case di Santorini in perenne contrasto con il mare color vino e la roccia vulcanica, la loro immagine di perfezione,
trasmettono allo straniero una percezione di fuori dal tempo. Sensazione perfettamente ipostatizzata in Villa Oro (Napoli 1934 - 1937),
incastonata nella parete tufacea della collina di Posillipo come una scultura senza fine, geometricamente pura nelle sue forme e nei suoi
aggetti. Tra le caratteristiche della casa all’ italiana, il “conforto”, che da sempre affascina l’architetto, viene interpretato soprattutto nella Casa per Procida (progettata nel 1935 e mai realizzata).
“La casa è un unico ambiente, come un cubo di spazio abitabile intorno al centro di gravitazione formato dal cortile scoperto [..]che deriva dalla casa pompeiana, o forse ispirata dalle case dell’arcipelago greco, che trasformarono la corte con la sala comune, occupante la più grande
parte della superficie costruita [...] la casa non chiude fuori la natura, non subisce il paesaggio ma essa stessa lo crea”. La riflessione architettonica di Rudofsky, attraverso gli elementi, le forme ed i materiali da cui traspaiono i gesti conseguenti che si vorrebbero generare, propone un nuovo modo di abitare che non corrisponde ad un nuovo modo di costruire, bensì ad un ritorno alle origini.

At the beginning of the ‘70s, Bernard Rudofsky published his essay The Unfashionable Human Body, translated into Italian in 1975 as Il corpo incompiuto. Rudofsky was a visionary architect who put on a rather thought-provoking exhibition... more

At the beginning of the ‘70s, Bernard Rudofsky published his essay The Unfashionable Human Body, translated into Italian in 1975 as Il corpo incompiuto. Rudofsky was a visionary architect who put on a rather thought-provoking exhibition for the Museum of Modern Art in November 1944, accompanied by a wonderful catalogue, Are Clothes Modern?, in which he goes into considerable and sometimes unsettling detail about the obsession of his conviction. Differently from other animals, the human body is born “naked”, that is to say, in a certain sense, “incomplete”. It's really the discomfort of this incompleteness that has led man, as early as the Garden of Eden, to always artificially intervene on his body. This act makes sense of, and gives shape to, that which is considered not adequate enough to hint at a cultural identity, a recognition of one's belonging. Regarding this incompleteness, Rudofsky refers back to the invention of the “abito”: a transitive sense of having a shape, but also in the intransitive sense of a way of being. If we therefore accept that our incomplete bodies are only recognizable when seen as fashionable, that is dressed and seen as “in”, we could then attest that David Bowie is a perfect example of what Rudofsky would define as a complete body: superbly complete and strategically defined by pushing the boundaries between his performances and real life. Throughout the exhibit, "David Bowie Is" is fashionable in its density and its mise-en-scène (it's no coincidence that Gucci was the main sponsor of the first London edition). Taking one's time to meander through the show, one deals with something more, something different: one perceives a sensation of subliminal interference; a slight wooziness, which discloses flashes of an undercurrent of the artist who was consciously disguised, coded but not hidden. Bowie confronts himself with a “voluntary nudity” as well as with a thorough nostalgia that even for him perhaps remained irreconcilable.

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- by Antonella Huber
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- 7
  Body Image, Exhibition Design, Mise-En-Scène, Expanding Scenography

Edited by: Francesca Romana Dell’Aglio, Anna Ghiraldini. Including contributions by: Guia Baratelli, Emily Verla Bovino, Andrea Canziani e Sara Di Resta, Valeria Casali, Sarah Catalano, Fernanda De Maio, Francesca Romana Dell’Aglio,... more

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- by La Rivista di Engramma and +1
  Francesca Romana Dell'Aglio
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- 17
  Architecture, Landscape Architecture, Interior Design, Modern Architecture

Bernard Rudofsky es, sin duda, uno de los más innovadores y polifáceticos creadores de la arquitectura y del diseño del siglo xx. Este artículo ofrece un estudio pormenorizado de los dibujos de su casa en Frigiliana (Málaga), auténtico... more

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- by Mar Loren-Méndez and +1
  Daniel Pinzón-Ayala
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- 3
  Arquitectura contemporanea, Bernard Rudofsky, Arquitectura mediterránea

The works, the intellectual discourse, the professional effort of architect Bernard Rudofsky are to be considered a lifelong reflection on the function of travelling, as a tool to improve and to understand the role of architecture in our... more

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- by ugo rossi
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- 4
  Grand Tour, Mediterranean Architecture, Gio Ponti, Bernard Rudofsky

La idealización de los valores del mundo rural, como contraposición a los problemas generados por la ciudad industrializada de comienzos del siglo, fue uno de los ejes de pensamiento fundamentales en el ventennio fascista (1922-1944). 1... more

