卡洛·斯卡帕建筑设计丨意大利

卡洛·斯卡帕是谁？

直线象征无限，曲线限制创造。而色彩则可以让人哭泣。

Straight lines symbolize infinity, curves limit creation. And color can make people cry. ——卡洛斯卡帕——Carlos Capa 这位 20 世纪的建筑师来自意大利，被人称为“建筑界的孤独者”。在他的设计中，形状不再带有任何内涵或延伸的意义，它只代表它本身，它只代表美。

The 20th-century architect from Italy has been called "the loner of architecture". In his design, the shape no longer carries any connotation or extended meaning, it only represents itself, it represents only beauty.

坟墓是为埋葬在地下的人而建的纪念碑，但它们也可以成为人们反思的地方。在一个朝向多洛米特山麓的偏僻村庄墓地里，卡洛·斯卡帕(Carlo Scarpa)设计了一座充满诗意的墓园，它与所有进入其中的人都进行着无声的交流。

Graves are monuments to those buried in the ground, but they can also be places of reflection. In a remote village cemetery facing the foothills of the Dolomet mountains, Carlo Scarpa has designed a poetic cemetery that communicates silently with all who enter it.

斯卡帕的设计手法

光线，对于斯卡帕来说，并不是当成一种元素和相对比较正的角色来设计，而是把它看做是对物件的诠释说明、评论和描述。

Light, for Scarpa, is not designed as an element and a relatively positive character, but as an interpretation, comment and description of objects.

光是塑造建筑体形的韵律，是卡洛·斯卡帕用来将空间赋予超越想象的实体的第四维度。

Light is the rhythm that shapes the building’s form, the fourth dimension that Carlo Scarpa uses to give space to entities beyond imagination.

序

列叠级是斯卡帕最为典型的设计手法之一，他之所以大量的运用充满秩序感的叠级，主要是受到阿尔伯思的影响，阿尔伯思平面上对于方格元素，叠级元素有着大量且非常深入的思考和探究。斯卡帕将其在平面中的表现，立体化地运用在空间中。

Sequential stacking is one of Scarpa’s most typical design techniques, and the reason why he uses a lot of orderly stacking is mainly influenced by Albers, who has a lot of and very in-depth thinking and exploration of checkered elements and superimposed elements on the Albertian plane. Scarpa uses his representation in the plane and three-dimensionally in space.

斯卡帕的造型从来都不遵循传统，对于“对称”这种固有形式形态的束缚，他向来都主张打破。而事实证明，在立面的体块构成上，不对称往往能够创造出无数的变化。

Scarpa’s form has never followed tradition, and he has always advocated breaking the constraints of the inherent form of "symmetry". It turns out that in the composition of the façade, asymmetry can often create countless changes.

圆拱造型也是斯卡帕常用的造型之一，他赋予了一个圆千变万化的形态，以及丰富的情感。

The round arch shape is also one of Scarpa’s most common shapes, which he gives a kaleidoscopic form and rich emotions.

正如布里翁墓室的双环，他以最简单的线条表达着内心的诗意。

Like the double rings of Brion’s tomb, he expresses his inner poetry with the simplest lines.

许多人都好奇，这个内容如此丰富的图像元素背后究竟有何象征意义。一条简洁、清晰的线条表达着深刻的含义，因为在这两个圆环中间形成了第三个尖锐的造型。这里引用了基督教图像学中通常环绕在基督像周围的“神圣的尖椭圆形灵光”。

Many people wonder what symbolism is behind such a rich graphic element. A simple, clear line carries a profound meaning, as a third sharp shape is formed between the two rings. This is a reference to the "pointed oval divine light" that usually surrounds the Christ figure in Christian iconography.

在斯卡帕的作品中，彼此的穿插、相贯、咬合，是两个体块或者多个体块之间的最常见的连接方式和处理手法，体块结构的几何感非常强烈，充满通透感、呼吸感和设计感。

In Scarpa’s works, interspersing, intersecting, and biting are the most common connection and processing methods between two or more volumes, full of transparency, breath and design.

