景觀中的藝術(shù) - 藝術(shù)中的景觀 - 歐林事務所設(shè)計理念和精選作品 - 圖文-

1、景觀中的藝術(shù),藝術(shù)中的景觀歐林事務所設(shè)計理念和精選作品ARTINTOLANDSCAPE,LANDSCAPEINTOART:IDEASSUBSTANTIATEDBYTRADITIONEXPERIENCEAND SELECTIONSFROMTHEWORKOFOLINPARTNERSHIP露辛達桑德斯/LucindaR.Sanders 房麗敏譯/TranslatedbyFANGLimin“藝術(shù)具有穿透人類靈魂的能力,在創(chuàng)造的同時重新認識其本身。因此,藝術(shù)代表它的創(chuàng)作者對生活最深的理解和最高的渴望。在此同時,藝術(shù)家們還充當著演說者的角色,用流行的形式表達出我們共同篤信的人生信仰和價值。一項杰作,或者說

2、一件藝術(shù)作品,能夠幫助我們更進一步地了解生命,同時又把我們深深地打動。另外,藝術(shù)可以經(jīng)受最嚴格的檢查和時間的考驗?！痹诿绹木坝^建筑實踐中,藝術(shù)天分和對藝術(shù)的理解,對建筑師是來講并不是典型的預備條件。在很多學校,藝術(shù)和繪畫課程已經(jīng)被“媒體”課程所替代,強調(diào)的重點從對藝術(shù)、歷史、理論和再現(xiàn)意義的理解轉(zhuǎn)為對計算機技術(shù)的掌握。我認為,我們的專業(yè)能力因為這種教育缺陷而受到限制。作為建筑實踐者和景觀建筑的學術(shù)評論者,我總結(jié)出,如果建筑師沒有對幾百年的藝術(shù)有所理解的話,他不可能在專業(yè)方面做出智慧的創(chuàng)新。景觀中的藝術(shù)比特之弓”置入到1hm 2(2.5英畝的濱水公園當中。將藝術(shù)品擺放到景觀中去并不代表整個的景

3、觀建筑項目被提升到藝術(shù)的高度,但與藝術(shù)家敏感而仔細地合作,有利于景觀建筑師在形式上及概念上將藝術(shù)和景觀融為一體。將藝術(shù)作為靈感歐林事務所將藝術(shù)融入景觀的另一種方法是將藝術(shù)家的思想和視覺表現(xiàn)力作為理論啟發(fā)。在舊金山市恩巴卡德羅大樓建造了屋頂餐廳花園,人們可以一面就餐,一面欣賞舊金山市中心區(qū)的景觀和海灣風景。這一花園的設(shè)計來源于蒙特里安的兩幅畫,蒙特里安的作品是德斯太爾抽象畫派最重要的代表作之一,他的這兩幅畫中,其一是以源色為創(chuàng)作基調(diào)的紅黃藍合奏曲;其二是完全用動態(tài)的水平和垂直線條來表現(xiàn)的。受建筑結(jié)構(gòu)的限制,花園具有近似二維空間的特性。這一特性與蒙特里安繪畫的風格相一致應用幾何形體簡潔的矮墻細部設(shè)

4、計,以及由石頭、混凝土和青銅材 2作者介紹:歐林事務所主管,賓夕法尼亞大學景觀建筑與區(qū)域規(guī)劃客座教授收稿日期:2003-01-30摘要:一個人如果僅僅具有創(chuàng)作性和知識,而沒有對歷經(jīng)數(shù)百年的偉大藝術(shù)的鑒賞能力,是很難把景觀設(shè)計得完美的。將藝術(shù)帶進景觀中有很多方法:最直接的是將一件藝術(shù)品擺放在景觀中;也可以在景觀設(shè)計中受藝術(shù)品的啟發(fā);還有將景觀作為藝術(shù)已經(jīng)創(chuàng)作。歐林事務所力圖賦予景觀以藝術(shù)品質(zhì)。文章針對不同景觀工程中對藝術(shù)的追求進行了描述。Abstract: Itisdifficultforindividualstopracticethe professionofLandscapeArchitec

5、turewell,with innovationandintelligence,withoutsomeappreciation ofgreatartthroughthecenturies.Therearemultiple vehiclesforbringingartintoalandscape.Mostobviously,thereisthephysicalplacementofaworkofartina landscape.Thereistheuseofartasinspirationfordesign;andfinally,theworkofthelandscapearchitectcan

