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吴春花 《建筑技艺》（AT）执行主编

《建筑技艺》最重要强调的是“技”与“艺”，其中“技”是手段、途径，“艺”是最终目的。然而，建筑的“技艺”并非是“技”与“艺”的简单组合就能达到的。那么，怎样通过技术来实现建筑层面的艺术？怎样以一种建筑的视角看待技术及其运用？此次，“AT建筑”特别选取刘家琨的二郎镇天宝洞区域改造项目，以及文里·松阳三庙文化交流中心、西村大院等一系列设计实践，来带大家一起解读“包容”的智造。

看到刘家琨在一次演讲中讲到，汶川地震后自己出资设计建造胡慧姗纪念馆的经历。建筑师应该做点什么，就用破碎的废墟材料为骨料，加上麦秸、水泥、沙等，在当地的小厂子制成轻质砌块；粉色的墙壁上挂着照片、书包，光线从圆形天窗洒进来，空间纯洁而娇艳——这不仅仅是为一个普通女孩，也是为所有的普通生命。让我感动的是，建筑师始终保持着对人、生活、精神、社会的深切关注，这是我们需要面对的此时此地。“包容”的智造，所谓“包容”既是对技术也是对人的包容，不仅体现在品酒阁的耐候钢屋面，工人依手绘直线现场发挥的“烂边”；体现在接待厅下部、勾调体验区的料石墙面，在否定施工原则下工人的偶然性搭建反而更有设计感；还体现在阶梯花园的砾石地面，植草格在随意无序中加入了一种新的秩序。所谓“智造”，既是建构与空间的平衡，也是适当技术的智慧表达。不仅体现在诗酒院、树院、品酒阁等亭台楼阁于起承转合间融入场地，又跳脱山水；体现在为营造接待展厅与勾调体验区的不同空间体验，拱形梁结构的自如显隐；还体现在品酒阁以四边为曲线的钢屋面平板，于巧妙的视错觉中表达传统亭阁般的飞檐起翘。还有，被刘家琨形容为“书架”的西村大院，不动声色蜿蜒于新老建筑间的深红色耐候钢廊道等等。这些蕴含在环境、结构、材料、人等层面的“包容”的智造，说成是低技策略也好，抑或家琨式的建筑语言也好，都是建筑师以设计创作对此时此地、此人此物的积极的、高超的、智慧的建筑化应对，回归到一种真正的人的建筑学，诠释了对“美在合理的近旁”的追寻。

回到技术本身，计算性思维与人工智能技术的前沿应用、建筑学与结构学双重视角下的“细柱”策略探讨，大空间建筑的功能与技术权衡，以及弗雷·奥托与博多·拉希的《找形——走向极少建筑》，带来了多层面的技术思维图景。面对“技艺”，我们要不断追问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.