景觀設(shè)計外文翻譯（節(jié)選）

1、<p>　　2000單詞，10800英文字符，3400漢字</p><p>　　Harry Howard was the first landscape architect I met. The first landscape project I can recall seeing was the model of Canberra’s High Court of Australia

2、 and the National Gallery of Australia, in Howard’s office in McMahons Point, Sydney in 1976.</p><p>　　Howard was part of a group of landscape architects that started the AILA in 1966. This group change

3、d the profession through its practice, drawing together to elevate the profession in Australia. The now-mature Sculpture Garden at the National Gallery of Australia forms a fitting tribute to Howard’s vision, his sense o

4、f scale and proportion, his humility and the lightness of his design touch.</p><p>　　The HCA/ANG precinct, as it was titled on the drawings, was many years in the planning and design phase. The key comp

5、onent of the precinct is the Sculpture Garden, now thirty years old. The garden was designed specifically around several sculptures that the inaugural gallery director, James Mollison, had been acquiring since the mid 19

6、70s. The garden is the product of a collaboration between Mollison, architect Col Madigan, Howard and Barbara Buchanan, the project landscape architect. A young Me</p><p>　　The Sculpture Garden is one of the

7、 few gardens in Canberra that architects get excited about. If you ask architects what their favourite Canberra landscape is, the answer is very often, “The Sculpture Garden at the National Gallery.” This is counterintui

8、tive for me, for here is a landscape that, at least on two sides of the building, dominates the building and creates the space. The brutalist gallery facade is subservient to the canopy of the eucalypts. My choice for th

9、e best view in Canberra is</p><p>　　In 1994 the Australian Heritage Commission listed the High Court-National Gallery Precinct in its Register of the National Estate (now the Australian Heritage Council’s Co

10、mmonwealth National Heritage List). The architects for both buildings were Edwards Madigan Torzillo Briggs. Col Madigan was a champion for both buildings and the precinct for many years post completion, until his death i

11、n 2011. Howard equally had championed the landscape and the qualities of the original design until his death </p><p>　　In Sculpture Gardens: Australian National Gallery, Canberra, Study 1, Howard outlin

12、ed his concept for the landscaping, in which he explained “that it would provide physical and psychological comfort allowing visitors to orient themselves and be guided through a sequence of varying ‘gallery’ spaces or r

13、ooms. The planting was to comprise only Australian native species and, in particular, those occurring around the Canberra region. The asymmetrical and haphazard character of Australian trees and pl</p><p>　　

14、Howard’s design statement emphasized the use of locally occurring Australian native species, and the design’s “asymmetrical and haphazard character.” Howard was an early convert to the use of indigenous plants in his pro

15、jects. He was awarded an Australian Institute of Horticulture award for his locally indigenous planting scheme at Helen Street Reserve, Lane Cove, in the late 1970s. He had a series of home nurseries throughout the 1970s

16、, at Sydney’s Wahroonga and then McMahons Point, where he gr</p><p>　　Howard’s desire for asymmetry to act as a counterpoint to the prevailing symmetry and order within the Parliamentary Triangle did not wea

17、ken. I spoke with him shortly before his death, at the time that the winner of the design competition for Commonwealth Place was announced. Howard had seen an image of the winning design and was very excited about the as

18、ymmetry introduced by the proposed planting of trees to one side of the grassed space.</p><p>　　Interestingly, the Sculpture Garden is still the only landscaped space within the Parliamentary Triangle w

19、here the trees are not planted to a grid. This space is quite different in character to any other space in the Triangle due to the random patterns and growth of the trees and understorey. The majority of the Parliamentar

20、y Triangle presents isolated buildings fringed by regularly spaced trees or blocks of gridded plantings. The landscape space is a void, or negative space formed by the positi</p><p>　　The gallery gardens are

21、 now very much a “collection” of landscape architecture. Following the initial Howard/Buchanan construction completed in 1982 was the 1994 Fern Garden designed by artist Fiona Hall, which occupies the courtyard space for

22、med by Andrew Andersons’ temporary exhibition building, completed in 1998. In 2010, the Australian Garden designed by McGregor Coxall was completed. This garden occupies the former southern car park area and includes a S

