著:（西班牙）米蓋爾·維達(dá)·普拉 譯:邊思敏 校:王勤

當(dāng)代景觀設(shè)計(jì)的發(fā)展趨勢，正在與社會和地域之間關(guān)系的復(fù)雜性發(fā)生沖突。由于社會、經(jīng)濟(jì)、地理或者宗教等原因，這些關(guān)系在集體和個(gè)體層面都變得更為復(fù)雜。故而，原來用以劃分與自然相關(guān)的空間的傳統(tǒng)分類方式（從自然保護(hù)區(qū)到花園），對于建立一個(gè)能夠涵蓋所有映射自然的空間的景觀設(shè)計(jì)研究框架已不再適用。

所有景觀都是其內(nèi)在特質(zhì)（identity）的表象。同時(shí)，特質(zhì)也可以用來區(qū)分和識別不同景觀。因此，以下的設(shè)計(jì)途徑就是合乎邏輯的：即從那些定義了不同景觀當(dāng)代性（contemporaneity）的特質(zhì)出發(fā)構(gòu)建當(dāng)代景觀。

從特質(zhì)出發(fā)的當(dāng)代景觀設(shè)計(jì)項(xiàng)目為分析這些特質(zhì)是如何在歷史長河中留存下來提供了機(jī)會，同時(shí)也會反映出這些特質(zhì)的表現(xiàn)方式，比如實(shí)體景觀的形態(tài)發(fā)生了怎樣的變化。

筆者闡釋了以下幾個(gè)包含于當(dāng)代景觀中的特質(zhì)：記憶（memory）、天堂（paradise）、阿卡狄亞（arcadia）、控制（control）、凝思（contemplation）、儀式（liturgy）、 城市性（urbanity）、知識（knowledge）、過程（the processes）、崇高（the sublime）、持續(xù)突現(xiàn)性（permanent emergency）[1-2]。

1 記憶

營造紀(jì)念性景觀的目的是以物質(zhì)性景觀來回顧過去發(fā)生的某一獨(dú)特事件的特質(zhì)。本節(jié)主要探討超越精神（transcendent）是如何透過紀(jì)念物呈現(xiàn)于當(dāng)代景觀之中的。

越戰(zhàn)紀(jì)念碑（Vietnam Veterans Memorial）位于華盛頓，1982年由林瓔（Maya Lin）設(shè)計(jì)；911國家紀(jì)念碑和博物館（National September 11 Memorial & Museum）位于紐約，2011年由邁克爾·阿拉德（Michael Arad）和彼得·沃克（Peter Walker）設(shè)計(jì)。2個(gè)項(xiàng)目的共同特征在于抽象性和虛無性，但是，這樣的特性對于林瓔來說是可以置身其中的，而邁克爾·阿拉德則更強(qiáng)調(diào)不可企及的感受。這2個(gè)空間都沒有還原具象，卻喚起了人們對過往的記憶。

越戰(zhàn)紀(jì)念碑這一項(xiàng)目反映了在景觀設(shè)計(jì)中表達(dá)一種真實(shí)特征的困難性。在林瓔的設(shè)計(jì)中，記憶的表達(dá)超越了圖像，并且被這樣一種由空間營造出來的氛圍喚起：游客被公園地表裂開的硬地“傷口”引入內(nèi)部的土地，象征了死亡的體驗(yàn)。黑色的花崗巖墻面上鐫刻了58 272名陣亡美國軍人的名字，拋光的花崗巖材質(zhì)映射出來訪者的身影，仿佛那些消逝在越戰(zhàn)中的軍人在人們的記憶中浮現(xiàn)。

正如林瓔的自述：“我更喜歡把設(shè)計(jì)當(dāng)作與每個(gè)人的單獨(dú)對話，無論它具有多強(qiáng)的公共性，或者會有多少人在場?！?/p>

911國家紀(jì)念碑和博物館的設(shè)計(jì)無意呈現(xiàn)雙子塔遭遇恐怖襲擊之前的特質(zhì)，不想復(fù)原作為紐約地標(biāo)的存在感，也不影射襲擊事件本身，而是希望喚起對于所有以上事件后果的反思：某種東西的缺失。設(shè)計(jì)者通過2個(gè)設(shè)置在原地基位置的深水池物化了這種缺失特質(zhì)的表達(dá)。水不斷地從水池周緣涌入，然后消失在中央的深井之中，留下始終缺失的空間（圖1）。

1 記憶。911國家紀(jì)念碑和博物館。一種難以接近的虛空，水流向內(nèi)部不斷傾瀉，又消失于黑暗中，讓人聯(lián)想到流逝、離去和缺失Memory. National September 11 Memorial & Museum.Inaccessible emptiness. Inside water flows constantly and disappears in the darkness. This evokes flowing, going away, absence

2 天堂

在一些項(xiàng)目設(shè)計(jì)中，表達(dá)天堂特質(zhì)的目的是營建一個(gè)被周遭環(huán)境包圍，但又異化于周圍的，格外友善的環(huán)境。它們是人們想從不完美的或者充滿敵意的環(huán)境逃往一個(gè)熱情友好環(huán)境的歸宿?！疤焯谩本坝^同樣可以由外部自然要素構(gòu)成，但更偏重于憑借這些要素自身的條件特征來構(gòu)建文化氛圍或是宏大場景。不論就哪種情況來說，生動、微妙或是極端的感受都是非常重要的?！疤焯谩本坝^為人們提供了通常被外部環(huán)境否定的知覺和舒適體驗(yàn)，并且在社會和文化秩序上喚起了一種新的范式。

然而“天堂”感受的喚起取決于每個(gè)人對于天堂的定義。從這個(gè)層面上來講，巴黎迪士尼公園（Disneyland Paris）和冒險(xiǎn)港之類的主題公園，就可以被稱為21世紀(jì)的“天堂”景觀。它們提供了一個(gè)封閉的夢幻世界，這是對由大眾傳媒構(gòu)建的、遠(yuǎn)離日常生活的虛構(gòu)故事（fiction）的物質(zhì)化體現(xiàn)。

秘密花園（意大利語：Il Segretto Giardino，圖2）和冒險(xiǎn)港主題公園（Port Aventura）詮釋了“天堂”的當(dāng)代含義，而阿爾罕布拉宮（格拉納達(dá)，穆罕默德·伊布·納斯?fàn)枺?238—1492）則以物質(zhì)景觀表達(dá)了“天堂”的歷史內(nèi)涵。

2 天堂。秘密花園。在這里，天堂是指相背于城市喧囂，而嵌入巴塞羅那擴(kuò)展區(qū)的一個(gè)封閉性花園Paradise. Il Segretto Giardino. Here paradise is a closed garden opposed to the city and fitted in the Eixample(“Enlargement”) in Barcelona

以上3個(gè)案例的共同目標(biāo)，就是建立一個(gè)與敵對而平庸的外界現(xiàn)實(shí)環(huán)境相反的友善的閉合空間。

位于巴塞羅那的秘密花園，1991年由胡安·若格（Joan Roig）、恩瑞克·巴特約（Enric Batlle）和奧爾加·塔拉索（Olga Tarraso）設(shè)計(jì)。該設(shè)計(jì)是埃斯科薩多公園（Excorxador Park）設(shè)計(jì)競賽的第一名，面積為4 hm2。場地被一道墻體限定并形成了一個(gè)封閉的綠洲，一系列如詩如畫的場景以“水”元素串聯(lián)。主要入口處的瀑布靈感來自蒂沃利花園（Tivoli Garden）的橢圓形噴泉（Oval Fountain），可以起到阻隔外部視線的作用。

杜莎默林娛樂集團(tuán)的冒險(xiǎn)港主題公園（1995年）位于西班牙塔拉戈納省比拉塞卡和薩洛市（Vilaseca, Salou），與其他主題公園類似，是“天堂”的一種當(dāng)代版本，它不是被完美化的大自然，而是一個(gè)可以體驗(yàn)神話和異域世界的聚會地。換句話說，人們可以在這兒獲得不屬于日常生活的體驗(yàn)。原初意義上的天堂往往傾向于內(nèi)省，當(dāng)代版天堂則是一種逃脫和某種形式的疏離。冒險(xiǎn)港被認(rèn)為是歐洲第六大游樂園。杜莎默林娛樂集團(tuán)起初只計(jì)劃了5個(gè)“目的地”—地中海、波利尼西亞、中國、墨西哥和遠(yuǎn)西。每個(gè)目的地都有自己的故事，但還在不斷加入新的游樂設(shè)施。在5個(gè)由板材搭建的具有主題場景的“天堂”中，游客可以體驗(yàn)到極致的眩暈感和速度感，而主要的游樂設(shè)施也提升了商業(yè)街的人流量[3]。

3 阿卡狄亞

正如雅各布·桑納扎羅（Jacopo Sannazaro）在1504年的同名小說中所描述的，阿卡狄亞指那些自然與鄉(xiāng)村和諧相融之所的風(fēng)景。不同于天堂（天堂中無人勞作）和烏托邦（關(guān)于如何組織完美社會的構(gòu)想），阿卡狄亞由于給出了一種在大尺度下兼顧美與功能的范例，而對當(dāng)下的景觀設(shè)計(jì)意義非凡。建立當(dāng)代的阿卡狄亞，可以為營造城市、鄉(xiāng)村和混合型景觀提供新的類型學(xué)參考，它在自然、功能，偶爾也包括藝術(shù)等領(lǐng)域之間產(chǎn)生了協(xié)同效應(yīng)（synergies）。

這一類的案例包括位于美國新墨西哥州馬格萊納鎮(zhèn)達(dá)圣奧古斯汀山谷的巨構(gòu)陣列景觀（Very Large Array）和拉維萊特公園（法語：Parc de la Villette）。

盡管以上兩例在規(guī)模和用途等方面存在差異，但它們在大自然和人類活動之間的關(guān)系處理上都具有互補(bǔ)性，即通過人為參與來構(gòu)建場所的特質(zhì)。

