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new synthesis that would not only facilitate modern life but that, through<br />
the use of non-historicist forms inspired by the contemporary worlds of<br />
nature and the machine, would actually embody it.<br />
In the daring experiment that was Art Nouveau or Jugendstil,<br />
depending on where and how it manifested itself, many architectdecorators<br />
began to search for a new language for the interior. 2 <strong>The</strong> term<br />
‘the New <strong>Interior</strong>’ came to be widely used to characterize the striking<br />
results of their experiments. In that its designers sought to create a modern<br />
interior style which would cross the divide between the private and<br />
public spheres, to be as at home in an exhibition hall and a department<br />
store as in a living room, Art Nouveau was the first modern style to fully<br />
recognize the permeability between the spheres. <strong>The</strong> architect-designers<br />
recognized that women were increasingly replicating the interiors they<br />
saw outside the home in their domestic settings and that, conversely, the<br />
creators of interiors in exhibitions and stores were working hard to<br />
ensure that women felt ‘at home’ in the settings in they consumed.<br />
Ultimately however, according to Walter Benjamin, although the<br />
architects’ intentions were to individualize and personalize their creations<br />
through the level of control that they exerted over all the elements of their<br />
buildings, inside and out, the result was to undermine the subtle qualities<br />
of domesticity and privacy that had been embodied in the mid-nineteenthcentury<br />
domestic interior. For Benjamin this meant the death of the auto -<br />
nomy of the ‘interior’ itself. 3 Indeed the totalizing effect of Art Nouveau<br />
in the interior was to prove its ultimate undoing as a successful style for<br />
the domestic interior. In that context it was really only fully successful in<br />
the highly idealized homes that architects created for themselves and<br />
their families, and in those of a relatively small number of ‘far-sighted’<br />
wealthy clients who were prepared to live with a high level of aesthetic<br />
control in their homes in exchange for the cultural capital they gained<br />
from it. For the most part, however, Art Nouveau was successful – albeit,<br />
given its innate fashionableness, for a limited time period only – in public<br />
interiors dedicated to culture, leisure and commerce. It featured in depart -<br />
ment stores, museums, world exhibitions, cafés and restaurants and in a<br />
number of other inside spaces outside the home, especially those inhabited<br />
by women.<br />
<strong>The</strong> New <strong>Interior</strong> had its roots in the 1890s when a number of<br />
architects began to seek innovative interior design solutions to what<br />
they perceived to be the ‘problems’ of the historicism and eclecticism of<br />
mid-nineteenth-century domesticity. In the face of what they saw as the