非常感谢 中国林业科学研究院 对gooood的分享。
Appreciation towards Chinese Academy of Forestry for providing the following description:

设计缘起：认知“自然” | The origin of design: the cognition of “nature”

自然既是“天然和非人为”，也是“本性和自由”。西方学者以人为干预为标准，将自然划分为第一自然与第二自然两个层级；马克思主义哲学认为，第一自然是自然物，第二自然是人类生产实践活动形成的人化自然物。后来，随着社会发展，作为西方统治权力以及社会文化象征的园林逐渐成为“第三自然”。我国学者基本认同上述观点，但却也指出，中国的第三自然（也即园林）与西方相比，从历史产生至发展演变均有不同的含义。中国的第三自然是崇尚大山大河等第一自然而妙造产生的艺术结晶，与西方模仿农业生产等第二自然而产生的自然存在一定区别。当前，面对人民群众对美好生活环境需求的日益增加，生态文明背景下的自然有别于传统的“第三自然”，是进化过程中的“人与自然和谐共生”的自然，可作为一种“第四自然”。在这一自然过程中，人既与自然相互对等，又包含在大自然观范畴之内。自然相对于人而存在，自然是包含人的自然，没有人的自然不具任何意义。因此，关于保护地景观的设计，既是自然的设计，也同时具备“社会性”、“文化性”等人文设计基本属性。

▼自然保护地局部，Part of Nature Reserve

Nature is not only “natural and inhuman”, but also “nature and freedom”. Western scholars take human intervention as the standard and divide nature into two levels: first nature and second nature. Marxist philosophy holds that the first nature is a natural object, and the second nature is a humanized natural object formed by human production and practice. Later, with the development of society, gardens, as a symbol of western ruling power and social culture, gradually became the “third nature”. Chinese scholars generally agree with the above views, but they also point out that Chinese nature and western nature have different meanings from historical generation to development and evolution. The third nature in China is the artistic crystallization produced by advocating the first natural and wonderful creation such as mountains and big rivers, which is different from the second nature produced by western imitation. At present, in the face of the people’s increasing demand for a better living environment, nature under the background of ecological civilization is different from the traditional “third nature”, which is the “harmonious coexistence of man and nature” in the process of evolution, and can be regarded as a “fourth nature”. In this natural process, human beings are not only equal to nature, but also included in the category of the great view of nature. Nature exists in relation to man, nature is a nature that includes man, and nature without man has no meaning. Therefore, the design of nature should also have the basic attributes of “sociality”, “culture” and other humanistic design.

项目概况 | Project overview

项目地点位于长沟泉水国家湿地公园中的四个岛屿。这个四个岛主要由周边村庄拆迁过程中产生的建筑垃圾堆砌而成，项目场地现状是一片杂乱的杨树林与竹林，杂草丛生，场地内郁闭度低。设计团队基于前期广泛的自然保护地项目研究，对设计地块进行了综合评估得出：①保护地拥有的河流湿地、沼泽湿地、湖库湿地和稻田湿地景观价值非常高；②设计地块不适宜开展大规模游憩活动，但鼓励人们主动而自觉有序的参与场地活动；③设计师对地块进行设计时，应该持有一种自然而然、潜移默化的态度，人应该成为场地自然过程中的一个个体，人在场地发生的行为应该符合自然生态过程。

▼拆迁剩余废弃材料堆垒的人工岛屿，To remove the artificial islands piled up with residual waste materials

The project site is located on four islands in changgou spring water national wetland park. The four islands are mainly piled up by construction waste generated in the demolition process of surrounding villages. The current situation of the project site is a jumble of poplar and bamboo forests with overgrown weeds and low canopy density. The design team conducted a comprehensive evaluation of the design plot based on the extensive nature reserve project research in the early stage, and concluded that: ① The river wetland, marsh wetland, lake wetland and rice field wetland landscape values of the protected land are very high; ② The design plot is not suitable for large-scale recreational activities, but encourages people to actively and consciously participate in the site activities in an orderly manner; ③ When designing the plot, the designer should hold a natural and imperceptible attitude. People should become an individual in the natural process of the site, and their behaviors in the site should conform to the natural ecological process.

