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• Questions for Discussion
• How do the techniques of distortion, adjustment,
  and the use of atmospheric perspective in the
  panorama painting enter into the strategies of
  Schinkels planning of Central Berlin?
• We have been using the term horizon to designate
  both the line of vision in perspective
  construction but also the limit of the field of
  vision. We have also been arguing for the
  interchangeability of the two. How does
  architecture help shape the horizon? To what
  extent is the insertion of the horizon linked to
  the horizontal organization of space? Use
  examples from Schinkel., Mies, Miralles, and
  others to help clarify your argument.
• One of the main aspirations of the panoramic
  approach in the 19th century was to simulate the
  totality of vision and to produce a comprehensive
  reality effect. Is this aspiration maintained
  with the later uses of the panoramic that we
  discussed in class?