THE ARCHITECT AND THE INDUSTRIAL ARTS

THE METROPOLITAN MUSEUM OF ART

THE ARCHITECT AND
THE INDUSTRIAL ARTS
AN OF
CONTEMPORARY
AMERICAN DESIGN
THE ELEVENTH IN THE MUSEUM SERIES
NEW YORK FEBRUARY 12 TO MARCH 24 AND
CONTINUED TO SEPTEMBER 21929
Printed in the "Cnited States of .1meriea
Copyright, The JJetropolitan Museum or Art, 192,9
Phoiogrll phs, te,d, and ornll ments 1Il(f.1J IIOt be
reproduced without permission
COMMITTEES
Co-operating Committee
Armistead Fitzhugh, Landscape Architect, New YOTk
Raymond ::\1. Hood, Architect, New 1'01".
Ely Jacques Kahn, Architect, New Yo1",;
John W. Root, ATchitect, Chicago
Eliel Saarinen, Architect, Det1'oit
Eugene Schoen, A1'chitect, New York
Leon V. Solon, Ceramic Designer, Trenton
Joseph Urban, Architect, New York
Ralph T. Walker, Architect, New YoTlc
Advisory Committee on Industrial Art
John P. Adams, Kensington 1I1anufactuTing Co., New YOTk
Sidney Blumenthal, The Shelton Looms, New YOTk
F. 'V. Budd, Cheney Brothers, New York
Frederick Carder, Coming Glass Works, C01'ning, N. Y.
Cleveland A. Dunn, GTaff, Washbourne q Dunn, New YOTk
A. J. Graffin, Graffin q Dolson, Nero York
Howard Greenley, ATchitect, New Y OTk
Howard 1\1. He ton, 111. H. Birge q Sons Co., Buffalo, N. Y.
Frank G. Holmes, Lenox, Inc., TTenton, N. J.
Walter W. Kantack, Kardnck <$- Co., Inc., New York
R. J. Ogborn, M. J. lVhittall Associates, New York
Karl chmieg, Schmieg-Hungate <$' Kotzian, New York
Leon V. Solon, Robe1tson Art Tile Company, Trenton, N. J.
Louis C. Tiffany, Designer, New York
V. F. von Lo sberg, Edward F. Caldwell <$- Co., Inc., New York
Harry Wearne, Designer, New York
Giles Whiting, Persian Rug 111anufactory, New York
Museum Staff Committee
Edward Robinson, Director
H. W. Kent, Sec1'etary
Joseph Breck, Curatol' of Decomtive Arts
Richard F. Bach, Di1'eetor of Industrial Relations
Conrad Hewjtt, Superintendent of Buildings
EXHIBITS
PAGE
Backyard Garden 31
Man's Study for a Country House 35
Conservatory 39
Show Winrlow and Sales Alcove 42
WO1nan's Bedroom 45
Man's Den 49
Child's Nursery and Bedroom 52
Dining Room 58
Bath and Dressing Room 62
Apartment House Loggia
67
Business Executive's Office
71
Sales Room
77
Central Garden Feature
79
ACKNOWLEDGMENTS
In offering to the public its eleventh exhibition of
American industrial art, the Museum has taken
advantage of an opportunity which is unique in its
history, and probably without parallel elsewhere,
for it has secured the enthusiastic cooperation of
nine architects of distinction in this and other
cities, who have made the exhibition practically
their own by planning every detail of it themselves,
from the general design of the gallery as a whole to
11
the minutiae of their individual exhibits. Hence the
appropriateness of the special title of the exhibi-
tion' "The Architect and the Industrial Arts," as it
is a fine and instructive illustration of what the
architect can do outside of the field which we com-
monly associate with his profession, and it was
gratifying to us to learn that they welcomed the
opportunity of showing this very thing.
It is an especial plea ure to record the fact that
during the arduous months of preparation for this
exhibition the utmo t harmony prevailed both in
the relations between the Museum and the archi-
tects and among the architects themselves. At the
very beginning of our consultations the latter de-
cided to act together as a group, and in the frequent
meetings which have been held since there has been
free and frank di cussion of one another's schemes,
all keeping in mind their desire that the exhibition
as a whole should count as a unit and discordant
elements be avoided among the several sections.
The permanent Advisory Committee has also given
its sympathetic and helpful support.
12
When to all this is added the fact that the archi
tects have given their services as a tribute to the
Museum, and the many manufacturers and others
represented in the displays have contributed their
work free of expense, although the designs were
either selected or made by the architects, the extent
of our obligation to all concerned may be imagined,
but it cannot be overestimated.
EDWARD ROBI TSON, Director
The cooperative method responsible for this exhibi-
tion functioned at a weekly luncheon, the commit-
tee assembling each Tue day at 12:20 in the private
dining room of the Architectural League of New
York. There soon developed at these luncheons a
very homey atmo phere; the absence of conven-
tionality in environment was beneficial to discus-
sion aiming at logical departure from unintelligent
13
precedent. In all meetings there was a notable lack
of formality.
Several of our members are men of extensive and
varied responsibilities with urgent claims upon their
time; a surprisingly high average in attendance was
nevertheless recorded, and a degree of enthusiasm
developed which caused these men, on their own ad-
mi ion, to devote relatively as much time to exhibi-
tion problem as tothe creation of their most famous
achievements. Due to enforced absences, the char-
acter of di cussion and the viewpoints taken were
constantly varied-a circumstance of considerable
value.
Two of our members, Saarinen and Root, are lo-
cated re pectively in Detroit and Chicago, but dis-
tance and the consequent 10 s of valuable time did
not prevent their making express visits. The most
con tant attendant ( econd only to the chairman)
wa Ely Kahn, and I have pleasure in distinguish-
ing him as the mo t willing and helpful of all,
taking on him elf all the "no-man' work" that
mounts up so considerably in such undertakings,
14
and upon the faithful execution of which ultimate
success absolutely depends.
Saarinenwas responsible for formulating the gen-
eral concept of space treatment; insubsequent meet-
ings details were made to conform with specific re-
quirements, and finally reduced to precise terms by
Ely Kahn, who introduced a number of interesting
features. Saarinen was the first to complete his
scheme and details: the admirable manner in which
everything was thought out, innovations created,
and all stated graphically in the most precise terms
had great influence upon all undeveloped themes,
undoubtedly raising the level of aspiration.
Raymond Hood ranked next in distinguished
service, cheering discussion with the flippant quip,
surprising us invariably with a sudden proposi-
tion of irrefutable practicability, hoary in worldly
wisdom; hi handling of ae thetic problems made
one think of parallelopipeds and the absolute integ-
rity of the geometric. He was the "little ray of sun-
hine" of our group, and hould derive future honor
through origination of an impregnable delinquent
15
alibi. Being inten ely anxious to discover an ideal
solution of his chosen problem, "the business execu-
tive's office," he was loath to submit any sketches in
committee before being comparatively satisfied;
consequently, in response to the chairman's formal
request for a report on progress each week, he would
reply that he "had nothing to show, but had done a
lot of thinking." This apparent evasion burst into
popularity upon its second appearance, and on oc-
casion members of the committee reported their oc-
cupancy of the sphere of thought in extenuation of
uncompleted effort. This great tactical subterfuge
needs only a little publicity to become a national
re ource of the intelligentsia.
Joseph Urban's vast experience in collaboration
wa a timulating and stabilizing factor in discus-
sion; the more he knew on subject upon which we
were consciou ly d ficient, the more diffidently he
expre sed his views. He has all the characteristics of
leader in modern thought-unbounded imagina-
tive faculties operating upon an intensive appre-
hension of practicability. It was extremely interest-
16
ing to observe the manner in which these faculties
were also manifest and operative in the mental
processes of Hood, Walker, Saarinen, and Kahn.
