農(nóng)村世界主義：重塑朗格和羅埃洛地區(qū)記憶

莫妮卡·納索

Between Architectures and Territories

Memory has no meaning outside of history， and its understanding is coherent with the awareness of the cultural and social values represented by a site or by a landscape[1].The acknowledgment path of the cultural and social values is part of the heritage process which enhance the valorisation of sites that previously were not considered or labelled as part of the cultural legacy.The awareness of these two heritage values enhanced the cultural communication of the memory of a territory， an essential tool to motivate the conservation or the transformation of a site.After the 2000s， the heritagisation process become an essential tool of the territory's marketing since historical and environmental issues can play an essential role in guiding public and private decisions[2].The materiality of the rural past of a territory can assume， through a process of conscious recognition，the identity of heritage， bringing - as stated by the author in her essay - an intersection of aesthetic and economic expectations which sustain international tourism.Within this memory and regeneration process， architecture plays a strategical role in enhancing the heritage values embodied by the landscape in which it is rooted.To confirm this trend is the architecture of wineries which， in the last 20 years， has overcome its purely sectorial form， becoming also an artistic and architectonical expression， aiming to enhance and valorise the landscape's identity1)[3].An evolution driven by the desire to transmit and preserve the values linked to the winemaking processes communicating ancestral traditions， through the forms and the materials of the architecture.

The essay discerns about four recent architectural and artistic projects carried out in Langhe and Roero， two renowned wine-growing Italian landscapes which in 2014 gained the prestigious UNESCO world heritage label.(Text by Giorgia Cestaro)

A Territory in Motion

The article observes four recent architectural and artistic interventions carried out in Langhe and Roero.Traditionally known as rugged rural landscapes， over the last 30 years， these territories have undergone a profound metamorphosis into intensely productive wine-growing areas.Located in the northwest of Italy， the hilly area looks like a complex， layered small towns and agglomerations system characterised by settlements and architectural artefacts linked to intense agricultural activity.

Over the years， wine production has accompanied the agricultural landscape of historic villages and farmhouses and today represents a large portion of the local economy.At the same time， new ways of representing and experiencing the territory have stratified， which has become the subject of increasing branding.The aesthetic and perceptive component has increasingly gained relevance.

Langhe and Roero underwent a further metamorphosis in the 2000s， which epitomised their contemporary renaissance as an internationally renowned tourist destination in the cultural and food & wine sector: in 2014， the site was proclaimed2)as UNESCO heritage3).Such a recognition promoted this landscape as "an exceptional living testimony of the historical tradition of vine cultivation， of winemaking processes， of a social， rural and economic context based on the culture of wine"， underlining the link between the transformation/protection of the territory，the settlements' built fabric， and the productive activities that have characterised it over the time4).

Rural Cosmopolitanism: Architecture Mediating Memory and Regeneration

Internationalisation as a UNESCO territory has led to a further reconceptualization and spatial transformations.In this framework， architecture plays a primary role through a continuous swinging between a tradition's conservation and recovery and openness to diverse formal languages.

A "rural cosmopolitanism" approach opens a gap alongside traditional architecture， intercepting the tastes of designers and users with an increasingly international profile， capable of hybridizing various cultural elements and professional skills acquired internationally in the local context.

The reinterpretation of the rural tradition passes today through increasing internationalization and media exposure.Architecture becomes the medium of the territory's ambitions to position itself within the global tourist-cultural scene.Adopting a hybrid approach between pure traditionalism-mimicking and replicating the vernacular through traditional forms and materials-and creating iconic artefacts， rural cosmopolitanism in architecture aims to establish a more contemporary and open dialogue with the context and its tangible/intangible aspects.Such an approach embraces the territory as a whole， involving various aspects in which architecture becomes the medium of new issues related to production， living and landscape-cultural enhancement.

圖2 “5個(gè)夢(mèng)”酒莊，由基石建筑設(shè)計(jì)事務(wù)所、馬泰奧·克萊里奇和Hus建筑設(shè)計(jì)事務(wù)所設(shè)計(jì)Cantina dei 5 Sogni by Fondamenta，Matteo Clerici and Hus

圖3 “5個(gè)夢(mèng)”酒莊，由基石建筑設(shè)計(jì)事務(wù)所、馬泰奧·克萊里奇和Hus建筑設(shè)計(jì)事務(wù)所設(shè)計(jì)Cantina dei 5 Sogni by Fondamenta，Matteo Clerici and Hus

Cantina dei 5 Sogni in Monforte d'Alba: Reshaping Production

Once linked to the subsistence of rural life， today， wine production is renewing itself according to the increase in the number of local producers and the needs of international tourism: traditional production functions are associated with retail， representation and hospitality functions.The austere， concrete volume of Cantina dei 5 Sogni， designed in 2020 by Fondamenta (Francesca Beatrice Gagliardi and Federico Rossi)， Matteo Clerici and Hus in Monforte d'Alba， triggers a formal and conceptual reflection on space as the cornerstone where both preservations of rural memories and tensions towards its contemporary reinterpretation meet.

