The Modern Interior

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128 Lyons Tea Shop and waitresses, London, 1890s. advances, the work of engineers and planners, and of new rational thinking about ways of improving productivity and efficiency. Above all they had emerged as solutions to problems, and as responses to opportunities presented by the advent of industrial modernity. Over the next two decades a new generation of architects and designers was to embrace the ideas and the forms offered to them by these new spaces and to integrate them into a new architectural movement which, in turn, dramatically transformed both the nature and the appearance of the modern interior.
7 The Rational Interior Around this time the real gravitational center of living shifts to the office. Walter Benjamin 1 For many Modern Movement architects the interior had become so inextricably linked with Victorian middle-class domesticity, fashion, personal expression and mass consumption that they felt compelled to develop an architecture which minimized its existence. They found an alternative model, which they believed to be both rational and functional, in the spaces inside the new public sphere buildings – factories, stores and exhibition halls among them. They were also inspired by the functional spaces in new objects of transport, including Pullman train kitchens and ships’ galleys. 2 Several of them focused on social housing projects and developed the idea of the ‘minimal dwelling’, but many of their commissions came from progressive, middle-class clients who wanted a taste of what was rapidly becoming a new, clutter-free lifestyle. In spite of the numerous hesitations expressed about it a Modern Movement domestic interior inevitably emerged. Unlike its nineteenthcentury predecessors which had been dominated by materiality, however, it was primarily spatially defined. Its roots lay in what the Modernists believed to be the unconscious, utilitarian, ‘engineered’ aesthetic of the new public sphere interiors and they introduced it into modern residential spaces in their efforts to address what they saw as the ‘problem’ of bourgeois domesticity. Rapidly, however, it was recirculated back into the public arena and applied to a wide range of building types – restaurants, shops, leisure centres, schools, hospitals and churches among them – some of which were new and others of which were being ‘modernized’ for the first time. In that new context it became a highly self-conscious aesthetic which openly declared its alliance with modernity. In effect, therefore, once it had been reformulated within the Modernist dwelling, the modern public interior was transformed into a metaphor of and for itself. The Modern Movement architect-designers also embraced the idea 129
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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
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48 A sitting area in the Palais Sto
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50 embraced the equally fashionable
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52 The Café Museum in Vienna, desi
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54 furniture as an enhancement to t
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56 A breakfast table set with a ser
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A couture dress by Paul Poiret in a
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60 upper middle-class woman, might
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62 spectacle to entice customers in
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64 for a lot of legwork. It doesn
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66 Georges Djo-Bourgeois, study for
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68 possible anywhere in the exhibit
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70 Raymond Loewy and Lee Simonson,
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72 commercial and ideological messa
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74 psychological link between them.
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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 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
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 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
Page 152 and 153: 150 about the interior through the
Page 154 and 155: 152 settlements alone’, one write
Page 156 and 157: 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
Page 164 and 165: 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
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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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