The article ‘Montage and Architecture’ by Sergei Ejzenštejn, written between 1937 and 1940 and published posthumously, is one of the pivotal texts theorising montage as a method of composition, with a special focus on the potential of cinematic sequences in architecture. Despite the deep interest and the great number of studies that the publication of this text inspired in the last decades, Ejzenštejn’s analysis of the Basilica of Saint Peter, which occupies almost half of the article, has been overlooked. This article focuses on Ejzenštejn’s sequential interpretation of the Basilica and compares it with the one offered in 1952 by Luigi Moretti in the article ‘Strutture e Sequenze di Spazi’ [‘Structures and Sequences of Spaces’]. Examining Ejzenštejn’s and Moretti’s texts and related visual products, it develops a different way of considering the sequential qualities of the Basilica. Indeed, while Moretti proposes sequences as a method to design and represent three-dimensional spaces, the concept of montage as theorised by Ejzenštejn focuses on two-dimensional sequences as a tool to arrange images in space. The article proposes a series of possible common points between Ejzenštejn’s and Moretti’s theories, on the basis of a shared vision of sequences as mental constructs, and engages with a wider discussion on the dilemma between visual and spatial properties of architecture.

中文翻译：

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建筑中的序列：Sergei Ejzenštejn 和 Luigi Moretti，从图像到空间

Sergei Ejzenštejn 于 1937 年至 1940 年间撰写并在死后发表的文章“蒙太奇与建筑”是将蒙太奇作为一种构图方法理论化的关键文本之一，特别关注电影序列在建筑中的潜力。尽管在过去的几十年里，这篇文章的出版激发了人们的浓厚兴趣和大量的研究，但 Ejzenštejn 对圣彼得大教堂的分析几乎占据了文章的一半，却被忽视了。本文重点关注 Ejzenštejn 对大教堂的顺序解释，并将其与 Luigi Moretti 1952 年在文章“Strutture e Sequenze di Spazi”[“空间的结构和序列”] 中提供的解释进行比较。检查 Ejzenštejn 和 Moretti 的文本和相关的视觉产品，它开发了一种不同的方式来考虑大教堂的连续品质。事实上，虽然 Moretti 提出序列作为一种设计和表示三维空间的方法，但 Ejzenštejn 理论化的蒙太奇概念侧重于二维序列作为在空间中排列图像的工具。本文基于将序列视为心理结构的共同愿景，提出了 Ejzenštejn 和 Moretti 理论之间可能存在的一系列共同点，并对建筑的视觉和空间特性之间的困境进行了更广泛的讨论。