A  The way we travel around cities has a major impact on whether they are sustainable. Transportation is estimated to account for 30% of energy consumption in most of the world's most developed nations, so lowering the need for energy-using vehicles is essential for decreasing the environmental impact of mobility. But as more and more people move to cities, it is important to think about other kinds of sustainable travel too. The ways we travel affect our physical and mental health, our social lives, our access to work and culture, and the air we breathe. Engineers are tasked with changing how we travel round cities through urban design, but the engineering industry still works on the assumptions that led to the creation of the energy-consuming transport systems we have now: the emphasis placed solely on efficiency, speed, and quantitative data. We need radical changes, to make it healthier, more enjoyable, and less environmentally damaging to travel around cities.

A  我们在城市中的旅行方式，对城市的可持续发展有着重大影响。据估计，世界上大多数发达国家中，交通运输占能源消耗的30%，因此，降低对耗能汽车的需求对于减少出行对环境的影响至关重要。但是随着越来越多的人搬到城市，考虑其他可持续的旅行方式也十分重要。我们的出行方式会影响我们的身心健康、社会生活、工作和文化，以及我们呼吸的空气。工程师的任务是通过城市设计来改变我们在城市中的出行方式，但现在的工程行业依然基于我们现有的耗能运输系统创造的假设:重点仅放在效率、速度和定量数据上。我们需要彻底的改变，使城市中的旅行变得更健康、更愉快、对环境的破坏更少。

B  Dance might hold some of the answers. That is not to suggest everyone should dance their way to work, however healthy and happy it might make us, but rather that the techniques used by choreographers to experiment with and design movement in dance could provide engineers with tools to stimulate new ideas in city-making. Richard Sennett, an influential urbanist and sociologist who has transformed ideas about the way cities are made, argues that urban design has suffered from a separation between mind and body since the introduction of the architectural blueprint.

B  舞蹈可能会告诉我们答案。这并不是指每个人都要跳着舞来工作，尽管它可能会让我们变的健康快乐，而是说，编舞者用来尝试和设计舞蹈动作的技能，可以为工程师所用，激发关于城市建设的新想法。理查德·森尼特是一位颇有影响力的城市学者和社会学家，他改变了关于城市制造方式的观念他认为，自从有了建筑蓝图以来，城市设计就身心分离。

C  Whereas medieval builders improvised and adapted construction through their intimate knowledge of materials and personal experience of the conditions on a site, building designs are now conceived and stored in media technologies that detach the designer from the physical and social realities they are creating. While the design practices created by these new technologies are essential for managing the technical complexity of the modern city, they have the drawback of simplifying reality in the process.

C  中世纪的建筑商，依据对材料的充分了解和对现场环境的个人经验，即兴创作、改造了建筑，而如今，建筑设计是在媒体技术中构思和存储的，因此设计师脱离了他们所创造的物体和社会现实。虽然这些新技术创建的设计实践，对于管理现代城市的技术复杂性至关重要，但缺点在于这简化了建设过程中的实际情况。

D  To illustrate, Sennett discusses the Peachtree Center in Atlanta, USA, a development typical of the modernist approach to urban planning prevalent in the 1970s. Peachtree created a grid of streets and towers intended as a new pedestrian-friendly downtown for Atlanta. According to Sennett, this failed because its designers had invested too much faith in computer-aided design to tell them how it would operate. They failed to take into account that purpose-built street cafés could not operate in the hot sun without the protective awnings common in older buildings, and would need energy-consuming air conditioning instead, or that its giant car park would feel so unwelcoming that it would put people off getting out of their cars. What seems entirely predictable and controllable on screen has unexpected results when translated into reality.

D  为了说明这一点，森尼特以美国亚特兰大的桃树大厦城市规划中心为例，这是20世纪70年代流行的现代主义城市规划方法发展的典型建筑。桃树大厦创造了街道和塔楼的网格框架，企图成为亚特兰大的新步行街。就森尼特来看，它失败了，因为设计师对计算机辅助设计过于信任，以至于无法说明它将如何运作。他们没有考虑到，如果缺少了老式建筑中常见的防护篷，专门建造的街边咖啡馆就无法在烈日下运作，只能依赖于消耗能源的空调，其次巨大的停车场会让人们感到太麻烦，而不想下车。在规划付诸现实时，电脑上看起来完全可预测和可控制的结果却不尽人意。

