People in Glass Houses:  A Psychological Analysis of Mid-Century Modern Residential Architecture
Study Grant Proposal: Summer 2006
Dan Lipscomb, Professor of Psychology

            The advent of modern architecture began in the late 19th and early 20th centuries as a product of North American and European architects.  Driven by a desire to liberate architecture from the quaint, picturesque styles of the 1800s, a new breed of designers endeavored to create a bold, new, more contemporary style befitting the dawn of the new century.  Whereas 19th century design styles tended to be both homogenous and folksy, the rules of the new architecture were less bound to the restrictive traditions of the past and ultimately more eclectic.  Early modern architectural design was further liberated from the past by the growing availability and lowered cost of construction materials, as well as advanced construction technologies.  To that point, most structures were composed of wood and masonry materials and constructed by hand, using human craftsmanship.  But with a variety of newly available mechanical construction machinery, and more affordable access to steel, glass and concrete, the design palate of the early modern architects was expanded such that more innovative and imaginative structures could be built, signaling the new directions architectural design would take in the new century.

             From the late 1800s through the 1930s, modernist design was focused primarily on large-scale public structures, such as office buildings, libraries, hotels and factories.  But by the 1930s, modernist design cues were beginning to be seen in residential structures as well.  With the possible exception of the relatively subtle art deco design elements found in some 1920s and 30s residences, there was seemingly little evolution from the ornate Victorian gingerbread style homes and the warm, cozy craftsman cottages of the day, to the stark, cold, steel and glass box homes that became the major product of the modernist movement.  At a time when considerable homogeneity in residential design was observed, out of the blue, came a dramatic shift in the designs of modernist residential architects as glass box houses began to appear first in the southwest, and then spread across the United States in smaller concentrations.  The modernist residential trend grew steadily from the 1930s and 40s, and reached its peak in the 1950s and 60s.  As such, these homes are now commonly referred to as “mid-century modern” homes.

            Mid-century modern homes are characterized by their sleek lines, angular appearance, flat or gently sloping rooflines, and walls of glass.  Construction often included a steel framed structure, extensive use of glass, concrete floors, as well as the use of plain masonry products.  Ornate, decorative elements in these homes were rare as minimalism was the predominant design rule.  Interior living spaces were typically large, and the partitioning of rooms was minimal compared to traditional homes in that spaces were often divided by half-walls or screens.  A major design aim in mid-century modern homes was to create openness to nature and the outside world.  Even traditionally private, intimate spaces such as bedrooms and even bathrooms were often opened to the outside with floor to ceiling windows.  Furnishings such as furniture, art, and appliances were also minimalist in style, with a focus on functionality rather than elaborate decorative qualities.  In short, mid-century modern homes represented a distinct departure from the warm, welcoming traditional homes of the day, with their ornate wood-trimmed interiors, soft cloth-covered furnishings, and distinctly partitioned, intimate rooms. 

            The architectural vision behind mid-century modern homes is somewhat varied from one architect to another, but common themes do appear.  Most designers of these homes endeavored to bring about a greater connection between the occupant and nature.  Another common goal was to bring a kind of elegant simplicity to the lives of the residents.  Also, most designers of mid-century modern homes had some theory of how best to facilitate a sense of psychological well being for the occupants.  That is, through careful spatial design of the floor plans and human interaction with the structure, the architect would attempt to socially engineer the lives of the residents by achieving a delicate balance between needs for social contact and privacy.

            There were many architects involved in the mid-century modern residential design boom.  Some of the most notable include Raphael Soriano, Richard Neutra, Joseph Eichler, Charles Eames, Mies van der Rohe, John Lautner, A Quincey Jones, Craig Ellwood, William Cody, E. Stewart Williams, and Donald Wexler.  While Frank Lloyd Wright, perhaps the most famous American architect of the 20th century, did design homes considered mid-century modern structures, these homes were often not typical of the classic mid-century residential structures.

