"Das Unbehagen an unseren Städten ist ziemlich allgemein"1 opined the German architecture and design theoretician Hans Eckstein in 1972, 'discontent with our cities is fairly universal', continuing 'it is growing day by day. Accusations and indignation are heard everywhere. It is almost impossible to ignore the amount of literature about the miserable condition of our cities.' Yet despite the apparent, certainly for Eckstein, urgency and ubiquity of the discontent, he laments that 'there are
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For all the popular associations of the inter-War years with the reduced and the paired down, with objects whose value was deemed inherent rather than something one added, one must remember that the inter-War years were also a period that brought forth the colours and confusions of Surrealism and the glitz and glamour of Art Déco: The Roaring of the Twenties being as much about a self-confidence of expression as a joyous relief that the war years were, once and for all, over. And thus that
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