著：（阿根廷/西班牙）梅麗莎·佩索阿 （西班牙）寶拉·奧爾杜尼亞 （西班牙）華金·薩巴特 譯：林靜靜 校：王勤

1 文化景觀的術(shù)語(yǔ)簡(jiǎn)析

“景觀”一詞（英語(yǔ)landscape，西班牙語(yǔ)paisaje）的誕生與人類如何看待特定空間有著緊密的聯(lián)系。其詞源與撒克遜語(yǔ)的“l(fā)andschaft”或源自拉丁語(yǔ)“pagus”的西班牙語(yǔ)Payés相關(guān)。拉美景觀是19世紀(jì)初亞歷山大·馮·洪堡在其地理學(xué)著作中用來傳播這一名詞的關(guān)鍵元素，他將這些景象作為一種審美觀帶到了歐洲，尤其是代表了崇高之美的觀念。

1 阿根廷科爾多瓦省圣卡洛斯礦區(qū)的河流與道路之間的情況簡(jiǎn)圖Sketch of the situation between rivers and road of San Carlos Minas,Córdoba Province,Argentina

2 七色山The Seven Colours Hill

這種與特定自然地貌相關(guān)，強(qiáng)調(diào)自然與文化分離的觀點(diǎn)持續(xù)了數(shù)十年，是啟蒙運(yùn)動(dòng)后典型的西方世界觀，并且被工業(yè)革命所強(qiáng)化。在這種情況下，自然被視為物體，是人們從中獲得資源和從事活動(dòng)的地方。

為了建立人與自然之間的直接關(guān)系，伯克利學(xué)院的創(chuàng)始人，美國(guó)地理學(xué)家卡爾·紹爾使用了文化景觀的概念。根據(jù)他的設(shè)想，一個(gè)脫離自然景觀之外的文化群體創(chuàng)造了文化景觀，即文化作為代理人，自然區(qū)域作為媒介，其結(jié)果就將是文化景觀。因此，在一種確定文化的影響下，景觀可以發(fā)展和轉(zhuǎn)變[1]。

阿基洛強(qiáng)化了這一設(shè)想：“或許如此理解更有吸引力，文化景觀的意念并非指向某種特殊景觀，因?yàn)楦鞣N各樣的也都是景觀，而是指人們?cè)谂c自然經(jīng)年累月的互動(dòng)中看待景觀的某種特殊的方式。[2]”確實(shí)，在紹爾提出自己的概念解釋已近一個(gè)世紀(jì)的今天，文化景觀這個(gè)名詞包含著一定的冗余，因?yàn)榫臀覀儺?dāng)下的定義而言，每個(gè)景觀都是具有文化性的。出現(xiàn)這種贅言的原因可能是在西方世界現(xiàn)代化初期，景觀的歸化常常將景觀與物質(zhì)環(huán)境混為一談。這就引發(fā)一種為指代環(huán)境的文化性建設(shè)而談?wù)撐幕坝^的需要[3]。

聯(lián)合國(guó)教科文組織吸收了這一概念，并在1992年，由世界遺產(chǎn)委員會(huì)將“文化景觀”作為類別納入“操作指南”之中。他們將文化景觀定義為“自然與人類的聯(lián)合作品”①。然而，教科文組織似乎更專注于管理、保護(hù)和政治方面，而非出自學(xué)術(shù)和設(shè)計(jì)上的興趣[4]。而當(dāng)他們意識(shí)到所需要的“并非只是令這樣的空間保存下來的人工手段，而是在不破壞其形式的前提和重新適配其形態(tài)和生活功能的明確目標(biāo)下，活化其功能的措施”時(shí)，其概念應(yīng)用上的缺陷更加明顯[5]。

2 從概念到項(xiàng)目

文化景觀項(xiàng)目不僅關(guān)注處于生存危機(jī)中的景觀的保護(hù)，還關(guān)注景觀從社會(huì)、政治和經(jīng)濟(jì)角度來看所具有的價(jià)值的持久性。盡管文化景觀確實(shí)是增強(qiáng)當(dāng)?shù)亟?jīng)濟(jì)的潛在力量，但不應(yīng)只著眼于吸引游客，首先應(yīng)創(chuàng)建一個(gè)系統(tǒng)來維護(hù)景觀和行為者的關(guān)系。

通過這種方式，設(shè)計(jì)師的作用是在這種景觀的地理、歷史和進(jìn)化中找到那些可以成為與當(dāng)?shù)厣鐣?huì)特性相關(guān)的一種替代性發(fā)展結(jié)構(gòu)要素的操作規(guī)則。

為了研究地域的歷史，有必要統(tǒng)計(jì)其上已經(jīng)和正在發(fā)生的操作。從多學(xué)科的角度來看，這是一項(xiàng)涉及歷史學(xué)家、地理學(xué)家、建筑師、人類學(xué)家、社會(huì)學(xué)家等多方參與完成的任務(wù)。毫無(wú)疑問，這項(xiàng)研究需要準(zhǔn)備詳細(xì)描述在該地域上已經(jīng)或正在發(fā)生的過程和動(dòng)態(tài)的資料，其形式包括書面描述或分析以及項(xiàng)目提案。

這個(gè)構(gòu)想讓我們得以將分析融入項(xiàng)目和行動(dòng)調(diào)查。伊薩蓋瑞（Eizaguirre）[6]將地域分析置于地理學(xué)和城市規(guī)劃之間的匯合處，也就是在描述和定位之間闡明可替代性方案就存在于其特性之中。早先，帕特里克·格迪斯（Patrick Geddes）爵士在維達(dá)爾·白蘭士（Paul Vidal de la Blache）或埃利塞·何克律（élisée Reclús）的觀點(diǎn)基礎(chǔ)上發(fā)展而來的區(qū)域（region）理念中也提出，“隨著研究的推進(jìn)，我們開始通過延續(xù)至今的時(shí)間與空間感受到了所在區(qū)域的舒適感。從此，無(wú)論過去時(shí)，還是現(xiàn)在時(shí)的東西都只能被引向某種可能性。我們研究這些事物的形成也就是在探討其進(jìn)一步的轉(zhuǎn)化方式，也就是其未來的可能性?？梢?，我們的研究具有超越純粹科學(xué)興趣的實(shí)際意義。總之，研究是在為計(jì)劃做準(zhǔn)備……”[7]。

