室內(nèi)設(shè)計(jì)的歷史外文翻譯（原文）

1、 build) has a broader meaning in this context, implying creation of the kind that, in English, is simply called design. The Bauhaus devel- oped a new educational program that attempted to establish a relation between

2、 the emerging modernism of the fine arts and a broad range of design and craft fields, including architecture, town planning, advertising and exhibition design, stage design, photography and film, and the design of

3、objects in wood, metal, ceram- ics, and textiles—in short, what has come to be known as industrial design. The Bauhaus program began with an intro- ductory year of studies devoted to abstract design in two and three d

4、imensions, and stud- ies of materials, textures, and color that would form a sound basis for later specialization. Gro- pius recruited an extraordinary faculty that included a number of distinguished modern artists, s

5、uch as Paul Klee, Wassily Kandinsky, and Lyonel Feininger, and many other distin- guished teachers, such as Josef Albers, László Moholy- Nagy, and Marcel Breuer. In 1925 eco- nomic and political problems led

6、 to the closing of the Bauhaus at Weimar and its relocation to the industrial city of Dessau, in a new build- ing designed by Gropius (16.9). Completed in 1926, the Bauhaus building was an impres- sive grouping that e

7、mbodied Bauhaus ideals in both plan and aesthetic expression. The most striking part of the complex was a four- story block devoted to workshops where students could actually produce, at least in prototype, the

8、objects that they designed. Printed materi- als, woven textiles, furniture, ceramics, lamps, metal objects, stage scenery, and costumes were all turned out in the workshops and, whenever possible, manufacturers were

9、 persuaded to take on production of Bauhaus designs. A bridge across a public street contained a library and offices and formed a link to a classroom block. A low link element contained an auditorium and dining hall

10、; this led to a small dormitory unit where advanced students had studio bed- rooms, making it possible for them to live full time within the school. The striking appearance of the Bauhaus building resulted from the th

11、ree- story- high glass curtain walls of the shop block, the austerely ornament- free white walls of the other wings with their large ribbons of glass windows, and, for the dorm itory, tiny project- ing balconies w

12、ith tubular railings. The form of the building was derived from its plan; the roofs were flat in accordance with modern industrial practice. The resulting appearance was sternly functional —as shockingly disturbin

13、g to traditiona- lists as it was exciting to the new generation of modernists. The Bauhaus building and all similar modern works were described as being in the Inter- national Style by the historian and critic Henry

14、- Russell Hitchcock when he (with Philip Johnson) organized an exhibition of such work in 1932 at the Museum of Modern Art in New York. The term reflects the fact that modernism was not marked by the strong national

15、 differ- ences typical of earlier design history. As related work began to appear in France, Italy, Britain, and the Scandinavian countries, it became clear that such modernism was truly international. Interiors at t

16、he Bauhaus were as simple and functional as the exterior. Gropius designed a remarkable interior for the director’ s office, a study in rectilinear geometric form. Furniture and light fixtures designed by various Bau

17、haus students and instructors were used wherever possible, while the use of white, gray, and pri- mary color accents suggested the design of the De Stijl movement. The Bauhaus came under financial pressures and, with

18、 the hostility toward all avant- garde ideas that marked the rising Nazi movement, political pressures as well. Gropius resigned in 1928, to be succeeded by Hannes Meyer and, in 1930, by Mies van der Rohe. When the

19、school was finally forced to close in 1933, many students and faculty members left Germany as refugees. The Emergence of Modernism 33616.9 Walter Gropius, Bauhaus, Dessau, Germany, 1926.In the ground floor plan the wor

20、kshop areas appear at the lower left, and the lecture hall and dining room extend to the right. A bridge at upper floor levels connects to the classroom block, shown above. A street passes under the bridge element, and t