Vertigo - The Rise and Fall of Weimar Germany. Chapter 3 Extreme Living
发布时间 2025-02-23 12:29:59 来源
Chapter 3 Extreme Living Let us want, dream, create together the new building of the future, which will be everything in one form, architecture and sculpture and painting, which will rise towards the heavens from millions of hands of craftsmen, the crystalline symbol of a new coming faith. Valtagorpius, Bauhaus Manifesto, 1919 In the Bauhaus House, Death to Everything Fasty, the architect Bournotaupt proclaimed in 1920. The 40-year-old was not yet the famous builder of large-scale Berlin housing estates, but he had already been able to erect a garden city for ordinary people in Marktobork and the Tushkustenziedlung, paintbox estate in Berlin, so-called because of its bright colors. Bournotaupt had bigger dreams, but in the meantime he had to pay the rent with second jobs, for example by designing stage sets or publishing the journal Frühlichet Morninglight.
第3章 极致生活
让我们一起渴望、梦想、创造未来的新建筑，以一种形式包罗万象：建筑、雕塑和绘画，由无数工匠之手共同托举，成为一种通向天堂的新信仰的水晶象征。——瓦尔塔格皮乌斯，《包豪斯宣言》，1919年
在包豪斯之家中，“对一切事物的快速终结”是建筑师布尔诺陶浦特在1920年的宣言。这位40岁的建筑师当时还不是著名的大规模柏林住宅小区设计者，但他已经在马克托伯克为普通人建造了一个花园城市，并在柏林建造了一个被称为涂刷明亮色彩的涂料盒住宅区。布尔诺陶浦特有更宏伟的梦想，但在此期间，他不得不通过第二职业来支付房租，例如设计舞台布景或出版《晨光》杂志。
In the magazine he published visions of the new building and gave free reign to his revolutionary energy, away with the sauopuses, the dopes and the miseries, the always self-important frowners, away with the gravestones and cemeteries facades outside four-story junk stores and brickabrack markets, smashed the shell limestone doric, ionic and Corinthian columns, smashed all the ludicrous fakery. With puritanical rage these words were directed at the historical stucco facades of the Gundudseid, the age of the founders in the 1870s when an economic boom at the beginning of the German Empire led to an ornate triumphalism in architecture. The buffunery which shaped the face of cities at the time. Tout wanted those facades knocked down from the walls as soon as possible.
在这本杂志中，他发表了对新建筑的设想，并充分释放了他的革命性活力。他呼吁摒弃那些令人厌恶的、愚蠢的、悲惨的，以及那些总是自以为是的人，摒弃那些位于四层楼高的杂货商店和杂物市场外观的墓碑和墓地式的立面，摧毁那些用贝壳石灰石建造的多立克、爱奥尼亚和科林斯式柱子，摧毁所有荒谬的伪装。带着清教徒般的激愤，这些言论直接针对那些有历史意义的斯图科立面，这些立面属于19世纪70年代创始人时代的建筑风格，那时德国帝国初期经济繁荣，建筑中充斥着华丽的胜利主义。当时的城市面貌被这种荒诞的风格塑造。霆教师希望尽快将这些立面从墙上拆除。
Down with the elegance of sandstone and mirrored windows smashed to pieces the marble and fine wood junk on the rubbish heap with all the trash. And he wanted to chuck the thinking that had led to such monstrosities on the rubbish heap as well. Oh our concepts, space, home, style, ugh, how those concepts stink. Tear them up, break them down, nothing should be left of them. Scatter their schools, send the professorial wigs flying, we'll play catch with them, death to everything fussy, death to everything that means titles, dignity, authority. Impossible not to think of the slogan of the anti-authoritarian revolt of 1968, under the gowns the mildew of a thousand years.
打倒优雅的砂岩和镜面窗户，把它们砸得粉碎，把大理石和精美的木材当成垃圾扔到废物堆上。他还想把那种导致这些怪诞建筑的思想也扔到垃圾堆上。哦，我们的概念，空间，家，风格，这些概念真令人作呕。撕碎它们，拆毁它们，不留任何痕迹。解散它们的学派，让教授们的假发满天飞，像玩接球游戏一样对待它们。向所有繁琐的东西宣战，向一切代表头衔、尊严、权威的东西宣战。不禁让人想起1968年反权威运动的口号——长袍下是千年陈腐。
But we mustn't imagine that Bernard Toatt and his comrades in arms didn't have positive things in mind as well. His treatise ends with a lot of cheering. Our morning gloss in the distance, hailed to transparency, to clarity, hailed to purity, hailed to crystal, and hailed and hailed again to all that is flowing, graceful, angular, sparkling, flashing light, hailed to eternal building. That's Bruno Toatt in a state of euphoria. Toatt was actually a man of moderation and the middle way who wanted to make big architecture for little people.
但是，我们不能想象伯纳德·托阿特和他的战友们没有积极的想法。 他的著作以热烈的欢呼结束。 我们遥远的晨光，向透明、清晰致敬，向纯净致敬，向水晶致敬，再次向一切流动的、优雅的、有棱角的、闪烁的光致敬，向永恒的建筑致敬。 那是伯纳德·托阿特在一种欣喜的状态中。 其实，托阿特是一个追求中庸和适度的人，他想为普通人创造宏大的建筑。
And unlike many of his colleagues in new building was able to take into consideration what might be seen as the pity bourgeois need for comfort. He saw himself with his pickaxe at the front of a historic battle for architectural authenticity, born aloft on a sparkling, flashing up current of enthusiasm. The new was to come into the world as something eternal, detoxified, pure, liberated from all superficial trappings. The functionalism of the Bauhaus was also celebrated with religious fervour. In 1919, a year after the end of the war, the architect Vaita Gorpius, supported by the painter Leonel Feininger, formulated the founding manifesto of the Bauhaus.
与许多同时代的新建筑师不同，他能够考虑到所谓的资产阶级对舒适的需求。他把自己视为站在建筑真实性的历史战斗前线，满怀热情，在这股闪亮的浪潮中扬帆起航。新建筑将以一种永恒、净化、纯粹的形式诞生，摆脱一切表面的束缚。包豪斯的功能主义也被以宗教般的热情所推崇。1919年，即战争结束一年后，建筑师瓦尔特·格罗皮乌斯在画家利奥内尔·费宁格的支持下，制定了包豪斯的创立宣言。
Let us want, dream, create together the new building of the future, which will be everything in one form, architecture and sculpture and painting, which will rise towards the heavens from millions of hands of craftsmen, the crystalline symbol of a new coming faith. Re-think everything from the ground up. Gorpius relied on the fundamental radicalism of so many innovative movements in the 1920s. His appeal to found a new kind of learning community ignited. Reprinted in many newspapers, it was followed by painters, architects, sculptors, designers, typographers and photographers, famous artists who had no interest in teaching ex-cathidra, but instead wanted to shape the future with their students in workshops.
让我们一起渴望、梦想、创造未来的新建筑，这将是一个将建筑、雕塑和绘画融为一体的形式，它将由成千上万工匠的双手建造而成，像水晶般屹立，成为一种新信仰的象征。从头开始重新思考一切。戈尔皮乌斯依靠20世纪20年代众多创新运动的根本激进主义。他对创建一种新型学习社区的呼吁引起了广泛关注。此呼吁在多家报纸上转载，随之而来的是画家、建筑师、雕塑家、设计师、印刷工和摄影师，这些著名艺术家不愿在讲堂上高高在上地教学，而是希望与学生一起在工作坊中塑造未来。
Johannes Iten, Gerhard Marx, Paul Klee, Oskashlemmer, Vasily Kandinsky and later followed by Laszlo Moholynaj, Josef Iobas and many others. They weren't just concerned with making a clearly designed lamp or a contemporary chair, but with a renewal of lifestyles developed out of a community that wanted to live together almost as intensely as a commune. Their sense of mission was aggressive, their range of subjects all encompassing. They were concerned with the entire building, from the hole down to the tiniest detail, seen as a unit, from the ground plan to the door handles, the coffee cups and even the chess set that stood on the plain table.
约翰内斯·伊滕、盖哈德·马克思、保罗·克利、奥斯卡·施莱默、瓦西里·康定斯基，后来还有拉斯洛·莫霍利-纳吉、约瑟夫·艾尔伯斯等许多人。他们不仅仅专注于设计一盏造型简洁的灯或一把现代椅子，他们还以一种追求共同生活方式重塑的社区为目标，几乎像公社一样紧密。他们的使命感很强，所涉及的主题包罗万象。他们关注整栋建筑，从整体规划到最微小的细节，都是作为一个整体来考虑的，从设计建筑平面图到门把手、咖啡杯，甚至是摆在简单桌子上的国际象棋棋盘。
Everything was reduced to its elementary function. The night in the Bauhaus chess set was no longer a gorgeously carved horse, but an angular lump that visibly showed what moves could be made with it, forward and then off to the side at a right angle. The bishop wasn't a slender messenger, but an X-shaped lump that represented its diagonal paths. Reduced to the geometrical distillate of their movements, the Bauhaus chess figures dismissed centuries of history of precious carved figures as knickknacks; the sublime, they argued, was always simple.
一切都被简化到其基本功能。在包豪斯国际象棋套装中，骑士不再是精美雕刻的马，而是一个棱角分明的块，它直观地展示了可以如何走步：向前然后以直角拐到一边。主教不再是纤细的信使，而是一个X形的块，代表其对角线的路径。包豪斯象棋棋子通过将棋子的动作简化到几何本质，摒弃了数百年来精美雕刻的棋子，因为它们认为这些只是小摆设。他们主张，崇高的事物总是简单的。
Collaboration between the individual arts in the Bauhaus was what we would call interdisciplinary today. The Bauhaus members strove for spiritual unity based on a shared understanding of good crafts and the willingness to respond to mutual influence and criticism. Such fundamentally different characters as the iconic dreamer Paul Klee, the advertising designer Herbert Baier, the dogmatic esoteric color theorist Johannes Iten, and the dance machinist Oskar Schlimmer made common cause. The individual arts should find their way back from their lonely separation into the lap of the all-encompassing art of building.
在包豪斯，个人艺术之间的合作就是我们今天所称的跨学科。包豪斯成员追求一种基于共同理解的精神统一，重视优秀工艺，并愿意接受相互影响和批评。像标志性的梦想家保罗·克利、广告设计师赫伯特·拜尔、教条的神秘色彩理论家约翰内斯·伊顿以及舞蹈机械师奥斯卡·施莱梅尔等性格迥异的人物都能团结合作。个体艺术应该从孤立的状态中走出，回归到包罗万象的建筑艺术之中。
The prospect of coming close to the spirit of the new in a community of students and teachers and the certainty of being able to shape the changing times led all these avowed artists to break away from the spheres of their previous lives and come together in Weimar. The city was open to them because the Academy of Art and the College of Applied Art devoted to the avant-garde under the direction of Henry van de Velder. Both closed in the war were in need of revival. The initial idea was almost a redemptive one. The finding a drawing that decorates the 1919 Bauhaus Manifesto shows a church in the middle of an electric storm of lines and stars, the cathedral of the future as a glorious building of flashing thoughts.
所有这些自称艺术家的人因为渴望接近新精神的机会，以及确定自己能够塑造变革时代，他们都决定离开之前的生活领域，聚集在魏玛。魏玛这座城市对他们敞开大门，因为在亨利·范德费尔德指导下，艺术学院和应用艺术学院致力于先锋派艺术。由于战争，这两所学院曾经关闭，如今亟需重建。最初的想法几乎是一种救赎。在1919年包豪斯宣言中，有一个装饰性的草图，展示了一座教堂矗立在电光闪烁的线条和星星之中，象征着未来的教堂，仿佛是一座闪耀着思想光辉的宏伟建筑。
In spite of its delight in the future, the Bauhaus philosophy also yearned for the past, for a pre-Bourgeois time in which the biggest building projects were undertaken communally by the best craftspeople and artists. Like the medieval sight hut in which builders had once gathered for the pious intention of cathedral building, similarly-minded people were now to come together in living and working communities to prepare the cathedral of freedom of the future. So high the tone, so sober the result. It's therefore entirely consistent that the cathedral of freedom should have looked very cubic in the end, quite bare and at first glance quite monotonous in appearance.
