《Domus》對(duì)話俞孔堅(jiān)

　　俞孔堅(jiān)，浙江金華人，1963年生。1987年獲北京林業(yè)大學(xué)碩士學(xué)位后留校任教5年，1995年獲美國(guó)哈佛大學(xué)設(shè)計(jì)學(xué)博士學(xué)位，主攻城市與景觀規(guī)劃設(shè)計(jì)。1995～1997年任美國(guó)SWA集團(tuán)景觀與城市設(shè)計(jì)師。1997年回國(guó)任北京大學(xué)教授,創(chuàng)建北京大學(xué)景觀規(guī)劃設(shè)計(jì)研究中心(現(xiàn)在的北京大學(xué)景觀設(shè)計(jì)學(xué)研究院)，同年創(chuàng)立北京土人景觀規(guī)劃設(shè)計(jì)研究所（現(xiàn)在的北京土人景觀與建筑規(guī)劃設(shè)計(jì)研究院）。

　　訪談內(nèi)容

　　Domus：為什么會(huì)起“土人”這樣一個(gè)名字？
　　俞孔堅(jiān)：因?yàn)閯e人都打著洋牌子，所以我們就只有叫“土人”了（笑）。當(dāng)然更重要的是希望表達(dá)一個(gè)想法就是，景觀本來(lái)就是體現(xiàn)人與土地、自然的關(guān)系的，它應(yīng)該是“天地—人—神”合一的。另外，也是“鄉(xiāng)土中國(guó)人”的意思，因?yàn)橹袊?guó)自古就是一個(gè)農(nóng)業(yè)國(guó)，人與土地的關(guān)系是最根本的關(guān)系。所以中國(guó)的景觀設(shè)計(jì)應(yīng)當(dāng)是建立在這個(gè)根本關(guān)系之上的，而不是盲目模仿西方的景觀設(shè)計(jì)，否則就是脫離了中國(guó)人的真實(shí)生活、脫離了中國(guó)性。

　　Domus：您在今年的全美景觀設(shè)計(jì)師協(xié)會(huì)年會(huì)及國(guó)際景觀設(shè)計(jì)師聯(lián)盟第43屆世界大會(huì)上作了關(guān)于“生存的藝術(shù)”的主題報(bào)告，您能簡(jiǎn)要介紹一下其中的主要觀點(diǎn)嗎？
　　俞孔堅(jiān)：景觀設(shè)計(jì)學(xué)的起源，即“生存的藝術(shù)”，一種土地設(shè)計(jì)和監(jiān)護(hù)，并與治國(guó)之道相結(jié)合的藝術(shù)。遺憾的是，我們的上層文化并沒(méi)有珍惜這種源于生存藝術(shù)的、充滿(mǎn)意味的、真實(shí)的桃花源，因?yàn)槟鞘且环N與苦難、勞動(dòng)和生存相聯(lián)系的下層文化，是與下等平民相聯(lián)系的文化。兩千多年來(lái)，帝王們?cè)缫巡辉傧翊笥砟菢雨P(guān)懷土地和人民，閹割了真實(shí)的桃花源中的稻田和果園等與生存相關(guān)的良田美池，大造虛假、空洞的桃花源，?并美其名曰：造園藝術(shù)。在各國(guó)書(shū)店里有多少關(guān)于中國(guó)園林藝術(shù)的書(shū)籍塞滿(mǎn)了關(guān)于中國(guó)文化的書(shū)架，卻很難找到一本關(guān)于中國(guó)真實(shí)的桃花源的書(shū)籍。長(zhǎng)期以來(lái)，東西方學(xué)者們串通一氣，向世人編織一個(gè)彌天大謊，使人們誤認(rèn)為中國(guó)造園藝術(shù)——這一虛假的桃花源藝術(shù)就是中國(guó)景觀設(shè)計(jì)的國(guó)粹，繼而代表中國(guó)。我要提醒我的西方和東方同行們：正是這種“國(guó)粹”加速斷送了一代代曾經(jīng)輝煌的封建帝國(guó)。

　　也正是這種腐朽、虛假的園林藝術(shù)，與同樣腐朽的、來(lái)自古羅馬廢墟的城市藝術(shù)像雜交，充塞者、裝點(diǎn)著當(dāng)代中國(guó)的城市。而與此同時(shí)，我們挖掉了農(nóng)家祖墳的最后一棵風(fēng)水樹(shù)，搬進(jìn)城市廣場(chǎng)；截流了流向千年村落的最后一股清泉，用于灌溉城市大街上的奇花異草，在營(yíng)造一個(gè)當(dāng)代虛假的“桃花源”的同時(shí)，卻糟踏了中國(guó)大地上真實(shí)的“桃花源”。

