Salontafel met glasplaat rustend op vier overhoeks geplaatste poten c. 1924

Editor: This is "Salontafel met glasplaat rustend op vier overhoeks geplaatste poten," which translates to "Coffee table with glass plate resting on four diagonally placed legs," made around 1924 by Hendrik Wouda. It's a photograph of a wooden table, and what strikes me most is how incredibly geometric it is. What do you see in this piece? Curator: The geometry is key. These sharp angles, the way the legs splay – it isn't merely about structural stability. Consider the social landscape of the 1920s. The world had been reshaped by conflict, and suddenly, ornament was distrusted. Forms became about the underlying structure and functionality, almost an architectural language. Think of it as truth in materials, and even moral uprightness. The diagonals speak to dynamism, forward momentum; a complete rejection of old world notions, wouldn't you agree? Editor: Absolutely. It's like a physical manifestation of a societal shift. Was glass a commonly used material? Curator: Yes, though its symbolism evolved. Before industrial processes refined its production, glass was precious and fragile, reserved for elites. Here, glass serves a more democratic function: light, hygiene, ease of maintenance. Function dictated the choice, not status. How does it challenge your notions of historical class and identity? Editor: I guess I never really thought about furniture carrying so much cultural weight. It really changes how I see design. Curator: Indeed. By viewing everyday objects like this through the lens of visual culture, we can better interpret the evolution of thought and meaning of material objects in everyday life. What are your take-aways about design, identity, or memory? Editor: I will remember how ordinary objects speak volumes about who we were and how our society changed, thanks to their cultural meanings. Thanks for that fresh perspective.