[2] Shand's step-daughter, Mary (Sybil's daughter from her first husband naval Commander John Ambrose Slee) married architect Sir James Stirling.
The poet John Betjeman and the French wine expert André Simon wrote addenda to Shand's obituary in The Times.
[7] While living in Lyon, France, in the early 1920s, he was invited by the editor of the Architectural Association Journal to review the Exposition Internationale des Artes Décoratifs in Paris of 1925.
[1] In reviewing the exposition, he coined the term "Swedish grace" to describe the Scandinavian design of the time, evident in the work of among others Gunnar Asplund, though by that time a new, modernist architecture and design was emerging, as evident at the exposition in the work of its prime mover Le Corbusier.
The entire August 1930 issue of The Architectural Review was devoted to the topic of Swedish design, for which Shand delivered a 29-page illustrated survey of the Stockholm Exhibition.
The exhibition had set out its mission of, in Shand's words, “taming and humanizing the growing monster” of Franco-German design.
[12] Le Corbusier and Giedion had been prime movers in the foundation of the Congrès International d'Architecture Moderne (CIAM) in 1928, in the promotion of the cause of modernist architecture and town planning.
[14] Shand, Coates, Yorke and three other members of the Mars Group attended their first CIAM congress in 1933, which took place on board an ocean-going liner journeying from Marseilles to Athens in July that year.
[17] That same year, however, with Geoffrey Boumphrey (a fellow member of the Design and Industries Association), he founded a company Finmar to import Aalto's furniture into the UK,[18] for the purposes of which he set up an exhibition of Aalto's furniture and experimental wood reliefs at the Fortnum & Mason department store in London.
It is no longer funny; it is frightening, all-invading menace.Shand demonstrated his knowledge of food and wine in articles and books published during the 1920s.