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which were characterized by their ‘massive initial impact and small<br />
sustaining power’. 25 Seen as a highly transient area of visual, material and<br />
spatial culture that could be changed at will to suit to the shifting identities<br />
of its inhabitants, the interior was heavily implicated in that crisis of<br />
values. From the poster-festooned bedrooms of young people, to the spaces<br />
in the clubs in which they danced, to the brightly coloured patterned<br />
surfaces of the retail stores where they shopped for clothes and other life -<br />
style accessories, the ‘Pop’ interior quickly became a reality. Retailers, from<br />
Terence Conran to Dodo Designs, supplied young British consumers with<br />
many of the objects they needed to embellish their interior spaces.<br />
By the 1970s however, the progressiveness that had characterized<br />
Pop design had been replaced by a new mood of retrospection that<br />
encouraged a reworking of the modern interior. Beginning its journey by<br />
reviving the Arts and Crafts Movement before quickly moving on to Art<br />
Nouveau and thence to Art Deco and on to 1950s’ ‘Mid-century <strong>Modern</strong>’,<br />
the style-based ‘retro’ movement embraced, in only a few years, the entire<br />
historical period of the modern interior. In so doing it was re-enacting<br />
the Victorian interior’s embrace of the past as a means of addressing the<br />
present. By the 1970s however, the past being revisited was a modern,<br />
rather than a pre-modern, one. That spirit of retrospection also stimulated<br />
a popular interest in the history of modern architecture, and by implication<br />
in the modern interior. <strong>The</strong> ‘period room’ concept – hitherto<br />
restricted to pre-modern spaces – was extended over the next few decades<br />
to include interiors created within the era of industrial modernity.<br />
International organizations, such as docomomo, dedicated themselves to<br />
restoring modern buildings and their interiors. In Germany the Bauhaus<br />
building in Weimar was restored, in Poissy in France the Villa Savoye was<br />
made accessible to visitors, and in Utrecht Rietveld’s Schroeder House<br />
was also opened, marking the growing interest in those iconic <strong>Modern</strong><br />
buildings and their interior spaces. In England, the National Trust opened<br />
a number of late nineteenth- and early twentieth-century houses to the<br />
public, including Edwin Lutyens’s Castle Drogo in Devon and Erno<br />
Goldfinger’s family house in Willow Road in London. 26 Driven by developments<br />
in social, rather than architectural history, homes that had been<br />
inhabited by people located at the margins of society, such as those located<br />
in New York’s tenement buildings, were also restored and opened to<br />
visitors. Tinged with nostalgia, they proved to be highly popular.<br />
Adding the revival of early modern spaces to its more contemporary<br />
stylistic alternatives, the modern interior continued to develop