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（6）·(Twentieth-century··industrial nations)20世纪意大利设计仅仅是意大利当代文化、政治、社会和经济事物的一个方面。
流行的大批生产的家具、装饰性的家用品、家用电器、办公设备、汽车以及后来的时装设计及服饰使得意大利在当代物质文化世界中获得如此重要的地位,从本质上来讲,这些事物是意大利寻求现代化以及力争在本世纪使自己现代化工业国家之一的反映。
（9）·(Markers and colored pencils ideal ··any drawing surface）马克笔和彩铅既是设计过程中最理想的工具，又是最终表现效果中最理想的工具。
由于很多的草图是画在薄的描图纸上的，在上面涂以水彩和加以蛋黄的颜料是不合适的,因为它们会使纸张弯曲变形。
马克笔能过迅速风干,并且它不会使纸张变形。
马克笔可以和彩铅一起快速的使用于任何图画的表现。
·（Neither extensive practice··as casein and tempera)有了这两种上色工具,既不需要过多的练习，也不需要高超的技巧，这两种方法简单明了。
通过对这两种方法的熟悉,你的工作速度或许能得到很大的提高。
这种上色的方法比排刷的上色方法以及大多数学生和专业人士在某种程度上都熟悉的上色方法来说要更快更容易掌握。
水彩以及其他排刷的优点以及精细程度是用马克笔和彩铅也能够实现的.水彩的混合和叠加以及喷绘技术是可以被模仿的，就好像诸如使用酪蛋白或加蛋黄的颜料也可以获得高光效果一样。
·（Markers and colored pencils are readily··and watercolor）马克笔可以很容易的买到，并且如今在专业的设计事务所里它大概是应用最为广泛的上色工具—-比加蛋黄的颜料的画法和水彩应用更为广泛.·（A variety of marker··or toned point paper）在专门经营艺术和绘画工具的商店里可以买到何种各样的马克笔品牌。
第一课谷歌上过互联网的人都见过谷歌,许多人要在互联网上查找某方面的信息时,他们都会去“谷歌”一下。
作为全世界最有名的互联网搜索引擎,谷歌是网络业界功成名就的最好范例之一。
谷歌始于1996年1月斯坦福大学博士生拉里?佩奇的一个研究项目。
为了找到一种能帮助网络用户搜索到相关网页的更好方法,佩奇设想可以通过检索网页之间的关系来实现。
他认为其他网页链接最多的那些网页一定是最受欢迎的,这项技术结果看起来是成功的。
佩奇和他的合作伙伴谢尔盖?布林于1998年9月7日创建了自己的公司,并在之后的一周注册了这一网址。
这个搜索引擎很快声名鹊起,2000年谷歌开始在自己的网站出售广告。
在投资者的热情资助下,经过几年的发展,谷歌上市了,谷歌的很多雇员一夜之间成了百万富翁。
谷歌最近收购了互联网最大的视频共享网站,而且每天都在不断增加一些新功能,如工具栏、邮件和广告。
当然,成长与成功也带来了竞争。
微软最近就试图收购雅虎以便能在互联网搜索引擎领域与谷歌抗衡。
随着公司的壮大与知名度的提高,谷歌在美国公司就业吸引力的排名也上升到第一。
他们尝试打破传统的办公室设计,努力把办公室变成员工感觉舒适、并能充分发挥自己才华的地方。
现在,谷歌已拥有YouTube、Blogger和其他一些热门网站,并且成为网络广告收入方面的领头羊。
当初两个学生的一个小点子已发展成为一家拥有十亿美元资产的大公司,谷歌也成为全球最著名的商标之一。
谷歌的发展史为当今的网络企业家树立了一个完美的典范,也提供了灵感。
第二课秘书秘书可能会有很多其他不同的头衔,例如行政助理、文员或私人助理。
尽管所有这些头衔都以行政工作为主旨,但它们却反映了不同种类的秘书工作。
秘书岗位十分古老,例如,古希腊和罗马的商人和政客们就曾雇用私人秘书和文员来管理他们的事务。
秘书的工作就是使办公室顺利运转。
秘书的职责范围很广,依据他们所在办公室的不同而各异。
就最低要求来说,秘书要处理信函,跟踪日程安排,管理文件系统,操作电话、传真机、复印机等办公设备。
Design-Led Innovation设计驱动创新By Design Council/UK设计委员会/英国In 2006 our former Chairman, Sir George Cox,was commissioned by The Treasury to undertake a review of creativity in business, and to recommend how the governments, educational institutions and to recommend how the governments, educational institutions and businesses could help support economic growth.Supporting innovation sat at the heart of his recommendations because he saw that the UK currently earns most of our living through high value creative industry, and that without protection,investment and development, our creative industries could falter in the face of developing international competition. Sir George saw that designers working as part of a multi-disciplinary team, with business managers, engineers, scientists and technologists, can support innovation in the UK.设计驱动创新由英国设计委员会/2006年，我们的前主席乔治•考克斯爵士(Sir George Cox)受英国财政部委托，对商业中的创造力进行了一次评估，并就政府、教育机构如何以及政府、教育机构和企业如何帮助支持经济增长提出建议。
Unit O n e Design Fundam entalLesson1 Color Dr awing(1)Markers and colored pencils are ideal for use during the design process as well as for final renderings or drawings.Since much rough drawing and sketch-work is done on thin tracing papers, brush media such as water-color and tempera are unusable,since they will buckle the paper. Makers dry quickly with no buckling and along with colored pencils,can be quickly used on almost any drawing surface.Neither extensive practice nor a high level of skill is necessary with these two color media, since methods are simple and direct.By becoming familiar with the methods you will probably speed your work considerably.For most designers this approach to color is faster and easier to handle than brush media and one with which most students and professionals are to some degree familiar.Many of the advantages and subtleties of water-color and other brush media are attainable with markers and colored pencils.The mingling and graded washes of watercolor and airbrush techniques can be imitated,as can the highlighting achieved with opaque brush media such as casein and tempera.Markers and colored pencils are readily available commercially and are probably the most widely used color media in professional design offices today—more so than the brush media of tempera and watercolor.A variety of marker brands is available at stores that specialize in art or drafting supplies. Choose a marker brand with a full range of colors so that a wide choice is possible.Each of the brands offers between100and200different colors,many of which are variations of a single hue.It pays to use a high-quality colored pencil for this kind drawing.A soft,waxy pencil is preferable to a hard,brittle type,as it produces a more brilliant deposit of color,a necessary characteristic for effecting lighted surfaces on tracing or toned print paper.Whether you are primarily involved with interiors,exteriors,or general color-work, black-line media in a variety of widths are necessary for texturing and outlining.Since technical pens often clog when used over waxy colored pencils,it is best to use felt-tipped and ordinary fountain pens.Of course,other types of line media that you find workable may be substituted for those suggested.The important point is to have a variety of line widths available.As with the line media mentioned above,you will also need a palette of gray markers and colored pencils(including black and white),regardless of the type of color-work you are engaged in.Warm-gray pencils and markers are slightly reddish,while cool and cold-gray markers and pencils are slightly bluish.It is recommended that you obtain both a warm-gray pencil series and a cool gray marker series.With this variety neutral grays and neutralized reductions of color intensity may be mixed when desired.Cool-gray markers also seem to represent exterior windows more believably.If your design work primarily encompasses natural materials and outdoor design as does that of a landscape architect a natural palette of markers and colored pencils is recommended.These colors can be used to draw plant materials,various kinds of woods,bricks,a variety of stone types, and other related materials.Lesson1 Color Dr awing(1)Colored pencil is applied over a marker“base”for any or all of the following reasons:to alter the color of the marker base,to make a surface appear illuminated,or to give the effect of subtle texture with line patterns.If an area of paper is covered with a transparent marker coating,the resultant color will be a blend of the paper color and the marker