How Design History Shaped Our Future
5pm
Doors Open
7pm
Design Talk
8pm
Reception
Linked:
How Design History Shaped Our Future Exhibit
Table of Contents
04
About MODA
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Introduction to International Style
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International Style and Corporate Identities
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International Style and Architecture
2
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International Style and Web Design
30
International Style and Contemporary Music
68
What Will the Future Hold?
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Credits and Sources
About MODA The Design Museum of the South
MODA’s mission is to advance the understanding and appreciation of design as the convergence of creativity and functionality through exhibitions, education, and programming for visitors of all ages. We pursue our mission because we envision a world that celebrates design as a creative force that inspires change, transforms lives, and makes the world a better place.
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MODA is located in the heart of Atlanta’s Midtown arts district. This location provides close proximity to the rest of Atlanta’s art community.
Envision. Inspire. Transform.
The Linked Exhibition Opening Design Talk Featuring Michael Bierut
The Linked Exhibit pulls together some of the most well known examples of International Style and shows the thread of influence in contemprary design. This exhibition goal is to celebrate the influence of International Design in different disciplines of current design, however unexpected they may be found. We hope to inspire young designers by showing them how International Design continues to solve problems across society. By taking a moment to look back into design history, MODA hopes to encourage the next generation of designers to consider how their skills can impact our human environment across intersecting fields.
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Our guest speaker, Michael Bierut studied graphic design at the University of Cincinnati’s College of Design, Architecture, Art and Planning. Prior to joining Pentagram in 1990 as a partner in the firm’s New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. His projects at Pentagram have included work for the New York Times, Harley-Davidson, The Museum of Arts and Design, Mastercard, the New York City Department of Transportation, Mohawk Paper Mills, New World Symphony, the New York Jets, the Brooklyn Academy of Music and MIT Media Lab. As a volunteer for Hillary’s campaign, he created the ubiquitous H logo that was used throughout the 2016 presidential campaign.
Michael Bierut, How To. 2015, Book.
Introduction to International Style
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International Style was a movement influenced by modernism that focused on economy, readability, and objectivity. Shaped by some of the greatest creative minds in the post-war 1950’s, design took a turn towards simplicity.
Swiss Design
Often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940’s and 50’s was the basis for much of the development of graphic design during the mid 20th century. Led by designers Josef Müller-Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel School of Design, the style favored simplicity, legibility, and objectivity. Of the many contributions to develop from the two schools were the use of, sans-serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication.
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Armin Hofmann, Giselle. 1959, Photolithograph.
International Philosophy Then, Now, and The Future
The zenith of modernity, International Style was a movement towards design as a vehicle to better society. At its core, the philosophy is centered on economy, objectivity, clarity, and communication. As a style, proponents of the movement gravitated towards sans-serif typography and type as illustration. As the style is repeatedly seen influencing contemporary design it begs a question. What movements, styles, and philosophies will shape the design of tomorrow? What elements will designers continue to use fifty years from now?
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Clarity. Ledgibility. Simplicity. Functionality. Readability. Objectivity.
They
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Left a Legacy.
1897-1976
1902-1988
Ladislav Sutnar
Richard Paul Lohse
Sutnar, a Czech designer born in 1897, was one of the first designers to actively practice the field of information design. His work was rooted in rationality and the process of displaying massive amounts of information in a clear and organized manner for easy consumption by the general viewer. He placed a heavy emphasis on typography and primarily used a limited color palette. While he often used punctuation symbols to help organize information one of his signature creations was the idea to place parentheses around the area codes in telephone books. For nearly 20 years he served as the art director for Sweet’s catalog services where he created information graphics and catalog layouts for a wide range of manufactured items. Before working for Sweet’s he taught at the State School of Graphic Arts in Prague. He was heavily influenced by the ideas of Modernism and his work was so well structured that he had no problems communicating information clearly to an American audience, even though English was not his primary language.
