2014年4月14日 星期一

MIT Chapel Building, Eero Saarinen 1955; The Bishop Edward King Chapel (2013) at Ripon Theological College,


MIT Chapel Building
W15 77 Massachusetts Avenue
(entrance at 44 Massachusetts Avenue)
Cambridge, MA 02139-4307

Eero Saarinen 1955

The chapel and the neighboring Kresge Auditorium are mid-century landmarks that serve as counterpoints to the urban, orthogonal campus at MIT. They are early works in Saarinen’s oeuvre and contribute to the star collection of buildings that grace the MIT campus.

The chapel is located on the western part of the campus, the large area dedicated to housing and recreation. Humble in its size and material, the diminutive building is essentially a rectangular narthex connected to a cylindrical chapel. The cylinder is surrounded by a moat, a subtle use of water to separate it further from the urban landscape and into its inner world of contemplation. The use of brick is a contrast to the concrete and steel Auditorium as well as a connection with the surrounding brick dormitories.


The interfaith building is careful to not invoke symbols or representations of any particular religion. Instead of using iconic representations, the building employs languages of light and form to awaken spirituality. The narthex is a small compressive place, a slightly awkward and normative wide corridor of clear and violet glass. It is tight so that one may be released into the 30-foot ceiling height of the extraordinary chapel.


While the exterior only gives a slight hint the possibilities of the inside, nothing prepares one for the eccentricities of this room. The chapel is organic. Its dark, undulating walls pulsate. The warm-hued brick surfaces have a texture like an old servant’s hand, rough and faithful, imprinted with memories from the years. The darkness is comforting and intimate, penetrated by only two otherworldly sources of light.

The light from the bottom comes from water reflected off of the moat to the interior of the building to tease the rippling walls. The other, the chapel’s centerpiece, is a hushed light from above the altar and dramatized by falling on a shimmering golden screen by sculptor Harry Bertoia. The effect is sublime.


2005 (updated 2010)


How to visit


The Chapel is Building W15, located on Amherst St., around the corner from Massachusetts Ave., on the MIT Campus near Kresge Auditorium and the Student Center.

It is accessible on the 1 MBTA bus, which goes down Mass Ave and has a stop at the Student Center, close to the Chapel. It is also accessible on the Red Line subway at the Kendall Stop. On-street and garage parking are also available around the campus.

Find it on MIT's interactive campus map at http://whereis.mit.edu.

The building is actively in use. There are Thursday noontime concert series free to the public and Campus ministries conducted throughout the week.

The Chapel is just across the campus from Alvar Aalto's Baker House and Steven Holl's Simmons Hall.

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出處
http://www.galinsky.com/buildings/mitchapel/



The Bishop Edward King Chapel (2013) at Ripon Theological College, Oxfordshire, UK, by Niall McLaughlin Architects, photographed by Iqbal Aalam:
Edward King Chapel, Ripon College, Oxfordshire by Niall McLughlin

Edward King Chapel, Ripon College, Oxfordshire by Niall McLughlin

Edward King Chapel, Ripon College, Oxfordshire by Niall McLughlin

Edward King Chapel, Ripon College, Oxfordshire by Niall McLughlin



2014年4月13日 星期日

Book Covers: Before and After


Book Covers: Before and After

April 12, 2014
Five designers discuss their work on recent book covers: first concepts that didn’t make the final cut, and then the cover as published (and in this installment, one cover that was accepted on the first try).




設計師詳解圖書封面如何通過審核

設計2014年04月12日
五位設計師談論他們最近的圖書封面設計:首先展示的沒有通過最終審核的版本,然後展示最終出版的封面(其中有個封面是第一個版本就被接受了)。
Eric White
1. 埃里克·懷特(Eric White)談論自己為安迪·韋爾(Andy Weir)的小說《火星人》(The Martian,皇冠出版社)設計封面的過程:
「我們的目標是傳遞一種被困在火星沙塵暴中的感覺。這個早期的素描接近那種感覺,但是沒有動感。」
Eric White
2. 「我們把美國國家航空航天局的宇航員與沙漠沙塵暴的情景結合在一起,做成了最終的封面。」
Jamie Keenan
3. 傑米·基南(Jamie Keenan)談論自己為新版弗蘭茲·卡夫卡(Franz Kafka)《變形記》(The Metamorphosis,WW諾頓出版公司)設計封面時的情形:
「我一拿到這個工作,就知道我想從書名中創造一個形象,表現出甲蟲的那種閃亮、黑色的質感。把美觀、古老的裝飾字體與鍬甲蟲的腿結合在一起,正好能傳遞出那種感覺。難以置信的是,第一個設計圖就基本上是最終封面的樣子(這種情況之前從未發生在我身上,以後很可能也不會再發生)。」
Adly Elewa
4. 阿茲利·埃爾娃(Adly Elewa)談論自己為傑夫·萬德米爾(Jeff VanderMeer)的小說《滅絕》(Annihilation)設計封面時的情形:
「我先是收集圖片。這本書真正的亮點是那個神秘的、伊甸園式的區域,主人公在其中探索以尋找答案。所以我尋找那些能暗示那裡的風景、隔絕、虛幻和未來主義的圖片。」
「書中的情節/氛圍讓我想起了電影《潛行者》(Stalker)。其中有個場景感覺特別合適。我還想表現出彼得·薩維爾(Peter Saville)設計的Joy Division樂隊的《Unknown Pleasures》專輯的封面的氛圍,以及莎拉·理查茲(Sarah Richards)創作的一些讓人迷惑的、奢華的紡織品圖案的感覺。」
Adly Elewa
5. 「這個野豬是為了表現那些風景中我喜歡的一些元素,同時融入貫穿小說始終的一些瘋狂的野生動物。最後,我們覺得它太令人不快、太粗野。」
Charlotte Strick
6. 夏洛特·斯特里克(Charlotte Strick)談論《滅絕》設計過程中後幾個階段的情形:
Charlotte Strick
7. 「我們討論了很久,覺得那幅風景畫太密集,太田園,總的來說缺乏環境威脅,然後我從埃里克的畫中選了一株有威懾力的蜘蛛蘭和一隻蜻蜓,把它們和我最初塗鴉的一個標題草圖結合起來,那個標題中的字母被排成四行,每行三個。我們把厚重的黑色洛克威爾字體進行個性化處理,以適應每一行不規則的字母間距。我希望它們也能微妙地暗示環境令人不安的變化以及那些被派到那裡去搞清情況的人。」
Keith Hayes
8. 基思·海耶斯(Keith Hayes)談起自己為雷切爾·厄克特(Rachel Urquhart)的《The Visionist》設計封面時的情形:
「那部小說的背景是19世紀中期,圍繞着新英格蘭的一個震顫派社區。要求是設計中要明顯地體現這一點。我本來希望這把椅子就足以表明這個故事是關於震顫派的,但是他們還想要一點人的元素。」
Keith Hayes
9. 「我找到了一張震顫派女教徒的照片,這個形象得到了認可。但是它看起來有點像非虛構類圖書。有些評論質疑它是否看起來像傳記。」
Keith Hayes
10. 「我決定不讓這個女人成為焦點,把她隱藏到模糊的醋酸酯製品後面。這個金箔是在震顫派社區找到的一個符號的圖示,它被稱為光之樹。我相信這個版本讓它看起來無疑是一個虛構故事。」
本文最初發表於2014年2月5日。
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翻譯:王相宜