瑞士圣加仑自然历史博物馆公园充分体现了瑞士景观学的悖论：当现代的基础设施，郊区的地域背景和田园牧歌式的自然元素彼此紧密交织成为一体时，所谓的挑战便应运而生：坐落于一个颇具讽刺意味的地点，高速公路隧道的高处，四周环绕着运动场，多户型住宅区和多条交通要道的公园，应该如何设计以此来激发“当代”对于“历史”的回溯和反思？就在自然或景观等概念不再具有明确而精准的含义的节点，瑞士圣加仑自然历史博物馆公园，对“人造的自然”/“自然的人造”的问题，进行了深一步的探索。

The site of the parkexemplifies the Swiss landscape paradox where, infrastructure, suburbs andbucolic idyll are densely interwoven. And such was the challenge: how to designa park which inspires contemplation about natural history which is ironicallylocated atop a motorway tunnel, surrounded by sports fields, multifamilyhousing and a major traffic artery? At a time when concepts like nature orlandscape no longer possess a clear meaning, the park explores the theme ofartificial naturalness/natural artificiality.

本地的大气生态架构，以鹅耳枥树为主的自然幕布以及茂密繁盛、肆意生长的地被植物，嘈杂的异质性背景被有效地过滤掉，余留出一隅不被侵扰的，安宁静谧的空间，人们可以感受到于这处“纯粹”之境及它以自然为题的游戏中，身与心的充分沉浸。

An atmospheric frameand backdrop of hornbeam trees and messy lush groundcover filter out the loudheterogeneous context, allowing visitors to mentally immerse themselves in thepark and its play on themes of nature.

体量巨大的混凝土制“踏脚石”，被巧妙嵌插入于这种大气环境中，它承载着更诗意以及更系统的信息密码，其角色，不仅仅只是供游人穿行于上的通路，更是展示和传播相关科学性知识的媒介。它们就如散落于公园各处的碎片，激发出了人们的好奇心和想象力；在冰川沉积形成的巨岩和化石旁边，在那厚重的混凝土石板之上，凿刻有30厘米字高的，关于当地地质情况的科学地质理论和引文。

Embedded in thisatmospheric backdrop, enormous concrete “stepping stones” bearing poetic andscientific messages function as both path and exhibition. Strewn about thepark, these fragments act as catalysts for our curiosity and imagination.Quotes and scientific geological terms of local geological relevance arechiselled out of the concrete slabs in 30 cm-high lettering, alongside fossilsand massive boulders deposited by glaciers.

与博物馆内的线性教学方法不同，瑞士圣加仑自然历史博物馆的公园通过提供给人们如此这般碎片化的线索，以此来引导人们，思考和体验那看似永无止境的时间跨度，和自然历史的转变过程。

Unlike the linearpedagogical approach inside of the museum, the park provides clues with whichto ponder and experience the seemingly endless spans of time andtransformational processes of natural history.

公园通过使用本地两种极其重要的石材借此表达自然与人类的关系：所有现存的地区性砾岩，泥砾石，在构造上与人造混凝土完全相同。混凝土铺路石既表达了它们与天然的泥砾石的关系，也侧面证明了人们对于材质制造加工的能力；从它们外观形态和纹理便可看出来，从经历自然粗糙地锤打后留下的痕迹，再到人为精细而充满技巧性的印记。

The use of the two mostsignificant regional stones express the relation between nature and mankind.The all present regional conglomerate, Nagelfluh, is identical in make-up toman-made concrete. The concrete pavers express both their relation to thenatural Nagelfluh and the material’s ability to be formed by man, the surfacesappearing in all forms from roughly hammered, raw and natural to artificiallyimprinted.

色泽苍翠的绿色砂岩也同样存在于那些具有悠久文化和历史的古老构筑中。整个公园的地面是由天然砂岩的碎石拼贴构成的，而使用同样材质，并且经过精心雕琢的人工装饰制品，有序地散布安置于公园各处。

Thebeautiful green tinted sandstone is equally all-present in cultural, historicalbuildings. The ground plane of the entire park is made of the stone a rawnatural sandstone gravel while beautifully sculpted cultural artefacts of thesame stone are strewn about.

瑞士东部三个最重要的地质年代都于公园中被以不同的方式记录并被展现出来，设计者将地质历史原本广阔的维度，浓缩于一个令人难忘的小故事里。文学作品如《巴哈马群岛》，及那些光秃的柏树，恐龙化石等等历史遗留证据，都对圣加仑岛曾是一片处于热带域的海洋的真相有所暗示。而这些彩色巨石，则证明了是冰河时代的冰川将它们带到这处只有米黄色和灰白色的石头的地域。

The three mostsignificant geological eras of Eastern Switzerland are expressed in the park,encapsulating the vast dimensions of geological history in a small, memorablestory. The fact that St. Gallen was once a tropical ocean is implied by suchtexts as “Bahamas”, bald cypresses and dinosaur fossils. Huge colourfulboulders allude to the Ice Age glaciers that transported them to the regionmade up of only beige and grey stones.

公园坐落的准确位置，是博物馆和圣玛丽亚·纽多夫教区教堂之间，该教堂要求景观设计结合宗教和科学两种世界创造理论进行一场博弈，亦或是对话。由此设计者从《圣经》中引用三句名言，并凿入混凝石板；马克思·普朗克和查尔斯·达尔文，在和这个主题相关的学术方面，发挥了重要作用。

The park stretchesbetween the museum and the parish church of St. Maria Neudorf, which asked thatthe landscape design incorporate a dialogue on the two theories of the world’screation, religious and scientific. Three quotes chiselled into the concrete from the Bible, Max Planck and Charles Darwin play on this theme.

植物也成为来思考公园在自然主题上发挥的一种方式。公园整体的景观设计以本地植物为主，非本地的绣球花点缀其中，这一种搭配其实是对于公园地理位置上悖论性的影射。博物馆正面的银杏树和落叶松是关于自然的谜题的具体表达。作为世界上最古老的树之一的银杏，它有精致的扇形叶，却偏偏被归类为针叶树。相比之下，落叶松同属于针叶树，却会在冬天到来之时失去它的叶针。而相似之处是，这两种树木的叶子都会于春日时节，呈现出活力满满的霓虹绿，而于秋季，则是灿烂的明黄色。

Vegetation also becomesa means to contemplate upon the park’s play on themes of nature. Thepredominantly indigenous plants are interspersed with non-native hydrangeas asa reflection of the parks paradoxical location. Ginkgo and larch trees in frontof the museum façade embody a riddle of nature. The world’s oldest tree, ginkgohas delicate, fan-shaped leaves but is classified as a conifer. By contrast,larch is likewise a conifer, but loses its needles in winter. The two tree species share the vibrant neon green of theirfoliage in spring and the resplendent yellow hues in autumn.

公园平面图

项目名称：瑞士圣加仑自然历史博物馆公园 Museum Park St. Gallen

项目位置: Rorschacherstrasse 253, 9016 St. Gallen, Switzerland

完成年份：2018

项目客户: HochbauamtSt. Gallen

景观设计: StudioVulkan (formerly Robin Winogrond Landschaftsarchitekten)

主创设计师: RobinWinogrond

建筑设计: ArmonSemadeni Architekten GmbH, Zurich in cooperation with Meier Hug Architekten AG,Zurich

施工监理: BaumedHeinz Hafner

项目面积: 5000 m²

摄影支持：Jean-ClaudeJossen，Das Bild，Studio Vulkan

瑞士圣加仑自然历史博物馆公园充分体现了瑞士景观学的悖论：当现代的基础设施，郊区的地域背景和田园牧歌式的自然元素彼此紧密交织成为一体时，所谓的挑战便应运而生：坐落于一个颇具讽刺意味的地点，高速公路隧道的高处，四周环绕着运动场，多户型住宅区和多条交通要道的公园，应该如何设计以此来激发“当代”对于“历史”的回溯和反思？就在自然或景观等概念不再具有明确而精准的含义的节点，瑞士圣加仑自然历史博物馆公园，对“人造的自然”/“自然的人造”的问题，进行了深一步的探索。

The site of the parkexemplifies the Swiss landscape paradox where, infrastructure, suburbs andbucolic idyll are densely interwoven. And such was the challenge: how to designa park which inspires contemplation about natural history which is ironicallylocated atop a motorway tunnel, surrounded by sports fields, multifamilyhousing and a major traffic artery? At a time when concepts like nature orlandscape no longer possess a clear meaning, the park explores the theme ofartificial naturalness/natural artificiality.

本地的大气生态架构，以鹅耳枥树为主的自然幕布以及茂密繁盛、肆意生长的地被植物，嘈杂的异质性背景被有效地过滤掉，余留出一隅不被侵扰的，安宁静谧的空间，人们可以感受到于这处“纯粹”之境及它以自然为题的游戏中，身与心的充分沉浸。

An atmospheric frameand backdrop of hornbeam trees and messy lush groundcover filter out the loudheterogeneous context, allowing visitors to mentally immerse themselves in thepark and its play on themes of nature.

体量巨大的混凝土制“踏脚石”，被巧妙嵌插入于这种大气环境中，它承载着更诗意以及更系统的信息密码，其角色，不仅仅只是供游人穿行于上的通路，更是展示和传播相关科学性知识的媒介。它们就如散落于公园各处的碎片，激发出了人们的好奇心和想象力；在冰川沉积形成的巨岩和化石旁边，在那厚重的混凝土石板之上，凿刻有30厘米字高的，关于当地地质情况的科学地质理论和引文。

Embedded in thisatmospheric backdrop, enormous concrete “stepping stones” bearing poetic andscientific messages function as both path and exhibition. Strewn about thepark, these fragments act as catalysts for our curiosity and imagination.Quotes and scientific geological terms of local geological relevance arechiselled out of the concrete slabs in 30 cm-high lettering, alongside fossilsand massive boulders deposited by glaciers.

