Vincenzo Cristallo, Loredana Di Lucchio, Lorenzo Imbesi Trans. by Zheng Hui

Vincenzo Cristallo(羅馬薩皮恩扎數(shù)據(jù)部研究員，教授,博士)

Vincenzo Cristallo(Researcher Professor, Design Ph.D. - Section Design, DATA Department, Sapienza Università di Roma –vincenzo.cristallo@uniroma1.it)

Loredana Di Lucchio(羅馬薩皮恩扎數(shù)據(jù)部研究員，教授,博士)

Loredana Di Lucchio(Researcher Professor,Design Ph.D. - Section Design, DATA Department,Sapienza Università di Roma -loredana.dilucchio@uniroma1.it)

Lorenzo Imbesi(加拿大卡爾頓大學(xué)工業(yè)設(shè)計(jì)學(xué)院 副教授，博士)

Lorenzo Imbesi(Associate Professor,DottArch, PhD - SID | School of Industrial Design,Carleton University, Ottawa,Canada - lorenzo_imbesi@carleton.ca)

Introduction

The subject of “experiences” emerges with greater clarity in a possible story about the relationship between the territorial background and the Italian Design.

Experience in doing: where the Italian entrepreneurial capacity was born and which today is being transformed into the inevitable confrontation/ opening to the global system not only regarding production, but especially regarding consumerism that is now determined and administered by information technologies.

Experience in living: where objects, habits,contexts are elements correlated to one same scenario that in Italy presents itself in a different way every time, a multiple yet comprising one same character, the value of lived experience.

Experience in thinking: those who have allowed Italian design to imagine new territories:this time not geographical but social ones that,through the visions of Radical Design, have led to today’s experiences linked to new technologies on one side and to new forms of production and consumerism on the other – where the concept of cultural community supersedes that of proximal community.

These three kind of experiences are linked with three issues, which informed the evolution of Italian Design: the economic and productive issue,the cultural and behavioural issue, the critical and ethical issue.

Fig.1 UMBRELLA STAND Umbrella Stand Made of Polish Brushed Brass Design: Scott Fellows & Craig Bassam Production:Bassamfellows

Morphogenetic Territories

In the 1960s and 1970s, during the crisis of the Fordist production model and what some deemed to be an irreversible decline of large industrial firms and hierarchical function structures, groups of small but extremely vibrant compagnie were discovered in certain Italian regions: employment remained steady, there was frequent innovation and exports were increasing. The situation became the focus of a national and international debate. It was soon revealed that the locations of these companies were not dictated by chance, as they had roots in territorial systems with singular social characteristics.

This led to the “small is beautiful” phenomenon,which borrowed its name from an important book by the economist Ernst Friedrich Schumacher(1973) which criticized Western economies and favoured the adoption of more human-oriented,decentralized and appropriate technologies.

Fig.2 UMBRELLA STAND Umbrella Stand Made of Polish Brushed Brass Design: Scott Fellows & Craig Bassam Production:Bassamfellows

Fig.3 UMBRELLA STAND Umbrella Stand Made of Polish Brushed Brass Design: Scott Fellows & Craig Bassam Production:Bassamfellows

Fig.4 FLORA Wall Copper Sheet Decoration Design: Tord Boontje Production: Artecnica

Fig.5 FLORA Wall Copper Sheet Decoration Design: Tord Boontje Production: Artecnica

This quintessentially Italian phenomenon showed that the advantages of large-scale production could also be obtained by a network of small companies that were located near to each other. Each of the firms would specialize in a particular phase of the production process or the production of a particular component.Some of them would have direct contact with the end market. Most importantly, the economic relationships were made more efficient by the ties based on personal acquaintanceships, shared values and a sense of belonging.

In 1989, Giacomo Becattini drew on the work of the English economist Alfred

Marshall (1870) and gave a clear, decisive name to this phenomenon: industrial districts.Becattini adapted the Marshallian concepts to the Italian context, describing a district as a local community in which small companies operate.

This milieu constitutes a social, cultural and institutional territory. In a complex evolution process, since that time the Italian production system – both in economic theories and elsewhere– has become intricately bound to the concept of“territory”, with social and cultural outlooks being replaced with economic views of production processes. In physical terms, a territory is a portion of land within boundaries (Devoto-Oli Italian dictionary, 2006), but when it comes to districts a territory is a means of communication,and a vehicle and focus of work, production,interaction and co-operation (Dematteis, 1985).