I think the group derived more pleasure from the
appearance of obstacles than from unobstructed ef-
fort: in certain instances new solutions to formal
acceptances resulted, as in the case of the wash-bowl
in cast glass in Kahn's exhibit. Familiar utensils
were regarded from new angles and the need for
radical revision-as in the case of Saarinen's table
knife and Ralph Walker's cocktail shaker.
The uniformity of interest that existed in this
group, and the tacit acceptance of common aesthe-
tic objective were surpri ing, in view of the pro-
nounced individuality of many therein. The prob-
able reason for thi delightful circumstance was that
practicability took precedence of aesthetic factors in
all preliminary di cussion, permitting the varied in-
ventive faculties to meet upon neutral ground: no
shadow of personal feeling once invaded our highly
activated atmosphere - a fact worthy of record.
LEON V. SOLON
17
AMERICAN INDUSTRIAL ART
An Exhibition of Design: 1 929
A philosophic approach to contemporary design
ju tifies quotation from the ancients. To the learner
the old is new, the new soon old, in styles of art as in
religion, in mechanical development as in music.
The e changes are embraced under the ambiguous
word progress, a kind of rotarian word for which
the hoary phrase that there is nothing constant
but change is a working equivalent. The ancient
19
responsible for these reflections is Heraclitus of
Ephesus, who said, about a century before the Par-
thenon was built, that the major problem of human
society is to combine that degree of liberty without
which law is tyranny with that degree of law with-
out which liberty becomes license. A task, indeed,
not only of deftly combining but also of nicely
balancing, this to be achieved with every regard
for flexibility and adjustment. One somehow gets
the impression of a weather-vane run by law.
Styles in design are weather-vanes and they do
obey law, but an unwritten law, not to be stated in
resounding paragraphs and sections until the style
has fallen into its place in that logical sequence of
human expressions called the history of art. So in
contemporary design, the art in industry of today,
the modern craftsmanship, there also is a kind of
law, or principle, in the making. It cannot as yet be
given any finality of statement; it cannot be set
down as a ruling authority. Liberty is essential to
growth, but there is nothing to prove that liberty
should not have good manners and good sense. It
20
is there that we may seek a sort of control lever for
contemporary design.
o style, past or to come, finished or half-grown,
has ever prospered, or ever will, without recourse to
reason. If the new style now taking shape wher-
ever we look can be proved reasonable we need not
be troubled because its voice is cracked, its color
pitched too high, its apperception a bit vague.
These are marks of adolescence which may be just
as reasonable as they are raucous; modulation
comes with maturity, and this style of today is but
a little over a quarter-century old.
The underlying reason in contemporary design
is to be sought in the practical life it hopes to in-
terpret. Only as interpreter can art function use-
fully, and in this The Metropolitan Museum of Art
eeks to aid in offering thi Exhibition of Amer-
ican Industrial Art.
What is the tempo of our day? What are the domi-
nant elements of our culture, our activities, our
thinking? Is this a speed age or are we sedate? Have
21
we time to be dignified and stately about frills or are
we air-minded? Do we wait for months, as once we
all did, for the silkworm to complete his labors be-
fore beginning to make thread from his cocoon, or
do we undertake, as many of us do now, to make a
few bales of vegetable silk out of chemically treated
wood fiber between breakfast and lunch as a regular
chore of a business week-day? And is this the
mechani tic millennium which shrivels the soul and
makes mockery of imagination, or are these fabu-
lou indu tries, these automatic instruments of pro-
duction, the means of bringing within range of vi-
sion the real potentialities of our crowded lives and
of interpreting our aspirations and achievements?
In the answers to que tions such as these is to be
found the rea onable groundwork upon which a
repre entative modern tyle may be built, and in
them al 0 we may eek the Museum's own reasons
for pre enting the remarkable demonstration of col-
laborati e effort in de ign and production which
con titute the eleventh in its serie of exhibitions
of American industrial art.
22
These exhibitions are in effect the Museum's con-
tribution toward the formulation of a style of de-
sign, for under its aegis moot points will find deci-
sion and trends be given direction, without too
many concessions to the exuberance of novelty and
with never too strong a regard for sales value. The
Museum gallery is neutral ground, and all other
considerations must yield before that of a sincere
effort in favor of contemporary design.
The Museum's public relationships are varied, its
contacts must be classified according to types of
interest. Among the chief interests in the commu-
nity are those of the designers and manufacturers of
home furni hings and other kinds of industrial art.
For many years the Mu eum has given close atten-
tion to the needs of these fields, aiding them in the
laboratory use of the collections, assisting their rep-
re entative trade journal, collaborating with their
trade as ociations. As one line of effort the exhibi-
tions of American indu trial art have been held,
and further, in token of the Museum's role of inter-
23
preter, these exhibitions have changed in general
complexion from year to year to accord with cur-
rent interest and demand. Thus in the beginning
all objects shown were the result of Museum study
and were the work of the year; later, these require-
ments gave way to the important one that only
pieces of American design and manufacture were
shown. Now, in the eleventh exhibition, the pro-
cedure responds once more to general tendencies,
and not only are the objects shown all of contem-
porary design and of American conception and
execution throughout, but they have been designed
for the specific purpose of this showing.
To these considerations has been added a further
one, more important than the rest: these specially
designed objects have been brought together in
group displays, which simulate room arrangements
but are not necessarily treated with the finality of a
problem in decoration involving the personality of
a client, as would be the case commercially. In all,
there are over a dozen group schemes, the names of
which indicate their variety: backyard garden,
24
man's study in a country house, conservatory, show
window, woman's bedroom, central garden feature,
man's den, child's nursery and bedroom, dining
room, bath and dressing room, apartment house
loggia, sales room, and business executive's office.
For a number of years the Museum has had the
great advantage of the advice and assistance of an
Advisory Committee on Industrial Art, consisting
of a group of manufacturers and designers practi-
cally engaged in supplying objects of industrial art
to the purchasing public. This group, whose per-
sonnel is listed elsewhere in this catalogue, has been
of great value in steadying the hand of the Museum
as the various exhibitions in the industrial art series
were planned, and it was with their advice that the
eleventh exhibition was given its present form.
It had long been the Mu eum's desire to offer
an exhibition American-de igned and American-
made throughout, but the form that this presenta-
tion should take was not at first clear, in view of the
great labor and the large number of collaborators
25
that would be required for so extensive an exhibi-
tion of pecially de i ned piece. It was at a meet-
ing of the Advi ory Committee on Industrial Art,
held at the 1u eum, that a fir t suggestion was
made by Gile Whiting of the Persian Rug Manu-
factory, for a concerted arrangement of objects
from variou indu trie, limited, however, to a
ingle group di play. This uggestion took more
definite hape in ucceeding meeting, where it was
developed further by Sidney Blumenthal of The
helton Loom , by Howard Greenley, archit ct,
and particularly by Leon V. Solon of the Robert-
on Art Tile Company, who e espousal of the idea
at everal e ions nli ted uch enthu ia m and
encouragement that the feasibility was consider d
of pI' enting th unified collaborative xhibition
whieh ha now be n realized.
Thi offer d, however, a highly sp cialized prob-
lem in de ign, who e olution required continuou
and 10 e attention; it wa characterized by all the
lidity and reality of a r gular profes ional job in
ad ign r' ffic. Anoth I' group, the Cooperating
2G
Committee, was called in to help; in fact, the actual
problem of design wa turned over to them. With
eager energy and productive enthusiasm these men
threw them elve into the prodigiou ta k we now
ee realized in the gallery. The huge room was
transformed for the purpose, the series of group
schemes allotted among the members of the com-
mittee' each setting to work to marshal a company
of collaborating manufacturers, designers, and
craft men to bring his project into realization. The
actual labor and material involved were tremen-
dou ; weekly meeting were held, drawing fol-
lowed drawing, until finally the working blue-
print were turned over to the Mu eum' work-
hop . It hould be noted that the general scheme
of th exhibition wa laid out by Eliel Saarinen and
l a t ~ r developed by Ely Jacques Kahn, who also
handled in hi own office numerou d tails of in tal-
lation which affected the gallery at large.