设计理念：参与自然过程的设计 | Design concept: Participate in the design of natural processes

基于上述分析，设计团队做了大量关于“自然”、“生态”类设计案例研究与实地调研。然而，太多的案例证明，景观设计师精心设计的那些看似非常自然的景观，背后都需要大量的人力、物力去维持，维护成本甚至高于一个园林化的公园绿地。这其实也间接证明，景观设计师或许并不容易设计出自然化的景观。为此，我们组建了涵盖风景园林学、生态学、林学、文化社会学、农林经济管理等更加多学科的设计团队，其中生态学包含了湿地生态学、森林生态学、生态管理学等众多学科背景的专家；林学也包含了森林培育学、森林经理学、森林保护学等诸多学科专家。希望通过跨学科的方式，为解决自然设计难题做出一些探索，当然最终结果可能是，设计师或人类可能无法设计出真正自然化的景观。但这种探索依然被需要。

通过多方讨论，我们将自然保护地景观的设计看作是一种“人参与自然过程”的设计、一种“人与自然关系”的设计，将更多的注意力放在“参与”、“关系”和“过程”层面，将设计的态度定义为“参与”，而非“主导”，有意识的降低对设计结果的注意。通过借鉴起源于森林、湿地等自然资源领域的“生态系统管理”理论，结合风景园林学科特点与规划设计属性，提出了一个更为综合的参与式设计理念——“参与自然过程的设计”，这个“参与”不单指利益相关方的参与，也指作为自然个体的人这个群体的参与。该理念强调尊重、谦逊的参与态度，强调设计过程中的自然而然，旨在为场地植物的生长、材料的腐蚀以及人的行为活动预留时间与空间，让人自觉而主动地参与自然过程。可以说，这种参与自然的方式，是一种更为适宜，或者诗意的方式。

▼善待自然，并尊重自然的生长，Be kind to nature and respect its growth

Based on the above analysis, the design team has done a lot of case studies and field research on “natural” and “ecological” design. However, too many cases prove that the landscape designers carefully designed those seemingly very natural landscape, behind the need for a large number of manpower, material resources to maintain, maintenance cost is even higher than a garden park green space. This is also an indirect proof that landscape architects may not be easy to design natural landscape. For this reason, we have established a design team covering landscape architecture, ecology, forestry, cultural sociology, agricultural and forestry economic management and other disciplines. Forest science also includes many experts in forest cultivation, forest management and forest protection. The hope is to make some explorations to solve the problems of natural design in an interdisciplinary way. Of course, the final result may be that designers or humans may not be able to design truly natural landscapes. But such exploration is still needed.

Through discussion, we will be natural protected area landscape design as a kind of “people involved in the natural process of design, a kind of relation between man and nature” and “design, focus more on” participation “, “relationship” and “process” level, the attitude of design are defined as the “participation”, rather than the “dominant”, consciously to reduce the attention of the design results. Through using originated in the field of natural resources such as forests, wetland ecosystem management theory, combining with the characteristics of landscape architecture discipline and planning and design attributes, put forward a more comprehensive participatory design concept, involved in the design of the natural process, the “participation” not only refers to the participation of stakeholders, also refers to as natural individuals involved in this group. The concept emphasizes respect and humble attitude of participation, reserving space for plant growth, material corrosion and human behavior, so that people can consciously and actively participate in the natural process. Of course, this way of participating in nature is a more appropriate, or poetic way.

设计策略：是参与，也是再认识 | Design strategy: Participation & re-understanding

与大部分自然保护地景观设计相比，项目的目的并非营建一处所谓“自然化”的景观，而是试图在设计地块构建一种参与自然过程的的认知体系与管理体系。这一认知与管理，强调对人的再认识与自我管理，而非针对自然。在这一层面，参与自然过程的设计也就是设计中的“自然而然”。设计策略涵盖了如何以谦逊的态度，参与自然资源保护与修复、游憩设施建造、公共空间营建、科学研究、野生动物栖息地管理、景观评价以及规划设计评估等。在实践层面具体包括：
（1）综合考虑与自然保护地景观相关的各类生态系统影响（包括湿地生态系统、森林生态系统等），注重管理目标的长期性与过程可持续性；
（2）重视区域内利益相关方的需求特性与行为习惯；
（3）设计的过程就是再认识的过程，允许多种利用方式参与保护地景观的设计与管理，但需做好约束；
（4）注重科学技术支撑，加强与战略规划、管理利用以及政策制定过程的协调；
（5）考虑景观设计与过程管理可能带来的潜在效益，注重自然演变过程中景观的变化性及趋势，认识效益的滞后性。

▼让时光慢下来的景观，A landscape that seems to slow down time

Compared with the landscape design of most nature protected sites, the purpose of the project is not to build a so-called “naturalized” landscape, but to build a cognitive system and management system participating in the natural process in the design site. This cognition and management emphasizes the re-recognition and self-management of human beings rather than the nature. The strategy involves humble participation in conservation and restoration of natural resources, construction of recreational facilities, public space construction, scientific research, wildlife habitat management, landscape assessment and planning and design assessment. At the practical level, it includes:
(1) Comprehensively consider all kinds of ecosystem impacts (including wetland ecosystem, forest ecosystem, etc.) related to the landscape of natural reserves, and pay attention to the long-term management objectives and process sustainability;
(2) Pay attention to the demand characteristics and behavior habits of stakeholders in the region;
(3) the process of design is the process of management, which allows a variety of utilization and management modes to participate in the management of protected landscape;
(4) Pay attention to the support of science and technology, strengthen the management of strategic planning, management and utilization, and policy-making process;
(5) Consider the potential benefits of landscape design and process management, pay attention to the changes and trends of landscape in the process of natural evolution, and recognize the lag of benefits.

