Wise Travel Tips And Tricks From Frequent Travelers

Frequent Travelers Many people have vacation horror stories to tell. Usually, poor planning is the reason behind such negative talk. The tips listed here will help you to have an enjoyable vacation experience. Leave your valuables at home. If you decide to bring valuables, you could lose them, or they could even be stolen. Air travel requires a bit of planning. If an airport Is In a major city, It can be quite difficult to get to, especially during rush hour when traffic is at its heaviest. Pack what you can the night before our flight so you are sure to be ready to leave the next day.Dont walt until the last minute to prepare for your flight. There is little else that could be worse than not making your flight. Anytime you are going to be driving to a different city before going on a cruise, check to see if there is a hotel that has fee parking, and get there the night before. You may want to contact the hotel administration about potential deals that they offer on parking even if i t doesn't look like any are available. Prior to flying, make a quick trip to the gym. Being on a flight for a long period of time can be iresome.Your legs and back can cramp up from sitting a long time. Working out prior to a long flight can relax your body and reduce uncomfortable feelings in your body due to the flight. Always go out of your way to tip any bell station and housekeeper appropriately. The typical tip is a dollar per bag of luggage and anywhere from two to five dollars per day for housekeeping. Doing so will ensure that you have a nice relationship with both during your hotel stay. Stores tend to overcharge for these Items, and the space saved Is minimal, so save the money.Try olding your clothes in innovative ways that will take up less space. Following these tips can help you find even more room In your bags. Taking sleeping pills will help you get through a long flight. This can help you to sleep in a situation that many are uncomfortable In, on board an airplane Take a mild sleeping pill to get you through the flight. Nothing too strong, but enough to make you drowsy. Refrain from taking sleeping medication before you actually take off. If your flight Is delayed, you will likely need to remain wide awake to make other arrangements.Make sure that your assports are valid. Different areas of the world have different rules regarding passports. Most countries will not permit you to enter with an expired passport if it is within a given time frame. These periods usually range anywhere from a year to three months. The reason for some of the worst stories about traveling happen because the traveler didnt think ahead and plan correctly. You now have the advice needed to take the worry from your vacation and find the relaxation that you deserve. Wise Travel Tips And Tricks From Frequent Travelers By bassantbadr planning.If an airport is in a major city, it can be quite difficult to get to, especially your flight so you are sure to be ready to leave t he next day. Don't wait until the last overcharge for these items, and the space saved is minimal, so save the money. Try tips can help you find even more room in your bags. Taking sleeping pills will help uncomfortable in, on board an airplane. Take a mild sleeping pill to get you through sleeping medication before you actually take off. If your flight is delayed, you will because the traveler didn't think ahead and plan correctly. You now have the advice

Robin Hood

Hero or Criminal? Many people consider Robin Hood a hero. He was definitely a hero to the peasants of Nottingham. After all he stole from the rich and gave to the poor. If I were poor he would have been my hero, too. But to the rich people of Nottingham he was nothing more than a criminal. I'm sure I wouldn't think too highly of someone that stole my money. What Robin Hood never took into consideration was that even though the outcome was good the course of action he took wasn't right. So was he a hero or a criminal? Some people consider him a kind hearted hero. Others think of him as a cold hearted criminal. So which is it? It all depends on your perspective. The legend of Robin Hood is one of the most famous legends around. â€Å"He is the subject of nearly forty English and Scottish ballads and numerous tales, plays, and films† (Wilhelm â€Å"Robin Hood†). But a legend isn't always a fact. â€Å"Practically all that is known of the medieval legend of Robin Hood is derived from five surviving poems or ballads and a fragment of a play† (Holt 15). â€Å"The first literary reference to Robin Hood is in 1377. Much of the social background in the early ballads resembles the 14th century. But there are some reasons to believe that the Robin Hood legend was alive and well in the 13th century too. Hence, some historians like J. C. Holt prefer an earlier real Robin Hood† (Robin Hood-The Search for the Real Robin Hood 9). No one knows for sure if Robin Hood is even a real character. â€Å"According to one traditional story, Robin Hood was actually the Earl of Huntingdon, and his real name was Robert Fitzooth. But many scholars believe Robin Hood is completely fictitious. (â€Å"Robin Hood† 346). Roger Dodsworth, one of the greatest figures of the antiquarian movement of the seventeenth century, noted: Robert Locksley, born in Bradfield parish, in Hallamshire [S. Yorkshire], wounded his stepfather to death at plough: fled into the woods, and was relieved by his mother till he was discovered. Then he came to Clifton upon Calder, and came acquainted with Little John, that kept the ki ne, which said John is buried at Hathershed in Derbyshire, where he hath a fair tombstone with an inscription. Mr. Long saith that Fabyan saith, Little John was an Earl Huntingdon . After he joined with Much, the Miller's son. (Holt 44) There are also some other people that could have inspired the Robin Hood legend. Perhaps the earliest outlaw Robin Hood is Robert Hood, servant of the Abbot of Cirencester. Sometime between 1213 and 1216, he murdered a man named Ralph in the abbot's garden. Most Robin Hood legends stories do give the legendary outlaw a grudge against the church. But J. C. Holt dismisses this one as being too far from Robin's usual setting. (Robin Hood-The Search for the Real Robin Hood 9) There is also evidence to support the legend. A tombstone has been found with the following inscription: Here underneath this little stone Lies Robert, Earl of Huntington. Ne'er archer was as he so good And people called him Robin Hood. Such outlaws as he and his men Will England never see again. (Lapman v) This leads some people to believe that Robin Hood is based on a real person. Real or fictitious it is still a legend.

