爱华网平面图
花园是探索人与自然关系的场所，当我们与自然一起嬉戏，或试图考察和洞
悉自然的秘密之时，我们是谦卑的人。这座花园依然保留着花园对人应有的魅
力，因为人类似乎天性渴望接触真实的宇宙，而不是一个实质上由人制造的世界。
A garden is an enquiry into our relationship with nature.While we
test,prod and play with nature,at the same time we are humbled by
its being.The garden retains its fascination to humans—we seem to
have an innate yearning for contact with the real,rather than a world
that is pre-fabricated and manufactured to the core.
花园为每个多少有些个性的设计者提供了进行探索和实验的机会。有些设
计师过惯了舒舒服服地蜷缩在他们已经用惯了的“风格”安全的小天地中的日子，
失去了对真实世界和当今社会环境及文化内涵的兴趣。许多西方国家的公共空
间由于要受到严格的审查和安全与风险管理的制约，从而丧失了园林为人提供与
真实自然接触机会的本意。
A garden is an opportunity for experimentation and
discovery-something that any slightly individualistic designer is driven
by.Some are too comfortable in the safe-haven of"styles"—content in
their attempts at recreating garden"styles"of the past,but failing to
attain any real authenticity or meaning in today's context and culture.
Public landscapes in many Western countries,are being stifled by
censorship and concerns about safety and risk management,with an
absence of any genuine meaning.
没有神秘感，一览无余的花园不能称之为花园。游人只到花园一次，就能想
象出这里四季的景象，那么这样的花园将是没有吸引力的。门、出入口和出其不
意的开口都是邀请游人探索的符号。游客的花园之旅应该像读一首诗歌。只有
将散落的词汇串连成句子，才能真正品味这个花园。许多现代园林都只是简单地
依靠地面图案而忽略了三维空间的作用。这样的花园是缺乏神秘感的，是空洞
的，游人无法在花园中进行沉思。人们喜欢频繁地对花园进行鸟瞰拍摄，然而大
部分游人是不能到空中去欣赏这个花园的，真正的游客都是脚踏实地走在花园里
的。
What is a garden without mystery,where everything is revealed all
at once?Where to see the garden once,is to see the garden for all
time?Gates,thresholds and unexpected openings invite exploration.A
visitor's journey of a garden,should be like reading poetry.Only after
the entire negotiation of a garden,will loose words string together,
creating sentences.Many contemporary gardens are relying simply on
graphic ground patterns with three dimensional elements relegated to a
supporting role.Gardens like this lack mystery and enigma—they are
not made for contemplation.For us,gardens without mystery represent
just patterned ground.Photographed frequently from the bird's eye
view,they reveal that they are not intended for pedestrians but for
future personal aerial mobility—that is people with wings.
检验一个花园最终成功与否的标准是时间。我们总是关注某一个瞬间，然而
一个成功的花园是一个积累的过程。瞬间的“成功”可能会伴随时间而失败，而原
来的“失败”可能会意外地扎根而出人意料地发展。时间会揭示很多事情。
The ultimate test of the success of a garden,is time.We tend to
celebrate what is instant,but a garden is a gradual emergence of
success.The instant"successes"we celebrate may fail overtime,while
original"failures"may unexpectedly take root and emerge into
something beyond expectation.Time reveals many things.
设计西安园博会这种小花园也是一样的。对于一个设计师来说，更小并不意
味着更容易和简单，而是更加敏感和更加关注细节。一个花园，无论多小，仍是一
次实验和发现的机会。花园在开幕和展览的过程中固然是重要的，但是花园在展
览之后的发展和成长是更多的。
Designing a small garden of such nature as for the Xi'an expo,is
no different.For a designer,smaller does not mean easier or simpler,
but rather it calls for greater sensitivity and attention to details and
subtleties of the garden.A garden,however small,is still an
opportunity for experimentation and discovery.And while success at
the opening and during the course of the exhibition is imperative,there
is a life to the garden beyond the duration of the exhibition—a garden
that is something more than a momentary spectacle.
我们的花园受到了中国文化和历史以及传统的中国园林和自然景观的启
发。该设计的初步方案的一个灵感正是来自西安的兵马俑，这就是由火锻造的景
观。土和水是所有花园的根本组成部分，土壤同时作为植物生长的一种软质媒
介。如果我们去掉水，替换为火(正如我们最初的想法)，土壤将经历一个根本性
的从无形到永恒的转变。我们曾对将火作为花园的创造者而不是毁灭者的想法
进行过彻底的探索，不幸的是这一想法在很大程度上还得依靠经验，加上
Terragram位于澳大利亚，使得这一想法很难继续深入。
Our garden was inspired by Chinese culture and history,the
traditional Chinese garden,and the country's natural landscape.One of
the initial alternatives for the design of the garden,was inspired by the
famous warriors of Xi'an,and the formation of landscape by fire.Earth,
with the addition of water,is the substance of any garden.In its soft
form,earth is a medium that allows inquisitive roots to find any nooks
and crannies for the benefit of plant growth.If we were to remove
water and add fire(as was one of our first thoughts),earth undergoesa radical change,from formal impermanence of infiniteshapes to permanence lasting centuries.The idea of using
an in-situ kiln,with fire as the creator of the garden,rather than the destructor was thoroughly explored,butunfortunately owing to the largely experimental nature ofthis idea,and Terragram's location in Australia,it wouldhave been difficult to pursue further.
