Synthesis — OUGD601

Practical Synthesis

Visually representing the idea’s and theories used by Modernist graphic designers outlined in the dissertation, and most imperatively of all, architects, was possible by combining typography, in the form of Thomas More’s Utopian Alphabet, and finally concrete, the most abundant material in Brutalism — a popular subgenre of Modernist architecture from the 1940’s to 1980’s. This idea is also inspired by the 500^th anniversary of Thomas More’s Utopia, in conjunction with the ‘Utopia 2016’ exhibition at Summerset House, linking the ideologies used by Modernist graphic design and architecture, that Modernism was essentially a search for a utopian design solution to any given issue.

            Brutalism was the main focus due to its recent surge in popularity, thanks to Historic England recognising and listing a large amount of the most pioneering designs of the mid-to-late 20^th century, executed in Brutalist style. The main point here being not that these buildings weren’t necessarily considered pioneering at the time of erection, it is largely because they are now being considered as a figure of the past, as national ‘heritage’, and thus are being preserved rather than demolished. Taking this into consideration, it is this turning point that Modernism has recently encountered — it’s becoming more of a figure of the past — thought of only as nostalgia rather than having genuine relevancy in today’s society.

            Taking inspiration from Le Corbusier’s Unité d’Habitation in Berlin, to which was photographed on a visit, the letters were executed to represent that of the materials Le Corbusier used so predominantly, ‘Béton Brut’, translating to ‘Raw Concrete’ in English;

‘In the hands of Le Corbusier the amorphous material of crude concrete—béton brut—assumed the features of natural rock. He did not smooth away the marks and hazards of the form work and the defects of bad craftsmanship.’ (Le Corbusier, 1971, p. 84)

It is this that closely relates to Louis Sullivan’s influential 1896 essay, where the term ‘form (ever) follows function’ was coined, it is this ideology that Corbusier followed within this own designs, hence there being no ephemeral features within his buildings, the only necessities he saw appropriate was how the building was intended to function, not letting its function be compromised by unnecessary flares. Therefore, his visions of utopia were executed through this straightforward manor, cue his famous phrase: “The house is a machine for living in.”

            Lastly, the concrete alphabet letters are accompanied by an informative book that fully explains the synthesis explored thorough the dissertation and concrete letters, and thus featuring some of the most important pieces of research, further explaining the synthesis of ideals within the Modernist design industry. Executed in a Modernist style, which could be considered as Swiss or International style, similar to that of the work of Experimental Jetset, but also representing how Modernist graphic design is utilised today, harbouring many influences from the Postmodern movement;

‘But now, as the cycles of change continue, Modernism may be re-emerging somewhat, a renewed minimalism that is calming down the visual outburst of activity of the past fifteen years.’ (McCoy, 1994, p. 50)

this providing much more creative freedom whilst abiding by many of the Modernist tendencies like a strong use of the grid system and sans serif typefaces.