忧伤与欢愉——圣卡塔尔多公墓与布里昂墓园

Melancholy and Joy——The San Cataldo Cemetery and the Brion Cemetery

在完成了布里昂墓园的设计之后,卡洛·斯卡帕曾提到他为摩德纳一个墓地项目所做的设想,这个项目很可能就是后来阿尔多·罗西通过竞赛获胜并建造的圣卡塔尔多公墓。作为罗西最典型的设计,摩德纳墓地展现出的死寂氛围与德·基里科的形而上学绘画之家有强烈的相似性。本文首先分析了这种相似性现象的理论内涵。本文指出摩德纳陵墓的“死寂”氛围强烈地体现出现代性中二元论带来的分裂与困境。与之相反,卡洛·斯卡帕的布里昂墓地所展现的则是一种平和与欢愉的气质,本文将借用海德格尔的现象学理论中汇聚与安居的理念来讨论斯卡帕设计的特殊意义。最终,文章提出,卡洛·斯卡帕的作品实际上提供了应对二元论困境的一种解答,也就是通过对存在及其源泉的尊重,来对抗缺乏价值基础的忧伤与荒芜。

After finishing the design of Brion Cemetery,Carlo Scarpa turned his attention to a public cemetery in Modena,Italy.However,eventually it was Aldo Rossi who won the design competition for the Modena site a few years later in 1971.As a representative of Rossi’s architectural work,the deathly air of the San Cataldo Cemetery in Modena shows a strong affinity with the metaphysical art of Giorgio de Chirico,an Italian painter active during the early-to mid-twentieth century.This paper discusses the theoretical implication of that parallel.It is argued that Rossi’s design in Modena indicates the existential dilemma produced by philosophical dualism.In contrast to it,Scarpa’s Brion Cemetery illustrates a gentle atmosphere of joy.Borrowing Heidegger’s notion of gathering and dwelling,the paper suggests a new philosophical meaning of Scarpa’s design and argues that Scarpa’s Brion Cemetery could provide a solution to the dilemma embodied in Rossi’s San Cataldo Cemetery in Modena.