The Modernist Home: Domesticity and the Popularisation of the Avant-garde 1927-1951

我的论文，现代主义的家：家庭和前卫的普及，1927-1951，将试图询问三个研究问题。在这一时期，随着生活条件的大规模改善，文学是如何发展的？文学又是如何反映这一点的？与国际风格相关的建筑在多大程度上与国内现代主义的替代方法（例如格鲁吉亚和哥特式复兴的传统主义以及酷儿文化）发生冲突/对话/合作？最后，家居空间如何成为这一时期文学、建筑和视觉艺术跨学科普及的催化剂？这些研究问题是迫切的今天，主要是因为它们涉及到当代的方法来遗产产业和英国的现代主义建筑遗产的问题。主要建筑受到威胁，需要进行历史修复。最近发生的事件，如拆除彼得和艾莉森·史密森的罗宾汉花园和格伦费尔塔火灾，将英国战后的社会住房推回到公众意识的前沿，并强调了更好地理解其建筑和美学根源的必要性。要实现这一目标，理解两次世界大战期间欧洲各地积极讨论的私人生活和公共生活之间的摩擦至关重要。此外，由于我们面临着持续的住房危机，我的论文将提出一个如何与建筑环境，家庭的价值和有争议的家庭性质的问题。由于这是一个合作项目与国民信托的2杨柳路，建筑师埃尔诺金手指的故居，我的论文也将提供一个机会，评论的影响，信托拥有和维护现代主义的财产，如杨柳路约25年后，其收购。 我将应用于这个项目的综合方法论，通过对典型的现代主义建筑及其反文化对手的平衡处理，是对现代主义后期的非传统性主题的一种新颖的方法。我的研究的跨学科性质也将其与该主题的纯文学或建筑学研究区分开来。虽然我将优先考虑一个广泛的和包容性的方法，包括短暂的文本，期刊，杂志，音乐和电影的时期的文化历史，访问国家信托的2杨柳路埃尔诺金手指的小用档案将提供新的贡献，通过以前未发表的材料，随着相关建筑师和国内建筑的档案研究领域。这些不同的来源将被马克思主义和酷儿理论的各个方面联系在一起。这些因素的结合是独特的设计，打开一扇窗户，对非自治的态度。我怀着感激之情感谢那些与我的工作息息相关的基础研究。大卫·斯普尔（David Spurr）的《建筑与现代文学》（Architecture and Modern Literature，2012）阐释了建筑文学作品中丰富的素材，尽管他的作品关注的历史和地理范围远比我自己的要广。像斯普尔一样，我也处理（国内）建筑的文学表现，但我也会考虑文学作为一种国内人工制品，以流行期刊和杂志的形式，在20世纪30年代达到了前所未有的读者群。Lise Jaillant的廉价现代主义（2017），专注于以前有限的先锋派文本的大规模生产版本，如乔伊斯的作品和弗吉尼亚·伍尔夫的作品，在这里形成了一个有益的先例，尽管我的优先事项将是围绕鲜为人知的物质文化，非经典文学人物。当我处理英国晚期现代主义的传统，浪漫和本土化特征时，亚历山德拉哈里斯的浪漫现代主义（2010年）的跨学科折衷主义和散文风格是一个很好的例子。

My thesis, The Modernist Home: Domesticity and the Popularisation of the Avant-garde, 1927-1951, will seek to interrogate three research questions. How did the notion of domesticity evolve according to the mass improvement in living conditions during the period in question, and how was this reflected in literature? To what extent did architecture associated with the International Style come into conflict/conversation/collaboration with alternative approaches to domestic modernism, for example the traditionalism of Georgian and Gothic revival, and queer culture? And lastly, how did domestic space act as an interdisciplinary popularising catalyst for literature, architecture and the visual art in the period? These research questions are urgent today primarily because they relate to contemporary approaches to the heritage industry and the issue of Britain's modernist architectural legacy. Key buildings are threatened and in need of historical rehabilitation. Recent events such as the demolition Peter and Alison Smithson's Robin Hood Gardens and the Grenfell Tower fire have pushed Britain's post-war social housing back to the front of the public consciousness and have highlighted the need to better understand its architectural and aesthetic roots. Understanding domesticity and the friction between private and communal living as it was actively debated across Europe in the interwar period, is vital to achieve this. Further, as we face a continuing housing crisis my thesis will raise questions of how one relates to the built environment, the value of home and the disputed nature of homeliness. As it is a collaborative project with the National Trust's 2 Willow Road, the former home of architect Ernö Goldfinger, my thesis will also provide an opportunity to comment on the impact of the Trust owning and maintaining modernist properties like Willow Road approximately 25 years after its acquisition. The synthetic methodology I will apply to this project, entailed by the balanced treatment of canonical modernist architecture and its counter-cultural antagonists, is a novel approach to the theme of domesticity in the late modernist period. The interdisciplinary nature of my study also sets it apart from exclusively literary or architectural examinations of the topic. Although I will prioritize a broad and inclusive approach to the cultural history of the period including ephemeral texts, periodicals, magazines, music and film, access to Ernö Goldfinger's little used archives at the National Trust's 2 Willow Road will provide fresh contribution to the field through previously unpublished material, alongside archival research into related architects and domestic buildings. This diverse range of sources will be bound together by aspects of Marxist and queer theory. The combination of these elements is uniquely designed to open a window to attitudes towards domesticity. I acknowledge with gratitude foundational studies from which my own work departs. David Spurr's Architecture and Modern Literature (2012) illustrates the wealth of material to be found in literary representations of architecture, though his work focuses on a far broader historical and geographical remit than my own. Like Spurr, I too deal with literary representations of (domestic) architecture, but I will also consider literature as a domestic artifact in the form of popular periodicals and magazines that reached an unprecedented readership in the 1930s. Lise Jaillant's Cheap Modernism (2017), which focuses on mass-produced editions of previously limited-run avant-garde texts such Joyce's Ulysses and the work of Virginia Woolf, forms a helpful precedent here, although my priority will be the material culture surrounding lesser-known, non-canonical literary figures. When I deal with the traditional, romantic, and localized character of late modernism in Britain, the interdisciplinary eclecticism and prose style of Alexandra Harris's Romantic Moderns (2010) is a ke