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或然景观：2023上海城市空间艺术季（SUSAS）的主题为“共栖”, 聚焦“人与自然和谐共生”的城市发展理念。主题的英文表达METro-BIOSIS将生物界表达有机“共栖”、物种“共生”关系的metabiosis前缀meta改为metro，表达了展览立足于都市(metropolis)的观察思考。城市空间艺术季以艺术事件的特殊聚合展示机制，在短期内集中呈现一批围绕特定城市生活理念及发展方向的公共空间，鼓励市民参与、体验，激发不同角度的专业与大众讨论，以多元的可触可感的样本推进对城市课题的认知、探索、理解、回应和公众参与。
作为主题演绎区的参展项目，春申港临时绿地的基底是滨水工业遗址，需要保留的部分使用功能是服务徐汇西岸地区的临时苗圃，生境近于滨水荒野，而周围则是居民区。我们的任务书是在限定的城市场地条件下回应何为“共栖”、如何“共栖”，自拟的工作目标则是15分钟生活圈中的社区公园“复园”——兼具生态修复、土地复合使用之意。
Possibilism Design Studio: The theme of the 2023 Shanghai Urban Space Art Season (SUSAS) is ” METro-BIOSIS “, focusing on the urban development concept of “harmonious coexistence between man and nature”. METro-BIOSIS, the English expression of the theme has a twist play with ‘metabiosis’ in the biological world, addressing the observations and explorations within and beyond a metropolis. With a special aggregation and display mechanism of art events, SUSAS presents a number of public spaces around specific urban life concepts and development directions in a short period of time, encouraging citizens to participate and experience, stimulating professional and public discussions from different perspectives, and promoting awareness, exploration, understanding, response and public participation of urban issues with diverse tangible and sensible samples.
As an exhibition project in the theme interpretation area, the base of the temporary green space of Chunshen Port is a waterfront industrial site, and part of the function that needs to be retained is to serve as the temporary nursery garden of the West Bank of Xuhui, with a habitat close to the waterfront wilderness and a residential area around it. Our mission is to respond to what ” METro-BIOSIS ” is and how to achieve ” METro-BIOSIS ” under the limited urban site conditions, and the self-proposed work goal is to make a community park in the 15-minute living circle, which evolves both ecological restoration and composite land use.
▽2023/09/23 场地鸟瞰 Aerial view of the site
©PDS
▽设计方案 Design scheme
Syntax of Landscape
初次踏勘这片被戏称为“植物疗养院”的场地时，抬头乔木葱茏，低头野草蔓生，一个个小树坑是苗木移入搬出的印记，北部六道片墙是明确的工业堆场遗存，每片墙的肌理各有差异，西端两片墙北向尽端开口有框景效果，使用者说那是“城市之窗”……场地阅读与激活的过程，即是Peter Latz提出的Syntax of Landscape探索，不仅要阅读看得见的东西，还要解读隐藏在后工业场地时间性背后的语构：它的历史文脉和因时间流逝而形成的有趣变化，它的夜间灯光体系，远处可以望见的风景，墙与墙之间的观景，逐渐扩及西岸其它片区的空间结构。框景、片墙这样的结构性元素固然便于记忆，鸟鸣、风吹树叶发出的声响、齐整的苗木以及未经人力介入的杂然不驯也是可感知的重要特质。这些都是我们阅读和理解的对象，每一次阅读都会有不同的理解。
First visit of the site with the sobriquet of “plant convalescent home” unfolded a spectrum of views. There were lush trees if looking up, overgrown weeds if looking down, small tree pits tracing the seedlings moving in and out, and six pieces of walls in the north. Those walls were palpable remains of an industrial storage yard, and the texture of each wall was different, and the north-facing openings of two walls at the west end framed urban skyline in the vicinity, thus earned a nickname, ‘window of city’ … The process of reading and activating the site is the Syntax of Landscape, as Peter Latz would call it, which is not only to read what is visible, but also to decipher the syntax hidden behind the temporality of the post-industrial site: its historical context and interesting changes during the course of time, its nighttime lighting system, the scenery that can be seen in the distance, views between the walls, expanding to the spatial structure of other areas on the West Bank. While structural elements such as framed views and pieces of walls are easy to remember, birdsongs, the rustling of leaves blown by the wind, neat seedlings, and untamed wilderness are also important qualities that can be perceived. These are all objects that we read and understand, and each reading might lead to different understandings.
