“So Gropius falls upon the thorns of life; he bleeds. And his architecture is based upon a sociology of human relations which in turn rests on the exigencies of keeping a number of affairs going at once. This is the human matrix out of which the Wohnmaschine grows (the speech of this name was written in 1919): the machine for living is a mechanical surrogate for the home. It is designed to facilitate mechanical sex between interchangeable partners as opposed to monogamous marriage. It appears in specifically mechanical shapes that embody the Bauhaus philosophy, which is to break down the old ideas of exclusivity in marriage, privacy, and the irreplaceable and unique characteristics of the person, specifically the spouse. In their place on finds the rhetoric of industrialism, the mechanization of sexual life, interchangeable parts and partners, and a complete repudiate of the notion of the home as a private and a refuge from the world and its instrumental values” [E. Michael Jones, Living Machines (San Francisco: Ignatius Press, 1995), pp. 84-85].
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