Narrator: Listen to a part of lecture in an art history class. Professor：As the industrial revolution took hold in early 19th century, England.

旁白：请听一段艺术史学课的讲座。教授：19世纪初，工业革命在英国生根发芽。

Uh, the increased availability of cheap goods made in the latest styles was taken advantage of by the rising middle class.Home decoration became very popular.

越来越多的最新款式的廉价商品被崛起的中产阶级所利用。家庭装饰变得非常流行。

And this led to the popularity of mass produced carpets and wallpaper in all sorts of ornate patterns and bright colors.

这导致了大量生产的各种华丽图案和鲜艳颜色的地毯和墙纸的流行。

And while this explosion of manufacturing led to breakthroughs in the kinds of designs that could be produced, it didn't necessarily lead to improvements in design quality.

虽然这种制造业的爆炸式发展带来了设计上的突破，但它并不一定会提高设计质量。

According to a group of designers and social critics in England, who were known as design reformers.

英国的一群设计师和社会评论家认为，他们以设计改革者而闻名。

And we'll talk more about them in a minute.

我们一会再详细讨论。

The great exhibition of 1851 in London, uh showcase, the new wallpaper designs and styles.

1851年在伦敦的大展览，展示了新的墙纸设计和风格。

There you had thousands of exhibits that were meant to celebrate how good contemporary manufacturing was.

那里有成千上万的展览是为了庆祝现代制造业有多好。

There were many, many machine made wallpapers on display there with prizes awarded to some of the best pieces.

那里展出了很多很多机器制作的墙纸，其中一些最好的作品还获得了奖项。

There are a lot of very detailed patterns and bright colors.

有很多非常精细的图案和明亮的颜色。

Some papers had very realistic pictures and others had special effects like the illusion of depth. So you'd think this would be good.

有些纸上有非常逼真的图片，有些纸上有像深度错觉这样的特效。所以你会觉得这很好。

But the exhibition led to outraged newspaper editorials, criticizing how poor public taste was.

但这次展览引发了义愤填膺的报纸社论，批评公众的品味有多差。

The British inspector general for art actually wrote a report specifically about the wallpaper at the exposition.

实际上，英国艺术监察长专门就博览会上的墙纸写了一份报告。

In his view, the judges gave awards based on technical aspect, like the number of colors used in the papers,

在他看来，评委们是根据技术因素来评奖的，比如纸上使用的颜色数量，

rather than on more traditional aesthetic criteria, like beauty or simplicity.

而不是更传统的审美标准，比如美或简洁。

Uh, despite being a leader in industrial progress, England, by some accounts, seemed to be lagging behind its rival France in terms of design quality.

尽管英国在工业发展方面处于领先地位，但据一些说法，在设计质量方面似乎落后于它的竞争对手法国。

And some design reformers worried that the nation could lose its advantage in international trade if designs weren't changed.

一些设计维新派担心如果设计不改变的话，国家可能会在国际贸易中失去优势。

So the new technical abilities in production introduced by the industrial revolution, uh, prompted or enabled these new wallpaper designs.

因此工业革命带来的生产新技术能力，促使或促成了这些新的墙纸设计。

You see, manufacturers had figured out how to use engraved metal rollers in the production of wall paper.

你看，制造商已经想出了如何使用雕刻金属滚轴在生产墙纸。

Using metal rollers to print wallpaper allowed a level of extremely fine detail and shading that previously had not been possible.

使用金属滚轴打印墙纸，可以达到以前不可能达到的非常精细的细节和阴影效果。

I mean, before the papers were being made by block printing, which was pretty imprecise, uh, plus the new production techniques made wall paper a lot cheaper to buy

我意思是之前这些纸是用木版印刷的，那是很不精确的，再加上新的生产技术使墙纸便宜了很多，

since it reduced production costs.

因为它降低了生产成本。

And these new wallpapers were popular.

这些新的墙纸很受欢迎。

To the average industrialist, good design meant whatever sold the best, popular taste, equated ornate embellishment with excellence.

