Wikienfk5 - User contributions [en]

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-29T08:04:54Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-29T07:49:46Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T01:01:31Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T01:00:54Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T01:00:22Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:55:01Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:53:47Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:52:57Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:52:33Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:52:00Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:51:08Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:50:39Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

Expert Case Studies Seminar Cultural Landscapes 2010

2010-06-28T00:49:17Z

Lrzorange: /* Cultural Landscapes: Education, research methods and approaches */

File:Runziluo conceptmap2.jpeg

2010-06-28T00:47:25Z

Lrzorange: Runziluo_conceptmap2.jpeg

Runziluo_conceptmap2.jpeg

Forbidden City, Beijing, China

2010-06-25T11:56:09Z

Lrzorange: /* Peer reviews or critique */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2. World War

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of China, with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911. It will be a most meticulous restoration in the Palace's history, such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture. Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities：
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx
(in chinese)

2)Chinese Culture against Globalization ：
Starbucks is forbidden in the Forbidden City.
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part, contact with human life, the excellent architecture reflects the political, economic, philosophical, religious, art, aesthetics and science fields,
with the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture.

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* Changhong Guo, The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008) UNESCO 2008 p.80 p.82
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-25T11:55:34Z

Lrzorange: /* Peer reviews or critique */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2. World War

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of China, with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911. It will be a most meticulous restoration in the Palace's history, such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture. Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities：
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx
(in chinese)

2)Chinese Culture against Globalization ：
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part, contact with human life, the excellent architecture reflects the political, economic, philosophical, religious, art, aesthetics and science fields,
with the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture.

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* Changhong Guo, The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008) UNESCO 2008 p.80 p.82
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:59:13Z

Lrzorange: /* References */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx
(in chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* Changhong Guo, The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008) UNESCO 2008 p.80 p.82
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:55:59Z

Lrzorange: /* Peer reviews or critique */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx
(in chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* Changhong Guo, The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008) UNESCO 2008
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:55:05Z

Lrzorange: /* References */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* Changhong Guo, The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008) UNESCO 2008
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:54:05Z

Lrzorange: /* References */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* The Qing Palace: from a Forbidden City to a Public Heritage; Museum International No. 237–238 (Vol. 60, No. 1–2, 2008)UNESCO 2008
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:33:44Z

Lrzorange: /* Future development directions */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:33:10Z

Lrzorange: /* Future development directions */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project
This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence

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

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:32:36Z

Lrzorange: /* Future development directions */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes
From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project
This renovation is the first general overhaul after the renovation in 1911.It will be a most meticulous restoration in the Palace's history .such as holes in the floor tiles, wall erosion of the inside buildings, and cracks on the stonesculpture , Characteristics of ancient Chinese architectures are mainly wood structure and used tenon structure but no nails, this time is still repairing without nails.By 2024, People will see a reappearance Qing dynasty’s resplendence
[[#toc|'''Back to top''']]

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:07:58Z

Lrzorange: /* Future development directions */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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''']]
From 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project

=== Peer reviews or critique ===
* ''Has the area/project been reviewed by academic or professional reviewers?''
* ''What were their main evaluations? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T19:04:13Z

Lrzorange: /* Peer reviews or critique */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)

2)Chinese Culture against Globalization ?
Starbucks is forbidden in the Forbidden City
A host named Ruichengang from CCTV (China Central Television) urged Starbucks to withdraw its outlet from the Forbidden City because its existence spoils Chinese culture
he said in his blog that the outlet humiliates Chinese culture and he has protested to Starbuck's chief executive and president to withdraw the outlet.Many netizens followed his post and supported his idea.
http://news.xinhuanet.com/english/2007-01/18/content_5620523.htm

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T18:34:10Z

Lrzorange: /* Peer reviews or critique */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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? ''
1)Human activities
Because of too many visitors, causing abrasion of some roads and siedsteps . In addition, activities of visitors result in changes of temperature and humidity inside the buildings, what leads to damage of paintings,sculptures . and also carbon dioxide from visitors produced a certain negative effect to the partial decoration. But it is not a significant threat to the whole building. http://news.uiun.com/article/12656.aspx(chinese)
2)Ancient art against globalisierung

