Against Nature: Domesticating Modernism in Nineteenth-Century Europe
We often think of “modernism” in design as a particular style or look,
exemplified, perhaps, by architecture and objects of the 1920s. This course
instead proposes the nineteenth century as the primary period of modernization
in European design: the time when new materials, technologies and forms were
adopted and adapted to define the experience of modernity. Developing its theme
from Joris-Karl Huysmans’s 1884 novel Against Nature, in which an
aristocratic aesthete withdraws from public life to design an artificial,
interior retreat minutely calculated to affect his sensory experience, the
course invites students to explore modernism in both private and public space
as a nineteenth-century construction, with special emphasis on the interaction
of nature and artifice in design. Like the iron-and-glass greenhouse, whose
unnatural conditions superseded Nature’s laws, the modern homemaker—with access
to new products, as well as new ideas about hygiene, comfort, and
psychology—could design a controlled interior to rival and even replace the outer
world. The selection, arrangement, and cultivation of material objects and
cultural ideas developed, over the course of the century, from privilege to
pastime for middle-class consumers. From the 1820s through the 1890s, the
design of these modern “luxuries” was in constant debate due to conflicting
theories of aesthetics and ethics; the display of novel or exotic objects at
World’s Fairs; growing fascination with machines; and even nostalgia for
regional vernaculars. Addressing this network of ideas, people, and things, we
will investigate nineteenth-century modernism as a spectrum of new formal and
ideological possibilities from which designers and dwellers had to
choose. Focusing on developments in Britain, France, and Germany, we will
consider the negotiation of the natural and artificial in the work of prominent
figures like K. F. Schinkel, Christopher Dresser, and Victor Horta, as well as
lesser-known designers and firms. Primary readings will include texts by
Gottfried Semper, William Morris, and Émile Gallé, as well as accounts of
interiors in period fiction. Readings will intersperse recent critical
literature with historical critiques of nineteenth-century material culture,
such as Walter Benjamin’s Arcades Project. 3 credits.