丹尼斯·皮帕茲
《城市環(huán)境設(shè)計(jì)》（以下簡(jiǎn)稱USD）: Sasaki公司共有三個(gè)項(xiàng)目獲得２００７年ASLA獎(jiǎng)，分別包括一個(gè)地標(biāo)獎(jiǎng)和兩個(gè)規(guī)劃獎(jiǎng)。能否談一下您對(duì)三個(gè)項(xiàng)目的自我評(píng)價(jià)？您是怎樣看待ASLA獎(jiǎng)的？
丹尼斯·皮帕茲：這是ASLA對(duì)我們工作的認(rèn)可和獎(jiǎng)勵(lì)，說明ASLA既保持了高水平的評(píng)價(jià)標(biāo)準(zhǔn)，又充分認(rèn)可了設(shè)計(jì)過程的復(fù)雜性。賓大和巴拉曼大學(xué)項(xiàng)目獲得的是分析與規(guī)劃獎(jiǎng)，這個(gè)獎(jiǎng)項(xiàng)與其說是景觀設(shè)計(jì)，其實(shí)更屬于城市規(guī)劃，我們之所以獲獎(jiǎng)，是因?yàn)閷?duì)基地復(fù)雜的城市環(huán)境進(jìn)行了全面深入的調(diào)研分析。查爾斯頓濱水公園獲得了地標(biāo)獎(jiǎng)，這是與上述兩個(gè)項(xiàng)目不同級(jí)別的獎(jiǎng)勵(lì)。這是ASLA和美國(guó)歷史保護(hù)信托會(huì)聯(lián)合授予的。這是一個(gè)很有影響力的機(jī)構(gòu)。地標(biāo)獎(jiǎng)只授予那些經(jīng)得起時(shí)間考驗(yàn)的項(xiàng)目。它們?cè)?5年或更長(zhǎng)時(shí)間以后，仍然“保留了完整的原創(chuàng)設(shè)計(jì)，并極大促進(jìn)了所在城市公共空間的發(fā)展”（ASLA評(píng)語(yǔ)）。設(shè)計(jì)的完整性和為公共空間增色是Sasaki做項(xiàng)目的根本原則。
USD: 地標(biāo)獎(jiǎng)項(xiàng)目查爾斯頓濱水公園，被譽(yù)為“一條偉大的城市走廊”。它使棕地恢復(fù)生態(tài)功能，又令城市公共空間得到了拓展，人性化的城市空間營(yíng)造和生態(tài)環(huán)境的恢復(fù)，是現(xiàn)代人對(duì)景觀的雙重寄托，但有時(shí)兩者又是一對(duì)矛盾，您認(rèn)為在人們的需求和可持續(xù)發(fā)展觀念之間，應(yīng)該進(jìn)行怎樣的平衡？Sasaki應(yīng)對(duì)具體項(xiàng)目時(shí)，是否有必須遵守的設(shè)計(jì)原則？
丹尼斯·皮帕茲：把一塊棕地改造為城市公園固然令人頭疼，但是也蘊(yùn)涵著巨大的潛力。綠地取代了原來的開放式停車場(chǎng)和破敗的碼頭，有助于緩解和改善城市的熱島效應(yīng)。鹽沼地的植被和公園海灘的恢復(fù)，可以使游客欣賞到此地的沿海生態(tài)景觀和野生動(dòng)物。除此之外，一個(gè)精心設(shè)計(jì)的公園還能促進(jìn)人們建立健康的城市生活方式。