伊拉里亞·貝爾納迪/Ilaria Bernardi

黃華青 譯/Translated by HUANG Huaqing

1 項目介紹

為了理解這個項目的復雜性及其多重概念層次，有必要先介紹建筑師朱塞佩·特拉尼，以及項目的主要對象：但丁及其創(chuàng)作于14世紀初的文學杰作——《神曲》。

朱塞佩·特拉尼（1904-1943）是意大利理性主義建筑的創(chuàng)始者之一，他的其他主要建筑作品還包括科莫市的“法西斯宮”這一20世紀意大利最知名的建筑。他近40年的人生與當時建筑界的重大事件緊密交織，他也是這些事件堅定的擁護者。

特拉尼畢業(yè)于米蘭理工大學建筑系。1926年，他在大學期間便與志同道合的路易吉·費基尼、季諾·波里尼、卡羅·拉瓦、塞巴斯蒂亞諾·拉科等人創(chuàng)立了“七人組”；此后，另一位重要人物阿達爾貝托·里貝拉受邀加入?！捌呷私M”反對當時的設(shè)計潮流，在1926-1927年發(fā)表了一篇“宣言”，要求改革意大利建筑，并將其命名為“理性主義建筑”。同時，特拉尼在家鄉(xiāng)科莫從事建筑實踐，通過與當?shù)乜蛻艏奥殬I(yè)圈的聯(lián)系，得到一些重要的項目委托。他的早期作品中，值得一提的是“新科莫”住宅樓（科莫，1927-1929），采用現(xiàn)代技術(shù)建造（包括混凝土結(jié)構(gòu)及懸挑樓板），因而也被認為是意大利理性主義建筑的第一個建成作品；還有維特魯姆商店（科莫，1930），該項目標志著他開始采取基于抽象主義的設(shè)計路徑——特拉尼是這一現(xiàn)代藝術(shù)運動的追隨者。在他的身邊，可以找到當時意大利文學和藝術(shù)文化圈的領(lǐng)袖人物，包括作家M·伯坦佩里，后者也協(xié)助他完成了但丁文學作品的分析。

1932年，特拉尼在米蘭開業(yè)，合伙人是繪圖教授P·林杰里（1894-1968），他生于科莫附近的特雷梅佐。他們的合作始于幾年前的項目“烈士紀念碑”（科莫，1925）。林杰里并未直接參與特拉尼和“七人組”的運動，但他有著共同的改革理想：1931年，他被任命為意大利理性主義建筑運動的科莫總秘書。

通過米蘭的事務(wù)所，他們完成了5項住宅樓項目；這些項目幫助他們結(jié)識并熟悉了米蘭的客戶，由此也獲得一些政府委托——其中就包括1938年的但丁紀念堂。

2 項目之始

1938年，里諾·瓦爾達梅里——米蘭布雷拉美術(shù)學院校長、但丁《神曲》其中一個重要版本的策劃者——和亞歷山德羅·伯斯一起促成了在羅馬建造但丁紀念堂的計劃。他們委托特拉尼和林杰里進行設(shè)計，后者因其布雷拉美術(shù)學院新館的設(shè)計方案而知名。11月10日，方案被呈遞給墨索里尼本人，他認可了整體方案。但在項目深化階段，恰趕上1939年第二次世界大戰(zhàn)爆發(fā)。特拉尼應征入伍，成為一名炮兵隊長，只能通過信件跟進項目。林杰里接管了設(shè)計，繼續(xù)與業(yè)主及政府官員溝通。原本項目計劃在1942年完工，但到1940年時，原本應該敲定項目的會議，因歐洲戰(zhàn)事的蔓延被推遲了。同年，瓦爾達梅里去世，意大利法西斯政府加大戰(zhàn)爭投入，原先的項目資金被挪用于軍事開銷，這直接暫停了設(shè)計進程。特拉尼本人也在1943年去世，當時他剛從德意聯(lián)軍赴俄國的災難性出征中歸來。

但丁紀念堂的構(gòu)想是作為一處致力于但丁研究的中心。它的選址位于新近完工的羅馬帝國大道（1932），這條大道將伊曼努埃爾二世紀念碑與古斗獸場相連，更加激進地渲染出當代法西斯政權(quán)沿襲于古羅馬帝國的浪漫想象。在這條大道修建期間，古羅馬的馬克森提烏斯巴西利卡出土，若但丁紀念堂建成，它將正對這座巴西利卡（圖1）。

這座建筑包括一座博物館和一座圖書館，后者用于收集但丁作品的各種版本。特拉尼將這座建筑轉(zhuǎn)變?yōu)橐粋€充滿隱喻的空間：3個主要廳堂分別代表《神曲》的3部分——地獄、煉獄和天堂；此外還有百柱廳（“百”代表了神曲的一百章）、帝國大廳和圖書室，它們皆由一條空中步道相連，隱喻著《神曲》所描述的旅程。

3 主題：但丁的《神曲》

《神曲》是意大利語的奠基石，它是第一部由意大利語取代拉丁語寫成的詩作，無疑是意大利文學史上的巔峰詩作。由于但丁是這個項目的核心對象，《神曲》也自然被特拉尼視為但丁紀念堂內(nèi)涵的主要靈感來源。

《神曲》作于1301-1327年，以詩歌形式講述了但丁穿梭于3個世界的旅程：“地獄”（受詛咒靈魂的居所）、“煉獄”（贖罪靈魂的居所）和“天堂”（上帝之光普照的圣靈居所）。

1 特拉尼和林杰里繪制的用地規(guī)劃。但丁紀念堂位于左上部，馬克森提烏斯巴西利卡位于中下部/Urban plan of the location by Terragni and Lingeri. Danteum is on left top part,Basilica of Maxentius on centre bottom（圖片來源/Source:參考文獻[5]40/References [5]40）

1 Project Introduction

In order to understand the complexity of the project and its many conceptual layers, it is necessary an introduction of the architect Giuseppe Terragni, and of the project main subject: Dante Alighieri and his literary masterpieceDivine Comedy, written in the beginning of the 14th century.

