包豪斯宣言中英对照
包豪斯 格罗皮乌斯29页PPT
2、要冒一次险!整个生命就是一场冒险。走得最远的人，常是愿意 去做，并愿意去冒险的人。“稳妥”之船，从未能从岸边走远。-戴尔．卡耐基。
梦 境
3、人生就像一杯没有加糖的咖啡，喝起来是苦涩的，回味起来却有 久久不会退去的余香。
包豪斯
格罗皮乌斯4、守业的最好办法就是不断的发展。 5、当爱不能完美，我宁愿选择无悔，不管来生多么美丽，我不愿失 去今生对你的记忆，我不求天长地久的美景，我只要生生世世的轮 回里有你。
66、节制使快乐增加并使享受Fra bibliotek强。 ——德 谟克利 特 67、今天应做的事没有做，明天再早也 是耽误 了。——裴斯 泰洛齐 68、决定一个人的一生，以及整个命运 的，只 是一瞬 之间。 ——歌 德 69、懒人无法享受休息之乐。——拉布 克 70、浪费时间是一桩大罪过。——卢梭
包豪斯
包豪斯现代主义英语
包豪斯现代主义英语The Bauhaus and Modern Design: A Legacy of Innovative ThinkingThe Bauhaus movement was a revolutionary force that transformed the world of art, architecture, and design in the early 20th century. Originating in Germany, the Bauhaus school championed a bold, minimalist aesthetic that sought to bridge the gap between form and function, creating objects and structures that were not only visually striking but also highly practical and efficient.At the heart of the Bauhaus philosophy was a belief in the power of design to shape the world around us. The school's founders, including Walter Gropius, Wassily Kandinsky, and László Moholy-Nagy, believed that by embracing a modernist approach to design, they could create a better, more harmonious society. This vision was rooted in a deep understanding of the social and political upheavals of the time, as well as a desire to harness the potential of emerging technologies and materials.One of the key principles of the Bauhaus was the integration of various artistic disciplines, from painting and sculpture to metalwork and textiles. The school's curriculum emphasized a holistic approachto design, encouraging students to experiment with a wide range of media and techniques. This interdisciplinary approach fostered a spirit of innovation and collaboration, as students and faculty worked together to push the boundaries of what was possible in the realm of design.The Bauhaus also placed a strong emphasis on functionality and practicality. Rather than creating art for art's sake, the school's designers focused on developing products and structures that were not only visually appealing but also served a practical purpose. This focus on utility and efficiency was a direct response to the industrialization and mass production that were transforming the world at the time, as the Bauhaus sought to create a new, more democratic approach to design that could be accessible to the masses.One of the most iconic examples of the Bauhaus aesthetic is the Bauhaus building in Dessau, designed by Walter Gropius in 1926. This striking structure, with its clean lines, expansive windows, and use of innovative materials like glass and steel, embodied the school's commitment to modernist principles. The building's design was not only aesthetically pleasing but also highly functional, with spaces that were designed to facilitate the school's interdisciplinary approach to learning and creating.The influence of the Bauhaus can be seen in countless aspects of modern design, from the sleek, minimalist furniture of Mies van der Rohe to the bold, geometric patterns of Anni Albers' textiles. The school's legacy can also be felt in the work of contemporary designers who continue to draw inspiration from the Bauhaus' commitment to innovation, functionality, and social responsibility.In the decades since the Bauhaus was forced to close its doors in 1933 due to political pressure from the Nazi regime, the school's ideas and principles have continued to shape the way we think about design and its role in shaping our world. The Bauhaus' emphasis on interdisciplinary collaboration, practical functionality, and social responsibility has become a touchstone for designers and architects who are committed to creating a better, more sustainable future.As we look to the future, it is clear that the Bauhaus' legacy will continue to be felt in the work of designers, architects, and artists who are dedicated to pushing the boundaries of what is possible. Whether through the creation of innovative new products, the design of sustainable buildings, or the exploration of new artistic mediums, the Bauhaus' spirit of innovation and social responsibility will continue to inspire and guide those who are committed to shaping a better world.。
工业设计包豪斯设计外文翻译
