《景观设计学》2019年第5期

俞孔坚•岐山脚下的那方神奇土地——《景观设计学》2019年第5期“主编寄语”

The Wonderland at the Foot of Mount Qishan, By Yu Kongjian 

早在30年前，我就期望能以周人和秦人的视角，去观察和体验岐山脚下为他们带来发展与繁荣的那片神奇土地。2019年8月，我终于得以怀着无限的思古之幽情，徜徉于这片深邃无底、望不到边的文化景观的海洋之中。作为中华文化定型时期（约为秦汉时期前后）各朝代的核心领地，这里的日月星辰、大地景观，乃至生命万物的信息，都已融入以汉语为母语的人们共同的文化基因中，深刻影响着他们认知、适应、再现和改造自然及创造世界的方式，涵盖价值观、审美观和地理空间与方位的吉凶观等—简言之，这方土地在很大程度上定义了中国的社会和文化形态。

我的此次观察和体验之旅沿4条线路展开。第一条是沿着周族的迁徙之路，即从北方的旬邑南迁至豳州，再到岐山南麓的周原。这是周人作为农耕部落为躲避北方强悍游牧部落而不断寻求庇护的生存之路。我幻想跟随周先祖公刘和古公亶父，仰观天象、俯察地理，相地开垦、卜宅定都。正如《诗经》中《大雅•公刘》和《大雅•緜》所详细描绘的那样，作为部落首领，公刘和古公亶父沿着河流廊道，穿越山间盆地，环顾四周山峦，在找到安全的潜在领地之后，便登上四周高地，俯瞰河谷绿洲，欣喜于获取了丰腴的土壤；再下至平原，沿山泉溪流溯源而上，断定有丰富的水源；再丈量土地，开田地以播五谷，夯土基而筑宫室。[1][2]这种对农耕生产和生活环境的观察体验及对盆地型领地的偏好，最终通过《诗经》《易经》等古老经典著作的传播，成为后世相地术（风水）的基本模式，表达为理想的风水—如左青龙、右白虎、前朱雀、后玄武、中明堂的空间格局意象，又如“利东南、不利西北”的方位吉凶判断。

第二条观察线路是跟随日渐强大的周人，沿渭河一路向东，冲出关中，横扫中原，攻灭大商，定都洛邑（今洛阳）。所谓“余其宅兹中国”（见于西周何尊铭文），这也是“中国”二字最早的铭记[3]。正如周文王被囚禁于羑里城而演绎《周易》并将周族在岐山脚下的关中盆地对农耕生活和环境的观察与经验进行整理一样，我们有理由论断“中国”或“中央之国”的领地意象—建立于四周皆有边界的盆地中的都城—即自此形成，而后随走出关中的周族领袖传至中原大地而铭于文。

第三条观察线路是向西沿汧水（今千河）溯流而上，寻找秦人发迹的源头。途经千河与渭河交汇的“汧渭之会”，穿越关山崎岖的峡谷——这是中国地理中从第二级阶梯向第一级阶梯过渡的景观甬道，仅30km的行程之后，海拔便从900m攀升至2 200m，行至秦非子牧马之地。秦非子因精通养马之道，受周孝王之命在汧水与渭水之间肥沃的天然牧场主管牧马，深受赏识，继而获封岐山以西的狭小地带[4]。经过数百年励精图治，秦国以其强悍雄风，取周而代之，完成了一统天下的大业。同时在周朝的“中国”领地意识基础上，更深刻地实现了货币、度量衡、文字、交通工具等的统一。秦人的这条发迹之路也给农耕民族以温顺避让为主要特征的文化注入了坚韧与剽悍之风。其后的汉王朝更是将秦横扫六国的气魄发扬光大，据称此时关山一带牧养的马匹数量达30余万[5]，作战军队借此完成了由步兵为主向骑兵为主的转变，可实现长途奔袭、快速突袭和大迂回，成就了卫青、霍去病等开疆拓土、纵横漠北、却匈奴于千里之外的丰功伟绩。

这处连接关中与西域的景观也为中国文化的艺术形态注入了骨感和峻美之气。事实上，划分中国两大自然地理区域、界定农耕与游牧两种文化的关山，经过无数诗人的描绘，在中国文学中已被泛化为象征远离故土、戎马征战和战火硝烟的符号，表达为“远方”（Far）和“崇高”（Sublime）之意。这种崇高也通过五代后梁山水画家关仝的画笔表达了出来。关仝师承北方山水画派鼻祖荆浩，并青出于蓝，以其“关家山水”独领风骚。其代表作《关山行旅图》冠绝当代，为后世临摹效仿，深刻影响了中国的山水美学。画中山峰迭起、溪谷幽深，栈道险绝、驮马凄凉。这里所表达的“崇高”与陶渊明在《桃花源记》中所表达的理想农耕环境的“优美”（Beauty）完全不同。至此，象征闲适安宁的“优美”和象征为生存而抗争的“崇高”在中国文化中实现了完美平衡。

