Counter space: design and the modern kitchen 9780870708084, 0870708082

Table of contents :
Toward the modern kitchen --
The new kitchen --
The Frankfurt kitchen --
Visions of plenty --
Kitchen sink dramas.

Citation preview

counter space Design and the Modern Kitchen

J U L IET K INCHIN W ITH AI D AN O ’ CONNOR

The Museum of Modern Ar t, New York

Table of Contents

Foreword

3

Toward the Modern Kitchen 4

The New Kitchen 10

The Frankfurt Kitchen 18

Visions of Plenty 40

Kitchen Sink Dramas 66 A c k n o wl e d g m e n t s 8 7 T r u s t e e s o f T h e M u s e um o f M o d e r n A r t

88

Foreword

Counter Space: Design and the Modern Kitchen extends the long commitme nt o f T h e M u s e u m of Modern Ar t t o t h e celebration of modernis m in eve r y as pe ct o f c o n t e m p o rar y l i fe. Th rough o u t t he twentieth ce ntur y the kitchen has be e n a m i c ro c o s m for m o dern i st ex peri mentation with new mate rials , te chnolog ie s , a n d ways o f l i vi n g. Po t s an d p an s, te ake ttles , and laborator y -ins pire d g las s and porcelain kitchenware from the landmark 1934 exhibition Machine Ar t were a m o n g t h e e a r l i e s t o b j e c t s o f d e s ig n t o e n t e r M o M A’s c o l l e c t i o n , w h i c h n o w e n c o m p a s s e s a n u n p a ra l l e l e d re p re s e n t a t i o n o f m o d e r n i s t d e v e l o p m e n t s i n ki t c h e n d e s ign over t h e l ast h u n d red years . The catalyst for Counter Space— the first exhibition at MoMA to comprehensively ex a m i n e t h e t ran sfo rmat i o n of t h e mode rn kitche n—was the rece nt acquis ition by t h e M u s e u m o f a spec t ac u l ar Frankfur t Kitchen, a hig hlig ht of both the s how a n d t h i s p u b l i c a t i o n . T h i s u n u s u a l l y c o m p l e t e e x a m p l e o f A u s t r i a n a rc h i t e c t M a rg a re t e S c h ü t t e - L i h o t z k y ’s 1 9 2 6 – 2 7 i c o n i c d e s ig n i s n o w t h e e a r l i e s t w o r k by a female architect in our collection. Given the prominence of this remarkable acquisition and the relationship between the histor y of kitchen design and the social histor y of women, we are proud to present Counter Space in association with the publication of Modern Women: Women Ar tists at The Museum of Modern Ar t, a product of MoMA’s Modern Women’s Project, which comprises, in addition, a s e r i e s o f ex h i bi t i on s feat u ri n g women ar tis ts extending throug h s ummer 2011. Like the most adept of chefs, Juliet Kinchin and Aidan O’ Connor have produced a fe a s t fo r t h e e y e s a n d m i n d f r o m a r i c h a n d v a r i e d a r ra y o f m a t e r i a l s . I a m g ra t e f u l t o t h e m a n d t o t h e i r m a n y c o l l e a g u e s a t t h e M u s e u m fo r t h e i r c o n t r i b u t i o n s t o t h e re a l i z a t i o n o f t h i s m u l t i d i s c i p l i n a r y p ro j e c t . O n b e h a l f o f t h e s t a ff a n d t ru s t e e s o f t h e M u s e u m , I wo u l d l i ke t o t h a n k S i l e s t o n e Qu a r t z S u r fa c e s fo r i t s g e n e ro u s s u p p o r t o f t h e e x h i b i t i o n a n d t h e N a n c y Le e a n d Pe r r y B a s s Pu b l i c a t i o n E n d o w m e n t Fu n d fo r m a k i n g t h i s c a t a l o g u e p o s s i b l e . G l e n n D. Lowr y Director, The Museum of Modern Ar t, New York

3

Charlie Chaplin and Paulette Goddard in Modern Times 1936

4

Charles Chaplin (British, 1889–1977). M o d e r n T i m e s . 1 9 3 6 . U SA

35 m m f ilm ( b la c k a n d w h it e , sou n d ) , 87 m in .

Toward the Modern Kitchen 1

Me a l m a c hi ne, ex p eri ment a l l a b ora t or y, sta t u s sy mb ol , domest i c p ri s o n , o r th e c re a t ive a nd s p i ri tu a l hea r t of the home? O ver t he c ou rs e of t he p a st c en tur y, th e kitchen, more than any other room in the modern dwelling, has been radically altered by t h e t ec hnol og i c a l , s oc i a l , a nd a estheti c revol u t i ons of the twenti eth ce n tur y. T h e m o dern k i t c hen ep i t omi z es a nd emb odi es i t s ow ner ’s l i festy l e a nd relati o n sh i p to consumer culture; it also retains its archetypal significance as the symbolic core o f t h e h ome, the c ent er a rou nd w hi c h t he modern fa mi l y revol ves . I t ha s co m e to ar ticulate and, at times, actively challenge societal relationships to food, technology, t h e d o m esti c rol e of women, a nd i nterna ti ona l p ol i ti cs .

It is a mistake to suppose t h a t a ny ro o m , h o w e v e r small and unpleasantly situated, is “g ood enough” for a kitchen . . . for upon t h e re s u l t s o f n o o t h e r d e p a r t m e n t o f wo m a n ’s domain depend so greatly t h e h e a l t h a n d c o m fo r t of the family as upon those involved in this “household workshop.” M r s . E . E . K e ll o g g , S c i e n c e i n t h e K i t c h e n , 1 8 9 3

H ist o r ica l l y, Eu rop ea n a nd A meri c a n u rb a n k i tc hens were of t en dra b , di r ty place s, p o o r l y vent i l a ted a nd hi dden f rom v i ew. Towa rd t he end of t he ni neteent h ce n tur y, h oweve r, the k i t c hen b ec a me a c entra l c onc ern of moderni s m, a tt racti n g th e a tt e n t io n of a rc hi t ec t s , domest i c reformers , ma nu fa c tu rers , a nd u ti l i ty prov i d e rs. I n t h e c ont ex t of the l a te- ni neteent h- c ent u r y A r t s a nd C ra f t s movemen t, ar ti st s a n d a rc hi tec t s l i ke R i c ha rd R i emers c hmi d t u rned to hu mb l e objec t s a nd uti li tar i an s p a c e s prev i ou s l y ig nored by most p rofes s i ona l des ig ners . I n the 1 89 0 s ad vo cate s o f s im p l i f i ed l i v i ng b ega n to c onc ei ve of t he k i tc hen not a s a s er va nt - run d o m ai n c o nfin e d t o a b a s ement or a nnex b u t a s a s p a c e c entra l t o da i l y l i fe an d so ci al e n c o u n t ers b etween fa mi l y a nd f ri ends . Prog res s i ve a rc hi tec t s i n Eu rope an d th e U n it e d S t a t es des ig ned i nc rea s i ng l y c omp a c t, s p a rel y fu rni s hed env iro n m e n t s, o f t e n wi t h u ni f i ed k i t c hen- l i v i ng s p a c es , t ha t took i ns p i ra ti on f rom mo d e st rural in t e r io rs. M a ny were a l s o i nvol ved i n the et hnog ra p hi c rec ordi ng of s u ch space s, wh ic h were fel t to emb ody na ti ona l tra di ti ons a nd c u l t u re i n a p u rer fo r m th an m o n u m e nt a l a rc hi tec tu re.

Vinegar Jar with Stopper c. 1897 Richard Riemerschmid (German, 1868–1957). V i n e g a r J a r w i t h S t o pp e r . c. 1897

G l a z ed st onewa re , b o dy : 7  5/16 " (1 8.6 cm ) hig h, li d: 1 5/8 " (4.1 c m) h ig h. Manufact u re d by Re i nho ld M erkelb ach , G re nzhause n, G e r m a ny. Phylli s B. Lamb e r t Fun d, 1 95 8

Pe r h a p s t h e s ing l e most i mp or ta nt fa c t or i n the t ra ns forma t i on of t he twenti eth centur y kitchen was the advent of clean fuels—gas and electricity. The first electric ke tt l e a p p e a re d i n t he 1 89 0 s , b u t the p ot enti a l l y ha z a rdou s p rox i mi ty of wa ter an d e l e c t r ic ity a n d the l a c k of effec ti ve el ec t ri c i ty di stri b u ti on networks del ayed i t s wid e s p re a d a c c ep t a nc e b efore Worl d Wa r I . S t a nda rdi z a ti on a nd ma s s p rodu c t i o n we re a l s o d e fin i ng el ement s of the modern k i t c hen, a nd t hey a ffec ted ever y thin g fro m in t e r io r c a b i network t o the des ig n of food, p a c ka g i ng , a nd stora g e c ont a i ners. T h e l a t e n in e t e enth c ent u r y w i tnes s ed a revol u t i on i n i ndu stri a l food p roc es s i ng , st a r t in g wit h c o ffee, c oc oa , a nd a ra ng e of mea t a nd da i r y p rodu c t s . Proc es se d fo o d s — s u c h a s Trop on, a n eg g - b a s ed p rot ei n s u p p l ement— a nd t hei r b u rg eonin g b ra n d id e n t it ie s ra p i dl y t ra ns formed tra di ti ona l p a tt erns of s hop p i ng , c ook i ng , a n d a t - h o m e food st ora g e. Fa c tor y - l i ne p rodu c ti on met hods i ns p i red a rc hi tec t s s u c h a s Fra n k Ll oyd Wrig ht to ex p eri ment w i th t he p refa b ri c a ti on of ent i re home s. Star ting in 1911 he produced hundreds of drawings that culminated in the publication o f American System-Built Houses (c . 1 91 7 ). T he syst em wa s b a s ed on sta nda rdi ze d components that were to be precut in an off -site factor y, and it incorporated builtin st o ra g e a n d work s u r fa c es i n t he k i tc hen, c onc ei ved a s p a r t of the p refa b ri c a t e d whole. Despite a marketing campaign, however, there was little interest at the time. It was not until the late 1920s that such concepts would resurface in European design, t a ke n u p o n a s ig ni f i c a nt s c a l e i n hou s i ng s c hemes s u c h a s t hos e i n Fra nk fu r t . I n t h e m id - t o - l a t e ni neteent h c ent u r y, hou s ework ga i ned new, p rofes s i ona l sta t ure and respectability through a domestic-reform movement led by middle-class women. Christine Frederick, Lillian Gilbreth, and Georgie Child were among those in the United States who actively campaigned to rationalize work in the kitchen by applying to the h o m e t h e p r in c i p l es of s c i enti f i c ma na g ement devel op ed by A meri c a n i ndu st r i al e n g in e e r Fre d e r i c k Tay l or. I n t he 1 92 0 s C hri st i ne Frederi c k— a u thor of t he hig hly infl u e n t ia l b o o k The New Housekeeping (1 91 2 )— est a b l i s hed a nd di rec t ed t he A p p le c ro f t H o m e Ex p e ri ment S t a t i on f rom her home i n G reenl aw n, N ew York , w here sh e carried out tests of step-saving food preparation processes and investigated 1,800

Tropon 1899 Henry Clemens va n d e V e l d e ( B e lg i a n , 1 86 3 –1 9 5 7 ) . T r o p o n , l’ Al i m e n t l e P lu s C o n c e n t r é (Tropon, the most concentr ated nourishment). Poster a dv e r t i s i n g p r o t e i n e x t r a c t. 1 8 9 9

Lit h ogra p h , 4 4 x 30 3/8 " ( 111.8 x 7 7.2 c m ) . P r i n t e d by H o l l e r b a u m & S c h m i d t , B e r lin . A r t h u r D rex le r Fu n d , 1 9 8 8

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Coffee and Tea Box 1928–30 Jacob Jongert (Dutch, 1883–1942). C o ff e e a n d t e a B o x . 1928–30

P r in t e d t in , 1 4  1/2 x 1 6  5/16 x 11  1/4 " ( 36.8 x 4 3 x 2 8.6 c m ) . Pu rc h a se , 1 9 92

Electric Kettle 1909

Peter Behrens (German, 1868–1940). El e c t r i c K e t t l e . 1 9 0 9

N ic ke l- p la t e d brass and ra t t a n , 9 x 8  3/4 x 6  1/4 " ( 2 2.9 x 2 2.2 x 15.9 c m) . M a n u fa c t u re d by Allg e me ine E le kt r iz it ä t s Ge se llsc haf t , Fra n k fu r t . G i f t o f Manf re d Lu d ew ig, 1 9 92

American System-Built Houses c. 1915–17 Frank Lloyd Wright ( Am e r i c a n , 1 8 6 7 – 1 9 5 9 ) . Am e r i c a n Sy s t e m - B u i lt Houses for The Richards C o mp a n y , M i lw a uk e e , W i s c o n s i n . P r o j e c t. P l a n of model C3, c. 1915–17

Lithograph, 11 x 8  1/2 " (27.9 x 21.6 cm). Gift of David Rockefeller, Jr., Fund, Ira Howard Lev y Fund, and Jeffrey P. Klein Purchase Fund, 1993

Christine Frederick in her Applecroft Home Experiment Station c. 1912-14

Christine Frederick (right) in her Appl e c r o f t H o m e E x p e r i m e n t Stat i o n conferring with “ h o m e m o t i o n ” s t udy pa rt i c i pa n t s : a n e v a lu a t o r ( c e n t e r ) and a home cook (left), Greenlawn, New York, c. 1912–14

S c h le sin g e r Lib ra r y, R a d c l i ffe I n s t i t u t e , H a r v a rd U n ive rsity, C a m b r id g e , M a ssa c h u se tt s

Diagrams from The New Housekeeping 1914

D i ag ram showin g b a dly a rra ng e d e q u ip m e nt, whi ch m ake s c o nfu sed int ersectin g cha ins o f s te p s , in e i the r p re p aring o r c l earing away a mea l. (A—pre p aring; B— cl e ari ng )

Diagrams from The New Housekeeping: Eff i c i e n c y S t ud i e s in Home Management by C h r i s t i n e F r e d e r i c k (New York: 1914). First edition 1912

Lib ra r y of T h e M u se u m of M od e r n A r t , N ew Yor k

D i a g ra m sh ow i n g p ro p e r a rra n g e m e n t o f e q u i p m e n t , w h i c h m a ke s a si mp l e c h a i n of st e p s, i n e i t h e r p re p a r i n g o r c l e a r i n g away a m e a l . ( A — p re p a r i n g ; B — c l e a r i n g )

Shrimp Cleaner 1954

Irwin Gershen ( Am e r i c a n ) . G e r s h e n N e w a r k ( U SA ) . S h r i mp Cl e a n e r . 1 9 5 4

Plastic and metal, 8  1/2 x 3 1/4 x 3/4 " ( 2 1.6 x 8.3 x 1.9 c m) . M a n u fa c t u red by Plast ic Dispensers Inc., Newark, N ew J e rsey. De par t me nt Pu rc h a se , 1 95 6

d i fferent product s, fro m h o u s e h o l d a p p l ia n c e s t o foodstu ffs . M a rga ret e (Grete) S c hütte-Lihot z k y, t h e first wo m a n t o q u a l if y a s a n a rc hi tec t i n her na ti ve Vi enna , described Frederick’s book as her bible. In 1926–27 she designed one of modernism’s most famous cooking spaces—the Frankfur t Kitchen, par t of a massive public housing effor t in Germ any. It was the acquisitio n in 2 0 0 9 by T h e Mu s e u m o f M odern A r t, N ew York , of a c omplete exam ple of S c h ü tt e - Lih o t z k y ’s ic o n ic Fra n k fu r t Ki tc hen (now t he ea rl i est work by a fem ale a rc h it e c t in Mo MA’s c o l l e c t io n ) tha t i ns p i red t he Counter Space proj ect . The interre l a t io n s h ip o f t h e a r t s wa s a fo u ndi ng p remi s e of the M u s eu m; i n addition to it s re p re s e n t a t io n by a rc h it e c t u re a nd i ndu stri a l des ig n, i ma g es of th e m odern k itchen in fil m , p h o t o gra p hy, a n d gra p hi c a r t s have b een i n M oM A’s co llection s ince the in st it u t io n ’s e a r l y ye a rs . B eg in ni ng w i th Machine Ar t, i n 1 9 3 4, popular exhibitions have featured kitchenware, including pots and pans as well as more obscure innovations, such as the Gershen-Newark shrimp cleaner of 1954. In addition, the delight s a n d n igh t m a re s o f t h is h u b o f domest i c a c t i v i ty — ex p eri enced by some as a pleasantly sensual place but by others as claustrophobic, messy, and dangerous—have provid e d a r ic h ve in o f s u bj e c t m a tt er for a r ti st s s i nc e t he l a te 1 9 60s that is als o re p re s e n t e d in t h e c o l l e c t io n . Th is book chronicle s t h e in n ova t io n s o f S c h ü tt e - Lihot z k y ’s g enera t i on a nd demonstrates , through arc h it e c t u re , d e s ign o bj e c t s , a n d works of a r t f rom the M u s eu m’s co llection, how they we re ex t e n d e d a n d m o d ifie d du ri ng the c ons u mer revol u t i on and Cold War that followed World War II. In so doing it reveals the modern kitchen as a theater of social, c u l t u ra l , a n d p o l it ic a l d e b a t e t h at a l s o c onti nu es t o rec a p i tu l a te the key tenets of modern architecture and industrial design in microcosm. Combining pra gm atic applicatio n s o f n ew m a t e r ia l s a n d t e c h nol og i es w i t h the a r ti c u l a ti on of more poetic, flexib l e , a n d d ive rs ifie d re s p o n s e s t o c ontemp ora r y l i festy l es , the d e sign of the m oder n kit c h e n exe m p l ifie s t h e v ivid rea l i z a t i on of a r t i n da i l y l i fe.

