Administrative Appeals Tribunal Samples †MyAssignmenthelp.com

Question: Examine about the Administrative Appeals Tribunal. Answer: Authoritative Appeals Tribunal Authoritative Appeals Tribunal (AAT) is an advisory group that performs autonomous qualities survey of managerial goals settled on by the government.[1] The choices of the Administrative Appeals Tribunal gets inspected by the Federal Circuit Court and the Federal Court, in any case, it doesn't fall under the Australian court hierarchy. This council includes the Federal Judges, recognized layers alluded as the agent Presidents, experienced legal counselors, and individuals. Favorable circumstances of AAT System The principle explanation behind the presence of councils is to disentangle the legal procedures by making casual, quicker, less expensive, and open. A portion of the upsides of Administrative Appeals Tribunal is that: It is casual, implying that it doesn't require legitimate agent as expressed under Section 33(1) (b) of the AAT Act. Its procedures are basic; thus, making it simpler for the courts to survey. It is quicker in arranging cases. It is less exorbitant contrasted with court arbitration because of short procedures It helps with understanding questions identified with customers and tenure. It depends on the information on the uncommon aptitude not at all like the ordinary court judges that requires lawful ability. Also, AAT framework doesn't have to show that the choice that was at first made wasn't right. The choice made ought to be founded on the past judgment, which is in opposition to the legal audit. It permits new contentions and proof to be introduced by the concerned gatherings. Besides, it empowers placing into impact the forces and practical insight are offered by any suitable endorsement on the person who settled on the choice as expressed under Section 43(1) of the Act.[2] The AAT procedures likewise are short and efficient not at all like the difficult character of the legal procedures. Further, it forestalls the bulky character of the segment 72 of the Act. Then again, it allows the adjudicator to keep working until the age of 70 years. Finally, it gives a broad ward and is likewise prepared to embrace wide scope of problems.[3] Inconveniences of the AAT As much as great the AAT might be, it likewise conveys different inconveniences. For instance, it comes up short on the lawful skill, and in light of the fact that they are chosen from different professions, they may do not have the necessary legitimate capability. Also, its individuals are kept from appreciating the security of residency that is given under s 72 and needs independence.[4] It is in such a case that any of the official individuals despises the choice made by individuals, the person will never be reappointed. Furthermore, the progressions of the methodology that are permitted by the Act can reduce decency. In addition, the choices made are not official, in this manner, can't be depended on. Further, AAT disregards the standard partition of forces just as the standard of law.[5] Lastly, it needs segment that relates it to the constitution of the Australian that can help with disentangling the framework. List of sources An Articles Regulatory Appeals Tribunal Act 1975(2017) Legislation.gov.au https://www.legislation.gov.au/Details/C2017C00107 Asimow, Michael and Jeffrey S. Lowlifes, The Merits Of Merits Review: A Comparative Enactment And Jurisdiction | Administrative Appeals Tribunal(2017) Aat.gov.au https://www.aat.gov.au/assets/enactment and-locale Take a gander At The Australian Administrative Appeals Tribunal (2010) 28(2) Windsor Yearbook of Access to Justice Peiris, G. L., The Administrative Appeals Tribunal of Australia: The First Decade (1986) 6(3) Legal Studies Thomas, Robert and Joe Tomlinson, Current Issues in Administrative Justice: Examining Administrative Review, Better Initial Decisions, and Tribunal Reform [2016] SSRN Electronic Journal B Legislations Authoritative Appeals Tribunal Act 1975

buy custom Complexities of Interracial Relationships essay

purchase custom Complexities of Interracial Relationships exposition Numerous decade things have been changing people groups life and method of living. There have been numerous networks on the planet with various social accepts (convictions). Those people group have remained for a long time without cooperation. The current change and improvement in innovation has prompted cooperation of individuals from various pieces of the world. Individuals have intermarried and brought forth kids who don't have explicit culture. David Mura composes numerous sonnets handling society and different accepts. In the wake of wedding a spouse from another network he faces a ton of difficulties and his little girl who is a half cast. She doesn't have any culture or individuals to connect with since she doesn't have full character. The guardians choose what to show her, yet they neglect to find proper solution on the grounds that every network will view her as a shading individual, since she is a half and half of two unique networks. By and by, people have distinctive disc ernment about culture and things have changed totally since certain variables have made individuals to associate