color.The marker color will appear most brilliant on white paper since a maximum amount of light will reflect from the paper’s surface through the marker coating to the viewer’s eye.On yellow tracing paper the color will appear lighter and more washed out and will change depending on the color of the surface.On toned paper the same marker coating will appear less brilliant,depending on the lightness or darkness of the tone,since less light will reflect from the paper’s surface.Colored pencils leave a semiopaque coating on the paper’s surface.When used very lightly,the paper will still show between the minute spots of pencil deposit,since the pencil has coated only the highest grain of the surfaces.The result is a visual mixture of paper and pencil.When used with more pressure,the pencil will eventually squash the grain and thoroughly coat paper,resulting in a solid,brilliant color.Note,however,that,even when applied with pressure, the resulting pencil color will be partially influenced by the color and tone of the paper beneath it.When light-colored pencils(such as White Flesh,and Light Violet)are used on toned papers,the resulting color seems to glow.This is because the lightness and brilliance of the colors appear even greater in contrast to the dull-toned surface.A similar phenomenon occurs when light-colored pencils are applied to yellow tracing paper and placed over a darker surface.An even greater apparent brilliance is created when the drawing is placed almost parallel to the direction of the light.The use of light-colored pencil over a toned or marker surface is an especially effective way of making a surface appear illuminated.From the above discussion,the effect of colored pencil applied over a marker base should be clear.Light reflects from the colored-pencil deposit,while the marker simultaneously shows through the minute particles.The result is a visual mixture of the two—a third color.The visual mix of separate colors is not new to color work.The neoimpressionist painters placed spots and lines of pure hue in close proximity to one another,thus forming medial mixtures when viewed from even a short distance.New Words1.rendering/rend ri/n.演出之方式;表现效果2.sketch-work/sket-w k/n.草图3.tempera/temp r/n.涂料加蛋黄以使色彩暗晦的画法4.buckle/b kl/n.扣子;弯曲;使变形5.subtlety/s tlti/n.精细;聪明;诡秘6.airbrush/br/n.喷笔7.mingling/mingli/adj.混和的8.casein/keisi n/n.酪蛋白Unit One Design Fundam ental9.drafting/dra fti/n.起草;草拟10.textile/tekstail/n.(织物的)密度;质地;结构11.clog/kl g/vi.阻碍12.felt-tipped/felt-tipt/adj.檀毛;笔尖的13.encompass/in k mp s/vt.围绕;包围14.palette/p lit/n.调色板15.blend/blend/v t.混和16.neoimpressionist/ni uim pre nist/n.新印象派主义者“neo-”前缀,意为“新”17.proximity/pr k simiti/n.接近;近似Phr ases and Expr essions1.tracing paper描图纸2.pay to use充分利用3.be applied to应用于NotesIf your design work primarily encompasses natural materials and outdoor design as does that of a landscape architect a natural palette of markers and colored pencils is recommended.如果你的设计作品主要包括自然材料和象建筑风景这类的户外设计,那么最好用自然色彩的马克笔和色铅来作画。
艺术装饰风格被宣告是“唯一一个总体设计”，艺术装饰必然是在众多消费者中间找到观众的最高产的设计之一。
虽然它起源于19世纪20年代高度专有的法国手工裁剪装潢艺术，但它通过利用廉价的新金属材料，塑料和玻璃而发展迅速，找到了便宜，短期利用，并可以大批生产的装饰用品，如香烟盒，香水瓶，家庭用的陶瓷和玻璃，流行纺织品及各种装饰物，还有可以像鸡尾般甩动的物品。