位于新墨西哥州馬格達(dá)萊納鎮(zhèn)的美國國家射電天文臺的巨構(gòu)陣列景觀，1972—1980年由美國聯(lián)邦基金研究與發(fā)展中心創(chuàng)建。這一深入圣奧古斯汀山谷的項(xiàng)目因?yàn)椴捎昧薡字形陣列，在人為與自然之間呈現(xiàn)出了更強(qiáng)烈的對比關(guān)系。27臺口徑25 m的天線組成的射電望遠(yuǎn)鏡陣列沿著3個(gè)分支排布，軌跡長達(dá)50 km，每個(gè)分支上布有9座看上去仿佛在丈量大地的巨型白色雕塑（圖3）。

3 阿卡狄亞。巨構(gòu)陣列景觀。美國聯(lián)邦基金研究與發(fā)展中心的這27座天線組成的巨構(gòu)陣列是沙漠景觀文化的象征，創(chuàng)造了一種技術(shù)化的、當(dāng)代的阿卡狄亞Arcadia. VLA. NRAO. The 27 antennas in the National Radio Astronomy Observatory culturalize the desert landscape and create a technological and contemporary arcadia

拉維萊特公園位于巴黎，1983年由伯納德·屈米（Bernard Tschumi）設(shè)計(jì)。屈米在拉維萊特公園設(shè)計(jì)中運(yùn)用了阿卡狄亞的哲學(xué)，并致敬了利西茨基（Lissitzky）①和蘇聯(lián)建構(gòu)主義（Constructivist Architecture）。在100 m×100 m的網(wǎng)格體系中，屈米設(shè)置了一系列匪夷所思的、介于建筑和雕塑之間的混合構(gòu)筑物（folie），象征著人類知識（knowledge）和大自然在場地中彼此交融[4-6]。

4 控制

控制的特性隱含于所有試圖基于權(quán)力（power）、代表性（representativeness）、秩序（order）、領(lǐng)土原因（territorial reasons）等的敘事來構(gòu)建或定義一個(gè)地域的人為干預(yù)之中。無論不可見因素隨著歷史進(jìn)程如何更迭，透視法（perspectives）始終是這類景觀的基本機(jī)制。從某種意義上來講，透視法造就了17世紀(jì)路易十四時(shí)期的絕對主義景觀（Absolutist Landscape）、18世紀(jì)皮爾·查爾斯·朗方（Pierre Charles L'Enfant）設(shè)計(jì)的華盛頓國家廣場（National Mall）和20世紀(jì)的麥克米蘭規(guī)劃（McMillan Plan）。而透過持續(xù)至21世紀(jì)的塞爾吉·蓬圖瓦茲主軸（Axe Majeur de Cergy-Pontoise）項(xiàng)目，依然可以看到遠(yuǎn)在50 km之外的巴黎和其周邊城鎮(zhèn)連綿的景象。

然而除了古典透視法之外，還有其他定義場域的方式，它們將場域和藝術(shù)、某種用途或者某種人設(shè)的形式（form）聯(lián)系起來。藝術(shù)對于場域的定性體現(xiàn)在克里斯托（Christo）和珍妮·克勞德（Jeanne-Claude）創(chuàng)作的《飛籬》（Runnin Fence）項(xiàng)目純粹的美學(xué)痕跡中，以及《雨傘》（Umbrellas）項(xiàng)目所呈現(xiàn)的類似元素的有序或隨機(jī)重復(fù)中。

塞爾吉·蓬圖瓦茲主軸位于法國塞爾吉·蓬圖瓦茲（Cergy-Pontoise），1980年至今仍在持續(xù)進(jìn)行修建，由達(dá)尼·卡拉萬（Dani Karavan）設(shè)計(jì)。主軸指向遠(yuǎn)處以埃菲爾鐵塔為高潮的廣闊視野，這一設(shè)計(jì)的目的是在巴黎市區(qū)和里卡多·波菲爾（Ricardo Bo fill）設(shè)計(jì)的衛(wèi)星城之間建立一種身份認(rèn)同感和共享城市性（shared urbanity）。不同于巴洛克風(fēng)格的建造形制，設(shè)計(jì)沿軸線置入了具有雕塑或主題序列的、富于變換的斷面（圖4）[7]。

4 控制。塞爾吉·蓬圖瓦茲主軸。被重新詮釋的巴洛克視角將巴黎拉德芳斯中心商務(wù)區(qū)（the Defense）的都市特征，帶入了一座尚缺乏特質(zhì)的新城Control. The Axe Majeur of Cergy-Pontoise. The reinterpreted Baroque perspective brings the urbanity of Paris, the Defense, to a city that still has no identity

位于福特山谷（Valley Ford）索諾瑪?shù)摹讹w籬》，1976年由克里斯托和珍妮·克勞德設(shè)計(jì)?！讹w籬》是一條全長約40 km，穿越了59位私有領(lǐng)主土地的折線。藝術(shù)家希望構(gòu)筑一條純粹為審美而生的線性軌跡，不考慮其他功能，也不是用自然線條來描繪幾何景觀。他們聲稱：“我們想要構(gòu)建的不僅僅是一條穿越疆域的藩籬，而是一種由于人類的存在和象征性的干預(yù)而產(chǎn)生的新景觀。”

位于美國克恩縣第戎牧場（Tejon Ranch）和日本茨城縣佐藤河谷（Sato river valley,Ibaraki）的《雨傘》為美日合作項(xiàng)目，1991年由克里斯托和珍妮·克勞德設(shè)計(jì)。10月9日日出時(shí)分，分布在加州第戎牧場和茨城縣佐藤河谷的3 100把雨傘同時(shí)撐開。設(shè)計(jì)的目的之一是突出2個(gè)疆域的差異性。在美國，這一藝術(shù)創(chuàng)作覆蓋了25塊私有領(lǐng)土，而在日本同樣的面積則涉及495位土地所有者。這影響到了傘的分布密度—日本要比加州密得多。此外，日本的藍(lán)色雨傘還象征著水源的豐沛，美國的黃色雨傘則指代沙漠的干旱。

5 凝思

東西方園林景觀的巨大區(qū)別源于其對待自然的原始態(tài)度。在西方，創(chuàng)世紀(jì)的猶太基督教教義（“要生養(yǎng)眾多，遍滿地面，治理這地”）確立了其要控制自然的最初觀念，這一點(diǎn)不論在英國式園林還是風(fēng)景如畫（picturesque）風(fēng)格的園林景觀中均無例外。幾乎所有西方園林形式都是通過操控自然來創(chuàng)造新景觀，不同之處則在于是否刻意強(qiáng)調(diào)控制的過程。

自人類紀(jì)元之初，中國文化中的儒教、道教和佛教就已經(jīng)在思索決定著其神秘文化淵源的、人與自然關(guān)系的問題。與基督教的激進(jìn)主義相比，上述三大宗教的哲學(xué)觀，而非教義，孕育出了一種更為微妙的闡釋途徑。正如莊子所言：以自然之道，養(yǎng)自然之身。

常令人驚訝的是，當(dāng)具有千年文化淵源的中國園林在與當(dāng)下時(shí)代發(fā)生對話時(shí)，卻呈現(xiàn)出一種四海皆準(zhǔn)的普遍形式。

牛津詞典對“contemplate”一詞存在2種不同解釋：“長時(shí)間地凝視”和“思考”。前者代表了其西方意義，而后者則反映了其東方意義。

上述2種意義存在于所有那些意圖接近自然的景觀之中，無論尺度大小，無不以一種感性的方式強(qiáng)調(diào)可以凝思的重點(diǎn)方面或者過程。其狀態(tài)可以分為“開放式”（open）和“閉合式”（closed）。

5.1 開放式凝思

東方的開放式凝思提供了一種囊括視野高遠(yuǎn)的大尺度空間，以及天時(shí)或四季自然變化的感性經(jīng)驗(yàn)。例如，頤和園（1271—1764年）就是通過具有相應(yīng)功能的建筑空間營造了一種靜態(tài)的、禮儀性的沉思體驗(yàn)，此外“知春亭”“排云殿”等的命名也暗示了其禮儀功能。

而在西方當(dāng)代的開放式凝思空間中，觀察者的態(tài)度具有更強(qiáng)的參與性，而這樣的景觀也可以從3個(gè)角度來欣賞：1）通過身體的運(yùn)動引向?qū)坝^的動態(tài)觀察，如瞭望塔項(xiàng)目（Observation Tower）；2）激發(fā)觀者的感官體驗(yàn)，如克里斯托弗·貝尼古（Chirstophe Benichou）在峰尖盒子（Tip-Box）中制造的眩暈感和不穩(wěn)定感；3）樹立景觀中的地標(biāo)。

探險(xiǎn)營地（Camp Adventure）瞭望塔位于丹麥哈斯萊烏（Gisselfeld），2017年由EFFEKT建筑事務(wù)所設(shè)計(jì)。如前文所述，瞭望塔引入了盤旋向上的運(yùn)動，通過轉(zhuǎn)向軸線創(chuàng)造了動態(tài)觀察自然的方式，使人們對景觀的感知持續(xù)變化，在上升中獲得啟發(fā)。

位于圣路峰（Pic-Saint-Loup）的峰尖盒子，2017年由克里斯托弗·貝尼古設(shè)計(jì)。峰尖盒子體現(xiàn)了當(dāng)代設(shè)計(jì)中的兩大特征：地標(biāo)（landmark）在景觀中的作用以及感覺的融入，即以感性的方式連接觀者和景觀。

5.2 閉合式凝思

這類景觀通過對自然的抽象喚起更具哲學(xué)意味和普遍性的特質(zhì)，諸如龍安寺（Ryoanji，位于京都，1450年細(xì)川勝元設(shè)計(jì)）、加州劇本（California Scenario）和風(fēng)中繪畫（Drawing in the wind）。引人關(guān)注的實(shí)體景觀成為觀者和終極現(xiàn)實(shí)（final reality）之間的紐帶。

