辰山植物園礦坑花園，上海，中國

景觀設(shè)計(jì)：清華大學(xué)建筑學(xué)院景觀學(xué)系/北京清華同衡規(guī)劃設(shè)計(jì)研究院有限公司

Landscape Design: Department of Landscape Architecture at the School of Architecture, Tsinghua University/Beijing Tsinghua Tongheng Urban Planning and Design Institute Ltd.

辰山植物園礦坑花園，上海，中國

Quarry Garden in Botanical Garden, Shanghai, China, 2010

景觀設(shè)計(jì)：清華大學(xué)建筑學(xué)院景觀學(xué)系/北京清華同衡規(guī)劃設(shè)計(jì)研究院有限公司

Landscape Design: Department of Landscape Architecture at the School of Architecture, Tsinghua University/Beijing Tsinghua Tongheng Urban Planning and Design Institute Ltd.

辰山采石坑屬人工采礦遺跡，山體被挖出東西兩個“眼睛”，表面風(fēng)化嚴(yán)重，部分區(qū)域有明顯皴紋。平臺為采石留下的斷面，北部剔出一層臺地，其邊緣有數(shù)層擋墻以防止滑坡。深潭高差約30m，潭水清澈深逾20m，內(nèi)有島嶼和植被。整個場地蕭瑟硬朗，充滿極大的景觀潛質(zhì)。

設(shè)計(jì)首先要修復(fù)嚴(yán)重退化的生態(tài)環(huán)境，這必須充分尊重自然的自我修復(fù)能力，作適度干預(yù)，通過增加水景來改善小氣侯，通過堆積地形來恢復(fù)植被。其次，要客觀認(rèn)識采礦破壞生態(tài)的歷史，重新建立廢棄地和人之間的聯(lián)系。設(shè)計(jì)中，中國山水審美范式（游觀而非定點(diǎn)，進(jìn)入而非在畫外）、補(bǔ)缺心理和適度疏離感都引導(dǎo)著設(shè)計(jì)結(jié)果。

設(shè)計(jì)將場地原置（已經(jīng)被破壞的自然）和新置（通過設(shè)計(jì)增加的部分）看做一個整體，即游人將進(jìn)入的畫境，用一系列動作在新舊之間轉(zhuǎn)換。借由精心設(shè)計(jì)的游線和觀察點(diǎn)，反復(fù)地進(jìn)入畫內(nèi)和跳脫畫外，在不同的空間位置進(jìn)行感知，拓展了空間秩序，相互滲透，整合了原置與新置彼此關(guān)聯(lián)的部分，從而達(dá)到透明性，這也意味著人和自然的統(tǒng)一。

設(shè)計(jì)更新了人對第四自然（被破壞的自然）的認(rèn)識，通過建立第三自然和第四自然的良好并置關(guān)系（借透明性而達(dá)到），來表達(dá)對自然的充分尊重，警示人們不能過度開發(fā)。

1 走在既危險又極安全的棧道上，人可以貼近觸碰原置，獲得對山石的真實(shí)體驗(yàn)，被拉進(jìn)歷史空間/Walking on the dangerous and safe trestle, people may touch the existing, obtain real mountain/ stone experience and feeling being dragged into the historic space.

項(xiàng)目信息/Credits and Data

客戶/Client：上海辰山植物園

項(xiàng)目主持/Principal in Charge：朱育帆

設(shè)計(jì)團(tuán)隊(duì)/Design Team：姚玉君，孟凡玉，王丹，張振威，馮紓苨，孟瑤，嚴(yán)志國，翟薇薇，郭暢，孫建宇，孫天正，齊羚，楊展展，崔慶偉，張雋岑，龔沁春，常鈺琳，田錦，董順芳，孫姍

設(shè)計(jì)面積/Area：4.3hm2

設(shè)計(jì)時間/Design Period：2007-2010

合作單位/Collaboration：北京中元工程設(shè)計(jì)顧問公司/北京中奧雕塑環(huán)境藝術(shù)有限公司

攝影/Photos：陳堯

2 在曾經(jīng)的卷揚(yáng)機(jī)坡道上爆破出一條山隙，模仿中國人對自然山水體驗(yàn)的一個片段。雖然是用采石同樣的動作，卻是全新的設(shè)計(jì)，溝通了被隔斷的兩個空間，加強(qiáng)了進(jìn)入感/ A mountain gap is blasted on the ever winch ramp to imitate a fragment of Chinese natural landscape experience. Though with the same quarrying action, it is a brand-new design and links up the two separated space and strengthens the sense of entry.

At the Chenshan stone pit east-west "eyes" have been dug out of the severely weathered surface of the mountain. The platform-a section left over from quarrying-and a terrace to its north are made up of layers of retaining wall construction to avoid landslides. The site has an overall difference in height of about 30m and a more than 20m deep clear pool complete with islands of vegetation. The whole bleak robust site had great potential as a "garden."

The first step in engaging and repairing this severely degraded ecological environment was to recognize and respect nature's capacity to repair itself if given the proper prompts. Here the microclimate was improved by increasing water on the site. Vegetation was recovered by via constructed landforms. The second step in the process was to understand the ecological damage that had been done to the site from an ecological and historical perspective and to reestablish a connection between the place and people. Patterns of the aesthetic Chinese landscape-traveling and staying; inside and out; absence and surplus, community and alienation, etc.-guided the result.

The design as a whole integrates the existing destroyed nature with a series of strategic new insertions. Visitors shift between the two as they move from picturesque scene to picturesque scene on the site. Like a well-designed tourist route, visitors travel along a line to a viewpoint and then move along another line to the next "view." They repeatedly enter into and escape from scenes and have a way to register their position in space. These spatial orders are extended and become understood as part of the existing while new interventions are integrated through interpretation. A kind of transparency-man-nature unity-is achieved.

