Sabina Era, 天才基因座和平面设计 / Sabina Era, genius loci and graphic design

随着“国际风格”的即将到来，很多人在建筑方 面显露出了优势，并遵照精确的原理完成了设 计，到哪儿都能重复；新兴建筑开始在其他建筑 中兴起，一排花园的顶部是一块巨大的玻璃，虽 然阳光会把它们加热，大雪会把它们覆盖。如果 我可以把概念从建筑转移到平面设计，那我将 会很乐意讲一讲关于Sabina Era的工作方式。她 总是对她的出生地怀着深深的感情和敬意。她 所挑选出来的工具，都是为了去识别，去表达， 去把它转化成图像……她在工作场所言行谨慎， 一点也不夸张，她不会像那些老女人一样化着艳 俗不雅的妆，但会处理得很得体。她喜爱所有被 认为因为时间的流逝而变得极其普通的特点，因 此，她总是很难被认出。我正在写关于她的种种 迹象，她经常使用什么，写些什么，一直关注什 么，就好像是在地上新挖的沟渠一样。

By the coming of the International Style many people reflected upon the positive strength of architecture and carried out that design, which – by following accurate principles – could be repeatable in any place; new architectures rose among the others, and they were provided with big glass surfaces, even though the sun would have heated them up, with rows of garden roofs, even though the snow would have flooded them up. They began building and they carried out like this, without turning attention to the place, to its properties and displays, and these last ones are well-expressed through the voice of that genius loci who was born as the heathen divinity, that – thanks to the book of the same title by Christian Norberg Shultz – did not become a reason for disagreement, but a warm invitation for all people to be respectful and careful of the site, of the place, of the whole territory.