第四条观察线路是从海拔约500m的渭河谷地一直攀升至海拔约3 750m的秦岭主峰——太白山。沿太白山的主要溪谷汤峪拾阶而上，一路可感受幽谷深处的神秘莫测和生命万物之丰饶。据称峪口汤泉可治百病，所见之草皆可入药。及至山顶，大面积的冰川遗迹（通常为白雪所覆盖）和冰斗湖映入眼帘，其景观与盆地、平原景观迥异。由此俯瞰关中盆地，城廓了然、尽收眼底，大有以上帝之眼瞭望凡尘的感觉。无怪乎《尚书•禹贡》谓之“惇物山”[6]，《汉书•地理志》称之“太乙山”[7]，均是对太白山的丰饶与宛若仙境的表达。据称，岐伯尝味百草即发生在太白山一带，而“药王”孙思邈则长年居隐太白山中，亲自采摘草药，研究药物性能。我个人认为，传说中的道教名山昆仑山即以太白山为原型：高峻非羽仙不可及，更有怪兽神鸟、不死之药、琼浆玉液和王母瑶池等。这无非是周人、秦人及其子孙后代将白雪冠顶的太白山表达为可满足人世间一切欲望的仙境而已。因而，太白山即昆仑仙境便成为了兼有宗教理想和世俗欲望的完美表达。

正是周人和秦人对岐山脚下这片土地的认知与探索——包括对其赖以生存和发展的现实领地的观察和体验，以及对美和未来世界的向往和畅想—才有了他们对理想景观模式的表达，进而发展为“中国”这一理想领地的意象，以及对崇高山水和昆仑仙境的艺术表达。而由于周朝和秦朝在中华文化定型时期占据着决定性的地位，对岐山脚下这方土地的景观体验也注定会在中国的社会和文化形态的表达中发挥关键作用。

For nearly 30 years, I yearned to see and experience the land at the foot of Mount Qishan as though I were the Zhou and Qin people who developed and prospered because of their relationship with the mount. In August 2019, I was finally able to spend time immersed in this glamorous cultural landscape, trying to get connected with the ancient years. This land, the core territory for the Zhou, Qin, and Han dynasties, has significantly made the society and culture of China thrive and grow: the knowledge of the sun, of the moon, of the earth, and of all the beings of this place has been integrated into the culture of Chinese-speaking people, developing into their societal and aesthetic values, as well as the geomancy of a geographic space, which profoundly shaped the way how people cognize, adapt to, and transform the world they live in.

My trip followed four routes. The first was the migration path of the Zhou people (the ancient farming tribes), from the ancient Xunyi City in the north to the ancient Binzhou City in the south, and to the ancient Zhouyuan City at the south foot of Mount Qishan, to seek shelter from the nomadic tribes. On this route, I imagined myself following Duke Liu and Duke Dan (leaders and ancestors of the Zhou people), looking up the sky and down at the ground, selecting sites for farming, homes, and the capital. As described in The Book of Poetry, Duke Liu and Duke Dan moved along the Weihe Valley corridor, crossing basins and ranges in mountains. After finding a safe place for potential settlements, they may have climbed the surrounding highlands to overlook oases and valleys, delighting in the rich soil; they may have traveled down to the plains and to trace mountain streams to find water resource; they may have also measured the land for farms and homes.[1][2] Spread through ancient works such as The Book of Poetry and The Book of Changes, such landscape observation for farming and living and the preference for the basin-shaped territory contributed to forming an ideal Chinese geomancy (Feng Shui) that informs site and position selection and spatial pattern.

The second route I took was the path which the Zhou people took before making the ancient Luoyi City their capital. At that time, the increasingly powerful Zhou people moved along the Weihe River to the east, from the Guanzhong Basin towards the Central Plains to conquer the Shang people and establish a new dynasty, early in which period the term of “kingdom in the center” (the literal meaning of “China” in Chinese) first appeared as recorded by the inscription on He Zun[3], a ritual bronze vessel. King Wen, the founder of the Zhou Dynasty, complied The Book of Changes when being imprisoned by the Shang people, which became a written record of Zhou people’s observation and experience of farming and living in the Guanzhong Basin. For this record, we could infer that the image of a “kingdom in the center” — a capital sitting in a basin with a clear border — was invented by Zhou leaders before inscribed on He Zun.

The third route traveled upstream along the ancient Qianhe River to feel after the prosperous history of the Qin Dynasty. The route passed through the intersection of the Qianhe River and Weihe River, through the cragged gorge of Guanshan Mountain, whose topography transitions from 900 meters to 2,200 meters over only 30 kilometers. The pastures between the Qianhe and the Weihe rivers was where Qin Feizi, the founding king of Qin State, raised horses for King Xiao of Zhou. For his proficiency in horse breeding, Qin Feizi was well-rewarded with a small piece of land to the west of Mount Qishan[4]. After hundreds of years of hard work, the Qin State ended the ruling of Zhou and conquered the other six states throughout the country. Expanding the territorial cognition of the “kingdom in the center” from the Zhou Dynasty, the Qin Emperor unified the nation in currency, metrology, written language, and vehicle size. The unexcelled prosperity of the Qin Dynasty blended a tough and courageous culture into the China’s docile and modest identity as an agricultural nation. Later, the Han Dynasty carried forward Qin’s domineering vigor — It is said that the number of army horses in the Guanshan area reached more than 300,000 during that period[5]. A robust cavalry then formed that made the Han army capable of completing long-distance strikes, rapid assaults, and outflanking. At that time, great military generals such as Wei Qing and Huo Qubing expanded the national territory and kept the Hsiung-nu tribes thousands of miles away.

