穆瑞尔美术馆，由建筑师Giuseppe Davanzo设计。
Studio-museum Augusto Murer, Falcade. Giuseppe Davanzo. Image@Roberto Conte

几何形状与原始材质：意大利粗野主义
Between Geometric Shapes and Raw Materials: The Case of Brutalism in Italy

由专筑网若山，小R编译

粗野主义（Brutalism）在战后期的英国诞生之初，就遭受众多质疑，却在最近的十年中，重新得到了欣赏和关注，成为新一代建筑师的灵感来源，他们着迷于吸睛的几何形状和裸露的原材料之间的相互作用。诞生于英国的粗野主义运动蔓延到欧洲、东南亚和非洲后，受各地区文化和社会经济地位影响，产生了不同变体。本文依托Roberto Conte和Stefano Perego的建筑摄影作品，来深入探讨意大利对粗野主义运动的特殊贡献。上述两位摄影师曾联手推出一本关于该主题的摄影集，名为《意大利野兽派建筑：从阿尔卑斯山到地中海的混凝土建筑》。

Born in the post-war period in the United Kingdom, the Brutalism movement was first met with skepticism but has found a new appreciation in the last decade, capturing the imagination of new designers fascinated with the interplay between striking geometric shapes and the exposed raw materials in which they are rendered. From Britain, the movement spread throughout Europe, Southeast Asia, and Africa, gathering different variations influenced by the cultural and socio-economic status of each area. In this article, we delve into the particularities that define Italy's contribution to the Brutalist movement, exploring the style through the lens of Roberto Conte and Stefano Perego. The two photographers have also published a photographic essay on the subject, taking the form of a book titled “Brutalist Italy: Concrete Architecture from the Alps to the Mediterranean Sea”.


建筑如图画

The Building as an Image


Jesi墓地扩建，由建筑师Leonardo Rocci设计
Cemetery Extension, Jesi.Leonardo Rocci. Image@Stefano Perego

战后时期的欧洲建筑界仍在寻找一种新身份，一种不信任不关心技术创新、只一心挑战建筑在社会中的作用的新身份。意识形态的变化让人们致力于修复历经两次世界大战后的断壁残垣，将建筑与政治脱钩，希望建筑能承担更多的社会责任。带来的结果便形成这种规模小、用料少但功能齐全的建筑，裸露材料和简单形状也就因此受到青睐。

用建筑评论家Reyner Banham的话说，在保持这种意识形态的同时，粗野主义建筑师并没有放弃他们的“赋予形式的义务”。当这幅面貌的建筑首次问世，往往被归类为“反艺术”或“反审美”的范畴里，因为它完全避开了当时的典型审美，但又具有不同的动态，一种抽象的品质。这类建筑，作为审视的对象，当观察它的全貌时，就成了一幅在观察者心中创造情感的图像。

In the post-war years, Europe was in search of a new identity, based less on enthusiasm and trust in technological innovations, and instead challenging architecture’s role in society. The change in ideology attempted to address the landscape of destruction that followed two consequent world wars, moving to disassociate architecture from politics and assume a more socially conscientious role. The response was a need to scale down and create functionally sound buildings with a minimum of materials or decorations, thus favoring exposed materials and simple shapes.
While maintaining this ethos, Brutalist architects did not abdicate their ‘form-giving obligation,’ in the words of architecture critic Reyner Banham. When it first appeared, the resulting architecture was often classified as ‘anti-art’ or ‘anti-beauty’ for its refusal of the typical aesthetic of the time, but it possessed a different dynamic, a sort of abstract quality. The architectural object, perceived in its totality, becomes an image that can create emotion within its viewer.