尽管包豪斯哲学对未来充满期待，它也对过去充满向往，特别是对于一个前资产阶级时代的向往，那时一些最大的建筑项目是由最出色的工匠和艺术家共同完成的。就像中世纪建造教堂的工匠聚集在一处，为了宗教目的齐心协力地工作，如今志同道合的人们应该聚集在一起，组成生活和工作社区，为未来的“自由大教堂”做准备。尽管理想崇高，但结果却显得非常冷静，因此“自由大教堂”最终看起来非常立方化，相当简朴，乍一看甚至显得相当单调，这完全合乎情理。
The maxim of thinking anew from the ground up led to a return to the fundamental forms of design. When it worked, the results could be entirely breathtaking. The house Amhon, the empty art lights of Wilhelm Wagenfeld, Marianne Brant's Silver Teapot, or Joseph Albers' Nest of Tables, were quintessential. In their simplicity, they went straight to the heart; their reduction, balance, and harmony were enchanting. The editors of the journal Uhu, when they saw a Neuyserlicard chair by the Rach brothers, were reminded of a poem by the nonsense poet Kustian Märgenstern.
从头开始重新思考的原则促使人们回归到设计的基本形式。当这一原则奏效时，结果可能会相当惊人。阿姆霍恩住宅、威廉·瓦根费尔德的空心艺术灯具、玛丽安·布兰特的银茶壶或约瑟夫·阿尔伯斯的嵌套桌，都堪称典范。这些设计以其简约直达内心；它们的简洁、平衡和和谐令人陶醉。当《猫头鹰》杂志的编辑们看到拉赫兄弟的Neuyserlicard椅子时，他们想起了荒诞诗人库斯蒂安·马尔根斯特恩的一首诗。
When I sit, I don't want to sit as my bottom might wish, but as my sitting mind might, should it sit, weave the chair. The best Bauhaus pieces, which have rightly been remembered, look almost alive, spiritually charged in spite of their ascetic coolness. Even bolder means of design were gorpious goal, in order, floatingly to overcome the earthbound in effect and appearance. The flat functionalist, that his adversaries saw in him, would hardly have spoken in that way. At the Bauhaus, they were hyper-modern and mystical at the same time.
当我坐下时，我不想按照身体的自然反应去坐，而是想按照我的心灵和思维去坐，仿佛在编织椅子。那些被人们记住的最好的包豪斯作品，看起来就像是有生命的，尽管它们看起来简约冷静，却充满了精神力量。设计的目标是更加大胆，以一种漂浮的方式克服地面的束缚，不仅是在效果上还有外观上。对手眼中的那个追求功能至上的设计师，可能不会以这样的方式表达。在包豪斯，他们同时追求极度的现代感和神秘感。
They went on diets featuring Icelandic moss pudding and cold garlic bowls. They did breathing exercises together, and engaged in ritual naked dances on the ill meadows. Johannes Iten, for example, a Bauhaus master from the earliest days, a bald, monastic figure on the Tibetan model, was Devotee of Mazdaznam, a Zoroastrian Christian Hindu mixed religion that had many devotees in the back to the land Liebenschre farm movement, and had also fallen on fertile soil in Vima. The Bauhaus people were not enemies of pleasure. Their parties were legendary, and were celebrated extravagantly.
他们开始吃以冰岛苔藓布丁和冷蒜碗为主的饮食。他们一起做呼吸练习，并在草地上进行裸舞仪式。例如，约翰内斯·伊滕是一位早期的包豪斯大师，他的形象如同藏传佛教的僧侣般光头肃穆，是Mazdaznam的信徒。Mazdaznam是一种混合了琐罗亚斯德教、基督教和印度教的宗教，在回归土地的Liebenschre农场运动中有许多信徒，也在Vima受到了欢迎。包豪斯的人并不排斥享乐，他们的聚会非常传奇而奢华。
During the poor post-war years, if they did not have enough to eat in the Bauhaus canteen, they would often push the tables together and dance to banish their hunger. And they often lay casually on the floor together. The Bauhaus archive is full of photographs, revealing an almost hippie-like abandon. The conservative Burgers of Vima, whose pride in their beautiful city was based on its prestigious past, felt that such behaviour was a thorn in their eye. There was much mockery in the local press, and there were actual attacks on students and police operations for supposedly unseemly incidents.
在战后贫困的年代，如果他们在包豪斯食堂吃不饱，经常会把桌子拼在一起跳舞，用这种方式来驱赶饥饿。他们还经常一起随意地躺在地板上。包豪斯档案馆里满是照片，展现了一种几乎像嬉皮士般的放任行为。不莱梅的保守市民，以城市辉煌的历史为傲，觉得这种行为刺眼。当时当地媒体对他们进行了大量嘲讽，甚至有学生遭到袭击，警方也因为所谓的不当事件进行过行动。
Far-right agitators stirred up the city's craftsmen by telling them that the Bauhaus planned to cheat them out of their meager commissions with industrial, serial constructions. In 1925, after countless quarrels, the new right-wing regional government managed to expel the Bauhaus; the teaching body and the students moved to Desau, which was governed by the social democrats. Within only 15 months, they had built the new school building, world-famous even today, with its neighbouring masters' houses. There was no shortage of conflicts between the independent-minded characters. Tensions were particularly bad between the esoteric Bohemian monk Iten and the rationalist Gorpius. Apart from mental differences, there were also political consequences. Gorpius saw his efforts to win the trust of the public as being threatened by Iten's freakish behaviour.
极右翼的煽动者通过对工匠们煽风点火，告诉他们包豪斯打算通过工业化和批量化的建筑欺骗他们的微薄佣金，从而动摇了城市的工匠。1925年，在经历了无数次争吵后，新上台的右翼地方政府成功迫使包豪斯离开；包豪斯的教师和学生搬到了由社会民主党治理的德绍。在短短15个月内，他们建造了今天仍享有世界声誉的新校区大楼及其周边的大师住宅。在这个独立思考者之间的环境中，矛盾从未间断。尤其是具有神秘色彩的波西米亚僧侣伊腾与理性主义者格罗皮乌斯之间的紧张关系尤其糟糕。除了思想上的分歧，也出现了政治上的影响。格罗皮乌斯感到伊腾的怪异行为威胁到了他赢得公众信任的努力。
After his dismissal, the school became more technical and marketing-oriented, while the libertarian aspect remained, at least outwardly. The Bauhaus still attracted many forward-looking women in the expectation that equality was being taken seriously there; at first, more women enrolled than men. That did not suit Valtagorpius at all; however, he was concerned that the high proportion of women might damage the reputation of the art school and further reinforce the widespread view that the Bauhaus was a Bolshevik madhouse. For fear of the reservations of his financiers, he passed a decree reducing the proportion of women to a maximum of a third. But it was not only pressure from outside. Many of the Bauhaus men did not think the women capable of outstanding achievements, and when those achievements were forthcoming, they envied them their success or the more. Women's students were relegated to photography class or the weaving mill.
在他被解雇后，学校逐渐转向技术和市场导向，而自由主义的方面则至少在表面上依然存在。包豪斯仍吸引了许多前瞻性女性，因为她们期待在那里性别平等能被认真对待；起初，报名的女性比男性还多。这让Valtagorpius非常不满，他担心女性比例过高会损害这所艺术学校的声誉，并进一步加深人们对包豪斯是一个布尔什维克疯人院的普遍看法。他害怕自己的资助者对此有疑虑，所以下令将女性比例限制在三分之一。然而，不仅仅是外界的压力，包豪斯内部的许多男性也不认为女性能取得卓越的成就，当女性真正取得成就时，他们对此感到嫉妒。女性学生被分配到摄影课或纺织作坊。
Oskar Schlemaz-Bullian's line became popular, where there's wool, there's a woman who weaves, if only to pass the time. Perhaps as an act of defiance, the Bauhaus weaving mill became one of the most innovative parts of the school, or at least one of the most lucrative. Within a few years, Guntar Stowe rose from being a student to the director of the mill, with her tapestries and blankets that wove geometrical planes of colour into fascinating textile landscapes turning the Bauhaus into an economic success that assured its survival. She was never officially thanked. Frida Dicker developed many well-known pieces of Bauhaus furniture and later a child-centred style of architecture for kindergarten. Cut-bought designed inexpensive small apartments to ease the housing shortage. Michiko Yamawaki brought a genre atypical severity to collage making.
奥斯卡·施勒马兹-布里安的一句话变得流行：有羊毛的地方，就有一个为了打发时间而编织的女人。也许出于反抗的行为，包豪斯的纺织工坊成为了学校最具创新性的部分之一，或者至少是最赚钱的部分之一。几年之内，冈特·斯托威从学生晋升为工坊主任。她通过将色彩的几何平面编织成迷人的纺织景观，将包豪斯变成了一个经济成功的案例，保障了它的生存。然而，她从未得到正式的感谢。弗里达·迪克尔设计了许多著名的包豪斯家具，并在后期为幼儿园开发了以儿童为中心的建筑风格。卡特-博特设计了廉价的小公寓，以缓解住房短缺。山崎美智子为拼贴艺术带来了一种不寻常的严谨风格。
Gritta Stem contributed significantly to the renewal of advertising graphics and advertising photography, and Marianne Brant posthumously received the highest price that was ever paid for a small Bauhaus object: $361,000 at Savabes for her 1927 metal teapot. Alma Busha developed a lot of furniture for the house Amhwan, which would be existentially important for the school since it was at the centre of the highly regarded first Bauhaus exhibition. Her Vof Poppen, Bendy Dolls Made of String, were dreamy children's toys, and her wooden building blocks for children formed arches with different radii that allowed for fantastical constructions. As the Bauhaus photographer, Lucia Moholy made a considerable contribution to the publicity for the school. Without her, the memory of the Bauhaus would not be anything like as present as it is today. But her photographs were published almost entirely uncredited.
格丽塔·斯特姆对广告图形和广告摄影的革新做出了重要贡献，而玛丽安·布兰特则在去世后获得了有史以来对一个小型包豪斯物品出价的最高纪录：她1927年设计的金属茶壶在Savabes拍出了36.1万美元。艾尔玛·布沙为Amhwan房屋开发了许多家具，这对于包豪斯学校来说具有重要意义，因为这个房屋是第一次高度评价的包豪斯展览的中心。她的Vof Poppen弯曲玩偶用线绳制成，是梦幻般的儿童玩具，而她为孩子们设计的木制积木则可以形成不同半径的拱门，允许构建奇妙的建筑。作为包豪斯的摄影师，露西亚·莫霍利对宣传学校做出了重大贡献。没有她的话，包豪斯的记忆不会像今天这样鲜活。但她的照片几乎全部是未署名发表的。
She would later have bitter arguments about her copyright with Walter Gorpius and his wife, Yza. Compared with normal architectural art academies, the Bauhaus was a haven of free spiritedness. But when it came to hard economic interests and public recognition, many of the Bauhaus men fought unfairly for their old preeminence. For Bauhaus women, the birth of a child meant the end of a career. Gorpius and the other leading figures lacked the social imagination for the compatibility of family and work. Even so, for the young female students and artists who had come here from all over the Republic, the Bauhaus must have been a wonderful place compared with the obstacles that ambitious women usually faced.
