and|§ tyles for Contemporary Design Lakshmi Bhaskaran Arts and Crafis e ‘Memphis Vorticism Tnternational Style Pop art Deconstructivism Art deco Space age DadiDESIGNS OF THE TIMES Using Key Movements and Styles For Contemporary Design Lakshmi BhaskaranDESIGNS OF THE TIMES © 2005 by RotoVision SA First published in 2005 by: Page One Publishing Private Limited 20 Kaki Bukit View Kaki Bukit Techpark II Singapore 415956 Tel (65) 6742-2088, Pass (65) 6744-2088 enquiries@ pageonegroup.com ‘www: pageonegroup.com Distributed by Page One Publishing Private Limited 20 Kaki Bukit View Kali Bukit Techpark 1 Singapore 415956 "Tel: (65) 6742-2088 Fax: (65) 6744-2088 enquirios®@pageonegroup.com worn: pageonegroup.com Arc Director Luke Herriott Book design by HDR Visual ‘Communication ISBN: 981-245-244-3, Al rights reserved. No pact of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews, For information, address Page One Publishing Private Limited, 20 Kaki Bukit View, Kaki Bukit ‘Techpark TI, Singapore 415956 ‘While every effort has been made to contact owners of copyright material produced in this bole, we have not akways been successful, In the event of a copyright query, please cont the Publisher Printed in Singapore by Star Standard Industries (Pte) Lid Acknowledgments I would like to thank all the designers and design companies who were so helpful in contributing images to this books Td also o thank my editors, Kate Shanahan and Lindy Dunlop, and April Sankey and Luke Herriott at RotoVision. Special thanks go to Josie Ballin and all at D&AD; Quentin Newark forall the help and advice; and t Jony for continuing to inspire me on a daly bass.Biur rpefice: A.M, Casundre Iustetion forthe Beautiful South’ album 0838 David Cutter Contents Introduction 8 Timelines Vfovements and Styles 10 Designs a Designers 4 Events 8 ‘Movements and Styles ‘Ants and Crafts movement 24 Rational Esthetic movement 2 Streamlining, 140 Japonisme 8 sie design 46 Are noaveat cenational Style st Modernism 50 Biomorphism 60 Beawe-arts inavian modeen 166 Jugendstil 60 intemporary style 174 4 Swiss school 18 66 Pop act 14 rp Space age 90 sche Werkbund 76 Op ant 194 Ptuciom fo Antidesign 198 Art deco 86 malismn 200 Ceech Cubism 96 Hligh-tech 204 Vorticism roo __—estindustiialism 20 F Dadaism 04 ostmodernism x6 de Sil 18 California new wave 2 Bau Memphis ag Modeme Deeonstructivism 230 Constructivism 126 Surcealism PsIntroduction From art to architecture and furniture to graphics, design in the twenty-fist century has became a global phenomenon. Whether used as a means fof communication or expression, to ateeact new audiences oF inspice old the language of design has become the soundtrack of choice in a world where too much is never enough. In short, Wesign has become ubiquitous Wena live ina sociry over- helmed byiciice, surrounded by products whose ability to transcend finetion has eveatea world dominated by eatheties and deiven by consumerism. ‘Mass production has been superceded bY mass customization in disposable age where goods ace replaced racher tian repaired, Design has ivltrated our cheryday existence and besome such an integeil pact of daily fife that we expect fe less, Infact we expect more and, as a result, demand more. Continually on ‘he lookotfor something different, fr the next and best “big thing,” we pat pressure on the design industry and, more importantly, on designers to provide Te In response to the ever-changiix demands of the twenty-first century’ consumer, designers today increasingly find themselves looking to histor for a helping hand, Applied t0 design, historicism is the practice of reusing carlir historical styles in art design, and architecture. Yet, while Borrowing from the past has long been recognized 1s an acceptable creat ve texouree—look back to the Roman sculptors Wie borrowed from Greek tadition—this has not stopped a 150-year long debate cover its legitimacy. While imitative hiseoricism dominated much oF nineteenth-century art and desig this approach was the very antithesis OF everything modernism s@oed foram the ‘wentieth-century. Detegmined t6 forge a new language of desigt DORTOWIBK from the past was simply not an option in modernist circlos—in ft, it was a ‘rime, Te was not until the 19608 and the advent of postmodernism that this view was effectively challenged and designers began to freely explore the past once more. Having come fill ciele, es we begin to find our feet in the twenty-first ‘century; historicism is not only a legitimate area of ereatvity, tis an integral part of contemporary visual clture, We have moved beyond the fime when a singular style wos enough to capture the spirit of an age Revolutionary advances in machinery and technology, once the primary motivators for designers and architects, no longer provide the stimufis they ance did. Designers today find themselves immersed in choles, free to cherry pick from the plethora of stylistic attributes at their disposal, to mis and match past and present in search of the furure Bncapsulating the wide varity of styles that previously catered ro distinct adiences, the sponge-like quality of “rwenty-first century modernism,” and its ability to bypass the stylistic constraints that wese once: the very basis for identity, has lel #08 NeW Body OF expressions and global accents that have driven design to unprecedented levels of diversity. Former styles are continually revived, injected with a splash oF contemporary kulgs; and sent on their way with growing frequency and a level of reansience more in Tine with the fashion industry than with other areas of design, ‘Using a combipation oF historical and contemporary examples spanning the fields of industrial design, Furniture, graphics, at, and atchiteeture, Designs of he Times s the allimate source book for designers, student and indeed ‘anyone with an inferest in design, Designed to inform and inspire in equal measure, the folloWing pages will ‘explore the key movements and styles that have come toldafine twentieth= century design. Each chapter illustrates not only howgdlpartieula style has evolved ovedithe years, But also how it an be applied fosdesigh today: In ludition, each sivleb Key figures and characteristies have been highlighted for quick reference, while «series oF four timelines (lassifed by style, design, designer, and even's) reveal the bigger picture. Design is no longer simply a matter 6f form oF fanetion; i is a language id lke any language, must be fully lunderstond before it ean be used flectively. Designs