Chapter 18 Solutions

EXERCISE 18-1 (10-15 minutes) Add or deduct from accounting income (a)2deduct (b)1add (c)3add (d)1add (e)2deduct (f)2deduct (g)1add (h3deduct (i)3deduct (j)1add (k)1add (l)1add EXERCISE 18-3 (15-20 minutes) (a) Accounting income$105,000 Permanent differences: Non-deductible fines 11,000 116,000 Timing differences: Excess of CCA over amortization (16,000) Excess rent collected over rent earned? 24,000 Taxable income$124,000 Current income taxes – 30% $37,200 (b) Deductible Balance(Taxable)Future TaxCurrent SheetTemporaryTax AssetLong- AccountDifferencesXRate(Liability)TermPP & E($16,000)*30%($4,800) LT Unearned Rent revenue 24,00030% 7,200C Future income tax asset, Dec. 31, 20092,400 Future income tax asset before adjustment 0 Incr. in future income tax asset and future income tax benefit for 2009$2,400 *Carrying amount and tax basis are not given in the exercise, only the net difference (c)Current Income Tax Expense37,200 Income Tax Payable37,200 Future Income Tax Asset? 7,200 * Future Income Tax Benefit2,400 Future Income Tax Liability? 4,800* *or a net debit to Future Income Tax Asset of $2,400 Because of a flat tax rate, these totals can be reconciled: $24,000 – $16,000) X 30% = $7,200 + ($4,800). EXERCISE 18-3 (Continued) (d)Income before income taxes$105,000 Income tax expense Current$37,200 Future benefit? (2,400)? 34,800 Net income$70,200 (e) Divided by Accounting @ 30% Income Accounting income $ 105,000 31,500 30. 0% Non-deductible fines 11,000 3,300 3. 1% 34,800 33. 1% Effective tax rate ($34,800/$105,000)33. 1% (f)Current assets Future income tax asset$7,200 Non-Current liabilities Future Income Tax Liability4,800 EXERCISE 18-9 (15-20 minutes) (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAssetDec. 31, 2008AmountBasisDifferencesRate(Liability) Warranty liability($130,000)$0 $130,000 25%$32,500 Future income tax asset, December 31, 200832,500 Future income tax asset before adjustment 0 Increase in future i ncome tax asset and future income tax benefit for 2008$32,500 Future years Total200920102011 Deductible temporary difference Warranty liability $130,000 $50,000 $35,000 $45,000 Tax rate enacted for the year 25%25%25% Future tax asset $32,500 $12,500 $8,750 $11,250 EXERCISE 18-9 (Continued) (b)2008 Accounting income$135,000Permanent differences:-0- Timing difference: Warranty expense > warranty costs incurred 130,000 Taxable income 265,000 Current income taxes – 25%$66,250 (c) Current Income Tax Expense66,250 Income Tax Payable 66,250 Future Income Tax Asset32,500 Future Income Tax Benefit32,500 (d)Income before income taxes$135,000 Income tax expense Current$66,250 Future benefit? (32,500) 33,750 Net income$101,250 EXERCISE 18-15 (40-45 minutes) (a) Basic Calculations of Capital Cost Allowance, Amounts and Balances: C-B (A)(B)A – B(C)Timing YearBaseCCAUCCAmort. NBVDifference 2007 $600,000 X 40 % X . $ 120,000 $ 480,000 $120,000$480,000$0 2008 480,000 X 40 % 192,000 288 ,000 120,000360,000(72,000) 2009 288,000 X 40 % 115,200 172,800 120,000240,0004,800 2010 172,800 X 40 % 69,120 103,680 120,000120,00050,880 2011 103,680 X 40 % 41,472 62,208120,000078,528 $537,792 (b) 20072008200920102011 Accounting income $ 340,000 $340,000 $340,000 $340,000 $ 340,000 Timing difference – (72,000) 4,800 50,880 78,528 Taxable income $ 340,000 $268,000 $344,800 $390,880 $ 418,528 X 34 %X 34 %X 34 %X 34 %X 34 %Income taxes payable$115,600$91,120$117,232$132,899$142,300 EXERCISE 18-15 (Continued) (c) and (d) 2007 Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2007AmountBasisDifferencesRate(Liability) Property Plant & Equipment$480,000 $480,000 034%$0 Future income tax asset/liability, December 31, 20070 Future income tax asset/liability before adjustment 0 Increase in future income tax liability and future income tax expense for 2007$0 Current Income Tax Expense115,600 Income Taxes Payable? 115,600 ($340,000 X 34%) part (a) EXERCISE 18-15 (Continued) (c) and (d) continued 008 Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008AmountBasisDifferencesRate(Liability) Property Plant & Equipment$360,000$288,000 (72,000)34%($24,480) Future income tax liability, December 31, 2008(24,480) Future income tax liability before adjustment 0 Increase in future income tax liability and future income tax expense for 2008($24,480) Current Income Tax Expense91,120 Income Taxes Payable? 91,120 ($268,000 X 34%) part (a) Future Income Tax Expense24,480 Future Income Tax Liability? 24,480 EXERCISE 18-15 (Continued) (c) and (d) continued 2009Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2009AmountBasisDifferencesRate(Liability) Property Plant & Equipment$240,000$172,800 ($67,200)34%($22,848) Future income tax liability, December 31, 2009(22,848) Future income tax liability before adjustment (24,480) Decrease in future income tax liab ility and future income tax benefit for 2009$1,632 2009 Current Income Tax Expense117,232 Income Taxes Payable? 117,232 ($344,800 X 34%) part (a) Future Income Tax Liability1,632 Future Income Tax Benefit? 1,632 EXERCISE 18-15 (Continued) (c) and (d) continued 2010 Balance DeductibleSheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2010AmountBasisDifferencesRate(Liability) Property Plant & Equipment$120,000$103,680 ($16,320)34%($5,549) Future income tax liability, December 31, 2010(5,549) Future income tax liability before adjustment (22,848) Decrease in future income tax liability and future income tax benefit for 2010$17,299 2010 Current Income Tax Expense132,899 Income Taxes Payable? 132,899 ($390,880 X 34%) part (a) Future Income Tax Liability17,299 Future Income Tax Benefit? 17,299 EXERCISE 18-15 (Continued) (c) and (d) continued 2011 Balance DeductibleSheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2011AmountBasisDifferencesRate(Li ability) Property Plant & Equipment$0$62,208 $62,20834%$21,151 Future income tax asset, December 31, 201121,151 Future income tax liability before adjustment (5,549) Increase in future income tax asset and future income tax benefit for 2011$26,700 2011 Current Income Tax Expense142,300 Income Taxes Payable? 142,300 ($418,528 X 34%) part (a) Future Income Tax Liability5,549* Future Income Tax Asset21,151* Future Income Tax Benefit? 26,700 *Alternately, a debit to Future Tax Asset26,700 EXERCISE 18-15 (Continued) (e) 2007Current Income Tax Expense115,600 Income Taxes Payable? 115,600 ($340,000 X 34%) 2008 Current Income Tax Expense91,120 Income Taxes Payable? 91,120 ($268,000 X 34%) 2009 Current Income Tax Expense117,232 Income Taxes Payable? 117,232 ($344,800 X 34%) 2010 Current Income Tax Expense132,899 Income Taxes Payable? 132,899 ($390,880 X 34%) 2011 Current Income Tax Expense142,300 Income Taxes Payable? 142,300 ($418,528 X 34%) PROBLEM 18-9 Part 1. (a) Mixed tax rates Future y ears 20092010201120122013Total Future taxable amounts ($300) ($300) ($300) ($200) ($100) ($1,200) Tax rate enacted for the year 30%30%30%35%35%Future tax (liability) ($90) ($90) ($90) ($70) ($35) ($375) Future years 20092010201120122013Total Future deductible amounts $1,800 $1,800 Tax rate enacted for the year 30%30%30%35%35% Future tax asset – – – $ 630 – $ 630 PROBLEM 18-9 (Continued) Part 1. (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008Amount*Basis*DifferencesRate(Liability) Property Plant & Equipment($1,200)Mixed($375) Litigation Liability1,800Mixed630 Future income tax asset, December 31, 2008255Future income tax liability before adjustment (500) Increase in future income tax asset and future income tax benefit for 2008$755 * not given in the problem Part 1. part (b) Current Income Tax Expense1,200 Income Tax Payable1,200 ($4,000 X 30%) Future Income Tax Asset/Liability755 Future Income Tax Benefi t755* *Alternately: Future Income Tax Asset630 Future Income Tax Liability125 Future Income Tax Benefit755 PROBLEM 18-9 (Continued) Part 2. (a) Mixed tax rates Future years 2009201020112012Total Future taxable amounts ($400) ($400) ($400) ($400) ($1,600) Tax rate enacted for the year 30%30%30%35%Future tax (liability) ($120) ($120) ($120) ($140) ($500) Future years 2009201020112012Total Future deductible amounts $3,000 $3,000 Tax rate enacted for the year 30%30%30%35% Future tax asset – – $900 – $900 PROBLEM 18-9 (Continued) Part 2. (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008Amount*Basis*DifferencesRate(Liability) Property Plant & Equipment($1,600)Mixed($500) Litigation Liability3,000Mixed900 Future income tax asset, December 31, 2008400 Future income tax asset before adjustment 600Decrease in future income tax asset and future income tax expense for 2008$200 * not given in the problem Part 2. part (b) Curr ent Income Tax Expense1,200 Income Tax Payable1,200 ($4,000 X 30%) Future Income Tax Expense200* Future Income Tax Asset200* *Alternately: Future Income Tax Expense200 Future Income Tax Asset300 Future Income Tax Liability500 PROBLEM 18-9 (Continued) (c) Part 1 – All balance sheet related accounts are non-current Pirates Corp. Balance Sheet December 31, 2008 Non-current assets Future income tax asset$255 Part 2 – All balance sheet related accounts are non-current Eagles Corp. Balance Sheet December 31, 2008Non-current assets Future income tax asset$400 PROBLEM 18-12 (a)2007 Income Tax Refund Receivable—20047,500 ($25,000 X 30%) Income Tax Refund Receivable—200518,000 ?($60,000 X 30%) Income Tax Refund Receivable—200632,000 ($80,000 X 40%) Current Income Tax Benefit (Due to Loss Carryback)57,500 Note:An acceptable alternative is to record only one Income Tax Refund Receivable account for the amount of $57,500. Future Income Tax Asset18,000 Future I ncome Tax Benefit (Due to Loss Carryforward)18,000 ($210,000 – $25,000 – $60,000 – $80,000 = $45,000) ($45,000 X 40% = $18,000) 2008 Current Income Tax Expense10,000Income Tax Payable? 10,000 [($70,000 – $45,000) X 40%] Future Income Tax Expense18,000 Future Income Tax Asset18,000 ($18,000 – $0) 2009 Current Income Tax Expense31,500 Income Tax Payable ($90,000 X 35%)31,500 PROBLEM 18-12 (Continued) (b)One or more income tax refund receivable accounts totalling $57,500 will be reported under current assets on the balance sheet at December 31, 2007. This type of receivable is usually listed immediately above inventory in the current asset section. This receivable is normally collec ¬tible within two months of filing the amendment to the tax returns reflecting the carryback.A future income tax asset of $18,000 should also be classified as a current asset because the benefits of the loss carryforward are expected to be realized in the year that im mediately follows the loss year, which means the benefits are expected to be realized in 2008. A current future income tax asset is usually listed at or near the end of the list of current assets on the balance sheet. Also, retained earnings is increased by $75,500 ($57,500 + $18,000) as a result of the entries to record the benefits of the loss carryback and the loss carryforward. (c)2007 Income StatementOperating loss before income taxes($210,000) Income tax benefit Current benefit due to loss carryback$57,500 Future benefit due to loss carryforward? 18,000 75,500 Net loss($134,500) (d)2008 Income Statement Income before income taxes$70,000 Income tax expense Current$10,000a Future? 18,000? 28,000 Net income$42,000 a [($70,000 – $45,000) X 40%] PROBLEM 18-12 (Continued) (e)2007 Income Tax Refund Receivable—20047,500 ($25,000 X 30%) Income Tax Refund Receivable—200518,000 ($60,000 X 30%) Income Tax Refund Receivable—200632,000 ?($80,000 X 40%) Current Income Tax Benefit (Due to Loss Carryback)57,500Note:An acceptable alternative is to record only one Income Tax Refund Receivable account for the amount of $57,500. Although the tax benefit is not recognized in the accounts, Mearat Inc. has a tax loss carryforward of $45,000 which should be disclosed. 2008 Current Income Tax Expense10,000 Income Tax Payable? 10,000 [($70,000 – $45,000) X 40%] 2009 Current Income Tax Expense31,500 Income Tax Payable ($90,000 X 35%)31,500 (f)2007: entry for current taxes – no change 2007: if a valuation allowance is used, the full benefit and future tax asset related to the tax loss carryforward is recognized and then offset by the allowance, as follows.Future Income Tax Asset18,000 Future Income Tax Benefit (Due to Loss Carryforward)18,000 ($45,000 X 40% = $18,000) Problem 18-12 (f) (Continued) Future Income Tax Expense18,000 Allowance to Reduce Future Income Tax Asset to Realizable Value)18,000 ($18,000 – $0) 2008: entry for cu rrent taxes – no change 2008: because the tax loss carryforward has now been used, both the amount in the future tax account and in its allowance account must be removed, as follows. Future Income Tax Expense (Due to Use of Loss Carryforward)18,000 Future Income Tax Asset18,000 Allowance to Reduce Future IncomeTax Asset to Realizable Value18,000 Future Income Tax Benefit (from Adjustment of Allowance)18,000 Alternatively, one entry could have been made: Allowance to Reduce Future Income Tax Asset to Realizable Value18,000 Future Income Tax Asset18,000 2009: No change to part (e) entry. (g)2007 Income Statement Operating loss before income taxes($200,000) Income tax benefit Current benefit due to loss carryback? 57,500 Net loss($142,500) 2008 Income Statement Income before income taxes$70,000 Income tax expense – Current a 14,000 Net income$56,000 a [($70,000 – $35,000) X 40%] PROBLEM 18-12 (Continued) h)Using the valuation allowance instead of applying the redu ction in value directly does not have any impact on cash flows. The use of the contra allowance simply permits the recording of the full benefits associated with all future deductible amounts in the asset account. This facilitates tracking for management purposes. It has no use for financial reporting purposes except, perhaps, for the transparency of the information. Readers can see the total possible benefits and the extent to which management has judged they will not be realized. Use of the allowance has no impact on cash flows.

Chinese in London Essay Example | Topics and Well Written Essays - 2500 words

Chinese in London - Essay Example The author of the paper tells that Britain promotes cultural connections with many countries through the use of cultural festivals and events. This is particularly prevalent in terms of Chinese culture. The interest that Britain people in general have towards China and the Chinese culture can be seen in the dramatic increase of people learning Chinese within Britain. There are close to 100,000 people throughout the United Kingdom who are learning to speak Chinese through language classes. One explanation for this interest is the focus that Britain has placed on Chinese culture. This interest in the culture and history of China has continued to grow among United Kingdom citizens. This evaluation will consider the China in London cultural festival that occurs annually around the time of the Chinese New Year. The festival is an example of the celebration and teaching of the values of one culture within another. In this case, the annual festival is continuing to grow, driven by an increa sing interest in aspects of Chinese culture. There are many different aspects to this festival, including a variety of events, exhibitions and concerts. For London residents who have a Chinese heritage, the event provides a way to express cultural pride. Additionally, China in London makes use of many Chinese people and groups from China itself, forming and maintaining relationships between the two countries. The process of organising and planning the event each year is a substantial logistical effort involving a large amount of long-distance communication and coordination. The festival lasts approximately a week, beginning with the lighting of Chinese lanterns, which occurs in Oxford Circus. The final component of the cultural event is a celebration of the Chinese New Year. This occurs at Trafalgar Square, and consists of a large number of performances and events. The exact dates of the festival are different each year, but they generally centre on the dates of the Chinese New Year . For example, in 2010, the festival ran from February 14 to February 21, where February 14 was the official date of the Chinese New Year. China in London is a celebration of values and traditions that are an ingrained part of Chinese culture, but are not well recognised in the Western world. It is now considered to be the largest celebration of the Chinese New Year outside of China. This case study considers the China in London festival, with particular reference to the 2009 and 2010 festivals. Theme One: Globalisation and the visitor experience The world continues to grow more globalised, with travel between countries becoming commonplace, and many aspects of different cultures intermingling with one another.

