《Large Parks》适合具备一定的景观或规划基础知识的读者。作为一本论文集，其中的文章通过对现实经典项目的分析，以形式、过程、文化意义为切入点关注200公顷以上不同背景的大型综合性绿地设计理念。
| 编者介绍 |
在这本论文集里，大型公园被定义为面积超过500英亩（约200公顷）的公共绿地。这些大型公园无论从历史、现在还是即将建成的项目中，为公众丰富的体验和、户外生活和公共认知提供了良好的平台。在这个尺度下，气候、地质、植被等自然要素拥有了良好的表达机遇，为城市提供了自然展示的空间，同时也是社会用途和历史事件的舞台。因此，大型公园除了具有经验性和文化性的作用外，还具有生态功能。除去这些功能，大型公园也面对着巨大的挑战：即漫长时间轴和巨大尺度下不断变化的过程“process”。在这个变化过程中随着时间的推移，场地、活动、对象和各个因素中间的相关性推动着整个人公园最终的形成,甚至在巨大的空间和时间内，公园的物理和空间形式也可能会随着时间的推移而进一步人为修订和自然演变。这样连续不断的变化过程使得大型公园成为了一个复杂而动态的系统，使得设计变得困难和多变。
在文中，面对建设大型公园的挑战，作者们重点探讨了三个关键词——固定的形式、开放的过程和文化意义。文章讨论的焦点集中在固定的形式和开放的过程上，或者更准确地说，集中在大型公园中固定形式与开放的过程之这两部分之间的比例和相互作用上。除此之外，还有第三个焦点，即文化性意义和内容。沿着这三条线——固定的形式、开放的过程和意义，不同的作者提出了他们的主张并建立了他们的相对比例，一些主张更大的确定性，另一些主张更开放的过程，还有一些主张更多(或更少)的文化意义和内容。
In this collection of essays, the numerous references towell-known large parks ... for many people are the ultimate virtues of suchplaces—their full experiential range and consolidation of a public’s sense of collective identity and outdoor life. Large parks afforda rich array of social activities and interactions that help to forgecommunity, citizenship, and belonging in dense and busy cities. Their scale(defined in this volume as being greater than 500 acres) allows for dramaticexposure to the elements to weather, geology, open horizons, and thickvegetation....These huge experiential reserves are the great outdoor naturetheaters of the city, stages for the performance of natural and cyclical timealongside the reveries of social use and event. ...In addition to theirexperiential and cultural effects, large parks are also valued for theirecological functions.
At the same time that large parks provide so much delight, space,and function, they also pose enormous challenges. While expensive to design andbuild, they are even more expensive over time to operate and manage... Criteriaof site, program, constituency, and relevant expression drawn from currentideas drive the process until the park finally takes on form... And even then,given the vast scale and timelines involved, a park’s physical and spatial form will likely be subject to furtherrevision, management, and change over time.
Large parks will always exceed singular narratives. They arelarger than the designer’s will for authorship, they exceedover-regulation and contrivance, and they always evolve into more multifarious(and unpredictable) formations than anyone could have envisaged at the outset.They are complex, dynamic systems.
These latter issues—design,construction, process, technique, concept, and temporality—form the basis of this book, aimed as it is primarily to landscapearchitects, both academic and professional. And the crux of the debate concernsthe relative attention a designer must pay to fixed form versus open-ended process,or more precisely to the ratio and interaction between these two parts of thelarge park equation. Added to this equation might be a third interest, ofmeaning and content. Along these three lines then—fixedform, open process, and meaning—the various authorsstake their claims and establish their relative ratios, with some pushing forgreater fixity, others for more open-endedness, and some for more (or less)meaning.
作者以James Corner的DownsviewPark为例，探讨了大型公园如何在漫长的时间周期内形成一个自洽的，自我完善的体系。在文中，作者讨论了“一个适应性的、系统性的、生态的设计方法怎样运用于城市化的生态环境中？或是文化景观与自然景观该如何融合。面对这些问题，作者在文中提出“生态化设计”的理念，更为倾向一个开昂的进程，并强调大型公园的设计必将是多学科交叉的。
“Ecological design is an emerginginterdisciplinary field of study and practice. In fact, many would argue thatit is a transdisciplinary field, concerned with the creation of entirely newapplications that may emerge from its progenitor disciplines, or from asynthesis of several. Influenced principally by ecology, the environmentalsciences, environmental planning, architecture, and landscape studies,ecological design is one of several rapidly evolving (theoretical andpractical) approaches to more sustainable, humane, and environmentally responsibledevelopment.”
一篇被ASLA获奖作品引用的文章。作者关注于基于工业遗址、城市废弃地而建成的大型公园。在文中Meyer提出“消费者共和国”和“毒性景观”的理念。引用ASLA论文“Navigating Bigness”中工业场景以所生产产品的形式跨边界延伸的观点，提倡设计者应更多的思考社会共鸣。努力在生产场所（工业场所、废弃地场所）和消费行为之间创造联系，通过景观手段建立公众对生态保护、环境污染的重新认知。在“消费者共和国”中，不参与污染场所生产人们不再是独立的，问题的批判者，同时也对这些问题背负责任，因为正是所有人的消费行为才共同产生了由于工业而产生环境问题。同时，一种作为独特的，带有危机色彩的“Strange Beauty”也在文章中被提倡用于景观表达。
Pollak以纽约Freshkills Park为例，阐述了大型公园面对复杂的设计因素相互纠缠相互作用时的设计手法——矩阵景观。Freshkills Park作为一处同时拥有复杂人文和自然条件的场所；在人文性上见证了纽约百年的城市变迁、周边社区田园牧歌式的环境向往，甚至9/11事件的纪念性遗骸；在物理上则面对着百年垃圾场堆积的复杂污染问题和生态修复契机。作者提出景观设计抑或被废弃本身都是场地变化过程的组成部分，大型公园观场地所承载的变化规律表象下是长时期各因素不断变化积累的过程。作者提倡了一套借鉴理科分析的矩阵逻辑，结合Lan McHarg的“千层饼模式（Overlay）”，以过程为先导的设计理念，强调对现状的场地分析，包含visible（地貌、生态、生物）和invisible（经济、政治、文化）的因素。通过分析获得场地变迁的规律并制定与这一规律所适应的干预（设计）手段，并致力于设计开放性结果的不断进化的景观。
“Instead of introducing external forms and transforming the siteto accommodate those forms, these are “found” and evolved out of systems already there...Site research alsoexplores how systems have evolved and performed over time, questioning how andwhy the landscape arrived at is present state....process-based practicesacknowledge that the site is defined as much by its visible physical qualitiesas by its accumulated histories.”
“Design in this case is less about permanence andmore about anticipating and accommodating growth, evolution, and adaptation inthe face of unexpected disturbance and new programs and events. “
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