and desert their way of life. There has been an impact of interdenominational relationship in each communitys customs. Numerous people group in America like the Black American people group have connected and intermarried with other white individuals. They have brought forth kids with another personality and they have prompted change of social practices. Numerous individuals experience issues of characterizing their personality and thus they term themselves as Hybridity. Association has various impacts it can quality social convictions or pulverize customary practices. Customary convictions Mura, a Japanese-American, weds a white spouse and they thusly bring forth girl who has no character. He told about his connection between his girl and spouse and the longing he had for watching obscene film. He confronted prejudice and tribalism in his life while he grew up. He experienced childhood in America and went to class with European American. He wedded an European-American spouse and this made him to leave and desert the conventional conviction of his locale. He concedes the change in conventional conviction as a result of their little girl who has issue of distinguish. The two of them don't know which network to characterize their little girl. They need to show her the social acts of the network which she takes after. She has the shading for Asian-American yet they don't have to encourage him being white since individuals will see her as non-white individual and neglect to acknowledge her in their occasions. Muras little girl can't have personality since she can't be recognized as Japanese American or European American, and she raises disarray for the two guardians pondering which culture and convention to introduce their girl since they are reluctant to be accused by their girl. He respected and was pulled in to white ladies and subsequently he wedded a white lady. Mura would not like to follow and rehearse the conventional qualities, since he chose to wed a white woman. The conventional acts of their locale request that all individuals ought to wed from the network. He conflicted with the way of life and this shows he would not like to rehearse the customs of their locale. Mura was worried about the possibility that that their girl will pass a similar separation as he experenced. He would not like to wed the lady from their locale since he needed to bring forth various kids who won't be segregated by different networks. The little girl doesn't have the shade of her dad or mom yet she i s a half and half and this makes her not to have personality. The stresses over getting character and customary convictions in Muras family didn't stop significantly in the wake of wedding a lady from another network. Their little girl Samantha didn't know which network to relate to, in light of the distinction in shading. They had situation on which esteems and conventions to show their little girl. This shows individuals who would prefer not to wed for their locale they need to get away from the act of their convictions. Mura being a Japanese-American could have shown her little girl the estimations of his way of life. The spouse upheld Muras thoughts and finally they didn't choose to show the youngster both of their qualities and conventions. Numerous individuals have intermarried and this debilitates the conventional convictions and qualities for each person. The individuals who need to get away from the acts of their way of life and conventional convictions wed from different networks. This is confirm when Mura isn't keen on showing the girl the estimations of his own locale neither for her significant other. Individuals realize that after they conceive an offspring the youngster won't have a particular network to be related to, and this prompts surrender of customary convictions, in light of the fact that neither of the guardians convention can the kid be told. All guardians have the obligation of showing their youngsters the method of living and the conventional convictions of their locale and qualities. At the point when a man weds outside the network he doesn't rehearse those convictions any longer, since he needs to give his better half regard, and this outcome to surrendering of certain convictions. The Black Amer ican people group conviction that a lady ought not have any choice and men should settle on choice to administer the family. They convictions that choice made by men last and offering. At the point when a dark American man weds from different networks like European-American he should surrender this customary conviction and let the spouse settle on choice and choose for herself on the best way to do so as to keep the family and herself moving. Numerous individuals who would prefer not to transform they wed and separation inside brief timeframe. Mainstream society Belief There numerous societies' convictions rehearsed by people from various networks. Every people group has is own practices and convictions which they show their kin. The people group contrast in the manner they see things. The Black American people group in America has numerous qualities which they practice and social convictions. Individuals have gone to class and they get affected by new things they face to