基于這個(gè)觀點(diǎn)，研究和行動(dòng)之間的關(guān)系恰恰是我們的興趣所在。從這個(gè)意義上說，在20世紀(jì)70年代的美國(guó)國(guó)家公園管理局的工作中，在西班牙加泰羅尼亞地區(qū)[8]和伊比利亞半島北部地區(qū)[9]的研究中，或在特內(nèi)里費(fèi)的島嶼秩序計(jì)劃[10]中都有明確的先例。具有更大利益和創(chuàng)新特征的計(jì)劃和項(xiàng)目如今也都在優(yōu)先考慮與遺產(chǎn)觀念關(guān)聯(lián)的自然與文化之間的關(guān)系。在這一背景下，“文化景觀”類別可以成為一個(gè)具有重要意義的規(guī)劃工具，這是因?yàn)椤八鼈儤?gòu)成了對(duì)記憶和地域特性的，越來越豐富的表達(dá)”[11]。

3 繪圖作為解釋、敘述和項(xiàng)目工具

對(duì)于地域綜合和針對(duì)文化景觀的干預(yù)尤其需要學(xué)科革新方面的努力，這也意味著一種在表現(xiàn)方面上的創(chuàng)造性工作。在有些面積巨大的項(xiàng)目中，我們想要認(rèn)知的痕跡十分微弱或者分散，有時(shí)這些地域又遠(yuǎn)離通常的工作范圍。面對(duì)這些困難，一些研究和項(xiàng)目著力發(fā)展了在地域調(diào)查構(gòu)建中的精確性和創(chuàng)造性。

3 烏瑪瓦卡峽谷市場(chǎng)Market in Quebrada de Humahuaca

當(dāng)從城市規(guī)劃專業(yè)角度研究和規(guī)劃文化景觀時(shí)，繪圖就成為一個(gè)基本工具。表現(xiàn)作為一種項(xiàng)目工具，不僅從溝通的角度不可或缺，更對(duì)解讀地域至關(guān)重要[12-13]。然而，并非所有地域都有更新的地圖，也沒有像谷歌地球和地理信息系統(tǒng)這種典型的共享知識(shí)圖像。即使現(xiàn)有的城市地圖比較完整，也有更新，但隨著我們?cè)诟鱾€(gè)城市間的移動(dòng)，圖示表達(dá)的數(shù)量、質(zhì)量和時(shí)效性也會(huì)淡化。

由于通常在大量地域和城市研究，特別是拉丁美洲的案例研究中都面臨著歷史上和當(dāng)前的地圖學(xué)缺失，以及沒有通用精確攝影測(cè)量飛行器的問題，我們有時(shí)就不得不艱辛地手繪一個(gè)地域。這項(xiàng)需要精確、嚴(yán)謹(jǐn)?shù)囊饽顏硗瓿傻墓ぷ魇且环N非凡的知識(shí)發(fā)生器。對(duì)這些情況的直接了解使我們能夠就地域的認(rèn)知與干預(yù)討論圖像表達(dá)所能提供的其他可能性，也就是如何建立解釋性閱讀。

為了說明這個(gè)想法，我們將揭示費(fèi)爾南多·迪亞茲在表現(xiàn)阿根廷科爾多瓦省西端德拉斯拉斯艾拉區(qū)域土地占用邏輯時(shí)所做出的努力[14]。這是一片幾乎沒有政府管理和研究人員涉足的地區(qū)，也沒有圖像或編年史記載。其獨(dú)特的表現(xiàn)致力于通過識(shí)別可闡明未來管理標(biāo)準(zhǔn)的不同景觀單元和元素來揭示地域建設(shè)的文化與景觀資源。內(nèi)容包括精美總圖、罕見的建筑手記和地域故事以及能讓我們回想起17—18世紀(jì)城市的鳥瞰圖（圖1）。

這些地域圖解從不同的角度表明，圖形表達(dá)不僅僅伴隨著論證或解釋，其本身也因?yàn)橛兄诮沂緜鹘y(tǒng)書面文件所忽略的信息和問題而成為構(gòu)建知識(shí)的資源。

4 阿根廷的文化景觀

由于其獨(dú)特性和多樣性，拉丁美洲文化景觀提供了一個(gè)極具吸引力的項(xiàng)目實(shí)驗(yàn)室。其最引人注目的特征就是巨大的尺度。例如，印加步道就從阿根廷到哥倫比亞穿越了幾個(gè)國(guó)家。另一個(gè)值得注意的方面是繁茂的自然掩蓋了過去文明的痕跡。甘蔗、咖啡、龍舌蘭酒、牲畜、礦藏等多種多樣的資源導(dǎo)致了新建設(shè)類型的出現(xiàn)—如耶穌會(huì)牧場(chǎng)、榨糖小鎮(zhèn)、咖啡種植園—當(dāng)然也導(dǎo)致了精巧用具和復(fù)雜機(jī)械的出現(xiàn)。

但是，文化資源的管理也是一種挑戰(zhàn)，特別是考慮到在某些制度背景薄弱的案例中[15]，以及受制于旅游或自然資源開發(fā)等經(jīng)濟(jì)活動(dòng)的壓力，環(huán)境風(fēng)險(xiǎn)和各種土地所有權(quán)問題的情況下。

從這里我們將著重闡釋這些概念在阿根廷的情況，這將有助于說明針對(duì)這些方面正在這片土地上實(shí)施的一些策略。

在阿根廷，得益于仍然居住在這片土地上的土著部落，我們發(fā)現(xiàn)了千年文化遺跡和延續(xù)至今的祖先慶?；顒?dòng)，這也是一段關(guān)于西班牙征服者的到來，國(guó)民大會(huì)的成立以及之后國(guó)家獨(dú)立的歷史。我們還有可能找到與農(nóng)業(yè)生產(chǎn)有關(guān)的歷史印記和傳統(tǒng)，歷史城市和與棲居文化相關(guān)的自然美景，以及探戈、足球文化和各種公民及宗教節(jié)日等這些極具價(jià)值的非物質(zhì)遺產(chǎn)。

正如我們預(yù)告的那樣，我們將利用2個(gè)關(guān)于文化景觀的實(shí)施項(xiàng)目來提供有關(guān)這些想法的實(shí)際情形。我們選擇了2個(gè)在地域尺度上很有意思的案例?？紤]到景點(diǎn)間的距離、可達(dá)性和該地區(qū)典型文化景觀的維度，我們認(rèn)為這種尺度是最難處理的。

