Case Study 2 Essay Example | Topics and Well Written Essays - 750 words

Case Study 2 - Essay Example The drawbacks result to baffling cases and transgressions. Not considering the affluence of information obtainable, it does not assist in operating the amenities. The intellect acquired from the offenders would be precious and significantly noteworthy in rule enforcement. Nevertheless, the decree enforcers openly squash underfoot and discharge it as implausible. Correctional officeholders cleverly find out covert messages from detainees regarding performance of the other jailbirds (Klofas, Kalinich & Stojkovic, 2007). That notwithstanding, they have their intelligence dishonoured by their superiors (regulation enforcement personnel). If the detectives restrain the intellect, it can direct to fruitless communication. This dims the enforcement conglomerates from attaining imperative intelligence. The facet of non-credibility of the springs (criminals are the spring) flaunts itself as a major hindrance to communication. According to the rumour mill, the incarcerated are pathological lia rs. This tells us that neither the correctional bureaucrats nor the enforcement conglomerates can acknowledge a solitary portion of intelligence from them. Detainees employ slander as a way of stage-managing the administration. (Klofas, Kalinich & Stojkovic, 2007) This encumbers healthier communication, which is predominantly essential in edict enforcement. The boss-subject relationship undergoes stumbling blocks, which dissuades unconventional course of communication in the procedure of working. The subordinate (correctional agents) tends to talk about only those issues that are not likely to get them into trouble. This fear serves to cover up inconveniences that may possibly mirror on the lesser party. The correctional administrators hold back crucial insight from getting to their superiors. The intellect assembly assemblages further carry on the knowledge to themselves, in an exertion to shun many avoidable measures. The use of multifaceted message avenues thus bars invariable st ream of information. This holds rapid compilation of knowledge and its application back. Professional-occupational specialism in relation to the correctional superintendents, puts on show an unremitting and proficient, communal scheme. This design educes premeditated and unintentional perspiration. These consist of coaching and vocational group traditions. Amateur correctional bureaucrats obtain a momentous jolt on first contact with the crooks. As they discover to subsist in seal up contact with the crooks, the bureaucrats sack the typecast that offenders are precarious. (Klofas, Kalinich & Stojkovic, 2007) On-job schooling tags on ahead joining the preparation school, which is more of inevitability than intent. This socialization process acts to weed out ineffectual officers. An exceptionally nerve-racking matter with the correctional officials is their disunity. They are deficient in the pervasive subculture that erstwhile groups signify. They hardly labour as one nor go halves i n the decision-building procedure. This debilitates communication amid them. They somewhat assume and condemn each other, other than come together and endorse cohesion, which is debatable. This is pluralistic unawareness where the folks affected concede with their personal standpoints rather than others’. The procedure of socialization is unchangeable. As a result, officials take part in a fundamental duty in determining work-related specialism. The superintendent ought to aspire to

Hero and saint conversion Essay Example | Topics and Well Written Essays - 500 words

Hero and saint conversion - Essay Example Although Hercules/Heracles was a son of a god, he was born to a mortal woman, making him a mortal as well, not exempted from the difficulties every human being meets. And this would be the very essence that integrates the Roman and Greek heroes to the making of the modern hero or saint. Paul of Tarsus for instance, though he was not a layman but formerly a Roman officer, being a Roman citizen with Jewish decent and having the power to execute the law under his command did not enjoy all his lifetime as one could imagine a person in authority. Instead, after his encounter with Jesus through a vision on his way to Damascus to persecute the early Christians, he suffered similar persecutions that he did to the disciples when he was still a Roman soldier. He encountered not only trials and miracles in escaping death from his fellow human beings but also from natural calamities. An example of which would be his survival from a shipwreck along with his fellow prisoners and the soldiers guard ing them when they were sent to Italy. Due to the storm, they landed in Malta instead and this is where another miracle happened to Paul when he was bitten by a poisonous snake from the fire they made which he simply shook off from his hand.