▽场地踏勘 Site reconnaissance
▽整体原貌 Overall situation
小细节中隐藏的警示 Hidden warnings in minute details
Latz曾说：“既要尽可能地利用现有文脉中出现的自然元素，又要考虑现存的环境因素。有时很小的细节也会是决定性的……”值得一表的“很小的细节”是场地群落演替的荒野之美背后严重的入侵植物议题，“修复”的工作主题也随之浮现。踏勘第一天，我们在场地内发现了《中国外来入侵物种名单》第二批名单（2010）中的加拿大一枝黄花，与原生的芦苇交织在一起，惊吓之余，警示我们与相关协作团队共同学习《入侵物种名单》。其后，我们又辨识出第三批名单(2014)中的三叶鬼针草、第四批名单(2016)中的大狼杷草。加拿大一枝黄花、三叶鬼针草，也出现在2023年1月正式施行的《重点管理外来入侵物种名录》中。它们既有化感作用，又有强悍的繁殖能力。加拿大一枝黄花是多年生草本植物，以种子和根状茎繁殖，结果量大，瘦果极小还具备冠毛，极易传播；根状茎发达，能够横走蔓延，铲除植株时如不能将地下根状茎彻底清除干净，其上的顶芽即可发育成新的植株。三叶鬼针草和大狼杷草都属鬼针草属植物，它们的种子顶端有三四枚芒刺，一旦有人或动物经过，就会挂在衣裳、皮毛上，散播效率甚高。建设期早于加拿大一枝黄花的花期，而三叶鬼针草与大狼杷草尚未结果，正是清理的时机。我们曾计划全面清除入侵物种后进行撒播修复，工程的繁复程度超过了预估。入侵物种混杂于场地群落中，为了保留场地内野生的本土植物，无法直接大面积铲除，我们与施工团队集中人力，逐片反复辨识，一株株斩草除根，先后清理了五次，并持续在养护过程中保持监测频度，一经发现，立即清理。
Latz once said: “It is necessary to make the most of the natural elements that appear in the existing context, but also to take into account the existing environmental factors. Sometimes the minute details can be decisive…” the “minute details” worth mentioning are the serious issue of invasive plants behind the wilderness beauty of the succession of the colonies, and the theme of “restoration” emerges alongside. During the first visit, we found Canadian goldenrods intertwined with the native reeds on site. Canadian goldenrod (Solidago canadensis L.) is on the second “List of Invasive Alien Species in China” (2010). Such a discovery frightened us, and warned us to study the “Lists of Invasive Species” with relevant collaborative teams. Subsequently, we identified the Bidens pilosa L. in the third List (2014) and the Bidens frondosa L. in the fourth List (2016). Canadian goldenrod, as well as Bidens pilosa L., also appears in the List of Invasive Alien Species under Key Management, which was officially put into operation in January 2023. They both have allelopathic effects and strong reproductive abilities. Canadian goldenrod is a perennial herbaceous plant that reproduces by seeds and rhizomes, and bears large amount of fruits, with very small achenes and crown hairs, which are easy to spread, plus, the rhizomes are well developed and can spread horizontally. If the underground rhizomes cannot be completely removed, the apical buds on it can develop into new plants. Bidens pilosa L. and Bidens frondosa L. are both beggarticks, and there are three or four thorns on the top of their seeds, which would cling to clothes and fur once people or animals pass by, and the dispersal efficiency is very high. The construction period was earlier than the flowering period of the Canadian goldenrod, and Bidens pilosa L., as well as Bidens frondosa L. have not yet borne fruit, so it was right the time to clean up. We had planned to completely remove the invasive species and carry out the replanting restoration afterwards, but the project was much more complex than expected. Mixed in the colony on site with native plants, invasive species cannot be directly eradicated in a large area. The construction team and us concentrated manpower to identify the plants repeatedly lot by lot, cutting off the grass and pulling up the roots. Such clearing operations took place five times, and we continue to maintain the monitoring frequency in the maintenance process, once found, immediately cleared.
