風(fēng)景園林專業(yè)英語(yǔ)(第一二課翻譯)

1、The practice and theory of Landscape Architecture景觀規(guī)劃設(shè)計(jì)理論【1】Landscape Architecture involves the five major components:They are natural process， human factors， methodology， technology， and values， whatever the scale or emphasis of operation， these five components are consistently relevant.Social and

2、nature factors clearly permeate every facet of a profession that is concerned with people and land.Problem solving， planning， and design methods apply at all scales.Good judgment is consistently required.風(fēng)景園林設(shè)計(jì)包含五個(gè)主要方面:自然進(jìn)程、社會(huì)進(jìn)程、方法論、技術(shù)、價(jià)值觀,無(wú)論規(guī)模尺度或運(yùn)作的重點(diǎn)各不相同,這五個(gè)要素一貫是相關(guān)的。社會(huì)因素和自然因素的因子充斥著這個(gè)關(guān)系到人與土地的領(lǐng)域的方方面

3、面。解決問(wèn)題,規(guī)劃、設(shè)計(jì)方法都會(huì)用到所有的尺度。正確的判斷判斷是一貫必須的?！?】Consider how natural factors data are relevant to both planning and design.At the regional scale， the impact of development or change in use on a landscape must be known and evaluated before a policy to allow such action is set.An inventory of the natural fac

4、tors， including geology， soils， hydrology， topography， climate， vegetation and wildlife， and the ecological relationships between them is fundamental to and understanding of the ecosystem to which change is contemplated.Equally important is an analysis of visual quality .Land use policy can thus be

5、made on the basis of the known vulnerability of resistance of the landscape.In other circumstances the natural processes which add up to a given landscape at a give moment in its evolution may， as at Grand Canyon and other unique places， be considered a resource to be preserved， protected， and manag

6、ed as a public trust.On a smaller scale， soil and geological conditions may be critical in the determination of the cost and the form of building foundations: where it is most suitable to build and where it is not.Sun， wind， and rain are important factors of design where the development of comfort z

7、ones for human activity or the growth of plants is a primary objective.Thus，in many ways natural factors influence land use， site planning， and detailer design.自然因素的考慮與規(guī)劃和設(shè)計(jì)都有關(guān)系。在區(qū)域尺度上，關(guān)于利用方面的開發(fā)變化的影響，在政策制定之前，必須了解和評(píng)估景觀的脆弱性和敏感性。詳細(xì)的自然因素,包括地質(zhì)的、土壤的、水文的、地形地貌的、氣候的、植被的和野生動(dòng)物的、以及它們之間的生態(tài)關(guān)系是理解它將要改變的生態(tài)系統(tǒng)的基礎(chǔ)。同樣重要

8、的是視覺質(zhì)量的分析。土地利用政策的基礎(chǔ)是由于了解到景觀的脆弱性和抗損性的基礎(chǔ)上建立的。在某些發(fā)展進(jìn)化的過(guò)程中，一些在特定的時(shí)刻作用到特定的景觀的自然進(jìn)程會(huì)產(chǎn)生一些公共資源,比如科羅拉多大峽谷，讓我們后人去保護(hù)它和管理它。在小尺度上，土壤和地質(zhì)條件是決定建筑的成本和建筑基礎(chǔ)形態(tài)的關(guān)鍵要素哪里適宜建立以及哪里不適宜。設(shè)計(jì)是為人類發(fā)展活動(dòng)找到適宜的空間或者以植物的生長(zhǎng)為主要目標(biāo)，因此，陽(yáng)光,風(fēng)和雨是設(shè)計(jì)最重要的要素。因此,場(chǎng)地和區(qū)域的自然要素在景觀規(guī)劃和設(shè)計(jì)的許多過(guò)程當(dāng)中相互作用?！?】The social factors apply equally at various scales.In sit

9、e planning and landscape design， cultural variation in the use and appreciation of open space and parks and the physical and social needs of the young and old are some of the many variables to be considered in a design process that aims to be responsive to social values and human needs.In decisions