毕业设计（论文）外文文献翻译译文题目 德国包豪斯设计与未来设计趋势专 业 工业设计 班 级 1班 姓 名 朱 灿 学 号 2011403030123 指导教师 郭庆机械工程学院JINGCHU UNIVERSITY OF TECHNOLOGYGermany Bauhaus design and Future Design Trend【Abstract】German Bauhaus had a significant influence on the modern design education, meanwhile, it established the foundation of the leading position in the world for German industrial design. Through analyzing on current industrial design conditions from different countries, art design is considered as the main part of industrial design. This paper reviewed the last 10 years’ development of industrial design program in Zhejiang University of Science and Technology. The industrial design program have taken considerable achievements in many fields, such as the practice of Germany model, disciplines construction, teaching reform, manufactures & college cooperation, project teaching and design competitions. And You cannot ignore the industrial design ten trend 【Keywords】Bauhaus, industrial design, project teaching, practice ，10 Industrial Design Trends1. German Bauhaus and industrial designIn 1919, the Bauhaus school had been built in Weimar, Germany. This have been called the “cradle of world industrial design”, the milestone in the art design history. Bauhaus believed that the foremost thing is letting the students explore their own design ways, rather than just teaching them the teachers’ ways; developing students’ in dependent and critical thinking ability rather than imposing certain design styles on them. Compared with other design schools that had similar education philosophies, Bauhaus had distinctive education philosophy. It took thorough reform on the traditional art design education system and established art design as a new professional discipline. Meanwhile, Walter Gropius, the founder of Bauhaus made “Unity of art and technology” as the dominant design education philosophy.One of Bauhaus initiative works is purifying the forms of general industrial products. Bauhaus stressed that the product forms should be designed based on basic geometric patterns such as cubes, squares and circles. The product forms and outlines should be simple and varied in different way s and follow abstract form principles and aesthetics. Because Bauhaus’s brave and aggressive exploring and reform, it took significant key influence on the forming of Modernism Art Style and made the Bauhaus design a world-wide reputation. Therefore Bauhaus became the milestone of modern art design history.American artist Joseph Sinel first mentioned the term of Industrial design in 1919. However in China, until 1983, the Ministry of Education had conformed industrial design discipline as the sample major of general colleges. The original name of the major is “Product Forming” for art students. In 1998 the national major category had been adjusted to be integrated into the international conventions. The “Product forming” major had removed the focus from th e product forms to the area of researching the human-product-environment relationships. The name had been replaced by “Industrial design” and the major had been set for both engineering and art education schools.Bauhaus had many top European artists at that time, such as Itten, Kandinsky, and Klee etc. They are famous abstract painters. Their teaching cultivated the Bauhaus students and contributed to the 20’s century art design. Most of famous industrial designers such as Philippe Starck, Marc Newson and yves béhar are graduated from the art design schools. Their success proved that the art design education is effective for industrial design education. The product form design is still an important aspect in undergraduate industrial design studies and the industrial design is an important component of current famous art design schools.Royal College of Art Norwegian Institute of Art and Design University of Duisburg-Essen, Politecnico di Milano, Hannover University of Applied Sciences and Arts (FH Hannover), their industrial design departments are belong to art and design schools.America: According to a survey of IDSA (The Industrial Designers Society of America) in 1998, there are 49 institutes that have industrial design undergraduate or graduate programs registered in IDSA list. Typical industrial design majors usually are set in art schools, which can grant bachelor degree in fine arts or science. Most of them got the certification of NASAD (National Association of Schools of Art and Design). Only 15 in the 49 schools did not get the certification. IDSA declared that 5 years later, only the certified the industrial design majors can get be recognized. There are 37 industrial design majors in universities, 6 in design colleges, 4 in art schools. This situation did not vary in current years.Asia: In Japan, industrial design majors also set in art schools or independent industrial design faculties, such as Tokyo Zokei University, Musashino Art University, Tama Art University, and University of Tsukuba etc. In Hongkong, The Hong Kong Polytechnic University has famous industrial design programs. In Taiwan, Shih Chien University, National Cheng Kung University,National Yunlin University of Science & Technology have famous industrial design programs. In mainland of China, Jiangnan University, Tsinghua University, Hunan University, Tongji University and the Guangzhou academic of fine arts all have their industrial design departments in the art design schools or departments.2 .10 Industrial Design Trends You Can't Ignore2.1Design For A CauseCompanies including Herman Miller and American Apparel are promoting their ideals through design. Yves Béhar's leaf lamp for Herman Miller (shown) uses a biomorphic grid of LEDs, which consume 40% percent less energy than fluorescent lights and last for 100,000 hours. And Nike plans to make its entire footwear line out of sustainable materials by 2010.2.2SimplexitySteve McCallion, executive creative director of Portland, Ore.