Of Mice And Men American Dream

Of Mice And Men American Dream The American Dream is presented as being unattainable in John Steinbecks novel, Of Mice and Men. This is predominantly evident in the case of George, Lennie, Candy, Crooks and Curleys wife. All of these characters admit to fantasising about the American Dream; untarnished happiness and the freedom to pursue their dreams. George and Lennies dream of owning land is unattainable as a result of Lennies careless actions caused by his ignorance of his physical strength. George constantly cautions Lennie not to retaliate if harassed. However, George knew it was inevitable that Lennie would act carelessly, thus endanger their dream. This is evident when George realises that Lennie has murdered Curleys wife: -I think I knowed from the very first. I think I knowed wed never do her. He usta like to hear about it so much I got to thinking maybe we would (Steinbeck, 2006, p.107). This portrays the doubt and uncertainty George had regarding his dream and the fact that he would never be successful in owning land. The American Dream, for George and Lennie, was unattainable due to Lennies careless actions that caused George to murder Lennie and, consequently eradicated their dream. Candys dream of owning land with companions to avoid becoming solitary, with the assistance of George and Lennie, was shattered when George murdered Lennie. Unlike George, Candy believed that the American Dream was within his reach from the initiation of the plan. However, after George murdered Lennie, all hope was lost. This is evident when Candy sceptically asked George if he still has the intention to purchase the land after slaughtering Lennie: Then-its all off? Candy asked sulkily. George didnt answer his question. George said, Ill work my month an Ill take my fifty bucks an Ill stay all night in some lousy cat house. Or Ill set in some poolroom til everbody goes home. An then Ill come back an work another month an Ill have fifty bucks more. (Steinbeck, 2006, p.107). Georges response to Candys question indirectly implies that George has resigned his. George has given up, making him and Candy no different to those people who waste their time and money in brothels for futile amusements as a result of lonely misery. Crooks views the American Dream as an unachievable objective. The visualisation of owning land and becoming self-sufficient was a modest ask, however, for many this was impossible because of the depression that occurred in 1937. Crooks states that he has heard numerous people have the same dream, however, never acquire a piece of land. For example, when Crooks strongly opposes the idea of Lennie and George reaching their dream, owning land: Youre nuts. Crooks was scornful. I seen hunderds of men come by on the road an on the ranches, with their bindles on their back an that same damn thing in their heads. Hunderds of them. They come, an they quit an go on; an every damn one of ems got a little piece of land in his head. An never a God damn one of em ever gets it. Just like heaven. Everbody wants a little piece of lan. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land. Its just in their head. Theyre all the time talkin about it, but its jus in their head. (Steinbeck, 2006, p.83-84). This is one of the most powerful messages in the novel illustrating that the American Dream is unattainable. George and Lennie were never alone in the sense that every American has the dream of land in their minds, and every single person will result like every other, as they are all destined to fail. Crooks statement has reinforced Steinbecks intent on showing that the American Dream is unachievable. Curleys wife dream of becoming an actress in Hollywood is unfeasible for the reason that she has resigned herself to an unfulfilling marriage. She imagines how great it would be to stay in fancy hotels, own several elegant dresses and have people wanting to take her photograph. She desires friendship, fame and financial security though her dream differs from the dream of the men. Her marriage with Curley has restricted her from interacting with men and most importantly, accomplishing her dreams: [à ¢Ã¢â€š ¬Ã‚ ¦] I cant talk to nobody but Curley[à ¢Ã¢â€š ¬Ã‚ ¦] I coulda made somethin of myself [à ¢Ã¢â€š ¬Ã‚ ¦] [Curleys wife] doesnt like Curley[à ¢Ã¢â€š ¬Ã‚ ¦] Coulda been in the movies, an had nice clothes-all them nice clothes like they wear. An I coulda sat in them big hotels, an had pitchers took of me. (Steinbeck, 2006, p.98-100). From this it can be deduced that her marital relationship with Curley has made her lonely because she cannot interact with the ranch hands, only with Curley who is always working and, her standards of living would have improved if she had pursued her dream of becoming an actress. The American Dream of the freedom to pursue ones dreams is made unreachable for Curleys wife because she has married Curley depriving her of freedom to do so. In John Steinbecks novel, Of Mice and Men, the American Dream is presented as being unattainable for a number of characters. The dreams of the characters have been hindered by many factors that have made them unachievable. In Georges, Lennies, Candys case the American Dream was not possible as a result of Lennies ignorance and recklessness. Crooks views that the dream of owning land to be self-sufficient is the typical dream of an American worker, however, owning the land is impossible. Steinbeck is intent on showing that the American Dream is unattainable by providing the message that those who have the dream of untarnished happiness and the freedom to pursue their dreams will fail in brotherhood of desperation and disappointment.

smithson :: essays research papers fc

Description of Research "Multidisciplinary investigations using state-selected atoms" We are a (largely) experimental atomic physics research group. We apply atomic physics techniques to a wide range of problems, including: * precise tests of physical laws and symmetries; * the development of atomic clocks; * biomedical and materials science investigations using laser-polarized noble gas nuclear magnetic resonance (NMR); * laser spectroscopy of coherently-prepared atomic media, with applications to quantum information; * low-energy atomic collisions; and * theoretical investigations of Bose-Einstein Condensates. Abstracts for recent research results Group bibliography Some ongoing projects are described at the following links: * The 129Xe/3He dual noble gas maser * The 21Ne/3He dual noble gas maser * The cryogenic hydrogen maser * The double-bulb rubidium maser * The coherent population trapping clock * Trapping light in coherently-prepared atomic media * Probing porous media with gas diffusion NMR * Low-field MRI of the lung gas space * Gas exchange in the lung * The dynamics of shaken and flowing granular media * Studies of vortices in Bose Einstein Condensates Some past projects are described here: * Polarized xenon in rat lungs and body tissues * Xenon uptake calculations for humans * Magnetic resonance imaging (MRI) of laser-polarized liquid xenon and gas-liquid exchange Description of Research "Multidisciplinary investigations using state-selected atoms" We are a (largely) experimental atomic physics research group. We apply atomic physics techniques to a wide range of problems, including: * precise tests of physical laws and symmetries; * the development of atomic clocks; * biomedical and materials science investigations using laser-polarized noble gas nuclear magnetic resonance (NMR); * laser spectroscopy of coherently-prepared atomic media, with applications to quantum information; * low-energy atomic collisions; and * theoretical investigations of Bose-Einstein Condensates. Abstracts for recent research results Group bibliography Some ongoing projects are described at the following links: * The 129Xe/3He dual noble gas maser * The 21Ne/3He dual noble gas maser * The cryogenic hydrogen maser * The double-bulb rubidium maser * The coherent population trapping clock * Trapping light in coherently-prepared atomic media * Probing porous media with gas diffusion NMR * Low-field MRI of the lung gas space * Gas exchange in the lung * The dynamics of shaken and flowing granular media * Studies of vortices in Bose Einstein Condensates Some past projects are described here: * Polarized xenon in rat lungs and body tissues * Xenon uptake calculations for humans * Magnetic resonance imaging (MRI) of laser-polarized liquid xenon and gas-liquid exchange Description of Research "Multidisciplinary investigations using state-selected atoms" We are a (largely) experimental atomic physics research group. We apply atomic physics techniques to a wide range of problems, including:

