定位当代景观设计在中国.doc

Positioning Contemporary Landscape Architecture in China 定位当代景观设计在中国In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. 在工业化和城市化的进程施加多个前所未有的挑战的时代，园林建筑，现已在中国发生变化的边缘。 现在是时候让这个行业采取的很好的机会，摆正自己的位置，以重建桃花源为城市化，全球化和相互联系的人们一个新的社会中发挥的关键作用。The role of agriculture has declined in Chinas urban-centered economy, along with the skills and the art of agricultural cultivation and stewardship. This process began with the classical scholar garden art from thousands of years ago, and has now spread to civic art and landscape design. Land design, once the kings art, has descended into the realm of the trivial. 农业的作用有所下降，中国城市为中心的经济，随着技能和农业种植和管理的艺术。 这个过程开始于从几千年前的古典学者园林艺术，现在已经蔓延到民间艺术和景观设计。 土地的设计，曾经的王者的艺术，已经陷入琐碎的境界。 We see thousands of landscape architects compete for a tiny piece of land in the city. Simultaneously, our rivers run dry and polluted, underground water continues to drop every day, and in the north sand storms are affecting the areas arable land. Each year, the processes of urbanization and materialization lure one percent (approximately 13 million people) of the Chinese population to abandon their Land of Peach Blossoms and rush into the city. This process has expanded urban boundaries and encroached on agricultural land. 我们看到成千上万的景观建筑师在城市争夺这块小小的土地。 同时，我们的河流干涸和污染，地下水持续下降每一天，并在北方沙尘暴正在影响该地区的耕地。 每年，城市化和物化的诱惑中国人口的百分之一（约13万人）的过程中放弃桃花源他们的土地和涌入城市。 这个过程已经扩大城市边界和侵占农业用地。 The sacred Feng Shui forests have been cut and replaced with ornamental flowers. The grave yards of our ancestors have been leveled and their remains abandoned or removed to the planned cemeteries. Ponds outside the former villages have been filled, and whole settlements wiped out and replaced with glorious exotic stylish walled communities. The meandering country roads are being replaced with six-lane motorways and a baroque axes. In the late 1980s and early 1990s, the Chinese began to work toward city beautification campaigns, in line with the new socialist countryside campaign launched by the central Chinese government. This has placed Chinese landscape planning at the forefront of an important precipice: there exists the danger of losing ecological integrity, cultural identity and historical heritage, while the great opportunity also exists to create a new relationship between the land and the people in the current era. 神圣的风水林被砍伐和观赏花卉更换。 我们祖先的坟墓码已夷为平地，他们的遗骸被遗弃或删除已计划的墓地。 前者村外的池塘已经排满，而且整个定居点消灭了，与辉煌的异国情调时尚的围墙的社区所取代。 在蜿蜒的乡村道路被替换为六车道高速公路，巴洛克轴。 20世纪80年代末90年代初，中国开始对城市美化运动，工作，与“社会主义新农村”活动由中国中央政府发起行。 这给中国的景观规划在一个重要的悬崖的最前沿：存在丧失生态完整性，文化认同和历史遗产的危险，而巨大的机遇也存在创建于当今时代的土地和人民之间的新关系。65 percent of Chinas 1.3 billion population will live in cities in the coming 20 years (the present rate is 40 percent). Two thirds of the 667 cities lack sufficient water, and not a single river in the urban and suburban areas runs unpolluted. Thousands of dams criss-cross nearly all rivers in this country. 65中国13十亿人口将生活在城市，在未来20年（按照现在的速度是40）。 三分之二的667个城市中缺乏足够的水，在市区和郊区不是一个单一的河流运行未受污染。 数以千计的水坝纵横交错，几乎所有的河流在这个国家。Environmental destruction 环境破坏More than ever, the broader population is exposed to disastrous natural forces, as demonstrated by Chinas numerous floods and droughts each year. In the north, desertification is causing a crisis. Each year 3436 square kilometers of land is being turned into desert, and this figure is continually increasing. At present, the total area of desertification accounts for about 20 percent of the whole country, and each year about 5 billion tons of soil erodes into the ocean. Statistics shows that in the past 50 years in China, 50 percent of the nations wetlands have disappeared, and 40 percent of the surviving wetlands have been polluted. The under ground water level drops every day. In Beijing for example, the overuse of underground water is 110 percent, and each year the water level drops by one meter. 