墓地的结构作为一个空的房子是活人的记忆
“THE CONFIGURATION OF THE CMETERY AS AN EMPTY HOUSE IS THE SPACE OF LIVING PEOELE’S MEMORIES”
墓地的结构作为一个空的房子是活人的记忆
MODENA 1984
摩德纳1984
CEMETERY OF SAN CATALDO In April 1971, on the road to Istanbul between Belgrade and Zagreb, I was involved in a serious auto accident. Perhaps as a result of this incident, the project for the cemetery at Modem was born in the little hospital of Slawonski Brod, and simultaneously, my youth reached its end. I lay in a small, ground-floor room near a window through which I looked at the sky and a little garden. Lying nearly immobile, I thought of the past, but sometimes I did not think: I merely gazed at the trees and the sky. This presence of things and of my separation from things-bound up also with the painful awareness of my own bones-brought me back to my childhood. During the following summer, in my study for the project, perhaps only this image and the pain in my bones remained with me: I saw the skeletal structure of the body as a series of fractures to be reassembled. At Slawonski Brod, I had identified death with the morphology of the skeleton and the alterations it could undergo. 一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
1971年4月圣•卡塔尔多的墓地，在去贝尔格莱德和萨格勒布之间的伊斯坦布尔的路上，我遭遇了一场严重的车祸。也许由于这次事件，在摩德纳的墓地诞生在Slawonski Brod的小医院里，同时，我的青年时期到此结束。我躺在底层一间狭小房间里，透过旁边的窗子我看到天空和一个小花园。我几乎一动不动地躺着，我想到了过去，但是有时我确实不去想：我只是凝视那些树和天空。这些事物的存在，以及把我从自己身体的痛苦意识中分离出来的事物的存在把我带回了我的童年时期。在接下来的夏天，在我对这个项目的研究中，也许只有这种景象和身体的疼痛还依然伴随着我：我看到过身体的骨骼结构为一系列的骨折被重新组合。在Slawonski Brod，我已经以骨骼形态学鉴定为死亡，这种变更可以忍受。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
The Cemetery of Modena is a city for the dead, an abandoned city which resounds of sadness. The object of the competition [held in 1971] was to reconcile the traditional Italian cult of the dead with modern requirements. The three parts of the cemetery are the cone, the cube, and the stepped wings which correspond to the three types of structures. These structures are characteristic of the traditions and norms of the Italian Catholic Cemetery. I have given symbolic meaning to each of these three parts. 一Aldo Rossi lecture at Graham Foundation for Advanced Studies in the Fine Arts in Chicago, March 1,1979,in "The Works of Aldo Rossi." CRIT, no 5,Spring 1979
摩德纳墓地是一座亡者的城市，一座回响着悲哀的被遗弃的城市。这个[1971年举行的]竞赛的目标是为了调和传统的意大利死亡祭仪与现代需求。墓地的三个部分分别是圆锥体、立方体和两翼展开的阶梯对应结构的三种类型。这些结构是传统的特征以及意大利天主教墓地的规范。我对这三个部分的每一个都赋予了象征意义。1979年3月1日，
-阿尔多•罗西在芝加哥进修美术时在格雷汉姆基金会的讲座，摘自《阿尔多罗西的作品》批评，5号，1979春季
The slogan of the competition for which it [the cemetery] was designed was "the blue of the sky," and now when I look at those huge, blue, sheetmetal roofs, so sensitive to day and evening light as well as to that of the seasons, they sometimes seem deep blue, sometimes the clearest azure. The pink stucco of the walls covers the Emilian brick of the old cemetery, and it too displays the effects of the light, appearing almost white or else dark pink.
一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
为墓地竞赛设计的口号是“天空的蓝”而现在当我看到那些巨大的蓝色的金属板屋顶时，对于白天和黑夜的光线如此敏感，和四季变化一样，他们有时似乎是深蓝，有时是清澈的天蓝。墙体的粉色抹灰覆盖着旧墓的Emilian砖块，他也体现了光影的效果，显现着近乎于白或是暗粉色。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
Early in 1979 I saw the first wing of the cemetery at Modena being filled with the dead, and these corpses with their yellowish-white photographs, their names, the plastic flowers offered out of family and public sympathy, gave the place its unique significance. But then after many polemics it went back to being the great house of the dead where the architecture was a scarcely perceptible background for the specialist. In order to be significant, architecture must be forgotten, or must present only an image for reverence which subsequently becomes confounded with memories.
