景觀中的藝術(shù) - 藝術(shù)中的景觀 - 歐林事務(wù)所設(shè)計(jì)理念和精選作品 - 圖文-

1、景觀中的藝術(shù),藝術(shù)中的景觀歐林事務(wù)所設(shè)計(jì)理念和精選作品ARTINTOLANDSCAPE,LANDSCAPEINTOART:IDEASSUBSTANTIATEDBYTRADITIONEXPERIENCEAND SELECTIONSFROMTHEWORKOFOLINPARTNERSHIP露辛達(dá)桑德斯/LucindaR.Sanders 房麗敏譯/TranslatedbyFANGLimin“藝術(shù)具有穿透人類靈魂的能力,在創(chuàng)造的同時(shí)重新認(rèn)識其本身。因此,藝術(shù)代表它的創(chuàng)作者對生活最深的理解和最高的渴望。在此同時(shí),藝術(shù)家們還充當(dāng)著演說者的角色,用流行的形式表達(dá)出我們共同篤信的人生信仰和價(jià)值。一項(xiàng)杰作,或者說

2、一件藝術(shù)作品,能夠幫助我們更進(jìn)一步地了解生命,同時(shí)又把我們深深地打動(dòng)。另外,藝術(shù)可以經(jīng)受最嚴(yán)格的檢查和時(shí)間的考驗(yàn)。”在美國的景觀建筑實(shí)踐中,藝術(shù)天分和對藝術(shù)的理解,對建筑師是來講并不是典型的預(yù)備條件。在很多學(xué)校,藝術(shù)和繪畫課程已經(jīng)被“媒體”課程所替代,強(qiáng)調(diào)的重點(diǎn)從對藝術(shù)、歷史、理論和再現(xiàn)意義的理解轉(zhuǎn)為對計(jì)算機(jī)技術(shù)的掌握。我認(rèn)為,我們的專業(yè)能力因?yàn)檫@種教育缺陷而受到限制。作為建筑實(shí)踐者和景觀建筑的學(xué)術(shù)評論者,我總結(jié)出,如果建筑師沒有對幾百年的藝術(shù)有所理解的話,他不可能在專業(yè)方面做出智慧的創(chuàng)新。景觀中的藝術(shù)比特之弓”置入到1hm 2(2.5英畝的濱水公園當(dāng)中。將藝術(shù)品擺放到景觀中去并不代表整個(gè)的景

3、觀建筑項(xiàng)目被提升到藝術(shù)的高度,但與藝術(shù)家敏感而仔細(xì)地合作,有利于景觀建筑師在形式上及概念上將藝術(shù)和景觀融為一體。將藝術(shù)作為靈感歐林事務(wù)所將藝術(shù)融入景觀的另一種方法是將藝術(shù)家的思想和視覺表現(xiàn)力作為理論啟發(fā)。在舊金山市恩巴卡德羅大樓建造了屋頂餐廳花園,人們可以一面就餐,一面欣賞舊金山市中心區(qū)的景觀和海灣風(fēng)景。這一花園的設(shè)計(jì)來源于蒙特里安的兩幅畫,蒙特里安的作品是德斯太爾抽象畫派最重要的代表作之一,他的這兩幅畫中,其一是以源色為創(chuàng)作基調(diào)的紅黃藍(lán)合奏曲;其二是完全用動(dòng)態(tài)的水平和垂直線條來表現(xiàn)的。受建筑結(jié)構(gòu)的限制,花園具有近似二維空間的特性。這一特性與蒙特里安繪畫的風(fēng)格相一致應(yīng)用幾何形體簡潔的矮墻細(xì)部設(shè)

