工業(yè)設(shè)計專業(yè)英語Lesson6Italiandesign

精心整理精心整理精心整理精心整理Lesson6ItaliandesignTwentieth-centuryItaliandesignisonlyonefacetofthecultural,political,socialandeconomicstoryofmodernItaly.Thestylish,mass-producedpiecesoffurniture,decorativehouseholdgoods,electricalappliances,officeequipment,carsand,latterly,designerclothesandaccessories(thathaveearnedItalysuchakeypositionintheworldofcontemporarymaterialculture)are,(inessence),amirrorof(thatcountry’sbidformodernityandofitsstruggle,(throughthiscentury),toestalishitselfasoneofthemodernindustrialnations二十世紀(jì)意大利設(shè)計僅僅是現(xiàn)代意大利文化、政治、社會和經(jīng)濟(jì)發(fā)展的一個方面。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)計師服裝以及附屬品為意大利設(shè)計在當(dāng)代物質(zhì)文化中贏得主要地位。從實質(zhì)上講，通過本世紀(jì)的奮斗，(意大利設(shè)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。InachievingthisamitionItalyhasevolvedauniueapproachtowardsthepractice,theaestheticandthetheoryofdesignwhichdepends,(onlyminimally),uponmodelsorrowedfromelsewhereAsoneofItaly'sleadingcriticsandtheoristsofdesign,GilloDorfles,explainedin1986:“HerewehaveexperiencedthedevelopmentofourownoectsindustriallymadetonativeItaliandesignandthereforemoreoriginalandmoreimaginativethanthoseofotherindustrialiedcountriesnlieapan,forinstance,whichlearneditslessonsaoutdesignthroughyearsofcarefulimitationItalywas,fromtheoutset,moredeterminedtodiscoveranewformulaforitsparticularmarriageetweenartandindustry為了實現(xiàn)這種雄心壯志，意大利在實踐、美學(xué)和設(shè)計理論上形成了獨特的方法而很少依賴別人的模式。正如一位意大利權(quán)威的設(shè)計批評家兼理論家，基洛、多夫勒斯在1986年解釋的：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)計比其他工業(yè)國家更具有原創(chuàng)性和想象力。例如，不像日本通過數(shù)年的仔細(xì)模仿來學(xué)習(xí)設(shè)計課程。從一開始，意大利就決定找到一種獨特的方式將藝術(shù)與工業(yè)結(jié)合起來。Itowesthisachievementtoanumberoffactors,amongthemthesupportofsuchpowerfulandfar-sightedindustrialpatronsastheOlivetticompany;Italy’sdeep-seatedneedtoallydesignwiththedramatictransformationsinitspoliticalscene(andthesustaineddebateabouttheideologicalmeaningindesignwhichthisbroughtwithit);thespecialnatureofItalianindustrialization,whichhasrespectedcrafttraditionswhileimplementingnewsystemsofmassproduction;andthecreativegeniusesofthesmallclusterofItalianarchitect-designerswhosenameshavebecomesynonymouswiththeconceptofmodernItaliandesign.意大利能取得這么大的成就有幾個因素,其中例如livetti這樣強(qiáng)大而富有遠(yuǎn)見的工業(yè)贊助公司的支持;意大利有很深的根基可以將設(shè)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(guān)于設(shè)計觀念的爭論）意大利工業(yè)化的特殊性質(zhì)是尊重傳統(tǒng)手工業(yè)同時實施大批量生產(chǎn)的新系統(tǒng).一大群富有創(chuàng)造力的天才意大利建筑設(shè)計師他們的名字變成了現(xiàn)代意大利設(shè)計的代名詞tisthislastfactor,however,whichisthemostsignificantinhighlightingthespecialcontriutionoftalytothegeneralstoryofmoderndesigninthiscentury.hile,ononelevel,everythingthatismadeandusedintalyhasasinanyothercountryeendesigned,whetherinamodernorinatraditionalidiom,andcanthereforeustifialyecalled“taliandesign,themorespecific,andmoregenerallyunderstood,definitionoftheconcep—andtheonewithwhichthisooisprimarilyconcerned —relatestowhatthewriterandcriticmertocohascalled“identifieddesign”.hisisestunderstoodycontrastingitwiththeothertwotypesofdesignhealsoisolatesandwhichhedus “ anonymous ” and“nonconsciou”,examplesofwhichincludecoffeemachinesandfarmerstoolsrespectively.“dentifieddesign” ,definedyco,is,incontrasttotheseothertwocategories,“designwhichistheoutcomeofanexpressedtheoryandofapracticeinwhichtheoectaimstoexemplifyexplicitlyitsauthor ' stheory. ”ecitestheworofthecardesigner,attistaininfarina,asanexampleofthisphenomenon.