Comparative studies on formation and reception of modern urban landscape

作者旨在阐明现代城市景观的形成和转变过程。城市的视觉表征自古以来就已存在，但它们以清晰的几何形式概括了人类城市应有的意识形态。这些表示并不是原始的表示，但实际上它们能够有效地定义和推测空间，就像我们现代地图中的图标一样。文学中理想城市的经典形象也体现了其形式的合理性，即圆形或矩形。这种理性符合城市的真实形象，因为城市的形式不仅必须尊重宗教象征意义，而且必须尊重其居民活动的有效性。这是因为我们在任何一个时代都可以找到城市现代性和理性的一面。顺便说一句，还有另一种现代性：意大利巴洛克时代城市的重建和图形表现的流通在很大程度上促成了这种现代性，其中城市已经成为视觉对象。作为如画的风景，如画的城市意象是人们有意识地追求的，它们以形式影响着现实的城市。19世纪加速了理性意义上的现代性，但与此同时，理性本身也变成了如画的意象。如画的风景在我们的图像文化中得以生存。由此可见，现代城市景观有两个视觉维度：一是需要远景，具有如画的空间延伸；二是需要远景的视觉维度。但它预设了一种近距离的视角，在这种视角下，我们成功地行动并从一个片段移动到另一个片段。现代城市景观是由这种多样性的碎片和视野层次构成的。现代审美体系与这种结构紧密相连。

The authors aim at clarifying the processes of formation and transformation of modern urban landscape. Visual representations of cities have been existed from the antiquity, but they schematize ideologies of human city as it should be, in geometrically clear form. These representations are not primitive ones but in fact effective for their ability of defining and conjecturing the space, just as icons in our modern maps. Classical images of the ideal city in literature also represent the rationality of its form, i.e. round or rectangular shape. This rationality corresponds real image of the cities, in so far as the form of a city must respect not only a religious symbolism, but also the effectiveness of its habitants' activities. It is because we can find modern and rational aspects of cities in any former times.By the way, there is another modernity : the reconstruction of cities in Italian baroque age and the circulation of graphical representations largely contributed this modernity, in which the cities have become visual objects. As picturesque landscapes, picturesque city images are sought consciously, and they influence real cities in their form.The 19th century accelerated the modernity in its rational sense, but in the same time, the rationality itself became a picturesque image. The picturesque survives under our imagery culture. Thus, the modern urban landscape has two visual dimensions : it requires a distant view, with its picturesque and spatial extension ; but it presupposes a close view, in which we act and move succeeding, from one fragment to another fragment. The modern urban landscape is constructed of this multiplicity of fragments and that of levels of view. The modern aesthetic system is closely tied with this structure.