室內(nèi)設(shè)計外文翻譯-- 現(xiàn)代主義的出現(xiàn)（節(jié)選自書籍）

1、<p>　　3200單詞，17000英文字符，5786漢字</p><p>　　節(jié)選自History of Interior Design, 4th Edition第16章</p><p><b>　　外 文 翻 譯</b></p><p><b>　　室內(nèi)設(shè)計史</b></p><p>

2、　　A HISTORY OFINTERIOR DESIGN </p><p>　　學(xué) 部（院）： 建筑與藝術(shù)學(xué)院 </p><p>　　專 業(yè)： 藝術(shù)設(shè)計（環(huán)境藝術(shù)設(shè)計） </p><p>　　學(xué) 生 姓 名： </p><p>

3、;　　學(xué) 號： </p><p>　　指 導(dǎo) 教 師： </p><p>　　完 成 日 期： </p><p>　　The Emergence of Modernism</p>

4、<p>　　By the first decades of the twentieth century, it had become apparent that industrialization and the technology that it relied on had brought about changes in human affairs as great as any that had occurred

5、since the discovery of fire and the invention of language. Telephone, electric light, travel by ship, rail, automobile, and by air, and structural engineering using steel and Reinforced concrete brought about the extensi

6、ve changes in human experience that are often characterized as those of t</p><p>　　The nineteenth-century efforts to find new design directions—the Arts and Crafts Movement, Art Nouveau, and the Vienna Seces

7、sion—all remained tied to the past. Arts and Crafts asked for a return to the hand craft of preindustrial times. Art Nouveau and the Vienna Secession sought new decorative vocabularies but did not recognize the extent of

8、 the changes that were overwhelming every aspect of modern life. Eclecticism was devoted to the application of bygone design to modern reality. The heavy el</p><p>　　In design, just as in music, literature,

9、and art, new ideas were disturbing and frightening to major elements of society.</p><p>　　The most important development in early twentieth-century design was the emergence of a design vocabulary appropriate

10、 to the modern world of advanced technology and the new patterns of life that it brought about. Modernism is the name given to the new forms that appeared in all of the arts—in painting, sculpture, architecture, music, a

11、nd literature. Four men are regarded as pioneers of modernism in design. They defined new directions with such clarity and force that they can be thought of as the</p><p>　　FRANK LLOYD WRIGHT</p><

12、p>　　Wright produced an enormous body of work— more than four hundred constructed buildings and many other projects—in a long career that can be divided into two phases. Each phase is of sufficient importance to suppor

13、t his major place in design history. The first or “early Wright” phase, extending from the beginning of his career up to about 1920, clearly established his role as the first major modern architect. The second “l(fā)ater Wri

14、ght” phase, which surfaced after 1930, will be discussed in Chapter</p><p>　　Wright had a brief training in engineering at the University of Wisconsin in 1886. It was his period of employment in the offices

15、of Adler and Sullivan in Chicago (1887-93) and the close relationship that he established with Louis Sullivanhat set the direction he was to take in his own work. Sullivan's dedication both to the concept embodied in

16、 the phrase “form follows function” and to a style of ornament that was non-historic, original, and “organic” was central to Wright's own early work. In s</p><p>　　The Early Commissions</p><p&

17、gt;　　The earliest Wright houses are somewhat tentative, with hints of Victorianism, Arts and Crafts, and Queen Anne aesthetic touches as well as, though only when demanded by a client, eclectic elements (half-timber work

18、 in a few examples) as well. The Winslow House of 1893 in River Forest is, however, a decisive step toward original expression (16.1). The front facing the street is symmetrical and has a classic dignity not unlike some

19、early projects of the Vienna Secession. Unlike the typical Victor</p><p>　　16.1Frank Lloyd Wright, Winslow House, River Forest, Illinois, 1893.</p><p>　　In his early work Wright often used detai

20、ls that carry a hint of traditional architecture, and the influence of his association with Louis Henry Sullivan is evident Here, off the entrance hall of this house, this small loggia provides a fireplace flanked by bui

