2012年3月25日 星期日

bottlescrew



小刀用來切除瓶口外包的錫箔﹔金屬支架用來在鑽到一定程度卡在瓶口,借助杠杆原理拔出軟木塞。鑽入時,上層的螺紋旋轉,鑽入軟木塞﹔拔出軟木塞時,下層的螺紋旋轉,軟木塞逐漸被拔出。

  從事國際酒店業十余年,致力於飲料學之研究與培訓,編寫訓練教材包括:葡萄酒、品酒的藝術、飲料 管理、飲料概論、烈酒、利口酒、啤酒、調酒、咖啡概論等多媒體電子書(訓練用,不出版),達百萬言。目前任台東餐飲管理學院飲料學講師。1994年,被法 國食品協會(Sopexa)台北代表處聘為葡萄酒講師至今。1997年,應法國食品協會上海代表處之邀,於上海、北京兩地開始作法國葡萄酒之培訓至今,同 時擔任上海2002、2004國際酒展法國區顧問。

  在軟木塞出現數個世紀之后,才有了拔塞器。拔塞器的原始名稱是“bottlescrew”,根據歷史文件記載,最早提及金屬拔塞器的時間大約是在1681年,出現在英國。

  三個世紀以來,人們無不挖空心思地試圖制造出符合人體力學、工學的掌上型拔塞器,使之在處理軟木塞過程可以達到平穩、快捷、干淨、利落的最佳效果。經過300多年的演變,拔塞器使用的方法由困難變得簡單,外觀卻從簡易到復雜,甚至成為一種藝術品或收藏品。

  拔塞器的標准

   拔塞器的標准尺寸為:長度5.08~5.715公分,每個螺紋的間距約1公分,共5圈。螺旋內部中心的寬度,約可讓一根傳統的火柴棒頭自由進出。目前金 屬螺旋紋的形狀有圓形或扁平。有些拔塞器的設計,中間為一支金屬柱,外部包覆著扁平銳利的薄螺紋。但不管什麼樣的設計,隻要使用者能運用自如,就是一把杰 出的拔塞器。拔塞器的尺寸、規格不合標准,容易引起軟木塞斷裂,讓斷裂的軟木塞卡在瓶頸裡。

  常見拔塞器的使用方法

  傳統“T”型與杠杆型拔塞器

   一般軟木塞的長度約4.5公分左右,少部分長度在5公分以上。鑽入軟木塞時,首先需將螺紋尖端對准軟木塞的中心點,手掌握著拔塞器的把手,螺紋位置約於 食指與中指之間,以45度角鑽入(可用左手的拇指輔助按壓)。鑽入后,應在正上方形成垂直角度。一般的作法是:先鑽入三圈半(約3.5公分),拔出一部分 軟木塞﹔然后再鑽入一圈(留半圈)。切勿整個鑽入,以免將軟木塞穿透,導致木屑掉入瓶內。對於比較長的的軟木塞(長度通常超過瓶口外包的錫箔),拔除時最 好還是分兩次進行,同樣也是第一次鑽入三圈半,先拔出一部分軟木塞﹔再鑽入一圈半,然后將軟木塞拔出來。杠杆型拔塞器使用方法與“T”型拔塞器基本相同, 只是在傳統“T”型拔塞器的基礎上,多了兩個附件:小刀和金屬支架。小刀用來切除瓶口外包的錫箔﹔金屬支架用來在鑽到一定程度卡在瓶口,借助杠杆原理拔出 軟木塞。

  雙臂式杠杆型拔塞器

  俗稱“蝴蝶翼拔塞器”。接觸瓶口的地方有個圓形蓋頭,可套住瓶口,以支撐拔出軟木塞時的反作用力。

   鑽入軟木塞時,左右兩邊的雙翼,隨著鑽入的深度緩緩舉起﹔當舉到最高的位置時,以雙手施力向下壓,軟木塞即刻慢慢的移到瓶口上方。然后以右手掌抓住被拔 出的軟木塞,左手握住瓶頸,右手順時針(同時向上),左手逆時針方向,同時施力,再慢慢地將軟木塞拔出。這種拔塞器的使用方法非常簡單,故稱“傻瓜型”拔 塞器。

  咖啡研磨式拔塞器

  接觸瓶口的地方也有個蓋頭。隻要先將螺紋尖端對准軟木塞中心處,然后以右手握住把柄,順時針方向旋轉施力,軟木塞隨著旋轉的動作緩緩的升起。最后,以上述順時針、逆時針的施力方式,將軟木塞拔出。

