2014法国肖蒙古堡花园节(三)
International Garden Festival (III)
2014-08-07 16:09:19    | keywords: 法国  古堡  花园 
2014法国肖蒙古堡花园节(三)
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PARCOURS INITIATIQUE, ALLÉGORIE AQUATIQUE DES 7 PÉCHÉS CAPITAUX
七宗罪水景园
 
该园是以水景隐喻七宗罪。在英国作家托马斯•惠特利和法国著名作家让•雅克•卢梭的作品中,水都是核心的主题。
园中的环形步道绕其中央的现代化构筑物而建,漫步其中能观赏到分别代表着七宗罪的七处形态各异的水景:
瀑布象征暴怒,静水池代表傲慢,水滴寓意贪婪,沼泽象征懒惰,绿洲代表妒忌,喷泉(或称真实之口)寓意贪食,岩穴则象征色欲。
园子中央的那处构筑物则是象征忏悔室,里面安有四对双筒望远镜,游客们通过使用望远镜,能够更加全面地了解园子的整体结构,并能更为细致地观赏每一处水景的细部之美,并通过不同的视角感悟人类的七宗罪。
 
The garden is an aquatic allegory of the seven deadly sins. Water is the central theme, with the writings of Thomas Whately and Jean-Jacques Rousseau as reference.
The seven scenes that we come upon as we first go along the wooden walkways that surround the central construction are:
Anger is symbolised by the waterfall, pride by the water mirror, greed by the drip-drop, sloth by the marsh, envy by the oasis, gluttony by the fountain or the “Bocca della Verità” (“Mouth of Truth”), and lust by the grotto.
In the centre, a confessional, a sort of contemporary construction, allows us to understand the garden and its aquatic installations in a manner different from that offered by the walk. The confessional encourages us to discover in greater detail, like a concealed observer and using four pairs of binoculars, various points of view targeted on the deadly, heady sins.
 
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PURGATORIUM
肃清园
 
无论是通过书面亦或口头形式,诸如原罪一类的神话,早在若干世纪前就已在西方世界里深深扎根,并慰藉着每一个西方信徒的心灵。
圣洁之园以生动的景观语言形象地描绘了七宗罪理念鼻祖托马斯•阿奎那深刻的人生哲理:我们或想获取某物,我们视为善的某物;或想挣脱某物,我们视为恶的某物。园中景致寓意指引我们肃清罪恶,追寻美好。
 
Whether passed on in written or oral form, myths, such as that of the deadly sins, have soothed the imagination of the Western world for centuries. 
The garden depicts that of Thomas of Aquinas who conceived the idea of the deadly sins in the 13th century, in the following way: we either want for something or run away from something which we consider to be bad. The garden leads us down a path towards a “purgatorium”.
 
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LE JARDIN DE LA GROTTE
洞园
 
兽穴、岩坑、岩洞、孔洞、土窖、峡谷,所有这些与洞穴相关的词汇总是带有一种神秘色彩,容易让人们联想到它们是高深思想的藏身之所,是启蒙、传授的神秘途径。
对于设计师而言,洞穴,或庙宇,都是充斥着诱惑、性欲以及尘世间所有可想象到的荒淫、奢靡故事的必然发生地。
洞园再现了洞穴这一传统主题,一个巧妙利用植物藏匿的隐秘之所。若想抵达园中的洞穴景观,必须穿过一条花间小径向左拐,缓缓路经一处拼版式构筑物,便可望见在道路尽头的洞空入口。进入洞穴,这样一处近乎与世隔绝的所在,不由令人心生好奇与恐惧,人们体验着它的阴森氛围召至而来的人类所有的内心感受与情绪,最终,也许人们是带着一种如释重负的解脱心境从神秘出口逃离这里的。
 
Den, sinkhole, cavern, cavity, crypt, chasm: all of those terms conjure up the impression of a certain kind of mystery, the idea of hideouts, of mysterious pathways for initiations.
For the designer, the grotto – or the temple – is a place that is the traditional setting for sumptuous stories of seduction, of lust, of all the imaginable excesses of earthly life.
The garden revisits the traditional theme of the grotto, a hidden, mysterious space concealed by skilful use of plants. To reach the grotto, you must take the flower-bordered path that leads away to the left, and slowly go past the imposing structure to come upon the entrance to the grotto at the end of the path. You visit that closed-off place with apprehension and curiosity, to experience all the feelings and emotions that it can call forth in us, and finally to leave it, perhaps with a sense of relief, by taking the secret exit.
 
