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澳洲从沙漠到海洋植物园项目设计 [15P].jpg 澳洲从沙漠到海洋植物园项目设计 [15P] (1).jpg 澳洲从沙漠到海洋植物园项目设计 [15P] (2).jpg - U/ F* K" L9 Z  g! g4 h

$ ?: b% m9 D1 ZThe Australian Garden engages visitors by expressing the love–hate relationship Australian’s have with their landscape. It is embraced or shunned by its people, loved for its sublime beauty or loathed as the cause of hardship. Artists and writers have often been inspired to design or write in response to subtle rhythms, flowing forms and tenacious flora of our landscape, whilst others have attempted to order the landscape, and conceive of it as humanly designed form.
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- s: `# f  o5 i) r  FAt the Australian Garden, these tensions are the creative genesis of the design, expressing our reverence and sense of awe, the natural landscape, and our innate + A# Z) u# y/ P) k) k6 P  E% U
impulse to change it, to make it into a humanly contrived form of beautiful, yet our own work.! G/ c& t  s; A6 m& l/ Y* a
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On the east side of the garden, exhibition gardens display landscapes, research plots and forestry arrays that illustrate our propensity to frame and order our landscapes in more formal manners, whilst on the west, visitors are subsumed by gardens that are inspired by natural cycles, immersive landscapes and irregular floristic forms. Water plays a mediating role between these two conditions, taking visitors from rockpool escarpments, meandering river bends, melaleuca spits and coastal edges.
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An Experience
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Gardens in Australia have traditionally been modeled on European precedents or more recently attempted to recreate the seductive qualities of the Australian landscape. The Australian Garden by contrast uses the Australian landscape as its inspiration to create a sequence of powerful sculptural and artistic landscape experiences that recognise its diversity, breadth of scale and wonderful contrasts. Via these creative landscape compositions, the project seeks to stimulate and educate visitors into the potential use and diversity of Australian flora., k6 A, r) v, N6 b/ a
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5 O$ f, q* r  t0 C+ jVisitors engage with the botanical collections via an intrinsically interpretive experience.
  ^5 }8 [6 u+ U. }Didactic signage is shunned in favour of a landscape design approach that communicates narratives via experience and immersion. Here, design is a catalyst to
/ D/ t  R( f9 L9 d  Uevoke qualities of the Australian landscape, via abstraction, distillation and sculpted experiences. This design approach captures a heightened experience that does not rely on mimicry, or simulacra.
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Designed experiences such as walking across the tangle of a Eucalypt forest floor, or the passage through wind pruned coastal heath, is juxtaposed amongst the order reminiscent of forestry plantations and gardens that evoke the patterns of urbanisation on our coastal fringe. The botanical collection plays a fundamental supporting role in accentuating the interpretive experience.  H( S8 Q; e4 y$ L0 S: T
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Here the narrative has informed the composition and the experience reinforces the message. It aims to strike a balance between abstraction, metaphor and poetry. Not every visitor will take home the same message, as each will have their own experience. ' c/ K+ M1 J6 t4 M# D4 r
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It allows many layers of emotional and intellectual discovery.
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, h) d3 j5 T7 ]$ ] 澳洲从沙漠到海洋植物园项目设计 [15P] (7).jpg 澳洲从沙漠到海洋植物园项目设计 [15P] (8).jpg 澳洲从沙漠到海洋植物园项目设计 [15P] (9).jpg 澳洲从沙漠到海洋植物园项目设计 [15P] (10).jpg / z1 t3 I! Y( z! v1 s$ n
Choreography% ?5 v8 r$ ^  d; s6 p' ~/ {! `
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Walking through the Australian landscape is a journey of constant weaves, shifts and jumps. One never travels in a straight line - the flora gets in the way! This choreography of movement is captured in the Australian Garden, where visitors are taken on a distinctly unconventional journey. Visitors are invited into the landscape via a pathway system that constantly morphs according to the landscape narrative and garden experience. Crusty paths in the Gondwana Garden shift to become an over water circular grated plate which connects to a field of stones where the actual path is no longer apparent.
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8 P1 b7 j0 v3 J# W1 WEqually as there is not one linear narrative to describe the Australian landscape, paths in the Australian landscape lead visitors on many journeys and many experiences. This is a garden of discovery, of multiple experiences and of cumulative knowledge.9 X0 z! G& l2 j6 J1 p7 ~; o
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3 s* \9 M. x& l1 Y2 \The New Public; ], ]+ q* P: C( i( X+ Z/ \