A visit to Seri Kasih Orphanage Home Essay

The first week of the last school holidays was a memorable and meaningful moments for the members of the English Language  Society of SMK Kampung Laut.The society has organized a special trip to Seri Kasih Orphanage Home on May 31st the first day of school holidays at Kampung Delima,Batu 8, Pasir Putih.There were a total of 75 students involved of whom 40 of are male students of form four and five while 35 female students comprising mainly of form 3 and 4 students.There were 4 accompanying teachers,Sir Rosdi,teacheradvisor of SMK Kampung Laut English Language Society,Teacher Madihah,our senior science teacher,Puan Marini,our Bahasa Melayu teacher and finally Mr Kim Lian Hing,our Physical Education  teacher.We started our 45 minutes journey with two special chartered buses sponsored by Dato’ Hj Karim,the chairman of PIBG of SMK Kampung Laut.We reached the orphanage home about 9.15 a.m.  We were greeted by the matron,Puan Seri Hajjah Maimunah and her delegations.The cheerful and estatic feelings of the orphans really touched our hearts.Puan Seri started with a welcoming speech.All eyes were on her and many wiped their tears at the end of her speech when many tragic stories of the orphans were revealed. We could see that there were a strong unity among the 95 orphans and they were really superb on their manners and etiquettes.We just loved the ways they behaved and lived within their circles.Sir Rosdi reciprocated with a short but very meaningful speech and then presented the cheque of RM1000 donated by the students of SMK Kampung Laut. The  morning activities started with a gotong royong project viz cleaning-up of surau and the main hall. The students were made up of 15 groups of 5 students each while some senior orphans were also lending their hands.Then the outdoor programme followed with telematches held for the female students while the male had a friendly volleyball matches. We had a short break at around 11.30a.m and later served with a light  refreshment.  The next programmae started when all the students and the orphans were requested to assemble at Seri Kasih main hall for the talentime show.We were entertained by the hidden talents of the orphans particularly on the group singing of nashid and coral speaking. Some of our students also joined the talent show by presenting some classical and  malay traditional songs aided by 3 plus one music. Then we had our lunch and dzohor prayer at around 1.30 p.m.We were served with very sumptuous and appetizing ikan bakar and beryani rice. Our next programme started at around 2.30 p.m with one hour tuition sessions where our form 4 and 5 students willingly broke up into small groups assisting the form 3 orphans mainly on Mathematics and English subjects. Then our own form 3 students were together with form 1 and 2 orphans discussing on some school works and  assignments.It was indeed a short but very helpful sessions.Most of the orphans were very hardworking and dedicated students.Some of them topped the classes and had flying colours results.  Our last programme was photograpy and souvenirs sessions.We brought beautiful souvenirs and presented to each and every orphans.   They were beaming with joy and many had agreed to treat our senior students as adopted brothers and sisters.Besides we also presented large hampers which consisted of chocolates,biscuits, nuts and fresh fruits.The matron,Puan Seri Hajjah Maimunah  presented her closing speech and invited all of us to come back next year for another great programmes.We left Seri Kasih Orphanage Home at about 4 p.m.Many of us had cherished the good memories and glad that we had performed our social responsibility with the residents of Seri Kasih Orphanage Home.We would certainly love to come back next year with many great programmes in hand.

Financial Crisis Essay

The term ‘financial’ means money or money related resources and the term ‘crisis’ means deterioration or disaster or emergency so the financial crisis means the rapid deterioration of financial indicators such as asset prices and short-term interest rates which becomes the cause of financial disaster. It is also defined as the sudden change in stock rates in the financial markets. An example of financial crisis is stock market crash (Feldstein 1991, p. 1–2). The reason for financial crisis is not the huge investments made by the business leaders in the venture related activities which fail and do not bring any profitable outcome but the reason is the sweeping of numerous market participants in the heavy risk-involved dealings for the same venture for profitable means. This can be in the form of thrifts lending, bank lending or share investments in the stock market. NBER study classifies the financial crisis into three major components: 1. Domestic capital related financial crisis 2. Economic and financial crisis through international origin and transmission 3. Financial crisis transition through economic collapse Thus, the overall reasons for financial crisis arises through the excessive involvements and investments of financial resources (money, assets, properties) in the stock market for increasing the number of shares in the interest of venture. Other reasons are the unintentional means which too arises from the market through the declining rates in short-term interest and assets prices which ruin the financial resources of a developed company and finally become the reason of ‘financial crisis’ (Feldstein 1991, p. 2–3). References Feldstein, M. (1991), The Risk of Economic Crisis, Chicago, The University of Chicago Press.

