In the 1960s, architectural utopia became a popular topic in the press and architecture schools. Much has been written on utopia’s intermediate position between modern and postmodern architecture. But the utopian images themselves have so far been overlooked. This article focuses on the Groupe d’Études d’Architecture Mobile (GEAM) to specify the role of the utopian image between technological, political, and architectural debates. The analysis demonstrates that the changes in architectural utopia refer less to a transition towards postmodernism, history, and the end of utopia than to a change in image culture. This is when new modelling techniques and the use of new communicative images as photocollage, different types of illustrations, and techniques of simulation enter the field. They all belong to a new class of prospective architectural images that emerged from the fusion of prognosis and design. Originating from postwar planning culture, technological, and scientific innovations, they describe a new relation towards the future that oscillates between prefiguration and openness.

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预期图像：GEAM 的移动乌托邦项目

在 1960 年代，建筑乌托邦成为新闻界和建筑学校的热门话题。关于乌托邦在现代和后现代建筑之间的中间位置已经有很多文章。但迄今为止，乌托邦形象本身一直被忽视。本文重点关注 Groupe d'Études d'Architecture Mobile (GEAM)，以说明乌托邦形象在技术、政治和建筑辩论之间的作用。分析表明，建筑乌托邦的变化与其说是向后现代主义、历史和乌托邦终结的过渡，不如说是图像文化的变化。这是当新的建模技术和使用新的交流图像作为拼贴画、不同类型的插图和模拟技术进入该领域时。它们都属于从预测和设计融合中出现的一类新的前瞻性建筑图像。他们源自战后的规划文化、技术和科学创新，描述了一种在预示性和开放性之间摇摆不定的面向未来的新关系。