《城市環(huán)境設(shè)計(jì)》：彼得·沃克訪談

《城市環(huán)境設(shè)計(jì)》（以下簡(jiǎn)稱USD）：能否談一下PWP事務(wù)所當(dāng)前的關(guān)注點(diǎn)？
彼得·沃克：現(xiàn)在的景觀設(shè)計(jì)中出現(xiàn)了很多屋頂設(shè)計(jì)項(xiàng)目，這項(xiàng)技術(shù)的發(fā)展非常迅猛。應(yīng)該說，PWP在這種新型景觀設(shè)計(jì)領(lǐng)域處于領(lǐng)先位置。

USD：可否請(qǐng)您舉例談一談您在屋頂設(shè)計(jì)中的優(yōu)勢(shì)？
彼得·沃克：例如，日本的崎玉廣場(chǎng)（Saitama?Plaza）。那里的街道，來來往往的車輛川流不息、擁擠不堪。我們通過提升廣場(chǎng)將行人活動(dòng)與混亂的高速的交通分離出來，比如節(jié)慶活動(dòng)、到行人到火車站及運(yùn)動(dòng)場(chǎng)的流線、餐飲以及休閑娛樂。在廣場(chǎng)上，人們可以駐足休息、看書讀報(bào)、也可以和三兩好友聊天消遣。這些就是一個(gè)豐富的城市生活的精髓。?
　　但是屋頂花園的植物培育的發(fā)展還是不是很突出。我們已經(jīng)開發(fā)的這個(gè)屋頂?shù)亩鄬酉到y(tǒng)，在很多環(huán)境很差的城市中，還是促進(jìn)了植物的自然生長(zhǎng)以及成熟。

USD：您怎樣看待景觀設(shè)計(jì)中的藝術(shù)表達(dá)？
彼得·沃克：我們一貫秉承的原則是把景觀設(shè)計(jì)當(dāng)成一門藝術(shù)，如同繪畫和雕塑。

USD：您怎樣看待景觀中藝術(shù)性與功能性的關(guān)系？?
彼得·沃克：所有的設(shè)計(jì)首先要滿足功能的需要。即使在最具藝術(shù)氣息的設(shè)計(jì)中還是要秉承功能第一的理念，然后才是實(shí)現(xiàn)它的形式。例如：柏林的索尼總部首先是一個(gè)公共廣場(chǎng)，它的設(shè)計(jì)十分別致，令人難忘。但是它的設(shè)計(jì)與形象是在相互依賴中共存的。

USD：您出版過《極簡(jiǎn)主義庭院》一書，您能否簡(jiǎn)述一下您對(duì)極簡(jiǎn)主義的定義和理解？
彼得·沃克：物即其本身。

USD：您認(rèn)為構(gòu)成這一設(shè)計(jì)思想的主要源泉是什么？
彼得·沃克：主要是20世紀(jì)60年代的極簡(jiǎn)主義畫家和雕塑家。

USD：您怎樣看待極簡(jiǎn)主義設(shè)計(jì)與生態(tài)學(xué)中的最少介入的關(guān)系？您對(duì)生態(tài)設(shè)計(jì)是怎樣理解的？
彼得·沃克：極簡(jiǎn)主義是藝術(shù)表現(xiàn)形式，最少介入則是實(shí)現(xiàn)這一表現(xiàn)形式的一系列科技煩惱。生態(tài)學(xué)則是唯一可以應(yīng)用在景觀設(shè)計(jì)的科學(xué)手段。

USD：在富有藝術(shù)性的案例威克道中，您是怎樣具體運(yùn)用極簡(jiǎn)主義的？
彼得·沃克：我們不能在人行道下面放置泥土。半球形的植被成為了這個(gè)休憩場(chǎng)所的最基本的形式，還是令人難忘的景觀。

USD：您認(rèn)為在當(dāng)前的文化背景中應(yīng)該怎樣重新看待現(xiàn)代主義和現(xiàn)代主義運(yùn)動(dòng)？
彼得·沃克：現(xiàn)代主義者都是理想主義者。他們致力于創(chuàng)造一個(gè)更美好的新世界。后現(xiàn)代主義者對(duì)現(xiàn)代生活基本上持批評(píng)態(tài)度。

USD：與SOM合作的北京的美國(guó)大使館秉承了怎樣的設(shè)計(jì)理念？PWP對(duì)中國(guó)文化又是怎樣理解的？
彼得·沃克：它就像一個(gè)中國(guó)式庭園，在高高的圍墻內(nèi)有著豐富多彩的生活。我們非常喜歡中國(guó)的傳統(tǒng)手工藝，并在設(shè)計(jì)中融入相關(guān)技術(shù)，看上去感覺非?，F(xiàn)代。

USD：在“歸零地”設(shè)計(jì)中，栽了大量的樹，是出于怎樣的想法？
彼得·沃克：紀(jì)念地是要銘記那些在9·11事件中殉難的人們。“歸零地”紀(jì)念地是重生的象征，重新燃起公眾的希望。樹木在這里代表生命與重生。

USD：您在25歲時(shí)就成為了Sasaki公司的合伙人，并于1975年成為舊金山Sasaki?Walker的負(fù)責(zé)人。能否簡(jiǎn)單闡述下您與Sasaki先生共事的歲月？
彼得·沃克：佐佐木是我的良師益友。他不僅影響了我的設(shè)計(jì)工作，也影響了戰(zhàn)后PWP公司和很多其他設(shè)計(jì)公司的工作方式。?

