建筑專業(yè)畢業(yè)設(shè)計外文資料翻譯--城市與自然的詩學(xué)：走向城市設(shè)計新美學(xué)

1、 Title:The Poetics of City and Nature: Toward a New Aesthetic for Urban DesignJournal Issue:Places, 6(1)Author:Spirn, Anne WhistonPublication Date:10-01-1989Publication Info:Places, College of Environmental Design, UC Be

2、rkeleyCitation: Spirn, Anne Whiston. (1989). The Poetics of City and Nature: Toward a New Aesthetic for Urban Design. Places, 6(1), 82. Keywords: places, placemaking, architecture, environment, landscape, urban design,

3、public realm, planning, design, aesthetic, poetics, Anne Whiston SpirnThe 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 pl

4、ace where natural 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.I want to describe the dim

5、ensions 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 sensing, usi

6、ng, 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 p

7、eople or carry wastes. This aesthetic celebrates motion and change, encompasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthet

8、ic, 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,

9、the result of complex, overlapping, and interweaving dialogues. These dialogues are all present and ongoing; some are sensed intuitively;others are clearly legible. Together, they comprise the context of a place and al

10、l those who dwell within it.This idea of dialogue, with its embodiment of time, purpose, communication, and response, os central to this aesthetic.Concomitant with the need for continuity in the urban landscape is the n

11、eed for revolution. Despite certain constants of nature and human nature, we live in a world 畢業(yè)設(shè)計外文資料翻譯many hundreds of feet deep, their fine grains eroded from the slopes of ancient mountains that once rested atop the

12、 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 follow

13、s the angle of their thrust and completes that arc, one is transported millions of years into the past. This is the context of Denver, a context in space and time created by the enduring rhythm of nature's processe

14、s and recorded in patterns in the land. The amphitheater affords not only a view of the city, but also a prospect for reflecting upon time, change, and the place of man and city in nature.When we neglect natural processe

15、s 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 R

16、ed 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 spac

17、e from the microscopic to the cosmic. However permanent rock may seem, it is ultimately worn smooth by water and reduced finally to dust. The power of a raindrop, multiplied by the trillions over thousands into plains.

18、The pattern of lines etched by the water in the sand of a beach echos the pattern engraved on the earth by rivers over time.These are the patterns that connect. They connect us to scales of space and time beyond our gra

19、sp; 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 branchi

20、ng arteries and veins through which our blood courses.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

21、 science afford new insights into the geometry of form generated by dynamic processes, be they natural or cultural, and point to new directions for design.The forms of mountain ranges, riverbanks, sand dunes, trees, and

22、snow crystals, are poised, 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 thei

23、r forms are at equilibrium, at 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,“fr

24、actal“ geometry, which one of its originators, Benoit Mandelbrot calls “the geometry of nature“— “pimply,““pocky,““tortuous,“ and “intertwined.“ A sensibility steeped in classical geometry perceivers these forms as too

25、complex to descibe.However, 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

26、the result of response to differing conditions of context, of to the interaction with other processes.Strange and wonderful forms, mirroring those of nature, have been created by repeating a single computer program. Ear