《景觀設計學》文章成高考模擬題，景觀er來做閱讀理解

近日，2023屆江蘇省南京市高考模擬語文試題選取北京大學俞孔堅教授所作《城市荒野：另一種文明》《海綿城市的三大關鍵策略：消納、減速與適應》為命題素材，將城市荒野與海綿城市議題納入對學生閱讀理解能力的考察中。

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其中《城市荒野：另一種文明》原中英文全文刊發于《景觀設計學》（Landscape Architecture Frontiers）2021年第1期“城市荒野與植物設計”，讓我們借此回顧這篇文章，并再度思考城市荒野的意義。

城市荒野：另一種文明

俞孔堅

北京大學建筑與景觀設計學院教授

美國藝術與科學院院士

城市中的荒野是工業文明桎梏下的野性遺漏，是由金屬與玻璃構建的寂寥城市的凄美回眸和慰藉。好奇與探索的天性讓人類文明在發展的道路上一往無前：從非洲草原走向亞洲叢林、歐洲凍原、美洲荒漠……于是，粗糙的礦石被打磨成光滑的玉器，黏土變作了潔白的瓷具，燧石的火星燒去了原野的荒蕪，殖民地中的野花經過培育成為了貴族花園中的奇葩，自由流淌的溪流被改造為光滑的河渠，沼澤被開墾為田園和城鎮……這是一條逐漸背離荒野的文明之路，城市、農田和園林在化石能源和機械力的推動下，不斷取代原生的自然；自然的野性被日益馴化。“光滑”“精致”“高雅”和“溫順”等漸漸成為當代文明的重要特征。現代城市是當前最高層次文明的載體和象征，卻已被演繹為用塑料、金屬和玻璃搭建的宮殿——光鮮亮麗、不著塵埃，野草和昆蟲失去容身之所，自然和野性只存在于電子屏幕和聲光電的感官刺激之中。失去野性的人類，正如豢養在拉斯維加斯五星級酒店玻璃房中的老虎，寂寥而萎靡。于是，野性和荒野被重新提起。

城市荒野之于人類文明和城市化，恰如困獸囚籠中的一棵綠樹、一叢野草或一條溪流。從發生學意義上講，部分城市荒野作為原生自然的遺存斑塊或廊道得以在城市中幸存，如殘存的濕地（哈爾濱群力濕地公園等）；此外更多的是掙脫了文明約束的次生自然，如在荒廢的灰色基礎設施中恣意繁衍的自然（紐約高線公園的前身等）。城市荒野并不局限于荒野景觀（wildscape或wilderness），還包含保留了野性（wildness）的、不受人工干預的自然過程和生物——從自由流淌的徑流、未被改造的土壤和棲息其中的微生物、自由繁衍的鄉土植物，到從水泥地中掙扎而出的野草和排水溝石壁上頑強生長的灌叢、隨季節而生長凋落的樹葉、能夠感知天時的雞鳴和蛙聲……

從生態學意義上講，城市荒野作為自然生態系統，依照自然規律做功，并以其自身邏輯建立起深邃的秩序，是保障城市生態系統健康和可持續性的要素。它為人類社會提供了不可或缺的生態系統服務，諸如凈化空氣和水、調節城市微氣候、維持鄉土生物多樣性等。

從文化和心理學意義上講，城市荒野的審美啟智功能讓人類探索未知的天性得以釋放——這正是推動文明進步的原動力。于我看來，東西方哲人的深邃思考和智慧大多來源于荒野：如釋迦摩尼的菩提樹、穆罕默德的希拉山洞、王陽明的龍場山洞，以及梭羅的瓦爾登湖等。生態心理學認為，人與自然的日益分離將有損人類健康，而人類的健康源于地球的健康，療愈人類身心疾病有賴于人與自然關系的修復，以及自然生態系統的修復^[1]。景觀感知的相關研究表明，景觀的復雜性和可探索性決定了自然環境的美感^[2]。相較而言，園藝化的景觀（如修剪整齊的草坪）顯得索然無味——它們縱然代表著文明進步、能令人獲得須臾的喜悅和激動，卻喚不起人類的探索欲望和沖動，也難以傳達詩情畫意的美感。

