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of the Gesamtkunstwerk. Architecture took the lead, therefore, while the<br />
so-called ‘decorative arts’, a catch-all term which embraced the interior,<br />
followed meekly after it. For the <strong>Modern</strong>ists the interior was simply the<br />
space within buildings, an inevitability which, in order for daily life to<br />
take place, had to be ‘equipped’ – albeit as minimally as possible.<br />
By the 1920s the international <strong>Modern</strong> Movement in architecture<br />
and design, part of a more broadly based cultural response to modernity<br />
also encompassing literature, music and drama, was fully formed. It<br />
embraced new materials and building techniques – reinforced concrete,<br />
plate-glass and steel-frame construction in particular – which had a dramatic<br />
impact on the development of the interior spaces of its buildings.<br />
Above all, the <strong>Modern</strong>ist architects transferred the key characteristics of<br />
new commercial interiors – large open-planned spaces, high levels of<br />
transparency and porosity and, perhaps most importantly, a sense of<br />
inside/outside ambiguity – into the domestic arena. By taking those features<br />
into private spaces they set out to eradicate the domestic interior’s<br />
role as an overt expression of beauty, as a space for interiority and identity<br />
formation, and its links with fashionableness and social status. In<br />
their place they emphasized its utilitarian features and the efficiency of<br />
the processes undertaken within it. That latter ambition had first<br />
emerged, as we have seen, in factories and offices as well as in a number<br />
of other public sphere workspaces such as commercial kitchens and laundries.<br />
Of the three main drivers of modernization – industrialization,<br />
rationalization and standardization – the first two came together in that<br />
context. No sooner had they been implemented in the public sphere,<br />
however, than <strong>Modern</strong> Movement architects sought to transfer them into<br />
the home, hoping in the process to dedicate that arena to rational production<br />
and social equality.<br />
<strong>The</strong> <strong>Modern</strong>ists’ rational approach to space planning inevitably<br />
impacted most strongly on those areas of the home dedicated to work<br />
rather than to leisure, display, social relations or interiority. That was<br />
especially the case as household servants became increasingly scarce and<br />
the housewife had to take on more household tasks. In its early formulation,<br />
the domestic rational interior focused exclusively on process rather<br />
than aesthetics. In the hands of <strong>Modern</strong>ist architects, however, a new<br />
aesthetic for the interior also began to emerge. In line with modernity’s<br />
prioritization of the visual, by the inter-war years the idea of the modern<br />
interior had become increasingly associated with a simple, abstract,<br />
geometric, undecorated interior style, often referred to as the ‘machine