园林设计：步行与路径设计焦点速读

风景园林中的步行与路径设计

Walking and Path-making in Landscape Architecture

撰文

(相关资料图)

(德)亨里克·舒尔茨/(Germany) Henrik Schultz

Stein+Schultz和landschaft3咨询公司联合创始人/奥斯纳布吕克应用技术大学风景规划与区域发展系教授

翻译

常湘琦/CHANG Xiangqi

上海交通大学设计学院风景园林系助理教授

校对

边思敏/BIAN Simin

北京林业大学园林学院讲师、硕士生导师/本刊特约编辑

全文刊登于《中国园林》2023-05期P6-13

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本文引用格式：(德)亨里克·舒尔茨撰文，常湘琦译，边思敏校.风景园林中的步行与路径设计[J].中国园林，2023，39(5)：6-13.

摘要：步行既可以作为景观设计过程中的创造性实践，也可以作为跨学科的协同创新实践。步行在景观中留下运动的痕迹，从而形成路径，由此可以激发景观改造的创造性过程，甚至直接改造景观。通过德国慕尼黑“道路成景”研究型项目阐明了步行的功能，并强调了这些功能之间的联系。研究结果表明：1)步行可以作为道路系统设计的专业创新实践；2)步行是多方共同参与路径设计的创新行动；3)步行可以运用于路径设计的实践中；4)步行可用于破译(decipher)新与旧的行走痕迹。

关键词：风景园林；步行；路径设计；纠缠；复杂性；绿带

Abstract:Walking can be used as creative practice both in the professional process of designing landscapes and in co-creative transdisciplinary processes. Walking can furthermore be understood and used as path-making to leave and reveal traces in the landscape. It can thus inspire creative processes for landscape transformation as well as directly transform landscapes. The text illustrates the four functions and highlights the links between them using the design study \"Paths form Landscapes\", which was developed in the German city of Munich. Findings are that, first, the commissioned planners used walking as a professional creative practice of designing a system of paths. Secondly, it was co-creative action for the participation process for path planning in the green belt. Third, it was used as practice of path-making. And finally, fourth, it was a planning method to decipher old and new traces and trails.

Keywords:landscape architecture; walking; path-making; entanglement; complexity; green belt

与景观互动：理解复杂性，

创造“纠缠”

矛盾、动态与互动的巨大变革是时代的特征。而景观设计的过程则是一种创造性地应对复杂情境的途径。

许多学者用“纠缠”的概念来假设人类与非人类(包括动物、植物和土地)之间新的互动模式。同时，景观的复杂动态可被描述为一个稳定变化的“空间过程”(Raumgeschehen^①)和一个多维的表现过程。设计师必须成为“空间过程”的一部分，才能创造性地理解、表达和改造它。

步行会调动步行者全身的感官，并让身体与精神产生复杂的相互作用。因此，在步行的语境中，设计可以被理解为一个直觉因素、理性思考和物理反应相互作用的创造性过程。步行可以激发人们与风景之间的深度互动，帮助我们理解景观的复杂性及其“纠缠”，从而创造性地处理景观设计的相关工作。

步行作为设计过程中的

创造性实践

步行可以让步行者不断地改变他们在穿越景观时的体验，在一定程度上激发景观设计和研究的复杂性与迭代过程，尤其对大尺度的景观而言。

笔者提出了一套大尺度景观设计的步行过程模型(图1)，其中包括“发现模式”(Discovery Mode)、“心流模式”(Flow Mode)和“沉思模式”(Reflective Mode)。

图1 步行过程模型(@Schultz 2014)

在“发现模式”中，步行者沉浸在穿越的空间中，他们在风景中发现信息。在风景与步行者不断互动的过程中，步行者获得了从不同角度和光影间看待周边风景的崭新视角。该模式是大尺度景观设计的重要一环，设计师试图在发现过程中不断地感知、分析和绘制空间特征以获取智识并产生灵感。

心流是一种身心一致、全情投入的状态。心流的产生需要情境的启发和反复的尝试，而风景中的步行为心流的发生提供了情境。当步行者进入“心流模式”时，步行会激发身体感受、感性直觉和理性思考的相互作用，而灵感便在这种作用中产生。

正是由于步行有助于物化抽象的想法，因此能够为沉思的发生提供一个良好的行动基础。“沉思模式”让步行者可以专注地沉思所经历的一切，并将脑海中隐含而又具体的知识转化为文字和图像，帮助他们表达灵感或产生联想。