Lou Gehrig Essays - New York Yankees Players, Lou Gehrig

Lou Gehrig Essays - New York Yankees Players, Lou Gehrig Lou Gehrig Lou Gehrig was born and raised in New York City, the son of German immigrant parents. His full name was Henry Louis Gehrig. After graduating from high school, he attended Columbia University where he became a football and baseball star. Lou's father directed him to becoming a pro baseball player. He became sick and needed on operation, but there was no money for doctors and hospital expenses in the family budget, so young Lou quickly capitalized on his baseball skills. He accepted an offer from a scout to sign a contract with the New York Yankees, for $ 1,500 in cash as a bonus. Lou dropped out of college to play in the minor leagues and gain some experience until the Yankees needed him. Gehrig was 22 when he became a big league rookie. He sat on the bench until one day in June in the 1925 season when he finally broke into the Yankees' line up as a first baseman. It happened because the team's veteran first baseman couldn't play because of a sever headache. He stayed first baseman for fourteen seasons, five thousand eighty-two playing days, he played a total of two thousand, one hundred and thirty major league games. It was a record that will never be broken or even equaled. To create that unbelievable endurance, feat, strong and powerful Lou Gehrig nicknamed "The Iron Horse," played in every one of the two thousand, one hundred and thirty consecutive games, even though he was beaned three times, had fingers broken ten times, suffered fractured toes, torn muscles, a wrenched shoulder, a back injury, chipped elbows, and the pain of several lumbago attacks. Yet, in every contest of that incredibly long playing period he played with all the enthusiasm of a kid breaking into the big leagues. During that streak of 2,130 consecutive games "The Iron Horse" performed other astonishing feats. He became the first in the 20th century to hit four consecutive home runs in a nine-inning game. Only he in major-league history hit 23 grand slam home runs for 13 years in a row he drove in one hundred runs, topping 150 RBI's seven times and setting the American League record of 184 runs batted-in during the 1931 season for twelve seasons in a row he hit more than .300, and he made 1,991 runs, scored 1,888 runs, and walked 1,510 times. He won the coveted "Triple Crown" of the majors, the Most Valuable Player award, made 2,721 safe hits for a life time batting average of .340. His magnificent playing helped the Yankees win seven pennants and six World Series championships. Though he had begun in the big leagues as a clumsy, poor-fielding first baseman, "Larruping Lou," as he also came to be known, over came his faults through perseverance, patience, tireless practice and hard work, and blossomed out into a smooth and skillful a first baseman as ever lived. More than all this, though he never was flamboyant nor spectacular, and never sought the headlines, clean-living Gehrig of exemplary habits became an idolized and inspirational hero to many boys throughout America. Ironically, "The Iron Horse," the strongest and most durable big-league player of his time, became a victim of cruel fate. When Gehrig was 36 and still in his prime, he was felled by a mysterious disease that robbed him of his strength, power, and coordination. Puzzled doctors diagnosed this illness as amyotrophic lateral sclerosis, a form of paralysis affecting the spinal cord. It is now referred to as "Gehrig's disease." On a May afternoon in that 1939 season he benched him self as the Yankees first baseman because he could no longer help his team. He wept when it happened and never played again. On a July 4th afternoon of that memorable season more than 75,000 loyal fans flocked into the vast Yankees' ball park to pay homage to Gehrig and bid him farewell. Although the fabled "Iron Horse" knew that he was dying, he stood at home plate and told the huge hushed throng: "Fans they tell me I've been given a bad break. But I've got wonderful parents, a wife who loves me, and I've played baseball with the greatest teammate a ball player could ever

Greece after Alexander essays

Greece after Alexander essays Q.3 Write a comprehensive essay on the Greeks socio-political philosophical development after the death of Alexander the Great. After the death of Alexander the Great, the Greek city-states began to decay as they became part of the power struggle for the Hellenistic kings who tried to fill Alexander's shoes. Life during this time was often troubled and chaotic. It was during this time when new types of philosophical ideas began to develop. The philosophical schools which arose out of this troubled era were the Cynic, Epicurean, Stoic, and Skeptic. These schools supported the type of morality that was less directly associated to the government and society. The schools focused more closely on how an individual when unconnected to the tie of traditional society and state should deal with the whim of fate. The basis for the Cynic school was that over attachment to the possessions of ones life was the root of evil and unhappiness. The Cynics taught that the more one has, the more one is susceptible to the hands of fate. The Cynics encouraged that one must reduce their possessions, connections, and pleasure to the absolute minimum. The school taught that ones freedom comes from the abandonment of material objects and possessions, society and pleasure. The Stoic school was created by a Syrian named Zeno of Citium. Zeno went to Athens as a wealthy merchant but lost his fortune at sea. Zeno was consoled by the philosopher Crates who taught Zeno that material possessions were not important to a mans happiness. Zeno stayed in Athens were he heard various lectures from different philosophers. After gaining knowledge from the speakers he began to teach in a public hall named Stoa Poikile, hence the name Stoic. The foundation of his teachings was that the only way for a man to achieve happiness was to live in harmony with nature. Passions, are the cause of all evil, and are caused by the lack of judgment of wha...

