The Modern Interior

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162 Metropolitan Museum of Art, the aesthetic of streamlining was applied both to the contents of the interior and to its frame. The walls were covered with curved, horizontal metal bands. The same metal was also used as edging on the curved cantilevered desks, for the frame of an upholstered chair, and for the support for a display stand. Repetition was used to accentuate the unity of that streamlined environment as it had been by the Gesamtkunstwerk architect-decorators, Henry Van de Velde and Peter Behrens, earlier in the century. The space was dominated by the objects within it, however, from Loewy’s model for his Hupmobile automobile, which was positioned on a plinth centre stage, to his drawing for the Princess Anne ferryboat, to his dramatically modern-looking glass and metal furnishings. The same designers also worked on numerous shop interiors. Loewy created the W. T. Grant store in Buffalo, among others, while Walter Dorwin Teague designed Eastman Kodak’s New York store in 1931. The scheme for the latter shop interior exhibited the same horizontal metal strips, albeit on a different scale, that the designer had used in his redesign of one of the company’s cameras. The design for the camera shop was a low-key affair, however, in which the visibility of the goods on sale was paramount. Lighting was concealed behind wall cases fitted flush with the walls. Commenting on that interior, a contemporary critic explained that, ‘The entire design was conceived as providing a neutral setting for the display of the photographic enlargements and the various colourful objects of Eastman Kodak manufacture. It was executed, therefore, in varying tones of silver, gray and black. The finish of the various materials was chosen with the same object in view. The display space draws the eye because it is of a light, dull finish in contrast to the dark, polished enframement’, adding that: ‘The display counters have been kept low, better to attract attention, and the objects are displayed on plain standards of a similar finish to that of the walls.’ 21 Some of the American industrial designers’ most overtly modern ideas were reserved for their designs for the interiors of objects of transportation. Transport was their first love and they developed exciting visions of, and wrote extensively and rhetorically about, their streamlined planes, trains, boats, automobiles and even their space rockets, of the future. Only a few of their designs were realized, however. Bel Geddes was responsible for the interior of the Chrysler Airflow of 1933, while the automobile’s exterior was the creation of the engineer, Carl Breer. Loewy’s powerful locomotive designs for the Pennsylvania Railroad Company and
The main lounge and observation end of the 20th Century Limited train, designed by Henry Dreyfuss, 1938. Dreyfuss’s 20th Century Limited model for New York Central both went into production also. The designers in question were equally at home working inside trains, planes and ships. The specific constraints presented by those projects, including the need to appeal to paying passengers and to build on the important symbolic relationship of transport objects with modern life, made those interiors especially challenging. Passenger plane interiors were perhaps the most demanding of all. Bel Geddes’s office designed a mock-up for Pan American’s China Clippers which began flying in 1935. He made a number of innovative proposals including the provision of sleeping facilities, a galley with a refrigerator and sound insulation. Ship interiors also received the attention of the industrial designers. In 1936 Raymond Loewy created a number of rooms, 163
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The Modern Interior Penny Sparke
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The Modern Interior Penny Sparke re
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Contents Introduction 7 Part 1: Ins
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8 A shopping mall in Calgary, Alber
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10 Mrs Sarah Du Prau and Mrs T. Seb
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12 image, as an assemblage of mater
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ideo logical assumption within west
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16 broadcast from 1996 to 2004, was
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18 1850 and 1939 were further playe
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A Victorian parlour in Manchester,
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22 the second half of the nineteent
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24 Al ‘Bucky’ Lamb’s home in
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26 The dining room of Sedgley New H
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28 notwithstanding, those ‘cottag
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30 The drawing room car on a late-1
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32 Trellis Restaurant, Colony Club,
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‘A Drawing Room Corner’, fronti
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36 attraction, fascination, aura an
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38 new synthesis that would not onl
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40 Henry Van de Velde’s Studio in
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42 The daughter’s bedroom in Pete
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44 When the Scottish architect Char
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46 An umbrella- and coat-stand in t
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48 A sitting area in the Palais Sto
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50 embraced the equally fashionable
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52 The Café Museum in Vienna, desi
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54 furniture as an enhancement to t
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56 A breakfast table set with a ser
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A couture dress by Paul Poiret in a
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60 upper middle-class woman, might
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62 spectacle to entice customers in
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64 for a lot of legwork. It doesn
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66 Georges Djo-Bourgeois, study for
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68 possible anywhere in the exhibit
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70 Raymond Loewy and Lee Simonson,
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72 commercial and ideological messa
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74 psychological link between them.