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RÉSURRECTION, ÉLOGE DE LA DÉFAILLANCE
复兴的颂歌
 
整个园子以隐喻与悖论的形式,借助于独特的景观语言,引领游客们从完全不同于寻常的角度重新对事物进行观察与审视。这是一次心灵的释放,一次冥思漫步之旅,置身其间,游客们会被周遭的景致所触动,进而思考“人类境况”,并提出质疑:倘若原罪本身就是生命存在与能量凝聚的必然产物,那么我们人类应当如何看待这些原罪?
该园的设计师是一名女性,在她看来,原罪就是“人类的生命线”。原罪赋予每个人平等的机会倾临罪恶的深渊,审视每一处沟壑,或许,会从中悟出隐藏的内在深意,这取决于每个个体不同的悟性。
进入园内,首先让人产生一种错觉,仿佛一眼望去,整个园子的景致便能尽收眼底。然而,恰恰相反,游人们必须细细品味园中的每一处景致,才能领悟出透水混凝土下埋藏的那些“原罪”。继续细品,人们会发现植物慢慢滑落到这些混凝土裂缝中,随及破土而出成片成片的蕨类、马尾草以及苔藓植物。
 
The garden is an invitation to observe things differently, entire through metaphors and paradoxes. It is a free, meditative stroll, which encourages us to consider the “human condition” and calls forth questioning: what if sins were magnificent sources of life force and of energy able to crack concrete?
The lady who designed the garden viewed sins as being the “Lifeblood of humanity”. Sins offer us the chance to lean forward and look into the hollow of every fissure and, perhaps, find there a hidden meaning, one that is unique to each individual.
The garden gives us the deceptive feeling of being able to see everything at first glance. However, and quite to the contrary, we must go through the garden carefully to be able to discern the form that is taken by the pervious concrete, the sins that it signifies. In that way, we see crevices into which plants slowly slide to later open out into the original forest of ferns, horsetails, and mosses.
 
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POUR L’AMOUR DE TONGARIRO
火山之园
 
园子的设计原型源自于毛利人神话中一个关于塔拉纳基火山与鲁阿佩胡火山的远古传说:这两座火山原先是很好的朋友,然而后来,他们都无可救药地爱上了汤加里罗火山。于是,他们之间爆发了激烈的争执,他们的友谊也就此终结。为了一个令人垂涎的美貌女子,两个男人之间产生了嫌隙,甚至于大打出手,似乎是情理之中的事情。
带着对于这个传说的思索,游客们漫步于园内的热带植被中,只见三座矿质土壤材质的象征性火山堆中不断向外喷发出人造“蒸汽”云雾,渐渐清晰地进入游客的视线之中,人们可以身临其境般地感受着传说中充斥的愤怒、嫉妒与爱。游客们可以在小板凳上歇息片刻,细细体味这其中的矛盾冲突以及所蕴含的深刻的人生哲理,对火山有兴趣的游客也可以在游览的过程中,顺道阅读一下木制步道边上的三幅景观说明性海报,能够对这三座火山进行更为深入的了解。
 
The garden takes us on a journey to the heart of an ancient legend taken from Maori mythology. The legend tells of the volcanoes Taranaki and Ruapehu: formerly friends, they both fell hopelessly in love with the volcano Tongariro. A violent quarrel broke out between them and ended their friendship. What better to become angry and to fight, than for the love of a beautiful woman whom one covets!
As we go through the legend, walking through tropical vegetation, we slowly come upon the three volcanoes that rise from mineral soil. We can easily feel all their anger, jealousy, and love, which are expressed by projections of clouds and “clouds of steam”. To take a longer look at the conflict, we can also take the time to sit on the small bench – not forgetting, in the course of the journey, to read the three posters set beside the wooden path, and which give more detail on each volcano.
 
