ABSTRACT
The sense of vision is a personal function, however, in a big city, sometimes this ability is heterogeneous. Although architecture contributes to the production of ideology in the public space, the look of a walker in the densely populated city is diverted by a number of factors. Some of them produce the city itself and invite its inhabitants to stealthily copy the visual enjoyment of images and depictable traits. Thus, a resident-clone is born, which diffuses its gaze towards various directions, defying for personal or collective aspirations.
An important reference is the French capital, in the 19th century, which is transformed from a city to a big city. Interventions by baron Haussmann cause changes in the seemingly steady image of Paris. In particular, the old elements are removed and new ones are introduced, the bourgeois image is reformed and the spatial context in which everyday activities unfold in order to redefine the collective memory that stems from the urban space is affected. A clear and, at the same time, interesting picture of this reform, arises through the realistic depiction of the paintings of the impressionist painters of the time. They describe the new character of the big city. The opening of the boulevards in the 19th century is a crucial period for the city as well as for the modern world, with an intense diffusion of gaze to the new data, which in the past, perhaps, only manipulated the architecture.
Space is a place that is used, as Polychroniadi said, in «Memory of the daily experience of the city», but does the space itself preconfigured the look of his spectator?
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