《新建筑与包豪斯》读后感锦集

《新建筑与包豪斯》是一本由[德]沃尔特·格罗皮乌斯（Walter Gropius）著作，重庆大学出版社出版的图书，本书定价：2016-9，页数：，特精心收集的读后感，希望对大家能有帮助。

《新建筑与包豪斯》读后感(一)：艺术意志与现代主义美学

很简单的一本书，译文流畅，排版美观，虽然还有几个句子不通顺，但已经比那一堆建筑“译丛”好太多了。格罗皮乌斯的原始文献、图稿还有很多，加上当时包豪斯那一批人，值得系统出点中文版。 读了文艺复兴时期建筑大师们的故事，实在感觉那种精神气质，和现代主义的大师们从根本上是相似的。美的是这种艺术意志本身。对于作为人的他们，还可以有更深入的研究。

《新建筑与包豪斯》读后感(二)：从两个词来理解包豪斯——艺术、艺术家

由格罗皮乌斯亲自阐述包豪斯的概念，自然要比任何二手的解读来的更加直接，相较其它读过的包豪斯书籍这本对了解包豪斯的核心概念是最佳的选择！！！

从成书到现在84年，而二十世纪到现在这段时间是人类历史上发展速度最快的一个时期，不停地在向旧世界、旧概念告别，在当代背景下去读这本书很容易产生不少误解或者偏差，加上从德语到英语到中文的三次转译让原文的意义更容易产生误读。我自己读的时候也有些疑惑，所以再去翻了一下英语版的。在阅读上最容易产生歧义的我认为是艺术，艺术家这两个词。

私以为艺术在格罗皮乌斯的定义下是一种具有审美概念和社会价值的形式美的主观的外在表现。定语虽然多了一些但是缺一不可。审美是一个精神层面的定义；社会价值是对整个人类社会的精神生活和物质生活产生价值创造和提升；形式美就是形式上让人能够有赏心悦目的愉悦；主观是创作者自己的主观动能但是必须被那纳入在社会价值和审美这个框架内；外在表达就是最后作品的客观存在。定语一多所要承载的东西自然也更多，但从历史角度格罗皮乌斯对艺术的定义已经是那个时代对艺术的旧定义，当代对艺术的定义已经放下了形式美的诉求，甚至可以是形式丑，类似的作品层出不穷，但强化了审美概念和社会价值这两点，也正因为放下了形式美的束缚，当代艺术可以更深层次的探索形而上的审美价值并反映出社会方方面面的现象和问题。当代艺术放下的正式当代设计所承担起来的，设计的一大社会责任就是创造形式美，一件形式丑陋的设计作品是卖不掉的，过于丑陋的东西甚至会引来大众的批判比如上海的高级黑街道店招。所以只有理清两个不同时代下对艺术的不同定义再去看格罗皮乌斯在文中大量运用的“艺术”这两个词就会概念上清晰很多。

第二个词就是艺术家，英语原文上格罗皮乌斯有一句“artist as astisan”非常关键，其实可以把所有书中没有特指具体姓名的艺术家artist都理解为artisan艺匠，展开说就是具有前一段所说的艺术能力的匠人。匠人的定义就是手工艺从事着，一旦有了艺术审美的能力那就能创作出具有艺术价值的作品/产品，也就是类似于Thomas Chippendale和Josiah Wedgwood那样的著名工匠（其实两人身上已经明显有着当代设计师的影子）。在前工业革命时代对艺匠的要求是综合的，到了工业革命引入机械生产后设计和生产彻底分开，成品中的艺术成分被极大的削弱，这种分裂造成的艺术缺失正是手工艺运动的起点。个人认为手工艺运动从社会层面并不能算成功，因为从产业角度并没有创造出真正影响到大众生活的大量的产品，格罗皮乌斯的想法是希望通过将艺术和当时先进的生产力结合创造出形式美、功能完备、能被社会各个层面负担得起的产品和建筑。要完成这项工作的人需要具备创造形式美的能力，也需要对工艺有深入的了解才能形成一个闭环，这也是为什么最初他坚持制作作坊制度的原因。如果我们从站在现在这个角度来看，其实格罗皮乌斯提到的艺术家就是我们现在说的设计师和建筑师。