伊斯皮卡的未完工建筑。
Unfinished building, Ispica. Image@Roberto Conte

正是这种大胆的想法将粗野主义与现代建筑的其他流派区分开来，毕竟Reyner Banham在1955年的开创性文章《新粗野主义》中直接用“膈应人，血腥思想”来评价粗野主义。在整个欧洲粗野主义运动中，意大利创造了自己独特的篇章，将粗野主义的冷峻功能与国家文化交织在一起，在一定程度上软化了欧洲的大基调。

It is this boldness that separates Brutalism from other variations of modern architecture, or “, its je-m’ en-foutisme, its bloody-mindedness” as Reyner Banham calls it in his seminal 1955 essay, ‘The New Brutalism.’ Within the broader European Brutalist movement, Italy crafted its own distinctive chapter, weaving together the functional rigor of Brutalism with the country's cultural influences, softening somewhat the tones of its European counterparts.


佩利住宅综合楼“洗衣机”。
“The Washing Machine” Pegli 3 housing complex. Image@Stefano Perego


结构、功能、形式和材质

Structure, Function, Form, and Material


位于库米亚纳的Gontero别墅。
Villa Gontero, Cumiana. Image@Roberto Conte

粗野主义的一个关键特征是，它努力表现出“就是用表面的材料做的建筑”，同期许多建筑师运用的是能经受时间考验的材料，比如大多数现代主义先驱建筑都用石膏或无油灰窗玻璃覆盖建筑外表面。但在粗野主义这里，混凝土、钢材尽可能暴露，在结构逻辑、建筑形状、建筑功能以及建筑材料的能力之间建立了更强的联系。

One of the key characteristics of Brutalism is that it strives to ‘be made of what it appears to be made.’ While this honest use of materials is something that many architects of the time value, the majority of previous modernist buildings covered their structural materials with plaster or patent glazing. In the case of Brutalism, concrete, steel, and brink are maintained as exposed as possible, creating a stronger connection between the structural logic, the architectural shape and function, and the capabilities of its building materials.


巴桑托混凝土高架桥，由Sergio Musmeci设计。
Industry Viaduct-Musmeci Bridge, Potenza.Sergio Musmeci . Image@Stefano Perego

战后头几十年的建筑设计实验挑战了形状和结构的各种可能性。比如工程师Sergio Musmeci就在意大利试验拱顶、混凝土薄膜和能对抗张力和应力的最小结构。当时没有计算机辅助，人们普遍使用模型来测试新结构。与Frei Otto类似，Musmeci在线框上涂抹肥皂水和甘油来观察张力和应力的几何形状，并使用微粒混凝土来搭建大型测试模型。Musmeci大桥是他为数不多的建筑作品之一，其底部是一层约40厘米厚的钢筋混凝土薄膜，上下拱起，状若手指的结构支撑着桥的顶部，同时在桥下形成一条连续的起伏路径。

Experimental designs during the first decades after the war challenged the possible shapes and structures. In Italy, engineer Sergio Musmeci was experimenting with vaults, thin-shelled concrete membranes, and minimal structures shaped in accordance with the forces and stresses to which they should resist. Without computer assistance, new types of structures were tested using models. Similar to Frei Otto, Musmeci used soap and glycerin solutions spread across wireframes to understand the geometry of tension and stress, and micro-concrete to create large-scale test models. Among his few built structures is the Musmeci Bridge, its underside created using a single membrane of reinforced concrete, approximately 40 centimeters thick, that arches up and down, supporting the top of the bridge on finger-like structures, while creating a continuous undulating path beneath it.


城市家具，由Julio Lafuente设计。
Urban furniture, Collevalenza-Todi. Julio Lafuente. Image@Stefano Perego

“那些惧怕冒险的人不是在模仿，就是在重复。如果他们想闯进一个新的领域，就必须应对未知。”Sergio Musmeci

“Those who do not take risks are either imitating or repeating. If they want to invade a new field they must tackle the unknown.”- Sergio Musmeci


未完成的住宅大楼。
Unfinished residential building, Bisacca. Image@Roberto Conte

混凝土圣地

Sacred Spaces Cast in Concrete


都灵基督救世主教堂。
Jesus the Redeemer Church, Turin. Nicola Mosso, Leonardo Mosso, Livio Norzi. Image@Stefano Perego

