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城市与自然的诗学：走向城市设计新美学 , 1989, 6（1），加州大学伯克利学院
引：
Spirn，安妮惠斯顿。 （1989年）。诗学：城市与自然走向城市新的美学
设计。地方，6（1），82。

摘要：
城市景观，是一个多交响乐，一首诗，雕塑，舞蹈，或科学实验。它是设计于在其中的人住、生活的每一天。这种审美，适用于城市景观水平上而引起的感官水平，服务的职能，为“做”提供的机会，并象征性组织产生。意义，这些一致时，多层次的共鸣，结合复杂性和连贯性，健全城市的美的感受。
关键词：
地方，建筑，环境，景观，城市设计，公共领域，规划，设计，美学，诗学，安妮惠斯顿
这个城市比作一首诗，一个雕塑，一台机器。但这个城市是一个多与文本，多艺术或技术。这是一个地方，自然力量的脉搏，数百万人生活，思想，感情，梦想，做什么。一个城市设计美学，因此，必须植根于大自然的正常秩序和生活。
我想说明这样一个审美的维度。这种审美既包括自然和文化，它体现的功能，感觉知觉，和象征意义，它包含两种事物和场所，使感测，使用，其中考虑。这同样的审美关注与生活用品，并与艺术：小东西，如喷泉，园林，建筑，以及大型系统，如那些运输的人，或进行废物。这种审美庆祝运动和变化，包括动态的过程，而不是静态的物体和场景，并包含奇异的愿景，而不是多个。这不是一个永恒的美感，而是一个既承认传递的时间和时刻的奇异交流，既需要一个连续性和革命。

Title:
The Poetics of City and Nature: Toward a New Aesthetic for Urban Design

Journal Issue:
Places, 6(1)

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: Toward a New Aesthetic for Urban
Design. Places, 6(1), 82.

Keywords:
places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, aesthetic, poetics, Anne Whiston 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 rooted in the normal processes of nature and of living.
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 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, encompasses 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 revolution.