Richard Paul Lohse was a Swiss painter and graphic artist and one of the main representatives of the concrete and constructive art movements. Lohse was born in Zürich in 1902. His wish to study in Paris was thwarted due to his difficult economic circumstances. In 1918, he joined the advertising agency Max Dalang, where he trained to become an advertising designer. Lohse, then an autodidact, painted expressive, late-cubist still lifes. In the 1930s, his work as a graphic artist and book designer placed him among the pioneers of modern Swiss graphic design; in paintings of this period, he worked on curved and diagonal constructions. Success eventually allowed him to establish his own graphic design studio in Zürich. He combined art with a political and moral awareness, which led him to be an activist for immigrants. In 1937, Lohse co-founded Allianz, an association of Swiss modern artists, with Leo Leuppi. The year 1943 marked a breakthrough in Lohse’s painting: he standardised the pictorial means and started to develop modular and serial systems. In 1953, he published the book New Design in Exhibitions, and from 1958, he became co-editor of the magazine Neue Grafik/New Graphic Design.
The Men 1908-1995
1914-1970
Walter Herdeg
Emil Ruder
Walter Herdeg was very much a graphic designer. He studied at the Kunstgewerbeschule in ZĂźrich, created many different corporate identities(just as the practice was beginning to become a standard), and even formed his own design company with Walter Amstutz. What he is best known for, however, is the creation and publication of Graphis. An international journal of visual communication, Graphis was first published by Herdeg towards the end of the second World War. The magazine showcases work and interviews from designers and illustrators from all over the world in an effort to share their work with other audiences. In the beginning it served as one of what were, at the time, only a few vessels which exposed the western world to the design work being done in Europe. Herdeg served as the editor of the magazine for 246 issues (the magazine is still in publication) as well as the Graphis Design Annuals which showed the best and brightest work from the year prior to their publication. Graphis was a seminal force in the shaping of design culture and it continues to educate, expand and foster the world of graphic design today.
Emil Ruder was a typographer and graphic designer who, born in Switzerland in 1914, helped Armin Hofmann form the Basel School of Design and establish the style of design known as Swiss Design. He taught that, above all, typography’s purpose was to communicate ideas through writing. He placed a heavy importance on sans-serif typefaces and his work is both clear and concise, especially his typography. Like most designers classified as part of the Swiss Design movement he favored asymmetrical compositions, placing a high importance on the counters of chahracters and the negative space of compositions. A friend and associate of Hofmann, Frutiger and Mßller Brockmann, Ruder played a key role in the development of graphic design in the 1940s and 50s. His style has been emulated by many designers, and his use of grids in design has influenced the development of web design on many levels.
Who Designed It. 1928-2015
1914-1996
Adrian Frutiger
Josef MĂźllerBrockmann
Adrian Frutiger has created some of the most used typefaces of the 20th and 21st century. Athough interested in many fields including woodcut and paper sillhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces. Some examples of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa and Avenir. Frutiger is one of only a few typographers whose career spans across hot metal, photographic and digital typesetting. He has also been instrumental in refining his own typefaces to include more weights and true italics, some examples are Frutiger Next and Avenir Next.
As with most graphic designers that can be classified as part of the Swiss International Style, Josef MĂźller-Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism, and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts. Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, including The Graphic Artist and His Problems, History of the Poster, and Grid Systems in Graphic Design. These books provide an in-depth analysis of his work practices and philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996.
1928-Present
1920-Present
Wim Crouwel
Armin Hofmann
Crowel is a graphic designer and typographer born in the Netherlands. In 1963 he founded the studio Total Design, now called Total Identity. His most well known work has been for the Stedelijk Museum. His typography is extremely well planned and based on very strict systems of grids. He has also designed expositions, album covers and identity systems. He has published two typefaces Fodor and Gridnik, digitized versions of both are available from The Foundry. Crouwel taught during his whole career. In the 1950s he gave a design course at the Royal Academy of Art and Design. In 1965 he gave a typography course at the Delft University, where in 1972 he was appointed Associate Professor. In 1980 he became a full Professor and in 1985 he was appointed Dean of the Faculty. At the same time, he was appointed Director of the Boijmans van Beuningen Museum in Rotterdam, holding this position until his retirement in 1993. From 1987 to 1993 he also taught at the Erasmus University in Rotterdam.
By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had just begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced brand new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography. He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph MĂźller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. His Graphic Design Manual was, and still is, a reference book for all graphic designers.
International Style and Web Design
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Web Design and International Style share a major common trait; both of them are movements of design in which great minds came up with new and creative design solutions. In the post-war 1950’s, countries needed design to function, such as making effective posters or infographics, and web designers use the same principles to make effective layouts.
