以"感知”為主題的第五屆上海景觀論壇成功落幕

^{? Shanghai Landscape Forum}

上海景觀論壇是由Sasaki, AECOM 和 SWA 三家設計公司于2017年聯(lián)合發(fā)起的主題性景觀行業(yè)分享盛會。隨著SOM, ASPECT Studios, HASSELL, TLS等多家國際性景觀設計公司的加入逐漸壯大。論壇以”開拓新的實踐，催化設計創(chuàng)新、影響政策變革；提升公眾對于景觀重要貢獻的認識；倡導景觀行業(yè)，使之匯入社會進步的主流推動力“為使命，旨在提升景觀行業(yè)的影響力，并推進行業(yè)的可持續(xù)發(fā)展。

Shanghai Landscape Forum is a themed landscape professional sharing event initiated by Sasaki, AECOM and SWA in 2017, With the participation of SOM, ASPECT Studios, HASSELL, TLS and many other international landscape companies, the forum has grown rapidly. The forum is aimed to " pioneer new practices that result in design innovation and influence on policy transformation; raise public awareness of landscape architecture’s vital contribution, and advocate landscape architecture into the mainstream driving force for social progress", and to promote our profession and build a more sustainable tomorrow for the profession. The forum theme covers all aspects of landscape design industry. 

^{? Shanghai Landscape Forum}

第五屆上海景觀論壇于2019年4月21日下午在上海機遇中心成功舉辦。相比以往生態(tài)復育，文化遺產(chǎn)保護，基礎設施等話題，此次論壇嘗試從一個更加感性的角度來思考景觀設計。以Tom Leader Studio（TLS）提議的感知為主話題，三組演講嘉賓圍繞“此情此景（Momentum）”、“彼時此刻（Memory）”及“日新月異（Expectation）”三個細分方向展開了深層次、多方位地探討。他們基于自身的學術(shù)背景及在中國及國際的實踐經(jīng)驗，與觀眾分享了他們對于感知與時間、空間、記憶、公共認知等相關因素聯(lián)系的見解。

The fifth Shanghai Landscape Forum was held at the AIO Space on the afternoon of April 21, 2019. In contrast to the previous forum topics like ecological restoration, cultural heritage, infrastructure, the theme for this forum is “sensation”, which is aimed to encourage landscape discussions in a more perceptual way. Based on the practice in China and overseas, the guest speakers discussed people's perception of the external environment and their thinking in the spiritual world. A series of rich-layered, inter-disciplinary topic was discussed around the three topics - “Momentum”, “Memory” and “Expectation”.

^{? Shanghai Landscape Forum}

此次論壇首次嘗試跨界，邀請到來自德國的藝術(shù)家雙人組Quintessenz 以及AECOM, ASPECT Studios, GVL Gossamer, HASSELL, SASAKI, SWA等6家頂尖國際設計公司的景觀設計師與城市設計師演講并參與圓桌討論。5家深度合作媒體及16家支持媒體與論壇主辦方展開戰(zhàn)略合作,并對此次活動進行宣傳報道。凡達利藝術(shù)顧問有限公司、雨鳥貿(mào)易（上海）有限公司、上海億澤機電設計事務所和KOMPAN游樂設施有限公司作為本次活動的贊助商出席，共同助力上海景觀論壇。

The forum had the 1st interdisciplinary attempt to invite the German duo artist from Quintessenz, and also invited landscape architects and urban designers from AECOM, ASPECT, GVL Gossamer, HASSELL, SASAKI, SWA, in total 7 international landscape firms and art studios as guest speakers. 5 deep cooperation media and 16 supporting media have developed strategic cooperation with the forum, and participated in the promotion the event. Vantaly Art, Rainbird, Shanghai Yize Electromechanical Design Office and KOMPAN are the sponsors supporting this event.

^{? Shanghai Landscape Forum}

讓我們一起來回顧當天精采的演講及圓桌討論：

Below are the summary of the presentations and round table discussion:

Session A: 此情此景Momentum

主題：感知營造 – 色彩，空間和藝術(shù) 

Creating sensation – color, space, and art

公司名：Quintessenz

演講嘉賓：Tomislav Topic

^{? Shanghai Landscape Forum & Quintessenz}

德國藝術(shù)家二人組Quintessenz的演講主要分享他們的藝術(shù)裝置作品是如何在國際上被概念化和具體呈現(xiàn)的。

The presentation by German artist duo Quintessenz, focused on how their installations are conceptualized and realized internationally.

空間是他們的基本靈感。他們的作品不僅使用建筑中提取的形狀和圖案，還會與環(huán)境相互影響，通過結(jié)合摩爾效應、風及光等特殊的元素加深了觀眾對作品所在空間的瞬時感知。它為顏色創(chuàng)造了空間。對他們來說，顏色不僅僅是形式，也是內(nèi)容本身。

Space is their fundamental inspiration. Their work not only uses shapes and patterns found in architecture, it interferes with its environment, thus changing the spectators’ perception of space. Their works bring instantaneous senses of space through special elements such as moire effect, wind and light. It creates space for its color. To them, color is more than form, it is the content itself.

