英國景觀設(shè)計(jì)師湯姆·斯圖爾特-史密斯對話北京林業(yè)大學(xué)劉志成教授

采訪：李正 同聲翻譯：吳嘉驥

左：劉志成；右：湯姆·斯圖爾特-史密斯Left: LIU Zhicheng; Right: Tom Stuart-Smith

訪談人物：

湯姆·斯圖爾特-史密斯/英國景觀設(shè)計(jì)師，Tom Stuart-Smith景觀設(shè)計(jì)事務(wù)所創(chuàng)始人/作品以極具創(chuàng)意地融合自然主義和現(xiàn)代性而聞名

劉志成/北京林業(yè)大學(xué)教授，園林學(xué)院副院長/2019年北京世界園藝博覽會創(chuàng)意園首席顧問/本刊編委

Profiles:

Tom Stuart-Smith is the British landscape architect and fonder of Tom Stuart-Smith Ltd., and he is famous for his creative combination of naturalism and modernity in garden design.

LIU Zhicheng is a professor in Beijing Forestry University and assistant dean in School of Landscape Architecture, an editorial board member of this Journal. And he is the principal consultant of International Horticultural Exhibition 2019 Creative Gardens.

湯姆·斯圖爾特-史密斯是一位擅長將自然主義與現(xiàn)代性融入園林設(shè)計(jì)的景觀設(shè)計(jì)師。他于1998年建立了以其名字命名的景觀設(shè)計(jì)事務(wù)所Tom Stuart-Smith Ltd.，其項(xiàng)目涵蓋英國本土對公眾開放的大型私人莊園、公園，鄉(xiāng)間的小型私家花園，以及散布于歐洲、印度、美國和加勒比地區(qū)的海外項(xiàng)目。北京林業(yè)大學(xué)園林學(xué)院副院長劉志成教授在國內(nèi)從事了幾十年的景觀設(shè)計(jì)及教學(xué)工作，并作為首席顧問負(fù)責(zé)2019年北京世界園藝博覽會創(chuàng)意展園。本刊特約編輯李正老師邀請到以上2位景觀設(shè)計(jì)領(lǐng)域的重要人物，借2019北京世園會的契機(jī)，放眼全球，就地域性與全球化、花園設(shè)計(jì)與展覽會、園藝與風(fēng)景園林、風(fēng)景園林與社會等話題進(jìn)行了交流探討。

LA：《風(fēng)景園林》

Tom：湯姆·斯圖爾特-史密斯

LIU：劉志成

2019北京世園會相關(guān)問題

LA：眾所周知，您與詹姆斯·希契莫夫教授合作為2019北京世園會設(shè)計(jì)了一個創(chuàng)意展園，請問該項(xiàng)目的設(shè)計(jì)理念是怎樣的？設(shè)計(jì)重點(diǎn)突出表現(xiàn)在哪方面？與以往項(xiàng)目相比特別之處是什么？是否遇到一些困難或障礙？

Tom：我認(rèn)為建一個展園與建一個真正的花園非常不同，必須遵循不同的規(guī)則。展園是一個較自我獨(dú)立的世界。我們設(shè)計(jì)之初很重要的一點(diǎn)就是試圖將它封閉起來。我覺得在這樣（規(guī)模的）展會的偌大空間里，（各個）展園（的個性）很容易被湮沒。所以濃縮展園的特性是非常重要的。我們的設(shè)計(jì)顯然想要跟中國有關(guān)，但這里說的中國也許是從西方眼里看到的中國。令我們（西方）印象深刻的是目前中國的向西方拓展的力度。例如“一帶一路“政策下連接中國和伊斯坦布爾的鐵路是一個令人難以置信的想法。這也成為了我們花園的中心思想，來喚起我們對外接觸的愿望。同時此次展會也關(guān)乎世界各地的每一位景觀設(shè)計(jì)師所面對的東西，即如何在尊重自然的前提下進(jìn)行大規(guī)模的開發(fā)。現(xiàn)代花園與復(fù)雜植被是可以共存的，但現(xiàn)實(shí)往往不盡人意。因此我們試圖建造一個非?，F(xiàn)代化的花園，而與此同時我們試圖通過運(yùn)用復(fù)雜的植被，來分享如何人為使兩者共存的方法。

地域性與全球化

LA：您在花園設(shè)計(jì)中非常注重自然主義和現(xiàn)代性的結(jié)合。融合是否具有普適性，或是隨著地方不同而不同？

Tom：我認(rèn)為有時候它更適合“不現(xiàn)代”的做法。當(dāng)在一個文化性非常強(qiáng)的環(huán)境中做項(xiàng)目時，這個文化環(huán)境可能是有歷史意義的，那么把現(xiàn)代性強(qiáng)加其上是完全不合適的。我認(rèn)為，當(dāng)你在當(dāng)代的環(huán)境下做項(xiàng)目時，比如本次世園會，或者當(dāng)你基于舊的環(huán)境但需要在大范圍內(nèi)添加一些非常重要的東西時，你可以采用相對現(xiàn)代的語言（圖1）。

LA：是否可以用一些簡短的句子或短語以您的理解來定義現(xiàn)代性嗎？

Tom：現(xiàn)代性對我意味著什么？我認(rèn)為現(xiàn)代性意味著在今天的設(shè)計(jì)理念下工作。當(dāng)然我們都會受到過去的影響，昨天也是過去，我所說的今天的設(shè)計(jì)理念指的是受近期過去的影響（可能是過去的數(shù)小時、數(shù)天、數(shù)周、數(shù)月、數(shù)年，而不是指字面上的今天現(xiàn)在，圖2）。

LA：當(dāng)您在不同國家或地區(qū)工作時，作為一個外國人您是如何處理地域間的差異使場地與人建立起關(guān)系的？

1 私家花園：英國牛津郡布勞頓莊園Private garden: Broughton Grange, Oxfordshire, UK

Tom：首先要聆聽并了解這個國家是如何看待大自然及管理土地的。我需要搞清楚當(dāng)?shù)卦谕恋厥褂谩⒅参锓N植上有什么傳統(tǒng)，以及，如果有的話，造園的傳統(tǒng)。在大多數(shù)國家，這可能意味著要透過表象去理解歷史、植物學(xué)、地質(zhì)學(xué)、水文學(xué)和宗教。

LA：當(dāng)今世界正在全球化，國際交流與合作日益深入，這一點(diǎn)也集中體現(xiàn)在本次園藝博覽會的創(chuàng)意展園設(shè)計(jì)中。作為創(chuàng)意展園策劃的首席顧問，您是否對全球化與地域性之間的關(guān)系有所考慮？

LIU：的確，目前我們和國際交流已經(jīng)非常的多樣了。就全球范圍而言，“全球一體化”或“國際化”早已成為主流態(tài)勢。尤其是在現(xiàn)代交通與資訊如此發(fā)達(dá)的前提下，極大地推動、放大了這一狀態(tài)。

