» fundamentals of exhibition des by herbert bayer 1871: the formalistic and imitative mix. ture of styles is best exemplified by this figurative tower construction of beer hotties, it is inconceivable today, how the purpose of this product could be so ignored. instead, emphasis is placed on its characteristics as a deco. rative building material. The text of the three articles by Herbert Bayer is set experi- entally in lower-case. For a detailed discussion of this ques- tion of lower-case typography, see the article “toward a uni- versal type.” —THE EDITORS on exhibition design, we | new ans of comm nication of the idea, in which elements, such as ig) holography, ets, “All only part of the field. the great possibilit of exhibit e versal application of all known means of design: diagram, Ictte word, photography, architecture, p: ng. sculpture, tone, light, film. @Uistheapen of all collective effects, of all powers of design. all the clements suited to the purpose of communicating the idea are included in it, such as enlightennn advertising, education, etc. on the un the new point of view is not based only on stylisatio object to be represented should not simply be hown and exhibited in the old museum sense. the essence of the present-day concept follows: me must be ts special character, 1s advantages by means of com: parison, survey, sequence, exhibition and representation. (the theme should not retain its distance from the specta- tor, it should be brought close to b penetrate and leave an impression on . should explain, demonstrate, a even persuade and lead him to a planned direct react there- fore we may eay that exhibition desigh runs parallel with the paychology of advertising. and here Ties an essenti: se af the intensification of the ex bitions the new point of view also extends to design of house facades, show-window decoration, stage, and the ca 17customary term, “exhibition des is insufficient. analysis of existing and newly diseovered elements the organism of a successfully designed exh: init includes in itself unity, mobility, aesthetic pleasure, forceful- ness, and ceonomy. the following con tions may be regarded as req for this en tes 1. the ground-plan and the direction of the visitor. the available space and its pos bilities in arrangement, interpene- tration and intersection. 2. the design of the exhi the formal media, color, and sculpture, ete. b.the movements of the individual 18 and his perspective. c. the technical mes n theme. ne, surface, the material. gvound-plan and direction the ground-plan is built up ona moti i or theme, which is to be reproduced on | a surface or in space. the old, ceremo- nious representational solution with its symmetrical and axial effect is not pos- sible hecause it is entirely formal. this impossible when the given theme is composed of an unequal number af members, when there is a time elemen or whenever a development is to be | : if represented which entail disorder in floar plan in relation to direction the problem of direction a. to lead the indi 1 n the eorreet order past all that which should be , viewed, and without conscioms com- f pulsion. ion of the mass of peo- nto a smooth the ergal ple coming and going organized direction traffic.plan of direction in werkbund exhibi- tion, paris, 1930. (aropius, moho nagy, brener, bayer.) in this y nie quality ful construction as a result of the dyn: n man, a dynamic and purpose- «reached, and not therefore in the future, ground-plans will be more readily conceived of groups, lightened, dynamic, and less ymmetrical and axial, the wish for direction througli the space corresponds to the practice of rounding out of the space and its articulation by means of curves which has often been applied by. members of the bauhaus. effective ny arrows, by means of the forceful swinging motion of dire hy means of mechanically produced sounds, hy means of automatic repet lion or playing of speaking records, ete. an unseen direetion will he easily ac- complished by placing interesting and nding things at points where they ly be observed. the | rection of our ko he for the direetion of tors, for the moving spectator must be able to go logically in the direction of the writing. this problem is, of course, different for a people whose takes a different course left or to the right. this habit should net be underesti ral to the individual that his subeon: scious reactions toward the order of traffic become a matter of automat abit. the visitor might also be con- ducted hy a me- chani carpel,and thus perforee submit to direction. there follow a few examples from the past which assume importance here. 1867 paris—central oval ground-plan. an attempt is made here for the first time to attain a complex organisation . and clear relationship of the material. | this integrated attempt is manifested in % it of the separate exhib- i in sections, while each ‘one of these includes an arrangement of material according to kind. no : tion was accomplished in | = and a suryey was only theoretically reached. a3 a matter of fact, the idea, 22 which was the first attempt at “living cs," failed to be of nete. stat rsenal. the confusion of = 1 is lodged in an existing without organic articulation. military iden was the basis i Li J 1° ofdirection. inan orderly fashion, the r sitor is led in the right direction by means of spoken commands. 1844 berli the ground-plsenseless symmetry. n), so in detail the question of direction must he ex- plained. the ground-plan of the exhi- but asymmetry, too, is useless i unfounded. the temporary character of the ith more rapi struction ion, brings about a freer and more creative handling, opposed to the monumental ion of perm: architecture. I character and free> correct walking direction 3 ete, 22 | ES [| EEDS the movements of the individual the reader of a book can either sit still ‘or move, the book will always remais i ionship to his eyes. aside from the fart that he may pause for the elaser in- spection of certain things, the exhi tion visitor might be conducted past the individual objects on a moving plat- form. those things whieh, in a book, follow each other on separate page: are here arranged in close successio in the direction of the visitor’s course. the situation could also be reversed if nd or sit, and the displays pass oving bands. from this it follows that we who read from left to right must plan the succes this same order. pie the spectator were to st non ion of events SUNLIGHT wrong walking direction —succession in space. floor plan and Aa exception to this rule. such displays may also be arranged in the left to right order. but in this case the separate parts must retain their self-cont: character. relationships in succession must always be arranged in the direction of the movement of the individual, whether this be horizontal or vertical (by 18 of the elevator). the eye of man is fixed at an average tance from the floor. the field of vision has a definite size whose 1 tions are founded in the n: eye. by means of movement of the eye, of the head, or of the body, the field of vision is extended. it also becomes larger with inereasing distance between the eye and the abject. normal sight is horizontal. since, however, the perspective may be so greatly enlarged, there lies here an elementary motif of design. up to the present time, it has been little used.- the material the form and effect of the room and of rr faet an store of m ‘on color, pattern, ness, or treatment of the surface. material as much psychological and physio- Jogical function as color. in addit different materials require different t methods of handling and constructive d special effects. here, tov, impor | x tant experience was gained in the prac- tical construction of commercial build gs and exhibitions. anew “industry” was being developed. craft organis: tions sprang up to specialize in the use ofall kinds of materials, entirely new niques were discovered and in-inclusive picture of all possibilities