工業(yè)設(shè)計(jì)專業(yè)英語第三版第六課意大利設(shè)計(jì)

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,二十世紀(jì)意大利設(shè)計(jì)僅僅是現(xiàn)代意大利文化、政治、社會(huì)和經(jīng)濟(jì)發(fā)展的一個(gè)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,具有現(xiàn)代風(fēng)格的、批量生產(chǎn)的家具、具有裝飾風(fēng)格的家用物品、電器、辦公設(shè)備、汽,車和后來的設(shè)計(jì)師服裝以及附屬品為意大利設(shè)計(jì)在當(dāng)代物質(zhì)文化中贏得主要地位。從,實(shí)質(zhì)上講，通過本世紀(jì)的奮斗，（意大利設(shè)計(jì)師）作為這個(gè)國家要求和奮斗現(xiàn)代化的,一面鏡子，反映了意大利將確定成為現(xiàn)

4、代工業(yè)國家的歷程,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,為了實(shí)現(xiàn)這種雄心壯志，意大利在實(shí)踐、美學(xué)和設(shè)計(jì)理論上形成了獨(dú)特,的方法而很少依賴別人的模式,A

5、s one of Italys leading critics and theorists of design, Gillo Dorfles,正如一位意大利權(quán)威的設(shè)計(jì)批評(píng)家兼理論家，基洛、多夫勒斯在,1986,年,解釋的,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,我們正經(jīng)歷了開發(fā)意大利自己的產(chǎn)品階段，因此我們國家的產(chǎn)品設(shè)計(jì)比,其他工業(yè)國家更具有原創(chuàng)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，不像日本通過數(shù)年的仔細(xì)模仿來學(xué)習(xí)設(shè)計(jì)課程。從一開始，意大,利就決定找到一種獨(dú)特的方式將藝術(shù)與工業(yè)結(jié)合起來,ENGLISH FOR,INDUSTRIAL DESIGN,Simple,Powerful,and,free,意大利,Alessi,快樂鳥水壺,這把水壺具有一個(gè)最突出的特征,在壺嘴處有一個(gè)初出茅廬的小鳥形象，當(dāng),壺里的水燒開時(shí)，小鳥會(huì)發(fā)出口哨聲，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,意大利能取得這么大的成就有幾個(gè)因素,其中例如,Olivetti,這樣強(qiáng)大而,富有遠(yuǎn)見的工業(yè)贊助公司的支持,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將設(shè)計(jì)與政治背景的戲劇性變化聯(lián)合起來,這將帶來持續(xù)不變的關(guān)于設(shè)計(jì)觀念的爭論,the special nature of Italian industrialization, which has respected craft traditions while,implementing new systems of mass production,意大利工業(yè)化的特殊性質(zhì)是尊重傳統(tǒng)手工業(yè)同時(shí)實(shí)施大批量生產(chǎn)的新,系統(tǒng),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,一大群富有創(chuàng)造力的天才意大利建筑設(shè)計(jì)師,他們的名字變成了現(xiàn)代意,大利設(shè)計(jì)的代名詞,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,最后一個(gè)因素,任意一個(gè)在意大利制造和使用的物品都是被設(shè)計(jì),的,在一定程度上來說非常顯著地對(duì)本世紀(jì)意大利設(shè)計(jì)做出特殊貢獻(xiàn),whether in a,modern or in a traditional idiom, and can

12、therefore justifiably be called“ Italian,design”,無論是現(xiàn)代或者傳統(tǒng)的習(xí)慣,無可非議地被叫做”意大利設(shè)計(jì),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”,更專業(yè),更全面地理解

13、這一定義的是批評(píng)家,Umberto Eco,他在書中,首次寫道”一致性設(shè)計(jì),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,通過對(duì)比另外兩種設(shè)計(jì)形式可以很好理解這一定義,他稱為”匿名性,設(shè)計(jì)”和”無意識(shí)性”設(shè)計(jì),分別列舉咖啡機(jī)和農(nóng)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,定義的”一致性設(shè)計(jì)”與另外兩種設(shè)計(jì)相比,他說:”設(shè)計(jì)的目的,是用明確的物品表達(dá)設(shè)計(jì)師的理念”他列舉了汽車設(shè)計(jì)師巴蒂斯塔,皮尼法瑞德工作來說明這一現(xiàn)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”,堅(jiān)決地,將重點(diǎn)放在“設(shè)計(jì)師”和“作者”的自我意識(shí)意圖上,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,他的觀點(diǎn)來自于,所謂的“電影導(dǎo)演”理論，在電影批評(píng)理論之內(nèi)演化,它把自我意識(shí)的“深厚文化”的電影與自發(fā)的“大眾文化”的電影,區(qū)別開來。大眾電影不是表達(dá)自我意識(shí)，而是表達(dá)大眾社會(huì)這一整體,的價(jià)值觀和愿望,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,在意大利發(fā)展的這種自我意識(shí)的“深厚文化”的設(shè)計(jì)運(yùn)動(dòng)，與平凡的,產(chǎn)品設(shè)計(jì)和物品消費(fèi)并存，使得意大利在當(dāng)代世界物質(zhì)文化中贏得了,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，“一致性設(shè)計(jì)”、“匿名性設(shè)計(jì)”和“無意識(shí)性設(shè),計(jì)”這些方式不是完全單獨(dú)進(jìn)化的，他們有許多相互重疊的部分,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,忽視的沒有指出的是，還有一些其他的特征也區(qū)別于這種意,大利的特殊設(shè)計(jì)與廣義上的設(shè)計(jì),These relate, primarily, to its ideological function as a purveyor of Italian nationalistic values and its,important role within the international economy,這種聯(lián)系，主要是，它的意識(shí)形態(tài)功能，作為意大利的民族價(jià)值觀的提,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,忽視的沒有指出的是，還有一些其他的特征也區(qū)別于這種,意大利的特殊設(shè)計(jì)與廣義上的設(shè)計(jì),These relate, primarily, to its ideological fun