La idealización de los valores del mundo rural, como contraposición a los problemas generados por la ciudad industrializada de comienzos del siglo, fue uno de los ejes de pensamiento fundamentales en el ventennio fascista (1922-1944). 1 En la primera década de gobierno, Mussolini volcó sus esfuerzos en imponer su dominio, convencer a las masas, mejorar determinadas infraestructuras, reformar instituciones y, sobre todo, eliminar todo tipo de disidencia. 2 Tras años de actividad política impulsiva y sin guías claras, a finales de la década de los 20 los ejes de actuación comenzaron a ordenarse. Entre los puntos clave que se definieron, a partir del Discorso dell'Ascensione en 1927, 3 destacó la creación de una nuova civiltà. Una elección ideológica que tuvo como referentes teóricos a Oswald Sprengler 4 y Gustave Le Bon, 5 entre otros, y que se fue reflejando progresivamente en las políticas del régimen durante la siguiente década.

At the Triennale di Milano in 1936, the architect Giuseppe Pagano curated the exhibition “Architettura rurale nel bacino del Mediterraneo” together with Werner Daniel. Pagano delved into this proposal through theoretical articles, mainly from his position as director of Casabella magazine, as well as with his own photography and architectural projects. He developed an idea of rural architecture as a community work, done by anonymous heroes as a reflection of the honesty and truth that the soil provides. He presented it as a first-rate aesthetic and rational exercise, connecting it directly with the functionalism of the most advanced architects of the Modern Movement, going beyond Mussolini's pre-established ideas. This paper recognizes the most revealing proposals of Pagano's praise of the rural and puts them in relation to government policies and to other recognitions of the rural architecture. Thus, it will be related to contemporary proposals developed by Josep Lluís Sert from Spain, and with those made in the following decades in such relevant exhibitions as “Architettura spontanea” curated by Giancarlo De Carlo and “Architecture without Architects” directed by Bernard Rudofsky

En la Triennale di Milano de 1936, el arquitecto Giuseppe Pagano comisarió junto a Werner Daniel la exposición “Architettura rurale nel bacino del Mediterraneo”, en donde realizó un elogio a la arquitectura rural italiana. Pagano... more

Una riflessione sulla mostra &quot;Are Clothes Modern?&quot; curata da Bernard Rudofsky al MoMA nel 1944 e sui rapporti con la disciplina della moda

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- by Gabriele Monti
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- 5
  Fashion design, Art, Fashion Theory, Fashion Curating

Article about "Architecture Without Architects: A Short Introduction to Non-pedigreed Architecture" by Bernard Rudofsky, 50 years after its first publication.

La exposición “Arquitectura sin arquitectos” fue, sustancialmente, una recolección de imágenes que, por sí mismas, espoleaban a generar una reacción crítica e interpretativa a partir de lo que el comisario y su cámara seleccionaron.... more

La exposición “Arquitectura sin arquitectos” fue, sustancialmente, una recolección de imágenes que, por sí mismas, espoleaban a generar una reacción crítica e interpretativa a partir de lo que el comisario y su cámara seleccionaron. Marshall McLuhan, también en 1964, apuntaba a una nueva forma de entender la comunicación que otorgaba al medio la identidad misma del mensaje. Antes y especialmente a partir de la exposición del MOMA, Bernard Rudofsky confirió justamente a la fotografía no sólo el protagonismo instrumental y enciclopédico de su análisis y metodología investigadora sino la identificación misma con el mensaje que quiso transmitir. La densidad emocional, sensorial y humanística de los registros visuales de Rudofsky termina por ocultar lo fotográfico y al mismo fotógrafo. “Lo que presento en mis fotografías no son modelos sino un conjunto de valores”*, decía. Su fotografía trasciende cualquier intento de lectura estrictamente disciplinar para adentrarse en la libertad desprejuiciada e imprevista de lo que la fotografía connota. El ojo mecánico de Rudofsky no describe sino que percibe, revela primero y se oculta después.

Arrancando con la revisión de lo referente en este sentido a la exposición del MOMA y tomando como base documental las mayormente inéditas fotografías –diapositivas de paso universal– realizadas por Rudofsky durante sus diversos viajes por España, el texto justifica los presupuestos teóricos antes apuntados a partir de una profundización tentativa en lo estrictamente fotográfico (temática, composición, etc.). La falta de rigor técnico que, incluso, evidencian muchas de estas imágenes hablarán justamente de esa desinhibición disciplinar para, por el contrario, fortalecer la densidad de su discurso. Alejándonos así de las propias fotografías pero, paradójicamente, atrapándonos más y más en ellas, se propondrá al arquitecto austriaco, en suma, como paradigma del empleo de la fotografía como instrumento para mirar, contar y transformar el universo antropológico de lo construido.

Lezione al master di secondo livello "Touch Fair in Architecture" presso lo Iuav.

Bernard Rudofsky

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