高爐可以成為公園的象征嗎？北萊茵-威斯特法倫州，德國

彼得·拉茨，蒂爾曼·拉茨 文/Text by Peter Latz, Tilman Latz

尚晉 譯/Translated by SHANG Jin

1 杜伊斯堡考珀廣場/Duisburg Cowper plaza（圖片來源/Sources: Peter Sch?fer）

“神話和寓言的世界降臨這座老工廠，錯(cuò)綜復(fù)雜的管道與一組組樓梯、隧道、坡道和人行橋組成的迷宮，巨大地堡構(gòu)成的要塞，猶如山巒而非建筑；一座由高爐和熱風(fēng)器組成的城市，3 座煙囪高聳入云，成為從遠(yuǎn)方就能望見的過去的超大符號(hào)?！?）

高爐可以成為公園的象征嗎？北杜伊斯堡景觀公園的地標(biāo)、抽象的1 號(hào)和2 號(hào)高爐給出了一種答案。在30 年前項(xiàng)目啟動(dòng)時(shí)，最大的挑戰(zhàn)在于將業(yè)已關(guān)閉的高爐廠理解為一種景觀。工業(yè)模式和經(jīng)過時(shí)間證明的英式景觀園林應(yīng)該成為設(shè)計(jì)的范本嗎？

在分析階段，我們對(duì)鐵軌和水系、城市的連接部以及將低矮植物作為信息潛在載體的系統(tǒng)語言提出了問題。我們感到保存它們的可識(shí)別性是解析這些空間最有希望的途徑。我們也可以將它們?cè)诓煌叨壬系奈恢媒庾x為“層”。上層是帶高位步道的鐵軌公園，最下層是水體公園；其間是街道層上的城市步道。各個(gè)植物園是不相連的。新增的要素將各個(gè)系統(tǒng)從空間上、視覺上或是象征意義上連接成一個(gè)新層。我們并沒有嘗試將公園的5 個(gè)層改造成一個(gè)美學(xué)上的“整體”。它們?cè)诟髯缘姆秶鷥?nèi)仍自成一體；它們可以相互獨(dú)立存在，無論從上下左右。

這個(gè)結(jié)果看似雜亂無章。不過，憑借獨(dú)立的結(jié)構(gòu)化平面，我們證明了這種雜亂并非由混亂隨意的法則堆砌出來，而是從有序的規(guī)則中形成的。混亂是無法秩序化的，并且只能通過抽象去理解。

通常來說，“遺留物”象征大自然，而“設(shè)計(jì)物”代表技術(shù)或文化。在這座景觀公園中，這種常識(shí)幾乎被顛倒過來。它的布局、建筑、鋪地被原狀保留；新建物則是自然的象征。在這座公園中，天然與人造景觀之間的典型融合將自然的形象拓展到建成物、遺留物、遺跡和荒地的組合，作為城市景觀反復(fù)出現(xiàn)的要素。

“以這種方式在杜伊斯堡北部營造出一種特殊的景觀。對(duì)它來說，‘景觀’和‘公園’等詞都是不適用的，而且在景觀建筑史上也沒有先例。它是由妙手改造而成的、介于荒野與藝術(shù)之間的一片生土。”2）

如今這座公園已有25 年的歷史。作為一處文化場所，它吸引著各界藝術(shù)的先鋒。將廢棄鋼鐵廠的廠區(qū)和建筑物改造成景觀已不再有試驗(yàn)性。用遺跡和鐵銹的深紅與草地上萌芽的嫩綠形成反差，對(duì)公園文化的要素進(jìn)行闡釋是令人著迷的做法。在國際建筑展（IBA，埃姆舍公園1991-2001）臨時(shí)展示25 年之后，這座公園已是世界聞名。

“北杜伊斯堡景觀公園……是工業(yè)荒地復(fù)興的典范、諸多以此為鑒的改造項(xiàng)目的標(biāo)桿，以及處理工業(yè)生產(chǎn)有害殘留的榜樣?！?）

后續(xù)項(xiàng)目之一是都靈的多拉公園。在那里，巨大場館的支撐結(jié)構(gòu)成了公園的象征性要素?！?/p>

"The world of myths and fables took possession of the old iron works with its bewildering bundles of pipes and stairways, underpasses, ramps and walkways, and the gigantic bunkers, more rocky outcrops than built structures; a city of blast furnaces and hot blast stoves with three chimneys towering above - widely visible mega signs of the past."1)

Can a blast furnace be a symbol for a park? The landmark of the landscape park Duisburg-Nord,the abstract blast furnaces 1 and 2, give an answer.At the beginning of the project 30 years ago, the greatest challenge was to understand the closed blast furnace plant as a landscape. Should the patterns of industry or the proven patterns of English landscape gardening be formative for design?

