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(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 the hand created by the craft has long fascinated architects, but architects have different ways of treating (hand) crafts. Binnenfeld thinks (hand) craftsmanship is a song of carols following a certain logic of construction. Shinohara man’s house is characterized by abstraction, often showing the tendency to hide or even eradicate manual marks, refusing to show off. However, Shinohara house that is different from the physical and Bawa. Bhava adopted a suspension craft approach that places nature, artifacts and lifestyles equally in the building. Lefrenz, known for its use of bricks, mortar and glass, leverages the handyness of craftsmanship to exceed conventional purposes. The article compares and contrasts the attitude of the four architects in their treatment of (hand) craftsmanship and seeks to present a new perspective on creation, construction and materials.