幾十年來，在我國的現(xiàn)代化建設(shè)過程中，一方面從西方發(fā)達(dá)國家學(xué)到了很多有意思的東西，但另一方面，也失去了很多中國固有的傳統(tǒng)與特征。面對現(xiàn)實(shí)，我們必須更多地思考如何保持特定地區(qū)或地域的個性?；谶@樣一個目的，在策劃創(chuàng)意展園的過程中，希望邀請到來自不同的國家和地區(qū)的設(shè)計(jì)師，以便體現(xiàn)地域與文化差異。在世園局的大力支持下，最終，達(dá)到了這個目標(biāo)。我們邀請到了歐、美、亞三大洲的著名風(fēng)景園林設(shè)計(jì)師、園藝學(xué)家和園藝師。特別希望通過這次國際化的展會將不同國家或地區(qū)的設(shè)計(jì)師聚集到一起，以差異化的視角闡釋各自對園藝與園林的認(rèn)識。在制定創(chuàng)意展園設(shè)計(jì)任務(wù)書的過程中，明確要求每個設(shè)計(jì)及團(tuán)隊(duì)能夠?qū)⑺麄兊脑O(shè)計(jì)與中國的地域特征相結(jié)合。

我們的設(shè)想得到了各位設(shè)計(jì)師良好的回應(yīng)。比如英國設(shè)計(jì)團(tuán)隊(duì)以“新絲綢之路”為話題，完成了他們的方案。設(shè)計(jì)方案既是對中國當(dāng)前時政的一個很好的回應(yīng)，同時，通過應(yīng)用絲綢之路沿線上的不同地區(qū)的植物，在花園這樣一個小尺度范圍內(nèi)形成直接的對比，展示地域差異，并以此為基點(diǎn)展現(xiàn)文化層面上、設(shè)計(jì)手法層面上的差異，很好地詮釋他們對于地域特征的思考以及他們對中國文化的認(rèn)知，積極促進(jìn)了文化交流。

同樣，美國設(shè)計(jì)師、丹麥設(shè)計(jì)師、荷蘭設(shè)計(jì)師和日本園藝師均給予了很好的反饋，視角和特點(diǎn)完全不同。

本項(xiàng)目一方面希望通過創(chuàng)意展園體現(xiàn)各位著名設(shè)計(jì)師對全球化與地域性的理解，從而使中國的觀眾能夠了解世界，也從另一個角度了解中國；另一方面，這些外國設(shè)計(jì)師在設(shè)計(jì)這些花園的過程中更好地了解了中國，所以說創(chuàng)意展園的設(shè)計(jì)是一個很好的交流和傳播的過程。

LA：當(dāng)您與境外風(fēng)景園林師合作時是否遇到困難？

LIU：整個項(xiàng)目的具體實(shí)施確實(shí)有一定難度。相較于設(shè)計(jì)協(xié)調(diào)等一系列具體工作，我認(rèn)為如何彰顯本屆世園會的主題、概念和特色是一項(xiàng)難度較大的任務(wù)。我們希望看到其他國家、民族對園藝博覽會的解讀方式和構(gòu)建途徑方向的設(shè)計(jì)師，如何使設(shè)計(jì)方案能夠以不同的視角解讀園藝博覽會的意義與價值，如何使設(shè)計(jì)師的作品有效地傳播園藝的意義與價值。

各位設(shè)計(jì)師來自于不同的國家和地區(qū)，生活方式、文化背景和需求必然存在差異。同時，設(shè)計(jì)是一個很個性的工作。在不同的民族和地區(qū)的設(shè)計(jì)師一起合作的過程中，必然會有一些不同的想法，主要是2個層面的內(nèi)容，一是文化層面的差異性所造成的，另一個是個人的偏好。這些差異會對我們的合作帶來一些挑戰(zhàn)，會產(chǎn)生碰撞，需要相互協(xié)調(diào)。

在本次展園的設(shè)計(jì)與協(xié)調(diào)過程中，相互之間的交互碰撞，恰恰能夠產(chǎn)生更加有價值的思考和想法，這種交流特別具有價值和意義。

2 公共花園：摩洛哥馬拉喀什秘密花園Public garden: Le Jardin Secret, Marrakech, Morocco

花園設(shè)計(jì)與展覽會

LA：劉教授，您也經(jīng)常參加國內(nèi)各類園林展覽會的評審工作，能否介紹一下全國范圍內(nèi)花園設(shè)計(jì)與展覽會的關(guān)系？

LIU：我國近年來建設(shè)的大型博覽園廣受歡迎。每一個博覽園中都有很多不同類型的小型展覽花園，大部分由各省、市或行業(yè)機(jī)構(gòu)組織設(shè)計(jì)、施工與建設(shè)，稱為“地方展園”或“行業(yè)展園”。有些博覽園特別聘請了國內(nèi)外著名的風(fēng)景園林設(shè)計(jì)師設(shè)計(jì)展覽花園，稱為“設(shè)計(jì)師花園”，俗稱“大師園”，本次稱為“創(chuàng)意展園”。

博覽園往往由公共展區(qū)與地方展區(qū)（包括國際展區(qū)）組成，已成為基本模式?；▓@是地方展區(qū)的“細(xì)胞”，是博覽園中最豐富多樣的區(qū)域，最具“博覽性”，也是最吸引人的區(qū)域。這些花園分別體現(xiàn)各地的地域文化或行業(yè)特征，個性突出、內(nèi)容多樣，代表了所屬地區(qū)行業(yè)對博覽會的認(rèn)知與理解，反映當(dāng)?shù)氐男袠I(yè)發(fā)展水平，構(gòu)建了非常豐富與廣泛的交流平臺，極大地豐富與完善了博覽會的內(nèi)容。

LA：湯姆先生，您多次在切爾西花展中獲得花園設(shè)計(jì)金獎，能否請您分享一下您對切爾西花展的認(rèn)知？談?wù)勀鳛樵摶ㄕ够▓@設(shè)計(jì)師的體會？

Tom：我自己做了8個花園并都拿到了金獎（圖3）。我從切爾西做花園學(xué)到的東西之一就是，每個花園只表達(dá)一個想法，而不是在狹小的空間里去表達(dá)太多復(fù)雜的東西。我們從商業(yè)角度也證明了這個事實(shí)，大部分的花園往往是為特定的贊助商設(shè)計(jì)的。我曾多次為法國公司做切爾西展園，我為香奈兒（CHANEL）做過一個展園（圖4），還為一個叫羅蘭百悅（Laurent-perrier）的香檳酒公司做過展園（圖5）。對他們來說，這些展園成功地實(shí)現(xiàn)了他們借此傳遞公司價值觀的想法。唯一不太成功的是當(dāng)出現(xiàn)共同贊助商的時候，2個不同的人都試圖通過同一個展園表達(dá)各自的想法，沖突是不可避免的。還有，永遠(yuǎn)不要試圖把這些展園弄得像居家花園一樣。展園更注重的是如何組織空間，以及如何在空間里安排植物，而不是能讓人直接照搬回家的（普通花園）。總之很重要的一點(diǎn)是不要讓事情太復(fù)雜（圖6）。因?yàn)榕c北京世園會不同，切爾西花展我們只有3個星期的時間來修建花園，在那里展出一個星期，然后就被會被拆除。

