关于景观都市主义发展进程的探讨 外文翻译

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1、 本科毕业设计外文翻译 关于景观都市主义发展进程的探讨 院（系、部） 名 称 ： 园艺科技学院 专 业 名 称： 学 生 姓 名： 学 生 学 号： 指 导 教 师： 2013 年 3 月 15 日 教务处The Evolution of “Landscape Urbanism” Reflections on Stalking Detroit , by GRAHAME SHANE The Landscape Urbanism exhibition contained an international survey of public urban spaces by designers incl

2、uding Adriaan Geuze/West 8, Michael Van Valkenburgh, Patrick Schumacher, Alex Wall, and several Barcelona landscape architects (such as Enric Batlle and Joan Roig, who completed Trinitat Cloverleaf Park in a highway intersection for the 1992 Olympics). American exhibitors included Corner and Mathur,

3、 Waldheims teachers from Penn, Mapillero/ Pollack from New York, Conway-Schulte of Atlanta Olympics fame, and Jason Young/Omar Perez/Georgia Daskalakis/Das: 20 from Detroit. Corners premiated but sadly unbuilt Greenport Harborfront, Long Island Project (1997), stood out in this show. His office, Fie

4、ld Operations, proposed creating a sense of urban activity around the annual raising and lower-ing of the towns ancient sailing ship Stella Maris up and down a newly created slip, with a historic, childrens carousel housed in an adjacent band shell. Corner envisioned this staged, biannual event as a

5、n attractor for peo-ple, the press, and media, who would flock to the town in its off season, inhabiting the newly created commons on the harbor front to watch the ships spectacular movements. In the winter, the ship would become a monumental, sculptural presence lit at night in the center of the sm

6、all ports commons； in the summer it would return to its accustomed quayside, where its masts would tower above the rooftops. 21 Corners project in the Landscape Urbanism exhibition illustrates his concept of a “performative” urbanism based on preparing the setting for programmed and unprogrammed act

7、ivi-ties on land owned in common. The three projects presented in Stalking Detroit provide further insights into this emerging strategy, and each is paired with a commentary by a landscape architect. 22 The Waldheim and Marli Santos-Munne Studio proposes the most comprehensive of landscape urbanism

8、practices in “Decamping Detroit” (104122). They advocate a four-stage decommissioning of land from the citys legal control: “Dislocation” (disconnection of services), then “ Erasure” (demolition and jumpstarting the native landscape ecology by dropping appropriate seeds from the air), then “Absorpti

9、on” (ecological reconstitution of part of the Zone as woods, marshes, and streams), and then “Infiltration” (the recolonization of the landscape with heteropic village-like enclaves). As Corner writes in his commentary, this project “prompts you to reflect on the reversal of the traditional approach

10、 to colonization, from building to unbuilding, removal, and erasure” (122). This reversal of normal processes opens the way for a new hybrid urbanism, with dense clusters of activity and the reconstitution of the natural ecology, starting a more ecologically balanced, inner-city urban form in the vo

11、id. All of Landscape Urbanisms triumphs so far have been in such marginal and “unbuilt” locations. These range from Victoria Marshall and Steven Tupus premiated design for ecological mudflats, dunes, canals, and ramps into the water in the Van Alen East River Competition (1998), which would have sim

12、ultaneously solved the garbage disposal problem of New York and reconstituted the Brooklyn side of the East River as an ecology to be enjoyed as productive parkland. 23 In the Downside Park, Toronto Competition (2000), Corner, with Stan Allen, competed against Tschumi, Koolhaas (who won), and two ot

13、her teams, pro-viding a showcase for their “Emerging Ecologies” approach. 24 This was further elaborated in the Field Operations design that won first place in the Freshkills Landfill Competition, Staten Island (2001). Together with Stan Allen (now Dean at Princeton), Corner analyzed the human, natu

14、ral, and technological systems interaction with characteristic aerial precision. Field Operations presented the project as a series of overlaid, CAD-based activity maps and diagrams, that stacked up as in an architects layered axonometric section. These layered drawings clearly showed the simultaneo

15、us, differentiated activities and support systems planned to occupy the site over time, creating a diagram of the complex settings for activities within the reconstituted ecology of the manmade landfill. 25 In the Freshkills competition, Mathur and da Cunhas used a similar approach but emphasized th

16、e shifting and changing eco-logical systems of the site over time, seeking suitable places for human settlements including residences. In the first conference on Landscape Urban-ism at the University of Pennsylvania in April 2002, Dean Garry Hack (who coauthored Kevin Lynchs 1984 third edition of Si

17、te Planning) questioned the interstitial and small-scale strate-gies of participants (asking, “Hyper-urbanization: Places of Landscape Architecture?”). Mohsen Mostafavi, the Chairman of the AA, delivered the keynote speech, “Landscape as Urban-ism,” showing the Barcelona-style, large-scale, infrastr

18、uctural work of the first three years of the AA Landscape Urbanism program. 26 Dean Hack identified a key problem for landscape urbanists as they face the challenge of adapting to complex urban morphologies beyond that of an Anglo-Saxon village and its commons. Rifle ranges, the spectacle of the “De

19、vils Night,” and the “Staging of Vacancy” suggested in Stalking Detroit may prove to be inadequate responses in an age when many Europeans and Americans live in idyllic, landscaped suburbs. Suburbanites are willing to pay a premium to visit staged urban spectacles. These spectacles can take the form

20、 of the Palio annual horse race in Siena, a parade on Disneyworlds Main Street, or a week-end in a city-themed Las Vegas casino like The Venetian, with its simulation of the Grand Canal as a mall on the third floor above the gaming hall. The desire for the city as compressed hustle and bustle in sma

21、ll spaces remains strong. Even in ruined downtown Detroit, small ethnic enclaves like “ Greek Town” or “Mexico Town” satisfy this demand, in the midst of the void. Commercial interests like Disney clearly understand how to stage an event and create an urban street spectacle based in a village-like s

22、etting. As yet, the dense urban settings of Hong Kong or New York, or even mid-rise urban morphologies like Pianos eco-logically sensitive Potsdam Platz, Berlin (19941998), do not feature as part of this performative urbanism. Stalking Detroit does not begin to deal with the issue of urban morpholog

23、ies or the emergence of settlement patterns over time. It concentrates on their disappearance and erasure. The problem of this approach is its amnesia and blindness to preexisting structures, urban ecologies, and morphological patterns. A common ground is useless without people to activate it and to

24、 surround it, to make it their commons. Housing, however transient or distant, is an essential part of this pattern of relationship, whether connecting to a village green or a suburban mall. With this logic, the International Building Exhibition in Berlin of 19841987 sponsored the recolonization of

25、vacant inner-city lots with high-density, low-rise infill blocks in anticipation of the construction of Potsdamer Platz and the demolition of the Berlin Wall. Adaptive reuse, as in the conversion of dockland warehouses or multi-story factories to lofts and apartments, is another successful strategy that has provided housing and workplaces to