After the post on where to find shelf edging, California Kathy wrote to show some in action. This is wonderful stuff for open shelves, glass cupboards, and as Kathy shows — for showing off collections of vintage bowls and dinnerware:

Hi Pam, California Kathy here. Just wanted to show you the upper portion of my kitchen china hutch with its shelf edging. I scored it on eBay a while ago and couldn’t be happier with how it looks! We’ve been doing a few things to our 1949 Calinfornia ranch kitchen and I’ll send you some pics as soon as we finish up a couple more easy things. Course the “easy” things are the ones that take the longest sometimes! Thanks for all you do! – Kathy

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If you comment regularly, I highly recommend that you get yourself a Gravatar — a “globally recognized avatar.” This is a small image that you choose to represent you when you make comments on any blog or in a Forum. The software sees where you post your email address (required by most blogs) and then serves up the gravatar you have chosen. Here’s the website, it’s free, and pretty easy. Remember at the end to “confirm” the image that you have selected. If you are at a loss for an avatar – you can go to this site and create a Mad Men character that looks like you.

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Finding quirky accessories can be the most fun (and never-ending) part of owning an eclectic mid-century modern or mid-century modest home. Here is my vintage Stangl wigstand, purchased 15 years ago, well before I lived the retro life. Isn’t she beautiful? She’s a blond, circa 1950. I think we named her Betty. Well, Betty sits on our built-in bookcase and always has a vintage hat of some sort propped on her head. This one is an amazingly lovely antique crocheted lace night cap (I think) lined with satin — one of my many wonderful finds from the time capsule estate sale last week. Peeking from behind — a vintage Shriner’s hat I bought 10 years ago at a thift store in Canada.

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This is a RetroRenovation rerun originally published Nov. 9, 2008.

10. Camp sees everything in quotation marks. It’s not a lamp, but a “lamp”; not a woman, but a “woman.” To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.

- Susan Sontag, Notes on “Camp”, 1964

Dan the Man at the Houston Architecture Info Forum recently linked to RetroRenovation.com with the following comment:

Here’s a neat blog on mid-century residential design. It tends towards the kitsch, but it recommends many resources and materials for appropriate renovations…

While I am truly grateful for the reco, I found myself reacting harshly at being called “kitsch” and the disparaging connotation. Hmmm. So what is kitsch…and should I care at being lumped in? I went over to Wikipedia to study etymology…

Of course, there was lots of discussion about avante-garde art and capitalist oppression of the masses… as expected. What really caught my attention, though, was this PostModern update, which to my mind,  confirms that this blog is not kitsch – it’s camp. Of this – I am proud!  Here’s more explanation for your Sunday Magazine reading. Warning: please caffeinate first, this is very “deep”:

With the emergence of Postmodernism in the 1980s, the borders between kitsch and high art became blurred again. One development was the approval of what is called “camp taste” – which can be related to but is not the same as Camp as a “gay sensibility.”^[2] Camp, in some circles, refers to an ironic appreciation of that which might otherwise be considered corny, such as singer/dancer Carmen Miranda with her tutti-frutti hats, or otherwise kitsch, such as popular culture events which are particularly dated or inappropriately serious, such as the low-budget science fiction movies of the 1950s and 60s. A hypothetical example from the world of painting would be a kitsch image of a deer by the lake. In order to make this Camp, one could paint a sign beside it, saying “No Swimming”. The majestical or romantic impression of a stately animal would be punctured through humour; the notion of an animal receiving a punishment for the breach of the rule is patently ludicrous. The original, serious sentimentality of the motif is neutralized, and thus it becomes Camp. Kitsch is never ironic. “Camp” is derived from the French slang term camper, which means “to pose in an exaggerated fashion.” Susan Sontag argued in her 1964 Notes on “Camp” that camp was an attraction to the human qualities which expressed themselves in “failed attempts at seriousness,” the qualities of having a particular and unique style and of reflecting the sensibilities of the era. It involved an aesthetic of artifice rather than of nature. Indeed, hard-line supporters of camp culture have long insisted that “camp is a lie that dares to tell the truth.”

More… on Susan Sontag and her role in all of this:

“Notes On “Camp”” is a well-known essay by Susan Sontag organized around 58 numbered theses. It was published in 1964 and was the author’s first contribution to the Partisan Review. The essay created a literary sensation and brought Sontag her first brush with intellectual notoriety. It was published in 1966 in book form in Sontag’s debut collection of essays, Against Interpretation (ISBN 0-87052-352-X).

The essay codified and mainstreamed the cultural connotations of the word camp, and identified camp’s evolution as a distinct aesthetic phenomenon.

Quotations

Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration. And Camp is esoteric — something of a private code, a badge of identity even, among small urban cliques.

9. Camp taste draws on a mostly unacknowledged truth of taste: the most refined form of sexual attractiveness (as well as the most refined form of sexual pleasure) consists in going against the grain of one’s sex. What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.