6、be consideredasart.TheOlinPartnershipstrivestocreate landscapesthatqualifyasart.Thisarticleillustratesour approachtoartandthelandscapeinseveraldifferent projects.關(guān)鍵詞:藝術(shù),景觀,歐林事務所Key words: Art,Landscape,OlinPartnership1國家美術(shù)館藝術(shù)雕塑花園中的大型藝術(shù)雕塑/HugesculptureinNationalGalleryofArtSculptureGarden2美國紐約州瓦格納公園的

7、黃昏/SunsetinRobertF.WagnerJr.Park,Newyorkcity,NewYork 質(zhì)共同形成的大尺度路面鋪設(shè)。我們與溫哥華的玻璃藝術(shù)家博曼(JoelBerman合作,依照簡約的策略,創(chuàng)作了三維的建筑元素。這個花園的設(shè)計在共同文化精神層面具有當代品質(zhì),更為重要的是它不僅解決了實際問題,而且創(chuàng)造了一種對藝術(shù)理解表達更充分、更有力的方法,而這正是設(shè)計理念的根源所在。藝術(shù)的景觀正像上面的項目所展示的那樣,將藝術(shù)融入景觀可以加強我們對藝術(shù)的深入理解,而這種深入理解使得景觀建筑師的工作更接近于創(chuàng)造藝術(shù)?，F(xiàn)在讓我們來審視一下評判景觀是否為藝術(shù)作品的標準。對于什么組成了藝術(shù),不是一兩句

8、話能說得清楚的,但還是有幾個因素被普遍認可,用來評論藝術(shù)。H.杰森認為一部可稱其為藝術(shù)的作品必須具備5個至關(guān)重要的因素:想像、創(chuàng)造力、原創(chuàng)性、內(nèi)涵和表現(xiàn)風格、自我表達和聽眾。H.杰森又指出,創(chuàng)造力和對創(chuàng)造力的表達與想像力的連續(xù)躍過是緊密相關(guān)的,而想像力的躍過能促使藝術(shù)家嘗試不可能或者一貫被認為難以想像的創(chuàng)作,于是,原創(chuàng)性便產(chǎn)生了,藝術(shù)也由此有別于手工藝。杰森認為,藝術(shù)的原創(chuàng)性需要從其淵源傳統(tǒng)來洞察,傳統(tǒng)是藝術(shù)創(chuàng)作的重要背景,因此也是評價原創(chuàng)性的關(guān)鍵所在。藝術(shù)原創(chuàng)性也可以部分地表現(xiàn)在其內(nèi)涵中,因為杰森認為內(nèi)涵與藝術(shù)風格和表現(xiàn)品位密切相關(guān)。由歐林事務所設(shè)計并于1996年完成的瓦格納公園,已經(jīng)遠遠超

9、越了現(xiàn)實,達到了更高的創(chuàng)作境地。設(shè)計師在這個項目和很多其他項目里都表現(xiàn)了一定水平的藝術(shù)創(chuàng)作能力。如果杰森對藝術(shù)的評價標準是對的,那么瓦356格納公園無疑是一部藝術(shù)作品。可以大膽地說,瓦格納公園和其中的創(chuàng)作理念從細部的概念設(shè)計開始,就是創(chuàng)作想像連續(xù)躍進的結(jié)果,并最終達到在1990年代初期大部分人難以想像的藝術(shù)水準。這一設(shè)計所具有的原創(chuàng)性不是對該地段極為獨特這一事實的單純表達。評價瓦格納公園的原創(chuàng)性和內(nèi)涵要對以往的景觀在其特定的時空條件下給予充分理解,對于評價其他的景觀項目也是如此。勞里歐林在描寫瓦格納公園時提及:目前,這樣一種觀念已經(jīng)建立起來,即花園、景觀和建筑小品,經(jīng)過布局、結(jié)構(gòu)設(shè)計和小品選擇

10、,或者通過喚起使用者對其他地方、事物和過去經(jīng)歷的回憶,能夠很好地傳遞思想。對于瓦格納公園,勞里認為在設(shè)計中表達了一種矛盾。作品雖然承接過去,但無法回到過去或成功地再現(xiàn)其形式;作品也正視現(xiàn)實世界,但又涵蓋著超越現(xiàn)實世界的很多內(nèi)容,設(shè)計還表現(xiàn)了環(huán)境自身與人們所感所知之間的混沌不清。通過對建筑、景觀小品進行整合,設(shè)計賦予公園全新的姿態(tài),和諧而寧靜。杰森的最后一個指標是聽眾,他們可以給藝術(shù)家的自我表達以回應。瓦格納公園長時間以來吸引了大批的公眾,他們覺得這里親切、舒適,評價藝術(shù)家們的工作沒有比這更好的標準了。以上所述說明了藝術(shù)對景觀設(shè)計具有舉足輕重的作用。杰森說過“一件偉大的藝術(shù)作品可以深深地打動我們

