by Dou Zhang, ASLA, PLA, LEED AP BD+C, SITES AP
第五届上海景观论坛——感知 活动回顾与干货分享
上海景观论坛是由Sasaki, AECOM 和 SWA 三家设计公司于2017年联合发起的主题性景观行业分享盛会。随着SOM, ASPECT Studios, HASSELL, TLS等多家国际性景观公司的加入逐渐壮大。论坛以”开拓新的实践，以催化设计创新、影响政策变革；提升公众对于景观重要贡献的认识；倡导景观行业，使之汇入社会进步的主流推动力“为使命，旨在提升景观行业的影响力，并推进行业的可持续发展。
The Shanghai Landscape Forum is a themed event for landscape professionals initiated by Sasaki, AECOM, and SWA in 2017. With the participation of SOM, ASPECT Studios, HASSELL, TLS, and many other international landscape companies, the forum has grown rapidly. The forum’s aim is to pioneer new practices that result in design innovation and influence policy transformation, raise public awareness of landscape architecture’s vital contributions, bring landscape architecture into the mainstream by advocating for the profession as a driving force for social progress, and build a more sustainable tomorrow. The forum covers all aspects of the landscape design industry.
The fifth Shanghai Landscape Forum was held at the AIO Space on the afternoon of April 21, 2019. It was also an ASLA International Practice Professional Practice Network (PPN) event.
第五届上海景观论坛于2019年4月21日下午在上海机遇中心成功举办。本次论坛也是美国景观设计师协会ASLA 海外PPN倾力支持的盛会。相比以往生态复育，文化遗产保护，基础设施等话题，此次论坛尝试从一个更加感性的角度来思考景观设计。以Tom Leader Studio（TLS）提议的感知为主话题，三组演讲嘉宾围绕“此情此景（Momentum）”、“彼时此刻（Memory）”及“日新月异（Expectation）”三个细分方向展开了深层次、多方位地探讨。他们基于自身的学术背景及在中国及国际的实践经验，与观众分享了他们对于感知与时间、空间、记忆、公共认知等相关因素联系的见解。
In contrast to previous forum topics—ecological restoration, cultural heritage, and infrastructure—the theme for this forum was “sensation,” and it was selected to encourage landscape discussions in a more perceptual way. Based on practice in China and overseas, the guest speakers discussed people’s perception of the external environment and their thinking on the spiritual world. A series of richly layered, interdisciplinary topics was discussed around the three sessions: Momentum, Memory, and Expectation.
此次论坛首次尝试跨界，邀请到来自德国的艺术家双人组Quintessenz 以及AECOM, ASPECT Studios, Gossamer, HASSELL, SASAKI, SWA等6家顶尖国际设计公司的景观设计师与城市设计师演讲并参与圆桌讨论。5家深度合作媒体及16家支持媒体与论坛主办方展开战略合作,并对此次活动进行宣传报道。凡达利艺术、雨鸟、上海亿泽机电设计事务所和KOMPAN作为本次活动的赞助商出席，共同助力上海景观论坛。本次论坛首次采用中英文双语，面向更广大的行业群体。
The interdisciplinary forum invited the German artist duo Quintessenz (Thomas Granseuer and Tomislav Topic), and also landscape architects and urban designers from AECOM, ASPECT, Gossamer, HASSELL, SASAKI, and SWA—in total, guest speakers came from seven international landscape firms and art studios. Five deep cooperative media partnerships and 16 media supporters have developed strategic cooperation with the forum, and participated in the promotion of the event. Vantaly Art, Rainbird, Shanghai Yize Electromechanical Design Office, and KOMPAN are the sponsors supporting this event. This forum is the first bilingual event (Chinese and English) to target a wider audience.
让我们一起来回顾当天精采的演讲及圆桌讨论：
Below is a summary of the presentations and round-table discussion.
Session A: 此情此景 Momentum
主题：感知营造 – 色彩，空间和艺术
Creating Sensation—Color, Space, and Art
公司名：Quintessenz
演讲嘉宾：Tomislav Topic
德国艺术家二人组Quintessenz的演讲主要分享他们的艺术装置作品是如何在国际上被概念化和具体呈现的。
The presentation by German artists Quintessenz focused on how their installations are conceptualized and realized internationally.
