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parts went one step further by designing cars and subsequently emulating<br />
the streamlined aesthetic they developed for them in the interior.<br />
<strong>The</strong>ir objects of transportation were styled to eliminate ‘drag’ and maximize<br />
speed. <strong>The</strong> symbolic implications of that new, dynamic aesthetic<br />
were immediate and compelling and were quickly transferred to inanimate<br />
objects such as pencil sharpeners and refrigerators. Inevitably those<br />
objects found their way into interiors, both public and private, enabling<br />
the interior itself to be ‘streamlined’.<br />
<strong>The</strong> American industrial designers who took upon themselves the<br />
ambitious task of streamlining the entire environment, both interior<br />
and exterior, came from a variety of commercial backgrounds. 16 Very few<br />
were architects by training, the majority having worked in advertising<br />
and, in some cases, in theatre and retail design. 17 <strong>The</strong>y were extremely<br />
adept, therefore, at creating high levels of visual rhetoric and spectacle<br />
in interior spaces. <strong>The</strong>ir work crossed a spectrum from experimental to<br />
live projects. While they dreamed of redesigning the city and imagined<br />
extraordinary futuristic objects of transport for the ‘world of tomorrow’,<br />
for the most part their everyday work consisted of product redesigns and<br />
the commercial interior projects that were associated with them. <strong>The</strong> link<br />
between product and interior design initiated by the American industrial<br />
designers offered an alternative approach to the creation of the modern<br />
interior to that which had been formulated by the European <strong>Modern</strong>ist<br />
architects. While the forms and materials both groups used were often<br />
superficially similar – tubular steel and simple geometry featured widely,<br />
for example – the contexts in which they worked and their working<br />
methods were utterly different. Mass-produced artefacts provided the<br />
starting point for the industrial designers and they worked outwards<br />
from them into the spaces that contained them. Given that they worked<br />
predominantly in the commercial arena their primary aim was to ensure<br />
that the objects they designed looked modern, attractive and desirable.<br />
<strong>The</strong> work that Norman Bel Geddes undertook for the Simmons<br />
Company, for instance, had that end in sight. In his deliberations about<br />
the design of a bed, which in his view had to ‘consist of the simplest<br />
possible horizontal and perpendicular sections, perhaps molded out of one<br />
sheet of metal’, he demonstrated the industrial designer’s characteristic<br />
concern for economical manufacture. He was also interested in ensuring<br />
that the bed could be dusted and dismantled easily and, above all, that it<br />
‘possess[ed] sheer, graceful lines’. 18 When he moved his focus on to the<br />
showroom in which the bed was to be displayed his main preoccupation 159