Asymmetry

FUCK ISSUE
NOVEMBER 07 / DECEMBER 09, 2016
THIS
ISSUE
IS SIMPLY
FAKE
FUNCTIONAL
ASYMMETRY
HIROMI SAITO
By HIROMI SAITO
TAILORING PROJECT
By HIROMI SAITO
CENTRAIL SAINT MARTINS
By HIROMI SAITO
MENSWEAR
By HIROMI SAITO
BA (HONS)
YEAR TWO
By HIROMI SAITO
BAUHAUS
By HIROMI SAITO

1
S
taatliches Bauhaus , commonly known simply as
Bauhaus, was an art school in Germany that
combined crafts and the fine arts, and was famous for
the approach to design that it publicised and taught. It
operated from 1919 to 1933. At that time, the German
term "bauhaus" —literally "construction house"—was
understood as meaning "School of Building”.
The Bauhaus was founded by Walter Gropius in Weimar. In spite of its
name and the fact that its founder was an architect, the Bauhaus did not
have an architecture department during its first years of existence.
Nonetheless, it was founded with the idea of creating a "total" work of art
(Gesamtkunstwerk) in which all arts, including architecture, would
eventually be brought together. The Bauhaus style later became one of
the most influential currents in modern design, Modernist architecture
and art, design and architectural education. The Bauhaus had a
profound influence upon subsequent developments in art, architecture,
graphic design, interior design, industrial design, and typography.
The school existed in three German cities: Weimar from 1919 to 1925,
Dessau from 1925 to 1932 and Berlin from 1932 to 1933, under three
different architect-directors: Walter Gropius from 1919 to 1928, Hannes
Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930
until 1933, when the school was closed by its own leadership under
pressure from the Nazi regime, having been painted as a centre of
communist intellectualism. Although the school was closed, the staff
continued to spread its idealistic precepts as they left Germany and
emigrated all over the world.
The changes of venue and leadership resulted in a constant shifting of
focus, technique, instructors, and politics. For example, the pottery shop
was discontinued when the school moved from Weimar to Dessau, even
though it had been an important revenue source; when Mies van der
Rohe took over the school in 1930, he transformed it into a private
school, and would not allow any supporters of Hannes Meyer to attend
it.

1

1
acial symmetry is one specific measure of bodily asymmetry. Along with traits such as
averageness and youthfulness it influences judgements of aesthetic traits of physical
attractiveness and beauty. For instance, in mate selection, people have been shown to
have a preference of symmetry.This is due to the fact that it is seen an indicator of
health and genetic fitness, but also as holding adaptation qualities; reflecting the ability
to withstand the changes in their environments.
Facial symmetry has been suggested as a possible physical manifestation of the 'bigfive'
personality traits. For example, it is found that extraversion and openness are
strongly associated with the symmetry of the face. Hormones such as testosterone and
oestrogen are believed to be associated with developmental processes and growth of
facial features during puberty and as a result are hypothesised to be the cause for
individual differences in the implications associated with facial symmetry.
Facial bilateral symmetry is measured via fluctuating asymmetry of the face comparing
random differences in facial features of the two sides of the face that develop and
Faccumulate throughout one's lifetime as a result of stressors.
Bauhaus philosophy
Manifesto
Gropius formulated a manifesto for the Bauhaus which started "The final goal of all artistic activity is architecture." The
Bauhaus principles are best summarized by Alfred Barr, the Director of the Museum of Modern Art 1938, in his preface
to the book Bauhaus (edited by Gropius and Bayer):
• most student should face the fact that their future should be involved primarily with industry and mass production
rather than with individual craftsmanship
• teachers in schools of design should be men who are in advance of their profession rather than safely and
academically in the rearguard
• the schools of design should, as the Bauhaus did, bring together the various arts of painting, architechture,
theatre, photography, weaving, typography, etc., into a modern synthesis which disregards conventional
distinctions between the "fine" and "applied" arts
• it is harder to design a first rate chair than to paint a second rate painting-and much more useful
• a school of design should have on its faculty the purely creative and disinterested artist such as the easel painter
as a spiritual counterpoint to the practical technician in order that they may work and teach side by side for the
benefit of the student
• manual experience of materials is essential to the student of design- esperience at first confined to free
experiment and then extended to the practical workshop
• the study of rational design in terms of techniques and materials should be only the first step in the development
of a new and modern sense of beauty
• because we live in the 20th century, the student architect or designer should be offered no refuge in the past but
should be equipped for the modern world in its various aspects, artistic, technical, social, economic, spiritual, so
that he may function in society not as a decorator but as a vital participant.

1
Imagery from Klee’s color course, which emphasized how changing the values and saturation of a color can change the feeling it imparts.
SYMMETRY = (E)QUALITY
The Bauhaus firmly establish industrial design. It
stripped away the decoration, and left clean lines of
function. To some this represents the removal of all that
is human in the crafts. To the teachers and followers of
the involved in the Bauhaus, function was the primary
concern, removing the past was a secondary
consequence. The Bauhaus ushered in the modern era
of design. While there were similar movements, such as
the de Stijl, the Bauhaus has become the symbol of
modern design. It did achieve many of Gropius's goals. It
left a legacy for visual communication programs, art and
design schools to follow. Many of these schools use the
courses developed at the Bauhaus.
Functional Techniques:
▪ Simpicity
▪ Symmetry
▪ Angularity
▪ Abstraction
▪ Consistency
▪ Unity
▪
▪
▪
▪
▪
▪
▪
Organization
Economy
Subtlety
Continuity
Regularity
Sharpness
Monochomaticity
A Primer of Visual Literacy by Donis A. Donis (1973) is
one of the most widely used books in visual
communications courses. In this book the author state
the following of the Bauhaus:
Their probing for a means to reconcile the artist and the
machine became the inspiration for the "Bauhaus," an art
school started by Walter Gropius and a distinguished
group of teachers in Germany directly after the ending of
the war, in 1919. Its purpose was to pursue new forms
and new solutions to man's basic needs as well as his
aesthetic ones. The Bauhaus' curriculum returned to
fundamentals, the basic materials, the basic rules of
design. And the question they dared to ask led to new
definitions of beauty in the unadorned and practical
aspects of the functional.