加州劇本位于加利福尼亞州科斯塔梅薩（Costa Mesa, California），1980—1982 年由野口勇（Isamu Noguchi）設(shè)計(jì)。設(shè)計(jì)以盆景的方式將加州自然風(fēng)貌整合在一個(gè)不到0.5 hm2的花園里，反映出東方文化的影響。同時(shí)又以極簡主義的表現(xiàn)手法再現(xiàn)了南部地區(qū)前哥倫布文化時(shí)期的金字塔、河流和溝渠。

風(fēng)中繪畫位于巴塞羅那（Barcelona），2014年由米蓋爾·維達(dá)（Miquel Vidal）設(shè)計(jì)。內(nèi)庭院里的竹子和破碎大理石等自然元素象征著建筑創(chuàng)作過程，房子的創(chuàng)作概念寫在玻璃上，手的動作表現(xiàn)了一種努力和追尋，竹子代表無用的雜想，庭院中央的小房子則意味著項(xiàng)目的終結(jié)（圖5）。

5 閉合式凝思。風(fēng)中繪畫。凝視用“手”、破碎大理石、無用的竹子和原型房子構(gòu)成的近景就是在發(fā)現(xiàn)建筑項(xiàng)目過程中的風(fēng)景Close contemplation. Drawing in the wind. Contemplating the close landscape of the hands, the pieces of marble,the useless bamboos and the archetypical house is discovering the landscape of the architectural project

6 儀式

儀式空間。儀式是在宗教性或與之類似的公共機(jī)構(gòu)中進(jìn)行儀典活動的具體行為方式。儀式性體現(xiàn)在與超越（transcendent）特質(zhì)有關(guān)的景觀項(xiàng)目中?！耙苿印痹谶@類景觀之中至關(guān)重要，譬如進(jìn)行的方式、軌跡、先后承接的序列、時(shí)間、節(jié)奏等。正是一個(gè)接一個(gè)的、與無形事物相關(guān)聯(lián)的儀式進(jìn)程，串起了其景觀空間中的一條條路徑。

紫禁城（1360—1424年，明成祖朱棣永樂年間敕造，阮安、蒯祥、蔡信主持營建）和天壇（1406—1420年，明成祖朱棣永樂年間敕造）是2處北京的歷史標(biāo)志性建筑群，承擔(dān)著中國歷史上2項(xiàng)最根本的禮儀功能。在這2個(gè)案例中，前者的朝圣對象是接近半人半神的皇帝，即天子的塵世途徑；而后者則對應(yīng)了祭天祈谷的儀式。對比紫禁城和天壇軸線之間的差異是一件非常有趣的事。

紫禁城依南北軸線布局，北至神武門，外延至景山，南至午門，外延至天安門廣場。然而這條神秘的、隱喻性的軸線②從未被覺察，而是遵循著一種漸進(jìn)的序列過程。造訪者在其中逐漸接近一種非物質(zhì)狀態(tài)的、不可見的、半神圣的存在，這是一種神秘而深刻的文化體驗(yàn)（cultural experience）。

一道道宮城門，以及不同尺度、形制的建筑和過渡空間的存在，加上它們的命名引導(dǎo)，如太和門、太和殿、乾清宮、神武門等，層層強(qiáng)化了這種儀式性的個(gè)體經(jīng)驗(yàn)。

天壇祭天祈谷的儀式?jīng)Q定了天壇的線性序列結(jié)構(gòu)。主軸線始自祈年殿，終于寰丘壇?；实墼谄砟甑钪泻蜕衩鹘涣鳎阱厩饓袭?dāng)眾召喚眾神庇護(hù)。銜接這兩個(gè)線性空間的是在軸線約1/3處的皇穹宇和成貞門。以上所有都說明了行程的序列性，這是儀式過程的一種特定模式，而非任何視覺上的參照。

蘇維埃戰(zhàn)爭紀(jì)念碑（The Soviet War Memorial）和采石場公墓（Fossar de la Pedrera）是2處現(xiàn)代的儀式空間，前者是柏林戰(zhàn)役陣亡士兵的長眠之所，后者是遭遇法西斯主義迫害的受難者的安息之地。

位于柏林的特雷普托公園（Treptower Park）的蘇維埃戰(zhàn)爭紀(jì)念碑，于二戰(zhàn)后的1949年，由一支跨學(xué)科團(tuán)隊(duì)共同協(xié)作完成，團(tuán)隊(duì)成員包括建筑師雅科夫·貝洛波爾斯基（Yakov B. Belopolsky）、雕塑師葉根尼（Yevgueny V. Vuchetich）、畫師亞歷山大·戈?duì)柵砜疲ˋlexander A. Gorpenko）、工程師薩拉·瓦列里烏斯（Sarra S. Valerius）。這座非凡的戰(zhàn)爭紀(jì)念碑和軍人公墓于1949年5月8日正式對公眾開放，用于紀(jì)念在柏林戰(zhàn)役（1945年4月16日—1945年5月2日）中陣亡的士兵。與紫禁城和天壇類似，訪客需要遵循一個(gè)由外部到達(dá)公園中心墓地的漸進(jìn)歷程。首先，幾條寬闊的道路將人們匯合到一片空地，其中放置著一尊3 m高的花崗巖雕像—《故鄉(xiāng)》；接著，一條在兩排樺樹掩映下的林蔭道引導(dǎo)人們通過左右兩面紅色花崗巖的巨型旗幟雕塑墻，進(jìn)入場地的主要部分—戰(zhàn)爭公墓；盡管其后的路徑很短，但諸如方向的變化、地面的傾斜、視線的引導(dǎo)以及森林對墓地范圍的框定等微妙的控制手段，依舊很好地將最終的知覺體驗(yàn)引向?qū)沟哪肌?/p>

采石場公墓，1985年由貝斯·加利（Beth Gali）設(shè)計(jì)。這是一處西班牙內(nèi)戰(zhàn)期間遭法西斯主義迫害的受難者的合葬墓地。項(xiàng)目利用了墓地所在的一個(gè)半圍合的采石場進(jìn)行改造，并引入了漸進(jìn)的儀式性歷程。入口起始于一個(gè)由回收路緣石鋪就的陡坡，這是一種對生活的殘酷和走向重生的雙重隱喻；接下來，人們將穿過一片松柏林中刻著遇難者姓名的石柱列，最終到達(dá)紀(jì)念空間?？邕^圍合采石場的鋪設(shè)帶，就是已被填平的采石坑空間范圍，而坑底便是埋葬著眾多遇難者的所在。地面上經(jīng)年累月的落石成為一種對突變（即死亡）的隱喻（圖6）。

6 儀式空間。采石場公墓。路徑終點(diǎn)是埋葬著眾多遇難者的所在（加泰羅尼亞語稱為Fossar），以莊嚴(yán)的“死亡之在場”作為終結(jié)，將旅程轉(zhuǎn)換為葬禮的儀式進(jìn)程Liturgical. The Fossar de la Pedrera. The real presence of death in a mass grave (Fossar in Catalan) at the solemn end of an initiatory journey transforms it into a funeral, that is,liturgical

7 城市性

7.1 城市公園

以1982年拉維萊特公園為標(biāo)志，當(dāng)代城市公園超越了自1871年攝政公園（Regent's Park）以來的自然療愈模式（natural-hygienist model），開始將自然引入歷史城市，以緩和工業(yè)革命帶來的衰退狀況。無論從設(shè)計(jì)的嚴(yán)格管控還是城市發(fā)展必不可少的功能復(fù)雜性出發(fā)，城市公園的構(gòu)想一直以來都是城市發(fā)展的必要條件；而如果從用途和環(huán)境2個(gè)方面來考量，城市公園則可以被視為城市性的替代形式。當(dāng)代城市公園是處于城市內(nèi)部或邊界的大片地表，它們被組織起來以構(gòu)建補(bǔ)充城市活動的不同敘事。

米羅公園（Joan Miró Park）、過渡花園（The Park Gardens in Transition）、超級線性公園（Superkilen）和炮臺公園（Parc del Turó de la Rovira）是對城市基底特質(zhì)進(jìn)行轉(zhuǎn)化的幾個(gè)典型案例。米羅公園采用了一種另類的敘事方式，過渡公園是城市鄉(xiāng)村化的敘事，超級線性公園和炮臺公園則是都市特質(zhì)的反映。

米羅公園位于巴塞羅那，1983年由貝斯·加利、馬呂斯·金塔納（Marius Quintana）、摩西·加利戈（Moisés Gallego）設(shè)計(jì)。這是一個(gè)示范公園應(yīng)該如何從被使用的角度出發(fā)進(jìn)行規(guī)劃的案例。公園由2部分組成：一片松林（地中海松，Pinus halepensis），它的有機(jī)肌理異化于塞爾達(dá)（Cerdá）③方格網(wǎng)規(guī)劃；而另一個(gè)在不同尺度的網(wǎng)格空間內(nèi)栽植華盛頓棕櫚（Washingtonia filifera）的區(qū)域又不同于巴塞羅那周邊老村莊那種更不規(guī)則的格局—這正是19世紀(jì)被并入城市的圣徒街區(qū)（Sants）的異質(zhì)所在。公園的多樣化空間布局源自能讓如聚會、運(yùn)動、節(jié)慶等多類活動者同時(shí)使用公園的設(shè)計(jì)意圖。自然元素是對園內(nèi)進(jìn)行結(jié)構(gòu)組織的有效工具，并使米羅公園成為不同于其周邊環(huán)境城市性的一種變異（圖7）。

7 城市性（公園）。米羅公園基于對周邊幾何城市肌理的一種變異結(jié)構(gòu)，其景觀形式與塞爾達(dá)擴(kuò)展區(qū)的幾何性構(gòu)成了強(qiáng)烈對比Urbanity. Parks. Joan Miró Park is based on an alternative structure to the geometry of the city. This way a landscape trace is opposed to the geometry of the Eixample by Cerdá

