河流复性 - 园林吧

河流复性
Renaturation of the River Aire

Editor's note

塞西尔·泰勒说：“如果音乐是真实的，那么形式会自行调节。”。River Aire复性是一个艺术和诗意的项目，包括一系列适当的干预措施。这个项目的力量在于它的诚实。复性项目经常暴露在大量的假货中，这绝对不是river Aire的情况。复性本身的任务是假的，尽管它在很大程度上取决于对自然的模糊定义。它的第一个成功之处在于，这条河并没有假装存在，因为它总是在没有任何人为干预的情况下存在。第二项皇冠成就是沙的网格，它准确地告诉我们，在水的帮助下，许多自然过程都在运动。第三条是以前的直溪，现在仍然用作公园区。
“If the music is true, the form takes care of itself.” said Cecil Taylor. River Aire Renaturation is an artistic and poetic project that comprises a series of appropriate interventions. The power of this project is in it’s honesty. Renaturation projects are often exposed to a great deal of faking, which is definitely not the case with the river Aire. The task of renaturation itself is fake although it depends greatly on the ambiguous definition of nature. It’s first success is that the river is not pretending to be there since always without any human intervention. The second crown achievement is the grid of sand that tells us exactly that and with the help of the water puts many natural processes in motion. The third is the former straight stream that is still in use as a park area.

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Designing a rivergarden

text by Superpositions

艾尔河流经历史上用于农业的山谷。从19世纪末开始，它逐渐被运河化。2001年，日内瓦州发起了一场竞赛，提出通过摧毁运河将河流恢复原状的想法。相反，我们建议将运河与河流的巨大分隔空间结合起来。在这个过程中，通道成为转换的指针，一条参考线，提供了理解转换前后的可能性。叠加两种情况的变化。
The Aire river flows through valleys historically devoted to farming. From late 19th century it was progressively canalized. In 2001 State of Geneva opened a competition with the idea of restoring the river to its original shape by destroying the canal. We instead proposed to combine the canal with a vast divagation space for the river. In the process the canal becomes the pointer for the transformations, a reference line giving the possibility to understand the before and after. A becoming which superimposes both situations.

竞赛项目的«官方»理由是一种生态理由，其中环境改善的合法必要性淹没了其他考虑因素，并意味着自然和文化之间的对立。我们的项目试图提出一条替代路径，将紧迫的生态变化纳入更大的文化变革中。设计的复杂组织将新的河流空间与前运河中的一系列线性花园联系起来。实际上，整个设计变成了一个线性花园。面对整个流域、山脉的原始形态和人类改造的痕迹，这座长长的河流花园组织了各种情况、观点、对抗、存在，旨在将问题、担忧和希望引入这片脆弱而珍贵的土地。必要的平静和内部装饰，没有它就没有真正的花园，产生不同地点和路径的有序排列，允许人员和活动的合理分布。运河的足迹是建造必要的平静和内部环境的关键设备，没有它就没有真正的花园。这是一个永久的痕迹，它引入了一个复杂的时间性，包括过去和未来，记忆和欲望。
The « official » justification for the competition program was an ecological one, in which the legitimated necessities of environmental ameliorations submerge other considerations and implies an opposition between nature and culture. Our project attempts to propose an alternate path, where the urgent ecological shifts are incorporated into a larger cultural change. The complex organization of the design associates the new river space and a linear series of gardens in the former canal. In reality the whole design becomes a linear garden. Facing the whole watershed, the original morphology of the mountains and the traces of human modifications, this long rivergarden organises the situations, views, confrontations, presences, aiming at introducing into this fragile and precious territory questions, worries, hopes. The necessary calm and interiority, without which there is no real garden, yields organized sequences of differenciated places and paths allowing a reasonable distribution of people and movements. The footprint of the canal is a key device for building the necessary calm and interiority without which there is no real garden. It is a permanent trace which introduces a complex temporality, both past and future, memory and desire.

@ Fabio Chironi

对于河流本身的绘制——意识到设计固定河床是徒劳的，并且意识到河流通常喜欢自由设计自己——我们提出了一种下水模式，其形式解决了河流流量和准备好的地形之间的关系。这种菱形图案为水流打开了一系列复杂的未知通道。通过清除腐殖质层，沿着整个新河开挖这些渠道，保持对河流纵剖面的精确控制。这些菱形岛屿的尺寸配置为能够“接受”前弯曲的一般尺寸。结果是壮观的，并表明了大多数土地艺术家的装置，对自然环境进行了明显的人工干预，然后任由自然力摆布。新河流空间开放一年后，其结果超出了我们的预期：河流流动，取代了各种材料、砾石、沙子和菱形的几何矩阵显著改变。我们必须接受这一悖论：给予河流的网格越明确，河流就越可以自由设计。
For the drawing of the river itself – conscious of the useless effort to design a fixed river bed and aware that a river usually loves to design itself freely – we instead proposed a launching pattern whose form addresses the play between the river flow and the prepared terrain. This diamond- shape pattern opens a complex serie of undetermined channels for the flows. These channels were excavated along the entire new river by removing the humus layer, maintaining a precise control of the longitudinal profile of the river. The dimensions of these lozenges islands were configured to be able to « accept » the general sizes of the former meanders. The result is spectacular and suggests the devices of most land artists, effecting clearly artificial interventions into a natural situation, thereafter left to the mercy of natural forces. One year after the opening of the new river space, the results are beyond our expectations: the river flows, displacing diverse materials, gravels, sand and the geometrical matrix of lozenges is significantly modified. We must accept this paradox: the more defined the grid given to the river, the more the river will be free to design.

Data

面积：50公顷
Project: Renaturation of the river Aire, Geneva
Client: République et Canton de Genève (State of Geneva)
Architecture: Group Superpositions
Architects: Georges Descombes and Atelier Descombes & Rampini
Engineers: B+C Ingénieurs
ZS Ingénieurs civils
Biology: Biotec SA
Construction period:
Chronology:
Phase 1 2002 – 2006, Phase 2 2009 – 2011, Phase 3 2012 – 2015, Phase 4 Ongoing
Costs:
Phase 1: 1’500’000 Fr. Phase 2: 25’000’000 Fr Phase 3: 33’000’000 Fr
Lentgh: 5km
Surface: 50 Ha