【正文】 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。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。 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 interweaving dialogues. These dialogues are all present and ongoing。 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 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。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。 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。由于眼睛遵循其主旨的角度，完成年弧，一個是運(yùn)送數(shù)百萬成為過去?！霸诠诺鋷缀纬錆M了感性知 覺太復(fù)雜，描繪這些形式。最近的事態(tài) 發(fā)展科學(xué)能力進(jìn)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。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。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。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。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 alternately 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。s order and human order prompts contemplation of what if means to be human. Design that resonates with a place39。 the monthly phases of the moon, tugging the tides。 even when riverflow was low, its form recalled that it was designed to receive. Olmsted39。 摘要： 城市景觀，是一個多交響樂，一首詩，雕塑，舞蹈，或科學(xué)實(shí)驗(yàn)。這些內(nèi)住的想法，其時間，目的，交流的體現(xiàn)，和響應(yīng)，系統(tǒng)核心正是這種美學(xué)。設(shè)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。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。 奇妙的形式，反映的性質(zhì)的，又創(chuàng)造了一個重復(fù)的計算機(jī)程序。 當(dāng)我們忽視自然的城市設(shè)計過程中，我們不僅風(fēng)險，自然災(zāi)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。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。這同樣的審美關(guān)注與生活用品，并與藝術(shù)：小東西，如噴 泉，園林，建筑，以及大型系統(tǒng)，如那些運(yùn)輸?shù)娜耍蜻M(jìn)行廢物。 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. Th