工廠引領了一場改變人類生活和全球環(huán)境的革命，巨大的工廠讓人心生敬畏。大概 20多年前，我曾到北京的重型機器廠參觀，走進其中一個 30多m高，可同時容納 200多工人作業(yè)的巨大煉鋼車間。車間內不同高度的天梯交錯連接著不同的作業(yè)區(qū)，空中吊車懸掛在頂部的軌道上，通過牽引電力磁鐵把廢鋼或生鐵投送到電弧爐、平爐、轉爐等煉鋼爐里進行提純與氧化還原，融化形成 1 550～1 700 ℃的鋼水，再到模具里鑄成鋼錠。車間轟隆的噪聲和炙熱的生產場景讓人既驚嘆又目眩。

現代生活是建立在 18世紀以來工廠在生產、效率和科技方面進步的基礎之上的，從城市建設到生活所需，幾乎都來自工廠的生產制造，支撐著我們享受工業(yè)文明的成果。工廠塑造了我們所生活的現代世界，是從農業(yè)文明到工業(yè)文明轉變的標志。與農業(yè)文明類似的是，工業(yè)文明也是人與自然相互關系的一種表達方式。

20世紀中葉，隨著科技與產業(yè)模式的發(fā)展，西方國家開始工業(yè)轉型，很多標志性的大型工廠停產關閉，人們對工廠及工業(yè)世界的懷舊之情卻在增長，被稱為“煙囪懷舊”。那時有學者提出“后工業(yè)社會理論”“后工業(yè)社會的來臨”等概念已為工業(yè)遺產的專業(yè)性探討提供了較成熟的社會學環(huán)境。對工業(yè)遺產審美的認知可以追溯到啟蒙運動時期，當時很多畫作中描繪出對古希臘、古羅馬建筑廢墟的贊美，同期的古典花園中也出現營造“廢墟”景觀的風氣。對“廢墟”的審美傳統(tǒng)或許有助于對工業(yè)遺產的審美塑造，以廢棄工廠為主題展示生產機器的攝影作品，如廢棄的水塔、冷卻塔和鼓風爐等大型工業(yè)設備的攝影展，明顯挑戰(zhàn)了傳統(tǒng)的美學范疇。攝影記錄賦予冰冷的機器以美學價值，向觀眾傳遞一種“新的觀看方式”，這種審美方式逐步延伸到后工業(yè)遺產景觀更新的開放空間中。

已經冷卻下來不再運轉、不再作為生產資料進行生產的巨型工廠設備，被整合到自然公園的場景中，成為了一種景觀，這與參觀煉鋼車間的感受是完全不同的。大部分居民少有機會體驗到巨大工業(yè)機器運轉時的大生產過程，缺少對工廠詳細的了解，很難想象蒸汽轟鳴，超高溫環(huán)境下熱火朝天、蕩氣回腸的工業(yè)生產場景。這種由“炙熱”的生產機器轉為“冷卻”的后工業(yè)遺產景觀，作為一種與眾不同的標識物，如何在更新過程中維系它作為遺產的風貌并保留其原真性，讓參觀者能夠更切身地感受到工廠改變世界的價值，以訴說昔日的榮耀？這是后工業(yè)遺產轉變?yōu)槲幕坝^的宏大愿景中重要的議題與挑戰(zhàn)。

不僅是大型工業(yè)設備，任何類型廢棄工廠的更新都需要對城市作出新的貢獻。那些令人矚目的后工業(yè)更新改造項目，記錄著人們不斷改造環(huán)境、改善生活的智慧與努力，無論這些遺存的改造過程有多么復雜，它們都是對過去時間的最好標記。后工業(yè)遺產的景觀更新通過將自然融入，讓工業(yè)遺產充滿了新的自然生機，重新定義了作為景觀的價值，但也有逐漸標簽化的趨勢。如何在景觀更新中賦予工業(yè)遺產新的能量與情感？讓它仍舊能轉化為一種與城市和社會融合的新方式，繼續(xù)它塑造現代生活的使命。期待有更多元方式、更豐富類型的新突破，通過對工業(yè)遺產更深刻的體驗與記憶沉淀，賦予它獨特的審美趣味，似有剪裁，又不著痕跡。