All the understructure in this exhibition was
done with efficiency and dispatch by the Mu eum's
own hop, as was also the final pre entation of the
27
gallery as a whole. The collaborating firms, design-
ers' and craftsmen were then at liberty to make
their own finished installation.
The number of these collaborators who responded
to the Mu eum's invitation to participate is 150, all
having been recommended by the Cooperating
Committee. In general, the design, not only of the
gallery and the groups but also of most of the in-
dividual objects, was the work of members of this
committee. So thorough and effective was the work
of this group of architects that the exhibition poster
carries the special announcement, "The Architect
and the Industrial Arts." Surely in this there is not
the remote t hint of commercial inbreeding and the
need to overcome sales resistance as a barrier to de-
sign. The architect here is given the position of
captain in a company of artistic collaborators, and
together they have produced an exhibition unique
as a styli tic pre entation, favoring no foreign na-
tional models, a suring correct use of known mate-
rials and logical interpretation of new ones, and
serving no gods but those of cooperation between
28
designer and producer, sincere individuality in ex-
pression, and reason in design.
The progress of this enterprise has been highly
gratifying throughout; the opportunity offered by
the Museum was grasped and turned to excellent
advantage by a group of our leading architects in
presenting an exhibition which is an important
stylistic contribution to contemporary design.
RICHARD F. BACH
29
B A C K Y A R D
GARDEN
The thought of attempting a backyard garden was
prompted by a di cussion with landscape architects
at the inception of the Museum's project. There
seemed to be little interest directed towards the
treatment of the garden in anything but a rather
conventional setting, and the result has been this
study.
In a narrow lot there is not much to be done but
to frame, quite imply, the activities of the person
31
using the small garden. Assuming a hostess' seat,
with a few chairs for her guests, and a fountain per-
mitting a faint stream of water to ripple over a
broken tile surface, one finds also two tile boxes in
which plants in season will entertain the company.
The black iron jar will serve as a focal point, a note
of interest that would mellow in the garden and
contrast with the brilliance of the flowers against
the orange tile of the fountain wall. The problem
here becomes one of elimination and simplification,
the major interest being texture of material, the
contra t of large masses of color. In the garden, as
in the house, one is supposed, under conventional
procedure, to label one's inspiration and proceed
from there, so that it was entertaining in this in-
tancetohavethe collaboration of artists like Messrs.
Solon, Amatei , and Purves in developing the seat
and fountain from function and color mass rather
than detail.
One rather curious characteristic of this so-called
moderni m is that the European schools of design
have so standardized themselves that there is a rea-
32
sonable certainty of the establishment of merely an-
other convention. The French furniture designers,
the German lighting-fixture producers are sympto-
matic. The constant cry of the modern is for free-
dom of expression, independence of thought, eman-
cipation from the fetters of the past. It is obvious
that intelligent artists canno more discardthe strong
truths of their traditional education than they could
wilfully destroy the works of the great masters. It is
conceivable, however, that starting from the prob-
lem and working towards a solution with little arti-
ficial aid from either European novelties or tradi-
tional recollections, the artist may approach fresh
results with the confidence that he has at least been
honest to his work and to himself.
ELY JACQUES KAHN
33
BACKY RD GARDE designed by
Ely Jacques Kahn, Architect, ew York.
METAL CULPTURE de igned by Edmond R. Ama-
teis, Tew York; executed by Kantack & Company, Inc.,
ew York.
FO ~ TTAIl de igned by Ely Jacques Kahn; executed
by Robertson Art Tile Company, Trenton, N. J.; tile
et by 'Villiam H. Jackson Company, New York.
LATE FLOOR designed by Ely Jacques Kahn and
The John D. Emack Company, New York; executed by
The John D. Emack Company.
GARDE . EAT de igned by Ely Jacques Kahn and
Au tin Purves, Jr.; mosaics by Ravenna Mosaics, Inc.,
ew York.
GARDEr F RNITURE designed by Ely Jacques
Kahn and Walter W. Kantack; executed by Kantack &
ompan.y, Inc.; coverings designed by Du Pont Rayon
Company, Inc., ew York; executed by Buckner &
IIennebry, Tew York.
GATE de ign d by Ely Jacques Kahn and Walter W.
Kantack; executed by Kantack & Company, Inc.
TK\. AlTD COFFEE ERVICE I T ILVER designed
and xecuted by Peter l\Iuel1er-l\Iunk, ew York.
TREE, IlHUB A TD FLOWEB.S by l\Iax Sehling,
Inc., ~ Tew York.
34
MAN'S
FOR A
STU D Y
COUNTRY
H 0 USE
The problem of a room i stated for each individual
who thoughtfully creates one. It changes with the
individual' viewpoint, and the only lesson it can
point i one of per onal experiment. The business of
a room is first to inclose and house the body, and
then to afford escape for the spirit through the mind.
It is first of all obviou that were there no utilita-
rian need there would be no room. In it such rna-
chineryfactors as economy, efficiency, and selective-
35
ness are those of instruments of use, which are but a
small part of the need expressed in the creation of a
room; they are wholly physical in their nature and
utilitarian in their relationship, and while they con-
dition the life to be lived in the room they do so only
as any other instrument or tool has done in the his-
tory of man. Our minds comprehend that which our
eyes do not clearly see.
A room is different from a motor car or an aero-
plane in that it is static because of the very inert
nature of the materials of which it is built, and is
mobile only in the sense of the time necessary for its
appreciation. The room, therefore, must not express
finality in any sense, but a movement of thought in
time-a breaking down of the immediate and the
opening up of a mental horizon of widening view-
point. It should be lacking in sharp contrasts, in
primary form and color , which are wanting in so-
phi tication and which breed momentary apprecia-
tion only. In it pace elements hould be 0 designed
a to ng nder tim elem nts, through which appre-
ciation can be I d fro111 one th ught to another,
36
forming a stimulus toward, and an opportunity for,
fresh viewpoints, and so encouraging a more con-
tinuous period of appreciation.
RALPH T. WALKER
MA 'S STUDY FOR A COUNTRY HOUSE
designed by Ralph T. Walker, Architect, ewYork.
CABII ET'VORK executed by Eli Berman Company,
New York.
WOODWORK MATERIAL by Ichabod T. Williams
& on, ew York.
PLA TER CElLI G by Joseph A. Cuddihy, New
York.
CElLI G AI D FRIEZE DECORATIO designed by
Ralph T. Walker and Ernest F. Tyler; executed by
lack, Jenney & Tyler, Tew York.
FLOOR de igned by Ralph T. Walker; executed by
Ha brouck Flooring Company, Long Island City, . Y.
FIREPLACE A TD TO EWORK designed by Ralph
T. Walker; executed by Benedict Stone Corporation,
New York, from models by Stifter & DeCesare, Inc.,
ewYork.
RUG de igned by Ralph T. Walker and Frank A. Haas;
executed by 1. J. "Vhittall As ociates, ew York.
FUR ITURE de igned by Ralph T. Walker and W. &
J. loane, New York; executed by W. & J. Sloane.
37
L I G H T I ~ G FIXTURES AND CUPBOARD DOORS
designed by Ralph T. Walker and Sterling Bronze Com-
pany, Inc., ew York; executed by Sterling Bronze
Company.
FIREBACK A D RADIATOR GRILLE designed by
Ralph T. 'Valker and Sterling Bronze Company, Inc.;
executed hy t ding Bronze Company, Inc.
DRAPERY FAERICS designed by Oskar Hauenstein;
executed by Robert McBratney & Company, ew York;
curtain made and hung by W. & J. Sloane.
'VL DOW by David Lupton's Sons Company, New
York.
