建筑專業(yè)畢業(yè)設(shè)計(jì)外文資料翻譯

1、<p>　　Title: </p><p>　　The Poetics of City and Nature: Toward a New Aesthetic for Urban Design</p><p>　　Journal Issue:</p><p>　　Places, 6(1)</p><p

2、><b>　　Author:</b></p><p>　　Spirn, Anne Whiston</p><p>　　Publication Date:</p><p>　　10-01-1989</p><p>　　Publication Info:</p><p>　　Places, Co

3、llege of Environmental Design, UC Berkeley</p><p><b>　　Citation:</b></p><p>　　Spirn, Anne Whiston. (1989). The Poetics of City and Nature: Toward a New Aesthetic for Urban</p>

4、<p>　　Design. Places, 6(1), 82. </p><p><b>　　Keywords:</b></p><p>　　places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, aes

5、thetic, poetics, Anne Whiston Spirn</p><p>　　The city has been compared to a poem, a sculpture, a machine. But the city is more than a text,and more than an artistic or technological. It is a place where nat

6、ural forces pulse and millions of people live—thinking,feeling,dreaming,doing. An aesthetic of urban design must therefore be rooted in the normal processes of nature and of living.</p><p>　　I want to descri

7、be the dimensions of such an aesthetic. This aesthetic encompasses both nature and culture; it embodies function,sensory perception, and symbolic meaning; and it embraces both the making of things and places and the sens

8、ing, 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 trans

9、port people or carry wastes. This aesthetic </p><p>　　Urban form evolves in time,in predictable and unpredictable ways, the result of complex, overlapping, and interweaving dialogues. These dialogues are all

10、 present and ongoing; some are sensed intuitively;others are clearly legible. Together, they comprise the context of a place and all those who dwell within it.This idea of dialogue, with its embodiment of time, purpose,

11、communication, and response, os central to this aesthetic.</p><p>　　Concomitant with the need for continuity in the urban landscape is the need for revolution. Despite certain constants of nature and human n

12、ature, 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 for

13、ms and demanding new ones. The vocabulary of forms—buildings, streets, and parks—that are often deferred to as precedents not only reflects a</p><p>　　Time,Change,and Rhythm</p><p>　　"For t

14、he 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 hab

15、itat was ordered primarily by nature's processes. The most intimate rhythms of the human body are still conditioned by the natural world outside ourselves: the daily path of the sun, alternating light with dark; the

16、monthly phases of the moon, tugging the tides; and the annual passage of </p><p>　　In contrast to the repetitive predictability of daily and seasonal change is the immensity of the geological time scale. Fro

17、m a view of the world that measured the age of the earth in human generations, we have come to calculate the earth's age in terms of thousands of millions of years and have developed theories of the earth itself. The

18、 human life span now seems but a blip, and the earth but a small speck in the universe.</p><p>　　The perception of time and change is essential to developing a sense of who we are, where we have come form, a

19、nd where we are going, as individuals, societies, and species. Design that fosters and intensifies the experience of temporal and spatial scales facilitates both a reflection upon personal change and identity and a sense

20、 of unity with a larger whole. Design that juxtaposes and contrasts nature's order and human order prompts contemplation of what if means to be human. Design that resonat</p><p>　　Process,Pattern,and For

21、m</p><p>　　Great,upright, red rocks,thrust from the earth,rising hundreds of feet, strike the boundary between mountain and plain along the Front Range of the Rockies. Red Rocks Amphitheater is set in these

22、foothills, its flat stage dwarfed by the red slabs that frame it and the panoramic view out across the city of Denver, Colorado and the Great Plains. The straight lines of the terraced seats, cut from sandstone to fit th

23、e human body, and the tight curve of the road, cut to fit the turning car, seem frag</p><p>　　Denver is a city of high plains, Nestled up against these foothills, it rests on sediments many hundreds of feet

24、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, re

25、mnants of rock layers that once arched high over the Rockies we know today. As the eye follows the angle of their thrust and completes that arc, one is transported mil</p><p>　　When we neglect natural proces

26、ses 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

27、 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 spa

28、ce from the microscopic to the</p><p>　　These are the patterns that connect. They connect us to scales of space and time beyond our grasp; they connect our bodies and minds to the pulse of the natural world

29、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.</p><p&

30、gt;　　Patterns formed by nature's processes and their symmetry across scales have long been appreciated by close observers of the natural world. Recent developments in science afford new insights into the geometry of

31、form generated by dynamic processes, be they natural or cultural, and point to new directions for design.</p><p>　　The forms of mountain ranges, riverbanks, sand dunes, trees, and snow crystals, are poised,

