A copy of Georg Muche’s original permit drawings for the Haus am Horn. From each perspective, the spatial prominence of the central living room is inescapable

一份乔格·穆奇给豪斯·霍恩的原始许可图纸的复印件。从各个角度看，中央客厅的空间突出是不可避免的。

1923年鲍豪斯人创作的作品的展览完美地体现了这种不断变化的设计视角。按照该机构的由来，这次展览不仅仅是一个展品或图像的画廊，而是一整栋满是包豪斯学生作品的房子。豪斯之角，就像它的名字，是由GeorgMuche和AdolfMeyer设计，作为一个原型的负担得起的住房，可以快速和廉价的大规模生产。使用实验建筑技术和材料不仅有助于实现这一目标，而且与鲍豪斯课程中对功能主义的日益重视完全吻合。

An exhibition of work produced by the Bauhaus in 1923 perfectly embodied this changing perspective of design. True to the institution’s roots, the exhibition was not merely a gallery of objects or images, but an entire house filled with works by Bauhaus students. The Haus am Horn, as it was named, was designed by Georg Muche and Adolf Meyer as a prototype for affordable housing which could be quickly and inexpensively mass-produced. The use of experimental building techniques and materials not only helped to achieve this goal, but dovetailed perfectly with the increasing focus on functionalism in the Bauhaus curriculum.[2]

 Despite being surrounded by other spaces, the raised clerestory of the living room makes it instantly visible as one approaches the house. ImageCourtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.

尽管被其他空间所包围，起居室的凸起的牧师在接近房子的时候立刻就能看到它。FreunDescriis der Bauhaus-Weimar大学。v.

穆什是包豪斯的一名画家和教师，当学校宣布一项示范住宅的竞赛时，他已经在为自己和他的妻子设计一套房子。他的获奖作品在简洁性方面是大胆的：一个方形的计划，围绕着一间中央客厅，围成一圈的房间。每个空间的设计都考虑到了一个明确的程序，并有意将其专门化，使其不能用于任何其他用途。[3]除了起居室外，这所房子还包括一个男士房间、一个女士房间、一个儿童房间、一个客房、餐厅、厨房和一个工作场所。

Muche, who was a painter and teacher at the Bauhaus, had already been in the process of designing a house for himself and his wife when the school announced a competition for a model residence. His winning entry was bold in its simplicity: a square plan, with a ring of rooms surrounding a central living room. Each space was designed with an explicit program in mind, and intentionally specialized so that it could not be used for any other purpose.[3] Aside from the living room, the house comprised a room for the man, a room for the lady, a room for children, a guest room, dining room, kitchen, and a work niche.[4]

 An axonometric diagram shows the arrangement of living spaces centered around the living room. ImageDrawing by Georg Muche

轴测图显示了以客厅为中心的居住空间的排列。格奥尔格·穆奇(Georg Muche)绘制的图像

豪斯之角内起居室的支配地位在许多方面都得到了体现。由于它被封闭在建筑物的中心，采光是通过在每堵墙顶部排列的牧师窗口实现的；结果是客厅的体积投射到了房子其他部分的屋顶上，从外部就可以看到它。这也有助于区分房间内的空间，因为提高天花板，以容纳牧师，使客厅比周围的空间更高。纯粹的建筑面积是另一个因素：起居室占地36平方米(387.5平方英尺)，占房屋总占地面积的三分之一。

The dominance of the living room within the Haus am Horn was expressed in a number of ways. As it was cloistered in the center of the building, daylighting was achieved via clerestory windows lining the top of each wall; the result was that the living room’s volume projected past the roofline of the rest of the house, making it visible from the exterior. This also served to differentiate the space within the house, as raising the ceiling to accommodate the clerestories made the living room taller than the surrounding spaces. Sheer floor area was another factor: at 36 square meters (387.5 square feet), the living room occupied a full third of the house’s overall footprint.[5,6]

 Courtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.. Image © Cameron Blaylock

由FreunDescriis der Bauhaus-Weimar e大学提供。v.图像C.Cameron Blaylock

鲍豪斯教职员和学生设计的家具在很大程度上决定了房子内的空间。客厅里坐满了简约的椅子和用标准木料建造的桌子；没有任何装饰或色彩，它们让人联想到荷兰设计师格瑞特·里特维尔德(GerritRietveld)创造的椅子。地面上是装饰着光滑抽象图案的地毯，反映出从个体工艺技术向工业生产方式的转变。[7]这在儿童室变得更加明显，其中有一套由木雕学生阿尔玛·巴舍尔(Alma Buscher)设计的模块化木箱。较小的箱子可用作儿童座位，而较大的箱则可为同样目的或在其两端设置较大的单元，在这种情况下，它们既可用作儿童桌，也可用作成人座位。另一个以门和窗为特色的单元，可以在关闭时作为展示柜使用，但一旦打开，则是用作木偶戏的理想选择。

Furniture designed by Bauhaus faculty and students did much to define spaces within the house. The living room was occupied by simplistic chairs and tables built of standardized lengths of wood; devoid of any ornamentation or coloring, they were highly reminiscent of chairs created by Dutch designer Gerrit Rietveld. Covering the ground were carpets adorned with sleek abstract patterns, reflecting a shift away from individual craftsmanship techniques to industrial modes of production.[7] This was made more blatant in the children’s room, which featured a set of modular wooden boxes devised by wood-carving student Alma Buscher. Smaller boxes could be used as child seating, while the larger units could either be set on their sides for the same purpose or on their ends, in which case they could serve either as child tables or adult seating. Another unit, which featured a door and a window, could be put to use as a display case when closed, but once opened, was ideal for use as a puppet theater.[8]

 The innovative kitchen of the Haus am Horn as it appears today. In keeping with the trends of the time, the room’s design prioritized efficiency in both function and layout. ImageCourtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.

今天出现的豪斯之角的创新厨房。为了顺应时代潮流，房间的设计在功能和布局上都优先考虑了效率。FreunDescriis der Bauhaus-Weimar大学。v.

没有比厨房更能表达新发现的鲍豪斯对现代主义的承诺的地方了。当时的多种文本，比如1915年的“家庭科学管理”(Science Management In The Home)，都宣扬了这样一种观念：如果把厨房里所有与准备食物无关的活动都删除，那么房间就会变小-这样做可以减少任何不必要的移动，简化烹饪流程。(“家庭中的科学管理”(Science Management In The Home)最早是在豪斯·霍恩展览的前一年用德语出版的)[9]厨房工作区没有单独的单元，而是把壁挂式橱柜放在一个连续的台面上，所有这些橱柜的美感都是极低的。在包豪斯的粘土车间生产的一套陶瓷储罐，同样简单化，放在橱柜的上方。

No room better expressed the newfound Bauhaus commitment to Modernism than the kitchen. Multiple texts at the time, such as 1915’s Scientific Management in the Home, promoted the notion that by removing all activities not related to the preparation of food from the kitchen, one could then make the room smaller – and by doing so, reduce any potential unnecessary movement and streamline the cooking process. (That Scientific Management in the Home was first published in German the year before the Haus am Horn exhibition is likely no coincidence.)[9] Instead of individual units, the kitchen workspace featured wall-mounted cabinets over a continuous countertop, all characteristically minimal in their aesthetic. A set of ceramic storage jars, produced in the Bauhaus’ clay workshops and equally simplistic, were placed in a row atop the cabinets.[10]

 Courtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.. Image © Cameron Blaylock