LEADED GLAS FOR WINDOW designed by Ralph
T. Walker and Len R. Howard, New York; executed by
Howard, Geissler & Rowe, Inc., New York
SILVERWARE designed by Ralph T. Walker and
Graff, Washbourne & Dunn, New York; executed by
Graff, 'Va hbourne & Dunn.
FIRE- CREE de igned by Ralph T. Walker and
amuel Ycllin, Philadelphia; ex cllhd by alllucl Ycllin.
TAT E, Dancer, by Arnold Ronnebeck. Courte.yof
\Yeyhe Gallerie, Tew York.
G by avage Arm Company, ew York.
FI HI TG ROD A D TACKLE by H. L. Leonard
Rod Company, Jew York.
HARDWARE de igned by Ralph T. 'Walker; executed
by P. & F. orbin, Jew Britain, Conn.
PIPE by William D muth & ompany, ew York.
IITRAY d signed by Ralph T. Walker; eX0cuted
by , t 'rling 13ronz' Company, Inc.
38
CONSERVATORY
Life in the modern city needs sun hine and the joy
of growing thing . The conservatory is conceived as
a semi -outdoor room where one lounges in sunlight
surrounded by flowers and mall shrubs. The foun-
tain gives an air of freshness to the place by the
sound and brightne s of flowing water. To avoid
unplea ant glare, the gla has been partly etched in
large plane, doing away with the nece ity for
had and curtain , yet admitting ufficient direct
39
sun for the vegetation. Glazed materials such ascad-
mium-plated steel, and highly glazed tile and mo-
saics made possible by modern technique in ceramics
have been used to augment the effect of the flowers
through shadowy reflections. The reflective proper-
ties of these materials avoid the harshness of effect
which dull finishes on contrasting materials are apt
to produce. Permanent, highly reflective finishes for
metal and tile, requiring no polishing after they are
installed, are recent developments of modern tech-
nique. Such finishes protect the surface and afford
the beauty of waxed marbles and polished metals
without the hand labor formerly necessary to keep
them in condition.
JOSEPH URBAN
40
CO SERVATORY designed by Joseph Urban,
Architect, ew York.
STEEL WALLS A D CEILI G designed by Joseph
Urban; executed by Sexauer & Lemke, L. I. City, N. Y.
OR A IE TTAL GLASS designed by Joseph Urban;
executed by Eny Art Company, Inc., ew York.
STEEL FURNITURE AND FOUNTAIN designed by
Joseph Urban; executed by Sexauer & Lemke.
MOSAICS designed by Joseph Urban; executed by
Ravenna ~ 1 o s a i c s , Inc., New York.
FLOOR designed by Joseph Urban; executed by The
Mosaic Tile Company, New York.
UPHOLSTERY designed by Joseph Urban; executed
by Hugo Gnam & Son, New York; material by E. I. du
Pont de Nemours & Company, Inc., Fabrikoid Division,
ewburgh, N. Y.
LA 1P de igned by J 0 eph Urban; executed by Egli
Company, Inc., ew York; shade designed by Joseph
Urban, executed by Pola Hoffmann, Inc., ew York.
CHI WARE de igned by Frank Graham Holmes;
executed by Lenox, Inc., Trenton, . J.
FLOWER-POT de igned by Joseph Urban; executed
by The Mo aic Tile Company.
LA QUER by Thoma Bull tudios, ew York.
POTLIGHTS by Kliegl Brothers, ew York.
FLOWERS by Bronxville ursery, Bronxville, N. Y.,
and Department of Parks, City of ew York.
II l\IIDOR by The Rumidor Corporation, New York.
41
SHOW WINDOW AND SALES
ALCOVE
The principal difficulty encountered in show-win-
dow design and construction is taking care of the
proper di play lighting for various types of mer-
chandise; furniture requires different illumination
from women's dres es, and small articles sometimes
require intensification in contrast with larger ones
in the same window. This usually is overcome by
adding such light-di tributing units as may be reo
quired, but thi m thod i crude and ineffective. Pro-
42
vision must be made in advance to take care of all
types of lighting. This has been accomplished in the
show-window display by means of two vertical
strips of reflectors on each side at the rear of the win-
dow, one vertical strip at the front on each side, a
horizontal trough reflector at the ceiling in the rear,
one at the floor in front, and spot-lights. This appa-
ratus, placedontime switches which alternately play
on and off, enables the merchant to show his goods
in a dynamic way, as changing interest plays an im-
portant part in display. With the use of occasional
colored lamps as part of the lighting scheme, many
attractive effects can be produced.
The background, so es ential a feature in display
work, consists of a series of corrugated surfaces, light
in color to enable the light from the strip reflectors
to cast shadows, which have a tendency to give line
and surface value to the background. The intense
light at the rear of the display also has a tendency
to neutralize the reflection effects of daylight in the
plate glass of the show window.
EUGENE SCHOEN
43
SHOW WINDOW A D SALES ALCOVE
designed by Eugene Schoen, Architect, New York.
how WindoZiJ:
WI DOW FRONT designed by Eugene Schoen; metal
by 'William O. Chapman, Inc., New York, wood pan Is
by David Kramer, Inc., ew York, formica by Thc
Formica Insulation Company, Ne,,' York.
F R JlTURE de igned by Eugel1e Schocn; cxccuted
by Schmieg-Hungate & Kotzian, Inc., cw York.
WI DOW BACK by Acme Woodworking Company,
ew York.
MARBLE by A. R. Zicha Marble Company, Inc., Long
I land City, N. Y.
GLA by emon Bache & Company, ew York.
FLOOR by David E. Kennedy, Inc., ew York.
REFLECTORS by The Frink Corporation, New York.
Sales Alcove:
FUR TITURE de igned by Eugene Schoen; executed
by chmieg-Hungate & Kotzian, Inc.; leather by John-
on Leather Company, Jew York.
WOODWORK designed by Eugene Schocn; executed by
David Kramer, Inc.
GLA S by emon Bache & Company.
REFLECTORS by The Frink Corporation.
4....
WOMAN'S BEDROOM
A woman' bedroom is primarily a background for
it occupant and should be quiet, comfortable and
usable.
A color scheme of flu hed gray, silver, chalk gray-
blue, gray peach-rose, none dominant, is adapted for
thi purpo e. The walls are hung withvelvet, striated
vertically in hades of gray. The ceiling is flesh-
color and gray-ro e in a pattern of arcs and right
line . The printed taffeta window overdrap ry in a
45
single piece covers a glass curtain of velvet on which
transparent designs have been etched out-a nov-
elty. The carpet is dark rose. The small rug is a com-
bination of rose, gray, and gray-blue. The bed is
blue, its taffeta coverlet banded in the colors used
in the room. The chaise longue is also blue, tufted
in varicolored taffetas.
The kidney-shaped dressing table, withitsrevolv-
ing chair, is pewter. It is lighted from behind
through figure silhouettes formed by removing the
mirror-a new conception. This is also done on the
wall mirror which is illuminated through transpar-
ent border design which frame it in light.
JOH WELLBORN ROOT
46
WOMA 'S BEDROOM designed by John Well-
born Root, Architect, Chicago.
BED, CHAI E La G E, A TD SIDE-TABLE de-
signed and executed by Seces ion, Ltd., Chicago.
CARPET by Bigelow-Hartford Carpet Company, Chi-
cago.
DRE I G TABLE designed by Johns H. Hopkins,
Chicago; executed by oble tudio of l\letalarts, Chi-
cago.
CABI ET de igned and executed by Tappe, DeWilde &
Wallace, Chicago.
DRESSI TG-TABLE CHAIR, LOU GING CHAIR,
A D PLA" TT T ~ \ N D de igncd and executed by C. D.
l\Iacpher on, Evan ton, Ill.
CHAIR COVERI TG designed and executed by J ohn-
son c' Faulkner, Chicago.
LIGIITI TG FIXTURE A TD LAl\lP designed and
executed by Curti Lighting Company, Inc., Chicago.
