Bernard Rudofsky (1905-1988) ni bil niti arhitekt niti teoretik v običajnem pomenu. Na začetku svoje kariere je projektiral in gradil v Italiji ter Braziliji nekaj hiš s formalnim jezikom moderne – na videz v protislovju s svojimi teorijskimi besedili. Od 40-ih let 20. stoletja je bil Rudofsky predvsem kritik in teoretik kulture, ki ni pisal samo o arhitekturi in oblikovanju, temveč tudi o temah, kot so oblačila, obutev, hrana in kopanje. Osnovni, vsem tem dejavnostim skupni element je bilo namreč njegovo zanimanje za človeško telo in obžalovanje zaradi izgube čutne zaznave. Njegova najbolj znana razstava Architecture without Architects, 1964, postavljena za MOMA, je dosegla mednarodni uspeh in je bila kar enajst let na turneji po svetu.
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Bernard Rudofsky (1905-1988) was neither an architect nor a theorist in the usual sense. At the start of his career he designed and built a number of houses in Italy and Brazil, where he employed the formal language of the Modernists even though his theoretical writings appear to indicate he rejected their teachings. From the 1940s onwards, Rudofsky was primarily engaged as a critic and cultural theorist who did not just write about architecture and design, but also on topics such as apparel, footwear, cuisine and bathing. The common element behind all of these activities, though, was the human body, and his lamentation of the loss of sensual awareness. His most famous exhibition, “Architecture without Architects”, which he conceived for MoMA in 1964, achieved international success and toured the world for eleven years.
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