10. Camp sees everything in quotation marks. It’s not a lamp, but a “lamp”; not a woman, but a “woman.” To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater. [ Yes!]

18. One must distinguish between naïve and deliberate Camp. Pure Camp is always naïve. Camp which knows itself to be Camp (”camping”) is usually less satisfying.

41. The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to “the serious.” One can be serious about the frivolous, frivolous about the serious. ["Yes!"]

44. Camp proposes a comic vision of the world. But not a bitter or polemical comedy. If tragedy is an experience of hyperinvolvement, comedy is an experience of underinvolvement, of detachment.

[Update: Dan the Man actually saw this post and emailed me to say he kind of just used the term casually. No insult intended. In any case, it was fun to explore the difference between camp and kitsch...]

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Take a neighborhood full of cookie-cutter tract houses …  let their owners fuss with them … and 50 years later photographer Julia Baum finds that they have been “transformed from modest white cubes into a vibrant display of personality and present a rebellion against conformity….human individuality cannot be contained. Inevitably it shines through even the most average facade.” I love her study, which demonstrates again that their is so much to love about our jewel box mid-century homes. No matter how small, the opportunity is there to make them our own.  Read more about Julia’s project and see her slide show of 13 same-yet-different homes here.

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Guest post today from Dave Stuhlsatz, architect with Royal Barry Wills Associates, and my main contact there for all things RBW. I am very pleased that Dave will contribute an occasional article on mid-century architecture, design and related issues. – Pam

The Royal Barry Wills Cape Home
By Dave Stuhlsatz, Royal Barry Wills Associates

The time seems appropriate to revisit Cape Cod House design as it was promoted by a pioneer of their twentieth century revival, Boston architect Royal Barry Wills. When Wills started out in his architecture career he established himself designing English Tudor inspired homes in suburban towns around Boston like Newton and Brookline. But, it was his rigorous examination and subsequent success with the Cape and Colonial Revival homes that cemented his reputation as one of the most influential residential architects in America.

Wills made every effort to publicize what he was doing and how to do it. The fact that other architects and designers didn’t seem to grasp some of the subtleties of his techniques only made his services more sought after by those who wanted the genuine article. From its historical roots the Cape style house is a study in simplicity and function, but with the right combination of details and a careful arrangement of proportions it can be a deeply satisfying architectural composition. Wills did not seek to perfectly replicate the rugged and spare shelters of the 17th  and 18th century on Cape Cod. To do so would have certainly alienated a client base that appreciated the imagery of the Colonial era, but with modern conveniences and luxuries like indoor plumbing and garages.

The images below were originally published in the August 26, 1946 issue of Life magazine. They provide a concise summation of the design principles espoused by Wills.

What is ironic about the “Bad Design” is that is the more frequently used model for Cape construction in modern times. Contractors could, and still do, make a compelling argument for the extra space and material economy that can be realized by employing a steeper roof pitch and larger dormers.

The “Good Design” sketch also conceals the time and care that often went into the details of the custom designs produced in the Wills architectural office. The surge of building in the post-war era witnessed a shift to production techniques that favored production speed over individual craftsmanship. The homes that Wills designed early in his career benefited from the input of skilled carpenters who could invest significantly more time in the construction of mouldings and window trim.

These illustrations also conceal the fact that Wills strived to make his architectural commissions a complete expression of his client’s needs and habits. The constant motifs of large chimneys, carefully scaled windows and exquisitely detailed front entrances imply a formulaic approach to the design process. The subtle variations in floorplans, combined with unique site conditions, contradict this assessment. Wills’ houses display a careful balance between space planning and exterior aesthetics.

The Cape house, with living spaces on the ground floor and bedrooms above, was modified successfully by Wills in numerous designs—his book Living on the Level demonstrated how the visual elements of the two story house could be used in single story floorplans. The power of the Cape Cod house derives in no small part from its near limitless flexibility in layout and details, but without discipline, a Cape can turn into a jumble of awkward shapes. By establishing rules for the composition, Wills could steer the design process in a direction that ensured a satisfactory outcome.

And those large central chimneys that define a Wills home—some of them were fake.

Copyright © RetroRenovation.com 2009

Thanks, Dave, and RBW Associates. I look forward to more guest posts.  Reader, in addition to looking at their main site, here’s a page I love with photos from RBW projects over the decades.

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Happy Hallowe’en from me and flickr friend Evaxebra — my favorite! Remember the spooky pink bathroom photos of her last year? Thanks, Ewa, for permission to use this photo.

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You know I’m excited about the big day. Here are me and my brothers and sisters, all babies, I’m the oldest. I like the part where I get to jolt them with electricity. Wuuuhaaahaaaa. Today is Ricky’s birthday — he’s the werewolf here, while in real life he has transformed into a marathon runner this year. Happy birthday, Ricky!