9

At the 192 3 Bau hau s exhib i ti o n in We i ma r, t h e c u bi c H a u s a m H o rn (al s o cal l e d the Ve rs u chs ha u s, or ex p e r i m e n t a l h o u se ) p ro p o s e d a new k i nd o f s e tti ng fo r d ome st i c l i fe . T h e a x i s b e twe e n k i tche n and chil dre n’s ro o ms, for ex a mp l e , a l l owe d a s e r vantl e s s m o the r to s u p e r v is e c h i l d re n w h i l e p re p a r i n g m e al s . Bas e d o n the p rincip l e o f st a n d a rd i z e d , p re fa br i c a t e d co m p o ne nts , the ho u s e and its k i t c h e n we re p a r t o f a l a rg e r atte m p t to revo l u ti o nize archite ct u ra l c on st ru c t i on a n d i ndu s trial de s ign f ro m co nce p ti o n t o d i st r i bu t i o n . H oweve r, de s p ite i ts radical exp e ri m e nts , t h i s d we l l i n g , l i ke m a ny m anife s tatio ns o f the N ew Kitche n t h a t fol l owe d , wa s d e sig n e d fo r a fam i l y o f co ns i de rab l e m e an s.

Kitchen in the Haus am Horn 1923 B e n i ta O t t e ( G e r m a n , 1892–1976). Ernst Gebhardt (German). Kitchen in the Haus a m H o r n e x p e r i m e n ta l house, Bauhaus Exhibition, Weimar, 1923. Ceramics designed by T h e o d o r B o g l e r (German, 1897–1968)

As illustrated in Ein Versuchhaus des Bauhauses i n Weimar: Haus am Horn ( A n Ex perim ent al Ho use by t he B auhaus i n We i mar : H a us am Horn) , by Adolf M eyer (1 925 )

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The New Kitchen 2

Following World War I, kitchens, long ignored by design professionals, began to attract unprecedented attention from social reformers, progressive architects, manufacturers, and utility suppliers, all intent on transforming spaces that were drab, unsanitar y, a n d h id den f rom v i ew. T he “ N ew Ki tc hen, ” ep i t omi z ed by G ret e S c hü tt e- Li h o t zk y ’s Fra n kfu r t Ki t c hen of 1 92 6 –2 7, wa s ra ti ona l l y p l a nned a nd i ndu st ri a l l y p rod uce d fo r popular consumption. Simplified house plans and the innovative use of prefabricated c o n st ru c ti on, c omb i ned w i t h a des i re t o va nq u i s h dru dg er y a nd op ti mi z e eff i ci e n cy, resulted in compact, practical spaces central to the functioning of the modern home. The New Kitchen was shaped significantly by research into new materials and techn o l o g ie s b etween t he two worl d wa rs . A l u mi nu m a nd hea t - res i st a nt g lass le d to the development of exciting new products, and the increased availability of electricity a n d ga s revol u t i oni z ed a p p l i a nc e des ig n. La rg e c omp a ni es , es p ec i a l l y i n th e Un i te d S t a t e s , esta b l i s hed modern t est k i tc hens , emp l oy i ng p rofes s i ona l home eco n o m i st s to collaborate with industrial designers on innovative products for expanding markets. From Moscow and Prague to Brussels and Berlin, kitchens were at the core of radical p ro j e c t s to moderni z e hou s i ng a nd renew c i t i es . Whether c onc ei ved as a galley fo r fo o d p rep a ra t i on or a c ol l ec ti ve fa c i l i ty ou t s i de t he home, thes e var i an t s o f t h e N ew Ki t c hen s ha red a n a dmi ra t i on for s c i ent i f i c rea s on a nd u t op i a n aspi rati o n s for a more egalitarian society. Transformation of daily life at the level of the kitchen, it wa s arg u ed, wou l d b e fol l owed by b ehav i ora l c ha ng e a nd i mp roved s o ci al we llbeing. During the Great Depression similar concerns informed Franklin D. Roosevelt’s p ro m o t ion of modern k i t c hens i n t he U ni t ed S ta t es a s p a r t of t he N ew D e al. Wo r ld Wa r II fol l owed, a nd t he emp ha s i s on hyg i ene, hea l th, a nd the ec onomi cal use o f re s o u rc e s i ntri ns i c to t he N ew Ki t c hen wa s c ru c i a l t o t he home f ront on b o th si d e s o f t h e c o nf l i c t .

The modern kitchen has become a model workshop, a chemical laborator y. . . . It is the best designed and m o s t ra t i o n a l i z e d ro o m o f the modern house. K a r e l T e i g e , T h e M i n i mum D w e ll i n g , 1 9 3 2

Kitchen Storage Pot 1923

Theodor Bogler (German, 1897–1968). K i t c h e n S to r a g e P ot. 1923

Ea r t henware wi th me talli c g l a z e , b o d y : 5  1/4 x 6  3/4 " d i a m . ( 1 3.3 x 1 7.1 c m ) , l i d : 1  3/8 x 5   1/4 " d i a m . ( 3 .5 x 1 3 .3 c m ) . M a n u fa c t u re d by B a u h a u s Ceramics Workshops, Dornburg, G e r m a ny. Es t é e a n d J o s e p h L a u d e r D e s i g n Fu n d , 1 9 7 0

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D e sig n e d by B og l e r i n t h e c e ra m i cs wor k sh o p s o f t h e B a u h a us, t h e robu st , si mp l e fo r m of t h i s e a r t h e nwa re p o t re f l e c t s t h e c onv i c t i on a t t h e sc h o o l t h a t b a si c g e ome t r i c sh a p e s we re well su i t e d t o i n d u st r i a l p ro d u c t i on . T h e p o t wa s sl i p - c a st f rom a p l a st e r mo l d , a m e t h od of m a ss p ro d u c i n g c e ra m i cs. G i ve n t h e d e p re sse d st a t e o f t h e e c on o my a n d t h e u n eve n q u a l i ty of t h e p ro t oty p e s, h oweve r, t h e p ot wa s n eve r l i c e n se d fo r l a rg esc a l e m a n u fa c t u re , d e sp i t e i n i t i a l i n t e re st a t t ra d e fa i rs i n Fra n k fu r t a n d Le i p z ig .

Home Building and Town Planning 1928-30

T he s p l i t v i ew on t h i s ex h i bi t i o n p o st e r d e mo n st ra t e s t h e i m p o r tan c e a tt a c h e d t o t h e k i t c h e n i n t h e d e sig n of a ffo rd a bl e m o de rn h o u si n g . T h e d eva st a t i o n a n d ex t re me d e p r i va t i o n i n V i e n n a t h a t fo l l o w e d Wo r l d Wa r I ra d i c a l i z e d m a ny a rc h i t e c t s and de s ig n e rs, i n sp i r i n g t h e m t o e n g a g e w i t h c l a ss p o l i t i cs and, o n a m ore p ra c t i c a l l eve l , t o c onf ro n t t h e c i ty ’s c h ron i c ho u s ing sh o r t a g e . G re t e S c h ü tt e - Li h o t z k y be c a me i nvo l ve d with the G e se l l sc h a f t s- u n d Wi r t sc h a f t smu se u m ( M u se u m o f S o cie ty a n d B u si n e ss) , a n org a n i z a t i o n e st a bl i sh e d i n 1 924 to foster awareness of the relationship among design, the urban environment, and social well-being using informational grap hics su c h a s t h i s p ost e r.

A t t r i bu t e d t o Gerd Arntz (German, 1900–1988). Wohnung und Städtebau (Home B u i ld i n g a n d T o w n Planning). 1928-30. Poster for a permanent e xhibition at the G e s e ll s c h a f t s - u n d W i r t s c h a f t s mu s e um ( M u s e um o f S o c i e t y and Business), Vienna

Le tt e r p re ss , 13 7/16 x 1 4 9/16 " ( 3 4.1 x 3 7 c m ) . P r i n t e d by M ü n s t e r & C o . , V i e n n a . Jan Tschichold Collection. Gift of Philip Johnson, 1999

The Practical Kitchen 1930

I n t h e l a t e 1 92 0 s a n d t h e 1 9 3 0 s , k i t c h e n s we re h ig h l ig h t e d i n m a ny m o d e r n a rc h i t e c t u re e x h i b i t i o n s . T h i s p o s t e r fo r a n exhib i ti o n i n B a se l i s d omi n a t e d by a n a xon o me t r i c re n d e r i n g o f a m ini sc u l e k i t c h e n by Sw i ss a rc h i t e c t Ru d o l f P re i swe r k . I n t h e ex h i b i t i o n , v i s i t o rs c o u l d s e e a fu l l - s c a l e m o d e l o f t h e s a m e d e s ig n , w h i c h h a d a fo o t p r i n t l i tt l e m o re t h a n t h i r t y s eve n s q u a re fe e t ( 3.4 sq u a re me t e rs) . In t h e a c c o mp a ny i n g catalogue, German design reformer Erna Meyer identified such co m p act a n d e rg on o mi c a rra n g e me n t s a s t h e m ost i m p o r t a n t tre nd in m od e r n k i t c h e n d e sig n .

Tea Cart 1928

Helene HaasbauerW a l l r a t h ( Sw i s s , 1 8 8 5 – 1968). Die Praktische Küche (The Practical Kitchen). 1930. Poster for an e xhibition at the G e w e r b e M u s e um , B a s e l

O ffse t lit h ograph, 5 0 x 35  1/2 " (1 2 7 x 9 0.2 cm) . Purc hase , 2 01 0

M a r c e l B r e u e r ( Am e r i c a n , b o r n Hu n g a r y. 1 9 0 2 – 1 9 8 1 ) . Tea Cart (model B54). 1928

Nickel-plated tubular steel, r u b b e r, a n d p a i n t e d wo o d , 3 0  1/2 x 3 4  5/ 8 x 2 1  1/2 " ( 7 7.5 x 8 8 x 5 4.6 c m ) . M a n u fa c t u re d by T h o n e t , Vienna. Estée and Joseph Lauder D e sign Fu n d , 1 9 81

15

Werkbund Exhibition, The Dwelling 1927 Karl Ludwig Straub (German, born 1900). W e r kbu n d Au s s t e llu n g , D i e W o h n u n g ( W e r kbu n d E x h i b i t i o n , T h e D w e ll i n g ) . 1 9 2 7. P o s t e r f o r a n exhibition in Stuttgart

O ffset lit hog raph, 23 3/8 x 1 6  5/8 " ( 5 9.4 x 42.2 c m). S p ecial Purch ase Fund, 1937

16

T he D e u t sc h e r We r k bu n d , a fo r wa rd -l o o k i n g a ssoc i a t i on of m a n u fa c t u rers, d e s ig n e rs , a n d a rc h i t e c t s , h e l p e d p o s i t i o n G e r m a ny a t t h e fo re f ro n t o f the development of the rational kitchen. An international exhibition organized u nde r i t s a u sp i c e s i n S t u tt g a r t i n 1 92 7 t o o k t h e for m of a mo d e r n h o u si n g e s t a t e , exe m p l i f y i n g a n a d m i ra t i o n fo r s c i e n t i f i c ra t i o n a l e a n d e ff i c i e n cy. Architects and exper ts on home economics collaborated on kitchen design; Wal te r G rop i u s, d i re c t or of t h e B a u h a u s, a n d D u t c h a rc h i t e c t J. J. P i e t e r O u d t o o k a d v i c e o n t h e l a y o u t a n d e q u i p m e n t o f k i t c h e n s f ro m E r n a Meye r ( t h e l a tt e r h a d p u bl i sh e d t h e h ug e l y p o p u l a r bo o k Der neue Haushalt [ T h e N e w H o u s e k e e p i n g ] i n 1 9 2 6 ) . T h e s i t e fe a t u re d t e r ra c e d h o u s e s d e s ig n e d b y G re t e S c h ü t t e - L i h o t z k y a n d a Fra n k f u r t K i t c h e n , w h i c h s h e exhi b i t e d t o i n t e r n a t i o n a l a c c l a i m.

Welkut Poultry Shears 1909-43 J . A . H e n c k e l s ( G e r m a n y, e s t . 1 7 3 1 ) . W e lku t P o ult r y Shears. 1909–43

C h ro m i u m - p l a t e d s t e e l , 10 1/4 " (26 cm) long. Manufactured by J. A. Henckels, Solingen, Germany, and USA . G i f t o f Fi f th Ave nu e Cut le r y Sho p Inc ., 194 3

Minimal Dwelling c. 1928 Albrecht Heubner (German, 1908–1945). M i n i m a l D w e ll i n g . P r o j e c t, c . 1 9 2 8

Cut-and-pasted printed p a p e rs, g ou a c h e , a n d gra p h it e on p a p e r, 11  3/4 x 1 4  3/4 " ( 2 9.9 x 3 7.4 c m ) . A c q u i re d t h ro u g h Wa lt e r G rop iu s, 1 97 7

Frankfurt Kitchen

Margarete Sc h ü t t e - L i h o t z k y ( Au s t r i a n , 1 8 9 7 – 2 0 0 0 ) . F r a n kfu r t K i t c h e n . 1926–27

1926-27

Vi ew towa rd the w i nd ow, a s i l l u stra ted i n Das neue Frankfur t 1, no . 5 (1 92 7 )

The Frankfurt Kitchen The New Dwelling sets for its occupants the task of rethinking ever y thing a f re s h , o rg a n i z i n g a n e w lifestyle, and of winning freedom from the irrelevant clutter of outmoded habits of thought and oldfashioned equipment . F r a n z S c h u s t e r , D a s N e u e F r a n kfu r t 1 , no. 5 (1927)

War and inflation precipitated a housing crisis in the 1920s in all major German cities. In Frankfur t the response was an ambitious program, known as “ The New Frankfur t,” that encompassed the construction of affordable public housing and modern amenities throughout the city. At the core of the transformation was a 1926–2 7 kitchen design by G re t e S c hü tt e- Li hot z k y. T he Fra nk fu r t Ki t c hen, a s i t wa s k now n, wa s co n ce i ve d a s o n e of t he f i rst step s towa rd a b ett er, more ega l i t a ri a n worl d. Under the overall direction of Ernst May, director of the Frankfur t Municipal Building De p a r t m ent, t he hou s i ng p rog ra m a nd k i t c hens b ec a me t est i ng g rou nds fo r stan d a rd iz a t ion a nd modern i ndu stri a l p rodu c ti on. T he a i m wa s t o keep mont h ly re n tals, in c l u d in g b a s i c u ti l i ti es — ga s , el ec t ri c i ty, hot ru nni ng wa ter, a nd ra di o re ce pti o n — and fully equipped kitchens, within the reach of the lowest-paid workers. Economies of scale were applied to the manufacture of more than fifteen thousand housing units, using standardized precast concrete panels as the basic building blocks. Within five ye a rs , m ore tha n ten p erc ent of Fra nk fu r t ’s p op u l a t i on wa s l i v i ng i n new l y d e sig n e d h o u s in g a nd c ommu ni ti es . S c h ü tt e - Li hot z k y wa s the f i rst woma n to q u a l i f y a s a n a rc hi tec t i n h e r n ati ve Au st r ia a nd the onl y fema l e i n t he i nterna ti ona l tea m of a rc hi tec t s M ay asse m b le d . Re m in is c i ng a b ou t her dec i s i on to stu dy a rc hi tec tu re, Sc hü tt e- Li hot z k y re m ar ke d that “in 1916 no one would have conceived of a woman being commissioned to build a h o u s e —not even mys el f. ” I ns p i red by her mentor a t the Vi enna S c hool o f Appli e d Ar ts, Oskar Strnad, she became involved in designing affordable housing and worked

GinnheimHöhenblick Housing Estate, Frankfurt 1928 A s illu st ra t e d in Das neue Frankfur t 3, n o. 7 / 8 ( J u ly / Aug u st 1 92 8 ) . P h ot ogra p h by Wolff. M oM A’s Fra n k fu r t Kit c h e n wa s sa lva g e d f rom t h e se c on d f loor of t h e h ou se on t h e c or n e r in 1 9 9 3.

