Group Superpositions事務(wù)所

Group Superpositions

艾爾河河畔花園設(shè)計(jì)

Designing a Garden along the River Aire

Group Superpositions事務(wù)所

Group Superpositions

1 俯瞰河流與運(yùn)河General view of the river and the canal

2 概念設(shè)計(jì)方案：現(xiàn)存的運(yùn)河和新的河流Conceptual scheme : the existing canal and the new river

3 河流形態(tài)演變的研究Study of the evolution of the river morphology

位于日內(nèi)瓦南部的艾爾河，翻山越嶺，流經(jīng)歷史悠久的農(nóng)耕村落。河流從19世紀(jì)末到20世紀(jì)40年代逐步改造為運(yùn)河用以防洪。2001年，日內(nèi)瓦市政府發(fā)起了一場(chǎng)高水準(zhǔn)的競(jìng)賽，旨在將河流恢復(fù)到更自然的形態(tài)。事實(shí)上，更深層次的想法是希望通過(guò)拆除運(yùn)河，使河流恢復(fù)之前蜿蜒曲折的形態(tài)，重塑河流原始風(fēng)貌。這是個(gè)沒有公開聲明的要求，支撐它的主要理由是公眾對(duì)運(yùn)河非自然直線形的抵觸。這就是一種回歸，恢復(fù)純粹的自然狀態(tài)；這就是背后的設(shè)計(jì)故事，尋找失落的天堂。

初始方案被否決之后，設(shè)計(jì)團(tuán)隊(duì)提出了新的設(shè)想，改造現(xiàn)有運(yùn)河，為自然河流創(chuàng)造廣闊而自由的流動(dòng)空間。兩者相互平行，彼此呼應(yīng)。在這個(gè)過(guò)程中，運(yùn)河的角色就像是顯示轉(zhuǎn)變的指示器，亦或是參考線，讓游客能夠理解和感受河流在改造前后的變化。該方案成為了疊加兩種狀態(tài)的動(dòng)態(tài)過(guò)程。

設(shè)計(jì)團(tuán)隊(duì)贏得了競(jìng)賽并且主張任何替換或無(wú)視場(chǎng)地現(xiàn)有狀況的設(shè)計(jì)將無(wú)法真正地達(dá)到原始的、自然的狀態(tài)。

在20世紀(jì)80年代，在安德烈·科博斯和博納多·薩齊尼的影響啟發(fā)下，日內(nèi)瓦大學(xué)建筑學(xué)院認(rèn)真地對(duì)這種自然設(shè)計(jì)觀進(jìn)行了試驗(yàn)。一開始人們嘗試在建筑設(shè)計(jì)中使用繪圖修復(fù)方法。然后，將此延伸并應(yīng)用于整個(gè)設(shè)計(jì)領(lǐng)域，逐漸演變?yōu)橐环N由伊莉薩·羅森堡命名的地質(zhì)學(xué)猜想。在這個(gè)猜想中，人們仔細(xì)地思考并調(diào)控著場(chǎng)地的現(xiàn)狀條件和可能的改造方式。這個(gè)方法成為了實(shí)踐的基礎(chǔ)，在此之上人們選擇理性的改進(jìn)方法或深化途經(jīng)。在詳細(xì)的影響因素研究中，歷史文獻(xiàn)、過(guò)往規(guī)劃、歷史圖像以及現(xiàn)存的現(xiàn)場(chǎng)調(diào)研資料和測(cè)量數(shù)據(jù)都被納入考量。

首先對(duì)郎西花園及周邊艾爾河流域的過(guò)街天橋和隧道進(jìn)行實(shí)踐，設(shè)計(jì)方案包含了對(duì)運(yùn)河現(xiàn)狀和河流預(yù)期改變的思考。換句話說(shuō)，此實(shí)踐并不是為了馬上解決問(wèn)題，而是通過(guò)場(chǎng)地條件的模擬疊加去了解河流位移情況。在郎西花園，復(fù)雜的隧道或橋梁就像一個(gè)連貫的門檻，隧道透過(guò)堤壩，橋梁跨過(guò)河流，它是項(xiàng)目實(shí)施前的場(chǎng)景預(yù)演。

4 總體規(guī)劃General plan

5 水景細(xì)部River detail

艾爾河改造項(xiàng)目旨在試圖扭轉(zhuǎn)競(jìng)賽的潛在初衷：僅僅只是否定——否定土地、歷史以及多年來(lái)河床沉積與河流形成之過(guò)程。而設(shè)計(jì)團(tuán)隊(duì)抵制對(duì)文化、建筑文脈與場(chǎng)地形態(tài)之間聯(lián)系的破壞。

