Abstract
This paper discusses the problem of urban blight and what must be done to make a city livable. The paper discusses the concept of 'New Urbanism', a plan endorsed by enlightened planners that emphasizes the "human scale" of all its undertakings. The paper explains that 'New Urbanism" embodies the idea that people must not feel squeezed-out by overly large buildings and that a community must address the diversity of real-life human beings. The paper further discusses the significant role that both architecture and art play in making a city livable and likeable and explains that the more human the urban space, the more inviting, and invigorating it will be.

From the Paper
"Huge numbers of economically-disadvantaged families can overwhelm any community. The problem is made worse by the lack of any coherent plan; any attempt to use the gift of modern technology to alleviate these deplorable conditions. We tend to believe that urban blight is inevitable - the price we pay for living in such a high-tech, fast-paced society. Yet we need not be slaves of our technology. Technology can help us to beautify our environment, help us to create livable urban spaces that we can all enjoy."

Tags:suburban, sprawl, aesthetics, every, day, life, corporate, greed, government, beaurocracy

Abstract
This paper examines how both Graham Cherry's "The Town Planning Movement and the Late Victorian City" and Stephen Ward's "Planning and Urban Change" examine and explain the social, economic and ideological conditions which gave rise to the town planning profession at the dawn of the 20th Century. The paper also discusses how both pieces manifestly succeed in fulfilling the purposes they were intended for by their author. Ward's neatly encapsulates the development of British town planning and explains its ontology and infancy in a manner which those who are not specialists in historical studies can learn from and engage with. In contrast, the paper shows how Cherry provides a good outline to similar effect for those who are more familiar with the period and the discipline of history.

From the Paper
"The differences between the 2 pieces are clear in the styles in which Cherry and Ward choose to construct their discourses. Cherry's work is broadly thematic, eschewing a straight forward narrative style for one driven by categories . Cherry makes much use of statistics to support and elaborate upon his points, at times allowing them to almost speak for themselves . His outlook is clearly very much influenced by his background in the social science that is geography as opposed to the more "literary" style traditionally favoured by historians. Ward, on the other hand adopts a chronological almost narrative style and makes use of maps and contemporary photographic images to illustrate his text . Likewise, whilst he frequently cites his sources he seldom endnotes unlike Cherry . Ward's choice of style is clearly deliberate, his audience, whilst a specialist one, is not inherently concerned with the study of the origins of town planning in late Nineteenth and early Twentieth Century Britain. As such he needs to engage their attention with an easy to follow chronological account which often focuses on personalities. "

Tags:ontology, urban, development

Abstract
This paper takes a look at gothic architecture and the urban planning of medieval towns, focusing specifically on Mont- Saint-Michel on the islet of Mont Tombe. According to the paper, aside from the intrinsic military value of Mont-Saint-Michel, the place served also as a social, cultural and political arena.

From the Paper
"Of particular interest in the study of Gothic architecture is the structure standing tall on the islet of Mont Tombe - Mont-Saint-Michel. Before understanding the architectural wonder of this sacred shrine, one must first know the history relevant not only to the place itself but in most areas during the Medieval Period. Since this era has been considered fraught with battles and warfare, building of churches, cathedrals or any holy place at that time was not only in consideration of the religious fervour but in deference to military strategies as well. Religious structures did not serve only as places of worship but of defense or withstanding of attacks from marauding invaders. Mont-Saint-Michel is by any means not an exception since aside from serving the spiritual needs of the inhabitants; its military value was very much taken into consideration."

Tags:rebuilding, structure, cathedral, beauty, Romanesque, church, architectural, Dark, Ages, Period, of, Enlightenment

Abstract
The paper discusses the conceptual and legal meaning of professionalism and offers a brief overview of the Royal Town Planning Institute (RTPI) Code of Conduct. The paper examines whether this code of conduct addresses the conceptual and legal meaning of professionalism and encourages professional behaviour.