19

The F r a n kfu r t Kitchen

wit h a n o t h e r Viennes e a rc hi t ec t, Adol f Loos , on p l a nni ng s ett l ement s for World Wa r I ve t e ra n s . I mp res s ed by t he fu nc t i ona l c l a ri ty tha t s he a p p l i ed t o hou s in g p ro b l e m s a n d kit c hen des ig n i n t hes e p rojec t s , M ay i nv i t ed her t o joi n hi s Fra nk fu r t d e p a r t m e n t in 1 92 6. T ha t Sc hü tt e- Li hot z k y wa s to des ig n t he k i t c hens hel pe d p ro m o t e t h e m o derni z a t i on of hou s i ng i n Fra nk fu r t t o thos e w ho v i ewed c ook i n g a n d c l e a n in g a s women’s work , b u t , s he p oi nted ou t, “ T he t ru th of t he ma tt er was, I ’d n eve r ru n a h ou s ehol d b efore des ig ni ng t he Fra nk fu r t Ki tc hen, I ’d never c ooke d , a n d h a d n o id e a a b ou t c ook i ng . ” Af ter reading the first German edition of The New Housekeeping: Efficiency Studies in Home Manag ement, by C hri sti ne Frederi c k , i n 1 92 1 S c hü tt e- Li hot z k y ha d b ec om e convinced that “ women’s struggle for economic independence and personal developm e n t m e a n t t h at t he ra t i ona l i z a ti on of hou s ework wa s a n a b s ol u te nec es s i ty.” Re t h in kin g t h e k i t c hen wa s p a r t of orga ni z i ng a new l i festy l e, f ree f rom “ i rrel evan t c l u tt e r,” t h a t wou l d redu c e the b u rden of women’s l a b or i n t he home. “ T he p rob l e m o f o rga n iz in g t h e da i l y work of the hou s ew i fe i n a systema t i c ma nner i s eq u ally im p o r t a n t fo r a l l c l a s s es of s oc i ety, ” Sc hü tt e- Li hot z k y w rot e i n 1 92 6. “ To a c hi eve t h is , t h e a rra n g e ment of the k i t c hen a nd i t s rel a t i ons hi p to t he ot her rooms i n th e d we l l in g m u st b e c ons i dered f i rst . ” The Frankfur t Kitchen was designed like a laboratory or factory, based on contemporary t h e o r ie s a b o u t e ff i c i ency, hyg i ene, a nd work f l ow a s wel l a s deta i l ed ti me- moti o n st u d ie s a n d in t er v i ews S c hü tt e- Li hot z k y c ondu c t ed w i th hou s ew i ves a nd women’s gro u p s . I n a d d iti on, s he l ooked to p rofes s i ona l c ook i ng s p a c es s u c h a s ra i l road kit c h e n s a n d s h i p s ’ ga l l eys a s model s of eff i c i ency a nd c omp a c t p l a nni ng . Th e Frankfur t Kitchen was planned for food preparation and cleanup, with a sliding door t h a t o p e n e d t o t he l i v i ng - di ni ng a rea . Ea c h k i tc hen c a me c omp l ete w i t h a revol v i n g st o o l , a ga s st ove, b u i l t- i n st ora g e, a fol daway i roni ng b oa rd, a n a dju sta b l e c ei l i n g light, and a removable garbage drawer. Labeled aluminum storage bins provided tidy organization for staples like sugar and rice as well as easy pouring. Careful thought was g iven to materials for specific functions, such as oak flour containers (to repel

Aluminum Pouring Bins 1926-27

20

Margarete Sc h ü t t e - L i h o t z k y ( Au s t r i a n , 1 8 9 7 – 2 0 0 0 ) . Alum i n um P o u r i n g B i n s f r o m a F r a n kfu r t Kitchen. 1926–27

A lu m in u m , e a c h : 5  1/2 x 4 1/4 x 11" (14 x 10.8 x 27.9 cm). M a n u f a c t u r e d b y H a a r e r, Frankfur t. Gift of Astrid Debus-Steinberg, 2010

The Dwelling for Minimal Living 192 9 Hans Leistikow (German, 1892–1962). Die Wohnung für d a s E x i s t e n z m i n i mum ( T h e D w e ll i n g f o r Minimal Living). 1929. Poster for exhibition, C o n g r È s i n t e r n at i o n a l d ’ A r c h i t e c t u r e ( CIA M ) c o n f e r e n c e , F r a n kfu r t

O ffse t lit h ogra p h , 4 6 x 33" (11 6.8 x 8 4.0 c m ) . P r in t e d by D ru c ke re i Aug u st O st e rr ie t h , Fra n k fu r t . G if t of T h e La u d e r Fou n d a t ion , Le on a rd a n d Eve ly n La u d e r Fu n d , 1 9 8 0

mealworm s) and b e e c h c u tt in g s u r fa c e s ( t o re s ist sta i ni ng a nd k ni fe ma rks). Ten to twelve thousand Fra n kfu r t Kit c h e n s we re m a n u fa c t u red i n three b a s i c model s , each with m inor va r ia t io n s . T h e typ e in Mo MA’s c o l l ec t i on wa s the most c ommon an d least costly. Ernst May was an en e rg e t ic p u b l ic ist . At a 192 9 c o nferenc e of moderni st a rc hi tec t s h eld in Frank fur t, in t e r n a t io n a l a tt e n t io n fo c u s e d on hi s moderni z a ti on p rog ra m. Of the housing plan s s u b m itt e d by d e l ega t e s fo r the c onc u rrent ex hi b i t i on, a n exa m ple incorpora t in g t h e o u t l in e o f a Fra n kfu r t Ki tc hen wa s t a ken t o ep i tomi z e th e conference’s th e m e o f “Min im a l Liv in g.” I n 193 0, a t t he req u est of the Sov i et Ru s s ian g overnm en t , May l e d a “ b u il d in g b r iga d e ,” i nc l u di ng Sc hü tt e- Li hot z k y, to i mplem ent the les s o n s o f Fra n kfu r t o n a n eve n l a rg er s c a l e i n t he p l a nni ng of new i ndustrial towns in t h e U SSR . S h e re m a in s b e st know n for the Fra nk fu r t Ki t c hen, but S chütte-Lihot z k y ’s a c h ieve m e n t s a s a n a rc h it e c t i n the S ov i et U ni on, Tu rkey, an d Austria were mo re va r ie d . Du r in g Wo r l d Wa r II her c a reer wa s i nt erru p t ed by fo u r years in pris on fo r h e r a c t iv it ie s in t h e a n t i- N a z i res i sta nc e movement . D u ri ng th e Cold War that fo l l owe d , h e r p ro fe s s io n a l o p p o r t u ni t i es i n Au st ri a were l i mi t ed becaus e of her cont in u e d m e m b e rs h ip in t h e C o m mu ni st Pa r ty.

Margarete Schütte-Lihotzky with colleagues from the Frankfurt Municipal Building Department c. 1928 U n ive rsity of A p p lie d A r t s, Vie n n a

Plan of the Frankfurt Kitchen indicating its labor-saving features 1927 d i a g r a m f r o m n e j e m sˇ i by t ( t h e m i n i mum dw e ll i n g ) , by k a r e l t e i g e ( 1 9 3 2 )

1. 2. 3. 4. 5.

22

Gas Stove Countertop Cook Box F o ld - D o w n i r o n i n g B o a r d F o o d Cupb o a r d

6. 7. 8. 9. 10.

Sw i v e l S t o o l W o r k Su r f a c e Garbage Drawer Draining Board Sink

11 . 12. 13. 14. 15.

Alum i n i um S t o r a g e B i n s Cupb o a r d f o r P o t s a n d P a n s B r o o m Cl o s e t He ater P ull - Ou t B o a r d

The F r a n kfu r t Kitchen

Frankfurt Kitchen 1926–27 Margarete Sc h ü t t e - L i h o t z k y ( Au s t r i a n , 1 8 9 7 – 2 0 0 0 ) . F r a n kfu r t K i t c h e n from the GinnheimH ö h e n bl i c k H o u s i n g E s t a t e , F r a n kfu r t . 1926-27

I n st a lla t ion v iew of Counter Space: Design and the Modern Kitchen, The Museum of Modern A r t , N ew Yor k , S e p t e m b e r 15, 2 01 0– M ay 2, 2 011. 8 ' 9 " x 1 2 ' 1 0 " x 6 ' 1 0 " ( 2 6 6.7 x 3 91.2 x 2 0 8.3 c m ) . G i f t o f J o a n R . Brewster in memor y of her h u s b a n d G e o r g e W. W. B rewst e r, by exc h a n g e , a n d t h e A rc h it e c t u re & D e sign Pu rc h a se Fu n d , 2 009

Apartment for a Single Person 1931

I n h e r d e s ig n o f s e v e ra l k i t c h e n s fo r t h e s h o w D i e Wo h n u n g u n s e re r Ze i t ( T h e D w e l l i n g o f O u r Ti m e ) a t t h e 1 9 3 1 D e u t s c h e Bauausstellung (German Building Exhibition) in Berlin, Reich embraced the rational principles of domestic reformers Christine Frederick a n d E r n a M e ye r. R e i c h ’s A p a r t m e n t fo r a S i n g l e Pe rs o n fe a t u re d a cooking cabinet that was subsequently put into production by Otto Kahn, a banker and influential patron of the ar ts. When closed it appeared to be an ordinar y closet or wardrobe, but opening it re ve a l e d a s i n k , s h e l ve s , t wo b u r n e rs , d rawe rs , c o u n t e r s p a c e , a n d a h oo k on w h i c h t o h a n g a ke tt l e .

L i l ly R e i c h ( G e r m a n , 1 8 8 5 – 1 9 4 7 ) . Ap a r t m e n t f o r a Single Person. 1931. View of living room and c o o k i n g c upb o a r d a s i n s t a ll e d a t D i e W o h n u n g unserer Zeit (The D w e ll i n g o f Ou r T i m e ) , D e u t s c h e B a u a u s s t e llu n g ( G e r m a n B u i ld i n g Exhibition), Berlin

G e la t in silve r p r in t , 6  5/8 x 9" (1 6.8 x 2 2.9 c m ) . M ie s van d e r Roh e A rc h ive , g if t o f t he a rc h it e c t , 1 9 37

T h e u n a d o r n e d g e o m e t r i c fo r m s o f t h e s e p o p u l a r Ku b u s containers make them the kind of mass-produced objects that t h e B a u h a u s h a d a s p i re d t o p ro d u c e . S t a c k a b l e , m o d u l a r, space saving, and hyg ienic, they could be transferred directly f ro m re f r i g e ra t o r o r c u p b o a rd t o t h e d i n i n g t a b l e , a n d e nco u rag e d t h e t h r i f ty u se of l e f t ove rs. Wa g e nfe l d d e sig n e d them three years after being appointed ar t director of the large gl as sware ma n u fa c t u re r Ve re i n ig t e La u si t z e r G l a swe r ke .

Kubus Stacking Storage Containers 1938

Wilhelm Wagenfeld (German, 1900–1990). K ubu s S t a c k i n g S t o r a g e C o n ta i n e r s . 1 9 3 8

M old e d gla ss, smalle st : 1/2 x 3 1/2 x 3  5/8 " (1.3 x 8.9 x 9.2 c m) , la rg e st : 3 1/4 x 7 1/4 x 7 1/4 " ( 8.3 x 1 8.4 x 1 8.4 c m ) . M a n u fa c t u re d b y Ve r e i n i g t e L a u s i t z e r Glaswerke AG, Weisswasser, G e r m a ny. M rs . A r m a n d P. B a r t os Fu n d , 1 9 90

25

Gas Cooks, Heats, Freezes 1928

I n 1 9 2 3 m o re t h a n 1 0 0,0 0 0 v i s i t o rs f l o c k e d t o t h e f i rs t S a l o n d e s A r t s M é n a g e rs ( Ex h i bi t i on of H o u se h o l d A r t s) i n Pa r i s t o a d m i re m o d e r n k i t c h e n s , va c u u m c l e a n e rs , a n d o t h e r d o m e s t i c i n n ova t i o n s. T h e a i ms of t h e sa l o n we re bot h e d u c a t i o n a l a n d c o m m e rc i a l , i n k e e p i n g w i t h s i m i l a r fa i rs e s t a b l i s h e d i n o t h e r Eu rop e a n c e n t e rs a t t h e t i m e . T h i s p o st e r wa s c ommi ssi o n e d fo r t h e 1 92 8 s a l o n by a s o c i e t y p ro m o t i n g t h e d e ve l o p m e n t o f t h e Fre n c h g a s i n d u s t r y. D ra m a t i c a l l y h ig h l ig h t i n g t h e v a l v e , B e r n a rd fo c u s e d a t t e n t i o n o n t h e s i m p l e g e s t u re re q u i re d t o release gas for purposes of cooking, heating, and refrigeration.

Francis Bernard (French, 1900–1979). Gaz Cu i t , C h a uff e , Gl a c e ( G a s C ooks , He at s , Freeze s). 1928

O f fs e t l i t h o g ra p h , 63 x 47 1/4 " (160 x 120 cm). Printed by Paul Mar tail, Paris. Depar tment Pu rc h a se Fu n d s, 1 9 87

M a n R a y ( Am e r i c a n , 1 8 9 0 –1 9 7 6 ) . R ayo g r a p h from the portfolio C h a mp s D É l i c i e u x . 1 9 2 2

G e la t in silver pr int ( p h ot ogra m ) , 8  13/16 x 6 11/16 " ( 2 2.4 x 1 7 c m) . Purc hase , 1935

Rayograph 1922

In keeping with the prevalent spirit of New Objectivity, Man Ray subjected a humble kitchen grater and strainer to rigorous scrutiny. T he u ti l it a r i a n fo r ms a re re n d e re d g h ost l y a n d myst e r i o u s by m e a n s o f a t e c h n i q u e t h a t i nvo l ve d p l a c i n g t h e o bj e c t o n l ig h t s e ns iti ve p a p e r. M a n Ray ex p e r i m e n t e d w i t h su c h p h ot og ra m s after moving to Paris in 1921. He dubbed the results of his effor ts “R ayo gra p h s” — a p l ay on h i s n a m e bu t a l so a tw i st on t h e La t i n ro o ts o f t h e word photograph, me a n i n g “ l ig h t w r i t i n g . ”

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By the 1 9 3 0s , C oors Porcela in C o m p any was o ne o f the wo rl d ’s l arg est p rod ucers of ch emical p o rce l ai n, a m ate rial deve l o p e d from experimentation with silicate compounds. Heat and scratch re sistant, the ma ter ia l wa s we l l s u i te d fo r b o th i ndu s trial and domestic use. The company had strong links with Germany, where o n e o f i t s d i re c t o rs h a d re c e i v e d h i s t ra i n i n g a s a c h e m i s t , a n d m a ny o f t h e C o o rs ve s s e l s h a p e s t h a t b e c a m e p o p u l a r i n A merican kitchens were rep l i cas o f Ge rm an l ab o rato r y ware , w h i c h h a d b e e n b a n n e d f ro m i m p o r t a t i o n t o t h e U n i t e d S t a t e s i n 1 91 5 as pa r t of a tra d e em b arg o .

Coors Porcelain Beakers 1920s

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Coors Porcelain Co. ( U SA , e s t . 1 9 1 0 ) . Beakers. 1920s

G l a z e d p o rc e l a i n , l a rg e s t : 8  3/8 x 5  3/8 " d ia m . ( 2 1.2 x 13.7 cm). Manufactured by C oors Porc e la in C o. , G o l d e n , C o l o ra d o . G i f t o f t h e m a n u fa c t u re r, 1 9 34

View of Machine Art, The Museum of Modern Art, New York 1934

In this grand, three- floor exhibition organized by Philip Johnson, b a l l b e a r i n g s , p ro p e l l e rs , s p r i n g s , l a b o ra t o r y e q u i p m e n t , a n d k i t c h e n w a re — i n c l u d i n g o b j e c t s b y s u c h w e l l - k n o w n A m e r i c a n m a n u fa c t u re rs a s C o r n i n g G l a s s Wo r k s , T h e A l u m i n u m C o o k i n g U t e n s i l C o m p a n y, C o o rs Po rc e l a i n , a n d R e v e re C o p p e r a n d B ra s s — we re d i s p l aye d o n p e d e s t a l s a g a i n s t w h i t e wa l l s , g i ve n t h e u n p re c e d e n t e d s t a t u s o f a r t . T h e f i rs t o b j e c t s o f d e s i g n to e nte r t h e M u se u m ’s c ol l e c t i on we re se l e c t e d f ro m t h i s sh ow.

