ところで､｢現代のヴィジョネール｣たちは、もしかするとモスクワを拠点に活動する一群の若き建築家たちであると言えるかもしれない。アレクサンドル･ブロツキー、イリア･ウトキン､ユーリ･アヴァクモフ、ミハエル･フィリッポﾞ、ナディア･ブロンゾーヴァといった建築家たちは､ひたすらドローイングや繊細なモデルを媒体に表現しているために｢ペーパー･アーキテクチャー｣の作家たちと形容される。しかしそれは、彼らが｢ペーパー｣という素材にこだわりがあるからではなく、空間表現をする上で最も｢卑近な｣素材であるがゆえに選択されているに過ぎない。例えば､ブロツキーが稠密な線のエッチングで表現する空間には、紙の上に何層ものインクが重ねられているような空間的な深みと、不透明なシンボリズム、あるいは透明な験りとも形容できるような想像力への挑発がある。
ブレやルドゥー等が生涯の最晩年、大革命の時代の前後にイマジナリーなプロジェクトの中に自己の表現を集中させていったのと比べると、現代のロシアの若きヴィジョネールたちは、時代の大転回を経験したいま、そのイマジネーションを何処へと向けてゆくのであろうか。
ブレやルドゥー等が生涯の最晩年、大革命の時代の前後にイマジナリーなプロジェクトの中に自己の表現を集中させていったのと比べると、現代のロシアの若きヴィジョネールたちは、時代の大転回を経験したいま、そのイマジネーションを何処へと向けてゆくのであろうか。
structure by his ‘visionaries' heralded the new spatial logic of Modernism.
Paradoxically, was it not the centrist element of the modernist phalanx, if, indeed， not those at the center of reaction， who most efficiently translated the vision of Boullee and his contemporaries for their own purposes during the 1930s? Above all， Adalberto Libera in Italy and Albert Speer in Germany come to mind，working under the aegis of Fascism and Nazism respectively. Thus, it was easy to shift the image of Bollee's integrity to the heart of a dubious political context.
Kaufmann further contributed to the revival of awareness of these so-called visionaries through the publication of subsequent books : Three Revolutionary Architects: Boullee, Ledoux, Lequeu(1952) and Architecture in the Age of Reason (1955).However, it was not until 1953 that Boullee's manuscript for his L'Architecture: Essai sur l'art was first offered to the public，while the Italian neo-Rationalist architect Aldo Rossi produced an exemplary Italian translation as late as 1967. The so-called neo-Rationalism，or Tendenza，of the early 1970s partly colonized the Rationalismo of the Italian interwar period，as represented by such architects as Libera and Terragni. Though scarcely comparable in terms of scale with Boullee's sumptious iconography of Reason，Rossi's work of these years recalls a similar absolute formal simplification. Rossi，in our own age，has attempted to raise concealed“memories of the city" into consciousness through an evocation of a pure and simplified spatial geometry.
Paradoxically, was it not the centrist element of the modernist phalanx, if, indeed， not those at the center of reaction， who most efficiently translated the vision of Boullee and his contemporaries for their own purposes during the 1930s? Above all， Adalberto Libera in Italy and Albert Speer in Germany come to mind，working under the aegis of Fascism and Nazism respectively. Thus, it was easy to shift the image of Bollee's integrity to the heart of a dubious political context.
Kaufmann further contributed to the revival of awareness of these so-called visionaries through the publication of subsequent books : Three Revolutionary Architects: Boullee, Ledoux, Lequeu(1952) and Architecture in the Age of Reason (1955).However, it was not until 1953 that Boullee's manuscript for his L'Architecture: Essai sur l'art was first offered to the public，while the Italian neo-Rationalist architect Aldo Rossi produced an exemplary Italian translation as late as 1967. The so-called neo-Rationalism，or Tendenza，of the early 1970s partly colonized the Rationalismo of the Italian interwar period，as represented by such architects as Libera and Terragni. Though scarcely comparable in terms of scale with Boullee's sumptious iconography of Reason，Rossi's work of these years recalls a similar absolute formal simplification. Rossi，in our own age，has attempted to raise concealed“memories of the city" into consciousness through an evocation of a pure and simplified spatial geometry.
