【正文】 aving dialogues. These dialogues are all present and ongoing。s natural and cultural rhythms, that echoes, amplifies, clarifies, or extends them, contributes to a sense of rootedness in space time. Process,Pattern,and Form Great,upright, red rocks,thrust from the earth,rising hundreds of feet, strike the boundary between mountain and plain along the Front Range of the Rockies. Red Rocks Amphitheater is set in these foothills, its flat stage dwarfed by the red slabs that frame it and the panoramic view out across the city of Denver, Colorado and the Great Plains. The straight lines of the terraced seats, cut from sandstone to fit the human body, and the tight curve of the road, cut to fit the turning car, seem fragile next to the rocks39。s meander is intensified. Though set in a tight,evenlyspaced row along the banks of the river, the individual trees assert their own quirky growth, which is seen more clearly in contrast to the regularity of their placement. The interplay of different processes is also a subject of current research on chaos. Computer drawings illustrate the patterns that result when several rhythms, such as radio frequencies or plaary orbits, e together. Perhaps this is the contemporary version of the music of the spheres. They resemble a topographic contour map,prompting the realization that land form results from a similar interplay among multiple forces and processes, including gravity, water flow, and weather. Cultural processes also engage natural processes on the land。 yet the sea is not full。s exploration of scoring. Jazz and modern dance, for example, employ a choreographed framework within which players improvise, expanding upon and exploring the themes established in the framework. The puter can also provide the means to display patterns generated by processes of nature and human culture to enable the perception, manipulation, and evaluation of patterns and forms as they emerge and change over time. The issues of time change, process and pattern, order and randomness, being and doing, and form and meaning inherent to the theory outlined here are also central to contemporary explorations in music, art, and science. Indeed, this theory and the aesthetic it embodies will bring urban landscape design in tune with theoretical currents in other fields. Ultimately, however, the urban landscape is more than a symphony, a poem, a sculpture, a dance, or a scientific experiment. It is the setting in which people dwell, living every day. This aesthetic, as applied to the urban landscape levels: on the level of the senses aroused, the functions served, the opportunities for doing provided, and the symbolic associations engendered. These multiple layers of meaning, when congruent, will resonate,bining plexity and coherence, amplifying the aesthetic experience of the city. 城市與自然的詩學(xué)：走向城市設(shè)計新美學(xué) , 1989, 6（ 1），加州大學(xué)伯克利學(xué)院 引： Spirn，安妮惠斯頓。 關(guān)鍵詞： 地方，建筑，環(huán)境，景觀，城市設(shè)計，公共領(lǐng)域，規(guī)劃，設(shè)計，美學(xué)，詩學(xué)，安妮惠斯頓 這個城市比作一首詩，一個雕塑，一臺機(jī)器。這不是一個永恒的美感，而是一個既承認(rèn)傳遞的時間和時刻的奇異交流，既需要一個連續(xù)性和革命。表格的詞匯，建筑物，街道，公園，經(jīng)常是推遲到的先例，不僅反映了文化進(jìn)程和在其中的形式創(chuàng)建的時間的反應(yīng)。從測量的是在地球的年齡幾代人的世界觀，我們得出的計算數(shù)千到數(shù)百萬年地球上的年齡和發(fā)展的理論，地球本身。在梯田座位的直線，從砂巖以適合人體，以及嚴(yán)格的道路曲線，以適合車輛，看似脆弱的巖石旁邊的龐大的規(guī)模和宏偉的幾何形狀。但是永久巖石看起來可能，但最終是穿水順利和最終減少灰塵。 促進(jìn)山區(qū)，河岸，沙丘，樹木的形式，和雪的晶體，正準(zhǔn)備，政府內(nèi)部的時刻，及時，動態(tài)過程的物理體現(xiàn)。這種實(shí)驗(yàn)是在一個新的領(lǐng)域的問題，創(chuàng)造它的開拓者，誰都覺得自己是定義一個新的范例的創(chuàng)始人。這種形式和其跨越時間和空間尺度對稱現(xiàn)象，最近被描述為新的幾何，“分形”幾何學(xué)，其中它的發(fā)起人之一，曼德勃羅稱之為“大自然的幾何學(xué)” “ pimply”，“痘瘡“，”曲折“和”交織在一起。由在一個沙堆的水質(zhì)蝕刻倒映出河流隨著時間雕刻著地球的推移模式。的是那些古老的山峰被摧毀的根源，殘余的巖石層，一旦拱在落基山脈，我們知道今天的高紅地磚。 對時間的感覺和變化是至關(guān)重要的發(fā)展對我們是誰，我們在那里來的形式感，我們?nèi)サ牡胤?，作為個人，社會，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慣，在時間和空間不是固定的，而是相對的，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，信念，宗旨和現(xiàn)代社會要求我們必須回到原來的靈感來源，無論是自然的價值觀和文化，而不是過去價值或過去抽象的轉(zhuǎn)變。這些對話都是當(dāng)前和持續(xù)的，有些人憑直覺感到，有些是清晰易讀。這是一個地方，自然力量的脈搏，數(shù)百萬人生活，思想，感情，夢想，做什么。詩學(xué)：城市與自然走向城市新的美學(xué) 設(shè)計。s pictures and using her tools of position. Halprin39。s processes to take their course) while still maintaining an aesthetically pleasing order. The pleasing quality of the allotment gardens of munity gardens that are popular in both European and North American cities depends upon a gridded framework of plots. Each garden plot is a whole in itself, an improvisation on similar themes by different individuals. Yet all are part of a whole unified by materials, structure, and the process of cultivation. In Granada, Spain, allotment gardens lie within the Alhambra and Generalife. The gardens rest within a highly organized framework of walls and terraces, and enliven the scene rather than detract from it. They plement the formal gardens and courtyards,where vegetables and nut and fruit trees are planted among flowers and vines. There is no arbitrary separation in this Moorish garden between ornamental and productive, between pleasurable and pragmatic,between sacred and secular. It is possible to create urban landscapes that capture a sense of plexity and underlying order,that express a connection to the natural and cultural history of the place, and that are adaptable to meet changing needs. The solution lies in an understanding of the processes that underlie these patterns, and there are some principles that can be derived for urban design:establish a framework that lends overall structure— not an arbitrary framework, but one congruent with the deep structure of a place, define a vocabulary of forms that expresses natural and cultural processes, the encourage a symphony of variations in response to the conditions of a particular locale and the needs of specific people. The result should be a dynamic, coherent whole that can contine to evolve to meet changing neeeds and desires and that also connects the present with the past. The Fens, in Boston, is such a place. As originally conceived and constructed in the 1880s and 39。s processes and recorded in patterns in the land. The amphitheater affords not only a vi