工業(yè)遺產(chǎn)的景觀更新

工廠引領(lǐng)了一場改變?nèi)祟惿詈腿颦h(huán)境的革命，巨大的工廠讓人心生敬畏。大概 20多年前，我曾到北京的重型機(jī)器廠參觀，走進(jìn)其中一個 30多m高，可同時容納 200多工人作業(yè)的巨大煉鋼車間。車間內(nèi)不同高度的天梯交錯連接著不同的作業(yè)區(qū)，空中吊車懸掛在頂部的軌道上，通過牽引電力磁鐵把廢鋼或生鐵投送到電弧爐、平爐、轉(zhuǎn)爐等煉鋼爐里進(jìn)行提純與氧化還原，融化形成 1 550～1 700 ℃的鋼水，再到模具里鑄成鋼錠。車間轟隆的噪聲和炙熱的生產(chǎn)場景讓人既驚嘆又目眩。

現(xiàn)代生活是建立在 18世紀(jì)以來工廠在生產(chǎn)、效率和科技方面進(jìn)步的基礎(chǔ)之上的，從城市建設(shè)到生活所需，幾乎都來自工廠的生產(chǎn)制造，支撐著我們享受工業(yè)文明的成果。工廠塑造了我們所生活的現(xiàn)代世界，是從農(nóng)業(yè)文明到工業(yè)文明轉(zhuǎn)變的標(biāo)志。與農(nóng)業(yè)文明類似的是，工業(yè)文明也是人與自然相互關(guān)系的一種表達(dá)方式。

20世紀(jì)中葉，隨著科技與產(chǎn)業(yè)模式的發(fā)展，西方國家開始工業(yè)轉(zhuǎn)型，很多標(biāo)志性的大型工廠停產(chǎn)關(guān)閉，人們對工廠及工業(yè)世界的懷舊之情卻在增長，被稱為“煙囪懷舊”。那時有學(xué)者提出“后工業(yè)社會理論”“后工業(yè)社會的來臨”等概念已為工業(yè)遺產(chǎn)的專業(yè)性探討提供了較成熟的社會學(xué)環(huán)境。對工業(yè)遺產(chǎn)審美的認(rèn)知可以追溯到啟蒙運動時期，當(dāng)時很多畫作中描繪出對古希臘、古羅馬建筑廢墟的贊美，同期的古典花園中也出現(xiàn)營造“廢墟”景觀的風(fēng)氣。對“廢墟”的審美傳統(tǒng)或許有助于對工業(yè)遺產(chǎn)的審美塑造，以廢棄工廠為主題展示生產(chǎn)機(jī)器的攝影作品，如廢棄的水塔、冷卻塔和鼓風(fēng)爐等大型工業(yè)設(shè)備的攝影展，明顯挑戰(zhàn)了傳統(tǒng)的美學(xué)范疇。攝影記錄賦予冰冷的機(jī)器以美學(xué)價值，向觀眾傳遞一種“新的觀看方式”，這種審美方式逐步延伸到后工業(yè)遺產(chǎn)景觀更新的開放空間中。

已經(jīng)冷卻下來不再運轉(zhuǎn)、不再作為生產(chǎn)資料進(jìn)行生產(chǎn)的巨型工廠設(shè)備，被整合到自然公園的場景中，成為了一種景觀，這與參觀煉鋼車間的感受是完全不同的。大部分居民少有機(jī)會體驗到巨大工業(yè)機(jī)器運轉(zhuǎn)時的大生產(chǎn)過程，缺少對工廠詳細(xì)的了解，很難想象蒸汽轟鳴，超高溫環(huán)境下熱火朝天、蕩氣回腸的工業(yè)生產(chǎn)場景。這種由“炙熱”的生產(chǎn)機(jī)器轉(zhuǎn)為“冷卻”的后工業(yè)遺產(chǎn)景觀，作為一種與眾不同的標(biāo)識物，如何在更新過程中維系它作為遺產(chǎn)的風(fēng)貌并保留其原真性，讓參觀者能夠更切身地感受到工廠改變世界的價值，以訴說昔日的榮耀？這是后工業(yè)遺產(chǎn)轉(zhuǎn)變?yōu)槲幕坝^的宏大愿景中重要的議題與挑戰(zhàn)。

