The Sets of Loki: Mad-Century Modernism

The book "Ornament is Crime: Modernist Architecture" by Matt Gibberd and Albert Hill presents a visual compilation of Modernist homes, tracing the style from early 20th-century designs to contemporary structures. Inspired by Adolf Loos's 1908 essay "Ornament and Crime," which argued against excessive ornamentation in design, the book emphasizes the purity and heightening of other artistic elements achieved through its absence. Loos's assertion that "absence of ornament has brought the other arts to unsuspected heights" serves as a foundational concept for the collection. The book, published by Phaidon, broadly defines "modernist" design, encompassing works from Loos himself, iconic figures like Le Corbusier, Eileen Gray, and Mies van der Rohe, and contemporary architects such as Snøhetta, Tadao Ando, and David Adjaye. The photographs in the book are presented in black and white, deliberately blurring chronology and geographical distinctions to highlight overarching stylistic themes. Gibberd, in an essay within the book, describes the compilation as a "visual manifesto" demonstrating Modernism's enduring relevance across generations. Key aesthetic characteristics identified include flat roofs, cubic or cylindrical forms, extensive horizontal window bands, a commitment to material truth, and unadorned exterior surfaces. Gibberd and Hill, co-founders of the London-based Modern House estate agency, focus specifically on standalone modern homes. The book is not an academic treatise on Modernism; its essay component is concise. Similar to Peter Chadwick's "This Brutal World," another visual compendium by Phaidon, "Ornament is Crime" features brief quotes accompanying its images. These quotes, sometimes isolated on colored pages, are often more aesthetically aligned with the homes themselves rather than directly addressing architectural theory, including diverse sources from Oscar Wilde to Prince lyrics. While the book offers a compelling visual narrative, readers seeking in-depth discussions on Modernism's impact on 21st-century design may find the textual analysis limited. Nevertheless, the juxtaposition of historical structures like Le Corbusier and Pierre Jeanneret's 1925 Villa La Roche with contemporary designs such as Tidy Arquitectos's 2008 Schkolnick House, or Loos's 1910 Steiner House with Hans van Heeswijk's 2011 Rieteiland House, wordlessly communicates the enduring legacy of the Modernist heritage. The article notes the broader societal discussions surrounding Modernism, including its association with liberal elites in some alt-right media and its historical role in public housing, contrasting this with the niche appeal of Modernism in private homes, despite its utilitarian use of raw materials remaining highly contemporary. Gibberd states that the book's purpose is to delineate Modernism's core aesthetic features and illustrate its continued vitality in the 21st century. #ModernistArchitecture #ArchitecturalDesign #HomeDesign #AdolfLoos #Phaidon #DesignHistory #ContemporaryArchitecture #VisualCompendium #ModernHomes

Lucas Morten, a self-taught designer from Sweden, is challenging the persistent association of Scandinavian design with a minimalist, mid-century aesthetic. Morten, who is almost 25 years old, creates pieces that he describes as existing "in the gray zone between art and functional furniture." His work is influenced more by avant-garde and brutalist styles than by the traditional mid-century designs often linked with the Nordic region. He expresses a desire for design to evolve beyond classic, easily relatable aesthetics, while still acknowledging the historical significance of eras like Bauhaus. Morten's journey into design began out of a personal need and a creative impulse. After moving back to Sweden from New York, he faced challenges furnishing his new home within his budget and according to his specific aesthetic preferences. This practical need, combined with a desire to compensate for the perceived limitations of small-city life compared to New York, spurred him to start creating his own pieces. This background underscores a passion driven by both necessity and artistic vision. His designs are characterized by their confidence, graphic qualities, and geometric forms. An example is an almost Pi-symbol-shaped table. Another notable piece, the "Böj" standing lamp, gives the impression of bent cement but is actually crafted from fiberglass. Morten demonstrates a keen interest in combining organic and man-made materials, finding satisfaction in exploring new material combinations and techniques. This approach allows him to produce unique and innovative works that stand apart from conventional Scandinavian design. An exhibition of Morten's reinforced jute cloth "Skal" vases opened at Tableau, a design art and flower studio in Copenhagen, on February 1, 2020. These vases, sculpted from natural hemp and reinforced with polyester, showcase his innovative use of materials and techniques. Julius Iversen of Tableau observes that Morten's work elevates traditional techniques and materials into art pieces, and that his aesthetic feels more international than typically Swedish or mid-century. Morten himself acknowledges his somewhat outsider status within the Swedish design scene, stating that he is among the few who dare to challenge popular opinion. His dedication to pushing boundaries and exploring new design territories positions him as a noteworthy figure in contemporary Scandinavian design. #LucasMorten #ScandinavianDesign #HandCraftedFurniture #ContemporaryDesign #ArtAndFurniture #BrutalistInfluence #DesignExhibition #CopenhagenDesign #EmergingDesigner

The article showcases a distinctive two-story, five-bedroom estate in Tierra Verde, which has been reimagined with midcentury modern aesthetics and timeless elements. The interior design was led by Eilyn Jimenez of Sire Design, known for her work on the Netflix series “Designing Miami.” The property is also available for purchase. Jimenez's design philosophy is influenced by her travels and client interactions, evident in this water-lover’s paradise. The home features twelve-foot ceilings on the ground floor and a striking 24-foot foyer with a pivot door, creating a grand entrance. Custom-stained oak windows with porthole-inspired accents, walnut wood stairs, and bespoke carpentry add warmth and integrate coastal influences throughout the residence. A blend of modern amenities and vintage finds defines the home's character. The kitchen and bar areas feature avocatus quartzite countertops, while a Clé tile fireplace adds a touch of classic elegance. This thoughtful curation of materials and furnishings creates a harmonious balance between contemporary design and timeless style. The estate's exterior was conceptualized by JR Structures Custom Builders, while Sire Design curated all outdoor furnishings, including sofas, side tables, and pool tiles, to create a tranquil, lagoon-like ambiance. The home's proximity to Fort De Soto State Park makes it an ideal location for outdoor enthusiasts. The property offers waterfront views and is equipped with a negative edge spillover pool, a heated spa, and an outdoor lounge area designed for entertaining. A substantial dock is built on the side of the home, providing unobstructed water views. Key collaborators in this project include Sire Design for interior design, JR Structures Custom Builders for construction, Monroe Design Group for architecture, and South Meadow Productions and Jeanne Canto of JNNS for photography. Dina Sierra Smith of Smith & Associates is the realtor for the property. This home serves as an example of how midcentury modern design can be reinvented for contemporary living while honoring its classic roots.