23、kyspace installation by James Turrell</p><p>　　Interestingly, both the Howard/Buchanan Sculpture Garden and the McGregor Coxall scheme had proposed further stages. Significant cuts to the original design wer

24、e made in the pre-tender phase, and were not reinstated even following favourable tender results. (Disclosure: one of the writer’s earliest drafting projects while still a student was to document the amphitheatre, which

25、was subsequently value-managed out of the project and replaced by grassed embankments.) The McGregor Coxall scheme is ve</p><p>　　According to Howard, the design objectives for the gardens included “the

26、 establishment of a strong visual framework which recognizes the unique lakeshore site and helps the user orientate,” and the creation of “a single sculpture viewed discreetly in an individual setting – there is no feeli

27、ng of gallery or self-conscious display. The sculpture is a focal point in the landscape, completing the scene.”</p><p>　　A bureaucratic decision in 1975 radically changed the direction of approach to t

28、he gallery entrance. It was planned that it would lead to Roger Johnson’s “National Place,” however, with the abandonment of that project, the gallery entrance was left five metres above natural ground level. Later, in 1

29、978, traffic direction on the access road was altered, and a car park was constructed to the south, instead of the larger underground car park that had been planned. This resulted in the majority of v</p><p>

30、;　　In 1999 Howard and Buchanan prepared a detailed review of the condition of the precinct, measuring the condition against the design intent. Buchanan further reported on the condition in 2000. Details of the key depart

31、ures from the constructed works related to the outdoor restaurant are as follows:</p><p>　　The car park and access road built behind the Henry Moore sculpture to service the temporary restaurant, which

32、was not part of the original design, brought cars into a pedestrian zone and intruded into the backdrop to the sculpture.</p><p>　　The enclosed marquee housing the temporary restaurant blocked visitor c

33、irculation around Marsh Pond and prevented visitors other than restaurant clientele from using the lower terrace.</p><p>　　The angled water channel (part of the Woodward water feature) was covered over

34、in the section that dissects the terrace next to the Marsh Pond.</p><p>　　The report also commented on the general deterioration of the plantings and furniture, and the introduction of miscellaneous ite

35、ms such as concrete paving, bins, signs and drains. A point the report made well was how the concept plan’s design intent had, in nearly all cases, been realized. This was achieved through the planned haphazard developme

36、nt of the multiple, varying angled trunks that make up the canopy and form the landscape architecture that is the garden rooms.</p><p>　　The feeling I take from the now thirty-year-old gardens is one of

37、 resilience. The Sculpture Garden has had to battle not only Canberra’s climate, but also its bureaucracy. The garden has struggled against a changing maintenance culture, of public to private, and gallery directors with

38、 varying levels of connection and awareness of the physicality of the spaces. There have been few changes over time to the placement of sculptures, and the heritage status can be a double-edged sword. While it was c</

39、p><p>　　The fourth and current gallery director, Ron Radford, oversaw the 2010 addition, and the new entrance and the McGregor Coxall Australian Garden. Several new sculptural works were installed in conjunctio

40、n with the additions, and a new work was installed in the Sculpture Garden. The gallery spent a great deal of time and a large amount of money on a heritage statement to justify the insertion of the (generously donated)

41、maquette, Angel of the North by Antony Gormley, on the axial line through the </p><p>　　The garden is a true representation of the designers’ intent, and the light hand of the designers is evident

42、in the soft quality of the light and absence of hard edges to the spaces. It is a testament to the skill of Harry Howard and Barbara Buchanan, and also that of Peter Sutton, the City Parks manager responsible for th

43、e maintenance of the precinct during the initial establishment of the gardens.</p><p>　　Harry howard是我見過的第一個景觀設(shè)計師。當(dāng)我回想我所見過的景觀工程時，第一個浮現(xiàn)在眼前的就是1976年我在位于悉尼麥克馬洪斯角的Howard工作室里見到的澳大利亞堪培拉高等法院和澳大利亞國立美術(shù)館的模型。</p