I n st a lla t ion view o f Machine Ar t, The Muse um of M od e r n Ar t , New Yo r k , March 7–31, 1934. Archives of T h e M u seum o f Mo de r n A r t , N ew Yo r k

Salt and Pepper Shakers c. 1935 William Lescaze ( Am e r i c a n , b o r n Sw i t z e r l a n d . 1 8 9 6 – 1 9 6 9 ) . S a lt a n d P e pp e r Shakers. c. 1935

A lu m in u m a n d p la st ic , e a c h : 1  3/4 x 2 x 5/8 " ( 4.4 x 5.1 x 1.6 c m ) . M a n u fa c t u re d by R e v e re C o p p e r a n d B ra s s I n c . , R o m e , N e w Yo r k . D orot hy C u llm a n Pu rc h a se Fu n d , 2 002

Ice Cream Scoop 1935 S h e r m a n L . K e l ly ( Am e r i c a n , 1 8 6 9 – 1 9 5 2 ) . I c e C r e a m S c o o p. 1 9 3 5

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C a st a l u m in u m , 1  3/4 x 7 " (4.4 x 1 7.8 c m ) . M a n u fa c t u re d by Ro l l D i pp e rs I n c . ( for m e r ly t h e Ze ro l l C o . ) , M a u m e e , O h i o . Pu rc h a s e Fu n d , 1 9 5 6

Presto Cheese Slicer c. 1940 John Carroll ( Am e r i c a n , 1 8 9 2 – 1 9 5 8 ) . P r e s t o C h e e s e Sl i c e r . c. 1940

Cast aluminum and steel w i re , 4  1/2 x 3  3/4 " ( 11.4 x 9.5 c m ) . M a n u fa c t u r e d b y R . A . Fre d e ric k Co ., USA . Gift of Edgar Kaufmann, Jr., 1946

Vegetable Peeler c. 1944 Ekco Products Co. ( U SA , e s t . 1 8 8 8 ) . V e g e t a bl e P e e l e r . c. 1944

Ste e l, 6 7/8 x 7/8 x 1/2 " (1 7.5 x 2.2 x 1.3 cm). Manufactured by E k c o P ro d u c t s C o . , Chi c ag o . Pu rcha s e, 1 9 56

Lester Beall ( Am e r i c a n , 1 9 0 3 – 1 9 6 9 ) . A Bet ter Home. 1937–41. P o s t e r f o r t h e Ru r a l El e c t r i f i c a t i o n Adm i n i s t r a t i o n , U n i t e d Stat e s D e pa rt m e n t o f A g r i c ult u r e

Offset lithograph and sc re e n p r in t , 4 0 x 3 0" (1 01.6 x 76.2 c m ) . G if t o f t h e d e sign e r, 2 01 0

A Better Home 1937-41

T h e c o re m e s s a g e o f B e a l l ’s p o s t e r i s s i m p l e : e l e c t r i f i c a t i o n o f t h e k i t c h e n w i l l i m p ro v e t h e h o m e a n d ( s i g n a l e d b y t h e p a t r i o t i c c o l o r s c h e m e ) p r o m o t e a m o r e c o h e s i v e s o c i e t y. A s p ar t o f Pre s i d e n t Roo seve l t ’s N ew D e a l p rog ra m , t h e Ru ra l E l e c t r i f i c a t i o n A d m i n i s t ra t i o n w a s c re a t e d i n 1 9 3 5 t o b r i n g e l e ctrici ty to im pove r i sh e d a re a s, w h e re a s few a s t e n p e rc e n t o f h o m e s h a d e l e c t r i c p owe r. Pu b l i c o ff i c i a l s re c o g n i z e d t h e e f fe c t i v e n e s s o f c o m m e rc i a l a d v e r t i s i n g s t ra t e g i e s — s u c h a s thi s p o s te r— i n th e i r m i ssi on t o c onv i n c e ru ra l h o u sew i ve s of the benefits of switching from wood, coal, and oil to electricity.

Magnalite Teakettle 1936

To c o u n t e r fa l t e r i n g s a l e s d u r i n g t h e G re a t D e p re s s i o n , m o re a d ve n t u ro u s m a n u fa c t u re rs b e g a n t o e m p l oy o u t s i d e d e s ig n consultants and invest in materials research. Among them was the Wagner Manufacturing Company—known for its traditional c a s t - i ro n c o o k w a re — w h i c h i n t ro d u c e d M a g n a l i t e , a p a t e n t e d aluminum alloy, in the early 1930s. Rideout, one of a new g eneration of American industrial designers, was brought in to rework the appearance of the company’s products, including t h i s t e a k e t t l e . H e re h i s e f fo r t s we re fo c u s e d o n a e s t h e t i c s m o re t h a n f u n c t i o n a l i t y : t h e k e t t l e ’s l i d i s s e m i - p e r m a n e n t l y attached and may only be removed by first detaching the handle w i t h a sc rewd r i ve r.

John G. Rideout ( Am e r i c a n , 1 8 9 8 – 1 9 5 1 ) . Magnalite Teakettle. 1936

A l u m i n u m /c o p p e r/n i c k e l / m a g n e s i u m a l l oy ( M a g n a l i t e ) , a n d la c q u e re d wo o d, 8  1/2 x 9  13/16 " d ia m. ( 21.6 x 25 c m) . M a n u fa c t u re d by Wag ne r M fg. C o. , S i dney, Ohio . Pu r c h a s e f u n d , 1 9 4 4

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Wear-Ever Rotary Food Press 192 9–34

The Aluminum Cooking Utensil Co. ( U SA , e s t . 1 9 0 1 ) . W e a r - Ev e r R o t a r y Food Press. 1929–34

Aluminum, steel, and wood, 9 x 11  3/8 " d i a m . ( 2 2.9 x 2 8.9 c m ) Manufac ture d by The Aluminum Cooking Ut en s il Co., New Yo r k . G i f t o f Le w i s & C o n g e r, 1 9 4 7

Revere Covered Saucepan 1938-39

I n 1 9 3 7, a f t e r a y e a r o f i n t e n s i v e e x p e r i m e n t a t i o n , R e v e re Copper and Brass successfully developed a method of adhering a copper deposit to a stainless-steel vessel by means of e l e c t ro p l a t i n g . T h e re s u l t w a s a c o m p o u n d t h a t re s i s t e d c o r ro s i o n b y fo o d a c i d s a n d c o n d u c t e d h e a t e f fe c t i v e l y a n d u n i fo r m l y. At t h e s a m e t i m e , t h e d e s ig n e rs re f i n e d t h e b a l a n c e o f the p ans and d ev i se d a r i ve t - f re e c on st ru c t i on . T h e re su l t , R eve re Ware , wa s l a u n c h e d a t t h e f i rst In t e r n a t i o n a l H o u se wa re s S h ow, i n C h i c a g o i n 1 9 3 9. I t t o o k o ff a f t e r Wo r l d Wa r I I , whe n m e tal s we re n o l on g e r be i n g d i ve r t e d t o t h e wa r e ffo r t .

W. A r c h i b a l d W e l d e n ( Am e r i c a n , 1 9 0 0 – 1 9 7 0 ) . C ov e r e d S au c e pa n . 1938–39

Stainless steel with copper b o t t o m , 5  1/2 x 7 1/2 " d i a m . (1 4 x 1 9 c m ) . M a n u fa c t ure d by Reve re C op p e r a n d B rass Inc ., Rom e , N ew Yor k . G if t of t he Ed u c a t ion D e p a r t m e n t , 195 4

Universal Pressure Cooker 1945

T he f irs t sa u c e p a n -sty l e p re ssu re c o o ke r wa s l a u n c h e d a t the 193 9 Wor l d ’s Fa i r i n New Yor k , a n d t h i s n ew p rod u c t ty p e rap i dl y g a i n e d p o p u l a r i ty t h roug h ou t t h e Un i t e d St a t e s a n d Eu ro p e . Li ke t h a t f i rst ex a m p l e , t h i s p re ssu re c oo ke r e n a bl e d re du ce d c oo k i n g t i m e s w h i l e p re se r v i n g foo d ’s v i t a mi n a n d m ine ral c on t e n t . La n d e rs, Fra r y & Cl a r k , w h i c h h a d u se d t h e trade name “ Un i ve rsa l ” si n c e t h e 1 89 0 s, ma n u fa c t u re d a n i ncre as i n g l y d i ve rse ra n g e o f m e t a l p ro d u c t s fo r t h e mo d e r n k i tche n u n d e r t h e mo n i ke r, f rom m ou se t ra p s a n d p e rc ol a t ors to can o pe n e rs, e l e c t r i c ra n g e s, a n d a l u m i n u m c o o k wa re .

William J. Russell ( Am e r i c a n ) . U n i v e r s a l Pressure Cooker. 1945

A lu m in u m , st ee l, and plast ic , 7 1/2 x 8 1/2 " diam. (19 x 21.6 cm) M a n u fa c t u re d by Lande rs, Fra r y & C l a r k , N e w B r i t a i n , Connecticut. Gift of t h e m a n u fa c t u re r, 1 9 4 6

Cookie Cutters c. 1940

Unknown designer. C o o k i e Cu t t e r s . c . 1 9 4 0

Tin , 3 1/4 x 3 1/4 x 3 1/4 " (8.3 x 8.3 x 8.3 c m). Purc hase , 19 4 2

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Corning Glass Works (first known as Brooklyn Flint Glass Works) was a su c ces s ful producer o f gl as s fo r e l e ctric l ighting and ra i l ro a d s ig n a l l a n t e r n s t h ro u g h t h e e a r l y t w e n t i e t h c e n t u r y ; af ter years of res ea rch , it m ade a hug e b re ak i nto the do m e s t i c m a rket in 1 915 with Pyrex (h e at- re s is tant b o ro s il icate gl as s ). In 1919, over 4.5 million pieces of Pyrex were sold in the United States, including baking ware still popular today. This fr ying pan i s p a r t o f t h e Fl a m e w a re l i n e o f p ro d u c t s , i n t ro d u c e d i n 1 9 3 6, which can withstand direct flame and therefore be used on the s t ove t o p , a fe a t u re t h a t a c h i e ve d a d d i t i o n a l s ig n i f i c a n c e o n c e m e t a l s w e r e ra t i o n e d d u r i n g Wo r l d Wa r I I . M a d e fa m i l i a r t o s h o p p e rs b y c o m p a n i o n l i t e ra t u re p re p a re d b y C o r n i n g h o m e e c o n o m i s t s , Fl a m e w a re re m a i n e d i n p ro d u c t i o n u n t i l 1 9 7 9.

Corning Glass Works ( U SA , e s t . 1 8 5 1 ) , c o mp a n y d e s i g n . F ry i n g Pa n . c . 1 9 4 2

B orosilic a t e gla ss ( P y rex) and st e e l, ove ra ll: 2  3/4 x 1 2  1/2 x 7 " d i a m . ( 7 x 3 1.8 x 1 7.8 c m ) . Manufactured by Corning Glass Wor ks, C or n in g, N ew Yor k . Pu rc h a se , 1 9 4 8

Corning Frying Pan c. 1942

Kitchen of Tomorrow 1944

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“ T he ‘Ki tche n o f Tomo rrow ’ t h a t d o e s eve r y t h i n g bu t p u t ou t the cat at night now makes its debut,” declared one Philadelphia news p ap e r. T hre e fu l l -sc a l e mo d e l s o f t h i s p ro t oty p e k i t c h e n ( d e s ig n e d t o fo s t e r c o n s u m e r d e m a n d a t a t i m e w h e n t h e e n d o f Wo r l d Wa r I I s e e m e d i m m i n e n t ) w e re re p o r t e d l y s e e n b y m o re than 1.6 m il l i o n p e op l e i n m a j o r d e p a r t m e n t st ore s a c ro ss the co u ntr y; v i s i t o rs c o u l d vot e fo r t h e fe a t u re s t h ey wa n t e d t o s e e re a l i z e d . C o o k i n g w a s d o n e i n g l a s s - t o p p e d re c e s s e d vessels that eliminated pots and pans. Sliding panels covered t h e s i n k , c o o k i n g u n i t , a n d a u t o m a t i c fo o d m i xe r, s o w h e n n o t i n u s e the s e u nit s be c a me p a r t o f a l o n g bu ffe t , “ re a d y fo r u se as a s tu dy b e nch fo r t h e c h i l d re n o r a b a r fo r d a d . ”

H. Albert Creston Doner ( Am e r i c a n , 1 9 0 3 – 1 9 9 1 ) . L i bb e y - Ow e n s - F o r d G l a s s C o m p a n y ( U SA ) . K i t c h e n o f To m o r r o w. 1 9 4 4

Gelatin silver prints, each: 8   3/4 x 7 " ( 2 2 .2 x 1 7.8 c m ) . A rc h it e c t u re a n d D e sign St udy C olle c t ion . P h ot ogra p h s by Hedrich-Blessing Studio, C h ic a g o

The thrifty aesthetics and labor-saving ethos of the New Kitchen came to the fore during World War II. Merchant shipping was targ ete d by G er ma n U-bo ats , dis ru p ting i m p o r tatio n o f fo o d i n t o B r i t a i n t h a t h a d p re v i o u s l y a m o u n t e d t o 5 5 m i l l i o n t o n s a y e a r. Fro m t h e o u t s e t o f t h e w a r, t h e m a n d a t o r y ra t i o n i n g o f fo o d , re s o u rc e s , a n d f u r n i s h i n g s w a s a n e v e r p resent c oncer n . Th rough p o s te rs co m m is s io ne d f ro m l e ading c o m m e rc i a l a r t i s t s o f t h e d a y, t h e M i n i s t r y o f I n fo r m a t i o n conveyed the vital need for food conser vation, home gardening, an d the el im in a t ion of ver mi n f ro m the k itche n.

British World War II Propaganda Posters c. 1941–43

Herbert Tomlinson (British, born 1902). H e W i ll E a t Y o u r R a t i o n s . c. 1941

Offse t li thograph, 39 1/2 x 2 9  3/4 " (1 00.3 x 75.6 c m). G i f t o f M rs . John Car te r, 194 3 Jan Lewitt (British, born Poland. 1907–1991). George Him (British, born Poland. 1900–1982). T h e V e g e t a bull . 1 9 4 3

Offse t li thograph, 2 9 1/2 x 19  3/8 " ( 74.9 x 49.2 c m). G i f t of the des igne rs, 1947 Frederick H. K. Henrion (British, 1914–1990). One R a bb i t H a s A t L e a s t 1 2 Y o u n g I n A Y e a r = 4 5 lb s o f M e at. c . 1 9 41

Offse t li thograph, 2 9 1/2 x 19  3/8 " ( 74.9 x 49.2 c m) Ab r a m G a m e s (British, 1914–1996). Grow Y o u r Ow n F o o d . 1 9 4 2

Offse t li thograph, 2 9 3/8 x 19  3/16 " ( 74.7 x 4 8.6 c m). G i f t of Mrs . John Car te r, 194 3

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Parsons Pureaire Unit Kitchen c. 1950

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T h e P a r s o n s C o . ( U SA ) . P ubl i c i t y p h o t o f o r Pa r s o n s P u r e a i r e U n i t K i t c h e n ( D ETAI L ) . c . 1 9 5 0

G e l a t i n s i l v e r p r i n t , 9  1/4 x 7 1/2 " ( 2 3.5 x 1 9.1 c m ) . A rc h it e c t u re a n d D e sign S t u d y C olle c t ion

Visions of Plenty 3

“A m e r ic a rep res ent s t he fa t k i tc hen, a nd Eu rop e a ver y l ea n k i tc hen i nde e d .” Th i s is h ow G erma n émig ré H ei nri c h H a u s er, w ri ti ng i n 1 9 4 5, des c ri b ed the “ spi r i tual c h a s m ” op eni ng u p b etween t he two reg i ons . Whi l e ra ti oni ng a nd p ostwar re co n st ru c t ion ma i nta i ned a hol d on Eu rop e, the U ni t ed S t a t es ’ ec onomy expe r i e n ce d a s ign ifi c a nt b oom a nd ra p i dl y c a me t o domi na t e t he worl d ma rket i n co n sum e r g o o d s . B u i l di ng on wa r t i me res ea rc h i nt o ma teri a l s , tec hnol og i es , a nd erg o n o m i cs, l a rg e A meri c a n c omp a ni es s u c h a s G enera l E l ec t ri c , Westi ng hou s e, H ot po i n t, an d Ru b b e r m a i d s ha p ed p ower fu l c orp ora t e i dent i t i es , rei nforc ed by a dver ti se m e n t s in t h e n ew medi u m of tel ev i s i on. A climate of abundance and an emphasis on consumer choice, embraced in the United S t a t e s d u ri ng t he C ol d Wa r a s ha l l ma rks of c a p i t a l i s m a nd democ ra cy, put a n ew s p in o n t he wel l - esta b l i s hed rhet ori c of eff i c i ency a nd a nti - dru dg er y i n d e sig n fo r the kitchen. Members of “the affluent society ” (as economist John Kenneth Galbraith re fe rre d t o a s eg ment of A meri c a ns) c ou l d a c q u i re for t hei r k i tc hens — i ncre asi n g ly s u b u r b an a nd s p a c i ou s — a n ever- ex p a ndi ng ra ng e of p rodu c t s , ava i l a b le f ro m th e m id -195 0 s i n new s hop p i ng ma l l s .