我们花园的最终概念设计将地块空间划分成3个室外花园房间，同时每一个房间都各具特色。每一个花园房间的设计都会体现其对未知事物的追求、持久性和非持久性以及水和火元素的对立。
The final concept of our garden combines the spatialstructure of three garden rooms,each distinct in itsnature.Together,these garden rooms allude to the idea ofthe unknown,qualities of permanence and impermanence,and the opposing elements of water and fire.
花园中墙体起到了主导性的作用，墙体上的开口隔断和打开空间，是基于我们对于月洞门的理解。门是清晰易懂的符号：一些门可以被很大幅度地打开，背后的风景便一览无余；一部分门让游人
可以看到风景却找不到入口；一些门则永远关闭。门是控制出入口的设施，但它同样可以产生一些戏剧性的效果，甚至可以戏弄游人。月洞门在强调其后的风景的同时又遮挡了一部分风景。面对
这样的门就像在翻阅一本书，人们不确定将有什么事情发生，因此人们迫不及待地想知道后面的故事。月洞门能够吸引游人视线，并给人留下深刻的印象。由于对于月洞门的着迷，我们尝试如何用现
代的方式演绎它。我们在花园的尽端设置了一个月洞门，引导游人对于未知进行最后的探索，探索过后，游人可能发现他们已经走出了花园。
There is a dominant presence of walls in the garden,yet they take on a quality of transparency,punctuated byopenings and our interpretations of the idea of a
moongate.The symbol of the gate is commonlyunderstood.Some gates could be wide open,fully
revealing the space behind them.Some allow the viewerto see what lies behind yet deny access;some remainpermanently shut.Gates are devices controlling the
access,in a sense even teasing and tempting a visitor.The moongate signalises a room behind a space-scenerythat cannot be revealed in full.Such a gate can be
likened to a person flipping through the pages of a book,unsure of the story that will unravel;held in suspense andeager to devour what lies ahead.Moongates are visual
thresholds orchestrating the experience and engaging thevisitor's mind.Fascinated by this device,we thought ofways of how to re-interpret the moongate,in a moderncontext.A moongate towards the end of the garden,isthe final threshold into the unknown—a curious element,
inviting personal interpretation from the questioning visitor.
这个花园依靠永久性和非永久性的相互作用而保持生命力。
虽然永久的墙壁和扭曲雄伟的松树定义了永久性，但是植物生命的无常和短暂性又让人产生质疑。这种永恒的外观由季节的变化和植物自然演替来打破。竹林将整个花园都屏蔽起来，加密加厚的竹
子使整个花园处于一个植被茂密的氛围中。白桦见证了四季的轮回，树叶由绿到金红，再到叶子落光，只剩下光秃的树干，直到春天叶子再次抽芽。隐藏的球根瞬间绽放，而后凋谢。花园的砾石中散
落着红色罂粟种子，或许某一天游人来到这里会发现绽放的罂粟，然而这些都是未知的，我们不确
定种子的生命力和耐力。脚下的软砾石进一步证明了它的非永久性，游客的脚印会被后一个参观
者抹去。一块硬陶的地面将由西安的小朋友来留下脚印，并伴随他们的成长成为永久的记忆。
This garden thrives on an interplay of permanence and impermanence.Whilst the
dominating walls and the majesty of contorted and leaning pines,would suggest
permanence,it is contrasted and questioned by the impermanence and transient
nature of plant life.This fa?ade of permanence is tested by seasons and rhythms of
nature,and natural succession by thriving plant matter.The bamboo forest
enshrouding the garden,will multiply and thicken,enveloping the garden in a cocoon
of dense vegetation.Birch trees attest to the cycle of seasons,their canopies shifting
from greens to golds and reds,until they wait as bare woody skeletons till their rebirth
come spring.Hidden bulbs erupt into momentary bloom then disappear again.Visitors
are invited to share in the transient nature of the garden,scattering red poppy seeds
amongst the fields of gravel—perhaps this is another question of survival and
endurance,in what might become an ever-shifting and momentary display of colour.
The soft gravel fields underfoot further attest to the quality of impermanence,as the
footprints of a visitor are erased by the footprints of the
next.Yet a ceramic strip running through the garden,
becomes a permanent record of today's children of
Xi'an,with their cast footprints in the now-hardened
ceramic surface.
伴随永久性和非永久性，水和火的进一步对立将在花园的水池中产生。这是一个戏剧性的元素搭配。
As with permanence and impermance,furtheropposing elements are investigated in a merging of
water and fire,in a reflecting pool within the garden.Itis an unlikely and curious marriage of elements,withan element of theatricality.
为游人考虑，我们引入电影一样的排序。不像致力于少数特权阶层的花园，西安世园会花园需要适应洪水般的游人。每一道门和之后的花园房间都有自己鲜明的特点，那些走马观花的游客不一定能理解它们。然而我们希望在园博会这个盛会之后依然保留这个花园。游人反复的参观能够激发他们越来越多的思考，像读诗一样去重新诠释这个设计。我们希望最终这里将回归安静和沉思。花园应伴随时间充分揭示自己。
For the benefit of the reader,we include a filmicsequence of our investigations.Unlike gardens
dedicated to a privileged few,the Xi'an garden needsto accommodate a flood of visitors.Each of the gatesand the garden rooms beyond,have specificcharacteristics which will not necessarily be fullydecoded by a rushing visitor.Yet it is our intention tokeep this garden for time past the big event.It is ourhope that repeated visits would trigger more and morethoughts in people's minds,to be reinterpreted likepoetry.We hope that the spectacular,will eventually
give way to a quiet and contemplative environment.Itis a garden that should reveal itself fully in time.
项目设计：Terragram事务所
弗拉迪米·斯塔Vladimir Sitta，罗伯特·法贝RobertF
aber，安妮塔·马杜拉Anita Madura
大挖掘园
大挖掘园平面图 There is an international dream fantasizing about the other side ofthe world.Perhaps it results from being the furthest possible distance?
A completely foreign culture?An unknown geography?A common
childhood warning of,"If you keep digging,you'll dig all the way to
China"is often an introductory presentation of this dream.The whole
idea is a spirit of adventure and whimsy,and the unending curiosity of
what can be found on the other side.With a garden to design in
Xi'an,China,we couldn't resist:What if we did dig all the way to
China?In the garden we have created the result of this overzealous
dig:the point that the hole emerges in China.At this hole we capture
a precise point where one stands on the edge of one world and
another,wondering what is possible of the other side?As tradition,a
garden is a place that transfers someone into a'foreign'space:from
inside to outside,from city to nature,from one culture to another.
Topotek 1 has a tradition of provoking the very idea of a surface,
and what it could mean in different contexts.The garden site provided
to us is immediately thought of as a flat surface.But when we take
the globe as our contextual reference,one remembers the world is
round,and then the site is no longer seen as two dimensional,but a
small piece of a three dimensional sphere.The sunken hole is a
physical action to emotionally bring the visitor to the global context.As
the hole is to have just'emerged',the site is visible as an artificial
grass carpet which is sucked down into the hole.Existing trees have
remained,keeping the site as seemingly untouched.Underneath the
grass,the ten meter wide hole is a concrete shell structure excavated
into the earth.A glass railing surrounds the hole…one doesn't want to
get too curious…To further provoke the emotions associated with the
garden,we take the literal shape of the hole and see it as a
megaphone.A megaphone is used to address large outdoor audiences
or to speak to people from a long distance.In our case we needed
such an instrument to emit audio captured from the other side of the
world.Selecting Argentina,the United States,Sweden,and Germany
鸟瞰与剖面图
as the foreign locations,one will be able to hear the other side of theworld as they near the hole.Transferred through the hole will be
soundtracks of the life on the other side:cows from the pampas ofArgentina,commuters rushing among transit through New York City,the
maritime life of Stockholm,and layers of history so audible among thestreets of Berlin.These soundtracks pique the imagination of thevisitors,transferring them away from China,away from the garden,away from the hole,and to the other side of the world.
人人心中都有一个世界梦，幻想着世界另一端的景象。也许是因为距离产生美，也许是对异域文
化的向往，或是对未知地理的着迷……孩童时代，大人们会告诉我们，如果我们一直挖地洞，就会挖
到中国去。这个“世界梦”实际上反映了人类的冒险探索精神和对地球另一端永无止境的好奇心。这
次我们有幸参加西安世园会大师园的设计，我们禁不住设想一下：如果我们一直挖地洞挖到中国去，
结果将会怎样？
在本花园中，我们创造了挖地洞的结局：即地洞到达中国的那一点。在这个地洞中，我们捕捉到精确
的一个位置，这是世界两端交界的地方，游客在此可想象世界另一端的景象。从传统意义上来说，花园
是将人们带入一个“外来”空间的地方：从室内到室外，从城市到自然，从一种文化到另一种文化。本花
园是世界两端交界的尖端点，游客可尽情发挥他们的想象力，幻想中国以外的异域风情。在我们看来，这个地洞不仅是一个物体，同时也为游客提供仔细观察表层地面的空间体验。
Topotek1有研究地面表层在不同环境中的意义的传统。本花园场所地势平坦。当我们用地球作为概念
创意的参照物时，我们意识到世界是圆的，因此，场所不再是两维平面，而是三维小球体。下沉的地
洞借助物理行为，激发游客情感，为游客营造跨国环境氛围。地洞若隐若现，整个场所宛若一张人工
大草皮，被吸入地洞之中。我们保留了原有的树木，以维持场所的原状。地洞则是草皮下方的一个
10m宽混凝土壳层结构，四周设有玻璃扶手，吸引游客前来观看。
为进一步激发与花园相关的情感，我们利用地洞的外观，把它当做一个扩音器。扩音器通常是
用于户外现场演说或者远距离对话时使用。我们需要这样一个设备，来播放来自世界另一端的音频文
件。我们选择了阿根廷、美国、瑞典和德国作为外国站点，当游客接近地洞时，能够聆听到世界另一
端的声音：那是来自阿根廷彭巴斯草原上奶牛，这是来自纽约交通干道上的通勤者，还有瑞典斯德哥
尔摩的海员，以及历史悠久的德国街区。这些声音能够激发游客的想象力，把他们带出中国，离开花
园，离开地洞，到达世界的另一端。
项目设计：安娜?隆德科维斯特、利兹?凯西和艾米丽?约
翰逊
图片来源：德国Topotek1事务所
Project Credit:Anna LUNDQUIST,Liz KELSEY and Emily
JOHNSON
Photo Credit:Topotek 1
迷宫园
平面图1
平面构成2
你喜欢自然吗？我想绝大多数人都会说喜欢。然而真正的自然只存在于遥远的
原始森林、广阔的原始草原和大海的无底深渊中。人类的生存环境里(城镇和乡村)已
经不存在所谓纯粹的自然。人类对自然资源的每一步开采都在使我们的自然一天天
地消失。许多人梦想着自己生活在自然之中，周围都是软质的绿色植物，鸟语花香。
于是人们试图在城市里模拟遥远而不可及的自然。在景观发展的初期阶段，景观成为
自然的代言人和象征。一个公园、一盆小花、街边行道树都成为人们脑海中自然的幻
影。
Do you love nature?I bet most people would say"yes".However,the
real nature only exists in remote primeval forests,vast natural grassland and
deep abyss.There is no so-called pure/real nature in human living
environment ranging from cities to villages.Human beings'activities is
exploiting more and more natural resource and making our so-called nature
vanishing day by day.Many people have a dream that they are living in
nature where surrounded by soft green plants with birds'twitter
and fragrance of flowers.So people try to imitate remote nature
within urban environment.In the early phase of landscape design
industry,landscape architecture became the representative or
symbol of nature.A park,a potted flower and a line of street
trees became illusion of nature deep in mind.