▽场地植物原貌 Original plant appearance of the site
▽勘察发现的非人为种植的部份植物 Non-human cultivated parts of plants found on the site
▽入侵植物的清理 Clean-up of invasive plants
随着项目推演，对场地生境的阅读逐步明晰，我们意识到，入侵物种可能是这类城市化闲置荒地面临的共性问题，它们破坏生物多样性，干扰群落演替，而高强度的人工干预控制或许是需要的。换言之，入侵物种恰恰标示了“共栖”议题所触及的警示性红线，普及入侵物种相关知识，也是对何为“共栖”、如何“共栖” 的回应。在展期中，我们在场地中陈设科普展板，鼓励市民发现入侵植物后及时告知相关机构；在与城市荒野工作室、上海杨浦区美丽乡愁文化促进中心共同举办的“生境花园与自然教育体验营”中讲解、讨论相关内容——这一方向的探索从踏勘、阅读、辨识走向了积极的环境保护教育与行动。
With the project and the reading of the site habitat gradually clarified, we realized that invasive species may be a common problem faced by this kind of urbanized idle wasteland, which destroys biodiversity and interferes with community succession, and high-intensity human intervention and control may be needed. In other words, invasive species mark the warning red line touched by the issue of “symbiosis”, and popularizing knowledge about invasive species is also a response to what “symbiosis” is and how to “cohabit”. During the exhibition, we set up science exhibition boards in the venue to encourage the public to inform relevant institutions when they find invasive plants, and explained and discussed relevant content in the “Habitat Garden and Nature Education Experience Camp” jointly organized with Urban Wilderness Studio and Shanghai Yangpu Beautiful Nostalgia Culture Promotion Center.
▽SUSAS期间举办”生境花园与自然教育体验营” “Habitat Garden and Nature Education Experience Camp” held during SUSAS
有梯度的的生境营造 Gradient habitat creation
在场地阅读中，我们也将“共栖”的议题系于后工业场地时间性框架中面向未来的部分，进一步聚焦于两个相联系的子项：城市收储用地的临时开放改造与后工业遗产的全球在地化。艺术事件机制下的临时开放改造有严格的造价与维护成本考量，如何创造性地达成？工业遗址因工业流程的标准化，面貌往往趋同，后工业遗址有没有地域性探索的可行方向？在20世纪的上海工厂中，我们常见的花坛、松竹、月洞门这样的园林化片段是不是仍有超越形式的意义？
结合两个问题，我们划分了临时绿地的城市界面，并就场地的生态功能与协作方共同探索了一种有梯度的生境营造策略。在艺术季主题演绎区的城市尺度上，场地位于徐汇西岸贯通道龙腾大道西侧，在城市界面，我们以一个简单的动作——入口小段起伏的“勇敢者之路”自城市人行道斜向切入，吸引路过的儿童在惊喜中拐入小园。西岸贯通道是城市滨江蓝绿廊道的一部分，坐落于此的社区公园可以是生态上具有踏脚石作用的生境节点，有利于促进生物多样性保护，提升生态网络的稳定性。在更大的区域尺度上，江南园林一直是人与自然对话的场所，因应不同条件，文野工拙，各得其所——临时苗圃中的参天乔木、荒野生境，稍加整理，虽不敢说“苍古之境”，总有一番天然逸趣。我们的生态策略，是在整体的设计框架下，对场地特质的重新认识及组织，除了干预入侵植物，也减少使用观赏草，保留场地的狗尾草及芦苇。考虑到社区公园需要的近人氛围，并不一味追求全面的生境修复，而是以轻介入协作策略划出生境营造的三个梯度：保留场地群落，再利用现场石块、朽木；补充撒播本地植物，留出生长空间；同时，也包容一定区域中园艺种的观赏效果，探讨在滨水人居环境中，调整群落的自然进程，与人造生境 “共栖”。经调查，场地中非人为种植的群落物种包括奶通草、贼小豆、草木樨、葎草、牛筋草、芦苇、狗尾巴草、头状穗莎草、千金子、金色狗尾草、苍耳、曼陀罗、春飞蓬、田菁与三裂叶薯。而就本土植物，我们在场地内划出了特定的撒播区域，列出了救荒野豌豆、窃衣、酸模、益母草、菥蓂、射干、桔梗、马兰、诸葛菜、红蓼等十个种植品种，部分品种由城市荒野工作室提供。在生境光谱偏观赏性的的一端，上海垣绿景观工程有限公司选样增补园艺品种翠芦莉、矮生翠芦莉、天蓝鼠尾草、火焰南天竺、细叶芒、德国鸢尾、大麻叶泽兰、血草、千鸟花、金叶石菖蒲、蓝霸鼠尾草、玉簪、墨西哥鼠尾草、满天星、小兔子狼尾草、安酷杜鹃、一串红、红瑞木、樱桃鼠尾草、蓝冰柏、粉黛乱子草、火焰卫矛、松果菊、矮蒲苇、山桃草、穗花牡荆、肾蕨、春鹃、紫叶狼尾、夏鹃、西洋鹃，设计并实施花境。
