活动回顾与干货分享

Encouraging landscape discussions in a more perceptual way

Project Specs

Design Firm:
Location:

非常感谢 Sasaki AECOM + SWA 将项目授权gooood发行。
更多关于:Sasaki on goooodAECOM on goooodSWA Group on gooood
Appreciation towards Sasaki AECOM + SWA Group for providing the following description: 

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等多家国际性景观设计公司的加入逐渐壮大。论坛以”开拓新的实践,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。

Shanghai Landscape Forum is a themed landscape professional sharing event 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 is aimed to ” pioneer new practices that result in design innovation and influence on policy transformation; raise public awareness of landscape architecture’s vital contribution, and advocate landscape architecture into the mainstream driving force for social progress”, and to promote our profession and build a more sustainable tomorrow for the profession. The forum theme covers all aspects of landscape design industry.

© Shanghai Landscape Forum

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。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。

The fifth Shanghai Landscape Forum was held at the AIO Space on the afternoon of April 21, 2019. In contrast to the previous forum topics like ecological restoration, cultural heritage, infrastructure, the theme for this forum is “sensation”, which is aimed to encourage landscape discussions in a more perceptual way. Based on the practice in China and overseas, the guest speakers discussed people’s perception of the external environment and their thinking in the spiritual world. A series of rich-layered, inter-disciplinary topic was discussed around the three topics – “Momentum”, “Memory” and “Expectation”.

© Shanghai Landscape Forum

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, GVL 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。凡达利艺术顾问有限公司、雨鸟贸易(上海)有限公司、上海亿泽机电设计事务所和KOMPAN游乐设施有限公司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。同时本次论坛也是美国景观设计师协会ASLA PPN海外倾力支持的盛会。

The forum had the 1st interdisciplinary attempt to invite the German duo artist from Quintessenz, and also invited landscape architects and urban designers from AECOM, ASPECT, GVL Gossamer, HASSELL, SASAKI, SWA, in total 7 international landscape firms and art studios as guest speakers. 5 deep cooperation media and 16 supporting media have developed strategic cooperation with the forum, and participated in the promotion the event. Vantaly Art, Rainbird, Shanghai Yize Electromechanical Design Office and KOMPAN are the sponsors supporting this event.

让我们一起来回顾当天精采的演讲及圆桌讨论:
Below are the 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
演讲嘉宾:Tomislav Topic (Quintessenz德国艺术家二人组)

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 artist duo Quintessenz, focused on how their installations are conceptualized and realized internationally.

© Shanghai Landscape Forum

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所在空间的瞬时感知。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

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 are moving in a flowing motion according to the wind. They create waves of color-gradients that are floating 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 Paxos in Greece. It 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 window-openings at the landscape offered some really intense visual experiences. And Quintessenz tried to emphasize on that specific situation with the interference of their installation.

© Quintessenz

 

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。

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。

As part of ongoing research into new ways of perceiving landscape, Alex Breedon from GVL Gossamer presented research into non-traditional methods of understanding landscape. Taking the remote archipelago of Tristan da Cunha as a case study GVL Gossamer is taking part in uncovering scientific and technological developments in sensing and perceiving.

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 capable. 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.

© USGS

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.

© The Living New York

 

主题: 人与自然的印
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。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。

The presentation from SWA mainly discussed how does the project “Shenzhen Guangming Trail” bring sensation experience to users. The site is located in Guangming Town, which is one of a few feature towns relying on farmland and forest and within 1 hour driving distance to downtown Shenzhen the Provincial No.5 Greenway is the backbone of the town’s spatial framework that connects the farmland, historic town and forest in the town. As a landscape designer, 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? Let’s start from the nature’s footprint: vegetation, habitat, hydrology and topography. With systematic analysis and mapping, we find out some nodes with a series of high potentials. The deepest experience in these sites is just the high potential nodes derived from natural trace analysis.