不僅是大型工業(yè)設(shè)備，任何類型廢棄工廠的更新都需要對城市作出新的貢獻(xiàn)。那些令人矚目的后工業(yè)更新改造項目，記錄著人們不斷改造環(huán)境、改善生活的智慧與努力，無論這些遺存的改造過程有多么復(fù)雜，它們都是對過去時間的最好標(biāo)記。后工業(yè)遺產(chǎn)的景觀更新通過將自然融入，讓工業(yè)遺產(chǎn)充滿了新的自然生機(jī)，重新定義了作為景觀的價值，但也有逐漸標(biāo)簽化的趨勢。如何在景觀更新中賦予工業(yè)遺產(chǎn)新的能量與情感？讓它仍舊能轉(zhuǎn)化為一種與城市和社會融合的新方式，繼續(xù)它塑造現(xiàn)代生活的使命。期待有更多元方式、更豐富類型的新突破，通過對工業(yè)遺產(chǎn)更深刻的體驗與記憶沉淀，賦予它獨特的審美趣味，似有剪裁，又不著痕跡。

主編：鄭曦教授

2020年6月23日

Landscape Renewal of Industrial Heritage

Factories have led a revolution that have substantially changed human life and the global environment, especially the huge ones that are awe-inspiring. I once visited a Beijing-based heavy machinery factory about 20 years ago. I walked into one of huge steel-making workshops, which is more than 30 meters tall and could accommodate more than 200 workers. In the workshop, the overpass with different heights were interlaced with different operating areas. The aerial crane hanging on the top track delivered scrap steel or pig iron into the steel-making furnaces, including electric arc furnace, flat furnace, and converter, through traction power magnets, for the purpose of purification, oxidation and reduction. Those materials melted into steel water, the temperature of which was 1,550-1,700 ℃ and then were molded into steel ingots in molds. The roaring noise and production scenes in full swing in the workshop were both amazing and dazzling.

Modern life is built based on the factory's improvement in terms of production, efficiency, science and technology since the 18th century. From urban construction to life necessities, they all come from the factory's production and manufacturing, which enable us to enjoy the achievements of industrial civilization. Factories shape the modern world in which we live and symbolize the transformation from agricultural civilization to industrial civilization. Similar to agricultural civilization, industrial civilization also embodies the relationship between man and nature.

With the development of technology and industrial models in the mid-20th century, western countries began their industrial transformation. Many iconic large factories shut down but people's nostalgia for factories and the industrial world never stops but grows subtly, which is known as “chimney nostalgia”. At that time, the concept of “post-industrial society theory” and “the coming of post-industrial society” proposed by some scholars have provided a more mature sociological environment for the professional discussion of industrial heritage. The aesthetic perception of industrial heritage could be traced back to the Enlightenment period when many paintings expressed the appreciation of the glory of the ruins of ancient Greek and Roman architectures. It is in the same period that the classical garden also appeared a tendency to create a “ruin” landscape. The aesthetic tradition of “ruin” extends to the industrial heritage. The aesthetic tradition of “ruins” may help to shape the perception toward the industrial heritage. The photographic exhibition of production machines, such as abandoned water towers, cooling towers and wind stoves, is themed by these abandoned factories. It clearly challenges the traditional aesthetic category. The photographic record gives icy machine the aesthetic value and conveys a “new way of viewing” to the audience. Such aesthetic way gradually extended to the landscape renewal of post-industrial heritage.

Giant factory equipment, which had been shut down and was no longer used for production as a production material, is integrated into the scene of the nature park and becomes a landscape. This is actually different from the experience of visiting the steel-making workshop completely. Most residents hardly have a chance to experience the magnificent production process when these huge industrial machines were running. With rare understandings on factories, residents could hardly imagine the roaring steam and the bustle industrial production scene in the very high temperature environment. As the postindustrial heritage landscape transformed from a “hot” production machine to a “cooling” landscape as well as a distinctive marker, how can it maintain its characters as a heritage, preserve its authenticity in the process of renewal and make visitors better feel the value of the factory that changes the world and recollects the glory of the past? This is an important issue and challenge in the grand vision of the post-industrial heritage transformation into a cultural landscape.

Besides the large industrial equipment, any type of abandoned factory renewal needs to contribute to the city. Those stunning and impressive post-industrial renovation projects witness people's efforts and wisdom of transforming the environment and improving the life quality continuously. No matter how complex the process of transforming these remains is, they are the best representatives that mark the past. Through integrating the nature, the landscape renewal of the post-industrial heritage enables the industrial heritage to gain new natural vitality, redefining the value of landscape. However, the tendency of labeling also appears. We need to consider how to endow new energy and emotion to the industrial heritage in the landscape renewal to make it transform into a new way of integrating with cities and society and continue its mission of shaping modern life. We expect more diversified and richer breakthroughs. More profound experience and memory of the industrial heritage could give it unique aesthetic interest that could appreciate the effect in the graceful switch.