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Design and Form: The Basic Course at the Bauhaus
... According to the admission criteria of Bauhaus, it is apparent that there is a manner of not to limit the variety of students in terms of the unity through integrating many disciplines: "Any person of good repute, without regard to age or sex, whose previous education is deemed adequate by the Council of Masters, will be admitted, as far as space permits" (Conrads, 1971, p.53). The most sensitive spots here, are to make admission easier for students from different knowledges and disciplines and to make way for them to reach personal experiences and discoveries which will enable them to see their own potentials and limitations (Itten, 1963). Thus, a course appears at the same time with the establishment of Bauhaus: Vorkurs. ...
... One can find his or her creativeness in light and shade, the other in materials, third one in color and so on… Therefore, Johannes Itten who laid the foundation of Vorkurs, suggested to Walter Gropius that all students from varying disciplines who show an interest in arts and architecture should be admitted to Staatliches Bauhaus at Weimar for a term. Hence, they called this trial term the Vorkurs (Itten, 1963). Although the term Vorkurs was not articulated in Gropius' manifesto in 1919, the term was used in The Theory and Organization of the Bauhaus in 1923. ...
... Different terms and nouns were used instead of Vorkurs in German language too: Grundlehre and Vorlehre. In other respects, in terms of its translation in English, we come across with basic course in Johannes Itten's (1963) book's English version, orientation course in John Peter's (1994) interview with Gropius, preliminary course in Gropius's curriculum chart's English version, foundation course and even basic design ( Figure 1). Furthermore, about translation in Turkish, Hazırlık dersi appears in a comprehensive source of Eva Forgacs (2017), Bauhaus 1919Bauhaus -1933. ...
Abstract
This paper synthetizes theoretical aspects of photography related to architecture, city and territory, as well as the case studies coming from the research project Visual Spaces of Change, focusingon the use of photography to investigate the
dynamics of architecture and urban change. The project proposed to engage researchers and artists from the fields of architecture, art and image in the creation of visual narratives that promote a new understanding about architectureas well as public debates on urban change in the Porto Metropolitan
Area.The methodological framework adopted was designed with special attention to the multidisciplinarycharacter of this project, complementing each other and putting in relation the various aspects covered within this integrative approach regarding Architecture, City and Territory. Thus, the research implied, for the first case study, promoting a series of open talks, public presentations andexhibitions of contemporary photography projects related to the subjects of Architecture, City and Territory during the years of 2019 and 2020 on several public spaces and Metro Stations of OportoCity. These initiatives intended to broaden the discussion about how architecture transforms and istransformed by trends and ways of living, using as its subject of study Porto’s Metropolitan Area andthe results from this case study had as base the several impressions from the audience collected through qualitative survey. For the second case study, a pedagogical experiment was taken that builds up on previous research combining blended learning and e-learning with visual research methods and photographic that enabled students to manage the whole process of conception, development and implementation of photography projects in a collaborative learning environment. The results from this
case study had as base the several impressions from the students collected through quantitative and qualitative survey.
The potential of visual methods for communicating the identity and transformation of architectures and public spaces are made clear through the discussion of photography (including its uses, methods and approaches) as a valuable research
tool and technique to disseminate architecture and public space problematics in contemporary cities. The paper presents the results of the qualitative survey made to the audience of four site-specific exhibitions comprehending visual narratives produced in the context of the research project, as well as the survey made to students ofArchitecture from third year (1ºcycle) in the Faculty of Architecture of
University of Porto (FAUP).
2nd AE International Symposium, IKU Department of Architecture
March 24-25, 2022
... -Et finalement, des individus créatifs comme Johannes Itten (Itten, 1973(Itten, , 1975 et Paul Klee (Klee, 1966(Klee, , 2004 ont enseigné à leurs étudiants designers des théories et méthodes pour comprendre les styles anciens et nouveaux, mais aussi pour créer des nouveaux styles en design (Le . ...
... Combinaison et apprentissage (Le Pahl et al., 2007b). Création de vides (Itten, 1973, 1975, Klee, 1966. Ces différentes générativités semblent être dues à la structure de connaissances. ...
... In the school of Bauhaus, courses of professors like Johannes Itten (Itten, 1973(Itten, , 1975 and Paul Klee (Klee, 1966(Klee, , 2004 gave elements to design students not only to understand old and new styles, but also to create new styles (Le . Thanks to Bauhaus' teaching, students were able to create their own knowledge structure characterized by non-modularity and non-independence. ...
Comment la transmission de connaissances peut aider les concepteurs du secteur du luxe à réinventer les objets et l’expérience de la marque tout en restant ancrés dans son patrimoine ? Cette question ouverte dans les sciences de gestion et de la conception intéresse le domaine du luxe, tout particulièrement la Maison Dom Pérignon en constante quête de renouvellement. En effet, innover sans trahir les traditions est à l’origine de plusieurs tensions. Dans cette thèse, nous montrons comment la transmission d’un « patrimoine de création » peut aider les concepteurs du secteur du luxe à surmonter ces tensions. En étudiant celui de la Maison Dom Pérignon et ceux contenus dans divers livres de la haute cuisine, nous mettons en évidence trois caractéristiques de ce patrimoine de création qui constituent autant d’axes de recherche : Premièrement, nous décrivons les effets positifs sur l’originalité et l’efficacité opérationnelle que la transmission d’un patrimoine de création peut avoir sur les collectifs de concepteurs conduisant des projets d’innovation. Deuxièmement, en faisant appel aux théories de la conception, nous construisons un modèle formel mettant en relation les structures de connaissance et les types de générativité qu’un patrimoine de création peut provoquer. Nous montrons qu’un même domaine peut en contenir plusieurs, qu’un même patrimoine de création peut favoriser plusieurs types de générativité qui pourraient sembler en principe incompatibles, et que ces différents types de générativité peuvent évoluer à travers le temps. Finalement, nous montrons que la conception d’un patrimoine de création exige des interactions entre concepteurs expérimentés et concepteurs récepteurs afin de formaliser, réorganiser et partager un langage du connu et un langage de l’inconnu. Ce dernier est composé des éléments du premier. Nous mettons aussi en exergue que la structure formelle d’un patrimoine de création peut refléter la structure de l’organisation de conception
... The school was meant to build the future by means of unifying architecture, sculpture, and painting into single form of creative expression (Griffith Winton, 2000;Tallman, 2010). It trained students holistically in design fundamental, art and design history, material and media expression, hands-on creation, design methods discovery, and future career exploration (Itten, 1975). ...
... Upon the completion of the basic course, students were to be trained in a more specialized area for future collaboration with industry. According to Itten (1975), a "spiritual guru" of the Bauhaus, the basic course emphasized on several aspects (pp. 9-10): ...
... It was developed by German architect Walter Gropius in 1922. Source:Itten, J. (1975). Design and Form: The Basic Course at the Bauhaus and Later. ...
Several scholars had addressed the value of formal graphic design education in preparing students for the professional design careers in the past. Their studies investigated the necessity of a 'degree' for employment. In general, their results indicated that employers in design industry emphasized more on 'practical experience' than 'academic qualification' when recruiting graphic designers. Additionally, due to the availability and accessibility of various design software and tools today, there are a growing number of 'self-taught' and 'informally trained' graphic designers in the industry. In light of this phenomenon, design educators and higher educational institutions must reevaluate how they can articulate a broader value of formal education for design practice. Through conducting a comprehensive literature review, this paper aims to discuss what should be taught in graphic design education to best prepare graduates for a fast-changing world and strengthen the value of a 'degree' in graphic design. Recommendations will be provided in the conclusion.
