by bekahe | May 10, 2023
In the chapter titled ‘Leaving Traces’: Anonymity in the Modernist House, author Hilde Heynen discusses the idea of modernity and how it relates to the domestic sphere and the idea of dwelling. She talks about the sense of ‘homelessness’ and how it’s expressed through abstract open plan interiors and transparent glass that does away with the sense of privacy that had previously been desired in the home. As Walter Benjamin viewed it, the old mode of dwelling had a connotation with security and bourgeois interiors filled with ‘traces’ of the occupant’s way of living. Whereas the modern mode of dwelling was about a collective way of living, doing away with the cozy interiors and instead designing them to be anonymous open spaces dominated by transparency. Stripping the interior of its decorative items and embracing the bareness was meant to emphasize and support the idea of social spirit compared to material items. This consequently led to the idea that the modern way of dwelling was disregarding all desires associated with femininity, such as décor that holds sedimental value or cultural significance and based purely on masculine terms. The interiors were cold and uncomfortable with an abstract character. Sibyl Moholy-Nagy however, disagreed with this way of thinking as she believed humans have a need for identification which cannot be fulfilled with these bland anonymous spaces being created. Rather, the home should offer a variety of possibilities for identification through differentiated spaces of character.
As an extension to this argument of people’s desire for identification, I too believe that personalization of your home is important. There is a sense of beauty in people’s differences and their unique individual personalities that I think deserves to be expressed and shared. Someone’s home can say a lot about them and their personal identification. As Walter Benjamin explained, people express living as a process by leaving ‘traces’. This is evident through specific décor that people may have in their homes including pictures on display, furniture pieces that may have been passed down through generations, or even unique art pieces that come with a cool story. ‘Traces’ can also be simple elements like the placement of coat hooks, or certain pieces of furniture that express identity through functionality. These are the types of things that sets your home apart from someone else’s and really makes it yours. Adding character based upon your own sense of identification and your personal process of living is important to achieve the sense of home rather than the modernist ideas of abstract open spaces that ultimately result in an association with ‘homelessness’.
Image of Farmers Union Coffee Roasters seating area showing the use of colorful chairs and personalized decor to establish a sense of identification.
Farmers Union Coffee Roasters embodies a unique sense of identification through its design. It includes some aspects of modern design such as the open plan interior and the use of glass to emphasize transparency, however it also includes their own personalized elements to add character to the space. One of these aspects is their use of color. Several of the tables include pastel pink or green chairs to accompany the more traditional wooden tables for a touch of that desired femininity many modernists were doing away with. In addition to this, the wall décor is minimal, yet meaningful in the way it reflects the spaces personality adding overall character to the space. Although the space includes a lot of glass, some of which even allows views into the neighboring storefronts eliminating the sense of privacy, and utilizes an open floor plan, I found it to be quite cozy. I think the presence of daylight and the specific arrangement of furniture, in contrast to the open plan, in combination with the personal identification and character of the space allows for a sense of ‘home’ where people are comfortable to sit and spend their day getting some work done.
by bekahe | May 3, 2023
In his article “Building the Empire of Gaze”, Peter Jones details the involvement architecture has in disciplinary power. He specifically focuses on the role the Modernist Movement plays in the development of the surveillance society. First, it is important to understand the connection with Western metaphysics as this is where the idea of all certainty is based on visibility and therefore nothing should be hidden originates. It was this way of thinking that led to a fear of darkness in the late 18th century, ultimately leading to the desire for full visibility and light within spaces. This can directly be related to the sense of power that is given through the means of surveillance. If everything is out in the open for anyone and everyone to see with nothing hidden behind walls or in corners, it is believed to be no room for lies and uncertainty.
Key elements of modern design helped spaces achieve these desires of visibility. Le Corbusier’s Villa Savoye is thought to be a successful example of such design. His new language of modern architecture includes an emphasis on glass and transparency paired with an open plan interior, allowing for the space to function as a panoptical mechanism for viewing. This includes not only viewing from the inside out, but also from the outside in, again enforcing the main idea of surveillance through visibility.