TA DI G l\IIRROR de igned and executed hy oble
Studio of l\Ietalart , Inc.
WALL A D DRE I TG-TABLE MIRROR de-
igned by John ,V. orton, hicago; executed by Pitts-
burgh Plate Gla Company, hicago.
GLA C RTAL T designed by Winold R e i ~ s , New
York: xecuted by The Shelton Loom, ew York.
OVERDRAPERIE de igncd by Winold Rei ; exe-
cuted by Chene' Brother, outh Manchester, Conn.
47
CElLI TG A TD ICHE designed by Winold Rei s;
executed by W. K. Hase Decorators, Inc., New York.
BED PREAD fabric designed by Johns H. Hopkins,
Chicago; executed by Cheney Brothers, South Man-
che tel', Conn.; bedspread designed and executed by
Carlin Comfort, Inc., Chicago.
PILLO,"V designed and executed by Carlin Comforts,
Inc.
THROW FOR CHAI E LO GUE designed and exe-
cuted by Carlin Comforts, Inc.
DRESSI G-TABLE ACCESSORIES designed and
executed by Noble tudio of l\fetalarts, Inc.
PORTRAIT by Winold Reiss.
WALL COVERI GS by The helton Looms.
BRa TZE FIGURI E designed and executed by The
Little Forge, Chicago.
POT FOR PLA T designed and executed by Noble
tudio of l\fetalart , Inc.
PL TT by l\Iax chling, Inc., ew York.
TELEPIIO TE by American Telephone and Telegraph
Company, Chicago.
48
MAN'S DEN
The dull, almo t natural finishes of the man's den
are in distinct contrast to the conservatory. Here the
effect of a warm background and a shipshape ac-
commodation of a man' needs are the aim . The
personal treasures which find no suitable place else-
where, and the opportunity to retire for smoking,
conver ation, reading, and cards are compactly pro-
vided for in a pace 0 mall that order is imperative.
To a i tthi order the imple built-in furniture was
49
designed, with an eye first to its utility and second
to a greater conservation of space than is afforded
by free-standing furniture. The room, traversed of
necessity by a public circulation, has been frankly
left in two parts as an exhibition piece. In the work
executed imple designs and the decorative quali-
ties of the materials themselves are the mediums
through which is sought a richness contemporary
with the age of modern technical achievement.
JOSEPH URBAN
50
MA '8 DE designed by Joseph Urban, Archi-
tect, ewYork.
WALL AND CElLI G designed by Joseph Urban;
executed by Jacob Froehlich, ew York.
CABINET de igned by Jo eph Urban; executed by
Jacob Froehlich.
FUR ITURE designed by Joseph Urban; executed by
Jacob Froehlich; coverings de igned by F. Schumacher
& Company, Tew York, aud Du Pont Rayon Company,
Inc., ew York, executed by Goodman & Thei e, ew
York; uphol tery by Hugo Gnam &Son, T ew York.
PIPE by 'William Demuth & Company, 1 ew York.
RUG designed by Jo eph Urban; executed by M. J.
WhittalI As ociates, New York.
FLOOR by Ha brouck Flooring Company, Long Island
City, . Y.
LIGHTI TG FIXTURE de igned by Joseph Urban;
executed by Black & Boyd l\lanufacturing Company,
ew York.
ETCHED GLA de igncd by Jo eph Urban; executed
by Peter Ander, Inc., ew York.
BRO ZE IIARD'YARE de igned by Joseph Urban;
executed by P nn Bra & Bronze Works, ew York.
TELEPHO IE by ew York Telephone Company, New
York.
51
CHILD'S NURSERY AND
BEDROOM
The child's bedroom andplayroomha beenplanned
to timulate and meet the need of the growing
young ter. Sanitation, caretaking, and equipment
have been given important consideration. The fur-
niture i imple, and being con tructed of aluminum
it i ea ily handled by the child it elf. It i adju t-
able, 0 that the pi e may be raisedto accommodate
the child' growth. The de 'k ha been de igned a an
aesthetic workbench, equipped with cOlnpartments
52
for papers as well as with a drawing-board. The
walls, covered with a sanitary cloth, permit the child
to experiment with decorative colors that can be re-
moved easily if desired. In the lighting an attempt
has been made to simulate sunlight, and to this end
there have been placed around the room reflectors
which throw the light upward, and through diffu-
sion on a light ceiling cause proper general illumi-
nation. There are no movable lamps in the room, and
any special lighting has been obtained by reflectors
controlled by the child through switches from its
work table and from its bed. Orderliness can best
be inculcated by making provision for storing toys,
books, etc., and mall unit are preferable so that
each toy may be placed in its special nook and prop-
erly stowed away. The clothes closet has been built
a a press with compartments for different articles
of clothing, so that the child can remember where
each thing belong . The bed has been placed in an
alcove with no decoration whatever, which can, by
mean of a curtain, be eparated completely from the
pIa r OlD 0 that the vi ual in1prc ion of the play-
53
room may be entirely obliterated during sleeping
time. There is a window over the bed, and a niche
here and there for a favorite toy or book. The bed is
very low so that if the child should roll out it cannot
hurt itself. A night table is provided, and the child
can take care of all its necessities close to the bed.
Educational and cultural requirements have also
been considered. A blackboard is provided to enable
the child to draw. The wall decorations are designed
to stir the child's imagination.' In this manner a
study of geography and the arts and sciences can
easily be made pleasant through interesting maps,
charts, drawings of the solar system, etc. There are
also pictures of buildings and juvenile memories of
toys, while nature love is stimulated through plants,
a bowl of fi h, a bird, and other pets. The central
purpo e of the scheme is to encourage self-reliance
in the child without loss of the refining influence of
an orderly and well-designed background.
EUGENESCHOE
54
CHILD'S URSERY A D BEDROOM
designed by Eugene Schoen, Architect, New York.
l\1ETAL FUR ITURE designed by Eugene Schoen;
executed by Segar Studios, Inc., New York; coverings
by E. I. du Pont de emours & Company, III c., Fab-
rikoid Divi ion, ewburgh, . Y.; upholstery by Loca-
telli Brothers, New York; tops and ornaments by The
Formica In ulation Company, Tew York.
CUPBOARDS designed by Eugene Schoen; executed by
"The Cupboard," ew York.
BED designed by Eugene choen; executed by egar
Studios, Inc., Xew York; covcrings d signcd by
anne von eh, ex eutcd by For man, Fechtlllan &
Company, .TCW York, and Robert l\1cBratney & Com-
pany, ew York; pring and mattress by Charlcs P.
Rogers c' Company, Inc., Tew York.
PLAY TABLE de igned by Eugene choen; executrd
by David Kramer, Inc., ew York.
R G designed by Eugene Schoen; executed by 1(lear-
flax Linen LOOll1', Inc., New York.
DECOIL\ T1YE P Alt 1.'1 G cxecu ted by l\Iariannc von
AlIcsch.
DRAPERY FABRICS de igned by Marianne von
Allesch; exccuted by Robert l\fcBratney & Company;
curtain. made und in -tallcd by II. . Davis, ew York.
PAl '1'1 G OF TOYS by lIenry R. Beckman, New
York.
55
TOILET ACCE ORIES designed by Iarianne von
AIle ch; executed by Du Pont Vi coloid Company, Inc.,
ew York.
AQ ARI )1 designed by l\Iarianne von Allesch; exe-
cuted by Corning Gla s Works, teuben Division, Corn-
ing, T. Y.
BIRD CAGE by Arthur B. Hendryx Company, ew
York.
WALL FABRIC by E. I. du Pont de Nemoms & Com-
pany, Inc., Fabrikoid Diyi ion; i n ~ t a l l e d by W. K. Hase
Decorator, Inc., 1 Tew York.
BLACKBOARD by Natural late Blackboard Com-
pany, Pen Argyl, Pa.
FLOOIU G by David E. Kennedy, Inc., New York.