In the site reading, we also focus on the topic of “cohabitation” in the future-oriented part of the temporal framework of post-industrial sites, and further focus on two related sub-projects: the temporary opening and transformation of urban land acquisition and storage land and the global localization of post-industrial heritage. Due to the standardization of industrial processes, the appearance of industrial sites tends to converge, is there a feasible direction for regional exploration of post-industrial sites? In the 20th century Shanghai factories, do our common garden fragments such as flower beds, pine and bamboo, and moon cave doors still have significance beyond form?Combining these two questions, we divided the urban interface of the temporary green space, and explored a gradient habitat creation strategy with the collaborators on the ecological function of the site. On the urban scale of the art season’s theme interpretation area, the venue is located on the west side of Longteng Avenue on the west bank of Xuhui, and at the urban interface, we use a simple action – the small undulating “Road of the Brave” at the entrance cuts diagonally from the urban sidewalk, attracting passing children to turn into the small garden in surprise. The West Bund Corridor is part of the city’s riverside blue-green corridor, and the community park located here can be an ecological stepping stone habitat node, which is conducive to promoting biodiversity conservation and improving the stability of the ecological network. On a larger regional scale, Jiangnan Gardens has always been a place for dialogue between man and nature, in response to different conditions, the literature and wilderness are clumsy, each has its own place – the towering trees in the temporary nursery, the wilderness, a little tidying, although I dare not say “the ancient realm”, there is always a natural fun. Our ecological strategy is to re-understand and organize the characteristics of the site within the overall design framework, in addition to intervening with invasive plants, we also reduce the use of ornamental grasses, and retain the green bristlegrass (Setaria viridis (L.) P. Beauv.) and reeds（Phragmites australis (Cav.) Trin. ex Steud）of the site. Considering the closeness of the community park, it does not blindly pursue comprehensive habitat restoration, but uses a light-intervention collaborative strategy to delineate three gradients of habitat creation: retaining the site community and reusing on-site stones and decayed wood, supplementing and spreading native plants to leave room for growth, and at the same time, it also accommodates the ornamental effect of horticultural species in a certain area, and explores the adjustment of the natural process of the community in the waterfront living environment to “cohabit” with the artificial habitat. According to the survey, the non-human-planted community species in the site included Euphorbia hypericifolia L., Vigna minima (Roxb.) Ohwi & H. Ohashi, Melilotus officinalis (L.) Pall. , Humulus scandens (Lour.) Merr. , Eleusine indica (L.) Gaertn. , Phragmites australis (Cav.) Trin. ex Steud, Setaria viridis (L.) P. Beauv. , Cyperus glomeratus L., Euphorbia lathyris L., Setaria pumila (Poir.) Roem. & Schult. , Xanthium strumarium L., Datura stramonium