-based industrial design firm Ziba Design, says there's a trend toward "simplexity," products that have many functions but are approachable, ergonomically correct and easy to use--like Apple's iPhone. The baby boomers have also propelled simplexity; as the generation ages, the need for easy-to-use, at-home medical equipment becomes greater. Ami Verhalen, director of industrial design at Madison, Wis.-based Design Concepts, says that in-home health care will be a huge driver for product innovation in theupcoming decade.2.3PersonalizationFrom Nike ID shoes to Build-a-Bear teddies, retailers are adding a "build your own" element to brands. Do it yourself--or DIY--serves as an important element of this trend. Publications like Ready Made magazine and books like designer Wendy Mullin's Sew U encourage consumers to put their own spin on things.2.4GlobalizationLike other industries, outsourcing has affected international design. Today a designer in Delhi might be working with a manufacturer in Columbus. Steve McCallion says that the globalization of product design has created Internet communities that enable more people to participate in the design process. Companies like Kid Robot can employ toy designers from Tokyo to Tucson with greater ease than ever.2.5OrnamentationIn fashion design, we're seeing a return to minimalism, but in home decor, ornate details are in fashion. For the first time in decades, wallpaper is in fashion, and the details are rich--brocades, velvets and jewel-tone colors. Long-forgotten textile designers like Florence Broadhurst and Vera Neumann are receiving attention from a new generation of design-savvy consumers.2.6Polarization Of DesignBig-box or luxury retailer? Many experts say that design has been polarized, with innovative products available at both the very high end (Neiman Marcus, Moss) and the very low end (Target, Ikea). Meanwhile, midrange retailers like Macy's suffer from lack of fresh, on-trend ideas. That isolates the huge chunk of the population that can afford something higher-end than the $200 Malm bed at Ikea but scoff at the price of a $16,000 Hastens mattress.2.7Pink DesignGadgets are a guy's game, right? Not if you consider the latest products with feminine mystique. Motorola released a lipstick pink Razr cellphone, and more recently, LG released a Prada phone. More and more manufacturers are creating sleeker, feminized versions of their clunky, chunky products, and both men and women are biting. Want proof of the feminization of product design? Just check out , which rates several items a day as "Geek chic" or "Just Plain Geeky."2.8Mass ImperfectionSome designers are creating intentionally flawed pieces, like designer Jason Miller's duct tape chair or Bodum's Pavina glassware collection, which uses mouth-blown double-walled glass, giving each piece a slight variation in height, thickness and weight. Whiskered and weathered textiles--on denim as well as furniture and tapestries--are more recognizable examples of intentional imperfection in production.2.9CraftAs mass retailers like Target become more design-focused, there's a countertrend of independent manufacturers and designers creating one-off, heirloom pieces. Where to find these limited-edition treasures? Artisan e-commerce sites like , classical craft companies like Heath Ceramics and modernist design houses such as Design Within Reach.2.10Focus On The Other 90%Anthony Pannozzo, vice president of design strategy at Waltham, Mass.-based firm Herbst LaZar Bell, says that well-designed products are available to only 10% of the world's population. However, more and more designers are starting to cater to consumers in Africa, Asia and Latin America.【References】[1] S Z Wang. “A History of Modern Design”, China Youth Press, Beijing, 2002[2] D.S. Yang. “A Discussion of The Differences in Industrial Design Education between China and Germany from th e Workshop Project Practice”, Journal of Hefei University (Natural Sciences), 2006:21-22[3] Rosson M.B, J.M.Carroll. “Usability Engineering: Scenario-Based Development of Human-Computer Interaction”, San Francisco:Morgan Kaufmann, 2002[4] Kevin N. Otto, Kristin L Wood. “Product Design: Techniques in Reverse Engineering and New Product Development”, Tsinghua University Press, Beijing, 2003[5]《industrial design history》Herenke Beijing Institute of Technology Press[6]《The modern history of design》Wangshouzhi China Youth Press[7]《Product System Design》Wuxiang China Light Industry Press[8]《Design of products》magazine[9] L. Axon, K. Garry etc.