公園的周邊街區(qū)改善以后，越來越多的人們開始養(yǎng)成散步習(xí)慣，逐漸適應(yīng)于居住在集零售和其它商業(yè)于一體的多種族聚居社區(qū)。我們相信，有些意義深遠(yuǎn)的設(shè)計(jì)在規(guī)劃階段就應(yīng)該做出決定，換句話說，可持續(xù)發(fā)展的理念并非僅僅適用于建筑材料和施工過程，更重要的是要在整體設(shè)計(jì)思想上，鼓勵(lì)健康的生活方式和可持續(xù)性發(fā)展。
USD: Sasaki獲獎(jiǎng)的兩個(gè)規(guī)劃項(xiàng)目都是校園規(guī)劃，能否概括一下校園規(guī)劃所要遵循的主要設(shè)計(jì)原則？
丹尼斯·皮帕茲：這兩個(gè)獲獎(jiǎng)的校園實(shí)際大不相同，一個(gè)是美國(guó)東北部的常青藤大學(xué)，一個(gè)是中東地中海沿岸的私立大學(xué)。Sasaki做的校園規(guī)劃設(shè)計(jì)各不相同，沒有固定的模式和方法。與其它許多美國(guó)頂尖大學(xué)一樣，賓大的規(guī)劃追求進(jìn)一步深化校園和城區(qū)之間的積極互動(dòng)。象賓大這樣的名牌大學(xué)能夠并且應(yīng)該在文化和經(jīng)濟(jì)上對(duì)所在城市的發(fā)展有所促進(jìn)，反之亦然。巴拉曼大學(xué)規(guī)劃則表現(xiàn)了學(xué)校的使命及其核心價(jià)值觀。我們的景觀設(shè)計(jì)植根于當(dāng)?shù)匚幕�，同時(shí)也采用一系列手法力求加深景觀和建筑之間的關(guān)系。美國(guó)傳統(tǒng)的田園式校園和圍繞校園的繁華城市之間也存在著許多矛盾。目前美國(guó)日益呈現(xiàn)出這樣的需要，即大學(xué)作為在生物技術(shù)等新興科研領(lǐng)域經(jīng)濟(jì)增長(zhǎng)的原動(dòng)力，必須要促進(jìn)其周邊形成健康的城市社區(qū)，才能吸引最優(yōu)秀的學(xué)生和教職人員。作為設(shè)計(jì)師，職責(zé)就是在塑造和表現(xiàn)大學(xué)的建筑和景觀特色的同時(shí)，改善公共環(huán)境。
USD: 賓大規(guī)劃的主題是“鏈接賓大”，“鏈接”的概念貫穿項(xiàng)目設(shè)計(jì)的始終，譬如說學(xué)習(xí)生活之橋，運(yùn)動(dòng)休閑之橋等，并且特別強(qiáng)調(diào)交通走廊的建設(shè)，能否簡(jiǎn)單介紹一下這一主導(dǎo)理念的產(chǎn)生背景和過程？
丹尼斯·皮帕茲：這一理念直接源自賓大校長(zhǎng)艾米&＃8226;古特曼，她親自監(jiān)督了賓大連接區(qū)的每個(gè)規(guī)劃步驟。她在就職演說中呼吁，賓大要“讓費(fèi)城和世界都參與進(jìn)來”。賓大鏈接區(qū)既是賓大下半世紀(jì)的發(fā)展藍(lán)圖，又是將校區(qū)與斯庫(kù)基爾河以及費(fèi)城中心城區(qū)連接起來的橋梁。因此，“橋梁”自然成為最恰當(dāng)?shù)谋扔鳌?
