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Serlio HomeIf you want to make sense of the world, don’t trust your intuition. 14/6/2006 1940年代以后的现代建筑理论谱系表Review of Joseph Rykwert, The Dancing Column. On Order in Architecture, Cambridge, Mass., 1996, in The New York Review of Books, XLV, no. 14, September 24, 1998, pp. 58-62.
In any city of the western world one can usually find a square where the Greek architectural orders--Doric, Ionic and Corinthian--are exhibited with textbook clarity. The optimistic Corinthian of the New York Stock Exchange (1903) looks across the intersection of Nassau and Wall to the old Custom House (1842), a Doric temple which seems to stand for a very different conception of money. In Berlin one progresses from the Doric of the Brandenburg Gate to the Ionic of Schinkel's Altes Museum and the various Corinthian temples of art at the tip of the Museumsinsel. In Munich Leo von Klenze began to lay out the Königsplatz for King Ludwig I of Bavaria in 1816. Over the next half century it came to feature a Doric Propylon (with Ionic columns inside, just like its model in Athens), an Ionic Glyptothek on the north and a pendant Corinthian museum on the south. The Nazis brought the Königsplatz full circle in 1933 with a Doric temple to honor party members killed in the Putsch of 1923.
The fact that for so many centuries architects have had a choice of orders is due mainly to Sebastiano Serlio (1475-1555), a painter from Bologna who never quite made it into the first rank of architects. He went to Rome in 1514 and studied with the men who were rebuilding St. Peter's: Bramante, Antonio da Sangallo, Raphael and above all Baldassare Peruzzi, an artist and engineer from Siena who was also the most passionate and creative student of antiquity of his time. Serlio was in on all the secrets of these men. He copied their drawings and amassed a formidable archive on the new architecture of Renaissance Rome. He studied the antique assiduously, sketching in the ruins and borrowing other architects' sketchbooks. He gives a sympathetic picture of himself sitting on the toenail of the colossal statue of Constantine (he thought Vespasian) on the Capitoline Hill, or surveying the overgrown theater of Fondi on horseback. In 1527 he somehow escaped the horrors of the sack of Rome and made his way to Venice, his archive intact. A great publishing project took shape in his mind. Peruzzi had been so generous with him, why should he not be just as generous with the rest of the world and divulge his knowledge through the medium of the illustrated book. Eventually he planned seven books covering every aspect of ancient and modern architecture: geometry, perspective, construction, antiquity, temples and palaces, including some of the architecture he had seen going up around him in Rome and much that derived from his third home, Venice.
Serlio's first installment (which confusingly enough was the numbered as the fourth book in his projected series) was the General Rules of Architecture, published in Venice in 1537 when he was 62. His first plate is a table of the five ancient orders: Tuscan, Doric, Ionic, Corinthian (so far all named for places or races) and Composite (a name Serlio invented). He gave system to the endless flotsam of architectural fragments that had survived the shipwreck of the ancient world, more system than any ancient architect, even Vitruvius, would have wanted. His table is mostly a pastiche. His Tuscan (or Etruscan) is a plainer and slightly cruder version of Roman Doric, itself incredibly far removed from anthing resembling Greek Doric; his Composite is made up of parts taken from different buildings, themselves Roman hybrids.
