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created for the apartment building he designed in Lawn Road, London<br />
consisted of a bed-sitting room and a small kitchenette, and featured<br />
Isokon plywood items and pel tubular steel chairs. 15 It was shown at<br />
the Exhibition of British Industrial Art in Relation to the Home held in<br />
London’s Dorland Hall in 1933.<br />
Unless they were created especially by <strong>Modern</strong>ist architects for their<br />
own spaces, or for the handful of private residential clients for whom they<br />
worked, standardized mass-produced furniture items, such as pel’s<br />
simple tubular steel side chairs, could only be produced if there was mass<br />
demand for them. From the late nineteenth century onwards the serial<br />
production of wooden and metal furniture pieces had developed in the<br />
us, focused for the most part in Grand Rapids, near Lake Michigan, in<br />
response to the demand from new offices, hospitals, restaurants and<br />
other large-scale public sphere buildings which were being constructed at<br />
that time. In addition to the growing presence of machine-made furniture<br />
and furnishings in inside spaces, inter-war interiors in both the<br />
public and the private spheres were also becoming more and more heavily<br />
populated by mass-produced, standardized machines. Offices saw the<br />
arrival of typewriters and duplicating machines; shops that of cash registers<br />
and adding machines; while homes witnessed the influx of a wide<br />
range of domestic machines, from irons to kettles, toasters and electric<br />
fires. As the spaces designed for work and commerce were gradually<br />
modernized and, with domestic spaces absorbing the products of the<br />
new technologies, the need for the new machines to reflect that change<br />
aesthetically became a priority. Also as the economic depression hit harder<br />
in the us, putting increased pressure on manufacturers to differentiate<br />
their products, those objects needed to be given modern visual identities<br />
that would enhance their suitability for the spaces they were destined to<br />
facilitate the introduction of modernity into.<br />
In the late 1920s the members of the newly established American<br />
industrial design profession focused on the creation of unified, modernlooking<br />
identities for the new machines destined for the newly modernized<br />
interiors of both the public and the private spheres. Like their European<br />
<strong>Modern</strong>ist architectural contemporaries, they looked to the public sphere<br />
for an appropriate aesthetic. Like Le Corbusier, for example, they were<br />
inspired by the new, modern machine par excellence, the automobile.<br />
While the French architect was more interested in the manufacturing<br />
principles underpinning it than the automobile itself (although he did<br />
design a ‘Minimum Car’ with Pierre Jeanneret) his American counter-