《景觀設計學》2023年第4期

湄公河和西貢內河三角洲的抵抗力、韌性、水文環境及動態變化的地形學研究

Topographies of Resistance, Resilience, Bathymetrical Realities, and Dynamics of the Mekong and Sài Gòn-??ng Nai Deltas

作者：布魯諾·德·繆爾德，凱利·香農 Bruno De MEULDER, Kelly SHANNON

摘要

湄公河三角洲和西貢內河三角洲與大多數三角洲一樣，通常被認為是一個廣闊、相對平坦的動態水域，其特點是水體形態豐富多樣，生物棲息地眾多。在這種過于簡化的理解之下，古代和現代工程學為了在人造生產性和保護性景觀中建設抽象意義上的有序而靜態的景觀結構，將整個交錯群落區徹底轉變為干濕分明的區域，海拔和水濕條件的流動梯度也逐漸被固定的海拔高度所取代。大規模攫取式的單一耕作在帶來巨大收獲的同時，也造成了生態和生物多樣性的喪失，而且這種喪失在很大程度上是無法修復的。本文批判性地揭示了三角洲的歷史發展與其順勢地形之間的關系：如何利用地形來制定生產景觀、居住環境和基礎設施的發展規劃，以及如何將地形與宇宙世界觀和領土地緣政治聯系起來。通過案例研究，本文揭示了本土知識體系及實踐利用地形改造所進行的特定社會文化再生產。通常而言，邊緣地區的大量當地實踐要么逃脫了無情的“現代化”進程，要么在當地適應和／或巧妙地顛覆了強加的超秩序，體現了（對人類顛覆力和大自然地質力）強大的抵抗力和韌性。這些土地管理實踐案例的侵擾性和控制性各不相同，但都強調了三角洲仍然是一個在文化、宗教和生產上都因地形變化而產生微妙變化的地區。同時，三角洲的自然地貌和地形顯然具有不斷變化的內在特性——這既是一種天然的資產，也是一種脆弱的劣勢。

關鍵詞

微地形；沼澤；淤泥；水濕情況；越南；柬埔寨；湄公河和西貢內河三角洲；抵抗力；韌性

Abstract 

The Mekong Delta (across Cambodia and Vietnam) and the Sài Gòn-??ng Nai Delta (where Ho Chi Minh City is embedded), like most deltas, are typically considered a vast, relatively flat water-dominated and dynamic territory characterized by always evolving variations of wetness, multiplying by that multitudes of biotopes. Ancient and modern engineering developed with this overly simplified preconception and subsequently radically transformed the entire ecotones into sharp and categorical distinctions of wet and dry, primarily to create productive and protective landscapes for humankind within abstractly ordered and static landscape structures. Fluid gradients in elevation and humidity were systematically replaced by fixed elevations. Extractive monocultures on massive scales resulted simultaneously in gigantic harvests but also the loss of ecology and biodiversity that is largely irrecoverable. The paper critically unravels the historical development of the deltas in relation to their homeopathic topography: how its manipulation framed development agendas—of productive landscapes, of settlement, and of infrastructure—and was linked to both cosmological worldviews and territorial geo-politics. The micro-topographies of the deltas were significantly altered by the mighty Khmer Empire and Nguy?n Dynasty and since the 19th century by French and American occupiers and subsequently by Cambodians and Vietnamese projects. The paper utilizes several case studies to reveal that IKSP (indigenous knowledge systems and practices) have harnessed topographical manipulation for context-specific socio-cultural reproduction. A host of local practices, often in peripheral geographies, has either escaped the relentless “modernization” process or locally adapted to and/or intelligently subverted the imposed supra-order. There is a strong resistance and resilience (subversive by humans and geological by the forces of nature including sea level rise and subsidence) to imposed topographical manipulation. The cases, arranged from the least to the most intrusive and controlling land management practices, underscore that the deltas remain a territory that is culturally, religiously, and productively nuanced by topographical transformation. At the same time, there is clearly an innate, ever-changing nature of deltaic physiography and topography, which is simultaneously an asset and a vulnerability.

