Wikienfk5 - User contributions [en]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T15:27:04Z

LL: /* Analysis of use/users */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city? by the analysis of the 600 years ago built city we can understand the old thoughts about the chinas culture.

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

L) As the Imperial Palace, the Forbidden City is divided into two parts: The Outer Court (外朝) or Front Court (前朝) and the Inner Court (内廷) or Back Palace(后宫). the outer Court is the place for the Emperor to work, meetings and ceremonial purposes.
the Innen court is the place for the Emperors family.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T14:25:29Z

LL: /* Analysis of use/users */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city? by the analysis of the 600 years ago built city we can understand the old thoughts about the chinas culture.

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

L) the Forbidden City is divided into two parts: The Outer Court (外朝) or Front Court (前朝) and the Inner Court (内廷) or Back Palace(后宫). the outer Court is the place for the Emperor to work, meetings and ceremonial purposes.
the Innen court is the place for the Emperors family.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T14:21:10Z

LL: /* Analysis of use/users */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city? by the analysis of the 600 years ago built city we can understand the old thoughts about the chinas culture.

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

L) the Forbidden City is divided into two parts: The Outer Court (外朝) or Front Court (前朝) and the Inner Court (内廷) or Back Palace(后宫). the outer Court is the place for the Emperor to work and the Innen court is the place for the Emperors family.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T13:50:55Z

LL: /* Rationale: Why is the case study interesting? */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city? by the analysis of the 600 years ago built city we can understand the old thoughts about the chinas culture.

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T13:47:49Z

LL: /* Rationale: Why is the case study interesting? */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city? by the analysis of the 600 years built city we can understand the old thoughts about the chinas culture.

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-31T13:17:14Z

LL: /* Rationale: Why is the case study interesting? */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Student_Case_Studies_Seminar_Cultural_Landscapes_2010 Back to Student Case Studies]'''

{| align="right" width="400pt" style="background:Gainsboro; color:black"

|-
| '''Name''' ||style="background:Lavender"|''the Forbidden City''
|-
| '''Place''' || style="background:Lavender"|''Peking (Beijing)''
|-
| '''Country''' || style="background:Lavender"|''China''
|-
| '''Author(s)''' || style="background:Lavender"|''Yan Hu, Lei Li, Runzi Luo''
|-
| '''Project start''' || style="background:Lavender"|''1406''
|-
| '''Completion''' || style="background:Lavender"|''1420''
|-
| '''World Heritage''' || style="background:Lavender"|''1987''
|-
| '''Client''' || style="background:Lavender"|''Emperor Yongle''
|-
| '''Project costs''' || style="background:Lavender"|''unknown''
|-
| colspan="3" align="center" style="background:silver"|

[[Image:The forbidden city.jpg|400px]]

<googlemap version="0.9" lat="39.917965" lon="116.388795" zoom="14" width="400" height="300" controls="small">
</googlemap>

|-
| ||style="background:Lavender"|
|-
|}

=== Rationale: Why is the case study interesting? ===
*''Please summarise:- e.g. Design Innovation? Planning Exemplar? Theoretical Insights? Lessons from its failure?''

[[Image:Gugun panorama-2005-1.jpg|700px]]

y) The Forbidden City, the imperial palace of China during the Ming and Qing dynasties, is the best preserved Chinese imperial palace and the largest ancient palatial structure in the world. Within a symmetrical layout, it displays an extremely harmonious balance between buildings and open space, and conveys a strong image of wealth and earthly power without abandoning a sense of human scale.
L) what is the meaning of the colour, the symbol, the number in the city?

=== Author's perspective ===
*''What theoretical or professional perspective do you bring to the case study? Please make a short note on your personal background''

y)(The Forbidden City, with many architectural masterpieces and abounding in rich ideas for ancient Chinese uban and landscape design, is specially attractive for us, as three students in architecture, urban design and landscape architecture from China, to cooperate in this Case Study.)

=== Cultural landscape context ===
*''Biogeography, cultural features, overall landscape character, history and dynamics''

Illustration:
Map; sketches; short descriptive analyses

y) (The Chinese philosophy of Taoism looked inward, seeking harmony with nature. Sustainability with nature was introduced into the city. Internal planning of houses mirrored the external rectangular layout of a city. Important rooms were lined on the north side, facing a central courtyard to the south. The courtyard was the focus of family life where each house had a well.)

