Italian Rural Architecture 意大利乡村建筑

早于1964 年由奥地利裔建筑师伯纳德 ·鲁道夫斯基在纽约现代艺术博物馆举办的“没有建筑师的建筑”展览28 年，意大利理性主义建筑的倡导者和辩护人朱塞佩 · 帕加诺（1896—1945 年）与瓜涅罗 · 丹尼尔于1936 年在第六届米兰三年展中共同策划了“地中海盆地乡村建筑展”。该展览展出了380 幅乡村建筑的大幅黑白照片，其中大部分由两位策展人拍摄。《意大利乡村建筑》（米兰Ulrico Hoepli 出版社1936年版）是此次展览的图文实录。译者已获得出版社授权，对该书进行翻译。 本次发表的内容主要摘自书中试图回答“为什么研究乡村建筑”的引言部分——乡村建筑被视为体现功能理性的道德和美学价值的典范；结尾部分则引用了原书末尾对意大利乡村建筑美学特征的总结。原稿文字未分段，译者根据自己的理解并参考作者的其他文章进行了分段处理。 图片的选择和排序遵循作者在原书中间部分构建的意大利乡村建筑形式演变序列，即从茅草堆到双坡顶再到平屋顶的进化过程，同时选取了几则体现“形式产生源于实用需求”这一作者观点的案例，如敞廊、塔楼、室外楼梯等。图片以原书黑白照片与译者及他人新拍摄的照片相结合的方式呈现，并配以书中相应的文字。

Twenty-eight yearsbefore Bernard Rudofsky’s (1905–1988) exhibition Architecture Without Architects at the Museum ofModern Art (MoMA) in New York in 1964, Italian architect Giuseppe Pagano (1896–1945), a pioneeringfigure and defender in the Italian RationalArchitecture (Architettura razionale) movement,co-curated the exhibition of Architettura ruralenel bacino del Mediterraneo (Rural Architecturein the Mediterranean Basin) with Guarniero Danielat the 6th Milan Triennial (Triennale di Milano)in 1936. The exhibition featured 380 large-formatblack-and-white photographs of rural architecture,the majority of which were taken by the curatorsthemselves. The book Architettura rurale Italiana(Rural Architecture in Italy, Milan: Ulrico Hoepli,1936) serves as the illustrated documentation ofthis exhibition. The translator has obtained permissionfrom the publisher to render this work inChinese and English.The content presented in this article primarilyexcerpts from the introduction section of the book,which attempts to answer the question ‘Why studyrural architecture?’ Rural architecture is regarded asa paradigm that embodies the moral and aestheticvalues of functional rationality. The concludingsection quotes the summary at the end of the bookregarding the aesthetic characteristics of Italianrural architecture. Since the original manuscriptlacks paragraph breaks, the translator has dividedthe text into sections according to his interpretationand by referencing Pagano’s other works. The selection and arrangement of photographs follow the evolutionary sequence of Italian rural architectural forms as outlined in the middle section of the original book, progressing from haystacks to double-pitched roofs and then to flat roofs. Several cases featuring loggias, towers, and external staircases are included to illustrate the authors’ argument that architectural forms evolve from practical needs. The illustration section presents both the original black-and-white photographs from the book and new ones taken by the translator along with various other photographers, accompanied by corresponding explanations drawn from the original text.