Keywords

Micro-Topography; Quagmire; Mud; Degrees of Wetness; Vietnam; Cambodia; Resistance; Resilience

中國傳統園林假山營造的地形學理解

Topographical Understanding of Artificial Mountain Making in Traditional Chinese Gardens

作者：顧凱 Kai GU

摘要

中國傳統園林假山是特色鮮明的一類地形造景內容，但在當代景觀理論視野中尚未得到深入而有效的探討。本文從地形學的視角分析典型的中國傳統園林假山營造，依據戴維·萊瑟巴羅關于建筑與景觀營造文化中地形特征的理論結構認識，從形態、空間、時間三個方面探討假山的地形造景理論。對于假山景象形態的營造，山、水二者的脈勢都是關鍵考慮對象；對假山的空間體驗，可從靜、動兩方面關注山境的安排；假山中的時間經營也是重要方面，無論景物自身還是游人體驗都應關注山水在時間維度的生機活力。從而更深刻地認識假山的地形造景藝術，并對當代中國風景園林學科的理論與實踐做出積極貢獻。

關鍵詞

中國傳統園林；假山營造；地形學；形態；空間；時間；勢；境；活

Abstract 

The artificial mountain in traditional Chinese gardens as a kind of topographical landscape features has not been deeply and constructively studied in contemporary landscape theories. This paper analyzes the typical artificial mountain making in traditional Chinese gardens from the perspective of topography, and discusses about the landscaping concepts in three aspects—form, space, and time—according to the understanding of the characteristics of topography in architecture and landscape culture proposed by David Leatherbarrow. For the making of form, the dynamism of both mountain and water is the key consideration. For the spatial experience, it should focus on the arrangement of mountain “realm” in both stillness and motion states. Time management is also important, and both the scenery itself and the experience of visitors should pay attention to the vitality of the mountain and water over time. This paper will help us understand the topographical landscaping art of artificial mountain better, contributing to the theory and practice development of Landscape Architecture in contemporary China.

Keywords

Traditional Chinese Gardens; Artificial Mountain Making; Topography; Form; Space; Time; Dynamism; Realm; Vitality

地形學是景觀設計的基礎——對話凱倫·麥克洛斯基與基思·范德賽

Topography as the Groundwork for Landscape Design—Interview With Karen M’Closkey and Keith VanDerSys

作者：凱倫·麥克洛斯基，基思·范德賽 Karen M’CLOSKEY, Keith VANDERSYS

摘要

對地形的感知與理解不僅是景觀設計師的工作基礎，也是景觀建造實踐中的一個核心問題。在本次訪談中，兩位資深學者——來自美國的凱倫·麥克洛斯基與基思·范德賽深入探討了景觀設計學中地形測繪的理論基礎與發展歷史、圖析對景觀設計師觀察場地與開展設計的影響、新興導航與傳感技術在理解與設計景觀中的作用，以及運用先進的數字媒體豐富景觀設計呈現形式的方法。最后，他們還分享了如何指導學生進行現場勘察并將之轉化為設計的教學經驗。

關鍵詞

地形學；圖析；地形塑造；地理參照數據；數字媒體工具；遙感；環境媒體

Abstract 

Perceiving and understanding topography is not only fundamental for landscape architects, but also a core issue in landscape construction practice. In this interview, two prominent scholars, Karen M’Closkey and Keith VanDerSys, offer their insights about the theoretical and historical foundations of topography in landscape architecture, the influence of mapping on landscape architects’ site observations and design actions, the role of new navigation and sensing technologies in understanding and designing landscapes, and the enriched visualization methods for landscape design by advanced digital media. Finally, they also share their teaching experience in training students about site surveying and its translation into design responses.

Keywords

Topography; Mapping; Land-forming; Geo-referenced Data; Digital Media Tools; Remote Sensing; Environmental Media

基于空間的景觀場地認知：景觀設計基礎課程的教學理念與方法探討

Space-based Landscape Site Perception: Teaching Principles and Methods for the Basic Course of Landscape Architecture

作者：劉京一，陳崇賢 Jingyi LIU, Chongxian CHEN

摘要

以景觀場地的認知取代抽象的構成訓練正在成為景觀設計基礎課程教學的重要趨勢。然而，如果缺乏易于切入的關注對象、易于理解的設計意義和針對設計學習的練習方法，場地認知練習可能難以實現基礎課程的目標?；诶碚摲治龊徒虒W實踐，本文試圖深入探討場地認知的設計意義、關注對象和練習方法。本文認為，由于景觀設計源于對場地特質的感悟和調動，對景觀場地的體驗需要先于造型訓練，成為設計學習的基礎。以人為尺度的空間實現了要素、結構、過程與感受的連接，且更易感知、表達和設計，因而適合作為基礎教學中場地認知的主要對象和切入點。本文介紹了5種景觀場地的認知與表達方法，包括空間速寫、剖面序列、譜記、草圖模型和空間結構圖析。這些方法為場地認知提供了可視化、可操作的載體，同時也包含了初步的設計思維訓練，可為場地認知在景觀設計基礎教學中的實施提供參考。