GLA by emon Bache & Company, New York.
PHO. TOGRAPH by Vietor Talking Machine Company,
Camden, . J.
WI TDOW by Detroit Steel Products Company, De-
troit; in taIled by ,V. K. Hase Decorators, Inc.
REFLECTOR by The Frink Corporation, ew York.
PLA TT and FLOWER by Flora Lin, ew York.
PLAYTIII TG , PLAY-WORK, CIE CE and NAT-
mE T DY MATERIAL designed and ex cuted
by Annin & Company, New York; Artop Company,
Roche tel', . Y.; Bau ch and Lomb, Jew York; Binney
T mith T ew York; :1ilton Bradley Company, pring-
field, lUa .; 1\1. J. Cha e, Pawtucket, R. I. ; Educational
Plaything, Inc., ew York; Carl Fischer, ew York;
. C. Gilbert Company, New Haven, Conn.; Hustler
Toy Corporation, New York; Irwin Manufacturing
56
Company, Trenton, T. J.; L. R. Kampes Studio, Atlan-
tic City, N. J.; R. H. Mayland's Sons, Brooklyn, N. Y.;
l\Ieyers Wooly Animals, Gloversville, N. Y.; Biological
Supply Company, ew York; Printerprimer Company,
Santa Barbara, Calif.; Rand, l\IcNally Company, Chi-
cago ;A. Schoenhut &Company, Philadelphia; Standard
Pressed Steel Company, Jenkintown, Pa.; Taylor In-
strument Company, Rochester, N. Y.; Tillicum Manu-
facturing Company, Seattle, vVash.; Tillicum Toys,
Inc., Tacoma, '''ash. Collection courtesy of Educa-
tional Playthings, Inc., New York.
BOOKS from George H. Doran, New York; Doubleday,
Doran & Company, Garden City, N. Y.; E. P. Dutton
& Company, Inc., New York; Harper & Brothers, New
York; Henry Holt & Company, New York; Houghton,
Mifflin Company, Bo ton; lacmillan Company, New
York; Coward fcCann, Inc., New York; Medici Soci-
ety of America, Inc., New York; William Morrow &
Company, Chicago; Rand, l\IcNally & Company, Chi-
cago; Volland & Company, ew York. Collection cour-
tesy of Educational Playthings, Inc.
57
DINING ROOM
Modern Features of Art: What are th distinctively
mod rn feature of art? At what do modern artists
aim? The e question can be an wered be t by refer-
ence to the past.
Throughout its whole development art has been
an expression of contemporary life and modern
point of view. In the beginning it has proceeded
carefully, feeling it waywith impleforms, thende-
veloping diver and numerous manife tations, but
58
always up to date. The Greeks did not build in the
Greek style, as we sometimes say. While the Greeks
built their style grew-their modern art. The Gothic
style, too, sought its nourishment fromthe life about
it, and consequently during its whole development
it was always modern, expressing in its form even
the slightest gradations of contemporary life and
thought. Only in times when the creative power is
undeveloped is art not influenced by the life about
it, and during these times artists are compelled to
avail themselves of ancient forms.
At the present we live our modern life, and is it
not logical that modern art should develop from this
life? We have as yet no modern style, only tenden
cies toward such a style, and we have no indications
as to its ultimate development, but we do have the
principles of development which have held true in
other epochs.
The only thing we are sure of - a thing we must
always keep in mind-is that we should begin with
simple forms, looking for truth and logic in regard
both to con. trurtion and to rna teriaI. Every style
59
must possess its fundamental idea, its original prin-
ciple around and within which the style may further
develop. This idea, this principle, should be logical,
simple, and true, and hould be of a constructive, not
a decorative, nature. If it is not so, there is no pros-
pect of a consequent development of the style, which
will grope and shortly be corrupted. To begin in a
imple way, to aim at truth in our means of expres-
sion- this is the most important inheritance we
have from the great epochs of creative culture. And
i not implicity itself characteristic of our modern
point of view, when scientific methods of expression
have uperseded the romantic and mysterious?
The future will show how much creative power
our age possesses for the development of its own
tyle. We cannot know that now. But if future gen-
eration can say that our age founded its style on
true, logical, and organic principles, then our times
have been proved trong and creative, and future
period have received a firm foundation on which
they can build further and develop.
ELIEL SAARI EN
DINING R O O ~ 1 designed by Eliel Saarinen,
Architect, Cranbrook-Birmingham, Mich.
F R TITURE dc igncd by Eliel Saarinen; exccutcd by
,V. & J. Sloane, ew York.
WALL FABRIC de igned by Pipsan Saarinen-Swan-
son; executed by Orinoka Mills, Philadelphia.
RUG designed by Eliel Saarinen; executed by Barry-
more Seamless Wilton, Inc., Philadelphia.
TAPE TRY de igned and executed by Loja Saar-
inen, Cranbrook Studios, Birmingham, Mich.
LIGHTING FIX'IURE de igncd by Elicl Saarinen;
cxccutcd by Edward F. Caldwell & Company, Inc., Ncw
York.
FIREPLACE TILE de igned by Elicl Saarincn; exc-
cuted by Pewabic PoUery, Detroit.
DIRO S designed by Eliel Saarinen; executed by
Sterling Bronze Company, Inc., New York.
CHI AWARE designed by Eliel Saarinen; executcd by
Lenox, Inc., Trenton, N. J.
GLA WARE designed by Elicl aarin n; executed by
Corning Gla 'York, teuben Divi ion, Corning, . Y.
ILVER E TERPIECE de igned by Eliel Saarinen;
executcd by International Silvcr Company, Meriden,
Conn.
SILVER FLATW} ~ R E de. igncd by Elicl aarinen ;
c_-ccut d by International ilvcr Company; Rced &
Barton, Taunton, l\fa .; Roger, Lunt & Bowlen Com-
pany, Grecnficld, l\la. s.; Towlc Manufacturing Com-
pany, Tewburyport, Mas.
61
BATH AND DRESSING ROOM
The Mu eum, in a king certain individuals to di-
rect the decoration of various units of this exhibi-
tion' has placed a somewhat serious responsibility
upon them. Quite apart fromthe merit of what they
may do, a uming that the re ult has any value,
they function as another group of quasi -modernists
producing another exhibition at a moment when the
public i tending to b come bored with the preten-
sion of a new art. Unfortunately, all artists are
62
hurled into two classes, conservative and radical.
The radicals of one age become the classicists of an-
other, and the merry choosing of sides takes place,
irrespective of the profound instincts of the indi-
vidual. All artists believe themselves to be progres-
sive, emancipated, but usually suffering from some
restriction or other which prevents their genius
from flowering.
The Museum, happily, has kept its hands clear of
any re traint, in an attempt to permit the study of
certain problem , the choice of the individual. The
designs and details of the actual project have been
discus ed with the production men, the designers of
the factorie , and the re ult, whatever its actual
worth, ha at lea t been a stimulating experience.
ot only in such conferences, but also at the weekly
meetings of the Cooperating Committee, practical
problem were di cus ed 0 that friendly criticism
might be d veloped.
In the bath and dre ing room the attempt was
made to produce an agreeable etting for an impor-
tant el m nt in the hou e, without decoration as a
63
ba is. The glass walls will retain their color, and can
be cleaned ea ily. The tile, placed where plumbing
changes are reasonably conceivable, has been studied
entirely from the angles of color and texture. The
tile radiator grilles,over which the towels may hang,
will warm the fabric agreeably. The rubber floor will
afford a oft cushion that should obviate the need of
bath mats or warm floor covering. The lighting of
the room was carefully studied to the end of supply-
ing light where needed-at the dressing table and
lavatory and over the tub.
In the design of the accessories, the further coop-
eration of the manufacturers made possible the pro-
duction of the detail of the dressing table, the glass-
ware, boxes, brushes, etc., in harmony with the spirit
of the room. A cordial interest has been shown by
the producers, and it is to be hoped that the results
may in orne degree be worthy of further alignment
of the de igner and the manufacturer.
