Walter Gropius 1. How might we use Marx’s philosophy to frame our understanding of Gropius’ text? 2. According to Gropius’ what role has the traditional academy played in shaping the arts?

How does he intended to overcome the weaknesses of the traditional academy? 3. How might you explain Gropius’ claim that “the object of all creative effort in the visual arts

is to give form to space” (340)? 4. Do you agree with Gropius’ claim that “vocabulary and grammar can be learned, but the

most important factor of all, the organic life of the created work, originates in the creative powers of the individual” (342)? Why or why not?

El Lissitzky

1. Why does Lissitzky celebrate technological novelty? Do you agree with his assertions in this regard? Why or why not?

2. How does Lissitzky describe the new/coming book form? Find three quotes that capture his perspective on the design and role of the book?

3. Look up 3 of the works listed throughout the reading. Analyze how their formal presentation aligns with and facilitates Lissitzky’s interpretation and theorization of design.

4. What new form of “book” characterizes reading today? How might this form correspond to Lissitzky’s essay?

Jan Tschichold

1. Why does Tschichold argue that “’form’ must be created out of function”? 2. How does Tschichold assume text functions? What role does aesthetics play? 3. What role does Tschichold allocate to asymmetry? 4. Analyze the following 2 works pasted below. Discuss how they exemplify Tschichold’s

theorization of The New Typography, and whether or not they work in accordance with his theoretical propositions.

Jan Tschichold, Die Frau Ohne Namen: Zweiter Teil, 1927

Jan Tschichold, Cassanova Film Poster, 1927