The Modern Interior

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70 Raymond Loewy and Lee Simonson, reconstruction of Loewy’s office for an exhibition held at the Metropolitan Museum of Art, ‘Contemporary Industrial Art: 1934’, New York, 1934. was the taste of the day. The Cane Acres room set out to do just that. At one of its exhibitions, held in 1934, instead of showing the usual domestic period interiors, the Metropolitan Museum of Art focused on the contemporary workspaces of well-known industrial designers of the day as a means of educating the public about the design profession and it contribution to modern life. Raymond Loewy and Lee Simonson recreated a version of the former’s office as a ‘frame’ in which to display his design skills and their wide application to boats and cars as well as interiors themselves. Popular films, or ‘movies’, provided another important means through which the interior was mediated and a desire to consume stimu - lated on a mass scale through the twentieth century. Movies were created to entertain, distract and provide a level of fantasy and escapism from the realities of everyday life. They offered, therefore, an ideal vehicle for
The second-floor drawing room of Hope Hampton’s residence at 1145 Park Avenue, New York, designed by Elsie de Wolfe Inc., c. 1934. A still from Jacques Feyder’s 1929 film The Kiss, starring George Davis and Greta Garbo.
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The Modern Interior Penny Sparke
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The Modern Interior Penny Sparke re
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Contents Introduction 7 Part 1: Ins
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8 A shopping mall in Calgary, Alber
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10 Mrs Sarah Du Prau and Mrs T. Seb
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12 image, as an assemblage of mater
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ideo logical assumption within west
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16 broadcast from 1996 to 2004, was
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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 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 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.
Page 110 and 111: 108 equivalent. In that context wom
Page 112 and 113: 110 the public arena to a significa
Page 114 and 115: The Passage de l’Opéra, Paris, c
Page 116 and 117: 114 employed by nineteenth-century
Page 118 and 119: A print of an interior view of the
Page 120 and 121: 118 nineteenth century/early twenti
Page 122 and 123:
The interior of the National Museum
Page 124 and 125:
122 A San Francisco can-making fact
Page 126 and 127:
124 processing of administrative ta
Page 128 and 129:
The Central Court of the Larkin Bui
Page 130 and 131:
128 Lyons Tea Shop and waitresses,
Page 132 and 133:
130 of the Gesamtkunstwerk. Archite
Page 134 and 135:
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
Page 144 and 145:
142 A chaise longue, designed by Le
Page 146 and 147:
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
Page 156 and 157:
154 saw the furniture items he incl
Page 158 and 159:
The dining room in an apartment, de
Page 160 and 161:
158 created for the apartment build
Page 162 and 163:
160 remained the enhancement of the
Page 164 and 165:
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
Page 188 and 189:
186 became a popular ideal as well.
Page 190 and 191:
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
Page 204 and 205:
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
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208 modern interior. They are portr
Page 212 and 213:
210 nonetheless - fulfil the same m
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212 gondolas of Italy’s Venice ha
Page 216 and 217:
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,
Page 222 and 223:
220 8 Ibid. 9 Rice, The Emergence o
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222 20 Rappaport, Shopping for Plea
Page 226 and 227:
224 15 See Thirties: British Art an
Page 228 and 229:
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
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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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