Wandering Ecologies

209

Wandering Eco log ies

生态景观之旅（美）查尔斯 · 安德森景观建筑事务所

朱莉 · 戴克编常文心译

辽宁科学技术出版社

The Landscape Architecture of Charles Anderson Edited by Julie Decker

Author: Julie Decker

Print version (Hardcover) - 2011ISBN 9787538165593Published by Liaoning Science & Technology Publishing HouseShenyang, Liaoning, China

eBook version - 2011ISBN 9781619870154Published by Profession Design Press Co., LtdCalifornia, United States of America

Distributed by Actrace, United States of AmericaWebsite: www.actrace.com, www.ArchitecturalBookstore.com

Copyright © 2011 Liaoning Science & Technology Publishing HouseLicense agreement: www.architecturalbookstore.com/auxpage_licenseUnauthorized copying prohibited.

作者：（美）朱莉 · 戴克

纸质书（精装）- 2011书号：9787538165593出版商：辽宁科学技术出版社中国辽宁省沈阳市

电子书-2011书号：9781619870154出版商：设计专业出版有限公司美国加州

经销商：Actrace公司，2011网址：www.actrace.com, www.ArchitecturalBookstore.com

版权所有：2011辽宁科学技术出版社版权协议：www.architecturalbookstore.com/auxpage_license严禁非法复制。

Wandering Ecologies

生态景观之旅

CONTENTSCharlES aNdErSON | aTElIEr PS, EdITOr Julie decker

aCKNOWlEdGMENTS

INTrOdUCTION | Jim Olson

INTrOdUCTION | rich haag

a PlaNTSMaN’S JOUrNEY | Charles anderson

ThE JOUrNEY BEGINS

The Visitor Center at Mount St. helens National Volcanic Monument

The arthur ross Terrace at the american Museum of Natural history

Satsop development Park

Trillium Projects

hill house

Beijing 2008 Olympics Competition

Kingdoms of discovery

Waterfront Place

Madison art house

Tables of Water

Gardens of the Olympic Sculpture Park

Whatcom Museum of history and art

denver art house

hanoi hotel and Convention Center

John E. Jaqua academic Center for Student athletes

Zhongkai Sheshan Villas (Shanghai Villas)

Chapel In the Woods

The anchorage Common

International Peace Gardens

lean linear City/Soleri

hangzhou CBd

Fraternal Twins

Inn at the Market Courtyard

South Coast Plaza

3031 Western avenue

CharlES aNdErSON, FaSla rESUME

PhOTOGraPh CrEdITS

2

3

4

6

8

21

22

30

38

44

60

68

70

72

74

90

100

116

122

132

136

146

150

152

164

172

180

184

188

192

198

202

204

目录

46

48

50

52

56

58

GardEN/Old GrOWTh FOrEST: Seward Park Native Plant Garden

MEadOW: Genesee Meadow

WETlaNd: Pritchard Beach Wetland Park

ShOrElINE: Colman Park

BOG: roxhill Bog

FOrEST: 500 area discovery Park

查尔斯·安德森与设计伙伴 / 编辑朱莉·戴克

致谢

简介一 / 吉姆·奥尔森

简介二 / 理查德·海格

景观建筑师之旅 / 查尔斯·安德森

启程

圣海伦斯火山纪念馆游客中心

美国自然历史博物馆亚瑟·罗斯平台

萨特索普开发园区

延龄草项目

花园／成熟森林：苏华德公园原生植物园

草甸：杰纳西草甸

湿地：普理查德海岸湿地公园

湖岸线：科尔曼公园

沼泽：洛克希尔沼泽

森林：500区发现公园

山坡住宅

2008年北京奥运会竞赛

发现王国

河畔大厦

麦迪逊艺术住宅

水桌庭园

奥林匹克雕塑公园

霍特科姆历史艺术博物馆

丹佛艺术住宅

河内酒店和会议中心

约翰·E·亚克学生运动员教学中心

仲恺佘山别墅（上海别墅）

林中教堂

安克里奇公共区

国际和平花园

线形都市/索列里

杭州 CBD

异卵双子住宅

市场庭院旅馆

南海岸广场

西大街3031号

查尔斯·安德森（美国景观设计师协会荣誉会员）个人履历

图片来源

landscape architecture | urbanismwww.charlesanderson-atelierps.com

Charles anderson | aTelIer Ps

edITor | Julie decker, Ph.d., is a project manager for Trailer art Center, director of the International Gallery of Contemporary art, and a frequent guest art curator at the anchorage Museum. she is also an instructor of art history for the University of alaska. she holds a doctorate in contemporary art history, a master’s degree in arts administration, and bachelor degrees in fine art and journalism. decker has authored numerous articles and publications on the art and architecture of alaska, including John hoover: art & life, Icebreakers: alaska’s Most Innovative artists, Found & assembled in alaska, Quonset: Metal living for a Modern age, Modern north: architecture on the Frozen edge and True north: Contemporary architecture of alaska. as an artist, she has participated in numerous solo and group exhibitions, working in painting, sculpture and photography.

朱莉是追踪者艺术中心的项目经理、国际现代艺术馆的总监和安克里奇博物

馆的特邀艺术馆长，也是阿拉斯加大学艺术史的讲师。她拥有现代艺术史博

士学位、艺术管理学硕士学位和美术与新闻学士学位。戴克编辑撰写了大量

冠以阿拉斯加艺术与建筑的文章和出版物，其中包括约翰·胡佛的《艺术与

生活》、碎冰者的《阿拉斯加创意艺术家》和《在阿拉斯加成立并装配》、

匡西特的《现代金属生活》、现代北方的《冰缘的建筑》和真实北方的《阿

拉斯加现代建筑》。作为一名艺术家，她参与了众多个人和团体展览，在绘

画、雕塑和摄影方面颇有建树。

景观建筑 | 城市规划网站 www.charlesanderson-atelierps.com

编辑 | 朱莉·戴克博士

查尔斯·安德森与设计伙伴

�

aCKnoWledGMenTs

To my Family: my wife of �� years and three children who put up with the chaotic but poetic approach to life and work. especially all the love, joy and laughter they always bring to each and every day. To my Mother and Father for giving me a shot at life and always being there to listen and encourage me even in my moving far away to Cambridge to attend graduate school. To my sisters who are an unending source of adventure while still living in my home state of north dakota. To my big brother who never thought that the best was really good enough until his much too early death in the spring of �008.

To the endless number of studio mates and colleagues over the years who have collaborated on amazing projects in challenging times. especially sheri olson, FaIa, for her guidance in “the story”, and to Julie decker, Ph.d., for taking on the role of editing and distilling this story into a cohesive journey. Julie’s artistic nature imbibes all that she chooses to do with an elegance and simplicity that is evident here.

Finally to the Great spirit, who gave me the eyes of an eagle, the strength of a Bear, the stamina of a Buffalo, and the the yearning of Vincent van Gogh.

感谢我的家庭：感谢陪伴我22年的妻子和我的3个孩子一直容忍着我混乱而又

具有诗意的生活和工作，尤其感谢他们每天所带给我的爱、喜悦与欢笑；感

谢我的父亲、母亲赋予了我生命，并且在我离家前往坎布里奇完成研究生课

程时给予的莫大鼓励与支持；感谢那些极具冒险精神，却始终居住在家乡北

达科他州的我的姐妹们；感谢我那还来不及思考什么是最好便于2008年春就

英年早逝的哥哥。

感谢这些年来与我合作打造非凡项目的工作室伙伴和同事。特别感谢雪

莉·奥尔森（美国建筑师协会会员）的指导和朱莉·戴克博士将故事编辑和

精炼得如此完美而形成了如今这本书。朱莉的艺术气质让她所作的事情充满

了优雅与简洁的氛围。

最后，感谢伟大的神灵，他赋予我鹰的眼睛、熊的力量、野牛的毅力和梵高

的渴望。

查尔斯·安德森

C h a r l e s a n d e r s o n

致谢

�

INTRODUCTION

Water feature at University of Oregon, John E. Jaqua Academic Center for Student Athletes

俄勒冈大学约翰·E·亚克学生运动员教学中心水景

简介一

�

不知为何，我一直很期待与查尔斯的合作。不仅是因为他极具才华，

所设计的景观为我们的建筑提供了完美的背景，还因为他的个性、好

奇心和对享受生活的态度也令人十分愉快。设计师的生活就像是对珍

贵爱好的冒险。虽然这是一项严肃的工作，但是我们经常将友谊和乐

趣融入工作之中。

和查尔斯一样，我崇尚合作，把建筑和景观设计看成一个和谐的整

体。在我的建筑设计中，室内外流畅的视觉衔接至关重要，景观是建

筑空间的延伸。查尔斯十分赞同这点，他将他的景观设计当作室内空

间（同时也是室外空间）的一部分来看待处理。

在目标一致、相互尊重的前提下，合作会进行得异常顺利。这也是我

和查尔斯的多次合作都大获成功的原因。

It’s hard to explain why, but I always look forward to working with Charles…I know he’s talented and his landscapes provide beautiful settings for our structures…but it’s more than that. It’s his personality, his curiosity, his enjoyment of life. Working as a designer is like living your whole life exploring a treasured hobby. It’s a serious life commitment, yet we often mix friendship and fun into our work process.

like Charles, I believe in collaboration and I see our disciplines, architecture and landscape architecture, as two parts of a harmonious whole – the environments we create. In my architecture, the indoor/outdoor visual flow is often a theme, making the landscape an extension of the architectural space. Charles appreciates that and looks at his landscapes as part of the indoor, as well as outdoor, experience.

Collaborations work best when goals are in sync and when there’s a lot of mutual respect. That explains why Charles and I find our collaborations to be so rewarding.

In our collaborations Charles always takes us beyond the project in two important directions. First, he makes us smile, whether it’s his buffalo shirt or some amazing story. second, he takes us on an exploration, often through those stories. Meanings go beyond the task at hand and take our efforts to another level. at the Whatcom Museum in Bellingham, Charles envisioned a “Garden of the ancients” where an old Ginkgo tree would befriend an existing sequoia tree – both were around when the dinosaurs roamed the earth. In a project in denver, Charles created a home for the neighborhood fox, complete with nearby bunny sculptures to keep him entertained.

Charles is fun. Charles is committed. Charles is tenacious. he stands up for what he thinks is right. Charles brings his curiosity and love of life to everything he does. The work he creates is far richer for it. his beautiful landscapes will give back that richness for generations to come.

—Jim olson, FaIaolson Kundig architects

在我们的合作中，除了项目工作之外，查尔斯为我们带来了两方面的

享受。其一，他能利用有趣的物件或精彩的故事让我们欢笑。其二，

他带领我们探索故事的内涵。这些活动的意义远超过手头的工作，让

我们的努力上升到一个新层次。在贝灵翰姆的霍特科姆博物馆项目

中，查尔斯设计了一个“远古花园”，在里面种植了古老的银杏树和

原有的红杉树，重塑了恐龙时代的环境。在丹佛的一个项目中，查尔

斯不仅为附近的狐狸建了一个窝，还在旁边设计了一些兔子造型的雕

塑供它娱乐。

查尔斯风趣，坚定，强韧。他勇于维护自己的想法。他做任何事情都

会运用自己的好奇心和对生活的热爱。他所设计的项目丰富多彩。他

漂亮的景观设计将会造福后代。

——吉姆·奥尔森，美国建筑协会会员

奥尔森·康迪格建筑事务所

�

奥林匹克雕塑公园花园中的“觉醒”雕塑（2004年，理查德·塞纳作品）

Wake 2004, Richard Serra at The Gardens of the Olympic Sculpture Park

INTRODUCTION 简介二

�

Chuck anderson came to work with me in the last of the 1980’s, after his persistent professional pursuit. after a month or so, the name Chuck was increasingly inappropriate and I proposed that he become Charles. That stuck and that’s who he’s been ever since. In the office he wasn’t afraid to pester me, in fact I once told him he was like a mosquito; he’s on one side, you swat at him and he just moves to the other side. a tenacious fellow indeed, with quixotic praise, he is one maven maverick!

For months Charles bugged me to get him a computer - for some reason he was drawn to that technology. after Charles left to open his own office, we lost touch for nearly a decade. Charles had established his reputation when I invited him (and his laptop) to collaborate on the �008 Beijing olympics competition. We were teamed with XWho, a Chinese design company. In Beijing, Charles and I were a little factory of drawings and ideas that made our hosts laugh often. We placed second, but opened up a trialogue that is even more rewarding.

his work is a lot about plants and sculpting the earth. he is a champion for the profession of landscape architecture and shares my view of its importance. In a time where landscape architects are joining other design offices,

usually architects or engineers, I cannot foresee a time when Charles will let go of the challis of our profession's individuality - I cannot see him give up on mother earth as the center of his perceived universe.

T h e re a d e r s h o u l d n o t e t h a t C h a r l e s a n d e r s o n’s insectivorciferous powers are unabated. he solicited a few words on “approach to design” or a “world view of landscape architecture.” so here is a credo written when Charles worked with me:

The Cosmos is an experiment The Universe is a park The earh is a pleasure ground nature is the theater The landscape is our stage let us write the script direct the play and embrace the audience with compassion and joy for lIFe

—rich haag, Faslarichard haag associates

查尔斯·安德森在20世纪80年代末和我工作时叫查克·安德森，后

来由于查克这个名字不太正式，在我的建议下，他改成了查尔斯。在

办公室里，他总是不厌其烦地向我请教。他喜欢刨根问底，极具狂想

精神，是个喜欢独树一帜的人。

查尔斯热爱计算机技术，并向我申请了一台计算机。在查尔斯开始

自立门户以后，我们曾有10年没有联系。当我邀请他一起参加2008

年北京奥运场馆竞赛时，他已经极具声望。我们和一家中国设计公司

XWHO共同合作。在北京，查尔斯和我所做的绘画和设计的理念让人

笑口常开。虽然我们只获得了第二名，但是与主办方进行了更具价值

的三方会谈。

查尔斯的工作以园艺和地面塑造为主，他是景观建筑类别的冠军。有

一段时间，景观设计师们纷纷转行加入其他的设计工作室，做建筑师

或者工程师。我却坚信查尔斯一定不会放弃我们的专业，因为这是他

工作的原点。

读者们需要注意，查尔斯·安德森的力量是永不衰退的。他请我总结

一些“设计的方法”或“景观建筑的世界观”。以下是查尔斯和我一

起工作时的信条：

宇宙是一块试验田，

世界是一个公园，

地球是一个游乐场，

自然是剧院，

景观设计是我们的舞台，

为了生命，

让我们写下剧本，

导演戏剧，

热情洋溢地拥抱观众。

——理查德·海格，美国景观设计协会会员

理查德·海格事务所

�

8

a few days before Christmas 2007, I found myself 35,000 feet in the air, en route to North dakota, my birthplace; not for the holidays, but for a new project at the International Peace Garden. after several decades of work around the world, my fiftieth year brought me full circle. The project is ironic; much of my career has been anything but peaceful.

The first 20 years of this plantsman’s journey centered in Jamestown, North dakota, in a valley surrounded by prairie and farmlands. as a teenager I earned money by working the landscape; sometimes as a farm hand, but mostly mowing grass, laying prairie sod and doing earthwork. In 1978, at the age of 21, I completed my first public landscape design for the Jamestown holiday Inn, part of a government initiative for urban renewal.

I had been trained at the North dakota State School of Forestry in Bottineau, where I learned to corral my restless energy, hone my graphic talent and develop a penchant for shaping the landscape. I had other priorities, too - my motorcycle and car were two of them. While I didn’t see words like others do because of dyslexia, I did have an uncanny ability to remember the latin names of plants.

later, at North dakota State University in Fargo, I met my first landscape architect, Professor ron Zuber, who became the most important person in my developing career. Without his influence, I’m sure I would have stayed with horticulture rather than being drawn into the metaphysics of design. Zuber also prodded me to read Pirsig’s Zen and the art of Motorcycle Maintenance. I learned about “quality” and began my endless pursuit of my personal version of Pirsig’s Phaedrus. Unlike Pirsig’s, a ghost of his former life, Phaedra is an energy that leads me through my career, beckoning me to follow and pass through each threshold to a new and untested place. Similarly, Zuber suggested that as you move from place to place, you must recognize that in each new place you will see what you want to see. “Keep going my friend, keep going,” he said.

“We take a handful of sand from the endless landscape of awareness around us and call that handful of sand the world.”

—Zen and the art of Motorcycle Maintenance by alan Pirsig

a Plantsman's JourneyBy Charles anderson, FaSla

2007年圣诞之后，我乘飞机前往我的出生地——北达科他州，不是

为了度假，而是为了进行国际和平花园的一个新项目。在数十年的

环球工作，15年后，我又回到了原点。这个项目与我的工作恰好相

反，我的工作从不平静。

我的旅程的前20年以詹姆斯敦为中心。早在我十几岁的时候，便开始

依靠园艺工作赚钱，有时是农场帮工，有时是收割牧草。1978年，

21岁的我完成了第一个公共景观设计作品——詹姆斯敦假日旅馆的景

观设计。

在北达科他州林业学校，我学会了控制自己的精力，精炼自己的绘画

才能和塑造景观。此外，我还爱好摩托车和汽车。虽然没有难语症，

但是我实在记不住植物的拉丁名。

在北达科他州立大学，我遇到了我的第一位景观设计师——罗恩·祖

伯教授，他是我职业生涯中的重要人物。如果不是他，我一定会坚持

园艺学，而不是景观设计学。祖伯还推荐我去看了皮尔西格的《禅与

摩托车维修艺术》。我从中学会了品质的概念，并且开始了自己的皮

尔西格之旅。祖伯教育我，穿梭于各地之间，我们必须清楚地知道在

这个新地点你想看到什么。他总是说：“别停，一直往前走。”

9

I kept going, arriving in Pullman, Washington to further my studies in late spring 1978. Pullman was a city of high-rise dormitory buildings set in wheat fields and surrounded by mountains. To me, the Palouse region of Washington resembled a North dakota farm and prairie landscape on steroids. architecture became a focus for my studies at Washington State University. I met other sage professors there; Professor richard rosine was one, although he didn’t take me under his wing. Instead, he watched and said a fewprecious things at critical times.

My first year was nearly cut short by the eruption of Mount St. helens on May 18, 1980. Walking through the inch of ash that settled within a several hundred-mile radius of the volcano, I could not have dreamed that I would someday be the lead design for the newly-formed Mount St. helens National Volcanic Monument, or that it would earn me my second national design award.

My second year in Pullman introduced me to Fritz Steiner, who mandated a respect for nature and a collaborative design process that included the sciences. Professor Ken Brooks pushed me in the area of planting design and taught me the importance of good landscape structure. I developed my own styles of rendering from his classes; using magic markers that made the flat paper three-dimensional. I learned about leCorbusier and became fascinated with the simplicity, boldness, and mystic proportions of his work, and his ability to link art, architecture and landscape.

In 1981 the country was in the grip of a recession, but I was able to get a job offer from Moriece & Gary landscape architects in Cambridge. I immersed myself in the cultural richness of New England and took advantage of art museums, concerts and lectures. I also bounced around, working for several landscape architecture firms like a mercenary, including the offices of Bill Pressley and Pat loheed. I moved east to attend graduate school and decided this was the time

我一直向前开拓自己的事业，1978年春，普尔曼成为我继续搞研究

的地方。普尔曼市四周环山，周边有大片的麦田，市中心有许多高层

公寓楼。对我来说，华盛顿州的帕罗斯地区拥有与北达科他州相似的

农场和牧场景观。在华盛顿州立大学，我主修建筑。在那儿，我遇到

了另一位导师——理查德·罗塞因教授。他并没有对我过于保护，而

是在关键时刻给我合适的建议。

1980年5月18日，由于圣海伦斯山的喷发，我第一年的教学计划因此

缩短了。漫步在厚厚的火山灰中，我从没想到日后我会成为圣海伦斯

山国家火山纪念馆的领衔设计师，更没想到这会为我带来一个国家设

计大奖。

在普尔曼的第二年，我认识了弗里斯·斯坦纳。他非常尊重自然，并

崇尚合作式的、科学的设计流程。然而，肯·布鲁克斯教授带领我进

入了园艺设计的领域，并且让我认识到一个优秀的景观设计所具有的

重要性。在他的课堂上，我开创了自己的效果图风格，用魔法标记笔

在平面上绘制3D图案。我了解了柯布西耶，并且为他简单、大胆、

神秘的设计深深吸引。

1981年，美国陷入了经济大萧条，但是我成功地在坎布里奇的莫里

斯和格雷景观建筑事务所找到了一份工作。我沉醉于新英格兰丰富的

文化内涵，并且充分汲取了来自艺术馆、音乐会和讲座的营养。我就

像个雇佣兵一样，在不同的景观建筑事务所里工作。后来，我决定到

景观建筑师之旅查尔斯·安德森

“我们从自身周围意识里无尽的景观中捧起了一捧沙，这捧沙便是世界。”

——《禅与摩托车维修艺术》，艾伦·皮尔西格

10

WaNdErING ECOlOGIES

to apply. harvard waitlisted me for the landscape architecture program, but Penn offered me a chance to study under Ian Mcharg and learn directly from him about designing with nature. I caught a glimpse of Phaedra’s ankle, this time a portal opened to Philadelphia. I left Boston looking over my shoulder, sensing there was unfinished business and suspecting I would return. My semester at Penn was spectacular because of the classes that I took in architecture and Mcharg’s studio. In one seminar I heard Buckminster Fuller, Edmund Bacon, Mcharg and numerous other philosophers, writers and poets. One class introduced me to the idea of using native plants and, in hindsight; it was this course that played the largest role in determining a very central focus of my career. Professors from andropogon associates, a Philadelphia landscape architecture firm, helped me understand that planting design that is in tune with natural systems is pivotal to all meaningful and contextual landscapes.

at mid-semester I found out that harvard accepted me into their program for the following fall and I decided to go. When I informed Mcharg, he told me I would regret going to harvard despite it being his alma mater. I didn’t know it then, but his words were prophetic, to be realized twenty years later.

I spent the summer before starting harvard at home in North dakota, working with my father and for Galpin associates, a small landscape architecture office in Bismarck. In my conversations with my father we discussed the merits and cost of graduate school versus getting to work. It made sense to settle down, but there again was the ankle of Phaedra, this time a more familiar portal back to Boston and a new set of challenges. The decision was complicated when my father suffered a heart attack that summer. But I had to go on with this journey.

My time at harvard was remarkable. I immersed myself in design, taking classes in stage sets, art and architecture. I learned from Jerzy Soltan, an architect who worked closely with leCorbusier, and Peter Walker, who taught me to design from a strong position and to defend it with clarity and purpose. From him I also learned the value of the parti and the importance of the pursuit the “one liner,” although there could be any number of them in a design. his design approach to studio was from the view of a modernist, a minimalist, and an artist. I took a very memorable joint

南部求学。由于宾夕法尼亚大学为我提供了在伊恩·麦克哈格手下进

行研究的机会，我毅然前往宾夕法尼亚。

我在宾夕法尼亚大学的日程非常紧凑，因为我既选修了建筑学又要在

麦克哈格的工作室里工作。有一个学期，我听说了布克敏斯特·伏

勒、爱得蒙·巴肯、麦克哈格和一些其他的哲学家、作家及诗人。我

在课上了解了利用本地植物进行景观设计的观点，这堂课在我日后的

事业中起到了关键作用。须芒草景观设计事务所的教授们帮助我进一

步了解了园艺设计的精髓。

学期中，我得知哈佛大学已经接受了我的入学申请，并准许我秋季前

往哈佛进行进一步的项目研究。当我告诉麦克哈格这个消息时，他认

为我会对这个决定后悔的。而且20年后，事实证明，麦克哈格劝我的

话是正确的。

在哈佛开学之前，我回到了老家，与父亲一起为加尔宾景观事务所工

作。其间，我与父亲讨论了继续研究生学业与直接工作的利弊。最

终，我毅然决定前往波士顿继续自己的学业，面临全新的挑战。

在哈佛的那些日子令我十分难忘。我完全沉浸在设计之中，场景布

置、艺术与建筑课程，这些都是我所喜好及学习的范围。建筑师杰

西·索尔坦教会了我以强势的位置来进行简明、有目的的设计。我从

他那儿还学到了部分的价值和单线设计的重要性。他的设计现代、简

生态景观之旅

11

studio with Frank Gehry, Claes Oldenburg, and Martha Schwartz. But the professor that influenced me the most was Cherie Kluesing, who brought artists and landscape architects together in small gatherings for presentations and discussions. Through her I met richard haag, who spoke about mother earth with a passion that I had heard from no one else. I also met James Turrell and went to work for him on a light and dance installation called “Severe Clear”, in a landmark athletic building at radcliff. By inviting so many artists to share perspectives, Kluesing demystified the artists and made them approachable. It was liberating to learn that they, too, were driven by their own pursuits of Phaedra.