             While modernist design trends in large-scale public buildings dominated and continued in the 1970s and beyond, the boom in popularity and construction of glass box homes came to an abrupt halt toward the end of the 1960s.  By the 1970s, virtually all new residential construction had settled on another evolving design trend of mid-century style, the American ranch home, a more stylistically traditional cousin to the mid-century modern home.  Now, a half-century after their popularity waned, many of the mid-century modern homes are considered works of art in the eyes of architectural scholars and enthusiasts.  In many segments of the country, the monetary value of these homes has increased dramatically in recent years as their historical value is now recognized.  And yet, because the style of mid-century modern homes remains out of vogue with most mainstream homebuyers, their threatened demise has spawned preservation societies across the country to protect these design oddities from demolition.

            Mid-century modern homes were then, as today, a radical departure from the traditional concept of the single-family dwelling.  Their relatively short span in popularity suggests a number of questions.  Were these homes simply a design novelty or passing fad?  Were they doomed to obscurity because of their lack of energy efficiency or day-to-day functionality?  Were mid-century modern homes so far removed from the psychological and social needs of their occupants that they have all but disappeared as a viable form of residential dwelling?  More importantly, in what ways did the design of these homes facilitate and/or inhibit a sense of psychological well being in their occupants?  Environmental psychology, a relatively small domain within the discipline, may hold the answers to some of these questions.

            Environmental psychology is “the discipline that is concerned with the interactions and relationships between people and their environments” (Proshansky, 1990).  Proshansky further reminds us that while environmental psychology’s focus is primarily on the physical environment, every physical environment is, at the same time, a social environment as well, and it is all but impossible to separate the two.  Therefore, environmental psychology must ultimately include an examination of the ever flowing, complex interaction between physical and social environments.  Social environments are observed in the context of both natural physical environments, as well as constructed or “built” environments, such as a residential dwelling.           

            Environmental psychologists have studied all forms of human residence including the functionality of the typical American family home.  Some of the environmental dimensions examined include the effects of design satisfaction, room arrangement, and textures of construction materials on the psyche of inhabitants.  Variations in potential for entertaining guests, and opening the home to the outer social world have also been a focus of study.  Homes are dissected in terms of levels of privacy and intimacy.  For example, formal living spaces designed for entertaining guests are typically located near the front entrance of a home, but interestingly, are rarely used.  Formal living spaces are considered the least private and intimate in a home.  Bathrooms, which are often shared with guests, are at a middle level of privacy.  Bedrooms, often secluded away from formal entertaining areas, are considered the most private and intimate of spaces, and are generally off limits to guests (McAndrews, 1993).

Rationale

            The goal of this project is to use an environmental psychology framework to critically evaluate the psychological and social functionality of mid-century modern homes.  Specifically, the aims of the project include (1) development of a foundation of knowledge related to theory and research produced by environmental psychologists on residential environments, (2) an expanded understanding of the design concepts of mid-century modern homes by learning about the architects, their homes, and design intentions, and (3) to conduct a critical analysis of mid-century modern homes by applying the principles of environmental psychology in order to shed light on the positive design elements of these homes that initially attracted residents and facilitated psychological well being, as well as possible design faults that may have inhibited the psychological satisfaction of occupants and ultimately led to their fall from popularity.

            If awarded this study grant, I would be afforded a highly valued opportunity to further intellectual growth in the area of environmental psychology, a subfield of psychology I have yet to thoroughly explore in my years studying the discipline.  Also, while architecture has been an area of interest to me for many years, and mid-century modern homes a specific passion, I’ve only completed limited, cursory readings on the architects and their design intentions.  Therefore, this project would allow me to simultaneously enrich and expand knowledge of my discipline, as well as explore an area of great curiosity outside of psychology.  The ultimate outcome would be a reinvigorated sense of intellectual inquiry that I believe would certainly carry over into the classroom. 

Proposed Study Plan

Week 1

Develop a foundation of environmental psychological concepts relating to residential environments, and to develop a deeper understanding of psychological principles of architectural design.   Readings would be selected from, but not limited to the following:

Week 2

Develop an understanding of the history and core principles of modern architecture in general.  Readings would be selected from, but not limited to the following:

Week 3

Explore the works of the influential architects of the mid-century modern residential movement.  Readings would be selected from, but not limited to the following:

Week 4

Continue the exploration of the works of the influential architects of the mid-century modern residential movement.  Readings would be selected from, but not limited to the following:

Week 5

Round out the study plan with a variety of readings on mid-century modern style trends, the architects, their dreams and visions, and the psychological concepts of architectural design.  Readings would be selected from, but not limited to the following: