工業(yè)設計專業(yè)英語(第三版)第五課設計與文化

1、ENGLISH FOR INDUSTRIAL DESIGNLesson 5Design and CultureENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeNow that “design” is understood from Tokyo to Moscow, from Buenos Aires to Montreal, it is obvious that each country according to its politics, its economics, its sociology, its industry, use

2、s “Design” in a different way; but one must add that a universal language is being constructed daily.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free既然從東京到莫斯科，從布宜諾斯艾利斯到蒙特利爾，這些國家東懂得了“設計”，那么我們從中很容易發(fā)現(xiàn)每個國家根據(jù)各自不同的政治、經(jīng)濟、社會、工業(yè)狀況，以不同的方式運用“設計”；但有一點必須要補充說明的是一種通用的語言正在被日趨構(gòu)建。“文化”一詞以其非常民主的意思貫穿于整篇文章，也就是說，作為一

3、個概念，它把現(xiàn)在社會所表現(xiàn)出的各種思想和價值作為一個整體而包含其中，而不僅僅指的是人的努力所達到的水平。同時，在這里涉及被理解為影響每個人的一種現(xiàn)象。ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeThe word “culture” is used throughout the text in its most democratic sense, that is , as a concept which embraces the ideas and values expressed by modern society as a wh

4、ole, rather than one which only touches one level of human endeavor. In parallel, design is understood here as a phenomenon which affects everybody.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeThe definition of culture has to be considered within a broad context which subsumes economics, po

5、litics and technology as these are the forces which have determined the dominant cultural patterns in modern society. Design is also formed and sustained by these forces and, as a result, designed artifacts act as culture ciphers. In this book, I have set out to examine both the way in which culture

6、 has influenced design in this century and the manner in which design has, in its turn, played a part in creating culture through the objects, institutions, personalities and the patterns of behaviour and thought that have accompanied it. Since 1900, design and culture, in this wide sense, have beco

7、me increasingly interdependent and the implication of this relationship will re-merge constantly in the following chapters.文化的定義必須以寬泛的角度加以考慮，它包括經(jīng)濟，政治以及技術，因為它們是決定現(xiàn)代社會主要文化樣式的力量。設計也有這些力量形成并支持著，因此，設計出的人工制品充當了文化元素的角色。在這本書里，我著手審查了本世紀文化影響設計的兩種途徑以及反過來設計在通過事物，體制，個性和行為樣式以及伴隨其中的思想中創(chuàng)造文化的方式。從廣泛的角度來講，自1900年以來，設計和

8、文化變得越來越相互依存并且這個關系的含義將在以下幾章不斷的重復出現(xiàn)。My main thesis is that, within the framework of industrial capitalism which created it and continues to dominate it in contemporary Western society, design is characterized by a dual alliance with both mass production and mass consumption and that these two phenomen

9、a have determined nearly all its manifestations. Like Janus, design looks in tow directions at the same time : as a silent quality of all mass produced goods it plays a generally unacknowledged but vital in all our lives; as a named concept within the mass media, it is, however, much more visible an

10、d generally recognized. In this latter guise design becomes an extension of marketing and advertising. The “designer-jeans” phenomenon, which persuades us to by a product because it has been designed, is, culturally speaking, totally distinct from the activity of the anonymous designers within indus

11、try who resolve the problems of the cost, appearance and use in consumer products. The way in which design as an adjunct of marketing has grown out of design as an aspect of mass production is a major theme within the story of modern design and the focus of this book. It is a change which directly m

12、irrors the way in which the model of mass-production industry, as presented by Henry Ford, which dominated American ideas about industrial organization in the early twentieth century, has been challenged by an alternative model which stresses batch production, a smaller scale of operations (or set o

13、f operation), and, at times, a fair amount of hand or skilled word. This latter model best expressed by Sloanes work at General Motors in the USA in the 1920s and by contemporary development in Japan and Italy-puts the demands of the marketplace above those of the logic of mechanized mass production

14、 and tends, as a result, to value the diversification of products rather than , or as well as, standardization. These two models of industry coexist in this century and have different implications for the meaning of design. An important sub-theme is the way in which the aesthetic of designed artifac

15、ts has swung repeatedly backwards and forwards from production to consumption as sources of metaphorical inspiration. ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free我的主要論點是，在創(chuàng)造了設計并且繼續(xù)支配著它的西方社會的工業(yè)資本主義框架下，設計通過與大量生產(chǎn)和大量消費的雙重聯(lián)盟被賦予特征，并且這兩種聯(lián)盟的現(xiàn)象幾