10、relates to appropriation of landscape for recreation and aesthetic value peoples perception of the environment and the behavioral patterns understand the impact of environment on behavior and also appreciate the basic human need to manipulate and control the environment.社會(huì)因素也同樣應(yīng)用在不同尺度上。在場(chǎng)地規(guī)劃設(shè)計(jì)中，對(duì)開放空

11、間和公園使用和喜好上的文化差異和年輕人與老年人的生理和社會(huì)需求，是以創(chuàng)造社會(huì)價(jià)值和滿足人們需求為目的的設(shè)計(jì)過(guò)程中需要考慮的眾多因素當(dāng)中的一部分。為了游憩或者景觀價(jià)值而投資的決策價(jià)值和人的行為模式是息息相關(guān)的，設(shè)計(jì)師必須了解環(huán)境對(duì)人類行為的影響，同時(shí)還要意識(shí)到人類對(duì)于操縱和控制環(huán)境的最基本的人類需求，這兩點(diǎn)是非常重要的?！?】Technology is the means by which a design is implemented or on which a policy depends.Some of it changes year by year as new materials， m

12、achinery， and techniques are developed.Specific areas of technology include plants， planting and ecological succession， soil science， hydrology and sewage treatment， microclimate control， surface drainage， erosion control， hard surfaces， and maintenance.工業(yè)技術(shù)是技術(shù)得以實(shí)施或政策得以指定的基礎(chǔ)，隨著每年材料、機(jī)器、技術(shù)的提高，它們?cè)谌N景觀規(guī)

13、劃設(shè)計(jì)當(dāng)中的作用是清楚的。具體的技術(shù)領(lǐng)域,包括植物栽培和生態(tài)進(jìn)程、土壤科學(xué)、水文、污水處理、小氣候控制、地表排水、侵蝕控制、道路鋪裝和維護(hù)保養(yǎng)。 【5】設(shè)計(jì)方法的使用是一個(gè)過(guò)程，在這個(gè)過(guò)程中，所有相關(guān)的要素和變量都得到了評(píng)價(jià)，并且對(duì)解決問(wèn)題的過(guò)程產(chǎn)生影響。在這個(gè)過(guò)程中，制圖技術(shù)、分析技術(shù)和標(biāo)識(shí)系統(tǒng)發(fā)揮了重要作用。有一個(gè)由霍普林提出來(lái)的針對(duì)創(chuàng)新過(guò)程的評(píng)價(jià)方法值得推薦，他指出像在音樂(lè)和舞蹈比賽中使用的打分法一樣，使得設(shè)計(jì)過(guò)程更加公開化、可視化。這種方法能允許更多的人參與到設(shè)計(jì)和政策制定的過(guò)程中，并且使大尺度的復(fù)雜環(huán)境的設(shè)計(jì)形成更多新的方法，使設(shè)計(jì)方案更加人性化。 【6】把上述五大要素結(jié)合起來(lái)的目的

14、是為了搭建一個(gè)基礎(chǔ)，使得在這個(gè)基礎(chǔ)上編制的規(guī)劃方案和詳細(xì)設(shè)計(jì)方案，能夠滿足人們的行為方式，并適應(yīng)環(huán)境的條件特征。因?yàn)檫@兩者（行為方式和環(huán)境特征）是會(huì)隨著文化區(qū)域和鄰里關(guān)系而產(chǎn)生差異的，所以不可能有一勞永逸的設(shè)計(jì)方案。在復(fù)雜問(wèn)題的判斷中，對(duì)于自然和社會(huì)的分析是關(guān)鍵的。從而編制出一個(gè)合適的設(shè)計(jì)形態(tài)和平面關(guān)系。【7】設(shè)計(jì)的過(guò)程可以比作創(chuàng)造了設(shè)計(jì)上最偉大景觀的原始造型過(guò)程，（設(shè)計(jì)的目的是為了讓形態(tài)的發(fā)展及它們之間的相互關(guān)系更符合人們的需求，）山脊與山谷，充滿水的盆地，山峰都反映了地質(zhì)結(jié)構(gòu)和外力侵蝕的相互作用，我們現(xiàn)在看見的地表形態(tài)是無(wú)機(jī)物在強(qiáng)加于它之上的外界風(fēng)化作用的結(jié)果。從南坡到北坡，從草地到高原，