競(jìng)賽官方要求更偏向生態(tài)方面，僅僅重視環(huán)境改善的合理需求，而忽視了任何設(shè)計(jì)價(jià)值與考量。自然與文化被置于完全相反的兩個(gè)極端。

設(shè)計(jì)團(tuán)隊(duì)則提出另一種方法，從而將緊迫的生態(tài)遷移與更宏觀的文化變更結(jié)合在一起。設(shè)計(jì)通過(guò)復(fù)雜的組織將新的河流空間和之前運(yùn)河中的一系列花園聯(lián)系在一起。整個(gè)設(shè)計(jì)成為了一個(gè)線性的花園。

約翰·迪克遜·亨特認(rèn)為，花園是自然的3種層次中的重要一環(huán)?；▓@既蘊(yùn)含探索的欲望，又擁有享受的歡愉。在整個(gè)流域原有的山丘形態(tài)和人為改造的痕跡中，這條狹長(zhǎng)的河畔花園組織著這些場(chǎng)面、視野、沖突、材料等元素，旨在為脆弱而珍貴的土地導(dǎo)入問(wèn)題、思考和希望。花園設(shè)計(jì)需要冷靜與自生，最終生成一系列層級(jí)與功能分化的場(chǎng)所，以及能夠承載人們各種活動(dòng)的路徑。運(yùn)河的場(chǎng)地印記是建立這種自生性的關(guān)鍵。一個(gè)永久的印記——它限制并塑造著一組連續(xù)的場(chǎng)景并引入復(fù)雜的時(shí)間性，包括過(guò)去和未來(lái)，回憶和欲望。(1998年，我們?cè)噲D去探尋阿姆斯特丹的伯默紀(jì)念公園的場(chǎng)地印記與人類活動(dòng)間的關(guān)系。一架飛機(jī)在住宅區(qū)墜毀后，我們把損毀建筑物留下的痕跡視為新的開端和希望，一些已經(jīng)消失了的東西仍然留存于親歷者的心里)。

6 運(yùn)河邊的水生花園Water gardens in the canal

7 河流的流動(dòng)軌跡模式The launching pattern of the river

8 運(yùn)河邊的花園Gardens in the canal

對(duì)場(chǎng)地印記和活動(dòng)回憶的融合運(yùn)用需要精妙而審慎的設(shè)計(jì)手法。它不應(yīng)該被理解為回到過(guò)去，而應(yīng)該成為親歷者所描繪的未來(lái)。

鑒于此，一些具有情感沖擊力的場(chǎng)景已經(jīng)成功融合于場(chǎng)地設(shè)計(jì)中。通過(guò)加入新的情感或情緒來(lái)加深對(duì)場(chǎng)地的新的認(rèn)知，可以持續(xù)地吸引游客。啟動(dòng)人們的非自主記憶過(guò)程，能夠削弱時(shí)間和空間的感受。這樣的刺激轉(zhuǎn)移了期望，也喚醒了深埋的、被遺忘的感覺。懸挑于水面之上的混凝土平臺(tái)，吸引游客靠近來(lái)傾聽、細(xì)嗅和觸摸這溪流。當(dāng)一個(gè)小男孩跪到河流邊觸碰水流并大聲高呼的時(shí)候，他所有的感官和快樂就被喚醒了。

在長(zhǎng)達(dá)5km的河畔花園中，設(shè)計(jì)了大量的人工干預(yù)設(shè)備，保證了河流的可控性，并為附近的日內(nèi)瓦市中心抵御洪水提供了安全保障。

多學(xué)科負(fù)責(zé)團(tuán)隊(duì)至關(guān)重要，這很大程度上保證了安全性的構(gòu)建，以及對(duì)生物和生態(tài)改善的全方位提升，包括精確的土壤質(zhì)量控制，努力避免任何基底產(chǎn)生大的變動(dòng)。該團(tuán)隊(duì)在挖掘修建新河床的材料與不同類型堤壩的材料再利用的研究設(shè)計(jì)中，取得了近乎完美的平衡。

對(duì)于河床本身的設(shè)計(jì)和施工，兩個(gè)連續(xù)的建設(shè)階段使用了兩種不同的方式。顯然“河流設(shè)計(jì)”是一個(gè)有趣的術(shù)語(yǔ)，河流自己就會(huì)流淌出自由而完美的設(shè)計(jì)。設(shè)計(jì)團(tuán)隊(duì)意識(shí)到建立一個(gè)固定的河床這種常用的設(shè)計(jì)方法是無(wú)用的，也就是通常工程師們通過(guò)科學(xué)計(jì)算或者景觀設(shè)計(jì)師通過(guò)田園模擬而采取的方法。在第一階段，我們嘗試去除土地的腐殖質(zhì)層，讓河流自由地流動(dòng)形成路徑。最終這將成為一個(gè)完美的河流設(shè)計(jì)。

