工业设计专业英语lesson 6 italian design.docx

Lesson 6 Italian designTwentieth - century Italian design is only one facet of the cultural, political, social and economic story of modern Italy. 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 culture） are, （in essence）, a mirror of （that country’s bid for modernity and of its struggle, （through this century）, to establish itself as one of the modern industrial nations.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。

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代工业国家的历程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. As one of Italy’s leading critics and theorists of design, Gillo Dorfles, 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.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。

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：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It owes this achievement to a number of factors, among them the support of such powerful and far - sighted industrial patrons as the Olivetti company; Italy’s 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 brought with it) ; the special nature of Italian industrialization, which has respected craft traditions while implementing new systems of mass production; and the creative geniuses of the small cluster of Italian architect - designers whose names have become synonymous with the concept of modern Italian design.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;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)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.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 .It is this last factor , however , which is the most significant in highlighting the special contribution 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,whether in a modern or in a traditional idiom, and can therefore justifiably be called“ Italian design” , 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” . 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 respectively. “ 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 cites the work of the car designer, Battista Pininfarina, as an example of this phenomenon.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.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”更专业,更全面地理解这一定义的是批评家 Umberto Eco ,他在书中首次写道”一致性设计 “.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.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.Eco places the emphasis firmly on the self - conscious intentions of the “ author” or “ designer” . 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 values and aspirations of mass society as a whole. The evolution in Italy of（ a self - conscious “ high culture” design movement）, which coexists alongside design within the more banal production and consumption of goods, is what has earned Italy its special place within the world of contemporary material culture.Inevitably, however, “ identified” ,“ anonymous” and“ non - conscious” types of design have not evolved completely independently of each other , and there are many overlaps between them. 坚决地 将重点放在“设计师”和“作者”的自我意识意图上，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然而，不可避免的， “一致性设计” 、 “匿名性设计”和“无。