strucktur

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STRUKTUR UNVEILING THE SECRETS OF THE BAUHAUS



TABLE OF CONTENTS 1 3 7 11

HOW TO USE THIS MAGAZINE

THE BAUHAUS

WALTER GROPIUS

JAN TSCHICHOLD

15 19 23 31

THEO VAN DOESBURG

HERBERT BAYER

LASZLO MOHOLY-NAGY

PIET ZWART

1


HOW TO USE THIS MAGAZINE 1. This area shows a piece of the artist’s work that will be deconstructed on the following page. The artist’s type of work will vary from spread to spread depending on what

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the Bauhaus artist’s concentration was. There is a variety of drawings, book covers, magazine covers, postcards, letterheads, paintings and posters. This one specifically is an isometric drawing of a building plan. 2. Each featured picture at the bottom of the page serves as a graphic sample of the designer’s work. This page shows different pieces of furniture constructed by the featured designer. These elements will be deconstructed on the opposite page as well. This layout creates a visual representation of the artist that follows an aesthetic grid. The pictures here placed without text to show first hand how the featured artist contributed

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to the Bauhaus.

PRINCIPLES OF DESIGN

E

2

EMPHASIS Includes contrast, isolation, p l a cem ent an d ab s en ce of focal point. Used to focus the at tention of the viewer and add interest.

B

BALANCE V i s u al e qu al i t y in s h ap e, form, value and color. Can be either symmetrical o r asymmetrical. Texture, shapes can all be used to create balance

U

UNITY Includes repetition, closure and continuation. Grids create a sense of unity and structure. Grids and grouping creates a sense of unity and harmony.


3. This area shows the deconstruction of the designer’s

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work. The images on this page all have a 25% opacit y to shift the viewers focus to the actual deconstruction of the pieces of work. 4. This element shows the deconstruction using a specific principle of design. Using the 7 principles (balance, emphasis, unity, rhythm, variety, scale and proportion), they are used as applied to the featured artist’s piece of work. One or more

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principles may be used in the deconstruction to give the viewer a better understanding of the Bauhaus style and how each artist contributed to the style. 5. This element features specific examples of work that may need to be deconstructed and emphasized to build the readers knowledge. The example may be outlined, like you see here,

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R

RHYTHM Movement or variation shown by the regular recurrence or alter nation of dif ferent quantities and/or conditions, much like a pattern.

or represented and explained in other ways. Most times, this element will focus on a specific principle of design.

V

VARIETY Having varying forms or types. The differences which give a design visual and conceptual interest: notable use of size, color,contrast and emphasis.

S

SCALE Dimensional element’s defined by other elements of design-size relative to other art, its surroundings, or in relation to human size. Can be used to draw attention to the unexpected or exaggerated.

P

PROPORTION Measurement of the size and quantity of elements in relation with each other within a composition. Most often the proportion of forms will be enlarged to show importance.

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THE BAUHAUS The Bauhaus was a school whose approach to design and

Along with Gropius, and many other artists and teachers,

the combination of fine art and arts and crafts proved to

both L as zlo Moholy -Nag y and Her ber t B ayer made

be a major influence on the development of graphic design

significant contributions to the development of gr aphic

as well as much of 20th century modern art. Founded by

design. Among its many contributions to the development

Walter Gropius in Weimar, Germany in 1919, the school

of design, the Bauhaus taught t ypogr aphy as par t of its

moved to Dessau in 1924 and then was forced to close

curriculum and was instrumental in the development of

its doors, under pressure from the Nazi political party,

sans-serif typography, which they favored for its simplified

in 1933. The school favored simplified forms, rationality,

geometric forms and as an alternative to the heavily ornate

functionality and the idea that mass production could live

German standard of blackletter typography.

in harmony with the artistic spirit of individuality.