過渡花園位于漢諾威（Hannover），2000年由卡梅爾·盧阿菲（Kamel Loua fi）設(shè)計(jì)。該項(xiàng)目的有趣之處在于它身處城市邊緣的農(nóng)業(yè)區(qū)，設(shè)計(jì)師通過最小干預(yù)的手段為農(nóng)業(yè)景觀注入品質(zhì)感，并進(jìn)一步喚起場地最初的非都市性特征。這不僅激發(fā)了人們規(guī)劃城市邊緣地帶的興趣，而且加強(qiáng)了毗鄰城市的農(nóng)業(yè)持久性。盧阿菲的設(shè)計(jì)理念是建立一片分布著趣味中心、建筑、觀景點(diǎn)和藝術(shù)品等要素的農(nóng)業(yè)結(jié)構(gòu)保留地。最終，這個(gè)以農(nóng)業(yè)景觀為基礎(chǔ)的項(xiàng)目，通過在城市中營造不同尋常的空間尺度為人們提供了一處凝思場所。

炮臺公園位于巴塞羅那，2015年由伊瑪·簡薩納（Imma Jansana）、孔奇塔·德拉維拉（Conchita de la Villa）、羅伯特·德·鮑烏（Robert de Paauw）設(shè)計(jì)。場地的突出特質(zhì)在于其被不斷復(fù)寫（palimpsest）的印記：伊比利亞村莊、西班牙內(nèi)戰(zhàn)，以及1948—1990年間棚戶區(qū)的殘余。曾經(jīng)承擔(dān)過去公園功能的建筑、抵御法西斯空襲的防空炮基座所在的圓形炮臺、已拆除的棚屋區(qū)留下的長方形地基和花池等記憶要素，共同定義了公園的最終形式。

超級線性公園位于哥本哈根，2016年由Topotek 1和BIG建筑事務(wù)所設(shè)計(jì)。項(xiàng)目融合了多元文化身份，與其說是自然的再現(xiàn)，不如說它是城市功能的補(bǔ)充，是不同背景的綜合體。這個(gè)身處城市另類空間中的公園意在通過由廣告和建筑元素演化而來的地標(biāo)構(gòu)筑物，成為能夠體現(xiàn)不同身份共存于城市之中的設(shè)計(jì)范例。此外，將一種身份簡化為一個(gè)廣告圖標(biāo)的做法往往能夠引起公園使用群體對于不同身份的真實(shí)感知的質(zhì)疑。

7.2 城市廣場

廣場通常是城市歷史的產(chǎn)物，因此依舊能夠講述城市的故事。由此引人深思那些在過去和當(dāng)下對城市發(fā)展至關(guān)重要的非物質(zhì)因素和人類活動。從這個(gè)意義上來看，當(dāng)代廣場設(shè)計(jì)可以將城市的場所記憶、其相應(yīng)的無形意義，以及新功能需求和廣場自身敘事性的、功能性的和象征性的特征相互聯(lián)結(jié)起來。

在多數(shù)情況下，公共廣場正是重要的城市機(jī)構(gòu)或者標(biāo)志性建筑的所在地，因此它們可以表達(dá)城市的特質(zhì)。棕櫚樹廣場（Palm Tree Square）和榮耀廣場（Glòries Square）就分別呈現(xiàn)了廣場的歷史性特征和當(dāng)代城市新特質(zhì)。

棕櫚樹廣場位于巴塞羅那，1982年由佩德羅·巴拉甘（Pedro Barragán）、理查德·塞拉（Richard Serra）設(shè)計(jì)。作為貝索斯社區(qū)（Besòs neighbourhood）一直以來的地標(biāo)，場地中的加納利海棗（Phoenix canariensis）為項(xiàng)目帶來了敘事性。而塞拉的兩片雕塑墻體則進(jìn)一步加強(qiáng)了這種敘事特征，同時(shí)通過將廣場中的動態(tài)游戲區(qū)域和其余部分分離開來而起到了組織使用功能的作用。

城市天蓬（Urban Canopy），又稱榮耀廣場，由Agence Ter和Ana Coello兩家事務(wù)所聯(lián)合設(shè)計(jì)。如果說上一個(gè)案例主要側(cè)重反映場地的歷史特質(zhì)，這一設(shè)計(jì)則在表現(xiàn)基于新城市模式的未來性。設(shè)計(jì)理念是通過建立一個(gè)生態(tài)空間來孕育全新的、有號召力的城市中心。雖然塞爾達(dá)規(guī)劃中早已設(shè)定了榮耀廣場的核心地位，這一空間性質(zhì)卻從未被鞏固。相反，這一節(jié)點(diǎn)僅僅被用作軌道交通和城市道路的中轉(zhuǎn)樞紐，連接了格蘭大道（Gran Via）、對角線大道（Diagonal）和子午線大道（Meridiana）。廣場設(shè)計(jì)意在將一種新的、生態(tài)的、自給自足的特征融入城市，并且與巴塞羅那豐富的活動和功能，以及源自本地歷史文化特質(zhì)的場所記憶兼容。

設(shè)計(jì)包含了3個(gè)標(biāo)高層：底層是道路和公共交通；零標(biāo)高層是一個(gè)連接周邊城市區(qū)域的大型步行空間；第3層是天蓬，一片包含了森林樹冠的棲息空間，它遮蔽了已被轉(zhuǎn)化為人行空間的道路，從而將城市和公園廣場連接成一個(gè)整體。公園的主要結(jié)構(gòu)基于節(jié)點(diǎn)—一個(gè)與城市中心功能相關(guān)的活動區(qū)域。其中的微觀節(jié)點(diǎn)成為保護(hù)生物多樣性的棲息地，宏觀節(jié)點(diǎn)則包括了一個(gè)信息廣場和一個(gè)自然廣場。此外，廣場中還沿雷格古灌溉渠（Rec Comtal）遺跡布置了一系列硬質(zhì)、軟質(zhì)空間和濕地花園。

8 知識

知識性景觀指那些以學(xué)術(shù)或科學(xué)標(biāo)準(zhǔn)來組織要素并傳播知識的設(shè)計(jì)項(xiàng)目。植物園就是一種基于知識性的景觀項(xiàng)目類別，盡管它們起初只是各類植物大集合的場地，但很快這種項(xiàng)目類型就被視為景觀和建筑設(shè)計(jì)的綜合。杰弗里·杰里科（Geoffrey Jellicoe）和蘇珊·杰里科（Susan Jellicoe）在《圖解人類景觀》（The Landscape of Man）一書中，就將1546年建成的帕多瓦（Padova）奧爾托植物園（Orto Botanico）稱作文藝復(fù)興時(shí)期花園的標(biāo)志性案例。

在某種程度上，21世紀(jì)建成的澳大利亞花園（The Australian Garden）與奧爾托植物園類似，都是為知識的傳播賦予了一種美學(xué)維度。不同的是，奧爾托植物園運(yùn)用了類建筑語言，而澳大利亞花園的設(shè)計(jì)語言則更接近藝術(shù)。

在喬維克護(hù)理中心植物園（Gjovik Care Centre Arboretum）中，薩米·林塔拉（Sami Rintala）和達(dá)古爾·埃格森（Dagur Eggertsson）將知識的傳播聯(lián)系到自然和人類沖突（例如年輕的移民群體）之間的相似性。

澳大利亞花園位于維多利亞，2013年由泰勒·庫里蒂·勒思林（Taylor Cullity Lethlean）、保羅·湯普森（Paul Thompson）設(shè)計(jì)。項(xiàng)目處于克蘭伯恩（Cranboune）的一座舊采石場中，設(shè)計(jì)以水體作為敘事手段，向來訪者展示澳大利亞植被的多樣性。其中的植被包含了從沙漠到濕地的眾多原生物種。設(shè)計(jì)的目的是通過諸如節(jié)水花園、紅沙花園、瞬息湖雕塑等體現(xiàn)出澳大利亞植物種群審美和情感潛質(zhì)的藝術(shù)作品來喚起人們的關(guān)注（圖8）。

8 知識。澳大利亞花園?；▓@的主體結(jié)構(gòu)由水系控制，并象征著知識的傳播。園中各類內(nèi)容的感性組織賦予了景觀以美學(xué)價(jià)值Knowledge. The Australian Garden. The transmission of knowledge, here the water cycle, is the structure of the project. The sensitive management of its contents builds its aesthetic landscape

喬維克護(hù)理中心植物園位于喬維克（Gjovik），2012年由薩米·林塔拉、達(dá)古爾·埃格森設(shè)計(jì)。植物園用于“容納”那些通過適應(yīng)氣候而最終駐扎在挪威的外來物種。日本建筑師鳴川肇（Hajime Narukawa）將地球分解成了96個(gè)三角形，林塔拉和埃格森借用這一三角形概念來組織花園空間，搭建幫助“僑居者”適應(yīng)氣候環(huán)境的保護(hù)結(jié)構(gòu)。這座花園毗鄰接收少年移民的庇護(hù)所。

9 過程

技術(shù)過程性特質(zhì)存在于以最終的實(shí)體景觀表現(xiàn)其創(chuàng)造過程的項(xiàng)目中，而景觀的建造過程又構(gòu)成了項(xiàng)目的故事。在場地的原初特質(zhì)難以被復(fù)原的多數(shù)情況下，設(shè)計(jì)會以技術(shù)性的過程作為起點(diǎn)，并賦予場地新的用途。

以下幾種被研究的過程直接決定了景觀的實(shí)體特征：挖掘/礦坑，堆積/填埋場。

堆積屬于在原始景觀中的突變事件，可以為新的活動類型提供支持并最終成為地標(biāo)，拜斯比公園（Byxbee Park）和蘇利亞鹽渣場（Salt slag in Súria）可以作為這一類的案例。

礦坑類空間則更適于形成多少有些封閉的、與周邊環(huán)境較為分隔的區(qū)域。這一思路加強(qiáng)了此類空間形成的工業(yè)化過程的特征，“ Líthica”④采石場（Project Líthica）景觀改造項(xiàng)目正是如此。