设计内容：光影-记忆-干预-材质 | Design content: Light and shadow – memory – intervention – material

“我得承认自身的矛盾性，以及我们人类在道德上的双重标准：我们一边歌颂着自然世界的神圣，一边又在自知或不自知地为自然的毁灭添砖加瓦。我们一方面认识到了生存有着无限的可能，一方面又例行公事般地参与着世俗的生活”。我们从底特律艺术家Ellen Rutt说的这句话得到启示，不断在“参与过程的设计”、“人与自然关系的设计”等方面做加减法，试图找到能够代表二者参与关系特征的的媒介，并且降低人对自然过程的过多影响。采用团队专家打分的方式，选出了4种，分别是光影、记忆、干预与材质，并以此作为保护地景观设计的切入点。设计地块由四个人工岛组成，我们将上述四种媒介作为自然过程中人参与自然过程的4个故事，每个岛都有一个故事。听取这个故事的方式可能是视觉，也可能需要嗅觉、听觉，甚至触觉……

“I have to acknowledge my own inconsistencies and our double moral standards: we celebrate the sanctity of the natural world while, unknowingly or unknowingly, contributing to its destruction. While recognizing the infinite possibilities of existence, we routinely participate in mundane life.” We take inspiration from Detroit artist Ellen Rutt’s words, constantly adding and subtracting in the process of participation, the relationship between man and nature. Try to find the medium that can represent the participation characteristics of both and reduce the excessive influence of human on the natural process. Four categories were selected by team experts, namely light and shadow, memory, intervention and material, and were used as the entry point for the landscape design of the protected site. The design plot consists of four artificial islands, and we use these four media as four stories of human participation in the natural process, one for each island. The way to hear this story may be visual, it may require smell, hearing, or even touch…

▼人成为自然过程中的一个个体，People becomes an individual in the process of nature

（1）自然过程的光影与光阴 | Light, shadow and time of natural process

光影是表现空间过程最直观、也是最优雅的方式。相比景观设计师，建筑师与室内设计师很喜欢用光影的变化来表现建筑外部与内部的生命。在第一个岛屿的设计中，我们尝试将玻璃等室内建筑材料运用在在景观空间，并将石材、竹林等作为寄托情感的载体，营造一系列简单治愈的景观，让人在空间中能感受到时光的温柔。

Light and shadow is the most intuitive and elegant way to show the process of space. Compared with landscape designers, architects and interior designers like to use light and shadow to express the life of the outside and inside of the building. In the design of the first island, we tried to apply glass and other indoor building materials in the landscape space, and took stone, bamboo and other materials as emotional carriers to create a series of simple healing landscape, so that people can feel the tenderness of time in the space.

▼透过磨砂玻璃，植物自然的生长过程似乎更加清晰，Through the glass, the natural growth process of plants seems more clear.

（2）自然过程中的记忆与反记忆 | Memory and reverse memory in natural processes

景观的时间性，意味着景观会随着时代和社会的发展而不断演进，既是认知意识的进化，也是物质形态的更新。过去我们认为，人之于自然无所不能，人能改造自然、利用自然。随着社会发展，人们发现这一观点的扭曲。“反记忆”是一种文化行为，也是一种对历史和文化的颠覆。设计师希望在第二个岛屿中，人们能够重新发现自然过程中被隐藏或被遗失的文化行为，探讨在人参与自然的过程中，记忆与反记忆是如何交织纠缠、失衡乃至最终达到平衡。

The temporality of landscape means that landscape will evolve with the development of times and society, which is not only the evolution of cognitive consciousness, but also the renewal of material form. In the past, we believed that man could do anything to nature, that he could transform and use nature. As society develops, people find the distortion of this view. “Anti-memory” is a cultural behavior, but also a subversion of history and culture. The designers hope that in the second island, people can rediscover cultural behaviors hidden or lost in the natural process, and explore how memory and anti-memory are intertwined, unbalanced and finally balanced in the process of human participation in the nature.

