May 1, 2025 | reaction paper, Week 5
Hilde Heynen’s article “Leaving Traces” is simultaneously a history lesson revolving around the concept of a home, and a critique of the gendered, capitalist nature of the heavily decorated home designs of the 19th century. As the modernists began to take footing in the world of residential design, they sought to eliminate the connection between wealth, ornament, and the concept of the home. The new modern home design would be removed from the nuclear family. The home would no longer serve as a vessel for one’s own wealth or material possessions, but rather as an abstraction of one’s own identity. The “abstract interior” was heavily criticized for its apparent coldness and lack of the elements that are frequently associated with what makes a dwelling a home. The modernists appeared to be of the mind that in removing the nuclear family, they could step forward into the future. However, removal of the nuclear family from the equation did not remove their own sexist biases. They associated many of the elements they sought to remove with femininity, and the elements they wanted to emphasize with the masculine. In contrast to this, Rietveld’s designs were meant to adapt to the inhabitants, women and children included, something many of the modernists felt was unnecessary in the face of “good” design. Although not all modernists agreed with these ideas, they were certainly at the forefront of the modernist movement.
I agree with a majority of Heynen’s points. However, as this article was written in 2009, there is no way they could have predicted the level of consumerism that would come to be in the 2010s and 2020s. Contemporary interiors have frequently shifted in their expressions of wealth and identity throughout the 20th and 21st centuries. I would be curious to see Heynen’s perspective on the matter in the post-Amazon Prime world. The middle class Americans of the last 15 years consume more frequently now than ever before thanks to the ease and cost of shipping and manufacturing. Although, a general theme I have noticed through lived experience is the lasting association of interior design and femininity. Although men have equal access to the same means of decorating their dwellings, masculinity in American culture prioritizes electronics or “utilitarian” possessions over decorative elements. The key difference between this masculine expression in the home and the modernist approach is the intent and execution. The modernist sought to eliminate decor as a means of emphasizing the architectural elements of the dwelling. The young man of today does so, generally speaking, because he sees no value in the home. There is no need for expression of identity in the home, unless that expression is a means of displaying masculinity.
Circling back to this concept of wealth and expression of identity in the home, it is interesting to see how this idea evolved over time. The modern, contemporary home has little decor, much like the modernists of the 20th century. However, wealth must still be displayed in these homes.
Photo by Phillipe Bollard. Taken from Divisare.
House Beautiful, May 1922.
Take for example, the photo above is a French apartment renovation completed in February 2025 by Brunet-Lecomte Eisenlohr architects. The ornamental elements were not removed entirely, but they were painted over to make each wall a monolith of white. Although there is very little decor, what is there speaks volumes to the wealth of its inhabitants. The Togo chairs, currently priced around $6,000 each, in addition to the custom casework shows the value of this home with three simple elements. Compared to this article from House Beautiful, May 1922 issue, the concept is very similar. Both seek to say a lot with “simple” designs. However, the key difference between the House Beautiful example and this French apartment is in what they seek to emphasize. The French apartment seeks to emphasize the simplicity of its bare-bones design. The House Beautiful example seeks to emphasize the simplicity of the architectural elements by complementing it with a few strong decorative elements.
Apr 30, 2025 | 1970s, 2020s, reaction paper, Week 5
The search for the ideal form of architecture has been ongoing since the beginning of time itself, and will likely never reach a point of complete clarity. Architecture is based on many ever-changing factors, and thus, architecture is difficult to define. Ornament, especially, has been a big topic of debate, starting with the Victorian era of lots of ornament and continuing to today, when ornament is discouraged. In the article, “Leaving Traces: Anonymity in the Modern House”, Haynen argues that the push towards avoiding ornamentation in residential spaces has created architecture that is hostile and unwelcoming. Modern residential architecture has taken away the rights of privacy and comfort by creating spaces that are excessively open and with industrial materiality.
Figure 1: Image of a residential building with a brutalist facade that does not look welcoming.
Nabi House, Todot Architects and Partners, South Korea
Figure 2: The interior of the Nabi House is cozier than the exterior, but does not offer much privacy.
Nabi House, Todot Architects and Partners, South Korea
The Nabi House was the first residential building to appear in my search for a modern-day example of a home. I seems like many of the ideas Haynen was discussing appear in this building with the brutalist facade that looks like the opposite of what a residence should look like. The interior is a little better with the soft lights and the couch, but there is no hierarchy of space to indicate levels of privacy.
Figure 3: Image of a highly ornamented room.
House Beautiful, 1970
“Their own getaway place.”
Figure 3 is an example of a highly ornamented room. This is a room from the 1970s when minimalism in modern architecture was just barely beginning to appear. The passage next to the image argues that this ornamentality is what creates the space of a getaway.
Apr 30, 2025 | 1990s, 2020s, reaction paper, Week 5
Reading Summary:
In Hilde Heynen’s chapter titled “‘Leaving Traces’: Anonymity in the Modernist House,” from the book Designing the Modern Interior: From the Victorians to Today, we explore modern architecture’s effects on domesticity. Heyen refers to modern architecture as homelessness and “shells” because of their lack of life and clear display of wealth and capitalism. These dwellings can reflect masculine and feminine rhetoric, while also going back and forth from being either bourgeois-like or utopian, both negative. He examines the tension between the modernist pursuit of universality and the inherent individuality of domestic spaces.
