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

我的论文，现代主义的家：家庭生活和先锋派的普及，1927-1951，将试图询问三个研究问题。家庭生活的概念是如何随着这一时期生活条件的改善而演变的，这又如何反映在文学中？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发生冲突/对话/合作，例如格鲁吉亚和哥特式复兴的传统主义，以及酷儿文化？最后，在那个时期，家庭空间如何成为文学、建筑和视觉艺术的跨学科普及催化剂？这些研究问题在今天是紧迫的，主要是因为它们涉及到遗产产业的当代方法和英国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大厦火灾，使英国战后的社会住房重新成为公众意识的焦点，并突出了更好地了解其建筑和美学根源的必要性。了解家庭生活以及私人和公共生活之间的摩擦，对于实现这一目标至关重要，因为它在两次世界大战期间在整个欧洲都受到了积极的争论。此外，当我们面临持续的住房危机时，我的论文将提出一个问题，即一个人如何与建筑环境、家的价值和有争议的家的本质联系起来。由于这是一个与国民信托的2柳树路合作项目，建筑师Ernö Goldfinger的故土，我的论文也将提供一个机会来评论信托在收购约25年后拥有和维护像柳树路这样的现代主义财产的影响。我将在这个项目中应用的综合方法，是对规范的现代主义建筑及其反文化对手的平衡处理，是对现代主义后期家庭生活主题的一种新颖方法。我的研究的跨学科性质也使它有别于专门的文学或建筑考试的主题。虽然我将优先考虑一种广泛而包容的方法来研究这一时期的文化历史，包括短暂的文本、期刊、杂志、音乐和电影，但访问Ernö Goldfinger在国民信托柳树路2号的很少使用的档案，将通过以前未发表的材料，以及对相关建筑师和国内建筑的档案研究，为该领域提供新的贡献。这些不同的来源将由马克思主义和酷儿理论的各个方面联系在一起。这些元素的结合是独特的设计，为家庭生活的态度打开了一扇窗户。我怀着感激之情承认我的工作脱离了基础研究。David Spurr的《建筑与现代文学》（2012）阐述了在建筑的文学表现中可以找到的丰富材料，尽管他的作品关注的历史和地理范围比我的作品要广泛得多。像Spurr一样，我也处理（国内）建筑的文学表现，但我也将文学视为一种国内工艺品，它以流行期刊和杂志的形式出现，在20世纪30年代达到了前所未有的读者群。莉斯·贾扬特（Lise Jaillant）的《廉价现代主义》（廉价现代主义，2017）关注的是以前限量发行的先锋派文本的批量生产版本，比如乔伊斯的《尤利西斯》和弗吉尼亚·伍尔夫（Virginia Woolf）的作品，它在这里形成了一个有益的先例，尽管我的重点将是围绕着不太知名、非正统文学人物的物质文化。当我在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（Alexandra Harris）的《浪漫现代主义》（2010）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