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About Art
Deco Information
Britannica Concise
Encyclopedia:Art
Deco
Movement in design, interior decoration, and architecture
in the 1920s and '30s in Europe and the U.S. The name derives from the
Exposition Internationale des Arts Décoratifs et Industriels Modernes in
Paris in 1925. Its products included both individually crafted luxury
items and mass-produced wares, but, in either case, the intention was to
create a sleek and antitraditional elegance that symbolized wealth and
sophistication. Influenced by Art Nouveau, Bauhaus, Cubist, Native
American, and Egyptian sources, the distinguishing features of the style
are simple, clean shapes, often with a "streamlined" look; ornament
that is geometric or stylized from representational forms; and unusually
varied, often expensive materials, which frequently include man-made
substances (plastics, especially bakelite; vita-glass; and
ferroconcrete) in addition to natural ones (jade, silver, ivory,
obsidian, chrome, and rock crystal). Typical motifs included stylized
animals, foliage, nude female figures, and sun rays. New York City's Rockefeller
Center (especially its interiors supervised by Donald Deskey), the Chrysler
Building by William Van Alen, and the Empire
State Building by Shreve, Lamb & Harmon are the most monumental
embodiments of Art Deco.
For more information on Art Deco, visit Britannica.com.
Art Encyclopedia:Art
Deco
Descriptive term applied to a style of decorative arts that was widely
disseminated in Europe and the USA during the 1920s and 1930s. Derived
from the style made popular by the Exposition Internationale des Arts
D?coratifs et Industriels Modernes held in Paris in 1925, the term has
been used only since the late 1960s, when there was a revival of
interest in the decorative arts of the early 20th century. Since then
the term 'Art Deco' has been applied to a wide variety of works produced
during the inter-war years, and even to those of the German Bauhaus.
But Art Deco was essentially of French origin, and the term should,
therefore, be applied only to French works and those from countries
directly influenced by France.
Descriptive term applied to a style of decorative arts that was widely
disseminated in Europe and the USA during the 1920s and 1930s. Derived
from the style made popular by the Exposition Internationale des Arts
D?coratifs et Industriels Modernes held in Paris in 1925, the term has
been used only since the late 1960s, when there was a revival of
interest in the decorative arts of the early 20th century. Since then
the term 'Art Deco' has been applied to a wide variety of works produced
during the inter-war years, and even to those of the German Bauhaus.
But Art Deco was essentially of French origin, and the term should,
therefore, be applied only to French works and those from countries
directly influenced by France.
Modern Design
Dictionary:Art Deco
The term ‘Art Deco’ has been used to describe design and architecture
from the 1910s, 1920s, and 1930s that was characterized by bright
colours, geometric shapes, and decorative motifs deriving from a wide
range of visual sources from the early years of the 20th century. The
term—also known as moderne or modernistic—was an
abbreviation of the French words ‘art’ and ‘décoratif’, themselves
derived from the Paris
Exposition des Arts Décoratifs et Industriels of 1925. However, the
stylistic label ‘Art Deco’ only entered common currency in the
mid-1960s when the Musée des Arts Décoratifs in Paris mounted an
exhibition entitled Les Années ‘25’: Art Déco/Bauhaus/Stijl/L'Esprit
Nouveau (1966). It was given a further boost by the publication of a
book by Bevis Hillier, Art Deco of the 20s and 30s (1968).
Typical Art Deco motifs included flat abstracted garlands of flowers,
flowing fountains, running deer, chevrons, lightning flashes, and
sunbursts. They could be applied to anything from furniture,
firescreens, and fountain pens to teacups, textiles, and toasters. In
the 25 years or so of its duration, the Deco style may be seen to have
made the transition from the sophisticated and somewhat elitist world of
cocktail parties in the 1920s to the mass-produced, glitzy, and
accessible world of the suburban cocktail cabinet of the 1930s.
The
visual origins of the style included Cubist painting (particularly the
more two-dimensional forms of Synthetic Cubism), the vivid colours
associated with Matisse and the Fauves, the abstracted botanical and
zoological forms explored by Raoul Dufy and members of Paul Poiret's
Atelier Martine. Léon Bakst's striking and often orientalizing stage
and costume designs for Diaghilev's Ballets Russes were also powerful
ingredients. A widespread interest in ethnography, ‘primitivism’, and
the collecting of ‘primitive’ artefacts in the early years of the 20th
century also informed many designers' use of exotic woods, snakeskin,
ivory, and other materials drawn from the French colonies. However, an
interest in a rather more rectilinear and structured use of form and
ornamentation was at the root of other strands of Deco. This stemmed
from the work of Charles Rennie Mackintosh
and designers associated with the early phases of the Wiener
Werkstätte, particularly Josef Hoffmann
and Koloman Moser.
