【正文】 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。 some are sensed intuitively。 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。 awesome scale and magnificent geometry. Denver is a city of high plains, Nestled up against these foothills, it rests on sediments many hundreds of feet deep, their fine grains eroded from the slopes of ancient mountains that once rested atop the Rockies, their peaks high above the existing mountains. The red slabs are the ruined roots of those ancient mountain peaks, remnants of rock layers that once arched high over the Rockies we know today. As the eye follows the angle of their thrust and pletes that arc, one is transported millions of years into the past. This is the context of Denver, a context in space and time created by the enduring rhythm of nature39。 gradually an order unfolds. Such experiments are the subject of a new field,coined Chaos by its pioneers, who feel that they are defining a new paradigm. Their subjects are diverse, their objective is to identify the underlying order in seemingly random fluctuations. Many of those working in field have expressed their aesthetic attraction to the mathematics of fractal geometry in contrast to what they term the Euclidean sensibility. This is a geometry foreign to that of Euclid, with its lines and planes, circles and spheres, triangles and cones. Euclidean geometry is an abstraction of reality。 the rhythms of food production and transportation, for example, interact with the flow of wind and water to mold a landscape. The patterns that result vary in response to the specific context of natural environment, culture, and the idiosyncrasies of individuals. It is nature and culture together, as interacting processes, that render a place particular. Natural processes operating over time give rise to the initial form of the land and prise the base rhythm to which the cultural processes respond, introducing new and changing themes, weaving an intricate pattern, punctuated here and there by high points of nature and art. Every urban landscape is a symphony of plex harmonies, which, although they can be savored at any given moment,evolve continually in time, in both predictable and unpredictable ways, in response natural processes and changing human purposes. It is a symphony in which all the dwellers of the city are posers and players. Making, Caring, Thinking, Dwelling The process of dwelling,an irreducible fact of every culture, is an aesthetic act, entailing being and doing, a correspondence between nature and culture. Through cultivation and construction, individuals and societies forge a place within nature that reflects their own identities— their needs, values, and dream. Making and caring for a place, as well as contemplating these labors and their meanings, prise the aesthetic experience of dwelling. This concept, as explored by the philosopher Heidegger, has important implications for designers and planners of human settlements. A major issue for designers is how to relinquish control (whether to enable others to express themselves or to permit nature39。s imitation of nature represents a divergence from the then prevailing pastoral and formal styles, both of which were domesticated landscapes and abstractions of nature. The fens and the Riverway, in their time, represented a new aesthetic for the urban districts which grew up around them, of sufficient scale to hold their own against the large buildings at their edge, and recalling the original condition of the land prior to colonial settlement, they initiated a powerful and poetic dialogue. Imitation of nature was, in this case, a successful design strategy. Today, one must know their history to fully appreciate them as a designed rather than natural landscape. Olmsted39。 unto the place from whence the rivers came, thither they return again. This line from Ecclesiastes and the Patio de la Reja are among the most concise and poetic descriptions of the hydrologic cycle. Nature and its order, processes, and forms are an important source of inspiration for Lawrence Halprin. He makes a distinction, however, between mimesis and abstraction, between copying nature39。 it is a symbol of purification, of both the dissolution of life and its renewal. Many advances to health and safety introduced in cities over the past century have distanced us from the water that sustains us and have disguised its cycling through the environment. As rain falls to the ground, it is flushed away into underground pipes and transported to sewage treatment plant, which, like garbage dumps, are touched into forgotten corners of the city. Landscape architects, urban designers, and architects have progressively narrowed their cope of concerns. The aquaducts of ancient Rome were artistic monuments that celebrated the feat of bringing water into the city from afar。 （ 1989 年）。它是設(shè)計于在其中的人住、生活的每一天。但這個城市是一個多與文本，多藝術(shù)或技術(shù)。這種審美既包括自然和文化，它體現(xiàn)的功能，感覺知覺，和象征意義，它包含兩種事物和場所，使感測，使用，其中考慮。 城市形態(tài)演變的時間，以難以預(yù)料的方式，是復(fù)雜，重疊的結(jié)果，交織對話。 與在城市景觀連續(xù) 性的需要隨之而來的是創(chuàng)新的需要。其中一些表達方式和門檻當(dāng)代目的和價值的形式，但它們是抽象的?！敝埃祟惤ㄔ斓某擎?zhèn)，我們的棲息地主要由下令自然的過程。人類的壽命現(xiàn)在看來只是暫時現(xiàn)象，地球不過是宇宙中的小斑點。能引起共鳴的設(shè)計與地方的自然和文化的節(jié)奏，這回聲，放大，澄清，或其 延伸，有助于在空間的時候有根的感覺。 丹佛是高原城市，坐落在這些山麓時，它在許多數(shù)百英尺深，其細小的晶粒從古代山脈的斜坡上，一旦落基山脈之上雨水侵蝕沉積物，高高的山 峰現(xiàn)有的山區(qū)。在競技場給予的不僅是城市的觀點，但也是一個前景時，在自然和人與城市中進行的轉(zhuǎn)變反映。一個雨滴的能量，但到了上千年平原萬億倍的增加。該分支的流水和分支樹的河床上升模式反映分支動脈和靜脈血液，通過我們的課程。他們由一個美麗的有序和無序的獨特結(jié)合體，和諧安排，而事實上，他們的形式是在平衡，在任何時刻與他們的生產(chǎn)流程。在各種形式，從同一進程干全部的反應(yīng)不同的背景條件下的結(jié)果，向與其他過程的互動。他們的主題是多種多樣的，其目的是確定在看似隨機波