© flickr user trevorpatt

(C)Flickr用户trevorpatt

翻译为“向日葵”的“Il Girasole”从建筑物似乎摆脱了上下文约束的方式获得了它的名字，从而重新定义了它与环境的关系。值得注意的是，侧面轮廓戏剧性地向外扇动，以使他们的太阳曝光率最大化，就像一朵花随着太阳旋转。在前面，一个切割到立面的切口似乎把建筑物分成两半，光线溢出到建筑物的内部，照亮了主要的入口序列。除了对轮廓的创造性操作之外，莫雷蒂还将正面和后立面的表面延伸到建筑物的质量以外，给他们一种明亮、屏幕般的外观。

“Il Girasole,” which translates to “the Sunflower,” receives its name from the way the building seems to free itself from contextual constraints to redefine its relationship with the environment. Notably, the side profiles theatrically fan outward to maximize their solar exposure, like a flower rotating to follow the sun. In the front, an incision cut into the façade appears to split the building in two, spilling light into the inside of the building and illuminating the main entry sequence. Adding to the creative manipulations of the profile, Moretti thinly extends the surface of the front and back façades beyond the mass of the building, giving them a light, screen-like appearance.

 Southwest profile. Image © flickr user trevorpatt

西南侧写。图像c flickr用户trevorpatt

 Reveal behind the facade. Image © flickr user trevorpatt

露在正面后面。图像c flickr用户trevorpatt

在计划中，建筑物的运作大致呈U形，正面切口延伸到一个集中大楼流通的中央庭院。活的单位分散在这个空心核周围的一个扭转网格系统，反映了网站的几何图形。除了一楼外，院子里的所有楼层都实现了虚假但隐含的对称，一组意想不到的有机曲线占据了大厅，扰乱了入口路线的秩序。

In plan, the building operates roughly in a U-shape, as the frontal incision extends into a central courtyard that focuses the building’s circulation. The living units are scattered around this hollow core within a torqued grid system that mirrors the geometries of the site. A false but implied symmetry is achieved across the courtyard on all the floors except for the ground floor, where an unexpected set of organic curves dominates the lobby and disrupts the order of the entrance route.

 First (L) and typical (R) plans

第一(L)和典型(注册商标)计划

建筑物最具决定性的特征是莫雷蒂对建筑物的对称性和平衡性造成了许多轻微的扭曲，例如，入口上方的支离破碎的山墙不完全对齐，以及稍微偏离轴线的入口楼梯。像彼得·艾森曼(PeterEisenman)所说的那样，故意“不可分辨”的元素使得“Il Girasole”不可能被清晰地归类为历史和教义背景。[2]1953年发表的对该项目的最早批评之一，将该项目描述为一种“折衷”的设计，但仍然可以用现代主义的术语来理解。[3]然而，60年的后知后觉表明，这座建筑借用了其现代主义前辈的语言，但在打破现代主义的“盒子”，重新发明形式和结构要素的作用时，“Il Girasole”大声拒绝甚至讽刺现代主义理论的局限性。

The most defining features of the building are the many slight distortions Moretti makes to the building’s symmetry and balance, such as the broken pediment atop the entrance that doesn’t quite align and the slightly off-axis entrance stair. Deliberately “undecidable” elements like these, as Peter Eisenman calls them, are what make “Il Girasole” impossible to cleanly categorize into historical and doctrinal context. [2] One of the earliest critiques of the project, published in 1953, described the project as an “eclectic” design, but one that could still be understood in modernist terms. [3] However, sixty years of hindsight suggests that the building borrows language from its modernist predecessors, but in breaking free of the modernist “box” and reinventing the roles of formal and structural elements, “Il Girasole” loudly rejects and even satirizes the limits of modernist doctrine.

 © flickr user giuliomenna

(C)Flickr用户giuliomenna

引用“Il Girasole”中的历史先例也引起了人们对建筑作为后现代设计先驱的作用的讨论。莫雷蒂是文艺复兴和巴洛克建筑的终身学生，他在建筑的构图和形式上引用了历史思想，就像一些后现代建筑师后来声称通过自己的设计“复活历史”一样。[4]1966年，罗伯特·文丘里在其富有启发性的后现代著作“建筑中的复杂性和矛盾”中对“Il Girasole”的这一方面表示敬意，给该项目带来了广泛的认可和审查。[5]这座建筑还被认为影响了文丘里最著名的项目-Vanna Venturi House，该项目在前立面采用了惊人的相似的切口。由于这些参考资料，“Il Girasole”经常被用作后现代建筑在学术和展览方面的主要先驱之一。[6]

Allusions to historical precedent in “Il Girasole” have also generated discussion about the role of the building as a pioneer of postmodern design. Moretti, a lifelong student of Renaissance and Baroque architecture, references historical ideas throughout the building’s composition and formal tropes in same way that some postmodern architects later purported to “reanimate history” through their own designs. [4] In 1966, Robert Venturi paid homage to this aspect of “Il Girasole” in his seminal postmodern work Complexity and Contradiction in Architecture, bringing widespread recognition and scrutiny to the project. [5] The building is also thought to have influenced Venturi’s most famous project, the Vanna Venturi House, which incorporates a strikingly similar aedicular split in its front façade. Because of these references, “Il Girasole” is routinely appropriated as one of the major forerunners to postmodern architecture in scholarship and exhibitions. [6]