學(xué)習(xí)生活之橋重新確立了核桃樹大街的主軸線，連接起中心城市的利頓豪斯廣場(chǎng)。運(yùn)動(dòng)休閑之橋是一座令人驚嘆的懸索步行橋，將沿岸的各個(gè)體育休閑中心與現(xiàn)有的體育館連接起來，。南街的文化保健之橋和未來的研究之橋連接保健中心和研究機(jī)構(gòu)，對(duì)大學(xué)和費(fèi)城的發(fā)展將起到關(guān)鍵作用。新的校園規(guī)劃弘揚(yáng)了東校區(qū)的工業(yè)歷史，同時(shí)使賓大在斯庫(kù)基爾河畔呈現(xiàn)出嶄新的形象。
USD: 巴拉曼大學(xué)項(xiàng)目的設(shè)計(jì)，體現(xiàn)了Sasaki規(guī)劃與城市設(shè)計(jì)的設(shè)計(jì)原則：有力的綜合分析，經(jīng)濟(jì)現(xiàn)實(shí)主義，環(huán)境責(zé)任，以及文化意識(shí)。而設(shè)計(jì)重點(diǎn)在于大學(xué)要建立一個(gè)以鼓勵(lì)各學(xué)科間的學(xué)習(xí)與交流為目的的公眾領(lǐng)域，設(shè)計(jì)采用了怎樣的方法建立這個(gè)領(lǐng)域的？
丹尼斯·皮帕茲：巴拉曼大學(xué)位于貝魯特北部靠近黎波里的一座山頂上。學(xué)校董事會(huì)要求創(chuàng)造出體現(xiàn)教育崇高性的氛圍，但不能帶有任何明顯的宗教特征，因?yàn)閷W(xué)校強(qiáng)調(diào)不同宗教間的和諧共處，特別是基督教和伊斯蘭教。整個(gè)校區(qū)設(shè)計(jì)了三個(gè)主軸線：入口漫步道處是懸鈴木樹林，行人被放在優(yōu)先考慮的位置，雖然也設(shè)置了機(jī)動(dòng)車道，但并沒有占據(jù)主導(dǎo)地位。校園核心區(qū)包括很多庭院、聚會(huì)和靜思場(chǎng)所。最后是三角型的學(xué)問之路，通向橄欖園和主入口。紫色、粉色和綠色的本土植物與建筑墻體和地面鋪裝形成鮮明對(duì)比。學(xué)問之路既有實(shí)際的連接作用，又喻意深遠(yuǎn)，比喻架起連接神圣和世俗的橋梁。
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USD: 能否請(qǐng)您闡述一下Sasaki的核心設(shè)計(jì)觀念？
丹尼斯·皮帕茲：Sasaki是個(gè)跨行業(yè)的設(shè)計(jì)公司，公司文化的核心是合作和交流。我們的景觀設(shè)計(jì)業(yè)務(wù)的目標(biāo)是創(chuàng)造恒久的景觀，可以傳承數(shù)代的、意義非凡的場(chǎng)所。景觀設(shè)計(jì)與市政工程、城市規(guī)劃和建筑配合，在各式各樣、富有挑戰(zhàn)性的基地上進(jìn)行新穎獨(dú)特的設(shè)計(jì)，如城市濱水區(qū)、大學(xué)校園、環(huán)境敏感地區(qū)和棕地等。與建筑設(shè)計(jì)]不同的是，景觀設(shè)計(jì)對(duì)時(shí)間有特殊的要求，因?yàn)楸仨毜却?a href="http://plant.aybearing.cn" target="_blank" title="園林植物">植物的生長(zhǎng)和成熟才能獲得預(yù)期的景觀效果。Sasaki在項(xiàng)目設(shè)計(jì)時(shí)要求至少有50年的使用期，我們并不追求立竿見影的效果和當(dāng)下時(shí)髦的設(shè)計(jì)手法；我們的設(shè)計(jì)是要超越流行，重視持久的品質(zhì)和對(duì)場(chǎng)地的深刻理解�？蛻艉陀嘘P(guān)方面強(qiáng)調(diào)的各種人性需求是所有設(shè)計(jì)的基礎(chǔ)，他們的問題和所關(guān)注的熱點(diǎn)幫助我們探尋各種方案，直到找到最合適的解決辦法。我們也非常重視公共領(lǐng)域的設(shè)計(jì)，因?yàn)槿藗冃枰鞣N公共空間來聚會(huì)、紀(jì)念，嬉戲、慶祝以增進(jìn)彼此的聯(lián)系。所以，各種公共空間如城市廣場(chǎng)、校園、公司休閑中心等都成為Sasaki的設(shè)計(jì)重點(diǎn)。Sasaki還邀請(qǐng)藝術(shù)家參與到設(shè)計(jì)中，藝術(shù)的融入極大地豐富了公共環(huán)境。
