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The Bauhaus School building in Dessau, where the institution was based between 1925 and 1932.

Bauhaus was a German school of design and subsequent art movement in the early twentieth century that married fine art and functionality in the visual arts, decorative arts, and architecture. The modern design aesthetics of the Bauhaus school include minimalistic, functional designs, and experimenting with shape.

包豪斯是二十世紀早期德國設(shè)計學(xué)派和隨后的藝術(shù)運動，它結(jié)合了視覺藝術(shù)、裝飾藝術(shù)和建筑中的美術(shù)與功能。包豪斯學(xué)派的現(xiàn)代設(shè)計美學(xué)包括極簡主義、功能性設(shè)計和對形狀的嘗試。

Architect Walter Gropius founded the Staatliches Bauhaus in 1919 in Weimar, Germany. Gropius taught his students to eliminate the distinction between the so-called 'fine’ arts and 'applied’ arts, viewing fine artists and craftsmen as equal. The professors at the Bauhaus school taught their students to prioritize the elements of design above all else and bring creativity back to manufacturing.

1919年，建筑師沃爾特·格羅皮烏斯在德國魏瑪創(chuàng)立了包豪斯。格羅皮烏斯教導(dǎo)他的學(xué)生消除所謂的“純藝”和“應(yīng)用”藝術(shù)之間的區(qū)別，平等地看待純藝藝術(shù)家和手工藝人。包豪斯學(xué)校的教授們教導(dǎo)他們的學(xué)生要把設(shè)計元素放在首位，并把創(chuàng)造力帶回到制造業(yè)。

Here is a reproduction of Bauhaus founder Walter Gropius’ original diagram of the Bauhaus curriculum.

Education at the Bauhaus School was diverse and hands-on, spanning building theory, carpentry, ceramics, fine art, graphic printing, glass and mural painting, weaving, geometry, mathematics, business administration, metal, photography, printing and advertising, and plastic arts. Even parties and stage performances were part of the curriculum, with students encouraged to experiment in costume and stagecraft.

包豪斯學(xué)院的教育是多元化和動手實踐，包括建筑理論、木工、陶瓷、美術(shù)、平面印刷、玻璃和壁畫、編織、幾何、數(shù)學(xué)、工商管理、金屬、攝影、印刷和廣告以及造型藝術(shù)。甚至派對和舞臺表演也是課程的一部分，學(xué)生們被鼓勵嘗試服裝和舞臺藝術(shù)。

Whereas a conventional education for an artist might focus on brush technique and paint mixing, a Bauhaus teacher would direct the student to study the fundamentals of colour and form, and encourage experimentation across a whole range of materials and disciplines. 

傳統(tǒng)的藝術(shù)教育可能側(cè)重于畫筆技巧和顏料混合，而包豪斯的老師會指導(dǎo)學(xué)生學(xué)習(xí)色彩和形式的基礎(chǔ)知識，并鼓勵學(xué)生在各種材料和跨學(xué)科上進行實驗。

Here is a reproduction of Bauhaus founder Walter Gropius’ original diagram of the Bauhaus curriculum. Students entered the preliminary course, covering “elementary form” and basic “studies of materials”. Over the next three years, students were encouraged to experiment in many media, and only after this formation in the fundamentals were the best students allowed to enter the core architecture course.

這是包豪斯創(chuàng)始人沃爾特·格羅皮烏斯的原始課程圖的復(fù)制品。學(xué)生進入的預(yù)備課程，涵蓋“初級形態(tài)”和“基礎(chǔ)材料學(xué)習(xí)”。只有在預(yù)備課程完成之后，最優(yōu)秀的學(xué)生才被允許進入核心建筑課程，在接下來的三年里，學(xué)生被鼓勵在多種媒介上進行實驗。

What set the Bauhaus school apart, though, wasn't so much what they studied, but their new ideas about how to teach and learn. The essence of this philosophy is set out in a brief manifesto by Gropius in 1919:

然而，讓包豪斯學(xué)派與眾不同的，并不是他們學(xué)了什么，而是他們關(guān)于如何教學(xué)和學(xué)習(xí)的新理念。格羅皮烏斯在1919年的一份簡短宣言中闡述了這種哲學(xué)的精髓:

The art schools [...] must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive 'artist' will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence. Architects, sculptors, painters—we all must return to craftsmanship!

藝術(shù)學(xué)校[…]必須返回車間。這個由繪圖師和應(yīng)用藝術(shù)家用單純的草圖和繪畫組成的世界終將成為一個建筑的世界。當(dāng)一個年輕人感覺到內(nèi)心對創(chuàng)造力的愛時便開啟了他的職業(yè)生涯,就像過去一樣,通過學(xué)習(xí)貿(mào)易,沒有價值的“藝術(shù)家”將不再被判定為不完美的藝術(shù)實踐者,因為他的技能現(xiàn)在能夠保存在工藝品里,一個讓藝術(shù)家實現(xiàn)價值的地方。建筑師、雕塑家、畫家——我們都必須回歸手工藝!

Wilhelm Wagenfeld’s original 1923 lamp

Some of the items created by Bauhaus students during this period have become iconic, and Bauhaus forms are often found repeated or imitated in today’s furniture and appliances. For example, here is Wilhelm Wagenfeld’s original 1923 lamp, created while he was a student at the Bauhaus, alongside a reproduction still available through retailers today.

包豪斯學(xué)生在這一時期創(chuàng)作的一些作品已經(jīng)成為標志性物件，在今天的家具和電器中經(jīng)常被重復(fù)或模仿。例如，這是威廉·瓦根菲爾德(Wilhelm Wagenfeld) 1923年在包豪斯(Bauhaus)讀書時創(chuàng)作的原裝燈，還有一盞復(fù)制品，如今在零售商里仍能買到。

Marianne Brandt’s teapot from ca. 1924. 

1. Go back to basics 回到基礎(chǔ)

One of the great insights of the Bauhaus movement is to recognise that creative education is about more than passing on and refining technical knowledge or skills. 

包豪斯運動的偉大見解之一是認識到創(chuàng)意教育不僅僅是傳遞和提煉技術(shù)知識或技能。

Google is full of brilliant answers to every “how to” query. But when it comes to solving our own design problems, we need more than a how-to guide. By going back to the fundamentals of colour, form, and meaning in design, we connect with the basic elements of our craft, and free ourselves to be more inventive and to respond authentically to the design problem that we are called to solve.

谷歌是對每一個“如何做”的查詢都充滿了聰明的答案。但當(dāng)涉及到解決我們自己的設(shè)計問題時，我們需要的不僅僅是如何操作的指南。而是通過回到色彩、形式和意義的基本原理中，讓我們與工藝品里的基本元素聯(lián)系起來，并解放自我達到更豐富的創(chuàng)造力，對我們需要解決的設(shè)計問題做出真實的回應(yīng)。

Josef Albers’ nesting tables (ca 1927). Right: “Kilo” nesting tables, available through UK retailer Habitat (2016)

2. Form follows function 形式服從功能

“Form follows function” is now an article of faith for designers, but that wasn’t always the case. The Bauhaus School rejected the purely “ornamental” role that they felt the visual arts had acquired. 

“形式服從功能”是如今設(shè)計師的信條，但情況并非總是如此。在當(dāng)時，包豪斯學(xué)派拒絕認為——視覺藝術(shù)獲得的純粹的“裝飾”角色。

This feeling only became more widespread during the Bauhaus period: notably, in 1936, the early critical theorist Walter Benjamin wrote about how mechanical reproduction could rob art of its critical power. Breaking with the widespread ornamentation and ornateness that characterised art, design, and architecture in the early 1900s, the Bauhaus strove for rational solutions to design problems. 

這種感覺在包豪斯時期變得更加普遍：值得注意的是，在1936年，早期的批判理論家沃爾特·本杰明(Walter Benjamin)寫道，機械復(fù)制可能會剝奪藝術(shù)的批判力量。在20世紀早期藝術(shù)、設(shè)計和建筑廣泛分布著裝飾和華麗的特點，與之不同的是包豪斯力求理性地解決設(shè)計問題。

This meant stripping away the intricate and floral decorations of the late nineteenth century. In their place, the Bauhaus School required students to reflect and enhance an object’s function, without adding decorative elements for their own sake. We can see this simplicity and rationalism in Josef Albers’ geometrical nesting tables。

這意味著要剝?nèi)?9世紀晚期錯綜復(fù)雜的花卉裝飾。取而代之的是，包豪斯學(xué)派要求學(xué)生反映和增強物體的功能性，而不是為了自我而添加裝飾元素。我們可以在Josef Albers的幾何嵌套表中看到這種簡單和理性（如上圖）。

1920s Bauhaus costumes

3. Break the rules 打破規(guī)則

The Bauhaus-Archiv explains that “one of the decisive qualities that the Bauhaus possessed was an ability to see diversions or even unsuccessful experiments as potentially necessary lessons and to derive corrections in its course from them.”