32、jelled, at a moment in time, the physical embodiment of dynamic processes. Their beauty consists of a peculiar combination of order and disorder, harmoniously arranged, and the fact that their forms are at equilibrium, a

33、t any given moment, with the processes that produced them. Such forms and the phenomenon of their symmetry across scales of time and space, have recently been described by a new geometry,"</p><p>　　Howe

34、ver, as fractals, such patterns can be described with simplicity, the result of repetitive processes, such as bifurcation and development. The variety of forms that stem from the same process os the result of response to

35、 differing conditions of context, of to the interaction with other processes.</p><p>　　Strange and wonderful forms, mirroring those of nature, have been created by repeating a single computer program. Early

36、in the process, the resulting form, as seen on the computer screen appears chaotic; gradually an order unfolds. Such experiments are the subject of a new field,coined Chaos by its pioneers, who feel that they are definin

37、g a new paradigm. Their subjects are diverse, their objective is to identify the underlying order in seemingly random fluctuations. Many of those working in fie</p><p>　　This is a geometry foreign to that of

38、 Euclid, with its lines and planes, circles and spheres, triangles and cones. Euclidean geometry is an abstraction of reality; its beauty lies in smooth, clean, ideal shapes. It is a geometry based on the belief that res

39、t, not motion, is the natural state; it describes three-dimensional 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

40、 our perception of the </p><p>　　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. Thr

41、ough 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 river's meander is intensified. Though set in a ti

42、ght,evenly-spaced row along the banks of the river, the individual trees assert their own quirky growth, which</p><p>　　The interplay of different processes is also a subject of current research on "cha

43、os." Computer drawings illustrate the patterns that result when several rhythms, such as radio frequencies or planetary orbits, come together. Perhaps this is the contemporary version of the "music of the spher

44、es." 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</p&

45、gt;<p>　　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 comprise the base rhythm to

46、 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 complex harmoni

47、es, which, although they can be savored at any given moment,evolve continual</p><p>　　Making, Caring, Thinking, Dwelling</p><p>　　The process of dwelling,an irreducible fact of every culture, is

48、 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—th

49、eir needs, values, and dream. Making and caring for a place, as well as contemplating these labors and their meanings, comprise the aesthetic experience of dwelling.</p><p>　　This concept, as explored by the

50、 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 na

51、ture's processes to take their course) while still maintaining an aesthetically pleasing order. The pleasing quality of the allotment gardens of community gardens that are popular in both European and North American

52、cities depends upon a gridded fr</p><p>　　In Granada, Spain, allotment gardens lie within the Alhambra and Generalife. The gardens rest within a highly organized framework of walls and terraces, and enliven

53、the scene rather than detract from it. They complement the formal gardens and courtyards,where vegetables and nut and fruit trees are planted among flowers and vines. There is no arbitrary separation in this Moorish gard

54、en between ornamental and productive, between pleasurable and pragmatic,between sacred and secular.</p><p>　　It is possible to create urban landscapes that capture a sense of complexity and underlying order,

55、that express a connection to the natural and cultural history of the place, and that are adaptable to meet changing needs. The solution lies in an understanding of the processes that underlie these patterns, and there ar

56、e some principles that can be derived for urban design:establish a framework that lends overall structure—not an arbitrary framework, but one congruent with the "deep" structure of a</p><p>　　The F

57、ens, in Boston, is such a place. As originally conceived and constructed in the 1880s and '90s ,the Fens and its extension in the Riverway were innovative models for public open space that integrated engineering, eco

58、nomics, 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.&l

59、t;/p><p>　　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 wa

60、s 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 shape-a bowl wi

61、th an irregular edge-and the pattern of plants-bands of grasses and shrubs variab</p><p>　　Olmsted's imitation of nature represents a divergence from the then prevailing pastoral and formal styles, both

62、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

63、 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 dial</p><p>　　Function, Feeling, and Meanin

64、g</p><p>　　Just as an individual gains self-knowledge from an ability to perceive his of her own life in relation to the past, so does a city gain identity when the shared values of its residents, both past

65、and present, are clearly embodied in urban form. The design for the Fens and the Riverway were not produced overnight, nor did they spring from the mind of a single genius. They were the culmination of public dialogue ab

66、out the future shape of Boston that extended from 1860 to 1890. This dialogue consis</p><p>　　Urban from that exploits and celebrate natural and cultural processes and the structure they create provides a fr

67、amework 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 cons

68、ciously 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 an</p><p>　　Nature and its order, processe