Comparison of the four bric emerging markets. Brazil, Russia, India Assignment

Comparison of the four bric emerging markets. Brazil, Russia, India and China - Assignment Example Emerging markets are indeed becoming points of focal call for most global expansion agenda for various multinational companies. This is largely due to the potentials that each of them uniquely possess. A major component of emerging markets is the four BRIC emerging markets represented by Brazil, Russia, India and China. This paper identifies the unique properties of each of the markets and makes a conclusion on the two most viable for any investor seeking to undertake massive business expansion to an emerging market. Coincidentally, each of the four BRIC countries is heavily populated with population running beyond 100 million people. However, for Brazil, it is not just a matter of heavy population but a highly strategic population concentration that serves as major advantage for investors. In the first place, Insch & Steensma (2006) admires the kind of population concentration in Southeastern and Northeastern regions, which are made up 79.8 million inhabitants and 53.5 million inhab itants respectively. Because of the population concentration, most of the vibrant economic activities take place in these two regions. For new entrants, the advantage this offers is that proximity will not be a challenge. Distribution channel also becomes more focused and less expensive. What is more, the population in the two economic regions has a near 100% literacy, which means that skilled labour is abundant in Brazil (Khanna, Pallepu & Sinha, 2005). All in all, cost of starting business in Brazil is cheaper because several expenses such as transportation, distribution, and labour are cut down significantly with government supporting with several trade incentives. The greatest strength of Russia among the four BRIC countries is that the country is made up of a highly diverse economic drive. What this means is that the concentration of the country, in terms of trade and economics is not focused on only few sectors (Goldman, 2007). In comparison to Brazil where tourism and agricul ture seem to dominate in the trade and economic aspects, Russia boasts of highly active trade economization in sectors including agriculture, energy, transport, science and technology, and space exploration. This situation creates as readily adaptable business environment for almost every kind of business. The disadvantage that this may carry however has to do with the fact that there is very high competition for new entrants, who demand extra strategy to cope in the economic environment. In the absence of this, Russia practices a free education system, which has for years helped in boasting the human capital of the country and that of industries. Just like Brazil, Russia has a very promising labour force, with the Indian labour force described as the world’s second largest, even though the country is overtaken by China. But the reason India’s labour force will be used for argument for the country as its major advantage to investors is the fact that this labour force i s relatively cheaper if compared to that of China. It is not surprising that India is regarded by the International Monetary Fund as having the third-largest purchasing power parity (Pelle, 2007). Because of the active nature of the labour force, India has actively been involved in both import and export, meaning that new entrants whose area of concern is in manufacturing will have no problem with the presence of raw materials the exportation of finished goods thereof. Currently, India is regarded as being the world's tenth-largest importer and the nineteenth-largest exporter (Chrystal & Lipsey, 2012). China on the other hand seem to have a part of all the advantages that each of the other countries bear. But for investors whose focus is active manufacturing that focused around science and technology, China will be the most prudent destination (Hitt & He, 2008). This is because the country has over the years taken up science and techn

Whatever Happened at Barings Essay Example | Topics and Well Written Essays - 500 words

Whatever Happened at Barings - Essay Example 3. The systemic damage of the international banking system was not that big to be regarded as significant because Barings was not a big banking organization and its failure could not substantially affect the international banking (Hughes and MacDonald). 4. â€Å"Big Bang† is a terminology used for the changes in relation to financial regulations, which took place in the late 80s. These changes were primarily related to the operations of the financial institutions and activities of the City of London, deemed as the hub of UK’s financial activities. The crucial deregulatory steps taken for the LSE (London Stock Exchange) initiated some changes. Barings, upon the occurrence of Big Bang, unlike its competitor organizations, did not make efforts to develop a well integrated investment bank (Hughes and MacDonald). 5. The major problems faced by financial services organizations were fixed commissions, lack of a competitive environment and access to other markets for taking part and operating in other parts of the world. In lieu of these problems, Big Bang was introduced, which liberalized the stock markets, particularly the London Stock Exchange (Hughes and MacDonald). 6. After this whole story was unwrapped, it became clear that the management lacked the required monitoring strictness in relation to securities; and at times management was seen as confused. These factors contributed in the demise of the firm (Hughes and MacDonald). 7. There are various strategies used by speculators to trade future contracts and amongst the strategies adopted the most common include â€Å"going long†, â€Å"going short† and â€Å"spreads†. â€Å"Going long† refers to the strategy according to which an investor makes an agreement for buying and delivery at a particular price at the moment when a future price rise is expected. On the other hand, the â€Å"going short† strategy refers to such an agreement by the investor under which he agrees to sell at an early date in order

Pyramids Essay Example | Topics and Well Written Essays - 750 words

Pyramids - Essay Example Egypt is one of the countries that witnessed civilization in the early period. The pyramid in Egypt demonstrated progress in science, mathematics, and technology in the past. At this period, human society was considered to have little or no progress. The construction of the pyramids is not well documented, but it is believed to have taken many years to complete (Morris 97). It is also believed that the Hebrews did the initial work. The largest of these pyramids, the great pyramid contains more than 2 million limestone blocks put together to form an iconic structure. The pyramid rises from a rectangular base and is the size of nearly eight football fields and slopes at an uniform angle of 51 degrees to meet at a peak more than 4500 feet above the base. The technology that assisted this construction remains a great mystery. The most marveling thing was the calculation and ability to construct a structure that weighed more than six tones (Allen 313). The precursors of the pyramids are believed to be the mastabas, flat-roofed structures carved from rock that were used as royal tombs. These tombs were developed to keep the embalmed bodies of kings and rulers of the empire (Allen 313). With time, the mastabas were improved with mud bricks and raised to become shrines for the communities. What followed was the replacement of the mud bricks with curved limestone layers, and a height of 204 feet was first achieved. Architect Imhotep, who was also priest and healer, is accredited with the idea and calculations involved in the construction (Watson 245). Pyramids are also said to have been built as tombs for the kings and pharaohs. The size of the pyramids depended on how the leaders were revered in the society. It is said that construction begun upon accent of leader in power and continued to be built in the reign of the leader. Therefore, the size of the pyramid depended on the number of years one stayed in

Fianacial moduling Essay Example | Topics and Well Written Essays - 3250 words

Fianacial moduling - Essay Example Both the indices generally followed the Other January effect. Introduction New York Stock Exchange (the US Stock) was officiated on March 18, 1817. London stock exchange (the UK Stock) was founded in 1801. The two stocks combined have the highest Market cap (17.0 trillion) and largest volume (3.1 trillion) in the world [1]. Any movement in these markets pushes stock indices all over the world. Drawing parallels from the common and integrated political and economic interests the host countries of these stock indices, it can be hypnotized that these market are correlated. This paper tries to identify, if any, correlation present between the two indices. As mentioned before the NYSE and the LSE sit on huge pile of money and are influential. Hence it is important to figure out their predictability. This paper assesses the predictability of these stock indices. The paper has been segregated into three segments: First section characterizes time series properties of the stocks namely its ra te of return and its volatility. Second section identifies the January effect. Section three provides an estimation of predictability using long-horizon regressions. For the purpose, monthly data of the stock indices starting from January, 1973 till December, 2004 is analyzed. 1. Time Series Analysis The rate of return is defined as the money earned on an investment (in stocks). Volatility is the measure of fluctuation in the asset (stock) prices. Mean and variance of rate of return and volatility is used to characterize a stock [2]. Curve of distribution of data is measured by Skewness and Kurtosis of the graph. A normal distribution curve is bell shaped symmetric around the mean. A positively skewed distribution is skewed to right. Skewness is measured as 3rd movement of mean. A Kurtosis is a measure of flatness of the top of the graph. Larger value of degree of kurtosis would mean sharper peak [11]. The rate of return of the indices was analyzed against time. The volatility of th e market was also measured. The rate of return was measured as the difference of natural log of the monthly index value. Volatility was measured as the standard deviation of rate of return of the market in a year. Each Index was characterized by its mean of rate of return and its variance of rate of return and volatility. [3] Rate of return Volatility Mean (ln values) Variance Skewness Kurtosis Mean (ln values) Variance Skewness Kurtosis UK 0.010753 0.0034 -0.18 7.31 0.053 0.000682 0.94 1.65 US 0.008991 0.0022 -0.95 6.35 0.043 0.000313 0.72 0.90 The result showed that rate of return on was higher in UK index than in US index by around 20%. Also, the UK market was around 23% more volatile than the US market. Variance of rate of return and volatility showed that UK market was more spread than US stocks. High degree of kurtosis for rate of return of the UK and the US stocks suggested sharp peak of the distribution graph. From degree of kurtosis it could be inferred that volatility was not restricted to certain range of stock return values but was spread over a long value range of returns. It is to be noted that in 31 years starting from Jan 1973, US market grew from 98.66 to 3087.82 (31X) in Dec 2004, while the UK markets grew from 319.53 to 19639.99 (61X) in the same period. Distribution of rate of return data was left tailed for both US and UK stocks while distribution of volatility data was right tailed for both the stocks.

Group effectiveness Essay Example | Topics and Well Written Essays - 250 words

Group effectiveness - Essay Example If the new approaches were adapted, then the group would have worked harmoniously. Respect for each other’s opinions should have been present. The work load should have been assigned fairly and not randomly decided by the self-appointed leader, who wanted to get all the credit, although all he did was to assign the jobs that have to be completed. 2) There were several factors that contributed to one’s satisfaction in being a member of a group. First of all, from the very start the goal of the group was established. Although each one has a goal of his own, a common objective was arrived at by the group. The roles of each member were very clear from the beginning. Each one was assigned a role which best fits his qualifications. There were rules that served as guidelines for the group. There were differences of opinions during the meetings but everyone was ready to listen to what one has to say. Respect was always present. Even if there were some disagreements, it was resolved politely, without any violent reactions from the group members. The decision was a group decision and not a decision made by only one person. 3) To further improve one’s communication skills, one has to learn to listen to other people’s opinions without having to be judgmental. One should realize that there is a time to speak and a time to listen. To be more effective in working with a group, one must know what he can contribute to the group by knowing his qualifications and capabilities. A win-win solution should always be the focus of decision-making. An evaluation of how one contributed to the group goals and how the group achieved its goals must be in place. Another way of improving one’s communication skills is to learn how to get the right message in the proper manner. One’s ideas must be clear and simple to be better understood by the other

Semester Project Assignment Example | Topics and Well Written Essays - 1000 words

Semester Project - Assignment Example The restaurant’s cookery is no longer up to standard, and a high quantity of food has been wasted for the reason that there is significant decrease in demand from our customers. Lindsay, the senior chef, mistreats the two employees by putting much pressure on the amount of work they should do per day. David and Kingston perform cooking, cleaning and serving customers roles against their agreement with the company only to cook. This pressure at work has led to a lot of fatigue and their energy wasting away. Their health is at risk and is deteriorating day by day. The two have gotten to the peak and were almost quitting their jobs. The attitude of these employees towards their supervisor is negative; thus, making them be careless at work in rendering services. This has drastically pulled down the Ummedda Restaurant’s profile after a report on its inefficiency in customer service was published on the Daily Newspaper (Mejia, Balkin & Cardy n.p). As the company’s manager, I feel like the senior chef is the failure. She has proved incompetent in handling her juniors and portraying the right leadership skills. Lindsay has failed by trying to discipline the employees without consulting. On the other hand, David and Kingston’s rights have been violated according to the company’s policies. The two have faced workplace bullying that has negatively influenced their mental and physical health. Above all, all these employees have failed to report to the authority of the problem and its cause; thus, failure is on both parties. Currently, my image as a restaurant manager is badly tarnished due to the numerous criticisms that I face from the public out of the scenarios at the workplace based on the determination of the cause of the problems. Claims are that there is a lack the necessary management skills and as a manager, I should consider going for further training. In most occasions, I have been

