THE ARCHITECTURAL FORUM: April 1939

The Low Cost House: 50 Examples

Houses by Cliff May, Alden B. Dow, Bertrand Goldberg, Raphael Soriano, Donald Barry, Victor Stromquist, Thiry and Shay, Samuel Glaser, John Yeon and many others

Will Burtin [Art Director], George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. April 1939  [Volume 70, number 4]. Slim quarto. Wire spiral binding. Thick printed wrappers. 192 pp. Editorial content and period trade advertising. The spiral binding is in unusually good condition and does not bind any pages when opened. A nice copy thus. Interior unmarked and clean. Wrappers lightly worn, with inking inside the ‘F, O, M’ letterforms, and a piece missing from the upper edge of the rear panel [see scan], but a very good copy.

8.75 x 11.75 spiral-bound magazine with 192 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned. A magnificent snapshot of the blossoming of the modern movement in North America in the final days before the start of World War II.

Contents:

Will Burtin (1909 -1972)  studied typography and design at the Cologne Werkschule, then practiced design in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin's great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. Burtin believed that through his work he could become the "communicator, link, interpreter and inspirer" who is able to make scientific knowledge comprehensible.

  Burtin developed a design philosphy called Integration, in which the designer conveyed information with visual communication that is based on four principal realities:

Using this approach to design problems was essentially the birth of what later became known as multimedia. By integrating all four realities into a design solution, Burtin could solve seemingly insoluble puzzles.

The mid to late 40s saw Burtin expand his role in professional organizations, serving as Director of the American Institute of Graphic Arts (AIGA). In 1948, Burtin's Integration: The New Discipline in Design exhibit opened at the Composing Room in New York City. In the introduction to the exhibition, designer Serge Chermayeff stated: "This new art of 'visualization,' of giving visual form in two or three dimensions to a message, is the product of a new kind of artist functionary evolved by our complex society. This artist possesses the inclusive equipment of liberal knowledge, scientific and technical experience, and artisticability . . . Among the small band of pioneers who have developed this new language by bringing patient research and brilliant inventiveness to their task is Will Burtin."

Most noteworthy, Burtin served for 22 years as both Upjohn's design consultant and art director of its in-house publication, Scope. His work on Scope continued his use of graphics and imagery in communicating complicated journal text. He worked to create a unique corporate identity for Upjohn, a new concept at the time. For Upjohn, Burtin produced some of the most celebrated exhibits of his career: the Cell, the Brain, and Inflammation: Defense of Life. These immensely popular walk-in exhibits provided a clear, visual interpretation of abstract scientific processes.

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