The importance of the territory as a place for communication thus became a cornerstone of the origin and originality of Italian production:communication, work, interaction and cooperation are the very elements that help to assert what has been known since that time as the so-called Made in Italy model. However, the elements mentioned are not normal economic characteristics. The elements in question are the various social relationships that individuals and the group as a whole have in a specific time and place: they are James Coleman’s “social capital”,based on “authority”, “trust” and “regulatory”relationships. In this fertile breeding ground,the unique Italian bond between design and production emerged and developed around the same forms of relationships, especially in terms of trust. Consequently, design in Italy is not just one of the activities in Porter’s value chain, whose importance and need for good management became apparent in the 1980s and 1990s.Around the same time, the discipline of design management established itself, with authors taking the typical Italian relationship between design and production as a model. However, these authors do not seem to have grasped the importance of territory as a social capital system in which design plays a key role. What results would have been achieved by the exquisite theoretical capabilities– based on morphological and semantic aspects– of the great masters of Italian design such as Castiglioni, Sottsass, Ponti and Magistretti, if they had not been complemented by the technical know-how and tacit knowledge of companies and their social contexts, and businesses that concentrated more on culture than on economic guidelines? A huge impact on this relationshipbased business model hinging on the territory was inevitable over the last twenty years, which have seen the completion of the globalization process which was already being discussed in economic circles in the 1960s in its positive sense as a phenomenon of progressive growth in international interaction.

Leaving aside economic and sociological definitions, globalization has been a multifaceted phenomenon which is based more on the evolution of relationship systems than on simple exchanges of goods. It has taken place thanks to real-time progress in information and communication technology and the shift of values from tangible goods (a production-based economy) to intangible goods (a knowledgebased economy). Rather than making things more uniform, this process has led to a bigger gulf in the nature and speed of development. It has driven a slow process of deconstruction of existing contexts and redefinition around a map based on opportunities rather than proximity.

Against the backdrop of this profound alteration of proximal relationships at the start of the 21st century, the territory has taken on a new value for Italian production, and therefore for Italian design. There has been a shift from the features of Becattini’s districts – as complete,morphostatic systems – to open, morphogenetic systems like moving districts in which the levels of interaction are different: a) There is a level linked to the origins, in which the territory gives rise to the creation of companies and provides the know-how on which the businesses are built;b) There is a level linked to development, in which the territory is the place where companies find the resources to conduct their business and increase their profits; c) There is a level linked to the network, in which the territory no longer has physical points of reference but interacts in a virtual manner, using unions and partnerships as ways to “extend” the territory. A new geography has thus been drawn up. Instead of weakening the established cultural interaction,the processes taking place revitalize it and lead to transformation of a symbolic nature (of the image and conception of territories) and effective changes (to action, organizational set-ups,innovative strategies and cooperation). In this new geographical layout, Italian design can no longer be portrayed using the specialist production models of the districts (such as chairs in Udine,furniture in Brianza, eyewear in Belluno, shoes in Ancona and textiles in Biella) which are linked exclusively to the first level of the origins. The new territories of Italian design are – and must be – based around development and networks,with values, know-how and talent driving them.The proximity (employing the model of virtual communities) is now cognitive rather than physical.

This means that there are now aesthetic territories, material territories, technical territories, experiential territories, social territories and “other” territories.

Repositories of Knowledge

The constant references to the unique, broad range of contents of the Italian design system have deep roots. These roots lie beneath a large plant with many branches, leavesand fruits. In addition to the fruits (products), its presence can be felt in tacit knowledge, relationships and experiences.

Other metaphors to express the idea might be that Italian design is a tale with a number of storylines, a map covered in numerous routes,and a language with various dialects. Any abuse of courteous allegory for a gilded scenario outlining the singular characteristics of Italy and its cultural heritage can be justified and excused, as it is an unparalleled repository in which regional and local products and services are always seen in a positive light. The introduction of the term“repository” is essential, as it underlines the fact that the presence of assets in certain parts of Italy is a result of its heritage and a combination of environmental, human and cultural factors that have influenced its life and development throughout all of its small and large happenings. It is a “unique setting” whose originality lies in both the qualities of its raw materials and in the output from the production chains. It is possible to examine the value of resources using a definition based on the product-context-identity sequence.

In Italy, as in the rest of the Mediterranean area, this relationship is behind the generative input of a material culture with large quantities of values and symbols. Links such as these reveal that what we sometimes generically consider to be parts of the territorial heritage are actually assets whose complexity means that there is a clear distinction between the place of origin and the main identifying properties. Economic studies into local production see the territory as a large company and recognize economic models within it – frequently of an “informal”nature – that revolve around production based on the combination between typical resources and high quality know-how. This is the only explanation for the high design input that can be found amongst our parishes and parochialisms, in products ranging from Jew’s harps and Brunello di Montalcino wine to the Gondolas of Venice.

