反思彼得·埃森曼的虚拟图解——以帕拉第奥的萨雷戈别墅为例  

A Reflection on Peter Eisenman’s Virtual Diagram:An Example of Palladio’s Villa Sarego

作　　者：闫朝新 胡恒[1] YAN Chaoxin;HU Heng

机构地区：[1]南京大学建筑与城市规划学院

出　　处：《建筑史学刊》2024年第4期68-78,共11页Journal of Architectural History

摘　　要：彼得·埃森曼提出帕拉第奥的别墅设计中存在一种空间拓扑关系,由此形成一套独立的“虚拟别墅”图解系统。但利用这套系统并不能更好地理解案例作品,甚至还会加深对帕拉第奥设计概念的误解。对《建筑四书》中萨雷戈别墅的“还原式”图像研究,可展现出原设计的要点所在与帕拉第奥别墅类型的设计转向:别墅实体中心消失,古典立面被消解,形成了“没有立面”的形式效果;平面与剖面的图纸对应关系则暗示了真实的流线路径与现存的完全相反;深廊是组织建筑空间的核心结构,成为别墅的主体。埃森曼的虚拟图解仅呈现出形式与空间的表象操作,导致对萨雷戈别墅的解读偏移,而这正是由他对形式自治性的过分强调带来的自我游戏的幻觉所产生的。Peter Eisenman postulated the existence of a topological spatial dynamic within Palladio’s villas,conceptualizing it as an autonomous“virtual villa”diagrammatic system.Nevertheless,this framework falls short in enhancing understanding and,ironically,exacerbates misconceptions regarding Palladio’s design philosophies.In the context of Villa Sarego(Santa Sofia),this paper offers a meticulous graphic analysis rooted in The Four Books on Architecture to uncover the pivotal aspects of Palladio’s design,marking a significant paradigm shift in his villa typology:the demise of the villa’s solid core and the dissolution of the traditional classical façade,fostering a“no façade”aesthetics;the congruence between plan and section drawings underscores a reversal of conventional circulation patterns;furthermore,the profound corridors emerge as the pivotal structure,orchestrating the architectural space and assuming the villa’s core identity.It becomes evident that Eisenman’s virtual diagrams merely offer a superficial manipulation of form and space,fostering a distorted interpretation of Villa Sarego,a consequence of the self-referential illusion fostered by his undue emphasis on formal autonomy.

关 键 词：彼得·埃森曼 虚拟别墅 帕拉第奥 萨雷戈别墅 《建筑四书》 形式自治性 

分 类 号：TU-091[建筑科学—建筑理论]