L., Erigeron philadelphicus L., Sesbania cannabina (Retz.) Pers. and Ipomoea triloba L.. As for the native plants, we have demarcated a specific sowing area in the site, and listed ten planting varieties such as Vicia sativa L., Torilis scabra (Thunb.) DC. , Rumex acetosa L., Leonurus japonicus Houtt. , Thlaspi arvense L., Belamcanda chinensis (L.) Redouté, Platycodon grandiflorus (Jacq.) A.DC. , Aster indicus L., Orychophragmus violaceus (L.) O. E. Schulz, and Persicaria orientalis (L.) Spach, some of which are provided by the Urban Wilderness Studio. At the ornamental end of the habitat spectrum, Shanghai Yuanlu Landscape Engineering Co., Ltd. selected and supplemented horticultural varieties of Ruellia brittoniana Leonard, Ruellia simplex C. Wright ‘ Katie’s Dwarf ‘, Salvia uliginosa Benth. , Nandina domestica ‘Firepower’, Miscanthus sinensis ‘Gracillimus’, Iris germanica L., Eupatorium cannabinum L., Imperata cylindrica ‘Rubra’, Gaura lindheimeri Engelm. & A.Gray, Acorus gramineus ‘ Ogan’, Salvia ‘Mystic Spires Blue’, Salvia japonica Thunb. , Nandina domestica ‘Firepower’, Hosta plantaginea (Lam.) Aschers. , Salvia leucantha, Gypsophila paniculata L., Pennisetum alopecuroidescv. ‘Little Bunny’, Rhododendron ‘Encore’, Salvia splendens Ker Gawl. , Cornus alba L., Salvia greggii A.Gray, Cupressus glabra ‘Blue Ice’, Muhlenbergia capillaris, Euonymus alatus ‘Compactus’, Echinacea purpurea, Cortaderia selloana ‘Pumila’, Vitex agnus-castus L., Nephrolepis cordifolia (L.) C. Presl, Rhododendron simsii &R.spp. , Cenchrus setaceus ‘Rubrum’, Rhododendron simsii Planch, design and implement flower landscape.
▽不同梯度的人造生境 Artificial habitats with different gradients
这样的梯度策略，展现荒野、工业遗址、苗圃到园林意趣的互见与转化，同时适应场地作为临时苗圃的后续动态管理的可能性，在审慎的人工介入中，呈现从苗圃到自然斑块到的参差变化。工作过程中的“协作共建”也是我们理解的“共栖”的重要环节，因为临时绿地，正是人居环境变迁过程的显像——场地管理方、施工方、设计师、活动参与方，甚至是后续进出临时苗圃的植物, 不同时间阶段参与者的介入、不同的审美意趣的并置、不同的面对与修复/营造/干预生境的态度, 共同勾勒出复园最核心的场地特质与关键区位属性“都市”。
Such a gradient strategy shows the interaction and transformation of wilderness, industrial sites, nurseries and garden interests, and ADAPTS to the possibility of subsequent dynamic management of the site as a temporary nursery, presenting uneven changes from nurseries to natural patches through careful artificial intervention. The “cooperation and co-construction” in the work process is also an important link in our understanding of “symbiosis”, because temporary green space is the manifestation of the change process of human settlement environment – site management, construction, designers, and activity participants. Even the plants entering and leaving the temporary nursery later, the intervention of participants at different time stages, the juxtaposition of different aesthetic interests, and different attitudes towards the restoration/construction/intervention of habitats, together outline the core site characteristics and key location attribute of the restoration garden “city”.
