p1：墓园内部环境

布里昂墓园和庇护所——卡洛·斯卡帕
Brion Tomb and Sanctuary by Carlo Scarpa

由专筑网孙新蕾，李韧编译

就在离特雷维索（Treviso）不远处的San Vito d’Altivole（意大利北部小镇），坐落着意大利建筑大师卡洛·斯卡帕（Carlo Scarpa）的作品：布里昂墓园。

卡洛·斯卡帕（1906.06.02-1978.11.28）是20世纪极具争议且怀才不遇的建筑师之一。第二次世界大战之后，因拒绝由意大利政府实施的“pro forma ”专业考核，他的建筑实践活动受到了影响，这就是与他一起工作的人，即他的客户、同事、匠人都叫他“教授”而不是“建筑师”的原因。但是他的工作却与建筑师几乎一致。

他的出名基于他天生对建筑材料特有的处理方式，以及将历史悠久的手工艺运用到现代生产制造过程中的能力。Querini Stampalia基金会会长Egle Trincanato曾对在1963年翻修威尼斯宫殿的斯卡帕评价道：“最重要的是，他精通将基础材料与珍贵的材料结合在一起。”

Not so far from Treviso, in San Vito d’Altivole, you can find the masterpiece of Carlo Scarpa: the Brion Tomb and Sanctuary.
Carlo Scarpa (June 2, 1906 – November 28, 1978) is one of the most controversial and underappreciated architects of the 20th century. He was not permitted to practice architecture because of his refusal to sit the pro forma professional exam administrated by the Italian Government after World War II. That’s why those who worked with him, his clients, associates, craftspersons, called him “Professor”, rather than “architect”. He worked only associating with an architect.
He is best known for his instinctive approach to materials, combining time-honored crafts with modern manufacturing processes. Egle Trincanato, the President of the Fondazione Querini Stampalia for whom Scarpa renovated a Venetian palace in 1963, described how “above all, he was exceptionally skillful in knowing how to combine a base material with a precious one.”




p2、p3：小教堂内部

“我想对布里昂墓园做出一些解释…我认为这个作品相当不错，并且将会随着时间的推移变得更好。我还尝试将一些富有诗意的想法付于此，然而并不是为了创造一座诗意的建筑，而是塑造一种能够散发诗意的特定建筑… 这个以死亡为主题的地方就是一座花园…我想展示一些方式，这些方式可以让人将死亡赋予到社会和市民公共的意义上。对于短暂而无常的生命，死亡的意义远远不是那些骨灰盒。”

"I would like to explain the Tomba Brion…I consider this work, if you permit me, to be rather good and which will get better over time. I have tried to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could emanate a sense of formal poetry….The place for the dead is a garden….I wanted to show some ways in which you could approach death in a social and civic way; and further what meaning there was in death, in the ephemerality of life—other than these shoe-boxes."(Carlo Scarpa)




p4：穿过公墓的入口；p5：面对街道的入口

布里昂墓园由的Brionvega公司创始人的遗孀Onorina Tomasi Brion委托而建。Brionvega公司在60年代因制造了由Mario Bellini、Marco Zanuso和Richard Sapper所设计的一些出众的电子产品而闻名。布里昂的园子以“L”形围绕着现有的一座墓园，许多评论家认为这个公墓是一个关于“建筑的故事”，一个“叙事结构”的例子。

这个项目开始的想法是建立一个小型坟墓。但在这之后，实际情况似乎是需要一块更大的地块，这一点成为了改造这个小坟墓的机会，即将其改造为一座真正意义的花园，不仅仅是为了项目业主，也是为了整个小镇。

现有的地面面积超过2000平方米，一个“L”形的土地沿着San Vito d’Altivole墓地的两侧，同时基地的内外都有通道，该项目总共有两个入口，一个面向外侧的街道，另一个坐落在公墓的内部，这两个入口都是通过步行的方式来表现一种象征意义，当你抵达了最终的埋葬之处，就是布里昂的坟墓。这种象征意义唤起了夫妻恩爱的情感，以及牢不可破的爱。

The Brion Tomb and Sanctuary have been commissioned by Onorina Tomasi Brion, widow of the founder of the Brionvega company. Brionvega is famous for manufacturing unusual televisions and electronics designed by Mario Bellini, Marco Zanuso and Richard Sapper during the ’60s.
The area of Brion garden have L-shape around the old cemetery. Many critics describe Brion Tomb as an “architectural story” an example of “narrative architecture”
The project was actually started with the idea of a small tomb. But then, practical circumstances required to purchase a larger plot than expected and it become an opportunity to transform the small tomb in something very different: a real garden not only for the Brion family, but for the whole town.
The available surface was more than 2,000 square meters: a L-shaped land along two sides of the cemetery of San Vito d’Altivole. The monument provides an interior and exterior path at the same. The monument has two entrances, one facing directly onto the street, the other located inside the cemetery; both through a walkway forced load of symbolic meanings, you reach the place of actual burials, the tombs of Brion spouses. The symbolism recalls the concepts related to conjugal love and indissolubility of loving bond.




p6：夫妻墓； p7：家族墓

最强烈的情感冲击力来源于两个互相倾侧的墓碑，它们反应出一种深刻的情感纽带，描述的正是Onorina和Giuseppe Brion在尘世间的存在。墓碑本身仿佛也受到他们夫妻二人之间深厚的情感的影响。

在抵达那些墓碑之前，首先看到的是一座几乎淹没在水里的教堂，它是全墓园的重要场所，在这之后是其他家族的埋葬地，接着在配偶的坟墓后是用于冥想的展馆，由金属和木头建造，最后是水亭，它是整个纪念地唯一不对游客开放的地方，由一扇青铜门所隔开。

The strongest emotional impact is given by the two graves that are inclined towards each other, reflecting the deep emotional bond that characterized the earthly existence of Onorina and Giuseppe Brion. Matter itself appears modeled in the act of bending under the force of their feelings.        
Before reaching the tombs, the fulcrum of the whole monumental complex, meet the church, which is almost submerged in water, then the burial of other family and, after the tombs of the spouses, the pavilion of meditation, built in metal and wood, and finally water pavilion, the only section of the entire monument not accessible by the visitors and bounded by a bronze door.








p8、p9、p10、p11：墓园内部环境

布里昂墓园是一个真正令人回味的地方，一座由混凝土、金属、大理石和玻璃等不同材料所构建下反映水和形式的花园，引导参观者感受到生与死的平静。

和所有当代艺术的理念一样，卡洛·斯卡帕借助这个墓地的设计来强调形式的本质，以及一个你可以“感知”和一个能与你心灵交谈的场所。

The Brion Tomb is a really evocative place, a garden where the water and the forms assumed by the combination of different matters as concrete, metal, marble, glass,… guide visitors toward a calm reflection on life and death.
As in the best intentions of all contemporary art, Carlo Scarpa designed this tomb to highlight the inwardness through the forms, a place where you can “feel” and talk to your soul.
   

出处：本文译自www.architectours.it/，转载请注明出处。