这部“广告经典”以卡梅隆·布莱洛克的一系列独家图片为特色，摄于2016年5月。布莱洛克使用康泰相机和蔡司镜头与罗莱黑白胶片，以反映60年代的相机技术。

This AD Classic features a series of exclusive images by Cameron Blaylock, photographed in May 2016. Blaylock used a Contax camera and Zeiss lenses with Rollei black and white film to reflect camera technology of the 1960s.

This AD Classic features a series of exclusive images by Cameron Blaylock, photographed in May 2016. Blaylock used a Contax camera and Zeiss lenses with Rollei black and white film to reflect camera technology of the 1960s.

 © Cameron Blaylock

c.Cameron Blaylock

虽然飞机早在20世纪初就已经存在了，但直到第二次世界大战之后，商业航空旅行才开始变得普遍起来。跨世界航空公司(TransWorldAirlines)是这一发展的关键参与者：通过允许客户以折扣包购买航班，并提供延期支付计划，该航空公司采取了昂贵的奢侈选择，并让美国新兴的中产阶级可以进入。在某些情况下，他们的降价使乘飞机旅行比乘火车旅行便宜。

Though airplanes had existed since the early 1900’s, it was not until after the Second World War that commercial air travel started to become commonplace. Trans World Airlines was a key player in this development: by allowing customers to purchase flights in discounted packages and offering extended payment plans, the airline took an expensive luxury option and made it accessible to America’s burgeoning middle class. In some cases, their price reductions made travel by airplane cheaper than that by train.[1]

Though airplanes had existed since the early 1900’s, it was not until after the Second World War that commercial air travel started to become commonplace. Trans World Airlines was a key player in this development: by allowing customers to purchase flights in discounted packages and offering extended payment plans, the airline took an expensive luxury option and made it accessible to America’s burgeoning middle class. In some cases, their price reductions made travel by airplane cheaper than that by train.[1]

 Courtesy of United States Library of Congress

对美国国会图书馆的礼遇

随着空中旅行的增加，纽约港务局在1954年制定了扩建IdleWildAirport(今天的约翰肯尼迪机场)的计划。该计划将允许机场处理大量增加的进出纽约市的空中交通。该计划要求各大航空公司设计、建造和运营自己的独立航站楼，这一方案被称为“航站楼”。这一安排是在航空公司自身的敦促下做出的，航空公司认为，这是一个机会，可以在他们将建造的新航站楼中为自己打造持久的品牌身份-不管这最终会引发什么空间和美学上的混乱。

With air travel on the rise, the Port of New York Authority instituted a plan to expand Idlewild Airport (today’s John F. Kennedy Airport) in 1954. The plan, which would allow the airport to handle the massively increased air traffic in and out of New York City, called for each major airline to design, construct, and operate its own independent terminal, a scheme dubbed “Terminal City.” This arrangement was made at the urging of the airlines themselves, who saw it as an opportunity to forge lasting brand identities for themselves in the new terminals they would build – regardless of the spatial and aesthetic disarray it would ultimately foment.[2]

With air travel on the rise, the Port of New York Authority instituted a plan to expand Idlewild Airport (today’s John F. Kennedy Airport) in 1954. The plan, which would allow the airport to handle the massively increased air traffic in and out of New York City, called for each major airline to design, construct, and operate its own independent terminal, a scheme dubbed “Terminal City.” This arrangement was made at the urging of the airlines themselves, who saw it as an opportunity to forge lasting brand identities for themselves in the new terminals they would build – regardless of the spatial and aesthetic disarray it would ultimately foment.[2]

 Courtesy of United States Library of Congress

对美国国会图书馆的礼遇

1955年，环球航空公司与Eero Saarinen接洽了该项目。值得注意的是，这一决定是由公共关系部门的艺术总监做出的-这清楚地表明了航站楼在航空公司广告中的作用。这一任务甚至在该公司的项目委员会中正式生效，该委员会呼吁建立高效的地面运营基础设施，“向环球航空公司提供广告、宣传和关注”。[3]萨里宁从一开始就把航空公司的重点放在公众的注意力上，利用位于机场主要通道顶端的一个地点。

TWA approached Eero Saarinen with the project in 1955. Tellingly, the decision was made by the artistic director of the public relations department – a clear sign of the terminal’s role in advertising the airline. This mandate was even made official in the company’s project commission, which called for efficient ground operations infrastructure that would “provide TWA with advertising, publicity and attention.”[3] Saarinen took the airline’s emphasis on public attention to heart from the beginning, capitalizing on a site that sat at the apex of the airport’s main access road.[4]

