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Caption : Modern kitchen. Original artwork.
Creator English School (20th century)
URL: The Ideal Home Exhibition – Historical articles and illustrationsHistorical articles and illustrations | Look and Learn
Found in : 17 June 2021
[Photograph]

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Edward Hollies, reconstructing histories

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Architecture’s new confounds are not just making buildings visible but are encouraging them to find ways to make perception enter the realm of experience rather than vision, to make images that produce material impressions, to make experience that is vivid.

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Caption :The Ideal Home Show at Earls Court in 2012
Creator: Philip Jeffrey
Url : Earls Court Exhibition centre (geograph 2871555) - Ideal Home Show - Wikipedia
Created : 28 March 2012
[Photograph]

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Le Corbusier’s free facade, for example, was free from conventional rules of architectural composition governing facade design. With walls no longer the primary means of support, and corners
no longer requiring reinforcement, windows could stretch out and deviate from structural grids just as the
outer skin—now mere insulation—could hang, free, like a curtain. It has always struck me as ironic that modernist exteriors were called curtain walls, as curtains generally belong to the purview of the interior(which every decent modernist tried to make people
believe really wanted to be an exterior, a place of uninterrupted and democratic movement, a utopia in short) and to interior decorators in particular (which every decent modernist wanted not to be). But the irony of the term curtain wall, like any good cliché, has something
self-evident to hide, which in this case is that the free facade is not free at all but rather is tethered to the interior; Le Corbusier’s free facade functioned primarily to represent the interior’s open plan and to render that plan universal by bringing it to the outside. The facade
was not, in this sense, a liberated surface but an outer most layer, a veil that paradoxically served only to reveal
the inside.

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Interior understood independently from how it is used and yet dependent on the material that shape us

Tel aviv museum of art

SIMPLE LINE CAN LEAD TO COMPLEX SHAPES

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POTENTIAL TITLE Tête-à-tête with Ideal Home exhibition.The purpose of Ideal home exhibition.Analysis of the purpose of Ideal home show.Why the  ideal home exhibition is culturally relevant.

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POTENTIAL TITLE Tête-à-tête with Ideal Home exhibition.The purpose of Ideal home exhibition.Analysis of the purpose of Ideal home show.Why the  ideal home exhibition is culturally relevant.

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The essay will include in depth analysis on why the home ideal exhibition was created, how the society responded to the exhibition, how design was perceived when the exhibition was created, investigation on how design in the domestic shaped gender identities.

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Yet as the Tel Aviv Museum of Art sug-
gests, there is freedom to be gained in giving up the whole building and the building as a whole. The doubleness of superarchitecture can only emerge in the presence of at least two not perfectly coincident elements, a twoness that I diagrammed through the interplay of architecture and video because that is where the
development is easiest to see. But superarchitecture can also emerge from within architecture itself, as long as architecture is not conceived as a totality.

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ANALYSIS OF HOME EXHIBITION

The reason why was created?

Why did it become successful?

The popularity of the show when did rise and why ?

How interiors shape us as human being and impact our everyday life?

How design in the domestic shapes gender identities?

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An implication of Williams’s thinking on the history of the notion of nature is that

the basic unit of a human community is constituted by a group of individuals looking at each other, and arranged as a circle forming an inside and an outside. The city form would translate this social arrangement into spatial polarities: the civilized and the wild; the cosy indoors and the great outdoors; environmental conservation and the tragedy of the commons; the insurance policy and the unplanned, unimaginable event defined in legal jargon as act of God; the institution of the contract and the escape route of the force majeure.

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A guest curator wanted to challenge the approach taken to design history. Instead of observing design through the guise of modernist form and function, the curator wanted to incorporate the significance of the designs impact on social relations. Inspired by feminist design historians, the curator also wanted to look at a design’s ‘personalised meaning’ and not simply through the rigid characteristics of professional design critique The curator used all facets of design to decipher the designs effect on the observer, an example being the colours used. The curator believed that the ideal home exhibition presented a diverse socio-economic display of design, unlike many other design exhibitions such as museums of decorative arts like the _V&A_.