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Page 26 text:
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and Saul Edelbaum Otto V. Hula Emil Lowenstein Clarissa Morgan Jeanette Osborn Eleanor Pepper Carl Sigman Konrad F, Wittman Janet M. Armstrong William N. Goodridge Ivan Rigby Morris Zeitlin Read Weber chairman INTERIOR DESIGN— Behind false fronts and other purely decorative architectural fixtures may be found the essence of the structure: that which keeps the ceiling from falling, the plaster on the walls, husbands at home and lamps in the window for prodigal sons. Some call it devastation or desecration. Here, in the fourth-floor alcove, it is commonly termed design. Before penetrating this inner recess of the Art School, send up a prayer or two, and contemplate the model home on your right. Note that the high-piled rugs and low-slung tables eliminate the need for chairs. The unusual lighting effects are achieved through the use of bottled glowworms, tastefully distributed within each room. In the scientific kitchen, self-watering plants are arranged at the windows, and an ingeniously conceived conveyor belt carries dishes from stove to table to sink to cupboard. Naturally, the latter can be run in reverse. For sleeping accommodations, back to the high-piled rugs. All win- dows are opaque from the inside and transparent from the outside, an arrangement which insures a maximum of privacy. Drapes are of invisible scrim, imported from Nowhere. Yes, u-m-m-h-m-m, you’ve seen enough, but don’t neglect the peep show with its invaluable display of forms, angles and curves. Just past the threshold of this temple of industry is “The Window,” featuring Gregory Peck as a Renaissance lamppost and Lana Turner as a lush piece of lace. Past the geyser in the middle of the floor, which illustrates a basic plumbing principle, the onlooker will see the future members of the profession, who inhabit the place, straining over their long, low desks. Because of the future value of the work produced here, these tables are affectionately called “breadboards.” Each of them is equipped with the essential copy of “Interiors” in addition to numer- ous pens, T-squares, brushes and triangles. At least fifty-five percent of the class is majoring in lounge reconstruction. The others are cooperat- ing on sketches for the various rooms in Mr. Blandings’ dream house. Ah, there they go. Into the future they march on spool and spindle, cabriolet and trumpet, still pondering that question of questions, “What is the difference between an ordinary post and an architectural column?”
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