TWA approached Eero Saarinen with the project in 1955. Tellingly, the decision was made by the artistic director of the public relations department – a clear sign of the terminal’s role in advertising the airline. This mandate was even made official in the company’s project commission, which called for efficient ground operations infrastructure that would “provide TWA with advertising, publicity and attention.”[3] Saarinen took the airline’s emphasis on public attention to heart from the beginning, capitalizing on a site that sat at the apex of the airport’s main access road.[4]

 Courtesy of United States Library of Congress

对美国国会图书馆的礼遇

随着网站的选择，萨里宁开始开发一种设计，将充分利用它在IdleWilde中的突出地位。他最终提出了一个对称排列的四个弯曲的混凝土壳屋顶部分，其曲线无缝地从支撑他们的码头。这四个屋顶结构中的每一个都被狭窄的天窗隔开，一个圆形吊坠占据了这四个建筑的中心点。

With the site chosen, Saarinen began to develop a design that would take full advantage of its prominence within Idlewild. He ultimately proposed a symmetrical arrangement of four curved, concrete shell roof segments, the curves of which flowed seamlessly from the piers that supported them. Each of the four roof structures was separated from its neighbors by narrow skylights, with a circular pendant occupying the centerpoint in which all four meet.[5]

With the site chosen, Saarinen began to develop a design that would take full advantage of its prominence within Idlewild. He ultimately proposed a symmetrical arrangement of four curved, concrete shell roof segments, the curves of which flowed seamlessly from the piers that supported them. Each of the four roof structures was separated from its neighbors by narrow skylights, with a circular pendant occupying the centerpoint in which all four meet.[5]

 © Cameron Blaylock

c.Cameron Blaylock

萨里宁究竟是在哪里找到灵感的终点站的形式，仍然是一个猜测的问题。为了配合这座建筑作为环球航空公司的建筑形象，许多人注意到它与鸟或飞行中的飞机相似；屋顶的动态向上似乎也同样如此。然而，有一个虚构的故事表明萨里宁的真正灵感不是在航空业，而是在他在中间压下的葡萄柚的空洞化的外皮中找到的。不管这个故事是真的还是假的，萨里宁从来没有声称他的设计是为了表达任何物质上的东西；他坚持认为，这是对飞行本身概念的抽象。

Precisely where Saarinen found inspiration for the form of the terminal remains a matter of speculation. In keeping with the building’s role as the architectural face of TWA, many have noted its resemblance to bird or an airplane in flight; the dynamic upturn of its roof line certainly seems to suggest as much. There is, however, an apocryphal story that suggests Saarinen’s true inspiration was found not in aviation, but in the hollowed-out rind of a grapefruit he pressed down in the middle. Whether the story is true or not, Saarinen never claimed that his design was meant to represent anything physical; it was, he insisted, an abstraction of the idea of flight itself.[6]

Precisely where Saarinen found inspiration for the form of the terminal remains a matter of speculation. In keeping with the building’s role as the architectural face of TWA, many have noted its resemblance to bird or an airplane in flight; the dynamic upturn of its roof line certainly seems to suggest as much. There is, however, an apocryphal story that suggests Saarinen’s true inspiration was found not in aviation, but in the hollowed-out rind of a grapefruit he pressed down in the middle. Whether the story is true or not, Saarinen never claimed that his design was meant to represent anything physical; it was, he insisted, an abstraction of the idea of flight itself.[6]

 © Cameron Blaylock

c.Cameron Blaylock

终端外部的流动性也忠实地通过其内部进行。屋顶外壳的拱顶允许一个宽敞和自由流动的内部布局，几乎完全没有空间边界。每一个元素，无论是结构还是循环，都是以这种方式进行的；楼梯都是弯曲的，连支撑上人行道的柱子也被无缝地溶入地面和天花板。参观者从地下的售票空间到餐厅和会议室，从一个悬臂式的障碍物下进入这个空间。一个凹陷的候机区，透过其巨大的窗户，可以看到机场的运作；两条管状走廊通向登机口。

The fluidity of the terminal’s exterior was carried faithfully through its interior, as well. The vaulting of the roof shell allowed for a spacious and free-flowing interior layout, almost entirely devoid of spatial boundaries. Every element, whether structural or circulatory, was carried out in this fashion; staircases all curved, and even the columns supporting upper walkways were seamlessly melded into both the ground and the ceilings. Visitors entered the space under a cantilevered marquee, progressing from the ticketing spaces at ground level to the restaurants and meeting rooms above. A sunken waiting area offered a view of airport operations through its immense window, while; two tubular corridors led off toward the boarding gates.[7]