4、計(jì),以及由石頭、混凝土和青銅材 2作者介紹:歐林事務(wù)所主管,賓夕法尼亞大學(xué)景觀建筑與區(qū)域規(guī)劃客座教授收稿日期:2003-01-30摘要:一個(gè)人如果僅僅具有創(chuàng)作性和知識,而沒有對歷經(jīng)數(shù)百年的偉大藝術(shù)的鑒賞能力,是很難把景觀設(shè)計(jì)得完美的。將藝術(shù)帶進(jìn)景觀中有很多方法:最直接的是將一件藝術(shù)品擺放在景觀中;也可以在景觀設(shè)計(jì)中受藝術(shù)品的啟發(fā);還有將景觀作為藝術(shù)已經(jīng)創(chuàng)作。歐林事務(wù)所力圖賦予景觀以藝術(shù)品質(zhì)。文章針對不同景觀工程中對藝術(shù)的追求進(jìn)行了描述。Abstract: Itisdifficultforindividualstopracticethe professionofLandscapeArchitec

5、turewell,with innovationandintelligence,withoutsomeappreciation ofgreatartthroughthecenturies.Therearemultiple vehiclesforbringingartintoalandscape.Mostobviously,thereisthephysicalplacementofaworkofartina landscape.Thereistheuseofartasinspirationfordesign;andfinally,theworkofthelandscapearchitectcan

6、be consideredasart.TheOlinPartnershipstrivestocreate landscapesthatqualifyasart.Thisarticleillustratesour approachtoartandthelandscapeinseveraldifferent projects.關(guān)鍵詞:藝術(shù),景觀,歐林事務(wù)所Key words: Art,Landscape,OlinPartnership1國家美術(shù)館藝術(shù)雕塑花園中的大型藝術(shù)雕塑/HugesculptureinNationalGalleryofArtSculptureGarden2美國紐約州瓦格納公園的

7、黃昏/SunsetinRobertF.WagnerJr.Park,Newyorkcity,NewYork 質(zhì)共同形成的大尺度路面鋪設(shè)。我們與溫哥華的玻璃藝術(shù)家博曼(JoelBerman合作,依照簡約的策略,創(chuàng)作了三維的建筑元素。這個(gè)花園的設(shè)計(jì)在共同文化精神層面具有當(dāng)代品質(zhì),更為重要的是它不僅解決了實(shí)際問題,而且創(chuàng)造了一種對藝術(shù)理解表達(dá)更充分、更有力的方法,而這正是設(shè)計(jì)理念的根源所在。藝術(shù)的景觀正像上面的項(xiàng)目所展示的那樣,將藝術(shù)融入景觀可以加強(qiáng)我們對藝術(shù)的深入理解,而這種深入理解使得景觀建筑師的工作更接近于創(chuàng)造藝術(shù)。現(xiàn)在讓我們來審視一下評判景觀是否為藝術(shù)作品的標(biāo)準(zhǔn)。對于什么組成了藝術(shù),不是一兩句

8、話能說得清楚的,但還是有幾個(gè)因素被普遍認(rèn)可,用來評論藝術(shù)。H.杰森認(rèn)為一部可稱其為藝術(shù)的作品必須具備5個(gè)至關(guān)重要的因素:想像、創(chuàng)造力、原創(chuàng)性、內(nèi)涵和表現(xiàn)風(fēng)格、自我表達(dá)和聽眾。H.杰森又指出,創(chuàng)造力和對創(chuàng)造力的表達(dá)與想像力的連續(xù)躍過是緊密相關(guān)的,而想像力的躍過能促使藝術(shù)家嘗試不可能或者一貫被認(rèn)為難以想像的創(chuàng)作,于是,原創(chuàng)性便產(chǎn)生了,藝術(shù)也由此有別于手工藝。杰森認(rèn)為,藝術(shù)的原創(chuàng)性需要從其淵源傳統(tǒng)來洞察,傳統(tǒng)是藝術(shù)創(chuàng)作的重要背景,因此也是評價(jià)原創(chuàng)性的關(guān)鍵所在。藝術(shù)原創(chuàng)性也可以部分地表現(xiàn)在其內(nèi)涵中,因?yàn)榻苌J(rèn)為內(nèi)涵與藝術(shù)風(fēng)格和表現(xiàn)品位密切相關(guān)。由歐林事務(wù)所設(shè)計(jì)并于1996年完成的瓦格納公園,已經(jīng)遠(yuǎn)遠(yuǎn)超

