林江泉評哈佛大學Gareth Doherty新書Roberto Burle Marx Lectures：定格流動性的思想軌跡

林江泉Lam Kong-chuen/文，陳崇賢（清華大學建筑學院博士后）主持編譯

圖片由Lars Müller Publishers出版社提供

Roberto Burle Marx Lectures：Landscape as Art and Urbanism

by Gareth Doherty  (Editor)

Paperback: 256 pages

Publisher: Lars Müller Publishers (February 27, 2018)

Language: English

ISBN-10: 3037783796

ISBN-13: 978-3037783795

^{獨立城市學者、KCL&TSANG建筑事務(wù)所主持建筑師林江泉與Gareth Doherty} 

研究Roberto Burle Marx就是研究景觀。從Gareth Doherty研究他的演講中可以看到Burle Marx思想維度上的景觀和Gareth Doherty多向性的復合景深。

Roberto Burle Marx說：“一個好的園林一定是一件藝術(shù)品，對比、結(jié)構(gòu)。尺度和比例等，都是很重要的原則。但首先他必須先擁有思想?！盙areth Doherty編著的Roberto Burle Marx Lectures：Landscape as Art and Urbanism一書，從編輯開始就是一項思想創(chuàng)作，編輯是他另一種寫論文的方式，或者說兩者在同一個維度上。Roberto Burle Marx Lectures一書并非只是對Burle Marx 的思想作梳理、闡釋和解讀，而是景觀創(chuàng)作與實踐的必要性參與。在這個意義上，這本書不只是著作，也是景觀的實踐，或者說是紙上的景觀實踐或信息中的景觀設(shè)計。并未實現(xiàn)的研究與實現(xiàn)的方案是高度一致的，對于景觀領(lǐng)域而言，Gareth Doherty不只是景觀領(lǐng)域的學者，也是一位“學者式景觀建筑師”——他為景觀建筑師們帶來了無數(shù)嶄新的起點和付諸行動的方向。他所有的研究和思考的方法都是已實現(xiàn)項目中的構(gòu)成部分，并且突破了嚴酷現(xiàn)實可能帶來的“推遲誕生”。

Roberto Burle Marx( 1909-1994)是景觀領(lǐng)域歷史上最重要的景觀設(shè)計師之一。他將景觀作為藝術(shù)和城市化，獨特而廣受贊譽的作品在許多資料中都有特色和參考，但 Burle Marx自己的話卻很少發(fā)表。這是Gareth Doherty編著本書的獨特觀點，在常見主題中考慮視角偏向作為切入點。Burle Marx的演講具沒有一種固定的模式，他的知識含量巨大，來自多個領(lǐng)域，具有不確定性和即時效能，他的演講和他的景觀草圖過程是同步的思考軌跡，Gareth Doherty在書中分類、梳理和定格了Burle Marx那些流動性的思想軌跡，給景觀界帶來捕捉Burle Marx思想靈光的契機。Gareth Doherty對演講稿和設(shè)計稿件的編輯讓我們看到“塞尚一個蘋果的結(jié)構(gòu)”，也讓我看到表象世界的多個立面，帶我們深入Burle Marx演講稿的隱秘性、密而不宣以及真實性等平時被嚴重遮蔽的那些思考過程。有時，即興性的演講就是設(shè)計師的手稿，這本演講集讓我們進入Burle Marx具體創(chuàng)作的園林情境之中，以“體驗重現(xiàn)”（embodied reenactment）的形式嘗試掌握其思維的全過程。對演講的研究與追問，會對Burle Marx的現(xiàn)實中原作提出意想不到的問題，會對原作上曾經(jīng)“被覆蓋的東西”和最初的動機有更大的發(fā)現(xiàn)與挖掘。真實性的需求，對景觀史的矯正起到不可忽略的作用。即使Burle Marx演講中的某個突如其來的觀點的肇端幾乎總是與一種晴空霹靂般的因素有關(guān)，那些形狀在一閃之間記錄并傳達它們確切無誤的存在，而這種天生的、迅疾的轉(zhuǎn)向也是自然和社會所誘發(fā)的事物。Gareth Doherty對演講的編輯讓時間退回到Burle Marx思考的時刻，似乎讓讀者回到聽講座的時間，他的論文式編輯方法對應(yīng)著現(xiàn)實中的、世界結(jié)構(gòu)里的任何事物。