USD: 閱讀Sasaki的設(shè)計(jì)作品，以成熟的設(shè)計(jì)風(fēng)格為主導(dǎo)，而非前衛(wèi)的表現(xiàn)，對(duì)此您是怎樣理解的？Sasaki公司是怎樣培養(yǎng)設(shè)計(jì)師的創(chuàng)造力？
丹尼斯·皮帕茲：我們認(rèn)為創(chuàng)造力來源于解決設(shè)計(jì)難題的能力，這些難題因場(chǎng)地、項(xiàng)目和客戶需求而產(chǎn)生。創(chuàng)造力通常是在對(duì)場(chǎng)地進(jìn)行調(diào)查和研究的縝密過程中產(chǎn)生的，它是景觀設(shè)計(jì)師、市政工程師、規(guī)劃師和建筑師相互溝通合作的結(jié)果。例如某濱水項(xiàng)目，有資料表明此地有一條廢棄很久的工業(yè)用運(yùn)河，設(shè)計(jì)時(shí)就可能考慮把它重新發(fā)掘和利用起來，或者充當(dāng)泄洪區(qū)，或者做為小艇的停泊灣，我們有個(gè)濱水項(xiàng)目就是這樣設(shè)計(jì)的。通常，創(chuàng)造性的解決方案只有在遇到難題時(shí)才會(huì)產(chǎn)生。
USD: 在很多時(shí)候Sasaki作為城市規(guī)劃師的角色主導(dǎo)項(xiàng)目的設(shè)計(jì)局面，而Sasaki最初又是一個(gè)以景觀設(shè)計(jì)為背景的公司。您認(rèn)為景觀設(shè)計(jì)對(duì)規(guī)劃和城市設(shè)計(jì)意味著什么？
丹尼斯·皮帕茲：景觀設(shè)計(jì)的對(duì)象是土地，因此它是所有環(huán)境構(gòu)建工作的基礎(chǔ)。具體的地形和植被往往是設(shè)計(jì)的出發(fā)點(diǎn)，并且決定跨行業(yè)合作的程度�？缧袠I(yè)合作是我們公司的核心。在Sasaki，沒有哪個(gè)工作室是處于主導(dǎo)地位的。在面臨設(shè)計(jì)難題時(shí)，每個(gè)工作室都要提出多方面的解決方案。公司合伙人的任務(wù)是與客戶直接聯(lián)系和溝通，在調(diào)動(dòng)公司整體知識(shí)儲(chǔ)備的同時(shí)協(xié)調(diào)和激勵(lì)各個(gè)小組的工作。例如，我們的景觀設(shè)計(jì)部、規(guī)劃部和城市設(shè)計(jì)部可以向建筑部指明工作內(nèi)容，反之亦然；某個(gè)項(xiàng)目的室內(nèi)設(shè)計(jì)方案可以解決另一個(gè)項(xiàng)目的可持續(xù)性問題；或者，我們?cè)谥袊?guó)的現(xiàn)行工作可以為在克里夫蘭的項(xiàng)目啟發(fā)創(chuàng)作靈感。支持這些互動(dòng)的基礎(chǔ)就是公司的平衡式所有權(quán)結(jié)構(gòu)，這種公司結(jié)構(gòu)在業(yè)界是獨(dú)一無(wú)二的。雖然每個(gè)項(xiàng)目都各不相同，但是由于公司設(shè)計(jì)過建筑環(huán)境中的各個(gè)層面，我們總是能從獨(dú)特的視角出發(fā)找到解決方案。
USD: Sasaki的北京2008奧林匹克公園方案贏得了競(jìng)賽，是您主持設(shè)計(jì)的，對(duì)中國(guó)的地域和文化特征，您是怎樣理解的？