They are iconic products that represent their local areas. We have included them with scientific speculation under the umbrella of “Italian design”and as part of the national language, but they are actually full of dialectal nuances.

The concept of a “repository” is used to embody a local resource in a limited area.Therefore, a typical Italian “territorial repository”is an established system made up of numerous correlated, interacting factors: human resources,production resources, historical and cultural differences, and environmental and monumental physical elements that create a multi-faceted identity. This inclusive definition of “repositories”goes beyond all specific descriptions and largely brings into play self-referencing properties. In terms of production, they give goods the role of a territorial medium. In Italy, as well as being possible, specific definitions of repository are necessary. Leading the way in terms of numbers and diversity is the cultural model, which arises from a complex blend of scientific, historical and artistic traditions that have taken shape and been conveyed at different times. This mixture is extremely variable when it comes to geography,time and space, and in each area it refers to the presence of tangible and intangible cultural assets that encapsulate the human presence over the course of history. If the repository is natural, its unique qualities, integrity and diffusion will be based around the environment system. This is the source of its distinctive heritage, which derives from the physical vocations of a territory (such as the sea or the mountains) and stretches further– in its intentions at least – than the traditional labelling by “spots” (exclusive habitats) or “strips”(coastlines or mountain ranges).

The result is a description of an integral system with balance between all of the physical parts and services.

Fig.6 VINE Wall Copper Sheet Decoration Design: Susan Bradley

Fig.7 VINE Wall Copper Sheet Decoration Design: Susan Bradley

Fig.8 APPUNTI DI VIAGGIO Coffee Table Made of Copper Sheet Design: Lorenzo Damiani

Fig.9 APPUNTI DI VIAGGIO Coffee Table Made of Copper Sheet Design: Lorenzo Damiani

Fig.10 NEONATURAL Wall Copper Sheet Decoration Design: Riccardo Giovanetti Production: Fielitz

Fig.11 NEONATURAL Wall Copper Sheet Decoration Design: Riccardo Giovanetti Production: Fielitz

Fig.12 NEONATURAL Wall Copper Sheet Decoration Design: Riccardo Giovanetti Production: Fielitz

Fig.13 NEONATURAL Wall Copper Sheet Decoration Design: Riccardo Giovanetti Production: Fielitz

Fig.14 JAIL Vases for Plants With Copper Structure And Natural Earthenware Case Design:Eli Gutierrez Production: Guerra

It is much quicker to define a gastronomic repository. The debate about this matter is a very topical one in Italy. Due consideration has led to gastronomic repositories being seen as a unique way of summing up the relationship between products and settings, so they are portrayed as representatives of an area’s identity and used to defend it. Old workshops, mills, wineries and stores should be seen as an “operative” museum of tangible culture. The human input in terms of creativity and knowledge is handed down from one generation to the next and these venues have every right to be placed alongside popular destinations, art museums, churches and monuments on the tourist routes for “foodtrotters” and “gastronauts” (Paolini, 2000).

They are also “metaphorical places” that are home to original working traditions which are impossible to replace with alternative technical approaches and are worthy of protection and assistance, in a process similar to that of the restoration of a monument, a film or a painting.Preservation of them and the resulting production of goods and services boosts the defence and conservation of the territory. However, especially with the new forms of cultural tourism, this is reliant on the development of a network for all of the local players who contribute to the rediscovery and conservation of repositories. It is necessary to convince people that the local knowledge is a key,emblematic quality of production areas. Nobody should be surprised to hear that cheese, deli meats, pasta, confectionery, wines and liqueurs deserve to be part of the national heritage, on an equal standing in some ways with the more cultured area of works of art. Repositories thus give substance to the identity of a territory.

The identity of a setting – and also of a product, given the renewed outlooks on the heritage of tradition and knowledge – embodies the entire range of factors and values resulting from the course of events and from interweaving,overlapping historical and cultural experiences.This incomparable heritage is reproduced in images and symbols, physical and monumental elements, and goods that have had an impact on the life, development and relationships of the Italian people and the nation of Italy.

Critical Territories

Looking beyond industry and mass production, critical experimentation deserves recognition for the role it plays as an important sphere of Italian design output. It has found social aspects to be a particularly fertile area of research.Every design project has a social impact and all of the results become part of the daily interaction between people, often changing the form and quality of their relationships. Acknowledgement of this fact leads to an approach which places the immediate functionality of form in the background and focuses more on subtle stimulation of the thoughts of onlookers.