在美国，人们认为景观和自然是同一种事物，所以在精神层面上，景观
必须代表自然。美国人有一种观点：看不见人的景观就是好的景观(麦克
哈格)。于是，景观师设计的看上去“不自然”的景观就成为一个孤儿，他不
属于自然的范畴，沦为一个建筑的容器。
In the USA,landscape and nature are understood to be the
same thing,so that the general notion is that any built landscape
has a moral imperative to represent nature.Most Americans
believe that"A Good Landscape is One Where You Cannot See
the hand of Man"(Ian McHarg).As a result,the works done by
landscape architects but doesn't look like nature tumble out of the
nature category and into a nether-world where it becomes empty
space—a repository for our buildings and services.
一个缺乏想法和个性的景观不能称之为设计的景观。与其他设计行业
相比，景观设计还有很长一段路要走。人们在着装上追求个性，希望给人留
下过目不忘的印象：优雅、华贵、迷人、朴素、低调、激进、张扬等。服装设计
是人们辨别和认识品牌的重要依据，不同的服装设计还能体现特定的文化
内涵和表达喜好感和厌恶感。在重要场合，嘉宾的着装需要深思熟虑和仔细挑选，
尽量使自己区别于其他人，体现自身独特的身份地位、喜好和个性，女士撞衫还被认为
是件十分尴尬的事情。然而目前在景观界里，还缺少体现自我的设计氛围，缺少吸引人们眼球的
设计。设计师往往着重于体现自然而忽视了个性设计成分的存在，于是“撞衫”的情况也时有发
生。如同其他设计行业一样，景观设计需要设计师勇敢地表达新奇的想法和突出的个性。
A landscape lack of thoughts andindividuality shouldn't be called designed
landscape.Compared with other designindustries,landscape architecture is still in
premature stage.People want to expressthemselves and make impression
(graceful,charming,noble,simple,low-key,radical and etc.)by wearing
designed clothes.Costume design helpspeople to recognize brand names.
Different dress can let people know yourculture background,education
background,personality,favor and etc.On special occasions,guests have to
carefully think about their dress and pickthe ones can distinguish them from
others.It even is a seriousembarrassment if lady guests dress up
the same as others.However,inlandscape design industry,designers
sometimes feel reluctant to expresspersonality to attract eye balls.Landscape
designers usually emphasis on makingthings looked natural rather than creatively
designed.That's why,when people visitparks,gardens or city plazas,they may
feel that they have seen very similarthings somewhere else before.Just like
designers in other design industries,landscape architects have to fearlessly
express their creative ideas and distinctiveidentity.
剖面
效果
西安世界园艺博览会的6号园是一个重在展示个性的设计。我们希望展示的不是美国的
传统景观，而是美国一贯坚持，并使美国强大的思想基础：个性自由与创新。经过多次推敲和探索，最终确定了“迷宫园”这个方案。灵感来自于欧洲的古典迷宫园和莫妮卡·博文悉尼(Monica
Bonvicini)的公共艺术品“透明公共洗手间”。西安的青砖墙是古典欧洲迷宫园里树篱的现代诠释代码。玛莎希望人们通过游园观赏体会到景观的重要元素不一定是软质的，硬质无生命的建筑材料也可以成为景观重要
的一部分。莫妮卡·博文悉尼“透明洗手间”的单向透视镜则是另一个创新选择。单向透视镜一面反光成像，而一面可以透视对方。这样出园的人们可以悄无声息地在暗处观察游人的行为和举动。
The design of Plot 6 of Xi'an 2011 IHE aims to expressdesigner's identity.What Mrs.Martha Schwarz wants to exhibitin the garden is not traditional American gardens,but
American's consistent ideologies:freedom and innovation.Through long exploration of variety of ideas,Martha chooses thevery distinctive idea:the Maze Garden.She was inspired bytraditional European maze garden and artist Monica Bonvicini'spublic art"Transparent Public Toilet".Xi'an's local grey brick wallis the modern interpretation of the hedge of traditional European
maze garden.Martha wants to let visitors understand thatimportant landscape elements don't have to be soft.They canalso be hard architectural elements.The one-way mirror of
Monica Bonvicini's public art is another Martha's innovativedecision.A transparent mirror has a mirror side which appearedfully reflective,and a glass side which provide a transparent viewing window,with littledistraction from reflections.Visitors in the dark corridor can observe people in thegarden without being noticed.