，An Evaluation of CFD for Modeling the Flow Around Stationary and Rotating Isolated Wheel, SAE 980034[10] N. Horinouchi, Y. Kato etc., Numerical Investigation of V ehicle Aerodynamics with Overlaid Grid System, SAE 950628[11] U. B. Mehta, Some Aspects of Uncertainty in Computational Fluid Dynamics Results, Journal of Fluids Engineering Transactions of the ASME, Dec. 1991, V ol. 113, pp538 - 543[12] STAR-CD User Guide Version 3.10, Computational Dynamics Limited 1999[13] STAR-CD Tutorial Manual V ol. 1 Tutorial 1 ~ Tutorial 7 Version 3.10, Computational Dynamics【中文翻译】德国包豪斯设计与未来设计趋势摘要德国包豪斯有显著的影响,与此同时,现代设计教育奠定了基础,它处于世界领先地位的德国工业设计。
包豪斯简介 英文版Bauhaus
BauhausThe Bauhaus is the best-known school of art,design and architecture of the twentiethcentury. Among its staff and students wereleading pioneers of early modernism in allareas of the arts and crafts, and the impact oftheir work and ideas has been felt in Europeand the United States for many years.Intended to represent a fresh start afterWorld War I, the school opened in 1919 underthe direction of the architect Walter Gropius, inthe buildings of the Weimar Academy of Art.In 1925 it moved to Dessau, a city withstronger industrial links, in new buildingsdesigned by Gropius. After being closed by thegovernment, the Bauhaus, now under Mies vander Rohe, operated in Berlin in 1932-3, until itwas closed once again by the Nazis.Extending the thinking of leading figures inthe Arts and Crafts movement in Britain suchas William Morris, C.R. Ashbee and W.R.Lethaby, Gropius hoped to reunite the fine and applied arts in the aftermath of the war. He attracted an impressive range of established artists to form the initial staff, including Wassily Kandinsky, Lyonel Feininger and Paul Klee(once a member of Der Blaue Reiter). Although these teachers were not architects, the school's aim was that all students should graduate in architecture, for it was believed that this discipline encapsulated(囊括) all other areas of art and design: In their first year students pursued the Vorkurs（预备课程）, or foundation course, after which they studied in a workshop dedicated to materials, investigating wood, metal, weaving, ceramics and printing. In fact many graduated as designers in these fields rather than in architecture.The foundation course, taught initially by Jahannes Itten, then Laszlo Moholy-Nagy after 1923, was crucial in establishing a common approach among the students. Emphasis was placed on examining the formal and physical properties(特征) of materials in order tofind principles of design that would respect the axiom（原则、公理）"truth to materials". Consequently, abstract ideas of texture, volume, form, space, color, transparency and extension became a shared visual language across diverse media, and helped to shape a recognizable "Bauhaus approach".One continuing question at the school was how designs could be adopted by industry. The original emphasis on the crafts changed after 1923, when there was a drive to find industrial sponsorship and to view the work carried out in the workshops as prototypes serving industrial manufacture. Some workshops achieved better results than others in this goal, and among the successful items produced were lamps, industrial glass, woven textiles, wallpaper, furniture and graphic designs.The first printed graphic works reflected the bias towards craft in the school's early years and the output consisted of artists' portfolios, largely of prints by teachers, often in Expressionist styles. By the time of the first major exhibition of all Bauhaus products, held in Weimar in 1923, the catalogue showed the influence of the Dutch De Stijl movement and Russian Constructivism. The cover, designed by Herbert Bayer, and theinterior layout, by Moholy-Nagy, used the sans-serif typefaceVenus Grotesk, in black and red inks, and the text was arrangedin blocks of asymmetrical type. This very modern appearancesignalled the beginning of a stable alliance between the "newtypography" and the Bauhaus.The school was extremely successful in self-promotion,publishing a magazine at various stages of its existence and,most importantly, a series of volumes, the Bauhausbiicher(Bauhaus books), from 1925. Through both these publications the writings of Bauhaus staff and other international modernist designers and architects were disseminated, and in addition a modern typographical style became firmly associated with the school.In the teaching of graphic design, Moholy-Nagy, Bayer and Joost Schmidt subscribed to the "rationalization" movement, which was popular in modernist circles at the time. All graphic