syntax — imagination without strings …,” 1913 W r i t i n g

syntax — imagination without strings …,” 1913 W r i t i n g

  • You will pick 2 prompts out of 3. Each essay should be ~500 words or about two double-spaced pages. You must submit your completed exam as a single PDF file.
  • This is an open-book exam. Prompts focus exclusively on material that we have covered in the
  • course. Consult the readings and lectures on Blackboard, as well as your textbook and notes.

  • You should use these essays to demonstrate that you have fully “digested” the readings,
  • lectures, and discussions. They should be more formal in tone than the discussion group posts,

    written as if for an outside reader. Make sure to define your terms as you go, rather than

    assuming the reader already knows what they mean.

  • You are expected to know the arguments of course texts well enough to explain them in your
  • own words. Quotations are often necessary to clarify the details of an argument or to capture

    the writer’s specific wording, but points will be deducted for an excessive quotation that distracts

    from the underlying idea. Cite all such quotations with the author’s name, date, and page

    number. (Jacob 2021, 11)

  • Take the time to really look at each example object you select: What are the specificities of its
  • color(s), texture(s), or material(s)? What sorts of contrast or harmony do you notice between

    its parts? In the case of a three-dimensional object, how might a human body interact with it?

    In the case of a building, how might a person perceive it as they approach and move through it?

  • When you are asked to compare and contrast two works of design, they should have enough
  • in common that they are intuitively comparable. This way, subtle differences (and not only the

    most obvious ones) stand out in fuller relief.

  • You are not expected to conduct any research beyond the course materials

    1. Marinetti and Graphic design to begin, revisit the two texts by F.T. Marinetti: — “The Founding and Manifesto of Futurism,” 1909 (Week 9) — “Destruction of Syntax—Imagination without Strings…,” 1913 Then, pick two examples of graphic design (any two-dimensional works that include typography) to compare and contrast. One example must be from an artist or designer involved with the Futurist movement. The other is your choice, but it must be something we covered in the readings and/or lectures, and it must be older than the Futurist example.This essay will concentrate on the opposition between tradition and innovation in the theory and practice of the Futurists. First, in reference to the 1909 text, explain what Marinetti was rejecting in existing traditions. Then, describe the general goals of his new movement. Finally,with specific reference to the 1913 text, explain the contrasts between the two works of design.What did the Futurists propose to do with language and poetry, and how did they use typography, layout, and color to achieve this?

    2. Le Corbusier and ArchitectureTo begin, revisit the two texts by Le Corbusier: — “The Furniture Adventure,” 1914 — Selection from The Decorative Art of Today, 1925 (Week 11)Then, pick two examples of architecture to compare and contrast. One of them must be designed by Le Corbusier. The other is your choice, but it must be something we covered in the readings and/or lectures, originating no later than the 1925 Paris Exhibition. This essay will concentrate on Le Corbusier’s theory (derived partly from Adolf Loos) that human culture must develop toward plain objectivity and function in design. You must cite from both essays as you describe Le Corbusier’s critique of decoration and ornament. Notice that few of Le Corbusier’s own examples are architectural: instead, he discusses things like clothing, cars, and cabinetry. Relate these critiques to the contrasting work of architecture you have selected. Then, use the architectural example from Le Corbusier to illustrate the new approach that these essays advocate.

  • 3. The Bauhaus and Product DesignTo begin, revisit the following three texts by designers from The Bauhaus: — Walter Gropius, “Programme of the Staatliches Bauhaus in Weimar,” 1919. — Walter Gropius, “Principles of Bauhaus Production,” 1926. — Breuer, “Metal Furniture and Modern Spatiality,” 1928.Then, pick two examples of Bauhaus product design (any three-dimensional works, excluding buildings) to compare and contrast. One of them must be from the first years of the school(1919–23) and one must be from the later period (1924—33).This essay will concentrate on the shifting emphasis of Bauhaus pedagogy and production, from its craft-oriented beginnings to its later engagement with technology and industry. First, with specific reference to the 1919 “Programme,” explain the ways that the school’s founding was influenced by Arts and Crafts values. Then, using at least one of the other two essays, describe the new ideas that shaped the Bauhaus’s later work. Use your examples to illustrate each approach, describing in close detail the continuities and changes you notice between the two objects