在短暂的十四年时间里，夹在两次世界大战之间，德国包豪斯艺术设计学院改变了现代性的面貌。对于未来乌托邦式的理想，学校发展了艺术、工艺和技术的开创性融合，应用于绘画、雕塑、设计、建筑、电影、摄影、纺织、陶瓷、戏剧和装置。

包豪斯既是一个强烈的个人社区，也是一个公开的集体，它最初是由瓦尔特·格罗皮乌斯(1883-1969年)创建的，成员包括约瑟夫和安妮·艾伯斯、瓦西里·康丁斯基、保罗·克利、奥斯卡·施莱默、贡塔·施特尔策、玛丽安·布兰德和路德维希·密斯·凡·德罗。在魏玛、德绍和柏林这三个连续的地点之间，学校培养了教师和学生之间富有魅力和创造性的交流，他们的艺术风格和偏好各不相同，但他们的理想主义和对不同实践和媒体的“整体”艺术作品的兴趣是一致的。

这本书颂扬包豪斯运动的冒险创新，既是现代主义发展的先驱，也是艺术教育的典范，在艺术教育中，无所不包的创造性表达自由和尖端思想导致了功能性和美的创造。

In a fleeting fourteen year period, sandwiched between two world wars, Germany’s Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation.

As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883–1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta St?lzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charistmatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a “total” work of art across different practices and media.

This book celebrates the adventurous innovation of the Bauhaus movement, both as a trailblazer in the development of modernism, and as a paradigm of art education, where an all-encompassing freedom of creative expression and cutting-edge ideas led to functional and beautiful creations.