lesson_5_design_and_culture

lesson 5 design and culture生词及段落翻译

第一段：

1.Buenos Aires 布宜诺斯艾利斯(阿根廷首都)

2.Montreal 蒙特利尔（加拿大）

3.sociology社会学

从东京到莫斯科，从布宜诺斯艾利斯到蒙特利尔，各个地方都非常了解“设计”这个概念，因此，很显然不同国家会根据自身的政治、经济、社会以及行业情况对“设计”有着不同的理解。但是，必须指出的是适用于设计的普遍语言几乎每天都被创造出来。

第二段：

1.embrace 包括

2.In parallel 与此同时

3.democratic 民主的

“文化”这个词在本文中的意思是指那种最为大众普遍接受的意义，也就是一种蕴涵了现代社会整体所表达出的一切观点和价值观的概念，而不是只触及人类壮举的某个方面。同样，本文中的设计也是指影响到每个人的现象。

第三段：

1.context 上下文，语境，背景

2.subsume 包含

3.dominant 主导的

4.pattern 形式，方式

5.form 形成

6.sustain 维持

7.artifact 人工制品

8.cultural ciphers 文化元素

9.set out to 着手，开始（做某事）

10.institutions 制度

11.interdependent 相互依赖的

12.implications 牵连

上述对文化的定义必须要放在一个广阔的语境下来理解。这一语境必须囊括经济、政治和技术，因为这些是确立现代社会主流文化模式的重要因素。设计也因这些因素而产生并得以延续。也正因此，设计作品成为了解读文化的密码。在本书中，我在考察本世纪内文化是如何影响设计的同时，也探讨设计又如何通过物件物器、制度习俗、人格品行以及它们背后的行为思维模式来创造文化。自1900年以来，设计与文化（均取最宽泛的理解）之间的共生关系越来越紧密。本书接下来几个章节将会不断谈到这个共生关系的影响。

第四段

1.Thesis 观点，论点

2.framework 构架；结构

3.industrial capitalism 产业资本主义

4.dominate 统治，在…中占首要位置

5.contemporary 当代的

6.phenomena 现象

7.manifestation 表现

8.Janus 两面神

9.in tow directions 从两个方向

10.unacknowledged 不被承认的,未答复的

11.vital 极重要的，不可缺少的

12.the mass media 大众传媒

https://www.sodocs.net/doc/0a7766215.html,tter 后者的

14.guise design 外观设计

15.extension 延伸

16.culturally speaking 从文化意义上来讲

17.distinct from与其他不同的,有区别的

18.anonymous designers 无名设计师

19.resolve the problems of ….解决..问题

20.consumer products 消费品

21.Henry Fort

22.batch production 批量生产

23.a fair amount of 大量

24.contemporary development 当代生产

25.mechanized 机械化

26.mass production 大规模生产方式

27.diversification 多样化

28.coexist 共存

我的主要观点是既然工业资本主义造就了设计并继续在现代西方社会中引领着设计，那么在这个框架内，设计既和大规模生产密切相连，又和大规模消费密不可分。而且，这两种现象几乎可以说决定了设计的各类表现形式。如古罗马两面门神一样，设计也同时具有双重型：作为大规模生产产品的一个无声特性，设计在我们生活中起到一个关键但又不被承认的作用；作为大众传媒里的一个特定概念，设计却又如此显眼，并得到了广泛的认可。在后者这个掩饰下，设计又继而成为市场营销和广告的一种衍生。我们之所以要买某件产品是因为那是某某人设计出来。这种“设计师牛仔裤”现象从文化角度来说，完全不同于工业领域默默无名的设计师解决消费者产品成本、外观以及使用方面的问题的那些活动。设计是如何由大规模生产的产物衍变成市场营销的一个附属品是现代设计史的重要内容，也是本书的核心问题。这一转变也反映了工业生产领域的一个转变。由亨利福特倡导的大规模生产主宰了20世纪初期美国工业结构，但是后来受到了另外一种模式的挑战。这种模式注重批量生产，提倡运作业务的小规模化，有时候还提出可以适当进行一定量的手工熟练技术活。这一模式——最具有代表性的如20世纪20年代斯隆在美国通用汽车公司的做法，到了当代在日本和意大利批量生产这一模式又得到了进一步的发展（译者注：艾尔弗雷德斯隆是美国通用汽车公司历史上的功臣，他提出生产要划分汽车的档次，能够满足不同购买能力的顾客的消费需求；20世纪60年代大野耐一在日本丰田公司提出了著名的Just-In-Time及时生产管理模式；20世纪80年代和90年代，意大利中小企业兴起了柔性专业化/弹性专精Flexible Specialization生产模式，最早是由意大利经济学家Becattini和他的学生提出来的）——把市场需求放在机械化大规模生产前面，排在第一位，因此更重视产品多样化而不是标准化。这两种模式并存于本世纪，也对设计这一概念产生了不同的影响。这其中一个重要的话题便是设计产品美学是如何对应生产与消费之间不断地转换而也随之变化的。

