Design History 1930-1940

Contents:

• Art Deco
• Totalitarian aesthetics
• Modernism

Art historian and researcher of avant-garde art of the 1920s and 1930s in Russia and Germany. Currently a Master's student in the Design Studies program at the Bauhaus Dessau School and a member of the Bauhaus Dessau Foundation, she specializes in the analysis and interpretation of artistic trends of this period, with a particular focus on the relationship between art and design.

In the 1930s, the influence of international modernism in Europe somewhat waned, but this movement did not disappear, and instead shifted primarily to the UK and the USA. During this period, Art Deco reached its peak of popularity, and in some countries, a totalitarian aesthetic began to emerge. This period is characterized by a transition to new artistic forms that reflect changes in society and architecture, while modernism continues to influence design decisions and cultural trends.

• Art Deco;
• Totalitarian aesthetics;
• Modernism.

Art Deco

Art Deco is a style that emerged long before the 1930s, but it was during this period that it reached its highest development. Characterized by pomp and scale, Art Deco used both floral and geometric ornaments in its design. This style drew inspiration from antiquity, as well as from exotic motifs, which gave it uniqueness and expressiveness. In architecture, interior design, and fashion, Art Deco became a symbol of luxury and elegance, leaving a significant mark on art history.

In the 1920s, the style began to actively develop in architecture, largely due to the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. This exhibition became a landmark event after the First World War, providing designers from various countries with a unique opportunity to showcase their work and ideas. The exhibition had a significant influence on the formation of new aesthetic and functional approaches in architecture, promoting the dissemination of modern trends and innovative design solutions.

In 1927, a landmark project was launched in France: the transatlantic liner Ile de France, which became the first example of the Art Deco style in shipbuilding. The second, and even more outstanding example of the Art Deco style, was the French transatlantic liner Normandie, which was launched in 1935. At the time of its completion, this ship was the largest and fastest passenger liner in the world, embodying the achievements of engineering and the elegance of Art Deco.

Everything about the Normandie attracted attention: from the voyage posters, which significantly influenced the development of the Art Deco style in graphic design, to the unique hull shape designed by the Russian engineer Vladimir Yurkevich. This project became an example of the combination of aesthetics and engineering genius, which made the Normandie an iconic object in the history of shipbuilding and design.

The main dining room occupied a special place on the liner. Its design, like the entire interior, was the result of the work of a team of highly qualified designers, among whom stood out the famous Pierre Patou, one of the leading experts of his time.

Transatlantic liners are means of transportation that can accommodate a large number of passengers and connect different countries. This is why the Art Deco style quickly spread throughout the world, encompassing almost all continents. This style, characterized by elegance and modern forms, became a symbol of luxury and comfort on board ocean liners.

In the new light, the main successor and central figure of this style was the United States of America. In America, the emphasis was placed on Mesoamerican cultures characteristic of the continent, such as the Aztecs and Mayans, as well as on aerodynamic forms, which emphasized the uniqueness and dynamism of American design. These elements not only reflect cultural heritage but also create a modern context conducive to the development of a new artistic direction.

Streamline is one of the significant branches of American Art Deco, although some experts consider it an independent movement. This style drew inspiration from the technological advances of its time, especially the rapid speeds, which required the creation of streamlined forms. The Streamline aesthetic has found expression in a variety of design fields, including home appliances, classic American diners, and skyscrapers. The Streamline has become a symbol of dynamism and modernity, emphasizing a desire for progress and efficient use of space.

Totalitarian aesthetics

In the thirties of the twentieth century, the aesthetics of totalitarian regimes became a noticeable phenomenon in art and design. Architecture played a key role in this context, serving as the primary means of expressing ideology. Countries sought to create new empires, so the grandeur and scale of projects were paramount. Each architectural object became an impressive "monster" with pompous names and meanings, reflecting the ambitions and ideals of the authorities. Architectural structures of that time not only served functional purposes but also became symbols of strength and grandeur, creating the visual image of totalitarian regimes.

The aesthetics of the totalitarian regimes of the 1930s are characterized by an emphasis on classicism, grandeur, clarity, and austerity. Each state sought to develop its own unique characteristics, but the general trends remained unchanged. In these works, man is presented as an abstract ideal, not as an individual, with the exception of the image of the leader. An appeal to ancient aesthetic traditions emphasized the cult of a healthy body, physical fitness, and heroic masculinity. The people are perceived not as a collection of individuals, but as a homogeneous mass, which is reflected in architecture and art: buildings depict mass processions, choirs, and dances. This approach to depicting society serves to illustrate the ideals of totalitarian regimes striving to form a unified nation.

