Coronet Magazine

High-Ranking in the roll-call of New York’s industrial designer is a six-foot Dane with the voice of a Viking. Gustav Jensen is an artist, whether he is talking, eating, or performing Herculean labors in cleaning out Plebeian Stables. The creed of the industrial designer is that every implement of modern life can be made into a work of art. Jensen has pursued this creed to fabulous extremes. He has designed kitchen sinks, that have been compared to Renaissance caskets, and he meditates for months before he designs a doorknob….

The article is illustrated with eleven photographs; the image on the right shows Jensen’s design for a table model radio: The radio is a miracle. It should look like a miracle, remarked the designer.

Bereft of all but one illustration, this five page article delves into the design philosophy of the architect Buckminster Fuller (1895 – 1983) – who was very fond of the word dymaxion:

Fuller argues that the social function of machinery is to eliminate the unpleasant phases of life in the shortest possible space of time. Housing, or ‘shelter’ as he prefers to call it, should be, fundamentally, ‘a machine for living.’

Living, as he did, at a time when the average American homeowner was more inclined to prefer a ranch house over a machine for living that those vulgar, snail-eating European modernists were capable of creating, American architect George Frederick Keck (1895 – 1980) saw fit to write this spirited defense on behalf of modern design. Playing the part of a modernist missionary seeking to convert the heathens, Keck argued that his tribe of architects – with their understanding of contemporary building materials and respect for simplicity – were suited to create a better standard of living for one and all.