16、乎已經(jīng)決定了它的所有的特征。像杰納斯一樣，設計是朝向不同的方向同時進行的：作為所有大批量生產(chǎn)的產(chǎn)品的一種無形的質(zhì)量它扮演著一個未被世人承認但在我們所有人的生活中非常重要的角色；然而，作為一個在大眾媒體中指定的概念，它更加明顯并且得到了廣泛的認可。在后一種認知里設計成為行銷與廣告的延伸。 從文化角度來講，“設計師與牛仔褲”現(xiàn)象與解決在消費產(chǎn)品中出現(xiàn)的價格，外觀及使用問題的業(yè)內(nèi)不知名的設計師的活動是完全不同的。涉及從市場營銷的一個附屬品成長為批量生產(chǎn)的一個方面的這種方式是現(xiàn)代設計報道中的一個主要主題和這本書的焦點。像亨利.福特提出的那樣，直接反映工業(yè)化批量生產(chǎn)模式的轉(zhuǎn)化過程是一次轉(zhuǎn)變，這一轉(zhuǎn)變支配

17、了20世紀初美國關于工業(yè)組織的想法，并且這一轉(zhuǎn)變以及一個可選擇的模式挑戰(zhàn)，這種模式強調(diào)批量生產(chǎn)和一種較小的生產(chǎn)規(guī)模（或者系列生產(chǎn)），并且有時強調(diào)一定數(shù)量的手工或者技術性的工作。后面的模式被在20世紀美國通用汽車斯隆的工作制與在日本及意大利同一時期的發(fā)展很好地說明了，這種模式將市場的需求放置在機械化大批量生產(chǎn)的邏輯和趨勢的需求之上，因此，更重視產(chǎn)品的多樣化而不是標準化。在本世紀這兩種工業(yè)模式同時存在，并且對設計的價值有著不同的意義。一個重要的副標題是以北設計的人工制品的美學形式作為潛在的靈感之源，從生產(chǎn)到消費之間反復搖擺的方式。While the book concentrates on des

18、ign as it has come to be defined and understood since the advent of mechanization, and emphasizes those themes which have made it part of recent history, it is also important to remember that the concept has an earlier history which is largely responsible for the way we comprehend it today. Design h

19、as always been one aspect of a larger process whether of manufacturing, in the craft or mechanized sense, or, from the consumers point of view, of participating in social or economic life and its definition has, from the moment the word entered the English language, been in a state of constant flux

20、due ,primarily, to the changes in the social-economic framework which has sustained it. Thus the difference between a seventeenth-century-pattern maker and a modern industrial designer is less one of the nature of their respective creative activities than of the economic, technological and social co

21、nstraints within which the activity is performed. What have remained constant are the visualizing and humanizing aspects of the design process as even today the designers input into the manufacture of an electronic calculator, for example, focuses on the aesthetic and ergonomic aspects of that produ

22、ct.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free同時本書關注設計，因為自機械化出現(xiàn)以來，設計已經(jīng)開始被定義和理解了，并且設計強調(diào)使它成為近代歷史一部分的那些主題，記住這個概念有一個較早的歷史也是相當重要的，這個較早的歷史在今天很大程度的影響著我們對于設計的理解。設計總是一個較大程序中的一個方面，這些程序指的不管是手工意義或機械意義上的制造業(yè)還是從消費者的角度來看對社會和經(jīng)濟生活的參與。從設計這一單詞在英語詞匯中出現(xiàn)的那一刻

23、起，它的定義處于一種平穩(wěn)的變化狀態(tài)，這一狀態(tài)起初是由支撐它的社會經(jīng)濟框架的變化形式?jīng)Q定的。因此十七世紀模式的制造者和現(xiàn)代工業(yè)設計者之間的差別不是他們各自的創(chuàng)造性活動所具有的某種特性而是制約活動（設計）形成的經(jīng)濟，技術和社會條件。所以保持不變的是設計過程中形象化和人性化的方面，例如，即使今天設計者像一臺電子計算機制造的輸入關注的是產(chǎn)品的美學和人機工程學方面的內(nèi)容。The most significant and powerful constraining factor on design in the last two centuries has, however, been its growi

24、ng alliance with mass production and mass consumption. This, more than any other historical event, has determined the special characteristics we associate with its role in modern society. In recent decades, manufacturing industry has removed design from its original, humble and largely anonymous bac

25、kstage position as an element in the production process and push it into the limelight as an important aspect of the sale ability and desirability of consumer products. The French Marxist writer, Laurent Wolf, explains that it has become merely “a new way of elaborating products linked to the profou

26、nd mutation of the production process”. Design, in the “old” sense, has not disappeared however. It remains as central to the process production as it ever did but tends , at least in terms of its cultural image, to be overshadowed by the more sales-oriented concept. ENGLISH FOR INDUSTRIAL DESIGNSim

