采訪：馬嘉 整理：張博雅 馬嘉

訪談人物：

（日）石原和幸/1958年出生于日本長崎縣/株式會社石原和幸設(shè)計研究所代表、著名的日本庭園設(shè)計師/設(shè)計以植物應(yīng)用見長

Profile:

Born in Nagasaki, Japan in 1958, Ishihara Kazuyuki is the celebrated Japanese garden designer and representative of Ishihara Kazuyuki Design Laboratory Daikanyama Kadan Co., Ltd.

石原和幸先生是活躍在當(dāng)今日本和世界庭園設(shè)計領(lǐng)域的頂尖設(shè)計師之一，他從2004年開始連續(xù)參加園藝領(lǐng)域最具聲望展覽—英國切爾西花園展，至今共獲金獎9枚、白銀獎1枚、銀獎2枚，獎牌和參展類別最佳花園獎的雙料獎4次，并于2016年獲總統(tǒng)獎（The President’s Award）。2017年，石原先生受邀參加2019年北京世界園藝博覽會國外設(shè)計師創(chuàng)意展園項目，這次的作品將于2019年在北京正式亮相。

石原先生早年師從日本花道“池坊”派①，后轉(zhuǎn)向庭園設(shè)計，其作品以植物應(yīng)用見長，最擅長使用苔蘚、日本楓、造型針葉樹等日式元素。在他的設(shè)計中，他力求庭院可以帶給人們笑容。本刊記者對石原和幸先生進(jìn)行了專訪，詳細(xì)講述其職業(yè)歷程、設(shè)計哲學(xué)和對行業(yè)的展望。

LA：《風(fēng)景園林》

Ishihara：石原和幸

從花道到庭園

“對我來說，庭園和插花是一樣的?！?/p>

LA：石原先生目前作為一名庭園設(shè)計師活躍在日本和世界的舞臺上，我們從資料得知您在成為一名庭園設(shè)計師之前，曾入門日本的花道流派“池坊”，您是出于什么原因從花道轉(zhuǎn)向庭園的呢？

Ishihara：最開始是想從事有關(guān)花卉和植物的工作，通過“池坊”的學(xué)習(xí)進(jìn)入這一行業(yè)。以前做鮮切花的工作時受到客戶的委托，那位客戶非常喜歡我用插花技術(shù)設(shè)計的庭園，從那以后逐漸開始通過插花的創(chuàng)意和構(gòu)思設(shè)計庭園。在插花的世界里不僅僅有春夏秋冬四季，更需要感知一年365天的季節(jié)。為客戶設(shè)計365天的景色這一想法，插花和造園是一致的，所以對我來說庭園和插花是一樣的。

LA：日本傳統(tǒng)插花在世界上非常有名，能否給我們簡單介紹一下在“池坊”會學(xué)習(xí)哪些方面的知識？

Ishihara：首先是上述所說的“季節(jié)”，還有一點是用最簡單的花卉表現(xiàn)復(fù)雜的空間感，我通過學(xué)習(xí)插花學(xué)到了空間和季節(jié)的創(chuàng)造手法。

LA：您認(rèn)為庭園與插花在空間創(chuàng)造方面也是相同的嗎？

Ishihara：Yes。假設(shè)在“池坊”用3根樹枝表達(dá)空間，那么這個空間無論大小，利用遠(yuǎn)近感是進(jìn)行枝條構(gòu)成最重要的部分。所以我認(rèn)為通過綠色創(chuàng)造空間，正是因為可以駕馭小的空間，大的空間也可以做到。

切爾西花展上的東方面孔

“那時候沒有錢，就把自己的家賣掉，用賣房子的錢參加?！?/p>

LA：能否向我們簡單介紹一下您參加花展之前的經(jīng)歷呢？比如說您是一直從事花卉工作的嗎？

Ishihara：那之前我一直在日本從事花卉的工作，后來想嘗試進(jìn)行更大尺度的城鎮(zhèn)設(shè)計和更為國際化的工作，這時我了解到切爾西花展。希望能在切爾西花展獲得冠軍，擴(kuò)展設(shè)計的眼界。此外，作為專業(yè)人士只在日本而沒有得到世界認(rèn)可歸根結(jié)底是不行的，出于想在世界上設(shè)計庭園的想法，開始挑戰(zhàn)切爾西花展，以此為開始國際化工作的契機（圖1）。

LA：最初參加切爾西的時候，參展作品是否很快就得到了英國人的理解和認(rèn)同？

Ishihara：這個很困難。雖然很難，但是我認(rèn)為好的作品是不需要語言的。而且剛開始我的水平還很低，通過堅持參展自己也得到了很大提升。我覺得不論英國、日本還是中國，看到好的作品大家就會不由自主“哇”地贊嘆，語言會統(tǒng)統(tǒng)變成擬聲詞。所以我的目標(biāo)是設(shè)計不需要說明的庭園，能讓觀眾驚贊的庭園。

LA：在目前為止的切爾西參展作品里有您比較滿意的作品嗎？

Ishihara：我每年都在參展，每次都希望創(chuàng)作出最好的作品。因此目前來說，2017年的“御所之庭”，在我心目中是完成度最高的作品（圖2～4）。 “garden”的語源是“guard”，源于戰(zhàn)爭的詞語。而“御所”的圍墻很低，沒有被攻打和防御的想法。因此我認(rèn)為圍墻低、開放是和平的標(biāo)志，2016年萌發(fā)了這個庭園的設(shè)計構(gòu)思。2018年也一定會努力將超越今年（2017年）的作品通過切爾西展示給全世界。

LA：到您獲獎為止，或是創(chuàng)作出完成度高的作品為止，有很多經(jīng)歷也積累了很多經(jīng)驗。這過程想必不簡單，您克服了怎樣的困難呢？

Ishihara：切爾西需要在有限的時間里創(chuàng)造高質(zhì)量的庭園，就連今年（2017年）的庭園也不能被稱為完美。短時間內(nèi)創(chuàng)作高質(zhì)量的庭園時，會有好的地方，但每次也有缺憾之處。在下一年修復(fù)設(shè)計缺點，再將積累的經(jīng)驗應(yīng)用到其他作品中。因此，切爾西花展對我來說既是挑戰(zhàn)的舞臺，也是提升庭園設(shè)計水平的地方。

LA：據(jù)我們所知花展需要投入大量的精力、人力、財力進(jìn)行準(zhǔn)備，準(zhǔn)備時間一般是多久？參展所需的資金和員工是如何運作的呢？

Ishihara：我每年都參加切爾西花展，例如2017年，做當(dāng)年的作品時就開始考慮下一年的設(shè)計，再用一年時間自行調(diào)整。所以在花展上雖然是用一周到10天的時間制作，但實際需要用一年時間來考慮設(shè)計的問題。

此外，在資金方面，一年之中大部分時間盡量在世界各地設(shè)計庭園，收入的一部分用于切爾西花展。在人員方面，通常是約40人的團(tuán)隊，其中常駐員工將近20名，包括木匠、泥瓦匠、電工等工匠以及后勤人員；另外，為了讓大家了解、體驗英國的切爾西花展，每年也會帶20個新人或者是正在學(xué)習(xí)景觀的學(xué)生到這個挑戰(zhàn)的舞臺。其中99%都是從日本帶去英國的，團(tuán)隊的交通費、住宿費，參展的材料費全由我們公司負(fù)擔(dān)。

