【正文】 t only congruent with the natural rhythms legible within the city and provide a visible and tangible framework that links downtown, suburbs, and outlying farmland. The form of this parkland reflects the different neighborhoods through which it flows, whether a downtown plaza that is also a detention basin, accepting and revealing the rise and fall of water, or a suburban storm drainage channel whose sinuous landforms echo the movement of water, even when there is only a trickle flowing. The original plan for this drainage channel called for an underground storm sewer。這種審美，適用于城市景觀水平上而引起的感官水平，服務的職能，為“做”提供的機會，并象征性組織產(chǎn)生。這同樣的審美關注與生活用品，并與藝術：小東西，如噴 泉，園林，建筑，以及大型系統(tǒng)，如那些運輸?shù)娜?，或進行廢物。盡管自然和人性的某些常數(shù)，我們生活的這個世界無法想象的過去社會。人體最親密的節(jié)奏還是外部條件：自然世界的太陽每天的道路，與黑暗交替光芒的月亮每月的階段，拉著潮汐和季節(jié)的年度通過。 工藝，圖案，和形式 偉大的紅色巖石，從地球推力，數(shù)百英尺上升，兩者之間的山區(qū)和沿落基山脈的前方平原的邊界范圍。 當我們忽視自然的城市設計過程中，我們不僅風險，自然災害加劇和自然資源退化，而且還沒收超出自己的聯(lián)系感為一個更大的整體。 自然的過程而形成的模式和跨尺度的對稱性一直贊賞大自然的密切觀察者。 奇妙的形式，反映的性質(zhì)的，又創(chuàng)造了一個重復的計算機程序。 然而，由于分形，這種模式或許可以用簡單的重復進程，如分叉和發(fā)展的結果。他們連接我們的空間和時間尺度超出了我們的掌握，他們連接我們的身體和自然世界的皮膚外的思想脈搏。這是丹佛，在空間和自然的過程中創(chuàng)造持久的節(jié)奏和時間范圍內(nèi)模式記錄在土地方面。設計圖案并存和對比自然秩序和人類秩序的提示，如果是指什么是人類的思考。藝術家是一個男人，他自然和自然空間中自然的一部分。這些內(nèi)住的想法，其時間，目的，交流的體現(xiàn)，和響應，系統(tǒng)核心正是這種美學。 我想說明這樣一個審美的維度。 摘要： 城市景觀，是一個多交響樂，一首詩，雕塑，舞蹈，或科學實驗。 to downstream waterfalls is telescoped into a small space. The fountain permits and even invites human participation. The sheer volume and force of the waterfalls, the mystery injected by the many water sources, some halfhidden, the steep drop from streetlevel to the base of the fountain, and the dense screen of pines all contribute to an experience of water that resonates with its importance as a source of electric power in this region of rushing rivers. Like a primordial mag, water pulls at a primitive and deeply rooted part of human nature. Water is a source of life, power, fort, fear, and delight。 even when riverflow was low, its form recalled that it was designed to receive. Olmsted39。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, are poised, jelled, at a moment in time, the physical embodiment of dynamic processes. Their beauty consists of a peculiar bination of order and disorder, harmoniously arranged, and the fact that their forms are at equilibrium, at any given moment, with the processes that produced them. Such forms and the phenomenon of their symmetry across scales of time and space, have recently been described by a new geometry,fractal geometry, which one of its originators, Benoit Mandelbrot calls the geometry of nature— pimply,pocky,tortuous, and intertwined. A sensibility steeped in classical geometry perceivers these forms as too plex to descibe. However, as fractals, such patterns can be described with simplicity, the result of repetitive processes, such as bifurcation and development. The variety of forms that stem from the same process os the result of response to differing conditions of context, of to the interaction with other processes. Strange and wonderful forms, mirroring those of nature, have been created by repeating a single puter program. Early in the process, the resulting form, as seen on the puter screen appears chaotic。 the monthly phases of the moon, tugging the tides。 it embodies function,sensory perception, and symbolic meaning。s order and human order prompts contemplation of what if means to be human. Design that resonates with a place39。 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 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 altern