与以往相比，更广泛的人口面临灾难性的自然力量，因为每年证明了中国的众多水灾和旱灾。 在北方，荒漠化造成的危机。 每年3436平方公里的土地正在变成沙漠，而且这个数字还在不断增加。 目前，荒漠化总面积占全国的20左右，每年约5十亿吨土壤结构的侵蚀进入海洋。 统计数据显示，在过去50年在中国，全国湿地的50已经消失，而40的生存湿地被污染。 下地下水水位下降的每一天。 以北京市为例，地下水的过度使用是110，而且每年水位下降了一米。There are economic costs to this environmental destruction. While the GDP growth rate in the past twenty years is impressive in most Chinese cities, the annual loss caused by the environmental and ecological degradation is now between seven and twenty percent of the GDP. This is equal to, or even higher than, annual GDP growth rate. Can we survive the speedy deterioration of the environment and ecology? 有经济成本，这对环境的破坏。 而GDP增长率在过去的二十年是令人印象深刻，在大多数中国城市，所造成的环境和生态恶化的年度亏损，现在七至百分之二十的国内生产总值。 这等于，或大于，全年GDP增长率甚至更高。 我们可以生存的环境和生态的迅速恶化？Chinas rapid and often chaotic socio-cultural transformation that started in the 1980s is causing a crisis of national and cultural identity. Traditionally, Chinese national identity was based on the feudalistic social and political order of the dynasties. In fact, when we look at the architectural hallmarks of China even in 2006, most sites listed as national and world heritages are products of feudalism, the imperial era, and the scholar-official culture. While we do not deny past achievements, we do need to ask ourselves whether this style represents our national cultural identity today. 中国的，在20世纪80年代开始迅速和经常混乱的社会文化转型是导致民族和文化认同的危机。 传统上，中国的民族认同是基于朝代的封建社会和政治秩序。 事实上，当我们看中国的建筑特点，即使在2006年，大多数的网站列为国家级和世界遗产是封建主义，帝国时代，士大夫文化的产品。 虽然我们不否认过去的成就，我们需要问自己这种风格是否代表了当今我国文化身份。This identity crisis is particularly obvious in the area of urban design. When a French designer places his own masterpiece (the National Grand Opera House) into the center of Chinas capital to realize his own dream, or when the majestic but dysfunctional Central TV Tower is built only for the power to bewitch (Daniel Burnham), we must, as designers, ask ourselves what are we trying to show the rest of the world? Torn between its own imperial past and todays Westernization, what is Chinas identity? These are important broader questions for Chinas landscape architects to consider.这种认同危机尤为明显在城市设计领域。 当一个法国设计师把他自己的杰作（国家大剧院），成为中国首都的中心，以实现自己的梦想，或当雄伟的，但不正常中央电视塔建成只为“权力蛊惑”（丹尼尔伯纳姆），我们必须作为设计师，问自己，什么是我们想要向世界展示的休息吗？ 自己的帝国的过去和今天的西化之间徘徊，什么是中国的身份？ 这些都是中国的景观设计师要考虑的重要问题更广。The challenge of cultural identity 文化认同的挑战 The third challenge is the loss of our spiritual homeland, where our soul rests and our life is devoted to making our existence meaningful. My grandmother once told me that when a tree grows old, it becomes a spirit, and other spirits will inhabit the old tree. The same is true of the fish, a snake or a bird and other animals. a rock lying outside our village for a long time will becomes a spirit. This is also true for streams, ponds, hills and the land itself. Our grandfathers built temples to shelter and worship our ancestors, the wise men of the past and the religious spirits for our own welfare. We used to believe these spirits protected our earthly life, and our future would depend on their judgment. Life was meaningful because of these spirits. 第三个挑战是我们的精神家园，我们的灵魂在于，我们的生活是致力于使我们的生存有意义的损失。 我的祖母曾经告诉我说，当一棵树变老，它成为一种精神，和其他烈酒会栖息在一棵老树。 