The enduring appeal of Mid-century Modern design, even six decades after its initial emergence, is explored through its prevalence in contemporary interiors, from high street shops to designer hotels. This style, particularly from the 1950s, has experienced a significant resurgence, evidenced by the return of vintage patterns, textiles, ceramics, lighting, and furniture. Younger generations, in particular, perceive the aesthetic as fresh, relevant, and innovative, contributing to its sustained popularity. In the furniture industry, the retro look is currently in vogue. Many contemporary collections draw inspiration from Mid-century designs, while established furniture manufacturers are reissuing classic pieces from 1950s and 1960s pioneers like Giò Ponti and Arne Jacobsen. Examples of recently reissued items include Lina Bo Bardi’s Bowl chair (1951), Jacobsen’s Tongue chair (1955), and Robin Day’s 675 chair (1952). Other designs, such as Charles and Ray Eames’ plywood and fiberglass chairs, Eero Saarinen’s Tulip tables and chairs, and Harry Bertoia’s Diamond chair, have consistently remained popular. These designs retain a modern and engaging quality, fitting seamlessly into both new apartments and updated traditional homes. Beyond mass-produced reissues, original Mid-century furniture and prototypes have become highly sought-after collector's items. Auction houses, such as Wright in Chicago, feature valuable pieces by designers like Jean Prouvé and Carlo Mollino, indicating the significant market value of these historical artifacts. The persistent appeal of these 60-year-old designs is rooted in several factors. The pioneering designers of the 1950s and 1960s were instrumental in defining modernity and shaping contemporary living. The post-World War II era spurred a desire for new beginnings and a break from austerity, fueling a consumer boom in America and reconstruction efforts in Europe. Manufacturing techniques, previously used for wartime production, were adapted to create a wide array of consumer goods, including furniture. This period saw a collective yearning for a fresh start, especially in home design. The home underwent a significant transformation during the Mid-century era, particularly in the United States. Modernist architects and designers, including Mies van der Rohe, Richard Neutra, and Craig Ellwood, developed concepts such as open-plan layouts, accessible kitchens, and seamless indoor-outdoor living. While these features are common today, they were radical at the time, challenging traditional, compartmentalized home structures. These new, airy, and light-filled spaces required a new generation of contemporary furniture, products, and appliances. Designers like Charles and Ray Eames utilized wartime advancements in plywood for chairs, while Arne Jacobsen embraced the material in Scandinavia. Other designers, including Poul Kjaerholm, Harry Bertoia, and Warren Platner, innovated with steel. Mid-century furniture often exhibited a crafted, sculptural quality, as many product designers were also artists or architects who created pieces to complement their modern architectural designs. These works blended modernity and innovation with artistry and warmth, resulting in a tactile beauty. Hans Wegner’s timber furniture and Kjaerholm’s steel-framed pieces, often enriched with leather or cane, exemplify this organic quality. This depth and warmth, combined with a focus on ergonomics, practicality, material appreciation, and craftsmanship, are key to the enduring desirability of these pieces. They are now considered modern classics—fresh, exciting, yet familiar icons that symbolize good taste. The Mid-century period offers a vast range of choices, including reissues and vintage designs from lesser-known but equally talented designers like Børge Mogensen, Bruno Mathsson, and Jacob Kjaer, often at more accessible price points. The strong respect commanded by Mid-century design, serving as an essential reference for architects and designers, continues to captivate buyers and collectors with its breadth and enduring charm. #MidCenturyModern #DesignClassics #FurnitureDesign #ArchitecturalInnovation #HomeDecor #RetroStyle #PostWarDesign #CollectibleDesign #InteriorDesign

Jeff and Paola Roder acquired their 1979 mid-century modern residence in Johns Creek in 2019, following extensive updates and renovations by the previous owner, Jason Maynard of JM Construction Consulting Inc. The couple was particularly drawn to the home's distinctive design elements, which include irregularly shaped built-in shelves in the family room, a reading nook with USB charging ports, and gallery lighting designed to highlight artwork. Paola Roder, a designer and interior stylist, expressed appreciation for Maynard's thoughtful design in every space. The home spans 2,800 square feet, featuring four bedrooms and two-and-a-half bathrooms. The architectural style is characterized by mid-century modern influences, with an emphasis on large, open living spaces and abundant natural light facilitated by numerous windows. Paola's design philosophy centers on contrasting white and black tones with vibrant primary colors and pop art-inspired patterns, aiming to create a cohesive yet bright and artistic interior. The Roders have infused their home with a personal touch through various art pieces. Paola's personal collection includes a painting by Pop Art Hoppe, pieces by Andy Warhol, and art from Great Big Canvas. The master bedroom, while more subdued in its color palette, is adorned with portraits of Frida Kahlo by Heather Felder, a Mexican and Norwegian artist, and a vivid piece from Great Big Canvas above the bed, complemented by a Turkish rug from Ikea. The dining room features a gallery wall showcasing music memorabilia, combining records discovered in their previous Philadelphia home with art from the U.S. Postal Service’s Music Icons series. Paola further enhanced this space by painting a wall in bold stripes to align with the home's modern pop art aesthetic. Key design elements within the home include brightly painted built-in shelves, striped walls, and patterned prints. Paola sourced furniture from retailers such as Ikea, Target, and HomeGoods, and lighting fixtures from Varaluz. Other notable sources for art and decor include Natalija Nogulich, Nick Pad, Juan Melian, Liz Loncar, The Modern Museum, Ana Art, and Flora Furniture. The entry features a large pink alligator painting titled “Gay Gator” by local artist Liz Haywood, with Paola painting the entryway in primary colors and black and white patterns to integrate with the pop art theme. The mudroom, designed by the previous owner, offers ample storage, which Paola has accentuated with bold colors and black and white stripes. Residents Jeff and Paola Roder share their home with their three dogs: Kali, Lakshimi, and Tiger. Jeff works as a credit manager at AGCO Finance, while Paola is a designer and interior stylist. The overall design of the home reflects a blend of mid-century modern architecture with a lively pop art sensibility, creating a unique and vibrant living environment. #MidCenturyModern #PopArtStyle #HomeDesign #InteriorStyling #ArtisticHome #VibrantDecor #JohnsCreekHome #DesignerPaolaRoder