Pan-arabism and Pan-islamism Essay Example | Topics and Well Written Essays - 500 words

Pan-arabism and Pan-islamism - Essay Example Pan-Arabism is a political theory of adopting unity of the North Africa and West Asia countries from the Atlantic Ocean to the Arabian Ocean. This portion is known as the Arab World. Pan-Islamism on the other hand is a political movement recommending the unity of Muslims under one Islamic state, command, or leadership that is similar to International Organization. One common factor between Pan-Arabism and Pan-Islamism is the fact that Islam as a religion is founded on Arabic as a language. Most of the Pan-Arabic countries have Muslims as their occupant and they uphold the religion’s doctrines as part of the constitution of the countries. Arabic language is also the national language in the Pan-Arabic countries. However, there are some countries, which have Muslims but do not uphold Arabic as a national language. The two ideologies are completely different. Pan-Arabism has belief that there should be one nation in the Arabic world; similar to Umayyad Caliphate as in was in 750 C. E. when it had no Persia or Southern Spain. (Schmid) They believed that Turks, Europeans, and greedy rulers artificially drew Arab borders from Arab and that Arab people had a nature of being in a large nation like the United States.

International English Essay Example for Free

International English Essay Introduction English is termed as the universal language (Crystal 2003). In almost all regions of the world, English is either their official or second language. Most of the countries in the Western, particularly North America, are using the English language (Burchfield 2003). In addition, some European countries, like the United Kingdom, and Asian countries, like Singapore, India, Pakistan and the Philippines, are more inclined to use the English language than their native languages (Cheshire 2007). It is true that the English language is being used by different countries in the world. Some have also different ways of using it by having a distinct style and structure of speaking and writing the English language. Nevertheless, it is also said that there is a common ground in which the English language is being expressed and used (Burchfield 2003). Having the same vocabulary expressions, meaning and senses, and concepts and contexts, the English language is understood if not universally at least internationally (Graddol 1996). Truly, the English language plays a very vital part in the international scene. For a very diverse and sundry character of the world, it needs a general or common medium that would serve as the channel for communication among different countries globally (Crystal 2003). It is to be noted that every country has its own official or native language. And this language may be understood only by its mother country. In this case, such country would really have to use a second language that other countries and the international community understand in order for such country to have access of communication toward them (Cheshire 2007). This paper would discuss the role of the English language in different countries and in the international community. Further, this paper would try to elucidate on the different approaches that different countries have in using the English language. History of the English Language The English language is originally the language of the Anglo-Frisian civilizations. Around the fifth century A. D. , people from the northwest of Germany occupied the Eastern England. The Old English language became a combination of the language spoken by the displaced primordial people and the language which was spread by the aggressor or the ruling class (Burnley 2000) Some say that it is either the displaced people or the aggressor that adapt to the kind of English language that was being used by the protagonist regions then. Others say that the now known, Old English language was the result of coalescent of the languages used by the displaced people and by the aggressor (Burchfield 2003). Nonetheless, the Old English language was regarded as an artificial composition closer to that of the Proto-Indo-European (Graddol 1996). It was only that, it adopted the West Saxon scribal rules (Fennell 2001). Due to this influence of the West Saxon scribal rules or conventions, the Old English language was said to lose its distinct noun case system. The use of prepositions and constant word-order were the chief mechanisms used to transmit meaning. Such structure is manifested in the Middle English era (Cheshire 2007). In 1066, The Norman Conquest of England overwhelmingly influenced the development of the English language (Burnley 2000). There are huge numbers of Norman terms and expressions that became included in the Old English specifically those in the legal and administrative genres. Eventually, the Old English language was also influenced by the Greek and Latin terms (Fennell 2001). This signaled the rise of the Middle English. The fifth century, however, marked the new shift of the English language from Middle English to Early Modern English. The evolution was characterized as the Great Vowel Shift which means that the change was motivated by the transformation on the uses and roles of vowel (Burchfield 2003). The Community of the English Language It is true that the English language cannot be owned by one nation. It is for the reason that English language is not really owned by a single country or region. Moreover, the English language is constructed and utilized by different countries all over the world according to their culture and tradition. This entails that the English language may be used differently by different nations. Yet the English language, as mentioned earlier, has distinct common features that are universal to all English-users. The sentence structure, concepts and meanings, and style and phonology may vary according to the established standard for English language among different countries (Cheshire 2007). The United States of America has the largest population of English-speakers. United Kingdom, Canada and Australia ranked second, third and fourth respectively. Although U. S. and U. K. have the highest number of population that speaks the English language, the English language was not even considered as their official language. In addition South Africa is also a known region of English-speaking people. Singapore ranked first in Asia having a great number of populations which speaks the English language (Kachru 1992). Although the English language only placed third in the category of the major language by native speakers (Mandarin Chinese and Spanish placed first and second respectively), it is the most commonly used language in the world. India ranked in the category of country which uses the English language as the second language (Kachru 1992). And because English is extensively used and spoken by many countries in the world, it is labeled as the global language or universal language of the modern period (Crystal 2003). Though it is not really being used as an official language by other countries, it is more likely that it is taught as the second language. According to some linguists, the English language that is being used by different people all over the world does not really have a uniform character (Cheshire 2007). Conversely, it is the very one that absorbs the culture of particular countries that make use of it as a medium of language. In the international community or in the international scene, the English language is being used to announce international declarations. It is also the official language used in aerial and maritime communications. Moreover, it is used as one of the official languages of the United Nations, European Union, and the majority of the international athletic organizations (Crystal 2003). Such importance of the English language is also manifested in the printings and publications of books, newspapers and magazines in which the English language is used (Crystal 2003). It was also reported that most articles produced and published were written in English albeit only half of them came from countries which official language is English. Though there are regions and parts of the world which are not really proficient speaking the English language, it is undeniably that somehow they know and understand some of it (Crane 2004). This is the reason behind the idea that at any rate the English language is the most commonly used language in the world – that even if you go to a foreign land, you can survive with regards to communication by using the English language (Cheshire 2007).