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FOUNDER

LITERAL MEANING

WALTER GROPIUS

1

DIRECTORS

“HOUSE OF CONSTRUCTION” THE NAME STOOD FOR THE DEVELOPMENT & CHANGING FORTUNES OF THE SCHOOL

ENGLISH TRANSLATION

3

WALTER GROPIUS HANNES MEYER LUDWIG MIES VAN DER ROHE

THREE DIRECTORS OF THE THREE BAUHAUS’

INFLUENCED

MODERN DESIGN AND MODERNIST ARCHITECTURE

FOUNDED IN

WEIMAR, GERMANY

CLASSES IN THE CURRICULUM

LOCATED IN EASTERSN GERMANY MOST FAMOUS FOR IT’S CULTURAL HERITAGE

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SIXTEEN TOTAL COURSES

AREAS OF CONCENTRATION

INCLUDING: STUDY OF NATURE SPACE STUDY COLOR STUDY COMPOSITION STUDY BUILDING AND ENGINEERING SCIENCE

ARCHITECTURE GRAPHIC DESIGN

LOCATIONS

3 MOVED TO THREE GERMAN CITIES

INDUSTRIAL DESIGN WEIMAR 1919-1925 DESSAU 1925-1932 BERLIN 1932-1933

TYPOGRAPHY INTERIOR DESIGN

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“BASIC COURSE” BEGINNING STUDENTS TOOK A SIX MONTH PRELIMINARY COURSE THAT INVOLVED PAINTING AND ELEMENTARY EXPERIMENTS WITH FORM.

“COLOR” AFTER BASIC COURSES, THE STUDENTS WOULD TAKE INDEPENDENT STUDIES IN COLOR, GLASS, CLAY, STONE, WOOD, METAL AND TEXTILES FOR A TOTAL OF TWO AND A HALF YEARS.

UNIVERSAL TYPEFACE CRE ATED BY HERBERT BAYER, UNIVERSAL IS THE MOST FAMOUS SANS SERIF TO COME OU T OF T HE B AUH AUS. I T S GEOME T RIC FORMS A RE M A DE UP OF S T ROK E S OF UNIFORM T HICK NE S S, OB V I AT ING T HE C A L L IGR A PHIC EL EMEN T OF MOS T T Y PE .

UNIVERSAL THE FORMS OF UNIVERSAL ARE M A DE UP OF GEOME T RIC A L LY PERFEC T CIRCL E S A ND OR T HOGON A L , HORIZON TA L A ND V ER T IC A L L INE S. S OME LE T TERS SUCH A S THE “M” AND THE “W” ARE SIMPLY INVERTED V ER SIONS OF ONE A NOT HER.

BAUHAUS ARCHIVE THIS ARCHIVE WAS DESIGNED BY GROPIUS AND WAS BUILT IN WEST BERLIN IN 1979. IN 1997, THE BUILDING WA S PL ACED UNDER HISTORICAL PROTECTION AND HA S BEEN COMPLE TELY RENOVATED TO DATE UNDER UNIFIED GERMANY.

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WALTER GROPIUS Walter Gropius’s career advanced in the postwar period.

In 1919, Gropius was involved in the Glass Chain utopian

Henr y van de Velde, the master of the Gr and-Ducal

expressionist correspondence under the pseudonym

Saxon School of Arts and Crafts in Weimar, was asked to

“Mass.” Usually more notable for his functionalist touch,

step down in 1915 because of his Belgian nationality. His

the “Monument to the March Dead,” designed in 1919 and

recommendation for Gropius to succeed him and take

executed in 1920, indicates that expressionism was an

over eventually led to Gropius’s appointment as master

influence on him at that time.

of the school in 1919. It was this academy which Gropius transformed into the world famous Bauhaus, attracting

considered an icon of 20th-century design and often listed

a faculty that included Paul Klee, Johannes Itten, Josef

as one of the most influential designs to emerge from

Albers, Herbert Bayer, László Moholy-Nagy, Otto Bartning

Bauhaus. He also designed large-scale housing projects in

and Wassily Kandinsky. One example was the armchair

Berlin, Karlsruhe and Dessau in 1926-32 that were major

F 51, designed for the Bauhaus’s directors room in 1920.

contributions to the New Objectivity movement, including a

nowadays a re-edition in the market, manufactured by the

contribution to the Siemensstadt project in Berlin.

German company TECTA/Lauenfoerde.

