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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+ProgressThe Bauhaus: a unity of art and craft // art and technology
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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
Johannes Itten1888 - 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)
Gymnastics leading to studies of rhythmic form
and movement
Colour Theory, Itten Vogelthema,J ohannes
Itten, 1918
Balance + Asymmetry + Rhythm + Repetition + Hierarchy = Composition
Hierarchy
Repetition
Rhythm/movement
Asymmetry
Balance
Johannes Itten
art and technology“a new unity” 1923
László Moholy-Nagy
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.
Lázsló Maholy–Nagy1895 - 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.”
Haptic
awareness
Pestalozzi
Awareness of SpaceCompositional
understanding
Itten
Spatial
discovery
Maholy-Nagy Marcel Breuer
“Wassily chair”
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
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…
What is the relationship between these two images? How do they
relate to or embody the search for a „universal visual language‟ at
the Bauhaus?
Week 10: Kaupapa Maori Designchallenging the ‘modernist’ paradigm
What might be gained by synthesising these two „world views‟
What is Nga Aho and is this group‟s principle aim?
Week: 11The 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 democracy‟?
[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?
Alex MacIntyre, “Trip Box” installed at Maples Department Store, London, 1970-1
How did the youth culture and experimental attitudes of the
1970s influence design and begin to break down „modernist‟
paradigms?
In what ways do both of these
images represent reactions to
the modernist paradigm?
How do they express larger
cultural changes in this period?
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What is so „Postmodern‟ in this image?
What‟s so important about the „remix manifesto‟ (for the future of design )?