A further boost to the rather geometric structure of many Deco designs
was given by Egyptian motifs with the opening of Tutankhamun's Tomb in
1922, as well as the widespread use of stencil techniques which
underpinned many cheaper wallpaper, logo, and trademark designs. The
nationalistic heritage of 18th-century design and ornament was a further
significant stylistic sourcebook for French artistes-décorateurs,
particularly furniture makers, as the 1925 Paris Exposition had been
conceived as an important international stage for the work of the
country's best designers. Although the Exposition had originally been
intended to bring together industry and artistic endeavour, most of the
works on display celebrated luxury and expense, features that
characterized much of the work of members of the Société
des Artistes Décorateurs (SAD) who held pride of place. Largely
geared to catering for the affluent tastes of an affluent urban
cultural elite the Société's leading figures included Jacques-Émile
Ruhlmann, Jean Dunand, René Lalique,
Louis Süe, and André Mare.
The dissemination of French
decorative art was aided by the launching of a number of French luxury
liners such as the Paris (1921), the Île de France (1927),
and the Normandie (1935). Like major international exhibitions
these floating palaces were symbols of national prestige. Often
subsidized by the French government they afforded significant
opportunities for French artistes-décorateurs to bring their work to an
international, often wealthy, transatlantic travelling public. Important
too in transmitting many of its features was the increasingly powerful
and popular medium of film, especially the output of Hollywood, which
often drew on Art Deco as a basis for its most striking sets. Pivotal in
this were the highly glamorous sets overseen by art directors such as
Cedric Gibbons of MGM (including Our Dancing Daughters, 1928, Our
Modern Maidens, 1929, and Our Blushing Brides, 1930) and Van
Nest Polglase of RKO (including the ‘latest idea in interior
architecture for the modern home’ of The Magnificent Flirt, 1928,
Flying Down to Rio, 1933, and Top Hat, 1935). Magazines
such as Vogue and Vanity Fair were further vehicles for
the promotion of stylistic trends, reflected in the design of many other
publications that took on a more contemporary feel, with sans serif
typography and geometric decoration.
In the years following 1925,
the Art Deco style was widely disseminated across Europe and the United
States as well as many other countries including South Africa, India,
China, Australia, and New Zealand. This proliferation was furthered by
the experiences of visitors to the Paris Exposition as well as the
considerable international publicity and comment that it generated.
Although the USA did not participate in the 1925 Exposition Herbert
Hoover, Secretary of Commerce, appointed a commission to report back on
European developments in the decorative arts. The commission consisted
of 108 officials, manufacturers, art guilds, designers, museums,
journalists, and trade associations, including the Furniture Designers
Association, the Society of Interior Decorators, and the Silk
Association of America. Following this, a number of American museums and
department stores mounted exhibitions of French decorative arts. These
built on an interest in European decorative arts that had been growing
through the influence of a number of European designer immigrants to the
Unites States including Josef Urban,
Paul Frankl,
Raymond Loewy,
and Kem Weber.
Equally, quite a number of American designers had visited Europe in the
1920s, including Ruth Reeves,
who had studied with Fernand Léger, Donald Deskey,
Walter Dorwin Teague,
and Russell Wright.
Deco was also an important ingredient of American department store
window displays, such as that by Norman Bel
Geddes for Franklin Simon, New York, which also owed much to the
poster designer A. M. Cassandre.
The style was a characteristic of the interior design of many American
skyscrapers, especially their foyers that often also used indirect
lighting effects in ways that had been seen in interiors at Paris. Deco
patterns were also often found on their exteriors, particularly at the
lower levels when they could be appreciated from the street. New
materials such as Bakelite,
Vitrolite, and chromium plating (See chrome)
were also important ingredients of the style, seen to stunning effect
in the interiors and furniture of Radio City Music Hall in the
Rockefeller Center, New York, coordinated by Donald Deskey in the early
1930s.
