The Modern Interior

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54 furniture as an enhancement to the architectural frame, and it proposed the possibility of interiors becoming works of art. In addition it confirmed the significance of the links between the interior, dress and lifestyle. All of those themes were to resurface continually in the modern interior’s journey through the twentieth century. Probably the New Interior’s most significant contribution, however, derived from the role it played in breaking down the barriers between the separate spheres and in showing that, within early twentieth-century modernity, it was the continuities between them, rather than their differences, that were all-important.
3 The Mass-consumed Interior The more the manufacturer or dealer arranges model rooms or representative exhibits, or practices ensemble room selling, the more help and suggestion it will be to the consumer. Christine Frederick1 From the moment the manufacture of large numbers of domestic goods was transferred to factories, and middle-class home-makers were forced to leave the comfort of their homes to purchase them, mass consumption and the interior developed an intimate relationship with each other. As the domestic interior came to be seen as the destination for consumed goods, its replication in the public sphere (in idealized forms) as a frame for displaying those products became increasingly widespread. We have seen how Peter Behrens created a dining room for Berlin’s Wertheim department store in 1902 which contained a fully laid table. A later commercial display, mounted in Bowman Brothers’ London store in the 1930s, set out to be even more ‘authentic’, comprising, as it did, a table set for breakfast complete with boiled eggs and toast. The dinner service being promoted was designed by the English ceramics designer Susie Cooper. Increasingly, represented interiors, or components of them such as these, were used as the frames for objects of desire in commercial settings. Through the process the domestic interior was itself transformed into an object of mass consumption. Mass consumption, it has been claimed, was one of modernity’s defining features. 2 That same claim could also be made for the domestic interior, as it became absorbed by the world of mass consumption. The model of consumption that used the interior as a selling tool was highly dependent upon the creation of consumer desire. Through an engagement with the evocative design of interiors in commercial spaces in which goods were displayed, the desire to purchase was encouraged. As women came out of their homes to purchase domestic goods, the modern interior’s relationship with mass consumption had an ‘inside out’ push built into it. The evocatively designed interior became, therefore, both a means (of selling) and an end (the location for the consumed 55
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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 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 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
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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
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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
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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
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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
Page 170 and 171:
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
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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, ‘
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216 33 Ibid., p. 187. 34 Ibid. 35 I
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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
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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
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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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