^{? Quintessenz}

Quintessenz過往的一些項目涉及“漂浮藝術(shù)”，網(wǎng)狀彩色織物的層疊。作品創(chuàng)造出看似漂浮在空中的色彩漸變波浪，并且隨著風和光的變化不斷改變它們的外觀形態(tài)。例如他們在希臘美麗的Paxos島上某處古建筑廢墟創(chuàng)作的“卡卡西卡的秘密”。 這個地點原本就有自己獨特的魔力。人們欣賞建筑本身的同時，也可透過窗框瞭望遠處的美景。Quintessenz通過他們的裝置更為強調(diào)了非常強烈的視覺體驗。

Some of their previous projects have dealt with “floating art “Colored layers of mesh fabric that are moving in a flowing motion according to the wind. They create waves of color-gradients that are floating in the air and are constantly altered in their appearance by the changing wind and light. For instance, their installation "Kagkatikas Secret" on the beautiful island Paxos in Greece. It was a colorful installation within the ruins of an ancient building. The site had its own magic, whereas the architecture really fits into its environment. The views that one could enjoy, while being in the building and looking through the window-openings at the landscape offered some really intense visual experiences. And Quintessenz tried to emphasize on that specific situation with the interference of their installation.

^{? Quintessenz}

主題： 感知之島：特里斯坦-達庫尼亞群島的遙感設備

Instrumental Archipelago: The Sensing Devices of Tristan da Cunha

公司名：GVL Gossamer

演講嘉賓：Alex Breedon

^{? Shanghai Landscape Forum}

作為對人們感知景觀的方式的長期研究的一部分，高勢的聯(lián)合創(chuàng)始人Alex Breedon為我們展示了一種認識景觀的非傳統(tǒng)的方法。以特里斯坦-達庫尼亞群島的研究為例，他揭示了遙感技術(shù)和測量科學發(fā)展以及對景觀設計的意義?？茖W家在該島上所做的工作，將人的認知領域擴展到超出人體可感知范圍，突破了人們的傳統(tǒng)時間感和空間感。

As part of ongoing research into new ways of perceiving landscape, Alex Breedon from GVL Gossamer presented research into non-traditional methods of understanding landscape. Taking the remote archipelago of Tristan da Cunha as a case study GVL Gossamer is taking part in uncovering scientific and technological developments in sensing and perceiving. 

^{? USGS}

在特里斯坦-達庫尼亞群島上密布著各類測量設備和科研組織機構(gòu)，不斷監(jiān)測和記錄島上及周圍的現(xiàn)象。通過這些儀器，島上的居民更深入地了解他們所居之地在地真實信息。這些設備雖不能模擬或預測；然而他們的監(jiān)控和記錄，幫助人們超越了傳統(tǒng)范疇感知景觀。這些“感知機器”在主動監(jiān)測與生成的數(shù)據(jù)循環(huán)工作并提供反饋——通過毫秒級的持續(xù)的監(jiān)測，這些設備將我們生活每一分動態(tài)進行呈現(xiàn)，擴展人類對于空間和時間的感知。

Tristan da Cunha is awash with scientific devices, data and organizations that constantly monitor and record phenomena on and around the island. These instruments are key actors in uncovering the genius loci of Tristan da Cunha. What is key is that these devices do not model or simulate; instead they monitor and record, sensing the landscape in ways beyond what is normally capable. These ‘machines for sensing’ work within a constant feedback loop between the active agent and the data that is generated. By constantly monitoring, to the micro-second, these devices position themselves in the dynamism of the present, challenging our human perception of space and time. 

^{? The Living New York}

高勢Alex的演講展現(xiàn)了測量儀器引領了一種新的方式來認知和感受景觀，在提供景觀設計實踐中迫切需要的方案的合適性和靈活性有相當?shù)闹笇б饬x。

As part of the presentation Alex expanded the idea that these scientific apparatuses may develop new ways to sense landscape leading to a flexibility and adaptability that is deeply needed within the broader practice.

主題： 人與自然的印跡

A Trail Marks of Human and Nature

公司名：SWA

演講嘉賓：陸詩蕾 Shilei Lu

^{? Shanghai Landscape Forum & Shilei Lu}

SWA的演講主要探討了位于深圳的光明綠道項目如何賦予使用者突破場地現(xiàn)有的感知體驗。項目所在地光明小鎮(zhèn)是是少數(shù)離深圳市中心僅一小時車程， 以國家基本農(nóng)田和森林為依托的特色小鎮(zhèn)。 省5號綠道是小鎮(zhèn)空間結(jié)構(gòu)的脊梁，串聯(lián)著小鎮(zhèn)內(nèi)的農(nóng)田、小鎮(zhèn)、森林。

The presentation from SWA mainly discussed how does the project “Shenzhen Guangming Trail” bring sensation experience to users. The site is located in Guangming Town, which is one of a few feature towns relying on farmland and forest and within 1 hour driving distance to downtown Shenzhen the Provincial No.5 Greenway is the backbone of the town’s spatial framework that connects the farmland, historic town and forest in the town. 

SWA的景觀設計師從自然的印記：植被、棲息地、水系和地形入手。經(jīng)過系統(tǒng)性地分析和疊加，找到一系列沿綠道的高潛力節(jié)點。場地中給人留下最深感受的正是這些根據(jù)自然印跡分析得到的高潛力節(jié)點。

As a landscape designer, how to take cues from the site and how to empower the users to break through the perceptible site and experience? What is this perception able to bring to the site? Let’s start from the nature’s footprint: vegetation, habitat, hydrology and topography. With systematic analysis and mapping, we find out some nodes with a series of high potentials. The deepest experience in these sites is just the high potential nodes derived from natural trace analysis.

SWA在光明綠道基礎上增加三個標識性景觀橋，浮橋”“探橋”及“懸橋“。通過“三橋”跳出原有人，綠道與森林的界限，用景觀元素創(chuàng)造另一種伸向自然的“觸角”，提供三種全新的場地體驗方式，使人在不同角度來重新體驗綠道及森林。

A three-bridge concept of “is presented. SWA added 3 iconic landscape bridges to the Guangming greenway, which includes Floating Bridge”, “Discovery Bridge” and “Hanging Bridge”. Three-bridge concept broke the design boundary of human, greenway and forest. Landscape elements are utilized to bring a “touch” extending into the nature. People will experience the greenway and forest in a new angel. 