第5段：

1.advent 出现，到来

2.mechanization 机械化，自动化

3.emphasize vt 强调

4.mechanized 机械化的

全文翻译

Design and Culture

Now 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, uses “Design” in a different way; but one must add that a universal language is being constructed daily.既然从东京到莫斯科，从布宜诺斯艾利斯到蒙特利尔，这些国家东懂得了“设计”，那么我们从中很容易发现每个国家根据各自不同的政治、经济、社会、工业状况，以不同的方式运用“设计”；但有一点必须要补充说明的是一种通用的语言正在被日趋构建。

The word “culture” is used throughout the text in its most democratic sense, that is , as a con cept which embraces the ideas and values expressed by modern society as a whole, rather than one which only touches one level of human endeavor. In parallel, design is understood here as a phenomenon which affects everybody.“文化”一词以其非常民主的意思贯穿于整篇文章，也就是说，作为一个概念，它把现在社会所表现出的各种思想和价值作为一个整体而包含其中，而不仅仅指的是人的努力所达到的水平。同时，在这里涉及被理解为影响每个人的一种现象。The definition of culture has to be considered within a broad context which subsumes economics, politics 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. 文化的定义必须以宽泛的角度加以考虑，它包括经济，政治以及技术，因为它们是决定现代社会主要文化样式的力量。设计也有这些力量形成并支持着，因此，设计出的人工制品充当了文化元素的角色。

In this book, I have set out to examine both the way in which culture 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. 在这本书里，我着手审查了本世纪文化影响设计的两种途径以及反过来设计在通过事物，体制，个性和行为样式以及伴随其中的思想中创造文化的方式。

Since 1900, design and culture, in this wide sense, have become increasingly interdependent and the implication of this relationship will re-merge constantly in the following chapters.从广泛的角度来讲，自1900年以来，设计和文化变得越来越相互依存并且这个关系的含义将在以下几章不断的重复出现。

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 phenomena have determined nearly all its manifestations. 我的主要论点是，在创造了设计并且继续支配着它的西方社会的工业资本主义框架下，设计通过与大量生产和大量消费的双重联盟被赋予特征，并且这两种联盟的现象几乎已经决定了它的所有的特征。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 and generally recognized. 像杰纳斯一样，设计是朝向不同的方向同时进行的：作为所有大批量生产的产品的一种无形的质量它扮演着一个未被世人承认但在我们所有人的生活中非常重要的角色；然而，作为一个在大众媒体中指定的概念，它更加明显并且得到了广泛的认可。In this latter guise design becomes an extension of marketing and advertising.在后一种认知里设计成为行销与广告的延伸。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 industry who resolve the problems of the cost, appearance and use in consumer products. 从文化角度来讲，“设计师与牛仔裤”现象与解决在消费产品中出现的价格，外观及使用问题的业内不知名的设计师的活动是完全不同的。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. 涉及从市场营销的一个附属品成长为批量生产的一个方面的这种方式是现代设计报道中的一个主要主题和这本书的焦点。It is a change which directly mirrors 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 of operation), and, at times, a fair amount of hand or skilled word. 像亨利.福特提出的那样，直接反映工业化批量生产模式的转化过程是一次转变，这一转变支配了20世纪初美国关于工业组织的想法，并且这一转变以及一个可选择的模式挑战，这种模式强调批量生产和一种较小的生产规模（或者系列生产），并且有时强调一定数量的手工或者技术性的工作。This latter model –best expressed by Sloane?s 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 and tends, as a result, to value the diversification of products rather than , or as well as, standardization.后面的模式被在20世纪美国通用汽车斯隆的工作制与在日本及意大利同一时期的发展很好地说明了，这种模式将市场的需求放置在机械化大批量生产的逻辑和趋势的需求之上，因此，更重视产品的多样化而不是标准化。These two models of industry coexist in this century and have different implications for the meaning of design. 在本世纪这两种工业模式同时存在，并且对设计的价值有着不同的意义。An important sub-theme is the way in which the aesthetic of designed artifacts has swung repeatedly backwards and forwards from production to consumption as sources of metaphorical inspiration. 一个重要的副标题是以北设计的人工制品的美学形式作为潜在的灵感之源，从生产到消费之间反复摇摆的方式。