所以說每年參展是非常難的，因為要同時運作龐大的資金、人力和設(shè)計。截至2017年共參加12次，自己各方面的水平通過參展也得到了很大提高。

LA：能否向我們詳細(xì)介紹一下團(tuán)隊中的工匠，比如說您剛剛提到的木匠？他們?nèi)渴遣捎萌毡緜鹘y(tǒng)工法的工匠嗎？

Ishihara：工匠之中首先需要建造建筑物和基礎(chǔ)的木匠，然后石頭之類材料的加工、貼面、善于使用水泥的灰瓦匠，進(jìn)行樹木修剪、種植的植木匠，還有進(jìn)行電氣、水景施工的電工。

1 2016年切爾西花展獲金獎、總統(tǒng)獎作品—千里千庭Chelsea Flower Show 2016 Gold Award, The President Award “Garage Garden”

LA：我們從您的花展作品資料中了解到您會在作品中使用一些日本傳統(tǒng)造園要素，用的是哪里的材料呢？

Ishihara：建筑會在日本預(yù)先組裝一次，并進(jìn)行多次調(diào)整，在日本做好后空運至英國進(jìn)行組裝（圖5～7）。植物、土壤、石材等全部從英國或是其他歐洲諸國引入，在英國進(jìn)行調(diào)整之后再使用。

LA： 能否告訴我們您在作品里大量使用苔蘚的理由？插花中也會用到苔蘚嗎？這些苔蘚是英國當(dāng)?shù)氐膯幔?/p>

Ishihara：苔蘚在世界上有非常多的種類，從高山到低地，在哪里都能找到苔蘚，但是苔蘚需要一定的濕度?，F(xiàn)在世界正逐漸變得干燥，人們看到苔蘚總會不由自主地感到溫和放松。所以我想在能使用苔蘚的時候盡量用，而且希望漂亮的苔蘚能為大家?guī)硇θ?。但是在“池坊”插花時不使用苔蘚，現(xiàn)在作為我自己的風(fēng)格，會經(jīng)常在插花里用到苔蘚。

我的作品中使用最多的苔蘚有2種，一種是挪威的品種，檜葉白發(fā)蘚（Leucobryum juniperoideum）；另一種是大灰蘚（Hypnum plumaeforme），細(xì)長形的、生長在水池邊；此外還會用到一種叫水苔（Herba sphagni）的苔蘚，作為主體綠化的基礎(chǔ)②。

LA：在石原老師出演的電視節(jié)目里，我們留意到您用膠帶打理苔蘚，能不能再跟我們分享一些您的工作細(xì)節(jié)呢？

Ishihara：我認(rèn)為日本人的技術(shù)是細(xì)致的技術(shù)，插花也是如此，會修剪每一枚葉子。在會場上每天都會有落葉，竭盡所能細(xì)致地打理庭園，無論何時都保證作品處于最佳狀態(tài)是我希望通過作品表達(dá)的，是我的“待客之道”。在切爾西花展的展期中我們也是早晚不間斷地掃除，庭園的背面也全部100%打理干凈，進(jìn)到苔蘚里的砂粒會用鑷子夾出來。我認(rèn)為一直保持整潔干凈是很重要的。

2 2017年切爾西花展獲金獎作品—御所之庭Chelsea Flower Show 2017 Gold Award “No wall No war”

從庭院到公共空間

“地圖上紅色的地方，都是做過的項目?！?/p>

LA：除了切爾西花展的參展作品，您還參與其他項目嗎？

Ishihara：我還設(shè)計了很多海外作品，比如受韓國順天市市長委托，在該市設(shè)計了國營的庭園，希望在釜山通過日本文化、庭園和綠色促進(jìn)日韓友好。比起庭園的好壞，能和韓國團(tuán)隊合作是非常難忘的經(jīng)歷。還在新加坡濱海灣花園，用一種苔蘚植物制作了汽車（圖8）。

在日本國內(nèi)也參與了很多項目，我還擔(dān)任了全日本9個地方的綠色大使。最南到?jīng)_繩，擔(dān)任沖繩宮古島的綠色大使，為宮古島設(shè)計了植物園（圖9～11）。還有福岡的希爾頓Sea Hawk酒店，Softbank棒球場的庭園。在京都也有很多我的作品，特別是京都鴨川旁邊。新開業(yè)京都索拉利亞西鐵尊貴酒店，以600m2的苔蘚幕墻作為吸睛之處，這里也用到了我的新技術(shù)。

LA：這些項目里面有您認(rèn)為最滿意的作品嗎？

Ishihara：覺得最滿意的作品有很多，從最近來講就是2017年8月7日竣工的（位于日本東京的）澀谷忠犬八公的庭園（圖12、13）。在一天有50萬人通行，人流量世界第一的十字路口，為八公設(shè)計了永久性的和式庭園。

LA：能否向我們介紹您剛剛提到的新技術(shù)呢？

Ishihara：對于大量使用苔蘚來說，后期維護(hù)非常重要。因此為了維護(hù)吊車夠不到的地方，會像登山一樣從上方吊下吊籃，坐在籃子里進(jìn)行養(yǎng)護(hù)?，F(xiàn)在還在研究用無人機進(jìn)行維護(hù)的可能性，是否能用無人機灑水、修剪等。

LA：那么新技術(shù)和工匠的傳統(tǒng)技術(shù)、切爾西團(tuán)隊和其他項目團(tuán)隊是一樣的嗎？

Ishihara：工匠們一共分成5組，沖繩、九州、關(guān)西、關(guān)東和海外組，海外組是前4組工匠的混合。根據(jù)每次的項目內(nèi)容把適任的工匠組成團(tuán)隊，項目不同人員搭配也不同。這些工匠絕大部分的工作都是跟我合作的，有一位師傅管理所有人。

技術(shù)的種類和技藝每年都在逐漸提高，除了給原本的工匠配備員工傳授技術(shù)，再將新領(lǐng)域的工匠，比如會操作無人機、掌握設(shè)置管線和水凈化技術(shù)的工匠融入進(jìn)來。在全球水質(zhì)差的地方有很多，我們對在世界各國都能凈化水質(zhì)的技術(shù)很有信心。今后也會將新技術(shù)不斷融入團(tuán)隊建設(shè)中。

LA：您剛剛提到在韓國和新加坡進(jìn)行海外項目的時候，是否有從海外引入技術(shù)呢？

Ishihara：有從海外引入的技術(shù)，到了亞熱帶有亞熱帶的技術(shù)，比如肥料、修剪技術(shù)等。在當(dāng)?shù)氐幕A(chǔ)上融入日本的技術(shù)進(jìn)行更新，另一方面也會將當(dāng)?shù)氐募夹g(shù)技藝根據(jù)日本的情況進(jìn)行改良升級應(yīng)用到日本。

設(shè)計哲學(xué)

“創(chuàng)造笑容是我的作品里的一個重要主題?！?/p>

LA：是否存在貫穿所有項目的設(shè)計理念，或者想通過設(shè)計表達(dá)的共通思想？

Ishihara：我很重視“地產(chǎn)地消”，通過使用本土的植物連接庭園和森林。我認(rèn)為我們需要在大都市里建造能令人懷念的風(fēng)景，同時注重生態(tài)系統(tǒng)建設(shè)，不光是人類，鳥類等動物也是地球上重要的伙伴。此外還希望大家看到庭園時能夠舒緩心情、產(chǎn)生笑容，同時感受季節(jié)。

