15/01/10 – A selection of excerpts from Moholy-Nagy’s The New Vision (1938).
Foreword
The New Vision was written to inform laymen and artists about the basic elements of the Bauhaus education: the merging of theory and practice in design. (5) (more…)
27/11/09 – A selection of diagrams and information graphics from Bauhaus publications by Gropius, Itten, Kandinsky , Klee, Moholy-Nagy, Schlemmer, et al. (more…)
25/10/09 – Volume one, New Worlds to Find 1000-1600, in the fifteen volume series: A New History of Canada. Educational textbook for children. Published by Editions Format in 1972 in Montreal. (more…)
23/09/09 – Old toy model of the Tatra T600 Tatraplan automobile designed in 1946-7 in Czechoslovakia by Josef Chalupa, Vladimír Popelář and Hans Ledwinka. The Tatraplan had a monocoque streamlined six-seater saloon body with a drag coefficient (Cd) of just 0.32. It was powered by an air-cooled flat-4 cylinder 1,952 cc rear-mounted engine. Only 6,342 were produced. Toy dimensions: 10″x 3.75″ x 3.5″. (more…)
16/09/09 – Excerpts from Le Corbusier’s Vers Une Architecture (1923), first English translation (Towards a New Architecture) 1927. (more…)
31/08/09 – Second installment of 1960s & 1970s Scandinavian Design Logos on flickr// (more…)
24/08/09 – Collection of Scandinavian design logos/logotypes circa 1960/70 on flickr// (more…)
20/08/09 – Far vedere l’aria / Air Made Visible: A Visual Reader on Bruno Munari (2000) edited by Claude Lichtenstein and Alfredo W. Haberli. A catalogue for the exhibition at the Museum fur Gestaltung Zurich. Printed in Switzerland by Lars Muller Publishers//.
12/08/09 – Falkland Lamp by Bruno Munari for Danese Milano (1964). Spontaneous form tube-like suspension lamp. More images//
17/07/09 – Selections from Design and Paper (13): Controlled Visual Flow by Ladislav Sutnar, New York (1943). (more…)
16/07/09 – Selections from Design and Paper (19): Shape, line and color by Ladislav Sutnar, New York (1945). (more…)
13/07/09 – Tapio Wirkkala Ultima Thule glassware for Iittala, Finland (1968). Set of six juice/whisky sour glasses (18 cl.). (more…)
28/06/09 – Monograph for Czech artist and designer, Karel Teige (1900-1951): Karel Teige a typographie: Asymetricka harmonie (2009) by Karel Srp, Polana Bregantova and Lenka Bydzovska. Text in Czech. (more…)
18/05/09 – Excerpts from Jost Hochuli’s Detail in Typography: Letters, letterspacing, words, wordspacing, lines, linespacing, columns (2008): (more…)
02/05/09 – Lambretta LD 150 scooter built by Innocenti in Milan circa 1954-56. (more…)
26/04/09 – Excerpts from Tenugui, Pie Books (2007), Japan. Tenugui are traditional Japanese cotton hand-towels featuring a wide range of designs and motifs. (more…)
14/04/09 – Formal typographic study of the square with 3×3 grid and variations in ratio/proportion and orientation. (more…)
11/04/09 – “The luxurious Boeing 747 is the world’s largest commercial passenger aircraft. Wing span, 195.7 ft. (59.6 meters). Length 231.3 ft. (70.5 meters). Fuel capacity 42.481 imp. gals (192,500 ltrs). Max. take-off weight, 775, 000 lbs. (351.540 kgms.) Cruising speed, 560 mph (900 kmh). The 747s are part of CP Air’s modern fleet of orange jets serving five continents.” (more…)
08/04/09 – “This is the main entrance to the Exhibition and the terminus of the mass transit. Buildings on the extensive deck are restaurants, boutiques and reception rooms.”
Official post card / Les Messageries de Press Benjamin Ltee / Benjamin News Co., Ltd., Montreal 3, Canada / Plastichrome of Canada / ©1963 (more…)
01/04/09 – Excerpts from Bruno Munari’s Design as Art first published in 1966. Images on flickr//
Preface to the English Edition
They [artists] have realized that at the present time subjective values are losing their importance in favour of objective values that can be understood by a great number of people.And if the aim is to mass-produce objects for sale to a wide public at low price, then it becomes a problem of method and design. The artist has to regain the modesty he had when art was just a trade, and instead of despising the very public he is trying to interest he must discover its needs and make contact with it again. This is the reason why the traditional artist is being transformed into the designer, and as I myself have undergone this transformation in the course of my working career I can say that this book of mine is also a kind of diary in which I try to see the why and wherefore of this metamorphosis. (13)
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