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In 1923, Gropius designed his famous door handles, now


BAUHAUS INVOLVEMENT

BIRTH DATE

FOUNDER

ABOUT

OF THE BAUHAUS SCHOOL IN 19 19

18

PARENTS WALTER ADOLPH GROPIUS MANON SCHARNWEBER

T WO INTERESTING FACTS ABOUT GROPIUS

MASTER OF

18 MAY 1883

2

H E WA S N O T G O O D AT DR AW ING. IN S CHOOL , HE HIRED AN A SSISTANT TO DO HIS WORK FOR HIM. HE BUILT HIS O W N HOUSE WHEN HE MOVED TO LINCOLN, MA SSACHUSE T TS

MODERN ARCHITECTURE REGARDED AS ONE OF THE PIONEERING MASTERS

BIRTH PLACE

BERLIN, GERMANY

NOTABLE BUILDINGS

THE CAPITAL AND SECOND MOST POPULOUS CIT Y WITH 4.4 MILLION RESIDENTS

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SEVEN OUTSTANDING CONSTRUCTIONS

FA G U S FA C T O R Y WERKBUND E X HIBITION BAUHAUS GROPIUS HOUSE U N I V. O F B A G H D A D JFK FEDER A L BUILDING PA N A M B U I L D I N G

AREA OF CONCENTRATION

AGE OF DEATH

86 CAMBRIDGE, MASS. U.S.A

DIED ON JULY 5 , 19 6 9 HE IS REMEMBERED NOT ONLY BY HIS ARCHITECTURE BUT ALSO BY THE DISTRICT OF GROPIUS S TA DT IN BERL IN, GERM A N Y

ARCHITECTURE

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“TORTEN ESTATE” GROPIUS WA S KNOWN FOR ADDING COLOR TO HIS BLUE PRINT E X TERIOR DR AWINGS. THIS WA S R ADICAL AT THE TIME AND IS STILL CONSIDERED R ADICAL TODAY SINCE SO FE W ARCHITEC TS USE IT.

COLOR PRIMARY COLORS WERE PROMINENT IN BAUHAUS DESIGN AND IN THIS DR AWING, CRE ATED A HIGH CONTR A ST WITH THE BL ACK PL ANES OF COLOR.

WALTER GROPIUS HOUSE CONSISTED OF THREE PAIRS OF SEMI-DE TACHED HOUSES WITH STUDIOS. THE GROUND-PL ANS ME T AT A 90 DEGREE ANGLE AND SERVED TO ILLUSTR ATE GROPIUS’ CONCEPT OF THE “L ARGE-SCALE BUILDING SE T”. AL SO, THE HOUSES WERE ALL SYMME TRICAL AND MIRROR IMAGES OF ONE ANOTHER.

R

UNITY

U

THROUGH OUT THE ESTATE THERE IS A REPE TITION OF THE SAME HORIZONTAL LINES IN THE FL AT ROOF, DOORS AND WINDOWS. THIS REPE TITION NOT ONLY SHOWS UNIT Y BUT AL SO CRE ATES RHY THM AND BAL ANCE IN THE PURPOSEFUL ARCHITEC TURE.

RHYTHM PAT TERN ON THE BACK OF THE CHAIR CRE ATES AN E YE CATCHING GEOME TRIC MOTIF.

BALANCE

B

T HE A RM OF T HE CH A IR IS A 90 DEGREE ANGLE, A S IS THE ARMS OF THE SOFA TO THE LEF T. THIS CRE ATES A SY MME TRIC AL BAL ANCE WITH THE FURNITURE.

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JAN TSCHICHOLD Tschichold claimed that he was one of the most powerful

developed a standardized practice for creating the covers

would attempt to deny that statement. The son of a sign painter

for all of the books produced by Penguin. He personally

and trained in calligraphy, Jan Tschichold began working

oversaw the development of more than 500 books between

with typography at a very early age. In Germany, he worked

the years 1947-49. Every period of his career has left a

closely with Paul Renner (who designed Futura) and fled to

lasting impression on how designers think about and use

Switzerland during the rise of the Nazi party. His emphasis

typography, and it will continue to affect them into the future.â€

on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country.†When Tschichold wrote Die Neue Typographie he set forth rules for standardization of practices relating to modern type usage. He condemned all typefaces except for sans-serif types, advocated standardized sizes of paper and set forth guidelines for establishing a typographic hierarchy when using type in design. While the text still has many relative uses today, Tschichold eventually returned to a classicist theory in which centered designs and roman typefaces were favored for blocks of copy.