The landscape along this route that connects the Central Plain Area with the western regions is a unique charm in Chinese art and culture. Guanshan Mountain, which roughly divides China into two parts in geography, as well as in culture (farming and nomadic), has been portrayed by countless poets as a symbol for far and sublime that represents warfare. The sense of sublime has also been reflected in the landscape paintings of Guan Tong, a painter of the Later Liang Dynasty in the Five Dynasties and Ten Kingdoms period. As a student of Jing Hao who was the leading pioneer of the northern landscape painting school, Guan Tong surpassed his teacher in style and legacy. His masterpiece, the Travelling in Mountains, has long been intimidated and profoundly affected China’s landscape aesthetic of towering peaks, steep valleys, dangerous paths, and desolate landscapes. The sublime expressed in Guan Tong’s paintings contrasts the beauty depicted in Tao Yuanming’s Peach Blossom Spring characterized for peace and tranquility, yet the both two coexist and influence the Chinese culture.

Finally, my fourth route climbs from the Weihe Valley to Mount Taibai, the main peak of the Qinling Mountains, which ranges in elevation from 500 meters to 3,750 meters. The mystery and richness of the landscape is evident walking along the Tangyu Valley, a major valley of Mount Taibai. It is said that the spring water here can heal people and all the found plants are therapeutic. The top of the mountain was covered with large areas of snowy glaciers and ice, forming a completely different landscape from the basins and plains. Cities nestled in the Central Plain Basin can be panoramically viewed from this vantage point — Mount Taibai is worthy of its name of the “Mountain of Dunwu” (mountain of richness) by The Book of Documents[6] or the “Mountain of Taiyi” (mountain of mystery) by The Book of Han[7]. It is said that famous Chinese physicians Qibo and Sun Simiao lived here for years to study the properties of herbs. In my personally opinion, Mount Taibai is the archetype of Mount Kunlun, the legendary Taoist site: it rises so high that can only be accessible by gods, and it offers the medicine of immortality. The Zhou, the Qin, and their descendants understand that the snow-covered Mount Taibai was a fairyland that contains all the desires of human world. Thus, Mount Taibai, or the Kunlun Wonderland, perfectly represents both the religious ideals and worldly desires.

It is precisely because of how the Zhou and Qin people explored and envisioned this landscape at the foot of Mount Qishan, both physically as settlements and spiritually as a wonderland, their expression of the ideal landscape model emerged and developed into an ideal territorial image of “kingdom in the center,” as well as the poetic representation of the sublime landscape and the Kunlun Wonderland. Their observation and experience of this landscape in this significant period has greatly fostered and shaped China’s social and cultural identity and made it thriving.

REFERENCES

[1] Wang, X. (Ed.). (2015). Duke Liu in Greater Odes of the Kingdom. The Book of Poetry. Beijing: Zhonghua Book Company.

[2] Wang, X. (Ed.). (2015). Continuity in Greater Odes of the Kingdom. The Book of Poetry. Beijing: Zhonghua Book Company.

[3]He, Z. (2011). The Idea of “Central Country” Recorded in the Inscriptions of He Zun. Wenbo, (6), 32-34.

[4] Guo, F., Zhang, K., & Lv, J. (2000). The Dictionary of Gansu. Lanzhou: Gansu Culture Publishing House.

[5] An, Z. (2006). Horse Breeding and the Breed Improvement in Han Dynasty. Agricultural Archaeology, (4), 273-280, 296.

[6] Wang, S., & Wang, C. (2012). The Tribute of Yu. The Book of Documents. Beijing: Zhonghua Book Company.

[7] Ban, G. (n. d.). Geography (Vol. 28). The Book of Han. Beijing: Zhonghua Book Company.

主编寄语 

岐山脚下的那方神奇土地（俞孔坚）

论文

场地观绘——谈景观的自然场地认知与表达（曾颖）

激发现代景观创意的火花——香港大学基础景观设计课程（麦咏诗）

会说话的绘画：如何表达景观构想（瓦莱里奥•莫拉比托）

“画”画——劳瑞•欧林手绘重顾（陈峥能，蔡哲铭）

观点与评论

多元化实践：如何合理绘制地图（吉尔•戴斯米妮）

景观设计的参与、解读与表达（张东）

全球视野下的景观与地域环境（哈尼兹•詹德）

主题实践

超越场地的多维度观察：昆山杜克花园的情境生成（时惠来，林中杰，陈嘉诚）

遂宁锦华记忆公园（吴兆杰）

城市郊野公园的观察与思考——南昌红土遗址公园设计实践（孙翀）

探索与过程

Íchni：欢乐建筑中的装置（王芷序）

视域策划——朝鲜半岛金刚山风景区景观规划设计（李玉寒）

【中文刊名】《景观设计学》——观察与表达

【英文刊名】Landscape Architecture Frontiers • Observation and Representation

【作者】曾颖（ZENG Ying），麦咏诗（Vincci MAK），瓦莱里奥•莫拉比托（Valerio MORABITO）等

【出版社】高等教育出版社有限公司 

【页码】184页彩色印刷

【刊号】ISSN 2096-336X 

【出版日期】2019年10月

【定价】58.00元

场地观绘——谈景观的自然场地认知与表达

Observation and Representation: On Recognition and Expression of Natural Sites in Landscape Architecture

