【正文】 ately 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。 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 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。意義，這些一致時，多層次的共鳴，結(jié)合復(fù)雜性和連貫性，健全 城市的美的感受。這種審美慶祝運動和變化，包括動態(tài)的過程，而不是靜態(tài)的物體和場景，并包含奇異的愿景，而不是多個。自然我們的看法，其秩序的質(zhì)量，時間和空間的性質(zhì)正在發(fā)生變化，是我們的文化，導(dǎo)致了舊形式的重新評估，并要求創(chuàng)新。 相對于日常和季節(jié)變化的可預(yù)測性是重復(fù)的地質(zhì)時間尺度 的廣袤。紅色巖石露天劇場設(shè)置在這些丘陵地帶，其平面階段的紅色磚相形見絀的框架，并在全景跨越丹佛，科羅拉多州和大平原出城。相反，有些地方，例如紅色巖石露天劇場引發(fā)的自然過程的生動經(jīng)驗，使我 們能夠跨越到地質(zhì)和天文時間到達人類記憶，限制了我們的想象，從微觀穿越空間的宇宙。最近的事態(tài) 發(fā)展科學(xué)能力進入其中的動態(tài)過程中產(chǎn)生的新見解的幾何形式，無論是自然或文化，并指出設(shè)計新方向。早在這個過程中，產(chǎn)生的形式，在電腦屏幕上看到出現(xiàn)混亂的秩序，逐步展開。“在古典幾何充滿了感性知 覺太復(fù)雜，描繪這些形式。 這些模式的連接。由于眼睛遵循其主旨的角度，完成年弧，一個是運送數(shù)百萬成為過去。設(shè)計，促進和強化了時間和空間范圍的經(jīng)驗后，既有利于個人的變化和特征，并以更大的整體的統(tǒng)一感的反映。 時間，變化和節(jié)奏 “對于藝術(shù)家，”觀察保羅克利，“人與自然的對話仍然是一個無條件的。他們一起組成了一個地方的環(huán)境和所有它所對話的人。一個城市設(shè)計美學(xué)，因此，必須植根于大自然的正常秩序和生活。地方， 6（ 1）， 82。s notebooks contain many studies of water movement around rocks and of the planes and fracture lines, ledges, and talus of rocky slopes. In these drawings, he has recorded the progressive abstraction in the transition from mountain environment to urban plaza. At the Portland Auditorium fountain, the progression from small source, to tributaries。90s ,the Fens and its extension in the Riverway were innovative models for public open space that integrated engineering, economics, and aesthetics. The Fens and the Riverway created an integrated system of park, parkway, storm drain, flood detention basin, and streetcar line that formed the skeleton for the growth of adjacent neighborhoods. Frederick Law Olmsted and his partners designed the Fens as a salt water marsh that would function as a flood control reservoir and that would be a counterpoint to the surrounding city. This marsh was human construct dug out of polluted mudflats, but it was designed to appear like a natural salt marsh around which the city had happened to grow. Time and chang, process and purpose are expressed by its shapea bowl with an irregular edgeand the pattern of plantsbands of grasses and shrubs variably tolerant of fluctuating water levels。 they connect our bodies and minds to the pulse of the natural world outside our skin. The branching riverbed cut by flowing water and the branching tree within which the sap rises are patterns that mirror the branching arteries and veins through which our blood courses. Patterns formed by nature39。s processes. The most intimate rhythms of the human body are still conditioned by the natural world outside ourselves: the daily path of the sun, alternating light with dark。 and it embraces both the making of things and places and the sensing, using, and contemplating of them. This aesthetic is concerned equally with everyday things and with art: with small things, such as fountains, gardens, and buildings, and with large systems, such as those that transport people or carry wastes. This aesthetic celebrates motion and change, enpasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthetic, but one that recognizes both the flow of passing time and the singularity of the moment in time, and one that demands both continuity and revolution. Urban form evolves in time,in predictable and unpredictable ways, the result of plex, overlapping, and interwe