自然

自然

Nature

至少可以這樣說，人類與地球上其他形式的生命息息相關的歷史是復雜的。如今看來，人類似乎要解決這個問題。既然正式的道歉不會得到理解，人們正在試圖用其他方式來表達自己的悔恨和感激。

The history of how humans have related to other forms of life on earth is complex, to say the least. It seems that today, they want to address it. Since formal apologies wouldn't be understood, people are trying to express their regrets and gratitude in other ways.

我們已經(jīng)看到他們：

We have seen them：

承諾不會再過多地污染動物的棲息地。

Promise that they won't pollute animal habitats too much anymore.

贊美野生樹木的奇形怪狀。

Celebrate the quirky shapes of undomesticated trees.

撤離并決定哪些場所不應該干預。

Retreat and decide which spaces should not be meddled with.

對于那些因人類活動而進入“錯誤”棲息地的“遷徙”物種，進行快速地干預。

Promptly intervene to rectify situations they created by removing "migrant" species that have ended up in the "wrong" habitat.

慷慨地為鳥類提供舒適的棲息地。

Generously provided birds with comfortable seating.

協(xié)力清理被弄得亂七八糟的地方。

Make alliances in an effort to clean up mess.

同時，讓地球少一些CO2生產(chǎn)者。

Rid the planet of some CO2producers, at the same time.

在建筑物中為鳥類設置可以筑巢的位置。

Install features on their buildings that become nesting grounds for birds.

補償他們在別處破壞的景觀。

Compensate for landscapes they destroyed elsewhere.

幫助其他物種找到生活中的用途。

Help other species find a purpose in life.

在建筑物上安裝防止鳥類傷害自己的裝置。

Install features on their buildings that help birds to not hurt themselves.

一些城市邊緣的分層。

Layer surfaces in some urban periphery.

提名自己作為世界種子遺產(chǎn)的保管人，以防萬一發(fā)生災難時一切都沒有了。

Nominate themselves as custodians of the world's heritage of seeds, just in case a catastrophe wipes everything out.

盡量讓自己的存在不引人注意。

Try to make their presence as inconspicuous as possible.

1 “自然”展臺/The table of "Nature"

建造融入（周圍環(huán)境）的微小基礎設施。

Build tiny infrastructure that blends in.

與其他物種居住在一起。

Cohabit with other species.

在沒有人類干預的情況下，贊美大自然的接管。

Applaud the spectacle of nature taking over, without a human helping land.

評論

何可人：人類現(xiàn)在應當如何處理和自然的關系？大多數(shù)負責任的地球人都已經(jīng)意識到，我們對自然的侵犯已經(jīng)太多了。正如展覽說明里所說的：“我們只能用特別的一些方式對自然表達我們的歉意和感激?！边@部分展覽以“自然”為主題，跨界地選擇了多樣化的一些項目：大到能容納900顆樹的“垂直森林”，小到用樹枝的原態(tài)設計的桌子。無一例外地用各自的方式表達了對自然的回應，與此同時也是時尚而愉悅的設計。

佘依爽：“自然”就是一個人工建造

無論設計師在這個“自然”章節(jié)使多大勁，這里的“自然”都是通過設計產(chǎn)生的。從保護——防止鳥撞玻璃的涂層、提供鳥飛翔時歇息的木樁；到嫁接——直接搬樹到建筑表皮、原始木材拼貼的桌子；再到?jīng)Q定一個生態(tài)系統(tǒng)——地下停車場上的人工雨洪梯田、模擬真實樹木的空氣樹。設計師總是樂于去扮演控制者的角色，當然，最高級的控制，就是什么也不做，就如同法國里爾馬蒂斯公園“放養(yǎng)”的原始森林一樣。

Comments

HE Keren:How do human beings understand their relationship with Nature today? The majority of responsible people realize that we have already deeply damaged Nature. As has been said in the introduction, "people are trying to express their regret and gratitude in other ways." This part of exhibition, themed "Nature," selects a few multidisciplinary projects-from a "vertical forest" containing 900 trees to a table of branches harvested from live trees-each of which responds to Nature in a unique way and, at the same time, represents a strong pleasing design solution.

SHE Yishuang: "Nature" is a human construct.

However hard designers have worked on this topic, the "nature" here is generated by design. From protectiona coating to prevent birds from colliding with glass and a post for birds to stop on-to grafting-locating trees on the surface of buildings or piecing together tables of branches-to the ecosystem-an artificial rainstorm terrace in underground parking lots or "air trees"simulating real trees-designers cannot relinquish control. However, maybe the best approach of design is to do "nothing", just like the primordial forest "bred" in the Parc Matisse in Lille, France.

