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Matrix Final 17.07.16 http://e-plastory.com e-plastory 2016, Nr. 1 ISSN 2190-9598 Article [1] The Matrix Design Günter Lattermann Grüner Baum 32, 95448 Bayreuth, Germany; [email protected] (Submitted: 15 April 2016; final version: 04 July 2016) Dedicated to Hans Ulrich Kölsch in deep appreciation of his grand merits in all fields of plastics history. Abstract: The term ‘Matrix Design’ is explained by developments in design and architecture from the middle of the 1920s to the end of the 1930s, leading to an international design movement. This ‘Matrix Design’ typically exhibits as characteristic design elements among others round corner forms and/or often ribbed but sometimes also fluted ornaments. Apparently because of the strong economic depression in the Weimar Republic, this process accelerated in Germany from 1929/30 onward in plastics design, realised by its long time forgotten pioneers. In the USA and Britain, plastics design proceeded lateron since 1933 by numerous, well-known designers. The term ‘Matrix Design’ is carefully delimited and traded off against other terms found in literature, like ‘Form around 1930’, ‘Technodesign’, ‘minor, non-functional streamline’, ‘Machine Style’ or ‘Bakelite Style’. Keywords: Architecture history, Bakelite Style, compression moulding, design history, Form around 1930, Machine Style, Mastaba Style, Matrix Design, Moderne, Modernism, ornament, plastics, Plastics Age, plastics history, pressed glass, ribbon, round corner, Streamline, style, synthetic resin, Technodesign, Zigzag Style. became an “aesthetic overall concept”...“in 1. Introduction the oeuvre of progressive avant-garde In 1993, the architect and pioneering artists and architects”.[2] plastics collector Hans-Ulrich Kölsch Until now, the term ‘matrix style’ has not coined the term ‘matrix style’ in the attempt really been adopted by design history, to describe “a new style” in the 1920s and though it was used in 1997 by Gerda 30s, which (translated) “evolved from the Breuer, Professor of Art and Design construction of moulds for moulding History at Wuppertal University, referring material”. The inherent “constructive to Kölsch, describing the plastics design of necessities” of this technique would lead that time.[3] In 2002, it was used again by to a specific form of moulded plastic Breuer.[4] Furthermore, the exhibition objects, “following the law of matrix”, which “vergleichsweise einfach – kunststoffe 1 technik architektur” (“Comparably simple – Expressionism, Constructivism, Cubism, plastics, technology, architecture”) picked Dadaism, Futurism, Suprematism out as a central theme the (translated) Surrealism, Symbolism, Vorticism etc., “early plastics design and architecture”, existing either parallel or subsequently.[7,8] the “matrix style”, and “Bauhaus without Another movement in architecture and plastics” etc.. This exhibition was design is known as the ‘New Objectivity’ organised by the Faculty of Art and Design (‘Neue Sachlichkeit’) with Verism, Magic at the Bauhaus-University in the “Haus am Realism and Functionalism (French Esprit Horn” in Weimar.[5] Nouveau and Purism, Dutch de Stijl, Later on, we will point to possible German Bauhaus, Soviet Vkhutemas reasons for that hidden history of the term School, International Style and others).[9,10] ‘matrix style’ (cf. chapter 7). In contrast to the austere Functio- After a careful, interdisciplinary con- nalism, a new movement later on called sideration, we will try to specify its Art Déco, developed more or less significant role in general and will attempt simultaneously in arts and architecture to establish a new, related term, i.e. ‘Matrix from around 1925 onward. Starting in Design’. France, this lavish, luxurious kind of decoration spread out through Europe and 2. Art, design and architectural the USA. Additionally to its refined, elegant th movements in the first third of the 20 or even gorgeous versions, Art Déco century. comprises also geometrically expressive The different periods of the Industrial variations like the ‘Zigzag Style’ (Zigzag Revolution, originating from Great Britain Moderne),[5] the ‘Stepped’ or ‘Mastaba th in the 19 century, comprised important Style’ (Egyptian influence because of the technological developments with great discovery of Tutankhamun’s tomb in 1922) consequences for further artistic, archi- or the ‘Pueblo Style’ or ‘Mayan Déco’ tectural and social life. (Native American revival). [9,11] However, an early counter reaction arose During the German ‘Weimar Republic’, in the UK, which believed that the period between the end of WW I and industrialisation and machine production the Nazi seizure of power, according to were debasing the quality of life in general design historian Gert Selle a ‘transition and the effectuation and aesthetics of style’ appeared intermediately between all objects in particular. Developed since the movements mentioned above and the around 1870, the late romantic Arts and developments in the later on Third Crafts movement, emphasized the Reich.