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PRE-WAR COVERAGE OF BODY DESIGN BY THE MAGAZINE, AND LATER, IN TWO SUPPLEMENTS IN 1981 AND SIX ISSUES FROM MARCH TO SEPTEMBER 1985

机译:战后及之后的1981年,杂志对人体设计进行了两次补充,以及从1985年3月至1985年9月的六个问题

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摘要

Under autocratic rule in 1938, Bernardo (sic) Rudofsky wrote an article for Domus on the design of a house with patio at Procida, inhabited by gowned owners and barefoot maids. With an introductory aphorism by William Morris ("How can people expect good architecture when they are dressed like this?"), the piece goes on to describe a lady wearing rather high-heeled shoes, all right for sitting or lying down but no good for walking, and stigmatises the anachronism of a dress style that mirrors "the baseness and insensitivity of our taste". Can anything be uglier, more servile and petty than a sleeve? Was there ever a shoe, be it by Padova or by Bata, that was actually made for human feet? "The unbiased woman in her home won't be wearing dressmaker clothes, fashionable milliner hats or handmade shoes."rnIn 1985 - in post-modern days - Alessan-dro Mendini devoted one of his editorials to clothes, in the form of poetry.
机译:1938年,在专制统治下,贝尔纳多(原文如此)鲁道夫斯基(Bernardo(sic)Rudofsky)为多莫斯(Domus)写了一篇文章,题为在Procida上有露台的房屋的设计,该房屋的住所是业主和赤脚女仆。在威廉·莫里斯(William Morris)的介绍性格言中(“当人们这样穿着时,人们如何期望好的建筑?”)继续描述一位穿着高跟鞋的女士,可以坐着或躺着,但没什么好处。走路,并污名化了反映“我们品味的基础和不敏感”的礼服风格的过时之处。有什么比袖子更丑,更奴役和更琐碎的了吗?是否有实际上是为人脚制成的鞋子,是帕多瓦(Padova)还是巴塔(Bata)? “她家中没有偏见的女人不会穿着裁缝服装,时髦的小礼帽或手工鞋。” 1985年-在后现代时代,亚历山德罗·门迪尼以诗歌的形式将自己的社论之一用于衣服。

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    《Domus》 |2009年第4期|110-110|共1页
  • 作者

    LUIGI SPINELLI;

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