=== Socio-political context===
*''Brief explanation of political economy, legal framework''

Illustration:
Bullet points, image, background notes

The City was enmeshed in ritualistic and religious concepts. The very structure of the Forbidden City was conceived by Yongle's tutor, a visionary monk. He imagined an extraterrestrial city, where the Lord of Heaven resided in a purple enclosure (believed to be a constellation formed by 15 heavenly bodies turning round the polestar). According to Chinese cosmology, the colour purple was a symbol of joy and happiness and also that of the polestar. So the Emperor established himself as the Son of Heaven, with the mandate to maintain harmony between the human and natural world, balancing the vastness of nature with a uniform modular system of rectangular courtyards and buildings. He and his city became linked to the divine forces of the universe. Therefore, the domicile of the Emperor was a purple city at the centre of the temporal world.

Yongle's residence became known as Zi Jin Cheng, meaning 'The Purple City (Cheng), of the polestar (Zi), where one cannot enter (Jin)'. The literal meaning of China (Chonghua) is 'the country at the centre', leading to the idea of the Forbidden City being at the very centre of the world.

[[#toc|'''Back to top''']]

=== Spatial analysis of area/project ===
*''What are the main structural features?''
*''How has it been shaped? Were there any critical decisions?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was constructed in accordance with ancient rules of spatial design. The principal buildings was aligned along a straight axis, from north to south, flanked by a symmetrical arrangement of minor structures on parallel axes.

[[Image:Spatial_analysis_of_the_forbidden_city.jpg|400px]]

=== Analysis of idea/program/function ("Planning Objective")===
* ''What are the main functional characteristics?''
* ''How have they been expressed or incorporated?''

Illustration: Map/diagram/sketches photos and background notes

y)(This architectural convention was favourable with Yung-lo's claim that his city had symbolic importance. He believed that a centralized configuration of buildings would also serve as an emblem of the ordered heavens. Beijing emerged as a series of cities on a north-south axis, comprising of a sequence of monumental climaxes. Boulevards, between 20m and 45m wide, linked opposite gates, symmetrically placed in the length of the walls.

The chilling north was regarded as a harmful direction. Because all invasions of China originated from the north, it came to represent evil spirits, cold winds and the wicked warriors from the steppes. Hence, the buildings in the Forbidden City face south, the direction of holiness, giving protection from cold winds and also permitting subtle decoration based on catching infinite variations of light. In fact, the only pavilions facing north were for the Emperor's rejected concubines.

The enclosing wall (being synonymous with the word for city in China) was a major component in city planning, with huge forts over the gates and at the corners. Such gates were more than just entrances. Their massive towers were designed to house garrisons, customs and city officials and command a view of the boulevards. Once built for defence, such gates became administrative centres for law and order. Gateways were massive constructions, some 25m high, with an equal depth through the city walls.

Unlike the rigid construction of the triangulated truss developed in the West, which inhibits expansion, the Chinese developed the beam frame system, capable of considerable extension, virtually in all directions. Timber columns of some length and girth were elaborately carved and rested on a stone base. Columns were held in both directions by beams, separated by short vertical members. Roof purlins were placed on these members, so avoiding straight lines. A cantilever bracket called tou-kung was used to carry the eaves overhang as far as possible, beyond the outermost columns.

Major buildings had their long sides facing south, with subsidiary ones, often lower, on the east and west sides. The proportion and dimension of buildings increased With additional bays, without the need to introduce exaggerated forms of architectural mass as in traditional Western palaces. Large groups of buildings were composed of separate walled enclosures. Order to the plethora of graceful buildings was provided by the regularity of their arrangement and conformity of style.

Progression in depth along the main axis introduced elements of ascent and descent by multiple platforms and the pure forms of concave and convex, through roofs and columns. Temples and palaces punctuated the skyline seemingly at random. The rigid discipline of the Chinese system along an axis also allowed asymmetrical elements to be introduced, such as the natural release of trees, lakes and canals. The mysterious art of feng-shui (wind-water) was used as an attempt to harmonize buildings, with natural forces.)

=== Analysis of design/planning process ("Process Biography") ===
* ''How was the area/project formulated and implemented?''
* ''Who initiated the project and why?''
* ''Which stakeholders have been involved?''
* ''Who made the major decisions and when?''
* ''Were there any important consultations/collaborations?''

