外文翻譯--景觀規(guī)劃設(shè)計(jì)方法的機(jī)會(huì)（節(jié)選）

1、<p>　　中文2080漢字,1300單詞，7500英文字符</p><p>　　出處：Haaren C V, Warren-Kretzschmar B, Milos C, et al. Opportunities for design approaches in landscape planning[J]. Landscape & Urban Planning, 2014, 130(1):15

2、9-170.</p><p>　　Opportunities for design approaches in landscape planning</p><p>　　Christina von Haaren, Bartlett Warren-Kretzschmar Christina Milos ， Christian Werthmann Abstract</p><

3、;p>　　In the discipline of landscape architecture (LA) a divergence of the “planning” and the “design” cultures is not a new phenomenon. This divergence of planning and design may potentially expand the range of possib

4、le methodological and ethical approaches in LA. However, theory is lacking about the nature of these approaches and how to apply and merge them in planning situations. Thus the objective of this investigation was to bett

5、er understand these cultures and the reasons for different approache</p><p>　　The findings indicate that the distinction between the terms landscape architecture, design and planning are increasingly blurred

6、. However, different contexts and tasks as well as the dominance of specific characteristics of values, methods and processes in the two cultures are obvious. Different tasks and application contexts apparently lead to d

7、ifferent planning and design cultures. Nevertheless, within the planning context we can identify design opportunities that have the characteristics of </p><p>　　Keywords : Landscape planning; Landscape desig

8、n; Landscape architecture; Theory; Values; Approaches </p><p>　　1. Introduction </p><p>　　As faculty in Landscape Architecture and Environmental Planning, we are often confronted with questions

9、from students about the divide of planning and design within the discipline, which they perceive during their education. Their comments echo the longstanding debate about how planning and design are related and question

10、the tendency to gravitate or specialize in one area or the other. In this discussion, planning usually represents the more scientific, environmentally-focused and policy-based </p><p>　　This divergence is al

11、so reflected in many universities (Maru?i?, 2002) where two separate programmes for the Bachelor are offered. The discussion of this dichotomy is not new, regardless of the terms used to describe the two sides (Gobster &

12、amp; Xiang, 2012: 290). Even if this discussion may have focused on the European situation (Drozdov, 2007, Höfer, 2002, Maru?i?, 2002, Ogrin, 1994, Ogrin, 2010 and Stiles, 1994), it remains relevant to students and

13、to the discipline also in other parts of the wor</p><p>　　To this end the article starts with a description of the method, followed by a section in which we explore how “l(fā)andscape design” (LD) and “l(fā)andscape

14、 planning” (LP) can be characterised and differentiated based on a review of literature about landscape planning and design. After identifying typical tasks and situation-related characteristics of LD and LP, we present

15、a framework for identifying situations in LP that could benefit from a design approach and give examples of such situations. </p><p>　　2. Method </p><p>　　Methodologically, the paper draws on a

16、literature review of landscape design and planning theory. The literature analysis was structured by the following question: which characteristics of LP and LD are mentioned in the literature with respect to: context (ta

17、sk, application, and implementation) and culture (underlying values and processes)? (proposed by Levin-Keitel & Sondermann, 2014) </p><p>　　The analysis identified characteristic properties that were fou

18、nd predominantly in either LD or LP but not in both. The purpose was to identify approaches that were absent in each culture and to understand the context in which they are used. In order to recognise design approaches t

19、hat can enrich LP, we must understand these approaches in their basic form (see Kant cited in Thurnherr, 2004: 35; Knight, 1948). Furthermore, we need to recognise the kind of application situation they have emerged f<

20、;/p><p>　　3. Context: tasks and application </p><p>　　EFLA (2011) describes the spectrum of professional tasks of landscape architecture on its website as reaching from “… master planning Olympic s

21、ites to planning and managing landscapes … to designing the public squares and parks that we all use…”. </p><p>　　3.1. Tasks and application context of landscape design </p><p>　　The task of lan

22、dscape design as a “creative, cultural action” (Stokman & v. Haaren, 2011) is to create something new that “searches for forms that satisfy a program” (Lynch & Hack, 2002: 57) in the context of outdoor open space

23、s (EFLA, 2011), even expressed as “built intervention” (Calkins, 2005: 30) or physical or logical artefacts (Desouza & Flanery, 2013: 98). Landscape designers achieve this by intentionally envisioning, shaping and fo

24、stering landscape experiences. </p><p>　　This article's definition of landscape design, proposed by Höfer (2002: 9), emphasises aesthetic considerations and “Gestaltung” as a primary difference from

25、 landscape planning. More specifically, the design task is described as the “creation of images, ideas and concepts” and of “… places that have meaning and that mirror the interests of residents” ( Speer, 2011: 9). Promi

26、nski (2010: 56) sees a utopian potential in creating aesthetic scenic views that may serve as counterparts to cold technica</p><p>　　Traditionally LD focussed on site scale projects such as “designing the pu

27、blic squares and parks that we all use …” (Drozdov, 2007: 265; EFLA, 2011; Stiles, 1994). However, recent design activities include the regional scale (Prominski, 2004), although this often involves designing objects in

