孫虎先生在第55屆IFLA世界大會(huì)上的發(fā)言 | 新山水的審視與實(shí)踐

2018第55屆IFLA世界大會(huì)于2018年7月18—21日在新加坡舉行，此次大會(huì)由國(guó)際風(fēng)景園林師聯(lián)合會(huì)（IFLA）主辦，由新加坡風(fēng)景園林師學(xué)會(huì)（SILA）承辦。本屆大會(huì)的主題是：Biophilic City, Smart Nation and Future Resilience。山水比德作品【龍湖高碑店?列車新城】，在眾多競(jìng)爭(zhēng)者中脫穎而出，榮獲文化傳統(tǒng)類(THE CULTURAL AND TRADITIONALS CATEGORY)卓越獎(jiǎng)！【詳細(xì)獲獎(jiǎng)詳情請(qǐng)點(diǎn)擊左側(cè)鏈接！】昨日，山水比德集團(tuán)董事長(zhǎng)兼首席設(shè)計(jì)師孫虎先生應(yīng)邀出席于新加坡舉行的第55屆IFLA世界大會(huì)，并在大會(huì)主會(huì)場(chǎng)上作重要發(fā)言。

2018AFLA大會(huì)主題

自然友好城市/ Biophilia

本主題探討了在快速發(fā)展的城市背景下，風(fēng)景園林的學(xué)科和實(shí)踐。著名可持續(xù)城市研究者Timothy Beatley認(rèn)為新加坡可作為一個(gè)自然友好城市的例子，他反問“到底什么是自然友好城市，它的主要特征和品質(zhì)是什么？”“也許最簡(jiǎn)單的答案是”，他說，“這是一個(gè)把自然置于設(shè)計(jì)、規(guī)劃和管理的第一位的城市，它認(rèn)識(shí)到人們?nèi)粘＝佑|自然的必要性，以及自然和自然系統(tǒng)所提供的許多環(huán)境和經(jīng)濟(jì)價(jià)值?！?/p>

關(guān)鍵詞：生態(tài)系統(tǒng)服務(wù)、景觀都市主義、綠色基礎(chǔ)設(shè)施、康復(fù)花園、城市農(nóng)場(chǎng)

智慧國(guó)家/Smart

在越來越數(shù)字化的社會(huì)背景下定位風(fēng)景園林，我們渴望擴(kuò)展我們衡量和評(píng)估環(huán)境的能力，通過遠(yuǎn)程傳感器和探頭的幫助來延伸我們的感覺器官。信息技術(shù)和數(shù)據(jù)分析的出現(xiàn)可以幫助我們量化我們對(duì)景觀的理解，以增強(qiáng)我們對(duì)設(shè)計(jì)過程的見解。風(fēng)景園林學(xué)如何作為跨學(xué)科的方法和適當(dāng)?shù)厥褂眉夹g(shù)手段，并且，提供實(shí)用的解決方案和新的概念來解決氣候變化、城市化和新的社會(huì)愿望帶來的許多艱巨挑戰(zhàn)？

關(guān)鍵詞：增強(qiáng)和虛擬現(xiàn)實(shí)，地理設(shè)計(jì)，點(diǎn)云技術(shù)，城市信息學(xué)，社交媒體，云資源

未來彈性/Resilience

了解風(fēng)景園林師如何幫助修復(fù)城市內(nèi)受損的基礎(chǔ)設(shè)施系統(tǒng)。風(fēng)景園林師正在逐漸跨越他們的學(xué)科，用其他領(lǐng)域的專業(yè)知識(shí)開發(fā)一些框架、概念和工具，以克服生物多樣性喪失、洪水和其他環(huán)境沖突的威脅。盡管威脅越來越大，我們?nèi)绾未_保這些系統(tǒng)持續(xù)運(yùn)行，并保持強(qiáng)勁？在受到很大的沖擊后，我們?nèi)绾斡糜邢薜馁Y源來設(shè)計(jì)和修復(fù)？在圍繞城市彈性這一主題問題的持續(xù)對(duì)話中，風(fēng)景園林的作用何在？

關(guān)鍵詞：減緩氣候變化、多層防御、生物多樣性喪失、干旱、洪水、污染、極端高溫、災(zāi)害管理

《新山水的審視與實(shí)踐》

昨日，山水比德集團(tuán)董事長(zhǎng)兼首席設(shè)計(jì)師孫虎先生應(yīng)邀出席于新加坡舉行的第55屆IFLA世界大會(huì)，并在大會(huì)主會(huì)場(chǎng)上作重要發(fā)言。他以《新山水的審視與實(shí)踐》為題，闡釋了新山水理論在榮獲文化傳統(tǒng)類卓越獎(jiǎng)(THE CULTURAL AND TRADITIONALS CATEGORY)【龍湖高碑店?列車新城】中的運(yùn)用。發(fā)言受到了與會(huì)者的廣泛好評(píng)。

