一本好书｜鲜为人知的一本书为何值得这样被推荐？
荷文名《Het verzonnen Land-Nederlandse landschapsachitectuur in vogelvlucht》
英文名《The invented land - a bird eye view of dutch landscape》
中文名非官方《创造的土地 - 鸟瞰荷兰景观》
The account Petrarch wrote of his new perception of space and his'stepping out of time and space'is world famous. This dramatic event took place on the top of a mountain.Mont Ventoux near Avignon, where he found himself at an extreme distance from the stage upon which the theatre of the world is played out.
Great distance reduces conventional points of reference to unimportant dots in the field of vision-and when all points of reference have disappeared,space becomes immeasurable.Distance also lends perspective to movements in a panorama,reducing them to nothing. And thus the notion of time, which is measurable only by movement,disappears. Petrarch put himself 'outside reality'.Looking back upon the world, infinite space seems an unprecedented phenomenon.The uninterrupted panoramas bring a sense of being enclosed on a cosmic level.
When one looks from the air,distance and time - the elements that enable you to oversee and understand a landscape crossed at ground level - are reduced, and the topography comes to lie beneath you like a map. It is as in a French baroque garden: the higher the viewpoint, the greater the visual control, but the more abstract the image. Aerial photographs arouse the curiosity because they open landscapes to the eye and the soul.'Looking in'from such a distance is fascinating. It makes the aerial photo a neutral source of information, a pure record of reality. Cartography teaches us that there really is no pure mirror of reality. An aerial photograph reflects and constructs the world,reflecting not only a given reality,but also a way of looking which constructs that reality.
The photographer's viewpoint can show us that a landscape is man-made, or pure nature. Suddenly we see how buildings are rooted in the topography, and how spaces and masses play a compositional game. It is even more enjoyable when aerial photos awaken our imagination and tempt us to work at the landscape ourselves. Great and small, inside and outside, near and far - all turn out to be relative and interchangeable. In that sense, an aerial photograph works like a window, or a gateway: as an entrance to a space beyond. The photographer does not describe this world directly, but invites the spectator to imagine what is behind the gate.
A photograph gives us the necessary distance and abstraction, making them self-evident. But the stimulus for the creative conjunction of perception, thought and fantasy must come from the one who takes it.
Petrarch's spatial experience stimulates the reader to connect with distances of contemplation and poetry that are purely internal.Peter van Bolhuis stimulates us by combining the neutral text of the Dutch landscape with the poetic moments designed by landscape architects-not to show us that the Netherlands is complete, but to make a space for newlandscape architecture.
Clemens M. Steenbergen
彼得拉克写的关于他对空间的新认识和“走出时空”的叙述举世闻名。这一戏剧性的事件发生在阿维尼翁附近的蒙特文图克斯山顶上，在那里他发现自己与世界剧院演出的舞台相距甚远。
大距离将传统的参照点缩小为视野中不重要的点，当所有的参照点都消失后，空间就变得无法测量了。距离也为全景图中的运动提供了视角，将其缩小为零。因此，只有运动才能衡量的时间概念就会消失。彼得拉克将自己置于“现实之外”，再回头看这世界，无限的空间似乎是一种前所未有的现象。不间断的全景带来了被封闭在宇宙层面上的感觉。
当一个人从空中、距离和时间上看的时候，那些能让你观察和理解地面上的风景的元素就会减少，地形就会像地图一样躺在你的下面。就像法国巴洛克风格的花园：视角越高，视觉控制力越强，图像就会越抽象。航拍照片之所以能够引起了人们的好奇心，是因为它们成为了眼睛和灵魂的风景。从这样的距离“看着”是令人着迷的，它使航拍照片成为了一个中立的信息来源，一个纯粹的现实记录。制图学告诉我们，实际上没有纯粹的现实镜像。航拍照片反映并构筑了世界，不仅反映了既定的现实，也反映了构筑现实的方式。
摄影师的视角可以展现给我们：一个景观可以是人造的，也可以是纯自然的。突然间，我们看到了建筑是如何建造出来的，以及空间和群众是如何进行组合的。当航拍照片唤醒我们的想象力，并诱使我们在景观中工作时，这样会使我们更加愉快。大和小，内和外，近和远都是相对的并且是可以互换的。从这个意义上说，航拍照片就像一扇窗户，或者一个通道：作为一个通向另一个空间的入口。摄影师没有直接描述这个世界，而是邀请观众想象大门后面的东西。
一张照片给了我们必要的距离和抽象，使它们不言而喻。但是感知、思想和幻想的创造性结合的刺激必须来自于接受它的人。
彼得拉克的空间体验刺激读者将纯粹内在的沉思和诗歌的距离联系起来。彼得·范·博胡伊斯通过将荷兰景观的中性文本与景观设计师设计的诗意时刻结合起来来激发我们的灵感，这并不是为了向我们展示荷兰是全部，而是为了为新的景观建筑创造空间。
知道此书也是在荷兰工作的时候，公司的阁楼图书馆，绿色的书皮在一堆灰色的封面书籍中间显得特别的扎眼，没事多看看这上面的图片会觉得很有意思。
这本书也几乎囊括荷兰现代的著名项目，慢慢的也就把整本书阅读完了。后来要回美国读书带不走，就直接把这本书扫描了。这几年也时不时在电脑上打开重新看，愈发觉得这本书的价值，甚至我自己在做设计的时候也越来越能够感受到这本书对我自己方案的潜移默化的影响，物体与物体之间的组合，上下图层之间的交接方式等等，我感觉都是从这上面得到的。
SOURCE：《Het verzonnen Land-Nederlandse landschapsachitectuur in vogelvlucht》
这本书有点像JC的《Taking measure accoss the American landscape》，但又不能说完全像，《Take》这本书说到底还是在教mapping，有太多于大尺度的东西乃至地理层面的东西， 那个是那个学术时期特有的主观的想把整个景观设计学科的尺度放的过于大的思想在里面的。但是你看这本书的鸟瞰尺度又会相对没有那么大，对应的也是真实的景观项目。有着当时的总平面和鸟瞰的对应关系，能够非常明确的了解设计的意图，并且也能够在设计上面理解一段时间的发展对这个设计本身的影响。
SOURCE：《Het verzonnen Land-Nederlandse landschapsachitectuur in vogelvlucht》
后来在景观的教学过程中会发现同学们在做方案的时候不会分解流线和空间，对于各个图层之间的关系处理有一些特别模糊的地方，乃至一眼看就是错误的地方，我回想起这本书来，推荐给大家。
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