空间是他们的基本灵感。他们的作品不仅使用建筑中提取的形状和图案，还会与环境相互影响，通过结合摩尔效应、风及光等特殊的元素加深了观众对作品空间的瞬时感知。它为颜色创造了空间。对他们来说，颜色不仅仅是形式，也是内容本身。
Space is their fundamental inspiration. Their work not only uses shapes and patterns found in architecture, it interferes with its environment, thus changing the spectators’ perception of space. Their works bring instantaneous senses of space through special elements such as moire effect, wind and light. It creates space for its color. To them, color is more than form, it is the content itself.
Quintessenz过往的一些项目涉及“漂浮艺术”，网状彩色织物的层叠。作品创造出看似漂浮在空中的色彩渐变波浪，并且随着风和光的变化不断改变它们的外观形态。例如他们在希腊美丽的Paxos岛上某处古建筑废墟创作的“卡卡西卡的秘密”。 这个地点原本就有自己独特的魔力。人们欣赏建筑本身的同时，也可透过窗框瞭望远处的美景。Quintessenz通过他们的装置更为强调了非常强烈的视觉体验。
Some of their previous projects have dealt with “floating art,” colored layers of mesh fabric that move in a flowing motion according to the wind. They create waves of color gradients that float in the air and are constantly altered in their appearance by the changing wind and light. For instance, their installation “Kagkatikas Secret” on the beautiful island of Paxos in Greece was a colorful installation within the ruins of an ancient building. The site had its own magic, whereas the architecture really fits into its environment. The views that one could enjoy, while being in the building and looking through the windows at the landscape, offered intense visual experiences. Quintessenz tried to emphasize that specific situation with the interference of their installation.
主题： 感知之岛：特里斯坦-达库尼亚群岛的遥感设备
Instrumental Archipelago: The Sensing Devices of Tristan da Cunha
公司名：GVL Gossamer
演讲嘉宾：Alex Breedon
作为对人们感知景观的方式的长期研究的一部分，高势的联合创始人Alex Breedon为我们展示了一种认识景观的非传统的方法。以特里斯坦-达库尼亚群岛的研究为例，他揭示了遥感技术和测量科学发展以及对景观设计的意义。科学家在该岛上所做的工作，将人的认知领域扩展到超出人体可感知范围，突破了人们的传统时间感和空间感。
As part of ongoing research into new ways of perceiving landscape, Alex Breedon from Gossamer presented research into non-traditional methods of understanding landscape. Taking the remote archipelago of Tristan da Cunha as a case study, Gossamer is taking part in uncovering scientific and technological developments in sensing and perceiving.
在特里斯坦-达库尼亚群岛上密布着各类测量设备和科研组织机构，不断监测和记录岛上及周围的现象。通过这些仪器，岛上的居民更深入地了解他们所居之地在地真实信息。这些设备虽不能模拟或预测；然而他们的监控和记录，帮助人们超越了传统范畴感知景观。这些“感知机器”在主动监测与生成的数据循环工作并提供反馈——通过毫秒级的持续的监测，这些设备将我们生活每一分动态进行呈现，扩展人类对于空间和时间的感知。
Tristan da Cunha is awash with scientific devices, data, and organizations that constantly monitor and record phenomena on and around the island. These instruments are key actors in uncovering the genius loci of Tristan da Cunha. What is key is that these devices do not model or simulate; instead, they monitor and record, sensing the landscape in ways beyond what is normally possible. These ‘machines for sensing’ work within a constant feedback loop between the active agent and the data that is generated. By constantly monitoring, to the micro-second, these devices position themselves in the dynamism of the present, challenging our human perception of space and time.
高势Alex的演讲展现了测量仪器引领了一种新的方式来认知和感受景观，在提供景观设计实践中迫切需要的方案的合适性和灵活性有相当的指导意义。
As part of the presentation Alex expanded the idea that these scientific apparatuses may develop new ways to sense landscape, leading to a flexibility and adaptability that is deeply needed within the broader practice.