The Swiss training of the designers， who studied at the Mendrisio Academy of Architecture， plays a fundamental role in the choice of the compositional elements of the project.The cellar looks like a contemporary graft that seeks to establish an intense dialogue with the landscape.The building is firmly anchored to the slope of the hill: the memory of the past-and the landscape-becomes architecture in an austere volume， which from hypogeum becomes almost aerial.

The sinuous curves of the basement dig and shape the slope of the hill-on which the cellar is grafted.The large double pitched roof， which recalls traditional farmhouses， dominates the entire volume of the architectural artefact: such an archetypal-and almost theoretical-form interprets an ancestral relationship with the territory，combining the spaces dedicated to wine production and those dedicated to tasting.The keel in exposed reinforced concrete， suspended over the tasting room with an open view of the Langhe， recalls the traditional barrels used for storing wine.The intersection and overlapping of reinforced concrete volumes create a sequence of horizontal planes， which alternate with large glass bands and reflect the course of the rows of the surrounding vineyards.

The designers carefully choose materials， mainly using exposed concrete， glass， and steel.These are materials typical of contemporary architecture， which， although in apparent antithesis with the local building tradition，manage to establish a dialectical relationship with the surrounding landscape.

Along with the materials， the chromatic choices also play an essential role in defining the architectural project.The concrete volumes， dark in colour， seem to arise directly from the clayey earth of the vines.In the tasting room，the transparency of a large continuous window opens a broad visual glimpse towards the hilly landscape， reflectingthe surrounding slopes and breaking down the physical barriers between the building and the hills.

Casa di Langa in Cerretto Langhe: Retreating in the Landscape

The intersection between a conservative approach and regenerative tension is at the origin of the conception of new forms of living.The Casa di Langa resort in Cerretto Langhe， by Milan-based GaS Studio with Parisotto +Formenton Architetti， presents itself as a "new sustainable luxury resort in the heart of Alta Langa".It aims at representing a trend towards a newly conceived notion of tourism-attentive to the memory of places through the reinterpretation of traditional forms and materials.

The international professional experience of the designers reflects the need to create a project that reinterprets traditional architecture and， at the same time， responds to the needs of an increasingly international tourist clientele.The project， surrounded by hills， vineyards and wooded areas， has redeveloped an existing building， unfinished from the early 2000s.

According to designers， the process focused on combining existing and new materials-provided by local suppliers-to reduce waste during the construction phases and favour circular economy practices.

The project， a large C-shaped courtyard complex open and set on the slope of the hill that includes 42 hm2of land whose landscape design was curated by the Milanese studio Land， fits into the landscape trying to recall the volume and layout of traditional farmhouses.The building articulates around a central courtyard， a garden open to the valley.The architectural details recall local vernacular architecture in some archetypal elements-yet reinterpreted in a contemporary way: the arcades， the external balconies shielded by brick filters， the pitched roofs in brick tiles.Like the volume， the chromatic features of the project recall the changing colours of the surrounding landscape and its rural architecture-and they are closely linked to the materials used: bricks， stones， and plasters evoke the tones of the earth，grass and foliage; they also highlight the diversified material and tactile components of the architectural artefact.

A Window on the Langhe: Inhabiting the Landscape

"Una finestra sulle Langhe" (a window on the Langhe) designed by Studioata-a Turin-based architectural practice specialized in the renovation and restoration of historical apartments and rural buildings-is among the winning projects of the BigSEE Architecture Award 2021.

The architects designed a 110 m2holiday home in the countryside surrounding the small town of Cigliè for a couple from Rotterdam， combining influences from vernacular and Northern European architecture.Under the motto "Become part of the landscape"， the house is set on a sloping land of approximately 2，000 m2.The building looks like a compact volume that recalls the archetypal shape of the traditional house with a double pitched roof.The building is closed on three sides， while the south side is entirely open to the landscape， embracing the view of the Alps， the castle of Cigliè and the city of Mondovì.