While the book concentrates on design 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. 同时本书关注设计，因为自机械化出现以来，设计已经开始被定义和理解了，并且设计强调使它成为近代历史一部分的那些主题，记住这个概念有一个较早的历史也是相当重要的，这个较早的历史在今天很大程度的影响着我们对于设计的理解。Design has always been one aspect of a larger process – whether of manufacturing, in the craft or mechanized sense, or, from the consumer?s 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 due ,primarily, to the changes in the social-economic framework which has sustained it. 设计总是一个较大程序中的一个方面，这些程序指的不管是手工意义或机械意义上的制造业还是从消费者的角度来看对社会和经济生活的参与。从设计这一单词在英语词汇中出现的那一刻起，它的定义处于一种平稳的变化状态，这一状态起初是由支撑它的社会经济框架的变化形式决定的。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 constraints within which the activity is performed.因此十七世纪模式的制造者和现代工业设计者之间的差别不是他们各自的创造性活动所具有的某种特性二是制约活动（设计）形成的经济，技术和社会条件。What have remained constant are the visualizing and humanizing aspects of the design

process as even today the designer?s input into the manufacture of an electronic calculator, for example, focuses on the aesthetic and ergonomic aspects of that product.所以保持不变的是设计过程中形象化和人性化的方面，例如，即使今天设计者像一台电子计算机制造的输入关注的是产品的美学和人机工程学方面的内容。

The most significant and powerful constraining factor on design in the last two centuries has, however, been its growing 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. 然而，在过去的两个世纪，设计上最重要的和最强大的制约因素一直是它与大批量生产和大量消费的日益增长的联盟关系。与其他历史事件相比，指一直决定着一种典型的特征，我们将这种典型的特征与它在现代社会中的作用联系在一起。In recent decades, manufacturing industry has removed design from its original, humble and largely anonymous backstage 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. 在最近的几十年，制造业已经改变了设计，是它从生产过程中作为一个元素的它的最初的，不被重视的，无名的幕后位置推至为对消费品的出售能力和满意程度的一个重要的方面的这样一个引人注目的位置。The French Marxist writer, Laurent Wolf, explains that it has beco me merely “a new way of elaborating products linked to the …profound mutation? of the production process”. 法国人，马克思主义作家，霍尔夫.劳伦洛朗解释说设计几乎已经成为“精制品与生产过程中的‘极度变化’相联系的一种新的方式”。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. 设计，在“老”意义上讲，并没有消失，它保持着像先前一样的而不是趋势的以过程生产为中心的做法，至少就它的文化形象而言，被更多的以销售为向导的概念所覆盖。

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 ideological assumption which have been made by many of this century?s critics and historians of design. 由设计两方面的共存所产生的不确定性已经成为对设计满意分析的最大障碍。他是个难题，这个难题被这种混乱和由本世纪的一些批评家和设计界的史学家制造的一是假设加剧了。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 helped 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. 是这些批评家，其中包括培福斯纳.尼克鲁斯，忙福特.刘易斯, 李德.赫伯特，齐格弗里德——所有这些人在两站之间都支持现代运动的功能主义思想——是这些人错误的助进了“完美设计”等同于机器美学者以荒诞的说法，使这些人忽视了社会将与那些特殊的设计运动联系在一起的意义，并且也是他们使设计成为一种英雄事迹而不是一个日常概念。The critical tradition established by these writers has been hard to supersede and it is only recently, as a result of the growing dissatisfaction with the Modern Movement, that their views have been questioned.有这些作家建立的批判性的传统很难被取代，并且只是最近，由于对现代运动不断增长的不满情绪，他们的观点已经受到怀疑。

It has become increasingly difficult also to extricate the propaganda of design from its real manifestations and 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 fundamental role, both practical and psychological, within daily life.从设计的真实表现中剥离出对设计的夸大宣传以及从事实中取出推销的成分也已经变得越来越困难。避开这些困难的一种方法就是忽略现代运动的批评家（的看法），并且将设计放在社会生活的范围内加以考虑。从这个角度讲，设计仅仅是现代社会中众多信息的一种形式，在人的日常生活中不论是在人的实践还是人的心理上，这种形式都起到了一个基础的作用。In understanding many 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..在理解现代设计意义的许多的变化中，掌握由社会模式的改变而影响到的对设计的修正是重要的，像其他人一样，设计师仅仅能对这些变化的社会模式尽可能的作出他或她的最好的反应。The changing role of women in this century , for example, has influenced the appearance and image of the so-called labor-saving devices in the home needed to minimize housework. 例如，本世纪妇女地位的改变已经影响到了所谓的胜利设备的外观及形象的改变，在家里这些设备被用使家务劳动减到最小。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 towards such solitary activities as jogging and traveling on the underground. 相反，首创设计能够改变社会行为，这是事实，例如，索尼随身听，一种微型的盒式磁带播放器能鼓励人们以一种新的态度面对一些单独的活动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.然而，社会改变和设计改变的关系仍然是鸡和鸡蛋的问题，也就是说很难决定是经济需求，还是大众品味，还是可利用的技术，还是社会需求应该作为设计革新的首要原因。For example, the 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 if they did not fulfill an earlier need, whether practical, economic, political, social or psychological. 例如，在本世纪新的材料和生产技术的出现，比如像在塑料制造业中的压膜法，已经在很大程度上影响了许多在我们周围的产品的外观，但是，同时，如果那些物体不完成早期的需求，这些需求不论是实践中的，经济上的，政治上的，社会的或者还是心理上的，他们都不会进入群众的环境中。In many ways the stories of design “failure”——such as that of the Ford Edsel in the early 1950s——reveal more about the meaning of design in contemporary society than those of the “success” depends upon an inextricable combination of forces.在许多方面，设计“失败”的事例——比如像20世纪50年代的Edsel福特事件——比那些依靠一个分不开的力量的组合的成功的设计更多地揭示出在当代社会中设计的意义。

