1. henry van de velde (1863- 1957), a Belgian architect and design educator, is known as the Maurice of the European continent, and is one of the core figures of the Art Nouveau Movement. He clearly put forward the design principle of giving priority to functions and laid the foundation of modern design theory. He studied painting in Antwerp and Paris. 1884, he went to Paris, where he became a mark user and a member of the impressionist circle. After returning to Belgium, he developed the ideas he adopted in Paris, but in Brussels, he decided to give up painting and concentrate on applied arts and architecture. At the end of 1890, he became a famous designer and builder. Guide his Tropon bulletin board to the friendship between German printing publishers and Meier-Graefe critics, and present his portrait in a new style. From 189 1 to architectural design under the influence of Morris. When he designed his own house in Heller, he proposed that the decoration must be novel, not to follow history, to use materials reasonably and to use decoration "reasonably" to show the characteristics and purpose of the article. From 65438 to 0897, the "Industrial Art Decoration Workshop" was jointly established in Munich and Dresden, Germany, and the design and production depended on the cooperation of artists and craftsmen. 1900 was invited as the consultant of Grand Duke Weimar. 1902, Wilder was called to Weimar to hold a "private arts and crafts workshop". This studio "provides artistic inspiration for artisans and industrialists by designing and making models and samples", "The dream of cooperation between artists, artisans and industrialists ... is 6 years earlier than the German manufacturing alliance and 10 years earlier than Bauhaus". 65438-0906 Founded Weimar Municipal Technical School (predecessor of Bauhaus). 1907, he founded the German factory, DWB, together with other manufacturers, architects and craftsmen. We have carried out a series of design practice activities, published design yearbooks, carried out design activities, participated in enterprise design, held design exhibitions, objectively accepted that the society changed by industrial revolution and democratic revolution is an inevitable reality, and developed design products that meet the needs by using mechanical technology. 2. Architectural achievements As a Belgian architect and design educator, his activities in Germany are more influential than in his own country. He once became the leader of the German Art Nouveau movement, one of the founders of the deutscher werkbund, and one of the important representatives of the Art Nouveau movement, and made great achievements in architecture. The main works are as follows: 1986, L 'art Nouveau Shop (indoor), Paris. 1896, Van der Wildhaus, André district, Brussels. 1898, Keller und Reiner Art Museum (interior), Berlin 190 1, Folkwang Museum (interior; Now Karl Ernst Osterhaus Museum), Hagen, Germany 1903, Kessler House (reconstruction); 1904, Kunstgewerbeschule Weimar, Germany, 1906, Osterhaus Institute, Hagen, Germany, 1906, Saxon Institute of Arts and Crafts; Durkheim House1912; Weimar, Germany, 19 14, Werkbund Exhibition Theatre, Cologne, Germany, 192 1, Van de velde House, Wassenaar, Netherlands, 1927, Tervueren Van de velde House, Belgium,1997. Wolfers House, Brussels, 1937, Belgium Pavilion of World Expo (with I. Eggriey)1939, Belgium Pavilion of new york World Expo (with Victor Bourgeois). 1939, library of Ghent University, Belgium. 3. Main artistic ideas He thinks that design should aim at aesthetics and sexiness and encourage independence. At the annual meeting of DWB in 19 14, Mutexius strongly emphasized the standardization of products and advocated that "all activities of DWB should be carried out in the direction of standardization", while Henry &; S226 Van der&; S226 Wilder believes that artists are individualists in nature, and it is impossible to restrain their creativity by standardization. If we only consider the sales volume, there will be no good quality production. These two concepts typically represent people's understanding of modern design during the period of industrial development. Of course, with the development of industry, Muthesius's viewpoint has won a great victory, and standardization has become the criterion of industrial product design today. As a representative of the Art Nouveau movement, he abandoned william morris's retrogressive view of returning to handmade products and medieval rural lifestyle, thought that machines were useful tools for designers and engineers, clearly put forward the design principle of giving priority to functions, and laid the foundation of modern design theory. He not only hopes that standardized machine products can bring people aesthetic enjoyment, but also hopes to fully tap its potential and beautify human life. He predicted that engineers would become "creators of new buildings". In other respects, the Belgian master remains loyal to British theory. For the fashionable and often frivolous new art style, he respects its functional needs and is very far-sighted, which shows his understanding of the law of social development. Under the guidance of this thought, he founded the Weimar Institute of Arts and Crafts, the predecessor of Bauhaus.