ABSTRACT
Crediting hippie builders as socially engaged designers seems self-contradictory. The image of the hippie as a stoned, sybaritic loafer preoccupied with sex, drugs, and rock ’n’ roll was (and is today) the reigning cliché: a trope devised as much to exploit the newsstand appeal of counterculture “otherness” as to buttress the values of the postwar “consumer’s republic” mapped by cultural historian Lizabeth Cohen (2004).