5 Paragraph Essay on Respect

5 Paragraph Essay on Respect 5 Paragraph Essay on Respect In every context, there are certain values that must be observed if peaceful co-existence is to be achieved. In today’s world, social interactions take place everywhere. In institutions of learning, for instance, students continually interact with each other, as well as their teachers and other staff. At home, interaction cannot be avoided, unless one lives alone. Similarly, in the workplace, managers place more emphasis on team work to facilitate the timely achievement of organizational objectives. Even the simplest form of interaction, which is the relationship between friends or spouses, calls for a strict observance of certain morals and values. These values range from honesty and co-operation to mutual respect. Although all of them are crucial to a successful interaction, it has become evident that respect is of paramount importance. The major reason why respect is core to a relational development is embedded in the fact that in every situation there is some sort of relational hierarchy, whether express or implied. In other words, at any given level of a relational environment, there has to be someone who is above the rest in terms of authority and responsibility. In employment, there has to be a supervisor or manager to whom everybody else is subordinate. Likewise, family units have a head, who conventionally is the man. In classrooms, the teacher is superior and commands the respect of his/her students. Equally, there are class heads or school captains who must be obeyed and respected by the other students. There is an old adage, that respect is earned. This statement is particularly common in marriages or romantic relationships. Marriage and relationship counselors often have to mediate between spouses who have quarreled or even fought. In this age of the independent woman, there is the contention that both husband and wife are equal in marriage. The wife will argue that since she, too, is contributing towards the fulfillment of family needs, she should have a voice on all matters. The same independence is behind the increasingly prevalent assertion that the husband should also take active roles in domestic chores. The typical man will term this as utter disrespect. Pursuant to the â€Å"respect is earned† theory, unnecessary family conflict will be avoided if both partners learn to respect each other. As the head, the husband ought to appreciate the effort his wife is making as a home-maker and a career woman. On the other hand, the wife should attempt to stick to the Biblical teaching of submitting to her husband. This way, the husband will feel respected. All in all, respect must be mutual. It is unrealistic and oppressive to expect submission if one treats others inhumanely. The give-and-take attitude holds true in this regard. Tips on five-paragraph essay writing: An essay on personal values such as respect must be approached with sincerity and a straightforward manner if it is to achieve its purpose of informing the reader. It is clear that all cultures emphasize the importance of respect. Nonetheless, one is easily swayed by one’s individual perception of who should respect whom, as influenced by one’s cultural background. In addition to this consideration, the essay should expressly aim to inform the audience that no one person is exempted from respecting others, regardless of his or her position or authority. Furthermore, if the essay is written in such a manner that it compares two people, it should implore both of them to respect each other. Perhaps you need a custom 5-paragraph essay written from scratch? Then you need to contact essay writing service now!

Nursing Essay Example | Topics and Well Written Essays - 750 words - 1

Nursing - Essay Example Aside from performing well in our tasks, we must also be able to initiate better changes and developments on how we deliver our services. Being able to come up with effective and efficient measures in helping our patients is a big step both in adding value to our work as well as empowering ourselves with additional responsibilities in the nursing field. Also, by letting us become a part of the decisions not only would help in our career growth, but also in our own personal discovery (Kleinman, 2004). And the first step for this is by having a chance to look at how leadership works and thrives in our field. In order to be competent in leadership, I would have to accept additional tasks that stimulate the brain, such as problem-solving tasks or additional leadership work. It was reported that by having such additional tasks could enhance career growth among nursing staff, as well as empowerment, which in turn increases their retention in the field (Krugman & Smith, 2003). Also, I would ask concerned supervisors to hold meetings that aim to let the staff speak their thoughts and ideas to their superiors, and have them evaluated for soundness. I believe that doing so would not only give us the chance to use our heads to develop solutions, but also to give us a chance to be a part of the team, most especially to us who have the need to feel that our person and our abilities are relevant to the overall performance of the whole team. Doing so would also help us to become empowered, as well as having a sense of satisfaction in what we do and how we do it. Letting the nurse staff participate in such aspects of the work was reported to improve the morale of the staff, making them perform over the normal standard in providing care to patients (Contino, 2004). In order to arrive at my personal goal of being successful in the field of nursing, I opted to have my strengths and weaknesses identified, so that I could find out what I do best as well as to see which areas I need to improve to become better. And also, by finishing by degree in nursing as well as finishing a Master’s Degree in Public Health with Informatics not only can I contribute to the modernization of some aspects of nursing in where I work, but also to become a nursing manager being able to inspire and motivate people, as much as my own mentors do to me. I was able to check the levels of my knowledge in different areas of the nursing field using the Nurse Manager Inventory Tool (American Organization of Nurse Executives, 2006). Upon completing the checklist of the characteristics of effective nursing managers, with the help of my supervisor I was able to deduce what areas of improvement to focus on, and what areas I do well in. After answering the checklist, I found out that while I could say I am competent in the science and art domains since these are mostly sourced from available reading materials, the leadership aspects of being an effective nurse manager learning domain fra mework such as personal accountability, career planning, personal journey disciplines and optimizing leadership potential could still need expansion. I could attribute this to the fact that I am usually given responsibilities of staff nurses but not much more complex tasks. Also, leadership is not something written in most books, but is rather an experience that must be lived