作为一种装饰风格它可以运用于无数物品的形状和表面装饰，因而赋予它们全部以相同质量的瞬间的现代性和时尚性。
就像许多这个世纪其它的流行风格一样，艺术装饰风格扎根于高雅文化，例如，立体主义、俄国芭蕾、美洲印第安风格和欧洲纯粹主义，但是相对其他文化而言，艺术装饰风格取长补短，装饰特征表现得更为折衷一些。
结合艺术装饰风格在1930年代流行的因素，大规模批量生产使用新材料是商品价格相对低廉的必要条件。
但这些是远远不够的，更深层次的原因是艺术装饰风格具有典型的适应性。
在那段经济萧条的时期，豪华奢侈的装饰风格所带来的美感让当时的消费者有了逃避现实的放松心情。
艺术装饰风格的宣传方式也促进了它的流行，艺术风格被好莱坞应用于多种流行电影中。
通过影片媒体使大量观众接触到装饰风格，除此之外，艺术装饰风格也运用在广告和包装上，使其有效的影响了大量的环境之外，艺术装饰风格也影响到了建筑领域，许多新场所也运用了这种风格，美化建筑的外表，那些新商业的娱乐楼房，例如商场电影院，工厂，甚至于新的豪华游轮，它也被利用于在1933年芝加哥展览之中。
艺术装饰风格开始象征着高效率的现代化生活和新的生活理念，这种动人的方式随着人们对时尚性和社会地位的追求与渴望，艺术装饰风格得到了大量消费者的高度喜爱地位。
艺术装饰的大量应用伴随着消费产品的需求。
但是，从不好的方而来看，艺术装饰风格只是作为一种中档的艺术手法，来装饰非常廉价的商品甚至留有一种杂乱的感觉。
在英国有一群针对低端市场开发产品的地毯制造商，他们意识到了这个新潮流里的商业潜力。
Lesson 1 Workplace DesignJeremy MyersonIn briefAlso known as innovative workplaces．As the knowledge-driven economy of the 21st century places a premium on generating new ideas and intellectual property，the creation of more-innovative workplaces in which fresh thinking can develop and teamwork can flourish has become a central preoccupation for senior managers in many different types of organization．随着21世纪知识经济的溢价产生新的创意和知识产权，创造更有创意的工作场所可以开发新思维和团队精神能蓬勃发展，已成为关注的中心在许多不同类型的高级管理人员组织。
As a concept, the “innovative workplace” responds to a growing recognition within employing companies that the physical working environment can have a profound effect on an organization‟s culture and on the individual‟s performance．Successive anthropological studies have demonstrated a proven connection between habitat and human behavior．历届人类学研究已经证明了一个成熟的栖息地和人类行为之间的连接Today，there is widespread acceptance that the traditional habitat for white-collar work—the modern office has significant shortcomings in terms of planning，layout，facilities and aesthetics．These shortcomings prevent organizations and individuals from working to their full potential in terms of innovating effectively．这些缺点，从工作方面的有效创新，以充分发挥其潜力的组织和个人..Designing offices to release innovation potential within the organisation links the application of a number of design processes directly to the realization of organisational goals．These processes include space-planning，interior，architectural，furniture and lighting design．这些过程包括空间规划，室内设计，建筑，家具和照明设计Designing innovative workplaces is not about creating visually “wacky”，attention-grabbing environments．It is about closely tailoring the physical environment to the requirements of developing new knowledge within the organisation．设计创新的工作场所，是不是创造视觉“古怪”，引人注目environments.It密切剪裁的要求开发新的知识在组织内的物理环境。
第一课以70年代来了末端到唯一国际设计运动的控制权。
一方面当现代主义继续受到攻击和广泛被抹黑时，另一方面现代现代主义者下决心证明这片刻有效性，并且说服我们那，甚而以改变经济，社会和文化情况，技术进展冲动将带领我们入明亮的未来。
和以早现代主义最激烈的辩论在建筑学之内世界发生了，以设计跟随。
讨论关于后现代主义和它的联系对物质文化由美国建筑师工作刺激例如罗伯特文丘里管和迈克尔坟墓，谁由流行文化做事件为影响和为文体的信仰复兴运动，是否古典过去或艺术装饰主题。
从这些辩论以及对这些作品的评论可以清晰的看出：对现代主义的变更正在进行中并且本世纪最近的三十年，最重要的主题就是多元主义，也就是没有一个建筑设计理论和方法可以独占。
这种开放性反射了西方社会的分化和所谓的“特定市场”的出现。
后现代的建筑师反映出了这种差异。
在英国采纳了保守而怀旧的新古典主义，然而，在法国和西班牙更有这种前瞻性。
虽然建筑师讨论了有效的作风，每天，而不是像他们的19世纪的前身，在20世纪70年代的设计师也有其他事情要考虑。
这些措施包括影响的石油危机的成本塑料和社会的日益关心的生态问题，如回收利用。
这些为设计人员强调了远离辩论风格和建议更严重的社会作用.在通用意义上的一个发展中国家的技术和已经幻灭所有它已承诺还威胁要破坏前提现代设计。
所有这些恐惧和焦虑是暂时的忘记了，然而，当1980年代初的设计表明，它有能力作为结构提高其文化形象，并成为一个核心的讨论焦点。
孟菲斯展览，在米兰举行的1981年，以配合该市一年一度的家具博览会，是一个转折点。