Dominic Bradbury, author of several definitive books on Midcentury Modern, discusses the nuances and foundations of this design era in an interview. Bradbury's latest book, 'Mid-Century Modern Designers,' serves as an encyclopedia profiling the pioneers who shaped the aesthetic across furniture, glassware, ceramics, and textiles. The book features well-known figures like Alvar Aalto, Charles and Ray Eames, and Florence Knoll, alongside lesser-known designers, highlighting the cross-pollination of ideas that defined the period. Bradbury's expertise in Midcentury Modern design evolved into a passion approximately ten years ago, leading him to author multiple books on the subject, including Midcentury houses, architecture, and furniture, in addition to the new book focusing on designers. For 'Mid-Century Modern Designers,' the selection of featured individuals prioritized masters who designed for the home or domestic use, encompassing furniture, lighting, textiles, glassware, and ceramicists. The aim was to achieve a global representation of designers, balancing prominent names from the 1950s and 1960s with emerging talents who deserve broader recognition, such as Marco Zanuso, Vico Magistretti, Børge Mogensen, Nanna Ditzel, and Greta Grossman. Bradbury defines Midcentury Modern design as a broad concept, encompassing the International Style through to expressionism and New Brutalism in architecture. In design, the focus is on the more expressive, sculptural pieces of the 1950s and 1960s, characterized by innovation, experimentation, engaging composition and form, and an optimistic use of color and abstract patterns. He emphasizes the joyful, playful, and sophisticated quality of much of Midcentury Modern design. While there is a clear link and crossover between early Modernist design and Midcentury Modern design, with some pioneers spanning both pre- and post-war periods, the Midcentury era introduced new levels of innovation and imagination. Early Modernist pioneers explored new materials and production methods suitable for modern living, but Midcentury design reincorporated color and pattern, offering an intrinsic appeal. This period retained the belief that good design could improve life, but without the dogmatic rigidity of the 1920s and 1930s. The genesis of the amorphic and futuristic forms seen in Midcentury Modern design can be attributed to three main factors. Firstly, many designers, such as Harry Bertoia and Irving Harper, also worked as sculptors and artists, fostering strong connections between art, sculpture, and design. Secondly, the emergence of new materials like plastics and fiberglass allowed designers to experiment with abstract and unusual shapes. Thirdly, futuristic architectural plasticity, exemplified by architects such as Oscar Niemeyer and Eero Saarinen, influenced design, as these architects also designed furniture. Bradbury considers Midcentury Modernism more accurately described as a collection of movements that evolved into a highly influential style. He suggests an endpoint around 1975, when other design trends began to emerge, although the style continues to be reinterpreted today. The popularization of Midcentury Modern design began roughly 10 to 15 years ago, influenced by contemporary designers like Jonathan Adler and Orla Kiely who referenced the style. Key producers also revisited their archives, reissuing classic designs, while collectors recognized the value of original pieces. Eventually, larger brands and retailers adopted the Midcentury Modern aesthetic, further solidifying its popularity. Bradbury highlights the enduring inspirational quality of Midcentury Modern design as a key component of its ongoing appeal. He is currently working on a new book about Nordic houses, including 20th-century classics and Midcentury Modern masterpieces, which will be released next year. #MidcenturyModern #DesignHistory #DominicBradbury #Designers #FurnitureDesign #ArchitecturalDesign #InteriorDesign #DesignEvolution #PhaidonPress

This article offers an exclusive look into the interior design of 'Meraki Beauty & Wellness,' a salon and spa located in Lahore, co-founded by sisters Saba and Fatima. The establishment is presented as a tranquil retreat, offering a complete beauty experience in a Zen-like environment, strategically located away from the bustling commercial areas of Gulberg and near the burgeoning DHA Phase 5. The salon's interior design is characterized by a harmonious blend of modern and industrial elements, creating a stylish yet comfortable space. The designers deliberately moved away from opulent decorations like typical chandeliers and vibrant colors, opting instead for a minimalist, contemporary aesthetic that promotes serenity and inner peace. This approach is evident in the choice of a muted color palette and natural materials, which define the three distinct zones of the salon. The entry from the staircase area is designed as a dark transition space, leading into a lighter, more open main reception and hair styling area. The second floor features grey-shaded sofa seats for manicure and pedicure sessions, alongside separate rooms for makeup and massage. Additionally, three nail art stations are decorated in shades of navy blue, benefiting from natural sunlight and outside views. Strategic lighting plays a crucial role in enhancing the ambiance and highlighting key interior design elements. The second floor, in particular, exudes a bright and cheerful atmosphere. The owners, Saba and Fatima, emphasize the importance of hygiene, client satisfaction, and continuous in-house training, with Saba having completed multiple training courses in skin and hair from Dubai and New York. The waiting area provides ample seating, and the overall artsy design, infused with contemporary touches, is given a warm character through bright pops of pink and purple against a backdrop of black and grey, breaking potential monotony. The interior is also designed to optimize space, incorporating areas for Pilates and yoga classes, along with a small health bar, creating a homely setting for clients. Functionality and ease of maintenance are also key considerations, as demonstrated by the use of leather upholstered furniture and wall panels that are easy to clean. The decor maintains a simple and functional appeal, reminiscent of a traditional living room, yet includes occasional glamorous accents. Wrought iron encased lights contribute to the sophisticated look without being ostentatious, and subtle gold strokes add an elegant touch. Laser-cut separators and the salon's logo in gold and black serve as central design features. The sisters, strong advocates of minimalism, frequently intend to refresh the salon's look to provide a novel experience for their clientele, ensuring every detail is meticulously managed to offer a high-quality, personalized service. The spa area further exemplifies thoughtful space planning with wooden flooring, racks, and display furniture, complemented by planters and cozy sofas that create a soothing ambiance, catering to the city's style-conscious clientele. #SalonInteriorDesign #SpaWellness #LahoreBeauty #MinimalistDecor #ModernIndustrial #ZenEnvironment #PersonalizedService #SpacePlanning #ClientExperience