Art Deco was also seen in Britain, often in the form of
geometric sunburst motifs found on tea services, garden gates and
fences, stained glass windows in domestic hallways, and radio cabinet
loudspeaker grilles. In addition to enjoying Deco in the luxury film
sets on the cinema screen, the general public also experienced it in the
design of leisure architecture including hotels, theatres, lidos, and
cinemas. Typical of the latter were the interiors and exteriors of the
Odeon cinemas, characterized by the decorative manipulation of abstract
forms, finishes, and colours.
Art Deco also became something of a
critical battleground with Modernist
writers like Le Corbusier writing
in his book L'Art décoratif d'aujourd'hui (1925) that ‘the more
cultivated a people becomes, the more decoration disappears’. For
Corbusier ‘the luxury object is well made, neat and clear, pure and
healthy’, the opposite of the ephemeral sensuosity of Deco. Seemingly
self-indulgent and closely associated with the idea of ‘jazz’ and the
‘jazz age’, writers such as Nikolaus Pevsner
used the idea of ‘jazz’ styling as a term of disapproval. Nor were its
qualities approved of in pro-Modernist circles in the USA including the Museum
of Modern Art, New York, established in 1929. Most of its design
exhibitions of the 1930s were devoted to the work of European
Modernists, following in the aesthetic footsteps of the ‘Machine Art’
Exhibition of 1934, curated by Philip Johnson.
The
revival of interest in Art Deco in the 1960s and 1970s coincided with
an increasing dissatisfaction with the restrictive aesthetic of
Modernism and the more fertile and pluralistic terrain of Postmodernism.
The most thorough and wide-ranging study of the style to date has been
the major publication of Art Deco 1910-1939 (2003) edited by
Charlotte and Tim Benton and Ghislaine Wood, all of whom curated the
groundbreaking accompanying exhibition at the Victoria
and Albert Museum.
Wikipedia:Art
Deco
Art Deco was a popular international art design movement from
1925 until the 1940s, affecting the decorative
arts such as architecture,
interior
design and industrial
design, as well as the visual
arts such as fashion,
painting,
the graphic
arts and film.
At the time, this style was seen as elegant, glamorous,
functional and modern.
The movement was a mixture of many different styles and movements of
the early 20th century, including Neoclassical,
Constructivism,
Cubism,
Modernism,
Art
Nouveau, and Futurism.[1]
Its popularity peaked in Europe during the Roaring
Twenties[2]
and continued strongly in the United
States through the 1930s.[3]
Although many design movements have political or philosophical roots or
intentions, Art Deco was purely decorative.[4]
Art Deco experienced a decline in popularity during the late '30s and
early '40s, but experienced a resurgence with the popularization of graphic
design in the 1980s. Art Deco had a profound influence on many
later artistic movements, such as Memphis
and Pop
art.
Surviving examples may still be seen in many different locations
worldwide, in countries as diverse as China (Shanghai), United
Kingdom, Spain,
Cuba,
Indonesia,
the Philippines,
Argentina,
Romania,
Australia,
New
Zealand, India,
Brazil
and the United States (primarily in Miami,
Los
Angeles and New
York City). Many classic examples still exist in the form of
architecture in many major cities. The Empire
State Building and Chrysler
Building, both in New York City, are two of the largest and
best-known examples of the style. History
After the Universal
Exposition of 1900, various French
artists formed an informal collective known as, La Société des
artistes décorateurs (the society of the decorator artists).[5]
Founders included Hector
Guimard, Eugène
Grasset, Raoul Lachenal, Paul
Bellot, Maurice Dufrêne, and Emile Decoeur. These artists heavily
influenced the principles of Art Deco as a whole.[6]
This society's purpose was to demonstrate internationally the leading
position and evolution of the French decorative arts. They organized the
1925[7]
Exposition
Internationale des Arts Décoratifs et Industriels Modernes
(International Exposition of Modern Industrial and Decorative Art) in
Paris,[8]
which would feature French art and business interests.[6][9]
The terms Style Moderne and Art Deco both derive from the
exposition's title,[3]
though Art Deco was not widely used until popularized by art
historian Bevis
Hillier's 1968 book Art Deco of the 20s and 30s.[10]
In the summer of 1969, Hillier conceived organizing an exhibition
called Art Deco at the Minneapolis
Institute of Arts,[11]
which took place from July to September 1971. After this event,
interest in Art Deco peaked with the publication of his 1971 book The
World of Art Deco, a record of the exhibition.[12]
Sources
The structure of Art Deco is based on mathematical geometric
shapes.[13]
It was widely considered to be an eclectic form of elegant and stylish modernism,
being influenced by a variety of sources. The ability to travel and
excavations during this time influenced artists and designers,
integrating several elements from countries not their own. Among them
were the so-called "primitive" arts of Africa,