談及“荒野”，我的思緒不由地回到了兒時的兩處秘境——一處是村子最南邊的風水林，那里葬著祖先的遺骨，林冠蔽日、蘑菇遍地、野花隱約，時而有野獸出沒；另一處是我家半畝宅院里的水塘，雜草叢生、魚鱉藏匿，螢火蟲和著各種蟲鳴翻飛——它們時刻吸引著我去探尋并收獲驚喜，就像魯迅的百草園。擁有這樣的荒野秘境，是我不幸童年的最大幸事。遺憾的是，它們都在我告別童年后相繼消失了。先是風水林被園田化的水渠和機耕路切割開，隨后林中的樹木被砍伐殆盡，黃土深處的蛇洞被挖開，整整一窩赤鏈蛇（Lycodon rufozonatus）曝尸路面，原先見過的許多鳥獸也從此絕跡；而后，我宅院中的水塘逐漸干涸，最終被填平并蓋上了房子。好在這兩處荒野秘境尚能偶爾出現在夢境之中，給我帶來無限的歡愉。

來到北京求學后，我也曾迷戀過一處荒野，那就是圓明園遺址公園中的廢墟。幾乎在整個20世紀80年代，這里都是我的最愛，也是我戀愛時流連忘返的去處。深淺不一的坑塘與土丘交錯分布，亂石散落其間，零星的精美石雕露出水面，水岸邊被蘆葦（Phragmites australis）、野慈姑（Sagittaria trifolia）和香蒲（Typha orientalis）等植被覆蓋，走近時會有魚蛙受驚，攪動起“啪啦”的水聲。早春時節，遍地的苦荬菜（Ixeris polycephala）、毛地黃（Digitalis purpurea）、諸葛菜（Orychophragmus violaceus）、點地梅（Androsace umbellata）和紫花地丁（Viola philippica）給枯黃的土地鋪上絢爛的彩色；此后，山桃（Prunus davidiana）、毛櫻桃（Prunus tomentosa）、鼠李（Rhamnus davurica）、黃刺玫（Rosa xanthina）等相繼開花。夏天的蔭涼來自楊、柳、榆、槐、椿等鄉土喬木，每一種喬木都因地勢之高低和土地的不同濕度而統治著各自的群落，喜鵲（Pica pica）、灰喜鵲（Cyaponica cyanus）、烏鴉（Corvus sp.）和各種啄木鳥（Picidae spp.）棲息其間。秋天則被黃櫨（Cotiuns coggygria）、山杏（Prunus sibirica）、銀杏（Ginkgo biloba）和蘆葦搶了風頭，飽含野性的花青素讓樹葉紅得熱烈。我尤其喜愛冬天里的漫步——聽冰裂的回聲，看烏鴉在白楊樹梢盤旋、葦穗在寒風中顫動，細賞殘雪下的碑刻和悄悄覓食的麻雀。

但就在2008年北京奧運會舉辦前夕，為了向世界展示北京的文明和城市化水平，在“高雅化”和“美化”的名義下，這處舉世無雙的遺跡和最具北京特色的城市荒野，幾乎在一夜之間被鏟除：湖底鋪上了防滲膜；荒野不再，取而代之的是光鮮的草坪與牡丹（Paeonia suffruticosa）、月季花（Rosa chinensis）等各色園藝花木，以及喜慶的燈籠。

為此，全國學界掀起了一場具有歷史意義的捍衛圓明園廢墟荒野的“抗爭”運動^[3]。而這場由生態學者和環保人士發起、全國大部分媒體參與其中的大討論，賦予了圓明園注解文明與荒野的標本意義：這里最早是天然山前沼澤濕地，后來被開墾為稻田，形成素有北方“江南”之美譽的農業文明景觀；繼而為康熙、乾隆所鐘愛，仿江南文人山水構筑起象征帝國大一統和富華的皇家園林；而后又被西方列強所焚毀，成為西方工業文明之崛起和中華農業文明之衰弱的標志；接著被撂荒，自然恢復其統治地位，百年的風霜雨雪和生物群落之演替，使圓明園遺址變成了擁有豐富文化與自然遺產的城市荒野。

