中国园林·刊首语(2022-07) | 王向荣：过程的景观

《中国园林》

Vol. 38  2022-07 | 319

本期主题：生态智慧与生态实践

德国东部劳西茨(Lausitz)地区蕴含着丰富的褐煤资源，百余年来对褐煤的开采严重破坏了区域的地貌和植被，污染了土壤和地下水。我曾于1995年到访过那里，当时褐煤开采已基本停止，留下的是望不见尽头如月球表面般的荒芜大地和数十处巨大的露天采煤坑。废弃的采煤设备、东倒西歪的工房和遗弃的破旧汽车更让这片土地尽显萧瑟与凋敝。

图1 位于劳西茨地区的一个露天采煤坑(1995年状况，王向荣摄)

置身于这样的环境之中，不免会激发人去追忆这片土地曾经的过去，也会畅想这片土地可能的未来。在这个世界上，有许多葱郁的风景由于人类的影响变为满目疮痍的不毛之地，如同劳西茨这片广袤的露天采煤区；也有许多破坏严重的大地疮疤，经过自然的淘洗或人类与自然的共同作用，演变为生态系统比破坏之前更为复杂多样、景致更具魅力的风景，如英格兰的布罗兹国家公园(The Broads National Park)。中世纪时期，人们在英格兰布罗兹地区大量砍伐林地，开采泥炭用作燃料，后来这些采坑逐渐演变为湖泊及沼泽。多样的生境条件使得这里成为大量动植物的栖息地，人类活动和自然过程共同塑造了浪漫的布罗兹湿地风景。

图2 英格兰布罗兹国家公园(照片来源：

www.visitnorfolk.co.ukpostthe-broads-national-park-7-wonders-of-norfolk)

27年过去了，我没有机会再次踏上劳西茨这片土地，但最近在浏览谷歌地球时偶然发现，采煤区已经变成了延绵的湖区。原来，煤矿关闭后，由于地下水的逐渐渗透、雨水的不断汇集，以及从附近河流的引水，其中20个露天采煤坑已经蓄满了水，形成了总水面面积达130km ² 的湖泊群。经过复垦复绿、艺术介入、家园重建和经济恢复，原来的采煤区已成为度假胜地，每年都吸引数十万游客前来徒步、骑车、游泳、滑冰、驾驶帆船、游览和了解劳西茨的工业历史和文化。这也只是劳西茨采煤区目前的面貌，伴随着水文状况的变化、土壤的更新、植被的恢复、生物的栖息等自然进程的继续及生态修复的深入，未来这里会成为拥有45个大湖的欧洲最大的多湖平原。像英格兰的布罗兹国家公园一样，劳西茨也会比褐煤开采之前拥有更丰富的生境类型、更多的栖息物种和更具吸引力的风景。但这仍然不会是劳西茨最终的面貌，而只是它在不断演变过程中的一个片段。

图3 劳西茨采煤区已经成为湖泊群(照片来源：

www.welt.de/reise/deutschland/article174518356/Lausitz-Wo-Europas-groesste-kuenstliche-Seenplatte-entsteht.html)

万物都在变化，唯有变化不变。人类文明早期的哲学就指出世上没有永恒不变的事物，古希腊哲学家赫拉克利特(Heraclitus)认为“一切皆流，无物常驻”；庄子说“方生方死，方死方生”。近现代哲学家更深入地探讨了这一问题。恩格斯认为“世界是过程的集合”；怀特海(Alfred North Whitehead)主张世界本质上是一个不断生成的动态过程，自然、社会和思维乃至整个宇宙，都处于永恒的创造和进化过程之中；布洛赫(Ernst Bloch)认为自然不会停息，“自然是过程，自然是主体，自然是潮流、溢出和运动”。我们所见的任何事物都是由一种形态向另一种形态过渡的中间环节，其发生与发展无始亦无终。

可是在人类的各种建造中，我们却总是试图追求一种永恒，设计师往往希望自己的设计作品成为最终的杰作，而现代工程师更是用技术的思维和手段，力求塑造一个能抵御自然力冲击的硬化世界。甚至在与自然密切相关的园林中，我们也常常通过高强度干预和养护的途径，希望阻断自然的演替过程，来维系一个稳定的景观，如无论立地条件如何，设计都将一个固有的形式强加于场地；用借水引水创造并保持园中恒定的水景，而忽视场地中自然降水的循环与管理；不断铲除自然萌发的植物，以保证设计植被群落的稳定；甚至还将植物修剪或编织成各种造型，以满足部分人奇僻的审美。 

↑图4 某城市的河道，技术的思维和手段试图将我们的环境塑造成一个能抵御自然力冲击的硬化世界(王向荣摄)