Relationship Between Museum and Cultural Identity

Relationship Between Museum and Cultural Identity THE MUSEUM AND THE CITY: AN EMBODIMENT OF CULTURAL IDENTITY OF THE CITY IN WHICH IT STANDS INTRODUCTION As society enters a new century, many cultures have recond to an age of globalisation and, in turn, are embracing the idea of contemporary living. This results in the development of cutting-edge technology, new methods of communication, and the rapid growth of cities, causing indigenous culture of cities to increasingly blend. The desire to embrace this dynamic compels many architects to consider ways of creating architecture truly representative of a wide range of humanity. These new advances create city growth, impacting on urban form and the design process of the public institutions, including museums, which is what this dissertation will primarily explore. The result is to extend the range of materials, forms, cultural references and social thinking available to museum architecture. But does this create an uninspired sameness, where some identities are being ignored and/or distorted? Where the notion of cultures integrating really means the identity struggle between the dominants and the dominated? One could speculate that now, more rapidly than before, the architecture of the museum and the city simultaneously evolve to meet the cultural identity of the people. But are these buildings, in fact representative of the national identity of a city or the individuality of the architect? This dissertation investigates the architects role in designing museums, establishing to what extent the design reflects or stems from the cultural identity of the city. The relationship between the museum and the city in which to belongs is complex. In order to establish an understanding, the study consults a wide range of resources that address issues of cultural identity within a museums national and civic perspective. Additionally, the research made reference to economic and political issues regarding museums, the study of how globalisation is reflected within a cultural and affects architecture, and case studies to support the statement that architects may intend for their museum designs to be representations of a cultural identity within the city. There are now new ways of experiencing, interpreting and remembering. The contemporary architecture of museums are a strong medium of cultural memory, developing from the museums traditional forms as monuments symbolising the power of key individuals within a society, into an expressive entity that creates dialogue between its contents and urban context. The otherwise conventional manner of designing develops into a world of contradictions, assorted rhythms and new ideas of beauty in the design of museums. The physicality of the building represents that of theatrical effects, incorporating contemporary elements of architectural form as a method of entertainment, whilst engaging the interest of the citys individuals and of those from further afield. Millions are drawn to what is no longer a dying institution, but a visual destination for the public, in a form that encompasses the societys identity. One can assume this is influenced by the cultural pluralism within the buildings city c ontext, and considering the many identities as a plural identity. The diverse elements are woven into a sustainable, integrated spatial fabric that contributes to the life of the city. An approach which allows architectural freedom for a building type that has been described by some sources as overlooked by the public. Due to this studys word restriction, it is not possible to evaluate in detail more than four relevant case studies. This limitation resulted in the careful consideration of case studies varying in terms of locality and architect. Furthermore, due to time restrictions, it was not possible to carry out additional primary research which could have entailed supplementary site visits to the investigated case studies and additional data found in initial research methods such as interviews and questionnaires. The dissertations methodology consists of individually exploring and studying four case studies against the dissertations argument, in order to then properly conclude whether it can be proven to be accurate. These case studies pose as cultural barometers, where during investigation they help assess the extent in which they fulfill a citys cultural identity. The examination method entails drawing on a combination of primary research such as site visits to secondary research, drawing on existing written information from books, articles and online sources. The case studies follow a chronological order, beginning with Chapter One: Frank Gehrys Bilbao Guggenheim, a museum which initiated an influence on the case studies that have followed such as Chapter Two: Daniel Libeskinds Jewish War Museum, Chapter 3: Herzog and de Meurons Tate Modern London and Chapter 4: Zaha Hadids Contemporary Arts Centre. To further develop whether an architects design of contemporary museums truly reflect the citys cultural identity, each case study is analysed in th light of the following issues: Globalisation outlines whether certain cultural identities are lost or just changing within the museums civic context, especially as cities more than nations contend to draw global attention through these culturally significant public buildings. The sub-chapter concerning National and Civic Identity explores how culture influences in terms of the architectural context of the museum in a national and civic perspective. This provides a framework for exploring how architects use ideas about culture and cultural contradictions to create the structures and spaces to engage a society. The issue will discover how the design of the museum is a task of seeking an image essentially of ourselves. Style and Identity of the Architect briefly examines how the architects own identity, who themselves are either travelers or immigrants, insiders/outsiders of the city in which they design for, influences the ultimate design of the citys museum along with their own architectural style. Economy and Poli tics is a sub-chapter concerning who pays, owns and benefits from the establishment of these institutions. How cities acquire signature museums in order to stimulate their economic and ultimately cultural development. The museum building boom has been accelerated by what has become known as The Bilbao Guggenheim Effect . The sub-chapter investigates how Frank Gehrys museum has influenced these case studies to replicate their own â€Å"Bilbao Guggenheim Effect† within their cities. By putting up a museum with architectural credentials, Gehry revitalised a civic and cultural image, demonstrating that a single building could energise and enhance an entire city and region. DISCUSSION THE CONTEXT OF THE MUSEUM: INVENTION AND REINVENTION Layer upon layer, past times preserve themselves in the city until life itself finally threatened with suffocation: then, in sheer defense, modern man invents the museum. [Lewis Mumford, The Culture of Cities] These words from Lewis Mumfords The Culture of Cities depicts how the museum was manifested as a commodification of a citys overpowering history (Giebelhausen, 2003 p. 1). The design development of this building type has been changing since the museum was established in the 18th century, beginning as a space for private collections of wealthy individuals, only accessible by the middle and upper class (Giebelhausen, 2003 p. 4). Presently, the museum is a response to contemporary social change, a space that wishes to connect within its urban fabric surroundings and open to all. A museums design acknowledges the way in which it can order, store and display its belongings, the institutions relationship to a city and surrounding cultures lacks investigation, leaving questions about the museums role in an urban context (Giebelhausen, 2003 p. 2). Culture surpasses the ways in which something can be represented and housed, it can be seen as an expression of us. Today, culture is challenged i n a world struggling for established institutions such as schools, libraries etc., which often are said to lack in relation to the people (Zukin, 1995, p. 11). Museums are no longer seen as fixed frameworks, but a place for public interaction and exchange. One could consider that one of the buildings functions is to absorb the cultures within the city, and then reflect and shape this within an architectural form. The museum itself visually exemplifies its roles within a city, for instance unlocking urban memories, reconfiguring the past, aiding in touristic rediscovery and exploitation of a place to the whole urban environment, roles that challenge the museums attempt to reconnect culture and a citys built form (Giebelhausen, 2003 p. 2). There is an ability to recon a city with the use of museums, from â€Å"systematically inserting them, to salvaging or reconstructing them† into the urban fabric (Giebelhausen, 2003 p. 2). Therefore the museums cultural significance surpasses that of any other building types. In The Museum Transformed, by Douglas Davis (1990, p.14) asserts that, â€Å"no building type can match the museum for symbolic or architectural importance† because it is so often redefined due to its stimulation from cultural development. The museum can be considered as an entity that defines, represents and creates cultural trends ahead of its own place in time. As quoted from MacLeod (2005, p.1), â€Å"As museums have come to be consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from its traditional forms into often-spectacular one off statements and architectural visions.† Architects persuasively argue for a new type of ex perience, aiming to appeal to a general audience rather than the scholarly advisors soughing to replicate tradition (Giebelhausen, 2003 p. 3). This is an aspiration expressed from an analysis of contemporary society and its future direction, that being cultural diversity, resulting in the commissioning of strongly conceptualised museums to devote to multiplicity. As Relph (1976, p. 33) claims, †¦for each setting and for each person there are a multiplicity of place identities reflecting different experiences and attitudes; these are molded out of the common elements of appearance†¦through the changing interactions of direct observation with preconceptions. In the past however, the significance of museums were solely to serve a refined function, transcending the thinking of the scholars and academics, along with manifesting the power of a city (Giebelhausen, 2003 p. 4). Relph (1976, p. 35) provides evidence to this claim in mentioning, Public places which achieve their publicity through high imageability are not necessary innocent- their distinctive appearance or form maybe capitalised upon or even created as a statement of grandeur and authority to be regarded in awe by common people. The museum was considered a monument, take examples such as The Louvre in Paris, or the Uffizi in Florence, they are models of the grandeur museums encompassed (Merkel, 2002, p. 66), significant in urban context, deliberately chosen to emphasise a citys status, and drawing attention within a public space. Traditionally understood as temples of knowledge, the architecture itself could be said to represent the value of knowledge. This belief was prominent in the early period of museum founding where the scale of buildings also symbolised power, so much so that the museum evoked the metaphor of a cathedral. Historian Jayne Merkel (2002, p. 66) writes, Not surprisingly, palace architecture-grand, classical, urban, and horizontal-was a principal influence when the first museums were designed. But like most public buildings at the time, they were built in the classical style for other reasons as well, including classicisms associations with government, law (Roman basilicas), with the sacred (Greek temples and Italian Renaissance churches) and with the culture and art of the past. Today, the museum could be considered as a building type that satisfies a citys need for symbolic signification, and an indicator of metropolitan aspirations such as world-wide recognition. A desire to entertain and educate society, along with a â€Å"sensitivity that refuses to bore, alienate or pander to the public† (Zieger, 2005, p. 17). If this is the case, then the status of a great city can entail in encompassing several of these institutions, thus the spread of museums witnessed during the nineteenth and twentieth century indicating the start of city rivalry. At the start of the twenty-first century, the museum as architecture has been reinstated as an evocative entity, as opposed to decades devoted to neutral, voided spaces lacking symbolic significance and strict functionality termed as â€Å"white box† (Lampugnani Sachs, 1999, p. 15). Museums began to create dialogue with their content and urban context. They can be seen as similar in some ways to churches, to shopping centres and other places of gathering, but they have a function different from these examples, they contain things of enquiry. The museum has made a considerable contribution to a city, adding historic and cultural significance along with contributing to a citys metropolitan status, presumably due to the transformative possibilities of museums (Giebelhausen, 2003 p. 9). The city and its museum are in conjunction to one another, one could believe the museum is a citys method of revealing cultural meaning through its architectural forms. This belief is an advanceme nt from the words of the theorist Filippo Tommaso Marinetti, ridiculing museums as cemeteries, stating that they were â€Å"truly identical in their sinister juxtaposition of bodies that do not know each other,† along with a judgement that cultural institutions were dilapidating. (see Zieger, 2005, p. 7) A society today uses the museum to represent a new dynamic form of culture, reflected through an innovative physical form that is often considered a visual spectacle of the city, that one could believe draws visitors to it in theatre like fashion. Consequently it can be theorised that they are quickly becoming radical buildings constructed in a world driven by the need to address new concepts of diversity and equality (Zukin, 1995 p. 2). Rather than just â€Å"cultural cemeteries piling up gilt frame paintings† (Zeiger, 2005, p.11), they are spaces of social condensing- a space attempting to build a community rather than filling a city with volumes of emptiness. As Dan iel Libeskind was quoted in saying â€Å"†¦its not just some sort of container, some abstract piece if glass and concrete, it is part of a communicative system.† The design challenge in the multicultural growth of cities is to find an architectural expression that goes beyond the conventional, while something relevant to contemporary life. Contemporary museum design can be deemed as a physical entity of cultural trends developing within the city (Zukin, 1995 p. 2), either recognising which cultures are integrating or if the city epitomises a specific one. No matter what conclusions are drawn out from a citys cultural make-up museums are a place where people go to mix with others unlike themselves, by having a broad appeal they must aim to please a vast variety of people. Libeskind confirms this in his words, †¦(museum) architecture is what is common between people, and what a contribution it makes to the viability of a city, and to civic space. †¦we might as well make in inspiring environment, an environment that is more than just a shallow faà §ade of something inauthentic. (Cathcart, 2001) To avoid the idea of an undistinguished environment is by physically fitting in the cultural identity related to the city. The museum in a physical setting is a structural body of city understanding and city change. There can be no denying the importance of its architecture in the urban environment in terms of regeneration, tourism, symbolism and so on (Zukin, 1995, p.2). Society as a whole has been persuaded that museums are agents of social economic change. There has been an unprecedented period of radical reshaping, building, rebuilding in the design of these institutions that cannot be disassociated from the drive for cultural inclusiveness and diversity. A building with space that can be considered with endless possibilities for use when â€Å"escaping the straitjacket of conforming to a giving role and move into a sharing mode† (MacLeod, 2005, p.25). In other words, a diverse audience needs a diversity of spaces that reflect, provoke and thrill. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN LONDON CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM Frank Gehrys Guggenheim museum is acknowledged worldwide as a magnet for tourism, but can it be truly considered an expression of the Basque peoples cultural identity? Or is it just an architects expressionist gesture in an industrial city? The New York Times depicts The Bilbao Guggenheim as part of an ambitious plan to revise the city as an international centre of culture. The museum is not just a neutral container where art is stored and presented, but a place where the institution itself is in relation with the public. GLOBALISATION It could be said that globalisation creates struggle between the dominant and the dominated cultures within a society and the search for a reconstructed identity of a society. (AlSayyad, 2009, p. 22) Within the Spanish Basque region, it is evident that their identity has been burdened with tension in their attempt to stress their own regional identities and singularities from the rest of Spain (Guasch and Zulaika, 2005, p. 74). However one can argue that in this case globalisation has become a force in strengthening and proliferating a cultural identity, allowing the idea of identity to change into a more universal commodity represented by the museum itself. But how do issues of globalisation affect the architecture itself, especially in terms of the Bilbao Guggenheim? The new advances of technology, communication and construction methods create interventions for local cultures and establish the identities of a place. Gehrys use of cutting-edge computer design technology enabled him to translate his forms into reality (Chulvi, 2007) (see 1.1). Architectural statements such as the Guggenheim Bilbao are often questioned at times in whether or not they have relation to the place and identity. There could be two sides to this argument, one side could be seeking to safeguard and extend already established indigenous architectural traditions, promoting historical continuity and the preservation of identity through traditional decorative forms. The other side which is in more relation to the Guggenheim Bilbao, considers globalisation as a force that seeks to encourage invention and distribution of new forms using new materials and technology in response to changing needs to have relation to the place and identity. Gehry has been quotes in saying, â€Å"Democracy is good for architecture. Pluralistic ideas are what we want presented in architecture, the lead to a visual chaos is part of our lives† (Guasch and Zulaika, 2005, p. 58). There is an opportunity for growth in unique architectural forms in all of its diversity and 2903687145_5cb25af9b6 inclusivity. NATIONAL AND CIVIC IDENTITY The Basque people have been able to preserve their distinct culture and language while flourishing in an environment of globalisation, post-modernity, and European integration (Castillo, 2008). Currently, integrating the two social collectives of nationalists and non-nationalists within the region is growing (Castillo, 2008). However how does a group of people who have never had a country to call their own continue to hold on to their own cultural identity? The Bilbao Guggenheim is a phenomenon of cultural development employing â€Å"the three successive phases posited by the theory of cultural epochs- a period of chaos, a period of adjustment, and a period of equilibrium in cultural change† (Guasch and Zulaika, 2005, p. 74). All around the world culture operates as an engine for new regional and urban development, one could say that no strategic growth of a city would take place without the role of culture (Zukin, 1995, p.11). In the case of the Basque region, it was sufferin g deterioration caught up in a decline in inspiration along with cultural institutions progressively being abandoned. Simultaneously, the Guggenheim Foundation was in need of a new concept of the museum, capable to withstand the achievement of Guggenheim in New York, yet gaining its own recognition abroad. Co-operation between two considerably different cultures occurred in recovering the identity of a small society (Guasch and Zulaika, 2005, p. 77). As Frank Gehry himself explains , the museum embodies two different cultures, the Basque culture and American, which is considered as a melting pot used to extend its arms to everybody (Farnsworth, 1997). The Bilbao Guggenheim is proof of culture being a key strategy in not only providing a physical renewal but a new injection of self-esteem within a city and an entire region. (see 1.2) Culture in the case of the development of this building, can be seen as something essential to humankind and above all to a society in regaining values and providing a sense of identity. Rather than ignoring the cultural context of the city entirely, the fabric is restored, connecting any form of cultural isolation with the new building. The curving forms of the building glide over the River Nervion, a main bridged entry to the Spanish city, shattering strict perpendicularity and ridged geometry regularly associated with museum architecture, providing a new model of collective identification (Guasch and Zulaika, 2005,p. 42). The rejection of these norms is emphasised by the titanium cladding, making the building appear as a single entity that intertwines the city around it. Like the Basque region the building is a place of â€Å"contested borders† (Guasch and Zulaika, 2005,p. 42). (see 1.3) Whether Gehrys building actually erases the citys cultural heritage is debatable. Bilbao is famous for its maritime history, after Barcelona, it has Spains largest port. The Bilbao Guggenheim pays tribute to its own surroundings as it edges onto the riverfront. Its exterior sculpted out of steel, which is traditionally the main industry of the city (Guasch and Zulaika, 2005, p. 154). The museums relationship with the city is conceived as the outcome of a perceived social need, as society changes and new social needs arise, new building forms will be produced in order to fulfill that need. The Bilbao Guggenhem facilitates a complete urban facelift, a driver for the citys urban regeneration, communicating not only its importance to the city as a powerful foci, but the citys mark in the cultural world. As a result, after Bilbao every city aspires to its own Guggenheim effect the â€Å"build it and they will come† (Barreneche, 2005, p.6) belief is what cities have taken on for their museums after untitled STYLE AND IDENTITY OF ARCHITECT Frank Gehry is widely recognised as a North American architect whose combination of steel, high-tech and flowing designs have broken the rigid hold of rectilinear design that has dominated most of Modern architecture (Zieger, 2005, p. 8). However the question remains: is it a good idea for the city to have an international museum built by a foreign architect? Gehry was quoted as spending a lot of time trying to understand the culture and trying to understand the Basque people. He explains, I related to them because I was raised in a Jewish upbringing in Toronto, Canada, so I was an outsider into the culture when I was a kid. And I understandI empathized with this outsider role, andbut I cant put my finger on a piece of the building and say this is Basque, but they seem to think I captured their spirit. I tried to use the materials of the region to build the building. The stone in Spanish. The steel structure is Spanish. All the work people were Basque. (Farnsworth, 1997) One can assume to Gehry a rich piece of architecture would combine elements in a way that preserve the coherence of their origins. At its best, the process of gathering cultural elements and marrying them to the sensitivities of a gifted architect can result in a powerful work of architecture such as the Bilbao Guggenheim. According to the Bilbao Revitalization Plan, the natural slope running down to the riverfront was to be transformed into a green valley, but Gehry did not want to lose the industrial feel of the existing waterfront. (see 1.4 1.5) People say that the design of the museums architecture was inspired during Gehry climb up the Mundana, one of the highest mountains in the outskirts of Bilbao. â€Å"Seen from the river, the building appears to take the shape of a boat paying homage to the port city that has given its home. The museums bright, shining panels resemble fish scales, reflecting the influence of natural forms and shapes.† (Chulvi, 2007) One could argue that the architects use of abstract, free-form components from local materials are reminiscent of Modernist Spanish sculptures, a cultural aspect valued by the Basque, or how the architects design of the enormous boat-shaped gallery is a dedication toward Bilbaos past as a centre of shipbuilding and trade (Guasch and Zulaika, 2005, p. 154). Many would argue that Gehrys design for the Bilbao Guggenheim truly reflects the identity of the Basque people even though the architect himself has no relation to region. However, there is a degree of sensitivity to the regions character that can be witnessed through the architecture. The city of Bilbao places an emphasis on the institution Gehry has designed, as having an important role in defining public culture. This has been achieved through the architects process of negotiating what architectural expressions could be accepted by the people. ECONOMY AND POLITICS Gehrys museum was hailed an as instant landmark, bringing a sense of relevance to architecture in the transformation of cities. (Guasch and Zulaika, 2005, p. 7) The Basque region was in need of local development due to its rustic city appearance and distinct regional identity compared to the rest of Spain. Primarily, the Basque region was in need of distancing itself from the negativity that it was associated with, such as being recognised as a terrorist region. Bilbao, the largest city in the Basque country, is a stronghold for the separatist group ETA (Basque Fatherland and Liberty), which seeks independence from Spain through often violent behavior (Farnsworth, 1997). For the Guggenheim Foundation this was an opportunity to fund a centerpiece of huge urban renewal for Bilbao. Previous museum concepts were of a private space for seekers of wisdom, philosophers and historians. Currently the museums directors are in favor of new futuristic architectural visions that were unimaginable years before, representing a museums city and forming the basis of urban regeneration such as Bilbao Guggenheim. The titanium shapes flourish through Bilbaos dark cornices and nearby smokestacks, as Andrew Friedman (see Zieger, 2005, p. 9) explains, †¦the nearby smokestacks and cranes; they seem†¦to be Gehrys whimsical idea of visually rendering the tumultuous and violent process by which a once-working industrial waterfront is brought to heel-an actual enactment of the grim process that the Guggenheim makes a point of capitalising on. The capitlisation Friedman mentions is the transformation of Bilbao from living city to an architectural destination. In other words the city acquires a signature building in order to stimulate a citys makeover (Zeiger, 2005, p.9). The design of the museum is recognised as a drive for social and economic regeneration, from traditional forms, to, in this case, a spectacular one off statement that challenges architectural preconceptions and creates a visual feast while maintaining the integrity of the site. Why have contemporary museums become a favorite tool of urban regeneration and redevelopment schemes since the Bilbao Guggenheim? Referred to as the â€Å"miracle,† (Guasch and Zulaika, 2005, p. 7) Frank Gehrys Bilbao Guggenheim changed the face of the Bilbao city, and set up to give a new purpose to an abandoned industrial estate. â€Å"Since the Guggenheim was built, Bilbao has never been the same again the museum has helped create pedestrianised areas that run from the t own hall to the port on the shores of the river.† (Chulvi, 2007) The answer is that museums allow an opportunity for growth in unique architectural forms in all of its diversity and inclusivity. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM The Jewish War Museums design is so powerful that it can be considered as an artifact in its own right. Even as it was unveiled in 1999 with nothing in it, the building was said to evoke a sense of loss and dislocation inflicted on Europes Jewish population the Holocaust in World War II (Barreneche, 2006, p.121). Through the buildings brief and urban site, Libeskinds Jewish Museum echoes the history of Berlin creating an emotional effect on the visitor. GLOBALISATION Cultural identity is something people have, and a form of traditional inheritance that is shared, something that needs to be protected and preserved. In contemporary society, globalisation has been portrayed sweeping through diverse cultures, and bringing a homogenized cultural experience (Tomlinson, 2003, p. 270). However, one can argue that globalisation, instead of destroying, has become a force in creating and developing cultural identity, allowing the idea of identity to change into a more collective entity. In terms of how this relates to the Jewish Museum, the building is not just seen as a response to some traditions, it is also open to new ones, a link to the past and the future (see 2.1). The mission of the Jewish Museum, and for all new museums, is not just for the city themselves but for the wider public, in which it becomes a communal existence. Around the globe, in every corner, new museums have appeared, coming in every shape and size, appealing to various preferences (Barreneche, 2005, p. 6). As Victoria Newhouse notes (see Barreneche, 2005, p.6), â€Å"One intriguing aspect of the current proliferation of museums is the ‘museumfication of seemingly every phenomenon†. The Jewish Museum is an example of this, and one could assume that through the guidance of globalisation, there are Jewish Museums in cities from New York to Sydney stemming from Libeskinds prominent Berlin museum. (Barreneche, 2005, p. 6). NATIONAL AND CIVIC IDENTITY Culture is cumulative and changing by additions of successive generations, reinterpreted from one individual or group to another. The designed environments of contemporary museums create a setting and representation of particular cultural identities. Daniel Libeskinds Jewish War Museum in Berlin encompasses these attributes, it is a building that engrains Jewish history. The design is based on a process of connecting lines between the locations of historic events and the locations of Jewish culture in Berlin. This is evident from the buildings plan with the zigzag footprint, symbolically derived from a fragmented Star of David (Barreneche, 2006, p.121). (see 2.2) The architect has created metaphors for the absence of Jewish communities in Berlin where the lines slices the plan (Barreneche, 2005, p. 121). The concepts of absence, emptiness and the invisible express the disappearance of Jewish culture in the city. Libeskind proves there is a powerful faith in the ability of people to l earn