对这两个字完全理解以后，结合当时时代的背景再去理解格罗皮乌斯的理想就非常清晰了。经历两次工业革命尤其是第二次工业革命引入电力以后，生产技术得到了极大的发展，整个知识界都有创造一个人间伊甸园的美好愿景，设计领域自然而然的在这之中，希望利用高速发展的技术创造出满足人类的各种物质生活要求的新建筑和新产品，通过机械力解放人的人力让我们投入到更高级的精神创造活动中。新的技术落实到物化的建筑和产品需要由新的理论来进行指导，包豪斯在手工艺运动和风格派以及德国制造联盟的基础上更加强调技术在生产中的运用和新技术背景下的形式美的探索，这也就解释了包豪斯成为至今为止的主流设计理论的原因，因为它切中了在当今时代背景下生产方式的要害，宽泛的讲这还是一次由技术爆发引导的知识层面的跃进。虽然过去了84年，我们迎来的第三次工业革命也就是信息技术的革命，但信息技术更多的还是一种虚拟层面的跃进。如果前两次工业革命是让人类更伟大，第三次技术革命让我们变得更自我。因为如果沿着当时的道路我们探索的不是手机的照片能拍的多好，打起游戏能有多块，而是今年我们移民了火星，十年以后我们也许能探索另一个恒星系统。格罗皮乌斯那代人希望的更高级的精神创造活动如今变成了大量的抖音视频和直播网红，而包豪斯的影响也变成了一种对方盒子的形式主义认识，这点其实在书里都是明确反对的！！！从这些角度去看包豪斯，如同大多数欧洲左派知识分子的乌托邦理想，都和现实产生了很大的距离，对人类理性的执念被前后两次大战摧毁的所剩无几，作为一个设计师，我们到底该怎么去思考当下和以后的设计呢？

历史的车轮总是被一种野蛮的碾压性的力量所推动，生产力和科学的发展其实也是一种野蛮的力量虽然它们有着科学的支撑，博朗被日本及东南亚产品所击败也是一种野蛮的力量，苹果打败诺基亚也是一种野蛮的力量，我们需要的也许是一种新的野蛮的右派的设计理论，抛弃左派的乌托邦式的美好幻想，直接承认人类作为一种进化至今仍然具有绝大部分动物性的生物的存在。

《新建筑与包豪斯》读后感(三)：艺术制品－产品设计的未来

Walter Gropius (1883-1969)

说是未来不大合适。艺术制品过去曾经有过，现在依然存在，只是在消费主义这个浪潮过去之后，work of art 艺术制品才应该是产品设计的常规模式。艺术，生活，制品，三者无法分割。 自从杜尚丢了一个马桶给博物馆展览，艺术是为表达理念开始广为人知；时至今日用观念呈现观念已经江河日下，艺术还是要回归到形式（我就不知深浅的武断一下。但艺术与设计都不会止于形式，形式之下是对本质的真的无限探索。 这个未来有多远。Gropius 提到推广新建筑那些有着与之相应的新思想的人是最适宜的；而当国民的心智足够理解这些“新”时，新建筑就会遍地开花。 能把祖先代代努力进化出来的越来越多的休闲时间用在娱乐至死上，难道只是因为我们的祖辈未曾参与那些努力，不过是受益于世界扁平化、接受和吸收了成果所致。我们似乎缺少 mental fight 这一过程。 人们创造或选择建筑与制品，建筑与制品也塑造着人。人们建立或选择制度，制度也塑造着人。看着本应趋近的未来被某种阻碍推至渐行渐远，考验智慧的时候到了。面对一个小学生手里拿支gun, 你也不一定就注定会失败。 又想起 Bruno Munari 的《Design as Art》发现丁点印象全无，我是在另一度的平行空间读的么 以下摘录笔记。对中译本质疑之处给出参考译文。

