以图为线索讲解帕拉第奥  

Interpreting Palladio by the thread of graphics

作　　者：孙政 张莹莹 SUN Zheng;ZHANG Yingying

机构地区：[1]南京工业大学建筑学院

出　　处：《建筑师》2022年第5期90-98,共9页The Architect

基　　金：江苏省高等学校自然科学研究面上项目(20KJB560001);2021年江苏省“双创博士”项目(JSSCBS20210415)。

摘　　要：安德烈·帕拉第奥可能是历史上被研究最多的建筑师,也是当代建筑学的一个经典议题。如何使学生理解帕拉第奥“不朽的当代性”,是建筑史教学的难点与重点,也是回答“学习建筑史有什么用”的绝好例证。本文从卷帙浩繁的“帕拉第奥研究”中,提取出一条与图有关的线索,包括帕拉第奥本人在《建筑四书》中的绘图、鲁道夫·维特科尔对帕拉第奥作品的图解,以及威廉·米切尔提出的“帕拉第奥语法”等,从中不仅可以管窥帕拉第奥的设计方法,也能看到建筑史、建筑理论、建筑设计围绕图学与再现的互动。在今天自学资料空前丰富的背景下,外国建筑史教学需要从更趋建筑学自治的史观出发,而图学与再现这条线索可以成为连接建筑史与设计、技术课程的纽带。Andrea Palladio is perhaps the most studied architect in history,and a classical topic in architectural discourse today. It is critical but challenging to explain why Palladio is ‘eternally contemporary’ in teaching architectural history.This paper extracts a thread of graphics from the vast literature of Palladian study:drawings in The Four Books of Architecture,the diagram of Palladian villas presented by Rudolf Wittkower and the Palladian grammar proposal by William Mitchell. This thread is not only relevant to the design principles of Palladio,but also reflects the interaction among architectural representation methods,history,theory,and design. This paper suggests a transformation in architectural-history teaching from style-oriented perspective to architecture-autonomy when self-learning is feasible today thanks to unprecedently abundant visual materials. Graphics and representation could be a gap-bridging perspective between architectural history and other teaching sessions(e.g. design,technology).

关 键 词：帕拉第奥 绘图 再现 图学 《建筑四书》 图解 形式语法 

分 类 号：TU-091[建筑科学—建筑理论]