"Let us collectively desire, conceive and create the new building of the future," wrote Walter Gropius in his Bauhaus call to arms in 1919.

1919年沃尔特·格罗佩斯在他的包豪斯宣言里面写道，“让我们共同渴望、构想和创造未来的新建筑吧”。

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At a time when abstraction was still new, Bauhaus artists worked towards a universal visual language, one that was based on geometry and devoid of narrative.

在抽象主义还处于先锋阶段时，包豪斯的艺术家已经在用通用的视觉语言了，这种语言基于几何学，没有任何的叙述。

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The Organising Committee for the Games in Munich in 1972 broke new ground by having a different reverse which was designed by a Bauhaus representative, Gerhard Marcks.

直到1972年奥运会，当时的慕尼黑组委会突破原有设计，采用了包豪斯建筑学派代表人物格哈德? 玛克思（Gerhard Marcks）的设计，更改了奖牌背面图案。

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Gropius may have agreed: He ensured that the Bauhaus trademark would survive the Weimar Republic by brokering a New Bauhaus in Chicago, run by one of his ex-Bauhaus colleagues, and by promoting the defunct original while head of the Harvard architecture department.

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But while the city that embraced the rule-breaking Bauhaus movement may have found a new role as the unofficial art capital of Europe, it's nothing like Paris or New York: No one teeters around its cobblestone streets in high heels, no one asks what anyone else does for a living or how much they make doing it.

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What came to be known as the "Bauhaus diaspora" can readily be seen in New York City, where Mies designed the Seagram building and Breuer the Whitney Museum.

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