她后来曾因版权问题与沃尔特·戈佩斯和他的妻子伊扎发生激烈争执。与普通的建筑艺术学院相比，包豪斯是一个思想自由的乐园。但在涉及经济利益和公众认可时，许多包豪斯男性不公平地争夺他们昔日的优越地位。对于包豪斯的女性来说，生孩子就意味着职业生涯的终结。戈佩斯和其他领导人物缺乏对家庭和工作兼顾的社会想象力。尽管如此，对于从全国各地来到这里的年轻女学生和艺术家来说，包豪斯仍是一个美好的地方，与那些有抱负的女性通常面临的障碍相比，这里更具吸引力。
There can have been few other institutions that left such a mountain of original photographs of confident, unconventional and happily collaborating women. These pictures can seem almost startlingly contemporary. They don't show that bobbed women that immediately let us know we are looking at women of the 1920s and apply a corresponding patina, but strong individuals, who look like they have just come down the steps of a Berlin Academy of Arts. They were original young women who had liberated themselves radically from the constricting bonds of their often provincial origins and of the age. Looking at these pictures, you sense how little separates us from them. The reason lies in their risk-taking. As we flick through the Bauhaus photograph album a hundred years later, we actually feel as if we have burst the fetters of time or done so again. For one unreal moment, they have arrived in the here and now.
很少有其他机构能留下如此大量的原创照片，记录下自信、不拘一格并愉快合作的女性。这些照片看起来几乎有一种惊人的现代感。它们没有展示出我们一看就知道属于1920年代的波波头女性，而是展示了看起来像刚从柏林艺术学院台阶上走下来的强大个体。这些女性是原创新潮的，她们激进地解放了自己，摆脱了常常局限她们的乡土出身和时代束缚。看着这些照片，你会感受到我们与她们之间的距离是如此之小。这是因为她们敢于冒险。翻看历经百年的包豪斯相册，我们仿佛打破了时间的桎梏或再次做到这一点。在一个不现实的瞬间，她们似乎来到了我们的时代。
We actually live like pigs, terribly thoughtlessly. The Bauhaus was serious about the revolution and brought it into the sitting room. Today, it's hard for us to imagine the challenge presented by the reduction of forms to a fundamental minimum. It was about much more than stylistic issues. It was about the chance to bring the atmosphere of general upheaval into the private sphere. In many illustrated magazines under headlines such as How Would You Like To Live? There were juxtapositions of old and new. On the left, the familiar traditional sitting room, a dense thicket in its mixture of styles, gloomy, cozy, with softer paltry. On the right, a Spartan nothing, bare steel tube furniture in a white Bauhaus cube. This was usually followed on the next few pages by the external view of the building, also as a pro and contra.
我们生活得像猪一样，丝毫不加思索。包豪斯当时认真对待革命，并将其带入了起居室。今天，很难想象那种将形式简化到最基本的挑战。不仅仅是关于风格的问题，而是关于将整体变革的氛围带入私人领域的机会。在许多插图杂志中，常常会出现像“您想怎么生活？”这样的问题，呈现出新旧对比。在左边，是我们熟悉的传统客厅，风格混杂、阴暗却舒适，充满柔软的廉价装饰。在右边，是完全简约的空间，白色包豪斯立方体中的裸露钢管家具。接下来的几页通常会展示建筑的外观，也是以正反对比的形式呈现。
On the left, a playful villa with hip roof, doorma and aural windows and shutters. On the right, a sober white box with a flat roof and large unprotected windows, the minimalist dwelling of the new age, essentially a shell only smoothed and whitewashed. Reduction to the elementary forms of rectangle, triangle and circle was a declaration of war against everything that had hitherto been associated with a successful, comfortable life. A 1927 poster for the Deutsche Werkbundt, an association of artists, designers, architects and industrialists, showed an opulent historical sitting room which still served as a model for many Germans. It was firmly crossed out in red. Away with it, the representatives of the new design demanded.
在左边，有一座俏皮的别墅，带有斜屋顶、屋顶窗和百叶窗。右边是一个简洁的白色盒子，平屋顶和大而无遮盖的窗户，这是一种新时代的极简主义住宅，基本上只是一个经过打磨和白色粉刷的外壳。将形状简化成矩形、三角形和圆形，是对以往被认为成功舒适生活的所有事物宣战。1927年，德国工艺联盟（一个由艺术家、设计师、建筑师和实业家组成的协会）的一张海报上，展示了一个作为许多德国人典范的豪华历史客厅，但上面被用红叉勾掉。新设计的代表们呼唤着：抛弃它。
They plainly had a lot of work ahead of them. It would be a mistake to imagine the interior of the houses of the Weimar Republic as all having been furnished by the Bauhaus. In most apartments, 1925 looked like 1890, like Kaiser Reich, the period of the German Empire, 1871 to 1918, like Pluschen knickknacks. Let's take the apartment of the silent film star Aston Nielson at Kaiser Eley 203 in Berlin. In 1924, anyone without the good fortune to be invited to visit could look at her apartment in some photographs in the magazine Diderma. It was like flicking through a kind of art museum, a wild and magnificent rollercoaster of taste. The soberist objects of all, with a medieval wooden sculptures, devout figures of the saints, which loomed plaintively out from among the trinketry of later centuries.
他们显然还有很多工作要做。想象魏玛共和国时期所有房子的内部装潢都由包豪斯设计是错误的。在大多数公寓里，1925年的样子更像是1890年的样子，更像是德意志帝国时期的样子，即1871到1918年之间，充满了“普鲁士风情”的小装饰品。让我们看看无声电影明星阿斯顿·尼尔森在柏林凯撒大街203号的公寓。1924年，没能亲自受到邀请的人可以通过《德尔玛》杂志上的一些照片来欣赏她的公寓。这就像翻阅一种艺术博物馆，展示了一种狂野而壮丽的品味过山车。最简朴的物品，是中世纪木雕，是虔诚的圣人形象，从后世的装饰品中忧伤地显现出来。
Meanwhile, Madame de Pompadour would have approved of the wildly ornamented bulging and over upholstered shes long in the parlour. It was an apartment from which even the owner had to take the occasional break. Aston Nielson's summer house on Hiddensy was a paragon of frugality, a place where her overstretched senses were able to recover. In her Berlin home, all the items of furniture were precious originals, bought at great expense at an antique market. But most people had similar things in their sitting rooms, albeit as copies. Factory quality, near Baroque.
同时，旁帕杜夫人肯定会对客厅里那些装饰华丽、体型膨胀且过度软垫的躺椅感到满意。即使是房子的主人也时常需要离开这个房间一段时间。阿斯顿·尼尔森在希登西的夏季小屋则是简朴的典范，在那里，她紧张的感官得到了休息。而在她的柏林家中，所有家具都是昂贵的古董，都是花高价在古董市场上购买的。但大多数人的客厅里都有类似的家具，只不过是复制品。工厂制造的，接近巴洛克风格。
Whether it was cheap or expensive, for most people in the early 1920s, coziness meant being surrounded by history, living among traditional forms, however loudly the advocates of new living shouted, death to the fusty. But it nagged away at them regardless. Was living among the opulent decor of the past really still as comfortable as people had believed it to be for decades? Doubts were growing among the residents. People felt that they had been left behind. Revolution and the shock of inflation had changed everything. Supposedly valuable things were starting to look threadbare. What had previously looked merely velvety now looked slightly musty. What had seemed valuable now looked weird.
在20世纪20年代早期，不论价格高低，对大多数人来说，舒适的生活意味着被历史包围，生活在传统形式之中，尽管拥护新生活的人大声疾呼要摒弃陈旧。但是，这些疑虑依然困扰着他们。住在过去奢华的装饰中，真的仍如之前几十年人们所信的那样舒适吗？住户们的怀疑在增加。人们觉得自己被时代落下。革命和通货膨胀的冲击改变了一切。那些被认为是有价值的东西开始显得陈旧不堪。过去看起来华丽的东西现在显得有点陈腐。而曾经看起来有价值的东西，现在看起来却有些古怪。
Widespread talk of spiritual homelessness was more than a phrase. Many people no longer felt that their own apartments were still welcoming, and the red X that the vacu-bunt had painted over their sitting room had started them thinking. Perhaps this really was junk. A profound change in taste that would continue for over two generations began to take hold of people. Decor that had looked pleasing a moment ago now looked like a tumour. Historicism had led people to decorate their apartments as a table of contents of their education. The architecture critic Adolf Biena wrote in the publishing company Ushdine's pioneering magazine, Ooh. Under the headline Carefree Rooms the author argued that everything superfluous should be banished from apartments. He himself had even removed all the artworks from the walls. Our apartment no longer needs to be a museum, theatre and church, not even a place for display.
关于精神无家可归的广泛讨论不仅仅是一个短语。许多人不再觉得自己的公寓依然温馨，那个"流浪者"在客厅墙上画的红色X让他们开始反思。或许这些东西真的只是废品。一种深刻的品味变迁开始影响人们，这种变迁在接下来的两代人中持续。瞬间看起来令人愉悦的装饰，现在看起来就像是肿瘤。过去，为了展示自己的教育背景，许多人在家中装饰上各种历史主义风格的元素。建筑评论家阿道夫·毕纳在Ushdine出版公司开创性的杂志《哦》中写道。在题为《无忧无虑的房间》的文章中，作者认为所有多余的东西都应该从公寓中清除出去。他自己甚至把墙上的所有艺术品都拿掉了。我们的公寓不再需要是博物馆、剧院和教堂，甚至不再是展示的地方。
We no longer want it to demonstrate our personality. The more rich, fantastical, romantic our lives, the more self-evident, peaceful and simple our four walls should be. Because it lacked originality, historicism had developed a curious form of greed. It had constantly piled new copies of past styles on top of each other, so that the lack of discrimination had gradually become its essence. Every gap had to be filled with trinkets that in some way looked as if they came from a long time ago. Yes, we actually live like swine, terribly thoughtlessly. Bertolt Brecht has one of his characters say in a satire on Bauhaus architecture as he is being led wide-eyed through one such modern dwelling. Only a few years before the character had still been lying in the mud in Arras, with his fellow soldier, and now that same comrade is hosting him in a setting without so much as a speck of dust.
我们不再希望用它来展示个性。生活越是丰富、多彩、浪漫，我们的四壁就越是显得要明朗、平和和简单。由于缺乏原创性，历史主义发展出一种奇怪的贪婪形式。它不断叠加过去风格的新复制品，以至于缺乏鉴别力逐渐成为其本质。每个空隙都必须用看似来自远古的饰品填满。是的，我们实际上活得像猪一样，极其不加思考。在贝尔托·布莱希特的一部对包豪斯建筑的讽刺作品中，他的一位角色被带着睁大的眼睛穿过这样一处现代住宅时说到这一点。就在几年前，这个角色还和战友一起躺在阿拉斯的泥泞中，而现在那位战友在一个一尘不染的环境中接待他。
A few whiskies later, however, he runs rampage in the sterile Bauhaus building because he felt within himself a depthless desire for as many things ill-matched, illogical and natural as possible. The advocates of the Bauhaus style had a different view. They claimed that the superabundance found in ordinary apartments took their inhabitants to the edge not only aesthetically but practically too. In their desperate efforts to keep their cluttered surroundings clean, they had become slaves to their apartments. Very few already had one of the newly invented vacuum cleaners, but they also had huge quantities of carpets, runners, footstools and sofas. Most of the dust was only being redistributed and swept from one end of the apartment to the other. For the new person, this was not a species-appropriate setting, neither ideal nor hygienic.
