2024年4月19日发(作者：最好看的全屏手机壁纸)

Paris,theCapitaloftheNineteenthCentury

é

of1935>

Thewatersareblue,theplantspink;theeveningissweetto

lookon;

Onegoesforawalk;the

grandesdames

goforawalk;behind

themstrollthe

petitesdames

.

—NguyenTrongHiep,

Paris,capitaledelaFrance:Recueil

devers

(Hanoi,1897),poem25

r,ortheArcades

Themagiccolumnsofthesepalaces

Showtotheamateuronallsides,

Intheobjectstheirporticosdisplay,

Thatindustryistherivalofthearts.

—NouveauxTableauxdeParis

(Paris,

1828),

vol.

1,

p.

27

st

conditionfortheiremergenceistheboominthetextiletrade.

Magasinsdenouveautés,

thefirstestablishmentstokeeplargestocksofmerchandiseonthepremises,maketheir

appearance.

1

stheperiodofwhich

Balzacwrote:"ThegreatpoemofdisplaychantsitsstanzasofcolorfromtheChurchof

theMadeleinetothePorteSaint-Denis."

2

Thearcadesareacenterofcommercein

ingthemout,poraries

nevertireofadmiringthem,andforalongtimetheyremainadrawingpointfor

IllustratedGuidetoParis

says:"Thesearcades,arecentinventionof

industrialluxury,areglass-roofed,marble-paneledcorridorsextendingthroughwhole

blocksofbuildings,both

sidesofthesecorridors,whichgettheirlighthornabove,arethemostelegantshops,so

thatthe

passage

isacity,aworldinminiature.”Thearcadesarethesceneofthefirstgas

lighting.

Thesecondconditionfortheemergenceofthearcadesisthebeginningofiron

iresawinthistechnologyacontributiontotherevivalof

hitecturaltheoristBoetticherexpresses

thegeneralviewofthematterwhenhesaysthat,"withregardtotheartformsofthenew

system,theformalprincipleoftheHellenicmode"mustcometoprevail.

3

Empireisthe

1

2

3

styleofrevolutionaryterrorism,Napoleon

failedtounderstandthefunctionalnatureofthestateasaninstrumentofdominationby

thebourgeoisclass,sothearchitectsofhistimefailedtounderstandthefunctionalnature

ofiron,wit

architectsdesignsupportsresemblingPompeiancolumns,andfactoriesthatimitate

residentialhouses,justaslaterthefirstrailroadstationswillbemodeledonchalets.

"Constructionplaystheroleofthesubconscious.

4

Nevertheless,theconceptofengineer,

whichdatesfromtherevolutionarywars,startstogainground,andtherivalrybegins

betweenbuilderanddecorator,EcolePolytechniqueandEcoledesBeaux-Arts.

Forthefirsttimeinthehistoryofarchitecture,cialbuildingmaterialappears:

rgoesanevolutionwhosetempowillaccelerateinthecourseofthecentury.

Thisdevelopmententersadecisivenewphasewhenitbecomesclearthatthe

locomotive-onwhichexperimentshavebeenconductedsincetheendofthe1820s—is

lbecomesthefirstprefabricatedironcomponent,

avoidedir:homeconstructionbutusedinarcades,

exhibitionhalls,ametime,

therangeofarchitecturalapplicationsforglassexpands,althoughthesocialprerequisites

foritswidenedapplicationasbuildingmaterialwillcometotheforeonlyahundred

erbart's

Glasarchitektur

(1914),itstillappearsinthecontextof

utopia.

5

Eachepochdreamstheonetofollow

（

Chaqueépoquerêvelasuivante）

—Michelet,“Avenir!Avenir!”

6

Correspondingtotheformofthenewmeansofproduction,whichinthebeginningisstill

ruledbytheformoftheold(Marx),areimagesinthecollectiveconsciousnessinwhich

magesarewishimages:inthemthecollective

seeksbothtoovercomeandtotransfiguretheimmaturityofthesocialproductandthe

ametime,whatemergesin

thesewishimagesistheresoluteefforttodistanceoneselffromallthatis

antiquated-whichincludes,endenciesdeflectthe

imagination(whichisgivenimpetusbythenew)ream

inwhicheachepochentertainsimagesofitssuccessor,thelatterappearsweddedto

elementsofprimalhistory

Andtheexperiencesofsuchasociety-asstoredintheunconsciousofthe

collective-engender,throughinterpenetrationwithwhatisnew,theutopiathathasleftits

traceinathousandconfigurationsoflife,fromenduringedificestopassingfashions.

retcueis

sfactisnotdirectlyexpressedintheFourieristliterature,

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