笔记 | 彼得埃森曼与特拉尼的法西斯宫

Prof.Luka 的建筑漫游课堂笔记，我感觉这叔讲课逻辑有点混乱，这是最后一节课，基本上都在阿巴...英文是听录，中文总结了一下，中英文对照，仅供参考。

总结下来要点主要有五点：

一，埃森曼对特拉尼建筑的狂热

二，特拉尼在建筑设计中运用的语义学结构（网格系统）

三，法西斯宫在立面上的层的阅读

四，网格系统作为法西斯宫的基本构成要素语言

五，交替阅读（which 阿巴了很久不知道他在讲什么，摘了豆友的文章）

埃森曼与特拉尼的建筑

Eisenmann on Terragni's architecture

Eisenmann is perfectly conscious of this formal figurative expedium that different architects used when they design. He tried to find in the work of these architects of kind of permutation , all the possible combination of these pillars, walls, horizontal suefaces, staircases, where movement through these spaces becomes how architecture has been perceived or read.

艾森曼完全意识到了不同的建筑师所使用的这种形式上的具象化的考察。他试图列举（pemutation）这些建筑师的作品，找到他们设计时柱子、墙、垂直墙面、楼梯的组合可能性。在这些空间中的运动成为建筑被感知的方式，或者说被阅读的方式。

If I use the diagram as plan (of course objective) analysis, but of course when I trace this Asilo Sant’Elia. The lines are the idea of walking through these architectures. He looked into 2 architects in 1960, Terragni and Luigi Moretti.

在他的图解分析中，他特别关注意大利在1960年代的两位建筑师，特拉尼和路易吉。

He collected Italien journals <CASABELLA>, <SPAZIO> and translated in his publications <OPPOSITIONS>. He was very fascinated by these, Especially he was facinated by Terragni through this readings the relationship between the line, the layers of information that in some kind of way Terragni gave us.

他收集意大利文的杂志《CASABELLA》，《SPAZIO》，并翻译它们，发表在了他自己的杂志《OPPOSITIONS》上。他对特拉尼对于线的处理，层次的阅读关系感到着迷。

And colunms, floors, stairs are the primary structures of Eisenmann’s analysis, He was very fascinated by the Casa del Fascio in Como. This is one of the pictures we founded in the article that he published, some synthetic in his sub themed thesis of his doctoral thesis, where he declared that for the first, for him.

柱子，楼层，楼梯是埃森曼在建筑分析时的主要对象，他对特拉尼在科莫的作品法西斯宫特别着迷，这是其中一张发表在他的博士论文中的法西斯宫的图片。

Terragni for him is the first architecture which there was synthetic domain over the semantic one. also the structure, if we are going to the Sol LeWitt structure or sculpture， Eisenmann saw in Terragni, a kind of synthetic structure under literature much before semantic.

对于埃森曼来说，特拉尼是第一个在建筑上运用了语义学的建筑师。如果我们去看 Sol Lewitt的雕塑，我们也会发现亦是如此。埃森曼在特拉尼的建筑中看到了某种非常先于语义学的，文学上的语义学结构。

语义学在特拉尼建筑中的定义：

Sol Lewitt 在雕塑中运用的基本语言也是网格系统：

Sol LeWitt

Sol LeWitt

更多关于Sol Lewitt： https://www.artspace.com/artist/sol_lewitt

While the semantic system in Casa Del Fascio is extremely linked to Fascist autarky. The period of Fascism in Italy, but for Eisenman on contrary it's structural in synthetic structure in the sense of linguistic procedure, the relationship between columns, floors, stairs were much more significant. Let's say autonomous from the semantic from... it's relationship to the architecture to the politics itself.

尽管法西斯宫的语义系统与法西斯主义的专制有极大的联系，但对于埃森曼来说，语义学结构，柱子，楼板和楼梯的关系更加重要。或者说，从语义学中产生的自主性，是从政治到建筑学的直接关系。

And he practically, I would say, ignored in the sense, the relationship between Casa Del Fascio and Fascism, declaring the most interesting part, was spatial one, a spatial that has yo, as he said the deep structure, the relational life of this architecture was crucial and much more important than any kind of significance that we could put on this architecture.

