All those who looked at the world attentively in the 1970s could often admire cubes growing spherically into the room on cinema walls, which, like in Victor Vasarely’s pictures, caused a vertigo. Two-dimensional squares curved into the third dimension because Vasarely’s art, as the model for these wallpapers, caused them to bulge spherically at the edges. If you took the piggy bank to the bank, you would sink into a psychedelic three-dimensional floor in the best branch, as the carpeting was also woven in a Vasarelyesque manner. Was present everywhere in the 1970s, when Rubik’s Rubik’s Cube was created: Victor Vasarely’s cubist Op Art, here his “Composition cinÈtique”Picture Alliance With the Renault 4, which was incredibly popular at the time, squeaking Vasarelys circled around a squeaky Vasarely, as the radiator emblem was also from the diamond that tilts infinitely like a picture puzzle from him since 1972. And even in the most staid industrial clerk’s office, his spacey pictures hung as framed prints. The artist, who was born in Pécs, Hungary and worked in Paris from 1930 onwards, was, so to speak, the interior decorator of a childhood around 1973; With his seemingly moving geometries, he invented Op Art icons that significantly influenced the interiors of the seventies. The Corpus delicti: Rubik’s Rubik’s Cube, which has caused many a knot in the fingers and which is sometimes used as an illustration of political coalitions. Dieter Rüchel Rubik’s Cube was intended as a mental game of three-dimensionality. From 1974 onwards, Vasarely’s plastic cubes could not only be seen on the walls and carpets not only admire it, but also take it into your hands, because fifty years ago another native Hungarian, Ernő Rubik, invented the Rubik’s cube named after him. From 1980 onwards it became such a global success that an estimated one in seven people on earth have now played it. Rubik knew Vasarely’s pictures, having studied sculpture, architecture and design at the University of Industrial Arts in Budapest. Ernő’s father, who, among other things, designed a glider named after him, encouraged Ernő’s penchant for math puzzles, like this one wanted to increase the 3D thinking of his students with the cube. Its colors, especially the muted nasty green, strongly breathe the spirit of the seventies. Apart from the fact that they didn’t have much success with the magical thing themselves and were hesitant about Gottschalk’s “Wetten, dass”. .?” participants, who gave the cube its uniform colored sides again in record time – often under water – there was always an underlying fear that one could tear or bullet its inner plastic tendons, given the adventurous cubist twists, every time the cube was handled At least the poor creature’s limbs.More on the topicAlthough the restless Rubik invented 21 more thinking toys, none of them were anywhere near as successful as the Rubik’s cube. His biography is therefore not only called “Cubed”, it is also written from the perspective of the cube, which begins with the words “My official name is Rubik’s Cube”. Today the translator of art into play, which, according to Schiller, makes us whole people, is eighty years old.
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