园林中的自然景观
The Landscape within the Garden

由专筑网pilewyj，李韧编译

对于园林内的自然景观体现方式的研究由建筑历史学家 Lara Voerman和花园设计师Joost Emmerik共同策划。这是个设计与研究性项目，侧重探讨在有限的空间内的园林和公共空间的当地特色景观的表现形式。

The Landscape within the Garden is initiated and executed by architectural historian Lara Voerman and garden designer Joost Emmerik. It is a design and research project focusing on the representation of local landscapes within the confined space of gardens and public space.



在游历了丹麦、英国、意大利和德国等国家的园林景观之后，人们会发现，最富有诗意、最令人敬畏、最令人难忘的园林往往是视觉上和概念上都与当地特征紧密相连的景观。例如，丹麦在经过战争之后，当地的文化景观是园林和景观设计师激发灵感的来源。设计师在设计中抽象出典型农业景观元素，如篱笆、田野和森林，形成一系列具有让人感受到愉悦和思维逻辑性的园林和公园。战争带来的创伤也许来自入侵国家失去民族认同的恐惧，这些都成为体现民族文化景观设计构思的催化剂。

Garden tours through Denmark, England, Italy and Germany learned us that the gardens we found most poetical, formidable and memorable were often visual and conceptual strongly tied to the landscape of the country or region. In post war Denmark for example, garden and landscape architects turned to the Danish cultural landscape for inspiration. They abstracted the hedges, fields and forests of the typical agrarian landscape in their designs, resulting in a series of characteristic, logical and pleasant gardens and parks. The trauma of the war, the threat of loosing ones national identity to a foreign power, acted as a catalyst for designing with the national landscape as bearer of meaning.



在一个探索性的研究中，设计师研究了一个代表某种特定景观的历史国际设计家族。例如，Lawrence Halprin于1970年设计的爱尔兰共和军凯勒喷泉其实代表着该市东部的瀑布；1983年，Roberto Burle Marx将巴西丛林抽象为Raul de Souza花园，而2003年，Lodewijk Baljon则通过荷兰城市阿佩尔多恩的车站广场设计，将维卢附近的风景带到了城市中心。Gunther Vogt将莱茵河谷的自然景观融入到他2006年的瑞士苏黎世Novartis校园设计作品中。

是什么促使园林和景观设计师将设计理念的来源基于国家或地区最有意义的象征，是景观吗？设计师又是如何通过设计在现实场地中表达自然景观：小型化、抽象化或删繁从简？

A first exploratory research brought to light a historical and international family of designs which represented a specific landscape. The Ira Keller Fountain (1970) by Lawrence Halprin for example represents the falls east of the city. Roberto Burle Marx abstracted the Brazilian jungle to the Raul de Souza garden (1983), while the station square in the Dutch city of Apeldoorn (2003) by Lodewijk Baljon brings the nearby landscape of the Veluwe to the heart of the city. Gunther Vogt translated the natural landscape of the Rhine Valley to his design for the Novartis Campus (2006) in Zurich Switzerland.
What drives garden- and landscape architects to turn to one of the most meaningful symbols of a country or region: its landscape? And how do they realise this representation on site: by miniaturisation, abstraction or a cut-out?