作者：曾颖 ZENG Ying

摘要

在景观设计专业教育中，自然场地的观察与表达意味着在场地上“怎么看”以及“怎么画”。本文首先通过比较写实素描、设计素描、自然风景写生等传统绘画形式之间的差异来探讨景观设计学科的场地观察与表达，并提出：虽然两者都涉及对客观事物与现象的观察（观）与表达（绘），但传统绘画以“模仿”客观物象的表面形式为目的，景观设计则更强调了解并呈现客观真实场地的变化过程以及其中隐藏的复杂关联，即“再现”场地的本质。

景观设计学科对场地的观察与表达可归纳为三个要点：亲临场地、调动身体运动，以及再现事物的变化过程与事物之间的关联。本文列举了两个案例——一个通过场地尺度的设计教学阐释了基于真实场地的观察如何逐步形成抽象的设计形式，另一个则通过分析从场地到区域与全球尺度的设计实践，探讨了对场地关联的跨尺度思考如何指导具体的景观设计实践——以期为中国当前的景观设计教育与实践提供借鉴。

关键词 

景观设计；场地；观察；感知；运动；表达；再现

Abstract  

In the education of Landscape Architecture, the way we view and depict a natural site is defined by the way we observe and express it. This paper starts with a comparison between the perspective and approach of traditional painting types (the realistic sketch, design sketch, and landscape painting) and those in Landscape Architecture. All of them involve observation (viewing) and expression (drawing) of natural beings and phenomena, where traditional paintings are in the pursuit of honest depiction of the forms or shapes. While in Landscape Architecture it emphasizes understanding and representing the evolutions and the complicated intrinsic relations of the authentic sites — in other words, to represent the nature of reality.

To be on-site, the use of body movement, and the evolutions and correlations of natural beings are the three most important principles to the observation and representation in Landscape Architecture. Combining with two cases in teaching and practice, this paper elaborates how to develop abstract forms and design concepts from the observation of authentic sites and how the trans-scaled reflection on the correlations about the sites can inspire a site-scaled design, providing references for the education and practice of Landscape Architecture in China.

Key words 

Landscape Architecture; Site; Observation; Perception; Movement; Expression; Representation

激发现代景观创意的火花——香港大学基础景观设计课程

The Spark of Contemporary Landscape Creativity — The Foundation Landscape Design Studio in The University of Hong Kong

作者：麦咏诗 Vincci MAK

摘要

传统的景观设计课程大多以学习经典景观案例、实地考察和模仿练习作为基础教学方式。基础景观设计课的学生通常通过研习和摹拟先例来了解景观大师的设计，并通过场地调研的过程来学习空间设计。

一直以来，创意和创造性都是景观设计学所追求的学科目标。因此，景观设计教学也可以研究艺术创作的过程作为起点，引导学生欣赏艺术和设计作品，领悟设计概念的发展过程，并培养他们运用不同技法来表达设计的能力。同时，现代景观设计学不再只限于空间设计，而是需要对环境的演变进程、操作、分步机制、运动以及系统运作进行完整理解。由此可见，现代景观的表现性和动态性正受到重视。

以上对景观的理解需要一套不同的观察与表达的方式与技巧。本文旨在分享香港大学园境学文学士课程中的基础景观设计课如何基于现代景观学科语境来制定教学内容及其发展过程。

关键词

基础景观设计课；动态；过程；创意；艺术；概念；观察与表达

Abstract  

Traditional landscape design studio training starts with the learning of a classic or prominent landscape project, may it be through site observation or a trace-over / imitation exercise. Foundation year students in a landscape program typically take the landscape precedent project as a study ground, to learn about the landscape master’s design through the mimicking process in the trace-over exercise, or to learn about the articulation of spatial design through site observation.

Landscape Architecture, afterall, is a creative endeavor. Thus, an alternative approach is to start the fundamental training with the study of artistic processes, to foster appreciation in art and design, innovative concept development, and articulation in craftsmanship. Also, the contemporary discourse of Landscape Architecture is no longer simply about spatial design, but has transformed to require understanding of process, operation, step-by-step mechanism, movement, and how a system works. The performative and dynamic aspects of landscape are being valued nowadays.

Such ways of seeing landscapes require a different set of observation and representation methods and skills. In this article, the author shares how the pedagogical content and developments of the foundation year landscape design studio in the HKU Bachelor of Arts in Landscape Studies BA(LS) Program help train students with such new interpretations to contemporary Landscape Architecture.

Key words 

Foundation Landscape Design Studio; Dynamic; Process; Creativity; Art; Concept; Observation and Representation

会说话的绘画：如何表达景观构想

Verbal Drawings: Mapping Landscape Ideas

作者：瓦莱里奥•莫拉比托  Valerio MORABITO

摘要

本文探讨了绘画中的一个特殊类别——语言绘图——的历史、特征及其在当代景观设计领域的设计交流中所扮演的角色。语言绘图的定义来自于对岩绘艺术本身的观察和解读，以及对其绘制过程的了解。作为先于语言文字的人类最早的通过书写进行交流的方式，岩绘艺术不仅是可供观赏的绘画，也是可供阅读的信息。这些由象形语言、表意语言和抽象表意语言构成的，经由特定语法和句法逻辑组合而成的图像具备三大特质：直观感、美感和轻盈感。岩绘艺术描绘了人类在特定环境中的特定活动，它们不仅是人类最早的景观表达方式，也是地图绘制艺术的雏形，由此制图艺术和语言绘图之间建立起了紧密关联。本文通过实例试图说明古代和现代地图绘制艺术对当代景观设计的重要性；相较于现今单调，追求视觉刺激，快速制作、快速消费的数字图像，当代语言绘图必须体现出如岩绘艺术般的三个特质：直观感、美感和轻盈感。最后，本文提出了介于安伯托•艾柯的“开放式作品”和语言绘图之间的概念：语言绘图更像是一种“开放式框架”，其有助于设计想法的拓展和延伸，并激发出更多的创新性。