与博物馆内的线性教学方法不同，瑞士圣加仑自然历史博物馆的公园通过提供给人们如此这般碎片化的线索，以此来引导人们，思考和体验那看似永无止境的时间跨度，和自然历史的转变过程。

Unlike the linearpedagogical approach inside of the museum, the park provides clues with whichto ponder and experience the seemingly endless spans of time andtransformational processes of natural history.

公园通过使用本地两种极其重要的石材借此表达自然与人类的关系：所有现存的地区性砾岩，泥砾石，在构造上与人造混凝土完全相同。混凝土铺路石既表达了它们与天然的泥砾石的关系，也侧面证明了人们对于材质制造加工的能力；从它们外观形态和纹理便可看出来，从经历自然粗糙地锤打后留下的痕迹，再到人为精细而充满技巧性的印记。

The use of the two mostsignificant regional stones express the relation between nature and mankind.The all present regional conglomerate, Nagelfluh, is identical in make-up toman-made concrete. The concrete pavers express both their relation to thenatural Nagelfluh and the material’s ability to be formed by man, the surfacesappearing in all forms from roughly hammered, raw and natural to artificiallyimprinted.

色泽苍翠的绿色砂岩也同样存在于那些具有悠久文化和历史的古老构筑中。整个公园的地面是由天然砂岩的碎石拼贴构成的，而使用同样材质，并且经过精心雕琢的人工装饰制品，有序地散布安置于公园各处。

Thebeautiful green tinted sandstone is equally all-present in cultural, historicalbuildings. The ground plane of the entire park is made of the stone a rawnatural sandstone gravel while beautifully sculpted cultural artefacts of thesame stone are strewn about.

瑞士东部三个最重要的地质年代都于公园中被以不同的方式记录并被展现出来，设计者将地质历史原本广阔的维度，浓缩于一个令人难忘的小故事里。文学作品如《巴哈马群岛》，及那些光秃的柏树，恐龙化石等等历史遗留证据，都对圣加仑岛曾是一片处于热带域的海洋的真相有所暗示。而这些彩色巨石，则证明了是冰河时代的冰川将它们带到这处只有米黄色和灰白色的石头的地域。

The three mostsignificant geological eras of Eastern Switzerland are expressed in the park,encapsulating the vast dimensions of geological history in a small, memorablestory. The fact that St. Gallen was once a tropical ocean is implied by suchtexts as “Bahamas”, bald cypresses and dinosaur fossils. Huge colourfulboulders allude to the Ice Age glaciers that transported them to the regionmade up of only beige and grey stones.

公园坐落的准确位置，是博物馆和圣玛丽亚·纽多夫教区教堂之间，该教堂要求景观设计结合宗教和科学两种世界创造理论进行一场博弈，亦或是对话。由此设计者从《圣经》中引用三句名言，并凿入混凝石板；马克思·普朗克和查尔斯·达尔文，在和这个主题相关的学术方面，发挥了重要作用。

The park stretchesbetween the museum and the parish church of St. Maria Neudorf, which asked thatthe landscape design incorporate a dialogue on the two theories of the world’screation, religious and scientific. Three quotes chiselled into the concrete from the Bible, Max Planck and Charles Darwin play on this theme.

植物也成为来思考公园在自然主题上发挥的一种方式。公园整体的景观设计以本地植物为主，非本地的绣球花点缀其中，这一种搭配其实是对于公园地理位置上悖论性的影射。博物馆正面的银杏树和落叶松是关于自然的谜题的具体表达。作为世界上最古老的树之一的银杏，它有精致的扇形叶，却偏偏被归类为针叶树。相比之下，落叶松同属于针叶树，却会在冬天到来之时失去它的叶针。而相似之处是，这两种树木的叶子都会于春日时节，呈现出活力满满的霓虹绿，而于秋季，则是灿烂的明黄色。

Vegetation also becomesa means to contemplate upon the park’s play on themes of nature. Thepredominantly indigenous plants are interspersed with non-native hydrangeas asa reflection of the parks paradoxical location. Ginkgo and larch trees in frontof the museum façade embody a riddle of nature. The world’s oldest tree, ginkgohas delicate, fan-shaped leaves but is classified as a conifer. By contrast,larch is likewise a conifer, but loses its needles in winter. The two tree species share the vibrant neon green of theirfoliage in spring and the resplendent yellow hues in autumn.

公园平面图

项目名称：瑞士圣加仑自然历史博物馆公园 Museum Park St. Gallen

项目位置: Rorschacherstrasse 253, 9016 St. Gallen, Switzerland

完成年份：2018

项目客户: HochbauamtSt. Gallen

景观设计: StudioVulkan (formerly Robin Winogrond Landschaftsarchitekten)

主创设计师: RobinWinogrond

建筑设计: ArmonSemadeni Architekten GmbH, Zurich in cooperation with Meier Hug Architekten AG,Zurich

施工监理: BaumedHeinz Hafner

项目面积: 5000 m²

摄影支持：Jean-ClaudeJossen，Das Bild，Studio Vulkan