主题： 人与自然的印迹
A Trail Marks of Human and Nature
公司名：SWA
演讲嘉宾：陆诗蕾 Shilei Lu
SWA的演讲主要探讨了位于深圳的光明绿道项目如何赋予使用者突破场地现有的感知体验。项目所在地光明小镇是是少数离深圳市中心仅一小时车程， 以国家基本农田和森林为依托的特色小镇。 省5号绿道是小镇空间结构的脊梁，串联着小镇内的农田、小镇、森林。
The presentation from SWA mainly discussed how the Shenzhen Guangming Trail project brings sensation experience to users. The site is located in Guangming District, which is one of a few feature towns relying on farmland and forest and within a one-hour drive to downtown Shenzhen. The Provincial No.5 Greenway is the backbone of the town’s spatial framework, connecting the farmland, historic town, and forest.
SWA的景观设计师从自然的印记：植被、栖息地、水系和地形入手。经过系统性地分析和叠加，找到一系列沿绿道的高潜力节点。场地中给人留下最深感受的正是这些根据自然印迹分析得到的高潜力节点。
As a landscape designer, the question was how to take cues from the site, and how to empower the users to break through the perceptible site and experience. What is this perception able to bring to the site? The designers started with nature’s footprint: vegetation, habitat, hydrology, and topography. With systematic analysis and mapping, they identified some nodes with a series of high potentials. The deepest experience in these sites is at the high potential nodes, derived from natural trace analysis.
SWA在光明绿道基础上增加三个标识性景观桥，浮桥”“探桥”及“悬桥“。通过“三桥”跳出原有人，绿道与森林的界限，用景观元素创造另一种伸向自然的“触角”，提供三种全新的场地体验方式，使人在不同角度来重新体验绿道及森林。
SWA presented their three-bridge concept, with three iconic landscape bridges added to the Guangming greenway: the “Floating Bridge,” “Discovery Bridge,” and “Hanging Bridge.” The three-bridge concept broke the design boundaries of human, greenway, and forest. Landscape elements are utilized to bring a “touch” extending into nature. People will experience the greenway and forest from a new angle.
浮桥是树与水的印记。它漂浮在满是荔枝树的山谷之上，提供远看森林和城市的场所。浮桥是静谧的、神秘的、漂浮的，同时还是生态的。
The “Floating Bridge” is the trace of trees and water. It floats above a valley full of lychee trees, and in this open valley you can see the forest and the city. The “Floating Bridge” is quiet, mysterious, floating, and ecological.
探桥是水和人的印记，它提供人走出绿道进入森林，探索和接近山中自然形成的水塘与栖息地。 利用现状深坑营造一个探索和游憩的场所，通过探桥结构的出挑拉近人与水面的距离。
The “Discovery Bridge” is the trace of water and people. It provides a way for people to walk out of the greenway into the forest, to explore and approach the natural pools and habitats of the mountains. This area will make use of an existing deep pit to develop as a recreational space, and the bridge spans the existing ravine pool to bring people closer to the water’s surface.
悬桥是风与人的印记，捕捉的是绿道与邻近荔枝山间的山谷的风。为了强化对风的感知，桥下悬挂着风铃，风吹后提供游人视觉及听觉的体验。SBP所设计的钢板带桥结构实现了桥体飘逸外型及桥上随风摆动的体验。
The “Hanging Bridge” is the trace of wind and people, capturing the valley wind between the greenway and the nearby lychee trees. In order to enhance the sensation of the wind, wind bells are hung under the bridge, providing a wonderful visual and auditory experience in the wind. The sensation of the wind is the most important, and the structure of the bridge itself is likely to be more subtle.
景观师作为塑造户外空间的专业人群，通过理性的分析和细腻且敏锐的感知，发现场地的潜力。又通过设计强化场地特征且创造超越现有场地的感知可能。
As the professionals creating outdoor spaces, landscape designers will use the logical analysis and exquisite sensation to identify the site potentials. The site can be designed to enhance its characteristics and create sensation possibilities that go beyond its existing conditions.