Graduation day came. I longed for the west, for a place free from so many rules, from so much tradition. I caught sight of Phaedra again, this time her ankle just passing through a portal to work with James Turrell on his roden Crater project in arizona, where I arrived in the summer of 1985. I reported to work at Turrell’s studio in Flagstaff and early the next day we headed out in four-wheel-drives and trucks on a fifteen-mile journey to the crater where Turrell was developing Skystones, the reshaping of an extinct volcanic cinder cone into an astronomical observatory. I didn’t realize until after I arrived that I would not be paid for my labor so after one glorious night at the crater I left to find a paying job. I spent the next two years in Tucson, purging east coast pretensions from my veins. I soon saw limitations for designers in this conservative community but it was there I met my soul mate and wife, Nancy. Together we traveled to Boston where I returned to Moriece & Gary’s office. after only two months, I realized I couldn’t conform to life back East. On a sun-starved February day in 1987, Nancy and I arrived in Seattle to see if the Northwest would be a match.

after the scorching sun and colors of the desert, Seattle’s cold moisture soaked deep into our bones and our psyche. how could there be so much green and so little light? I began work in a small landscape architecture office for Tom rengstorf. We worked on multifamily residential communities, with landscapes that often had themes, in places designed to offer a lifestyle with resort-like amenities, often in environmentally sensitive sites. Nancy accepted a position with an airline and for ten years we took every opportunity we could afford to travel abroad, seeing new places, looking for new ways to solve traditional landscape issues and confirming the existence of universal design truths. I learned one thing, although slowly: I didn’t have to cross the country to pursue variety. From its position on

单、艺术。对我影响最深的教授是切丽·克鲁森，她将艺术家和景观

设计师聚集在一起进行讨论和展示。通过她，我认识了极度热爱家乡

的理查德·海格。我结识了詹姆斯·特瑞尔，并参与了他在拉德克利

夫运动楼所设计的灯光舞蹈装置。克鲁森教授揭开了艺术家神秘的面

纱，使他们不再遥不可及。我认识到了他们也在不断漂泊和追求。

毕业后，我渴望前往西部，那里自由而不受拘束。1985年夏，我前

往亚利桑那州参与詹姆斯·特瑞尔的罗登火山口项目——天空之骨，

将一个死火山灰堆改造成一座天文馆。由于这份工作没有薪水，我最

终离开了。而后的两年我一直在图森工作，呼吸东海岸的新鲜空气。

我在那里遇到了我的妻子南希，但我很快认识到了这个保守的地区不

适合设计师发展。于是，我们还是回到了波士顿，我继续为莫里斯和

格雷景观建筑事务所工作。两个月后，我发现自己无法适应东部的生

活，于是我们辗转到了西北部的西雅图。

西雅图的冬天阴冷而潮湿，极少有阳光。我开始为汤姆·任格斯多夫

的小景观建筑事务所工作。我们在多户式住宅小区里进行工作，设计

具有主题的景观，打造度假村一样的生活方式。南希在航空公司找到

了一份工作。我们在这十年间一直进行海外旅行，到过很多地方，

寻找到了许多解决传统景观问题的新方法，也进一步肯定了现有的设

计法则。我逐渐认识到，不用穿梭于各个国家就能体会到设计的多样

性，在西雅图就有许多去异国工作的机会，特别是环太平洋地区。

12

the Pacific rim, Seattle provided opportunities to work in faraway places with exotic challenges. This time Phaedra morphed into multiple portals to places throughout the U.S. and asia.

With a new position at EdaW, Inc, I entered the design challenge for the national volcanic monument at Mount St. helens, one of the first high-profile design opportunities I had an opportunity to lead. Mt. St. helens is one of the most sinister and yet beautiful places on the planet. In spite of the great work at EdaW, I decided to join rich haag, to learn from a master plantsman. I was a confident designer but I still saw plants as embellishment of architecture. Working with rich, I began to look closely at the character of each plant and saw the way a collection of a single species influences the characteristics and behaviors of a single plant. he grew his favorite trees in his own nursery and his trees have a unique character, as do his designs. haag advocates “non-striving,” letting the spirit of design take you where it must, to allow the essence of an idea to emerge. I left his office much earlier than I should have, mainly because he refused to get me a computer; he wanted me to draw. We parted ways on difficult terms but our paths would cross again.

I briefly returned to arizona to work with Gage davis, an architect with legendary site sensibilities. The projects were primarily theme-based resort design, but he left me with an idea that became a foundation for my future work as a plantsman. It came out of the time Gage and I would sit together on Saturday mornings and I would draw while he would comment on my work, sometimes pointing out a fatal flaw in the design. Once, he said I needed a tree - not just any tree but the tree. “One like the great olive trees in Italy,” he’d say. “One that would completely dominate its place and bring order to the design.” Every person needs a mentor and every garden needs the tree.

Phaedra soon teased me back to the Northwest, this time to start my own office. anderson ray Brown opened for business in august of 1994. Stephen ray, a master detailer and construction documents person, and Walt Brown, a computer wizard, joined me for this enterprise. Some of our first projects were ones that followed me from Gage davis’s office, but we also had one of Seattle’s philanthropists, anne lennartz, as a client. Fascinated by industrial landscapes, I learned about plans to demolish the defunct Satsop Nuclear Power Plant in Western Washington and return the land to

在EDAW公司，我领衔设计了国家火山岩纪念馆，这是我平生的第一

个大型设计。随后，我加入了理查德·海格事务所，并向海格学习园

艺。与理查德一起工作那段时间，我认识到了绿色植物在景观设计中

的重要性，因为每一种植物都有其独特的个性和特点，在景观设计中

起着不可忽视及点缀的作用。海格倡导“无抗争”设计，倡导让设计

的精神引领设计师。我离开了他的事务所比我预期中还要早一些，最

主要的原因是他坚持手绘图，不愿意让我使用电脑。虽然暂时道别，

但我们的设计路程将会再一次交汇。

我回到亚利桑那州与盖吉·戴维斯一起工作，我们共同设计了许多主

题度假村。他留给我在我未来设计路上一个重要的基础理论。而这个

理论是在盖吉和我在周六的午后一起工作时，我绘图、他评论时提出

的，他说：“设计中都需要一个树（不是任何一种或任何一棵树）而

是‘那一种树’主导着空间，带领着设计的序列”。正如每个人都需

要一个导师一样，每个花园都需要树木。

后来，我又回到了西北部，于1994年8月开创了自己的事务所——安

德森·雷·布朗事务所。细部图设计师斯蒂芬·雷和计算机天才怀

特·布朗和我一起创办了公司。出于对工业景观的喜爱，我研究了萨

特索普核发电厂被改造成森林的项目。我亲自前往发电厂进行了调

研，设计了保留冷却塔的理念。后来，我们受萨特索普开发园区之

邀，参加了设计工程。高塔和森林、天空所形成的美丽而壮观的对比

令人永生难忘。

WaNdErING ECOlOGIES 生态景观之旅

13

forests. I arranged a visit to the power plant and drew up plans to keep the cooling towers and create a larger version of Seattle’s Gasworks Park. We became part of the design team charged with the creation of a Satsop development Park. The sublime beauty of the enormous towers juxtaposed against the adjacent forest and sky is unforgettable.

anderson & ray (Walt Brown left in 1995) grew to a staff of seven and we were quickly establishing ourselves with native plants projects. at the time we called this genre of work urban ecology, but today it may be more like landscape urbanism. The foundation for this began with my experience in arizona, where the use of native plants was mandated and becoming mainstream. There, the rigors of an arid landscape led to a systems approach to design often headed by civil engineers. It was reinforced at EdaW on the Mount St. helens project where indigenous - but not always native - plants for restoration had to come from within the monument boundaries.

all of this gelled on the day that I met anne lennartz. She announced that she wanted to work with someone who understood the importance of using native plants in the city and who could create drainage systems and landforms that could support a diverse plant, wildlife and human habitat. anne was from Iowa, but she reminded me of someone from New England. She was often seen with books in her arms and peered out over her reading glasses with a stare that made you feel like an explanation was in order. I became her designer of choice for several significant parks and “leftover” urban open spaces within Seattle, which would eventually be the first urban ecological restoration projects to win an american Society of landscape architects (aSla) National design award in 2004. anne was a loyal client and a dear friend who had an enormous impact on the direction and emphasis of my career.

In 1997, Stephen ray and I began talking to landscape artist Kathryn Gustafson about joining us. Kathryn had recently returned to the Northwest after twenty years of working in Europe, most of those years spent in France. She had no U.S. office and we began to work together on projects. One day she told us that she had been asked to participate in a paid competition for the one-acre roof garden called The arthur ross Terrace, on top of a new parking garage at the american Museum of Natural history in New York. We won with a design based on the constellations. Simultaneously, we began work on the South Coast Plaza in Costa Mesa,

安德森和雷事务所（怀特·布朗于1995年离开）从一名员工发展到

了七名员工，我们承接了大量的本地植物景观项目。当时我们称之为

城市生态研究，现在我们则称之为景观都市主义。这些设计的基础来

自于我在亚利桑那州的经验，本地植物的运用成为了设计的主流。干

旱地区的景观设计中需要融入许多城市工程师的工作。这在EDAW公

司的圣海伦斯山项目中得到了体现。

当遇到安妮·莉娜兹之后，一切变得异常顺利。她需要一个懂得本地

植物，并且能够打造适合植物、野生动物、人类共存的水渠系统和景

观地貌的设计师。安妮来自爱荷华州，但是却拥有明显的新英格兰气

质。印象中，她总是拿着一摞书，透过眼镜可以看到她让人安定的目

光。我为她在西雅图设计了几座大型公园和城市露天空地，并以此获

得了2004年美国景观设计协会的城市生态修复项目奖。安妮既是一

名忠实的委托人，又是一位亲密的朋友，她在我的事业上起到了至关

重要的作用。

1997年，斯蒂芬·雷和我邀请到了景观艺术家凯瑟琳·古斯塔夫森

加入我们的事务所，与我们共同设计景观项目。并且，我们共同参加

了一个名为“亚瑟·罗斯平台”的竞赛，该竞赛旨在为美国国家历史

博物馆的新停车场的屋顶设计一个屋顶花园。我们凭借着一个有关星

座的设计理念获得了这次竞赛的优胜。与此同时，我们开始了位于加

利福尼亚州科斯塔梅萨的南海岸的广场项目。凯瑟琳是主设计师，而

安德森和雷事务所承担景观设计的工作。我在项目中主要监管项目的

卫生、安全、福利事宜和施工的进程。实际上，这并不像一个合作设

计项目，我开始抵抗这种失去自我的方式。这个困难却也令人兴奋的

广场项目是我们最后一次合作。而生活总会在这样的时刻开始一番新

的景象。

14

California. Kathryn was hired as lead designer and anderson & ray as landscape architect of record, providing complete services through construction administration. I monitored the work as it progressed, mainly looking for health, safety and welfare issues and constructability. This was much less of a design collaboration than the other projects and plans to form a joined studio fell away. I was resistant to losing my identity to Kathryn; the difficult but exciting plaza project was the last we would do together. But life was coming together in other ways. Nancy and I were joined by luna, a labrador retriever, and three daughters, first-born Natalie and twins Isabel and Kira. The role of designer took on a new dimension with a family. I reconnected with the child in me through them.

On a gray day in the early winter of 2000, the principals at EdaW asked anderson & ray to merge with their company. I began a new position with an old partner. Work was exciting, with a design phase for the new Stapleton Central Park Project in denver and numerous projects in Northern California. The association lasted eight months, but soon I saw Phaedra and left to form my own new design studio. This time it would be Charles anderson landscape architecture (Cala); no partners, no co-conspirators and no confusion. The studio officially began on the day before the falling of the World Trade Center Towers, an ominous beginning.

The studio would forge a balance between ecology and “big idea” design. We merged disciplined minimalist design principles with the poetry and complexity of life in all its forms. landscape urbanism was evolving, too, but it seemed little more than a rebirth of post-modernism packaged in beautiful impressionistic graphics and too many new words. I preferred the term “urban ecology,” an all-inclusive term for systems that includes every aspect of urban living.

In the fall of 2001 we joined the design team for the Seattle art Museum’s (SaM) new Olympic Sculpture Park. a few years earlier, I prepared plans for an interim landscape for the museum’s recently purchased waterfront site. Weiss/Manfredi architects, a New York-based firm, won the international competition to design the park. They proposed a reverse Z-shaped path to link the pieces of the site bisected by a road and railroad tracks. It was a great concept, but I saw the potential to add layers and depth. as landscape architect on the project, Cala graded the different precincts of the park, proposed an amphitheatre and a protective cove, provided the archetypal “mountain to sound” landscape metaphor, and selected the plants.

2000年初冬的一个阴天，EDAW公司将安德森和雷事务所合并，我

又开始为我的老搭档工作了。这期间，我参与设计了丹佛的斯塔布雷

顿中心公园和一些北加利福尼亚州的项目。合作持续了八个月，随

后，我开创了自己的新工作室。新工作室被命名为查尔斯·安德森景

观建筑事务所（CALA），没有合伙人，没有共创者，也没有干扰和

困扰。工作室与世贸中心双子塔遭袭击的前一天开业。

工作室在生态与设计理念之间寻求一种平衡。我们在极简主义设计原

则中添加了诗意和生活的复杂性。景观都市主义在不断进化，但是却

好像是包裹在印象派图案中的后现代主义一样。我更喜欢城市生态学

这个词，它包罗了城市生活的全部元素。

2001年秋，我们参与了西雅图美术馆新奥林匹克雕塑公园的设计。

纽约的维斯/曼弗莱迪建筑事务所获得了这次国际竞赛的优胜，他们

设计了一个倒Z字形通道来连接各个地点。这个理念十分优秀，但是

我看到了其改进的可能。作为项目景观设计师，查尔斯·安德森景观

建筑事务所为公园设计了不同的层次，增加了一个露天剧场和一个防

护罩，还添加了一些精选的树木。

项目完成后，维斯/曼弗莱迪获得了项目的设计版权，查尔斯·安德

森景观建筑事务所则获得了一个公园设计奖项。由于没有获得应有的

设计版权，我开始考虑离开西雅图，前往纳帕的分工作室工作。但


15

after design development and presentations were completed, a contract clause gave Weiss/Manfredi sole design credit for the project. Cala won a design award for the Park but Weiss/Manfredi did, too - an award from harvard that did not identify the project design as collaborative. Frustrated with the lack of proper credit, I considered leaving Seattle and moving to my satellite Napa office. I didn’t see Phaedra anywhere. There were financial struggles in the office, in part prompted by my stubbornness in the fight for public credit for our role on the Park. I just couldn’t accept a lesser role. In my mind, I was thinking that I was defending the importance of landscape architecture in visual terms, as an art form, to the public and future clients.

In 2002, richard haag asked me to join him Xia of XWhO design in the 2008 Olympics design Competition in Beijing. This was an important development in my career; I was thrilled by an opportunity to work with richard again and to visit China. I again looked to my mentor for guidance. haag led by example and with not too much advice. We ate great food and worked feverishly on our competition entry. We did not win, but I found myself in the good graces of a maverick.With a few public and painful exceptions, the vast majority of projects in the Cala office were successful collaborations with well-known architects. Jim Olson (of Olson Kundig architects) collaborated with us on over a dozen projects over eight years. he sees the landscape the way I see architecture: as inseparable from the other. On our Tables of Water project, a prominent residence, I learned from Olson how the exterior of the building should grow into the house and the reverse; not just borrowed scenery but integrated elements. he had a mild but disciplined approach that any good Scandinavian could understand, with an eye to art and a love of the landscape.

Often the collaborations are intuitive, as it was in 2003 when I worked with British architect david Chipperfield on the expansion of the anchorage Museum in alaska. Before the design process had begun I was asked what I would do with the two-acre open space in front of the new museum. Thinking of the forest surrounding anchorage, I told Chipperfield I would grab a bunch of trees and fling them in front of his building. he immediately loved the idea, glad that I was not proposing another element-filled american-style park. Instead, birch trees became architecture for defining “rooms,” just like the new fritted silver-white glass of the Chipperfield’s facade framed the building. his pragmatism met mine.

是，在争取设计版权的过程中，我们出现了资金紧张的问题。我并不

感觉遗憾，因为在我的意识里，这次斗争在于为景观建筑争取应得的

权益。

2002年，理查德·海格邀请我加入XWHO设计公司团队，并参与

2008年北京奥运会设计竞赛。这是我事业的转折点，与理查德一起

工作和去中国让我十分兴奋，我又得到了导师的指导。我们在北京度

过了愉快而忙碌的时光。虽然没有获得优胜，但我重新找回了自我。

之后，查尔斯·安德森景观建筑事务所与一些知名建筑师成功进行了

多个项目的合作。8年中，吉姆·奥尔森（奥尔森·康迪格建筑事务

所）与我们合作了数十个项目。他与我有相同的观点：景观与建筑不

可分割。在住宅项目——水桌庭园的设计中，我从奥尔森那里学习到

了如何将建筑的外围空间融入住宅内部。他的设计方法温和却不失原

则，并且对艺术和景观设计有自己独特的见解。

2003年，我与英国建筑师戴维·齐普菲尔德合作了安克里奇博物馆

扩建项目。在研究了安克里奇的周边环境之后，我决定在建筑的四

周种满树木，齐普菲尔德对这个设计十分满意。与普通的美式公园不

同，桦树形成了建筑的围墙，定义了博物馆的空间。

16

Carlos Zapata makes sculpture with his buildings. he approaches design with great bravado and appreciates the power of landscape as an integral part of architecture. In hanoi, he proposed a glass building on a lake, conceived as an ascending dragon-a faceted glass building where our landscape metaphor completed the story. here, our landscape becomes the progeny of the dragon, versed in a creation myth of the Vietnamese people. Cala also collaborated with Zapata on a waterfront project in reno, Nevada, where he was proposing an elegant high-rise condominium development. Unfortunately, the development was adjacent to an unattractive parking garage. Zapata proposed to cover the 200-foot-high blight with landscape. The solution wars an eighteen-story tree wall, made up of a series of trays and native trees, a beautiful pairing of architecture and landscape.

The collaboration with Tadao ando was unusual. We still have never met. he proposed an idea in email and I responded. he reacted to my thoughts, and then we agreed. It was unorthodox, but it worked. Maybe it is our shared love of leCorbusier that allowed me to understand where he was going with his design for a small memorial chapel in Seattle.

When in 2007 Phaedra beckoned me to the International Peace Garden, I was reminded of my first visit to the site when I was eight years old. The Garden is centered on the 49th parallel on the border between Canada and the US. It is in the Turtle Mountains, an anomaly on North dakota’s otherwise vast prairie, and is matched in size only by Washington dC’s mall and the great gardens of Versailles. The first major renovation since it was built in 1932 included the reconstruction of the sunken garden, a new interpretive center, a lodge and an international center for peace. This journey returned me to my homeland, to a place where my career began, as a designer of landscapes and a budding plantsman. My work is based on the ecological principles that belie the profession of landscape architecture, both the visceral and the actual. richard haag will be 86 years old soon. Maybe I will have three or four more decades to hone my craft as well. Maybe Phaedra will always lead me somewhere; I cannot say.

The phone did ring again recently with a new opportunity, this time towards Portland. Nike has an unbelievable project, which became a glass box in a glass box set on a plinth of black water, adjacent to a wedge of pure white birches. here it just makes sense to pattern the living parts of landscape like nature… fragile, f lexible, inspirational, and essential.

卡洛斯·萨帕塔的建筑极具雕塑特点，他的设计大胆，把景观看做建

筑的重要组成部分。在河内，他在湖上设计了一座玻璃建筑，宛如

跃起的龙。我们的景观设计则像龙的子孙一样，点缀在四周。查尔

斯·安德森景观建筑事务所还与萨帕塔合作设计了里诺的一个滨水高

层公寓楼。我在项目周围设计了树木围墙，种植了许多本地树木，使

建筑和景观完美地结合在一起。

与安藤忠雄的合作十分特别。我们未曾见面，只是通过电子邮件联

系。整个过程突破了传统，却异常顺利，或许是我们对柯布西耶的共

同喜爱让我们能够相互理解，使得西雅图的纪念教堂获得了成功。

2007年，我设计了国际和平花园，它位于美国与加拿大边界的龟山

上，仅有华盛顿DC纪念广场、或凡尔赛宫的花园那般大小。花园的

翻新工程包括重建下沉花园，新建解说中心、门房和国际和平中心。

这个项目将我带回了家乡及事业的起点。我的景观设计始终以生态为

原则。在今后的三四十年，也许我还会到处旅行，继续完成各种各样

的设计。

我的新工作在波特兰。耐克公司的新项目是建在废水上的一个双层玻

璃盒子，紧邻一片白桦树林，正适合将景观设计得更为自然、灵活、


17

There are always new projects that find their way into the studio. They come because of our commitment to a rich and living landscape, one positioned between the soil that nourishes and the fertility of our imaginations. My travels to asia have opened my eyes to balance, not just in composition. The yin-yang I seek is one of contrasting elements or of complementary energy. Great art or architecture will not be great without an equally great setting; the reverse is not always true. This makes landscape the most important element of urban design.

This century will see a paradigm shift in the way in which landscape is viewed, much like one that the hopi referred to as Kuwanlelenta-to make beautiful surroundings. Kuwanlelenta does not subscribe to the “en vogue” aspect of design, but, instead, acceptance of natural systems. Balance comes to an urban landscape when intensive high resource elements have a counterpoint as a filter for pollutants or storing carbon. a lawn area will be restricted to places that need turf and the other elements of the landscape mitigate those impacts, as meadows or planted places. artistic expression always has a place in this landscape idiom. The most beautiful landscapes are those that espouse all forms of life from the birds, bugs, bunnies and surprises that reaffirm our connection to our simple yet complex biosphere. robert Smithson created in Spiral Jetty a masterpiece of art and nature. rooted as a conceptual design that is turned loose to the processes of nature, it has parallels to how the 21st-century landscape must be: a strong and beautiful composition that is allowed to evolve with the least effort and cost to our planet’s nonrenewable resources, adding to a positive regeneration.

Maybe the Olympic Sculpture Park is a first timid step in this direction. The salvaging of old growth topsoil and use of native plants are steps in the right direction. Perhaps the stakeholders will see dying plants as a threat, a hazard and failure rather than as an opportunity provided by the beauty of the cycles of a dynamic living and dying landscape. I am drawn to the balance of these meadows, to the adjacent turf, to the wildlife that resides in urban habitat. Balance is achieved through education that allows for an ideal that is not idealized but is ideal for a sustainable existence.

This is a plantsman’s journey toward acceptance of a living landscape, toward seizing the opportunity for balance. I imagine that one day our cities will again be graced with the native wildlife rather than the pigeons, rats and feral pets we accept as urban wildlife today.

