“画”画——劳瑞·欧林手绘重顾

DRAW-ING DRAWING——REVISITING THE DRAWINGS BY LAURIE OLIN

景观的概念在某种意义上与人们对眼前世界的不断解读息息相关,是人类与自然及文化之间关系的体现。因此,我们不能将景观视作一种先验知识,而应通过观察与表现对其加以理解。在如今众多的媒介之中,无论是描绘现状还是构思方案,手绘或许都是最为古老而简易的表现手段,但这一富于创造之功又常在所见之外的绘画过程却不及成作更为观者所瞩目。本文旨在探究这一有赖于绘者手(娴熟表现)眼(深刻观察)协调的看似复杂的观察与思考过程。文章首先解读了美国景观设计大师劳瑞·欧林在近期一次展览中的部分画作,并着眼于三处重点:景观表现的留白与省略、景观构图(透视构图与修辞构图),以及笔墨技艺背后的潜在意图。其次,试图梳理欧林几十年来在景观手绘与实践之间耕耘的脉络,并借此阐明观察和表现能力的培养在当今景观设计教育中的意义。

The idea of landscape is,to some extent,a cumulative interpretation of the way we see the world,reflecting our relationship with nature and culture.Landscape is thereby impossible to be assumed a priori but only to be understood through observation and representation.Between a broad spectrum of media,hand drawing presents presumably an oldest and simplest means for landscape representation,whether it is existing or imaginary.However,the creative yet oftentimes invisible process of draw-ing receives less attention from the spectators than its result.The paper takes an inquiry into this seemingly complicated process of looking and thinking based on the coordination of the draughtsman’s critical eye and skilful hand.First,the paper gives a careful reading upon some selected drawings from a recent exhibition of the renowned American landscape architect Laurie Olin,with three particular focuses—the reduction in representation,the composition of the observed landscape(perspectival composition and figurative composition),and the conjecturable intention behind drawing skills.Second,the paper attempts to unveil the evolution of Olin’s decades of training and practising of drawing and observation,and further argues the significance in the training of hand and the cultivation of the critical eye in Landscape Architecture pedagogy.