LA：我們在您的介紹里看到關(guān)于長崎的內(nèi)容，這與您作品的設(shè)計思想有什么聯(lián)系嗎？

Ishihara：我是日本長崎原子彈爆炸幸存者的第二代，住在距離爆炸中心約3km的地方。在我小時候，復(fù)興建設(shè)還沒有完成，但是有梯田等風(fēng)景。五六歲的時候，到了6月大量的螢火蟲飛舞空中，天空都會被照亮。那時的風(fēng)景對我來說是無價之寶，我想在世界各地創(chuàng)造這樣的風(fēng)景。鎮(zhèn)子千人左右規(guī)模，大家的關(guān)系真的非常和睦，整個鎮(zhèn)子就是一個大家庭。我非常喜歡長崎老家的風(fēng)景，那里雖然不富裕，但是村民互相之間關(guān)系很好，永遠(yuǎn)都是笑容滿面的。所以對我來說，美的空間就是能給大家?guī)硇θ莸目臻g，正是因為有了那樣美麗的里山③風(fēng)景，人際關(guān)系才能如此和睦。

而且我認(rèn)為世界各地都有屬于當(dāng)?shù)厝嗣竦莫毺氐睦锷剑蚁雱?chuàng)作出能夠喚起人們思鄉(xiāng)之情的作品。受到長崎里山影響的不是庭園的造型和空間，而是那里的生活和思想精神（圖14）。

因此，我想在世界各地建造像“桃源鄉(xiāng)”一樣的風(fēng)景、能成為生態(tài)系統(tǒng)一部分的風(fēng)景，而這些的原點就在長崎。

LA：能否告訴我們一些您作品中表現(xiàn)鄉(xiāng)愁的具體手法嗎？

Ishihara：我想盡可能使用苔蘚，通過苔蘚能使新建成的庭園看起來像已建成幾十年似的（圖15），我想在世界各地盡量運用當(dāng)?shù)氐奶μ\來表達(dá)鄉(xiāng)愁和懷舊。

LA：您在“池坊”學(xué)到的空間和技法對您現(xiàn)在的設(shè)計產(chǎn)生哪些影響呢？

Ishihara：我認(rèn)為歐洲的設(shè)計是加法的設(shè)計，插花是做減法，探討如何用最少的植物表現(xiàn)空間，利用遠(yuǎn)近產(chǎn)生明顯的進(jìn)深感，在此次北京世園會也將用到這些手法。而“池坊”是一切的原點，有“池坊”才有我的現(xiàn)在，我在那里學(xué)習(xí)工作了10年。2017年日本上映了一部叫作《花戰(zhàn)》的電影，是關(guān)于“池坊”的，看過之后會對它有更深入的了解。

LA：您的作品非常漂亮，植物也一直保持在非常良好的狀態(tài)。但是凋謝腐爛也是大自然的一環(huán)，您對大自然消極的一面又是如何考慮的呢？

Ishihara：一種花凋謝之后還會有另一種花開放，接連不斷。除了保證現(xiàn)在好看，我會反復(fù)思考庭園的觀賞價值，考慮一年365天每天不同的樂趣進(jìn)行庭園設(shè)計。就像櫻花，花蕾、盛花期、落櫻各有各的美，我會在庭園里表現(xiàn)植物不同時期的風(fēng)景。

但是腐爛絕對不會展示給觀眾，在哲學(xué)上也有人認(rèn)為腐爛是好的，但是我不會把植物枯萎腐爛的一面給他們看，因為想給大家?guī)硇θ荨?/p>

另一方面，種植大量植物之后其中會有長勢變?nèi)醯闹参铩Ｒ虼宋艺J(rèn)為造園雖然很重要，但維護(hù)更加重要。對鄉(xiāng)土植物進(jìn)行精心維護(hù)，改良優(yōu)化成長勢強的植物，對于造園來說也是很重要的一點。

LA：在您的作品中表現(xiàn)出日本特征，那么您是如何將東方美學(xué)更簡單易懂地傳達(dá)給外國人的呢？

Ishihara：歐洲的庭園會運用大量的花卉，而我則是盡量用少量的花卉表現(xiàn)空間的美。在此次作品中，重點位置會有幾棵作為焦點的樹，雖然用的喬木不多，卻能產(chǎn)生開闊、優(yōu)美的效果。此外還會將亞洲特有的技術(shù)運用到筑石、植物造型修剪等方面。

而對于大眾來說，美的作品就是美的，雕刻也好庭園也好，都是一樣的。比如江戶時期④的浮世繪畫家葛氏北齋，看到他的畫作不需要任何說明大家就會發(fā)出驚贊聲（圖16）。所以，如果我也盡自己最大的努力設(shè)計庭園，一定可以突破東洋和西洋的界限。

關(guān)于此次世園會設(shè)計

“‘鄉(xiāng)愁感’可以促進(jìn)和睦良好的人際關(guān)系，我希望能夠通過綠色連接世界各國人民。”

LA：您可否告訴我們在此次世園會中設(shè)計的主題和設(shè)計理念是什么？

Ishihara：此次的主題是“桃源鄉(xiāng)”，遵循中國的古典文學(xué)來創(chuàng)作。希望通過此次“桃源鄉(xiāng)”的庭園，使游客體會到自然的重要性、自然可以治愈心靈。然后我希望通過這個庭園向各個國家、地區(qū)宣傳這種放松的、像里山一樣的生態(tài)庭園。

3 御所之庭—日式亭Azuma-ya in “No wall No war”

LA：既然“桃源鄉(xiāng)”的設(shè)計主題來自中國的古典文學(xué)，能否向我們介紹一下您是如何通過日本造園手法表達(dá)中國“桃源鄉(xiāng)”這一主題的呢？

Ishihara：我理解中的“桃源鄉(xiāng)”是漁夫走入山中，看到美麗的風(fēng)景但是卻永遠(yuǎn)不能再回到那里。就像我們擁有的自然和美景，如果現(xiàn)在什么都不做就會消失。如何把不可替代的自然留給后世這一課題，不管是在中國還是在日本都是一樣的。在日本也有狛犬石像（相當(dāng)于石獅子）和燈籠，在古代中日就開始進(jìn)行往來，人們相貌也相似，我覺得中國和日本的文化幾乎是一樣的，從天空往下看是沒有國界的，所以我認(rèn)為亞洲人的想法基本是一致的。因此把日本的優(yōu)點帶到中國，同時學(xué)習(xí)中國的長處，創(chuàng)造出能將這些優(yōu)點融為一體的庭園。

LA：能否介紹一下此次作品突出表現(xiàn)之處或是突出的日本特色？

Ishihara：首先是筑石，將日本江戶城等古城砌筑石墻的技術(shù)運用到庭園中。建筑物中會用到木匠精細(xì)的雕空技術(shù)、泥瓦匠的花樣水泥技術(shù)。樹木修剪的工匠可以將普通的樹木像盆栽一樣修剪，小樹也可以創(chuàng)造出有幾十年樹齡般的效果。我會將日本所有技術(shù)都展現(xiàn)在這個庭園里，并教給中國的員工，一起做出比以往更優(yōu)秀的作品。

