"Information Organization Movement" in Germany in the early Twentieth Century and its influence on the Graphic Design

本研究旨在考察1908年奥斯瓦尔德、萨格尔和布勒创立的“桥”运动之后的“信息组织运动”，并追溯其对20世纪20年代德国平面设计运动的影响。我在这次调查中问的主要问题是：从平面设计的角度来看，桥的运动实际上是什么？德国是如何确定和引入可以追溯到桥运动的DIN纸张格式的？这一运动对20世纪20年代的平面设计有什么突出的影响？1)关于桥的运动，本研究针对Buhrer的活动，尽管他为桥的建立发挥了重要的规则，但对他的了解很少。因此，本研究将桥梁运动描述为德国当代印刷文化和广告的一场改革运动。例如，大桥已经参加了著名的德国Werkbund协会，提出了标准化的纸共振峰用于1914年在科隆的展览海报。2)对于采用DIN纸格式，曾担任Ostwald的助理和秘书的Walter Porstmann发挥了重要作用。他是一位公制研究者，并成功地批判地设计了奥斯特瓦尔德的“世界格式”。因此，在1918年举行的一次标准化委员会会议上，他的计划被政府部门的代表收到，并被确立为DIN格式。3)在20世纪20年代对平面设计的诸多影响中，我通过对赫伯特·拜尔和简·齐克霍尔德的文本和作品的分析，证明了一种普遍的信息组织思想受到了基于一场艺术运动的“元素主义”基础上的“元素排版”趋势的欢迎。

The purpose of this study is to investigate into "Information Organization Movement" after the "Bridge" movement established by W. Ostwald, A. Saager and K. Buhrer in 1908 and trace its influence on the graphic design movement in the 1920s Germany. The main questions I asked in this investigation were: what was Bridge movement in fact from the standpoint of graphic design? ; How was the DIN paper format determined and introduced in Germany which can be traced back the Bridge movement? ; What was the prominent influence of this movement on the graphic design in the 1920s?1) As to Bridge movement, this study addressed on the activity of Buhrer, since little is known about him in spite of his important rule played for the establishment of the Bridge. As a result this study described the Bridge movement as a reform movement for contemporary print cultur and advertising in Germany. For example the Bridge already participated the well-known association "German Werkbund", proposed a standardarized paper formant for exhibition poster 1914 in Koln.2) For the adoption of DIN paper format, Walter Porstmann who was an assistant and secretary of Ostwald, played an important role. He was a researcher of a metric system and succeeded to a design of "world format" of Ostwald critically. As a result, in a standardization committee meeting held in 1918, his plan was received by representative of government offices, and it was established as a DIN format. I clarified the process in this study.3) Among the much influences on graphic design in the 1920s, I proved that a general idea of information organization was well received by a trend of "elemental typography" based on the "elementalism" derived from an art movement in particular by analyzing texts and works of Herbert Bayer and Jan Tschichold.