The tectonics of the small building is made even more compact by the cladding choice.Both its materialchromatic character and the execution technique connect the local vernacular architecture to the influences of northern Europe: the structure is entirely clad with a continuous mantle of 21，500 bricks laid by a local company.The brick-clad roof represents a "fifth fa?ade".It stands out by the presence of fireplaces and skylights， small architectural "follies" that characterize the profile of the building and make the house， together with the continuous glazing on the south side， a device for capturing light and landscape views.A large terrace built from 35 large solid wood logs completes the relationship between the closed space of the building， the loggia and the garden[4].

Sandretto Re Rebaudengo Art Park: The Landscape as a Cultural Device

In some cases， the landscape crosses the transition from a medium of production to an aesthetic element，representing a device triggering cultural and intellectual activities.The recent realization of a contemporary art park on the hill of San Licerio， undertaken by the Sandretto Re Rebaudengo Foundation in Guarene d'Alba， aims at underlining the role of art not only in setting up a territorial brand but also in establishing a renewed dialogue with the landscape-and with the activities grafted onto it.

By crossing the notions of land art and an open-air museum， the project expands into an outdoor space the cultural offer promoted by the Foundation-established in 1995 and dedicated to contemporary art-which opened its first headquarters in Guarene in the 18th century Palazzo Re Rebaudengo.The park， designed by Lorenzo Rebediani and Vera Scaccabarozzi， aims at triggering a dialogue between nature， architecture and the works of contemporary artists from different countries (among which Paul Kneale， Carsten Holler， Mark Handforth， Wilhelm Mundt and Marguerite Humeau).The spatial rhythm of the continuous promenade-a Corten structure that defines a linear and uninterrupted path through the various works-evokes the mosaic of tiles of surrounding fields， hazelnut groves and vineyards and defines a multiplicity of views and perspectives， where the landscape becomes a space of intellectual stimulation.

Between Amenity and Authenticity

In Langhe， Roero and Monferrato， natural and artificial space can be considered the meeting point of approaches in which architecture mirrors different instances between the recovery of vernacular memories and an interpretative impulse aimed at contemporary experimentation.This approach parallels the metamorphosis of the territory as a manufactured landscape， an environment of increasing economic and cultural enrichment that has reshaped new tangible and intangible memories-where the contributions of actors from different geographical，economic and cultural contexts converge.

The architectures observed in the article represent a picture in which the reinterpretation of memory has relevance both from a cultural and spatial point of view， where the landscape is experiencing a growing exposure to the notion of cosmopolitanism.The vernacular memory of traditional inhabited centres intersects with the (aesthetic and economic) expectations of international tourists-of which architecture is a fundamental component: nevertheless， what might be the hurdles and benefits of such a migration of amenity?

Architecture-in its conception and its spatial imprint-is not just a sign of the intellectual effort of a designer and clients: in many cases， it is representative of implicit intentions and attitudes that nevertheless have an explicit manifestation in the landscape.From this perspective， it becomes relevant to reflect on the role of architecture and spatial transformations: whether they are interpreters of a changed conception of the landscape， open to different contaminations， or whether it represents an immediate response to the needs of the visual delight of a territory whose goal is to intercept a tourist-target linked to luxury (in terms of lifestyle，elitarian production， imaginary of a territory).Alongside the evident benefits of cultural contamination， it would be appropriate to observe further and with greater attention the risks and opportunities of these constant spatial reinterpretations and the memory of the territory.

圖1 “5個(gè)夢(mèng)”酒莊，由基石建筑設(shè)計(jì)事務(wù)所、馬泰奧·克萊里奇和Hus建筑設(shè)計(jì)事務(wù)所設(shè)計(jì)Cantina dei 5 Sogni by Fondamenta，Matteo Clerici and Hus

