1、景觀設計學Landscape Architecture FrontiersVolume 2 / Issue 6 / December 2014收稿時間 / Received Date 2014-11-14號 / TU986.2文獻標識碼 / A1 The Presence of theent World and the ModerIn fact, with respect to the construction tradition and to the work of famous architects, if “the detachment from traditional methods

2、can be unpleasant, while following them is beneficial. This does not mean that we must adhere strictly to their diagrams. almost if they were mandatory laws; but rather, having their teaching as astarting point, we will try and arrange new solutions”3.Marcus Vitruvius Pollio commonly known as Vitruv

3、ius, was a Roman author, architect, and engineer during the 1st century B. C., known forhis multi-volume work entitled De Architectura. The work is one of the most important sources of modern knowledge of Roman building methods, as well as the planning and design of structures.Beginning of 15th cent

4、ury, Filippo Brunelleschi and Donato (Donato di Niccolò di Betto Bardi), the “treasurehunters”, opened the tradition of the journeys to Rome:對古代世界的干預：啟示、理論與案例at that time, theque tout court. Vitruvius (MarcusVitruvius Pollio) is still a fragmented and uncertain trace1. The objective is to study

5、 the evaluation, the measure of the Roman ruins. But it is important to note that the approach of Brunelleschi is not limited to the archaeological campaign. Brunelleschi was a designer that sums up better than anyone else technical cultureand creative thinking, and thus he could only proposeInterve

6、ne on theent World:After Alberti, the relationship with theque tookdifferent forms, aly mediated. It passed through theLectures, Theories and Casesworks of the precursors, the study of campaigns and, as always in painting and sculpture, through copies. It followed a superficial archaeology, the crea

7、tion of adecorative vocabulary, but also the consciousness of摘要 古代，尤其是“古代世界” 對于我們歐洲that “the evocation of an idealquity, to which theAbstract .Understood as what has preceded us, come to us through his physical and意大利羅馬大學規劃、設計與Roman vestiges did not provide but a starting pointtowards the pursuit of

8、 perfection”2. His interpretationsafeguarding the documentary approach, of substal人，尤其對于大部分意大利人而言，羅馬的落沒historical traces, theent and in particular "theent world" that技術學院技術教授affiand, in some best cases, of real competition.即意味著古代世界的結束在每一個歷史時期，都for us Europeans, and mostly for the Italians,

9、 coincides with the end of the Roman Empire has always been, in every historical period, a reference to the culture, art, architecture. A required reference, either when it has been configured as a constant evolution and as when it is a critical restitution, a nostalgic revival or it has been cancel

10、led, due to ideology or simply for ignorance and vulgarity.From the Renaissance and at least till the Modern Movement, theLuciano CUPELLONIFull Professor of Architectural Technology at Planning, Design, Architectural Technology Department, Sapienza University of Rome可以為現有的、藝術和創作提供借鑒。它先于我們of theque i

11、s then “progressive” and rational, soTo the philological mastery, it corresponded on the one hand, the ambition of Antonio da Sangallo il Giovane who tried to deduce from the joint study of the Roman monuments and of Vitruvius, an architectural methodology stronger and more pragmatic of the general

12、and sometimes abstract architectural principles of Humanism (Fig. 1-1), and on the other hand to the innovative power of the Commentaries of Daniele Barbaro as well as of the entire work of Andrea Palladio. To reach, restarting from Vitruvius, the deep renovatio of a culture founded on the independe

13、nce and the uniqueness of the Serenissima, in 1554, Barbaroand Palladium are back in Rome. A controversial而，并以物質的或歷史的傳承as to result in a genuine conquest of proportions, of elements and of techniques that would all become the first material of his works.In 1432, Leon Battista Alberti arrived in Rome

14、. His first commitment was the Descriptio Urbis Romae, a methodology for scientific detection of the city plan, based on the analytical study of the Roman monuments and on the use of mathematical instruments. In 1443, he went back to settled and started the writing of De re aedificatoria.“The instit

