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image, as an assemblage of material objects or as a space. In turn it can be<br />
represented through architectural plans, drawings, photographs, ensembles<br />
of objects or constructed spaces. 1 <strong>Interior</strong>s are rendered even harder<br />
to discuss by the fact that they are constantly being modified as life goes<br />
on within them. In combination these characteristics constitute a significant<br />
challenge to the student of the interior and probably account for the<br />
paucity of serious literature on the subject. Unlike the multitude of widely<br />
available, visually-oriented books about interiors, <strong>The</strong> <strong>Modern</strong> <strong>Interior</strong><br />
will not approach its subject primarily as a stylistic concept, nor will it<br />
limit its remit to the minimally-decorated interiors created or inspired by<br />
the architects and designers associated with European <strong>Modern</strong>ism. Nor<br />
will it interpret ‘modern’ as simply meaning ‘fashionable’ or ‘up-to-date’.<br />
It will aim, rather, to offer its readers an account of the complexity of the<br />
forces that were at play in the formation and development of the modern<br />
interior as it is defined in the pages of this book.<br />
<strong>The</strong> era of industrial modernity was fully formed by the mid-nineteenth<br />
century and reached a level of maturity in the years around the<br />
First World War. Where the modern interior was concerned the two<br />
decades which followed saw a re-affirmation and a consolidation of the<br />
changes that had occurred in that earlier era, as well as a stylistic response<br />
to them. In the half century or so since 1945 the modern interior has<br />
depended, as the final chapter of this book will suggest, upon a continual<br />
reworking of the themes, ideas and tensions that were all in place by<br />
around 1914 and which, by 1939, were expressed through a number of<br />
alternative visual languages. <strong>The</strong> subject of ‘modernity’ – the historical<br />
and theoretical frame for this study – has preoccupied many writers. Like<br />
the interior it contains its own inner tensions and contradictions. For<br />
some it represents an experience of the world which, as a result of the<br />
accelerated expansion of mass communications; the loss of a single, unifying<br />
belief system; and the breakdown of familiar social structures, was<br />
rendered fragmentary, discontinuous, fleeting, incomplete and confusing.<br />
Others have defined it as an extension of the essential rationalism of mass<br />
production into all other aspects of daily life. Yet others have portrayed it<br />
as the result of the continual turnover of goods and images created by<br />
‘consumer desire’. 2 Most have seen it, however, as being characterized by<br />
its innate sense of progress, its ‘forward-lookingness’. 3 For the German<br />
cultural critic Walter Benjamin, the advent of modernity coincided with<br />
the emergence of the private individual. 4 By extension the emergence of<br />
the private domestic interior, and its capacity to facilitate self-reflection,