44、><p>　　澳大利亞景觀設(shè)計師學(xué)會成立于1996年，Howard正是其中的一員。這個組織通過一系列實踐改造景觀設(shè)計師的職業(yè)性質(zhì)，其成員共同致力于提升園林設(shè)計師在澳大利亞的職業(yè)地位。如今，澳美術(shù)館內(nèi)的雕塑公園已經(jīng)發(fā)展成熟。同時，它也將Howard對尺度和比例的感知以及他細心謹慎的品質(zhì)，明亮輕快的設(shè)計理念體現(xiàn)得淋漓盡致。</p><p>　　自從建筑師們開始起草澳大利亞高等法院和國家美術(shù)館地區(qū)的

45、建設(shè)起，他們便展開了為期多年的規(guī)劃和設(shè)計工作。迄今已有三十年歷史的雕塑公園是此地區(qū)的標志性建筑物。上世紀七十年代中期，在首屆美術(shù)館總監(jiān)James Mollison的要求下，雕塑公園應(yīng)運而生。這個公園是Mollison，設(shè)計師Col Madigan，Howard和項目景觀設(shè)計師Barbara Buchanan的智慧結(jié)晶。而年輕的Mervyn Dorrough則于公園的建設(shè)時期前往堪培拉擔(dān)任園林總監(jiān)一職。</p><p&

46、gt;　　在堪培拉，雕塑公園是為數(shù)不多的能讓建筑師們心生向往的地方。若你問這些建筑師他們最喜愛堪培拉的哪項建筑，答案一定毫無二致：國家美術(shù)館的雕塑公園。說起來你可能不相信，正是這片公園影響著整個美術(shù)館或者至少是美術(shù)館的兩側(cè)的整體面貌，并且還為其拓展了空間。館外的桉樹林遮擋住了美術(shù)館斑駁的外墻。所以如果你想欣賞到堪培拉市最美的景致，那就從北面的國家美術(shù)館休息室往湖邊看去，如此一來視線就可以避開那篇隨意分布的桉樹蔭蔽。那景致簡直和上世紀七十

47、年代的設(shè)計圖紙上畫的一模一樣。</p><p>　　1994年，澳大利亞遺產(chǎn)委員會將高等法院和國家美術(shù)館地區(qū)列入其國家遺產(chǎn)登記冊（即現(xiàn)今由澳大利亞遺產(chǎn)委員會發(fā)布的聯(lián)邦遺產(chǎn)名錄）。這兩大建筑的共同設(shè)計師是Edwards Madigan Torzillo Briggs。Col Madigan在其2011年去世前一直負責(zé)兩大建筑及相關(guān)地區(qū)的后續(xù)事務(wù)，而Howard在2000年去世前也一直負責(zé)整個景區(qū)和初期設(shè)計質(zhì)量的相關(guān)

48、事宜。遺產(chǎn)引文記錄了開發(fā)高級法院，美術(shù)館以及雕塑公園的詳細時間，同時，它還將這個地區(qū)（HCA/ANG）譽為“當(dāng)代建筑和景觀設(shè)計的最佳體現(xiàn)……當(dāng)時澳大利亞景觀設(shè)計的新典范，它利用了本土植物來對抗現(xiàn)代建筑要素。”</p><p>　　在雕塑公園內(nèi)：澳大利亞國家美術(shù)館，堪培拉，研究1，Howard形容他的設(shè)計理念形容為：讓參觀者在身心愉悅中找到自我并帶他們領(lǐng)略變化萬千的展廳。他不僅選用了堪培拉地區(qū)附近的品種，更將整個澳

49、大利亞的樹木和植物囊括其中，適時地利用其非對稱性和偶然性軟化了傳統(tǒng)建筑設(shè)計中僵硬的基礎(chǔ)原則。</p><p>　　Howard的設(shè)計理念強調(diào)了對澳大利亞當(dāng)?shù)匚锓N的利用以及“非對稱和偶然的特點 ”。在Howard的項目里，他最早開始使用本土植物。在上世紀七十年代，他因為在萊恩科夫海倫街保護區(qū)的設(shè)計中加入了本土植物元素而獲得澳大利亞園藝學(xué)會獎。那時，Howard還先后在悉尼的沃龍加和麥克馬洪斯角經(jīng)營起許多家庭托兒所，