Design thus becomes a tool for political reflection – or even protest and activism – that challenges the public and its expectations. It goes as far as questioning the role of the designer and the act of creation itself within society. Design thus becomes a group activity, or a fleeting occasion to be distributed socially and shared horizontally, outside the official realm of the design star system.

Public space is often at the centre of attention and the workplace of designers.

In the years of the avant-garde experimentation of Radical Design, the Urboeffimeri by the ufo group appeared alongside the landscape schemes by Gianni Pettena and Riccardo Dalisi’s workshops with the urban proletariat. More recently, similar sensitivity has been seen in the space exploration by Stalker,Cliostraat’s urban crossovers and Esterni’s collective experiments.

Public space in this sense not only means the physical area at the heart of the design work– which is often urban/metropolitan – but also the location of social interaction/relationships between men and women.

The aim of the designer is not just to build solid objects, but to rework social structures through performative events akin to situations which can be organized spontaneously and take place briefly, but shake up established meanings and functions. This underlines the situationist outlook of Italian design, which plays with the Debordian society of the spectacle and consumption of culture through popular reappropriation. With good understanding of the value of communicative language and organizational skills of an equally high level, the technique of estrangement is used in design to construct ludic situations and create an artistic environment that embraces the entire social dimension. Emerging from all of this are direct action, provocative behaviour, ironic nonsense,political protest, hybrid crossovers, displacement and disorientation.

The projects reflect social emergencies, tell creative stories and play with chance happenings,often revealing the process behind their existence,which is never linear and involves continual cross-references and quotations. The catalogue that emerges is in contrast with all classical takes on the scale of the situation: they are not just physical objects, nor indeed are they pieces of built architecture or urban structures.The collapse of the scales between design,architecture, landscapes, products and graphics gives renewed complexity to design and makes users into members of the community. Instead of being consumers, they become part of a broader interactive environmental scenario.

The relationship with new technology is just as critical: instead of using them as high performance tools for innovation and bringing the design process to an end with them, the expressive capacities and creative possibilities that new technologies present are explored.Throughout the history of Italian industry, there has always been an intricate relationship with technology. Rather than portraying an invention as a value in itself, its aesthetic and poetic potential is explored, thus revealing its hidden beauty and the combination of form, process and concept. Unlike a hard take on things, which would highlight the cultural differences with the objects to which we have become accustomed, this soft research tends to conceal the technology and hybridize it in everyday items. One of the seminal experiences of this kind was put together by the Interaction Design Institute in Ivrea. Instead of presenting a new model of computer or mobile phone, special wallpaper, smart typewriters and strange vintage fiat 500s went on display, with special interactive intelligence concealed in each item. Artistic adaptations of technology produce cognitive goods that go beyond strictly technical and functional needs to create genuine interactive poetry and electronic narration which involves users on an emotional and a social level.

Technology goes from offering hope for the future and life improvement to becoming a source of obsession and fear. The expedient of narrative becomes a tool of research and experimentation that focuses on the new roles, contexts and approaches to design with regard to the social,cultural and ethical impact of emerging and existing technology, and explores its possibilities in life and everyday surroundings. When looking into the biotechnologies that are about to emerge from scientific laboratories, Elio Caccavale constructs things such as social fiction scenarios.“Macro” elements associated with politics, the economy and society come to the fore alongside the “micro” aspects of daily life, interpersonal relationships and the smallest behavioural characteristics. The resulting picture is not just of our dreams and the things that we want, but also of the most unpleasant and unexpected consequences, whose depiction can serve as a warning. Once again, outside industry no one can take the final outcome for granted.

Fig.15 JAIL Vases for Plants With Copper Structure And Natural Earthenware Case Design:Eli Gutierrez Production: Guerra

Fig.16 JAIL Vases for Plants With Copper Structure And Natural Earthenware Case Design:Eli Gutierrez Production: Guerra

Fig.17 JAIL Vases for Plants With Copper Structure And Natural Earthenware Case Design:Eli Gutierrez Production: Guerra

Fig.18 LATVA Brass Clothes Stand Design: Mikko Laakkonen Production: Covo

(1)L. Di Lucchio is the author of paragraph 1, V.Cristallo is the author of paragraph 2, L. Imbesi is the author of paragraph 3

Bibliography

[1]P. Antonelli (2008). Design and Elastic Mind.USA: The Museum of Modern Art, New York.

[2]AA.VV. (2007). The New Italian Design. Il paesaggio mobile del nuovo design italiano.IT: Ed. Grafiche Milani, Milano.