LA：在您看來切爾西花展、2019北京世園會的項(xiàng)目、德國柏林2017國際園藝展（IGA）等展覽會之間有何不同？

Tom：切爾西花展非常短暫，非常緊張，但不是很可持續(xù)。我希望北京的世園會能具可持續(xù)性，也希望創(chuàng)意展園能經(jīng)住時間的考驗(yàn)。IGA與此（北京世園會）有點(diǎn)類似，但規(guī)模要小得多并隸屬于一個已有的公園。 因此與北京不同的是，IGA并不會給周邊帶來區(qū)域性的變化（圖7）。

3 展園：切爾西花展2010年羅蘭百悅園Exhibition garden: Chelsea 2010 The Laurent-Perrier Garden

園藝與風(fēng)景園林

LA：請您談?wù)動癖娦哪恐械摹皥@藝”，給我們介紹一下英國的園藝文化。比如，英國有哪些與園藝有關(guān)的展覽會？英國民眾如何看待和參與這些展會？

Tom：園藝在很長一段時間里一直是英國文化的中心，我認(rèn)為園藝往往出自穩(wěn)定的環(huán)境。很幸運(yùn)英國長期以來一直是一個相當(dāng)穩(wěn)定的國家，就像中國現(xiàn)在一樣，所以園藝浮出水面。我認(rèn)為在英國，園藝和景觀在外人看來是相當(dāng)相似的，但對于業(yè)內(nèi)人士來說是完全不同的。園藝師跟景觀設(shè)計(jì)師雙方之間都不怎么交流。這是非常非常令人傷感的。我不知道中國是否也是這樣。我認(rèn)為這是因?yàn)榫坝^設(shè)計(jì)師更多地把自己放在一個建筑師的角色上（掌控全局，其他人全為其服務(wù)），園藝師也許會感到受歧視（圖8） 。

LA：在英國，景觀設(shè)計(jì)師是否會被邀請到園藝博覽會上參與規(guī)劃和設(shè)計(jì)？還是他們實(shí)際上沒有機(jī)會參與？

Tom：這視情況而定，切爾西花展幾乎是以花園設(shè)計(jì)師和園藝師為主。我有點(diǎn)特殊，我是一個景觀設(shè)計(jì)師，也沒有受過園藝師的訓(xùn)練，但我也可以算是一名園藝師，因?yàn)槲乙恢笔钦疹欁约夯▓@的園?。▓D9）。我認(rèn)為景觀設(shè)計(jì)師對園藝師比較傲慢，這不是一個智慧的立場，因?yàn)閰f(xié)同合作總是（比各管各）好得多。

LIU：我覺得在中國的情況可能跟英國有一定差異。我們學(xué)院有很多從事植物學(xué)科的老師，也有很多規(guī)劃與設(shè)計(jì)學(xué)科老師。我們會相互合作，共同去完成很多的教學(xué)和研究工作。就整個中國來說，很多園林專業(yè)在農(nóng)林院校，使國內(nèi)2個專業(yè)始終保持密切合作關(guān)系成為一種常態(tài)。

Tom：我覺得設(shè)計(jì)師如果不親自動手實(shí)踐，很難獲得真正的園藝經(jīng)驗(yàn)。我感覺有意往學(xué)術(shù)方向發(fā)展的學(xué)生往往不太樂意參與園藝實(shí)踐。這（親手參與園藝）是很重要的，有豐富園藝經(jīng)驗(yàn)并不妨礙學(xué)術(shù)造詣，是可以做到二者兼具的。

此外，我確信對很多在英國做大規(guī)模的景觀項(xiàng)目以及景觀總體規(guī)劃的風(fēng)景園林師來說，對植物的種植和了解與他們的工作并不一定相關(guān)，這一點(diǎn)我能理解。但是還有很多從事小規(guī)模項(xiàng)目的景觀設(shè)計(jì)師，他們用相當(dāng)復(fù)雜的方式使用了大量的植物材料，但對這些材料知之甚少，我感到這是景觀設(shè)計(jì)的悲哀。

LA：近年來中國圍繞綠色發(fā)展也組織了很多展覽會，這些展會有區(qū)別嗎？園藝博覽會的展園設(shè)計(jì)與園林博覽會的展園設(shè)計(jì)有什么區(qū)別？風(fēng)景園林師在園藝博覽會中應(yīng)該扮演何種角色？

LIU：中國近二三十年來辦了很多與綠色發(fā)展相關(guān)的博覽會，如現(xiàn)在我們在討論的世園會，其他還有綠博會、花博會等，包括國際級展會，還有更多的國家級和省級的大型的展會。受到了廣大群眾的歡迎，也為國家和地區(qū)的綠色發(fā)展帶來了一個巨大的推動作用。不同的展會由不同的行業(yè)組織。世界園藝博覽會是由“國際園藝生產(chǎn)者協(xié)會”（AIPH）倡導(dǎo)、批準(zhǔn)舉辦的國際展會。這個活動又分不同的級別，我們今天談到的北京世園會是最高級別的A1級展會。

世界園藝博覽會是園藝行業(yè)推動國際花卉、園藝產(chǎn)業(yè)發(fā)展的一次盛會。園藝博覽會通過展覽、展示活動，推廣新技術(shù)、新品種，交流園藝栽培與運(yùn)營方式，推動產(chǎn)品營銷與推廣，促進(jìn)文化交流。園藝植物是綠色建設(shè)與發(fā)展的重要物質(zhì)材料，也是重要的文化載體。在宏觀層面上，我國的園藝博覽會由國家或地方政府組織建設(shè)實(shí)施，這一點(diǎn)與其他國家由行業(yè)或協(xié)會組織有很大不同。在內(nèi)容上，除關(guān)注本行業(yè)的發(fā)展外，本次園藝博覽會對于如何推動國家的生態(tài)文明建設(shè)和文化建設(shè)，引領(lǐng)與帶動區(qū)域建設(shè)的健康發(fā)展尤為關(guān)注，是展會舉辦的核心意義與價值所在。

