包豪斯为何继续作为最有影响力的艺术和设计学校继续生存-CSDN博客

包豪斯，成立于1919年的艺术与设计学院，由沃尔特·格罗皮乌斯创立，至今仍被视为最具影响力的学校。其核心原则包括艺术与工业的结合、形式服从功能以及极简主义美学，对现代艺术课程、家具设计、绘画和建筑产生了深远影响。

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There are very few movements in history that carry the distinctive ethos of progressiveness the Bauhaus holds in the artistic realm. Massively ahead of its time, this school of thought tackled existing converging relationships between art, society, and technology to pave impressive waves of innovation. Its teachings defined a new bar of excellence and can be exhibited in iconic digital and physical spaces today.

历史上很少有运动带有包豪斯在艺术领域所具有的独特的进步精神。这个时代的思想流派解决了艺术，社会和技术之间现有的不断融合的关系，从而掀起了令人印象深刻的创新浪潮。它的教学定义了一个新的卓越标准，并且可以在当今的标志性数字和物理空间中展出。

More than a century since its inception, it’s still considered the most influential school of our time despite the fourteen years of its existence. It calls to ask — why did Bauhaus teachings hold so much importance, stir so much change, and how do we see its influence in today’s world?

自成立以来已有一个多世纪的历史，尽管它已有十四年的历史，但它仍然被认为是我们时代最有影响力的学校。它要求问- 包豪斯的教义为何如此重要，引起如此大的变化，以及我们如何看待它在当今世界中的影响？

Photo of the Bauhaus building — The Culture Trip “文化之旅”提供

包豪斯是什么？ (What was the Bauhaus?)

Founded in 1919, the Bauhaus was established by German architect Walter Gropius in an attempt to replace traditional teaching methods in art with a more communal approach. Instead of going to school for a specific focus, Bauhaus students indulged in curriculums that blended studies into a regimented syllabus: sculpture, carpentry, pottery, stained glass, architecture, graphic design, weaving, screen-printing, photography, etc.

包豪斯成立于1919年，由德国建筑师沃尔特·格罗皮乌斯(Walter Gropius)创立，旨在用一种更通用的方法代替传统的艺术教学方法。包豪斯的学生们没有去上课，而是沉迷于课程设置中，这些课程将研究融入了有计划的教学大纲中：雕塑，木工，陶器，彩色玻璃，建筑，图形设计，编织，丝网印刷，摄影等。

Fittingly, the adopted slogan was “Art into Industry” as the mission of the school was to combine beauty with everyday function. Relying on pillars of reform and exploration, the Bauhaus unified principles of mass production with individual artistic vision. Its ultimate goal was to bring art into the aspect of everyday life by combining design with craft to improve living conditions for all. Unnecessary ornamentation was no longer considered relevant as the school embraced a new perspective of minimalism — geometric purity and simplicity.

恰当地，采用的口号是“将艺术带入工业”，因为学校的使命是将美与日常功能相结合。包豪斯依靠改革和探索的Struts，将批量生产的原则与个人的艺术视野统一起来。它的最终目标是通过将设计与手Craft.io相结合以改善所有人的生活条件，将艺术带入日常生活。不必要的装饰不再被认为是有意义的，因为学校采用了极简主义的新观点-几何纯度和简洁性。

In 1933, the school saw the end of light when it was unfortunately forced to close in face of Nazi reprisals. Most of the students and teachers had to assimilate and many former members took the ideas with them to corners of the globe. This in turn, however, only added to the school’s international status and global influence.

1933年，不幸的是，面对纳粹的报复，学校被迫关闭，学校见到了光明的尽头。大多数学生和老师不得不同化，许多以前的成员将这些想法带到了世界的各个角落。然而，这反而只会增加学校的国际地位和全球影响力。

它的教导如何应用？ (How were its teachings applied?)

Today, nearly every art curriculum includes foundational courses inspired by the Bauhaus model which values the connection between theory and practice.

如今，几乎所有艺术课程都包括受到包豪斯模型启发的基础课程，这些模型重视理论与实践之间的联系。

家具及物件设计 (Furniture and Object Design)

Of its many tenets, one of the most principal and famous of the Bauhaus is that “form follows function.” Its essence stressed the motif that we should reflect and enhance an object’s function and strip it away from decorative elements if its inclusion is simply for the sake of it.

在包豪斯(Bauhaus)最主要和最著名的宗旨之一中， “形式遵循功能”。 它的本质强调了母题，如果仅仅是出于它的目的，我们就应该体现和增强一个对象的功能，并使其脱离装饰元素。

Additionally, it emphasized the importance of fundamentals by asking individuals to return to the basics of the craft: color, structure, and meaning. The Bauhaus wanted its students to connect with simple truths in order to thoughtfully respond to design problems individuals they were called to solve.