他事实上忽略了法西斯宫与法西斯主义间的关系，并宣称其最有趣的部分是空间，正如他所说的，这个建筑的深层结构、关系是至关重要的，比我们可以放在这个建筑上的任何种类的意义都要重要得多。

And this deep structure, this rational dimension was analyzed step by step, in the relation between Casa Del Fascio and Duomo in the relationship between the entrance, all the columns he described step by step.

这种深层结构，这种理性的维度被一步步分析，在法西斯宫和大教堂之间的关系中，在入口处的关系中，所有的柱子他都一步步描述。

The relation between all what is visible and invisible treating in Casa Del Fascio as a building, as a structure of extremely logical discores its inherent in empathy into the domain, the traditional relationship between elements and architecture. The quality stays in this symthetic relational dimension of the single element and it, nothing else.

所有在法西斯宫中作为单纯建筑来说可见和不可见的操作手法，作为一个极度理性的结构，在传统的建筑与要素之间的关系上，它的质量存在于语义学关系维度下的各个要素，和它本身，仅此而已。

That ... him really on the trace we have commented through Sol LeWitt. The idea of this architecture is really a product of the autonomous architecture operation. The conception of architecture is an entire autonomous fleild which is related to the domain of language and linguistic.

这让埃森曼把法西斯宫的作品和Sol Lewitt 的作品放在了同一个比较位置上。这个建筑的概念是自主建筑操作的产物。建筑的概念完全的关联于语言和语言学领域。

Of course apply to architecture into the space of architecture less to the entire discourses regard the intertextual without the sociology history, politics, etc.

关于应用于建筑空间的建筑在这提及较少，对整个论述而言缺少社会学历史、政治等的互文性。

The architecture constitute that Eisenman understood really in much before many kind of Sol Lewitt, architecture for sure.

埃森曼认为这个建筑构架早于Sol Lewitt的作品之前许多。

It can be understood only in the presence. it’s constructed by repetition of solutions on a very strict and elemental theme, and that is a square, if you look at the facade, you see here the grid made by 5x4 squares, which are constituted by the structure, it’s a skeleton structure that repeats itself also on the right but in fact, it’s in a different way. It’s a wall and seems to be mural. Mural system together with the skeleton system, so we have the coexistence of 2 different in one treated in a linguistic sequence one in two, but broken further more into other systems ( inside the skeleton part )

它是由一个非常严格和基本的主题的重复解决方案构建的，这是一个正方形，如果你看一下外墙，你会看到由5x4的正方形构成的网格，这是由结构构成的，这是一个骨架结构，也在右边重复，但事实上，它是以不同的方式。它是一堵墙，似乎是石膏墙。墙系统与框架系统一起，所以在立面的第一个层次上有两个不同的共存，在一个语言序列中被处理成一分为二，但进一步被分解成其他系统（在骨架部分）。

The first level is what we see here skeleton and wall.

第一个立面层次是框架和墙面

The second level is the hole on the top of the house, and entrance.

第二个立面层次是入口的洞口和阳台的洞口。

We are reading this first level, if you go back to the sketch done by Eisenmann. But this of course has many other layers and you can recognize here another drawing.

当然还有更多的其他层次，在埃森曼的手稿中都可以被发现。

We have seen in the past when we analyzed Le Corbusier Villa Stein, we will immediately understand why it's here. So I have the first layer, but in the second layer, I will have the system A that repeats itself B, but C, D are different, so we have a variation on the second layer, so there is a kind of centrality, that negates the asymmetric of the first layer. But also give depth to the perspective of 2 things, C & D, the entrance, the sky, and the nature, so capturing the nature within it, where is have its autonomy but also interact with the first layer.