斯卡帕充分汲取了新艺术运动的思想精华，经常运用重叠、交织、并置的线条和空间彼此限制、互相补充，并将其在建筑上发展为三维的风格。在他看来，形体是简单而纯粹的。

Scarpa drew on the ideas of Art Nouveau, often using overlapping, intertwined, juxtaposed lines and spaces to limit each other. Complement each other and develop them architecturally into a three-dimensional style. In his view, the form is simple and pure.

帕斯卡的设计中也有大量新旧的融合，古老的工艺与现代的材料完美的结合在一起，有感染力的建筑语汇重新诠释时间遗留下来的质感与痕迹。

Pascal’s design also has a lot of fusion of old and new, ancient craftsmanship and modern materials perfectly combined, and the infectious architectural vocabulary reinterprets the texture and traces left by time.

在这种关系中，新与旧既非笨拙的模仿，也不是张扬的划清界限，而是充满了生命力的延续，和谐，并且优雅。

In this relationship, the old and the new are neither clumsy imitations nor ostentatious draws, but continuation, harmony, and elegance full of vitality.

老旧材料是有传统和历史的代表意义，再结合当下现代的新材料。新与旧之间的交融碰撞，产生意想不到的视觉冲突感，极具艺术效果，同时也表达了斯卡帕对于历史的尊重和态度。

Old materials are new materials that have the representative significance of tradition and history, and then combine with the current modernity. The blend and collision between the old and the new creates an unexpected sense of visual conflict, which is very artistic, and also expresses Scarpa’s respect and attitude towards history.

斯卡帕设计最大的亮点，在于他对细部细节的处理，每一个细节的处理，都是独立的、局部的，彼此之间没有任何的联系。

The biggest highlight of Scapa’s design lies in his treatment of detailed details, and the processing of each detail is independent, partial, and has no connection with each other.

他使不同的细节踩着旋律一同舞蹈，以至于建筑的细部已经超越了建筑的整体形态，成为了连续性的一幕幕话剧，使得旅者在建筑中行进，并非在欣赏一个形体，取而代之的是欣赏一系列的场景。

He makes different details dance together with the melody, so that the details of the building have transcended the overall form of the building and become a continuous drama, allowing the traveler to travel through the building, not to appreciate a form, but to appreciate a series of scenes.

斯卡帕在造型方面的设计，尤其是细部构造的精心设置，已经出神入化。国内一线大咖，如琚宾、唐忠汉、如恩、吴滨等等名师，也纷纷都在自己的设计中，借鉴了斯卡帕的设计。

The design of the Scapa in terms of styling, especially the meticulous setting of the details, has been remarkable. Domestic first-line celebrities, such as Ju Bin, Tang Zhonghan, Ruen, Wu Bin and other famous teachers, have also borrowed from Scarpa’s design in their own designs.

从他的设计中，能够感受到传统历史与现代艺术之间交汇碰撞的冲突，并且通过解构重组的处理方式，把那些毫不相关的元素与元素之间、结构和结构之间串联组合起来，层次清晰的结构体量和现代艺术化的表达，至今都影响深远。

From his designs, you can feel the conflict between traditional history and modern art, and through the treatment of deconstruction and reorganization, the series combination of those unrelated elements and elements, structures and structures, the clear structure volume and modern artistic expression, have far-reaching influence so far.

有看到“建筑”，但是，这并不影响这些建筑的美，也不影响它们存在的价值。这种美就像呼吸，生命与死亡共存，融入血液的流淌，汇入历史的洪荒。

Maybe after seeing his architectural designs you still don’t see "architecture", but this does not affect the beauty of these buildings, nor does it affect the value of their existence. This beauty is like breathing, life and death coexist, integrated into the flow of blood, into the flood of history.