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(shè)計的,在一定程度上來說非常顯著地對本世紀(jì)意大利設(shè)計做出特殊貢獻(xiàn).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”更專業(yè)，更全面地理解這一定義的是批評家merto他在書中首次寫道”一致性設(shè)計”.通過對比另外兩種設(shè)計形式可以很好理解這一定義,他稱為”匿名性設(shè)計”和”無意識性”設(shè)計,分別列舉咖啡機(jī)和農(nóng)具.饃定義的”一致性設(shè)計”與另外兩種設(shè)計相比，他說”設(shè)計的目的是用明確的物品表達(dá)設(shè)計師的理念”他列舉了汽車設(shè)計師巴蒂斯塔.皮尼法瑞德工作來說明這一現(xiàn)象.Ecoplacestheemphasisfirmlyontheselfc-onsciousintentionsofthe“author”or“designer”.Histhesisisderivedfromthesoc-alled“auteur”theory,evolvedwithinthecontextoffilmcriticism,whichdistinguishesbetweentheselfc-onscious“highculture"filmandthemorespontaneous“massculture”filmwhichexpresses,unselfconsciously,thevaluesandaspirationsofmasssocietyasawhole.TheevolutioninItalyof(aself-conscious“highculture”designmovement),whichcoexistsalongsidedesignwithinthemorebanalproductionandconsumptionofgoods,iswhathasearnedItalyitsspecialplacewithintheworldofcontemporarymaterialculture.Inevitably,however,“identified”,“anonymous”and“non-conscious”typesofdesignhavenotevolvedcompletelyindependentlyofeachother,andtherearemanyoverlapsbetweenthem.堅決地將重點放在“設(shè)計師”和“作者”的自我意識意圖上，他的觀點來自于所謂的“電影導(dǎo)演”理論，在電影批評理論之內(nèi)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(dá)自我意識，而是表達(dá)大眾社會這一整體的價值觀和愿望。在意大利發(fā)展的這種自我意識的“深厚文化”的設(shè)計運動，與平凡的產(chǎn)品設(shè)計和物品消費并存，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。然而，不可避免的，“一致性設(shè)計”、“匿名性設(shè)計”和“無意識性設(shè)計”這些方式不是完全單獨進(jìn)化的，他們有許多相互重疊的部分。thercharacteristicsalsodifferentiatethisspecialconceptofItaliandesignfromthebroaderdefinitionoftheterm,however,whichcohasneglectedtopointout.heserelate,primarily,toitsideologicalfunctionasapurveyorofItaliannationalisticvaluesanditsimportantrolewithintheinternationaleconomy.thercharacteristicsalsodifferentiatethisspecialconceptofItaliandesignfromthebroaderdefinitionoftheterm,however,whichcohasneglectedtopointout.heserelate,primarily,toitsideologicalfunctionasapurveyorofItaliannationalisticvaluesanditsimportantrolewithintheinternationaleconomy.otonlydoesitdependuponasophisticated,theoreticalframewor,andanumberofthiningprotagonists,italsohasaspecialeconomicroletoplaywithintheworldasawhole.InfactthemodernItaliandesignmovementoriginatedin,(andisstilltodaylargelyrestrictedto,thewealthyindustrialcitiesofthenorth,)particularlyilanandurintcameintoitsown,intheyearsafter1945,aspartofItaly'sneedtopenetratenew,foreignmarets,andtobecomeestablishedasaviableeconomic,industrialandculturalpowerwithinthemodernindustrializedworld.Assuch,whilemodernItaliandesignoweditsoriginstospecificallyItalianconditions,anddisplayedvisualtraitsthathavebeendescribedasparticularly“Italian”incharacter(Italy’srichartisticheritageisfrequentlymentionedinthiscontext),itseffectsweregreateroutsideItaly.Itsspecialrolewastoprovideanationalimagewithinthecontextofinternationaltradeandculture.ThusmostmodernItaliandesignwas(exceptintheveryearlystagesofitsevolution)“designforexport”,andassuchitsinfluenceonthegreaterpartofItaliansocietywas,andis,minimal.Fromtheearly1960sonwardsitsimpactwasfeltmoststronglyinthewealthyquartersofLondon,Paris,NewYorkandTokyo.Thus,whiletheproductionoftaliandesignisinextricablylinkedtotheeconomic,socialandculturalcontextofmodernItaly,itsconsumptionisnot.