Designers Ashley Walsh and Maddy DeVries of Morgan Design Studio, operating remotely from Arizona and North Carolina, successfully executed a full-scale kitchen and primary bathroom renovation for clients in Salt Lake City, Utah. The project aimed to blend mid-century modern aesthetics with Scandinavian design principles, creating an elevated yet durable living space for a young family with two small children. The clients, medical professionals, sought a home that could withstand daily use while reflecting a sophisticated style. The kitchen renovation involved a significant layout overhaul. The designers expanded the kitchen by incorporating the former eat-in area, eliminated an existing pantry, and opened up the adjacent staircase, living room, and dining room. This transformation converted a small, closed-off kitchen into an open, interconnected space conducive to entertaining. The original kitchen, built in the early 1970s, suffered from poor lighting and limited storage, issues that were directly addressed in the new design. The expanded footprint provided ample cabinet space, exceeding the clients' initial storage needs. Continuity across the open living areas was achieved by using clear-finished, knot-free oak for both the custom kitchen cabinetry and the built-in storage in the living room. This storage unit seamlessly wraps around and transitions into bench seating under a window, linking the spaces visually. The oak cabinetry is complemented by sleek Honey Bronze bar-style hardware from Top Knobs and a Brizo Luxe Gold faucet, echoing the golden tones throughout. The choice of oak and a thin shaker detail for the cabinetry served to merge the desired mid-century nod with Scandinavian simplicity, offering a modern yet sophisticated look. A key element of the design was the selection of Bedrosians Magnifica Encore Calacatta Macchia Vecchia porcelain for the countertops and backsplash. This material was chosen for its resemblance to marble, satisfying the clients' aesthetic preference, while providing the necessary durability for a family with young children. The porcelain's heavy veining and honed finish offered an elevated touch with a casual, lived-in feel. The material was prominently featured on the island with waterfall edges, creating a striking focal point visible immediately upon entering the home. The repeated use of porcelain as a backsplash and a narrow shelf above the cooktop further enhanced the visual impact and material consistency. Beyond aesthetics, the project also involved practical problem-solving. An initial plan for a coffee station had to be adjusted due to an incorrect measurement, leading to its relocation to an area between the kitchen and dining room. This change ultimately worked out well, extending the kitchen's cabinetry into the dining space. The original spot designated for the coffee station was repurposed into a built-in planter, accommodating the husband's passion for plants. In the primary bathroom, the designers addressed functional deficiencies, transforming a cramped space with a single sink and small shower into a more functional area featuring a dual-sink oak vanity with Kohler sinks and Brizo faucets, Taj Mahal quartzite countertops, and a significantly larger shower clad with Bedrosians’ Makoto matte ceramic tile. The flooring, Tilebar’s True Terrazzo Sonora Beige tile, paid homage to the home’s mid-century origins, illustrating how the designers combined aesthetic preferences with functional solutions to create spaces that better suited the clients' lifestyle. #KitchenRenovation #BathroomRenovation #MidCenturyModern #ScandinavianDesign #RemoteDesign #InteriorDesign #OpenConceptLiving #PorcelainCountertops #OakCabinetry

Midcentury modern design, characterized by its clean lines, organic forms, and emphasis on functionality, has consistently maintained its relevance in the design world. Originating in the 1940s and experiencing a resurgence in the late 1990s, this aesthetic continues to be a subject of discussion among designers. Some argue for its timelessness, asserting that its principles remain applicable to modern living, while others suggest that unless it is reinterpreted, it risks becoming outdated. Piotr Paradowski, head designer at Paradowski Studio, views midcentury modern as an era in design rather than merely a style, highlighting its ongoing connection to contemporary times. The article presents various examples of midcentury modern living rooms, showcasing different interpretations and integrations of the style. These examples range from fully committed renovations to subtle infusions of the aesthetic. For instance, one living room in the Goldwyn house in Los Angeles incorporates jewel-toned velvet furniture and a handwoven rattan chandelier, demonstrating a mix of eras while maintaining clean midcentury lines. Another example features a calming New York apartment that subtly nods to the vintage look through organic and geometric shapes in its lighting and seating, softened by warm ivory tones and parquet flooring. Designer Augusta Hoffman emphasizes the importance of form and function in small spaces within this context. Further illustrations include a Frank Gehry home, which uses deconstructivist style with neutral tones, luxurious materials, and rounded contours, such as a Mario Bellini mohair sofa and a Scandinavian wool rug, to create harmonious contrast. A sitting area in the same home displays vintage finds like a 1955 Pierre Jeanneret office chair alongside modern art. A Johannesburg residence, built in the 1950s and inspired by architect Richard Neutra, features Flexform leather sofas and a Joe Colombo vintage black leather chair, complemented by a playful leaf chandelier. The article also highlights a Pacific Palisades home where designer Pamela Shamshiri custom-designed pieces, including a burl-wood sofa and a tiled bar cabinet, integrating diverse materials while maintaining the midcentury essence. Other notable examples include a Pacific Palisades living room with floor-to-ceiling windows and two seating areas flanking a freestanding fireplace, designed to interplay historic and contemporary elements. Sophia Bush’s Hollywood home uses vintage Eames screens and tall floor lamps to draw the eye upward, complementing low-slung furniture. A den in Pacific Palisades embraces midcentury green tones with vintage furniture and contemporary art. A Long Island residence breaks away from traditional earth tones with bright green and yellow accents, creating a vibrant interplay of organic and splashy elements. Modular fittings, such as a crescent-shaped Lejeune sofa, are featured in a tropical retreat, balancing charm with functionality. A Malibu, California, home exemplifies indoor-outdoor living with sliding doors, wooden oak accents, and lush foliage, creating a seamless integration with nature. Additional examples cover a Beverly Hills home with arched lighting fixtures and a quartzite wall above an original brass fireplace, demonstrating a minimal insertion into nature. A retreat in La Quinta, California, uses neutral furnishings and Warren Platner chairs to highlight the home’s roofline. A cinematic desert home projects classic films in a great room featuring a floating theater. A Palm Springs vacation house at the Madison Club incorporates low-slung furniture and floor-to-ceiling wood paneling. A 1956 Santa Barbara bungalow restoration showcases lounge chairs by Milo Baughman and an Eames cocktail table. Finally, a Palm Springs house redefines midcentury with chic black seating and vibrant red triptych artwork, while another living room features vintage Barcelona chairs, William Haines sofas, an Arco lamp, and terrazzo floors, illustrating subtle yet sophisticated midcentury style. #MidcenturyModern #LivingRoomDesign #InteriorDecor #HomeRenovation #DesignTrends #FurnitureDesign #ArchitecturalStyle #VintageDecor