建筑與土地之間

記憶脫開歷史就失去了意義，理解記憶同認(rèn)識(shí)一處遺址或景觀所代表的社會(huì)文化價(jià)值是一致的[1]。對(duì)社會(huì)文化價(jià)值的識(shí)別是遺產(chǎn)進(jìn)程的一部分，它強(qiáng)調(diào)了曾經(jīng)不被認(rèn)為是文化遺產(chǎn)的一部分遺產(chǎn)的價(jià)值。對(duì)這兩種遺產(chǎn)價(jià)值的認(rèn)識(shí)，增進(jìn)了一個(gè)地區(qū)記憶的文化交流，這是激發(fā)保護(hù)或改造遺產(chǎn)的一項(xiàng)必要工具。21世紀(jì)以來，由于歷史和環(huán)境要素在引導(dǎo)公共與個(gè)人決策方面的重要作用，遺產(chǎn)化進(jìn)程成為土地營(yíng)銷的重要工具[2]。一方農(nóng)村土地的物質(zhì)性，可以通過有意識(shí)的認(rèn)識(shí)過程，賦予遺產(chǎn)以識(shí)別性，帶來——正如作者在她的文章中所說的——審美期望和經(jīng)濟(jì)期望的交融，從而維持對(duì)國(guó)際游客的吸引力。在這一記憶和再生過程中，建筑在提高蘊(yùn)含在景觀中的遺產(chǎn)價(jià)值方面發(fā)揮著戰(zhàn)略作用。證實(shí)這一趨勢(shì)的是葡萄酒廠建筑。在過去的20年里，葡萄酒廠建筑已經(jīng)跨越了純粹的功能形式，成為一種藝術(shù)和建筑的表達(dá)，旨在加強(qiáng)和描繪它的景觀的識(shí)別性1）[3]。這種演變的動(dòng)力是希望通過建筑的形式和材料來傳遞和保護(hù)與釀酒過程相關(guān)的價(jià)值，并延續(xù)古老的傳統(tǒng)。

這篇文章探討了最近在朗格和羅埃洛進(jìn)行的4個(gè)建筑和藝術(shù)項(xiàng)目，2個(gè)知名的意大利葡萄種植園在2014年獲得了聯(lián)合國(guó)教科文組織世界遺產(chǎn)認(rèn)證。（喬治亞·塞斯塔羅 文）

動(dòng)態(tài)變化中的風(fēng)土

這篇文章觀察了4項(xiàng)近期在朗格和羅埃洛地區(qū)進(jìn)行的建筑和藝術(shù)干預(yù)。這些地區(qū)在傳統(tǒng)上被視作屬于貧瘠荒蕪的農(nóng)村景觀，但在過去的30年里經(jīng)歷了深刻的蛻變，成為了高產(chǎn)的葡萄種植區(qū)。這片丘陵地區(qū)位于意大利西北部，看起來具有復(fù)雜的、分層的小鎮(zhèn)和聚落系統(tǒng)，其特點(diǎn)是與密集的農(nóng)業(yè)活動(dòng)相關(guān)聯(lián)的聚居點(diǎn)和建筑文物。

多年來，葡萄酒生產(chǎn)一直伴隨著歷史悠久的村莊和農(nóng)舍的農(nóng)業(yè)景觀，如今更是成為了當(dāng)?shù)亟?jīng)濟(jì)的支柱。同時(shí)，將提煉、呈現(xiàn)、體驗(yàn)區(qū)域風(fēng)土的新方式設(shè)為打造品牌的議題，與審美和感性成分的相關(guān)性日益提升。

朗格和羅埃洛在2000年代經(jīng)歷了進(jìn)一步的蛻變，這是其作為文化和食品及葡萄酒領(lǐng)域國(guó)際知名旅游地的當(dāng)代復(fù)興的縮影：2014年，該地被宣布2）為聯(lián)合國(guó)教科文組織世界遺產(chǎn)地3）。這樣的認(rèn)可促進(jìn)了這一景觀成為“基于葡萄酒文化的社會(huì)、農(nóng)村和經(jīng)濟(jì)背景的，葡萄種植歷史傳統(tǒng)和釀酒工序的優(yōu)秀鮮活的見證”，強(qiáng)調(diào)了風(fēng)土的轉(zhuǎn)型與保護(hù)、聚居點(diǎn)的建筑構(gòu)造與長(zhǎng)期以來生產(chǎn)活動(dòng)之間的聯(lián)系4）。

農(nóng)村世界主義：建筑調(diào)解記憶與再生

成為遺產(chǎn)地之后的國(guó)際化令這里的風(fēng)土呈現(xiàn)出了進(jìn)一步的再概念化和空間轉(zhuǎn)型。建筑設(shè)計(jì)在對(duì)傳統(tǒng)的保護(hù)和恢復(fù)以及對(duì)不同形式語言的開放之間持續(xù)斡旋，借此在這個(gè)框架里發(fā)揮了主要作用。

“農(nóng)村世界主義”的方法在傳統(tǒng)建筑的旁邊劃出了真空地帶，用愈發(fā)國(guó)際化的形象阻斷了設(shè)計(jì)師和使用者的品味，使得從國(guó)際上獲得的各種文化元素和專業(yè)技能混雜進(jìn)了當(dāng)?shù)丨h(huán)境里。

