history of design memerision final

Lucian Bernhard
 Poster for Manoli Cigarettes, German
1906, 12-7

•  graphic designer and

  illustrator Lucien Bernhardt, an Austrian about whom not much is really known

• He was very hesitant to tell people

  details about himself, not even telling his children the same stories about his earlier life,

• His original name

  was Emil Khan, and he was probably Jewish. Antisemitism was rife in Germany and Austria at the time, so that he might have felt the need to keep quiet about his Jewish identity and let his work speak for itself.

•  His work was

  certainly distinctive and in fact there's a German name for his approach, Plackett Style, although since that simply translates as poster style it isn't a very informative term.

•  What Bernard was attempting here was to simply raise consumer awareness of the brand so

  so that the next time someone

  craved a cigarette, the name Manoli would pop into their heads.

•  manliness to get men to associate this brand of cigarettes with being macho or anything like that, because there isn't a lot of text

  promoting such ideas, nor is the product shown in situations that would raise those concepts. Instead, consumers would just

  see a very simple image of the product and its brand name, so that the next time they thought about

  cigarettes, they would also think about this brand.

Gerrit Rietveld
Red Blue Chair
Dutch, De Stijl, 1917

•  Reed belt references

  this concept by having the boards

  he made the red blue chair from

  all basic cuts of wood standard to

  the building trades. They are uniformed components he could have purchased at any Dutch lumberyard

• there are only three primary hues that can be combined to form all others, red, blue, and yellow. but those can’t be made

• Here, Reatveldt

  has only used black and the

  three primaries, with white being

  alluded to by the blank spaces within the form that a white backdrop like the one used here would show through.

•  Rietveldt suggests

  those straight lines of force

  stretching across infinity in a cosmic

  grid by having his timbers extend

  past each other. In a strictly

  practical application, his various structural pieces should meet flush, because the little portions that go past their intersections do nothing to reinforce the stability of the chair and are, in fact, bits of dead weight. But having his little square beams extend past one another implies that what we see are just segments of longer, even endless lines

Fortunato Depero
Advertisement
for Campari
Italian
Futurism
c. 1927

• The futurist emphasis

  on restlessness and energy has here

  been applied to an advertisement for the Italian liqueur, Campari, via the use of jagged diagonals and strong black and white contrasts.

• its taste is sharp and tart, almost bitter so that to drink it is an attention

  grabbing experience

• Italians have long thought of Kampari. as being good for you, that it gives a beneficial jolt to your system, stimulating your heart and your appetite, so they traditionally have a little glass of it before a big meal.

•  Italians thought they did, and Depro's imagery certainly references those ideas with its

  futurist agitated style. Like martinis

  and margaritas, Campari is

  traditionally served in a distinctive

  drinking vessel.

• A humorous cartoon figure whose entire body is based on that

  shape holds such a distinctive Kampari glass in his hand, while another smaller one is shown in his heart, referencing the benefits to it the drink supposedly has

Vladimir Tatlin 
Model for the
Monument to the
Third International
Russian
Constructivism
c. 1920

• The generals and politicians in the Communist Party who led the Russian Revolution and set up a new government

• They wanted the culture of the newly communist Russia to both create a positive atmosphere ordinary people would think was an improvement over the old traditional system

• And so this aspect of reshaping Russian life needed to be put in the hands of fellow communists who were Since many of the constructivists and suprematists

• Suprematists and constructivists were made the heads of art

  museums and galleries, fine arts academies, design schools, unions and other professional organizations for artists and designers

•  communists, model represents

  a proposed but never realized

  architectural project that has become

  one of the most recognized efforts

  of this period,

• The first international was the labor movement, The second international

  was socialism., The third international was communism

•  The simple reason

  this structure never got built was that

  something this big and this complicated was completely beyond the capacity of the Russian economy to do

•  At the lowest level, the largest was

  to be the meeting hall,Next up, and not quite as large, was to be the pyramid-shaped structure holding committee rooms and offices

  that were subdivisions of the planetary Congress or Parliament,

  smaller cylindrical tower housing the

  executive offices of the President of

  the World and his cabinet of heads of government departments.

Marianne Brandt
Tea Infuser and Strainer
German, Bauhaus

• One of the few women

  at the Bauhaus to do something besides textiles was the metal worker and industrial designer

• Marianne Brandt, who

  went into the metal shop

•  At first, the instructors in the metal shop deliberately gave the women's

  students dull, boring assignments to discourage their interests, but Brandt's talent was such that eventually she became the head of metals

• Brandt focused

  on handcrafted items done in a modernist geometric idiom, a rather Wiener -Wirchstetta approach

•  Its function is atypical. Instead of steeping dried tea leaves in hot water, it was meant to mix a concentrated tea liquid extract that was then poured into a cup

•  Brandt would shift into industrial design, coming up with prototypes of lighting fixtures and the like

  for mass production. Her consumer products were one of the few lines designed at the Bauhaus to be manufactured by industry

Walter Gropius, The Bauhaus, Dessau, Germany, 1925

• The Bauhaus was only in operation for a few years, from 1919 to 1933, during which brief period it moved three times,

• The Bauhaus had to keep moving as it continually ran afoul

  of city governments that were becoming extremely conservative as the Nazi party began to coalesce and then win local elections. When the Nazis won the national election in 1933 and Adolf Hitler became

  the head of state, they completely shut down the school for good