This article analyses the importance of the 1919 peace treaty's signing at Versailles and the consequent signalling (both explicit and implicit) about its terms, particularly regarding then emerging notions of self-determination, one of US President Woodrow Wilson's Fourteen Points. Given the treaty's enduring significance as a site for testing the possibilities of international law, particular attention is given to the troubling negotiating arrangements concerning the Middle East. In acknowledgement of the backdrop's grandeur and the Council of Four's cartographic approach, the design discipline of landscape architecture is employed for estimating how far self-determination was (or was not) realised. For Louis XIV, Versailles's landscaping represented Culture's triumph over Nature. Equally, for the 1919 peacemakers the treaty symbolised law's triumphant return after the unequalled annihilation evident on the Western Front and Dardanelles beaches. Both grand projects suggested Cartesian notions. More compellingly, both Louis XIV and the Four (and in particular Clemenceau and Lloyd George) fetishized an avaricious hegemonic order. As well as embracing aesthetic, pictorial meanings in the visual arts, tellingly, 'landscape' also concerns 'limited section[s], administrative area[s], territory'. Although the treaty-artefact was a matter of fact, it was also a historically situated aesthetics : framed and presented in particular ways, in a particular interior, to situate the gaze of specific viewers and imply certain political associations. Like many design ideals devised to dazzle passive onlookers, attractions were firmly located in the creators' eyes. The construction of Versailles’s artistically stunning landscape had emphasised an all-authoritative French territorial state. In 1919 Versailles was also a cultural practice and its landscape had value '…as a process by which social and subjective identities' were formed. In June 1919, just as in the curve of the seventeenth into the eighteenth century, power's material realisation was confirmed at Versailles.

中文翻译：

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设计凡尔赛宫：风景与透视和平

本文分析了 1919 年在凡尔赛签署和平条约的重要性，以及随之而来的关于其条款的信号（明示和暗示），特别是关于当时新兴的自决概念，即美国总统伍德罗·威尔逊的十四点原则之一。鉴于该条约作为检验国际法可能性的场所的持久重要性，特别关注有关中东的令人不安的谈判安排。为承认背景的宏伟和四人委员会的制图方法，景观建筑的设计学科被用于估计自决实现（或未实现）的程度。对于路易十四来说，凡尔赛宫的景观美化代表了文化对自然的胜利。一样，对于 1919 年的和平缔造者而言，该条约象征着法律在西部阵线和达达尼尔海滩上遭受无与伦比的毁灭之后凯旋归来。这两个宏大的项目都提出了笛卡尔概念。更令人信服的是，路易十四和四人（尤其是克列孟梭和劳埃德乔治）都崇拜贪婪的霸权秩序。除了在视觉艺术中包含美学、图画意义之外，“风景”还涉及“有限的区域[s]、行政区域[s]、领土”。尽管条约人工制品是事实，但它也是一种历史定位的美学：以特定的方式在特定的内部进行框架和呈现，以定位特定观众的目光并暗示某些政治关联。就像许多旨在让被动旁观者眼花缭乱的设计理念一样，景点牢牢地定位在创作者的眼中。凡尔赛宫令人惊叹的艺术景观的建造强调了一个全权的法国领土国家。1919 年，凡尔赛宫也是一种文化实践，其景观具有“……作为形成社会和主观身份的过程”的价值。1919 年 6 月，正如 17 世纪到 18 世纪的曲线一样，权力的物质实现在凡尔赛宫得到了确认。