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吴春花 《建筑技艺》（AT）执行主编

在往期的“AT建筑”中，我们更侧重于对建筑学基本问题的探讨，如技术、结构、建造、材料、空间、类型、场地、语言、环境等，以此来挖掘技术背后的艺术呈现，或者说技术与艺术的结合。但正如本期“AT建筑”推荐人南京大学王骏阳教授所提出的：对于建筑学而言，“技艺”应具有更全面的含义，应该理解为恰当应对和处理一切建筑学基本问题的一门“技艺”（Techne）。那么，应该怎样理解呢？本期我们选取了一个正在建设中的项目——由日本建筑师坂本一成及其团队设计的宁波东钱湖教育论坛项目中的三个大师创作室，把建筑评论和问题讨论带到建筑现场，以期克服当代建筑认知过度依赖图像呈现的不足。

坂本一成老师带领团队在2018年出版了《建筑构成学》一书，诠释了从建筑构成/类型出发的建筑设计方法。这三栋创作室都基于一种类型空间，除了被预先设定了三种不同的功能外，相同的平面尺寸，被置于相同的平台上，内部都有一个吹拔空间，甚至相似的表皮语言。在这种乍看很相似的表面之下，深藏着一种空间“技艺”，即一种未来建筑在功能上变化预留的空间可能，一种统合结构、玻璃、格栅、设备等的清晰逻辑关系，一种在身体尺度、风景变幻中营造的舒适感，最终是让人置身其中，在没有意识到建筑设计之存在的时候获得一种无羁之自由，也就是使用者而不仅仅建筑师所体会的“自由”。

这里，坂本老师意图在物质环境与社会环境的模糊呈现中，非技术化又非艺术化的“之间”的空间表达中，精心设计又不着痕迹的日常诗学中，构筑起建筑、人、环境的连续性。事实上，这种连续的表达或者说“刻意”的相对化，一直延续在散田之间、水无濑的町家、House F、House SA、Hut T、QUICO神宫前、东工大藏前会馆、宇土市网津小学校等一系列作品中，构成了一幅“连续的风景”。

本期内容不仅有坂本一成和奥山信一两位老师的线上视频访谈，王骏阳、李兴钢、王方戟、郭屹民，以及9位当代中国建筑颇具思想活力的青年建筑师参与的现场品谈，还有郭屹民、葛明、王方戟特别组织的讨论，王方戟老师提供的坂本一成和奥山信一参观七园居和大乐之野庾村民宿后关于“即物的便宜主义”的对谈，感谢多位建筑师，使得将众多内容汇集深度呈现坂本一成的建筑观与设计创作成为可能！

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!