To further extend the argument that visibility and surveillance hold a certain kind of power in society, think about the use of security cameras. They are generally used to give people a sense of safety or hold people accountable for their actions. People act differently when they are in the visible public realm versus somewhere private and hidden. This is because when you are within another’s visibility you risk getting caught if not being truthful. For example, you would not willingly steal from a store/residence if you are aware of surveillance mechanisms, simply because due to the likelihood of being caught. This is the power associated with surveillance; visibility allows for the truth to be known.
Furthermore, as the article mentions, glass and open floor plans are some architectural strategies that help achieve this idea of visibility. Open floor plans eliminate unnecessary walls that act as space barriers and instead allow for sightlines from room to room. The use of glass blurs the distinction between interior and exterior as the transparency permits for continued visibility into the public realm outside. Similarly, it invites views from the public into the private interior to observe its inhabitants’ actions.
Interior view of Meraki Coffee & Co. showing the emphasis on visibility and transparency through the use of glass
Meraki Coffee & Co. poses as a great example that allows for visibility. This starts on the exterior as the use of expansive glass enforces transparency allowing the public realm a glimpse into what is going on inside. The interior is consistent with modern design as it utilizes an open floor plan. With this it is important to note the location of the staff counter in relation to the seating options and the entrance/exits. It is located in the back corner in such a way that allows sightlines to all areas of the customer realm really enforcing the idea of visibility. Also, in relation to the open floor plan, the placement of the furniture is important as it helps define spaces that previously may have been defined by walls. There are two couches arranged in such a way that suggests a space for more leisure enjoyment, circular tables intended for larger parties, and then additional seating outside that suggests a stronger connection with the public. Additionally, the glass garage doors open to allow for the blurring of interior and exterior while also allowing a better opportunity for staff to keep surveillance on their outdoor customers.
by bekahe | Apr 26, 2023
The chapter, “Consumption Peter Behrens at the AEG and the Luxury of Technology”, explains the important role Peter Behrens plays in the history and development of modernism. Behrens was able to generate a strong sensation for industry products associated with modernism by designing and displaying them within a luxurious context. This ultimately contributed to the idea of Kauflust, or in other words an overwhelming consumer desire for his products.
During this period, the idea of industry was very much on the rise with electricity being a large driving force. Electricity, however, was widely viewed as a privilege to the public eye as it held a strong connotation with luxury. Peter Behrens used this as an opportunity to connect the buildings and products he designed for AEG to be representative of luxury meant to attract the affluent consumers. He implemented architectural elements of classic forms and rich materials to evoke the feeling of luxury, combined with newer industrial elements to represent aspects of modernism.
These stores acted not only as sales rooms, but also as places of exhibition, emphasizing the idea of display related architecture. Behrens wanted to get away from the idea of electrical goods being objects of industry, so he instead utilized certain design techniques to present them as luxury domestic objects. By creating attractive displays through modern well-designed structures Behrens’s stores played a critical role in creating a market for modern allure.
Towards the end of the chapter, Schuldenfrei makes an argument that while the stores set the context for the objects, the design, and perhaps redesign, of the products themselves represent the context in which they are used. For example, AEG had Behrens redesign products that tend to be placed in the public realm of the home as these were the luxury electrical goods that visually signal wealth while simultaneously providing modern comfort. Other items that were more in the private realm of the home were not designed by him as they didn’t have to seem as luxurious.
I think this concept still holds to be true in some ways today with products. For example, someone may wear what is thought to be more luxurious clothing or jewlery when they are going into the public realm because they want to fit into a certain social status when the clothes they wear in the comfort and privacy of their own home are much simpler. The same can be true when you have guests in your home. Some people will get our their “nice” glass ware and dishes in an attempt to again fit a certain social status when in reality they don’t use those products day to day.
Produce display at whole foods market designed to cater to a luxurious shopping experience.
Whole Foods Market is a grocery store that emphasizes the sale of local, organic, and plant-based products. The design of the store, both on the interior and exterior, makes this very evident. The exterior is composed of wood panel in bricks to create a simple yet modern feel. The façade includes expansive floor to ceiling windows, like those used in Behrens designs, to give the outside world a glimpse of their products and attract the alluring consumer.