當(dāng)下對(duì)農(nóng)村傳統(tǒng)的再詮釋，體現(xiàn)在逐漸提升的國(guó)際化程度和媒體曝光量上，而建筑則成為了該區(qū)域在全球旅游文化舞臺(tái)上建立自己雄心的媒介。采用介于純粹傳統(tǒng)主義、通過傳統(tǒng)的形式與材料模仿和復(fù)制鄉(xiāng)土氣息、創(chuàng)造標(biāo)志性藝術(shù)品三者之間的混合方法，建筑中的農(nóng)村世界主義旨在與環(huán)境及其有形的與無形的方面建立一種更現(xiàn)代和開放的對(duì)話關(guān)系。當(dāng)建筑成為關(guān)于生產(chǎn)、生活和景觀文化提升等新生議題的媒介時(shí)，這種方法將區(qū)域視作一個(gè)整體，關(guān)照到了方方面面。

蒙福特-達(dá)爾巴的“5個(gè)夢(mèng)”酒莊：重塑生產(chǎn)

曾經(jīng)與農(nóng)村生活息息相關(guān)的葡萄酒生產(chǎn)，目前正在根據(jù)當(dāng)?shù)厣a(chǎn)者數(shù)量和國(guó)際旅游業(yè)需求的增長(zhǎng)進(jìn)行自我更新：傳統(tǒng)的生產(chǎn)功能與零售、代理、接待功能組合在了一起。“5個(gè)夢(mèng)”酒莊由基石建筑設(shè)計(jì)事務(wù)所（弗蘭切斯卡·貝亞特里切·加利亞爾迪和費(fèi)代里科·羅西）、馬泰奧·克萊里奇和Hus建筑設(shè)計(jì)事務(wù)所于2020年在蒙福特-達(dá)爾巴設(shè)計(jì)，其素凈的混凝土形體引發(fā)了人們對(duì)空間形式和概念的反思——在這里，空間是鄉(xiāng)村記憶的留存和當(dāng)代再詮釋的張力交匯的基石。

設(shè)計(jì)師們?cè)陂T德里西奧建筑學(xué)院所接受的瑞士學(xué)術(shù)訓(xùn)練，在選擇項(xiàng)目的構(gòu)成元素方面發(fā)揮了根本性的作用。這個(gè)酒莊看起來試圖以一種當(dāng)代式的嫁接與景觀建立起激烈對(duì)話。該建筑嵌入山坡：對(duì)過去的記憶，以及景觀，在一個(gè)素凈的空間中，將曾屬于地下的建筑變成了幾乎位于空中的建筑。

地下室以蜿蜒的曲線挖方塑造了山丘坡度，酒莊聳立在上面。巨大的雙坡屋頂統(tǒng)領(lǐng)了整個(gè)建筑的空間，讓人回憶起傳統(tǒng)的農(nóng)舍：這種典型得幾近于純理論化的形式，表達(dá)對(duì)這片風(fēng)土源遠(yuǎn)流長(zhǎng)的聯(lián)系，將釀酒的專用空間與品酒的專用空間結(jié)合在了一起。釀酒室看起來像裸露著鋼筋混凝土的船架，懸掛在擁有開闊的朗格河景視野的品酒室上方，其弧度讓人想起用于儲(chǔ)存葡萄酒的傳統(tǒng)木桶。交叉與重疊的鋼筋混凝土形體創(chuàng)造了一系列的水平面，與大面積的垂直玻璃面交織，映照了環(huán)繞著建筑的葡萄種植園的田壟陣列。

設(shè)計(jì)師們精心選擇了材料，主要使用素混凝土、玻璃和鋼。這些都是當(dāng)代建筑的典型材料，雖然明顯對(duì)立于當(dāng)?shù)氐慕ㄖ鹘y(tǒng)，但卻能與周圍的景觀建立起一種辯證的關(guān)系。

與材料一樣，色調(diào)的選擇也在建筑項(xiàng)目的定性方面發(fā)揮了重要作用。深色的混凝土似乎直接取自葡萄藤的粘土。品酒室里一系列透明打開了一個(gè)廣闊的視覺窗口，映襯出周圍的山坡，消除了建筑和山丘之間的物理障礙。