Giuseppe Terragni (1904-1943) stands as one of the founders of Italian Rationalist Architecture, and is the architect who brought to completion, among other projects, the "Casa del Fascio" in Como, the most renowned Italian built architecture of the 20th century. His nearly 40-year life was intertwined with the most important happenings and events on the architecture field of his times, of which he became an affirmed protagonist.

Graduated in Architecture at Polytechnic University of Milan, since his university studies he shared ideas with Luigi Figini, Gino Pollini, Carlo Rava and Sebastiano Larco, together with whom he founds the "Gruppo 7" (Group 7) in 1926; to this group was invited to join the equally important figure of Adalberto Libera. In opposition to the design trend of his period, Group 7 published in 1926-1927 a "manifesto" for the reform of the Italian architecture, renaming it Rationalist Architecture.Besides, Terragni carried on his professional activity in Como, his hometown, receiving important assignments through connections with local clients and professionals. Among his first works, to be highlighted the residential building "Novocomum"(Como, 1927-1929), built with modern techniques(concrete structure and cantilevered floors) and therefore considered the first completed project of the Italian Rationalist architecture; and the Vitrum shop (Como, 1930), marking the start of a design approach centred on Abstractism, a contemporary art movement followed by Terragni. Around him, we find leading figures of the Italian literary and artistic cultural scene, among which writer M. Bontempelli.The latter was supporting the architect on the analysis of Dante's artwork.

On 1932 he started his office in Milan with P. Lingeri (1894-1968), professor of drawing technique, born at Tremezzo near Como. The collaboration between them begun some years earlier by the project "Monumento dei Caduti"( Monument to the fallen soldiers, Como, 1925).Lingeri is not directly involved in the campaign by Terragni and Group 7, but he shares their reform intentions: in 1931 he was named secretary in Como of the MIAR - Italian Rationalist Architecture Movement.

By their Milan office, they complete five apartment buildings; these projects allow them to be affirmed, to know Milan clients and to be known,and finally to receive governmental assignments,among which the Danteum project in 1938.

2 Starting of the Project

In 1938 Rino Valdameri, director of Brera Academy of Fine Arts in Milan and curator of one important edition of Dante'sDivine Comedy,promotes with Alessandro Poss the construction of Danteum in Rome. They call for the design G. Terragni and P. Lingeri, known for their proposal of the new Brera Academy building. On November 10th the project is shown to Mussolini himself,who approves the general plan. But during the next phase of the project, at the outburst of World War II in 1939, Terragni is called on to military duty as artillery captain and could follow the project only by mail. Lingeri takes charge of the design process,dealing with clients and government authority.The completion is set for 1942, but already in 1940 the meetings to define the project are suspended,because of the spreading warfare in Europe. In the same year Valdameri would pass away, Italian fascist government takes active part in the conflict, and the funds for the project are diverted to military expenses, definitely stopping the design process.Terragni himself would pass away in 1943, after returning from the disastrous German-Italian expedition in Russia.

Danteum was proposed to be a centre for the studies dedicated to Dante Alighieri. It was to be built in Rome along the recently completed"Via dei Fori Imperiali" (1932), a road laid out to link the "King Victor Emanuel II Monument"with "Coliseum", and therefore to enhance the propaganda of a continuous romanity from the Roman Empire directly to the contemporary fascist regime. During the avenue construction, the ancient roman "Basilica of Maxentius" had been entirely dug up: the Danteum should have appeared exactly in front of the Basilica (Fig. 1).

The programme consisted of a museum and a library to gather the many editions of Dante's opera. Terragni transforms the building in a space of metaphors: the three main rooms represent the three parts of theDivine Comedy- Inferno,Purgatory and Paradise; to these he adds up the 100-columns hall (one hundred like the chapters of the Comedy), the hall of the Empire and the Library room, connected by a raising pathway, metaphor of the journey described in theDivine Comedy.

3 Main Theme: Dante's Divine Comedy

Being the founding stone of the Italian language - the first literary poem written in Italian,replacing Latin language - theDivine Comedyis unanimously regarded as the highest poetry among the Italian literary production. Being Dante the subject of the project, theDivine Comedywas naturally taken by Terragni as the main source of inspiration for the Danteum's content.

Composed between 1301 and 1327, theDivine Comedytells in rhymes the journey undertaken by Dante through three worlds: Inferno (place of the damned souls), Purgatory (place for the souls in atonement of their sins), and Paradise (place for the saint souls in the light of God).

The journey through the three worlds is conceived as a precise architectural scheme: from bottom to top along the globe axis, it passes through the underworld, then raising up on a high mountain, ending up to the open sky. During the journey, Dante is led by Virgilio - one the highest poets of the Roman Empire - and at the final stage by Beatrice - a woman symbolising the spiritual love of God. In Dante's religious vision, this redemption path takes place both on spiritual and civic level.