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

Illustration: Summary table

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T18:07:11Z

Lrzorange: /* What research questions does it generate? */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the technic and art of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal china

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T18:04:27Z

Lrzorange: /* What research questions does it generate? */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== What research questions does it generate? ===
Forbidden City, the monument in human construction history, is not only an outstanding representative of the art, but also reflects the glory of ancient Chinese feudal culture and ancient philosophy and ideology.
From rigorous fine naming and neat symmetrical arrangement of the layout is not difficult to find the wisdom of the ancients. The Imperial Palace is not only embodied the hard work of thousands of artisans, but also reflects the highly developed civilization and ideology and culture of ancient feudal

[[#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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T17:56:13Z

Lrzorange: /* What can be generalized from this case study? */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become to a world stage with its unique culture

=== 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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T15:36:34Z

Lrzorange: /* What can be generalized from this case study? */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

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? ''
As the most closely part , contact with human life,the excellent architecture reflects the political, economic, philosophical,religious,art,aesthetics and science fields,
With the Embodiment of wisdom and creativity of ancient Chinese people, Forbidden City has become its own unique culture to the world stage

=== 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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

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

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

Forbidden City, Beijing, China

2010-06-21T15:27:15Z

Lrzorange: /* References */

'''[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"|''Beijing (Peking)''
|-
| '''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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we also want to understand the old thoughts about the chinas culture better.

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

Illustration:
Map; sketches; short descriptive analyses

According to the Chinese philosophy of Taoism, seeking harmony and connection with nature, sustainable with nature was introduced into the city. Internal planning of houses reflected 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 'Purple (Zi) 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

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

This architectural convention was favourable with Yongle'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

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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

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
* Chunfeng Yang and Yi Wang, The Colourful Glazed Forbidden City; Cultural Square
* http://en.wikipedia.org/wiki/Forbidden_City
* http://www.fieldmuseum.org/forbiddencity/
* http://www.beyondspaceandtime.org
----

[[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

2010-06-08T00:20:48Z

Lrzorange: /* Cultural landscape context */

'''[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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we want to understand the old thoughts about the chinas culture better, and also show the amazing ancient Chiniese culture to all the participants, for example, the meaning of the colour, the symbol and the number in the city.

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

Illustration:
Map; sketches; short descriptive analyses

y)according to the Chinese philosophy of Taoism , seeking harmony and connection with nature. sustainable with nature was introduced into the city. Internal planning of houses reflected 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 Yongle'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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

2010-06-08T00:09:44Z

Lrzorange: /* 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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we want to understand the old thoughts about the chinas culture better, and also show the amazing ancient Chiniese culture to all the participants, for example, the meaning of the colour, the symbol and the number in the city.

=== 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 Yongle'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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war

In 1948, some of the artifacts was transportated to Taiwan

In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.

In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.

In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.

In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

=== 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

2010-06-08T00:08:40Z

Lrzorange: /* 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|600px]]

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.

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

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. Besides devoleping the architectural knowledge by the analysis of the 600 years ago built city, we want to understand the old thoughts about the chinas culture better, and also show the amazing ancient Chiniese culture to all the participants, for example, the meaning of the colour, the symbol and the number in the city.

=== 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.

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=== 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 Yongle'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).)

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=== 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

The Forbidden City was originally built as a imperial palace. It was the resident of 24 emperors and until Qing dynasty was the political centre of China.
The City has two parts: The Outer Court or Front Court and the Inner Court or Back Palace. The outer Court is the place ,where for the Emperor work, meetings and ceremonial purposes. The Innen court is the place for the Emperors family.
In October 1925, with the perdition of the Qing dynasty ,the Forbidden City was officially transformed into a museum and now still in use , attract many domestic and foreign tourists.

