Initial reading
Read the following text as quickly as you can, and underline the sentences that use the grammatical cohesion devices. Then complete the exercises that follow.
[1] From the early 1920s there was a change of emphasis. Itten left and the aura of crankiness diminished.“The new unity of art and technology” took over as the Bauhaus became dominated by ideas of standardisation and co-operation with industry. Gropius’s genius as director of the school lay in his ability to recruit a line-up of teachers of extraordinary talent. Paul Klee, Oskar Schlemmer, Wassily Kandinsky, Josef Albers, Lázsló Moholy-Nagy: all these were Bauhaus masters. Gropius was also adept at publicising the international scope of Bauhaus design and architecture. Through its publications and its exhibitions the Bauhaus pioneered a truly global language in its use of images and typography.
[2] There was, however, growing opposition to the Bauhaus, with its progressive artistic ideals, as rightwing elements took over in the Weimar state government. Financial support was withdrawn from the school. Gropius made the decision to move the Bauhaus further north, to the industrial estate of Dessau, encouraged by support from the local mayor and by the prospect of links between the school and local industry. Gropius designed a new building for the Bauhaus in Dessau, a radiantly inspiring functional design with a great glass curtain-wall rising high above the city. The interior was fitted by the Bauhaus workshops. The building was immediately hugely influential. It’s one of the real masterworks of international modernist design.
[3] A short walk from the school, on a pleasant woodland site, was Gropius’s ownpurpose-designed director’s house, alongside three pairs of semi-detached houses for Bauhaus masters. Kandinsky and Klee shared one of these white double cubes; Georg Much and Schlemmer shared another; Moholy-Nagy and Feininger the third.
[4] These were the famous Bauhaus years. According to Klee this was “a community to which each one of us gave what we had”. The communal life was richly experimental in the areas of theatre and creative play. This was “art as life” with a vengeance, as the Barbican exhibition promises to show. There were wonderful parties, with that element of clowning which was central to Gropius’s educational vision.For one fancy dress party Gropius came costumed as his rival modernist Le Corbusier. At the famous Metallic Festival in 1929, Bauhauslers and guests came in metal costumes, jangling, shimmering and glittering, dancing through the night.
[5] The mid-20s saw the evolution in the Bauhaus workshops of such technically sophisticated products as Breuer’s tubular steel Wassily armchair, designs which spoke the unmistakable aesthetic language of the modern world. International visitors arrived in Dessau to admire not just the school itself but Gropius’s plans for the Törten housing estate on the south edge of the city. This estate, consisting of 300 workers’ houses, was his first opportunity for putting into practice his ideas for solving Germany’s acute housing shortage by introducing rationalised building components and standardised methods of construction.
[6] As with all experimental ventures, there were problems. The concept of the Bauhaus workshops as laboratories for industrial production failed to make much headway with large scale German manufacturers.
