Focusing on specific examples, describe the way that Modernist art & design was a response to the forces of modernity.
Modernism expresses the cultural responses to the new condition of modernity. It has considerably shaped the built environment we live in today; the buildings we inhabit, chairs we sit on and graphic design we observe are all created by the aesthetics and ideologies of Modernist design. (Wilk, 2006) Modernity occurred alongside the processes of industrialisation and urbanisation; bringing about significant progressive changes between 1750-1950. Modernism amalgamates a wide array of movements; Cubism, Expressionism, Futurism, Dadaism, Serialism and Surrealism, and ideas; abstraction, functionalism, atonality, free verse. (Weston, 2001) Thus affecting an array of art practices; architecture, hand made objects, furniture and furnishings, dress, industrial, theatre and graphic design. Modern design is a notably formal innovation with a self-conscious motive to create something new and an inclination towards abstraction. (Wilk, 2006)
The fundamental features of modernity aided the fabrication of modernist design; the city, communication, progression and rationality and reason. The city was key in providing a ground for the modern experience, especially in attracting those living in the countryside during industrialisation. Effective communications flourished with the emergence of rapid transport systems, rail and road, steamships and the telegraph; all of which promoted change in society, predominantly through the ideology of mobility. There is a utopian ideal of progression inherent within the concept of modernity. Progress is the underlying notion of modernity, connoting change for the better in an attempt to improve lives. Lastly, the notion of rationality and reason made way for the concept that the only way in which this ideal can be achieved is through the immersion of a civilised state and the consequent rejection of religious systems of rule. Scientific progress and intellectual investigation are superior to that of religion resulting in secularisation with a decline in the role of the Church. These features are highly influential to the construction of modern design. As was suggested by Mies van der Rohe ‘we have science, we have technology, we have industrialisation. All are accepted as part of progressive existence, the question is how we guide them in a direction that is beneficial to all of us.’ (Weston, 2001, p201)
Walter Gropius, Bauhaus, Dessau, 1925-6.
This German school is an architectural structure founded in 1919 in Weimar, as a college of design, before moving in 1925 to its spectacular purpose-designed building in Dessau, created by the architect Walter Gropius. The Bauhaus building quickly established itself as an icon of Classical Modernism; leaving a indelible mark on the rest of the design world which is still felt today. (Wallpaper*) Gropius was precise as to what form his architectural synthesis would take, wanting to create ‘a clear, organic architecture, whose inner logic will be radiant and naked.‘ He wanted this architectural phenomenon to be ‘adapted to our world of machines, radios and fast cars’ making use of ‘the increasing strength of materials- steel, concrete, glass.’ (Curtis, 1996, p194) The school symbolised the Modernist movement predominantly through it’s truth to materials, with prime importance being on design functionality. It espoused utopian ideals and was renowned as a temple of rationalism. (Weston, 2001) The school’s art education system combined art, design, architecture, and crafts into a unified whole. (Talk Talk) This functionalist approach was adopted by the world of design, thus resulting in the production of innovative work and forward-thinking designers; with some of the most revolutionary designs of the 20th century being a product of the Bauhaus, including buildings constructed from steel and glass, and tubular steel furniture. (Curtis, 1996) This use of steel and glass was due to the occurrence of industrialization. The aesthetics of this German college demonstrated the rejection of ornament during this period. It has a stripped down, neutral and modern appearance, which is an obvious attack on the decorative styles that attempt to tap into fashionable design. This rejection of decoration allows the building to remain minimalist; having the use of colour fully built-in the architectural solution. (Baumann, 2007) The Bauhaus style of architecture is an example of Internationalism; the clean-cut, unsupported corners, glass curtain walls and cubic blocks demonstrate their willingness to embrace new technologies in order to be recognisable to an international audience. (Curtis, 1996) Whilst at the same time, helping to create a sense of truth about the building, ensuring it is non-illusionary as not to form a false pretense. As noted by Jan Tschichold, ‘the final and most pure form of a necessary item is always constructed of geometric shapes.’ (Weston, 2001, p119) This German college of design is true to this statement and revolutionary to the modernist period that it was built in.
Most of the furniture for the Bauhaus embodied Modernisms key values as much as architecture. The chair was an paradigmatic object type which achieved symbolic importance beyond it’s commercial success due to it’s ability to capture the imagination of so many contemporaries as a result of it’s progressive abstraction. It was a compact design problem that exerted a strong hold on the inter-war designers due to the lack of opportunity for architects to engage in architectural construction resulting from poor economic climate in Europe after the First World War. (Wilk, 2006) Architects applied themselves to seating design as it was cheaper and easier to manufacture a chair in comparison to a building and no commissioning client was required. The chair was also an essential element of daily life to all, thus giving them a chance of bringing attention to themselves through their interrogation, investigation and rethinking of the chair’s design; giving their results had a chance of being realised at least to the stage of photography and exhibition, if not manufacture and use. (Wilk, 2006)
Marcel Breuer, Club chair, 1925.
