The Modern Interior

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8 A shopping mall in Calgary, Alberta, 2005. department store and the café – as well as in the modern hospital and church – as they were in the home. In addition, the visual languages through which it was expressed could range from Louis Quinze to Streamlined Moderne. The modern interior addressed in this study can be understood, therefore, in a very general sense, as the inside location of people’s experiences of, and negotiations with, modern life. One of the best documented of these negotiations was initiated by a group of progressive architects and designers who were committed to the idea that modern inside spaces not only mirrored modern experiences but that, more importantly, they also played a role in constructing
them. To that end they developed a technical and aesthetic programme, manifested in the years between the two world wars, known then as the Modern Movement (now more commonly referred to as architectural and design Modernism). While acknowledging the important contri - bution made by that movement to the development of the modern interior this study surveys its subject through a wider lens, setting it in the context of a broader range of ideas emanating from the interior’s engagement with modernity. One of the key transformations brought about by the advent of modernity’s main driver – industrialization – related to people’s private and public experiences that affected the formation of both their self- and their collective identities. This study of the modern interior was partly triggered by an encounter with a scene from everyday life which raised a number of questions for me about the relationship of private interiors with the inside spaces of public buildings. Walking through a vast shopping mall in Calgary in Alberta a couple of years ago I encountered a small oasis of calm located in the midst of the hustle and bustle of mass shopping. The scene, which comprised a set of comfortable armchairs carefully positioned on an Oriental-style carpet and accompanied by potted plants, resembled a domestic living room – one, however, that had been removed from its more familiar private environment and repositioned in a public space that was utterly alien to it. Surrounded by enormous plate glass windows, fast-moving escalators and huge structural columns, that miniature scene seemed strangely out of place. What was that private stage set doing in an otherwise public environment? Like the Victorian parlour on which it modelled itself, it offered comfort and refuge, however temporary, from the world of work and commerce – a chance, that is, for a snatched moment of self-reflection and repose for its occupants, and for them to see themselves as individuals in an environment otherwise dedicated to the anonymity of the crowd. Surprisingly, in spite of its location within a larger interior space with which it had no obvious relationship, that little setting had retained its historical relevance and meaning. Also, although seeming on the face of it so different, the two ‘interiors’ I had encountered – a private domestic parlour and a public shopping mall – had, I realised on reflection, something in common. While, back in the nineteenth century, the former had served as a sanctuary for middle-class Victorian men who had left home on a daily basis to work in factories and offices, the latter, a slightly later development, had developed as a covered space in which 9
Page 1: The Modern Interior Penny Sparke
Page 5 and 6: The Modern Interior Penny Sparke re
Page 7: Contents Introduction 7 Part 1: Ins
Page 12 and 13: 10 Mrs Sarah Du Prau and Mrs T. Seb
Page 14 and 15: 12 image, as an assemblage of mater
Page 16 and 17: ideo logical assumption within west
Page 18 and 19: 16 broadcast from 1996 to 2004, was
Page 20 and 21: 18 1850 and 1939 were further playe
Page 22 and 23: A Victorian parlour in Manchester,
Page 24 and 25: 22 the second half of the nineteent
Page 26 and 27: 24 Al ‘Bucky’ Lamb’s home in
Page 28 and 29: 26 The dining room of Sedgley New H
Page 30 and 31: 28 notwithstanding, those ‘cottag
Page 32 and 33: 30 The drawing room car on a late-1
Page 34 and 35: 32 Trellis Restaurant, Colony Club,
Page 36 and 37: ‘A Drawing Room Corner’, fronti
Page 38 and 39: 36 attraction, fascination, aura an
Page 40 and 41: 38 new synthesis that would not onl
Page 42 and 43: 40 Henry Van de Velde’s Studio in
Page 44 and 45: 42 The daughter’s bedroom in Pete
Page 46 and 47: 44 When the Scottish architect Char
Page 48 and 49: 46 An umbrella- and coat-stand in t
Page 50 and 51: 48 A sitting area in the Palais Sto
Page 52 and 53: 50 embraced the equally fashionable
Page 54 and 55: 52 The Café Museum in Vienna, desi
Page 56 and 57: 54 furniture as an enhancement to t
Page 58 and 59: 56 A breakfast table set with a ser
Page 60 and 61:
A couture dress by Paul Poiret in a
Page 62 and 63:
60 upper middle-class woman, might
Page 64 and 65:
62 spectacle to entice customers in
Page 66 and 67:
64 for a lot of legwork. It doesn
Page 68 and 69:
66 Georges Djo-Bourgeois, study for
Page 70 and 71:
68 possible anywhere in the exhibit
Page 72 and 73:
70 Raymond Loewy and Lee Simonson,
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72 commercial and ideological messa
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74 psychological link between them.