50、并在那里種植了大量本土植物。由他和Helen McKay共同經(jīng)營的Cedar Wattles托兒所也向公眾出售了許多本土植物。此外，物種選擇和植被規(guī)劃還是國家資本創(chuàng)新的體現(xiàn)。Peter Sutton是一位隸屬于國家資本發(fā)展委員會的園藝學(xué)家，他作為一名園林經(jīng)理曾經(jīng)在許多灌木以及瀕危植物的采購與試用工作中貢獻頗豐并協(xié)助Howard和Buchanan二人進行了本土植物的篩選工作。</p><p>　　由于議會三角區(qū)內(nèi)整

51、齊的綠化風(fēng)格，Howard希望以這種“非對稱”的概念與當(dāng)時盛行對稱和秩序形成對比。在他去世前，我曾與其有過簡短的對話，那時正值他榮獲聯(lián)邦地區(qū)設(shè)計大賽獎。當(dāng)他看到那張獲獎的設(shè)計圖紙時，Howard十分激動，因為他的這種“不對稱”理念終于可以被主流人群所接受并有望得到進一步發(fā)展。</p><p>　　有趣的是，雕塑公園仍是議會三角區(qū)內(nèi)唯一一處不按照網(wǎng)格排列種植樹木的景區(qū)。這片景區(qū)以其自由排列的形態(tài)，樹木和林下層植被區(qū)

52、別于三角區(qū)其他任何一處土地。這是由于議會三角區(qū)內(nèi)大多數(shù)獨立的建筑周邊都種植著一片片整齊排列的樹木或是一簇簇呈網(wǎng)狀排列的植株。這里空曠且蕭條，四周全是建筑群和樹木。建筑師之所以建造這樣一個地方，是為了象征公園空間的廣闊，它壓制著參觀者也忍受著堪培拉的酷暑嚴寒更不是一處理想漫步之所。而雕塑公園正相反，它有樹干和樹葉遮陰，也因此更受歡迎。它為游客提供了Howard設(shè)計理念中所陳述的“身與心的愉悅”，這種舒適的體驗是議會三角區(qū)里其他地方所沒有的

53、。</p><p>　　現(xiàn)在，這座美術(shù)館里有許多精美的建筑。沿著這幢于1982年由Howard和Buchanan設(shè)計的建筑走下去，我們可以看到藝術(shù)家Fiona Hall于1994年設(shè)計的費恩公園，它占據(jù)了由Andrew Andersons設(shè)計的臨時展覽館的院落空間，此展覽館于1998年竣工。2010年，由McGregor Coxall設(shè)計的澳大利亞公園建設(shè)完工，這座公園占據(jù)了之前的南停車場和James Turre

54、ll設(shè)計的露天展臺。這花園環(huán)繞著進入美術(shù)館的新通道并且還為參觀者提供了一片廣闊的草坪，這片草片由其中的新型功能室中綿延而出。這片宛如調(diào)色盤一般鮮艷的植被仍然單獨選取了本土植物用以種植。2010年，美術(shù)館的擴張建造仍舊由Andrew Andersons進行設(shè)計。員工停車場則被轉(zhuǎn)移到由Howard和Buchanan設(shè)計建造的金秋公園中去。2012年，澳大利亞公園獲得了由澳大利亞園林建筑師學(xué)會授予的國家級設(shè)計獎。</p><

55、;p>　　有趣的是，不管是霍華德或者布坎南設(shè)計的雕塑園還是麥克格雷戈考克薩爾方案都已經(jīng)進入了下一階段。在招標前，對原設(shè)計作出了大幅刪減并且沒有恢復(fù)，即使那樣做有利于投標。（披露：作者最早繪制的項目是學(xué)生時代的圓形劇場，隨后是那個項目的價值管理以及草堤建設(shè)）目前的美術(shù)館館長拉德福極度贊同麥克格雷戈考克薩爾方案是澳大利亞花園的“第一階段”。第二階段的圖紙正在設(shè)計當(dāng)中，它將包括進一步的建設(shè)和土建工程，并將提供附帶景觀性領(lǐng)獎臺的地下停車場

56、，但是還缺少一個更有利的聯(lián)邦撥款制度。</p><p>　　據(jù)霍華德所說，園林的設(shè)計目標是建立一個融入獨特湖岸景色并能幫助用戶定位的視覺框架，同時創(chuàng)造有獨特視角的單一雕塑，這種雕塑不會讓人覺得這是美術(shù)館或者是在故意展覽。</p><p>　　1975年官方?jīng)Q定徹底改變美術(shù)館入口的道路指向。按計劃它將通向約翰遜的“國家廣場”，然而，隨著這個項目的放棄，美術(shù)館入口抬高了五米。后來，1978年入