... The basics of the approaches focusing on the involvement of sensory dimensions lead back to the theme of the foundation course developed at the Bauhaus. Both Itten and Moholy-Nagy's approaches emphasized the importance of the role of sensory encounter and practical elaboration in understanding materials, which, when integrated into design activities, enrich the intended experiences of final designs (Itten 1975;Wick 2000). The Bauhaus teachers were primarily creative artists rather than educators and therefore their methodologies were typically developed from practical experience. ...
... Nevertheless, the contradictions were also to be felt, not just seen. With Itten's approach, his students could experience the physical nature of materials directly through practical exploration (Itten 1975). Following Itten, Moholy-Nagy developed a new course focusing on the tactile experience of materials (Wick 2000). ...
The raw material-centric and holistic designer attitude has become a subject of design education in recent years. This approach is expanding and has adapted itself to the full scope of advanced capitalism, including consideration of the use of raw materials, market reception, and the environmental aspects. The pedagogic roots of the new perspective, such as the DIY approach and the origins of the expressive sensory atlas, can be traced back to the Bauhaus foundation courses. Tactility is today the starting point for examining consumer behavior related to the market success of raw material developments. The pilot courses, launched in collaboration with Italian and Dutch technical and art universities, are based on the methodologies of Itten and Moholy-Nagy and examine our relationship with raw materials and their unexplored possibilities. Moholy-Nagy’s approach of seeking solutions to life’s problems not in isolation but bearing the community’s interests in mind was revived by Victor Papanek in the 1970s and has recently been renewed in Alice Rawsthorn’s expression “attitudinal design.” The raw material-centric pilot courses of the previous years have now become permanent at European art universities. This article introduces the methodological approaches to raw material-centric design, that are built on my own experiences and innovative solutions. The holistic view of these approaches combines Moholy-Nagy’s “material-form-function” unity with the motivations behind consumption and the sensory properties of materials.
... The exploration and reflection of design education began with Bauhaus, universally considered the first school of design, where the issues related to design education were also addressed theoretically for the first time (Wick, 2000). The Bauhaus's educational approach was a dynamic and growing process with constant improvement to the professors' teaching curriculum (Cross, 1983), considering one's own sensations and expressions as the foundation (Itten, 1963). Here, the importance of experience and practice, and materials and processes were highlighted as vital components of the education approach. ...
... This dualism is intrinsic in design education: curriculum and pedagogy are two aspects that cannot be separated in design education, and effectiveness of education depends on how to achieve balance between them. In design education, besides the outward study and research on science and technology, students should be balanced by inward looking, thinking and spiritual focus (Itten, 1963), which means that students need to understand the necessary theoretical foundations and also establish their own ideological backgrounds for design in practice. Content and processes are equally important in design education. ...
... of the Bauhaus curriculum (Itten, 1964) ...
... of the Bauhaus curriculum (Itten, 1964) Apart from the structure of the educational program, the content of the course was also selected so that it could work as the foundation where students will acquire a shared design language. According to Findeli (1990), the content of the preliminary course can be outlined as follows: ...
Basic Design is a crucial course for design education. This course is offered in the first year to initiate students to the theory, practice and communication of design and to lay a basis on which more advanced and specialized knowledge will be gathered throughout the rest of their design education and careers. However, the course's results, influence in design education and methods of conduct receives many criticisms from students, educators, designers and researchers. Even though the course plays a founding role in design education and is criticized for not being successful, there are very few studies on how this course should be formulated or updated. For this reason, a study is conducted in two stages with the students and instructors of METU Department of ID in order to assess basic design education within the scope of this department. The results of the fieldwork are examined in consideration of the criticisms found in literature to determine the major problems of this course and to offer suggestions for improvement.
... The exploration and reflection of design education began with Bauhaus, universally considered the first school of design, where the issues related to design education were also addressed theoretically for the first time (Wick, 2000). The Bauhaus's educational approach was a dynamic and growing process with constant improvement to the professors' teaching curriculum (Cross, 1983), considering one's own sensations and expressions as the foundation (Itten, 1963). Here, the importance of experience and practice, and materials and processes were highlighted as vital components of the education approach. ...
... This dualism is intrinsic in design education: curriculum and pedagogy are two aspects that cannot be separated in design education, and effectiveness of education depends on how to achieve balance between them. In design education, besides the outward study and research on science and technology, students should be balanced by inward looking, thinking and spiritual focus (Itten, 1963), which means that students need to understand the necessary theoretical foundations and also establish their own ideological backgrounds for design in practice. Content and processes are equally important in design education. ...
... Par rationalité conceptive on entend un modèle de raisonnement pour concevoir de nouveaux produits ou services ou tout autre artefact (oeuvres d'art, typo, style…). Pour ces deux cas, on s'appuie sur un corpus de travaux très important (pour Redtenbacher (Fuchs 1959 ;Grashof 1866 ;Keller 1910 ;Kretzschmann 1865 ;Plank 1950 ;Redtenbacher 1858 ;Redtenbacher 1861 ;Redtenbacher 1909) ; pour le Bauhaus : sources primaires (Gropius 1923(Gropius , 1925Itten 1975Itten , 1961Kandinsky 1975 ;Klee 1922Klee , 2005Klee , 1966 ...
... At that time, scholars saw the process of 'making with materials' as more intuitive and sensitive. The educational reform of Ulm School of Design was the most representative in 1956 [4], wiping off the curriculum of focusing on making with materials in Bauhaus [5,6]and starting to apply mind and soul-oriented scientific methods to design education. After that, with the development of science and technology, in the 1990s, the birth of CAD (Computer-Aided Design) accentuated the immaterial practice further in design education. ...
... In my experience, a dialogue between the instructor and the student plays a crucial role in dealing with uncertainty. "A need exists to develop a student's intuitive nature and the ability to see possible future images" (Itten, 1967). An emphasis is to develop each student's ability to look inside themselves and find their potential. ...
Incorporating creative processes in the business curriculum can provide a framework for dealing with uncertainty in new product development. The paper explores the role and significance of user-focused aspects of the human-centered process in creating successful products and services. Demystifying the creative process can be challenging, as many students have trouble when engaging in 'need-finding' and problem-solving for the first time. Coping with uncertainty seems to be a vital factor in a student's ability to generate new products. Bringing creative tools and approaches into the classroom and sharing how to solve problems through observation, experiment, analysis, reflection establishes the place of the creative process, as a bridge, as a guiding principle – as a method for generating new products and new products business strategies.Keywords: Creative Process, Embracing Ambiguity, Interdisciplinary Learning, User-Focused.
... In order to translate the qualitative sensorial properties of the materials into quantitative information, an interaction exercise was conducted over a second question: ''How would you classify different materials according to senses?" Students were divided into groups of four and asked to organise the materials according to their contrasting features -inspired from Johannes Itten's approach at Bauhaus (as cited in [32])-with regards to one of the following senses; visual, haptic, auditory, olfactory (Fig. 4). A common vocabulary to represent sensorial properties of the materials emerged from each groups' proposition of keywords for definition of different experiential characteristics of the materials. ...
Experience with a product or a space occurs via different interfaces and one of those, perhaps the most significant one, is the material. Sensory properties of materials along with technical ones are essential inputs during the material selection process in design. This leads to the necessity of material exhibition platforms specifically configured for design students and novice designers, where material properties can be observed through experiencing, and experimenting. Thus, a multimodal reasoning process can be generated which would enhance design thinking.
