外文翻譯---設(shè)計(jì)與文化-資料下載頁
2024-11-06 02:17本頁面
【導(dǎo)讀】法遵守的基本原則。計(jì)”有著不同的理解。但是，必須指出的是適用于設(shè)計(jì)的普遍語言幾乎每天都被創(chuàng)造出。同樣，本文中的設(shè)計(jì)也是指影響到每個(gè)人的現(xiàn)象。這一語境必須囊括經(jīng)濟(jì)、政治和技術(shù)，因?yàn)檫@些是確立現(xiàn)代社會(huì)主流文化模式的重要因素。而產(chǎn)生并得以延續(xù)。也正因此，設(shè)計(jì)作品成為了解讀文化的密碼。過物件物器、制度習(xí)俗、人格品行以及它們背后的行為思維模式來創(chuàng)造文化。年以來，設(shè)計(jì)與文化之間的共生關(guān)系越來越緊密。計(jì)，那么在這個(gè)框架內(nèi)，設(shè)計(jì)既和大規(guī)模生產(chǎn)密切相連，又和大規(guī)模消費(fèi)密不可分。而且，這兩種現(xiàn)象幾乎可以說決定了設(shè)計(jì)的各類表現(xiàn)形式。并得到了廣泛的認(rèn)可。及使用方面的問題的那些活動(dòng)。產(chǎn)領(lǐng)域的一個(gè)轉(zhuǎn)變。英語語言的介入將使世界經(jīng)濟(jì)模式發(fā)生重大的變化。這是工業(yè)設(shè)計(jì)師遇到的一種普遍的情形，它導(dǎo)致了一個(gè)問題正如某個(gè)權(quán)威。是顯耀它們的精確度。在這種情況下工業(yè)設(shè)計(jì)師的任務(wù)就是找到那些不可避免的問題
【正文】 or William Marries, and who later made designs for that fountainhead of the English Arts and Crafts Movement, the firm of Morris amp。 Co., once said:” I never begin to be satisfied until my work looks monplace.” The tableglass which he designed for manufacture by James Powell amp。 Sons at White friars proves that he meant what he said. The idea was thus planted very early that the successful industrially produced object eschewed not only ornament but anything which might make it seem conspicuous. Industry, however, did not simply establish itself and then bee a constant, a stable background against which the designer must work. It constantly threw up new problem. What happens, for example, when a machine is used to produce, not just some simple object, but another machine? Here, new born, is a mechanism which may seem to dictate a surface which is visually plex, to reflect the plexity of a multitude of parts. Is the designer obliged to follow faithfully whatever lies beneath the casing? If he does, this may result in a form which is economic from the material point of view, but uneconomic visually because it requires a much greater effort of perception. Loewy was not himself a trained engineer, but someone who took over after the engineers had done their best or worst. This is a very mon situation where industrial designers are concerned, and it calls into question the assertion made by one authority on the subject——that good design is “the outward expression of the engineer’s confidence in his work.” In fact, whether it is the creation of trained engineers or not, industrial design is quite often palliative, not radical. It is a technique that may be used to conceal faults, such as distortions in diecastings, introduced by the inaccuracy of machines, rather than to show off their accuracy. In these circumstances the industrial designer’s job is to see that these inevitable faults do not spoil the finished result —— for example by introducing a moulding to disguise an imperfect fit. In any case, the designer’s task is often to establish limits rather than to conduct a search for perfection. He tries to trace the frontiers within which a range of acceptable solutions can be found. These boundaries are usually drawn for him by questions of cost as well as by those of structural strength and mechanical efficiency. 8
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