27、ple, Powerful and freeENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free然而，在過去的兩個世紀，設計上最重要的和最強大的制約因素一直是它與大批量生產(chǎn)和大量消費的日益增長的聯(lián)盟關系。與其他歷史事件相比，決定著一種典型的特征，我們將這種典型的特征與它在現(xiàn)代社會中的作用聯(lián)系在一起。在最近的幾十年，制造業(yè)已經(jīng)改變了設計，使它從生產(chǎn)過程中作為一個最初的，不被重視的，無名的幕后位置推至為對消費品的出售能力和滿意程度的一個重要的引人注目的位置。法國人，馬克思主義作家，霍爾夫.勞倫洛朗解釋說設計幾乎已經(jīng)成為“精制品與生產(chǎn)過程中的極

28、度變化相聯(lián)系的一種新的方式”。設計，在“舊”的意義上講，并沒有消失，它保持著像先前一樣的而不是趨勢的以過程生產(chǎn)為中心的做法，至少就它的文化形象而言，被更多的以銷售為向?qū)У母拍钏采w。The ambiguity created by the co-existence of these two faces of design has been the greatest stumbling-block in a satisfactory analysis of it. It is a difficulty which is exacerbated by the confusion and ideol

29、ogical assumption which have been made by many of this centurys critics and historians of design. It was those critics, among them Nikolaus Pevsner, Lewis Mumford, Herbert Read and Siegfried Gieldion-all of whom supported the functionalist ideals of the Modern Movement in the interwar years who help

30、ed to perpetrate the myth that society was to come to associate with that particular design movement, and who thereby turned design into a heroic rather than an everyday concept. The critical tradition established by these writers has been hard to supersede and it is only recently, as a result of th

31、e growing dissatisfaction with the Modern Movement, that their views have been questioned.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and freeENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free由設計兩方面的共存所產(chǎn)生的不確定性已經(jīng)成為對設計滿意分析的最大障礙。他是個難題，這個難題被這種混亂和由本世紀的一些批評家和設計界的史學家制造的一是假設加劇了。是這些批評家，其中包括培福斯納.尼克魯斯，忙福

32、特.劉易斯, 李德.赫伯特，齊格弗里德所有這些人在兩戰(zhàn)之間都支持現(xiàn)代運動的功能主義思想是這些人錯誤的推進了“完美設計”等同于機器美學者這一荒誕的說法，使這些人忽視了社會將與那些特殊的設計運動聯(lián)系在一起的意義，并且也是他們使設計成為一種英雄事跡而不是一個日常概念。有這些作家建立的批判性的傳統(tǒng)很難被取代，并且只是最近，由于對現(xiàn)代運動不斷增長的不滿情緒，他們的觀點已經(jīng)受到懷疑。It has become increasingly difficult also to extricate the propaganda of design from its real manifestations and

33、to separate sales talk from fact. One way of avoiding these impasses is to move beyond the Modern Movement critics and to consider design within the context of social life. From this perspective, design simply becomes one of the forms of mass communication in modern society as much as it plays a fun

34、damental role, both practical and psychological, within daily life.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free從設計的真實表現(xiàn)中剝離出那些對設計的夸大宣傳成分和那些推銷成分也已經(jīng)變得越來越困難。避開這些困難的一種方法就是忽略現(xiàn)代運動的批評家（的看法），并且將設計放在社會生活的范圍內(nèi)加以考慮。從這個角度講，設計僅僅是現(xiàn)代社會中眾多信息的一種形式，在人的日常生活中不論是在人的實踐還是人的心理上，這種形式都起到了一個基礎的作用。In understanding many

35、 of the changes in the meaning of modern design it is important to grasp the modifications that have been effected by the changing social patterns to which the designer , like everybody else , can only respond as best he or she can. The changing role of women in this century , for example, has influ

36、enced the appearance and image of the so-called labor-saving devices in the home needed to minimize housework. Conversely, design initiative can modify socially behavior, as is the case, for example, with the Sony Walkman, the miniature tape-cassette player which has encouraged a new attitude toward

37、s such solitary activities as jogging and traveling on the underground.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free在理解現(xiàn)代設計意義具有許多變化的同時，掌握由社會模式的改變從而影響到對設計的修正是非常重要的，像大多數(shù)人一樣，設計師僅僅能對這些社會模式的變化盡可能作出最好的反應。例如，本世紀婦女地位的改變已經(jīng)影響到了設備的外觀及形象的改變，在家里這些設備的使用使家務勞動減到最小。相反，創(chuàng)新設計能夠改變社會行為，這是事實，例如，索尼隨身聽，一種微型的盒式磁帶播放器