9、越了現(xiàn)實(shí),達(dá)到了更高的創(chuàng)作境地。設(shè)計(jì)師在這個(gè)項(xiàng)目和很多其他項(xiàng)目里都表現(xiàn)了一定水平的藝術(shù)創(chuàng)作能力。如果杰森對藝術(shù)的評價(jià)標(biāo)準(zhǔn)是對的,那么瓦356格納公園無疑是一部藝術(shù)作品?？梢源竽懙卣f,瓦格納公園和其中的創(chuàng)作理念從細(xì)部的概念設(shè)計(jì)開始,就是創(chuàng)作想像連續(xù)躍進(jìn)的結(jié)果,并最終達(dá)到在1990年代初期大部分人難以想像的藝術(shù)水準(zhǔn)。這一設(shè)計(jì)所具有的原創(chuàng)性不是對該地段極為獨(dú)特這一事實(shí)的單純表達(dá)。評價(jià)瓦格納公園的原創(chuàng)性和內(nèi)涵要對以往的景觀在其特定的時(shí)空條件下給予充分理解,對于評價(jià)其他的景觀項(xiàng)目也是如此。勞里歐林在描寫瓦格納公園時(shí)提及:目前,這樣一種觀念已經(jīng)建立起來,即花園、景觀和建筑小品,經(jīng)過布局、結(jié)構(gòu)設(shè)計(jì)和小品選擇

10、,或者通過喚起使用者對其他地方、事物和過去經(jīng)歷的回憶,能夠很好地傳遞思想。對于瓦格納公園,勞里認(rèn)為在設(shè)計(jì)中表達(dá)了一種矛盾。作品雖然承接過去,但無法回到過去或成功地再現(xiàn)其形式;作品也正視現(xiàn)實(shí)世界,但又涵蓋著超越現(xiàn)實(shí)世界的很多內(nèi)容,設(shè)計(jì)還表現(xiàn)了環(huán)境自身與人們所感所知之間的混沌不清。通過對建筑、景觀小品進(jìn)行整合,設(shè)計(jì)賦予公園全新的姿態(tài),和諧而寧靜。杰森的最后一個(gè)指標(biāo)是聽眾,他們可以給藝術(shù)家的自我表達(dá)以回應(yīng)。瓦格納公園長時(shí)間以來吸引了大批的公眾,他們覺得這里親切、舒適,評價(jià)藝術(shù)家們的工作沒有比這更好的標(biāo)準(zhǔn)了。以上所述說明了藝術(shù)對景觀設(shè)計(jì)具有舉足輕重的作用。杰森說過“一件偉大的藝術(shù)作品可以深深地打動(dòng)我們

11、,并塑造我們對生活的態(tài)度。”精心設(shè)計(jì),令人有所感悟的景觀作品也是一樣。對景觀建筑師來說,每一個(gè)項(xiàng)目都是一次奔向完美的努力,也是一次走向崇高藝術(shù)的嘗試。3“丘比特之弓”大型雕塑/SculptureofCupidsSpaninRinconParkinSanFrancisco4舊金山市恩巴卡德羅大樓屋頂花園設(shè)計(jì)構(gòu)思/Sketchofdesign conceptforroofgardenonEmbarcaderoBuilding,SanFrancisco,C a l i f o r n i a5屋頂花園水平線條的大量運(yùn)用/Askylight,windscreenandtable topsareallc

12、omponentsofthemulti-layeredtranslucentglass6種有地中海植物的屋頂花園/rooftopgardenwithMediterraneanplant palleteo nE mbarcaderoB uilding,S anF rancisco,C alifornia Arthasthepowertopenetratetothecoreofourbeing,whichrecognizesitselfinthecreativeact.Forthatreason,artrepresentsitscreatorsdeepestunderstandingandhigh