At the beginning of this chapter, Heyen discusses how Le Corbusier’s idea of the home as a machine for living exemplifies the push toward anonymity in modernist architecture. Open, flexible plans and industrial materials minimize ornament and limit opportunities for self-expression for the inhabitant. This approach to domestic/residential architecture completely changed the definition of a home, ridding space of sentiment and warmth.
Heyen continues to expand on this idea by examining the work of Mies van der Rohe. His designs focused on minimalist interiors that prioritized geometric form and industrial materials, similarly eliminating the chance for the inhabitant to express their identity through decorative elements. Heyen defines this logic as the “universal” inhabitant—someone whose specific social or cultural identity was intentionally made invisible within the space that is supposed to be home.
Application:
Historical Case: Comfort in Modernity
A modern single-family home designed and built in the 1990s, full of color and evidence of life. House Beautiful, October 1991, page 107.
In this home, we see the presence of life and personality, although its design is influenced by modernist practices. The addition of color and individualistic ornament make this space not feel bare or like a display. The open-ish concept, white-washed walls, and geometric design do not clash with this family’s personality, potentially aligning with Heyen’s idea of a dwelling. The following precedent is the exact opposite and instead, could potentially align with Corbusier’s or van der Rohe’s ideas..
Contemporary Case: A Retreat?
A quiet, white-washed room with a single sleek black chair in the corner of a modern Japanese home, built by ARII IRIE ARCHITECTS in 2024. Arch Daily, 2024, https://www.archdaily.com/1029459/retreat-house-arii-irie-architects?ad_source=search&ad_medium=projects_tab.
This home, built by ARII IRIE ARCHITECTS in Japan, is a great example of how contemporary is perceived and influenced by the modernist movement. The house is all white, extremely minimal, and there is no sign of personality or life from the inhabitant. Of course, this is how the client wished their home to look like, but from Heyen’s perspective and others who may not understand, this space does not evoke the idea of a home; there is no warmth, comfort, or soul.
Apr 15, 2025 | 1920s, 2020s, Week 3
Summary
In the late nineteenth and early twentieth centuries, the acceptable occupations for upper-class women were expanding, but were still limited, and the ideas of “men’s work” and “women’s work” were fairly strictly delineated. As such, while architecture was (and still is) a field dominated by men, interior design and decoration was considered the realm of women.
It was in this cultural mindset that Elsie de Wolfe’s career as a tastemaker and professional interior decorator took off. De Wolfe’s clients were often women, specifically married women of means, many of whom were introduced to her by her long-time partner Elisabeth Marbury.
In terms of style, de Wolfe’s interiors were lighter, more colorful, and more modern than the Victorian interiors of the previous decades, though still leaning heavily on historical pieces and motifs, rather than toward more modern, avant-garde designs. Her interiors were intentionally and unashamedly feminine, featuring different combinations of similar motifs and stylistic choices. Chintz, Chinoiserie, garden motifs, and other similarly ornate themes were commonly featured in her work.
Critical Response
It’s hardly unique to Elsie de Wolfe’s work, but a recurring theme in her interiors is Orientalism. While Orientalism in European art and architecture became prevalent over a century earlier, and the term itself wouldn’t be coined until 1978, with Edward Said’s publication, as an idea, it was well-established by de Wolfe’s time. Chinoiserie is a western interpretation/imitation of Chinese artistic traditions, and Chintz is derived from Indian printed textiles.
The association between the overt, stereotypical femininity of de Wolfe’s interiors and her use of Chinoiserie may have a more significant link, particularly with regards to how they shaped cultural perceptions of design styles and trends through the rest of the 20th century. The negative descriptors that designs like de Wolfe’s may sometimes engender now–frilly, fussy, overly ornate, et cetera–are certainly shaped by structural misogyny. However, in comparison to design styles and elements that read (from a perspective shaped by contemporary associations with and understanding of gender) as more masculine are often the simpler, darker, Bauhaus-inspired modern furniture pieces and design motifs. These, while undoubtedly also shaped by Orientalism and cultural exchange, have a much stronger association of “European-ness” than something like Chinoiserie.
With this in mind, is it possible that the negative interpretations of interior styles popularized by de Wolfe and her contemporaries are shaped not only by misogyny, but also by Eurocentric ideas of what ‘good design’ is, in comparison to the artistic traditions and aesthetics associated with non-European cultures?
Application
Figure 1. The top of the IKEA blog post: “IKEA style report: Classic blue & white decor”
Figure 1. From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/ Provided caption: “There’s a dreamy hint of summer as florals inspire a romantic feeling all around the home. Blue and white porcelain against a backdrop of cream and white feels light and refreshing. Meanwhile, cushions adorned with ruffles and piping add a refined touch – but paired with hand embroidery and soft cotton, the look couldn’t be more inviting!”
