工业设计专业英语德国设计(共28页)

1、,German design,about the Bauhaus,Lesson 2,As mention to German design, we will think of the Bauhaus first.,The Bauhaus school of design in Germany changed the way that the world thought about design.,德国包豪斯设计学院改变了世界对设计的看法。,The Bauhaus was founded in Weimar, Germany in 1919 by architect, Walter Gropiu

2、s with the aim ofbridging the gap between art, design and industry and unifying all three.,魏玛,沃尔特格罗皮乌斯,Bridge the gap between 消除(之间的)隔阂,包豪斯于1919年,在德国魏玛由建筑师 沃尔特.格罗皮乌斯 建立。其目标是消除艺术、设计和工业三者之间的隔阂并式它们相互联结。,It was a school where students received theoretical and practical training in all of the fine arts -

3、 ceramics, murals, stained glass, metalwork, book binding and furniture-making and learned to combine these fine art skills with new technologies to design and manufacture products that were both beautiful and practical.,精细工艺,在这所学校里,学生获得所有精细工艺方面的理论和实践培训，包括陶瓷、壁画、彩色玻璃、金属制品、装订和家具制造，他们学习把这些艺术技巧与新技术应用到设计

4、和制造美观实用的产品当中。,retk()l 理论的,srmks陶瓷,mjrl 壁画,stend 着色的,CHAIR WITH ARMRESTS, design: Mies van der Rohe (1927),B 65 DESK, design: Marcel Breuer (1929/30) TUBULAR STEEL CHAIR, design: Mart Stam (1928),CRADLE, design: Peter Kehler (1922) ME 105 CEILING LAMP, design: Marianne Brandt/Hans Przyrembel (1926) F

5、RUIT BOWL, design: Josef Albers (1923) TABLE LAMP, design: Carl Jacob Jucker/ Wilhelm Wagenfeld (1923/24) DOOR HANDLE for the Bauhaus Building in Dessau, design: Walter Gropius (1929) TEA MACHINE, design: Marianne Brandt (1928/30),Gropius was influenced by the old Arts and Crafts movement of the lat

6、e 19th and early 20th which had emerged as a response to the intense industrialization of Victorian England. Its aim had been to bring artists and craftspeople together to ensure the survival of beautiful craftsmanship in the face of mechanized labour.,Arts and Crafts movement 工艺美术运动 Emerge md 出现 Su

7、rvival svav()l 存活 Labour leb劳动力 Craft 工艺品 Craftsmanship 工艺,Mechanized meknaizd 机械化的,格罗佩斯受到了19世纪末20世纪初的作为对高度工业化的英国维多利亚时代反应的旧工艺美术运动的影响。 其目的是将艺术家和工匠结合在一起，确保机械化劳动下的美的工艺品的存在。,Gropius aim was to unite artists and craftspeople in order to embrace technological developments.It was clear that technology was

8、the future and machines now provided opportunities to mass-produce products for everyday use.,mbres拥抱,格罗佩斯的目的是将艺术家和工艺师结合起来拥抱技术发展。很明显，技术是未来，机器为大量生产每天使用的产品提供了机会。,With this vision of unity, the Bauhaus aimed to create an environment in which artists could work alongside architects and designers to cont

9、ribute to the building of the future using this new machine technology.,基于这一团结的愿景,包豪斯旨在创建一个艺术家可以和建筑师、设计师一起工作的环境，通过使用新机器技术为“构建未来”做出贡献。,kntrbjut贡献,As an architect, Gropius believed that a building should be at the centre of the teaching of all the arts, hence the name Bauhaus (House of Building) and i

10、n 1925 the Bauhaus moved from Weimar to Dessau and into a new purpose-built home which reflected the core Bauhaus values.,k核心,作为一个建筑师,格罗佩斯认为建筑应该是所有艺术教学的中心,因此得名包豪斯(房屋建筑)。1925年包豪斯从魏玛移到德绍，进入了一个新的目的“建立家庭”（德绍时期，包豪斯 在德国德绍重建，并进行课程改革，实行了设计与制作教学一体化的教学方法，取得了优异成果。 ），这反映了包豪斯核心价值观。,desau 德绍（德国东部城市）,rflekt 反映,The

