在巴别塔对话:查尔斯·摩尔在意大利广场的激进折中  

Talking in Babel:Charles Moore s Radical Eclecticism at the Piazza d'talia

作　　者：熊庠楠 Xiong Xiangnan

机构地区：[1]上海交通大学设计学院

出　　处：《城市环境设计》2023年第2期310-314,共5页Urban Environment Design

摘　　要：20世纪70年代,针对现代主义建筑与大众沟通不良的问题,建筑师和规划师们在作品中采用了更丰富的建筑语言,包括来自历史建筑和乡土建筑的元素,以及波普艺术的符号。后现代主义建筑理论家查尔斯·詹克斯称这种形式组织方法为“激进的折中”。它与意大利16世纪晚期的手法主义有些类似:二者均兼容并包,青睐丰富多元的表达。查尔斯·摩尔的意大利广场是“激进的折中”手法的典型代表。通过把多样甚至冲突的元素创造性地组织在一起,摩尔试图赋予意大利广场多层次的含义,期待以此吸引不同背景的用户群体。意大利广场于1978年建成,在当地引起了轰动,并一再在建筑学刊上引发激烈的探讨。流行报刊上的评论向我们揭示了公众的看法:他们是否喜爱意大利广场,并在多大程度上领会其中所蕴含的信息。专业学刊上的相关争论展现了建筑行业内部对“激进的折中”手法所存在的分歧态度。本文分析意大利广场的建筑语言并探究人们对其多样化的解读,以此揭示“激进的折中”在表达上的优势和风险。In attempt to rectify the communicative inadequacy of modernist architecture,an array of architects and planners in the 1970s adopted a more inclusive building language,embracing historic and vernacular references as well as pop-art symbols in their work.This approach,or so called"the radical eclecticism"by post-modern theorists Charles Jencks,is analogous to the Italian Mannerism of the late 16th century in their inclusiveness and their shared favor for rich architectural expression.Charles Moores Piazza d'Italia is a shining example of"radical eclecticism."In composing elements&om diverse sources in a creative way,Moore sought to infuse the site with multi-layers of meanings and thereby engage different publics.Upon its completion in 1978,the Piazza d'Italia became a local sensation and triggered debates in professional journals.Comments from the popular newspapers reveal to what extent the public enjoyed the site and understood its underlying messages while debates in the professional circles demonstrate the divisive responses towards the"radical eclecticism."This study analyzes the elective language Moore adopted in the Piazza d'Italia with a focus on how it conveys meanings.By looking closely at the various feedbacks about the site,I seek to reveal the expressive merits and risks of"radical eclecticism."

关 键 词：后现代主义建筑 査尔斯·摩尔 意大利广场 激进的折中 

分 类 号：TU-86[艺术—艺术设计]