今天 BPM 新闻将为大家带来一个绝对的“BAM 经典”——为2013年北京世界园艺博览会打造的一个项目。为了建造这个花园，BAM 与美国景观设计大师 Peter Walker 合作，他也是 BAM 领袖们的终身导师。有限/无限花园是景观实验的代表作之一，其核心思想是要在施工现场将每一个细节都完美执行并呈现。此后，「有限/无限」成为 BAM 衡量项目卓越水平的黄金标准。Today Ballistic Propaganda Machine presents an absolute BAM-classic, a project for Beijing Garden Expo in year 2013. For this garden, BAM collaborated with american landscape architect, Peter Walker, lifelong mentor of BAM Principals. The Finite/Infinite garden, is an example of landscape experimentation where profound conceptual thinking is complemented by flaweless execution of every detail on site. As such Finite/Infnite is a standart for the level of excellency characteristic for BAM projects.
有限/无限花园是被两种截然不同的环境而定义的。花园被简单的环形绿篱所覆盖，一条笔直的步道从绿篱中央穿过将花园一分为二，步道的两侧各有一面双面镜墙，而步道中央是一排五米间隔的悬铃木。对于站在镜墙内部的人，由于倒影反射倒影的“理发店效应”，狭窄的步道被变化成为一个“无限的景观”：单排的悬铃木被不断复制成为一片无边的树林。鹅卵石的路径成为一个基准面，无限延伸到镜子反射出的空间深处。
The Finite/Infinite Garden is defined by one device that creates two contrasting conditions. A simple circular parterre garden is bisected by a pathway lined with two walls, each covered with mirrors on both sides. Centered in the pathway is a line of Platanus on a five-meter spacing. For the viewer inside the two walls the pathway and its trees are transformed into an infinite landscape by the ‘barbershop’ effect, in which reflections are reflected on top of reflections. The line of Platanus becomes an orchard that multiplies into infinity. The cobble path becomes a datum plane that extends endlessly into the deep space of the mirrors.
镜墙外侧则是一种与内部无限延伸完全相反的情景。半圆形的绿篱花园，在镜子内形成了清晰完美的圆环。游览者绕过花园可以找到最佳的观测点：两排纤细的钻天杨与悬铃木形成了垂直的两道轴线。穿过整个圆形的花园在镜墙中形成令人迷惑的景象。花园另一侧的树冠与镜中的树干不可思议的形成完整的映像。The exterior condition of the mirror path presents an opposing condition to the expansive infinity of the interior. The parterres, half circles in plan, are completed as tranquil and perfectly uninterrupted circles in the mirror. A viewer rounding the parterres reaches a final gesture: two rows of slender Populus pyramidalis create a secondary axis perpendicular to the Platanus. In the mirror walls a puzzling allee forms across the circles of the parterre. The tree tops of the opposite parterre mysteriously complete the images of the trunks in the mirror.
「有限/无限」花园让 Walker 想起了他早期的景观尝试，那时的他正致力于寻找景观中的极简手法。例如1983年，他在波士顿马尔堡街的屋顶花园中，就曾用小镜子来反射蓝天，镜子是他在早期的试验性花园中所采用适应性材料的典型。相比之下，「有限/无限」花园是一次更宏大、更全局化，也更深奥的概念。The Finite/Infinite Garden recalls Peter Walker’s early landscape experimentations, which were aimed at finding a minimalist expression for the landscape. For example, in the 1983 roof garden on Marlborough Street in Boston the sky is reflected in small mirrors, typical of the modest materials used in these early experimental gardens. Finite/Infinite is at once more grand, more global, and more cerebral.
马尔堡街屋顶花园的小镜子反射了一小片天空，而“有限/无限”花园则反射出人们所感知的自我。正如艺术家 Dan Graham 的名言“如果没有观众艺术将不复存在”，强调了观众在艺术作品中的重要性。Graham 的装置让观众不仅能看到自己，而且可以观察到其他人的动作，因此而创作出艺术作品。The mirrors of the Marlborough Street garden reflected little patches of sky whereas the mirrors of Finite/Infinite reflect the perceiving self of the viewer. Artist Dan Graham famously underscores the importance of the viewer who sees himself in the art work, for without the viewer art does not exist. Graham’s installations allow the viewer to see not only himself but also others in the action of viewing—and thus creating—the work of art. Walker 也从 Lewis Carroll 1871年的文学作品《爱丽丝梦游仙境》中获取过灵感，书中描写了爱丽丝穿过客厅的镜子来到一个光怪陆离的花园里所遭遇的奇妙经历。源于以上众多启发，Walker 在“有限/无限”花园中探索了一种关于花园反射的新视角。Walker also found literary inspiration in Lewis Carroll’s Through the Looking Glass, and What Alice Found There (1871), in which Alice tumbles through the parlor mirror to discover a new Alice in a thoroughly atypical garden of talking flowers. Inspired by these various sources, Walker explores new visions of garden reflectivity in Finite/Infinite.
在设计之初，Peter Walker 表达了他对探索镜子反射的兴趣。当沃克抵达北京时，BAM 为他准备了镜子、反光纸和模型树等材料。Walker 在 BAM 工作室用这些材料进行设计研讨，并概述了草图设计的基本原理和基本模型。BAM 以这样的设计为基础，通过进一步的模型研究、详细的大样模拟、施工图阶段，并最终配合整个施工过程，使设计得以完美的呈现。To initiate the design process Peter Walker expressed his interest in exploration of reflection via mirrors. When Walker visited Beijing, BAM presented him with a kit of elements including mirrors, reflective paper, and model trees. Walker worked in the BAM studio with these materials and outlined the fundamentals of the design in sketches and a basic model. From this handoff BAM carried the design forward through further model studies, detail mock-ups, construction drawings, and finally overseeing the construction. 从硬景细部，到植物选择，再到现场配合与监督，BAM 在业主与施工方眼中似乎始终都是一个麻烦的对象，因为在整个过程中我们始终拒绝妥协，力求完美。哪怕是需要我们亲自爬上树顶去剪枝，我们也会毫不犹豫。照片上可以看到，Jake 就是这么做的。在这个项目中，尽管 BAM 作为设计和监理异常的严格，但东方园林的施工团队非常专业地完成了任务，将 Peter Walker 精美的设计变为了现实。而这次实践成就了一个设计者、建设者和管理者三方紧密协作的成功案例，也向世界展示了在中国同样可以实现高质量的园林景观。
From the detailing, to the choice of plants, to the on-site supervision BAM was frequently a thorn in the side of both the client and the contractor because we chose to fight for the perfection of the design. We found it necessary to resist any compromises, especially ones based on offers of future work, and if that demand for perfection meant we had to go to the site and trim the trees ourselves, then we would. And we did. Although BAM had to be tough on the contractors, the Oriental Land team executed the design beautifully and professionally, and now all of us—designers, managers, and contractors alike—have a beacon that reveals to the world what landscape can achieve in China.
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