In the analysis phase, we questioned the system languages of railways and water structures,the city connections and patters of flat vegetation as potential carriers of information. We felt that the preservation of their legibility was the most promising approach to decipher the spaces. We can read their location on physically separated heights also as layers. The upper layer is the railway park with its high promenades, the lowest is the water park; in between the city promenades at the street level. The individual fields of vegetation are unconnected. Connecting elements link the individual systems as a new layer physically, visually or symbolically. There is no attempt to transform the five layers of the park into one esthetic "whole".They remain as what they used to be in their extension; they can exist independently next to and on top of each other.

The result seems chaotic. With separate structural plans, we demonstrated however, that this chaos does not arise from the superposition of chaotic and arbitrary principles, but from regular ones. Chaos cannot be ordered and is only understood in abstraction.

Normally, the "left" symbolises nature, the"planned" technology or culture. In the landscape park this general wisdom has almost changed into the opposite. Patterns, buildings, pavements are left and untouched; the newly built is a symbol of nature. In the park, the archetypal dialogue between the wild and the tamed expands the image of nature into a structure of the built, the left, the ruinous and the wild as recurring elements of an urban landscape.

"North of Duisburg a landscape emerged which does not fit the terms 'landscape' and 'park'and which has no real precedent in the history of landscape architecture. It is a piece of land between wilderness and art, which is given over to careful transformation."2)

The park became 25 years old. As a place of culture, it attracts the avant-garde of the arts.Transforming areas and structures of abandoned ironworks into landscape is no longer an experiment. The interpenetration of elements of garden culture with the ruinous and the rust red in contrast to the fresh green budding of pastures can be addictive. A quarter of a century after the interim presentation of the IBA (International Building Exhibition Emscher Park 1991-2001), the park is world-famous.

"The landscape park Duisburg Nord... a modelevident in the conversion of many industrial sites that followed in its wake - for resurrecting a productive site, and as a prototype approach for mitigating the poisonous relics of manufacture."3)

An example of follow-up projects is the Parco Dora in Turin, where the supporting structure of huge halls became symbolic elements of the park. □

2 杜伊斯堡水體公園清澈的水道/Clear water canal of Duisburg Water park

3 火車碼頭遺址的高位步道/High promenade on the remains of the pier train

注釋/Notes

1) Peter Latz in RUST RED - Landscape Park Duisburg North, p12

2) Karl Ganser in RUST RED - Landscape Park Duisburg North, p8

3) Marc Treib in RUST RED - Landscape Park Duisburg North, p9

4 競賽設(shè)計(jì)平面：為了保持每層獨(dú)立而不改變其構(gòu)型，該體系是分層繪制的。為了說明概念，它們被抽象并疊加在一起：綠色代表鐵軌公園，藍(lán)色是水體公園，而黃色是城市步道/Competition plan: In order to keep autonomous single layers and not to adjust their configuration, the systems were illustrated separately. To clarify the concept they were abstracted and overlaid: the Railway Park is green, the Water Park is blue and the City Promenades are yellow（圖片來源/Sources: ROSTROT）

項(xiàng)目信息/Credits and Data

項(xiàng)目/Project: 北杜伊斯堡景觀公園/Landschaftspark Duisburg Nord

地點(diǎn)/Location: 德國杜伊斯堡/Duisburg, Germany

主持建筑師/Principal Architect: Peter Latz (Latz + Partner,Kranzberg)

建筑設(shè)計(jì)/Architecture: Günther Lipkowsky, Oberhausen

施工/Realisation: Prof. Wigbert Riehl, Latz Riehl Schulz, Kassel規(guī)劃/Planning: Christine Rupp-Stoppel, Karl-Heinz Danielzik (Latz + Partner, Kranzberg)

基底面積/Built Area: 180hm2

造價(jià)/Cost: 1500萬歐元，不包括建筑物、污水渠翻修和

管道工程的費(fèi)用/15M EUR, excluding costs of buildings,renovation and piping of the sewage canal

設(shè)計(jì)與施工時(shí)間/Period of Design and Realisation: 1990-2002

項(xiàng)目/Project: 都靈多拉公園/Parco Dora Turin

地點(diǎn)/Location: 意大利都靈/Turin, Italy

主持建筑師/Principal Architect: Tilman Latz (Latz +Partner, Kranzberg)

