建筑外文翻译--城市与自然的诗学：走向城市设计新美学

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1、 The Poetics of City and Nature: Toward a New Aesthetic for Urban Design by Journal Issue: Places Author: Spirn, Anne Whiston Publication Date: 10-01-1989 Publication Info: Places, College of Environmental Design, UC Berkeley Citation： Spirn, Anne Whiston. (1989). The Poetics of City and Nature: Tow

2、ard a New Aesthetic for Urban 【 Abstract】 Urban landscape, a symphony, a poem, sculpture, dance, or scientific experiments. It is designed in which people live life every day. This aesthetic for the urban landscape level caused by sensory level, the functions of the service, the opportunity to do, a

3、nd symbolic organization. Significance, these same multi-level resonance, combined with the complexity and coherence, feelings and improve the beauty of the city. 【 Keywords】 place， making, architecture, environment, landscape, urban design, public realm, planning, design, aesthetic, poetics, Anne W

4、histon Spirn 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 natural forces pulse and millions of people live thinking,feeling,dreaming,doing. An aesthetic of urban design must therefore be

5、 rooted in the normal processes of nature and of living. 城市规划外文资料翻译 I want to describe 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

6、sensing, 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 transport people or carry wastes. This aesthetic celebrates motion and change, en

7、compasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthetic, 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 revolutio

8、n. Urban form evolves in time,in predictable and unpredictable ways, 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 all those who d

9、well 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 need for revolution. Despite certain constants of nature and human nature, we live in a world

10、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 forms and demanding new ones. The vocabulary of forms buildings, streets, and parks that are often deferred t

11、o as precedents not only reflects a response to cultural processes and values of the time in which those forms were created. Some of these patterns and forms sill express contemporary purposes and values, but they are abstractions. What are the forms that express contemporary cosmology, that speak t

12、o us in an age in which photographs of atomic particles and of galaxies are commonplace, in which time and space are not fixed, but relative, and in which we are less certain of our place in the universe than we once were? Conceiving of new forms that capture the knowledge, beliefs, purposes, and va

13、lues of contemporary society demands that we return to the original source of inspiration, be it nature or culture,rather than the quotation or transformation of abstractions of the past. Time,Change,and Rhythm For the artist, observed Paul Klee, dialogue with nature remains a conditiosine que 城市规划外

14、文资料翻译 non. The artist is a man, himself nature and part of nature in natural space. Before humans built towns and cities, our habitat was ordered primarily by natures processes. The most intimate rhythms of the human body are still conditioned by the natural world outside ourselves: the daily path o

15、f the sun, alternating light with dark； the monthly phases of the moon, tugging the tides； and the annual passage of the seasons. In contrast to the repetitive predictability of daily and seasonal change is the immensity of the geological time scale. From a view of the world that measured the age of

16、 the earth in human generations, we have come to calculate the earths age in terms of thousands of millions of years and have developed theories of the earth itself. The human life span now seems but a blip, and the earth but a small speck in the universe. The perception of time and change is essent

17、ial to developing a sense of who we are, where we have come form, and 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 of unity wit

18、h a larger whole. Design that juxtaposes and contrasts natures order and human order prompts contemplation of what if means to be human. Design that resonates with a places natural and cultural rhythms, that echoes, amplifies, clarifies, or extends them, contributes to a sense of rootedness in space

19、 time. Process,Pattern,and Form 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 foothills, its flat stage dwarfed by the red slabs that frame it and the

20、 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 the human body, and the tight curve of the road, cut to fit the turning car, seem fragile next to the rocks awesome scale and magnificent geometry. Denver

21、 is a city of high plains, Nestled up against these foothills, it rests on sediments many hundreds of feet 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, remnants 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 millions of years into the past. This is the