丹尼斯·皮帕茲：很顯然，對(duì)城市設(shè)計(jì)師而言，很重要的一項(xiàng)功課就是要熟悉當(dāng)?shù)貧v史、文化和城市建設(shè)。中國(guó)的城市建設(shè)自有一套體系，并且已經(jīng)運(yùn)用到北京等大城市的規(guī)劃、建設(shè)和布局中。理想城市規(guī)劃的很多典型元素其實(shí)都起源于中國(guó)，例如城門和入口的概念、指引方向的城市極點(diǎn)的設(shè)立、人性化的建筑布局、人和自然的和諧共生之觀念，這些在世界各地都有所應(yīng)用。中國(guó)的城市規(guī)劃都強(qiáng)調(diào)公民秩序，形式上主要表現(xiàn)為規(guī)模巨大的公共開放空間的規(guī)劃和建立。這種秩序感和平衡感在中國(guó)傳統(tǒng)的大景觀和花園設(shè)計(jì)上都體現(xiàn)出來。面對(duì)這樣的歷史傳承，不管項(xiàng)目是在世界的哪個(gè)地方，城市規(guī)劃者、景觀設(shè)計(jì)師和建筑師都可從中汲取豐富的靈感。我們的北京奧林匹克公園的設(shè)計(jì)概念就深深植根于北京的歷史文化等背景，并與奧運(yùn)村周邊城區(qū)緊密相連。公園設(shè)計(jì)的一個(gè)關(guān)鍵目標(biāo)就是要奧運(yùn)村長(zhǎng)久使用，必須保證2008年以后這里仍然是城市的一個(gè)亮點(diǎn)和繁華之地。
USD: Sasaki在中國(guó)有很多項(xiàng)目，您認(rèn)為中國(guó)的景觀設(shè)計(jì)市場(chǎng)及景觀業(yè)的前景如何？
丹尼斯·皮帕茲：我們?cè)谥袊?guó)的每個(gè)項(xiàng)目都非常獨(dú)特，都是對(duì)特定場(chǎng)所和文化的反思。作為設(shè)計(jì)師，我們必須深入了解所有細(xì)節(jié)的東西，這就需要和客戶密切溝通合作。我們?cè)谥袊?guó)參與的很多項(xiàng)目投標(biāo)幾乎都中標(biāo)了，可是令人失望和遺憾的是，這種形式缺少一個(gè)關(guān)鍵步驟，即在設(shè)計(jì)前期和客戶進(jìn)行直接溝通。如果和客戶建立起長(zhǎng)期的良好關(guān)系（我們已和很多中國(guó)公司建立起這樣的關(guān)系），我們就可以了解有關(guān)場(chǎng)地的很多細(xì)節(jié)的東西，具體的設(shè)計(jì)內(nèi)容，地域和文化背景，并從中國(guó)悠久的造園史中汲取智慧和靈感。中國(guó)經(jīng)濟(jì)快速發(fā)展，農(nóng)村人口大量涌入城市，這些都帶來很嚴(yán)峻的挑戰(zhàn)。因此我們認(rèn)為，中國(guó)的景觀設(shè)計(jì)應(yīng)該同城市規(guī)劃、建筑設(shè)計(jì)等其他設(shè)計(jì)行業(yè)整合在一起。在公司54年的發(fā)展歷史中，景觀設(shè)計(jì)一直是我們的主業(yè)，但由于公司結(jié)構(gòu)是跨行業(yè)的，這就保證我們能采取全面的設(shè)計(jì)方法。我們的經(jīng)驗(yàn)證明，在設(shè)計(jì)前期，可以并且應(yīng)該能夠做出意義最深遠(yuǎn)和最有效的決定。中國(guó)有著悠久的造園史，而我們?cè)诰坝^設(shè)計(jì)業(yè)擁有豐富的經(jīng)驗(yàn)，因此我們非常愿意繼續(xù)在中國(guó)發(fā)展業(yè)務(wù)。
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簡(jiǎn)介：丹尼斯·皮帕茲，美國(guó)SASAKI景觀設(shè)計(jì)事務(wù)所總裁，全面管理公司事務(wù)。他有著20年的國(guó)際及國(guó)內(nèi)景觀設(shè)計(jì)經(jīng)驗(yàn)，包括獲獎(jiǎng)的北京2008奧林匹克公園項(xiàng)目。
USD: As we know Sasaki has won three 2007 ASLA awards which include a landmark award and two planning honor awards. Could you give us some comments on the three projects? What do you think about the ASLA award?