▽是全龄友好的公众参与，也是多向度的协作共建 It is a friendly public participation of all ages and a multi-dimensional collaborative construction
▽大小朋友的共同参与及营建 The participation and construction of small and large friends
造园“因”与“借” Gardening “cause” and “borrowing”
“构园无格，借景有因”是17世纪造园文献《园冶》末卷的首句。 “因”所关注的大致是顺应场地条件的可能性，而“借”另有一重超逸态度。
“There is no grid for constructing a garden, and there is a reason for borrowing scenery” is the first sentence of the last volume of the 17th-century gardening document “Yuanye”. “Cause” is generally concerned with the possibility of adapting to the conditions of the site, while “borrowing” has another attitude of transcendence.
陈从周先生主张“园必隔”（《续说园》），“隔则深”（《说园（四）》），“越分隔，感到越大，越有变化，以有限面积，造无限空间”（《说园》）。场地北部六道南北向墙体，已然完成“园必隔”、“大园包小园”的框架，也暗示东西向五组类似古典园林“复廊”的并置空间，循墙南北折返或是沿六墙南端东西向漫步，当各有移步换景之妙。“城市之窗”本就饶富因借之趣，引高楼片段之景入场地，拓展了视野的进深。我们在设计中引入一条东西向的曲折园路，建立场地北南两分双生格局，春申港临时绿地由此成为形式意义的“复园”。除了保留的植被与预留补植本地植物的区域，园路之外的多数地方，直接以碎石铺地，如果树木被移走，局部重铺碎石，即可保持整体感。
Mr. Chen Congzhou advocated that “the garden must be separated” (“Continuing to Say the Garden”), “the separation is deep” (“The Garden (4)”), “the more separated, the bigger I feel, the more changes there are, and the limited area creates infinite space” (“The Garden”). The six north-south walls in the north of the site have completed the framework of “the garden must be separated” and “the big garden encompasses the small garden”, which also hints at the juxtaposition of five groups of east-west similar to the “corridors” of classical gardens. The “Window of the City” is already full of interest in borrowing, attracting the scenery of high-rise buildings and expanding the depth of vision. In the design, we introduced an east-west zigzag garden road to establish a north-south twin pattern of the site, so that the temporary green space of Chunshen Port became a “complex garden” in the formal sense. In addition to the reserved vegetation and the reserved area for replanting native plants, most areas outside the garden path are paved with gravel, and if the trees are removed, the gravel can be partially resurfaced to maintain the overall feeling.
▽人工痕迹极少的“复园” A “restoration garden” with few artificial traces
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《园冶》视借景为“林园之最要者也”，“如远借，邻借，仰借，俯借，应时而借”。陈先生进一步提出“园外有景妙在‘借’，景外有景在于‘时’”（《说园》）。艺术季的展期是“时”，艺术季的空间生产与共创机制更是可遇不可求的“时”。通过组织亲子墙绘活动，东起第三道素墙在艺术季期间变身为童趣盎然的自然天地长卷；得益于苏州市园林博物馆的创造性支持，来自拙政园、耦园、沧浪亭、豫园、网师园等五座江南名园的代表性花窗在夜间足尺投影于儿童所绘壁画之上，“收之圆窗，宛然镜游也”（《园冶》卷八）。园林博物馆的薛志坚馆长将复园花窗夜景描述为“江南城市共享的光”，多义而迷人的光影戏剧背后，是张灯夜游的盛会传统，也是艺术季的景外之景。
“Yuanye” regards borrowing scenery as “the most important thing in the forest garden”, “such as borrowing from afar, borrowing from neighbors, borrowing from above, borrowing from below, borrowing from time to time”. Mr. Chen further proposed that “there is a scene outside the garden that is wonderful in ‘borrowing’, and there is a scene outside the scene in the ‘time'” (“Speaking of the Garden”). The exhibition period of the art season is “time”, and the space production and co-creation mechanism of the art season is an unavoidable “time”. Through the organization of parent-child wall painting activities, the third plain wall from Dongqi was transformed into a childlike natural scroll during the art season. Thanks to the creative support of the Suzhou Garden Museum, representative flower windows from five famous gardens in the south of the Yangtze River, including the Humble Administrator’s Garden, the Coupling Garden, the Canglang Pavilion, the Yu Garden, and the Master of Nets Garden, are projected on the murals painted by children at night. Xue Zhijian, director of the Garden Museum, described the night scene of the flowered windows of the Fuyuan as “the shared light of the city in the south of the Yangtze River”, and behind the multi-semantic and charming light and shadow drama is the grand tradition of the lantern night tour, and it is also the off-scene scene of the art season.