Mid Century Møbler, a vintage furniture dealer based in Berkeley, California, specializes in collecting and selling Mid-Century Modern furniture. The company's unique operational model involves quarterly buying trips to Scandinavia, as well as parts of the UK and Germany, to acquire a wide range of Mid-Century Modern pieces. These items are then shipped to California in containers, resulting in a continually updated and extensive collection available at their physical store and online. The business also provides rental services for these pieces, catering to various needs such as props for productions. The breadth and depth of their inventory are compared to that of a museum, highlighting the vast number of unique and historically significant items they possess. The article showcases a selection of furniture from Mid Century Møbler's collection, emphasizing the diversity and rarity of the pieces. Illustrations include various Mid-Century Modern items, some with detailed captions providing information about their features, designers, and origins. For instance, one image features an "insanely awesome, perfectly patinated, atomic era high sideboard in rosewood by E.W. Bach," while another highlights an "Atomic Danish modern writing desk in Brazilian rosewood" with a finished back that includes two bookcase compartments and a center door for bar storage. Another notable collection includes a trio of teak cabinets with removable hutch tops, designed by Peter Hvidt for Søborg Møbelfabrik and crafted from solid plank teak. The collection also boasts iconic designs such as four original Swan chairs, designed by Arne Jacobsen in 1958 and produced by Fritz Hansen for the Radisson SAS Royal Hotel in Copenhagen. Further examples of their inventory include a piece with "center etched glass doors open to a mini dry bar," alongside left and right doors containing adjustable shelves. A Kai Kristiansen executive desk in rosewood and aluminum is also featured, as is a Danish Modern mahogany tambour corner unit. The article also presents an arrangement of lounge chairs, including a Johannes Andersen 'Jetson' highback lounge chair in cream wool, an organic lounge chair in olive green wool also by Johannes Andersen, a mustard yellow highback Danish lounge chair with rosewood paws, and a bow-front 'Geisha' sofa in rosewood and canary yellow wool by Leif Hansen. The rapid turnover of their inventory, with hundreds of new pieces acquired every quarter and quickly sold, ensures a constant refresh of their online photo archives, providing enthusiasts with a continuous stream of new items to explore. The expansive collection offers a comprehensive look into the Mid-Century Modern design movement, presenting pieces that are both well-known and rarely seen, thereby serving as a valuable resource for designers, collectors, and enthusiasts. #MidCenturyModern #VintageFurniture #DanishModern #FurnitureDesign #InteriorDesign #BerkeleyCalifornia #ScandinavianDesign #RosewoodFurniture #TeakFurniture

The television show "Mad Men" significantly influenced the resurgence of mid-century modern design, captivating audiences not only with its drama but also with its meticulously crafted period aesthetics. Set designer Amy Wells deliberately aimed for an "imperfect" realism in the show's sets, desiring them to appear as if the characters genuinely owned the pieces, rather than being mere iconic displays. This approach has provided a wealth of inspiration for individuals looking to integrate mid-century modern elements into their own homes. Key aspects of achieving a "Mad Men"-inspired decor include the incorporation of brass accents and accessories. Brass lamps, especially those with modern lines, and brass wall sconces, contribute to a vintage yet sophisticated look. The warm, golden tone of brass fixtures provided a striking contrast to the sleek furniture prevalent in the mid-century era. When selecting lampshades, classic drum-style shapes are recommended for their authentic mid-century appeal, with proportions that ensure visual balance. Color plays a crucial role, with browns, burnt oranges, bright teal, yellow, and flamingo pink being prominent in the mid-century palette. These colors can be introduced through upholstered furniture, rugs, or painted pieces, or more subtly via throw pillows, vases, or decorative trays. The flexibility of this color scheme allows for personalization, from neutral backdrops with colorful accents to vibrant, full-spectrum vintage hues. Even a single well-chosen piece, such as a period-inspired lamp, a vintage clock, or a side chair, can shift a room's aesthetic toward a mid-century modern direction, making the space feel distinctive. Iconic furniture pieces like Saarinen-style tables are central to the "Mad Men" look. These tables, whether glass-topped tulip designs or sleek white versions, can anchor a living or family room. While authentic vintage pieces are desirable, contemporary reproductions or items with a similar clean-lined, modern Danish style can achieve a comparable effect. Danish-style upholstered furniture, characterized by clean lines, strong architectural forms, and often exposed wood accents, is another must-have. These pieces, typically in solid colors, contribute a sense of playfulness and innovation. Functional yet nostalgic items, like a rotary-style phone with modern features, can evoke a sense of a less hurried past, aligning with contemporary desires for mindfulness and reduced screen time. The overarching principle of mid-century modern design, as seen in "Mad Men," is a focus on clean, open spaces and a philosophy of form following function. Furniture and decor from this period are designed to be as compact and functional as possible, emphasizing simple silhouettes over elaborate designs. This design philosophy creates more negative space, making rooms feel brighter and more open. Achieving this aesthetic doesn't require an immediate overhaul; mid-century modern pieces blend well with other styles due to their straightforward design. Gradually adding high-quality, scouted pieces allows for a curated look that respects budget constraints and existing sentimental items. Credenzas are quintessential "Mad Men" pieces, offering both aesthetic appeal and practical storage, helping to unify contemporary and vintage elements. Keeping the credenza top clear of clutter, or decorating it with vintage barware, plants, or lamps, enhances the mid-century vibe. Attention to smaller details, such as period-inspired barware and dinnerware, further immerses the home in the "Mad Men" era. Cocktail glasses, coffee cups, vintage plates, and serving ware contribute to the authenticity. Wood-paneled walls, a common feature in mid-century homes and "Mad Men" sets, can be incorporated as accent walls to add flair. For window treatments, luxurious drapes, valences, or fabric roller shades, often in rich textures and colors, serve as a design highlight rather than a mere functional element. Finally, upholstered headboards in bedrooms offer both comfort and an opportunity to introduce mid-century style and color, with tufted designs being particularly characteristic of the period. The effectiveness of mid-century modern style lies in its use of contrast—juxtaposing clean-lined and curved forms, or light and dark colors, to create visual interest and highlight individual pieces within a space. #MadMenDecor #MidCenturyModern #HomeDesign #InteriorDesign #VintageStyle #BrassAccents #PeriodColors #SaarinenTable #DanishFurniture #Credenza