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PARADIS INVERSÉ
倒逆天堂
 
人类究竟应当如何自我判定关于道德的标准?试图解答这一疑惑,就必须对道德下一个恰当的定义。
我们今天所面临的道德困境是否源自于社会中存在的种种罪恶?是否源自造成环境污染与气候恶变的各种贪念和欲望?
设计师们通过三种象征地球环境恶化的景观形态,表达着对消费社会的谴责,以及他们对于这一社会现象的感知和对于人类七宗罪的特殊理解。
进入园中,游客们会立即被一阵阵从地面直往上串的浓烈的橡胶味熏住而难以前行。接着,进入视线的是各式各样的枯树与成堆的矩状废弃物,它们似乎在控诉着人类毫无节制的浪费行径。在中央步道上,一块块小石板立在脚边,仿佛一个个引诱着人们坠落的陷阱。径直走到步道的尽头,一处已然烧灼的沙堆出现在眼前,上面除了一株株带刺和仙人掌,再也没有其它任何植物的踪迹。
 
From where does the fact come that humans are able to ask themselves the question about morality? An attempt at providing an answer leads immediately to defining morality.
The difficulties faced by our morality today – do those difficulties come from all the vices of our society and from those sins of excess that cause pollution and climate change?
The designers condemn the consumer society through three types of garden representing the evolution of the Earth as they feel it, as well as the seven deadly sins.
On entering the garden you are immediately seized by the strong smell of rubber that comes up from the ground. Next, your gaze is drawn by the various dead trees and the piles of rectangles symbolising consumer waste and excess. On the central walkway, slates emerge from the ground to rise at our feet like traps to make us fall. At the end of the walkway, at the end of the straight line, you can look upon a desert, burnt soil where nothing grows except sharp-spined cactus.
 
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GREEN WITHOUT GREED
纯净绿洲
 
许多人认为美式的草坪结构是对自然资源的一种滥用和浪费,然而这种景观类型在美国的普通家庭院落中随处可见。不论当地种植条件如何,屋主们都会尽心培植出一片长势颇佳的天然草坪。实质上,美国人对于原生态景观的完美追求往往需要耗费大量的水源、化学药剂,同时还需要花费大量的精力进行修剪及边饰,这些便会产生巨额的经济支出与环境破坏。“纯净绿洲”向人们展示了如何通过人工草皮的巧妙应用,同样营造生机盎然的庭园景观。相较于天然草坪,人工草皮更易于维护,无需耗费太多精力,且维护支出是可控的,但同样可以提供一年四季的绿色景致。
游客们走进“纯净绿洲”,就会立即被眼前成片郁郁葱葱的绿色包裹其中,没有人会去计较这是人工的还是天然的。草绿与深绿草皮交替拼接着铺设在地面上,相互映衬着,园中两处可供嬉戏玩耍的土坡在草皮的装点下也显得格外富有生趣,为游客们提供了休憩坐歇的良佳场所。园子的中央放置着一个巨型银白半圆球体,在太阳光的照射之下,向四面八方反射出耀眼的亮光,十分引人注目。在这片纯净绿洲中,大人和孩子们可以尽情地玩耍、嬉戏、休息,释放情绪、放松心情。
 
Many consider the American lawn to be a greedy indulgence in resource use, yet this landscape type is the norm for domestic yards across the country. Irrespective of local growing conditions, homeowners compete to craft the best lawn in the neighborhood. Their desire for pristine perfection demands endless watering, mowing, edging, and chemical applications, which come at financial and environmental costs. GREEN without GREED demonstrates how a dynamic verdant garden can be created through the whimsical application of synthetic turf. Predictable and easily maintained, synthetic turf offers year-round vegetal perfection without intensive maintenance. 
As visitors enter the garden, they are immediately surrounded by the lush green hues of true-to-life turf varieties. A two-tone turf quilt blankets the ground plane, from which two play mounds emerge. These multi-faceted ramp features double as seating alcoves. A large gazing dome sits in the center of the garden, providing an ever-changing reflection of light. In GREEN without GREED, children and adults are welcome to rest, play, and indulge their senses inside this greed-free, synthetic oasis.
 