拜斯比公園位于加利福尼亞州帕羅奧圖（Palo Alto），1960年由哈格里夫斯事務(wù)所（Hargreaves Associates）設(shè)計(jì)。這是一個(gè)通過使用暗示廢棄物的要素來彰顯填埋場歷史的案例。設(shè)計(jì)意圖在于說明，即使場地以垃圾堆為基礎(chǔ)，經(jīng)過彼得·理查茲（Peter Richards）和邁克爾·奧本海默（Michael Oppenheimer）等大地藝術(shù)家的介入，也能創(chuàng)造美麗的景觀。其場地美學(xué)基于與垃圾填埋場有關(guān)的形式再創(chuàng)造，例如卡車卸載形成的地形，以及表現(xiàn)滲濾液池塘演變過程的原木樁森林（The Pole Field）⑤等。

蘇利亞鹽渣場項(xiàng)目提案（The speculative proposals of Salt slag in Súria）是由米蓋爾·維達(dá)（Miquel Vidal）1986年在巴塞羅那建筑學(xué)院（ETSAB）主持的課程設(shè)計(jì)，隸屬于其負(fù)責(zé)的“功能性土地”（Functional land）研究課題，目標(biāo)是呈現(xiàn)通過以日益普及的新技術(shù)與當(dāng)下的時(shí)代相連，創(chuàng)造新美學(xué)景觀的諸多可能性，因此所有的提案都遵循了既定的創(chuàng)作程序和技術(shù)要求。

“Líthica”采石場位于梅諾卡城（Ciutadella de Menorca），其景觀改造自1994年至今仍在進(jìn)行，由蕾蒂西亞·索勞（Laetitia Sauleau-Lara-，簡名拉拉）等設(shè)計(jì)。驛站采石場（pedreres de s'Hostal）是一個(gè)將梅諾卡島上老馬雷斯砂巖采石場（“marés” quarries）轉(zhuǎn)化為藝術(shù)空間的景觀改造項(xiàng)目。設(shè)計(jì)基于形成采石場的工業(yè)過程遺跡或是能夠喚起這一建造過程的意向來創(chuàng)造景觀，例如何塞·布拉沃（José Bravo）設(shè)計(jì)的由場地內(nèi)開采的3 000塊石頭組成的“礦物迷宮”（圖9）[8]。

9 過程。“Líthica”采石場景觀改造。用來獲取砂巖的“技術(shù)”所定義的空間體量、幾何形狀和表面肌理恰恰反映了該項(xiàng)目本身的強(qiáng)烈特質(zhì)The process. Project Lithica. The technique that is used to obtain the sandstone that defines the volumes, its geometry and its textures is the identity of the project itself

10 崇高

與采用極限技術(shù)創(chuàng)造的、融合了對絕對美的思考和對技術(shù)挑戰(zhàn)的迷戀的景觀項(xiàng)目相對應(yīng)，這里提到的“崇高”，與埃德蒙·伯克（Edmund Burke）在《關(guān)于我們崇高與美觀念之根源的哲學(xué)探討》（To Philosophical Inquiryinto the Origin of Our Ideas of the Sublime and Beautiful，1756年）一書中提到的“崇高”概念十分接近。埃德蒙·伯克將“美”從崇高性中抽離出來，這直接影響了人們?nèi)绾螐臉O限技術(shù)出發(fā)看待技術(shù)性景觀的問題。正如阿蘭·羅杰（Alain Roger）所描述的：身處米約高架橋（Millau Viaduct）之上（in situ），或者（對大多數(shù)人而言）在聯(lián)盟號飛船（Soyuz space station）中看到的宇宙景象（in visu），能夠喚起人們的崇高感受?？档抡J(rèn)為崇高感源于“那些絕對大的”，伯克則解釋說，崇高感是“被控制的攝人心魄的恐懼”或是“沒有危險(xiǎn)的驚奇”。這正是筆者在波波里系列（Boboli series）中研究無形內(nèi)容之表達(dá)方式的目的所在（圖10）。

10 崇高。波波里。拼貼畫展示了從藝術(shù)過渡到風(fēng)景的多種途徑，試圖使用當(dāng)下的語言方式來處理歷史內(nèi)容，并喚起觀者的崇高感受The sublime. Boboli. The collage presents a multiple approach from art to the landscape. It is intended to evoke the sublime in the spectator by manipulating historic contents with a current language

試想一個(gè)人在云霧中通過343 m高的米約高架橋時(shí)，其浪漫體驗(yàn)無異于卡斯帕·大衛(wèi)·弗里德里希（Caspar David Friedrich）《云海上的旅人》（Wanderer above the Sea of Fog）的畫作中屹立山巔的主人公。至此，我們會驚訝地發(fā)現(xiàn)，18世紀(jì)的浪漫主義精神與21世紀(jì)的極限技術(shù)連成了一個(gè)閉環(huán)。

米約高架橋由建筑師諾曼·福斯特（Norman Foster）和工程師米歇爾·維洛格（Michel Virlogeux）合作完成，是目前世界上最高的斜拉橋，加之其纖細(xì)的造型設(shè)計(jì)，米約高架橋已成為A75高速公路沿途景觀中一處獨(dú)特的地標(biāo)[9-10]。

11 持續(xù)突現(xiàn)性

在以上的景觀設(shè)計(jì)途徑中，筆者已經(jīng)闡釋了現(xiàn)代景觀至今是如何從詮釋歷史主流特質(zhì)出發(fā)而成形的。

此外，還需要將以下幾個(gè)因素考慮在內(nèi)：急速的技術(shù)革新所帶來的根本性轉(zhuǎn)變，知識的新視野、控制論、人工智能、虛擬現(xiàn)實(shí)等淹沒人文主義的新浪潮，以及我們深陷其中的對地球資源的巨大消耗。它們給景觀設(shè)計(jì)帶來了前所未有的、持續(xù)不斷的變化，曾經(jīng)的那些古典“特質(zhì)”已然不再適用。

這種持續(xù)的轉(zhuǎn)變和全球化共同導(dǎo)致了各種新突現(xiàn)的特質(zhì)，于是，所謂的持續(xù)突現(xiàn)性便在本身還處于混沌之中而無法被定義的雜交（hybridisation）或永久性突變（permanent mutation）的過程中產(chǎn)生，但它們所指向的景觀設(shè)計(jì)卻仍是一團(tuán)亂麻，尚未得到完善的闡釋。

雜交是指將各種相互對立或不同的元素（如個(gè)人的、地理的、種族的）之間關(guān)聯(lián)融合為持續(xù)互惠的混合體。這種項(xiàng)目很難識別出能夠作為設(shè)計(jì)起點(diǎn)的穩(wěn)定特質(zhì)，因此按照齊格蒙特·鮑曼（Zygmunt Bauman）⑥的觀點(diǎn)，我們可以將其解讀為“流動特質(zhì)”（liquid identities）。

永久性突變可以被理解為“淡出淡入”，也就是說當(dāng)前一幀圖像漸漸淡去但尚未完全消失時(shí)，新一幀圖像徐徐出現(xiàn)，它可能與前一幀圖像有關(guān)，也可能無關(guān)。這種情況的不斷發(fā)生，致使具有足夠穩(wěn)定性的特質(zhì)不復(fù)存在，以至于社會大眾不知該如何辨識其中的真實(shí)含義。更何況在上述情形中，由接觸引起的不穩(wěn)定性幾乎是同步發(fā)生的。

發(fā)生這種新沖突的原因之一，在于幾個(gè)世紀(jì)前泛靈論（animist）⑦的影響日漸式微導(dǎo)致景觀中人文主義理念的匱乏。對我們而言，一個(gè)激動人心的挑戰(zhàn)無疑是構(gòu)建一種新的風(fēng)景園林學(xué)，以賦予這些新興特質(zhì)具體形式，創(chuàng)造具有此類新特質(zhì)的景觀。在筆者看來，生態(tài)和環(huán)境內(nèi)涵對景觀來說固然重要，但過于簡單化。盡管這些議題當(dāng)下形成了某種趨勢，但筆者不認(rèn)為它們應(yīng)占據(jù)風(fēng)景園林領(lǐng)域核心，因?yàn)樾碌娘L(fēng)景園林學(xué)應(yīng)形成自身與所有當(dāng)代現(xiàn)有學(xué)科相結(jié)合的混合體[11]。

注釋(Notes)：

① 譯者注:埃爾·利西茨基，蘇聯(lián)藝術(shù)家、設(shè)計(jì)師、攝像師和建筑師。俄羅斯先鋒派的重要代表人物，其作品對包豪斯和建構(gòu)主義運(yùn)動有很大影響。

② 譯者注:其軸線并不是以連續(xù)透視的形式出現(xiàn)，相對于勒諾特那種穿透的、“空”的軸線而言，紫禁城的軸線是暗示性的。

③ 譯者注:現(xiàn)代城市規(guī)劃的奠基人之一，是巴塞羅那擴(kuò)展區(qū)的規(guī)劃師，該區(qū)域的規(guī)劃布局深刻影響了現(xiàn)代巴塞羅那城市的整體生長。

④ 譯者注:“Líthica”協(xié)會是由法國籍雕塑家和建筑師Laetitia Sauleau（簡稱Lara）于1994年成立的非營利文化協(xié)會，其目的是保護(hù)馬雷斯地區(qū)采石場文化歷史地貌免于消失。

⑤ 譯者注:1991年彼得·理查茲大地藝術(shù)作品，72棵原木電線桿樁被布置成矩陣森林，隨著時(shí)間的流逝，垃圾降解產(chǎn)生的局部沉降使某些木樁不再處于垂直狀態(tài)，由此，藝術(shù)家實(shí)現(xiàn)了引人關(guān)注垃圾填埋場公園人造的和不穩(wěn)定的性質(zhì)的意圖。

⑥ 譯者注:波蘭社會理論家、哲學(xué)家，在其關(guān)于“后現(xiàn)代主義”的討論中，用“流動的”（liquid）和“固定的”（solid）對相關(guān)問題進(jìn)行比喻性闡釋。

⑦ 譯者注:又稱萬物有靈論，發(fā)源于17世紀(jì)，認(rèn)為天下萬物皆有靈魂或自然精神，并對其他自然現(xiàn)象造成影響。

圖片來源：

圖1 ? 歐仁妮·維達(dá)；圖2 ? Batlle & Roig事務(wù)所；圖3 ?美國聯(lián)邦基金研究與發(fā)展中心網(wǎng)站；圖4 ? Jean-Pierre Dalbéra；圖 5、6、10 ? 米蓋爾·維達(dá)·普拉；圖7 ?貝斯·加利；圖8 ? Taylor Cully Lethlean事務(wù)所官網(wǎng)項(xiàng)目配圖；圖9 ? 讓·皮埃爾·福凱。

Contemporary Landscaping:An Approach from Identity,the Present Crisis, the Future Challenge

An approach to the current tendencies of contemporary landscaping clashes with the complexity of the relations between society and territory. At the collective and at the individual level these have become more complex due to social, economic, geographical or religious reasons.Therefore the traditional categories that are used to classify the spaces of relation with nature (from natural reserves to gardens) are not useful to build a framework within which the totality of the spaces projected with nature can be studied.