英译本：The New Architecture and the Bauhaus translated from the German by P. Morton Shand 1965 Individual imagination and fancy will more and more take possession of the architecture, of its spatial harmonies, of its functional qualities, and will use them as the ground work, or rather framework, of a new beauty which will crown this expected renascence with splendour. 如果建筑师在作用力下摆动得太远而走向工程师，那么也会在反作用力之下再次向艺术家靠拢。这种波浪式运动促进了发展。 p15 采用新建筑的建造理念，去思考用品的设计。 在人才培养方面，面向工业的设计师必须与建筑设计师一起采用相同的训练，即使二者最终的专业方向不同，但社会地位和威信却并无高低之分。 p17 Frank Pick 新建筑并非少数几个建筑师一时狂热地不惜一切代价追求创新的个人兴致使然，而是我们这个时代的知识、社会和技术条件的必然产物。 the inevitable logical product of the intellectual, social and technical conditions of our age. a bridge uniting opposite poles of thought p4/p23 比这些在结构上节约且强调其功能更为重要的，是一种使新的空间想象力成为可能的远见卓识。房屋建造考虑的只不过是方法与材料的问题，而建筑艺术则意味着对空间的驾驭。 What is far more important that this structural economy and its functional emphasis is the intellectual achievement which has made possible a new spatial vision. For whereas building is merely a matter of methods and materials, architecture implies the mastery of space. p8/24 但机械化的唯一终极目标却是：将个人从维持生计的辛勤劳作中摆脱出来，使手和脑能够有空余时间从事某些更高级的活动。 But in the last resort mechanization can have only one object: to abolish the individual's physical toil of providing himself with the necessities of existence in order that hand and brain may be set free for some higher order of activity. p15/p33 A prudent limitation of variety to a few standard types of buildings increases their quality and decreases their cost; thereby raising the social level of the population as a whole. Proper respect for tradition will find a truer echo in these than in the miscellaneous solutions of an often arbitrary and aloof individualism because the greater communal utility of the former embodies a deeper architectural significance. ／人类群居的社会性水平 p20/p38 For although every house and block of flats will bear the unmistakable impress of our age, there will always remain, as in the clothes we wear, sufficient scope for the individual to find expression for his own personality. The net result should be a happy architectonic combination of maximum standardization and maximum variety. ／兼顾最大化的标准与最大化的多样性 p23/p40 and bodies itself forth, not in stylistic imitation or ornamental frippery, but in those simple and sharply modeled designs in which every part merges naturally into the comprehensive volume of the whole. Thus its aesthetic meets out material and psychological requirements alike. clear and crisply simplified forms. ／简洁明确的形式 p26/p44 logical and systematical coordination in the handling of architectural problems. ／逻辑上与系统上的协调 p28/p47 Each of his own particular sphere of activity aspired to help in bridging the disastrous gulf between reality and idealism. p30/p48 I saw, too, that to make this possible would require a whole staff of collaborators and assistants: men who would work, not automatically as an orchestra obeys its conductor's baton, but independently, although in close cooperation, to further a common cause. ／期待的合作 p32/51 As a first step towards the realization of a much wider plan—in which my primary aim was that the principle of training the individual's natural capacities to grasp life as a whole,a single cosmic entity, should form the basis of instruction throughout the school instead of in only one or two arbitrarily 'specialized' classed— ／首先是一个真正意义上的人 p34/p52 In the future the field of handicrafts will be found to lie mainly in the preparatory stages of evolving experimental new type-forms for mass-production. There will, of course, always be talented craftsmen who can turn out individual designs and find a market for them. ／手工艺的两种存在形式 The Bauhaus, however, deliberately concentrated primarily on what has now become a work of paramount urgency: to avert mankind's enslavement by the machine by giving its products a content of reality and significance, and so saving the home from mechanistic anarchy. We aimed at realizing standards of excellence, not creating transient novelties. ／优良产品的标准 vs. 一时的新奇 p36/p54 There is a widespread heresy that art is just a useless luxury. This is one of our fatal legacies from a generation which arbitrarily elevated some of its branches above the rest as the 'Fine Arts', and in so doing robbed all of their basic identity and common life. The typical embodiment of the l'art pour l'art mentality, and its chosen instrument, was 'the Academy'. ／学院派纯艺术将艺术与生活割裂 By depriving handicrafts and industry of the informing services of the artist the academies drained them of their vitality, and brought about the artist's complete isolation from the community. Art is not one of those things that may be imparted. Whether a design be the outcome of knack or creative impulse depends on individual propensity. /艺术并非那种可以教会的事情 But if what we call