© Shanghai Landscape Forum & Shilei Lu

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。

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。

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。

A three-bridge concept of “is presented. SWA added 3 iconic landscape bridges to the Guangming greenway, which includes Floating Bridge”, “Discovery Bridge” and “Hanging Bridge”. Three-bridge concept broke the design boundary of human, greenway and forest. Landscape elements are utilized to bring a “touch” extending into the nature. People will experience the greenway and forest in a new angel.

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.

The “Discovery Bridge” is the trace of water and people. It provides people to walk out of the greenway into the forest, explore and approach the natural pools and habitats of the mountains. Use existing deep pit to develop as a recreational space, and span over the existing ravine pool to bring people closely to the water surface.

©SWA

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。

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。

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 wonderful visual and hearing experience in the wind. The sensation of the wind is the most important, and the structure of the bridge itself is likely to be mitigated.

As the professionals to create outdoor space, 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 beyond its existing conditions.

© SBP

 

 

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 a place exists in everyone’s mind, but it varies among different people with different cultural and age 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 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 the Sasaki’s presentation, three types of strategies were shared, focusing on different site conditions.

© Shanghai Landscape Forum & SASAKI

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,将其与设计结合来塑造场地特征以及可供公众感知的空间细节。最后一个策略则是针对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。

The first strategy is to construct the overall spatial framework based on the historical remnants on the site. Firstly, it is suggested to preserve the historical remnants on site as much as possible and make it the centerpiece of the project to integrate 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. 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 traces of the history on site, we can also find the memory through historical documentation or literature, and represent it as a response to the public memory of different generations.

© Shanghai Landscape Forum & SASAKI

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如今的汽车、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 of the plane, but the runway of contemporary life. The place that was once used for the take-off and landing of the airplane is now serving the 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.

© SASAKI

之后的深化设计都在围绕这条跑道开展。即便跑道的现状条件并不乐观,大部分被市政道路覆盖,我们通过测绘现存跑道、移除跑道表层沥青、破碎跑道混凝土作为特色步道铺装等方式,以最大程度再现了历史跑道。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当年的历史。

The design is further refined around this runway. However, the existing condition of the runway is not ideal, mostly covered by asphalt, we took survey to preserve the existing runway, removed the surface asphalt, 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 into modern urban life. The past scenarios are brought back as people walk on the concrete.

 

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。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。

Presentation from AECOM is inspired by the importance and beauty of trees. The presenter, director of AECOM Mr. Lee Parks draws 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.

“The trees we plant today as landscape architects will hopefully turn into great trees for future generations.” Lee mentioned. As landscape architects, we are privileged to be pioneers who plan and design spaces with trees. That can impact people, places and wild lives, to influence experience and memory.

© Lee Parks

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。

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。

Story of an 800-year-old oak tree was told too. And it even has its own Facebook page and a beautifully illustrated children’s book. The locals describe it as “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 about it.

Trees symbolize longevity, hope, forgiveness and survival. They create a strong sense of place, scenic value and tourism attractions; Provide important cultural and spiritual resources. Trees play a key role in the places of our present-day lives, carry stories and memories of our past. They even inspire artists, writers, poets, film-makers or musicians, infinite inspirations they have brought to them.

© Shanghai Landscape Forum & Lee Parks

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?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。

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 1-2 political terms (5-Year plans). However, as streets, parks mature, and environmental protection interests rise, can cities like Shanghai do more to safeguard trees for future generations? Could we, through our professional practice network, do more to help raise awareness of memorable, old, valuable or significant trees? What could be done in a city like Shanghai?

