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'Wandering through the show, I found myself wondering whether it's possible to reconnect with the psychedelic moment... or if we even want to'

机译:``在节目中徘徊,我发现自己想知道是否有可能与迷幻时刻重新联系起来...还是我们甚至想要这么做''

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摘要

When I first read the exhibition title "Hippie Modernism," I made some bad assumptions. I imagined the show would be a long overdue look at the built work of architects like David Sellers, aia, who fled Yale University in the mid-1960s, bought some land in central Vermont, and started building whacked-out ski chalets without benefit of plans or drawings. I imagined it would involve the oeuvre of Steve Badanes, assoc. aia, John Ringel, and Jim Adamson, who spurned their formal Princeton educations and formed a nomadic collective called Jersey Devil, which during the 1970s crafted eccentric houses around the country with descriptive names like Snail, Hoagie, and Airplane. I read the title and thought, It's about time that these counterculture heroes got a museum show.
机译:当我第一次阅读展览标题“嬉皮现代主义”时,我做了一些错误的假设。我以为展览会是对建筑师大卫·塞勒斯(David Sellers)的建筑作品的长期逾期审议,他曾于1960年代中期逃离耶鲁大学,在佛蒙特州中部购买了一些土地,并开始在没有任何利益的情况下建造破烂不堪的滑雪小屋平面图或图纸。我以为这将涉及史蒂夫·巴达尼斯(Assoc)的全部作品。友邦保险,约翰·林格尔和吉姆·亚当森(Jim Adamson)拒绝接受普林斯顿大学的正规教育,并成立了一个名为泽西·迪维尔(Jersey Devil)的游牧团体,该团体在1970年代在全国各地制作了带有怪异名字的房屋,例如蜗牛,豪吉(Hoagie)和飞机。我读了标题并想到,这些反文化英雄们现在该到博物馆展览了。

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    《Architecture》 |2016年第8期|63-646669-70|共5页
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