杭州交通信息网刘生杰降为副军:拜托能人帮我----英译汉
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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. 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 role in all our lives; as a named concept within the mass media, it is, however, much more visible and generally recognized. In this latter guise design becomes an extension of marketing and advertising. The “ designer-jeans”phenomenon, which persuades us to buy 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 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 modem design and the focus of this hook. 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 operations), and, at times, a fair amount of hand or skilled work. 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. These two models of industry coexist in this century and have different implications for the meaning of design.
这个定义必须考虑文化大范围内包含了经济、政治和技术力量,因为这些都决定了社会主流文化形态调制解调器. 设计也形成这种力量的持续,因此,文物作为文化器物刻文设计. 在这本书里,我已经着手研究了如何在这种文化的影响也设计在这个世纪的方式,也设计,转而起了作用创造文化,通过对象、机构、人物和行为模式,并认为,伴随着它. 1900年以来,设计与文化,在这个系统上,越来越相互依存,这种关系的影响将重新出现以下不断章. 我的主要论点是,范围内的工业资本主义,它创造了并继续统治它在现代西方社会,设计特点是有双重的联盟都大批量生产和大众消费,这两种现象已几乎确定形形色色. 如珍、设计方向看,同时拉动:沉默质量作为一切批量生产产品中发挥着重要作用,但一般外人在我们的生活;
作为在媒体点名概念,但是通过和公认的更为明显. 这个设计后伪装成为扩大销售和广告. "设计师的牛仔裤"的现象,使我们认为购买的产品,因为它在设计上已是文化上来讲,完全有别于活动的匿名内部设计业者解决问题的成本、外观和使用的消费品. 设计的方式,作为辅助手段,设计出销售增长的一个方面是大量生产的一大主题的故事,在设计和调制解调器的焦点这个钩. 这是一个变化,直接镜的方式,模式化量产业,所提出的Henry福特,其中占主导地位的美国理念的工业组织在二十世纪初,受到质疑的另类模式,强调成批生产,规模较小的业务(或一套作业系统),在时代,相当数量的手或技术工作. 后者的模型--最好的表达斯隆的工作在通用汽车公司在美国的1920年代以及当代的发展在日本和意大利--提出的新的要求,市场之上的逻辑机械化大批量生产和趋向,因此,对价值多元化的产品,而不是或以及和标准化. 这两种模式并存的产业有不同的影响,在本世纪的意思设计.
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This 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 modem society. Design is also formed and sustained by these forces and, as a result, designed artefacts act as cultural ciphers. 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. Since 1900, design and culture, in this wide sense, have become increasingly interdependent and the implications of this relationship will re-emerge constantly in the following chapters.
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. 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 role in all our lives; as a named concept within the mass media, it is, however, much more visible and generally recognized. In this latter guise design becomes an extension of marketing and advertising. The “ designer-jeans”phenomenon, which persuades us to buy 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 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 modem design and the focus of this hook. 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 operations), and, at times, a fair amount of hand or skilled work. 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. These two models of industry coexist in this century and have different implications for the meaning of design.