在書中，Gareth Doherty巧妙地把Burle Marx做過筆記的演講稿作為連續(xù)閱讀的書頁，而非插圖來編輯，把真實的思考過程巨細無遺地呈現(xiàn)出來。這些講座描繪了一幅Burle Marx的靈魂肖像——他不僅僅是一個園丁、藝術(shù)家和植物學家，還是一個景觀設(shè)計師，他的抱負給城市和社會帶來根本性的變化。在書中，也編輯了設(shè)計手稿。手稿研究是西方美術(shù)史潛藏和隱匿的部位，而在景觀史或建筑史上，手稿常常作為建筑師的首位展示作品，甚至還有建筑師熱衷于把手稿的真實性外化成現(xiàn)實中的建筑——弗蘭克·蓋里那些看起來一團亂麻、語無倫次、甚至不可名狀的狂草式設(shè)計手稿，比很多充滿偶然性的藝術(shù)手稿具有更多的無法預測和不可知，很多人看完他的草圖都找不到方向，同時也被很多人奉為膜拜的天才之作，是一種無法模仿的視覺方法論。Gareth Doherty通過兩種即時性的行為——演講稿和設(shè)計稿——的互文關(guān)系加重了這種無法模仿的思考方法論。

其中，Gareth Doherty在本書中帶給我們的其中一個啟示是：Burle Marx的演講不確定性和他對色彩關(guān)系的演講不確定性是如出一轍的?？?Burle Marx與色彩關(guān)系，可以從他整體的創(chuàng)作機制開始。大自然的不確定性恰恰激發(fā)了 Burle Marx 的創(chuàng)造力。他曾說：“完美的作品是不存在的，藝術(shù)作品永遠都有不確定性。”Burle Marx 將大自然的不可預知性融入到設(shè)計作品中，創(chuàng)造出了一種不斷變化中的“不完美之美”，如同扎加耶夫斯基說的“贊美這個殘缺的世界”。在色彩關(guān)系中，Burle Marx也是強調(diào)變化的部分，會用對比的色彩，色彩能創(chuàng)造感情，能持續(xù)的讓園子激發(fā)感情，在他的作品中，大面積的單一色彩是產(chǎn)生沖擊的重要因素。他在園林中建立復雜的植物群落也是他表達復合型色彩關(guān)系的。他用大量的同種植物形成大的色彩區(qū)域，如同在大地上而不是在畫布上作畫，通過運用植物展示色彩的場所精神。他用運用黑、白、棕三色馬賽克拼成的抽象圖案做路面則是集合顏色總和的一種方式。他的色彩關(guān)系是可以制造身處的空間和心理空間的。不帶感情的色彩是難容于世的。Gareth Doherty在講座上提到，Burle Marx個人偏愛用整體樹干傾斜的樹來布局園林。這制造了陰影與風對話的色彩。

Roberto Burle Marx Lectures這本書收錄了十多篇Burle Marx的演講，其中大部分以前從未用過英文，填補了這一空白。在國際巡回演講中，他們討論了景觀構(gòu)成、園林與生態(tài)的概念以及園林照明問題。Burle Marx強調(diào)造型藝術(shù)、空間組織、側(cè)重于色彩和平面構(gòu)圖、植物的多樣，他本身不受所謂的當代國內(nèi)到處流行的地域主義、風格、文化、生態(tài)主義、綠道、景觀都市主義等的影響，很純粹的立足于簡單的設(shè)計。本書的出版揭示了Burle Marx獨特的倫理和景觀美學，作為“生活中的真正藝術(shù)”（the real art in living），而Gareth Doherty的編輯為我們打開了Burle Marx觀點的折疊面，那就是，景觀中仿生學已經(jīng)過去了，而自然中的植物開始在景觀中模仿人的生活，正在挑戰(zhàn)這景觀建筑的思考極限。

Roberto Burle Marx Lectures的圖片是由巴西具有國際聲譽的攝影師Leonardo Finotti為Burle Marx已實現(xiàn)的一些項目拍攝的照片構(gòu)成的，這些具有高品質(zhì)的攝影與Gareth Doherty的編著機制形成了互為圖底的關(guān)系，在信息流中的互文拓展了無限的思考空間，對景觀成為無處不在當代藝術(shù)的進程出示了高遠的影響。

^{加雷斯·多爾蒂（Gareth Doherty）教授是哈佛大學景觀設(shè)計碩士專業(yè)（MLA）主任 ，高級副研究員。Doherty教授在哈佛大學獲得設(shè)計學博士學位，在賓夕法尼亞大學獲得景觀設(shè)計碩士學位。}