　　在中國(guó)城市經(jīng)濟(jì)快速發(fā)展的背景下，農(nóng)業(yè)迅速退出社會(huì)經(jīng)濟(jì)的主導(dǎo)地位，同樣農(nóng)耕技術(shù)及農(nóng)耕文明中孕育的關(guān)于生存和土地監(jiān)護(hù)的、日常的、鄉(xiāng)土景觀藝術(shù)也隨之衰落。這些都使中國(guó)的大地景觀面臨嚴(yán)峻的危機(jī)：生態(tài)完整性的破壞，文化歸屬感的喪失，歷史遺產(chǎn)的消失。農(nóng)業(yè)時(shí)代的桃花源將不可避免地走向衰敗。

　　面對(duì)生態(tài)環(huán)境的日益惡化，文化身份的喪失以及人與土地精神聯(lián)系的斷裂，當(dāng)代景觀設(shè)計(jì)學(xué)必須肩負(fù)重建“天地—人—神”和諧的使命，在這個(gè)城市化、全球化、工業(yè)化的時(shí)代里設(shè)計(jì)新的“桃花源”。
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　　而景觀不僅僅事關(guān)環(huán)境和生態(tài)，還關(guān)系到整個(gè)國(guó)家對(duì)于自己文化身份的認(rèn)同和歸屬問(wèn)題。景觀是家園的基礎(chǔ)，也是歸屬感的基礎(chǔ)。在處理環(huán)境、重拾文化身份以及重建人地的精神聯(lián)系方面，景觀設(shè)計(jì)學(xué)也許是最應(yīng)該發(fā)揮其作用的學(xué)科。

　　我強(qiáng)調(diào)三個(gè)原則：?設(shè)計(jì)尊重自然；設(shè)計(jì)尊重人；設(shè)計(jì)尊重土地之神。過(guò)去，景觀設(shè)計(jì)學(xué)在定位上存在著致命的弱點(diǎn)，其中一個(gè)最重要的原因就在于它仍然把自己當(dāng)作古老園林藝術(shù)的延續(xù)，這是大錯(cuò)特錯(cuò)。景觀設(shè)計(jì)學(xué)是我們祖先在謀生過(guò)程中積累下來(lái)的種種生存藝術(shù)的結(jié)晶，這些藝術(shù)來(lái)自于對(duì)于各種環(huán)境的適應(yīng)，來(lái)自于探尋遠(yuǎn)離洪水和敵人侵?jǐn)_的過(guò)程，來(lái)自于土地丈量、造田、種植、灌溉、儲(chǔ)蓄水源和其他資源而獲得可持續(xù)的生存和生活的實(shí)踐。重歸真實(shí)的人地關(guān)系，關(guān)注普通人日常生活需要，是當(dāng)代景觀設(shè)計(jì)學(xué)的精神。