[12] Selle called this type the craftsmanship, inspired by the ideas of (translated) “Form around 1930” or John Ruskin and the designer, artist and “Techno-Design”. This “technoid form” in [6] writer William Morris. the “quinquennium of turn between 1927 Hugely influenced by Arts and Crafts, and 1932” [13] was characterised by a Art Nouveau, as the major artistic and “slender-elegant type of form, with architectural movement in Europe at the reduced surfaces and emblematically th beginning of the 20 century, often took condensed functional skeletons”.[12] Its over natural, mostly vegetal decorations essential task was on the one hand and strongly curved ornaments. (translated) “to link technology with form Historically and as an aesthetic-visual and environment”, on the other hand “to expression, it represents a link to develop products for large, often millions Modernism, which in art, decorative arts of production units, which are capable to and architecture comprises in fact a lot of serve the needs and requirements of different artistic ‘isms’, i.e. Impressionism, different end users”.[13] Furthermore, this 2 ‘Techno-Design’ was qualified as 3. Mendelsohn and the architectural “efficient”, “fascinating”, “absolutely pure” Expressionism in the first part of the and “cold-erotical”, but at the same time as 20th century. “untransparent”, “alarming” and “pre- Let us first consider in detail one early fascist”, because its aesthetic properties direction in architectural Modernism, i.e. were easily adopted by the subsequent the ‘organic’ variation of Expressionism. Nazi rulership after 1933.[12] Herein, the ‘Einstein Tower’ (‘Einstein- However, this development, watched turm’) in Potsdam, Germany, plays a here through typical German post-war special, a unique role (cf. Figure 1). glasses, occured not only in Germany, but much more widespread with respect to protagonists, chronology and internatio- nality. During a much longer time, i.e. from the middle of the 1920s until ca. 1940, such a design and architectural movement with its technological origin belonging to the ‘First Machine Age’,[14] could be found at protagonists without any suspicion of being prefascist (cf. chapter 3), as well as in countries without fascism, e.g. the USA and the UK (cf. chapters 7, 8). Hence, these ‘technoid forms’ with their typical round corners and often ripped decoration Figure 1 Erich Mendelsohn,[a] 1919 - 1921: elements appeared much longer and more Einstein Tower, Potsdam.[16] widespread in many architectural and artistic fields. This will be shown below. Built 1919-21 by Erich Mendelsohn,[a] In the USA of the late 1930s, a period its round, soft forms, at first glance simply that wanted “to link technology with form organic, biomorphically inspired, can and environment”, two forms of the so- however also be regarded as if they were called ‘Streamline’ were developed. An plastically moulded. And indeed, the early one and as we will see wrongly Einstein Tower was originally “conceived labelled (cf. chapter 7) “minor or nonfunc- as a monolith produced by casting fluid tional streamlining” and a later one, called material into a mould”,[17] i.e. to be realised “functional streamlining”, which were “as a plastic and fluid vision” in the new summarised and analysed theoretically in industrial composite material, namely steel [15] 1940 by Harold Van Doren. “reinforced concrete”.[18] The mould means For all these phenomena (in Germany: here a ‘matrix’ as formgiving device (cf. the ‘Form around 1930’ or Techno-Design, chapter 6). in the USA: the “minor or nonfunctional Just after the emergence of Albert streamlining”), we propose an overall term, Einstein‘s theories of relativity, Mendel- which gives a revised temporal and sohn, who personally knew him, was locational framework and which especially, apparently fascinated by the dualism not exclusively explains the lines of between science/technology and nature: development from general, new technical Ever since it was realized (translated) “that necessities and their implications on design matter and energy…are merely different and architecture of that time, i. e. the ‘Matrix Design’. [a] Erich Mendelsohn, 1887-1953. German This will be equally shown below. born, highly influencing architect. Since 1933 in the UK, Palestine and the USA. 3 states of the same primary element,…the engineer has abandoned the mechanical theory of dead matter and has reaffirmed his allegiance to nature…The machine…has become the constructive element of a new, living organism“.[19]
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