《风景园林》2023-06刊首语 | 李梦一欣：后工业景观
全文刊登于《风景园林》2023年第6期 P8-9
后工业景观
Post-Industrial Landscape
工业时代，那个代表着速度和“进步”的纷繁世界，曾支配着城市中无数钢铁厂日夜不停地运转。厂房内外相互交错的管道和楼梯、生产与运输通道、坡道以及久久矗立的高炉和热风炉，与其说是一种建筑结构，不如说它们共同组成了一个复杂的钢铁城市。随着技术创新、产业转型和社会变迁，在城市内部和边缘地区不断涌现多尺度工业废弃地，它们促使风景园林师开始思考由此所带来的诸多问题与挑战。在社会和生态层面，如何将那些承载着工业遗存且被污染的“反场所”（anti-place）变成一种美好的城市绿色空间，继而拓展除花园以外的理想景观范式？在情感和理性层面，如何能在日常生活中引导空间使用者与被改造的工业区域产生更为紧密的联系？在文化和美学层面，如何在重塑工业文化的基础上，帮助人们多角度地感知工业自然，并探索具有哲学性意涵的“新环境美学表现”？
在这些疑问与反思中，后工业景观产生了。它或许是利奥·马克思心中“花园里的机器”（The machine in the garden），彼得·拉兹眼中“铁锈”（rust red）斑驳的巨型人造物，也或许是德特玛·约尔格所描绘的“新荒野”（new wilderness）景观。但本质上，这些景观概念都凝聚着工业文化背景下土地、自然和人类生活方式被重新看待与建构的全部过程。
其中，西雅图煤气厂公园、北杜伊斯堡风景公园、高线公园、首钢工业遗址公园等具有突破性意义的后工业景观项目，标志着我们已处于一场轰轰烈烈的景观历史变革中。在这些项目中，公园被视作“流动的景观”，充分揭示着历史与自然的演替，以及工业遗迹和场地生命的延续。有趣的是，这些项目都被赋予“公园”（park）这一主题词。或许，在废弃地转型中，更多设计师希望通过公园这一贴近大众日常生活的绿色空间形式，来提升后工业景观本身的社会认知度，并产生更广泛的空间影响力。事实上，在当代景观生态和美学范式的转变中，所谓的后工业景观公园早已突破了传统意义上的公园内涵，展现出独具魅力的工业崇高感和十分珍贵的城市自然荒野性特征。
那些荒废的厂房、铁轨、采石场、机场用地和垃圾山都已转化为城市景观重构的重要空间资源，为城市发展提供着意料之外的可能性。正如彼得·拉兹所提出的：“与劣地共舞”的后工业景观是我们所共同拥有的独特城市景观典范。由此，当代风景园林专业具备了特殊的使命与责任：我们是在一个被人类近代文明所蹂躏和破坏的沉疴上，创造人类可承受的永续未来。在风景园林领域，塑造后工业景观不仅是一种令人兴奋的挑战，而且能够不断促使风景园林师实现自我认知的转变。因此，涌现出了贝尔纳·拉索斯、理查德·哈格、彼得·拉兹、尼尔·柯克伍德、詹姆斯·科纳等一大批著名的风景园林师，他们所呈现的后工业景观设计哲学与方法至今仍影响着中西方后工业景观理论的更迭与实践的创新。
总之，在回顾与展望中，本期专题希望凝聚后工业景观在理论和实践中所迸发的独特力量，通过不同国家、不同地区专家、学者和设计师们理性且细腻的表达，更广泛地体现后工业景观的多元化发展趋势，推动不同文化背景下后工业景观理念与方法的碰撞与交流。最终，通过设计与研究，实现真正的工业废弃地转型。
The industrial era, a hustle-and-bustle world characteristic of speed and “progress”, has driven countless steel plants in cities to operate day in and day out. Both inside and outside plants, the interlocking pipes and staircases, the channels and ramps for production and transportation, and the ever-standing blast furnaces and hot-air stoves are more a jointly rendered complex steel city than an architectural structure. With technological innovation, industrial transformation and social shifts, multi-scale industrial wastelands keep emerging within and along the fringes of cities, provoking landscape architects to consider the multiple issues and challenges imposed therefrom. On the social and ecological level, how to transform into a beautiful urban green space the contaminated “anti-place” that carries the industrial remains, and in turn expand the ideal landscape paradigms beyond gardens? On the emotional and rational level, how to trigger a closer connection between the space users and the transformed industrial areas in the daily lives? On the cultural and aesthetic level, how to help people perceive the industrial nature from multiple perspectives and explore the “new environmental aesthetic representations” of philosophical connotations on the basis of reshaped industrial culture?
The idea of post-industrial landscape emerges in the midst of such questions and reflections. Perhaps, it is “The Machine in the Garden” as standing in Leo Marx’s mind, or the giant artificiality in “rust red” as appearing in Peter Latz’s eyes, or the “new wilderness” landscape as depicted by Dettmar Jörg. In essence, however, these landscape concepts all condense the entire process of reconceptualizing and reconstructing the land, nature and human lifestyles in the backdrop of industrial culture.
Among them, such trailblazing post-industrial landscape projects as Seattle Gasworks Park, Duisburg-Nord Landscape Park, High Line Park, and Shougang Industrial Heritage Park indicate that we are now already in the midst of a vigorous historical transformation of landscapes. In these projects, parks are regarded as “fluid landscapes,” which can sufficiently uncover the succession of history and nature, while revealing the extension of the life of industrial relics and places. Interestingly, all these projects have been endowed with the theme word “park”. Possibly, when transforming the abandoned sites, more and more architects hope to enhance the social awareness of the post-industrial landscape itself and generate a wider spatial influence by implementing the green space form of park, which is close to the daily life of the public. Virtually, in the shift of contemporary landscape ecology and aesthetics paradigms, the so-called post-industrial landscape parks have long broken through the connotation of park in its traditional sense, but showcased the unique charm of the industrial sublime, as well as the extremely precious characteristics of urban natural wilderness.
The deserted workshops, rails, quarries, airport land and garbage hills have all been transformed into important spatial resources for urban landscapes’ reconstruction, delivering unexpected possibilities for urban development. As suggested by Peter Latz, the post-industrial landscape that “dances with the badlands” is a unique model of urban landscape shared by all of us. Therefore, the profession of contemporary landscape architecture undertakes a special mission and responsibility: We are creating a bearable and sustainable future for human on the severe and lingering miserable basis that has been ravaged and destroyed by human civilization in modern times. In the field of landscape architecture, shaping the post-industrial landscape is not only an exciting challenge, but also an agent that can continually prompt landscape architects to transform their own self-perception. Accordingly, a large host of famous landscape architects have emerged, including Bernard Lassus, Richard Haag, Peter Latz, Niall Kirkwood, James Conner, etc. The philosophy and methodology of post-industrial landscape design as delivered by them are nowadays still influencing the theoretical change and practical innovation of post-industrial landscape both in China and the West.
In summary, the special articles in this issue hope to, in retrospect and prospect, gather the unique force of post-industrial landscape in theory and practice. Through the rational and delicate expressions of experts, scholars and designers from different countries and regions, this issue will, in a more widely manner, demonstrate the diversified development trend of post-industrial landscape, while promoting the collision and exchange between different postindustrial landscape concepts and methods of distinct cultural backgrounds. Eventually, a genuine transformation of industrial waste land will be realized via proper design and research.
本期专题组稿人：李梦一欣
Acquiring editor of the current issue:
LI Mengyixin
2023年5月31日
May 31, 2023
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