pepoloza's version from 2016-05-07 20:51
|El Lissitzky, Beat the Whites with the Red Wedge (1919)|
lithographic Soviet propaganda poster
Universal messages through abstraction
The intrusive red wedge symbolises the bolsheviks, who are penetrating and defeating their opponents, the White movement, during the Russian Civil War.
|Alexander Rodchenko, Cover for Novyi Lef, no. 6 (1927)|
Photo Collage, on a diagonal (Implied motion)
|Gerrit Rietveld, Shroeder House (1924-5)|
Privacy in open space (moving walls)
geometric, resembling a Mondrain painting
|Gerrit Rietveld, Red and Blue Chair (1918, painted 1923)|
Like a 3D Mondrain painting. Every piece of wood serves a purpose and references each other in form.
|Vilmos Huszar, Lettering for De Stijl Magazine (1917-18)|
Breaking down imagery and text into standardized parts
|Georg Muche and Bauhaus workshops, Haus am Horn Kitchen, Bauhaus Exhibition (1923)|
FORM FOLLOWS FUNCTION
One continuous counter
Freeing up Women's time.
|Marcel Breuer, Breuer Chair (1928)|
TWO LEGS, minimal material and bare material. Has give to it. Manufactured by Thonet, could be broken down into parts.
|Herbert Bayer, universal alphabet (1926)|
Letters made of logical geometry. Standardization.
Difficult to read, though.
|Joost Schmidt, Bauhaus exhibition poster (1923)|
The grid on an angle! Geometry! Put in public places, advertising for the exhibition that but Bauhaus "on the map."
|Jan Tschichold, Poster for Constructivist Exhibition (1937)|
Clear, simple lay out unitizing styles from De Stijl and constructivism.
|Edward Johnston, Underground “Railway” type (1916)|
Made for the London Underground.
English Modernism. Made to make the train system easier to understand and look more professional.
|H.C. Beck, Underground Map (1933)|
Modernism. Used abstraction to make the train map easier to understand-- set forth a system that is used for maps of this sort today.
|J.E. Ruhlmann, Grand Salon, Hotel d’un Collectionneur (1925)|
Softening of Modern, decorative.
|Raoul Dufy, wallpaper design (1929)|
Softening of Modern, decorative. But still touching on modern art and design,
|A.M. Cassandre, Dubonnet poster (1934)|
|Le Corbusier, Interior of Pavilion de l’Esprit Nouveau (1925)|
Moderne/ Art Deco
Embraced standardized building materials.
Paris Exposition des Arts Décoratifs of 1925
Incorporated a tree.
|Alvar Aalto, Paaimio Chair (1931)|
Bent wood, ergonomic design, form follows function, industrial materials easy to replicate because it originally was for a tuberculosis sanatarium
|Paul Frankl, “Skyscraper” bookcase (1926)|
Furniture that celebrates industrial materials and advancements
|Carl Breer, Airflow (1934)|
American Interwar Industrial Design
Aerodynamic, yo, Streamlining
|Raymond Loewy, Coldspot Super Six (1935)|
American Industrial Design
Streamlining, the new kitchen, ease
|Leonid, poster for Volksempfanger Radio (1936)|
Nazi propaganda poster
"Germany Listens to the Fuhrer with the People's receiver"
Broadcast Hitlers voice as a way of unifying and often feeding people misinformation
Used traditional typeface, as more modern ones were associated with rebellion (constructivism, for example)
|Ferdinand Porsche, Volkswagen (c. 1937)|
Nazi-supported, able to be used for war efforts
Provides working class with affordable stuff man
Remember people were told to give money to the government in return for cars but they never got them
Promoted unity and loyalty
|Advisory Committee on Utility Furniture, Mahogany table chair (c. 1945)|
Europe during WWI, civilian austerity= patriotism
|Levittown Housing (c. 1949)|
The "American Dream" populuxe
suburbia conformity the appeal of owning your own house
|Harley Earl, Cadillac Eldorado Convertible (1953)|
American Pop Culture/ luxury
artificial obsolescence through styling
|Eero Saarinen, Tulip Chair (1956)|
American Postwar Design (WWII)
Less clutter by having one leg! Plastic finish for super industrial look.
|Charles Eames, Lounge Chair (1956)|
Moderne. Luxury Populuxe, Post War WII design.