art cannot be taught or learnt, a thorough knowledge of its principles and of sureness of hand can be. Both are as necessary for the artist of genius as for the ordinary artisan. ／艺术原理的全面知识与手艺的纯熟是可以教的 What actually happened was that the academies turned out an 'artistic proletariat' foredoomed to semi-starvation. Lulled by false hopes of the rewards of genius, this soon numerous class was brought up to the 'professions' of architect, painter, sculptor, etc., without the requisite training to give it an independent artistic volition and to enable it to find its feet in the struggle for existence. ／艺术普罗，被对天才功名成就的病态渴望所催眠；培养出来的所谓“专业”的建筑师画家雕塑家 p40/p58 Thus such skill as it acquired was of that amateurish studio-bred order which is innocent of realities like technical progress and commercial demand. The besetting vice of the academy schools was that they were obsessed by that rare 'biological' sport, the commanding genius; and forgot that their business was to teach drawing and painting to hundreds and hundreds of minor talents, barely one in a thousand of whom could be expected to have the makings of a real architect or painter. ／他们所获得的技能其实是那种业余画室培养下的对现实技术进步和商业需求全然无知的类型。学院痴迷于珍稀生物学意义上的竞赛和天才大师， In the vast majority of cases the hopelessly one-sided instruction condemned its pupils to the lifelong practice of a purely sterile art. ／这些学生一生都在实践贫瘠的艺术 p41/p61 The rise of the academies spelt the gradual decay of the spontaneous traditional art that had permeated the life of the whole people. All that remained was a 'Salon Art', entirely remote from everyday life, which by the middle of the XIXth Century had petered out into mere exercises in individual virtuosity. ／学院的兴起逐渐瓦解了自发性的传统艺术，而传统艺术曾经广泛存在于民众的生活中。留下的是一种“沙龙艺术”，完全脱离人们的日常生活，到19世纪中叶只剩下个人技巧的卖弄。 p42/p61 On the other hand the business man and the technician lacked sufficient foresight to realize that the combination of form, efficiency and economy they desired could only be obtained by recognizing painstaking cooperation with a responsible artist as part of the routine of production. ／企业家和技术人员对于形式和他们所关心的效率与经济性如何协调缺乏足够的洞见，这只能通过将与负责任的艺术家通力合作作为生产例行程序的一部分才能获取。 p45/p65 Thus the Bauhaus was inaugurated with the specific object of realizing a modern architectonic art, which, like human nature, should be all embracing in its scope. Within that sovereign federative union all the different 'arts' (with the various manifestations and tendencies of each)—every branch of design, every form of technique—could be coordinated and find their appointed place. ／现代建筑艺术如同人的本性是一个综合体 Our ultimate goal, therefore, was the composite but inseparable work of art, the great building, in which the old dividing-line between monumental and decorative elements would have disappeared for ever. ／构成但不可分割的艺术作品 p45/p66 Formal Instruction under the following heads: a. Aspect The study of Nature The study of Materials b. Representation The study of Plane Geometry The study of Construction Draughtsmanship Model-making c. Design The study of Volumes The study of Colours The study of Composition ／体块、色彩、构成 p48/p66 This method of selection was obviously liable to error since there is no known anthropometric system to gauge a man's continually changing powers of development. ／并没有人体测量方法来测定一个人持续发展着的能力 p52/p68 The first task was to liberate the pupil's individuality from the dead weight of conventions and allow them to acquire that personal experience and self-taught knowledge which are the only means of realizing the natural limitations of our creative powers. That is why collection work was not considered important at this stage. Subjective and objective observation, and the laws of representational and abstract design, were taught turn and turn about. ／个人体验和自我教育的知识是人事我们创造力本能极限的唯一方法。主观与客观的观察，再现与抽象设计的法则 p53/p71 Believing the machine to be our modern medium of design we sought to come to terms with it. But it would have been madness to turn over gifted pupils to the tender mercies of industry without any training in craftsmanship in the fond hope of thereby restoring 'the lost chord' between the artist and the world of work. Such idealism could only have resulted in their being overwhelmed by the narrow materialism and one-sided outlook of the modern factory. ／没有手工艺方面的训练，学生会被现代工厂狭隘的物质主义和片面愿景所压倒 p56/p75 Since craftsmanship concentrates the whole sequence of manufacture in one and the same man's hands it would provide a nearer approximation to their intellectual status, and therefore offer them a better kind of practical training. ／由于手工艺将整个制作过程集中在一个人手中，这就提供了与他们的智力形态相趋近的相似性，并因此给予他们更好的实践训练 Yet division of labour can no more be abandoned than the machine itself. If the spread of the machinery has, in fact, destroyed the old basic unity of a nation's production the cause lies neither in the machine nor in its logical consequence of functionally differentiated processes of fabrication, but in the predominantly materialistic mentality of our age and the defective and unreal articulation of the individual to the community. ／如果机器的普及摧毁了一个国家生产旧有的基本联合体，原因不在于机器，也不在于区分制造过程所导致的后果，而是我们这个时代受物质主义主导的心态，和个人之于社群病态不真实的连接。 