Modern furniture design after World War I was of three kinds: functionalist modern—progressive, adhering to an aesthetic of the machine and often designed by leading architects; transitional modern, which came to be called contemporary and was infused with elements from the past; and commercial modern, called “Borax” because hawkers of that cleanser used to offer premiums, and the word became associated with extra values which commercial furniture often offered by the manner in which it was advertised, or in overblown forms and gaudy veneers. All furniture design was influenced by the social and economic trends of the era: formal living declined; mechanization of household labour expanded; living spaces shrank, particularly in height; and home entertainment became important. After World War II, especially, people married at a younger age, total population growth accelerated, and a generally rising standard of living was enjoyed by a vastly enlarged middle-income group. Furniture became smaller, lighter, easier to maintain, and more widely distributed. Functionalist modern
About 1925, a new rationality began in furniture design, stimulated by the emergence of progressive experiments typified in the works and theories of the Bauhaus, a revolutionary German school of arts and crafts established in 1919 and staffed by leading architects, designers, and painters until Hitler closed it in 1933. Bauhaus instruction used crafts as experimental techniques and trained students to design for mass production. Low price levels, maximum utility, good quality, and simple, clear forms were considered essentials of well-designed consumer goods. The celebration of modern technology in progressive design was the most effective accomplishment of the Bauhaus. Forms, colours, and materials hitherto confined to shops and laboratories were introduced into homes and offices with programmatic earnestness and considerable stylishness. Tubular chrome-plated metal, black Bakelite, and large unframed planes of glass were typical. Much furniture used at midcentury in reception rooms, terraces, kitchens, or dining alcoves derived from Bauhaus originals. The availability of wood in Scandinavia led, in the 1930s, to similar rational, modern furniture, using a variety of laminating techniques. Related, more ambitious experiments in three-dimensional molding of wood laminates were undertaken in the United States around 1940. Then wartime austerity enforced a salutary simplicity.
After World War II, earlier design activity resumed. Scandinavian designers abandoned advanced technology for a time and launched a victorious campaign for sculptured, solid-wood furniture in matte finishes that notably enlarged the vocabulary of progressive design. Italian furniture was similar in trend, more open to structural and technological experiments but more accented and less acceptable generally. American modern furniture achieved its first international influence in molded plywood and plastic chairs and in semiarchitectural storage units.
Functionalist modern furniture consciously related itself to progressive architecture, which aided its steady growth in the third, fourth, and fifth decades of the 20th century; at the same time it was also encouraged by friendly periodicals, shops, and museums. Educational and cultural agencies earlier in the century had generally opposed modern design, but gradually there was a change in attitude, and by the mid-20th century it was accepted. Transitional modern
Conservative in style (but not imitative), well-constructed, and carefully finished, the best modern furniture earned its reputation of being in good, correct taste. Often relying on handcraft details and on wood, most factories used speeded-up variations of earlier cabinetmaking operations. This, along with the United States’ emphasis on artificially stimulated obsolescence, affected all modern design between World Wars I and II. As in the case of stylistic revivals, favourite sources of inspiration for transitional modern were late 18th- and early 19th-century court and country house furniture, with variations in Chinese and Rococo. This furniture served a wide public that found the avant-garde forms and materials too cold and “clinical.” Commercial modern
Most modern furniture designed between 1930 and 1940 was bulky, bulbous, glowingly coloured, glossily finished, and rich with hardware or shiny fabric. It pleased the public but not critics and connoisseurs. Gradually, and more noticeably after 1945, stylistic details filtered down from more progressive design levels to appear as commercial fads, such as sectional seating and storage units, spidery metal frames, and plastic-shell seats; the Victorian whatnot (set of open shelves for the display of bric-a-brac) was revived, freestanding and rectilinear, as the room divider. Convertible sofa beds and radio and television cabinets were almost all designed in the commercial manner. The innovation of foam upholstery was bitterly fought by union workmen around 1940 but in 15 years had become commonplace in sleeping and seating furniture.
In time a continual flow of new production methods effected basic changes. Lighter masses, thinner silhouettes, and new forms made possible by new materials as well as new technologies seemed to put modern furniture design on the threshold of a new era. By 1970, however, faddism and commercial versions of bizarre and bloated shapes in seating furniture again ushered in a new brand of “Borax.” Edward J. Wormley China
Remarkably little systematic study has been made of Chinese furniture. Its origins remain comparatively obscure, its workshops mostly unrecorded, its designers unknown; consequently, its dating is extremely difficult. Most of the forms of Chinese furniture, such as the low table and the covered bed, are found in the oldest Chinese paintings in existence; the designs have been remarkably conservative throughout the ages.
Chinese furniture can be divided into two main types: lacquered wood pieces either inlaid with mother-of-pearl or elaborately carved, and plain hardwood pieces.
Of the first, almost nothing is known, and dating of pieces is possible only from the designs of decorative motifs, such as dragons and peonies, and from their background motifs. The most important historically in this class are black lacquer pieces inlaid with mother-of-pearl that have been preserved in the imperial repository (Shōsō-in) in Japan from the 8th century. Of the red lacquers, such as seats and tables, the earliest pieces date from the Ming dynasty (1368–1644); their workmanship is characterized by softer contours and freer, more spirited designs than the later pieces of the Qing dynasty (1644–1911/12). These lacquered objects influenced European cabinetmakers.
Plain hardwood furniture is frequently encountered. Its deserved popularity both in China and the West has been won by its classic simplicity, reserved ornament, and lack of pretense. In these products of the finest workmanship, purity of line, plastic strength, and a flawless polish produce a harmonious, solid effect.
horseshoe armchairChinese horseshoe armchair, huanghuali (a type of rosewood), Qing dynasty, late 16th–early 17th century; in the Honolulu Academy of Arts.Photograph by airforceJK. Honolulu Academy of Arts, purchase 1973 (4169.1)
A Chinese house requires less furniture than a Western house. Correspondingly, the types of furniture are fewer, being limited mainly to wardrobes, chests, tables both high and low of all types and shapes (altar and couch tables, for example), stools, beds (sometimes testered with curtains), screens and stools for use by the bed, and chairs.
Although the fundamentals of Chinese joinery must have been formed a millennium before the modern era, the great development in Chinese furniture took place with the introduction of Buddhism from India during the first centuries ce. Before that time the Chinese had sat cross-legged or knelt on the floor or on stools. Buddhism introduced a more formal kind of sitting on stiff, higher chairs with back rests and with or without side arms. The chests and armoires are superb examples of careful joinery and often have finely worked metal mounts that greatly enhance the beauty of their solid design.