"The Throne" fine materials
|Paul Rand, advertisement for Coronet Brandy (1947)|
American Postwar (WWII)
|Corradino D’Ascanio for firm Piaggio, Vespa (1946)|
Modern Italian design, after WWII. Efficient and inexpensive. Streamlined and made to look nonthreatening and easy to use. Personal freedom.
|Muller & Oberheim, Kitchen Machine (1957)|
Modernism after WWII.
Streamlining, efficiency in the kitchen. Importance of corporate identity (Braun)
|Adrain Frutiger, Univers typeface (1950)|
Post WWII design. Variation in stroke width makes it easier to read with still the cleanness of sanserif. Many fonts with variation of width and weight (a system).
|Josef Müller-Brockman, Poster for Less Noise (c. 1960)|
International Typographic style. tension through color, cropping and use of diagonals.
|Tom Geismar, Mobil oil trademark (1964)|
Post war, brand identity, incorporation of modern design and international typography in main stream
|Paul Rand, IBM annual report with photograph of IBM electric typewriter designed by Eliot Noyes (1958)|
Corporate identity, bauhaus ideals in main stream
|Wes Wilson, Concert poster (1967)|
A style associated with hippies and rock music. Rebellion against "rules" of design and legibility
|Archizoom, Elettro Rosa model bed (1967)|
USA, for MoMA
"new modes of living"
"Anti-design" freeing up designers
|Honda Motor Company, Honda Civic (1975)|
Japanese car that became very popular in US because of fuel efficiency
|Ettore Sottsass, Jr., Tartar Table (1985)|
Memphis-- industrial designers free of contacts able to made design without limits or rules
Not totally functional or marketable
|Robert Venturi, Chippendale Chair (1978-84)|
Mocking new design, utilizing kitsch decoration
|Ron Arad, “Big Easy Volume 2” (1988)|
|Neville Brody, record jacket for Cabaret Voltaire (1980)|
referencing the cabaret voltaire in Zurich because they want ti be as hip as they were
Rebellion from international/ Swiss design
|"The Will To Style" outlining the ideals of De Stijl |
|"Eyes Which do not See Automobiles" The house is a machine for living in. Relates standardization in production to that in architecture There should be standards. Standards=Perfection, Bauhaus/Modern Architecture|
|"What Consumer Engineering Really Is" American Advertiser, believed in artificial obsolescence and "good design" as a way of escaping the Depression|
|"The MAYA Stage" Industrial Designer, understanding public acceptance, people like things to be new but not so new that it's scary. MAYA= most advanced by acceptable|
|"The Designer's Place in Industry" Industrial Designer, a good designer has artists, mechanical and marketing sense and isn't full of himself|
|"Peaceful uses of Atomic Energy" Outlined a future with cheap and plentiful energy|
|"Organic Designs in Home Furnishings" Designer, creator of Selectric Typewriter, bring organic forms back|
|"What is Modern Design?" is is practicle, expressive, appropriate, express the materials (dont make them to be something they're not), simple, ultiziling technology|
|"The Kitchen Debate" Capitalism= good quality consumer products!|
politician who led the Soviet Union during part of the Cold War.
|Nixon and Khrushchev|
|"Program of the Hochschule fur Gestaltung" bauhaus school of design|
|Ulm, Germany designed by Max Bill|
|"Unsafe at any Speed" exposed common design flaws in cars|
|"Design for the Real World" wrote about the downfalls of industrialization-- unnecessary, dangerous and environmentally destructive products. He challenged artificial obsolescence. Designers should work for social good!|
|"Operating Manual for Spaceship Earth" Conserve resources!|
|"Address to the Nation About Policies to Deal With the Energy Shortages" 1970 energy crisis|