吳春花 《建筑技藝》（AT）執(zhí)行主編

《建筑技藝》最重要強(qiáng)調(diào)的是“技”與“藝”，其中“技”是手段、途徑，“藝”是最終目的。然而，建筑的“技藝”并非是“技”與“藝”的簡單組合就能達(dá)到的。那么，怎樣通過技術(shù)來實(shí)現(xiàn)建筑層面的藝術(shù)？怎樣以一種建筑的視角看待技術(shù)及其運(yùn)用？此次，“AT建筑”特別選取劉家琨的二郎鎮(zhèn)天寶洞區(qū)域改造項(xiàng)目，以及文里·松陽三廟文化交流中心、西村大院等一系列設(shè)計(jì)實(shí)踐，來帶大家一起解讀“包容”的智造。

看到劉家琨在一次演講中講到，汶川地震后自己出資設(shè)計(jì)建造胡慧姍紀(jì)念館的經(jīng)歷。建筑師應(yīng)該做點(diǎn)什么，就用破碎的廢墟材料為骨料，加上麥秸、水泥、沙等，在當(dāng)?shù)氐男S子制成輕質(zhì)砌塊；粉色的墻壁上掛著照片、書包，光線從圓形天窗灑進(jìn)來，空間純潔而嬌艷——這不僅僅是為一個(gè)普通女孩，也是為所有的普通生命。讓我感動的是，建筑師始終保持著對人、生活、精神、社會的深切關(guān)注，這是我們需要面對的此時(shí)此地?！鞍荨钡闹窃欤^“包容”既是對技術(shù)也是對人的包容，不僅體現(xiàn)在品酒閣的耐候鋼屋面，工人依手繪直線現(xiàn)場發(fā)揮的“爛邊”；體現(xiàn)在接待廳下部、勾調(diào)體驗(yàn)區(qū)的料石墻面，在否定施工原則下工人的偶然性搭建反而更有設(shè)計(jì)感；還體現(xiàn)在階梯花園的礫石地面，植草格在隨意無序中加入了一種新的秩序。所謂“智造”，既是建構(gòu)與空間的平衡，也是適當(dāng)技術(shù)的智慧表達(dá)。不僅體現(xiàn)在詩酒院、樹院、品酒閣等亭臺樓閣于起承轉(zhuǎn)合間融入場地，又跳脫山水；體現(xiàn)在為營造接待展廳與勾調(diào)體驗(yàn)區(qū)的不同空間體驗(yàn)，拱形梁結(jié)構(gòu)的自如顯隱；還體現(xiàn)在品酒閣以四邊為曲線的鋼屋面平板，于巧妙的視錯(cuò)覺中表達(dá)傳統(tǒng)亭閣般的飛檐起翹。還有，被劉家琨形容為“書架”的西村大院，不動聲色蜿蜒于新老建筑間的深紅色耐候鋼廊道等等。這些蘊(yùn)含在環(huán)境、結(jié)構(gòu)、材料、人等層面的“包容”的智造，說成是低技策略也好，抑或家琨式的建筑語言也好，都是建筑師以設(shè)計(jì)創(chuàng)作對此時(shí)此地、此人此物的積極的、高超的、智慧的建筑化應(yīng)對，回歸到一種真正的人的建筑學(xué)，詮釋了對“美在合理的近旁”的追尋。

回到技術(shù)本身，計(jì)算性思維與人工智能技術(shù)的前沿應(yīng)用、建筑學(xué)與結(jié)構(gòu)學(xué)雙重視角下的“細(xì)柱”策略探討，大空間建筑的功能與技術(shù)權(quán)衡，以及弗雷·奧托與博多·拉希的《找形——走向極少建筑》，帶來了多層面的技術(shù)思維圖景。面對“技藝”，我們要不斷追問此刻建筑最重要的是什么。

"Technique" and "art" are the most concerned issues of Architecture Technique magazine.Here,"technique" is the method while "art" is the ultimate goal.However,it is not so easy to combine "technique" and "art" to fulfill the "technique and art" of architecture.How to realize architectural art through technology? How can we regard technology and its application from an architectural perspective? In this issue,"AT Special" and "AT Work" will give a detailed introduction of Liu Jiakun’s works,including the Renovation of Tianbao Cave District of Erlang Town,Songyang Cultural Neighborhood Renovation and Regeneration,and West Village to illustrate more about the resourceful construction.

Liu Jiakun once mentioned the design of Hu Huishan Memorial.He thought architects should do something after the Wenchuan earthquake,so,he used materials from the ruin to make lightweight blocks,painted the wall pink to display photos and backpacks,and opened a circular skylight to bring light into the room.The space became pure but colorful -it was not only for an ordinary girl but for all lives.What impressed me most is his concern about people,life,spirit,and society,those are the reality we have to face.In his works,we can find the intellectual design of "tolerance" . "Tolerance" means tolerating both technology and human behavior:it can be found in the rough roof edge,in the accidentally aesthetic of stone wall,and in the orderly but casual gravel ground with grids.While "intellectual design" refers to not only the balance between tectonic and space,but also the intelligent expression of appropriate technology:it is in the relationship between narrative space and landscapes in the poetic liquor yard,the tree yard,the liquor tasting pavilion and other pavilions and pagodas;it is in the different space experience made by the visible or invisible arched beams in the reception hall and the blending experience area;it is in the traditional Chinese pavilion pattern formed by the visually warped roof of liquor tasting pavilion;it is in the West Village described as a "bookshelf",and in the winding weathering steel corridors among new and old buildings…… The intellectual design of "tolerance" is in environments,structures,materials,and people.No matter we regard it as a low technic strategy or the architectural language of Liu Jiakun,it is the splendid design for this time and this site,for those people and those objects,making humans return to the center of architectural design,meanwhile longing for "a structure's beauty near its rationality" .

When it comes to "technique and art",we must keep asking what is the most important for architecture at this moment.