工业设计专业英语翻译第一课

1、Unit OneDesign History and TheoryLesson 1 Towards the MillenniumWith the 1970s came an end to the domination of a single international design movement.(While on the one hand Modernism continued to come under attack and to be widely discredited), (on the other hand latter - day modernists set out to

2、prove the validity of this movement and to persuade us that,)随着1970年代的到来，单一的国际设计占统治地位的时代结束了。一方面现代主义继续受到抨击并大范围地遭到质疑，另一方面当代的现代主义者开始证明这个运动的有效性并说服众人，即使经济、社会和文化等条件变化了，技术进步的冲击推动将带领我们进入一个光明的未来。 As with early Modernism the hottest debate took place (within the world of architecture), (with de-sign following

3、). he discussion about Postmodernism and its relation to material culture was stimulated by the work of American architects such as Robert Venturi and Michael Graves, (who made cases for influences from pop culture and for stylistic revivalism, whether of the classical past or of Art De-co motifs).在

4、早期的现代主义运动中，最激烈的争论发生在建筑界，其次是设计界。有关后现代主义和它与材料文化关系的讨论是由像美国建筑师罗伯特.文丘里和密歇尔.格雷夫斯的作品引起的。这些作品受到了从流行文化到复兴风格的影响，无论是古典主义或艺术装饰主题。What was clear from the debates that (accompanied critiques of their work was that, (stylistically at least, alternatives to Modernism were in place )and that (the most important them

5、e of the last three decades of the century was going to be pluralismthe fact that (no one single architectural or design theory or approach was going to be pre - eminent any longer.)从这些争论和随之而来的对他们作品的批评中清楚看到：就风格而言，现代主义可选择的适当位置和在这个世纪最后持续30年最重要的主旋律将是走向多元化。事实上没有一个建筑或设计理论或方法能够处于突出地位很长时间。This open-endedne

6、ss echoed the fragmentation of western society and the emergence of what came to be called“niche markets”.Postmodern architecture reflected this diversity. In Great Britain it adopted a conservative approach in the nostalgic neoclassicism of Quinlan Terry and Terry Farrell, (whereas in France and Sp

7、ain it was more forward - looking). 这种开放性反映了西方社会的分化和所谓的“特定市场”的出现。后现代主义建筑反映了这种多样性。在英国设计的发展采用了保守的方法，例如新青兰和泰瑞法内怀旧的新古典主义，而法国和西班牙是更具有前瞻性的。 (While architects discussed the valid style of the day, rather like their 19th - century predecessors,) designers in the 1970s also had other things to consider.These

8、 included the effect of the oil crisis on the cost of plastics and society is growing interest in ecological is-sues such as recycling. These took the emphasis away from the debate about style and suggested a more serious social role for designers in terms of their relationship with the manufacturin

9、g industry. 如今建筑师讨论建筑的可行性时，有点像他们19世纪的先驱者。他们还要考虑到另外的事情，这些包括石油危机对塑料价格的影响和社会对生态事务再循环的日益关注，这样将不是重点争论风格问题，而是主张设计师应该扮演更加重要的社会角色。 The general sense of a developing disillusionment with technology and all （that it had promised） also threatened to undermine the very premise （on which modern design had been e

10、stablished. ）All these fears and anxieties were temporarily forgotten, however, （when in the early 1980s design showed （that it was as capable as architecture of raising its cultural profile and becoming a central focus of discussion.） ）The catalyst for the new popular awareness of design emanated,

11、not surprisingly, from Italy. 这是由于设计师与制造工业的相互联系，随着技术发展神话的幻灭以及它所带来的希望前景，都威胁和损坏现代设计所创造的繁荣，可是，在80年代初期，所有的害怕和担心都被暂时忘掉，设计表现出像建筑一样有能力提升它的文化形象，而成为了讨论的焦点。并不令人吃惊的是促使公众注意设计的催化剂来自意大利。The Memphis exhibition, held in Milan in 1981 to coincide with the city is annual furniture fair, was a turning point. With the

12、help of his young colleagues, and with support from sympathetic non - Italians as well, Ettore Sottsass blasted the international design establishment with a show of objects (that turned all the familiar values upside down. )The Memphis designs for furniture and related items were brightly colored,

13、deco-rated and eccentrically shaped with countless visual references to past styles. 与城市年度贸易展相呼应的在1981年米兰举行的孟菲斯展览是一个转折点。在年轻同事的帮助和具有同情心的的非意大利人的支持下，索特萨斯颠覆了已有国际设计对产品的价值观，孟菲斯设计的家具以及相关的物品都是颜色鲜艳、装饰考究和形状怪诞，参考了数不清的过去风格的视觉样式。For the first time design, without the crutch of architecture, was proclaiming itsel

