推薦人：郭屹民 Guo Yimin

作為改版后的核心欄目，本期“AT建筑”將為讀者呈現(xiàn)“匿形的結(jié)構(gòu)”——華茂藝術(shù)教育博物館的最新思考。以下為推薦人郭屹民教授為項目撰寫的上榜理由：

“光線、流動、曲面、坡道……，西扎的建筑在這些我們已然深諳的圖景中，給予我們熟悉而又新鮮體驗的同時，也似乎同那些用技術(shù)來武裝的意圖相去甚遠。正因為如此，所以我們首先想澄清的是，選擇西扎在國內(nèi)的近作——‘華茂藝術(shù)教育博物館’作為本期品鑒的研討對象，并不是一次無腦的決定。相反，我們希望通過這個擁有柔美曲面和藝術(shù)化空間的建筑，來解鎖技術(shù)的另一面（特別是結(jié)構(gòu)表現(xiàn)的新視角）。

西扎在長年的建筑創(chuàng)作中的確很少談及有關(guān)結(jié)構(gòu)及技術(shù)的話題，不僅如此，在他那些充盈著想象力的構(gòu)思草圖以及那些并非輕易能夠讀懂的建筑圖紙中，結(jié)構(gòu)也絕不會被刻意地表達。因此，西扎的建筑有時會被認為是不重視結(jié)構(gòu)的或者是非常感性的作品。但僅從形式上來判斷空間與結(jié)構(gòu)的關(guān)聯(lián)，顯然不夠充分，因為除了性能之外，結(jié)構(gòu)的表象與意義的作用也是不能被忽視的。與那些‘結(jié)構(gòu)表現(xiàn)主義’忠實地將技術(shù)原理轉(zhuǎn)譯為建筑形式相比，西扎對于包括結(jié)構(gòu)在內(nèi)的技術(shù)表現(xiàn)可以認為是‘消極’的。但是，西扎在結(jié)構(gòu)表現(xiàn)上的‘消極’換來的卻是空間形式上的‘積極’——對建筑自由的獲取。因此，我們有理由相信，這里被討論的‘消極’與‘積極’或許正是透過技術(shù)所呈現(xiàn)的建筑觀，也是對建筑‘技藝’的態(tài)度！西扎建筑作品中對結(jié)構(gòu)的這種無為而謀，顯然是經(jīng)過深思熟慮的結(jié)果，也的確給我們帶來了思考建筑與結(jié)構(gòu)問題的另一種角度。我們相信，在那些顯得不經(jīng)意的創(chuàng)作與構(gòu)思之中，一定深藏著西扎對于這一問題一貫的思考。

華茂藝術(shù)教育博物館為我們提供了一次極好的機會：在一個幾乎集結(jié)了西扎眾多創(chuàng)作手法的大融合之中，我們有幸開啟了本期的建筑技藝之旅！”

AT special will present readers with"anonymous structure" --the newest thinking of Huamao Museum of Art Education.The following is the reason why Professor Guo Yimin recommends this building:

"Light,flow,curved surface,ramps...In these scenes that we already know,Siza's architecture often gives us a familiar and fresh experience.At the same time,it also seems to be far from the intention of arming with technology.Because of this,we first want to clarify that it is not a brainless decision to choose Siza’s recent work in China -'Huamao Museum of Art Education'as the research object of this issue.On the contrary,we hope to unlock the other side of technology (especially the new perspective of structure expression) through this museum with soft curved surfaces and artistic space.

In his long term of architecture creation,Siza rarely talks about structure and techniques.Moreover,in his conceptual sketches and architectural drawings that are not easy to understand,the structure will never be deliberately expressed.Therefore,Siza's architecture is sometimes regarded as a work that does not pay attention to the structure or is very perceptual.However,it is insufficient to judge the relationship between space and structure only from the form,because the function of representation and meaning of structure in addition to the expression could not be ignored.Compared with those 'Structural Expressionism' who faithfully translate technical principles into architectural forms,Siza can be regarded as 'negative' for technical expression including structure.However,Siza's 'negative'structure expression is in exchange for the'positive' spatial form --the acquisition of architectural freedom.Therefore,we believe that the 'negative' and 'positive' discussed here may be the architectural view presented through technology and the attitude towards architecture 'techniques and art'! The inaction of structure in Siza's architectural works is the result of careful consideration,and it does bring us another way of thinking about architecture and structure.We believe that Siza's consistent thinking on this issue must be hidden in those casual creations and ideas.

Huamao Museum of Art Education provides us with an excellent opportunity:we are lucky to start this journey in a building that almost gathers all the creative techniques of Siza!"