As theDivine Comedyis intended as a metaphor of every man's path on Earth, Terragni's Danteum is to be considered the architectural tool through which the journey experience is made tangible.

穿越3個世界的旅程直接與建筑布局對應：從底層到頂層，沿著地球軸線，會依次穿過地下世界，而后升至一座高山，最后抵達開放的天空。這趟旅途中，但丁的領(lǐng)路人是維吉爾——羅馬帝國最偉大的詩人之一，最后階段則追隨著貝阿特麗切——代表了上帝精神之愛的女子。在但丁的宗教觀之中，救贖的道路需同時在精神和世俗層面展開。

由于《神曲》的目的是對每個人的世界旅途的隱喻，特拉尼的但丁紀念堂也就被作為一件讓這趟旅途變得真實可觸的建筑工具。

4 但丁紀念堂：項目解析

從外部看，這座建筑如同一座緊湊的方塊，無法看到內(nèi)部的不同樓層（圖2、3）。矩形平面被分作4個部分，其中，左下角的是第一個方形露天庭院；這個寬闊的天井是觀者從沿路的墻體背后步入建筑后，看到的第一個空間。天井旁就是百柱廳，也是這座建筑中第一個有頂?shù)目臻g。

觀者穿越錯綜復雜的百柱廳——這里隱喻了《神曲》最初的“黑暗森林”，接著進入地獄廳（圖4）。廳內(nèi)有7根不同尺寸的柱子，沿著7塊不同大小、螺旋下降的地板排列；廳內(nèi)幾乎沒有任何自然光，只在天頂有一條細細的采光縫隙。

接著，沿路進入上層的煉獄廳（圖5）。它的屋頂被分為7塊逐步變大的方框，形成一系列天窗。天堂廳（圖6）則位于百柱廳之上，廳內(nèi)矗立33根玻璃柱，其上是面向天空開敞的網(wǎng)格鋼梁。

參觀路線的最后是狹長的帝國廳（圖7），它是前述諸個廳堂間的過渡空間，也是建筑旅途的終結(jié)。圖書館位于煉獄廳之下，第一個天井是唯一可由外部進入的空間。最后，觀者將穿過一條狹長的走道，從入口的另一側(cè)離開建筑。

3個主要廳堂位于不同樓層，并由沿外墻上升的狹窄臺階相連，這讓觀者可以不經(jīng)重復地順序參觀各個展廳（圖8-10）。這座建筑被構(gòu)思為“一個分流機制和一種空間安排，它讓博物館成為一條連續(xù)的旅程：這在當時是個很罕見的理念，勒·柯布西耶本人在戰(zhàn)后看到這個項目的模型時，一定也意識到它與他的理念相契合之處，及其本身獨特的原創(chuàng)性?！盵1]

穿越建筑的路線感知隨著每個廳堂遞增的亮度而增強：這是特拉尼用來建立但丁紀念堂的參觀旅程與但丁《神曲》間的相似性最為敏銳的手法。自然光成為他主要的建筑設(shè)計工具，輔以混凝土和鋼等現(xiàn)代建筑材料，不過在外立面都覆蓋了石灰石掛板。玻璃是唯一一種以其純粹、明亮的通透感呈現(xiàn)的材料，用于天堂廳的柱子。

5 遺存文獻及評論中但丁紀念堂的意義

本文所展示的圖紙屬于少數(shù)留存至今的文獻資料。這些是特拉尼和林杰里為向墨索里尼匯報而制作的正式圖紙，包括廳堂的透視圖，入口側(cè)墻上由馬里奧·希羅尼設(shè)計的浮雕效果圖，還有一些模型照片（圖11、12）。草案都在1944年米蘭空襲期間，隨著林杰里工作室一同被焚毀。初期的設(shè)計草圖大部分出自特拉尼之手，后來在他的科莫工作室中找到，但亦不能完整呈現(xiàn)設(shè)計的發(fā)展過程。

此外還有兩份報告，一份是理論報告，一份是技術(shù)報告，是在1938年正式匯報后由建筑師撰寫的，旨在為拖延的設(shè)計進程提供動力。

2 百柱廳、3個主廳與帝國廳軸測/Axonometric view with the 100-column hall, the three main halls, and the hall of Empire

3 看向古斗獸場方向的透視/Perspective view towards the Coliseum（2.3 圖片來源/Sources: ZEVI B. Omaggio a Terragni, published in L'architettura cronache e storia 153, July 1968: 248.）

4 地獄廳透視/Hall of the Inferno, perspective view

5 煉獄廳透視/Hall of the Purgatory, perspective view

6 天堂廳透視/Hall of the Paradise, perspective view（4-6 圖片來源/Sources: 參考文獻[4]49/References [4]49）

7 帝國廳透視/Hall of the Empire, perspective view（圖片來源/Source: 參考文獻[4]49/References [4]49）

4 Danteum: Project Analysis

From the exterior, the building appears as a compact block, as the different floor levels of the interior are not visible (Fig. 2, 3). The rectangular floor plan is divided into four quarters, of which the first one on bottom left corner is a squared yard open to the sky; this wide patio is the first space met by the visitor after the entrance, behind a wall along the road. Next to the patio is the 100-columns hall,the first covered space of the building.

The visitor passes through the intricate 100-columns hall, metaphor of the initial "selva oscura" (dark forest), and from there he enters the room of the Inferno (Fig. 4). Here are seven columns of different sizes, laid along a descending spiral of seven fioor squares; there is almost total absence of natural light, only coming by thin gaps on the ceiling.

