Visual research-
De Stijl - Architecture - Cafe De Unie, 1924 - 1925; Designed by JJP Oud
This building is an example of architectural space, type design, colour theory and the ideas of geometry displayed into a singular outcome. The building must have been seen as ultra modern in 1925. It is possibly the best example os the De Stijl Principles displayed in architecture as well as design. From the drawings above it is clear that the way the type sits on the building was a part of its original creation.
These designs by Herbert Bayer a student and teacher at the Bauhaus again show this synthesis of art, graphics, architecture as well as typography. The designer clearly had a great understanding about the limitations and advantages of all of these themes and a knowledge of how to bring them all together. These experiments into shape composition, type all have a common theme of modernity, geometry and use of primary colours done to identify a universal communication.
Le Courbusier - Trained as an architect by works as a furniture designer, painter, product designer. An example of a multi disciplinary designer. His work was seen as modernist, but had more of a human connection and a realisation of humans connection to nature displayed through more nature use of shapes and forms.
These drawings by the architect and designer Mies Van De Rohe shows his continuousness of space and combining both art and architecture. A former head of the Bauhaus practice in the unification of the arts and architecture in particular. Often these drawing use the art at the forefront and the buildings seem as if they are designed to frame the work.
Theoretical Research -
Taken from the essay.
Herbert
Bayer was educated at the Bauhaus between 1921 & 1925 his work shows a
unification of the arts, combining art, design, photography, typography,
architecture and advertising. (Figure 1) Kiosk design by Herbert Bayer 1924,
shows a unification that can only be realized through an understanding of ‘the
language of vison’ (Lupton 2009) removing any individual, ornamental values
creating universal and contemporary imagery that communicates though the use of
shape, tone and line.
Figure 1
Kiosk
design by Herbert Bayer 1924
(Figure
2) Rietveld Schröder House designed by Gerrit Rietveld can be seen as a direct
translation of De Stijl principles into a building. The asymmetrical
composition and use of primary colours can be seen as a three dimensional
interpretation of a Modrian painting. The Rietveld Schröder House uses the same
forms of shape, tone and line expressed in Herbert Bayer’s Kiosk Design (Figure
1), the principles of universal communication through the use of geometric
imagery is intrinsic in the modernist principles of the time.
Figure 2
Rietveld
Schröder House designed by Gerrit Rietveld
The
inspirational designer Dieter Rams’ work followed many of the principles set
forward in modernism, (Figure 3) TP 1 radio/phono
combination, 1959, by Dieter Rams for Braun, shows use of simplistic geometric
shapes uninterrupted by decorative embellishment, each of the elements of the
radio are subtly highlighted. Outlined in his Ten Principles For Good Design-
‘Good design makes a product useful.’, ‘It has to satisfy certain criteria, not
only functional, but also psychological and aesthetic. Good design emphasizes
the usefulness of a product whilst disregarding anything that could possibly detract
from it’ (Rams, 2012)
The influence of Dieter Rams’ work have inspired a generation of product
designers not to mention Apple and the work of Jonathan Ive in particular. The
emphasis on clarity, function and simplicity have underlying connections to
modernist theory.
Figure 3
TP 1 radio/phono
combination, 1959, by Dieter Rams for Braun
In the early modernist ideals: the unity of design and architecture
appeared much more cohesive, over time it seems they have lost this connection.
Virginia Smith writes that ‘A continuing impulse in Modernism had been the
integration of typefaces into buildings. Type as an intergral part of
architecture appeared in the first decades of the twentieth century.’ (Smith
2005) explaining that ‘De Stijl, incorporated identifying signs into its
facades, as in the Café Unie of 1925 in Rotterdam’ (Figure 4) Designed by the
De Stijl architect J.J.P Oud, the image shows the alliance of modernist
typography, architecture, and form as well as choice of colour and material. This
unification is seen often contemporary graphic design but not to the extent
shown in Café Unie (Figure 4), all aspects of the design have been designed
with each other in consideration. Only through the modernist principles of a
unity of the arts and an identified visual language can the overall outcome be
so successful. Highlighted in ‘De Stijl, New
Media and the Lessons of Geometry’ – new media has a tendency to ignore the
need for design to be functional, but through principles in modernism ‘designer
is the director rather than the actor and design is less about the experience
and more about framing the experience.’ (Helfand 2012, 166) With a
great understanding of the ‘Language of
Vision’ (Lupton 2009) outlined in the modernist principals of the Bauhaus and
in the De Stijl movement, a type designer could in theory be an architect,
painter or sculptor.
Figure 4. Café Unie, 1925 J.
J. P. Oud.
Other information - The modes of communication that seem most appropriate would be a printed poster, as this is a medium often practices by both the work of the Bauhuas as well as the De Stijl Movement.
