1、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 cloth
2、es and accessories （that have earned Italy such a key position in the world of contemporary material 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.二十世纪意大利设计仅仅是现代意大利文化、政
3、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 mi
4、nimally）, upon models borrowed from elsewhere. As one of Italys 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 thos
5、e 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
6、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;
7、 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 brought with it) ; the special nature of Italian industrialization, which has respected craft traditions while implementing
8、 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
9、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 h
10、as ( 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 th
11、e 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. “ Identifie
12、d 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
13、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 t
14、he 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
15、” 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 sp
16、ecial 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
17、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“无意识性设计”这些方式不是完全单独进化的，他们有许多相互重叠的部分。Other characteristics also differentiate this special concept of Italian design from the broader
18、 definition of the term, however, which Eco has neglected to point out.These relate, primarily, to its ideological function as a purveyor of Italian nationalistic values and its important role within the international economy.Other characteristics also differentiate this special concept of Italian d
19、esign from the broader definition of the term, however, which Eco has neglected to point out.These relate, primarily, to its ideological function as a purveyor of Italian nationalistic values and its important role within the international economy.Not only does it depend upon a sophisticated, theore
20、tical framework, and a number of thinking protagonists, it also has a special economic role to play within the world as a whole.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 Tur
21、in. 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.As such, while modern Italian design owed its origins to specifically Ital
22、ian conditions, and displayed visual traits that have been described as particularly“ Italian” in character ( Italys rich artistic heritage is frequently mentioned in this context) , its effects were greater outside Italy.Its special role was to provide a national image within the context of interna
23、tional trade and culture.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. From the early 1960s onwards its impact was felt most strongly in the wealthy
24、 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.然而，Eco 忽视的没有指出的是，还有一些其他的特征也区别于这种意大利的特殊设计与广义上的设计。这种联系，主要是，它的意识形态功能，作为意大利的民族价值观的提供商。然而，Eco忽视的没有指出的是，还
25、有一些其他的特征也区别于这种意大利的特殊设计与广义上的设计。这种联系，主要是，它的意识形态功能，作为意大利的民族价值观的提供商。不仅有成熟的理论体系框架和许多思想家而且在世界经济中有特殊地位。事实上，现代意大利设计运动起源于米兰和都灵，而且现在任然限制于这两个富裕的北部工业城市。在 1945 年之后，意大利设计作为意大利现代工业中具有活力经济、工业化和文化动力的一部分投入新的、国际的市场。正是如此，现代意大利设计归功于意大利独特的条件，和显示出被描述成意大利特征的视觉特征。 （意大利丰富的艺术遗产常常被提到） ，它的影响已经超出了意大利。意大利设计的特殊地位，为意大利在国际贸易与文化中提供了一
26、个象征。因此，大多数意大利设计是为了出口，除了早期的阶段。因此，它对意大利社会影响在过去和现在都在减小。从 60 年代初期，它对于富裕地区的影响越来越大，伦敦、巴黎、纽约和东京。因此，当意大利的产品设计不可避免的与当代意大利经济、社会和文化联系在一起的时候，对消费却影响不大。However, this definition of Italian design, while providing the focus for this account, does not explain Italys extraordinary success in evolving such stunning fo
27、rms 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 the world of i
28、ndustrial 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.Ironically, while Italy has a highly refi
29、ned 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 practicing as independent designers of interiors and industrial goods immediately following the Second World War were trained as arch
30、itects 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 in these years, emerged from the war to find a dearth of architectural projects and the possibility of earning a living only from th
31、e wealthy northern clients who commissioned them to design the interiors of their private 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,
32、allowing the architects to establish themselves in independent professional practices and providing an outlet for their as yet untested skills.然而，意大利设计的定位，从它的焦点来看，不能解释为什么意大利产品设计能够如此成功，和刺激战后明星般的设计师的出现。意大利过去在建筑和装饰上的成就不能解释对于当代工业设计成功的影响，虽然，丰富的文化遗产可能是一个因素。更没有揭露意大利当代工业化和商业化成功的本质原因。比较讽刺的是，意大利拥有良好的工业设计文化，却没
33、有值得说的工业设计教育体系。在战后几乎所有的独立的室内和工业产品设计师，在战前都作为建筑设计师来培训。绝大部分毕业生来自于米兰和都灵科技技术大学，现在成为建筑设计师培训的两大中心基地。在战争中建筑项目很缺乏，仅仅依靠北方富有的委托商去设计他们私人住宅项目来生活。于是，室内设计和展示设计发展起来，并为意大利设计天才提供展示的舞台，扮演了一个非常重要的角色，允许建筑师实现他们的专业实践，并为他们为经验证的技巧提供实践机会。The real breakthrough, however, came with the growing desire of the consumer goods manufa
34、ctures（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“ ,acqui
35、ring their training for this position very speedily on the factory floor and in the boardroom. The relatively small scale of most Italian manufacturing concerns permitted the designers easy access to all stages of production and they were in direct communication with the management, often the member
36、s of the family which owned the company in question.然而，真正的突破来自于消费产品制造商对于不断增长的产品现代化的要求，有的已经确立，有在正在形成。这些使得明显的建筑师转向产品设计。密切的联系使得建筑师快速转变成工业设计师，通过要求他们做工厂和会议室的装修使得他们快速适应新职位。许多意大利制造商规模较小，允许设计师很容易参与到产品制造的所有阶段，他们可以直接和经理交流，通常，家庭成员拥有公司。The emphasis on“ styling“ over technological sophistication, as the way Ital
37、ian goods were promoted abroad, meant that the designers needed to have only a rudimentary knowledge of the technical aspects of the manufacturing process. Trained, as they mostly were, within the tradition of architectural rationalism ( the Italian equivalent of the Modern Movement in architecture and design) , they were, however, enthusiastic about the use of new materials and adept at finding new forms to suit them.意大利商品广泛传播的方式是将重点放在风格上，而不是技术上。这就意味着设计师只需对制造工艺方面的知识有初步的了解。大多数设计师被训练的具有传统的建筑理性（意大利的现代运动在建筑和设计方面是同等的）它们很热心于新材料的运用并努力寻找新形式去使用新材料。
