Comparative studies on formation and reception of modern urban landscape

本文旨在阐明现代城市景观的形成与演变过程。城市的视觉表现从古代就存在了，但它们以几何清晰的形式将人类城市的意识形态系统化。这些表示不是原始的，但实际上有效的，因为它们具有定义和描述空间的能力，就像我们现代地图中的图标一样。理想城市在文学作品中的经典形象也体现了其形态的合理性，即圆形或矩形。这种合理性符合城市的真实的形象，因为城市的形式不仅必须尊重宗教象征，而且必须尊重居民活动的有效性。这是因为我们可以在以前的任何时代找到城市的现代和理性的方面。顺便说一下，还有另一种现代性：意大利巴洛克时代的城市重建和图形表示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，它们影响着真实的城市的形态。世纪加速了理性意义上的现代性，但同时理性本身也成为了如画的意象。画意在我们的意象文化下生存。因此，现代城市景观有两个视觉维度：它需要一个远景，具有其风景如画的空间扩展;但它以一个近距离的视野为前提，我们在其中行动并从一个片段到另一个片段。现代城市景观就是由这种碎片的多样性和景观层次构成的。现代美学体系与这一结构紧密相连。

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.