工业设计专业英语Lesson 6 Italian design.docx

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 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)