中國國際園林博覽會由住建部和地方政府、組織聯(lián)合舉辦，簡稱“園博會”。我認(rèn)為園林博覽會更多的去展示、探討人居環(huán)境的建構(gòu)內(nèi)容、途徑與方式，主體是建設(shè)層面的，內(nèi)容以展示、探討生態(tài)建設(shè)和文化建設(shè)的途徑為核心，不僅包括園藝植物材料，還包括其他與生態(tài)與生活密切相關(guān)的一切材料和手段。園博會以“國家園林城市”建設(shè)與“生態(tài)園林城市”建設(shè)所取得的豐碩成果為契機(jī)，廣泛展示優(yōu)秀成果，對于推動國家生態(tài)文明建設(shè)發(fā)揮了巨大作用，對于進(jìn)一步響應(yīng)“十九大”號召，構(gòu)建國家生態(tài)體系與生態(tài)安全格局意義重大。

風(fēng)景園林師在各級政府與主管部門的引領(lǐng)下，參與博覽園規(guī)劃、設(shè)計(jì)與建設(shè)的全過程，具有核心價值。風(fēng)景園林師在全面領(lǐng)會園藝博覽會的意義與價值的前提下，準(zhǔn)確定位建設(shè)的目的、意義與特征，運(yùn)用合理的技術(shù)手段，全方位展示園藝優(yōu)良品種與園藝栽培技術(shù)，深度展現(xiàn)園藝行業(yè)對于維護(hù)生物多樣性、改善環(huán)境、生態(tài)修復(fù)、構(gòu)建社會文化體系等方面的重要作用。

4 展園：切爾西花展1998年香奈兒園Exhibition garden: Chelsea 1998 Le Bosquet de Chanel

風(fēng)景園林與社會

LA：中國正處于高速發(fā)展時期，您認(rèn)為對風(fēng)景園林行業(yè)而言，當(dāng)下綠色發(fā)展的核心問題是什么？風(fēng)景園林師在更大范圍的綠色發(fā)展進(jìn)程中應(yīng)該扮演何種角色？

LIU：所謂綠色發(fā)展，就是要解決好人與自然和諧共生問題。人類的社會活動必須以尊重自然、順應(yīng)自然、保護(hù)自然為前提。

總體而言，風(fēng)景園林學(xué)科關(guān)乎人們的生活需求、生產(chǎn)需求、生態(tài)需求與文化需求。我認(rèn)為對于本學(xué)科而言，核心問題是如何協(xié)調(diào)人們對美好生活環(huán)境的追求與這一追求所帶來的生態(tài)負(fù)擔(dān)之間的矛盾，如何建設(shè)健康、生態(tài)、優(yōu)美、功能完善、文化底蘊(yùn)豐厚的生活環(huán)境。

我們處于一個偉大的“新時代”，我國特定的物質(zhì)與文化環(huán)境需要我們?nèi)ヌ剿餍碌纳鷳B(tài)建設(shè)發(fā)展路徑，去實(shí)踐中國特有的“生態(tài)文明建設(shè)”偉大征程。中華民族一向以“天人合一”為發(fā)展理念，在人居環(huán)境的建設(shè)過程中，素來以尊重自然為前提。傳統(tǒng)園林營建以“雖由人作，宛自天開”為準(zhǔn)則。因此，我國風(fēng)景園林事業(yè)的建設(shè)與發(fā)展具有堅(jiān)實(shí)的“綠色發(fā)展”基礎(chǔ)。建設(shè)綠色生活環(huán)境是風(fēng)景園林學(xué)科的基本內(nèi)容，人居環(huán)境的生態(tài)建設(shè)與發(fā)展途徑是本學(xué)科研究的核心內(nèi)容。當(dāng)前，我們處在一個非常好的發(fā)展時期，整個國家生態(tài)建設(shè)的需求迫切，環(huán)境的巨大的缺口需要我們填充。尤其“十九大”以后，國家特別強(qiáng)調(diào)生態(tài)建設(shè)，為我們提供了非常好的機(jī)遇，我們特別需要不斷自我完善，支撐社會和國家的綠色發(fā)展需要。

構(gòu)建宜居的生活場所是提高人們生活水平的重要途徑。綠地與人們的生活息息相關(guān)，公園已成為人們?nèi)粘？刁w健身、休閑娛樂、文化傳播與交流的基地。通過綠地的文化建設(shè)，提升綠地的文化品質(zhì)，傳播民族文化與生態(tài)文化，樹立文化自信，是風(fēng)景園林學(xué)科在人居環(huán)境構(gòu)建過程的另一項(xiàng)重要工作。

所以，我們是國家綠色發(fā)展與生態(tài)文明建設(shè)的踐行者，是國家生態(tài)基礎(chǔ)設(shè)施與文化基礎(chǔ)設(shè)施建設(shè)的核心力量，必將在祖國的“綠色發(fā)展”進(jìn)程中的核心力量。

LA：英國經(jīng)過多年的努力，生態(tài)環(huán)境處于很好的狀態(tài)，您認(rèn)為英國風(fēng)景園林行業(yè)應(yīng)該著力解決什么社會問題？

Tom：我認(rèn)為中英共有的很重要一點(diǎn)是，綠色倡議的舉措往往需要5年、10年、15年、20年才能產(chǎn)生效果，政治制度往往每三四年變化一次。這兩者在時間上不對應(yīng)。若要綠色倡議生效，政治家們需要有更長遠(yuǎn)的眼光。我認(rèn)為我們面臨的另一個重大挑戰(zhàn)是讓事情可持續(xù)并減少我們所有工作環(huán)節(jié)的碳排放。這常常與時間相關(guān)，如果人們?nèi)狈Φ却Y(jié)果出現(xiàn)的耐心，那實(shí)際花費(fèi)就會不必要地大大增加，例如只種大樹（而不是種小樹苗待其長大），生態(tài)系統(tǒng)沒有機(jī)會發(fā)展，只因?yàn)橛腥苏f我想在一個月之內(nèi)看到完美畫面（而不是等待數(shù)月乃至數(shù)年，待其自然達(dá)到完美狀態(tài)）。我們對生態(tài)過程發(fā)生的時間尺度必須更加寬容 （圖 10） 。

所以我認(rèn)為在很多方面，盡管我們的文化差異很大，而且我們處于社會發(fā)展的不同階段。而我們很多共有的問題，最基本的問題，實(shí)際上都是太多太多人，太少空間，以及沒有足夠的時間。

未來挑戰(zhàn)與準(zhǔn)備工作

LA：從實(shí)踐者角度看，您認(rèn)為未來十年我們將面對哪些新挑戰(zhàn)，風(fēng)景園林行業(yè)應(yīng)該如何準(zhǔn)備應(yīng)對？