The legacy of the interior design styles and motifs popularized by Elsie de Wolfe and her contemporaries is still evident today, as seen in this recent IKEA style report (no exact date provided, presumably from 2024 or 2025), which uses keywords such as “Romantic” and “Innocent,” both of which have connotations of femininity, as do the imagery of ruffles and embroidery in the description. Furthermore, the colors are reminiscent of the blue-and-white Chinese porcelain which was popular and influential on European design.
The products in this collection were designed by Paulin Machado. She is quoted in the article: “For this collection, I was inspired by plants and flowers, especially a Swedish herb with small pink flowers called ÅKERNEJLIKA.”
Figure 2: IKEA plates in an assortment of blue-and-white patterns
Figure 2: From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/
Provided caption: “Breezy blues, served with a dollop of cream. There’s something so nostalgic yet classic about this vintage and botanical-inspired look – bringing to mind afternoon tea and long, lazy afternoons. Yes, please!”
The reference to Chinese porcelain is more explicit in this image, though the patterns are not quote-unquote authentic. The floral motifs and delicate form of the teapot are similar to design elements found in Elsie de Wolfe’s interiors.
Figure 3: An IKEA bedroom display, with products featuring blue-and-white floral prints and stripes.
Figure 3: From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/
Provided caption: “With its rustic feel, the RÅGODLING series of wardrobe storage solutions is too pretty to hide behind closed doors. “
Several of the design motifs and elements in the IKEA products displayed here, including floral print textiles and striped wallpaper, were also found in the interiors designed by Elsie de Wolfe.
Overall, this IKEA style report shows significant stylistic similarity to the feminine interior design styles crafted by de Wolfe, including references to Asian-inspired motifs and aesthetics. In this case, the explicit reference is to the patterns seen on porcelain exported (primarily) from China, and later imitated in Europe. The color palette, patterns, and overall form of the IKEA products featured in this blog post read as very feminine, albeit much less ornate than the original Elsie de Wolfe interiors, which is to be expected given the change in target demographic. De Wolfe was designing for wealthy clients, while IKEA products are targeted primarily at working class consumers.
Case 2: Women’s influence on popular interior decor patterns, as seen in the October 1922 edition of House Beautiful
Figure 4: The first page of “Some Principles of Interior Design as Interpreted by Miss Gheen, Inc.” by Theo Baer
Figure 4: House Beautiful, October 1922 edition, page 301: “Some Principles of Interior Design as Interpreted by Miss Gheen, Inc.” by Theo Baer
In this article from the October 1922 edition of House Beautiful, the author describes their interview with a professional interior decorator named Miss Gheene. Miss Gheene describes her views on principles of interior design, including use of color, pattern, and materiality. This constitutes another example of women being in a position of authority as it regards interior design during the early 20th century, and similarly to Elsie de Wolfe, Miss Gheene’s design principles favor lighter elements, brighter colors, and bolder patterns than those typically seen in Victorian interior design. Like de Wolfe, Miss Gheene mentions using chintz several times during the article. The image on the first page of the article, shown in figure 4, also indicates orientalist influence, with the inclusion of a Japanese screen.
Figure 5. “New Designs for Wallpapers and Curtains”
Figure 5: House Beautiful, October 1922 edition, page 304-305: “New Designs for Wallpapers and Curtains”
The wallpapers featured in the October 1922 edition of House Beautiful vary in style, from trompe l’oeil to floral to Chinese-inspired. While not all look like they belong in an Elsie de Wolfe interior, most of them read as feminine, and would not be out of place in one of her designs. According to the captions on each of the images, at least some of the wallpaper patterns were designed by women, with three of the designs being credited to Flora MacDonald. Based on the time period and the language used in the captions, which speak of nurseries, and the target demographic for these designs also seems to be women.
Figure 6: An Advertisement for Cheney Silks
Figure 6: House Beautiful, October 1922 edition, page 369: “Cheney Silks”
In an advertisement clearly targeted at women, the designs on these printed silks are compared to “dainty cushions, lampshades, draperies, table-runners, and tea gowns.” It connects women’s fashion and interior design, and ends by saying that the products are available both in dress-making and decorating shops or departments. While the name “Cheney Brothers” indicates that the company is owned by men, the products are obviously made for women, who would have likely had the reigns with regard to the selection of textiles for home decoration.
Synthesis
In both the examples seen in the October 1922 edition of House Beautiful and the recent IKEA blog post, there is a throughline of feminine motifs being popular in interior design. For over 100 years, floral prints and bright colors have appealed to consumers, primarily women. In the time of Elsie de Wolfe, the expression of interior spaces, particularly the home, was one of the few ways that women could have power and influence in a deeply sexist and patriarchal society. Even today, the stereotype that interior design is something that women are primarily concerned with remains strong. In media, when the husband takes an interest in interior design, he is often relegated to a “man cave,” due to being portrayed as having poor taste. While these portrayals, often coming from sitcoms, are exaggerated, they come from deeply ingrained and prevalent ideas in our culture.
With this in mind, it makes sense that design companies like IKEA are making and advertising products which appeal to traditional ideas of femininity, just as companies were in 1922.