2 呼吁消滅挪威土地上所有貉的海報。這種源自東亞的動物被認為是擾亂現(xiàn)有生態(tài)系統(tǒng)平衡的危險入侵物種。

“我們不希望挪威有貉。這取決于你的知識和行動?！?/p>

Poster campaigning for the extermination of all raccoon dogs on Norwegian soil. The animal, a native of East Asia, is considered a hazardous invasive species that upsets the balance of the existing ecosystem.

"We do not want the raccoon dog in Norway. Your knowledge and activity decides."

Milj?direktoratet/挪威環(huán)境部，2010年/Milj?direktoratet/ Norwegian Environmental Agency, 2010

3 已經(jīng)刺破立面灰泥層、準備在發(fā)泡聚苯乙烯保溫層中筑巢的2只椋鳥。鳥類和嚙齒動物對保溫材料造成的經(jīng)常性破壞，以及它們帶來的濕度和真菌問題，已成為對大量使用保溫材料的批評者的主要關注。

Image of two starlings that have punctured the stucco finish of a facade to build a nest in the underlying foamed polystyrene insulation. Recurrent damage caused by birds and rodents, and the problems with humidity and fungi that they entail, are raised as concerns by critics of the massive use and promotion of insulation materials.

德國，2011年/Germany, 2011（攝影/Photo： Güven Purtul)

4 帶紫外光反射涂層的玻璃樣品，肉眼幾乎看不到這種涂層，但可防止鳥類撞擊窗玻璃。“在拉多夫采爾觀鳥站進行的測試表明，75%的鳥會發(fā)現(xiàn)Ornilux窗玻璃并飛向傳統(tǒng)的窗玻璃?！?/p>

Glass sample with a UV light reflective coating that is barely visible to the human eye, but prevents birds from striking against window panes. "Tests at the Radolfzell Ornithological Station show that 75% of the birds spotted the Ornilux pane and flew towards the conventional pane."

Ornilux鳥類保護玻璃，阿諾德玻璃廠，雷姆斯哈爾登（德國），2006年/Ornilux Bird Protection Glass by Arnold Glaswerke, Remshalden (Germany), 2006

5 （上）為在倫敦一家畫廊舉辦的“轉(zhuǎn)動桌子”展覽而設計和制作的桌子。由4塊砍伐下的松木制成的原型桌，松木經(jīng)過數(shù)控銑削小心地鎖在一起。該項目與建筑師正在進行的“以計算機制模接近木材天然特性”的研究剛好吻合。

Table designed and made for the exhibition Turning the Tables at a London gallery. Prototype table made from 4 pieces of pine, harvested from live trees, that were CNC-milled to carefully lock together. The project is part of the architect's ongoing investigations into computer modelling as a means of tapping wood's natural properties.

項目/Project： 餐樹，Helen & Hard建筑事務所，挪威，2012年/Tree of Dining by Helen & Hard, Norway, 2012

5 （下）羊毛保溫材料樣品。本產(chǎn)品中的纖維由于等級較低或者顏色問題而被其他行業(yè)拒絕。羊毛保溫可能比傳統(tǒng)的玻璃纖維昂貴，但能達到更高的保溫效果，對建筑物使用者和安裝人員的健康影響較少。據(jù)制造商說：“羊毛是一種可持續(xù)、可再生的天然材料，完全可以重復使用，并且最終可以生物降解。由于其隱含能源最低，再加上它的自然生產(chǎn)過程，綿羊毛保溫具有無可比擬的環(huán)保資質(zhì)?！?/p>

Sample of wool insulation material. The fibres in this product were refused by other industries because of their lower grade or colour. Wool insulation may be more expensive than conventional fibreglass, but achieves higher insulation values and affects the health of building occupants and installation crews less. According to the manufacturers： "Wool is a sustainable and renewable natural material that is fully reusable and ultimately biodegradable. With the lowest embodied energy and a natural production process, Sheep Wool Insulation has unrivalled environmental credentials."

綿羊毛保溫科技有限公司出品，愛爾蘭，2002年/by Sheep Wool Insulation Ltd., Ireland, 2002

6 某自然保護區(qū)中一系列混凝土柱的照片，它們?yōu)轼B類提供休息的地方。該照片刊登在Domus雜志的一篇文章中，文中景觀設計師認為，“自然”是一種人類建筑。

Photo of a series of concrete poles in a nature reserve which provide birds with a resting place. The image featured in a Domus magazine article in which the landscape architect argues that "nature" is a human construct.