然而，co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)計與廣義上的設(shè)計。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。然而，co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)計與廣義上的設(shè)計。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。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。事實上，現(xiàn)代意大利設(shè)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。在 年之后，意大利設(shè)計作為意大利現(xiàn)代工業(yè)中具有活力經(jīng)濟(jì)、工業(yè)化和文化動力的一部分投入新的、國際的市場。正是如此，現(xiàn)代意大利設(shè)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(shù)遺產(chǎn)常常被提到），它的影響已經(jīng)超出了意大利。意大利設(shè)計的特殊地位，為意大利在國際貿(mào)易與文化中提供了一個象征。因此，大多數(shù)意大利設(shè)計是為了出口，除了早期的階段。因此，它對意大利社會影響在過去和現(xiàn)在都在減小。從年代初期，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(dāng)意大利的產(chǎn)品設(shè)計不可避免的與當(dāng)代意大利經(jīng)濟(jì)、社會和文化聯(lián)系在一起的時候，對消費卻影響不大。owever,thisdefinitionofItaliandesign,whileprovidingthefocusforthisaccount,doesnotexplainItaly'sextraordinarysuccessinevolvingsuchstunningformsforitsobjects,andinencouragingtheemergenceofapostwargenerationof“superstardesignersItisclearlynotenoughtosuggest,asmanyhave,thatItaly'spastachievementsintheareasofarchitectureandthedecorativeartsaccountforitscontemporarysuccessesintheworldofindustrialdesign,althoughthisrichculturalheritagemaywellbeacontributoryfactoranditdoesnotexplaintheindustrialandcommercialsuccessesofcontemporaryItalywhichareintrinsicpartsofthephenomenonthatprovidesthefocusforthisstudyIronically,whileItalyhasahighlyrefinedindustrialdesignculture,itdoesnothaveanindustrialdesigneducationalsystemworthspeakingof.NearlyallthemembersofthegroupofdesignerswhobeganpracticingasindependentdesignersofinteriorsandindustrialgoodsimmediatelyfollowingtheSecondWorldWarweretrainedasarchitectsbeforethewar.Graduates,forthemostpart,ofthepolytechnicsofMilanandTurin,whichhadbecometwoofthemostpowerfulcentersofarchitecturaltrainingintheseyears,emergedfromthewartofindadearthofarchitecturalprojectsandthepossibilityofearningalivingonlyfromthewealthynorthernclientswhocommissionedthemtodesigntheinteriorsoftheirprivatedwellings.Thusinteriordesign,alongwithexhibitiondesign,whichwasgrowinginstrengthasameansbywhichItalycouldshowtherestoftheworldwhereitscreativetalentslay,playedanimportantrole,allowingthearchitectstoestablishthemselvesinindependentprofessionalpracticesandprovidinganoutletfortheirasyetuntestedskills.然而，意大利設(shè)計的定位，從它的焦點來看，不能解釋為什么意大利產(chǎn)品設(shè)計能夠如此成功，和刺激戰(zhàn)后明星般的設(shè)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(dāng)代工業(yè)設(shè)計成功的影響，雖然，豐富的文化遺產(chǎn)可能是一個因素。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。比較諷刺的是，意大利擁有良好的工業(yè)設(shè)計文化，卻沒有值得說的工業(yè)設(shè)計教育體系。在戰(zhàn)后幾乎所有的獨立的室內(nèi)和工業(yè)產(chǎn)品設(shè)計師，在戰(zhàn)前都作為建筑設(shè)計師來培訓(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)計師培訓(xùn)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(shè)計他們私人住宅項目來生活。于是，室內(nèi)設(shè)計和展示設(shè)計發(fā)展起來，并為意大利設(shè)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?jīng)驗證的技巧提供實踐機(jī)會。Therealreathrough,however,camewiththegrowingdesireoftheconsumergoodsmanufactures(一somealreadyestalished,othersnewlyformed — )tomodernietheirproductstheyturnedtothearchitectsastheoviouspeopletodothisforthemtrongrelationshipsdevelopedfromtheseinitialliaisonsandquitequiclythearchitectsweretransformedinto“designersforindustry",acquiringtheirtrainingforthispo