1
ASYMMETRY
CAN BE A CATALYST FOR CHANGE,
IT CAN REDEFINE BEAUTY
Symmetry (from Greek συμμετρία symmetria "agreement in dimensions,
due proportion, arrangement") in everyday language refers to a sense of
harmonious and beautiful proportion and balance. In mathematics,
"symmetry" has a more precise definition, that an object is invariant to any
of various transformations; including reflection, rotation or scaling. Although
these two meanings of "symmetry" can sometimes be told apart, they are
related, so they are here discussed together.
Mathematical symmetry may be observed with respect to the passage of
time; as a spatial relationship; through geometric transformations; through
other kinds of functional transformations; and as an aspect of abstract
objects, theoretic models, language, music and even knowledge itself.
This article describes symmetry from three perspectives: in mathematics,
including geometry, the most familiar type of symmetry for many people; in
science and nature; and in the arts, covering architecture, art and music.
Asymmetry is the absence of, or a violation of, symmetry (the property of
an object being invariant to a transformation, such as reflection). Symmetry
is an important property of both physical and abstract systems and it may be
displayed in precise terms or in more aesthetic terms. The absence of
violation of symmetry that are either expected or desired can have important
consequences for a system.
Herbert Bayer - Isometric drawing of Walter Gropius's study in
the Weimar Bauhaus (1923)

1
Symmetry had been deeply embedded in the animal kingdoms. From the smallest insects to the
larges mammals. Symmetry is a result of the survival of the desirable genes, and therefore
symmetry is also deeply embedded in functionality. So now, lets break that rule.

1
asymmetric objects are lazy, arrogant, but also at the same time showing a sense on
calmness and playfulness

1

1
RED ARMY UNIFORM + DOUBLE BREASTED JACKET
The Red Army (Russian: Рабочекрестьянская
Красная армия; РККА, or
Raboche-krest'yanskaya Krasnaya armiya:
RKKA, frequently shortened in Russian to
Красная aрмия; KA, in English: Red Army
also in critical literature and folklore of that
epoch - Red Horde, Army of Work) was the
army and the air force of the Russian Soviet
Federative Socialist Republic, and after
1922 the Union of Soviet Socialist
Republics.
The army was established immediately after the 1917
October Revolution (Red October or Bolshevik
Revolution). The Bolsheviks raised an army to oppose the
military confederations (especially the various groups
collectively known as the White Army) of their adversaries
during the Russian Civil War. Beginning in February 1946,
the Red Army, along with the Soviet Navy, embodied the
main component of the Soviet Armed Forces; taking the
official name of "Soviet Army" (Russian: Советская
Армия (СА)/Sovetskaya Armiya), until its dissolution in
December 1991.
The Red Army is credited as being the decisive land force
in the Allied victory in the European theatre of World War
II. During operations on the Eastern Front, it fought 75%–
80% of the German land forces (Wehrmacht Heer and
Waffen-SS) deployed in the war, inflicting the vast majority
of all German losses and ultimately capturing the German
capital.

1
Inspired by the fusion between the red army uniform forma he soviet union and 1920’s classic
double breasted mens suit jacket.

DIE
1
ORMS
NOVEMBER : 1926
HEFT : 14
JAHRGANG : 1

1
00000000

1
THE FOUR ELEMENTS
COLOUR PALETTE
PAINTER
A
dolf Ziegler (16 October 1892 in Bremen – 18
September 1959 in Varnhalt, today Baden-Baden)
was a German painter and politician. He was tasked
by the Nazi Party to oversee the purging of what the
Nazi Party described as "degenerate art", by most of
the German modern artists. He was Hitler's favourite
painter.
OF
THE THIRD REICH
Born to an architect father and a family of architects on his mother’s
side, Ziegler was always surrounded by artists. He studied at the
Weimar Academy from 1910 under master of technique Max Doerner at
the Academy of Fine Arts Munich. However, the First World War
interrupted his studies when he signed up to become a front-line officer.
After the war, he settled in Munich and continued his studies at the
Academy of Fine Arts Munich in 1919, where he attended classes by art
nouveau artist Angelo Jank. He ultimately achieved the position of
professor at the Munich Academy in 1933, when the Nazis came to
power. His works fitted the Nazi ideal of "racially pure" art, and, as the
President of the Reich Chamber for the Visual Arts, he was entrusted
with the task of eliminating avant-garde styles. This he did by expelling
Expressionist artists such as Karl Schmidt-Rottluff. Writing to Rottluff, he
forbade him from any artistic activity "professional or amateur".

1
00000000

1
POCKET FROM VINTAGE RALPH COAT

1

1

1

1
SHIRT IDEA

1
I DON’T KNOW
WHAT TO PUT
HERE
JACKET LINING

1

1

1
JERSEY/KNITTED FABRIC IDEAS