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WOMEN and MODERNITY in INTERIOR DESIGN: a LEGACY of DESIGN in SYDNEY, AUSTRALIA from the 1920S to the 1960S

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WOMEN and MODERNITY in INTERIOR DESIGN: a LEGACY of DESIGN in SYDNEY, AUSTRALIA from the 1920S to the 1960S WOMEN AND MODERNITY IN INTERIOR DESIGN: A LEGACY OF DESIGN IN SYDNEY, AUSTRALIA FROM THE 1920s TO THE 1960s Carol A. Morrow A THESIS SUBMITTED TO THE FACULTY OF THE BUILT ENVIRONMENT IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF NEW SOUTH WALES SYDNEY, AUSTRALIA © Carol A. Morrow 2005 ABSTRACT This thesis argues that women were seminal to the development of interior design as a discipline and profession in Sydney, Australia. Covering the period from the 1920s to the 1960s, this study identifies Thea Proctor, Nora McDougall, Margaret Lord, Phyllis Shillito and Mary White as foundational leaders who progressively advanced interior design in Sydney through individual and collective understandings of design. Focussing on their contributions to this development, this study explains complex interrelationships between women and modernity in interior design. This emergence of the discipline and profession in Sydney situates the initiatives of these five women at a transitional phase of the field’s global development when ‘interior decoration’ is challenged by modern attitudes and artistic theories of ‘design’. Working as individuals, Proctor and her successors advance the profession—previously characterised as a ‘natural’ pursuit for women of ‘taste’ and ‘style’—by their artistic, rational and practical approaches to interior design. At a time when no distinct discipline exists in Sydney, the women offer instruction and forge new directions by reformulating previous overseas traditions: incorporating a wide-range of aesthetic and theoretical conceptions of design, demonstrating common and different approaches to practice, and integrating changes in requisite knowledge and skills in response to their times. The women’s programs are conventional and progressive, common and diverse, universal and particular in content and meaning. Working within a variety of settings, the women importantly establish professional jurisdiction situating interior design in a modernist context. Significantly, their contributions challenge past readings that have diminished the early women of interior design, and at the same time, embody all the conflicts, ruptures, paradoxes and contradictions that are cental to modernity. This research redresses the lack of institutional history of interior design in Sydney and links theories of modernism and modernity to issues of gender and profession to explain the women’s significant contributions to interior design at a critical juncture of the field’s development. As such, their stories and legacy of design in Sydney contribute to a wider picture of women and modernity in interior design. ii ACKNOWLEDGEMENTS This thesis has taken six years to complete, weathering and benefiting from a move back to my American homeland after residing in Sydney for over twenty years. Therefore, I would like to acknowledge and thank family, friends and colleagues on both continents as well as the Faculty of the Built Environment, University of New South Wales, Sydney, who have given me continued support and encouragement. As principal supervisor during this time, Associate Professor Robert Freestone has provided continual guidance, scholarly advice and focused critique for which I am truly indebted. I also wish to sincerely acknowledge my co-supervisor, Dr. Catherine de Lorenzo, especially for her assistance with the study’s methodology, close reading and constant support and encouragement. During my initial research in Australia, many individuals generously contributed material and personal insights that illuminated this study of five women and the early development of interior design in Sydney. These included: Thea Bryant, Jane Burns, Jill Franz, Bronwyn Hanna, Georgina and Dick Hart, Patricia Horsley, Paul Hogben, Heather Johnson, Jon Lang, Faye Langley, Nancy Marshall, Peter McNeil, John McPhee, Helen Morgan, Cameron Sparkes, Deborah Van der Platt, Harry Stephens and Helen Yoxall. In America, I would like to acknowledge Theodore Barber, Caren Martin, John Turpin, and JoAnn Asher Thompson for further materials and insight. iii TABLE OF CONTENTS ABSTRACT.................................................................................................................ii ACKNOWLEDGEMENTS ......................................................................................iii LIST OF TABLES....................................................................................................vii LIST OF FIGURES.................................................................................................viii LIST OF ABBREVIATIONS ....................................................................................x PART A CHAPTER 1 - INTRODUCTION.............................................................................1 Thesis Statement ...........................................................................................................1 Research Context ..........................................................................................................1 Research Aims and Objectives.....................................................................................5 Research Methodology .................................................................................................7 Data Sources ................................................................................................................12 Chapter Structure.......................................................................................................13 CHAPTER 2 - THEORETICAL FRAMEWORK PART 1: FOUNDATIONAL ISSUES OF GENDER AND PROFESSION ................................................18 Introduction.................................................................................................................18 Critical Studies on Women in Art and Design .........................................................19 Critical Australian Studies on Interior Decoration and Interior Design...............26 Profession and Professionalisation of Interior Design.............................................31 Conclusion ...................................................................................................................37 CHAPTER 3 - THEORETICAL FRAMEWORK PART 2: OVERARCHING ISSUES OF MODERNITY ...........................................................................39 Introduction.................................................................................................................39 Definition and Explanation of ‘Modernisation’ .......................................................41 Definition and Explanation of ‘Modernism’.............................................................53 Definition and Explanation of ‘Modernity’ ..............................................................67 Conclusion ...................................................................................................................75 CHAPTER 4 - HISTORICAL DEVELOPMENT OF INTERIOR DESIGN.....81 Introduction.................................................................................................................81 iv Emergence of Interior Decoration as a Profession...................................................82 Paradigm Shift from Interior Decoration to Interior Design ...............................103 Historical Development of Interior Design Education in Sydney.........................112 Professional Organisations for Interior Design in Australia ................................121 Conclusion .................................................................................................................126 PART B CHAPTER 5 - THEA PROCTOR ........................................................................131 Introduction...............................................................................................................131 Biographical Background and Basis of Authority .................................................132 Activities and Participation in Interior Decoration and Design ...........................143 Values, Beliefs and Philosophy of Design................................................................155 Contribution to Professional Development.............................................................160 Conclusion .................................................................................................................163 CHAPTER 6 - NORA McDOUGALL ..................................................................166 Introduction...............................................................................................................166 Biographical Background and Basis of Authority .................................................167 Activities and Participation in Interior Design ......................................................171 Values, Beliefs and Philosophy of Design................................................................184 Contribution to Professional Development.............................................................199 Conclusion .................................................................................................................201 CHAPTER 7 - MARGARET LORD ....................................................................205 Introduction...............................................................................................................205 Biographical Background and Basis of Authority .................................................206 Activities and Participation in Interior Design
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