我们过去分析过柯布西耶的加歇别墅中，已经见过了这种层次的分析，所以我们可以明白为什么是这样。不仅是在立面深度的层次上，如果我们仔细阅读第二个层次，我们可以看到在不同网格中的开窗方式，又有不一样的系统方式，ABCD，因此形成了第二个层的多样性。

在第二个层次上，同样也有某种对称中心性，否认了第一个层次的非对称性，并且给了入口和天台一个空间上的深度，并将自然捕捉进框架之中。这就是第二个层次的自主性，并且与第一个层次之间发生互动。

When I go further when I reach the level of the single grid in the first layer , when I see this division of the grid, you will see inside the window, I see there is another rhythm of squares changes in 3 systems. So you will see the more I go deeper, more I see I am dealing with the grids. You will see a grid is a basis of everything, but with this grid, I work in a kind of completely free way, showing especially the progression of this process of combination, and only the comprehence of all this solution, give me the richness of the project itself.

当我们进入到一个框架网格中一个格子内的层次深度，在这个框架下依然有网格控制窗户的划分，在第二个层次下不同网格内窗户的划分，可以有三种。当我们不断地深入层次时，我们可以不断发现网格系统的存在。网格系统是一切的基础，但在网格系统下，一切操作都是自由的，展示了法西斯宫构成的过程，只有理解了这些策略，才能理解这个项目本身的丰富性。

窗户的划分

Grid, the grid is something that is modern. Modernity that is starting talk about already, starts the decoration of the centrality of the grid. And the grid is something object but also subject of beautiful essay by Rosalind Krauss, very importanvr art critics who is absolutely contemporary of Eisenman contemporary writes, he analysis in the journal called OCTOBER is still publishing in NewYork in these years.

网格，是某种现代性的产物。现代艺术开始探讨关于网格作为装饰的中心地位。网格是某种物体，也是绝对的当代艺术评论家Rosalind Krauss的文中的重要主题。她在纽约的《OCTOBER》这本杂志上发表了她的文章。

October杂志： https://mitpress.mit.edu/books/october

When the year Eisenman worked with Rosalind Krauss declared and talked, discussed about the centrality of the grid, really on of the main element of linguistic elements of the modernity, we can say the grid is another primary structure, the primary structure where finally abstraction declare in centrality in modernity.

当埃森曼与克劳斯一起工作时，讨论了网格在现代艺术的中心地位，也是语言学和现代化的重要要素。我们可以说网格是最后抽象性在现代性中宣布中心地位的主要结构。

Grid can have various comformation, the object of expressing naturality, any kind of realistic, the attitude in art in art has been completely raised from art, thanks to the appearence of the grid of these ones of this primary form, one of this elementary primary structure contemporarily and what is CASA DEL FASCIO if not a grid.

3D grid of course, skeleton, that acts in a spatial way as a grid, but eliminated any kind of narrative of architecture outside the structural...

And structural grid is sometimes shown, sometimes hidden, then I look the lateral facade is treated in a completely different way but showing sometimes the grid closing it or taking just pieces of this grid that transform this operation showing this skeleton into a kind of mural system.

For Terraagni this 3D grid we will sense a series of different functions of the different schemes and floors that rotate in a kind of read 3D, extremely complex situation.

在这的要点，这篇文章对于立面的“交替阅读”解释更加详尽：

艾森曼解读下科莫法西斯宫四个立面的“交替阅读”

In Casa del fascio we have a tridimensional grid, a tridimensional skeleton that acts in a spatial way as a grid, eliminating any kind of decoration, of narrative, outside this structural grid.

在法西斯宫中，我们有一个三维的结构，以空间的方式作为一个网格，消除了任何一种装饰，或出了结构网格以外的叙述。

The lateral façades are treated differently but still keep the grid system. Show the skeleton in a kind of mural system. Syntactic element of architecture.This gives us the hint of why the relational dimension is so important for Eisenmann. He will explain it in a spatial analysis of architecture.This operation of volumetric and dimensional permutation of the element will be a “visual eureka”.

侧立面的处理方式和正立面并不相同，但同样保持了网格系统，在墙面系统中表现了其中暗藏的网格系统，作为架构空间的句法元素。这给我们暗示了为什么各个维度之间的关系对于埃森曼来说那么重要，他在更多的空间分析图解中解释这一点。对于体量的操作和维度上的要素排列可以组合成一个"视觉尤里卡"