The fluidity of the terminal’s exterior was carried faithfully through its interior, as well. The vaulting of the roof shell allowed for a spacious and free-flowing interior layout, almost entirely devoid of spatial boundaries. Every element, whether structural or circulatory, was carried out in this fashion; staircases all curved, and even the columns supporting upper walkways were seamlessly melded into both the ground and the ceilings. Visitors entered the space under a cantilevered marquee, progressing from the ticketing spaces at ground level to the restaurants and meeting rooms above. A sunken waiting area offered a view of airport operations through its immense window, while; two tubular corridors led off toward the boarding gates.[7]

 Courtesy of United States Library of Congress

对美国国会图书馆的礼遇

甚至在向公众开放之前，环球航空公司的终点站就吸引了很多关注-但并不是所有这些都是积极的。媒体对萨里宁的设计充满了极大的热情，对大楼的动态性和内部流动的评价也越来越高；航站楼对航空公司来说是一个强大的象征，即使它的预算从900万美元飙升到1500万美元，环球航空公司也从未强制削减该项目。

Even before opening to the public, the TWA Terminal attracted a great deal of attention – and not all of it positive. The press was decidedly enthusiastic about Saarinen’s design, heaping acclaim on the building’s dynamic form and fluid interior; the terminal was such a powerful symbol for the airline that even as its budget ballooned from $9 million to $15 million, TWA never enforced cutbacks on the project.[8]

Even before opening to the public, the TWA Terminal attracted a great deal of attention – and not all of it positive. The press was decidedly enthusiastic about Saarinen’s design, heaping acclaim on the building’s dynamic form and fluid interior; the terminal was such a powerful symbol for the airline that even as its budget ballooned from $9 million to $15 million, TWA never enforced cutbacks on the project.[8]

然而，虽然普罗大众对环球航空的新建筑偶像很感兴趣，但世纪中叶建筑实践的教条主义性质却让萨里宁受到了一些同龄人的严厉批评。他的混凝土外壳，虽然表现突出，但在结构上效率低下，需要大量隐藏的钢支撑；然而，更糟糕的是，这位建筑师与公司和政府机构的联系。批评人士嘲笑他把他的建筑风格与工作相适应，而不是根据他的风格来调整他的项目。TWA终点站与他以前的米里西亚笔下的直线型建筑有很大的不同，它的内部饰有红色和白色的制服，被认为是建筑师最大的两个缺点的不神圣的结合。

However, while the general public was quite taken with TWA’s new architectural icon, the dogmatic nature of mid-century architectural practice opened Saarinen to scathing critique by some of his peers. His concrete shell, while eminently expressive, was structurally inefficient and required a great deal of hidden steel support; more damning, however, was the architect’s association with corporations and government institutions. He was derided by critics for tailoring his architectural style to the job, instead of tailoring the project to his style. The TWA Terminal, differing greatly from his previous Miesian, rectilinear works and with an interior finished in TWA’s livery of crimson and white, was seen as an unholy marriage of the architect’s two greatest perceived failings.[9]

However, while the general public was quite taken with TWA’s new architectural icon, the dogmatic nature of mid-century architectural practice opened Saarinen to scathing critique by some of his peers. His concrete shell, while eminently expressive, was structurally inefficient and required a great deal of hidden steel support; more damning, however, was the architect’s association with corporations and government institutions. He was derided by critics for tailoring his architectural style to the job, instead of tailoring the project to his style. The TWA Terminal, differing greatly from his previous Miesian, rectilinear works and with an interior finished in TWA’s livery of crimson and white, was seen as an unholy marriage of the architect’s two greatest perceived failings.[9]

 © Cameron Blaylock

c.Cameron Blaylock

尽管有这些批评，但TWA终端在1962年获得了巨大的赞誉。Saarinen1961年去世，只看到大楼的上部结构完工。虽然该终端本身是喷气式飞机的象征，但具有讽刺意味的是，它不适用于为喷气客机提供服务；它的设计在1958年以前主要完成，当时第一个可行的喷气客机开始取代螺旋桨驱动的前架。[10]

Despite these criticisms, the TWA Terminal opened to great acclaim in 1962. Saarinen had passed away in 1961, having only seen the superstructure of the building completed. While the terminal established itself as a symbol of the jet age, it was ironically ill-suited to servicing jet airliners; its design was largely completed before 1958, when the first viable jet airliners began to supplant their propeller-driven forebears.[10]