The path raises then to the upper level's Purgatory hall (Fig. 5). Its ceiling is divided into seven squared frames, progressively increasing sizes,resulting in a set of skylights open to the sky. The Paradise hall (Fig. 6) is placed above the 100-columns hall, and displays 33 columns in glass, concluded by a grid of steel beams directly to the open sky.

The path ends up in the long Empire hall (Fig. 7)that stands as filtering space between the rooms, and concludes the path through the building. The library,placed below the Purgatory hall, and the first patio are the only spaces accessible from outside. The visitor would finally exit through a narrow passage, coming out on the side of the entrance.

The position of the three main halls on different levels and their narrow connections by ascending steps along the perimetre walls, lead the visitor through the halls, without any overlapping path (Fig. 8-10). The building is conceived as "a distributive mechanism and a spatial organisation that make the museum an itinerary: a rather unusual idea at that time, and Le Corbusier himself must have realised the consonance with his own ideas, but its originality as well, when after the war time he saw the model of the project"[1].

The treading of the path through the building is enhanced by the gradually increasing luminosity of the rooms: this is the most incisive method by Terragni to establish the similitude between the journey of the Danteum visitor and that of Dante in theDivine Comedy. Natural light becomes one of the main architectural design tools, accompanied by modern construction materials as concrete and steel, although here they are clad with travertine slabs. Glass is instead the only material to be displayed in its sheer shiny transparency on the columns of Paradise room.

5 Meanings of Danteum by Surviving Documents and Critics Review

The drawings displayed with this article are some of the few documents still remaining today.These are the official drawings by Terragni and Lingeri for the presentation to Mussolini, including perspectives of the rooms and a representation of the sculptures relief by Mario Sironi on the entrance wall, and some photographs of the model (Fig. 11,12). The unofficial documents were burnt by a fire in Lingeri's studio during the bombing of Milan in 1944. The preliminary sketches, attributed mostly to Terragni, were found in his studio in Como, but they do not consent a complete reading of the design development.

In addition, there are two reports, one theoretical and one technical, written by the architects after the 1938 presentation, to give impulse to the delayed project procedures.

Specifically, the theoretical report gives the author's indication on how to read the project.It explains the metaphoric correspondence between the Danteum and theDivine Comedy,correspondence consisting of geometric references,numbers, symbols, and space interpretation. As Terragni himself puts it: "this building can be de fined as polysemous"[2]; it has manifold meanings.

Such circumstances, as the scattered graphic documentation and the author's own explanation of the project metaphors, have led critics and researchers to analyse the correspondence between the architectural language and the text of the poem.

To summarise the many studies done in the past 70 years, we could gather them in three macrogroups. Between 1950 and 1970, the Danteum is first published on magazines. Between 1970 and 2000, appeared some critical interpretations of the project, in relation to Terragni's works and his complex design methods. From 2000 up to today,the digital reconstruction of the project proved the unprecedented spatial and typological innovation of the Danteum.

The commemorative exhibition on Terragni held in 1949 for the first time displayed the official drawings of the project, of which Le Corbusier sensed the originality. In 1968, in occasion of the congress organised by Bruno Zevi on Terragni's heritage, were published some unedited drawings and documents of the Danteum. Comments on the project were mixed and sometimes opposing. Zevi shares the position of Giulio C. Argan: the idea of interpreting the floor plan according to the poem structure was to them "a major mistake"; Argan also criticises the excessive rhetoric of the project for his"expressing in architecture the victory, motherland,the eternity of empire"[3]; but Zevi at the same time recognises its values, as "transgression of the classic rules, contrasts in the sequence of spaces,unbalanced relation with the context, volumetric disassembling, new glazed materials and lighting effects". Zevi acknowledges the Danteum as a lively building, for skillfully representing the poem's journey, and for introducing the visitor by emotional chords to its underlying signi ficance.

In 1976 Thomas L. Schumacher published a deepened research on Danteum[4]together with its watercolour drawings and model photographs.Analysing the plan and the building metaphors,he declares this project an icon in modern and international architecture history. Schumacher underlines that although the plan's proportions are derived from the roman Basilica of Maxentius,its two main squares are slightly shifted and overlapped, a recurrent operation in Terragni's design methods.

值得一提的是，這份理論報告包含了作者關(guān)于如何閱讀這件作品的提示。它闡釋了但丁紀念堂和《神曲》間的修辭對應關(guān)系，包括幾何援引、數(shù)字、符號和空間詮釋。如特拉尼所言：“這座建筑可以被認為是一詞多義的”[2]，它具有多層次的內(nèi)涵。

這樣的境遇——零亂的圖紙資料和作者本人對建筑隱喻的闡釋——吸引著評論家和研究者去分析建筑語言和詩歌詞句之間的對應關(guān)系。

總結(jié)過去70年的諸多研究，我們可以將其歸入3個階段。1950-1970年，但丁紀念堂最早發(fā)表在期刊雜志；1970-2000年，出現(xiàn)了一些關(guān)于這個項目的評論文章，分析特拉尼的作品及其復雜的設(shè)計手法；2000年至今，項目的數(shù)字化復原證明了但丁紀念堂前所未有的空間和類型創(chuàng)新。

