To use wide lens on a large format camera the camera doesn't need to be accurately aligned at all, especially for cityscape, because the first thing you need to do is use the movements to straighten up converging verticals etc. So it hardly matters where the front standard starts from, wonky or perfect, it will still end up wonky in relation to the rest of the camera. A spirit level laid on the focusing screen is a good idea because that is your datum point for much of the time, but the rest of the camera can point in any direction when it comes out of the bag. Additionally the larger DOF of a wide lens takes care of near/far focus issues most of the time. If however it is so dark you can't see to compensate for converging lines etc, and you need the camera to click into place and get the best you can under the dark conditions, you are still going to have to use a spirit level on the rear standard every time you re-compose and focus the image. And a wide lens will exaggerate perspective anyway, so an out of alignment front standard by just a fraction isn't going to alter the image an awful lot.Wide angle lenses demand a pretty accurate camera. I'm not saying it has to be perfect, but come on, these things should be pretty damn close for the money they cost. I do a lot of urban landscape/architecture-type work, usually under low light conditions.
I would say try a monorail if you haven't already, they all do a very similar job so a Sinar would be great because of the vast range of bits that are easily available, but I honestly don't see how it would be better than a field camera or a technical camera.