Session B: 彼时此刻 Memory
主题：对话场所记忆
Dialogue with Memory of a Place
公司名：SASAKI
演讲嘉宾：曾志强Zhiqiang Zeng，萧宇昂Yu-Ang Hsiao, 朱宇 Yu Zhu
人们对于场所记忆的感知是难以准确表述的，它存在于每个人的脑海中，但基于时代和文化背景等因素又因人而异。如何对待这样的模糊概念，在景观设计领域已有不同的探索，但无论采用何种方式，景观设计师首先都需要尊重场地，与场所记忆对话，并且将设计概念甚至施工细节一以贯之的与记忆结合，而不是完全忽视场地的当下和过去去创造一些本不属于场地的虚假记忆。对于设计如何结合记忆，Sasaki的演讲中分享了针对不同场地情况的三种设计策略。
Our sensation of the memory of a place is difficult to express precisely. Memory of a place exists in everyone’s mind, but it varies among different people with different cultural and generational backgrounds. There are different explorations in the landscape design field regarding how to address the vague concept. No matter which approach we take, as landscape architects, we all need to respect the site in the first place, to have a dialogue with the memory of the place, and consistently integrate the memory into the design concept and even the construction details, rather than completely ignoring the present and past of the site to create some fake memories that do not belong to the site. In Sasaki’s presentation, three types of strategies were shared, focusing on different site conditions.
第一种策略是基于场地上的历史遗存，来构建整体空间框架。首先对于场地上的历史遗存，尽可能的去保留，使这些遗存成为项目的主角去整合场地的空间框架，为使用者提供感知过去不同历史片段的机会。第二种策略是挖掘地域特色来创造场地的特征。当场地上没有可利用的历史遗存时，可以通过现场调查去挖掘根植在场地的地域特色，可能是自然的地景、土壤岩石、水文，也可能是文化、艺术、民风民俗等，通过将设计与之结合来创造场地的特征以及可供公众感知的空间细节。最后一个策略则是当场地上的历史早已无迹可寻，我们还可以通过文献资料的研读，来找到属于场地的记忆，并通过对它的再现来回应不同时代人群的共同记忆。演讲基于世博文化公园、重庆山体公园以及印第安纳波利斯中央滨水区三个案例来展开以上设计策略的讨论。
The first strategy is to construct the overall spatial framework based on the historical remnants on the site. First, it is suggested to preserve the historical remnants on site as much as possible and make it the centerpiece of the project. The history should be integrated within the overall spatial framework, providing users the opportunity to sense the different historical periods of the place.
The second strategy is to create design features from the local characteristics. When there are no usable remnants on site, through the on-site investigation, we can explore the local characteristics rooted in the site, which may be the natural landscape, soil and rock, hydrology, or it can be culture, art, and various folk customs. Then we could integrate the memory with design to create site features and spatial details for the public to sense.
The last strategy is when there are no historical traces on site. In that case, one may find the site-related memory through research of historical documents, and represent it as a response to the public memory of different generations. The presentation elaborated the above strategies based on three previous projects, including the Shanghai EXPO Cultural Park, Chongqing mountain park, and Indianapolis’ central waterfront.
以徐汇跑道公园为例，作为一个城市更新项目，它的前身是有近百年历史的龙华机场。虽然功能逐渐减弱，但机场的跑道一直被保留下来。最能体现场地特征的飞机跑道成为了项目概念设计的出发点。这里不再是飞机的跑道，而是现代生活的跑道。曾经在此起降的飞机变成的现在的汽车、自行车和行人，人们在这个线性体系里进行现代生活的各种活动。
Xuhui Runway Park is an urban renewal project, formerly known as Longhua Airport with nearly 100 years of history. With the opening of Hongqiao Airport, the function of Longhua Airport has gradually weakened, but the runway has been preserved. The runway, which best reflects the characteristics of the site, has become the starting point of conceptual design. It is no longer the runway for planes, but the runway of contemporary life. The place that was once used for airplanes’ take off and landing is now serving cars, bicycles, and pedestrians; various activities of modern life have been engaged in this linear system to celebrate the experiences and features of the space.
之后的深化设计都在围绕这条跑道开展设计。不过跑道的现状条件并不乐观，大部分被市政道路覆盖，我们通过测绘保护现存跑道、移除跑道表层道路沥青、破碎跑道混凝土作为道路铺装等方式，以最大程度地再现历史跑道。经过多方努力和 3 年多的建设，昔日的机场跑道得以重获新生。设计赋予了它新的功能，使其重新融入到现代城市生活中，人们行走在跑道混凝土上去体会跑道当年的历史。
The design is focused around this runway. However, the existing condition of the runway is not ideal. Mostly covered by asphalt, we a took survey to preserve the existing runway, removed the surface asphalt, and used the cracked runway concrete to pave the park road, in order to represent the runway as best as we can. With concerted efforts and more than three years of construction, the historical airport runway is revitalized. The design gives it new features to reintegrate it into modern urban life. The past scenarios are brought back as people walk on the concrete.