Through its theoretical and experimental phases, this study aims to develop the fundamental considerations and propose a model for a multi-sensory material exhibition medium where both tangible and intangible characteristics of materials can be observed, and interacted with, thus inducing hands-on learning. The study further aims to propose a material information system where quantitative and qualitative information are given in a visual representation layout. By adopting a participatory mindset, two workshops (15 + 10 days) were conducted with architecture faculty students, thus enabling audience opinion during the design of systems and transformation of material properties into scalar data and diagrams. The results and the merits of the proposed exhibition medium are presented and the educational implications are discussed.
... A set of specific values was selected from among the possible values of the different parameters. The criteria for choosing the color, illumination, and dimensions' values were based on the equitable distribution of colors in the Itten chromatic circle [69], on the information provided by the light bulb suppliers, and on the standard measurements used in the construction of removable ceilings. ...
A fundamental problem in the design of a classroom is to identify what characteristics it should have in order to optimize learning. This is a complex problem because learning is a construct related to several cognitive processes. The aim of this study is to maximize learning, represented by the processes of attention, memory, and preference, depending on six classroom parameters: height, width, color hue, color saturation, color temperature, and illuminance. Multi-objective integer linear programming with three objective functions and 56 binary variables was used to solve this optimization problem. Virtual reality tools were used to gather the data; novel software was used to create variations of virtual classrooms for a sample of 112 students. Using an interactive method, more than 4700 integer linear programming problems were optimally solved to obtain 13 efficient solutions to the multi-objective problem, which allowed the decision maker to analyze all the information and make a final choice. The results showed that achieving the best cognitive processing performance involves using different classroom configurations. The use of a multi-objective interactive approach is interesting because in human behavioral studies, it is important to consider the judgement of an expert in order to make decisions.
... After producing a graduation project and establishing a base, students then could join a three-year specialized program according to their choices (Wick, 2000). (Itten, 1964). ...
... Despite this, the occurrence of specific factors or patterns objectively makes an image more appealing than others. Researchers have in fact found that aesthetics can be influenced by several factors including lighting [1], color scheme [2], contrast [3], composition [4], semantic photo content [5], [6], and image styles [7], [8]. ...
The aesthetic quality of an image is defined as the measure or appreciation of the beauty of an image. Aesthetics is inherently a subjective property but there are certain factors that influence it such as, the semantic content of the image, the attributes describing the artistic aspect, the photographic setup used for the shot, etc. In this paper we propose a method for the automatic prediction of the aesthetics of an image that is based on the analysis of the semantic content, the artistic style and the composition of the image. The proposed network includes: a pre-trained network for semantic features extraction (the Backbone); a Multi Layer Perceptron (MLP) network that relies on the Backbone features for the prediction of image attributes (the AttributeNet); a self-adaptive Hypernetwork that exploits the attributes prior encoded into the embedding generated by the AttributeNet to predict the parameters of the target network dedicated to aesthetic estimation (the AestheticNet). Given an image, the proposed multi-network is able to predict: style and composition attributes, and aesthetic score distribution. Results on three benchmark datasets demonstrate the effectiveness of the proposed method, while the ablation study gives a better understanding of the proposed network.
... The selection control was carried out using the Munsell notation system. Specifically, five hues equally distributed on the Itten colour circle [43], for each of which two saturations (high and low) were taken, separated by six Munsell chroma units. In combination it was then possible to obtain 10 modifications of the classroom (5 × 2, not including the measurements of the base classroom, because its colour was desaturated). ...
Classroom design has important effects on the cognitive functions of students. However, this relationship has rarely been analysed in terms of gender. The aim of the present study, therefore, is to analyse the influence of different design variables (classroom geometry, wall colour, and artificial lighting) on university students’ memories from a gender perspective. To do so, 100 university students performed a memory task while visualising different design configurations using a virtual reality setup. Key results show that certain parameters, such as 5.23 m classroom width, 10,500 Kelvin lighting colour temperature, or the blue hue on the walls influence men and women in a similar way, while a purple hue or walls with low colour saturation can generate significantly different behaviour, especially in cognitive processes such as short-term memory. In this study, the use of virtual reality proved to be a useful tool to explore the design effects of virtual learning environments, increasingly present due to training trends and catalysed by the 2020 pandemic. This is a turning point and an international novelty as it will enable the design of classrooms (both physical and virtual) that maximise the cognitive functions of learners, regardless of gender.
... Beyond methodological support is the importance of attractive workshop spaces in the Bauhaus movement (Itten 1975). This aspect is often rather negated in Design Thinking processes, not making workshops available to Design Thinking teams, but rather using creative spaces as workshops to develop simple prototypes. ...
Abstract: The 100th anniversary of the Bauhaus in 2019 led to a wave of academic research, some of which was directed to further analysis of methodologies developed and used there. Today, Design Thinking is also receiving a high level of attention in industry and academia. The objective of this paper is to interlink Bauhaus methodologies with the phases of the Design Thinking process, based upon the similarities and differences between between the approaches. The outcome of this work is intended to expand the Design Thinking toolset through the addition of some of the interdisciplinary creativity and user-centered design approaches developed and used in the Bauhaus.
... Finding and listing the various possibilities of contrast was always one of the most exciting subjects, because the students realized that a completely new world was opening up to them. 19 It is easy to see here the origins of Breuer's focus both on contrasts as the base of any composition (pictorial or architectural) and on the attentive selection of contrasting qualities to accomplish a definite expression. It is also easy to discern what triggered the experimentation with materials, patterns and textures that is prominent in his work. ...
This study is an exploration of Marcel Breuer's basic design methodology as it appears in his writings, particularly his 1956 monograph Marcel Breuer: Sun and Shadow, the Philosophy of an Architect. By identifying the influences that helped shape the background to his theoretical approach, and with the support of broader philosophical resources, the characteristics and subtleties of Breuer's particular concept of dualism in architecture are outlined. This allows for a new interpretative approach to the critical analysis of his postwar architecture, using structuralism, through which the specific qualities of Breuer's dualism are evaluated in terms of design.
... Johannes Itzen, who was the creator of Vorkurs (the basic design course at Bauhaus), was a former kindergarten teacher, educated by Pestalozzi and Froebel's theories (Özkar, 2004). Itzen celebrated this personal, sensory, hands-on learning by calling it 'intuitive finding' and used this method to reveal the individual's unique characteristics and enable him to express himself (Itten, 1975). As Ozkar (2004) states, Itten believed that creativity would emerge this way as the personal heuristic act of the individual. ...
