| 摘要: |
| 【目的】景观设计作品的评论有不同的评论路径，本研究以意大利建筑师卡洛·斯卡帕的布里昂墓园为例，讨论其中一种以“意义”为线索的评论路径。【方法】斯卡帕的设计极为独特，如何理解与评价这样的设计一直是令人迷惑的问题。对斯卡帕过往作品、演讲以及对话的分析，可以在一定程度上解析布里昂墓园很多景观设计要素的意义。通过这些要素，斯卡帕启发了人们对于死亡的思考，也就赋予整个作品超乎寻常的意义深度。【结果】这种以意义为核心的评论路径，实际上与德国艺术史学家潘诺夫斯基所倡导的图像学研究方法类似，都强调解析具体元素背后的意义，而且这些意义不仅仅是指符号指代的内容，还指代现象背后的哲学基础。【结论】以上讨论说明，图像学分析的模式可以运用于景观设计评论中，它所形成的以“意义”为线索的评论路径，是揭示景观设计深层价值的重要方法。 |
| 关键词: 景观设计评论 卡洛·斯卡帕 布里昂墓园 欧文·潘诺夫斯基 图像学 意义 |
| DOI：10.12409/j.fjyl.202209200546 |
| 分类号:P901 |
| 基金项目: |
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| Meaning of a Garden: An Approach to Landscape Design Criticism as Illustrated by the Case of Tomba Brion |
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QING Feng
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Tsinghua University
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| Abstract: |
| [Objective] There are different approaches to the criticism of landscape design. This research takes Tomba Brion designed by Italian architect Carlo Scarpa as an example to discuss one of the approaches that take “meaning” as its central clue. [Methods] Scarpa’s design is extremely unique, and it has always been difficult to comprehend and evaluate such a design. By analyzing Scarpa’s past works, speeches and dialogues, the meanings of a number of landscape design elements in Tomba Brion can be uncovered to some extent. Through these elements, Scarpa succeeds in leading people into contemplation of the meaning of death. Rather than a nihilistic end to life, death is actually a constituent of life. It sets the limit for life and, in this way, gives life its urgency, intensity and coherence. Death turns life into unity, to which the question of life value and life goal is paramount. By indicating this understanding of death, Scarpa endows the entire project of Tomba Brion with an extraordinary depth of meaning. It is also possible to argue that all the landscape elements involved in Tomba Brion contribute to the specific interpretation of the meaning of death, which well reflects the coherence of Scarpa’s unusual designs. [Results] This meaning-centered approach to landscape criticism is actually comparable to the iconological research method advocated by German art historian Erwin Panofsky, both of which emphasize the analysis of the meaning of artistic works. These meanings refer not only to symbolic references but also to the underlying philosophical basis of the artistic phenomenon. [Conclusion] The discussion above demonstrates that the iconological model of analysis can be applied to the criticism of landscape design. The meaningcentered approach based on the aforesaid model is critical for revealing the indepth value of a landscape design. |
| Key words: criticism of landscape design Carlo Scarpa Tomba Brion Erwin Panofsky iconology meaning |