21、lt-in seating. The rails on either side end with a pedestal topped by sculpture.</p><p>　　The Hickox House (1900) in Kankakee, Illinois, retains symmetry only for the open living, dining, and music room grou

22、ping across its front. Its gable roof has long overhangs and horizontal bands of windows, and low walls extending outward at ground level give it the long horizontals characteristic of what Wright called the Prairie hous

23、e form, implying a relationship to the broad, flat landscape of the American mid-west. The side of the house facing the street is entirely asymmetrical. Its white </p><p>　　Wright's growing reputation br

24、ought him a number of non-residential commissions, including the large four-story office building for the Larkin Company in Buffalo, New York (1904,now demolished). Open general-office spaces are arranged around a centra

25、l skylit courtyard, a majestic interior space with Wright's unique decorative detail introduced only at the top level just below the skylights. Highly innovative metal furniture and light fixtures were designed for t

26、his building so that every interio</p><p>　　In c. 1907, a large suburban residential grouping designed for Avery Coonley was built in Riverside, Illinois, another Chicago suburb (16.2). The house is surround

27、ed by elaborate gardens, a pool, and various service buildings. The plan is developed on a modular grid of squares, a means of establishing unified control of proportional relationships that Wright frequently used throug

28、hout his career. Squares are the theme for decorative tile and plaster patterns on exterior wall areas, and for inter</p><p>　　16.2Frank Lloyd Wright, Coonley House, Riverside, Illinois, 1907.</p><

29、;p>　　Wright had, by the time of this house, established his personal early modern style. The drawing, reproduced in the magazine and book illustrations circulated in the Netherlands and Germany, displayed Wright's

30、 approach to design. The ceiling pattern reflects the roof structure but is also strongly decorative. Geometric design is present in the stained glass and in the specially designed rug. The furniture is of Wright's d

31、esign.</p><p>　　The large house for Frederick Robie in south Chicago (1908—10) is one of the most successful of all Wright's houses. Low-walled gardens and terraces and extended sloping hipped roofs surr

32、ound living spaces that flow together. The main living and dining rooms (16.3) are a continuous space, their windows forming an uninterrupted band along the main street,front of the house. A central fireplace and chimney

33、 backed by an open stairway separate the two spaces without walls or doors. Stained glass in </p><p>　　was unusually low, and supported by corner posts that rise above the table top to become lighting fixtur

34、es. </p><p>　　16.3Frank Lloyd Wright, Robie House, Chicago, 1908-10.</p><p>　　This house is probably the best known and most admired of Wright's early works. The dining room forms an extensi

35、on of the living room, with only a freestanding fireplace and chimney to separate them. The furniture is all of Wright's design. The high-backed chairs around the table and the lamp units at the table corners were in

36、tended to give a sense of containment to family and visitors seated at the table. The built-in cabinet work, stained-glass windows, and ceiling detail are all typical of th</p><p>　　Wright's American car

37、eer gradually slowed and then came to a halt between 1910 and 1930. A series of unhappy and tragic events in his personal life combined with the drift in public taste away from work of such striking originality to leave

38、him with little work. An invitation by a group of Japanese businessmen to design a major hotel in Tokyo was accepted and led to a number of years spent in Japan designing and directing construction of the Imperial Hotel

39、(1922, now demolished). The large build</p><p><b>　　DE STIJL</b></p><p>　　It was Wright's frequently expressed conviction that he was the only originator of modernism in architec

40、ture, and that European modernists were merely (inferior) imitators of his achievements. Reality hardly supports such claims, butit is true that Wright's work was exhibited, published, and admired in Europe long befo

41、re it had comparable recognition in America. The Dutch artists, sculptors, architects, and designers who in 1917 began publication of the magazine De Stijl (The Style), which appea</p><p>　　Mondrian and van

42、Doesburg</p><p>　　De Stijl was primarily concerned with concepts of pure abstraction in painting and sculpture, which had surfaced in cubist art of the time and which were taken to their logical limits by su