这种历史参照和思想的融合在莫雷蒂的材料托盘中尤为明显。大理石、岩石、玻璃、金属、陶瓷和木材的奇数并列出现在整个建筑中，没有任何明显的有序系统，造成了明显的混乱。[7]在大厅里，一个马赛克似乎悬挂在天花板上，违抗传统材料的使用和结构逻辑，就像建筑物外部的沉重乡村建筑在外观较轻的材料上不直观地休息一样。虽然莫雷蒂的材料选择可能有一定程度的随机性，但它们是精心安排的，既具有挑衅性，又具有普遍的讨人喜欢性。

This amalgam of historical references and ideas is particularly noticeable in Moretti’s material pallete. Odd juxtapositions of marble, rocks, glass, metal, ceramic, and wood occur throughout the building without any apparent ordering system, creating a distinctly chaotic appearance. [7] In the lobby, a mosaic seems to hang suspended from the ceiling, defying conventional material use and structural logic in the same way that heavy rustications on the exterior of the building rest unintuitively atop lighter-looking materials. While there may be a degree of randomness in Moretti’s material choices, they are carefully orchestrated to be both provocative and generally pleasing.

 Material detail. Image © flickr user zioscuro

材料细节。图片c flickr用户zioscuro

 Lobby. Image © flickr user giuliomenna

大厅。图像C Flickr用户giuliomenna

也许理解“Il Girasole”的最好方法是接受它不能以任何意义或身份的奇异性为特征。2011年在建筑杂志“Oase”上发表的一篇文章尖锐地概括了莫雷蒂作品的这一方面，他说：“一个因素或另一个因素都没有把他的遗产转化为一条主线的重要性。”[8]这个项目固有的复杂性是其阴谋的本质，这也是对建筑师对细微差别和模棱两可的崇高把握的一种赞扬。

Perhaps the best way to understand “Il Girasole” is to embrace its inability to be characterized by any singularity of meaning or identity. An article published in 2011 in the architectural journal OASE encapsulated this aspect of Moretti’s work poignantly, saying: “Neither one factor nor the other assumes such importance as to translate his legacy into a one-liner.” [8] The complexity inherent to this project is the essence of its intrigue, and it stands as a tribute to the architect’s sublime mastery of nuance and ambiguity.

[1]引用Guiseppe Strappa教授的话。麦奇大卫。“向日葵屋”Romapedia，2013年10月22日。检索2014年7月14日，网址：http：/romapedia.blogpot.com/2013/10/向日葵-house.html。

[1] Quoting Professor Guiseppe Strappa. Macchi, David. “Sunflower House.” Romapedia, 22 Oct. 2013. Retrieved 14 July, 2014 from http://romapedia.blogspot.com/2013/10/sunflower-house.html.

[2]Eisenmann，Peter。1950年至2000年，十座标准建筑。纽约：Rizzoli，2008年。

[2] Eisenmann, Peter. Ten Canonical Buildings 1950-2000. New York: Rizzoli, 2008.

[3]Banham，Reyner。卡萨·德尔·吉拉索：意大利建筑中的理性主义和折中主义。“建筑评论113”(1953年2月)：73-77页。

[3] Banham, Reyner. “Casa del Girasole: Rationalism and Eclecticism in Italian Architecture.” The Architectural Review 113 (February 1953): 73-77.

[4]Iovine，Julie V.“历史，重演”“华尔街日报”在线版，2011年12月21日。2014年7月14日检索网址：http：/online.wsj.com/news/条文/SB 10001424052970203430404577094450508750044。

[4] Iovine, Julie V. “History, Repeating Itself.” The Wall Street Journal Online, 21 Dec. 2011. Retrieved 14 July 2014 from http://online.wsj.com/news/articles/SB10001424052970203430404577094450508750044.

[5]文丘里，罗伯特。建筑的复杂性与矛盾性。现代艺术博物馆：纽约，1966年。

[5] Venturi, Robert. Complexity and Contradiction in Architecture. Museum of Modern Art: New York, 1966.

[6]Moore，Rowan。从理性主义到信息学，意大利罗马。“建筑评论”，2010年7月27日。2014年7月14日检索网址：http：/www.Architecture-review.com/Review/Luigi-Moretti-From-理性主义到信息学-罗马-意大利/8603499。

[6] Moore, Rowan. “Luigi Moretti: From Rationalism to Informalism, Rome, Italy.” The Architectural Review, 27 July 2010. Retrieved 14 July 2014 from http://www.architectural-review.com/reviews/luigi-moretti-from-rationalism-to-informalism-rome-italy/8603499.article.

[7]Eisenmann，Peter。1950年至2000年，十座标准建筑。纽约：Rizzoli，2008年。33.

[7] Eisenmann, Peter. Ten Canonical Buildings 1950-2000. New York: Rizzoli, 2008. 33.

[8]LEACH，Andrew。“关于莫雷蒂：现代的最后一个”Oase Journal#86(2011)：56-65。

[8] Leach, Andrew. “On Moretti: Last of the Moderns.” OASE Journal #86 (2011): 56-65.

建筑师Luigi Moretti Location 64 Viale Bruno Buozzi类别公寓项目-1951年项目-加布里埃尔·巴西利科、迈克尔·沃特斯、Flickr用户trevorpatt、Flickr user zioscuro、Flickr用户Giuliomenna

Architects Luigi Moretti Location 64 Viale Bruno Buozzi Category Apartments Project Year 1951 Photographs Gabriele Basilico, Michael Waters, flickr user trevorpatt, flickr user zioscuro, flickr user giuliomenna