15、從山谷到亂石堆的植被覆蓋的差異是由于景觀分異造成的不同環(huán)境條件的反映，生物的分布也是受到植被的類型和它的分布的影響，任何結(jié)果都是有原因的。 所有都不可逆轉(zhuǎn)的落入到一個(gè)持續(xù)的發(fā)展的生態(tài)系統(tǒng)當(dāng)中。它反映在某個(gè)時(shí)期特定的時(shí)段，自然力和自然過(guò)程的意志。這種潛在的、改變地形的強(qiáng)大力量和絕心，正是景觀規(guī)劃和設(shè)計(jì)師追求的目標(biāo)。ON GARDEN說(shuō)園【1】The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful Integratio

16、n of diverse elements， ranging from the purely ornamental to the strictly functional.Paths， pools， planters， trellises， arbors， fountains， and fences can contribute enormously to the creation of an exciting and harmonious garden.The same attention one bring to decorating a home and making it “l(fā)ivabl

17、e” can be used to make a garden a pleasant place to find Privacy， to meditate， and to escape the pressures of a fast-moving， machine-oriented world.最好的園林不僅是一個(gè)各式各樣美麗植物的集合。成功的園林通常代表一個(gè)不同元素的精心整合,從純觀賞性的到有實(shí)際功能的。小徑、水池、花槽、棚架、涼亭，噴泉以及柵欄可以為創(chuàng)造一個(gè)令人愉悅興奮、心曠神怡的花園起到重要作用。同樣引起重視的是,裝修一個(gè)家并使之“適宜居住”可以創(chuàng)造一個(gè)花園，它是一個(gè)找到個(gè)人生活并令人愉

18、快的地方,冥想,逃避移動(dòng)迅速和面向機(jī)器的世界帶來(lái)的的壓力?！?】Its a fact that man-made garden accents establish the “style” of a garden more definitively than plants alone .Period gardens Victorian， French， Elizabethan， American Colonialall demand the proper placement of structural and design elements to make them recognizable.I

19、ndeed， the simple addition of a particular style of gazebo， bench， or arbor can instantly “identify” a garden.Similarly， with ethnic gardenssuch as an English cottage garden， Chinese meditation garden ， or an Italian water garden the selection of appropriate fences， bridges， and ornaments brings sty

20、le and a sense of permanence to the environment.事實(shí)上,人造花園的獨(dú)特風(fēng)格不僅僅是園中的植物本身來(lái)決定的。維多利亞時(shí)期園林,法式園林,伊麗莎白園林,美國(guó)殖民地風(fēng)格都需要合理的結(jié)構(gòu)安排和設(shè)計(jì)要素以便使他們聲名遠(yuǎn)振。事實(shí)上,簡(jiǎn)單添加一個(gè)風(fēng)格獨(dú)特的露臺(tái),長(zhǎng)凳,或涼亭能立即“識(shí)別”一個(gè)花園。同樣的,關(guān)于“民族的”花園，例如英國(guó)的鄉(xiāng)村園、中國(guó)的冥思園、意大利水園都具有特別的籬笆、橋和有式樣的裝飾物以及一種永久的場(chǎng)所感覺?！?】The world over， there are structures that “make” a gardens reputat

21、ion.At Magnolia Gardens， near Charleston， South Carolina， for example， a sleek trellised footbridge called The Long Bridge Is a “trademark” of the garden.Its distinctive design， traversing the corner of a cypress lake， is immediately identifiable.Somewhat French in style， painted white to contrast w

22、ith the dark water and the tall cypress trees draped with the Spanish moss.The bridge helps create a romantic atmosphere， which probably makes it the subject of more photographs and paintings than any other garden structure in the world.在全世界，構(gòu)筑物使花園成名。在靠近南加利福尼亞查理斯頓的木蘭園。例如，一座被稱為“長(zhǎng)”的整潔的步行廊橋是柏樹湖的標(biāo)志，這是很顯

23、而易見的。有時(shí)，在法式風(fēng)格里，白色的油漆和深色水面形成的對(duì)比與長(zhǎng)滿苔蘚的高大柏樹以及這座橋共同營(yíng)造了浪漫的氛圍，這種更像主題照片和油畫的場(chǎng)景可能使它勝過(guò)于全世界其它花園的構(gòu)筑物。 【4】Though some structures look good unadorned， as part of a garden composition， others are enhanced by some kind of plant decoration.The British are especially fond of training climbing roses， wisteria， honeysu