Pieprz: The ASLA recognizes and rewards excellence in our profession while keeping standards high and acknowledging the complexity of the process of design. The awards for both Penn Connects (University of Pennsylvania Urban Design Vision Plan) and University of Balamand were in the Analysis and Planning category, and were as much for Urban Planning as for Landscape Architecture – we were recognized for doing extensive research and analysis of the complex urban conditions on the sites.The Landmark Award for the Charleston Waterfront Park is a completely different level of recognition. It is given jointly by the ASLA and the National Trust for Historic Preservation, which is a very influential organization. The Landmark Award is given only to a project that has stood the test of time. It is one that, after a minimum of 15 years, has in the ASLA's words "retained the integrity of its original design and significantly contributed to the public realm of the city in which it is located." These two elements – integrity of design and adding to the public realm, are absolutely fundamental to our mission here at Sasaki.
USD: The landmark award was given to the Charleston Waterfront Park, which is considered “A Great Urban Promenade” and was recovered from a brownfield to an urban space. To create an urban space for people, and to recover ecological environment are the two aspects of an urban space that people are pursuing, but at the same time, to some extent, there are a couple of conflicts. How do you create an urban space that balances people's needs and sustainability? Does SASAKI Associates have any design concepts obligatory for similar projects?
Pieprz: There is tension in readapting a former industrial site for use as a public park, but therein lies its potential. The very act of replacing open parking lots and rotting piers with green space is regenerative and ameliorates the "heat island" effect. The restoration of a habitat of salt marsh grasses and shallow estuarine waters along the park's edge allows visitors the opportunity to appreciate the area's marine ecology and wildlife. But beyond these gestures, a carefully designed public park also promotes sustainable urban lifestyles. As the neighborhood around the park improved, more and more people were able to adopt healthy pedestrian habits and live in racially diverse neighborhoods that combine residential with retail and commercial. We believe that some of the most profound design decisions can be made at the planning level – in other words, it's not just sustainable building materials and processes that must be brought to the fore but also overall thinking that promotes healthy lifestyles and a culture of sustainability in all of its forms.
USD: Two of the awarded projects are campuses. Could you summarize the design concepts for campus design?
Pieprz: The two awards are for vastly different campuses, one an Ivy League campus here in the northeastern U.S. and another a private university in the Mediterranean Middle East.Sasaki's work in campus design is so varied that there are no set approaches or formulas. At the University of Pennsylvania, as with at many other leading American universities, our designs seek to further a vibrant interaction between "town" and "gown." Major institutions like Penn can and should nurture—culturally and economically—their surrounding urban contexts, and vice versa. At Balamand, the challenge was to express the institution's mission and core beliefs. We designed a landscape deeply rooted in the local culture while also proposing an array of solutions that enhanced the relationship between the buildings and the landscape.There is tension between the American tradition of a pastoral, green campus and the urban vibrancy that often surround such campuses. There is an emerging imperative here in the U.S. that colleges and universities, as the engines of economic growth in emerging fields like research and bio technology, must promote healthy surrounding urban neighborhoods in order to attract the best and brightest students and employees. It is our duty as designers to improve the surrounding public realm and while nurturing and expressing the individual architectural and landscape character of each institution.
