土木工程外文翻译---城市与自然的诗学：走向城市设计新美学-建筑结构(编辑修改稿)

土木工程外文翻译---城市与自然的诗学：走向城市设计新美学-建筑结构(编辑修改稿)内容摘要：

at render a place particular. Natural processes operating over time give rise to the initial form of the land and prise the base rhythm to 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 plex harmonies, which, although they can be savored at any given moment,evolve continually in time, in both predictable and unpredictable ways, in response natural processes and changing human purposes. It is a symphony in which all the dwellers of the city are posers and players. Making, Caring, Thinking, Dwelling The process of dwelling,an irreducible fact of every culture, is 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— their needs, values, and dream. Making and caring for a place, as well as contemplating these labors and their meanings, prise the aesthetic experience of dwelling. This concept, as explored by the 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 nature39。 s processes to take their course) while still maintaining an aesthetically pleasing order. The pleasing quality of the allotment gardens of munity gardens that are popular in both European and North American cities depends upon a gridded framework of plots. Each garden plot is a whole in itself, an improvisation on similar themes by different individuals. Yet all are part of a whole unified by materials, structure, and the process of cultivation. 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 the scene rather than detract from it. They plement 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 garden between ornamental and productive, between pleasurable and pragmatic,between sacred and secular. It is possible to create urban landscapes that capture a sense of plexity and underlying order,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 are 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 place, define a vocabulary of forms that expresses natural and cultural processes, the encourage a symphony of variations in response to the conditions of a particular locale and the needs of specific people. The result should be a dynamic, coherent whole that can contine to evolve to meet changing neeeds and desires and that also connects the present with the past. The Fens, in Boston, is such a place. As originally conceived and constructed in the 1880s and 39。 90s ,the Fens and its extension in the Riverway were innovative models for public open space that integrated engineering, economics, 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. 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 was 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 shapea bowl with an irregular edgeand the pattern of plantsbands of grasses and shrubs variably tolerant of fluctuating water levels。 even when riverflow was low, its form recalled that it was designed to receive. Olmsted39。 s imitation of nature represents a divergence from the then prevailing pastoral and formal styles, both 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 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 dialogue. Imitation of nature was, in this case, a successful design strategy. Today, one must know their history to fully appreciate them as a designed rather than natural landscape. Olmsted39。 s contemporaries, however, knew full well they were built, not preserved. Function, Feeling, and Meaning Just as an individual gains selfknowledge 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 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 about the future shape of Boston that extended from 1860 to 1890. This dialogue consisted of published proposals by private citizens and of debates at public hearings, including one meeting in 1876 that the organizers called Parks for the People. This sustained public dialogue not only produced ideas that were later incorporated in Olmsted39。 s design, but also generated the support necessary to implement these ambi。