  雙層反向垂直型拔塞器

  與研磨式拔塞器頗為類似,不同之處在於旋轉螺紋有兩個,一上(內)一下(外),都是順時針方向旋轉。鑽入時,上層的螺紋旋轉,鑽入軟木塞﹔拔出軟木塞時,下層的螺紋旋轉,軟木塞逐漸被拔出。

  兩片式拔塞器

   這種拔塞器的造型相當的簡單,一個握柄,兩片金屬片(一長一短)。拔除的方式是:將金屬片從軟木塞與瓶口的縫隙插入。首先把較長的金屬片從縫隙採用前后 搖擺的方式插入,然后再將較短的金屬片插入另一邊的縫隙裡——此時不再是前后搖擺,而應是左右搖擺。當兩片金屬片整個進入瓶塞與瓶口的細縫后,以拇指和另 外四隻手指扣住拔塞器的握柄側面(而非上面),以順、逆時針的方式向上施力慢慢旋轉,將軟木塞拔出。

  “問題軟木塞”的處理方法

  在拔除軟木塞時,因不小心而造成軟木塞斷裂,可從斷裂處對向的位置,以傾斜45度角度緩緩鑽入軟木塞,再以杠杆原理的反作用力將之拔除。此外,常遇見的問題還有軟木塞掉入瓶內。如果備有專門的三腳勾撈塞器,一切問題自然可迎刃而解。沒有這樣的器具,應如何處理?

   如果是部分斷裂的軟木塞掉入瓶內,可找平常使用的吸管(兩根),先將彎管部分拉直,然后同時打個結,將打結的那一端伸入瓶內,卡住瓶內的斷裂軟木塞,然 后緩緩施力將之拉出。如果是整個軟木塞掉入瓶內,根據經驗,掉入的軟木塞是橫著漂浮的,此時還是可以用兩根吸管來解決,只是方法比較繁瑣。首先將一根吸管 拉直,打個結備用。另一根吸管,先將彎處拉直,吸嘴在上方,然后從下方往上,平均地剪成四片,長度剪至彎管處下方。每一片的最前端,各打一個小結,以輕微 的力量將每一片拉成弧形狀(外弧),形成一個四腳勾。接下來,將四腳勾狀的吸管伸入瓶內,抓住(包住)軟木塞,嘗試將瓶塞扶正(直),然后將另一根打結的 吸管也伸入瓶內,卡住瓶塞下方,然后再同時將兩根吸管慢慢地施力,將整個軟木塞拉出。

  瓶口錫箔的切除

  無論是使用哪一種拔塞器,在拔除軟木塞之前,需把包覆在瓶口的錫箔切除,切除的位置應在瓶口下方1.4公分的凸緣下方。如果切在瓶嘴凸緣下方位置處(0.4公分),當倒酒注入酒杯時,有可能把切割后的金屬殘屑,隨酒液一起帶進酒杯裡,既有礙觀瞻,又不符合衛生觀念。

2012年3月23日 星期五

U.K. Citie Louvres 《看聽讀》《圖繪寶鑑》Sur l'art et sur la vie




Louvre in Paris tops most visited art venue poll

The Louvre in Paris For five years running, the Louvre has been the most visited art museum

