Op-ed: The need to combat homogenous landscapes and embrace the local context 专栏：对抗趋同景观并融入当地环境的必要性

Op-ed: The need to combat homogenous landscapes and embrace the local context

专栏：对抗趋同景观并融入当地环境的必要性

Over the past two decades, landscape architecture has grown in importance and stature across the world. More and more landscape architects are taking on projects in their local areas and abroad. However, over the same period, we have seen an increase in the design of spaces that are homogenous, with many designs imitating or drawing upon ideas that are not suited to the site or place.

在过去的二十年里，景观建筑在世界范围内的重要性和地位都在增长。越来越多的景观建筑师在设计当地和国外的项目。然而，在同一时期，我们看到了空间的设计越来越趋同，许多项目模仿或借鉴了不适合场地的想法。

This trend may reflect globalisation, a greater connected internet world, or simply the proliferation of ideas through Pinterest and Instagram. It may also be that clients and designers often being attracted to the bright new shiny trend. However, trends have existed from the dawn of the profession, from plant collections to arboretums to follies to conservatoriums to city gateways to reusing railway viaducts (in no particular order). These are not the disturbing trends; what troubles me is that there seems to become a palette of programs, functions, materials, water features, public art, lighting and super graphics that are applied as a toolkit on any site across the world without reference or understanding of the site context and culture. I (and others) often refer to this trend or typology as the?international design style.

这种趋势可能反映了全球化、更紧密的互联网世界，或者仅仅是设计想法通过 Pinterest 和 Instagram 的传播。 也可能是客户和设计师经常被光鲜亮丽的新潮流所吸引。 然而，这些趋势从景观建筑行业的初期就已经存在，从植物收藏到植物园，从古典花园建筑到音乐学院，再到城市门户，再到铁路高架桥的再利用（排名不分先后）。 这些不是令人不安的趋势； 令我困扰的是，似乎有一个包含程序、功能、材料、水景、公共艺术、照明和几何图形的调色板，它们作为工具包应用在世界各地的任何场地上，而无需参考或理解场地的环境和文化。 我（和其他人）经常将这种趋势或类型称为国际设计风格。

In recent times (before COVID), I had travelled to projects in China, the USA, and Australia. Upon entering the space and then closing my eyes, clearing my mind of the urban context and opening my eyes, I was hard-pressed to determine the location (city or suburb) I was standing in. This is a disturbing trend that is driven by many factors.

最近（在新冠疫情之前），我去参观了中国、美国和澳大利亚的项目。 进入这些空间，闭上眼睛，清除脑中的城市环境，睁开眼睛，我很难确定自己所处的位置（城市或郊区）。这是一个由很多因素产生的，令人不安的趋势。

Some may say that homogenous landscape design only occurs in residential and commercial landscapes due to short-term trends and global development companies creating projects across various geographic regions and their need to create international brands and experiences. This may be true; however, we seeing this aesthetic (palette) extend beyond commercial landscapes into the public spaces due to designers and clients drawing inspiration from the same design palette.

有人可能会说，由于短期趋势和跨国开发公司在不同地理区域创建项目以及他们创建国际品牌和体验的需求，同质化景观设计只出现在住宅和商业景观中。 这可能是对的； 然而，由于设计师和客户从相同的设计调色板中汲取灵感，我们看到这种美学（调色板）从商业景观延伸到了公共空间。

The?international design style?palette often includes clean lines and surfaces, three shades of grey, terraced landscapes, water play features, clipped evergreen shrubs, perennial meadows (not local species), supergraphics, and mural art. Sometimes these are placed all together or two elements to create the design. Over time, each new design is a pastiche (imitation) of the previous version.

国际设计风格的调色板通常包括干净的线条和表面、三种灰色阴影、梯田景观、水上游乐设施、仔细修剪的常绿灌木、多年生草地（并不是当地物种）、几何图形和壁画艺术。 有时它们被糅杂在一起，或两个一起使用。 随着时间的推移，每个新设计都是先前版本的仿制品。

There is a need to combat this trend and embrace site context, including the local environment, culture, topography, issues, materials and ideas. The “international design style” needs to be put to the side, and we as designers need to use our design skills and abilities to draw inspiration from the site context. The local landscape and people can provide learnings about the site and its context that you cannot ascertain during a single site visit. The people of the area have years of experience and knowledge. Local knowledge is not limited to the people connected to the site (or attend consultation), but also those in local institutions, organisations and governments.

