Abstract Compared to other historic capital cities (such as Rome, Paris or Istanbul) - whose existence is more the result of a natural evolution with the increase of population, economic wealth and political power - the unique characteristic of Beijing is that it is a "planned entity," reflecting Chinese philosophy and cosmology which ran through its 3000 years urban history. This paper examines the latest conservation plan of the Beijing municipal government (Plan 1991-2010), especially concerning the renewal and preservation of courtyard houses and hutongs.
Paper Outline:
Introduction
Main Features in the Design
Plans of Construction (or Destruction?) Planning Since 1949
The Courtyard Houses and Hutong - the Folk Culture of Beijing
Values for Preservation
Restraints in Preservation
The Invisible City
Ju'er Hutong Project
References
From the Paper "The urban planning in China is rarely transparent to the public. In Beijing's case, with the residential area, public participation is one essential part in better designing for the renewal. To involve all the people who care about the place, who in fact are the place, guarantees a better understanding of what to preserve at all. Local Beijingers, having been living in the cultural political center of the nation, are informally active in public affairs. The old tea houses were always buzzing with discussions on current events, and today the alternative community managers (respected senior citizens) using simple tools (visiting each family, holding small meetings, notice boards spreading news in the Hutongs) can collect ideas easily."
Abstract Discusses the voyeuristic atmosphere and how Hitchcock uses the outer courtyard stories to underscore the story inside the apartment of the protagonist, Jeff, played by actor, James Stewart.
From the Paper "In Alfred Hitchcock's Rear Window (1954), the story that is being told in the apartment of L.B. "Jeff" Jefferies is often reflected in the life going on in the apartment windows around the courtyard. In the voyeuristic atmosphere that Hitchcock has set ..."
This paper describes and compares Agnolo Bronzino's "Portrait of Ugolino Martelli" and Rembrandt Harmenszoon van Rijn's "Aristotle" in an attempt to define the greatness of art.
1,100 words (approx. 4.4 pages), 0 sources, 2005, $ 38.95
Abstract The paper describes the older painting of the two masterpieces, which is by Agnolo Bronzino, officially called "Portrait of Ugolino Martelli", in which the painter captures the essence of the young man in the courtyard of the Martelli's villa; the arrangement of the right hand, face and left hand are almost a geometric proportion. The author points out that Rembrandt's "Aristotle" is a darker than Bronzino's portrait, the geographical difference between a sunnier Italy and a gloomier Holland; Bronzino's wonderful portrait, a masterpiece of its time, is of a real person; whereas, Rembrandt's painting is a more thoughtful work, a true "think piece" about the dead philosopher. The paper concludes that the greatness of these two painting is in the beholder's continued ability to see things as well as ideas and focus in the paintings, which is far more evident in "Aristotle".
From the Paper "There is no hint of accuracy in the dark background. Does the bust of Homer sit on a pedestal in front of stairs leading to where? The Agora, the lecture hall? Unlike Bronzino, Rembrandt's attention is solely on the bust and the man. And, just to verify that this is indeed a model, one need to look at the rough hands perhaps a perfect portraiture of the model posing, perhaps a farmer or tradesman from the village. They are not, despite the ring, the hands of what one would consider a philosopher, someone absorbed in thought, in writing and speaking, without doing any handiwork."
Abstract This paper explains that the Cambodian government has begun to make vast improvements to westernize its housing system in terms of design and in distribution of land. The author points out that, while urbanization plays a vital role in free market trade and democratic governments, the lack of purchasing power, financial strength and the legal loopholes required to obtain a new home in Phnom Penh are problems for the general Cambodian population. The paper stresses that Cambodians, who were colonized by the French in the late 19th and early 20th century, are accustomed to the centralized living styles of French flats, which provide more communal areas; whereas, the American investors are insisting on implementing western style condominiums, which differ in the sense that the facilities provide more privacy and space.
Table of Contents:
Historical Background
The Need for Land and Growth
Culture and Foreign Investment
History of Housing in Phnom Penh
Cambodian Fiscal System
The Development of French Style Flats and Western Condominiums
Legal Requirements for Construction of Housing
The Cost of Living in the New Phnom Penh
Analysis: French Style Flats versus Western Style Condominiums
Conclusion
From the Paper "It is evident that Cambodia has a distinct disadvantage compared to the rest of the Asian countries. Primarily, the remnants of war has left a poverty stricken country with the responsibility of re-shaping its entire government, providing education and health care to needy families and finding adequate professional workers to maintain a new democratic system of public administration. However, there are many advantages to starting over for Cambodia, as the United Nations and the United States have taken a great interest in the rebuilding efforts. With a new, open economy and sufficient developmental programs, Cambodia stands at a crossroads for change."
Abstract This paper refers to French architectural examples such as the Tuileries Palace, the famous Louvre courtyard, the Cathedral at Notre Dame and the Loire Valley and explores the degree to which such architectural examples are illustrative of the naturalist desires and impulses present during the Renaissance period. The paper goes on to dismiss the claim that mannerism could be considered the umbrella term for the architectural production of the French Renaissance and argues that it was the French gothic tradition and Italian Renaissance that would in fact have the most pervasive effect on the French structures of the succeeding artistic periods.
From the Paper "The Renaissance would be a convergence of social, economic and artistic forces in the middle centuries of the last millennium. A period of time which can be characterized by a refinement and mainstreaming of the classical artistic impulses which preceded it, the Renaissance is said to have largely initiated in parts of Italy such as Florence and Venice. Indeed, it would be in such contexts that many of the greatest works of modern European art would forged. During the time of the Italian renaissance, a torrent of artistic inspiration resulted in countless groundbreaking pieces of iconic imagery which would break the mold both technically and creatively. Particularly in terms of compositional depth, artists such as Leonardo da Vinci and Michelangelo Buonarroti were giving symbolic life to many of the most intellectually agonized moments of the bible or drawing up emotionally compelling demonstrations of the human emotional condition. In works by such artists, the elements of provocative coloring and symbolic disposition help to distinguish the Renaissance as a period of great human expressiveness."