几杯威士忌下肚后，他在一座冷冷清清的包豪斯风格建筑中大肆破坏，因为他内心深处渴望尽可能多的对立、不合逻辑和贴近自然的事物。然而，包豪斯风格的倡导者则有不同的看法。他们认为，普通公寓里过多的摆设不仅在美学上挑战住户，也给实际生活带来了困难。为了努力保持杂乱的环境整洁，住户们几乎成了自己公寓的奴隶。很少人已经拥有新发明的吸尘器，但他们仍然拥有大量的地毯、地垫、脚凳和沙发。大多数灰尘只是被从公寓的一头扫到另一头。对于新时代的人而言，这样的环境既不理想也不卫生，并不适合他们生活。
The modern human being cultivated a new sense of the body, trained in sports and gymnastics, that no longer matched the old-style dwellings. They had had enough of sinking into upholstery, immersing themselves in an apartment and being wrapped in an atmosphere. They wanted to put themselves on display, even in their apartment they wanted to be the fighter that the present demanded, to tower as a person who no longer wanted to hide in the past. After experiments with wood-slat constructions and rigid steel tubes, Marcel Breuer, born in Hungary in 1902 and only 23 years old, director of the factory workshop at the Desal Bauhaus, invented a back-leg-free chair on which one could bob up and down slightly. Traditional armchairs, soft and low, encouraged sedentary behaviour. On the cantilever or Frei Schminger, free-swinging chair, its later name, one sat as if about to spring, ready at any moment, to catapult oneself back into active life.
现代人培养了一种新的身体意识，经过体育和体操的训练，已经不再适应旧式的居所设计。他们厌倦了陷入沙发深处、沉浸在公寓里、被环境包裹的感觉。他们希望展示自己，即使在自己的公寓里也希望体现出新时代的斗士精神，不再躲避过去的束缚。经过对木板构造和硬钢管的实验后，生于1902年的匈牙利人马塞尔·布鲁尔，在他只有23岁时，作为德绍包豪斯工厂工作室的主任，发明了一种没有后腿的椅子，可以让人轻微地上下晃动。传统的扶手椅又软又低，促使人们久坐不动。而在这款后来被称为悬臂椅或自由摇摆椅的设计上，人们坐着时就如同准备随时跳跃，随时准备重新投入活跃的生活。
This matched the demeanour of the athletic person of 1925. Even when sitting, a certain physical tension was preserved, the sitter was springingly at rest, keeping their balance and sensing their strength. It was built for people who wanted to retain some degree of movement, even when seated. The cantilever chair displayed the person in the empty space. Because one could transform one's own strength into energy while sitting on it, one felt as if one were on a kind of sitting machine, ideally suited to a space that the architects of the new building liked to refer to as a machine for living. It matched the intensely nervous mood of the era, and it also looked strikingly elegant, the epitome of modern living even today, copied and varied many times over, most recently by Ikea's Poeng chair.
这与1925年运动型人士的风度相匹配。即便是在坐着的时候，也保持着某种身体的紧张感，坐着的人似乎随时准备蓄势待发，维持着他们的平衡并感受着自己的力量。这种设计适合那些即便在坐着时也希望保持一定活动能力的人。这种悬臂椅展示了人在空旷空间中的姿态。因为坐在上面时，个人的力量可以转化为能量，人会感觉自己仿佛坐在某种坐卧机上，非常适合被新建筑的设计师称为“生活机器”的空间。它符合那个时代紧张的情绪，同时也显得非常优雅，即使在今天也是现代生活的典范，被多次复制和变化，最近的一次例子是宜家的Poeng椅。
But a piece of furniture like that isn't designed overnight, and not by one person. It was the result of years of work in the workshop, with many preliminary stages and the mutual influence of several designers. In the end, three designers were able to claim the cantilever for themselves, Masel Breuer, Mies van der Rohe, and March Stamm. The copyright row that developed among these like-minded people is interesting even today. Cooperation and competition were contradictory principles that offered the Bauhaus and its kindred spirits both solidarity and explosive material, creating a unique psychodynamic.
像这样的家具并不是一夜之间由一个人设计而成的。它是多年在工作坊中努力的成果，经过多个初步阶段，以及多位设计师的相互影响。最终，三位设计师马塞尔·布劳耶、密斯·范德罗和马奇·斯塔姆都宣称自己是悬臂椅的设计者。即使在今天，这些志同道合的人之间围绕版权的争端仍然很有趣。合作和竞争是相互矛盾的原则，为包豪斯及其同类团体提供了团结和爆炸性的素材，创造了一种独特的心理动态。
Apart from anything else, Gropius and his people were engineers of fame, they were genius as at PR, masters of lobbying as well as marketing, advertising and corporate design. The Bauhaus logo, their own series of books, an unmistakable formal language in layout and typography, and public presence in every artistic sphere, even the theatre, ensured that everything that looks aesthetic and functional is called Bauhaus, even today.
除了其他方面，格罗皮乌斯及其团队还是著名的工程师，他们在公关方面是天才，也是游说、营销、广告和企业设计的大师。包豪斯的标志、他们自己的一系列书籍、独特的版面和字体形式，以及在每个艺术领域，包括戏剧中的公众形象，确保了即使在今天，一切看起来美观和实用的事物都被称为“包豪斯”。
Door to door, new building for the urban masses. There was one sphere of society that couldn't have cared less, whether a bit of stucco was stuck somewhere, or what spirit might have woven a particular chair. This sector was happy to have a roof over its head. In the poor quarters of the cities, people were crammed tightly together, and viruses and bacteria had a heyday. It was damp and dirty, and strangers would often sleep in the same bed in succession.
门对门，城市大众的新建筑。有一个社会阶层对此并不关心，无论墙上是否贴了一层灰泥，或者某张椅子背后藏有什么精妙设计。这个阶层只是在满足有个栖身之所而已。在城市贫民区，人们拥挤不堪，病毒和细菌肆虐。这里又潮湿又肮脏，经常会有陌生人依次在同一张床上睡觉。
If a person left the house in many cases a sleeping buddy would come in and slip by arrangement under the still warm blanket before disappearing again when the first person came back. The same was true of the bathtub, if one had such a thing. The water in a tub would have to do for the whole family, the last one in would bathe in cold, dirty water. In many apartments in rundown rental blocks, there were conditions of almost indescribable squalor.
如果一个人离开家，在很多情况下，一个睡眠伙伴会趁机进来，按照约定滑到仍然温暖的毯子下，然后在第一个人回来之前消失。浴缸也是如此，如果有的话。浴缸里的水需要给全家使用，最后一个人会在又冷又脏的水中洗澡。在许多破旧出租公寓中，生活条件几乎可以用“不堪入目”来形容。
Between 1901 and 1920, one Berlin medical insurance company carried out investigations into housing conditions in Berlin's working-class districts and documented them in 175 photographs that give a shattering insight into the spaces in which many people had to live. Full of junk, damp and unhealth. Because there was no money for cupboards, the contents of the households were strewn all over the place, clothes hung on nails on the walls of the rooms, washing dried on lines stretched across the rooms.
在1901年至1920年间，柏林的一家医疗保险公司对柏林工人阶级地区的住房条件进行了调查，并用175张照片记录下这些调查结果。这些照片深刻揭示了当时许多人所居住的环境，令人震惊。居住空间杂乱无章、潮湿且不健康。由于没有钱购买橱柜，家里的物品随处堆放，衣服挂在房间墙壁的钉子上，洗过的衣物则晾在房间内拉起的绳子上晾干。
Mothers sat at the only available tables, sewing sacks for money. There weren't enough chairs for the residents, so people lay about on mattresses and got on each other's nerves. In every third Berlin house, there was a pub where many people sought refuge in alcohol, but only the men. In proletarian pubs, unlike the bars in the middle-class districts, women were distinguished by their scarcity. Everywhere there were people coughing, wheezing and sweating with fever.
母亲们坐在仅有的桌子旁缝补袋子以赚取钱财。居民们的椅子不够，所以人们只能躺在床垫上，彼此产生摩擦。在每第三个柏林的房子里有一个酒馆，许多人在那里靠酒精寻求慰藉，不过只有男人们这么做。在工人阶级的酒馆中，与中产阶级地区的酒吧不同，女性很少见。到处都是在咳嗽、喘气以及因发烧而出汗的人。
Sleeping sickness, tuberculosis and above all, Spanish flu with its millions of fatalities had taught people to fear the modern varieties of pestilence. Heinrichtzillers' insight that people can be killed not only with an axe, but also with an apartment was doubly true. Criminality in these districts was viral. The cramped conditions did encourage a feeling of solidarity, but to an even greater extent fostered violence. In the Weimar Republic, that was a source of considerable anxiety.
睡眠病、肺结核，尤其是导致数百万死亡的西班牙流感，这些疾病让人们开始害怕现代的瘟疫。海因里希·齐勒尔的观点指出，人不仅可以被斧头杀死，也可以因为居住环境而丧命，这一看法尤其正确。这些区域的犯罪就像病毒一样蔓延。虽然拥挤的生活条件在一定程度上激发了团结感，但更大程度上助长了暴力。在魏玛共和国，这成为了一个令人大为担忧的问题。
In 1925, the liberal philosopher and author Teodor Lessing, in his semi-documentary essay about the mass murderer Fritz Harmon, described one such place of social sickness. Harmon, the cannibal, who killed and dismembered 24 boys and young men in a bestial manner, lived in a rundown part of the old city of Hanover, a breeding ground for lightless generations, jaundiced with poverty, breathing in decay and mildew, cursed to misery.
在1925年，自由派哲学家和作家特奥多尔·莱辛在他有关连环杀手弗里茨·哈蒙的半纪实文章中描述了一个这样的社会病态之地。哈蒙是个食人魔，他以野蛮的方式杀害并肢解了24名男孩和年轻男性。他居住在汉诺威老城一个破旧的地区，这里滋生了无望的一代，贫困使人脸色蜡黄，空气中弥漫着腐烂和霉菌的气息，是被诅咒的悲惨之地。
In many larger cities, parts of the medieval centers had been neglected, and now, in buildings that might from a distance, have seemed picturesque, provided accommodation for the poorest of the poor. In the evening, when the moon hung over the rotting roofs of grey chimney stacks and cast a silver light on the ghostly black river, the heavy, thin, exhausted, overworked suffering humanity emerged from their old boxes and hung and crouched over the stinking lagoon.
在许多大城市中，中世纪中心的一部分曾被忽视，如今这些从远处看似乎很别致的建筑，却为最贫困的人们提供了住所。晚上，当月亮悬挂在腐朽的屋顶和灰色烟囱上，银色的月光洒在幽暗的黑色河流上时，那些沉重、瘦弱、疲惫、过度劳累、备受煎熬的人们便从他们破旧的居所中走出来，聚集在臭气熏天的水潭边，徘徊或蹲伏着。
It was not the age of these districts that was problematic, but their overpopulation. Whether the houses were four decades old or dated from the 15th century, the effect was the same. It was as if they were flooded with misery. Half a million people didn't even have a roof over their heads, and pressure on the cities was growing. More and more people were turning their back on the country and trying their luck in the crowded metropolis.
这些地区的问题不在于它们的年代久远，而在于人口过于稠密。无论是四十年前的房子还是可以追溯到十五世纪的建筑，产生的影响都是一样的。这些地方似乎充满了困苦。城市中有五十万人甚至没有栖身之所，城市的压力与日俱增。越来越多的人背离乡村，到拥挤的大城市碰碰运气。
The problem couldn't be solved, but it could be eased. Building was needed on a scale too great for private clients. In the first years, after the war, house building was still stagnating, but with the introduction of the tax on inherited housing in 1925, the state created an instrument for an active construction policy. This meant that old buildings were taxed and the income used for the construction of new buildings. All over the country, charitable construction companies were set up, undertaking massive building projects. After 1924, half of all dwellings were built by charities in Frankfurt over 90%. A boom began in the building of social housing and satellite towns. The authorities really had a slog ahead of them if the cities weren't to let people in the lowest income bracket suffocate in misery.