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Spending part of his career with Penguin Books he

influences on 20th century typography. There are few who


BAUHAUS INVOLVEMENT

BIRTH DATE

BAUHAUS

AGE OF DEATH

VISITED AND CORRESPONDED WITH TE ACHERS ABOUT T YPE

2

PARENTS FRANZ TSHICHOLD MARIA TCHICHOLD

L ACORNA, SWITZERL AND

20th CENTURY TYPE PIONEER

2 APRIL 1902

72

YEAR TSCHICHOLD VISITED THE WEIMAR BAUHAUS E X HIBITION

TYPOGRAPHY PL AYED AN IMPORTANT ROLE IN T YPE DEVELOPMENT

BIRTH PL ACE

YEARS HE LIVED IN ENwGLAND TO WORK

LEIPZIG, GERMANY LOC ATED WITHIN THE T R ANS EUROPE AN TR ANSPORT NE T WORK

2

OVERSAW DEVELOPMENT OF MORE THAN 500 BOOKS

1947–1949 YEARS HE WORKED FOR PENGUIN

A RE A S OF CONCENTR ATION

T YPEFACES DESIGNED BY TSCHICHOLD

4

TRANSIT 1931 SASKIA 1931–1932 ZEUS 1931 SABON 1967

GREATLY INFLUENCED BY BAUHAUS T YPOGRAPHY

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UNIT Y AND VARIET Y

U

V

T HIS TE X T UNITES THE L AYOUT BY AL IGNI NG I T TO THE CONTENT BELOW IT. VARIET Y IS PRODUCED WITH THE THICK LINE UNDER THE SENDONDARY TITLE.

BAL ANCE

B

THE TITLE EMPLOYS BOLD TYPEOGRAPHY ON THE LEFT TO CREATE ASSYMETRICAL BALANCE THROUGHOUT THE L AYOUT.

EMPHASIS

E

THIS SHAPE PROVIDES EMPHASIS THROUGH THE USE OF CONTRAST, DRAWING THE VIEWERS ATTENTION.

SABON THIS SAN-SERIF TYPEFACE IS WELL KNOWN AND IS STILL USED TODAY

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THEO VAN DOESBURG Highly influenced by Wassily Kandinsky, van Doesburg

It was during these times that van Doesburg formed a

shifted his style of painting from one that emphasized

tight bond with the ar tist Piet Mondrian. In 1923, van

less of a direct reflection of ever yday life to one that

Doesburg moved to Paris so that he could communicate

placed more importance on a conceptual style that favored

directly with Mondrian. However, the two were very much

a simplistic geometric style. A Dutch artist, van Doesburg

polar opposites in character and it resulted in the dissolution

led the artistic style movement “De Stijl� into popularity

of their friendship. It has been speculated that the breakdown

and influenced graphic designers for many years to come

came as a result of a disagreement about the directions of

with his theories, which conveyed the idea that there was

lines in their paintings. Van Doesburg moved to Switzerland

a collective experience of reality that could be tapped as a

in 1931, due to his declining health, and it was there that

medium of communication.

he died, on March 7th.

Van Doesburg moved to Weimar, Germany in hopes of impressing the director of the Bauhaus, Walter Gropius. Gropius did not directly oppose his ideas, but did not accept him onto the faculty of the Bauhaus. In reaction to this, van Doesburg positioned his studio directly next to the Bauhaus and attracted many students with the ideas he promoted, most of which were developed out of the ideas of Constructivism, Dadaism and De Stijl.

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BAUHAUS INVOLVEMENT

BIRTH DATE

BAUHAUS

ACTIVE MOVEMENTS

WAS NOT ACCEPTED ONTO THE FACULTY STAFF

30

PARENTS WILHELM KUPPER HENRIETTA MARGADANT

5

NEO-PLATICISM CONSTRUCTIVISM DADAISM ELEMENTARISM CONCRETE ART

FROM 30 AUGUST 1883 TO 7 APRIL 1931

LEADER OF

30 AUGUST 1883

DE STIJL UNIVERSAL LANGUAGE THROUGH GEOMETRIC ABSTRACTION

BIRTH PLACE

UTRECHT, NETHERLANDS

QUALITIES OF DE STIJL DESIGN

THE CAPITAL AND MOST POPULOUS CITY OF THE DUTCH PROVINCE

4

ORTHOGONAL STRUCTURE CONTRAST OF SOLID/VOID DYNAMIC ASYMMETRY SAN SERIFS LETTERING

FOUR MAIN QUALITIES MAKE UP THE MOVEMENT

TYPO G

WRITIN G

PAIN TIN G

47

DIED ON 7 APRIL 1931 NELLY VAN DOESBURG RELEASED THE LAST ISSUE OF DE STIJL AS A MEMORIAL ISSUE.