USD: The theme for the University of Pennsylvania campus design is connection, like the Living/Learning Bridge, the Sports and Recreation Bridge, the Cultural and Health Sciences Bridge, the Research Bridge. How did connection become the design concept?
Pieprz: It came straight from the top – in her inaugural address, University President Amy Gutmann, who has personally overseen every step of the Penn Connects process, called for the university "to engage, locally and globally." Penn Connects is a blueprint for growth over the next half century as well as a means to connect the campus both to the Schuylkill River and to Center City Philadelphia. And so "bridge" became a natural and apt metaphor.A "Living/Learning Bridge" reestablishes a strong Walnut Street axis and connects to Rittenhouse Square Center City; A "Sports/Recreation Bridge" proposes a dramatic new pedestrian-only cable-stay span and incorporates student life programs like a series of sports and recreation parks along the river adjacent to the existing stadium; A "Health Sciences/Cultural Bridge" at South Street and future "Research Bridge" accommodate health care and research endeavors that are critical for both the university's and city's growth. The plan celebrates East Campus's industrial history while establishing a real physical presence for Penn along the banks of the Schuylkill.
USD: The design for the University of Balamand follows your design solutions that are, as you have said, “a synthesis of rigorous analysis, economic realism, environmental responsibility, and cultural awareness.” In the Balamand project statement you said, “The plan re-directs the physical form of the university to establish a civic realm to encourage communication and interdisciplinary learning.” What methods do you use to set up the realm?
Pieprz: The University of Balamand is atop a dramatic hilltop site near Tripoli, north of Beirut. The school's trustees wanted an ambience that bespoke the grandeur of an educational mission but without any obvious religious symbolism, owing to their commitment to inter-faith relations, especially between Christians and Muslims. There are three main axes: An Entry Promenade is planted with a grove of sycamore trees where pedestrians are accorded a priority although the reality of motorized transportation is accommodated, without allowing it to dominate. The Core Area contains numerous courtyards and places of meeting and quiet contemplation. Finally the Path of Learning completes a triangular path back toward the Olive Court and main entry. Purple, pink and green native plantings contrast against the lighter building masonry and paving. The Path of Learning is both an actual and metaphorical link, seeking to bridge the sacred and the secular.
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USD: Could you introduce the design philosophy of SASAKI Associates?
Pieprz: Sasaki is an interdisciplinary design firm where collaboration and cross-pollination of ideas are at the very center of our firm culture. In our landscape architecture practice, our aim is to make enduring landscapes - significant places that will last for generations. This practice is integrated with civil engineering, urban design and architecture to create new designs on diverse and challenging sites including urban waterfronts, college campuses, sensitive environmental areas, and brown-fields.
Time has a different meaning for landscapes, which unlike buildings, must grow and mature to reach their potential. Because Sasaki expects our projects to be in use 50 years or more, we don't design for instant impact or in the style of the moment; our designs transcend style to incorporate lasting qualities and an understanding of the site. Working closely with clients is fundamental to Sasaki's design approach. Clients and larger stakeholders articulate the human needs that are at the basis of any design work; their questions and concerns help us explore many alternatives before reaching the most appropriate landscape solution. We have a deep and abiding respect the public realm; we believe that people need places where they can gather, observe, play, celebrate and feel connected to each other. As a result, public spaces…a city square, a campus quadrangle, a corporate plaza…form the organizing focus of many of Sasaki's designs. Sasaki also collaborates with artists to integrate art into our designs, often immeasurably enriching the public environment.
USD: While looking into the works by SASAKI, we found your designs to be more about functionality and realism rather than being merely stylish, modern, or flamboyant. What is your opinion? How do you encourage landscape architects to be innovative?