Tom：我認(rèn)為最大的2個挑戰(zhàn)之一，也是最明顯的，是全球變暖，另一個是治水。對于治水，風(fēng)景園林師也許可以做出更多貢獻(xiàn)，因?yàn)楫吘乖谝?guī)模上它更接近我們所涉足的項(xiàng)目。顯然這在北京是一個大問題，但是在歐洲城市它也是個大問題，因?yàn)闅夂蜃兓?，更多的水在不該來的時候來了，我們得知道該怎么辦。同時缺水情況依然存在，我們就得保存它。

LA：那么風(fēng)景園林師應(yīng)該如何做好準(zhǔn)備解決這個問題呢？

Tom：嗯，這個問題相信Stig L. Anderson會更有感觸，他們在哥本哈根做了一個非凡的項(xiàng)目，研究整個城市如何能夠更有彈性地應(yīng)對洪澇災(zāi)害。在英格蘭，我們沒有像丹麥那樣有遠(yuǎn)見。因?yàn)槲覀儧]發(fā)生過這樣的洪澇災(zāi)害，所以我們沒有應(yīng)對的策略。但我認(rèn)為風(fēng)景園林師可以發(fā)揮巨大的作用，通過出謀劃策來幫助預(yù)防災(zāi)害造成的損失。

LA：從高校教師角度看，風(fēng)景園林學(xué)科應(yīng)該如何準(zhǔn)備，以更好應(yīng)對未來的挑戰(zhàn)？

LIU：這是一個需要特別認(rèn)真思考的問題。當(dāng)前，對于風(fēng)景園林學(xué)科而言，任務(wù)非常艱巨，發(fā)展機(jī)遇前所未有，挑戰(zhàn)同樣也非常巨大。

作為國家一級學(xué)科，風(fēng)景園林學(xué)科需要在國家建設(shè)與發(fā)展過程中發(fā)揮核心作用。風(fēng)景園林學(xué)科是由多學(xué)科交叉融合的應(yīng)用科學(xué)，它以協(xié)調(diào)人與自然關(guān)系為根本使命，因此學(xué)科建設(shè)與發(fā)展一直與生態(tài)文明建設(shè)緊密相關(guān)。國家建設(shè)對本學(xué)科的人才需求也達(dá)到了前所未有的高潮，高層次、綜合性的風(fēng)景園林專業(yè)人才的需求大大提高，風(fēng)景園林學(xué)科教育備受矚目。

一直以來，生態(tài)與文化是風(fēng)景園林學(xué)科的支撐系統(tǒng)，也是本學(xué)科的優(yōu)勢所在，風(fēng)景園林學(xué)科始終都是國家生態(tài)建設(shè)與文化建設(shè)的主力軍，已成為目前國家建設(shè)的主要需要。面對未來，本學(xué)科必將發(fā)揮文化底蘊(yùn)深厚的優(yōu)勢，突出生態(tài)應(yīng)用技術(shù)研究特色，引領(lǐng)生態(tài)建設(shè)的發(fā)展方向，使每一個學(xué)生都能成為未來國家健康、永續(xù)發(fā)展的棟梁之才，使風(fēng)景園林行業(yè)在國家建設(shè)過程中發(fā)揮更大作用。

結(jié)語

LA：請2位嘉賓分別闡述您對于世園會的期望或寄語。

Tom：我認(rèn)為這將是一個有趣的旅程，我認(rèn)為常與別人合作雖說會帶來緊迫感，但同時也可以達(dá)成比自己單獨(dú)做得更好的事情。此次世園會將是一個有相當(dāng)多不同的人參與的合作，應(yīng)該會有很多有趣的事情發(fā)生。但是我認(rèn)為我們此次來到中國最有趣的事情，就是看到中國人對我們這個展園的策略和實(shí)踐的反饋。還有一點(diǎn)就是關(guān)于權(quán)衡取舍……我們從你們操作世園會的方式中獲益匪淺，我肯定這次世園會的耗時可能不到英國同類項(xiàng)目周期的1/4。這在英國可能需要30年來策劃，外加10年來開展。而你們能在短短2年時間里能做到現(xiàn)在這樣。

LIU：這次創(chuàng)意展園方案征集和2017年12月2日舉行的論壇有一個共同的主題：“引領(lǐng)、傳播、共融”，這是我一直以來對本屆世園會的期望與寄語，也是我及我們這個團(tuán)隊(duì)努力工作的座右銘。我希望這些精致的創(chuàng)意展園能夠成為傳播綠色思想的典范，不僅優(yōu)美，而且能夠很好地引領(lǐng)全社會樹立良好的生態(tài)的觀念，追尋綠色的生活方式。特別期待我們這屆世園會能夠起到引領(lǐng)行業(yè)的發(fā)展、傳播綠色文化的作用，能夠?qū)⑹澜绮煌奈幕⒉煌膱@藝技術(shù)手段相互融合，通過中國北京、通過延慶廣泛傳播，并發(fā)揚(yáng)光大！

致謝：感謝王一蘭前期準(zhǔn)備采訪內(nèi)容。

注釋：

圖1由James Kerr攝；圖2、9由Marianne Majerus攝；圖3、4、6由Andrew Lawson攝；圖5由Sabina Rüber攝；圖7由Jacqueline van der Kloet攝；圖8由Allan Pollok-Morris攝；圖10由Hufton+Crow攝。

錄音整理：劉德嘉

翻譯：萬靜柯

校對：王晞月

（編輯/王一蘭）

Tom Stuart-Smith is a landscape designer who is good at integrating naturalism and modernism into landscape design. In 1998 he established landscape design institute named the Tom Stuart-Smith Ltd. according to his name. His projects cover large private estates, parks, small private gardens in the countryside, and overseas projects in Europe, India, the United States and the Caribbean. Professor LIU Zhicheng, the assistant dean of landscape architecture of Beijing Forestry University who is engaged in the researching affairs has devoted himself to the domestic landscape design and teaching work for decades and as a chief consultant he is responsible for creative garden of the Beijing Expo 2019. Teacher LI Zheng, the contributing editor of the Journal invited the two above-mentioned celebrities in the field of landscape design. With the opportunity of the Beijing Expo 2019, thinking globally,they discussed the topics including regions and globalization, garden design and exhibition,horticulture and landscape architecture as well as landscape architecture and society.

5 展園：切爾西花展2008年羅蘭百悅園Exhibition garden: Chelsea 2008 The Laurent-Perrier Garden

LA:Landscape ArchitectureJournal

Tom: Tom Stuart-Smith

LIU: LIU Zhicheng

Some Questions Related to Beijing Expo 2019

LA: It is well-known that you and Professor James Hitchmough are responsible for designing a creative garden for Beijing Expo 2019. What is your design concept and which highlight makes your project special?And what kind of problems or obstructers you encountered in the process because of the totally different context?