　　domus:Why?did?you?name?your?company?"Turenscape"?
　　Yu?Kongjian:?Because?other?firms?call?their?companies?with?foreign?names,?so?we?decide?to?call?ourselves?"Turen"?(earthy?person).?The?most?important?reason?was?that?we?wanted?to?express?an?idea?through?this?name.?In?my?opinion?landscapes?should?represent?the?relationship?between?land?and?people.?They?should?be?in?harmony?with?"Man,?nature?and?spirit".?The?name?also?reflects?our?country’s?characteristics.?China?has?been?a?large?agricultural?nation?for?thousand?of?years,?so?its?most?fundamental?relationship?is?between?the?land?and?the?people.?Instead?of?copying?Western?design,?the?land?design?in?China?should?be?built?on?the?foundation?of?this?basic?relationship,?or?else?it?would?be?separated?from?our?own?lives?and?Chinese?condition.
　　domus:I?know?that?you?made?the?keynote?speech?at?the?2006?ASLA?Annual?Meeting?and?the?43rd?IFLA?World?Congress.?Could?you?briefly?talk?about?the?main?ideas?you?addressed??
　　Yu?Kongjian:?Landscape?architecture?is?an?art?of?survival,??is?an?integration?of?design?and?stewardship.?Unfortunately,?our?upper-class?culture?did?not?appreciate?the?real?vernacular?landscape?of?the?Land?of?Peach?Blossoms?because?it?belongs?to?the?lower?culture,?the?common?landscape?of?surviving?and?food?production,?and?is?associated?with?hard?working?and?inferior?people.?Instead,?for?two?thousands?years,?the?elite?class?of?nobles?and?emperors?recreated?the?fake?Land?of?Peach?Blossoms?for?pleasure?making,?using?ornaments,?false?rockery,?and?honored?them?as?the?high?art?of?"gardening".
　　Ironically?this?art?of?gardening?did?nothing?more?than?accelerating?the?decline?of?the?feudalist?Chinese?empire.?In?this?sense,?the?art?of?gardening?is?no?more?than?the?art?of?foot?binding,?which?was?so?much?appreciated?by?the?emperors?and?nobles.?This?decaying?art?of?gardening?was?recognized?as?our?glorious?tradition?and?our?national?identity,?and?highly?regarded?by?current?Western?and?Chinese?scholars?alike.?It?is?also?seen?flourishing,?and?mixed?the?ruins?of?Roman?art,?in?the?national?wide?movement?of?establishing?the?beautiful?city,?and?the?"garden?city"?campaign.?On?the?other?hand,?we?try?to?build?our?city?by?taking?old?trees?from?the?villages,?diverting?streams?from?farms.?When?we?build?new?skylines,?we?are?destroying?the?actual?Land?of?Peach?Blossoms.
　　The?role?of?agriculture?has?declined?in?China’s?urban-centered?economy,?along?with?the?skills?and?the?art?of?agricultural?cultivation?and?stewardship.?This?process?began?with?the?classical?scholar?garden?art?from?thousands?of?years?ago,?and?has?now?spread?to?civic?art?and?landscape?architects?compete?for?a?tiny?piece?of?land?in?the?city.?Simultaneously?our?mother?rivers?run?dry?and?polluted,?underground?water?continue?to?drop?every?day,?and?in?the?north,?sand?storms?are?affecting?the?area’s?arable?land.?In?facing?environmental?and?ecological?degradation,?loss?of?cultural?identity?and?the?erosion?of?our?spiritual?connection?to?our?land,?the?mission?of?contemporary?landscape?architecture?is?to?bring?nature,?man?and?the?spirit?together?again,?to?create?a?new?Land?of?Peach?Blossoms?in?an?urbanized,?globalized?and?industrialized?area.
　　Landscape?architecture?is?possibly?the?most?legitimate?profession?among?those?dealing?with?our?physical?environment?to?work?toward?recovering?our?cultural?identity?and?building?the?spiritual?connection?between?people?and?their?land.
　　The?obvious?overall?principles?are:?land?design?should?be?in?harmony?with?nature;?landscape?design?should?be?executed?with?people?in?mind;?landscape?design?should?also?be?designed?with spirit?in?mind.
　　One?of?the?most?important?reasons?for?landscape?architecture’s?weakness?in?addressing?major?environmental?issues?is?that?landscape?architecture,?as?a?profession,?is?still?associated?with?the?ancient?tradition?of?gardening.?It?is?time?to?declare?that?landscape?architecture?is?not?a?direct?descendent?of?garden?art,?but?a?heritage?of?the?survival?skills?of?our?ancestors?who?had?to?endure?a?changing?environment,?ensuring?a?safe?place?from?floods?and?enemies,?while?surviving?by?leveling?the?land,?planting?and?irrigating?crops,?and?saving?water?and?other?resources?for?sustaining?the?family?and?the?people.?Landscape?architecture?works?on?a?larger?and?more?significant?scale?than?the?field?of?garden?arts.?
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　　案例欣賞:

綠林中的紅飄帶——秦皇島市湯河濱河公園設(shè)計(jì)

　　這個(gè)案例試圖說(shuō)明如何在城市化過(guò)程中保留自然河流的綠色與藍(lán)色基底，最少量地改變?cè)械匦魏椭脖灰约皻v史遺留的人文痕跡，同時(shí)滿(mǎn)足城市人的休閑活動(dòng)需要。方案在完全保留原有河流生態(tài)廊道的綠色基底上，引入一條以玻璃鋼為材料的紅色飄帶。它整合了包括漫步、環(huán)境解說(shuō)系統(tǒng)、鄉(xiāng)土植物標(biāo)本種植、燈光等功能和設(shè)施需要，用最少的干預(yù)，獲得都市人對(duì)綠色環(huán)境的最大需求。

　　項(xiàng)目區(qū)位及背景
　　項(xiàng)目位于中國(guó)著名濱海旅游城市秦皇島市區(qū)西部，坐落于湯河?xùn)|岸．長(zhǎng)約lkm，設(shè)計(jì)范圍總面積約20ha。

