古比奧墓地擴建，古比奧，意大利

建筑設(shè)計：安德烈亞·德拉戈尼建筑師事務(wù)所Architects： andrea dragoni architetto

古比奧墓地擴建，古比奧，意大利

建筑設(shè)計：安德烈亞·德拉戈尼建筑師事務(wù)所
Architects： andrea dragoni architetto

古比奧墓地的擴建是一種新型公共建筑的探索。一方面，它代表著意大利最重要的中世紀城市古比奧的紀念墓地的最新發(fā)展；另一方面又賦予它在城市結(jié)構(gòu)中的意義和中心地位。

平面由線性的幾何體構(gòu)成，在城市結(jié)構(gòu)中體現(xiàn)出鄉(xiāng)村式的布局，折射出周邊景觀和歷史城市的特征。這種城市聚落的概念由大的圍合廣場得以強化，這些開放空間形成了城市結(jié)構(gòu)中的空間韻律。這種空間是受了詹姆斯·特里爾天窗的啟發(fā)。作為令人愉悅的公共空間，它與墓地是相互獨立的，讓人能夠駐足反思。這些“靜穆廣場”沒有屋頂，猶如朝向天空的窗戶。框景中的天空將人的意識帶入另一個國度，讓雙眼和心靈離開地球母親，在空靈的精神世界翱翔。

這種與天空的關(guān)系限定了時空，讓人回歸自我。這種空間沖破天地的界限，成為我們在現(xiàn)代城市生活中最后的地平線。同時，向天空打開又是對阿爾貝蒂之窗的新闡釋。這窗就像一道門，是偉大的文藝復(fù)興建筑師想像中惟一能為蒼穹注入安寧的瓊樓；它從天而降，讓我們的靈魂回歸沉靜——沒有它就無法超越生活的逆境。

“靜穆廣場”的氛圍由一系列本地特有的藝術(shù)作品烘托出來，把玩著從黎明到黃昏的光影變幻。這些作品出自兩位杰出的意大利藝術(shù)家紹羅·卡爾迪納利和妮古拉·倫齊之手，而他們從項目之初就在參與合作。他們的作品與建筑渾然一體，在城市中創(chuàng)造出肅穆和冥想的新空間。

威廉·理查德曾說，人類無法完整地理解世界，而只有在離去之后才會理解。從這個意義上講，建筑就是世界的一個縮影。它體現(xiàn)出我們無法在世界上直接感知的秩序，同時又在建筑之中讓人感受世界的存在。□（尚晉 譯）

1 墓地全景/View of the complex from the countryside

2 從鄉(xiāng)村看墓地新入口/View of the new entrance road from countryside

3 總平面/General plan

1- 老墓地入口/Existing entry

2- 圓形廣場（未建成）/Circular plaza （unbuilt）

3- 小禮拜堂/Chapel

4- 服務(wù)區(qū)/Service area

5- 新入口/New entry

6- 配有紹羅·卡迪納利藝術(shù)裝置的靜默廣場/Silence plaza with art installations of Sauro Cardinali

7- 配有尼古拉·倫齊藝術(shù)裝置的靜默廣場/Silence plaza with art installations of Nicola Renzi

4 城市剖面（左：古比奧市；右：古比奧墓地擴建）/Urban section （left： Gubbio； right： Gubbio cemetery and its extension）

5 墓地中心區(qū)/View of the central area

The enlargement of the Gubbio cemetery was the culmination of a study to create a new type of public building. This project represents the latest phase of growth of the monumental cemetery in Gubbio， one of Italy's most important medieval cities. It also intends to redefine the cemetery's meaning and hierarchy within the structure of the city.

The plan is an urban structure， consisting of linear stereometric blocks arranged in such a way as to reflect the layouts that characterize the surrounding landscape as well as the historic city. This urban layout concept is further emphasized by the inclusion of large square enclosures designed to be open spaces， providing the structure with spatial rhythm. Inspired by James Turrell's Skyspaces，these are designed to be enjoyable public spaces，independent from the cemetery， and offering an opportunity to pause and reflect. These cubic "squares of silence" have open ceilings， evoking windows that look out to the sky. The sky thus framed， the mind opens to the reign of the invisible，allowing sight and thought to abandon Mother Earth's gravity and acquire a more aerial and spiritual dimension.

6.7 墓地中的公共空間/Views of some public spaces

8.9 剖面/Sections

This relationship with the sky intends to define space that is also time， in such a way that you can find yourself again； a space that thrusts the horizon upwards like a metaphor of the boundaries of heaven， the last horizon of our life in a modern city.At the same time， opening to the sky， it re-interprets Leon Battista Alberti's window， a window that is like a threshold， imagined by that great Renaissance architect as the only architectural artifice able to "instil the peacefulness" evoked by the celestial void that， descending from above， takes us back to the imperturbable state of the soul without which overcoming the adversities of life is impossible.

10 從小禮拜堂的橫長窗看墓地入口通道/View of the access road from the large linear window of chapel

The atmosphere of these "squares of silence" is made more suggestive by a series of permanent，site-specific art installations that capture the changing effects of light and shadow from dawn to dusk. These installations were created by two prolific Italian artists， Sauro Cardinali and Nicola Renzi，who began collaborating during the initial stages of the project. This contribution， strongly linked with the surrounding architecture， helps to define a new space for silence and meditation within the city.