11、,并塑造我們對生活的態(tài)度?！本脑O(shè)計,令人有所感悟的景觀作品也是一樣。對景觀建筑師來說,每一個項目都是一次奔向完美的努力,也是一次走向崇高藝術(shù)的嘗試。3“丘比特之弓”大型雕塑/SculptureofCupidsSpaninRinconParkinSanFrancisco4舊金山市恩巴卡德羅大樓屋頂花園設(shè)計構(gòu)思/Sketchofdesign conceptforroofgardenonEmbarcaderoBuilding,SanFrancisco,C a l i f o r n i a5屋頂花園水平線條的大量運用/Askylight,windscreenandtable topsareallc

12、omponentsofthemulti-layeredtranslucentglass6種有地中海植物的屋頂花園/rooftopgardenwithMediterraneanplant palleteo nE mbarcaderoB uilding,S anF rancisco,C alifornia Arthasthepowertopenetratetothecoreofourbeing,whichrecognizesitselfinthecreativeact.Forthatreason,artrepresentsitscreatorsdeepestunderstandingandhigh

13、estaspirations.Atthesametime,artistsoftenplayanimportantroleasthearticulatorsofoursharedbeliefsandvalues,whichtheyexpressthroughanongoingtraditiontous,theiraudience.Amasterpiece,then,isaworkofartthatcontributestoourvisionoflifeandleavesusprofoundlymoved.Moreover,itcanbeartheclosestscrutinyandwithsta

14、ndthetestoftime.(HistoryofArt,H.W.Janson,RevisedandexpandedbyA.F.Janson,FifthEdition,1995,Abrams,Inc.NewYork,pg18.Inthispassage,H.W.Jansonsuggeststhattheartist,byarticulatingthesharedbeliefsandvaluesofabroadersocietythroughanexpressivemedium,isabletoprovidehisorheraudiencewithanenduringandmeaningful

15、visionoflife.Althoughthereareplentyofexamplestoprovemewrong,Ibelievethatalandscapearchitectsworkcanacheivethesameend,andthatmanylandscapearchitecturalprojectsareworthyofthedesignationofart,evengreatart.Landscapearchitectureiscertainlyenrichedbyanunderstandingofart;andlandscapearchitectscanbringartin

16、toalandscapeatthehighestlevel.AtOlinPartnership,ouraspirationaspractitionersinthe21stcenturyistocontinuallystrivetoelevatelandscapearchitecturetoart.WhatfollowsaresomethoughtsabouttheexplorationofthesenotionsinrecentprojectsofOlinP artnership.Artistictalentandanunderstandingofartarenottypicallyprere

17、quisitesforthepracticeoflandscapearchitectureintheUnitedStates.Inmanyschools,artanddrawingclasseshavebeensupplantedbymediaclasses,whichtendtofocusmoreonlearningthecapabilitiesofcomputertechnologyandlessonunderstandingart,history,theoryandmeaninginrepresentation.Ibelievetheprofessionhassufferedduetot

18、hisdeficiency.Asapractitionerandacademiccriticoflandscapearchitecture,Ihaveconcludedthatitisdifficultforindividualstopracticetheprofessionwell,withinnovationandintelligence,withoutsomeappreciationofgreatartthroughthecenturies.ArtintheLandscapeTherearemultiplevehiclesforbringingartintoalandscape.Most

19、obviously,thereisthephysicalplacementofaworkofartinalandscape.AtOlinPartnershipwefrequentlycollaboratewithartistswheresculptureisusedinthisway.InourworkattheNationalGallerySculptureGardeninWashingtonD.C.,wecreatedaciviclandscapethatintegratesanddisplays20thcenturysculpture.AtRinconParkinSanFrancisco

20、weworkedwithClaesOldenburgandCoosjevanBruggentointegratetheirpoetic,60-foottallsculpture,CupidsSpan,intothetwoandone-halfacrewaterfrontpark.Placingartinthisfashiondoesnotnecessarilyguaranteethattheentirelandscapearchitecturalprojectwillbeelevatedtothelevelofart,butsensitiveandcarefulcollaborationbet