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.社会及心理对于设计的需求是很容易由事实来证明的，事实比如我们只需要买一组能够持续我们一生的有一定造型的陶器。That we continue to buy expendable products made of fragile materials, 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. 由于社会状态和礼节的需求我们不断的购买有那些易碎的材料制成的可消耗的产品，并且事实上，我们经常投资于仅仅是在形式上有所不同的复制的东西，并且强调设计在我们对物品的消耗及使用中所扮演的最基本的象征性的角色。While this

tendency may be minimized at the more technical end of the spectrum——most of us do not, for example, need more than one micro-wave oven——even in goods of this nature there are signs that pluralism is increasingly the norm. 然而也许这种趋势会被最小化到某一领域的更多的技术目标——例如，大多数人不需要比一个再多的微波炉——尽管在多元论越来越成为标准的这种征兆的这类货品种。The socio-cultural argument is reinforced by the economic demands of industrial capitalism which depends on the constant consumption of goods. 和社会、文化因素有关的争论被依靠于对产品的不断消耗的工业化资本主义经济需求所加深了。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. 他们共同将设计定位于图片的中心，因为是设计提供了对现代社会非常必要的变化。

Design decisions are constantly being made everywhere, whether by designers or consumers. They all focus on the aesthetic of the product whether, in the designer?s 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. 设计决议被经常地到处得出，无论是设计者还是消费者。站在设计师的立场来看，他们都将注意力集中在产品的审学上，不管是对一个作为连接技术与价格需求的创造性决议的定义还是对作为履行品位性、实用性和社会及经济需求的必要条件的定义。

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. 因此，设计时常以有形的和可见的形式来体现，并且对于设计的评论家和史学家来说物体是一个重要的切入点。They are not always, however, the final words as design is, ultimately, a cultural phenomenon whose effects are as abstract as they are physical.然而，它们不总是最后的表达，因为设计从根本上来说是一种文化现象，它的影响同它本身一样抽象。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. 物体在这本书里扮演了一个很重要的角色——尤其那些像意大利Vespa单脚马达滑行车一样的物体，它们将现代设计及文化的许多重要方面包含其中——但在我的正文中它们中的大多数是作为例子或插图而不是文章的主旨。

As Patrix implies in the quotation at the beginning of this introduction, it is the nature of design in the modern world to be international as it depends increasingly on the structure of the world market for its very existence. 向Patrix在绪论开始的引文中暗示的一样，在现代世界中设计的本质是国际化的因为为了它真正的存在它越来越依靠于世界市场的结构。The English words “design” is currently used widely in countries such as Japan, Italy, France, the Scandinavian countries and the USA, a fact which indicates that its meaning in contemporary society has moved away from its definition in previous centuries when it was interchangeable with the Italian il disegno and the French Le dessin. 英语单词“设计”目前被广泛地用在使用在日本、意大利、法国等国家，当它同意大利语“il disegno”(即设计)和法语“Le dessin”(即设计)可以互换时，事实上暗示了它在当代社会中的意义已经和它几世纪前的定义有所不同。

The fact that these countries have abandoned these native terms in favor of “design” suggests that more than just a mere shift in meaning has taken place and that what has occurred is, in fact, the emergence of an entirely new concept. It is the nature of this concept and the way in which it has evolved in this century that I am to explore. 这些国家已经放弃了他们的本国的术语而支持“设计”的这个事实说明了并不仅仅是在意思上发生了一个小小的转变并且事实上所发生的事情是一个全新的概念的出现。这个概念的本质以及在本世纪它进化的方式将是我所要探究的。