FOSTERING CREATIVE COGNITION IN DESIGN EDUCATION: A COMPARATIVE ANALYSIS OF ALGORITHMIC AND HEURISTIC EDUCATIONAL METHODS IN BASIC DESIGN EDUCATION
This research aims to examine the impact of algorithmic and heuristic educational methods in basic design education in an attempt to see their effects on the development of the creative cognition of students. The impact of educational methods in the development of creativity and creative problem-solving ability in design education has been addressed by a limited number of studies. The impact of algorithmic and heuristic educational methods in basic design education, on the other hand, has not been studied as of yet. In order to investigate this impact, this research conducts both a systematic theoretical review and a qualitative analysis on the use of algorithmic and heuristic educational methods in basic design education. The systematic theoretical review has been conducted both in the studies of design cognition and creativity and also in the studies of design education. The qualitative analysis has been carried out in the first-year basic design studio, with an attempt of making a comparison between the impacts of algorithmic and heuristic educational methods, through a creativity assessment of projects, based on the criteria of novelty and appropriateness. The analysis was made respectively on the pre-final projects of Fall 2016-2017 semester, which was carried out by means of an algorithmic educational method, and Fall 2017-2018 semester, which was carried out in line with heuristic educational method. The results of the comparative analysis have shown that both the overall novelty levels of the projects and also the average grade values were higher in the heuristic group in comparison to the algorithmic group. These results might imply that heuristic education would affect the overall creativity levels of projects in a positive way, and the students who are instructed heuristically would be able to show more exploratory behavior, generating more novel solutions than students who were instructed algorithmically.
Keywords: Design cognition; creativity; algorithmic method; heuristic method; basic design education.
... Most visual elements can be further emphasized by using the principles from color theory [7,19]. In picture 2|3, for instance, we show a color contrast, in addition to the size difference, between the central dot and all the others. ...
... The shape of an object is known to have as much impact on human perception as does its color, because these characteristics are an aspect of a single object (Enders, 2010). Visualizing an object through a harmonious combination of color and form is most effective for visual perception and impression (Itten, 1975). For example, psychologists and teachers, designers and marketers apply this in practice: Psycho-Geometrics Testing using geometrical shapes (Dellinger, 1989), Charles Moore's "Supergraphics" in architecture and design (Lange, 2014), Brand's core identifiers: colors and shapes, symbols and words (Goldstein, 2015). ...
The three-color system containing signals of the same circular shape has been in existence for over a hundred years. Each traffic signal has been justifiably selected to have a special color light to correspond to human psychoemotional reaction (red – stop, yellow – caution, green – go) to a given color signal (British Standards, 2015) and to comply with the laws of physics (The Motivated Engineer, 2015) – Rayleigh’s scattering law (Banc SpaceTek, 2017). The main downsides of the traditional road traffic light include the following: • The uniform circular shape of light signals results in uncertainty and difficulties for road users with color blindness and visual impairments, resulting in the need for restrictions or bans on driving license issuance in some countries. This uncertainty becomes particularly acute in conditions of low visibility. • According to the concept of harmony of form and color (Itten, 1961), a green light alone corresponds to the circular (spherical-like) shape of the signal. Red and amber lights harmoniously combine with other geometrical shapes. • The uniform shape of light signals prevents the implementation of the original compact combined model of traffic lights. For example, during the day, colorblind people can tell which signal is which because there is a standard position assigned: top – bottom or right – left (Oliveira, Souza, Junior, Sales & Ferraz, 2015). This becomes problematic if the compact combined models of traffic lights are used. Engineers and inventors have been trying to solve these problems by introducing random changes in the light signal shape and complicating the traffic light design. For a long time there have been different proposals about how to eliminate the demerits of the existing traffic lights: from arbitrary changes in the signal shape (Patterson, 1988) to transformation of traffic lights into a single-section display panel (Kulichenko, 2011) which replaces among others stationary road signs. However, technical solutions like these deprive the traffic light of its signal uniformity and conciseness (simplicity, clarity and precision of its controlling effect), features which help safe traffic regulation in a busy and dynamic mode. Technical modernization of individual signal components has been going hand in hand with technological developments as light sources, diffusers, lenses, controllers, materials, control systems, timers, etc. are improved. However, adequate design and aesthetic proposals are considerably behind. The aim of this paper is to propose a concept of creating control signals of traffic light that harmonize color and form, and, as a result, to create a new model of traffic light that will be convenient for all road users.
... Johannes Itten taught at the Bauhaus from 1919 until 1922 and conceptualised the preliminary course (Grundkurs) for free experimentation with materials and tools, colours and formsan interdisciplinary immersion in arts and crafts that is still emblematic for what is now called Bauhaus pedagogy (Itten 1975). Based on the work of Chevreul, he developed a colour sphere of 3-3 primary, secondary and tertiary colours and explained their gradation, saturation and mutual relationships (the effects of the contrasts) with scientific accuracy and artistic sensitivity. ...
Bauhaus, the German arts and crafts college, is 100 years old this year. One of the revolutionary features of its pedagogical programme was the methodology of teaching about colour, elaborated by Johannes Itten and Paul Klee, leading Bauhaus masters, and further developed by their disciples, Joseph Albers and György (George) Kepes. This methodological legacy is continued in a curriculum innovation experiment in art education that is currently being piloted in primary and secondary schools of Hungary. Developing colour perception, creation and communication are basic components of our curricular modules. In this article, we show the development of colour perception of 7,087 students in two age groups: 7–8.8 and 12–13.5 years, tested through arts‐based tasks in an interactive, online platform. Evolution of colour sensitivity, recognition of colour and form, colour memory and decoding the meaningof colours will be shown and the relevance of the results for arts education indicated.
... The original 1919 Basic Design course, the preliminary, later called basic course, was considered as one of the main pillars of the Bauhaus Design School (1919)(1920)(1921)(1922)(1923)(1924)(1925)(1926)(1927)(1928)(1929)(1930)(1931)(1932)(1933) (Bonsiepe, 2012) and, in the opinion of Cross (1983), Bauhaus' most important educational innovation. According to its creator, Johannes Itten (1888Itten ( -1967, the course aimed for the students to: access inner experiences, perceptions and creative forces that would liberate them from preconceptions enabling confidence in free expression and creation; discover personal unique characteristics by experimenting with different materials/mediums, thereby, easing their choice of career; and finally, be aware of the principles of form and colour in composition for applying them in articulation both in objective and subjective modes Itten (1975). After one century, BD is internationally consolidated as an introductory course to the design principles, targeting first-year undergraduates in design. ...
Learning Outcomes (LOs) are increasingly emphasized in Higher Education (HE) systems all over the world as supporting globalization when considered at the macro scale of influence. Facing the urgent revision towards education automation, this study addresses the LOs micro-scale of influence. It can add to the setting of a solid background for innovative approaches to learning Basic Design (BD) that include, but are not limited to, digital-based tools. Therefore, we specifically aim for the identification of: i) the main components involved in each LO (i.e., levels of knowledge and content topics) as defined in the constructive alignment theory; and ii) the prominent combinations of levels of knowledge and content topics used in the Portuguese BD courses. We applied a qualitative approach, which included the use of MaxQDA software for the content analysis of the LOs from a set of Portuguese BD courses. The results revealed: i) two detailed conceptual matrixes of the levels of knowledge and content topics found in the LOs; and ii) the combinations, highlighted by frequency and importance, performed by the students in Portuguese BD courses. We acknowledge that content topics related to personal values, skills and design fundamentals are common in both frequency and importance. This micro-scale analysis opens the opportunity for the creation of BD learning experiences focused on addressing significant LOs, especially if aligned with programmes outcomes and graduate attributes. Also, other courses in the design field and other associated areas can benefit from conducting such a micro-scale analysis.
... a b Figure 1. The aspects of Bauhaus model a) Bredendieck, 1962, b) Itten, 1964 Similar to other branches of design, in industrial design education, basic design appears as a compulsory preliminary course. In every art and design department, there is a basic design or an equivalent first studio course which forms the backbone of the curriculum. ...
