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"1969 - 1970 ENCYCLOPEDIA OF HOME DESIGN"

COPYRIGHT 1967

MASTER PLAN SERVICES

INTERNATIONAL and PAN AMERICAN COPYRIGHT CONVENTIONS

LATE CENTURY MODERN

HOME INTERIOR DESIGN FROM SOME 900 

FLOOR PLANS / BLUE PRINTS

BY JUDY COLLINS, A.I.D. DIRECTOR OF STYLE

OTHER CONTRIBUTING AUTHORS INCLUDE:

JODY GREENWALD

DOROTHY LIEBES

MARVIN SCHWARTZ

EMILY MALINO

ROBERT SONNEMAN

LAWRENCE PEABODY

HARD COVER CARDSTOCK SPIRALBINDING

VINTAGE HOME DECOR

SOME CHAPTERS INCLUDE:

CREATE AN ENVIRONMENT FOR YOUR LIFESTYLE

USE COLOR

IDENTIFY FURNITURE STYLES

USE SPACE

STARTING WITH THE FLOOR

STARTING WITH THE WINDOWS

BED AND BATH

USE LIGHTING

USE ACCESSORIES

SEVERAL HUNDRED PAGES

OF REAL PERIOD PHOTOGRAPHS

COLOR PHOTO IMAGES

LINE DRAWINGS

OVER 900 PLANS

INCLUDES LOOSE LETTERS & PLANS TOO

IN GOOD CONDITION

RARE! OBSCURE! HARD TO FIND!

WE FOUND ONLY ONE OTHER COPY ON THE INET.

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FYI

The term was used as early as the mid-1950s, and was defined as a design movement by Cara Greenberg in her 1984 book Mid-Century Modern: Furniture of the 1950s. It is now recognized by scholars and museums worldwide as a significant design movement.

The MCM design aesthetic is modern in style and construction, aligned with the Modernist movement of the period. It is typically characterized by clean, simple lines and honest use of materials, and generally does not include decorative embellishments.

The mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier, and Ludwig Mies van der Rohe. Although the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other. Brazilian and Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Wright's designs, Mid-century architecture was frequently employed in residential structures with the goal of bringing modernism into America's post-war suburbs. This style emphasized creating structures with ample windows and open floor plans, with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-century designs, with an emphasis placed on targeting the needs of the average American family.

In Europe, the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde Situationist International, COBRA, as well as Archigram in London. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by Scandinavian Moderns such as Alvar Aalto, Sigurd Lewerentz and Arne Jacobsen, and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects such as Aldo van Eyck, Ralph Erskine, Denys Lasdun, Jørn Utzon and the movement known in the United Kingdom as New Brutalism.

Pioneering builder and real estate developer Joseph Eichler was instrumental in bringing Mid-century modern architecture ("Eichler Homes") to subdivisions in the Los Angeles area and the San Francisco Bay region of California, and select housing developments on the east coast. George Fred Keck, his brother Willam Keck, Henry P. Glass, Mies van der Rohe, and Edward Humrich created Mid-century modern residences in the Chicago area. Mies van der Rohe's Farnsworth House is extremely difficult to heat or cool, while Keck and Keck were pioneers in the incorporation of passive solar features in their houses to compensate for their large glass windows.

The Case Study Houses was a program creating a series of architectural prototype-homes involving major mid-century architects, including Charles and Ray Eames, Craig Ellwood, A. Quincy Jones, Edward Killingsworth, Pierre Koenig, Richard Neutra, Ralph Rapson, Eero Saarinen, and Raphael Soriano to design and build modern efficient and inexpensive model homes for the post-WWII residential housing boom in the United States. The program began in 1945 and lasted through 1966. The houses were documented by architectural photographer Julius Shulman.

Industrial design: Scandinavian design was very influential at this time, with a style characterized by simplicity, democratic design and natural shapes. Glassware (Iittala – Finland), ceramics (Arabia – Finland), tableware (Georg Jensen – Denmark), lighting (Poul Henningsen – Denmark), and furniture (Danish modern) were some of the genres for the products created. In America, east of the Mississippi, the American-born Russel Wright and Mary Wright, designing for Steubenville Pottery, and Hungarian-born Eva Zeisel designing for Red Wing Pottery and later Hall China created free-flowing ceramic designs that were much admired and heralded in the trend of smooth, flowing contours in dinnerware. On the West Coast of America the industrial designer and potter Edith Heath (1911–2005) founded Heath Ceramics in 1948. The company was one of the numerous California pottery manufacturers that had their heyday in post-war US, and produced Mid-Century modern ceramic dish-ware. Edith Heath's "Coupe" line remains in demand and has been in constant production since 1948, with only periodic changes to the texture and color of the glazes. The Tamac Pottery company produced a line of mid-century modern biomorphic dinnerware and housewares between 1946 and 1972.

