水到渠成 : 風貌之美來自運作良好的地景1/3

中華民國景觀學會發表於2017/02/06

王光宇中原大學景觀學系 .

助理教授中華民國景觀學會理事長

The Beauty from Well-Functioning Landscape

Kuang-Yu Wang

Assistant Professor, Chung Yuan Christian University, Department of Landscape Architecture

President, Taiwan Institute of Landscape Architecture / IFLA Taiwan

摘要

「景觀即是風貌風貌即是景觀」?這兩個相近但不相同的概念,不明究理之下常被混用,並因此認為處理好風貌問題就能夠造就良好的景觀,事實並非如此,但此種片面的理解卻深入各類景觀相關計畫,甚至影響了對景觀專業內涵的認知 ! 本文旨在釐清風貌與景觀的概念,即風貌特質是一個運作良好的地景的外顯;造就一個良好的地景基盤,自然會浮現出良好外顯的風貌,這是「水到渠成」的道理。

Abstract

Are "scenery" and "landscape" interchangeable terms? These two seemingly similar concepts are often mixed up. A common misconception is that by taking care of the scenery issues, great landscape can be created. Such one- sided understanding has been guiding landscape projects and could lead to misunderstanding of landscape profession. The purpose of this paper is to clarify the concepts of scenery and landscape. That is, scenery is the manifestation of a well-functioning landscape. A sustainable, well functioned landscape features good scenery, as the so-called "When conditions are ripe, success is achieved"

本文根據地景的基盤概念提出景觀專業三種操作手法,包括營造、管理與經營,並因時因地制宜來考量採用。其中營造與管理手法對於景觀專業以及其它空間專業者應該都較為熟悉。至於第三項的經營手法,由於不是直接針對風貌外顯環境加以處理,同時也不一定以空間工具或途徑來進行,對景觀專業而言,這種手法相對較陌生。本文經由宜蘭地景藝術活動為案例來介紹此類地景經營手法的操作。

Three professional landscape approaches were proposed in this study, including engineering, regulation, and management according to time and place. Among them, engineering and regulation approaches are more familiar to landscape professionals and other space-related professionals. As for the management approach, since the physical scenic environment is not targeted and tools related to spatial design and planning are not necessarily used, this approach remains unfamiliar to current landscape professionals. In this paper the 2016 Yilan Festival of Land, Arts and Creativity was adopted as a case study to introduce the management approaches of landscape.

回顧過去的發展,許多地方的特質因為地理區隔與環境限制而產生,隨著資訊交通發達,這些限制因素逐漸消失,今日各個地區,特別是都會以外的村鎮及鄉村地區,如果仍希望保有特色,那麼現在這個特色不是因為環境區隔,而是來自「自主的選擇」。以宜蘭辦理地景藝術活動為案例,此時藝術與創意成為誘導開發在地特質潛力的地景經營工具,目標不是讓鄉村變得像都市或以都市的開發模式來發展,而是希望從鄉村自身的特性與在地知識來找尋其發展之道。

In view of development in the past, many local characteristics emerged due to geographical separation and environmental constraints. When constraints gradually disappear due to advancement in transportation and communication, in order for today's regions, especially towns and rural areas outside the cities, to retain the characteristics, instead of deriving from geographical separation and environmental constraints, now it will be a matter of "choice". Take 2016 Yilan Festival of Land, Arts and Creativity for example, arts and creativity have become landscape management tools that induce re-exploration of local characteristics which could lead to sustainable local developments. The idea is not to develop rural areas using urban model. Instead, development is sought from the rural region's local characteristic and knowledge.

「景觀即是風貌風貌即是景觀」?

順著這個邏輯,那麼景觀的問題就是風貌問題,處理好了風貌問題就能夠造就良好的景觀 ? 但事實似乎並非如此 ! 經過許多年實務操作,檢視各類計畫的推動經驗 ( 例如城鄉風貌計畫、鄉村風貌綱要計畫、農村再生計畫等 ), 這個邏輯若從它的逆向來思考,反而更有意義,更能夠解釋現在面對的環境景觀問題。從這個角度來談,風貌特質是一個運作經營良好的景觀或地景的外顯,因此造就一個運作經營良好的地景,自然會浮現出良好外顯的風貌, 這是「水到渠成」的道理。

眼見不甚理想的景觀環境,大家總希望加以改善,殊不知冰山之上所看見的,其實根源來自冰山底部,這就涉及基盤的概念。所謂基盤,是各種單元、組織、體系 ( 例如社區、城市、區域及國家社會等 ) 賴以維繫運作的實體或非實體脈絡。而景觀的基盤,則是一個良好運作的景觀所賴以維繫的文化、環境、生活、經濟、設施等等的脈絡基礎。如果以冰山來做比喻,我們可以對直接看見的部分來處理,但不能認為如此就可以處理好景觀的問題! 整體而言,要能夠處理好景觀 / 地景問題,必須同時涵蓋冰山的頂層與底層。近幾年城鄉風貌計畫提出的「均衡城鄉」類型之計畫即是在反映此種複合性的地景經營概念。當然此種新的認識與企圖挑戰了既有專業知識的 know how,因為這種新的企圖包含空間與非空間專業整合。不論專業教育養成或政府部門計畫的分工,過去這兩種專業大多分開進行,眼前雖然概念上已有所轉變,但專業 know how 與操作體制仍需要時間來調整才能跟得上。

從這樣一個複合性的基盤概念來看,要如何操作處理地景與其外顯的風貌?大致上景觀專業有三個操作途徑可以因時因地制宜來採用 :