在在Fagus工厂工作之前，Gropipus在设计了AEG涡轮机建筑的建筑师彼得·贝林(PeterBehens)下工作。虽然德国建筑师都对工业建筑很感兴趣，但他们的设计理念不同。Behens在AEG建筑中引入了对工业建筑的高贵感，但Gropipus对该项目非常重要，并认为它缺乏关于外部设计掩盖其施工要素的真实性。相反，Gropidus认为，外部设计应揭示建筑物的施工逻辑。它将成为他在各种背景下发现建造工业建筑的艺术解决方案的任务。

Before working on the Fagus Factory, Gropius was working under Peter Behrens, the architect who designed the AEG turbine building. Although both of the German architects were very interested in industrial architecture, their design philosophy differed. While Behrens introduced a sense of nobility to industrial architecture with the AEG building, Gropius was critical of the project and felt that it lacked authenticity with regards to the exterior design masking its construction elements. Instead, Gropius felt that exterior design should reveal the construction logic of a building. It would become his mandate to discover artistic solutions of constructing industrial buildings in a variety of contexts.

Before working on the Fagus Factory, Gropius was working under Peter Behrens, the architect who designed the AEG turbine building. Although both of the German architects were very interested in industrial architecture, their design philosophy differed. While Behrens introduced a sense of nobility to industrial architecture with the AEG building, Gropius was critical of the project and felt that it lacked authenticity with regards to the exterior design masking its construction elements. Instead, Gropius felt that exterior design should reveal the construction logic of a building. It would become his mandate to discover artistic solutions of constructing industrial buildings in a variety of contexts.

格罗皮乌斯于1911年4月在佛光博物馆发表演讲，正式表达了他的设计理念。在他的演讲“不朽的艺术和工业建设”中，他解释说，火车站、部门、商店和工厂不应再像过去几十年那样建造，而需要进化以适应不断变化的社会和文化动态。格罗皮乌斯强调建筑设计的社会方面，建议通过增加日光、新鲜空气和卫生来改善工作条件，将使工人更加满意，从而提高整体生产。这些理论将指导他设计费格斯工厂。

Gropius formally expressed his design ideals during a lecture at the Folkwang Museum in April 1911. In his lecture, ‘Monumental Art and Industrial Construction’, he explained that train stations, departments stores, and factories should no longer be built like those from previous decades and needed to evolve to suit changing societal and cultural dynamics. Gropius emphasized the social aspect to architectural design, suggesting that improving working conditions through increased daylight, fresh air, and hygiene would lead to a greater satisfaction of workers, and therefore, increase overall production. These are the theories that would guide his design of the Fagus Factory.

Gropius formally expressed his design ideals during a lecture at the Folkwang Museum in April 1911. In his lecture, ‘Monumental Art and Industrial Construction’, he explained that train stations, departments stores, and factories should no longer be built like those from previous decades and needed to evolve to suit changing societal and cultural dynamics. Gropius emphasized the social aspect to architectural design, suggesting that improving working conditions through increased daylight, fresh air, and hygiene would lead to a greater satisfaction of workers, and therefore, increase overall production. These are the theories that would guide his design of the Fagus Factory.

在他的演讲结束后不久，格罗皮乌斯会见了Fagus工厂的所有者CarlBenscheidt。位于德国的Alfeld，德国，Benscheidt工厂，生产木制的木制木制的工厂“持续”对于制造靴子来说，是在一个雄心勃勃的扩张项目的过程中。工业设计师EduardWerner已经为Fagus工厂设计了一系列建筑、翻新和添加。格罗皮乌斯解释说，沃纳的设计不会为他的工厂提供BencheeDT想要的渐进图像。在成功说服Benchiedt的方法价值和工厂应计划为艺术项目后，于1911年5月委托他协助项目。由于这项设计已经在进行中了，Groupus和他的合作者AdolfMeyer坚持了Werner的楼层计划，并专注于项目的外部和室内设计。