Boosted Boards and Infographics Ladislav Sutnar & UENO
In July of 2018, Boosted Boards, an electronically powered skateboard company, launched their new website designed by UENO. Its crisp, bold shapes, sharp imagery, and sans-serif typography are very reminiscent of Swiss Style, while the philosophy behind it also parallels the International movement. One of the earliest designers to get the ball rolling for international style was Ladislav Sutnar. Sutnar made several inovations in his field including adding parenthises in the phone book to distinguish area code. What he is most known for, however, is his infographics. Far ahead of the internet and digital design, Sutnar was making large amounts of information clear and easy for a user to understand. Very similarly, Boosted Boards’ new website displays their products efficiently, giving their customers the information they need.
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UENO, Boosted Boards. 2018, Web.
Ladislav Sutnar, Rubber Infographic. c. 1940, Print.
Boosted Boards, Website Typography and Infographic. 2018, Web.
Ladislav Sutnar, Maxitorq Infographic. c. 1940, Print.
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Screens from Boosted Board’s new website share Sutnar’s hard, black lines and sharp colors on soft grey backgrounds. The typography on the new website still reflects the same left aligned, easy to read sans-serif that was used in the Swiss movement. It even has the same accent in a small box that many Swiss designers used as counterweights.
Responsive Web Design Emil Ruder & Ethan Marcotte
One fascinating example of how the principles of Swiss Design Philosophy are being put to work in web design today is Ethan Marcotte’s responsive web design. Swiss design was rooted on principles like clarity, communication, and functionality. Responsive web design is the idea of web design being universal and functional across many devices. A website cannot simply scale down their full size web browser for a small mobile phone screen. The design solution to this problem, which is almost entirely attributed to Marcotte, is a way of designing for the web that adapts to be effective across phones, tablets, desktops, and laptops. Using modern coding software like CSS grid, computer programers and web designers can make beautiful websites that look as good on a phone screen as they do a tv screen. All of this ties back to the principles of readable,
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clear, and functional design, which were at the center of the International movement. This philosophy behind responsive design is quite easily compared to the philosophy that drove Emil Ruder. Ruder said: “What the typographer must do first and foremost is to sort out and organize things which are of disparate nature.” Going on to say, “The whole text of a book is so unweildy that it has to be divided up in such a way that the reader can manage each page comfortably and follow the imprint without impediment.” Both designers found success in solving visual problems in their field by using typography, or layouts, or poster, or website design. Both men intended for their viewer to be able to follow a clear and organized layout.
Ethan Marcotte, Responsive Web Design. 2016, Web.
Ethan Marcotte
Emil Ruder, Radikale Liste. 1960, Poster.
International Style and Contemporary Music
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From the very start, the International Style was heavily influenced by music. Orchestras and ballets needed dynamic posters to bring in audiences. Now, it’s bands that need eye catching branding for social media. Though the times have changed, the execution and philosophy behind the design has not.
The 1975 - A Brief Inquiry Into Online Relationships Emil Ruder and Josef Müller-Brockmann
The 1975 began advertising their new album in May of 2018. The new era for the band meant a whole new image. The album, A Brief Inquiry Into Online Relationships, focuses on how we communicate love in the modern world. Technology has become such a huge part of how we communicate in the modern world and the rise in online relationships is staggering. Matty Healy, front man for the band, spent a year studying and organizing his thoughts on modern communication. It’s only fitting that the design of the album portrays the theme perfectly. The branding for the new album came in hard and fast. The asymmetrical layouts, manipulated type, and lack of imagery communicated the concept perfectly for what the band wanted to get across to their audience. The album is all about the modern human condition and communicating effectively. Healy wants their audience to do something powerful. To be able to widely communicate is a power the new generation has that no other generations have had before. The core idea behind International Style design is function and being able to communicate as effectively possible. The focus should be completely on the content, not the designer.
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Emil Ruder’s poster designs heavily emphasized type. His book Typographie focuses on typography and how it can be used to communicate effectively in design. He taught that type’s purpose was to communicate ideas through writing. He always placed a heavy emphasis on sans serif typefaces and making sure his work was both clear and concise, especially his typography and copy.
The 1975, A Brief Inquiry Into Online Relationships. 2018, Branding and digital marketing.
MĂźller-Brockmann is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period.
Josef MĂźller-Brockmann, Musica Viva. 1958, Linocut and letterpress.
The 1975, A Brief Inquiry Into Online Relationships. 2018, Album Cover.
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Emil Ruder, Moderne Französische Knüpfteppiche. 1964, Typographic Poster.
The 1975, MFC: Love It If We Made It. 2018, Hype Post.