1949年舉辦的特拉尼紀念展，第一次展示了這個項目的官方圖紙，勒·柯布西耶已從中察覺到項目的獨創(chuàng)性。1968年，在布魯諾·澤維組織的關(guān)于特拉尼遺產(chǎn)的會議上，但丁紀念堂的部分未經(jīng)編輯的圖紙和文獻得以出版。關(guān)于這個項目的評論褒貶不一，有些甚至持反對意見。澤維也同意朱利奧·C·阿爾甘的觀點：根據(jù)詩歌結(jié)構(gòu)來詮釋建筑平面的想法是個“大錯”；阿爾甘還批評了這個項目的過度修辭化，因為他“在建筑中表達了勝利、祖國和帝國永恒的寓意”[3]；不過，澤維同時認可了這個項目的價值，包括“對古典規(guī)則的打破，在空間序列上的反差，與文本的不均衡關(guān)系，體量的拆解，新的玻璃材料的運用及采光效果”。澤維認同但丁紀念堂是一棟生動的建筑作品，它巧妙再現(xiàn)了詩歌所描繪的旅程，并通過引發(fā)觀者的情緒共鳴，來感受詩歌的潛藏意涵。

1976年，托馬斯·L·舒馬赫發(fā)表了一份但丁紀念堂的較深入研究[4]，同時出版了它的水彩渲染和模型照片。他通過對建筑平面及其隱喻的分析，宣告這個項目是現(xiàn)代主義及國際建筑史上的標志作品。舒馬赫發(fā)現(xiàn)，盡管它的建筑平面比例源于古羅馬的馬克森提烏斯巴西利卡，但它的兩個主要方形微微偏移疊合，這是特拉尼設(shè)計方法中常出現(xiàn)的操作。

根據(jù)舒馬赫的研究，有可能找到但丁紀念堂設(shè)計背后超越文本和隱喻的另一層意義。那就是它創(chuàng)造了一種獨特的、前所未有的類型學，就像特拉尼自己在理論報告中所寫：在這個設(shè)計中，博物館、宮殿和劇場的類型匯聚為一種神廟的類型學，這種類型學指向精神的組成，能夠?qū)⒔ㄖ髌诽嵘缴衩氐木S度。

將但丁紀念堂闡釋為神廟的觀點，在2000年左右得到印證——喬吉奧·邱奇找到了這份報告的最初片段，命名為“但丁紀念堂的理論推演”[5]：特拉尼解釋道，在這個項目中，現(xiàn)代建筑接受了直面紀念性和象征主義主題的挑戰(zhàn)。因此，根據(jù)邱奇的論述，比起技術(shù)價值而言，特拉尼更傾心于建筑的詩意元素，因而設(shè)計了一棟神廟來提升它的藝術(shù)和精神價值。

另外，伊莉莎貝塔·特拉尼基于項目的建筑特征提出了另一種解釋[6]：“圍合建筑”（由環(huán)繞的墻體或柱廊圍合中心的空間或體量）這種古老的類型學，很可能是特拉尼為但丁紀念堂選中的原型。實際上，當我們從這個角度來看待這棟建筑，對其空間的理解或許只需基于內(nèi)部。特拉尼的設(shè)計遵從這一理念，從他很多的設(shè)計選擇中皆可看出：全部位于室內(nèi)的參觀路線，沒有開口的環(huán)墻，自然光僅從頂部進入建筑等等。

2015年，羅馬第一大學組織了一場關(guān)于特拉尼在羅馬的設(shè)計項目展覽，其中就包括但丁紀念堂。在這場展覽中，很多學者表達了各自觀點。盧卡·利比奇尼認為[7]，建筑的黃金分割矩形來自馬克森提烏斯巴西利卡的比例，這顯然印證了特拉尼將其建筑根植于這片考古區(qū)域的“場所精神”的意圖；此外，還應研究他與意大利建筑傳統(tǒng)的聯(lián)系——從萊昂·巴蒂斯塔·阿爾伯蒂到20世紀的建筑師。

6 尋找項目之基

拋卻作者報告中提出的那些懸而未決的問題，我們或許仍可探討但丁紀念堂的某些隱含話題，部分也是特拉尼經(jīng)常顯現(xiàn)的設(shè)計意圖：建筑本身的內(nèi)涵；還有總體而言，現(xiàn)代建筑相對于歷史及當代文脈的意義；建筑成為一種大眾藝術(shù)的使命；最后，如何定義一種新的建筑類型學。

我們不難發(fā)現(xiàn)，這些話題從特拉尼的職業(yè)首秀開始便出現(xiàn)在他的個人研究之中——當他和“七人組”宣布創(chuàng)立全新的意大利理性主義建筑；同樣的主題在這位年輕建筑師的推動下不斷發(fā)展，形成了卓然超群的成果，即便在但丁紀念堂這樣的晚期項目也是如此。

特拉尼的建筑作品實際上在兩個固定基點之間游移：一邊是來自國外現(xiàn)代主義建筑運動的顯著影響，另一邊他又堅信意大利理性主義建筑是獨一無二的，這源于它的濫觴和文化傳統(tǒng)。這樣的立場，在1930年的一篇發(fā)表文章中得到公開的闡明，特拉尼和“七人組”一起宣告了意大利理性主義建筑相比于歐洲建筑運動的獨特性[8]。

這一理念的核心認為，歷史是一個可靠的基礎(chǔ)，可在其上創(chuàng)建新建筑，讓它在未來經(jīng)受住時間的考驗，而非一閃而過。

8 地獄廳剖面與1.60m標高平面/Section across the Hall of the Hell and plan +1.60m

9 百柱廳、煉獄廳與天堂廳剖面與6.00m標高平面/Section across the 100 columns hall and the halls of Purgatory and Paradise and plan +6.00m