[3]G. Becattini, (1989), Riflessioni sul distretto industriale marshalliano come concetto socio-economico, in Stato e mercato(vol. 25), IT: Il Mulino, Bologna.

[4]F. Benhamou ( 2001), L’economia della cultura, IT: Il Mulino, Bologna a)Branzi (2006), Modernità debole e diffusa.Il mondo del progetto all'inizio del XXI secolo. IT: Skira, Milano.

[5]G. Dematteis (1985), Le metafore della tera.La geografia umana tra mito e scienza, IT:Feltrinelli, Milano .

[6]L. Di Lucchio (2005), Il design delle strategie.Un modello interpretativo della relazione tra designe impresa, IT: Edizione Gangemi, Roma.

[7]R. Fagnoni, P. Gambaro, C. Vannicola, (2004),Medesign, forme del Mediterraneo,IT:Alinea editrice, Firenze.

[8]R. Grassi, M. Meneguzzo (2002), La valorizzazione del patrimonio culturale per lo sviluppo locale, in Primo rapporto annuale di Federculture, IT: Touring Editore, Milano[9]L. Imbesi (2009), InterAction by Design.DIID vol. 39, IT: RDesignPress, Roma.

[10]D. Paolini ( 2000), I luoghi del Gusto. Cibo e territorio come risorsa di marketing, IT:Bakdini&Castoldi, Milano.

[11]G. Pettena, (2004). Radical design. Ricerca e progetto dagli anni '60 a oggi. IT:Maschietto Editore, Firenze.

[12]P. Nuraghi, S. Stringa (2008), Cultura e territorio. Beni e attività culturali.Valorizzazione e indotto in prospettiva europea, IT: Franco Angeli, Milano.

[13]R. Sennet (2008), The craftsman, USA: Yale University Press, New Haven .

[14]E. F. Schumacher (1973), Small Is Beautiful:Economics As If People Mattered, UK: Blond &Briggs, London.

譯文：

一、簡(jiǎn)介

地域背景和意大利設(shè)計(jì)之間的關(guān)系隨著“經(jīng)驗(yàn)”的增加而越發(fā)清晰。

行為的經(jīng)驗(yàn)：意大利企業(yè)家能力誕生的地方，今天轉(zhuǎn)化為不可避免的挑戰(zhàn)，并向全球體系開放。這不僅和生產(chǎn)相關(guān)，還與由信息技術(shù)決定和管理的消費(fèi)主義有關(guān)。

生活的經(jīng)驗(yàn)：物品，習(xí)慣，環(huán)境都是和同一個(gè)情境相關(guān)聯(lián)的元素。在意大利，這種情境每次表現(xiàn)的方式都不相同。雖然多樣，但是都包含生活經(jīng)驗(yàn)的價(jià)值這一個(gè)共同的元素。

思考的經(jīng)驗(yàn):有些人已經(jīng)允許意大利設(shè)計(jì)重新劃分領(lǐng)域，但這次不再是以地域的標(biāo)準(zhǔn)劃分，而是從社會(huì)的角度劃分。借著“激進(jìn)設(shè)計(jì)”（Radical design）的觀點(diǎn)，一方面把現(xiàn)在的經(jīng)驗(yàn)和新興的科學(xué)技術(shù)聯(lián)系在一起，另一方面把它與生產(chǎn)的新形式聯(lián)系在一起。文化社區(qū)的觀念已經(jīng)取代了鄰近社區(qū)的觀念。

這三種經(jīng)驗(yàn)與顯示意大利設(shè)計(jì)演變的三個(gè)問題相關(guān)聯(lián)，即經(jīng)濟(jì)與生產(chǎn)的問題,文化和行為的問題，批判和倫理的問題。

二、形態(tài)領(lǐng)域

上世紀(jì)六七十年代，福特生產(chǎn)模型和一些被認(rèn)為必然走下坡路的大型工業(yè)企業(yè)遭遇危機(jī)，在意大利某些區(qū)域出現(xiàn)了一批規(guī)模小但充滿活力的公司。這些公司雇傭穩(wěn)定，創(chuàng)新不斷，出口增加。這樣的情況引發(fā)了全國(guó)甚至全球的范圍內(nèi)的討論。不久，人們發(fā)現(xiàn)這批公司的地理位置的設(shè)定絕非偶然，因?yàn)樗鼈兌荚谟兄煌瑢こＩ鐣?huì)特征的地域體系。這引發(fā)了“小即是美”的現(xiàn)象，這個(gè)名字取自經(jīng)濟(jì)學(xué)家恩斯特?弗里德里希?舒馬赫1973年發(fā)行的一本書。這本書批判了西方經(jīng)濟(jì)并支持運(yùn)用以人為本、分散和適當(dāng)?shù)募夹g(shù)。