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76 creations and a marker of his ow
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78 Eileen Gray, Pirogue chaise long
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80 A bedroom for a French house in
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82 Elsie de Wolfe in a couture dres
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84 boudoirs for her female clients
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86 While the haute couture professi
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88 fashion show became a widespread
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90 and modernity. It also highlight
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92 the nineteenth century, therefor
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94 An advocate’s consulting room
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96 both grew from it and was integr
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A dining-room in a Small Town House
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100 Josef Frank, a large living roo
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102 Emile-Jacques Ruhlmann, the liv
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104 An American young woman’s bed
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106 styles available at that time.
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108 equivalent. In that context wom
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110 the public arena to a significa
Page 114 and 115: The Passage de l’Opéra, Paris, c
Page 116 and 117: 114 employed by nineteenth-century
Page 118 and 119: A print of an interior view of the
Page 120 and 121: 118 nineteenth century/early twenti
Page 122 and 123: The interior of the National Museum
Page 124 and 125: 122 A San Francisco can-making fact
Page 126 and 127: 124 processing of administrative ta
Page 128 and 129: The Central Court of the Larkin Bui
Page 130 and 131: 128 Lyons Tea Shop and waitresses,
Page 132 and 133: 130 of the Gesamtkunstwerk. Archite
Page 134 and 135: 132 An ‘Efficient Grouping of Kit
Page 136 and 137: 134 were linked to a general desire
Page 138 and 139: The kitchen in the Haus am Horn, de
Page 140 and 141: 138 Erna Meyer’s kitchen in the h
Page 142 and 143: 140 fronts were a deep blue (althou
Page 144 and 145: 142 A chaise longue, designed by Le
Page 146 and 147: 144 ceilings to add a level of rest
Page 148 and 149: 146 that time, governed consumption
Page 150 and 151: 148 Workers assembling Model ‘t
Page 152 and 153: 150 about the interior through the
Page 154 and 155: 152 settlements alone’, one write
Page 156 and 157: 154 saw the furniture items he incl
Page 158 and 159: The dining room in an apartment, de
Page 160 and 161: 158 created for the apartment build
Page 162 and 163: 160 remained the enhancement of the
Page 166 and 167: 164 including the main hall and the
Page 168 and 169: 166 of Vassar graduates living in i
Page 170 and 171: 168 within it as items of equipment
Page 172 and 173: 170 desire to sever art’s links w
Page 174 and 175: 172 Theo van Doesburg, tiled corrid
Page 176 and 177: A facade of the house designed by G
Page 178 and 179: 176 The first floor of the house de
Page 180 and 181: 178 A view of the interior looking
Page 182 and 183: 180 apartments he designed for the
Page 184 and 185: 182 The interior in Rudolf M. Schin
Page 186 and 187: 184 the abstract interior had lost
Page 188 and 189: 186 became a popular ideal as well.
Page 190 and 191: 188 and above all equal to, archite
Page 192 and 193: 190 Charles Eames’s Tandem Sling
Page 194 and 195: 192 A 1960s interior, designed by V
Page 196 and 197: 194 An interior containing a range
Page 198 and 199: 196 Davis Gillies, also included an
Page 200 and 201: 198 A combined living and dining ar
Page 202 and 203: 200 which were characterized by the
Page 204 and 205: 202 A bathroom in the Park Hyatt Se
Page 206 and 207: 204 Conclusion Wouldn’t you rathe
Page 208 and 209: 206 intrusion of the media into our
Page 210 and 211: 208 modern interior. They are portr
Page 212 and 213: 210 nonetheless - fulfil the same m
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212 gondolas of Italy’s Venice ha
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214 questioned (see A. Vickery, ‘
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216 33 Ibid., p. 187. 34 Ibid. 35 I
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218 38 Ibid., p. 67. 39 K. Wilson,
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220 8 Ibid. 9 Rice, The Emergence o
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222 20 Rappaport, Shopping for Plea
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224 15 See Thirties: British Art an
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226 Conclusion 1 ‘50 Expert Ideas
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228 Blumin, S., The Emergence of th
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230 Guillén, M. F., The Taylorized
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232 pp. 187-208 Rice, C., The Emerg
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234 Acknowledgements This book is t
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236 Photo Acknowledgements The auth
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238 Djo-Bourgeois, Georges 66, 68 d
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240 Saarinen, Eliel 186 Saint-Gaude
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