　　場(chǎng)地特征與挑戰(zhàn)
　　場(chǎng)地有以下幾大特征，為設(shè)計(jì)提出了挑戰(zhàn)，同時(shí)提供了機(jī)會(huì)；良好的自然稟賦：地段內(nèi)植被茂密，水生和濕生植物豐富，為多種魚(yú)類(lèi)和鳥(niǎo)類(lèi)生物的棲息地；“臟亂差”的人為環(huán)境和殘破的設(shè)施：場(chǎng)地具有城郊結(jié)合部的典型特征，多處地段已成為垃圾場(chǎng)，有殘破的建筑和構(gòu)筑物，包括一些堆料場(chǎng)地和廠房。水塔、提灌泵房、防洪堤壩、提灌渠等；安全隱患和可達(dá)性差：場(chǎng)地可達(dá)性差，空間無(wú)序，存在安全隱患，環(huán)境治理迫在眉睫；

　　使用需求壓力：目前這一地帶由于位于城鄉(xiāng)結(jié)合部的特點(diǎn)和缺乏管理；同時(shí)，越來(lái)越多的城市居民把它當(dāng)作游憩地，包括游泳、垂釣、體育鍛煉等；

　　開(kāi)發(fā)壓力：城市擴(kuò)張正在脅迫湯河，渠化和硬化危險(xiǎn)迫近。就在場(chǎng)地的下游河段，兩岸已經(jīng)建成住宅，隨之，河道被花崗巖和水泥硬化．自然植被完全被“園林觀賞植物”替代，大量的廣場(chǎng)和硬地鋪裝、人工的雕塑和噴泉等徹底改變了湯河生態(tài)綠廊。

　　設(shè)計(jì)目標(biāo)
　　如何避免對(duì)原有自然河流廊道的破壞。同時(shí)又能滿(mǎn)足城市化和城市擴(kuò)張對(duì)本地段河流廊道的功能要求，成為本設(shè)計(jì)要解決的關(guān)鍵問(wèn)題，也是本設(shè)計(jì)的主要目標(biāo)。河流廊道的自然過(guò)程和城市居民對(duì)它的功能需求兩者合起來(lái)，就是湯河濱河公園的生態(tài)服務(wù)功能，包括水源保護(hù)、鄉(xiāng)土生物多樣性的保護(hù)、休憩、審美啟智和科普教育。

　　設(shè)計(jì)對(duì)策：綠林中的紅飄帶
　　為健全上述生態(tài)服務(wù)功能，本方察提出“紅飄帶”設(shè)計(jì)。保護(hù)場(chǎng)地原有的鄉(xiāng)土植被的綠色基地，在其上設(shè)計(jì)一條綿延500多米的紅色飄帶，這是一個(gè)綿延于東岸林中的線性景觀元素，具有多種城市功能：它與木棧道結(jié)合，可以作為座椅；與燈光結(jié)合，而成為照明設(shè)施；與種植臺(tái)結(jié)合，而成為植物標(biāo)本展示廊；與解說(shuō)系統(tǒng)結(jié)合，而成為科普展示廊；與標(biāo)識(shí)系統(tǒng)相結(jié)合，而成為一條指示線。它由玻璃鋼構(gòu)成，曲折蜿蜒，因地形和樹(shù)木的存在而發(fā)生寬度和線型的變化；中國(guó)紅的色彩，點(diǎn)亮幽暗的河谷林地。沿紅飄帶，分布五個(gè)節(jié)點(diǎn)，分別以五種草為主題。每個(gè)節(jié)點(diǎn)都有一個(gè)如“云”的天棚。網(wǎng)架上局部遮擋，有虛實(shí)變化，具有遮蔭、擋雨的功能。夜間整個(gè)棚架發(fā)出點(diǎn)點(diǎn)星光，創(chuàng)造出一種溫譬的童話氛圈；斜柱如林木；地上鋪裝呼應(yīng)天棚的投影；在這天與地之間是人的活動(dòng)和休息空間和專(zhuān)類(lèi)植物的展示空間。

　　項(xiàng)目名稱(chēng)：湯河濱河公園景觀設(shè)計(jì)
　　業(yè)主：秦皇島市園林局
　　設(shè)計(jì)：北京土人景觀規(guī)劃設(shè)計(jì)研究院，北京大學(xué)景觀設(shè)計(jì)學(xué)研究院
　　首席設(shè)計(jì)師：俞孔堅(jiān)
　　設(shè)計(jì)總監(jiān)：凌世紅?劉向軍?陳晨
　　主要設(shè)計(jì)人員：牛靜?何俊偉?寧維晶
　　參與設(shè)計(jì)：孟羽佳?王錚?李何亮?廖安生?羅翠翠?李瑤
　　設(shè)計(jì)時(shí)間：2005年10月
　　竣工時(shí)間：2006年7月