对一般的工业家来说，好的设计意味着卖得最好的东西，流行的品味，把华丽的装饰等同于卓越。

So many manufacturers created wall papers with as much surface decoration as possible.

所以很多厂家都创造了尽可能多的表面装饰的墙纸。

Graphic elements from different areas were combined without regard to period or, or stylistic unity. And designs became increasingly cluttered.

不同地区的图形元素被结合在一起，而不考虑时代或风格的统一。设计也变得越来越凌乱。

All of which irritated design purists, even the Victorian era writers mock the wallpaper design trend.

这激怒了设计纯粹主义者，甚至维多利亚时代的作家嘲笑墙纸设计趋势。

In his 1852 short story, a house full of horrors,

在作家Henry Morley 1852年的短篇小说《充满恐怖的房子》中,

the writer Henry Morley described the garish combination of mismatch design elements that represented the new style in wallpaper design.

他描述了代表了墙纸设计新风格的不匹配的设计元素的华丽组合。

Quote, the paper in my parlor contains 4 kinds of birds of paradise besides bridges and pagodas.

他写道，我的客厅里的纸，除了桥和塔，还有四种天堂鸟。

Wilkie Collins described another of the new wall papers as, quote, a gaudy pattern of birds, trellis work and flowers in red and green on a white background, end quote

Wilkie Collins描述了另一份新墙纸，原话是这样的:一幅花哨的图案，在白色背景上面有鸟、格子图案和红色、绿色的花朵。

One technique, in particular, became associated with the new wallpapers.

有一种技术，尤其与新墙纸联系在一起。

Trompe I’oeil, um, Trompe I’oeil that's French for tricking or cheating the eye, was a design technique that created visual illusions.

Trompe I’oeil ，嗯，Trompe I‘oeil，这是法语，意思是欺骗或欺骗眼睛的一种创造视觉错觉的设计技巧。

So you'd have wallpaper that actually looked like marble or wood, grain, or maybe like aged leather.

所以墙纸会看起来像大理石，木头，纹理，或可能像有年代的皮革。

Now, the design reform critics, they oppose this.

现在，设计改革的批评者，他们反对。

They thought that Trompe I’oeil designs were inherently deceptive, because they made walls look like something they were not.

他们认为Trompe I’oeil 设计本质上是欺骗性的，因为它们让墙壁看起来不像它们本身。

This was also, this was the design reformers critique of the three dimensional illusions of depth.

这也是设计改革者对制造出“深度”的三维幻觉的批判。

To them, It was all a type of lying. So these designs were actually immoral.

对他们来讲，那都是一种谎言。所以这些设计实际上是不道德的。

And.. and according to their shaky logic, if people filled their houses with wallpapers that were visually deceitful, then the inhabitants would become deceitful, too.

根据他们不可靠的逻辑，如果人们在他们的房子里贴满了视觉上具有欺骗性的墙纸，那么这些居民也会变得具有欺骗性。

Yeah. Right. When they created wall papers, design, reform, advocates avoided illusions and visual deceptions.

是的。当他们创作墙纸、设计、改革时，倡导者避免了幻想，视觉和欺骗。

They created primarily geometric, two dimensional patterns, which they said would confirm the wall as a flat surface, rather than disguise or misrepresent it.

他们主要创造了几何的、二维的图案，他们认为这些图案可以确认墙壁是平面的，而不是伪装或歪曲它。

And they used fewer and more subdued colors in their wallpaper.

而且他们在墙纸中使用了更少、更柔和的颜色。

So it's probably not surprising that design reform products didn't do well in the marketplace.

因此，设计改革产品在市场上表现不佳也就不足为奇了。

From the 1840s, on the three dimensional and Trompe I’oeil designs continue to sell in huge quantities despite their supposed corrupting influence.

从19世纪40年代开始，在三维和Trompe I’oeil的设计继续大量销售，尽管它们被认为具有造成堕落的影响。

Meanwhile, design reforms, geometric patterns sold in small quantities, and were used mainly to decorate government buildings instead of homes.

同时，设计改革，几何图案的销售量很少，主要用于装饰政府建筑，而不是住宅。