以下為本場(chǎng)發(fā)言實(shí)錄>>>

^{▲ 孫虎先生現(xiàn)場(chǎng)發(fā)言}

重返自然，正在成為一個(gè)普世意義的追求，不論是在設(shè)計(jì)的，藝術(shù)的，生活的……根據(jù)多年設(shè)計(jì)實(shí)踐，以及對(duì)當(dāng)代棲居精神的研究，我們提出了基于以重返自然山水為解決路徑的新山水設(shè)計(jì)方法論——

Returning to nature is becoming a universal pursuit,no matter in design,art and life...

Based on the years of design practice and researchingon

the spirit of contemporary dwelling, we propose solving the nowadays’problem based on returning to natural landscapes.That is,New Landscape Design Methodology.

即根植于山水的自然精神與文化價(jià)值，以人比德于自然的情感交流為媒介，依據(jù)現(xiàn)代生活的方式，通過當(dāng)下的科技、工藝與材料等，為一切生命進(jìn)化的信息流動(dòng)建構(gòu)詩意空間。

That is, the natural spirit and cultural value rooted in the landscape;taking the emotional exchange of human beings and nature as the medium,according to the way of modern life; through the current technology, craftsmanship and materials;constructing a poetic space for the flow of information on all life evolution.

以榮獲IFLA文化傳統(tǒng)類(THE CULTURAL AND TRADITIONALS CATEGORY)卓越獎(jiǎng)的河北高碑店紫泉公館為例，文化山水即行宮園林的現(xiàn)代轉(zhuǎn)譯。

Take the project Gaobeidian Ziquan River Garden for example, which just won the Excellent of Award under the cultural and traditionals category of IFLA. A modern Translation of Palace Gardens.

項(xiàng)目位于河北高碑店，依托紫泉河，是清朝紫泉行宮遺址所在。景觀以紫泉行宮為原型，依托行宮文化，利用古典造園手法，融入現(xiàn)代簡(jiǎn)約元素，打造東方色彩濃烈的景觀空間，兼具人文和生態(tài)特征。

Lying by the ZiquanRiver in Gaobeidian,Hebei Province, the project site was once the home to ZiquanPalace, a travelling palace for the emperors in Qing Dynasty. The landscape design models after the palace and references its unique culture. It employs the classic gardening approach and incorporates modern and minimalistic elements to create humanistic and ecological landscaped spaces of distinct oriental charm.

紫泉行宮為清朝皇帝南巡駐蹕之所，建于清朝乾隆初年。清乾隆皇帝曾在此駐蹕14次，每每觸景生情，揮毫作詩，累計(jì)達(dá)125首之多。

Built in the early years during the Qianlong Reign of Qing Dynasty, Ziquan Palace served the emperors on their southern inspection tours. Emperor Qianlong, who stayed over at the palace for 14 tours, was so fascinated and inspired by the views here that he wrote 125 poems about the palace.

^{▲ 清.冷枚.避暑山莊圖 Mountain Resort by Leng Mei of Qing Dynasty}

在充分研究以紫泉行宮及避暑山莊等為代表的行宮園林基礎(chǔ)上，景觀設(shè)計(jì)對(duì)空間邏輯和形式邏輯上進(jìn)行了現(xiàn)代的解構(gòu)和重建——

Based on researches of the gardens of travelling palaces like Ziquan Palace and Mountain Resort etc, we deconstruct and reconstruct the spatial and formal logic in the landscape design.

在空間邏輯上，禮制空間與自然空間交融，實(shí)現(xiàn)“隱·禮·橋·庭·溪·堂”的重構(gòu)；在形式邏輯上，達(dá)成山水畫卷的抽象純粹表達(dá)，從而營(yíng)造形、境、韻上的山水形制。

Spatial logic

Integration of ritual spaces and natural space

A reconstruction focusing on view-hiding, ritual, bridge, courtyard, stream and hall.

Formal logic

Abstract and pure expression of landscape scroll

Landscape paradigm in form, context and rhythm.