43、ch artists as Piet Mondrian (1871—1944), Jean (Hans) Arp (1887—1966), and Theo van Doesburg (1883—1931). Mondrian is famous for his abstract paintings using bands of black arranged in rectilinear grids on a white backgro

44、und, with some areas filled in with pure primary colors. Although he confined his work to p</p><p>　　16.4Theo van Doesburg,Cafe「Aubette, Strasbourg, France, 1926-8.</p><p>　　In this entertainmen

45、t center, with bars, ballrooms, and a cinema, van Doesburg used De Stijl abstract geometric forms to generate a strikingly modern interior. In the Cinema Dance Hall (seen here) the films were projected onto the central s

46、creen, while patrons occupied booths or danced on the central dance floor. Van Doesburg worked with Jean Arp and his wife, Sophie Taeuber-Arp, on the abstract designs, which were disliked by the public when the complex f

47、irst opened.</p><p><b>　　Rietveld</b></p><p>　　The best known De Stijl work was produced by G err it Rietveld (1888—1964), whose Schroder House in Utrecht (1924) is the most complete

48、 realization of the movement's ideas. It is a rectilinear block made up of complex, interpenetrating planes of wall, roof, and projecting decks, with voids filled by glass in metal sash. The (upper) main living floor

49、 (16.5) is divided by a system of sliding panels that permit rearrangement to achieve varying degrees of openness. Built-in and movable furniture of </p><p>　　16.5Gerrit Rietveld,Schroder House, Utrecht,The

50、Netherlands, 1924.</p><p>　　Rietveld worked with the designer Truus Schroder-Schrader (1889-1985) on the house in Utrecht The upper level of the house was fitted with sliding panels, making it possible to sc

51、reen off individual rooms or open up the space as it appears here. The typical De Stijl color scheme, with white, black, red, and blue, enll^ens the rectilinear geometry of the space.</p><p>　　Rietveld's

52、 most familiar works are two geometrically formed chairs, the small and simple “Z chair,” made from four flat woodenrectangles arranged in a Z configuration, and the more complex “red and blue” armchair of 1918, where a

53、cage of thin wooden strips painted black with yellow ends supports the flat seat and back planes painted red and blue（16.6）. Although they appear somewhat forbidding, they offer a reasonable degree of comfort while actin

54、g as abstract sculpture in visual terms. Both are </p><p>　　16.7Gerrit Rietveld, red-blue chair, 1917.</p><p>　　Two sheets of plywood serve as seat and back in this chair, held in relationship b

55、y the structural cage of wooden strips. Connections between the members are made by hidden metal pins so that the elements are clearly articulated. The three primary colors, blue, red, and yellow are used with black for

56、the structure and arms. The chair is surprisingly comfortable.</p><p>　　PIONEERS OF THE INTERNATIONAL STYLE</p><p>　　In Germany, Peter Behrens, mentioned above as a significant figure in the Deu

57、tscher Werkbund, the design organization promoting excellence in German production, had established an active practice in architecture and design and developed a reputation as a leader in advanced design thinking. In 191

58、0, three of the employees working for Behrens were the Germans Walter Gropius and Ludwig Mies van der Rohe, and the Swiss-born Frenchman Charles Jeanneret, who later became famous under the pseudonym Le </p><p

59、><b>　　十六章</b></p><p><b>　　室內(nèi)設(shè)計史</b></p><p>　　A HISTORY OFINTERIOR DESIGN</p><p><b>　　現(xiàn)代主義的出現(xiàn)</b></p><p>　　直到在二十世紀(jì)初的前幾十年，明顯可以看出，它所

60、依靠的工業(yè)化和科技帶來了在人類歷史上和火的發(fā)現(xiàn)以及語言的創(chuàng)造一樣偉大的改變。電話，電燈，乘坐輪船，火車，汽車飛機以及用鋼鐵鑄成的建筑工程，還有加固的凝結(jié)物在人類歷史上帶來的廣泛的改變，通常被成為“第一次機器時代”。縱觀前史，手工作業(yè)已經(jīng)是物品被制造出來的最原始的辦法（在有限的風(fēng)力、水力、馬力的協(xié)助下）。在當(dāng)今世界，很少有東西是手工制造的，工廠生產(chǎn)已經(jīng)規(guī)范化。新的又是非常緊迫的問題就是快速的人口增長速度和城市貧困人口激增。共產(chǎn)主義和極端國

