建筑專業(yè)畢業(yè)設(shè)計(jì)外文資料翻譯

Title:ThePoeticsofCityandNature:owardaNewAestheticforUrbanDesignJournalIssue:HYPERLINK;issue=1Places,6(1)Author:HYPERLINK/uc/search?creator=Spirn,%20Anne%20WhistonSpirn,AnneWhistonPublicationDate:10-01-1989PublicationInfo:Places,CollegeofEnvironmentalDesign,UCBerkeleyCitation:Spirn,AnneWhiston.(1989).ThePoeticsofCityandNature:owardaNewAestheticforUrbanDesign.PlacesHYPERLINK,6(1),82.Keywords:places,placemaking,architecture,environment,landscape,urbandesign,publicrealm,planning,design,aesthetic,poetics,AnneWhistonSpirnThecityhasbeencomparedtoapoem,asculpture,amachine.Butthecityismorethanatext,andmorethananartisticortechnological.Itisaplacewherenaturalforcespulseandmillionsofpeoplelive—thinking,feeling,dreaming,doing.Anaestheticofurbandesignmustthereforeberootedinthenormalprocessesofnatureandofliving.Iwanttodescribethedimensionsofsuchanaesthetic.Thisaestheticencompassesbothnatureandculture;itembodiesfunction,sensoryperception,andsymbolicmeaning;anditembracesboththemakingofthingsandplacesandthesensing,using,andcontemplatingofthem.Thisaestheticisconcernedequallywitheverydaythingsandwithart:withsmallthings,suchasfountains,gardens,andbuildings,andwithlargesystems,suchasthosethattransportpeopleorcarrywastes.Thisaestheticcelebratesmotionandchange,encompassesdynamicprocessesratherthanstaticobjectsandscenes,andembracesmultipleratherthansingularvisions.Thisisnotatimelessaesthetic,butonethatrecognizesboththeflowofpassingtimeandthesingularityofthemomentintime,andonethatdemandsbothcontinuityandrevolution.Urbanformevolvesintime,inpredictableandunpredictableways,theresultofcomplex,overlapping,andinterweavingdialogues.Thesedialoguesareallpresentandongoing;somearesensedintuitively;othersareclearlylegible.Together,theycomprisethecontextofaplaceandallthosewhodwellwithinit.Thisideaofdialogue,withitsembodimentoftime,purpose,communication,andresponse,oscentraltothisaesthetic.Concomitantwiththeneedforcontinuityintheurbanlandscapeistheneedforrevolution.Despitecertainconstantsofnatureandhumannature,weliveinaworldunimaginabletosocietiesofthepast.Ourperceptionsofnature,thequalityofitsorder,andthenatureoftimeandspacearechanging,asisourculture,provokingthereassessmentofoldformsanddemandingnewones.Thevocabularyofforms—buildings,streets,andparks—thatareoftendeferredtoasprecedentsnotonlyreflectsaresponsetoculturalprocessesandvaluesofthetimeinwhichthoseformswerecreated.Someofthesepatternsandformssillexpresscontemporarypurposesandvalues,buttheyareabstractions.Whataretheformsthatexpresscontemporarycosmology,thatspeaktousinanageinwhichphotographsofatomicparticlesandofgalaxiesarecommonplace,inwhichtimeandspacearenotfixed,butrelative,andinwhichwearelesscertainofourplaceintheuniversethanweoncewere?Conceivingofnewformsthatcapturetheknowledge,beliefs,purposes,andvaluesofcontemporarysocietydemandsthatwereturntotheoriginalsourceofinspiration,beitnatureorculture,ratherthanthequotationortransformationofabstractionsofthepast.Time,Change,andRhythm"Fortheartist,"observedPaulKlee,"dialoguewithnatureremainsaconditiosinequenon.Theartistisaman,himselfnatureandpartofnatureinnaturalspace."Beforehumansbuilttownsandcities,ourhabitatwasorderedprimarilybynature'sprocesses.Themostintimaterhythmsofthehumanbodyarestillconditionedbythenaturalworldoutsideourselves:thedailypathofthesun,alternatinglightwithdark;themonthlyphasesofthemoon,tuggingthetides;andtheannualpassageoftheseasons.Incontrasttotherepetitivepredictabilityofdailyandseasonalchangeistheimmensityofthegeologicaltimescale.Fromaviewoftheworldthatmeasuredtheageoftheearthinhumangenerations,wehavecometocalculatetheearth'sageintermsofthousandsofmillionsofyearsandhavedevelopedtheoriesoftheearthitself.Thehumanlifespannowseemsbutablip,andtheearthbutasmallspeckintheuniverse.Theperceptionoftimeandchangeisessentialtodevelopingasenseofwhoweare,wherewehavecomeform,andwherewearegoing,asindividuals,societies,andspecies.Designthatfostersandintensifiestheexperienceoftemporalandspatialscalesfacilitatesbothareflectionuponpersonalchangeandidentityandasenseofunitywithalargerwhole.Designthatjuxtaposesandcontrastsnature'sorderandhumanorderpromptscontemplationofwhatifmeanstobehuman.Designthatresonateswithaplace'snaturalandculturalrhythms,thatechoes,amplifies,clarifies,orextendsthem,contributestoasenseofrootednessinspacetime.Process,Pattern,andFormGreat,upright,redrocks,thrustfromtheearth,risinghundredsoffeet,striketheboundarybetweenmountainandplainalongtheFrontRangeoftheRockies.RedRocksAmphitheaterissetinthesefoothills,itsflatstagedwarfedbytheredslabsthatframeitandthepanoramicviewoutacrossthecityofDenver,ColoradoandtheGreatPlains.Thestraightlinesoftheterracedseats,cutfromsandstonetofitthehumanbody,andthetightcurveoftheroad,cuttofittheturningcar,seemfragilenexttotherocks'awesomescaleandmagnificentgeometry.Denverisacityofhighplains,Nestledupagainstthesefoothills,itrestsonsedimentsmanyhundredsoffeetdeep,theirfinegrainserodedfromtheslopesofancientmountainsthatoncerestedatoptheRockies,theirpeakshighabovetheexistingmountains.Theredslabsaretheruinedrootsofthoseancientmountainpeaks,remnantsofrocklayersthatoncearchedhighovertheRockiesweknowtoday.Astheeyefollowstheangleoftheirthrustandcompletesthatarc,oneistransportedmillionsofyearsintothepast.ThisisthecontextofDenver,acontextinspaceandtimecreatedbytheenduringrhythmofnature'sprocessesandrecordedinpatternsintheland.Theamphitheateraffordsnotonlyaviewofthecity,butalsoaprospectforreflectingupontime,change,andtheplaceofmanandcityinnature.Whenweneglectnaturalprocessesincitydesign,wenotonlyrisktheintensificationofnaturalhazardsandthedegradationofnaturalresources,butalsoforfeitasenseofconnectiontoalargerwholebeyondourselves.Incontrast,placessuchasRedRocksAmphitheaterprovokeavividexperienceofnaturalprocessesthatpermitsustoextendourimaginationbeyondthelimitsofhumanmemoryintothereachesofgeologicalandastronomicaltimeandtotraversespacefromthemicroscopictothecosmic.Howeverpermanentrockmayseem,itisultimatelywornsmoothbywaterandreducedfinallytodust.Thepowerofaraindrop,multipliedbythetrillionsoverthousandsintoplains.Thepatternoflinesetchedbythewaterinthesandofabeachechosthepatternengravedontheearthbyriversovertime.Thesearethepatternsthatconnect.Theyconnectustoscalesofspaceandtimebeyondourgrasp;theyconnectourbodiesandmindstothepulseofthenaturalworldoutsideourskin.Thebranchingriverbedcutbyflowingwaterandthebranchingtreewithinwhichthesaprisesarepatternsthatmirrorthebranchingarteriesandveinsthroughwhichourbloodcourses.Patternsformedbynature'sprocessesandtheirsymmetryacrossscaleshavelongbeenappreciatedbycloseobserversofthenaturalworld.Recentdevelopmentsinscienceaffordnewinsightsintothegeometryofformgeneratedbydynamicprocesses,betheynaturalorcultural,andpointtonewdirectionsfordesign.Theformsofmountainranges,riverbanks,sanddunes,trees,andsnowcrystals,arepoised,jelled,atamomentintime,thephysicalembodimentofdynamicprocesses.Theirbeautyconsistsofapeculiarcombinationoforderanddisorder,harmoniouslyarranged,andthefactthattheirformsareatequilibrium,atanygivenmoment,withtheprocessesthatproducedthem.Suchformsandthephenomenonoftheirsymmetryacrossscalesoftimeandspace,haverecentlybeendescribedbyanewgeometry,"fractal"geometry,whichoneofitsoriginators,BenoitMandelbrotcalls"thegeometryofnature"—"pimply,""pocky,""tortuous,"and"intertwined."Asensibilitysteepedinclassicalgeometryperceiverstheseformsastoocomplextodescibe.However,asfractals,suchpatternscanbedescribedwithsimplicity,theresultofrepetitiveprocesses,suchasbifurcationanddevelopment.Thevarietyofformsthatstemfromthesameprocessostheresultofresponsetodifferingconditionsofcontext,oftotheinteractionwithotherprocesses.Strangeandwonderfulforms,mirroringthoseofnature,havebeencreatedbyrepeatingasinglecomputerprogram.Earlyintheprocess,theresultingform,asseenonthecomputerscreenappearschaotic;graduallyanorderunfolds.Suchexperimentsarethesubjectofanewfield,coinedChaosbyitspioneers,whofeelthattheyaredefininganewparadigm.Theirsubjectsarediverse,theirobjectiveistoidentifytheunderlyingorderinseeminglyrandomfluctuations.Manyofthoseworkinginfieldhaveexpressedtheiraestheticattractiontothemathematicsoffractalgeometryincontrasttowhattheytermthe"Euclideansensibility."ThisisageometryforeigntothatofEuclid,withitslinesandplanes,circlesandspheres,trianglesandcones.Euclideangeometryisanabstractionofreality;itsbeautyliesinsmooth,clean,idealshapes.Itisageometrybasedonthebeliefthatrest,notmotion,isthenaturalstate;itdescribesthree-dimensionalspacebutneglectstime.

ThatdoesnotmeanthatweshouldavoidusingEuclideangeometryinthedesignoflandscapes.Indeed,suchusemayheightenourperceptionofthenaturalformsofriversandtreesandtheprocessesthatproducethem,especiallywhenitisemployedasavisualcounterpointthatbothexpressesandcontrastswiththoseforms.InDinan,France,amonumentalareofpoplarstakesitsinspirationfromthesweepingouttheirregularitiesoftheriverbank.Thearerepresentstheideaofthatsweep.Throughtheabstractionandechoofthehorizontalformintheverticaldimension,inwhatisclearlyalineinscribedbyhumansonthelandscape,theexperienceoftheriver'smeanderisintensified.Thoughsetinatight,evenly-spacedrowalongthebanksoftheriver,theindividualtreesasserttheirownquirkygrowth,whichisseenmoreclearlyincontrasttotheregularityoftheirplacement.Theinterplayofdifferentprocessesisalsoasubjectofcurrentresearchon"chaos."Computerdrawingsillustratethepatternsthatresultwhenseveralrhythms,suchasradiofrequenciesorplanetaryorbits,cometogether.Perhapsthisisthecontemporaryversionofthe"musicofthespheres."Theyresembleatopographiccontourmap,promptingtherealizationthatlandformresultsfromasimilarinterplayamongmultipleforcesandprocesses,includinggravity,waterflow,andweather.Culturalprocessesalsoengagenaturalprocessesontheland;therhythmsoffoodproductionandtransportation,forexample,interactwiththeflowofwindandwatertomoldalandscape.Thepatternsthatresultvaryinresponsetothespecificcontextofnaturalenvironment,culture,andtheidiosyncrasiesofindividuals.Itisnatureandculturetogether,asinteractingprocesses,thatrenderaplaceparticular.Naturalprocessesoperatingovertimegiverisetotheinitialformofthelandandcomprisethebaserhythmtowhichtheculturalprocessesrespond,introducingnewandchangingthemes,weavinganintricatepattern,punctuatedhereandtherebyhighpointsofnatureandart.Everyurbanlandscapeisasymphonyofcomplexharmonies,which,althoughtheycanbesavoredatanygivenmoment,evolvecontinuallyintime,inbothpredictableandunpredictableways,inresponsenaturalprocessesandchanginghumanpurposes.Itisasymphonyinwhichallthedwellersofthecityarecomposersandplayers.Making,Caring,Thinking,DwellingTheprocessofdwelling,anirreduciblefactofeveryculture,isanaestheticact,entailingbeinganddoing,acorrespondencebetweennatureandculture.Throughcultivationandconstruction,individualsandsocietiesforgeaplacewithinnaturethatreflectstheirownidentities—theirneeds,values,anddream.Makingandcaringforaplace,aswellascontemplatingtheselaborsandtheirmeanings,comprisetheaestheticexperienceofdwelling.Thisconcept,asexploredbythephilosopherHeidegger,hasimportantimplicationsfordesignersandplannersofhumansettlements.Amajorissuefordesignersishowtorelinquishcontrol(whethertoenableotherstoexpressthemselvesortopermitnature'sprocessestotaketheircourse)whilestillmaintaininganaestheticallypleasingorder.ThepleasingqualityoftheallotmentgardensofcommunitygardensthatarepopularinbothEuropeanandNorthAmericancitiesdependsuponagriddedframeworkofplots.Eachgardenplotisawholeinitself,animprovisationonsimilarthemesbydifferentindividuals.Yetallarepartofawholeunifiedbymaterials,structure,andtheprocessofcultivation.InGranada,Spain,allotmentgardensliewithintheAlhambraandGeneralife.Thegardensrestwithinahighlyorganizedframeworkofwallsandterraces,andenliventhesceneratherthandetractfromit.Theycomplementtheformalgardensandcourtyards,wherevegetablesandnutandfruittreesareplantedamongflowersandvines.ThereisnoarbitraryseparationinthisMoorishgardenbetweenornamentalandproductive,betweenpleasurableandpragmatic,betweensacredandsecular.Itispossibletocreateurbanlandscapesthatcaptureasenseofcomplexityandunderlyingorder,thatexpressaconnectiontothenaturalandculturalhistoryoftheplace,andthatareadaptabletomeetchangingneeds.Thesolutionliesinanunderstandingoftheprocessesthatunderliethesepatterns,andtherearesomeprinciplesthatcanbederivedforurbandesign:establishaframeworkthatlendsoverallstructure—notanarbitraryframework,butonecongruentwiththe"deep"structureofaplace,defineavocabularyofformsthatexpressesnaturalandculturalprocesses,theencourageasymphonyofvariationsinresponsetotheconditionsofaparticularlocaleandtheneedsofspecificpeople.Theresultshouldbeadynamic,coherentwholethatcancontinetoevolvetomeetchangingneeedsanddesiresandthatalsoconnectsthepresentwiththepast.TheFens,inBoston,issuchaplace.Asoriginallyconceivedandconstructedinthe1880sand'90s,theFensanditsextensionintheRiverwaywereinnovativemodelsforpublicopenspacethatintegratedengineering,economics,andaesthetics.TheFensandtheRiverwaycreatedanintegratedsystemofpark,parkway,stormdrain,flooddetentionbasin,andstreetcarlinethatformedtheskeletonforthegrowthofadjacentneighborhoods.FrederickLawOlmstedandhispartnersdesignedtheFensasasaltwatermarshthatwouldfunctionasafloodcontrolreservoirandthatwouldbeacounterpointtothesurroundingcity.Thismarshwashumanconstructdugoutofpollutedmudflats,butitwasdesignedtoappearlikeanaturalsaltmarsharoundwhichthecityhadhappenedtogrow.Timeandchang,processandpurposeareexpressedbyitsshape-abowlwithanirregularedge-andthepatternofplants-bandsofgrassesandshrubsvariablytolerantoffluctuatingwaterlevels;evenwhenriverflowwaslow,itsformrecalledthatitwasdesignedtoreceive.Olmsted'simitationofnaturerepresentsadivergencefromthethenprevailingpastoralandformalstyles,bothofwhichweredomesticatedlandscapesandabstractionsofnature.ThefensandtheRiverway,intheirtime,representedanewaestheticfortheurbandistrictswhichgrewuparoundthem,ofsufficientscaletoholdtheirownagainstthelargebuildingsattheiredge,andrecallingtheoriginalconditionofthelandpriortocolonialsettlement,theyinitiatedapowerfulandpoeticdialogue.Imitationofnaturewas,inthiscase,asuccessfuldesignstrategy.Today,onemustknowtheirhistorytofullyappreciatethemasa"designed"ratherthan"natural"landscape.Olmsted'scontemporaries,however,knewfullwelltheywerebuilt,notpreserved.Function,Feeling,andMeaningJustasanindividualgainsself-knowledgefromanabilitytoperceivehisofherownlifeinrelationtothepast,sodoesacitygainidentitywhenthesharedvaluesofitsresidents,bothpastandpresent,areclearlyembodiedinurbanform.ThedesignfortheFensandtheRiverwaywerenotproducedovernight,nordidtheyspringfromthemindofasinglegenius.TheyweretheculminationofpublicdialogueaboutthefutureshapeofBostonthatextendedfrom1860to1890.Thisdialogueconsistedofpublishedproposalsbyprivatecitizensandofdebatesatpublichearings,includingonemeetingin1876thattheorganizerscalled"ParksforthePeople."ThissustainedpublicdialoguenotonlyproducedideasthatwerelaterincorporatedinOlmsted'sdesign,butalsogeneratedthesupportnecessarytoimplementtheseambitiousprojects.Urbanfromthatexploitsandcelebratenaturalandculturalprocessesandthestructuretheycreateprovidesaframeworkwithinwhichthecitycanunfold,onethatalsorevealsandintensifiesthenaturalandculturalrhythmsandpatternsoftheplace.Theoverlayandinterplayofnaturalandculturalprocessescanbeemployedconsciouslyinurbandesign(whetherinharmonyorcalculateddiscord),tofuseaconnectionbetweenfeeling,utility,andmeaning.Whentheformofthecityrepresentsandrevealsoverlappingnaturalandculturalprocesses,thecongruenceoftheseprocessesaddslayersofmeaning,bothfunctionalandsymbolic,therebyamplifyingtheaestheticexperiencethateachmightengenderalone.wateranditsuseforhumanpurposeshavegreatpotentialtoforgeemotional,functional,andcognitivelinksbetweenmanandnatureinthecity.ThereispatiointheAlhambrathatisaneconomical,elegant,andpowerfulstatementaboutthefunctions,meanings,andsensuousqualitiesofwater.Thesoundofwaterspillingfromafountainisamplifiedbythesurroundingwalls.Thewatercollectsinpuddlesonthestonefloorand,asitevaporates,coolstheair.Small,river-wornpebbles,eachembodyingtheactionofwaterovertime,aresetinatightlyorganized,geometricpattern.Elongatedblackstonesarealternatelygroundandstars.Thestonesaresetinpackedearththatpermitswatertoseepbeneaththemandirrigatecedartreesplantedateachcornerofthecourtyard.Thewholeformsadeepcongruencebetweensensualperception,iconography,andfunction."Alltheriversrunintothesea;yettheseaisnotfull;untotheplacefromwhencetheriverscame,thithertheyreturnagain."ThislinefromEcclesiastesandthePatiodelaRejaareamongthemostconciseandpoeticdescriptionsofthehydrologiccycle.Natureanditsorder,processes,andformsareanimportantsourceofinspirationforLawrenceHalprin.Hemakesadistinction,however