在地适洽：“平实建造”地形学设计实践中的景观文化考现

Local Appropriateness: Landscape Culture Modernology and Topographical Practice of "GenuineConstruction"

关键词:  风景园林  景观  文化  考现学  平实建造  在地适洽

Key words:  landscape architecture  landscape  culture  modernology/ Kōgengaku  genuine construction  local appropriateness

摘要:

张鹏举“平实建造”理论“承传统、融自然、低建造”三大原则，就景观文化考现学的分析，可以对应“文化-自然-技术”的多重约束体系，对传统地 形学设计而言，是一种综合性的方法论深化。具体而言，在张鹏举“平时建造”的理论体系中，景观文化考现学在提炼其核心设计原则、推进其设计推演发展过 程、验证其景观文化设计实践中具有方法论的意义。在众多自然环境条件迥异、功能需求差异巨大、景观设计实践多元的作品中，一个核心议题始终贯穿始终， 即场地。场地，既作为“地形学”景观设计基本出发点，又是验证其景观设计实践过程和最终结果的终极目标。与传统地形学设计有所区别的是，场地作为地形 学设计的核心问题，在张鹏举的景观设计实践中不是被动地标定设计要件和景观要素，而是与景观文化的考现学紧密结合，在处理文化约束-自然约束-技术约束 的设计实践推演中，景观所蕴含的存在意义、人地协同、时空关系通过考现学的综合，也呈现出景观考现学方法的显著特征，地形学设计实践可通过景观文化考 现加以回溯，从而提供一种理解张鹏举“平实建造”理论三原则——“承传统、融自然、低建造”关键性“在地适洽”策略的理论视角。

Abstract:

Among Zhang Pengju's numerous "Genuine Construction" design practices, a particular category closely integrates with topography, characterized by their response to, reshaping of, and integration with topography, forming unique local landscapes. This paper uses the method of Landscape Cultural Modernology (考现学, Kōgengaku) to analyze the core issue in Zhang Pengju's theory and practice of "Genuine Construction" - how, in the design process of these examples, landscape cultural elements, through contemporary approaches, ultimately contribute to the realization of "local appropriateness" in Zhang Pengju's "Genuine Construction" designs. First, in response to the constraints of the design site, Zhang Pengju leverages the implicit landscape and culture of the site, using contemporary approaches to promote the transformation of landscape design practice from natural to free. Second, the response to, reshaping of, and integration with topography in Zhang Pengju's work also demonstrates the distinctive characteristics of a landscape contemporary approach. This exploration of topographical design practices can be traced back through landscape cultural contemporary approaches, providing a theoretical perspective for understanding the key "local appropriateness" strategies underlying the three principles of Zhang Pengju's "Genuine Construction" theory: "Reference of Tradition, In to Nature, Low- Tech Construction". This fundamental characteristic of site-based landscape culture, when systematically addressed through the design process, culminates in a "local appropriateness" design methodology for the site, representing a noteworthy new strategy amid these diverse trends. This new strategy is referred to as "landscape cultural Modernology", which encompasses at least the following two aspects: 1) The site is no longer merely the outcome of landscape cultural design but serves as the premise guiding the evolution of the landscape design. By expanding the significance of landscape topography in the design development of the site, the designer's response, exploration, and integration of reality during the design process create a layered reality of multi-source information. Thus, the site transitions from being the goal of landscape design to the starting point for designing the landscape. 2) Landscape design no longer relies solely on the analysis of the site but derives from site-based Landscape Cultural Modernology. By extracting and manifesting the implicit landscape and cultural characteristics of the site from multiple design constraints, the design outcome forms a reconfigured and layered landscape reality, achieving an appropriate integration with the original topographical landscape of the place. Zhang Pengju's theory of "Genuine Construction", based on the three principles of "Reference of Tradition, In to Nature, Low-Tech Construction", can be analyzed through the lens of Landscape Cultural Modernology as corresponding to a multi-constraint system of "culture-nature-technology". For traditional topographical design, this represents a comprehensive methodological refinement. Specifically, within Zhang Pengju's theoretical framework of "Genuine Construction", Landscape Cultural Modernology holds methodological significance in refining its core design principles, advancing its design development process, and validating its practices in landscape cultural design. Across numerous projects with vastly different natural environmental conditions, diverse functional requirements, and varied landscape design practices, one central theme consistently permeates: the site. The site serves not only as the fundamental starting point for "topographical" landscape design but also as the ultimate benchmark for evaluating the process and outcomes of such design practices. Unlike traditional topographical design, where the site is often a passive element defining design requirements and landscape features, in Zhang Pengju's landscape design practice, the site is closely integrated with Landscape Cultural Modernology. In navigating the design process amid cultural, natural, and technical constraints, the inherent human-land synergy, spatiotemporal relationships, and existential meanings embedded in the landscape are synthesized through Landscape Cultural Modernology, forming an actively constructed methodology of "local appropriateness" in landscape design practice.