test two: review [what you need to know]
test two: review 10 multiple choice (.5 pt each) = 5 pts 8 short answer (1 pt each) = 8 pts 1 essay (7 pts) = 7 pts Total of 60 mins + 20% of final grade
Week 9: Technology+Progress
The Bauhaus: a unity of art and craft // art and technology Bauhaus building, Dessau, design by Walter Gropius, 1925-26
Lyonel Feininger, woodcut for Bauhaus manifesto, 1919
1 Who are these men? In what ways were they engaged in theories or debates of art and technology? What role did these men play in the establishment modern design education?
2
2
Johannes Itten 1888 - 1967
New personal experiences and discoveries would lead to a “new way of seeing�
Principles of the Vorkurs • Feeling and Thinking (heart) • Intuition and Intellect (head) • Expression and Construction (hands)
Colour Theory, Itten
Gymnastics leading to studies of rhythmic form and movement
Vogelthema,J ohannes Itten, 1918
Asymmetry
Repetition Balance
Hierarchy
Johannes Itten
Rhythm/movement
Balance + Asymmetry + Rhythm + Repetition + Hierarchy = Composition
art and technology “a new unity” 1923 Before the machine, everyone is equal… There is no tradition in technology, no consciousness of class or standing. Everybody can be the machine’s slave or master.
László Moholy-Nagy
Lázsló Maholy–Nagy 1895 - 1946
“Reality is a measure of human thinking. It is the means by which we orientate
ourselves in the universe. This reality of our century is technology: the invention, the construction and the maintenance of machines. To be a user of machines is to be of the spirit of the century.”
Awareness of Space Haptic awareness
Pestalozzi
Compositional understanding
Itten
Spatial discovery
Maholy-Nagy
“Wassily chair�
Marcel Breuer
How do these object represent the „new unity‟ of art and technology at the Bauhaus? *think about use of materials, manufacturing methods, and economic context of German design in the interwar period…
Marcel Breuer B3 for Thonet,; KAISERidell 6631 R Luxus Lamp by Christian Dell; Kubus stacking containers by Wilhelm Wagenfeld ; Marcel Breuer, Model B32 for Thonet
What is the relationship between these two images? How do they relate to or embody the search for a „universal visual languageâ€&#x; at the Bauhaus?
Week 10: Kaupapa Maori Design challenging the ‘modernist’ paradigm
What might be gained by synthesising these two „world viewsâ€&#x;
What is Nga Aho and is this groupâ€&#x;s principle aim?
Week: 11 The Politics of Design
Cold War European Military Alliances
What is the relationship between these two images? How was the cold war “fought” and what was the role of design “on the front line of defense”?
the Marshall Plan: containment through consumerism
freedom = consumerism
What was this event and how was design used as propaganda for „American democracyâ€&#x;? [designed by Charles and Ray Eames for American National Exhibition Sokolniki Park, Moscow, 1959]
post-modernism and the remix
„Less is more‟ or „less is a bore‟? Postmodern Chairs: Venturi and Scott Brown, 1977
complexity and contradiction [Venturi, 1966]
[We] can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than “pure,” compromising rather than “clean,” distorted rather than “straightforward,” ambiguous rather than “articulated,” perverse as well as impersonal, boring as well as “interesting,” conventional rather than “designed,” accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity.
“less is a bore”
What were some of the postmodernist objections to modernism? What is “messy vitality” (Venturi) and how does it relate to the strictly rational aesthetic and ideology of modernism?
How did the youth culture and experimental attitudes of the 1970s influence design and begin to break down „modernist‟ paradigms?
Alex MacIntyre, “Trip Box” installed at Maples Department Store, London, 1970-1
In what ways do both of these images represent reactions to the modernist paradigm? How do they express larger cultural changes in this period?
Stanley Federman, Café du Triangle, Los Angeles, CA, 1984
What is so „Postmodern‟ in this image?
What‟s so important about the „remix manifesto‟ (for the future of design )?