設(shè)計(jì)與自然景觀融合，是眾多景觀設(shè)計(jì)師孜孜不倦的追求。
來(lái)自賓夕法尼亞大學(xué)的景觀建筑碩士Prakul，面對(duì)具有悠久歷史的Lehigh山谷板巖帶和富有懷舊感的居民，設(shè)計(jì)出自然與實(shí)用功能結(jié)合的物質(zhì)文化公園，為生態(tài)和居民交上滿(mǎn)意的答卷。小編為大家解鎖公園的設(shè)計(jì)理念和景觀設(shè)計(jì)師的設(shè)計(jì)心得。
作品
Parks of Material Culture
物質(zhì)文化公園
Prakul Pottapl
University of Pennsylvania
賓夕法尼亞大學(xué)
Master of Landscape Architecture
景觀建筑碩士
Project
項(xiàng)目
The studio project focuses on the slate belt region in the Lehigh valley in Pennsylvania whose history, memory and identity are closely tied to material and landscape. Permeability and impermeability of these materials and landscapes have shaped this region over time. Rocks are quarried for their impermeability and soils cultivated for their appropriate permeability, the cultural landscape is constantly shaped and reshaped by the notion of permeability in many aspects.
該工作室項(xiàng)目的重點(diǎn)是賓夕法尼亞州Lehigh山谷的板巖帶，其歷史、回憶和特性與材料、景觀密切相關(guān)。這些材料和景觀的滲透性和不滲透性隨著時(shí)間的推移塑造了這個(gè)區(qū)域。巖石因其不滲透性而開(kāi)采，土壤因其適當(dāng)?shù)臐B透性而被耕種，文化景觀在許多方面不斷被滲透的概念所塑造和重塑。
The proposal is series of parks that celebrate the specific material culture and provide shared spaces for these towns, facilitating in amplifying their presence in the Lehigh Valley by connecting them together.
該方案是贊美此特殊的物質(zhì)文化而建的系列公園，并為這些城鎮(zhèn)提供共享空間，通過(guò)將它們連接在一起，有助于擴(kuò)大它們?cè)诶辽焦鹊拇嬖凇?/span>
A sense of nostalgia exists among the people of the slate belt who were a part of the vibrant slate mining industrial past. The quarries were landscapes they intimately knew.
居住在板巖帶的人們，作為曾經(jīng)是生機(jī)勃勃的板巖礦業(yè)的一部分，與生俱來(lái)一種懷舊感。采石場(chǎng)是他們非常熟悉的風(fēng)景。
In order to channel this nostalgia and intimacy, the drawings are inspired by old topographical maps and sections. The views try to take a painterly approach combining analog photo collage, water coloring and using portions of photographs of oil paintings.
為了傳達(dá)這種懷舊和親密感，圖紙的靈感來(lái)自于舊的地形圖和剖面圖。設(shè)計(jì)視圖嘗試采用繪畫(huà)方法，結(jié)合模擬照片拼貼，水彩及使用部分油畫(huà)照片。
Interview
訪談
How important was the notion of representation for the project?
項(xiàng)目的代表性概念有多重要？
The project began with the making of maps of the Lehigh Valley region while being aware of the biases involved in the making of maps. The way in which these maps were visualized added to this bias, setting a mood and tone for the future of the project. Representation was key to building the project narrative, the story I wanted to tell, which in turn influenced the scale of the interventions and the imagination of the spaces.
該項(xiàng)目首先制作Lehigh Valley地區(qū)的地圖，同時(shí)意識(shí)到制作地圖時(shí)存在偏見(jiàn)。這些地圖視覺(jué)化地增加了這種偏見(jiàn)，為項(xiàng)目的未來(lái)動(dòng)態(tài)奠定了情緒基調(diào)。表現(xiàn)感是構(gòu)建項(xiàng)目敘事的關(guān)鍵，我想講的故事反過(guò)來(lái)影響了干預(yù)的規(guī)模和空間的想象力。
What is your take on the map? To what extent do you agree with the term ‘the map is not the territory’?
你對(duì)地圖有什么看法？你在多大程度上同意“地圖不是領(lǐng)土”這個(gè)詞？
In my mind, a map is a drawing that constructs relationships between places, objects and people. Over the centuries many mapping conventions have been developed and defined to make sharing and understanding maps much easier, but the potential of maps lies in its ability to reimagine and redefine relationships. When Alfred Korzybski first used the phrase ‘the map is not the territory’ he was bringing to light the fact that a map was just a representation of reality but not reality itself, and this is something I completely agree with. However, for architects and landscape architects to propose designs, the map is a very important drawing – “a constructed reality/territory” into which interventions could be drawn and visualized.