designs were interpreted as "industrial" design, and, in tune with the school's expressed commitment to functionalism, were expected to use sans-serif typefaces, while asymmetry and primary colours were also advocated. Photography and photomontage werethe preferred media for illustrations. Paper in DIN, or German Industry Standard, sizes was to be used.In the late 1920s an awareness of how visual communication was changing, particularly in the United States, prompted lectures on economics, marketing psychology and advertising science to encourage students to think about the non-visual aspects of design. This modern approach to graphic design led to exhibition design being considered a natural extension of it. Bayer was very successful in this field, devising new methods for displaying furniture and other industrial goods, as well as making original use of photography and typography.The axiom "form follows function", promoted by Gropius, was intended to show that the school would not adhere slavishly to one style. Nevertheless, it is possible to detect a common Bauhaus approach or style, and indeed its development was perhaps inevitable given the shared curriculum and close exchange between staff and students.The full implications of the Bauhaus philosophy could not be realized because of the political situation in Germany. Many of the staff emigrated, most to the United States. Among these, Moholy-Nagy became director of the unsuccessful New Bauhaus: American School of Design in Chicago in 1937-8. Over the following years Bayer, Gropius, JosefAlbers and Marcel Breuer introduced modernist design principles tothe teaching of design in America.。
包豪斯宣言内容
包豪斯宣言内容包豪斯宣言：艺术与科技的融合包豪斯宣言是包豪斯学派的创始人华尔特·格罗皮乌斯发表于1919年的一份宣言，宣言中提出了包豪斯学派的理念和目标。
包豪斯学派是20世纪初德国最具影响力的艺术与设计学派之一，通过将艺术与科技相结合，追求实用性和美学的统一。
在这篇文章中，我们将探讨包豪斯宣言的核心理念，并分析其对现代设计的影响。
包豪斯宣言强调了艺术和科技的融合。
它认为艺术应该服务于人类生活的现实需求，而科技则提供了实现这一目标的工具。
包豪斯学派主张将艺术应用于日常生活的方方面面，从家具、建筑到服装和工业制品等各个领域，使人们的生活更加美好和便利。
包豪斯学派的核心理念是“形式追随功能”。
在包豪斯学派的设计中，形式和功能是紧密结合的，设计师注重实用性和功能性，而不是追求华丽的装饰。
设计应该简洁、纯粹，摒弃一切不必要的修饰，以实现最优化的功能。
在包豪斯宣言中，格罗皮乌斯还提到了“真实的建筑”和“新工业”。
他认为建筑应该是真实的，即建筑的形式应该直接反映其功能和结构。
同时，包豪斯学派提倡使用新材料和新技术，充分发挥工业化的优势，以提高效率和质量。
包豪斯学派还强调了团队合作和综合性的培养。
在包豪斯学派的教育体系中，学生们接受全面的训练，不仅学习艺术和设计，还学习科学、技术和工程等相关知识。
这种综合性的培养使设计师能够在设计时考虑到实际的制造和施工过程，从而更好地将设计理念转化为实际作品。
包豪斯学派的影响远不止于德国本土。
它的理念和方法对整个现代设计产生了深远的影响。
包豪斯学派的简约风格和追求功能的理念被广泛应用于建筑、家具、工业设计等领域。
例如，现代建筑中常见的平面玻璃幕墙和简洁的线条设计，都可以追溯到包豪斯学派。
同时，包豪斯学派也倡导了可持续发展的理念，强调设计应该考虑环境和社会的可持续性。
总的来说，包豪斯学派的宣言提出了艺术与科技的融合，以及形式追随功能的理念。
这些理念不仅在当时引起了轰动，也对现代设计产生了深远的影响。
现代设计的摇篮——包豪斯58页PPT
71、既然我已经踏上这条道路，那么，任何东西都不应妨碍我沿着这条路走下去。——康德 72、家庭成为快乐的种子在外也不致成为障碍物但在旅行之际却是夜间的伴侣。——西塞罗 73、坚持意志伟大的事业需要始终不渝的精神。——伏尔泰 74、路漫漫其修道远，吾将上下而求索。——屈原 75、内外相应，言行相称。——韩非
16、云无心以出岫，鸟倦飞而知还。 17、童孺纵行歌，斑白欢游诣。 18、福不虚至，祸不易来。 19、久在樊笼里，复得返自然。 20、羁鸟恋旧林，池鱼思故渊。
现代设计的摇篮——包豪斯
Байду номын сангаас 谢谢你的阅读
格罗佩斯建立包豪斯的思想不是很明确。包豪斯宣言：要有团队精神、合作精神、“携起手来”
包豪斯1919年—1933年在德国成立的包豪斯学校，对现代艺术与设计理论、现代主义设计、现代设计教育体系、设计美学思想的发展都具有划时代的意义。
它的创始人——瓦尔特·格罗佩斯（又译作格罗皮乌斯），是个集理性与感性于一身的世界顶级设计师。
由于从小就生活在充斥着浓郁的艺术与设计气息的环境中，格罗佩斯拥有超凡的艺术设计细胞。
他的叔祖父是当地有名的建筑师，集中于理性，代表作是柏林工艺美术设计馆，而他的祖父是当地知名画家，集中于感性，在这样极度平衡的家庭环境背景下，为这个世界顶级大师奠定了良好的基础。
格罗佩斯在三年中，读了两个学校，但成绩很优异，都是A等级。
1911年的时候，格罗佩斯在他老师的推荐下接了一个很大的活，为一个鞋厂（即法克斯工厂）设计一个厂房。
该厂的负责人对于设计并没有要求，只要求①要省电；②承重要好；③快速建成。
格罗佩斯用窗户来达到省电的目的，他还查看了材料和力学的相关书籍与资料，并借鉴了水晶宫的拼接方法，缩短工期。
这座建筑完全把结构展露出来，是对理性的完美诠释，而且体现了结构就是美。
现代主义设计强调三点：①功能；②技术（即构造）；③形式，体现了构造就是一种形式。
该建筑使格罗佩斯成为世界顶级设计师，是敢于展现构造的第一人。
1914年，德国工业同盟总部交格罗佩斯设计，他把楼梯透明地展现出来。
该建筑中轴对称，完全透明，暴露结构，而且还集结了立体主义和功能主义与一身。
格罗佩斯格外喜欢构造和机器。
由于处在一战时期，他被征为骑兵团军官。
原本钟爱机器的他，看着战友被打死，开始对机器改观。
1915年，格罗佩斯受伤，这个时期形成了他思想的一个转折。
他的理想是“无政府主义”（即中国人所谓的无为而治），可以说这是知识分子们的理想主义，这奠定了格罗佩斯建立包豪斯的思想基础。
格罗佩斯在六个星期闪婚，他的妻子是马勒的夫人——阿尔玛。
阿尔玛一生有四个丈夫，分别是现代音乐奠基人古斯塔夫马·勒、世界顶级设计师格罗佩斯、表现主义代表沃宁、表现主义画家沃斯卡。
包豪斯教育口号
包豪斯教育口号1. 包豪斯教育，就像魔法棒，一点就把创意全点亮，管你是呆瓜还是迷茫小羊。
2. 包豪斯教育呀，那是创意的大染缸，不管你是啥色儿的布，进去都能染出超炫花样。
3. 包豪斯教育，好比超级火箭推进器，把你的艺术细胞加速到外太空去。
4. 包豪斯教育，像个疯狂大厨，把各种知识食材搅拌成超美味的创意大餐。
5. 包豪斯教育就像一阵龙卷风，卷走你陈旧的想法，留下崭新又酷炫的思维宝藏。
6. 包豪斯教育是个神奇的哆啦A梦口袋，掏出各种奇思妙想的宝贝给你脑袋。
7. 包豪斯教育宛如一个巨大的脑洞挖掘机，挖呀挖，挖出无尽的创意金块。
8. 包豪斯教育像一场思维的大爆炸，炸出的灵感碎片能拼成超级艺术大厦。
9. 包豪斯教育好似一把万能钥匙，打开任何一扇创意紧闭的大门，哪怕那门是铁打的。
10. 包豪斯教育就像超级赛亚人的能量提升器，让你的艺术小宇宙无限膨胀。
11. 包豪斯教育是个任性的创意魔法师，挥一挥魔杖，平凡想法就变成绝世佳作。
12. 包豪斯教育仿佛是创意的榨汁机，把生活的果实榨成最有滋味的灵感果汁。
13. 包豪斯教育像一个调皮的精灵，在你的脑海里撒下创意的魔法种子，然后疯长。
14. 包豪斯教育好比一个创意的蹦床，能把你的想法弹到前所未有的高度，比珠穆朗玛峰还高。
15. 包豪斯教育是个创意的大熔炉，把所有的艺术元素融化重铸，变成超酷的创意兵器。
16. 包豪斯教育像一阵搞怪的创意风，吹得你那些老套想法东倒西歪，然后换上新潮的。
17. 包豪斯教育就像一个无限扩容的创意硬盘，能装下你所有疯狂的艺术构思，比宇宙还能装。
18. 包豪斯教育宛如一个超强力的创意打气筒，给你那瘪瘪的创意气球吹得比热气球还大。
中英双语包豪斯著名设计师及其作品简介工业设计专业英语教学文稿
为了保证最大的使用灵活性和存储易用性， Kubus采用了耐热工业玻璃。它由七个大小不同可互 换盖子的可堆叠的玻璃容器组成，用于在冰箱、餐具 室和厨房中使用。
In this modular system, the containers can be used
either together as a unit or individually as needed. Wagenfeld's Kubus system, which was mass produced and widely available, exemplifies the Bauhaus commitment to industrial production of well-designed standardized forms at affordable prices.