15、ution of objective fundamentals for a universal language”3 this was Albertis objective. For a completely different way, compared to Brunelleschi,Alberti also intended to overcome the same original續至今。無論其是處在不斷演化的狀態，還是處于一種瀕臨修復或是懷舊復興的狀態，抑或由于的差別，甚至僅僅是因為代世界借鑒都是必要的。從文藝復興開始，至少到現代而已經消失，我們與古代relationship wit

16、h theque is an alternation of continuity and discontinuity,翻譯 Translated by / 張萃 Cui ZHANG之間的在連續與間斷、記憶與遺忘、接連不斷的of memory and forgetfulness, of consolidated presence and sudden呈現或突如其來的發現、并存與中不斷轉換。即discovery, of coexistence and. Even today, in spite of laws and校對 ProofXianby / TU便是在當下，法律和規范建立起了各種限制，這種

17、的復雜性還是衍生出了理論和實踐上的各種立regulations that establish the limits, the complexity of this relationship gives3637rise to theoretical and operational positions articulated if noting.場，這些立場并不互相，但也百家。當然And of course, this relationship also changes depending on the prevalent archaeological culture and attitude o

18、f architects over time.Beyond the specifics of the issues related to the peculiarities of thearchaeological heritage, the theme refers to the complex relationship between modern architectural culture and history, understood as identitary這種也會隨著主流考古及師的態度的發展而變化。本文并不拘泥于討論與考古遺產特性相關的細節問題，而旨在探討現代與歷史之間的復雜關系

19、，這種可以被理解為一種可識別的記憶，也可memory, but also as presence of theque in the heart of a city and its以理解為一種古代在城市中心及其范圍中的呈現。我們不能將現代性作為一個時間問題來理解，它不是新事物，因為它沒有過去；也不能將之作為當代的某個territory. Understanding moderis not a matter of time, not as "new"because it has no past, nor to designate in some way the contempo

20、raries, even if bringing ruptures and innovations, but rather as a way of being compared to the past. The contribution of the author aims to retrace the events and the various theories that have shaped the history of this relationship. Each one is a lesson. It then follows the tentative outline of t

21、he complexity of the relations between architecture, archaeology and landscape, through the critical examination of cases realized in Europe andin Italy.encyclopedia ofent knowledge, Barbaros方面來解讀（盡管它確實帶來了與創新）；而是Commentaries, where the rules of Vitruvius becomeinterpretable “ideals”; not the abstrac

22、t rules of從它與過去的比較來談。本文旨在追述塑造現代與歷史之間的各種和理論。每一個、每一個ms, either Vitruvius or the monumental vestiges.理論都具有啟發價值。通過對歐洲，特別是意大利已建成項目的審視，本文試圖勾勒出、考古與景觀之間的復雜。Key words .ent World; Archaeological Heritage; Architecture; Moder ; Relationship古代世界；考古遺產；現代性；1 古代世界及現代性的表現早在15世紀初，是，的不局限于考古領域。他作，通。他是公元前1和為一名設計師，對于技術要

23、優于他人，他指出：“與創造性思維的總結馬遺跡并沒有提供一常被稱為 世紀的一位馬作家、師及開啟了前往羅馬“尋寶”的傳統，在那時，羅工程師，撰寫了一共10卷的1-1. 小達桑的繪畫十書，該書是了解筑、提供給我們的馬就意味著古代世界。種對理想的古代性的回溯，而是提供了一個追求完美的起點。”2他對遺跡的解讀是“激進”且理性 的，目的在于對其比例、要素及技術進行透徹的探1-2.第奧的繪畫規劃及設計結構的最重要的文獻。1-1. Antonio da Sangallo's drawings1-2. Palladio's drawings仍是片段化的、不確定的1。這種傳統的目的是為了對羅馬遺跡

24、的進行評估與測量。但是值得注意的1-11-2Papers論 文景觀設計學Landscape Architecture FrontiersVolume 2 / Issue 6 / December 2014收稿時間 / Received Date 2014-11-14號 / TU986.2文獻標識碼 / A1 The Presence of theent World and the ModerIn fact, with respect to the construction tradition and to the work of famous architects, if “the detac