這個(gè)經(jīng)典的意大利現(xiàn)象表明臨近小公司組成的網(wǎng)絡(luò)也可以獲得大規(guī)模生產(chǎn)的優(yōu)勢(shì)。每一家公司都只負(fù)責(zé)生產(chǎn)過程中某一特定階段或者只生產(chǎn)某一特定零件，還有一些公司和終端市場(chǎng)有直接的接觸。最重要的是,基于私人交情、共同的價(jià)值觀、歸屬感建立起來的經(jīng)濟(jì)關(guān)系更有效率。1989年,吉亞科莫?卡蒂尼根據(jù)英國(guó)經(jīng)濟(jì)學(xué)家阿爾弗雷德?馬歇爾的作品，給這個(gè)現(xiàn)象取了一個(gè)明確的決定性的名字——工業(yè)區(qū)?？ǖ倌釋ⅠR歇爾的觀念適用到意大利背景中，將一個(gè)工業(yè)區(qū)描述成小公司經(jīng)營(yíng)的本地社區(qū)。

這種環(huán)境構(gòu)成了社會(huì)、文化和制度的領(lǐng)域。在這個(gè)復(fù)雜的進(jìn)化過程中，意大利生產(chǎn)體系——無論是在經(jīng)濟(jì)理論還是其他--已方面經(jīng)受到了復(fù)雜的“地域”概念的束縛，生產(chǎn)過程的經(jīng)濟(jì)觀點(diǎn)代替了社會(huì)、文化的視角。從物理角度來看，地域就是指在一定邊界內(nèi)的土地(Devoto-Oli意大利字典,2006)，但是就地區(qū)而論，地域是指溝通的方式，工作、生產(chǎn)、交流和合作的焦點(diǎn)和載體。(Dematteis, 1985)作為一個(gè)交流的場(chǎng)所，地域的重要性因此成為意大利制造起源和獨(dú)創(chuàng)性的基石:正是溝通、互動(dòng)與合作這些元素可以來解釋一直被稱為所謂的意大利制造模式。然而,上述的因素不是平常的經(jīng)濟(jì)特征。談及的元素是指各種社會(huì)關(guān)系、個(gè)人和團(tuán)體作為一個(gè)整體在某個(gè)特定的時(shí)間和特定的地點(diǎn)擁有的關(guān)系。這些關(guān)系是詹姆斯?科爾曼提出的“社會(huì)資本”，基于“權(quán)威”、“信任”和“規(guī)章”的關(guān)系。在這片肥沃的土地上，獨(dú)特的意大利設(shè)計(jì)和生產(chǎn)的結(jié)合應(yīng)運(yùn)而生，并以相同的形式發(fā)展起來,尤其是建立在信任基礎(chǔ)上的關(guān)系。因此,意大利設(shè)計(jì)不僅是價(jià)值鏈中某一活動(dòng),其重要性和對(duì)良好管理的需求在上世紀(jì)八九十年代變得顯而易見。大約在同一時(shí)期,設(shè)立了設(shè)計(jì)管理這一學(xué)科,作者也將典型的意大利設(shè)計(jì)和生產(chǎn)之間的關(guān)系作為一種模式。然而,這些作者似乎并沒有把握住地域作為社會(huì)資本系統(tǒng)的重要性,設(shè)計(jì)在其中起著關(guān)鍵的作用。像索特薩斯、格里奧尼、龐蒂和馬吉斯特提這些意大利設(shè)計(jì)大師，如果他們沒有相互補(bǔ)充技術(shù)工藝知識(shí)和公司的默會(huì)知識(shí)，他們雄厚的理論能力能取得怎樣的結(jié)果？在過去的20年里,以地域?yàn)橹攸c(diǎn)，以關(guān)系為基礎(chǔ)的商業(yè)模式受到巨大影響是不可避免的，它見證了全球化進(jìn)程的完成。上世紀(jì)六十年代經(jīng)濟(jì)界就已對(duì)全球化進(jìn)行討論，它是逐步增加的國(guó)際間互動(dòng)的積極表現(xiàn)。

撇開經(jīng)濟(jì)學(xué)和社會(huì)學(xué)的定義，全球化是一種多元化的現(xiàn)象。相比簡(jiǎn)單的貨物交換，它更多的是基于關(guān)系的進(jìn)化。多虧了實(shí)時(shí)信息與通訊技術(shù)的進(jìn)步，有形商品（生產(chǎn)型經(jīng)濟(jì)）到無形商品(知識(shí)型經(jīng)濟(jì))的價(jià)值轉(zhuǎn)變，全球化得以發(fā)生。