ELY JACQUES KAH
64
BATH A D DRESSING ROOM designed by
Ely Jacques Kahn, Architect, New York.
GLASS WALLS de igned and executed by Corning
Glass ';Yorks, Steuben Division, Corning, I . Y.
DECORATIVE TILES desiO'ned by Ely Jacques Kahn ;
executed by Robert on Art Tile Company, Trenton,
N. J.; set by William H. Jackson Company, New York.
WI DOWS designed by Ely Jacques Kahn; executed
by International Casement Company, I ew York;
carved glass by Eny Art Company, Inc., New York.
PLASTER CEILING designed by Ely Jacques Kahn;
executed by Jacob on & Company, Jew York.
FLOORI G designed by Ely Jacques Kahn; executed
by United States Rubber Company, New York.
SA ITARY FIXTURES designed and executed by
Kohler Company, Kohler, Wis.
FUR ITURE designed by Ely Jacques Kahn; exe-
cuted by chmieg-Hungate & Kotzian, Inc., New York;
fabrics de igned and executed by The Shelton Looms,
ew York.
SHELVES A D PANELS designed by Ely Jacques
Kahn; executed by The Formica In ulation Company,
ew York.
MEDICI JE CABINET, TOWEL BARS designed by
Ely Jacque Kahn and 'Valter W. Kantack; executed
by Kantack & Company, Inc., New York, and Hoegger,
Inc., Jersey City.
65
LIGHTI.!. -G FIXTURES AITD METALWORK OF
DRE LTG TABLE de igned by Ely Jacques Kahn
and Walter n
T
Kantack; executed by Kantack & Com-
pany, Inc.
DRE SIITG TABLE ACCESSORIES de igned by Ely
Jacques Kahn; executed by Du Pont Viscoloid Com-
pany, Inc., ITew York.
DECORATED GLASS OF DRESSING TABLE A D
HELYES by Bo tock, Rhoades & Company, ew
York.
PLATE GLA A D MIRRORS by Bostock, Rhoades
& Company.
DRE IITG GO",,,. T de iO"ned and executed by Hazel
Kolman, Inc., ew York.
LLTGERIE de igned and executed by Jay-Thorpe,
Inc., New York.
66
APARTMENT HOUSE LOGGIA
The adaptability of materials to the open air was a
controlling factor in the de ign of the open-air log-
gia, which I have imagined as opening off the salon
high up in a large city apartment house. The fire-
place, about which the furniture is grouped, is an
element even more ociable outdoors than indoors,
and i practical if properly arranged. The cast con-
crete on the wall i more olid than marble, and has
a wider range of possible effects. One of the modern,
67
non-corro ive metals, chromium, has been used for
the ceiling and overmantel. The furniture is of alu-
minum, and is covered with fabrikoid on account
of it waterproof qualities.
RAYMO D M. HOOD
For a fuller treatment of )11'. Hood's principles of design, see page 71.
68
APARTME T HOUSE LOGGIA designed by
Raymond M. Hood, Architect, ew York; Arthur
Crisp collaborating on color, Harry V. K. Hender-
son collaborating on design.
WALL LI I TG de igned by Arthur Cri p, ew York;
executed by Benedict Stone Corporation, ew York.
Decorative panel designed and executed by Arthur
Crisp.
1\1ETAL CEILING A D OVERl\1ANTEL designed
by Raymond 1. Hood; executed by Renner & Maras,
Inc., Long I land City, N. Y.; metal by Union Carbide
& Carbon Corporation, ew York. Inset in overmantel
de igned by Arthur Crisp.
FUR ITURE de igned by Raymond 1. Hood; exe-
cuted by Edward F. Caldwell & Company, Inc., Tew
York; covering by E. 1. du Pont de emours & Com-
pany, Inc., Fabrikoid Divi ion, Tewburgh, N. Y.; metal
by Aluminum ompany of America, ew York.
TABLE TOP de iO"ned by Raymond 1\1. Hood; exe-
cuted by Carvart Gla Studio, Inc., Brooklyn, N. Y.;
gla s by Vitrolite Company, New York.
CIGAR BOX A ~ D TABLE ACCES ORIES designed
and executed by Edward F. Caldwell & Company, Inc.
FIRE TOOL designed and executed by Renner &
l\Iara , Inc.
LIGHTI TG FIXTURE de igned and executed by
Edward F. Caldwell & Company, Inc.
YEI ETlAN BLIND designed and executed by Simon
Ventilighter Company, Inc., ew York.
69
\VI 'DOW FLOODLIGHTING by The Frink Corpo-
ration, l'ew York.
TERRAZZO FLOOR AND BASE by De Paoli Com-
pany, Inc., ew York.
FffiEPLACE TILE by Batchelder-Wilson Company,
Inc., T ew York.
ACCE SORIES I GLASS designed and executed by
Corning Glass 'Yorks, teuben Division, Corning, N. Y.
FLOWERS by Max Schling, Inc., New York.
70
BUSINESS
OFFICE
EXECUTIVE'S
The ta k of the contemporary designer is first to
earch for the practical solution of his problem, and
then to avail him elf of every material, every inven-
tion' every method that will aid him in its develop-
ment. He doe not forget that it is his business to
fa hion the material he use into a beautiful form,
but he realize that only by this road can he hope to
find the real beauty which will be the harmonious
expre sion of modern life. E pecially must there be
71
acknowledgment of the fact that the machine, as a
tool of the de igner, has replaced the craftsman in
contemporary production, and has, therefore, tre-
mendously influenced modern design.
Perhaps I can best express my conception of the
new movement by an illustration. If I were asked if
I could build a more beautiful business office than
Michelangelo, I should say," 0, but I can build a
better business office." My office would be better
lighted, better heated, have furniture better suited
to it need , and so on, all for the simple reason that
I have new materials, newprocesses, and new inven-
tion at my command, of which Michelangelo did
not dream. The office might not be so beautiful, but
it would certainly be more convenient, more com-
fortable, and better suited to its purpose. But it
would not be a good, and would undoubtedly be
Ie b autiful than Michelangelo's, were I to limit
my. elf to the 111aterial , the craft man hip, and the
relati ely imple contrivances of hi period.
Thi introduction will e plain my point of vi w
in th development of th bu in office and the
72
apartment-house loggia (page 67). The layout and
design of the different elements were controlled by
present-day requirements. In general, each material
has been chosen because of its fitness for the work it
is to do, and with regard to economical upkeep and
sanitary qualities. Its decorative treatment, then,
ha been dictated by the capabilities of the machine
or process by which it is made.
The executive sits with his back to the light as peo-
ple enter. His desk is arranged to receive the proper
working light, and at the same time to give him the
re tful distraction of an outdoor view. Facing him
is his secretary's chair, while his visitors may group
them elve about the conference table contiguous
to his de k at right angles without disturbing his
work. The wall and ceilings are covered with fab-
rikoid, a machine product which far excels in dura-
bility, cheapness, quality of surface, sureness of ef-
fect' and variety of expre ion the old methods of
pIa ter and paint and wood paneling. The furniture
i made of aluminum, a material as strong, light,
and adaptable for the purpose as wood, but one that
73
i not ubject to hrinking, swelling, warping, and
the necessity of repeated refinishing. The large win-
dow, made po ible by modern heating, lights the
room with a great area of subdued light, rather than
by a small area of intense light. The curtain permits
a complete regulation of light and air.
RAYMO D M. HOOD
74
BUSINESS EXECUTIVE'S OFFICE
designed by Raymond M. Hood, Architect, New
York; Arthur Crisp collaborating on color, Harry
V. K. Henderson collaborating on design.
RUG designed by Arthur Crisp, New York; executed
by Per ian Rug Manufactory, New York.