... In his retirement Itten published his main book on color theory, The Art of Color, in 1961 [1][2][3] and an account of his Bauhaus preliminary course, Design and Form, in 1963 [4]. Some of his ideas on color had appeared previously in the rare hand-printed Tagebuch of 1930 [5] and Die Farbe, an exhibition catalog from 1944 [6]. ...
Johannes Itten was a Swiss expressionist painter, designer, and teacher, and one of the main pedagogical forces behind the Bauhaus in its earliest phase. Itten was born in Südern-Linden (Switzerland) on November 11, 1888. His 1961 book The Art of Color presented color theory in a simplified form that largely excluded scientific developments from the mid-nineteenth century onwards. His approach has permeated much subsequent teaching of color in the arts.
... The design skill-set portfolio deals with the principles and practices which are necessary skills for design activity. This skill set was formed from the amalgamation of research, capstone projects, third level institutions such as the Bauhaus practice and training [22,23] , theorists such as Richard Kimbell [24] or Henry Petroski [25,26] , workshops such as Dyson and interviewing professional designers. This skill-set includes ( Figure 4): ...
... a b Figure 1. The aspects of Bauhaus model a) Bredendieck, 1962, b) Itten, 1964 Similar to other branches of design, in industrial design education, basic design appears as a compulsory preliminary course. In every art and design department, there is a basic design or an equivalent first studio course which forms the backbone of the curriculum. ...
... The reflection of material education in design began with Bauhaus. Its educational approach represents a dynamic and growing process with constant improvement made to the teaching curriculum adopted by professors (Cross 1983), with consideration given to one's own sensations and expressions as the foundation (Itten 1963). Herein, both materials and processes are highlighted as the significant elements required for encouraging students to explore the primary material characteristics based on hands-on explorations (Rognoli and Levi 2004). ...
OVERVIEW
For years now, design students have started to hold a conscious dialogue with materials, especially considering materials and their experiential attributes as designable elements. However, the design education focused on materials still struggles to keep pace with the practical needs of future designers and contradicts the technological and material world where we live. This study aims to comprehend the dynamic role materials play in design education and propose a feasible pedagogical framework based on the concept of materials experience. Through two consistent studies where the materials courses and their results in design schools are analysed, the research has worked out the corresponding material innovation patterns and highlighted the relevant design capacity. Then, the hypothesis of the pedagogical framework is proposed, with its feasibility verified in a real classroom to conclude the research.
... This attitude of the Farbenlehre inspired later some Bauhaus artists like Johannes Itten, Wassily Kandinsky and Paul Klee. All of them, used Goethe's work as a reference material when teaching in the Vorkurs (foundation courses), highlighting its extraordinary pedagogical values for design and artistic education [4]. Since the time of the Bauhaus, experimentation has been of considerable importance in the teaching of design. ...
In the academy, the inclusion of new technologies represents a constant challenge, at the same time it means the establishment of a bridge between the new generations of students and the traditional way of teaching and learning. Technology has not only expanded and democratized access to knowledge, it has also made a great contribution to improving the educational experience inside and outside the classroom. In the teaching and learning of color and light, the theory by itself is usually not enough to correctly account for the knowledge associated with these phenomena, and the simulation and recreation of different experiments with the help of instruments is of great importance
for the understanding of the complexity that they entail. This paper proposes the creation of a multisensory classroom, as an innovative training instance is proposed with a method from observation to experimentation and individual analysis to an understanding of the theoretical principles of color and light by personal experience, something more like ‘learning by seeing then doing’. It should contemplate first, the individual observation of the phenomena in the surroundings and the environment by the students (and teachers) through the realization of a series of qualitative experiments; then, the record of the experience and the personal analysis and finally, remarks on the observed and on the practical work. This proposal raises the question of the relationship between light
source and visual perception of space as the central node of the experience.
... Some of these experiments have obtained statistically significant results in architectural spaces on the basis of the differentiation between cool and warm colors (Ainsworth et al., 1993;Hamid and Newport, 1989;Kwallek et al., 2007Kwallek et al., , 1996Yildirim et al., 2007). In Itten's chromatic circle (Itten, 1987), cool colors (e.g., purple, bluish-purple, blue, bluish-green, green, and yellowish-green) are close to blue, while warm colors (e.g., yellow, yellow-orange, orange, red-orange, red, and redviolet) are close to red (Serra Lluch, 2019, p. 20). This distinction between cool and warm (blue and red) was used by Le Corbusier who assigned different architectural properties to blue and red (Heer, 2009;Serra et al., 2016). ...
This study explores the color preferences of elderly residents of nursing homes based on the expected activities for different rooms, activity rooms, and bedrooms and compares the results with the arousal level induced by each color. Two experiments were conducted, one with elderly people living in nursing homes in the Valencian Community, and the other in a laboratory with virtual reality and physiological markers (i.e., heart rate variability). Individuals assessed six colors in two groups of warm and cool. Results demonstrate that preferences for warm and cool colors depend on the room type. For the activity room, warm colors were preferred over the cool colors by both genders, fitting the higher arousal levels induced by warm versus cool colors. For the bedrooms, cool colors were preferred by both genders, fitting the lower arousal levels induced by cool colors in females and the other models that suggest a U-shaped relation between the arousal level and the visible spectra of colors. Therefore, the color preferences for interior spaces in nursing homes depend on the room type and are related to the arousal level for the expected activity in them.
The history of design education has experienced the progress from materiality to immateriality. Dissociating and alienating from actual materials has become an evident characteristic of current design activities. Physical materials are passively selected or accepted at the end restricted to mass production. However, this fixed status is entering into an indeterminate situation resulting from the increasingly deteriorating ecological problems. An increasing number of designers are beginning to create degradable materials, especially biomaterials or recreate wasted materials in the monodisciplinary or interdisciplinary form at the very beginning of the design process. The paper aims to construct an inquiry to transform the indeterminate situation into the determinate one by reflecting on the Material Thinking among designers for sustainable transitions. We dated back to the origin and nature of Material Thinking, and redefine it in Design. We proposed a new concept of Designerly Ways of Material Thinking, and presented the proposed constructing model from the viewpoints of sustainable transitions.
This paper is about models of research and knowledge. In particular it addresses the implications of so-called practice-based research in art and design as a method or as a mode of communication for experiential content. The investigation is pursued by contrasting the way in which we use linguistic modes of argument and communication with the possibilities offered by non-linguistic modes. Three principal types of experiential knowledge are identified: explicit, tacit and ineffable. Explicit content is expressed linguistically. Tacit content has an experiential component that cannot be efficiently expressed linguistically. Ineffable content cannot be expressed linguistically. It would therefore be necessary to prove that practice-based research only generates ineffable content in order to substantiate the argument that practice-based research necessarily demands non-linguistic modes of argument and communication. This idea is rejected. An ontology of practice-based research is introduced which argues that experientially led research questions are context-dependent, and this affects both the framing of such questions, and the methods for their investigation. It is concluded that the appropriateness of methods is to be judged in terms of satisfying the audience for whom the questions have value. This has consequences for the provision of methodology training in doctoral programmes. The nature of so-called practice-based research I am going to start this paper with two explicit assumptions. This has a number of advantages, for example, if you do not share these assumptions you can stop reading now, or prepare to argue with me. If these assumptions are constitutive of the problem, in other words if it is necessary to share these assumptions in order to recognise the problem, then once again those who do not share these assumptions are perhaps relieved of any obligation to continue further. It is also a convenient point of argumentation for critics to have such assumptions made explicit. [7]
Z Türkiye de tasarım eğitiminin kurgusu, dinamik yapısı ve stüdyoların yürütülüş biçimleri nedeni ile diğer disiplinlerin konu anlatım alanlarından farklılık göstermektedir. Tasarım bölümlerinin vazgeçilmez alanları olan stüdyolar; tasarımcı adayları ile ders yürütücülerinin birlikte yol aldıkları, tasarım sürecinin başlangıç noktasından başlayıp tüm evreleriyle birlikte bu süreci deneyimledikleri alanlardır. Stüdyo ortamında eleştiri türlerinin ele alındığı bu çalışmada tasarım eğitimi açısından eleştiri olgusunun önemi vurgulanmaktadır. Anahtar kelimeler: Tasarım eğitimi, temel tasarım, stüdyo kültürü, eleştiri türleri, juri. ABSTRACT The editing of the design instruction, with its dynamic structure and by the execution styles, are different then the other diciplines studios by the expression ways of the subject. The studios, where are indispensable areas of the design departments; are the fields where designer candidates and course instructors create together, beginning from the starting point of the design process and experiencing this process with all their phases. In this study, which deals with types of criticism in the studio environment, the importance of criticism in terms of design education is handled.