LA：此次的作品最能夠區(qū)別于其他設(shè)計師或者國家、地區(qū)展園的亮點是那些部分呢？

Ishihara：在我的庭園中花卉運用很少，雖然少但是所有（植物）都看起來像花一樣。還有一點是并非秋天才能體會到季節(jié)感，我的庭園里會使用非常多的植物，估計能有幾百種，下層、中層、上層植物，等等，所以能明顯感受季節(jié)的變換是我作品的亮點之一。

LA：此次作品跟以往的花展作品或項目相比特別之處有何不同之處？設(shè)計過程有沒有遇到什么難題？

Ishihara：首先和切爾西花展不同的是面積比較大，預(yù)計會來很多的游客，所以園路原本想設(shè)計得再窄一些，最終還是需要做寬。不過我希望游人能從多個角度欣賞庭園，從而設(shè)計了高低變化。切爾西的作品主要是從外部欣賞，但此次可以行走于作品之中，所以考慮了安全對策問題。還有在庭園中需要行走一段距離，因此針對老年人設(shè)計了幾處休息場所，可以坐著欣賞的庭園，等等。

LA：您剛剛提到老年人，那么您希望通過此作品向游客帶來什么樣的游覽體驗?zāi)兀?/p>

Ishihara：此次我希望創(chuàng)造的是從兒童到大人包括爺爺奶奶，不同年齡層都能夠樂在其中的庭園。因此在兒童和成人的視線高度范圍內(nèi)都進(jìn)行了創(chuàng)造，比如孩子們看到旋轉(zhuǎn)的水車和瀑布會非常開心。此外也在庭園各處制造變化，創(chuàng)造通過五感體驗的庭園。

LA：北京世園會不僅會迎來北京的游人，世界各國游人也會前來參觀，不同文化背景的游客是否會產(chǎn)生不同的理解？

Ishihara：我參加切爾西花展時總會被問到作品是不是日本風(fēng)格，我覺得不是，這是我自己的風(fēng)格。去英國的時候除了亞洲還有歐洲、美國、澳洲的游客，這么多國家的游客看到我的作品時，最先感受到的是懷念。因此，此次世界各地來的游客也許沒看過我的作品，但是看到的瞬間能夠感到懷念，就達(dá)到我此次的目的了。我認(rèn)為“懷念”這一詞語最重要的是每個人都有自己的故鄉(xiāng)，“鄉(xiāng)愁感”可以促進(jìn)和睦良好的人際關(guān)系，我希望能夠通過綠色連接世界各國人民。

4 御所之庭—夜景燈光效果Night scene lighting up of “No wall No war”

園藝與生活工作

“庭園并不局限于大的空間，小空間里也可以創(chuàng)造庭園?！?/p>

LA：您剛剛提到希望游客看到作品之后能感到鄉(xiāng)愁和幸福，那么家庭園藝也可以產(chǎn)生這樣的感受嗎？

Ishihara：我總能回憶起在我小時候父母從事農(nóng)業(yè)的場景，對于現(xiàn)在的孩子們來說，爸爸就算是用很小的花盆種花、或是擺著一排花盆也會成為日后孩子們懷念的風(fēng)景。因此，我希望我的庭園能成為很多人的綠色契機，看到我的庭園，能讓到現(xiàn)在為止對綠色沒有興趣的人也產(chǎn)生興趣。從一個花盆開始也好，讓孩子們看到爸爸媽媽在種盆花，創(chuàng)造日后覺得懷念的回憶。

LA：很多中國人都非常喜歡花卉和園藝，但是空間非常有限，您能否給中國的觀眾們提供一些家庭園藝的好的建議呢？

Ishihara：其實只種一棵植物也是園藝，可以在小花盆中放些小的動物擺件，創(chuàng)造有趣的微縮場景。庭園并不局限于大的空間，小空間里也可以創(chuàng)造庭園。

LA：您剛才提到時刻保持庭園干凈整潔，但是景觀多是在室外的，這一點又是如何做到的呢？

Ishihara：室外庭園的維護(hù)需要從設(shè)計階段開始考慮，例如商業(yè)設(shè)施，是否需要多用常綠樹，是否開展低維護(hù)成本的設(shè)計等。通過景觀設(shè)計手法可以進(jìn)行控制，在設(shè)計的時候就要認(rèn)真考慮如何保持景觀的狀態(tài)。

最重要的是在設(shè)計階段考慮植物的生長變化，以及在設(shè)計的時候為使用者考慮，什么樣的空間才是最適合他們使用的。

此次在北京世園會的庭園也需要考慮維護(hù)問題，從現(xiàn)在開始就要和主辦方討論，比如將日本的技術(shù)教給有關(guān)人員，能夠自動化維護(hù)的部分通過自動化管理。通過互相溝通，將最好的作品并且是可以維護(hù)管理的作品呈現(xiàn)給大家。做不到盡善盡美也沒關(guān)系，雙方共同成長共同努力，將成果留給后世。

LA：在園藝方面，中國日本都有很多傳統(tǒng)園藝品種，但是在公園或庭園里非常罕見，您的看法是怎樣的？

Ishihara：項目負(fù)責(zé)人會考慮到經(jīng)費等多種復(fù)雜的問題，但是借（北京）世園會這樣的機會，可以讓更多的人感受到自然之美。不僅是費用問題，作為城市財富的一環(huán)，不斷增加綠色和優(yōu)良的植物來提升城市價值，也可以帶來經(jīng)濟(jì)效益。

展望與寄語

“一條街道一座城市，綠色增加了，活力才能得到提升，才更適宜人們居住?！?/p>

LA：您是怎樣看待博覽會或是花展對于園藝學(xué)和造園學(xué)的重要性的？

Ishihara：我認(rèn)為至關(guān)重要。因此我想借助北京世園會的機會創(chuàng)造“桃源鄉(xiāng)”，創(chuàng)造人們向往居住的環(huán)境。比如說今后大多數(shù)人都將住在樓房，但是如果樓房的入口處有瀑布、水車，很多鳥類飛來這里的話，居住環(huán)境就會得到改善。在此次世園會，我將竭盡所能向世界展示我的造園思想。

此外，通過在花展競爭可以提高彼此的技術(shù)，而且會有很多參觀者來看展，可以借此傳播園藝文化。在短時間內(nèi)向人們展示美麗的庭園，并且人們從世界各地前來觀展，這能夠促進(jìn)園藝文化的發(fā)展。

LA：您是如何看待近年來園藝的發(fā)展進(jìn)化的？

Ishihara：我認(rèn)為日本的園藝在衰退，江戶時期是發(fā)展的高峰時期。江戶時代末期，日本是世界上造園師最多的國家，從那以后開始逐漸衰退，但是從今以后也許會有一些增長。那一時期盛行修剪松樹、造園，像迪士尼樂園那樣吸引游客。但那之后受戰(zhàn)爭影響，重要的庭園文化逐漸淡化。在技術(shù)方面也許有一些發(fā)展，但是從整體市場來看正在后退。如果問一般人是否對園藝有興趣，大多數(shù)人更愿意把錢花在手機或者時尚上，能分給園藝的錢相較其他是很少的。因此我認(rèn)為我們還需要更加努力地傳播園藝文化。

