20世纪60年代中期的某个时刻,现成的工业品开始出现在日常的家庭装饰中。在这一趋势发展的高峰,建筑师埃米利奥·安巴斯(EmilioAmbasz)考虑用实验室玻璃器皿和工厂照明来装修客厅、厨房和卧室的意义。“正如第一位做椅子的人使用的是周围的树木,我们现在使用的是身边的物品和工艺,有时则使用记忆。”i对安巴斯而言,改变工业用品的原来用途并将其用于家居装修,是引起强烈争议的批评行为,是一种“道德抗议”的形式。当然,时代已变迁,这种受批评的项目很快变得无法实现。安巴斯当时发出了这样的警告:“这些产品有可能成为亚文化的新时尚,而亚文化将会 At some point in the mid-1960s, ready-made industrial products began to appear in everyday home decor. At the height of this trend, architect Emilio Ambasz considered the implications of living glass, laborers, and factory lighting to decorate the living room, kitchen and bedroom. ”Just as the first chair used trees around us, we now use items and crafts around us and sometimes memories.“ For Ambass, changing the original use of industrial products Using it for home renovation is a highly controversial criticism and a form of ”moral protest.“ Of course, the times have changed, and the critically acclaimed project soon becomes impossible. At the time, Ambas issued the warning: ”These products are likely to become subcultures of new fashion, while subculture will