↑图5 Sceaux园，历史园林多通过高强度干预的手段来维系一个稳定的景观(王向荣摄)

生态学的发展及其思想的渐入人心，让设计师认识到了景观的过程性。自然界每时每刻都在变化，景观作为这个动态变化过程的折射，也随着自然进程的改变而改变。风景园林师麦克哈格(Ian McHarg)将整个大地作为一个生态系统，在这个系统中，气候、地形、地表水、地下水、植物、野生动物、土地利用等都是重要的要素。他把对各个要素的单独分析综合成整个景观规划的依据。麦克哈格还得出了关于形式的概念——形式不是强加的，而是演进过程中的一个特定的阶段。

图6 麦克哈格把对各个要素的单独分析综合成整个景观规划的依据(图片来源：伊恩·麦克哈格.设计结合自然)

“二战”之后艺术的探索也启发了人们对景观过程性的思考。与古典艺术追求稳定的秩序和永恒的美完全不同，一些新艺术思潮主张与自然界的动态、变化、分解、侵蚀和无序相伴。其中，过程艺术认为艺术不再需要一个固定的形态，转而关注作品的过程，将作品的呈现建立在时间的维度中。而大地艺术则运用土地、岩石、水、树木等材料在自然之中塑造作品，伴随着自然力的作用，表现出自然过程的力量，以及动态和无序的美。

↑图7 艺术家Herman Prigann在劳西茨地区的一个露天采煤坑边上创作的大地艺术作品“黄色坡道”(Gelbe Rampe)(1995年，王向荣摄)

↑图8 艺术家Herman Prigann在劳西茨地区的一个露天采煤坑边上创作的大地艺术作品“黄色坡道”(Gelbe Rampe)现在的状况(图片来源：

https://www.pritzen.de/pritzen.landschaft/biennale.landart)

↑图9 艺术家Herman Prigann在劳西茨地区的一个露天采煤坑边上创作的大地艺术作品“黄色坡道”(Gelbe Rampe)(1995年，王向荣摄)

从追求景观的永恒到认识景观只是变化过程的一个瞬间的转变，必然导致景观设计思想和方法的变革。更多的风景园林师用变化的眼光看待景观，视景观为生命的过程，并尊重这种过程性。设计从追求一个必须通过不断人工干预来维系的恒定空间形式，转变为提出一种恰当的响应自然过程的策略，从而将景观融入自然的演进之中。

图11 曾经的法兰克福Nidda军用机场的停机坪被破碎，让植物自然萌发生长(王向荣摄)

对景观过程的认知有助于我们在时空维度上更深刻地理解人与自然的互动关系，在保护、修复、规划、设计、建设和管理自然空间和人居环境中选择更适宜的策略，让人工建造顺应自然的规律，借助自然的力量，与周边的环境融合成为一个与自然演进方向相向而行的，动态、开放、具有弹性的生态系统。这样的生态系统面对外界环境的变化具有自我维持、自我调整的能力，并能不断完善，是应对气候变化、旱涝灾害、经济发展、文化延续等复杂的生态和社会问题，维系人工与自然之间的和谐关系的基础。

↑图12 哥本哈根Sankt Kjeld's Square and Bryggervangen曾经是一个以灰色基础设施为特征的街区(图片来源：https://www.sla.dk/cases/sankt-kjelds-square-and-bryggervangen/)

The Lausitz region in eastern Germany is rich in lignite resources. The mining of lignite for more than 100 years has seriously damaged the topography and vegetation of the region, and polluted the soil and groundwater. I visited there in 1995, when lignite mining had largely ceased, leaving an endless lunar-surface-like barren landscape and dozens of gigantic open-pit coal pits. Abandoned coal mining equipment, crooked workshops and abandoned dilapidated cars make the land look desolate.

Being in such an environment will inevitably stimulate people to reminisce about the past of this land and imagine the possible future of it. In this world, there are many lush landscapes turning barren due to human influence, such as the vast open-pit coal mining area in Lausitz, while there are also many severely damaged earth scars evolving into landscapes with more complex and diverse ecosystems and more attractive sceneries than before the destruction with the elutriation by nature or the combined action of humans and nature, such as The Broads National Park in England. During the Middle Ages, people in the Broads region of England cut down forests and mined peat for fuel. Later, these pits gradually evolved into lakes and swamps. Diverse biotope conditions make it a habitat for a large number of animals and plants, and human activities and natural processes have jointly shaped the romantic Broads wetland landscape.