The interior pays close attention to the product display presenting it in a luxurious context making the store feel like much more than just a grocery store and more like an experience. Even the products that they offer support the ideas previously mentioned, some being catered towards a more lavish consumer while some remain rather simple in their display. For example, they offer the same general produce that any other typical grocery store would offer, but something about the display makes it feel more luxurious.
by bekahe | Apr 19, 2023
The development of female interior decorators as professionals was a pivotal point in history. It not only created a middle ground that paved the way for women to enter what had previously been considered a masculine profession, but also was viewed as a shift to the idea of modernism in the 20th century. In this chapter, Sparke recognizes Elsie de wolf as one of the women who took advantage of this new profession and deemed herself to be quite successful.
De Wolfe had a unique approach to interior design that challenged the social norms of gender and class in a modern world. Rather than using the architecture and construction of a space to define the interior, she focused on a strong sense of feminine values and designed in such a way to reflect the personality of the female occupant. After her work at the Colony Club, she became largely recognized and desirable as a professional decorator. This allowed her to establish a network of wealthy female clients who sought to have ‘good taste’.
Between 1905 and 1915 Elsie de Wolfe worked on numerous projects for her newfound female clientele. Her designs generally focused on the ideas of comfort and simplicity with a strong feminine culture reflecting her client’s unique identity. Over time, she began to develop her own personal language by including the same distinct features with slight variability, so each design still holds a strong sense of individuality. Some of these features include paneled walls, French inspired furnishings, patterned fabrics, and the use of pastel colors. She was then able to adapt this formula for any project no matter the scale or the budget.
Throughout this chapter, the author stresses the importance of introducing women to the public sphere of work by giving them an active role in the creation of modernity through interior decorating but lacks to mention the importance that men continue to play in the design realm. For example, architecture, construction, and furniture making were still very much male dominated fields at this time, yet also very relevant when it comes to the design of an interior space. Elsie de Wolfe even admitted to wanting nothing to do with kitchen fittings, appliances, plumbing, and other items of that nature when working on the design of Brooks Hall. All these aspects can be categorized into the previously mentioned male dominated fields. Additionally, there were also some very influential male designers of the time, such as Frank Lloyd Wright.
View of the checkout counter including the pastel pink ceiling and wallpaper panels.
The interior of Passionflower Design in Eugene I believe to be a good representation of Elsie de Wolfe’s idea of femininity expressed in a space as well as her unique approach of designing for an identity. The store offers all kinds of items for sale including books, home décor, glassware, garden supplies, jewelry, and even women’s clothing. The space is very much catered to a feminine energy while still providing a sense of comfort with traditional modern elements. Several of de Wolfe’s design principles are evident throughout the space. For example, the use of pastel colors is seen with the pink ceiling in contrast with the white walls and floral wallpaper used in strategic places. Also, the use of furniture as not only elements that may be for sale, but also used for displaying other items available to purchase. Overall, the design of the space is true to the personality of the items being offered and to the aesthetics of the people I observed inhabiting the store.
by bekahe | Apr 12, 2023
Down to Earth Home, Garden, and Gift is located in the historic Lane County Farmer’s Union Cooperative building at the corner of 5th and Olive Street in downtown Eugene. After being built in 1923, the building was originally used as an agricultural hub where local farmers would jointly sell, process, exchange, and buy materials. In the late 1940’s the building was taken over by Lane County Feed and Seed Company, who then used the space as a processing facility for 40 years until they went bankrupt. This is when several local investors preserved the historic essence of the building and helped Down to Earth establish their flagship store in 1986. Since then, Down to Earth has grown to become one of the country’s leading manufacturers and distributers of natural fertilizers, premium organic gardening products, kitchen wares and glass. Customers not only get to explore a wide selection of these natural, functional, and quality items, but are also able to get a glimpse into the unique history of the space as they walk around on the rustic wood floors with the strong rough cut timber ceilings above and old grain hoppers, and chutes still intact.
East entrance to Down to Earth Home Garden & Gift
Interior room with home good items on display and elements of the historical building
Large back room with garden supplies and exit to outside garden area