Social medium: Printed ephemera documenting the mid-century transformations in design, architecture, landscape, infrastructure, and entertainment include mid-century linen post cards from the early 1930s to the late 1950s. These post cards came about through innovations pioneered through the use of offset lithography. The cards were produced on paper with a high rag content, which gave the post card a textured look and feel. At the time this was a less expensive process. Along with advances in printing technique, mid-century linen postcards allowed for very vibrant ink colors. The encyclopedic geographic imagery of mid-century linen post cards suggests popular middle-class attitudes about nature, wilderness, technology, mobility and the city during the mid-20th century.

Curt Teich in Chicago was the most prominent and largest printer and publisher of Linen Type postcards pioneering lithography with his "Art Colortone" process. Other large publishers include Stanley Piltz in San Francisco, who established the "Pictorial Wonderland Art Tone Series", Western Publishing and Novelty Company in Los Angeles and the Tichnor Brothers in Boston. The printing of mid-century linen post cards began to give way in the late 1950s to Kodachrome and Ektachrome color prints.

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Vintage design refers to an item of another era that holds important and recognizable value. This style can be applied to interior design, decor, clothing and other areas. Vintage design is popular and vintage items have risen in price. Outlets of vintage design have shifted from thrift store to shabby chic stores.

Terminology: There is debate over what determines if an item is vintage. Some rely on the definition of anything old and of value. The most widely accepted definition used by antique and vintage professionals is anything older than 20 (and less than 100) years old.

The terms vintage, retro and antique are oftentimes used interchangeably and have some overlay, however the words possess different meanings. Retro refers to a style iconic of a previous era. Vintage generally refers to an item of high-quality materials and/or craftmanship, that is characteristic of a specific time period or artist, and is between 20 and 100 years old. Lastly, antique refers to an item of the previous era or at least 100 years old. A related term is antiquity, which indicates something of past eras, or simply put, ancient. The word vintage originated in Late Middle English from Old French and Latin origins.

Popularity: Vintage items spark interest in many. The United States Department of Labor tells us that, "Design and fashion trends play an important part in the production of furniture. The integrated design of the article for both esthetic and functional qualities is also a major part of the process of manufacturing furniture."

The popularity of vintage design and vintage inspired items can be seen through media. In 2004 designer Nicolas Ghesquière created a line for Balenciaga which called back to older collections. Tom Ford's collection for her also uses references to the past. Vintage design can also be seen in ads which promote vintage inspired clothing.

There are several reasons for vintage design's popularity. Some claim the phenomenon is due to the rarity and classic value of the items. Others state the reason to be a mixture of peoples' nostalgia creating a positive emotional appeal toward a past era or their childhood, consumers' environmental concerns, an appreciation of past styles and craftsmanship, and other experience.

Subcategories: Vintage design contains various subcategories reflecting the vast diversity of aesthetics that make up traditional and 20th century design styles.

Art Nouveau: Art Nouveau is a style containing curved lines, flowers and other plants, contrasting colors, ornate colors, young women, and intricate details. It was created at the end of the 1800s and gained popularity at the start of the 1910s.

Art Deco: Art Deco was created to intentionally embrace a clean, modern, and man-made look, developed and popular from the 1920s and reaching its peak in the 1930s. This style features mostly geometric shapes, symmetrical patterns, and idealized human figures.

Mid-century modern: Mid-century modern style makes use of straight, clear lines, curved objects, wood tones, thin supporting, and oversized objects. It is meant to call back to the mid-20th century.

Atomic Age: Referring to the period roughly corresponding to 1940–1963, the Atomic Age includes elements of space exploration, scientific discovery, and futurism, creating an idea of an "optimistic, modern world". Atomic Age design became popular and instantly recognizable, with a use of atomic motifs and space age symbols.

International Style: International Style design contains broad block letters in fonts such as Helvetica (see Swiss Style for further information on the typographic style) and sleek, modern lines invoking Mies-ian simplicity and a cosmopolitan aire.

Seventies: The styles of the 1970s are incredibly popular in vintage design, recalling the aesthetics of hippies and other counterculture groups of the era. Use of natural color combinations such as the well-known 'harvest gold, avocado green, and burnt orange' was widespread, as were psychedelic colors and designs such as paisley.

Punk: The punk counterculture style of the late 1970s and 1980s is reused today. It contains harsh lines, clashing colors, juxtaposition, and 'edgy' imagery to create an anti-authoritarian aesthetic.

Postmodernism: Postmodernism as a style incorporates bold colors and abstract geometric motifs with intentionally humorous references to past architectural and design traditions, popular in the 1980s and 1990s. Whereas 'less is more' was a tenet of modernism, postmodern architect Robert Venturi quipped 'less is a bore'. Postmodernism has heavily influenced the vaporwave aesthetic.

(THIS PICTURE FOR DISPLAY ONLY)

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