富有灵感。亚洲之行让我的眼界更加开阔，我学习了平衡设计，并在

项目中寻求一种阴阳的对比及和谐统一的效果。我相信，伟大的艺术

和建筑如果没有伟大的背景便不会成功，反之则不然。因此，景观设

计才是城市设计中的重要元素。

这个世纪对于景观的看法将会产生模式转移。城市景观越来越重视废

物的处理和二氧化碳的排放。草坪受场地和草皮限制，而其他景观元

素，如草原和园艺种植所受到的影响则较小。在景观设计中，艺术表

现至关重要。最美的景观设计应该是鸟类、昆虫、兔子等小动物的栖

息地，重塑我们与生物圈的联系。罗伯特·史密斯所涉及的螺旋防波

堤便是艺术与自然的完美结合。它是21世纪景观设计的典范：用最少

的不可再生资源实现积极的重建。

奥林匹克雕塑公园项目是这一方向上的小小尝试，抢救表层土壤和使

用本地植物的方向十分正确。或许相关利益者会把濒死的植物看成危

机和灾难，而不是充满活力的景观循环周期。我被草原、草皮和野生

生物之间的平衡所吸引。通过对理想化可持续发展的教育可以达到生

态平衡的理想状态。

这是通往接受生活景观和把握生态平衡的景观建筑师之旅。或许有一

天我们的城市会重新拥有优美的环境，以野生生物取代鸽子、老鼠和

宠物。

18

Maybe looking back to humankind’s earliest days are foolhardy. Maybe humankind’s evolution is an unstoppable move away from a shared planet. recently I looked through my living room window into my backyard with one of my daughters. We watched mesmerized as several different species of birds performed an opera. The birds were there because they knew the plants that we put there; they would come and know what to expect. They appreciate the habitat and we appreciate their visits. The 1980 eruption of Mount St. helens eradicated a pristine mountain landscape in minutes, yet instantly life began the ecological process anew. The same can happen in our cities, but only with our help, with a renewed appreciation of the creatures with which we have evolved and with a determination to convert every rooftop, yard and piece of ground to shared habitat.

One wet spring morning, the broken-hearted voice of my mother awoke me. I was sure it was my father who had died. It wasn’t; it was my older brother doug, who pushed me the hardest of anyone in my childhood to achieve. he called me “Professor” and “Motor Mouth” because of my need to explain with zeal everything I learned. his passing leaves business between us unfinished, especially as we had become amused by our differences. I spoke at his wake and wore his rush limbaugh tie, like garlic to a vampire, but to me a symbol that even those with opposite views can find common ground in life and in death.

The economy of the world has taken a severe turn for the worse; in fact there is a true lack of confidence that we will get back to the bull excesses of the financial markets anytime soon. It is a good time to reconsider our direction as a nation and individuals who make up one world. Phaedra lead me to Phoenix, to the Sonoran desert, to follow something intangible… a feeling that I was ready to try something in a new but familiar place. The valley of the sun has an unexplainable draw, one that has drawn independent-minded designers like Frank lloyd Wright and Paolo Soleri. arizona State University in Tempe is the creative heart of this vast urban landscape. The opportunity to teach at the school surfaced thanks to Kenneth Brooks, my professor from over twenty years ago.

My grandfather’s name was Charles, too, I remember him for homesteading Indian land in South dakota, for having seen the last remnant of wild buffalo herds, for being a pioneer like the Norseman of his ancestry. This familiar landscape will become what my Scandinavian ancestors called “new

或许回顾人类的早期生活并不聪明，又或许人类的进化就是不断地远

离共享的星球。我和女儿从客厅的窗户往外看，庭院里不同种类小鸟

的歌声让我们沉醉。是我们种植的植物引来了这些小鸟，它们感激我

们提供了栖息地，而我们则感激它们的光临。1980年，圣海伦斯火

山的爆发在瞬间破坏了这一原始山脉景观，但是新的生态循环也由此

开始。通过我们不断的努力，我们的城市也能获得重生。

一个春日潮湿的早晨，我的哥哥道格过世了。由于我总是喜欢源源不

断地诉说自己的喜好，他叫我“教授”或“摩托车代言人”。他的过

世扯断了我们之间联系的纽带。在葬礼上，我系上了他的领带，以提

醒自己观点不同的两人也能够和平相处。

世界经济正不断向一个消极的方向发展，我们也逐渐缺乏那种重获繁

荣的信心。恰好，这也是一个重新审视我们国家和个人发展方向的机

会。我去了凤凰城，走了一趟索诺兰沙漠，开始做新的尝试。山谷中

的红日对思想独立的设计师有着难以言喻的吸引力，亚利桑那大学便

是广阔的城市景观的创意中心。肯尼恩·布鲁克斯教授帮我介绍了在

亚利桑那大学教书的机会。

我祖父的名字也叫查尔斯，我对他的记忆总是伴着印第安田园风光、

野牛群和古斯堪的纳维亚人的先驱者。人到中年，我又看到了这些熟

悉的景象。我多么希望我的哥哥能够亲耳听见学生们喊我“教授”。


19

found land” because I see it again from the perspective of a middle-aged person’s life experience. I wish my brother could have lived to hear my students call me “Professor.”

Teaching in a university was a rewarding experience. The students seem thirsty for not just process but intent and philosophy. My second studio at arizona State University included ten architects and five landscape architects. We tackled one of the most recognizable parts of the Valley of the Sun - Old Town Scottsdale. The students were assigned to read Zen and the art of Motorcycle Maintenance. They eagerly plunged into preparation for a final presentation to a truly all-star cast that included Gage davis, Will Bruder, Eric Mott, Kim Steel, and the local developer Fred Unger.

I have been quite vocal of my disapproval of the term landscape urbanism. Thinking that the idea of landscape as catalyst infrastructure was not a new idea or that because landscape urbanism developed an entirely new vocabulary that somehow a new design aesthetic would result! I initially dismissed landscape urbanism as the resurgence of post modernism with better graphics. In fact, landscape urbanism is the result of amazing technological advances in 3-d software. It is possible to create gravity-defying and sublime imagery in ways that I think rich haag would condemn as visual swindle.

Examples of landscape as urban infrastructure in the United States alone is prevalent; the emerald necklace in Boston is one example, Central Park and hundreds of urban golf courses and parks are other clear examples. It would be better to see urban landscapes as sustainable, expressive, and functional places wherever people chose to live. Keep it simple, make it ecologically based and sustainable, because once it’s built and functioning no one could even consider removing it. Of course, this ecology would include all of the parts of the urban environment, and, if built right, would last for centuries rather than just decades.

One other very significant opportunity sprung from the desert. I began work on Paolo Soleri’s most recent projects - linear Cities; one sited in China and one sited conceptually. I remember well reading Soleri’s books on arcologies, decades ago, and now I was immersed in this legendary view of how we will find meaning and efficiency in a nature-based morphology. I met with Soleri to hear more about his ideas and to see if I could be helpful with the continuation of his work. he left me with a gift from his garden--a persimmon,

在大学里教书的那段时间让我受益匪浅。学生们不仅对设计过程充满

兴趣，还想了解设计理念和哲学。我在亚利桑那州大学开了第二个工

作室，拥有10名建筑师和5名景观设计师。我将《禅与摩托车维修艺

术》列入了学生的阅读书单，并且为他们邀请了全明星阵容的建筑师

和艺术家进行讲座。

我依旧反对使用“景观城市主义”这个词。将景观看做基础设施的催

化剂并非是一个新概念，而景观城市主义却是一个全新的词汇，表达

了新的设计美学观。事实上，景观城市主义是3D软件中技术进步的

表现。新技术能创造出失重而极端的影像，或许理查德·海格会批判

它们是个视觉骗局。

景观设计作为城市基础设施的例子在美国比比皆是，如波士顿的翡翠

项链项目、中心公园项目以及数以百计的都市高尔夫球场和公园。我

们应将城市景观视为可持续发展的具有表现力的功能区，人们可以在

其间自由地生活。它必须简单而且环保，因为一旦建成，人们便不会

轻易拆除。景观生态学包罗城市环境的各个部分，得当的景观设计可

以甚至延续上百年。

另一个重要的机会来自沙漠，我开始研究保罗·索列里的项目——线

形都市。我沉浸于这个兼具意义与效率的自然取向形态设计中。我与

索列里见面，并且从他那里得到了他花园产出的柿子。我可以想象，

有一天我们或许可以在线形都市的花园中采摘果实，又或许我可以参

与设计与建造。

20

“But the past, spread out ahead, dominates everything in sight.”—Zen and the art of Motorcycle Maintenance by alan Pirsig

a beautiful and exotic fruit. I could imagine one day picking fresh fruit from the gardens of a linear city that I might one day help to build.

Even the beautiful sky of the desert, the naked mountains, peculiar f lora and fauna, and restless weather could not distract me from the ankle of Phaedra. The groundwork is set to return to Seattle. Perhaps back to a rigorous and engaged design community. The freedom to reinvent myself in arizona was a myth that just couldn’t satisfy my thirst for making urban life meaningful. I hope my evolving perspective sets the table for a new and even more creative chapter of this journey.

I think the past might be less important now. The present and the prospect of an unknown future are more alluring than ever. Stephen hawkins once described the universe in such poetic terms that I assumed his thought about perfection for myself. In essence, he said that the Big Bang, if it were perfect, would have ended in perfect balance. We, as living organisms, would not arise, if not for an anomaly, a ripple in the nearly perfect blast. Therefore, imperfection is the real creator and perfection is the goal. Yet perfection is unattainable because it would be stagnation.

This gives me great comfort, because I can think of no life more imperfect and out of balance than mine. It is also reassuring to realize that everything we are started billions of light years ago with the very first mistake…

WaNdErING ECOlOGIES

“但是遥远的过去掌控着眼前的一切。”

——《禅与摩托车维修艺术》，艾伦·皮尔西格

即使是沙漠美丽的天空、裸露的群山、独特的动植物和多变的天气都

没有阻止我前进的步伐，我还是回到了西雅图。回到了严酷而忙碌的

设计环境中。亚利桑那州的生活不能满足我对丰富多彩的都市生活的

渴望。我希望我的旅行能够翻开充满创新的新一页。

夺取不再重要，现在和未知的未来才更诱人。斯蒂芬· 霍金用诗意

的句子描绘宇宙，而我认为这是对我自己的最好描述。他说，在理想

的情况下，宇宙大爆炸将会以完美的平衡结束。如果不是爆炸中出现

了小小的异常，我们这些生物将不会出现。因此，不完美才是真正的

造物者，而完美只是目标。完美是无法企及的，因为它意味着停止。

这给了我巨大的安慰，因为我的生活一直不完美，也不平衡。这也让

我们认识到原来眼前的一切都源于数十亿年前的一个错误。

生态景观之旅

21

THE JOURNEY BEGINS 启程

22

The Visitor Centers at Mount St. Helens National Volcanic Monument CaSTlE rOCK, WaShINGTON, USa, 1997

While with EdaW, in collaboration with Spencer associates and the USda Forest Service

2005 National aSla design honor award

This project integrated two new visitor centers into the new landscape formed by Mount St. helen’s 1980 eruption. Enormous parking lots, buildings, and site features are placed in a manner to evoke an emotional response from the drama of the landscape. The forms given to these features are poetic gestures - an arrow through a crescent-shaped parking lot for Coldwater ridge Visitor Center and the profile of a resting butterfly for the parking lot of the Johnston ridge Observatory.

artifacts from the volcanic eruption blast artifacts were preserved, or catalogued, stored and reinstalled to elevate or make “super real” the level of landscape devastation. The message of the eruption and its aftermath are prevalent in these details and are exemplified in the fractured colored concrete paving, the light poles that are colored to match the nearby flora, and remaining tree stumps. The path leading to Johnston ridge is a dramatic journey that takes you towards the volcano at a barely visible, but perceivable slope. This journey ends with a view into a breathtaking valley two thousand feet below.

Coldwater ridge Visitor Center was completed in 1993 and Johnston ridge Observatory was completed in 1997.

美国，华盛顿州，城堡石，1997年

Above: Viewing Mount St. helens from the platformBelow: View of Mount St. helens eruption in 2005Facing: light fixtures were designed to create a minimal profile against the sky and Earth colors were chosen to complement the landscape上图：从平台看圣海伦斯火山

下图：2005年圣海伦斯火山爆发的景象

右页图：灯光装置的侧面狭窄，表面涂有矿物颜料，与景观相得益彰

圣海伦斯火山纪念馆游客中心

合作设计：EDAW，斯宾瑟建筑事务所，美国农业部林务局

2005年美国景观设计师协会荣誉奖

23

24


项目将两个新游客中心融入了1980年圣海伦斯火山喷发后的新景观中。巨大

的停车场、建筑和场地设施能唤起人们对壮丽景观的共鸣。这些设施形成了

具有诗意的造型——冷水山游客中心的停车场像一支箭穿过新月，而约翰斯

顿山瞭望台停车场的侧面好像一只振翅欲飞的蝴蝶。

我们通过对火山喷发物的保护、分类、储存和重置来提升景观的超现实感。

裂开的染色混凝土地面、与植物相似的灯杆和残余的树桩，这些设计的细节

不断传达着火山喷发的讯息。通往约翰斯顿山的道路是一条令人难以察觉的

缓坡。旅途直通下方610米的山谷。

冷水山游客中心建成于1993年，约翰斯顿山瞭望台建成于1997年。

Above: The Coldwater ridge Visitor Centercomplements the landscapeBelow: Sketch of path at Coldwater Visitor Center上图：冷水山游客中心与自然景观相互映衬

下图：冷水山游客中心路径草图

25

Above left: Coldwater Visitors Center planAbove right: aerial view of the visitor centerBelow left: Johnston ridge Observatory plan

Below right: aerial view of the ridge左上图：冷水山游客中心平面图

右上图：游客中心鸟瞰图

左下图：约翰斯顿山瞭望台设计图

右下图：瞭望台鸟瞰图

26


The volcano erupted with great fury on a day when I was in studio at Washington State Universtiy. It blotted out the sun and threatened to end the term four weeks early. Eight years later, I would find myself on the design team to bring people back to see the event aftermath and recovery. I could not think of a more humbling experience than to work with an active volcano, like Turrell and his volcano, and to see it as the ultimate earthworks. I did not want to take away anything from the site or compete with it but instead complement it. I did not want the visitors to be “comfortable” in the presence of such power. here I learned restraint and appreciation for nature’s process.

—Charles anderson

火山喷发时，我正在华盛顿州立大学的工作室工作。火山灰遮天蔽日，学期被迫提前4

周结束。8年后，我参与了火山纪念馆的设计。在活火山旁工作让我感到谦卑，这是一

件大地的艺术品，我身负重大的责任，不能出错。我不想从这里得到任何东西，所能

做的只有赞美。在这里，我学会了控制自己和欣赏自然的变迁。

——查尔斯·安德森

27

Facing: View of volcano from Johnston ridge ObservatoryAbove: View of parking lot atJohnston ridge ObservatoryBelow: Path at Coldwater VisitorCenter左页图：从约翰斯顿山观察台看火山

上图：约翰斯顿山观察台停车场

下图：冷水山游客中心的小径

28


29

Facing above: Overview of Johnston ridge Observatory and platformFacing below: The entrance to Coldwater ridge Visitor Center

Below: Viewing platform from the observatoryBottom: The 2005 eruption of Mount St. helens from Spirit lake

左页上图：约翰斯顿山瞭望台和平台全景

左页下图：冷水山游客中心入口

下图：从瞭望台看平台

底图：从灵湖看2005年圣海伦斯火山喷发的景象

30

The Arthur Ross Terrace atthe American Museum of Natural History

美国，纽约州，纽约，2000年

In collaboration with Kathryn Gustafson and Polshek Partnership architects

2003 National aSla design Merit award

NEW YOrK, NEW YOrK, USa, 2000

The arthur ross terrace was part of the New hayden Planetarium project and an invited design competition that required the retrofitting of a project already under construction. This rooftop terrace is designed to be a stage set for the study of astronomy and Earth’s natural history. Wedge-shaped planetary shadows from the sphere of hayden Planetarium are expressed through paving across the plaza to the doorstep of the historic museum. The darkest, central portion of the plaza playfully depicts the Orion star cluster with tiny mirrors and fiber-optic lights. Water jets and cut granite “meteor-trail” rills add a playful aspect to this Celestial garden. The forms and plantings of the plaza enhance the garden. Sky blue flowers, Ginkgo trees harkening back to the carboniferous period, and a mostly native plant palette connect ing the terrace to its living plant history.

alcoves with large, f lat benches along one side of the plaza provide seating and create impromptu classrooms for the many school children who visit the planetarium. dancing water jets serve to cool the terrace and children on hot summer days, while at night the blue colors emanating from the new planetarium building reflect dramatically across the wet dark granite.

合作设计：凯瑟琳·古斯塔夫森和波尔舍克建筑事务所

2003年美国景观设计师协会优秀奖

美国自然历史博物馆亚瑟·罗斯平台

亚瑟·罗斯平台是新海登天文馆项目的一部分。这次邀请设计竞赛要求我们改进原有

的施工工程。平台的设计旨在成为天文学和自然历史研究的舞台，同时也可以作为普

通的公园。横穿广场、通往历史博物馆门阶的道路映衬着海登天文馆的球形倒影。广

场的中心部分以微小的镜子和光纤灯重现了猎户星座的形态，喷水形成的流星轨迹为

这个天体花园增添了趣味性。花园里蓝色的鲜花、银杏树提升了花园的美感，将人们

带回了石炭纪。原生植物的种植将平台与植物的活历史联系了起来。

广场的一侧设置着长椅，既可供游人休息，又可供学校的老师对学生进行即兴教学。

舞动的水柱为平台带来了一丝清凉。夜晚，从天文馆透出的蓝光倒映在潮湿的深色花

岗岩上，十分具有戏剧效果。

Above: Terrace illustrative planFacing: View of terrace at night with planetarium in the background上图：平台设计图

右页图：以天文馆为背景的平台夜景

This project needed a new face put on the bones and structure of a project previously designed and under construction. New York City requires tough trees and nothing is tougher than the ancient Ginkgo tree. That tree reaches back into the history of life on this planet and the Planetarium looks back into the history of the stars.

—Charles anderson

这个项目要求我们在一个已经施工中的项目基础上进行改造，就像为它变脸一样。我

们需要一些强壮的树木来进行装饰，而银杏树则刚好适合。银杏树展现了生命的历

史，而天文馆展现了星球的历史。


31

32


Above: View of the terrace with the ginkgo grove behindFacing clockwise: detail of adjustable water jet; detail of rough cast aluminum tree grates; View across the terrace to the Planetarium上图：平台景观，后面是银杏树林

右页顺时针依次为：可调节式水柱的细部图；铝制树池保护栏的细部图；穿过平台看天文馆

33

34


35

Facing above: View of terrace at dayFacing below: View of terrace at nightAbove: dancing water jets represent asteroidsstreaking through the constellation OrionRight: The water jets are a respite fromsummer heat左页上图：平台日景

左页下图：平台夜景

上图：舞动的水柱宛如穿过猎户星座的小行星

右图：水柱能缓解暑气

36


Above: long view of the promenadeFacing: View of “learning benches” and the “astronomy wall” to the left上图：散步走廊长景图

右页图：“学习长椅”和左侧的“天文墙”

37

38

上图：2020年总规划图

下图：冷却塔内部平台效果图

右页图：冷却塔内部

Above: 2020 Master planBelow: Proposed view of elevation platform inside the cooling towerFacing: Interior view of the cooling tower

Satsop Development Park

ElMa, WaShINGTON, USa, 2000

In collaboration with Collins Woerman architecture2005 WaSla design honor award for Works in Progress

T h e d e s i g n t e a m wo r ke d w i t h G rays h a r b o r P l a n n i n g development authority to prepare a master plan to guide the transformation of a defunct nuclear power generation plant into a high-tech industrial technology park. The design for the cooling tower park incorporates the cooling towers of the partially completed Satsop power project. One of the towers is transformed into a park and stands as a giant oculus to the sky. This setting provides the opportunity to fly a kite, to watch birds ride the air currents and the updrafts, to hear the echo of the chamber, or to just marvel at the sheer immensity of the plant’s dimensions.

萨特索普开发园区

美国，华盛顿州，埃尔玛，2000年

合作设计：柯林斯·沃尔曼建筑事务所

2005年美国景观设计师协会华盛顿分会进行中项目荣誉奖

设计团队与格雷斯港规划发展局共同合作，设计了一个将废气核电厂改造为工业与高

科技园区的项目。其中的一个冷却塔被改造成了公园，它仿佛像是直达云霄的巨眼。

人们可以在里面放风筝，观察鸟类飞翔，听回声，或是单纯地感叹它巨大的尺寸。

39

40

WANDERING ECOLOGIES 生态景观之旅

The great cooling towers stood up over the canopy of second and third growth timber. The two together made a kind of poetry, especially now that the nuclear components have no function. My primary goals were the preservation of the towers as a sort of modern Gothic cathedral, growing a native plant arboretum, and creating the right tension between the incompatible worlds of industry and nature. These towers stand in a hostile natural world, the story of a nuclear folly forever told.

—Charles Anderson

巨大的冷却塔矗立在木质华盖之上，神圣而又平凡的设计充满了诗意，特别是在它失

去了核功能之后。这些冷却塔仿佛现代哥特式教堂，周边的原生树木与冷却塔形成了

奇妙的联系。想象一下，多年以后，这些冷却塔处在一个全自然的世界，却又反复提

醒着人们核能的存在。


41

Facing: The cooling tower’s dynamic characterAbove: The enormous scale of the 496-foot Cooling tower对页图：冷却塔的动力特征

上图：151米高的冷却塔

42


Image: Size comparison with Space Needle图片：与太空针塔的大小进行对比

43

Facing above and above: aerial view of the park左页上图和上图：园区鸟瞰图

44

Trillium Projects

The Trillium Projects acknowledge beauty and design, but take the science of “urban nature” very seriously. The projects question the notion of urban restoration where designers define ecologies as separate from human activities: the artifice that is our city is inspiration for artful landscape expressions. By understanding that native plants behave differently within an urban context, new sustainable plant communities emerge, creating plant and wildlife diversity that is beneficial for the environment and people. as native plants require fewer resources to construct and maintain these landscapes, the Trillium Projects are not only designs with nature but are designs for nature. There are numerous co-conspirators for these projects, from Seattle schools using the sites as outdoor classrooms for environmental education, to volunteer contributing thousands of hours, to public and private agencies and companies. The Trillium projects speak of community, where plants, wildlife inhabit, and people grow together.

In implementing these projects, Charles anderson has been working closely with the Starflower Foundation, an organization promoting native landscapes as scientific and cultural resources, and with the City of Seattle. due to the success of these parks, the City of Seattle is expected to continue to develop the Trillium Projects for future explorers and strollers.

西雅图市内的六个景点：苏华德公园原生植物园，杰纳西草甸，普理查德海岸湿地公

园，科尔曼公园，洛克希尔沼泽，500区发现公园

2004年美国景观设计师协会优秀奖

Six sites located in Seattle, Washington: Seward Park Native Plant Garden, Genesee Meadow, Pritchard Beach Wetland Parks, Colman

Park, roxhill Bog, and 500 area discovery Park2004 aSla design Merit award

美国，华盛顿州，西雅图休闲区和公园开发工程，2000年

延龄草项目

SEaTTlE dEParTMENT OF ParKS aNd rECrEaTION, SEaTTlE, WaShINGTON, USa, 2000

a decade and a half ago a very passionate client began a search to find someone who was interested in the re-establishment of native plants in the city. Fortunately for me that became the start of a very long-term urban ecological experiment, including over 20 projects, the biggest of these were the Trillium Projects. ann lennarz and her Starflower Foundation supplied millions of native plants to open spaces throughout Seattle and we had something to do with almost all of their placement. It’s about more than plants, however, it’s about the bugs and bunnies that look for them and the people who learn from these places about our connection to nature, even in the city.