Tom: I think making a show garden is very different from making a real garden in a way you have to have different rules. So it needs to be in a way, a kind of world to itself. And one of the things we started doing was by looking at how it could be enclosed. I think it’s very easy in these kinds of exhibition gardens for a garden to get lost in the great space of a show. So actually making something quite concentrated is quite important. And we obviously want to do something which was about China, but probably about China as we see it from the west. And one of the things that we see very strongly now is this feeling of China reaching out towards the west.So the idea of the belt road the new railway that is connecting the east of China right through to Istanbul is an incredible idea. And so that is the central idea of the garden in a way, it can somehow evoke us reaching out. But it’s also about something that every landscape architect everywhere in the world faces, which is how do you carry out development on a big scale and respect nature. So we’ve tried to make a garden that is very contemporary in its construction but actually tells quite a mixed and detailed story about complex vegetation and how the two can co-exist but quite often don’t but we are trying to tell an educational story in a way about how the two could be made to co-exist.

Locality and Globalization

LA: You pay great attention to the integration of naturalism and modernity in garden design, do you think such integration is universal, or should it differ from places?

Tom: Well I think that sometimes it’s much more appropriate not to be modern. Sometimes I think when one is working in a very strong cultural environment which may be historic then it can be completely inappropriate to impose modernity on this. I think it’s really when you are working in a contemporary environment like we are in this new show or when you are adding something very signi ficant on a signi ficant scale to something old that you can be more contemporary (Fig. 1).

LA: Can you actually use some short sentences or phrases to define what modernity means to you?

Tom: What modernity means to me? I think modernity means working within today’s design concepts. So of course, we are all influenced by the past and yesterday is the past but it’s working within the very recent in fluence of the past (Fig. 2).

LA: When you work in different place, how did you deal with regional difference to forge connections between place and people as a foreigner?

Tom: The first thing is to listen and find out how nature is viewed and how the land is managed in the country. I need to find out what traditions there are of arranging the land, growing plants, and what traditions there are—if any of making gardens. In most countries this may mean understanding something of the history, botany, geology, hydrology and religion that lies under the surface.

LA: Our world is in the process of globalization, international exchange and collaboration become increasingly frequent and deep,which is best manifested in Beijing Expo 2019 in which five groups of international landscape architects are invited to design creative gardens. As the principal consultant for these gardens, did you have any considerations concerning the relationship between globalization and locality?

LIU: We have had diverse international exchanges currently. In terms of global range, “globalization” and “internationalization” has become a mainstream trend. In particular, under the premise of such advanced modern transportation and information, this trend has been greatly promoted and magni fied.

In recent decades, we have learned a great deal from the west and made impressive achievements during the modernization. But meanwhile many unique Chinese traditions and features have also been lost. Facing the reality, we have to think more about how to keep the uniqueness of certain areas and regions. For that purpose, during the process we planned to let the famous foreign designer design these gardens, we firstly hope that the designers came from different countries and regions so as to re flect the regional and cultural difference. Finally, with the strong support of the Bureau of International Horticultural Exhibition, we achieved that goal. We have invited the internationally renowned landscape architects from America, Holland and Denmark, British designers and the famous horticulturalists from Britain and Japan. We particularly hope that this international exposition can gather designers from different countries and regions together to share the understanding of horticulture and gardening from the differential perspective.When making the Mission Book, we were also thinking that how we require their designs to connect with Chinese regional culture.

6 展園：切爾西花展2001年羅蘭百悅園Exhibition garden: Chelsea 2001 The Laurent-Perrier Garden

Our thoughts have received great responses from designers. For example,the British design team completed their scheme taking “The New Silk Road”as the topic. It is not only a good response to the current politics in China.Meanwhile, through the plants of different regions along the Silk Road, a direct comparison is made within a small scale of garden to show the regional difference. Then based on this, the differences between the cultural and design aspects can be presented and their consideration about regional features and their knowledge about Chinese culture are expressed perfectly. All of these actively contribute to promote the cultural exchanges.

Designers from USA, Denmark, Holland as well as the Japanese Horticulturists all gave good feedbacks with totally different perspectives and characteristics.

We all hope that these famous designers can give us their understanding about globalization and region, and that how they perceive China’s natural features and regional cultures through their designs, so as to make Chinese people both know more about the world and our country from another point of view. Of course, these foreign designers also have a better understanding of China when designing these gardens. Therefore, designing Creative Garden is a good process of communicating and disseminating culture.

LA: Did you encounter any problems or challenges when collaborating with landscape architects from outside China?

LIU: The speci fic operation of the entire project does have some difficulties.It is not so hard for design coordination. But in terms of inviting the famous designers and horticulturists to this exposition, it is necessary to complete a series of tasks. We also particularly hope to see different interpretations from other countries and nations to the flower and horticultural expositions. Therefore,the difficulties mainly come from how to select the designers who can lead the direction, how to make the design schemes embody the significance and value of the horticultural exposition from different perspectives and how to make the designer’s works effectively convey the horticultural significance and value.

These designers come from different countries and regions, so there are inevitable differences in their lifestyle, culture background and needs.Meanwhile, designing is a kind of work full of individuality. In the process of the coordination among designers from different nations and regions, there are bound to some different ideas which are mainly caused by two aspects: one is the cultural differences and another is personal preference. These differences will bring some challenges and collisions to our cooperation, so we need to coordinate with each other.

The interactive collisions when designing can produce more valuable thinking and ideas which is of great value and signi ficance.

Garden Design and Expos

LA: Professor LIU, I know that you've also frequently participated in the review of various garden expos in China, would you like to introduce the relationship of garden design and expos from national point of view?

LIU: The large expos which were built by our country have enjoyed great popularity in recent years. Each expo includes various small exposition gardens,most of which are designed, built and constructed by provinces, cities and the industry bodies, so they are often called “Local Garden” or “Industrial Garden”. In some expos famous landscape architects at home and abroad are particularly invited to design garden which is called “Designer Garden”, known as “Master Garden”, but it is called “Creative Garden” in this expo at this time.

The expo is often composed of public and local exhibition areas (including international exhibition areas), which has become the basic model. Being the “cell” of the local exhibition area, the gardens are the most diverse and attractive areas full of great values of visiting. They have prominent personality and diverse contents which respectively manifest local and regional culture as well as industry features, represent the understanding of the region and its industry and present the developing level of the local industry. In this way a rich and extensive exchange platform is built and the expo’s contents is greatly enriched and improved.

LA: You have got many medals from the Chelsea Flower Show.Would you like to share your understanding of the show? And what’s your experience as a designer of this flower show?