William Richard Lethaby said that human beings cannot understand the world as a whole. They must first move away from it， and only after having achieved this detachment can they reach a full understanding. In this sense， a building can be seen as a model of the world； it represents an order we cannot directly experience， but at the same time it makes perceptible， within the limits of a building，that which exists in the world. □

11 新、老墓地共有軸線上的十字架/View of the "cross" along the continuation of existing axis

12 尼古拉·倫齊設(shè)計的藝術(shù)裝置/Art installation designed by Nicola Renzi

項目信息/Credits and Data

客戶/Client： 古比奧公社/Comune di Gubbio

主持建筑師/Principal Architects： Andrea Dragoni，F(xiàn)rancesco Pes

合作方/Collaborators： Andrea Moscetti Castellani， Giorgio Bettelli， Michela Donini， Raul Cambiotti， Antonio Ragnacci，Cristian Cretaro， Matteo Scoccia

場地藝術(shù)家/Site-specific Artists： Sauro Cardinali， Nicola Renzi項目經(jīng)理/Project Director： Francesco Pes， Paolo Bottegoni結(jié)構(gòu)設(shè)計/Structural Design： Giuseppe Artegiani， Marco Bacchi

植物設(shè)計/Plants Design： Italprogetti （Moreno Dorillo，Elvisio Regni）

安全協(xié)調(diào)/Safety Coordination： Claudio Pannacci

草圖模型/Maquette： Giuseppe Fioroni

場地面積/Site Area： 4035m2

建筑面積/Floor Area：1800m2

設(shè)計時間/Design Period： 2004-2005

施工時間/Construction Period： 2005-2011

攝影/Photos： Alessandra Chemollo（fig. 1，2，5-7，10，11，13），Massimo Marini（fig. 12）

評論

朱育帆：古比奧墓地擴建看似只是一個典型的具有理性主義色彩的意大利當代建筑。設(shè)計從平面到空間充斥著場地關(guān)系學的控制，無論是一期擴建中米字格墓地群的實質(zhì)性界定還是條田式分地對于建筑模數(shù)確定的影響，再到二期建筑布局的設(shè)計騰挪，都表現(xiàn)出近乎無懈可擊的學院式的嚴謹。而真正使得設(shè)計產(chǎn)生非凡性的是由連續(xù)4個詹姆斯·特里爾式天頂空間串聯(lián)組成的內(nèi)置式公共廊道空間，在場裝置藝術(shù)的介入將公眾的體驗與彼時彼刻的時空真實關(guān)聯(lián)。

劉晨：古比奧的老房子有兩座門，一大一小，小的那個叫“死者之門”，家里有人死了，從這里抬出來。可為什么生比死大？這是個謎。卡爾維諾很有預(yù)見性：“每一座城市都像‘古比奧’一樣，旁邊就有另外一座城市，兩座城市的居民有著相同的名字：這是死者的‘古比奧’，是墓地……”古比奧有個老傳統(tǒng)，每年5月15日，三隊俊男分別穿黃、藍、黑隊服，抬著碩大的圣徒像賽跑，從城里跑到山上。如果他們繼續(xù)跑到墓地，就會找到謎底：這里也有兩座門，一大一小，小的那個叫“生者之門”，進去，黃、藍、黑三隊鬼魂已恭候多時，生前的皮囊化作死后的粒粒微塵，仍在跑上跑下，不知疲倦。

Comments

ZHU Yufan: This cemetery expansion appears to be a typical example of Italian rationalist architecture. The design of the plane and the space is derived from a field-relation methodology. This nearly impeccable academic rigorousness is best shown in the substantial definition to the radial graveyard complex， the architectural module setup influenced by dividing the field by strips in the Phase 1 expansion， and the overall architectural layout of the Phase 2 expansion. But what really marks this extraordinary design is the builtin public corridor space， formed by four consecutive skyspaces in a style similar to James Turrell. The use of site-specific art installations realizes a true connection between the public experience and the space and time at a particular moment.

LIU Chen: Old houses in Gubbio often have two doors， one large， the other small， both fronting on the street. The small one， called porta dei morti， was used to remove the bodies of any who might have died inside the house. What a riddle！ Why must the living be grander than the dead？ The exceptionally perceptive Calvino got it right： "Ogni città， come 'Gubbio'， ha al suo fianco un'altra città i cui abitanti si chiamano con gli stessi nomi： è la 'Gubbio' dei morti， il cimitero..." Gubbio is home to the Corsa dei Ceri， a race held each May， in which three teams， clad in yellow， blue and black and carrying a giant statue of their patron saint，run through the city and up the mountain. If they go on running until they reach the cemetery， the riddle might be revealed： here， too， are found two doors， the smaller one being nuovo ingresso. Inside， 3 teams of ghosts， in yellow， blue and black， are running up and down as tirelessly as in their past lives.

Extension of Gubbio Cemetery， Gubbio， Italy， 2011

13 紹羅·卡迪納利設(shè)計的藝術(shù)裝置/Art installation designed by Sauro Cardinali