4.1 烏瑪瓦卡峽谷

烏瑪瓦卡峽谷（Huamhuaca’s Gorge）是沿胡胡伊大河谷（位于阿根廷胡胡伊?。┑囊粭l自然走廊，延伸約155km，兩側(cè)是近4 000m的山脈（圖2）。從歷史上看，它起到了連接拉普拉塔河地區(qū)與從玻利維亞到秘魯?shù)那爸趁竦乇辈康淖饔?，因而也呈現(xiàn)出豐富的考古遺跡。約有3萬(wàn)居民人口主要居住在通巴亞、蒂爾卡拉和烏瑪瓦卡等重要地區(qū)。

那里的人口總體狀況非常不穩(wěn)定，游客數(shù)量的增加，正如世界上其他許多地方那樣，帶來了意想不到的負(fù)面影響。在各種互聯(lián)網(wǎng)論壇上，人們斥責(zé)那些來侵占土地的外國(guó)人導(dǎo)致原住民被驅(qū)逐的現(xiàn)象，以及那些不顧本地居民住房條件惡劣的實(shí)際情況仍在大肆修建酒店的行為所帶來的不公現(xiàn)象或者日益增加的環(huán)境不安全感。

通過“文化景觀作為地方發(fā)展的資源”的ALFA項(xiàng)目，加泰羅尼亞理工大學(xué)（UPC）與布宜諾斯艾利斯大學(xué)（UBA）之間的合作計(jì)劃于2009年開始啟動(dòng)。該計(jì)劃包括通過獎(jiǎng)學(xué)金獲得者和教授間的交流互換建立一個(gè)課程網(wǎng)絡(luò)，允許在阿根廷的國(guó)土研究中針對(duì)地理、經(jīng)濟(jì)和社會(huì)空間的維度添加地域的形態(tài)學(xué)外觀。

該項(xiàng)目分析了烏瑪瓦卡峽谷地區(qū)于2003年被納入教科文組織世界遺產(chǎn)名錄中的文化景觀類別之后，遺產(chǎn)化和旅游化帶來的變化②。這一事件使迄今為止還只有當(dāng)?shù)匕l(fā)展動(dòng)力的地區(qū)在本土與全球級(jí)別之間的分歧一目了然。在這種極端脆弱的社會(huì)背景下，任何干預(yù)都可能被理解成既是一個(gè)機(jī)會(huì)，也是一種威脅。

于是在入選宣布幾年之后，實(shí)際影響開始明晰：旅游帶來的好處沒有回饋給當(dāng)?shù)厝?，旅游業(yè)只在最容易到達(dá)的地方發(fā)展，而考古遺址也顯示出退化跡象。另一方面，農(nóng)業(yè)活動(dòng)處于深度危機(jī)之中，采礦活動(dòng)對(duì)定居人口造成嚴(yán)重影響和排斥。居住區(qū)的建設(shè)不再遵守任何以往的組織，住宅以通用的布置方式被建造在周邊地區(qū)。另外，行政管理方面也表現(xiàn)出一定的技術(shù)弱點(diǎn)，地方政府和社區(qū)之間很少或根本沒有溝通。

出于所有這些原因，我們?nèi)绱诵枰@樣一個(gè)能夠在本地居民和運(yùn)作景觀的代理人都認(rèn)同的情況下調(diào)動(dòng)所有力量的項(xiàng)目。這在制度環(huán)境薄弱的背景下，顯得更為重要。于是，啟動(dòng)了一系列研究，并持續(xù)運(yùn)行至今。其中第一個(gè)提案便是建立一套涵蓋整體地域的各個(gè)方面和分體的連貫敘述[16]。為了做到這一點(diǎn)，我們確定了以下不同的部分：格蘭德河及其流域線性構(gòu)造影響下的溪流地質(zhì)形成；布卡拉（pucarás），避開主流域而在安全地帶建立的第一批定居點(diǎn)；皇家之路（Royal Road）在印加古道布局之上的建造以及形成文化交流環(huán)路的驛站系統(tǒng)；促進(jìn)人口聚居中心發(fā)展的農(nóng)業(yè)活動(dòng)，評(píng)價(jià)它們與自然環(huán)境的互動(dòng)；與合作社的存在相關(guān)的水利磨坊的應(yīng)用；鐵路的建立、高峰與衰落；與自然節(jié)氣密切相關(guān)的節(jié)日慶典等。相應(yīng)的信息工作則開始于對(duì)人在不同尺度上與地域關(guān)聯(lián)的理解上，并反向在各種尺度的制圖表達(dá)中體現(xiàn)出來。

4 潘帕斯平原The pampas plain

5 潘帕斯的典型膳食：烤肉Typical meal of the pampas:roast meat

特別開展的研究還包括從地理學(xué)角度出發(fā)的地方與全球關(guān)系、城市角度下的新住區(qū)建設(shè)、場(chǎng)所的歷史再現(xiàn)和形象構(gòu)建、遺產(chǎn)建筑分析、影響知名旅游城鎮(zhèn)的經(jīng)濟(jì)動(dòng)態(tài)和該地區(qū)的社會(huì)經(jīng)濟(jì)數(shù)據(jù)等[17]（圖3）。

雖然以上研究都是大維度的學(xué)術(shù)性工作，但其導(dǎo)則不僅被用于培育和豐富當(dāng)?shù)氐墓芾砉ぷ?，而且被納入了“國(guó)土戰(zhàn)略計(jì)劃”，最終將有助于修訂該地段在某些具體方面的管理計(jì)劃。

除了這些結(jié)果，我們還要強(qiáng)調(diào)的是繪圖在這種研究中的重要性。這些地域缺乏良好的地理制圖，只是近年來才有了GIS數(shù)據(jù)。因此，每個(gè)研究領(lǐng)域都需要在意向性制圖的構(gòu)建方面開展大量高強(qiáng)度工作[18]。

最近有幾個(gè)基于各種尺度圖形工作的博士論文具有建立新知識(shí)的能力。在城市層面，它展示了“歷史中心”在從居住到旅游裝備的路線上是如何轉(zhuǎn)變的，以及新旅游設(shè)施帶來的景觀變化[19]。在更廣闊的地域范圍內(nèi)，由于“中心”運(yùn)作模式而被擠出的人們的新定居點(diǎn)也被標(biāo)識(shí)了出來[19-20]。在更廣泛的層面上，這些研究分析了2003年教科文組織指定的資產(chǎn)劃界標(biāo)準(zhǔn)以及選擇和評(píng)估的沖突。由此制作出來的一系列圖紙揭示了有關(guān)該地區(qū)基礎(chǔ)設(shè)施工程、地形和傳承資源之間利害關(guān)系的一些邏輯。