Related Stories

The Louvre in Paris was the most visited art museum last year, according to the Art Newspaper.
The publication's annual poll stated that nearly 8.9 million people visited the French institute, which was almost a 5% increase on last year.
New York's Metropolitan Museum Of Art was the second most visited venue, with the British Museum in third place.
Two more London museums - the National Gallery and the Tate Modern - were in fourth and fifth place respectively.
'Good value' The Louvre has topped the annual list since it began in 2007.
The Art Newspaper's deputy editor Javier Pes said the institute remained popular because it is home to Leonardo da Vinci's Mona Lisa "among other treasures".
Graphic of most visited museums
Art gallery attendance has continued to climb, despite the global recession but Mr Pes was not surprised by the findings.
"Last year, American museums particularly took a big hit with the financial crisis, so they had to look for cuts and they found some of them in exhibition budgets."
'Big effect' "Now the big museums fall back on the great collections. The Met did really well from showing their Picassos. So museums have had to be creative with their collections.
"But there is obviously still an appetite out there and the museums are offering good value for money."
Theories abound as to why art venues across the world have become increasingly popular. They range from art being the new religion in a secular age, to the rise of mass-participation event culture in response to the fracturing of communities in our digital world.
They're reasonable points, which probably have had some positive affect on attendances. But not to the extent we have witnessed over the past decade. After all, great art has always had pulling power - there's nothing new in that.
So what's changed, if it's not us? The answer is, museums have.
Until fairly recently a museum saw itself as an academic institution that begrudgingly opened to the public as part of its state funding deal. The art historians that worked in these fusty, dusty places, looking after the treasures within, called themselves "keepers" - a proprietorial, guard-like job title with an inherently anti-public access ethos.
But then, at some point in the 1980s, a new breed of impresario-cum-museum Director emerged and turned their institutions into visitor attractions. Marketing departments were created, public relations experts were hired, and once damp, dark and forbidding buildings were transformed into light, bright family-friendly venues.
Art had gone into the show business and has been presenting blockbusters ever since.
A British Museum spokeswoman said she was "delighted" to feature so high in the list.
"The museum is committed to ensuring we show the world to the world, with free access for all."
The National Gallery also welcomed its place in the top five.
"The rise to the fourth most popular museum and gallery in the world reflects the enduring appeal and relevance of Old Master paintings today, and the strength of engaging exhibitions with a wide appeal," a statement said.
And a Tate Modern spokeswoman added the visitor figures "reflect the increasing worldwide interest in culture and the arts".
At number six was Washington's National Gallery of Art, permanent home to the only Leonardo Da Vinci painting in whole of the Americas, followed by the National Palace Museum in Taipei, Taiwan.
The Centre Pompidou in Paris was in eighth position, with the National Museum of Korea at number nine and Paris' Musee D'Orsay rounded off the top 10.
Attendance figures from more than 400 art institutions from across the world were collected from January to December last year.
The top 20 most visited exhibitions during last year have also been released.
Top of the list was The Magical World of Escher at Rio's Centrol Cultural Banco do Brazil with 9,677 people on average visiting it per day, with the total number throughout the year totalling 573,691.
Unlike a lot of high profile exhibitions, the Escher show was free to members of the public, which Mr Pes said "undoubtedly has a big effect" on a show's popularity.
'Great strides' Kukai's World: The Arts Of Esoteric Buddhism at the Tokyo National Museum was in second place, followed by Landscape Reunited at the National Palace Museum in Taipei.

Top 10 most visited exhibitions on a daily basis

1. The Magical World of Escher at the Centro Cultural Banco do Brasil - 9,677
2. Kukai's World: The Arts Of Esoteric Buddhism at the Tokyo National Museum - 9,108
3. Landscape Reunited - National Palace Museum - 8,828
4. Alexander McQueen: Savage Beauty at the Metropolitan Museum Of Art - 8,025
5. Claude Monet (1840-1926) at the Grand Palais - 7,609
6. Photoquai at the Musee Quai Branly - 7,304
7. Mariko Mori: Oneness at the Centro Cultural Banco do Brazil - 6,991
8. Monuments: Anish Kapoor at the Grand Palais - 6,967
9. Laurie Anderson at the Centro Cultural Banco do Brazil - 6,934
10. The Prado Museum at the Hermitage at the State Hermitage Museum - 6,649
The Alexander McQueen: Savage Beauty exhibition at the Metropolitan in New York attracted just over 8,000 people a day.
The venue showed a collection of dresses and costumes made by the late British fashion designer, who killed himself in 2010.
Rounding off the top five was the Claude Monet display at the Grand Palais.
Figures have continued to increase since 1996, when the publication first began recording visiting figures.
Initially a show needed around 3,000 people a day in order to make the top 10, now they need to have almost 7,000 visitors a day.
Mr Pes said museums have "made great strides" in recent years.
"Museums can pat themselves on the back," he added. "They have built up audiences so there is a bigger appetite to see art, especially contemporary art.
"Museums have got better at putting on exhibitions and marketing them and building up excitement."

2012年3月20日 星期二

experimental typeface publication FUSE 1-20


這玩藝 洋場的革命

TASCHEN
 






Ideas that change design





A complete retrospective of the influential, experimental typeface publication FUSE

Launched by Neville Brody and Jon Wozencroft in 1991, FUSE was the ground-breaking publication that took design and typography into radically new and unforeseen spaces. The major influence of its revolutionary and experimental approach to typographic language reverberates still, and today—twenty years after its launch—the explorations carried out by some of the most famous and influential names in the industry stand out as futuristic and ahead of their time.

Taking the alphabet as its base, and enabled by the advent of digital design, FUSE became a laboratory for new ideas and risks, as well as a hothouse of new thinking. Published over twenty editions, each issue was themed and included both fonts and posters by specially-commissioned collaborators, all of which are on show here.