问题无法解决，但可以缓解。建筑需求的规模对于私人客户而言过于庞大。在战争结束后的最初几年，房屋建设仍然停滞不前，但随着1925年遗产房屋税的引入，国家创造了一项积极的建筑政策工具。这意味着对旧建筑征税，并将税收收入用于新建筑的建设。全国各地都设立了慈善建筑公司，开展大规模的建筑项目。1924年后，各地慈善机构修建了超过一半的住宅，法兰克福的比例甚至超过90%。社会住房和卫星城的建设热潮随之而来。如果城市不想让最低收入人群在困境中挣扎，政府面临着艰巨的任务。
A slog meant cheap building on a mass scale and in the shortest possible time. Lined up in rigid rows, set on green field sites, built with serially produced prefabricated construction elements, countless thousands of apartments were produced under extremely high pressure, a huge accomplishment by the state, all the more remarkable when you consider that the German government can't get a grip on the catastrophic housing shortage we face in the present day. In Berlin alone, 146,000 dwellings were built between 1925 and 1931. By way of comparison, in the six years between 2013 and 2019, in spite of similarly high demand, 91,140 new flats were constructed.
在最短的时间内以低成本大规模建设，这种吃力不讨好的工作旨在快速建造大量住房。这些住房被整齐地排列在绿地上，用预制建筑构件批量生产，在极高的压力下建成了无数公寓。这是国家的一项巨大成就，尤其令人惊叹的是，当今德国政府仍未能有效解决我们面临的严重住房短缺问题。仅在柏林，从1925年到1931年，就建造了14.6万套住宅。相比之下，尽管2013年至2019年间的需求同样很高，但这六年间只建造了91,140套新公寓。
In Frankfurt, it was the architect and city planner Ernst May, who was responsible for the construction of 12,000 new homes between 1925 and 1930. They were tiny but practical, often with a little garden in front for the purposes of self-sufficiency. Price controls made uniformity inevitable, although under certain circumstances, it was possible to introduce a certain degree of originality. In Tsekhausen on Borfeldstraße in Frankfurt, two dozen three-story cubes were built, in a zigzag pattern, as the name suggests, rather than being erected in the usual dull row. The whole thing looked as if a god had not thrown some dice exactly, but sorted his building blocks, although unfortunately he only had one kind.
在法兰克福，建筑师和城市规划师恩斯特·梅（Ernst May）负责在1925年至1930年间建造了12,000套新住宅。这些住宅虽然很小，但非常实用，通常在前面有一个小花园，以便自给自足。价格管制导致了住宅形式的统一性，但在某些情况下，仍然可以加入一定程度的创意。在法兰克福的博尔费尔德大街（Borfeldstraße）的泽克豪森（Tsekhausen），建造了两打三层立方体住宅，以曲折的方式排列，如其名称所示，而不是像往常那样排成单调的一排。整个建筑群看起来就像是某个神灵没有随意掷骰子，而是有意地排列了他的积木，尽管遗憾的是，他手头只有一种积木。
With the breathtaking scale and monotony of these new build areas, the state had created an impressive face for itself, a real mass ornament. The geometry of the modern age had taken hold of the little people. Small house lined up next to small house as if on parade. The new Frankfurt was no longer dominated by chaos. There was no charming confusion like that produced by small-scale private construction over the centuries in city centres across Germany. Instead, there was an almost frightening clarity. The satellite town boasted a rigid order that its residents had to fit in with.
这些新建区域规模宏大且单调，令人惊叹，政府为自己打造了一个令人印象深刻的形象，真正的大众装饰。现代时代的几何布局已经掌控了小人物。小房子一个挨一个地排列着，就像在游行。新的法兰克福不再被混乱所主导。没有像德国各地市中心几个世纪以来小规模私人建筑那样的迷人混乱。取而代之的是一种几乎令人畏惧的清晰。这座卫星城展示了严格的秩序，居民们必须适应这种秩序。
Such strict geometry was nothing new in urban architecture, of course, even in the newly built districts of the Baroque period. Or in the 19th century tenements, flats were stacked serially on top of one another, but living conditions had never been organised as soberly as they were under the builders of the Weimar Republic. It can hardly come as a surprise that a lot of attention was paid in the Soviet Union to answer Meiss talent for creating affordable living spaces. In 1930 they had head hunted him. Meiss went to Russia with 20 German colleagues and even worked there for a time as engineer in chief of the Association for the Construction of Standard Cities in the USSR.
这样的严格几何布局在城市建筑中并不新鲜，即便是在巴洛克时期新建的城区中也是如此。在19世纪的公寓楼中，住宅一层层地叠加，但居住条件从未像魏玛共和国时期的建筑师那样被规划得如此简朴。因此，人们对米斯创造可负担住宅的才华在苏联受到高度重视也就不足为奇了。1930年，苏联向他发出邀请。米斯带着20位德国同事前往俄罗斯，甚至在苏联标准城市建设协会担任过一段时间的总工程师。
Meiss now in charge of a workforce of over 800 people saw this as perhaps the biggest task that an architect has ever faced. For a large-scale planner like himself, this was the fulfillment of a life stream to build new cities out of nothing for millions of people. Within a very short time, Ernst Meiss was to throw up a new industrial city called Magnetogorsk after the nearby magnetic mountain in the bare step of the Urals. After three years, however, Meiss fell into disfavor. Aside from the usual quarrels with civil servants, Meiss construction suddenly wasn't propagandistic enough for the Soviet leadership.
梅斯现在负责着一支超过800人的团队，他认为这可能是建筑师面临的最大挑战。对于像他这样的大规模规划者来说，这是实现他人生梦想的一次机会，即从无到有为数百万人建设新的城市。在很短的时间内，欧内斯特·梅斯在乌拉尔山脉附近的荒原上兴建起一座名为“磁山城”的新工业城市，以当地的磁山命名。然而，三年后，梅斯失宠了。除了与公务员的常见争执外，他的建设工作突然不再符合苏联领导层的宣传需要。
The Stalinist need for display was unhappy with functionalist Sylenböl, literally line construction, otherwise known as row house, based on long, thin buildings. They wanted more pomposity in the decor, more closed districts and more visual axes involving grand monuments. In totalitarianism, the modern age paused, Meiss's idea simply became too stark even for the Soviets. Equally undesirable in Nazi Germany, he later went to Kenya and ran a coffee plantation.
斯大林主义对于要展示的需求与功能主义的"线形建筑"感到不满，这种建筑又称为排屋，基于长而窄的建筑设计。他们希望在装饰上更加奢华，封闭的街区更多，以及具有宏伟纪念碑的视觉轴线更多。在极权主义下，现代主义的发展停滞不前，迈斯的设计理念即使对苏联人来说也过于简洁。同样，这在纳粹德国也被视为不受欢迎，于是他后来去了肯尼亚经营一个咖啡种植园。
The Frankforta Mai was only outdone in terms of productivity by his Berlin colleague Martin Wagner. Wagner was the building director of a city with an even worse housing crisis, but Wagner had more room than Mai did in Frankfort. He didn't have to move his larger states outside the city, but was able to erect them among the many small towns that had come together in 1920 to form greater Berlin. City planner Wagner found a congenial artistic partner in Bourno Taut, who was now chief architect of Berlin's non-profit construction company, Geerhark, which was a leading player in modern large-scale housing construction. Taut almost thought on as large a scale as Mai, but was more concerned with loosening up serial building with a variety of individual elements. He wasn't even afraid of predifying a simple door, with a wide frame adorned with a gold waffle pattern on a blue background, as if he had suffered an attack of romantic weakness or anticipated a post-modern brainstorm.
法兰克福的迈（Frankforta Mai）在生产力方面只有柏林的同事马丁·瓦格纳（Martin Wagner）能超越。瓦格纳是一个城市的建设总监，这个城市的住房危机甚至比法兰克福更加严重，但瓦格纳在柏林有更多发展空间。他无需将更大的状态迁到城市外，而是能够在1920年合并形成大柏林的众多小城镇中进行建设。城市规划师瓦格纳找到了一个志同道合的艺术伙伴——布尔诺·陶特（Bourno Taut），他当时是柏林非营利性建筑公司Geerhark的首席建筑师，而该公司是现代大规模住房建设的领先者。陶特几乎和迈一样以大规模思考，但他更关注通过各种个性化元素来使集体建筑更具活力。他甚至不怕美化一扇简单的门，用宽边框装饰上金色华夫格图案的蓝色背景，看起来好像他曾经经历过一场浪漫的软弱，或者是在预见后现代的灵感迸发。
Taut built residential districts that remain exemplary for their high-level democratic construction. His vonstadt carligin demonstrates that even social housing can be charming. With its pre-constructed lodgiers, the building turns its logic outwards. Curved corner balconies recall the elegance of a luxury steamer, and windows running around corners sweep away centuries-old building rules. Kitchens were typical of the method of new building. They shrank to the size of a battery cage. Architects explained their tiny size by saying that they had measured the many unnecessary journeys that people had to take while cooking in a traditional kitchen. Tailorism, the optimization of time and motion for reasons of profitability, had shown that housewives, the house husband was still a long way off, wasted much of their energy making these unnecessary journeys. To shorten them, the kitchens in Reichspan dining cars were taken as a model and a virtue made of their tiny spaces.
塔特建造的住宅区因其高水平的民主建筑而称得上是典范。他设计的冯斯塔特·卡利根项目展示了即使是社会住宅也可以富有魅力。建筑采用预制架构，设计上向外展开。弯曲的阳台让人联想到豪华邮轮的优雅，而环绕转角的窗户则打破了古老的建筑规则。厨房是新建筑方法的典型代表，它们被缩小到了电池笼的大小。建筑师解释说，他们之所以这样设计，是因为测量发现，在传统厨房中，人们需要进行许多不必要的移动。为了经济效益而优化时间和运动的管理原则（所谓的“泰勒主义”）显示，由于缺乏类似“家庭主夫”的概念，家庭主妇在做这些不必要的移动时浪费了大量的精力。为了缩短这些距离，他们以德国铁路餐车的厨房为模型，使小空间也能体现其优点。
The Frankfort kitchen that the Viennese architect Magareto Schutter Lihotsky designed for the buildings of Ernst May in 1926 had an area of only 6.5 square meters. In spite of a width of just 1.87 meters, it offered what was supposedly perfect working conditions. With upper and lower cupboards, it formed the prototype of the contemporary fitted kitchen. Cooking in the kitchen was like working in the cockpit of a narrow aeroplane. If you needed a work surface, you just folded a board between the lower cupboards that faced one another. That was a practical solution and the fact that the women in the kitchen were essentially locked away didn't trouble the designer at all. On the contrary, the separation of the sphere of food preparation, dirty, from the space of eating, clean, followed the paranoid notions of social hygiene that the reform-living movement followed at the time. The modern woman rationalized away on democratic principles was supposed to be invisible until the food was ready.
1926年，维也纳建筑师玛格丽塔·舒特·李霍茨基为恩斯特·梅的建筑设计了法兰克福厨房，占地仅6.5平方米。尽管宽度仅有1.87米，却提供了据称完美的工作条件。其上下橱柜的设计成为现代嵌入式厨房的原型。在厨房烹饪就像是在狭窄飞机的驾驶舱中工作。如果需要工作台，只需在相对的下方橱柜之间折叠一块板。这是一个实用的解决方案，而设计师完全不介意厨房里的女性被基本上隔离开。相反，将肮脏的食品准备区与干净的就餐区分开的做法符合当时改革生活运动的社会卫生理念。按照民主原则来合理化的现代女性应该在食物准备好之前都是看不见的。
Cooking was banished to a room that the wife only escaped when she brought in the finished food. Ideally, she would have changed in the meantime. Built Euphoria Anyone who went out in the evening to go dancing or to the cinema left the domain of the Bauhaus aesthetic. A different architectural spirit prevailed in the glittering dance halls and entertainment palaces. A hitherto unknown glamour catapulted the guests out of the travails of the plane into artificial glittering states of paradise. Those who went eating and dancing in Berlin's house Gormenia could consider themselves the most elegant of all. The building included a series of five very different restaurants that stretched over a total of three stories. Dinars sat in two gallery floors, one above the other and looked down at the parquet below or at the balcony opposite.