E

AGE OF DEATH

HIT ARC ECTU R

PHY RA

AREAS OF CONCENTRATION

HEART ATTACK DAVOS, SWITZERLAND

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VARIETY

V

THE ARTIST EXEMPLIFIED VARIET Y THROUGH THE DIFFERENT SIZES, SHAPES, AND COLORS OF THE ELEMENTS.

U

UNITY THE ARTIST CREATED UNITY THROUGH THE REPEATED GEOMETRIC SHAPES AND PERPENDICULAR LINES.

NON-OBJECTIVE THIS STUDY SHOWS THE PROCESS OF SIMPLIFICATION ALONG WITH THE GRADUAL INTRODUCTION OF GEOMETRIC STRUCTURE TO TRANSFORM THE DRAWING OF A COW INTO TOTAL ABSTRACTION.

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HERBERT BAYER Bayer was both a student and a teacher at the Bauhaus

noted was his design for a typeface that consisted of

and worked in a wide range of fields including painting,

entirely lowercase letters. The German blackletter types

sculpture, typography, advertising and architecture.

were overly ornate for his taste and their use of capital

In his early years as a student, he studied painting with

letter for ever y proper noun was annoying. Logically,

Kandinsky, but in just a short while he was teaching

Bayer developed a sans-serif alphabet of lowercase

one of the Bauhaus’ first classes on typography. The

letters titled “Universal”.

amount of work that he created before he was 28 was more notable than most designers entire careers of work.

much of his time designing local architecture and posters

He spent time teaching at the Bauhaus, working as an

for the local community. In 1959 he designed another sans

Art Director for the Container Corporation and as an

serif typeface. Again, it was all in lower case, but he called

architect in both Germany and America. In between his time

it “fonetik alfabet” and it contained special characters for

at the Bauhaus and his career in America, he spent

the endings -ed, -ion, -ory and -ing. He has become one of

time as the Ar t Director of Vogue magazine’s Berlin

the most recognized designers to from the Bauhaus institution

office. His contributions to the fields of graphic design,

and his theories of design are still taught in many schools today.

typography and advertising were many. One that should be

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In 1946 Bayer moved to Aspen, Colorado where he spent


BAUHAUS INVOLVEMENT

BIRTH DATE

BAUHAUS

ACHIEVEMENTS

NOT ONLY A FACULT Y MEMBER BUT ALSO A STUDENT.

5

PARENTS MAXIMILIAN BAYER ROSA SIMMER BAYER

28

BEFORE THE AGE OF 28 BAYER HAD CREATED MORE NOTABLE WORK THEN MOST DESIGNERS CREATE IN THEIR ENTIRE CAREERS OF WORK.

BEFORE THE AGE OF TWENTY-EIGHT

TYPEFACE

5 APRIL 1900

UNIVERSAL SAN SERIF ALPHABET WITH ONLY LOWER CASE LETTERS

BIRTH PLACE

HAAG, AUSTRIA

DEGENERATE ART EXHIBITION

A TOWN IN THE DISTRICT OF AMSTETTEN IN LOWER AUSTRIA

AREAS OF CONCENTRATION

‘37

IN 1937 BAYER’S WORK WAS EXPOSED IN THE NAZI “DEGENERATE ART” EXHIBITION CAUSING HIM TO FLEE.

TYPOGRAPHY ADVERTISING

AGE OF DEATH

85 CALIFORNIA, USA

SCULPTURE 30 SEPTEMBER 1985 BAYER WAS THE LAST LIVING MEMBER OF THE BAUHAUS.

ARCHITECTURE PAINTING

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22


BALANCE

B

A SYMME TRICAL BAL ANCE IS ILLUSTRATED THROUGH THE ORGANIZ ATION OF ELEMENTS ON A CENTR AL VERTICAL A XIS.

