工业设计专业英语第三版第六课意大利设计

1、ENGLISH FOR INDUSTRIAL DESIGN,Simple,Powerful,and,free,Lesson,6,Italian design,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,Twentieth - century Italian design is only one facet of the cultural, political, social and economic story of m

2、odern Italy,二十世纪意大利设计仅仅是现代意大利文化、政治、社会和经济发展的一个方面,The stylish, mass - produced pieces of furniture, decorative household goods, electrical appliances, office equipment, cars,and, latterly, designer clothes and accessories,that have earned Italy such a key position in the world of contemporary,material

3、 culture,are,in essence,a mirror of,that countrys bid for modernity and of its struggle,through this,century,to establish itself as one of the modern industrial nations,具有现代风格的、批量生产的家具、具有装饰风格的家用物品、电器、办公设备、汽,车和后来的设计师服装以及附属品为意大利设计在当代物质文化中赢得主要地位。从,实质上讲，通过本世纪的奋斗，（意大利设计师）作为这个国家要求和奋斗现代化的,一面镜子，反映了意大利将确定成为现

4、代工业国家的历程,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,In achieving this ambition Italy has evolved a unique approach towards the practice, the aesthetic and,the theory of design which depends,only minimally,upon models borrowed from elsewhere,为了实现这种雄心壮志，意大利在实践、美学和设计理论上形成了独特,的方法而很少依赖别人的模式,A

5、s one of Italys leading critics and theorists of design, Gillo Dorfles,正如一位意大利权威的设计批评家兼理论家，基洛、多夫勒斯在,1986,年,解释的,explained in 1986:“Here we have experienced the development of our own objects industrially made,to native Italian design and therefore more original and more imaginative than those of othe

6、r,industrialized countries,我们正经历了开发意大利自己的产品阶段，因此我们国家的产品设计比,其他工业国家更具有原创性和想象力,Unlike Japan, for instance, which learned its lessons about design through years of careful,imitation,Italy was, from the outset, more determined to discover a new formula for its particular marriage,between art and industry

7、,例如，不像日本通过数年的仔细模仿来学习设计课程。从一开始，意大,利就决定找到一种独特的方式将艺术与工业结合起来,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,意大利,Alessi,快乐鸟水壶,这把水壶具有一个最突出的特征,在壶嘴处有一个初出茅庐的小鸟形象，当,壶里的水烧开时，小鸟会发出口哨声，非常形象,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,It owes this achievement to a number of factors, among them

8、the support of such powerful and far,sighted industrial patrons as the Olivetti company,意大利能取得这么大的成就有几个因素,其中例如,Olivetti,这样强大而,富有远见的工业赞助公司的支持,Italys deep,seated need to ally design with the dramatic transformations in its political scene ( and,the sustained debate about the ideological,meaning in des

9、ign which this brought with it),意大利有很深的根基可以将设计与政治背景的戏剧性变化联合起来,这将带来持续不变的关于设计观念的争论,the special nature of Italian industrialization, which has respected craft traditions while,implementing new systems of mass production,意大利工业化的特殊性质是尊重传统手工业同时实施大批量生产的新,系统,and the creative geniuses of the small cluster of

10、 Italian architect - designers whose names have,become synonymous with the concept of modern Italian design,一大群富有创造力的天才意大利建筑设计师,他们的名字变成了现代意,大利设计的代名词,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,It is this last factor , however , which is the most significant in highlighting the special con

11、tribution,of Italy to the general story of modern design in this century. While, on one level, everything that is,made and used in Italy has ( as in any other country) been designed,然而,最后一个因素,任意一个在意大利制造和使用的物品都是被设计,的,在一定程度上来说非常显著地对本世纪意大利设计做出特殊贡献,whether in a,modern or in a traditional idiom, and can

12、therefore justifiably be called“ Italian,design”,无论是现代或者传统的习惯,无可非议地被叫做”意大利设计,the more specific, and more generally understood, definition of the concept,and the one with,which this book is primarily concerned,relates to what the writer and critic Umberto Eco has,called“ identified design”,更专业,更全面地理解

