俞孔堅：天堂的遺憾

　　“時間景觀"看起來是一個偽命題，因為景觀本身就是時間的。正如已故文化景觀學者約翰•布林克霍夫•杰克遜所定義：“景觀是一種空間，在這里，自然過程被刻意地加速或減慢……它體現(xiàn)了人在取代時間而做工”。從這個意義上來說，哀牢山上的梯田是哈尼人民通過在山坡上的填挖方勞作，刻意使水流減慢的景觀；華北平原上的農(nóng)田林網(wǎng)是將風的過程減慢的景觀；而整齊的果園和魚塘、被裁彎取直的大江大河都是人們將自然的過程加速而產(chǎn)生的景觀。時間——作為大地景觀的雕刻師，無處不在。

　　而人類活動能否在大地上留下痕跡，最終取決于殘酷無情的、不可逆轉(zhuǎn)的時間。無論其權(quán)勢有多強大、業(yè)績有多輝煌、其力圖減緩或加速自然過程的力量有多巨大、其景觀或紀念碑有多恢弘，或早或晚，都會因時間而湮滅。于是便有了陳子昂“前不見古人，后不見來者”的悲鳴、孔夫子“逝者如斯夫”的無奈。這似乎是人類哭訴不完的悲哀。然而我則為之慶幸，因為這世上只有時間是公平的，否則，我們的地球上早已堆滿了帝王和貴族的紀念碑和金字塔。

　　因此，景觀的時間性的另一種表達，即所謂的“景觀的可持續(xù)性”。時間是一把尺子，它衡量著人類活動的意義之深淺：我們需從人類和其唯一的星球的整體可持續(xù)性上，來評價人類的一切景觀行為的意義。在這一點上，我們必須回到進化論的奠基人查爾斯•羅伯特•達爾文，而離我們更近的是生態(tài)規(guī)劃之父伊恩•麥克哈格所給出的標準——適應！正如生物適應自然而繁衍，人類適應自然而昌盛、而美麗。麥克哈格以時間為軸線，將氣候、地質(zhì)、地貌、土壤、水文、植被、生物和人類活動過程進行分層疊加，來定義景觀的空間分布，闡述了生物對自然過程的適應過程，以及人類活動對自然和生物過程的適應過程；提出了“設計遵從自然”的景觀設計基本原理——只有懂得適應自然過程，人類如同其他生物一樣才能夠得以進化和繁榮。適應自然，不是被動于自然，而是人取代時間的作用，按照自然過程和格局的規(guī)律，來減緩或加快自然的過程。而創(chuàng)造人與自然和諧共榮的境地，所呈現(xiàn)的形態(tài)是一種如約翰•萊爾所說的“深邃的形”，而非“膚淺的形”，更非“虛假的形”。

　　然而，我所看到的城鄉(xiāng)景觀，無論古今中外，大多是“膚淺的形”和“虛假的形”。實際上，作為景觀設計目標的“天堂”，也因為對時間的罔顧，而成為了虛假的天堂。景觀設計師們所接觸到的甲方，尤其是財大氣粗的開發(fā)商和權(quán)勢可畏的城市決策者，大多是在追求罔顧時間規(guī)律的“膚淺的形”和“虛假的形”。君不見北京街頭冬季保溫障中的常綠樹和黃楊籬！君不見小區(qū)里滿眼的娟花和塑料棕櫚！那是領導們?yōu)榱肆糇r間和在“四季常青，三季有花”的口號下產(chǎn)生的“膚淺的形”和“虛假的形”。人間的權(quán)貴們總想營造出"冬無嚴寒、夏無酷暑、樹木常青、百花常開"的天堂，甚至渴望營造出能使自己不死的天堂。殊不知，帝王和貴族們都在違背自然過程的路徑上，投入無限的人力和資金，在與時間做斗爭的過程中，創(chuàng)造和維護著“膚淺的形”和“虛假的形”。最終，無情的時間使那些"天堂"一旦成為“沒有了我們?nèi)祟惖氖澜?rdquo;，便會很快回歸“雜草叢生”、野獸出沒的自然“荒野”。倒是那高山上的層層梯田，因為其采用最節(jié)約的人工和最少的投入，適應自然的過程和格局，順應自然節(jié)律而播種、灌溉和收獲，使投入與收獲達到平衡，從而創(chuàng)造出了“深邃的形”。這代表了人類的欲望與自然力之間的平衡，雖歷經(jīng)數(shù)千年的時間，依舊持續(xù)存在至今。

　　因此，“時間景觀"并非偽命題。因為，即使是人類祈求和刻意營造的“天堂”，也罔顧了時間的存在。

　　"Temporal Landscape" is a seemingly false proposition, since landscape is per se related to time. Landscape, as defined by the late cultural landscape scholar John Brinckerhoff Jackson, is "a space deliberately created to speed up or slow down the process of nature…represents man taking upon himself the role of time". In this sense, the terraced fields of Mount Ailao are a landscape created through the filling and excavation of hillsides by the Hani ethnic group to deliberately slow down the affects of time. The tree-networked farmlands of the North China Plain are a landscape slowed down by the wind. In contrast, the orderly-arranged orchards and fishponds, as well as the channelized rivers, are landscapes of accelerated natural processes. Time, as the sculptor of landscape, is ubiquitous.