10 庭院剖面與10.00m標高平面/Section across the courtyard and plan +10.00m（8-10 圖片來源/Sources: MARCIANò A F. Giuseppe Terragni Opera Completa 1925-1943. Roma: Officina,1987: 218.）

這個項目與歷史的關(guān)聯(lián)，首先是通過對經(jīng)典形式元素（如柱廊、墻、柱頂過梁）的建構(gòu)及空間功能的復興來實現(xiàn)的，這有賴于特拉尼深厚的建筑史知識。通過對古典紀念物——包括米開朗琪羅和文藝復興的研究，特拉尼保持了古典構(gòu)圖的基本原則，但出于創(chuàng)立一種現(xiàn)代意大利建筑的想法，他剝離了所有不必要的裝飾元素。

According to Schumacher, it is possible to find out one more meaning of the Danteum design,beyond the literal and metaphoric reading. That is the creation of a unique and unprecedented typology, as written by Terragni himself in the theoretical report:for this design, the museum, the palace and the theatre types merge into the typology of the temple,that opens up to the spiritual component, capable to raise the architecture work onto mystic level.

The interpretation of Danteum as a temple was con firmed around the year 2000, when Giorgio Ciucci finds out the initial fragment of the report, named then "Theoretical reason of the Danteum"[5]: Terragni explains that this is a project where the modern architecture undertakes the challenge of confronting with the themes of monumentality and symbolism.Therefore, according to G. Ciucci, Terragni favors the poetic element of the architecture over its technical values, and designs a temple to enhance its artistic and spiritual values.

On the other hand, Elisabetta Terragni offers yet a different interpretation, based on the architectural features of the project[6]: the ancient typology of the "fenced building" (perimetre walls or colonnade enclosing the core space or volume)is most probably the one that Terragni referred to for the Danteum. In fact, as the building is regarded this way, the understanding of its spaces is possible only by the inside. Terragni designed the building according to this idea, made evident by many of his design choices: the all-internal itinerary, the perimetre walls without openings, and natural light coming in only from the skylights.

Recently, in 2015, it was set up by the University Sapienza of Rome an exhibition dedicated to Terragni's projects in Rome, including the Danteum. In this occasion, many academics brought in their viewpoints. According to Luca Ribichini[7], the golden rectangle derived by the proportions of the Basilica of Maxentius evidently con firms Terragni's intention of rooting his building to the "Genius Loci" (the location's inspiring source)of the archeological area; in addition, it should be researched his connection with the Italian architectural tradition, from Leon Battista Alberti until 20th-century architects.

11 但丁紀念堂模型西南面外景，由馬里奧·西羅尼制作的模型/Danteum model south-west view with the sculptured reliefs by Mario Sironi

12 但丁紀念堂模型北面外景/Danteum model north view（11.12 圖片來源/Sources: MARCIANò A F. Giuseppe Terragni Opera Completa 1925-1943. Roma: Officina,1987.）

6 Searching the Project Foundation

Besides the still open questions posed by the author's report, it is possible to trace back some implicit topics of the Danteum, part of Terragni's recurring design intentions: the building's own signi ficance, and generally the meaning of a modern building in relation to the historic and the current context; the task of architecture in becoming art for the masses; and finally, the de finition of a new building typology.

It is possible to underline how these topics were already present in Terragni's personal research since his professional debut - when he together with Group 7 declared to be the founders of the new Italian Rationalist Architecture; and the same topics,being developed consistently by the young architect,gave out-of-ordinary, outstanding results, even on latest projects like the Danteum.

Terragni's architectural work moves in fact between two fixed points: the explicit reference to the foreign Modern Movement architecture, and the expressed conviction that Italian Rationalist Architecture was speci fic and different for its origins and cultural traditions. This position is openly declared in 1930, on a published article where Terragni with Group 7 claimed the peculiarity of Italian Rationalist Architecture compared to the European movement[8].

At the core of this idea is the conviction that history is a safe foundation to build on a new architecture, to be lasting, and not passing by, in future times.

The bond with history takes place, first of all, by the recovery of formal classical elements(such as columns, walls, architraves) with their constructive and spatial role, following Terragni's deep knowledge of architecture history. By studying the ancient monuments, as well as Michelangelo and the Renaissance, Terragni retains the general rules of composition, but according to his conviction of establishing a modern Italian architecture, rids of all the unnecessary ornaments.

As a matter of fact, one of the main issues brought by the upcoming Rationalist Architecture is the essential nature of the building, and the expressivity of its basic forms, to be displayed nude,without ornament.

The essential nature of Danteum is to be found in its pure figures and volumes (square, rectangle,parallelepiped) and its nude elements (walls,columns, beams and roofs); then, the expressivity is given by the dynamic composition of these elements: the shifting and breaking of the fioor-plan main rectangle, mentioned by Schumacher; and the complexity of the inner circulation, made of sudden shifts and turns through corridors and halls.

