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The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.

Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.

The days of the painter at the Bauhaus appear to be truly over. They are estranged from the actual core of present activities, and their influence is more restricting than inspiring.

The school is the servant of the workshop and will one day be absorbed in it. Therefore there will be no teachers or pupils in the Bauhaus but masters, journeymen, and apprentices.

Before World War II, Modernist architects sometimes had to resort to custom fabrication or outright fakery to achieve the machine imagery advocated by the Bauhaus after its initial, Expressionist, phase. Stucco masqueraded as reinforced concrete; rivets were used for decoration.

Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.

Leonardo Da Vinci combined art and science and aesthetics and engineering, that kind of unity is needed once again.

Let us together create the new building of the future, which will be everything in one form: architecture and sculpture and painting.