工業(yè)設計專業(yè)英語(第三版)第六課意大利設計完整版

1、 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 modern Italy. 二十世紀意大利設計僅僅是現(xiàn)代意大利文化、政治、社會和經濟發(fā)展的一個方面。 Th

2、e 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 culture） are, （in essence）, a mirror of （that co

3、untrys bid for modernity and of its struggle, （through this century）, to establish itself as one of the modern industrial nations. 具有現(xiàn)代風格的、批量生產的家具、具有裝飾風格的家用物品、電器、辦公設備、汽 車和后來的設計師服裝以及附屬品為意大利設計在當代物質文化中贏得主要地位。從 實質上講，通過本世紀的奮斗，（意大利設計師）作為這個國家要求和奮斗現(xiàn)代化的 一面鏡子，反映了意大利將確定成為現(xiàn)代工業(yè)國家的歷程。 ENGLISH FOR INDUSTRIAL DESIG

4、N 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. 為了實現(xiàn)這種雄心壯志，意大利在實踐、美學和設計理論上形成了獨特 的方法而很少依賴別人的模式。 As one of Italys leading critic

5、s and theorists of design, Gillo Dorfles, 正如一位意大利權威的設計批評家兼理論家，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 other industrialized countries. 我們

6、正經歷了開發(fā)意大利自己的產品階段，因此我們國家的產品設計比 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。 例如，不像日本通過數(shù)年的仔細模仿來學習設計課程。

7、從一開始，意大 利就決定找到一種獨特的方式將藝術與工業(yè)結合起來。 ENGLISH FOR INDUSTRIAL DESIGN Simple, Powerful and free 意大利Alessi 快樂鳥水壺 這把水壺具有一個最突出的特征-在壺嘴處有一個初出茅廬的小鳥形象，當 壺里的水燒開時，小鳥會發(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 the support of such po

8、werful and far - sighted industrial patrons as the Olivetti company; 意大利能取得這么大的成就有幾個因素,其中例如Olivetti這樣強大而 富有遠見的工業(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 design which this bro

9、ught with it) ; 意大利有很深的根基可以將設計與政治背景的戲劇性變化聯(lián)合起來,( 這將帶來持續(xù)不變的關于設計觀念的爭論) the special nature of Italian industrialization, which has respected craft traditions while implementing new systems of mass production; 意大利工業(yè)化的特殊性質是尊重傳統(tǒng)手工業(yè)同時實施大批量生產的新 系統(tǒng). and the creative geniuses of the small cluster of Italian ar

10、chitect - 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計師,他們的名字變成了現(xiàn)代意 大利設計的代名詞. ENGLISH FOR INDUSTRIAL DESIGN Simple, Powerful and free It is this last factor , however , which is the most significant in highlighting the special contributio

11、n 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,最后一個因素-任意一個在意大利制造和使用的物品都是被設計 的,在一定程度上來說非常顯著地對本世紀意大利設計做出特殊貢獻. whether in a modern or in a traditional idiom, and can theref

12、ore justifiably be called“ Italian design” , 無論是現(xiàn)代或者傳統(tǒng)的習慣,無可非議地被叫做”意大利設計” 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),更全面地理解這

13、一定義的是批評家Umberto Eco ,他在書中 首次寫道”一致性設計 “. 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

14、tools respectively. 通過對比另外兩種設計形式可以很好理解這一定義,他稱為”匿名性 設計”和”無意識性”設計,分別列舉咖啡機和農具. “ 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

15、. ” He cites the work of the car designer, Battista Pininfarina, as an example of this phenomenon. Eco定義的”一致性設計”與另外兩種設計相比,他說:”設計的目的 是用明確的物品表達設計師的理念”他列舉了汽車設計師巴蒂斯塔. 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

16、 of the “ author” or “ designer” . 堅決地 將重點放在“設計師”和“作者”的自我意識意圖上 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, un

17、selfconsciously, the values and aspirations of mass society as a whole. 他的觀點來自于 所謂的“電影導演”理論，在電影批評理論之內演化 ，它把自我意識的“深厚文化”的電影與自發(fā)的“大眾文化”的電影 區(qū)別開來。大眾電影不是表達自我意識，而是表達大眾社會這一整體 的價值觀和愿望。 The evolution in Italy of（ a self - conscious “ high culture” design movement）, which coexists alongside design within the mo

