-
Lesson 6 Italian
design
Twentieth - 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 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<
/p>
.
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<
/p>
,
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
<
/p>
“
.
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
< br>.
皮尼法瑞德工作来说明这一现象
.
Eco places the emphasis firmly on the
self - conscious intentio
ns 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
ably, 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
< br>
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
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
definition
of
the
term,
however,
which
Eco
has
neglected
to
point
relate,
primarily,
to
its
ideological
function
as
a
purveyor
of
Italian
nationalistic
values
and
its
important
role
within
the
international characteristics also
differentiate this special concept of Italian
design from the
broader definition of
the term, however, which Eco has neglected to
point relate, primarily, to its
ideological
function
as
a
purveyor
of
Italian
nationalistic
values
and
its
important
role
within
the
international only does it depend upon
a sophisticated, theoretical framework, and a
number
of thinking protagonists, it
also has a special economic role to play within
the world as a 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 Turin. It came
into its own, in the years after 1945, as
part of Italy’s need to penetrate new,
foreign markets, and to become established as a
viable economic,
industrial and
cultural power within the modern industrialized
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 ( Italy’s rich artistic heritage is
frequently mentioned in this context) , its
effects
were
greater
outside
special
role
was
to
provide
a
national
image
within
the
context
of
international trade and most modern
Italian design was ( except in the very early
stages of its
evolution) “ design for
export” , and as such its influ
ence 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
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，
E
co
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
< br>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。
< p>
However, this definition of
Italian design, while providing the focus for this
account, does not explain
Italy’s
extraordinary
success
in
ev
olving
such
stunning
forms
for
its
objects,
and
in
encouraging
the
emergence
of
a
post
-
war
generation of
“super
-
star
It
is clearly
not
enough
to
suggest,
as
many
have, that Italy’s past achievements in the areas
of architecture and the deco
rative arts
account for
its contemporary successes
in 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 ally, while Italy
has
a
highly
refined
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
architects 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
the
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,
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
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