24、ckle， and Ivy up walls， fences gazebos， and summer house， sometimes so successfully that the structure becomes completely covered in vines， flowers， or foliage.雖然一些建筑沒有其他裝飾,看起來(lái)也很不錯(cuò),其他的建筑物則被植物點(diǎn)綴裝飾而增強(qiáng)效果。英國(guó)人尤其喜歡在涼亭、圍墻和籬笆跳臺(tái)上培育攀爬玫瑰、紫藤、金銀花、和常春藤等植物，這種效果是如此成功以至于構(gòu)筑物被完全掩映在植物中了?！?】Then there are accents that r

25、ely on plants alone for dramatic impact.At the Ladew Topiary Gardens， near Baltimore， Maryland， a fox-hunting scene of clipped Japanese yew provides such a whimsical highlight that it has made the garden famous.The realistic， life-size composition of a topiary fox being chased by five topiary hounds

26、 and a topiary horse and rider across a section of lawn at the entrance to the garden sets the scene for even more surprising and amusing topiary work in other sections of garden.也有一些完全靠植物本身來(lái)形成自己獨(dú)特風(fēng)格的，在馬里蘭州的巴爾的摩的修剪型園林，用修剪的日本紫杉呈現(xiàn)給人們的一個(gè)古怪離奇獵狐場(chǎng)面使得這個(gè)園林聲名遠(yuǎn)揚(yáng)。構(gòu)圖里，修剪如實(shí)物大小的狐貍正在被五個(gè)修剪的獵犬和一個(gè)修剪的馬和騎士追逐著穿越一片草坪，把場(chǎng)景

27、引向園林中其他更加精彩離奇的作品?！?】The roles of plants-man and architect in the creation of a beautiful garden are important， but their efforts may fall short without a third important influence the contribution of artist.The best gardens today seem to combine the talents of plants-man， architect， and artist.Somet

28、imes these three skills are embodied in a single person but more frequently they are achieved by a pooling of talents.For example， the beautiful American estate garden of Filoli， near San Francisco， is a result of the collaboration of Isabella Worn， a plants person， and Bruce Porter， a landscape pai

29、nter.Porter did the overall arrangement of spaces and accents; Worn developed the planting schemes and selected the plants.雖然園藝師和建筑師在園林發(fā)展當(dāng)中起的作用是非常重要的，但是如果沒有藝術(shù)家作為第三方面參與的作品和貢獻(xiàn)，他們的作品也會(huì)有所暇疵。當(dāng)前最好的園林就是集中了園藝師、建筑師、和藝術(shù)家的智慧。有時(shí)候這三種智慧集于一身，但更多的時(shí)候，是眾人智慧的結(jié)晶。例如,在美國(guó)舊金山附近美麗的地產(chǎn)園林Filoli,是做植物設(shè)計(jì)的園藝師伊麗莎白·沃恩，做空間布局的規(guī)劃師

30、波特和畫家布魯斯波特合作的結(jié)果?！?】Impressionist painter Claude Monet was an artist who embodied skills as a plants-man and architect in designing his garden at Giverny， in France.Monet created very simple but stunning flower beds for the entrance of his home.To complement his pink stucco house with distinctive gre

31、en shutters he planted solid blocks of pink geraniums studded with pink and white rose standards.He bordered these raised flowerbeds with gray foliages dianthus.Bold blocks of color， carefully selected to blend with the nearby structure， is the key to success of this particular garden space.印象派畫家克勞德

32、·莫奈在設(shè)計(jì)法國(guó)他自家的花園時(shí)，體現(xiàn)了園藝師和建筑師智慧。莫奈在自己家入口處設(shè)計(jì)了一個(gè)非常簡(jiǎn)單,但令人驚奇的花壇。為了補(bǔ)充他有著獨(dú)特的綠色百葉窗的粉色房子，他定植了一些粉紅色的天竺葵中間點(diǎn)綴粉色和白色玫瑰的花磚。在花墻的邊緣，他用灰葉的石竹來(lái)鑲邊。他給這些都增加了以灰色dianthus南市城區(qū)花床一事著實(shí)感到抓狂。精心挑選以配合附近建筑的大塊強(qiáng)烈顏色,正是這個(gè)獨(dú)特的園林空間成功的關(guān)鍵所在?！?】Gardens can also be repositories for works of art.These artworks need not be realistic to be an