of the Times provides the key to that understandingKey Movements and Styles 2000 presentDesigns 1920 1930 1970.Designers ye 1830er Origin United Kingdom Keycharcterisics Siopicigy f form Pin, near shapes it phave: inspite by matrel plant and tina forms cond phase: more abstract, inspired by movement and mythical restures Bele in the superior of handeafed obeces ‘over machine male michine otion regarded as being degrading to both crestor find consumer ‘Alcite ofthe Art and Crit el formed {guilds and cats societies, each with heir own Sve, spedalizaton, and leaders, 19 discus und ies Bele that good ar and design could wefoem setae iene tbe iii ot Be er eee snd consumer alike (important pesuror to ‘modernism Secako Modernism p50 ‘Mision syle p 54 Established asa reaction to the effects of nineteenth-century industrilization, hich its proponents felt hac resulted ina degeneration of both the design and guality of goods, the Arts and Crafis movement advocated a simples, more ethical approach to design and ‘manufacture, The aim of the movement, which began in the UK, was to promote the ideals of traditional erat production and craftsmanship. Tt incorporated everyone from artists and architects to writers, designers, and craftsmen, united by their belief in the superiority of Ihanderafted over machine-made objects The movement aso regarded machine production as degrading to both creator and consumer. Typical Arts and Crafts designs were characterized by simplicity of form and the use of plain, Hinesr shapes in a bid to embody the natucal union between form, function, and decoration. In its purest form, decoration was derived from construction, as with the use of pegs and dowels as surface ‘moti in furniture design One ofthe first to make the connection between declining esthetic standards and the nation's moral standing was designer Augustus W. N. Pugin, Steadfast in the belief that ie was possible to reform society through good design, Pugin chose the Gothic model— Which in his view symbolized a truly Christian society—as his vehicle for change. Best known for his designs for the new Houses of Parliament (1845-1857), Pugin artifiets and architecture provided an ongoing source of inspiration for many leading Arts and Crafts practitioner, including William Burgess John Ruskin, and William Morris “There were two phases of Arts and Crafts designers in the UK. Those in the first, led by Morris, rook their inspiration from bird, plant, and animal forms, clearly visible in Morris wallpaper designs of the time, Designers in the second phase, among them Arthur ‘Mackmurdo of The Century Guild, took a more abstract approach. Some incorporated movement into their Arts and Crafts movement designs, while others sought inspiration from exotic, mythical ereatures, Willian de Morgan's ceramics, Walter pottery designs, and the colorful cnameled metalware by architect and designer Charles Ashbee were all characteristic of tis latter approach. The erusade to put Pagins theories into practice was led by Morcis who, in 186, established Morris, Marshall, Faulkner 8 Co, (renamed Morris & Co. in 14), to manufacture tapestries, furniture, and stained glass. Mortis and his cohorts blamed industralization and mechanization for many of the social problems in England at the time. As passionate socialists, they bei return to traditional craftsmanship would help improve the lives of the poor in, Victorian England and thus make the world a betier place It is somewhat ironic then that many of Morris & Co,’ handcrafted products were 50 costly to produce that they became affordable only to the wealthy industrialists that the ‘Arts and Crafts movement so despised. Inspired by the medieval crafts guilds, advocates of the Arts and Ceafts ideal formed a series of guilds and crafts societies, each with their own style, specialization, and leader, to discuss and share ideas. These included the Guild of St. George, The Century Geile, the Guild of Handicraft, the Cotswold School, and the Ast Workers Guild, whose aim it was “to advance ‘education in all the visual arts and crafts by nieans of lectures, meetings, demonstrations, discussions, and other ‘methods; and to foster and maintain, high standards of design and craftsmanship ... in any way which may bbe beneficial to the community.” The Art Workers Guild was formed by the amalgamation of two existing geoups— a group of five young architects known as “The St. George Society and The Fifteen, a group founded by writer and designer Lowis F. Day and designer/llustrator Walter Crane. Its impressive membership included the likes of Morris, Mackmurdo, ‘Ashbee, and Charles Voysey. eved a t ‘While Mortis & Co, existed wnder the formal steucture of a company, and members of The Century Guild ‘were united by their close working Jationship, there was no such sense of y for the Art Workers Guild, whose members continued to work from theie ‘own studios and workshops. It was this realization, as well as the need for a collective display and promotion of their ‘york, that led to the concept of a public exhibition. Despite opposition, in 1888, the new group held its first exhibition at the New Gallery on Londons Regent Street under the presidency of Walter Crane, Known as the Arts and Crafts Exhibition Society it was from this exhibition that the Arts and Crafts movement took its name. ‘Although the Arts and Crafts movement began in the UK, a newfound appreciation of the decorative ars in the USA and across Europe soon developed. In Scandinavia and centeal Europe the movement fueled a resurgence in national styles, while the American sutempt to impost the Arts and Crafts ideal became known as the Craftsman ‘movement, mission style or Golden ‘Oak. In esthetic terms, the Arts and Crafts movement represented a key stylistic development in the decorative ars, but itwas also steeped in the belief that good art and design could reform society and improve the quality of life of crcator and consumer alike, hence it was aan impostant precursor to modernism. k= 06hLlt“(<“<‘ A!;*éi‘iti‘it™S ‘Writing desk Arthur Mackinurdeee Regional v jations Country of origin Artsand Crafts UKe rst Phase UK: and Phase Craftsman/Golden USA Oak/mission style nglish Guilds and Crafts Societie Guild of St. Geo (1872) The Century Guild (18 St. George's Art Society (1883) Are Workers Guild (1884) Guild of Handicraft (1888) Arts and Crafts Exhibition Society (2888) sgow Schoo! (18908) Crafts Societies Guild of St. C ge (872) The United Craits (1668-1915) Darmstadt Artists Colony (1899) Key figures William Mortis A.W. N, Pugin (1812-1852) John Ruskin (1819-1900) William R. Lethaby 1834-1896) G85y-i93) Arthur H. Mackmurdo (1851-19. Charles R. Ashbee (1863-1942) ‘Chacles E. A. Voysey (1857-1942) Fields of work Socialist/ Writer/Designer Architect/Designes/Theorist Philosopher/Artist/Atteritic Designer/Principal, Central School of on (1896 Arts and Crafts, Lon: Architect/Designer Architect/Designer Architect/Designer (fueniture)/Principal, William De Mor Walter Crane (8 Gustav Stickley (i Charles P. Limbere (i854 Location London, UK London, UK London, UK London, UK London, UK London, UK Glasgow, UK Location East Aurora, nr Bul Syracuse, NY, USA Grand Duke Eenst Ludwig of Hesse (0839-1917) bert G. Hubbard (1836-1915) Royal College of Art, London (1897-1898) Designer (ceramics) Designes/Illustrator 1942) Designer (Furniture), Designer (forniture and lighting) Former soap salesm Founder/Leader Joha Ruskia (819-1900) Arthur Mackmurdo (1851-1042) Selwyn Image (1849-1930) Gerald Horsley (1862-1917) Ww iam R. Lethaby (1857-1931) Meryn Macartney (2853-1932) Emest Newton (2856-1922) Founders of the St. George’ ir with members Oak’ Crane (1845-1935) and Lewis Fore Art Society toge ission style of The Fifteen, including Walter 1» Day (845-1910) Charles R. Ashbee (863-1943) Walter Crane (1845-2935) (Charles Rennie Mackintosh (1868-1928) Founder/Leader Elbert Hubbard Gustav Stickley » NY, USA, Darmstadt, Germany ce oe = fama aan) Sere ce rea eit K>+*+ YY VPidOL]/THS$ REFArt deco Also known as modernistic and style modeme, prior to 1935, Art deco is an international decorative style that emerged in France during the 1920s. Initially inspired by the brilliant colors and costume designs of Diaghilev Ballet Russes and the fashions of Paul Poiret, the at-deco style was also influenced by the abstract, simplified shapes exemplified in the avant-garde paintings of the constructivists, cubist, a —_fauvists, and futurists. The discovery of Expensive materia enamel, von bronzesand—Tytankhamun’s tomb by Howard Carter Lees in 1g22 inspired the Egyptian styling that became an inherent part ofthe art-deco style. The esthetic transformed the skylines of cities from New York to Shanghai, and influenced the design of everything, ftom fashion to furniture, Hollywood films to hixury liners Origin —= Drited States Key characteristce Sa Bright elon Shaep edges, sanded comers Tafluened by eonrume design and fishin (Celebrated travel, sped, and hvury with vivid clon a at, angle shapes ‘The style was named after the 1935 Paris Exposition des Arts Décoratifs et al shovicase for the best in contemporary design. At this event, the USA was notable only for its absence. It has been said that America was not represented because at that time it had no art deco to contribute, but if this was the ease, it didnt remain that way for long thanks to two outstanding pieces of art-deco architecture—the Chrysler Building and the Empire State Building, both of which rose co dominate the New York skyline in 1930 In France, the highly elaborate art= deco style was aimed primasily at the Iuxury market. Ie permeated virtually every design discipline, from paintings by Polish-born artist Tamara de Industriele Modernes, an intern Geomeni wyling and Eygptin and Aztec influences ve eaiey Ba — == with typical ‘Spline shape, Scosho Fanoram p 80 (Cacch Cubiom p 96 ‘Constr p 226 [Lempicka (1898-1980), to graphics and stage desigas by Robert Delaunay (:885-1941) and Sonia Delaunay (:885-1980), and glasswares by René Lalique. Advertising posters adopted simplified forms and bold silhovertes, such as those created by Cassandre for the ocean liner Normandie (1933). Celebrating their newfound fascination for travel, speed, and luxury, art-deco graphic artists used vivid colors and flat, langolar shapes to convey their admiration, Interiors and furnishings saw the development of two distinct styles, each with its own set of esthetic values: the Boudoir style of the 19205, which used usury materials to create the exotic, oriental style of Jacques-Emile Rublmann’s farniture designs; and the sleek, modemist approach reflected in the works of Le Corbusier and his associates. By the 1920s, American designers also sought inspiration from ‘machine and industrial forms, adopting repeated and overlapping geometric patterns, colorful rectilinear im: chevrons and lightning bolts (symbolizing clectricity), and the ubiquitous zigzag designs. As a result, the style progressed from its highly decorative beginnings in the 19208 9 the elegant functionalism of the 1930s. Hollywood Style In the USA, art deco was characterized by glamor, fantasy and escapism. Inspired by Hollywood film sets and fashions, Hollywood Style could be seen everywhere from the extravagant productions on Broadway to interiors and skyscraper architecture, Eygptian and Aztec influences and geometric styling dominated American architecture and the decorative arts during the early 19308. Classic examples of art-deco architecture inchide the Chrysler Building, the Empire State Building, and the Rockefeller Center in New York City In the UK, Hollywood Style was reflected in the lavish, dramatic interiors of the numerous Odeon Cinemas in and around London, including the Leicester Square Odeon with its leopard-skin upholstery and gold-rippled walls Are deco-xle wooden sockDs il Dll [| > SN XiliwK RK Pallea Te though thar Maine Couct inreese Con Regional variation France)Origin Prague Key characteristic Pris ike and eqetalline most apliod wo architecture, furniture, ceramics, and jewelry 2 shorted, br highly orgval and inducrial movement Believed ia breaking up the veri and horizontal srfices of conventional design Tneorporated angled and zigva the design of everyday abject 2 panes io Seealio ‘Ars and Cri movement p24 Annowen pia Modern p92 Secenion p Wiener Werte p70 Czech Cubism ‘The influence of art nouveau on modernism was particularly obvious in Prague where a group of architects and designers, inspired by a combination of secession objects and Cubist sculpeures and paintings, formed an important, albeit short-lived movement that became known as Czech Cubism. Sharp points, slicing planes, and crystalline shapes were the trademarks ofthis unique, avant-guede group. Centered around the Skupina Vyrvaryeh Umeleu (Group of Creative Artists), established in Prague in 191, it created original and dramatic carly Modernist ceramic, glass, and fuenituce designs. The Skupina ‘maintained close links with Parisian obit building Prague, Czech Republi, (Cubism, organizing the Third Group Exhibition, which brought works by Pablo Picasso, André Derain, and Georges Braque to Prague. The group also founded its own magazine Umelocky ‘Mesienik (Axtistic Monthly). Four young, multitalented designers, trained in the ateliers of leading rationalist architects Otto Wagner and Jan Kotera, were behind the bulk of Prague's Czech Cubist legacy. Both ‘acquainted with and inspired by the Cubism of Picasso and Braque, and desperate to find a new style they could call their own, Pavel Janik, Josef Gocar, Josef Chochol, and Viastislav Hofman adapted painters’ eabise principles, and iched them not only to another dimension, but also to everyday life (Opposed to the seceession and Arts and (Crafts ideas that had been introduced to Cech design by their tutors, Wagner and Kotera, the Czech Cubists believed that an object’ true internal energy could only be released by breaking up the verieal and horizontal surfaces that restrain and repress it in conventional design, By incorporating angled and zigzag planes into the design of everyday objects, they succeeded in transforming them into dynamic works of art. Czech CCubists regarded the erystal as the ideal natural form, while the pyramid was seen 1s the pinnacle of architectural design. Luckily for them, Bohemia’ culturally adventurous elite was open ro these radical ideas and appily financed the cubist transformation of everything from cups and saucers, to desks and chairs, villas, and office buildings, ‘The group also rejected the rationalism that existed in architectural practice and the use of applied ecoration in architecture, opting instead «0 apply Pyramidal Cubism to building facades with decorative applications of slanted facets, folds, and fractures. This approach to architectural design was exemplified in Josef Chochol’s Hodek apartments in Prague In 1912, Gocer and Janak set up Prazske Umemecke Dilny (Prague ‘Artistic Workshops). Based on the \working practice of the Wiener Werkstitte, they adopted traditional snethods and materials to create architectural, sculptural furniture, while their inexpensive glazed ceramics and sass, produced by the Artel Cooperative in Prague, ensured that, in part at least, they were able to full their commitment to integrate Cubist principles into everyday life "The Studio Comer ceca dis: Pablo Picaso Ceramic collection: Clavie Chi Selection of Cubist ‘ceramics indading 2 conical bevel with 4 peomeries! deeneres) Sere oeed. ao eon Ears wuts | Pie SE Pees ona ED ee es r= 2 st/Furniture designer/Theorist Architect Architect/De wy Hofiman (1884-1964) Arehitect/DesOrigin sited Kingdoms Key characteristics (Geometric abstraction iy defined, often 2D forma Ft, vibrant colors Key facts [A wstsined act of aggression agen he ‘Vitoria that wa sen to be sing asttc energies Developed a new geometric abaracton Cea aioe Sai Moderne p 30 Futurism p86 Caan Gatien p56 Vorticism Considered to be the only British avant= garde movement to make an original contribution to European modernism, vorticism may not have lasted long, but its typographical adventurousness was cited as one of the major forerunners of the revolution in graphic design in the sg2os and 19308. Closely related to both faturism and Cubism, the movement was named by Ezra Pound in 3913, although artist Wyndham Lewis had been painting in the style for at Ieast a year prior to this and is often reyarded as the movement's founder and central figure. The vorticist movement represented a sustained act of aggression against the moribund and moderate Victorianism that Lewis and Pound regarded as stifling the artistic energies of the new generation in England ‘The vorticists produced two issues of their own journal BLAST, edited by Lewis, in which the two vorticist Manifestos were published, in ror4 and gts. The large-format magazine, with its radical typography and design, also incorporated works by Pound and"T: 8. Eliot, as well as by the vorticists themselves. BLAST made an important contribution to twentieth-century typography and remains a leading example of modernist expression. “Although the vorticst style had its pots in Cubism, it was the Futurist dea of dynamic art capturing the modernity of the era that most inspired the movement, Despite this, the vortcits were harshly critical of the futurist’s naive enthusiasm for modernity preferring instead to create their own style of geometric abstraction to celebrate the new consciousness of humanity in a mechanized urban environment. ‘The mechanism of war was the primary focus for both futurists and vorticists and, 28a result, provided great inspiration for both. However, while the Futurists glorified war, the vortcists held a cautious respect for i; they appreciated the power of the machine, but also recognized its potential danger to society. This combined fear and respect for roboticism was expressed through their ary in particular theough Jacob Epstein’s famous sculpture The Rock Drill, the most celebrated of all the vortcist works, ‘The group held just one exhibition, at the Doré Gallery in London, before vorticism was disrupted and finally extinguished by WWI—n which several of the group served as combatants and war artist. The Wester ny: Henri Gaudir- Bracska for Omega Workshopsoar Zasich Key characterise Close relationship between word and image Maliple ope forms and line dimensions Bald we of ope lightsemibold pita-lower es, condensed, Une of photomonage Key fact Fons on new materia new Hess and ew people “Main influence was on graphic desig and in particule rypogeaphy characters Dadaism ‘There is much controversy a8 to who founded the dada movement, not 0 mention when and where! Most believe icbegan in Zurich during WWI and then spread to New York, Pasi and Germany. Dada began as a Tiveracy ‘movement, but soon grew to inchide poctry, performance art, collage, and photomontage. The spirit of dada was all about living in the moment and for the moment. Moreover, it was all about the newest materials, new ideas, and new people. The key characteristic of dadaison was the very fir that it had no formal characteristics, unlike the majority of other art styles and movements. Its only program was to have no program, and this is what gave the movement its explosive power to unfold freely in any direction, liberated from social ox Front covet, Buin Dada No. 6:Marcel Duchamp rs ia ctor’ 2 Prix: Drawn SO ea ot ES Serre aur penagge © 49 go ie A eats te tan nate