Tom: Well, I’ve made 8 gardens there on my own and they all won gold medals (Fig. 3). I think one of the things I learned from making gardens at Chelsea was to make a garden about one idea not to try to express too many complicated things in a small space. We also found this truth from a commercial point of view that most of the gardens tend to be for a particular sponsor. I made it many time for French companies, so I made a garden for CHANEL(Fig. 4), and for Laurent-perrier the Champagne company (Fig. 5). These were successful for them in getting across their idea of the garden re flecting values that they had in their company. The only time it was less successful was when there was a co-sponsor, two different people were trying to get across their ideas.And this was always a con flict. One other thing I would say is I found that it was always a good idea never to try to make these gardens too much like gardens that anybody could have outside the back of their house or something like that. They were much more about the idea of how you could organize space and how you could work with plants in the space. They were not directly a kind of thing that you could lift up and take home as it were. I suppose one other thing was always about not making things too complicated (Fig. 6). Because unlike this garden in Beijing, we only have had 3 weeks to build the garden and it was there for 1 week and then it was taken away.

LA: In your opinion, what are the differences between the Chelsea Flower Show, Beijing Expo 2019 and IGA Berlin 2017?

Tom: The Chelsea flower show is very short, very intense and not very sustainable. The Beijing Expo 2019, I hope, will be much more sustainable than this and the Masters gardens are made to last. IGA is somewhat similar to this but is on a much smaller scale than Beijing and was incorporated into an existing park- so unlike Beijing it was not transformative for the area (Fig. 7).

7 展園：德國柏林2017國際園藝展Exhibition garden: IGA Berlin 2017

Horticulture and Landscape Architecture

LA: Could you talk about the “Horticulture” in British people’s mind and give us a brief introduction to the culture of gardening in Britain.For instance, what expos does Britain have? And how do the British people view and participate in these garden exhibitions?

Tom: Well I mean horticulture has been quite central to British culture for a long time I think, often horticulture comes with stability. And Britain has been very fortunate to be a quite stable country for a long time, rather like China is now. So horticulture rises to the surface. I think certainly in Britain horticulture and landscape architecture are seen from the outside as being quite similar from the inside as being very very different, that horticulturalists don’t speak to landscape architects and landscape architects don’t speak to horticulture, which is very very stupid and very sad. I don’t know whether there is something similar in China. I think this is because landscape architects feel more like architects, horticulturalists feel insulted perhaps (Fig. 8).

8 公共花園：特倫特姆花園Public garden: Trentham

LA: In the UK do landscape architects got be invited to actually plan and design in the horticulture expo? Or they actually have no chance to participate in?

Tom: It depends, I mean that the Chelsea flower show it’s almost always garden designers and horticulturists. I think I’m unusual that I’m a landscape architect who’s also not trained as a horticulturist but I am a plantsman as well because I’ve always been a gardener so I’ve always looked after my own garden (Fig. 9). I think the landscape architects tend to be rather arrogant towards horticulturists. This is a foolish position really I think because it’s always much better to work together and to cooperate.

LIU: I think the situation in China may be different from that of in Britain. As he saw, we have a lot of teachers working on plants research and many teachers working on designing, all of them are in a same department. We work together to complete the works of teaching and researching.Actually, for the whole China, many majors of landscape architecture in the agricultural and forestry universities are in this state that the designers on landscape architecture and workers on plants can always keep a relatively close relationship.

Tom: I think it is quite difficult for designers to get real experience with horticulture unless they actually do it with their hands and get practical experience. I think there is a great reluctance amongst students who want to be academic to get their hands dirty. It is important, you can actually be clever and have dirty hands it is possible.

I can understand that I’m sure that there are lots of landscape architects working on a bigger scale working on landscape masterplans in the UK for whom planting and understanding of plants are not necessarily that relevant. But there are a lot who work on a smaller scale who do use a lot of plant material in quite a complex way but they have very little knowledge of it, this strikes me as a sad thing.

LA: China has organized many exhibitions in recent years to promote green development,are there any differences between these expos?More specifically, what are the differences between the garden design in horticulture expos and those in garden expos? What role should a landscape architect play in a horticultural exposition?

LIU: China has held many expos about green development in the recent two or three decades,such as the Beijng Expo 2019 we are talking about now, Green Expo, Flora Expo, including the international exhibitions and many national and provincial-level large-scale exhibitions. All of these has not only been welcomed by the mass but also promoted the national and regional green development. Different exhibitions are organized by different industries. The International Horticultural Exhibition is the one initiated and approved by the “International Association of Horticultural Producers (AIPH)”. It is divided into different levels, and the Beijing Expo 2019 we are talking today is A1 level, the highest one.

The International Horticultural Exhibition is a grand gathering for promoting the development of international flowery and horticultural industry.Through exhibition activities, the Horticultural Expo introduces new techniques and varieties,exchanges the cultivation and operation mode,improves the product marketing and promotion as well as enhances cultural exchanges. Horticultural plants are not only the important materials for green construction and development but also the significant cultural carriers. On a macro level, our country’s expos are organized and constructed by the national or local government which is very different from other countries whose expos are organized by the industry or association. In the content, in addition to the industry development, this expo will focus on how to promote ecological progress and cultural construction as well as lead and drive regional healthy development, which is exactly the core meaning and value of holding expos.

This International Horticultural Expo in China was jointly held by the Ministry of Housing and Urban-Rural Development, local governments and organizations, and it is called “Garden Expo”for short. What the expo shows and explores more are the construction contents, means and ways of living environment. Its main part is about the construction and the contents focusing on showing and exploring the means of ecological and cultural construction, including both the plants and other materials and means closely related to ecology and life. The expo takes the opportunity of constructing “Nationally Garden City” and“Ecological Garden City” to extensively show the excellent achievements. As a result, the ecological civilization was greatly promoted and for the further responding to the 19th CPC National Congress, it is significant to build the national ecological system and security pattern.

Under the guidance of governments at all levels and the competent departments,landscape architects have been fully involved in planning and construction of the expo and controlled from all aspects, showing their core values. As the planner, designer and constructer,they first comprehensively grasp the expo’s significance and value, and then accurately find the purposes, significance and features of the construction, dig into the garden cultures and regional characteristics and use proper techniques so as to show the horticultural good varieties,cultivation and maintenance technologies in an all-round ways as well as re flect the importance of horticultural industry for protecting biodiversity,improving environment, ecological rehabilitation and building horticultural system.

Landscape Architecture and Society

LA: China is developing fast now. Inn your opinion, what’s the core issue of green development for landscape architecture industry in China? What role should landscape architects play in a broader green development process?

LIU: The so-called green development is to solve the harmonious co-existence problem between human and the nature. And human social activities must be based on the premise of respecting nature,obeying nature and conserving nature.

Overall, the landscape architecture discipline is vital to people’s demand for life, production,ecology and culture. I think that for this subject, the core problem is how to reconcile people’s pursuit for a better material life with the contradiction originating from the pursuit among ecological burden, and how to build healthy, ecological,beautiful living environment with full function and profound culture background.

