【正文】 Title: The Poetics of City and Nature: Toward a New Aesthetic for Urban Design Journal Issue: Places, 6(1) Author: Spirn, Anne Whiston Publication Date: 10011989 Publication Info: Places, College of Environmental Design, UC Berkeley Citation: Spirn, Anne Whiston. (1989). The Poetics of City and Nature: Toward a New Aesthetic for Urban Design. Places, 6(1), 82. Keywords: places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, aesthetic, poetics, Anne Whiston Spirn The city has been pared to a poem, a sculpture, a machine. But the city is more than a text,and more than an artistic or technological. It is a place where natural forces pulse and millions of people live— thinking,feeling,dreaming,doing. An aesthetic of urban design must therefore be rooted in the normal processes of nature and of living. I want to describe the dimensions of such an aesthetic. This aesthetic enpasses both nature and culture。 it embodies function,sensory perception, and symbolic meaning。 and it embraces both the making of things and places and the sensing, using, and contemplating of them. This aesthetic is concerned equally with everyday things and with art: with small things, such as fountains, gardens, and buildings, and with large systems, such as those that transport people or carry wastes. This aesthetic celebrates motion and change, enpasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthetic, but one that recognizes both the flow of passing time and the singularity of the moment in time, and one that demands both continuity and revolution. Urban form evolves in time,in predictable and unpredictable ways, the result of plex, overlapping, and interweaving dialogues. These dialogues are all present and ongoing。 some are sensed intuitively。others are clearly legible. Together, they prise the context of a place and all those who dwell within idea of dialogue, with its embodiment of time, purpose, munication, and response, os central to this aesthetic. Conitant with the need for continuity in the urban landscape is the need for revolution. Despite certain constants of nature and human nature, we live in a world 畢業(yè)設(shè)計(jì)外文資料翻譯 unimaginable to societies of the past. Our perceptions of nature, the quality of its order,and the nature of time and space are changing, as is our culture, provoking the reassessment of old forms and demanding new ones. The vocabulary of forms— buildings, streets, and parks— that are often deferred to as precedents not only reflects a response to cultural processes and values of the time in which those forms were created. Some of these patterns and forms sill express contemporary purposes and values, but they are abstractions. What are the forms that express contemporary cosmology, that speak to us in an age in which photographs of atomic particles and of galaxies are monplace, in which time and space are not fixed, but relative, and in which we are less certain of our place in the universe than we once were? Conceiving of new forms that capture the knowledge, beliefs, purposes, and values of contemporary society demands that we return to the original source of inspiration, be it nature or culture,rather than the quotation or transformation of abstractions of the past. Time,Change,and Rhythm For the artist, observed Paul Klee, dialogue with nature remains a conditiosine que non. The artist is a man, himself nature and part of nature in natural space. Before humans built towns and cities, our habitat was ordered primarily by nature39。s processes. The most intimate rhythms of the human body are still conditioned by the natural world outside ourselves: the daily path of the sun, alternating light with dark。 the monthly phases of the moon, tugging the tides。 and the annual passage of the seasons. In contrast to the repetitive predictability of daily and seasonal change is the immensity of the geological time scale. From a view of the world that measured the age of the earth in human generations, we have e to calculate the earth39。s age in terms of thousands of millions of years and have developed theories of the earth itself. The human life span now seems but a blip, and the earth but a small speck in the universe. The perception of time and change is essential to developing a sense of who we are, where we have e form, and where we are going, as individuals, societies, and species. Design that fosters and intensifies the experience of temporal and spatial scales facilitates both a reflection upon personal change and identity and a sense of unity with a larger whole. Design that juxtaposes and contrasts nature39。s order and human order prompts contemplation of what if means to be human. Design that resonates with a place39。s natural and cultural rhythms, that echoes, amplifies, clarifies, or extends them, contributes to a sense of rootedness in space time. Process,Pattern,and Form Great,upright, red rocks,thrust from the earth,rising hundreds of feet, strike the boundary between mountain and plain along the Front Range of the Rockies. Red Rocks Amphitheater is set in these foothills, its flat stage dwarfed by the red slabs that frame it and the panoramic view out across the city of Denver, Colorado and the Great Plains. The straight lines of the terraced seats, cut from sandstone to fit the human body, and the tight curve of the road, cut to fit the turning car, seem fragile next to the rocks39。 awesome scale and magnificent geometry. Denver is a city of high plains, Nestled up against these foothills, it rests on sediments 畢業(yè)設(shè)計(jì)外文資料翻譯 many hundreds of feet deep, their fine grains eroded from the slopes of ancient mountains that once r