The Modern Interior

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48 A sitting area in the Palais Stoclet, Brussels, designed by Josef Hoffmann, 1905–11, illustrated in The Studio, 1914. conceived as totally unified and which, more than most, aspired to the status of a luxurious work of art. Hoffmann achieved that goal through a repetition of the delineation of the joints between the planes of the building and of its contents, and through a unified approach towards the manipulation of the proportions, the lighting, the colours, the materials, the decorative details of the internal structural elements, and the furniture and the furnishings. So visually and materially rich and complex was Hoffmann’s interior composition, the walls of which were covered with
original artworks by Gustav Klimt, that it was almost impossible to distinguish between the container and the contained. Hoffmann acted as the choreographer of the whole ensemble, commissioning many of his colleagues to create items for it as well as designing many of them himself, including the silverware, porcelain and glassware. In the sitting area in the house depicted, the texture of the marble used for the walls almost merges with the pattern on the fabric used to upholster the chairs. The vases of flowers and the statue on a plinth serve to complete the artistry of that rich interior. In addition to working on many residential projects for clients, like his contemporaries Hoffmann also designed for the commercial sphere. In 1900 he created a striking rectilinear interior for a barber’s shop in Vienna, demonstrating that men could also be pampered in fashionable spaces and become part of modish display. In 1903, with Koloman Moser, the same architect-decorator designed a dramatic, rectilinear reception space, complete with a table, high-backed chairs and flowers, for the salon of the Flöge sisters. In the same year the two of them also created an inter - ior for the Wiener Werkstätte’s showroom in Neustiftgasse in Vienna. While the impetus for the New Interior undoubtedly began in the domestic context, its public arena manifestations were not afterthoughts but conceived, rather, as continuous spaces in the same modern world. Mirroring to a significant extent the exodus of middle-class women from the home into the commercial sphere in that period, the New Interior was ‘at home’ in the commercial and cultural spaces of the metropolis, especially in those locations in which women could increasingly be found entertaining themselves and shopping. Linked to fashionable taste and emphasizing the commodity, the New Interior undoubtedly posed less of a threat in those temporary spaces as it could be experienced by itinerant women, in their capacity as flâneuses in the city, as fleeting encounters. Its fashionableness and desirability were heightened by its presence in public spaces and it encouraged women to become consumers of its small component parts – ceramics, glass objects, jewellery, even small pieces of furniture – which could easily be added to existing domestic spaces without transforming them beyond recognition. A few hotels embraced the fashionable interior styles of their day, among them the Hotel Metropole in Brussels (1904), the interior of which was created by Alban Chambon; the Palace Hotel also in Brussels (1904); the Palace in Lucerne (1906); and the Hotel and Pension Eden au Lac in Zurich (1909). 12 Other hotels, among them the Grand in Melbourne, 49
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 44 and 45: 42 The daughter’s bedroom in Pete
Page 46 and 47: 44 When the Scottish architect Char
Page 48 and 49: 46 An umbrella- and coat-stand in t
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
Page 94 and 95: 92 the nineteenth century, therefor
Page 96 and 97: 94 An advocate’s consulting room
Page 98 and 99: 96 both grew from it and was integr
Page 100 and 101:
A dining-room in a Small Town House
Page 102 and 103:
100 Josef Frank, a large living roo
Page 104 and 105:
102 Emile-Jacques Ruhlmann, the liv
Page 106 and 107:
104 An American young woman’s bed
Page 108 and 109:
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
Page 118 and 119:
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
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146 that time, governed consumption
Page 150 and 151:
148 Workers assembling Model ‘t
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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
Page 158 and 159:
The dining room in an apartment, de
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158 created for the apartment build
Page 162 and 163:
160 remained the enhancement of the
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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
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186 became a popular ideal as well.
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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
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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
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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
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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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