 

 

Session C: 日新月异 | Expectation

 

主题:城市中的独特感官
Uniqueness of Sensation in the Urban Environment
公司名:ASPECT Studios
演讲嘉宾:潘格非Manfred Pan

从重复的住宅单元,到单调的办公楼幕墙,在当今的城市环境中,单调无感知的环境正在主导着我们的城市空间,令生活其中的人们倍感厌倦。ASPECTS Studios的景观设计师潘格非为我们分享了以人类最原始的感知力为出发点的感官设计哲学。ASPECT Studios运用独特的体验和敏锐的感官,带给人们意想不到的城市感知设计。

From repeating residential units, to monotonous office tower curtain wall, monoculture of sensationless environments is overly present today in current urban environments. People are bored and tired of this duplication world. Landscape Architect Manfred Pan from ASPECT Studios shared the landscape design philosophy of Human Oriented Thinking. Start from human basic accesses to experience the world, APSECT Studios use the unique experience and keen sense to strive for unexpected and uniqueness in urban projects.

© Shanghai Landscape Forum & Manfred Pan

首先,视觉感知的呈现。在项目皖投万科天下艺境中,石榴这一地域文化图腾,在设计师独特视角下的分解,并采取超尺度的再演绎。人们无需了解背景知识,就能获得自己独特的理解与感知。

其次,声音感知的运用。ASPECT与我们分享了天使街项目。项目通过鸟的声音来定义功能空间,将背街小巷打造成具有意义深远的公共空间,唤起人类保护鸟类栖息地的意识。

The first is visual sensation practice.  Pomegranate as the special regional symbol, is disassembled under unique experience of designer, and reinterpreted in super scale. People no need to read narrative, but to have their own understanding and sensation.

The second is audio sensation. ASPECT Studio shared their project, Angel place. The project tried to define functional space with bird song, upgrading the alley way into a meaningful public space, to draw awareness of bird habitat preservation.

 © ASPECT

最后,触摸文化的感知。在雅干广场项目中,ASPECT通过对当地材料的精心选择,色彩的搭配,创造水景、地貌等互动元素,所有的感官都可以在景观中加强运用,观看、触摸和玩耍。历史和文化的厚度融入了人们的日常生活。

感知力是人们体验世界的基础。作为设计师,将感知力作为设计指引,我们将会超过预期,在我们创造的体验中追求独特性、多样性和感知体验。

The last sensation practice is called Touch the Culture. By a careful selection of local materials, matching the colors, creating interactive elements such water and landform, all senses can be encouraged in the landscape – to look, to touch and to play. The thickness of culture and history assimilate into daily life.

Sensation is the basis of how people experience the world. As designers, if we allow ourselves to be guided by the idea of sensation, we break from what would be anticipated and strive for uniqueness, diversity and sensation in the experiences we create.

 © ASPECT

 

 

主题:主观感受还是客观研究
To Sense or Survey 
公司名:HASSELL
演讲嘉宾:Liam Mouritz

HASSELL城市设计师Liam Mouritz发表了“主观感受还是客观研究”的演讲,提出了应对当代全球化所带来挑战的设计理念,旨在将两种具有代表性的相对思维方式放在一起比较讨论 — 感官审美设计过程以及技术方法论。本次讨论令人想起数十年以来,在景观建筑语境下的激辩,隐喻的钟摆在强调艺术还是科学之间来回摆动。然而,本次讨论更为关注的是两种意识的融合,兼顾感性与技术。

Liam Mouritz (Urban Designer, HASSELL) delivered ‘To Sense or Survey’ – a talk explaining a design philosophy which tackles our contemporary global challenges. It aims to engage two typically opposed ways of thinking – sensual-aesthetic design process and technical-pragmatic. The talk brought to mind a debate which has been reverberating within landscape architectural discourse for decades, as the metaphorical pendulum swings back and forth between an emphasis on either art or science. However, the talk emphasized the importance of trying to engage both mentalities – to be both sensual and technical.