—Charles anderson

延龄草项目崇尚美观和设计，但是也看重城市自然科学。项目对设计师所定义的“生

态学与人类活动是分割开来的”理论发起了挑战，证明了城市正是艺术景观的灵感来

源。原生植物在城市环境中起到不同的作用，新的可持续植物群落不断涌现，植物和

野生生物的多样性对环境和人类形成了有利的影响。原生植物只需很少的资源便能构

成并维持景观。延龄草项目不仅是以自然来设计，而是为自然而设计。这些项目有

许多受益者。这些景点既可以作为西雅图的学校的户外生态教育课堂，也可以供志愿

者、公共和私人机构使用。延龄草项目是一个社区群落，植物、野生生物和人类可以

和谐共处。

在执行这些项目时，查尔斯·安德森与星星花基金会（一个倡导原生景观的机构）和

西雅图市政府进行了密切的联系。由于这些项目的成功，西雅图市政府计划在未来继

续进行延龄草项目。

15年前，一位委托人开始了恢复城市原生植物的进程。我有幸以此为契机，开始了长

期的城市生态实验。在这20多个项目中，延龄草项目是最大的。安·莉娜兹和她的星

星花基金会为西雅图的开阔空间提供了数以万计的原生植物，而我们则负责让这些植

物各得其所。这些项目不仅是植物的问题，而且事关寻找植物的昆虫、野兔，以及与

自然紧密相连的人类，乃至整个城市。


45

Images above: Scenes from the Trillium ProjectsFrom top: Colman Park, Gennessee Meadow,Seward Park, Pritchard Wetland Park

以上图片：延龄草项目

从上至下依次为：科尔曼公园、洛克希尔沼泽、苏华德公园、普理查德湿地公园

46

The Native Plant Garden at Seward Park, comprised of regional native plants, welcomes visitors to Seward Park via the garden and a newly restored environmental education center. Seward Park is one of three intact old growth forests in the metro region; trees in this park exceed 200 feet in height. appropriately, this garden was also the first Seattle department of Parks and recreation project to use an all-native plant palette. as the park visitor begins the journey, the first of four interpretive signs explains sensory information about natural history and ethno-botany that is later experienced on walks through the forest.

花园/成熟森林：苏华德公园原生植物园 GardEN/Old GrOWTh FOrEST:Seward Park Native Plant Garden

Initially 250 square feet, this native plant garden successfully grew to an acre and soon became the home for the audubon Nature Center. Starting a garden in the shadows of an old growth forest seems trivial, but it wasn’t about the big trees only, instead, it was also the story of the trillium and the ant. The sticky seeds of the flower affix to the ants that arrive looking for food. When they return home, the other ants remove the seed and inadvertently plant it. We planted trillium and other plants to tell these stories to generations to come, to see how we are all part of the stories of nature - even an urban nature.

—Charles anderson

原生植物园里种满了本地的原生植物，穿过植物园和一个新修复的环境教育中心可以

到达苏华德公园。苏华德公园是市区内三大成熟森林之一，其内的树木高达60余米。

相应的，植物园也是西雅图公园和休闲区开发工程的第一个项目。当游客进入公园，

说明板会向他们介绍自然历史和将在森林中遇到的植物的种类。

植物园最初只有23平方米，之后渐渐扩张为4,047平方米，并成为奥杜邦自然中心的所

在地。在成熟森林之中建造一个花园看似简单，但是我们要关注的不仅是树木，还有

延龄草和蚂蚁。花的种子粘在出来觅食的蚂蚁身上，当它们回到蚁穴，种子又被其他

的蚂蚁搬运到其他地方。就这样，种子被不经意间播种了。我们用延龄草和其他植物

来讲述这个故事，来体现我们都是自然环境的一部分，哪怕是城市自然环境。


Above: Fallen Madrona tree as a landscape featureBelow left: Illustrative site planBelow right: The accessible pathway through the native plant garden leads to the old growth forest of the Seward ParkFacing: View of a bigleaf maple in the “Magnificent Forest.”上图：一棵倒下的蒙多那树形成了独特的景观

左下图：总设计图

右下图：穿过原生植物园的小路通往苏华德公园的成熟森林

右页图：“壮丽森林”中的一棵大叶枫

47

48

First a bay of lake Washington, then a landfill, now this 15-acre portion of Genesee Park is a restored wildflower meadow. Trails meander around mounded woodland islands, grasslands, and wildflowers, all reclaiming the site for habitat. Interpretive signs describe the site’s native plant communities, wildlife habitat and historical uses. Three large earth mounds allow trees and shrubs to colonize the meadow landscape and vastly improve nesting and foraging habitat. The audubon Society monitors bird populations on the site, and the Washington Native Plant Society observes the process of plant succession on the landfill. The soil used to build these mounds is from a series of landslides, a natural process of the Puget basin.

MEadOW:Genesee Meadow

The former landfill site was settling and the vast landscape of mowed grasses was getting harder and harder to maintain. We lopped off five of the fifteen acres of turf and turned it into a meadow - the first in the city. The birders went crazy with the new found habitat, and the savanna sparrow finally had a place to live in the city.

—Charles anderson

草甸：杰纳西草甸

项目所在地原来是华盛顿湖的一个河湾，随后变成了垃圾填埋场，现在则是一个占地6

公顷的野花草甸，是杰纳西公园的一部分。漫步于林地、草场和野花之间，这片场地

重现了和谐的生态环境。草甸有着植物群落、野生生物栖息地和历史保护区等多重身

份。三个巨大的土丘让树木和灌木成为了景观的中心，为鸟类提供了筑巢和觅食的地

点。奥杜邦社团负责监控该地点的鸟类数目，而华盛顿原生植物协会则负责观测垃圾

填埋场上的植物演替。堆成这些土丘的土壤来自于普吉特盆地的一次山崩。

填埋场的场地已经开始沉降，而景观草地也越来越难以打理。我们移除了2公顷的草

皮，将它们改造成草甸。鸟类居民十分满意这个新栖息地，草原麻雀首次开始生活在

我们的城市。


Above: Illustrative Site Plan Below left: lupine f lowering in the meadowBelow right: dormant grasses in summerFacing: reused railroad timbers demarcate the meadow perimeter上图：总设计图

左下图：羽扇豆花在草甸中盛开

右下图：夏日的草

右页图：再利用的铁路木材划分出草甸的边界

49

50

WETlaNd:Pritchard Beach Wetland Park

Through the synthesis of ecology and art, twelve acres that were once the lake bed of lake Washington, and more recently abandoned storage flats and soggy turf, have been restored into a contemplative ecological classroom of scrub-shrub lowland and upland forest. Boardwalks and trails are carefully integrated with the planting design to direct views and circulation through discrete landscape features such as the alder Gallery, the Willow Circle, and the apple Crescent, while limiting disturbance to the delicate landscape. at the heart of the project a new pond connects to lake Washington via a seasonal stream. Wetlands of all types are featured - from lake to wet meadow, forested wetland, and open water pond. Each type serves as a classroom and exemplifies the diversity of ecological types that just a few acres can provide.

湿地：普理查德海岸湿地公园

at the heart of this park we dug a new pond and planted an alder forest around it. When we were asked, “Why more water when so close to the lake?”, the answer was simple. Big water is good for some wildlife and small water is good for much more. We scooped out the soil to make a mound for an amphitheater, to look out over the pond. Inside the mound we entombed invasive non-native plants. Without the pond, the diversity of the plants and animals wouldn’t come to this site - nor would the people to enjoy them.

—Charles anderson

公园曾是华盛顿湖的湖床，后被遗弃成为露天浅滩／沼泽和浸水草地，现在它被改造

成了一个融合了灌木低地和高山林地的生态公园。木板路和小路与植栽设计巧妙地结

合在一起，使人们可以以最佳路径观看景点，如：赤杨走廊、柳树圈、苹果新月林

等。项目的中心是一个通过季节性河流与华盛顿湖相连的池塘。公园里湿地的种类繁

多，从湖泊、湿草甸、森林湿地到活水池塘一应俱全，每一种类型都向人展示着生态

我们在公园的中心挖了一个池塘，并在其周围种上了赤杨树。虽然公园离湖很近，但

是大水系和小水系分别对不同的野生生物有益。我们用挖出的土堆成了一个圆形露天

剧场作为护堤，正好可以俯瞰池塘。护堤内部种植着具有侵略性的非原生植物。如果

没有池塘，动植物的多样性将会大打折扣。


Above: landscape plan, highlighting various poetic places like “Willow Circle”, “alder Gallery” and “Maple Cathedral”Below left: Pond with hogwire fence. The fence is invisible today. It was installed to meet park safety standards, and is buried in a thicket of wild roseBelow Right: Box of rocks amphitheater, a place for small gatherings to learn about the different types of wetlandsFacing above: View of the constructed pond. The water level f luctuates with the levels of nearby lake WashingtonFacing below: Edge between the wetland meadows and mown turf上图：景观规划以“柳树圈”、“赤杨走廊”、“枫叶教堂”等具有诗意的场所为重点

左下图：装有铁丝栅栏的池塘；铁栅栏为了保证公园安全而设，现在被一片野玫瑰覆盖

右下图：圆形露天剧场可用于小型集会，帮助人们认识不同湿地类型

右页上图：人造池塘；水位随着华盛顿湖的水位而波动

右页下图：湿地草甸和草坪之间的界限

51

52

ShOrElINE:Colman Park

湖岸线：科尔曼公园

Colman Park, originally planned by the Olmsted Brothers, is rich with historical significance. The current design is structured to complement historic aspects of the park, while restoring and enhancing wildlife habitat. Interpretive signs describe both the cultural and ecological importance of the park, explaining both the Olmsted legacy and shoreline with its riparian and upland forest native plant communities. along lake Washington, a successful low-tech method for creating a sustainable shoreline was implemented. One of the restoration tactics used included the protection of the shoreline except in select locations where non-native willows have clung vicariously to an eroding shoreline. all the willows will eventually fall into lake Washington. One willow that fell became the local “Starbucks” for aquatic animals, and the walkway overlooking the tree is now a great spot to observe turtles, water fowl and muskrats.

科尔曼公园最初由奥姆斯特德兄弟规划，是最具历史价值的项目。新设计力求凸显公

园的历史氛围，恢复野生生物的栖息地。说明标牌表述了公园的文化和生态重要性，

解说了奥姆斯特德遗迹和湖岸线、沿岸居民以及高山林地原生植物群落。我们以低技

术成功打造了一个具永续性的湖岸线。我们修复了湖岸线的大多数区域，而忽略了那

些生长着非原生柳树的区域。这些柳树最终都会慢慢跌入湖中。事实上，其中的一棵

柳树已经倒下且落入湖岸边，并成为了水生生物的栖息地，通向这棵树的小路正是个

观察乌龟、水鸟和麝鼠的极佳场所。

Above: Illustrative Site Plan for improvements to this Olmsted ParkLeft and facing right: Wildlife enjoying a place to perch out of the water. This is the “Starbucks” of lake WashingtonFacing above: Shoreline of Colman Park

an Olmsted brothers park needed help. Funds for maintenance had dwindled for over a decade. We brought both cultural restoration and habitat to the park. When a large “non-native” tree fell into the lake, we left it to entropy. It instantly became a magnet for wildlife. ducks, turtles, cormorants, and many more species vie for a place, only to scatter at the site of an eagle overhead.

—Charles anderson

奥姆斯特德兄弟公园需要援助，近十几年来，它的维护基金急剧缩减。我们对公园进

行了文化和生态栖息地修复。倒入湖中的巨树，我们让它自行衰退并任其发展生物多

样性，造就了水生生物的栖息地，野鸭、乌龟、鸬鹚和其他野生生物在湖中争夺自己

有利位置。


上图：公园改进总设计图

左图和右页下图：野生生物在水里找到了栖息地，这里是华盛顿湖中的“星巴克”

右页上图：科尔曼公园湖岸线

53

54


55

Facing: Shoreline of Colman ParkAbove: View of rain garden

左页图：科尔曼公园湖岸线

上图：雨水花园

56

BOG:roxhill Bog

沼泽：洛克希尔沼泽

at roxhill Bog an ecological system unique to an urban setting was created. The community-initiated planting of 200,000 native plants aided in restoring natural systems and habitat to create a unique educational resource. roxhill Bog is a remnant bog and wetland, which was uncovered and shaped into a grid pattern reminiscent of the historical agricultural use of bogs in this area. Situated at the headwaters of longfellow Creek, the project plays an important role in improving water quality, managing water flow into longfellow Creek, and supporting downstream salmon habitat restoration. Water is detained on site in a subterranean basin below a new playing field which was created from the fill that once covered the bog. The flow from the basin is metered to extend the available water supply during the dry season.

对于城市环境来说，洛克希尔沼泽的生态系统十分罕见。200,000棵原生植物的栽种修

复了自然系统和生态环境，提供了一个独特的教学资源。洛克希尔沼泽是一个残余沼

泽和湿地，其造型与传统农业的网格状田地十分相似。项目坐落在朗费罗溪的上游，

对水源质量起到了重要作用。覆盖沼泽的泥土被挖掘出来，填成了一个操场，水资源

便被存储于地下。地下径流可以在旱季为人们提供水资源。

It wasn’t the restoration of a remnant bog that interested me as much as it was the possibility of a new kind of urban ecology, one fashioned in a structured way that would evolve into an unclassified urban wetland. The runoff from adjacent lands, ball fields, streets and backyards, riff with anything that affects this place.

—Charles anderson

修复残余沼泽是一项全新的城市生态学研究，经过有组织的规划，它会成为一个独特

的城市湿地。邻近区域（如平地、街道、操场、庭院等）的径流会影响沼泽的发展和

形态。


Above: Master planBelow left: Community work party to plant the pondBelow right: Community art project of white wire frames in the bogFacing above: aerial view showing the gridded pathways reminiscent of the old blueberry fieldsBelow left on the facing page: Constructed wetland meadow in the summerBelow right on the facing page: redwing blackbird visiting the constructed pond上图：总设计图

左下图：池塘种植工作组

右下图：社区艺术作品——沼泽中的白框

右页上图：网格状路径鸟瞰图，让人想起了蓝莓田

右页左下图：夏日人工湿地

右页右下图：拜访池塘的红翼歌鸫

57

58

森林：500区发现公园 FOrEST:500 area discovery Park

restoration of the 500 area involved the demolition of 24 army barracks, as well as a plan for restoring native woodlands and integrating the site with the overall discovery Park Master Plan developed by dan Kiley in 1974. Groves of white-trunked birch and aspen trees define the footprints of the demolished barracks, thereby acting as ghosts or memories of the white-clad barrack buildings. alder, a robust native early successional species, was planted throughout the site to establish the initial forest cover. Over time, the alders will fix nitrogen and prepare the soil for the giant conifers of the restored native forest.

The soon-to -be demolished white -painted barracks were impossible to ignore, especially because each building came with numerous stories from its former occupants. The footprints of each of these buildings became an emblematic native plant nursery, featuring white trunked birch and aspen trees. as long as one of these trees survives in this new forest, the ghost of this former life remains.

—Charles anderson

500区发现公园的修复工程包含拆除24座陆军营房和修复原生森林，最终将场地与发

现公园的总设计合为一体。营房原址被栽种上了白桦树和白杨树，令人想起了白色的

营房。作为一种原生演替物种，赤杨树被种植在场地的各个角落，成为森林植被的基

础树种。慢慢地，赤杨树会起到固氮作用，为其他松柏类树木提供具有营养的土壤。

被拆除的营房不容忽视，每座营房都有其独特的故事。营房原址被种上了各色植物，

以白桦树和白杨树为主。只要这些树木还存活着，营房的故事便仍在延续。


Top: a view showing the contrast between the existing trees and the“barrack” native plant nurseriesAbove: Plans illustrating the growth of the forest over a twenty-year periodBelow: a composite image of the regraded site of the “Skyspace”Facing: aerial view showing the “barrack” footprints and the crescent-shaped“Skyspace.” Invasive plants were entombed in the mounds

顶图：现存树木和原生树林苗圃的对照

上图：阐明20年间森林生长的规划图

下图：“天空”场地合成图片

右页图：“营房”区域和新月形“天空”场地鸟瞰图；侵略性植物被埋在了护堤里

59

60

山坡住宅

美国，华盛顿州，西雅图，2003年

In collaboration with Tom Kundig, Olson Kundig architects Perched on Queen anne hill, this home features native plants such as Big leaf and Vine Maples, Salal, Snowberry, Tall Oregon Grape, Bunchberry, Western Trillium. Because of the urban setting and limited space, areas not normally considered for plants provide landscape opportunities. Nursery areas on the roof and backyard will accommodate young plants to be used for restoration efforts in other parks. Spaces under ramps are filled with ferns and mosses. The passage between the garage and back door become a verdant wetland. a metal grating walkway spans the water feature below which is filled with Giant horsetail, Skunk Cabbage, and Slough Sedge.

The project is tailored to the owners, who are constantly tending and revising the landscape as they learn how the garden is recolonized by native plants. It’s a garden that borrows the views of Puget Sound and the habitat of neighboring big trees, serving as a much needed wildlife refuge in the city.

Hill House

SEaTTlE, WaShINGTON, USa, 2003

合作设计：汤姆·康迪格，奥尔森·康迪格建筑事务所

住宅伫立在安妮女王山上，四周环绕着大叶枫、圆叶枫、玉龙白珠树、白浆果、俄勒

冈葡萄、御膳橘等原生植物。由于项目的城市背景和有限的空间，我们在许多意想不

到的区域设置了景观。屋顶和庭院的儿童区种植一些幼苗植物；坡道下的空间是蕨类

和苔藓；车库和后门的走道间被改造成了绿色湿地；金属栅板走道横跨种满了巨型马

尾草、臭菘草和莎草的水景区。

项目十分简单质朴，因为住宅的主人懂得原生植物对花园的作用，能够经常养护和修

剪景观。花园的设计借鉴了普吉特海湾和附近树林的景色，可谓是城市中的野生生物

保护区了。

上图：总设计图

下图：“阳光花园”里的岩石和梯子

右页图：住宅立于高地之上，有极佳的风景和光线；挡土墙是

花园的基座，花园里种植着众多种类的喜阳植物

Above: Illustrative site planBelow: Boulders and ladders for access were incorporated into the “sun gardens”Facing: The house sits high on the site to capture views and light. The retaining walls are bedrock for the gardens - to be colonized by the sun-loving native palnts

61

62


architect Tom Kundig’s houses grow right out of the earth. They even rust. They are works in progress, like the gardens. This is an all-native plant project with a great variety of plants in a very small space. It’s a garden of prospect and refuge.

—Charles anderson

建筑师汤姆·康迪格设计的住宅十分朴素，有一些甚至锈迹斑斑。它们和花园一样，

在不断进化之中。这个空间狭小的项目采用了多种原生植物，是一个具有光明前景的

花园。


Above: a cross section illustrating the profile of the site.Right: Window opens up to outdoor gardensFacing: Native plants colonizing the sun garden上图：场地横截面图

右图：朝向露天花园的窗户

右页图：阳光花园中的原生植物

63

64


65

Facing above: Water garden grottoFacing below: Old logs were added to the garden to nourish the soil and provide habitatAbove: Water garden at the entranceRight: Native planting at upper terrace左页上图：水生花园洞穴

左页下图：旧木桩用以培育花园中的土壤、提供栖息地

上图：入口的水上花园

右图：上层露台的原生植物

66


67

Facing: Grotto garden with bridge to garage roof gardenAbove: Water garden grotto showing metal stairs and walkwaysRight: roof garden over garage左页图：洞穴花园和通往车库屋顶花园的桥

上图：水上花园洞穴，显示出金属楼梯和走道

右图：车库上的屋顶花园

68

Beijing 2008 Olympics Competition 2008年北京奥运会竞赛

中国，北京，2003年

Finalist for Invited CompetitionIn collaboration with XWhO design and richard haag

邀请竞赛入围奖

合作设计：XWHO设计公司和理查德·海格

The organizers of the Beijing Olympics sought designs through a competition for the grounds of the event, China’s f irst opportunity to host. This design was based on the notion of a landscape sequence of from “Birth Space” and ending with the “Future Space”. The team discussed the intersections between the Eastern understanding of this sequence with the Western, and the design thematically reflects human emotions and a spirit of cooperation and competition. The main entry gate is a colossal Olympic symbol, materially borrowing from the nearby Birdsnest Stadium and its alignment with the series of gates which emanate on axis from the Forbidden City of central Beijing.

BEIJING, ChINa, 2003

China was even bigger than I imagined. For some reason it felt like I had been there before, the earth seemed familiar and the culture, somehow familiar too, maybe because I could see my culture more clearly from being here. rich haag and I were holed up in a conference room trying to connect a western design philosophy with our counterparts of Xia and Xia’s office. There was a curious love of nature in this country but not quite the “nature,” the wilds, that I had grown to understand. Nature here seemed to be green and healthful, not necessarily ecological. Ying Yang became clearer than ever to me - the power of opposites to coexist and make each stronger, especially in the composition of a design.

—Charles anderson

北京奥运组委会通过竞赛为2008年北京奥运会进行全部的场地设计。该景观设计以

“发源空间”开始，到“未来空间”为止。在东西方对这个过程的理解上，我们进行

了大量的讨论。我们以这个过程为主题，反映了人类情感和合作与竞争精神。主入口

是一个巨大的奥林匹克图标，借鉴了“鸟巢”体育场的设计，门内还有一系列的大

门，与紫禁城轴线上的设计极为相似。

中国远比我想象中的大。我对中国有种似曾相识的感觉，它的文化和土地都让我感到

熟悉。理查德·海格和我在会议室里与中方合伙人进行了大量的讨论，希望将西方设

计理念带入设计中。中国热爱自然，但是他们所理解的自然是绿色健康的，与生态无

关。我清楚地理解了阴阳的概念，二者在设计构成中相生相克。


Below: Proposed entry gate to the Olympics with the main stadium in the backgroundFacing above: haag’s idea for a “cathederal of trees”Facing below: a sequence illustrating the four seasons下图：奥运会入口大门，背景是鸟巢体育馆

右页上图：海格的“树木教堂”理念

右页下图：显示四季交替的平面图

69

70

发现王国

中国，大连，2003年

Kingdoms of Discovery

landscapes have the power to connect, enhance, define and accentuate. The setting for this theme park is at Golden Pebble Beach, one of north China’s preeminent vacation destinations for its growing middle class. The landscape plan for the Kingdoms of discovery theme park in dalian provides a strong definition of the park’s boundaries while creating distinct places of beauty within its shell and around an ocean-fed lake. Through the careful selection and arrangement of plantings, visitors are offered a variety of experiences that reinforce the themes of the various areas while maintaining a consistent atmosphere of pleasure and enjoyment. The design of the planting areas is complimented by bold paving designs that further enhance the visitor’s experience and define the unique character of each themed zone. The project was completed in 2005.

dalIaN, ChINa, 2003

On a cold winter day we walked around the site to discuss our plans with the local landscape contractor. We explained our ideas, we talked about plants and paving and water features. I was given a World War II issue coat to keep me warm. I was joined by over a dozen people and felt like a military commander. They brought thousands of enormous trees to plant in the very early spring - it took a small army to plant them in the grid that I had asked for.

—Charles anderson

景观可以连接空间、提升空间、定义空间、突出空间。这个主题公园位于金石滩，是

中国中产阶级在北方的重要旅游景点。发现王国主题公园的景观设计为公园提供了鲜

明的界限，围绕着城堡的边缘和湖创造出了许多美丽的景观。通过精雕细琢的园艺设

计，游客们可以享受到丰富多彩的娱乐氛围。园艺区大胆的道路设计进一步完善了游

客的感官体验，完美地诠释了不同的主题区域。整个项目完工于2005年。

在一个寒冷的冬日，我们漫步在公园场地中，与当地景观承包商进行商讨。我们诠释

自己的理念，讨论植物、地面和水景的设计。我穿着军大衣来保暖，和12个人一起讨

论，感觉自己就像一名军官。初春，承包商种植了成千上万棵树木，种树的人也形成

了一支小小的军队。


Above: Master site planBelow: Some of the over five thousand large trees used for the projectFacing above: aerial view of the parkFacing below: The fire platform over the lake上图：总设计图

下图：项目中5,000多棵树木的一部分

右页上图：公园鸟瞰图

右页下图：湖上烟火平台

71

72

美国，内华达州，里诺，2004年

河畔大厦

合作设计：卡洛斯·萨帕塔工作室(未建成)

In collaboration with Carlos Zapata Studio (unbuilt) This last open city block in the heart of reno provides the opportunity to redefine the city’s relationship with the Truckee river. The design for the 3.5 acre site seeks to create a new waterfront district that integrates the natural feel of the river with a modern hotel, residential tower and art studios. Inspired by not only the river but also the geology of the mountains, the design incorporates shifting geologic fault lines and horizontal stratifications of the Nevada landscape. an 18-story “tree wall” rises from the river to conceal a nearby parking garage and complete the metaphor.

Waterfront Place

rENO, NEVada, USa, 2004

an elegant glass condo, hotel and arts center was part of a plan to bring signature design to reno. Native plants were an integral part of the landscape. The plant communities rose eighteen stories on terraces. We called it a “treescraper”, and it mainly functioned as a suitable complement to the sleek new tower, but also screened an adjacent park structure. The trees and plants of the nearby mountains will inhabit this urban ecology.

