كليدواژه :
منظر پساصنعتي , صنعتي‌زدايي , منظر فرهنگي , منظر شهري , بازيافت , recycling , Reclamation , urban landscape , cityscape
چكيده فارسي :
شهر را مي‌توان به مثابه ارگانيسمي زنده در نظر گرفت كه در حال رشد و تكامل است و در اين فرايند سلول‌ها و بافت‌ها به تدريج فرسوده شده، از بين مي‌روند و دوباره جايگزين مي‌شوند. توسعه شتاب‌آلود شهرهاي بزرگ و رشد بي‌رويه حومه‌نشيني در دهه‌هاي اخير، سبب شده صنايع سنگيني كه به دليل كيفيات محيطي نامطلوب خود، روزگاري خارج از بافت شهري قرار داشتند، امروزه با بافت‌هاي جديد محاصره شوند. اين مسيله به تعطيلي يا انتقال آنها منجر شده است؛ در نتيجه حفره‌هاي تهي در بستر شهر پديد مي‌آيد كه به تعريف جديدي از منظر شهري دست پيدا مي‌كند. اراضي متروكه وسيع حاصل از اين جابجايي در كالبد شهر كه تحت عنوان عرصه‌هاي بازيافتي (Brownfield) نيز شناخته مي‌شوند، اگرچه منشا بروز معضلات گوناگون شهري و محيطي است، اما امروزه فرصت‌هايي طلايي در جهت احياي بافت‌هاي شهري و توسعه كيفيت فضا هاي شهري به شمار مي‌آيد. لازمه بالفعل كردن اين قابليت‌ها، درك مناظر تلف شده به عنوان پسماند طبيعي حاصل از رشد شهر و بخشي از منظر فرهنگي بشر شهرنشين است. بازيافت انطباق‌پذير چنين مناظر تلف شده، به عنوان بخش گسترده‌اي از منظر شهر معاصر، از اساسي‌ترين چالش‌هاي پيش روي طراحان در قرن حاضر به شمار مي‌آيد. پرسش اينجاست كه فرايند پيدايش اين مناظر پسماند در ارتباط با روند شهري شدن جوامع به چه صورت است؟ چگونه مي‌توان به درك صحيحي از اين پديده دست يافت و با آن مواجه شد؟ و معماري منظر در تعامل با شهر پساصنعتي چه رويكردهاي نويني را اتخاذ كرده است و چه جايگاهي دارد؟ اين نوشتار تلاش دارد با نگاه پديدارشناسانه به منظر پساصنعتي و زمين‌هاي پسماند، رويكردهاي مختلف معماري منظر در برخورد با اين مناظر و ميزان موفقيت هر‌يك از رويكردها در پاسخ‌گويي به نيازهاي توسعه‌هاي نوين شهري را مورد نقد قرار دهد.
چكيده لاتين :
The natural process of a city is
like a living organism, whose parts are in the
process of growth and progress. These parts
and cells are deteriorated over this process
and exchanged over time. The waste landscape
emerges out of two primary processes:
first, from rapid horizontal urbanization (urban
“sprawl”) and second, from the living behind of
land and detritus after economic and production
ending. This has resulted in the combination
of industrial sites in the process of city
developments, which were once out of the
city structure; therefore, new evacuated areas
found within the city structure that brings out a
new definition of landscape.
The vast areas evacuated by the physical
movement of city structure that has caused
decentralized manufacturing which are also
known as (Brownfield) provide precious opportunities
in city renovations and promoting
the quality of urban spaces despite their contaminated
context that can detect problems.
Optimistically, it could be argued that as deindustrialization
proliferates, and as an industry
relocates from central cities to peripheral areas,
the cities will enjoy a net gain in the total
landscape and (buildings) available for other
uses such as ecological revitalization, cultural
and social spaces and economic growth. Creating
these features requires the perception of
dross cape as a remained area in the process
of the city structure development and as a part
of cultural landscape of the civilized man.
A matching reclamation of these wasted
landscapes, as wide parts of contemporary cityscape,
has been the most fundamental challenge
for the landscape designers. These sites
have been landscape architecture projects all
over the world in the past three decades. The
landscape architects have gone through lots of
efforts in rehabilitation of these sites that have
resulted in new approaches in landscape architecture
and new methods in creating city parks.
This new generation of parks, unlikely to their
mere ones in the industrialized cities of the past
two decades which were created opposed to
their city movements, not only have been a
treatment for contaminated city environments
but also a corresponding aspect to the city process.
Basically, three general approaches are detected
in these projects: the heritage landscape
approach, the social and cultural approach and
Abstract: As the efforts were increased by
the environmental movements for scorning the
industries in destroying the life and the ecosystem,
the art was celebrating its reborn. Some
tried to show the beauty of the violent and dead
masses that were expired in history, in order to
claim that the beauty is not hidden in the bodies
and simplicities alone. The “upcycled art “is
a new artistic approach which was formed as
a framework in the process of reducing the expenses
and conserving the environment. This
kind of art makes the used and expired ones
lively again.
In the time where the music was played by
the iron bars and metal bins, and the sculptures
were created by the metal chains and gears,
new changes were taking place in the field of
architecture and landscape architecture.
The ruined sites where once used to be the
economical pulse of the city and showcased
the big gap between the bourgeois and proletarians
have been apart from the city life now.
“Peter Latz” made these sites, which told their
story of time, the main context of his design by
using the potential qualities in altering these
evacuated areas to interesting and popular
places in the city.
Although the upcycling process of the waste
dates back in the early 90s and the tendencies
of other approaches in the upcycling appeared
in the early years in 2002, Peter Latz
has showcased his ideas of reclamation of
the derelict sites few years earlier in Buergerpark
Hafeninsel and his reputable project, the
Duisburg-Nord Park in 1985. His techniques of
landscape are new interpretations in the landscape
language.
The rusty and useless elements of the factories
and the harbors that cause demolition to
the nature, which require extra budgets to be
recycled, are upcycled in his landscape design.
Latz do not prepare any special procedure for
the derelict sites, his methods are self - evident.
Despite this, he redevelops procedures
and methods for every project so that they become
identical with the project. Analysis also
includes working through the clichés that exist
for that particular type of task, to define the layers
of intervention and to specify the elements
that are available to work with. His designs are
multi – dimensional. In some places, which he
calls bad places, his sharp mind gets the context
information and information syntax is provided
as a result. His profession is not valuated
timeless; they represent a period of painful infinally
the environmental and ecological approach.
Although the special conditions and
the context of each project explains the project
strategies, the environmental and ecological
approaches have been mostly the dominant
strategy in the time of environmental and sustainability
concerns.
This paper tries to answer the following questions:
what is the process of the waste landscape
emersion in relationship with the urbanization
of societies? How can a true perception
of these cases be gained and how should they
be faced? What is the landscape approach in
dealing with the post-industrial cities? Eventually,
with a phenomenological view to the
waste land and post industrial landscapes, the
different approaches to these landscapes are
discussed and criticized to find out their successfulness
in responding to the new city development
demands.
