【正文】 context of Denver, a context in space and time created by the enduring rhythm of nature39。 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。 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。 it describes threedimensional space but neglects time. That does not mean that we should avoid using Euclidean geometry in the design of landscapes. Indeed, such use may heighten our perception of the natural forms of rivers and trees and the processes that produce them, especially when it is employed as a visual counterpoint that both expresses and contrasts with those forms. In Dinan, France, a monumental are of poplars takes its inspiration from the sweeping out the irregularities of the river bank. The are represents the idea of that sweep. Through the abstraction and echo of the horizontal form in the vertical dimension, in what is clearly a line inscribed by humans on the landscape, the experience of the river39。 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。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。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。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 engen