Identity is inherent to all landscapes as these are its image. At the same time it distinguishes them and it identifies them. Consequently, this seems logical:the construction of the state of the contemporary landscape from the identities that define the different landscapes of contemporaneity.

The presentation of the projects of contemporary landscapes from their identities also offers the opportunity to analyze how these remain over the course of history. What changes is their expression, i.e. their physical landscape.

This text is structured from those identities that encompass contemporary landscaping:memory, paradise, arcadia, control, contemplation,liturgy, urbanity, knowledge, the processes, the sublime and the permanent emergency[1-2].

1 Memory

Memory. Landscapes of memory. Memorials are projects in which the objective of the physical landscape is to look back on the identity of a unique event that took place in the past. In this section we study how the transcendent is manifested in contemporary landscaping, mainly through memorials.

Vietnam Veterans Memorial by Maya Lin. Washington, 1982. National September 11 Memorial & Museum by Michael Arad and Peter Walker. New York, 2011. What they have in common is abstraction and emptiness but in Maya Lin they are accessible and in Michael Arad they are inaccessible. Both spaces evoke the past but without reductionist images.

Vietnam Veterans Memorial by Maya Lin.Washington, 1982. It illustrates the difficulty of transmitting real identity. The identity of memory in Lin's project is transmitted beyond the images and evoked by the atmosphere that the space creates:a wound on the surface of the park that drags the visitor into the inner part of the earth,which means the experience of death. On the black granite wall the names of the 58,272 fallen U.S. service members are inscribed. The polished granite reflects the image of the visitors, who are confused due to the memory of the veterans disappeared in Vietnam.

“I like to think about my work like creating a private conversation with each person regardless of how public it may be or how many people are present.” Maya Ying Lin.

National September 11 Memorial & Museum by Michael Arad and Peter Walker. New York,2011. The project does not refer to the identity before the attack on the Twin Towers. It does not refer to its presence as a landmark of the New York landscape. It does not refer to the attack itself.The memorial does evoke the consequence of all of that:absence. Michael Arad materializes that absence in two deep pools marking where the Twin Towers stood. The water rushes from the perimeter and disappears in a deep central well leaving the space absent from everything continuously (Fig. 1).

2 Paradises

Paradises. The identity of paradise is expressed in those projects whose objective is the creation of a friendly environment which is confined from its immediate environment and which is often contrasted with it. It is the escape from an imperfect or hostile context to a friendly and welcoming context. Paradises can be built with the same external natural elements but they are culturalized or constitute big scenographies with their own discourse. In both cases living subtle sensory sensations or extreme ones is important.Paradises offer the sensory sensations that the external environment denies in the order of perception and comfort and also in the social and cultural order evokes new paradigms.

However, the evocation of paradises varies depending on the idea of paradise that one has.In this sense the current theme parks such as Disneyland Paris or Port Aventura are the paradises of the 21st century as they are a closed dream world, the materialization offiction by mass media and far from everyday life.

Il Segretto Giardino and Port Aventuraare two examples that express the contemporary identity of “paradise” whereas the Alhambra in Granada,Mohammed Ibd Nasr. 1238—1492, shows a physical landscape of our past centuries (Fig. 2).

In these three projects the objective of creating a closed and friendly space in opposition to a hostile and common environment is present.

Il Segretto Giardino. Joan Roig, Enric Batlle and Olga Tarraso. Barcelona, 1991. It was the first runner-up prize in the competition for theEscorxadorPark. Its surface area is 4 hectares. It is delimited by a wall that closes an oasis, which is formed by a succession of picturesque scenes around an element of water that unites all of it. A waterfall in the main access, which is inspired in the Oval Fountain in the Tivoli Gardens, prevents from seeing outside the park.

Port Aventura Group Tussauds- Merlin Entertainment. Vilaseca, Salou (Tarragona), 1995.Like other theme parks this is a contemporary version of a paradise, not like perfected nature but like a meeting place where one can experience myths, the exotic. In other words, here one can experience what doesn't belong to every day life.Whereas original paradises lead to introspection contemporary paradises lead to escaping and to some kind of alienation. Port Aventura is regarded as the 6th best amusement park in Europe. The original project of the group Tussauds-Merlin Entertainment is structured on five “destinations”:Mediterrània, Polynesia, China, Mexico and the Far West. Each has its own story but new rides are added continuously. One can experience extreme sensations of vertigo and speed in archetypal settings made of cardboard in the 5 paradises that the theme park offers. The main rides foster mobility along the streets with shops[3].

3 Arcadia

Arcadia. Arcadias are the landscapes of those places where nature and the rural use of the place live in harmony as it is described in the eponymous novel by Jacopo Sannazaro in 1504. Arcadias are different from paradises (where work doesn't exist)and from utopia (which is a proposal of how to organize a perfect society). As a reference for the present landscapingarcadiais very important as it suggests the compatibility between beauty and function at a big scale. Building contemporary arcadias can be a reference for the creation of new topologies of urban, rural and mixed landscapes. An important aspect ofarcadiais that it generates synergies between nature, function and,occasionally, art.

Examples of this are the following:the landscape of Very Large Array in San Agustin Valley (Magdalena, Mexico) and the Parc de la Villette.

Although there is a difference in scales and in uses the two landscapes share a complementarity between nature and activity in such a way that what is anthropogenic participates in the construction of the identity of the place.

Very Large Array. National Radio Astronomy Observatory (Magdalena, Mexico). Federally Funded Research and Development Centre of the United States 1972—1980. In the project of San Agustin Valley there is more contrast in the relation between function and nature due to the incorporation of a Y-shaped array. The 27 white antennas are distributed along the three arms of a track which is 50 long. On each arm there are 9 antennas.They are like huge white sculptures that mark the landscape (Fig. 3).

The Parc de la Villette. Bernard Tschumi.Paris, 1983. In his project for theParc de laVillettein Paris Bernard Tschumi uses the philosophy ofarcadia. He pays tribute to Lissitzky and the constructivist architecture in the Soviet Union and he places afolie(a folly, which is a hybrid object between architecture and sculpture) on a grid of 100 m × 100 m. This way knowledge and nature are interrelated within the park[4-6].

4 Control

Control. The identity of control includes all those interventions that structure or give a sense to the territory from a narration which is based on intangibles such as power, representativeness, order and territorial reasons. It goes without saying that perspective has been and still is one of the most common mechanisms with this aim. Besides its intangibles have changed over the course of history.In this sense perspective structures the absolutist landscape under Louis XIV in the 17th century,the project of The National Mall in Washington by Pierre Charles L'Enfant in the 18th century and the McMillan Plan in the 20th century. In the 21st century in the project of Axe Majeur de Cergy-Pontoise a perspective of over 50 km connects Paris with the peripheral town visually.

However, apart from the classical perspective,other ways of defining a territory come up. These link the territory to art, to a use or to a form of exploitation. Art as an identifier of a territory exemplifies in the purely aesthetic trace of Running Fence or in the orderly or at random repetition of similar elements as it occurs in The Umbrellas Project, both by Christo and Jeanne-Claude.

The Axe Majeur of Cergy-Pontoise. Dani Karavan.Cergy-Pontoise, 1980—ongoing. The immense perspective that culminates at the distant Eiffel Tower aims at giving identity and shared urbanity between Paris and a satellite peripheral town that was designed by Ricardo Bofill. Mechanisms of construction are different from Baroque. Axial perspectives are inserted with changing sections that have sculptural or thematic sequences (Fig. 4)[7].

Running Fence. Christo and Jeanne-Claude.Valley Ford, Sonoma, 1976. Running Fence is a zigzagging line of about 40 km long that affected over 59 owners. In this project the authors propose the trace of a line whose only objective is generate beauty as opposed to the other functional or natural lines that draw the geometry of the landscape.The authors say:“we intend to build something else than just a fence that goes over the territory,we intend that human presence, that symbolized intervention, generates a new landscape.”

The Umbrellas. Joint Project for Japan and U.S.A. Corporation. Christo and Jeanne-Claude. Kern County, Tejon Ranch (U.S.A.) and Sato river valley,Ibaraki (Japan). 1991. In this project 3,100 umbrellas were distributed and open simultaneously in Tejon Ranch in California, U.S.A. and on the Sato river valley in the Prefecture of Ibaraki, Japan. This took place on October 9 at sunrise. One of the objectives was to highlight the difference of the territories. In U.S.A. the project affected 25 properties. With a similar extension in Japan 459 private landowners were added. That determined the density when it came to setting the umbrellas, which was more intense in Japan than in California. Besides, the blue umbrellas in Japan referred to the abundance of water and the yellow umbrellas in U.S.A. referred to the dryness of the desert.

5 Contemplation

Contemplation. Between West landscape and East landscape there is a big difference that is originated in the original attitude towards nature.In the West the Jewish Christian mandate of Genesis (“Be fruitful and multiply, fill the earth and subdue it”) establishes the first idea of landscaping in the West. It is the control of nature. Neither British landscape nor picturesque landscape are an exception. All Western forms manipulate nature to create new landscapes and the difference lies in highlighting or not the process of control.