New Words and Expressions
aura /
ɔːrə/ n.气氛
standardisation /
stændədɪ'zeɪʃən/ n.标准化
recruit /rɪ
kruːt/ vt.聘用；招募
publicise /
pʌblɪsaɪz/ vt.宣传，宣扬
scope /skəʊp/ n.视野；眼界；范围
typography /taɪ
pɒɡrəf i/ n.版面设计；排印
rightwing / 
raɪtwɪŋ/ adj.右翼的
Weimar /'waimɑ:/ n. 魏玛（德国城市）
withdraw /wɪð
drɔː/ vt.撤走；收回
estate /ɪ
steɪt/ n.工业园；房地产；财产
prospect /
prɒspekt/ n.前景；展望
radiantly /
redɪəntli/ adv.清朗地；辉煌地
inspiring /ɪn
spaɪərɪŋ/ adj.鼓舞人心的；启发灵感的
glass curtain-wall 玻璃帘墙
interior /ɪn
tɪəriə(r)/ n.内部
semi-detached 半独立式的；与他屋共用一墙的
cube /kjuːb/ n.房间
communal /
kɒmjənl/ adj.公民的；公共的
veageance /
vendʒəns/ n.复仇；报仇；报复
clowning /
klaʊnɪŋ/ n.滑稽可笑的行为
rival /
raɪvl/ adj. 竞争的n.对手；竞争者
jangle /
dʒæŋɡl/ v.吵嚷；热闹
shimmer /
ʃɪmə(r)/ v.闪烁，发光
glitter /
ɡlɪtə(r)/ v.闪光；闪烁
evolution /
iːvə
luːʃn/ n.发展；演变
sophisticated /sə
fɪstɪkeɪtɪd/ adj.复杂的；精致的
tubular /
tjuːbjələ(r)/ adj. 管状的
unmistakable /
ʌnmɪ
steɪkəbl/ adj.不会错的
acute /ə
kjuːt/ adj. 严重的；尖锐的
rationalize /
ræʃnəlaɪz/ v.使合理化
component /kəm
pəʊnənt/ n.组件；元件；部件
venture /
ventʃə(r)/ n.冒险事业
headway /
hedweɪ/ n.前进；进步
manufacturer /
mænju
fæktʃərə(r)/ n.制造商；厂商
Phrases and Expressions
1. take over 接管；接收
2. a line-up of 一些
3. be adept at 在……方面很熟练
4. industrial estate 工业区
5. fancy dress party 化装舞会
6. housing estate 住宅区；居民区
7. put into practice 实行，实施
Related Information
1. Bauhaus：包豪斯，是魏玛包豪斯大学（Bauhaus-Universitaet Weimar）的英文名缩写，也指Bauhaus建筑风格。包豪斯大学是著名的公立设计综合类大学性质的学术机构，于1919年由德国著名建筑大师格罗庇乌斯在德国魏玛设立，他担任校长，同时组建了一支容量巨大、人才济济的教学队伍。包豪斯在调和“人”与“人为环境”方面取得的丰硕成果已远远超过了十九世纪的科学成就，它是现代工业与艺术走向结合的必然结果，是现代建筑史、工业设计史和艺术史上最重要的里程碑。它的设计理念的形成对现代设计教育体系的建立具有深远的影响。
2. Paul Klee：保罗·克利（1879—1940），超现实主义画家，最富诗意的造型大师。出生于瑞士艺术世家，在1920至1930年间任教于包豪斯大学，在此他认识了康丁斯基、费宁格等，被人称为“四青骑士”。代表作有《亚热带风景》《老人像》。
3. Wassily Kandinsky：瓦西里·康定斯基（1866—1944），画家、美术理论家、抽象艺术先驱。生于俄罗斯，被认为是抽象艺术的先驱。1922年加入了包豪斯大学。康定斯基是包豪斯大学最有影响的成员，不仅因为他是一位伟大的艺术家、现代抽象艺术的先驱、带来俄国抽象艺术革命第一手知识的教师，还因为他能够系统、清晰并准确地表达他的视觉理论概念。瓦西里·康定斯基是现代艺术的伟大人物之一，现代抽象艺术在理论和实践上的奠基人，他的《论艺术的精神》（1911）、《关于形式问题》（1912）、《点、线到面》（1923）及《论具体艺术》（1938）等都是抽象艺术的经典著作，是现代抽象艺术的启示录。
4. Josef Albers：约瑟夫·亚伯斯（1888—1976），画家、设计师和极简主义大师。出生于德国，早年曾就读柏林、埃森和慕尼黑的艺术学校，1920年转到包豪斯设计学院学习，后来又受包豪斯设计学院院长格罗庇乌斯之邀，于1923到1933年间受聘为包豪斯设计学院的教师。代表作有《正方形的礼赞》。
5. Weimar：魏玛，德国中东部小城，拥有众多文化古迹，曾是德国文化中心，歌德和席勒在此创作出许多不朽的文学作品。著名景点有歌德故居、包豪斯博物馆等，在德国历史、文化和政治上具有无可比拟的重要地位。1919年，建筑艺术家格罗庇乌斯在此建立公立包豪斯学校。
6. Dessau：德绍，德国东部城市，柏林附近。