此外，它通过要求个人回归手Craft.io的基本知识(颜色，结构和含义)来强调基本原理的重要性。包豪斯希望其学生与简单的事实联系起来，以便对他们被要求解决的个人设计问题进行周到的回应。

Collage of objects that follow Bauhaus principles — A collage of objects that follow the Bauhaus principles

画作 (Paintings)

Josef Albers, an instructor of drawing and lettering classes at the Bauhaus, is famously known for his Homeage to the Square: Apparition paintings — a fragment of his 25 year-long ode to the pictorial square. Through his work, Albers wanted to challenge visual reception through the optical effects he created with color contrasts and angled planes. He attempted to educate the mechanics of vision to untrained eyes and show uninformed viewers how to truly see with his experimentation in form, composition, and color theory.

包豪斯(Bauhaus)绘画和刻字课程的讲师约瑟夫·阿尔伯斯(Josef Albers)以他的《广场之家：幻影》而闻名，这幅画是他长达25年的绘画广场颂歌的片段。通过他的工作，阿尔伯斯希望通过他用色彩对比和倾斜平面创造的光学效果来挑战视觉接收。他试图对未经训练的眼睛进行视觉力学教育，并向不知情的观看者展示如何通过形式，构图和色彩理论的实验真正地看到 。

建筑 (Architecture)

Walter Gropius, founder of the Bauhaus, fled Germany to teach at the Graduate School of Design at Harvard University in 1937. He was surprised to find that much American architecture was less modern than that of the stripped-down Bauhaus style. One of his most famous works, the Gropius House, was built as his family home shortly after his arrival. In keeping with the philosophy of total art, he divided the land around the house into multiple zones, creating a relationship between structure and site. This demonstrated his adaptability in linking local vernacular with cutting-edge design.

包豪斯(Bauhaus)的创始人沃尔特·格罗皮乌斯(Walter Gropius)于1937年逃离德国，前往哈佛大学设计研究生院任教。他惊讶地发现，许多美国建筑都没有简陋的包豪斯风格那么现代。他最著名的作品之一，格罗皮乌斯故居(Gropius House)，在他抵达后不久便作为他的家庭住宅而建。为了遵循整体艺术理念，他将房屋周围的土地划分为多个区域，从而在结构和场地之间建立了联系。这证明了他在将本地语言与前沿设计联系起来方面的适应能力。

Ludwig Mies van der Rohe, another leader of the Bauhaus academic staff, also moved to the States where he designed and taught at the Illinois Institute of Technology. He then proceeded to create The Farnsworth House in 1945, a building that elegantly distills physical elements in its essence and keeps transparency at its core in order to obtain a simplified, transcendental existence.

包豪斯学术人员的另一位领导人路德维希·密斯·凡·德·罗(Ludwig Mies van der Rohe)也移居到他在伊利诺伊理工学院设计和教学的州。然后，他于1945年开始创建法恩斯沃斯庄园，该建筑物优雅地提取了本质上的物理元素，并保持了透明性为核心，从而获得了简化的，超然的存在。

A student then a teacher at the Bauhaus, Marcel Breuer made his mark in architecture history by designing the original Whitney Museum of American Art in 1966. At the time, it was a strong modernist statement as the neighborhood consisted of traditional brownstone, brick-row houses and apartment buildings. It’s now regarded as one of New York City’s icons with its sunken composition accompanied by its low canopy, glass walls, and handcrafted staircases.

Marcel Breuer是一名学生，后来在包豪斯(Bauhaus)任教，他在1966年通过设计原始的惠特尼美国艺术博物馆在建筑史上留下了自己的印记。在当时，这是一种强烈的现代主义主张，因为该社区包括传统的褐砂石，砖砌的行房屋和公寓楼。它的凹陷结构，低矮的顶篷，玻璃墙和手工制作的楼梯如今已被视为纽约市的标志之一。

遗产 (Legacy)

Today, the website “100 Days of Bauhaus” lives as a dedication to the century-long legacy the art school and movement has carved in today’s world. Also, Harvard Art Museums launched an online resource dedicated to sharing more than 30,000 documents and images from its period to viewers globally.

如今，“ 包豪斯100天 ”网站的存在，是对艺术学校和运动在当今世界上刻下的百年遗产的奉献。此外，哈佛艺术博物馆还推出了一个在线资源，致力于分享其时期内的30,000多种文档和图像给全球观众。

In learning more about the Bauhaus, I hope you can be inspired by its thoughtful, intentional principles to apply in your own art and designs.

我希望在了解有关包豪斯的更多信息时，可以从它应用于您自己的艺术和设计的周到，故意的原则中得到启发。

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谢谢阅读！ 关注我的时事通讯，以获取最新的博客文章，并获得指向激发读者兴趣的链接，这些链接对我的设计生涯很有帮助。随时给我发送一条推文，在Instagram上关注我，或从我的网站上了解有关我的更多信息。