傳統(tǒng)的園藝奠定了現(xiàn)代園藝的基礎(chǔ)，所以庭園設(shè)計師、藝術(shù)家們需要加大宣傳綠色的重要性，為后代增添城市里的綠色。建造城市都是先從建筑建起，我認(rèn)為景觀是從綠色建起的，庭園中的都市這一思想還沒能在日本得到實踐，我希望有一天能夠做到。

5 切爾西花展施工團(tuán)隊Construction team of Chelsea Flower Show

6 制備景天墊Preparation of Sedum mat

7 現(xiàn)場組裝日式亭Assemble Azuma-ya on site

LA：能否跟大家分享您對于日本國內(nèi)外庭園設(shè)計今后發(fā)展趨勢的看法？

Ishihara：維護(hù)非常重要，還有經(jīng)營模式。就如同建筑的玻璃幕墻需要擦拭等維護(hù)工作，庭園的維護(hù)也是一樣的。一條街道一座城市，綠色增加了，活力才能得到提升，才更適宜人們居住。

但是我認(rèn)為景觀和植栽在世界上的市場還很小，而且大多是建筑師在建設(shè)城市。我非常希望能從景觀方向開展，形成先有景觀再有建筑的建造過程。加之，為了使熱愛植物和自然景觀的同行們能夠更加活躍在世界舞臺上，我希望每一次都盡力創(chuàng)作出使人感動的作品。

LA：最后我們想問一下您對本屆世園會有怎樣的期待？并想請您表達(dá)一下對世園會的期望或寄語。

Ishihara：在我心目中現(xiàn)在的自然是不可替代的，人類既可以破壞也可以改善自然。希望能夠通過此次世園會，向世界傳播自然的重要性、令人感到鄉(xiāng)愁的風(fēng)景、通過庭園恢復(fù)生態(tài)系統(tǒng)等理念。非常感謝此次邀請我來北京世園會！我一定會全力以赴！

注釋：

① 花道是日本傳統(tǒng)的插花藝術(shù)，有很多流派。池坊是日本最古老的花道流派，來源于禮佛用花。直立式的插花是經(jīng)典的池坊派形式（張博雅注)。

②水苔是一種干燥的苔蘚，保水性強，一般會使用濕的水苔覆在盆栽的土上用于保濕（馬嘉注）。

③ 指日本村落周圍的山林等自然環(huán)境，里山是相對于深山而言，是介于人文與自然之間的景觀（張博雅注)。

④ 江戶時代（1603—1867年），時間上與中國清朝大致相同，是德川幕府統(tǒng)治日本的年代，是日本封建統(tǒng)治的最后一個時代（張博雅注)。

⑤ 圖1～15由石原和幸提供；圖16引自www.pcstore.com.tw。

翻譯：萬靜柯

校對：王晞月

（編輯/王一蘭）

Mr. Ishihara is one of the top designers in the field of garden design who is now active in Japan and the world. He has continuously participated in the most prestigious exhibition—the British Chelsea Flower Show Since 2004 and until now he totally won 9 Gold Awards, 1 Silver-Gilt Award, 2 Silver Awards, and even he had won 4 times double awards, that is, medals and Best Garden Award for Exhibitions Category, and then he won the President’s Award in 2016. In 2007, Mr. Ishihara was invited to take part in the program of the creative gardens designed by foreign designers in Beijing Expo 2019, and his works will be showed of ficially in 2019.

Mr. Ishihara had learned Japanese school of ikebana “Ikenobō”①in early years, and then turned to garden design. And his is good at using plants in his works and he does well in combining some Japanese elements with his works, including moss,Japanese maple and conifers. In his design, he does what he can do to let gardens make people smile.The correspondent of the Journal made an exclusive interview with Mr. Ishihara, telling us his career history,the philosophy of his design and his vision for this industry in detail.

8 新加坡濱海灣花園的苔蘚汽車Moss car in "Gardens by the bay" in Singapore

LA:Landscape ArchitectureJournal

Ishihara: Ishihara Kazuyuki

From Ikebana to Garden Design

"For me, garden design is the same as ikebana."

LA: Now Mr. Ishihara as a garden designer is active in Japan and the stage of the world. According to the statistics, we know that you had learned Japanese school of ikebana “Ikenobō” before you became a garden designer, but why did you change from ikebana to garden design?

Ishihara: Originally I just wanted to go in for jobs related to flowers and plants, and then entered the industry by learning in “Ikenobō”. At one time,when I worked on Fresh Cut Flowers, I was entrusted by a client who adored my garden design with flower arrangement technique. After that, I gradually began to design garden with the creativity and conception from ikebana. In the world of ikebana there are not only the four seasons—spring, summer, autumn, and winter, but the perception of these seasons in 365 days of a year. The idea that to create 365-days view for clients is actually consistent in ikebana and garden design, so they are same to me.

LA: Ikebana is well known around the world,could you please give us a brief introduction of what you would learn in “Ikenobō”?

Ishihara: The first we learn is season. Besides,the simplest ones are used to express the complex sense of space. And I have acquired the ways of creating space and seasons through learning ikebana.

LA: Do you think garden design and ikebana are same in space creation?

Ishihara: Yes. Suppose that in “Ikenobō” we can use three branches to express space, so whether the space is large or small, it is most essential to utilize the sense of far and near view to design branches.Thus, in my opinion, applying “greenness” to create space is suitable for small space, so is large space.

The Oriental Face in Chelsea Flower Show

"At that time I was hard up so that I sold my house, and then I took part in that competition with this money."

LA: Could you please tell us about your experience before you competed in Chelsea Flower Show? For example, have you been engaged in jobs about flowers and plants all the time?

Ishihara: Before I competed in Chelsea Flower Show, I had been engaged in jobs about flowers and plants all the time in Japan. Later on, I was eager to try urban design in large scale and a more international job,at that time Chelsea Flower Show occurred to me. I hoped that I could win the championship, and broaden my horizon in design. In addition, it is not enough that as a professional I was only recognized in Japan rather than the world. Therefore, considering that I wanted to do garden design all over the world, I began to challenge in Chelsea Flower Show and regarded this as the first step for my international job desire (Fig. 1).

LA: When you participated in the Chelsea Flower Show at first, whether your works was soon gained British understanding and recognition?

Ishihara: It is very difficult. Although it is difficult, I think good works don’t need to describe with language. And at first I was on the low level, but I made great progress by carrying on participating in the show. And I feel that whether Britain, Japan or China, as long as one sees good works, he/she can’t help say “Wow”, that is, language will be replaced by onomatopoetic words. Therefore, my aim is to design garden without explaining but shocking audience.

LA: Until now, are there some works satisfying you in your works used to compete in the Chelsea Flower Show?

Ishihara: I take part in the show every year,and every time I hope I can create the best work.So at present, in my mind the work “No wall, no war” is the most complete one (Fig. 2-4). “Garden”is the derivation of “guard” which derives from words on war. The wall of “defense station” is very low without the idea of attacking or defensing others. So I think low and open wall is the symbol of peace. In 2016 the design concept of the garden came out, and in 2018 I must try my best to show my works which exceed those in 2017 to the world.

LA: By the time of your winning awards or your creating the most complete works, you have experienced a lot and acquired much experience.So in the process you must suffer a lot, and how did you overcome these difficulties?