21、weenartistandlandscapearchitectcanhelptoensurethatalltheparts,artandlandscape,areformallyandconceptuallyintegrated.Art as InspirationAnotherwayinwhichOlinPartnershiphasintegratedartwithlandscapeisbyusingartistsideasandvisualrepresentationastheoreticalstimuli.InourworkataSanFranciscocorporateofficebu

22、ilding,whichservesasworldheadquarterstoapopularfashionchain,wecreatedarooftopgardenfordining,withviewstodowntownSanFranciscoandtheBay.TurningtotheworkofPietMondrian,oneoftheforemostrepresentativesoftheDeStijlschool,twopaintings-CompositionwithRed,Blue,andYellowwithitsreductivegridofprimarycolors,and

23、BroadwayBoogieWoogie,withitsdynamichorizontalsandverticals-servedasinspirationforthegarden.Thegardensnearlytwo-dimensionalcharacter,necessitatedbylimitationsofthebuildingstructure,isconsistentwithMondriansstyleofpatterningwithgeometricforms,simpledetailingoflowwalls,andstone,concreteandbronzepavingi

24、nlargeblocks.CollaboratingwithJoelBerman,aVancouverglassartist,weproducedthree-789dimensionalelementsusingsimilarstrategiesof reduction.Thegardenhasacontemporaryquality inthespiritofthecorporateculture.More importantly,perhaps,thegardensdesign transcendsmereproblemsolvingtocreatea solutionthatismore

25、expressiveandpowerfulforits understandingoftheartwhichisattherootofthe designidea.L a n d s c a p ea sA r tAswehavedemonstratedwiththeprojects discussedabove,thedepthofunderstandingthat canbeachievedbyintegratingartintothe landscapecanbringtheworkoflandscape architectsclosertothegoalofcreatingart.Le

26、ts nowexaminethecriteriathatmightqualifya landscapeasaworkofart.Whilethedebateoverwhatconstitutesartisa lengthyone,therearesomegenerallyagreedupon qualitiesthatdistinguishaworkofart.H.W.Janson (op.cit.pages16-25suggestsaworkmustexhibit fiveessentialcriteriatobeclassifiedasart.These areimagination,cr

27、eativity,originality,meaningand style,andself-expressionandaudience.Janson suggeststhatcreativityandthemanualresponse toitinvolvesuccessiveleapsoftheimagination thatpushartiststoattempttheimprobableorwhat istypicallyregardedbymostasunimaginable. Fromthis,originalityisborn,andisthatwhich distinguishe

28、sartfromcraft.Jansonstatesthatthe basisfordiscerningoriginalityisthetraditionfrom whichitsprings,traditionbeingtheessential backgroundrequiredinordertoevaluateoriginality. Partoftheoriginalityofapieceofartalsocanstem fromitsmeaning,whichJansonarguesislinked inextricablytostyleortheformalqualitiesofa

29、 piece.WagnerPark,designedbyOlinPartnershipand completedin1996,isaprojectwebelieve transcendsthepracticaltoachievesomethingfar greater.This,likemanyofourprojectsreflectsa levelofartfulnessthatistransforming.IfJansens criteriaarethemeasureofart,WagnerParkmust qualify.ItissafetosaythatWagnerParkandthe

30、ideas behinditinvolvedsuccessiveleapsoftheimagination,fromconceptdrawingsthroughdetailing,resultinginapiecethatbystandardsoftheearly1990swasunimaginablebymost.Itisanoriginalpiece,anditsoriginalityisnotamerephenomenonofthefactthatthesite,likemostsites,i su nique.Evaluatingtheoriginalityandthemeaningo

31、fWagnerPark,oranyotherlandscapearchitecturalproject,requiresanunderstandingoflandscapearchitecturebeforeandwithinthecontextofitstimeandplace.InwritingaboutWagnerPark,LaurieOlinremindsusthatithasalreadybeenwellestablishedthatgardens,landscapesandtheircommonelementscanconveyideasthroughtheirevocationo

32、fotherplaces,thingsorexperiences,orthroughtheirstructure,arrangementofpartsandselectionofelements.WithrespecttoWagnerParkinparticular,however,hecomments.oursolutionpresentsanambivalence.Itlookstothepastandacknowledgesthatonecannotgobackorrecreateitsformsuccessfully.Oursolutionalsolooksattheworldasitseems,andfindsthingsfallingapart.Ratherthanmerelypresentingchaos-aswhatisandthereforewhatyouget-asadequate,itreordersthefragmentsintoanewandcoherentcomposition,onethatisbasicallycalmandgenerousinthoseelementsthatlieinthecenter.F