61、家主義的崛起，以及一戰(zhàn)所帶來的苦難帶來了許多科技無法解決的問題。在藝術(shù)領(lǐng)域，建筑學(xué)以及建筑設(shè)計的傳統(tǒng)是為舊時代服務(wù)的，不再適應(yīng)于當(dāng)今社會的現(xiàn)象越來越明顯。</p><p>　　在19世紀(jì)，我們努力發(fā)現(xiàn)新的設(shè)計方向-工藝美術(shù)運動。新工藝美術(shù)派和維也納分離派一直和過去聯(lián)系在一起。新工藝美術(shù)派被稱作手工藝品和前工業(yè)時代的回歸。新工藝美術(shù)派和維也納分離派找到了新的裝飾性語言，但是并沒有認(rèn)識到改變占據(jù)了現(xiàn)代生活的每一個方面

62、。折衷主義為過去的設(shè)計應(yīng)用到現(xiàn)代實際生活當(dāng)中做出了巨大貢獻(xiàn)。對十九世紀(jì)裝飾主義的沉重細(xì)化（在維多利亞女王時代和平行的例子）以及電子作品的膚淺歷史主義成為了一記沉重的打擊。現(xiàn)代主義主義的引領(lǐng)者，在某種意義上是革命者，盡管他們沒有在政治上直接和革命思想連接起來。</p><p>　　在設(shè)計方面，同音樂、文學(xué)、藝術(shù)一樣，新思想總是被社會上的主流因素阻斷和恐嚇。在二十世紀(jì)設(shè)計領(lǐng)域最重要的發(fā)展就是適合于當(dāng)今世界的先進(jìn)技術(shù)的

63、設(shè)計性語言的出現(xiàn)，以及它所帶來新的生活方式?，F(xiàn)代主義是給予出現(xiàn)在所有藝術(shù)領(lǐng)域，包括繪畫，雕塑，建筑藝術(shù)，音樂和文學(xué)領(lǐng)域的新形式的名字。四個被稱作在設(shè)計領(lǐng)域現(xiàn)代主義的先驅(qū)者的人，他們以如此透明和暴力的方式否定了被認(rèn)為是“現(xiàn)代運動”起源的新方向。他們四個都是建筑師，但是他們四個同樣活躍于國內(nèi)的設(shè)計界和物品設(shè)計以及其他描述二十世紀(jì)現(xiàn)代主義的因素。他們都是歐洲的賴特 格羅皮烏斯（1883-1969），路德維格 米斯萬德 羅厄（1886-1969

64、），勒·柯布西耶（1887-1965）以及美國的弗蘭特 勞埃德 賴特（1867-1959）。</p><p>　　16.1弗蘭克·勞埃德·賴特，拉金大樓，布法羅，紐約，1904</p><p>　　這個辦公樓是一個郵購公司，以這個有天窗的法院為中心，賴特在其中的幾層為樓里的工作者安排了空間。文件柜整齊地裝入壁龕，并且特別設(shè)計的家具包括與他們相關(guān)的桌子和配套的椅

65、子，每個椅子都配有一個可擺動的扶手。在賴特的設(shè)計中，日光是通過電光的集群而增加的。這棟辦公大樓在1950年被拆除。</p><p>　　弗蘭克 勞埃德 賴特</p><p>　　賴特制造了一個巨大的人體作品-由四百多部分結(jié)構(gòu)性建筑組成以及許多其他的工程-在一個可以被分為兩個階段的很長的職業(yè)生涯當(dāng)中。每一個充滿有效的重要性來支持他在設(shè)計歷史上主要地位的階段。第一階段或者“早期賴特”階段，從他