This article explores ten mid-century modern lighting ideas that interior designers are using to infuse contemporary spaces with a retro yet current aesthetic. The core principle revolves around creating a dialogue between past and present, elevating a space with character and timeless sophistication. Mid-century modern aesthetics, characterized by sculptural silhouettes and a mix of materials, are particularly well-suited for lighting, offering fixtures that can either anchor a room or add a playful touch. The first idea, "Climb the Walls," suggests utilizing vintage Italian wall lights against timber-paneled walls to create contrast and add texture. This approach, as seen in a living space for Sea Containers Hotel, emphasizes wall lights as integral design elements that cast a warm, inviting glow, rather than just functional fixtures. The second idea, "Play With Color," highlights the use of Sputnik-style chandeliers, which gained popularity after the launch of the first satellite. While often seen in brass or chrome, opting for a colorful version can make a bold statement in dining rooms, with the chandelier's colors echoed throughout the space to create a cohesive and personality-driven design. "Create a Balance" focuses on achieving a gentle, calm atmosphere with mid-century modern lighting. This involves selecting clean-lined downlights that mirror architectural features and subtly reinforce the mid-century aesthetic without being overly literal. Such thoughtful contrasts add depth and dimension, making a simple seating area more inviting. "Consider Integration" delves into built-in or integrated lighting elements, a hallmark of mid-century design. This approach, as illustrated by a Melbourne bedroom, prioritizes elegance and restraint, with integrated lighting providing subtle detail that complements the softness of the space. The combination of black and brass offers a contemporary nod to mid-century sensibilities, resulting in sculptural rather than overtly nostalgic fixtures. The fifth idea, "Layer Lighting," emphasizes creating an ambient effect through multiple light sources. This involves careful positioning of wall lights, side lamps, pendants, and floor lamps to build depth and enhance mood. An example provided is a dining room with a custom chandelier and sculptural table lamps, which together create visual balance. "Take the Floor" features iconic pieces like Achille Castiglioni’s Arco floor lamp, which, with its heavy marble base and graceful metallic curve, can become a focal point in a room, providing overhead light without relying on ceiling fixtures. This approach is particularly effective in spaces with architectural constraints, offering height and volume. "Find Your Angle" explores how the sculptural silhouettes of mid-century modern lighting can complement spaces with strong contours or architectural features, such as industrial staircases. Table lamps in this style can function as both art and functional pieces, with their form mimicking rigid angles while incorporating organic elements of the mid-century period, making them feel fresh in contemporary settings. "Get to Work" highlights the suitability of mid-century modern lighting for home offices. With its clean lines, organic forms, and warm finishes, such lighting can transform a workspace, adding design flair and increasing productivity. The Gino Sarfatti’s Model 548 lamp is presented as an investment piece that elevates the space from mere decoration to one with a sense of legacy. "Look up" suggests that statement ceiling lights from the mid-century modern era can act as focal points in bedrooms, complementing bedside lamps while providing functional or ambient light. The Louis Poulsen PH Artichoke pendant is cited as an example, appropriate for a central focus. Finally, "Go Monochrome" proposes using mid-century modern-inspired lighting to reinforce a tight color scheme. In a monochromatic black and white dining space, a chandelier designed in this style can add volume and depth, harmonizing with existing artwork and subtly energizing the room without dominating it. The article concludes by asserting that the principles of design with purpose inherent in mid-century modern lighting remain highly relevant for contemporary interiors. #MidCenturyModern #LightingDesign #InteriorDesign #HomeDecor #RetroAesthetics #SculpturalLighting #DesignTrends #HomeOfficeDesign #BedroomLighting

Mid-century modern design, a style that emerged over 70 years ago, continues to be a timeless and influential aesthetic in the world of interiors, blending contemporary cool with nostalgic charm. This enduring appeal is attributed to its clean lines, warm wood tones, and organic shapes. Incorporating this style into a home can be achieved through several key decorating tips. To create a cozy atmosphere within the mid-century modern framework, it is essential to introduce soft textures such as sheepskin, bouclé, and wool. These materials can be layered through items like throws and large rugs to soften the often sleek appearance of mid-century furniture, making the space more inviting. Pattern play is another significant element. Bold geometric prints, including retro checks and stripes in colors like mustard and terracotta, can elevate a room's color scheme. The key to successful pattern mixing lies in combining large and small-scale prints, perhaps by pairing a patterned rug with other decor elements. Color selection is crucial for achieving an authentic mid-century modern look. The palette typically revolves around earthy tones, often accented with pops of yellow. Greens and blues can also be incorporated to add freshness and dynamism, contributing to a vibrant yet grounded aesthetic. Considering furniture silhouettes is paramount. Mid-century modernism emphasizes shape, whether through softly curved chairs, angular benches, or geometric patterns. The recommendation is to select pieces with slim legs and simple designs that allow furniture to 'breathe,' preventing the space from feeling cluttered. Mixing materials is central to this style, with layering being the primary technique. Warm woods serve as a foundational element, complemented by tactile materials like linens and velvets. Rustic ceramics and tinted glassware further enhance the informal yet sophisticated feel, adding depth and interest. Careful curation is vital for creating a harmonious and uncluttered environment. This involves playing with varying heights of objects on surfaces like desktops or mantelpieces and avoiding over-stuffing. Choosing items from the same color family ensures a cohesive and considered display. Leaning into natural materials is a hallmark of mid-century modern design. Rich leathers and various warm woods are fundamental. Even unexpected elements, such as a moss green desk, can introduce a modern twist while adhering to the natural material emphasis. Finally, connecting to nature is an integral part of the mid-century modern aesthetic. Incorporating graphic ferns, sculptural flowers, and large houseplants brings life, color, gloss, and natural curves into the interior. Houseplants also offer an opportunity to play with scale, drawing the eye upward and contributing to a sense of expanded space within a room. #MidCenturyModern #InteriorDesign #HomeDecor #DecoratingTips #EarthyTones #GeometricPrints #NaturalMaterials #TexturalElements #FurnitureSilhouettes