我们有必要与这种趋势作斗争并融入场地环境，包括当地环境、文化、地形、问题、材料和想法。 “国际设计风格” 需要被搁置一旁，作为设计师的我们需要运用自己的设计技巧和能力，从场地文脉中汲取灵感。 当地的环境和人可以提供有关场地及其背景的信息，而这些信息是在仅一次的实地考察中无法被摸透的。当地的居民拥有多年的经验和知识。本土知识不仅限于与场地相关（或参加咨询）的人员，还包括当地机构、组织和政府人员。

We now have the ability through the internet to draw upon the vast amounts of contextual information complemented with the insider knowledge of the local people. However, this should be used as a starting point, and there is no excuse for not seeking out information and drawing upon local knowledge through consultation.

我们现在有能力通过互联网获得大量的当地信息以及当地人的内部知识。 但是，这应该作为一个起点，并且我们没有任何借口不去寻找和咨询当地知识来帮助我们设计。

Some may say that this assertion limits the ability of designers to create inspiring designs or that the local ideas, materials or plant palettes are too limited and don’t suit the client’s needs. The challenge is to use what is available to create locally inspired design and question your design narrative and intent. Is an international artist (or commercial catalogue art) needed to provide the public art or wall mural? Are there local plants that could be used to create a similar aesthetic to a meadow of imported perennials? Can we change the design typology or styles across the site based on environmental conditions? This challenge also extends into the technical aspects of the project. Do we need imported soil? Can we use local stone? What is the microclimate? What local and indigenous plants are commercially available, or can they be contract grown?

有人可能会说，这种说法限制了设计师创造优秀设计的能力，或者当地的概念、材料或植物调色板太有限，不符合客户的需求。这个挑战在于使用现成的事物来创造受当地启发的设计，并考量你的设计叙述和意图。是否真的需要国际艺术家（或商业艺术）来提供公共艺术或壁画？ 是否有本地植物可以用来营造与外来的常绿草地相似的美感？ 我们可以根据环境条件改变整个项目的设计类型或风格吗？这一挑战还延伸到项目的技术层面。 我们需要进口土壤吗？ 我们可以使用当地的石头吗？设计里存在微气候吗？ 哪些本地和本土植物可以买到，或者可以通过合同种植？

Taking up this challenge and asking questions about every design decision creates a better-resolved design and inspires locals to have pride in their local environment. We often hear clients, government officials, and others justify their design decisions by successful precedents (from other cities) or new shiny ideas in the current world. We as designers can flip homogenous design on its head, and state that local innovation and ideas are just as valid as international ideas and that using local ideas and talent can create a more successful project as local people and visitors will take greater ownership of the space.

接受这一挑战并对每一个设计决策提出问题，可以创造出更好的设计，并激发当地人对当地环境的自豪感。我们经常听到客户、政府官员和其他人通过成功的先例（来自其他城市）或当今世界的新创意来证明他们的设计决策是正确的。作为设计师，我们可以推翻同质化设计，并论述本地的创新和想法与国际想法一样有效，使用本地想法和人才可以创造一个更成功的项目，因为当地人和游客将获得更大的空间拥有权。

It will take education and many conversations to make this happen; Site considered (contextual) design is not the easy way and will require more involvement, thought and time than merely putting together a Pinterest or Miro board. However, it will need designers to draw upon the local context to inspire and create the design (project) narrative, which is key to gaining decision-makers confidence to make the change.

实现这一目标需要教育和许多对话； 考虑本地环境的设计并不简单，它需要更多的参与、思考和时间，而不是仅仅将 Pinterest 或 Miro 合集放在一起。然而，它需要设计师利用当地环境来激发和创造项目的叙述，这是让决策者有信心做出改变的关键。

Article written by Damian Holmes, Founder & Editor of World Landscape Architecture.

Chinese (Simplified) Translated by Terren Shi

文章由WLA的创始人和编辑Damian Holmes撰写。他同时也是一位注册景观设计师，在澳大利亚，加拿大和中国拥有丰富的经验。

中文由Terren Shi翻译。