迷宫的“树篱”由一系列3m高，1.4m厚的青砖墙组成，它们把这个35m×35m的小花园分割
成6个狭长的小空间。由于每个“树篱”在平面上的角度都有所不同，所以围合空间的大小和形状
也各不相同。青砖墙每隔5m有个1m宽的拱门，且列阵完美。方便游客从自选的角度穿行于不同
走廊。每个走廊的2个末端都有3m高的大镜子，无限延伸走廊的长度。游人能够走进相邻的走
廊，但有时会闯入一个周围布满镜子的小房间，于是奇妙的事情发生了：无数个自己出现在面前，
你甚至会分不清方向和出口。也许这个时候，某个镜子后面就有游人正在观察着你，你的不知所
措和迷茫完全呈现在他们的面前。
The hedges of maze garden consist of a series of brick archways 1 meter wide
by 1.4 meter deep x 2.25 meters high.These hedges break this 35m×35m garden
down to 6 linear small corridor spaces.The archways occur every 5 meters and are
in perfect alignment between adjacent walls so that one can walk from corridor to
corridor at approximately right angles.The ends of corridors are fitted with 3 meter
high mirrors,creating an illusion of endless length.Usually visitors can pass into an
adjacent corridor,but sometimes they may be confronted with a little mirrored room or
other aberration to the rule.Then magical things happen.You will see endless
reflection of yourselves and be confused and lost in the mirror room.Meanwhile,there
may be some visitors behind the one-way mirror are watching you.Any of your
reaction in the mirror room and your confusion will be clearly seen by them.
人们看到的1.4m厚的墙其实是由2堵薄墙共同组成的，墙与墙之间留有1.1m宽的空隙，让垂
柳的树冠伸展出来，游人从墙外看到的只是3m高墙上柔软下垂的绿油油的柳枝。109棵垂柳均
等地分布在园子中，每棵垂柳的枝条上都系了许多大小不等的铜铃，每当微风拂过，柳枝摇曳，优
美的铃声随之响起。不经意间，游人也许会摘根低垂的柳条以留作游园的纪念。
The 1.4m thick wall is actually made up of two pieces of thin walls with 1.1m
cavity between them allowing willow crown showing up on the top.Visitors will only
see green soft willow branches hanging down from 3m high wall.There are 109
willow trees planted evenly in the garden with over 1 000 small tuned bronze bells
hung on their branches.Once there is wind blowing off the site,branches will sway
gently with lovely chime.Visitors may also pluck willow branches as souvenir.
空间微妙地变化着，伸展或者收缩，变宽或者变窄。镜子的反射更加夸大了空间变化的效
果。在镜子反射的幻境中，游人也许会迷失而不知所措，也许会停留欣赏片刻。游人在经过最后
一道拱门后进入一道封顶的黑暗走廊，走廊的北面立着约17.5m长，3m高的单向镜面。通过单向
镜面，游客看到的是一个大的三角形镜面空间，这里种有常绿的地被植物，还有垂柳相伴。虽然三
角形空间内只有几棵垂柳，但是经过无穷尽次镜子的反射，游客看到的是一个变幻多样、没有尽头
的绿色森林。
While walking in the garden,spaces will subtlyexpand,contract,and go into and out of alignment.
The mirror reflection even enhances and exaggeratesthe space changes.In the illusion created by reflection,visitors may be lost or stay for a while to enjoy the
scene.Across the last corridor,one enters a dark,roofed-over corridor at the back.There is 17.5 meterlong x 3 meter high panel of one-way mirror to thenorth of the dark corridor.Through one-way mirror,people will see a large,mirrored triangular space filledwith a grid of willow trees on a lush green plane of anevergreen groundcover.Due to the multiple reflectivesurfaces,although there are only a few trees within thetriangle little space,visitors are confronted with acomplex and perhaps bewildering vision of an endlessgreen forest just beyond the glass.
游客随后经过两旁的暗走廊走出花园。不经意间，游人会发现之前走廊尽端的镜子其实是单向镜。离开的游人能够在探索穿行的同时，通过单向镜面秘密地观察正在园内游园的游人的行为。迷宫里人们的各种活动和窘境，真实、原始、全面地展示在即将出园的游人面前。在即将结束游园之际，游人终于明白了镜子在迷宫园中的奥妙：一种真实反映自己的仪器。
Visitors leave via one of two flanking darkroofed-over exit corridors.One discovers along the way
that the mirrored end-walls of all the corridors one hadjust walked through are actually also one-way mirrors,and that one had been surreptitiously observed byothers from the way out all the while whilst exploringthe piece on the way in.People's activities,embarrassment and any real reactions will be clearlyshown to other people walking off from the darkcorridors.Just before visitors leave the maze garden,they will finally realize secrete of this maze garden:This garden is a devise to reveal your true self.
迷宫园的游园过程就像在看一部电影，人们把自己喜怒哀乐的真实情感毫无保留地在游园过程中展现出来。
The experience of the tour in the Maze Garden isjust like watching a movie that people reveal their trueemotion and reaction to others during the garden visit.
