漂泊的办公桌:一个穿越现代性的包豪斯物件  

The Desk in Exile:A Bauhaus Object Traversing Different Modernities

作　　者：肖馺 Leah Hsiao

机构地区：[1]广州美术学院建筑艺术设计学院

出　　处：《建筑师》2022年第6期93-99,共7页The Architect

基　　金：广州美术学院学术提升计划:“基于跨文化视角和当代实践思考的设计教育史研究”(项目批准号:21XSC49)的阶段成果。

摘　　要：沃尔特·格罗皮乌斯(Walter Gropius)在德国包豪斯学校的办公桌是一个特殊的物件:它由格罗皮乌斯亲自设计,是1923年包豪斯魏玛的校长办公室空间构成的一部分,却经历了从魏玛(Weimar)到德绍(Dessau)、从德国到美国的场景置换。本文回溯办公桌迁移的旅程,探究其作为一个象征物件,所反映出的现代主义和现代性思想的演变。书桌成为一个媒介符号,其所在的空间场景的变换,指向以包豪斯为中心的现代生活方式的演变。本文关注书桌迁徙的旅程中几个重要年代节点:1923年的魏玛、1925年的德绍和1938年的林肯,由一个贴着“包豪斯”标签的物件出发,探寻现代性演变的历史路径。Designed by Walter Gropius,the office desk in the Director’s room at Weimar Bauhaus has become a historic object:it was produced as an integral part of the Director’s office space in 1923 for the Weimar Bauhaus,yet underwent occasions of displacement from Weimar to Dessau,from Germany and finally to the United States.This article traces the journey of the desk’s journey of exile,through the lens of which the article identifies modernism and modernity that the desk represented as a symbolic object.The desk has become what Baudrillard refers to as a symbol,and the transformation of its setting–the space in which it was located–which leads the attention of the modern lifestyle specifically promoted through the Bauhaus.This article focuses on several important chronological points in the exile journey of the desk:Weimar in 1923,Dessau in 1925,and Lincoln in 1938 in order to explore the notion of modernism and modernity mirrored from this object labelled with the specific notion of“the Bauhaus”.

关 键 词：包豪斯 沃尔特·格罗皮乌斯 室内设计 现代室内空间 现代性 

分 类 号：TU201.1[建筑科学—建筑设计及理论]