公园的选址验证了瑞士景观悖论：基础设施、郊区景观和田园风光是紧密交织的。这就是我们面临的挑战：如何设计一个能令人沉静下来思考自然和历史的公园？但讽刺的是场地在高速公路隧道的顶部，周边环绕着嘈杂的运动场地、多户住宅和交通主干道。在那个时代，像自然和景观这样的概念不再有明确的意义，公园探索的主题是人工的自然或者自然的人工。
The site of the park exemplifies the Swiss landscape paradox where, infrastructure, suburbs and bucolic idyll are densely interwoven. And such was the challenge: how to design a park which inspires contemplation about natural history which is ironically located atop a motorway tunnel, surrounded by sports fields, multifamily housing and a major traffic artery? At a time when concepts like nature or landscape no longer possess a clear meaning, the park explores the theme of artificial naturalness/natural artificiality.
Photo@: Jean-Claude Jossen
角梁树和凌乱茂盛的地被植物是整体氛围框架和背景，过滤了周边喧嚣的环境，让游客全身心沉浸在公园和大自然世界里。在这种氛围背景下，巨大的混凝土“垫脚石”承载着诗意和科技的意味，既是路径石又是陈列品。随处可见的碎片是激发我们好奇心和想象力的催化剂。我们引用当地的地质科学专业术语，在30厘米高的混凝土板上刻上了地质信息，旁边还有化石和冰川沉积的巨石。与博物馆内部的线性教学方法不同，公园为我们提供了似乎无穷无尽的时空以及自然历史的转换过程的思考和体验。
An atmospheric frame and backdrop of hornbeam trees and messy lush groundcover filter out the loud heterogeneous context, allowing visitors to mentally immerse themselves in the park and its play on themes of nature. Embedded in this atmospheric backdrop, enormous concrete “stepping stones” bearing poetic and scientific messages function as both path and exhibition. Strewn about the park, these fragments act as catalysts for our curiosity and imagination. Quotes and scientific geological terms of local geological relevance are chiselled out of the concrete slabs in 30 cm-high lettering, alongside fossils and massive boulders deposited by glaciers. Unlike the linear pedagogical approach inside of the museum, the park provides clues with which to ponder and experience the seemingly endless spans of time and transformational processes of natural history.
Photo@: Das Bild
Photo@: Das Bild
Photo@: Das Bild
两种最重要的当地石头的使用表达了自然与人类的关系。就像现在所有的本土企业，Nagelfluh，在组成结构都与人造混凝土相同。混凝土铺路石既表达了与本土Nagelfluh 的关系，也表达了人创造材料的能力，这特性表现在所有捶打，原始和自然的人工印迹上。
The use of the two most significant regional stones express the relation between nature and mankind. The all present regional conglomerate, Nagelfluh, is identical in make-up to man-made concrete. The concrete pavers express both their relation to the natural Nagelfluh and the material’s ability to be formed by man, the surfaces appearing in all forms from roughly hammered, raw and natural to artificially imprinted.
Photo@: Das Bild
Photo@: Das Bild
漂亮的绿色砂岩同样存在于文化和历史建筑中。公园的整个铺地都是由原始的天然砂岩砾石建造的，精雕细琢的砂岩的作品散布各处。
The beautiful green tinted sandstone is equally all-present in cultural, historical buildings. The ground plane of the entire park is made of the stone a raw natural sandstone gravel while beautifully sculpted cultural artefacts of the same stone are strewn about.
Photo@: Das Bild
瑞士东部最重要的三个地质年代都在这个公园里展示，浩瀚的地质历史浓缩成小但令人难忘的故事。《巴哈马群岛》 《光秃秃的柏树》 《恐龙化石》这些著作里都暗示着圣加仑地区曾是浩瀚热带海洋。宏大的彩色巨石暗示着冰河时代的冰川将他们带到只有米黄色和灰色石头的地区。
The three most significant geological eras of Eastern Switzerland are expressed in the park, encapsulating the vast dimensions of geological history in a small, memorable story. The fact that St. Gallen was once a tropical ocean is implied by such texts as “Bahamas”, bald cypresses and dinosaur fossils. Huge colourful boulders allude to the Ice Age glaciers that transported them to the region made up of only beige and grey stones.
Photo@: Das Bild
公园位于博物馆和圣玛丽亚•内多夫教区教堂之间，这要求景观设计要融合世界创造的两种理论，宗教和科学之间的对话。正如马克思•普兰克(Max Plank)和查尔斯•达尔文(Charles Darwin)在《圣经》中引用的那句话一样。
The park stretches between the museum and the parish church of St. Maria Neudorf, which asked that the landscape design incorporate a dialogue on the two theories of the world’s creation, religious and scientific. Three quotes chiselled into the concrete from the Bible, Max Plank and Charles Darwin play on this theme.
Photo@: Das Bild
植被也成为一种思考自然主题的公园戏剧方式。以本地植物为主，穿插着外来的绣球花，比喻公园矛盾的位置。博物馆正面的银杏和落叶松体现了大自然的一个谜。世界上最古老的树，银杏，虽然有精致的扇形叶子，但被归类为针叶树。相比之下，落叶松同样是针叶树，但在冬天失去了针。这两种树在春天都有着鲜艳的闪亮绿树叶，在秋天都有着灿烂的金黄色调。
Vegetation also becomes a means to contemplate upon the park’s play on themes of nature. The predominantly indigenous plants are interspersed with non-native hydrangeas as a reflection of the parks paradoxical location. Ginkgo and larch trees in front of the museum façade embody a riddle of nature. The world’s oldest tree, ginkgo has delicate, fan-shaped leaves but is classified as a conifer. By contrast, larch is likewise a conifer, but loses its needles in winter. The two tree species share the vibrant neon green of their foliage in spring and the resplendent yellow hues in autumn.
Photo@: Das Bild
▼平面图
设计单位：Studio Vulkan (formerly Robin Winogrond Landschaftsarchitekten)
项目位置：Rorschacherstrasse 253, 9016 St. Gallen, Switzerland
项目面积：5000.0m²
项目阶段：2009赢得竞标, 2017–2018 施工完成
客户：Hochbauamt St. Gallen
建筑设计：Armon Semadeni Architekten GmbH, Zurich in cooperation with Meier Hug Architekten AG, Zurich
Location: Rorschacherstrasse 253, 9016 St. Gallen, Switzerland
Project phases: Competition 2009, 1st Prize, Completion 2017–2018
Client: Hochbauamt St. Gallen
Landscape: Studio Vulkan (formerly Robin Winogrond Landschaftsarchitekten)
Architecture: Armon Semadeni Architekten GmbH, Zurich in cooperation with Meier Hug Architekten AG, Zurich Area: 5000 .0m²
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