设计团队(Design Team)：
玛莎·施瓦茨、唐·夏普、周梁俊、詹姆斯·菲可西罗、玛缇娅·加
姆巴德拉、克丽斯特贝尔·李、杰克·沃克和丹·葛斯
Martha SCHWARTZ,Don SHARP,Liangjun ZHOU,
James FICOCIELLO,Mattia GAMBARDELLA,Christabel
LEE,Jake WALKER and Dan GASS
四盒园
图1-四盒园平面图
能在西安的世园会上与一些世界上最好的风景园林师一起设计展览花园，是
一次难得的经历，也是一个挑战。每个大师园除了地块的范围、高度和造价外，并
没有其他的限制条件，这为设计师充分展示他对园林艺术的理解提供了机会。
It is a rare experience and also a challenge to devise individual
Master Garden together with these world top landscape architects on
Xi'an International Horticulture Exhibition.There are not many restrictions
except the scope and cost of construction.So,it is an opportunity for
the designers to reveal their unique understanding of garden art.
在我看来，不论古今中外，优秀的花园都是空间的艺术，并且充满诗意，能吸引
人去体验和感知。它应该具有缜密的逻辑关系，要融合在地域的景观之中。在具
有这些特性的同时，中国的花园还表达了一种哲学思想，一种追求自然、追求和谐，
在方寸之间创造世外桃源的理想。我想，这种思想在今天仍然具有价值。在大师
园设计中，我们尝试用简单的设计语言，创建一个简明的，具有诗意的，变化莫测的
花园。它吸引人去体验和感知，无论在其中漫步还是静思，都能感受到花园浓浓的
诗意和中国园林的空间情趣。
In my opinion,whether in modern or in ancient times,in China or
elsewhere,an excellent garden should be the art of space and be full
of poetic conception which attracts people to experience and perceive.
Meanwhile a garden should have rigorous logic and should be
integrated into the regional landscape.Besides these characteristics,the
Chinese garden demonstrates a philosophy,an ideal of pursuing nature
as well as harmony and creating paradise isolated from the world on a
small patch of land.In my view the idea is still worthwhile today.
In the design of Master Garden,we try to use simple design
language to develop a concise,poetic and unpredictable
garden.People can experience deep sense of poetic conception
and space delight of Chinese garden during their wandering or
meditation.
园林博览会上会有许多展览花园，这些花园相互之间往往存在视线的
干扰。我们希望将花园与周围环境有所分离，使花园能更单纯、完整而独
立。花园本身也应该有一个边界，并被围合起来。我们用1.6m高的夯土
墙将花园围起来，利用石、木、砖等材料建造了4个盒子，它们分别具有春、
夏、秋、冬不同的气氛，形成四季的轮回。这些盒子和围墙一起，把花园分
隔成一个主庭院，以及位于盒子后面和旁边约10个小庭院，这是中国园林
的典型空间结构(图1)。夯土墙、石、木、砖等材料也是当地典型的构筑材
图2一座小桥将游人引入“春盒”
料。我们将花园命名为“四盒园”，既表达了花园的空间结构，也因与
“四合院”谐音，暗示了中国传统的居住建筑形式。
There are always many exhibition gardens on theExhibition.However,the gardens have visual interferencewith each other.We hope to separate the garden from the
surrounding environment to make the garden simpler,morecomplete and more independent.The garden should have aborder and be enclosed.So we use rammed earth walls of
1.6 meter high to enclose the garden.And at thesame time,we use some folk materials including
rammed earth,stone,wood and brick to constructfour boxes form different atmosphere of spring,
summer,autumn and winter,composing a seasonalcycle.These boxes with the wall form a main
courtyard in the garden and about 10 smallcourtyards behind and beside the cases.It forms a
kind of structure similar to the typical structure ofChinese garden(Figure 1).Rammed earth,brick,
wood and stone are most commonly used as localconstruction materials.The garden is named as
"Four Boxes Garden",which expresses the spacestructure of the garden.Meanwhile it is the
harmonic tone of a kind of Chinese folk house.Inthis way,it implies the traditional Chinese residentialbuilding form.
花园南部朝向广场是2个出入口，木制的园门可以开启和关闭(图2)。进入主要入口就是由白粉墙建造的“春
盒”，跨过一座小桥(图3)，来到“春盒”的中央，坐在长椅上，透过墙上的门窗，可以看到主庭院的景色，以及四周春意盎然的竹丛(图4)。窗的开启和关闭会让春盒中的游人具有不同的景观体验。
At the south of the garden are two entranceswhose wooden doors can be opened and closed
(Figure 2).Walking into the main entrance is the"Spring Box"which is constructed by white wall and
stone.After going across a small bridge(Figure 3)is the center of the Box.People can enjoy the
scenery of the main courtyard and the vigorousbamboos through the doors and windows in the
wall when they sit on the bench(Figure 4).Peoplecan experience different views of the"Spring Box"
by the opening and closing of windows.
“夏盒”是一间木制的花架屋，由于木材的搭接方式不同，花架具有独特的光影效果和戏剧性的视线体验。木屋
的中心是一个小院，开启和关闭的门同样会给游人带来变化的视觉感受。花架上面爬满葡萄，就像西北的农家院中常见的景致。
"Summer Box"is a wooden pergola cabin.Thepergolas reveal strong lighting effects and dramatic
transparent sight experience owing to differentwood lapping approaches.There is a small yard in
the middle of the Box.The doors can be openedand closed which can also bring the changing
visual experience.The pergola is covered withgrapes,which looks like a farm yard in northwestof China.
“秋盒”由石块砌筑，其地面比中心庭院高1m，墙上有许多正方形的窗洞，形成一个个画框。通过这些画框，游人可以看到花园内外不同方向的景色。秋盒的顶面是金属网，上面爬满爬山虎(图6)。
"Autumn Box"is built with stone.The ground inside is 1m higher than that of the
central courtyard.Some frames are formed by square window holes in the wall,
through which people can see beautiful scenery inside and outside the garden in
different directions.On the top of"Autumn Box"is a steel wire netting with Japanese
creeper(parthenocissus tricuspidata)creeping over it(Figure 6).