同样是鱼，蛇或一只鸟和其他动物也是如此。 石头躺在我们村外的时间长了就会变成一种精神。 这也是真正的溪流，池塘，丘陵和土地本身。 我们的祖父建造的寺庙，以住房和崇拜我们的祖先，过去的智者和宗教精神对我们自己的福利。 我们曾经相信这些精神保护我们的尘世生活，我们的未来将取决于他们的判断。 人生是因为这些精神的意义。 40 million farmers have lost their land in the past few years, with an annual increase of two million. Where do they belong and where is their spiritual homeland? The bankruptcy of the former state-owned factories has left more than 21 million workers jobless. How much will they have to suffer spiritually for those who were educated to regard their factory as their homes? 4000万农民失去土地，在过去几年中，随着两百万，每年增加。 他们在哪里属于哪里是他们的精神家园？ 原国营工厂的破产已经离开超过21万工人失业。 多少，他们将不得不在精神上遭受那些谁被教育要“把他们的工厂作为他们的家园”？ The trend toward materialism is taking over China at a rapid rate, just as in other regions in the world. This trend also dominates real estate development. The Dragon Hills (sacred hills) that protected numerous villages in rural China have been bulldozed. Meaningful and sacred streams and ponds outside the villages have been filled or channeled in the name of flood control. The old camphor tree with its tree spirits has been pruned and sold for the beautification of boulevard. Landscapes have become commercialized. Gradually, we have lost our spiritual connection to our land and to the world beyond this earthly one. 对唯物主义的趋势是接管中国以极快的速度，就像在世界其他地区。 这种趋势也占主导地位的房地产开发。 龙山（神山）的保护在中国农村许多村庄已被推土机推平。 有意义的和神圣的溪流和池塘的村庄外面已经被填满或渠道防洪的名称。 其树灵的老樟树已被删节和销售的林荫大道的美化。 景观已成为商业化。 渐渐地，我们已经失去了我们的精神连接到我们的土地和超过这个尘世是世界。 In the face of environmental and ecological degradation, loss of cultural identity and the erosion of our spiritual connection to the land, the mission of contemporary landscape architecture is to bring nature, man and the spirits together again, to create a new Land of Peach Blossoms in an urbanized, globalized and industrialized era. How can landscape architecture play a major role in fulfilling this mission? The simple argument is that landscape is a medium upon in which various natural, cultural and spiritual processes interact. Landscape architecture is possibly the most legitimate profession among those dealing with our physical environment to work toward recovering our cultural identity and rebuilding the spiritual connection between the people and their land. The strength of landscape architecture lies in its intrinsic association with natural and its root in agricultural tradition, evolved from local systems over thousands years. 在环境和生态恶化，文化身份的丧失，我们的精神联系到土地的侵蚀面前，当代景观设计的任务是把自然，人与鬼神再一起，打造桃花源新的土地在一个城市化，全球化和工业化的时代。 怎样才能园林建筑起到履行这一使命的重要作用？ 简单的说法是，景观是在一个介质中各种自然，文化和精神的进程交互。 景观建筑可能是在那些涉及我们的物理环境，对恢复我们的文化身份和重建人与土地之间的精神联系工作最合法的职业。 园林建筑的力量在于它与自然的内在关联及其在农业传统的根，从本地系统发展了几十年。The mission of landscape architecture 景观设计学的使命First and foremost, if landscape architecture is to establish itself as a profession that safeguards humanity and brings together the land, the people and the spirit, it should reconsider its origins. We must recover its root as the kings art of survival, land design and land stewardship, and not as an art of entertaining and gardening. More than half a century ago, educator and landscape architect, Hideo Sasaki commented: The profession of landscape architecture stands at a critical fork in the road. One fork leads to a significant field of endeavor contributing to the betterment of human environment, while the other points to a subordinate field of superficial embellishment. Unfortunately, except for some rare cases, landscape architecture in the past decades has been biased toward a subordinate field of superficial embellishment. We could have taken a more important role in some of the most pressing environmental issues including flood control and water management, the protection of biodiversity and cultural heritage, urbanization and land resources management. 