14、f to be free from the restraints of Modernism and in tune with the post - industrial age. The impact was felt internationally and such was the Liberating effect of this event （that individuals in many other countriesincluding France, Spain ,Germany, Holland, Great Britain, Czechoslovakia and Japanal

15、igned themselves to (what Sottsass himself dubbed“the New Design”).)设计首次没有依赖建筑这根拐杖，而宣告它自身摆脱了现代主义的束缚，而与后工业时代合拍。这次冲击是国际性的，这个时间的解放效应分别影响了许多国家，包括法国、西班牙、德国、荷兰、英国、捷克、日本，他们结成联盟，被索特萨斯命名为“新设计”。Called“the designer decade”, the 1980s enjoyed another worldwide consumer boom and thenow fully democratic concept o

16、f design took on a new meaning in the context of this affluence. The word“designer”was tagged to any commodity （that promoted itself as special, from hairdressers to jeans.） In the mass - market context of the late 20th century the term“designer”implied a level of individualism and taste （that was r

17、eassuring to people （who wanted to be different）.） 80年代被称为“设计师的年代”，在世界范围内的消费潮也融入其中，而使设计采用完全民主的新方法。“设计师”这个词出现在日常用品上，从理发师到牛仔裤上都有，并促进其本身职业化。早在20世纪后期的大众市场上，“设计师”就意味着个性化并尝试使人与众不同。（While this may have been just a new marketing strategy,） one side effect was the popularization of the concept of design and

18、of designers. Designers became celebrities along the lines of the American industrial designers of the 1930s. Not only Europe, but also Japan and increasingly Korea, Singapore and Chinese Taiwan were learning the benefits of having an advanced design culture. 这仅仅是一个新的市场策略，附带的结果是设计师和设计的概念普及化。按照30年代美国

19、工业设计师的模式，使设计师成为名人。不仅是欧洲，而且还有日本和快速增长的朝鲜、新加坡和中国台湾都了解先进设计文化的益处。In this diverse climate many different styles were on offer, from the radical post - Memphis experiments, to the more serious High - Tech style, （which encouraged the use of industrial materials in a non - industrial context. ）Some companie

20、s, such as the Italian metal ware firm Alessi, prioritized design over all else, commissioning celebrity designers to create objects for them （that rapidly achieved cult status.） Design culture spread, and institutions such as the Design Museum in London, （which opened in the mid -1980s,） provided i

21、ts public face.在这种多样的气候下许多不同的风格并存，从激进的孟菲斯到更严肃的高科技风格，刺激工业材料的应用转向非工业化的方式。有些公司比如意大利的金属公司阿勒西就将设计摆在重要位置，委托有名气的设计师为公司设计产品并迅速获得令人崇拜的地位。设计文化的传播，比如早在80年代中期在伦敦开放的设计博物馆向公众展示了设计的面貌。While these developments succeeded in giving the designer a higher profile, granting him or her a place in the cultural hierarchy a

22、longside fine artists and architects, it also had the effect of aligning the concept of design very closely with advertising and marketing. 所有的发展进步成功地树立了设计师的形象，确保了设计师与工艺师和建筑师在同一文化阶层中取得平等的地位。同时也产生了将设计与广告和市场紧密相连的效应。The effect of this was to underplay its more fundamental role as an element within the

23、production process and as part of the everyday material environment. （When the bubble finally burst and designer culture, along with the economy, took a downward turn at the beginning of the 1990s, ）designers had to think of ways of overcoming the superficiality （that had characterized the 1980s.）这种

24、效应掩饰了设计作为生产工艺的基本元素和日用物质环境一部分的作用。然而到90年代初设计的神话伴随着经济神话一起破灭了，设计师不得不想办法克服80年代对设计性质浅薄的认识。 The liberating effects of the early 1980s were still felt and it was possible for designers to work outside Modernism, now with a more mature set of alternative models at their disposal. Equally, however, the values

25、 inherited from the early century came back into focus （as some designers recognized the continuing significance of these early ideals. ）80年代早期的解放效益依然存在，这样设计时可以不受现代主义束缚，而可以自由选择成熟的工作模式。同时，从本世纪初继承的价值观重新受到重视，一些设计师认识到早期设计观念连续的重要性。Now there were no contradictions, （because, with no dominant design theory to react agai