change and quit rehearsing their social convictions. Numerous individuals have intermarried and this doesn't have an aftereffect of getting away from social convictions. Mura says that he didn't wed a lady from European-American since he needed to quit rehearsing the social convictions. He composed that he had want love for white ladies. He loved white ladies and this made him to fall in existence with the lady who he later wedded. Mura had want for erotic entertainment and this is the thing that made him to wed a white lady. Those individuals who wed outside the network they like their way of life and they truly need to rehearse it yet toward the end they end up in a circumstance which they never anticipated. Mura didn't know by wedding a white lady he can quit rehearsing the way of life and bring forth youngsters without personality. He was driven by adoration which he had for white ladies and he wound up in a problem after he brought forth a child young lady who they didn't know which social practices to show the young lady. In the wake of wedding he understood he was unable to rehearse social convictions and pass them to their little girl however he didn't stress over it and this implies he could have been discovering ways for surrendering social convictions. At the point when individuals go to class they associate and blend with various clans and races. Toward the cut off they make an association which at last finishes in marriage. Those individuals know nothing about the way of life however they are driven by powers of affection. It is vital, when an individual gets hitched to a lady from another race to forsake the way of life. The family doesn't follow any culture yet they make their own way of life. Those families think of their new social convictions since when they practice one culture it might make struggle in the family. The Black American people group has cooperated with the white and they have intermarrying and brought forth youngsters who have no culture and they can't make their own way of life since they work face dismissal by different networks culture and this makes them to free enthusiasm for any culture. This shows the issue of interracial marriage has nothing to do with the social practices. Mura needed to rehearse social convictions since he got stressed over the way of life to show her girl. He put stock in social practices yet he wedded a white lady. Analysis Social practices and customs have existed for a long time. All kids are conceived without realizing anything in regards to the way of life or conventional conviction. Conventional convictions are found out and all individuals can learn new thoughts. Numerous individuals have deserted their social convictions. Current world has made individuals to change and see themselves as present day age and shaped their own convictions. The adjustment in innovation and presentation of things like web based life has prompted change of social convictions since individuals learn better approaches for life through online networking. Individuals pick up everything that runs over and because of the adjustment in innovation individuals have deserted their conventions and social convictions. The individuals who have intermarried have relinquished their customary practices on the grounds that customarily individuals were not assume to wed from another network. This can be seen as one method of forsaking c onventional practice. End The change and progression in innovation has prompted increment and change of social conviction among numerous networks. Individuals ought to be adaptable and change as indicated by the interest of innovation. Right now, individuals need to work so as to gain their living. They ought to be resolved on the best way to improve their expectations for everyday comforts and not how to rehearse social accept. A few customs limit individuals from maintaining a few sources of income and those conventions ought to be surrendered. Numerous conventions were sanctioned by people and they did it to suit their advantage. Individuals should rehearse those social convictions which are useful. Purchase custom Complex

Feedback Works

Feedback Works So, as I mentioned in my previous entry, my GEL classes dont have p-sets and rarely have tests. Sweet, right? No homework sounds great! Aha! But I didnt say there wasnt any homework. Every week, several GEL students are assigned to lead activities during the Engineering Leadership Lab, and those students are assessed by members of the program (staff or GEL 2-Year students). The assessors fill out a blue card with feedback on the students performance as a leader. The assessed students then fill out a yellow card on their own time. Yes! The blue and yellow cards are actually blue and yellow! The two-letter abbreviations stand for various capabilities of engineering leadership. For example, IR means Initiative and Resourcefulness and DC means Diverse Connections./font size=1 So, why go through all these variously colored cards? Its all about feedback. Feedback and self-assessment are effective ways to track ones progress in a leadership program, when you cant really assign p-sets to test students understanding of the material. But arent we getting maybe one card a