【正文】 對(duì) 時(shí)間的感覺(jué)和變化是至關(guān)重要的發(fā)展對(duì)我們是誰(shuí)，我們?cè)谀抢飦?lái)的形式感，我們?nèi)サ牡胤剑鳛閭€(gè)人，社會(huì)，和物種。什么是形式，表達(dá)當(dāng)代宇宙學(xué)，即現(xiàn)代給我們的原子粒子和星系的照片是司空見(jiàn)慣，在時(shí)間和空間不是固定的，而是相對(duì)的，我們所處的地方與宇宙中比我們有是什么呢？新形式的構(gòu)想是捕捉到的知識(shí)，信念，宗旨和現(xiàn)代社會(huì)要求我們必須回到原來(lái)的靈感來(lái)源，無(wú)論是自然的價(jià)值觀和文化，而不是過(guò)去價(jià)值或過(guò)去抽象的轉(zhuǎn)變。這些對(duì)話都是當(dāng)前和持續(xù)的，有些人憑直覺(jué)感到，有些是清晰易讀。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。 now, the water emerges from under the street into a park. Where the level of the channel drops, a weir breaks the erosive force of the water. At high water the weir is exciting to watch, but even at low water its from is pleasing and meaningful, recalling the power of water at high flow. Continuity and Revolution The current understanding of nature and culture as prising interwoven processes that exhibit a plex, underlying order that holds across vast scales of space and time not only demands a new aesthetic, new forms, and new modes of design, construction, and cultivation, but also prompts a fresh appreciation for the forms of the past and the processes by which they were created. Fractal geometry, for example, provides a means of understanding the geometry of old urban districts that evolved with a peculiar bination of order and disorder, through purposeful process and repetitive use of forms whose precise shape was varied in response to varying conditions of nature, culture, and individual preference. The plex order of such districts is now often highly valued foe its variety and quality of wholeness in contrast to the order of new towns, where the form of houses and even of such details as exterior paint color and landscaping are prescribed, and to modern cities, which seem a hodge podge of idiosyncratic buildings and left over space. The insights gained through fractal geometry and recent work in chaos also provide the means to design new places can evolve and adapt to changing needs and that can embody both variety and coherence. Such a proposition poses a challenge to conventional methods of planning, design, construction, and management of the urban landscape and the structure and spaces of which it is posed. It calls for a more inclusive dialogue about values and visions, and for tapping the invention and energy of individuals in smallscale construction and cultivation. For designers, new techniques of notation and representation are required. Conventional techniques are inadequate to the portrayal of time and change, and they 城市規(guī)劃外文資料翻譯 encourage the continued focus on visible and static form. Designers may consider time and change and such sensations as sound, smell, and movement, but do not have the means to notate these ideas beyond the rudimentary level. Music, dance, and film are arts of movement, and contemporary modes of notation and representation in these fields offer inspiration, as do Lawrence Halprin39。s design, but also generated the support necessary to implement these ambitious projects. Urban from that exploits and celebrate natural and cultural processes and the structure they create provides a framework within which the city can unfold, one that also reveals and intensifies the natural and cultural rhythms and patterns of the place. The overlay and interplay of natural and cultural processes can be employed consciously in urban design (whether in harmony or calculated discord), to fuse a connection between feeling, utility, and meaning. When the form of the city represents and reveals overlapping natural and cultural processes, the congruence of these processes adds layers of meaning, both functional and symbolic, thereby amplifying the aesthetic experience that each might engender alone. water and its use for human purposes have great potential to forge emotional, functional, and cognitive links between man and nature in the city. There is patio in the Alhambra that is an economical, elegant, and powerful statement about the functions, meanings, and sensuous qualities of water. The sound of water spilling from a fountain is amplified by the surrounding walls. The water collects in puddles on the stone floor and, as it evaporates, cools the air. Small, riverworn pebbles, each embodying the action of water over time, are set in a tightly organized, geometric pattern. Elongated black stones are alternately ground and stars. The stones are set in packed earth that permits water to seep beneath them and irrigate cedar trees planted at each corner of the courtyard. The whole forms a deep congruence between sensual perception, iconography, and function. All the rivers run into the sea。 it describes threedimensional space but neglects time. That does not mean that we should avoid using Euclidean geometry in the design of landscapes. Indeed, such use may heighten our perception of the natural forms of rivers and trees and the processes that produce them, especially when it is employed as a visual counterpoint that both expresses and contrasts with those forms. In Dinan, France, a monumental are of poplars takes its inspiration from the sweeping out the irregularities of the river bank. The are represents the idea of that sweep. Through the abstraction and echo of the horizontal form in the vertical dimension, in what is clearly a line inscribed by humans on the landscape, the experience of the river39。s order and human order prompts contemplation of what if means to be human. Design that resonates with a place39。 it embodies function,sensory perception, and symbolic meaning。 the monthly phases of the moon, tugging the tides。s processes and their symmetry across scales have long been appreciated by close observers of the natural world. Recent developments in science afford new insights into the geometry of form generated by dynamic processes, be they natural or cultural, and point to new directions for design. The forms of mountain ranges, riverbanks, sand dunes, trees, and snow crystals, ar