In 1933, The artifacts of the National Palace Museum was transported to south China and closed,to avoid the depredating from Japan in 2.world war
In 1948, some of the artifacts was transportated to Taiwan
In 1949, Peking as a new capital of china,with the gradually stable of the whole city the museum reopened.
In 1961, approved by the State Council, Forbidden City was designated as one of the first cultural relics protection units.
In 1987, Beijing Forbidden City was listed by UNESCO on the World Heritage List.
In 2005, the Beijing Palace Museum began a 19-year-long reconstruction-project.

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

Illustration: Map/diagram/sketches photos and background notes

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=== 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

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=== 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>

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=== 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)]]

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Literature and Resources Cultural Landscapes 2010

2010-05-10T21:46:52Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape ]Topos 56/2006'''''
** Ieva Kiesnere: [[Drosscape - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai] Topos 58/2007'''''
** Runzi Luo: Managing_urban_growth_in_shanghai_concept_map[http://draco.hfwu.de/~wikienfk5/images/thumb/7/7a/Managing_urban_growth_in_shanghai_concept_map_of_luorunzi.jpg/800px-Managing_urban_growth_in_shanghai_concept_map_of_luorunzi.jpg]

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin] Topos 56/2006'''''
** Andreia V. Quintas [[Reversing Image Coal Basin - Conceptual Map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)''' '''(Runzi Luo)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

Literature and Resources Cultural Landscapes 2010

2010-05-10T21:46:05Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape ]Topos 56/2006'''''
** Ieva Kiesnere: [[Drosscape - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai] Topos 58/2007'''''
** Runzi Luo: [http://draco.hfwu.de/~wikienfk5/images/thumb/7/7a/Managing_urban_growth_in_shanghai_concept_map_of_luorunzi.jpg/800px-Managing_urban_growth_in_shanghai_concept_map_of_luorunzi.jpg]

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin] Topos 56/2006'''''
** Andreia V. Quintas [[Reversing Image Coal Basin - Conceptual Map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)''' '''(Runzi Luo)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

File:Managing urban growth in shanghai concept map of luorunzi.jpg

2010-05-10T21:43:43Z

Lrzorange: managing urban growth in shanghai concept map of Runzi Luo

managing urban growth in shanghai concept map of Runzi Luo

Literature and Resources Cultural Landscapes 2010

2010-05-10T10:28:40Z

Lrzorange: /* Topos 58/2007 City Strategies */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai] Topos 58/2007'''''
** Runzi Luo: [[Urban Growth in Shanghai - concept map]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)''' '''(Runzi Luo)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

Literature and Resources Cultural Landscapes 2010

2010-05-10T09:42:16Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai] Topos 58/2007'''''
** Runzi Luo: [Urban Growth in Shanghai - concept map[http://draco.hfwu.de/~wikienfk5/index.php/Image:Urban_Growth_in_Shanghai_-_concept_map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

Literature and Resources Cultural Landscapes 2010

2010-05-10T09:39:10Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai] Topos issue'''''
** Runzi Luo: [Urban Growth in Shanghai - concept map[http://draco.hfwu.de/~wikienfk5/index.php/Image:Urban_Growth_in_Shanghai_-_concept_map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

Literature and Resources Cultural Landscapes 2010

2010-05-10T09:37:01Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [Urban Growth in Shanghai - concept map[http://draco.hfwu.de/~wikienfk5/index.php/Image:Urban_Growth_in_Shanghai_-_concept_map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

Literature and Resources Cultural Landscapes 2010

2010-05-10T09:35:17Z

Lrzorange: /* Landscapes as a reflection of changing cultural processes */

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

== 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 ===
''such as profession based education, multi-disciplinary education, interdisciplinary education etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Responses of cultural landscapes to changing natural processes ===
''such as climate change, re-colonization of abandoned lands, impact of emerging need for sustainability etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China] Topos 56/2006'''''
** Hua Shu,Lu Sun,Ya Li: [[Landscape Architecture in China - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

=== Landscapes as a reflection of changing cultural processes ===
''such as globalization, multiculturalism, emerging awareness to sustainability, etc.''