In the ’30s and ’40s it was fa s h i o n a b l e t o c o m p re s s the kitchen into a spacesaving, antiseptic cubicle. . . . Since the war, whole h o u s e s a re v i r t u a l l y b e i n g designed around color ful, la b o r - s a v i n g k i t c h e n s t h a t can also serve as all-purpose living space for the family. “Kitchen Comeback,” Time magazine, 1954

Du e in p a r t t o A meri c a n a i d a dmi ni stered t hroug h t he M a rs ha l l Pl a n, des ig n powe rs soon reemerged in Europe. In Germany, Braun developed a cohesive family of applia n c e s revered i nterna ti ona l l y for t hei r s u p eri or fu nc ti ona l i ty a nd p u re fo r m . Italy b e c a m e a hot b ed of i nnova t i ve des ig n i n p l a sti cs , a nd i n t he 1 9 6 0 s des ign e rs such a s Virg il i o Forc hi a s s i n rei ma g i ned t he k i t c hen i n mob i l e a nd mi ni a t u ri z ed fo r m s. By the 1970s, alternative design had pushed beyond new materials and forms to consider s o c ia l and env i ronmenta l c onc erns . I n S weden, E rg onomi D es ig n s ha p e d k i tch e n tools for people with disabilities and the elderly, while Yemeni diplomat Adnan Tarcici s u p p o r t ed s u st a i na b l e energ y w i th i mp res s i vel y s i mp l e s ol a r c ookers . Th ro ug h o ut t h e 1980 s , 1 9 9 0 s , a nd 2 0 0 0 s , des ig ners have c ont i nu ed t o c rea t i vel y a dd re ss th e e n o r m o u s ra ng e of ma teri a l s , fu nc ti ons , p os s i b i l i t i es , a nd p rob l ems that re si d e i n t h e m o dern k i t c hen.

Gardner Soule. “New K i t c h e n B u i lt t o F i t Y o u r W i f e . ” P o pul a r S c i e n c e ( S e p t e mb e r 1 9 5 3 ) : 1 7 2 – 7 3 .

Popular Science September 1953

The standard height of kitchen work surfaces—36 inches (91 cm)— i s b a se d on t h e d i m e n si on s of t h e ave ra g e woma n . ( J u l i a Ch i ld, at 6 feet, 2 inches, required hers to be 39 inches high.) Although t h e l o n g - s t a n d i n g p ra c t i c e o f s h a p i n g t h e k i t c h e n a r o u n d t h e me a su re of wo me n mig h t se e m t o be a n i n si d i o u s me a n s o f perpetuating g ender stereotypes, the designers and g overnment agencies behind this application of anthropometr y have typically b e e n m o t i v a t e d b y p ra c t i c a l , e v e n p r o g r e s s i v e a i m s . T h i s magazine ar ticle describes a test kitchen developed in 1952 at Cornell University ’s Housing Research Center with assistance f ro m t h e U n i t e d S t a t e s D e p a r t m e n t o f A g r i c u l t u re . L i k e e a r l i e r test kitchens, its design was based on time-motion studies and i n t e n d e d t o a l l ev i a t e t h e bu rd e n of l a bo r.

12-Cut Pie Marker 1950s UNKN o w n d e s i g n e r . 1 2 - Cu t P i e M a r k e r . 1 9 5 0 s

C a s t a l u m i n u m , 2  1/2 x 9  5/8 " d ia m . ( 6.4 x 24.4 c m ) M a n u fa c t u re d i n I t a l y. D e p a r t m e n t Pu rc h a se , 1 9 5 6

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“ When, in 1938, the personal desire for coffee came up, my aspect si mp l y wa s: a c o ffe e m a ke r mu st m a ke c o ffe e , a n d t h e n I a p p li ed m y k n o w l e d g e o f p h y s i c s a n d c h e m i s t r y, ” S c h l u m b o h m s a i d . I n s p i re d i n s p i r i t b y t h e B a u h a u s s c h o o l o f d e s ig n a n d i n fo r m b y l a b o ra t o r y e q u i p m e n t s u c h a s t h e E r l e n m e y e r f l a s k , t h e C h e m ex C o f fe e M a k e r i s S c h l u m b o h m ’s m o s t s u c c e s s fu l d e s ig n ( i n 1 9 5 7 i t a p p e a re d o n J a m e s B o n d ’s b re a k fa s t t a b l e i n I a n Fl e m i n g ’s n o v e l Fro m R u s s i a w i t h Lo v e ) . I t i s p a r t o f a u n i f i e d se r i e s o f a ffo rd a bl e , n on e l e c t r i c a l , n o n me c h a n i c a l k i t c h e nwa re h e d e s i g n e d f ro m t h e 1 9 4 0 s t o t h e 1 9 6 0 s — i n c l u d i n g c o c k t a i l shakers, ice vaults, kettles, jugs, bottle coolers, and other coffee and tea makers. They epitomize the kitchen-as-laboratory concept ( a h a l l m a r k o f t h e i n t e r wa r N e w K i t c h e n ) a s i t c o n t i n u e d b e yo n d Wo r l d Wa r I I . O ve r h i s d y n a m i c c a re e r, S c h l u m b o h m o b t a i n e d ove r t h re e h u n d re d p a t e n t s.

Chemex Coffee Maker 1941

Chemex Tea Maker 1954

P e t e r Sc h l u m b o h m ( Am e r i c a n , b o r n G e r m a n y. 1 8 9 6 – 1 9 6 2 ) . Tea maker. 1954

B o ros ilicat e g lass (P y rex), wo od, st eel, and plasti c , 7 x 7  3/8 " d i a m . ( 1 7.8 x 1 8.7 c m ) . M a n u fa c t u r e d b y C h e m e x C o r p . , N e w Yo r k . G i f t of t he m anufac ture r, 195 6

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P e t e r Sc h l u m b o h m ( Am e r i c a n , b o r n G e r m a n y. 1 8 9 6 – 1 9 6 2 ) . C o ff e e M a k e r . 1 9 4 1

B orosilic a t e gla ss ( P y rex) , wood , a n d le a t h e r, 9  1/2 x 6  1/8 " d ia m . ( 24.2 x 1 5.5 c m) . M a n u fa c t u re d by C h e m ex C or p . , N ew Yor k . G if t of Lew is & C on g e r, 1 9 4 3

Chemex Water Kettle 1949 P e t e r Sc h l u m b o h m ( Am e r i c a n , b o r n G e r m a n y. 1 8 9 6 – 1 9 6 2 ) . Water Ket tle . 1949

B orosilic a t e gla ss ( P y rex) a n d c or k , ke tt le : 1 0 1/8 x 8  1/2 " d ia m . ( 2 5.7 x 2 1.6 c m ) , stopper: 6 1/4 " (15.9 cm) long. M a n u fa c t u re d b y C h e m e x Corp., New York . Gift of t h e m a n u fa c t u r e r, 1 9 5 6

Chemex Cocktail Shaker 1943

P e t e r Sc h l u m b o h m ( Am e r i c a n , b o r n G e r m a n y . 1 8 9 6 –1 9 6 2 ) . C o c k ta i l Shaker. 1943

Alumi num, c or k, and wo o d, s hake r : 9 1/2 x 4" di am. (24.1 x 1 0.2 c m), stoppe r : 3 x 3 3/4 " diam. ( 7.6 x 9.5 c m), mi xe r : 12 1/4 x 3" diam. (31.1 x 7.6 cm). Manufac ture d by Che mex Corp., New Yor k . G i f t o f the m anufac ture r, 1956

Exhibition House Kitchen 1950

I n 1 9 5 0, v i s i t o rs t o T h e M u s e u m o f M o d e r n A r t c o u l d e x p l o re Ain’s compact three-bedroom Exhibition House (co-sponsored by Woman’s Home Companion magazine) in the sculpture garden. It was outfitted with modern furniture, lighting, and houseware (including Revere Ware and Ekco tools in the kitchen), representing the design standards the Museum promoted in the same period in i ts inf l u e ntial ex h i bi t i on se r i e s Use fu l Obj e c t s ( 1 9 38– 4 8) a n d G o o d D e s ig n ( 1 9 5 0 – 5 5 ) . T h i s v i e w i n c l u d e s t h e H e a l t h C h a i r (foreground), designed in 1938–40 by the Ironrite Ironer Company i n D e t ro i t fo r u s e w i t h t h e e l e c t r i c i ro n i n g m a c h i n e s i t h a d manufactured since 1911. Ensuring a “scientifically correct ironing posture,” this chair exemplifies the application of ergonomics to the b anis hm e n t of d ru d g e r y f ro m t h e mo d e r n k i t c h e n .

I n s t a ll a t i o n v i e w o f the kitchen in the E x h i b i t i o n H o u s e by G r e g o ry A i n , M ay 1 7 – October 29, 1950, T h e M u s e um o f M o d e r n A r t, N e w Yo r k

G e la t in silve r p r in t , 7 1/2 x 9  1/2 " (1 9 x 24.1 c m) . T h e M u se u m of M od e r n Ar t A rc h ive s, N ew Yor k

Healthy and Good with Butter 1951 D o n a l d B r u n ( Sw i s s , 1909–1999). Gesund u n d Gu t m i t B u t t e r ( H e a lt h y a n d G o o d with Butter). 1951

Offset lithograph, 49 3/4 x 3 5 " ( 1 2 6.4 x 8 8.8 c m ) . Pr inte d by Frob e n iu s AG, Basel. Purchase and par tial g if t of Le slie J. S c h raye r, 1994

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Tupperware Party, Sarasota, Florida 1958

I n 1 9 4 7 E a r l Tu p p e r, a n i n v e n t o r a n d c h e m i s t a t D u Po n t , designed a unique air- and water tight seal for food containers t h a t p re ve n t e d b o t h s p i l l s a n d s p o i l a g e . H e t h e n a p p l i e d t h i s e n h a n c e m e n t , t h e Tu p p e r S e a l , t o h i s ra n g e o f p o l y e t h y l e n e Welcome Ware, developed years earlier. The result—Tupper ware— b e c a m e a p owe r fu l sy m b o l o f s u b u r b a n d o m e s t i c l i fe i n t h e 1 9 5 0 s . I n a d d i t i o n t o i t s c u t t i n g - e d g e m a t e r i a l a n d fo r m , Tupperware’s innovative marketing secured its success. Brownie W is e , a s i ngl e m ot h e r w h o u l t i ma t e l y be c a me v i c e p re si d e n t o f t h e c o m p a n y, d e v i s e d t h e h o s t e s s - p a r t y m o d e l , i n w h i c h h o u s e w i v e s s o l d Tu p p e r w a re t o e a r n m o n e y i n d e p e n d e n t l y (as s he de m o ns tra t e s i n t h i s p h ot og ra p h by S t e i n m e t z ) .

Joe Steinmetz ( Am e r i c a n , 1 9 0 5 – 1 9 8 5 ) . Tupp e r w a r e P a r t y , S a r a s ota , F lo r i d a . 1 9 5 8

G e la t in silve r p r in t , 1 0 1/16 x 1 2  15 /16 " ( 2 5.5 x 32.9 c m ). G if t of B a r b a ra N or f le e t , 1 9 8 4

As Tupper ware grew in popularity in the United States, the Milanb ased pla s tics ma nu factu re r Kar te l l was e s tab l is hing i t se l f a s a European leader in the increasingly impor tant modern material. Colombini, who headed Kar tell ’s technical depar tment from its fo u n d i n g i n 1 9 4 9, w a s a w a rd e d C o m p a s s o d ’ O ro p r i z e s ( I t a l y ’s top honor for good design) in 1955, 1957, 1959, and 1960. His household objects, including those for the kitchen, took advantage of t he a esthetic pos s ib i l iti e s o f p l as ti c i n additi o n to be i n g b oth economica l a nd du rab l e .

Gino Colombini ( I ta l i a n , b o r n 1 91 5 ) . K i tc h e n Pa i l . 1 9 5 7

Polye t hy le n e , 10  1/2 x 11" d ia m . ( 2 6.7 x 2 7.9 c m ) . Manufactured by Ka r t e ll SpA, Milan. Gift of t h e m a n u fa c t ure r, 195 8

Kitchen Pail 1957

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Braun Multipurpose Kitchen Machine 1957

B ra u n wa s fo u n d e d i n Fra n k fu r t i n 1 92 1 a s a sma l l e n g i n e e r i n g sh op p ro d u c i n g ra d i o a c c e sso r i e s. D i e t e r Ra ms, t h e fa mo u s d e sig n d i re c t or w h o j o i n e d t h e c o mp a ny i n 1 9 5 5 a n d re m a i n e d for almost thir ty years, secured Braun’s success in the postwar c o n s u m e r e l e c t ro n i c s m a r k e t . T h e c o m p a ny ’s ra d i o s , s c a l e s , fans, mixers, slide projectors, calculators, hair dr yers, toasters, and juicers, as well as this Multipurpose Kitchen Machine, all e m b o d y R a m s ’s m i s s i o n t o “ o m i t t h e u n i m p o r t a n t , ” a n d t h e y fu l f i l l t h i s d i re c t i ve by fo u n d e r M a x B ra u n ’s s o n , E r w i n : “ O u r e l e c t r i c a l a p p l i a n c e s s h o u l d b e q u i e t , u n o b t ru s i ve h e l p e rs a n d ser vants. Like a good ser vant in days of old, they should come a n d g o si l e n t l y, t h e re w h e n wa n t e d bu t u n n ot i c e d . ”

B r a u n AG ( G e r m a n y , e s t . 1 9 2 1 ) . M ult i pu r p o s e Kitchen Machine. 1957

Enameled metal casing and plastic, blender configuration: 1 9 1/4 x 13 x 6 1/2 " (4 8.9 x 33 x 1 6.5 c m ) . M a n u fa c t u r e d by Braun AG, Frankfur t . G i f t o f t h e m a n u fa c t u r e r

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Sarpaneva’s cast iron casserole has become an iconic work of o r g a n i c d e s ig n . I t i s o n e o f s e v e ra l o b j e c t s t h a t re p re s e n t h i s i n t erest in kitchenwa re tha t co u l d b e u s e d in the ove n, o n the s t ove t o p , a n d a t t h e t a b l e ( s o m e t i m e s a l s o i n t h e re f r ig e ra t o r ) . The teak handle allows it to be carried by one hand, and when removed it can be used to open the pot’s lid. Along with contemp o ra r i e s s u c h a s Ka j Fra n c k a n d Ta p i o W i r k k a l a , S a r p a n e v a achieved international fame as the clean and warm modern forms o f Fi n n i s h d e s ig n g re w i n p o p u l a r i t y i n t h e p o s t w a r p e r i o d .

Casserole 1959

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T i m o S a r pa n e va (Finnish, 1926–2006). Casserole. 1959

C a st iron a n d t e a k , ove ra ll: 7 x 8 x 7  3/4 " ( 1 7.8 x 2 0.3 x 1 9.7 c m ) . M a n u fa c t u re d by W. Rosenlew and Co., Finland. Gift of the designer, 1 9 9 0

Peter Raacke (German, born 1928). mono 10+1 K i t c h e n To o l S e t. 1 9 6 5

Stainless steel, length of b a r ra c k : 9  1/4 " ( 2 3.5 c m ) , s k i m m e r : 1 3  1/2 " ( 3 4.3 c m ) , s p a t u l a : 1 3  5/8 " ( 3 4.6 c m ) , k n i f e : 1 1  5/ 16 " ( 2 8. 7 c m ) , p e r fo ra t e d s p o o n : 1 0 3/16 " ( 2 2.9 c m) , spo o n: 1 0 3/16 " ( 2 5.9 c m) , ladle : 9" ( 3 4 .6 c m ) , s m a l l t w o p ron g e d for k : 13 3/4 " ( 34.9 c m ) , s m a l l l a d l e : 1 0  1/8 " (25.7 cm), two-pronged fork: 10 3/4 " (27.3 cm). Manufactured by H e ssisc h e Me t allwe r ke (now Seibel Designpar tner G m b H ) , G e r m a ny. G i f t of Bonniers, Inc., 1967

mono 10+1 Kitchen Tool Set 1965

This set of kitchen utensils belongs to the clean-lined, stainless steel “mono” series for which Raacke is best known. It debuted in the late 1950s with mono-a, which was followed by numerous iterations into the early 1980s, including mono petit, for children. R a a c k e , w h o t ra i n e d i n g o l d - a n d s i l ve rs m i t h i n g , a l s o d e s ig n e d c a rd b o a rd f u r n i t u re a n d a d i e s e l l o c o m o t i v e . H e c o fo u n d e d the Association of German Industrial Designers in 1959 and t a ug h t fo r m o re t h a n t h i r t y ye a rs a t m a j o r G e r m a n u n i ve rs i t i e s . Along with Max Bill, he is associated with the reemergence of so- c a l l e d G oo d D e sig n i n Eu ro p e a f t e r Wor l d Wa r II.

