Mid-century modern (MCM) is "a style of design popular in the mid-twentieth century, characterized by clean, simple lines and lack of embellishment." The style was present throughout the world but gained most popularity in North America, Brazil and Europe from roughly 1945 to 1970. MCM style can be seen in interior design, product design, graphic design, architecture and urban development. MCM-style decor and architecture have seen a major resurgence that began in the late 1990s and continues today. The term was used as early as the mid-1950s, and was defined as a design movement by Cara Greenberg in her 1984 book Mid-Century Modern: Furniture of the 1950s. It is now recognized by scholars and museums worldwide as a significant design movement. The MCM design aesthetic is modern in style and construction, aligned with the modernist movement of the period. It is typically characterized by clean, simple lines and honest use of materials, and generally does not include decorative embellishments. On the exterior, an MCM home is normally very wide, partially brick or glass walls, low footprints with floor to ceiling windows and flat rooflines, while exposed ceilings and beams, open floor plans, ergonomically designed furniture and short staircases connecting rooms throughout the house often define the home's interior.
Architecture
The mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier, and Ludwig Mies van der Rohe. Although the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other. Brazilian and Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Frank Lloyd Wright's designs, mid-century architecture was frequently employed in residential structures with the goal of bringing modernism into America's post-war suburbs. This style emphasized creating structures with ample windows and open floor plans, with the intention of opening up interior spaces and bringing the outdoors in. Many mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in mid-century designs, with an emphasis placed on targeting the needs of the average American family. In Europe, the influence of Le Corbusier and the Congrès International d'Architecture Moderne resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde Situationist International, COBRA, as well as Archigram in London. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by Scandinavian Moderns such as Alvar Aalto, Sigurd Lewerentz and Arne Jacobsen and by the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects such as Aldo van Eyck, Ralph Erskine, Denys Lasdun, and Jørn Utzon and the movement known in the United Kingdom as New Brutalism. Pioneering builder and real estate developer Joseph Eichler was instrumental in bringing mid-century modern architecture ("Eichler Homes") to subdivisions in the Los Angeles area and the San Francisco Bay region of California, and select housing developments on the east coast. George Fred Keck, his brother William Keck, Henry P. Glass, Mies van der Rohe, and Edward Humrich created mid-century modern residences in the Chicago area. Mies van der Rohe's Farnsworth House is extremely difficult to heat or cool, while Keck and Keck were pioneers in the incorporation of passive solar features in their houses to compensate for their large glass windows.
Mid-century modern in the United States
Many European designers moved to the United States during the 1930s and the 1940s, including Walter Gropius, Mies van der Rohe, and Eliel Saarinen. These designers played a large role in shaping American mid-century modern interior design. They believed that well-designed environments could have a positive influence on behavior and quality of life. Their contributions helped move interior design away from decorative traditions and to a more intentional approach. The 1954 "Design in Scandinavia" exhibit at the Brooklyn Museum helped bring Scandinavian modern design to the U.S. Around that time, it started to mix with mid-century modern, a style that became popular in the 1950s. Mid-century modern was America’s way of moving away from older, fancy styles and was part of a bigger modern design movement. Contemporary furniture retailers, such as Modern Miami Furniture, have continued to promote mid-century modern and modern designs, offering a variety of mid-century inspired products online and in showrooms. Thomas Hines talks about how after World War II, American companies started making products that looked sleek and futuristic, inspired by space and military technology. These modern designs became a sign that the country was entering a new chapter. Promoting this style wasn’t just about the updated look, but it was also a way to encourage consumers to buy to help the economy grow. Palm Springs, California, is a city noted for its many examples of mid-century modern architecture. Architects include:
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