Shortly after his lecture, Gropius met with Carl Benscheidt, the owner of the Fagus Factory. Located in Alfeld, Germany, Benscheidt’s factory, which produced wooden ‘lasts’ for the manufacturing of boots, was in the process of an ambitious expansion project. Industrial architect Eduard Werner was already designing a series of buildings, renovations, and additions for the Fagus Factory. Gropius explained to Benscheidt that Werner’s design would not provide his factory with the progressive image that Benscheidt had wanted. After successfully convincing Benscheidt of the value of his approach and that the factory should be planned as an artistic project, he was commissioned in May 1911 to assist with the project. As the design was already well underway, Gropius and his collaborator Adolf Meyer adhered to Werner's floor plans and focused on the exterior and interior design of the project.

Shortly after his lecture, Gropius met with Carl Benscheidt, the owner of the Fagus Factory. Located in Alfeld, Germany, Benscheidt’s factory, which produced wooden ‘lasts’ for the manufacturing of boots, was in the process of an ambitious expansion project. Industrial architect Eduard Werner was already designing a series of buildings, renovations, and additions for the Fagus Factory. Gropius explained to Benscheidt that Werner’s design would not provide his factory with the progressive image that Benscheidt had wanted. After successfully convincing Benscheidt of the value of his approach and that the factory should be planned as an artistic project, he was commissioned in May 1911 to assist with the project. As the design was already well underway, Gropius and his collaborator Adolf Meyer adhered to Werner's floor plans and focused on the exterior and interior design of the project.

 © Flickr user martin

c Flickr用户Martin

Fagus工厂是一个复杂的建筑，它包含了制造、存储和办公等各种功能，Gropius认为设计一种可以应用于各种结构的外部设计美学是非常重要的。砖块的使用-更确切地说，一个40厘米高的深色砖块底座-从正面投射出4厘米-可以在整个建筑群中反复看到。Gropius对项目的贡献在架构上最重要的方面是办公大楼。与其他建筑不同的是，这座三层楼的平顶建筑有一个由玻璃而非砖块组成的立面。与传统的承重外墙不同，格罗皮乌斯做出了大胆而创新的决定，将钢筋混凝土柱置于大楼内，以解放外墙。一系列砖墩悬挂在支撑玻璃插入的铁架之间。金属板被放置在铁架内，以隐藏后面的楼板。该建筑最具创新性的特点是完全玻璃化的外部角落，这些角落没有结构元素。办公大楼的外部设计有效地展示了格罗皮乌斯改善室内环境的雄心，同时也展示了当代建筑技术作为一种建筑形象。

The Fagus Factory is a complex with many buildings, which contain various functions such as manufacturing, storage, and offices, and Gropius felt it was important to design an exterior design aesthetic that could be applied to various structures. The use of brick — more specifically, a 40-centimeter high, dark brick base which projects 4-centimeters from the facade — can be seen repeatedly throughout the complex. The most architecturally-significant aspect of Gropius’ contribution to the project is the office building. Unlike the other buildings, this flat-roof, three-story building features a façade that is comprised of more glass than brick. Instead of conventional load-bearing exterior walls, Gropius had made the bold and innovative decision to place reinforced concrete columns inside the building to free the façade. A series of brick piers suspend iron frames between that supports glass inserts. Metal panels were placed within the iron frame to conceal the floor slabs behind. The most innovative feature of the building is the fully glazed exterior corners, which are free of structural elements. The exterior design of the office building effectively demonstrated Gropius’ ambition to improve interior conditions while exposing contemporary construction techniques as an architectural image.

