论“三远”在当代景观设计中的运用--以贵阳龙川溪湿地公园景观设计为例

On the Application of"Three Distances"in Contemporary Landscape Design--Analysis of Landscape Design of Guiyang Longchuanxi Wetland Park

从古至今,山水画与园林设计的创作思想和手法都不谋而合,产生异体同构的现象,以不同的表现形式展现出中国传统的美学观念和意境。伴随科技的进步、城乡文化的融合,当前许多城市的公园设计在西方文化的影响下徘徊不前,由此现代的景观设计呈现出“千城一面”的面貌,让人们的“乡愁记忆”无处安放,失去了民族性与地域文化的特征。然而现代化的生活节奏迫使人们开始尊重自然,追求天人合一的传统生活意趣。中国古代造园者多为文人画士,因此也有“画理即园理”之说。进而现在诸多设计者也将画理搬至景园当中,以填补人类精神和文化传统上的缺失。龙川溪湿地公园景观设计借助中国传统画论和造园的“三远”作为主要设计思想,对此进行分析并用实例概括其在当代景观设计中的应用。

Since ancient times,the creative ideas and techniques of landscape painting and garden design have coincided,resulting in the phenomenon of heterogeneous isomorphism,showing the traditional Chinese aesthetic concepts and artistic conception in different forms of expression.With the progress of science and technology and the integration of urban and rural culture,the park design of many cities currently lingers under the influence of Western culture.Therefore,the modern landscape design presents the appearance of"thousand cities of with similar appearances",which makes people's"nostalgia memory"nowhere to place,and loses the characteristics of national and regional culture.However,the modern pace of life forces people to respect nature and pursue the traditional life interest of the unity of nature and human.Most gardeners in ancient China were literati and painters,so there is a saying that"painting theory is garden theory".And now many designers have also put the painting theory to the landscape garden to fill the lack of human spirit and cultural traditions.The landscape design of Longchuanxi Wetland Park takes the traditional Chinese painting theory and the"three distances"as the main design idea,this paper analyzes this and summarizes its application in contemporary landscape design with examples.