以紫泉行宮為依托，以行宮文化和山水精神為內(nèi)核，將“禮制”和“自然”交融，以現(xiàn)代手法將古典轉(zhuǎn)譯設(shè)計(jì)景觀，在保護(hù)和繼承傳統(tǒng)文化的基礎(chǔ)上營(yíng)造一種千年東方禮儀的詩意氛圍。通過景觀，將自然界的“山水”轉(zhuǎn)譯為可與現(xiàn)代城市共存的“自然空間”，使山水回歸人的生活，滿足人們寄情山水、頤養(yǎng)心性的精神要求和價(jià)值取向。

With reference to ZiquanPalace and focusing on the palace culture and landscape concept thereof, the

project integrates the ritual with the nature, translate the classic garden into landscape through modern approaches, and eventually create a poetic

context of millennial oriental ritual on top of the heritage of traditional culture. 

In landscape design, the natural landscape is translated into natural spaces that can co-exist with the modern city, bringing back the nature to people’s life and meeting their spiritual pursuit and values for nature and inner peace.

白石遮目，如云橫秀嶺。入口處，以隱的手法，呼應(yīng)“屏山詩”，將空間與外界分隔，形成咫尺山林的幽奧，以自然營(yíng)造入隱的節(jié)點(diǎn)，用現(xiàn)代藝術(shù)點(diǎn)題空間。

The white stones block the views,appearing like the white cloud floating over the green mountains. 

The entrance echoes to the poem Screen-like Rockeries with a view-hiding approach to separate the project space with the external one, create a seclusion by the mountain forest and highlight the space with contemporary art works.

山水形制，自然禮遇。

The landscape paradigm pays tribute to thenature.

將山水進(jìn)行解構(gòu)和重塑，以古典園林的框景、借景為手法，半遮半透，將遠(yuǎn)未遠(yuǎn)。

The natural landscape is deconstructed and theclassic gardening approaches are employed to reshape the half-hiding views ofvaried distances.

山水晴嵐，虹橋臥波。橋在行進(jìn)的動(dòng)線上制造了一處含蓄的屏蔽：一水之隔不見全貌，隨著階梯的不斷推進(jìn)，隔岸世界也不短淡入眼前。

A rainbow-like bridge spans over therippling water, while the mountains and lakes are bathed in sunlight. The bridge gently blocks the view to the otherside of the water as one moves around. The view of the opposite side of thewater is only partially visible, attracting the visitors to ascend along thesteps for more views.

水天一色，期然洞見。

由實(shí)見虛，虛實(shí)結(jié)合。透過半透的玻璃幕墻的月洞門，若隱若現(xiàn)的迭水瀑布，精致的造型松，反復(fù)推敲的置石，皆有考究。

The sky and moon gate and their reflectionson water surface present a fascinating and inspiring view.

The void is made visible through thesolidness while the two are perfectly blended with each other. The moon gate inthe translucent glass fa?ade, the partially visible cascaded waterfalls, theexquisite potted pines, and the elaborately arranged rockery are all carefullydevised.

芳草緣溪，落英繽紛。

走過毛面板橋，穿過月洞門，豁然開朗，宛如桃花源：山水疊瀑，尋溪而上，曲徑通幽。

Grass and flowers adore the gently flowingstream.

Walking over the rough-facing plank bridgeand through the moon gate, one would be suddenly immersed into a generous openspace of Arcadia. The cascading waterfalls peacefully flow over the elegantlystaggered rockery, while the winding path leads to further seclusion as onemoves against the current of the stream.

青綠山水，登堂入室。

張大千的青綠山水，戶外藝術(shù)樹脂地面，色調(diào)與建筑互相襯托，形成廣場(chǎng)中心的視覺焦點(diǎn)。兩側(cè)的迭水景墻，作為空間氛圍的調(diào)節(jié)劑，形成中心景觀軸的視覺轉(zhuǎn)移點(diǎn)。

The landscape that resembles the famousgreen and blue landscape painting of the master painter Chang Dai-Chien, andthe artistic resin ground outdoor echo with the architecture in tone andprovide the visual focus of the square. The cascading water walls on eitherside help foster the desired atmosphere in the space and offer visuallydistracting point of the central landscape axis.

在古典藝術(shù)的教養(yǎng)中，我們保有自然的基因。自然，不僅是古典文化的原型，更是文明的未來必然。借由山水，重新審視當(dāng)下現(xiàn)實(shí)，重返自然趨向生態(tài)文明，以山水見文化，以自然見文明，創(chuàng)新，引領(lǐng)詩意棲居。

Under the cultivation of classical art, we retain the genes of nature.Nature is not only the prototype of classical culture, but also the future of civilization.

Re-examine the current reality through the landscape, return to nature and tend to ecological civilization

Seeing culture in landscape, seeing civilization in nature.Innovation, leading the poetic dwelling.

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