25、hment from traditional methods can be unpleasant, while following them is beneficial. This does not mean that we must adhere strictly to their diagrams. almost if they were mandatory laws; but rather, having their teaching as astarting point, we will try and arrange new solutions”3.Marcus Vitruvius

26、Pollio commonly known as Vitruvius, was a Roman author, architect, and engineer during the 1st century B. C., known forhis multi-volume work entitled De Architectura. The work is one of the most important sources of modern knowledge of Roman building methods, as well as the planning and design of st

27、ructures.Beginning of 15th century, Filippo Brunelleschi and Donato (Donato di Niccolò di Betto Bardi), the “treasurehunters”, opened the tradition of the journeys to Rome:對古代世界的干預：啟示、理論與案例at that time, theque tout court. Vitruvius (MarcusVitruvius Pollio) is still a fragmented and uncertain tr

28、ace1. The objective is to study the evaluation, the measure of the Roman ruins. But it is important to note that the approach of Brunelleschi is not limited to the archaeological campaign. Brunelleschi was a designer that sums up better than anyone else technical cultureand creative thinking, and th

29、us he could only proposeIntervene on theent World:After Alberti, the relationship with theque tookdifferent forms, aly mediated. It passed through theLectures, Theories and Casesworks of the precursors, the study of campaigns and, as always in painting and sculpture, through copies. It followed a su

30、perficial archaeology, the creation of adecorative vocabulary, but also the consciousness of摘要 古代，尤其是“古代世界” 對于我們歐洲that “the evocation of an idealquity, to which theAbstract .Understood as what has preceded us, come to us through his physical and意大利羅馬大學規劃、設計與Roman vestiges did not provide but a start

31、ing pointtowards the pursuit of perfection”2. His interpretationsafeguarding the documentary approach, of substal人，尤其對于大部分意大利人而言，羅馬的落沒historical traces, theent and in particular "theent world" that技術學院技術教授affiand, in some best cases, of real competition.即意味著古代世界的結束在每一個歷史時期，都for us European

32、s, and mostly for the Italians, coincides with the end of the Roman Empire has always been, in every historical period, a reference to the culture, art, architecture. A required reference, either when it has been configured as a constant evolution and as when it is a critical restitution, a nostalgi

33、c revival or it has been cancelled, due to ideology or simply for ignorance and vulgarity.From the Renaissance and at least till the Modern Movement, theLuciano CUPELLONIFull Professor of Architectural Technology at Planning, Design, Architectural Technology Department, Sapienza University of Rome可以

34、為現有的、藝術和創作提供借鑒。它先于我們of theque is then “progressive” and rational, soTo the philological mastery, it corresponded on the one hand, the ambition of Antonio da Sangallo il Giovane who tried to deduce from the joint study of the Roman monuments and of Vitruvius, an architectural methodology stronger and

35、 more pragmatic of the general and sometimes abstract architectural principles of Humanism (Fig. 1-1), and on the other hand to the innovative power of the Commentaries of Daniele Barbaro as well as of the entire work of Andrea Palladio. To reach, restarting from Vitruvius, the deep renovatio of a c

36、ulture founded on the independence and the uniqueness of the Serenissima, in 1554, Barbaroand Palladium are back in Rome. A controversial而，并以物質的或歷史的傳承as to result in a genuine conquest of proportions, of elements and of techniques that would all become the first material of his works.In 1432, Leon B

37、attista Alberti arrived in Rome. His first commitment was the Descriptio Urbis Romae, a methodology for scientific detection of the city plan, based on the analytical study of the Roman monuments and on the use of mathematical instruments. In 1443, he went back to settled and started the writing of

38、De re aedificatoria.“The institution of objective fundamentals for a universal language”3 this was Albertis objective. For a completely different way, compared to Brunelleschi,Alberti also intended to overcome the same original續至今。無論其是處在不斷演化的狀態，還是處于一種瀕臨修復或是懷舊復興的狀態，抑或由于的差別，甚至僅僅是因為代世界借鑒都是必要的。從文藝復興開始，至