22、ction as a purveyor of Italian nationalistic values and,its important role within the international economy,這種聯(lián)系，主要是，它的意識(shí)形態(tài)功能，作為意大利的民族價(jià)值觀的,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,不僅有成熟的理論體系框架和許多思想家而且在世界經(jīng)濟(jì)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,事實(shí)上，現(xiàn)代意大利設(shè)計(jì)運(yùn)動(dòng)起源于米蘭

24、和都靈，而且現(xiàn)在任然限制于,這兩個(gè)富裕的北部工業(yè)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，意大利設(shè)計(jì)作為意大利現(xiàn)代工業(yè)中具有活力經(jīng)濟(jì)、工業(yè),化和文化動(dòng)力的一部分投入新的、國

25、際的市場(chǎng),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，現(xiàn)代意大利設(shè)計(jì)歸功于意大利獨(dú)特的條件，和顯示出被描,述成意大利特征的視覺特征。（意大利豐富的藝術(shù)遺產(chǎn)常常被提到,它的影響已經(jīng)超出了意大利,Its special role was to provide a national image within the context of international trade and,culture,意大利設(shè)計(jì)的特殊地位，為意大利在國際貿(mào)易與文化中提供了一個(gè)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，大多數(shù)意大利設(shè)計(jì)是為了出口，除了早期的階段。因此，它對(duì),意大利社會(huì)影響在過去和現(xiàn)在都在減小,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,從,60,年代初期，它對(duì)于富裕地區(qū)的影響越來越大，倫敦、巴黎、紐約,和東京。因此，當(dāng)意大利的產(chǎn)品設(shè)計(jì)不可避免的與

29、當(dāng)代意大利經(jīng)濟(jì),社會(huì)和文化聯(lián)系在一起的時(shí)候，對(duì)消費(fèi)卻影響不大,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，意大利設(shè)計(jì)的定位，從它的焦點(diǎn)來看，不能解釋為什么意大利,產(chǎn)品設(shè)計(jì)能夠如此成功，和刺激戰(zhàn)后明星般的設(shè)計(jì)師的出現(xiàn)。意大利,過去在建筑和裝飾上的成就不能解釋對(duì)于當(dāng)代工業(yè)設(shè)計(jì)成功的影響,雖然，豐富的文

32、化遺產(chǎn)可能是一個(gè)因素。更沒有揭露意大利當(dāng)代工業(yè),化和商業(yè)化成功的本質(zhì)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,比較諷刺的是，意大利擁有良好的工業(yè)設(shè)計(jì)文化，卻沒有值

36、得說的工,業(yè)設(shè)計(jì)教育體系。在戰(zhàn)后幾乎所有的獨(dú)立的室內(nèi)和工業(yè)產(chǎn)品設(shè)計(jì)師,在戰(zhàn)前都作為建筑設(shè)計(jì)師來培訓(xùn)。絕大部分畢業(yè)生來自于米蘭和都靈,科技技術(shù)大學(xué)，現(xiàn)在成為建筑設(shè)計(jì)師培訓(xùn)的兩大中心基地。在戰(zhàn)爭中,建筑項(xiàng)目很缺乏，僅僅依靠北方富有的委托商去設(shè)計(jì)他們私人住宅項(xiàng),目來生活。于是，室內(nèi)設(shè)計(jì)和展示設(shè)計(jì)發(fā)展起來，并為意大利設(shè)計(jì)天,才提供展示的舞臺(tái)，扮演了一個(gè)非常重要的角色，允許建筑師實(shí)現(xiàn)他,們的專業(yè)實(shí)踐，并為他們?yōu)榻?jīng)驗(yàn)證的技巧提供實(shí)踐機(jī)會(huì),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