The Palace of Soviets, the Soviet Union's major megaproject of the 1930s, became a symbol of the ambitious architectural ideas of the time. An architectural competition for its design was announced in 1931. The winner was the neoclassical architect Boris Iofan, who proposed a design for a 415-meter-tall skyscraper topped with a gigantic sculpture of Lenin. The stepped structure of the palace resembled a ziggurat and was conceived as part of a new architectural style. A huge assembly hall, supported by a complex metal frame, was planned at the base of the building. This project became a landmark for Soviet architecture and embodied the desire for grandeur and scale.

The use of significant quantities of metal became a serious problem. With the outbreak of World War II, this material was redistributed for military needs, leading to the dismantling of the remaining floors. The metal beams of the frame, remaining after the demolition, were used in the defense of Moscow as anti-tank obstacles.

The second The Moscow Metro, the decision to build it in 1931, became a significant Soviet project during this period. The first line was built in a record-breaking four years. The station design reflected the new Soviet totalitarian aesthetic, merging classical architectural elements with the national characteristics of the republics that became part of the USSR. The metro has become not only an important transportation hub, but also a symbol of engineering progress and cultural unity.

In Italy, under Mussolini's rule, a large-scale restructuring of Rome began. This process combined the preservation of historical monuments with the construction of new facilities. One of these structures was the Foro Italico, also known as the Mussolini Forum, which was built to train youth for the fascist organization. The stadium of this sports complex is a modern version of the ancient architectural style, decorated with full-size sculptures, emphasizing the connection with the ancient Roman heritage and ideology of the time.

Mussolini became the only dictator to define the style of his totalitarian art as "Novecento," which translates as national Italian art. This name refers to classical styles such as the Quattrocento and Cinquecento. Novecento represents the confrontation between neoclassicism and modernism in Europe, reflecting the unique cultural identity of Italy in the period between the two world wars. This style emphasizes the desire to revive traditional values ​​and forms, while absorbing elements of modernity.

Now let's turn our attention to Germany: Hitler had clear ideas about what the art of the Third Reich should be like. To realize his ambitious projects, he enlisted the architect Albert Speer, who became his "court" architect. Speer's task was to embody the grandeur and power of the new state in a truly German spirit. This was expressed through the assimilation of classical heritage, an appeal to pagan traditions, and the integration of functionalist achievements. Speer's works became a symbol of the architecture of the Third Reich, reflecting the ideals and values ​​of the regime.

Hitler's project to transform Berlin into an imperial capital was conceived as the center of a new world order. Inspired by ancient cities, the design included the intersection of two main streets at right angles, which was intended to create a unique urban layout. The scale of this project was envisioned to be colossal, surpassing all previous architectural achievements of humanity. The central element of the new capital was to be a vast hall of honor, known as the "Hall of the People," with an impressive dome. Adjacent to this majestic structure, the Führer's residence was planned. However, despite ambitious plans, the project remained unrealized.

Modernism

With the rise of the National Socialists to power in Germany, the Bauhaus was closed, and the works of its masters were ostracized, labeled as Jewish, Bolshevik and degenerate. To demonstrate the humiliation of modernists, a traveling exhibition entitled "Degenerate Art" was organized. It featured works by renowned artists such as Wassily Kandinsky and Paul Klee, as well as works created by the mentally ill. This event became a striking example of the suppression of cultural movements that contradicted the ideology of the Nazi regime.

In Germany, modernism did not disappear completely, continuing to manifest itself in graphic design throughout the 1930s. A striking example of this is the magazine "Neue Linie," founded by Bauhaus graduates, which reflected the changes in society. This magazine became an important element of the modernist movement, demonstrating its influence on the visual culture of the time and emphasizing the significance of design in a social context.

During Many prominent figures of the modernist movement in Germany emigrated to Britain. Among them were the first director of the Bauhaus, Walter Gropius, as well as the teacher László Moholy-Nagy and his talented student Marcel Breuer. These figures significantly influenced the development of architecture and design in Britain, introducing new ideas and approaches formed within the Bauhaus. Their work and teaching experience became an important contribution to the formation of the modern artistic and architectural landscape of the country.

In 1931, a business called Isometric Construction, also known as Isokon, was founded in London by entrepreneur Jack Prichard. The company was involved in a variety of projects, including furniture production and building construction. An important partner of Isokon was the Estonian company Venesta, which specialized in creating furniture from bent plywood. This collaboration contributed to the development of innovative solutions in design and construction, and strengthened the position of both companies in the market.

The 36-apartment building on Lawn Road is Izokona's most famous project. Designed in the International Modernist style, it became a refuge for Bauhaus artists exiled from Germany. The architectural solutions employed in this building reflect the principles of functionality and simplicity characteristic of the modernist movement. The project attracts attention not only for its history, but also for its unique design, which continues to inspire architects and designers around the world.