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement] Topos 56/2006'''''
** Jovana Kovacevic: [[Concept map Acoma - Landscape of Settlement.jpg]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[http://draco.hfwu.de/~wikienfk5/index.php/Image:Urban_Growth_in_Shanghai_-_concept_map.jpg]]

=== Technology as a driver of cultural landscape change ===
''such as international styles, disappearing vernacular styles as a result of increased visual images through internet as well as advanced technology to enable new construction methods and techniques and capability to use new materials or recycled materials, etc.''

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible] Topos 33/2000'''''
** Roya Sabri: [[The idea of making time visible - concept map]]

*'''Author: ''[moodle link Title] Topos issue'''''
** Student name: [[Title - concept map]]

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

== Articles for reading exercise ==

* Dear students, please choose your favourite article here and write your name(s) behind it.
* Then create a concept map until Tuesday, May 11, 2010, with one of the recommended programs and make sure it has a suitable resolution for this WIKI (400x800 pix) and the contents are readible on screen.
* In addition, please copy the article quotation (author, moodle link, title) and paste it according to the given structure and the respective ECLAS thematic field above that you think might fit best.
* If your article relates to more than one theme, please copy the title also to any other appropriate section.
* In a last step, you upload your concept map illustration (jpg) with a suitable title to the WIKI and add it together with your name to your article (as shown in the prestructure). It will later be linked with the respective article on a new WIKI page.

=== '''Topos 26/1999 ''IBA - a renewal concept for a region ''''' ===

''The focus of Topos 26 is on one region in one country: the Emscher region in North Rhine-Westphalia, a part of the Ruhr district. Once the industrial heart of Europe, the site of ruthless industrialization, it had overslept structural change. Now it is the home of the IBA (International Building Exhibition) Emscher Park.

*'''Schäfer, Robert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/01_iba_emscher_park.pdf Emscher Park Building Exhibition: a motor of structural change]''''' In 1999, the IBA presents the outcome of projects and plans concerned with the regeneration of an old industrial region.

*'''Pehnt, Wolfgang: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/02_iba_emscher_park.pdf Changes have to take place in people's heads first]''''' The IBA Emscher Park has provided the Ruhr with a new identity and opened up new paths, both in the outside world and in people's minds.

*'''Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/04_iba_emscher_park.pdf Wilderness or park?]''''' The Leftover Land Project taking place as part of the Emscher Park IBA introduces the concept of "industrial nature".

*'''Poblotzki, Ursula: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/05_iba_emscher_park.pdf Transformation of a landscape]''''' The Ruhr is witnessing the application of urban green planning principles to a whole region as a motor of structural change.('''Yiting Wei,Chengkang Ye''')

*'''Schwarze-Rodrian, Michael: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/06_iba_emscher_park.pdf Intercommunal co-operation in the Emscher Landscape Park]''''' The new regional park in the Ruhr area could only have been planned and built by going across all borders. A concept and its strategies. '''(Isin Barut)'''

*'''Weilacher, Udo: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/07_iba_emscher_park.pdf Rusty-brown and Phacelia blue – landmark art by the IBA]''''' Mountains, rivers, churches or castles often lend character to landscapes. In the Ruhr, artistic landmarks help perform this role.

*'''Diedrich, Lisa: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/08_iba_emscher_park.pdf No politics, no park: the Duisburg-Nord model]''''' The Duisburg-Nord Landscape Park exemplifies the close co-operation between IBA managers and designers.

*'''Wachten, Kunibert: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_26_1999/11_iba_emscher_park.pdf Housing developments in integrated sites]''''' The revived culture of the Ruhr area housing estates features new construction with moderate densities and makes use of historic capital.

=== '''Topos 33/2000 ''Intention and Reality''''' ===

''The urban future will be happening in the periphery because the core is usually occupied by history. Only Berlin had the unique opportunity to build the future right in the centre of town.''

*'''Isman, Fabio: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/01_cultural_assets.pdf Landscape as cultural assets]''''' Half of Italy is protected from development, yet the danger of famous landscapes being covered up with concrete still remains.

