2004 Fiscal Year Final Research Report Summary
Comparative studies on formation and reception of modern urban landscape
| Project/Area Number |
14310027
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | Kyoto University of Art and Design |
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Principal Investigator |
UEMURA Hiroshi Kyoto University of Art and Design, Faculty of Arts, Professor, 芸術学部, 教授 (20232796)
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| Co-Investigator(Kenkyū-buntansha) |
MATSUBARA Tetsuya Kyoto University of Art and Design, Faculty of Arts, Assistant Professor, 芸術学部, 助教授 (60351368)
MIZUNO Chiyori Kyoto University of Art and Design, Faculty of Arts, Assistant Professor, 芸術学部, 助教授 (40330055)
KIMURA Naoe Gakushuin Women's College, Department of Japanese Studies, Lecturer, 国際文化交流学部, 講師 (30330054)
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| Project Period (FY) |
2002 – 2004
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| Keywords | Aesthetics / Art History / Veduta / Visuality / Architecture / Urbanism / Cartography / Space |
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| Research Abstract |
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.
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