While these music videos might seem chaotic and full of unnecessary content, they actually serve their purpose perfectly. For “Love It If We Made It”, the flashing text, changing colors, and violent imagery keeps the viewer glued to the screen, allowing them to absorb the content and stay focused. For “Give Yourself A Try”
The 1975, Give Yourself A Try. 2018, Music video.
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the music video shows the band in a mirrored room. The quick flashes of text and additional imagery that show up are there to emphasize important moments and messages the band wants you to take away from the video. The two songs are very personal to Matty Healy, but also the messages can be universal.
The 1975, Love It If We Made It. 2018, Music video.
The Band COIN Armin Hofmann
Beginning in late 2015, the band Coin re-branded themselves completely. The release of their song “Talk Too Much” was the start of something new for the trio. The release of their second full album How Will You Know If You Never Try came with an onslaught of interesting typographic solutions and posters. Helvetica was their typeface of choice throughout the era. The type was generally repeated and manipulated then photographed to create dynamic compositions that mimic the type manipulation found in many International. Style works. After the How Will You Know If You Never Try era came The Committee For Sound and Mind. The new era strays in some ways from the International Style with the integration of serif typefaces, but the concept is still there. The compositions are clear and have a focused economy. There’s nothing in frame that doesn’t need to be there. HWYKIYNT is all about making the dash on your tombstone between the year you’re born and the year you die matter. Function in one’s life is equal to the function one finds in the design around them.
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Armin Hofmann and his fellow Swiss Designers had a goal of communication above all else. They practiced new techniques of photo typesetting, photo montage and experimental composition while heavily favoring sans-serif typography. The combination of typographic manipulation and photography is used heavily throughout Coin’s promotional material.
COIN, How Will You Know If You Never Try Tour. 2017, Hype Posts.
COIN, Simple Romance Announcement. 2018, Digital Poster.
Armin Hofmann, Wilhelm Tell. 1963, Offset lithograph.
Without directly copying, Coin has taken elements and inspiration from famous International Style works. There isn’t anything in the design that doesn’t need to be. 38
COIN, London Show Announcement. 2018, Digital Poster.
Armin Hofmann, Herman Miller Collection. 1962, Lithograph.
COIN, Tour City Anouncements. 2017-2018, Print and digital photography.
International Style and Corporate Identity
International Style designers gave careful consideration to communicating information both quickly and effectively. Their attention to usability and readability relied on stripping design to its core. The new simplicity of design gave rise to corporate identity as we know it today.
Brand Identity Adrian Frutiger
Since its launch in 1957, Helvetica became the go-to typeface for company logos and signage. Just like Helvetica, Univers is based on the 1898 typeface Akzidenz-Grotesk. Both typefaces were created specifically to be neutral; to not give any impression or have any meaning in itself. Neutrality was paramount, and based on the idea that type should have no subtext. When paired with a company’s color and imagery, these “neutral” typefaces take on new meanings in their context.
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Helvetica, in addition to Frutiger’s Univers, created a blank canvas for companies to rest their brands on. “Helvetica is the jeans and Univers the dinner jacket.” Frutiger
Haas Type Foundry, Helvetica. 1957, Typeface.
Adrian Frutiger, Univers. 1954, Typeface.
Haas Type Foundry, Helvetica. 1957, Typeface.
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Adrian Frutiger, Univers. 1954, Typeface.
Apple’s iOS Redesign
Walter Herdeg
In 2013, Apple redesigned their application icons. Although they were not the first technology company to switch to “flat design,” Apple received mixed reactions. This new design favored simplicity over ornamental decorations, so iPhone icons no longer looked like physical buttons. Skeuomorphic design is based on the principle that designed elements should look like their real world counterparts. However, this design can become more decorative than useful. Taking away the shadows that Apple had to imply buttons allowed for more function rather than aesthetics.
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This principle of simplifing and designing for functionality is fundamental to International Style philosophy. The flat design Apple took on functioned enough for the users to associate them with buttons, making the older design’s shadows only decorative. Walter Herdeg employed similar principles in his design publication Graphis. The magazine featured work from designers all over the world but used a consistent format to keep the focus on the work.
Walter Herdeg, Graphis Diagrams. 1974, Print.
Apple, iOS 1. 2007, Operating System.
Apple, iOS 12. 2018, Operating System.
