【正文】 s identity? These are important, broader questions for China39。s capital to realize his own dream, or when the majestic but dysfunctional Central TV Tower is built only for the power to bewitch (Daniel Burnham), designers must question what is really being displayed to the rest of the world? Torn between its own imperial past and today39。s art of land design and stewardship. Who Are We? The Challenge of Cultural Identity China39。s doubledigit GDP growth rate and the nation39。 Zhao, Huang, Yang and Guo, 2021). Statistics show that in the past 50 years, 50 percent of the China39。s deteriorating environment and ecology. At the heart of this matter is Chinese survival and sustainability (Figure 12a,b). sixtyfive percent of China39。s arable land. Each year, the processes of urbanization and materialization lure one percent (approximately 13 million people) of the Chinese population to abandon their Land of Peach Blossoms and rush into the city. This process has expanded urban boundaries and encroached on agricultural land (Figure11a, b). The sacred feng shui forests have been cut and replaced with ornamental flowers. The graveyards of our ancestors have been leveled and their remains abandoned or removed to the planned cemetery. Ponds in font of the former villages have been filled, and whole villages have been wiped out and replaced with glorious, exotic, stylish walled munities. The meandering country roads are being replaced with sixlane motorways and a Baroque axis (Yu and Li, 2021, 2021). In the late 1980s and early 1990s, the Chinese began to work toward campaigns to beatify their cities, in line with the new socialist countryside campaign launched by the central Chinese government. This has placed Chinese landscape planning and design again at the forefront of an important precipice。s art of survival and land stewardship, which evolved over thousands of years of trial and error, that helped the disasterstricken Chinese people select safe places for their settlements. They tilled fields yet kept the soil safe from erosion, diverted water for irrigation, and selected the right plants for food production (Figure 04). Unfortunately, they did not appreciate the real traditional landscape of the Chinese vernacular of the land of peach blossoms, because they belonged to the lower culture that survived because of subsistence a culture which was long associated with labouring and inferiority. Instead, for 2021 years, the elite class of nobles and emperors recreated the land of peach blossoms for pleasure, using ornaments and false rockeries, which became celebrated as the high art of gardening. Ironically, this art accelerated the decline of the feudalist Chinese empire. In this sense, the art of gardening had no more relevance than the art of foot binding, which was so much appreciated by the emperors and nobles (Figure 05a07). This decaying art of gardening was recognized as a glorious tradition of national identity, and remains highly regarded by current western and Chinese scholars alike(Figure 08a,b). In contrast, when building the cities of tomorrow, created by taking mature trees from the villages, diverting streams from farms. It is the actual vernacular of the Land of Peach Blossoms that is being destroyed (Figure 09a10b). 