▽2023susas共创墙绘 2023susas create wall painting
交流与“共栖” Communication and “cohabitation”
江南园林不只是人与自然对话的场所，也是人与人往来交流的场所，共赏佳景的诗酒文会在今天的空间艺术季语境下，是跨专业的集思广益，是全龄友好的公众参与，也是多向度的协作共建。我们与苏州市园林博物馆共同举办了多次“为复园播种一抹色彩”亲子活动，包括认识园林花窗小课堂、乡土植物播种与彩绘素墙等内容；我们还与城市荒野工作室、上海杨浦区美丽乡愁文化促进中心共同举办了多次面向中小学自然教育老师、景观系学生、社区营造工作者的“生境花园与自然教育体验营”，涉及生境花园设计讲堂、乡土植物种植示范与实践，以及自然解说与植物科普标牌制作。两月之内十场日间自然教育与墙绘活动，加之夜间园林花窗投影，带动着15分钟生活圈全龄友好的共同参与和日常游憩体验。“共栖”可以是功能与视角的并置，“共栖”可以是生境与使用的复合，“共栖”可以是专业与公众的协同。春申港临时绿地因生态与人文的融合成为“复园”，既是后工业地景，也是面向未来的江南园林。
Jiangnan Garden is not only a place for dialogue between man and nature, but also a place for people to communicate with each other. We have co-organized a number of parent-child activities with the Suzhou Garden Museum to “sow a touch of color for the garden”, including a small class on understanding garden windows, sowing native plants and painting plain walls, etc.; Demonstration and practice of native plant planting, as well as nature interpretation and plant science signage production. Ten daytime nature education and wall painting activities in two months, coupled with the projection of garden windows at night, will drive the participation and daily recreation experience of all ages in the 15-minute living circle. “Symbiosis” can be the juxtaposition of function and perspective, “symbiosis” can be the combination of habitat and use, and “symbiosis” can be the collaboration between the profession and the public. Due to the integration of ecology and humanities, the temporary green space of Chunshengang has become a “complex garden”, which is not only a post-industrial landscape, but also a future-oriented Jiangnan garden.
▽全龄友好的公众参与活动 a place for people to communicate with each other
▽施工营建过程 Construction process
▽营造后的自然生境 Created natural habitat
材料：现场保留植物、乡土植物种籽、乡土植物、园艺植物、细沙、现场保留墙、混凝土、砖、级配碎石、涂料、灯具
创作年份：2023
参展人
郭怡妦、孙田/或然景观
薛志坚/苏州市园林博物馆
照明顾问：刘宏剑
公众活动策划：陈宇、杨章琳、张唯、郭妍、祝新呈/或然景观，张佳乐/苏州市园林博物馆，郭陶然/城市荒野工作室，上海杨浦区美丽乡愁文化促进中心
Material specifications: on-site preserved plants, native plant seeds, native plants, horticultural plants, fine sand, on-site preserved walls, concrete, bricks, graded gravel, paints, lamps, garden photography images
Year of creation: 2023
Exhibitors
KUO Yi-Fong, SUN Tian/Possibilism Design Studio
XUE Zhijian/Museum of Suzhou Gardens
Lighting Consultant: Liu Hongjian
Public Event Planning: Chen Yu, Yang Zhanglin, Zhang Wei, Guo Yan, Zhu Xincheng/Contingent Landscape, Zhang Jiale/Suzhou Garden Museum, Guo Taoran/Urban Wilderness Studio, Shanghai Yangpu District Beautiful Nostalgia Culture Promotion Center
“ 多方合作的共同参与与营建，将那些被忽视的城市荒野构建为一个亲自然的、互动的，生物多样性发展的社区15分钟生活圈共栖乐园。”
审稿编辑：Maggie
更多 Read more about: 或然景观
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