吳春花 《建筑技藝》（AT）執(zhí)行主編

在往期的“AT建筑”中，我們更側(cè)重于對(duì)建筑學(xué)基本問(wèn)題的探討，如技術(shù)、結(jié)構(gòu)、建造、材料、空間、類型、場(chǎng)地、語(yǔ)言、環(huán)境等，以此來(lái)挖掘技術(shù)背后的藝術(shù)呈現(xiàn)，或者說(shuō)技術(shù)與藝術(shù)的結(jié)合。但正如本期“AT建筑”推薦人南京大學(xué)王駿陽(yáng)教授所提出的：對(duì)于建筑學(xué)而言，“技藝”應(yīng)具有更全面的含義，應(yīng)該理解為恰當(dāng)應(yīng)對(duì)和處理一切建筑學(xué)基本問(wèn)題的一門“技藝”（Techne）。那么，應(yīng)該怎樣理解呢？本期我們選取了一個(gè)正在建設(shè)中的項(xiàng)目——由日本建筑師坂本一成及其團(tuán)隊(duì)設(shè)計(jì)的寧波東錢湖教育論壇項(xiàng)目中的三個(gè)大師創(chuàng)作室，把建筑評(píng)論和問(wèn)題討論帶到建筑現(xiàn)場(chǎng)，以期克服當(dāng)代建筑認(rèn)知過(guò)度依賴圖像呈現(xiàn)的不足。

坂本一成老師帶領(lǐng)團(tuán)隊(duì)在2018年出版了《建筑構(gòu)成學(xué)》一書，詮釋了從建筑構(gòu)成/類型出發(fā)的建筑設(shè)計(jì)方法。這三棟創(chuàng)作室都基于一種類型空間，除了被預(yù)先設(shè)定了三種不同的功能外，相同的平面尺寸，被置于相同的平臺(tái)上，內(nèi)部都有一個(gè)吹拔空間，甚至相似的表皮語(yǔ)言。在這種乍看很相似的表面之下，深藏著一種空間“技藝”，即一種未來(lái)建筑在功能上變化預(yù)留的空間可能，一種統(tǒng)合結(jié)構(gòu)、玻璃、格柵、設(shè)備等的清晰邏輯關(guān)系，一種在身體尺度、風(fēng)景變幻中營(yíng)造的舒適感，最終是讓人置身其中，在沒(méi)有意識(shí)到建筑設(shè)計(jì)之存在的時(shí)候獲得一種無(wú)羈之自由，也就是使用者而不僅僅建筑師所體會(huì)的“自由”。

這里，坂本老師意圖在物質(zhì)環(huán)境與社會(huì)環(huán)境的模糊呈現(xiàn)中，非技術(shù)化又非藝術(shù)化的“之間”的空間表達(dá)中，精心設(shè)計(jì)又不著痕跡的日常詩(shī)學(xué)中，構(gòu)筑起建筑、人、環(huán)境的連續(xù)性。事實(shí)上，這種連續(xù)的表達(dá)或者說(shuō)“刻意”的相對(duì)化，一直延續(xù)在散田之間、水無(wú)瀨的町家、House F、House SA、Hut T、QUICO神宮前、東工大藏前會(huì)館、宇土市網(wǎng)津小學(xué)校等一系列作品中，構(gòu)成了一幅“連續(xù)的風(fēng)景”。

本期內(nèi)容不僅有坂本一成和奧山信一兩位老師的線上視頻訪談，王駿陽(yáng)、李興鋼、王方戟、郭屹民，以及9位當(dāng)代中國(guó)建筑頗具思想活力的青年建筑師參與的現(xiàn)場(chǎng)品談，還有郭屹民、葛明、王方戟特別組織的討論，王方戟老師提供的坂本一成和奧山信一參觀七園居和大樂(lè)之野庾村民宿后關(guān)于“即物的便宜主義”的對(duì)談，感謝多位建筑師，使得將眾多內(nèi)容匯集深度呈現(xiàn)坂本一成的建筑觀與設(shè)計(jì)創(chuàng)作成為可能！

In the past issues of "AT special",we focused more on the discussion of the basic problems of architecture,such as technology,structure,construction,materials,space,type,site,language,environment and so on,so as to explore the artistic presentation behind technology,or the combination of technology and art.However,as the recommender of " AT special" in this issue,Pro.Wang Junyang of Nanjing University puts forward "techne" should have more comprehensive meaning for architecture,which should be understood as a " techne" to properly deal with all basic architectural problems.So,how do we understand it? In this issue,we select project under construction for the first time,which are the three studios for masters of Dongqianhu Education Forum designed by Japanese architect Kazunari Sakamoto and his team.We brought architectural comments and problem discussions to the construction site,in order to overcome the excessive reliance on image presentation in contemporary architectural cognition.

Pro.Kazunari Sakamoto led the team to publish the book "Studies of Architectural Composition"in 2018,which explains the architectural design method based on architectural composition/ type.The three studios are based on one type of space.In addition to three different functions,the same plane size is placed on the same platform,and there is a atrium inside,even a similar skin language.Beneath this seemingly similar surface,there is a kind of space "techne",that is,a space possibility reserved for functional changes of future buildings,a clear logical relationship integrating structure,glass,grille and equipment,a sense of comfort created in the changes of body scale and scenery,and finally let people stay in it.When we are not aware of the existence of architectural design,we get a kind of unrestrained freedom,that is,the "freedom" experienced by users,not just architects.

Pro.Kazunari Sakamoto intends to build the continuity of architecture,people and environment in the fuzzy presentation of material environment and social environment,in the non-technical and non-artistic spatial expression of "between",and in the carefully designed but traceless daily poetics.In fact,this continuous expression or "deliberate" relativity has been continued in a series of works,such as House in Sanda,Machiya in Minase,House F,House SA,Hut T,QUICO Jingumae,Tokyo Tech Front,and Amitsu Erementary School,forming a "continuous scenery".

This issue not only includes online interviews of Kazunari Sakamoto and Okuyama Shinichi,onsite talks of Wang Junyang,Li Xinggang,Wang Fangji and Guo Yimin,as well as nine young architects with great ideological vitality in contemporary Chinese architecture,but also includes discussions specially organized by Guo Yimin,Ge Ming and Wang Fangji,the dialogue about " practical expedient".Thanks to many architects,which made it possible to collect many contents and deeply present Kazunari Sakamoto's architectural concept and design works!