as well as historical styles such as Greco-Roman Classicism,
and the art of Babylon,
Assyria,
Ancient
Egypt,[13][14]
and Aztec
Mexico.[1]
Much of this could be attributed to the popular interest in archeology
in the 1920s (eg, the tomb of Tutankhamun,
Pompeii,
the lost city of Troy,
etc). Art Deco also drew on Machine
Age and streamline
technologies[15]
such as modern aviation,
electric
lighting, the radio,
the ocean
liner and the skyscraper
for inspiration.[1]
Streamline
Moderne was the final interwar-period
development, which most thoroughly manifests technology and has been
rated by some commentators as a separate architectural style.[16]
Art Deco design influences were expressed in the crystalline and
faceted forms of decorative Cubism
and Futurism.[17][17]
Other popular themes in Art Deco were trapezoidal,
zigzagged, geometric, and jumbled shapes,[14][18]
which can be seen in many early pieces. Two great examples of these
themes and styles are in Detroit,
Michigan:
the Fisher
Building and the Guardian
Building.[19]
Attributes
Art Deco was an opulent style, and its lavishness is attributed to
reaction to the forced austerity imposed by World
War I. Its rich, festive character fitted it for modern contexts,
including the Golden
Gate Bridge, interiors of cinema theaters (a prime example being
the Paramount
Theater in Oakland,
California)
and ocean
liners such as the Île
de France, Queen
Mary, and Normandie.
Art Deco was employed extensively throughout the United States' train
stations in the 1930s,[20]
designed to reflect the modernity and efficiency of the train. Art Deco
made use of many distinctive styles, but one of the most significant of
its features was its dependence upon a range of ornaments and motifs.[1]
The style is said to have reflected the tensions in the cultural
politics of its day, with eclecticism
having been one of its defining features.[1][14]
In the words of F.
Scott Fitzgerald, the distinctive style of Art Deco was shaped by
'all the nervous energy stored up and expended in the War'.[1][21]
Art Deco has been influenced in part by movements such as Cubism,
Russian Constructivism
and Italian Futurism,[14]
which 'are all evident in Art Deco decorative arts'.[6]
Materials and
design
Art Deco is characterized by use of materials such as aluminium,
stainless
steel, lacquer
and inlaid
wood.[8][13][14]
Exotic materials such as sharkskin (shagreen),
and zebra
skin were also in evidence.[8][14][18][22]
The bold use of stepped forms and sweeping curves (unlike the sinuous,
natural curves of the Art
Nouveau),[13][23]
chevron
patterns, and the sunburst
motif are typical of Art Deco. Some of these motifs were ubiquitous —
for example, sunburst motifs were used in such varied contexts as
ladies' shoes, radiator
grilles, the auditorium of the Radio
City Music Hall, and the spire of the Chrysler
Building.
Streamline
Moderne
A parallel movement called Streamline
Moderne, or simply Streamline, followed close behind. Streamline
was influenced by the modern aerodynamic designs,[13]
including those emerging from advancing technologies in aviation,
ballistics,
and other fields requiring high velocity. The attractive shapes
resulting from scientifically applied aerodynamic
principles were enthusiastically adopted within Art Deco, applying
streamlining techniques to other useful objects in everyday life, such
as the automobile.
The Chrysler
Airflow design of 1933 was commercially unsuccessful[24],
but the beauty of the design, being functional rather than simply
tacked on ornamentation, provided the lead for more conservatively
designed pseudo-streamlined vehicles.
Streamlining quickly influenced American and European automobile
design and changed the look from the rectangular "horseless"
carriages into sleek vehicles with sweeping lines, symmetry,
and V-shapes that added to their mystique of speed and efficiency.[25]
Nash
Motors introduced the modern fully-unitized body (monocoque)
design for the low-price market in 1941[26]
that featured fastback
“Slipstream” models with high prow-like hoods,
and Art Deco "speed lines" in sweeping chrome
grilles
and parallel bar trim.[27]
These aerodynamic-looking designs were applied by automakers and
continued to be popular in the sellers'
market after World
War II.[28]
These "streamlined" forms began to be used in the design of mundane and
static objects such as pencil
sharpeners, refrigerators,[13]
and gas
pumps.[29]
Art Deco celebrates the Machine Age through explicit use of man-made
materials (particularly glass and stainless steel),[13]
symmetry,[23]
and repetition, modified by Asian
influences such as the use of silks and Middle
Eastern designs. It was strongly adopted in the United States
during the Great
Depression for its practicality and simplicity, while still
portraying a reminder of better times and the "American
Dream".[3]
Streamlining was geared towards simplicity, the idea that less is
more. Eliminating elements that cluttered a given building, painting, or
chair was the focus of this new development of streamlining. This
simplicity is portrayed through the use of crisp, symmetrical geometric
forms. Streamlining enables diverse furnishings to coexist seamlessly
with in one space.
