Modernism emerged during the period of about 1920 – 1940, known as Interwar Modernism, which followed the end of World War I as well as the Russian Revolution. World War I was known to be the “war to end all wars” , characterized by a magnitude of violence no one had ever experienced before. This included new weapons and technology like the use of U-boats, tanks and poisonous mustard gas. The Russian Revolution, occurring simultaneously, similarly caused immense violence through the fight of the Bolsheviks and food riots of the common people.
WWI Photograph
With no perceived morality to the fighting of this period, designers and creatives searched for ways to change the world through art and design. In this way, Modernism at its roots is a set of ideas rather than a particular style. In contrast to the Arts and Crafts movement, designers wanted to harness the power of mechanization to create a level playing field in the access of everyday products. The concept of a utopian society moved from objects as status symbols in the Victorian age, to objects focusing on quality and hand craftsmanship during the Arts and Crafts movement, and finally to a sense of sameness and efficiency which was thought to be able to free society from its constraints. Like Henry Ford’s assembly line, mechanization allowed for products to be more efficiently produced and more quickly and cheaply available to the public. The focus became on creating highly functional pieces, including housing projects, furniture, household goods and clothing, which were devoid of extra ornamentation.
Photograph of The Bauhaus School + The Frankfurt Kitchen
The Bauhaus School as well as the Frankfurt Kitchen further demonstrate key themes which defined the era of Modernism. The Bauhaus School was a highly influential architecture, art and design school founded in Weimar, Germany in 1919 by Walter Gropius. Members here evolved to harness the power of technology and mass production through the creation of their art. The Frankfurt Kitchen, a brainchild of Austrian architect Margarete Schütte-Lihotzky, was the first fitted kitchen to be produced through mass production, and involved a rational study of the everyday women’s movements in the kitchen to make a space that was as efficient and streamlined as possible. These tenets of creating efficient, standardized and hygienic spaces, through the opening of space and connection to the outdoors, translated into furniture design, but also developed more of a natural and human touch. Through work such as that of designers Alvar and Aino Aalto, molded wood and plywood began to be used in conjunction with free flowing, natural inspired lines in furniture in order to add further comfort and connection to the human condition.
Armchair, 1930, Denham Maclaren
Denham Maclaren’s Armchair takes a peculiar middle ground in its treatment of Modernist style, slightly diverting from the movement’s original meaning as Aalto had similarly done through emphasis on the natural world. Firstly, Maclaren is unique in his position as a British designer utilizing Modernist inspiration, as Modernism, with Bauhaus as a primary example, usually stemmed from central European countries. Maclaren initially studied painting at the Académie Julienne in Paris, but then moved his career into a more interior-focused position, designing furniture for Arundell Display from 1926 to 1930. In 1930 he moved to London to establish his own studio showroom. His work often takes direct inspiration from strict Modernist ideals, with it use of tubular steel or glass, but other pieces take on more of a Hollywood glamour style, such as the Armchair here.
Villa Savoye, 1929, Le Corbusier
Certainly the use of glass forming the side and arms of the chair speaks to the Modernist style, presenting a sense of openness and space. The metal fittings in combination with the structured geometric lines additionally speak to a Modernist approach to rational and calculated design. These elements, such as that of the use of glass and streamlined design, are reminiscent of the style of Le Corbusier, the famed architect who employed characteristic ideals through the lack of ornamentation, strip glass windows and roof terraces to cleanse and open the human spirit. He saw steel and concrete as new conquests for design as well as the fact that “We shall arrive at the “House-Machine,” the mass production house, healthy (and morally so too) and beautiful”. Yet, this chair is not strictly in the efficient and unornamented Le Corbusier style.
In terms of the fabric, the chair slightly veers off course, providing an exotic accent. Rather than taking Modernism strictly as it is, this piece takes a bit of creative freedom and adds a splash of humor and fun to an otherwise very simple and streamlined design. It understands the principles of Modernism, but has a bit of fun with it through increasing the opulence. The chosen fabric and style overall is even reminiscent of trends we see today in design and fashion. There has been an influx of the use of clear accessories in combination with the boom of animal print, namely snake print at the current moment. Buying a piece of furniture like this says something about the way you wish to understand the world, through being a bit over the top with an unconventional sense of humor.
‘Transat’ Armchair, 1927 – 1930, Eileen Gray + Armchair, 1930, Denham Maclaren
Rather than a comparison to Le Corbusier, a link between Maclaren’s work and Eileen Gray may be more appropriate. Gray was an Irish architect and designer known for lacquer work as well as her Fauteuil Transatlantique lounge chair which was inspired by the feeling of soaking up fresh air on passenger liners, which employs ideals of both health and leisure. One model of the shortened Transat chair features the use of calfskin as well as smooth, lacquered wood and nickel plated metal hardware. The design employs inspiration from Art Deco combined with Modernist principles of comfort and practicality. Like Maclaren’s piece, this Transat model takes bits and pieces from Modernism, while infusing originality and glamour to a piece that may otherwise appear as a solely unornamented Modernist piece. In June 2018, this model, one of only 12 thought to be made and one of only two made with calfskin, was placed at auction.
Today, we may not necessarily agree with the concepts which formed that of Modernism, namely the emphasis of standardization through mass production, yet modernist designs derived from the concept of “stripping back” ornament through certain materials is still considered to be of high design. In our increasingly globalized world, formal Modernist designs as well as designs which are reminiscent of Gray or Maclaren’s pieces exist at high end furniture retailers as well as at lower price retailers.
Cabana Yeti Chair, Heals + Alessia Wood and Metal Chair, Crate & Barrel
Sources
How did WWI Change the World? – BBC
War and Revolution in Russia – BBC
What was Modernism – V&A
Domestic Life in a Modern World – V&A
Modernism and the natural world – V&A
Modernist Architecture: The Bauhaus and Beyond – V&A
Towards a New Architecture – Le Corbusier
Denham Maclaren Armchair – V&A Collections
Deckchair design – V&A
Denham Maclaren – The Thames & Hudson Dictionary of Design Since 1900
Eileen Gray at auction – CNN
5 minutes with…An Eileen Gray ‘Transat’ Chair – Christies
Images + Video
Marla's Design Journal 