39、少到現代而已經消失，我們與古代relationship with theque is an alternation of continuity and discontinuity,翻譯 Translated by / 張萃 Cui ZHANG之間的在連續與間斷、記憶與遺忘、接連不斷的of memory and forgetfulness, of consolidated presence and sudden呈現或突如其來的發現、并存與中不斷轉換。即discovery, of coexistence and. Even today, in spite of laws and校對 ProofXi

40、anby / TU便是在當下，法律和規范建立起了各種限制，這種的復雜性還是衍生出了理論和實踐上的各種立regulations that establish the limits, the complexity of this relationship gives3637rise to theoretical and operational positions articulated if noting.場，這些立場并不互相，但也百家。當然And of course, this relationship also changes depending on the prevalent archae

41、ological culture and attitude of architects over time.Beyond the specifics of the issues related to the peculiarities of thearchaeological heritage, the theme refers to the complex relationship between modern architectural culture and history, understood as identitary這種也會隨著主流考古及師的態度的發展而變化。本文并不拘泥于討論與

42、考古遺產特性相關的細節問題，而旨在探討現代與歷史之間的復雜關系，這種可以被理解為一種可識別的記憶，也可memory, but also as presence of theque in the heart of a city and its以理解為一種古代在城市中心及其范圍中的呈現。我們不能將現代性作為一個時間問題來理解，它不是新事物，因為它沒有過去；也不能將之作為當代的某個territory. Understanding moderis not a matter of time, not as "new"because it has no past, nor to des

43、ignate in some way the contemporaries, even if bringing ruptures and innovations, but rather as a way of being compared to the past. The contribution of the author aims to retrace the events and the various theories that have shaped the history of this relationship. Each one is a lesson. It then fol

44、lows the tentative outline of the complexity of the relations between architecture, archaeology and landscape, through the critical examination of cases realized in Europe andin Italy.encyclopedia ofent knowledge, Barbaros方面來解讀（盡管它確實帶來了與創新）；而是Commentaries, where the rules of Vitruvius becomeinterpre

45、table “ideals”; not the abstract rules of從它與過去的比較來談。本文旨在追述塑造現代與歷史之間的各種和理論。每一個、每一個ms, either Vitruvius or the monumental vestiges.理論都具有啟發價值。通過對歐洲，特別是意大利已建成項目的審視，本文試圖勾勒出、考古與景觀之間的復雜。Key words .ent World; Archaeological Heritage; Architecture; Moder ; Relationship古代世界；考古遺產；現代性；1 古代世界及現代性的表現早在15世紀初，是，的不局

46、限于考古領域。他作，通。他是公元前1和為一名設計師，對于技術要優于他人，他指出：“與創造性思維的總結馬遺跡并沒有提供一常被稱為 世紀的一位馬作家、師及開啟了前往羅馬“尋寶”的傳統，在那時，羅工程師，撰寫了一共10卷的1-1. 小達桑的繪畫十書，該書是了解筑、提供給我們的馬就意味著古代世界。種對理想的古代性的回溯，而是提供了一個追求完美的起點。”2他對遺跡的解讀是“激進”且理性 的，目的在于對其比例、要素及技術進行透徹的探1-2.第奧的繪畫規劃及設計結構的最重要的文獻。1-1. Antonio da Sangallo's drawings1-2. Palladio's drawi

47、ngs仍是片段化的、不確定的1。這種傳統的目的是為了對羅馬遺跡的進行評估與測量。但是值得注意的1-11-2Papers論 文景觀設計學Landscape Architecture FrontiersVolume 2 / Issue 6 / December 2014究，這些后來1432年，為了其的第材料。來到了羅羅馬城的繪新研究。被譽為古代知識百科全書爾Vignola (GiacomoBarozzi da Vignola), but the praise of the “beautiful mix”, derivative of the concrete implementation of a