The Bauhaus was anything but a school of arts and crafts, if only because a deliberate return to something of that kind would have meant simply putting back the clock. For now, as ever, man goes on improving his tools in order to spare himself more and more physical toil and increase his leisure proportionately. p58/p76 That respect for stern realities which is one of the strongest bonds between workers engaged on a common task speedily dissipated the misty aestheticism of the academies. ／尊重现实 vs. 学院式唯美主义 p59/p77 Instead of receiving arbitrary and subjective ideas of design they had objective tuition in the basic laws of form and colour, and the primary condition of the elements of each, which enabled them to acquire the necessary mental equipment to give tangible shape to their own creative instincts. Only those who have been taught to how to grasp the comprehensive coherence of a larger design, and incorporate original work of their own as an integral part of it, are ripe for active cooperation in building. ／基于他们自己创造性本能的可触形体 What is called 'the freedom of the artist' does not imply the unlimited command of a wide variety of different techniques and media, but simply his ability to design freely within the pre-ordained limits imposed by any one of them. ／艺术家的自由并非是对多种广泛技术和媒介的无限掌控，而是对摆在面前的预先规定的限制下自由设计 Even today a knowledge of counterpoint is essential for a musical composer. p61/p78 A building designed by one man and carried out for him by a number of purely executant associates cannot hope to achieve more than superficial unity. Our ideal was that what each collaborator contributed to the common task should be something he had devised as well as wrought himself. ／每个人的深度参与 formal unity ／形式统一 p62/p80 This enabled them to learn the correlation of everything that comes within the scope of building practice while earning their keep. ／这可以让他们在为实习工作出力的同时，学习与建筑实践相关的所有方面之间的关联。 p64/p80 A modern building should derive its architectural significance solely from the vigour and consequence of its own organic proportions. It must be true to itself, logically transparent and virginal of lies or trivialities, as befits a direct affirmation of our contemporary world of mechanization and rapid transit. And with its disappearance the old obsession for the hollow sham of axial symmetry is giving place to the vital rhythmic equilibrium of free asymmetrical grouping. /成组自由非对称形式的有节奏的均衡 p66/p82 It is therefore the primary duty of everyone who aspires to be a builder to grasp the significance of the New Architecture and realize the factors which have determined its characteristics: a manifold simplicity arrived at by deliberate restriction to certain basic forms used repetitively; and the structural subdivision of buildings according to their nature, and that of the streets they face. ／并根据建筑自身性质及它们所面对的街道进行结构上的细分 p67/p85 What we preached in practice was the common citizenship of all forms of creative work, and their logical interdependence on one another in the modern world. We wanted to help the formal artist to recover the fine old sense of design and execution being one, and make him feel that the drawing-board is merely a prelude to the active joy of fashioning. Building unites both manual and mental workers in a common task. Therefore all alike, artist as artisan, should have a common training; and since experimental and productive work are of equal practical importance the basis of that training should be broad enough to give every kind of talent an equal chance. As varieties of talent cannot be distinguished before they manifest themselves, the individual must be able to discover his proper sphere of activity in the course of his own development. /艺术家也应和匠人一样进行基本训练； 多种多样的才能只有呈现出来才可识别，因此每个人必须在自身的发展过程中找寻自己擅长的领域。 Naturally the great majority will be absorbed by the building trades, industry, etc. But there will always be a small minority of outstanding ability whose legitimate ambitions it would be folly to circumscribe. As soon as this elite has finished its communal training it will be free to concentrate on individual work, contemporary problems, or that inestimably useful speculative research to which humanity owes the sort of values stockbrokers call 'futures'. And since all these commanding brains will have been through the same industrial mill they will know, not only how to make industry adopt their improvements and inventions, but also how to make the machine the vehicle of their ideas. Men of this stamp are sure to be eagerly sought after. ／这些优秀的大脑不仅知道怎样让工业界采纳他们的改进与发明，还明白怎样通过机器传达他们的思想理念。 