—Charles anderson

这块里诺市中心最后的开放街区提供了重塑城市与特拉基河的联系。这块1.4公顷的区

域将被打造成一个全新的河畔大厦，让河流与现代化酒店、住宅楼和艺术工作室结合

在一起。设计从河流和山脉的景观获得了灵感，将偏移的断层线和内华达州的水平成

层景观融入了景观设计之中。18层高的“树墙”从河畔拔地而起，遮蔽了旁边的停车

场，完善了整个景观设计。

优雅的全玻璃幕墙大楼集合了住宅、酒店和艺术中心，是里诺的标志性建筑。原生植

物是景观设计的重要组成部分。项目的特别之处在于原生植物群落被种植在阶梯上，

有18层楼高，我们把它叫做“摩天大树”。这一景观设计不仅完善了塔楼的设计，而

且遮蔽了旁边的停车场。周边山脉的植物和树木被移植到了城市生态环境之中。


Above: Illustrative site planBelow: section showing the relationship of the “treescraper” to the skyscraper.Facing above: View of tower and streetscapeFacing below: aerial view of proposed tower and landscape.上图：总设计图

下图：显示“摩天大树”和摩天大楼关系的剖面图

右页上图：塔楼和街景

右页下图：塔楼和景观鸟瞰图

73

74

This 1.5-acre site overlooking lake Washington is heavily wooded and historically significant. The project features landscape rooms and places, including the Nostalgia Garden, the red house Patio, the hollow, Belvedere and the Big Woods. These places entice future artists to create site-specific installations or inspire the owners to find artworks. The different elevations of these rooms and the high, hill-home capture distant views to Mt. rainier and the Cascades. Conversely, intimate inward-looking rooms are places of refuge. Native plants are a major component of these gardens, except for preserved existing trees, specimens, and the rose and ornamental filled Nostalgia Garden.

Madison Art House 麦迪逊艺术住宅


In collaboration with roy McMakin/domestic architecture合作设计：罗伊·马克马金/居住建筑事务所


Above: Final landscape site planBelow: auto-court with recycled concrete paving Facing: Edible garden with iconic apple tree

项目占地6,070平方米，俯瞰华盛顿湖，四周环绕着绿树，是一处有名的历史遗产。项

目的特色景观包括怀旧花园、红屋露台、空谷、瞭望台和大树林，这些场所将会为艺

术家们带来创作的灵感。高低错落的地形让人们既可以欣赏雷尼尔山和瀑布的远景，

又可以欣赏住宅景观的近景。原生植物在花园中至关重要，与原有的树木、标本、玫

瑰融为一体，共同打造了怀旧花园。

上图：最终景观总规划图

下图：停车场的再生混凝土路面

右页图：蔬果园和标志性苹果树

75

76


Working with an artist who also served as the architect presented its own surprising challenges. This house is certainly unexpected, employing a domestic vernacular on a very grand scale. The landscape became a playful collage of my minimalist approach and the artist’s penchant for folly. It reflected precisely the nature of the inhabitants.

—Charles anderson

与身兼艺术家和建筑师的合作者共同工作令人惊喜。住宅的设计令人意外，在开阔的

场地上进行了本地化住宅的设计。景观设计宛如一幅有趣的抽象画，体现了我的极简

主义设计与艺术家的讽刺倾向，它精确地反映了居住者的本性。


Above: View of entry drive to auto-courtFacing: View of building from auto-court上图：停车场入口

右页图：从停车场看建筑

77

78


79

Facing: View of the deck from backyardAbove: Outdoor dining court step to grass terrace

左页图：从后院看平台

上图：露天餐厅通往草地平台

80


Above: Belvedere grass terraceRight: Belvedere area with preserved Japanese MapleFacing: View of nostalgia garden with red house in the distance上图：观景草地平台

右图：瞭望台和日本枫树

右页图：怀旧花园，远处是红房子

81

82


Above: raised plant beds near dining terraceFacing: artificial turf terrace for family games, with steps to hot tub上图：就餐平台边的花坛

右页图：可进行亲子游戏的人工草坪平台，台阶通往热水浴缸

83

84


85

Facing: hot tub with view of lake WashingtonAbove: Belvedere grass terrace with hot tub

左页图：热水浴缸和华盛顿湖的景色

上图：观景草地平台和热水浴缸

86


Above: Views of the Nostalgia Garden上图：怀旧花园

87

Above: Stabilized gravel path to the Red House上图：通往红屋的碎石路


88

Image: Nostalgia Garden with Red House图片：怀旧花园和红屋 89

90


下图：从水台远眺华盛顿湖

右页图：餐厅两侧是日本红枫树

Tables of Water

Seeking to engage a relationship between landscape, art and architecture, the minimalist design of this 3.5-acre residence extends the walls of the house to the outside, creating rooms, framing views and making space for sculpture. Elements of water are carried through the site, at first only seen, then heard, as water features and finally as a tactile experience, for swimming. Two less formal gardens break down the structured geometry of evergreen hedges and bosques. The Garden of the Wilds highlights palms, responding to the existing tropical plants around the site. The Moon Garden’s night blooming plants and perennials offer a quiet place to wander, particularly in the evening.


In collaboration with Jim Olson, Olson Kundig architects2006 aSla National design honor award

合作设计：吉姆·奥尔森，奥尔森·康迪格建筑事务所


水桌庭园


这个占地1.4公顷的住宅项目的简约设计在景观、艺术和建筑之间建立的联系，将墙

壁扩展到住宅之外，打造了空间，框定了风景，塑造了雕塑空间。水景贯穿了整个场

地，从视觉、听觉和触觉三方面给人以清新的感受。两个非正式的花园突破了常青绿

篱和灌木丛所组成的有机结构。荒野花园突出了棕榈树，映衬着场地周边原有的热带

植物。月亮花园的夜间植物和多年生植物为人们营造了一个幽静漫步的场所。

Above: Illustrative master site planBelow: View over tables of water to lake WashingtonFacing: Cut-leaf Japanese maples f lank the view through the dining room to the lake

91

92


This existing estate came complete with an extraordinary collection of large and rare plants. The problem was that most of them had to be moved to make way for a new residence. The architect and the client loved Mies van der rohe’s Barcelona Pavilion - a very different place. here we organized the gardens into deliberate groups around a very minimalist parti. The pool, spa and water feature complete the landscape design, as minimal as possible, as “tables of water” at times difficult to distinguish from the adjacent surfaces.

—Charles anderson

住宅周围原本就种植着许多巨大而稀有的植物，问题是新住客要移除它们中的大多

数。建筑师和委托人都热爱巴塞罗那厅的设计。我们刻意将花园设计成围绕着极简主

义设计的群落。泳池、SPA浴场和水景完善了景观设计。简约的水台与周边的平面融

为一体，难以分割。


Above: View across terrace and swimming poolBelow: a Chihuly sculpture rests on the terrace beside the infinity-edged poolFacing: detail of tables of water上图：平台和游泳池

下图：平台泳池边上的雕塑

右页图：水台细部图

93


Image: The living room of the outdoor garden图片：露天花园的起居室

94

95

96


Above: hot tub with infinity edgesBelow: detail of tables of waterFacing above: Close-up of Chihuly sculpture Two images below on the facing page: Curved paths at Moon Garden上图：无边界式热水浴缸

下图：水台细部

右页上图：奇胡利雕塑近景

右页两下图：月亮花园的曲折小径

97

98


99

左页上图：热带花园

左页左下图：入口车道

左页右下图：湖畔平台

上图：“水台”夜景

右图：雕塑夜景

Facing above: View of the tropical gardenFacing below left: Entry drivewayFacing below right: View of the lakeside terraceAbove: Night view of the “tables of water”Right: Chihuly sculpture at night

100

奥林匹克雕塑公园

美国，华盛顿州，西雅图，西雅图美术馆，2007年


The Gardens of the Olympic Sculpture Park are the clothing that dresses the land of an abandoned fuel storage site. a reversed Z-shaped central path traverses roads and railroad tracks, as it connects the urban core of the city to the vast landscape of Puget Sound and its namesake, the Olympic Mountains. These connections are also reflected in a series of gardens, all distinctive prototypical landscapes of a “mountain to shore” narrative: The Valley, The Greensward, The Grove, The Meadows, The Shore, and The Tides. The settings are landscapes for sculpture, from large works to subtle time-based pieces. The relationship of sculpture, landscape and architecture are composed with a renewed enthusiasm.

The Valley stretches back to prehistoric times and pre-European contact to the region. It predates written language and represents the fascination we have with our past. adjacent to the pavilion, this is the beginning of a mountain-to-shore narrative of the Northwest landscape. The Grove is a contemporary garden which respectfully questions control over nature by enlisting an unruly tree, Quaking aspen, into a grid. It is a triangular-shaped forest with rooms cut into it for sculpture. The Meadows accommodate changing uses, including future earthworks and other art installations. It is open space that has the seasonal excitement of wildflowers in striking contrast to the turf grass areas and forested portions of the park. The Shore is, in many ways, a place where we respect our everchanging lives, predictable tides, and the unknown universe of the seas. The saltwater shoreline is one of the mildest (although not warmest) climatic zones of the Pacific Northwest. Shifting sand, grasses and salt-tolerant plants dress this sun-soaked landscape. The Tides features kelp, algae and other intertidal zone plants that are revealed and concealed with the changing tides. The sounds of a thriving industrial marine environment and its complement, restored marine habitat, offer the only place where people and the waters of the Pacific can meet in downtown Seattle. The interstitial spaces between these gardens are landscapes of grass and meadows. The lawn, or Greensward, parallels the Z-path and becomes a sixth precinct for sculpture and other pedestrian-oriented activities. This is an iconic composition of seating areas and shade trees that speaks to our universal view of a park.

The settings created by these landscapes will elicit responses from artists, who will produce content for the park, from large works to subtle time-based pieces. The gardens address the everchanging views of the role of a park in the city and art in the landscape. Through these layers of meaning and process, a new paradigm of park has emerged.

In collaboration with Weiss / Manfredi architects2008 aIa honor award

2007 National aSla design honor award2005 Selected for “Groundswell, Constructing the Contemporary

landscape” Exhibition, The Museum of Modern art, NY2005 Seattle design Commission + Mayor’s Commendation award

合作设计：维斯/曼弗莱迪建筑事务所

2008年美国建筑师协会荣誉奖


2005年参加纽约现代艺术博物馆“海啸，构造现代景观”展览

2005年西雅图设计委员会+市长嘉奖

SEaTTlE arT MUSEUM, SEaTTlE, WaShINGTON, USa, 2007


下图：考尔德的“鹰”，远处是奥林匹克山

右页图：奥林匹克雕塑公园鸟瞰图

Above: Master planBelow: Calder "Eagle" with Olympic Mountains in the distanceFacing: aerial View of Olympic Sculpture Park

101

102


左图：树林、草甸和山谷景观

右页顺时针依次为：花园原始概

念草图；设计方案；花园概念剖

面图；鸟瞰城市环境中的花园

Left: a view of the grove, meadows, and valleyFacing clockwise: Initial conceptua l ske tch o f the garden precincts ; Plan of schematic design; Section with conceptual images for gardens; an aerial view of the park with city context

103

奥林匹克雕塑公园的花园装饰了一片废弃的燃料仓库。倒Z字形中央走道横穿过公路

和铁轨，连接了城市中心、普吉特海湾的辽阔景观和奥林匹克山。这些联系还体现在

一系列的花园中，它们展现了从山脉到海岸过渡的典型景观：山谷、草坪、树林、草

甸、海岸和潮汐。景观是雕塑的背景，在这里，从大型雕塑到精细的临时性作品一应

俱全。雕塑、景观和建筑之间通过全新的激情被融合在一起。

“山谷花园”回溯到了史前时代，欧洲人尚未来临这块土地之时。它早于文字的出

现，代表了昔日的魅力。紧邻展厅，这是山脉和海岸之间西北部景观故事的起点。

“树林花园”十分现代，通过将一棵不羁的山杨树植入栅格体现了对控制自然的质

疑。它是一片三角形的森林，内部空间被分隔开以展示雕塑作品。“草甸花园”的功

能多变，包含了未来的大地艺术品和其他艺术装置。它是一片开阔的空间，季节性开

放的野花与公园中的草坪和森林形成了鲜明对比。“海岸花园”是一个让我们向千变

万化的生活、可预测的潮汐以及未知的海洋致敬的地方。虽然并不是最温暖的，海岸

沿线是太平洋西北部最温和的气候带。流沙、草地和耐盐植物共同装点着这片沉浸于

阳光之中的景观。“潮汐花园”的巨藻、绿藻和其他潮间带植物在潮汐中时隐时现。

欣欣向荣的工业化还养花镜和经过完善和修复的海洋栖息地让人们和太平洋的海水在

西雅图市中心相遇。这些花园之间的间隙地带是草地和草甸景观。草地，或者说是草

坪平行于Z字形的走道，形成了雕塑作品和行人活动的第六个区域。这里是休息区与遮

阳树木结合而形成的景观环境，是真正意义上的公园。

这些景观所打造的背景可以为艺术家提供灵感，让他们不断为公园创造出优秀的雕塑

作品。奥林匹克雕塑公园的花园展示了城市公园和景观艺术千变万化的风景。从这些

层面意义和过程上看，这是一个全新的公园典范。2007年，项目在奥林匹克雕塑公园

建成之前完成。

104


105

左页图：草甸中的羽扇豆花和沙丁花

左图：预制混凝土墙，后面是白杨林

I conceived of the gardens as part of the modernist tradition in design, much like Noguchi’s California Scenario - but using live ecologies. Each defined garden is a grotesque of the same plant community in the nature lands that surround Seattle. The evergreen forest of the Valley precinct is pulled apart by the valley floor of fossil trees. On one side is the forest, on the other is the forest edge. The Grove, likewise, is like a natural occurring aspen grove, but in a grid. Its understory will adapt to this grid as it would be any grove in our nature lands. The gardens will adapt to the degree that the caretakers allow, preferably for a Smithson-like entropic nature, rather than cultured horticulture.

—Charles anderson

花园集成了一部分现代主义设计风格，与野口设计的加

州方案类似，只是增加了生态特征。每个花园集成了西

雅图所特有的原生植物群落。“山谷花园”中的常绿林

被分开，森林的边缘种植着化石树木。“树林花园”像

一个天然的白杨林，下层植被适应着这些树木的网格，

就像自然林地一样。与栽培的园艺作品相比，花园更具

有原生风格，便于养护。


Facing: lupines and satin f lower blooming in the meadowLeft: Pre-cast concrete walls with the aspens of the Grove behind

106


107

左页上图和下图：山谷中理查德·塞拉的“觉醒”和飘落的黄色银杏叶

上图：白杨林

Facing above and below: View of the Valley with richard Serra’s Wake and drifts of yellow ginkgo leavesAbove: aspen trees of the Grove


108

Image: Understory of deer and sword ferns in the Grove图片：树林中的下层植被和肾蕨 109

110


111

左页顺时针依次为：亚历山大·考尔德的雕塑

“雄鹰”，远处是雷尼尔山；冬日里，考尔德

的雕塑“雄鹰”；树林中的鸢尾花

上图：山茱萸花和红色座椅

右图：“山谷”景色

Facing clockwise: alexander Calder’s Eagle with Mt. rainier in the distance; Calder’s Eagle sculpture in winter; Irises of the GroveAbove: Flowering dogwood and red chairsRight: View of the "Valley"

112


113

左页上图：“山谷”中的露天剧院

左页下图：红色座椅和影子

自上顺时针依次为：繁花盛开的草坪；耧斗菜；山茱萸；唐棣属

Facing above: amphitheater of the "Valley"Facing below: red chairs and their shadows

Clockwise from above: View of the Meadow in bloom; Columbine: dogwood; amelanchier

114


上图：海岸和浮木

右页上图：滨海长廊和雨中花园

右页下图：滨海长廊夜景

Above: View of the shoreline precinct with driftwoodFacing above: Waterfront promenade with rain gardenFacing below: Night view of waterfront promenade

115

116

霍特科姆历史艺术博物馆BEllINGhaM, WaShINGTON, USa, 2008

美国，华盛顿州，贝灵翰姆，2008年

In collaboration with Jim Olson, Olson Kundig architectsFirst Place: BaCM International design Competition

合作设计：吉姆·奥尔森，奥尔森·康迪格建筑事务所

贝灵翰姆艺术和儿童博物馆竞赛一等奖

Millions of years ago, the Pacific Northwest was a vastly different landscape, filled with plants that now seem exotic. The Garden of the ancients at the Whatcom art and Children’s Museum features plants that are or used to be native to the region. This led to a design concept where a glass light-catcher wall surrounds the inside edge of a new Garden of the ancients Courtyard.

a single ginkgo tree surrounded by a variety of ferns in the courtyard complements the existing dawn redwood in front of the nearby courthouse and creates a lush landscape within the museum courtyard. The long, thin planter at the base of the light-catcher wall features horsetail, one of the oldest of all plants. Petrified wood pieces and very large boulders of olivine stone complete the story of an ancient garden.

Protected by the museum building, and accessible from Grand avenue, this garden’s f lexible open space will generously accommodate performances and events, while providing an intimate and relaxing atmosphere for Museum visitors.

Whatcom Museum of History and Art

数百万年前，太平洋西北岸是一片辽阔的景观，上面生长着现在看来奇异的植物。霍

特科姆艺术和儿童博物馆的远古花园里便栽种着这些原生植物。这些原生植物引出了

一面投影墙，墙体环绕着远古花园的内缘。

庭院里，一棵单独的银杏树四周环绕着各色的蕨类植物，与隔壁法院门前的水杉遥相

呼应，形成了丰富的景观。投影墙下方细长的花槽里种植着马尾草(一种最古老的植

物)。木化石和巨大的橄榄石进一步装点了远古花园。花园灵活开放的空间将逐渐用于

表演和公共活动，并且为游客提供一个私密的休闲空间。

图片：博物馆效果图

The “Garden of the ancients” was conceived as part of the building. It was carved out of the building in the earliest conceptual phase of the design compeititon. The goal was to create a place that served multiple uses, but always in the company of living fossils - ancient plants, massive boulders, petrified wood - and light caught by the wall.

—Charles anderson

“远古花园”是建筑的一部分，早在概念设计阶段，它位于建筑的中心。这一空间具

有多重功能，结合了远古植物、巨石、木化石和投影墙。


Image: rendering of proposed museum

117

118


以上三图顺时针依次为：展示新建筑与贝灵翰姆标志建筑关系的鸟瞰图；

投影墙内部和花园大门；投影墙反射着夜晚的天空

右页上图：多功能平台和投影墙

右页下图：总设计图

Three images Above Clockwise: aerial view showing new building’s relationship to the other iconic buildings of Bellingham; Interior view of light-catcher wall with portals to garden; light-catcher wall ref lecting evening skyFacing above: Multipurpose terrace and light-catcher wallFacing below: Illustrative Site Plan

119

120


121

Facing clockwise: Solitary ginkgo tree is the matriarch of the Garden of the ancients; Ginkgo leaves; Shade-loving horsetailAbove: Proposed image of video performanceRight: proposed roof garden左页顺时针依次为：银杏树是远古花园的 “ 大家

长”；银杏树叶；喜阴的马尾草

上图：影像播放效果图

右图：屋顶花园效果图

122

Denver Art House

The design of this three-acre residence is inspired by the denver landscape of mountains and great plains. Emphasizing changing seasonal color, expansive use of native plants, and the fusion of landscape art and architecture, the design creates outdoor rooms, frames views to the surrounding landscape, and makes spaces for sculpture. Meandering paths offer a place to wander through aspen forest, open wildf lower prairie, and sculptures. a series of small and large terraces provide places to spend time outside, entertain and watch the seasons change.

The excavation needed to create a firm foundation and basement in a high water table area was substantial. This excess material was used to create a great mound that meanders through specimens of very big conifer trees. The mound was planted in aspens, a landscape in contrast to the lawns and meadows elsewhere on the project. The aspen grove embraces the rear and side yard of the site, while around front open grasses and meadows make every view from inside of the home a different experience. Native and native-compatible species are the dominant plants for this project; however, as the landscape nears the home, a more exotic manicured landscape prevails as complement to the extensive “civilized wilds.”

美国，科罗拉多州，丹佛，2008年dENVEr, COlOradO, USa, 2008

丹佛艺术住宅

In collaboration with Jim Olson, Olson Kundig architects合作设计：吉姆·奥尔森，奥尔森·康迪格建筑事务所

上图：室内的兔子雕塑引诱着狐狸；山茱萸的红色嫩枝充斥着前景，在冬日里更加突出

下图：通往住宅的车道先引领你到主入口，随后呈曲线向前延伸，显得更加狭长

右页图：石墙划分了住宅的公共和私人区域；公共区域的花园更具结构和装饰性

Above: The rabbit sculpture from inside the house tempts the residence fox. red twig dogwood fills the foreground and shows its red colored twigs in winterBelow: The drive to the house first orients you to the main entry, then curves away to make the drive appear longerFacing: The great stonewall divides the public and private sides of the house. The gardens are more structured and ornamental on the public side

123

124


住宅占地1.2公顷，其设计灵感来自于丹佛的山脉和平原景观。设计强调了随季节变换

的色彩，大量运用了原生植物，融合了景观艺术和建筑学。室外居室既可以欣赏到周

边的景色，又可以摆放雕塑。弯曲的小径让人可以漫步穿梭于白杨林、野花和雕塑之

间。一系列大大小小的露台为人们提供了露天休闲娱乐的空间。

高位水台需要一个坚固的地基，挖掘出来的泥土形成了一个大土丘，周围环绕着巨大

的松柏。土丘上种植着白杨，与别处的草坪和草甸形成了对比。白杨林位于庭院的后

部，庭院的前部是开放的草坪和草甸。从屋内向外看，不同的角度有不同的风景。原

生植物和可兼容的外来植物在项目中起到了重要作用，但是住宅近处具有异域风情的

景观也体现了“文明的荒野”这一流行趋势。

上图：弯曲的车道让游客循序渐进的欣赏住宅周围的景色

右页上图：横穿草地的景色；美国黄松和两棵美国榆树是草地景观的一部分

右页下图：水景设施由黑色花岗岩立方体组成，倒映着周边的一切，并且发出悦耳的水声，这在

旱地景观中十分难得

Above: The curving entry drive directs visitor’s views sequentially through landscape around the houseFacing above: View across meadow. Ponderosa pines and two mature american elms are part of the meadow landscape Facing below: The water feature is a black cube of granite that ref lects everything around it and offers the soothing sound of precious water in this arrid landscape

denver is a difficult place for trees to grow. Its prairie character and the extremes of the weather make it suitable for only the hardiest of plants. We protected a number of existing large trees and we imported a whole new forest of aspen trees. We kept the remnants of a gigantic waterfall feature in the new forest, partly to reveal the site’s history, but mainly because a fox lived in its rocks. The client loved rabbits and had quite a collection of hare art and sculpture. The fox lives outside - the eternal antagonist to its prey.

