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
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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
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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
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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.
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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
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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
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PARENTS WALTER ADOLPH GROPIUS MANON SCHARNWEBER
T WO INTERESTING FACTS ABOUT GROPIUS
MASTER OF
18 MAY 1883
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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.
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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
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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
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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
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TRANSIT 1931 SASKIA 1931–1932 ZEUS 1931 SABON 1967
GREATLY INFLUENCED BY BAUHAUS T YPOGRAPHY
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UNIT Y AND VARIET Y
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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
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PARENTS WILHELM KUPPER HENRIETTA MARGADANT
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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
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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
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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
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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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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
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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
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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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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
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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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