The Fagus Factory is a complex with many buildings, which contain various functions such as manufacturing, storage, and offices, and Gropius felt it was important to design an exterior design aesthetic that could be applied to various structures. The use of brick — more specifically, a 40-centimeter high, dark brick base which projects 4-centimeters from the facade — can be seen repeatedly throughout the complex. The most architecturally-significant aspect of Gropius’ contribution to the project is the office building. Unlike the other buildings, this flat-roof, three-story building features a façade that is comprised of more glass than brick. Instead of conventional load-bearing exterior walls, Gropius had made the bold and innovative decision to place reinforced concrete columns inside the building to free the façade. A series of brick piers suspend iron frames between that supports glass inserts. Metal panels were placed within the iron frame to conceal the floor slabs behind. The most innovative feature of the building is the fully glazed exterior corners, which are free of structural elements. The exterior design of the office building effectively demonstrated Gropius’ ambition to improve interior conditions while exposing contemporary construction techniques as an architectural image.

 © Flickr user martin

c Flickr用户Martin

 Elevation and technical sections

高程和技术部分

Fagus工厂在1911年在建筑上完成，但直到1925年，内部尚未完成。2011年，它成为联合国教科文组织世界遗产网站，其早期影响了现代建筑的发展。工厂的设计元素，如简单的几何形状、玻璃的慷慨使用和感知失重，与现代主义的词汇密不可分，在当代建筑中仍然是共同的原则。

The Fagus Factory was architecturally completed in 1911, though the interiors were not completed until 1925. It became a UNESCO World Heritage Site in 2011 for its early influence on the development of modern architecture. Design elements of the factory, such as its simple geometric forms, generous use of glazing, and perceived weightlessness, became inseparable from the vocabulary of Modernism and remain common principles in contemporary construction.

The Fagus Factory was architecturally completed in 1911, though the interiors were not completed until 1925. It became a UNESCO World Heritage Site in 2011 for its early influence on the development of modern architecture. Design elements of the factory, such as its simple geometric forms, generous use of glazing, and perceived weightlessness, became inseparable from the vocabulary of Modernism and remain common principles in contemporary construction.

在Fagus工厂工作之后，Walter Gropius继续设计进步的工业建筑，并于1919年建立了Bauhaus。包豪斯建筑是格罗皮乌斯自己设计的，至今仍是他最著名的建筑作品。作为他致力于现代运动的多产事业的结果，沃尔特·格罗皮乌斯被认为是现代主义最重要的先驱之一。

Following his work on the Fagus Factory, Walter Gropius continued designing progressive industrial buildings, and in 1919 established the Bauhaus. The Bauhaus Building was designed by Gropius himself and remains his best known work of architecture. As a result of his prolific career devoted to the Modern Movement, Walter Gropius is considered to be one of the most important pioneers of Modernism.

Following his work on the Fagus Factory, Walter Gropius continued designing progressive industrial buildings, and in 1919 established the Bauhaus. The Bauhaus Building was designed by Gropius himself and remains his best known work of architecture. As a result of his prolific career devoted to the Modern Movement, Walter Gropius is considered to be one of the most important pioneers of Modernism.

参考文献：Lupfer，G.和Sigel，P.Gropius(科隆：Taschen，2005年)。

Reference: Lupfer, G., and Sigel, P. Gropius (Cologne: Taschen, 2005).

Reference: Lupfer, G., and Sigel, P. Gropius (Cologne: Taschen, 2005).

建筑师AdolfMeyer，Walter Gropius Location GreCon，Hannoversche Stra e 58，31061 Alfeld，德国建筑师，负责Walter Gropius设计团队的Walter Gropius，Adolf Meyer，Eduard Werner Project，1925年照片Flickr用户Martin分类仓库

Architects Adolf Meyer, Walter Gropius Location GreCon, Hannoversche Straße 58, 31061 Alfeld, Germany Architect in Charge Walter Gropius Design Team Walter Gropius, Adolf Meyer, Eduard Werner Project Year 1925 Photographs Flickr user martin Category Warehouse

Architects Adolf Meyer, Walter Gropius Location GreCon, Hannoversche Straße 58, 31061 Alfeld, Germany Architect in Charge Walter Gropius Design Team Walter Gropius, Adolf Meyer, Eduard Werner Project Year 1925 Photographs Flickr user martin Category Warehouse