摘要
(手)工艺带来的造物美感长久以来让建筑师着迷,然而建筑师对待(手)工艺的方式各有不同。宾尼菲特认为(手)工艺是一曲跟从特定建造逻辑的材料颂歌。筱原一男的房子以抽象为特征,常常表露出隐藏甚至抹除手工痕迹的倾向,拒斥表现。然而,筱原房子中的即物性与巴瓦的又截然不同。巴瓦采取了一种悬置工艺的态度,将自然、人造物与生活方式平等并置在建筑中。莱弗伦茨以使用砖、砂浆与玻璃闻名,他借助(手)工艺的工具性,达到超越常规的目的。文章对比研究了这四位建筑师对待(手)工艺的态度,力图展现一个关于造物、建构学和材料性的新视角。
The beauty of making, achieved through craft, has enchanted architects for long, while their attitudes on craft vary individual to individual. To Heinz Bienefeld, craft is nothing but a way of celebrating materials by following their particular construction logic. Kazuo Shinohara expresses a desire to hide or even wipe out any hand-made traces, which makes his buildings characterized by abstractness. However, the Sachlichkeit in Shinohara＇s houses bears no resemblance to that of Geoffrey Bawa＇s. Bawa adopts an approach of suspending craft and equal juxtapose of nature, artifacts and life style running through his architecture. Sigurd Lewerentz, famous for using bricks and mortar as well as glass, regards the instrumentality of craft as means to transcend conventions. This essay, presenting a comparative study of four positions of the above mentioned architects, attempts to provide deep thoughts on such issues as making, architectonics and materiality.
出处
《时代建筑》
2016年第3期154-161,共8页
Time + Architecture