關鍵詞

景觀設計；基礎課程；場地認知；構成；空間表達；教學理念與方法

Abstract 

Replacing abstract form-making training with the perception of landscape site has been an important trend in the basic course of landscape architecture. Based on theoretical research and the authors’ teaching practice, this article aims to explore the significance, objects, and methods of site perception training. The authors argue that because landscape design is stemmed from the perception and interpretation of site characteristics, experiencing landscape sites must precede form-making training to become the foundation of design learning. Human-scale spaces that concern elements, structure, processes, and feelings for perception, representation, and design would be a suitable object of focus and the starting point for site perception training in basic courses. Five methods for landscape site perception and representation are introduced then, including sketch of space, sequential sections, notation, sketch model, and spatial structure mapping. These methods provide a visualized and operable pathway for site perception, which also involve preliminary design training, offering a reference for the teaching of site perception in basic courses of landscape architecture.

Keywords

Landscape Design; Basic Course; Site Perception; Composition; Spatial Representation; Teaching Principles and Methods

高山上的房子——“景觀建筑”中三種不同的地形學方法

A Building Rising From the Hilltop—Three Topographical Approaches to Building in a Landscape

作者：唐克揚 Keyang TANG

摘要

位于中國西南邊陲的“高山上的房子”項目是一次建筑借助景觀的“寫作”——建筑本身缺乏語境，是“自然”讓項目所在的城市得以成立，也讓項目自身得以充滿意味。從自然地形到人工地形、到再塑造的地形，本文討論了一個特殊的建造項目中包含的三種不同的景觀－建筑議題，也就是單體建筑項目需要尋求與廣義的歷史－環境的上下文之間的精準聯系，需要尋求建筑學原則和工程實際的平衡點。人工構筑物和地形的最初關系可能是互相脫離甚至有所沖突的，建筑學方法試圖協調不同尺度和不同功能的訴求。最終，在不尋常的建筑和景觀語境之間，使用建筑的人們將走向兩者間開放和有效的對話。

關鍵詞

景觀－建筑；地形；地形學；攀枝花；山地建筑；語境

Abstract 

This essay writes on a building project in the remote southwestern China that is built in uninhabited and is inspired and informed by its landscape context. The essay discusses how an extraordinary building project reacts to three different dimensions about landscape–architecture—a natural terrain being manipulated and recast. A small building needs to find its precise connecting point to a much larger historical and environmental context. A practical project needs to reach a balance between architectural pursuits and engineering concerns. Initially, artificial works might be isolated from and in conflict with the terrain, which requires architectural approaches to reconciling the demands at different scales and of functions. Finally, people who use the building will move forward to an effective and open dialogue between architecture and its landscape settings.

Keywords

Landscape–Architecture; Terrain; Topography; Panzhihua City; Mountainous Building; Context

孫筱祥與勞倫斯·哈普林的文化邂逅

Cultural Encounters of Landscape Architects Xiaoxiang Sun and Lawrence Halprin

作者：慕曉東，朱育帆 Xiaodong MU, Yufan ZHU

摘要

“從自然到自然”是景觀設計的主要目標，前者是觀念維度上的自然，即，景觀設計師把自然視為創作原型；后者是體驗維度上的自然，即，景觀設計師希望通過景觀營造使人感知自然氛圍；實現兩種自然狀態之間的轉化指的便是景觀設計過程，同時景觀的物質形式也誕生于此。因此，本文研究的議題有三：1）作為造景理論的原點，自然扮演著什么樣的角色；2）作為觀念的自然又如何推動景觀設計的賦形；3）景觀營造又具有何種與自然有關的審美體驗。本文聚焦于兩位世界級別的風景園林大師孫筱祥和勞倫斯·哈普林，在比較文化的視域下，從對自然的觀念及再現、造景賦形的內在機制、景觀營造的自然體驗三方面內容深度剖析兩位哲匠的理論和作品，旨在兩位大師之間差異與共性的雙向對話中，進一步探索當代景觀設計理論的發展方向。