© Shanghai Landscape Forum & Liam Mouritz

当代的挑战主要围绕快速的城市化进程以及对自然环境的优化和控制。我们创造宜居且便利的大都市,无意中在边远地区制造了仅为生产而生的领域。随着这些工业用地的产生,大型基础设施的诞生,索取并重新分配自然资源均可导致环境的崩溃并引发自然灾害。我们需要找到跨专业的控制方法,并让能够塑造当今世界的更强大的力量介入。正如社会活动家及作者Naomi Klein所说,气候变化不只是环境问题而是一个社会、经济和政治问题。如果你还没有开始考虑这些问题,那么你已经与时代脱节了。

那么,我们作为设计专业人士可以为此做些什么呢?这又回到了我们的主题“主观感受还是客观研究”:作为设计师,我们拥有独一无二的能力和技能,能够讲述充满力量且具有吸引力的故事并实现这些故事。这些可以通过基于技术的总体规划策略,或是项目施工的管理实现。我们的这种能力能够突破思维模式、工作的规模并且思考与城市相互交融的生态,我们可以因地制宜,将当下的这些条件作为一门专业来发展。

Our contemporary challenges are focused on rapid urbanization and the resulting optimization and control of our natural environment. While we work to create livable and convenient metropolises, inadvertently we also create vast territories dedicated to production in distant hinterlands. Alongside this we have seen the creation of mega infrastructure to harvest and redirect natural resources, which has the potential for collapsing and provoking so-called natural disasters. We need to find ways of crossing disciplinary confinements and engaging the larger forces that are shaping our world today. As Naomi Klein, social activist and author might say, climate change is not an environmental problem, it is a social, economic and political one. If you are not thinking about these issues, then you aren’t relevant today.

So, what can the design profession offer these global challenges? It comes back to this idea of to ‘sense or survey’: as designers we have a unique ability and skill to be able to tell powerful and captivating stories and also to be able to implement them. This can be through technically grounded masterplan strategies, or the management of a construction project. It is in this ability to cross modes of thinking, scales of work and think about ecology intersected with urbanity that we find out niche and engage our contemporary conditions as a profession.

© HASSELL

城市韧性设计挑战赛项目是专业设计事务所如何参与解决这些当代问题的最佳案例之一。HASSELL设计团队与社区、政府职能机构以及各利益相关方通过协作设计,重新设想了旧金山湾区在应对气候变化挑战时,如何成为一个更有韧性的地区。该项目展示了创新的水资源管理策略,同时关注自然水缘城市环境中人们的居住体验。

The Resilient by Design project challenge by HASSELL provides a great example of how professional design offices can engage in these issues. The HASSELL team worked with the community, government agencies and other stakeholders in a collaborative design effort to reimagine the San Francisco Bay Area to become more resilient in the face of climate change. The project demonstrated innovative water management strategies alongside a focus on what the human experience of living in a naturalized urban environment at the water’s edge would be like.

 

主题:物联网时代:通过互动感知实现参与型城市
The Internet of Things: Realising the Fourth City Through Sensory Engagement 
公司名: GVL Gossamer
演讲嘉宾:Nicola Balch

数据指引的智慧城市设计已经不是新鲜话题。我们常常都在通过电子设备的交互与周边商业环境、自然环境以及社会环境互动。怡境高势联合创始人Nicola Balch在多个国家进行了设计实践,她提出在当下智慧城市的营造中,人们需要自下而上的直接互动参与模式,而不是自上而下的传统方式。

The use of data in cities is not new, it is the speed and means though which we interact with it that has shifted fundamentally. GVL Gossamer Co-founder Nicola Balch has traveled the world researching and developing unique IoT proposals for our public spaces. The projects offer an “engaged city” model that focus on how communities can directly interact with the spaces around them though technology rather than a top “smart city” model.

© Shanghai Landscape Forum & Nicola Balch

在乔治街城市客厅项目中,目标创建一个能增加用户多样性的线型社区空间。方案涉及两个层面反馈系统 – 一层面是家具系统,另一层面是匿名收集用户数据的感应铺装系统。这样的组合造就了一个智能反馈回路,通过使用街道家具实时收集的数据,将用户反馈成为设计建议的主要依据。怡境高势称之为“世界上第一条有生命的街”。

Nicola 之前在McGregor Coxall参与的Hi-Croydon的设计竞赛中,寻求如何用新的方式使市民参与城市建设。怡境高势提出了一个DIY、可移动,可居住的植物园,借此激活街道。通过智能手机上的增强现实或虚拟现实应用程序,可以让居民参与设计这个可移动的植物园。

In the George Street Living Room project, the founders aim was to create a linear social space that would increase the user diversity in the city with a two tiered response system – A kit of parts furniture system and a sensory paving system that collected anonymous user data. The result was the design of an intelligent feedback loop, where community consultations would drive program suggestions, that could be tested using the kit of parts and data collection live on the street. The GVL Gossamer founder called this “The world’s First Living Street.

