2014年--（節(jié)選）景觀設(shè)計外文翻譯--一種新的公共藝術(shù)與功能性景觀設(shè)計

1、<p>　　中文3500字，1980單詞，1.1萬英文字符</p><p>　　出處：Song Y I K. A New Vision for Public Art and Functional Landscape Design[J]. International Journal of Art & Design Education, 2014, 33(2):242–257.</p>

2、<p>　　A New Vision for Public Art and Functional Landscape Design</p><p>　　Young Imm Kang Song</p><p><b>　　Abstract</b></p><p>　　This article explores how Johanson

3、’s ecological public art and landscape design addresses current social issues and community necessities. It also examines how her designs may serve as a communication tool for the surrounding society, and how her public

4、art may provide new perspectives for community members, scientists, artists, engineers, architects and government officials in shaping the future of their communities. The purpose of this study was to inspire art and des

5、ign students in thinking a</p><p><b>　　Keywords</b></p><p>　　public art, landscape design, art and design, ecological art, community art, environmental education, Patricia Johanson&l

6、t;/p><p>　　Introduction</p><p>　　‘Biological evolution – like much contemporary art – is based on time, process, and chance. Both art and science have moved away from concepts of self-sufficient is

7、olated entities toward open-ended ideas of natural related- ness, organization, and systems’ (Johanson 2002, 1). If this assessment of evolution is true, then the relationship between ecological public art and landscape

8、design is shifting into a more ‘open-ended’ partnership. This shift has perhaps come about from the work of ecologic</p><p>　　Artist Patricia Johanson was born in New York City and currently lives in a farmh

9、ouse in Buskirk, New York, near the Green Mountain National Forest and not far from the Mohawk Trail. With a background in fine arts, Johanson began her foray into ecologically and socially aware landscape design in 1969

10、 when the magazine House & Garden invited her to design a garden. She sketched about 150 garden designs that emphasised her vision for function- ality and practical value in combination with aestheti</p><p

11、>　　Since the 1960s, Patricia Johanson has been interested in creating multifunctional ecological public art as a way of public landscaping. She firmly believes that artists should seriously consider the ecological sur

12、vival and aesthetic implications in designing or shaping public landscapes.</p><p>　　This article explores Johanson’s works as a lens through which one may understand current social and community issues. It

13、describes the ways in which her works may have helped vari- ous community members see their own society with new perspectives. It also discusses how university students who studied her works learned from the projects and

14、 went on to create their own public art works.</p><p>　　Review of literature</p><p>　　Humans have come to be an extraordinarily destructive force, over-consuming resources and severely altering

15、the physical landscape (Turner et al. 1991). By changing habitats and ecosystems, the composition of species inhabiting an area becomes transformed (McKinney 2002). Alberti (2003, 172) stated: ‘The greatest challenge for

16、 ecology in the coming decades is to fully and productively integrate the complexity and global scale of human activity into ecological research.’ Now, a decade later, more</p><p>　　Promoting environmental a

17、wareness and working to protect the environment are multidi- mensional processes. While scientists develop new ideas and inventions to protect the environ- ment, artists simultaneously develop new approaches to affect pe

18、ople’s conscience and raise their environmental awareness. Some of these artists are environmental artists (Song 2009). Beginning with the environmental art movement of the 1960s, some artists began to engage more active

19、ly in these trends.</p><p>　　What was the environmental art movement? According to Clive Adams, Director of the Centre for Contemporary Art and the Natural World:</p><p>　　During the political a

20、nd social upheavals of the 1960s, a group of artists in the United States and Europe increasingly questioned the restriction of painting and experimented with radical new ways of responding to the environment and its eco

21、logy. Rather than paint the landscape, their experiences were realized by sculpting the land itself, by photo­ graphic sequences and in sculpture made from natural materials. (Adams 2002, 3)</p><p>　　Th

22、ere are several ways to define ecological and environmental art. Greenmuseum.org defines ecological art as ‘a(chǎn)rtwork created by artists concerned with the state of our environment worldwide, and with their local situation

23、’ (green- museum 2003, 4). They argue that ‘a(chǎn)rtists inter- pret nature and create artworks to inform us about nature and its processes or about environ- mental problems we face’ (greenmuseum 2003, 4). Some researchers ha

24、ve also defined ecological art as restorative art that pro</p><p>　　Since the environmental art movements of the 1960s, artists have been creating artworks that draw viewers into thinking beyond their daily

25、observations of the earth in action and to the larger natural forces that exist (Boetzkes 2007; Gablik 1995; Matilsky 1992). According to Sue Spaid’s (2002) book entitled Ecovention: Current Art to Transform Ecologies, s