关键词 

语言绘图；地图绘制艺术；解读；设计表达

Abstract  

Verbal drawings, as a particular drawing category of drawings, are discussed in this paper about its history, qualities, and what kind of role they could play in the design communication of contemporary landscape architecture. The definition of verbal drawings arises from the observation and reading of Rupestrian art and its process in making drawings and paintings. Rupestrian art was the first human written communication prior to the emergence of words and spoken communication. For this reason, Rupestrian art drawings and paintings are not just images to be seen; above all, they are texts to be read. They are written drawings using pictograms, ideograms, and psycho-ideograms to compose images with a specific grammar and syntax. These written images have three qualities: a sense of immediacy, a sense of beauty, and a sense of lightness.

Representing human activities in particular environments, Rupestrian art drawings are not only the first landscape representations but also the early representations of the act of mapping, opening a connection between the art of cartography and the art of verbal drawings. Using examples, this paper explains the importance of ancient and modern mapping arts in connection with the discourse of contemporary landscape architecture by demonstrating how the senses of immediacy, beauty, and lightness help contemporary verbal drawings compete with the neutral, beautiful, quickly produced and consumed digital representations nowadays. In the end, the text proposes a confrontation between Umberto Eco’s concept of “open work” and verbal drawings — Verbal drawings might be intended more like “open frameworks” than “open works.” It is a concept that considers verbal drawings able to accept new ideas for extending their meanings and significance throughout the design process.

Key words 

Verbal Drawings; Art of Mapping; Reading; Representation

“画”画——劳瑞•欧林手绘重顾

Draw-ing Drawing — Revisiting the Drawings by Laurie Olin

作者：陈峥能，蔡哲铭 Albert Zhengneng CHEN， Taro Zheming CAI

摘要

景观的概念在某种意义上与人们对眼前世界的不断解读息息相关，是人类与自然及文化之间关系的体现。因此，我们不能将景观视作一种先验知识，而应通过观察与表现对其加以理解。在如今众多的媒介之中，无论是描绘现状还是构思方案，手绘或许都是最为古老而简易的表现手段，但这一富于创造之功又常在所见之外的绘画过程却不及成作更为观者所瞩目。本文旨在探究这一有赖于绘者手（娴熟表现）眼（深刻观察）协调的看似复杂的观察与思考过程。文章首先解读了美国景观设计大师劳瑞•欧林在近期一次展览中的部分画作，并着眼于三处重点：景观表现的留白与省略、景观构图（透视构图与修辞构图），以及笔墨技艺背后的潜在意图。其次，试图梳理欧林几十年来在景观手绘与实践之间耕耘的脉络，并借此阐明观察和表现能力的培养在当今景观设计教育中的意义。

关键词 

手绘；观察；表现；劳瑞•欧林

Abstract  

The idea of landscape is, to some extent, a cumulative interpretation of the way we see the world, reflecting our relationship with nature and culture. Landscape is thereby impossible to be assumed a priori but only to be understood through observation and representation. Between a broad spectrum of media, hand drawing presents presumably an oldest and simplest means for landscape representation, whether it is existing or imaginary. However, the creative yet oftentimes invisible process of draw-ing receives less attention from the spectators than its result. The paper takes an inquiry into this seemingly complicated process of looking and thinking based on the coordination of the draughtsman’s critical eye and skilful hand. First, the paper gives a careful reading upon some selected drawings from a recent exhibition of the renowned American landscape architect Laurie Olin, with three particular focuses — the reduction in representation, the composition of the observed landscape (perspectival composition and figurative composition), and the conjecturable intention behind drawing skills. Second, the paper attempts to unveil the evolution of Olin’s decades of training and practising of drawing and observation, and further argues the significance in the training of hand and the cultivation of the critical eye in Landscape Architecture pedagogy.  

Key words 

Drawing; Observation; Representation; Laurie Olin

多元化实践：如何合理绘制地图

Plural Practices: Ideas for Drawing Responsibly

作者：吉尔•戴斯米妮 Jill DESIMINI

摘要

本文基于绘图技术、尺度以及对图像的观察、解读与想象等，对地图制图和景观设计话题进行了探讨。通过细致观察和严谨思考，可以开发更为合理的绘图工具包，使地图解读和空间营造更丰富。这就要求设计师对其所获取到的信息保持质疑，并进一步提升其准确性、扩展其涵盖范围。制图工作正面临更为复杂的挑战，与之相适应的表达媒介和方法也需要更加多元与稳健。文章探讨了以展览和书籍形式呈现的“制图场地”项目，项目期望重新畅想制图实践在更加接近场地表达效果与掌控场地本身特征上的主观潜能，在推动景观设计学与地图制图学两大学科交融的同时，试图将二者应用于更为基础的实践中，并呈现和畅想更加多元化的设计领域。此外，通过介绍哈佛大学设计研究生院的观察与表达训练课程，文章指出，观察是所有工作的根本，而对于设计而言，最终的表达必须超越对现实世界的记录与理解，畅想更加公平、更具适应性的未来。