毫無(wú)疑問，這項(xiàng)研究應(yīng)該繼續(xù)深化經(jīng)濟(jì)支持或培訓(xùn)措施，以增加創(chuàng)造就業(yè)的替代性方案，從而保持一個(gè)不僅僅包括簡(jiǎn)單的自然或城市住區(qū)的景觀。諸如獲得社區(qū)土地所有權(quán)，灌溉用水的可用性，加強(qiáng)對(duì)小生產(chǎn)者的營(yíng)銷、財(cái)務(wù)和技術(shù)援助，整合生產(chǎn)鏈或建立一個(gè)綜合的生產(chǎn)信息系統(tǒng)等問題，都對(duì)這一地域的妥善管理至關(guān)重要。

4.2 高喬人之路

潘帕斯平原地區(qū)面積約50萬(wàn)km2（圖4）。原本缺乏樹木，西班牙征服者將牛群帶到這片土地上，大量繁衍生息，如今已經(jīng)和麥子、大豆等谷物種植一起成為該地區(qū)的特色產(chǎn)業(yè)。然而，這種絕美的景觀對(duì)于當(dāng)?shù)鼐用駚碚f只是日常景觀，而且由于其延展區(qū)遼闊和遠(yuǎn)離城鎮(zhèn)而難以被認(rèn)知。

高喬人③之路的構(gòu)想基于為潘帕斯平原景觀賦予價(jià)值，保護(hù)沿海生態(tài)系統(tǒng)，并為布宜諾斯艾利斯人民提供傳統(tǒng)海灘旅游活動(dòng)以外的活動(dòng)等需求。該項(xiàng)目啟動(dòng)于1994年，由CEPA基金會(huì)倡導(dǎo)，旨在恢復(fù)高喬人文化，并將其作為創(chuàng)造可持續(xù)和包容性文化旅游的手段（圖5）。這個(gè)系統(tǒng)將結(jié)合少數(shù)幸存在該地區(qū)的土著文化要素、高喬人文化、歐洲移民、農(nóng)業(yè)出口經(jīng)濟(jì)、本土自然生態(tài)系統(tǒng)以及當(dāng)前的海灘旅游文化[21]。

潘帕斯地區(qū)有大量的自然保護(hù)區(qū)。其中一些是聯(lián)合國(guó)教科文組織認(rèn)定的生物圈保護(hù)區(qū)，如南部沿海公園或者奇基塔大西洋公園及潟湖，還有一些是省級(jí)或國(guó)家級(jí)的保護(hù)區(qū)，如桑博羅姆灣、阿霍河、薩拉達(dá)格蘭德潟湖和梅達(dá)諾斯角。

這個(gè)地域所面臨的最大挑戰(zhàn)之一就是其巨大的尺度。在考慮不同地方的可達(dá)性以及它們之間的連接時(shí)會(huì)出現(xiàn)的多種困難，但這一問題在有限的領(lǐng)域內(nèi)更容易解決，鑒于此，我們可以將項(xiàng)目區(qū)域限定在400km×200km的矩形框中。通過這種方式，該系統(tǒng)由連接布宜諾斯艾利斯與普拉塔海地區(qū)的快速通道（2號(hào)高速公路，大約4.5h車程）和沿海岸線延續(xù)老皇家之路的較慢行道路（省際11號(hào)路）構(gòu)成。而這些道路又依次通過地方道路相互連接。

研究者在分析了這一地域的有形和無(wú)形價(jià)值之后，決定構(gòu)建以生態(tài)博物館或文化旅游景地網(wǎng)絡(luò)為基礎(chǔ)的項(xiàng)目提案，類似于中小型企業(yè)模式運(yùn)作，由本地居民（如商人、生產(chǎn)者、教育者等）管理。通過這種方式，這一項(xiàng)目旨在推進(jìn)社會(huì)組織的形成過程；并且，因?yàn)轫?xiàng)目將會(huì)涉及大量針對(duì)該地區(qū)的科研工作，以及地方性或國(guó)際間合作，所以也將會(huì)激勵(lì)農(nóng)村生產(chǎn)者、商家、旅游代理人、本地協(xié)會(huì)和科學(xué)組織等各界人士的廣泛參與。

最終，基于3種點(diǎn)位的生態(tài)博物館網(wǎng)絡(luò)于2001年建成。天線是指那些具有最大容量和信息交流的站點(diǎn)，比如大城市；節(jié)點(diǎn)是所有被選作有價(jià)值遺產(chǎn)的自然和文化資源；最后，門戶是高喬人之路各個(gè)路線的出、入口以及綜合服務(wù)區(qū)。反向鑒于這個(gè)范圍的尺度，4條可以獨(dú)立進(jìn)行或相互連接的主題路線被建立了起來。

在拉普拉河的脈絡(luò)上，有可能找到河床文化的風(fēng)景和習(xí)俗。這一地域形成于西班牙殖民末期（18世紀(jì)），擁有在布宜諾斯艾利斯以南第一批修建的馬車道、牧場(chǎng)、村莊和堡壘。

潟湖與海灘的脈絡(luò)顯示出了大平原的廣袤，它與薩拉多河盆地潟湖與河道的交織關(guān)系，以及蜿蜒于沿海潟湖、巨大的沙丘和大量細(xì)沙灘間，最終流入大西洋的自然排水系統(tǒng)。省際鐵路（現(xiàn)在已停運(yùn)）在周圍安置了幾十個(gè)小站和鄉(xiāng)村小鎮(zhèn)，如今都已成為豐富遺產(chǎn)的一部分。

歷史城鎮(zhèn)的脈絡(luò)是這個(gè)網(wǎng)絡(luò)中最顯著的生態(tài)博物館，它們的空間和文化博物館的質(zhì)量反映出了由所謂“征服沙漠”運(yùn)動(dòng)前沿和阿根廷政權(quán)組織從1810年出現(xiàn)至1852年確立期間聯(lián)邦派與集權(quán)派之間的征戰(zhàn)所造就的人跡和地貌狀況。

海洋和山脈的脈絡(luò)是在群山和草地間發(fā)展起來的，突出了農(nóng)業(yè)實(shí)踐和阿根廷最富饒地區(qū)之一的自然之美。拉普拉塔海和巴爾卡塞地區(qū)的城市是與該地區(qū)旅游業(yè)已有百年傳統(tǒng)的鄉(xiāng)村環(huán)境融為一體的重要城市定居點(diǎn)。