28、the landscape (Bell, 1993).Swaffield (2002: 228) points out that while design action may principally be at a site scale, design thinking must embrace other relevant scales from the global to the local becau</p>&l

29、t;p>　　景觀規(guī)劃設(shè)計(jì)方法的機(jī)會(huì)</p><p>　　克里斯蒂娜·哈倫, 巴特利特·克雷奇馬爾; 克里斯蒂娜·米洛斯島, 克里斯蒂娜·維斯曼 </p><p><b>　　摘要 </b></p><p>　　在風(fēng)景園林學(xué)科(LA)中， “規(guī)劃”和“設(shè)計(jì)”之間的是有分歧的，這并不是一個(gè)新現(xiàn)象。規(guī)劃和

30、設(shè)計(jì)間的這種分歧可能會(huì)擴(kuò)大風(fēng)景園林學(xué)科中方法論和倫理方法的范圍。然而，對(duì)這些方法的本質(zhì)和如何應(yīng)用并將它們合并在景觀規(guī)劃里，缺乏理論上的支持。因此這次研究的目的是為了更好地理解這些文化和不同的方法來(lái)識(shí)別為擴(kuò)展景觀規(guī)劃的方法論的可能的原因。這一探索是基于規(guī)劃和設(shè)計(jì)理論和方法論有關(guān)的文獻(xiàn)分析基礎(chǔ)上的。 </p><p>　　研究結(jié)果表明，景觀建筑的概念、設(shè)計(jì)和規(guī)劃之間的區(qū)別越來(lái)越模糊。然而，在不同的環(huán)境和情況下，兩種文

31、化間的區(qū)別還是顯而易見(jiàn)的。不同的任務(wù)和應(yīng)用背景顯然會(huì)導(dǎo)致不同的規(guī)劃和設(shè)計(jì)文化。不過(guò)，在規(guī)劃背景下，我們依然可以找到設(shè)計(jì)機(jī)會(huì)。 規(guī)劃設(shè)計(jì)文化的預(yù)期增值可以改善對(duì)基本規(guī)劃目標(biāo)的溝通和理解。 這些期望能否最終實(shí)現(xiàn)有待于未來(lái)的研究。 </p><p>　　關(guān)鍵詞:景觀規(guī)劃;景觀設(shè)計(jì);景觀建筑;理論;價(jià)值;方法 </p><p><b>　　1 引言 </b></p>

32、;<p>　　作為景觀建筑和環(huán)境規(guī)劃課程的教師，我們經(jīng)常面對(duì)學(xué)生提出的規(guī)劃和設(shè)計(jì)方面的問(wèn)題。長(zhǎng)期以來(lái)，他們關(guān)于如何規(guī)劃和設(shè)計(jì)的相關(guān)問(wèn)題的言論更傾向與某一個(gè)領(lǐng)域。在這個(gè)討論中，計(jì)劃通常代表了更科學(xué)，更環(huán)保以及更基于策略的方法。 (如:赫菲爾 2002 和歐格 2010)。理查德·斯泰爾斯(1994)指出，“景觀設(shè)計(jì)和景觀規(guī)劃，至少?gòu)谋砻嫔峡?，區(qū)別不大，但是在本質(zhì)上卻完全不同，經(jīng)常與不同類(lèi)型的客戶有不同的 觀點(diǎn)，甚至

33、強(qiáng)調(diào)不同的設(shè)計(jì)方法”。 </p><p>　　這種差異也反映在許多大學(xué)(馬魯 2002)。這種二分法的討論并不新鮮，這個(gè)討論可能要考慮歐洲當(dāng)?shù)氐木唧w情況(德羅多夫， 2007;赫菲爾 2002;歐格1994;斯泰爾斯 1994)。此外，討論取決于景觀設(shè)計(jì)和規(guī)劃的理論以及概念基礎(chǔ)。即使在美國(guó)這樣的國(guó)家，設(shè)計(jì)一詞也得到了更廣泛的使用 (格博斯特和向2012)， 設(shè)計(jì)方法似乎也更注重于規(guī)劃方面(拿騷和奧普單 2008)

34、，幾乎沒(méi)有關(guān)于景觀設(shè)計(jì)的本質(zhì)和關(guān)系的理論和規(guī)劃方法。事實(shí)上一些學(xué)者，比如施泰尼茨(2012)，考慮計(jì)劃和設(shè)計(jì)技術(shù)合并起來(lái)。而在實(shí)踐中，區(qū)分兩種方法也可能是難以辨別的。然而，一個(gè)方法或系統(tǒng)框架要決定好何時(shí)以及如何在規(guī)劃背景下使用不同的方法，這是很重要的。景觀規(guī)劃的目的是以最少的成本投入實(shí)現(xiàn)計(jì)劃( 盧茨和 巴斯蒂安，2002 年;理查茲等 2008)。這種預(yù)期規(guī)劃設(shè)計(jì)的影響是否會(huì)發(fā)生，本文無(wú)法回答，它仍是一個(gè)有待進(jìn)一步研究的問(wèn)題。 <

