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Eero Saarinen and Charles Eames in the Organic Design Competition, Moma, 1941

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Eero Saarinen and Charles Eames in the Organic Design Competition, Moma, 1941 26 TRABAJANDO CON MAQUETAS: EERO SAARINEN Y CHARLES EAMES EN LA ORGANIC DESIGN COMPETITION, MoMA, 1941 WORKING WITH SCALE MODELS: EERO SAARINEN AND CHARLES EAMES IN THE ORGANIC DESIGN COMPETITION, MoMA, 1941 Carlos Montes Serrano, Noelia Galván Desvaux, Álvaro Moral García doi: 10.4995/ega.2019.12684 El presente artículo estudia los This article looks at the background antecedentes de la primera of the first exhibition given over exposición dedicada al diseño de to modern furniture design in mobiliario moderno en América America organized at the Museum organizada en el MoMA en 1941. Se of Modern Art in 1941. It becomes constata que la gran mayoría de los clear that the great majority of diseños premiados en el concurso the designs awarded prizes in the previo a la exposición fueron competition prior to the exhibition elaborados por jóvenes arquitectos, were produced by young architects. ya que eran los únicos que estaban This was because they were the al día de las tendencias modernas only people who were up-to-date derivadas de la Bauhaus o del with modern trends emanating diseño escandinavo. Tanto el from the Bauhaus or Scandinavian organizador, Eliot Noyes, como design. Both the organizer, Eliot los premiados, Eero Saarinen y Noyes, and the prize-winners, Charles Eames, despuntaron tras la Eero Saarinen and Charles Eames, guerra mundial como diseñadores became prominent after the Second de sobresaliente trayectoria World War as designers with profesional. Por último, resulta de outstanding professional careers. interés comprobar el papel que Finally, it is of interest to note the llegaron a alcanzar los prototipos y part played by prototypes and scale maquetas a escala en los procesos models in the processes of furniture de diseño de mobiliario. design. PALABRAS CLAVE: DISEÑO. KEYWORDS: DESIGN. FURNITURE. MOBILIARIO. MAQUETAS. MoMA SCALE MODELS. MoMA expresión gráfica arquitectónica 37 1. Eero Saarinen con la maqueta de una silla 1. Eero Saarinen with a model of a chair Las primeras exposiciones 27 dedicadas al diseño moderno En los últimos años las exposicio- nes de arquitectura han despertado un especial interés como tema de investigación. La razón es obvia; las exposiciones, al igual que suce- de con los concursos o las revistas de arquitectura, son algo más que 1 una nota a pie de página en la his- toria de la arquitectura moderna; constituyen más bien un registro (Fig. 1). Constituyen pues un caso The first exhibitions dedicated extremadamente sensible que nos especial en la historia de la repre- to modern design sentación, en el que los modelos a permite acceder a la difusión de las In recent years architectural exhibitions have formas y de las ideas sobre la arqui- escala y prototipos a tamaño na- aroused particular interest as a topic for tectura y el diseño, en un determi- tural adquieren especial relevancia research. The reason is plain; exhibitions, just nado momento histórico. por encima de los medios gráficos. like competitions or architectural journals, La fácil consulta a través de la Un caso notable que combina are somewhat more than just a footnote in web del archivo histórico de las representación, concurso, exposi- the history of modern architecture. Rather, exposiciones organizadas por el ción y publicación, lo constituye la they constitute an extremely sensitive record MoMA desde su creación en 1929, Organic Design in Home Furnis- permitting access to the spread of forms and ha abierto una nueva vía de estu- hing, promovida por el arquitecto ideas about architecture and design at a given point in time. dio de la difusión de la arquitectura Eliot F. Noyes y patrocinada por The ease of consulting via the Internet the el MoMA en 1941 (Fig. 2). La ex- moderna en los Estados Unidos en historical archive of the exhibitions organized el periodo de entreguerras. ¿Cómo posición tuvo un especial relieve, by the MoMA from its establishment in 1929 no recordar aquí exposiciones tan y puede considerarse como la im- onwards has opened up a new route for influyentes como la dedicada a la pulsora de las nuevas tendencias en studying the diffusion of modern architecture Modern Architecture de 1932, o el diseño que colaborarían en dar in the United States in the inter-war period. It la de Mies van der Rohe de 1947? forma a la imagen doméstica de la is impossible not to recall here exhibitions of Sin embargo, las exposiciones so- American Way of Life de los años such influence as those dedicated to Modern bre diseño de mobiliario moderno de la posguerra y década de los cin- Architecture in 1932, or to Mies van der Rohe apenas han recibido atención por cuenta (Lutz 2012, 63-87). in 1947. However, exhibitions of modern furniture design have received barely any parte de los estudiosos de nuestro La idea de organizar una exposi- attention from Spanish scholars, even though país, a pesar de que en ellas parti- ción sobre el diseño de mobiliario y well-known architects like Alvar Aalto, Le ciparon con sus diseños conocidos otros objetos para la vivienda mo- Corbusier, Marcel Breuer, Eero Saarinen or arquitectos como Alvar Aalto, Le derna en Estados Unidos tiene su Charles Eames participated in them with their Corbusier, Marcel Breuer, Eero Sa- origen en la creación en marzo de designs. arinen o Charles Eames. 