笔者制定了一套规则作为大尺度景观设计步行实践的指导方针，它是基于情境前提假设的，需要依据不同的场景和人物来不断地测试和调整。为了确保所有智识和灵感都能在设计过程中发挥作用，必须在图绘、草图、模型和文本中记录步行经历中的特征、氛围和整体感知。

步行作为跨学科的

共创行动媒介

通过步行中深层次的思想与情感交流，人们能够基于实际对风景开发进行创造性讨论，进而促进景观建设的跨学科交流。

奥斯纳布吕克应用技术大学于2017—2022年开展了“韧性城市绿色行动”项目。该项目致力于研究具有气候韧性的城市结构，以及城市绿地系统在其中发挥的作用。项目召集了约20位利益相关者进行了6次步行活动，以促使人们亲身体验适应气候变化的城市绿地系统的全部功用。

步行穿越城市绿地系统除了能让人们体验空间的全部功能与相互联系，从而深入理解空间序列和“纠缠”，还可以产生开放而平等的对话，不同行业的人在行走中发现问题并交换意见。由此，步行激发了跨学科的共同创造过程，并为景观的可持续发展转型助力。

步行作为路径创作的方法：

留下痕迹

在独自行走中，步行者从旁观者转换为参与者，他(她)既是景观的一部分，又同时塑造着景观。这种主体与客体的连续性与相互渗透能够在一定程度上促进审美的互动。行走艺术家理查德·朗在徒步中，利用休憩时间整理行走中发现的当地材料并用来创作雕塑，而雕塑作为一种环境干预又即刻成为景观的一部分。朗的作品表明，步行的精神层面和物理层面不可分割。

路径景观的原型是期待路径及其空间语境。期待路径是依靠使用而形成的可见痕迹，人们通过走同一条轨迹并在其上留下痕迹从而创造了期待路径。期待路径通常遵循明确的逻辑和需求，它们的出现和消失并不需要城市规划师或风景园林师的介入，而完全由行走的人、动物及其运动来塑造。探寻人类或动物在景观中留下的痕迹，有助于理解使用者与景观之间的复杂关系并帮助我们揭示当下的“纠缠”。

步行作为揭示痕迹和

路径系统设计的手段

尽管路径的制定不一定与规划相关，但步行仍可用于规划设计尤其是路径系统的设计过程中。

步行和骑行的路径系统是创造气候适应性城市的一个关键要素，是城市绿色基础设施(UGI)的重要组成部分。线性绿色基础设施(LGI)是其中极具吸引力的关键性要素，其中，城市慢行系统作为LGI的重要组成部分，也是规划设计气候适应性城市的关键。这些道路通常穿过区域绿地，为人们提供了进入和连接具有愉悦功能的景观的途径。

在规划过程中，城市边缘地区通常不是政策制定关注的焦点。发展LGI尤其是慢行系统可以为可持续、综合、连贯、具有场地敏感性的城市规划助力。例如，德国慕尼黑市“道路成景”项目是考察慕尼黑城市绿带区域景观状况的重要步骤。该项目的主要步骤包括识别和描述区域绿地，找到路径景观的类型，并在绿带中规划一套可以通行的公共交通路网(图2)。一些图纸展示了基于道路和景观相互作用理念的详细设计、结构等内容(图3~5)。

△图2 绿带景观(译者注：图中的德文均为地名)(@freiwurf LA，Landschaft3*)

△图3 路径类型(@freiwurf LA，Landschaft3*)

△图4 定向结构：强方向、静态锚点和地标(@freiwurf LA，Landschaft3*)

△图5 路径系统(@freiwurf LA，Landschaft3*)

设计团队针对不同使用群体的绿带目的地提供了多样的环形路径，增强了公共交通的可达性。由可步行和可骑行的道路组成的弹性网络公共空间将地区与地区连接起来，并因其异构性和复杂性的空间模式而形成逻辑联系，从而促使新“纠缠”的产生。值得一提的是，“道路成景”项目中的所有步骤都开展有步行活动和研讨会。

注：① 译者注：Raumgeschehen是一个复合词，其前缀Raum意为“空间”，后缀Geschehen意为“发生、发生的事情”。它可以理解为人与环境发生可持续交互的场所，具有动态变化、过程性、情境性和互动性的特点。

致谢：感谢中国大唐集团毕世博，大金(中国)投资有限公司上海分公司王逸伦，中海地产公司郭小玲，福建农林大学廖凌云，清华大学商瑜、王明睿、刘洁琛在部分德文翻译过程中提供的帮助。

1 Engaging with Landscape: Understanding Complexity, and Creating Entanglements

One of the big questions of our time is how to deal with complexity. In this context many authors refer to the notion of entanglement describing new interactions between humans and non-human animals, plants, and soil. The question is how old and new forms of cohabitation can be found and established.

