建筑外文翻譯城市與自然的詩學(xué)：走向城市設(shè)計(jì)新美學(xué)

外文翻譯題目走向城市設(shè)計(jì)新美學(xué)姓名黃云峰學(xué)號(hào)080907112院、系土木建筑工程學(xué)院專業(yè)城市規(guī)劃指導(dǎo)教師（職稱/學(xué)歷）任君（講師）2013年5月20日ThePoeticsofCityandNature:TowardaNewAestheticforUrbanDesignbyJournalIssue:PlacesAuthor:Spirn,AnneWhistonPublicationDate:10-01-1989PublicationInfo:Places,CollegeofEnvironmentalDesign,UCBerkeleyCitation：Spirn,AnneWhiston.(1989).ThePoeticsofCityandNature:TowardaNewAestheticforUrban【Abstract】Urbanlandscape,asymphony,apoem,sculpture,dance,orscientificexperiments.Itisdesignedinwhichpeoplelivelifeeveryday.Thisaestheticfortheurbanlandscapelevelcausedbysensorylevel,thefunctionsoftheservice,theopportunityto"do",andsymbolicorganization.Significance,thesesamemulti-levelresonance,combinedwiththecomplexityandcoherence,feelingsandimprovethebeautyofthecity.【Keywords】place，making,architecture,environment,landscape,urbandesign,publicrealm,planning,design,aesthetic,poetics,AnneWhistonSpirnThecityhasbeencomparedtoapoem,asculpture,amachine.Butthecityismorethanatext,andmorethananartisticortechnological.Itisaplacewherenaturalforcespulseandmillionsofpeoplelive—thinking,feeling,dreaming,doing.Anaestheticofurbandesignmustthereforeberootedinthenormalprocessesofnatureandofliving.Iwanttodescribethedimensionsofsuchanaesthetic.Thisaestheticencompassesbothnatureandculture;itembodiesfunction,sensoryperception,andsymbolicmeaning;anditembracesboththemakingofthingsandplacesandthesensing,using,andcontemplatingofthem.Thisaestheticisconcernedequallywitheverydaythingsandwithart:withsmallthings,suchasfountains,gardens,andbuildings,andwithlargesystems,suchasthosethattransportpeopleorcarrywastes.Thisaestheticcelebratesmotionandchange,encompassesdynamicprocessesratherthanstaticobjectsandscenes,andembracesmultipleratherthansingularvisions.Thisisnotatimelessaesthetic,butonethatrecognizesboththeflowofpassingtimeandthesingularityofthemomentintime,andonethatdemandsbothcontinuityandrevolution.Urbanformevolvesintime,inpredictableandunpredictableways,theresultofcomplex,overlapping,andinterweavingdialogues.Thesedialoguesareallpresentandongoing;somearesensedintuitively;othersareclearlylegible.Together,theycomprisethecontextofaplaceandallthosewhodwellwithinit.Thisideaofdialogue,withitsembodimentoftime,purpose,communication,andresponse,oscentraltothisaesthetic.Concomitantwiththeneedforcontinuityintheurbanlandscapeistheneedforrevolution.Despitecertainconstantsofnatureandhumannature,weliveinaworldunimaginabletosocietiesofthepast.Ourperceptionsofnature,thequalityofitsorder,andthenatureoftimeandspacearechanging,asisourculture,provokingthereassessmentofoldformsanddemandingnewones.Thevocabularyofforms—buildings,streets,andparks—thatareoftendeferredtoasprecedentsnotonlyreflectsaresponsetoculturalprocessesandvaluesofthetimeinwhichthoseformswerecreated.Someofthesepatternsandformssillexpresscontemporarypurposesandvalues,buttheyareabstractions.Whataretheformsthatexpresscontemporarycosmology,thatspeaktousinanageinwhichphotographsofatomicparticlesandofgalaxiesarecommonplace,inwhichtimeandspacearenotfixed,butrelative,andinwhichwearelesscertainofourplaceintheuniversethanweoncewere?Conceivingofnewformsthatcapturetheknowledge,beliefs,purposes,andvaluesofcontemporarysocietydemandsthatwereturntotheoriginalsourceofinspiration,beitnatureorculture,ratherthanthequotationortransformationofabstractionsofthepast.Time,Change,andRhythm"Fortheartist,"observedPaulKlee,"dialoguewithnatureremainsaconditiosinequenon.Theartistisaman,himselfnatureandpartofnatureinnaturalspace."Beforehumansbuilttownsandcities,ourhabitatwasorderedprimarilybynature'sprocesses.Themostintimaterhythmsofthehumanbodyarestillconditionedbythenaturalworldoutsideourselves:thedailypathofthesun,alternatinglightwithdark;themonthlyphasesofthemoon,tuggingthetides;andtheannualpassageoftheseasons.Incontrasttotherepetitivepredictabilityofdailyandseasonalchangeistheimmensityofthegeologicaltimescale.Fromaviewoftheworldthatmeasuredtheageoftheearthinhumangenerations,wehavecometocalculatetheearth'sageintermsofthousandsofmillionsofyearsandhavedevelopedtheoriesoftheearthitself.Thehumanlifespannowseemsbutablip,andtheearthbutasmallspeckintheuniverse.Theperceptionoftimeandchangeisessentialtodevelopingasenseofwhoweare,wherewehavecomeform,andwherewearegoing,asindividuals,societies,andspecies.Designthatfostersandintensifiestheexperienceoftemporalandspatialscalesfacilitatesbothareflectionuponpersonalchangeandidentityandasenseofunitywithalargerwhole.Designthatjuxtaposesandcontrastsnature'sorderandhumanorderpromptscontemplationofwhatifmeanstobehuman.Designthatresonateswithaplace'snaturalandculturalrhythms,thatechoes,amplifies,clarifies,orextendsthem,contributestoasenseofrootednessinspacetime.Process,Pattern,andFormGreat,upright,redrocks,thrustfromtheearth,risinghundredsoffeet,striketheboundarybetweenmountainandplainalongtheFrontRangeoftheRockies.RedRocksAmphitheaterissetinthesefoothills,itsflatstagedwarfedbytheredslabsthatframeitandthepanoramicviewoutacrossthecityofDenver,ColoradoandtheGreatPlains.Thestraightlinesoftheterracedseats,cutfromsandstonetofitthehumanbody,andthetightcurveoftheroad,cuttofittheturningcar,seemfragilenexttotherocks'awesomescaleandmagnificentgeometry.Denverisacityofhighplains,Nestledupagainstthesefoothills,itrestsonsedimentsmanyhundredsoffeetdeep,theirfinegrainserodedfromtheslopesofancientmountainsthatoncerestedatoptheRockies,theirpeakshighabovetheexistingmountains.Theredslabsaretheruinedrootsofthoseancientmountainpeaks,remnantsofrocklayersthatoncearchedhighovertheRockiesweknowtoday.Astheeyefollowstheangleoftheirthrustandcompletesthatarc,oneistransportedmillionsofyearsintothepast.ThisisthecontextofDenver,acontextinspaceandtimecreatedbytheenduringrhythmofnature'sprocessesandrecordedinpatternsintheland.Theamphitheateraffordsnotonlyaviewofthecity,butalsoaprospectforreflectingupontime,change,andtheplaceofmanandcityinnature.Whenweneglectnaturalprocessesincitydesign,wenotonlyrisktheintensificationofnaturalhazardsandthedegradationofnaturalresources,butalsoforfeitasenseofconnectiontoalargerwholebeyondourselves.Incontrast,placessuchasRedRocksAmphitheaterprovokeavividexperienceofnaturalprocessesthatpermitsustoextendourimaginationbeyondthelimitsofhumanmemoryintothereachesofgeologicalandastronomicaltimeandtotraversespacefromthemicroscopictothecosmic.Howeverpermanentrockmayseem,itisultimatelywornsmoothbywaterandreducedfinallytodust.Thepowerofaraindrop,multipliedbythetrillionsoverthousandsintoplains.Thepatternoflinesetchedbythewaterinthesandofabeachechosthepatternengravedontheearthbyriversovertime.Thesearethepatternsthatconnect.Theyconnectustoscalesofspaceandtimebeyondourgrasp;theyconnectourbodiesandmindstothepulseofthenaturalworldoutsideourskin.Thebranchingriverbedcutbyflowingwaterandthebranchingtreewithinwhichthesaprisesarepatternsthatmirrorthebranchingarteriesandveinsthroughwhichourbloodcourses.Patternsformedbynature'sprocessesandtheirsymmetryacrossscaleshavelongbeenappreciatedbycloseobserversofthenaturalworld.Recentdevelopmentsinscienceaffordnewinsightsintothegeometryofformgeneratedbydynamicprocesses,betheynaturalorcultural,andpointtonewdirectionsfordesign.Theformsofmountainranges,riverbanks,sanddunes,trees,andsnowcrystals,arepoised,jelled,atamomentintime,thephysicalembodimentofdynamicprocesses.Theirbeautyconsistsofapeculiarcombinationoforderanddisorder,harmoniouslyarranged,andthefactthattheirformsareatequilibrium,atanygivenmoment,withtheprocessesthatproducedthem.Suchformsandthephenomenonoftheirsymmetryacrossscalesoftimeandspace,haverecentlybeendescribedbyanewgeometry,"fractal"geometry,whichoneofitsoriginators,BenoitMandelbrotcalls"thegeometryofnature"—"pimply,""pocky,""tortuous,"and"intertwined."Asensibilitysteepedinclassicalgeometryperceiverstheseformsastoocomplextodescibe.However,asfractals,suchpatternscanbedescribedwithsimplicity,theresultofrepetitiveprocesses,suchasbifurcationanddevelopment.Thevarietyofformsthatstemfromthesameprocessostheresultofresponsetodifferingconditionsofcontext,oftotheinteractionwithotherprocesses.Strangeandwonderfulforms,mirroringthoseofnature,havebeencreatedbyrepeatingasinglecomputerprogram.Earlyintheprocess,theresultingform,asseenonthecomputerscreenappearschaotic;graduallyanorderunfolds.Suchexperimentsarethesubjectofanewfield,coinedChaosbyitspioneers,whofeelthattheyaredefininganewparadigm.Theirsubjectsarediverse,theirobjectiveistoidentifytheunderlyingorderinseeminglyrandomfluctuations.Manyofthoseworkinginfieldhaveexpressedtheiraestheticattractiontothemathematicsoffractalgeometryincontrasttowhattheytermthe"Euclideansensibility."ThisisageometryforeigntothatofEuclid,withitslinesandplanes,circlesandspheres,trianglesandcones.Euclideangeometryisanabstractionofreality;itsbeautyliesinsmooth,clean,idealshapes.Itisageometrybasedonthebeliefthatrest,notmotion,isthenaturalstate;itdescribesthree-dimensionalspacebutneglectstime.

ThatdoesnotmeanthatweshouldavoidusingEuclideangeometryinthedesignoflandscapes.Indeed,suchusemayheightenourperceptionofthenaturalformsofriversandtreesandtheprocessesthatproducethem,especiallywhenitisemployedasavisualcounterpointthatbothexpressesandcontrastswiththoseforms.InDinan,France,amonumentalareofpoplarstakesitsinspirationfromthesweepingouttheirregularitiesoftheriverbank.Thearerepresentstheideaofthatsweep.Throughtheabstractionandechoofthehorizontalformintheverticaldimension,inwhatisclearlyalineinscribedbyhumansonthelandscape,theexperienceoftheriver'smeanderisintensified.Thoughsetinatight,evenly-spacedrowalongthebanksoftheriver,theindividualtreesasserttheirownquirkygrowth,whichisseenmoreclearlyincontrasttotheregularityoftheirplacement.Theinterplayofdifferentprocessesisalsoasubjectofcurrentresearchon"chaos."Computerdrawingsillustratethepatternsthatresultwhenseveralrhythms,suchasradiofrequenciesorplanetaryorbits,cometogether.Perhapsthisisthecontemporaryversionofthe"musicofthespheres."Theyresembleatopographiccontourmap,promptingtherealizationthatlandformresultsfromasimilarinterplayamongmultipleforcesandprocesses,includinggravity,waterflow,andweather.Culturalprocessesalsoengagenaturalprocessesontheland;therhythmsoffoodproductionandtransportation,forexample,interactwiththeflowofwindandwatertomoldalandscape.Thepatternsthatresultvaryinresponsetothespecificcontextofnaturalenvironment,culture,andtheidiosyncrasiesofindividuals.Itisnatureandculturetogether,asinteractingprocesses,thatrenderaplaceparticular.Naturalprocessesoperatingovertimegiverisetotheinitialformofthelandandcomprisethebaserhythmtowhichtheculturalprocessesrespond,introducingnewandchangingthemes,weavinganintricatepattern,punctuatedhereandtherebyhighpointsofnatureandart.Everyurbanlandscapeisasymphonyofcomplexharmonies,which,althoughtheycanbesavoredatanygivenmoment,evolvecontinuallyintime,inbothpredictableandunpredictableways,inresponsenaturalprocessesandchanginghumanpurposes.Itisasymphonyinwhichallthedwellersofthecityarecomposersandplayers.Making,Caring,Thinking,DwellingTheprocessofdwelling,anirreduciblefactofeveryculture,isanaestheticact,entailingbeinganddoing,acorrespondencebetweennatureandculture.Throughcultivationandconstruction,individualsandsocietiesforgeaplacewithinnaturethatreflectstheirownidentities—theirneeds,values,anddream.Makingandcaringforaplace,aswellascontemplatingtheselaborsandtheirmeanings,comprisetheaestheticexperienceofdwelling.Thisconcept,asexploredbythephilosopherHeidegger,hasimportantimplicationsfordesignersandplannersofhumansettlements.Amajorissuefordesignersishowtorelinquishcontrol(whethertoenableotherstoexpressthemselvesortopermitnature'sprocessestotaketheircourse)whilestillmaintaininganaestheticallypleasingorder.ThepleasingqualityoftheallotmentgardensofcommunitygardensthatarepopularinbothEuropeanandNorthAmericancitiesdependsuponagriddedframeworkofplots.Eachgardenplotisawholeinitself,animprovisationonsimilarthemesbydifferentindividuals.Yetallarepartofawholeunifiedbymaterials,structure,andtheprocessofcultivation.InGranada,Spain,allotmentgardensliewithintheAlhambraandGeneralife.Thegardensrestwithinahighlyorganizedframeworkofwallsandterraces,andenliventhesceneratherthandetractfromit.Theycomplementtheformalgardensandcourtyards,wherevegetablesandnutandfruittreesareplantedamongflowersandvines.ThereisnoarbitraryseparationinthisMoorishgardenbetweenornamentalandproductive,betweenpleasurableandpragmatic,betweensacredandsecular.Itispossibletocreateurbanlandscapesthatcaptureasenseofcomplexityandunderlyingorder,thatexpressaconnectiontothenaturalandculturalhistoryoftheplace,andthatareadaptabletomeetchangingneeds.Thesolutionliesinanunderstandingoftheprocessesthatunderliethesepatterns,andtherearesomeprinciplesthatcanbederivedforurbandesign:establishaframeworkthatlendsoverallstructure—notanarbitraryframework,butonecongruentwiththe"deep"structureofaplace,defineavocabularyofformsthatexpressesnaturalandculturalprocesses,theencourageasymphonyofvariationsinresponsetotheconditionsofaparticularlocaleandtheneedsofspecificpeople.Theresultshouldbeadynamic,coherentwholethatcancontinetoevolvetomeetchangingneeedsanddesiresandthatalsoconnectsthepresentwiththepast.TheFens,inBoston,issuchaplace.Asoriginallyconceivedandconstructedinthe1880sand'90s,theFensanditsextensionintheRiverwaywereinnovativemodelsforpublicopenspacethatintegratedengineering,economics,andaesthetics.TheFensandtheRiverwaycreatedanintegratedsystemofpark,parkway,stormdrain,flooddetentionbasin,andstreetcarlinethatformedtheskeletonforthegrowthofadjacentneighborhoods.FrederickLawOlmstedandhispartnersdesignedtheFensasasaltwatermarshthatwouldfunctionasafloodcontrolreservoirandthatwouldbeacounterpointtothesurroundingcity.Thismarshwashumanconstructdugoutofpollutedmudflats,butitwasdesignedtoappearlikeanaturalsaltmarsharoundwhichthecityhadhappenedtogrow.Timeandchang,processandpurposeareexpressedbyitsshape-abowlwithanirregularedge-andthepatternofplants-bandsofgrassesandshrubsvariablytolerantoffluctuatingwaterlevels;evenwhenriverflowwaslow,itsformrecalledthatitwasdesignedtoreceive.Olmsted'simitationofnaturerepresentsadivergencefromthethenprevailingpastoralandformalstyles,bothofwhichweredomesticatedlandscapesandabstractionsofnature.ThefensandtheRiverway,intheirtime,representedanewaestheticfortheurbandistrictswhichgrewuparoundthem,ofsufficientscaletoholdtheirownagainstthelargebuildingsattheiredge,andrecallingtheoriginalconditionofthelandpriortocolonialsettlement,theyinitiatedapowerfulandpoeticdialogue.Imitationofnaturewas,inthiscase,asuccessfuldesignstrategy.Today,onemustknowtheirhistorytofullyappreciatethemasa"designed"ratherthan"natural"landscape.Olmsted'scontemporaries,however,knewfullwelltheywerebuilt,notpreserved.Function,Feeling,andMeaningJustasanindividualgainsself-knowledgefromanabilitytoperceivehisofherownlifeinrelationtothepast,sodoesacitygainidentitywhenthesharedvaluesofitsresidents,bothpastandpresent,areclearlyembodiedinurbanform.ThedesignfortheFensandtheRiverwaywerenotproducedovernight,nordidtheyspringfromthemindofasinglegenius.TheyweretheculminationofpublicdialogueaboutthefutureshapeofBostonthatextendedfrom1860to1890.Thisdialogueconsistedofpublishedproposalsbyprivatecitizensandofdebatesatpublichearings,includingonemeetingin1876thattheorganizerscalled"ParksforthePeople."ThissustainedpublicdialoguenotonlyproducedideasthatwerelaterincorporatedinOlmsted'sdesign,butalsogeneratedthesupportnecessarytoimplementtheseambitiousprojects.Urbanfromthatexploitsandcelebratenaturalandculturalprocessesandthestructuretheycreateprovidesaframeworkwithinwhichthecitycanunfold,onethatalsorevealsandintensifiesthenaturalandculturalrhythmsandpatternsoftheplace.Theoverlayandinterplayofnaturalandculturalprocessescanbeemployedconsciouslyinurbandesign(whetherinharmonyorcalculateddiscord),tofuseaconnectionbetweenfeeling,utility,andmeaning.Whentheformofthecityrepresentsandrevealsoverlappingnaturalandculturalprocesses,thecongruenceoftheseprocessesaddslayersofmeaning,bothfunctionalandsymbolic,therebyamplifyingtheaestheticexperiencethateachmightengenderalone.wateranditsuseforhumanpurposeshavegreatpotentialtoforgeemotional,functional,andcognitivelinksbetweenmanandnatureinthecity.ThereispatiointheAlhambrathatisaneconomical,elegant,andpowerfulstatementaboutthefunctions,meanings,andsensuousqualitiesofwater.Thesoundofwaterspillingfromafountainisamplifiedbythesurroundingwalls.Thewatercollectsinpuddlesonthestonefloorand,asitevaporates,coolstheair.Small,river-wornpebbles,eachembodyingtheactionofwaterovertime,aresetinatightlyorganized,geometricpattern.Elongatedblackstonesarealternatelygroundandstars.Thestonesaresetinpackedearththatpermitswatertoseepbeneaththemandirrigatecedartreesplantedateachcornerofthecourtyard.Thewholeformsadeepcongruencebetweensensualperception,iconography,andfunction."Alltheriversrunintothesea;yettheseaisnotfull;untotheplacefromwhencetheriverscame,thithertheyreturnagain."ThislinefromEcclesiastesandthePatiodelaRejaareamongthemostconciseandpoeticdescriptionsofthehydrologiccycle.Natureanditsorder,processes,andformsareanimportantsourceofinspirationforLawrenceHalprin.Hemakesadistinction,however,betweenmimesisandabstraction,between"copyingnature'spictures"and"usinghertoolsofcomposition."Halprin'snotebookscontainmanystudiesofwatermovementaroundrocksandoftheplanesandfracturelines,ledges,andtalusofrockyslopes.Inthesedrawings,hehasrecordedtheprogressiveabstractioninthetransitionfrommountainenvironmenttourbanplaza.AtthePortlandAuditoriumfountain,theprogressionfromsmallsource,totributaries;todownstreamwaterfallsistelescopedintoasmallspace.Thefountainpermitsandeveninviteshumanparticipation.Thesheervolumeandforceofthewaterfalls,themysteryinjectedbythemanywatersources,somehalf-hidden,thesteepdropfromstreet-leveltothebaseofthefountain,andthedensescreenofpinesallcontributetoanexperienceofwaterthatresonateswithitsimportanceasasourceofelectricpowerinthisregionofrushingrivers.Likeaprimordialmagnet,waterpullsataprimitiveanddeeplyrootedpartofhumannature.Waterisasourceoflife,power,comfort,fear,anddelight;itisasymbolofpurification,ofboththedissolutionoflifeanditsrenewal.Manyadvancestohealthandsafetyintroducedincitiesoverthepastcenturyhavedistancedusfromthewaterthatsustainsusandhavedisguiseditscyclingthroughtheenvironment.Asrainfallstotheground,itisflushedawayintoundergroundpipesandtransportedtosewagetreatmentplant,which,likegarbagedumps,aretouchedintoforgottencornersofthecity.Landscapearchitects,urbandesigners,andarchitectshaveprogressivelynarrowedtheircopeofconcerns.TheaquaductsofancientRomewereartisticmonumentsthatcelebratedthefeatofbringingwaterintothecityfromafar;thefountainsofBaroqueRomecelebratedthereconstructionofthatpublicwatersystem.Themonumentsmarkedaconnectionbetweenthepeoplewhodwelledinthecityandthewaterthatsustainedthem.Theywereutilitarian,asourceofsensualpleasureandsymbolicmeaning.Today,fewurbandesignersconcernthemselveswithwaterandsewersystems.Yettheimpactofthesepublicworksontheshapeofurbanformandaestheticexperienceistoogreattoignore.InDenver,themetropolitanopenspacesystemisplannedanddesignedtoalsofunctionasanurbanstormdrainageandfloodcontrolsystem.Thechannels,reservoirs,anddetentionandretentionbasinsthatstructuretheurbanlandscapearenotonlycongruentwiththenaturalrhythmslegiblewithinthecityandprovideavisibleandtangibleframeworkthatlinksdowntown,suburbs,andoutlyingfarmland.Theformofthisparklandreflectsthedifferentneighborhoodsthroughwhichitflows,whetheradowntownplazathatisalsoadetentionbasin,acceptingandrevealingtheriseandfallofwater,orasuburbanstormdrainagechannelwhosesinuouslandformsechothemovementofwater,evenwhenthereisonlyatrickleflowing.Theoriginalplanforthisdrainagechannelcalledforanundergroundstormsewer;now,thewateremergesfromunderthestreetintoapark.Wherethelevelofthechanneldrops,aweirbreakstheerosiveforceofthewater.Athighwatertheweirisexcitingtowatch,butevenatlowwateritsfromispleasingandmeaningful,recallingthepowerofwaterathighflow.ContinuityandRevolutionThecurrentunderstandingofnatureandcultureascomprisinginterwovenprocessesthatexhibitacomplex,underlyingorderthatholdsacrossvastscalesofspaceandtimenotonlydemandsanewaesthetic,newforms,andnewmodesofdesign,construction,andcultivation,butalsopromptsafreshappreciationfortheformsofthepastandtheprocessesbywhichtheywerecreated.Fractalgeometry,forexample,providesameansofunderstandingthegeometryofoldurbandistrictsthatevolvedwithapeculiarcombinationoforderanddisorder,throughpurposefulprocessandrepetitiveuseofformswhosepreciseshapewasvariedinresponsetovaryingconditionsofnature,culture,andindividualpreference.Thecomplexorderofsuchdistrictsisnowoftenhighlyvaluedfoeitsvarietyandqualityof"wholeness"incontrasttotheorderofnewtowns,wheretheformofhousesandevenofsuchdetailsasexteriorpaintcolorandlandscapingareprescribed,andtomoderncities,whichseemahodgepodgeofidiosyncraticbuildingsandleftoverspace.Theinsightsgainedthroughfractalgeometryandrecentworkinchaosalsoprovidethemeanstodesignnewplacescanevolveandadapttochangingneedsandthatcanembodybothvarietyandcoherence.Suchapropositionposesachallengetoconventionalmethodsofplanning,design,construction,andmanagementoftheurbanlandscapeandthestructureandspacesofwhichitiscomposed.Itcallsforamoreinclusivedialogueaboutvaluesandvisions,andfortappingtheinventionandenergyofindividualsinsmall-scaleconstructionandcultivation.Fordesigners,newtechniquesofnotationandrepresentationarerequired.Conventionaltechniquesareinadequatetotheportrayaloftimeandchange,andtheyencouragethecontinuedfocusonvisibleandstaticform.Designersmayconsidertimeandchangeandsuchsensationsassound,smell,andmovement,butdonothavethemeanstonotatetheseideasbeyondtherudimentarylevel.Music,dance,andfilmareartsofmovement,andcontemporarymodesofnotationandrepresentationinthesefieldsofferinspiration,asdoLawrenceHalprin'sexplorationofscoring.Jazzandmoderndance,forexample,employachoreographedframeworkwithinwhichplayersimprovise,expandinguponandexploringthethemesestablishedintheframework.Thecomputercanalsoprovidethemeanstodisplaypatternsgeneratedbyprocessesofnatureandhumanculturetoenabletheperception,manipulation,andevaluationofpatternsandformsastheyemergeandchangeovertime.Theissuesoftimechange,processandpattern,orderandrandomness,beinganddoing,andformandmeaninginherenttothetheoryoutlinedherearealsocentraltocontemporaryexplorationsinmusic,art,andscience.Indeed,thistheoryandtheaestheticitembodieswillbringurbanlandscapedesignintunewiththeoreticalcurrentsinotherfields.Ultimately,however,theurbanlandscapeismorethanasymphony,apoem,asculpture,adance,orascientificexperiment.Itisthesettinginwhichpeopledwell,livingeveryday.Thisaesthetic,asappliedtotheurbanlandscapelevels:onthelevelofthesensesaroused,thefunctionsserved,theopportunitiesfor"doing"provided,andthesymbolicassociationsengendered.Thesemultiplelayersofmeaning,whencongruent,willresonate,combiningcomplexityandcoherence,amplifyingtheaestheticexperienceofthecity.城市與自然的詩學(xué)：走向城市設(shè)計(jì)新美學(xué)1989，加州大學(xué)伯克利學(xué)院Spirn，安妮惠斯頓。