W. Gropius 的哈佛門生：黃作燊(1915~75)、王大閎(1917~2018)、貝聿銘；張肇康(1922~92)等。Bauhaus 叢書首號 International Architecture. 我只想簡單地說； 我祈求這份恩典 因為我們甚至讓歌曲 承載了太多種類的音樂 以至於它漸漸沉淪。 我們如此裝飾我們的藝術 以至於在鍍金之下 它的面貌已被侵蝕。 現在是我們說出 我們必須說的幾句話的時候了 因為明天我們的靈魂將啟航。 All I want is to speak simply; for this grace I pray For we have loaded down even the song with so many kinds of music That gradually it sinks. And our art we so decorated that beneath the gilt Its face is eaten away. And it is now time for us to say the few words we have to say Because tomorrow our soul sets sail. Giorgos Seferis (1900–1971) 1968年 Walter Gropius 引，致王大閎 靜默的光 低吟的風 王大閎先生 徐明松 倪安宇和著
《可傳承的日常》：一部以建築為跳點的旅行"散記"： 葛羅培斯 BAUHAUS 及德國建築；Ernst Georg May (27 July 1886 – 11 September 1970) was a German architect and city planner. The New Frankfurt，及 Ferdinand Kramer (22 January 1898, Frankfurt, Germany – 4 November 1985, Frankfurt) was a German architect and functionalist designer.； 哈佛設計學院及其幾位美，台，中的建築學生；...到台灣有作品的 Philipp Mainzer,......
《可傳承的日常》是由徐明松與倪安宇合著的經典建築與生活美學散記，探討包浩斯（Bauhaus）百年間的設計思維。核心概念為「經典住宅＝理想生活的容器」，強調好的設計能為未來的宜居日常奠定範式，並與外在環境完美連結。 [1, 2, 3, 4]
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https://en.wikipedia.org/wiki/Ernst_May
Ernst Georg May (27 July 1886 – 11 September 1970) was a German architect and city planner.
May successfully applied urban design techniques to the city of Frankfurt am Main during the Weimar Republic period, and in 1930 less successfully exported those ideas to Soviet Union cities, newly created under Stalinist rule. It is said[who?] May's "brigade" of German architects and planners established twenty cities in three years, including Magnitogorsk. May's travels left him stateless when the Nazis seized power in Germany, and he spent many years in African exile before returning to West Germany near the end of his life.
新法蘭克福
《可傳承的日常》 pp. 086~109
在住房短缺和一定程度的政治動盪背景下，梅伊組建了一支實力雄厚的進步建築師團隊，啟動了大規模的住宅開發項目——新法蘭克福。梅伊的住宅計畫在當時堪稱卓越，它們結構緊湊、半獨立，並配備了完善的公共設施，例如遊樂場、學校、劇院和公共洗衣區。為了節省成本和加快施工速度，梅採用了簡化的預製構件。這些住宅區至今仍以其功能性以及體現平等理念的方式而著稱，例如人人平等地享有陽光、空氣和公共空間。在這些住宅區中，最著名的可能是羅馬城住宅區（Siedlung Römerstadt），其中一些建築也被俗稱為「之字形房屋」（Zickzackhausen）。
1926年，梅伊邀請奧地利建築師瑪格麗特·舒特-利霍茨基（Margarete Schütte-Lihotzky）到法蘭克福與他共事。利霍茨基與她志趣相投，同樣以清晰的功能性視角看待家庭問題。因此，在法蘭克福，經過對工作習慣和生活軌蹟的深入分析，她開發了現代固定式廚房的原型，並實踐了「住房是生活習慣的有組織實現」的理念。
梅的法蘭克福規劃在市政建設和評論界都取得了巨大成功。約翰·R·穆林將其描述為「二十世紀最傑出的城市規劃實驗之一」。梅伊在兩年內建造了超過5000套住宅單元，五年內建造了多達15000套，並創辦了自己的雜誌《新法蘭克福雜誌》（Zeitschrift Das Neue Frankfurt）。 1929年，他在國際現代建築大會上贏得了國際關注，也引起了蘇聯的注意。
The New Frankfurt
In the context of a housing shortage and a degree of political instability, May assembled a powerful staff of progressive architects and initiated the large-scale housing development program New Frankfurt. May's developments were remarkable for the time for being compact, semi-independent, well-equipped with community elements like playgrounds, schools, theatres, and common washing areas. For the sake of economy and construction speed May used simplified, prefabricated forms. These settlements are still marked by their functionality and the way they manifest egalitarian ideals such as equal access to sunlight, air, and common areas. Of these settlements the best known is probably Siedlung Römerstadt, and some of the structures are colloquially known as Zickzackhausen (zig-zag houses).
In 1926 May sent for Austrian architect Margarete Schütte-Lihotzky to join him in Frankfurt. Lihotzky was a kindred spirit and applied the same sort of functional clarity to household problems, and so in Frankfurt, after much analysis of work habits and footsteps, she developed the prototype of the modern installed kitchen, and pursued her idea that "housing is the organized implementation of living habits".
May's Frankfurt was a civic and critical success. This has been described (by John R. Mullin) as "one of the most remarkable city planning experiments in the twentieth century". In two years May produced more than 5,000 building units, up to 15,000 units in five years, published his own magazine (Zeitschrift Das Neue Frankfurt) and in 1929 won international attention at the Congrès International d'Architecture Moderne. This also brought him to the attention of the Soviet Union.
- The New Frankfurt: In the 1920s, he worked alongside Ernst May on the Das Neue Frankfurt project, revolutionizing public housing with highly functional design (including his famous tea extractors and door handles). [1]
- Bauhaus Connection: He trained briefly at the Weimar Bauhaus but pursued a more practical and utilitarian focus. [1, 2]
- Emigration: Branded as "degenerate" by the Nazi regime, he was banned from working and fled to the United States in 1938. While in the U.S., he created innovative, flat-pack "knock-down" furniture. [1, 2]
- University Architect: Returning to Germany in 1952, he served as the building director for the Goethe University Frankfurt, where he designed 23 university buildings and their iconic, timeless wooden furniture. [1]
Ferdinand Kramer (22 January 1898, Frankfurt, Germany – 4 November 1985, Frankfurt) was a German architect and functionalist designer.
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