烹饪被限制在一个房间里，妻子只有在端上做好的食物时才有机会离开。理想情况下，她在这期间会换身衣服。 建筑的狂欢：任何晚上出去跳舞或看电影的人都离开了包豪斯美学的领地。在闪闪发光的舞厅和娱乐宫殿中，是另一种建筑精神在主导。一种前所未有的魅力将客人从日常生活的烦恼中推向人造的闪光天堂。在柏林的 Gormenia 大厦用餐和跳舞的人可以认为自己是最优雅的。大厦内有一系列五个风格迥异的餐厅，分布在总共三层楼上。食客们坐在上下两层的画廊楼层，可以俯瞰下面的地板或对面的阳台。
The architect, Leon Nachtlich, had wanted to arrange the house Gormenia which opened in 1929 in such a way that as many people as possible see each other because people take great delight in looking. Five years after the introduction of the new Reichsmark society had found an ideal look for itself. With the interconnected sequence of establishments Caffib Eileen, Vainresteron, Tauber, the Bierstubuschtag Pilson, the American buffet and the English tea room, Nachtlicht had created a complete artwork centering on a conservatoire with branching water courses, tall palm trees, and exotic plants with tortoises wandering about to the sound of screeching parrots and the driving rhythm of jazz.
建筑师莱昂·纳赫特利希希望能够设计出一个尽可能让人互相看到的房子——戈尔梅尼亚之家，该建筑于1929年开放，因为人们很喜欢观赏。 在新帝国马克推出五年之后，这个社会为自己找到了理想的形象。通过连接咖啡馆艾琳、虚荣餐厅、陶博尔、皮尔森啤酒馆、美国自助餐和英式茶室的顺序，纳赫特利希创造了一个完整的艺术作品，以音乐学院为中心，周围分布着水道、高大的棕榈树、异国植物，还有乌龟在到处游动，伴随着尖叫的鹦鹉声和爵士乐的强劲节奏。
Trees of light made of milky glass tubes stretched the full height of the three stories. On the top floor was the dance hall above that the roof garden on which there was room for 650 people among spot lit fountains and luxuriant flowers. If it rained an electrically activated glass roof appeared above the guests. When the glass roof was removed again after the storm the cleansed air is inhaled in deep breaths and people are even more delighted with the technical development for saving a day that had begun with great pleasure, according to the Gormenius Brochia. The owners were particularly proud of the indoor climate. With the Vusmald weather maker they were able to make their own weather the advertisement promised. In every detail the house Gormenia aimed for a perfect and undisturbed artificial world. The space was an ideal backdrop for beautiful women and elegant men strolling amidst a world that was there entirely for their pleasure.
用乳白色玻璃管制成的光树贯穿了三层楼的高度。在顶层是舞厅，上面是可以容纳650人的屋顶花园，园中有灯光照耀的喷泉和郁郁葱葱的花卉。如果下雨，电动激活的玻璃屋顶会覆盖在客人上方。暴雨过后，当玻璃屋顶再次移开，人们深呼吸着清新的空气，对这项技术的发展感到更加高兴，因为它拯救了一个本已愉快的日子，据Gormenius Brochia所述。业主们尤其自豪于室内气候。使用Vusmald造天气机，他们能够自己创造天气，正如广告承诺的那样。Gormenia大楼在每一个细节上都追求一个完美且不受干扰的人工世界。这个场所是美丽女性和优雅男士漫步的理想背景，整个世界都为他们的享乐而存在。
Waiters were supposed to dash about like arrows fired from a bow. Everything here works as if on a conveyor belt, as if by clockwork everything is wound up everything electrically charged. Some giant must oppress a button so that everything works and hurries and rushes tirelessly without a pause for breath. To maintain the momentum the music could never fall silent because the best bands are precisely good enough to take over from one another in constant succession. Five such select orchestras play in the Gormenia Palace. Agents of all countries are employed in New York and London in Paris and Rome in Vienna and Budapest even in Bonas Aires and Rio de Janeiro to find bands that will complete the service to our guests.
服务员们应该像离弦的箭一样快速奔走。这里的一切都像流水线作业，仿佛所有事情都被精确地设定和电力驱动着。仿佛有个巨人在按下按钮，让一切不停运转，匆忙而又不知疲倦，没有丝毫喘息的机会。为了维持这种节奏，音乐绝不能停，因为最好的乐队总是能无缝衔接地接替演奏。在戈尔梅尼亚宫殿中，有五支这样的精选乐队。来自各国的经纪人在纽约、伦敦、巴黎、罗马、维也纳、布达佩斯，甚至布宜诺斯艾利斯和里约热内卢，负责寻找能够为我们的客人提供完美服务的乐队。
The glamorous stylistic phenomenon characteristic of buildings like the Gormenia were only called Art Deco later on. In the 1920s the concept didn't exist. At first Art Deco was nameless. It was only when a subsequent generation was struck by the bravura pieces of this ambitious decorative trend that the glamorous side of the modern age was given its own name. In reference to a big exhibition that had been shown in Paris in 1925, the Exposisio Antanasunal des Art de Cortif y Anders Triel Modell. The Berlin Renaissance Teerta for example which is now considered to be the last surviving Art Deco theatre in Europe was seen in the 1920s as a testimony to an expressionist Rococo. If Art Deco was only given its own name after the fact and it was generally categorized as Neuys Áchlickeit at the time, this was down, apart from a lack of eloquent theorists, to one important factor.
像Gormenia这样的建筑所特有的迷人风格现象，后来才被称为“装饰艺术”（Art Deco）。在1920年代，这个概念尚不存在。最初，装饰艺术是没有名字的。直到后来的一代人被这一雄心勃勃的装饰潮流中的华丽作品所震惊，现代时代的这一奢华一面才获得了它自己的名字。这个名字是参考1925年在巴黎举办的一个大型展览“国际现代装饰艺术展览”而来的。例如，柏林的文艺复兴剧院，这座被认为是欧洲仅存的装饰艺术剧院，在1920年代被视为表达人意主义洛可可风格的见证。如果装饰艺术是在事后才获得自己的名称，并且当时通常被归类为“新物质性”，这除了缺乏有表达能力的理论家之外，还有一个重要因素。
Art Deco broke just as decisively with the past as the functionalism of new building. Its guiding principle was not minimalism however but excess. While the representative of Neuys Áchlickeit concentrated on the minimum that was absolutely necessary for a good life, the representatives of Art Deco saw excess as a highly necessary matter. They too wanted to remake the world from the ground up but make it more glamorous. Much more glamorous. Spikes and arches, fanned corners and aerodynamic curves gave every object a striking appearance and fine materials such as smooth leather, mirrors, chrome, brass, polished ivory and gleaming mahogany lent simple forms of weighty magnificence. The domains of Art Deco were fashion and jewelry, interior decoration and the temples of modern distraction, dance halls, cinemas, boutiques, department stores, hotels, the luxurious places that made up the euphoric elements of the roaring twenties.
装饰艺术（Art Deco）与新建筑的功能主义一样，彻底打破了传统。然而，它的指导原则并不是极简主义，而是追求奢华。当“新客观”代表专注于最低限度的生活必需品时，装饰艺术的代表则将奢华视为非常必要的元素。他们也希望从根本上重塑世界，但希望让世界变得更加迷人，更加光彩夺目。尖角和拱形、扇形转角和流线型曲线使每件物品都格外醒目，而优质材料如光滑的皮革、镜子、铬合金、黄铜、抛光的象牙和闪亮的红木则为简单的造型增添了重量感和辉煌感。装饰艺术的影响领域包括时尚和珠宝、室内装饰以及现代消遣的场所，如舞厅、电影院、精品店、百货公司、酒店等，这些奢华的地方构成了狂欢的二十年代充满活力的元素。
An example in Germany was that the Káśdát department store in Hamanplatz, a bit of Chicago that loomed like an American dream from a tenement block in the Berlin District of Neuichön. Today the Senate and the District Council are arguing about the plan to rebuild the upwardly aspirational department store under the direction of the Chipperfield architecture office so that its Mesopotamian metropolis architecture can stand triumphant over the neighborhood once again. Also falling under the heading of Art Deco is the Universum cinema by Erich Mendelsohn. Today the Schalbüner on Leningenaplatz which with its elegant round bow and angular superstructures noses its way towards Köferstendam like a luxury steamer.
在德国，有一个例子是位于Hamanplatz的Káśdát百货商店，这个地方犹如一小块美国梦，矗立于柏林Neuichön区的居民楼之中。如今，参议院和区议会正在争论是否由Chipperfield建筑事务所主导重新建造这个充满向上追求精神的百货商店，以便使其美索不达米亚大都会风格的建筑再次在这一地区傲然挺立。
同样被归为装饰艺术风格的是由Erich Mendelsohn设计的Universum电影院。如今，位于Leningenaplatz的Schalbüner以其优雅的圆形船首和棱角分明的上层建筑向着Köferstendam挺进，宛如一艘豪华游轮。
Or the Grassemuseum in Leipzig with its Hall of Pillars which looks as if it were built for Cleopatra's wedding to Albert Einstein. Cleopatra, she was like ancient Egypt in general, incredibly hip in the 1920s. In 1922 the discovery of the grave of Tutankhamun fired the imagination of designers as did the Ishtar Gate which was shown in Berlin's Pergammon Museum in 1930, were the pharaohs not also Bauhaus artists in their way, the pyramids are manifesto to sublime reduction? The bust of Nefertiti shown to the public in 1924 caused a sensation and expanded people's understanding of timeless beauty. A cultural kinship was seen between Nefertiti and Greta Garbo and turned Nefertiti and her husband Akhenaten into the faces of beer, cigarettes and coffee. Charleston dresses in the pharaoh style were the last word in fashion.
莱比锡的格拉斯博物馆有个柱子大厅，看起来仿佛为克娄巴特拉和阿尔伯特·爱因斯坦的婚礼而建。克娄巴特拉在1920年代非常流行，就像古代埃及在整体上也是如此。1922年，图坦卡蒙墓的发现激发了设计师们的想象力，而1930年在柏林佩加蒙博物馆展出的伊什塔尔门也有同样的效果，法老们是否也是他们那个时代的包豪斯艺术家，金字塔不就是对崇高简约的宣言吗？1924年向公众展示的奈费尔提蒂半身像引起了轰动，拓宽了人们对永恒之美的理解。人们发现奈费尔提蒂与葛丽泰·嘉宝有一种文化上的亲缘关系，并使奈费尔提蒂和她的丈夫阿肯那顿成为啤酒、香烟和咖啡的代言人。以法老风格设计的查尔斯顿裙子成为时尚的最终选择。
Stage stars such as Ida Roland and Margot Leon, forgotten today, strutted around disguised as Nefertiti. Big performances like theirs needed a suitable setting and they found it in the grandeur of Art Deco. Palatial interiors like Caffi Uland with gleaming gold ceramics on the walls, ceilings that fanned out like seashells, brass and frosted glass light columns and handrails of polished bubinga wood or palisander turned every guest into a star, a pharaoh of the 20th century. Art Deco was an aesthetic of globalisation. It was no coincidence that it's heyday coincided with the arrival of international shipping lines, passenger flights and travel agencies, aspects of Yudin Yuth style, the German version of Art Nouveau, the pioneering utilitarian Vina Vekstetta Viennese workshops, design movement and the Bauhaus merged with French models but also with the American chic of skyscraper fantasies.
