【正文】 la Vigan242。 本科畢業(yè)設(shè)計(jì)外文翻譯 關(guān)于景觀都市主義發(fā)展進(jìn)程的探討 院（系、部） 名 稱 ： 園藝科技學(xué)院 專 業(yè) 名 稱： 學(xué) 生 姓 名： 學(xué) 生 學(xué) 號： 指 導(dǎo) 教 師： 2021 年 3 月 15 日 教務(wù)處The Evolution of “Landscape Urbanism” Reflections on Stalking Detroit , by GRAHAME SHANE The Landscape Urbanism exhibition contained an international survey of public urban spaces by designers including Adriaan Geuze/West 8, Michael Van Valkenburgh, Patrick Schumacher, Alex Wall, and several Barcelona landscape architects (such as Enric Batlle and Joan Roig, who pleted Trinitat Cloverleaf Park in a highway intersection for the 1992 Olympics). American exhibitors included Corner and Mathur, Waldheim’s teachers from Penn, Mapillero/ Pollack from New York, ConwaySchulte of Atlanta Olympics fame, and Jason Young/Omar Perez/Geia Daskalakis/Das: 20 from Detroit. Corner’s premiated but sadly unbuilt Greenport Harborfront, Long Island Project (1997), stood out in this show. His office, Field Operations, proposed creating a sense of urban activity around the annual raising and lowering of the town’s ancient sailing ship Stella Maris up and down a newly created slip, with a historic, children’s carousel housed in an adjacent band shell. Corner envisioned this staged, biannual event as an attractor for people, the press, and media, who would flock to the town in its off season, inhabiting the newly created mons on the harbor front to watch the ship’s spectacular movements. In the winter, the ship would bee a monumental, sculptural presence lit at night in the center of the small port’s mons。 in the summer it would return to its accustomed quayside, where its masts would tower above the rooftops. 21 Corner’s project in the Landscape Urbanism exhibition illustrates his concept of a “performative” urbanism based on preparing the setting for programmed and unprogrammed activities on land owned in mon. The three projects presented in Stalking Detroit provide further insights into this emerging strategy, and each is paired with a mentary by a landscape architect. 22 The Waldheim and Marli SantosMunne Studio proposes the most prehensive of landscape urbanism practices in “Decamping Detroit” (104–122). They advocate a fourstage demissioning of land from the city’s legal control: “Dislocation” (disconnection of services), then “ Erasure” (demolition and jumpstarting the native landscape ecology by dropping appropriate seeds from the air), then “Absorption” (ecological reconstitution of part of the Zone as woods, marshes, and streams), and then “Infiltration” (the recolonization of the landscape with heteropic villagelike enclaves). As Corner writes in his mentary, this project “prompts you to reflect on the reversal of the traditional approach to colonization, from building to unbuilding, removal, and erasure” (122). This reversal of normal processes opens the way for a new hybrid urbanism, with dense clusters of activity and the reconstitution of the natural ecology, starting a more ecologically balanced, innercity urban form in the void. All of Landscape Urbanism’s triumphs so far have been in such marginal and “unbuilt” locations. These range from Victoria Marshall and Steven Tupu’s premiated design for ecological mudflats, dunes, canals, and ramps into the water in the Van Alen East River Competition (1998), which would have simultaneously solved the garbage disposal problem of New York and reconstituted the Brooklyn side of the East River as an ecology to be enjoyed as productive parkland. 23 In the Downside Park, Toronto Competition (2021), Corner,