66、職業(yè)生涯的開始到1920年，樹立了他作為第一個重要的現(xiàn)代建筑設(shè)計師的角色。第二個“晚期賴特”階段，1930年后，將會在第19章闡述。</p><p>　　賴特在1886年在威斯康星州大學(xué)在工程學(xué)方面有一個簡短的培訓(xùn)。這是一個他在位于芝加哥的艾德勒和沙利文辦公室任職期間（1887-93），平且和他應(yīng)用于自己的工作當(dāng)中的方向建立者路易斯 沙利文建立了親密的關(guān)系。沙利文的奉獻(xiàn)既體現(xiàn)在“形式追隨功能”的階段，還有一種無歷

67、史主義的，原始的以及“有機的”是賴特早期工作的中心。盡管他對沙利文很崇拜，并且在沙利文的辦公室（他是芝加哥1892年查恩利家的主要設(shè)計者）里是很重要的角色，賴特對于作為別人的個人助理的角色感到不舒服，所以他和沙利文一起在1893年在伊利諾斯州的芝加哥橡樹公園建立了自己的實踐基地（16.2）。橡樹公園和周邊郊區(qū)的里弗雷斯特坐落于一個開放的鄉(xiāng)村，每天途徑芝加哥的富裕的商人們在這個和諧的環(huán)境中蓋了自己的房子。1889年，賴特在橡樹公園為自己的

68、家庭蓋了房子，在工作室附近，并且在該地區(qū)還有附近其他社區(qū)的房子收取租金。</p><p>　　16.2弗蘭克·勞埃德·賴特,溫斯洛的房子,河森林,伊利諾斯州,1893年。</p><p>　　賴特在他的早期作品經(jīng)常使用細(xì)節(jié),攜帶的傳統(tǒng)建筑,他與路易斯·亨利·沙利文的影響是顯而易見的。這所房子的入口大廳是個小涼廊，其提供的一個壁爐兩側(cè)的內(nèi)置座位，圍欄兩

69、邊的是基座,雕塑。</p><p><b>　　早期傭金</b></p><p>　　賴特早期的房子是有些實驗性的，帶有淡淡的維多利亞主義的風(fēng)尚，新工藝美術(shù)派以及安妮女王的審美觸摸，盡管只有被客戶要求的時候，還有不拘一格的元素（在一些例子中的半木材作品）。溫斯洛1893年在里佛雷斯特的房子是賴特對原始表達(dá)的決定性的一步。街道的前面是對稱的，有一個古典的高貴，不像維也納

70、分離派的一些前期工程。不像典型的維多利亞時期的房屋強調(diào)垂直，它強調(diào)的是水平線。有一個大的懸低屋頂。飾品裝飾帶被設(shè)置在進(jìn)門處，樓上的窗戶被放置在一個連續(xù)的帶有紅陶紋飾的裝飾帶。該工程是連接不同空間的更加復(fù)雜的聯(lián)鎖，房子圍繞著一個中心煙囪。門廳處有一個在壁爐兩邊帶有座位的拱廊。餐廳，在中央煙囪的另一側(cè)，從半圓形的音樂學(xué)院大樓后面向外延伸。裝飾性細(xì)節(jié)，包括鑲嵌在一些窗戶上的彩色玻璃，表明了沙利文的語言，但是轉(zhuǎn)向了更多的推動賴特職業(yè)生涯逐漸發(fā)展

71、的幾何方法。</p><p>　　西寇克斯的房子（1990）在坎卡基，伊利諾斯州，保持對稱性只為開放性的客廳、餐廳和音樂室在它的前面。它的屋頂有很長的懸窗帶和水平帶，在地上向外延伸的低墻給了它被賴特叫做草原式住宅形式的特征，這意味著一個廣大的，平坦的美國中西部的陸地。面向街道的一面是完全對稱的，被幾個木條分割的白色的灰泥墻面，給予了它一種模糊的日本風(fēng)味。</p><p>　　這不是任何模仿