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S ov i et p r e m i e r N i k i ta Khrushchev and United States vice president Richard N i x o n a t t h e Am e r i c a n National E xhibition, M o s c o w , J uly 1 9 5 9

The Kitchen Debate July 1959

“ I wa n t t o s h ow yo u t h i s k i t c h e n , ” s a i d R i c h a rd N i xo n . “ I t ’s l i k e t h o s e o f h o u s e s i n C a l i fo r n i a . . . ” S o b e g a n t h e fa m o u s C o l d Wa r c o n f ro n t a t i o n k n o w n a s t h e K i t c h e n D e b a t e , b e t w e e n N i x o n , t h e n v i c e p re s i d e n t o f t h e U n i t e d S t a t e s , a n d S o v i e t p re mi e r N i k i t a K h ru sh c h ev i n t h e G e n e ra l E l e c t r i c k i t c h en a t th e op e n i n g of t h e A me r i c a n N a t i on a l Ex h i bi t i o n i n M osc ow. Ni xo n f i x e d o n t h e fa m i l i a r a n d s y m b o l i c s e t t i n g o f t h e k i t c h e n t o ex t ol A m e r i c a n a bu n d a n c e , i n n ova t i o n , f re e d om of c ho i c e, a n d q u a l i t y o f l i fe — a n d , b y e x t e n s i o n , c a p i t a l i s m i t s e l f. “ Wo u l d i t n o t b e b e t t e r, ” h e c h a l l e n g e d K h r u s h c h e v, “ t o c o m p e t e i n t h e re l a t i v e m e r i t o f w a s h i n g m a c h i n e s t h a n i n t h e s t re n g t h o f ro c ke t s? ” “A n d t h i s i s on e o f t h e g re a t e st n a t i on s? ” c o un tered K h r u s h c h e v. “ I fe e l s o r r y fo r A m e r i c a n s , j u d g i n g b y y o u r ex h i bi t i on . D oe s yo u r l i fe re a l l y c o n si st on l y o f k i t c h en s? ” Suc h c r i t i c i s m p ro v e d i n e f fe c t u a l , h o w e v e r, a g a i n s t t h e s e d u c t i v e appeal of the American kitchenware that was promoted internationally in the 1950s in traveling exhibitions suppor ted by t h e St a t e D e p a r t m e n t , c or p ora t i o n s su c h a s G e n e ra l Elec tr i c , a n d T h e M u se u m of M od e r n A r t .

T h is hing ed, mobile kitchen o n cas to rs i nco rp o rate s a s tove , a s m a l l re f r ig e ra t o r, a p u l l - o u t c u tt i n g b o a rd , a n d a s u r p r i s i n g abundance of storage space. It was shown in The Museum of M odern A r t ’s la n dma r k 1972 exhib i ti o n Italy: The New Domestic La n d s c a p e , w h i c h c e l e b ra t e d i n n o v a t i v e , f l e x i b l e d e s i g n s re s p o n s i ve t o n ew i d e a s a b o u t c a s u a l a n d a d a p t a b l e l i v i n g . I n c o nsidering t his dyn a mic, co m p act u nit, Time m agazi ne no te d its cultural significance: “In a countr y like Italy, where the kitchen is still a kind of sacred cave presided over by a mother-goddess, t h e desig n of a cookin g mod u l e that can b e ro l l e d ab o u t and p l ug g e d i n a ny w h e re h a s p ro fo u n d i m p l i c a t i o n s . N o t , p e r h a p s , t h e immedia te dea th of t he nu cl e ar fam i l y— b u t ce r tainl y a s u b stantive cr it ique of it .”

Living Space Mobile Kitchen Unit 1968

Virgilio Forchiassin ( I t a l i a n ) . Sp a z i o V i v o ( L i v i n g Sp a c e ) M o b i l e K i t c h e n U n i t. 1 9 6 8

Steel and plywood covered with plastic laminate, closed: 3 6  1/4 x 4 8  7/8 x 4 8  7/8 " (92 x 124 x 124 cm). Manufactured by Snaidero, I t a l y. G i f t o f t h e m a n u fa c t u re r, 1 972

Kitchen Scale 1969

Marco Zanuso ( I ta l i a n , 1 91 6 –2 0 0 1 ) . Kitchen Scale (model BA 2000). 1969

ABS polymer casing, 6 1/8 x 6 1/2 x 4  1/8 " (1 5.5 x 16.5 x 10.5 cm). Manufactured by Te r ra i l l o n S L R , I t a l y. G i f t o f t h e m a n u fa c t u re r, 1 9 7 0 57

t o p RIGHT : Tom Wesselmann ( Am e r i c a n , 1 9 3 1 – 2 0 0 4 ) . S t i ll L i f e # 3 0 . Ap r i l 1 9 6 3

O i l , e n a m e l , a n d sy n t h e t i c p o l y m er p aint on c ompo si ti on b o a rd wit h collag e of pr i nte d adver tisements, plastic f l o we rs , re f r ig e ra t o r d o o r, p l a s t i c re p l i c a s o f 7 - U p b o ttles , g lazed and frame d c o l o r re p ro d u c t i o n , a n d sta mped m et al, 4 8  1/2 x 66 x 4" (1 2 2 x 1 67.5 x 1 0 c m). G i f t of P h i lip Joh n s on, 1970 B e lo w, l e f t: Andy Warhol ( Am e r i c a n , 1 9 2 8 – 1 9 8 7 ) . B r i ll o B o x ( S o a p P a d s ) . 1964

Synt het ic p olyme r pai nt a n d s ilks creen i nk o n wood, e a c h : 1 7  1/8 x 1 7 x 1 4 " (4 3.3 x 4 3.2 x 36.5 c m). G i f t s of Doris and D o nald Fi s h er, 1 997 Center: Andy Warhol ( Am e r i c a n , 1 9 2 8 – 1 9 8 7 ) . H e i n z T o m a t o K e t c h up B o x [ P r o t o t yp e ] . 1 9 6 3 – 6 4

Synthetic polymer paint a n d s i l k s c re e n i n k o n wo od, 1 0 1/2 x 1 5 1/2 x 10 1/2 " ( 2 6.7 x 3 9.4 x 2 6.7 c m ) . G i f t of Jas p er J o hns, 1998 Right: Andy Warhol ( Am e r i c a n , 1 9 2 8 – 1 9 8 7 ) . C a mpb e ll’ s T o m a t o J u i c e Box. 1964

Synthetic polymer paint a n d s ilks creen i nk o n wood, 1 0 x 1 9 x 9 1/2 " ( 2 5.4 x 4 8.3 x 24.1 cm ) . G if t o f D ouglas S . Cram er Foundati on, 1997

View of Counter Space: Design and the Modern Kitchen, The Museum of Modern Art, New York September 15, 2010 – May 2, 2011

58

Delphic Kitchen Utility Blades 1973

H a r r y V. C r e m o n e s e ( Am e r i c a n , b o r n A n t h o n y C . C a n n o n 1 9 3 9 ) . D e lp h i c Kitchen Utility Blades. 1973

Carbon stainless steel and b e e c hwo o d , l e f t t o r ig h t : 1 5 x 3   3/8 x 3/4 " ( 3 8.1 x 8.6 x 1.9 c m ) , 1 3 x 2  3/4 x 3/4 " ( 33 x 7 x 1.9 c m), 11 x 2 1/2 x 1/2 " ( 2 7.9 x 6.4 x 1.3 c m ) . Manufactured by Mitsuboshi Company, Seki-city, Gifu, Japan. G i f t of t he des igne r, 197 7

Good Grips Peeler 1989 Smart Design ( U SA , e s t . 1 9 7 9 ) . G o o d Grips Peeler. 1989

Stainless steel and synthetic r u b b e r, 8    3/4 x 1  3/8 x 1 " ( 2 2 .2 x 1 2 .7 x 2.5 c m ) . M a n u fa c t u re d by OXO International, New York. G if t of t h e d e sign e rs, 1 9 9 4

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Ergonomi Kitchen Knife and Cutting Board 1973

Ergonomi Design G r u p p e n ( Sw e d e n , e s t . 1969). Maria Benktzon ( Sw e d i s h , b o r n 1 9 4 6 ) . Sven-Eric Juhlin ( Sw e d i s h , b o r n 1 9 4 0 ) . Kitchen Knife and Cu t t i n g B o a r d . 1 9 7 3

Kn ife : st a in less st e e l and p olyp ropy le n e , 13 1/2 x 4 x 1" ( 34.3 c m x 1 0.2 x 2.5 c m) , c u t t i n g b o a rd : p l a s t i c , 5   1/4 x 1 5  1/16 x 5  3/8 " ( 1 3.3 x 3 8.3 x 1 3.7 c m ) . M a n u fa c t u r e d b y A B G u st avsb e rg , Swe de n. G if t of R F S U Re hab, 1983

Wh i l e d e sig n e rs of t e n re i ma g i n e t h e st a n d a rd fo r ms of ki tc h en t o o l s fo r a e s t h e t i c re a s o n s o r t o u t i l i z e n e w m a t e r i a l s , t h i s work incorporates ergonomic changes intended to make familiar o b j e c t s m o re a c c e s s i b l e . I t w a s fe a t u re d i n T h e M u s e u m o f M o d e r n A r t ’s 1 9 8 8 e x h i b i t i o n D e s i g n fo r I n d e p e n d e n t L i v i n g , w h i c h h ig h l ig h t e d t h e e ffo r t s of d e sig n e rs t o m e e t t h e n eeds o f the elderly and people with physical disabilities. Ergonomi Design h a s s p e c i a l i z e d i n t h i s a re a s i n c e 1 9 6 9, re f l e c t i n g t h ro ug h i t s award-winning products and its motto—“Innovation for People”—an o u t st a n d i n g c o mmi t me n t t o d i ve rse u se r n e e d s. T h e co mpa ny ’s w o r k f ro m t h e 1 9 7 0 s a n d 1 9 8 0 s , m u c h o f w h i c h i s s t i l l i n production today, represents the progressive “democratic” design that has long been associated with the historically equalityd r i ve n c u l t u re o f S we d e n .

Alcan Foil Brochures c. 1960-62

62

Rolf Harder (German, born 1929). Al c a n F o i l B r o c h u r e s f o r t h e Alum i n um C o mp a n y o f C a n a d a . c. 1960–62

O ffs et l i tho g ra p hs , ea c h : 8 x 4" (2 0.3 x 1 0.2 cm ). Gifts of the designer, 2007

“ M o s t m e t a l s , ” e x p l a i n e d Po p u l a r S c i e n c e m a g a z i n e i n 1 9 3 6, “ a re a s o l d a s h i s t o r y. Le a d w a s u s e d b y t h e a n c i e n t R o m a n s . I ro n a n d c o p p e r g o b a c k t o 3,0 0 0 y e a rs b e fo re t h e b i r t h o f C h r i s t . B u t a l u m i n u m , i n c o n t ra s t , i s a m o d e r n m e t a l o f t h e laborator y.” Although it is the most common metal in the ear th’s c ru st , a l u mi n u m wa s t o o d i ff i c u l t t o i so l a t e a n d t oo ex p e n si ve fo r c o m m e rc i a l u s e u n t i l t h e t u r n o f t h e t w e n t i e t h c e n t u r y. Industrial rolling of aluminum foil had begun by 1910 in Switzerland, a n d i n t h e 1 9 5 0 s , a f t e r t h e m e t a l ra t i o n i n g o f Wo r l d Wa r I I , p ro d u c t i o n a n d c o n s u m p t i o n o f a l u m i n u m fo i l e x p l o d e d . L i k e plastic, aluminum is a modern material that has revolutionized both industr y and daily life (from aerospace design to microwave dinners), and aluminum foil has become an indispensible tool of the modern kitchen. The streng th, malleability, heat conductivity, recyclability, resistance to corrosion, and barrier proper ties of t h e a l u mi n u m a l l oy sh e e t t ra n sl a t e t o c ou n t l e ss a p p l i c a t i on s in c o o k i n g a n d s t o ra g e a s w e l l a s c o m m e rc i a l fo o d p a c k a g i n g . T h e s e b ro c h u re s i l l u s t ra t e v a r i o u s u s e s fo r t h e fo i l p ro d u c e d by t h e A l u mi n u m Comp a ny of Ca n a d a .

“ O n e - t h i rd o f a wo r k e r ’s s a l a r y i s s p e n t fo r fu e l . . . w h i l e f ro m eight to nine months a year the sun shines all day,” Tarcici said i n Le b a n o n i n 1 9 5 5. B e g i n n i n g i n t h e 1 9 5 0 s , t h e p ro fe s s o r a n d U nit ed Na t ion s delegate achi eve d nu m e ro u s p ate nts for sol a r c ooker d es ign s , incl u ding thi s o ne , whi ch co l l ap s e s c o mp l e t e l y into the por table box that also ser ves as its spine. Attempts to h a r n e s s t h e s u n ’s p owe r fo r c o o k i n g h a d b e e n m a d e i n t h e l a t e n i n e t e e n t h c e n t u r y ; t h e A s s o c i a t i o n fo r A p p l i e d S o l a r E n e rg y (later the International Solar Energ y Society) was formed in 1 9 5 5. I n 1 9 5 6 a N e w Yo r k Ti m e s a r t i c l e f e a t u r e d Ta r c i c i , w h o wa s pictured cookin g ho t do gs wi th o ne o f his own d ev i c e s.

Solnar Solar Cooker c. 1970

A d n a n Ta r c i c i ( Y e m e n i , born Lebanon 1918). Solnar Solar Cooker. c. 1970

A lu m in u m , op e n : 2 1 x 34 x 4 3 " ( 5 3.3 x 8 6.3 x 1 0 9.2 c m ) , c lose d : 8  1/2 x 2  3/4 " ( 2 1.6 x 7 cm). G i f t o f t h e d e s ig n e r, 1 9 74

Japanese Plastic Food c. 1975

I n Ja p a n , s h o k u h i n s a n p u ru — p l a s t i c fo o d d e s ig n e d a n d m a n u factu re d fo r re s t a u ra n t d i sp l ay — i s a ma j or n a t i on a l i n d u st r y. Mo de l s o f Jap ane se a n d We st e r n foo d s a re mo l d e d a n d p a i n t e d in exq u i s i te de tai l t o l oo k a s g o o d a s t h e i r e d i bl e c ou n t e r p a r t s, if no t b e tte r. Disp l aye d i n a re st a u ra n t ’s f ron t w i n d ow, t h e se du rab l e re p l icas fa c i l i t a t e i n t e r l i n g u a l c ommu n i c a t i o n a n d a l l ow cu s to m e rs to ide n t i f y fo o d n a m e s a n d p r i c e s. T h e Ja p a n e se p ractice o f cre at i n g re p l i c a foo d ( i n wa x , be fo re p l a st i c ) d a t e s b ack to aro u nd 1 92 0 a n d wa s re p or t e d l y i n sp i re d by t h e l i fe l i ke a n a t o m i c a l t e a c h i n g m o d e l s t h e n b e i n g i m p o r t e d f ro m t h e United States by new medical schools. The industry boomed after 1960, when restaurants began offering more varied menus. T he re al i s tic m o d e l s a re a l so c ommo n l y u se d a s st a n d -i n s for co m m e rcial s and a re so l d t o t o u r i st s a s sou ve n i rs.

UNKNO W N DESIGNER . Ja pa n e s e P l a st i c F o o d. c. 1975

P la st ic , h a m b u rg e r : 3 1/2 x 4" d i a m . ( 8.9 x 1 0.2 c m ) . Manufactured in Kappabashi, Tok yo. G re t a D a n ie l Fu nd a n d Ya l e U n i v e rs i t y Fu n d , 197 7. I n st a lla t ion v iew of Counter Space: Design and the Modern Kitchen, The Museum of Modern Ar t, New York, September 15, 2 01 0– M ay 2, 2 011

Juicy Salif Lemon Squeezer 1988

P h i l i p p e S ta r c k (French, born 1949). Juicy Salif Lemon Squeezer. 1988

“ M y j u i c e r i s n o t me a n t t o sq u e e z e l e m on s; i t i s me a nt to sta r t conversations,” Starck has repor tedly said of this object . Cog n i t i ve sc i e n t i st a n d d e sig n c o n su l t a n t D on a l d N or ma n , w h o fe a t u re d a J u i c y S a l i f Le m o n S q u e e z e r o n t h e c o v e r o f h i s 1 9 9 4 b o o k E m o t i o n a l D e s ig n : W h y We Lo v e ( o r H a t e ) Ev e r y d a y Things, describes the object as seductive rather than utilitarian. A t f i rs t i t t r i g g e rs a v i s c e ra l re a c t i o n , h e e x p l a i n s , a n d e v e n a f t e r l o n g a c q u a i n t a n c e i t m a i n t a i n s “ re f l e c t i v e ” a p p e a l ; t h e curious form, which associates a routine task with glamour, m u s t b e e x p l a i n e d , d e m o n s t ra t e d , s h o w n o f f. A l e s s i , w h i c h h a s c o l l a b o ra t e d w i t h S t a rc k s i n c e 1 9 86, p ro d u c e d a n a n n i ve rs a r y e d i t i o n o f t h e j u i c e r, p l a t e d i n g o l d , w i t h i n s t r u c t i o n a g a i n s t c o n t a c t w i t h a c i d i c c i t ru s f ru i t s.