也许正是这种通过塑造几何图形来创造情感的能力，将粗野主义建筑赋予了神圣空间的特征。20世纪50年代，意大利的天主教会试图加强与现代世界的联系，开始接受现代主义的新建筑语言。粗野主义尤其适合用最少的资源创造沉思和令人印象深刻的空间。比如建筑师Nicola Mosso、Leonardo Mosso和Livio Norzi设计的都灵基督救世主教堂，就展示出哪怕只靠砖和混凝土这么简单的材料，也能创造出绝妙的空间，自然光线和均匀体积塑造出的空间，完美适用于宗教场所。

It is perhaps this ability to shape geometry to create emotion that lends Brutalist architecture to the characteristics of sacred spaces. Staring in the 1950s in Italy, the Catholic church, attempting to reestablish its relevance in the modern world, began to accept the new architectural language of modernism. Brutalism was especially well-fitted to create contemplative and impressive spaces with a minimum of resources. Structures such as the Jesus the Redeemer Church, in Turin, by architects Nicola Mosso, Leonardo Mosso, and Livio Norzi, illustrate how simple materials such as bricks and concrete can create impressive spaces, using natural light and well-proportioned volumes to create spaces filled with emotion, fit for religious service.


锡拉库扎滴泪圣母教堂。
Our Lady of Tears Sanctuary, Syracuse. Image@Roberto Conte


里雅斯特圣母玛利亚教堂。
National Temple to Mary, Mother, and Queen, Trieste. Image@Stefano Perego

其他粗野主义建筑，如Antonio Guacci和Sergio Musmeci在里雅斯特建造的圣母玛利亚教堂，在几何结构中融入了象征意义。该建筑高40米，三角形模块作为三位一体的象征，大大的M代表了圣母玛利亚。墓地建筑这种类型也和沉思相关，其形式在表达上更为自由。意大利本土的例子包括Leonardo Ricci扩建的Jesi墓地，以及Luigi Ciapparella在布斯托阿尔西齐奥扩建的纪念性墓地。

Other Brutalist structures, such as the National Temple to Mary, Mother, and Queen, in Trieste by Antonio Guacci and Sergio Musmeci, integrate symbolism within their structural geometry. The modular principle of the 40-meter-tall building uses the triangle as a symbol of the Trinity, while the disposition of the volumes creates a large M as a reference to Mary. Cemetery architecture is another category that involves contemplation, offering even more freedom in expressivity. Examples in Italy include Leonardo Ricci’s Cemetery extension in Jesi, and Luigi Ciapparella’s monumental Cemetery extension, in Busto Arsizio.


布斯托·阿尔西齐奥纪念性墓地。
Monumental Cemetery extension, Busto Arsizio. Image@Stefano Perego

Roberto Conte和Stefano Perego·佩雷戈对意大利粗野主义的探索，在发表于FUEL Design的《意大利野兽派建筑：从阿尔卑斯山到地中海的混凝土建筑》摄影文章中体现得淋漓尽致。这两位摄影师之前曾研究过类似的主题，比如一本名为《苏维埃亚洲：中亚的苏维埃现代主义建筑》的书中就涉及到了亚洲粗野主义的演变。此外，探讨粗野主义本地化形式的文章，还包括坦桑尼亚现代主义建筑遗产，贝尔谢巴沙漠中央的粗野主义建筑群像，以及法国巴黎的现代主义和粗野主义建筑指南。

Roberto Conte and Stefano Perego’s exploration of Italian Brutalism culminates in the photographic essay published at FUEL Design titled “Brutalist Italy: Concrete Architecture from the Alps to the Mediterranean Sea”. The two photographers have previously explored similar themes, including the book on the variations of Asian Brutalism, titled “Soviet Asia: Soviet Modernist Architecture in Central Asia.” Other explorations of localized forms of Brutalism include the legacy of modernist architecture in Tanzania, the concrete desert architecture of Beersheba and the ArchDaily guide of Modernist and Brutalist buildings to visit in Paris, France.