EMPHASIS

E

THE ARTIST CREATED EMPHASIS THROUGH THE USE OF TYPOGRAPHIC HIER ARCHY. THIS CAUSES “KANDINSKY” TO BECOME THE FOCAL POINT THROUGH L ARGER S I Z E A N D H E AV I E R WEIGHT.

“KANDINSKY” ORIGINALLY COMPOSED ON A HORIZONTAL GRID ALIGNMENT, BAYER ROTATED THE IMAGE CREATING A KINETIC ELEMENT. THIS ENFORCED THE HARMONY AND DYNAMIC ASYMMETRY OF THE PIECE. THE ROTATED COMPOSITION CAN ALSO BE SEEN IN MANY OTHER BAUHAUS PIECES.

BALANCE

B

THE ARTIST CRE ATED R ADIAL BAL ANCE T HROUGH REPE AT ED SHAPES E X TENDING OUT FROM THE CENTER POINT.

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LASZLO MOHOLY-NAGY

24

Known for his versatility and the fundamentals of design

After he resigned from his position at the Bauhaus in

which he taught his students, Laszlo replaced Johannes

19 28 he spent time working in Berlin as a film and

Itten as director of the Bauhaus in 1923. He experimented

stage designer. In 1937 he moved to Chicago and formed

in many different fields including photography, typography,

the New Bauhaus, which is now the Illinois Institute of

sculpture, painting, industrial design and printmaking.

Technology. The school shared the same philosophy as

His experimentation across multiple mediums led to

the original Bauhaus and caught on quickly. He chronicled

graphic design work characterized by bold typography in

his efforts to establish the curriculum of the school in his

combination with striking photography.

book V ision in Motion.


BAUHAUS INVOLVEMENT

BIRTH DATE

BAUHAUS

ACTIVE MOVEMENTS

METAL WORKSHOP INSTRUCTOR; STARTED BAUHAUS CHICAGO

20

FATHER LIPOT WEISZ ABANDONED FAMILY

3

DADA SUPREMATISM CONSTRUCTIVISM

INFLUENCED BY 3 MOVEMENTS

ORIGINAL STUDY

20 JULY 1895

LAW HE ORIGINALLY STUDIED L AW AT BUDAPEST UNIVERSIT Y.

BIRTH PLACE

ABOUT

BORSOD, HUNGARY LOCATED IN EAST EUROPE

4

SELF-TAUGHT AFTER WOUNDED IN WORLD WAR 1. MARRIED AND DIVORCED BECAME U.S. CITIZEN IN 1944. DIED OF LEUKEMIA

FOUR INTERESTING FACTS

SCULPTU RE

OTOMONTAG PH E

51

DIED ON 24 NOVEMBER 1946 FROM LEUKEMIA

EXPE R

AGE OF DEATH

PAINTIN G

ENTAL IM

AREAS OF CONCENTRATION

CHICAGO, ILLINOIS UNITED STATES

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26


UNITY

U

UNIT Y IS DEMONSTR ATED THROUGH THE REPE ATED CIRCUL AR SHAPES. BALANCE

B

A SYMME TRICAL BAL ANCE IS ILLUSTR ATED THROUGH THE ORGANIZ ATION OF ELEMENTS ON A CENTR AL VERTICAL A XIS.

VARIETY

V

VARIE T Y IS E XEMPLIFIED THROUGH THE DIVERSE COLOR S A ND SIZE S OF T HE CIRCUL A R SH A PE S.

SCALE

E

EMPHASIS

S

SCALE IS DEMONSTR ATED T H R O U G H T H E DIFFERENT SIZES OF THE REC TANGUL AR FORMS COMPOSED IN THE PIECE OF ART.

EMPHA SIS IS UTILIZED THROUGH THE RED VERTIC AL LINE. IT IS T H E ONLY ELEMENT THAT IS F UL LY S AT UR AT ED. I T IS PL ACED IN THE CENTER TO DR AW AT T EN T ION.

RHYTHM

R

THE ARTIST UTILIZED RHY THM WITH THE SPIRAL. THIS ELEMENT MOVES THE VIEWER’S EYE TO THE CENTR AL FOCAL POINT.