首先，如果景观设计是将自己打造成为一个专业，保障人类和汇集之地，人民的精神，它应该重新考虑它的起源。 我们必须恢复其根为生存，土地设计和土地管理国王的艺术，而不是作为一种艺术的娱乐和园艺。 超过半世纪前，教育家和景观设计师，佐佐木英夫说：“景观设计的专业矗立在道路的关键叉子叉一个通向努力促进人类生存环境的改善的显著领域，而其他点肤浅点缀的下属领域。不幸的是，除了一些罕见的情况下，在过去几十年园林建筑已经偏向肤浅点缀的下属场“。 我们可以采取一些最紧迫的环境问题，包括防洪和水资源管理，生物多样性的保护和文化遗产，城市化和土地资源管理更加重要的作用。 One of the most important reasons for landscape architectures weakness in addressing major environmental issues is that the profession is still associated with the ancient tradition of gardening. The rich heritage and overwhelming literatures about gardening and garden art did not help landscape architecture to emerge as a modern discipline. It is time to declare that landscape architecture is not a direct decedent of garden art, but a product of the survival skills of our ancestors who had to endure a changeable environment, ensuring a safe place away from floods and enemies, while surviving by leveling the land, planting and irrigating crops, and saving water and other resources for sustaining the family and the people. Landscape architecture works on a larger and more significant scale than the field of garden arts. 其中在解决重大环境问题园林建筑的弱点最重要的原因是，这个行业仍与园艺的古老的传统有关。 丰富的文化遗产和有关园艺及园林艺术压倒性的文献并没有帮助园林建筑，以成为一个现代化的纪律。 现在是时候宣布，景观设计是不是园林艺术的直接继承人，而是我们祖先的生存技能谁不得不忍受一个多变的环境，确保安全的地方，远离洪水和敌人，同时通过练级尚存产品土地，种植和灌溉作物，节水和其他资源对维持家庭和人民。 风景园林作品在一个更大，更显著的规模比园林艺术领域。 Since the appearance of the first imperial and intellectual gardens in China, as well as in other countries, landscape design and gardening had become synonymous with the art of creating the exotic and the grand, and being different from the common landscape and living environment. This can be well illustrated by the Chinese Imperial Garden of Shanglin Yuan of more than two thousands years ago, which features exotic plants and animal species. Another example is the intellectual gardens of South Chinas Suzhou, which represented spectacular and exotic scenic spots using rocks and water, and the imperial Grand View Gardens of the 17th century, was a collecting of gardens from south China. In this sense, there is virtually no difference in the western Culture, as reflected in the English gardens that collect exotic ornamental species from China, and Versailles that were created as a paradise in the sea of chaotic vernacular landscape. 由于第一帝国和智力园林在中国，以及在其他国家的出现，景观设计和园林已成为代名词，创造了异国情调和盛大，并成为从普通的景观和生活环境不同的艺术。 这可以通过两个以上的数千上林苑的中国皇家园林年前，设有异国情调的植物和动物物种得到很好的说明。 另一个例子是南中国的苏州，占利用岩石和水的壮观和异国情调的风景名胜区，17世纪的帝国大观园的知识产权花园，是由中国南方园林的收集。 在这个意义上说，几乎在西方文化没有区别，所反映的英式花园收集外来观赏树种来自中国和凡尔赛宫被创建为在海上天堂“乱白话的景观。” The overwhelming city beautiful movement in China, as inherited from the United States, also has its own city gardening origin, but is an extension of the decorative, cosmetic and exotic search. For more than two thousands years, the art of landscaping has lost its way in searching for senseless style, meaningless form and exotic grandeur. Landscape gardening has for a long time been limited to the elite class, including city dwellers who do not care about the survival of the common people struggling with flood and draughts, year after year. 在中国铺天盖地的“城市美化运动”，作为来自美国的继承，也有自己的“城市园林”出身，但就是装饰，化妆品和异国情调搜索的延伸。 超过两千年，美化的艺术已经迷失了方向在寻找无意义的风格，无意义的形式和异国情调的气派。 园林景观已经很长一段时间被限制为精英阶层，包括城市居民谁不关心老百姓一年后与洪水和草稿，今年挣扎生存。 