The Modern Interior

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190 Charles Eames’s Tandem Sling Seating in Washington (later Dulles) International Airport, Virginia, 1962. either as a domestic artefact or as one destined for an office or a reception area in an office building. 9 All the furniture pieces that Eames created through the 1940s and ’50s displayed the same schizophrenia. His aluminium group furniture pieces of 1958, for example, originally created for Alexander Girard, who had wanted some lightweight pieces to use both within and outside a house he was building in Ohio, were quickly developed for use in a wide range of public spaces. 10 While Eames worked in the context of mass production and defined his furniture designs as technical achievements first and foremost, he was also fully aware of the significance of the interior settings
for which they were destined. Like Henry Van de Velde and others before him, Eames created a home and studio for himself and his family. The house was built from pre-fabricated parts and resembled, from the outside, a glass ‘shed’ or, alternatively, a simple Japanese house. He filled the interior with his own furniture designs and numerous personal mementos which have been linked to Eames’s commitment to the notion of ‘functioning decoration’, an important characteristic of the new, humanized face of Modernism. 11 The high levels of decoration in the interior of Eames’s Santa Monica house have been attributed to the intervention of Charles’s wife Ray. 12 A continuum undoubtedly existed in the couple’s minds between their domestic spaces and their work environments. 13 They ate breakfast in their home and their other meals at their office, for example. 14 Eames’s furniture functioned equally effectively within his pre-fabricated home and in his work area. By extension he offered his clients – both individual and corporate – the possibility of moving seamlessly between their domestic and their non-domestic spaces. Although his chairs were frequently depicted as isolated objects they also acted as powerful representations of a newly defined model of the modern inter - ior that recognized little difference between the private and public spheres. While the mass-produced multiple seating Eames created for airport waiting spaces – Washington’s Dulles airport and Chicago’s O’Hare airport among them – established a blueprint for stylish public leisure and travel spaces internationally from the late 1950s onward, no self-respecting contemporary house would be complete without an Eames chair, most probably his 1956 lounge chair and ottoman created originally for film director Billy Wilder. A stylish interior by Vittoriano Viganò illustrated in an Italian book on interiors, Forme et colore dell’arredamento modern, of 1967 (overleaf), demonstrates the ease with which Eames’s 1956 lounge chair, complete with ottoman, could be integrated into modern domestic spaces at that time. 15 Eames’s designs reflected the ubiquity and iconicity that Marcel Breuer’s earlier tubular steel chairs had set out to achieve in a previous era, but with the advances in manufacturing technologies, the expansion of office spaces and other public sphere interiors, and the democratization of the modern style, Eames’s achievements were arguably more significant in the early post-war years. Charles Eames’s refusal to acknowledge the separation of the spheres also underpinned the work of the designer Florence Knoll and her involvement with the Knoll Planning Unit. Her distinctive achievement was not only to create modern furniture designs both for the home and the 191
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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
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The kitchen in the Haus am Horn, de
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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 188 and 189: 186 became a popular ideal as well.
Page 190 and 191: 188 and above all equal to, archite
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
Page 238 and 239: 236 Photo Acknowledgements The auth
Page 240 and 241: 238 Djo-Bourgeois, Georges 66, 68 d
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240 Saarinen, Eliel 186 Saint-Gaude
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