The?Red?Ribbon?—— The?Tanghe?RiVer?Park

　　Against?a??background?of?natural?terrain?and?vegetation,?a?500-meter-long?“red?ribbon”?was?designed,?which?integrates?multiple?functions?of?lighting,?seating,?environmental?interpretation,?and?orientation.?While?maximally?preserving?the?natural?river?corridor?during?the?process?of?urbanization,?this?project?demonstrates?how?a?minimum?design?solution?can?achieve?a?dramatic?improvement?to?the?landscape.?

　　Location
　　The?project?is?located?on?the?east?bank?of?the?Tanghe?River,?at?the?weast?urban?fringe?of?Qinghuangdao?City,?Hebei?Province,?China.?The?site?is?a?linear?river?corridor,?with?a?total?area?of?about?20?hectares.?

　　Site?Conditions?and?Challenges
　　The?following?conditions?of?the?site?imply?great?opportunities?and?challenges?for?the?design: Good?ecological?condition:?the?site?is?covered?with?lush?and?diverse?local?vegetation?that?provides?diverse?habitats?for?various?species.??
　　Unkempt?and?deserted:?located?at?the?peripheral?area?of?a?beach?city,?the?site?was?a?garbage?dumping?site,?with?deserted?slums?and?irrigation?facilities?such?as?ditches?and?water?towers?that?were?built?for?farming?years?ago.??
　　Potential?safety?and?accessibility?problems:?distributed?with?lush?shrubs?and?“messy”?grasses,?the?site?was?virtually?inaccessible?and?insecure?for?people?to?use.?
　　Use?demands:?along?with?the?urban?sprawl?process,?the?site?was?sought?after?for?recreational?uses?such?as?fishing,?swimming?and?jogging?by?the?people?who?come?to?reside?in?the?newly?developed?communities?nearby.?
　　Development?pressure：The?speedy?process?of?urbanization?was?seen?as?threatening?the?river?corridor.?Channellization?was?likely?to?occur?along?the?river?banks,?as?had?happened?to?the?lower?reach?of?the?same?river,?and?the?natural?river?corridor?was?likely?to?be?replaced?with?hard?pavement?and?ornamental?flower?beds.?

　　Design?objectives
　　The?major?design?challenge?was?how?to?preserve?the?natural?habitats?along?the?river?while?creating?the?new?urban?uses?of?recreation?and?education.??

　　Design?solution
　　A?“red?ribbon”?was?designed?against?the?background?of?green?vegetation?and?blue?water.?The?“red?ribbon”?extends?for?about?500?meters?along?the?river?bank,?integrating?a?boardwalk,?lighting,?seating,?environmental?interpretation,?and?environmental?orientation.?The“red?ribbon”?is?made?of?fiber?steel,?and?lit?from?inside?out?at?night.?It?is?60?cm?high,?and?30-150?cm?wide.?Plants?samples?are?grown?from?strategically?placed?holes?on?“red?ribbon.”?Five?pavilions,?in?the?shape?of?clouds,?are?distributed?along?the?“red?ribbon,”?which?provide?protection?from?the?weather,?meeting?opportunities?and?vertical?visual?focal?points.
　　The?Chinese?red?color?lights?up?this?densely?vegetated?site,?and?the?simple?linear?element?provides?a?structural?instrument?that?reorganizes?the?former?“messy”?and?inaccessible?site.?The?natural?site?has?been?dramatically?“urbanized”?and?modernized,?two?attributes?that?are?highly?sought?after?by?the?local?residents,?many?of?whom?are?former?farmers?and?newly?urbanized,?while?keeping?intact?the?ecological?processes?and?natural?services?of?the?site.

　　Project?Name: Landscape?of?the?Tanghe?River?Park?
　　Client:?The?Landscape?Bureau,?Qinghuangdao?City,?Hebei?Province,?China
　　Design?firm:?Turenscape
　　Design?Principal:?Kongjian?Yu
　　Design?team:?Ling?Shihong,?Liu?Xiangjun, Chen?Chen,?He?Junwei,?Niu?Jin,?Ning?Weijin,?Men?Yujia,?Wang?Zheng,?Li?Heliang,?Liao?Ansheng,?Luo?Shuishui,?Li?Yao
　　Design?Period: 2005.10
　　Completion: 2006.7