Ishihara: In the Chelsea Flower Show, contestants are required to create quality works in limited time,and even the garden I design this year (2017) can’t be recognized as perfectness. There will be some merits in creating quality garden in short time, but there will be some demerits. I will rectify demerits next year and apply my experience to other world works. Therefore,for me, the Chelsea Flower Show is not only a stage where I can challenge with others, but also the place where I can enhance my ability of designing garden.

LA: As far as we know, preparing for the show needs much energy, manual labor and money, and how long is the preparation time?How do you operate money and manage employees?

Ishihara: I take part in the Chelsea Flower Show every year, for example, in 2017, at the time that when we prepare for this year’s work I begin to consider next year’s, and design by self-adjustment in one year. Therefore, although we create our works within one week to ten days in the show, in fact we consider design with one year.

Besides, from the aspect of money, we try my best to spend much time designing garden around the world within a year, and some of our incomes is used to take part in the Chelsea Flower Show.In terms of personnel, a team usually contains about 40 persons, among which about 20 persons are permanent staff, including carpenter, chunam tiler, electrician, other craftsmen and support staff;moreover, every year 20 new craftsmen or students who are majoring in landscape are taken to the challengeable stage in order to let them know and experience the British Chelsea Flower Show. Among which 99% of them are taken from Japan to Britain,and our company is responsible for our team’s traf fic expenditures, hotel expense, material cost for taking part in the show.

Thus it can be seen that it is hard to participate in the show every year, because money, personnel and design are operated at the same time. By 2017,we have participated in the show 12 times in total.My abilities have been enhanced in all aspects by taking part in the show.

LA: Could you please give us a specific introduction of craftsmen in your team, such as these craftsmen you just mentioned?Are they all the craftsmen using traditional Japanese construction technology?

Ishihara: Among them, the first craftsmen we need are carpenter who can construct buildings and foundation, the second are chunam tilers who can process and plaster the materials like stones,and be good at deal with cement, the third are nurseryman who can prune and plant trees, and the last are electrician who can do execution of works in electronic and water scene.

9 宮古島植物園（春夏季效果）Miyako Botanic Garden (spring and summer)

LA: According to your works in flower show, we know you use some elements of traditional Japanese garden design, where are these materials like stones and plants from?

Ishihara: Buildings are often assembled one time in advance in Japan, and adjusted many times.After being completed in Japan, they will be airlifted to Britain for assembling (Fig. 5-7). Plants, soil,stones and something like these all are introduced from British or other European countries, and after being adjusted in Britain, we will use them.

10 宮古島植物園（冬季效果）Miyako Botanic Garden (winter)

LA: Could you please tell us the reason why you use plenty of moss? Are they used in flower arrangements? And are they from local places of Britain?

Ishihara: There are varieties of mosses in the world, from high mountains to low land, wherever moss can be found, but moss requires certain humidity. Now it’s getting drier and drier gradually in the world, they can’t help but feel soft and relaxed at the sight of moss.Therefore I think we should use moss wherever possible,and use beautiful moss to make everyone pleasant.But we don’t use moss to do flower arrangements in“Ikenob ō”, and now I regard it as my style and always use moss in flower arrangements.

There are two kinds of mosses used mostly in my works, that is, one is Norwegian moss, namedLeucobryum juniperoideum; there is alsoHypnum plumaeformewhich is slender and grows at edge of pool; and when replacing planting with metope greening as the base, this kind of moss,Herba sphagniwill be used②.

LA: In the TV program Mr. Ishihara starred, we noticed that you took care of the moss with tape, so could you please share some details of your work?

Ishihara: I think the Japanese technology is meticulous, so is the flower arrangement, and we will trim each leaf. There will be deciduous leaves every day at the flower show venue, and I will try my best to take care of the garden whenever I want to ensure that my works are in optimum condition,and I hope to express this feature through my work. There will be new trashes at any time, so my “hospitality” is to clean frequently and keep tidy, which is the same as flower arrangements.During the period of the Chelsea flower show, we also constantly clean it from morning to evening,the back of the garden also need be completely cleaned, and even the sand into the moss will be clipped out with tweezers. In my mind, it is necessary to remain clean and tidy.

From Garden to Public Space

"The red parts on the map are places where all the projects I've worked on."

LA: Have you been involved in other projects in addition to the exhibition works at Chelsea Flower Show?

Ishihara: I have also designed many works,for example, commissioned by the mayor of the city Suncheon of South Korea, I designed the state-owned garden trying to promote the friendship between Japan and South Korea through Japanese culture, gardening and “greenness”.Whether garden designed is good or bad, it is an unforgettable experience to cooperate with the team of South Korea. I also designed a car made of the plant “moss” at Gardens by the Bay in Singapore (Fig. 8). I’m very satis fied with it for that I think others’ appreciation embodies the value of a garden.

Moreover, I have participated in many projects and worked as the “greenness ambassador” in nine places across the whole Japan. The southernmost is Okinawa, I acted as the green ambassador of Miyakojima, Okinawa, and designed botanical garden for it (Fig. 9-11). My other works include gardens designed for Hilton Sea Hawk Hotel in Fukuoka and Softbank’s baseball field. Besides,many of my works can also be found in Kyoto,especially around Kamogawa. In the newly-opened Solaria Nishitetsu Hotel Kyoto Premier, I took the 600m2moss curtain wall as the attractiveness which adopted my new techniques.

LA: Is there the most satisfactory work in your projects?

Ishihara: There are many satisfactory works I think and in recent days it should be the garden of Japanese Akita in Shibuya completed on August 7, 2017 (Fig. 12, 13). We designed a permanent Harmony Garden for it at a crossroad with the pedestrian volume ranking first in the world, about 50 thousand per day.

LA: Could you introduce us the new techniques you just mentioned?

Ishihara: For the extensive use of moss, the post-maintenance is very important. We will hang a basket from the top and the workers can stay in the basket to take care of the moss like climbing mountains so as to maintain the places out of the reach of the crane. And we are now studying the possibility of using air machines for maintenance and sprinkling water or trimming plants with it.

LA: Well, are the new techniques and the traditional methods same?And are the team working for the Chelsea Flower Show and other projects teams same?

Ishihara: The craftsmen are classi fied into five groups: the Okinawa, the Kyushu, the Kansai, the Kanto and the Overseas, and the last group are the mixture of the craftsmen in the former four groups. We will choose different craftsmen and form teams according to the project contents. They mostly work with me and a craftsman acts as a top manager to regulate all the people.

Technologies are increasing every year, so we provide the original craftsmen with staff to teach techniques and recruit the craftsmen in new fields who can manipulate the air machines and master the techniques of tubing and water puri fication. In particular, there are many places with poor water quality around the world, but we are con fident in the techniques of water puri fication of all the countries. And we will continue to integrate new techniques into team building in the future.

LA: Were there any techniques inducting from abroad when carrying out foreign projects in the South Korea and Singapore you just mentioned?

Ishihara: We have inducted techniques from abroad and applied the techniques of the subtropical areas when in that places such as fertilizers and pruning skills. On the one hand, we integrated the Japanese techniques and updated on the basis of the local techniques, on the other hand, we also improved the local techniques according to the Japanese practical situation and then applied it.

11 宮古島植物園Miyako Botanic Garden

Philosophy in Design

"Creating smile is an important subject in my works."