$ x: d3 O; n: V/ B6 MAs the largest botanic garden devoted to the display of Australian flora, the Australian Garden is now host to a vast collection of plants for scientific, educative, and . S9 Z1 z2 a% _) f' g4 @
conservation purposes. It plays a vital role in helping scientists and the public understand the history, present day uses and what the future may hold for plants in 6 v* F# d1 S7 O7 H& Q( x/ Z
natural and urban environments. It embraces the importance of biodiversity and our increased understanding of the need to protect species and ecosystems to safeguard the world’s biological heritage.- n/ d8 o; D. o7 i, m

$ v/ Q& Y, V' e2 l0 ?( uThe Australian Garden also performs another role, one as the new public realm for an ever expanding city. Messages of biodiversity and sustainability are integrated into its role as a new major visitor destination where not only do visitors come to explore the plant collections but to also be entertained, through interactive workshops, music, cinema, markets, cafes and play.. B8 E2 s' v- s; B0 P  x2 i, q
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A Rehabilitation Strategy* I1 Z9 h2 Y6 L4 E

3 j/ b. e1 Z6 r. Z; FThe Australian Garden is located in a former sand quarry that had denuded the vegetation and exhumed all traces of soil. Rather than importing new soil media, the design team, working with horticulturalist and designer, Paul Thompson, questioned how the design and selection of flora could respond creatively to this challenging site condition. The outcome utilises 170,000 plants across 1700 species all adapted to this challenging site condition, with
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# S- F# T9 `& G4 ~+ Z! Wspecies selected not only for their suitability to low organic media, but also their adaptation to low water utilisation and drought tolerance.
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- Written by Perry Lethlean, Director, Taylor Cullity Lethlean* r/ A7 r; ^) Z8 T

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“澳大利亚的周围的海洋和沙漠–后面埋伏战在两条战线上的秘密”土地的边缘,提姆温顿在原砂场,一个新的植物园已完成,一个允许游客遵循一个隐喻上的水在澳大利亚的风景,从沙漠的海岸边缘。8 L8 J, D& Y! l

+ O& T7 L9 i& ~. u9 d* I, n通过景观设计的艺术性,这种综合景观汇集园艺,建筑,生态,艺术创造最大的植物园,致力于澳大利亚植物区系。它寻求,通过主题体验设计,激发游客能够以新的方式看我们的植物。
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8 j; t! j6 F# j- Y9 Z0 Z澳大利亚花园建成的时候,植物园的世界—广泛的质疑现有的研究范式和筹办和娱乐景观保护和意义的游客的一个新的兴趣的新消息订婚。/ i/ g9 p- ^0 I1 Z7 O; C7 D

" D6 g' r: o* ]' m5 ~澳大利亚园林与游客表达的爱恨关系–澳大利亚的与他们的景观。它是拥抱,或它的人避而远之,爱它的崇高美的或讨厌的作为困难的原因。艺术家和作家经常受到启发,设计或写回应微妙的节奏,流动的形式和我们的景观顽强的植物,而其他人则试图以景观,并设想它作为人类的设计形式。在澳大利亚的花园,这些紧张局势的设计创新的成因,表达我们的崇敬和敬畏感,自然景观,和我们与生俱来的想改变它,使它成为一个人类设计的形式美,但我们自己工作。
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在伊甸园东边,展览花园景观的研究显示,林业阵列,说明我们的倾向,框架和订购我们的景观更正式的方式,在西方的同时,游客的花园,包括灵感来自自然的循环,身临其境的景观和植物区系的形成不规则。水扮演一个中介的角色,这两个条件之间的游客,以式悬崖,曲流河弯,互吐和海岸边。2 K4 L) S0 y( c' D2 f

