Adidas Style

Since the 1920's, Adidas has gone with a whole direction in comfort and style with their products in a unique way.


Keywords:
.Originals
.Style.
.Performance
.Sport
.Urban
.Street

Adidas Info

Adidas is a German sportswear manufacturer and parent company of the Adidas Group, which consists of Reebok, Ashworth (golf), and Rockport. Besides sports footwear, the company also produces other products such as bags, shirts, watches, eyewear, and other sports- and clothing-related goods.The company is the largest sportswear manufacturer in Europe and the second-biggest sportswear manufacturer in the world, with American rival Nike being the biggest.

Adidas was founded in 1948 by Adolf "Adi" Dassler, following the split of Gebrüder Dassler Schuhfabrik between him and his older brother Rudolf. Rudolf later established Puma, which was the early rival of Adidas. Registered in 1949, Adidas is currently based in Herzogenaurach, Germany, along with Puma.

The company's clothing and shoe designs typically feature 'three parallel bars', and the same motif is incorporated into Adidas's current official logo. The "Three Stripes" were bought from the Finnish sport company Karhu Sports in 1951

List of Bauhaus Artists

Bauhaus was not a formal group, but rather a school. Its three architect-directors (Walter Gropius, Hannes Meyer, and Ludwig Mies van der Rohe) are most closely associated with Bauhaus.

Furthermore a large number of outstanding artists of their time were lecturers at Bauhaus:

List of Bauhaus Artists

• Anni Albers

• Josef Albers

• Herbert Bayer

• Max Bill

• Marianne Brandt

• Marcel Breuer

• Avgust Černigoj

• Christian Dell

• Werner Drewes

• Lyonel Feininger

• Naum Gabo

• Ludwig Hilberseimer

• Ludwig Hirschfeld Mack

• Johannes Itten

• Wassily Kandinsky

• Paul Klee

• Otto Lindig

• Gerhard Marcks

• László Moholy-Nagy

• Piet Mondrian

• Oskar Schlemmer

• Lothar Schreyer

• Joost Schmidt

• Naum Slutzky

• Gunta Stölzl

Herbert Bayer

Herbert Bayer (April 5, 1900 – September 30, 1985) was an Austrian American graphic designer, painter, photographer, sculptor, art director, environmental & interior designer, and architect, who was widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Richfield Company's corporate art collection until his death in 1985.

Training and Bauhaus Years

Bayer apprenticed under the artist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists' Colony, he became interested in Walter Gropius's Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky, Paul Klee and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising.

In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet. From 1925 to 1930 Bayer designed a geometric sans-serif Proposal for a Universal Typeface that existed only as a design and was never actually cast into real type. These designs are now issued in digital form as Bayer Universal. The design also inspired ITC Bauhaus and Architype Bayer, which bears comparison with the stylistically related typeface Architype Schwitters.

Post-Bauhaus Years in Germany

In 1928, Bayer left the Bauhaus to become art director of Vogue magazine's Berlin office. He remained in Germany far later than most other progressives. In 1936 he designed a brochure for the Deutschland Ausstellung, an exhibition for tourists in Berlin during the 1936 Olympic Games - the brochure celebrated life in the Third Reich, and the authority of Hitler. However, in 1937, works of Bayer's were included in the Nazi propaganda exhibition "Degenerate Art", upon which he left Germany. Upon fleeing Germany, he traveled in Italy.

Exiled in the United States

In 1938 Bayer settled in New York City where he had a long and distinguished career in nearly every aspect of the graphic arts.

In 1944 Bayer married Joella Syrara Haweis, the daughter of poet Mina Loy. The same year, he became a U.S. citizen.

In 1946 the Bayers relocated. Hired by industrialist and visionary Walter Paepcke, Bayer moved to Aspen, Colorado as Paepcke promoted skiing as a popular sport. Bayer's architectural work in the town included co-designing the Aspen Institute and restoring the Wheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour.

In 1959, he designed his "fonetik alfabet", a phonetic alphabet, for English. It was sans-serif and without capital letters. He had special symbols for the endings -ed, -ory, -ing, and -ion, as well as the digraphs "ch", "sh", and "ng". An underline indicated the doubling of a consonant in traditional orthography.

While living in Aspen, Bayer had a chance meeting with the eccentric oilman, outdoorsman and (to those who knew him) visionary ecologist, Robert O. Anderson. When Anderson saw the ultra-modern, Bauhaus-inspired home that Bayer had designed & built in Aspen, he walked up to the front door and introduced himself. It was the beginning of a life-long friendship between the two men and instigated Anderson's insatiable passion for compulsively collecting contemporary art.