21世紀(jì)之初，在近距離關(guān)系千變?nèi)f化的背景下，地域?qū)σ獯罄圃?、意大利設(shè)計(jì)具有新的價(jià)值?？ǖ倌崽岢龅牡貐^(qū)特點(diǎn)已經(jīng)發(fā)生了改變，從封閉的系統(tǒng)到開放的體系，就像不同的地區(qū)互動(dòng)水平的不同。（一)在起源階段，地域使公司得以建立，并提供企業(yè)建立所需的專有技術(shù)。（二）在發(fā)展階段，地域是公司獲取開展業(yè)務(wù)所需的資源，增加利潤(rùn)的地方。（三)和網(wǎng)絡(luò)聯(lián)通的階段，地域不再是一個(gè)物理的參考點(diǎn)，而是通過一種虛擬的方式相互作用，利用工會(huì)和合作伙伴關(guān)系來進(jìn)行“擴(kuò)展”地域。這不僅沒有削弱已經(jīng)建立起的文化互動(dòng)，正在發(fā)生過程反而會(huì)使它恢復(fù)生氣，也使觀念里的領(lǐng)域概念發(fā)生轉(zhuǎn)變。在新的地理布局里，意大利設(shè)計(jì)不再被描述成地區(qū)專業(yè)生產(chǎn)模式（比如烏迪內(nèi)產(chǎn)椅子、布里安扎產(chǎn)家具、貝盧諾產(chǎn)眼鏡、安科納產(chǎn)鞋子），這種模式處于起源階段。意大利設(shè)計(jì)的新領(lǐng)域需要也必須圍繞發(fā)展和網(wǎng)絡(luò),受到價(jià)值觀念、專門技能和人才的驅(qū)動(dòng)。鄰近(采用虛擬社區(qū)的模型)是認(rèn)知觀念上的而非物理實(shí)際意義上的。這就意味著現(xiàn)在有審美領(lǐng)域、物質(zhì)領(lǐng)域、技術(shù)領(lǐng)域、經(jīng)驗(yàn)領(lǐng)域、社會(huì)領(lǐng)域以及“其它”領(lǐng)域。

三、知識(shí)儲(chǔ)備

我們一直提到的這種獨(dú)特而又內(nèi)容廣泛的意大利設(shè)計(jì)有它深深的根源。這些根源藏匿于有著繁茂枝丫的果樹之下，除了它的果子，通過它的儀態(tài)就可以讓人感覺到它內(nèi)隱的知識(shí)、社會(huì)聯(lián)系和閱歷。我們還可以將意大利設(shè)計(jì)比喻成有多條線索的故事，多條路線的地圖，多種方言的語言。對(duì)于意大利的非凡特性以及其文化遺產(chǎn)的泛濫比喻都是合乎情理，可以得到諒解的，因?yàn)楫?dāng)?shù)氐漠a(chǎn)品和服務(wù)前途無量，它是一筆空前的財(cái)富儲(chǔ)備?！皟?chǔ)備”這一詞的引進(jìn)很有必要，因?yàn)樗鼜?qiáng)調(diào)了一個(gè)事實(shí)，那就是在意大利一些地方的富裕，是當(dāng)?shù)氐淖嫦冗z產(chǎn)以及當(dāng)?shù)丨h(huán)境、人文因素在發(fā)展中起到的大大小小的影響所造成的。這是一個(gè)“得天獨(dú)厚的環(huán)境”，你可以同時(shí)從天然的素材以及生產(chǎn)鏈上輸出的產(chǎn)品中找出其環(huán)境的根源。用根據(jù)產(chǎn)品-環(huán)境-特性來定義的序列，檢驗(yàn)它的價(jià)值。

和其他地中海國(guó)家一樣，在意大利，這樣的關(guān)系序列是隱藏在大量物質(zhì)文化價(jià)值和象征投入背后的。諸如此類的關(guān)聯(lián)揭示了那些我們有時(shí)會(huì)理所當(dāng)然地認(rèn)為是區(qū)域遺產(chǎn)一部分的關(guān)聯(lián)性的東西，它實(shí)則是一筆財(cái)富，這種關(guān)聯(lián)的復(fù)雜性意味著設(shè)計(jì)品的產(chǎn)地與其識(shí)別性能上有著清晰的界限。關(guān)于當(dāng)?shù)厣a(chǎn)的經(jīng)濟(jì)學(xué)研究將不同的區(qū)域劃分為一個(gè)個(gè)大型的公司，用自己的經(jīng)濟(jì)生產(chǎn)模式（通常都是非正規(guī)的自然模式），即結(jié)合特有的資源和制作要領(lǐng)來進(jìn)行生產(chǎn)。這也是對(duì)如猶太豎琴、布魯尼諾酒以及威尼斯貢多拉船這樣的高端產(chǎn)品唯一通俗易懂的解釋了。