关键词 

景观设计学；地图制图学；表达；可视化；多元

Abstract  

The article discusses the topics of cartography and landscape architecture, with a few ideas about technique, scale, observation, translation, and imagination. The charge is to look closely, think critically, and develop sensibly a drawing toolkit that allows for an expansion of possible readings and spatial outcomes. It asks designers to question the information before them, and to respond with precision and range. The challenges are increasingly complex, and thus, media and methods must be plural and robust. The replies herein build on the Cartographic Grounds project, an exhibit and book that again reimagines the projective potential of cartographic practices that afford greater proximity to the manifestation and manipulation of the ground itself, and promotes the intersection between the disciplines of Landscape Architecture and Cartography towards a grounded practice of representing and imagining multiple terrains for design. The introduction of the observation and representation training in Harvard Graduate School of Design further suggests that observation is fundamental, and for design, representation must extend beyond documenting and understanding the world that exists, towards imagining a more equitable and adaptive future.

Key words 

Landscape Architecture; Cartography; Representation; Visualization; Plurality

景观设计的参与、解读与表达

Participation, Interpretation, and Representation of Landscape Design

作者：张东 ZHANG Dong

摘要

在本次访谈中，作为张唐景观合伙人，受访人张东首先指出每个民族的景观都应与当地的文化密切相关，认为设计具有中国文化识别性的景观应当是中国景观设计师价值体系的一部分，并强调景观设计在考虑可持续性和韧性提升策略的同时，也应注重与环境教育的结合。随后，基于将景观设计过程视为“两个客观、一个主观”的总结，张东认为设计师对场地的解读，以及个人的知识储备、价值判断和审美倾向都会影响其从场地中获取信息、做出判断和进行设计。在承认生态效益、公众参与是景观设计的重要议题的同时，他格外强调设计的核心价值是创造性地解决问题，景观设计师不可忽视空间营造和对美学的追求。最后，他介绍了张唐景观目前采用的“全过程参与”工作模式，以及这种模式对设计师观察与表达能力的重要意义。

关键词

景观设计；观察；表达；文化景观；美学；“全过程参与”工作模式

Abstract  

At the beginning of this interview, Zhang Dong, partner of Z+T Studio, believes that landscapes of each nation should be closely rooted in its own culture and designing landscapes which praise China’s cultural identity should be a part of Chinese designers’ values and beliefs. Beside of integrating with strategies of sustainability and resilience, landscape design should also combine with environmental education. Zhang summarizes a landscape design process into “two objective aspects and one subjective aspect,” and points out that a designer’s professional knowledge, social values, and aesthetic preferences together influence his / her acquisition of information from sites and the design what and how he / she will make. While recognizing the importance of ecology and public participation to landscape design, he stresses that design essentially is to solve problems in a creative way and landscape designers should not neglect the fundamentality of spatial creation and aesthetics to the profession and the discipline. Finally, he explains the Whole-Process Participation design mode adopted by Z+T Studio, and how it helps improve designers’ capacity in observation and representation.

Key words 

Landscape Design; Observation; Representation; Cultural Landscapes; Aesthetics; Whole-Process Participation Design Mode

全球视野下的景观与地域环境

Global Perspectives on Landscape and Territory

作者：哈尼兹•詹德 Hannes ZANDER

摘要

《南半球的观察：全球视野下的景观与地域环境》是国际景观合作组织（ILC）出版的首本书籍。该书倡导透过“景观”这一媒介来解读当下的环境挑战和社会政治变革，讨论不同尺度的场地及其环境背景。随着全球城市化进程的日益推进，城市中的自然特征不断被人类社会改变，每一处场地、每一个人都变得与整个区域乃至整个地球息息相关。因此，提升对这种多维度依赖关系的敏感度和理解至关重要。在这种跨学科、多尺度的讨论中，通过共同努力，景观途径能够有效地解决当下自然和建成环境中的问题。作为独立智库，ILC试图创建一个平台，促进来自不同地区的景观规划、管理与设计等专业领域的学者与从业者进行对话。在该书出版发行之际，本文将介绍ILC基于人类世背景所提出的景观与地域环境营造途径。

关键词 

景观途径；人类世；国土规划；关键格局制图；跨学科合作；南半球

Abstract  

From the South: Global Perspectives on Landscape and Territory is the first book publication by the ILC (International Landscape Collaborative). The book promotes a landscape approach that aims to understand today’s environmental challenges and socio-political transformations through the medium of landscape and to discuss sites of different scales in connection to their territorial context. While the world is increasingly being urbanized and its natural characteristics are being transformed by human societies, the individual site or person is connected to regional and even planetary systems and interrelationships. It is therefore important to create a sensitivity and understanding for such multi-dimensional dependencies. In this interdisciplinary and multi-scalar discourse, the landscape serves as a common ground to productively address contemporary issues of natural and built environments as a collective effort. The ILC as an independent think-tank wants to provide a platform and facilitate a dialogue among scholars and practitioners from different geographies and disciplines, including landscape planning, management, and design. The ILC’s approach to landscape and territory, the group’s mission in the context of the Anthropocene, as well as the content of the book publication is discussed in this article.

