［註］
1) Michel Foucault,“Jean Hyppolite. 1907-1968,"Revue de metaphysique et de morale,vol.74 no.2, Apr.-June 1969訳文は､アンジェル･クレメール＝マリエッティ『ミシェル･フーコー:考古学と系譜学』(桑田禮彰他訳､新評論､1992､p.122)より引用。
2) マンフレッド･タフーリ『球と迷宮』(八束はじめ他訳)、PARCO出版、1992、p.23.
3) Anthony Vidler,Claude-Nicolas Ledoux :architecture and social reform at the end of the Ancien Regime,The MIT press,1990, pp.95-99.
4) 例えば、ブレの《ニュートン記念堂》に反映されている宇宙観と､17世紀初頭に『太陽の都』を著したトンマーゾ･カンパネッラの理想都市に投影されている宇宙観とを比較してみることは興味深い。広い平原の中央に位置する丘の上にカンパネッラの理想都市はそびえ､｢丘の頂上には完全な円形をしたこのうえなく美しい神殿がそびえ､その円蓋は巨大な円柱によって支えられている。『祭壇の上には、天球全体を描いた巨大な天球儀と､地球を描いた地球儀があるだけです。そして丸天井には、天の主要な星が残らず描かれています‥‥‥』｣。ライナルド・ペルジーニ『哲学的建築』（伊藤博明・伊藤和行訳）、ありな書房、1996、pp.21-29参照。
5) 白井秀和訳による邦訳がある。（中央公論美術出版、1992）。
6) 同じく白井秀和訳による邦訳がある（現在、２冊のうち「イギリス、イタリア編」のみ、中央公論 美術出版、1994）
We have endeavored here to sketch out this path，setting its antecendents within their Enlightenment context in the age of Boullee and Ledoux. To end with, let us refer briefly to still another eighteenth-century visionary， Giovanni Battista Piranesi， well known for his series of fantastic etchings of Carceri, or Prisons. While Boullee's and Ledoux's projects for the city were harmoniously delineated with explicit axes and centers， those by Piranesi，at least in this particular series， were dominated by darkness and confusion. Moreover, in his large and voluminous etched series of archeological themes and motifs，the architectural and sculptural fragment is dominant. If archeology is thought of as skillfully econstructing a‘whole' out of such fragments，then Piranesi's Campo Marzio, the city of late Imperial Roman inspiration he envisioned as a gathering or patchwork of such pieces，is indeed a place of archeological assemblage. As if obsessed by a horror vacui, his reconstituted Field of Mars is overspread，and nearly overcome，by the most divers typology of architectural forms. It is a chaos of conflicting axes without a center. Just as in the space of the Prisons, there is no settled perspective，as if one were watched from every angle. We are obliged to avow that the Piranesian ‘city of chaos' contributed yet another source to our present-day urban image.
Lastly, we might consider a group of younger architects currently active in Moscow as contemporary visionaries. The architects Alexander Brodsky，Ilya Utkin，Yuri Avvakumov， Mikhail Filippov，and Nadya Bronzova are sometimes
Lastly, we might consider a group of younger architects currently active in Moscow as contemporary visionaries. The architects Alexander Brodsky，Ilya Utkin，Yuri Avvakumov， Mikhail Filippov，and Nadya Bronzova are sometimes