主編：鄭曦教授

2020年6月23日

Landscape Renewal of Industrial Heritage

Factories have led a revolution that have substantially changed human life and the global environment, especially the huge ones that are awe-inspiring. I once visited a Beijing-based heavy machinery factory about 20 years ago. I walked into one of huge steel-making workshops, which is more than 30 meters tall and could accommodate more than 200 workers. In the workshop, the overpass with different heights were interlaced with different operating areas. The aerial crane hanging on the top track delivered scrap steel or pig iron into the steel-making furnaces, including electric arc furnace, flat furnace, and converter, through traction power magnets, for the purpose of purification, oxidation and reduction. Those materials melted into steel water, the temperature of which was 1,550-1,700 ℃ and then were molded into steel ingots in molds. The roaring noise and production scenes in full swing in the workshop were both amazing and dazzling.

Modern life is built based on the factory's improvement in terms of production, efficiency, science and technology since the 18th century. From urban construction to life necessities, they all come from the factory's production and manufacturing, which enable us to enjoy the achievements of industrial civilization. Factories shape the modern world in which we live and symbolize the transformation from agricultural civilization to industrial civilization. Similar to agricultural civilization, industrial civilization also embodies the relationship between man and nature.

With the development of technology and industrial models in the mid-20th century, western countries began their industrial transformation. Many iconic large factories shut down but people's nostalgia for factories and the industrial world never stops but grows subtly, which is known as “chimney nostalgia”. At that time, the concept of “post-industrial society theory” and “the coming of post-industrial society” proposed by some scholars have provided a more mature sociological environment for the professional discussion of industrial heritage. The aesthetic perception of industrial heritage could be traced back to the Enlightenment period when many paintings expressed the appreciation of the glory of the ruins of ancient Greek and Roman architectures. It is in the same period that the classical garden also appeared a tendency to create a “ruin” landscape. The aesthetic tradition of “ruin” extends to the industrial heritage. The aesthetic tradition of “ruins” may help to shape the perception toward the industrial heritage. The photographic exhibition of production machines, such as abandoned water towers, cooling towers and wind stoves, is themed by these abandoned factories. It clearly challenges the traditional aesthetic category. The photographic record gives icy machine the aesthetic value and conveys a “new way of viewing” to the audience. Such aesthetic way gradually extended to the landscape renewal of post-industrial heritage.

Giant factory equipment, which had been shut down and was no longer used for production as a production material, is integrated into the scene of the nature park and becomes a landscape. This is actually different from the experience of visiting the steel-making workshop completely. Most residents hardly have a chance to experience the magnificent production process when these huge industrial machines were running. With rare understandings on factories, residents could hardly imagine the roaring steam and the bustle industrial production scene in the very high temperature environment. As the postindustrial heritage landscape transformed from a “hot” production machine to a “cooling” landscape as well as a distinctive marker, how can it maintain its characters as a heritage, preserve its authenticity in the process of renewal and make visitors better feel the value of the factory that changes the world and recollects the glory of the past? This is an important issue and challenge in the grand vision of the post-industrial heritage transformation into a cultural landscape.

Besides the large industrial equipment, any type of abandoned factory renewal needs to contribute to the city. Those stunning and impressive post-industrial renovation projects witness people's efforts and wisdom of transforming the environment and improving the life quality continuously. No matter how complex the process of transforming these remains is, they are the best representatives that mark the past. Through integrating the nature, the landscape renewal of the post-industrial heritage enables the industrial heritage to gain new natural vitality, redefining the value of landscape. However, the tendency of labeling also appears. We need to consider how to endow new energy and emotion to the industrial heritage in the landscape renewal to make it transform into a new way of integrating with cities and society and continue its mission of shaping modern life. We expect more diversified and richer breakthroughs. More profound experience and memory of the industrial heritage could give it unique aesthetic interest that could appreciate the effect in the graceful switch.