舞台明星如伊达·罗兰和玛戈·莱昂（今天已经被遗忘）曾化妆成娜芙蒂蒂在舞台上翩翩起舞。像她们这样的大型表演需要一个合适的环境，她们找到了代表辉煌的装饰艺术风格。豪华的内饰，如Caffi Uland，其墙壁上闪闪发光的金色陶瓷、像海贝一样展开的天花板、黄铜和磨砂玻璃的光柱以及抛光的布宾加木或紫檀木扶手，使每位客人都仿佛成为了20世纪的明星或法老。装饰艺术是一种全球化的美学。它的鼎盛时期与国际航运公司、客运航班和旅行社的到来不无关系，其中还涉及德国版新艺术风格的Yudin Yuth、先锋实用主义的维也纳工坊设计运动，以及包豪斯风格与法国模型和美国摩天楼幻想的时尚相结合。
This produced an international metropolitan style that was soon as global as the Charleston, the Bob or Coca-Cola. That brown sweet soda appeared on the German market in 1929 in the ribbed and bellied bottle that still exists in a very slightly different form today. Originally designed in 1915 the Coca-Cola bottle is the best known and most durable product of Art Deco, a coup of packaging design. It was a little piece of the world of the great Gatsby that everybody could afford. Like the Bauhaus, Art Deco wanted to be radically new but with the stress on dynamism. It was sensual, decadent and intoxicating, almost orgiastic as the architect Le Corbusier complained. Art Deco flirted with the world of opium and cocaine and presented itself as a drug in built form. It is hardly a surprise that this intoxication in stone should have been met with skepticism and resistance.
这产生了一种国际大都会风格，很快像查尔斯顿舞、波波头或可口可乐一样在全球流行。1929年，这种棕色甜味汽水以一种带有凹槽和曲线的瓶子形式进入德国市场，这种瓶子至今仍以稍微不同的形式存在。可口可乐的瓶子最早设计于1915年，是装饰艺术风格中最著名且最持久的产品之一，也是一项包装设计的伟大创举。它是一个人人都能负担得起的“了不起的盖茨比”世界中的小片段。像包豪斯一样，装饰艺术也追求激进的新风尚，但更强调动感。它是感性的、颓废的、令人陶醉的，几乎像建筑师勒·柯布西耶所抱怨的那样奢华。装饰艺术与鸦片和可卡因的世界调情，将自己呈现为一种建筑形式的毒品。令人毫不意外的是，这种石头构筑的“醉意”遭到了怀疑和抵制。
In Art Deco the modern age had for many people been given a destructive but also a triumphant face. They were as uncomfortable with it as they were with the severe Puritanism of the Bauhaus. Furious innovation in building became the visible sign of a feeling of loss that crept upon them in their more timid moments. Bit by bit many saw their spiritual home being lost. New morals, slender and confident young women, crazy music, cock-shaw bosses, rising prices in crafts and retail and these buildings that looked distinctly un-German. The alternative had a telling name, Jaime Tchutzstier, homeland protection style. The flat roof as a matter of conscience, Jaime Tchutz architecture.
在装饰艺术（Art Deco）时期，现代时代对许多人来说呈现出一种既具破坏性又带有胜利感的面貌。他们对这种风格感到不安，就像他们对包豪斯的严肃清教主义感到不安一样。建筑领域的极速创新成为了一种象征，标志着在他们较为胆怯的时刻感受到的一种失落感。渐渐地，许多人发现他们的精神家园正在消失。新的道德观、苗条而自信的年轻女性、狂野的音乐、傲慢自大的老板，手工艺和零售业的价格不断上涨，还有这些看上去明显不具德国风格的建筑。另一种选择有一个很有意味的名字，“乡土保护风格”（Jaime Tchutzstier），这是一种良心上的选择，称为“Jaime Tchutz建筑风格”，包括平屋顶设计。
In 1926 in Ulstein's Spirited magazine Oohoo, the social democrat minded head of the Bauhaus, Walter Gorpius and the far-right architect Paul Schultzer Nomborg provided a pro and contra on the subject of contemporary architecture. The 57 year old Schultzer Nomborg built predominantly country houses for a wealthy clientele. The best known is probably the Tzitzelianhof palace in Potsdam, which he built in 1917 for Crown Prince Wilhelm in the Tudor style. An illustrious collection of conservative intellectuals and artists used to meet up at the Schultzer Nomborg's house in Zalek in Nomborg Saxony Anhalt. A man such as Schultzer liked to include his hometown as the decoration in his name.
在1926年，在乌尔斯坦的杂志《Oohoo》中，倾向于社会民主主义的包豪斯校长沃尔特·格罗皮乌斯与极右翼建筑师保罗·舒尔策·诺姆博格就当代建筑的主题进行了正反辩论。今年57岁的舒尔策·诺姆博格主要为富裕客户建造乡村别墅。他最著名的作品可能是波茨坦的齐齐利安霍夫宫殿，这座宫殿于1917年为威廉皇储建造，采用都铎风格。在诺姆博格的萨克森-安哈尔特州的扎莱克，舒尔策·诺姆博格家常常汇集了一批著名的保守派知识分子和艺术家。像舒尔策这样的绅士通常会在名字中加入家乡作为装饰。
These included the architect Van Amach, the author Berries von Munchausen, the painter Ludwig von Hofmann and the more liberal urban planner Van Ahegeman. From the mid-1920s however, national socialists such as Adolf Hitler and Joseph Goebbels were also welcome guests in Zalek. While in his contribution to Oohoo, Gorpius insisted that people needed to move with the times and develop progressive buildings out of progressive technologies, Schultzer Nomborg argued that they should take their bearings from the rural forms of architecture of the pre-Bourgeois period. In those days, clear, extremely distinct forms had come into being, forms which were part of the organic legacy of the northern cultural circle.
这些人物包括建筑师范·阿玛赫、作家贝瑞斯·冯·闵希豪森、画家路德维希·冯·霍夫曼和更具自由主义的城市规划师范·阿赫曼。然而，从20世纪20年代中期开始，像阿道夫·希特勒和约瑟夫·戈培尔这样的国家社会主义者也成为扎雷克受欢迎的客人。在他的《Oohoo》贡献中，戈尔皮乌斯坚持认为，人们需要与时俱进，用先进的技术发展出前卫的建筑，而舒尔策·诺姆博格则主张应该从前资产阶级时期的乡村建筑形式中寻找灵感。在那些日子里，产生了清晰、极具特色的形式，这些形式是北方文化圈有机遗产的一部分。
They had built houses that looked like a collection of magnificently fiery characteristic heads of rugged ferries, masculine craftsmen, sensitive scholars and chivalrous aristocrats. After imitations from foreign cultures had been superimposed on the architectural identity of Germany to the point where it was no longer recognizable. There was a need to return to the traditional formal vocabulary of pointed roofs, aural and bay windows and shutters to build houses once more that clearly declared their allegiance to the Nordic culture group.
他们建造的房屋看上去就像是一系列壮丽且独具特色的头饰，展现出粗犷的渡船工、雄壮的工匠、敏感的学者和骑士化的贵族的形象。在外来文化的仿制品层层覆盖德国建筑的独特风格，致使其已不再可辨识的情况下，人们迫切需要回归传统的建筑形式，如尖顶、拱窗、凸窗和百叶窗等，以重新建造那些能够清晰表明其属于北欧文化圈的房屋。
Schultzer Nomborg was a representative of Heimad Stéo, homeland style, a term that had been current since the turn of the century. It meant a return to simple traditional forms that aimed to harmonize architecture with the regional legacy. Not all representatives of Heimad Stéo, which after intense arguments came to be called Heimad Schutz Stéo, homeland protection style, were radical nationalists. Many highly regarded architects, such as Hermann Motezios, were also part of it.
舒尔策·诺姆博格是“故乡风格”（Heimad Stéo）的代表，这个术语自世纪之交以来就很流行。故乡风格意味着回归简单的传统形式，旨在使建筑与地区遗产和谐共存。在经过激烈的讨论后，这一风格被称为“故乡保护风格”（Heimad Schutz Stéo）。并非所有故乡保护风格的代表都是激进的民族主义者，许多备受尊敬的建筑师，如赫尔曼·莫特修斯，也是这一风格的一部分。
Heimad Stéo, also known as a farm architect, often took its bearings from other geographical regions, particularly the United Kingdom. Boring from English garden cities in many places, it created estates of terraced houses in an undecorated, aesthetically charming, raw style. Today we would call it a reinterpretation of a country house style, or else it reached far back into the past. The Borkorf in Flintsburg, a five-story tenement with two interior courtyards built in 1909 even contained hints of the Middle Ages.
Heimad Stéo，也被称为农庄建筑师，经常从其他地理区域，特别是英国获得灵感。在许多地方借鉴英国花园城市的设计，他创造了以未装饰、具有美学吸引力和自然原始风格为特点的连排别墅群。如今，我们可能会称其为对乡村住宅风格的重新诠释，或者可以说它汲取了远古的风格。1909年建于弗林茨堡的Borkorf大楼是一座五层公寓楼，设有两个内庭院，其中甚至包含了中世纪的元素。
Like Noyes Borne, new building, Heimad Schutz Stéo wanted to build everything from the ground up. Both trends saw their goal as lying in a movement away from architectural barbarism, through concentration and reduction. The Bauhaus wanted to rely entirely on the elementary, geometrical forms of building, while the homeland protectors aimed to return to reduced, pre-industrial architectural vocabulary. Many of them had the idea of a primal house in mind.
像诺伊斯·博恩这样的新建筑，Heimad Schutz Stéo 希望从零开始建设一切。这两种趋势的目标都是通过专注和简化，摆脱建筑的蛮荒状态。包豪斯学院想要完全依赖于建筑的基本几何形式，而“家园保护者”则致力于回归简化的、工业化前的建筑词汇。他们中的许多人心中怀有原始房屋的概念。
Finding the new in the archetypal was a longing that characterized both sides. Even more interesting than the obvious differences then are the areas of agreement between Valtagorpius and Polish-Schultz and Nombork in the pages of Uhu. The far-right master builder, who would join the National Socialist Party in 1930, rejected historicism, just as vehemently as the modernist corpus, and both detested the ornamentation of the Gundadside buildings of the mid-19th century.
在典型事物中寻找新意是双方共同的愿望。比起明显的差异，更有趣的是在《乌胡》杂志中，瓦尔塔戈皮厄斯、波利施-舒尔茨和诺姆博克之间的共识。 这位极右翼的大师级建筑师（于1930年加入国家社会主义党）与现代主义团体一样坚决地反对历史主义，他们都厌恶19世纪中期贡达赛德建筑的装饰风格。
Inauthentic the materials, inauthentic the styles that are thrown like fancy-dressed costumes over shabby, dirty undergarments. Schultz and Nombork saw the Vilhelmina façade as nothing but a betrayal of the authentic and the true, or in his eyes, Germanness. If we leave the Germanness aside, we can find an almost identical argument in Gorpius. He too felt that the Vilhelmina decorative architecture was decadent.
材料不真实，风格不真实，就像破旧、肮脏的内衣上披着花哨的戏服。舒尔茨和诺姆博克认为，这种维尔赫尔米娜的外观完全背叛了真实和纯粹的东西，或者在他们看来，是背叛了德国性。如果我们撇开德国性不谈，我们会发现戈尔皮乌斯也提出了几乎相同的论点。他也觉得维尔赫尔米娜的装饰性建筑充满颓废。
In the lower case, font typical of the Bauhaus, he called for more vital architecture. The art of building declined in past generations in a feebly sentimental vision that saw its goal as lying in the formulaistic use of motifs, ornaments, and profiles that covered the bodies of buildings. Building became a bearer of external dead forms of decoration, rather than being a living organism.
在包豪斯风格的小写字体中，他呼吁更有活力的建筑设计。建筑艺术在过去几代中衰退，陷入了一种软弱而感伤的愿景中，这种愿景将目标定格在了模式化使用装饰图案、装饰物和轮廓线条上，这些东西覆盖了建筑的外表。建筑变成了外部死去的装饰形式的承载体，而非一个有生命的有机体。
Feebly sentimental and external dead forms are not a long way from Schultz and Nombork's thread-bear fancy-dressed costumes, which in turn sound very similar to Bruno Taut quoted at the start of the chapter, who raged in 1920 against the self-importance of four-story jonk shops and brick-a-brack stalls. Left and right met in a cult of authenticity that lies within all radicalism, as the philosopher Hémourd Plessner observed at the time.