*'''Latz, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_33_2000/02_time_visible.pdf The idea of making time visible]''''' Landscape architecture shows ecology as art that realises abstract ideas interpreting spatial patterns. '''(Roya Sabri)'''

=== '''Topos 44/2003 ''Conversion''''' ===

''Perforations, shrinkage, intermediate city – we know the terms for these processes but are not so sure about solutions for the problems caused by this landscape change. In any case, landscape is always involved.''

*'''Christiaanse, Kees: ''[http://www.topos.de/media/Heftthema/b6eea36d_H__fen.pdf New urbanism in former harbours] ''''' Colourful archipelago districts are appearing in harbour areas. Radically mixed uses provide an example for the whole city. '''(Koesler Barbara, Kazubski Sebastian)'''

*'''Leppert, Stefan: ''[http://www.topos.de/media/Heftthema/fb572c9b_Westpark.pdf Westpark Bochum, Germany]''''' Mainly involving provision of access to existing elements, the concept for the park at a former steelworks is a simple one.

*'''Weilacher, Udo and Dettmar, Jörg: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_44_2003/01_process.pdf Landscape as a process]''''' The city is wherever an urban lifestyle is. That means it is almost everywhere. What role does that give landscape?

*'''Prominski, Martin: ''[http://www.topos.de/media/Heftthema/bb305df8_Surplus.pdf Surplus land - Perspectives for the cultural landscape]''''' Farmers are going; new settlers are coming. Students at TU Berlin developed ideas for a different land use.

=== '''Topos 53/2005 ''Traffic''''' ===

''Bridges, roads, airports, boulevards, bicycle paths or railway tracks ? the range of traffic structures that should not only be well planned but also attractively designed in the context of their urban or rural surroundings is very broad.''

*'''Pachnicke, Peter: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/01_ruhr_area.pdf The Bridge Landscape of Emscher Park]''''' Rehabilitating the River Emscher, misused as a wastewater canal, forms the foundation for redesigning the industrial landscape in the Ruhr district. The artistic bridges in the network of hiking and cycling trails are symbols of the new landscape.

*'''Suwanarit, Asan: ''[http://www.topos.de/media/Heftthema/c12884f6_Bangkok.pdf The Skytrain in Bangkok]''''' The enormous elevated structure of the Bangkok Transit System, commonly known as the Skytrain, has radically changed the means of experiencing passing through the heart of Bangkok's downtown. Today, this structure is continuing its transformation as a complex dynamic across this metropolitan landscape.

*'''Becker, Carlo W.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/02_leipzig.pdf Across the Periphery – Leipzig North]''''' In response to the strong transformation processes of past decades, the City of Leipzig commissioned a spatial concept for its periphery. bgmr Landscape Architects developed an urban cultural landscape.

*'''Detzlhofer, Anna: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_53_2005/03_vienna.pdf Landscape Becomes Established]''''' Large-scale modelling of the terrain integrates a new motorway on the south periphery of Vienna with the landscape. Geometrically shaped landmarks facilitate orientation for drivers and local residents.

=== '''Topos 56/2006 ''Cultural Landscapes''''' ===

''All over the world, the economic activities of mankind leave their mark on the landscape. Depending on land use, topography and climate, cultural landscapes differ greatly. Besides covering the preservation and rehabilitation of particular cultural landscapes, this issue of Topos focuses mainly on the transformations of landscapes and the challenges for planners involved. Examples range from an Italian wind farm to Bangkok's aquacultural landscape.''

*'''Moderini, Daniela and Selano, Giovanni: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/01_windscapes.pdf Windscapes]''''' The experimental wind farms of San Chirico and Spina combine renewable energy and information technologies with the region's distinguished culture to create an innovative strategy for communicating the landscape's inherent complexity. '''(Lukas Spriestersbach)'''

*'''Briand, Gilles and Mousquet, François-Xavier: ''[http://www.topos.de/media/Heftthema/d26ec62d_Basin.pdf Reversing the Image of a Coal Basin]''''' Long regarded as a serious handicap, the coal basin's brownfield sites in the French Nord Pas de Calais region, heritage of a glorious industrial past, constitute an experimental laboratory for the regeneration of derelict post-industrial land. '''(Andreia V. Quintas)'''

*'''Bokern, Anneke: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/03_westergasfabriek.pdf Westergasfabriek Cultural Park]''''' The interim cultural uses of the former gasworks in Amsterdam led to converting the grounds into a "cultural park". The design intends to demonstrate transformations in the relationship between humans and nature over the last century.