Illustration: Map/diagram/sketches photos and background notes

y)(The principal approach to the Forbidden City was the central movement system, through an elaborate series of courtyards and gardens, neatly laid out. This sequence made use of multiple platforms and curving roof shapes. From the south, across the interlinked cities, the main axis led to the central gateways in the massive wall, which opened upon the paved way, between the Temple of Agriculture on the west side and the Temple of Heaven on the east, the most sacred place in China, representing the transitional stage between heaven and earth.

Within the vast enclosure of the Altar to the God of Agriculture, the Emperor ploughed the first annual furrow to bless the earth and preserve its fertility. He also determined the cycle of the seasons to ensure good harvests.

The sacredness of the Altar of Heaven was extenuated by a freestanding gateway along the line of movement. The Altar of Heaven itself was shrouded in symbolism and consisted of three cylindrical tiers, defined by a series of ascending balustrades open to the sky. This was where the Emperor knelt and read from the scrolls of his prayers. The paper was subsequently burnt and the prayers were carried up to heaven by smoke

The monumental progression continued through the various cities, each with its own character; first across the south rectangle of the Outer City, with its enclosed walls. Then, after penetrating the wall at the Chien Men, the main gate, the Inner City was entered, with its brilliant red and bluish-purple red tile roofs and ornaments in gold. A vast space separates the Gate of Heavenly Peace, or Tianan Men, from the entrance to the Forbidden City (during Imperial times, ministerial buildings overlooked a much smaller square, thronging with people).

The entrance to the Imperial City continued to Wu Men, or the Meridian Gate, a massive horseshoe shape, revealing the Forbidden City. Bells were struck softly as the Emperor passed through the central portal. From here, ramparts, 10m high, combined with drainage ditches 50m wide, isolated the palace from the rest of the city. The distance from the south entrance of the Chinese City to the Meridian Gate, leading to the Forbidden City, was about 5km (equivalent to the length from Marble Arch to Holborn Station in London).)

[[#toc|'''Back to top''']]

=== Analysis of use/users ===
* ''How is the area/project used and by whom?''
* ''Is the use changing? Are there any issues?''

Illustration: Map/diagram/sketches photos and background notes

y) The Forbidden City was originally built as a imperial palace. It was the home of 24 emperors and always the political centre of China. In October 1925, the Forbidden City was officially transformed into a museum.

=== Future development directions ===
* ''How is the area/project evolving?''
* ''Are there any future goals?''

Illustration: Map/diagram/sketches photos and background notes

[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''

Please add references, quotes...

=== Successes and limitations ===
*''What do you see as the main successes and limitations of the area/project?''

Illustration: Summary table

y) (The Forbidden City abounds in rich ideas for urban design. While expressing monumentality, it retains its sense of human scale and is able to provide splendid buildings on multiple platforms, skilful perspectives through a succession of opening and closing spaces and colourful reflections in infinite pools, all experienced through a sequence of sensations.)

=== What can be generalized from this case study? ===
*''Are there any important theoretical insights? ''

Short statement plus background notes

=== What research questions does it generate? ===

Short statement plus background notes

[[#toc|'''Back to top''']]

=== Image Gallery ===

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:The_forbidden_city01.jpg | Golden Roofs
Image:The forbidden city02.jpg | Forbidden City in the snow
Image:The_forbidden_city03.jpg.jpg | Walls around the Forbidden City
Image:The forbidden city04.jpg | View of the Forbidden City from the top of Jingshan Park
Image:The forbidden city05.jpg | Jingshan Park
Image:The forbidden city06.jpg | Top of Jingshan Park
Image:The forbidden city07.jpg | Lake in Jingshan Park
Image:The forbidden city08.jpg | Summerhouse in Jingshan Park
</gallery>

[[#toc|'''Back to top''']]

=== References ===

* Jim Antoniou, Apr 2001, The forbidden city in Beijing: China's hidden heart; The Architectural Review, 209, 1250
* etc.

* Website Year: Link, keyword, ...
* etc.