由FreunDescriis der Bauhaus-Weimar e大学提供。v.图像C.Cameron Blaylock

由于豪斯之角是作为战后德国大规模生产的廉价住房的模板，它的一些更创新的特点来自降低成本的需要。墙和天花板是用水泥结合渣混凝土砌块建造的，这是一种相对较轻的砌体材料。夹在两层街区之间的是Torfoleum绝缘板，这创造了一种不仅运输成本低廉，而且有助于大大降低供暖成本的围护系统-与使用其他结构体系建造的当代住宅相比，这一成本降低了50%。完成材料的选择也部分考虑到了它们的成本：不使用当时在德国征收重税的油毡地板，厨房地板上覆盖着一种名为Triolin的替代材料。

As the Haus am Horn was intended to serve as the template for mass-produced affordable housing in postwar Germany, several of its more innovative features arose from the need to reduce costs. The walls and ceilings were built of cement-bonded slag concrete blocks, a relatively lightweight masonry material. Sandwiched between two layers of the blocks were sheets of Torfoleum insulation, creating an envelope system which was not only cheap to transport, but also helped to dramatically reduce heating costs—as much as fifty percent less than contemporary homes built using other structural systems—once the house was built. Finish materials were also chosen partially for their cost: rather than utilizing linoleum flooring, which was heavily taxed in Germany at the time, the kitchen floor is covered in a substitute material called Triolin.[11]

 A direct line of sight from the children’s room (in the foreground) to the kitchen allowed for a mother to keep watch over her children without the aid of a servant. ImageCourtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.

从孩子的房间(前景)到厨房的直视线允许母亲在没有仆人的帮助下照看她的孩子。FreunDescriis der Bauhaus-Weimar大学。v.

这座房子的布局也是为了促进一种相对负担得起的生活方式。穆奇的设计将传统上分开的居住空间联系起来，以便更实际地满足预期居民的需要。值得注意的是，从厨房到孩子的轴线通过餐厅可以让家庭主妇同时在厨房里扮演她预期的角色，并照看她的孩子，这在家庭中是一个重要的考虑因素，对于那些不够富有的人来说，这意味着他们需要留住一名家庭工作人员。然而，即使有了这些措施，包豪斯家族也无法逃脱豪斯之角的奢侈指控-这是迎合日益壮大的中产阶级市场的不幸结果，这种市场可以通过其迅速增长的购买力来维持他们的设计。

The layout of the house was also intended to facilitate a relatively affordable lifestyle. Muche’s design drew connections between living spaces which were traditionally kept separate in order to more practically serve the needs of the expected residents. Notably, an axis from the kitchen to the children’s room through the dining room would allow for a housewife to simultaneously perform her expected role in the kitchen and keep watch over her children, an essential consideration in a home meant for those not wealthy enough to keep a house staff. Even with these measures in place, however, the Bauhaus could not quite escape accusations of luxury in the Haus am Horn – the unfortunate result of catering to the growing middle-class market which could sustain their designs through its burgeoning purchase power.[12]

 Courtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.. Image © Cameron Blaylock

由FreunDescriis der Bauhaus-Weimar e大学提供。v.图像C.Cameron Blaylock

豪斯之角于1923年8月15日向公众开放，举办了八周的包豪斯展览，直到9月30日结束。虽然打算成为最终将成为鲍豪斯校区的第一座新建筑，1924年大幅削减预算，以及随后巴豪斯人于1925年迁往德索，但这些计划被搁置了下来。在随后的几十年里，这座房子曾是一名律师、当时的一名德国军官的住所，最后是第二次世界大战后一名包豪斯教授及其家人的住所。1996年，Haus am角被宣布为教科文组织的世界遗产，以及其他各种包豪斯建筑。后来的翻新使1923年展览的许多特色得以重新创造或恢复；如今，在其首次亮相将近一个世纪之后，豪斯之角再次成为包豪斯的理想的纪念碑，而包豪斯的设计理念才刚刚开始发展。