考慮到項(xiàng)目的管理，需要重點(diǎn)強(qiáng)調(diào)生態(tài)博物館在項(xiàng)目傳播中的作用，這些生態(tài)博物館長(zhǎng)期處于監(jiān)測(cè)之中，以保持網(wǎng)絡(luò)的質(zhì)量。同樣，交流策略和定期工作營(yíng)對(duì)于維持傳統(tǒng)活動(dòng)的重要性也應(yīng)被重視。不過，由于沒有外來投資，該項(xiàng)目的資金仍然需要依賴旅游業(yè)。

2006年，高喬人之路在可持續(xù)旅游的策略性聯(lián)邦計(jì)劃中被官方確認(rèn)為布宜諾斯艾利斯省的優(yōu)先走廊。自該項(xiàng)目開始以來，特別是在最近幾年，該地區(qū)的旅游活動(dòng)有所增加。然而，近年來生態(tài)博物館雖然各個(gè)都在單獨(dú)運(yùn)作，但網(wǎng)絡(luò)的效果卻不盡人意。可以肯定的是，PFETS的修訂（尚未實(shí)施）將能夠支持重要聯(lián)結(jié)工作的重建，并提供必要的資金。

5 結(jié)論

與景觀及其保護(hù)相關(guān)的干預(yù)已證明，拉丁美洲，特別是阿根廷有著非常豐饒的環(huán)境。我們想要首先強(qiáng)調(diào)研究的計(jì)劃方面及其重要的跨學(xué)科成分。從建筑和城市規(guī)劃的特定領(lǐng)域，意向性閱讀的設(shè)想被提議為尋找項(xiàng)目工具的強(qiáng)大方法，這是因?yàn)楸M管其他社會(huì)、經(jīng)濟(jì)、政治方面的變量確實(shí)都在對(duì)該地域產(chǎn)生干預(yù)，但是對(duì)這些現(xiàn)象的資料性轉(zhuǎn)譯仍然是值得推薦的。

至于結(jié)果，我們認(rèn)為仍然要面對(duì)幾個(gè)挑戰(zhàn)。一方面，盡管這兩個(gè)案例已被納入國(guó)家旅游開發(fā)計(jì)劃，但這類項(xiàng)目仍存在持續(xù)的資金問題。而且，除了旅游角度之外，其他諸如生產(chǎn)或環(huán)境的角度也應(yīng)該被考慮。此外，正如我們前文提到的那樣，被考量地域的不同點(diǎn)位之間的距離和聯(lián)系問題也就是可達(dá)性問題，是這類舉措能否取得成功的關(guān)鍵。

已經(jīng)呈現(xiàn)的項(xiàng)目都有一個(gè)統(tǒng)一的元素：對(duì)于一定空間模式的理解將可能成為一個(gè)項(xiàng)目有益于該景觀的指導(dǎo)。意向性解讀的努力是我們?cè)诒疚闹芯C合出來的關(guān)鍵工具。這是一種對(duì)建立更加多樣化的環(huán)境，并突出其特征，同時(shí)為地方發(fā)展提供替代性方案的實(shí)用方法。這些舉措取得成功的關(guān)鍵因素在于當(dāng)?shù)鼐用?，因?yàn)樗麄兊恼J(rèn)同表明了對(duì)景觀的興趣，并會(huì)要求采取行動(dòng)來保護(hù)他們的遺產(chǎn)。這也與干預(yù)這些景觀的另一個(gè)好處有關(guān)：它們的教育功能，或者說講述允許讀者自由解釋的故事的能力有助于長(zhǎng)期維護(hù)這類遺產(chǎn)。

講故事的重要性不僅限于分析和解釋的目的，也要對(duì)干預(yù)該領(lǐng)域的人有用。要構(gòu)建這個(gè)故事，就有必要精心鋪陳一個(gè)手稿。這不僅意味著對(duì)于現(xiàn)在或過去存在的表現(xiàn)，而且還要有助于建立和傳遞想法或解釋，因?yàn)闆]有任何表現(xiàn)是完全客觀的。正如馬努埃爾·德·索拉·莫拉萊斯所說：“繪圖是在選擇，選擇是在解釋，解釋是在提議，[8]”創(chuàng)造性的成分會(huì)使這3個(gè)過程均具特色。

注釋：

① 在1992年12月的第十六屆會(huì)議上，世界遺產(chǎn)委員會(huì)通過了文化景觀的三大分類別（UNESCO 1992:54-55），并將其納入世界遺產(chǎn)名錄的“操作指南”（UNESCO 1996:10-12，35～42段）。“操作指南”中第36～38段對(duì)文化景觀提供了一些定義（更多詳情：http：//whc.unesco.org/archive/gloss96.htm）。

② 引自教科文組織網(wǎng)站的官方文件：https：//whc.unesco.org/uploads/nominations/1116.pdf。

③ 高喬人是一類牧牛人，在馬背上完成大部分工作。

④ 圖1引自DíazTerreno，2013；圖2引自https://medium.com；圖3引自http：//www.argentinaactiva.com；圖4引自https://www.theargentinaspecialists.com/where-to-go/las-pampas；圖5引自http://www.elembajadordelapampa.es/servicios/asadores-paracatering/attachment/asado-argentino-a-la-cruz/。

（編輯/劉玉霞）

1 A glance at the term cultural landscape

The birth of the term landscape (or paisaje,in Spanish) is indefectibly linked to how the man looks to a specific space.Its origin is linked to the Saxon term landschaft or to payés,which derives from the Latin pagus.Latin American landscapes were a key element on the propagation of the term,due to the work of A.Humboldt,who at the beginning of 19th century brought these images as an aesthetic spectacle to Europe.In this idea,the notion of sublime is especially relevant.

This view persisted for decades and was related to the nature of a particular territory,emphasized the separation between nature and culture,a characteristic of the western world after the Enlightenment,and stressed by the Industrial Revolution.Under these circumstances,nature was viewed as an object,a place from which to get resources and a support for activities.

In order to incorporate the man in direct relationship with nature,the American geographer Carl Sauer,founder of the School of Berkley,uses the concept of cultural landscape.According to his ideas,the cultural landscape is created by a cultural group out of a natural landscape,and therefore,the culture would be the agent,the natural area the medium,and the result would be the cultural landscape.Hence,under the influence of a determined culture,the landscape can be developed and transformed[1].