Since the beginning of the millenary Chinese culture Confucianism, Taoism and Buddhism have contemplated the relation between man and nature which defines their mystic root. The philosophical aspect rather than the dogmatic aspect of the three major religions fosters a more subtle approach than Christian radicalism. An example of this is what Zhuangzi recommends:wandering without worries and become one with “the Path” ( Tào ) when following nature.

It often comes as a surprise that Chinese landscaping looks beyond the seas when millenary identities in it claim a dialogue with contemporaneity.

In the Oxford dictionary there are different definitions for the word “contemplate”:“l(fā)ook thoughtfully for a long time at” and “think about”. The first definition would define Western contemplation and the second one would define Eastern contemplation.

The identity of contemplation of both refers to all those landscapes that are designed to approach nature, either at a big scale or at a small scale, in a sensitive way and underlining remarkable aspects of it or its processes. The contemplation can be open or closed.

5.1 The Open Contemplation

Eastern open contemplation offers the sensitive experience of big spaces with distant horizons and that of natural processes that take place in them along one day or along the different seasons. In the Summer Palace (1271—1764) a static and ceremonious contemplation takes place and it does so from an architectural space which is created with this aim. The names in it already indicate its functions:Zichun Pavilion, “Perceiving Spring”, Paiyun Gate, “The Hall of Dispelling Clouds”.

In Western contemporary open contemplation the observer's attitude is more participatory. This can be appreciated in three aspects. First, in the incorporation of movement that leads to a dynamic vision of the landscape such as in the Observation Tower. Second, it provokes sensory experiences such as vertigo and instability as it occurs in the Tip-Box by Christophe Benichou. And third, it is a landmark in the landscape.

Observation Tower. Architect Effekt.Camp adventure. Gisselfeld. Denmark, 2017. As mentioned above it incorporates the spiral upward movement. This way the contemplation of nature is created in a dynamic way by turning around an axis, which generates a constant change in the perception of the landscape. One has an initiatory sense in its ascent.

Tip-Box. Christophe Benichou. Pic-Saint-Loup, 2017. In Tip-Box the two characteristics of contemporary viewpoints are very present, that is, the role of landmarks in the landscape and the incorporation of sensations that, in a sensory way,link the observer with the landscape.

5.2 The Closed Contemplation

In the landscapes, which are based on the closed contemplation, such as Ryoan-ji (by Hosokawa Katsumoto. Kyoto, 1450), California Scenario or Drawing in the wind, the landscape is an abstraction of nature which likewise evokes another identity which is more philosophical and universal. The contemplated physical landscape is the bond between the observer and this final reality.

California Scenario by Isamu Noguchi. Costa Mesa. California, 1980—1982. In the garden by Isamu Noguchi the nature of California, in the form of bonsai, reflects the Eastern influence.Nature is integrated into the whole of a garden of less than 1/2 hectare. Minimalist interventions are described alongside:the pyramid, the river and the channel of the pre-Columbian culture of the southern State.

Drawing in the wind by Miquel Vidal.Barcelona, 2014. The natural elements of the inner garden, bamboos and crushed marble express the process of architectural creation. The house concept is written on the glass. The movement of the hand expresses the effort, the search. The bamboo represents useless ideas and the central house represents the end of the project (Fig. 5).

6 Liturgy

Liturgical spaces. Liturgy is how ceremonies are celebrated in a religion or in a similar institution.Liturgy expresses the landscape projects that are related to transcendent identities.

In these landscapes movement is very important as for the way it is carried out, the trace,the succession of the sequences, the time, the pace, etc. The ways are sequenced by a succession of rituals which are linked to another ritual that is related to the intangibles.

The Forbidden City (1360—1424). Emperor Zhu Di Yongle. Nyueng An, Kuai Xiang, Cai Xin.The Temple of Heaven (1406—1420). Emperor Zhu Di Yongle. These are the two historic landmarks in Beijing. They are two baseline historic identities as far as the incidence of liturgy in their design is concerned.

In the Chinese examples the first pilgrimage is the earthly approach to something that is semidivine, that is, to the emperor, son of the gods. In the second liturgy corresponds to the ceremony of Prayer for Good Harvests in The Temple of Heaven. It is interesting to see the difference between the axes of The Forbidden City and The Temple of Heaven.

The Forbidden City (1360—1424). Emperor Zhu Di Yongle. Nyueng An, Kuai Xiang, Cai Xin.The Forbidden City is organized on the North-South axis that, beyond the respective doors of the Divine Power to the North and the Meridian to the South, extends to Coal Hill and Tian'anmen Square. However, this mystical and allegorical axis is never perceived. It follows the sequences of an essentially initiatory journey. The visitor experiences an approach to something that is semidivine, an immaterial condition that cannot be visualized. All of it is lived as a mystical and deeply cultural experience.

The presence of gates, the different dimensions, the laying of the buildings, the spaces of transition as well as the names such as Gate of Supreme Harmony, Hall of Supreme Harmony,Palace of Heavenly Purity and The Gate of Divine Might reinforce this personal experience.

The Temple of Heaven (1406—1420).Emperor Zhu Di Yongle. It has a linear structure of sequences which are linked to the liturgy related to the Prayer for Good Harvests. The axis contains an origin and an end:The Hall of Prayer for Good Harvests and The Circular Mound Altar. In The Hall of Prayer for Good Harvests the emperor is in communion with the gods whereas in The Circular Mound Altar the emperor invokes the gods publicly. At a third of the axis that joins the two lineal spaces is The Imperial Vault of Heaven as well as the Temple's Gate from the Circular Mound Altar. All exemplify the sequential nature of the itinerary. They are patterns in the process of prayer but not visual references.

The Soviet War Memorial and el “Fossar de la Pedrera” are modern liturgic spaces. In the former the soldiers who died in the Battle of Berlin rest. In the latter the victims of Fascism rest.

The Soviet War Memorial in Treptower Park. Berlin 1949. Yakov B. Belopolsky, architect.Yevgueny V. Vuchetich, sculptor. Alexander A.Gorpenko, painter. Sarra S. Valerius, engineer.The Soviet War Memorial in Treptower Park was built by the interdisciplinary team after World War II. This extraordinary War Memorial and military cemetery commemorated the soldiers of the Red Army who died in the Battle of Berlin (1945-04-16—1945-05-02). It was officially dedicated to them on May 8, 1949. Like in The Forbidden City or in The Temple of Heaven the visitor follows an initiatory journey from outside to the cemetery that occupies the centre of the park. “Wide paths first take visitors into a clearing where they see a three-meter granite statue of ‘Mother Homeland'.A promenade flanked by weeping birches then leads past two huge stylized flags sculpted of red granite into the main section of the grounds,the actual war cemetery.” Although the route is smaller, in the control of the final perception to the contemplation of the common grave, subtle different mechanisms are used:the change of direction, the inclined plane, the perspective and the final framing of the forest that defines the cemetery.

The Fossar de la Pedrera, Beth Gali.1985. is the mass grave of the victims of Fascism during the Spanish Civil War. The project takes advantage of the quarry being semiclosed, where the burial area is, to introduce an initiatory liturgical journey. The way starts with a steep slope which is paved with recycled curbs. This represents a double reference to the harshness of life and to a second life. Later on one can access to the space of memory by going a set of columns among cypresses and pines.that are inscribed with the names of the victims who rest here. Beyond this threshold that closes the space of the quarry is the mass grave at the bottom of the quarry. The constant landslides become a metaphor of mutation, that is, death (Fig. 6).

7 Urbanity

7.1 Parks

With the Parc de la Villette in 1982 contemporary urban parks go beyond the naturalhygienist model that started with The Regent's Park in 1871, whose objective was bring nature to the historic city as a palliative of its degradation due to The Industrial Revolution. Urban parks, that have been conceived from regulatory rigidities in their design and also from functional complexities which are essential in urban development, can be regarded as alternative urbanities to the urbanity of the city when it comes to both the uses and environmental considerations. Contemporary parks are large surfaces inside the city or in their limits and they are organized to build different narratives that complement the urban activity.

Joan Miró Park, The Park Gardens in Transition, Superkilen and Parc del Turó de la Rovira are examples of different alternatives to the city. Joan Miró Park uses the alternative as a narrative of the project. The Park Gardens in Transition is the rural alternative to the city.Superkilen and Parc del Turó de la Rovira are reflections on urban identities.

Joan Miró Park by Beth Gali, Marius Quintana, Moisés Gallego. Barcelona, 1983. The park exemplifies the concern to plan the use of it correctly. It has two parts:a pine forest (Pinus halepensis), which is opposed to Cerdá's reticula,and a grid of spaces of different dimensions and internal treatment with palm trees (Washingtonia filifera), which is opposed to the more irregular structure of the old villages near Barcelona,that is, the neighbourhood of Sants, which was annexed to the city in the 19th century. Offering a diversity of spaces is due to a willingness to plan the simultaneous uses of the park:meeting points, sports, festivals, etc. Nature is a structuring tool in the park so that the identity of the park is the alternative to the urbanity of the city that surrounds it (Fig. 7).

The Park Gardens in Transition by Kamel Louafi, Hannover, 2000. This is a project of great interest, mainly because of the peri-urban agricultural areas. By introducing minimal interventions they give a quality to the agricultural landscapes and evoke their non urban origin and identity. This increases their interest in the planning of urban borders and reinforces the permanence of agriculture next to the city. Louafi's proposal for this project is the preservation of the agrarian structure where there are some centres of interest, architectures,viewpoints and works of art. The park, based on agrarian landscapes, allows the contemplation of spaces of an unusual scale in the city.

Parc del Turó de la Rovira by Imma Jansana,Conchita de la Villa and Robert de Paauw,Barcelona, 2015. The three identities are present in the palimpsest of the place:the remains of an Iberian village, the Spanish Civil War and the shantyism from 1948 to 1990. The shape of the park is defined by the architectures that had the functions of the park in the past as well as the circles that correspond to the anti-aircraft artillery bases, that defended the city from the fascist bombardments, and the reduced rectangles and pavements of the plants of the shanties that were saved from being demolished.