No Name and Brandless Armin Hofmann
Being “brandless” is a brand in itself. Even if there is no traditional logo associated with the company, there are still recognizable elements that categorize these companies. Canada’s No Name Brand and America’s Brandless are two similar companies that are straight forward with their branding. From the transparency in the ingredients of their products to the simplificity of their packaging, they encourage objectivity in the consumer.
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Armin Hofmann’s posters simplified the content to the bare essentials. As part of being objective with his design, Hoffman removes unnecessary elements to leave the viewer with facts (and no added preservatives).
Brandless. 2017, Packaging.
Armin Hoffman, Rothko Chillida. 1962, Poster.
No Name Brand. 1978, Packaging.
International Style and Architectural Design
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Architectural design requires the same attention to function and simplicity that the International designers gave to their work. Architecture exists in three dimensions where graphic design usually exists in two. However, the physical space that people inhabit on a daily basis should be focused on usability first. This focus on simplicity may seem utilitarian, but simplicity can be what makes a space beautiful.
United Way of Greater Atlanta Emil Ruder
United Way of Greater Atlanta’s mission is to foster a community where every child can thrive and has the opportunity to reach their potential: they needed a workplace that facilitates that mission. The board was clear that there was no room in the non-profit’s budget for design that is only for design’s sake. Good design should be usefull, and for this space that meant being versatile for many different purposes. This organization needed a space that was useful while also being a good work environment for the employees.
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Emil Ruder was a founder of the Basel School of Design, along with Armin Hofmann. His view of design was that communication should come before aesthetic appearance. The entire Swiss design movement was based on a functionalist ideaology. If the design serves its user, that is all it needs to accomplish. The architecture firm Tvs Designs placed a similar focus on function when they designed United Way of Greater Atlanta’s new office.
Non-ornamental spaces are able to be used for many functions by employees. They can also be decorated and made appealing while still remaing free of visual clutter.
Emil Ruder, Typographie. 1960, Poster.
The redesigned office now features a variety of work environments, including focus booths and quiet rooms for individual work, huddle rooms for collaborative informal spaces, formal conference rooms, touchdown spaces for impromptu conversation, and a work café for social engagements. The new offices are in-board, minimizing hierarchy and making windows accessible to all, in addition to the skylights which are a client favorite. “United Way plays the role as convener and catalyst for the community,” says United Way CEO, Milton Little. The Swiss designers were firm in the belief that purpose should drive the vision of a project. The result is design that is all but invisible, while easily used and understood by the audience.
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The designs of Emil Ruder show an intentional simplicity. Ruder’s attention was always on communication through typography. The only elements present on the posters are the typographic elements necessary to tell the viewer what is happening.
Emil Ruder, Berlin. 1963, Poster.
Habitat 67 Wim Crouwel
Design in architecture needs to be able to stand reliably for decades. However, architecture must also remain adaptable enough to accomodate changing ways of life during those years. Habitat 67 was originally designed for Expo 67 by Mohse Safdie, and still stands in Montreal as an apartment complex. Safdie’s vision was to make urban housing better and cheaper by industrializing the housing process. The most important aspects of the design are the elements of suburban housing that Safdie incorporated. These included gardens and fresh air; elements that are difficult to find in apartment housing. The apartments are also spacious, and provide plenty of outdoor space and natural light. Safdie also wanted the complex to place a strong emphasis on people and community. Habitat 67 belongs to a movement known as Brutalism. From the French “beton brut�, meaning raw concrete, brutalist buildings are designed with simplicity and functionality in mind.
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Wim Crouwel takes an architectural approach to typography and graphic design, always adhering very closely to the sytem of the grid. He believed that design has to change with the times and that while design may not be timeless, good design will always be valid. Habitat 67, built during the era when Swiss design was at its peak, is an example of how good design remains valid through the years.
James Brittain, Revisited: Habitat 67. 2018, Photography.
Wim Crouwel, Proportion, 2006, Poster.
Brutalism as a movement was popular in the 1950’s through the 70’s. It is not fully assimilated with modernism, but shares many ideas with it such as simplicity and the honesty of the structure. Both Brutalism and Swiss Style design fell out of favor as Postmodernism rose in popularity. Today the design principles behind both movements are still pervasive in current design, and as a result they are now rising in popularity again. Habitat 67 is still in use today, showing that Safdie’s vision was successful. The living units are set up in a minimalist layout that allows the residents to frunish it as they want. The improvement of daily life was an important aspect of Modernist philosophy in architecture as well as graphic design.