　　作者簡(jiǎn)介：彼得·沃克，生于1932年，美國(guó)著名景觀設(shè)計(jì)師，美國(guó)景觀設(shè)計(jì)師協(xié)會(huì)理事。彼得·沃克一直活躍在景觀設(shè)計(jì)教育領(lǐng)域，1978-1981年擔(dān)任哈佛大學(xué)景觀設(shè)計(jì)學(xué)院系主任。1983年于加利福尼亞州伯克利市成立了彼得·沃克景觀設(shè)計(jì)合伙人公司。

　　USD:?One?North?Wacker?Drive?follows?the?PWP?design?philosophy:?neat,?exquisite?and?aesthetic.?How?does?PWP?design?the?details??What?principles?did?you?follow?when?using?landscape?elements?
　　Walker:?Many?projects?today?are?built?on?roofs,?and?this?technology?is?growing?very?fast.??We?think?we?are?on?the?leading?edge?of?this?new?form?of?landscape?architecture.
　　USD:?Could?you?explain?by?using?some?examples?what?the?advantages?and?merits?in?your?roof?garden?designs?are?
　　Walker:?As?in?Saitama?Plaza?in?Japan,?the?streets?are?filled?with?automobile?and?service?vehicles.?By?lifting?up?the?plaza?the?pedestrian?activities?such?as?festival,?access?to?the?arena?and?train?station,?eating?and?recreation?are?separated?from?the?speed?and?confusion?of?the?traffic?movement.?On?the?plaza,?one?can?stop,?sit,?read?or?talk?with?a?friend.?These?are?the?essence?of?a?rich?urban?life.
Still?the?roof?is?sterile?in?terms?of?the?growth?of?plants.?The?layered?systems?we?have?been?developing?encourage,?and?in?many?cases?improve?the?natural?processes?of?growth?and?maturity?within?the?generally?more?hostile?urban?environment.

　　USD:?What?is?your?opinion?about?art?expression?in?landscape?architecture?projects??
　　Walker:?We?have?always?practiced?landscape?architecture?as?an?art?form,?equal?to?painting?and?sculpture.

　　USD:?Do?you?think?artful?landscape?architecture?should?also?have?functions??If?so,?how?do?you?integrate?arts?and?functions?in?a?landscape?design??Could?you?give?us?an?example??
　　Walker:?All?design?is?expressed?through?its?functions.?Even?the?most?artful?designs?function?first?and?only?then?realize?their?form.?For?instance,?Sony?Headquarters?in?Berlin?is?first?a?public?square?whose?formal?aspects?make?it?unique?and?memorable.?Its?purpose?and?its?image?are?interdependent.

　　USD:?You?wrote?the?Minimalist?Gardens.?What?is?the?definition?of?minimalism??
　　Walker:?The?object?is?the?thing?itself.

　　USD:?Where?did?the?inspiration?come?from??
　　Walker:?The?minimalist?painters?and?sculptors?of?the?1960’s.

　　USD:?What?would?you?say?is?the?relationship?between?minimalist?design?and?minimum?intervention?(referring?to?minimum?ecological?intervention)??What?is?your?opinion?about?ecological?design?
　　Walker:?One?is?a?form?of?art?and?the?other?is?a?series?of?scientific?techniques.?Ecology?is?one,?but?only?one?of?the?tools?available?in?landscape?design.

　　USD:?How?did?you?apply?the?minimalism?in?the?artful?project?–?One?North?Wacker?Drive??
　　Walker:?We?could?not?place?dirt?below?the?sidewalk?surface.?The?raised?tree?balls?became?the?memorable?and?primary?form?of?the?park.

　　USD:?What?are?your?thoughts?about?modernism?and?the?modernist?movement?versus?the?present?culture?
　　Walker:?The?modernists?were?idealists.?They?strove?to?create?a?new?and?better?world.??The?post-modernists?are?basically?critiques?of?modern?life.

　　USD:?You?were?commissioned?for?the?American?Embassy,?Beijing?with?collaboration?with?SOM?(Skidmore,?Owings?&?Merrill?LLP).?What?is?the?design?concept?of?this?project??What?do?you?think?of?Chinese?culture??
　　Walker:?The?Embassy?is?like?a?Chinese?garden,?in?that?a?full?life?is?to?go?on?within?its?walls.??We?loved?the?handicraft?tradition?within?the?arts?of?China,?and?we?incorporated?many?of?these?techniques?within?our?design,?which?in?formal?terms?is?modern.

　　USD:?A?lot?of?trees?are?used?in?the?design?of?“World?Trade?Center?Memorial:?Reflecting?Absence”.?What’s?the?intention?of?growing?many?trees?there?
　　Walker:?The?Memorial?remembers?those?who?died?on?9/11?but?it?is?also?a?symbol?of?rebirth?and?public?revival.?The?trees?represent?this?life?and?rebirth.

　　USD:?At?the?age?of?25,?you?became?the?partner?of?SASAKI?and?in?the?year?1975?you?were?in?charge?of?Sasaki?Walker,?San?Francisco.?Could?you?tell?us?about?your?time?with?Mr.?Sasaki?
　　Walker:?Hideo?was?my?teacher?and?mentor.?He?affected?not?only?my?design?work,?but?also?the?way?that?we?and?many?other?offices?have?practiced?in?the?post?war?period.