Paula Lupkin is a historian of design, architecture, and cities. Her interdisciplinary work focuses on the spatial production of modernity under capitalism, investigating its impact on the designed world and the built environment. Her research and publications, including her first book, Manhood Factories: YMCA Architecture and the Making of Modern Urban Culture (University of Minnesota Press, 2010), address the ways that architecture, interiors, cities, and landscapes shaped and were shaped by new ways of living, working, designing, and consuming. Her work has been supported by the Charles Warren Center at Harvard, the Graham Foundation for Advanced Study in the Fine Arts, and the Clements Center for Southwestern Studies at Southern Methodist University. Penny Sparke is Professor of Design History at Kingston University, London. She studied French Literature at the University of Sussex from 1967 to 1971 and was awarded her PhD in Design History from Brighton Polytechnic in 1975. She taught Design History at Brighton Polytechnic (1975-1982) and the Royal College of Art (1982-1999). She has given keynote addresses, curated exhibitions, and broadcast and published widely. Her publications include Italian Design from 1860 to the Present (1989); The Plastics Age (1990); As Long as It's Pink: The Sexual Politics of Taste (1995); An Introduction to Design and Culture, 1900 to the Present (3rd edition, 2004); Elsie de Wolfe: The Birth of Modern Interior Decoration (2005); and The Modern Interior (2008).
The thirteen chapters of Shaping the American Interior, a must read for all students of architecture, interior design, and the history of interiors, provide groundbreaking information about the interior design profession and its pre-history since 1870s. Decisively and definitively moving away from more traditional interpretations of the modern interior as the playground of late nineteenth- and early twentieth-century female decorators that impress first and foremost through their sleek biographies, internationally renowned authors position the origins of the profession in a series of contexts and practices that relate, among others, to home economics and mass media, transgressive sexuality and merchandizing, art galleries and college programs. Chronologically organized, the essays zoom in onto interior design as a US-based profession, collectively arguing that a focus on cross-disciplinarity and national stories can help scholars both better understand the history of interior design and formulate its future. Anca I. Lasc, Assistant Professor of Design History, History of Art and Design Department, Pratt Institute