《包豪斯檔案》解釋說:“包豪斯具有一種決定性的品質(zhì)之一，就是能夠把娛樂，甚至是不成功的實驗看作是潛在的必要教訓(xùn)，并從中得到糾正?！?/p>

The Bauhaus School’s learning culture encouraged experimentation at a fundamental level. They stand to remind us that rules and conventions are there to be learned, but not always to be observed. Some design problems call for radical solutions that nobody but you believes in. 

包豪斯學(xué)院的學(xué)習(xí)文化鼓勵從根本上進行實驗。它們提醒我們，規(guī)則和慣例是需要學(xué)習(xí)的，但并不總是需要遵守的。一些設(shè)計問題需要激進的解決方案，除了你之外沒有人相信。

Marcel Breuer’s “Bauhaus Telephone”, ca 1928. Right: Dietrich Lubs’ ET 66 Calculator for Braun, 1987.

4. Think big even when your work is “small” 

即使你的工作“很小”，也要從大處著眼

The Bauhaus movement set out to change society, and it succeeded — by designing teapots, table lamps, and telephones. The Bauhaus-Archiv explains that, “starting in 1928, the college’s social aims intensified under Hannes Meyer; the solution was now summarized as 'people’s necessities, not luxuries’”. 

包豪斯運動成功的通過設(shè)計茶壺、臺燈和電話開始改變社會?！栋浪箼n案》解釋說，“從1928年開始，學(xué)院的社會目標在漢內(nèi)斯·邁耶的領(lǐng)導(dǎo)下得到強化;解決辦法現(xiàn)在總結(jié)為'人民的必需品，而不是奢侈品’”。

The Bauhaus anticipated a major theme of twentieth-century design — that the most serious site of design and transformation is not in grand projects (like designing an opera house), but in the stuff of everyday life. We see this in the domestic items designed by Dieter Rams and Dietrich Lubs for Braun from the 1950s onwards.

包豪斯預(yù)見了20世紀設(shè)計的一個重要主題——最嚴肅的設(shè)計和改造場所不是在大型項目(比如設(shè)計歌劇院)，而是在日常生活中。從20世紀50年代起，迪特爾·拉姆斯(Dieter Rams)和迪特里?！けR布斯(Dietrich Lubs)為博朗(Braun)設(shè)計的國內(nèi)產(chǎn)品中，我們可以看到這一點。

So even when our work as designers is “small”, we should still think big, even if we’re just doing a logo design for a friend’s hot dog stand. 

所以，即使我們作為設(shè)計師的工作是“小”的，我們?nèi)匀粦?yīng)該想大，哪怕我們只是在為朋友的熱狗攤做標識設(shè)計。

5. Get your hands dirty 把你的手弄臟

The Bauhaus School wanted to reunite the artist with their craft, and encouraged students to immerse themselves in the full range of materials and techniques available. 

包豪斯學(xué)校希望藝術(shù)家與他們的工藝品凝聚在一起，并鼓勵學(xué)生沉浸在各種可用的材料和技術(shù)中。

So, next time you need to print some business cards, before heading to an online print service, why not buy yourself a home screenprinting kit and do the job yourself? 

所以，下次你需要打印一些名片，在前往一個在線打印服務(wù)時，為什么不買一個家庭網(wǎng)印工具包，做一個自己做的作品?

The quickest and most effective way to learn about the constraints and potential of materials like paper and ink is to get our hands dirty and work with them ourselves.

要了解紙和墨水等材料的局限性和潛力，最快、最有效的方法就是親自動手去做。

內(nèi)容及圖片選自2021年8月19日的文章“Bauhaus Art Guide: The Legacy of the Bauhaus School” -作者：Jeff Koons；2016年10月3日的文章“Bauhaus School: Five Lessons For Today’s Designers” -作者：Andrew Wilshere.