26、everal artists from the 1960s began to undertake projects that sought to physically transform the environment. One of the earliest artists to</p><p>　　In the meantime, Alan Sonfist and Betty Beaumont sought

27、to heighten the public’s awareness of the state of environmental pollution. In 1969, Sonfist monitored and posted results of air quality of various locations through- out New York City. Beaumont documented the clean-up o

28、f the worst oil spill to date in the coun- try, in Santa Barbara, California. That same year, Johanson produced hundreds of innovative designs for ecologically integrated gardens. The movement carried on throughout the e

29、arly</p><p>　　Today, many artists understand that the crea- tion of ecological public art is an effective tool that helps a community collectively identify and resolve local environmental issues and foster c

30、onnectedness through stewardship (Anderson 2000; Erzen2005; Taylor 2002). There are many reasons why ecological public art is able to increase people’s awareness and interest about environmental issues. In particular, si

31、te-specific installations invite the viewer to begin a dialogue about various local env</p><p>　　Both artists and students of art and design can play an important role in creating functional ecosystems for t

32、he local wildlife and useful spaces for people by participating in landscape design:</p><p>　　Given the present understanding of the role art can play in the public realm, an artist may be</p><p&g

33、t;　　hired to decorate a site such as a landfill closure. And with a small shift in thinking, artists could simultaneously create habitat and make the site available to different constituencies or species. What if, throug

34、h the creativity of artists, landfill, airports, sewers and highways could become parks, playgrounds, restored ecosystems and recreational facilities? (Kelly 2006, 104)</p><p>　　Research purpose and question

35、s</p><p>　　The purpose of this study was to inspire art and design students in thinking about their future projects. This phenomenological case study highlights Johanson’s works as a model for these students

36、. This study was designed to explore the process behind Johanson’s ecological public art and landscape design, from her intentions to the execution of her artistic expression, including the challenges of executing large-

37、scale projects in collaboration with professionals from various disciplines. Through</p><p>　　How does Johanson use her ecological public art and landscape design to address concerns regarding wildlife and a

38、 deteriorating ecosystem and to support coexistence between nature and humans?</p><p>　　What action steps did Johanson take, and what messages can we glean from these?</p><p>　　How do these work

39、s provide ideas for students of various disciplines – such as design, visual art, architecture, art education and environmental education – for future projects?</p><p>　　What are some of the challenges that

40、accompany collaborating with individuals from various disciplines, such as artists, architects, scientists, engineers and government officials? How can these hurdles be overcome? What can students learn from Johanson’s a

41、ttempts to manoeuvre and negotiate these situations?</p><p>　　Research methodology</p><p>　　This research draws upon a variety of data collected through qualitative research methods. To explore

42、Patricia Johanson’s inner perceptions and thoughts about her projects, I conducted a phenomenological case study based on the theoretical frameworks of Moustakas’s phenomenology (1994) and Stake’s case study (1995). In-d

43、epth interviews and field observations provided primary sources of data. In particular, interviews were conducted using a semi-structured interview framework, in which the artist</p><p>　　Separately, I creat

44、ed sketches, drawings and paintings that were inspired by my interactions with Johanson and her artworks. These sources of data captured my reflective thoughts about Johanson’s works.</p><p>　　In addition, p

45、art of a university art and education course’s curriculum was adapted in order to explore the possible educational implications of Johanson’s works. A detailed methodology is presented below in the section on student wor

46、ks.</p><p>　　For analysing the data, I used Delament’s (2002) structure. These variousdata were coded and indexed by hand. I chose this phenomenological approach (Bruyn 1966; Moustakas 1994) to gain a deeper

47、 understanding of ‘truth’ as Johanson perceives it and to explore her thoughts and perceptions about her works. </p><p>　　一種新的公共藝術(shù)與功能性景觀設(shè)計</p><p>　　Young Imm Kang Song</p><p><b&

48、gt;　　摘要</b></p><p>　　本文探討約翰森的生態(tài)公共藝術(shù)與景觀設(shè)計如何解決當(dāng)前社會問題并成為社會的必需品。它還探討了她的設(shè)計如何作為一個溝通工具而服務(wù)于的社會，她的公共藝術(shù)如何為社區(qū)成員、科學(xué)家、藝術(shù)家、工程師、建筑師和政府官員在塑造未來的社區(qū)中提供新的視角。這項研究的目的是激發(fā)藝術(shù)和設(shè)計專業(yè)的學(xué)生思考他們的未來項目。這一現(xiàn)象學(xué)案例研究突出約翰森的作品作為這些學(xué)生的模型。并且討論了對首