切雷托蘭蓋的朗格之家：退隱于景觀

新生活形式概念起源自保守的方法和再生的張力之間的交點(diǎn)。朗格之家位于切雷托蘭蓋，以“位于上朗格中心的新型可持續(xù)豪華度假村”自居，由來自米蘭的天然氣工作室和帕里索托與福爾門頓建筑設(shè)計(jì)事務(wù)所共同設(shè)計(jì)。設(shè)計(jì)旨在呈現(xiàn)一種旅游概念的新趨勢(shì)——通過對(duì)傳統(tǒng)形式和材料的再詮釋來關(guān)注地方的記憶。

設(shè)計(jì)師的國(guó)際化專業(yè)經(jīng)驗(yàn)反映了創(chuàng)造一個(gè)再詮釋傳統(tǒng)建筑項(xiàng)目的必要性，同時(shí)也是對(duì)日益國(guó)際化的旅客需求的回應(yīng)。該項(xiàng)目被山丘、葡萄園和樹林所包圍，重新開發(fā)了一處21世紀(jì)早期的爛尾建筑。

據(jù)設(shè)計(jì)師所言，這個(gè)工程的重點(diǎn)是結(jié)合由當(dāng)?shù)毓?yīng)商提供的現(xiàn)有材料和新材料，減少施工階段的浪費(fèi)，以利于循環(huán)經(jīng)濟(jì)的實(shí)踐。

該項(xiàng)目是一個(gè)大型的C字型庭院建筑群，于山坡上形成開放的態(tài)勢(shì)，占地42 hm2。其景觀設(shè)計(jì)出自米蘭的大地工作室之手，與在地景觀相適應(yīng)，試圖回應(yīng)傳統(tǒng)農(nóng)舍的體量和布局。其中的建筑圍繞著一個(gè)中央庭院，那是一個(gè)面向山谷的開放花園。建筑的細(xì)部會(huì)讓人想起當(dāng)?shù)剜l(xiāng)土建筑的一些典型元素，但又以當(dāng)代的方式重新詮釋：如拱廊、用磚砌網(wǎng)格遮擋的外部陽臺(tái)、磚瓦的斜面屋頂。與其形體一樣，建筑的色調(diào)特征讓人想起周邊景觀及其鄉(xiāng)土建筑的顏色變化——它們與所使用的材料密切相關(guān)：磚、石和抹面喚醒了記憶中了大地、草皮和樹葉的氛圍；它們還突出了建筑多樣化的材料和觸覺成分。

圖4.5 朗格之家，由天然氣工作室和帕里索托與福爾門頓建筑設(shè)計(jì)事務(wù)所設(shè)計(jì)Casa di Lange by GaS Studio with Parisotto + Formenton Architetti

圖6 朗格之家室內(nèi)，由天然氣工作室和帕里索托與福爾門頓建筑設(shè)計(jì)事務(wù)所設(shè)計(jì)Casa di Lange by GaS Studio with Parisotto + Formenton Architetti:interior view

圖7 -9 朗格之窗，由ata工作室設(shè)計(jì)Una Finestra sulle Langhe by Studioata

圖10 桑德雷托·雷·雷包登戈藝術(shù)公園：保羅·尼爾作品“Flat Earth Visa”Sandretto Re Rebaudengo Art Park: Paul Kneale， Flat Earth Visa

圖11 桑德雷托·雷·雷包登戈藝術(shù)公園：卡斯滕·赫勒作品“Vehicle (Amphibian)”Sandretto Re Rebaudengo Art Park:Carsten H?ller， Vehicle (Amphibian)

朗格之窗：棲居于景觀

“Una finestra sulle Langhe”（朗格之窗）由ata工作室設(shè)計(jì)，是2021年大見東南歐建筑獎(jiǎng)的獲獎(jiǎng)項(xiàng)目之一，該公司位于都靈，專門從事歷史公寓和農(nóng)村建筑的翻新和修復(fù)。

建筑師為一對(duì)來自鹿特丹的夫婦在奇利埃周邊的小村鎮(zhèn)上設(shè)計(jì)了一個(gè)110m2的度假屋，結(jié)合了本土和北歐建筑設(shè)計(jì)的影響。基于“成為景觀的一部分”的口號(hào)，房子落座于一塊約2000m2的坡地。該建筑以視覺上緊湊的體量，讓人想起那種帶雙坡屋頂?shù)膫鹘y(tǒng)房屋的典型形狀。建筑三面封閉，而南面則完全向景觀開放，擁抱阿爾卑斯山、奇利埃城堡和蒙多維市的風(fēng)光。

