【正文】 ew of the city, but also a prospect for reflecting upon time, change, and the place of man and city in nature. When we neglect natural processes in city design, we not only risk the intensification of natural hazards and the degradation of natural resources, but also forfeit a sense of connection to a larger whole beyond ourselves. In contrast, places such as Red Rocks Amphitheater provoke a vivid experience of natural processes that permits us to extend our imagination beyond the limits of human memory into the reaches of geological and astronomical time and to traverse space from the microscopic to the cosmic. However permanent rock may seem, it is ultimately worn smooth by water and reduced finally to dust. The power of a raindrop, multiplied by the trillions over thousands into plains. The pattern of lines etched by the water in the sand of a beach echos the pattern engraved on the earth by rivers over time. These are the patterns that connect. They connect us to scales of space and time beyond our grasp。others are clearly legible. Together, they prise the context of a place and all those who dwell within idea of dialogue, with its embodiment of time, purpose, munication, and response, os central to this aesthetic. Conitant with the need for continuity in the urban landscape is the need for revolution. Despite certain constants of nature and human nature, we live in a world unimaginable to societies of the past. Our perceptions of nature, the quality of its order,and the nature of time and space are changing, as is our culture, provoking the reassessment of old forms and demanding new ones. The vocabulary of forms— buildings, streets, and parks— that are often deferred to as precedents not only reflects a response to cultural processes and values of the time in which those forms were created. Some of these patterns and forms sill express contemporary purposes and values, but they are abstractions. What are the forms that express contemporary cosmology, that speak to us in an age in which photographs of atomic particles and of galaxies are monplace, in which time and space are not fixed, but relative, and in which we are less certain of our place in the universe than we once were? Conceiving of new forms that capture the knowledge, beliefs, purposes, and values of contemporary society demands that we return to the original source of inspiration, be it nature or culture,rather than the quotation or transformation of abstractions of the past. Time,Change,and Rhythm For the artist, observed Paul Klee, dialogue with nature remains a conditiosine que non. The artist is a man, himself nature and part of nature in natural space. Before humans built towns and cities, our habitat was ordered primarily by nature39。 some are sensed intuitively。 awesome scale and magnificent geometry. Denver is a city of high plains, Nestled up against these foothills, it rests on sediments many hundreds of feet deep, their fine grains eroded from the slopes of ancient mountains that once rested atop the Rockies, their peaks high above the existing mountains. The red slabs are the ruined roots of those ancient mountain peaks, remnants of rock layers that once arched high over the Rockies we know today. As the eye follows the angle of their thrust and pletes that arc, one is transported millions of years into the past. This is the context of Denver, a context in space and time created by the enduring rhythm of nature39。 the rhythms of food production and transportation, for example, interact with the flow of wind and water to mold a landscape. The patterns that result vary in response to the specific context of natural environment, culture, and the idiosyncrasies of individuals. It is nature and culture together, as interacting processes, that render a place particular. Natural processes operating over time give rise to the initial form of the land and prise the base rhythm to which the cultural processes respond, introducing new and changing themes, weaving an intricate pattern, punctuated here and there by high points of nature and art. Every urban landscape is a symphony of plex harmonies, which, although they can be savored at any given moment,evolve continually in time, in both predictable and unpredictable ways, in response natural processes and changing human purposes. It is a symphony in which all the dwellers of the city are posers and players. Making, Caring, Thinking, Dwelling The process of dwelling,an irreducible fact of every culture, is an aesthetic act, entailing being and doing, a correspondence between nature and culture. Through cultivation and construction, individuals and societies forge a place within nature that reflects their own identities— their needs, values, and dream. Making and caring for a place, as well as contemplating these labors and their meanings, prise the aesthetic experience of dwelling. This concept, as explored by the philosopher Heidegger, has important implications for designers and planners of human settlements. A major issue for designers is how to relinquish control (whether to enable others to express themselves or to permit nature39。 unto the place from whence the rivers came, thither they return again. This line from Ecclesiastes and the Patio de la Reja are among the most concise and poetic descriptions of the hydrologic cycle. Nature and its order, processes, and forms are an important source of inspiration for Lawrence Halprin. He makes a distinction, however, between mimesis and abstraction, between copying nature39。 （ 1989 年）。但這個城市是一個多與文本，多藝術(shù)或技術(shù)。 城市形態(tài)演變的時間，以難以預(yù)料的方式，是復(fù)雜，重疊的結(jié)果，交織對話。其中一些表達方式和門檻當(dāng)代目的和價值的形式，但它們是抽象的。人類的壽命現(xiàn)在看來只是暫時現(xiàn)象，地球不過是宇宙中的小斑點。 丹佛是高原城市，坐落在這些山麓時，它在許多數(shù)百英尺深，其細小的晶粒從古代山脈的斜坡上，一旦落基山脈之上雨水侵蝕沉積物，高高的山 峰現(xiàn)有的山區(qū)。一個雨滴的能量，但到了上千年平原萬億倍的增加。他們由一個美麗的有序和無序的獨特結(jié)合體，和諧安排，而事實上，他們的形式是在平衡，在任何時刻與他們的生產(chǎn)流程。他們的主題是多種多樣的，其目的是確定在看似隨機波