Focognano池塘，卡羅·斯科錢蒂，佛羅倫薩（意大利），1999年/Ponds of Focognano by Carlo Scoccianti, Florence (Italy), 1999

7 一個8hm2公園的拼貼。歐洲里爾城市開發(fā)的一部分，公園位于新高速火車站、老城和商業(yè)區(qū)之間。這個花園最不尋常的特點是一個被稱為德布朗斯島的7m高混凝土高臺。故意設計無法進入的結(jié)構(gòu)使得生態(tài)演替過程可以自然發(fā)生，無需人工干預。景觀設計師打算把這個島作為一個種子庫，加強周圍區(qū)域的生物多樣性。

Collage of an 8 hectare park. Part of the vast Euralille city development. The park lies between the new high-speed train station, the historical city and the business district. The most unusual feature of this garden is a 7m high concrete plateau known as Derborence Island. The deliberately inaccessible structure allows for processes of ecological succession to take place spontaneously, without human intervention. The landscape designers intended the island to function as a seed bank, enhancing bio-diversity in the areas that surround it.

項目/Project： 馬蒂斯公園，Derborence工作室：吉爾斯·克萊門特，Acanthe事務所：埃里克·柏林，西爾萬·弗利波，Empreinte事務所：克勞德·庫特屈斯，里爾（法國），1995年/Parc Matisse by Atelier Derborence： Gilles Clément, Acanthe：Eric Berlin & Sylvain Flipo and Empreinte： Claude Courtecuisse, Lille (France), 1995

8、9 一個地下停車場上受氣候控制的城市空間照片及剖面。反射太陽光的白色混凝土表面、種植的樹木和雨水排放霧化器保證了此處在丹麥夏季涼爽的微氣候環(huán)境。

“這是在城市看到和體驗大自然的一種新方式。其目標是通過明確大自然作為一種過程存在的設計，營造一種城市中的自然景觀，同時支持適應氣候和其他功能條件的設計。”

Image and section of a climate controlled urban space above an underground car park. White concrete surfaces that reflect the sun, planted trees and rainwater emitting atomizers ensure a cool micro-climate in the Danish summer.

"It is a new manner of seeing and experiencing nature in the city. The ambition is to create an urban view of nature through a design that clarifies the presence of nature as a process, while simultaneously supporting acclimatization and other functional conditions."

項目/Project： 城市沙丘，SLA，哥本哈根（丹麥），2010年/The City Dune by SLA, Copenhagen (Denmark), 2010

10 期望通過堆疊6個景觀來優(yōu)化空間的36m高的建筑模型（1：100）。

“……在最廣泛的意義上，大自然在這樣一種密度增加中會起到什么樣的作用？這里的問題不是字面上和隱喻上的‘新自然’嗎？2000年在德國漢諾威舉辦的世界博覽會……似乎尤其注重生態(tài)的懷舊拾影：對技術和消費社會、對瀝青和機械的簡單評論。荷蘭館方案顯示的恰恰是技術和自然的混合，強調(diào)大自然的可制造性和人為性：技術和自然不必是相互排斥的，它們可以十分完美地相互加強?！?/p>

Model (1：100) of a 36m tall building that aspires to optimize space by stacking six landscapes.

"... what role will nature, in the widest sense, play in such an increase in density? Is not the issue here "new nature" literally and metaphorically? The World Fair in Hannover 2000 ... seems to be devoted particularly to a nostalgic glimpse of ecology：a simple critique of technology and the consumer society, of asphalt and machinery. What the Dutch entry shows is precisely a mix of technology and nature, emphasizing nature's makeability and artificiality： technology and nature need not be mutually exclusive, they can perfectly well reinforce one another."

項目/Project： 2000年世博會荷蘭館，漢諾威（德國），2000年/Dutch Pavilion for Expo 2000 by MVRDV, Hannover (Germany), 2000（引用/Quote：建筑師對項目的描述/ Architects' project description.）

11 一個高懸在地面上的旅館，17m2的巢居只能通過一個可伸縮的梯子進入。地板采暖系統(tǒng)使用本地產(chǎn)生的電能。

“鳥巢房的外部只是一個巨大的鳥巢。它形成一種偽裝，使其很快消失成為環(huán)境的一部分。另一方面，內(nèi)部既讓人感到熟悉又與眾不同。這是一個寬敞的環(huán)境，足夠有兩個孩子的家庭使用。”

Image of a hotel room. Suspended high above ground, the 17m2nest can only be accessed via a retractable ladder. It uses locally produced electricity for an underfloor heating system.

