Origin and Development
The Gesellschafts- und Wirtschaftsmuseum was principally financed by the social democratic municipality of Vienna, which was effectively a separate state (known as Red Vienna) within the new republic of Austria. An essential task of the museum was to inform the Viennese about their city. Neurath stated that the museum was not a treasure chest of rare objects, but a teaching museum. The aim was to “represent social facts pictorially” and to bring “dead statistics” to life by making them visually attractive and memorable. One of the museum’s catch-phrases was: “To remember simplified pictures is better than to forget accurate figures”. The principal instruments of the Vienna Method were pictorial charts, which could be produced in multiple copies and serve both permanent and travelling exhibitions. The museum also innovated with interactive models and other attention-grabbing devices, and there were even some early experiments with animated films.
From its beginning the Vienna Method/Isotype was the work of a team. Neurath built up a kind of prototype for an interdisciplinary graphic design agency. In 1926 he encountered woodcut prints by the German artist Gerd Arntz and invited him to collaborate with the museum. Arntz moved to Vienna in 1929 and took up a full-time position there. His simplified graphic style benefited the design of repeatable pictograms that were integral to Isotype. The influence of these pictograms on today’s information graphics is immediately apparent, although perhaps not yet fully recognized.
A central task in Isotype was the “transformation” of complex source information into a sketch for a self-explanatory chart. The principal “transformer” from the beginning was Marie Reidemeister (who became Marie Neurath in 1941).
A defining project of the first phase of Isotype (still then known as the Vienna Method) was the monumental collection of 100 statistical charts, Gesellschaft und Wirtschaft (1930).
Read more about this topic: Isotype (picture Language)
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