72、驅(qū)動的結(jié)果，但是可能反映了賴特的東方美學(xué)思想在日本版畫中的體現(xiàn)，在英國帶有審美派特色的最令人喜歡的作品以及賴特持續(xù)不斷的興趣。內(nèi)部是所有賴特對草原住宅精心設(shè)計的。1901年，賴特的圖紙發(fā)表在女性的家庭雜志上，其中開放套件充分顯示生活的空間，廣泛的內(nèi)置的木制品,和特別設(shè)計的家具是典型的賴特的住宅項目。</p><p>　　賴特的名氣越來越大,這給他帶來了大量的非居民委員會項目,包括一棟在布法羅,紐約(1904,現(xiàn)在

73、拆除)的拉金公司，是一四層樓的辦公室。開放辦公室空間排列在一個中央有天窗的院子,一個雄偉的室內(nèi)空間與賴特的獨特裝飾細(xì)節(jié)介紹了一個只有頂部水平略低的天窗(16.2)。高度創(chuàng)新的金屬家具和燈具設(shè)計這個建筑,每一個內(nèi)部元素都是一個統(tǒng)一的設(shè)計理念中的一部分。伊利諾斯州的統(tǒng)一教會在橡樹公園(1906年),主要以鋼筋混凝土構(gòu)成，這是賴特的第一個工作。它是由兩個連接塊構(gòu)成的,恰當(dāng)?shù)暮拖嚓P(guān)教堂房子的入口形成鏈接元素。屋頂板上面的窗子放在教堂頂部的禮堂墻

74、壁上。內(nèi)部突出的陽臺,是一個上限網(wǎng)格的平方天窗,線性裝飾帶著木頭沿著白墻,懸掛的吊燈和彩色玻璃窗的幾何形式生成一個抽象復(fù)雜的空間，暗示著歐洲藝術(shù)和設(shè)計幾年后的方向。</p><p>　　在c1907年,一個大型郊區(qū)住宅分組設(shè)計建于伊利諾斯州,芝加哥郊區(qū)的河畔(16.3)。房子周圍都是精心設(shè)計的花園,一個游泳池和各種服務(wù)建筑。廣場的計劃是建立在一個模塊化的網(wǎng)格,建立一種統(tǒng)一的手段來控制比例關(guān)系,賴特把其常用在他的整

75、個職業(yè)生涯。廣場的主題外墻磚裝飾和灰泥模式領(lǐng)域等內(nèi)部細(xì)節(jié)圖案在特殊編織地毯和彩色玻璃窗口中插入。傾斜的屋頂?shù)男问绞强梢姷奶旎ò鍍?nèi)部,這與木帶暗示的模式構(gòu)件和裝飾天花板面板所覆蓋的隱蔽照明相照應(yīng)。在大多數(shù)的內(nèi)部,顏色有一種給人溫暖的感覺,雖然他的顏色時用的非常有限，但他堅信自然顏色的材料不應(yīng)該改變。自然木材、磚或石頭溫暖的色調(diào)和編織材料的米色生成了基本顏色,含鉛玻璃和偶爾的小細(xì)節(jié)在鮮紅的提供裝飾符號。</p><p&g

76、t;　　16.3弗蘭克·勞埃德·賴特,蓋爾房子,伊利諾斯州河邊,1907年。</p><p>　　這所房子建造的時候,是賴特建立個人早期現(xiàn)代風(fēng)格的時候。圖,復(fù)制在雜志和書籍插圖流傳在荷蘭和德國,顯示賴特的設(shè)計方法。天花板模式反映了屋頂結(jié)構(gòu),但也具有強烈的裝飾性。幾何設(shè)計存在于彩色玻璃和特別設(shè)計的地毯。</p><p>　　弗雷德里克在芝加哥南部的大房子(1908 - 1

77、0)是一個最成功的賴特設(shè)計的房子。花園和露臺從大門進(jìn)進(jìn)出出和傾斜擴(kuò)展的四坡屋頂生活空間聯(lián)系在一起。主要的起居室和餐廳里(16.4)是一個連續(xù)的空間,窗戶形成不間斷的樂隊沿著主要街道和房子排列。中央壁爐和煙囪由開放式樓梯分離成兩個沒有空隙的墻壁和門。彩色玻璃窗戶,木制的樂隊在天花板的表面,并建造在木制品配件及照明燈具內(nèi)部形成統(tǒng)一的字符。最初的家具、地毯和紡織品都是由賴特設(shè)計的。高靠背餐廳的椅子是為了給一些圍著桌子坐在一起的人們。它表面本身

