Design – Page 2 – Old Magazine Articles

A Rug by Raymond Loewy
(Quick Magazine, 1953)

A small notice from a news digest featured a photograph of a carpet that was designed by famed industrial designer Raymond Loewy (1893 – 1986) in the early Fifties

Something new in room dividers are area rugs designed by Raymond Loewy to define areas of activity within a room; dining sections, TV corners for example. Sophisticated but adaptable to almost all interiors, the new rugs come in such decorator colors as pink, lime green [and] turquoise.

The Bauhaus Exhibit at the Museum of Modern Art
(Art Digest, 1938)

To mark the opening of the Museum of Modern Art’s 1938 exhibition, Bauhaus 1919 – 1928, the over-paid editors at ART DIGEST published this single page review for it’s American readers explaining what the art school was, why it closed and what was in the mind of the school’s founder, Walter Gropius (1883 – 1969):

The Bauhaus program proceeded to teach students manual dexterity, in all the crafts, to investigate the laws of the physical world, to plumb the spiritual world, and to master the machine. Out of the Bauhaus came the first experiments in tubular furniture, in modern typography, in modern lighting, and many significant developments in architecture, photography, abstract art, textile and other crafts.

Click here to read unfavorable criticism about the Bauhaus exhibit.

Klaus Grabe
(Pathfinder Magazine, 1947)

An article from 1947 that clearly indicated that modern furnishings were a commercial hit in New York City during the immediate period following the war. The furnishings in particular were the product of German modernist named Klaus Grabe. A refugee from Hitler’s Germany, Grabe was a Bauhaus-educated designer who had first settled in Mexico with Josef Albers before moving to New York.

Shortly after this article appeared, Klaus Grabe would write this book: Build Your Own Modern Furniture.

Bauhaus Exhibit Smeared by Critics
(Art Digest, 1939)

With all the best wishes in the world, it is impossible to suppress the feeling that there is something essentially heavy, forced and repellent in most of the Bauhaus work. They are under suspicion of being modern for the sake of being modern and not because of any necessities of their system of living.

-so wrote the well-respected art critic Henry McBride (1867 – 1962) in response to the groundbreaking 1938 exhibit at the Museum of Modern Art, Bauhaus 1919 – 1928. McBride did not mince words in expressing his belief that the Bauhaus was not a genuine art school and that the MoMA showed poor judgment by lamenting it’s passing. McBride is remembered as having been a longtime advocate of modernism, a champion of the 1913 Armory Show, and supporter of the new and untried, but for him, the Bauhaus represented the art of the poseur.

Bauhaus Exhibit Smeared by Critics
(Art Digest, 1939)

The Streamlining of Cars
(Creative Art Magazine, 1936)

Industrial designer Egmont Arens (1889 – 1966) wrote the attached design review covering the American cars of 1937:

Perhaps it was just one of life’s little ironies that overtook the automobile manufacturers a year ago. In their zeal to provide what they called ‘streamlined’ design, they took the tear-drop for their model, and the results were tearful indeed – to the sales managers. For they all looked alike…

The word ‘Streamlining’ got everybody a little confused, I am afraid, and off the track. Here was a term out of aerodynamics, invented to describe a solid shape that moves easily through fluid mediums, as the wings and fuselage of an airplane. The human eye responded gratefully to the flow of line prescribed by the laws of physics, and thus streamlining became synonymous with modern beauty. Industrial designers sprang up at every hand, and their main business was ‘streamlining’.

Read about the Great Depression and the U.S. auto industry…

The Designs of Gustav Jensen
(Coronet Magazine, 1940)

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.

In Defense of Modern Architecture
(Coronet Magazine, 1940)

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.

Architect Rudolf Schindler
(Direction Magazine, 1945)

Esther McCoy (1904 – 1989) was one of the few voices in Forties journalism to champion modern architecture in the city Los Angeles. Sadly, the common thinking among too many critics and editors at the time held that Gomorrah-Sur-la-Mer could only to be relied upon for innovations like Cobb Salad and valet parking – but McCoy recognized that the city’s dramatic quality of light and odd lunar landscape combined to create fertile ground for modern architecture. Unlike other like-minded critics and historians who discovered the city in later decades, such as Reyner Banham, McCoy came to know the Viena-trained architect Rudolph Schindler, who is the subject of this 1945 article.