Key words 

Landscape Approach; Anthropocene; Territorial Planning; Critical Mapping; Interdisciplinary Collaboration; Global South

超越场地的多维度观察：昆山杜克花园的情境生成

Observations Beyond the Site: Unfolding of Landscape Process in the Design of Duke Garden in Kunshan

作者：时惠来，林中杰，陈嘉诚 SHI Huilai, LIN Zhongjie, CHEN Jiacheng

摘要

观察是阅读场地与启发设计的开始。当设计场地缺乏明显特征时，设计者不仅需要细致观察，同时也要跳出场地现状限制，通过研究拓展观察范围。这个过程包括对场地内在因素的思考，以及针对设计对象的核心内涵进行场景参照与延伸，形成情境的模拟、选择与表达。江苏省昆山市杜克花园的场地现状属于典型中国城郊景观，缺乏明显的地理特征，这迫使设计师进行场所精神的深度挖掘。这样依托于情境生成的另类观察过程从三个角度入手：一是对同一脉络下异地先例的审视比较；二是对超越场地范围的区域生态开展地文学研究；三是从时间维度考察前期项目的效果及其与后期项目的关联性。这三个方面的观察使杜克花园的设计得以探索“花园”一词的当代精神内涵，最终表达为具体的设计形式。

关键词 

杜克花园；花园精神；异地性；地文学；延时性；情境；观察与表达

Abstract  

Observation is the beginning of reading site and inspiring design. When the site lacks obvious features, designers not only need to observe in detail but also step out of the site’s physical boundaries and expand the scope of observation. This process involves reflection on the intrinsic factors of the site, seeking landscape reference in the broader context according to the subject’s core connotations, through which design concepts can emerge from the simulation, selection, and expression of scenarios. The new Duke Garden, located in the city of Kunshan in Jiangsu Province, is situated in a typical Chinese suburban area, which bears little distinction in geographical features. The ordinary site condition forced designers to search for deeper characteristics of the place through alternative methods which allow designers to examine the site from three perspectives: 1) through the study and comparison of precedents which share a spiritual lineage; 2) through the physiographical investigation on regional ecosystem to which the site belongs; and 3) through a revisit of the preceding phases of the project and a probe into the temporal connection between adjacent sites. Observations from these three perspectives have enabled the design of Duke Garden to explore contemporary spiritual connotations of the landscape typology of “garden” and intepret it through this project. 

Key words 

Duke Garden; Garden Spirit; Off-Site; Physiographical; Time-Lapse; Scenario; Observation and Representation

遂宁锦华记忆公园

Jinhua Memorial Park in Suining

作者：吴兆杰 WU Zhaojie

摘要

观察与表达是景观设计中最基本也是最核心的过程与方法。本文通过将遂宁市锦华棉纺厂遗址改造成具有现代休闲功能的城市文化公园，来展示在后工业改造类景观设计项目中设计师如何进行观察与表达。设计师通过对场地的初始感知、反复探索、系统分析等循序渐进的观察方式不断深入对场地的了解；研究发掘工业生产流程并以相关产品作为设计灵感的来源、空间排序的依据和形态转化的原型；以场地干道为空间骨架和主要流线来串联记忆公园的各个功能和空间节点；以原位保留、换位保留、材料保留、外观保留、精神保留五大设计策略重新梳理和组织场地的工业遗迹；以或直观、或含蓄的景观设计手法桥接了场地的过去、现在和未来，同时满足了各类使用人群的需求。

关键词 

工业遗址改造；城市更新；观察；设计表达；城市公园

Abstract  

Observation and representation are the fundamental and core processes and methods in landscape design. By transforming a historical industrial site into an urban cultural park for citizens’ recreational needs, the Jinhua Memorial Park in the Suining City demonstrates how landscape designers observe and represent in post-industrial renewal practice. Designers continuously deepen their understanding of the site through a process from site observation and perception, research and exploration to systematic analyses. During this process, designers were inspired by the industrial production process and textile products, and then applied such concepts in spatial arrangement and prototype for physical renovation. As the skeleton of spatial arrangement, the main road of the campus connects various functional spaces and landscape nodes of the park. Five design strategies, including in-situ preservation, transposition retention, material reuse, appearance protection, and spiritual revitalization, are applied to protect and reorganize the industrial heritages to recall the past prosperous scenes. Landscape design approaches, intuitive or implicit, are adopted to tie up the past, present, and future of the site while making a park that meets the needs of all kinds of users.

Key words 

Post-Industrial Renovation; Urban Renewal; Observation; Design Representation; Urban Park

城市郊野公园的观察与思考——南昌红土遗址公园设计实践

Observation and Reflection of the Country Park — Nanchang Red Earth Heritage Park

作者：孙翀 SUN Chong

摘要

南昌红土遗址公园位于江西省南昌市近郊，定位为城市郊野公园。场地以成片的网纹红土和马尾松林为主。根据对场地的资料研读和实地踏勘，设计团队发现场地水土流失情况日渐严重，动植物群落单一，且受人工影响严重。考虑到场地本身已具备“红土”这一标志性符号，且造价受限，此次设计旨在打造一处低介入、低维护的城市郊野公园。通过地质科普、自然教育的方式使人们参与其中，并创造不同的互动体验。在此过程中，团队尝试从不同维度审视场地，不断梳理思路、完善设计。从站在宏观视角、跨越时间维度观察场地历年来的变化更迭，到通过微观层面的实地踏勘发现场地特质，建立与场地的对话与连接，最终呈现这处与自然和谐共处的城市郊野公园。

