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静 待 花 开 常听说孩子就是一张白纸，画笔掌握在父母手里。这话只是说了一部分，孩子同时也有自己的天性和敏感期，不同阶段有自发式的不同需求，需要养育者学习了解。而画笔的掌握者除了抚养人和教育者，还有这个社会的制度和生活的环境。孩子的教育人人有责，哪怕你作为一个陌生人，一言一行也会对周围孩子的成长产生影响。就像孟母坚持要三迁，隔壁老王还是需要谨慎筛选。 What was the Bauhaus School? 包豪斯学校是什么样的？  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. 包豪斯是二十世纪早期德国设计学派和随后的艺术运动，它结合了视觉艺术、装饰艺术和建筑中的美术与功能。包豪斯学派的现代设计美学包括极简主义、功能性设计和对形状的尝试。 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，建筑师沃尔特·格罗皮乌斯在德国魏玛创立了包豪斯。格罗皮乌斯教导他的学生消除所谓的“纯艺”和“应用”艺术之间的区别，平等地看待纯艺艺术家和手工艺人。包豪斯学校的教授们教导他们的学生要把设计元素放在首位，并把创造力带回到制造业。 What was it like to study there? 在那里学习是什么感觉？  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. 包豪斯学院的教育是多元化和动手实践，包括建筑理论、木工、陶瓷、美术、平面印刷、玻璃和壁画、编织、几何、数学、工商管理、金属、摄影、印刷和广告以及造型艺术。甚至派对和舞台表演也是课程的一部分，学生们被鼓励尝试服装和舞台艺术。 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. 传统的艺术教育可能侧重于画笔技巧和颜料混合，而包豪斯的老师会指导学生学习色彩和形式的基础知识，并鼓励学生在各种材料和跨学科上进行实验。 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. 这是包豪斯创始人沃尔特·格罗皮乌斯的原始课程图的复制品。学生进入的预备课程，涵盖“初级形态”和“基础材料学习”。只有在预备课程完成之后，最优秀的学生才被允许进入核心建筑课程，在接下来的三年里，学生被鼓励在多种媒介上进行实验。 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，让包豪斯学派与众不同的，并不是他们学了什么，而是他们关于如何教学和学习的新理念。格罗皮乌斯在1919年的一份简短宣言中阐述了这种哲学的精髓: 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! 艺术学校[…]必须返回车间。这个由绘图师和应用艺术家用单纯的草图和绘画组成的世界终将成为一个建筑的世界。当一个年轻人感觉到内心对创造力的爱时便开启了他的职业生涯,就像过去一样,通过学习贸易,没有价值的“艺术家”将不再被判定为不完美的艺术实践者,因为他的技能现在能够保存在工艺品里,一个让艺术家实现价值的地方。建筑师、雕塑家、画家——我们都必须回归手工艺!  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. 包豪斯学生在这一时期创作的一些作品已经成为标志性物件，在今天的家具和电器中经常被重复或模仿。例如，这是威廉·瓦根菲尔德(Wilhelm Wagenfeld) 1923年在包豪斯(Bauhaus)读书时创作的原装灯，还有一盏复制品，如今在零售商里仍能买到。 Five lessons the Bauhaus School can offer today’s designers 包豪斯为今天的设计师提供 了五个设计课程  Marianne Brandt’s teapot from ca. 1924. 1. Go back to basics 回到基础 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. 包豪斯运动的伟大见解之一是认识到创意教育不仅仅是传递和提炼技术知识或技能。 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. 谷歌是对每一个“如何做”的查询都充满了聪明的答案。但当涉及到解决我们自己的设计问题时，我们需要的不仅仅是如何操作的指南。而是通过回到色彩、形式和意义的基本原理中，让我们与工艺品里的基本元素联系起来，并解放自我达到更丰富的创造力，对我们需要解决的设计问题做出真实的回应。  Josef Albers’ nesting tables (ca 1927). Right: “Kilo” nesting tables, available through UK retailer Habitat (2016) 2. Form follows function 形式服从功能 “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. “形式服从功能”是如今设计师的信条，但情况并非总是如此。在当时，包豪斯学派拒绝认为——视觉艺术获得的纯粹的“装饰”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. 这种感觉在包豪斯时期变得更加普遍：值得注意的是，在1936年，早期的批判理论家沃尔特·本杰明(Walter Benjamin)写道，机械复制可能会剥夺艺术的批判力量。在20世纪早期艺术、设计和建筑广泛分布着装饰和华丽的特点，与之不同的是包豪斯力求理性地解决设计问题。 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。 这意味着要剥去19世纪晚期错综复杂的花卉装饰。取而代之的是，包豪斯学派要求学生反映和增强物体的功能性，而不是为了自我而添加装饰元素。我们可以在Josef Albers的几何嵌套表中看到这种简单和理性（如上图）。  1920s Bauhaus costumes 3. Break the rules 打破规则 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.” 《包豪斯档案》解释说:“包豪斯具有一种决定性的品质之一，就是能够把娱乐，甚至是不成功的实验看作是潜在的必要教训，并从中得到纠正。” 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. 包豪斯学院的学习文化鼓励从根本上进行实验。它们提醒我们，规则和惯例是需要学习的，但并不总是需要遵守的。一些设计问题需要激进的解决方案，除了你之外没有人相信。  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”，也要从大处着眼 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’”. 包豪斯运动成功的通过设计茶壶、台灯和电话开始改变社会。《包豪斯档案》解释说，“从1928年开始，学院的社会目标在汉内斯·迈耶的领导下得到强化;解决办法现在总结为'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. 包豪斯预见了20世纪设计的一个重要主题——最严肃的设计和改造场所不是在大型项目(比如设计歌剧院)，而是在日常生活中。从20世纪50年代起，迪特尔·拉姆斯(Dieter Rams)和迪特里希·卢布斯(Dietrich Lubs)为博朗(Braun)设计的国内产品中，我们可以看到这一点。 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，即使我们作为设计师的工作是“小”的，我们仍然应该想大，哪怕我们只是在为朋友的热狗摊做标识设计。 5. Get your hands dirty 把你的手弄脏 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. 包豪斯学校希望艺术家与他们的工艺品凝聚在一起，并鼓励学生沉浸在各种可用的材料和技术中。 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，在前往一个在线打印服务时，为什么不买一个家庭网印工具包，做一个自己做的作品? 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. 要了解纸和墨水等材料的局限性和潜力，最快、最有效的方法就是亲自动手去做。 内容及图片选自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. |
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