13 “新科莫”住宅樓與原有建筑的關(guān)系，東北面外景/Relationship between Novocomum and the existing building,north-east view（圖片來源/Source: https://www.visitcomo.eu/export/sites/default/it/events/2016/allegati/FAICOMO-2016.pdf）

14 “新科莫”住宅樓北立面/Novocomum north elevation（圖片來源/Source: CAVALLERI G, VITALE D, RODA A.Novocomum, Casa d'abitazione. Como: Nuove Parole, 1988:50-51.）

15 雷比奧衛(wèi)星城軸測/Satellite city of Rebbio, axonometric view

16 雷比奧住宅樓與市中心的圖書館、市政大廳透視/Rebbio:residential buildings and city centre with library and city hall, perspective view（15.16 圖片來源/Sources: PODESTà A. Progetto di un quartiere operaio, published in Costruzioni-Casabella, 158,1941: 35-36.）

由此而來的理性主義建筑的主要理念之一，就是堅持建筑的“基本性質(zhì)”，堅持讓其基本形式的表現(xiàn)性赤誠地呈現(xiàn)出來，不帶任何裝飾。

但丁紀念堂的基本性質(zhì)可見于其純粹的形式和體量（方形、矩形、平行六面體），及其裸露的建筑元素（墻、柱、梁、頂）；然后，建筑的表現(xiàn)性是由這些元素的動態(tài)組合所塑造的：如舒馬赫提到的，樓層平面中矩形主體的偏移和打斷；還有復雜的室內(nèi)流線組織，包括柱廊和廳堂之間突然的轉(zhuǎn)折和轉(zhuǎn)換。

另外，正如托馬斯·舒馬赫和盧卡·利比奇尼所強調(diào)的，特拉尼面向古典建筑史的姿態(tài)是直接對抗——在這個案例中，便是將新博物館放置在古老的巴西利卡的正對面。由此，他得以在幾何和比例層面建立起過去和現(xiàn)代建筑的直接對話。除了外墻的相似比例外，它還通過相反的特征形成一種對抗。盡管巴西利卡更大的體量由拱廊和半圓后殿雕琢而出，但丁紀念堂的沿街立面則是完全反轉(zhuǎn)的：它所呈現(xiàn)的是一系列沒有開洞的盲墻。無論如何，這兩棟建筑將因其在城市環(huán)境中的存在而形成對話。

我們還可用另一處不同環(huán)境下的建筑舉例，那就是“新科莫”住宅樓（特拉尼的早期作品之一，1927-1929年建于科莫，圖13、14），這座建筑與場地南半部分的現(xiàn)存附樓間建立了一種修辭關(guān)聯(lián)?！靶驴颇弊≌瑯请m然維持了與現(xiàn)存建筑相同的比例，但它亦通過相反的特征來呈現(xiàn)出對抗姿態(tài)：方形轉(zhuǎn)角對圓形轉(zhuǎn)角，懸挑樓板對退臺。

還值得一提的是，特拉尼的建筑語匯除了與歷史的關(guān)聯(lián)外，還試圖與其同期的建筑學進展發(fā)生互動：歐洲的現(xiàn)代主義運動， 包括勒·柯布西耶、格羅皮烏斯、密斯·凡·德·羅；還有意大利的現(xiàn)代建筑師。在這樣一個廣闊的視角下， 出現(xiàn)了現(xiàn)代建筑的“功能”（歐洲建筑師不斷強調(diào)）與其美學及精神價值（由意大利建筑界的探討所提出）之間的理論對話。

特拉尼早在1928年就發(fā)現(xiàn)了這個問題。在“七人組”的論述中，他同時肯定了建筑的功能意義以及新意大利理性建筑的美學或“詩性”價值。不過，當重新閱讀新發(fā)現(xiàn)的報告片段，特拉尼進一步提出了“大眾藝術(shù)”這一問題，即認為藝術(shù)應該為整個民族的精神及審美訴求而服務(wù)。

在但丁紀念堂的案例中，由于它所處的地段緊鄰遺址，但丁的詩歌又是一個極難呈現(xiàn)的對象，特拉尼知曉他所創(chuàng)造的建筑可能難免陷入“修辭化”的風險。因此，他的解決方式是在立面上使用一種溫和簡明的語言，剝除一切混亂的拱券、柱子或其它冗余元素（僅有入口墻面上希羅尼的巨幅浮雕）；而在內(nèi)部，他運用所有建筑學工具和手段來調(diào)動參觀者的詩性感官。幾年前，他曾使用這些詞匯來闡釋他的某個作品：“對我而言，觀者能否理解這座紀念碑的寓意并不是決定性的；更重要的是它和觀者之間建立的審美關(guān)聯(lián)，以及被它所‘感動’的事實?！盵9]

最后，但丁紀念堂提出的問題是，怎樣的建筑類型學能夠統(tǒng)合并完滿回應所有這些設(shè)計要素，例如文學作品的再現(xiàn)、與歷史及當下的關(guān)聯(lián)、建筑的審美價值等。

特拉尼給出的答案，就是提供一種新建筑類型的基礎(chǔ)。

如學界所認同的，但丁紀念堂構(gòu)筑起一種前所未有的建筑類型學，而不是過往類型學的復制；它是研究，是創(chuàng)新，直面歷史，忠于當下，并最終轉(zhuǎn)譯為建筑。

在此應再次提到，新建筑類型的基礎(chǔ)就是“理性”建筑的概念，這早已在“七人組”的理論和作品中提出。實際上，同樣的設(shè)計路徑亦可見于另一座未建成建筑，是但丁紀念堂的同期作品：科莫附近的雷比奧居住街區(qū)，由特拉尼和阿爾貝托·薩托利斯于1938年設(shè)計（圖15、16）。雖然項目的尺度、條件和功能目標截然不同，但這個城市項目的出發(fā)點就是創(chuàng)造多種不同的居住類型。這些創(chuàng)新類型不僅源于地理和社會條件，也來自對歐洲現(xiàn)存住宅建筑的深入研究。