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Simplicity can be achieved without sacrificing visual interest. Safdie and Crouwel both demonstrate this in their work. Both use a carefully planned system of rectangles.
Wim Crouwel, Vormgevers. 1967, Poster.
Washington D.C. Metro Richard Paul Lohse
The metro system of Washington D.C. is another example of Brutalist architecture. The vaulted ceilings in the station tunnels are simple ribbed concrete with no advertisements on the walls. It is a purely functional space designed to give travelers a place to wait on their train. Simplicity is key in such a busy place as a subway station. The most important thing for passengers is to be able to see when their train is arriving and where they can find it. The metro tunnels of D.C. maintain that kind of simplicity while the vaulted ceilings provide a dynamic element. The metro system in Washington D.C. uses a very simple stucture and a set system of signs to help guide commuters through the stations.
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Richard Paul Lohse used color as a dynamic element in the publication Bauen + Wohnen. Several columns are displayed as simple as possible in order to provide legibility while the color serves to bring in a bold element. Lohse used a set grid system and color to guide the reader through the information presented in Bauen + Wohnen.
Richard Paul Lohse, Bauen + Wohnen 1. 1952, Magazine.
What will the future hold?
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The principles of International Design remain alive and well in today’s design world. While the popularity of the aesthetic has faded in and out with time, the Swiss designers’ devotion to clarity, simplicity, and function have become engrained in contemporary design across disciplines.
What’s Next? The Future of Design
Today’s design has been so clearly influenced by International Style. This begs the question; how will this movement influence the design of tomorrow? There are clear examples of how the principles of the Swiss design philosphy manifested themselves in web design, music, corporate design, and architecture. Design, however, is not always simple. Although the ideas of today will shape the design of tomorrow, it will most likely be in new, unexpected ways. New mediums will come into play and new technologies will be discovered. Design will always evolve to match them. Future designers will form movements all their own that will link into the existing chain of design history.
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The human environment is shaped by design from all sides in the modern world. This makes it more important than ever for designers to do their work with function in mind, to have empathy for the user, and to learn how simplicity and beauty can exist together.
“You’re always a child of your time, and you cannot step out of that.” Wim Crouwel
Sources
About MODA
International Style and Web Design
Atlanta Parent Museum of Design Pentagram
Wikimedia Responsive Design Design is History
History of International Style
International Style and Music
Czech American TV Czech American TV Sutnar Centre Culturel Suisse Paris Schwiezerisches National Museum Emil Ruder Google Images Frutiger Google Images MĂźller-Brockmann Geheugen van Nederland Hypocrite Design Gisselle
NME The 1975 Twitter Give Yourself a Try Love it if We Made It MOMA MĂźller-Brockmann Eguide COIN COIN Twitter MOMA Hofmann
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International Style and Corporate Identities
International Style and Architecture
Life Hack Fortune/eBay Unsplash/Subway Designishistory Unsplash/Jeep Unsplash/iPhone Fortune/AmericanApparel NorthFace Chicago Business CNN Business Unsplash/Nestle Startribune Time Forbes Asian Review Bloomberg Black and Decker Gettyimages Diecastflier The Guardian Wikimedia commons Fortune/Brandless PlasticFreeInAYear Graphis Twitter
tvsdesign Typographie Berlin Ruder Free Tours By Foot DC Metro Wired DC Metro Washigton DC Metro Aisle One Bauen+Wohnen Habitat 67 Dezeen Habitat 67 Architecture Daily Floorplans Design Culture Crouwel
Credits
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Leah Smith
Ian Noble
Cover Concept Work Typesetting Copywriting
Cover Concept Work Typesetting Copywriting
International Style and Contemporary Music Pages 28 - 41 Sources and Credits Pages 66-67
History of International Style Pages 10 - 19 International Style and Web Design Pages 20 - 27
Emily Baughn
Paola Garcia
Cover Concept Work Typesetting Copywriting
Cover Concept Work Typesetting Copywriting
Table of Contents Pages 2 - 3 About MODA Pages 4 - 5 International Style and Architecture Pages 50 - 61
Table of Contents Pages 2 - 3 The Linked Exhibition Pages 6 - 7 International Style and Corporate Identities Pages 40 - 49
Museum of Design Atlanta 1315 Peachtree St. NE Atlanta, GA 30309 404.979.6455 info@museumofdesign.org