Relationship Between Museum and Cultural Identity Relationship Between Museum and Cultural Identity THE MUSEUM AND THE CITY: AN EMBODIMENT OF CULTURAL IDENTITY OF THE CITY IN WHICH IT STANDS INTRODUCTION As society enters a new century, many cultures have recond to an age of globalisation and, in turn, are embracing the idea of contemporary living. This results in the development of cutting-edge technology, new methods of communication, and the rapid growth of cities, causing indigenous culture of cities to increasingly blend. The desire to embrace this dynamic compels many architects to consider ways of creating architecture truly representative of a wide range of humanity. These new advances create city growth, impacting on urban form and the design process of the public institutions, including museums, which is what this dissertation will primarily explore. The result is to extend the range of materials, forms, cultural references and social thinking available to museum architecture. But does this create an uninspired sameness, where some identities are being ignored and/or distorted? Where the notion of cultures integrating really means the identity struggle between the dominants and the dominated? One could speculate that now, more rapidly than before, the architecture of the museum and the city simultaneously evolve to meet the cultural identity of the people. But are these buildings, in fact representative of the national identity of a city or the individuality of the architect? This dissertation investigates the architects role in designing museums, establishing to what extent the design reflects or stems from the cultural identity of the city. The relationship between the museum and the city in which to belongs is complex. In order to establish an understanding, the study consults a wide range of resources that address issues of cultural identity within a museums national and civic perspective. Additionally, the research made reference to economic and political issues regarding museums, the study of how globalisation is reflected within a cultural and affects architecture, and case studies to support the statement that architects may intend for their museum designs to be representations of a cultural identity within the city. There are now new ways of experiencing, interpreting and remembering. The contemporary architecture of museums are a strong medium of cultural memory, developing from the museums traditional forms as monuments symbolising the power of key individuals within a society, into an expressive entity that creates dialogue between its contents and urban context. The otherwise conventional manner of designing develops into a world of contradictions, assorted rhythms and new ideas of beauty in the design of museums. The physicality of the building represents that of theatrical effects, incorporating contemporary elements of architectural form as a method of entertainment, whilst engaging the interest of the citys individuals and of those from further afield. Millions are drawn to what is no longer a dying institution, but a visual destination for the public, in a form that encompasses the societys identity. One can assume this is influenced by the cultural pluralism within the buildings city c ontext, and considering the many identities as a plural identity. The diverse elements are woven into a sustainable, integrated spatial fabric that contributes to the life of the city. An approach which allows architectural freedom for a building type that has been described by some sources as overlooked by the public. Due to this studys word restriction, it is not possible to evaluate in detail more than four relevant case studies. This limitation resulted in the careful consideration of case studies varying in terms of locality and architect. Furthermore, due to time restrictions, it was not possible to carry out additional primary research which could have entailed supplementary site visits to the investigated case studies and additional data found in initial research methods such as interviews and questionnaires. The dissertations methodology consists of individually exploring and studying four case studies against the dissertations argument, in order to then properly conclude whether it can be proven to be accurate. These case studies pose as cultural barometers, where during investigation they help assess the extent in which they fulfill a citys cultural identity. The examination method entails drawing on a combination of primary research such as site visits to secondary research, drawing on existing written information from books, articles and online sources. The case studies follow a chronological order, beginning with Chapter One: Frank Gehrys Bilbao Guggenheim, a museum which initiated an influence on the case studies that have followed such as Chapter Two: Daniel Libeskinds Jewish War Museum, Chapter 3: Herzog and de Meurons Tate Modern London and Chapter 4: Zaha Hadids Contemporary Arts Centre. To further develop whether an architects design of contemporary museums truly reflect the citys cultural identity, each case study is analysed in th light of the following issues: Globalisation outlines whether certain cultural identities are lost or just changing within the museums civic context, especially as cities more than nations contend to draw global attention through these culturally significant public buildings. The sub-chapter concerning National and Civic Identity explores how culture influences in terms of the architectural context of the museum in a national and civic perspective. This provides a framework for exploring how architects use ideas about culture and cultural contradictions to create the structures and spaces to engage a society. The issue will discover how the design of the museum is a task of seeking an image essentially of ourselves. Style and Identity of the Architect briefly examines how the architects own identity, who themselves are either travelers or immigrants, insiders/outsiders of the city in which they design for, influences the ultimate design of the citys museum along with their own architectural style. Economy and Poli tics is a sub-chapter concerning who pays, owns and benefits from the establishment of these institutions. How cities acquire signature museums in order to stimulate their economic and ultimately cultural development. The museum building boom has been accelerated by what has become known as The Bilbao Guggenheim Effect . The sub-chapter investigates how Frank Gehrys museum has influenced these case studies to replicate their own â€Å"Bilbao Guggenheim Effect† within their cities. By putting up a museum with architectural credentials, Gehry revitalised a civic and cultural image, demonstrating that a single building could energise and enhance an entire city and region. DISCUSSION THE CONTEXT OF THE MUSEUM: INVENTION AND REINVENTION Layer upon layer, past times preserve themselves in the city until life itself finally threatened with suffocation: then, in sheer defense, modern man invents the museum. [Lewis Mumford, The Culture of Cities] These words from Lewis Mumfords The Culture of Cities depicts how the museum was manifested as a commodification of a citys overpowering history (Giebelhausen, 2003 p. 1). The design development of this building type has been changing since the museum was established in the 18th century, beginning as a space for private collections of wealthy individuals, only accessible by the middle and upper class (Giebelhausen, 2003 p. 4). Presently, the museum is a response to contemporary social change, a space that wishes to connect within its urban fabric surroundings and open to all. A museums design acknowledges the way in which it can order, store and display its belongings, the institutions relationship to a city and surrounding cultures lacks investigation, leaving questions about the museums role in an urban context (Giebelhausen, 2003 p. 2). Culture surpasses the ways in which something can be represented and housed, it can be seen as an expression of us. Today, culture is challenged i n a world struggling for established institutions such as schools, libraries etc., which often are said to lack in relation to the people (Zukin, 1995, p. 11). Museums are no longer seen as fixed frameworks, but a place for public interaction and exchange. One could consider that one of the buildings functions is to absorb the cultures within the city, and then reflect and shape this within an architectural form. The museum itself visually exemplifies its roles within a city, for instance unlocking urban memories, reconfiguring the past, aiding in touristic rediscovery and exploitation of a place to the whole urban environment, roles that challenge the museums attempt to reconnect culture and a citys built form (Giebelhausen, 2003 p. 2). There is an ability to recon a city with the use of museums, from â€Å"systematically inserting them, to salvaging or reconstructing them† into the urban fabric (Giebelhausen, 2003 p. 2). Therefore the museums cultural significance surpasses that of any other building types. In The Museum Transformed, by Douglas Davis (1990, p.14) asserts that, â€Å"no building type can match the museum for symbolic or architectural importance† because it is so often redefined due to its stimulation from cultural development. The museum can be considered as an entity that defines, represents and creates cultural trends ahead of its own place in time. As quoted from MacLeod (2005, p.1), â€Å"As museums have come to be consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from its traditional forms into often-spectacular one off statements and architectural visions.† Architects persuasively argue for a new type of ex perience, aiming to appeal to a general audience rather than the scholarly advisors soughing to replicate tradition (Giebelhausen, 2003 p. 3). This is an aspiration expressed from an analysis of contemporary society and its future direction, that being cultural diversity, resulting in the commissioning of strongly conceptualised museums to devote to multiplicity. As Relph (1976, p. 33) claims, †¦for each setting and for each person there are a multiplicity of place identities reflecting different experiences and attitudes; these are molded out of the common elements of appearance†¦through the changing interactions of direct observation with preconceptions. In the past however, the significance of museums were solely to serve a refined function, transcending the thinking of the scholars and academics, along with manifesting the power of a city (Giebelhausen, 2003 p. 4). Relph (1976, p. 35) provides evidence to this claim in mentioning, Public places which achieve their publicity through high imageability are not necessary innocent- their distinctive appearance or form maybe capitalised upon or even created as a statement of grandeur and authority to be regarded in awe by common people. The museum was considered a monument, take examples such as The Louvre in Paris, or the Uffizi in Florence, they are models of the grandeur museums encompassed (Merkel, 2002, p. 66), significant in urban context, deliberately chosen to emphasise a citys status, and drawing attention within a public space. Traditionally understood as temples of knowledge, the architecture itself could be said to represent the value of knowledge. This belief was prominent in the early period of museum founding where the scale of buildings also symbolised power, so much so that the museum evoked the metaphor of a cathedral. Historian Jayne Merkel (2002, p. 66) writes, Not surprisingly, palace architecture-grand, classical, urban, and horizontal-was a principal influence when the first museums were designed. But like most public buildings at the time, they were built in the classical style for other reasons as well, including classicisms associations with government, law (Roman basilicas), with the sacred (Greek temples and Italian Renaissance churches) and with the culture and art of the past. Today, the museum could be considered as a building type that satisfies a citys need for symbolic signification, and an indicator of metropolitan aspirations such as world-wide recognition. A desire to entertain and educate society, along with a â€Å"sensitivity that refuses to bore, alienate or pander to the public† (Zieger, 2005, p. 17). If this is the case, then the status of a great city can entail in encompassing several of these institutions, thus the spread of museums witnessed during the nineteenth and twentieth century indicating the start of city rivalry. At the start of the twenty-first century, the museum as architecture has been reinstated as an evocative entity, as opposed to decades devoted to neutral, voided spaces lacking symbolic significance and strict functionality termed as â€Å"white box† (Lampugnani Sachs, 1999, p. 15). Museums began to create dialogue with their content and urban context. They can be seen as similar in some ways to churches, to shopping centres and other places of gathering, but they have a function different from these examples, they contain things of enquiry. The museum has made a considerable contribution to a city, adding historic and cultural significance along with contributing to a citys metropolitan status, presumably due to the transformative possibilities of museums (Giebelhausen, 2003 p. 9). The city and its museum are in conjunction to one another, one could believe the museum is a citys method of revealing cultural meaning through its architectural forms. This belief is an advanceme nt from the words of the theorist Filippo Tommaso Marinetti, ridiculing museums as cemeteries, stating that they were â€Å"truly identical in their sinister juxtaposition of bodies that do not know each other,† along with a judgement that cultural institutions were dilapidating. (see Zieger, 2005, p. 7) A society today uses the museum to represent a new dynamic form of culture, reflected through an innovative physical form that is often considered a visual spectacle of the city, that one could believe draws visitors to it in theatre like fashion. Consequently it can be theorised that they are quickly becoming radical buildings constructed in a world driven by the need to address new concepts of diversity and equality (Zukin, 1995 p. 2). Rather than just â€Å"cultural cemeteries piling up gilt frame paintings† (Zeiger, 2005, p.11), they are spaces of social condensing- a space attempting to build a community rather than filling a city with volumes of emptiness. As Dan iel Libeskind was quoted in saying â€Å"†¦its not just some sort of container, some abstract piece if glass and concrete, it is part of a communicative system.† The design challenge in the multicultural growth of cities is to find an architectural expression that goes beyond the conventional, while something relevant to contemporary life. Contemporary museum design can be deemed as a physical entity of cultural trends developing within the city (Zukin, 1995 p. 2), either recognising which cultures are integrating or if the city epitomises a specific one. No matter what conclusions are drawn out from a citys cultural make-up museums are a place where people go to mix with others unlike themselves, by having a broad appeal they must aim to please a vast variety of people. Libeskind confirms this in his words, †¦(museum) architecture is what is common between people, and what a contribution it makes to the viability of a city, and to civic space. †¦we might as well make in inspiring environment, an environment that is more than just a shallow faà §ade of something inauthentic. (Cathcart, 2001) To avoid the idea of an undistinguished environment is by physically fitting in the cultural identity related to the city. The museum in a physical setting is a structural body of city understanding and city change. There can be no denying the importance of its architecture in the urban environment in terms of regeneration, tourism, symbolism and so on (Zukin, 1995, p.2). Society as a whole has been persuaded that museums are agents of social economic change. There has been an unprecedented period of radical reshaping, building, rebuilding in the design of these institutions that cannot be disassociated from the drive for cultural inclusiveness and diversity. A building with space that can be considered with endless possibilities for use when â€Å"escaping the straitjacket of conforming to a giving role and move into a sharing mode† (MacLeod, 2005, p.25). In other words, a diverse audience needs a diversity of spaces that reflect, provoke and thrill. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN LONDON CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM Frank Gehrys Guggenheim museum is acknowledged worldwide as a magnet for tourism, but can it be truly considered an expression of the Basque peoples cultural identity? Or is it just an architects expressionist gesture in an industrial city? The New York Times depicts The Bilbao Guggenheim as part of an ambitious plan to revise the city as an international centre of culture. The museum is not just a neutral container where art is stored and presented, but a place where the institution itself is in relation with the public. GLOBALISATION It could be said that globalisation creates struggle between the dominant and the dominated cultures within a society and the search for a reconstructed identity of a society. (AlSayyad, 2009, p. 22) Within the Spanish Basque region, it is evident that their identity has been burdened with tension in their attempt to stress their own regional identities and singularities from the rest of Spain (Guasch and Zulaika, 2005, p. 74). However one can argue that in this case globalisation has become a force in strengthening and proliferating a cultural identity, allowing the idea of identity to change into a more universal commodity represented by the museum itself. But how do issues of globalisation affect the architecture itself, especially in terms of the Bilbao Guggenheim? The new advances of technology, communication and construction methods create interventions for local cultures and establish the identities of a place. Gehrys use of cutting-edge computer design technology enabled him to translate his forms into reality (Chulvi, 2007) (see 1.1). Architectural statements such as the Guggenheim Bilbao are often questioned at times in whether or not they have relation to the place and identity. There could be two sides to this argument, one side could be seeking to safeguard and extend already established indigenous architectural traditions, promoting historical continuity and the preservation of identity through traditional decorative forms. The other side which is in more relation to the Guggenheim Bilbao, considers globalisation as a force that seeks to encourage invention and distribution of new forms using new materials and technology in response to changing needs to have relation to the place and identity. Gehry has been quotes in saying, â€Å"Democracy is good for architecture. Pluralistic ideas are what we want presented in architecture, the lead to a visual chaos is part of our lives† (Guasch and Zulaika, 2005, p. 58). There is an opportunity for growth in unique architectural forms in all of its diversity and 2903687145_5cb25af9b6 inclusivity. NATIONAL AND CIVIC IDENTITY The Basque people have been able to preserve their distinct culture and language while flourishing in an environment of globalisation, post-modernity, and European integration (Castillo, 2008). Currently, integrating the two social collectives of nationalists and non-nationalists within the region is growing (Castillo, 2008). However how does a group of people who have never had a country to call their own continue to hold on to their own cultural identity? The Bilbao Guggenheim is a phenomenon of cultural development employing â€Å"the three successive phases posited by the theory of cultural epochs- a period of chaos, a period of adjustment, and a period of equilibrium in cultural change† (Guasch and Zulaika, 2005, p. 74). All around the world culture operates as an engine for new regional and urban development, one could say that no strategic growth of a city would take place without the role of culture (Zukin, 1995, p.11). In the case of the Basque region, it was sufferin g deterioration caught up in a decline in inspiration along with cultural institutions progressively being abandoned. Simultaneously, the Guggenheim Foundation was in need of a new concept of the museum, capable to withstand the achievement of Guggenheim in New York, yet gaining its own recognition abroad. Co-operation between two considerably different cultures occurred in recovering the identity of a small society (Guasch and Zulaika, 2005, p. 77). As Frank Gehry himself explains , the museum embodies two different cultures, the Basque culture and American, which is considered as a melting pot used to extend its arms to everybody (Farnsworth, 1997). The Bilbao Guggenheim is proof of culture being a key strategy in not only providing a physical renewal but a new injection of self-esteem within a city and an entire region. (see 1.2) Culture in the case of the development of this building, can be seen as something essential to humankind and above all to a society in regaining values and providing a sense of identity. Rather than ignoring the cultural context of the city entirely, the fabric is restored, connecting any form of cultural isolation with the new building. The curving forms of the building glide over the River Nervion, a main bridged entry to the Spanish city, shattering strict perpendicularity and ridged geometry regularly associated with museum architecture, providing a new model of collective identification (Guasch and Zulaika, 2005,p. 42). The rejection of these norms is emphasised by the titanium cladding, making the building appear as a single entity that intertwines the city around it. Like the Basque region the building is a place of â€Å"contested borders† (Guasch and Zulaika, 2005,p. 42). (see 1.3) Whether Gehrys building actually erases the citys cultural heritage is debatable. Bilbao is famous for its maritime history, after Barcelona, it has Spains largest port. The Bilbao Guggenheim pays tribute to its own surroundings as it edges onto the riverfront. Its exterior sculpted out of steel, which is traditionally the main industry of the city (Guasch and Zulaika, 2005, p. 154). The museums relationship with the city is conceived as the outcome of a perceived social need, as society changes and new social needs arise, new building forms will be produced in order to fulfill that need. The Bilbao Guggenhem facilitates a complete urban facelift, a driver for the citys urban regeneration, communicating not only its importance to the city as a powerful foci, but the citys mark in the cultural world. As a result, after Bilbao every city aspires to its own Guggenheim effect the â€Å"build it and they will come† (Barreneche, 2005, p.6) belief is what cities have taken on for their museums after untitled STYLE AND IDENTITY OF ARCHITECT Frank Gehry is widely recognised as a North American architect whose combination of steel, high-tech and flowing designs have broken the rigid hold of rectilinear design that has dominated most of Modern architecture (Zieger, 2005, p. 8). However the question remains: is it a good idea for the city to have an international museum built by a foreign architect? Gehry was quoted as spending a lot of time trying to understand the culture and trying to understand the Basque people. He explains, I related to them because I was raised in a Jewish upbringing in Toronto, Canada, so I was an outsider into the culture when I was a kid. And I understandI empathized with this outsider role, andbut I cant put my finger on a piece of the building and say this is Basque, but they seem to think I captured their spirit. I tried to use the materials of the region to build the building. The stone in Spanish. The steel structure is Spanish. All the work people were Basque. (Farnsworth, 1997) One can assume to Gehry a rich piece of architecture would combine elements in a way that preserve the coherence of their origins. At its best, the process of gathering cultural elements and marrying them to the sensitivities of a gifted architect can result in a powerful work of architecture such as the Bilbao Guggenheim. According to the Bilbao Revitalization Plan, the natural slope running down to the riverfront was to be transformed into a green valley, but Gehry did not want to lose the industrial feel of the existing waterfront. (see 1.4 1.5) People say that the design of the museums architecture was inspired during Gehry climb up the Mundana, one of the highest mountains in the outskirts of Bilbao. â€Å"Seen from the river, the building appears to take the shape of a boat paying homage to the port city that has given its home. The museums bright, shining panels resemble fish scales, reflecting the influence of natural forms and shapes.† (Chulvi, 2007) One could argue that the architects use of abstract, free-form components from local materials are reminiscent of Modernist Spanish sculptures, a cultural aspect valued by the Basque, or how the architects design of the enormous boat-shaped gallery is a dedication toward Bilbaos past as a centre of shipbuilding and trade (Guasch and Zulaika, 2005, p. 154). Many would argue that Gehrys design for the Bilbao Guggenheim truly reflects the identity of the Basque people even though the architect himself has no relation to region. However, there is a degree of sensitivity to the regions character that can be witnessed through the architecture. The city of Bilbao places an emphasis on the institution Gehry has designed, as having an important role in defining public culture. This has been achieved through the architects process of negotiating what architectural expressions could be accepted by the people. ECONOMY AND POLITICS Gehrys museum was hailed an as instant landmark, bringing a sense of relevance to architecture in the transformation of cities. (Guasch and Zulaika, 2005, p. 7) The Basque region was in need of local development due to its rustic city appearance and distinct regional identity compared to the rest of Spain. Primarily, the Basque region was in need of distancing itself from the negativity that it was associated with, such as being recognised as a terrorist region. Bilbao, the largest city in the Basque country, is a stronghold for the separatist group ETA (Basque Fatherland and Liberty), which seeks independence from Spain through often violent behavior (Farnsworth, 1997). For the Guggenheim Foundation this was an opportunity to fund a centerpiece of huge urban renewal for Bilbao. Previous museum concepts were of a private space for seekers of wisdom, philosophers and historians. Currently the museums directors are in favor of new futuristic architectural visions that were unimaginable years before, representing a museums city and forming the basis of urban regeneration such as Bilbao Guggenheim. The titanium shapes flourish through Bilbaos dark cornices and nearby smokestacks, as Andrew Friedman (see Zieger, 2005, p. 9) explains, †¦the nearby smokestacks and cranes; they seem†¦to be Gehrys whimsical idea of visually rendering the tumultuous and violent process by which a once-working industrial waterfront is brought to heel-an actual enactment of the grim process that the Guggenheim makes a point of capitalising on. The capitlisation Friedman mentions is the transformation of Bilbao from living city to an architectural destination. In other words the city acquires a signature building in order to stimulate a citys makeover (Zeiger, 2005, p.9). The design of the museum is recognised as a drive for social and economic regeneration, from traditional forms, to, in this case, a spectacular one off statement that challenges architectural preconceptions and creates a visual feast while maintaining the integrity of the site. Why have contemporary museums become a favorite tool of urban regeneration and redevelopment schemes since the Bilbao Guggenheim? Referred to as the â€Å"miracle,† (Guasch and Zulaika, 2005, p. 7) Frank Gehrys Bilbao Guggenheim changed the face of the Bilbao city, and set up to give a new purpose to an abandoned industrial estate. â€Å"Since the Guggenheim was built, Bilbao has never been the same again the museum has helped create pedestrianised areas that run from the t own hall to the port on the shores of the river.† (Chulvi, 2007) The answer is that museums allow an opportunity for growth in unique architectural forms in all of its diversity and inclusivity. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM The Jewish War Museums design is so powerful that it can be considered as an artifact in its own right. Even as it was unveiled in 1999 with nothing in it, the building was said to evoke a sense of loss and dislocation inflicted on Europes Jewish population the Holocaust in World War II (Barreneche, 2006, p.121). Through the buildings brief and urban site, Libeskinds Jewish Museum echoes the history of Berlin creating an emotional effect on the visitor. GLOBALISATION Cultural identity is something people have, and a form of traditional inheritance that is shared, something that needs to be protected and preserved. In contemporary society, globalisation has been portrayed sweeping through diverse cultures, and bringing a homogenized cultural experience (Tomlinson, 2003, p. 270). However, one can argue that globalisation, instead of destroying, has become a force in creating and developing cultural identity, allowing the idea of identity to change into a more collective entity. In terms of how this relates to the Jewish Museum, the building is not just seen as a response to some traditions, it is also open to new ones, a link to the past and the future (see 2.1). The mission of the Jewish Museum, and for all new museums, is not just for the city themselves but for the wider public, in which it becomes a communal existence. Around the globe, in every corner, new museums have appeared, coming in every shape and size, appealing to various preferences (Barreneche, 2005, p. 6). As Victoria Newhouse notes (see Barreneche, 2005, p.6), â€Å"One intriguing aspect of the current proliferation of museums is the ‘museumfication of seemingly every phenomenon†. The Jewish Museum is an example of this, and one could assume that through the guidance of globalisation, there are Jewish Museums in cities from New York to Sydney stemming from Libeskinds prominent Berlin museum. (Barreneche, 2005, p. 6). NATIONAL AND CIVIC IDENTITY Culture is cumulative and changing by additions of successive generations, reinterpreted from one individual or group to another. The designed environments of contemporary museums create a setting and representation of particular cultural identities. Daniel Libeskinds Jewish War Museum in Berlin encompasses these attributes, it is a building that engrains Jewish history. The design is based on a process of connecting lines between the locations of historic events and the locations of Jewish culture in Berlin. This is evident from the buildings plan with the zigzag footprint, symbolically derived from a fragmented Star of David (Barreneche, 2006, p.121). (see 2.2) The architect has created metaphors for the absence of Jewish communities in Berlin where the lines slices the plan (Barreneche, 2005, p. 121). The concepts of absence, emptiness and the invisible express the disappearance of Jewish culture in the city. Libeskind proves there is a powerful faith in the ability of people to l earn