工业设计专业英语Lesson 6 Italian design

精心整理

Lesson6Italiandesign

Twentieth-centuryItaliandesignisonlyonefacetofthecultural,political,socialandeconomic storyofmodernItaly.Thestylish,mass-producedpiecesoffurniture,decorativehouseholdgoods ,electricalappliances,officeequipment,carsand,latterly,designerclothesandaccessories （thathaveearnedItalysuchakeypositionintheworldofcontemporarymaterialculture ）are,（inessence ）,amirrorof （thatcountry ’sbidformodernityandofitsstruggle,（ （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。

Itowesthisachievementtoanumberoffactors,amongthemthesupportofsuchpowerfulandfar-sight edindustrialpatronsastheOlivetticompany;Italy’sdeep -seatedneedtoallydesignwiththedra matictransformationsinitspoliticalscene(andthesustaineddebateabouttheideologicalmeani ngindesignwhichthisbroughtwithit);thespecialnatureofItalianindustrialization,whichhas

respectedcrafttraditionswhileimplementingnewsystemsofmassproduction;andthecreativegen iusesofthesmallclusterofItalianarchitect-designerswhosenameshavebecomesynonymouswitht heconceptofmodernItaliandesign.

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.

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计”更专业,更全面地理解这一定义的是批评家UmbertoEco,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. Ecoplacestheemphasisfirmlyontheself-consciousintentionsofthe“author”or“designer”. Histhesisisderivedfromtheso-called“auteur”theory,evolvedwithinthecontextoffilmcriti cism,whichdistinguishesbetweentheself-conscious“highculture"filmandthemorespontaneou s“massculture”filmwhichexpresses,unselfconsciously,thevaluesandaspirationsofmasssoc

ietyasawhole.TheevolutioninItalyof（aself-conscious“highculture”designmovement）,whichcoexistsalongsidedesignwithinthemorebanalproductionandconsumpti onofgoods,iswhathasearnedItalyitsspecialplacewithintheworldofcontemporarymaterialcult ure.Inevitably,however,“identified”,“anonymous”and“non-conscious”typesofdesignh avenotevolvedcompletelyindependentlyofeachother,andtherearemanyoverlapsbetweenthem. 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

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uralpowerwithinthemodernindustrializedworld.Assuch,whilemodernItaliandesignoweditsori ginstospecificallyItalianconditions,anddisplayedvisualtraitsthathavebeendescribedaspa rticularly“Italian”incharacter(Italy’srichartisticheritageisfrequentlymentionedint hiscontext),itseffectsweregreateroutsideItaly.Itsspecialrolewastoprovideanationalimag ewithinthecontextofinternationaltradeandculture.ThusmostmodernItaliandesignwas(except intheveryearlystagesofitsevolution)“designforexport”,andassuchitsinfluenceonthegrea terpartofItaliansocietywas,andis,minimal.Fromtheearly1960sonwardsitsimpactwasfeltmost stronglyinthewealthyquartersofLondon,Paris,NewYorkandTokyo.Thus,whiletheproductionofI