吳春花 《建筑技藝》（AT）執(zhí)行主編

當(dāng)結(jié)構(gòu)除了性能之外，成為“隱藏”或“奉獻(xiàn)”于設(shè)計意圖背后的表象支撐，這時結(jié)構(gòu)在建筑與空間層面就具有了更重要的意義。這種并不彰顯的、帶有某種匿名性的結(jié)構(gòu)表現(xiàn)，或可稱為建筑中“匿形的結(jié)構(gòu)”。本期“AT建筑”以“匿形的結(jié)構(gòu)”為主題，特別選擇阿爾瓦羅·西扎的華茂藝術(shù)教育博物館，正是希望帶來不同角度的建筑與結(jié)構(gòu)關(guān)系的思考。

第一次走進(jìn)華茂藝術(shù)教育博物館，很自然讓人聯(lián)想起巴西阿雷格里港基金會博物館，盤旋緩坡的觀展路徑、內(nèi)向通高的中庭，甚至有限的開向海景的窗戶都很相似。誠然，光線、流動、曲面、坡道……是西扎的建筑帶給我們最熟悉的印象，而鮮少被談及的結(jié)構(gòu)或技術(shù)其實從未缺席，從構(gòu)思草圖起就一直貫穿于設(shè)計始終。坡地中雕塑般的懸浮在透光縫隙的襯托下頗具戲劇性，特意錯位與平移后的三層坡道曲直變化連接展廳的同時帶來了連續(xù)性的觀感及體驗，精心安排的機(jī)電設(shè)備管線隱匿于純凈的白色中，華茂藝術(shù)教育博物館非常藝術(shù)化地展現(xiàn)了一場空間與重力的游戲，似有若無地營造出一個“荷載傳遞的空間迷宮與重力迷宮”。在一系列匿形的結(jié)構(gòu)操作之下，光線漫射的白色中庭因抽象的空間元素表達(dá)和人的流動行進(jìn)，更真切地被觀者感知與理解，近身體尺度的墻裙、欄板、扶手細(xì)節(jié)則進(jìn)一步關(guān)照并強(qiáng)化著這種體驗感。至此，建筑師想要表達(dá)的空間氛圍得以達(dá)成，結(jié)構(gòu)也實現(xiàn)了其重要的意義和價值。這一點還可以在中國國際設(shè)計博物館、Saya公園等更多西扎的作品中循跡。如何將結(jié)構(gòu)問題轉(zhuǎn)譯為相對復(fù)雜甚至思辨的建筑表達(dá)，需要我們更加清醒地思考。

出于建筑中的“具象”問題，由“蝴蝶”引發(fā)的九問是以建筑師自述對空間、尺度、結(jié)構(gòu)、建造、綠色等本體層面的設(shè)計策略回溯。Ensamble Studio的住宅案例分析與從體量消減及復(fù)合重構(gòu)出發(fā)的柱元形態(tài)研究，探討了基于建筑與結(jié)構(gòu)關(guān)系的具體設(shè)計策略。在以建筑設(shè)計表達(dá)可持續(xù)理念上，阿蘭·肖特《建筑中自然環(huán)境的恢復(fù)》一書是自然通風(fēng)設(shè)計方面的他山之石，整體設(shè)計導(dǎo)向的建筑光伏一體化則通過案例及數(shù)據(jù)庫分析提出了另一種方向。與此不同的城市層面，北京前門H地塊、隆福大廈、常德老西門改造呈現(xiàn)了不同城市進(jìn)化狀態(tài)下的設(shè)計策略的差異性與城市發(fā)展的復(fù)雜性，以及其中建筑師的持續(xù)思考。

In addition to performance,when the structure becomes the representation support behind the design intention,it will have more important significance at the architectural and spatial level.AT special is focused on this kind of structural expression,which is not obvious and has some anonymity,especially the Huamao Museum of Art Education.

Walking into it for the first time,the Museum for Iberê Camargo Foundation in Brazil is naturally aroused.The exhibition path circling the gentle slope,the inward high atrium,and even the limited windows opening to the sea view are similar.Light,flow,curved surface and ramp are the most familiar impressions of Siza's architecture.In fact,the structure or technology has never been absent.It has been throughout the design since the concept of the sketch.The sculpture suspended in the slope is quite dramatic.The deliberately misplaced and shifted three-layer ramp changes bring continuous experience while connecting the exhibition hall.The electromechanical equipment pipelines are hidden in pure white.This museum artistically shows a game of space and gravity.It seems to create a "space maze and gravity maze of load transfer".Under such operations,the light diffused white atrium is truly perceived and understood due to the expression of abstract spatial elements and the flow of people.The details of wall skirts,breast boards and handrails near the body scale strengthen this sense of experience.So far,the space atmosphere can be achieved,and the structure also realizes its value.This can also be traced to more Siza's works such as China Design Museum and Saya Park.How to translate structural problems into architectural expressions requires people to think more.

Considering the "concrete" problem in architecture,the nine questions of "butterfly" contain the design strategies of space,scale,structure,construction,green and other ontology levels described by the architect.Based on the residential cases analysis of Ensamble Studio and the column from research on volume reduction and composite reconstruction,the specific design strategy based on the relationship between architecture and structure are discussed.In terms of expressing the concept of sustainability,the book The Recovery of Natural Environment in Architecture by Alan Short is a stone of other hills in natural ventilation design.The overall design-oriented building integrated photovoltaic puts forward another direction through the case and data analysis.At the urban level,the renovation of Beijing Qianmen block H,Longfu Mansion and Changde Laoximen present the differences of design strategies under different urban evolution states,the complexity of urban development,and the continuous thinking of architects.