The Modern Interior

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170 desire to sever art’s links with lived reality, and to lift it to a level above that of fashionable taste and the commercial system of exchange (an unfulfilled aspiration, of course), the long-term effect was a new direction for the lived-in modern interior through the twentieth century. The absorption of the interior into a sequence of modern art movements served to transform it, both theoretically and actually, from a visual, material and spatial reality into an abstract concept. That new direction of travel had two distinct manifestations. Firstly, in the work of the Dutch De Stijl artists, the interior became part of a highly abstracted redefinition of space that took place, in the first instance, in two dimensions on the painted canvas, but which was subsequently reintroduced into three dimensions in the form of architectural models and constructions. Secondly a number of Modernist architects, inspired by the work of the Cubists and the Constructivists, began to see the creation of architecture, and of the interior, as being synonymous with the abstract manipulation of space. A set of collaborations between artists and architects characterized the developments that took place in The Netherlands in the years immediately after the First World War. The result was the emergence of a new definition of the interior and of the furniture items within it. Those artists and architects established their collaborations, in broad terms, upon the premise that painting and architecture were two very distinct and different disciplines that could, nonetheless, complement each other through the relationship of colour’s potential for spatial construction. 6 The Dutch architect, Bart van der Leck, was a key protagonist in those collaborations. He had begun his career as an applied artist in the 1890s and he acted as an important bridge between the ideas of the English Arts and Crafts architects and designers and the work of the De Stijl group of which he was a member. He subsequently worked on a range of architectural projects with the Amsterdam-based architect H. P. Berlage. The artist Theo van Doesburg worked with the architects Jan Wils and J.J.P. Oud, who were also both heavily influenced by Berlage. Another applied artist and painter, Vilmos Huszár, collaborated with the architect Piet Klaarhamer in the development of a number of sophisticated ideas about the difference between the decorative and the plastic arts. He also ventured into furniture design. Piet Zwart, another De Stijl artist with an Arts and Crafts background, also took an interest in interiors and made a significant contribution to exhibition design. His designs were temporary, highly branded structures, intended as frames for the commodities
Piet Zwart, Nederlandse Kabel - fabriek Exhibition Stand, Tentoonstelling, nenyto, Rotterdam, 1928, illustrated in Wendingen, 1928. on display within them. Projects he worked on included a stand for a celluloid manufacturer at the Utrecht Annual Industrial Fair of 1921 and a 1928 design for a display stand for the Nederlandse Kabelfabriek which was illustrated in the Dutch magazine, Wendingen. They were both highly innovative designs combining graphics and three-dimensional display design in striking abstract compositions. Although Piet Mondrian, the most prominent of all the De Stijl artists, did not have a background in the applied arts, he developed a special relationship with the interior nonetheless, understanding it as a series of flat planes on to which art could be placed. 7 He applied his ideas to his own studios, creating a series of spaces at one with the work he produced within them. The programme to which the De Stijl artists and architects signed up was not only aesthetically driven, however. It also had a strong social 171
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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
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The Passage de l’Opéra, Paris, c
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114 employed by nineteenth-century
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A print of an interior view of the
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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 164 and 165: 162 Metropolitan Museum of Art, 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 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
Page 214 and 215: 212 gondolas of Italy’s Venice ha
Page 216 and 217: 214 questioned (see A. Vickery, ‘
Page 218 and 219: 216 33 Ibid., p. 187. 34 Ibid. 35 I
Page 220 and 221: 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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The Modern Interior

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