78、是非常低的,和支撐的角腿，成為超越桌面的照明燈具。</p><p>　　16.4弗蘭克·勞埃德·賴特,科律（Coonley）房子,河邊,伊利諾斯州,1907年。</p><p>　　萊特,這所房子的時候,建立個人早期現(xiàn)代風(fēng)格。圖,復(fù)制在雜志和書籍插圖流傳在荷蘭和德國,顯示賴特的設(shè)計方法。天花板模式反映了屋頂結(jié)構(gòu),但也強烈的裝飾性。幾何設(shè)計存在于彩色玻璃和特別設(shè)計的地毯。

79、賴特的設(shè)計的家具。</p><p>　　在1910年和1930年之間，賴特在美國的工作逐漸放緩,然后到了一個停止的階段。一系列的不幸和悲慘的事件與他的個人生活結(jié)合，他不斷游離在公共場合品嘗遠(yuǎn)離工作的痛苦，這些驚人的不幸讓他沒有工作。此時他收到一封來自一群日本商人的邀請函，請他接受設(shè)計一個在東京的大型酒店和指導(dǎo)施工的帝國飯店(1922,現(xiàn)在拆除)。這座大型建筑,其龐大和精心裝飾的公共空間,在1923年大地震中幸存下

80、來。這個事件讓賴特重新回到公共視線中,以便他能夠建立一個第二職業(yè)后,回到美國。</p><p><b>　　風(fēng)格主義</b></p><p>　　風(fēng)格主義是賴特的一貫信念,他是現(xiàn)代主義建筑唯一的發(fā)起者,歐洲現(xiàn)代主義者,只是他的成就(劣質(zhì))模仿者。雖然現(xiàn)實不支持這種觀點,但是的確,賴特的作品在歐洲發(fā)布展出,受到欣賞的效果，在很久之前的美國也有類似的現(xiàn)象。荷蘭藝術(shù)家、雕塑

81、家、建筑師和設(shè)計師在1917年開始出版雜志,直到1927年才出現(xiàn)風(fēng)格派(風(fēng)格),這時很可能已經(jīng)知道賴特的作品。當(dāng)然,可以通過之間的一些相似的形式來比較，賴特設(shè)計蓋爾的房子和1909年由羅伯特·范托夫(1887 - 1979)設(shè)計的橡樹公園和在荷蘭烏得勒支海德(1916)，羅伯特也是一名風(fēng)格派運動的建筑師。</p><p><b>　　蒙德里安和杜斯伯格</b></p>

82、<p>　　風(fēng)格派主要是關(guān)心概念的純抽象繪畫和雕塑,曾出現(xiàn)在立體派藝術(shù)的時間上和被他們影響的邏輯限制等，主要藝術(shù)家有埃?蒙德里安(1871 - 1944)、瓊(漢斯)Arp(1887 - 1966),和杜斯伯格(1883 - 1931)。蒙德里安是聞名抽象繪畫家，使用的白色背景黑色直線網(wǎng)格和一些地方使用純粹的原色。雖然他的工作局限于繪畫,但蒙德里安的風(fēng)格在其設(shè)計和體系結(jié)中構(gòu)注定成為一種強大的影響力。作為歷史主義,他們聲名狼藉

83、,抽象形式成為其一個主要的興趣。蒙德里安和杜斯伯格開發(fā)出一種理論,稱為新造型主義提出的宣言,宣稱的優(yōu)越性抽象形式和顏色(初選和黑色)的自然值是主觀的藝術(shù)價值。杜斯伯格設(shè)計的建筑項目中,抽象形式和原色轉(zhuǎn)化為三維作品,可以成為建筑。雖然他開發(fā)了許多項目在紙上,但仍有相當(dāng)大的影響力,杜斯伯格唯一的作品被接受是自己在穆東的小房子(1930)和一個在斯特拉斯堡,法國,1926 - 8(16.5)的復(fù)雜餐廳，其內(nèi)部被稱為黎明宮。幾何、抽象diago