The Superkilen Park, designed by Topotek 1 &BIG Architects in Copenhagen in 2016, is a convergence of multicultural identities. Rather than a presence of nature the park is a functional complement of the city. It is a synthesis of different backgrounds. The park proposes, in an alternative space to the city, to be a reference to the different identities that coexist in the city through landmarks that derive from advertising or architectural elements. Reducing an identity to an advertising icon can generate doubts about the real perception of the different identities by the collectives who use the park.

7.2 Squares

The squares still keep the narrative of the city as it is often its historic memory. This contemplates both past and present intangibles and activities which were and are important in the development of the city. In this sense contemporary squares are projects that interrelate the narrative of the urban memory of the place, its corresponding intangibles and new functionalities with their own identity,which is narrative, functional and symbolic.

In most cases public squares express the identity of the city as institutional or representative buildings stand there. Pla?a de la Palmera ( Palm Tree Square )and Pla?a de les Glòries (Glòries Square) illustrate historic identities or identities of new forms of cities.

In the Pla?a de la Palmera (Palm Tree Square)by Pedro Barragán and Richard Serra (Barcelona,1982).Phoenix canariensis, that had been a landmark in the Besòs neighbourhood for many years, brings the identity narrative to the project.This narrative is enhanced by two pieces of the work by Richard Serra, the Wall, that also organizes the use of the square by separating the dynamic play area from the rest area.

Urban Canopy, the project of the Pla?a de les Glòries (Glòries Square) by Agence Ter and Ana Coello. If the previous project referred to a historic identity, its refers to a future identity which is based on a new model of a city. With this aim the project proposes to create an ecological space that welcomes a new and powerful centre.It establishes the centrality proposed by Cerdá for the Pla?a de les Glòries ( Glòries Square ) which was never consolidated. Instead, it was used as a hub for rail connections and urban avenues:Gran Via, Diagonal and Meridiana. The design of the square proposes to incorporate a new, ecological and self-sustaining identity to the city. This identity is compatible with a wide range of activities and functions and also with the historic memories of the place inspired in the historical and local identities of Barcelona.

The project comprises three levels. At the lower level is road traffic and public transport.Zero level is a large pedestrian space that connects all urban fronts that limit the space. The third level is the canopy, the habitat that includes the space of the treetops in a forest and covers the former roads, that are pedestrian now, that connect the park to the city. The structure of the park is based on the node, an area of activity linked to a centre of interest. Micronodes are protected habitats that favor biodiversity. Macronodes are associated to a computing agora and to a natural agora. Besides there is a series of gardens:hard, soft and wet,following the trace of the Rec Comtal.

8 Knowledge

Knowledge. The landscape of knowledge is expressed by all those landscapes whose elements are arranged according to academic or scientific criteria to disseminate knowledge. Botanic gardens are an example of identity landscapes which are based on knowledge. Although at first they were a collection of plants their design was regarded as both landscaping and architecture very soon. In this sense the Orto Botanico in Padova (1546) is regarded as a landmark in the Renaissance gardens by Geoffrey and Susan Jellicoe inThe Landscape of Man.

To a certain extent, one can state that The Australian Garden in the 21st century develops the same process as Orto Botanico, that is, give an aesthetic dimension to the knowledge transmission.But it does so with another language which is as close to art asOrto Botanicowas to architecture.

In the Gjovik Care Centre Arboretum Sami Rintala and Dagur Eggertsson associate the dissemination of knowledge to similarities between nature and human conflicts such as the immigrant young people.

The Australian Garden,by Taylor Cullity Lethlean and Paul Thompson (Victoria, 2013) in an old quarry in Cranbourne, was structured with the water narrative to show the diversity of the Australian vegetation to visitors. The vegetation ranges from the origins in the desert to the wetlands. The aim is to raise awareness through works of art such as The Water Saving Garden,The Red Sand Garden, The Ephemeral Lake Sculpture that show the aesthetic and sensitive potential of the Australian flora (Fig. 8).

The Gjovik Care Centre Arboretum. Sami Rintala and Dagur Eggertsson. Gjovik, 2012.The arboretum is a project of a garden “to host”those foreign plant species which arrive in Norway so that they adapt to the climate. The work by Rintala and Eggertsson is related to the work by the Japanese architect Hajime Narukawa who decomposed the globe into 96 triangles whose proportions organize the garden and the necessary protection elements to ensure the acclimatisation of the “newly arrived”. There is a garden which surrounds an Asylum for immigrant young people.

9 The Processes

The processes. The technological process identity is one in which the final physical landscape expresses the process of creation. The process of the landscape construction creates the narrative of the project. In most cases the original identity cannot be recovered and the project takes the technological identity of the process like its starting point and it designs the new uses.

Here are the studied processes that determine the physical landscape of the identity directly. They are:deposit/land fills and extraction /quarries.

The deposit is an emergency in the original landscape, a unique support for new activities and finally a landmark. Examples of this are Byxbee Park and Salt slag in Súria.

On the other hand, quarries are spaces that tend to form areas more or less closed and often separated from their surroundings. This way they can reinforce the identity of their industrial process of formation as it happens in the Project Lithica.

Byxbee Park. Hargreaves Associates. Palo Alto. California, 1960. This is an example of those works where the narrative of the project makes the presence of the land fill explicit by using elements that refer to waste. In the Byxbee land fill the goal is the creation of a landscape that, assuming that its identity is based on a waste storage, is beautiful due to the incorporation of land artists such as Peter Richards and Michael Oppenheimer. Its aesthetics is based on the recreation of forms that are associated with waste, the topography of truck unloading, the Pole Field (the forest of cut logs),showing the evolution of leachate ponds, etc.

The speculative proposals of Salt slag in Súria,Miquel Vidal. ETSAB, 1986 were developed in the subject called “Functional land” coordinated by Miquel Vidal in the Architecture School of Barcelona, 1986. The goal is to show the chances to create new, aesthetic landscapes linked to the present time with the increasingly common new technologies since all the proposals follow the established process of creative work and technical requirements.

Project Lithica. Laetitia Sauleau-Lara-.Ciutadella de Menorca, 1994—ongoing. It is the project of transformation of the old “marés”quarries, the “pedreres de s'Hostal” (s'Hostal quarries) in Menorca, into an artistic space. The project is based on either the presence or the evocation of the industrial processes that shaped the quarries to create landscapes such as The Mineral Maze by José Bravo which is composed of 3,000 stones of the site (Fig. 9)[8].

10 The Sublime

The sublime. It corresponds to landscapes which are created with extreme technologies that entail a mixture of contemplation of absolute beauty and fascination for the technological challenge that they present. They are close to the sublime in the concept by Edmund Burke inTo Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful(1756). Edmund Burke separates the beauty from the sublime, which affects the consideration of techno landscapes from extreme technologies. He uses Alain Roger's expressions:“in situ” like the Millau Viaduct or“in visu” ( for most of people ) like the Soyuz space station that evokes the sublime. The sublime is “that one that is absolutely big”, according to Kant, and “controlled fear that attracts the soul”or “amazement without danger” for Edmund Burke. This is the intention of the research works on the expression of the intangible that the author develops in the Boboli series (Fig. 10).

This way the current man who, in the fog,goes over the Millau Viaduct, which is at a height of 343 m, experiences the same Romantic feelings as the man on the top of the mountain in the paintingWanderer above the Sea of Fogby Caspar David Friedrich. This way a circle is unexpectedly closed. It is a circle that joins the Romanticism of the 18th century with the extreme technology of the 21st century.

The Millau Viaduct is a project by the architect Norman Foster and the engineer Michel Virlogeux. It is one of the tallest cable-stayed bridges in the world. Due to this and to both its slenderness and design it has become a unique landmark in the landscape of A75 highway[9-10].

11 Permanent Emergency

In the previous approach to landscaping today I intended to explain how, to date, modern landscapes have been formalized from the interpretation of identities that have prevailed over the course of time.

However, we need to take into account the following:the radical changes that have been generated due to the technological (r)evolution at a hectic pace, the new horizons of knowledge,cybernetics, artificial intelligence, virtual reality, etc that have no humanism, and massive consumption of the resources of the planet in which we are immersed. All this generates new unprecedented transformations of the landscapes which are changing continuously. The classical identities are no longer available for them.

This constant transformation together with globalization lead to new emerging identities, called Permanent Emergency generated by hybridisation or permanent mutation whose landscapes are still chaos without being defined.

Hybridisation means the constant interrelation between opposed or different elements of all kinds such as personal, geographical and ethnic with constant and reciprocal mixings. This makes it difficult to recognize stable identities as a starting point of the project and, following Zygmunt Bauman, they could be regarded as liquid identities.

Permanent mutation is expressed with fading,where a new image comes up and it can relate to the previous one or not. Besides it does so when the previous one hasn't vanished completely yet.This happens continuously so that society doesn't really know what they can identify with since an identity, which is stable enough to identify with,doesn't exist. Whereas in the above case instability derived from contact here it is a nearly absolute simultaneity.

One of the reasons of this new conflict is the absence of a humanist conception of the landscape as animist attributes were lost centuries ago. To us an exciting challenge is undoubtedly the construction of a new landscape architecture,which is able to give shapes and create the landscape of these new identities. In my opinion the ecological and environmental connotation is of great importance but reductionist. Although it can establish a trend I don't think it must occupy the centrality of the discipline of landscape architecture or landscaping as the new landscape architecture should form itself as hybrid with all the disciplines that the present contemporaneity offers[11].

Sources of Figures:

Fig. 1? Eugenia Vidal; Fig. 2 ? Batlle & Roig; Fig. 3 ? Nrao.edu; Fig. 4 ? Jean-Pierre Dalbéra; Fig. 5, 6, 10 ? Miquel Vidal Pla; Fig. 7 ? Beth Gali; Fig. 8 ? Australian garden_Taylor_Cully_Lethlean_Cover; Fig. 9 ? Jean Pierre Fouquet.

(Editor / LIU Yufei)