，在他的年轻同事的帮助下和同情的支持下，非意大利以及，埃托索索特萨斯抨击国际设计建立一个显示的对象，把大家熟知的所有价值观颠倒。
孟菲斯设计的家具和相关项目进行了色彩鲜艳，装饰和偏心型无数视觉提及过去的风格。
这是设计第一次在没有建筑的帮助下宣布：不再受现代主义的约束，而要满足后工业时代的需要。
这次影响是国际的和本次活动的解放效果在其他许多国家，包括法国，西班牙，德国，荷兰，大，英国，捷克斯洛伐克和日本索特萨斯自己被称为“新设计” 。
Lesson17Insects won’t take over the earth, they own it now. A leading biologist explains why bugs are the world’s most successful design.昆虫没有占据地球，它们现在属于地球，一个杰出的生物学家解释为什么昆虫是世界上最成功的设计。
They incorporate astonishingly sophisticated design features, both structurally and functionally, which render them especially well suited for survival on this planet.无论在结构上还是机能上，它们具有令人惊讶的设计能力特征，来展示出它们在这个星球上的适应性。
There’s no denying it: Bugs Rule. There are currently 200 million insects for every man, woman and child. Of the species identified, more than half are insects.不可否认的是：昆虫法则。
当前每一个人都对应2亿虫类。
亿被人所识别，其中一半以上为昆虫。
We humans may not like the idea, but there is no denying it: Bugs Rule. Estimates have it that there are some 1018 bugs now alive on the planet. It is not only their sheer number, but also their diversity that is staggering: Of the total million species of animals, plants and microorganisms that have been identified, more thanhalf—or over 800,000—are insects. And while new species of insects are being discovered daily, over 10 million may yet remain unknown.我们人类可能不喜欢这个主意，但是不可否认：昆虫法则。
1、AALTO，ALVAR（1898——1976）Finish architect and designer. Aalto studied architecture at the Polytechnic in Helsinki from 1918 to 1921. He established himself as an architect in 1923，and his Sanatorium at Paimio (1929——1933）is a classic of International Modern architecture. At the same time he began to design plywood chairs，and in 1935 set up a firm，Artek，to market his simple and successful furniture. Some of his plywood is cantilevered like Bauhaus tubular steel，but clearly softer in finish. His furniture was successful in England and in America and prompted other experiments in that direction，notably by Jack Pritchard. From 1937 he designed glass for Iittala，using asymmetrical shapes and subtle curves. Though part of the International Modern movement，Aalto was always sensitive to brick as a material，and he was one of the gentler exponents Modern forms.阿尔瓦尔，阿尔托（1898——1976）芬兰建筑师和设计者。
工业设计专业英语lesson2课后自由阅读翻译Why Good Design Doesn‘t Always Guarantee Success为什么好的设计并不总是成功的保证If a customer‘s total experience surrounding a product is bad, it can supersede everything else about the product, even its outstanding design. 如果一个客户围绕一个产品的总经验是坏的，它可以取代一切有关的产品，即使其卓越的设计。
―Good design is, of cours e, a primary building block of the total cu stomer experience,‖acknowledges Daniel Cuffaro of Altitude, a Boston-based product design and development firm. But good design in itself does not guarantee a positive customer experience. To achieve that, you need to build customer awareness, make the product easily available, price it properly, package it well, and offer support after the purchase. ―When these things are achieved in support of an excellent product,‖ says Cuffaro, ―they make three things possible - three things that make up a sort of ?valu e pyramid‘‖―当然，好的设计, 是总用户体验的一个主要组成部分‖,Daniel Cuffaro 承认,一个位于波士顿的产品设计和开发公司。
