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design. It featured Morris and his partners’ designs for carefully crafted, simple, and straightforward furniture, textiles, and other decorative art objects. The Wiener Werkstätte (Viennese Workshop), which Hoffmann and others established in 1903, offered elegant, hand-made furniture and accessories in the newest Jugendstil idiom. Frank’s underlying philosophy for Haus & Garten, however, was different from that of either Morris or Hoffmann. Although he and Wlach insisted on the highest standards of craftsmanship, they rejected Morris’s emphasis on medieval styles and Hoffmann’s insistence on matched “suites” furniture; instead, they produced modern furniture and encouraged their clients to choose and match pieces at will, and to arrange them piecemeal in their rooms. But Frank also rejected the hard-edged geometric forms of the Bauhaus and other radical designers, specifying softened contours and ergonomic forms. “A modern living space,” he wrote in the early 1930s, “is not an art work, it is neither conspicuous, nor effective, nor exciting.” Rather, “it is comfortable, without one being able to say why, and the less reason that one can provide, the better it is.”

Frank’s many designs for Haus & Garten included sofas, chairs, tables, beds and desks, as well as lamps, pillows and printed textiles. The last were particularly important for Frank; he was convinced that brightly colored curtains and upholstery would foster a feeling of hominess and interest in modern spaces and domesticate what would otherwise be cold and unappealing rooms. His insistence on doing so brought the ire of many of his modernist contemporaries. When Frank installed a striking array of such fabrics in the interior of his house at the 1927 Weissenhofsiedlung in Stuttgart, an exhibition of modern houses and interiors overseen by Ludwig Mies van der Rohe, he was sharply criticized. (One Dutch architect referred to the spaces mockingly as “Frank’s bordello.”) But Frank remained undaunted, and throughout the later 1920s and Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117
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