景观中的艺术 - 艺术中的景观 - 欧林事务所设计理念和精选作品 - 图文-

1、景观中的艺术,艺术中的景观欧林事务所设计理念和精选作品ARTINTOLANDSCAPE,LANDSCAPEINTOART:IDEASSUBSTANTIATEDBYTRADITIONEXPERIENCEAND SELECTIONSFROMTHEWORKOFOLINPARTNERSHIP露辛达桑德斯/LucindaR.Sanders 房丽敏译/TranslatedbyFANGLimin“艺术具有穿透人类灵魂的能力,在创造的同时重新认识其本身。因此,艺术代表它的创作者对生活最深的理解和最高的渴望。在此同时,艺术家们还充当着演说者的角色,用流行的形式表达出我们共同笃信的人生信仰和价值。一项杰作,或者说

2、一件艺术作品,能够帮助我们更进一步地了解生命,同时又把我们深深地打动。另外,艺术可以经受最严格的检查和时间的考验。”在美国的景观建筑实践中,艺术天分和对艺术的理解,对建筑师是来讲并不是典型的预备条件。在很多学校,艺术和绘画课程已经被“媒体”课程所替代,强调的重点从对艺术、历史、理论和再现意义的理解转为对计算机技术的掌握。我认为,我们的专业能力因为这种教育缺陷而受到限制。作为建筑实践者和景观建筑的学术评论者,我总结出,如果建筑师没有对几百年的艺术有所理解的话,他不可能在专业方面做出智慧的创新。景观中的艺术比特之弓”置入到1hm 2(2.5英亩的滨水公园当中。将艺术品摆放到景观中去并不代表整个的景

3、观建筑项目被提升到艺术的高度,但与艺术家敏感而仔细地合作,有利于景观建筑师在形式上及概念上将艺术和景观融为一体。将艺术作为灵感欧林事务所将艺术融入景观的另一种方法是将艺术家的思想和视觉表现力作为理论启发。在旧金山市恩巴卡德罗大楼建造了屋顶餐厅花园,人们可以一面就餐,一面欣赏旧金山市中心区的景观和海湾风景。这一花园的设计来源于蒙特里安的两幅画,蒙特里安的作品是德斯太尔抽象画派最重要的代表作之一,他的这两幅画中,其一是以源色为创作基调的红黄蓝合奏曲;其二是完全用动态的水平和垂直线条来表现的。受建筑结构的限制,花园具有近似二维空间的特性。这一特性与蒙特里安绘画的风格相一致应用几何形体简洁的矮墙细部设

4、计,以及由石头、混凝土和青铜材 2作者介绍:欧林事务所主管,宾夕法尼亚大学景观建筑与区域规划客座教授收稿日期:2003-01-30摘要:一个人如果仅仅具有创作性和知识,而没有对历经数百年的伟大艺术的鉴赏能力,是很难把景观设计得完美的。将艺术带进景观中有很多方法:最直接的是将一件艺术品摆放在景观中;也可以在景观设计中受艺术品的启发;还有将景观作为艺术已经创作。欧林事务所力图赋予景观以艺术品质。文章针对不同景观工程中对艺术的追求进行了描述。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.关键词:艺术,景观,欧林事务所Key words: Art,Landscape,OlinPartnership1国家美术馆艺术雕塑花园中的大型艺术雕塑/HugesculptureinNationalGalleryofArtSculptureGarden2美国纽约州瓦格纳公园的

7、黄昏/SunsetinRobertF.WagnerJr.Park,Newyorkcity,NewYork 质共同形成的大尺度路面铺设。我们与温哥华的玻璃艺术家博曼(JoelBerman合作,依照简约的策略,创作了三维的建筑元素。这个花园的设计在共同文化精神层面具有当代品质,更为重要的是它不仅解决了实际问题,而且创造了一种对艺术理解表达更充分、更有力的方法,而这正是设计理念的根源所在。艺术的景观正像上面的项目所展示的那样,将艺术融入景观可以加强我们对艺术的深入理解,而这种深入理解使得景观建筑师的工作更接近于创造艺术。现在让我们来审视一下评判景观是否为艺术作品的标准。对于什么组成了艺术,不是一两句

8、话能说得清楚的,但还是有几个因素被普遍认可,用来评论艺术。H.杰森认为一部可称其为艺术的作品必须具备5个至关重要的因素:想像、创造力、原创性、内涵和表现风格、自我表达和听众。H.杰森又指出,创造力和对创造力的表达与想像力的连续跃过是紧密相关的,而想像力的跃过能促使艺术家尝试不可能或者一贯被认为难以想像的创作,于是,原创性便产生了,艺术也由此有别于手工艺。杰森认为,艺术的原创性需要从其渊源传统来洞察,传统是艺术创作的重要背景,因此也是评价原创性的关键所在。艺术原创性也可以部分地表现在其内涵中,因为杰森认为内涵与艺术风格和表现品位密切相关。由欧林事务所设计并于1996年完成的瓦格纳公园,已经远远超

9、越了现实,达到了更高的创作境地。设计师在这个项目和很多其他项目里都表现了一定水平的艺术创作能力。如果杰森对艺术的评价标准是对的,那么瓦356格纳公园无疑是一部艺术作品。可以大胆地说,瓦格纳公园和其中的创作理念从细部的概念设计开始,就是创作想像连续跃进的结果,并最终达到在1990年代初期大部分人难以想像的艺术水准。这一设计所具有的原创性不是对该地段极为独特这一事实的单纯表达。评价瓦格纳公园的原创性和内涵要对以往的景观在其特定的时空条件下给予充分理解,对于评价其他的景观项目也是如此。劳里欧林在描写瓦格纳公园时提及:目前,这样一种观念已经建立起来,即花园、景观和建筑小品,经过布局、结构设计和小品选择

10、,或者通过唤起使用者对其他地方、事物和过去经历的回忆,能够很好地传递思想。对于瓦格纳公园,劳里认为在设计中表达了一种矛盾。作品虽然承接过去,但无法回到过去或成功地再现其形式;作品也正视现实世界,但又涵盖着超越现实世界的很多内容,设计还表现了环境自身与人们所感所知之间的混沌不清。通过对建筑、景观小品进行整合,设计赋予公园全新的姿态,和谐而宁静。杰森的最后一个指标是听众,他们可以给艺术家的自我表达以回应。瓦格纳公园长时间以来吸引了大批的公众,他们觉得这里亲切、舒适,评价艺术家们的工作没有比这更好的标准了。以上所述说明了艺术对景观设计具有举足轻重的作用。杰森说过“一件伟大的艺术作品可以深深地打动我们

11、,并塑造我们对生活的态度。”精心设计,令人有所感悟的景观作品也是一样。对景观建筑师来说,每一个项目都是一次奔向完美的努力,也是一次走向崇高艺术的尝试。3“丘比特之弓”大型雕塑/SculptureofCupidsSpaninRinconParkinSanFrancisco4旧金山市恩巴卡德罗大楼屋顶花园设计构思/Sketchofdesign conceptforroofgardenonEmbarcaderoBuilding,SanFrancisco,C a l i f o r n i a5屋顶花园水平线条的大量运用/Askylight,windscreenandtable topsareallc

12、omponentsofthemulti-layeredtranslucentglass6种有地中海植物的屋顶花园/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