With Anderson's eventual formation of the Atlantic Richfield Company, and as his personal art collection quickly overflowed out of his New Mexico ranch and other homes, ARCO soon held the unique distinction of possessing the world's largest corporate Art Collection, under the critical eye and sharp direction of Bayer as Arco's Design Consultant.

Overseeing acquisitions from within Arco Plaza, the newly-built twin 51 story office towers in Los Angeles, Bayer was also responsible for the Arco logo and designing all corporate "branding" related to the company. Prior to the completion of Arco Plaza, Anderson commissioned Bayer to design a monumental sculpture-fountain to be installed between the dark green granite towers. Double Ascension still stands between the twin skyscrapers to this day.

Under Bayer's and Corporate Art Curator Leila Mehle's direction & supervision, Arco's Collection grew to nearly 30,000 Artworks nationwide. Arco's collection was quite eclectic, and consisted of an extremely wide range of media & styles; ranging from large resin sculptures by Dewain Valentine to original signed photographs by Ansel Adams. The vast majority of the collection consisted of original "signed" prints & "artist's proofs" of hand-pulled prints. Major works were reserved for lobbies, reception areas and executive & upper management offices.

Bayer and Mehle instigated a unique program for the collection in that large paintings and sculptures were often "circulated" within the company and transported from one Arco building to another, often making the journey from LA to New York and back again.

With the purchase of Anaconda Copper, Arco built an office tower in downtown Denver, and again, Anderson commissioned Bayer to oversee Anaconda's Art Collection for the new company. Eventually, Bayer gave the Denver Art Museum a collection of around 8,000 of his works. He was elected a Fellow of the American Academy of Arts and Sciences in 1979.

Fonts By Herbert Bayer

• Proposal for a Universal Type (1925-1930), this face existed only as designs.

• Bayer Type (Berthold Type Foundry, 1925-1930)

Bauhaus Movement

Staatliches Bauhaus is commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building".

The Bauhaus school 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 the first years of its existence. Nonetheless it was founded with the idea of creating a 'total' work of art in which all arts, including architecture would eventually be brought together.

The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

Impact
The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel (particularly in the White City of Tel Aviv) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, in 2004 was named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture; it had some 4,000 Bauhaus buildings erected from 1933 on.

Walter Gropius, Marcel Breuer, and László Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. Their collaboration produced The Aluminum City Terrace in New Kensington, Pennsylvania and the Alan I W Frank House in Pittsburgh, among other projects. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others.

In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design (German: Hochschule für Gestaltung – HfG Ulm) in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the ′Ulm Model′ concept continues to influence international design education.

One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. Vorkurs ("initial" or "preliminary course") was taught; this is the modern day "Basic Design" course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent.

One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair and the Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over the rights to the cantilever chair patent. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, thus leading to the patent dispute.)

The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.

De Stijl

De Stijl, Dutch for "The Style", also known as neoplasticism, was a Dutch artistic movement founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg (1883–1931), propagating the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian (1872–1944), Vilmos Huszár (1884–1960), and Bart van der Leck (1876–1958), and the architects Gerrit Rietveld (1888–1964), Robert van 't Hoff (1887–1979), and J.J.P. Oud (1890–1963). The artistic philosophy that formed a basis for the group's work is known as neoplasticism — the new plastic art (or Nieuwe Beelding in Dutch).

Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay 'Neo-Plasticism in Pictorial Art'. He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line." The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.

Theo van Doesburg, born 30 August 1883 – 7 March 1931) was a Dutch artist, practicing in painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl.

Early Life
Theo van Doesburg was born as Christian Emil Marie Küpper on 30 August 1883 in Utrecht as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short training in acting and singing he decided to become a painter. He always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added the insertion "van". His first exhibition was in 1908. From 1912 onwards, he supported his works by writing for magazines. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh, both in style and subject matter. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke, in which he looks back at his life as a painter from 1903–1913. It made him realize there was a higher, more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in 'Eenheid' no. 127, 9 November 1912, because "The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life." 6 November 1915 he wrote in the same journal: " Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual."

The De Stijl Movement
It was while reviewing an exposition for one of these magazines he wrote for, in 1915 (halfway through his two-year service in the army), that Theo Van Doesburg came in contact with the works of Piet Mondrian, who was eight years older than he was, and had by then already gained some attention with his paintings. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud they founded the magazine De Stijl in 1917.

Promoting De Stijl
Although 'De Stijl' was made up of many members, Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, in order to spread the influence of the movement.

While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl.