篇首語

吳春花 《建筑技藝》（AT）執(zhí)行主編

每一次現(xiàn)場(chǎng)品鑒，都是一次觸碰建筑、感知空間之旅。每一座建筑，都是建筑師向外應(yīng)對(duì)周遭環(huán)境、向內(nèi)構(gòu)建自身本體的過程。只有身體在場(chǎng)，我們才能真切地體會(huì)此地之景、此時(shí)之境。原定于初春的琴臺(tái)美術(shù)館品鑒終于在盛夏成行，從靜寂的雪白山丘到跳脫于月湖荷塘的銀色梯田，站在屋頂時(shí)的景觀給人以無限想象，而建筑師意在營(yíng)造的風(fēng)景遠(yuǎn)不止于此。本期特以“景觀的建筑”為主題，試圖探尋琴臺(tái)美術(shù)館歷時(shí)六年的設(shè)計(jì)歷程及其背后的創(chuàng)作思考之辨，也以邊園、臺(tái)州當(dāng)代美術(shù)館、云陽濱江綠道游客服務(wù)中心印證這一主旨，建筑關(guān)注景觀，也作為一種景觀。

大舍建筑設(shè)計(jì)事務(wù)所兩位主持建筑師柳亦春與陳屹峰曾就“即物即境”有過一次討論，談到對(duì)“物”“境”的理解時(shí)，柳亦春說到“設(shè)計(jì)中感興趣于兩條線，一條是‘由內(nèi)而外’，比如造物本身的規(guī)律性，比如物體的結(jié)構(gòu)如何在構(gòu)建自身的同時(shí)去適應(yīng)使用以及周遭環(huán)境的需要；另一條是‘由外而內(nèi)’，也就是如何去理解周遭環(huán)境，如何在周遭環(huán)境及社會(huì)背景下構(gòu)建意義的內(nèi)容，再將之滲透到造物的過程中?！被氐角倥_(tái)美術(shù)館，我們看到“由內(nèi)而外”“由外而內(nèi)”這兩條線貫穿交織，進(jìn)而在內(nèi)與外的不斷反復(fù)中諸多操作自然呈現(xiàn)。掩映于山湖景色中，起伏的山形屋面緩緩匍匐，綠色向銀白色過渡出既自然又非自然的景觀；正交墻柱體系與屋頂井格梁結(jié)構(gòu)相結(jié)合，自由曲線下的空間于展覽來說獨(dú)一無二；高大的展墻直接連接穹頂處，一道曲線天窗提示了外部屋頂?shù)拇嬖?；集合了機(jī)電設(shè)備管線的清水混凝土墻體圍合出展覽空間，既流動(dòng)又相對(duì)獨(dú)立；偶然室外平臺(tái)在山丘上的開口，或許是在拉近美術(shù)館內(nèi)部與外部、現(xiàn)實(shí)與超現(xiàn)實(shí)的距離，因?yàn)檫@個(gè)銀色山丘被戲稱為“隱形戰(zhàn)機(jī)”......

正是在這種內(nèi)外的反復(fù)互動(dòng)、平衡中，場(chǎng)地、形式、結(jié)構(gòu)、材料、建造等形塑下的美術(shù)館展覽空間與自由曲面屋頂共同創(chuàng)造出獨(dú)特的公共景觀，是自然的，也是人工的；是感性的，也是理性的；是世俗的，也是藝術(shù)的；是巨形、地形，或許也是“標(biāo)志性”的。待琴臺(tái)美術(shù)館第一場(chǎng)藝術(shù)展開幕，當(dāng)人們走近一件件繪畫或雕塑再回望這個(gè)空間時(shí)，會(huì)有一種沉浸感或者頓悟，那將是另一番更具生命力的景觀。

Every on-site appreciation is a journey of touching the architecture and perceiving the space.Each architecture reflects the process of the architect’s response to the surrounding environment outwardly and the construction of noumenon inwardly.Only the physically present can give us a vivid experience.The appreciation of Qintai Art Museum,originally scheduled on early spring,was finally completed in midsummer.From the silent snow-white hills to the silver terraces standing out from the lotus pond of the Moon Lake,the roof landscape gives people infinite imagination,but the architect’s landscape intention is far more than this.With the theme of "Architecture as Landscape",this issue attempts to explore the six-year design process of Qintai Art Museum and the thinking behinds its creation. At the same time,the Riverside Passage,Taizhou Contemporary Art Museum,and Yunyang Riverfront Visitor Center are also presented to support this theme: the architecture is concerned with the landscape and also becomes a kind of landscape.

Liu Yichun and Chen Yifeng,the leading architects of Atelier Deshaus,had a discussion named "On the Immediacy of Objecthood and Situatedness of Architecture".When it came to the understanding of "situatedness" and "objecthood",Liu Yichun said:What I'm interested now are two approaches.One is inside-out.For example,I'm interested in how the regularity of a thing and its structure could be adapted to the needs of program and context as well as could construct itself.Another is outside-in,such as how to understand context and how to create meanings within both physical and social context and express them in the back-and-forth thing-making process.” Returning to Qintai Art Museum,we see that the two lines of "inside-out" and "outside-in" are intertwined,and then many operations are naturally presented in the constant repetition of the inside and the outside.It is in this repeated interaction and balance between inside and outside,the exhibition space of the museum and the free-form roof shaped by site,form,material and construction,create a unique public landscape together.It is natural and artificial,sensual and rational,secular and artistic,megaform and landform,and maybe "landmark".When the first art exhibition opens in Qintai Art Museum,people will have a sense of immersion or epiphany when they approach a painting or sculpture and then look back at this space,which will be a different and more vital landscape.

階梯屋面及棧道 ?田方方

屋面棧道 ?田方方

室內(nèi)金屬延展網(wǎng)吊頂 ?田方方