or oe ES 32. ag WANS . $ae ret ENA za es Floquet, mais I par 4 pe cn ae Soa BULLETIN = © ‘esthetic constraints. The fact that dada occurred in neutral Switzerland amidst the chaos of WWI is also of great significance: this was one ofthe few countries in which an amalgam of totaly different characters could come together to form such a revolutionary movement, ‘The fusion of personalities and ideas that occurred fueled the tensions and incompatibilites of character, origin, and attitude for which dada was renowned. Founded by the poet and skeptic Hugo Ball a the beginning of 1916, dada’s beginnings have been traced to the Cabaret Voltaire. In the fre dada publication Ball wrote “The present booklet is published by us with the support of our friends in France; Italy, and Russia. Te is intended to present to ! the Public the activities and interests of Collage Me 439 Kore Schwitcers a éPeron the Cabaret Voltaire, which has a8 i sole purpose to draw attention, ross the barriers of wa few independent spirits who live for other ideals. The next objective of the artists who are assembled here isthe publication of a revue internationale. La revue paraitra & Zurich et porters Ie nom ‘dada,’ Dada dada dada.” (Zurich, 15 May rox) Another key igure was poet and essayist Tristan zara, who was responsible for many of the frst dada texts, including La Premiere Aventure Coleste de Monsieur Antipyrine (The Fist Heavenly Adventure of Mr 1o16, Vingt-cngpocmes (Pa Poems) 138, and Sept Manifestes Dad (Seven Dada Manifest) 1924 In design terms, dad realy inf design or architectute, but it did have a significant impact on graphic design, in particular typogsaphy. This period saw the introduction of Photomontage as anew art form by the Bertin Dada group. Many ofthe earliest dada montages were used as covers and ind nationalism, to the lid not te the worlds of industrial Regional variations Zurich dada roxy New York dada 1915-1920 Berlin dada 1918-1923 Hannover dada r919-1921 Cologne dada 1920-1922 Paris dada x919-1922 ilustrations for magazines and manifestos Mhe di typography broke with most printing traditions and was distinguished by the close relationship between word and mage, and the use of multiple type forms ‘and line dimensions. Traditional horizontal and vertical dimensions were reinterpreted to create new layouts that incorporated lines, sucfaces, and often, techniques that bore no visible relevance to the rest of the work such as engravings. Syntactic lements ike capital-lower case, condensed, light-semibold, etc, were used extensively ‘The legibility of texts may have suffered, but the content was emp! While the original dada movement lasted only never really came to an end. In 1980, it saw a new and powerful revival when all the dada manifestos, which hi previously been so difficult to find, were released by German publishers, reprinted true to the originals. A music pamed itself after the Cabaret Voltaire and in 1982, the first dadaist conference of the movement. fluence on til 1923, the movement since 1945 took place, in Germany. Key figures Hugo Ball (886-1927) ‘Tristan Taara (1896-1965) Marcel Janco (895-1984) Marcel Duchamp (1887-1968) Johannes Baader (1875-1955) Raoul Hausmann (1886-1972) Richard Huelsenbeck (1892-1974) Kurt Schwitters (1887-1948) Max Emnst (1891-1976) Johannes Baargeld (1892-1927) Hans Arp (:887-1966) Alfred Grunvald (1884-1951) Jacques Vaché (1896-1918) Ta the last 20 years, formal and contextual dadaist influences have been used se Important style elements in typography and graphic design. The work of two of the most influential graphic des the USA—David Carson and E. Falla—was influenced by dat the UK, the punk movement exhibited dladsist tendencies in the mid-19708, a8 seen in the graphics of Jamie Reid. In Germany, Thomas Nagel and Alex Branczyk brought dadaist fi design of techno music and the digital ‘world. The rebellious and inquiring principles of dada place it not just as an influential movernent of the early tswentieth century but also as a model for the present and the future edom to the elds of work Author Poct/Essayist Artist Arvist/Poet Artist Artist Writer/Antist Artist/Graphie designes/Typographer/ Set designer/Poet Paincer/Poet Artist Sculptor/Painter/Poet ‘Author/Libbresis/ Lyricist Soldier ee a rent Tiestrnk beach oon aTOrigin ‘The Netherknds Key characteristics Abstract geometric foam Horizontal and vertical planes Uee of boc calor—prima Minimal auiace decoration Key facts Eliminated natural forms and sobjoct materi favor of giometccabtraction Favored simple, logical ve that emphasized Came ata ie when onder waa valued above all ee is response to WWI Dadsiam p 104 Constructivism p 126 de Stijl ‘Also known 38 ncoplasticiom and celementarism. De Stil (the Style) is the name attributed to the small group of architects, designers, artists, thinkers, and poets founded in the Netherlands in 1917 around the art journal of the same name, Led by the painter and architect’Theo van Doesburg, the grup, which included the likes of Piet Mondrian, Jacobus Johannes Pieter Ou, and Gerrit Thomas Rietveld, advocated 4 purification of art and design, eliminating natural forms and subject matter in favor of geometric abstraction, and the use of primary and noncolors (i.e black and white). These aims were set out in the group’ frst manifesto, published in 198. In addition to promoting its own work and ideas, the de Stijl journal also featured the work of the Russian constructviss, Italian faturists, and the dadaists. Neo plasticism (new plastic art) was the term adopted by Mondrian to describe the qualities that de Stijl artists endeavored to achieve in their work; the creation of a universal esthetic language in favor ‘ofa simple, logical style that emphasized ‘onstruction and function, and that would be appropriate for every aspect of modern life Responding to the chaos brought bout by WWI, the de Sejl movement ‘came at a time when order was valued above all else in the Netherlands. The multidisciplinary naruse of che group's membership was integral to its success, bling it to produce everything from graphics and paintings to interiors, textile, and architecture, all united by a common visual language. The ecognizable through ite use of straight, horizontal and vertical lines, and block colors Tes philosophy, which had its coots in functionalism, was epitomized in the paintings of Pict Mondrian and the designs of Gersit Thomas Rieteld. As the artist most closely associated with de Sui, Mondrian’ abstract paintings concentrated on the harmonious composition of line, mass, and color; the relationship between postive and negative elements in an arrangement of nnonobjective forms and lines, Rietveld translated these principles into three dimensions with pieces such as his Red/Blue chair Steucture, emphasizing the intersection of planes through the use of contrasting colors and exaggerated junction points, was also integral to Rietveld’s work. Ie i the Schroeder House, however, complete with furninire and decoration all designed by Rietveld, that stands asthe most complete realization ofthe de Sui esthetic The de Si journal was published until Theo van Docsburg’s death in 93% after which the movement gradually dissolved. De Stijl achieved international acclaim by the end of the 1930s. The dematerialist approach evideat in its buildings, interiors, and furniture made a fandamental contribution to modesnsm movement's work is instantly — ==) Composition IX, opus 38: Theo van DosburgTea AUC Sa HLM ie MA Mea nC Pee PLLURON Oy Ian a= Seecow atten ee on ee Peer for Nu. Jase peers ae eerie eats a arrNeecrton een eon) Seemed cea List For Ue, cores Key figures Architect/Town planing Gerrit Thomas Rietveld (1888-1964) Architect/Furnituremaker/Designessd concrete in buling Key acs Bebeved that the are benefited fiom an amalgamation of sll and techniques A politicized movement a radial A paid movement that ugh aon phat many saw 35a sxilis ethos repressive, experimental cream and innovative teaching practices ——— See also Modernism p so dent p ‘Consruciviam p 26 Bauhaus design school, Staatliches Bauhaus, Copiue Groin ny bleedin the cin al i ei Bildende Kunst) and ae School of Applied Arts (Siichsische — Renaigeverbescul) in Weim ‘Armichaire Marcel Breuer forthe Bauhaus ‘method? and “subjective experience and objective recognition.” Along with 640 other artists, Lyonel Feininger (872-196) and Gerhard Marcks (1889-1981), Itten wwas responsible for the school’s one-year foundation course, during which students were taught the basic principles of design and color theory “Toto at the schol were fered to as Masters and stuns Jounin Af the preliminary couse det went on to train in at least one ca inthe choo various workshops, However, Iteis involvement inthe Mardaznan sect (a Zoroastrian-syed ‘movement based on principles of ianer hharmony, including meditation and ‘vegetarianism and his attempts (©. Feces art ad sin did not sit well with Gropiue In Decernber 192 Iten left the school, effectively ending the Bauhaus expressionist period. His successors Josef Albers and Lészlé Moholy-Nagys ‘opted for « more industrial approah, arranging student visits to factories 38 part of the curriculum. Exsentially a state-funded inst Bauhaus was the focus of much poliieal opposition in Weimar. In 1923, in order to justify the stats continued support, a landmak exhibition was held. This featured work from the Bauhaus along ith a number of de Stl designs, fnchiding Gert Thomas Rietvelds Red/Blue chai. The exhibition saw the emergence ofa new, overtly modern style of graphic design inspired by de Stil and Russian construetviso. The exhibition Aid noe fully achieve its aims the school’s Brant was halved when Weimar beeame the frst city in Germany to elec the Natioal Socialist German Worker’ Party The Bauhaus’ radical and what ‘many considered socialist ethos and esthetic was not liked by the loeal Authorities. In 192, following various Political disagreements, the school vis forced to move from Weimar to Dessau city still under the rule of the much more politically receptive Social Democrats. The move also Brought much-needed financial support via the USA, where asistance loans were tution, the being granted as part ofthe Dawes Plan Funding was granted on the proviso that the school would part-find itself through the production and retail ofits own designs. The Staatliches Bauhaus moved into its new headquarters in Dessau in 1926. The building itself was desizmed by Gropius, with all the interiors, fieniture, and furnishings designed by the school’s students and staff ‘The design of the new school signaled ‘new direction for the Bauhaus—thae of industrial functionalism. The school began issuing its own diplomas, Masters were now referred to as Professors and the school cut all ties with the local crafts guilds. Bauhaus GmbH, a limited company through which Bauhaus products could be retailed, was formed in 192s, A catalog, designed by Herbert Bayes, was created, but sales were not 00d, largely because, although designed with a machine esthetic, many of the Bauhaus’ products were not actually suitable for industcial production, When the various licensing agreements with external manufacturers failed to bring in the necessary revenue, Gropius resigned, handing control over to Hans Meyer. During his short directorship, from 1928-1930, Meyer increased the school’s commercial success, licensing is designe to manufacturers and generally making the Bauhaus style available to a wider ‘market. However, Meyer’s Marxist Principles were not popular; he sought ‘0 politicize the Bauhaus, introducing Jectures on economics, psychology, and ‘Marxism, and adopted a more scientific approach to design. Meyer believed form should be governed by function and cost in order to produce products that were both affordable and practical to working class consumers. By 1930, Ludwig Mies van det Rohe hhad been persuaded to take control Under pressure to depoliticize the school, he ordered its immediate closure on September 9, 1930, All students were forved to reapply for their places when the school reopened the following semester. During its closure a new curriculum was agreed upon, the original ool, Dessau, Germany: Walter Gropispreliminary course rnoncompulsory, and the study of architecture elevated to primary status. “Applied arcs were allowed to continue ‘on the condition that only products that could be industrially manufactured swore designed. The political situation however, semained unstable and it wast Jong before the National Socialists won control of Dessau, forcing closure of the school within a year The Bauhaus was reestablished as 2 private school in Berlin, but before long the National Socialists seized that city to0.”The school was raided by the Gestapo who sealed the building, looking for communist literature, and it never reopened. On July 19, 1933, the Masters gathered and voted to dissolve the Bauhaus. Many of the school’s Masters selocated to the US, often via