The Modern Interior

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42 The daughter’s bedroom in Peter Behrens’s House in Darmstadt, designed by Peter Behrens, 1901, illustrated in The Studio, 1901. daughter’s bedroom, concentric circles were inlaid into the wooden head and foot of the bed. They were also applied to the back of a side chair and to the mirror of the dressing table, while a suspended lamp, the bed-linen and the curtains also featured the same motif. Little side tables were built into the bed-head. In the music room a built-in sofa was fitted against
Part of the drawing room in the studio flat of Charles Rennie Mackintosh and Margaret Macdonald, designed by the couple, Glasgow, 1900, illustrated in a special summer edition of The Studio, 1901. one of the walls, a furnishing strategy widely used by many members of this generation of architect-decorators and which later became a leitmotif in numerous Modernist designs. Behrens extended the same approach to the fitted shelves in his study and to a small guest’s bed built into the eaves. The gentle curves on the back of the dining room chairs were repeated as motifs on the glass doors of fitted cupboards in the same room, while metal candelabras and a porcelain dinner service featured the same forms, in three dimensions in the case of the former, and in two dimensions in the latter. Behrens proudly proclaimed that his house was a combination of ‘practical utility and abstract beauty’. 5 Like those of van de Velde, Behrens’s decorating principles were as applicable to the commercial sphere as they were to the domestic arena. In 1902 he designed a complete dining room for Berlin’s Wertheim department store which brought together into a single, unified environment, a fully set dining table and chairs, a geometric light suspended over the table, a painted frieze around the top of the containing walls, porcelain on the dresser and pictures on the walls. His ‘theatre set’ approach to the interior took on a new significance in the modern context. 43
Page 1: The Modern Interior Penny Sparke
Page 5 and 6: The Modern Interior Penny Sparke re
Page 7: Contents Introduction 7 Part 1: Ins
Page 10 and 11: 8 A shopping mall in Calgary, Alber
Page 12 and 13: 10 Mrs Sarah Du Prau and Mrs T. Seb
Page 14 and 15: 12 image, as an assemblage of mater
Page 16 and 17: ideo logical assumption within west
Page 18 and 19: 16 broadcast from 1996 to 2004, was
Page 20 and 21: 18 1850 and 1939 were further playe
Page 22 and 23: A Victorian parlour in Manchester,
Page 24 and 25: 22 the second half of the nineteent
Page 26 and 27: 24 Al ‘Bucky’ Lamb’s home in
Page 28 and 29: 26 The dining room of Sedgley New H
Page 30 and 31: 28 notwithstanding, those ‘cottag
Page 32 and 33: 30 The drawing room car on a late-1
Page 34 and 35: 32 Trellis Restaurant, Colony Club,
Page 36 and 37: ‘A Drawing Room Corner’, fronti
Page 38 and 39: 36 attraction, fascination, aura an
Page 40 and 41: 38 new synthesis that would not onl
Page 42 and 43: 40 Henry Van de Velde’s Studio in
Page 46 and 47: 44 When the Scottish architect Char
Page 48 and 49: 46 An umbrella- and coat-stand in t
Page 50 and 51: 48 A sitting area in the Palais Sto
Page 52 and 53: 50 embraced the equally fashionable
Page 54 and 55: 52 The Café Museum in Vienna, desi
Page 56 and 57: 54 furniture as an enhancement to t
Page 58 and 59: 56 A breakfast table set with a ser
Page 60 and 61: A couture dress by Paul Poiret in a
Page 62 and 63: 60 upper middle-class woman, might
Page 64 and 65: 62 spectacle to entice customers in
Page 66 and 67: 64 for a lot of legwork. It doesn
Page 68 and 69: 66 Georges Djo-Bourgeois, study for
Page 70 and 71: 68 possible anywhere in the exhibit
Page 72 and 73: 70 Raymond Loewy and Lee Simonson,
Page 74 and 75: 72 commercial and ideological messa
Page 76 and 77: 74 psychological link between them.
Page 78 and 79: 76 creations and a marker of his ow
Page 80 and 81: 78 Eileen Gray, Pirogue chaise long
Page 82 and 83: 80 A bedroom for a French house in
Page 84 and 85: 82 Elsie de Wolfe in a couture dres
Page 86 and 87: 84 boudoirs for her female clients
Page 88 and 89: 86 While the haute couture professi
Page 90 and 91: 88 fashion show became a widespread
Page 92 and 93: 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
Page 128 and 129:
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
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
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142 A chaise longue, designed by Le
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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
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154 saw the furniture items he incl
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The dining room in an apartment, de
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158 created for the apartment build
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160 remained the enhancement of the
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162 Metropolitan Museum of Art, the
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164 including the main hall and the
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166 of Vassar graduates living in i
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168 within it as items of equipment
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170 desire to sever art’s links w
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172 Theo van Doesburg, tiled corrid
Page 176 and 177:
A facade of the house designed by G
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176 The first floor of the house de
Page 180 and 181:
178 A view of the interior looking
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180 apartments he designed for the
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182 The interior in Rudolf M. Schin
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184 the abstract interior had lost
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186 became a popular ideal as well.
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188 and above all equal to, archite
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190 Charles Eames’s Tandem Sling
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192 A 1960s interior, designed by V
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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
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200 which were characterized by the
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202 A bathroom in the Park Hyatt Se
Page 206 and 207:
204 Conclusion Wouldn’t you rathe
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206 intrusion of the media into our
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208 modern interior. They are portr
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210 nonetheless - fulfil the same m
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212 gondolas of Italy’s Venice ha
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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
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
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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
Page 242:
240 Saarinen, Eliel 186 Saint-Gaude
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The Modern Interior

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