它們是代表了當(dāng)?shù)氐臉?biāo)志性產(chǎn)品，我們將它們包括在“意大利設(shè)計(jì)”名義保護(hù)下的科學(xué)性投機(jī)之內(nèi)，并且視其為一種國(guó)家性的語言，雖然它們因存在著口音而略顯不同。“儲(chǔ)備”的概念是用來象征一定區(qū)域范圍內(nèi)的資源，因此，一個(gè)典型的意大利式“區(qū)域儲(chǔ)備”是由無數(shù)相互關(guān)聯(lián)影響的因素構(gòu)成的健全體系，其中包括人力資源、生產(chǎn)資源、歷史文化差異以及與環(huán)境有關(guān)的物質(zhì)元素所塑造的一種多面特質(zhì)。這種對(duì)“儲(chǔ)備”一詞的定義超越了一切具體的描述并且很大程度上發(fā)揮了自我參考的價(jià)值。對(duì)于產(chǎn)品來說，它們被賦予了地域媒介的內(nèi)涵。在意大利，對(duì)儲(chǔ)備的確切定義是必須并且可行的。文化模式在數(shù)量和多樣性上遙遙領(lǐng)先，它源于科學(xué)、歷史和藝術(shù)傳統(tǒng)的復(fù)雜融合，并在不同的時(shí)期被重塑和傳播。在地理、時(shí)間和空間的因素影響下，這樣的混合式極容易發(fā)生改變的。它們?cè)诟鱾€(gè)地區(qū)代表著各自濃縮了人類文明進(jìn)程的物質(zhì)和非物質(zhì)文化財(cái)富。若該儲(chǔ)備是自然資源，生態(tài)環(huán)境系統(tǒng)將賦予其特質(zhì)，將其整合，助其傳播。這種與眾不同的原始資料得力于得天獨(dú)厚的地域環(huán)境（如海洋或山丘），并且比那些貼上傳統(tǒng)標(biāo)簽的“生產(chǎn)地”（專供生產(chǎn)基地）或“生產(chǎn)線”（海岸線或山地線）來得更加自然純粹。

結(jié)果是我們就可以將一套平衡了所有物質(zhì)和服務(wù)方面的整合系統(tǒng)清楚地作出闡述。要是想定義美食儲(chǔ)備就更加容易了，關(guān)于此方面的爭(zhēng)論是一個(gè)非常具有地方性的問題，對(duì)于美食儲(chǔ)備的討論使其成為總結(jié)產(chǎn)品與環(huán)境關(guān)系的特殊方法，所以它們常常被形容為某地區(qū)特點(diǎn)的代表，并以此來作為對(duì)該地區(qū)的辯護(hù)。古老的作坊、磨坊、釀酒廠和店鋪可以被看作為物質(zhì)文化的“活”博物館。

人類的創(chuàng)造力和知識(shí)的輸出在此代代相傳，這些建筑可以與旅游景點(diǎn)、藝術(shù)博物館、教堂和紀(jì)念碑放在一起，成為人們美食之旅的一站。（庖里尼，2000年）科技從一開始帶給人們對(duì)未來的期待和提高人們的生活質(zhì)量到使人癡迷和恐懼。敘事分析成為一種研究和實(shí)驗(yàn)的工具，聚焦于設(shè)計(jì)對(duì)現(xiàn)存和新興的科技在社會(huì)、文化和道德倫理方面的影響，它所扮演的角色、內(nèi)容及方式，并且發(fā)掘它在日常生活和人們生活環(huán)境中的無限可能。

當(dāng)我們看到即將從實(shí)驗(yàn)室成功誕生的生物科技，Elio Caccavale的操作簡(jiǎn)直就像是科幻小說中的片段?！昂暧^”元素與政治相聯(lián)系，經(jīng)濟(jì)和社會(huì)學(xué)與“微觀”方面的日常生活、人際關(guān)系甚至是細(xì)小的行為特征一起受到人們的重視。這一番圖景不僅是我們的夢(mèng)與渴望，也是我們最不令人愉快和意想不到的結(jié)果，可以把這種描繪看作是一種警告。不過還是要說，脫離了工業(yè)，沒有人能肯定最終的結(jié)果是什么。