Abstract In 1964 Bruno Zevi and Paolo Portoghesi launched an ambitious retrospective of Michelangelo’s oeuvre to commemorate the fourth centenary of his death. Held at Palazzo delle Esposizioni in Rome, the exhibition, titled Mostra Critica delle Opere Michelangiolesche, offered a comprehensive experience of Michelangelo’s work entirely through replicas and reproductions. A controversial aspect of Zevi’s didactics were the inclusion of student designed critical models that were intended to support a visual criticality alongside Oscar Savio’s photographs. The models operated as a touchstone for Zevi’s larger investigation into the representational possibilities for architectural history, and student photographs of the critical models appeared in a special editorial that was published in Zevi’s periodical, L’architettura: cronache e storia. Using installation photographs, unpublished preparatory photographs, and the final published images, this essay examines the unique indexicality constructed through a remediation of the critical model as it evolves from the exhibition to the pages of Zevi’s journal. By working through the photographic archive of the Fondazione Bruno Zevi and the personal archive of Paolo Portoghesi, this essay argues that the lens(es) used to frame Michelangelo’s architectural theory operated through a type of Benjaminian dialectics; one that reveals the “modern key” used by Zevi to approach Renaissance architecture at mid-century.

中文翻译：

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1964 年的米开朗基罗：布鲁诺·泽维文艺复兴时期建筑中作为辩证意象的批判模型

摘要 1964 年，布鲁诺·泽维 (Bruno Zevi) 和保罗·波托西 (Paolo Portoghesi) 发起了一场雄心勃勃的米开朗基罗作品回顾展，以纪念他逝世四百年。展览在罗马的 Palazzo delle Esposizioni 举行，名为“Mostra Critica delle Opere Michelangiolesche”，完全通过复制品和复制品提供了对米开朗基罗作品的全面体验。Zevi 教学法的一个有争议的方面是包含学生设计的批判性模型，这些模型旨在支持视觉批判性以及 Oscar Savio 的照片。这些模型是 Zevi 对建筑史的代表性可能性进行更广泛研究的试金石，批判模型的学生照片出现在 Zevi 的期刊 L'architettura: cronache e storia 上发表的一篇特别社论中。这篇文章使用装置照片、未发表的准备照片和最终发表的图像，检验了通过对批判模型进行修正而构建的独特索引性，因为它从展览演变为 Zevi 的期刊页面。通过研究布鲁诺·泽维基金会的摄影档案和保罗·波托盖西的个人档案，这篇文章认为，用来构建米开朗基罗建筑理论的镜头是通过一种本雅明辩证法运作的；一个揭示了泽维用来处理本世纪中叶文艺复兴时期建筑的“现代钥匙”。这篇文章考察了通过对批判模型进行修正而构建的独特索引性，因为它从展览演变为 Zevi 的期刊页面。通过研究布鲁诺·泽维基金会的摄影档案和保罗·波托盖西的个人档案，这篇文章认为，用来构建米开朗基罗建筑理论的镜头是通过一种本雅明辩证法运作的；一个揭示了泽维用来处理本世纪中叶文艺复兴时期建筑的“现代钥匙”。这篇文章考察了通过对批判模型进行修正而构建的独特索引性，因为它从展览演变为 Zevi 的期刊页面。通过研究布鲁诺·泽维基金会的摄影档案和保罗·波托盖西的个人档案，这篇文章认为，用来构建米开朗基罗建筑理论的镜头是通过一种本雅明辩证法运作的；一个揭示了泽维用来处理本世纪中叶文艺复兴时期建筑的“现代钥匙”。