Po l y t e t ra f l u o ro e t h y l e n e (PTFE) treated pressure-cast aluminum and polyamide, 11  1/2 x 5 " ( 2 9. 2 x 1 2 .7 c m ) . Manufactured by O f f i c i n a Alessi, Italy. David Whitney Collection. Gift of David W h i t n e y, 2 0 0 0

65

Judy Holliday in Full of Life 1956

66

Richard Quine ( Am e r i c a n , 1 9 2 0 – 1 9 8 9 ) . F ull o f L i f e . 1 9 5 6 . U SA

3 5m m fi l m (b l a ck a nd wh it e , s o u nd ). 91 m i n.

Kitchen Sink Dramas 4 The cost of bring ing the Absolute into the kitchen is to soil it. The pretensions of Good Design require us to bring the noblest concepts of the humanistic tradition into direct confrontation with scrambled egg and soiled nappies. . . . The big white abstractions must be devalued, ultimately, by t h e s e a s s o c i a t i o n s with dirt and muck and domestic grottitude. R e y n e r B a n h a m , “ H o u s e h o ld G o dj e t s , ” 1 9 7 0

I n l ive d ex p eri enc e, the modern k i t c hen i s of t en a fa r c r y f rom t he v i si o n s o f a rc h it e c t s , des ig ners , ma nu fa c tu rers , a nd a dver ti s ers . I t i s a p l a c e of m e ss an d m is h a p , s oc i a l i z a ti on a nd s ens u a l i ty. I t evokes a ga mu t of emot i ons , fo ste r i n g c re a t iv ity a nd g enu i ne p l ea s u re a s wel l a s a nx i ety — ma ni fest ed i n the ex tre m e as m a g e iro c op hob i a , t he fea r of c ook i ng . I t i s a l s o, st a t i st i cs c onf i rm, th e m o st d a n g e rou s room i n the home. A s s p a c es we oc c u py a nd a ni ma te da i l y a nd tha t a re c onsta ntl y ref l ec te d b ack to u s in p o p u l a r medi a , k i t c hens have s i nc e the 1 9 6 0 s b ec ome a n i nc rea si n g ly r i ch s u bj e c t for a r t i st i c ex p res s i on. For Pop a r ti st s , t he p rol i fera ti on of b ra n d e d g o o d s in t h e k i tc hen p rov i ded a p ower fu l v i s u a l c u rrency, b u t s u c h v i s i ons o f ple n ty we re n ot emb ra c ed by a l l . A r ti st s , a c ti v i st s , a nd des ig ners b ega n t o c r i ti que th e m o d e r n k i t c hen a s emb l ema ti c of mu c h t ha t wa s w rong w i th moder n so ci e ty, re p re s e n ta t i ve of u ns u sta i na b l e l evel s of wa ste a nd i mp os ed s oc i a l c o nfo r m i ty. T h ey q u e sti oned moderni s m’s di s rega rd for s oc i a l i neq u a l i ty a nd c u l t u ra l d i ffe re n ce in promoting universal ideals. Feminists condemned designs, including the Frankfur t Kitchen, that they felt reinforced the physical and psycholog ical isolation of women in the home. They exposed mythologies that disguised and devalued women’s domestic wo r k wi th vei l s of “ l a b or- s av i ng ” a nd “ l ei s u re. ” T h e t e r m “ k i t c hen s i nk dra ma ” refers to t he p ostwa r B ri ti s h c u l t u ra l move m e n t i n wh ic h ar ti st s b roug ht i nto foc u s the ever yday ex p eri enc es of a l i ena t ed wo r k i n g c l a s s c h a ra c ters . H owever, a s t he va ri ed works i n t hi s s ec t i on demonstrate , th e fa m il ia r s ett i ng of the k i tc hen i s emp l oyed by a l l k i nds of a r t i st s , t a k i ng d i ve rg e n t fo r m s a n d c ri t i c a l p os i t i ons . H ere k i tc hens a re a ddres s ed a s drea ms , nig h tm are s, a n d b a tt l eg rou nds , c ha l l eng i ng u s t o c ons i der l a rg er i s s u es s u rrou ndi ng po pular c u l t u re , c ons u meri s m, g ender, a nd the i nti ma t e rea l i t i es of domest i c l i fe .

Daniel Spoerri ( Sw i s s , b o r n R o m a n i a 1930). Kichk a’s B r e a kf a s t I . 1 9 6 0

Wo o d c h a i r h u n g o n w a l l w i t h b o a rd a c ro s s s e a t , c o f fe e p o t , t u m b l e r, c h i n a , eggcups, eggshells, cigarette butts, spoons, tin cans, e t c . , 1 4  3/8 x 2 7  3/8 x 2 5  3/4 " ( 3 6.6 x 6 9.5 x 6 5.4 c m ) . P h i l i p J o h n s o n Fu n d , 1 9 6 1

Kichka’s Breakfast I 1960

Spoerri, a self -proclaimed “paster of found situations,” made t h i s a s s e m b l a g e f r o m h i s g i r l f r i e n d K i c h k a ’s l e f t o v e r s w h i l e w a i t i n g fo r s o m e v i s i t o rs . “ I p a s t e d t o g e t h e r t h e m o r n i n g ’s b re a k fa s t , w h i c h w a s s t i l l t h e re b y c h a n c e , ” h e h a s e x p l a i n e d . Comprising dishes, utensils, food, cigarettes, and a small chair and wood panel, the work is displayed on the wall, where it “ d e f i e s t h e l a w s o f g ra v i t y ” a n d “ t h e v i e w t o w h i c h w e a re a c c u st ome d , ” t h e a r t i st h a s sa i d .

Dropped Cup of Coffee 1967

Claes Oldenburg ( Am e r i c a n , b o r n Sw e d e n 1 9 2 9 ) . D r o pp e d Cup o f C o ff e e : P r e l i m i n a r y s t udy f o r “ Im a g e o f t h e B udd h a P r e a c h i n g ” by F r a n k O ’ H a r a . 1 9 6 7

Pencil, crayon, and wash on paper, 30 1/8 x 22 1/8 " (76.5 x 56.4 cm). Gift of the ar tist, 1967

69

Untitled c. 1972 William Eggleston ( Am e r i c a n , b o r n 1 9 3 9 ) . Untitled from the p o r t f o l i o T r o ubl e d Waters . c. 1972

Dye t rans fer pr i nt, 11 1/2 x 1 7  3/8 " ( 2 9.4 x 4 4.3 c m). G i f t of Caldecot Chub b , 1 9 86

70

William Eggleston ( Am e r i c a n , b o r n 1 9 3 9 ) . M e mp h i s . c . 1 9 7 2

Dye transfer print, printed 1 986, 13 3/16 x 2 0  3/8 " ( 3 3.4 x 5 2.2 c m ) . A c q u i r e d t h r o u g h t h e g e n e ro s i t y o f t h e J o h n E . Galvi n Char i tab le Trust o n b e h a l f o f t h e C r o u s e Fami l y, 1 987

Memphis c. 1972

Untitled Summer 1964

William Gedney ( Am e r i c a n , 1 9 3 2 – 1 9 8 9 ) . U n t i t l e d . Summ e r 1 9 6 4

G el at in s ilver pr i nt, 12 x 8 1/4 " ( 3 0.5 x 20.9 cm). Mr. and Mrs. Jo hn Sp encer Fund, 1969

72

Kitchen, Kensington, California 1968 Chauncey Hare ( Am e r i c a n , b o r n 1 9 3 4 ) . Kitchen, Kensington, California. 1968

G el a ti n s i l ver p ri nt, 8 1/2 x 1 2 " (2 1.6 x 3 0.5 cm ). Pu rcha s e, 1 9 69 Perm i s s i o n to p u b l i s h thi s p ho to g ra p h wa s g ra nted o n the co nd i ti o n tha t i t b e a cco m p a ni ed by the fo l l ow i ng text:

This photograph was made by Chauncey Hare to protest and warn against the growing domination of working people by multinational corporations and their elite owners and manag ers.

Untitled Film Still #84 1980 Cindy Sherman ( Am e r i c a n , b o r n 1 9 5 4 ) . U n t i t l e d F i lm S t i ll #84. 1980

G el at in s ilver pr i nt, 7 1/2 x 9 7/16 " (1 9.1 x 24 c m). Purc has e, 1 995

74

Blonde/ Red Dress/ Kitchen 1978

Laurie Simmons ( Am e r i c a n , b o r n 1 9 4 9 ) . B lo n d e / R e d D r e s s / Kitchen from the series Interiors. 1978

Silver dye bleach print, 3 1/4 x 5" (8.3 x 12.7 c m). Joel and Anne Ehre nkranz Fund, 1994

Since the mid-1970s Simmons has constructed and photographed d o l l h o u s e s c e n e s t h a t re f l e c t o n a n d c r i t i q u e t h e c u l t u re o f d o m e s t i c i t y. “ S e t t i n g u p s m a l l ro o m s w i t h d o l l s i n t h e m w a s a way for me to experience photography without taking my camera ou t t o t h e st re e t , ” sh e h a s sa i d o f t h i s wor k . “ . . . T h e c h a i rs, t h e foo d , t h e st ove , t h e si n k , t h e woma n . I l i ke t h e way th ey a ll o c c u py t h e s a m e i m p o r t a n c e i n t h e p i c t u re . I l i k e t h e way, i n that kitchen, it’s always five after six. It’s always the dinner hour. I see these pictures as being a little lonely, like where is the rest of the world, where are the other people, where’s the rest of the family? . . . It’s interesting for me that a picture can be so colorful a n d so br ig h t a n d so v i va c i o u s a n d so l on e l y a t t h e sa me ti me .”

To Make Meringue . . . 1998 D av i d S h r i g l e y ( B r i t i s h , born 1968). To Make Meringue You Must Beat the Egg Whites Until They Lo o k L i k e T h i s . 1 9 9 8

A r t i s t ’s b o o k , c o v e r : 9 7/16 x 8  1/8 " ( 24 x 2 0.7 c m ) . Pu b lish e r : G a l l e r i N i c o l a i Wa l l n e r, C o p e n h a g e n . Ed it ion : 2,000. A n ony m ou s g if t , 2 002

Untitled 1984-87 Mary E. Frey ( Am e r i c a n , b o r n 1 9 4 8 ) . Untitled from the series Real Life Dramas. 1984–87

C h rom og enic co lor pr i nt, 24 x 20 " ( 61 x 5 0.8 c m). G i f t o f the p h ot og rap h er, 1987

Fork in Refrigerator 1975 James Casebere ( Am e r i c a n , b o r n 1 9 5 3 ) . Fork in Refriger ator . 1975

G e la t in silve r p r in t , 9  3/8 x 6  5/16 " ( 2 3.8 x 1 6 c m ) . Fra c t ion a l a n d p rom ise d g if t of D av id Te ig e r, 2 006

77

The Toaster 1976 Mac Adams ( Am e r i c a n , b o r n 1 9 4 3 ) . The Toaster. 1976

G el at in s ilver pr i nt s, ea c h : 28 3/4 x 32 7/8 " ( 73 x 83.5 cm ) . G i f t o f t h e p h ot og rap he r, 1992

78

Untitled 1980

James Rosenquist ( Am e r i c a n , b o r n 1 9 3 3 ) . Untitled. 1980

O il on c a nva s, 6 ' 6  1/8 " x 6 6 " (1 9 8.4 x 1 67.6 c m ) . G if t o f Philip Johnson, 1998

Auden 1988 Philip-Lorca diCorcia ( Am e r i c a n , b o r n 1 9 5 3 ) . Aud e n . 1 9 8 8

C h rom og e n ic c olor p r int , 1 5  3/8 x 2 2  7/16 " ( 39 x 57 cm) . G i f t o f C a ro l a n d A r t h ur G old b e rg, 2 001

Anna Blume (German, born 1937). Bernhard Blume (German, born 1937). Kitchen F r e n z y. 1 9 8 6

Gelatin silver prints, ea c h : 66  15 /16 x 42 1/2 " (170 x 1 0 8 c m ) . A c q u i re d t h ro u g h the generosity of the C o n t em p orar y Ar t s Counc i l o f The Mus eum of Mo de r n A r t, 1 989

80

Kitchen Frenz y, st a rr i n g A n n a B l u me i n t h e g u i se o f a ste reo t y p i c a l h o u s e w i fe , i s m a r k e d by a n i ro n i c s e n s e o f h u m o r t h a t i s p a r t s u r re a l a n d p a r t b u r l e s q u e . T h e s e q u e n c e s h o w s a d ome st i c i n t e r i o r ru n a mo k , w i t h p o t a t o e s f l y i n g o f t h e i r ow n vo l i t i on a t a l l a n g l e s. T h e t i t l e , a p u n on t h e c o n d i t i on kn ow n a s “ p r i s o n f re n z y ” — t h e i n s a n i t y t h a t s e t s i n w h e n i n m a t e s a re i m p r i s o n e d fo r l o n g p e r i o d s o f t i m e — w r y l y p l ays w i t h t h e d a i l y r i t u a l s o f t ra d i t i o n a l s u b u r b a n l i fe . T h e a b s u rd a n d h u m o ro u s q u a l i t y o f t h e B l u m e s ’ wo r k s t e m s l a rg e l y f ro m t h e i r o r ig i n a l staging of scenarios that, rendered with the blur of motion, slyly u n d e r m i n e c e r t a i n t i e s a bou t h u ma n re a son a n d so c i al o rder.

Kitchen Frenzy 1986

Jack Lemmon and Shirley MacLaine in The Apartment 1960

B i l ly W i l d e r ( Am e r i c a n , b o r n Au s t r i a - Hu n g a r y [now Poland]. 1906–2002). T h e Ap a r t m e n t . 1 9 6 0 . U SA

35 m m f ilm ( b la c k a n d w h it e , sou n d ) . 1 2 5 m in .

Lucas Samaras ( Am e r i c a n , b o r n G r e e c e 1 9 3 6 ) . Adju s t m e n t . January 19, 1986

Collage of color instant prints ( Pola c olor ER) , 13 7/8 x 15  7/8 " (35.3 x 40.3 cm). Gift of Rober t a n d G ay le G re e nhil, 1992

Adjustment Januar y 19, 1986

H ars h l ig h t i n g , a n u n st a bl e v i ew p oi n t , a n d m a c a bre , i n c on g r u o u s o b j e c t s h a v e t ra n s fo r m e d t h i s k i t c h e n f ro m a c e n t e r o f do m e st i c c o mfor t t o a si t e o f u n e a se , c o n st r i c t i o n , a n d psychological fragmentation. Samaras’s work in various mediums fo cu s e s on a l m ost o bse ssi on a l se l f -o bse r va t i o n . T h i s p o r t ra i t p i c t u r i n g t h e a r t i s t i n h i s N e w Yo r k a p a r t m e n t i s a n u n u s u a l exam p l e of a ma l e a r t i st re p re se n t i n g h i mse l f i n h i s k i t c h e n .

83

Emptying the Fridge 1984

84

Michael Mandel ( Am e r i c a n , b o r n 1 9 5 0 ) . Emp t y i n g t h e F r i d g e . 1984

S ilve r d ye b le a c h p r in t , 1 5  7/8 x 1 9  7/8 " (4 0.6 x 5 0.7 cm) . The Family of Man Fund, 1985

Untitled 2005

D av i d S h r i g l e y ( B r i t i s h , born 1968). Untitled. 2005

On e from an unti tle d por tfol i o of twenty-two woodcuts, s heet: 23 9/16 x 15 11/16 " (59.8 x 3 9.9 c m ) . Pu b l i s h e r : G a l l e r i N i c o l a i Wa l l n e r, C o p e n h a g e n . P r i n t e r : S c h a e fe r G ra f i s k e Vaerksted, Copenhagen. Edition: 20. The A ssoc i ate s Fund, 2 0 0 6

With its door shut, in many homes the bulky form of the refrigera t o r a n d i t s bo u n t i fu l c on t e n t s re c e d e f ro m v i ew, a p pea r i n g to m e r g e s e a m l e s s l y w i t h t h e o v e ra l l i m p re s s i o n o f a m o d e r n f i tt e d k i t c h e n . S h r ig l ey h ig h l ig h t s t h e way i n w h i c h t he c o mplex m e c h a n i c a l w o r k i n g s o f m o s t a p p l i a n c e s a re n o w d i s g u i s e d b y d e s i g n t h a t e m p h a s i z e s t h e i r s y m b o l i c ra t h e r t h a n p ra c t i c a l ro l e i n mo d e r n l i fe . On a n o t h e r l eve l , t h e w h i t e re c t a ng le w i tti ly u p d a t e s Ka z i m i r M a l e v i c h ’s i c o n i c B l a c k S q u a re p a i n t i n g o f 1913 as a statement of existential “nothingness” in twentyf i rst -c e n t u r y c u l t u re .

