【正文】 凱特生產(chǎn)空間 牛津：布萊克韋爾出版。 1996（ 1978）。通過引入百米寬可用宜人的交界地帶， 努維爾旨在調(diào)和城市和鄉(xiāng)村。 努維爾實現(xiàn)了較小規(guī)模的三角形的波布雷 諾公園，創(chuàng)造了一個用鮮花，花隧道和芳香的花朵墻可持續(xù)花園。維德勒對建筑的描述有關(guān)，他把建筑當(dāng)成一種精神狀態(tài)的體現(xiàn)，“模糊現(xiàn)實與虛幻的分界，試圖引起一種令人不安的不確定性，在生活和夢想之間游移”?；▓@不再是被安排在建筑內(nèi)部的地面上，而是在屋頂上！一種新的類型出現(xiàn)：屋頂 花園。 然而，在努維爾的許多設(shè)計中，植物只是用來簡單地滿足人們在綠色環(huán)境中生活的 27 需求。列斐伏爾稱城市綠地為“非生產(chǎn)用地”。前身是 13 世紀(jì)的圣保羅修道院。這里植被不經(jīng)歷基本上節(jié)奏色變化根據(jù)季節(jié) 。事實上，花園的主要目的是重塑一個與本土藝術(shù)相襯的背景。屈米在《愉悅的花園》寫道， 1978 年：“花園 完全為了快樂而建，他是建筑最初的體驗，難以用繪畫或語言描繪”：在柏林，努維爾的（未實現(xiàn)）法國大使館的項目，在灰白色的建筑之中孕育蔥蘢的空間用于工作，一個伊甸園的地方的巴黎廣場。建筑與綠化融化在乘以反思和改變尺度，其中在一個持續(xù)的，動態(tài)的關(guān)系，現(xiàn)實和難以捉摸的圖像交織的一個短暫的視覺奇觀。其結(jié)果往往是侵入性的，壓倒性的 和密集的恐怖入侵的方式。正如普利茲克建筑獎的評委描述的。 and the barklike grey of the tree trunks and branches in winter. Erecting an ‘ artificial’ mound covered with ‘ natural’ vegetation is not only a strategy of thinking in opposites, but it also is based on observing the presence and significance of mountains and vegetation in Japanese nature and culture. With time the ‘ natural’ and ‘ artificial’ of Nouvel’ s museum, as in many of his other projects will merge so that architecture and even cities will be eclipsed by vegetation to bee green environments themselves. In many of Nouvel’ s projects, however, the vegetal is simply employed to satisfy the desire to live in a green environment. Green as a ‘ biological necessity’ appears in Nouvel’ s socalled ‘ Green Blade’ , a project for SunCal with planted balconies extending around the building. Already in the 1920s Le Corbusier 22 propagated, ‘ ? bring him [man] joy, recreation, beauty and health! We must plant trees!’ And further he believed that, ‘ The gigantic phenomenon of the great city of tomorrow will be developed amid pleasant verdure.’［ 6］ The Modern movement launched its own particular ideological discourse concerning nature, sunshine, light, air and greenery. This approach not only dealt with the topic of landscape within the urban fabric, but also opened up buildings themselves towards their landscaped and natural surrounds. Le Corbusier’ s most revolutionary idea, however, consisted in turning the normal order upside down. The garden was no longer to be located on the ground beside the building but rather on top! A new typology emerged: the roof garden. Jean Nouvel extends this typology in imagining a contemporary version. His Tour Horizons or socalled ‘ The Pyramid’ in BoulogneBillancourt in the western suburbs of Paris is conceived as a superposition of four different horizontal landscapes in reference tothe surrounding landscape. A greenhouselike space shelters the landscape under a glass roof on top of the building. As well, Nouvel succeeds in reconciling oppositional forces by fragmenting the architecture itself and integrating the vegetal with the building at different levels in a perfect equilibrium. Using transparent and translucent glass walls the dematerialised and reflected images of the vegetal both vanish and multiply creating on and in the architecture a paradoxical condensation of the ephemeral into‘ vegetal clouds’ . Here Nouvel’ s concept of the vegetal can be related to Anthony Vidler’ s description of architecture as a mental state of projection that‘ ? eludes the boundaries of the real and the unreal in order to provoke a disturbing ambiguity, a slippage between walking and dreaming.’ However, vegetation has not only been understood and applied as an architectural element, but also as an instrument of urban [re]development. Ever since the beginnings of literature, ., in the ancient epic of Gilgamesh, the settlement of civilisation has been deeply experienced in opposition to the idea of the wilderness of the natural environment. As Adrian Forty writes, ‘ The distinction between the world created by man －? culture?－ and the world in which man exists －? nature?－ has been perhaps the single most important mental category ever conceived.’ ［ 8］ As civilisation has increased and the wilderness has been－ first conquered and then experienced as － lost, many attempts have been made to bring greenery － back － into the settlement. For example, Nouvel’ s (unbuilt) project (20xx) for the old market district of Les Halles, a symbolic site in the heart of Paris, conceived an ‘ extraordinary garden’ at an urban scale with vast green spaces at three different levels including a 27 metre high canopy with hanging gardens and a panoramic view over the roofs of the city. (Fig. 5) In fact, he proposed to reanize the whole district around a sevenhectare garden where plexity, continuity and contextuality melt together. On a smaller scale Nouvel’ s realised design for the triangleshaped Poblenou Park (20xx) creates a sustainable garden with walls of flowers, flower tunnels and aromatic flowers. (Fig. 6) An enchanted garden with thematic elements located at the crossroads of the diagonal bines land art and urban art. Along a spiral walkway the visitor descend a volcanolike crater to the mythical point of the‘ Centre of the Earth.’ The dimensions of Nouvel’ s epochalmarking architectural thinking, however, goes even beyond the scale of landscape interventions and buildings. His concerns also approximate the scale of the green belts, parks and pure garden suburbs established around big cities and at the periphery 23 of waxing metropoles in the early twentieth century. Since then the urbanisation process of both big cities and garden suburbs has generated a sprawl across the open countryside that is polluting and even destroying the natural environment. Today to counter such effects, new concepts and forms of pensation have appeared. For the ambitious project of Greater Paris, an urban renewal plan that aims to improve and develop the metropolitan area and its suburbs, Jean Nouvel proposes a reinvention of a ‘ sustainable and liveable city.’ () By introducing a one hundredmetre wide useable and pleasant b