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The World as Design
  • Language: en
  • Pages: 673

The World as Design

Otl Aicher's writings are explorations of the world, a substantive part of his work. In moving through the history of thought and design, building and construction, he assures us of the possibilities of arranging existence in a humane fashion. As ever he is concerned with the question of the conditions needed to produce a civilised culture. These conditions have to be fought for against apparent factual or material constraints and spiritual and intellectual substitutes on offer. Otl Aicher likes a dispute. For this reason, the volume contains polemical statements on cultural and political subjects as well as practical reports and historical exposition. He fights with productive obstinacy, above all for the renewal of Modernism, which he claims has largely exhausted itself in aesthetic visions; he insists the ordinary working day is still more important than the "cultural Sunday". Wolfgang Jean Stock

Otl Aicher
  • Language: en
  • Pages: 240

Otl Aicher

German designer and educator, Otl Aicher, was a pioneer of twentieth century graphic design, renowned for creating visual identities for numerous corporations (including Lufthansa, FSB, and ERCO) and his work on symbol systems. Aicher, inspired by his design system for the Munich Olympics in 1972, worked for over twenty years to create a completely visual language and is often referred to as the “father of modern pictograms.” Born after World War I and raised during the takeover of the Nazi party in Germany, Aicher often used design as a method of political resistance and tool of social equality. He is known as much for his design philosophies as his completed work. He educated a generation future designers at the Hochschule für Gestaltung (HfG) in Ulm, Germany, the school he helped found in the 1950s and 60s. Late in life, Aicher collaborated repeatedly with British architect Norman Foster on designs for public buildings, integrating his interest in design with public planning. Aicher died in a car crash in 1991.

Analogous and Digital
  • Language: en
  • Pages: 673

Analogous and Digital

Otl Aicher (1922-1991) was an outstanding personality in modern design, he was a co-founder of the legendary Hochschule f?r Gestaltung (HfG), the Ulm School of Design, Germany. His works since the fifties of the last century in the field of corporate design and his pictograms for the 1972 Summer Olympics in Munich are major achievements in the visual communication of our times. "An integral component of Aicher's work is that it is anchored in a "philosophy of making" inspired by such thinkers as Ockham, Kant or Wittgenstein, a philosophy concerned with the prerequisites and aims, the objects and claims, of design. Aicher's complete theoretical and practical writings on design (which include ...

Otl-Aicher Paket I
  • Language: de
  • Pages: 895

Otl-Aicher Paket I

  • Type: Book
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  • Published: 2003-08
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  • Publisher: VCH

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Otl Aicher at Work for Norman Foster
  • Language: en
  • Pages: 47

Otl Aicher at Work for Norman Foster

  • Type: Book
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  • Published: 1989
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  • Publisher: Unknown

None

Otl-Aicher Paket II
  • Language: de
  • Pages: 731

Otl-Aicher Paket II

  • Type: Book
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  • Published: 2003-08
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  • Publisher: VCH

None

El mundo como proyecto
  • Language: es
  • Pages: 183

El mundo como proyecto

Los textos de Otl Aicher son exploraciones de un "mundo como proyecto." Pertenecen sustancialmente a su trabajo. En su recorrido por la historia del pensamiento y la creacion de formas, del componer y del construir, se cerciora de las posibilidades de organizar la existencia de un modo humano. Hoy como ayer le preocupa la pregunta que interroga desde que supuestos es realizable la cultura de la civilizacion. Tales supuestos deben someterse a discusion frente a las tensiones aparentes y las alternativas puramente intelectuales. Otl Aicher discute de grado. Asi, este libro contiene, junto a argumentaciones fundadas en la practica y excursos historicos sobre diseno y arquitectura, razonamientos polemicos en torno a temas politicos-culturales. Con fertil obstinacion, Aicher aboga sobre todo por la renovacion de la modernidad, que parece haberse diluido en visiones esteticas, pues todavia sigue siendo mas importante el "domingo de la cultura" que el cotidiano dia laborable.

analog und digital
  • Language: de
  • Pages: 673

analog und digital

Otl Aicher (1922-1991) war einer der herausragenden Vertreter des modernen Designs. Was er seit den 1950er Jahren, seit seiner Zeit an der von ihm mitbegr?ndeten und heute legend?ren Ulmer Hochschule f?r Gestaltung, etwa auf dem Gebiet des Corporate Design, geschaffen hat - erinnert sei hier nur an die Erscheinungsbilder f?r die Firma Braun, die Lufthansa, das Zweite Deutsche Fernsehen und die Firma ERCO, geh?rt zu den ganz gro?en Leistungen der visuellen Kultur unserer Zeit. Mit einer aktuellen Einf?hrung von Wilhelm Vossenkuhl: "Ein wesentlicher Aspekt der Arbeiten von Aicher ist deren Verankerung in einer von Denkern wie Ockham, Kant oder Wittgenstein inspirierten "Philosophie des Machens...

Bauhaus N3: Things
  • Language: de
  • Pages: 151

Bauhaus N3: Things

Parallel to the foundations retrospective of designer Marcel Breuer, this

Otl Aicher : Typographie
  • Language: en
  • Pages: 256

Otl Aicher : Typographie

Otl Aicher was one of the most significant designers of post-war Germany. His influence on this period goes far beyond his work in the field of design. He has developed the corporate design for the Olympic Games and created corporate images for Braun, Lufthansa, FSB, Erco. His fundamental work on typography (typographie) deals with much more than just the teachings of design; it is a veritable typographical manifesto. Readers will view some of Otl Aicher's typographical theories with criticism. His fundamental work on typography deals with much more than just the teachings of design; it is a veritable typographical manifesto. It has nevertheless been unavailable for many years and threatened to disappear forever. We view some of Otl Aicher's typographical theories with criticism. However, we are of the opinion that the analysis of his typography should be a composite part of visual communication for both the purposes of study and everyday use.