Description of the Instructional Design Process Essay

Description of the Instructional Design Process - Essay Example Description of the Instructional Design Process Since both of us are from Saudi Arabia, our native language is Arabic. As such, we planned to teach the subject entitled "Arabic Alphabet", which we believe would be an interesting and illuminating learning area since the class is composed of different students from diverse cultural orientations: 50% American's and 50% foreign students. All are graduate students; as such the knowledge level considers the type of information that should be presented; the materials to be used; as well as the style and level of language to be applied. The relevant framework of the instructional design was presented by Dean (2002) through the presented diagram which itemized four needs assessment: (1) the skills of the educator/s; (2) the development of content knowledge; (3) the needs of the audience or the adult learners; and (4) the learning contexts (p. 3). To apply the model to the current project, the following information are noted and to be expounded in subsequent sections. Skills of Educators: T here is a manifested above average to exemplary skills and competencies in the command and proficiency of the Arabic language; as well as translating and teaching basic theoretical frameworks of the Arabic language to English, which is the second language of both educators. Detailed educational background, work experiences, as well as skills and competencies are discussed below.As the educators, both come from Saudi Arabia, where Arabic is the native language. ... Content Knowledge: Exemplary since Arabic is the native language to both educators. Needs of the Audience: Since 50% are Americans and 50% are foreign students, the subject promises to be an interesting and illuminating learning experience for all. The composition of gender and cultural/racial orientation of learners are detailed under learner needs and characteristics below. Learning Context: The instructional project is to be presented in the assigned classroom: 124 Davis Hall, Indiana University of Pennsylvania; which is the most appropriate and convenient setting to comply with the course requirement. Assessing and Developing the Adult Educators’ Skills As the educators, both come from Saudi Arabia, where Arabic is the native language. Ahmed Alzahrani has a Bachelor of Arts Degree in English from Jeddah Teachers' College in Jeddah, Saudi Arabia. She taught English for three (3) years in middle school. She has been in the United States pursuing her master’s degree le vel majoring in the MATESOL Program. On the other hand, Naif Alsayyali, is also an English language teacher. He taught in Middle School, the public school system in Altaif, Saudi Arabia. He has been teaching for nine years. From the educational background and work experience, it could be deemed that both educators are highly skilled and exemplary in the subject area, â€Å"Arabic Alphabet†. Not only do we possess excellent competencies in this topic; but likewise, as English language teachers, we are adept at translating the native language into English, as the secondary language, and an area of evident proficiency. Developing Content Knowledge As disclosed by Dean (2002), there are three essential components of content

City of God Essay Example | Topics and Well Written Essays - 1250 words

City of God - Essay Example Among the emergent themes in the movie are urban crime, social network, education, urban slums, the lack of economic and social mobility, and the global city. These themes are presented through the lives of Rocket and Jose ‘Lil Ze’ who are in opposite paths in their lives’ but are both shackled to the city of their childhood. The torn down buildings and the dirty streets serve as the backdrop of the film’s storyline and the object of Rocket’s gritting photographs. In the Broken Window Principle, the idea is that one broken window will lead to many broken windows. In an experiment, the pristine condition of windows deters the commission of voluntarily shattering them. James Wilson and George Kelling write that the police play an important role in reclaiming their own authorities in streets that have been overrun by gang-related violence. This is further strengthened when the people see them as a partner in driving out those who commit organized crimes to return their communities to a peaceful state. â€Å"The process we call urban decay has occurred for centuries in every city... Earlier crime waves had a kind of built-in self-correcting mechanism: the determination of a neighborhood or community to reassert control over its turf† (4). Sadly, this was not shown in the film as corruption was a rampant attribute of the local police force. Zukin’s Whose Culture, Whose City? (75) with its setting in New York, reveals that public space is continually being privatized by corporate entitles, resulting in a cultural war within its streets. In this regard, it is equally important to look at the cultural relevance of urban decay with respect to education. It not only functions to develop the individual but the nation at large. For developing nations, education has a pivotal developmental role. In this movie, education in the developing Rio de Janeiro, is quite accessible but an extensive portion of the populace remained ignorant.