他發(fā)表的著作有最新出版的《Paradoxes of Green: Landscapes of a City-State》，《Is Landscape…? Essays on the Identity of Landscape》以及《生態(tài)都市主義》（與哈佛設(shè)計學院院長Mohsen Mostafavi共同主編），《新地理3：色彩的都市主義》等。其著作中涉及的領(lǐng)域眾多，例如《新地理3：色彩的都市主義》探討了身份、性別、權(quán)利以及通過顏色進行的空間設(shè)計等議題；《生態(tài)都市主義》深入闡述了城市化與藝術(shù)、環(huán)境、政府、公共健康、社會、技術(shù)、生態(tài)等各個方面之間的關(guān)系，并且探討了生態(tài)都市主義理論的內(nèi)涵和應(yīng)用。

Doherty教授在哈佛設(shè)計研究生院教授的課程包括景觀設(shè)計學研討會、城市設(shè)計研討會、設(shè)計人類學、設(shè)計研究方法、生態(tài)都市主義及標量都市主義。設(shè)計實踐課程包括城市規(guī)劃核心課程、以華盛頓大樓為對象的民主生態(tài)的設(shè)計課程，以及孟買都市區(qū)的極端都市主義課程，他曾獲得哈佛大學杰出教學獎。

The thought track of fluidity in freeze-frame

-- comments on Roberto Burle Marx Lectures: Landscape as Art and Urbanism edited by Gareth Doherty

Lin Jiang Quan（Lam Kong-chuen）

To study Roberto Burle Marx is to study landscapes. From Gareth Doherty's study of his speech, we can see the landscape in the dimension of Burle Marx's thoughts and the multidirectional, compound depth of field. 

Roberto Burle Marx said: "a good garden must be a work of art, contrast, structure. Scale and proportion are important principles. But first he has to have minds. “Roberto Burle Marx Lectures: Landscape as Art and Urbanism”, edited by Gareth Doherty, is an idea creation from the beginning. Editing is another way for him to write papers, or they are in the same dimension.  Roberto Burle Marx Lectures is not only to sort, explain and interpret Burle Marx's ideas, but also a necessary participation in the landscape creation and practice. In this sense, this book is not only a book, but also a landscape practice, or a landscape design on paper or information. The unrealized research is highly consistent with the implemented program.  In the field of landscape, Gareth Doherty is not only a scholar in the field of landscape, but also a "scholar landscape architect", who brings numerous new starting points and directions for landscape architects to put into practice. All of his research and thinking methods are components of realized projects, and break through the possible "deferred birth" of harsh reality. 

Roberto Burle Marx(1909-1994) is one of the most important landscape architects in the history of landscape. His unique and acclaimed work of landscape as art and urbanism is featured and referenced in many sources, but Burle Marx's own words are rarely published. This is Gareth Doherty's unique point of view in writing the book. In common themes, he takes the perspective bias into account. Burle Marx's speeches have not a fixed mode, he has a wide range of knowledge of multiple fields, with uncertainty and real-time performance. His speech and his process of landscape sketches is a reflection of the synchronous thinking track. In the book, Gareth Doherty classes, combs and formulates Burle Marx’s flowing intellectual trajectory, offering the landscape industry an opportunity to capture Burle Marx’s thought inspirations. Gareth Doherty's editing of the speeches and designs allows us to see "the structure of Cezanne as an apple", and I are often heavily obscured by Burle Marx's speech. Sometimes, impromptu speech is the manuscript of the designer, the speeches let us get into the Burle Marx’s specific creative landscape context, in the form of "experience" (embodied reenactment), trying to grasp the whole process of mind. The study and inquiry of speech will raise unexpected questions about the original works in the reality of Burle Marx, and have a greater discovery and exploration of the once "covered things" and the original motive in the original works. The need of authenticity plays an indispensable role in the correction of landscape history. Even an onset of a sudden idea in Burle Marx's speech is almost always associated with a clear thunderbolt, the shapes that record and convey their unmistakable presence in a flash are natural and social induced matters. Gareth Doherty's editing of speeches takes time back to the moment when Burle Marx was thinking, and seems to take the reader back to the moment when he was listening to a lecture. His essay edit corresponds to anything in the real world.