We are in great new era, our country’s specific material and cultural environment requires us to explore a new path of ecological construction development in order to practice the great Chinese journey of ecological civilization construction. And Chinese nation has always regarded the proverb that man and nature live in harmony as the development concept, so we naturally create residential environment on the premise of respecting nature. The construction of traditional Chinese garden abides by the concept“Though it is made by man, it seems like being created by the Nature”, which lays a solid green development foundation for the construction and development of landscape architecture in China.Creating green living environment is the basic content of landscape architecture discipline, and the ecological construction and development path of living environment is the core content in the research of this discipline. At present, we are in a sound development period in which the ecological construction in our whole country is in urgent demand and tremendous environmental problem requires us to deal with. Especially after the 19th CPC National Congress, the special emphasis on ecological construction has provided us with great opportunities, and we need to constantly improve ourselves to support the needs of green development in our society and country.

Building livable living places is an important approach to improve people’s living standard.Green land is closely related to people’s life,and parks have become people’s bases for daily fitness activities, as well as the communication and exchange of culture. With the culture building of green land, the culture quality has been improved, the culture of nation and ecology has been spread and our culture confidence has been enhanced, which are the other task of landscape architecture discipline in the construction of residual environment. Along with the rapid improvement of people’s living standard, people’s need for quality life is daily on the increase. How to provide the public with a sound sports fitness centers, environment for culture and entertainment as well as high-quality daily environment for leisure and living, which requires us to play an important role.

Therefore, we are major contributors and practitioners in constructing ecological civilization in our country’s green development, we are core strengths in national ecological infrastructure and cultural infrastructure, and we will play an important role in the process of green development of the motherland.

LA: After many years' efforts, the ecological environment in Britain is in quite good condition. What is the core issue for landscape architecture industry in Britain from your point of view?

Tom: Well, I think one priority we probably share with China is the fact that green initiatives tend to takes 5, 10 years 15 years 20 years to come to have an effect, political systems tend to change every 3 years 4 years. So the two are out of time with each other. And politicians need to have a longer vision for green initiatives to take hold.

So I think the other big challenge we face is the big issue of making things sustainable and reducing the carbon footprint of all the work we do. And I think often than that is also connected with time that if people are very impatient to see results then things end up costing much more than they need to, trees are planted in much bigger sizes, ecological systems don’t have a chance to develop because people say I want this looking perfect in a month’s time. We have to be more understanding of the time scale that ecological processes take place over (Fig. 10).

So I think in many ways although our cultures are very different and we are at very different stages of our development. And many of the problems,the basic problems, we have we actually share are to do with too many people too little space, not enough time.

9 私家花園：湯姆的私家花園Private garden: Tom’s garden

Future Challenges and Preparations

LA: From the perspective of a professional practitioner, what kind of new challenges do you think we are going to face in the next decade? How should landscape architecture industry prepare to cope with them?

Tom: I would say the two greatest challenges are the most obvious one of all which is global warming and the one maybe landscape architect can contribute much more because we are working on that kind of scale is to do with water and water management and obviously this is a big issue here in Beijing but it’s a big issue in European cities as well as we have climate change and more water comes on a few occasion we have to know what to do with it.But there is less of it as well and we have to conserve it.

LA: So how should landscape architect get prepared to solve this issue?

Tom: Well I think I’m sure you are going to talk to Stig Anderson they’ve done an extraordinary project in Copenhagen looking at how the whole city can be made much more resilient to big dramatic flood events. In England,we don’t have quite the sort of vision as they tend to have in Denmark so we haven’t had a traumatic event like that so we don’t have a strategy like that but I think landscape architects can play an enormous role in bringing together strategic initiatives to help to prevent traumatic events like that.

LA: From the perspective of a college educator, how will you recommend the discipline of landscape architecture to be better prepared to deal with such challenges?

LIU: This is a question that needs to be seriously considered. For landscape architecture discipline, the task is very difficult, the development opportunities are unprecedented, and the challenges are also huge.

As first-level state discipline, landscape architecture discipline needs to play a core role in the process of national construction and development and it is an applied science with multidisciplinary integration, it considers coordinating the relation of man and nature as fundamental mission,so the discipline construction and development has been closely related to ecological civilization construction. Facing the severe situation and arduous task, landscape architecture discipline which is dedicated to the living environment and ecological environment construction is facing unprecedented opportunities and challenges, and it is unprecedented in the situation of national construction demanding for talents in this discipline,and the demand for high level and comprehensive professional talents in landscape architecture is increasing greatly, so much more attention is paid to the education in this discipline.

For a long time, ecology and culture are support systems of landscape architecture discipline, and also the advantages of this discipline. This discipline is always the main force of national ecological and cultural construction, and currently it has become the major demand in national construction. In the future, this subject will exert a profound cultural advantages, highlight the characteristics of ecological application technology research, lead the development direction of ecological construction, so that it can make every students become the future national pillars who can support our country’s well-running and sustainable development, and make the landscape architecture industry can play more important role in the process of national construction.

Concluding Remarks

LA: Could you please tell us your expectations or wishes for the Beijing Expo 2019?

Tom: Well I think it’s going to be an interesting journey I think always collaborating with somebody brings up tensions but it can bring something better than you are able to do yourself. And in this instance it’s going to be a collaboration with quite a lot of different people so there is potential for many interesting things to come about. But I think the most interesting thing of all for us coming here to China is to see the reaction that Chinese people have to what we are doing and the approach we are taking to this garden. And you always balance... there is a balance to that what we learn from looking at the way you put together the expo which I’m quite sure will be done in about sort of a quarter of the time that we would ever be able to do something like that in England, which would have to be planed sort of thirty years ahead and would take you know ten years to put on.You have 2 years to do this which seems like an incredibly short period of time.

10 私家花園：西班牙巴利亞多利德Private garden: Valladolid, Spain

LIU: In the collection of design schemes for creative gardens and the forum held on the 2nd of December, there is a common theme, that is,“Guidance, Communication and Integration”. It is my expectations and wishes for the exposition all the time, and it is also the motto that my team and I work hard for. I hope these delicate creative gardens can be the models for spreading the green ideas, and they are not only beautiful, but also can effectively guide the whole society to foster sound ecological ideas, and to pursue green way of life. I really hope this expo can play a great role in guiding the development of industries and spreading the green culture, and I even expect that in this expo different culture and horticulture techniques or methods all over the world can be integrated with each other, and then they can be spread widely and further through Beijing of China or through Yanqing District of Beijing.

Acknowledgement:Thanks to WANG Yilan for her contribution to this interview during early preparation period.

Notes:

Fig.1 is photographed by James Kerr; Fig. 2, 9 are photographed by Marianne Majerus; Fig. 3, 4, 6 are photographed by Andrew Lawson; Fig. 5 is photographed by Sabina Rüber; Fig. 7 is photographed by Jacqueline van der Kloet; Fig. 8 is photographed by Allan Pollok-Morris;Fig. 10 is photographed by Hufton+Crow.