month? How does that change anything? Yes, this requires the little by little argument, where I say that with each yellow card I fill out about myself, I learn just a little more than I did before about my role as a leader. Not convinced? Well, heres another situation where a little bit of encouragement went a long way. This past weekend, MITs Cross Country Team raced at the New England Division III Regional Championships, the qualifying meet for NCAA Division III National Championships next weekend. The thing is, no matter how many times I told myself this is just another race, Regionals isnt quite any ol race. You hear Sandstorm, Shipping off to Boston, and Dont Stop Believing over the speakers. There are NCAA signs everywhere. But the biggest difference from other races? The people. So many people. These people arent racers. They are the fans, and they probably do just as much running as the athletes they are cheering./font size=1 It seems every team has its own cheering squad, and MIT is no exception. I had the pleasure of being one of the cheerers last year, and I ran around with a red M painted on my stomach like the Hester Prynne of Team Spirit yelling until my voice cracked and ringing my signature cowbell until I had to switch the grip between my frozen hands. This year, our squad did not disappoint. They brought signs. (for the record, the first one spells out ATACK MM as in ATTACK EM! not ATTACK, MM! as I originally thought. Hey, attacking is delicious!) Just a sampling of the MIT-inspired signage. Sarah 13 particularly enjoys the integral of e to the xc (abbreviation for Cross Country) slogan. Hmmm, flow charts seem to be the thing to do this season./font size=1 Our support crew took the three-hour ride in a few crowded vans, waking up earlier than they probably would have liked to on a Saturday, all to support their teammates. A fraction of the MIT cheering squad at Regionals, including their incredible signs and body paint. (L to R: Dawit 13, Andrea 14, big voice Justin 14, Alex 14, Jay 14, Kaitlin 14, Nima 14, Sherry 14, Olivia 14) photo by Olivia 14s camera/font size=1 While I dont remember many details about that day (even though it was just last weekend) its kind of hard to forget the feedback we runners got throughout the morning. Im standing at the starting line of the guys race, which at that moment has to be the most concentrated area of adrenaline in all of western Massachusetts. You hear team cheers (Tufts Universitys T-U-X-C! tends to stand out because they have a massive support group, complete with gigantic flag). You hear coaches giving their last words of encouragement (Now remember, guys). You hear teammates giving their last pep talks, which vary from this is our last race of the season or first time at Regionals to this is my last race for Cross Country ever. Theres a lot on the line. And then, suddenly, all goes quiet. Like All Quiet on the Western Massachusetts Front quiet. As the starter walks out in front of more than 300 athletes, everyone knows to shut up. Teams have cheered, coaches have made their statements and walked away, runners have grown still and now sort themselves along the single chalk line. On race day, time doesnt feel normal. What seems like two seconds later, Im warming up with the womens team. At one point, the guys race goes by and I notice Pauls REALLY close to the front. And then, woah, Roys up there too! And Dan! And theres Stephen! And Gihan and Richard are coming up, too! And there goes Joe! We knew. Something was happening. The guys win a race that at the start they were ranked to be in 9th place. They were going to Nationals. The seniors get one more race after all. Another two seconds go by, and Im a little over a mile into my own race. Photo by Olivia 14/font size=1 No, now Im halfway done. No, now its a mile left. And now time just stops. Ive been in this mile for hours. But here and there, I can hear it: M-I-T! M-I-T! M-I-T! GO MAGGIE! YOU’VE GOT THIS! A blur of bare skin and red body paint. A neon poster-what does it say? Doesnt matter, theyre just yelling for me to GO!-flashes by in a second. What seems like two hours later, Im finishing. The women get 4th, which doesnt seem quite as glamorous when compared to the guys miracle 8-km race, but we still know that we raced our best. Plus, the women’s 4th place finish is good enough to qualify for Nationals in Iowa, so the team gets another chance, along with the guys, to race hard next weekend. Anyway, had it not been for the cardinal and grey whirlwind tearing across fields and wilderness to get to the next best cheering spot, it would have been pretty difficult to convince ourselves to keep pushing the pace. Sure, we could hear the cheers for only a few seconds before we passed the MIT cheering squad, but this is a 6-km race. Add up all those strategically placed words of encouragement, and its really hard to forget why were racing. The point is, feedback is important and meaningful. The results of feedback arent always immediately tangible (like in the weekly GEL ELLs), but can be extremely motivational (like at XC Regionals). To all those who were out there cheering, screaming, waving signs, and bearing body paint proudly: your feedback definitely worked.