The hypothesis of this contribution is that the simple act of walking can inspire engagement with landscapes and thus help to understand and creatively work with complexity and entanglements.

Walking is understood as a steady, physically challenging, and rhythmic way to move by foot and as a way to engage with the object of landscape architecture. The rhythm that characterizes the act of walking enables a complex interplay of body and mind.

2 Walking as a Creative Practice in Professional Processes of Designing

Walking is used as a creative practice by many professions and as a cultural technique, and disciplines such as geomorphology, art, literature and psychology have found ample ways of describing the benefits derived from the simple act of walking.

Walking, with its components of strain, rhythm and intensive perception, offers settings in which walkers can change their perception of the traversed landscape step-by-step. Additionally, the simple and rhythmic act of walking supports and integrates engagement (allowing one to perceive space intensively), flow (encouraging intuition) and reflection. Therefore, it stimulates the complex, iterative process of large-scale landscape design and research.

I proposed a model of a walking process for designing large-scale landscapes that includes three modes: 1) the \"discovery mode\", 2) the \"flow mode\" and 3) the \"reflective mode\". The act of rhythmic walking inspires them and holds them all together.

In the \"discovery mode\", walkers focus their attention on the traversed space. They are searching with curiosity but without a specific objective, collecting information. Walkers can experience themselves as an active part of the ever-changing Raumgeschehen. Trained and conscious walkers constantly orientate themselves and have the feeling of being part of the landscape and amidst the components of the traversed space. While moving and connecting views, perspectives, feelings, and places, walkers get new perspectives, see things from different angles or in a different light. The discovery mode is crucial for large-scale landscape design. Designers try to perceive, analyse, and map spatial characteristics in order to acquire relevant knowledge and to generate ideas.

When walkers enter the \"flow mode\", the space becomes a diffuse scenery and walkers let their thoughts stray, following their intuition. Walking and awareness merge, and walkers become part of the landscape. Flow is a state where body and mind are aligned and it cannot be simply switched on. In fact, it needs inspiring situations and practice to tease it out. While being in flow, walkers feel competent and experience themselves in harmony with their surroundings. Walkers are often forced to give up routines because they have to react spontaneously and intuitively to unexpected situations. In such a situation, walking stimulates the interplay of intuition, body, and reason. Ideas appear.

The \"reflective mode\" creates distance, and the walkers try to understand what they have experienced. They can reflect, focus on their findings and transfer their implicit and embodied knowledge into words and images. The constant change of perspectives and viewpoints helps the designers to complement their knowledge and relate them to the findings of others. The walks can become a framework for reflection in action and thus help to objectify the ideas.

I worked on a set of rules that could serve as guidelines for the successful designing of large-scale landscapes through walking. The transferable set of rules for the practice of walking was supposed to foster the interplay of discovery, flow and reflection. The framework needs to be tested and adjusted. In this context, it might be helpful to point out that the nature of walking itself is experimental. Experimental walking means to intervene and change the object of design and research and thus change the initial situation the rules had been invented for. To ensure that all the acquired knowledge and ideas can be operative for design processes, the characteristics, atmospheres and ensembles one has experienced have to be recorded in images, sketches, models and texts.

3 Walking as a Co-creative Action in Transdisciplinary Projects

Walks are opportunities to exchange with other professions and interested public, thus foster transdisciplinary processes dealing with landscape transformation. Walking touches the emotions, enabling people to approach abstract discussions on landscape development, both creatively and practically.

One example for introducing walking into transdisciplinary processes is the project \"Green Fingers for Climate Resilient Cities\" carried out by Osnabrück University of Applied Sciences from 2017-2022. It did research on how a climate-resilient city structure could look like and what the role of Green Fingers could be in this context. During the process, a working group \"key actors\" assembled farmers, members of a working group of politicians, a formed citizens-council and of different organizations. These actors were invited to participate in guided walks. Each of six walks lasted six hours and covered parts of one or two of the existing Green Fingers. The walks had been designed by the research team and based on the knowledge that had been generated so far. The aim of the walks was to bodily experience the Green Fingers with all their functions for climate resilience.