69、s, and forms are an important source of inspiration for Lawrence Halprin. He makes a distinction, however, between mimesis and abstraction, between "copying nature's pictures" and "using her tools of c

70、omposition." Halprin'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 ab

71、straction in the transition from mountain environment to u</p><p>　　Like a primordial magnet, water pulls at a primitive and deeply rooted part of human nature. Water is a source of life, power, comfort, fea

72、r, and delight; it is a symbol of purification, of both the dissolution of life and its renewal.</p><p>　　Many advances to health and safety introduced in cities over the past century have distanced us from

73、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 dum

74、ps, are touched into forgotten corners of the city.</p><p>　　Landscape architects, urban designers, and architects have progressively narrowed their cope of concerns. The aquaducts of ancient Rome were artis

75、tic monuments that celebrated the feat of bringing water into the city from afar; the fountains of Baroque Rome celebrated the reconstruction of that public water system. The monuments marked a connection between the peo

76、ple who dwelled in the city and the water that sustained them. They were utilitarian, a source of sensual pleasure and symbolic meanin</p><p>　　In Denver, the metropolitan open space system is planned and de

77、signed to also function as an urban storm drainage and flood control system. The channels, reservoirs, and detention and retention basins that structure the urban landscape are not only congruent with the natural rhythms

78、 legible within the city and provide a visible and tangible framework that links downtown, suburbs, and outlying farmland. The form of this parkland reflects the different neighborhoods through which it flows, whether<

79、;/p><p>　　Continuity and Revolution</p><p>　　The current understanding of nature and culture as comprising interwoven processes that exhibit a complex, underlying order that holds across vast scale

80、s 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 wer

81、e created. Fractal geometry, for example, provides a means of understanding the geometry of old urban districts that evolved wit</p><p>　　Such a proposition poses a challenge to conventional methods of plann

82、ing, design, construction, and management of the urban landscape and the structure and spaces of which it is composed. It calls for a more inclusive dialogue about values and visions, and for tapping the invention and en

83、ergy of individuals in small-scale construction and cultivation. For designers, new techniques of notation and representation are required. Conventional techniques are inadequate to the portrayal of time and cha</p>

84、;<p>　　The issues of time change, process and pattern, order and randomness, being and doing, and form and meaning inherent to the theory outlined here are also central to contemporary explorations in music, art,

85、and science. Indeed, this theory and the aesthetic it embodies will bring urban landscape design in tune with theoretical currents in other fields.</p><p>　　Ultimately, however, the urban landscape is more t

86、han 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 ar

87、oused, the functions served, the opportunities for "doing" provided, and the symbolic associations engendered. These multiple layers of meaning, when congruent, will resonate,combining complexity and coherence,

88、 amplifying the aest</p><p>　　城市與自然的詩(shī)學(xué)：走向城市設(shè)計(jì)新美學(xué) , 1989, 6（1），加州大學(xué)伯克利學(xué)院 </p><p><b>　　引： </b></p><p>　　Spirn，安妮惠斯頓。 （1989年）。詩(shī)學(xué)：城市與自然走向城市新的美學(xué) </p><p>　　設(shè)計(jì)。地方，

89、6（1），82。 </p><p><b>　　摘要：</b></p><p>　　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)。它是設(shè)計(jì)于在其中的人住、生活的每一天。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(jī)會(huì)，并象征性組織產(chǎn)生。意義，這些一致時(shí)，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。</p>

90、<p><b>　　關(guān)鍵詞： </b></p><p>　　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)</p><p>　　這個(gè)城市比作一首詩(shī)，一個(gè)雕塑，一臺(tái)機(jī)器。但這個(gè)城市是一個(gè)多與文本，多藝術(shù)或技術(shù)。這是一個(gè)地方，自然力量的脈搏，數(shù)百萬(wàn)人生活，思想，感情，夢(mèng)想，做什么。一個(gè)城市設(shè)計(jì)美學(xué)，因此，必須植根于大自然的正常秩序和生活。

91、 </p><p>　　我想說(shuō)明這樣一個(gè)審美的維度。這種審美既包括自然和文化，它體現(xiàn)的功能，感覺(jué)知覺(jué)，和象征意義，它包含兩種事物和場(chǎng)所，使感測(cè)，使用，其中考慮。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。這種審美慶祝運(yùn)動(dòng)和變化，包括動(dòng)態(tài)的過(guò)程，而不是靜態(tài)的物體和場(chǎng)景，并包含奇異的愿景，而不是多個(gè)。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