CASEMENT WINDOW designed by Raymond 1\1.
Hood; executed by William H. Jackson Company, New
York.
FUR ITURE designed by Raymond M. Hood; exe-.
cuted by 0 car B. Bach, New York; metal by Aluminum
Company of America, New York.
LIGHTI G FIXTURES designed and executed by
Kantack & Company, Inc., New York.
LOUYRED CURTAIN designed and executed by
Simon Vcntilighter Company, Inc., New York, in col-
laboration with Raymond 1\1. Hood; fabric de igned by
Du Pont Rayon Company, Inc., New York, and F.
Schumacher & Company, cw York, executed by Good-
man & Thei e, Jew York.
GLA S by Pittsburgh Plate Glass Company, Long
Island City, . Y.
P.APER WEIGHT designed by Joel D. Barber, New
York.
ETCHING OF GLA de igned and executed by Eny
Art Company, Inc., New York.
DE K EQ IP::\IE. TT AND CIGAR BOX executed by
Du Pont Yisco]oid ompany. Inc., New York.
75
WLTDOW FLOODLIGHTI G by The Frink Corpo-
ration, Tew York.
WALL Ai D CElLI TG COVERINGS executed by E.
I. du Pont de emours & Company, Inc., Fabrikoid
Diyi ion, Tewburgh, T. Y.; installed by 'V. K. Hase
Decorator, Inc., New York.
::\lETr\.L Br\. E OF ROOM executed by The United
Products Company, Canton, Ohio.
TE by ew York Telephone Company, ew
York.
ELECTRIC CLOCK designed by Joel D. Barber, ew
York: executed by Tork Clock, Inc., Jew York.
76
SALES ROOM
SALES ROOM de igned by Ralph T. Walker,
Architect, ew Yark.
DE ORATIVE PAIN'l.'L TG design d by Ralph T.
Walker and Barnet Phillips; xecuted by Barnet Phil-
lip' Company, T ew Yorh.
CEILII G designed by Barnet Phillips; executed by
Gingold ovelty Corporation, ew York; material by
F. chumacher & Company, Tew Y::Irk; in taIled by
John iedentop, Inc" ew York.
LIGHTI TG de igned by Ralph '1'. Walker and
Bronze Company, ~ ~ e w York; executed by
Bronze Company.
77
terling
terling
DE ORATIVE GLASS AND FLOODLIGHTIKG
de igned by Ralph T. Walker and Maurice Heaton,
Tew York; executed by Maurice Heaton.
DE K de igned by Ralph T. Walker; executed by Vit-
reous Marble & Slate Company, New York.
CHAIR designed by Ralph T. Walker and W. & J.
loane, .. Tew York; executed by W. & J. Sloane.
FOU.. TTAI OF LIGHT designed by Ralph T. Walker
and Egmont H. Arens, Tew York; executed by Egmont
H. Arens; figure designed and executed by Otto and
Lora 'Vester; illumination by Photion Instrument Cor-
poration, ew York.
TELEPH04-E by T ew York Telephone Company,
I ew York.
7
CENTRAL GARDEN FEATURE
The value of mu ic a a creative incentive in design
has been recognized for its stimulating influence on
our intellect and emotions. The design of the cen-
tral garden group wa freely developed from my
Own reaction to the Par ifal "Amen."
With lyrical illu ion as a guide, the scheme was
fir t developed in culptural form, and subsequently
in texture and color. The ascending notes of the
mu ic in definite time and space arrangement sug-
79
ge ted the flowing sequence of related units step-
ping up in measured tread.
The flowers in the garden have purposely been
treated in a rather abstract manner that they may
quietly a sume their places without appearing ex-
otic or elf-conscious. They are used for their fresh-
ne s and living beauty and, arranged in well-regu-
lated panels and hexagonal pots, are fitted to the
space as economically as honey in the honeycomb.
Color corre ponding in its emotional appeal to that
of mu ic has been employed here in tile and glass
and metal to give a sense of rising vibrations, rang-
ing in tone from orange through turquoise up to
blue and crystal light.
Current economic conditions as well as trends in
contemporary thought and society directly influ-
ence the functions of the land cape architect. New
material timulate new u es, create new demands,
and inevitably cause the creation of new designs.
The arden with it unity of purpo e, and the civic
cent r and public park organized for functional
economy with judicious freedom and restraint hold
o
great opportunities for new uses of simple and nat-
ural materials, designed and manufactured in di-
rectness of purpose and simplicity of spirit.
ARMISTEAD FITZHUGH
81
CE TRAL GARDEN FEATURE designed
by Armi tead Fitzhugh, Landscape Architect.
TILES designed by Leon V. Solon, New York; executed
by Robertson Art Tile Company, Trenton, N. J.; set by
William II. Jackson Company, ew York.
DECORATIVE METAL FIGURES designed by
Armistead Fitzhugh; executed by Kantack & Company,
Inc., New York.
l\10ULDI GS IN BENEDICT ICKEL designed by
Armistead Fitzhugh; executed by The Gorham Com-
pany, Providence, R. I.
MOULDED GLASS PANEL designed by Frederick
L. Keppler; executed by Frederick L. Keppler Relief
Gla Company, ew York, in collaboration with Corn-
ing Gla Works, Corning, . Y.; sct by Ravenna
:\losaics, Inc., Xc\\' York.
TURQ 01 E OPAQUE GLA designed by Armistead
Fitzhugh and A. Douglas Nash Corporation, Corona,
L. I.; executed by A. Douglas ash Corporation.
FLOWER-POT designed by Armistead Fitzhugh; ex-
ecuted by Galloway Terra-Cotta Company, Philadel-
phia.
PLA. TT MATERIAL by Wadley & Smythe, Yonkers
.. Jur erie, Yonkers, . Y.
FLOWER by Department of Park, City of . cw
York, and Bobbink & Atkin, Rutherford, . J.
82
GALLERY AREA designed
executed by Mohawk Carpet
NOT ES
E TRA TCE DOORWAYS designed and executed by
Joseph Urban.
CARPETI1 G OF OPE
by Ely Jacques Kahn;
Mills, ew York.
GE ERAL GALLERY LIGHTING by Sunlike Illu-
minating Company, ew York (February Ifl-April 5).
BARRIER ORD de igned and executed by Edward
Maag, Inc., New York.
STR CT RAL AND ELECTRICAL WORK, the
general setting of the gallery, plain painting, and
varied preliminary work to receive the finished installa-
tion were done b.y the ~ l u eum's own workshops.
DE IG for the po tel' and labels u ed in thi exhibi-
tion are by W.A.Dwiggin ; typography by David jIve.
TIle Museum regrets the fact if any names have been
omitted from this catalogue that should have been
included.
On reque t the Museum will gladly give addresses of
any manufacturer, de igner, or craftsman who e work
appear in this exhibition.
3
III US T R AT ION S
fol' a Countl'.' ]JOIN' (h,iglll'l] hy Halph T. 'Valk I'
CO\ SERL\TOHY tbi<rl1ed 1)\" .Joseph t"rban
: UO'" \\'1 DO\\' d e ~ i g l l l ' d h.\ Eugelle Seho'll
S.\ I.ES .\ L('()"E d e ~ i g J l e d 1>,:. Eugene Schoen
",(nIX\ '. by .John W IIbol'll Hoot
ell ILD': \ l T H ~ E H Y "\ \ D BED)WO)] designed by )':lIgelll' Sehoen
D I ~ I ~ G H ( ) ( ) ~ l designcd by Elit,1 S,tarinen
B.\TIl.\ J) designed by Ely ,Jac<}u s Kahn
AP ,\ H T J m ~ T lIOC:-:;E LOGGL\ desigl1C'd by HaYlllond l\f. Hood
S,\ LK HOOi\T designed by Halph T. Walker
('E TIL\L G.\HDE. FE,\'ITHE <bignrrl by l\l'lllistrllrl Filzll1lgh