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Ç°ÑÔ£¯Preface°üºÀ˹µÄÕæÏ࣯The Truth about BauhausÆðÔ´£ºË¼ÏëµÄÑظOrigin£ºThe Change of Thought°üºÀ˹֮±ä£¯The Transformation of Bau hausÐÛÐÄ£º°üºÀ˹1919£¯Ambition£ºBauhaus 1919ÈýÈÎУ³¤Èý´ÎÚµÎÊ£¯Three Headmasters£¬Three Blames´´¼û£º½ÌѧÌåϵ£¯Creation£ºEducation SystemÕ¹ÀÀÓ빫¹²ÐÎÏ󣯣®Exhibition and Public Image°üºÀ˹ȺÏñ£¯Group Introduction of Bauhaus°üºÀ˹ÔÚÃÀ¹ú£¯Bauhaus in the America´óÎ÷Ñó¶Ô°¶µÄÄÇƬ¡°Ð´ó½¡±£¯The¡±New Land¡±on the otherside of the Atlantic Ocean°üºÀ˹½øÈëÃÀ¹ú£¯Bauhaus entering in the AmericaÄÇЩÐÂʽµÄÂ¥ºÍ·¿×Ó£¯The Building and House of New StyleÉè¼ÆºÍ´¿ÒÕÊõµÄ̽ÏÕ£¯The Exploration of Design and Fine Art½áÓConclusionÎÚ¶ûÄ·µÄ¼Ì³ÐºÍÅúÅУ¯The Inheritance and Criticism of UImÕ½ºóÎ÷µÂµÄÉè¼ÆÓï¾³£¯The Design Environment of West Germany after the WarÎÚ¶ûÄ·µÄµ®Éú£¯The Birth of UlmÎÚ¶ûÄ·ºÍ°üºÀ˹£¯UIm and Bauhausģʽ£º¿Æ¼¼ÈÚºÏÉè¼Æ£¬Mode£ºCombination of Technology and Design½á¾ÖºÍÒâÒ壯Conclusion and Meaning°üºÀ˹ÔÚ¶«µÂ£¯Bauhaus in East Germany°üºÀ˹ÔÚ¶«µÂµÄ·¢Õ¹¸Å¿ö£¯The Development of Bauhaus in East Germany718ÁªºÏ³§£¯718 Joint Factory°üºÀ˹ÔÚÈÕ±¾µÄ¸Å¿ö£¯The General Situation of Bauhaus in JapanÈÕ±¾ÈËÀ´ÁËÓÖ×ßÁË£¯The Come and Go of the Japanese°üºÀ˹ºÍÈÕ±¾Éè¼Æ»ù´¡½ÌÓý¼°ÆäÁ÷²¼£¯Bauhaus and JapaneseBasic Education of Design and its SpreadÁø×ÚÀí£¯Sori Yanagi20ÊÀ¼Í20Äê´úÖÁ30Äê´ú£ºÖйúÓë°üºÀ˹³õÎFrom 1920s to 1930s£ºFirst Meeting of China and Bauhaus20ÊÀ¼Í40Äê´úÖÁ60Äê´ú£º°üºÀ˹ÔÚÖйúµÄÇúÕÛ½ø³Ì£¯From 1940s to 1960s£ºThe Tortuous Process of Bauhaus in China20ÊÀ¼Í70Äê´úÖÁ80Äê´ú£º°üºÀ˹ÔÚÖйúµÄÎó¶ÁÓë±äÌ壯From 1970s to 1980s£ºThe Misunderstanding and Transformation of Bauhaus in ChinaÖйú¶Ô°üºÀ˹µÄÑïÆú£¯The Inheritance and Criticism of Bauhaus in China°üºÀ˹ÔŲ́Íå¡¢Ïã¸Û£¯Bauhaus in Taiwan and Hongkong²Î¿¼ÎÄÏ×£¯Referencesºó¼Ç£¯Postscript