Consumer products
Art deco was a popular style used in consumer products such as
furniture, china, lamps, cars, jewelry, watches, ash trays, and more.
Decline and
resurgence
Art Deco slowly lost patronage in the West after reaching mass
production, when it began to be derided as gaudy and presenting a false
image of luxury. Eventually, the style was cut short by the austerities
of World
War II. Before destruction in World War II, Manila
possessed many Art Deco buildings; a legacy of the American colonial
past. A resurgence of interest in Art Deco came first in the 1960s,[8][14][30]
and then again in the 1980s with the growing interest in graphic
design,[8]
where its association with film
noir and 1930s glamour
led to its use in advertisements for jewelry and fashion.[31]
Surviving
examples
Miami
Beach, Florida, has a large collection of Art Deco buildings, with
some thirty blocks of hotels and apartment houses dating from the 1920s
to the 1940s. In 1979 Miami Beach's Art Deco Historic District was
listed on the National
Register of Historic Places. Nearly all the buildings have been
meticulously restored and painted in their original pastel colors.[32]
Los
Angeles, California, is also rich in Art Deco architecture,
particularly along Wilshire
Boulevard, a main thoroughfare that experienced a building boom in
the 1920s. Notable examples include the Bullocks
Wilshire and the Pellissier
Building and Wiltern Theatre, built in 1929 and 1931 respectively.
Both buildings underwent recent restoration. [33][34]
Some of the finest surviving examples of Art Deco art and
architecture are found in Cuba,
especially in Havana.
The Bacardi Building is noted for its particular style,[35]
which echoes the classic themes of Art Deco. The style is expressed in
the architecture of residences, businesses, hotels, and many pieces of
decorative art, furniture, and utensils in public buildings, as well as
in private homes.[36]
Another country with many examples of rich Art Deco architecture is Brazil,
especially in Goiânia
and cities like Cipó
(Bahia),
Iraí
(Rio
Grande do Sul) and Rio
de Janeiro, especially in Copacabana.
Also in the Brazilian Northeast — notably in countryside cities, such
as Campina
Grande in the state of Paraiba
— there is a noticeable group of Art Deco buildings, which has been
called “Sertanejo Art Deco” because of its peculiar architectural
features.[37]
The reason for the style being so widespread in Brazil is its
coincidence with the fast growth and radical economic changes of the
country during 1930-1940. Art deco buildings are also numerous in Montevideo,
Uruguay,
including the iconic Palacio
Salvo, which was South America's tallest building when it was built
in the late 1920s.
Fair
Park, located in Dallas, Texas, stands as one of the largest
collections of Art Deco structures. Much of the Art Deco heritage of Tulsa,
Oklahoma
remains from that city's oil
boom days.[38]
Houston,
Texas
has some surviving buildings, such as the Houston
City Hall, the JPMorgan
Chase Building, Ezekiel
W. Cullen Building, and the 1940
Air Terminal Museum, though many are threatened by modern
development.[39]
In Beaumont,
the Jefferson
County Courthouse, built in 1931, is one of the few Art Deco
buildings still standing in the city. Kyle Block, a city storefront in
downtown Beaumont is a fine example of Zig-Zag Art Deco architecture.
Napier,
New
Zealand, was rebuilt in the Art Deco style after being largely
razed by the Hawke's
Bay earthquake of 3 February 1931. Although a few Art Deco
buildings were replaced with contemporary structures during the 1960s,
1970s and 1980s, most of the centre remained intact for long enough to
become recognized as architecturally unique, and from the 1990s onwards
had been protected and restored. As of 2007, Napier has been nominated
for UNESCO World
Heritage Site status, the first cultural site in New Zealand to be
nominated.[40][41]
Hastings,
New Zealand was aso rebuilt in Art Deco style following the 1931
Hawke's Bay earthquake, and many fine deco buildings survive.
