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吴春花 《建筑技艺》（AT）执行主编

每一次现场品鉴，都是一次触碰建筑、感知空间之旅。每一座建筑，都是建筑师向外应对周遭环境、向内构建自身本体的过程。只有身体在场，我们才能真切地体会此地之景、此时之境。原定于初春的琴台美术馆品鉴终于在盛夏成行，从静寂的雪白山丘到跳脱于月湖荷塘的银色梯田，站在屋顶时的景观给人以无限想象，而建筑师意在营造的风景远不止于此。本期特以“景观的建筑”为主题，试图探寻琴台美术馆历时六年的设计历程及其背后的创作思考之辨，也以边园、台州当代美术馆、云阳滨江绿道游客服务中心印证这一主旨，建筑关注景观，也作为一种景观。

大舍建筑设计事务所两位主持建筑师柳亦春与陈屹峰曾就“即物即境”有过一次讨论，谈到对“物”“境”的理解时，柳亦春说到“设计中感兴趣于两条线，一条是‘由内而外’，比如造物本身的规律性，比如物体的结构如何在构建自身的同时去适应使用以及周遭环境的需要；另一条是‘由外而内’，也就是如何去理解周遭环境，如何在周遭环境及社会背景下构建意义的内容，再将之渗透到造物的过程中。”回到琴台美术馆，我们看到“由内而外”“由外而内”这两条线贯穿交织，进而在内与外的不断反复中诸多操作自然呈现。掩映于山湖景色中，起伏的山形屋面缓缓匍匐，绿色向银白色过渡出既自然又非自然的景观；正交墙柱体系与屋顶井格梁结构相结合，自由曲线下的空间于展览来说独一无二；高大的展墙直接连接穹顶处，一道曲线天窗提示了外部屋顶的存在；集合了机电设备管线的清水混凝土墙体围合出展览空间，既流动又相对独立；偶然室外平台在山丘上的开口，或许是在拉近美术馆内部与外部、现实与超现实的距离，因为这个银色山丘被戏称为“隐形战机”......

正是在这种内外的反复互动、平衡中，场地、形式、结构、材料、建造等形塑下的美术馆展览空间与自由曲面屋顶共同创造出独特的公共景观，是自然的，也是人工的；是感性的，也是理性的；是世俗的，也是艺术的；是巨形、地形，或许也是“标志性”的。待琴台美术馆第一场艺术展开幕，当人们走近一件件绘画或雕塑再回望这个空间时，会有一种沉浸感或者顿悟，那将是另一番更具生命力的景观。

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.

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