關鍵詞

景觀設計；自然觀念；再現；賦形；體驗；審美；風景園林

Abstract 

“From nature to nature” is the major goal of landscape design. The former is the idea of nature, i.e., landscape architects regard nature as the archetype of design; the latter is the experience of nature, i.e., landscape architects hope people can perceive the natural atmosphere through designed landscape. In this sense, the transformation from idea to experience of nature refers to the process of landscape design, which materializes landscape. According to this, this article focuses on the following topics: 1) what role does nature play as the origin of the landscape design theory; 2) how does nature as an idea promote form-giving in landscape design; and 3) what aesthetic experience does designed landscape create. This article draws on two influential landscape architects, Xiaoxiang Sun and Lawrence Halprin, and analyzes their theories and works from the perspective of comparative culture, including the idea of nature and its representation, the inherent mechanism of form-giving in landscape design, and the experience created by designed landscape. It aims to explore the intellectual potentials for contemporary landscape architecture theory through comparing the discrepancies and similarities of the two masters’ paths of landscape design.

Keywords

Landscape Design; Idea of Nature; Representation; Form-giving; Experience; Aesthetics; Landscape Architecture

與植物世民為伴：從植物人文倡議到植南門市部

Be Kin With the Plant Inhabitant: From Plant Humanities Initiative to Plant South Salesroom

作者：江垚 Yao JIANG

摘要

植物人文研究起源于環境人文領域。得益于美國敦巴頓橡樹園研究圖書館于2018年設立的一項倡議，植物人文研究首次作為一個跨學科領域進入大眾視野。同為有機生命體，植物身上兼具生物和文化屬性，具有重要的社會文化意義。本文回顧了筆者在2020年植物人文暑期項目中邂逅植物人文研究、開展植物敘事研究，并回到中國聯合發起“植南門市部”行動團隊來推廣“以植物為重”的理念的經歷。為摒棄根深蒂固的植物盲癥、開啟科學與人文研究之間的潛在對話，該團隊將植物人文研究本地化，并提出了更符合中文語境的“植物世民”一詞。

迄今為止，植南門市部以研究為基礎，結合文化內容創作和傳播，已經在中國多個城市的本地文化空間開展了形式多樣的公眾參與實踐活動：通過“植物行走”帶領參與者在城市中漫游，對植物進行觀察，并輔以植物人文相關的講解與討論；以擊鼓傳花的形式進行“植物訪談”，收集并分享大家在日常生活中和植物之間的故事；與本地文化空間合作，設立流動的“本地植物郵局”，邀請人們寫下自己的植物故事，并進行社交媒體和線下展覽的分享；還以“植物小報”的形式發表植物人文研究成果。參與者們開始通過這些活動欣賞植物的“原貌”，并逐漸建立與“植物世民”的伙伴關系。與此同時，公眾的參與反饋和植物視角下的研究洞察也極大地豐富了現有的植物人文研究。

關鍵詞

植物人文；以植物為重；植南門市部；植物世民；本地實踐

Abstract 

Emerging from the discourse of environmental humanities, plant humanities debuted at Dumbarton Oaks in 2018 as an interdisciplinary field. As living species, plants possess both biological and cultural attributes, holding unparalleled socio-cultural significance. This article recollects the author’s journey of encountering plant humanities in the 2020 Plant Humanities Summer Program, and co-initiating an action group in China, Plant South Salesroom, to promote the burgeoning plant-matters idea among wider audience. Plant South Salesroom raised the phrase “Zhiwu Shimin” (植物世民, Plant Inhabitant) to get rid of the ingrained plant blindness and open potential dialogues between scientific and humanities studies. It makes the modified research framework of plant humanities more accessible. Rooted in the plant humanities studies, Plant South Salesroom has conducted diverse public-engaged practices at local cultural space, combined with culture-oriented creation and spread. The activities of Plant Walk, Plant Life Interview, Local Plant Post, and Plant Tabloid facilitate the participants start to appreciate plants in the original form and be kin with them. Reciprocally, the feedback received during the practices and the insights captured under the perspective of plants also enriched the existing plant humanities studies.

Keywords

Plant Humanities; Plant-Matters; Plant South Salesroom; Plant Inhabitant; Local Practice