13、estaspirations.Atthesametime,artistsoftenplayanimportantroleasthearticulatorsofoursharedbeliefsandvalues,whichtheyexpressthroughanongoingtraditiontous,theiraudience.Amasterpiece,then,isaworkofartthatcontributestoourvisionoflifeandleavesusprofoundlymoved.Moreover,itcanbeartheclosestscrutinyandwithsta

14、ndthetestoftime.(HistoryofArt,H.W.Janson,RevisedandexpandedbyA.F.Janson,FifthEdition,1995,Abrams,Inc.NewYork,pg18.Inthispassage,H.W.Jansonsuggeststhattheartist,byarticulatingthesharedbeliefsandvaluesofabroadersocietythroughanexpressivemedium,isabletoprovidehisorheraudiencewithanenduringandmeaningful

15、visionoflife.Althoughthereareplentyofexamplestoprovemewrong,Ibelievethatalandscapearchitectsworkcanacheivethesameend,andthatmanylandscapearchitecturalprojectsareworthyofthedesignationofart,evengreatart.Landscapearchitectureiscertainlyenrichedbyanunderstandingofart;andlandscapearchitectscanbringartin

16、toalandscapeatthehighestlevel.AtOlinPartnership,ouraspirationaspractitionersinthe21stcenturyistocontinuallystrivetoelevatelandscapearchitecturetoart.WhatfollowsaresomethoughtsabouttheexplorationofthesenotionsinrecentprojectsofOlinP artnership.Artistictalentandanunderstandingofartarenottypicallyprere

17、quisitesforthepracticeoflandscapearchitectureintheUnitedStates.Inmanyschools,artanddrawingclasseshavebeensupplantedbymediaclasses,whichtendtofocusmoreonlearningthecapabilitiesofcomputertechnologyandlessonunderstandingart,history,theoryandmeaninginrepresentation.Ibelievetheprofessionhassufferedduetot

18、hisdeficiency.Asapractitionerandacademiccriticoflandscapearchitecture,Ihaveconcludedthatitisdifficultforindividualstopracticetheprofessionwell,withinnovationandintelligence,withoutsomeappreciationofgreatartthroughthecenturies.ArtintheLandscapeTherearemultiplevehiclesforbringingartintoalandscape.Most

19、obviously,thereisthephysicalplacementofaworkofartinalandscape.AtOlinPartnershipwefrequentlycollaboratewithartistswheresculptureisusedinthisway.InourworkattheNationalGallerySculptureGardeninWashingtonD.C.,wecreatedaciviclandscapethatintegratesanddisplays20thcenturysculpture.AtRinconParkinSanFrancisco

20、weworkedwithClaesOldenburgandCoosjevanBruggentointegratetheirpoetic,60-foottallsculpture,CupidsSpan,intothetwoandone-halfacrewaterfrontpark.Placingartinthisfashiondoesnotnecessarilyguaranteethattheentirelandscapearchitecturalprojectwillbeelevatedtothelevelofart,butsensitiveandcarefulcollaborationbet

21、weenartistandlandscapearchitectcanhelptoensurethatalltheparts,artandlandscape,areformallyandconceptuallyintegrated.Art as InspirationAnotherwayinwhichOlinPartnershiphasintegratedartwithlandscapeisbyusingartistsideasandvisualrepresentationastheoreticalstimuli.InourworkataSanFranciscocorporateofficebu

22、ilding,whichservesasworldheadquarterstoapopularfashionchain,wecreatedarooftopgardenfordining,withviewstodowntownSanFranciscoandtheBay.TurningtotheworkofPietMondrian,oneoftheforemostrepresentativesoftheDeStijlschool,twopaintings-CompositionwithRed,Blue,andYellowwithitsreductivegridofprimarycolors,and