Marcel Breuer’s chairs demonstrated a new way of dwelling; the process of progressive abstraction, the shift from wood to metal and the gradual diminishing of the chair’s structure. (Wilk, 2006) Breuer’s designs were light and subsequently easy to move, neither displacing space or blocking views; they were visually transparent and minimalistic, allowing the interior space to remain open and free flowing. As Breuer stated ‘it neither impedes movement nor the view through the room.’ (Wilk, 2006, p229) His chair’s made use of the new technologies of chromed steel and newly developed textiles, resulting in a minimal use of materials without depleting the appearance. These metal cantilevered chairs were cheap, mass producible and easy to hand. This use of steel was, again, due to the materialization of industrialization alongside Modernity. Breuer’s logic of disappearance posed upon this chair design represents the free unfolding of modern life; it is not a timeless piece of design but instead expresses the history of the type. (Bergdoll, 2009) It is instantly recognisable as a chair as it’s form did not break with tradition, suggesting an abstraction not of loss but of plentitude.
The establishment of the Bauhaus enabled graphic design to provide a way to communicate the modern world and reflect upon it.
Harry Beck, London Underground Map, 1933.
The iconic London Underground map was produced by Beck, an engineering draughtsman, in 1933 and has been continually in use since. It is in fact a diagram of the network rather than a true geographical representation, showing relationships rather than distances. Beck argued that ‘if you’re going underground, why do you need to bother about geography? ...Connections are the thing.’ (V&A) The map uses horizontal, vertical and diagonal lines, with each of the Tubes lines coloured differently for ease. (V&A) It also uses a sans serif typeface; the rejection of the stylistic features allows the design to appear eternal. Beck proposed this radical new design of the Underground railway system without using conventional mapping systems as he had found it too big to present geographically. (patrciktaylor) It was at first viewed skeptically for it was too radical, however, after a successful trial the map was put into production. (Wilk, 2006) Beck’s schematically networked map soon became a vital element in the Underground transport system, as it was now seen to be modern, rational and efficient with the form following the function. This simplified map has since become a design classic and a true example of visual communication, thus demonstrating the importance of simplicity, economy and utility; all of which are key values advocated by Modernist design. The London Underground map has been used as the model for similar worldwide maps, with updated versions still being in use today. (Weston, 2001) This is due to it being a language of design that is recognised on a international level; providing an understanding between nations. Beck’s Underground map is most certainly a true representation of how modernist design began moving away from the realistic way of depicting the world and instead relying on signs and symbols. (20thCenturyLondon)
In conclusion, it is the accumulation of such Modernist designs that have shaped our design world. As Walter Gropius stated in 1913 ‘The new times demand their own expression. Exactly stamped form devoid of all accident, clear contrasts, the ordering of members, the arrangement of like parts in series, unity of form and colour...’ (Curtis, 1996, p183) Modernism has instigated a vocabulary of styles, made way for the production of the art and design education and brought about the ideology that form follows function. Significant changes took place during Modernism; effective communications were established, the city became the basis of the modern lifestyle, the notion of ‘change for the better’ was embraced and a civilised state replaced previous religious systems. All of this enabled Modernist design to embrace new technologies, function to be of prime importance, a rejection of historical references and recognition on an international level. As an art movement, Modernism fully embraced the concept of progression and has consequently had a notable influence on the design evident today. (Duncan, 1998)
1650 words
Bibliography
Books
Alastair Duncan (1998) Modernism: Modernist Design 1880-1940: The Norwest Collection, Norwest Collection, Norwest Corporation, Minneapolis. Antique Collectors’ Club.
Richard Weston (2001) Modernism. Phaidon Press.
Christopher Wilk (2006) Modernism: Designing a New World. Victoria and Albert Museum.
Stuart Hall, Bram Gieben (1992) Formations of Modernity
William J R Curtis (1996) Modern Architecture Since 1900. 3 Edition. Phaidon Press.
Kirsten Baumann (2007) Bauhaus Dessau, Architecture-Design-Concept. Jovis.
Barry Bergdoll (2009) Bauhaus 1919 1933. The Museum of Modern Art, New York.
Malcolm Barnard (2005) Graphic design as communication. Routledge.
Websites
Talk Talk. Bauhaus. [Online]
Available at: http://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0000322.html [Accessed 28 December 2010]
Wallpaper*. The Bauhaus Building, Dessau [Online] (Updated 24 January 2011) Available at: http://www.wallpaper.com/architecture/the-bauhaus-building-dessau/3098
[Accessed 29 December]
The Art Blog. 2003. Bauhaus Studies [Online] (Updated 24 January 2011)
Available at: http://theartblog.org/2010/03/bauhaus-studies/ [Accessed 28 December 2010]
Exploring 20th Century London. Beck, Henry (Harry). [Online] Available at:
[Accessed 29 December 2010]
Patrick Taylor. 2005. 1933 London Underground Map. [Online] Available at:
[Accessed 28 December 2010]
V&A. Modernism: Designing A New World 1914-1939. [Online] Available at:
[Accessed 29 December 2010]