13、这一定义的是批评家,Umberto Eco,他在书中,首次写道”一致性设计,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,This is best understood by contrasting it with the other two types of design he also isolates and,which he dubs“ anonymous” and“ non,conscious” , examples of which include,coffee,machines and farmers tools r

14、espectively,通过对比另外两种设计形式可以很好理解这一定义,他称为”匿名性,设计”和”无意识性”设计,分别列举咖啡机和农具,Identified design” , defined by Eco, is, in,contrast to these other two categories,“ design which,is the outcome of an expressed theory and of a practice in which the object aims to exemplify,explicitly its author s theory. ” He cite

15、s the work of the,car designer, Battista Pininfarina, as an,example of this phenomenon,Eco,定义的”一致性设计”与另外两种设计相比,他说:”设计的目的,是用明确的物品表达设计师的理念”他列举了汽车设计师巴蒂斯塔,皮尼法瑞德工作来说明这一现象,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,Eco places the emphasis firmly on the self,conscious intentions of the “ author

16、” or,designer”,坚决地,将重点放在“设计师”和“作者”的自我意识意图上,His thesis is derived from the so,called“ auteur” theory, evolved within the context of,film,criticism, which distinguishes between the self,conscious“ high culture film and the more,spontaneous “mass culture” film which expresses, unselfconsciously, the va

17、lues and aspirations of,mass society as a whole,他的观点来自于,所谓的“电影导演”理论，在电影批评理论之内演化,它把自我意识的“深厚文化”的电影与自发的“大众文化”的电影,区别开来。大众电影不是表达自我意识，而是表达大众社会这一整体,的价值观和愿望,The evolution in Italy of,a self,conscious “ high culture” design,movement,which coexists,alongside design within the more banal production and consump

18、tion of goods, is what has earned,Italy its special place within the world of contemporary material culture,在意大利发展的这种自我意识的“深厚文化”的设计运动，与平凡的,产品设计和物品消费并存，使得意大利在当代世界物质文化中赢得了,特殊的地位,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,Inevitably, however, “ identified” ,“ anonymous” and“ non,conscious”

19、types of design have not,evolved completely independently of each other , and there are many overlaps between them,然而，不可避免的，“一致性设计”、“匿名性设计”和“无意识性设,计”这些方式不是完全单独进化的，他们有许多相互重叠的部分,Other characteristics also differentiate this special concept of Italian design from the broader,definition of the term, how

20、ever, which Eco has neglected to point out,然而,Eco,忽视的没有指出的是，还有一些其他的特征也区别于这种意,大利的特殊设计与广义上的设计,These relate, primarily, to its ideological function as a purveyor of Italian nationalistic values and its,important role within the international economy,这种联系，主要是，它的意识形态功能，作为意大利的民族价值观的提,供商,ENGLISH FOR,INDUST

21、RIAL DESIGN,Simple,Powerful,and,free,Other characteristics also differentiate this special concept of Italian design from the broader,definition of the term, however, which Eco has neglected to point out,然而,Eco,忽视的没有指出的是，还有一些其他的特征也区别于这种,意大利的特殊设计与广义上的设计,These relate, primarily, to its ideological fun

22、ction as a purveyor of Italian nationalistic values and,its important role within the international economy,这种联系，主要是，它的意识形态功能，作为意大利的民族价值观的,提供商,Not only does it depend upon a sophisticated, theoretical framework, and a number of thinking,protagonists, it also has a special economic role to play withi

23、n the world as a whole,不仅有成熟的理论体系框架和许多思想家而且在世界经济中有特殊地,位,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,In fact the modern Italian design movement originated in,and is still today largely restricted to, the,wealthy industrial cities of the north,particularly Milan and Turin,事实上，现代意大利设计运动起源于米兰

24、和都灵，而且现在任然限制于,这两个富裕的北部工业城市,It came into its own, in the years after 1945, as part of Italys need to penetrate new, foreign markets,and to become established as a viable economic, industrial and cultural power within the modern,industrialized world,在,1945,年之后，意大利设计作为意大利现代工业中具有活力经济、工业,化和文化动力的一部分投入新的、国