In London, the former Arsenal
Stadium boasts the famous East Stand facade. It remains at the football
club's old home at Highbury,
London
Borough of Islington, which was vacated in the summer of 2006.
Opened in October 1936, the structure now has Grade
II listed status and has been converted into flats. William Bennie,
the man behind the project, famously used the Art Deco style in the
final design which was seen as one of the most opulent and impressive
stands in world football. The London
Underground is also famous for many examples of Art Deco
architecture [42].
Mumbai,
India
has the second largest number of Art Deco buildings in the world after Miami.[43]
In China,
at least sixty Art Deco buildings designed by Hungarian architect Laszlo
Hudec survive in downtown Shanghai.[citation
needed]
Kansas
City is home to the Kansas
City Power and Light Building which completed construction in 1931.
This building serves as a great example of the Great
Depression and its effect on Art Deco construction. Original plans
called for a twin tower to be built next to it on its west side.
However, it was never built due to financial constraints. As a result,
the 476 foot tower has a bare west side, with no windows. Other examples
of Art Deco buildings in Kansas City include Municipal
Auditorium (Kansas City), the Jackson
County Courthouse (Kansas City, Missouri), Kansas
City City Hall; and 909
Walnut.
Cincinnati,
Ohio houses the Cincinnati
Union Terminal, an Art Deco style passenger railroad station that
opened in 1933. After the decline of railroad travel, most of the
building was converted to other uses. It now serves as the Cincinnati
Museum Center, which welcomes more than one million visitors per year
and is the 17th most visited museum in the United States.[44][45]
Cincinnati is also home to the Carew
Tower, a 49-story Art Deco skyscraper built in 1931.
In 2005 the largest residential restoration project in the country
and the largest collection of Art Deco buildings in New
Jersey began at the 14 acre site of of the former Jersey
City Medical Center. The conversion of the national historic site
to a residential enclave had as of 2009 been completed on three of the
several buildings on the site.
In Indonesia,
the largest stock of Dutch
East Indies era buildings are in the large cities of Java.
Bandung
is of particular note with one of the largest remaining collections of
1920s Art Deco buildings in the world,[46]
with the notable work of several Dutch architects and planners,
including Albert
Aalbers that added the expressionist architecture style to the Art
Deco by designing the DENIS bank (1936) and renovated the Savoy
Homann Hotel (1939), Thomas
Karsten, Henri Maclaine-Pont, J Gerber and C.P.W. Schoemaker. The
Nederlandsche Handel Maatschappij building (1929), now Museum Bank
Mandiri, by J de Bryun, AP Smiths, and C Van de Linde, and right across
it, the Jakarta
Kota Station (1929) designed by Frans Johan Louwrens Ghijsels, are
the surviving Art Deco buildings in Jakarta.
The Manila
Metropolitan Theater located along P.Burgos Street in Manila
is one of the few existing art deco buildings in the Philippines.
Valencia,
Spain built profusely in Art Deco style during the period of
economic bounty between wars in which Spain remained neutral.
Particularly remarkable are the famous bath house Las Arenas, the
building hosting the Rectorship of the University
of Valencia and the cinemas Rialto (currently the Filmoteca de la Generalitat
Valenciana), Capitol (reconverted into an office building) and
Metropol.
Africa's
most celebrated examples of art deco were built in Eritrea
during Italian
rule. Many buildings survive in Asmara,
the capital, and elsewhere. Also there are many buildings in downtown
Casablanca, Morocco's economic capital.
Finally, one of the most famous surviving examples of the Art Deco
style is the famous RMS
Queen Mary, which is currently moored in retirement in Long
Beach, California as a floating museum and hotel, a true lasting
reminder to the past glory of the once numerous trans-Atlantic ocean
liners, and to the Art Deco period.
Influences
The distinctive style of Art Deco has been echoed in many similar
movements since its early decline.[8]
Art Deco influenced later styles such as Memphis
and the Pop
art movement.[13]
It also had an effect on post
modern architecture and styles, even through to the late 1970s.[8]
Art Deco has also had a marked influence on contemporary design.[3]
House
design in the United Kingdom
During the 1930s, Art Deco had a noticeable influence on house design
in the United Kingdom,[14]
as well as the design of various public buildings.[8]
Straight, white-rendered house frontages rising to flat roofs, sharply
geometric door surrounds and tall windows, as well as convex curved
metal corner windows, were all characteristic of that period.[30][47][48]
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