Britain. Moholy-Nagy founded the New Bauhaus in Chicago in 1937, albeit with limited success; Gropius became professor of Architecture at Harvard University (1937-1952); and in 19385 8 major retrospective celebrating the work ff the Bauhaus was held at the Museus fof Modern Art, New York, introducing the work of the Bauhaus to a new American audience. The Bauhaus lasted just 14 years, and took in only 1,250 students during that time, bur despite its short history, the progressive and experimental curticulum fnd innovative teaching practices that it developed had an enormous impact on ddesign—one that continues to this day Bauhaus program and manifesto, 1919 + To establish architecture as the dominant design forum + To clevate the starus of craft skills to that of fine art + ‘The improvement of industrial products theough the combined efforts Of artists, industrialists, and eraftsmen, (OjietRuch ed erbckunst (Offs Book and dhe Art of Advertsing), | No.7 cover: loose Scum Baus design color lithograph | | — ‘MedeIMR 50: Ladvig Mies van der RoheuN coy Cy tcc Cad Mere loXeol-Ace lai i uareyoxele=tee Ue cere ABCDEFGHIJKLMNOPQRSTUVUXYZ 1234567890 RAB X63 aly (“hy 79 Rig $55 f Ki)Moderne —_—_—<$ Origin “Moderne is the name attributed to a form of artdeco that existed during the 19208 and 19303. Popular in Europe, moderne flourished in the USA where the chrome-and-glas sets of Hollywood films introduced this new style to a captive international audience. Taking —— inspiration from the Wiener Werkstatte, designers adopted strong, geometric forms in their work, and used chromium and aluminum to create gleaming surface finishes. The work of American interior and furniture designer Donald Deskey is often stid to epitomize the modeme style Esthetically superficial, moderne was a decorative style that utilized the ‘machine esthetic to conceal the inner Tie mock me ale came to symbolize che workings of an abject. It used the look American Drea of the machine omamentally without ae necessarily possessing 2 functional relationship with it, In architecture, ‘moderne figuced most prominently in nonresidential buildings, from skyscrapers to movie theaters, advertising “the promise of a machine-made future.” However, as the Depression deepened fewer and fewer modeene buildings were constructed. Instead, the style was Swrcamtined suns Strong, yeomettic fon Use of guns and Key facts ‘ied the machine ene to conceal the Inger workings of an object, [Used the lak ofthe machine ornamental translated into consumer products and) interiors. Not many homes were builtin the moderne style, but with those that were, their decorative exteriors often bolied the traditional floorplans and décor within ‘Moderne also had many asteciations with the new; ftom materials to talent to technology. Bakelite and phenolic reins became extremely popular, Brick buildings were increasingly covered with concrete or plaster “skins” to provide a smooth, metal-like finish, thus reinforcing the machine esthetic. As the ocean liner was a physical manifestation of ll that was new, it was no coincidence that these buildings began to resemble ships. With many designers working on private commissions from wealthy clients, the moderne style soon eame to symbolize the American Dream, Many of the esthetic attributes associated with moderne were Later revived through postmodernism, Agjvstable Table TE voo7 Eileen GnyPeers Perceait a etre onary Key figures elds of work Donald Deskey (1894-1989) Des (graphics, packaging, interiors, lighting, miture, exhibitions) Karl Emanuel Martin (Kem) Weber (1889-1963) Eileen Moray Gray (1879-1076) Architect/Designet Walter Dorwin Teague (1885-1960) Tndusteial designer Raymond Fernand Loewy (1893-1986) Designerlana inear fens Dynamic composition Minintation oF pee Use of modem matress sel plastic Keyfa Belived art and gn shouldbe absorbed into Used a geo method in work reise almost matheaadal The arts war a worker and responsible for esigning new, functional objects Puke Serasacline aia Sceaho Faturien p to a Cresh Cubism p98 im p04 Bauhaus p n6 Constructivism Also knowa as Soviet constructivism and Produetivise School. Constructivism is the term used to describe an influential ated by the Soviet avant-garde following the Russian Revolution of 3917. Prior to tandem with the rest of Europe, designers in the Soviet Union had sought insp tion from modern European practic such as Cubism and futurism, bur by 1917 the time had come for a new form of creative expression that echoed their desire for a new social and political order, Russian constructivists believed art and design should be absorbed into industrial production—as a result, they set about creating "production" art and architecture. Consteuctivism was one of the first ‘movements in art to adopt @ purely nonobjective approach, Constructivists followed a geomerric, precise, almost mathematical method in their works, is and in Beat the Whites with che Red Wedge: EI Liste using rectangles, squares, and circles as the predominant shapes to construct careflly composed arewocks that ‘emphasized the dominance of machines over nature in the modera world A number of Aleksande Rodchenko's drawings were even created using a ruler and compass. Many of the constructivsty had big ambitions, bu the political and ught on by the Russian Revolution meant that few large-scale projects were ever undertaken, Instead, the constructivists turned their attentions to smaller project, such as poster and exhibition design, typoxraphy and ceraries In 1920, Alexei Gan, Varvara Stepanova, and Rodchenko published a manifesto entitled The Pregram ofthe Group of Constructivists, in which they called for artists to stop creating idle esthetic forms and begin designing useful objects that could benefit the ‘economic instabil‘emerging Soviet state, maintaining that the artist was a worker and responsible for designing new objects. This new emphasis on designing functional objects did not sit well with Naum Gabo and Antoine Pevsner, who published their own Realistic manifesto the same yeat. Gabo and Pevsner did not agree with the Soviet constructivist’ belief that all art should be materialist and politically Marxist. They believed that art, and therefore constructivism, had an impor tant role in the structure of life and was an indispensable means of expressing fe human experience. The two artists Russia in 1922 and 1923 respectivel taking their concept of constructivism to Europe. The remaining Soviet construc- tivists—Tatlin, Rodchenko, Stepanova, and