In Italy, with the rise of the Fascists to power, a unique architectural situation emerged. Architect Giuseppe Terragni argued that the new society required an architecture free of historical excesses. He proposed a fascist version of modernism, which he called rationalism. This new style was based on an ideology that proclaimed collective labor and leisure as its primary values. However, promoting Terragni's ideas proved difficult: the Fascists, with their conservative views, did not share his aesthetic preferences. As a result, many of the architect's projects remained unrealized and forever written down on paper. Rationalism, as a concept, marked an important stage in the history of architecture, demonstrating how ideology can influence the creative process and the formation of the urban environment. The most famous of these buildings is Casa Fascio in Como, built between 1932 and 1936 for the National Fascist Party. Architect Terragni, like the Soviet rationalists, constructivists, representatives of the Bauhaus, and the Dutch group De Stijl, emphasized the harmonious interaction of external and internal spaces in architecture. Casa Fascio has a square plan and a clearly geometrically divided façade, which logically correlates with the building's internal organization. This harmonious composition emphasizes the unity of architectural form and functionality, making it a striking example of the architectural style of its time.

In 1932, Socialist Realism became the officially recognized artistic method in the USSR. This decision meant that only members of the Artists' Union could earn a living, while other artists were forced to seek alternative sources of income. This was extremely difficult under the Soviet economy, which exacerbated the situation. Moreover, many artists were accused of formalism, which further limited their opportunities for self-expression and financial stability. Socialist Realism, as a movement, developed under strict state control, which significantly influenced the development of art in the country.

In the 1930s, modernist projects were implemented, among which the Moscow ZIL Palace of Culture (Likhachev Plant Palace of Culture) stands out. This multifunctional complex was designed by the renowned constructivist architects, the Vesnin brothers. The ZIL Palace of Culture includes several halls, a library, a cinema, a lecture hall, a winter garden, an observatory, and studio rooms. The building's architecture is characterized by a logical composition, where volumes and proportions are coordinated both internally and externally, which corresponds to the basic principles of constructivism. This project became an important stage in the development of Soviet architecture and culture, contributing to the creation of spaces for public life.

In the thirties In the 1930s, a transitional style between constructivism and Stalinist architecture, known as post-constructivism or Stalinist Empire, emerged in the USSR. This style represents a synthesis of constructivist principles and classical architecture. For example, buildings with horizontal windows make extensive use of classical decorative elements. By the mid-1930s, even completed constructivist buildings began to be embellished with columns, cornices, and bas-reliefs, reflecting a desire for a more monumental and expressive style in the architecture of the time. Post-constructivism became an important stage in the development of Soviet architecture, reflecting changes in the country's cultural and political life.

The style and its name are the subject of much debate. Many experts believe that a number of projects from that period can be classified as Art Deco.

In the United States, modernism continues to thrive. As in Great Britain, the country is attracting professionals exiled from authoritarian states. Here, they find opportunities for self-realization, which contributes to the growth of modernism in America. Progressive cultural figures such as the Rothschilds and Guggenheims, who created collections of modern art, play an important role in this process. These initiatives contribute to the formation of a dynamic art scene and increased interest in modernist movements among a wider audience.

During the 1930s, the Museum of Modern Art (MoMA) in New York organized numerous exhibitions and educational programs that significantly contributed to the development of American design. These events not only introduce the public to modern artistic movements but also shape high standards in design and art in the United States. MoMA is becoming an important platform for presenting the work of both established and emerging designers, thereby strengthening the position of American design on the international stage.

One of the most famous innovative engineers is Buckminster Fuller, who developed the geodesic dome. This unique architectural design became the centerpiece of the 1967 Montreal International Exhibition and attracted public attention for its innovative design and aesthetics. Fuller's geodesic dome continues to be a symbol of modern design and engineering, inspiring new generations of architects and engineers.

Le Corbusier, one of the leading representatives of modernism in France, left a significant legacy in architecture. He completed numerous projects spanning both private homes and urban ensembles. The architect proposed innovative approaches to the organization and planning of space aimed at solving social problems. His ideas on functionality and harmony between man and the environment continue to influence modern architecture.

Despite criticism for the utopian nature of his ideas, Le Corbusier had a significant influence on post-war mass construction worldwide. His concepts of modernist architecture and urban planning became the basis for many projects, shaping the appearance of cities and residential areas. Le Corbusier's ideas about functionality, open spaces, and integration with nature are still relevant today and inspire architects to create innovative solutions.

The development of cultural and social trends in Europe was interrupted by the outbreak of World War II. While most countries on the continent faced serious challenges, the United States of America was less affected. However, even in the US, the economy began to experience difficulties, which affected internal processes and the public mood.

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