机电英语第一节课后翻译The practice of design can be one of the most exciting and fulfilling activities that an engineer can undertake. There is a strong of satisfaction and pride in seeing the results of one’s creative efforts emerge into actual products and processes that benefit people. To do design well requires a number of characteristics. The design engineer should not only have adequate technical training, but must also be a person of sound judgment and wide experience, qualities which are usually acquired only after considerable time has been spent in actual professional work. A star in this direction can be made with a good teacher while the student is still at university. However, the beginning designer must expect to get a substantial portion of this training after leaving school through further reading and study, and especially by being associated with competent engineer. The more any one engineer known about phrases of design, the better. Design is an exacting profession, but highly fascinating when practiced against a broad background of knowledge.译：设计实践作为一个工程师去做的最为兴奋和高兴的事情之一。
Lesson 2请看BIack&Decker公司的新型电熨。
对于它的流线型设计风格,你可能以为它们出自米兰或伦敦某家时尚工业设计公司之手。
然而你却万万没想到，那些赏心悦目的外形竟然是中国广东省设计师的作品。
Applica消费产品公司新产品开发部主任史蒂文·赫克说,中国人“不可思议地跟上了设计潮流”。
Applica公司根据Black＆Decker公司的授权生产一些小型家用电器。
中国现已不再是仅仅充当世界工厂的加工基地了，它正在成为工业设计领域里的一支新生力量。
中国拥有不下200所设计院校，每年的毕业生多达8000人左右.有成百上千的中国优秀学生纷纷涌向欧美最好的设计专业去攻读硕士学位。
摩托罗拉公司个人通讯部的消费者体验设计主任蒂姆·帕西说：“真的很难形容他们有多么优秀。
"该部在北京拥有一个8人设计小组。
此外，通用汽车公司、LG电子公司和伊莱克斯公司都已聘用本土设计师来设计符合中国市场的产品。
当然，这依然只是中国产品设计的初级阶段。
到目前为止，大多数工作还仅停留在调整现有产品的色彩和造型上。
产品的概念设计工作通常仍在欧洲或美国进行。
家庭用品Home depot 公司主管商品零售的执行副总裁杰里·爱德华兹说:“中国有很好的设计师，但是(在许多产品上）他们并不了解美国市场。
”家庭用品公司和中国的分包商合作得非常密切，生产一些诸如水龙头和吊扇之类的产品。
在竞争加剧的情况下，中国的生产商为了取得竞争优势,免费为国际公司提供设计服务。
对于Applica公司的赫克来说，这真是一个天大的好消息，因为每当他们想要改进产品设计的时候，都会节省10万美元或者更多的资金.中国的设计攻势是其经济日趋成熟的一个表现。
虽然中国已经成为一个出口大国，但为当地市场生产的大多数产品都是其他国家或地区淘汰的设计方案.如今，就像70年代的日本和90年代的韩国一样，中国公司强烈渴望通过对新产品进行优秀的设计来赢得更高的利润和更大的市场份额。
1、AALTO，ALVAR（1898——1976）Finish architect and designer. Aalto studied architecture at the Polytechnic in Helsinki from 1918 to 1921. He established himself as an architect in 1923，and his Sanatorium at Paimio (1929——1933）is a classic of International Modern architecture. At the same time he began to design plywood chairs，and in 1935 set up a firm，Artek，to market his simple and successful furniture. Some of his plywood is cantilevered like Bauhaus tubular steel，but clearly softer in finish. His furniture was successful in England and in America and prompted other experiments in that direction，notably by Jack Pritchard. From 1937 he designed glass for Iittala，using asymmetrical shapes and subtle curves. Though part of the International Modern movement，Aalto was always sensitive to brick as a material，and he was one of the gentler exponents Modern forms.阿尔瓦尔，阿尔托（1898——1976）芬兰建筑师和设计者。
阿尔托从1918年到1921年在赫尔辛基理工大学研究建筑学。
在1923年他确立了自己作为一名建筑师，他的休养地在拜米欧1929年到1933年是一所古典的国际型现代建筑。
同时，他开始设计胶合板椅子，在1935年成立了一所阿泰克公司，去销售他的简洁而又成功的家具。
他的胶合板椅子中的一些悬臂式椅子像包豪斯管状钢化的，但是完成之后柔软得像沙发。
他的家具在英国和美国很成功并且引起了在那个方向上其他的试验，尤其是普里查德。
从1937年他为伊塔拉设计玻璃，用不对称的形状和精细的线条。
即使部分国际性现代运动，阿尔托对砖砌的材料总是很敏感，他是温和典型的现代形式之一。