Page 78 and 79:
76 creations and a marker of his ow
Page 80 and 81:
78 Eileen Gray, Pirogue chaise long
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80 A bedroom for a French house in
Page 84 and 85:
82 Elsie de Wolfe in a couture dres
Page 86 and 87:
84 boudoirs for her female clients
Page 88 and 89:
86 While the haute couture professi
Page 90 and 91:
88 fashion show became a widespread
Page 92 and 93:
90 and modernity. It also highlight
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92 the nineteenth century, therefor
Page 96 and 97:
94 An advocate’s consulting room
Page 98 and 99:
96 both grew from it and was integr
Page 100 and 101:
A dining-room in a Small Town House
Page 102 and 103:
100 Josef Frank, a large living roo
Page 104 and 105:
102 Emile-Jacques Ruhlmann, the liv
Page 106 and 107:
104 An American young woman’s bed
Page 108 and 109:
106 styles available at that time.
Page 110 and 111:
108 equivalent. In that context wom
Page 112 and 113:
110 the public arena to a significa
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The Passage de l’Opéra, Paris, c
Page 116 and 117:
114 employed by nineteenth-century
Page 118 and 119:
A print of an interior view of the
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118 nineteenth century/early twenti
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The interior of the National Museum
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122 A San Francisco can-making fact
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124 processing of administrative ta
Page 128 and 129:
The Central Court of the Larkin Bui
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128 Lyons Tea Shop and waitresses,
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130 of the Gesamtkunstwerk. Archite
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132 An ‘Efficient Grouping of Kit
Page 136 and 137:
134 were linked to a general desire
Page 138 and 139:
The kitchen in the Haus am Horn, de
Page 140 and 141:
138 Erna Meyer’s kitchen in the h
Page 142 and 143:
140 fronts were a deep blue (althou
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142 A chaise longue, designed by Le
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144 ceilings to add a level of rest
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146 that time, governed consumption
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148 Workers assembling Model ‘t
Page 152 and 153:
150 about the interior through the
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152 settlements alone’, one write
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154 saw the furniture items he incl
Page 158 and 159:
The dining room in an apartment, de
Page 160 and 161:
158 created for the apartment build
Page 162 and 163:
160 remained the enhancement of the
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162 Metropolitan Museum of Art, the
Page 166 and 167:
164 including the main hall and the
Page 168 and 169:
166 of Vassar graduates living in i
Page 170 and 171:
168 within it as items of equipment
Page 172 and 173:
170 desire to sever art’s links w
Page 174 and 175:
172 Theo van Doesburg, tiled corrid
Page 176 and 177:
A facade of the house designed by G
Page 178 and 179:
176 The first floor of the house de
Page 180 and 181:
178 A view of the interior looking
Page 182 and 183:
180 apartments he designed for the
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182 The interior in Rudolf M. Schin
Page 186 and 187:
184 the abstract interior had lost
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186 became a popular ideal as well.
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188 and above all equal to, archite
Page 192 and 193:
190 Charles Eames’s Tandem Sling
Page 194 and 195:
192 A 1960s interior, designed by V
Page 196 and 197:
194 An interior containing a range
Page 198 and 199:
196 Davis Gillies, also included an
Page 200 and 201:
198 A combined living and dining ar
Page 202 and 203:
200 which were characterized by the
Page 204 and 205:
202 A bathroom in the Park Hyatt Se
Page 206 and 207:
204 Conclusion Wouldn’t you rathe
Page 208 and 209:
206 intrusion of the media into our
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208 modern interior. They are portr
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210 nonetheless - fulfil the same m
Page 214 and 215:
212 gondolas of Italy’s Venice ha
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214 questioned (see A. Vickery, ‘
Page 218 and 219:
216 33 Ibid., p. 187. 34 Ibid. 35 I
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218 38 Ibid., p. 67. 39 K. Wilson,
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220 8 Ibid. 9 Rice, The Emergence o
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222 20 Rappaport, Shopping for Plea
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224 15 See Thirties: British Art an
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226 Conclusion 1 ‘50 Expert Ideas
Page 230 and 231:
228 Blumin, S., The Emergence of th
Page 232 and 233:
230 Guillén, M. F., The Taylorized
Page 234 and 235:
232 pp. 187-208 Rice, C., The Emerg
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234 Acknowledgements This book is t
Page 238 and 239:
236 Photo Acknowledgements The auth
Page 240 and 241:
238 Djo-Bourgeois, Georges 66, 68 d
Page 242:
240 Saarinen, Eliel 186 Saint-Gaude
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