57、口道路的交通方向被改變了，并且在南部建造了一個停車場，從而取代了曾經(jīng)計劃的地下停車場。這也導(dǎo)致大量的游客從后門進入美術(shù)館。第二任第三任館長都花了大量精力解決前門的設(shè)計問題。第二任館長Betty Churcher，也是蕨類植物園和臨時展覽樓的主人，試圖通過調(diào)整內(nèi)部布局以適應(yīng)入口的現(xiàn)狀。第三任館長Brian Kennedy決定解決前門的問題，但是當(dāng)時制定的計劃受到了馬迪根、霍華德和布坎南的批評。他們試圖得到一批杰出的建筑家的景觀建筑師的支持

58、，這在提交2001年準備的由許多專業(yè)組織成員國簽署的保護傳統(tǒng)價值原則的聲明時達到高潮。</p><p>　　1999年霍華德和布坎南準備了一份關(guān)于轄區(qū)情況的考察，簡述了有悖設(shè)計意圖的情況。布坎南在2000年做了進一步報道。違反室外餐廳建造關(guān)鍵之處的細節(jié)如下：</p><p>　　為了方便臨時餐廳，停車場和入口馬路建在了亨利·摩爾的雕塑后面，把車引入了人行道區(qū)域，侵占了雕塑的背景幕

59、，這種建造并不是原設(shè)計的一部分。</p><p>　　封閉的帳篷住房、臨時餐廳阻礙了游客環(huán)游沼澤池塘，也阻止了除飯店客戶以外的游客使用低處的露臺。</p><p>　　傾斜的水通道（該伍德沃德水功能的一部分）在經(jīng)過靠近沼澤池塘的露臺時被覆蓋了。</p><p>　　該報道還評論了了綠化和家具的惡化以及像混凝土路面、箱柜、標示牌和排水溝這類混雜事物的引入。這個報道的亮

60、點在于考慮到了幾乎所有概念規(guī)劃時的設(shè)計意圖。這些是通過多方面發(fā)展實現(xiàn)的，它改變了樹干的角度，使其形成林冠，構(gòu)成景觀園林，形成園林式的房間。</p><p>　　從這座三十年的園林我所感受到的是它的適應(yīng)能力。雕塑公園已經(jīng)不僅要和堪培拉的氣候做斗爭，還要和官僚機構(gòu)戰(zhàn)斗。隨著連接水平、空間認知的變化，園林已經(jīng)在和公眾、個人、美術(shù)館館長們不斷改變的維修理念作斗爭。在雕塑的替代方面，一些改變已經(jīng)發(fā)生了，同時傳統(tǒng)派所具有的地

61、位可能是一把雙刃劍。20世紀90年代晚期，為了改進美術(shù)館的入口，未經(jīng)深思熟慮的提案在關(guān)于挽救園林和美術(shù)館方面受到批判時，傳統(tǒng)派指出了雕塑收藏的復(fù)雜變化。</p><p>　　目前的第四任美術(shù)館館長拉德福視察了2010年新建的建筑、新入口和麥克格雷戈考克薩爾澳大利亞花園。幾個新的雕塑作品用于連接附屬建筑，并且一個新的雕塑作品也出現(xiàn)在了雕塑園。為了證明安東尼·戈姆雷北方天使草圖嵌入在貫穿園林軸線毗鄰湖泊的十

62、字路口的合法性，美術(shù)館花了大量的時間和金錢在遺產(chǎn)聲明上。其他新放置的雕塑作品理所當(dāng)然地獲得了臨時作品的認可，并要求每年都有新的申請。拉德福也說出了內(nèi)心的疑惑—是否未來所有的作品都要冠以“臨時”這個稱呼，以便允許他們?nèi)蘸竽軌蛎馐苓z產(chǎn)要求的苛評呢？</p><p>　　園林是設(shè)計者意圖的準確表現(xiàn)，設(shè)計師熟練的手藝能在光的柔軟和空間的棱角上體現(xiàn)得淋漓盡致。這也是對哈利·霍華德、芭芭拉·布坎南、彼得?