11、basicteachingsystemofmoderndesignpracticed andexploredbyBauhaus,has become a model for futuredesignofteachinginstitutions.,包豪斯开发和实践形成的现代设计基础教学体系，已经成为以后设计院校教学的典范。,nsttju()n机构,Designed by Gropius, workshops, studios, classrooms, offices and living space were all housed within an asymmetrical structure

12、 featuring walls of glass.,由格罗佩斯设计,工作坊,工作室,教室,办公室和生活空间都安置在一个非称结构特色的玻璃墙内。,esmetrkl非对称的,haust封装的,The building had a feeling of openness, clean lines and simplicity and this Bauhaus style of architecture set a standard that became known as the international style and one which has influenced generation

13、s of architects since and which still retains its appeal today.,建筑有一种开放的感觉,干净的线条和简洁性，这种包豪斯风格的建筑设定了一个标准，被称为“国际风格”。 从那之后这种风格已经影响了一代又一代的建筑师，并且至今仍然维持着吸引力。,格罗佩斯也开始认识到机器的能力使作品具有美感，包豪斯接受了“机器美学”,为能够用现代技术进行大量生产的日用品开展创造性设计。,Gropius also began to recognize the ability of machines to make works of beauty and th

14、e Bauhaus embraced the machine aesthetic, creating designs for household items that could be mass produced using modern technology.,拥抱,日常的,Despite the fact that it lasted for only fourteen years, the legacy of the Bauhaus endures and its principles can be seen in much of what we think of today as co

15、ntemporary or modern design, whether its in the homes we live in or the typography we use.,尽管它只持续了14年,包豪斯所延续的遗产和他的原则在很多我们认为的今天的现代设计，不论是在我们居住的家里还是我们使用的排版中，都可以看到。,legs遗产,kntemp()r(r) 同时代的,dspat尽管,ndj持续,tapgrf排印,Our streamlined kitchen products, cantilevered chairs, stacking tables, modern lamps, white

16、 walls and open plan living spaces can all trace their origins back to the Bauhaus.,我们流线型的厨房产品,悬臂式椅子,层叠桌子,“现代”灯,白色的墙壁和开放式生活空间，都可以将它们的起源追溯到包豪斯。,strimland流线型的,kntlivd悬臂式的,stk重叠,lmp 灯,tres 追溯,rdn起源,包豪斯最杰出的女学生 布兰特（Marianne Brandt，18931983）,布兰特设计的铜壶和台灯,As mention to German design, we will think of the Ba

17、uhaus first. The Bauhaus school of design in Germany changed the way that the world thought about design. The Bauhaus was founded in Weimar, Germany in 1919 by architect, Walter Gropius with the aim ofbridging the gap between art, design and industry and unifying all three. It was a school where stu

18、dents received theoretical and practical training in all of the fine arts - ceramics, murals, stained glass, metalwork, book binding and furniture-making and learned to combine these fine art skills with new technologies to design and manufacture products that were both beautiful and practical.,Grop

19、ius was influenced by the old Arts and Crafts movement of the late 19th and early 20th which had emerged as a response to the intense industrialization of Victorian England. Its aim had been to bring artists and craftspeople together to ensure the survival of beautiful craftsmanship in the face of m

20、echanized labour. Gropius aim was to unite artists and craftspeople in order to embrace technological developments.,It was clear that technology was the future and machines now provided opportunities to mass-produce products for everyday use. With this vision of unity, the Bauhaus aimed to create an

21、 environment in which artists could work alongside architects and designers to contribute to the building of the future using this new machine technology.,As an architect, Gropius believed that a building should be at the centre of the teaching of all the arts, hence the name Bauhaus (House of Build

22、ing) and in 1925 the Bauhaus moved from Weimar to Dessau and into a new purpose-built home which reflected the core Bauhaus values. Thebasicteachingsystemofmoderndesignpracticed andexploredbyBauhaus,has become a model for futuredesignofteachinginstitutions.Designed by Gropius, workshops, studios, classrooms, offices and living space were all housed within an asymmetrical structure featuring walls of glass.,The building had a feeling of openness, clean lines and simplicity and this Bauhaus style of architecture set a standard that became known as the intern