值得一提的是，當代表中華造園藝術巔峰的圓明園被付之一炬之時，西方的先哲們已經在思考荒野的意義：“我們所說的野性是有別于我們自身文明的另一種文明”^[4]。顯然，梭羅所說的“自身文明”是當時西方社會為之狂熱的工業文明。近150年后，當圓明園廢墟被高雅化和城市化的力量所主導時，一場維護城市荒野的抗爭也正在中國悄然發生……這場抗爭，正是過程曲折而生動的“兩種文明的斗爭”^[5]。如今，一種崇尚野性的新的文明——生態文明——正在崛起。

29年前，我曾獨自沿瓦爾登湖漫步，沉浸在啟迪哲人思考的荒野之中，腦中回蕩著他的妙句——“世界保存于荒野之中”“最有活力的人是最具野性的人”^[4]，這亦是我對于城市荒野的理解。這里的“人”不僅代表人類個體，也可指某個群體、城市、民族、國家，乃至整個人類物種及人類的文明社會。因而，捍衛城市荒野是人類走向更高層次文明的必經之路。

 以下為文章英文版本，引用格式見文末 

Urban Wildness as Another Civilization

Kongjian YU

Professor of College of Architecture and Landscape, Peking University

Member of the American Academy of Arts and Sciences

Urban wildness has become the lost pearl in the industrialized city built with metal and glass. Human civilization continuously advances due to humans’ instincts of curiosity and exploration—from African savannahs to Asian jungles, European tundra, and to American deserts.... Gradually, the rough ores were polished into jades and clay was made into porcelains; the sparks lighted by firestones burned away wild plains; wildflowers were cultivated into horticultural flowers in aristocratic gardens; free-running rivers turned into canals; marshes occupied for urban and rural developments…. With fossil energy and mechanical technology, cities, farmlands, and gardens have been constantly displacing the nature, and the wildness is disappearing. Henceforth, “smooth,” “exquisite,” “elegant,” and “docile” now become “synonyms” of modern civilization. Modern cities magnifying the advance of civilization have evolved into a bright, beautiful, and clean palace built with plastic, metal, and glass, where however weed and insect habitats are increasingly eliminated; the nature and wildness, instead, only exists as virtual reality presented by electronic devices. Human beings lost their instinct of wildness, as lonely and dispirited tigers living in the glass cages of fancy hotels. It is time to call for the wildness.

Urban wildness is encroached in civilization and urbanization processes, exactly like the trees, clumps of weeds, or streams in the tiger cages. In a phylogenetic sense, urban wildness exists as primary nature in forms of debris of natural patches or corridors, such as remained wetlands (e.g., Harbin Qunli Stormwater Park), and as secondary nature which is free from human intervention, such as the natural vegetation growing in the abandoned gray infrastructure (e.g., the previous site of the High Line in New York). In addition to such wildscapes, urban wildness also includes the natural process or creatures (such as the natural runoffs, soils and microbes, spontaneous plants, weeds in concrete cracks, shrubs growing tenaciously on the stone walls of drains, leaves growing and falling seasonally, and cocks and frogs singing in different weathers) that are free from human intervention.

Ecologically, urban wildness is key to sustaining a healthy urban ecosystem as it can work with the laws of nature and the internal deep order as a natural ecosystem, which provides ecosystem services critical to human society, including air and water purification, microclimate regulation, and the maintenance of local biodiversity.

Urban wildness is also of cultural and psychological significance. Inspired by the aesthetics of urban wildness, humans explore the unknown world by their instinct, which is the motivity to civilization advancing. The wildness is also considered inspiration source of both eastern and western philosophers, such as the Bodhi tree for Sakyamuni Buddha, the Cave of Hira for Muhammad, the Longchang Cave for Wang Yangming, and the Walden Pond for Henry David Thoreau. Ecological psychology believes that human beings separated from the nature may suffer from health problems, which could be alleviated by re-establishing the human–nature harmony and restoring the natural ecosystem^[1]. Research on landscape perception also proves that complex and explorable landscapes contribute to creating beautiful natural environments^[2]. Their horticultural counterparts (such as well-manicured lawns) are dull—no matter how civilized or pleasant they are, they can neither attract humans to explore, nor convey a poetic aesthetic sense.