1931-1935年，他被委任为柏林的国立美术学院的 教授。离开包豪斯后，他又设计了不少广受消费者喜 爱的产品，其中最成功的是他于1935年创作的模块化 的玻璃存储容器Kubus。
Made of heat-resistant industrial glass, Kubus is
designed for maximum flexibility of use and ease of storage. Consisting of seven separate, stackable units of variable sizes and interchangeable lids, the Kubus containers were created for use in the refrigerator and pantry, or on the kitchen table.
【精品】包豪斯27页PPT
41、学问是异常珍贵的东西，从任何源泉吸 收都不可耻。——阿卜·日·法拉兹
42、只有在人群中间，才能认识自 己。——德国
43、重复别人所说的话，只需要教育； 而要挑战别人所说的话，则需要头脑。—— 玛丽·佩蒂博恩·普尔
44、卓越的人一大优点是：在不利与艰 难的遭遇里百折不饶。——贝多芬
4】包豪斯
1、战鼓一响，法律无声。——英国 2、任何法律的根本；不，不成文法本 身就是 讲道理 ……法 律，也 ----即 明示道 理。— —爱·科 克
3、法律是最保险的头盔。——爱·科 克 4、一个国家如果纲纪不正，其国风一 定颓败 。—— 塞内加 5、法律不能使人人平等，但是在法律 面前人 人是平 等的。 ——波 洛克
包豪斯历史(英文)
包豪斯名言
包豪斯名言1.包豪斯宣言的基本内容由格罗皮乌斯起草的“包豪斯宣言”是现代设计的重要文献，也是现代设计教育的最高纲领：“完美的建筑乃是视觉艺术的最终目标。
艺术家崇高的职责是美化建筑。
……建筑家、画家和雕塑家必须重新认识：一幢建筑是各种美感共同组合的实体。
只有这样，他的作品才可能注入建筑的精神，免于沦为可悲的‘沙龙艺术’”。
“建筑家、雕塑家和画家们，我们都应当转向实用美术。
”“艺术不再是一个专门的职业。
艺术家和工艺技师之间并没有什么根本的区别。
艺术家是一个能够随心所欲的工艺技师，上帝赐予的灵感使他的作品变成了艺术。
然而，工艺技术的熟练对每一个艺术家来说均不可或缺，真正的创造力、想象力的源泉就是建立在这个基础之上的。
“让我们建立起一个新的设计家组织。
在这个组织里绝对没有那种足以使工艺技师与艺术家之间立起屏障的阶级观念。
同时，让我们共同努力，用我们的双手建造起一幢将建筑、雕塑和绘画结合成三位一体的、新的未来殿堂，并且以千百万艺术工作者的双臂，将它矗立在云霄，使它成为一种新信念的鲜明标志。
”。
2.包豪斯宣言的基本内容包豪斯（Bauhaus）1919年4月1日在德国魏马成立的一所设计学院，是世界上第一所为培养现代设计人才而建立的学院。
虽然仅存14年，但对德国乃至世界的现代设计及其教育的影响不可估量。
它在理论和实践上奠定了现代设计教育体系，培养出大批优秀的设计人才，成为20世纪初欧洲现代主义设计运动的发源地。
包豪斯经历了两个主要发展阶段：①魏马时期（1919一1924），②德骚时期（1925-1933），其名称根据学院所在地而来。
格罗佩乌斯（1919-1927年任职）是其创立者和第一任校长。
第二任校长是迈耶（1927-1930年任职）。
第三任校长是凡德洛（1931一1933年任职）。
他们都是当时德国著名建筑师、现代主义设计的先驱，对包豪斯的贡献极大。
20世纪初，在大工业迅速发展的推动下，欧洲各国的现代主义设计运动方兴未艾。
第第六章 包豪斯
• 让我们建立一个新的艺术家组织，在这个组织里面，绝对不存在 使得工艺技师与艺术家之间树起极大障碍的职业阶级观念。同时， 让我们创造出一栋将建筑、雕塑和绘画结合成为三位一体的新的 未来的殿堂，并且用千百万艺术工作者的双手将它耸立在云霞高 处，变成一种新的信念的鲜明标志。
格罗佩斯作品
德国法古斯工厂
舞台设计的重要项目有以施莱莫为中心、包豪斯学生和教员参加设计的 芭蕾舞《三人组合芭蕾舞》。这个剧于1922 年在斯图加特剧院第一次上演。一 共三名演员：两男一女，服装都是几何型的，好像木偶一样，具有强烈的形式 主义，特别是立体主义、表现主义特征。舞蹈动作也具有相当的象征特点。这 个剧后来经过进一步的修改，在包豪斯上演，得到学生和教员的欢迎。施莱莫 很快变成包豪斯最重要的教员之一。
克利的一个非常重要的成果是把理论课和基础课、创作课联系起来， 使学生得到最大的启发。因此，他也越来越受到学生的欢迎和爱戴，与 他初期情况完全不同了。
瓦西里·康定斯基