Twenty-seven years have passed, and I haven't had the chance to set foot on Lausitz again, but recently while browsing Google Earth, I stumbled across that a coal mining area has turned into a sprawling lake. It turned out that after the mine was closed, due to the gradual infiltration of groundwater, the continuous collection of rainwater, and the diversion of water from nearby rivers, 20 open-pit coal mining pits have been filled with water, forming a lake group with a total water surface area of 130km ² . After reclamation and greening, artistic intervention, home rebuilding and economic restoration, the former coal mining area has become a resort destination, attracting hundreds of thousands of tourists every year to hike, bike, swim, skate, sail, tour and learn about the industrial history and culture of Lausitz. This is only the current appearance of the Lausitz coal mining area. With the continuation of natural processes such as changes in hydrological conditions, soil renewal, vegetation restoration, and biological habitation, as well as the deepening of ecological restoration, it will become the largest lacustrine plain of Europe with 45 big lakes in the future. Like The Broads National Park in England, Lausitz will also have richer habitat types, more habitat species and more attractive sceneries than before the lignite mining. But this still will not be the final face of Lausitz, but just an episode of its ongoing evolution.

Everything is changing, and only changing is constant. The philosophy in the early stage of human civilization pointed out that there are no eternal things in the world. The ancient Greek philosopher Heraclitus believed that "everything flows, and nothing is permanent", and the ancient Taoist Zhuangzi said that "things start to die slowly when they are born, and vice versa, when things die, it also means the beginning of life". Modern and contemporary philosophers have explored this issue in greater depth. Engels believes that "the world is a collection of processes"; Alfred North Whitehead maintains that the world is essentially a dynamic process of continuous generation, and nature, society and thinking, as well as the entire universe, are in an eternal process of creation and evolution; and Ernst Bloch believes that nature will not stop, and "nature is process, nature is subject, and nature is current, overflow and movement". Everything we see is an intermediate link in the transition from one form to another, and its occurrence and development have no beginning and no end.

However, in all kinds of human constructions, we always try to pursue a kind of eternity. Designers often hope that their design works will become the ultimate masterpiece, and modern engineers use technical thinking and means to create a hardened structure that can resist the shock by the natural forces. Even in gardens that are closely related to nature, we often use high-intensity intervention and maintenance, hoping to block the natural succession process to maintain a stable landscape. For example, no matter what the site condition is, the design will impose an inherent forms on the site; borrowed water and water diversion are used to create and maintain a constant waterscape in the garden, while ignoring the circulation and management of natural precipitation in the site; naturally germinated plants are constantly eradicated to ensure the stability of the designed vegetation community; and even plants are pruned or woven into various shapes to meet some people's weird aesthetics.

The development of ecology and the gradual penetration of its ideas have made designers realize the process property of landscape. The natural world changes every moment, and the landscape, as a reflection of this dynamic process, also changes with the change of the natural process. Landscape architect Ian McHarg treated the entire land as an ecosystem, in which climate, topography, surface water, groundwater, plants, wildlife, land use, etc., are all important elements. He synthesized the individual analysis of each element into the basis for the overall landscape planning. McHarg also came up with the concept of form - a form that is not imposed, but a specific stage in an evolutionary process.

The exploration of art after World War II also inspired people to think about the process property of landscape. Completely different from the pursuit of stable order and timeless beauty in classical art, some new art trends advocated accompanying the dynamics, change, decomposition, erosion and disorder of the natural world. Among them, process art believes that art no longer needs a fixed form, and instead focuses on the process of the work, and establishes the presentation of the work in the dimension of time. Land art, on the other hand, uses materials such as land, rocks, water, and trees to shape works in nature, along with the action of natural forces, showing the power of natural processes, as well as the beauty of dynamics and disorder.

From the pursuit of the eternity of the landscape to the realization that the landscape is just a momentary change in the process of change, it will inevitably lead to the change of landscape design ideas and methods. More landscape architects look at landscape with changing eyes, regard landscape as the process of life, and respect this process. The design shifts from pursuing a constant spatial form that must be maintained through constant human intervention, to proposing a strategy that responds appropriately to natural processes, thereby integrating the landscape into the evolution of nature.

The cognition of landscape process helps us to have a deeper understanding of the interaction between man and nature in the dimension of time and space, choose more appropriate strategies in the protection, restoration, planning, design, construction and management of natural space and human settlements, let the artificial construction conform to the laws of nature, and with the help of the power of nature, integrate with the surrounding environment into a dynamic, open and elastic ecosystem that moves in the concerted direction of the natural evolution. Such an ecosystem has the ability of self-sustaining and self-adjustment in the face of changes in the external environment and can be continuously improved, and it is the basis for coping with complex ecological and social problems such as climate change, drought and flood disasters, economic development, and cultural continuity, and maintaining the harmonious relationship between artificial construction and nature. 

本刊主编：王向荣 教授

Prof. Dr.-Ing. WANG Xiangrong

Chief Editor

王向荣.过程的景观[J].中国园林，2022，38(7)：2-3.

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