Word: functionalistic
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...permanent revolution" of design. Alas for the designers, this did not happen. Most of the triumphs of constructivism survived in the fictional space of painting or sculpture, theater or typography. As soon as ideal form moved into the real world of design or architecture and became the functionalist esthetic, it was hobbled by the resistance of society and by the lofty monasticism of the designers themselves...
...dozens of exhibitions containing thousands of pieces, documents and photos-is to inspect and debate the mythic purity of modern art, to see how it really has worked in society and not just how it hoped to work. Ten years ago, anyone who argued that the Bauhaus tradition of functionalist design might suit the totalitarian spirit would have been dismissed as a loon. The main architecture show in Venice this year, a fascinating assembly called "Rationalism and Architecture in Italy During the Fascist Regime," irrefutably demonstrates how it could and did. Likewise, we suppose that the "advanced" movements in Spanish...
...elucidating his ambivalencies toward his patient and his as yet imperfect understanding of the transference relationship from the internal inconsistencies and shifts in tone of the writing. And in "Literature and Social Theory," Marcus draws out the connection between a certain style of narration and the presence of a functionalist, organicist social theory in George Eliot's fiction. By making this connection, Marcus was able to uncover the roots of both devices in a need to repress consciousness of social and sexual conflict, an insight which carries over to similar social theories in our own time, and was also able...
...existential dimension in his analysis, but they fail to analytically account for it. Why? Because the functional dimension of culture cannot be analytically understood solely from the existential perspective--such is the gift of only poets and artists. It is no surprise that Kilson's critics mistake his functionalist cultural assertions to be existential ones...
Throughout, Steichen was a meticulous craftsman. Much of his art lay in his impeccable and patient sense of selection; he could, and did, shoot a thousand frames to pick one image. And he was very much a functionalist. "If my technique, imagination and vision are any good," he once observed, "I ought to be able to put the best values of my noncommercial and experimental photography into a pair of shoes, a tube of toothpaste, a jar of face cream, a mattress or any object I want to light up and make humanly interesting in an advertising photograph...