康定斯基来到包豪斯的时候是他艺术创作的高潮时期。他生于俄国，于19 世纪末、20 世纪初到慕尼黑学习艺术，毕业以后留在德国，成为德国表现主义 的重要成员之一1918 年俄国十月革命胜利以后，他曾经短期回国，参与了俄国 的早期试验艺术运动。1920 年，他为莫斯科艺术与文化学院起草教学大纲，受 到格罗佩斯的《包豪斯宣言》 的极大影响。在包豪斯的教员当中，他是从开始 就对这所学院的宗旨和目的了解最为透彻的一个。
奥斯卡·施莱莫
施莱莫与伊顿一样，也毕业于斯图加特艺术学院，也是表现主义画家阿 道夫·霍泽的学生。早期受毕加索和塞尚影响很大。第一次世界大战以前，已 经在舞台设计界工作，并且设计出几个得到好评的、具有表现主义特点的舞台 布景。他来包豪斯时期，正是他的表现主义绘画进入成熟的时期、他的大量的 作品都是以一个单独的人体为中心的变形表现，非常强调次序、结构，人物则 很象木偶。格罗佩斯请他主持包豪斯的雕塑工作室，把他的人体的创作特点和 结构次序性带到教学中去。但是，他对于包豪斯的最大影响却不是他的雕塑或 者壁画，而是他的舞台设计。1923 年，他被委任为舞台设计导师。
现代设计的摇篮——包豪斯
简史
主要设计思想 主要作品风格
包 豪 斯 的 三 个 历 史 阶 段
第二阶段(1925—1932年)德绍时期 校长：汉斯·迈耶
第三阶段(1932—1933年)柏林时期 校长：米斯·凡·德·罗
The history of industrial design
基本特征
基本情况
简史
主要设计思想
魏玛时期
主要作品风格
Bauhaus
BAUS
现代设计的摇篮——包豪斯
The history of industrial design
包豪斯宣言
让我们建立一个新的艺术家组织，在这个组织里面，绝对不存在使得 工艺技师与艺术家之间树起极大障碍的职业阶级观念。同时，让我们创造出 一栋将建筑、雕塑和绘画结合成为三位一体的新的未来的殿堂，并且用千百 万艺术工作者的双手将它耸立在云霞高处，变成一种新的信念的鲜明标志.
1、注重满足实用要求 2、注重发挥新材料和新结构的技术性能和美学性能 3、强调各门艺术之间的交流融合，提倡工艺美术和建 筑设计像抽象派绘画和雕刻艺术学习 4、将手工艺和机器生产结合起来 5、强调自由创造，反对模仿因袭、墨守陈规
简史 主要设计思想 主要设计风格
The history of industrial design
马塞尔·布劳耶（Marcel
Lajos Breuer,1902-1981））
概况
主要设计思想 作品
布劳耶出生于匈牙利，1920年曾在维也纳艺术学院学习，后成为包 豪斯的第一期学生，毕业后任包豪斯家具部门的教师，主持家具车间。
设计语汇
The history of industrial design
基本特征
7、培养了一批既熟悉传统工艺又了解现代工业生产方式与设计规律的专门人才， 形成了一种简明的适合大机器生产方式的美学风格，将现代工业产品的设计提高到了 新的水平。 The history of industrial design
包豪斯设计风格英文版
• The third stage ( 1932 - 1933), the Berlin times. L Mies van der Rohe's the school moved to Berlin in an abandoned office building, trying to rally, due to Nazi Germany Bauhaus spirit must face, just came to power of the Nazi government, Smith finally irretrievabl, announced in August that year Bauhaus closed permanently. In 1933 November the Bauhaus was closed, had to end its development course of 14 years.
• June 1922, Gropius hired Wassily Kandinsky ,by reason of his scientific theories from the course to teaching back on track. October 1922, Gropius publicly discouraging Eden resigned, and in 1923 by Midrash Luo friction load in that base (László Moholy-Nagy) to replace his position, in Paul Klee, Kandinsky and that the base of the teaching efforts of the Bauhaus style and gradually move toward rationalism and constructivism.