关键词 

城市郊野公园；网纹红土；观察；生态修复；低介入；自然体验

Abstract  

Located in the suburb of Nanchang City in Jiangxi Province, the Nanchang Red Earth Heritage Park is positioned as a country park that features vast vermicular red earth and Pinus massoniana forest. The off-site review and on-site exploration suggested that the site was confronting with problems of severer soil erosion, biodiversity loss, and intensive human intervention. Both to preserve the symbolic red earth in the site and to reduce cost due to limited budget, a country park requiring low intervention and maintenance was proposed. The park would also engage citizens with geological and scientific education programs and create diverse interactive experience. The design strategies were optimized through continuous site observation and reflection, both with historical and existing data in a broader sense and individual feeling by on-site exploration. This way of dialogue and connection to the site finally gives birth to a natural country park that stays in harmony with nature.

Key words 

Country Park; Vermicular Red Earth; Observation; Ecological Restoration; Low Intervention; Natural Experience

Íchni：欢乐建筑中的装置

Íchni: Devices for a Joyful Architecture

作者：王芷序 Isabella Zhixu ONG

摘要

建筑是否能够激发身体产生更为复杂的行为？活跃的身体往往处于愉悦状态，久坐会大幅减少我们与美好空间邂逅的机会。故而建筑应当激发人们积极参与其中的意识。

Íchni是一项有趣的探索，旨在研究空间装置如何通过互动技术激发身体的行动意愿，以及如何通过物理－数字系统促使身体与周边物体形成情感反馈回路。项目设计了一个嵌入了物理传感器的互动“舞蹈装置”，通过投射在幕布上的虚拟影像来追踪舞蹈动作的物理作用力，并将捕获的数据信息进行转译，再投射至原有环境中，以此来提高人们的行为意识，影响人们在这一生成的环境中的行为方式。

关键词

空间；运动；情感反馈；物理传感器；虚拟投影；互动；技术

Abstract

Can architecture prompt the body into more complex actions? An active body is a joyful body, and our sedentary behaviors are inhibiting the delightful encounters of spaces. Architecture should, in fact, inspire active and engaging experiences. 

Íchni is a playful exploration into how spatial devices can increase the body’s potential to act through the use of interactive technology; an investigation in generating affective feedback loops between surrounding objects and the body through a physical-digital system. Through developing “choreographic devices” — playable structures embedded with physical sensors — and a virtual projection overlay, the physical forces of movements are captured as data points, then translated and projected back into the environment, heightening the awareness of our actions to affect the manner in which we move through a generative environment.

Key words

Space; Movement; Affective Feedback; Physical Sensors; Virtual Projection; Interaction; Technology

视域策划——朝鲜半岛金刚山风景区景观规划设计

Curated Viewsheds — Landscape Planning and Design of the Mount Kumgang International Tourist Zone on the Korean Peninsula

作者：李玉寒 LI Yuhan

摘要

金刚山位于朝鲜半岛中东部临海区域，横跨朝韩边境，从古朝鲜时期起就是该地区的文化象征。由于朝鲜坐拥金刚山总面积的三分之二以及大部分自然风光和文化遗迹，因此整个金刚山风景区都位于朝鲜境内。为了调动金刚山丰富的地理及人文资源，回应朝韩人民渴望彼此了解的情感，笔者尝试利用视觉网络构建景区规划系统，为当地政府合理进行土地开发建设提供参考，为双边居民塑造欣赏金刚山风景的绝佳视野。面对文献不足、资料缺失、难以涉足场地进行实地调研等问题，笔者通过解读该片区的文化内涵，借鉴古代山水画《金刚全图》和“金刚山全景地图”（1939）中青绿山水和白描的描绘手法，结合电脑制图进行图面表现。同时引入了两种实体模型，以增强场地的可读性。最终，通过针对性的设计策略和深思熟虑的表现方式，为金刚山地区后续的开发建设提供建议。

关键词 

视域分析；景观规划；风景区；图像表达；文化景观

Abstract  

Mount Kumgang, located in the middle of the eastern coastal area of the Korean Peninsula, has been a cultural symbol of this region historically. It stretches across two countries, the Democratic People’s Republic of Korea (DPRK) and the Republic of Korea (ROK). The former enjoys two thirds of the total area and rich natural landscape and cultural relics, which is now known as the Mount Kumgang International Tourist Zone. The design responds to the bond of both DPRK and ROK people through design approaches while celebrating the rich natural and cultural resources of Mount Kumgang. By building a tourist zone planning system based on a visual network, the design would improve the sight-seeing system for the both sides of Mount Kumgang and provide references for the local government on the future development of the area. However, when faced with challenges such as the inadequacy of literature, missing data, and difficulties in field survey, the author explored into the Korean culture and studied the blue-and-green-color landscape painting and line drawing techniques from the famous Korean painting Geumgang Jeondo and the “Panorama Map of Diamond Mountain” (1939), combining with computer-generated graphics in the design drawing. Meanwhile, to help audience better read the site and design concepts and strategies, two types of material models were also introduced. Finally, the suitable design strategies and deliberated representation together provide thoughts for the development and construction to Mount Kumgang in the future.

Key words 

Viewshed Analysis; Landscape Planning; Tourist Zone; Graphic Representation; Cultural Landscape