"The Bird's Nest Room's exterior is nothing but a gigantic bird's nest. It gives a camouflage so you quickly disappear and become part of the surroundings. The interior, on the other hand, is familiar and exclusive. It's a spacious environment where a family with two children can comfortably spread out."

項目/Project： 樹屋酒店（鳥巢房），哈拉斯（瑞典），2010年/Treehotel (Bird's Nest Room) by Inredningsgruppen, Harads (Sweden), 2010

12、13 由實心木材或混凝土預制墻體和屋頂元素組裝的模塊化水力發(fā)電站項目的模型（1：500）和效果圖。該發(fā)電站由一家私營電力公司Fjellkraft委托建造。形狀根據(jù)場地條件和其安置渦輪的類型有所不同。委托人認為，這種類型的小裝置的介入影響較小，在使用壽命結(jié)束時更容易拆除，且不需要進行河流改道。在該公司被賣掉時，這個項目被取消了。

Models (1：500) and rendering for a project of modular hydroelectric power stations, assembled from prefabricated wall and roof elements in solid wood or concrete. The stations were commissioned by Fjellkraft, a private power company. The shapes differ depending on site conditions and the type of turbine they house. The commissioner argues that small installations of this type are less intrusive, easier to remove at the end of their lifetime and do not require river diversions. This particular project was cancelled when the company was sold.

項目/Project： Fjellkraft模塊化水力發(fā)電站，曼泰·庫拉，內(nèi)斯比恩（挪威），2007年/Modular Hydro Power Stations for Fjellkraft by Manthey Kula, Nesbyen (Norway), 2007

14 -17 為了在城市中增加綠地，兩座高樓的立面被設計為可容納900棵喬木、灌木和植物的垂直森林。

a. 市中心一個豪華住宅及商業(yè)開發(fā)的演示模型（1：200，圖14）

b. 更大背景中的一座塔樓混凝土結(jié)構(gòu)的照片（圖15）

c. 城外苗圃樹木的照片，必須先用兩年的時間來培植出適宜的根部結(jié)構(gòu)，才能讓樹在建筑立面上存活（圖16）

d. 2012年拍攝的照片，起重機正在把第一棵樹放到建筑物的懸臂上（圖17）

In an effort to increase green spaces in the city the fa?ades of two towers were designed to accommodate a Vertical Forest of 900 trees, shrubs and plants.

a. Presentation model (1：200) of a luxury residential and commercial development in the city centre (Fig. 14)

b. Photo of the concrete structure of one tower in its wider context (Fig.15)

c. Photo of the trees in nurseries outside the city where they must first spend two years developing the right root structure in order to survive the shock of being translated onto the building fa?ades (Fig.16)

d. Photo taken in 2012 of the crane ceremoniously placing the first tree onto the building's cantilevers (Fig. 17)

項目/Project： Torri Isola Bosco Verticale，博埃里工作室，米蘭（意大利），2014年/Boeri Studio (Stefano Boeri, Gianandrea Barreca, Giovanni La Varra), Milan (Italy), 2014（攝影/Photos：Iwan Baan, Marco Garofalo）

18 一個觀景平臺的照片。該觀景平臺只能通過步行到達，可以觀賞上阿爾代什高原崎嶇的地形以及生長在巖石上的地衣。景觀設計師和一個當?shù)亟M織一起對這個地區(qū)的特性進行了調(diào)研。這些有特色的山坡需要很長一段時間來培養(yǎng)。用現(xiàn)代化和農(nóng)業(yè)機械不可能進入，它們現(xiàn)在又被大自然接手了。按照吉爾斯·克萊門特的說法，這些已經(jīng)成為了野生的“生物庫”，他對類似“荒地”的植物特別感興趣。他稱這些被遺忘的地方為“第三景觀”或“地球花園的未評定片段”。

Photo of a viewing platform, only accessible by foot, offering outlooks on the rugged landscape of the upper Ardèche plateau and on the lichens that grow on its rocks. Together with a local organisation, the landscape architect led an investigation into the properties of the area. For a long time the characteristic hill slopes were cultivated. Impossible to access with modern agricultural machinery, they are now taken over by nature again. These have become wild "biodiversity repositories" according to Gilles Clément, who is particularly interested in the flora of similar "wastelands". He calls these leftover areas “the third landscape" or "the undecided fragment of the planetary garden".

項目/Project： Le Belvédère des Lichens，吉爾斯·克萊門特，阿爾代什山（法國），2007年/Le Belvédère des Lichens by Gilles Clément, Monts d'Ardèche (France), 2007（攝影/Photo： Pierre-Olivier Arnaud）