To commemorate the release of issue 20, TASCHEN brings you a complete compendium of all the issues. Exclusive to this publication are FUSE19 and FUSE20, two newly-commissioned and never-before published issues, in the form of 10 A2 posters and 24 downloadable fonts, making this boxed edition a collector's item. This is the legacy created by the best contemporary thinkers on typeface design: the list of contributors to FUSE reads like a who’s who of typographic design, from Erik Spiekermann to Stefan Sagmeister, Peter Saville, Jonathan Barnbrook and Tobias Frere-Jones, plus many more. Editorial contributors include Adrian Shaughnessy and Jon Wozencroft.

Included in this special edition:
  • 10 exclusive posters from the never-before seen editions of FUSE19 and FUSE20
  • A compilation of the work of the most innovative and renowned typographic designers of the last two decades
  • Keycard with code to download fonts from issue 19 and 20
  • Complete out-of-print issues 1 to 18 compiled in a book designed by Neville Brody

Neville Brody is an internationally renowned designer, typographer, art director, brand strategist, educator and founder of the Research Studios network. In addition to lecturing and contributing to a variety of cultural and educational initiatives, Brody works both independently and alongside Research Studios designers on commercial and privately commissioned projects. In 2010 Brody was awarded a Special Commendation by Prince Philip for his Design Council: Designer of the Year Prize and was made a Fellow of the University of the Arts, London his alma mater. In 2011 The Museum of Modern Art in New York selected Brody’s font Blur as part of its permanent design collection. Brody was also made a Royal Designer for Industry (RDI) by the Royal Society of Arts in November that year, joining many of his peers in the creative sector. Brody is the Dean of Department for Visual Communications at the Royal College of Art, Vice-President of the D&AD and chair for their education sub-committee. He also sits on the BBC Online Creative Advisory Board and is a member of the film education advisory board to the DCMS.

 
FUSE 1–20
FUSE 1–20
Neville Brody, Jon Wozencroft
Flexicover, 10 posters, box
online font library
17.1 x 21.9 cm, 416 pages
$ 59.99


Buy now
 
Neville Brody

2012年3月15日 星期四

I designed a garden in the Olympic Park




我为伦敦奥运设计花园
I designed a garden in the Olympic Park




Even though I had always thought I’d be an artist, when I graduated in fine art from Nottingham Trent University, I was very disillusioned with the idea of working within the confines of a gallery space. I realised I was more excited by walking and landscape and thought I could connect the two. I also needed money, so I applied for a job at Hampton Court gardens as an under-gardener.

虽然我一直认为自己会当艺术家,但刚从诺丁汉特伦特大学(Nottingham Trent University)美术专业毕业时,我对憋在画廊里的室内工作完全丧失了憧憬。我意识到,自己更喜欢到处走动、喜欢户外的景色。我觉得自己可以找到一 份同时满足这两点的工作。我当时也缺钱,因此申请了汉普顿宫(Hampton Court)园艺师的工作。

I spent a year there and enjoyed being outside but the work was amenity horticulture – I was learning to mow diamonds into lawns. I needed to be more creative so I enrolled in a garden design course. But that felt even more uncreative and almost put me off garden design altogether. Much of what we learnt was how to manage client/designer relations, focusing on certain types of clients with a certain amount of money. It wasn’t my scene at all, so I decided to go back to painting.

我在那里呆了一年。在户外工作让我觉得享受,但那份工作的性质是休闲园艺——我当时学习的是, 如何在草坪上修剪出菱形的图案。我必须做点更有创意的事情,于是报了一个园艺课程。但那个课程更是毫无创意,几乎让我彻底放弃了园艺。那个课程教给我们 的,主要是如何管理客户与园艺师之间的关系,根据客户的富裕程度对他们区别对待。这完全不是我的菜,因此我决定重返绘画界。

In the end, I took a job in an art shop and gallery and did odd jobs for garden designers. During this time, I entered a Royal Horticultural Society competition for a conceptual design for the Hampton Court Flower Show. My idea was a pattern of different widths of water rills – like streams – running in repeats with naturalistic planting and overlapping stones. It was intended for awkward, in-between spaces in cities, and I won the competition with it. Not long after, I was approached to design an exhibit at Chelsea Flower Show. And through that, I was approached to be part of a team bid for the Olympic Parklands. My career seemed to take off very quickly.