*'''McGrath, Brian and Thaitakoo, Danai: ''[http://www.topos.de/media/Heftthema/f2dd7b91_Agri.pdf Bangkok`s Agri- and Aquacultural Fringe]''''' Bangkok's contemporary transportation system reflects ancient layers of waterborne urbanism overlaid with a modern automobile-driven metropolis. Between these conditions, a fresh opportunity arises to re-assess the composite cultural landscape for future bio-energy production.

*'''Dailami, Ahmed and Doherty, Gareth: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/05_bahrain.pdf Cultural Continuums in Bahrain]''''' Bahrain is experiencing a tumultuous period of restructuring and expansion with an architectural language rooted in a silently salient binary of traditional versus contemporary. Transition and change are not new to Bahrain, having formed an assortment of landscapes that speak of a far more varied and complex place.

*'''Akerlund, Ulrika : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/06_russian_country.pdf Russian Coutnry Estates]''''' Primarily a country base for the bourgeois, the usadba had a significant social role in pre-revolutionary Russia. Although many are now in ruins, and the needs and structure of society have changed, the agency of the usadba as a cultural hub and focus for rural communities is being rediscovered.

*'''O'Donnell, Patricia M.: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/07_designed_landscapes.pdf Preserving Designed Cultural Landscapes]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.

*'''Playdon, Dennis: ''[http://www.topos.de/media/Heftthema/c9811c28_Acoma.pdf Acoma - A Landscape of Settlement]''''' There is a broad legacy of cultural landscapes as designed, evolved, relic and associative properties in the USA. While cultural landscapes of all types hold interest for the planning professions, understanding the designed landscape and intervening to further its preservation is most readily taken up by design professionals.'''(Jovana Kovacevic)'''

*'''Shannon, Kelly: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/09_drosscape.pdf Drosscape]''''' New landscapes are continuously created while others are destroyed. The cultural landscapes of the 21st century include the globe's vast post-industrial landscapes, and territories simply consumed by sprawling development. '''(Ieva Kiesnere)'''

*'''Krebs, Stefanie: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/10_land_art.pdf Art and Landscape]''''' Artscape Nordland presents 33 works of art in the Norwegian fjord landscape. Different positions on art and landscape range from staging elementary forces and creating spaces for social interaction to re-romanticization and the sublime.

*'''Schmitz, Martin: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/11_lucius_burckhardt.pdf The Strollology of Lucius Burckhardt]''''' The political economist, sociologist, art historian and planning theorist Lucius Burckhardt founded "strollology" in the 1980s at the University of Kassel, Germany. It deals with human perception and its feedback into planning and building.

*'''Ranatunga, Priyanka: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/12_tsunami.pdf Cultural Landscape and Tsunami Resettlement]''''' Following the 2004 tsunami in Sri Lanka, landscape architects re-interpreted ancient human settlement patterns in order to re-locate affected peoples into culturally and ecological sensitive communities.

*'''Adams, Ann: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/13_holistic_landscape.pdf Dimbangombe Project – A Holistic Landscape Approach]''''' Over the past decade there has been increasing interest in natural capitalism and a holistic approach to resource management. The Dimbangombe Project in Zimbabwe focuses on creating a healthy landscape.

*'''Yu, Kongjian: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_56_2006/14_china.pdf Positioning Contemporary Landscape Architecture in China]''''' In an era of multiple unprecedented challenges imposed by the processes of industrialization and urbanization, landscape architecture is now on the verge of change in China. It is time for this profession to take the great opportunity to position itself to play the key role in rebuilding the Land of Peach Blossoms for a new society of urbanized, globalized and inter-connected people. '''(Hua Shu,Lu Sun,Ya Li)'''

=== '''Topos 58/2007 ''City Strategies''''' ===

''Cities are responsible for accommodating most of the world population. Cities grow; big ones get even bigger; new satellite towns are supposed to ease the strain on city centres. Urban planners therefore face major tasks in creating liveable urban environments for millions of people. Topos presents examples of urban design strategies, in Sydney, Shanghai, Dubai, London, Madrid, Chicago, Vancouver and Bogotá.''

