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partial images alternate in a kaleidoscopic fashion, forming
sequence as though in a film. The attractiveness of a pictur-
esque cityscape is not only an expression of a backward-
looking nostalgia that is oriented towards medieval instances
of quasi-naturally developed localities and urban structures.
The irregularity of curved rather than rectilinear street lay-
outs is also a timeless resource for shaping urbanistic spaces.
In contrast to streets that plunge in rectilinear fashion into
endless depths, the offset alignment of street fronts and hori-
zontal or vertical shifts of direction that interrupt view axes
are a resource for closing off the spaces of > public squares
and streets, but also for maintaining them as planar images.
Landscape architecture as well stands in an explicit relation-
ship to landscape painting. The English landscape garden in
particular was designed to allow visitors to stroll through an
ideal image. In the form of an artificially constructed image,
a putatively undisturbed nature is translated into a > land-
scape that is perceptible from multiple points of view like a
composed landscape painting, and framed for example by the
entrance to a grotto or the wooded edge of a clearing. As the
visitor strolls through the park, a montage of individual im-
ages appears in succession, interrupted by passages devoid of
images, forming a picturesque sequence.
Literature: Frey 1925/1946; Schmarsow 1897> arcade, base, column, density (spatial), hallEven architecture that is conceived primarily in processual
terms comes about at a location, through which it is not
only localized, but also situated and conditioned within an
all-embracing context. To be sure, a place can be determined
by marking a specific location on the Earth’s surface, but it
cannot be experienced by defining it in purely geometrical
terms. A place acquires an identity that can be experiencedPillar
Place