18、re banal production and consumption of goods, is what has earned Italy its special place within the world of contemporary material culture. 在意大利發(fā)展的這種自我意識的“深厚文化”的設計運動，與平凡的 產品設計和物品消費并存，使得意大利在當代世界物質文化中贏得了 特殊的地位。 ENGLISH FOR INDUSTRIAL DESIGN Simple, Powerful and free Inevitably, however, “ identified”

19、,“ anonymous” and“ non - conscious” 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，“一致性設計”、“匿名性設計”和“無意識性設 計”這些方式不是完全單獨進化的，他們有許多相互重疊的部分。 Other characteristics also differentiate this special concept of Italian design from t

20、he 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 大利的特殊設計與廣義上的設計。 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

21、形態(tài)功能，作為意大利的民族價值觀的提 供商。 ENGLISH FOR INDUSTRIAL 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 意大利的特殊設計與廣義上的設計。 Thes

22、e 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，它的意識形態(tài)功能，作為意大利的民族價值觀的 提供商。 Not only does it depend upon a sophisticated, theoretical framework, and a number of thinking protagonists, it a

23、lso has a special economic role to play within 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濟中有特殊地 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 nor

24、th,） particularly Milan and Turin. 事實上，現(xiàn)代意大利設計運動起源于米蘭和都靈，而且現(xiàn)在任然限制于 這兩個富裕的北部工業(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 wor

25、ld. 在1945年之后，意大利設計作為意大利現(xiàn)代工業(yè)中具有活力經濟、工業(yè) 化和文化動力的一部分投入新的、國際的市場。 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 (

26、Italys rich artistic heritage is frequently mentioned in this context) , its effects were greater outside Italy. 正是如此，現(xiàn)代意大利設計歸功于意大利獨特的條件，和顯示出被描 述成意大利特征的視覺特征。（意大利豐富的藝術遺產常常被提到） ，它的影響已經超出了意大利。 Its special role was to provide a national image within the context of international trade and culture. 意大利設計的

27、特殊地位，為意大利在國際貿易與文化中提供了一個象 征。 ENGLISH FOR INDUSTRIAL DESIGN Simple, 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)意大利設計是為了出口，除

28、了早期的階段。因此，它對 意大利社會影響在過去和現(xiàn)在都在減小。 From the early 1960s onwards its 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 consumpti

29、on is not. 從60年代初期，它對于富裕地區(qū)的影響越來越大，倫敦、巴黎、紐約 和東京。因此，當意大利的產品設計不可避免的與當代意大利經濟、 社會和文化聯(lián)系在一起的時候，對消費卻影響不大。 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

30、such stunning forms for its objects, and in encouraging the emergence 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

31、 the world of industrial design, although this rich cultural heritage may 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，意大利設計的定位，從它的焦點來看，不能解釋為

32、什么意大利 產品設計能夠如此成功，和刺激戰(zhàn)后明星般的設計師的出現(xiàn)。意大利 過去在建筑和裝飾上的成就不能解釋對于當代工業(yè)設計成功的影響， 雖然，豐富的文化遺產可能是一個因素。更沒有揭露意大利當代工業(yè) 化和商業(yè)化成功的本質原因。 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 wo

33、rth speaking of . Nearly all the members of the group of designers who began 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 Turi

34、n, which had become two of the most powerful centers of architectural training 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 priva

35、te dwellings. Thus interior design, along with exhibition design, which was growing 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 a

36、nd 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)設計文化，卻沒有值得說的工 業(yè)設計教育體系。在戰(zhàn)后幾乎所有的獨立的室內和工業(yè)產品設計師， 在戰(zhàn)前都作為建筑設計師來培訓。絕大部分畢業(yè)生來自于米蘭和都靈 科技技術大學，現(xiàn)在成為建筑設計師培訓的兩大中心基地。在戰(zhàn)爭中 建筑項目很缺乏，僅僅依靠北方富有的委托商去設計他們私人住宅項 目來生活。于是，室內設計和展示設計發(fā)展起來，并為意大利設計天 才提供展示的舞臺，扮演了一個非常重要的角色，允許建筑師實現(xiàn)他 們的專業(yè)實踐，并為他們?yōu)榻涷炞C的技巧提供實踐機會。

37、ENGLISH FOR INDUSTRIAL DESIGN Simple, Powerful and free The real breakthrough, however, 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