E  The same is true in transport engineering, which uses models to predict and shape the way people move through the city. Again, these models are necessary, but they are built on specific world views in which certain forms of efficiency and safety are considered and other experiences of the city ignored. Designs that seem logical in models appear counter-intuitive in the actual experience of their users. The guard rails that will be familiar to anyone who has attempted to cross a British road, for example, were an engineering solution to pedestrian safety based on models that prioritise the smooth flow of traffic. On wide major roads, they often guide pedestrians to specific crossing points and slow down their progress across the road by using staggered access points to divide the crossing into two – one for each carriageway. In doing so they make crossings feel longer, introducing psychological barriers greatly impacting those that are the least mobile, and encouraging others to make dangerous crossings to get around the guard rails. These barriers don't just make it harder to cross the road: they divide communities and decrease opportunities for healthy transport. As a result, many are now being removed, causing disruption, cost, and waste.

E  运输工程也是如此，它使用模型来预测、打造人们在城市中移动的方式。同样，这些模型是必要的，但它们是建立在特定的世界观之上的，只考虑了某些形式的效率和安全性，而忽略了其他城市体验。在模型中看起来合乎逻辑的设计，但却违背了用户的实际体验。例如，任何曾走过英国道路的人都会熟悉的护栏，是行人安全工程解决方案，优先考虑了交通通畅度。在宽阔的主要道路上，护栏通常将行人引导到特定的交又点，使用交错的入口点将交叉路口分为两部分--每条行车道一个，减慢了行人过马路的速度。这样一来，护栏使得过道路的时间感觉起来更久，让行人心里产生心理障碍极大地影响了那些行动不便的人，也变相鼓励了一些人使用危险的方式来绕过护栏。这些障碍不仅使过马路变得更加困难，它们还隔断了社区，并减少了良性交通的机会。这导致的结果是，现在许多护栏都被移走、造成破坏和浪费。

F  If their designers had had the tools to think with their bodies – like dancers – and imagine how these barriers would feel, there might have been a better solution. In order to bring about fundamental changes to the ways we use our cities, engineering will need to develop a richer understanding of why people move in certain ways, and how this movement affects them. Choreography may not seem an obvious choice for tackling this problem. Yet it shares with engineering the aim of designing patterns of movement within limitations of space. It is an art form developed almost entirely by trying out ideas with the body, and gaining instant feedback on how the results feel. Choreographers have deep understanding of the psychological, aesthetic, and physical implications of different ways of moving.

F  如果设计者有方法像舞者一样用身体思考，想象这些路障带来的影响，那么可能会有更好的解决方案。为了从根本上改变我们运作城市的方式，工程技术需要对人们为什么以某种方式移动，以及这种移动如何影响他们有更深入的了解。编舞看起来不是解决此类问题最明显的选择。但它与工程设计有着相似的目标，都是在一定限制空间内设计运动式。编舞这种艺术，几乎完全用身体来践行想法也能第一时间获取最直接的反馈。编舞者对不同移动方式的心理、美学和身体上的含义都有着深刻的了解。

G  Observing the choreographer Wayne McGregor, cognitive scientist David Kirsh described how he 'thinks with the body'. Kirsh argues that by using the body to simulate outcomes, McGregor is able to imagine solutions that would not be possible using purely abstract thought. This kind of physical knowledge is valued in many areas of expertise, but currently has no place in formal engineering design processes. A suggested method for transport engineers is to improvise design solutions and get instant feedback about how they would work from their own experience of them, or model designs at full scale in the way choreographers experiment with groups of dancers. Above all, perhaps, they might learn to design for emotional as well as functional effects.

G  通过观察编舞家韦恩·麦克格雷戈，认知科学家大卫·科什描述了他是如何“用身体思考“的。科什认为，通过使用人体模拟结果，麦克格能够想出仅依靠纯粹的抽象思维不可能实现的解决方案。这种物理知识在许多专业领域都很受重视，但是目前在正式的工程设计过程中还没有运用。对于运输工程师来说，一条建议是即兴设计解决方案，并从以往经验中获得该方案运作时的即时反馈，或者像编舞者与一群舞者进行尝试那样，对模型进行全面建模。最重要的是，他们也许会从中学会，如何在让设计达到功效的同时，也具备情感的温度。