48、 metrical proportional ordo and of the organisms symmetry. Architecture as a fact of science, “because it only understands the causes”4. The tables that Palladium performs for Barbaro are the mosteffective tools to represent through detection, not the此段摘錄自約伯的一份獻的評論一書是具有爭議的，他將的建詞，他開放了其關于富收藏。的豐馬。他的第一個

49、任務是完成了筑學規則變為了可以進行一一解釋的“典范”。與制在對馬遺跡的研究和數學工具運用的基奧拉所總結的抽象的規則不同，他盛贊了礎上，用科學的來勘測城市規劃。1443年，他具體實施的柱式的韻律比例，以及有機對稱性而衍回到的居所，開始了論的撰寫。一種通用的語完全不生出的“完美搭配”。學是一門研究科學的學科，“因為它事物的緣由”4。第奧對巴“用客觀的基礎元素來言”3是同，的目標。與爾圖紙的演繹說明其是一種非常有效的表現工rule, but the possible variations, not the mmultiplicity of cases., but the試圖去超越這些原有的模型，維具

50、，可以通過實踐來檢驗，它并不是既定的規則， 而是一系列可能的變化；它不是一種固定的范式，而可以衍生出多樣化的案例。的理論以及古代遺跡。事實上，就傳統With the Quattro Libri dellArchitettura , the Palladian projections grow in density and transparency,and overlays of skilled adjacencies between the whole的建造和著名師的來說，如果說“想3要超越傳統的做非議，而遵循它又大在四書中，第奧地關注了有裨益，但這不意味著我們要完全遵照這些既定的圖紙，將其奉

51、為強制性的法律；而是應該以它們的密度和通透度，以及整體和局部細節的嫻熟銜接and the. With Vitruvio “master and guide. to技術。在的“教導與指導下在對古老the investigation of the relics of the old buildings what I found more notable in them, and on top of the rules that constructing I observed5” but also the same “plans and prospects of many construction

52、sites”5they are all organized within an ordered speech, from”3。經驗為出發點，不斷嘗試形成新的解決遺跡的調查中，我看到了建立在規則之上的建造”5，“很多建造場地的規劃”5亦是如此，它們繼之后，與古跡的呈現出不同的The tables of Carceri (Imaginary Prisons , Fig.2-1), full of artifices and intimate contradiction, set outa systematic critique of the rules syntactic, static,The

53、passage is taken from the dedication to Nicola Giobbe, the producer who open his rich library to Piranesi.形式，并通過先驅的、對各種的研究，以被組織在一種有序的語境下從問題、施工細節再到具體案例。作為古場地的及臨摹、繪畫和雕塑的形式進行傳播。但的研究是它遵循的是一種粗淺的考古學理論，創作充者和“新實踐”的倡導者，第奧繪制了有teral problems of the site, from the constructionand even perspective while evoking

54、a substal滿裝飾性元素，同時開始有意識地維護文獻。術規程、措施、空間和結構組織、要素和符號的一s to the examples. Researcher of theque andstructuralism where the rational became instrument ofirrationality. From the Roman, organic austerity, then, to the liberation form, from the order to the randomness of雖然一些優秀的在本質上有著相似之處，但也整套系統。出于對多樣性的考慮，他認識

55、到是propagator of the “new practice”, Palladium draws a system of technical rules, of measures, of spatial and structural organizations, of elements and symbols. Aware of multiplicity, he realizes architectures as unitary and complex machines, where the variable is not the exception but the foundation

56、. And for this via the fabrica of the architect comes in connection with the “machine of the world”, the proportionality joints “comfort”, “perpetuity” and “beauty” (Fig. 1-2).In the mid-eighteenth century, an innovativeinterpretation emerged again. It was Piranesi (Giovanni各具特色。對語言掌握的嫻熟程度可以從兩個一種統一且復雜性的機器，其中可變性不是例外，3839方面來談，一方面小從對羅馬古跡與曾試圖的聯合研究中演繹出一套而是基礎。出于此，這位師的與“機器的the episodes, from the uto the fragment, a corrosive世界”發生了，在追求比例的同時也考慮process whi