92、奇異交流，既需要一個(gè)連續(xù)性和革命。 </p><p>　　城市形態(tài)演變的時(shí)間，以難以預(yù)料的方式，是復(fù)雜，重疊的結(jié)果，交織對(duì)話。這些對(duì)話都是當(dāng)前和持續(xù)的，有些人憑直覺(jué)感到，有些是清晰易讀。他們一起組成了一個(gè)地方的環(huán)境和所有它所對(duì)話的人。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)。 </p><p>　　與在城市景觀連續(xù)性的需要隨之而來(lái)的是創(chuàng)新的需要。盡管自然和人性

93、的某些常數(shù)，我們生活的這個(gè)世界無(wú)法想象的過(guò)去社會(huì)。自然我們的看法，其秩序的質(zhì)量，時(shí)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(píng)估，并要求創(chuàng)新。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)。其中一些表達(dá)方式和門(mén)檻當(dāng)代目的和價(jià)值的形式，但它們是抽象的。什么是形式，表達(dá)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(jiàn)慣，在時(shí)間和空間不是固定的，而是相對(duì)的，我們所處

94、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(shí)，信念，宗旨和現(xiàn)代社會(huì)要求我們必須回到原來(lái)的靈感來(lái)源，無(wú)論是自然的價(jià)值觀和文化，而不是過(guò)去價(jià)值或過(guò)去抽象的轉(zhuǎn)變。 </p><p><b>　　時(shí)間，變化和節(jié)奏 </b></p><p>　　“對(duì)于藝術(shù)家，”觀察保羅克利，“人與自然的對(duì)話仍然是一個(gè)無(wú)條件的。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?！敝?/p>

95、前，人類建造的城鎮(zhèn)，我們的棲息地主要由下令自然的過(guò)程。人體最親密的節(jié)奏還是外部條件：自然世界的太陽(yáng)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(guò)。 </p><p>　　相對(duì)于日常和季節(jié)變化的可預(yù)測(cè)性是重復(fù)的地質(zhì)時(shí)間尺度的廣袤。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。人類的壽命現(xiàn)在看來(lái)只是暫時(shí)現(xiàn)象，地球不過(guò)是宇宙中的小斑點(diǎn)。 &l

96、t;/p><p>　　對(duì)時(shí)間的感覺(jué)和變化是至關(guān)重要的發(fā)展對(duì)我們是誰(shuí)，我們?cè)谀抢飦?lái)的形式感，我們?nèi)サ牡胤?，作為個(gè)人，社會(huì)，和物種。設(shè)計(jì)，促進(jìn)和強(qiáng)化了時(shí)間和空間范圍的經(jīng)驗(yàn)后，既有利于個(gè)人的變化和特征，并以更大的整體的統(tǒng)一感的反映。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。能引起共鳴的設(shè)計(jì)與地方的自然和文化的節(jié)奏，這回聲，放大，澄清，或其延伸，有助于在空間的時(shí)候有根的感覺(jué)。 </p>

97、<p>　　工藝，圖案，和形式 </p><p>　　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。紅色巖石露天劇場(chǎng)設(shè)置在這些丘陵地帶，其平面階段的紅色磚相形見(jiàn)絀的框架，并在全景跨越丹佛，科羅拉多州和大平原出城。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。 </p>&l

98、t;p>　　丹佛是高原城市，坐落在這些山麓時(shí)，它在許多數(shù)百英尺深，其細(xì)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)。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。由于眼睛遵循其主旨的角度，完成年弧，一個(gè)是運(yùn)送數(shù)百萬(wàn)成為過(guò)去。這是丹佛，在空間和自然的過(guò)程中創(chuàng)造持久的節(jié)奏和時(shí)間范圍內(nèi)模式記錄在土地方面。在競(jìng)技場(chǎng)給予的不僅是城市的觀點(diǎn)，但也是一個(gè)前景時(shí)，在自然

99、和人與城市中進(jìn)行的轉(zhuǎn)變反映。 </p><p>　　當(dāng)我們忽視自然的城市設(shè)計(jì)過(guò)程中，我們不僅風(fēng)險(xiǎn)，自然災(zāi)害加劇和自然資源退化，而且還沒(méi)收超出自己的聯(lián)系感為一個(gè)更大的整體。相反，有些地方，例如紅色巖石露天劇場(chǎng)引發(fā)的自然過(guò)程的生動(dòng)經(jīng)驗(yàn)，使我們能夠跨越到地質(zhì)和天文時(shí)間到達(dá)人類記憶，限制了我們的想象，從微觀穿越空間的宇宙。但是永久巖石看起來(lái)可能，但最終是穿水順利和最終減少灰塵。一個(gè)雨滴的能量，但到了上千年平原萬(wàn)億倍的增加