Landscape and Infrastructure in the Late - Modern Metropolis
Landscape and Infrastructure in the Late - Modern Metropolis
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晚期现代都市的景观与基础设施
DOI：
10.1002/9781444395105.ch6
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发表时间：
2012
期刊：
影响因子：
--
通讯作者：
M. Gandy
中科院分区：
文献类型：
--
作者：
M. Gandy
如果我们将我们对景观的理解扩大到包括空间和基础设施的相互关联性，从而包括对空间的体验，那么显然，这两个领域是密切相关的。从景观和基础设施的交汇处出现的空间，从公园或花园等设计空间到与运河、发电厂和铁轨等实用建筑共存的一系列附带空间，应有尽有。除了这一系列的物质交叉点，我们还遇到了对城市空间的各种想象或虚拟探索。景观和基础设施现在都是新一轮城市分析的重点，其特点是城市对气候变化的适应能力，将生态思想应用于城市设计，或重新利用以前的工业空间。然而，这些新兴文学中的许多都缺乏历史视角：具有讽刺意味的是，对“政策相关性”的压倒一切的强调，排除了批判性地重新思考景观和基础设施在当代城市中的作用的许多可能性。“景观”一词起源于16世纪的荷兰语Landschap，最初用于划分土地的界限，但后来被与从远处观看太空的方式联系在一起。这种将景观视为视觉全景的感觉--最初是通过景观艺术发展起来的--后来在现代扩大和多样化，包括各种城市和工业空间及其在艺术、电影和文学中的表现。用分析的术语来说，已经从强调风景和理想化的人类主体之间的关系--一个与19世纪浪漫主义密切相关的流派--转变为对风景产生和体验的准确背景的更微妙和动态的解释。1
If we extend our understanding of landscape to encompass the interconnectedness of space and of infrastructure to encompass the experience of space it is clear that these two domains are closely related. The spaces that have emerged from the intersection between landscape and infrastructure range from designed spaces such as parks or gardens to an array of incidental spaces that co exist alongside utilitarian structures such as canals, power plants, and railroad tracks. Added to this range of material intersections we also encounter a diversity of imaginary or virtual explorations of urban space. Both landscape and infrastructure are now the focus of a renewed wave of urban analysis marked by themes such as the adaptive capacity of cities to climate change, the application of ecological ideas to urban design, or the reuse of former industrial spaces. Yet much of this emerging literature lacks historical perspective: an overriding emphasis on “ policy relevance ” has ironically precluded many possibilities for critically rethinking the role of landscape and infrastructure in the contemporary city. The term “ landscape, ” derived from the sixteenth century Dutch word landschap , was originally used for the demarcation of land but has subsequently become associated with a way of seeing space from a distance. This sense of landscape as a visual panorama – developing initially through landscape art – has subsequently expanded and diversifi ed in the modern era to include a variety of urban and industrial spaces and their representations in art, cinema, and literature. In analytical terms there has been a shift from an emphasis on the relationship between landscape and the idealized human subject – a genre closely associated with nineteenth century romanticism – to a more nuanced and dynamic interpretation of the precise contexts within which landscapes are produced and experienced. 1