浮橋是樹與水的印記。它漂浮在滿是荔枝樹的山谷之上，提供遠看森林和城市的場所。浮橋是靜謐的、神秘的、漂浮的，同時還是生態(tài)的。

The “Floating Bridge” is the trace of trees and water. It floats above a valley full of lychee trees, and in this open valley you can see the forest and the city. The “Floating Bridge” is quiet, mysterious, floating and ecological. 

^?SWA 

探橋是水和人的印記，它提供人走出綠道進入森林，探索和接近山中自然形成的水塘與棲息地。 利用現(xiàn)狀深坑營造一個探索和游憩的場所，通過探橋結(jié)構(gòu)的出挑拉近人與水面的距離。 

The “Discovery Bridge” is the trace of water and people. It provides people to walk out of the greenway into the forest, explore and approach the natural pools and habitats of the mountains. Use existing deep pit to develop as a recreational space, and span over the existing ravine pool to bring people closely to the water surface. 

^{? SBP}

懸橋是風與人的印記，捕捉的是綠道與鄰近荔枝山間的山谷的風。為了強化對風的感知，橋下懸掛著風鈴，風吹后提供游人視覺及聽覺的體驗。SBP所設計的鋼板帶橋結(jié)構(gòu)實現(xiàn)了橋體飄逸外型及橋上隨風擺動的體驗。

The “Hanging Bridge” is the trace of wind and people, capturing the valley wind between the greenway and the nearby lychee trees. In order to enhance the sensation of the wind, wind bells are hung under the bridge, providing wonderful visual and hearing experience in the wind. The sensation of the wind is the most important, and the structure of the bridge itself is likely to be mitigated.

景觀師作為塑造戶外空間的專業(yè)人群，通過理性的分析和細膩且敏銳的感知，發(fā)現(xiàn)場地的潛力。又通過設計強化場地特征且創(chuàng)造超越現(xiàn)有場地的感知可能。

As the professionals to create outdoor space, landscape designers will use the logical analysis and exquisite sensation to identify the site potentials. The site can be designed to enhance its characteristics and create sensation possibilities that beyond its existing conditions.

Session B: 彼時此刻Memory

主題：對話場所記憶

Dialogue with Memory of a Place

公司名：SASAKI

演講嘉賓：曾志強Zhiqiang Zeng，蕭宇昂Yu-Ang Hsiao, 朱宇 Yu Zhu

人們對于場所記憶的感知是難以準確表述的，它存在于每個人的腦海中，但基于時代和文化背景等因素又因人而異。如何對待這樣的模糊概念，在景觀設計領域已有不同的探索，但無論采用何種方式，景觀設計師首先都需要尊重場地，與場所記憶對話，并且將設計概念甚至施工細節(jié)一以貫之的與記憶結(jié)合，而不是完全忽視場地的當下和過去去創(chuàng)造一些本不屬于場地的虛假記憶。對于設計如何結(jié)合記憶，Sasaki的演講中分享了針對不同場地情況的三種設計策略。

Our sensation of the memory of a place is difficult to express precisely. Memory a place exists in everyone's mind, but it varies among different people with different cultural and age backgrounds. There are different explorations in the landscape design field regarding how to address the vague concept. No matter which approach we take, as landscape architects, we all need to respect the site in the first place, to dialogue with the memory of the place, and consistently integrate the memory into the design concept and even the construction details, rather than completely ignoring the present and past of the site to create some fake memories that do not belong to the site. In the Sasaki’s presentation, three types of strategies were shared, focusing on different site conditions. 

第一種策略是基于場地上的歷史遺存，來構(gòu)建整體空間框架。首先對于場地上的歷史遺存，盡可能的去保留，使這些遺存成為項目的主角去整合場地的空間框架，為使用者提供感知過去不同歷史片段的機會。第二種策略是挖掘地域特色來創(chuàng)造場地的特征。當場地上沒有可利用的歷史遺存時，可以通過現(xiàn)場調(diào)查去挖掘根植在場地的地域特色，將其與設計結(jié)合來塑造場地特征以及可供公眾感知的空間細節(jié)。最后一個策略則是針對當場地上的歷史早已無跡可尋，我們還可以通過文獻資料的研讀，來找到屬于場地的記憶，并通過對它的再現(xiàn)來回應不同時代人群的共同記憶。

The first strategy is to construct the overall spatial framework based on the historical remnants on the site. Firstly, it is suggested to preserve the historical remnants on site as much as possible and make it the centerpiece of the project to integrate the overall spatial framework, providing users the opportunity to sense the different historical periods of the place. The second strategy is to create design features from the local characteristics, when there are no usable remnants on site, through the on-site investigation, we can explore the local characteristics rooted in the site. Then we could integrate the memory with design to create site features and spatial details for the public to sense. The last strategy is when there are no traces of the history on site, we can also find the memory through historical documentation or literature, and represent it as a response to the public memory of different generations. 

^{? Shanghai Landscape Forum & SASAKI}

以徐匯跑道公園為例，作為一個城市更新項目，它的前身是有近百年歷史的龍華機場。雖然功能逐漸減弱，但機場的跑道一直被保留下來。最能體現(xiàn)場地特征的飛機跑道成為了項目概念設計的出發(fā)點。這里不再是飛機的跑道，而是現(xiàn)代生活的跑道。曾經(jīng)在此起降的飛機變成如今的汽車、自行車和行人。人們在這個線性體系里進行現(xiàn)代生活的各種活動。

Xuhui Runway Park is an urban renewal project, formerly known as Longhua Airport with nearly 100 years of history. With the opening of Hongqiao Airport, the function of Longhua Airport has gradually weakened, but the runway has been preserved. The runway, which best reflects the characteristics of the site, has become the starting point of conceptual design. It is no longer the runway of the plane, but the runway of contemporary life. The place that was once used for the take-off and landing of the airplane is now serving the cars, bicycles and pedestrians; various activities of modern life have been engaged in this linear system to celebrate the experiences and features of the space. 