The Haus am Horn opened its doors to the public on August 15, 1923, hosting the Bauhaus exhibition for eight weeks until its ending on 30 September. Although intended to be the first new building in what would eventually become an extended Bauhaus campus, a drastic budget cut in 1924, and the subsequent exodus of the Bauhaus to Dessau in 1925, put these plans to rest. In the following decades, the house served as the residence of a lawyer, then of a German military officer, and finally of a Bauhaus professor and his family in the aftermath of the Second World War. In 1996, the Haus am Horn was declared a UNESCO World Heritage Site, along with various other Bauhaus structures. A later renovation has seen many of the features of the 1923 Exhibition recreated or restored; now, almost a full century after its debut, the Haus am Horn once again stands as a monument to the ideals of a Bauhaus that had only just begun to develop its signature design philosophy.[13]

 Courtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.. Image © Cameron Blaylock

由FreunDescriis der Bauhaus-Weimar e大学提供。v.图像C.Cameron Blaylock

 Courtesy of Freundeskreis der Bauhaus-Universität Weimar e. V.. Image © Cameron Blaylock

由FreunDescriis der Bauhaus-Weimar e大学提供。v.图像C.Cameron Blaylock

参考文献[1]柯蒂斯，威廉J.R.现代建筑，自1900年。伦敦：Phaidon出版社，1996年。p 184-193。[2]Raizman，David Seth。现代设计史。老塔潘，NJ：Pearson出版社，2003年。p 184-185。[3]Fabrizi，Mariabruna。“包豪斯的原型之家：乔治的”豪斯之角“.”袜子。2016年5月31日2017年5月21日[进入]。[4]Zimmermann，Eva。“建筑偶像：世界上第一座包豪斯大厦”霍兹。2016年6月2日。2017年5月20日[进入]。[5]“豪斯·霍恩”建筑。2011年3月21日。2017年5月22日[进入]。[6]Zimmermann。[7]Raizman，P 185。[8]Zimmermann。[9]Woodham，Jonathan M.20世纪设计。牛津：牛津大学。出版社，1997年。P49.[10]Raizman，P 185-186。11 Zimmermann。[12]Bergdoler，Barry和Leah Dickerman。包豪斯：1919-1933：现代性讲习班。纽约，纽约：现代艺术博物馆，2009年。P48。[13]Zimmermann。

References [1] Curtis, William J. R. Modern Architecture Since 1900. London: Phaidon Press, 1996. p184-193. [2] Raizman, David Seth. History of Modern Design. Old Tappan, NJ: Pearson Publishing, 2003. p184-185. [3] Fabrizi, Mariabruna. "A Prototypal House at the Bauhaus: The “Haus am Horn” by Georg..." SOCKS. May 31, 2016. Accessed May 21, 2017. [access]. [4] Zimmermann, Eva. "An Architectural Icon: The World’s First Bauhaus Building." Houzz. June 2, 2016. Accessed May 20, 2017. [access]. [5] "Haus am Horn." Architectuul. March 21, 2011. Accessed May 22, 2017. [access]. [6] Zimmermann. [7] Raizman, p185. [8] Zimmermann. [9] Woodham, Jonathan M. Twentieth Century Design. Oxford: Oxford Univ. Press, 1997. p49. [10] Raizman, p185-186. [11] Zimmermann. [12] Bergdoll, Barry, and Leah Dickerman. Bauhaus: 1919-1933: Workshops for Modernity. New York, NY: The Museum of Modern Art, 2009. p48. [13] Zimmermann.

建筑师Georg Muche Location Weimar，德国类别房屋建筑师主管Georg Muche项目年1923年照片Cameron Blaylock

Architects Georg Muche Location Weimar, Germany Category Houses Architect in Charge Georg Muche Project Year 1923 Photographs Cameron Blaylock

这部“广告经典”以卡梅隆·布莱洛克(Cameron Blaylock)于2017年5月拍摄的一系列独家图片为特色。

This AD Classic features a series of exclusive images by Cameron Blaylock, photographed in May 2017.