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Today is RetroRenovation.com’s second birthday. And on this occasion I would like to introduce something I’ve been noodling for the better part of the year — an all-new term that I have invented: “Mid-century Modest.” I first used the term at my home show talks in Eugene in March…and then again when I met with the wonderful Portland MCM League group for dinner right after.  I believe that author Cara Greenberg is credited with coining “mid-century modern,” in 1985, with her book of the same name. A mere 24 years later, let me introduce “Mid-century Modest” and along with it, the Mid-Century Modest Manifesto.

I think that we all pretty much know what “mid-century modern” design is all about, at least in its popular incarnation. There is an entire philosophy behind it, but in short, it’s typified today by sleek and futuristic designs like Saarinen tulip chairs, $6000 Eames lounges, and experimental-shaped, high-ceiling, loft-like contemporary homes. The irony is that while mid-century modern design came out a kind of communist “internationalist” ethic aiming to make housing more accessible to the masses, it can actually be out of reach. As you know, I like to call it “high falutin’ mid-century modern design” in recognition that authentic licensed designs are very expensive.

My new term, Mid-century Modest, recognizes the fact that while there may have been 1 million mid-century modern homes built in postwar America, there were about 29 million Mid-Century Modest homes. And, while Americans may have had a progressive social and economic outlook, they tended toward the conservative in their homes. In all these years, nothing quite says “stable and affluent” in the U.S. of A. like a center entrance Colonial. That’s why we see so many Early American elements both inside and outside our postwar homes. Finally, while some pundits today consider the vernacular mass-market postwar design all too “kitsch” and pretty much spit on the idea of “tract” houses and all they stood/stand for, I say: Let’s celebrate Mid-century Modest, too – because this era of American housing and all it encompassed were really quite fascinating and special.

So, that said, here is a first draft of my “Mid-Century Modest Manifesto”:

The Mid-Century Modest Manifesto

NO QUESTION, we love Mid-Century Modern homes,
the high falutin’ designer kind.
BUT IN POSTWAR AMERICA, while we built
maybe 1 million mid-century moderns –
we built some 29 million Mid-Century Modest homes.
MID-CENTURY MODEST:
Mainstream. Main Street. Mass produced. Middle Class homes.
ROYAL BARRY WILLS Cape Cods at one end of the architectural spectrum.
CLIFF MAY Ranches on the other.
AND OVER THE NEXT 30 YEARS –
a gazillion prosaic, vernacular melting-pot variations in between.
MID-CENTURY MODEST HOMES ARE: Small –
1,000 square feet for many years running.
“SMALL” TODAY– but to their owners starting in 1946,
they were the culmination of the American Dream.
Following years of economic Depression and WWII,
these little homes were an amazing gift.
HOW DO WE LOVE THEE, Mid-Century Modest homes?
Let us count the ways…

• Built with love and immense gratitude.
• Wonderful features – pastel bathrooms, fitted kitchens, livable layouts.
• Knotty pine paneling – installed by Gramps.
• Lots of ingenious Americana
  like Nutone exhaust fans, Hall-Mack Tow’lscopes, and Dishmasters.
• Wallpaper and pinch pleats and pull-down kitchen lights.
• Boomerang cabinet pulls and wagon wheel lights and braided rugs.
• Indoor plumbing.
• Unpretentious. Exuberant. The first taste of true material comfort
  for many millions of people.
• Our houses have stories…
  Stories about the beginning of a new American era still playing out today.
• Did I mention small? Yes. But small is — green.
• Small is quite often: “enough.”

THERE IS MUCH TO APPRECIATE in our Mid-Century Modest homes.
And certainly nothing to apologize for.
GRANITE countertops? Who needs ‘em, especially when they come with
a home equity loan that stresses our family finances beyond our limits.
What silliness. What Insanity.
SHHHH! Don’t tell anyone, but our Mid-Century Modest homes,
because they are so unpretentious by today’s standards,
can be much more affordable to buy and to renovate.
RETRO RENOVATION is very much about the “Re”:
Reduce. Re-Use. Recycle. Restore. Re-Store.
Returning to the source of “The American Dream”…
And in the process, re-thinking what we want it to mean for us today.
OH YEAH, and Retro style has a happiness-quotient that is off the charts.
WE LOVE our Mid-Century Modest homes
in all their glorious simplicity and optimism,
and cherish the opportunity to safeguard their history and heritage.
That’s the: Mid-Century Modest Manifesto.

Copyright © RetroRenovation.com 2009

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Here are some really terrific items: A vintage Early American style mailbox in its original gift box… A mint-in-box 1964 rooster cupola…. a pair of Lilly Pulitzer collapsible suitcases…and a large, gorgeous set of pink enamel Woodard patio furniture for the tony set.

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