p69/p86 The Bauhaus felt it had a double moral responsibility: to make its pupils fully conscious of the age they were living in; and to train them to turn their native intelligence, and the knowledge they received, to practical account in the design of type-forms which would be the direct expression of that consciousness. ／形式模式是时代意识的表达 p70/p89 Our guiding principle was that artistic design is neither an intellectual nor a material affair, but simply an integral part of the stuff of life. ／艺术化的设计不是知识或材料的问题，而是生活的一个必要组成部分。 Our ambition was to rouse the creative artist from his other-world-liness and reintegrate him into the workaday world of realities; and at the same time to broaden and humanize the rigid, almost exclusively material, mind of the business man. ／唤醒有创造力的艺术家，让他们融入现实世界的日常；同时开阔和人性化那些刻板、几乎完全物质主义的企业家心灵。 Thus our informing conception of the basic unity of all design in relation to life was in diametrical opposition to that of 'art for art's sake', and the even more dangerous philosophy it sprang from: business as an end in itself. ／“商业的目的即商业”的危险哲学 p72/p90 An intellectual economy naturally takes longer to perfect than a material one, since it requires more knowledge and mental self-discipline. Here, at the focal point where civilization and culture meet, a clearer light is shed on the fundamental difference between an ordinary commercial product, the humble output of a calculating brain, and the work of art, the fruit of what William Blake called 'mental strife'. It is true that a work of art remains a technical product, but it has an intellectual purpose to fulfill as well which only passion and imagination can achieve. ／'mental fight' 出自诗人版画家William Blake的一首诗 Jerusalem. 当文明与文化交汇时，可以看出一件经过大脑计算出的普通商业制品，与一件艺术制品的根本区别，也就是威廉姆布莱克所说的“精神战斗”的果实。的确，一件艺术制品依然是技术产品，但它却有一种智识上的目标需要完成，而这只能借由激情和想像才能达成。 p73/p91 The object of the Bauhaus was not to propagate any 'style', system, dogma, formula, or vogue, but simply to exert a revitalizing influence on design. We did not base our teaching on any preconceived ideas of form, but sought the vital spark of life behind life's ever-changing forms. ／寻找在生活始终变化的形式之下的精髓 p74/p92 On the contrary, the effect on the individual pupil of transforming the school into a site for building operations was to increase his moral stature by virtue of the direct responsibility that now rested on him. ／通过赋予其责任提高道德水准 p78/p96 My idea of the architect as a coordinator—whose business it is to unity the various formal, technical, social and economic problems that arise in connection with building—inevitably led me on step by step from study of the function of the house to that of the street; from the street to the town; and finally to the still vaster implications of regional and national planning. ／建筑，街道，城市，区域与国家规划 p81/p98 I believe that the New Architecture is destined to dominate a far more comprehensive sphere than building means today; and that from the investigation of its details we shall advance towards an ever-wider and profounder conception of design as one great cognate whole—the mirror of the indivisibility and immensity and underlying unity of life itself, of which it is an integral part. It looks as though of a new appreciation of space, and the pioneering work of finding the essential common denominator for the new forms of building had almost exhausted the creative powers of the architects of this generation. The next will accomplish that refinement of these forms which will lead to their generalization. ／设计是反映生活的一个综合体 p81/p99 Technical developments are transplanting urban civilization into the countryside and reacclimatizing nature in the heart of the city. 技术的进步将城市文明移植到乡村，又在城市中心营造自然氛围 p82/p100 The most propitious environment for propagating the New Architecture is obviously where a new way of thinking corresponding with it has already penetrated. It is only among intelligent professional and public-spirited circles that we can hope to arouse a determination to have done with the noxious anarchy of our towns. The technical means for carrying that determination into practical effect are already at our disposal. Had our civic mentality been sufficiently ripe to appreciate it we might now be reaping the benefit. ／最适宜推广新建筑的环境 p94/p110 'Respect for Tradition' does not mean the complacent toleration of elements which have been a matter of fortuitous chance or of individual eccentricity; nor does it mean the acceptance of domination by bygone aesthetic forms. It means and always has meant, the preservation of essentials in the process of striving to get at what lies at the back of all materials and every technique, by giving semblance to the one with the intelligent aid of the other. ／giving semblance to the one with the intelligent aid of the other.？ p96/112 Walter Gropius