這座小型建筑的建構(gòu)因其外墻覆面的選擇而更顯緊湊，材料色調(diào)特征與施工技術(shù)都將當(dāng)?shù)氐泥l(xiāng)土建筑和北歐風(fēng)格影響聯(lián)系在了一起：其結(jié)構(gòu)完全被21，500塊磚組成的連續(xù)面層覆蓋，由當(dāng)?shù)毓句佋O(shè)。磚面屋頂代表了“第五立面”。壁爐和天窗的存在讓它變得與眾不同，小型建筑上的這些“凹凸不平”成為建筑輪廓的特點(diǎn)，并使房屋與南側(cè)的大面積玻璃窗一起成為捕捉光線和景觀的裝置。一個(gè)由35根大型實(shí)木原木建成的大露臺(tái)，搭建起建筑的封閉空間、檐下空間和花園之間的聯(lián)系[4]。

桑德雷托·雷·雷包登戈藝術(shù)公園：作為文化裝置的景觀

在一些案例中，景觀完成了從生產(chǎn)媒介到審美元素的過渡，代表了一種觸發(fā)文化和智識(shí)活動(dòng)的裝置。由桑德雷托·雷·雷包登戈基金會(huì)創(chuàng)建的一個(gè)當(dāng)代藝術(shù)公園，近期落成于瓜雷內(nèi)-達(dá)爾巴的圣利切里奧山，旨在強(qiáng)調(diào)藝術(shù)不僅能在建立風(fēng)土品牌方面起作用，而且能夠有助于與景觀建立新的對(duì)話以及將活動(dòng)與景觀銜接。

桑德雷托·雷·雷包登戈基金會(huì)成立于1995年，專注于當(dāng)代藝術(shù)領(lǐng)域，在建于18世紀(jì)的瓜雷內(nèi)雷·雷包登戈宮設(shè)立了其第一個(gè)總部。該項(xiàng)目以跨越大地藝術(shù)與露天博物館的概念，將基金會(huì)所推動(dòng)的文化產(chǎn)品擴(kuò)展到了戶外空間。該公園由洛倫佐·雷貝迪亞尼和薇拉·斯卡卡巴羅齊設(shè)計(jì)，旨在引發(fā)自然、建筑和來自不同國(guó)家的當(dāng)代藝術(shù)家（其中包括保羅·尼爾、卡斯滕·赫勒、馬克·漢德福思、威廉·蒙特和瑪格麗特·于莫）的作品之間的對(duì)話5）。一個(gè)耐候鋼構(gòu)筑物，定義了一條穿過各種作品的線性的、連續(xù)的路徑，以這樣連續(xù)步道上的空間序列，激活了其周邊星羅棋布的田地、榛子叢和葡萄園，使這里的景觀成為一個(gè)激發(fā)智識(shí)活動(dòng)的空間，并定義了多種景致和視角。

在便利性與真實(shí)性之間

在朗格、羅埃洛和蒙費(fèi)拉托，建筑反映了在地記憶的恢復(fù)和注重當(dāng)代實(shí)驗(yàn)性的詮釋沖動(dòng)之間的不同實(shí)例，自然和人造的空間可以被認(rèn)為是各類方法的交匯點(diǎn)。這種方法與將風(fēng)土打造為人工景觀的嬗變并行不悖，一個(gè)經(jīng)濟(jì)和文化日益豐富的環(huán)境重塑了新的有形的和無形的記憶——來自不同地域、經(jīng)濟(jì)和文化背景的參與者的貢獻(xiàn)在這里匯聚。

本文觀察的數(shù)個(gè)建筑實(shí)例代表了這樣一種圖景：從文化和空間的角度來看，記憶的再詮釋是有意義的，那里的景觀正經(jīng)歷著越來越多的世界主義概念沖擊。傳統(tǒng)聚落中心的鄉(xiāng)土記憶與國(guó)際游客的審美和經(jīng)濟(jì)期望交織在一起——建筑是其中的一個(gè)基本組成部分：然而，這種便利性的遷移可能會(huì)帶來什么樣的問題和好處？