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PIET ZWART A pioneer of modern typography, designer Piet Zwart was

affected him drastically. He spent the rest of his life primarily

influenced by Constructivism and De Stijl. His influence

working in interior design. His excellent use of color, typography,

shows in his work and in this quote: “to make beautiful

composition and photography are reminiscent of the Bauhaus

creations for the sake of their aesthetic value will have no

and his influence on the future generations of graphic

social significance tomorrow”. Zwart worked as a designer,

designers lives on throughout the Piet Zwart Institute at

typographer, photographer and industrial designer in the

the William de Kooning Academy.

Netherlands in the 1920s and 30s. Primarily working for the

NKF Company, he created many works of graphic design before retiring from the company to spend the rest of his days as an interior and furniture designer.  Also influenced by the Arts and Crafts movement, Zwart began his education at the School of Applied Arts in 1902. He spent most of his career moonlighting as an architect and photographer, as well as a designer and for several years he was very successful. His design career came to a halt when he was arrested by German soldiers in 1942. He was eventually released after the war, but the experience

28


BAUHAUS INVOLVEMENT

BAUHAUS

ACTIVE MOVEMENTS

WAS GREATLY INFLUENCED BY THE BAUHAUS THEORIES

BIRTH DATE

28

UTRECHT, GERMANY WASSENAAR, NETHERLANDS

DE STILJ

CONSTRUCTIVISM

DUTCH T YPOGR APHER

28 MAY, 1885

2

PRINCIPL E S: GEOME TRIC FORM PRIMARY COLORS BASIC FORM

MODERN TYPOGRAPHY HE IS KNOWN FOR HIS INFLUENCE IN T YPOGRAPHY

BIRTH PLACE

ZAANDIJK, NETHERLANDS

YEARS HE DESIGNED FOR NERDERL ANDSCHE KABELFABRIEK (NFK)

LOCATED IN DUTCH PROVINCE OF NORTH HOLLAND

10

HE EXPERIMENTED WITH VISUAL PUNS, FORM AND REPETITION.

IN TEN YEARS HE CREATED 275 DESIGNS FOR NKF

ARE A S OF CONCENTRATION

TYPOGRAPHY PHOTOGRAPHY

AGE OF DEATH

92

ARCHITECTURE THE PIET ZWART INSTITUTE IS NAMED IN HONOR OF HIM.

DESIGN

FROM 30 AUGUST 1883 TO 7 APRIL 1931

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30


UNITY

U

THE ARTIST USING SIMIL AR HORIZONTAL AND VERTICAL SHAPES TO CRE ATE UNIT Y AMONG THESE OBJEC TS.

VARIETY

V

VARYING THE SIZE OF THE SHAPES CRE ATES VARIE T Y WHICH GENER ATES VISUAL INTEREST.

BALANCE

B

PIET ZWART USES DYNAMIC ASYMMETRY THROUGH ORGANIZ ATION OF ELEMENTS ON THE CENTR AL VERTICAL A XIS.

PHOTO MONTAGE THIS PROCESS MAKES A COMPOSITE PHOTOGR APH BY CUT TING AND JOINING MULTIPLE PHOTOGR APHY WHICH IS CONVERTED INTO A SE AMLESS PHOTOGR APHIC PRINT.

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CREDITS TORI DANIELSON

JESSICA QUALLS

2-3 : HOW TO USE THIS MAGAZINE 4-5 : THE BAUHAUS 6-7 : THE BAUHAUS DECONSTRUCTION 8-9 : WALTER GROPIUS 10-11 : WALTER GROPIUS DECONSTRUCTION 26-27 : LASZLO MOHOLY-NAGY DECONSTRUCTION DESIGN IS HISTORY WALTER GROPIUS

18-19 : THEO VAN DOESBURG DECONSTRUCTION 24-25 : LASZLO MOHOLY-NAGY 26-27 : LASZLO MOHOLY-NAGY DECONSTRUCTION 30-31 : PIET ZWART DECONSTRUCTION DESIGN IS HISTORY

LAUREN SLOAN

12-13 : JAN TSCHICHOLD 14-15 : TSCHICHOLD DECONSTRUCTION 28-29 : PIET ZWART DESIGN IS HISTORY

EMILY WEILAND

1 : TABLE OF CONTENTS 16-17 : THEO VAN DOESBURG 20-21 : HERBERT BAYER 22-23 : HERBERT BAYER DECONSTRUCTION 26-27 : LASZLO MOHOLY-NAGY DECONSTRUCTION 32-33 : CREDITS DESIGN IS HISTORY

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