25、际的市场,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,As such, while modern Italian design owed its origins to specifically Italian conditions, and displayed,visual traits that have been described as particularly“ Italian” in character ( Italys rich artistic,heritage is frequently mentioned in

26、 this context) , its effects were greater outside Italy,正是如此，现代意大利设计归功于意大利独特的条件，和显示出被描,述成意大利特征的视觉特征。（意大利丰富的艺术遗产常常被提到,它的影响已经超出了意大利,Its special role was to provide a national image within the context of international trade and,culture,意大利设计的特殊地位，为意大利在国际贸易与文化中提供了一个象,征,ENGLISH FOR,INDUSTRIAL DESIGN,Simp

27、le,Powerful,and,free,Thus most modern Italian design was ( except in the very early stages of its evolution) “ design for,export” , and as such its influence on the greater part of Italian society was, and is, minimal,因此，大多数意大利设计是为了出口，除了早期的阶段。因此，它对,意大利社会影响在过去和现在都在减小,From the early 1960s onwards its

28、impact was felt most strongly in the wealthy quarters of London,Paris, New York and Tokyo. Thus, while the production of Italian design is inextricably linked to the,economic, social and cultural context of modern Italy, its consumption is not,从,60,年代初期，它对于富裕地区的影响越来越大，伦敦、巴黎、纽约,和东京。因此，当意大利的产品设计不可避免的与

29、当代意大利经济,社会和文化联系在一起的时候，对消费却影响不大,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,However, this definition of Italian design, while providing the focus for this account, does not,explain Italys extraordinary success in evolving such stunning forms for its objects, and in,encouraging the emergenc

30、e of a post,war generation of “super,star designers. It is clearly not,enough to suggest, as many have, that Italys past achievements in the areas of architecture and,the decorative arts account for its contemporary successes in the world of industrial design,although this,rich cultural heritage may

31、 well be a contributory factor. and it does not explain the industrial and,commercial successes of contemporary Italy which are intrinsic parts of the phenomenon that,provides the focus for this study,然而，意大利设计的定位，从它的焦点来看，不能解释为什么意大利,产品设计能够如此成功，和刺激战后明星般的设计师的出现。意大利,过去在建筑和装饰上的成就不能解释对于当代工业设计成功的影响,虽然，丰富的文

32、化遗产可能是一个因素。更没有揭露意大利当代工业,化和商业化成功的本质原因,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,Ironically, while Italy has a highly refined industrial design culture, it does,not have an industrial design educational system worth speaking of . Nearly all the members of the,group of designers who began

33、practicing as independent designers of interiors and industrial goods,immediately following the Second World War were trained as architects before the war. Graduates,for the most part, of the polytechnics of Milan and Turin, which had become two of the most,powerful centers of architectural training

34、 in these years,emerged from the war to find a dearth,of architectural projects and the possibility of earning a living only from the wealthy northern clients,who commissioned them to design the interiors of their private dwellings. Thus interior design,along with exhibition design, which was growin

35、g in strength as a means by which Italy could show,the rest of the world where its creative talents lay, played an important role, allowing the architects,to establish themselves in independent professional practices and providing an outlet for their as yet,untested skills,比较讽刺的是，意大利拥有良好的工业设计文化，却没有值

36、得说的工,业设计教育体系。在战后几乎所有的独立的室内和工业产品设计师,在战前都作为建筑设计师来培训。绝大部分毕业生来自于米兰和都灵,科技技术大学，现在成为建筑设计师培训的两大中心基地。在战争中,建筑项目很缺乏，仅仅依靠北方富有的委托商去设计他们私人住宅项,目来生活。于是，室内设计和展示设计发展起来，并为意大利设计天,才提供展示的舞台，扮演了一个非常重要的角色，允许建筑师实现他,们的专业实践，并为他们为经验证的技巧提供实践机会,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,The real breakthrough, however

37、, came with the growing desire of the consumer goods,manufactures,some already established, others newly formed,to modernize their products,they turned to the architects as the obvious people to do this for them. Strong relationships,developed from these initial liaisons and quite quickly the architects were transformed into,designers for industry,acquiring their training for t