Speaking of “wildness,” I could not help but reminisce about two fairylands in my childhood—one was the Fengshui forest in the south of my village, where the ancestors’ remains were entombed, with mushrooms growing under the trees, and scattered wildflowers and wild animals around; the other was the pond in my courtyard, which covered an area of about 300 m² and homed fish and turtles, with overgrown weeds and dancing fireflies with other insects. For me, they were as attractive and explorative as the Baicao Garden for Lu Xun, which dispelled the gloom in my childhood. Unfortunately, they all disappeared years later: the Fengshui forest was substituted by farmlands with channels and roads, trees cut down, snake holes excavated and dead Lycodon rufozonatus saw everywhere, and native birds and beasts vanishing; soon after, the courtyard pond dried up and was eventually filled up to build a house. Till now, I could still dream about these fairylands of wildness, bringing me much pleasure.

When studying in Beijing, I was fascinated by the ruins and wildness of Yuan-ming Yuan, which was the dreamland in my twenties, as well as a dating place with my beloved. Ponds, mounds, and rocks scattered on the site, and exquisite stone carvings stood in the lake. Phragmites australis, Sagittaria trifolia, and Typha orientalis grew on the lakesides; When approached by people, fish and frogs splashed in the water. In early spring, Ixeris polycephala, Digitalis purpurea, Orychophragmus violaceus, Androsace umbellate, and Viola philippica brought colors and vibrancy to the land; since then, Prunus davidiana, Prunus tomentosa, Rhamnus davurica, and Rosa xanthina bloomed one after another. Native dominant trees with leafy shade in summer, such as poplars, willows, elms, locust trees, and trees of heaven, formed vegetation communities with varied terrain and moisture conditions, where Pica pica, Cyaponica cyanus, Corvus sp., and several Picidae species inhabited. Colored-leaf trees such as Cotiuns coggygria, Prunus sibirica, and Ginkgo biloba, as well as Phragmites australis, together created an alluring autumn wildscape. In winter, I loved walking on the frozen river surface, enjoying echoes of ice cracking, watching crows hovering over the poplar trees and reeds trembling in the wind, and appreciating the inscription covered by snow and the quietly foraging sparrows.

Sadly, on the eve of the 2008 Summer Olympics in Beijing, the world-level stunning heritage of urban wildness manifesting historic characteristics of Beijing was almost eliminated in the name of beautification. The lakebeds were covered with anti-seepage geotextile; wild plants were removed and replaced with Paeonia suffruticosa, Rosa chinensis, and other colorful horticultural species, ornamented with festive lanterns.

At the same time, scholars all over the country set off a “protest” movement to defend the relics and the wildness of Yuan-ming Yuan^[3]. This nationwide debate, initiated by ecologists and environmentalists and supported by public media, highlighted Yuan-ming Yuan’s symbolic significance in human civilization and urban wildness. The original site of the park was a natural marsh in front of mountain, and then reclaimed as a rice field, forming a landscape of agricultural civilization reputed as the “Watertown of North China”; during the reigns of Kangxi and Qianlong from the 17th to 18th century, the park was expanded into an imperial grand garden that imitated the remarkable poetic landscapes in lower reaches of Yangtze River; afterwards, the park was destroyed by the war between the rising western industrial civilization and the collapsing Chinese agricultural civilization; over the past century, natural succession dominated the site again and made the park an urban wildness with rich cultural and natural heritage.

It is worth mentioning that when Yuan-ming Yuan—the pearl of Chinese gardening art—was ruined, western philosophers were exploring the implications of wildness: “What we call wildness is a civilization other than our own.”^[4] The “civilization of our own” mentioned by Thoreau here undoubtedly referred to the industrial civilization fanatically pursued by the western world. However, nearly 150 years later, the fight against the prevalent beautification and urbanization happened. This defense of urban wildness is exactly a “conflict between two civilizations.”^[5] Today, a new civilization that embraces wildness—ecological civilization—is rising.

I still remember the days when I walked alone along the Walden Pond 29 years ago. During my immersing in the wildness, the ideas of Thoreau echoed in my head—“In wildness is the preservation of the world,” “the most alive is the wildest.”[4] It is exactly my understanding of urban wildness. For me, “the most alive” here can not only refer to a person per se, but also to a certain group, city, nation, country, and even the entire human race and human civilization. Therefore, defending urban wildness is the only way for humans to move toward a higher level of civilization.

翻譯 | 田樂，王穎