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Celebrating 100 years of innovative Finnish design

慶祝100年的芬蘭的創新設計

Given how familiar Finnish markers and motifs have become -- from Nokia phones to Moomins books -- it's remarkable that Finland has only had 100 years to imprint itself on our consciousness.

考慮到(有鑒於)大家已經想當熟悉芬蘭的特徵(標記)和圖案 - 從"諾基亞手機"到"嚕嚕米書籍 ▶️連結" - 芬蘭只用了100年的時間,就能在我們的腦中(意識)中留下深刻的印象(烙印)。

Throughout that time, design has always been at the forefront of the nation's identity.

在那段時間裡,設計一直是國家辨認度的第一要素(第一線)。

In 1917, when the country declared its independence from Russia, there was a strong desire to explore and articulate what it was to be Finnish.

1917年,當該國宣布(聲明)俄羅斯獨立時,向其他國家闡明(向外探索和表達)他們是芬蘭這件事,是人們強烈的渴望(慾望)。

Architects and designers became nation-builders, tasked with giving shape to the new homes and civic spaces that the country needed, as the economy grew and the once agrarian society began to industrialize.

建築師和設計師成為國家建設者,負責塑造國家所需的新住宅和市政(市民)空間,隨著經濟的發展,曾經的農業社會開始(進入)工業化

Their ambitious agenda was social, optimistic and forward-looking, and democratic design emerged as a significant characteristic of the fledgling country.

他們雄心勃勃的規劃事項(議程),是(具有) 社會性(的)、樂觀性(的)和前瞻性(的),且民主(制度)的設計(出現)成為這個羽翼未豐(雛鳥)的國家的重要特徵。

 

Leading designers

領導的設計師們

Many people found great opportunity and creative stimulus in Finland's transition into an independent modern nation, perhaps none more than the internationally renowned architect Alvar Aalto.

在芬蘭轉成獨立化的現代國家 的過程中,許多人在芬蘭找到大量的機會和激發出許多創造力,(不過)或許沒有比國際知名建築師阿爾瓦·阿爾托(Alvar Aalto)▶️連結 更厲害了吧。

Over the course of his long career, he championed a revolutionary style of design that combined functionality with natural materials and organic forms.

在他漫長的職業生涯中,他倡導(擁護)將 "功能性與天然材料及有機形式相結合" 的革命性設計風格。

Aalto was a great ambassador for Finnish design at a time when Finns were thinking of how to present themselves to the rest of the world.

芬蘭人想著如何向世界其他地方展示自己時,阿爾托是 "芬蘭設計的(這個標誌)" 的偉大使者(大使)。

When Aalto designed the Paimio Sanatorium in 1932, he applied his utilitarian approach to the building and every piece of furniture within it to international acclaim.

當阿爾託於1932年設計了Paimio療養院 ▶️連結,他將自己的功能性(設計)主義方法運用到建築物和所有傢俱中,(這個作法)讓國際(對他)讚譽有佳。

Soon after, he founded Artek, a design company that combines art and technology to bring about improvements in everyday urban life.

不久之後,他創辦了Artek ▶️連結,這是一家將藝術與科技相結合的設計公司,致力於改善都市的日常生活。

Artek is a thriving design brand today and the work of Aalto continues to be revered.

Artek今天是一個蓬勃發展的設計品牌,阿爾託的作品持續受到尊敬。

 

Designer Kaj Franck's work epitomize progressive and socially conscious design.

設計師 Kaj Franck ▶️連結 的作品,體現(集大成)了進步和社會意識的設計。

In 1945 he joined Arabia, a Helsinki-based ceramics company, and set about creating reasonably priced, practical objects for the working and middle classes.

1945年,他加入了Arabia 公司 (赫爾辛基地區的陶瓷公司) ▶️連結,開始為工人和中產階級創造價格合理實用的物品。

His Kilta tableware series (later relaunched as Teema) reflected the times and resonated with consumers.

他的 Kilta 餐具系列(後來重新推出為 Teema 系列 ▶️連結)反映了時代性,同時引起了消費者的共鳴

It remains a bestseller to this day.

它至今仍然是最賣座的商品。

But while Aalto and Franck's utilitarian sleekness represent a certain Finnish sensibility, Finland is a country of contrasts and contradictions, and one of its greatest is the disconnect between a characteristically introverted national character and the bold innovators it has produced.

