The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖建筑，作为前赫斯特的总部，是包豪斯建筑学派的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯的欲望的表达，是包豪斯对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖，作为前赫特的总部，是派的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用的欲望的表达，是对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖建筑，作为前赫斯特总部，是包豪斯建筑学典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯欲望表达，是包豪斯对使用者认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖，作为前赫特的总部，是派的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用的欲望的表达，是对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖建筑，作为前赫斯特总部，是包豪斯建筑学经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯欲望表达，是包豪斯对使用者认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖建筑，作为前赫斯特的总部，是包豪斯建筑派的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯的欲望的表达，是包豪斯对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖建筑，作为前赫斯特的总部，是包豪斯建筑学的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯的欲望的表达，是包豪斯对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年代红砖，作为前赫斯部，是包豪斯学派经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯欲望表达，是包豪斯对使用者认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

座1920年代红砖建筑，作斯特的总部，是包豪斯建筑学的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯的欲望的表达，是包豪斯对使用者的认同。

The former Hoechst headquarters, a redbrick relic of the 1920s, is an admired piece of Bauhaus architecture.

一座1920年红砖建筑，作为前赫斯特的总部，是包豪斯建筑学派的经典之作。

However, the constraint of the using desire and the process of releasing incriminatory sense put the image users onto the passive position of Bauhaus.

它是对使用包豪斯的欲望的表达，是包豪斯对使用者的认同。