在我看來(lái)，地圖是一種構(gòu)建地點(diǎn)，物體和人之間關(guān)系的繪圖。幾個(gè)世紀(jì)以來(lái)，已經(jīng)開(kāi)發(fā)和定義了許多繪圖慣例，以便更容易地共享和理解地圖，但地圖的潛力在于其重新構(gòu)想和重新定義關(guān)系的能力。當(dāng)Alfred Korzybski第一次使用“地圖不是領(lǐng)土”這個(gè)短語(yǔ)時(shí)，他揭露了一個(gè)事實(shí)，即地圖只是現(xiàn)實(shí)的表象，而不是現(xiàn)實(shí)本身，這是我完全贊同的。然而，對(duì)于建筑師和景觀設(shè)計(jì)師提出設(shè)計(jì)方案時(shí)，地圖是一個(gè)非常重要的圖紙 - 可以將“構(gòu)建的現(xiàn)實(shí)/領(lǐng)土”的干預(yù)描繪及可視化。
How did you record the site both in terms of physical landscape and attitude of the inhabitants?
你是如何根據(jù)自然景觀和居民的態(tài)度記錄網(wǎng)站的？
The topographical information for the two quarries were extracted from a high resolution digital elevation model. Photography was the most useful tool in terms of recording the site in terms of key views and material qualities. Material samples of different forms of slate from the sites were collected to experiment with various compositions. There were many meetings and interviews with the people of the towns where they told stories about what these quarries used to be like when they were operational and how different living in these towns was. Their stories painted nostalgic pictures and this definitely influenced the spaces and the visuals for the project.
兩個(gè)采石場(chǎng)的地形信息是從高分辨率數(shù)字高程模型中提取的。就關(guān)鍵視圖和材料質(zhì)量而言，攝影是記錄網(wǎng)站最有用的工具。收集來(lái)自這些部位的不同形式的板巖的材料樣品以試驗(yàn)各種組合物。他們與城鎮(zhèn)居民進(jìn)行了多次會(huì)面和采訪，講述了這些采石場(chǎng)在運(yùn)營(yíng)時(shí)的情況，以及這些城鎮(zhèn)的生活方式。他們的故事描繪了懷舊的畫(huà)面，這無(wú)疑影響了項(xiàng)目的空間和視覺(jué)效果。
What is your take on threshold between analogue and digital? When confronting the act of drawing and representing medium do you find yourself working most comfortable with and why?
您對(duì)模擬和數(shù)字之間的門(mén)檻有何看法？當(dāng)面對(duì)繪畫(huà)和代表媒介的行為時(shí)，你發(fā)現(xiàn)自己最舒服，為什么？
Over the years I have realized that I enjoy operating in the threshold. Moving from one medium to the other keeps me energized and excited. After hours of staring at the screen, making analogue collages and drafting perspectives feels almost therapeutic. That being said, during the initial stages of drawing and representing I am most comfortable with pencil on paper paired with a bit of photoshop.
多年來(lái)，我意識(shí)到我喜歡在門(mén)檻上運(yùn)作。從一種媒介轉(zhuǎn)移到另一種媒介讓我充滿(mǎn)活力和興奮。經(jīng)過(guò)幾個(gè)小時(shí)的盯著屏幕，制作模擬拼貼和繪制透視圖的感覺(jué)幾乎是治療性的。話(huà)雖如此，在繪畫(huà)和展示的初始階段，我最舒服的是紙上的鉛筆與photoshop共同協(xié)作。
What is your most precious tool?
你最寶貴的工具是什么？
That will definitely have to be a wooden graphite pencil. Sketching an idea or drafting a section, if I have a pencil or can find one I will survive.
那肯定是木制的石墨鉛筆。如果我有一支鉛筆或能找到一支，勾勒出一個(gè)想法或起草一部分，我就能活下去。
If you could articulate all of the project in one drawing – what would this be?
如果你能在一張圖紙中清楚地表達(dá)所有項(xiàng)目 - 那會(huì)是什么？
This is something I haven’t really figured out! It is tricky because the project starts with a regional map and ends with a view of a pool in the quarry. I think it could be a large map showing the two quarries in relation to each other with the surrounding towns. The collages could get strategically nested in the grid of the map. I think this drawing would have actually benefitted the project.
這是我還沒(méi)想到的事情！這很棘手，因?yàn)轫?xiàng)目以區(qū)域地圖開(kāi)始，最后是采石場(chǎng)中的游泳池視圖。我想這可能是一張大型地圖，顯示了與周?chē)擎?zhèn)相關(guān)的兩個(gè)采石場(chǎng)。拼貼可以戰(zhàn)略性地嵌套在地圖的網(wǎng)格中。我認(rèn)為這張圖實(shí)際上會(huì)使該項(xiàng)目受益。
唯格2CM石英磚 | MU系列
MUSTANG 安第斯板巖
精選世界最長(zhǎng)的山系——巍峨延綿的安第斯山脈，將獨(dú)特的激情與板巖的紋理原始結(jié)合在一起，描繪出逐層的變化和自然創(chuàng)造的巖石痕跡，精美地展現(xiàn)石板的顏色。
安第斯板巖系列，紋理如山脈縱橫，溝壑明顯、視覺(jué)印象深刻，正是自然與藝術(shù)的結(jié)晶。