23、BroadwayBoogieWoogie,withitsdynamichorizontalsandverticals-servedasinspirationforthegarden.Thegardensnearlytwo-dimensionalcharacter,necessitatedbylimitationsofthebuildingstructure,isconsistentwithMondriansstyleofpatterningwithgeometricforms,simpledetailingoflowwalls,andstone,concreteandbronzepavingi

24、nlargeblocks.CollaboratingwithJoelBerman,aVancouverglassartist,weproducedthree-789dimensionalelementsusingsimilarstrategiesof reduction.Thegardenhasacontemporaryquality inthespiritofthecorporateculture.More importantly,perhaps,thegardensdesign transcendsmereproblemsolvingtocreatea solutionthatismore

25、expressiveandpowerfulforits understandingoftheartwhichisattherootofthe designidea.L a n d s c a p ea sA r tAswehavedemonstratedwiththeprojects discussedabove,thedepthofunderstandingthat canbeachievedbyintegratingartintothe landscapecanbringtheworkoflandscape architectsclosertothegoalofcreatingart.Le

26、ts nowexaminethecriteriathatmightqualifya landscapeasaworkofart.Whilethedebateoverwhatconstitutesartisa lengthyone,therearesomegenerallyagreedupon qualitiesthatdistinguishaworkofart.H.W.Janson (op.cit.pages16-25suggestsaworkmustexhibit fiveessentialcriteriatobeclassifiedasart.These areimagination,cr

27、eativity,originality,meaningand style,andself-expressionandaudience.Janson suggeststhatcreativityandthemanualresponse toitinvolvesuccessiveleapsoftheimagination thatpushartiststoattempttheimprobableorwhat istypicallyregardedbymostasunimaginable. Fromthis,originalityisborn,andisthatwhich distinguishe

28、sartfromcraft.Jansonstatesthatthe basisfordiscerningoriginalityisthetraditionfrom whichitsprings,traditionbeingtheessential backgroundrequiredinordertoevaluateoriginality. Partoftheoriginalityofapieceofartalsocanstem fromitsmeaning,whichJansonarguesislinked inextricablytostyleortheformalqualitiesofa

29、 piece.WagnerPark,designedbyOlinPartnershipand completedin1996,isaprojectwebelieve transcendsthepracticaltoachievesomethingfar greater.This,likemanyofourprojectsreflectsa levelofartfulnessthatistransforming.IfJansens criteriaarethemeasureofart,WagnerParkmust qualify.ItissafetosaythatWagnerParkandthe

30、ideas behinditinvolvedsuccessiveleapsoftheimagination,fromconceptdrawingsthroughdetailing,resultinginapiecethatbystandardsoftheearly1990swasunimaginablebymost.Itisanoriginalpiece,anditsoriginalityisnotamerephenomenonofthefactthatthesite,likemostsites,i su nique.Evaluatingtheoriginalityandthemeaningo

31、fWagnerPark,oranyotherlandscapearchitecturalproject,requiresanunderstandingoflandscapearchitecturebeforeandwithinthecontextofitstimeandplace.InwritingaboutWagnerPark,LaurieOlinremindsusthatithasalreadybeenwellestablishedthatgardens,landscapesandtheircommonelementscanconveyideasthroughtheirevocationo

32、fotherplaces,thingsorexperiences,orthroughtheirstructure,arrangementofpartsandselectionofelements.WithrespecttoWagnerParkinparticular,however,hecomments.oursolutionpresentsanambivalence.Itlookstothepastandacknowledgesthatonecannotgobackorrecreateitsformsuccessfully.Oursolutionalsolooksattheworldasitseems,andfindsthingsfallingapart.Ratherthanmerelypresentingchaos-aswhatisandthereforewhatyouget-asadequate,itreordersthefragmentsintoanewandcoherentcomposition,onethatisbasicallycalmandgenerousinthoseelementsthatlieinthecenter.F