2、GROPUS,Walter (1883---1969)German architect. After studying architecture between 1903 and 1907, he worked for Behrens from 1908 to 1910. His earliest pre-First World War furniture was neoclassical. He was a member of the Deutscher Werkbund and in 1919 succeeded Van de Velde as head of the Weimer School of Arts and Crafts. This became the Bauhaus, first at Weimar and then in 1925 at Dessau, in a new International Modern building designed by Gropius himself. Gropius otherwise designed very little, but as director of the school was a major influence through his selection of staff, for example Moholy—Nagy.沃尔特(1883---1969)德国建筑师。
在1903年和1907年之间研究建筑，他曾在帕萨蒙提工作从1908年到1910年。
他最早的第一家具在世界大战是新古典主义家具。
他是一名德国工艺设计师和在1919年成功范·威尔德学校魏玛的工艺品的负责人。
这成为了包豪斯。
1925年第一次是在魏玛，然后在德绍，在一个格罗佩斯设计的新的国际现代建筑设计。
否则格罗佩斯设计非常小，但总监的学校是一个主要的影响通过选择他的员工，例如纳吉。
3、BEHERENS，PETER（1869——1940）German painter，graphic designer and architect. He was a graphic artist until 1901 when he built his own house at the Darmstadt artists’colony，two years after having been invited there by its patron，the Grand Duke Ernst Ludwig. From 1906 he established the “corporate identity”of AEG，the vast German electrical company，producing architecture，graphics，kettles，fans and clocksfor the firm. In 1907 he became a founder of the Deutscher Werkbund. At one time in 1910 Le Gorbusier，Gropius，and Mies van der Rohe all worked in his office. Behrens has been called a pioneer of Modern design，but this preservation of the traditions of the Renaissance and Schinkel suggest how far he was in fact a classicist.帕萨蒙提（1869——1940）德国画家、平面设计师和建筑师。
他是一个图形的艺术家，直到1901年他建造了自己的房子在达姆施塔特的殖民地上。
两年之后，被邀请在其赞助人，大公恩斯特路德维希。
从1906年他成立了“企业形象”的AEG，巨大的德国电气公司，生产建筑、图形、水壶、球迷和时钟的公司。
1907年，他成为德意志制造联盟的创始人。
年勒，格罗佩斯，密斯凡德罗在1910年都工作在他的办公室工作过，帕萨蒙提被称为现代设计的先驱，但这个保存传统的文艺复兴和Schinkel建议多大程度上他实际上是一个古典学者。
4、RUSKIN，JOHN（1819——1900）British writer and critic. Ruskin was educated privately and at Christ ChurchOxfor，from 1837 to 1842. In 1843 he published the first volume of his Modern Painters，completed in 1860. He became interested in architecture，and the Gothic style in particular，publishing The Seven Lamps of Architecture in 1849 and The Stones of Venice in 1851---1853. He wrote prolifically，and inspired Morris and the Arts and Crafts movement to turn away from industry for aesthetic and social reasons. He dislike railway trains，glass and iron，machine ornament and any decoration which lacked truth to materials，andwrote，for example，about the “Nature of Gothic”in which the beauty of medieval craftsmanship and architecture is equated with the joy experienced in its creation。
Ruskin met Morris in 1857；Mackmurdo studies under him at Oxford in 1873 when Ruskin was Slade Professor of Fine Art（1870---1879）。
He held that post again from 1882 to 1884，and although increasingly arbitrary in his judgements ，and sometimes even insane，he influenced the whole the second half of the nineteenth century. His influence was also felt in America，where Charles Eliot Norton was a friend of his，and“Ruskinian Gothic”architecture began to be produced as early as 1863.约翰·罗斯金（1819——1900）英国作家和评论家。
拉斯金受教育是在私人教育和在基督教堂，oxfor，从1837年到1842年。
他在1843年出版了他的第一部现代画，在1860年完成。
他成了对建筑感兴趣，尤其是哥特式风格，出版七盏灯的建筑在1849年和年威尼斯的石头1851—1853。
他写了权贵，激发了莫里斯艺术和工艺美术运动远离工业美学和社会原因。