Nicola led a Smart City team within McGregor Coxall. Hi-Croydon competition, looked to innovate new ways for users to engage with their street. The project proposed a DIY mobile, habitable botanic garden that would activate the street corridor. Using augmented or virtual reality though a phone app what would allow residents to re-design the botanic garden into endless programs and configurations.

© Shanghai Landscape Forum & Nicola Balch

Nicola的另一个项目“智慧地毯”是伦敦市智慧城市竞赛的获奖作品。其采用了模块化和便于安装的概念,将其直接应用于街道表​​面。通过一套特制的LED灯光铺装系统,他们将街道转变成一个活力走廊并适应各种活动,在通勤时段作为自行车道,人行过街和人行道,并根据人流营造可变的尺寸,并在晚上和周末改变街道布局满足各种社区功能,如数字艺术画廊和表演空间。怡境高势将进一步创新的智慧城市设计实践在中国落地实施的机会。

Smart Carpet was the winning entry for the City of Londons Smart City competition. The concept took the notion of modularity and adaptability and applied it directly to the street surface. Using interlocking & live sensory LED Paving and Furniture Smart Carpet allowed the street could transform into any use imaginable, it could  become a busy corridor, testing bike lanes, pedestrian crossing locations, and sidewalk dimensions in commuter mode, and turning the whole street into diverse functions such as a digital art gallery and performance space on the evening and weekends. At GVL Gossamer, this innovative approach to technology will continue, the founding team looks forward to exploring how technology can facilitate new ways of interacting with our Public Spaces in a Chinese context.

 

 

圆桌讨论 | Panel Discussion

活动的最后是圆桌讨论环节。各位演讲嘉宾被再次邀请上场,面对面对话及接受现场观众的提问。从设计到实施,从艺术到技术,现场的问题并不局限于演讲本身,而是涵盖了景观行业的各个方面。

The roundtable discussion was the last part of the event. All the speakers were invited back to the stage to accept questions from the audience. From design to implementation, from art to technology, the questions received are not limited to the speeches themselves, but covered all aspects of the landscape profession.

以下为圆桌讨论环节内容
Q: 现场提问
A(演讲嘉宾名字):嘉宾回答

 

Q1: 提问德国艺术家组合Quintessenz的艺术作品灵感来源,以及作者关于艺术功能性的理解。也希望嘉宾能就在中国观众群体中提升色彩品味给出一些建议。

A(Quinetessenz_Tomislav Topic):艺术作品应该强调与人的互动,帮助人们从日常的生活中跳脱出来。对于提升观众色彩品味的建议,他表示他们的作品是具有强烈的地域色彩,深植于当地文化中的。于此同时艺术教育亦扮演了相当重要的角色。

Q1: Quintessenz please describe the source of inspiration for the work ” Kagkatikas Secret”, as well as the author’s understanding of the functionality of the art and the author’s suggestion for improving the taste of color in China.

A (Quinetessenz_Tomislav Topic): Art should emphasize on interaction. It helps people to get out of their daily lives. The color preference itself, the artist believes that it has a strong regional color, is deeply rooted in the culture, and education plays a very important role.

 

Q2: 对于快速发展的技术与自然环境基本经验之间的冲突,作为景观设计师如何化解与看待?

