建筑绘画的力量：草图中的圣马可
The Power of Architectural Drawing: The Sketches That Saved St. Mark's

由专筑网邢子，李韧编译

由作家和评论家乔纳森•格兰西（Jonathan Glancey）编写的这篇短文恰逢首届建筑绘画奖举办，这是一个由世界建筑节、约翰•索恩（John Soane）爵士博物馆以及Make建筑事务所共同策划的比赛。该比赛的截止日期是2017年9月18日，被选中的参赛作品将在伦敦和柏林展出。

对于约翰•罗斯金（John Ruskin）来说，英国Brentford的多色气体工厂的威尼斯哥特样式、伦敦克罗伊登区的工厂烟囱、伦敦布鲁姆伯利区的辉煌杜松子酒宫，一级曼彻斯特的Reform俱乐部，这些建筑样式在现代社会不合时宜。他认为，这些华丽的维多利亚时期的建筑风格深受十九世纪威尼斯总督府等建筑的影响。

This short essay, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award is the 18th September 2017 and successful entries will be exhibited in both London and Berlin.
For John Ruskin, Venetian Gothic design in the guise of polychromatic gasworks in Brentford, ornate factory chimneys in Croydon, glistering gin palaces in Bloomsbury and even the well-meaning Reform Club in Manchester was nothing short of anathema. Even at their risible best, these flamboyant Victorian buildings were idle travesties of the influential 19th Century critic’s beloved Ca’ d’Oro and Palazzo Ducale adorning the Grand Canal.

Image Courtesy of John Ruskin

罗斯金非常有影响力，他对威尼斯的热情，鼓舞着年轻英国建筑师们在这样一个完全不同的环境中，采用一种与中世纪晚期以及早期文艺复兴不同的威尼斯哥特式的建筑。

他的著作《建筑的七盏明灯》（1849年）和三卷《威尼斯的石头》（1851-53），将哥特复兴引入了一个审美盲区。这并不是罗斯金的错，当你在阅读他的著作时，看看他对城市建筑的生动描绘，就很容易理解为什么在一个半世纪前威尼斯哥特人就能够如此时尚。

罗斯金去威尼斯完成了十一次长途旅行，第一次是在1835年，他十六岁的时候，最后一次是在1878年，那个时候他处于精神崩溃的边缘，这也导致他最后十年的异常状态，那时的他始终执着于科尼斯顿湖的自然狂野，而不是大运河的精湛灵巧。

Ruskin’s problem was that he was all too influential. His passion for Venice encouraged enthusiastic young British architects to adopt Venetian Gothic for buildings of a very different era than that of the late medieval and early Renaissance heyday of “La Serenissima” and under the cloudy auspices of a wholly different climate.
His compelling books—The Seven Lamps of Architecture (1849) and the three volumes of The Stones of Venice (1851-53)—led the Gothic Revival into a bizarre aesthetic blind alley. This was not Ruskin’s fault, although when you read him on Venice and look at his drawings of the city’s animated architecture, it is easy to understand why Venetian Gothic became fashionable a century and a half ago.
Ruskin made eleven long trips to Venice, the first in 1835 when he was sixteen, the last in 1878 by which time he was on the edge of the breakdown that led to the silence of his last decade staring over the elemental wilds of Coniston Water rather than the exquisite artifice of the Grand Canal.

Image Courtesy of John Ruskin

准确的说，如果总督府的描绘是情绪明暗对比的铅笔和木炭素描，类似Turneresque风格的水彩在抓住细节的同时也唤起人们对威尼斯哥特式建筑的设计情感，那么罗斯金对于城市的认识将随着每一次的到访而变得更加成熟。他们在格拉斯哥的地毯工厂和桑德兰的茶室的设计吸引了年轻英国建筑师的注意，同时，他们鼓励威尼斯人去赏析他们无与伦比的建筑遗产之美。这是罗斯金的看法，他的思想和精湛的绘画作品让威尼斯人放弃了彻底修复圣马可的想法，而是经过微妙的修缮，使它在保留过去的时代感与工艺的前提下，看起来仍然具有吸引力。

From precise, if skeletal teenage drawings of the Doge’s Palace to emotional chiaroscuro pencil and charcoal sketches and Turneresque watercolours capturing the detail while evoking the emotions of Venetian Gothic design, Ruskin’s understanding of the city he adored matured with each visit. If, though, they seduced the eyes of young British architects working on the designs of carpet factories in Glasgow and tea rooms in Sunderland, they also encouraged Venetians themselves to take stock of the weathered beauty of their peerless architectural heritage. It was Ruskin’s eye, his powers of argument and superb drawings that led Venetians away from the idea of renovating St Mark’s so that it would look brand new towards a subtle restoration retaining the patina of past ages of craftsmanship, use and care.

Image Courtesy of John Ruskin

罗斯金永远不会想到的事情是，在他离世后的25年里，他有关于威尼斯的著作以及威尼斯的建筑绘画作品能够引起这么大的思考与讨论。勒•柯布西耶（Le Corbusier）写道：“建筑是不断变化的过程，它在光影组合中，变得更加宏伟。”他这是回应了Ruskin的说法。“我不相信任何一座建筑物真的很伟大，除非它的细节足够丰富，当光线交织在其表面时，它变得生机勃勃，并且充满意义。”他笔下的威尼斯、他的威尼斯绘画作品对后来的建筑作品产生了许多影响，如伦敦克罗伊登的工厂烟囱，以及朗香教堂，在朗香教堂中，光线扮演了重要的角色，这也是罗斯金所追求的目标。

首届建筑绘画奖将于2017年9月18日开幕。

What Ruskin could never have dreamed of was the fact that his writings inspired by Venice and his drawings of Venetian architecture would help spark an intellectual and aesthetic revolution a quarter of a century after his death. When Le Corbusier wrote, “Architecture is the learned game, correct and magnificent, of forms assembled in the light”, he was echoing Ruskin. “I do not believe that ever any building was truly great, unless it had mighty masses, vigorous and deep, of shadow mingled with its surface”. He was thinking of Venice. This is what he drew. The power of his Venetian drawings might have prompted ornate factory chimneys in Croydon, yet they also led to the pilgrimage chapel of Ronchamp with all its play of light, shadow and craft, its sense of Ruskinian moral purpose.
The inaugural Architecture Drawing Prize is accepting entries until the 18th September, 2017.


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