【正文】 在各種形式，從同一進(jìn)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(dòng)。該分支的流水和分支樹的河床上升模式反映分支動(dòng)脈和靜脈血液，通過我們的課程。在競技場給予的不僅是城市的觀點(diǎn)，但也是一個(gè)前景時(shí)，在自然和人與城市中進(jìn)行的轉(zhuǎn)變反映。能引起共鳴的設(shè)計(jì)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(shí)候有根的感覺。”之前，人類建造的城鎮(zhèn)，我們的棲息地主要由下令自然的過程。 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。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。它是設(shè)計(jì)于在其中的人住、生活的每一天。 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。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。 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。 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。 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。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。 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 contemporaries, however, knew full well they were built, not preserved. Function, Feeling, and Meaning Just as an individual gains selfknowledge from an ability to perceive his of her own life in relation to the past, so does a city gain identity when the shared values of its residents, both past and present, are clearly embodied in urban form. The design for the Fens and the Riverway were not produced overnight, nor did they spring from the mind of a single genius. They were the culmination of public dialogue about the future shape of Boston that extended from 1860 to 1890. This dialogue consisted of published proposals by private citizens and of debates at public hearings, including one meeting in 1876 that the organizers called Parks for the People. This sustained public dialogue not only produced ideas that were later incorporated in Olmsted39。 the fountains of Baroque Rome celebrated the reconstruction of that public water system. The monuments marked a connection between the people who dwelled in the city and the water that sustained them. They were utilitarian, a source of sensual pleasure and symbolic meaning. Today, few urban designers concern themselves with water and sewer systems. Yet the impact of these public works on the shape of urban form and aesthetic experience is too great to ignore. In Denver, the metropolitan open space system is planned and designed to also function as an urban storm drainage and flood control system. The channels, reservoirs, and detention and retention basins that structure the urban landscape are no