—Charles anderson

丹佛是一个不利于树木生长的城市，它的草原极端气候只适合种植耐寒耐旱植物。我

们保留了一些现有的大树，并且移植了一片白杨林。我们在新树林中保留了一个巨大

的水景装置，展示了该地区的历史。客户喜爱兔子，并且收藏了许多兔子艺术品和雕

塑；而树林里住着一只狐狸，是兔子永恒的敌人。


125

126


上图：通往草坪的草地台阶充斥着蓝草；岩石间混杂着原生草

本植物

左图：从前的水景设施成了狐狸的栖息地；岩石周围还有两棵

巨大的刚毛锥松——地球上最古老的树种之一

右页上图：从封闭式门廊看花园

右页下图：总景观设计图

Above: The meadow steps to the lawn are almost consumed by the meadow grasses. The remnant boulders are interplanted with native herbaceous plantsLeft: The water feature from the previous garden is now a refuge for a resident fox. This rocky feature is also home for two large bristle cone pines, one of the oldest living trees on earthFacing above: View of gardens from enclosed porchFacing below: Master landscape site plan

127

1. lawn 2. Great Meadow 3. Black Granite Water Feature with Sculpture 4. Fox habitat 5. The Stroll 6. Meadow Steps 7. aspen Stairs 8. Conversation Point9. daffodils 10. Oak Grove 11. auto Court 12. Secret Garden 13. red Twiggery 14. Big Oak 15. Welcome 16. Pines 17. aspens 18. Great Terrace

1. 草坪

2. 大草地

3. 黑色花岗岩水景和雕塑

4. 狐狸栖息地

5. 漫步小径

6. 草地台阶

7. 白杨楼梯

8. 会话角

9. 水仙

10. 橡树林

11. 停车场

12. 秘密花园

13. 红嫩枝

14. 大橡树

15. 欢迎处

16. 松树

17. 杨树

18. 大平台

6

5

7

4

3

2

8

1

9

11

1210

13

14

15 16

17

18

128


129

Facing above: Entertainment lawn and patio with meadow beyond. This rectangular lawn is sized to accommodate entertainment tentsFacing below: View from “conversation point” in the aspen forest. This is a very sunny and highest place in the gardenAbove: The serpentine wall defines the boundary between manicured lawn and meadow. The “Stroll”is the pathway that meanders through the meadow and circumnavigates the propertyRight: detail of serpentine wall where lawn and meadow meet. Over three thousand bulbs of daffodils were planted in broad swaths to bloom in every spring before the grasses grow tall左页上图：娱乐草坪和露台，远处是草地；矩形的草坪大小

正适合容纳娱乐帐篷

左页下图：白杨林里的“会话角”；这里阳光明媚，是花园

的最高点

上图：蛇纹石墙划分了修剪的草坪和草地的边界；漫步小径

横穿草地，环绕住宅

下图：草地与草坪交汇处蛇纹石墙的细部；3,000多丛水仙花

排成一列，在春天怒放

130


131

左页上图：通往白杨林的阶梯；照明设施消除了从室内向外看的镜面效应

左页下图：通往白杨林的“杨树阶梯”；小山的旁边有一棵巨大的雪松

上方图顺时针依次为：通往白杨林的台阶；原生耧斗菜；委龄菜；盛开的霍桑花

Facing above: Stairway leads to aspen forest. This lighting was used to help eliminate the mirror-effect when looking out from inside of the houseFacing below: “aspen stair” leading out of the aspen grove. The stairway climbs the hill alongside a large existing cedar

Above clockwise: Stairway leading into aspen grove; Native columbine f lower; Potentilla; hawthorne in bloom

132

越南，河内，2007年—2011年haNOI, VIETNaM, 2007-2011

河内酒店和会议中心 Hanoi Hotel and Convention Center

Building upon the hotel’s dragon concept, the landscape is an abstraction of a Vietnamese creation myth. The landscape concept incorporates the divided “children” of land and water in different ways. Groves of trees in the courtyard represent the land children and the lotus plants (in immersed pots) are the water children.

The convention center landscape is a striking contrast to the landscape adjacent to the hotel. The design is straightforward and considers the heavy use of this area, particularly in regard to buses. From the street moving towards the building, visitors will pass through bands of different trees, ending with palm trees lining the front of the building façade. The palms are not intended to screen the building, but to provide a colonnade of shade and tropical foliage.

Above: Master planBelow: View from Convention CenterFacing above: Image showing the setting of the “dragon” buildling in the forestFacing below: View of building on lake with lotus planting

In collaboration with Carlos Zapata Studio


下图：会议中心

右页上图：森林中，建筑的“龙”造型

右页下图：湖面上的建筑和荷花

合作设计：卡洛斯·萨帕塔工作室

以酒店的龙主题为基础，景观设计将越南的创世神话抽象化。景观设计以不同的方式

将水和大地的孩子们融合在了一起。庭院中的树林代表大地的孩子，而水中的莲花则

是水的孩子。

会议中心的景观设计与酒店的景观设计形成了鲜明对比。其设计简单明了，注重了这

一区域较大的使用率。从街道到建筑，游客将穿过不同的树木带，最终到达环绕着建

筑外墙的棕榈树。棕榈树不会遮挡建筑，相反，它们会提供阴凉和热带风情。

133

134


Knowing that the architects referenced a rising dragon with their building, we drew upon a Vietnamese creation story featuring a dragon. The abstraction of those metapors provides structure and poetry to a site plan firmly rooted in this incredible place.

—Charles anderson

在研究越南历史的时候，我们偶然发现了一个关于龙的创世神话，了解了建筑暗喻着

一条腾空的巨龙。这些抽象化的暗喻结合在一起，构成了我们的设计结构，也为项目

的设计增添了一抹诗意。


135

左页图：概念纸板模型，描绘种满棕榈树的庭院

上图：建筑和周围的环境

右图：酒店入口水景

Facing above: Conceptual cardboard model depicting palm-filled courtyardAbove: View of building set in contextRight: hotel entry water feature

136

为PHIT（耐克创始人菲尔·奈特的开发团队）设计

合作设计：齐默·冈苏尔·弗拉斯卡建筑事务所

designed for PhIT, the development arm of Nike founder Phil Knight, in collaboration with Zimmer Gunsul Frasca architects

美国，俄勒冈州，尤金，俄勒冈大学，2009年 UNIVErSITY OF OrEGON, EUGENE, OrEGON, USa, 2009 The new John E. Jaqua academic Center at the University of

Oregon is a glass box in a glass box, on a black table of water, with birches. It is a manifestation of pure minimalist architecture and landscape architecture, with a twist. Urban ecology is the functional grounds for the living landscape. In this way, the yin yang relationship between site and building is clear and determined. The static glass façade ref lects all the seasonal changes and atmosphere of its context, while the landscape of mostly native plants, arranged in very orderly patterns, contains all the elements and diversity of a robust “natural” landscape.

The setting and the building are complementary. With walls of glass, the interior rooms borrow scenery directly from landscape, while the landscape uses the glass façade as a reflective backdrop. The strong geometric planes of walkways, plazas, and reflecting pool stretch beyond themselves, to integrate interior, exterior, and natural spaces into a seamless whole.

The raised granite terrace and black table of water evocatively capture the classic modernist conceit by breaking down the membrane between indoors and out. Yet the tables of water go beyond that, to mediate between the land, the birches, and the sky, and to harmonize and funnel each into the building’s interior. This is the ultimate arrival sequence. The raised plinth of the building distills the visitor’s initial landing into one unified gesture, connecting arrival, entry, and an expansive release into landscape.

a black reflective plane of water surrounds the building on four sides and is edged by an elegant linear grove of white birch trees and native shrubs. The birches and associated plant community are the biofiltration system for the project. a gracious, stone entry plaza f lanking the south side of the building provides a sunny place for students to congregate and also establishes the strong plinth of the building. located at a major entrance to the University of Oregon campus, the Glass Box in Glass Box on Black Table of Water with Birches will be a signature building and a departure from the traditional campus landscape.

John E. Jaqua Academic Center for Student Athletes

约翰·E·亚克学生运动员教学中心

上图：倒影池缓和了建筑两面玻璃墙之间的气流

左图：总景观设计图

右页图：通往第二入口的小路铺设着黑色花岗岩，仿佛漂浮与水池之上

Above: The ref lecting pool tempers the air f lowingbetween the two glass skins of the building Left: Master landscape site planFacing: The pathways to the secondary card-keyed entrances are black granite stone that appear to f loat on the pool

FraNKlIN BOUlEVard

aG

aT

E ST

rEE

T

E 13th aVE

a. academic Center B. Table of Water C. Terrace d. Sanctuary E. Birch Forest1. Specimen Katsura 2. Bench 3. dogwood. 4. Mechanical

A. 教学中心

B. 水桌

C. 平台

D. 圣殿

E. 桦树林

1. 连香树标本

2. 长椅

3. 山茱萸

4. 机械设施

富兰克林大道

E13街

玛瑙

大街

D

A

B

C

E

4

3

2

1

137

138


Below: This twilight view of the project reveals its minimalist intent. The mirror of the black table of water equally ref lects the rhythms of the building facade and the birch forestFacing above: Sitting beside the terrace, the entry sign is a complimentary contrast to the minimalism prevailing on site. as the building rests on water, so does the sign on the hedgeFacing below: Each birch on the edge of the black table of water is lit individually, reducing the mirror-effect to the windows on the interior

When PhIT (the development arm of Nike founder Phil Knight) contacted me to join the design team, I couldn’t imagine what we would be designing. It turned out to be the perfect project to build on the experiences I had gained from the recently completed Olympic Sculpture Park and Tables of Water residence. We developed a minimalist parti with an ecologically based garden of mostly native plants.

—Charles anderson

当PHIT（耐克创始人菲尔·奈特的开发团队）联系我加入设计团队时，我完全无法想

象我们将设计什么。在奥林匹克雕塑公园和水台住宅的基础上，这个项目近乎完美。

我们为建筑搭配了一个原生态花园。


新建的俄勒冈大学约翰·E·亚克学生运动员教学中心是一个简单的双层玻璃盒，伫立

在深色水台之上，旁边是一片白桦树林。这个景观设计以城市生态学为基础，场地与

建筑的阴阳关系十分明确。玻璃墙面静静地倒映着四季变化，而整齐有序的原生植物

景观则显示着自然景观的多样性。

场地和建筑是相辅相成的。玻璃墙让室内可以直接能够欣赏到外面的风景，而玻璃墙

也是景观元素的倒映背景。走道、广场和倒影池的几何图案让室内外和自然空间充分

地融合为一体。

垫高的花岗岩平台和深色水台形象地体现了经典现代主义，打破了室内外的界限。水

流糅合了土地、白桦林和天空，并将它们带入了建筑室内。建筑凸出的基座让抵达、

进入和外部景观一气呵成。

环绕建筑四周的倒影池边种植着白桦树和本地灌木。白桦树与相关植物群落共同构成

了项目的生物净化系统。建筑南侧是一个雅致的入口广场，为学生提供了阳光充足的

区域，也形成了建筑坚实的基座。这个四面环水的玻璃盒中，盒将成为一个标志性建

筑，区别于传统的校园景观。

下图：昏暗的景色凸显了项目的极简主义特征；黑色水台倒映出建筑外墙和桦树林的韵律

右页上图：坐在平台上，入口标志与项目的极简主义风格形成了鲜明的对比；建筑坐落在水上，标志坐落在树篱上

右页下图：水台边上的每棵桦树都有独立照明，减少了室内向外看的镜面效应

139

140


Above: This Katsura tree is the matriarch of the site, centered on the view from the primary conference room. Its stature will one day rival the building上图：连香树统治着整个场地，从主会议室看，它是场地的中心；终有一天，它将与建筑齐高

141

上图：树篱入口处有一张巨大的阿拉斯加黄杨长椅；黄杨的黄色和树篱的绿色是校队的代表色

Above: This hedge portal is announced by an enormous bench of alaska Yellow Cedar. The yellow of this Northwest native tree sits in front of the green of the hedge, representing the school’s team colors

142


Facing above: The building is two feet above the street, revealed here at the table of water’s infinity edge. The sharp angle of the corner forces our perspective and challenges our perception of the siteFacing left below: The slim pool on the front side of the building is a suggestion of the abundance of water that surrounds the other three facades. The hedge softens the view out from the buildingFacing right below: The plane of the table of water continues on as the lawn in the SanctuaryAbove: The infinity edge along the building cools the air chamber between the building’s two glass facadesBelow: The inside corner of the infinity edge coping is a single, fabricated piece of granite

143

左页上图：建筑比街面高60厘米，正如无边界水台所示；转角处的

尖角充满了张力，突出了整个场地

左页左下图：建筑前方细长的水池暗示着建筑四面环水；树篱柔化了

建筑的外观

左页右下图：水台和圣殿的草坪都拥有平滑的表面

上图：建筑的无边界水台让建筑两层玻璃外墙之间的气室变得凉爽

下图：无边界水台的内角是一整块焊接的大理石

144


Above: The hedge defines the public street edge of the project, setting it off from the lawn in The Sanctuary. The turf is both an icon of athletic play and a respite for hard-working student-athletesBelow: University of Oregon’s iconic O becomes a bike rack when in use and a sculpture when not. The solid-steel O’s are sand cast and shot-blast finished上图：树篱划分出项目的公共街道边界，与圣殿的草坪隔离开；草地既是运动的象征，又是运

动员学生的休息区

下图：俄勒冈大学的图标O被制成了自行车架，不用的时候又是个雕塑。钢制O形由砂型铸

造，并进行了喷砂加工

145

Above: The bioswale in the Birch Forest is planted with grasses, shrubs, and trees that adapt well to inundation. The city commented that this is the best looking, and functioning, bioswale that they have ever seen

上图：桦树林中的生态沼泽里种植着草、灌木和树木，可以防患洪水；这是城市中最美观、最具功能性的生态沼泽

146

仲恺佘山别墅（上海别墅）

ShaNGhaI, ChINa, 2005-2011中国，上海，2005年—2011年

In collaboration with Olson Kundig architects合作设计：奥尔森·康迪格建筑事务所


The Zhongkai Sheshan Villas are located in the mountainous terrain of Shanghai’s only forest. The forest is an extension of the Tianmushan Mountain range in the Zhejiang Province, which is noted for its beautiful scenery and has become a hub for high-end home development. The residences are organized into neighborhood clusters, and the plan adopts New Urbanist principles, state -of-the -art technology, and Chinese spatial traditions.

Working with each of the partners of Olson Kundig architects, Cala des igned the l andscap es for s i x o f the 79 v i l l a s . Incorporating both Chinese and Western inf luences, the landscapes created unique and contemporary gardens and site features that respond to the architecture and surrounding region. Water features with soothing sounds, gardens highlighting exotic plants, and indigenous stone details helped create a respite from the city for each villa.

Above: Site planBelow: Backyard of villa E18Facing: The courtyard at villa W33 is composed of f loating planes of water, grass, and paving

仲恺佘山别墅位于上海唯一一片森林的山岭区。森林是浙江省天目山山脉的延伸，其

风景优美，是高端住宅工程的聚集地。住宅被设计成一个个住宅群落，采用了新城市

规划原则、最先进的技术和中国传统空间概念。

与OSKA的合伙人合作，查尔斯·安德森景观建筑事务所为79座别墅中的6座进行了景

观设计。发出悦耳水声的水景，独具异域风情的花园，以及本土石景假山让每座别墅

都形成了一块城市中的绿洲。


下图：E18别墅后院

右页图：W33别墅的庭院由水景、草坪和铺砌地面组成

Each site within the Villas has a custom-designed home and landscape. We merged Feng Shui and minimalist modernist design principals. Efficiency, balance and beauty were the measure of our efforts. Our visit to the nearby Sheshan Mountains, site of the first Catholic church in asia, was requisite in beginning our work. This western church sat on top of the mountain, ignoring a core principal of feng shui, but somehow remaining reverent of its site. When our villas are built, I hope that the synergy of the landscape and architecture will likewise be greater than either alone.

—Charles anderson

别墅区内的每个独立别墅都有独特定制的景观。我们将风水学说和现代极简主义设计

融为一体，高效、平衡和美观是我们努力的方向。参观佘山对我们之后的工作大有裨

益。佘山顶上的天主教堂忽视了风水学说，却显得异常的虔诚、和谐。我们希望建成

的别墅能让景观和建筑相得益彰，形成完美的整体效果。


147

SITE QUalITIES:o Water to the northo Possible central house locationo Front entrance facing southo Trees planted to the northo Stream to the southo road to the westo located at the merging of two streams

POTENTIal SITE QUalITIESTO IMPrOVE/CONSIdEr:1 Water feature to the east2 Fruit trees with vegetable patch to the southeast3 Element of fire to the south4 Focus on earth to the southwest5 Metal , or play-area to the west6 a mountain-like feature to the north (view of Sheshan Mt. or a tall structure)7 an open area (courtyard) in the center of the lot8 Curved path to front entrance

additional Screen

POTENTIal COUrTYard ENTraNCES: 场地特征：

水景朝北

房屋在中央

正门朝南

树木朝北

溪流朝南

道路朝西

位于两条溪流的汇合处

如何改进/考虑潜在场地特征：

1 水景朝东

2 果树和菜园朝向东南

3 火元素朝南

4 土的焦点朝向西南

5 金属或游戏区朝西

6 山景朝北（佘山或是高建筑）

7 场地中心是开放区域（庭院）

8 通望正门的曲折小径

附加屏幕

潜在庭院入口: A, B, C


148

a

B

C

149

左页上图和下图：E18别墅分析图和总设计图

上图：E25别墅后院

右图：E37别墅的就餐露台

Facing above and below: analysis of villa E18 and site planAbove: Backyard view of villa E25Right: dinner terrace at villa E37

150

Chapel in the Woods

The landscape of the chapel site frames a clearing in the forest: a place of solace, a counterpoint to the city’s cacophony, and a spiritual retreat that exalts in the solitude and beauty of the natural world. The dark, evergreen, processional drive focuses the visitor by contrasting markedly with the surrounding landscape. as this space peels away, visitors step onto an altar surrounded by drifts of white blooms, where the chapel itself rests. Native cherry trees, kousa dogwoods, and other native white-blooming species blow in the wind, enhancing the hilltop prow’s sense of airy, ascendant heights, and capitalizing on the magisterial view of lake Washington and the Cascades to the north. From within the chapel, the still reflections in the water feature, a pastiche of cloud and blossoms, will merge site and sky, heaven and earth. a lone beech tree, an acolyte from the current site, will remain sensitively nested next to the building. above the chapel, the sanctuary garden will feature reclaimed rhododendrons from the existing site, representing, literally and figuratively, the promise of new life.

林中教堂

BEllEVUE, WaShINGTON, USa, 2007-2012美国，华盛顿州，贝尔维尤，2007年—2012年

合作设计：安藤忠雄建筑事务所和奥尔森·康迪格建筑事务所

In collaboration with Tadao ando architect + associates and Olson Kundig architects

Above: Site planBelow left: White-f lowering trees accentuate the drama of a foggy day, as seen from inside the chapelBelow right: View through the altar windows on a clear dayFacing: allée of dawn redwoods at entrance to the chapel上图：总设计图

左下图：开着白色花朵的树木增添了教堂外的迷雾效果

右下图：在晴朗的天气从圣坛窗户向外看

右页图：教堂入口的水杉和小路

Setting a concrete structure in a beautiful forest is contrast enough, but more so since the road leading to the chapel is lined with a stunning allée of dawn redwoods, conifers that loose their needles in a rusty drop. The reflecting pool side is also lined with a cloud of white flowering native trees. Every tree plays a part in the seasonal drama of a chapel in the woods.

—Charles anderson

教堂外部的景观设计框住了一块林中空地。这里是一块慰藉之地，与喧嚣的城市形成

了对比，是心灵的避难所，自然的孤寂与美丽得到了升华。两侧栽种着常青树木的游

行大道与周围的景观形成了鲜明的对比，十分吸引人的目光。教堂的周围环绕着白色

的花朵。樱桃树、山茱萸和其他的原生白色花卉植物随风荡漾，为山顶营造出一种轻

盈、上升的感觉，充分展现了华盛顿湖和北部瀑布的壮丽景观。从教堂内部向外看，

水景上平静的倒影与云彩、花朵将天地融合在一起。建筑旁边还有一棵孤寂的山毛

榉，极具存在感。教堂上方的圣地花园上种满了从教堂四周移植而来的杜鹃花，代表

了新生活的希望。

混凝土结构的建筑和森林已经形成了强烈的反差，再加上通往教堂的大道两侧种满了

显眼的红杉，对比就更加强烈了。倒影池的一侧种植着一团白色花卉树木，每棵树木

都在林中教堂所上演的季节性戏剧中扮演了角色。


151

152

The Anchorage Common

The new landscape for the anchorage Common lies in the heart the city’s downtown. It will serve as a public common and park, exhibition space, and recreational site for the city. Its dual nature requires a design that is at once flexible and dynamic, and creates a strong sense of place and identity. reflecting the natural history of alaska’s Southcentral region, the concept for the Museum’s civic space emerged from the expansive mudflats and deciduous birch forests around anchorage.

The landscape encompasses the site with a semi-transparent screen of birch trees. This grid of birches starts with tightly-spaced multi-stem trees to the west and loosens up toward the building, with single-stem trees and increased spacing. This urban forest affords the park a sense of openness and visibility, while also creating a striking presence at the street. Its distilled structure provides a continuous framework that will inspire and accommodate art and host a diverse set of celebrations and activities throughout the year. The design for the streetscape considers view corridors, connections to downtown anchorage and nearby parks, a transit stop, vehicular drop offs, pedestrian access throughout the year, and safety concerns. The landscape creates an identity for the museum that is evident and unique from the street, yet is in keeping with the city’s regional context.

In collaboration with david Chipperfield architects2008 WaSla design award

aT ThE aNChOraGE MUSEUM aT raSMUSON CENTEr, aNChOraGE, alaSKa, USa, 2003-2010

anchorage is surrounded by mountains, mudf lats, and great forests. We gathered up these places and made them a part of the new landscape for the museum - we even lit the ice rink to be suggestive of the northern lights. In a land where a clever entrepreneur can sell “firearms and fine antiques,” surely one can find room for fine art and wilderness in the heart of the most urban place in alaska.