Despite these criticisms, the TWA Terminal opened to great acclaim in 1962. Saarinen had passed away in 1961, having only seen the superstructure of the building completed. While the terminal established itself as a symbol of the jet age, it was ironically ill-suited to servicing jet airliners; its design was largely completed before 1958, when the first viable jet airliners began to supplant their propeller-driven forebears.[10]

尽管进行了升级，但随着喷气式客机规模和数量的增长，该航站楼永远无法真正赶上；它最终在2001年关闭了大门，其未来不确定。幸运的是，它在2005年被列入美国历史名胜古迹国家登记册，最近又宣布将改造前航站楼，作为机场旅馆。[11]在这种伪装下，环球航空公司航站楼将继续作为一个标志，不仅是飞行的象征，而且也是构想它的令人兴奋的战后时代的标志。

Despite upgrades, the terminal was never truly able to catch up as jet airliners grew in size and number; it eventually closed its doors in 2001, its future uncertain. Fortunately, its survival was ensured by its placement on the United States National Registers of Historic Places in 2005, and more recently by the announcement that the former terminal will be renovated to serve as an airport hotel.[11] In this guise, the TWA Terminal will continue to stand as an icon not only of flight, but of the heady postwar era in which it was conceived.

Despite upgrades, the terminal was never truly able to catch up as jet airliners grew in size and number; it eventually closed its doors in 2001, its future uncertain. Fortunately, its survival was ensured by its placement on the United States National Registers of Historic Places in 2005, and more recently by the announcement that the former terminal will be renovated to serve as an airport hotel.[11] In this guise, the TWA Terminal will continue to stand as an icon not only of flight, but of the heady postwar era in which it was conceived.

 © Cameron Blaylock

c.Cameron Blaylock

参考文献[1]Ringli，Kornel，David Koralek。设计环球航空公司：Eero Saarinen在纽约的机场航站楼。苏黎世：Park Books AG，2015年。P47。[2]Stoller，Ezra。环球航空公司的终点站。纽约：普林斯顿建筑出版社，1999年。P2。[3]Ringli等人，p79。[4]Stoller，p3。[5]Stoller，P5。[6]Stoller，第1页。[7]Serraino，Pierluigi，Eero Saarinen和Peter Gössel。Eero Saarinen，1910-1961：一位结构表现主义者.Köln：Taschen，2006年。第63至64页。[8]Ringli等人，第87-88页。[9]Stoller，P5-10。[10]Stoller，p4-9。[11]“历史”

References [1] Ringli, Kornel, and David Koralek. Designing TWA: Eero Saarinen's Airport Terminal in New York. Zurich: Park Books AG, 2015. p47. [2] Stoller, Ezra. The TWA Terminal. New York: Princeton Architectural Press, 1999. p2. [3] Ringli et al, p79. [4] Stoller, p3. [5] Stoller, p5. [6] Stoller, p1. [7] Serraino, Pierluigi, Eero Saarinen, and Peter Gössel. Eero Saarinen, 1910-1961: A Structural Expressionist. Köln: Taschen, 2006. p63-64. [8] Ringli et al, p87-88. [9] Stoller, p5-10. [10] Stoller, p4-9. [11] "History & Design - TWA Flight Center Hotel." TWA Flight Center Hotel. Accessed May 13, 2016. [access].

References [1] Ringli, Kornel, and David Koralek. Designing TWA: Eero Saarinen's Airport Terminal in New York. Zurich: Park Books AG, 2015. p47. [2] Stoller, Ezra. The TWA Terminal. New York: Princeton Architectural Press, 1999. p2. [3] Ringli et al, p79. [4] Stoller, p3. [5] Stoller, p5. [6] Stoller, p1. [7] Serraino, Pierluigi, Eero Saarinen, and Peter Gössel. Eero Saarinen, 1910-1961: A Structural Expressionist. Köln: Taschen, 2006. p63-64. [8] Ringli et al, p87-88. [9] Stoller, p5-10. [10] Stoller, p4-9. [11] "History & Design - TWA Flight Center Hotel." TWA Flight Center Hotel. Accessed May 13, 2016. [access].

建筑师Eero Saarinen和Associates位置JetBlue航站楼5号，牙买加，纽约11430，美国建筑师，负责Eero Saarinen地区17225.0平方米项目年1962年

Architects Eero Saarinen and Associates Location JetBlue Terminal 5, Jamaica, NY 11430, United States Architect in Charge Eero Saarinen Area 17225.0 m2 Project Year 1962 Photographs Cameron Blaylock

Architects Eero Saarinen and Associates Location JetBlue Terminal 5, Jamaica, NY 11430, United States Architect in Charge Eero Saarinen Area 17225.0 m2 Project Year 1962 Photographs Cameron Blaylock