33、effective embellishment.Garden art began as symbolism in rocks and dead wood， the ancient Chinese bringing into their gardens boulders representing images of mammals.They gave these rock formations names such as “turtle rock”， “owl rock” and “dragon rock” for the objects they resembled.From symbolis

34、m in rocks and dead wood， garden makers became obsessed with realism.The more anatomically correct a sculpture， the more highly valued it became， reaching its height in Ancient Greece and Italy with statuses of gods and heroes placed on pedestals in garden settings.花園也可以用來(lái)藝術(shù)品保護(hù)。這些藝術(shù)品不見得是現(xiàn)實(shí)的,引人注目的裝飾品

35、。園林藝術(shù)開始于用在巖石和朽木的象征手法,古代的中國(guó)人把石塊納入他們的花園用來(lái)表達(dá)一些神獸。他們根據(jù)石塊和某些對(duì)象的相似度給這些石塊起了名字,如“龜石”,“鷹石”和“龍石”。造園師開始追求現(xiàn)實(shí)主義。從解剖學(xué)上來(lái)說(shuō)越正確，雕塑的價(jià)值就越高。在古希臘和意大利一些園林的基座上會(huì)發(fā)現(xiàn)一些神和英雄的雕像，這個(gè)時(shí)段達(dá)到了現(xiàn)實(shí)主義的一個(gè)頂峰?！?】Today the art world has turned full circle， with an emphasis once again on symbolism and impressionism.Indeed， artist Esteban Vicent

36、e put it well when asked to explain an apparent paradox between the modernistic style of his art and his love of gardening as a hobby “You cannot make art if you are not involved with nature” he said， “Anything to do with nature has to do with art.”當(dāng)今的藝術(shù)世界又進(jìn)行了一個(gè)輪回,再一次走向象征主義和印象派。實(shí)際上,藝術(shù)家埃斯特班·文森特當(dāng)

37、被問(wèn)及他做現(xiàn)代藝術(shù)風(fēng)格作品又喜好傳統(tǒng)園林的自相矛盾時(shí)，他解決的非常好“藝術(shù)源于自然”他說(shuō)，“與自然有關(guān)的都與藝術(shù)有關(guān)” 【10】The best gardens seem to combine the talents of plants-man， architect， and artist.In a way， all three contributors are artists， for there are many examples of plantings and architecture that can be described as artistic.最好的花園是園藝師、建筑師、和藝

38、術(shù)家三類人智慧的結(jié)晶。從某種意義上，三類人都應(yīng)視為是藝術(shù)家,因?yàn)橛性S多種植和建筑上出色的實(shí)例,都可以被稱作藝術(shù)品。Harmony with the Living Earth景觀設(shè)計(jì)（風(fēng)景園林）專業(yè)英語(yǔ)翻譯It is believed that the lifetime goal and work of the landscape architect is to help bring people, the things they build, their communities, their citiesand thus their livesinto harmony with the liv

39、ing earth. By John Ormsbee Simonds人們普遍認(rèn)為，風(fēng)景園林師的終身目標(biāo)和工作是引領(lǐng)人類以及他們的作品、社區(qū)和城市也就是他們的生活與地球的和諧共處。 約翰·O·西蒙茲 Harmony with the Living Earth與地球和諧共處 We are the victims of our own building. We are trapped, body and soul, in the mechanistic surroundings we have constructed about ourselves. Somewhere in t

40、he complex process of evolving our living spaces, cities, and roadways, we have become so absorbed in the power of machines, so absorbed in the pursuit of new techniques of building, so absorbed with new materials the we have neglected our human needs. Our own deepest instincts are violated. Our bas

