Equipped with six rooms distributed in two floors, the building stands out for its structure of columns and floors that Mallett and Felix Burrichter have indicated in their book as “an almost perfect representation” of the dom -ino house of Lecorbusier. The bohemian enclosure verified that its owner, whose real name is Barbara Millicent Robertswas regular at interior design, because it landed with Tiffany lamps, its own version of the Cesca chair of Marcel Breuer and a psychedelic explosion of textures, plants and squeaky neon tones.
But in addition, it had a substance: the details of the cardboard panels printed with floral upholstery, to natural tables and motifs throw a wink to the movement of the movement of the New decorativity And there are those who even find some sexual liberation of those years.
The details are incredible.Evelyn Pustka.
Trends are obvious in every corner.Evelyn Pustka.
Reformulating the American suburb
Barbie's houses have a magnetic power. Every two minutes, two units are sold and those who have a doll accessories, according to Mattel estimates. And that effect was also able to reformulate the urban stroke of the United States at the end of the 70s. The blond doll, reinvented and decided to live in the suburbs. He opted for an enclosure that became the standard of the growing middle class: the house A. The mythical structure attributed to RM Schindler and until then limited to the cabins, now seized the peripheries of the cities.
Just as trends grew, the house did too.Evelyn Pustka
This 1979 dream house It stood out for its modular structure, exposed beams and great skylights: the evolution of architectural design driven decades before by Rudolph Schindler, John Campbell and Andrew Geller. As for its decoration, this time Barbie preferred a simple palette of white, yellow and red. The colored touches fell to their furniture, their own versions of pieces as iconic as the Togo Sofa of Michel Ducaray. «It is a good example of how Barbie's houses tend to capture design trends when something innovative and conceptual reaches mainstream consumerism,» says Mallett, also the founder of The Whitney Review.