Outline:
Introduction
The Conceptual and Legal Meaning of Professionalism
The RTPI Code of Conduct
Does the Code of Conduct Address the Conceptual and Legal Meaning of Professionalism
Does the Code of Conduct Encourage Professional Behaviour
Conclusion

From the Paper
"Professionalism, as a conceptual term, is ambiguous in nature. There have been a variety of definitions applied throughout the decades. In general, professionalism is individuals acting upon ideals and values during their service of individuals and population, who have entrusted them. Professionalism involves prioritizing the interests of clients being served above their own. Hammer et al. conceptualize professionalism as being akin to a bicycle wheel. In the center of the wheel are the core values associated with professionalism including: caring, honor, altruism, duty, and integrity. Spokes of behaviors that are associated with these values then radiate from the center, including: accountability, respect, compassion, and empathy. The outer ring of the concept, the tire of the wheel, is the surface of professionalism and includes such things as: punctuality, courtesy, and professional dress."

Tags:professionalism, accountability, integrity, respect, courtesy

Abstract
This paper explains who Friedrich Nietzsche and Jean-Paul Satre were as existentialist philosophers. It then compares and contrasts their view of aesthetics and art in human life. The paper specifically compares and contrasts each author's philosophical ideas of art, showing how in their eyes, life serves to creatively imitate an otherwise meaningless life.

Table of Contents:
Sartre, Art, and his Notion of Aesthetics
Nietzsche and Art

From the Paper
"In creating the world through action, consciousness gives meaning to being and saves it from absurdity and being nonsensical. The justification of being results from the fact that it lends its being to the project of consciousness. By creating the world, consciousness creates itself: By giving a meaning to being, it gives itself by the same token a meaning. However, it is still not justified by Nietzsche or by Sartre."
"In the end, the existential life is a meaningless one. However, through the creative process of art, the human race gets a better picture of what "nothingness" really means. There is self-created meaning in this creative artistic process, but in the end, according to both philosophers, God is still dead."

Tags:creativity, mening, perception

Abstract
This paper examines theories found in the field of aesthetics, or the philosophical qualities found within art, to clearly address the question of whether humans create art or whether humans are art. This conflict of qualities has long perplexed philosophers and artists alike, where there is no real distinction as to whether art comes from an essential human nature, or whether art is the manifestation of that nature in a detached form of media.

Abstract
This paper begins by putting forward aesthetics theories on symbolism in art by three different aestheticians: Hegel, Goodman and Plato. Further, the paper compares all three theories, finally judging in favor of one.

Abstract
"Since the turn of the century artists have incorporated machine imagery into their art. But, whether they were frightened by the threat of a dehumanized, mechanized society or pleased by the hard lines of factories and machine-made objects, they only borrowed their images and their style for use in traditional art media

From the Paper
"Since the turn of the century artists have incorporated machine imagery into their art. But, whether they were frightened by the threat of a dehumanized, mechanized society or pleased by the hard lines of factories and machine-made objects, they only borrowed their images and their style for use in traditional art media. In the 1960s, however, artists began to expand the boundaries of their media with the incorporation of machines and technological processes into their art.

From radio broadcasts and videotape to functioning mechanical objects and digital computer imagery, the last three decades have seen the increasing use of various technologies to make art. Instead of visual or thematic inspiration for painters or sculptors technology today is used as a part of art, in the service of art, and as forms of art. But these are arts in their infancy and for ..."

Abstract
This paper explores and compares the influence of Clement Greenberg's and Michael Fried's ideas on art and aesthetics and how the reaction to those ideas impacted the development of late Modernism and its transition into Postmodernism.

From the Paper
"Central to both the theoretical stances of Greenberg and Fried is the non-referential nature of high art and the non-contingent nature of artistic practice. This forms part of an "elitist" view of art, which was to contrast sharply with later postmodern concepts of artistic practice that emphasize an egalitarian ethos and a breaking down of the barriers between the different art forms. As will become clear, for Greenberg and Fried correct artistic practice could not be contingent on and referable to other areas besides that specific mode of art. In other words, "proper" or pure art can have no subject and cannot be related to social or any other external areas. For both Greenberg and Fried the subject and correct developmental path of art was art itself. This becomes clear if the central tenets of modern formalism are analyzed."

Tags:formalism, contemporary, purity, primacy, exclusivity, perceptual, sensual, structure