LA: Are there any design concepts throughout all the projects or common ideas expressed through designing?

Ishihara: I attach great importance to “l(fā)ocal production for local consumption” through using local plants to connect garden and forest. I think we need to create nostalgic scenery and meanwhile we should pay attention to ecosystem construction, not only humans but also birds and other animals are important partners on the earth. In addition, I also hope that people can feel pleasant, smile at it and perceive the seasons when visiting gardens.

LA: We read the Nagasaki in your introduction, and does it have any relation with your design concept s in your works?

Ishihara: I am the second generation of the survivors of Nagasaki atomic events of Japan, living about 3km from the blast center. The rehabilitation construction was not completed when I was young, but there were other sceneries such as the terraced fields. At the age of 5 and 6, the sky was lighted up by a large number of flying glowworms at night when June came. The scenery at that time was invaluable to me and I want to create such scenery around the world. In addition, a town of about 1,000 people lived in the scenery and the relationship among them was harmonious. The whole town looked like a big family. I really like the scenery in my hometown Nagasaki where although it wasn’t af fluent, the villagers were friendly with each other and they always smiled. So the beautiful space, for me, can make people smile, and it is exactly because of the beautiful Satoyama③scenery that their interpersonal relations are harmonious.

And I think the Satoyama scenery can be found around the world, so I want to create the works that can stimulate people’s homesickness. What the Satoyaman in Nagasaki affect is the lifestyle and spirit instead of the shape and space (Fig. 14).

Therefore, I want to create the scenery like “A Paradise on Earth” which can become a part of ecosystem, and the origin of these can be found in Nagasaki.

LA: Could you tell us the specific methods you used in your works to express nostalgia?

Ishihara: I want to use moss as much as possible, because new garden looks like it has been built for decades through the moss (Fig. 15). I want to use the local moss to express the feeling of nostalgia and reminiscence around the world.

LA: What effects of the space and techniques you learned in “Ikenobō”on your current design?

Ishihara: I think the designing of Europe is addition and ikebana is subtraction which explores how to express space through the least plants.Thus using the method of perspective that the front with high trees and the rear with shorter trees can generate significant sense of depth, and we will use this method in the Beijing Horticultural Expo. “Ikenobō” is the origin of everything and my current achievements also come from it. The movieHana ikusashown in 2017 in Japan is about “Ikenobō”, you will have a more in-depth understanding after watching it.

LA: Your work is very beautiful and the plants are always in a good condition. But withering and decay are also parts of nature,what do you consider of the negative sides of nature?

Ishihara: Another kind of flower blooms after one kind of flower fades, one by one. Not only the current beauty, I will repeatedly think of the view of gardens and design according to the pleasure every day in the whole year. Just like that sakura’s flower bud, blossom and falling petals are different but each beautiful in its own right, I will show the plants’beauty of different periods in the garden.

12 澀谷忠犬八公的庭園（春季效果）Hachiko garden in Shibuya (spring)

13 澀谷忠犬八公的庭園（冬季效果）Hachiko garden in Shibuya (winter)

But the decay will not be shown to visitors.In philosophy, some people think the decay is good but I will not show the withering and decay of plants to most visitors, because I hope people can smile.

On the other hand, there will be the plants that grow weakly after planting a large number of plants. So I think although creating gardens is important, the maintenance is more important than that. Therefore, it is of great significance to maintain the local plants carefully as well as to improve and to modify the plants growing weakly.

LA: Japan’s characteristics are presented in your works, so how do you convey the oriental aesthetics to foreigners in an easy and accessible way?

Ishihara: The European gardens tend to use a lot of flowers but I try to use a small amount of flowers to express the beauty of space. In this work,there will be several trees as focal points in key positions. Although we use few trees, they can have open and graceful effects. In addition, we will apply the special techniques of Asia to stone building,cutting and settling and other aspects.

For the public, beautiful works can bring the sense of beauty, and the sculpture and garden are same. Such as the Japanese painter of Ukiyoe Palaemon Hokusai in the Edo period④, people are amazed when seeing his paintings without any explanations (Fig.16). So I will try my best to design gardens and break through the limits between the east and the west.

The Design of the International Horticultural Exhibition 2019, Beijing

"'Nostalgia' can promote a harmonious and positive interpersonal relationship. I hope that people from all countries can be connected by'greenness'."

LA: Could you tell us the theme and idea of the design to this Expo?

Ishihara: The theme of this Expo is “The Paradise on Earth” Togenkyo, which follows the Chinese fairy tale. I hope that, through visiting this garden themed “The Paradise on Earth”,the visitors can be aware that the nature is very important and it can heal the heart. Moreover, I also hope, with help of this garden, a relaxing and ecological garden which gives you a same feeling of being in the mountains would be advertised to all countries and regions.

14 里山風(fēng)景Satoyama landscape

LA: The theme of “The Paradise on Earth” is originated from the classical Chinese literature, could you tell us how did you express the theme in Japanese ways of garden design?

Ishihara: I understand that “The Paradise on Earth” refers to beautiful scenery that the fisherman saw but can never come back. Even the nature and beautiful scenery we have now would be disappeared from the earth, if we do nothing to protect them.How to preserve the indispensable nature for the future generations is the same issue for both China and Japan. Japan also has koma-inu (stone lions in China) and lantern. And people from China and Japan have contacted with each other since ancient times. Moreover, they look just the same. So I think the culture of these two countries is almost the same. And if you look down at the two countries from Heaven, there is no boundary between them.Therefore, I think what the Asians think is almost same. So I bring the advantages of Japan to China and learn the advantages of Chi na at the same time to create a garden with the advantages of both.

LA: Could you introduce the highlight of this work or the prominent features of Japan?

Ishihara: The first one is the building stone.The technique of building masonry walls of such ancient Japanese cities as Edo Castle is applied to the building of the garden. Besides, we also employ the exquisite technique of carpenter’s carving and hollowing as well as the abundant cement technology of masons. Also, the craftsman who prunes trees can prune the ordinary trees as bonsai, in which way the little trees can be looked like trees with decades of years’ tree-age. I will use all these techniques from Japan in this garden and teach the Chinese staff how to make a better work than ever before.

LA: What are the highlights that can distinguish this garden from other designers’work in other regions and countries?

Ishihara: Flowers are used sparingly in my garden, but all look like flowers. In addition, the feeling of season can be sensed not only in the season of autumn, because many plants are used in my garden with more than hundreds of different kinds, such as the lower, the upper and middle plants. Therefore, having a strong sense of the changing of season is one of my work’s highlight.

LA: What’s the difference between this work and previous ones in other flower shows? Is there any problem in the process of designing?

Ishihara: Firstly, what is different from the Chelsea Flower Show is that the area is larger on the account of many visitors being expected, so the garden path which is designed to be narrow is built to be wider at last. But I hope the visitors can enjoy this garden from many angles, so different heights are shown in the design. The work of the Chelsea Flower Show is mainly appreciated from the outside, but visitors can walk in this garden to appreciate. Thus, we considered safety problems and countermeasures. Moreover, visitors need to walk some distance in the garden, so we designed some rest areas for the elderly where they can have a sit while visiting.

LA: You just mentioned the elderly visitors,so what visiting experience you want to give visitors through this visiting?