The aesthetic quality of an image is defined as the measure or appreciation of the beauty of an image. Aesthetics is inherently a subjective property but there are certain factors that influence it such as, the semantic content of the image, the attributes describing the artistic aspect, the photographic setup used for the shot, etc. In this paper we propose a method for the automatic prediction of the aesthetics of an image that is based on the analysis of the semantic content, the artistic style and the composition of the image. The proposed network includes: a pre-trained network for semantic features extraction (the Backbone); a Multi Layer Perceptron (MLP) network that relies on the Backbone features for the prediction of image attributes (the AttributeNet); a self-adaptive Hypernetwork that exploits the attributes prior encoded into the embedding generated by the AttributeNet to predict the parameters of the target network dedicated to aesthetic estimation (the AestheticNet). Given an image, the proposed multi-network is able to predict: style and composition attributes, and aesthetic score distribution. Results on three benchmark datasets demonstrate the effectiveness of the proposed method, while the ablation study gives a better understanding of the proposed network.
The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.
During the 1920s, avant-garde movements coincided with rationalist ideas to form what came to be known as Modernism. This mode of thinking would shape many of our common-sense notions for the rest of the twentieth century (and beyond), redefining key concepts such as objectivity, universality, and utility. The confluence of idealism with rationalism was nowhere more visible than at the German Bauhaus, one of the most iconic design schools in history. Although the project of the Bauhaus was crucial to the celebration and popularisation of aesthetic functionalism and its main tenets (e.g., the subsumption of form to function), some of its principles could not withstand the increasing complexity of new industrial production. An analysis of this Critical Discourse Moment suggests that this was a seminal stage in the historical development of the see-through metaphor. I discuss how transparency served to channel, mediate, and resolve a series of conflicting oppositions in a discourse caught between the self-concealing dualism of the “essential” and the “functional”. Acquiring a new planar intensification via aesthetics, transparency achieved its highest utopian peak, and then precipitated its own ideological co-option.
Resumo Este estudo investiga as relações entre o desenho e a meditação, duas disciplinas que buscam uma presença e tomada de consciência. Os primeiros resultados deste trabalho sugerem que, assim como na ideia de slow food ou slow looking, a noção de slow drawing ou desenho lento é uma prática que contribui para um modo de vida sustentável. Esta prática de observação activa requer uma consciência para viver o tempo presente num contexto de um mundo onde cada vez mais a ideia de tempo-espaço é reduzida e distorcida (Harvey). Assim, o próprio acto de desenhar um modelo vincula-se à ideia de mantra, ao qual o desenhador volta repetidamente a sua atenção. Artistas como Cézanne, Matisse, Kandinsky e Pape ressaltam a importância de um olhar meditativo no acto de criar. Reflecte-se sobre autores que abordam os conceitos de experiência e sentir (Dewey, Perniola), duração e percepção (Bergson), relacionando-os com o desenho (Molina, Tavares), meditação transcendental e espiritualidade (Mahesh Yogi, Patanjali).
Design Thinking is still an unexplored field in terms of usage of emergent technologies such as Virtual Reality (VR). This thesis focuses on the potentials of the Mixed-Reality (MR) environment, as the most recent evolution of VR-based technologies, in the context of architectural basic design education. The research analyzes the influence of emergent MR technologies on design thinking abilities of the first-year architectural students in the context of three-dimensional basic design tasks by comparing the two different design environments, which are the physical environment and the MR environment. The study consists of two sets of protocol studies based on a series of design processes by using regular design tools in the physical environment and using a new design tool in the MR design environment via Microsoft HoloLens. The protocol studies were conducted with four participants, who were the first-year architectural design students at METU, Department of Architecture. A mixed- methodology, which is a combination of think-aloud protocols, interviews, observation, and Linkography, was used to reach a reliable understanding of the potentials of the MR environment. Analysis of the protocol studies showed that there was a positive correlation between MR technology usage and the design thinking processes of the first-year architectural students. The results indicated that the participants experienced more creative and productive design processes in the MR design environment rather than the physical environment.
The paper focuses on the aesthetic assessment and evaluation of the designed product forms. The emphasis was on whether narrative improved the expressive qualities and the unity of the designed artifacts. The story seems to be the condition that guarantees the unity of the object, and at the same time, gives the product form its structure by connecting and merging lines, colors, shapes, and volumes of the experience into a new form. This merging is what philosopher John Dewey called aesthetic experience. Aesthetic experience has a central focus, in which attention is upon intensity and unity of the object, where unity is a matter of coherence and completeness. The study results confirm that using narratives at the design process’s conceptualization phase structured the perception and organized designers’ own experience to generate the product form.
Mounting evidence indicates that the colour hue of classroom walls influences student performance. However, the effect of this design parameter has not hitherto been simultaneously assessed for two key cognitive learning functions of attention and memory. The objective of the present study is to analyse the impact that warm and cold hue coloured classroom walls have on the cognitive attention and memory functions of university students. To this end, the attention and memory performance of 160 participants was evaluated in 12 warm and 12 cold hue colour settings in a virtual classroom. Their performance was quantified through psychological (attention and memory tasks) and neurophysiological (heart rate variability and electroencephalogram) metrics related to the cognitive functions analysed. The results showed that cold hue colours increase arousal and improve performance in attention and memory tasks; and design guidelines can be established. Furthermore, correlations were observed between the psychological and neurophysiological metrics, which represents an important advance in the neuroarchitecture discipline. The variety of implications of the results makes this work useful for architectural design professionals, researchers, and policymakers working on improving learning spaces.
Fashion is primarily a visual ontology consisting of definitions, theory and methods
that are based on visual language. This research revises fashion by approaching it
from a different—sonic—perspective wherein sound is considered not as a negative
aspect but as a potential source of a new theory and facilitator of the evolution of
new methods. Sound is thus presented not as a secondary quality of designed objects,
but as the main idea-generator. The research opens new avenues for design thinking
with ears rather than eyes. This thesis explores clothing and fashion from the
perspective of listening rather than seeing, sounding rather than showing, and is
a form of rethinking and redefining fashion by starting with the statement
that dress is sound.
An investigation into sonic expressions is seen as a disruptive fashion practice, and
could be described as a process of ‘unlearning’—encouraging one to leave behind
pre-existing knowledge of fashion expressions by focusing on something else when
defining and designing processes. That something else is sonic expressions.