A(AECOM_Lee Parks):目前作为支撑的卫星影像等技术条件已然成熟,我们最大的挑战是如何能让这部分数据更容易被从业者获取,并成为设计依据。A(GVL Gossamer_Nicola Balch): 技术应该用来提升人们对景观的体验。帮助人们以不同的方式看待事物。好的设计应与技术兼容,而不是刻意避开。A(SWA_张树仪): 虽然技术已成为很成熟的工具,但是目前设计行业的现状是理解场所调研的重要性的意识并没有跟上。景观论坛正是这样一个平台,来呼吁大家思考和认识到这个设计的基本问题。A(GVL Gossamer_Alex Breedon): 技术可以帮助人们看到,但也可能使我们盲目。两者之间的紧张关系一直存在,但最重要的是始终记住景观设计行业的根本。A(SASAKI_曾志强): 科技发展与景观设计行业的联系十分紧密,ARCGIS的发明帮助景观行业的研究范围和尺度得以扩大,使我们的判断更具科学依据,将行业向更好的方向推进。无人驾驶提升交通系统效率,还街道于行人。景观建筑师应具有先锋眼光,系统思考整合各行业知识与新技术,打造更好的未来环境。

Q2:  How does the conflict between the rapidly evolving technology and the basic experience of the natural environment be resolved and viewed as a landscape architect?

A (AECOM_Lee Parks): The technology is available. but the accessibility to these data for the profession is limited. A (GVL Gossamer_Nicola Balch): Technology should be used to stimulate people’s response to the landscape. Help people to look at things in different way. work with technology not avoid them. A (SWA_Shuyi Chang): although technology is available as tools, but the understanding and realization of the importance of survey is not there. SLF is the opportunity to claim that this is fundamental issue for design. A (GVL Gossamer_Alex Breedon): Technology helps people to see but it can also can blind us. The tension will also be there, but it’s critical to always remember the foundation of the practice. A (SASAKI_Zhiqiang Zeng): The connection between science and technology development and the landscape design industry is very close. GIS helps the landscape industry’s research scope and scale to be expanded, making judgment more scientific and promoting the industry in a better direction. Autonomous vehicles can improve the efficiency of the transportation system, but also the streets. Landscape architects should have a pioneering vision, systematically think about integrating more industry knowledge and creating a better future environment.

 

Q3: 五感景观设计似乎成为一个逐渐被重视的话题,比如盲人花园。是否可以在以此为主题的景观实践中满足这类弱势人群的需求?如何看待很多关注弱势群体的项目和研究,并没有取得重大进展便中途搁置的现实?

A(ASPECT_潘格非): 特殊人群的问题应赢得更过的社会关注。景观设计师可以借由设计作为反哺,让更多人意识到这个问题。A (SASAKI_萧宇昂):大家应该从一个正面的角度去理解五感景观话题的关注度。针对弱势群体的设计不应追求立竿见影。人们反而应该通过对于这个话题的关注促成一个与此类群体的对话,引起更多人的关注和关怀。

Q3: The five-sense landscape design seems to be a topic that is gradually being valued, such as the blind garden. Can you meet the needs of such vulnerable people in this landscape-themed landscape practice? How do you view the reality of many projects and research that focus on vulnerable groups and have been put aside without major progress?

A (ASPECT_Manfred Pan): The problem of vulnerable group should win more social attention. Landscape designers can use design as a feedback to make more people aware of this problem. A (SASAKI_Yuang Xiao): The phenomenon of related research cannot be understood from a positive perspective. The design for vulnerable groups should not expect immediate effect, but should lead to a dialogue that draws more attention.

 

Q4: 据悉,徐汇跑道公园在申请SITES认证。在绿色生态、雨水回用方面的工作可以多分享一些吗?

A(SASAKI_朱宇): 徐汇跑道公园即将成为中国大陆第一个获得SITE认证的景观项目。SASAKI在项目初期便全面考虑低影响的开发策略。雨水处理,低碳理念贯穿项目始终。基于对场地的认识,进行最合理的设计决定。A (SWA_张树仪):上海景观论坛的初心,是通过提供一个业内人士聚集在一起的平台,为行业发声。设计本身并不是强调具体做了什么,而是设计的初心和良心。如何尊重人,尊重自然,尊重场地和生态。因此作为景观设计师,我们并没有刻意强调做了些什么,而是在更加细致地通过设计,潜移默化的影响业主,改造环境,创造更好的未来。

Q4: It is reported that Xuhui Runway Park is applying for SITES certification. Can you share more work on green ecology and rainwater recollection?