1940 del departamento de Indus- It should be stressed that in designing furniture Interesa destacar que en el dise- trial Design del Museo. Inicialmen- of some formal complexity architects had to ño de mobiliario de cierta comple- te esta sección estaba comprendida work, not just with sketches and drawings, jidad formal, los arquitectos debían en el departamento de Architecture but with scale models, small prototypes with trabajar, además de con bocetos y and Industrial Art. De hecho, ade- which they could check and progressively adjust the ergonomic and aesthetic features of más de las exposiciones dedicadas dibujos, con maquetas a escala, their products (Fig. 1). Hence this is a special pequeños prototipos con los que ir a la arquitectura, el citado depar- case in the history of representation, in which comprobando y ajustando progre- tamento ya había montado algu- scale models and full-size prototypes take sivamente las cualidades ergonó- nas exposiciones para mostrar al on particular relevance, greater than that of micas y estéticas de sus productos mundo americano la importancia graphic media. 2. Edward McKnight Kauffer, Cubierta del catálogo, 1941 3. Eliot Noyes, 1940 28 One striking instance combining representation, competition, exhibition and publication was Organic Design in Home Furnishings, promoted by the architect Eliot F. Noyes and sponsored by the MoMA in 1941 (Fig. 2). This exhibition achieved especial prominence, and may be considered as driving new tendencies in design that would work together to shape the image of homes in the American Way of Life of the post-war years and the 1950s (Lutz 2012, 63-87). The idea of organizing an exhibition on the designing of furniture and other objects for 2 the modern home in the United States had its origin in the setting up in March 1940 of the department of Industrial Design of creciente que estaba alcanzando el and Furniture, posiblemente la me- the Museum. Initially, this section was nuevo diseño en la vida cotidiana, jor muestra del arquitecto finlandés incorporated within the department of todo ello de acuerdo con las ideas realizada hasta entonces en Europa Architecture and Industrial Art. In fact, this fundacionales del Museo: “to en- y América, y en diciembre de la latter department had already held not just retrospectiva The Bauhaus 1919– exhibitions given over to architecture, but also courage and develop the study of several shows intended to demonstrate to modern arts and the application of 1928, anunciada por el MoMA the American public the growing importance such arts to manufacture and prac- como especial acontecimiento. being attained by new design in daily life. tical life” (Kaufman 1946). All this was in accordance with the ideas of La primera exposición fue co- the founders of the Museum: “to encourage misionada en 1933 por Philip Jo- Eliot Noyes y la creación del and develop the study of modern arts and the hnson, por entonces director del departamento de Diseño application of such arts to manufacture and departamento de Architecture and Con la apertura de la nueva sede practical life” (Kaufman 1946). Industrial Arts, en continuidad a la del MoMA en mayo de 1939, se The first exhibition was commissioned in 1933 by Philip Johnson, at that time director of the dedicada a la arquitectura un año abrió una nueva época más expan- department of Architecture and Industrial antes. Llevaba por título Objects siva en actividades y colecciones. A Arts, as a follow-up to the event dedicated to 1900 and Today y pretendía mos- comienzos de 1940 Alfred H. Barr architecture a year before. Its title was Objects trar el gran cambio que se había Jr., primer director del Museo, se 1900 and Today and it aimed to highlight producido en el diseño industrial dirigió a Gropius para que le reco- the major changes that had taken place in durante el primer tercio de siglo. mendase a algún joven graduado industrial design during the first third of the En abril de 1934 Johnson orga- en la Harvard Graduate School of century. In April 1934 Johnson organized a nizó una muestra algo más ambi- Design con el fin de incorporarle al rather more ambitious show, on Machine Art, ciosa, la Machine Art, dedicada a departamento de diseño del Museo, given over to utilitarian and industrial objects in which a sensitive beholder might find high objetos utilitarios e industriales en que se deseaba potenciar inspirán- standards of quality and beauty.
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