49、次研究約翰森的作品并設(shè)計他們自己的公共藝術(shù)項目的大學(xué)生的教育意義。</p><p>　　關(guān)鍵詞：公共藝術(shù)，景觀設(shè)計，藝術(shù)和設(shè)計，生態(tài)藝術(shù)，社區(qū)藝術(shù)，環(huán)境教育，帕特麗夏. 約翰森</p><p><b>　　介紹</b></p><p>　　“生物進(jìn)化”就像當(dāng)代藝術(shù)一樣，是以時間、過程和機(jī)遇為基礎(chǔ)的。藝術(shù)和科學(xué)已經(jīng)從獨立實體自給自足的概念向自然關(guān)

50、聯(lián)性、組織和系統(tǒng)的開放式思想轉(zhuǎn)變（約翰森2002，1）。如果這一演變的評價是真實的，那么生態(tài)公共藝術(shù)和景觀設(shè)計之間的關(guān)系正在轉(zhuǎn)變?yōu)橐粋€更開放的伙伴關(guān)系。這種轉(zhuǎn)變可能來自像帕特麗夏. 約翰森這樣的生態(tài)藝術(shù)家的作品。她的作品蘊(yùn)含科學(xué)和藝術(shù)，并為公共藝術(shù)設(shè)計師提供了一個新的視角和視野。</p><p>　　藝術(shù)家帕特麗夏.約翰森出生在紐約市，目前居住在紐約巴斯柯克的一個農(nóng)舍，在綠山國家森林公園附近，離莫霍克小徑不遠(yuǎn)。約

51、翰森有美術(shù)背景，1969年開始她涉足生態(tài)和社會景觀的設(shè)計，當(dāng)時住宅和庭院雜志社和邀請她設(shè)計一個花園。她畫了150個花園草圖，強(qiáng)調(diào)功能、實用價值與美學(xué)的結(jié)合，而不是為藝術(shù)而藝術(shù)。這種方法成為了她大規(guī)模的景觀設(shè)計的基礎(chǔ)。約翰森指定她的生態(tài)公共藝術(shù)設(shè)計的四個目標(biāo)：（1）審美經(jīng)驗，（2）為保護(hù)生態(tài)系統(tǒng)的功能，（3）其對人類的有用性，（4）促進(jìn)野生動物的食物鏈。</p><p>　　自上世紀(jì)60年代，帕特麗夏. 約翰森一直

52、對創(chuàng)造多功能生態(tài)公共藝術(shù)作為一種公共園林感興趣。她堅定地認(rèn)為，藝術(shù)家應(yīng)該在設(shè)計或塑造公共景觀時認(rèn)真考慮生態(tài)生存和美學(xué)的內(nèi)涵。</p><p>　　本文探討了約翰森的作品，我們可以通過她的作品的鏡頭了解當(dāng)前社會和社區(qū)問題。它描述了她的作品幫助各社區(qū)成員用新的觀點看待自己的社會的方式。還討論了大學(xué)生如何從項目中學(xué)習(xí)，進(jìn)而設(shè)計自己的公共藝術(shù)作品。</p><p>　　人類已經(jīng)成為了一種非常具有破

53、壞力的力量，過度消耗資源，并嚴(yán)重改變了自然景觀。通過不斷改變棲息地和生態(tài)系統(tǒng)，棲息在一個地區(qū)的物種構(gòu)成發(fā)生變化。阿爾伯蒂表示：“在未來的幾十年中生態(tài)面臨的最大挑戰(zhàn)是充分、高效地將生態(tài)研究融合到整合的錯綜復(fù)雜和全球性的人類活動中。十年來，越來越多的人承認(rèn)人類的毀滅性活動與地球之間的關(guān)系，并嘗試通過生態(tài)研究找到解決方案。這是一種需要一個多維方法的努力過程，需要將科學(xué)家，工程師，政治家，建筑師和藝術(shù)家融合在一起。綠色景觀設(shè)計就是一個力求對自然

54、生態(tài)的危害降到最低的例子。設(shè)計這些東西有巨大的未開發(fā)的潛力，例如：道路設(shè)計中減小對動物的遷徙的影響是不太有害的動物的遷移，建筑物設(shè)計時減少獵殺鳥類，美化環(huán)境促進(jìn)本地物種保護(hù)。這些類型的創(chuàng)新方法滿足和解決人類需求的同時，也要優(yōu)先考慮他們賴以生存的生態(tài)系統(tǒng)需求。</p><p>　　提高環(huán)保意識并努力保護(hù)環(huán)境是一個多維度的過程。科學(xué)家們要有新的想法和發(fā)明用于保護(hù)環(huán)境，同時藝術(shù)家也要發(fā)展努力增強(qiáng)人們的良知，提高公眾的環(huán)