By rethinking the dressed body as a matter of sound gestalt, this research goes
beyond existing communication models in fashion design to examine sonic
language, wherein foundational definitions play a central role and form the basis
for the new practice. The research was designed to facilitate the exploration and
design of sonic expressions.
The research addresses an identified gap in knowledge through the Sonic Fashion
Ontology, which constitutes new, foundational knowledge of sonic expression.
The research findings challenge existing theory with new terms, definitions,
methods, and tools, and show the importance of understanding fashion as a
platform for new knowledge production and critical thinking, along with
unlearning and rethinking preconceptions of what dress is and could be.
Furthermore, the results have implications for ways of thinking in design
in relation to e.g. diverse communities such as the visually impaired.
Architecture is a content area in art education that is not much investigated by art educators. Even less addressed is Romanesque architectural style. Based on direct experiences of visiting hundreds of Romanesque churches in France, Italy, and Spain; many years of teaching design courses; and subsequent research and visual analyses of photos, the author discusses the aesthetic merits of Romanesque architecture through design principles: unity by repetition, variety and contrast, proportion, hierarchical forms, and articulation. Unity, variety, and contrast are found in many modern design books, proportion, less so, but it was very important in the medieval period. Hierarchical forms and articulation are uniquely Romanesque. The author demonstrates that Romanesque builders possessed a great sense of design and creativity.
Colour theories abound in the literature and occur across diverse fields including art, design, physics, psychology, phenomenology, linguistics, and digital technology. Theoretical discourse and output in each of these fields tend to be characterized by differing ontological perspectives and epistemological traditions which in turn, have led to some confusion and misunderstanding when comparing diverse colour theories. Traditional colour theory is just of these diverse theories of colour and it is one that has attracted debate and criticism despite a relative lack of a clarity about this branch of colour theory. This article aims to address this gap in the literature and provide a definition of traditional colour theory. The ontological focus and epistemological traditions, gleaned from key colour theorists whose works underpin this branch of colour theory, are discussed as well as the conceptual colour models and constructs common in traditional colour theory. Constructs common in this branch of colour theory include those that focus on colour classification and those that focus on relationships between colour classifications, the latter representing colour application guidelines that are frequently employed as colour strategies in applied design and architecture. The practical nature of this branch of colour theory is examined with reference to the way in which colour was examined and explored, and the colour classification constructs as well as colour relationship constructs that have segued into a vocabulary that has become a useful lingua franca among design and architecture professionals
La Bauhaus no fue la única escuela de diseño en Alemania, ni la culminación del diseño moderno, como se ha divulgado hasta su mistificación. Fue una de las escuelas europeas qu, durante el primer tercio del siglo XX transformó la enseñanza y la práctica del diseño.
Este libro presenta una versión documentada que permite construir una interpretación más objetiva sobre la evolución de una escuela que tuvo grandes aciertos, conflictos y fracasos.
published for the National Collection of Fine Arts COURBET IN PERSPECTIVE (The Artists in Perspective Series), Englewood Cliffs Rizzoli (a Rizzoli Paper-back), 1977. 104 pp., 48 ills. $4.95 Brown (a New York Graphic Society Book), 1976. 288 pp., 298 ills. $32 The Balti-more Museum of Art
- Atkinson
- A Book Of Art Nouveau Alpha-Bets And Ornamental Designs Attenborough
- David
- The
- New Eye
- W W York
- Norton
- Barasch
- Gestures Moshe
- Of Despair In Medieval And Early Renaissance Art
- Battcock
- Why Gregory
- Art
- New Casual Notes On The Aesthetics Of The Immediate Past
- E P York
- Dutton
- Bellony-Rewald
- Alice
- The Lost World Of The Impressionists
- Boston
- Little
- Brown
- Blake
- Peter
- The
- New Builders
- York
- Norton The
- W W Library
- Norton
- Blaug
- Mark
- The Economics Of The Arts
- Boulder
- Col
- Booth
- Directory Abigail
- To The Bicentennial In-Ventory Of American Paintings Executed Be-Fore
- D C Washington
- Brauer
- Arik
- Brauer
- New Salzburg
- Verlag York
- Rizzoli95 Welz
- Brezianu
- Brancusi Barbu
- In Romania
- Bucuresti
- Romania
- Vincent J Bruno
- New Form And Color In Greek Paint-Ing
- W W York
- Norton
- Burian
- Oleg A Jiri
- Karel Shvidkovsky
- Neubert
- The Kremlin Of Moscow Cockcroft
- John Eva
- Jim Weber
- Toward A People 's Art: The Contemporary Mu-Ral Cockcroft
- New Movement
- E P York
- Cana-Letto: Giovanni Dutton
- Antonio
- Christopher B Canal
- Los Angeles Moche Art And Iconogra-Phy
- Ucla
- Latin
- Nicholas Guy
- Stael
- Rudolph Gunter
- Robert Hausner
- Early Eighteenth-Century Sculpture In Rome: An Illustrated Catalogue Raisonne
- Frank H Atkinson
- A Book Of Art Nouveau Alpha-Bets And Ornamental Designs Attenborough
- The David
- Tribal
- Barasch
- Gestures Moshe
- Of Despair In Medieval And Early Renaissance Art Blake
- Peter
- The Master Builders Booth
- Directory Abigail
- To The Bicentennial In-Ventory Of American Paintings Executed Be-Fore
- Vincent J Bruno
- Christopher B Form And Color In Greek Paint-Ing
- Moche Art And Iconogra-Phy