Aguiló reinforces this idea:“it seems more attractive to consider that the idea of cultural landscape should not be applied to a special kind of landscape,because all of them are landscapes,but to a special way of seeing the landscape which emphasizes the interaction between man and nature through time.[2]” It is true that today,almost a century after the word of Sauer,the term cultural landscape entails a certain redundancy,because today we understand that every landscape is cultural,by definition.The reason for this tautology could be that the naturalization of the landscape that took place in the beginning of Modernity in the western world,often confused the term landscape with the physical environment.This provokes a need to speak about cultural landscape in order to refer to the cultural construction of the environment[3].

The UNESCO went back to the concept and in 1992 the Committee of World heritage included the category “cultural landscape” in its Operational Guidelines.They define the cultural landscape as a“combined works of nature and of man”①.However,the UNESCO seems to have a preoccupation more focused on the administrative,preserving and political aspects than on the academic and designing interest[4].This becomes more visible when they recognize the need of “… measures which not tend to an artificial survival of this space,but to its functional vitalization without deteriorating the forms,with a clear objective of readapting its morphology and living functions”[5].

2 From the concept to the project

The project of cultural landscape is therefore addressed focusing not only on the conservation of the landscape in question but also on the durability of those values over time from the social,political and economic point of view.While it is true that cultural landscapes are potential reinforces of the local economy,they should not only be focused on attracting tourists,but above all,on creating a system to maintain that landscape and the relationship with its actors.

In this way,the role of the designers is to find in that landscape –in their geography,history and evolution–,the rules of operation that can be the structuring element of an alternative development in relation to the identity of the local society.

To work on the history of the territory,it is necessary to count the operations that have taken place and take place on it,a task that would be desirable to approach from a multidisciplinary point of view,involving historians,geographers,architects,anthropologists,sociologists,among others.This research undoubtedly requires the preparation of a careful description of the processes and dynamics that have taken place or are taking place on this territory.The compilation of these material footprints in the form of a description or analysis,contains within itself a project proposal.

This idea gives us a synthesis that unites the analytical with the project,the investigation for the action.Eizaguirre[6]situates the analysis of the territory at the confluence between geography and urban planning,that is,between description and proposition,stating that in its identity is its alternative.Something that Patrick Geddes already advanced,long ago,from a vision linked to the idea of region in line with the ideas of Paul Vidal de la Blache or élisée Reclús:

“As our research develops,we begin to feel comfortable in our region,through their time and space until today.From here,the past and the present can only be opened to the possible.For our inquiry of such things as they are-that is,as they have become-must always suggest ideas concerning their further transformation,that is,their future possibilities.In this way it can be seen that our research has a practical interest that goes beyond its purely scientific interest.In a word,the research prepares the plan…[7]”

In this position,between research and action is that our interest is placed.In this sense,there are clear antecedents in the works of the American National Park Service of the 1970s,and in Spain,in the study of the Catalan regions[8],of the North of the Iberian Peninsula[9],or in the Insular Territorial Plan of Tenerife[10].The plans and projects of greater interest and innovative nature now prioritize the relationship between nature and culture,synthesized in the idea of heritage.In this context,the category of “cultural landscapes” can become a planning instrument of great relevance because“they constitute the expression of memory,of the identity of a territory,which can be enriched successively.[11]”

3 Drawing as an interpretative,narrative and project tool

Interventions in the territory in general and in cultural landscapes in particular require a disciplinary renovation effort and this implies a creative work on representation.In several occasions the area of the project is vast,the traces that we want to recognize are weak or disperse,sometimes these territories are far away from the regularly represented universe.To face these difficulties,some investigations and projects develop precision and creativity in the construction of territorial surveys.

When facing the study and project of a cultural landscape from the urban discipline,drawing becomes a fundamental tool.Representation is important as a project tool,not only from the communication point of view but fundamentally for the interpretation of the territory[12-13].However,not all territories have updated cartography,nor is the illustration of total knowledge,typical of Google Earth and geographic information systems.Even if the available urban cartography is something more complete and updated,as we move away from the cities,the quantity,quality and timeliness of the representations is diluted.

The scarcity of historical and current cartography,which usually faces so many studies of territories and cities—and specially Latin-American cases—and the lack of a common precise photogrammetric plane,sometimes leads to manually approaching the effort of painstakingly drawing the territory.This work,done with precise intention and rigor,it is an extraordinary generator of knowledge.The direct knowledge of many of these situations allow us to discuss the alternatives that representation offers,for recognition and intervention in the territory,that is,how to approach the construction of interpretative readings.

To illustrate this idea,we expose the efforts of Fernando Díaz to show us the logics of occupation of the territory of Traslasierra,western end of the province of Córdoba in Argentina[14].It is an area that has hardly been attended by the administration or even researchers,of which there are no portraits or chronicles.And yet the unique representation is committed to revealing the cultural and landscape resources that inform the construction of the territory,through the identification of different landscape units and elements that can shed light on future management criteria.And it is done with an exquisite drawing,building calligraphies and stories of a territory until the orphan date of them,bird'seye views that recall those that we mentioned for the cities of the XVII-XVIII century (Fig.1).

From very different perspectives,drawn territories show that graphic representations do not simply accompany argumentations or interpretations,but are,in themselves,a resource for the construction of knowledge,because they help to reveal information and questions that traditional written documents ignore.

4 Cultural landscapes in Argentina

Latin American cultural landscapes offer a laboratory of projects of enormous interest because of their singularities and variety.The most striking is its enormous size.For example the Inca Trail crosses several countries,from Argentina to Colombia.Another remarkable aspect is the exuberance of nature,which masks the traces of past civilizations.The resources are diverse:sugarcane,coffee,tequila,livestock,mining,etc.This supposes the emergence of new constructive typologies—such as the Jesuit estancias,the engenhos or sugar towns,the coffee plantations–and also to ingenious utensils and sophisticated machineries.

But the management of cultural resources also poses a challenge,especially considering that in some cases these are weak institutional contexts[15]and are subject to pressures not only of economic activities such as tourism or exploitation of natural resources,but also environmental risks and various problems related to land ownership.

From here we will focus on the interpretation of these concepts in Argentina,which will serve to illustrate some of the strategies that are being carried out in the continent,where there is much work done in these aspects.

In Argentina we find vestiges of millenarian cultures,ancestral celebrations that have lasted thanks to the aboriginal tribes that still inhabit this territory,a past related to the arrival of the Spanish conquerors,the establishment of missions and the subsequent Independence.It is also possible to find historical traces,traditions related to agricultural production,historical cities and natural beauty landscapes linked to the cultures that inhabit it.And it also has an intangible heritage of great value,among which we can mention the tango,the culture around football and a variety of civic and religious festivities.