^{? Shanghai Landscape Forum & SASAKI}

之后的深化設計都在圍繞這條跑道開展。即便跑道的現(xiàn)狀條件并不樂觀，大部分被市政道路覆蓋，我們通過測繪現(xiàn)存跑道、移除跑道表層瀝青、破碎跑道混凝土作為特色步道鋪裝等方式，以最大程度再現(xiàn)了歷史跑道。經(jīng)過多方努力和 3 年多的建設，昔日的機場跑道得以重獲新生。設計賦予了它新的功能，使其重新融入到現(xiàn)代城市生活中，人們行走在跑道混凝土上去體會當年的歷史。

The design is further refined around this runway. However, the existing condition of the runway is not ideal, mostly covered by asphalt, we took survey to preserve the existing runway, removed the surface asphalt, used the cracked runway concrete to pave the park road, in order to represent the runway as best as we can. With concerted efforts and more than three years of construction, the historical airport runway is revitalized. The design gives it new features to reintegrate into modern urban life. The past scenarios are brought back as people walk on the concrete. 

^{? SASAKI}

主題：源自樹木的靈感

Inspired by Trees

公司名：AECOM

演講嘉賓：Lee Parks

^{? Shanghai Landscape Forum & Lee Parks}

AECOM的演講靈感來自于樹木本身的魅力與其重要性。設計師Lee Parks介紹了分布于世界各地的范例，包括那些對他個人成長有深遠影響的樹木，以及那些他試圖通過規(guī)劃和設計來維護的樹木。

Presentation from AECOM is inspired by the importance and beauty of trees. The presenter, director of AECOM Mr. Lee Parks draws examples around the world, including trees that have had a personal impact on him and trees that he tries to have an impact on, through planning and design.

在演講中Lee提到，今天我們作為景觀設計師種下的樹苗, 有望經(jīng)歷世世代代之后長成參天大樹。因此，我們有幸成為用樹木進行規(guī)劃和空間設計的先驅(qū)者。這些樹木可以影響人類、棲息地和野生動物，更潛移默化地影響著人的體驗和記憶。 

“The trees we plant today as landscape architects will hopefully turn into great trees for future generations.” Lee mentioned. As landscape architects, we are privileged to be pioneers who plan and design spaces with trees. That can impact people, places and wild lives, to influence experience and memory. 

^{? Shanghai Landscape Forum & Lee Parks}

他分享了一個位于英國艾塞克斯橡樹的例子。這顆古老的橡樹距今有800年歷史，甚至還擁有自己的Facebook賬號以及一本精美的兒童插畫書。當?shù)厝朔Q這棵樹“聯(lián)結(jié)歷史與當下”。不幸的是，2018年的一次火災事故對此樹造成了傷害。被其陪伴著成長的孩子們感到十分傷心，后為守護這棵樹寫了一封信，向大家分享他們和這顆橡樹的友誼，希望提高人們對人為火災的防范意識。

Story of an 800-year-old oak tree was told too. And it even has its own Facebook page and a beautifully illustrated children’s book. The locals describe it as “oozes history and presence”. Unfortunately, the tree was damaged by fire in 2018. Saddened school children wrote heartfelt letters in a bid to raise awareness about it.

樹木象征著長壽、希望、寬恕和生命力。它們創(chuàng)造了強烈的地域感、景觀價值、熱門景點和重要的文化及精神養(yǎng)分。樹木在我們現(xiàn)在生活的地方發(fā)揮著關鍵作用，常常承載著我們過去的故事和記憶，也為藝術(shù)家、作家、詩人、電影制作人和音樂家們帶來無限的靈感。

Trees symbolize longevity, hope, forgiveness and survival. They create a strong sense of place, scenic value and tourism attractions; Provide important cultural and spiritual resources. Trees play a key role in the places of our present-day lives, carry stories and memories of our past. They even inspire artists, writers, poets, film-makers or musicians, infinite inspirations they have brought to them.

在過去的15-20年間，城市化進程造成了前所未有的動蕩。往往樹木栽種下去卻因新的發(fā)展要求，在之后的5-10年內(nèi)被砍掉。作為設計師，Lee提出，隨著街道、公園環(huán)境的逐漸成熟以及公民環(huán)保意識的提高，我們是否可以在像上海這樣的城市，為子孫后代建立起更多的樹木保護意識和措施？ 

Over the past 15-20 years, the pace of urbanization has caused almost constant upheaval. Trees are planted but ripped out for something new within 1-2 political terms (5-Year plans). However, as streets, parks mature, and environmental protection interests rise, can cities like Shanghai do more to safeguard trees for future generations? 

我們是否可以通過相關的專業(yè)渠道，來幫助人們提高對有紀念意義，有歷史價值的樹木的認識？基于這個話題，我們能做的還有很多很多。

Could we, through our professional practice network, do more to help raise awareness of memorable, old, valuable or significant trees? What could be done in a city like Shanghai?