For a long time, greenbelts and green wedges were seen as element providing landscape structures to stop and prevent the everlasting sprawl; and they were planned in comprehensive master plans. Current evidences show that these greenbelts and wedges dreams have failed. Some of the major reasons include: (1) They are usually planned artificially and arbitrary, and lack the intrinsic relationship between the green elements and the living earth system; (2) They are not use by residents, due to the lack of accessibility and connectivity between green space and housing projects, and so on. (3) They usually function only as barriers to stop the urban sprawl processes, and lack various functions, such as flood control, creational use, heritage protection, and habitat protection; (4) They quickly become development opportunities when pressures on the peripheral increases; (5) They are impossible to administer and safeguard in a metropolitan region that is fragmented into myriad local governments, cutting across greenbelt and wedge jurisdictions. 长期以来，绿地和绿色楔子被视为元素提供景观结构，以制止和防止永恒的蔓延; 他们也计划在全面总体规划。 目前的证据表明，这些绿化带和楔形梦想以失败告终。 一些主要的原因包括：（1）它们通常是人为策划和武断，缺乏绿色的元素和生活地球系统之间的内在关系; （2）他们不被居民使用，由于缺乏绿地和住宅项目之间的可达性和连通性，等等。 （3）他们通常只作为屏障，以阻止城市蔓延的过程，缺乏各种功能，如防洪，造物利用，遗产保护和栖息地保护; （4）他们很快成为发展机遇时，对周围增加压力; （5）他们是不可能来管理和保障被分裂成无数地方政府都会区，跨越绿地和楔形辖区切割。 The search is on for a more differentiated, fine-grain ecological integration model that can be envisioned, implemented and managed on all scales. As a consequence the ecological planning approach has risen to prominence again typically under the flag of lan McHargs Layer model, which tries to provide land-use planning a sound ecological basis. 搜索是对可以设想，实施，并在所有尺度管理更加差异化，精细的生态整合模式。 其结果是生态规划方法已经上升到突出又通常在局域网麦克哈格的图层模式，它试图提供土地利用规划良好的生态基础的标志。 Under this framework, time is visualized as a string that links, and as a tool that enables understanding and vertically integrates, different layers of physical, and finally what is on top, the most resent layer of cultural processes. These include the earliest geological processes, soil processes, vegetation processes, and finally whats on top, the most recent layer of the cultural processes. It is a vision of progress - of natural evolution based on the intrinsic values of a specific site. The core for this model of ecological planning is that fitting can best plan urban development. With the maximum fitting of the land use pattern to the intrinsic values on the earth, the best development pattern can be achieved. 在此框架下，时间被形象化为一个字符串，它的链接，并作为一种工具，使理解和垂直整合，身体不同的层，最后是什么“上面”，最反感文化过程层。 其中包括最早的地质过程，土壤过程，植被的过程，最后什么是“顶部”，最近的文化过程层。 它是进步的愿景 - 基于特定站点的内在价值自然进化的。 核心的生态规划的这个模型是拟合最能规划城市发展。 与土地利用模式，以地球上的内在价值的最大拟合，最佳的发展模式得以实现。Horizontal and vertical processes 水平和垂直的流程The two models, namely the conventional urban growth model and the ecological planning model, are incompatible. One of the obvious reasons for this incompatibility is that the conventional urban growth is often a horizontal process, while the ecological suitability analysis is essentially a vertical process. Green space based on the layering model can not only protect the horizontal ecological processes, such as species movement in the system, it may actually become attractor for intensive urban development .The economic value of the land surrounding this green space will increase and development may eventually encroach. The development of landscape ecology, which focuses on landscape patterns, horizontal processes and change, provides the fundamentals for setting up a green infr