Colophon

Photograph Credits

Published in conjunction with the exhibition Counter Space: Design and the Modern Kitchen, organized by Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial A ssistant, Depar tment of Architecture and Design, September 15, 2010–May 2, 2011. For fur ther reading and resources, please visit the exhibition’s Web site, at MoMA.org / counterspace.

I n re p ro d u c i n g t h e i m a g e s c o n t a i n e d i n t h i s p u b l i c a t i o n , t h e Museum obtained the permission of the rights holders whenever p o s s i b l e . I f t h e M u s e u m c o u l d n o t l o c a t e t h e r ig h t s h o l d e rs , notwithstanding good- faith effor ts, it requests that any contact i n fo r m a t i o n c o n c e r n i n g s u c h r ig h t s h o l d e rs b e fo r w a rd e d s o that they may be contacted for future editions.

The exhibition is suppor ted by Silestone Quar t z Sur faces.

T h e fo l l o w i n g c re d i t s ( l i s t e d b y p a g e n u m b e r ) a p p e a r a t t h e request of the ar tist or designer or his or her representatives: © 2011 Mac Adams: 78; © 2011 Ar tists Rights Society (ARS), New York /c /o Pictoright, Amsterdam: 7 top left, 13; © 2011 Ar tists Rights Society (ARS), New York /ProLitteris, Zurich: 68; © 2012 Ar tists Rights Society (ARS), New York /SABAM, Brussels: 6 bottom; © 2011 A r t i s t s R ig h t s S o c i e t y ( A R S ) , N e w Yo r k / V G B i l d - Ku n s t , B o n n : 6 t o p , 7 r i g h t , 2 5 b o t t o m ; © 1 9 5 3 B o n n i e r C o r p o ra t i o n . R e p ro d u c e d w i t h p e r m i s s i o n v i a C o p y r ig h t C l e a ra n c e C e n t e r : 4 2 – 4 3 ; © 2 0 11 Anna and Bernhard Blume: 80–81; © 2011 James Casebere: 7 7; © 2011 Philip-Lorca diCorcia, cour tesy David Zwirner, New York: 80; © 2011 William Eg gleston: 70, 71; © 2011 Mar y Frey: 76 b o t t o m ; W i l l i a m G e d n e y C o l l e c t i o n , D u k e U n i v e rs i t y D a v i d M . R u b e n s t e i n R a re B o o k & M a n u s c r i p t Li b ra r y : 72 ; Cour tesy of T he Bancroft Librar y, University of California, Berkeley: 73; © 2012 Rolf Harder: 62; © 2011 Michael Mandel: 84; © 2011 Man Ray Trust/Ar tist Rights Society (ARS), New York /ADAGP, Paris: 2 7; © James Rosenquist/ Licensed by VAG A, New York, NY: 7 9; © 2 0 11 Lu c a s S a m a ra s : 8 3 ; © 2 0 11 C i n d y S h e r m a n : 74; © 2 0 11 D av i d S h r ig l ey : 76 t o p , 8 5 ; © 2 0 11 La u r i e S i m m o n s : 7 5 ; P h o t o g ra p h by J o s e p h Ja n n ey S t e i n m e t z , c o u r t e sy o f t h e S t a t e A rc h i ve s o f Fl o r i d a : 4 8; © U n i ve rs i t y o f A p p l i e d A r t s , V i e n n a : 2 2 t o p ; © 2 0 1 2 T h e A n d y Wa r h o l Fo u n d a t i o n fo r t h e V i s u a l A r t s , I n c . /A r t i s t s R ig h t s S o c i e t y ( A R S ) , N e w Yo r k : 5 8 - 5 9 ; © 2 0 11 Fra n k L l o y d W r ig h t Fo u n d a t i o n / Ar tists Rights Society (ARS), New York: 7 bottom

This publication was made possible by the Nancy Lee and Perr y Bass Publication Endowment Fund. Produced by the Depar tment of Publications, The Museum of Modern Ar t, New York Edited by Rebecca Rober ts Designed by Triboro Production by Marc Sapir with Tiffany Hu Printed and bound by CS Graphics Pte Ltd., Singapore This book was typeset in Brauer Neue and Titling Gothic. The paper is 135 gsm Gardapat Kiara. Published by The Museum of Modern Ar t 11 West 53 Street New York, New York 10019-5497 w w w.moma.org © 2011 The Museum of Modern Ar t, New York . Dig ital edition 2012. All rights reser ved. Individual works of ar t and design appearing herein may be protected by copyright in the United States or elsewhere and thus may not be reproduced in any form without the permission of the rights holders. Librar y of Congress Control Number: 2010942821 ISBN: 978-0-87070-808-4 Distributed in the United States and Canada by D.A.P/ Distributed Ar t Publishers, Inc., 155 Sixth Avenue, 2nd floor New York, New York 10013 w w w.ar tbook .com Distributed outside the United States and Canada by Thames & Hudson Ltd., 181 High Holborn, London WC1V 7QX w w w.thamesandhudson.com Printed in Singapore

Photograph cour tesy Architecture and Design Study Center, T h e M u s e u m o f M o d e r n A r t : c o v e r, 2 5 ; b y M a c A d a m s : 7 8 ; b y Department of Imaging Services, The Museum of Modern Art: 6 both, 7 top left/right, 9, 12, 13, 16, 17 both, 19, 21, 24, 25, 2 7 – 3 0 l e f t / b o tt o m , 3 1 b o t h , 3 3 – 3 5 b o tt o m , 3 8 a l l , 4 0, 4 4 – 4 6, 49–53, 57, 60–61, 63, 65, 70, 74, 76 top, 80–81, Jon Cross and Erica Staton: 14, 15, 20, 23, 32, 34 top, 36, 39, 4 3 bottom, 4 7, 5 8 a l l , 6 4, R o b e r t G e r h a rd t : 4 8, T h o m a s G r i e s e l : 5 6, 7 5, Kate Keller: 6 8, 6 9, Mali Olatunji: 7 bottom, 26, John Wronn: 42–4 3, 62, 71–73, 76 bottom, 7 7, 7 9, 84, 85; cour tesy Film Stills A rc h i ve , T h e M u s e u m o f M o d e r n A r t , N ew Yo r k : 4, 6 6, 8 2; c o u r t e s y S c h l e s i n g e r L i b ra r y, R a d c l i f fe I n s t i t u t e , H a r v a rd University/by Under wood & Under wood: 8 top ; cour tesy Time Life Pictures/Getty Imag es/by Howard Sochurek: 54–55; cour tesy University of Applied Ar ts, Vienna: 22 top Unless otherwise noted, works of ar t and design appearing herein are in the collection of The Museum of Modern Ar t, New York . Cover: Barnes & Reinecke (USA, est. 1934). Future Kitchen Scale Model. c. 1946. Gelatin silver print, 8 x 10" (20.3 x 25.4 cm). Photograph by Charles McKinney. Architecture and Design Study Collection Image p. 22 (bottom) translated and redrawn by Brigitta Bungard Texts cour tesy the Depar tment of Photography (pp. 75 and 81) and the Depar tment of Painting and Sculpture (p. 65), The Museum of Modern Ar t, New York

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Acknowledgments

A s o n e o f t h e M u s e u m ’s s e c u r i t y g u a rd s a p t l y o b s e r v e d o n o p e n i n g d ay, C o u n t e r S p a c e : D e s ig n a n d t h e M o d e r n K i t c h e n i s a big exhibition in a small galler y. We are so grateful to the ver y m a ny p e o p l e w h o h e l p e d u s re a l i z e o u r a m b i t i o u s p l a n s . Fo r v i t a l s u p p o r t we w i s h f i rs t t o t h a n k G l e n n D. Low r y, director of The Museum of Modern Ar t, and the Museum’s b o a rd o f t ru s t e e s . We a l s o t h a n k t h e ex h i b i t i o n ’s s u p p o r t e r, Sile s ton e Quar t z Sur faces. We a re g ra t e fu l t o t h e l e a d e rs o f t h e v a r i o u s t e a m s a t t h e Museum that helped make Counter Space happen, especially Ramona Bannayan, Deputy Director for Exhibitions and Collections; Maria DeMarco Beardsley, Coordinator of Exhibitions; J e r r y N e u n e r, D i re c t o r, D e p a r t m e n t o f E x h i b i t i o n D e s i g n a n d Production; Julia Hoffmann, Creative Director of Adver tising and Graphic Design; Wendy Woon, Deputy Director for Education; and Rob Jung, Manag er, and Sarah Wood, A ssistant Manag er, Ar t Handling and Preparation. From our core exhibition team we thank, in par ticular, Lana Hum, P ro d u c t i o n M a n a g e r, D e p a r t m e n t o f E x h i b i t i o n D e s ig n a n d Production, whose positive spirit and tireless dedication created a beautiful installation design from our sometimes kooky ideas; Randolph Black, A ssociate Coordinator of Exhibitions, who was a k e e n a n d g ra c i o u s e x h i b i t i o n m a n a g e r ; a n d S t e v e n W h e e l e r, A s s i s t a n t R e g i s t ra r, w h o p ro v i d e d ra z o r - s h a r p 
 re g i s t ra r i a l oversight with great patience. Special thanks are extended also to our delightful intern Juliana Bar ton, who tackled even wearisome projects with enthusiasm and professionalism. In the Depar tment of Architecture and Design we are grateful for the suppor t of Barr y Berg doll, Chief Curator, and the en tire s t a ff. We g i ve s p e c i a l t h a n k s t o Pa u l G a l l oway, S t u d y C e n t e r Supervisor; Whitney May, Depar tment Assistant; Pamela Popeson, P re p a ra t o r ; E m m a P re s l e r, D e p a r t m e n t M a n a g e r ; a n d M a rg o t We lle r, Curatorial A ssistant .

C o u n t e r S p a c e w o u l d h a v e b e e n a m u c h n a r ro w e r e x h i b i t i o n w i t h o u t a s s i s t a n c e f ro m t h e M u s e u m ’s o t h e r c u ra t o r i a l depar tments. We are grateful to our g enerous colleagues who facilitated crucial internal loans: Kathy Curr y, Depar tment of D ra w i n g s ; R a j e n d ra R oy a n d Ka t i e Tra i n o r, D e p a r t m e n t o f Fi l m ; B a r b a ra Lo n d o n a n d Ka t e l y n N o m u ra - We i n g ro w, D e p a r t m e n t o f M e d i a a n d Pe r fo r m a n c e A r t ; C o ra R o s e ve a r, D e p a r t m e n t o f Pai nting and Sculpture; Dan Leers and Eva Respini, Depar tment of Photography; and Gretchen Wagner, Depar tment of Prints and Illu strated Books. And, as always, we are indebted to th e e x p e r t t e a m i n t h e D e p a r t m e n t o f C o n s e r v a t i o n , i n c l u d i n g Roger Griffith, Margo Delidow, Lynda Zycherman, Karl Buchberg, Erika Mosier, Scott Gerson, and intern Christian Imhoff. T h e c re a t i o n o f t h i s b o o k w a s a t h r i l l i n g b o n u s , c o n c e i v e d after the exhibition opened. It was edited by the incomparable R e b e c c a R o b e r t s , S e n i o r A s s i s t a n t Ed i t o r, D e p a r t m e n t o f Publications, and designed by Stefanie Weigler and David Heasty of Triboro. We sincerely thank the Depar tment of Pu b l i c a t i o n s for the oppor tunity to do this project, especially our magn a n i m o u s m a n a g e rs , M a rc S a p i r, P ro d u c t i o n D i re c t o r, a n d Kara Kirk, A ssociate Publisher.

We also wish to recognize the contributions of the following p e o p l e i n s i d e a n d o u t s i d e t h e M u s e u m , w i t h t h a n k s : N a n c y Adelson, Michael Alfano, Michele Arms, Karlyn Benson, Sara B o dins on , Anthony Bonino, Sean Brown, Tomasz Choros, Claire Corey, Inva Cota, Margaret Doyle, D’Arcy Drolling er, Jason Fr y, L i b b y H r u s k a , Ti f fa ny H u , M i l a n H u g h s t o n , A n t h o ny J o n e s , Charlie Kalinowski, Rober t Kastler, Tom Krueger, Erik Landsberg, R o s a La s t e r- S m i t h , K i m Lo e w e , N a t h a n i e l Lo n g c o p e , M a r i a Marchenkova, Jonathan Muzikar, Stephanie Pau, Br yan Reyna, R o b e r t o R i v e ra , D a v i d S e n i o r, A l l a n S m i t h , H e i d i S p e k h a r t , Lauren Stakias, Jennifer Tobias, John Tolentino, Harvey Tulcensky, Ya n i k Wa g n e r, M a r k Wa r h a l l , 
 S t e v e We s t , J e f f W h i t e , M a r k Williams, Adam Wojtyna, and John Wood. We extend a special “cheers” to our colleagues who went above a n d b e y o n d fo r C o u n t e r S p a c e : B r i g i t t a B u n g a rd , G ra p h i c D e s ig n M a n a g e r ; E l i z a b e t h R ig g l e , P re p a ra t o r ; H o w a rd D e i t c h , Mike Gibbons, and Lucas Gonzalez, A / V Technicians; and Peter Pe re z , Fo re m a n , and his team in the frame shop.

Vielen Dank to A strid Debus-Steinberg and Mar tina Debus, our friends and true Frankfur t Kitchen exper ts. Finally, thank you to Paul Stir ton and Counter Space– titler Andrew A shwood, brilliant par tners who make ever y thing tickety-boo.

Juliet Kinchin, Curator, and Aidan O’Connor, Curatorial A ssistant Depar tment of Architecture and Design

Trustees of The Museum of Modern Art

D avid R oc kefeller * Honorar y Chairman R o nal d S. La uder Honorar y Chairman R o b er t B. Men s chel* Chairman Emeritus A g nes Gu nd President Emerita D o nal d B . M a rron President Emeritus Je rr y I. Sp eyer Chairman M arie-Josée Kravis President S i d R . Bass Le on D. B l ack M i mi H a as R i c hard E. Sa lomon Vice Chairmen Gl enn D. Lowr y Director Ri chard E. Sa lomon Treasurer James Gara A ssistant Treasurer Patty Lip shut z Secretar y

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Wal l is Anne nb e rg Mari l yn Aris o n C e l e s te Bar to s * S i d R . Bas s Lawre nce B. Be n e n son Le o n D. Bl ack E l i Bro ad* C l ari s s a Al co ck B ronf m a n Do nal d L. Br yant , J r. T ho m as S . C arro l l * Patrici a Phe l p s d e Ci sn e ro s Mrs . Jan C owl e s* * Do ugl as S . C rame r * Pau l a C rown Lewi s B. C u l l m an * * Dav i d De chm an J o e l S . Ehre nk ran z J o hn E l k ann Lau re nce Fink H . R . H . Du ke Fran z of B ava r i a * * Kathl e e n Fu l d Gianl u ig i Gab e tti* H oward Gardne r Mau ri ce R . Gre e n be rg * * Var tan Gre g o ri an A gne s Gu nd Mi m i H a as Al exandra A. H e r z a n Marl e ne H e s s Barb ara Jako b s o n * We rne r H . Kram a rsk y * J i l l Krau s Mari e -J o s é e Krav i s J u ne N o b l e Lark in * R o nal d S . Lau de r T ho m as H . Le e Mi chae l Lynne Do nal d B. Marro n W ynto n Mars al i s * * R o b e r t B. Me ns c h e l * H ar vey S . S hi p l ey M i l l e r Phil ip S . N iarchos Jam e s G. N i ve n Pe te r N o r to n Maja O e ri R i chard E . O l de nbu rg * * Mi chae l S . O v i t z R i chard D. Pars on s Pe te r G. Pe te rs o n * Mrs . Mi l to n Pe trie * * Giffo rd Phil l ip s * E m i l y R au h Pu l it z e r Dav i d R o cke fe l l e r * Dav i d R o cke fe l l e r, J r. S haro n Pe rcy R o c ke fe l l e r Lo rd R o g e rs o f Ri ve rsi d e * *

Ri c h a rd E . Sa l omo n Te d Sa n n * * A n n a M a r i e Sh a p i ro G i l be r t S i l ve r m a n * * A n n a D e ave re Smi t h J e rr y I. Sp eye r Ri c a rd o S t e i n bru c h J oa n n e M . St e r n * Yo sh i o Ta n ig u c h i * * D av i d Te ig e r * * Eug e n e V. T h aw * * J e a n n e C. T h aye r * J oa n Ti sc h * Ed g a r Wa c h e n h e i m III T h oma s W. We i se l G a r y Wi n n i c k

E x Officio G l e n n D. Low r y Director Agnes Gund Chairman of the Board of MoMA PS1 M i c h a e l R . B l o o mbe rg Mayor of the City of New York Ch r i st i n e C. Qu i n n Speaker of the Council of the City of New York J oh n C. Li u Comptroller of the City of New York Sh a ron Pe rcy Ro c ke fe l l e r President of The International Council Fra n ny H e l l e r Zor n a n d Wi l l i a m S. Su sm a n Co-Chairmen of The Contemporar y Ar ts Council

* Li fe Tru st e e * * H o n o ra r y Tru st e e