Modernism

Delia Tacheny

INT 332 - History of Interiors II

The Emergence of Modernism

I thoroughly enjoyed reading this week's chapter and diving into that which is Modernism. Unlike the other movements we have learned about, Modernism isn't simple, and it wasn't merely about the arts/ architecture. Modernism is a movement of layers, deeply intertwined with the cultural shifts of the time period. Ranging from around 1900-1950, Modernism overlaps with the interwar period. Leading up to modernism, we had Art Nouveau and Prairie Style, and then we began to see proto-modernist movements as we discussed last week. Modernism, however, takes a sharp turn, rejecting all historical precedents as well inspiration from nature, and embracing "the Machine." Modernism is the first movement to embrace the positives of the Industrial Revolution and seek to make a better society alongside technological advancement. 

The Defining Principles

The modernist described their style as "functionalism," living by the mantra that "form follows function." Their simplistic, sometimes stark, designs echo this, as they were firmly against all the frills of unnecessary ornament.  The materials of modernism were those of the industrial nature: steel, glass, and concrete. Furniture designs utilized tubular metal and plastic laminate. Modernists defied prior principles, in how they designed, including the use of glass. Glass was known to be a fragile material, far from structural. Yet the modernists movement see the beginning of glass curtain walls, and even glass being used in the corners of buildings - structurally unheard of before. 

The Pioneers of Modernism 

The Pioneers of Modernism are considered to be Frank Lloyd Wright, Walter Gropius, Ludwig Mies Van der Rohe, and Le Corbusier. These men were the forefronts of Modern Architecture and Design, embracing the primary principles discussed above. It is Walter Gropius who founded the Bauhaus, a central topic of Modernism. Bauhaus was both a general style/ movement, as well as a physical design school. 

Gropius merged the schools of fine arts and applied arts in Weimar to create a multi-disciplinary design school - the Bauhaus, which encompassed studies of fine arts, architecture, interior design, urban planning, advertising, stage design, film, textiles, ceramics, etc. The Bauhaus produced and became associated with many well-known names, students and professors alike. 

The Bauhaus was a very egalitarian school, welcoming people from various classes, and welcoming both men and women. We see that women played a more prominent role in Modernism, including names such as Lily Reich, Charlotte Perriand, Eileen Gray, and Aino Alto.

Light vs Dark Modernism

The book discussed an interesting concept in conclusion -- the idea of their being two separate categories of modernism -- light and dark. Dark modernism would be the use of heavy materials and founding modernist principles seen in the pioneers, while the lighter side of modernism would be names such as Alvar Alto and Paul Nelson, using lighter tectonic materials of wood and translucence appearance. 

The layers of the modernist era are many and each one intriguing. From architecture to art, and war to scandal, the Modernist movement is a defining era in the history of the world. 

One Step Further: Eileen Gray

Intrigued by the impact of Women during this period, I chose to look more into the life of Eileen Gray. Gray was an architect, interior designer, and furniture designer. She came from Scottish/ Irish heritage but moved to France in 1902, where she became a fashionable, independent figure in Paris. She worked from her apartment, and had a decorator's shop until the 1970s, from which she sold her furniture designs. Amongst one of her more well-known projects was her interior design of milliner, Suzanne Talbot's apartment where she included her own furniture as well as a unique inclusion of African art. 

Eileen was born as Kathleen Eileen Moray; however, after her mother received an inheritance that included the title of Baroness Gray, she and her siblings became Grays. Eileen studied at the Slade School of Fine Art in 1898, but eventually found a fascination with Japanese and East-Asian lacquerware. After her move to Paris, she focused on studying this art form under master Seizo Sugawara. "Gray immediately committed herself to the craft, taking particular interest in red Negoro lacquer – an elegant, minimalist style dating back to the 12th century – which she mixed with maki-e, a technique of sprinkling lacquer on the work and dusting it with decorative powder to make the design" (Doyle). 

Gray didn't become an architect until her late 40's and her first building became her best work and home: E-1027. The name is a code for her and partner, Jean Badovici's initials. Eileen has an interesting history with the Modernist movement, so I encourage reading more about her life. She didn't really receive the recognition she deserved util 1972 at the age of 94. 

Source:

Eileen Gray: an architect and designer you should know | Article | Royal Academy of Arts