但是，河流設(shè)計(jì)成功與否主要在洪水季節(jié)接受檢驗(yàn)，因此到這個(gè)過(guò)程產(chǎn)生效果自然需要時(shí)間。由于項(xiàng)目建設(shè)迫在眉睫，國(guó)家環(huán)境部門敦促設(shè)計(jì)團(tuán)隊(duì)找到一種方法，更快地獲得更多元化的新河床。

在第二階段，為了找尋答案，我們將滲流現(xiàn)象考慮其中(一種透過(guò)多孔材料的液體)，我們提供了圖紙和模型，并最終設(shè)計(jì)了一個(gè)鉆石形狀的模式，這種模式開啟了一系列復(fù)雜的、不固定的流動(dòng)渠道。

我們沿著整個(gè)新的河流空間挖掘了這些渠道，保持對(duì)河流豎向的精確控制。這些菱形島嶼易被分解，它們的規(guī)模被塑造成能承載之前蜿蜒河流流量的大小。

最終結(jié)果是壯觀的，設(shè)計(jì)啟發(fā)了大地藝術(shù)家的創(chuàng)作，并且明顯地使人為干預(yù)的效果轉(zhuǎn)化為一個(gè)自然的情況，然后留給大自然慢慢地去侵蝕雕琢。在項(xiàng)目中有一些相似的工作和交集：我們創(chuàng)建了一個(gè)藍(lán)圖，一種發(fā)展模式，該形式可稱作河流和地形之間的游戲。

9 運(yùn)河邊的花園Gardens in the canal

10 水景細(xì)部River detail

新河道空間啟用6個(gè)月后，結(jié)果遠(yuǎn)遠(yuǎn)超出預(yù)期：河流流淌使得多樣化的材料、礫石和砂自然散置。隨著時(shí)間的推移，菱形的幾何形矩陣被顯著地優(yōu)化了。

我們必須接受這一悖論：人為規(guī)劃越明確的河流發(fā)展網(wǎng)格，河流越能自由地做出設(shè)計(jì)。

(編輯/張希)

11 內(nèi)部河堤Dikes interior

項(xiàng)目區(qū)位：瑞士，日內(nèi)瓦

客戶名稱：日內(nèi)瓦市政府

完成日期：2016年

服務(wù)范圍：景觀設(shè)計(jì)

團(tuán)隊(duì)：Group Superpositions

圖片提供：圖1、7、13?Fabio Chironi；圖2～6、10、11、14、16?Group Superpositions；圖8、9、12、15?Jacques Berthet

翻譯：宋怡

校對(duì)：唐彧瑋

The River Aire flows South of Geneva through valleys historically devoted to farming. From late 19thcentury to the 1940s the river was progressively canalized to control flooding. In 2001, the State of Geneva opened a restricted competition to return the river to a more natural form. In fact, the general implicit idea of the competition program was really to restore the river to its original shape and settings, by destroying the canal and redirecting the flows into the former meanders. The main justification for this undeclared demand was the aversion for the unnatural straight line of the canal. It represented a kind of return, based on the well anchored conviction that it is necessary and possible to go back to a state of pure Nature. A search for a lost paradise was, in fact, the narrative behind all this.

Refusing this suggested solution, we instead proposed a plan which combined the existing canal, transformed, with a vast, new, parallel divagation space for the river. In the process the canal becomes the pointer (indication) for the transformations, a reference line giving the visitor a possibility to understand, to feel the before and after. A becoming which superimposes both situations.

We won the competition with the assertion that any project shifts the given situations, and is not a return to the former so called historical,original state of the things.

In the 1980s this design attitude was seriously experimented at the School of Architecture at the University of Geneva, under the illuminating influences of André Corboz and Bernardo Secchi. At the beginning possible applications of painting restoration methods were tested on architectural designs. Then, enlarged and applied to the whole territory, it progressively gave birth to what Elissa Rosenberg named a topographical imagination, where the description of situations and the proposed transformations were carefully thought out and controlled. This approach became the basis on which selected points of radical modifications or intensifications were chosen. In this patient examination of the context of the interventions, historical documents, plans and images were taken into consideration as well as the existing on site observations and measurements.

12 運(yùn)河邊的花園Gardens in the canal

Tested first at the Lancy garden, with the footbridge/tunnel (in the watershed of the Aire river), the design proposals evoke and contain both the given situation and the proposed shift. In other words, the solution doesn't erase the problem, but the superimposition of the given and the transformed makes the displacements more apparent. In Lancy, the complex tunnel/ bridge device functions like a long threshold, penetrating the embankment (tunnel), and crossing the stream (bridge), an evocation of the existing situation before the project was implemented.

