One thing is certain about Beatriz Colomina and Pep Aviles’sPlayboy Architecture, 1953–1979：这是一个证据表明，证明了建筑和媒体是塑造社会本身观点的同谋合作伙伴。在博士博士内出生的研究。普林斯顿大学的媒体和现代化计划建筑学院，PlayboyArchitectureis an exhaustive index of the ways magazines, architecture, design, furniture, fashion, and sex influence Western society. From the pages ofPlayboy，人们可以梦想有光泽的包装生活。但是，在这种情况下建筑师的角色has never been clearer: a precise purveyor of taste, a consummate expert on lifestyles, and a key toliberation—sexual and/or otherwise.
On display through August 28 at the Elmhurst Art Museum in Elmhurst, Illinois, 18 miles west of downtown芝加哥,Playboy Architectureis situated within Mies van der Rohe’sMcCormick House，博物馆的核心和美国三个建造的Mies房子之一。也许没有更好的空间来显示和策划像这样的展示Playboy Architecture, simply due to the fact that this house was meant to be mass produced—a cog in a suburban machine that Mies was never able to create, in part because modernism and its sultry packaging were just not tasteful to the inhabitants of Elmhurst.
《花花公子》汇集了许多时间的高雅st designers. (Courtesy Elmhurst Art Museum)
The show is divided into four parts: Playboy Pads, Vehicles + Mobility, the Bedroom, and Playboy Architecture. Shifting scales from beds to interiors and from airplanes to houses, the curators locate different punctuations of a complex “lifestylescape,” where设计和建筑提供not only the backdrop to where you live, but also a proposition on how to live. The first room in the exhibition when you enter is the Playboy Pads, situated within the old living room of the McCormick House. Sitting on a circular pedestal are some iconic chairs, like Mies’s Barcelona, coupled with blown-up pages ofPlayboyshowing drawings of different interiors. The most compelling pad shown is the one-inch-by-one-foot-long sectional建议花花公子的模型
芝加哥黄金海岸的房子，这是三层故事，并乘坐水流天花板上的游泳池分开，允许通过邻近的窗户欣赏到一路真正的Panodic偷窥。
The next room shows Vehicles + Mobility: Hugh Hefner was famous for living and traveling in style. A vertically displayed plan-section model of an airplane gives an incredible glimpse into the almostCorbusianfloor plan of walls within, replete with the creature comforts of high modernism, extending lifestyle during commutes to other far away pads.
(Courtesy Elmhurst Art Museum)
In the adjacent room, lies a bed. The Bedroom—or, more specifically, a circular bed—is hidden behind a velvet curtain with peepholes, dimly lit and perhaps the most compelling piece of design in the entire exhibition. This bed was not only meant for the purposes of sleeping and sex, but also was an office and a conference center with shelves and phones, but no chairs. The bed extended past its typical uses and became an ambiguous small architecture in and of itself, suggesting that the real place of modernity in society was to help it reinvent itself, one bed at a time.
(Courtesy Elmhurst Art Museum)
Finally, viewers enterPlayboyArchitecture坐落在麦考克斯众议院的老孩子的游戏室，尽管是非讽刺意味的。本节为用户提供了一瞥内置住宅和有远见的住房项目。Matti Suuronen的便携式代谢士Futuro House，John Lautner伊莱德州，和蚂蚁农场根据科尔莫纳的说法，本世纪之屋都被视为“现代设计与愉快之间延长模糊的证据”。
(Courtesy Elmhurst Art Museum)
身体和概念thread that ties all the rooms together is the original magazines themselves, complete with white gloves to handle them carefully. The back and forth between the curated magazine and the modernist McCormick House provides a ripe environment to imagine oneselfwithin the image of modernism.Playboy一直以男性的性快感等同，而是科罗米娜的curation suggests a much deeper understanding of the relationship在性行为，架构和设计之间，不是纯粹的客观的空间，这个展览可能被误解to be, but from a transcendentredefinition of oneself fittingly tied into the construction of lifestyle. This inversion is a critical product of the exhibition curation that directly challenges our historical understanding ofPlayboy, and uses the revolutionary edge of modernist architecture to suggest that creating future images of visionary, free spaces for anybody is what architects have, can, and should continue to do.