最后的盒子是由青砖砌筑的“冬盒”。由于砖砌筑的方式不同，盒子4个面的通透程度也不同。“冬盒”的内外都是白色砂石铺地，如雪一般。在冬盒中，人们坐在长椅上，可以看到中心庭院的景色，透过砖墙上的空洞，也可以看到“春盒”外的竹丛。人们可以从“冬盒”走出花园，也可以重新进入春盒，开始另一个四季的循环(图7)。
The final one is brick-constructed"WinterBox".With diverse ways of brick constructing,
the four sides of this box have differenthollowing effects.The"Winter Box"is
white-sand-grounded both inside and outside,simulating the winter snow.In the"Winter Box",
one on the bench is able to view the maincourtyard scene.The bamboo grove around
"Spring Box"also can be seen through theholes of brick wall.People can either step out
of the garden or re-enter the"Spring Box"tostart another cycle of four seasons(Figure 7).
花园的地面统一在整体的流动的线形之中，并赋予其植物、白砂、黑砂、青瓦及水面等不同的材质。
The ground of the garden takes anintegrated and flowing linear shape,
accompanied by plants,white sand,blacksand,tiles,thin water surface and otherdifferent materials.
四盒园面积虽小，但作为国际园艺博览会上的花园，我们希望四盒园能具有浓厚的中国园林的空间情趣和诗意，宁静、深远，并引人沉思。
As a garden on International HorticultureExhibition,"Four Boxes Garden"is small.We
hope it will have space delight and poeticconception with a particular serene,far-reaching atmosphere and triggeringmeditation.
万桥园
万桥园平面图
效果图 生命之路——致“万桥园”
Path of Life:for"The garden of 10 000 bridges"
每座园林都有一个故事。它们是诗，在诉说。
我们的园林讲述的是生命的故事，人的生命之路。
这条路跌宕起伏，忍辱负重。
讲述了忧愁河上的众桥。
在这座园林中，生命是一条绵延不绝的蜿蜒小路，更恍如一
座迷宫。
这条小路深入茫茫自然，带你去渡万座桥。
“万桥园”试图效仿自然山水带给人的视觉、尺度和心理上的
冲击力。借助我们地块邻湖且较为中心的地理优势，吸引参观者
的不仅仅是园林本身，还包括世园会的山水美景。
设计的概念非常简单有力：桥、小径和竹子。一条单方向的砾石小径只设一个入口和一个出
口，贯穿全园。狭窄的小径象征着生命，如古希腊神话中的名匠代达罗斯(Daedalus)设计的迷
宫，曲折盘徊，带领参观者远离宽敞的大道和人群，深入茂密幽深的竹林，经过每座桥的桥上和桥
下。参观者深处园中，不知自己所处为何，也无法看见前路还有多远。“只在此山中，云深不知
处”。唯一可以清楚把握的，仅仅是此时此地的自己。或许还可以隐约听见，透过竹丛传来的在
其他小径上探索前路的隐隐人声“。空山不见人，但闻人语响”。2句唐诗，很好地概括了中国人的
自然观，也概括了我们想通过万桥园展现给参观者的自然。
立面
所有的迷局和不解在5座彩虹般的拱桥上得到了解答。当参观者沿着狭窄
陡峭的楼梯艰难地登上桥顶，一目了然的不仅仅是已远在脚下的竹林，周围雕
梁画栋精彩绝伦的园林，世园会的山山水水已尽在眼底。每座桥都是参观者的
必经之路。它们的位置经过精心选择，如桂林的山峰层层叠叠，也和世园会的
总体布局相呼应，使参观者站在每座桥上都能获得不同的视角和景观体验。
桥Bridge
对比中国源远的造桥史，同样是拱桥，万桥园的拱桥采用的是现代的混凝
土浇筑技术。
The inspiration from the rich history has been transformed into a
contemporary language and will be built with the modern techniques.