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LES COULEURS DU PÊCHÉ
原罪的色彩
 
该园的设计师是一名女性,她在设计中玩了一把文字游戏:设计师将该园的核心景观元素定为桃树,由于英文中的桃子peach在法语中是pêcher,与原罪sin在法语中的表达péché一词同音,因而桃子在这里便有了罪恶的含义,替代了圣经中罪恶之果——苹果。桃子给人的印象总是多汁的、甜甜的、口感柔滑的,它有着柔软的果皮、迷人的果色,有柔情似水的淡粉色,有热情似火的玫红色,所有这些无不引诱着人类的性欲,折射着人类最为复杂与矛盾的情感。
经过金质入口门廊后,游客们沿着桃形石铺就的漫步小径缓步前行,最终到达园子中央,只见立于眼前的并非圣经中描述的苹果树,而是一棵足以搅乱心绪的桃树。
静静绕行于园中两座缓坡小丘周边,游客们一边欣赏着眼前的景致,一边冥思着这些景致背后所隐匿着的原罪,纤细的铁质桃形硬景小装置,星星点点地点缀在绿植区两旁,令人生产无尽遐想。
 
Playing with words, the lady who designed the garden presents the peach tree (which, in French, is “pêcher”, which is pronounced the same as “péché”, meaning “sin”) as the central element of the garden, instead of using the Biblical metaphor of the apple. The sweet, tender, juicy flesh of the peach, its velvety skin, its colourations varying from light pink to rose red, all illustrate sensuality as much as they illustrate our most complex, contradictory emotions.
After having passed the metal entrance porch, we wander along the path of which the surface, which is entirely covered with peach stones, grinds underfoot and finally leads us to the heart of the garden, where there stands, not an apple tree, but a peach tree, a tree that carries all sensations.
We walk quietly around two small hills with gentle slopes. We can take time to meditate serenely on the theme of sins, here handled with finesse and irony through pastel-coloured vegetation, carefully planted on either side of the green area.
 
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LE JARDIN DES POULES
母鸡园
 
母鸡园隐喻着一则关于傲慢与妒忌这两大原罪的寓言。园中的这些母鸡如果象征人类,那么人类就将自己奉作为这群母鸡的神。母鸡圈养于被人类“神化”了的园子中,在原罪充斥的环境下生存着,它们浪费着一切,窃取着一切,毁灭着一切,它们以冷水和所谓的“神”恩赐的谷物为食。然而,与此同时,充满着尊重、公正与智慧的伊甸园却近在咫尺而无法进入。
进入母鸡园,右侧空地上是几只母鸡以及它们毫无节制的生活方式,左侧是为母鸡提供充足食粮的菜园,面对这一切,人类并没有自省,而是以一种傲慢的姿态审视着这些母鸡,本能地产生着一种救世主般的优越感,一种嘲弄心理,进而神化自己。
在园中,还可以看到天上的飞鸟,肆无忌惮地偷食着菜园中的谷物,自在地飞翔于伊甸园周边,却怎样也无法飞入。穿过圆木汀步步道,静谧的水面跃然眼前,不妨在此静坐片刻,在水天之间,唤醒人类的思想缺失。
 
The garden tells us a fable about the sins of pride and envy. Here, hens represent humans, and humans take themselves to be divinities. Hens live in the garden created by the divinities. They live on deadly sins. They waste everything, steal everything, destroy everything. They live on cold water and on providential crops, when all the while Eden is close at hand – Eden, with its values of respect, reason, and intelligence.
By entering the garden, we can proudly take the place of the divinities. To our right, we can look upon the hens that represent us, and that live with no moderation. To our left lies the kitchen garden that provides them with food in abundance.
In that way, we look upon those birds that draw near to Eden without ever managing to reach it, and that sneak recklessly through the kitchen garden. We can also take the path made of wooden logs, to draw near and to look more closely upon the evocation of human thoughtlessness.

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(完End)

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