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2011ASLA专业奖{1}通用设计荣誉奖: Stone River [复制链接]

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发表于 2012-10-23 09:38:54 |显示全部楼层
自然景观
按成果: 完成展示 奖项获得 
按国家: -
按时间: 2011 
本主题最后由 Gardener 于 2014-7-28 10:36 编辑

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2011ASLA专业奖{1}通用设计荣誉奖: Stone River



关键词:景观 2011ASLA 可持续 艺术 雕塑 场地设计 道路 石材 森林 手工 Jon Piasecki  



   

2011ASLA专业奖正式开场。

石之河,由Jon Piasecki设计。

“一个诗意,美丽,精心的提案。即便百年之后,也能够得到该殊荣。

材料坚硬。而那美好的景愿被更坚决的实施。”

----2011专业奖评审委员会




在这个项目中,设计师非常不易的用石材在森林中修了一条路,这条路让游客可以有与自然相融合的机会。项目的目标是在自然中加入文化。这条路径为人们提供一个全新的身处自然之感。

该项目是一个场地的景观艺术

这个项目由一个灵感启动,设计师非常不易的,自己用石材在树林中修了这条路。为这条路,设计师用尽全力,这条路让游客可以有与自然相融合的机会。项目的目标是在自然中加入文化。这条路径为人们提供一个可持续的全新的身处自然路线。


这个项目就靠设计师一己之力完成,没有借助其它人的帮助。设计师自己开采石头,用木头车运输,然后不断的转移,用独轮车运了几十吨沙石,400吨从石墙上而来的石材,最后铺设了这条800英尺长的路径。这些石材就像是有机生长在路上。设计师亲自安排每一块石材的位置,避免伤害到蕨类和乔木,并想办法让现在的石块上面长上青苔。让原来的墙壁石材焕发出最原始的生机。

这个项目属于高层次的艺术活动。面临着极大的挑战。这是一个伟大的工程,是景观设计师与客户的完美合作,这个项目甚至引发了另外两个艺术家在此做雕塑,但是设计师的道路也是一件雕塑作品。

这个项目也运用机械进行采石运输,承担设计师的交通,进行石材的切割,并搅拌垫层材料。这些机械采用的是生物柴油。但是此项目大多数工作量,都是依靠设计师的身体去完成。

这个项目由一个人的劳动改变世界而得到启发。将石材,用人力修成一条小的路径,并加入到敏感的森林中,代表着我们现今与土地的关系存在着文化与自然的裂痕。

今天设计和制造都是独立的物体。劳动力编织,默默无闻的人们生产这我们所需的一切。机器满足我们的欲望。当然机器不可或缺,但我们是否在这条路上走得太远?设计师认为这种情况有害的一面已经显示出来,并已危害到我们人类自身。

项目的目标是“天人合一”,设计师期望游客在树林里行走时,能够感到本来就存在的自然和生活的美妙。



This is a vote for poetry and beauty and craft. This will endure. You could give this

project to a jury in a hundred years and they’ll still give it an award. The materials

are uncompromising. A beautiful idea carried out with uncompromising craftsmanship. ”

2011 Professional Awards Jury

Entry Number: 022

Project Title: Stone River

Project Location:  Eastern New York State

Project Type:  Woodland Path

Project Statement

In this project I built a path in which I applied great effort to join stones together.  

I joined the path itself to the preexisting stonewall and woods in an attempt to offer

the visitor the opportunity to experience a sense of fusion with nature.  The goal of

this project is to join culture to nature. This path provides one trajectory along which

people can reintegrate with the natural world around them.

Project Narrative

This project is designed and built as a piece of landscape art.

The design was essentially a flash of inspiration during a site visit informed by

several years of practice physically joining stone and working in the woods as

well as by my independent research on Incan stone work. With this path I applied

great effort to join stones together. I strove to join the path itself to the preexisting

stonewall and woods in an attempt to offer the visitor the opportunity to experience

a sense of fusion with nature. The goal of this project is to join culture to nature.

This path provides one trajectory along which people can reintegrate with the world

around them in a sustainable way.

I built this project by myself. There were no other laborers.  I hammered each stone

joint and moved each stone down the path on a small wooden cart. I transferred tens

of tons of gravel and sand as a setting bed with a wheelbarrow and I moved nearly 400

tons of stone in the wall and as paving over the 800-foot length of the path. I opened

the existing stonewall, chose the course of the path within it and rejoined the residual

wall stone in such a way that the path appears to have grown organically within this

stonewall where it resides. I was able to personally lay stones so as to avoid individual

clumps of ferns, standing trees, fallen logs and existing stones with mossy growths in

the wall. This was done in an attempt to preserve as much as of the preexisting life of

the enormous wall as possible.

The general design context of this project is of the highest order of cultural production in

the fields of landscape architecture, outdoor sculpture and architecture. The challenge

in all participating fields is to do the best work possible. The project presented here is my

part of this great project and is one piece of many pieces within the larger overall vision of

the clients and of another landscape architect. I have designed and built the path presented

here, which leads to two sculptures by different artists. However, my path is explicitly

acknowledged to be its own sculptural work.  

Machines with internal combustion engines played a part in this project. They were used

in the quarrying of the silver stone (a mica schist) its transport, commuting to the job site,

some rough stone cutting and to a limited extent in shuttling of stone, sand and gravel.  A

good deal of this mechanized work was carried out using vegetable based bio-diesel fuel. The

vast majority of the project was made using simple machines without engines and with the

efforts of my body.

This project is an illustration of the labor of one person inspired to change the world. In this

instance by joining stone and by making a path into the woods with great sensitivity, I am

working to heal, in a small way, the rift between culture and nature that is intrinsic to our

modern relationship to the land.

Today, design and fabrication are generally distinct entities. Labor is devalued.  Unknown

people toil to make our things. Machines spew out the stuff of our needs and desires and the

making of them dehumanizes the production class and despoils the land.  Of course the

machines are essential, and some disconnect between design and fabrication is inevitable,

but this project openly asks if perhaps our fascination with the virtual over the actual, or with

design over build, has gone too far? I would suggest that it has and that this disconnect

certainly harms nature but it endangers our humanity even more so.

The goal of this project is to integrate the visitor with nature as he or she walks along this path

through the woods. I hope to help these visitors feel the life and wonder of the natural world of

which we all are a part.








MORE: Jon Piasecki

http://www.goldenbough.net/   


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