7 結(jié)語

特拉尼的設(shè)計路徑是在尋求新的建筑類型，這一事實讓他的作品獲得了獨一無二的特質(zhì)。即便在近100年之后，它們的獨特性依然不斷激起批評家和學者之間無休止的爭論。

暫且不論那些關(guān)于特拉尼的設(shè)計意圖的不同闡釋，他獨特的設(shè)計方法應該放在其職業(yè)及理論路徑上去思考，并且放到它與意大利理性主義運動的理論和作品的共同發(fā)展之中來考慮。

但丁紀念堂無疑是現(xiàn)代建筑杰作中的一座里程碑。關(guān)于它的探求從未衰減，這源于它的未建成和無法復制的性質(zhì)，它的特殊區(qū)位及挑戰(zhàn)性話題，以及它對但丁作品的再現(xiàn)。我們甚至可以大膽地說，《神曲》和但丁紀念堂這兩件作品，雖時隔遙遠卻深刻交纏，它們都是理解多層次的意大利文化的根基，尤其是在其各自特定的年代和背景。

時值紀念但丁逝世700周年，我們值得進一步探究文學和建筑的世界，以加深對這樣一個迷人主題的理解——即不同藝術(shù)形式之間的關(guān)聯(lián)。

Also, as highlighted by T. Schumacher and L.Ribichini, Terragni refers to classic history by direct confrontation, in this particular case by the position of the new museum in front of the ancient Basilica.He could then establish a correspondence between past and present architecture, in terms of geometry and proportions. But besides the perimetre's scaled proportions, it remains a confrontation by opposed features. While the bigger volume of the Basilica is carved by arches and by the round apse, the Danteum elevation on the avenue is plainly introverted: it displays a set of blind walls, without openings.Nevertheless, the two buildings would establish a dialogue by their urban presence on the avenue.

Although in a different context, we like to underline that also the residential building Novocomum (one of his first works, built at Como in 1927-1929, Fig. 13, 14) establishes a figurative relation with its side buildings, already built on the southern half of the same plot. The Novocomum,while maintaining the same dimensions of the existing building, undertakes the confrontation by displaying the opposed features: squared corners opposed to rounded corners, cantilevered floors opposed to recessed terraces.

It is convenient to mark that Terragni's architectural language, besides keeping up with history, aims to confront with its concurrent architectural developments: the European Modern Movement pioneered by Le Corbusier, Gropius,Mies Van der Rohe; and the Italian contemporary architects. In this larger scope it was already raised the theoretical dialectic between the "function" of the modern building (underlined many times by the European architects) and its esthetic and spiritual values (brought up in the Italian debate).

The problem was faced by Terragni already in 1928, when in Group 7's writings he defended both the functional aspect and the esthetic or "poetic"values of the new Italian Rationalist Architecture. But reading again the discovered fragment of the report,Terragni moves further and poses the question of the "art for the masses", intended as art serving the spiritual and esthetic aspirations of an entire nation.

In the case of the Danteum, because of its location in front of the ruins and the difficult subject of Dante's poem to be represented, Terragni is aware of the danger of producing a building that could be deemed as "rhetoric". So he resolves to design the exterior using a moderate and clean language,without unbalanced arches, columns or other redundant elements (only the huge sculptured reliefs by Sironi along the entrance wall); whilst on the interior he places all the architectural tools and plays able to move the poetic sensitivity of the visitor.Some years earlier he used these words to explain one of his works: "Whether the observer did or did not understand the allegoric concept of the monument is for me not a matter of de finitive importance. What matters is the esthetic relation established with the visitor, the fact to be 'moved' by it"[9].

The Danteum project, finally, raises the issue of what typology of building could bind together and satisfy all of these design aspects, such as the representation of the literary artwork, the connection with history and with the present, the esthetic values of the building.

The answer given by Terragni was to provide the foundation of a new architectural type.

The Danteum, as recognised by academics,constitutes an unprecedented typology of building,not a mere reproduction of the past typologies;instead, it consists of research, innovation,confrontation with the past and adherence to the present conditions, translated into architecture.

And here again, the idea of a "rational"architecture to be based on the foundation of new architectural types had already been brought up in the beginning of Group 7's theory and works.Indeed, this same approach may be found in another un-built project, contemporary of Danteum: the residential neighbourhood of Rebbio near Como,designed by Terragni and Alberto Sartoris in 1938(Fig. 15, 16). Even if defined by different scale,conditions and programme targets, this urban project takes start by the invention of mixed and various residential types. The innovative types were originated both from geographical and social conditions, and from the elaboration of residential buildings already built in Europe.

7 Conclusions

Terragni's design approach moves then towards the search of new architectural types, and this fact contributes to the uniqueness of his projects.Still after nearly 100 years their singularity keep animating a restless debate by critics and academics.

Notwithstanding the many different interpretations of Terragni's design intentions,his unique design method should be contemplated within his professional and theoretical path, and following its development together with the theory and works of the Italian Rationalist movement.

The Danteum project certainly is a milestone in the constellation of modern architecture masterpieces. The still lasting interest about it comes from its being un-built and surely unrepeatable,given its specific location and its challenging subject of representation of Dante's artwork. One could dare to say that these two works, theDivine Comedyand the Danteum, so distant in time and yet so intertwined, are both fundamental for the understanding of the multi-layered Italian culture in its speci fic time and context, respectively.

The occasion of celebrating 700 years from Dante's death could give impulse to the literary and architectural research to deepen the studies of such a fascinating theme and the connections between different forms of art.