The "Art That Made Us" series explores how creative works have shaped the diverse story of the British Isles, presenting nine pivotal moments that capture dramatic periods of change. This ambitious eight-part series spans centuries, from early Welsh resistance to contemporary musical phenomena. The journey begins with "Y Gododdin," a 14-century-old Welsh poem attributed to Aneirin. This lament to a doomed struggle against the Anglo-Saxons is preserved in a 13th-century manuscript and is described by actor Michael Sheen as deeply moving, embodying the glory of losing well. The series' opening episode, "Lights in the Darkness," delves into the turbulent era following Roman occupation, featuring sculptor Antony Gormley examining Spong Man, artist Cornelia Parker investigating the Staffordshire Hoard, and Reverend Richard Coles exploring the Lindisfarne Gospels. It also touches on Beowulf, the Anglo-Saxon Mappa Mundi, and the Bayeux Tapestry, offering an alternative history of the 'dark' ages. The second key moment highlights "The Book of Margery Kempe," the first autobiography in English, written in the 15th century. Margery Kempe, a spirited pilgrim and mystic, recounts her spiritual conversion, fits, and visions, potentially linked to post-natal depression. Her tell-all account details her pilgrimages and conflicts with religious authorities. Episode two, "Revolution of the Dead," focuses on the aftermath of the Black Death, showcasing how creative renewal emerged, with English literature reviving through works by Chaucer, Langland, and pioneering women like Kempe. The 16th century's religious revolution in the British Isles is explored through "The Penicuik Jewels." As England and Scotland turned Protestant, art, language, and new technologies became tools in the power struggle between Elizabeth I and Mary Queen of Scots. Mary's use of jewels and Scottish gold work is highlighted, with the Penicuik Jewels symbolizing both craftsmanship and a critical juncture in British history. Episode three, "Queens, Feuds and Faith," features examinations of John Foxe’s Book of Martyrs, the Barton Altar Cloth, Mary Queen of Scots' embroideries, and Shakespeare’s Othello. The growth of scientific thought under the Stuart kings is exemplified by Robert Hooke's "Micrographia." This book, the first to present images taken under a microscope, revolutionized perceptions of the natural world, marrying art and science through meticulous drawings. Episode four, "To Kill a King," investigates how political and religious divisions led to questioning art, new science, and architecture, with discussions of Inigo Jones’ Queen’s House and Christopher Wren’s St Paul’s Cathedral. Anthony van Dyck’s "Philip Herbert, 4th Earl of Pembroke, and his Family" represents a redefinition of British art in the 17th century. As court painter to Charles I, Van Dyck's monumental portraits captured the era's turmoil and his Flemish master Rubens' influence is evident in his extraordinary skill. Jonathan Swift’s 18th-century satire, "A Modest Proposal," is a bitter critique of the callous treatment of Ireland's poor. Written in the style of political pamphlets, Swift's macabre suggestion of using children as food served as a potent, absurd commentary. Episode five, "Consumers and Conscience," links the explosion of creativity funded by trade and conquest to the dark side of slavery, as seen in the interiors of Harewood House, and examines William Hogarth’s social critiques. William Morris’s 19th-century wallpapers are presented as an effort to integrate nature into Victorian homes and counteract industrialization. His designs, inspired by medieval artistry, emphasized handmade craftsmanship over machinery. Episode six, "Rise of the Cities," charts the shift of power from rural to urban areas, with artists like JMW Turner, Elizabeth Gaskell, and Oscar Wilde responding to societal upheaval. Barbara Hepworth's "Contrapuntal Forms" embodies a vision of technological and cultural renewal in the post-war era, specifically for the 1951 Festival of Britain. This abstract sculpture, Hepworth's first public commission, aimed to lift public spirits and create a new art for a new era. Episode seven, "Wars and Peace," focuses on artists grappling with destruction and transforming culture during the first half of the 20th century. Finally, Stormzy’s 2019 Glastonbury headline performance marks a contemporary radical moment. As the first Black British solo artist to headline, his incendiary show, featuring a Banksy-designed stab-proof Union flag vest, brought grime music to the mainstream. The final episode, "Brilliant Isles," examines how new voices from the 1950s and 60s onward led to a richer, more diverse cultural landscape, including works by Tracey Emin and Michael Sheen’s production of The Passion of Port Talbot. #BritishArtHistory #CulturalImpact #HistoricalMoments #ArtisticExpression #SocialCommentary #LiteraryMilestones #ArchitecturalInnovation #MusicAndCulture #PublicArt

This article celebrates the centenary of Lucienne Day, a pivotal figure in post-war British design, renowned for her vibrant, modernist textile designs. Lucienne Day, born on January 5, 1917, in Croydon, south London, studied at Croydon School of Art and the Royal College of Art (RCA) in the late 1930s, where she met her future husband, furniture designer Robin Day. Her RCA diploma show featured hand-block and screen-printed bold repeats, displayed alongside her husband's furniture, illustrating a nascent collaboration that would define both their careers. While their works often complemented each other, Lucienne Day forged a distinctive path in textiles, driven by a resolute modernist vision. Paula Day, Lucienne's daughter and director of the Robin and Lucienne Day Foundation, draws parallels between her mother's enduring influence and that of William Morris, highlighting the timeless quality of Lucienne's work. Paula suggests that Day's designs possess a "startling power and originality" that distinguishes them from many retro-style patterns. Lucienne Day sought to invigorate the textile industry with fresh, contemporary designs, drawing inspiration from modern artists such as Paul Klee, Joan Miró, and Alexander Calder, as well as decorative traditions from her studies at the V&A Museum. Plant forms, for example, consistently reappeared throughout her body of work. Her breakthrough came with 'Calyx', a stylized floral textile design launched at the 1951 Festival of Britain. This design, mixing muted and acid colors, was a radical departure in pattern aesthetics. Despite initial skepticism from Heal's fabrics director Tom Worthington, 'Calyx' proved immensely successful, leading to a two-decade-long collaboration with Heal's, during which she produced approximately 70 patterns for the brand. 'Calyx' remains in production today, a testament to its enduring appeal. Lucienne Day's style was characterized by continuous evolution, a responsiveness to fashion trends without merely following them, and an exploration of new artistic techniques. Early 1950s designs, such as 'Dandelion Clocks' and 'Trio', showcased quirky motifs rendered with fine black lines on solid colored backgrounds. Later, she experimented with monoprint techniques, creating textured effects through drawings on acetate sheets applied to tissue paper collages, as seen in 'Cadenza' and 'Night and Day'. Her architectural designs of the mid-1970s, including 'Apex' and 'Lucienne', led to her invention of "silk mosaics," a new textile medium using one-centimeter squares of richly colored silk to form strong abstract patterns. Among her vast portfolio, Paula Day finds 'Night and Day', a tea towel designed for Irish linen manufacturer Thomas Somerset in 1961, particularly poignant. This design, which perfectly balances a strong monoprint drawing of an owl with textured paper sun rays, symbolizes the relationship between her parents. Over her 60-year career, Lucienne Day collaborated with numerous prominent brands, including Liberty, John Lewis, Cole & Son, and Rosenthal, applying her distinctive flair to fabrics, wallpapers, carpets, homeware, and ceramics. Her unique combination of color, line, form, and composition created a recognizable style that continues to resonate decades later. Lucienne Day received significant accolades, becoming the first woman to be made master of Royal Designers for Industry in 1987 and awarded an OBE in 2004. She passed away in 2010 at the age of 93. In commemoration of her centenary, the Robin and Lucienne Day Foundation has released 100 previously unseen images of her work, which are featured on a 'Lucienne Day 100' poster and will be showcased in exhibitions, events, and awards throughout 2017. #LucienneDay #TextileDesign #ModernistDesign #BritishDesign #PostWarDesign #PatternDesign #MidCentury #DesignCentenary #DesignIcon