In the book, Gareth Doherty ingeniously presents Burle Marx's notes of speech as pages for continuous reading, rather than as illustrations, giving an exhaustive account of the actual thought process. The lectures paint a portrait of Burle Marx's soul - not just as a gardener, artist or botanist, but as a landscape architect whose aspirations have brought fundamental changes to the city and society. In the book, the design manuscript was also edited. Research manuscript is the concealment in western art history, and in the history of landscape or architectural history, manuscripts, often as an architect's first show, and even the architect is keen on the authenticity of the manuscript in a fit of externalization into reality in the building. Frank Gehry’s cursive design manuscripts, which looked mess, incoherent, and even unexplainable, has more unpredictability and unknowable idea than many accidental art manuscript. A lot of people can not find direction after watching his sketches, but also a lot of people worship them as works of genius, a kind of visual methodology that can't be imitated. Gareth Doherty accentuates this inimitable thinking methodology by intertextuality of two kinds of behavior: speech and design. 

One of the lessons Gareth Doherty brings us in this book is that Burle Marx's speech uncertainty is the same as his speech uncertainty about color relations. The relation between Burle Marx and color can start from his overall creation mechanism. Nature's uncertainty is precisely what inspired Burle Marx's creativity. "There is no such thing as a perfect work," he once said.  "there is always uncertainty in a work of art. "Burle Marx integrated the unpredictability of nature into his design works, creating an ever-changing "beauty of imperfection," as Adam Zagajewski  said, "to praise this broken world. "In the relationship of color, Burle Marx also emphasizes changes. He would use contrasting colors to create emotions, and continuously let the garden stimulate emotions. In his works, the single color of large area is an important factor for impact. He built complex plant communities in the garden and expressed the complex color relationship. He used large amounts of the same plant to form large areas of color, as on the ground rather than on canvas, through the use of plants to display color of the site spirit. Tiling an abstract pattern with black, white and brown mosaics as a pavement is a way to aggregate colors. His color relations can create the space and psychological space. It's hard to live without emotion. In his lecture, Gareth Doherty noted that Burle Marx's personal preference was to use trees with sloping trunks to lay out gardens. This creates a dialogue between shadow and wind. 

Roberto Burle Marx Lectures this book contains more than ten Burle Marx Lectures, most of which have never translated into English before, filling this vacancy. In the international lecture tour, they discussed the concept of landscape composition, landscape and ecology, and landscape lighting. Burle Marx emphasizes modeling art, spatial organization, focusing on color and plane composition, and diversity of plants. He himself is not affected by the so-called regionalism, style, culture, ecologism, greenway and landscape urbanism that are all popular in contemporary China. He is purely based on simple design. The publication of the book reveals Burle Marx’s unique ethical and landscape aesthetics, as "the real art of life" (the real art in living), while Gareth Doherty’s edit helps us open Burle Marx’s point on the folding surface, that is, the landscape of bionics has passed, and the natural plants in the landscape began to imitate human life, challenging the limit of landscape architecture thinking. 

Roberto Burle Marx’s picture of the Lectures are taken by internationally renowned Brazil photographer Leonardo Finotti for Burle Marx’s some implemented project. These high-quality photography and Gareth Doherty’s mechanism commonly form a mutual figure-ground relation, in the flow of intertextuality expand the infinite thinking space, showing profound effect for landscape progressing into ubiquitous contemporary art. 

Gareth Doherty

Gareth Doherty is an assistant professor of landscape architecture and senior research associate at the Harvard University Graduate School of Design, where he is also director of the Master in Landscape Architecture Program. He is author of Paradoxes of Green: Landscapes of a City-State, published in 2017 by the University of California Press. Previous publications include, Is Landscape . . . ? Essays on the Identity of Landscape, edited with Charles Waldheim (Routledge, 2016); and Ecological Urbanism, edited with Mohsen Mostafavi (Lars Mu?ller Publishers, 2010, revised in 2016). Doherty is a founding editor of the New Geographies journal and editor in chief of New Geographies 3: Urbanisms of Color.

^{版權(quán)聲明：本文由作者投稿至景觀中國網(wǎng)發(fā)布，僅代表作者觀點，不代表景觀中國網(wǎng)立場。如轉(zhuǎn)載、鏈接、轉(zhuǎn)貼或以其它方式使用本稿，需注明“文章來源：景觀中國網(wǎng)”。}

^{如有侵權(quán)，請與發(fā)布者或我們聯(lián)系。}

^{投稿郵箱：contact@landscape.cn}

^{項目咨詢：18510568018（微信同號）}