【正文】 lication 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 【 Abstract】 Urban landscape, a symphony, a poem, sculpture, dance, or scientific experiments. It is designed in which people live life every day. This aesthetic for the urban landscape level caused by sensory level, the functions of the service, the opportunity to do, and symbolic organization. Significance, these same multilevel resonance, bined with the plexity and coherence, feelings and improve the beauty of the city. 【 Keywords】 place， making, 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. 城市規(guī)劃外文資料翻譯 I want to describe the dimensions of such an aesthetic. This aesthetic enpasses both nature and culture。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 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 城市規(guī)劃外文資料翻譯 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 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 processes and recorded in patterns in the land. The amphitheater affords not only a view of the city, but also a prospect for reflecting upon time, change, and the place of man and city in nature. When we neglect natural processes in city design, we not only risk the intensification of natural hazards and the degradation of natural resources, but also forfeit a sense of connection to a larger whole beyond ourselves. In contrast, places such as Red Rocks Amphitheater provoke a vivid experience of natural processes that permits us to extend our imagination beyond the limits of human memory into the reaches of geological and astronomical time and to traverse space from the microscopic to the cosmic. However permanent rock may seem, it is ultimately worn smooth by water and reduced finally to dust. The power of a raindrop, multiplied by the trillions over thousands into plains. The pattern of lines etched by the water in the sand of a beach echos the pattern engraved on the earth by rivers over time. These are the patterns that connect. They connect us to scales of space and time beyond our grasp。 its beauty lies in smooth, clean, ideal shapes. It is a geometry based on the belief that rest, not motion, is the natural state。s processes to take their course) while still maintaining an aesthetically pleasing order. The pleasing quality of the allotment gardens of munity gardens that are popular in both European and North American cities depends upon a gridded framework of plots. Each garden plot is a whole in itself, an improvisation on similar themes by different individuals. Yet all are part of a whole unified by materials, structure, and the process of cultivation. In Granada, Spain, allotment gardens lie within the Alhambra and Generalife. The gardens rest within a highly organized framework of walls and terraces, and enliven the scene rather than detract from it. They plement the formal gardens and courtyards,where vegetables and nut and fruit trees are planted among flowers and vines. 城市規(guī)劃外文資料翻譯 There is no arbitrary separation in this Moorish garden betwee