^{? Shanghai Landscape Forum & Lee Parks}

Session C: 日新月異Expectation

主題：城市中的獨特感官

Uniqueness of Sensation in the Urban Environment

公司名：ASPECT Studios

演講嘉賓：潘格非Manfred Pan

^{? Shanghai Landscape Forum & Manfred Pan}

從重復的住宅單元，到單調(diào)的辦公樓幕墻，在當今的城市環(huán)境中，單調(diào)無感知的環(huán)境正在主導著我們的城市空間，令生活其中的人們倍感厭倦。ASPECTS Studios的景觀設計師潘格非為我們分享了以人類最原始的感知力為出發(fā)點的感官設計哲學。ASPECT Studios運用獨特的體驗和敏銳的感官，帶給人們意想不到的城市感知設計。

From repeating residential units, to monotonous office tower curtain wall, monoculture of sensationless environments is overly present today in current urban environments. People are bored and tired of this duplication world. Landscape Architect Manfred Pan from ASPECT Studios shared the landscape design philosophy of Human Oriented Thinking. Start from human basic accesses to experience the world, APSECT Studios use the unique experience and keen sense to strive for unexpected and uniqueness in urban projects.

首先，視覺感知的呈現(xiàn)。在項目皖投萬科天下藝境中，石榴這一地域文化圖騰，在設計師獨特視角下的分解，并采取超尺度的再演繹。人們無需了解背景知識，就能獲得自己獨特的理解與感知。

The first is visual sensation practice.  Pomegranate as the special regional symbol, is disassembled under unique experience of designer, and reinterpreted in super scale. People no need to read narrative, but to have their own understanding and sensation.

^{? ASPECT}

其次，聲音感知的運用。ASPECT與我們分享了天使街項目。項目通過鳥的聲音來定義功能空間，將背街小巷打造成具有意義深遠的公共空間，喚起人類保護鳥類棲息地的意識。

The second is audio sensation. ASPECT Studio shared their project, Angel place. The project tried to define functional space with bird song, upgrading the alley way into a meaningful public space, to draw awareness of bird habitat preservation.

最后，觸摸文化的感知。在雅干廣場項目中，ASPECT通過對當?shù)夭牧系木倪x擇，色彩的搭配，創(chuàng)造水景、地貌等互動元素，所有的感官都可以在景觀中加強運用，觀看、觸摸和玩耍。歷史和文化的厚度融入了人們的日常生活。

The last sensation practice is called Touch the Culture. By a careful selection of local materials, matching the colors, creating interactive elements such water and landform, all senses can be encouraged in the landscape - to look, to touch and to play. The thickness of culture and history assimilate into daily life.

 ^{? ASPECT}

感知力是人們體驗世界的基礎。作為設計師，將感知力作為設計指引，我們將會超過預期，在我們創(chuàng)造的體驗中追求獨特性、多樣性和感知體驗。

Sensation is the basis of how people experience the world. As designers, if we allow ourselves to be guided by the idea of sensation, we break from what would be anticipated and strive for uniqueness, diversity and sensation in the experiences we create.

主題：主觀感受還是客觀研究

To Sense or Survey 

公司名：HASSELL

演講嘉賓：Liam Mouritz

^{? Shanghai Landscape Forum & Liam Mouritz}

HASSELL城市設計師Liam Mouritz發(fā)表了“主觀感受還是客觀研究”的演講，提出了應對當代全球化所帶來挑戰(zhàn)的設計理念，旨在將兩種具有代表性的相對思維方式放在一起比較討論 — 感官審美設計過程以及技術(shù)方法論。本次討論令人想起數(shù)十年以來，在景觀建筑語境下的激辯，隱喻的鐘擺在強調(diào)藝術(shù)還是科學之間來回擺動。然而，本次討論更為關注的是兩種意識的融合，兼顧感性與技術(shù)。

Liam Mouritz (Urban Designer, HASSELL) delivered ‘To Sense or Survey’ – a talk explaining a design philosophy which tackles our contemporary global challenges. It aims to engage two typically opposed ways of thinking – sensual-aesthetic design process and technical-pragmatic. The talk brought to mind a debate which has been reverberating within landscape architectural discourse for decades, as the metaphorical pendulum swings back and forth between an emphasis on either art or science. However, the talk emphasized the importance of trying to engage both mentalities – to be both sensual and technical.

^{? Shanghai Landscape Forum & Liam Mouritz}

當代的挑戰(zhàn)主要圍繞快速的城市化進程以及對自然環(huán)境的優(yōu)化和控制。我們創(chuàng)造宜居且便利的大都市，無意中在邊遠地區(qū)制造了僅為生產(chǎn)而生的領域。隨著這些工業(yè)用地的產(chǎn)生，大型基礎設施的誕生，索取并重新分配自然資源均可導致環(huán)境的崩潰并引發(fā)自然災害。我們需要找到跨專業(yè)的控制方法，并讓能夠塑造當今世界的更強大的力量介入。正如社會活動家及作者Naomi Klein所說，氣候變化不只是環(huán)境問題而是一個社會、經(jīng)濟和政治問題。如果你還沒有開始考慮這些問題，那么你已經(jīng)與時代脫節(jié)了。

Our contemporary challenges are focused on rapid urbanization and the resulting optimization and control of our natural environment. While we work to create livable and convenient metropolises, inadvertently we also create vast territories dedicated to production in distant hinterlands. Alongside this we have seen the creation of mega infrastructure to harvest and redirect natural resources, which has the potential for collapsing and provoking so-called natural disasters. We need to find ways of crossing disciplinary confinements and engaging the larger forces that are shaping our world today. As Naomi Klein, social activist and author might say, climate change is not an environmental problem, it is a social, economic and political one. If you are not thinking about these issues, then you aren’t relevant today.

