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吳春花 《建筑技藝》（AT）執行主編

在這個形式游戲和數字技術日益盛行的時代，將建筑作為一種具有本質意義的藝術進行審視無疑是有益的。我們如何在探究建筑的本體呈現的同時，又不忘建筑形式所表現的詩性可能；如何在關注建筑的形式語言時，又不削弱建筑的建構語言的表達？基于此，本期“AT建筑”推出gmp建筑師事務所與同濟大學建筑設計研究院（集團）有限公司合作設計的西安絲路國際會議中心項目，探討一種“基于建構的形式”策略。

值得肯定的是，自1994 年漢諾威會展中心4 號展廳張弦桁架結構下自然采光的無柱大空間的開創性設計開始，gmp 與sbp（schlaich bergermann partner）已經聯手奉獻了一個個兼具形式美與建構性的建筑精品。那么，在西安絲路國際會議中心項目中，建筑師與結構工程師如何在“基于建構的形式”策略上有所突破呢？遠看，這是一座通體白色、近乎純凈的建筑，上層微微起翹與下層微微拱起的超大“屋檐”，以及其間有序排列的柱廊，包裹在四周，倒映于灞河，分外抓人眼球。不禁疑惑：如此大跨度的屋檐何以出挑，如此纖細的兩排立柱是受拉還是受壓，同跨度的下層屋檐又如何飄??？當走進建筑，謎團被一一解開，被稱為上月牙的屋檐出挑源于巨型鋼結構桁架體系與豎向支撐筒體組成的雙向框架結構，也創造了超大、超高的無柱空間；富于秩序感、通透感的立面源于經上月牙懸掛的兩排纖細鋼柱，以及隱藏在鋼柱之后的懸掛幕墻體系；與上月牙對應的下月牙既成為180 根受拉立柱的配重，也成為整體桁架體系的變形約束。至此，精密織就的建構邏輯網被全部鋪陳開來。當形式的生成順其自然，形式的象征意義得以釋放。從外部看，建筑好似從傳統中走來，又不似傳統建筑的厚重，優雅中多了一份輕盈；從內部看，八橫八縱的鋼桁架體系好似九經九緯的傳統城市格局，小會議廳圍繞中心主會議廳，盡顯空間的中正與莊重。

如果說建筑師追求的純凈、簡潔如一泓清泉沁人心田，那么結構工程師的大刀闊斧就是這清泉背后涌動著的磅礴、堅實的力量，讓人感嘆信服。在沒有任何預設和目標的前提下，當我們被一個建筑不由自主地吸引，其實是被感動。我想，這融于形式、見于形式的建筑之感染力就是建筑藝術的永恒與瞬間吧。

Along with formal games and digital technology greatly rise,it makes sense to look at architecture as an essential art.How do we not forget the poetic possibility expressed by the architectural form while exploring the noumenon presentation of architecture? How to pay attention to the formal language of architecture without weakening the expression of the construction language of architecture? This issue of "AT Special" introduces Xi'an Silk Road International Conference Center project designed by gmp·von Gerkan,Marg &Partners Architects and Tongji Architectural Design（Group）Co.,Ltd.to discuss a strategy of "the form from tectonic".

Since the groundbreaking design of a large column-free space with natural lighting under the tensed-string truss structure of Hannover Exhibition Center No.4 in 1994,gmp and sbp (schlaich bergermann partner) have jointly dedicated a series of architectural works with both formal beauty and constructiveness.Then in Xi 'an Silk Road International Conference Center project,how did architects and structural engineers make a breakthrough in the strategy of "the form from tectonic"? The eaves of the roof,the upper crescent,come from the bidirectional frame structure composed of the giant steel structure truss system and the vertical supporting cylinder,which also creates the extra-large and ultra-high column-free space.The facade with a sense of order and transparency is derived from two rows of thin steel columns suspended by the upper crescent,and a system of suspended curtain walls hidden behind the steel columns.The lower crescent corresponding to the upper crescent is not only the counterweight of 180 tensile columns,but also the deformation constraint of the whole truss system.Finally,the construction logic network is all laid out.

If the pure and simple pursuit of architects is like a clear spring,the bold and resolute action by structural engineers is the magnificent and solid power,which is highly convincing.Without any presupposition or goal,when we are involuntarily attracted by an architecture,we are actually moved.I believe the appeal of architecture,which is embodied in form,is the eternity and moment of architectural art.