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settlements alone’, one writer has explained. As we have seen Lihotsky<br />
took her inspiration from ship’s galleys and railroad dining-car kitchens<br />
so the principle of standardization, inherent in those spaces, moved naturally<br />
into the domestic context. 5 Indeed, the role of standardized interior<br />
components in determining the appearance of interior spaces<br />
became increasingly apparent within the implementation of archi tectural<br />
<strong>Modern</strong>ism in Europe, and in the us through the middle years of the<br />
twentieth century. <strong>The</strong> concept of the idealized ‘model interior’, which<br />
could be replicated through the mass availability of standardized goods,<br />
had by that time captured the popular imagination through the media<br />
of exhibitions, magazines and other forms of mass dissemination. At<br />
the Weissenhof Siedlung of 1927, for example, the house designed by<br />
J.J.P. Oud, which contained Erna Meyer’s rational kitchen, also featured<br />
standardized furniture pieces in its combination living and dining room,<br />
designed by Ferdinand Kramer.<br />
<strong>The</strong> need to put any objects into interiors went against the grain of<br />
the architectural <strong>Modern</strong>ists and was often undertaken extremely reluctantly.<br />
Indeed the <strong>Modern</strong>ist interior was often conceived, at least in ideal<br />
terms, as a near empty, uncluttered, dematerialized space. Many architects,<br />
as we have already seen, found a solution in the idea of built-in furniture,<br />
extensions of the architectural frame, which helped to diminish<br />
the impact of the materiality of interior furnishings and to emphasize the<br />
dominance of architectural space. ‘We would prefer’, wrote Le Corbusier,<br />
‘that our fittings and our furniture be built into walls, stay there, invisible<br />
and practical, leaving the home spacious and aerated’. 6 Given the<br />
practical demands of occupying space, however, the total exclusion of<br />
material objects was never a realistic option and, inevitably, the modern<br />
interior became a container for a variety of material artefacts, both<br />
mass-produced and otherwise. Indeed, a tension between abstraction<br />
and materiality characterized the <strong>Modern</strong>ist interior. Recognizing the<br />
inevitability of the need for material objects in their otherwise abstract,<br />
spatial settings, a number of <strong>Modern</strong>ist architects, Le Corbusier among<br />
them, chose to complement their built-in furniture with ‘free-standing’<br />
furnishings, sometimes, as we have seen, mass-produced items bought<br />
‘off the shelf’ and sometimes objects made to their own designs over<br />
which they could maintain a higher level of control. <strong>The</strong> contemporary<br />
materials utilized in many of their designs – tubular steel, glass and plywood<br />
among them – determined a particular furniture aesthetic which<br />
quickly came to characterize the <strong>Modern</strong>ist interior. <strong>The</strong>y offered a level