5座桥共分高中低3种类型，一高三中一低。为控制成本，所有的桥都由混
凝土模具在工厂筑造完成。每座桥都是由完全相同的2个半弧混凝土模件现场
拼接组装而成，合在一起就构成了桥的拱桥造型。桥的内表面保持光滑，仅留
有扶手方便参观者攀爬。外部结构以混凝土翻模竹叶印花装饰。
这5座预制筑模混凝土桥将比现浇混凝土节约材料和成本。异地工业化制
造可以严格控制质量，简化现场施工中的不确定因素。由此带来的好处是安装
简单迅速，一般只需要几天。比较于以往几周甚至几个月的现场浇筑工作，将
大大节省施工时间。对如此大规模的博览会来说，这一方式将确保工程如期完
成。浇筑混凝土方案还有效地避免了桥面损毁和桥面结冰的保养费用。预制
的桥体确保了桥的使用寿命，降低了维修成本，平时基本不需要任何维护工
作。正是在这一简化成本和施工的设计策略下，我们才能够提供给参观者多达
5座、连绵不断的视觉惊喜。
在设计中，我们尝试了各种不同的模板纹理。最终我们选择了竹叶的投影图案。它取
材于自然母题，也是中国水墨画最常见的题材之一。模板嵌入混凝土浆表面后，在混凝土尚
未完全凝固时取出，形成的纹理受混凝土湿度影响而变形，在似与不似间达到丰富而非单一
的肌理。
在桥的模块成型后，我们将手工为混凝土内外表面，特别是外部纹理涂以红色环氧树
脂。中国红是最佳的选择。由于纹理凹凸不平，岁月和环境将进一步雕蚀这些纹理，使桥随
着时间的演进呈现出愈来愈美的状态。
植被Planting
在寻找适合植物的过程中，我们发现以下几点尤为重要：
·中国传统庭院植物，且西安本地也有栽培·
适应当地气候·
强壮且可以承受世园会的人流压力·
常绿植物，使园林可以终年吸引游人·
色彩为鲜绿色，高度为2m多·
生长茂密，避免游客偏离小径，或因过于稀薄造成视线穿越·
可以从苗圃中购得高大的植株，以便在世园会开幕时达到设计概念要求的空间效果
竹是目前最适合此园的植物，它满足以上提到的所有条件。
具体的品种选择应根据西安当地的经验。
小径Path
园中小径由英式庭院中常见的黑色花岗岩砾石铺成。这种
材料利用了石矿的废料，排水性能良好，与周围的环境融合一
致。小径宽约80cm，和7m宽的游客大道形成对比。由大道拐
入小径，仿佛突然脱离城市的喧嚣，置身自然之中。小径两边砌
有略高于地面的暗灰色花岗岩侧石。侧石内侧抹圆角，植被和土
层都略高于小径，使参观者更容易获得感官尺度上的对比。
(荷兰)高伊策(West 8城市规划与景观设计事务所)设计团队(Design team)：
Adriaan Geuze
Christian Dobrick
Karsten Buchholz
Gaspard Estourgie
Yichun He(何以纯)
Pieter Hoen
Joris Weijts
Claudia Wolsfeld
总述
大师园平面图
西安世界园艺博览会将于2011年4月开幕，这是继1999年昆明和2006年沈阳之后，世界园艺博览会第３次来到中国。西安世园会的主题是“天人长安，创意自然”，将营造以植物为主体的自然景观，展示世界的园林文化和艺术，彰显西安历史文化和地域特色韵味，展示人类与自然，城市与自然和谐共生的新理念和新创意，探索人、城市、园林、自然和谐共生的未来发展模式。 Following the 1999 Kunming International Garden Festivaland 2006 Shenyang InternationalHorticulture Exhibition(IHE),IHE will be held in China for the third time,in Xi'an in 2011.The theme of Xi'an International Horticultural Exhibition 2011 is"Harmonious Coexistence of City and Nature".The Exhibitionwill create a plant-dominating natural landscape,highlightingthe history,culture and local characteristics of Xi'an,displaying the harmonious coexistence of human and nature,and city and nature,and exploring the future developmentmode of harmonious coexistence among human,city,landscape and nature.
西安世园会设置了一个特殊的园区——大师园区。组委会在世界园林艺术最为发达的国家中邀请了9位有影响、有思想和探索精神的设计师，每人设计一个面积约1 000m的展览花园，希望这些设计师通过自己的作品，展示他们对园林艺术的独特思考和理解，探索园林艺术的新的表现形式和新的可能。并使得大师园成为西安世园会中最受人关注的区域，同时也使得大师园成为国际风景园林领域具有影响的作品。
A special garden zone will be set up on 2011 Xi'anInternational Horticulture Exhibition—Master Garden zone.TheOrganizing Committee invites 9 most excellent,thoughtful andexploration-spirited designers from countries with mostadvanced landscape architecture art to devise Master Garden
with an area of 1 000mfor each.They hope that all thedesigners will demonstrate their thinking and deepcomprehension of garden art.Meanwhile the OrganizingCommittee also hopes to make the Master Garden catch themost attention in IHE and become an influential work in thefield of international landscape architecture.这9位设计师分别是美国MSI事务所的Martha Schwartz、荷兰West 8事务所的Adriaan Geuze、丹麦SLA事务所的Stig L.Andersson、德国Topotek 1事务所的Marten Rein-Cano、英国Gross Max事务所的Eelco Hooftman、法国Mosbach Paysagistes事务所的Catherine Mosbach、西班牙EMBT事务所的BenedettaTagliabue、澳大利亚Terragram事务所的Vladimir Sitta、中国多义景观规划设计事务所(Atelier DYJG)的王向荣。
The nine designers are:Martha Schwartz from MSI ofUSA,Adriaan Geuze from West 8 of the Netherlands,Stig L.Andersson from SLA of Denmark,Marten Cano from Topotek 1 of Germany,
Eelco Hooftman from Gross Max of UK,Catherine Mosbach from Mosbach
Paysagistes of France,Benedetta Tagliabue from EMBT of Spain and Vladimir
Sitta from Terragram of Australia,Wang Xiang-rong from Atelier DYJG of China.
2010年1月，9位大师园的设计师们齐聚西安，对各自的方案进行了研讨交流。在充分勘察现场，了解其他设计师的设计后，每个设计师又重新审视了自己的方案，并对原方案进行了一定的调整和改进。目前，各个花园的方案设计和施工图设计已经完成，大师园开始进入施工阶段。
In January of 2010,the designers of nine Master Gardens gathered in Xi'an
to discuss and communicate on each program.With a full investigation of the
site and understanding of other designs,every designer re-examines their own
programs and makes some adjustments and improvements on their original
programs.At present,all the garden plans and the construction drawing have
been completed.The construction period has started now.