那么，我們作為設計專業(yè)人士可以為此做些什么呢？這又回到了我們的主題“主觀感受還是客觀研究”：作為設計師，我們擁有獨一無二的能力和技能，能夠講述充滿力量且具有吸引力的故事并實現(xiàn)這些故事。這些可以通過基于技術(shù)的總體規(guī)劃策略，或是項目施工的管理實現(xiàn)。我們的這種能力能夠突破思維模式、工作的規(guī)模并且思考與城市相互交融的生態(tài)，我們可以因地制宜，將當下的這些條件作為一門專業(yè)來發(fā)展。

So, what can the design profession offer these global challenges? It comes back to this idea of to ‘sense or survey’: as designers we have a unique ability and skill to be able to tell powerful and captivating stories and also to be able to implement them. This can be through technically grounded masterplan strategies, or the management of a construction project. It is in this ability to cross modes of thinking, scales of work and think about ecology intersected with urbanity that we find out niche and engage our contemporary conditions as a profession.

城市韌性設計挑戰(zhàn)賽項目是專業(yè)設計事務所如何參與解決這些當代問題的最佳案例之一。HASSELL設計團隊與社區(qū)、政府職能機構(gòu)以及各利益相關方通過協(xié)作設計，重新設想了舊金山灣區(qū)在應對氣候變化挑戰(zhàn)時，如何成為一個更有韌性的地區(qū)。該項目展示了創(chuàng)新的水資源管理策略，同時關注自然水緣城市環(huán)境中人們的居住體驗。

The Resilient by Design project challenge by HASSELL provides a great example of how professional design offices can engage in these issues. The HASSELL team worked with the community, government agencies and other stakeholders in a collaborative design effort to reimagine the San Francisco Bay Area to become more resilient in the face of climate change. The project demonstrated innovative water management strategies alongside a focus on what the human experience of living in a naturalized urban environment at the water’s edge would be like.

^{? HASSELL}

主題：物聯(lián)網(wǎng)時代：通過互動感知實現(xiàn)參與型城市

The Internet of Things: Realising the Fourth City Through Sensory Engagement 

公司名： GVL Gossamer

演講嘉賓：Nicola Balch

? Shanghai Landscape Forum & Nicola Balch

數(shù)據(jù)指引的智慧城市設計已經(jīng)不是新鮮話題。我們常常都在通過電子設備的交互與周邊商業(yè)環(huán)境、自然環(huán)境以及社會環(huán)境互動。怡境高勢聯(lián)合創(chuàng)始人Nicola Balch在多個國家進行了設計實踐，她提出在當下智慧城市的營造中，人們需要自下而上的直接互動參與模式，而不是自上而下的傳統(tǒng)方式。

The use of data in cities is not new, it is the speed and means though which we interact with it that has shifted fundamentally. GVL Gossamer Co-founder Nicola Balch has traveled the world researching and developing unique IoT proposals for our public spaces. The projects offer an “engaged city" model that focus on how communities can directly interact with the spaces around them though technology rather than a top “smart city” model.  

在喬治街城市客廳項目中，目標創(chuàng)建一個能增加用戶多樣性的線型社區(qū)空間。方案涉及兩個層面反饋系統(tǒng) - 一層面是家具系統(tǒng)，另一層面是匿名收集用戶數(shù)據(jù)的感應鋪裝系統(tǒng)。這樣的組合造就了一個智能反饋回路，通過使用街道家具實時收集的數(shù)據(jù)，將用戶反饋成為設計建議的主要依據(jù)。怡境高勢稱之為“世界上第一條有生命的街”。

In the George Street Living Room project, the founders aim was to create a linear social space that would increase the user diversity in the city with a two tiered response system - A kit of parts furniture system and a sensory paving system that collected anonymous user data. The result was the design of an intelligent feedback loop, where community consultations would drive program suggestions, that could be tested using the kit of parts and data collection live on the street. The GVL Gossamer founder called this “The world’s First Living Street.

^{? Shanghai Landscape Forum & Nicola Balch}

Nicola 之前在McGregor Coxall參與的Hi-Croydon的設計競賽中，尋求如何用新的方式使市民參與城市建設。怡境高勢提出了一個DIY、可移動，可居住的植物園，借此激活街道。通過智能手機上的增強現(xiàn)實或虛擬現(xiàn)實應用程序，可以讓居民參與設計這個可移動的植物園。

Nicola led a Smart City team within McGregor Coxall. Hi-Croydon competition, looked to innovate new ways for users to engage with their street. The project proposed a DIY mobile, habitable botanic garden that would activate the street corridor. Using augmented or virtual reality though a phone app what would allow residents to re-design the botanic garden into endless programs and configurations.

^{? Shanghai Landscape Forum & Nicola Balch}

Nicola的另一個項目“智慧地毯”是倫敦市智慧城市競賽的獲獎作品。其采用了模塊化和便于安裝的概念，將其直接應用于街道表面。通過一套特制的LED燈光鋪裝系統(tǒng)，他們將街道轉(zhuǎn)變成一個活力走廊并適應各種活動，在通勤時段作為自行車道，人行過街和人行道，并根據(jù)人流營造可變的尺寸，并在晚上和周末改變街道布局滿足各種社區(qū)功能，如數(shù)字藝術(shù)畫廊和表演空間。怡境高勢將進一步創(chuàng)新的智慧城市設計實踐在中國落地實施的機會。

Smart Carpet was the winning entry for the City of Londons Smart City competition. The concept took the notion of modularity and adaptability and applied it directly to the street surface. Using interlocking & live sensory LED Paving and Furniture Smart Carpet allowed the street could transform into any use imaginable, it could  become a busy corridor, testing bike lanes, pedestrian crossing locations, and sidewalk dimensions in commuter mode, and turning the whole street into diverse functions such as a digital art gallery and performance space on the evening and weekends. 

At GVL Gossamer, this innovative approach to technology will continue, the founding team looks forward to exploring how technology can facilitate new ways of interacting with our Public Spaces in a Chinese context.