Pearson VUE Corp and Current Information Architecture of the Firm Research Paper

Pearson VUE Corp and Current Information Architecture of the Firm - Research Paper Example Forming a section of Pearson plc., Pearson VUE is a cooperation worth 8 billion making it the largest commercial education publishers and testing company (Rinehart and Sloan, 2010). Its main operation facilities are situated in India, the United States, and the United Kingdom while its satellites cover Japan and China. This has enabled Pearson VUE to stand out as a global leaders when it comes to information technology electronic testing , government, academic and professional clients offering services ranging from data management to test development (Morgan, 2010). Pearson VUE Testing Process Pearson VUE has had great impacts with reference to ICT testing providing skills that are fundamental and offer credentials to start people and all knowledge level in ICT careers. These initiatives have attracted the attention of several entrants to the ICT field as well as partners such as the higher education and government (Pivar, 2008). Pearson VUE incentives on professional development thr ough certification and training programs have led to the realization of ICT workforce that is well equipped with skills that are relevant in this industry. Pearson VUE testing has been observed to lead to proficiency when it comes to SQL queries running and writing ensuring a combined set of skills in data complex database, resolved KPIs queries from candidates and clients, timely reports for SMT/OMT and clients which are effectively completed, doing away with ICT procedures that are outdated and support of the VSS (Hondros, 2005). The Pearson VUE has been designed in such a way that its exams in any classroom setups are standardized , measurable, are taken as frequent as possible while its analyzing and grading process are faster (Hondros, 2005). This has been achieved through a convenient and easy exam rescheduling and registration in its centers across the world, the complete utilization of Internet in the process of securing data and transmitting it to its test centers, making i t possible for its exams to be downloaded and always available as scheduled, having its exam results accurately and promptly presented to agencies who are certified after which they are merged with the test database that already exists, connections and monitoring all Pearson VUE hub and protection of its certifications through the Digital Embosser that cannot be tampered with (Ondrus and Pigneur, 2009). The above testing process ensures complete satisfaction to the clients as it enables a registration that is painless and quick, having its exams readily available when needed, testing results reported promptly to the chosen and certified agency. To improve its testing processes, Pearson VUE has employed different technologies including the use of biometric identification in the authentication of test takers. The PalmSecure and the Camera biometric technologies used in the identification have been employed in over 500 facilities globally. These technologies have ensured that those tak ing tests are in a position to accurately, conveniently and quickly determine their identity before sitting down for a scheduled test. The one to many matching technology offers an enhanced fraud prevention layer making use of biometric acceleration distribution technology. The Sensometrix is an additional technology in support of the biometric acceleration technology that compares the biometrics of each test taker

Color and Congenital Blindness Essay Example | Topics and Well Written Essays - 1000 words

Color and Congenital Blindness - Essay Example It is a very shoddy fallacy to suggest that one who is blind is unable to see anything at all as blindness has various segregated levels, each of which is measurable and each of which highlight the fact that there are various discrepancies in blindness itself. The group of people who are totally blind and cannot visualize and state such as those of darkness and light are called "NLPS". Then there are people who can partially identify illuminations of black and white (dark or bright) and finally there are people who not only identify but can also point out toward the direction of the lighting source. This further advocates the fact discussed above that blind people too have a partial sense of visualization. Color blindness is another abnormal condition which is misunderstood. It is characterized by the incapability to evidently differentiate dissimilar colors of the band. The difficulties can range from mild to severe and generally color blind people do have partial vision. It is an ambiguous phrase since people with color sightlessness are not blind, while they generally visualize colors in a restricted variety of shades. Generally color blind people do have partial vision and it is very rare that those who are color blind may not see any colors at all. a) The majority of the visual impairments are caused either by illness or by undernourishment. Both of them either affect the brain or straightforwardly harm the eye. There is a growing threat of congenital blindness in the countries that are facing a food scarcity and have not been able to overcome it. b) The next factor that mostly influences the occurrence of blindness or color blindness is injury to the eye. Even though they are accidental in nature, such injuries can fully take away a human being's sight or the ability to distinguish between colors. Hence it is very important, that these injuries are treated as soon as possible to avoid complexities and further harmful implications. c) Genes also have a major role to play in finding out whether a person is blind or not. On a general note, individuals with albinism experience from visual mutilation to the scope that majority are declared blind legally, despite the fact that only some of them are unable to see. d) A minute bit of all cases of sightlessness is by means of the ingestion of some chemicals. A common example is a chemical known as methanol that is considered a cheaper and regular alternate for alcoholic beverages. Now that we have discussed the various types and factors behind blindness it is necessary to observe how an eye works and consequently have a glance at the various reasons behind color blindness. The usual retina of a human being has a couple of types of light sensitive cells: the rod cells, which are vigorous in low light and the cone cells, which are lively in normal daylight. Generally, there are three kinds of cones, each containing a different pigment and in effect covering the entire gamut of colors. An irregularity in any one of theses comes is the reason for a human being to be color blind. The main types of color blindness are stated as under: a) Dichromatic: This case takes place when one of the cone pigments is absent and color is condensed to a couple of dimensions. The people affected by this try to use the remaining two cones to

Business plan for entertainment seminar Research Proposal

Business plan for entertainment seminar - Research Proposal Example The company plans to repay the complete start-up debt by the end of the second quarter of the fourth year. Belter-Chan Entertainment, LLC; has been founded by the endowed and talented duo Betty Chan, who will act as the CEO; and Aaron Belter, the designated COO. Betty Chan holds a Masters of Business Administration (MBA) in Management from the University of Southern California (USC) Marshall School of Business, served as a Systems Operator for the US Navy, held a high security clearance while employed with the Governor of California Arnold Scwarzenegger, the US Department of State and the US Department of Labor and has prior production accounting experience with Paramount Pictures, the major motion picture studio located in Hollywood. Aaron Belter was a former Talent Agent with the largest talent agency in the world, the William Morris Agency in Beverly Hills before becoming a Film Producer for his now dissolved motion picture production company Niboucha-Belter Films which was once located at Universal Pictures. After dissolving his motion picture production company, Mr. Belter re-entere d talent representation with Michael Ovitz's Artists Management Group in Beverly Hills as a Talent Manager and after this company closed in 2001, Mr. Belter formed Belter Management where he continued as a Talent Manager and Consulted for motion picture directors and producers in areas production finance and distribution. The new alliance of Belter-Chan will engage in Motion Picture Consulting, Development and Producer Training. Our primarily target audiences interested in advanced Motion Picture Producing Seminar Training Programs will be offered to students and professionals alike and shall include an in depth look to the art and science of producing motion pictures; complete from Acquisition, Development,