A (SASAKI_Yu Zhu): As the first park in China to receive SITE certification, the park has considered low-impact development in the early stages of the project. Rainwater treatment, low-carbon concept throughout the project. Based on the understanding of the site, the most reasonable design decisions are made. A (SWA_Shuyi Chang): The initial focus of the Shanghai Landscape Forum was to provide an opportunity for industry insiders to gather together and speak for the industry. Design itself should not emphasize what is done, but the initiality and conscience of the design, how to respect people, respect nature, respect the site and ecology. Therefore, we do not deliberately emphasize what we have done, but should be more detailed, through design, subtly affecting the owners, transforming the environment and creating a better future.

 

Q5: 作为具有国外的教育背景以及国际视野年轻设计师,如何在设计中运用这些知识并且最大程度回应本地的信息与文化的问题?

A(SASAKI_曾志强): 以我个人的经历为例,我在国外所学的是系统的设计方法论和通用的方法。但当工作实践时,设计的灵感是应该根植于文化,结合场所的记忆的。特别是在中国,我们应该为自己在文化与历史方面的价值而感到骄傲。A(ASPECT_潘格非): 西方设计价值观具有逻辑性和理性的特色。这应是设计的基础。而美观,体验,记忆,共鸣为上层建筑,需要结合文化来体现。A (Quintessenz_Tomislav Topic): 作为一个外国艺术家,中国这个大环境在文化层面给予我的设计灵感,比任何一个个体给予我的影响要深远得多。A (HASSELL_Liam Mouritz): 拥抱本地文化是正确理解一个场所和它的使用者的前提。

Q5: How do young designers who have a foreign educational background and an international perspective can apply this knowledge in their design and respond to local information and culture to the greatest extent possible?

A (SASAKI_Zhiqiang Zeng): International education offers systematic design methodology and general design method. The inspiration for design, on the other hand, can be rooted in culture, combined with the memory of the place. A (ASPECT_Manfred Pan): Western design values ​​are logical and rational. This should be the basis of the design. Aesthetics, experience, memory, and resonance are the superstructures that need to be combined with culture. A (Quinetessenz_Tomislav Topic): As a foreigner, I think what China can offer at the cultural level is far more profound than the intellectual impact that individuals can provide. A (HASSELL_Liam Mouritz): Embracing the local culture is a prerequisite for a proper understanding of a place and his users.

 

Q6: 如何在设计中取得感知体验的平衡,保证愉悦的感官,同时避免超负荷的感知?

A (SWA_张树仪):只有通过理性分析,并叠加感性的心情,才能达到最合理结论。A (GVL Gossamer_Nicola Balch): 有时好的设计是无声胜有声的,我们应该避免过度的设计。好的设计是为场地作出最合适的建议,而不是满足设计师个人的偏好。A(SASAKI_曾志强): 对于景观设计师而言,考察场地时产生的第一印象是最大的冲击。好的设计应回应这种冲击,基于场地特色,在细节中体现品质。

Q6: How do designers achieve a balance of perceived experiences in the design, to ensure a pleasant sense, while avoiding the overloaded perception?

A (SWA_Shuyi Chang): Only through rational analysis and superposition of emotional mood can the most reasonable conclusion be reached. A (GVL Gossamer_Nicola Balch): The best design is to do nothing. Over-design should always be avoided. A good design considers what is appropriate to the site instead of trying to fulfil the personal interest. A (SASAKI_Zhiqiang Zeng): The first impression of the site has a huge impact. Good design should be based on the first impression, based on the characteristics of the site, reflecting the quality in the details.

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