雖然阿爾托 (Aalto) 和弗蘭克 (Franck) 線條明快、造型優美的實用主義,代表了芬蘭的感性,但芬蘭卻是一個充滿對比和矛盾的國家,其中最大的一個矛盾點,就是(芬蘭)民族的內向性格和他們大膽創新的創造。

One such innovator is Armi Ratia, the dynamic founder of Marimekko.

其中一位創新者是 Marimekko 的動態創始人(?) Armi Ratia 。▶️連結

Ratia founded the textile and fashion brand in 1951.

Ratia 於1951年創立了紡織品和時裝品牌。

Her ambition was to bring color and energy into the homes of the depressed postwar nation.

她的目標(志向)是為戰後沮喪的國家帶來色彩和活力。

Today it is hard to imagine the Finnish lifestyle without the vibrancy of Marimekko.

今天很難想沒有 Marimekko 活力的芬蘭生活。

The brand was also symbolic of the equal role women played in Finnish society.

該品牌也像徵著女性在芬蘭社會地位中的平等。

Here they were leaders and innovators, creatives and commercial successes.

在這裡,他們是領導者和創新者,創意和商業成功。

Fashion designs were purposefully liberating and practical.

時裝設計是有目的有(讓人們從戰後憂鬱中)解放實用性

Such was the synergy between the values of the brand and the values of the nation that spotting a Marimekko print on the street could be likened to seeing the Finnish flag flying.

這就是品牌價值與國家價值觀之間的協同作用,在街上發現 Marimekko 印刷品可以比作看到芬蘭國旗飄揚。

Back to nature

回歸大自然

The new Finland combined an independent, progressive spirit with a strong and proud national identity rooted in the past.

新芬蘭將獨立的,進取的精神與源自過去的強大而自豪的民族認同結合起來。

Until 1917, Finland had been a largely rural country where small isolated communities defined society.

直到1917年(前),芬蘭一直幾乎農村小國,(社會定義的)小型孤立社區。

The harsh climate and tough living conditions created a stoic and resourceful national character with close ties to nature.

惡劣的氣候和艱苦的生活條件,創造了一個與自然密切密切地堅忍足智多謀民族特色

As design became a tool to articulate what it was to be Finnish, many designers and architects projected the values and spirit of this culture.

隨著設計成為闡明芬蘭文化的工具,許多設計師和建築師都在思考這種文化的價值觀和精神。

Designer Tapio Wirkkala became renown for representing the natural Finnish environment in his work and for adapting the principles of traditional Finnish craft for modern industry.

設計師 Tapio Wirkkala ▶️連結 因其工作中代表芬蘭的自然環境而聞名,並將傳統芬蘭工藝的原則應用於現代工業。

Wirkkala produced everything from tableware and packaging to decorative objects and even banknotes during his career.

Wirkkala 在他的職業生涯中生產從餐具和包裝到裝飾物品甚至鈔票(紙幣)的所有東西。

Ice depicted in glass and wood carved into organic forms were recurring features of his work.

用玻璃描繪的冰(紋路)和木材雕成的有機形式(木雕)是他作品的反復(經常性)出現的特徵。

The Ultima Thule glass collection for Iittala is an example of how he created popular, uniquely Finnish design for a mass market.

Iittala 的 Ultima Thule 玻璃系列就是他如何為大眾市場創造流行的,獨特的芬蘭設計的一個例子。

The principles and values of Finnish design, as developed in response to the needs of a new young country, remain relevant today.

芬蘭設計的原則和價值觀是根據年輕的國家需求而製定的,今天仍然是這樣(保持相關性)。

Young Finnish designers proudly adhere to socially minded values, and Finland remains a remarkably design-literate country, where the importance of design and design thinking is widely recognized.

年輕的芬蘭設計師自豪地堅持具有(固守)社會意識的價值觀,芬蘭仍然是一個設計精良(?)的國家,設計和設計思維的重要性得到廣泛認可。

Companies such as Artek, Iittala and Marimekko remain buoyant and strong, continuing to export Finland's particular design language around the world.

Artek,Iittala和Marimekko等公司仍然保持活力(輕快的)和強勢,繼續向全世界出口芬蘭特定的設計語言。

As other countries slowly begin to turn to design to help solve social problems, the Finns can be proud, during their centenary year, that they were there first.

隨著其他國家慢慢開始設計以幫助解決社會問題,芬蘭人在百年慶祝活動中可以因為他們是第一(個這樣的國家)而感到自豪。

 

 

 

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