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一个经验- w, I8 g( O3 k
花园在澳大利亚传统上是仿照欧洲的先例或更多最近试图重现的澳大利亚景观诱人的品质。的通过对比澳洲花园使用的澳大利亚景观的创造灵感一个序列的强大的雕塑艺术景观的经验,承认它多样性,规模和美妙的对比,宽度。通过这些创意景观的组合物,该项目旨在刺激和教育游客到潜在的用途和澳洲植物多样性。- ~0 |4 U, F$ f% h" x1 ?
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# H: B6 f/ p8 I: Q1 }+ _. \: M4 H设计经验,如穿过的桉树森林地面的纠结,或通过风修剪沿海荒地,并列在秩序林业种植园和花园,唤起城市化的模式,让人想起在我们的海岸边缘。植物收集起着基础性的支撑作用强调解释的经验。2 ~! a5 A, o! r& d  ~! ~( @
" x7 @7 j$ G! [  |; \9 }它允许多层次的情感和智力的发现。
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9 X4 g5 f  I$ j* P* B漫步在澳大利亚景观是一个不断变化和编织的旅程,
7 F0 l& Y) p. `* b跳跃。一个从来都不是直线-植物得到的方式!这种编排/ y9 |$ T5 P$ G: V" S$ J0 H
运动是在澳洲花园抓获,游客在一个! M2 J+ n" N1 I! D, H1 E0 r  l
明显的非常规的旅程。参观者被邀请到景观通过一个途径7 P$ F* `4 J$ U6 E6 V
系统不断变种,根据景观叙事和花园5 S5 k& P4 h6 C0 h' P) R
经验。易怒的路径在冈瓦纳大陆转变成为一个水上花园& C6 ~0 ^, y3 X
循环磨碎板,连接到一个领域的实际路径是在没有石头# a8 P+ Y8 Y2 F( u! D! N  C2 d
$ k( \0 {. |9 `- V3 y同样没有一个线性的叙事描述澳大利亚景观,路径* c9 U% ?& t* S( b0 c4 V; D
在澳大利亚景观带领游客在许多旅行和许多经验。这. C$ ^( m6 Z* y$ W
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2 g6 N0 V6 h8 t作为最大的植物园致力于澳洲植物显示,澳大利亚花园现在举办的教育科学,植物大量收集,和保护的目的。它帮助科学家和公众起着至关重要的作用了解历史,目前利用的未来会是什么植物自然与城市环境。它包含了生物多样性的重要性和我们需要保护的物种和生态系统保护的认识增加世界上的生物遗产。
% ]( c$ ?% {4 g# h% n. W! V1 I1 S澳洲花园还执行另一个角色,一个作为一个新的公共领域不断扩大的城市。生物多样性和可持续性的信息集成到其作为一个新的游客的主要目的地,不仅是游客来探讨植物的收集还被受理,通过互动的研讨会,音乐,电影,市场,咖啡馆和玩。3 C8 c6 }1 n3 _, a" @
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$ g+ Z5 N# L* O6 k: X8 [澳洲花园位于前沙采石场已经荒芜植被和土壤被挖掘出来的所有痕迹。而不是引入新的土壤介质,其设计团队,与园艺师和设计师,保罗汤普森,质疑如何设计和选择植物创造性地应对这一具有挑战性的网站条件。结果利用170000种植物在1700种都适应了这个具有挑战性的场地条件,与物种的选择不仅对低有机介质的适用性,而且他们的适应低水分利用效率和抗旱性。
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