The design improves man's understanding of the Fourth Nature (destroyed nature), is respectful of nature in establishing a relationship and communication between the Third and Fourth natures (transparency) and warns people to avoid excessive development.

3 基地位于植物園的點(diǎn)睛之處/Site in botanical garden as a core "eye"

4 基地地形/Site topography

6 山頂有一平臺，從高空俯覽全局，構(gòu)成了與東坑及辰山整體的關(guān)聯(lián)，同時實(shí)現(xiàn)了西坑小空間到大自然空間的升級/A platform on the mountaintop, by overlooking the whole from the high altitude,constitutes the correlation with the eastern pit and the integral Chenshan Hill and realizes upgrade from small space of western pit to the large natural space.

評論

張路峰：這不是一個令人賞心悅目的花園，更像是一個發(fā)人深省的露天博物館。礦坑，是人類活動給大地母親造成的創(chuàng)傷。景觀建筑師并沒有刻意去掩飾、美化這個傷口，而是設(shè)計(jì)了立體游覽線，使游人能夠下行到坑底，從一個陌生的角度觀察和體驗(yàn)周圍的斷壁和腳下的深潭，從而在內(nèi)心產(chǎn)生反思和自省的情緒。路徑的線型設(shè)計(jì)簡潔有力，采用了金屬、木材等材料，和巖石的粗糲形成有趣的對比。

胡一可：景觀的哲學(xué)性。在哲學(xué)層面上講，空間消極與否并非一成不變。由于人類對自然的認(rèn)知存在局限，人為的生態(tài)恢復(fù)往往難以體現(xiàn)原有環(huán)境的真實(shí)性和完整性，而時間卻可以彌合傷口。礦坑花園的設(shè)計(jì)對原有環(huán)境進(jìn)行適度干擾，尊重自然的自我修復(fù)能力，重建廢棄地與人之間的聯(lián)系，通過精心的設(shè)施構(gòu)建表達(dá)“傷口”本身能帶給人們怎樣的體驗(yàn)和記憶。

Comments

ZHANG LUfeng： This is not an appealing garden. It is more like a thought-provoking open-air museum. The quarry pits represent the trauma human activity foists on mother earth. The landscape architect does not deliberately conceal or beautify these wounds. Instead he creates a tour route that allows visitors to get into them-to access the bottom of the pit. The hope is that, by observing and experiencing the broken walls and deep pool from unusual angles, visitors will reflect on this record of human activities. The route the path follows is very concise. It is of metal and wood, interesting contrasts with the crude rock face.

HU Yike：A philosophical landscape. From the philosophical perspective, whether space is negative or not cannot be fixed with finality. Because of the limits of human cognition, it is difficult for man-made ecological restorations to reflect the authenticity and integrity of the original environment. But time can heal the wounds. The Quarry Garden, respecting nature's capacity for self-repair, moderately interferes with the original environment of the site. It rebuilds the relationship between the wasteland and people, and demonstrates how, in this carefully constructed facility, expressing the "wounds" can bring people, experience and memory together.

7 通過鋼筒，游人仿佛石頭一樣被倒進(jìn)空洞，通過傾斜感及臨空感獲得極限體驗(yàn)，強(qiáng)化對近-30m水面的感知，人開始真正進(jìn)入原置空間/Through steel cylinder, tourists appears to be poured into the cavity as stones, obtains ultimate experience through sense of inclination and airport, strengthen nearly -30m water surface sense and begin to truly enter into the existing space.

8 銹鋼板作為采石工業(yè)的印記，是山、水、石、植被之外唯一被引用的人工因素，也因?yàn)橛晁蜌q月而具有了自然屬性/As a mark of the quarrying industry, the rusted steel plate is the only referenced manual factor except mountain, water, stone and vegetation and it also adds natural property with rainwater and time.

9 在深潭內(nèi)，可仰觀山瀑和鏡湖瀑布，雖是新置入的因素，但是以自然原置的方式介入（用以促生植被再生），憑借其高度和影響力溝通3個高差層級，成為空間紐帶/In the pool, we may look up into mountain waterfall and Mirror Lake Waterfall; though new addition factors, through intervene in the mode of the existing natural layout (for promoting regeneration of vegetation), by virtue of its height and influence power, three height difference levels are linked up and become the space link.

10 山洞是中國人山水自然觀的另一個標(biāo)準(zhǔn)片段，借此通向更深遠(yuǎn)的自然/Cave is another standard fragment of Chinese view of landscape and nature and we will lead to more deep nature whereby.

11 水流過的地方，青苔已經(jīng)慢慢長開/At the place where water flows, moss has already begun to grow slowly.

13 臺地東北角設(shè)“甘白山泉”景點(diǎn)（取自古辰山十景），背倚山壁臺地而看深潭，是對第二層級并置關(guān)系的觀照/"Ganbai Spring" scenic spot (taken from ten scenes of the ancient Chenshan Hill) is arranged at the northeast corner of the terrace, back by mountain terrace and against pool and shows Level 2 juxtaposition relationship.

14 用與采石同樣的動作（小當(dāng)量爆破），在平臺中心開挖鏡湖，以平衡深潭強(qiáng)烈的負(fù)向空間。憑借將水景置入場地來倒影周邊自然姿態(tài)，同時改善小氣候，促進(jìn)生態(tài)恢復(fù)/With the same action as the quarrying (small equivalent blasting), the Mirror Lake is excavated in the center of the platform to balance strong negative space of the pool. The waterscape is placed in the site to reflect the surrounding natural appearance, improve microclimate and promote ecological recovery.