Regional cultural landscape design

? China has a vast territory, many nationalities and a long history, so the culture of China is not single, but diversified, and it is composed of local cultures with their own characteristics. Let me sort out the articles on regional cultural landscape design for you. Welcome to read the reference: 1 regional culture.

Garden culture is the product of the interaction between man and land. A specific geographical environment, a specific person, a specific person's adaptation to a specific geographical environment and a specific utilization form a specific cultural form, which in turn affects the garden form in a specific environment. Geographical environment is regional, and culture must have regional color, so different styles of culture and garden forms have been formed around the world [1].

Culture is the accumulation of history. However, the globalization of technology and mode of production makes people more and more divorced from the traditional regional space, and the characteristics of regional culture gradually decline. Standardized commodity production leads to the convergence of landscape environment and the strangulation of landscape cultural diversity. Advocate the return of landscape design to regional culture and respect the particularity and richness of landscape endowed by regional traditions.

2 the expression of regional culture in modern landscape design

2. 1 traditional culture

Regional traditional culture (including natural and social history) and its humanistic spirit are the accumulation of people in a region (big or small) in their long-term life, production, communication and inheritance, as well as the historical process of fighting against different forces, and are also the basis for a region and a nation to recognize each other in behavior, customs and values. They are also the basis of communication between regional culture and foreign culture, and the basis of collision or competition [2].

Louis? Barragan is one of the most important landscape designers and architects in the 20th century. He has a strong sense of regional culture, and his works come from his patient study and understanding of Mexico's rich local cultural traditions. Barragan believes that international style lacking regional differences and national cultural traditions will destroy cultural individuality and taste. He himself has been committed to finding the source of design from local culture and closely linking landscape design with Mexican traditional culture. Barragan's landscape design works are rich in color and texture, which come from traditional painting walls, adobe bricks, wooden beams and even water. The practice of Balakan proves that when absorbing national traditions and foreign experiences, we can't copy them mechanically, let alone expect to find a direct solution in other people's programs. Inheriting tradition is not a simple retro and collage. Only by absorbing the essence of tradition, transforming it, making it localized and adapting to real life can it be realized.

What is the name of the renovation project of No.3 Courtyard in Beishuncheng Street/KLOC-0, Beijing Financial Street designed by Mr. Zhu Yufan, Tsinghua University? With who? Su Shi wrote in the word "Dianjiang Lip":? Sit with who? Bright moon and cool breeze. Me? . The designer used clever methods to put? Breeze? 、? Bright moon? And then what? Me? In the design, a round frosted glass plate is used, and it is interpreted in a concise and concrete way. Bright moon? ; ? Wind? The expression of bamboo is implicitly expressed by planting bamboo and rustling in the wind; Right? Me? The explanation of the book is based on a stone lying on the gravel ground in Fangshan, Beijing, with the help of China classical gardens? Taking stone as king? Allusions. On the basis of inheriting the elegant style of traditional literati gardens in China, it adapts to the new life style of the city, and at the same time has the modern, simple and simple temperament of the times, thus creating the place spirit of new literati gardens to inherit and carry forward the regional characteristics [4].

For landscape architects like barragan who are based on local culture, they need to be familiar with the tradition? Dialect? Re-interpretation, so as to explore the inner spiritual essence of regional culture through superficial forms and give it new vitality.

2.2 Traditional folk customs and lifestyles

Traditional folk customs are the basic cultural factors that are most closely related to people's daily life and behavior concepts. The sustained and stable behaviors and concepts in a region have formed the traditional customs in this region, which in turn affects people's lives now. The unique living customs of a region are an indispensable part of regionality. The different characteristics of these living customs are often reflected in the landscape, telling us the local social and cultural traditions, and conducting in-depth research on them can make us truly understand the real needs of the public.

? California Garden? The emergence of the United States is more due to the profound changes in American social life after the war. After 10 years of great depression and war, the American economy recovered, the middle class expanded day by day, and the income gradually increased. Nuclear family? Becoming a universal family unit, life is more casual and informal, and the relaxed California lifestyle is fully prosperous. A large number of Americans have moved from rural areas and small cities to metropolises and suburbs, and new social life forms have naturally developed in new urban settlements on the west coast with mild climate. California landscape designers represented by Church catered to the changes of social life and created a new outdoor lifestyle by designing small gardens with open-air wooden platforms, swimming pools, irregular planting areas and dynamic planes [5].

2.3 Historical Tradition of Regional Industries

The development of a city is a dynamic process of constant renewal and transformation. In this metabolic process, how to treat the existing old industrial buildings is a realistic problem. There are a lot of historical information and memories in industrial historical buildings and lots. In the environmental landscape design of its transformation, it should be remolded according to the new functional orientation by using the original site characteristics, so as to adapt it to the needs of new life, thus continuing and developing the value of industrial historical tradition in a residential area.

The transformation of industrial zone is to continue the continuity of urban development and the unique industrial cultural atmosphere of industrial zone, so that people can fully understand and make use of its potential cultural value, economic value and ecological value and inject new modern social standards. People get the opportunity to talk to history while getting their own needs.

Peter opened it 1994? The landscape garden in the north of Duisburg designed by Peter Ratz is located in the north of Duisburg, Germany, with an area of about 200hm2. When the hundred-year-old steel plant was closed at 1985, all kinds of old industrial workshops and countless structures on the base were quickly submerged in weeds. The most critical and intractable problem facing Ratz is that there are a large number of factory remnants, such as huge buildings, slag piles, chimneys, canals, railways, bridges, blast furnaces, cranes and so on. Should these useless structures be treated as a burden or garbage in the design, or should they be treated and applied effectively as reusable elements? Ratz chose the latter. Its design is based on the inheritance of industrial tradition, and the old railway subgrade is preserved as a kind of earth art work and developed into a lawn area. Some structures, such as steelmaking furnaces in iron and steel plants, have also been preserved, providing opportunities for people to climb high and overlook, and large concrete structures can be used as sports venues for climbers [5]. Designers have never tried to cover up or tamper with history. Buildings and structures, as monuments of the industrial age, have been preserved or effectively reused, and have not been arbitrarily transformed or distorted. Retain the original vegetation, let weeds grow freely, reuse the available waste as much as possible, inherit the industrial tradition and the traditional environment of the region, and reflect the designer's respect for history and scientific and rational attitude.

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