Ishihara: This time I want to create a garden that can be enjoyed by different age groups, from children to the grown-ups and the elderly. Therefore, we make some creations from the range of different eye levels of children and the grown-ups. For example, children would be very happy to see the turning waterwheel and waterfall. Besides, we also create many changes around this garden to build a garden that can be experienced from five senses.

LA: The Beijing Expo 2019 will not only attract visitors from Beijing but also visitors from all over the world, so do visitors with different cultural background have different understanding towards it?

Ishihara: When I was at the Chelsea Flower Show, I was frequently asked whether the work is Japanese style. I don’t think so. It’s my own style. When the show was in the UK, many visitors from Asia, Europe, America, and Australia came to enjoy the show. What firstly came to their feelings was missing.Therefore, visitors from all over the world who may not see my works before can sense the feeling of missing when they come to the Beijing Expo 2019,and then I will achieve my goal. I think, for everyone, the important part of“missing” is that everyone has their own hometown. “Nostalgia” can promote a harmonious and positive interpersonal relationship. I hope people from all over the world can be connected by “greenness”.

15苔蘚庭石Mossy garden stone

Gardening and Living

"Gardening is not limited in large space. And garden can also be built in small space."

LA: You just mentioned that you hope visitors can feel nostalgia and happiness from this garden. I want to ask you whether the household gardening can make them feel like that or not.

Ishihara: I can always remember the scene where my parents were engaged in farming when I was a kid. For kids nowadays, dads using very small flowerpots to grow flowers or just displaying a row of flowerpots can be a scene for kids to cherish in the future. So I hope my garden can be an opportunity of “greenness” for many people. After seeing my garden, they can be interested in “greenness” even though they have no interests at all at the beginning. Starting from a flowerpot, parents should let their kids see they are growing flowers, which can be a memory cherished by their kids for a long time.

LA: Many people in China are very fond of flowers and gardening, but the space is very limited. Could you give some suggestions of household gardening for Chinese audience?

Ishihara: In fact, growing only one plant is also called gardening. You can put some little animal decorations in the flowerpot to create an interesting miniature scene. Gardens, not limited in large space, can be created in small space.

LA: You just mentioned that the garden keeps clean all the time, but many landscapes are outside, how do you make that come true?

Ishihara: As to the maintaining of the outside garden, we should consider it from the beginning of the design. We should take account of many problems, such as whether to grow more evergreen trees, and whether to make a design without maintenance. It can be controlled through the techniques of landscape design, so when designing, we should carefully consider how to maintain the state of the landscape.

What is the most important is that we should consider the changes of the plant development. When designing, we should consider for the user and make clear of what kind of space is most suitable for them.

Also, the maintenance of the garden in the Beijing Expo 2019 should also be considered. We should start to have discussions with the organizers from now on to discuss such problems as giving the Japanese techniques to the concerned personnel and automatically managing the automated part of maintenance.By communicating with each other, we hope the best work that is able to be maintained and managed can be presented to everyone. It does not matter if we can’t make the complete perfection. Both parties work together and grow together to leave the fruits to the future generations.

LA: From the aspect of gardening, both China and Japan have many traditional horticultural varieties, but these varieties can rarely be seen in parks or gardens. What’s your opinion?

Ishihara: Project manager would think of many complicated problems,such as expenditure. But through the opportunity of this expo, many people can appreciate the beauty of the nature. It’s not only about expenditure. As a part of city property, “greenness” and good plants can increase the value of the city and bring economic effects to the city.

Expectations and Wishes

"Whether a street or a city, only greenness is added, can vitality be promoted, and can people live more comfortable."

LA: What do you think about the importance of exposition or flower show to horticulture and gardening?

Ishihara: I think it is very important. Therefore, I would like to create the“The Paradise on Earth” and an environment where people yearn for living in with the help of the opportunity of the Beijing Expo 2019. For example,most people will live in buildings in the future, but if there are waterfalls, waterwheel and many birds flying here at the entrance of the building, the living environment will be improved. At this expo,I will try my best to show my gardening ideas to the world.

In addition, each other’s techniques can be improved by competing in the flower show, and there will be many visitors to see the expo, so the horticultural culture can be spread. What’s more,many beautiful gardens will be showed to people at the expo in a short time and people coming from all over the world will see it, which can promote the development of horticultural culture.

LA: What do you think of the evolution of horticulture in recent years?

Ishihara: I think Japanese gardening is declining, and its peak is in Edo age of Japan. In the late Edo age of Japan, the number of Japanese garden designers was the largest all over the world;however, from then on it began to decline, but there may henceforward be some growth. In Edo age of Japan there were so many garden designers that pruning pine and designing garden were prevailing and attracted tourists like Disneyland.But after that major gardening culture was weak.There may be some development in technology, but it backs off in the whole market. If asking whether ordinary people are interested in gardening, maybe most of them prefer spending their money in mobile phones or fashion things, while compared with these, their spending in gardening is less.Therefore, I think we still need make more efforts to spread gardening culture.

16 葛氏北齋代表作《神奈川沖浪里》Katsushika Hokusai’s The Great Wave of Kanagawa

Traditional gardening lays the foundation for modern gardening, so we garden designers and artists should strengthen the publicity of the importance of greenness, and add it to cities for next generations. As construction of cities begins from buildings, I think the construction of landscape starts from greenness. Although the concept of designing gardens in cities isn’t put into practice in Japan, I wish it will come true one day.

LA: Would you like to share us your views of the development trend of garden design in Japan and abroad in the future?

Ishihara: Maintenance is very important,so is the management model. Just like the glass wall of buildings need to be cleaned and other maintenance, so does garden. Whether a street or a city, only greenness is added, can vitality be promoted, and can people live more comfortable.

But in my view, the market of landscape and planting in the world is still small, and mostly architects construct cities. I am eager to carry out a program from the aspect of landscape and form the construction process of landscape first and buildings second. What’s more, I wish I can try my best to create impressive work every time for the fact that my colleagues who have the passion in plant and natural landscape can be more active in the world stage.

LA: What do you expect of the expo? And would you please express your expectations and wishes of the expo?

Ishihara: In my mind, the nature at present is irreplaceable, and it can be destroyed and created. And by this expo I hope to spread the importance of nature,the nostalgia scenery, and some concepts like restoring ecosystem with garden. Thanks a lot for inviting me to come to the expo! I will do everything I can!

Notes:

①Ikebana is a kind of traditional Japanese flower arrangement art including various schools. “Ikenobō” is the oldest school of Ikebana, and it originated from the flower for praying Buddha. And the vertical flower arrangement is the classical form of “Ikenobō” (Noted by ZHANG Boya).

②Herba sphagni is a dry type of moss, which have strong water retention, usually used with wet moss covered in potted soil for moisturizing (Noted by MA Jia).

③It refers to the natural environment of mountains and forest around Japanese villages. Compared with remote mountains, the mountain which is inside the remote mountain is the landscape between humanity and nature(Noted by ZHANG Boya).

④ The Edo age of Japan (1602—1867) which is mostly same with Chinese Qing dynasty in terms of time is the age that Japan was under the rule of Tokugawa Bakufu, and it is the last age of Japanese feudal regime (Noted by ZHANG Boya).

⑤Fig. 1-15 are provided by Ishihara Kazuyuki; Fig. 16 is quoted fromwww.pcstore.com.tw.