Nevertheless the chart had a wonderful mnemonic simplicity. In Tuscan the ratio of the column diameter to its height was 1:6, in Doric 1:7, in Ionic 1:8, in Corinthian 1:9 and in Composite 1:10. Remeasured, refined, stretched and shrunk, these "orders" (the word in this technical sense is Serlio's) were to make their way into the treatises of Vignola, Palladio, Scamozzi and countless others. Until the avant-garde movements of the twenties and thirties and the postwar reforms in American architectural education the orders were ubiquitous. The young Frank Lloyd Wright even managed to draw them, though he turned down a chance to go to the Ecole des Beaux-Arts in Paris to perfect his knowledge. Even in the years of general conversion to modernism some students kept on drawing the orders in the way a pre-med student might study Latin, to imbibe a mental discipline and crack a professional jargon, but not to speak the language. This is how Rykwert, a young architectural student with modernist convictions, first met them. （节选） 26/4/2006 《建筑十书》（维特鲁威 著，高履泰 译，知识产权出版社2004年1月） 《建筑十书》由古罗马建筑师和工程师维特鲁威（Vitruvii）著，撰于公元前32～22年间，分为十卷，是现存最古老且最有影响的建筑学专著。书中关于城市规划、建筑设计基本原理和建筑构图原理的论述总结了古希腊建筑经验和当时罗马建筑的经验。从总体上看，它包括城市规划、建筑工程、市政工程、机械工程等范畴。从细目上看，它包括建筑教育，城市规划原理，市政设施，建筑构图基本理论，西方古典建筑形制，各种建筑物的设计原理，建筑环境控制，建筑材料，建筑构造做法，施工工艺，施工机械和设备，建筑经济等方面。 本书的特点是：提出建筑学的基本内涵和基本理论，建立了建筑学的基本体系；主张一切建筑物都应考虑“实用、坚固、美观”，提出建筑物整体以一个必要的构件作为基本模数的概念；建筑物的“均衡”的关键在于它的局部。此外，在建筑师的教育方法和修养方面，特别强调建筑师不仅要重视才更要重视德。这些论述直到今天还有指导意义。 本书对后世的建筑著作和建筑创作有深远的影响。在中世纪本书并未失传，经过文艺复兴、巴洛克时期，直到20世纪初期，建筑界都以本书作为规范，而且各国还流行抄本、译本。其中罗泽（Rose）版本和柯洛恩（Krohn）版本都是校订本（均为拉丁文版本），而以罗泽版本流传最广，有些后出的版本是以它为根据的。 25/4/2006 栏目通报 本博客空间创建的初衷就是为了专门收集艺术大师Sebastiano Serlio的相关资料，经过瑟里奥的不懈努力，能够发现的有限的文字、图片资料业已搜集上传。随着日后资料补充的困难，Serlio Home将面临更新周期迟缓的问题。
最近和博友们聊天，无意间谈及艺术方面的话题，瑟里奥深感任重而道远。为了进一步充实与提高自己的艺术修养，同时，也为了给各位志同道合的朋友提供一定的共享信息，特计划于近期开辟一个新的栏目，专门推荐一些瑟里奥正在阅读，或已经读罢的艺术类书籍，如果您感兴趣的话，可以随时查找阅览。
希望这个栏目的开创，能够给您带来一定的帮助。同时，也感谢您对Serlio Home一如既往的支持。 6/4/2006 Big Ideas: ScienceIt’s a powerful force for good, but beware: it’s not the answer to everything, says Simon Blackburn The ideal of science was succinctly described by Francis Bacon at the dawn of the scientific revolution: “The men of experiment are like the ant, they only collect and use; the reasoners resemble spiders, who make cobwebs out of their own substance. But the bee takes the middle course, it gathers its material from the flowers of the garden and field, but transforms and digests it by a power of its own.” It is this combination of theory and experiment that makes science so incredibly good at expanding our knowledge of the world. Later philosophers such as John Stuart Mill, William Whewell and Karl Popper built on Bacon’s description, praising the virtues suggested by this division of labour: accuracy and diligence of intelligently directed observation, fertility, simplicity, power, and above all testability of theory. For if theory becomes a little wild, then the discipline of observation and test and possible … 26/3/2006 Big Ideas: TectonicsHuman history has been shaped by the shifting mosaic beneath our feet, says Richard Fortey What Darwinian evolution did for our understanding of the biological world, plate tectonics has performed in the sphere of geology. It is a theory of everything. Throughout the 19th and early 20th centuries, geologists patiently accumulated facts. They mapped strata and they attempted to unravel the complexities of mountain ranges; they logged granites and gneisses; they recorded the occurrence of ores and minerals, and surmised how they were related to deep-seated processes. Collectors patiently pieced together the stratigraphic column – the timescale that gave Darwin span enough for the operation of evolution. But there was no grand theory. Geology seemed to be no more than a inventory of observations: the kind of “stamp-collecting” science of which Ernest Rutherford was so famously dismissive. The realization that geological phenomena could be explained by the interaction of a few tectonic plates transformed everything. Earth is nothing more than a coarse mosaic of rocky … |
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