The walks through the Green Fingers with the aim to walk through a variety of green spaces, to experience spatial interconnections and to meet people who live or work in or close to the Green Fingers or shape them by cultivating land. Walkers used all their senses to experience the traversed landscapes and bodily position themselves in the Green Fingers. This way of exploring proved to be a form of orientation and care that is needed for a deep understanding and awareness of spatial constellations and entanglements. Exploring the Green Fingers through walking helped to understand the knowledge that had been generated in the process of planning and designing in the project. Walkers were capable of formulating questions that came up during the walks and exchanging views while walking and talking with people from different walks of life. The explorative walks triggered arguments on conflicting objectives. This did not imply that the conflicting objectives can be cleared up easily, but the setting of a walk could inform, consolidate, and intensify the discourse.

4 Walking as Path-making: Leaving Traces

Walking alone already means to perceive and link spatial elements and, thus, to alter space. As in the performance arts, the walker can switch from being a spectator to being an actor. The works of the renowned Turner Prize recipient and walking artist Richard Long can be understood as walking performances that translate directly into artworks. Long"s work shows that two aspects of walking cannot be separated – mentally altering space and altering space by drawing lines, leaving traces or by rearranging existing materials.

Walking is an act of motion perception and creativity and is deeply rooted in our history. The prototype of a pathscape is a desire path and its spatial context. Desire paths are visible traces formed through use. People create these paths by walking the same route and leaving footprints along the same line. Through the act of walking new interconnections of places of interest are created.

Desire paths often follow a clear logic and needs and yet are often detached from planning logic. They appear and disappear without the interference of an urban planner or landscape architect.

Searching for and following the traces other humans or non-human animals left in the landscape can help to understand the landscapes and the complex relation users have with them. It can be a practice of discovering existing entanglements and find ideas for new ones.

5 Walking as a Means of Revealing Traces and Designing Paths Systems

Although the practice of path-making does not necessarily correlate with planning, walking can be used for such purposes, especially when designing a system of paths.

Designing systems of paths for walking and cycling is one key element of designing climate resilient cities and regions. It is one element of urban green infrastructures (UGI), understood as a multifunctional, strategically managed network of different green spaces and elements contributing to sustainable city structures with high-quality, biodiversity-rich urban ecosystems. Apart from farmland, urban parks and forests, a key element in this context are attractive linear green infrastructures (LGI) for cycling and walking to work, school, places of social encounter or rest. As planning at urban fringes is often not in the focus of policy making, plans lack coherence and site specificity.

The design project \"Paths form Landscapes\" of the City of Munich is a major step in a process of qualifying regional landscapes of the green belt. Steps of this project were to identify and characterise the regional greenspaces, to find a typology of pathscapes and to design a network of paths in the green belt, accessible by public transport and for different groups of people. The characterisation of the regional greenspaces focussed on the interplay of paths and landscapes.

To exemplify how to work with the concept, more detailed designs had been developed for an area in the North and West of Munich. A typology of pathscapeswas designed, showing in twelve recurring constellations the interplay of paths and landscapes. This typology synthesizes what is needed to understand pathscapes in Munich"s green belt. A map shows orientating structures the design team identified: strong directions, calm anchors and landmarks. Another map shows the design for a network of paths in the green belt,accessible by public transport and for different groups of users, providing shorter or longer loop-trails to different destinations of the green belt.

People using these linear green infrastructures for relaxation, recreation and outdoor sports have the chance to connect with the regional green spaces and to perceive their qualities. As a net-shaped public space, the resilient network of walkable and cyclable paths connect different parts of the region and can be the red thread through very heterogeneous and sometimes complex spatial patterns. It can trace and inspire new entanglements.

All the steps of the design study \"Paths form Landscapes\" involved workshops and extensive guided walks with regional stakeholders from different municipalities and with different professional backgrounds. Each walk lasted six hours and covered parts of the green belt. The walks had been designed by the design team with the aim to walk through a variety of green spaces, to experiences spatial interconnections.

Today, planners from different sectors of the municipality work with the detailed report of the design study containing the tools for designing pathscapes. They use it to discuss pending projects in the light of the designs proposed for the pathscapes of the green belt.

6 Links between Walking as a Creative Practice and Path-making

In the example of the Munich green belt described above, the four functions could be combined. First, the commissioned planners used it as a professional creative practice. Secondly, it was co-creative action for the participation process for path planning. Third, it was used as practice of path-making. And finally, fourth, it was a planning method to decipher old and new traces and trails. In this interplay walking could contribute to understand the complexity of large-scale landscapes and its entanglements.

Notes: This is a summary version of the origin article.

Acknowledgement: Thanks to CHANG Xiangqi for her contribution to the abbreviation work in this article.

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