84、nally-placed三維形式,管式樓梯和陽臺欄桿,并使用“現(xiàn)代”壁畫材料的混凝土、鋼鐵、鋁、玻璃(避免木材),黑色,白色,和唯一的初選顏色,</p><p>　　16.5弗蘭克·勞埃德·賴特,羅比房子,芝加哥,1908 - 10。</p><p>　　這房子可能是最知名的和最受尊敬的賴特的早期作品。餐廳、客廳的延伸形式,只有一個獨立式的壁爐和煙囪分離他們。的家具都是

85、賴特的設(shè)計。高靠背椅子的桌子和燈在桌子角上是為了遏制家庭和游客坐在桌子上。內(nèi)置的內(nèi)閣,彩色玻璃窗,和天花板上的細(xì)節(jié)都是典型的賴特在二十世紀(jì)初完成的作品。</p><p><b>　　里特維德</b></p><p>　　最著名的風(fēng)格派工作是由Gerr里特維德(1888 - 1964),其施羅德在烏得勒支(1924)完成的，是最完整的實現(xiàn)思想的運動。這是由一個復(fù)雜的直線

86、塊組成,貫穿飛機的墻,屋頂,和突出的甲板,其中玻璃孔隙在金屬肩帶上。(上)主要生活樓(16.6)除以一個系統(tǒng)的滑動板,允許重排實現(xiàn)不同程度的開放。內(nèi)置的和可移動的家具里特維德設(shè)計幾何和抽象的概念。通常只是主要介紹顏色和黑色白色和灰色色調(diào)的表面。</p><p>　　16.6格里特?里特維爾德,施羅德的房子,烏特勒支,荷蘭,1924年。</p><p>　　里特維德曾與設(shè)計師施羅德-施拉德(

87、1889 - 1985)在烏得勒支的高層房子，房子裝有滑動板,使它可以篩掉個人房間或開放空間在這里出現(xiàn)。典型的風(fēng)格派配色方案,白色,黑色,紅色,和藍(lán)色,直線幾何實體的空間。</p><p>　　人們對于里特維德的最熟悉的作品是兩個幾何組成椅子,小而簡單的“Z椅子,”由四個平木矩形排列成一個“Z”字形式,以及更為復(fù)雜的“紅色和藍(lán)色”1918年扶手椅,里面的細(xì)木帶被漆成黑色與黃色來與平座和靠背的紅色和藍(lán)色相互呼應(yīng)（1

88、6.7）。雖然他們顯得有些不被人們接受,但是它們作為抽象雕塑在視覺方面提供了一個合理的舒適程度。其他的里特維德家具和照明設(shè)計嚴(yán)格遵循一個并行的抽象、雕塑模式的概念。由于他的一些成員短暫的生命,成就有限,風(fēng)格派的影響與德國和法國的先驅(qū)相比在發(fā)展現(xiàn)代主義已經(jīng)不太明顯。</p><p>　　16.7(下圖)格里特?里特維爾德藍(lán)椅子,1917。兩張膠合板作成的座位,回到這把椅子,其具有木制的結(jié)構(gòu)性籠條的關(guān)系。相互之間的聯(lián)

89、系是由隱藏的金屬針維系,這樣顯然是鉸接的元素。三個主要的顏色為藍(lán)色,紅色,和黃色與黑色用于結(jié)構(gòu)中。椅子非常舒適。</p><p><b>　　先鋒國際風(fēng)格</b></p><p>　　在德國工藝設(shè)計組織促進(jìn)卓越在德國生產(chǎn)中,上面提到的彼得.貝倫斯作為一個重要的人物,建立了一套在建筑和設(shè)計中積極實踐的方法,開發(fā)了一種作為一個領(lǐng)導(dǎo)者在先進(jìn)的設(shè)計思想中的聲譽。1910年,三