As we have anticipated,we will use two work projects on cultural landscape to offer a practical vision of these ideas.We selected two cases that are interesting at the territorial scale.We think this scale is the most difficult to face,concerning the distances between the point of interest and the accessibility and dimensions of the typical cultural landscapes of the region.

4.1 La Quebrada de Humahuaca

The Quebrada de Humahuaca (Huamhuaca’s Gorge) is a natural corridor formed along the valley of the Rio Grande de Jujuy (in Jujuy Province,Argentina),which extends for about 155 km,flanked by mountain ranges of almost 4,000 meters in height (Fig.2).Historically,it functioned as the connection of the Rio de la Plata area with the northern part of the former colonial lands,from Bolivia to Peru and therefore presents abundant archaeological remains.Population—around 30,000 inhabitants—live mostly in important areas such as Tumbayá,Tilcara or Humahuaca.

The general conditions of the population are very precarious and the growing influx of tourists supposes,as in so many other places in the world,unanticipated and perverse effects.In various Internet forums population denounce foreigners who usurp the land;the expulsion of aboriginal communities;a growing insecurity or the construction of hotels while residents live in houses without conditions.

Through the ALFA program “Cultural landscapes as a resource for local development”an inter-university cooperation program between the Polytechnic University of Catalonia (UPC) and the University of Buenos Aires (UBA) began to be developed in 2009.This program included the exchange of scholarship holders and professors that built a network of lessons that allowed adding the morphological look of the territory with the attention directed to the geographic,economic and socio-spatial dimensions from which it is addressed in Argentina the study of the territory.

The research resulting from this program analysed the changes produced by the patrimonialization and turistification of the Quebrada de Humahuaca after being incorporated into the UNESCO list of World Heritage in 2003 in the category of cultural landscapes②.This event,made visible a clear divergence between the local scale in a territory that until now had only local dynamics,and the global scale.In this context of extreme social vulnerability,it was understood that any intervention could be an opportunity but also a threat.

Thus,a few years after the declaration,the effects begun to become evident:the benefits of tourism did not revert to the local population,tourism was located only in the most accessible places and the archaeological sites shows signs of degradation.On the other hand,agricultural activity was in deep crisis,and mining activity generated serious impacts and rejection of the population.The construction of housing neighbourhoods did not respect any previous organization and houses were built in generic arrangements of any periphery.On the other hand,administrations showed a certain technical weakness and there was little or no communication between local governments and the community.

For all these reasons,it was more than necessary the existence of a project,to direct all the forces,agreed by the population and the agents that operate on this landscape.This was extremely important considering the weak institutional context.Thus,a series of researches were conducted,and they are still running today.The first proposal is to build a set of connected narrations that embrace various aspects and parts of the whole[16].In order to do this,different episodes were identified:the geological formation of the stream thanks to the Rio Grande and the conformation of a linear structure;the establishment of the pucarás,the first stable settlements,near the river but safe from the avenues;the construction of the Camino Real(Royal Road) on the layout of the old Inca Trail and the staging post system that forms a circuit of cultural exchanges;the agricultural activity that promotes the growth of populated centres,valuing their interaction with the natural environment;the use of the force of water for the operation of mills,linked to the existence of cooperatives;the establishment of the railroad,with its peak cycle and its decline;the festivities,which in this case are closely related to natural cycles;and many others could be listed.The elaboration of the information to develop these approaches started from the understanding of the different scales in which man relates to territory,which in turn have their correlation in cartographic representation scales.

Particular works were developed on the relationship between the local and the global from the geographical perspective,the study of the construction of new residential settlements from the urban perspective,the history of the representations of the place and the construction of an imaginary,the heritage architecture was also analysed,the economic dynamics that affect the most recognized towns by tourism and the socio-economic data of the region are also taken into account[17](Fig.3).

Although the presented research constitutes a singular academic work of vast dimensions and certainly interdisciplinary,its guidelines have served to nourish and enrich the work of the administration of the site,but also to incorporate them into the Territorial Strategic Plan and eventually contribute to the revision of the Plan of Management of the site,with a view to the concretion of some of its points.

Beyond the results,it is important to highlight the crucial importance of drawing in this kind of research.These kind of territories lack of a good cartography and only in recent years GIS data is available.Therefore,each field of research requires an intensive work on building intentioned cartographies[18].

Several recent doctoral theses,based on graphic work at various scales,have the capacity to build new knowledge.At the level of the cities,it shows how the “historic centers” are transformed,in the passage of residence to tourist equipment and the change of landscape that results from the new tourism facilities[19].In relation to the broader territory,new settlements are identified,which are built and occupied by those who were displaced by the operations in the “centres”[19-20].And,more broadly,these researches analyse the criteria for the delimitation of assets and the conflicts of selection and assessment that result from the designation of UNESCO in 2003.The series of maps produced show some of the logics that are at stake between infrastructure works,topography and patrimonial resources of the area.

Undoubtedly,it should continue to deepen measures of economic support or training,in order to promote alternatives that create employment and thereby maintain a landscape that includes much more than simple natural or urban settlements.Issues such as access to ownership of community lands;the availability of water for irrigation;the strengthening of marketing,financial and technical assistance to small producers;the integration of productive chains or the creation of an integrated system of productive information,are fundamental for a good management of this territory.

4.2 The Gaucho Trail

The pampas is an extensive plain of about 500,000km2that originally lacked of trees (Fig.4).The Spanish conquistadors brought cattle to this territory,which reproduced abundantly and today is the characteristic production of the region,along with cereals such as wheat and soybeans.This overwhelming landscape of singular beauty is,however,for the local inhabitant,a daily landscape and is difficult to apprehend due to its extension and because of the great distance between towns and cities.

The idea of the Gaucho③Trail (Camino del Gaucho) is based on the need to give value to the pampa landscape,preserve the coastal ecosystem and provide activity to the people of Buenos Aires beyond the traditional beach tourism activity.The project began in 1994,promoted by CEPA Foundation,with the idea of recovering the gaucho culture and using it as a mean to create cultural tourism,sustainable and inclusive (Fig.5).This system would combine the elements of the indigenous culture (the few that survive in this area),the gaucho culture,the European immigration,the agro-export economy,the native natural ecosystem and also the current beach tourism culture[21].

