The Modern Interior

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A dining-room in a Small Town House in golden yellow, blue, violet and dull green, designed by the Aschermann Studio and illustrated in Hazel H. Adler’s The New Interior: Modern Decoration for the Home, published in 1916.
‘inside’ focus than her architectural contemporaries and aimed her advice at ‘that large body of intelligent people who are seeking to create for themselves expressive and individual environments of life.’ 18 Rather than hiring a professional interior decorator she advocated letting homes evolve to embrace the ‘new taste’. 19 The illustrations to her text revealed a strong Austrian influence, several of the schemes – ironically, given her views on decorating professionals – having been created by Paul Zimmerman and others by E. H. and G. G. Aschermann, who had also studied with Hoffmann. 20 The chequered floor, patterned wallpaper, repeated vases of flowers and built-in furniture featured in one of the Aschermann interiors illustrated in Adler’s book recalled Werkstätte designs. The Aschermanns were part of the same generation of immigrant decorative designers which also included Winold Reiss and Alfons Baumgarten, who had left Munich and arrived in the us in around 1913. Reiss went on to create modern, decorative interiors for numerous commercial buildings in the us, including the Busy Lady Bakery, designed in 1915, which was later described as ‘the first modern store in New York’. 21 The Viennese movement also influenced modern decorative Swedish interior design. Josef Frank had been active as an architect in Vienna before moving to Sweden in 1932. In 1925 he had opened an interior decorating shop, Haus und Garten, with Oscar Wlach, and in the same year his firm had exhibited a small niche containing furniture items at the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes. Striking for its lack of unity – Frank, like Poiret before him, rejected the idea of the Gesamtkunstwerk – its eclecticism, and its embrace of the past. Frank’s work prefigured a new approach to the domestic interior which opposed that promoted by the hard-line Modern ists. Frank was open about his rejection of the Modernist inter - ior, especially the use of tubular steel for furniture and standardization in the interior, but, in their self-conscious response to the demands of modern life, his proposals for the domestic interior were no less modern. ‘The modern person’, he explained, ‘who is increasingly more exhausted by his job requires a domicile cozier and more comfortable than those of the past’. 22 Later he explained that ‘coziness’ could be achieved through a mixture of furniture items, some old and some new, the inclusion of comfy sofas and cushions and the use of patterned surfaces. ‘The monochromed surface’, he wrote, ‘has an unsettling effect, the patterned surface is a calming one because the beholder is involuntarily affected by the slow, calm mode of production’. 23 99
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The Modern Interior Penny Sparke
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The Modern Interior Penny Sparke re
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Contents Introduction 7 Part 1: Ins
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8 A shopping mall in Calgary, Alber
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10 Mrs Sarah Du Prau and Mrs T. Seb
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12 image, as an assemblage of mater
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ideo logical assumption within west
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16 broadcast from 1996 to 2004, was
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18 1850 and 1939 were further playe
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A Victorian parlour in Manchester,
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22 the second half of the nineteent
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24 Al ‘Bucky’ Lamb’s home in
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26 The dining room of Sedgley New H
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28 notwithstanding, those ‘cottag
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30 The drawing room car on a late-1
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32 Trellis Restaurant, Colony Club,
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‘A Drawing Room Corner’, fronti
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36 attraction, fascination, aura an
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38 new synthesis that would not onl
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40 Henry Van de Velde’s Studio in
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42 The daughter’s bedroom in Pete
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44 When the Scottish architect Char
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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,
Page 74 and 75: 72 commercial and ideological messa
Page 76 and 77: 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
Page 82 and 83: 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
Page 94 and 95: 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 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
Page 114 and 115: 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
Page 120 and 121: 118 nineteenth century/early twenti
Page 122 and 123: The interior of the National Museum
Page 124 and 125: 122 A San Francisco can-making fact
Page 126 and 127: 124 processing of administrative ta
Page 128 and 129: The Central Court of the Larkin Bui
Page 130 and 131: 128 Lyons Tea Shop and waitresses,
Page 132 and 133: 130 of the Gesamtkunstwerk. Archite
Page 134 and 135: 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
Page 144 and 145: 142 A chaise longue, designed by Le
Page 146 and 147: 144 ceilings to add a level of rest
Page 148 and 149: 146 that time, governed consumption
Page 150 and 151:
148 Workers assembling Model ‘t
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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
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The dining room in an apartment, de
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158 created for the apartment build
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160 remained the enhancement of the
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162 Metropolitan Museum of Art, the
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164 including the main hall and the
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166 of Vassar graduates living in i
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168 within it as items of equipment
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170 desire to sever art’s links w
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172 Theo van Doesburg, tiled corrid
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A facade of the house designed by G
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176 The first floor of the house de
Page 180 and 181:
178 A view of the interior looking
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180 apartments he designed for the
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182 The interior in Rudolf M. Schin
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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
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190 Charles Eames’s Tandem Sling
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192 A 1960s interior, designed by V
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194 An interior containing a range
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196 Davis Gillies, also included an
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198 A combined living and dining ar
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200 which were characterized by the
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202 A bathroom in the Park Hyatt Se
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204 Conclusion Wouldn’t you rathe
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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
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212 gondolas of Italy’s Venice ha
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214 questioned (see A. Vickery, ‘
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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
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228 Blumin, S., The Emergence of th
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230 Guillén, M. F., The Taylorized
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232 pp. 187-208 Rice, C., The Emerg
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234 Acknowledgements This book is t
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236 Photo Acknowledgements The auth
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238 Djo-Bourgeois, Georges 66, 68 d
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240 Saarinen, Eliel 186 Saint-Gaude
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