▼将人工景观转化为对自然感悟的延续，The artificial landscape into a continuation of the perception of nature

▼钢板与植物形成的空间意象，Weathering steel plate and the spatial image formed by plants

（3）自然过程中的保留与干预 | Reservation and intervention in natural process

天然的就是自然？人工的就是不自然？这答案不能一刀切地如此认定，或者这两个问题本身就没有答案，也或许答案只有你自己知道。团队在综合评估基础上，划定出3种区域，即①需要大量人工干预以提升生物多样性的区域；②少量干预即可达到维持生物多样性的区域；③不需人工干预的区域。设计团队用80cm高的耐候钢板来分割这3种区域，形成了3种不同的自然意象空间：第一种是没有人工干预的天然植物群落；第二种是部分人工干预下形成的植物群落；第三种是完全人工干预下构建的植物群落。设计师希望来到这个场地的人，能够在这三种空间中找到你心中自然的样子。

Natural is natural? Artificial is unnatural? The answer is not one size fits all, or there is no answer to either question. On the basis of comprehensive assessment, three zones are defined, namely, the zone that requires a large amount of manual intervention to improve biodiversity, the zone that can be achieved with a small amount of intervention to maintain biodiversity, and the zone that does not need manual intervention. The design team used 80cm high weathering steel plate to divide these three areas, forming three different natural image Spaces. The first is plant communities without artificial intervention; The second is the plant community formed under partial artificial intervention. The third is the plant community constructed with complete artificial intervention. Designers hope that people who come to this site can find the natural look in your heart in these three Spaces.

▼第一种自然：没有人工干预，即天然的植物群落，The first kind of nature: the natural plant community without artificial intervention

▼第二种自然：部分人工干预下形成的植物群落，The Second nature: partially artificial plant communities

▼第三种自然：完全人工干预构建的植物群落，The third kind of nature: artificial plant community

（4）自然过程中的材料与材质 |Materials and materials in natural process

项目的一个设计重点就是保证材料的持久耐用。为了保护临湖植被，团队结合水体边缘、布置了步道以及小型的栖息地。为了降低对环境的干扰，架高了观景空间，且保证相对隐秘。材料选择上也坚持简洁原则，选取复合型木材、钢板和混凝土。木制和铁制材料经过一定的结构处理，被低调的放置在保护地景观之中。移植杨树而遗留下来的枝干、树桩也都被再次运用、放置在场地中。

One of the design priorities of the project is to ensure the durability of the material. To protect the vegetation near the lake, the team combined the edges of the water with trails and small habitats. In order to reduce the interference to the environment, the viewing space is high and relatively private. Material choice also adhere to the concise principle, choose composite wood, steel plate and concrete. Wood and iron materials have been treated structurally and placed in the landscape of the protected site in a low-key manner. The remaining branches and stumps of the transplanted poplar trees were used again in the site.

▼为降低干扰而架高了的观景平台 A raised viewing platform to reduce interference

▼众妙之门：视觉作为人与自然的临界 The door of beauty: vision as the critical point between man and nature

▼自然中的隐秘世界The hidden world of nature

细节设计 | Detail design

参与自然过程的设计，也就是设计过程中的自然而然。据统计，长沟泉水国家湿地公园动已有鸟类9目18科36种，浮游动物3门17种，鱼类3目6科13种，两栖爬行类2目4科8种。拥有黑鹳、游隼、小天鹅等国家级保护鸟类。

Participate in the design of natural process, that is, the natural process of design. According to statistics, there are 36 species in 18 families, 9 orders of birds, 17 species in 3 phyla of zooplankton, 13 species in 6 families, 3 orders of fish and 8 species in 4 families, 2 orders of amphibians and reptiles in Changgou Spring National Wetland Park.

▼为人与动植物共同搭建的活动空间，The activity space that builds jointly for human and animal and plant

▼周边村庄拆迁剩余的废弃石材，经过打磨、染色，重新用于场地，The remaining abandoned stone materials removed from the surrounding villages were polished, dyed and reused for the site

▼道路由渗透性极好的碎石路面铺就，Roads are paved with highly permeable gravel

▼一只乌龟在场地爬行，A turtle crawls on the ground

项目名称：参与式设计：一种自然而然的保护地景观
设计方：中国林业科学研究院
公司网站：http://www.caf.ac.cn/
联系邮箱：wpeng.up@foxmail.com
项目设计 & 完成年份：2016-2018
主创及设计团队：王鹏何桂梅何友均高楠范思思陈亚
项目地址：北京市房山区
建筑面积：26 hm2
摄影版权：除特殊标注外，均为王鹏、张志永拍摄

More: 中国林业科学研究院

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