,betweenmimesisandabstraction,between"copyingnature'spictures"and"usinghertoolsofcomposition."Halprin'snotebookscontainmanystudiesofwatermovementaroundrocksandoftheplanesandfracturelines,ledges,andtalusofrockyslopes.Inthesedrawings,hehasrecordedtheprogressiveabstractioninthetransitionfrommountainenvironmenttourbanplaza.AtthePortlandAuditoriumfountain,theprogressionfromsmallsource,totributaries;todownstreamwaterfallsistelescopedintoasmallspace.Thefountainpermitsandeveninviteshumanparticipation.Thesheervolumeandforceofthewaterfalls,themysteryinjectedbythemanywatersources,somehalf-hidden,thesteepdropfromstreet-leveltothebaseofthefountain,andthedensescreenofpinesallcontributetoanexperienceofwaterthatresonateswithitsimportanceasasourceofelectricpowerinthisregionofrushingrivers.Likeaprimordialmagnet,waterpullsataprimitiveanddeeplyrootedpartofhumannature.Waterisasourceoflife,power,comfort,fear,anddelight;itisasymbolofpurification,ofboththedissolutionoflifeanditsrenewal.Manyadvancestohealthandsafetyintroducedincitiesoverthepastcenturyhavedistancedusfromthewaterthatsustainsusandhavedisguiseditscyclingthroughtheenvironment.Asrainfallstotheground,itisflushedawayintoundergroundpipesandtransportedtosewagetreatmentplant,which,likegarbagedumps,aretouchedintoforgottencornersofthecity.Landscapearchitects,urbandesigners,andarchitectshaveprogressivelynarrowedtheircopeofconcerns.TheaquaductsofancientRomewereartisticmonumentsthatcelebratedthefeatofbringingwaterintothecityfromafar;thefountainsofBaroqueRomecelebratedthereconstructionofthatpublicwatersystem.Themonumentsmarkedaconnectionbetweenthepeoplewhodwelledinthecityandthewaterthatsustainedthem.Theywereutilitarian,asourceofsensualpleasureandsymbolicmeaning.Today,fewurbandesignersconcernthemselveswithwaterandsewersystems.Yettheimpactofthesepublicworksontheshapeofurbanformandaestheticexperienceistoogreattoignore.InDenver,themetropolitanopenspacesystemisplannedanddesignedtoalsofunctionasanurbanstormdrainageandfloodcontrolsystem.Thechannels,reservoirs,anddetentionandretentionbasinsthatstructuretheurbanlandscapearenotonlycongruentwiththenaturalrhythmslegiblewithinthecityandprovideavisibleandtangibleframeworkthatlinksdowntown,suburbs,andoutlyingfarmland.Theformofthisparklandreflectsthedifferentneighborhoodsthroughwhichitflows,whetheradowntownplazathatisalsoadetentionbasin,acceptingandrevealingtheriseandfallofwater,orasuburbanstormdrainagechannelwhosesinuouslandformsechothemovementofwater,evenwhenthereisonlyatrickleflowing.Theoriginalplanforthisdrainagechannelcalledforanundergroundstormsewer;now,thewateremergesfromunderthestreetintoapark.Wherethelevelofthechanneldrops,aweirbreakstheerosiveforceofthewater.Athighwatertheweirisexcitingtowatch,butevenatlowwateritsfromispleasingandmeaningful,recallingthepowerofwaterathighflow.ContinuityandRevolutionThecurrentunderstandingofnatureandcultureascomprisinginterwovenprocessesthatexhibitacomplex,underlyingorderthatholdsacrossvastscalesofspaceandtimenotonlydemandsanewaesthetic,newforms,andnewmodesofdesign,construction,andcultivation,butalsopromptsafreshappreciationfortheformsofthepastandtheprocessesbywhichtheywerecreated.Fractalgeometry,forexample,providesameansofunderstandingthegeometryofoldurbandistrictsthatevolvedwithapeculiarcombinationoforderanddisorder,throughpurposefulprocessandrepetitiveuseofformswhosepreciseshapewasvariedinresponsetovaryingconditionsofnature,culture,andindividualpreference.Thecomplexorderofsuchdistrictsisnowoftenhighlyvaluedfoeitsvarietyandqualityof"wholeness"incontrasttotheorderofnewtowns,wheretheformofhousesandevenofsuchdetailsasexteriorpaintcolorandlandscapingareprescribed,andtomoderncities,whichseemahodgepodgeofidiosyncraticbuildingsandleftoverspace.Theinsightsgainedthroughfractalgeometryandrecentworkinchaosalsoprovidethemeanstodesignnewplacescanevolveandadapttochangingneedsandthatcanembodybothvarietyandcoherence.Suchapropositionposesachallengetoconventionalmethodsofplanning,design,construction,andmanagementoftheurbanlandscapeandthestructureandspacesofwhichitiscomposed.Itcallsforamoreinclusivedialogueaboutvaluesandvisions,andfortappingtheinventionandenergyofindividualsinsmall-scaleconstructionandcultivation.Fordesigners,newtechniquesofnotationandrepresentationarerequired.Conventionaltechniquesareinadequatetotheportrayaloftimeandchange,andtheyencouragethecontinuedfocusonvisibleandstaticform.Designersmayconsidertimeandchangeandsuchsensationsassound,smell,andmovement,butdonothavethemeanstonotatetheseideasbeyondtherudimentarylevel.Music,dance,andfilmareartsofmovement,andcontemporarymodesofnotationandrepresentationinthesefieldsofferinspiration,asdoLawrenceHalprin'sexplorationofscoring.Jazzandmoderndance,forexample,employachoreographedframeworkwithinwhichplayersimprovise,expandinguponandexploringthethemesestablishedintheframework.Thecomputercanalsoprovidethemeanstodisplaypatternsgeneratedbyprocessesofnatureandhumanculturetoenabletheperception,manipulation,andevaluationofpatternsandformsastheyemergeandchangeovertime.Theissuesoftimechange,processandpattern,orderandrandomness,beinganddoing,andformandmeaninginherenttothetheoryoutlinedherearealsocentraltocontemporaryexplorationsinmusic,art,andscience.Indeed,thistheoryandtheaestheticitembodieswillbringurbanlandscapedesignintunewiththeoreticalcurrentsinotherfields.Ultimately,however,theurbanlandscapeismorethanasymphony,apoem,asculpture,adance,orascientificexperiment.Itisthesettinginwhichpeopledwell,livingeveryday.Thisaesthetic,asappliedtotheurbanlandscapelevels:onthelevelofthesensesaroused,thefunctionsserved,theopportunitiesfor"doing"provided,andthesymbolicassociationsengendered.Thesemultiplelayersofmeaning,whencongruent,willresonate,combiningcomplexityandcoherence,amplifyingtheaestheticexperienceofthecity.城市與自然的詩(shī)學(xué)：走向城市設(shè)計(jì)新美學(xué),1989,6（1），加州大學(xué)伯克利學(xué)院引：Spirn，安妮惠斯頓。（1989年）。詩(shī)學(xué)：城市與自然走向城市新的美學(xué)設(shè)計(jì)。地方，6（1），82。摘要：城市景觀，是一個(gè)多交響樂(lè)，一首詩(shī)，雕塑，舞蹈，或科學(xué)實(shí)驗(yàn)。它是設(shè)計(jì)于在其中的人住、生活的每一天。這種審美，合用于城市景觀水平上而引起的感官水平，服務(wù)的職能，為“做”提供的機(jī)會(huì)，并象征性組織產(chǎn)生。意義，這些一致時(shí)，多層次的共鳴，結(jié)合復(fù)雜性和連貫性，健全城市的美的感受。關(guān)鍵詞：地方，建筑，環(huán)境，景觀，城市設(shè)計(jì)，公共領(lǐng)域，規(guī)劃，設(shè)計(jì)，美學(xué)，詩(shī)學(xué)，安妮惠斯頓這個(gè)城市比作一首詩(shī)，一個(gè)雕塑，一臺(tái)機(jī)器。但這個(gè)城市是一個(gè)多與文本，多藝術(shù)或技術(shù)。這是一個(gè)地方，自然力量的脈搏，數(shù)百萬(wàn)人生活，思想，感情，夢(mèng)想，做什么。一個(gè)城市設(shè)計(jì)美學(xué)，因此，必須植根于大自然的正常秩序和生活。我想說(shuō)明這樣一個(gè)審美的維度。這種審美既涉及自然和文化，它體現(xiàn)的功能，感覺(jué)知覺(jué)，和象征意義，它包含兩種事物和場(chǎng)合，使感測(cè)，使用，其中考慮。這同樣的審美關(guān)注與生活用品，并與藝術(shù)：小東西，如噴泉，園林，建筑，以及大型系統(tǒng)，如那些運(yùn)送的人，或進(jìn)行廢物。這種審美慶祝運(yùn)動(dòng)和變化，涉及動(dòng)態(tài)的過(guò)程，而不是靜態(tài)的物體和場(chǎng)景，并包