Art Nouveau, meaning "New Art," emerged in Western Europe and the United States from the 1880s until World War I. This influential art and architectural movement drew inspiration from the untamed aspects of the natural world, significantly impacting applied arts, graphic design, and illustration. Its characteristic sinuous lines and "whiplash" curves were partly derived from botanical studies and deep-sea organism illustrations, notably Ernst Heinrich Haeckel's "Kunstformen der Natur." Other pivotal publications, such as Augustus Welby Northmore Pugin's "Floriated Ornament" and Owen Jones's "The Grammar of Ornament," advocated for nature as a primary source of artistic inspiration, aligning with a generation seeking to deviate from established styles. The flowing lines of Art Nouveau symbolized a quest for artistic freedom from traditional constraints and critical expectations. The style evolved from two 19th-century English movements focused on design reform: the Arts and Crafts movement and the Aesthetic movement. The Arts and Crafts movement emphasized a return to handcraftsmanship and traditional techniques, while the Aesthetic movement promoted "art for art's sake," forming the basis for non-narrative paintings. Additionally, Art Nouveau incorporated elements of Japanese art, known as "japonisme," which became prevalent in Western markets after trading rights with Japan were established in the 1860s. The broad spectrum of artistic trends before World War I, including those in painting and the initial designs of the Wiener Werkstätte, can be broadly categorized under Art Nouveau. The term "art nouveau" first appeared in the Belgian journal "L'Art Moderne" in the 1880s, describing the work of Les Vingt, a group of painters and sculptors advocating for art reform. This group, along with many others across Europe and America, was influenced by theoreticians like Eugène-Emmanuel Viollet-le-Duc and John Ruskin, who championed the unity of all arts and rejected the division between fine arts and decorative arts. Inspired by William Morris and the Arts and Crafts movement, Art Nouveau designers aimed to integrate art and craft, creating a "Gesamtkunstwerk" or "total work of art" across various media. Notable examples of this unified approach include Victor Horta and Henry van de Velde's Hôtel Tassel, Charles Rennie Mackintosh's Hill House, and Josef Hoffmann and Gustav Klimt's Palais Stoclet dining room. Painting styles such as Post-Impressionism and Symbolism, particularly the "Nabis," also had strong ties to Art Nouveau, with designers adapting these aesthetics to applied arts, architecture, interior design, furnishings, and patterns, contributing to a cohesive and expressive style. Siegfried Bing's gallery, L'Art Nouveau, which opened in Paris in December 1895, played a crucial role in popularizing the movement and its name. However, the style's international reach was significantly bolstered by vibrant graphic arts published in periodicals like "The Savoy," "La Plume," "Die Jugend," "Dekorative Kunst," and "The Studio." "The Studio" notably showcased the bold, Symbolist-inspired linear drawings of Aubrey Beardsley. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec, whose poster art frequently depicted the diverse roles of women in Belle Époque society, from the independent "femme nouvelle" to the "demimonde." Female figures often appeared as fairies or sirens in the jewelry designs of René Lalique, Georges Fouquet, and Philippe Wolfers. In France, Art Nouveau was also known as Style Jules Verne, Le Style Métro (after Hector Guimard's subway entrances), Art belle époque, and Art fin de siècle. The 1900 Exposition Universelle in Paris significantly boosted its public appeal, featuring innovative structures and exhibitions like René Binet's Porte Monumentale, the Pavillon Bleu with Gustave Serrurier-Bovy's work, Bing's Art Nouveau gallery, and the Union Centrale des Arts Décoratifs pavilion. These exhibits displayed furnishings that blended new aesthetic tastes with acclaimed French craftsmanship, utilizing luxury veneers and gilt mounts in the furniture of leading cabinetmakers. Following this, the Glasgow International Exhibition in 1901 and the Esposizione Internazionale d'Arte Decorativa Moderna in Turin in 1902 further showcased European Art Nouveau luminaries. The movement adopted various names across Europe: Style nouille or Style coup de fouet in Belgium, Jugendstil in Germany, Modernista in Barcelona (championed by Antoni Gaudí), Arte nuova or Lo stile Liberty in Italy, and Sezessionstil in Austria and Hungary. In Russia, it was known as Stil' modern, while in the United States, "Tiffany Style" referred to Louis Comfort Tiffany's Favrile glass designs. Art Nouveau, though brief, served as a vital precursor to modernism, which later prioritized function over form and minimal ornamentation, influencing subsequent movements like Art Deco and inspiring graphic designs of the 1960s. #ArtNouveau #DesignReform #AppliedArts #GraphicDesign #NaturalForms #Gesamtkunstwerk #FinDeSiècle #DecorativeArts