圓桌討論Panel Discussion

活動的最后是圓桌討論環(huán)節(jié)。各位演講嘉賓被再次邀請上場，面對面對話及接受現(xiàn)場觀眾的提問。從設計到實施，從藝術(shù)到技術(shù)，現(xiàn)場的問題并不局限于演講本身，而是涵蓋了景觀行業(yè)的各個方面。

The roundtable discussion was the last part of the event. All the speakers were invited back to the stage to accept questions from the audience. From design to implementation, from art to technology, the questions received are not limited to the speeches themselves, but covered all aspects of the landscape profession.

^{? Shanghai Landscape Forum}

以下為圓桌討論環(huán)節(jié)內(nèi)容:

Q: 現(xiàn)場提問

A（演講嘉賓名字）：嘉賓回答

Q1：提問德國藝術(shù)家組合Quintessenz的藝術(shù)作品靈感來源，以及作者關于藝術(shù)功能性的理解。也希望嘉賓能就在中國觀眾群體中提升色彩品味給出一些建議。

A（Quinetessenz_Tomislav Topic）：藝術(shù)作品應該強調(diào)與人的互動，幫助人們從日常的生活中跳脫出來。對于提升觀眾色彩品味的建議，他表示他們的作品是具有強烈的地域色彩，深植于當?shù)匚幕械?。于此同時藝術(shù)教育亦扮演了相當重要的角色。

Q1: Quintessenz please describe the source of inspiration for the work " Kagkatikas Secret", as well as the author's understanding of the functionality of the art and the author's suggestion for improving the taste of color in China. 

A (Quinetessenz_Tomislav Topic): Art should emphasize on interaction. It helps people to get out of their daily lives. The color preference itself, the artist believes that it has a strong regional color, is deeply rooted in the culture, and education plays a very important role.

Q2：對于快速發(fā)展的技術(shù)與自然環(huán)境基本經(jīng)驗之間的沖突，作為景觀設計師如何化解與看待？

A（AECOM_Lee Parks）：目前作為支撐的衛(wèi)星影像等技術(shù)條件已然成熟，我們最大的挑戰(zhàn)是如何能讓這部分數(shù)據(jù)更容易被從業(yè)者獲取，并成為設計依據(jù)。

A（GVL Gossamer_Nicola Balch）： 技術(shù)應該用來提升人們對景觀的體驗。幫助人們以不同的方式看待事物。好的設計應與技術(shù)兼容，而不是刻意避開。

A（SWA_張樹儀）: 雖然技術(shù)已成為很成熟的工具，但是目前設計行業(yè)的現(xiàn)狀是理解場所調(diào)研的重要性的意識并沒有跟上。景觀論壇正是這樣一個平臺，來呼吁大家思考和認識到這個設計的基本問題。

A（GVL Gossamer_Alex Breedon）: 技術(shù)可以幫助人們看到，但也可能使我們盲目。兩者之間的緊張關系一直存在，但最重要的是始終記住景觀設計行業(yè)的根本。

A（SASAKI_曾志強）: 科技發(fā)展與景觀設計行業(yè)的聯(lián)系十分緊密，ARCGIS的發(fā)明幫助景觀行業(yè)的研究范圍和尺度得以擴大，使我們的判斷更具科學依據(jù)，將行業(yè)向更好的方向推進。無人駕駛提升交通系統(tǒng)效率，還街道于行人。景觀建筑師應具有先鋒眼光，系統(tǒng)思考整合各行業(yè)知識與新技術(shù)，打造更好的未來環(huán)境。

Q2:  How does the conflict between the rapidly evolving technology and the basic experience of the natural environment be resolved and viewed as a landscape architect?

A (AECOM_Lee Parks): The technology is available. but the accessibility to these data for the profession is limited. 

A (GVL Gossamer_Nicola Balch): Technology should be used to stimulate people’s response to the landscape. Help people to look at things in different way. work with technology not avoid them. 

A (SWA_Shuyi Chang): although technology is available as tools, but the understanding and realization of the importance of survey is not there. SLF is the opportunity to claim that this is fundamental issue for design. 

A (GVL Gossamer_Alex Breedon): Technology helps people to see but it can also can blind us. The tension will also be there, but it’s critical to always remember the foundation of the practice. 

A (SASAKI_Zhiqiang Zeng): The connection between science and technology development and the landscape design industry is very close. GIS helps the landscape industry's research scope and scale to be expanded, making judgment more scientific and promoting the industry in a better direction. Autonomous vehicles can improve the efficiency of the transportation system, but also the streets. Landscape architects should have a pioneering vision, systematically think about integrating more industry knowledge and creating a better future environment.

^{? Shanghai Landscape Forum}

Q3：五感景觀設計似乎成為一個逐漸被重視的話題，比如盲人花園。是否可以在以此為主題的景觀實踐中滿足這類弱勢人群的需求？如何看待很多關注弱勢群體的項目和研究，并沒有取得重大進展便中途擱置的現(xiàn)實？

A（ASPECT_潘格非）: 特殊人群的問題應贏得更過的社會關注。景觀設計師可以借由設計作為反哺，讓更多人意識到這個問題。

A (SASAKI_蕭宇昂)：大家應該從一個正面的角度去理解五感景觀話題的關注度。針對弱勢群體的設計不應追求立竿見影。人們反而應該通過對于這個話題的關注促成一個與此類群體的對話，引起更多人的關注和關懷。

Q3: The five-sense landscape design seems to be a topic that is gradually being valued, such as the blind garden. Can you meet the needs of such vulnerable people in this landscape-themed landscape practice? How do you view the reality of many projects and research that focus on vulnerable groups and have been put aside without major progress?