2 The Loss of Land of Peach Blossoms: Challenges and Opportunities for Landscape Architecture The role of agriculture has declined in China39。s first emperor (Figure03). Thus, landscape architecture had its origins in bination with the art of survival and the emperor39。 homes and treated with generous hospitality, and was entertained with wine and bountiful food. After the fisherman left the land of peach blossoms and returned to the city, he could never again find this land. This is, in essence, the original story of ShangriLa, a mystical, harmonious valley described in 1933 by British novelist James Hilton in Lost Horizon. Since we have experienced such harmonious landscapes, we believe that there were and still are numerous Chinese rural villages that can be described today as lands of peach blossoms. They are the product of thousands of years of the trials and errors of our agricultural ancestors. Natural disasters, including floods, droughts, earthquakes, landslides, soil erosion, as well as the experience of field making, irrigation, and food production, taught our ancestors to create and maintain such lands as the land of peach blossoms. It was the skill and art of survival that rendered our landscape productive, safe, beautiful, and meaningful(Figure 01). For thousand years ago in China39。 中國的問題正在成為世界的問題，解決好中國的問題，在某種意義上講 就是解決了世界的問題，因此，中國的景觀設(shè)計學(xué)也必將是世界的景觀設(shè)計學(xué)。這也正是景觀設(shè)計學(xué)前所未有的機遇，景觀設(shè)計學(xué)應(yīng)該重拾其作為“生存的藝術(shù)”的本來面目，在創(chuàng)建新的“桃花源”的過程中擔(dān)負(fù)起重要的責(zé)任。 在這個嶄新的時代，人與自然的平衡再一次被打破，舊時代的“桃花源”將隨之消失，人類生存再一次面臨危機。而這門“生存的藝術(shù)”，在中國和在世界上，長期以來卻被上層文化中的所謂造園術(shù)掩蓋了。知識、技術(shù)、連同可 信的人地關(guān)系，使人們度過了一個又一個難關(guān)，培育了人們的文化歸屬感和與土地的精神聯(lián)系，使人們得以生存而且具有意義。中國浙江省臺州的“反規(guī)劃”案例說明了這一點。 EI 成為各種過程的相互作用的媒介，聯(lián)系了自然、人以及精神。 從中觀的城市尺度上來講，區(qū)域的 EI 將延伸到城市結(jié)構(gòu)內(nèi)部，與城市綠地系統(tǒng)、雨洪管理、休憩、自行車通道、日常步行和通勤、遺產(chǎn)保護和環(huán)境教育等多種功能相結(jié)合 。失敗原因主要有以下幾點： 1）過于隨意，各綠地元素和水陸生境之間缺乏必要的聯(lián)系； 2）可達(dá)性差，不易親近，綠地和建筑物間缺乏有機的聯(lián)系，利用率低； 3）被當(dāng)作阻止城市蔓延的對抗和屏障，功能單一，缺乏諸如對防洪，遺產(chǎn)保護，棲息地保護以及游憩和通勤等綜合功能的整合； 4）當(dāng)外圍發(fā)展壓力增加時，這些綠地很快地成為投機和尋租空間； 5）它們被各個行政管理部門條塊式分割，支離破碎，很難實現(xiàn)應(yīng)有的功效； “反規(guī)劃”途徑則試圖 找到在各方面都可行的、便于管理的綜合生態(tài)安全格局，將各種生態(tài)服務(wù)功能、文化遺產(chǎn)保護及人與土地的精神聯(lián)系，通過一個完整的，連續(xù)的生態(tài)基礎(chǔ)設(shè)施整合起來，擔(dān)當(dāng)城市生態(tài)安全、文化認(rèn)同和精神給養(yǎng)的功能。很長一段時間里，綠化隔離帶和楔狀綠地被視為阻止城市蔓延的景觀結(jié)構(gòu)而被納入城市總體規(guī)劃中。 EI在保障著生態(tài)過程的安全和健康、保護我們的地域特色和文化身份、重建人與土地的精神聯(lián)系。 （ 3）景觀引領(lǐng)發(fā)展：“反規(guī)劃”途徑使景觀作為城市建設(shè)的基礎(chǔ)設(shè)施 應(yīng)對時下的問題，景觀設(shè)計學(xué)應(yīng)該做怎樣的調(diào)整呢？城市化和全球化進程迅速且無法抵抗，而“反規(guī)劃”是改變傳統(tǒng)發(fā)展規(guī)劃模式，主動爭取“天地 — 人 — 神”和諧的必由之路。 同時，生存的藝術(shù)反映了真實的人地關(guān)系，而正是這種真實的人地關(guān)系又給予人們文化的歸屬感以及與土地的精神聯(lián)系。在長達(dá) 2021多年的時間里，造園藝術(shù)在尋找無意義的風(fēng)格，無意義的形式以及虛幻的異常情調(diào)中，在虛假的“桃花源”中迷失了方向。西方列強的一把火，使它成為沒落封建華奢文化的代表，永久地成為封建王朝的陪葬品。這種畸形的、上層文化的造園運動到了清代的圓明園可