41. And did those feet in ancient time
Walk upon England’s mountains green?
And was the holy Lamb of God
On England’s pleasant pastures seen?
And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among those dark Satanic Mills?
Bring me my Bow of burning gold;
Bring me my Arrows of Desire;
Bring me my Spear; O clouds unfold!
Bring me my Chariot of Fire!
I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand,
Till we have built Jerusalem
In England’s green and pleasant Land.
William Blake

43. most student should face the fact that their future should be involved primarily with industry and mass production rather than with individual craftsmanship

44. teachers in schools of design should be men who are in advance of their profession rather than safely and academically in the rearguard

45. the schools of design should, as the Bauhaus did, bring together the various arts of painting, architechture, theatre, photography, weaving, typography, etc., into a modern synthesis which disregards conventional distinctions between the "fine" and "applied" arts

46. it is harder to design a first rate chair than to paint a second rate painting-and much more useful

47. a school of design should have on its faculty the purely creative and disinterested artist such as the easel painter as a spiritual counterpoint to the practical technician in order that they may work and teach side by side for the benefit of the student

48. manual experience of materials is essential to the student of design- esperience at first confined to free experiment and then extended to the practical workshop

49. the study of rational design in terms of techniques and materials should be only the first step in the development of a new and modern sense of beauty

50. because we live in the 20th century, the student architect or designer should be offered no refuge in the past but should be equipped for the modern world in its various aspects, artistic, technical, social, economic, spiritual, so that he may function in society not as a decorator but as a vital participant.

51. ,"The Bauhaus does not pretend to be a crafts school; contact with industry is consciously sought...the old craft workshops will develop into industrial laboratories: from their experimentation will evolve standards for industrial production...The teaching of a craft is meant to prepare for designing for mass production. Starting with the simplest tools and least complicated jobs, he gradually acquires ability to master more intricate problem and to work with machinery, while at the same time he keeps in touch with the entire process of production from start to finish."
WALTER GROPIUS

52. Simplicity
Symmetry
Angularity
Abstraction
Consistency
Unity
Organization
Economy
Subtlety
Continuity
Regularity
Sharpness
Monochromaticity