最后,我在一个艺术品商店兼画廊里找到了一份奇怪的工作,为园艺师服务。那段时间里,我参加了 英国皇家园艺学会(Royal Horticultural Society)举办的汉普顿宫花展概念设计大赛。我的想法是,挖一些不同宽度的水渠(像小溪那样),在水渠两岸营造自然植被,或堆一些石块。这个设计的 目的,是把城市中一些不规整的多余空间利用起来。凭借这个设计,我赢得了比赛。不久,有人来找我为切尔西花展(Chelsea Flower Show)上的一个展览做设计。通过那件事,又有人来找我参加奥林匹克公园(Olympic Parklands)的设计征集会。我的事业似乎很快就起飞了。

I was invited into meetings to discuss how the Olympic Parklands might look but I didn’t hold out much hope for having my own ideas included. Then someone turned to me and said they wanted to make sure there’d be a garden at the main stadium I could use my ideas in. I was surprised but in the end that’s what happened. I was the youngest designer responsible for a major project at the Olympics. As soon as the design work started, so did the pressure. It was very fast-paced and I had to provide drawings very quickly – even on the same day that the ideas had been proposed.

我受邀参加了一些讨论奥林匹克公园景观设计的会议,但我并没怎么指望自己的意见能被采纳。这 时,有人对我说,他们想跟我确认一下,我是不是愿意设计主场馆的一座花园。我觉得很意外,但事情就这么发生了。在所有负责奥林匹克公园主项目的设计师中, 我是最年轻的一个。设计工作一开始,压力随之而来。工作节奏很快,我必须很快交出图纸——有时候想法出来的当天就得出图纸。

I thought less literally than many traditional planting designers; I collaged different images together and included drawings and sketches. I was nervous and conscious of my lack of formal training but actually George Hargreaves, the design leader, seemed to appreciate my unconventional approach.

跟许多传统的园艺设计师比起来,我没有那么多条条框框。我会把不同的图像拼到一起,并附上图纸和素描。我知道自己缺乏正规训练,因此有些紧张,但没想到设计负责人乔治•哈格里夫斯(George Hargreaves)似乎很欣赏我这种非常规的方式。

We came up with the idea of having four different zones. The visitor would travel through a garden inspired by European hay meadows, then another by north American prairies, another by southern African grasslands and an Asian zone lush with coarse textured plants. I decided to divide each zone up into interweaving strips and fields. I tried to achieve something that looked painterly. It was a complex tapestry of plants and I had to produce many drawings to give the design team a visual of how the planting would look.

我们拿出的方案是把花园划分为四个区域。参观者将首先经过一座欧洲田园式公园,进入另一座北美 大草原式公园,然后来到一座非洲南部大草原式公园,最后进入长满各式纹理粗糙植物的亚洲式公园。我决定把每个区域划分成棋盘状的许多小区域,尝试营造一种 像图画一样的效果。我要通过不同植物的复杂组合来实现这种效果,要出很多图纸,以便让设计团队直观地看到。

The design was completed five years ago and the garden was planted last summer. It is by the main entrance as you come from Stratford across a bridge that spans a tributary of the River Lea. It’s a long, narrow garden: 800m long and 30m wide. It unfolds as you walk through it. You can’t ever see all the garden at any one point. The paths cross at different levels. It’s experiential. There will be waves of one colour then another, then back to a similar colour so that there is continuity and flow through each zone.

设计工作已于5年前完成,公园也已于去年夏天完工。我设计的公园在奥林匹克公园主入口旁边。从 斯特拉福(Stratford)穿过横跨利河(River Lea)支流的小桥,就能到达奥林匹克公园主入口。我设计的花园形状狭长,有800米长,30米宽。景色随参观者脚步所至而一点点呈现。在花园里任何一点 都无法尽览其全貌。园中不同道路不时交汇,错落有致。这是一种体验。在颜色的过渡方面,后一种颜色紧跟前一种颜色出现之后,与前一种颜色类似的另一种颜色 会接着出现,从而在每个区域内营造一种连贯而流动的效果。

I enjoy walking through the garden but ultimately plants will always surprise you. It’s those surprises that help to keep my natural designer’s self-criticism in check. A garden is never finished and it will always take on a life of its own. Most of all I’m pleased to have helped create an urban garden that I hope will last for generations to come.

我喜欢在这座花园里散步,但最终那些植物总会让人讶异。正是这种讶异,帮助我保持自然设计师的自我批判眼光。一座花园永远不会定型,它有自己的人生。我最高兴的是,自己参与了一座城市公园的创造;希望在几代人以后,这座公园依然存在。


译者/吴蔚