【正文】 設(shè)計(jì)圖案并存和對(duì)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。從測(cè)量的是在地球的年齡幾代人的世界觀，我們得出的計(jì)算數(shù)千到數(shù)百萬(wàn)年地球上的年齡和發(fā)展的理論，地球本身。藝術(shù)家是一個(gè)男人，他自然和自然空間中自然的一部分。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(shí)間的反應(yīng)。這些內(nèi)住的想法，其時(shí)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)。這不是一個(gè)永恒的美感 ，而是一個(gè)既承認(rèn)傳遞的時(shí)間和時(shí)刻的奇異交流，既需要一個(gè)連續(xù)性和革命。 我想說(shuō)明這樣一個(gè)審美的維度。 關(guān)鍵詞： 地方，建筑，環(huán)境，景觀，城市設(shè)計(jì)，公共領(lǐng)域，規(guī)劃，設(shè)計(jì)，美學(xué)，詩(shī)學(xué)，安妮惠斯頓 這個(gè)城市比作一首詩(shī)，一個(gè)雕塑，一臺(tái)機(jī)器。 1989年詩(shī)學(xué)：城市與自然走向城市新的美學(xué)設(shè)計(jì)地方 摘要： 城市景觀，是一個(gè)多交響樂(lè)，一首詩(shī)， 雕塑，舞蹈，或科學(xué)實(shí)驗(yàn)。 it is a symbol of purification, of both the dissolution of life and its renewal. Many advances to health and safety introduced in cities over the past century have distanced us from the water that sustains us and have disguised its cycling through the environment. As rain falls to the ground, it is flushed away into underground pipes and transported to sewage treatment plant, which, like garbage dumps, are touched into forgotten corners of the city. Landscape architects, urban designers, and architects have progressively narrowed their cope of concerns. The aquaducts of ancient Rome were artistic monuments that celebrated the feat of bringing water into the city from afar。 unto the place from whence the rivers came, thither they return again. This line from Ecclesiastes and the Patio de la 城市規(guī)劃外文資料翻譯 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。s imitation of nature represents a divergence from the then prevailing pastoral and formal styles, both of which were domesticated landscapes and abstractions of nature. The fens and the Riverway, in their time, represented a new aesthetic for the urban districts which grew up around them, of sufficient scale to hold their own against the large buildings at their edge, and recalling the original condition of the land prior to colonial settlement, they initiated a powerful and poetic dialogue. Imitation of nature was, in this case, a successful design strategy. Today, one must know their history to fully appreciate 城市規(guī)劃外文資料翻譯 them as a designed rather than natural landscape. Olmsted39。 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。 gradually an order unfolds. Such experiments are the subject of a new field,coined Chaos by its pioneers, who feel that they are defining a new paradigm. Their subjects are diverse, their objective is to identify the underlying order in seemingly random fluctuations. Many of those working in field have expressed their aesthetic attraction to the mathematics of fractal geometry in contrast to what they term the Euclidean sensibility. This is a geometry foreign to that of Euclid, with its lines and planes, circles and spheres, triangles and cones. Euclidean geometry is an abstraction of reality。 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 城市規(guī)劃外文資料翻譯 context of Denver, a context in space and time created by the enduring rhythm of nature39。 and the annual passage of the seasons. In contrast to the repetitive predictability of daily and seasonal change is the immensity of the geological time scale. From a view of the world that measured the age of the earth in human generations, we have e to calculate the earth39。 some are sensed intuitively。 The Poetics of City and Nature: Toward a New Aesthetic for Urban Design by Journal Issue: Places Author: Spirn, Anne Whiston Publication Date: 10011989 Pub