　　Whether human activity leaves a trace on the land ultimately depends on the ruthless and irreversible time. Significant as the influence might be, splendid the accomplishment, enormous the power to either decelerate or accelerate natural processes, magnificent the landscapes or monuments, they will sooner or later perish with the time. Therefore, "the ancestors cannot be seen, nor can the future generations," cried out Chen Zi’ang, a poet of China’s Tang Dynasty. Confucius could not help but sigh, "time passes away like the flow of water." It seems that such doleful exclamations are never ending. But, I take these proverbs to be a blessing because in this world, only time can be deemed as fair. Otherwise, our planet would be piled with monuments and pyramids left behind by kings and nobles.

　　The other expression of landscape as a time-related process is the so-called "the Sustainability of Landscape". With time as a ruler, the meaning of human activities can be measured. We need to evaluate the meaning of all landscape behaviors of human according to the overall sustainability of human beings as well as the only planet they live on. In this case, we need to go back to the standard given by Charles Robert Darwin, the founder of evolution theory, and later by Ian McHarg, the farther of ecological planning — Adaption! As living things adapt to the nature to propagate, so do human to prosper and become beautiful. With time as a base, McHarg superimposed layers of climatic, geologic, topographic, earth, hydrologic, vegetation, organic and processes of human activities to define the spatial distribution of landscapes, elaborating the process of living things adaptation towards nature, as well as that of human beings towards natural and organic processes, and proposes a basic principle of "Design with Nature" for landscape architecture, where human beings will evolve and prosper like other living things only when they know how to adapt to natural processes. To adapt to nature does not mean to be passive, but instead to control the role of time by decelerating or accelerating natural processes according to the patterns of natural processes and layouts. In doing so a harmonious state can be created between humans and nature—a display of "deep form", as described by John Lyle, opposed to "shallow form" or the "fake form".

　　Unfortunately, a significant portion of the landscapes I have seen in both rural and urban areas, ancient to modern, home and abroad, are "shallow form" and "fake form". In fact, "heaven", as the goal of landscape design has become a fake goal with disregard to time. Most of the wealthy property developers and influential urban decision-makers that landscape architects have come into contact with seek shallow and fake forms, without considering the patterns of time. For example, take a look at the evergreen trees and box hedgerows that are protected with heat preservation during the winter on the streets of Beijing. Or the silk flowers and plastic palms that are seen throughout residential areas. These shallow and fake forms are created because top officials wish to stop time, and are governed by slogans demanding that "trees be green in four seasons, and flowers seen in three seasons". It is often the dream of influential officials to build a paradise of "winter without coldness, summer without intense heat, and a whole year with green trees and flowers in blossom" — a heaven that can make them immortal. What the emperors and the nobles did not know is that while investing bottomless labor and resources into the fight against time, they were creating and maintaining the "shallow form" and "fake form". In the end, once these"paradises" become "the world without human beings" under the unrelenting force of time, they would eventually transform into a natural wilderness where weeds thrive and animals hunt. In contrast, the terraced fields in the high mountains have adapted to the process and pattern of nature with the most economical labor and low input. Seed-sowing, irrigation, and harvest are all carried out according to the rhythms of nature, a balance achieved between input and harvest, creating a deep form. It represents a balance between human desires and natural forces and has endured for thousands of years.

　　So "Temporal Landscape" is not a false proposition, because even in "heaven" dreamed of and created by human beings, the existence of time also is often ignored. (Translated by Jindong CAI)
 

　　時間景觀：慢下來——六盤水生態(tài)治理工程，從源頭治理城市洪澇和水體污染。項目結(jié)合地形，設計了一系列濕地陂塘，用于截留和滯蓄雨水、凈化受面源污染的水體，在解決河水污染、下游城市洪澇問題的同時，營造出一個慢生活空間（俞孔堅攝于2013年7月21日）。

　　Temporal Landscape: Slowed Down—the Liupanshui Water Ecology Conservation Project. Urban floods and water pollution are controlled at the sources. Small reservoirs and ponds have been designed according with the local terrain to retain and store rainwater while purifying water polluted by non-point pollution. River pollution and urban flooding in the lower reach is solved while creating a space of slower life. (Taken by Kongjian Yu, july 21th, 2013).


原文出處：俞孔堅.(2014).時間景觀.景觀設計學,2(1):5-7.
Source: Yu, K. (2014).Temporal Landscape as . Landscape Architecture Frontiers, 2 (1):5-7.