建筑，在其設(shè)計(jì)概念和空間影響方面，不僅僅是設(shè)計(jì)師及其甲方智識(shí)付出的標(biāo)志：在許多情況下，它代表著隱含的意圖和態(tài)度，雖然這些往往在景觀中會(huì)有明確的表現(xiàn)形式。從這個(gè)角度來看，反思建筑和空間轉(zhuǎn)型的作用變得很重要：它們是否是景觀概念改變的詮釋者，是否對(duì)不同的文化融合持開放態(tài)度，或者，它是否代表了對(duì)一處風(fēng)土的視覺愉悅需求的直接回應(yīng)，其目標(biāo)是攔截那種與奢侈相關(guān)的旅游目標(biāo)（在生活方式、精英主義生產(chǎn)、幻想的風(fēng)土等方面）。除了文化融合帶來的明顯好處之外，還應(yīng)該進(jìn)一步、更加關(guān)注這些持續(xù)發(fā)生的空間再詮釋和風(fēng)土記憶的風(fēng)險(xiǎn)和機(jī)遇。

注釋

Notes

1） 參見近期在意大利維羅納舉辦的展覽“新意大利葡萄酒廠：建筑與土地”，由《Casabella》雜志支持，羅伯托-博西和弗朗西斯卡-奇奧里諾策劃，展期2022年4月8-13日。展覽通過分析意大利酒莊最重要的建筑項(xiàng)目來記敘葡萄酒的釀造過程。亦可查閱展覽手冊(cè)[3]

See the recent exhibition in Verona， Italy: "Nuove Cantine Italiane.Architetture e territori" (New Italian wineries.Architectures and territories) held between April 8th an April 13th 2022， promoted by Casabella Magazine and curated by Roberto Bosi e Francesca Chiorino.The exhibition narrated the wine processes through the analysis of the most important architectural projects of Italian wineries.https://casabellaweb.eu/2022/03/22/mostra-nuove-cantine-italiane-territori-e-architetture/.See also the exhibition's catalogue: Ref[3]

2） 2006年，聯(lián)合國(guó)教科文組織世界遺產(chǎn)部際常設(shè)工作組將其列入意大利的候選名錄，都靈理工學(xué)院區(qū)域創(chuàng)新系統(tǒng)高級(jí)研究所（SiTI）在各個(gè)階段跟進(jìn)。給予支持的單位包括皮埃蒙特大區(qū)，意大利文化遺產(chǎn)和活動(dòng)及旅游部（MiBACT）總秘書處，皮埃蒙特地區(qū)文化和景觀遺產(chǎn)局，以及都靈、阿斯蒂、庫(kù)內(nèi)奧、比耶拉和維爾切利省的建筑和景觀遺產(chǎn)監(jiān)管局。

In 2006 with the registration in the Italian Tentative List of UNESCO World Heritage by the permanent inter-ministerial working group for UNESCO World Heritage and followed in the various phases by the Higher Institute on Territorial Systems for Innovation (SiTI) of the Polytechnic of Turin， and supported by the Piedmont Region， by the General Secretariat of MiBACT， by the Regional Directorate for Cultural and Landscape Heritage of Piedmont， by the Superintendence for Architectural and Landscape Heritage of the Provinces of Turin， Asti， Cuneo， Biella and Vercelli.See: https://www.piemonte.beniculturali.it/index.php/fr/unesco/news-e-segnalazioni/578-lunesco-riconosce-ai-paesaggi-vitivinicoli-di-langheroero-e-monferrato- the-value-of-world-heritage.

3） 皮埃蒙特的朗格、羅埃洛和蒙費(fèi)拉托的葡萄園景觀由五個(gè)不同的葡萄酒產(chǎn)區(qū)和一個(gè)城堡組成：出產(chǎn)巴羅洛葡萄酒的朗格、巴巴萊斯科山脈、出產(chǎn)巴貝拉葡萄酒的尼扎蒙費(fèi)拉托，出產(chǎn)阿斯蒂起泡酒的卡內(nèi)利，擁有大型地下酒莊的蒙費(fèi)拉托，以及格林扎內(nèi)-卡武爾城堡。

The wine-growing landscapes of Langhe， Roero and Monferrato in Piedmont are made up of five distinct wine areas and a castle: The Langa del Barolo， the hills of Barbaresco， Nizza Monferrato and Barbera， Canelli and Asti Spumante， the Monferrato degli Infernot， the Castle of Grinzane Cavour.See: http://www.unesco.it/it/patrimoniomparmi/detail/160.

4） 詳見：https://www.piemonte.beniculturali.it/index.php/fr/unesco/news-e-segnalazioni / 578-unescorecognizes-the-wine-landscapes-of-langhe-roero-andmonferrato-the-value-of-world-heritage，及：https://www.paesaggivitivinicoliunesco.it/associazione/leccezionale- universal-value /.

5） 詳見：https: //www.parcoarte.fsrr.org。