pp., ills. $3.95. ATKINSON, FRANK H., A BOOK OF ART NOUVEAU ALPHA-BETS AND ORNAMENTAL DESIGNS, New York, Main Street/Universe Books, 1977. 112 pp., 112 ills. $4.50. ATTENBOROUGH, DAVID, THE TRIBAL EYE, New York, W. W. Norton, 1976. 144 pp., 224+ ills. $14.95. BAKST, BAKST, New York, Rizzoli (a Rizzoli Paper-back), 1977. 104 pp., 48 ills. $4.95. BARASCH, MOSHE, GESTURES OF DESPAIR IN MEDIEVAL AND EARLY RENAISSANCE ART, New York, New York University Press, 1976. 162 pp., 58 ills. $35.00. BATTCOCK, GREGORY, WHY ART: CASUAL NOTES ON THE AESTHETICS OF THE IMMEDIATE PAST, New York, E. P. Dutton, 1977. 134 pp., ills. $3.95. BELLONY-REWALD, ALICE, THE LOST WORLD OF THE IMPRESSIONISTS, Boston, Little, Brown (a New York Graphic Society Book), 1976. 288 pp., 298 ills. $32.50. BLAKE, PETER, THE MASTER BUILDERS, New York, The Norton Library, W. W. Norton, 1976. 430 pp., ills. $5.95. BLAUG, MARK, ed., THE ECONOMICS OF THE ARTS, Boulder, Col., Westview Press, 1976. 272 pp., no ills. BOOTH, ABIGAIL, DIRECTORY TO THE BICENTENNIAL IN-VENTORY OF AMERICAN PAINTINGS EXECUTED BE-FORE 1914, Washington, D.C., published for the National Collection of Fine Arts, Smithsonian In-stitution by Arno Press, Inc., 1976. 211 pp., no ills. BRAUER, ARIK, BRAUER, Salzburg and New York, Verlag Galerie Welz and Rizzoli, 1977. 120 pp., 48 ills. $6.95. BREZIANU, BARBU, BRANCUSI IN ROMANIA, Bucuresti, Romania, Editura Academiei Republicii Social-iste Romania, 1976. 314 pp., 280 ills. BRUNO, VINCENT J., FORM AND COLOR IN GREEK PAINT-ING, New York, W. W. Norton, 1977. 123 pp., 32 ills. $15.00. BURIAN, JIRI and OLEG A. SHVIDKOVSKY, photographs by KAREL NEUBERT, THE KREMLIN OF MOSCOW, New York, St. Martin's Press, 1975. 40 pp., 161 ills. $25.00. CARLSON, VICTOR I., PICASSO: DRAWINGS AND WATER-COLORS, 1899-1907, Baltimore, Md., The Balti-more Museum of Art, 1976. 111 pp., ills. $15.00. CHICAGO, JUDY, THROUGH THE FLOWER: MY STRUGGLE AS A WOMAN ARTIST, Garden City, N. Y., Anchor Books/Doubleday and Co., 1977. 226 pp., ills. $4.50. CHU, PETRA TEN-DOESSCHATE, ed. (H. W. Janson, General Editor), COURBET IN PERSPECTIVE (The Artists in Perspective Series), Englewood Cliffs, N. J., Prentice-Hall, Inc. (a Spectrum Book), 1977. 161 pp., 21 ills. COCKCROFT, EVA, JOHN WEBER and JIM COCKCROFT, TOWARD A PEOPLE'S ART: THE CONTEMPORARY MU-RAL MOVEMENT, New York, E. P. Dutton, 1977. 292 pp., 100 ills. $7.95 pb. CONSTABLE, W. G. (revised by J. G. Links), CANA-LETTO: GIOVANNI ANTONIO CANAL, 1697-1768 (2nd ed.), 2 vols., Oxford, The Clarendon Press, 1976. Vol 1: 186 pp., 232 ills. Vol. 2: 723 pp., no ills. $88.00 set. DOI, TSUGIYOSHI (trans. Edna B. Crawford), MOMO-YAMA DECORATIVE PAINTING, New York and To-kyo, Weatherhill and Heibonsha, 1977. 168 pp., 153 ills. $15.00. DONNAN, CHRISTOPHER B., MOCHE ART AND ICONOGRA-PHY, Los Angeles, UCLA Latin American Center Publications and University of California, 1976. 146 pp., 121 ills. $12.50. DUMUR, GUY, NICHOLAS DE STAEL, New York, Crown Publishers, 1976. 96 pp., ills. $4.95. ENGLEHARD, GUNTER, RUDOLPH HAUSNER, Salzburg and New York, Verlag Galerie Welz and Rizzoli, 1977. 120 pp., 48 ills. $6.95. ENGGASS, ROBERT, EARLY EIGHTEENTH-CENTURY SCULPTURE IN ROME: AN ILLUSTRATED CATALOGUE RAISONNE, 2 vol. set, text and plates, University Park, Pa., and London, The Pennsylvania State University Press, 1976. 243 pp. text, 244 plates. $60.00. ERTE, ERTE FASHIONS, London and New York, Acad-pp., ills. $3.95. ATKINSON, FRANK H., A BOOK OF ART NOUVEAU ALPHA-BETS AND ORNAMENTAL DESIGNS, New York, Main Street/Universe Books, 1977. 112 pp., 112 ills. $4.50. ATTENBOROUGH, DAVID, THE TRIBAL EYE, New York, W. W. Norton, 1976. 144 pp., 224+ ills. $14.95. BAKST, BAKST, New York, Rizzoli (a Rizzoli Paper-back), 1977. 104 pp., 48 ills. $4.95. BARASCH, MOSHE, GESTURES OF DESPAIR IN MEDIEVAL AND EARLY RENAISSANCE ART, New York, New York University Press, 1976. 162 pp., 58 ills. $35.00. BATTCOCK, GREGORY, WHY ART: CASUAL NOTES ON THE AESTHETICS OF THE IMMEDIATE PAST, New York, E. P. Dutton, 1977. 134 pp., ills. $3.95. BELLONY-REWALD, ALICE, THE LOST WORLD OF THE IMPRESSIONISTS, Boston, Little, Brown (a New York Graphic Society Book), 1976. 288 pp., 298 ills. $32.50. BLAKE, PETER, THE MASTER BUILDERS, New York, The Norton Library, W. W. Norton, 1976. 430 pp., ills. $5.95. BLAUG, MARK, ed., THE ECONOMICS OF THE ARTS, Boulder, Col., Westview Press, 1976. 272 pp., no ills. BOOTH, ABIGAIL, DIRECTORY TO THE BICENTENNIAL IN-VENTORY OF AMERICAN PAINTINGS EXECUTED BE-FORE 1914, Washington, D.C., published for the National Collection of Fine Arts, Smithsonian In-stitution by Arno Press, Inc., 1976. 211 pp., no ills. BRAUER, ARIK, BRAUER, Salzburg and New York, Verlag Galerie Welz and Rizzoli, 1977. 120 pp., 48 ills. $6.95. BREZIANU, BARBU, BRANCUSI IN ROMANIA, Bucuresti, Romania, Editura Academiei Republicii Social-iste Romania, 1976. 314 pp., 280 ills. BRUNO, VINCENT J., FORM AND COLOR IN GREEK PAINT-ING, New York, W. W. Norton, 1977. 123 pp., 32 ills. $15.00. BURIAN, JIRI and OLEG A. SHVIDKOVSKY, photographs by KAREL NEUBERT, THE KREMLIN OF MOSCOW, New York, St. Martin's Press, 1975. 40 pp., 161 ills. $25.00. CARLSON, VICTOR I., PICASSO: DRAWINGS AND WATER-COLORS, 1899-1907, Baltimore, Md., The Balti-more Museum of Art, 1976. 111 pp., ills. $15.00. CHICAGO, JUDY, THROUGH THE FLOWER: MY STRUGGLE AS A WOMAN ARTIST, Garden City, N. Y., Anchor Books/Doubleday and Co., 1977. 226 pp., ills. $4.50. CHU, PETRA TEN-DOESSCHATE, ed. (H. W. Janson, General Editor), COURBET IN PERSPECTIVE (The Artists in Perspective Series), Englewood Cliffs, N. J., Prentice-Hall, Inc. (a Spectrum Book), 1977. 161 pp., 21 ills. COCKCROFT, EVA, JOHN WEBER and JIM COCKCROFT, TOWARD A PEOPLE'S ART: THE CONTEMPORARY MU-RAL MOVEMENT, New York, E. P. Dutton, 1977. 292 pp., 100 ills. $7.95 pb. CONSTABLE, W. G. (revised by J. G. Links), CANA-LETTO: GIOVANNI ANTONIO CANAL, 1697-1768 (2nd ed.), 2 vols., Oxford, The Clarendon Press, 1976. Vol 1: 186 pp., 232 ills. Vol. 2: 723 pp., no ills. $88.00 set. DOI, TSUGIYOSHI (trans. Edna B. Crawford), MOMO-YAMA DECORATIVE PAINTING, New York and To-kyo, Weatherhill and Heibonsha, 1977. 168 pp., 153 ills. $15.00. DONNAN, CHRISTOPHER B., MOCHE ART AND ICONOGRA-PHY, Los Angeles, UCLA Latin American Center Publications and University of California, 1976.