德意志制造同盟包豪斯乌尔姆共37页
40、学而不思则罔，思而不学则殆。——孔子
德意志制造同盟包豪斯 乌尔姆
6、纪律是自由的第一条件。——黑格 尔 7、纪律是集体的面貌，集体的声音， 集体的 动作， 集体的 表情， 集体的 信念。 ——马 卡连柯
8、我们现在必须完全保持党的纪律， 否则一 切都会 陷入污 泥中。 ——马 克思 9、学校没有纪律便如磨坊没有水。— —夸美 纽斯
10、一个人应该：活泼而守纪律，天 真而不 幼稚， 勇敢而 鲁莽， 倔强而 有原则 ，热情 而不冲 动，乐 观而不 盲目。 ——马 克思
谢谢！
、自己的鞋子，自己知道紧在哪里。——西班牙
37、我们唯一不会改正的缺点是软弱。——拉罗什福科
xiexie! 38、我这个人走得很慢，但是我从不后退。——亚伯拉罕·林肯
39、勿问成功的秘诀为何，且尽全力做你应该做的事吧。——美华纳
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
Bauhaus manifesto 1919The complete building is the final aim of the visual arts. Their noblest function was once the decoration of buildings. Today they exist in isolation, from which they all can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew the composite character of a building as an entity. Only then will their work be imbued with the architectonic spirit that it lost when it became a "salon art." The old art schools were unable to achieve this unity and, after all, how could they, since art cannot be taught? They must be absorbed once more by the workshop.鲍豪斯建筑学派宣言1919完全大厦是视觉艺术的最后的目标。
他们最高尚的作用曾经是大厦的装饰。
今天他们存在于隔离，可以通过所有工匠神志清楚，合作成果他们全都仅被抢救。
建筑师、画家和雕刻家必须重新认可大厦的综合字符作为个体。
然后只愿他们的工作灌输以它丢失的建筑精神，当它成为了“沙龙艺术”。
因为艺术不可能被教，老艺术学校怎么无法达到这团结和，终究能他们？必须由车间更加吸收他们。
This world of designers and decorators, who only draw and paint, must finally become one of builders again. If the young person who feels within him the urge to create again, as in former times, begins his career by learning a handicraft, the unproductive artist will, in the future, no longer remain condemned to the creation of mediocre art, because hisskill will redound the benefit of the handicrafts, in which he will be able to produce things of excellence.这个世界的设计师和装修，只绘制和油漆，必须最后的建设者之一再次成为。
如果年轻的人在他的感觉再次，创建前时代的冲动通过学习工艺品开始他的职业生涯，非生产性的艺术家，在将来，不再仍注定平庸的艺术，因为他的技术将增进效益的手工艺品，其中他将能够生产出卓越的东西。
Architects, sculptors, painters, we must all turn to the crafts! Art is not a profession.There is no essential difference between the artist and the craftsman.The artist is an exalted craftsman. In rare moments of inspiration, moments beyond the control of his will, the grace of heaven may cause his work to blossom into art. But proficiency in his craft is essential to every artist. Therein lies a source of creative imagination.建筑师、雕塑家、画家，我们必须转向工艺品！艺术不是一种职业。
没有本质的区别，艺术家和工匠之间。
这位艺术家是崇高的工匠。
在罕见的瞬间的灵感，将超出他的控制范围的时刻，天堂的恩典，可能会导致他开花到艺术的工作。
但在他的工艺水平非常重要，每一位艺术家。
这就是想象力的一个创造性的来源。
Let us create a new guild of craftsmen, without the class distinctions that raise an arrogant barrier between craftsman and artist. Together let us conceive and create the newbuilding of the future, which will embrace architecture and sculpture and painting in one unity and which will rise one day toward heaven from the hands of a million workers, like the crystal symbol of a new faith.WALTER GROPIUSThe National Bauhaus at $2 grew out of the merger of the former $2 $2 $2 of Graphic Arts and the $2 $2 $2 of Arts and Crafts,with the addition of a new department for architecture.Objectives of the Bauhaus. 让我们创建工匠，没有提高傲慢自大的屏障，工匠和艺术家之间的等级划分的新的会馆。
让我们一起设想，创建新大楼的未来，这会拥抱建筑和雕塑与绘画在一个统一和这将增加向天一天从手中万名工人，像水晶符号的一种新的信仰。
瓦尔特·格罗佩斯国家豪斯在$2 产生的合并前的2 元 2 元图形艺术的 2 元和美元2 元 2 元 2 艺术和工艺品，加上的一个新部门的体系结构。
包豪斯的目标。
The Bauhaus strives to reunite arts and crafts – sculpture, painting, applied art, and handicrafts –as the permanent elements of a new architecture.The ultimate, though distant aim of the Bauhaus is the Einheitskunstwerk (Uniform Work of Art) – the great construction that recognizes no boundaries between monumental and decorative art. The Bauhaus wants to educate architects, painters and sculptors of all sorts to become qualified craftsmen or independent creative artists. It also aspires to establish a study group of leading artists who will be able to design buildings in their entirety – from rough brickwork to completion, including embellishments and furnishings that reflect a similar spirit and unity.包豪斯致力为团聚工艺品——雕塑、绘画、应用的艺术和手工艺品——为永久元素的一种新的体系结构。
最终，虽然远目标的包豪斯是Einheitskunstwerk （统一艺术作品）——伟大的建设，承认没有纪念性和装饰艺术之间的边界。
包豪斯希望能教导建筑师、画家和雕塑家的各种成为合资格的技工或独立创作艺术家。
它还渴望建立领先的艺术家，就能设计建筑物的全部——从粗糙的砖砌完成，包括修饰和家具，反映了一个类似的精神和团结的一个研究小组。
Principles of the Bauhaus.Art in itself is beyond all methods; it cannot be taught. However, one can teach a trade. Architects, painters, sculptors are artisans in the true sense of the word, therefore the thorough mechanical training of all such students in workshops is an indispensable foundation for all creative activities. (Their own workshops should be completed radually,and apprenticeships should be entered into with outside workshops.) The school is the servant of the workshop.One day the two will merge into one. Therefore there are no teachers and pupils at the Bauhaus, but masters, journeymen, and apprentices.包豪斯的原则。
艺术本身是超越所有的方法；它是不能教的。
然而，人能教的贸易。
建筑师、画家、雕塑家词的真正意义上的工匠，因此所有这类学生在工作坊中彻底的机械训练是不可或缺的基础，所有的创造性活动。