为什么场所记忆对于设计师和公众这么重要，因为场所记忆是人们生活过的痕迹，人们所创造的也将成为未来的记忆，沉淀在场地成为场地新的历史层次。
Why is the memory of a place is so important to designers and the public? Because we believe that memory is the trace of our lives. What we create will also become the memories of the future, settling down on site and forming new historic layers of the site.
主题：源自树木的灵感
Inspired by Trees
公司名：AECOM
演讲嘉宾：Lee Parks
AECOM的演讲灵感来自于树木本身的魅力与其重要性。设计师Lee Parks介绍了分布于世界各地的范例，包括那些对他个人成长有深远影响的树木，以及那些他试图通过规划和设计来维护的树木。
The presentation from AECOM was inspired by the importance and beauty of trees. The presenter, AECOM Director Lee Parks, drew examples around the world, including trees that have had a personal impact on him and trees that he tries to have an impact on, through planning and design.
在演讲中Lee提到，今天我们作为景观设计师种下的树苗, 有望经历世世代代之后长成参天大树。因此，我们有幸成为用树木进行规划和空间设计的先驱者。这些树木可以影响人类、栖息地和野生动物，更潜移默化地影响着人的体验和记忆。
Lee said in his presentation: “The trees we plant today as landscape architects will hopefully turn into great trees for future generations.” As landscape architects, we are privileged to be pioneers who plan and design spaces with trees, spaces that can impact people, places, and wildlife, and can influence experience and memory.
他分享了一个位于英国艾塞克斯橡树的例子。这颗古老的橡树距今有800年历史，甚至还拥有自己的Facebook账号以及一本精美的儿童插画书。当地人称这棵树“联结历史与当下”。不幸的是，2018年的一次火灾事故对此树造成了伤害。被其陪伴着成长的孩子们感到十分伤心，后为守护这棵树写了一封信，向大家分享他们和这颗橡树的友谊，希望提高人们对人为火灾的防范意识。
Lee told the story of an 800-year-old oak tree, a tree that even has its own Facebook page and a beautifully illustrated children’s book. The locals describe it as a tree that “oozes history and presence.” Unfortunately, the tree was damaged by fire in 2018. Saddened school children wrote heartfelt letters in a bid to raise awareness of it.
树木象征着长寿、希望、宽恕和生命力。它们创造了强烈的地域感、景观价值、热门景点和重要的文化及精神养分。树木在我们现在生活的地方发挥着关键作用，常常承载着我们过去的故事和记忆，也为艺术家、作家、诗人、电影制作人和音乐家们带来无限的灵感。
Trees symbolize longevity, hope, forgiveness, and survival. They create a strong sense of place, scenic value, and tourism attractions, and provide important cultural and spiritual resources. Trees play a key role in the places of our present-day lives, carrying stories and memories of our past. They even inspire artists, writers, poets, filmmakers and musicians. Trees are a source of infinite inspiration.
在过去的15-20年间，城市化进程造成了前所未有的动荡。往往树木栽种下去却因新的发展要求，在之后的5-10年内被砍掉。作为设计师，Lee提出，随着街道、公园环境的逐渐成熟以及公民环保意识的提高，我们是否可以在像上海这样的城市，为子孙后代建立起更多的树木保护意识和措施？
Over the past 15-20 years, the pace of urbanization has caused almost constant upheaval. Trees are planted but ripped out for something new within one or two political terms (Five-Year Plans). However, as streetscapes and parks mature, and interest in environmental protection rises, can cities like Shanghai do more to safeguard trees for future generations?
我们是否可以通过相关的专业渠道，来帮助人们提高对有纪念意义，有历史价值的树木的认识？基于这个话题，我们能做的还有很多很多。
Could we, through our professional network, do more to help raise awareness of memorable, old, valuable, or significant trees? What could be done in a city like Shanghai?
Stay tuned for the second part of this recap, which will summarize Session C: Expectation and the forum’s concluding round-table discussion.
Please contact shanghailandscapeforum@gmail.com if you have any questions.
张斗
Dou Zhang, ASLA, PLA, LEED AP BD+C, SITES AP, is Senior Associate and Director, Shanghai Office, at Sasaki and Co-Chair of the ASLA International Practice Professional Practice Network (PPN).