Popova—continued to design, creating ceramics furniture, textiles, and interiors until Stalin outlawed the style in 1932, introducing Soviet Realism as the only permissible art form (One of the leading figures in the Soviet constructivist movement was Kasimir Malevich, although he prefesred to describe his work not as constructivism, bat as suprematism. Perhaps best known for his groundbreaking moderaist paintings, such as White on White and Black Square, Malevich founded the suprematist movement in 1913 with a ‘manifesto and exhibition entitled 0.10 The Last Futurist Exhibition. Suprematises sought to free art from the burden of the object, promoting pure esthetic creativity rather than a connection to anything social or politcal. To Malevich, the purest form was the square, although he did use other elements such as rectangles, circles, triangles, and crosses in his work. In addition to painting, he also created ceramics, He even dabbled in architecture with his Architectron models. [ie Soap promoting the (Great Works Incernational/European Constructivism The constr sm that developed in 1s not confined ro a single it had been in Russia tivity outside the Soviet Union took place in Germany, constructivist ideas ould also be found in art centers like Paris, London, and, eventually, the United States. International construc: sm demonstrated that visual color, shape, and cexture possess their own expressive qualities without the need for any ‘ference to observable reality. Using, from metal and wood to ements such as ight and movement, devotees of the vyle experimented with complex visual clationships in a bid to expand their ative possibilities. In i Lissitaky organized an exhibition of Russian art in Berlin. This included are-1920 works by Malevich, Tatlin, and Rodchenko. These early constructivist works immediately appealed to Buropean artists, and constructivist ohilosophies were soon introduced into he teachings ar the Bauhaus, and pted by practitioners of dada and Dutch de Scijl movement. Soviet poster celebrating imidess powe ofthe peopleAECDEFGHIJKLMNOASRSTUV LDKYZ BE PN toa TTD OF 4 pede t se Bad |) LL Meet Sal 4 VFiEOLI/TESSECTOrigin France Key charncteraties Dieamlike depiction Deliber sing Key facts TBlvedffom the nikilitic dens of dads, which it eplaces Ibepind by the eons of Sagan Fe founded on the belief thatthe subconscious be pest fre from esthetic or moral nee Polis was an inherent part of the movement Secalo Dadaism peo Surrealism A tecm first coined in 1917 by the p Guillame Apollinaire (1880-1918), surrealism is the name of the twentieth: century art movement that evolved fom the nihilistic ideas of dadaism, which it replaced. Inspired by the the Sigmund Freud (1836-1930), of psychoanalysis, the surrealist ‘movement was led by the French writer ‘André Breton. He wrote three ‘manifestos about surrealism in 1924, pioneer and 1930, and 1934. Founded on the belief that the subconscious be expressed either ree from the eason and every esthetic or the beliefs of the surrealists were best manifested in the Arcamlike creations of Salvador Dali and the “deliberate construction of strange conjunctions of found objects” of Marcel Duchamp's dada-in his defined surrealism as “pure psyehic wenced works. In 14 Manifste du Surréatsme, Breton omatismn, by which it is intended to express... the real process of thought. tease (Otper | Dessoyih | Maney filtrate the world of Although surrealism did is graphic design. Examples of surrealist design can be seen in a number of British artists luring the 1930s, such as Paul Nash's sapes for the Shell Oil Company and Man Ray's posters for the London iad. Works such as D: West sofi served to challenge Underge perceptions of what art and design should, and indeed could be, often blurring the boundaries As with a number of © entieth- century design movements, polities was rnherent part, with a number of surrealist becoming actively with the Communist Party. Keep London Going poster Man Rey Maa Ray Wee publica, rad aia al teho rode the be LONDON TRANSPORT -Lemire Cy Fields of work r/Designer/ Book illustrat -/Seulptor/ Filemakertace-of-de-ar material, ach a chromed tubular met Keys {logical functionalist approach to architec, devoid of any unnecesay decoration Enbraced smpliciyar« symbo of te new Taly ‘Conceived a nique architectural clement by incorporating andecape windows in building Key figures Giuseppe Terragai (2904-1943) Gino Pollini (1505-1990) L igi Figint (1905-2984) ‘Adalberto Libera (1993-1963) aslo Basico Rava (1904-1943) Sebastiano Larco Guido Frette Rationalism “The Ialan rationalist movement was founded in 1926 in Milan by a group of seven architectural students, known as Gruppe Sette (Group of Seven), who believed that there was a new, fresh artistic spictin Europe, and that Italy had the power to develop it. Primar architectural movement, rationa characterized by a logical, functionalist approach to architecture, devoid of any unnecessary decoration. The was brought to the publics atention— and effectively launched—when in 1926, the Group published a four-part manifesto in the magazine Rassegna | Torin ely | Guiseppe Pagano | anti Lev Montalcni Fields of work Architect Acchitect Architect Architect Aachitect ‘Architect Architect Strongly opposed to Futurism, o rationalists celebrated advances in technology through the use of state-of- the-are materials, such as chromed metal and severe geometric forms, embracing simplicity as a symbol of the new Italy The ig29 apartment complex Palazzo Gualino, by Giuseppe Pagano and Gino Levi-Montalcini, exemplified the | rationalist style, The uniform surfice texture of the building’ facade was inivally painted yellow-green to create | the illision of identical levels stacked ne on top of the other. The architects ) also added a new, and at that time wnique architectural clement to the ding by incorporating landscape windows, Another rationalist architect of the time, Dullio Torres, redesigned the facade of the Italia pavilion at the Venice Biennale in 1932. Torres immediately Jisposed of the neo-classical decoration that had adorned the building’s facade ince x944, replacing it with an all-new, simple, linear style. This new approach to design was very different from the overly ornate architectural style that, hharacterized traditional Italian art forms of the time. apie {ne Morrison aes cree feelin "These buildings in Berlin demonstrate the funsionals| sppeoach to design tats characterise ‘of euionlim