提到包豪斯，不免想到極簡、幾何、功能、稜角這些略顯冷冰冰的詞彙，近兩年包豪斯風基本席捲了服裝、家居、建築界，耳熟能詳的品牌比如Jil Sander的簡約時裝、Thonet的藤編椅、Knoll的巴塞羅那椅等，包括喬布斯也是受到Bauhaus理念的啟發才設計出了蘋果。扒了扒歷史，看到西瓜上有個影片講的非常清楚，先上鍊接：https://www.ixigua.com/6964382168361468453?logTag=df4e159a05fa1ff0012b
簡言之，包豪斯是一所由德國人創辦的藝術學院，當時正值一戰結束不久，藝術文化和工業技術的矛盾開始逐漸凸顯，並各自朝兩極化發展，一方面是枯燥、壓抑的機械及工業化生產，另一方面是高高在上、且愈發形而上的沙龍文化（Salon Art），當時已經小有名氣的新銳建築師Walter Gropius將德語Hausbau（房屋建築）一詞倒置為Bauhaus，於1919年在德國Weimar開創了新一代的建築學院，旨在培育能夠解決以下幾個“理想vs現實”矛盾的新型設計人才：
- Art vs Technology
- Craft vs Industry
- Humane vs Commercial
起初並不順利，主要是聘請的教師偏向表現主義，即更注重個人表達和個人崇拜的藝術創作，不夠客觀和務實，直到1922年，荷蘭藝術家Theo Van Doesburg的到來才讓包豪斯的教育理念走上正軌，在藝術設計上更注重理性、秩序、反對個人主義。1923年，包豪斯舉辦了第一場大型展覽，向公眾傳達更注重藝性和實用性結合設計理念，並在國際上聲名鵲起，學院內的優秀人才也逐步出圈，比如發明了MT8金屬檯燈的Wilhelm Wagenfeld，設計了標誌性金屬管+帆布面Wassily Chair的Marcel Breuer、提出了“Less is More”同樣也是巴塞羅那椅設計者和包豪斯第三任校長的Mies Van der Rohe等。包豪斯理論與實踐結合的教育體系也逐步完善，主要分為以下4個部分：
- 預備課程
- 藝術理論（幾何，顏色構成，材料面料，自然科學，建築等）
- 手工藝作坊（陶藝，木工，金屬，織染，玻璃等）
- 建築設計
這所學校在1933年被痛恨現代主義的Hitler強行關閉，雖僅僅維持了14年，但在100多年後的今天依然影響深遠，包豪斯的外殼是理性主義，但核心卻是人文主義，1919年學校創辦之際的包豪斯宣言如今讀來也是非常熱血：
“The ultimate aim of all visual arts is the complete building! To embellish buildings was once the noblest function of the fine arts; they were the indispensable components of great architecture. Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as “salon art.”
The old schools of art were unable to produce this unity; how could they, since art cannot be taught. They must be merged once more with the workshop. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again. When young people who take a joy in artistic creation once more begin their life's work by learning a trade, then the unproductive “artist” will no longer be condemned to deficient artistry, for their skill will now be preserved for the crafts, in which they will be able to achieve excellence.
Architects, sculptors, painters, we all must return to the crafts! For 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, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art. But proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination.
Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.” —— Walter Gropius