—Charles anderson

Above: Model with street contextBelow: Facing: Evening view of frosted birch trees against the fritted glass façade. Steps lead to the promenade and the museum’s main entrance

美国，阿拉斯加州，安克里奇，拉斯姆森中心安克里奇博物馆，2003年-2010年

安克里奇公共区

合作设计：大卫·齐普菲尔德建筑事务所

2008年美国景观设计师协会华盛顿分会设计奖

安克里奇公共区位于安克里奇市中心，将为城市提供一个公共集会场所和公园、展览

空间和娱乐空间。它的双重特性要求设计充满活力和灵活性，同时又要有强烈的地域

感和个性。博物馆的公共空间反映了阿拉斯加中南部地区的自然历史，周围是辽阔的

泥潭和茂密的桦树林。博物馆的景观植物以桦树为主，桦树环绕着场地，形成了一道

半透明的屏障。

西侧的景观网格由茂密的多干树木变成了稀疏的单干树木，面向建筑更加开敞。这片

城市树林让公园看起来更加开放，同时也在街道上形成了突出的景观。公园精炼的结

构使其可以在全年举行各种各样的庆典和活动。安克里奇博物馆的街景设计包含了景

观走廊、连接市中心和邻近公园的通道、交通中转站、停车场、人行通道和安保措

施。设计的重点在于既让博物馆在街面上显得明显而独特，又要保持城市的区域环境

不受影响。

上图：带树木环境的模型

下图：

右页图：夜晚，上霜的桦树与多孔玻璃相互映衬；台阶通往散步走道和博物馆的主入口

安克里奇四周环绕着山脉、泥潭和森林。我们只是简单地提炼了这些元素，并将其融

合了博物馆的景观设计之中。我们甚至将溜冰场的灯光设计得与北极光一样。在阿拉

斯加这块“既可以卖火枪，又可以卖古董”的土地上，人们可以同时感受高雅艺术和

荒蛮野地。


153

154


上图：鸟瞰图展示了建筑和走道旁茂密的桦树林，棱角分明

的人行道与林间曲折的小径相重叠

左图：夕阳让倒映在建筑墙面上的桦树更加美丽；绿化区两

侧是木椅和石椅

右页上图：总景观设计图

右页下图：景观层次

Above: This aerial view of the common shows both the increasing density of birch trees from the building across the Common and the angular geometry of the walkway superimposed over the curvilinear walk of the birches. Left: The drama of frosted birches is accentuated by the ref lection of the setting sun on the building facade. Wood and concrete benches f lank the GreenFacing above: Master landscape site plan Facing below: landscape layers

155

D

Master landscape site plan a. Promenade B. The Green C. rooms d. allée E. Birches F. Cafe G. Sculpture h. annual FlowersI. Walk of the Birches J. Transit Stop

MUSEUMEXPaNSION

EXISTINGMUSEUM

Birch Trees

Flowering Crabapple Trees

Native Understory

annual Flowers

lawn

Native Groundcovers

总景观设计图：

A. 散步走道

B. 绿化区

C. 独立空间

D. 小径

E. 桦树林

F. 咖啡厅

G. 雕塑

H. 一年生花卉

I. 林间小径

J. 换乘点

草坪

博物馆扩建部分原有的博物馆

桦树

盛开的野苹果树

原生下层植被

一年生花卉

原生地被植物

AB

C

E

F

G

H

I

J

C

C

H

H

156


Above: View from downtown anchorage pedestrian overpass to the museum entrance through the birch forest. Sculpture by antony Gormley is in the foregroundLeft: Concept sketch for the grid of birchesFacing above: View of the great lawn, the heart of the anchorage CommonFacing below: The Green is a gathering place for community activities and also a tranquil location to observe ref lections on the façade上图：从桦树林通往安克里奇博物馆的入口；前景是安东尼·格朗雷的雕塑作品

左图：桦树林概念草图

右页上图：大草坪是安克里奇公共区的中心

右页下图：绿化区是社区活动的集会场所，也是观看外墙倒影的宁静之地

157

158


159

左页上图：通往散步走道的入口台阶。台阶左侧的“后台设施”看起来十分美观

左页下图：就餐平台是建筑彩色混凝土基座的延伸部分，仿佛悬浮于景观之上

上图：街道和户外咖啡厅之间玻璃墙面上的桦树剪影

Facing above: View of entry stairs to promenade. To the left of the steps, the “back of house” functions look aesthetically integratedFacing below: The dining terrace is an extension of the building’s integrally colored concrete foundation. It appears to f loat above the landscape

Above: Birch trees silhouette against the glass facade between the street and the outdoor café

160


161

Facing above: Birches in early spring. From this vantage point, where the trees are planted most closely, the grid is barely discernibleFacing below: during design development there was concern that the birch trees would be too dense. a mock up of 2 x 2 timbers

demonstrated that they were notAbove: The 16-foot ipe benches are a popular place in the sun at lunchtime. a stainless steel ribbon on the back edge of each bench is

etched with patron names. The colorful f lowers are a major tourist attraction of anchorage左页上图：早春的桦树；从这个角度看，由于过于茂密，林间的网格几乎难以辨识

左页下图：在设计阶段，设计师曾担心桦树林过于茂密，但是2 x 2木条做成的实体模型证明这种担心是多余的

上图：近5米长的木长椅是享用阳光午餐的好去处；长椅边缘的不锈钢条上刻着赞助人的名字；多彩的花朵是安克里奇最吸引人的特色之一

162


163

Facing: anchorage has a great tradition of extravagant annual f lower planting. These f lower beds are kept to long linear strips as a counterpoint to the native planting in the other 80 percent of the parkAbove: The Walk of the Birches is a black pigmented concrete path seeded with recycled glass. The meandering of this path encourages strolling and discoveryRight: View of “habitat” by antony Gormley through birch trees 左页图：一年四季，安克里奇的花卉都异常丰富；这些花圃呈长条形，与公园里其他

80%的原生植物交相映衬

上图：林间小径由黑色混凝土铺设而成，上面点缀着回收玻璃；人们可以在其间漫步和

探索

右图：透过桦树林看安东尼·格朗雷的作品“栖息地”

164

国际和平花园

ON ThE MaNITOBa/ NOrTh daKOTa BOrdEr, 2007-2010 马尼托巴湖和北达科他州边境，2007年—2010年（一期工程）

In collaboration with GPP and Friesen Tokar architects合作设计：GPP和弗里森·托卡建筑事务所

In sp i red by hor t i cu l tura l i s t henr y Mo ore in 1929 , the International Peace Garden Project, on the border between Manitoba and North dakota, is a symbol of friendship between Canada and the United States. The site consists of 2,400 acres of a temperate forest in what is almost the geographic center of the North american continent. Its location in the Turtle Mountains, rising 900 feet above the plains, is a breathtaking anomaly of aspen, oaks, and lakes overlooking the broad expanse of prairies and wheat fields. Construction of the gardens, structures, and lakes began in the 1930s during the grip of the Great depression by the US Civilian Conservation Corps. The gardens have grown in subsequent decades with the addition of the 120-foot-tall Peace Towers, the Peace Chapel, and, most recently, steel girders transported from the World Trade Center lying at rest at the 911 Memorial.

Significant improvements are planned over the next five years, including a new visitor center, an international center for peace, a new 250-room lodge, and the revitalization of the historic sunken garden pool and surrounding pleasure gardens. Cala was chosen in 2007 as the landscape architect for these projects. Work included the site planning, site design, and horticultural improvements to the entire gardens.

International Peace Gardens

国际和平花园的概念由园艺学家亨利·摩尔于1929年提出，花园位于马尼托巴湖和北

达科他州边境，是加拿大和美国友谊的象征。占地971公顷，国际和平花园处于一片温

带森林之中，位置大概是北美大陆的地理中心。其所在的龟山高274米，上面既有白

杨、橡树，又有湖泊，从山上可以俯瞰辽阔的草原和广阔的麦田。花园的建设开始于

20世纪30年代美国大萧条时期，由美国公共资源保护队发起。随后的几十年里，花园

中增建了和平塔、和平教堂和911纪念碑。纪念碑的旁边还摆放着从纽约世贸中心运来

的钢梁。

未来5年，花园将做以下整修：新建一个游客中心、一个国际和平中心、一个250间客

房的旅馆，以及重建下沉花园泳池和周边的休闲花园。2007年，查尔斯·安德森景观

建筑事务所被选为这些项目的景观设计师。我们的工作包括场地规划、场地设计和改

进花园的园艺设施。

Above: Site planFacing: Watercourse leading to sunken garden上图：总设计图

右页图：通往下沉花园的水道

I cannot imagine a greater anomaly than an immense formal garden in the middle of North america. This one is within 30 miles of my first college experience, where my lifetime career direction as a plantsman was sown. I’ve come full circle, but it may be more like the lower half of a figure eight. On one site visit, in the dead of winter, the air was so cold that the clear sky snowed, exposed skin would freeze in 10 minutes, and hoar frost stuck to the trees. It’s certainly a land of extreme extremes and surprising beauty.

—Charles anderson

在北美大陆中央建造一座正式的花园实在令人惊叹。这里距离我的第一所大学仅48公

里，我在那里决定了自己的园艺学发展方向。这像一个圆，更像数字8的下半部分。在

一个寒冷的冬季，我进行实地考察时，晴空飘着雪，树上结着霜。这里确实是一个极

端又美丽的地方。


(Phase 1)

165

166


上图：多年生植物园效果图

右页上图：概念草图

右页下图：施工场地鸟瞰图

Above: Proposed perennial bedsFacing above: Conceptual sketchFacing below: aerial view of site under construction

167

168


上图：新游客中心、温室和野餐屋

左图：越过池塘看游客中心

Above: New visitor center and conservatory, with restored WPa- era picnic structureLeft: View across octagon pool to visitor center

169

本页自上顺时针依次为：八边形池塘周围环绕着通气气泡；微

小的泡泡让池塘更显平静；越过池塘可以看见前方的喷泉

Clockwise from top: Octagon pond inscribed by circle of aerator buggles; Subtle bubbles - rather than large jets - aerate the pond to better ref lect the spirit of peace; View across the octagon pool, with restored homemakers fountain in foreground

170


Above: Water course delineating the border of the United States and CanadaFacing: A view from the terrace to water channel and the towers上图：水道勾勒出美国和加拿大的国界

对页图：从平台看水道和高塔

171

172

Lean Linear City / Soleri

The lean linear City is a project of Paolo Soleri in response to great interest in China and Korea. Using the modules and nodes of linked infrastructure, the landscape explores the relationship of structures to each other and their setting. The reinforcement of horizontal connections between structures and the character of their landscape result in a landscape metaphor that treats the structure like a mountain rising from the plains. The lowest areas are the most sheltered and have the greatest amount of water to utilize. as one moves toward the highest part of the structure, the environmental conditions are contrasted by more wind desiccation, less available water and higher temperature fluctuations.

The vertical gradient determines the kinds of plant communities and gardens sustained within the architecture. To support this idea, the façade is altered by sculpting volumes of three-dimensional spaces to allow for vertical landscapes of trees and other structures within the building. This enhances the integration of the on-the-ground landscapes with the terra level, a mid-level landscape/transportation corridor, which brings large-scale landscape to a midpoint in the architecture and higher. Openings in the façade will make intermittent landscape above and below the terra level.

The circulation system is connected throughout the linear city with a central focus on pedestrian circulation, conveniently tied to local regional and world transport systems. Pedestrian connections knit each side of the module together with a series of bridges, which traverse the grand central landscape at the core of each module. The central landscape supports an extensive water harvesting, nutrimental gardens, and a vast array of civic spaces. It contains mostly native riparian plants that assist with bio-filtration and remediation of stormwater runoff and other urban processes. This f lexible, dynamic, ecologically-based landscape furthers our connections to the setting by respecting wildlife corridors with enhanced habitat. The landscape on the outside edges of each module are a combination of preservation lands, agriculture and large-scale recreational facilities.

Seeing the architecture as a setting for readily-accessible urban open space ensures a variety of landscape expressions that enrich and reconnect our lives to the natural ecological evolving processes. Simply put, the hummingbird will be just as at home as we are in this evolving, yet familiar, urban/agrarian city.

线形都市/索列里

INTErNaTIONal, 2009-ONGOING世界各地，2009年至今

In collaboration with Paolo Soleri 合作设计：保罗·索列里

Image: Site diagram图片：场地图示

173

174


上图：部分线形都市的概念景观规划图

右页上图：环境分析和微气候研究

右页下图：土地利用提案

出于对中国和韩国的巨大兴趣，保罗·索列里设计了“线形都市”。景观设计通过

“模块”和“节点”将各个建筑结构连接起来。建筑和景观特点水平联系的加强让整

个结构看起来像是一座拔地而起的山脉。低处最受庇护，拥有最多的可用水资源。越

往上，空气越干燥，可用水资源越少，气候波动也越大。

垂直梯度决定了植物群落的类别和建筑内部花园植物的种类。建筑的外墙通过雕刻结

构的调整形成了一个三维空间，可以在建筑内部设置树木、花草和其他垂直形态的景

观。这一设计进一步将地面景观和中层景观/交通走廊整合了起来，使得巨型景观能够

进入到建筑的中层和上层。建筑外墙上的开口让景观可以任意穿梭于中层的上下。

线形都市的交通系统以人行道为中心，可以与地区和全球交通系统方便地连通。人行

天桥横穿建筑模块中央的中心景观，将建筑的两侧连接在一起。中心景观支撑着淡水

收集、营养花园和大量的公共空间。里面包含大量的原生植物和滨水景观，协助生态

过滤、保持水土等其他都市进程。这一灵活、动态的生态景观设计通过尊重野生生物

廊道、提升栖息地环境，拉近了我们与自然的距离。每个模块的外围景观都是生物保

护区、农田和大型娱乐设施的结合。

把建筑看做一个开放的城市空间保证了景观的表现力，重新将我们的生活与自然生态

进化进程连接在一起。简单来说，野生生物和我们都能够在这个不断进化的线形都市

中繁衍生息。

Paolo Soleri’s books on arcologies have always been a critical part of my library. his work, Buckminster Fuller’s, and leCorbusier’s all espoused an alternative and more vital way of life. My ongoing work with Soleri’s associates, especially Tomiaki Tumura, is fulfilling a lifelong dream and is now a part of my journey.

—Charles anderson

保罗·索列里的生态建筑学书籍一直是我书房中最重要的图书。他的作品《巴克明斯

特·富勒作品》和《柯布西耶作品》都赞成生活方式的变化和活力。我与索列里的合

作作品是我毕生的梦想，也是我人生旅途中的一部分。


Above: Conceptual landscape master plan for segment of linear cityFacing Above: Environmental analysis and microclimate studyFacing below: land use proposal

175

200m

100m60m 100m 70m 63m 60m 50m 25m

400m

200m

137m

100m

110m

20-acre Farm 5-acre Farm Football Baseball Soccer Garden1 acre

63m

60m

50m

little league

Nutrient Cycling

50m

Olympic Pool

20 英亩农场 5英亩农场橄榄球足球棒球花园1英亩小联盟奥林匹克

水池

养分循环

A. 苹果和梨树园利用冷气储藏箱来在暖日获取低温。

B. 特定的农业划分可以充分开发建筑微环境，拓展种植季节和农作物的种类。

C. 城市废水通过构建的湿地网络被净化成地下水。此外，还为区域生物多样性而打造了

一个喷水池。

D. 为了稳定当地的水土，支流得以保存、改造或修复，形成了一个弹性而多产的区域。在

有保护的前提下，这些廊道可以作荒地通道。

E. 河流廊道为防洪和野生物通道提供了一个缓冲区。

A. apple and Pear Orchards utilize cool air reservoirs to achieve necessary chilling hours in warmer daysB. Specific agriculture plots are situated to best exploit the architectures microclimates, extending seasons and expanding crop diversityC. Urban waste-water is polished for groundwater re-charge by a network of constructed and enhanced wetlands. In addition to this engineering benefit, a foundation for regional biodiversity is establishedD. To stabilize local hydrology and soils tributaries are preserved, enhanced or restored to a resilient and productive state. Once secured these corridors can be used for wilderness accessE. river corridors are allowed generous buffers for f lood protection and wildlife passage

A

B

C

D

E

176


上图：建筑凹进处的景致

下图：概念图解，显示高山植物群落是如何适应建筑形成的微环境的

右页图：地面景观的使用系列图

Above: View of building alcoveBelow: Conceptual diagram showing the mountain plant communities best adapted to the microclimates created by the building formAbove: Sequence of potential uses on the terra level

峡谷内部微环境

Interior Canyon Microclimate

Summit

highlands

lowlands

riparian

山顶

高地

低地

河岸

177


178

Image: Interior view of lean linear City图片：线形都市室内景观

179

180

Hangzhou CBD

This resort-like setting for residences features two diamond-shaped towers, designed by Gensler architects. The project is part of a redevelopment effort aimed at creating a new central business district for the city of hangzhou.

Using a diamond form as a metaphor, the entry garden’s central water feature is a black diamond, a reflective water element in a disciplined garden of native trees and grass. The water elsewhere in the project continues a theme of reflective pure tables of water. The Garden of Seasons, the project’s central park, provides a place for the guests to stroll and enjoy the outdoors. at the park’s core is a great lawn with magnificent Camphor trees that are flanked on two sides with groves of dawn redwoods. The black diamond of water provides the project with a signature element and focal point for the building’s entrance.

The building has three distinct roof terraces on its north side. Each of the terraces provides the user with opportunities to enjoy the outdoors. adjacent to the indoor pool on the third floor is an activity terrace with a multipurpose court. On the fourth floor, there are two gardens. One is designed for large outdoor banquets and events with an outdoor kitchen, a table of fire, and a table of water. The other provides a park-like atmosphere for guests to walk their dogs and children to play on the turf landforms. The fourth-floor terraces capture views of a nearby park and the Qiantang river.

中国，杭州，2009年—2012年haNGZhOU, ChINa, 2009-2012

杭州CBD

In collaboration with XWhO International Group

这个度假村式住宅项目由两座钻石形塔楼组成，由詹斯勒建筑事务所设计，是杭州市

区再开发工程的一部分。

入口花园的中心水景是一个位于原生树木和草坪花园的倒影池，宛如一枚黑色钻石。

项目别处的水景也延续了倒影的主题，采用了纯粹的水台。四季花园是项目的中心公

园，为游客们提供了散布和感受户外空间的场所。公园中心是一片大草坪，两侧是挺

拔的樟脑树和红杉。黑色钻石水景是项目的标志性景观，也是大楼入口的焦点。

大楼的北侧有三个独立的屋顶平台，人们可以在上面享受户外的空间。紧邻三楼室内

泳池的是一个带有多功能场地的活动平台。四楼有两个花园：一个可以举行大型户外

宴会和活动，设有户外厨房、火炉、水台；另一个像公园一样，游客可以遛狗，孩子

们可以在草坪上玩耍。四楼的平台可以俯瞰到隔壁公园和钱塘江的风景。

Above: Site planRight: Entrance with camphor treesFacing: aerial view

合作设计：XWHO国际集团


下图：入口的樟脑树

右页图：鸟瞰图

181

182


This is my seventh project in China. The core approach to my design there has always been to bring a sensitivity that is ecologically based, modern, minimalist, and as Chinese as possible. This means working with my associated host designers and clients to give them an appreciation for landscape as a part of the urban history of China while bringing my personal style and signature to the project. When I first arrived in China, on the first day I sensed a familiarity with the land, like I had been here before and that I knew the people from a previous time.

—Charles anderson

这是我在中国的第七个项目。我在中国的设计重点一直是生态环保、现代、极简而具

有中国风。这意味着我在与东道主设计师和客户合作的时候，既展示中国城市设计，

又引入我的个人风格和项目特点。我第一次来到中国，便有一种似曾相识的熟悉感。


183

Facing: roof garden and dining terraceAbove: roof garden and family terrace, with raised planters to increase soil depth for trees

左页图：屋顶花园和家庭平台

上图：屋顶花园和家庭平台，架高花槽增加了树木的土壤深度

184

Fraternal Twins

This lake Washington residence features a series of gardens that create outdoor rooms with strong relationships with the interior. The Entry Garden is meant to be beautiful and easy to maintain. Passing through the entry gate, elegant trees and a simple shrub and groundcover palette create a threshold between the neighborhood and the house. Filled with spectacular plants with big leaves and lots of color evocative of tropical climates, the Tropical Garden is the showcase garden that surrounds the main entrance, elevated glass family room, and water feature. In contrast to the Tropical Garden, The Sanctuary is an intimate garden that features plants known for their bloom, structure, or fragrance. a small, round water feature, with one discrete water jet, fills the garden with the sound of dancing water. Native plant restoration along the shoreline is the feature of the garden along the shore.

In collaboration with Olson Kundig architects

美国，华盛顿州，贝尔维尤，2007年—2010年BEllEVUE, WaShINGTON, USa, 2007-2010

异卵双子住宅

The name Fraternal Twins comes from the two houses in the garden. The client owned and lived on one lot and purchased a neighboring lot to expand their home for entertaining. The new house is the fraternal twin of the existing one. The dNa they share is their mirror footprints, the paint, and the landscape.

We forested the street side and added the tropics garden, the rhododendron garden, and the sanctuary. The l-shape of both homes form the enclosure for the great lawn. The clients were gracious and appreciative of the landscape. We reused a great number of specimen trees and large shrubs from the two very different lots and merged them with a minimalist vision - putting a twist on a very modernist design.

—Charles anderson

这个位于华盛顿湖畔的住宅以一系列的花园为特色，其所创造出的室外居室与室内有

着强烈的联系。入口花园美观而易于养护。穿过大门，优雅的树木、简洁的灌木和多

彩的地面将住宅与周围的环境区分开来。热带花园以大叶植物和色彩斑斓的热带植物

为主，环绕在主入口、垫高的玻璃娱乐室和水景周围，是主要的展示花园与热带花

园。相反，朝圣花园更加私密，里面花草香气四溢。小型圆形喷泉为花园带来悦耳的

水声。沿岸的花园则以恢复湖岸的原生植物群落为特色。

异卵双子住宅的名称源于两所住宅处在同一花园。委托人生活在其中一所里，并买下

了另一所新的用作家庭娱乐。新住宅和原有住宅是异卵双胞胎。它们共享的DNA是对

应场地、涂料和景观。

我们在街边种植了树木，并且新建了热带花园、杜鹃花花园和朝圣花园。两座住宅的L

形造型正好将草坪围了起来。委托人对这样的景观设计十分满意。我们重新利用了两

处场地原有的大量园景树和灌木，将它们合并成极简主义的形式，在现代主义设计中

增添了新效果。


Above: Site planBelow: linear stairway and lawn tie together the two separate housesFacing: ref lecting pool and tropical garden

合作设计：奥尔森·康迪格建筑事务所


下图：直线型楼梯和草坪将两栋住宅连接到一起

右页图：倒影池和热带花园

185

186


Image: Generously-sized lawn for entertaining图片：大面积的草坪可供娱乐活动之用

187

188

市场庭院旅馆 Inn at the Market Courtyard

The renovations to the Inn at the Market Courtyard in Seattle’s Pike Place Market aimed to create a contemporary and inviting space for hotel guests and the public. By replacing the old brick paving with light colored pavers, updating the water feature with dark granite, and selecting new site furnishings, the courtyard transformed into a plaza. The new space draws people in from the streets and presents visitors with great shops, a cozy setting and views to Puget Sound.

美国, 华盛顿州，西雅图，2009年SEaTTlE, WaShINGTON, USa, 2009

西雅图派克市场庭院旅馆的翻新工程旨在为游客打造现代而舒适的空间。通过将旧地

砖换成浅色地砖、为水景装饰深色花岗岩以及挑选新的场地美化设施，庭院变成了广

场。新空间将人们从街道上吸引过来，为游客呈现了优秀的店铺、舒适的环境和普吉

特海湾的风景。

上图和下图：天井庭院

右页图：庭院里的咖啡座

Above and Below: View of interior courtyardFacing: Café seating in courtyard

189

190


This courtyard was formerly made of red brick like the building. It had a dark quality that made the place feel wet and cold. We brought light into the courtyard by simply changing the pavement to light tan color with a contrasting black water feature. We added elegant benches and planters to transform this very urban courtyard into a light-filled amenity to one of Seattle's most iconic of places.

—Charles anderson

庭院原来由红砖组成，和建筑一样。暗色让它看起来潮湿而阴冷。我们通过将地面改

成浅棕色并配以对比强烈的黑色水景，将光线引入庭院。我们添加了优雅的长椅和花

槽，让这个都市庭院变得明快而舒适，使其成为了西雅图的标志性地点之一。


191

Facing: Water feature with sculptureAbove: Courtyard with restaurant dining areaRight: Bench with metal planters左页图：水景和雕塑

上图：庭院和就餐区

右图：长椅和金属花槽

192

South Coast Plaza南海岸广场

COSTa MESa, CalIFOrNIa, USa, 2001美国，加利福尼亚州，科斯塔梅萨，2001年

In collaboration with Kathryn Gustafson合作设计：凯瑟琳·古斯塔夫森

The South Coast Plaza complex is one of the nation’s premier retail centers and Orange County’s performing arts quadrangle. The Strata Garden is designed as an interpretation of human and geologic time scales. The 24,000 square foot terrace and café dining area at the eastern end of the 560 feet bridge of Gardens connects two retails centers that comprise South Coast Plaza. The Flying Bridge takes the shape of bird in flight as it lifts off from the garden that supports a carpet of bougainvillea. The plaza displays the geologic dynamics of the area by the use of layers of stone and by air bubbling from the f loor to animate the water feature.

南海岸广场综合体是美国最早的零售中心之一，也是橘子郡的表演艺术中心广场。地

层花园的设计旨在诠释人类与地质年代之间的联系。花园桥东侧近2,230平方米的露台

和咖啡餐饮区将南海岸广场的两个零售中心连接在一起。浮桥宛如从花园振翅欲飞的

鸟儿。石层的运用和水景地面上的气泡让广场展现出了该区域的地质变化。

Above: Site planBelow: Proposed image of terraceFacing: View of "Bridge of Gardens"上图：总规划图

下图：平台效果图

右页图：“花园桥”

193

194


Kathryn Gustafson brought this project to our office, as a collaboration between her, my office, and the architect. It was one of the most highly anticipated shopping mall projects I had ever heard of in a very well-to-do part of California. What amazes me most about the work is the craft and exquisite detailing of the “strata” stone walls and stairs, something that I will always admire.

—Charles anderson

凯瑟琳·古斯塔夫森为我们带来了这个项目，让我的团队和建筑师与她共同合作。据

我所知，这是加州最令人期待的购物中心项目之一。最令我惊叹的是“岩层”石墙和

楼梯的工艺和精美的细节，我不得不赞美它们。


195

Facing: detail of bougainvillea growing on bridgeAbove: View of inside and outside of "Bridge of Gardens"Below: Shade structure on bridge左页图：桥上的叶子花细部图

上图：“花园桥”的内部和外部

下图：桥上的遮阴棚

196


197

Facing above: Stairway revealing the strata of stone layersFacing below: Edge detail of water featuresAbove: air entrained water of upper water featureRight: air-entrained water represents seismic activity左页上图：展示岩石层的楼梯

左页下图：水景边缘细部

上图：上层水景的加气水

下图：加气水反映着地震活动

198

3031 Western Avenue

3031 Western avenue is a luxury high-rise apartment project situated on the northern edge of Seattle’s Olympic Sculpture Park and looking out to Puget Sound. It lies in a transition zone between a dense urban community, commercial use and a public waterfront promenade. By virtue of its location and the adjacent uses the current views are preserved in perpetuity. architectural skin detailing and glass “veils” play to the views and green screens of trelliswork extend the gardens of the sculpture park to soften and blur the edge between garden and building.