項(xiàng)目協(xié)調(diào)/Project Coordination: STS S.p.A., Bologna

建筑設(shè)計(jì)與靜力結(jié)構(gòu)/Architecture and Statics: Studio Pession Assoc, Turin; CMC Studio Ingegneri Assoc, Turin

照明設(shè)計(jì)/Lighting: Pfarré Lighting Design München

藝術(shù)設(shè)計(jì)/Art: Ugo Marano, Cetara

規(guī)劃/Planning: Daniela Strasinsky, D?rte Dannemann (Latz+ Partner, Kranzberg)

基底面積/Built Area: 37hm2

造價(jià)/Cost: 2900萬歐元/29M EUR

設(shè)計(jì)與施工時(shí)間/Period of Design and Realisation: 2004-2012

評(píng)論

張鵬舉：北杜伊斯堡景觀公園是城市運(yùn)營視野下生態(tài)理想與工業(yè)文明平衡發(fā)展的設(shè)計(jì)典范，其教科書式的工業(yè)遺產(chǎn)發(fā)展模式正在不斷地被世人模仿與復(fù)制，但始終難以被模仿和超越的，卻是設(shè)計(jì)者那自由、自信的設(shè)計(jì)手法：多維的景觀系統(tǒng)雖是對(duì)碎片化景觀要素一定程度上的整理，但更多的形式語言，是對(duì)不同類型問題自然應(yīng)對(duì)的結(jié)果。獨(dú)立的景觀系統(tǒng)間難以找到刻意強(qiáng)調(diào)整體的設(shè)計(jì)痕跡，這種“無序”的系統(tǒng)在邂逅的那一瞬間，卻產(chǎn)生了驚艷的視覺和行為體驗(yàn)。這種結(jié)構(gòu)化的平面構(gòu)成似乎代表了另一種建構(gòu)的可能性，以此重新定義公園景觀的設(shè)計(jì)。

張杰：數(shù)字時(shí)代的產(chǎn)品因其抽象的形式傳達(dá)著一種未來主義的神秘，與之相反，傳統(tǒng)的工業(yè)技術(shù)卻常常通過外表，直觀地表達(dá)其內(nèi)在的邏輯，如同透明的機(jī)械鐘一樣，它的神秘在于其雖可見但又深不可測的復(fù)雜性。杜伊斯堡利用老工業(yè)區(qū)改造而成的后工業(yè)景觀公園就是這樣一個(gè)例子。公園的設(shè)計(jì)充分利用了老舊工業(yè)設(shè)備極具沖擊力的復(fù)雜造型和整體環(huán)境，讓人身處于一個(gè)富于敘述性的時(shí)空之中，而新的景觀元素又拉大了人們與過去時(shí)空的距離，使老故事中的場景與人物似乎更加真實(shí)。

Comments

ZHANG Pengju: Landschaftspark Duisburg-Nord,in the view of city operation, functions as a good design model of the balanced development between ideal ecology and industrial civilisation. Its textbookstyle model of industrial heritage development has been constantly imitated and duplicated. Yet, what is difficult to be imitated and surpassed, though, is the free and confident design method that the designer possessed: the multi-dimensional landscape system,to a certain degree, is about the reorganisation of fragmented landscape elements. However, for more of the form of language, it is about the natural responses to different types of problems. It would not be easy to find the emphasised overall trace of the design in the independent landscape system. Such "disordered"systems, though, create breathtaking visual and behavioral experiences when they encounter each other. This structured plane composition seems to represent another possibility of construction, which redefines the park landscape design. (Translated by Dandan Wang)

ZHANG Jie: Products in the digital age convey a futuristic mysterious message due to their abstract forms. On the contrary, traditional industrial technologies often directly express their internal logic through their appearance, just like transparent mechanical clocks, whose mystery lies in their visible but unfathomable complexity. Duisburg's post-industrial landscape park is such an example. The design of the park makes full use of the complex shapes and overall environment of the old industrial equipment with great impact, allowing people to experience a narrative time and space, while the new landscape elements extend the distance between people and the past time and space,making the scenes and characters in the old stories more real. (Translated by PANG Lingbo)

5 都靈多拉公園/parco Dora Turin, Lotto Vitali（圖片來源/Sources: Mattia boero）

6 都靈多拉公園/parco Dora Turin, Lotto Vitali（圖片來源/Sources: Ornella Orlandini）