syntax — imagination without strings …,” 1913 W r i t i n g
course. Consult the readings and lectures on Blackboard, as well as your textbook and notes.
lectures, and discussions. They should be more formal in tone than the discussion group posts,
written as if for an outside reader. Make sure to define your terms as you go, rather than
assuming the reader already knows what they mean.
own words. Quotations are often necessary to clarify the details of an argument or to capture
the writer’s specific wording, but points will be deducted for an excessive quotation that distracts
from the underlying idea. Cite all such quotations with the author’s name, date, and page
number. (Jacob 2021, 11)
color(s), texture(s), or material(s)? What sorts of contrast or harmony do you notice between
its parts? In the case of a three-dimensional object, how might a human body interact with it?
In the case of a building, how might a person perceive it as they approach and move through it?
in common that they are intuitively comparable. This way, subtle differences (and not only the
most obvious ones) stand out in fuller relief.
1. Marinetti and Graphic design to begin, revisit the two texts by F.T. Marinetti: — “The Founding and Manifesto of Futurism,” 1909 (Week 9) — “Destruction of Syntax—Imagination without Strings…,” 1913 Then, pick two examples of graphic design (any two-dimensional works that include typography) to compare and contrast. One example must be from an artist or designer involved with the Futurist movement. The other is your choice, but it must be something we covered in the readings and/or lectures, and it must be older than the Futurist example.This essay will concentrate on the opposition between tradition and innovation in the theory and practice of the Futurists. First, in reference to the 1909 text, explain what Marinetti was rejecting in existing traditions. Then, describe the general goals of his new movement. Finally,with specific reference to the 1913 text, explain the contrasts between the two works of design.What did the Futurists propose to do with language and poetry, and how did they use typography, layout, and color to achieve this?
2. Le Corbusier and ArchitectureTo begin, revisit the two texts by Le Corbusier: — “The Furniture Adventure,” 1914 — Selection from The Decorative Art of Today, 1925 (Week 11)Then, pick two examples of architecture to compare and contrast. One of them must be designed by Le Corbusier. The other is your choice, but it must be something we covered in the readings and/or lectures, originating no later than the 1925 Paris Exhibition. This essay will concentrate on Le Corbusier’s theory (derived partly from Adolf Loos) that human culture must develop toward plain objectivity and function in design. You must cite from both essays as you describe Le Corbusier’s critique of decoration and ornament. Notice that few of Le Corbusier’s own examples are architectural: instead, he discusses things like clothing, cars, and cabinetry. Relate these critiques to the contrasting work of architecture you have selected. Then, use the architectural example from Le Corbusier to illustrate the new approach that these essays advocate.