The landscape program required improved pedestrian access and capitalization on natural and urban views. There are two landscapes on this site - one is at street level and the other is a roof garden fourteen stories in the air. at street level the section of Bay Street between Elliot and Western avenues was vacated and presented an opportunity for an urban promenade. Plaza space lies over an underground garage ramp entrance and a grand set of steps creates a forced perspective toward the water.

Three trays of garden plantings descending along the steps hold and release rain water after storms. The plaza has space for sculpture. Flowering trees and autumn color provide moments of seasonal change.

T h e ro o f ga rd e n ex t e n d s t h e m o d e r n i s t g r i d t o c re a t e proportioned spaces for summer social events. It takes advantage of stunning views overlooking the Olympic Sculpture Park and Puget Sound. a lone shore pine landmarks the roof garden - a reference to the shore pine on the rooftop garden on another high-rise a few blocks away.

西大街3031号

SEaTTlE, WaShINGTON, USa

In Collaboration with Mott hinthorne architects 合作设计：莫特·辛瑟恩建筑事务所

上图：总规划图

下图：项目平面图与邻近街廊的关系，奥林匹克公园紧邻于项目基地

西大街3031号是一座奢华高层公寓楼，位于西雅图奥林匹克公园的北侧，远眺普吉特

海湾。它位于密集的城市社区和水滨长廊之间，具有极佳的风景。建筑外墙的细节设

计和玻璃帷幕有助于室内的取景，而绿色格子屏障是雕塑公园的延伸，模糊了花园与

建筑的界限。

景观设计要求改良人行通道，强化自然和城市风景。项目共有两个景观设计，一个在

街道层面，另一个是位于14层楼屋顶的空中花园。在伊利亚特大街和西大街之间的海

湾街上，空地被用作城市散步走廊。地下停车场坡道入口上方的广场和宏伟的台阶营

造出壮丽的滨水景观。

沿着台阶所设的三个花坛可以控制和保持雨水。广场上留有摆放雕塑的位置。花卉树

木和秋色植物体现了季节的变迁。

屋顶花园为夏日设计活动提供了比例相称的空间，可以俯瞰奥林匹克雕塑公园和普吉

特海湾的壮美风景。屋顶花园的特色设计是一棵扭叶松，这一设计借鉴了附近一座摩

天大楼的屋顶花园设计。

美国，华盛顿州，西雅图

Above: Site planBelow: Site plan in context

199

上图：大楼梯

Above: View of grand staircase

200


Seattle’s Olympic Sculpture park has become one of several urban gems. When Erik Mott contacted us to join them on the only piece of underdeveloped land next to the park, I was excited that something significant would be built in that “missing tooth” context. From the earliest discussions while designing the Olympic Sculpture Park we sought to embrace all of the differential edges and adjacencies that would insure diverse visual and audible experiences to the pedestrians. Now we had the chance to secure an unfinished edge with a new building and landscape that will have to do the same “embrace it’s context…”

—Charles anderson

西雅图的奥林匹克雕塑公园是城市中的宝石。当埃里克·莫特联系我们加入他们进行

公园旁边的开发工程时，我十分兴奋地知道我们要建造一个意义重大的项目。从最初

的设计讨论开始，我们就一直试图将不同元素融合在一起，以保证游人的视觉和听觉

体验。现在，我们有机会能将新建筑和景观与周边的环境完美地结合在一起。


Above: View from Olympic Sculpture ParkFacing: View from street上图：从奥林匹克公园内看本项目的建筑立面

右页图：街道与本项目建筑立面的关系

201

202

CharlES aNdErSON, FaSla rESUME

PROFESSIONAL EDUCATIONMasters of landscape architecture, Graduate School of design,harvard University, 1985Bachelors of landscape architecture, BSla, Washington State University, 1981associates in applied Science, MSU, dakota College at Bottineau, North dakota, 1977

PROFESSIONAL EXPERIENCECharles anderson landscape architecture; Principal, Founder; Seattle, Wa,Scottsdale, aZ; 2001 - presentanderson and ray; Principal and Co-Founder; Seattle, Wa; 1994 - 2001

PROFESSIONAL REGISTRATIONWashington license #560 - since 1992; California license #4103 - since 1995;arizona license - since 2009; alaska license #11366 - since 2005; Montana license #242 - since 2006; Oregon license #659 - since 2008

PROFESSIONAL AFFILIATIONSamerican Society of landscape architects, Fellow, 2007 - presentamerican Society of landscape architects, Member, 1992 - 2007american Society of landscape architects, affiliate, 1980 - 1992

LECTURESUrban Ecology, arizona State University, herberger Institute for design and the arts, Tempe arizona, 2010 47th International Making Cities livable Conference, Portland, Oregon, lecturer, 2009Xeriscape Council of New Mexico Conference, lecturer, 2008Seattle art Museum – Olympic Sculpture Park, lecturer, 2007Global Green lecture Series, University of Washington, lecturer and Panel discussion Member, 20072007 aSla annual Meeting and Expo, San Francisco, lecturer, 2007British Columbia Society of landscape architects, lecturer, 2007Process lecture Series, alaska design Forum, Fairbanks and anchorage, lecturer 2007 Public Workshop, anchorage Museum of history and art, lecturer, 2006aSla annual Meeting and Expo, Minneapolis, lecturer, 2006Korean Institute of landscape architecture, Seoul National University, lecturer, 2004Friends of Olmsted Parks, Seattle, lecturer, 2003_Seattle art Museum, lecturer, 2003Bellevue Botanical Garden, lecturer, 2002Seattle department of Parks and recreation City-Wide Education Program, lecturer, 1999, 2001University of Washington Center for Urban horticulture, lecturer, 1998

TEACHING & JURIESarizona State University: Tempe, aZ, Faculty associate, 2009-2010 aSla National Student awards, Juror, 2009aIa Northwest Chapter, Juror, 2008

University of Washington, Visiting Instructor, 2007University of Washington, Juror, 2003 - 2007National Garden Club, Visiting Instructor, 2002 - 2004PUBlIC SErVICESeattle design Commission, Commissioner, 2003 - 2005Monorail review Panel, design Commission representative, 2004 - 2005Seattle design Commission, Waterfront Planning Subcommittee, 2004 - 2005light rail review Panel, Environmental Impact Statement reviewer, 2003Seattle arts Council, advisor, 2003Seattle department of Neighborhoods, Ecological restoration Volunteer, 1994 - 2000

SELECTED PUBLICATIONS AUTHORED“Viaduct replacement Gives City a Chance to Make Waterfront Unforgettable.” The Seattle Times, december 12, 2008.“Seattle designer has a renaissance in North dakota.” daily Journal of Commerce, april 17, 2008.“landscape Grounded in Northwest Natural history.” daily Journal of Commerce, January 18, 2007.“Trillium Projects.” International New landscape, april 2006, pp. 78-82.“art Meets Frisbees in North Seattle Park.” daily Journal of Commerce, april 22, 2004.“Celestial landscapes.” architecture+, July 2004, pp. 96-97.“Olympic Sculpture Park: a Northwest Collage.” daily Journal of Commerce, april 10, 2003.“an Evergreen Manifesto.” daily Journal of Commerce, april 18, 2002.“Inviting Nature Back into the Neighborhood.” daily Journal of Commerce, april 19, 2001.“Urban Ecology, or Expressing Nature in the City.” daily Journal of Commerce, april 20, 2000.“Urban Wetlands: another approach.” daily Journal of Commerce, august 19, 1999.“Time Travel on the Terrace.” daily Journal of Commerce, april 1, 1999.“Outdoor Classrooms: Building a lake Washington Environmental Education Complex.” daily Journal of Commerce, March 27, 1997.anderson, Charles. Native Plant alliance-Manual of Native Plant Communities. Cascade Biomes, 1995, 1997, 1999.

SELECTED PUBLICATIONSFeatured in the book, 1000X landscape architecture. Braun, 2009.drew, hank. “Seattle design 100+: New 10.” Seattle homes and lifestyles, January 2009, pp. 52-60.Gamache, Shawna. “revamped Paine Field hangar worthy of WWII planes.” daily Journal of Commerce, June 5, 2008.Enlow, Clair. “Cliff dwelling: landscape architects re-create a Native Pacific Northwest landscape in the City.” landscape architecture, February 2008, pp. 74-81.Slovan, Margie. “Viaduct Vision Calls for an Open Tunnel with lids.” daily Journal of Commerce, december 23, 2008.“WaSla awards highlight local landscape restoration.” daily Journal of Commerce, June 18, 2008.Stahl, dean. “The Beauty of Basic | Spare Equals Serenity.” The Seattle Times, May 18, 2008.roth, Bill. “It’s a New Museum Piece.” anchorage daily News, april 25, 2008.Easton, Valerie. “Scaling Up: For Gardens with real Vision, See the Trees.” The Seattle Times, april 6, 2008.“Practice in China: Cala.” Urban Space design Magazine, January 2008, pp. 42-44.“NW Projects Take Top aIa awards.” daily Journal of Commerce, January 10, 2008.

查尔斯·安德森（美国景观设计师协会荣誉会员）个人履历

203

Brophy, Nicole. “15 to Watch.” Estates West, Fall 2008, pp. 62-76.Easton, Valerie. “Sculpture Park Groundcover.” The Seattle Times, February 7, 2007.rowe, lindsay. “design achievement awards ’07.” Seattle homes and lifestyles, October 2007, pp 74-78.Enlow, Clair. “art in the Open.” landscape architecture, august 2007.“an Urban Incarnation of the Native landscape: Olympic Sculpture Park.” landscape design, July 2007, pp. 32-38.Enlow, Clair. “a look at Seattle’s Great Places, Current and Future.” daily Journal of Commerce, July 25, 2007.holt, Gordy. “landscape designers and Projects in Seattle Win awards.” Seattle Post Intelligencer, July 18, 2007.“Cala Wins award for Sculpture Park.” daily Journal of Commerce, May 2, 2007.“reclaiming the Time and Place: Trillium Projects.” C3, april 2007, pp. 48-61.Wingate, Marty. “landscape design is Built on Our NW Environment.” Seattle Post Intelligencer, January 18, 2007.Enlow, Clair. “design Perspectives: a look at Seattle’s great places, current and future.” daily Journal of Commerce, January 17, 2007.robertson, Iain. “Cultivating the Waterfront.” Seattle Post Intelligencer, december 24, 2006.“Strategies for a Greener Future.” landscape architecture, November 2006.andrews, Jenny. “aSla award of honor: Still Waters.” Garden design, November 2006, p.90.Bennett, Sam. “Spectacular Site a Challenge for Sculpture Park designers.” daily Journal of Commerce, November 22, 2006.“anderson, Berger New WaSla Fellows.” daily Journal of Commerce, October 18, 2006.Simons, John Ormsbee and Barry W. Starke. landscape architecture a Manual of Environmental Planning and design. McGraw-hill, 2006, p. 104.“Tables of Water.” International New landscape, October 2006. pp. 66-72.Easton, Valerie. “Inspired by Nature.” The Seattle Times, October 8, 2006.“Mount Saint helens.” International New landscape, February 2006, pp. 76-81.Slovan, Margie. “Being an architect in China requires Patience, Flexibility.” daily Journal of Commerce, May 3, 2006.arab, Michelle. “Creating an Urban Forest in anchorage.” daily Journal of Commerce, april 27, 2006.“designing Seattle’s Green Network for the Next Century.” arcade, Fall 2006.Martin, Frank. “design for danger, Confronting the Sublime at Mount St. helens.” landscape architecture, June 2006, pp. 136-143.“Creating Sculpture Park’s landscape is an art in Itself.” daily Journal of Commerce, September 12, 2005.“Six Win Top honors for landscape Work.” daily Journal of Commerce, November 16, 2005.“Professional Best: aSla’s 2004 awards.” landscape architecture, September 2004, pp. 96-109.“’SaM Moves Outdoors’ with $85m Park.” daily Journal of Commerce, June 7, 2005.Enlow, Clair. “Cities Can Enjoy Their Past and Future.” daily Journal of Commerce, February 2, 2005.“Tides and Trees to Mark anchorage Museum landscape.” daily Journal of Commerce, November 3, 2004.“Trillium Projects Win for Native Plant Use.” daily Journal of Commerce, august 18, 2004.Enlow, Clair. “Narrating history with Natives.” landscape architecture, July 2004, pp. 46-59.Enlow, Clair. “Success with Natural Succession.” landscape architecture, July 2004, pp. 60-63.“2003 aSla awards.” landscape architecture, September 2003, pp. 70-81.“Bogs and Promenades Win design awards.” daily Journal of Commerce, November 26, 2003.“aSla to honor Two Seattle Firms.” daily Journal of Commerce, July 1, 2003.

Kay, Jane holtz. “Thinking like and Urban Park.” landscape architecture, OVctober 2003, pp.210-212.Freeman, allen. “Out of This World.” landscape architecture, October 2003, pp.68-79.Benson, don. “Seattle’s Best Outdoor Spaces.” daily Journal of Commerce, april 10, 2003.Enlow, Clair. “Zig Zag art on a Green Carpet: a Sculpture Park to Unfold on the Seattle Waterfront.” landscape architecture, vol. 92, no. 8, august 2002, pp. 22-23.Bennett, Sam. “Snapshot: Charles anderson.” daily Journal of Commerce, October 2, 2002.Seven, richard. “around Every Turn, discovery in Seattle’s largest Park.” The Seattle Times, august 11, 2002.Keeny, Gavin. On the Nature of Things: Contemporary american landscape architecture. Birkhauser, 2000, pp. 34-45.Enlow, Clair. “Seattle Standoff.” landscape architecture, October 2000, pp. 172, 169.“Seattle, Silo’s and Salmon: What to do about ‘Whoops.” architectural record, June 2000.“Mount St. helens: Super-real reclamation.” landscape architecture, February 1994.leccese, Michael. “Volcanic Ventures.” landscape architecture, February 1993, pp. 38-43.“Under the Volcano.” landscape architecture, June 1991.

SELECTED AWARDS & HONORSCooper hewitt, nominated National design award, 20095th European Biennial of landscape architecture, Barcelona Spain, Exhibition: “New american landscape,” Featuring the Olympic Sculpture Park, 2008World architecture Festival, Category Winner: Nature, Olympic Sculpture Park, 2008Edra/Places awards, Olympic Sculpture Park, 2008Travel + leisure design awards: Best Cultural Space, Olympic Sculpture Park 2008aSla Washington Merit award, anchorage Museum Expansion, 2008Veronica rudge Green Prize in Urban design, harvard design School, Olympic Sculpture Park, 2007“Top Ten Best (New and Upcoming) architectural Marvels.” Time, Featuring The Olympic Sculpture Park, december, 2007_aIa National honor award, Olympic Sculpture Park, 2007aSla National honor award, Olympic Sculpture Park, 2007aIa New York Excellence in design award, Olympic Sculpture Park, 2007aIa New York honor award, New York Chapter aIa, Olympic Sculpture Park, 2007aIa Seattle honor award, Olympic Sculpture Park, 2007Finalist: International Urban, landscape award, Topos, a&W, Eurohypo, Olympic Sculpture Park, 2007aSla National Merit award, Tables of Water, 2006aSla Washington honor award, Satsop Nuclear Gardens, 2006Seattle design Commission award and Mayor Commendation, Olympic Sculpture Park, 2005Groundswell Exhibit featuring Olympic Sculpture Park – MoMa, New York, 2005First Place, Bellingham Children and art Museum design Competition, 2005aSla National honor award, Mount St. helens National Volcanic Visitor Centers, 2005aSla Washington honor award, SaTSOP, 2005aSla National Merit award, The Trillium Projects, 2004aSla National Merit award, arthur ross Terrace, 2003aSla Washington Merit award, roxhill Bog, 2003aSla Washington Merit award, 500 area of discovery Park, 2003aSla Washington Merit award, lake Washington Environmental Education Sequence, 2003Progressive architecture award, architecture, Olympic Sculpture Park, 2003

204

PROJECT NAME

Charles HeadshotJohn E. Jaqua Academic Center for Students AthletesThe Gardens of the Olympic Sculpture Park The Visitor Centers at Mount St. Helens National Volcanic Monument

Arthur Ross Terrace, Museum of Natural History

Satsop Development Park

Trillium Projects:

Seward Park Native Plant Garden

Genesee Meadow

Pritchard Beach Wetland Park

Colman Park

roxhill Bog

500 area discovery Park

#

1

2

3

4

Photo Credits

Studio No. 5Wolfram BurnerBruce C. Moore USFS - United States Forest ServiceUSFS - United States Forest Serviceandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psCharles anderson | atelier psEdaW/Strode-Eckert Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyEdaW/Strode-Eckert Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psd Finnin/aMNhNicole Beattie VallespirNicole Beattie VallespirNicole Beattie VallespirNicole Beattie Vallespird Finnin/aMNhd Finnin/aMNhNicole Beattie VallespirNicole Beattie VallespirNicole Beattie VallespirNicole Beattie VallespirCharles anderson | atelier psCharles anderson | atelier psCharles anderson landscape architectureBrice MarymanCharles andersonSatsop development ParkCharles anderson | atelier psSatsop development ParkCharles anderson | atelier ps, Michelle arab and andrew Buchanan (Subtle light Photography)andrew Buchanan, Subtle light PhotographyCharles anderson | atelier psMichelle arabandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psMichelle arabCharles anderson | atelier psandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyMichelle arabCharles anderson | atelier psandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyCharles anderson | atelier psandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light Photography

PhOTOGraPh CrEdITS

Photo location

acknowledgentsIntroduction 1Introduction 2 26 top26 bottom2728 top28 bottom29 site plans29 top right 29 bottom right 3031 top31 bottom32 top32 bottom33 top33 bottom34353637 top right 37 top left37 bottom38 top38 bottom39 top39 bottom404142 top42 bottom43444546 top46 bottom4749 (photo collage)

50 top50 bottom left50 bottom5152 top 52 bottom right 52 bottom left5354 site plan54 bottom right 54 bottom left55 top55 bottom56 top56 bottom57 top57 bottom585960 top60 bottom right 60 bottom left61 top61 bottom right 61 bottom left62 top62 middle62 bottom63

图片来源

205

5

6

7

8

9

10

11

Little Big House

Beijing 2008 Olympics Competition

Kingdoms of Discovery

Waterfront Place

Madison Art House

Tables of Water


Charles anderson | atelier psPhilip VogelzangPhilip VogelzangCharles anderson | atelier psPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangPhilip VogelzangXWhO designXWhO designXWhO designCharles anderson | atelier psdiscoveryland, Chinadiscoveryland, Chinadiscoveryland, ChinaCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier ps and Carlos Zapata StudioCharles anderson | atelier ps and Carlos Zapata StudioCharles anderson | atelier psdomestic architectureCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psdomestic architectureCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psMichelle arabOlson Kundig architectsCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier pslydia heardandrew Buchanan, Subtle light Photographyandrew Buchanan, Subtle light PhotographyCharles andersonCharles anderson | atelier psandrew Buchanan, Subtle light PhotographyBruce C. Mooreandrew Buchanan, Subtle light PhotographyBruce C. MooreBen Benschneiderarion Ellis PottsCharles andersonThomas Brown

64 top64 bottom6566 top 66 bottom6768 top68 bottom69 top69 bottom7071 top71 bottom7273 top73 bottom plans74 top 74 bottom75 top 75 bottom76 top76 bottom77 top 77 bottom78 top 78 bottom798081828384 top84 bottom8586878889909192-9394 top 94 bottom9596 top 96 bottom9798-99100 top 100 bottom101 top101 bottom right 101 bottom left102 top 102 bottom right 102 bottom left103 top103 bottom104 top104 bottom105106107 top left107 plans and section107 bottom108109110 top 110 bottom111112-113114 top right

206

12

13

14

15

16

Whatcom Museum Light-catcher

Denver Art House

Hanoi Hotel and Convention Center

University of Oregon: John E. Jaqua Academic Center for Student Athletes


andrew Buchanan, Subtle light PhotographyBruce C. Moorelydia heardCharles anderson | atelier psBruce C. MooreBruce C. MooreCharles anderson | atelier psBruce C. MooreBruce C. MooreBruce C. Moorelydia heardCharles anderson | atelier psJeff Soderquist Olson Kundig architectsOlson Kundig architectsJeremy SmithTim BiesPeter JamesCharles anderson | atelier psPeter JamesCharles anderson | atelier psBruce C. MooreXWhO designCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier ps and Carlos Zapata StudioCharles anderson | atelier ps and Carlos Zapata StudioCharles anderson | atelier ps and Carlos Zapata StudioCarlos Zapata StudioCarlos Zapata StudioCharles anderson | atelier ps and Carlos Zapata StudioWolfram BurnerCharles anderson | atelier psKevin ClarkPeter Eckert / Eckert & eckertScott Scrivenandika MurandiPeter Eckert / Eckert & eckertPeter Eckert / Eckert & eckertandika MurandiSteven Pfaff lePeter Eckert / Eckert & eckertWolfram Burnerrichard GoreckiErik BishoffWolfram BurnerCharles andersonCharles anderson | atelier psCharles anderson | atelier ps and XWhO designXWhO designCharles anderson | atelier psCharles anderson | atelier psXWhO designXWhO design

114 top left114 bottom115 top 115 bottom116 top116 bottom116-117 middle117 top117 middle117 bottom118119 top119 bottom121122 top122 bottom right 122 bottom left123 top123 bottom124 top124 bottom left124 bottom right 125 top125 bottom126 top 126 bottom127128129 top129 bottom130 top 130 bottom131 top 131 bottom132 top 132 bottom133 top 133 bottom134 top 134 bottom135 left135 top 135 middle135 bottom136 top 136 bottom137 top 137 bottom138139 top 139 bottom140 top 140 bottom141142143 top143 bottom144145146 top146 bottom left146 bottom right 147 top147 bottom148 top148 bottom149150 top 150 bottom151152 top152 bottom153 top153 bottom

207

17

18

19

20

21

22

23

24

25

Chapel In the Woods

The Anchorage Common

International Peace Garden United States and Canada

Lean Linear City/Paolo Soleri

Hangzhou CBD

Fraternal Twins

Inn at the Market Courtyard

South Coast Plaza

3031 Western Avenue

Charles anderson | atelier psCharles anderson | atelier ps and Tadao ando architects & associatesCharles anderson | atelier ps and Tadao ando architects & associatesTadao ando architects & associatesdavid Chipperfield architectsKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyCharles anderson | atelier psCharles anderson | atelier psKen Graham PhotographyCharles andersonKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyCharles anderson | atelier psCharles anderson | atelier psKen Graham PhotographyKen Graham PhotographyKen Graham PhotographyCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psInternational Peace GardenCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier ps and arcosanti FoundationCharles anderson | atelier psXWhO designXWhO designXWhO designXWhO designCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psMichelle arabMichelle arabMichelle arabMichelle arabMichelle arabMichelle arabCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier psCharles anderson | atelier ps and hinthorn Mott architectsCharles anderson | atelier ps and hinthorn Mott architectsCharles anderson | atelier ps and hinthorn Mott architects

154 top154 bottom left154 bottom right 155156 top156 bottom157158 top158 bottom159 top159 bottom160 top160 bottom161 top161 bottom162 top162 bottom163164 top164 bottom165166167 top 167 bottom168169170171 top 171 bottom172 top172 bottom173 all pictures174175177178179 top179 bottom180 top 180 bottom181 all pictures182-183184 top184 bottom184186187188 top 188 bottom189190-191192 top 192 bottom193194195 top195 bottom196 top 196 bottom197198199 top199 bottom200 top200 bottom201 top201 bottom202 top 202 bottom203204205

Documents

Wandering Ecologies