一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
早在1979年我看到摩德纳墓地的一翼已经装满了死者，那些尸体和他们的泛黄与白色的照片，他们的名字，家人献上的塑料花以及公众的慰问，给了这个地方独特的意义。但经过多年的争论，它回到了作为死者的大房子这个建筑对于专业人士来说仅仅是一个可以感知的背景。为了使他有意义，建筑必须被遗忘，或者必须呈现出一副仅仅是崇敬的景象，这在后来变得以记忆来混淆。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
墓地的结构作为一个空的房子是活人的记忆
MODENA 1984
摩德纳1984
CEMETERY OF SAN CATALDO In April 1971, on the road to Istanbul between Belgrade and Zagreb, I was involved in a serious auto accident. Perhaps as a result of this incident, the project for the cemetery at Modem was born in the little hospital of Slawonski Brod, and simultaneously, my youth reached its end. I lay in a small, ground-floor room near a window through which I looked at the sky and a little garden. Lying nearly immobile, I thought of the past, but sometimes I did not think: I merely gazed at the trees and the sky. This presence of things and of my separation from things-bound up also with the painful awareness of my own bones-brought me back to my childhood. During the following summer, in my study for the project, perhaps only this image and the pain in my bones remained with me: I saw the skeletal structure of the body as a series of fractures to be reassembled. At Slawonski Brod, I had identified death with the morphology of the skeleton and the alterations it could undergo. 一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
1971年4月圣•卡塔尔多的墓地，在去贝尔格莱德和萨格勒布之间的伊斯坦布尔的路上，我遭遇了一场严重的车祸。也许由于这次事件，在摩德纳的墓地诞生在Slawonski Brod的小医院里，同时，我的青年时期到此结束。我躺在底层一间狭小房间里，透过旁边的窗子我看到天空和一个小花园。我几乎一动不动地躺着，我想到了过去，但是有时我确实不去想：我只是凝视那些树和天空。这些事物的存在，以及把我从自己身体的痛苦意识中分离出来的事物的存在把我带回了我的童年时期。在接下来的夏天，在我对这个项目的研究中，也许只有这种景象和身体的疼痛还依然伴随着我：我看到过身体的骨骼结构为一系列的骨折被重新组合。在Slawonski Brod，我已经以骨骼形态学鉴定为死亡，这种变更可以忍受。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
The Cemetery of Modena is a city for the dead, an abandoned city which resounds of sadness. The object of the competition [held in 1971] was to reconcile the traditional Italian cult of the dead with modern requirements. The three parts of the cemetery are the cone, the cube, and the stepped wings which correspond to the three types of structures. These structures are characteristic of the traditions and norms of the Italian Catholic Cemetery. I have given symbolic meaning to each of these three parts. 一Aldo Rossi lecture at Graham Foundation for Advanced Studies in the Fine Arts in Chicago, March 1,1979,in "The Works of Aldo Rossi." CRIT, no 5,Spring 1979
摩德纳墓地是一座亡者的城市，一座回响着悲哀的被遗弃的城市。这个[1971年举行的]竞赛的目标是为了调和传统的意大利死亡祭仪与现代需求。墓地的三个部分分别是圆锥体、立方体和两翼展开的阶梯对应结构的三种类型。这些结构是传统的特征以及意大利天主教墓地的规范。我对这三个部分的每一个都赋予了象征意义。1979年3月1日，
-阿尔多•罗西在芝加哥进修美术时在格雷汉姆基金会的讲座，摘自《阿尔多罗西的作品》批评，5号，1979春季
The slogan of the competition for which it [the cemetery] was designed was "the blue of the sky," and now when I look at those huge, blue, sheetmetal roofs, so sensitive to day and evening light as well as to that of the seasons, they sometimes seem deep blue, sometimes the clearest azure. The pink stucco of the walls covers the Emilian brick of the old cemetery, and it too displays the effects of the light, appearing almost white or else dark pink.
一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
为墓地竞赛设计的口号是“天空的蓝”而现在当我看到那些巨大的蓝色的金属板屋顶时，对于白天和黑夜的光线如此敏感，和四季变化一样，他们有时似乎是深蓝，有时是清澈的天蓝。墙体的粉色抹灰覆盖着旧墓的Emilian砖块，他也体现了光影的效果，显现着近乎于白或是暗粉色。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
Early in 1979 I saw the first wing of the cemetery at Modena being filled with the dead, and these corpses with their yellowish-white photographs, their names, the plastic flowers offered out of family and public sympathy, gave the place its unique significance. But then after many polemics it went back to being the great house of the dead where the architecture was a scarcely perceptible background for the specialist. In order to be significant, architecture must be forgotten, or must present only an image for reverence which subsequently becomes confounded with memories.
一Aldo Rossi, A Scientific Autobiography, Cambridge, Mass.: MIT University Press,1981
早在1979年我看到摩德纳墓地的一翼已经装满了死者，那些尸体和他们的泛黄与白色的照片，他们的名字，家人献上的塑料花以及公众的慰问，给了这个地方独特的意义。但经过多年的争论，它回到了作为死者的大房子这个建筑对于专业人士来说仅仅是一个可以感知的背景。为了使他有意义，建筑必须被遗忘，或者必须呈现出一副仅仅是崇敬的景象，这在后来变得以记忆来混淆。
-阿尔多•罗西，《一部科学的自传》，剑桥大学，麻省理工大学出版社,1981年