Pieprz: We believe that innovation is born of exploring ways to solve problems presented by a site, program or set of client needs. It is often during the rigorous process of inspecting and researching a site that ideas will come as a result of the cross-pollination that takes place among our landscape architects, civil engineers, planners and architects. For example in a waterfront site there might be historical drawings that indicate the presence of a long-abandoned industrial canal. Such a fact can spur a design idea to bring back the canal and have it serve a practical function such as being a storm water collector or a mooring site for kayaks, as is happening at one of our waterfront projects. Often innovative ideas come only after a problem is presented.
USD: SASAKI plays the leading role and urban planner in quite a lot of projects. As we all know SASAKI was a landscape architecture firm, but has become a multi-disciplinary company. How do you think landscape architecture influences planning and urban design?
Pieprz: Landscape architecture deals with land and thus underpins all work in the built environment. It is the topography and vegetation of a particular site that is often the starting point of design thinking and that sets the stage for the Interdisciplinary collaboration that is at the heart of our firm. At Sasaki, no one studio dominates. Each contributes multi-perspective approaches to solving design problems. Firm principals, charged with direct client contact and accountability, orchestrate and inspire the team while tapping into the vast knowledge base within the firm. For example, our Landscape Architecture and Planning and Urban Design inform the work of our Architecture, and vice versa; an Interior Design solution in one project might hold the key to sustainability in another; current work we are doing in China might inspire a creative approach to a project in Cleveland. Supporting this interaction is the firm's balanced ownership structure, which is unique in the industry. While each project is different, each is approached from the unique perspective of a company that has designed things across the full spectrum of the built environment.
USD: SASAKI won the competition of 2008 Beijing Olympics and you are the principal landscape architect. What do you think of the regional and cultural identity of China?
Pieprz: Obviously an important part of the task of an urban designer is studying history and culture and city-building. China evolved the grid and applied it to the planning, construction and ordering of its great imperial capital cities, including Beijing. The idea of the city gate or entry, the principle of the city pole that facilitates orientation, methods of arranging buildings to maximize human comfort and the fostering of a symbiotic relationship between man and nature are representative of city planning ideals that have their genesis in China, and have found application throughout the world. Chinese city planning embraces the principle of a civic order, formed in large part by the creation of open spaces planned and executed at a grand scale. This sense of order, of seeking balance, is manifested in the great landscape and garden design tradition of China. From this rich matrix, there are many ways in which the urban designer, landscape architect and architect can find inspiration, whether or not the project is located within China. Our Beijing Olympic concept is very much tied to the context of Beijing, to the particular urban districts that are adjacent to the Olympic site. The long-term integration of the Olympic site was a key goal of our urban design concept – it must become a living part of the city and thrive well beyond the events of 2008.
USD: SASAKI has lots of projects in China. What do you see in the future of landscape design (both the practice and the business market) in China?
Pieprz: Each project we do in China is unique and is reflective of a particular site and culture, and as designers we must become enmeshed in these specifics, and that requires working closely with clients. Of the numerous competitions we have entered for work in China, we have won almost every one. However, we have generally found this format frustrating and ultimately unsatisfying because of the lack of direct client contact at the critical early design phases. When we have a good, long-term relationship directly with the client—as we have now with a number of Chinese firms—we are able to get at the particulars of the site, the program and the larger contexts of region and culture, tapping into China's rich landscape history for inspiration and guidance.
Because China's economic growth and rural-to-urban migration presents such great challenges, we believe the future of landscape design lies in its integration with the other major design disciplines, especially urban planning and architecture. Landscape architecture is deeply ingrained into our firm's 54-year history. But our interdisciplinary firm structure allows us to take a holistic approach – our experience shows that the most profound and effective design decisions can and should be made in the early planning stages. With the rich history of landscape architecture in China, and our own roots within the landscape architecture discipline, we are very enthusiastic and excited about continuing to be involved in major design work in China.
摘自 景觀中國(guó)