38、能鼓勵人們以一種新的態(tài)度面對一些單獨的活動比如慢跑和秘密旅行。While the relationship between social change and design change remains a chicken and egg problem it is equally difficult to decide whether economic necessity, public taste, available technology, or social need came first as causes for design innovation. For example, th

39、e emergence in this century of new materials and production techniques, such as die-casting in plastics manufacture, has been highly influential in determining the appearance of many of the products which surround us but , at the same time, those object would never have entered the mass environment

40、if they did not fulfill an earlier need, whether practical, economic, political, social or psychological. In many ways the stories of design “failure”such as that of the Ford Edsel in the early 1950sreveal more about the meaning of design in contemporary society than those of the “success” depends u

41、pon an inextricable combination of forces.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free然而，社會改變和設計改變的關系仍然是雞和雞蛋的問題，也就是說很難決定是經(jīng)濟需求，還是大眾品味，還是可利用的技術，還是社會需求應該作為設計革新的首要原因。例如，本世紀新的材料和生產(chǎn)技術的出現(xiàn)，比如像在塑料制造業(yè)中的壓膜法，已經(jīng)在很大程度上影響了我們周圍的許多產(chǎn)品的外觀，但是同時，如果那些需求革新不在早期完成，那么不論是實踐，經(jīng)濟，政治，社會還是心理上，他們都不會被大眾所接受。在許多方面有著設計“失敗”的事例

42、比如像20世紀50年代的Ford Edsel比那些依靠組合而成功的設計更多地揭示出在當代社會中設計的意義。The social and psychological necessity for design is easily justified by the fact that we only need to buy , for example, one set of plastic crockery which would last us a life-time. That we continue to buy expendable products made of fragile mate

43、rials, and often, indeed, to invest in duplicate examples which only vary stylistically, because of the demands of social status or ritual, emphasizes the fundamentally symbolic role that design plays in our consumption and use of objects. While this tendency may be minimized at the more technical e

44、nd of the spectrummost of us do not, for example, need more than one micro-wave oveneven in goods of this nature there are signs that pluralism is increasingly the norm. The socio-cultural argument is reinforced by the economic demands of industrial capitalism which depends on the constant consumpti

45、on of goods. Together they locate design in the center of the picture as it is design that provides the variation that is so essential to modern society. ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free社會及心理需求對于設計是可以很容易由事實來證明的，比如我們只需要買一組能使用甚至使用一輩子的塑料餐具。由于社會狀態(tài)和禮節(jié)的需求我們不斷的購買那些易碎的材料制成的可消耗的產(chǎn)品，并且事實上

46、，我們經(jīng)常投資于僅僅是在形式上有所不同的復制的東西，并且強調(diào)設計是在我們對物品的消耗及使用中所扮演的最基本的象征性的角色。然而也許這種趨勢會被最小化到某一領域例如，大多數(shù)人不需要再多一個的微波爐盡管這種產(chǎn)品功能越來越多元化。和社會、文化因素有關的爭論變成對不斷消耗的產(chǎn)品的工業(yè)化資本主義經(jīng)濟需求的加深。他們共同將設計定位于構(gòu)想的中心，因為是設計提供了對現(xiàn)代社會非常必要的變化。Design decisions are constantly being made everywhere, whether by designers or consumers. They all focus on the

47、aesthetic of the product whether, in the designers case, defined as a creative resolution of the joint demands of technology, price, or as the fulfillment of the requirements of taste, practicality and social and economic needs.ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free設計決議會經(jīng)常被到處得出，無論是被設

48、計師還是消費者。站在設計師的立場來看，他們都將注意力集中在產(chǎn)品的審美上，不管是對一個作為連接技術與價格需求的創(chuàng)造性決議的定義還是對作為履行品位性、實用性和社會及經(jīng)濟需求的必要條件的定義。Design is, more often than not, therefore, manifested in a tangible and visible form and objects are, therefore, an important point of entry for the design critic or historian. They are not always, however,

49、the final words as design is, ultimately, a cultural phenomenon whose effects are as abstract as they are physical. Objects play a significant role in this book particularly those like the Italian Vespa motor scooter which encapsulate many of the important aspects of modern design and culture but most of them are included as examples or illustrations rather than as the main substance of my text. ENGLISH FOR INDUSTRIAL DESIGNSimple, Powerful and free因此，設計時常以有形的和可見的形式來體現(xiàn)，并且對于設計的評論家和史學家來說是一個重要的切入點。然而，他們總是最后的表達出設計從根本上來說是一種文化現(xiàn)象，它的影響同它本身一樣