*'''Hawken, Scott: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/01_sydney.pdf Sydney – City of Landscapes]''''' Since the 2000 Olympics, and in light of an ongoing explosion in population, the need for a drastic overhaul of Sydney's urban system has become clear. A series of new landscape projects provide physical models that respond to diverse planning challenges.

*'''Kögel, Eduard: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/02_shanghai01.pdf Metropolitan Region Shanghai]''''' The town planning history of Shanghai has taken many turns with political change in the past century. A consistent planning strategy could not be implemented until the 1990s when development really took off. The achievements will be presented to an international audience at the World Expo 2010. '''(Yan Hu, Lei li)'''

*'''Ruff, Stefanie and Dong, Nannan: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/03_shanghai02.pdf Managing Urban Growth in Shanghai]''''' The targeted urbanisation of Shanghai's suburbs leads to a decentralized growth that forms a polycentric regional network. New Towns take various Western urban developments as their models.'''(John Sun)'''

*'''Woodman, Ellis: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/04_london.pdf Livingstone's London]''''' Mayor Ken Livingstone has already had considerable impact on London's built environment, but in the coming years his policies are set to transform the city to an unprecedented degree.

*'''Ng, Waikeen and Vegara, Alfonso: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/05_madrid.pdf Spain's Growing Capital City]''''' Large infrastructure projects represent a major step forward for Madrid's transport planning, preparing the city for the future – and the next Olympic bid.

*'''Davis, Mike : ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/06_dubai.pdf Fear and Money in Dubai]''''' Some may consider Dubai the prototype of the 21st century metropolis. Mike Davis describes the luxury urban enclave as the apotheosis of neo-liberalism. Petrodollars are invested in fantasy worlds and architectural landmarks to establish the city as a brand on the world market.

*'''Burger, Don, Roehr, Daniel and Soules, Matthew: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/07_vancouver.pdf Mirage Metropolis]''''' Vancouver has become such a global model for urbanism that Vancouverism refers to the twin ideals of increased residential density and liveability in the city core. The article critically reflects on this approach which, despite its many failings, nevertheless creates new possibilities for landscape.

*'''Lindke, Lybra: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/08_chicago01.pdf Chicago's Green Strategies]''''' Long since considered an industrial and economic workhorse within the United States, Chicago's approach to redefining its greenscape has changed its reputation from a city laden with underutilized and vacant manufacturing and industrial sites to a city striving to become a model for comprehensive green urbanism.

*'''Chappell, Jim: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/09_chicago02.pdf Chicago Central Area Plan]''''' Subtitled "Preparing the Central City for the 21st Century", the Chicago Central Area Plan is nothing less than the next step in Chicago's hundred-year quest to build the world's greatest city, and build it according to a plan.

*'''Fajardo, Martha Cecilia and Kawashima, Noboru: ''[http://moodle.hfwu.de/moodle/file.php/75/Topos_58_2007/10_bogota.pdf Bogotá Transformations]''''' Implementation of a series of masterplans in recent years has turned Bogotá from a chaotic, unsafe city into a capital with a progressive transport system, public parks, pedestrian and cycle networks.

*'''van Oers, Ron: ''[http://moodle.hfwu.de/moodle/mod/resource/view.php?inpopup=true&id=1481 Safeguarding the Historic Urban Landscape]''''' More and more historic cities adopt strategies and policies that assign an important role to heritage in the city's social and economic development. A well-managed historic urban landscape is a strong competitive tool as it attracts not only tourists, but capital and residents as well. It is essential to establish an active partnership between conservation and development. ('''Mirjana Jovanovic''', '''Nada Jadzic''')

File:Urban Growth in Shanghai - concept map.jpg

2010-05-10T09:34:05Z

Lrzorange: concept map of Luo Runzi

concept map of Luo Runzi