The Modern Interior

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186 became a popular ideal as well. The mass media also brought architects and designers themselves into the public arena and the modern ‘designed interior’, understood both as a mechanism for social elevation and as a means by which large numbers of people could participate in the exciting new world of progressive modernity, became a mass phenomenon, as the modern idioms of Art Deco and Streamlining had been in the interwar years. The message of inter-war European architectural and design Modern ism was especially strong in the us in the years after 1945. Follow - ing the migration of Josef Urban, Gilbert Rhode, Rudolph Schindler and others across the Atlantic, the additional presence of German Modernists such as Walter Gropius, Mies van der Rohe and Marcel Breuer on American soil – as well as that of a number of other Europeans, including the Finnish Jugendstil architect Eliel Saarinen, who took the directorship of Michigan’s Cranbrook Academy – helped to further disseminate that message. The ideas adopted by those Modernist giants relating to the interior – the open plan, the continuity between inside and outside, the use of built-in furniture and items of ‘equipment’, and the emphasis upon spatial articulation, among many others – inevitably fed into American post-war developments. The ‘organic’ inter iors of the American Modernist, Frank Lloyd Wright, were also frequently referenced in both contemporary architectural and interior maga zines as well as in more popular publications. Attention focused on his commitment to the idea of the Gesamtkunstwerk, on his use of texture – exposed stone on chimney breasts, for example – and on the hearth as a focal point for open-plan living spaces. The interiors of his own home, Taliesin, were widely reproduced in those years offering a seductive model for others to follow. An image of Wright’s living area in that house appeared in a 1955 Italian publication titled L’Arredamento Moderno. 2 George Nelson and Henry Wright, in their influential book Tomorrow’s House (1945), which appealed for a new architecture that would break free from the bonds of stylistic revivalism, described Taliesin as ‘one of the most wonderful houses ever built’. 3 Nelson and Wright’s commitment to move beyond the shadow of stylistic revivalism, nostalgia and the obsession with antiques that had dominated both elite and popular American domestic interiors through the twentieth century was echoed by others. In Goodbye, Mr. Chippendale, published in 1944, the American interior designer T. H. Robsjohn- Gibbings, for example, blamed the decorators. ‘The words “interior
The living area of Taliesin, Wisconsin, the home of Frank Lloyd Wright, designed by Wright, illustrated in Roberto Aloi’s L’Arredamento Moderno, 1955. decorating” today’, he wrote, ‘bring a mental picture of busy people running around with a pick-me-up for wilting upholstery, and scouring Third Avenue for “something amusing and chic” all for ten per cent profit’. 4 Significantly Robsjohn-Gibbings described himself as an ‘interior designer’, a member, that is, of a new community of aesthetic practitioners who saw themselves as highly professionalized and closely aligned with, 187
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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
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The interior of the National Museum
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122 A San Francisco can-making fact
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124 processing of administrative ta
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The Central Court of the Larkin Bui
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128 Lyons Tea Shop and waitresses,
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130 of the Gesamtkunstwerk. Archite
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132 An ‘Efficient Grouping of Kit
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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 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 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,
Page 222 and 223: 220 8 Ibid. 9 Rice, The Emergence o
Page 224 and 225: 222 20 Rappaport, Shopping for Plea
Page 226 and 227: 224 15 See Thirties: British Art an
Page 228 and 229: 226 Conclusion 1 ‘50 Expert Ideas
Page 230 and 231: 228 Blumin, S., The Emergence of th
Page 232 and 233: 230 Guillén, M. F., The Taylorized
Page 234 and 235: 232 pp. 187-208 Rice, C., The Emerg
Page 236 and 237: 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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