----

[[Category:Case Study]]
[[Category:China]]
[[Category:Peking (Beijing)]]

[[#toc|'''Back to top''']]

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-26T15:00:23Z

LL:

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-25T16:33:19Z

LL:

The Forbidden City - The region of the Imperial Palace in central Peking, China

2010-05-25T16:31:59Z

LL:

Student Case Studies Seminar Cultural Landscapes 2010

2010-05-24T15:05:48Z

LL: /* Multiculturalism */

'''[http://draco.hfwu.de/~wikienfk5/index.php/Cultural_Landscapes_2010 Back to Seminar Outline]'''

* Dear students, please follow the given structure and add '''your name''' and a short but significant '''title of your case study''' to the respective section of this list of the '''ECLAS thematic fields''' via "edit".
* If your project relates to more than one theme, please copy the title to any appropriate section.
* If you think that some '''important subthemes''' are missing, feel free to add your particular subtheme to the appropriate section of the list.
* Your case study will be linked with the '''[[Case Study Template_Cultural Landscapes 2010]]''' as a neutral starting point after May 11, 2010, and then you can start editing your '''online documentation (publishing exercise)'''

== Thematic fields according to the 2010 ECLAS conference "Cultural Landscapes" ==
[[Image:100410 cultural landscapes mind map.jpeg|thumb|1050px|Thematic map "Cultural Landscapes"|none]]

==Cultural Landscapes: Education, research methods and approaches==

=== Profession-based education ===
* Jovana Kovacevic, Mirjana Jovanovic, Nada Jadzic :[[(re)Quest for the cultural landscape of Belgrade, Serbia]]

=== Multi-disciplinary education ===
* Student: [[Title, Country]]

=== Interdisciplinary education ===
* Roya Sabri: [[Rebuilding a Sustainable Image in a Cultural Landscape, Iran]]

'''[[Group synthesis Education, research methods and approaches]]'''

==Responses of cultural landscapes to changing natural processes==

=== Climate change ===
* John Sun,Ya Li: [[Transformation and reconstruction of BaiHua public garden: Alternative planning for complex objectives, China]]

=== Re-colonization of abandoned lands ===
* Ieva Kiesnere: [[Transformation of degraded territories in an urban cultural landscape, Latvia]]

=== Impact of emerging need for sustainability ===

* Derya Yazgi, Damla Tas [[Göreme National Park and the Rock Sites of Cappadocia, Turkey]]

* Isin Barut: [[Transformation of the Meles Delta, Izmir, under the eco-city concept]]

* Roya Sabri: [[Rebuilding a Sustainable Image in a Cultural Landscape, Iran]]

'''[[Group synthesis Responses to changing natural Processes]]'''

==Landscapes as a reflection of changing cultural processes==

=== Globalization ===

* Jovana Kovacevic, Mirjana Jovanovic, Nada Jadzic :[[(re)Quest for the cultural landscape of Belgrade, Serbia]]

* Andreia V. Quintas: [[Historic Center of Porto: a landscape of transformation, Portugal]]

* Student: [[Title, Country]]

=== Multiculturalism ===
* Yan Hu, Lei Li, Runzi Luo: [[the Forbidden City, region of the Imperial Palace in central Peking, China]]
* Student: [[Title, Country]]

=== Merging awareness to sustainability ===
* ChengkangYe, YitingWei: [[Transformation of the historical town of WuZhen, China]]

* Isin Barut: [[Transformation of the Meles Delta, Izmir, under the eco-city concept]]

* Derya Yazgi, Damla Tas [[Göreme National Park and the Rock Sites of Cappadocia, Turkey]]

* Student: [[Title, Country]]

'''[[Group synthesis Reflection of changing cultural processes]]'''

==Technology as a driver of cultural landscape change==

=== International styles ===
* Student: [[Title, Country]]

=== Increased visual images through the internet ===
* Student: [[Title, Country]]

=== Advanced technology enabling new construction methods and techniques ===
* Student: [[Title, Country]]

=== Use of new materials or recycled materials ===
* Student: [[Title, Country]]

'''[[Group synthesis Technology as a change driver]]'''

==Tutor's Kassel page==

=== A page to try and practice ===
* Nils Stanik: [[Some information and impressions from Kassel for all participants who haven't visted Kassel yet]]

'''[http://draco.hfwu.de/~wikienfk5/index.php/Cultural_Landscapes_2010 Back to Seminar Outline]'''