【正文】 ects 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。 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。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。 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。 now, the water emerges from under the street into a park. Where the level of the channel drops, a weir breaks the erosive force of the water. At high water the weir is exciting to watch, but even at low water its from is pleasing and meaningful, recalling the power of water at high flow.Continuity and RevolutionThe current understanding of nature and culture as prising interwoven processes that exhibit a plex, underlying order that holds across vast scales of space and time not only demands a new aesthetic, new forms, and new modes of design, construction, and cultivation, but also prompts a fresh appreciation for the forms of the past and the processes by which they were created. Fractal geometry, for example, provides a means of understanding the geometry of old urban districts that evolved with a peculiar bination of order and disorder, through purposeful process and repetitive use of forms whose precise shape was varied in response to varying conditions of nature, culture, and individual preference. The plex order of such districts is now often highly valued foe its variety and quality of wholeness in contrast to the order of new towns, where the form of houses and even of such details as exterior paint color and landscaping are prescribed, and to modern cities, which seem a hodge podge of idiosyncratic buildings and left over space. The insights gained through fractal geometry and recent work in chaos also provide the means to design new places can evolve and adapt to changing needs and that can embody both variety and coherence.Such a proposition poses a challenge to conventional methods of planning, design, construction, and management of the urban landscape and the structure and spaces of which it is posed. It calls for a more inclusive dialogue about values and visions, and for tapping the invention and energy of individuals in smallscale construction and cultivation. For designers, new techniques of notation and representation are required. Conventional techniques are inadequate to the portrayal of time and change, and they encourage the continued focus on visible and static form. Designers may consider time and change and such sensations as sound, smell, and movement, but do not have the means to notate these ideas beyond the rudimentary level. Music, dance, and film are arts of movement, and contemporary modes of notation and representation in these fields offer inspiration, as do Lawrence Halprin39。 1989年詩學(xué)：城市與自然走向城市新的美學(xué)設(shè)計地方 摘要：城市景觀，是一個多交響樂，一首詩， 雕塑，舞蹈，或科學(xué)實驗。這種審美，適用于城市景觀水平上而引起的感官水平，服務(wù)的職能，為“做”提供的機會，并象征性組織產(chǎn)生。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，一臺機器。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。 我想說明這樣一個審美的維度。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)，如那些運輸?shù)娜?，或進行廢物。這不是一個永恒的美感，而是一個既承認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。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)。盡管自然和人性的某些常數(shù)，我們生活的這個世界無法想象的過去社會。表格的詞匯，建筑物，街道，公園，經(jīng)常是推遲到的先例，不僅反映了文化進程和在其中的形式創(chuàng)建的時間的反應(yīng)。什么是形式，表達當(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。藝術(shù)家是一個男人，他自然和自然空間中自然的一部分。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。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。 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。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。 工藝，圖案，和形式 偉大的紅色巖石，從地球推力，數(shù)百英尺上升，兩者之間的山區(qū)和沿落基山脈的前方平原的邊界范圍。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。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。這是丹佛，在空間和自然的過程中創(chuàng)造持久的節(jié)奏和時間范圍內(nèi)模式記錄在土地方面。 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。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。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。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。 自然的過程而形成的模式和跨尺度的對稱性一直贊賞大自然的密切觀察者。 促進山區(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。 然而，由于分形，這種模式或許可以用簡單的重復(fù)進程，如分叉和發(fā)展的結(jié)果。 奇妙的形式，反映的性質(zhì)的，又創(chuàng)造了一個重復(fù)的計算機程序。這種實驗是在一個新的領(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。在這些領(lǐng)域工作的許多人表達了他們的審美吸引力的對比他們所稱的“分形幾何歐幾里德數(shù)學(xué)感性。歐幾里德幾何是一個現(xiàn)實的抽象，它的美，光滑，清潔，是理想的形狀