41、ic human desires remain unsatisfied. Divorced from our natural habitat, we have almost forgotten the glow and exuberance of being healthy animals and feeling fully alive.我們是自身建設(shè)的受害者。我們的身與靈都被困在了自己建造的機(jī)械環(huán)境中。在生活空間、城市和道路逐步發(fā)展的復(fù)雜進(jìn)程中，我們太過(guò)于依賴機(jī)械的力量，太過(guò)于追求新的建造技術(shù)和新的材料，以至于反而忽視了人的需求。這種最深處的本能被違反了。最基本的人類欲望也得不到滿足。遠(yuǎn)離了

42、自然生境的我們幾乎忘卻了作為一種健康的動(dòng)物感受生命意義時(shí)的那種活力與激情。Many contemporary ailmentsour hypertensions and neuroses are no more than the physical evidence of rebellion against our physical surroundings and frustration at the widening gap between the environment we yearn for and the stifling, artificial one we planners ha

43、ve so far contrived.這一時(shí)代的許多疾病，譬如高血壓和神經(jīng)衰弱，正是我們的身體反抗外界環(huán)境的表現(xiàn)，而我們所渴望的的環(huán)境與我們作為規(guī)劃師規(guī)劃的那種沉悶的人工環(huán)境之間不斷增大的裂痕也令人沮喪。Life itself is dictated by our moment-by-moment adjustment to our environment. Just as the bacterial culture in the petri dish must have its scientifically compounded medium for optimum development

44、 and the potted geranium cutting its proper and controlled conditions of growth to produce a thriving plant, so weas complicated, hypersensitive human organismsmust have for our optimum development a highly specialized milieu. It is baffling that the nature of this ecological framework has been so l

45、ittle explored. Volumes have been written on the conditions under which rare types of orchids may best be grown; numerous manuals can be found on the proper raising and care of guinea pigs, white rats, goldfish, and parakeets, but little has been written about the nature of the physical environment

46、best suited to human culture. Here is a challenging field of research.生活取決于我們每時(shí)每刻對(duì)環(huán)境的適應(yīng)。就像培養(yǎng)皿中培養(yǎng)的細(xì)菌，必須具備科學(xué)的復(fù)合介質(zhì)才能促進(jìn)其繁殖；亦或是盆栽的天竺葵扦插條，也必須在適合的、可控的條件下才能生長(zhǎng)茂盛。我們作為復(fù)雜且高度敏感的人類有機(jī)體，也必須有適合我們發(fā)展的高度專業(yè)化環(huán)境。令人費(fèi)解的是，這種生態(tài)框架的本質(zhì)卻很少被人探尋。有關(guān)于稀有蘭花在什么環(huán)境下生長(zhǎng)最好的研究寫了一卷又一卷，介紹如何正確的飼養(yǎng)幾內(nèi)亞的豬、白老鼠、金魚以及長(zhǎng)尾小鸚鵡的手冊(cè)更是數(shù)不勝數(shù)。然而卻幾乎沒有一本書來(lái)介紹什么樣的物質(zhì)環(huán)

47、境最適合人類發(fā)展。這是一塊非常具有挑戰(zhàn)性的研究領(lǐng)域。The naturalist tells us that if a fox or a rabbit is snared in a field and then kept in a cage, the animals clear eyes will soon become dull, its coat will lose its luster, and its spirit will flag. So it is with humans too long or too far removed from nature. For we are, f

48、irst of all, animals. We are creatures of the meadow, the forest ,the sea, and the plain. We are born with a love of fresh air in our lungs, dry paths under our feet, and the penetrating heat of the sun on our skin. We are born with a love for the feel and smell of rich, warm earth, the taste and sp

49、arkle of clear water, the refreshing coolness of foliage overhead, and the spacious blue dome of the sky. Deep down inside we have for these thingsa longing, a desire sometimes compelling, sometimes quiescent but always it is there.自然博物學(xué)家告訴我們，如果狐貍或兔子被捕以后關(guān)在籠子里，他們清澈的眼睛很快會(huì)變得灰暗，皮毛會(huì)失去光澤，精神也會(huì)萎靡不振。人類遠(yuǎn)離大自然也