35、/p><p>　　為此本文首先描述方法,緊隨其后的是我們對(duì)“景觀設(shè)計(jì)”和“景觀規(guī)劃”的探討，以及如何基于景觀規(guī)劃和設(shè)計(jì)方面的文獻(xiàn)回復(fù)，來(lái)區(qū)分其特征。確定好典型任務(wù)以及 LD 和 LP 的情景特征后，我們提出了一個(gè)分析框架，用于識(shí)別景觀規(guī)劃可以受益于設(shè)計(jì)方法的情況，以及給這種情況提供一個(gè)例證。 </p><p><b>　　2.方法 </b></p><

36、p>　　就方法來(lái)說(shuō)，本文主要回顧了下景觀設(shè)計(jì)和規(guī)劃理論的相關(guān)文獻(xiàn)。文獻(xiàn)分析結(jié)構(gòu)由以下問(wèn)題組成:景觀規(guī)劃 LP 的特點(diǎn)和景觀設(shè)計(jì) LD 文獻(xiàn)中提到的背景(任務(wù)、應(yīng)用和實(shí)現(xiàn))和文化(基礎(chǔ)值和過(guò)程)?( 萊文-凱特爾 2014)。 </p><p>　　通過(guò)分析兩者的屬性特征，我們發(fā)現(xiàn)有些屬性特征不僅在 LD 中有，LP 中也可能會(huì)有，但不是同時(shí)存在于兩者中。目的是缺乏一個(gè)合適的識(shí)別方法來(lái)了解每個(gè)文化和他們使用的

37、背景。為了識(shí)別設(shè)計(jì)方法，我們必須了解這些方法的基本形式(康德引用圖爾恩赫的觀點(diǎn) 2004;科恩奈特騎士 1948)。此外,我們需要識(shí)別應(yīng)用的具體形式。“景觀設(shè)計(jì)”和“景觀規(guī)劃”在實(shí)踐中的區(qū)別并非本文分析的重點(diǎn)。而我們認(rèn)為景觀設(shè)計(jì)和景觀規(guī)劃代表景觀建筑專(zhuān)業(yè)的活動(dòng)光譜的兩端，在實(shí)踐中可能包括廣泛的案例和專(zhuān)業(yè)的態(tài)度。 </p><p>　　3 背景:任務(wù)和應(yīng)用 </p><p>　　歐洲景觀設(shè)計(jì)

38、基金會(huì) EFLA(2011) 其網(wǎng)站上描述了景觀建筑設(shè)計(jì)的專(zhuān)業(yè)任務(wù)，負(fù)責(zé)奧運(yùn)網(wǎng)站規(guī)劃和景觀管理…設(shè)計(jì)公共廣場(chǎng)和公園。 </p><p>　　3.1 景觀設(shè)計(jì)的任務(wù)和應(yīng)用背景 </p><p>　　景觀設(shè)計(jì)的任務(wù)為“創(chuàng)意、文化行動(dòng)”( 施托克曼和哈倫 2011)，就是創(chuàng)建新東西，“搜索樣式，滿足項(xiàng)目需求”(林奇和哈克 2002)，戶外開(kāi)放空間( 歐洲景觀設(shè)計(jì)基金會(huì) 2011);(卡爾金斯,2

39、005)甚至表示要“建立干預(yù)”措施。為此，景觀設(shè)計(jì)師通過(guò)刻意的想象、塑造和培養(yǎng)景觀體驗(yàn)來(lái)實(shí)現(xiàn)這一目標(biāo)。 </p><p>　　本文對(duì)景觀設(shè)計(jì)的定義，沿用哈倫 2002 年提出的觀點(diǎn):強(qiáng)調(diào)審美因素和造型設(shè)計(jì) “作為區(qū)別于景觀規(guī)劃的最主要特征。更具體地說(shuō)，設(shè)計(jì)的任務(wù)被描述為“創(chuàng)建圖像、想法和概念”以及“…有意義的地方，反映居民的利益”(斯皮爾 2011)。普羅米斯基(2010)看到一個(gè)烏托邦式的審美創(chuàng)造設(shè)計(jì)。簡(jiǎn)而言之

40、，景觀設(shè)計(jì)LD 試圖創(chuàng)建一個(gè)特別的地方或天堂(埃格特-荷爾德根和羅阿菲 2011;斯皮爾 2011)。這就要求設(shè)計(jì)師找到“…一個(gè)美學(xué)上令人滿意的解決方案”。 (羅阿菲 2011)。 特里博 (2001)討論了景觀美學(xué)、景觀和設(shè)計(jì)形式，實(shí)際上揭示了深層次的含義，如生態(tài)和社會(huì)進(jìn)程。因此，形式和美學(xué)也可以成為交流內(nèi)容，使得技術(shù)或抽象概念可以體現(xiàn)在景觀中。 </p><p>　　傳統(tǒng)的景觀設(shè)計(jì)關(guān)注項(xiàng)目的規(guī)模，如“設(shè)計(jì)公共