维琴察相遇与转角之爱:反思20世纪形式主义学者对“柯布西耶-帕拉第奥”现象的论述

A Real Encounter in Vicenza and a Passion for Corners:The“Corbusier-Palladio”Interrelation Interpreted by Twentieth-century Formalists

本文反思20世纪中叶以来以鲁道夫·维特科尔、柯林·罗、彼得·埃森曼为代表的形式主义学者对“柯布西耶-帕拉第奥”现象的论述。该论述主要围绕柯布西耶作品的平面、比例、抒情文字与帕拉第奥作品具备可比性而展开,更多地从属于形式分析,而非档案研究。通过使用《拉罗歇图册》里柯布西耶在1922年对帕拉第奥的维琴察作品所绘的速写,本文尝试还原柯布西耶对帕拉第奥设计精髓的深入发掘,剖析其观察到的圆厅别墅、维琴察巴西利卡、基耶里卡蒂宫等作品在转角处对古希腊和古罗马建筑形式的整合,并进一步通过众多建筑史案例来阐释文艺复兴建筑师如何协调古代矩形长殿体系与向心穹顶体系之间的建筑语汇矛盾。或可对20世纪形式主义学者对柯布西耶如何继承帕拉第奥与古典主义的问题做出有益增补。

The paper reflects on the formalist interpretations of the“Corbusier-Palladio”interrelation put forward by Rudolf Wittkower,Colin Rowe,and Peter Eisenman after the mid-twentieth century.Their different interpretations of this interrelation can be seen in the way they compare and formally analyze Corbusier’s and Palladio’s plans,proportions,and lyrical words.Based on Corbusier’s drawings of Palladio’s buildings in Vicenza recorded in the Album la Roche,this paper demonstrates how Corbusier‘truly’discovered Palladio in 1922.Corbusier observed that Palladio had integrated the Greco-Roman tradition at the volumetric corners of the Villa Rotonda,Basilica,and Palazzo Chiericati,which he considered a key issue for Renaissance architects in reconciling separate sets of vocabularies(rectangular hall versus circular dome).This discussion will lead to a new understanding of how twentieth-century formalists saw the problem of inheritance(Corbusier adapting/innovating Palladio and Classicism).