The Exhibitor (Aug-Nov 1948)

Three Decades of Specialization— in Smart Interior Decoration! It Isn’t Done With Mirrors The Successful Decorator Must Have A Well-Rounded Knowledge And Ability By A. I. Kessler Every period in the history of civili¬ zation has yielded its own style of architecture and decoration. Although many products and ideas have passed into oblivion, a record of architectural structures, art techniques, and forms has survived to present times, and has influenced our modernists just as eras in the past left their imprint on the artists and craftsmen succeeding their predecessors. Contemporary design is the natural result of a streamlined age which makes a fetish of time-saving and forthright¬ ness. The average man in the street is probably not interested in styles of architecture, ornament ,and color, yet his life is deeply affected by these changes. Materials that have been devised or adopted for present-day use perform their functions with great effectiveness. It seems that extraneous applications are superfluous in the concept of mod¬ ern designers, yet we see a gradual compromise with* the elaborate super¬ impositions of former periods. There is a spontaneous evolution, the tempering of Modern with other periods. Architects, designers, and artists realize that our sentiments, our social values, in fact, our mode of living, are tied to the spirit involved in their creations. The theatre and public building in which we relax or work are designed with the idea of providing relaxation and comfort, relieved occa¬ sionally with exciting details to give emphasis to the general simplicity of treatment. A great variety of materials are em¬ ployed in today’s decor. Their psycho¬ logical impact increases in value in proportion to the skill and aptitude of their application. Whether a surface in an auditorium shall be smooth or tex Above; A. 1. Kessler, executive head and presi¬ dent, and below, Philip Kessler, head of all artistic conception and production. tured; whether it should be painted or judiciously treated with fabric; whether it should be relieved or not relieved with a mural or a sculptured detail; whether it should have a tufted sur¬ face, or one of flexwood of flexglass; whether formica or plexiglas; whether a dome of light should dominate a room; whether the light scource should be cold cathode, or incandescent lamp, or black light; whether a ceiling should be done in mother-of-pearl, or soft color, or glazed, or sharp color; whether to use acoustic treatment; whether to highlight; whether the “singing note” in the stage draperies shall be achieved by use of fabrics combining red, highkeyed yellow-green and gold, or some other color arrangement; whether the fabrics shall be splashy or conserva¬ tive; whether to use swags, festoons, or box-pleated curtains; whether a con¬ tour curtain is appropriate or not; these, and many other considerations, require authoritative and professional judgment. The trained decorator has all the answers. The theatre architect, the specialist, is aware of these possibilities. When he renders a set of blue prints for a new building or for remodeling an existing structure, he welcomes the services of an experienced decorator to embellish, or to carry out, his own ideas. Collaboration between archi¬ tect and interior decorator is a most desirable combination. The artistdecorator gets the “feel” and spirit in¬ tended by the architect. The artist gives visual interpretation in color and choice of treatment, working out the harmony for all public areas, taking cognizance of cai’pets, seats and other pertinent accessories. In a well-man¬ aged decorator studio -workroom, the production man has a complete lay-out of the entire ensemble and all the ma¬ terials being used on a given job. In¬ consistencies that may arise are im¬ mediately checked, and eliminated, be¬ fore production commences. The pro¬ duction department follows through until all material is fabricated and in¬ stalled on the job, no matter how far it may be, no matter how extensive or how modest. In suggesting materials and working out color schemes, the artist-decorator successfully applies the theory of sym¬ phonic color. Color is employed by the {Continued on 'page 19) The Exhibitor, Sept. 22, 1948 Page 15 NOVELTY SCENIC STUDIOS 30th Anniversary Issue g