There are a large number of nature reserves in the pampas area.Some are Biosphere reserves recognized by UNESCO—such as the Coastal Park of the South or the Atlantic Park Mar Chiquita and its lagoon—and others are provincial or national reserves—such as the Bay of Samborombón,the Rías de Ajó,the Laguna Salada Grande and Punta Médanos.

One of the great challenges that this territory poses is its enormous dimension.We could frame the project area in a rectangle of 400×200 km,which offers multiple difficulties when thinking about the accessibility to different places and the connection between them,something that is undoubtedly easier to solve in more limited areas.In this way,the system is structured by a fast track(Highway number 2),which connects Buenos Aires with Mar del Plata in approximately 4 hours and a half,and by a slower route (provincial route 11)that goes along the coast,following the old Royal Road.These roads are in turn connected to each other by the local roads.

After analysing the different tangible and intangible values of the territory,it was decided to structure the proposal based on a network of eco-museums,or cultural tourism sites,managed by their own inhabitants –such as merchants,producers,educators,among others–,acting as small or medium enterprises.In this way,the program seeks to generate processes of social organization and encourage the participation of the largest number of actors:rural producers,merchants,tourism agents,local associations and scientific organizations,given that there is a great scientific research in the area,as well as local governments and international cooperation.

The network of eco-museums,which was finally established in 2001,is based on three categories of receptor sites.Antennas are the sites with the greatest capacity and exchange of information,such as large cities;the nodes are all natural and cultural resources selected as heritage to be valued;Lastly,the doors are the entry and exit points to the great itineraries of the Gaucho Trail,which also include general services.In turn,given the dimensions of the scope,four thematic itineraries are structured and can be carried out independently or connected to each other.

In the Río de La Plata Circuit it is possible to find the landscapes and customs of the River Plate culture,in a territory that began to form from the end of the Hispanic colonial period (18th century)with the first cart roads south of Buenos Aires and the first ranches,villages and forts.

The Circuit of the Lagoons and Beaches shows the immensity of the plain and its interwoven with the lagoons and channels of the Rio Salado basin,and its laborious drainage in the Atlantic Ocean,with coastal lagoons,huge systems of dunes,and large beaches of fine sand.Around here the Provincial Railway (now inactive) installed dozens of small stations and rural towns that today are part of a rich heritage.

The circuit of the Historical Towns are the most remarkable eco-museums of the Network,for their quality of both rooms and cultural museums,which reflect the ancestral and the telluric,in the advanced line of what was called “the conquest of the desert” and the fights between federal and unitary,from the period between the beginning of the Argentine institutional organization in 1810,and the de finitive institutional organization in 1852.

The Circuit of the Sea and the Sierras is developed between mountains and meadows,highlighting agricultural practices and the natural beauties of one of the richest areas of Argentina.The cities of Mar del Plata and Balcarce,are important urban settlements that intermingle with the rural environment in this area where tourism already has a century-old tradition.

Regarding management,it is important to highlight the role of the eco-museums in the dissemination of the project,which are constantly monitored to maintain the quality of the network.Likewise,the communication strategy and the importance of the periodical workshops to maintain traditional activities must be highlighted.The financing of the project,however,is based on tourism,given that there is still no external financing.

The path of the gaucho was institutionally recognized in 2006 as a priority corridor of the Province of Buenos Aires in the Strategic Federal Plan for Sustainable Tourism (PFETS,2006—2016).Since the beginning of the project and particularly in the last years,tourism activity has increased in the area.However,in recent years the network of eco-museums does not function as such,although each works individually.Surely the revision of the PFETS,still pending,can support the reconstruction of this important joint work and provide the necessary financing.

5 Conclusions

The interventions related to landscapes and their conservation proves to be a very fertile environment in Latin America and especially in Argentina.We would like to highlight,above all,the projective aspect of research and its important interdisciplinary component.From the specific field of architecture and urbanism,the idea of intentional reading is proposed as a powerful instrument to find project tools,because although it is true that other variables intervene in the territory—social,economic,political,etc.—it is advisable to know the material translation of these phenomena.

Regarding the results,we believe that there are several challenges still to be faced.On one hand,there is a constant financing problem for this type of projects,even though the two cases studied were incorporated to national plans of tourism developing.However,other perspectives beyond the mere touristic one should be considered,such as the productive or the environmental.Also,as we have mentioned,the issue of distances and connections between the different points of the considered territory implies accessibility problems that are central to the success of this initiatives.

The projects presented have one unifying element:the understanding of certain spatial patterns could be the possible guide of a project for that landscape.The effort of intentioned reading is the key instrument that we synthesize in this article.It is a useful method for building more diverse environments where its identity could be highlighted and,at the same time,it could be capable of giving alternatives for local development.The key element for the success of these kinds of initiatives is the local population because its compromise demonstrates an interest for the landscape and demands actions to be taken in order to preserve their heritage.This is linked to another benefit of intervening on these landscapes:their educational function,or the ability to tell a story that can be interpreted by the reader helps to maintain that heritage over time.

The importance of telling a story is not limited to the purposes of analysis and interpretation,but it is also useful for those who intervene in the territory.To build this story,it is necessary to elaborate a careful description.This means not only a representation of what exists or existed,but also serves to build and transmit ideas or interpretations,since no representation is totally objective.As Manuel de Solà-Morales said “Drawing is selecting,selecting is interpreting,interpreting is proposing”[8]and the creative component characterizes each of these three processes.

Notes:

① At its sixteenth session in December 1992 the World Heritage Committee adopted three main categories of cultural landscapes (UNESCO 1992:54-55) and included guidelines concerning their inclusion in the World Heritage List in the Operational Guidelines (UNESCO 1996:10-12,Paragraphs 35 to 42).Paragraphs 36 to 38 of the Operational Guidelines provide some definition of cultural landscapes.(See more:http://whc.unesco.org/archive/gloss96.htm).

② Link to the oficial document at UNESCO Site:https://whc.unesco.org/uploads/nominations/1116.pdf.

③ The gaucho is a man who herds and tends cattle,performing much of his work on horseback.

④ Fig.1?Díaz Terreno,2013;Fig.2?https://medium.com/@hotelhuacalera/conocé-quebrada-de-humahuacasu-historia-lugares-y-habitantes-2d365e71b6de;Fig.3?http://www.argentinaactiva.com;Fig.4?https://www.theargentinaspecialists.com/where-to-go/las-pampas;Fig.5?http://www.elembajadordelapampa.es/servicios/asadores-para-catering/attachment/asado-argentino-a-lacruz/.