55、保意識。其中一些藝術(shù)家是環(huán)保藝術(shù)家。從20世紀(jì)60年代開始的環(huán)境藝術(shù)運(yùn)動，一些藝術(shù)家開始更加積極地融入潮流中。</p><p>　　環(huán)境藝術(shù)運(yùn)動是什么？根據(jù)亞當(dāng)斯克萊夫，當(dāng)代藝術(shù)和自然世界的中心的負(fù)責(zé)人認(rèn)為：</p><p>　　在上世紀(jì)60年代的政治和社會動蕩，美國和歐洲的一批藝術(shù)家越來越質(zhì)疑繪畫的限制，嘗試用全新的方式來應(yīng)對環(huán)境和生態(tài)。他們的經(jīng)驗是由雕刻土地本身、圖形排序與天然材料制成

56、雕塑而不是畫山水來實現(xiàn)的。</p><p>　　有幾種方法來定義生態(tài)和環(huán)境藝術(shù)。綠色博物館網(wǎng)站將生態(tài)藝術(shù)定義為“藝術(shù)家創(chuàng)作的與我們的世界范圍內(nèi)的環(huán)境或本地情況相關(guān)聯(lián)的藝術(shù)作品。他們認(rèn)為，“藝術(shù)家解釋自然和創(chuàng)造藝術(shù)作品是為了告訴我們關(guān)于自然及其過程或我們面臨的環(huán)境問題。一些研究人員還將生態(tài)藝術(shù)定義為圍繞主要的環(huán)境問題促進(jìn)意識、參與性和積極性的恢復(fù)性藝術(shù)。其他研究者強(qiáng)調(diào)的是生態(tài)藝術(shù)與自然的融合。特別是，巴巴拉認(rèn)為，“

57、生態(tài)藝術(shù)不是孤立、通過幾個方面的性質(zhì)進(jìn)行解釋，而應(yīng)該將它們集成到一個總的關(guān)系網(wǎng)絡(luò)。</p><p>　　自從上世紀(jì)60年代環(huán)境藝術(shù)運(yùn)動開始，藝術(shù)家所創(chuàng)造的藝術(shù)作品致力于吸引觀眾思考超越日常觀察地球的行動和更大的自然力的東西。</p><p>　　根據(jù)Sue Spaid所寫的《Ecovention》：當(dāng)前的藝術(shù)改造生態(tài)環(huán)境，從上世紀(jì)60年代一些藝術(shù)家開始承接項目，尋求物理上改造環(huán)境。Jose

58、ph Beuys是最早這么做的藝術(shù)家之一，，他在1962年提議人們采取的“行動”參與在德國漢堡的易北河清理工作。1965年，Hans Haacke寫了一個宣言，稱為“基于時間的，動態(tài)的，自然的，模糊的藝術(shù)”，之后在1968年，艾格尼絲在紐約雪莉-范縣完成了水稻種植和樹鏈運(yùn)動。在同一年，帕特麗夏.約翰森在紐約巴斯柯克鐵路安裝一個1600英尺長的設(shè)施，是一個反光的作品。第二年，哈克創(chuàng)建Grass Grows以響應(yīng)1965年自己在紐約伊薩卡發(fā)

59、表的宣言。</p><p>　　在此期間，Alan Sonfist 和Betty Beaumont試圖提高國家公眾對環(huán)境污染的意識。1969年，Sonfist監(jiān)測和發(fā)布紐約全市各種位置的空氣質(zhì)量結(jié)果。Beaumont記錄了加利福尼亞州圣巴巴拉最嚴(yán)重的石油泄漏的清理。同年，約翰森有數(shù)以百計的關(guān)于生態(tài)園林的創(chuàng)新設(shè)計。這項運(yùn)動貫穿70年代，哈克創(chuàng)作了Bowery Seeds吸引紐約市民傳播種子，和羅伯特史密森在荷蘭埃門

60、構(gòu)建螺旋山/破碎圓。</p><p>　　今天，許多藝術(shù)家的理解，建立公共生態(tài)藝術(shù)是一種有效工具，有助于社區(qū)共同識別和解決當(dāng)?shù)氐沫h(huán)境問題以及通過管理工作增強(qiáng)連通性。公共生態(tài)藝術(shù)之所以能提高人們對環(huán)境問題的認(rèn)識和興趣有很多原因。特別是，特定站點的安裝能夠邀請觀眾開始一個關(guān)于各種當(dāng)?shù)丨h(huán)境問題的對話。公共藝術(shù)是一個社區(qū)成員重新考慮當(dāng)?shù)馗鞣N問題并取得所有權(quán)的途徑。因為生態(tài)公共藝術(shù)本質(zhì)上是專為廣泛的觀看，它可以從不同的利益