50、會(huì)如此，因?yàn)槿祟愂紫仁且环N動(dòng)物。我們是草地、森林、海洋還有平原的動(dòng)物。我們?cè)诔錾畷r(shí)，肺里就充滿了愛的新鮮空氣，腳下踏著干燥的小路，陽(yáng)光普照于我們的肌膚之上。我們天性有愛，那是一種感受大地的富饒溫暖的愛，那是一種品味清澈水源的愛，那是一種對(duì)頭頂?shù)闹θ~帶來(lái)的絲絲涼爽的愛，那是一種對(duì)廣闊的藍(lán)色蒼穹的愛。我們內(nèi)心深處的這這些渴望，有時(shí)是明顯的，有時(shí)又是含蓄的，但是它總是一直在那里。It has been proposed by many sages that, other things being equal, the happiest person is one who lives in clos

51、est, fullest harmony with nature. It might then be reasoned: why not restore humans to the woods? Let them have their water and earth and sky, and plenty of it. But is the primeval forest-preserved, untouched, or simulatedour ideal environment? Hardly. For the story of the human race is the story of

52、 an unending struggle to ameliorate the forces of nature. Gradually, laboriously, we have improved our shelters, secured a more sustained and varied supply of food, and extended control over the elements to improve our way of living.許多圣人都談到：在其他條件都相同的情況下，最開心的人是那些最能與自然和諧共處之人。按照這種說(shuō)法，為何不使人類回歸自然？讓他們擁有充沛的

53、水源、土地和天空呢。但是這種原始的、未經(jīng)開發(fā)的森林保護(hù)地會(huì)是我們理想的生存環(huán)境嗎？很難這么說(shuō)。因?yàn)槿祟惖臍v史就是一部通過(guò)無(wú)休止的斗爭(zhēng)來(lái)改善自然的歷史。在經(jīng)歷了一個(gè)逐步的、充滿艱辛的過(guò)程之后，我們改善了我們的住所，獲得了源源不斷的、各式各樣的食物供給，也通過(guò)增強(qiáng)對(duì)其他事物的控制力改進(jìn)了我們生活的方式。What alternatives, then, are left? Is it possible that we can devise a wholly artificial environment in which to better fulfill our potential and more

54、 happily work out our destiny? This prospect seems extremely doubtful. A perceptive analysis of our most successful ventures in planning would reveal that we have effected the greatest improvements not by striving to subjugate nature wholly, not by ignoring the natural conditioning or by the thought

55、less replacement of the natural features, contours, and covers with our constructions, but rather by consciously seeking a harmonious integration. This can be achieved by modulating ground and structural forms with those of nature, by bringing hills, ravines, sunlight, water, plants, and air into ou

56、r areas of planning concentration, and by thoughtfully and sympathetically spacing our structures among the hills, along the rivers and valleys, and out into the landscape.還有其他的選擇嗎？我們有可能通過(guò)創(chuàng)造一個(gè)完全人工的環(huán)境來(lái)更好的滿足我們的潛在需求和掌控我們的命運(yùn)嗎?這種前景令人質(zhì)疑。通過(guò)深入分析那些最成功的規(guī)劃，可以看出：我們的成功之處在于有意識(shí)的尋求一種和諧的整體而不是粗暴的征服自然，不是忽略自然條件，也不是武斷的用

57、人工建筑掩蓋自然特征和外觀。而這種和諧是通過(guò)調(diào)整土地和結(jié)構(gòu)形式以適應(yīng)自然，是通過(guò)將丘陵，溝壑，陽(yáng)光，水，植物，空氣引入集中規(guī)劃區(qū)域，是通過(guò)將構(gòu)筑物間筑于群山之間，河流和山谷沿線以及風(fēng)景之中來(lái)完成的。We are perhaps unique among the animal in our yearning for order and beauty. It is doubtful whether any other animal enjoys a “view”, contemplates the magnificence of a venerable oak, or delights in tr

58、acing the undulations of a shoreline. We instinctively seek harmony; we are repelled by disorder, friction, ugliness, and the illogical. Can we be content while our towns and cities are still oriented to crowded streets rather than to open parks? While highways slice through our communities? While f

59、reight trucks rumble past our churches and our homes? Can we be satisfied while our children on their way to school must cross and recross murderous traffic ways? While traffic itself must jam in and out of the city, morning and evening, through clogged and noisy valley floors, although these valley routes should, by all