A (ASPECT_Manfred Pan): The problem of vulnerable group should win more social attention. Landscape designers can use design as a feedback to make more people aware of this problem. 

A (SASAKI_Yuang Xiao): The phenomenon of related research cannot be understood from a positive perspective. The design for vulnerable groups should not expect immediate effect, but should lead to a dialogue that draws more attention.

Q4: 據(jù)悉，徐匯跑道公園在申請SITES認證。在綠色生態(tài)、雨水回用方面的工作可以多分享一些嗎？

A（SASAKI_朱宇）: 徐匯跑道公園即將成為中國大陸第一個獲得SITE認證的景觀項目。SASAKI在項目初期便全面考慮低影響的開發(fā)策略。雨水處理，低碳理念貫穿項目始終?；趯龅氐恼J識，進行最合理的設計決定。

A （SWA_張樹儀）：上海景觀論壇的初心，是通過提供一個業(yè)內(nèi)人士聚集在一起的平臺，為行業(yè)發(fā)聲。設計本身并不是強調(diào)具體做了什么，而是設計的初心和良心。如何尊重人，尊重自然，尊重場地和生態(tài)。因此作為景觀設計師，我們并沒有刻意強調(diào)做了些什么，而是在更加細致地通過設計，潛移默化的影響業(yè)主，改造環(huán)境，創(chuàng)造更好的未來。

Q4: It is reported that Xuhui Runway Park is applying for SITES certification. Can you share more work on green ecology and rainwater recollection?

A (SASAKI_Yu Zhu): As the first park in China to receive SITE certification, the park has considered low-impact development in the early stages of the project. Rainwater treatment, low-carbon concept throughout the project. Based on the understanding of the site, the most reasonable design decisions are made. 

A (SWA_Shuyi Chang): The initial focus of the Shanghai Landscape Forum was to provide an opportunity for industry insiders to gather together and speak for the industry. Design itself should not emphasize what is done, but the initiality and conscience of the design, how to respect people, respect nature, respect the site and ecology. Therefore, we do not deliberately emphasize what we have done, but should be more detailed, through design, subtly affecting the owners, transforming the environment and creating a better future.

^{? Shanghai Landscape Forum}

Q5： 作為具有國外的教育背景以及國際視野年輕設計師，如何在設計中運用這些知識并且最大程度回應本地的信息與文化的問題？

A（SASAKI_曾志強）: 以我個人的經(jīng)歷為例，我在國外所學的是系統(tǒng)的設計方法論和通用的方法。但當工作實踐時，設計的靈感是應該根植于文化，結(jié)合場所的記憶的。特別是在中國，我們應該為自己在文化與歷史方面的價值而感到驕傲。

A（ASPECT_潘格非）: 西方設計價值觀具有邏輯性和理性的特色。這應是設計的基礎。而美觀，體驗，記憶，共鳴為上層建筑，需要結(jié)合文化來體現(xiàn)。

A (Quintessenz_Tomislav Topic): 作為一個外國藝術(shù)家，中國這個大環(huán)境在文化層面給予我的設計靈感，比任何一個個體給予我的影響要深遠得多。

A （HASSELL_Liam Mouritz）: 擁抱本地文化是正確理解一個場所和它的使用者的前提。

Q5: How do young designers who have a foreign educational background and an international perspective can apply this knowledge in their design and respond to local information and culture to the greatest extent possible?

A (SASAKI_Zhiqiang Zeng): International education offers systematic design methodology and general design method. The inspiration for design, on the other hand, can be rooted in culture, combined with the memory of the place. 

A (ASPECT_Manfred Pan): Western design values are logical and rational. This should be the basis of the design. Aesthetics, experience, memory, and resonance are the superstructures that need to be combined with culture. 

A (Quinetessenz_Tomislav Topic): As a foreigner, I think what China can offer at the cultural level is far more profound than the intellectual impact that individuals can provide. 

A (HASSELL_Liam Mouritz): Embracing the local culture is a prerequisite for a proper understanding of a place and his users.

Q6：如何在設計中取得感知體驗的平衡，保證愉悅的感官，同時避免超負荷的感知？

A （SWA_張樹儀）：只有通過理性分析，并疊加感性的心情，才能達到最合理結(jié)論。

A （GVL Gossamer_Nicola Balch）: 有時好的設計是無聲勝有聲的，我們應該避免過度的設計。好的設計是為場地作出最合適的建議，而不是滿足設計師個人的偏好。

A（SASAKI_曾志強）: 對于景觀設計師而言，考察場地時產(chǎn)生的第一印象是最大的沖擊。好的設計應回應這種沖擊，基于場地特色，在細節(jié)中體現(xiàn)品質(zhì)。

Q6: How do designers achieve a balance of perceived experiences in the design, to ensure a pleasant sense, while avoiding the overloaded perception?

A (SWA_Shuyi Chang): Only through rational analysis and superposition of emotional mood can the most reasonable conclusion be reached. 

A (GVL Gossamer_Nicola Balch): The best design is to do nothing. Over-design should always be avoided. A good design considers what is appropriate to the site instead of trying to fulfil the personal interest. 

A (SASAKI_Zhiqiang Zeng): The first impression of the site has a huge impact. Good design should be based on the first impression, based on the characteristics of the site, reflecting the quality in the details.

在半個小時個熱烈討論之后，第五屆上海景觀論壇圓滿結(jié)束。

After half an hour of active discussion, the 5th Shanghai Landscape Forum was successfully concluded.

^{? Shanghai Landscape Forum}

-第五屆景觀論壇-感知圓滿成功,謝謝大家熱情參與與支持-

- Thanks everyone for your participation and for a successful event -

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