61、相關(guān)者和社區(qū)內(nèi)的地點引起對話。</p><p>　　藝術(shù)家和藝術(shù)設(shè)計專業(yè)的學(xué)生都可以在為當(dāng)?shù)氐囊吧鷦游飫?chuàng)建功能性生態(tài)系統(tǒng)中發(fā)揮重要作用，通過參與景觀設(shè)計為人們建立有用的空間：</p><p>　　鑒于目前對角色藝術(shù)可以發(fā)揮在公共領(lǐng)域的理解，一個藝術(shù)家可能被雇用來裝飾一個類似關(guān)閉垃圾填埋場網(wǎng)站的網(wǎng)站。改變一下思維，藝術(shù)家可以同時創(chuàng)建棲息地，把網(wǎng)站提供給不同的選區(qū)或物種。如此的話，通過藝術(shù)家的

62、創(chuàng)造性，垃圾填埋場、機(jī)場、下水道和高速公路都能夠成為公園、游樂場、恢復(fù)生態(tài)系統(tǒng)和休閑設(shè)施。</p><p>　　研究目的和存在的問題</p><p>　　這項研究的目的是激發(fā)藝術(shù)和設(shè)計專業(yè)學(xué)生思考自己的未來項目。這一現(xiàn)象學(xué)案例的研究突出約翰森的作品作為這些學(xué)生模型。本研究旨在探討約翰森的公共生態(tài)藝術(shù)與景觀設(shè)計作品背后的過程，從她的意圖到她的藝術(shù)表達(dá)，包括與其他各學(xué)科專業(yè)人士合作完成項目的挑

63、戰(zhàn)。通過本文的研究，約翰森的項目得到檢驗，在考慮環(huán)境問題、生物多樣性和當(dāng)?shù)厣鐓^(qū)方面提供了新的視角，除了培養(yǎng)跨學(xué)科的思想和聯(lián)系方面有時被忽視。具體研究問題如下：</p><p>　?。?）約翰森如何使用她的公共生態(tài)藝術(shù)與景觀設(shè)計來解決野生動物和生態(tài)系統(tǒng)退化問題以及支持人類與自然共存的問題？</p><p>　?。?）約翰森采取什么樣的步驟，我們可以從中得到哪些信息？</p>&

64、lt;p>　?。?）這些作品如何為各種學(xué)科的學(xué)生提供思想，例如設(shè)計、視覺藝術(shù)、建筑、藝術(shù)教育和環(huán)境教育，以供將來的項目使用？</p><p>　?。?）伴隨著來自不同學(xué)科的個人，如藝術(shù)家、建筑師、科學(xué)家、工程師和政府官員，他們合作中會有哪些挑戰(zhàn)？如何克服這些障礙？學(xué)生可以從約翰森試圖操縱和談判中學(xué)習(xí)什么？</p><p><b>　　研究方法</b></p

65、><p>　　本研究采用定性研究方法收集了大量數(shù)據(jù)。為了探究帕特麗夏.約翰森對她的項目的內(nèi)在看法和想法，我根據(jù)Moustakas的現(xiàn)象學(xué)（1994）和Stake的案例研究（1995）的理論框架進(jìn)行了現(xiàn)象學(xué)案例研究。深入訪談和實地觀察提供了主要數(shù)據(jù)來源。特別是，訪談采用了半結(jié)構(gòu)化的訪談框架，在這一框架中，藝術(shù)家詳細(xì)闡述了她如何利用藝術(shù)恢復(fù)受損的生態(tài)系統(tǒng)、設(shè)計新的公共場所、從大自然中引出意義并向游客傳達(dá)特定信息。訪談還捕

66、捉到了這位藝術(shù)家創(chuàng)作生態(tài)加州公共藝術(shù)項目背后的意圖和動機(jī)。在六年的時間里，我通過電子郵件、電話和親自采訪了約翰森。特別是，我研究了約翰森作品和其他生態(tài)公共藝術(shù)項目中的主題、目標(biāo)和隱喻符號。此外，背景研究和現(xiàn)有文獻(xiàn)提供了次要的數(shù)據(jù)來源。</p><p>　　另外，我創(chuàng)作了素描，繪畫和繪畫，這些靈感來自我與約翰森及其作品的互動。這些數(shù)據(jù)來源反映了我對約翰森作品的反思。</p><p>　　此外