Color and Congenital Blindness Essay Example | Topics and Well Written Essays - 1000 words

Color and Congenital Blindness - Essay Example It is a very shoddy fallacy to suggest that one who is blind is unable to see anything at all as blindness has various segregated levels, each of which is measurable and each of which highlight the fact that there are various discrepancies in blindness itself. The group of people who are totally blind and cannot visualize and state such as those of darkness and light are called "NLPS". Then there are people who can partially identify illuminations of black and white (dark or bright) and finally there are people who not only identify but can also point out toward the direction of the lighting source. This further advocates the fact discussed above that blind people too have a partial sense of visualization. Color blindness is another abnormal condition which is misunderstood. It is characterized by the incapability to evidently differentiate dissimilar colors of the band. The difficulties can range from mild to severe and generally color blind people do have partial vision. It is an ambiguous phrase since people with color sightlessness are not blind, while they generally visualize colors in a restricted variety of shades. Generally color blind people do have partial vision and it is very rare that those who are color blind may not see any colors at all. a) The majority of the visual impairments are caused either by illness or by undernourishment. Both of them either affect the brain or straightforwardly harm the eye. There is a growing threat of congenital blindness in the countries that are facing a food scarcity and have not been able to overcome it. b) The next factor that mostly influences the occurrence of blindness or color blindness is injury to the eye. Even though they are accidental in nature, such injuries can fully take away a human being's sight or the ability to distinguish between colors. Hence it is very important, that these injuries are treated as soon as possible to avoid complexities and further harmful implications. c) Genes also have a major role to play in finding out whether a person is blind or not. On a general note, individuals with albinism experience from visual mutilation to the scope that majority are declared blind legally, despite the fact that only some of them are unable to see. d) A minute bit of all cases of sightlessness is by means of the ingestion of some chemicals. A common example is a chemical known as methanol that is considered a cheaper and regular alternate for alcoholic beverages. Now that we have discussed the various types and factors behind blindness it is necessary to observe how an eye works and consequently have a glance at the various reasons behind color blindness. The usual retina of a human being has a couple of types of light sensitive cells: the rod cells, which are vigorous in low light and the cone cells, which are lively in normal daylight. Generally, there are three kinds of cones, each containing a different pigment and in effect covering the entire gamut of colors. An irregularity in any one of theses comes is the reason for a human being to be color blind. The main types of color blindness are stated as under: a) Dichromatic: This case takes place when one of the cone pigments is absent and color is condensed to a couple of dimensions. The people affected by this try to use the remaining two cones to

Network Interface Units Essay Example for Free

Network Interface Units Essay Wireless broadband Internet has gained more prominence among home users and small-scale businesses especially because in other setups say in legal and medical field, confidentiality is paramount and is a legal obligation. Any breach of this confidentiality is an offense. In addition, it provides inexpensive and relative speedy wireless Internet over a wider coverage area. Additionally, users expect more freedom and flexibility in using their portable computers, say at work, in the garden, and laptops hence wireless connection becomes more popular. This technology has provided users with easy access to Internet and at the same time convenience as wireless broadband technology does not use telephone cables However at the same time, it has rendered peoples personal information vulnerable to access by other users. That is, almost anyone with a good laptop with wireless connection can interfere with other networks within range especially those that are not protected form unauthorized users. This paper presents a technical report on the use of wireless Internet in domestic broadband Internet solutions. This investigation will address key areas such as how the technology works, security issues involved in the wireless Ethernet installation, implications of using wireless internet within the web based information system, configuration and setup issues, ways in which wireless internets can be made more secure and future solutions to the security concerns of wireless Ethernet internet. Introduction. The wireless networking technology operates in more or less the same way as the conventional LAN only without the physical wires. The personal computer has to have a wireless network card which is sort of an Ethernet adapter. This makes the computer establish a connection with the service provider network. Depending on the model, an access port can support up to sixteen machines. The wireless broadband technology uses radio waves that transmit and receive data on air unlike the traditional cable and ADSL broadband that use telephone lines. (Shay, 1998) Basically, all one needs is a Customer Premise Equipment (CPE) in the building where one wants to get connected. In this area there has to be radio signals. In cases where there aren’t any in sight then multiple hubs may be installed to act as logical diverters of the radio signals. A CPE comprises of NIU (Network Interface Units) which provide circuit emulation and internet data services. The Ethernet data services are simply mounted on top of the building where the Internet is being installed i. e. the transceiver and the antennae unit. The advantage of wireless broadband technology is that they are fast and more reliable than the others with up to 256kbps speeds (Tanenbaum, 2002) Wireless broadband networks transmit data to towers hosted by the service provider, which then the NUI and the Ethernet data services then pick up and deliver to a users personal computer or laptop. Wireless connections use DHCP (digital host configuration protocol) which assigns the IP address without the intervention of the configuration from the network administrator or the intervention of the user. The wireless broadband technology also uses modems just like the ADSL and traditional cables only that in wireless broadband connections the modem has an inbuilt antennae which links your computer to the nearest service provider tower (Spainhour Eckstein, 2003)

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