Similarly, the aim of the Aire river project is to try to reverse what was implicitly planned in the competition: merely negations–negation of the territory, of its history, of the gradual sedimentation of its formation and transformation through the ages. The design opposes the destruction of all connections between the cultural and architectural traces and the overall morphology of their context.

13 河流全景General view of the river

The official justification for this programmaticinclination was, of course, an ecological one, in which the legitimated necessities of environmental ameliorations submerge all other considerations. A very common new disease nowadays, which implies an opposition between nature and culture.

Our project attempts to propose an alternative path, where the urgent ecological shifts are incorporated into a larger cultural change. The complex organization of the design associates the new river space and a linear series of gardens in the former canal. In reality the whole design becomes one linear garden.

14 運(yùn)河邊的水生花園Water gardens in the canal

Garden understood as one part of the trilogy of the three natures, as recalled by John Dixunt Hunt. Garden as place of questioning as much as pleasure. Facing the whole watershed, the original morphology of the mountains and the traces of the human modifications, this long rivergarden organises the situations, views, confrontations, presences, and materials, aiming at introducing into this fragile and precious territory questions, worries, hopes. The necessary calm and interiority, without which there is no real garden, yields organized sequences of differenciated places and paths allowing a reasonable distribution of people and movments.

The footprint of the canal is a key device for building this interiority. A permanent trace, which limits and frames a succession of situations, introducing a complex temporality, both past and future, memory and desire. (In 1998, we tried to reveal the traces of the site and its events in the design of the Bijlmer memorial, in Amsterdam. After the crash of an airplane into a housing complex, we kept the footprint of the destroyed building -this trace as both an evocation and a new hope, something which has disappeared and yet still remains). This use of traces, this memory of the places, is a very delicate task to manipulate or use. It must not be understood as a return to the past, but instead the becomings suggested by these encounters.

For that reason a certain number of brutal, shocking situations have been introduced at certain choosen places. To continually renew the attention of the visitors, to impose a new understanding of these places, through a new feeling, an emotional impact.To launch an unvoluntary memory process, the one able to shortcircuit time and space. Such provocations divert expectations, and also wake up deeply covered, forgotten sensations. A concrete slab cantileverd above the water asks you to "come near and hear, smell and touch the flow." An attempt to awake all senses and what a joy, when a young boy kneels and touches the flow and says " river! "

All along the five kilometers of the project, one encounters a great number of constructed interventions and devices that guarantee the control of the river and provide security against the floods for the nearby city center of Geneva.

The necessary multidisciplinary composition of the team in charge has successfullly achieved this goal of security, as well as the full range of the biological and ecological improvements, including a precise and decisive control of the soil quality and an effort to avoid any major displacement of the substrates.

A nearly perfect equilibrium has been achieved between the material excavated for the new riverbed and their reuse for the constructionof the different dams.

As for the design and construction of the riverbed itself, two successive phases of realization have produced two different manners. Obviously "to design a river" is an intriging term, as a river usually loves to design itself freely and perfectly.

Conscious of the useless efforts to design and build a fixed riverbed – an approach often taken by engineers (through scientific calculation) or landscape architects (through pastoral mimetic reflex), we try, in a first phase, to excavate the layer of humus and let the riverflow do its job. And the result was a perfect river design.

15 內(nèi)部河堤Dikes interior

But, of course the river designs mainly during floods and consequently the process can take, certainly will take time. Impatient, the state environmental department urged us to find a way to get more quickly a more diversified new bed.

Fishing for an answer, we took into consideration the phenomenon of percolation (a liquid passing through a porous material) and wemade drawings and models and finally designed a diamond-shape pattern which opened a complex serie of undetermined channels for the flows.

These channels were excavated along the entire new river space, maintaining a precise control of the longitudinal profiles of the river. The dimensions of these lozenges islands were configured to be able to 'accept' the sizes of the former meanders.

The result is spectacular and suggests the devices of land artists, effecting clearly artificial interventions into a natural situation, thereafter left to the mercy of natural forces of erosion. There is in our project a familiarity with these works and an intersection: we just created a diagram, a launching pattern, whose forms address the play between the river flow and the prepared terrain.

Six months after the opening of the new river space, the results are beyond our most optimistic expectations: the river flows, while displacing diverse materials, gravels, sand and over time the geometrical matrix of lozenges is significantly modified.

We must accept this paradox: the more defined the launching grid given, the river, the more the river will be free to design.

Location：Geneva，Switzerland

Client：State of Geneva

Completion time：2016

Services：Landscape Architecture

Team of designers :Group Superpositions

Photo Credits：Fig.1/7/13?Fabio Chironi; Fig.2-6/10/11/14/16?Group Superpositions; Fig.8/9/12/15?Jacques Berthet

Translator：SONG Yi

Proofreader：TANG Yu-wei

16 運(yùn)河邊的水生花園Water gardens in the canal