软弱的感伤和表面的无生命形式，与舒尔茨和农博克那些陈旧且花哨的服装没有太大区别，这些又与本章节开头引用的布鲁诺·陶特的话非常相似。1920年，他曾猛烈抨击四层楼的旧货店和杂货摊位的自以为是。左右两派都走向了一种真实感的崇拜，而这种崇拜是所有激进主义的内核，正如哲学家海穆尔德·普莱斯纳所观察到的。
During the Weimar Republic, revulsion over dishonest decor spread beyond the limits of the two camps. Even such an elegant aficionado as the author Franz Hesse felt as much aversion to the Gundudside buildings as any iconoclastic avant-gardest. The tumor buildings spoiled his strolls along the Corfus and Dam, where much that is hideously towering, horrifically protuberant and crept over has been left from the worst days of private building.
在魏玛共和国时期，对不诚实的装饰风格的厌恶感超越了两个阵营的界限。即使是像作家弗朗茨·赫斯这样的优雅爱好者，也对那些古德赛德的建筑感到厌恶，程度不亚于任何偶像破坏的先锋派人士。这些庞大的建筑破坏了他在科夫鲁斯和坝沿的漫步，因为在那里，从最糟糕的私人建筑时代遗留下来的，许多丑陋高耸、可怕突兀、甚至是蔓延的建筑依然存在。
It wasn't long before words turned into deeds, precisely in the most elegant districts of the cities, on Vittenbach Pless and Berlin for example, moves began to knock the stucco off the houses to give the Gundudside buildings the requisite sobriety. The anti-ornamental taste diktat turned into an attack by the present on earlier times. The barbarism officially known as destuckification was an obstrus aesthetic practice with the aim of getting rid of history.
不久之后，言语变成了行动，尤其是在城市中最优雅的地区，例如维滕巴赫普勒斯和柏林，人们开始敲掉房屋上的灰泥，以使建筑物显得更加简朴。反装饰风格的兴起成为了对过去时代的攻击。这种被官方称为“去灰泥化”的行为，是一种极端的审美实践，旨在消除历史的痕迹。
Only a new person in new surroundings seemed capable of coming to terms with the future. In the words of historian Martin H. Gaia, only someone who could forget, or who was not mentally connected with the past, seemed to be able to assert themselves in the new age. Architects such as Le Corbusier or Teofondersbork dreamed of combing out cities with heavy equipment and driving out their romantic sins, their confusion, and their chaotic diversity. The socialist architect Ludwig Hüberzheimer, a teacher at the Bauhaus, set out plans for the demolition of Friedrichstät in Berlin. He wanted to tear down whole districts behind the Zendarmenmarkt to make way for 18 high-rise slabs each 600 meters long, a totalitarian nightmare which luckily remained a fantasy.
只有在新环境中的新人似乎才有能力与未来达成和解。正如历史学家马丁·H·盖亚所说，只有那些能够遗忘，或者在精神上与过去无关的人，才能在新时代中有所作为。像勒·柯布西耶或Teofondersbork这样的建筑师梦想着用沉重的设备清理城市，驱逐其中的浪漫罪恶、混乱和多样化。社会主义建筑师路德维希·休贝尔海默，包豪斯的一位教师，曾计划拆除柏林的弗里德里希城。他想拆掉在宰德尔广场后面的整个区，建造18栋每栋600米长的高层建筑，幸好这种极权梦魇只停留在了幻想阶段。
Decades later, Hüberzheimer himself described his plans as inhuman in every respect. The severity of such urban redevelopers made it easy for radical conservatives to present themselves as protectors of the homeland, even though they were the ones who were already preparing its downfall. In times of crisis, increased attention is often paid to living conditions. This was particularly true of the Weimar Republic. It was no coincidence that it was the sheltering roof that sparked particularly bitter arguments. The choice of its design, whether it should be flat or pointed, became a signal and a statement. The opponents of the Bauhaus maintained that the flat roof came from North Africa and was thus deeply un-German. Others among them, such as Polschruz and Nomborg, felt that it was Indian. Still others said there was something Jewish about it.
数十年后，胡贝尔茨海默自己也形容他的计划在各个方面都是不人道的。这些严厉的城市改造者让激进的保守派更容易将自己包装为家园的保护者，尽管正是这些保守派在为家园的衰落做准备。在危机时期，人们往往更加关注生活条件。在魏玛共和国时期尤其如此。屋顶设计是否应为平顶还是尖顶，成为了一个信号和宣言，激发了特别激烈的争论。包豪斯的反对者声称平顶屋来自北非，因此非常不符合德国本土风格。其中的某些人，如波尔舒鲁茨和诺姆博格，则认为这种设计源于印度。还有一些人甚至认为这种设计有犹太人的影响。
In 1927, the conservative architect said in the Schweberchmerkur that the recently completed Weimarzinhof Ziedlung, an estate that was a showpiece of the new building style, erected under the direction of Mies van der Rohe, reminded him more of a suburb of Jerusalem than of housing for Stuttgart. And the National Socialist Party printed postcards with palm trees and turbaned bedwinds inserted into the estate to portray it as an Arab village. Conversely, the advocates of the flat roof were not satisfied with a sober depiction of its practical advantages but presented it as a redeeming healing refuge. The flat roof meant that conscience had finally awakened, Adolf Bina, a propagandist for the new building, said in all honesty. It meant the end of the jagged outline of roofs which some found romantic and which in Bina's words wriggled towards the sky.
1927年，这位保守派建筑师在《Schweberchmerkur》上表示，刚刚完工的魏玛津霍夫住房区让他感觉更像是耶路撒冷的郊区，而不是斯图加特的住宅区。这个住宅区是由密斯·凡德罗主持设计的，是新建筑风格的代表作。而国家社会主义党则通过在该住宅区插入椰子树和戴着头巾的阿拉伯人的明信片，将其描绘成一个阿拉伯村庄。与此相反，平屋顶的支持者们并不满足于简洁地阐述其实用性，而是将其视为一种赎罪的庇护所。新建筑的宣传者阿道夫·比纳坦诚地说，平屋顶意味着人们的良知终于苏醒了。这标志着浪漫主义者眼中那些凹凸不平、朝天蜿蜒的屋顶轮廓的终结。
Berlin architecture critic Kár Sheffler observed irritably that it was no longer the quality of a roof that mattered, but the ideology that it expressed. If an architect builds a high-pointed, broadly sheltering roof, that is seen as an indication of German nationalist mentality. If he flattens the roof somewhat, something like a democratic house is produced, but if he makes the roof completely flat, he is announcing a radically communist mentality. The roof becomes an expression of a political attitude. When the Weissendorf seatlong in Stuttgart was finally opened, it was revealed as a sensation, a constructed dream. It looked like a fleet of pleasure craft. If this corridor was too narrow, or if that arrangement of doors impractical, overall the imagination that Neuja Zachlikide had released was intoxicating.
柏林建筑评论家卡尔·谢夫勒不满地指出，现在人们关注的已不再是屋顶的质量，而是它所表达的意识形态。如果一位建筑师建造一个高耸且广泛庇护的屋顶，那就被视为德国民族主义思维的象征。如果他把屋顶稍微压扁一点，就产生了类似民主派风格的房屋，而如果他把屋顶做得完全平坦，则是在展示一种激进的共产主义态度。屋顶变成了政治立场的表达。当斯图加特的魏森多夫长廊最终开放时，揭示出了一种轰动，是一个构建出来的梦想。它看起来像是一队游船。如果这个走廊太窄，或者那个门的布局不够实用，总体上诺亚·扎赫里基德释放出来的想象力还是令人陶醉的。
Hans Charon's playful villa was magically original. Le Corbusier's building meditative, Jacobus Aoud's terraced houses were a sensual adventure. Nothing here was boring, and the response to the 21 houses in Stuttgart was accordingly loud and various. It ranged from extravagant praise to the aggressive threat of punching its creators in the face for hours. The great publicity for the Weissendorf seatlong was a thorn in the eye of the right. Only two kilometers away, architects of the conservative Stuttgart school erected their response to the challenge from Neuja Zachlikide.
汉斯·查龙的别墅充满玩趣，独具创意；勒·柯布西耶的建筑富有冥想气息；雅各布斯·阿乌德设计的排屋则是一场感官的冒险。这里的每一样东西都充满了新意，而斯图加特的21栋房屋引发的回应也非常强烈多样。不乏夸张的赞美，也有激烈的威胁，甚至有人扬言要狠狠教训这些设计者。威森多夫博览会的巨大影响力令保守派如芒刺在背。仅两公里之外，保守的斯图加特学派建筑师也通过建造展示出他们对新建筑运动的回应。
Under the direction of Paul Bournatz and Paul Schmittenhenner and adhering strictly to the Gable Roof Rule, the Kockenhof Estate was built within a few months and inaugurated with much Ballyhoo as a triumph of traditional German architecture. The houses were in fact quite unspectacular. They were pretty enough and thoroughly respectable, but why they were celebrated as a revival of the old urban bourgeois house, and any similarities identified with Güttus Garden House in Weimar can only be explained by the overheated culture war. Three generations later, the roof has lost its ideological charge, and today the Kockenhof Estate is seen as a successful example of regional sustainable architecture.
在保罗·博尔纳兹和保罗·施密特亨纳的指导下，严格遵循“人字形屋顶规则”，科肯霍夫庄园在几个月内建成，并以极大的轰动效果庆祝，作为传统德式建筑的一次胜利。实际上，这些房子并没有非常引人注目。它们虽然相当漂亮且非常正派，但为什么会被称作旧时城市中产阶级房屋的复兴，与魏玛的古特斯花园别墅的相似之处，只能通过当时激烈的文化战争来解释。三代人之后，这些屋顶已失去了意识形态的象征意义，如今科肯霍夫庄园被视为区域可持续建筑的成功典范。
Far removed from the spectacular originality of the Weissendorf seatlong, it derives its charm from a pleasantly low-key realization of traditional ideals, much more boring, admittedly, than the nearby modern buildings, but nothing like a brainless Nazi spectacle. The repellent hubris of the National Socialist Monumental style was yet to come.
与魏森多夫的座椅壮观的原创性相去甚远，它的魅力在于对传统理想的平淡无奇的表达。确实，相比于附近的现代建筑，它要无聊得多，但绝不像那些毫无思想的纳粹奇观。令人反感的国家社会主义纪念碑风格的傲慢还未出现。
Today, the Kockenhof Estate sits very comfortably with the ecologically-minded Stuttgart middle-class families who nurture their liberal bourgeois beliefs and connect a global mindset with an interest in the preservation of regional traditions. A hip-proof with eyebrow-dormers is neither right-wing nor left-wing. Beneath it, one can think beautiful cosmopolitan thoughts to one's heart's content.
如今，科肯霍夫庄园备受那些生态意识强烈的斯图加特中产家庭的欢迎。这些家庭坚持自由的资产阶级信念，既具备全球化视野，又对保护地方传统充满兴趣。庄园的时尚挑眉式屋顶不偏左也不偏右。在这样的屋顶下，人们可以尽情地思考美好的世界大同理念。
Even among architectural critics, the estate has improved its reputation. It has largely shaken off the accusation of embodying the spirit of national socialism. Today, the innocent houses look like mute witnesses to a historic moment when even the choice of roof design had become a hot political message, and the public debate had been hollowed out to its foundations by rigorism and self-righteousness, like a lawn by moles.
即使在建筑评论家中，该住宅区的声誉也有所提升。它大体上摆脱了象征国家社会主义精神的指控。如今，这些无辜的房屋看起来像是无声的见证者，见证了一个历史时刻：那时甚至屋顶设计的选择都变成了炙手可热的政治信号，而公众辩论则像草坪被鼹鼠挖空一样，被严苛和自以为是的态度掏空到了根基。