The Road Not Taken by Robert Frost An Analysis - 811 Words

The Road Not Taken Robert Frost Introduction On the surface of it, The Road Not Taken by Robert Frost presents a narrator who is remembering a journey through the woods, and the person making this journey came into a position where two roads were diverging. So the challenge presented in the poem is, which road should the narrator take, and why? Frost claimed that his poem was a parody of a poem by his friend, poet Edward Thomas, but others have had very different explanations for The Road Not Taken. Thesis: The Road Not Taken is actually about choices we make in life and the importance of making good choices along the say. As The Road Not Taken begins there is regret expressed by the narrator that he cant travel on both of the two roads. He also describes one of the two roads as far as he could see down that road and in the second stanza it turns out the other road was just as fair and in fact may have been the better claim because clearly not many people had been down that other road. That second road seem to have wanted wear to the human eye, but by the time he started walking on that second road it was apparent that others had been there and had Ã¥ ®â€°orn them really about the same. By taking the second road he now sees (by the third stanza) that both of the roads were not heavily traveled, and so they appear to be pretty much the same. This part of the poem is viewed by literary critic Manorama B. Trikha as an example of how Ã¥ ­Ëœome important choicesShow MoreRelatedAnalysis Of The Road Not Taken By Robert Frost1409 Words   |  6 PagesThe analysis of â€Å"The Road Not Taken† by Robert Frost has been up for debate since the poem release in 1916. It is known to be one of the most frequently misinterpreted poems of all time, and even Robert Frost himself has said the poem is â€Å"tricky† to comprehend (The). When analyzing this poem many readers tend to focus only on the last lines of the poem and get caught in a trap of selective-interpretation. Quite a few people after reading Robert Frost’s poem firmly conclude that this poem is aboutRead MoreThe Road Not Taken By Robert Frost Analysis1475 Words   |  6 PagesThe poem â€Å"The Ro ad Not Taken† by Robert Frost, is a poem that has many meanings depending on the reader. The poem was published in 1916 and it is a very interesting poem. It’s a fairly short poem consisting of only 20 lines, and it is full of metaphors and imagery and it has many ways that it can be interpreted. The poem’s use of imagery leaves the reader trying to figure out what Frost meant when he wrote the poem. Since it is a poem, it generally has no correct way to interpret it, but it usuallyRead More Analysis of The Road Not Taken by Robert Frost Essays860 Words   |  4 PagesAnalysis of The Road Not Taken by Robert Frost ?The Road Not Taken? (1916) tells of someone faced with two of life?s decisions however only one can be chosen. Whichever road is taken will be final and will determine the direction that their life takes. Frost drives this poem by a calm and collective narrative, spoken by the traveler of the diverged roads. Who is speaking with himself trying to convince himself of which road is the better choice. Frost wrote this poem using standard, modern languageRead MoreAnalysis of The Road Not Taken, by Robert Frost Essay921 Words   |  4 PagesThesis Robert Frosts â€Å"The Road Not Taken† is more symbolic of a choice one must make in their life in attempt to foresee the outcome before reaching the end, than it is about choosing the right path in the woods. Describe the literal scene and situation. The literal scene of Robert Frost’s â€Å"The Road Not Taken, is described as a â€Å"yellowed wood† (Arp Johnson, 2009). Use of this description could be that fall is upon the wood or the trees perhaps once white have yellowed with age. Before theRead MoreAnalysis Of The Road Not Taken By Robert Frost803 Words   |  4 Pages Poetry And I The poem The Road Not Taken by Robert Frost relates to my personal life because both the narrator and I had to make a decision. My decision was having to chose between playing volleyball or football in fifth grade. I thought about my previous experiences in both sports. I was a decent player in volleyball and I wanted to get the â€Å"All Sports Award† that our school awards to eighth graders who participated in all of the sports that St. Dominic offers; however, St. Dominic did not offerRead MoreAnalysis Of The Road Not Taken By Robert Frost1244 Words   |  5 PagesIn â€Å"The Road Not Taken† by Robert Frost, a traveler discovers a fork in the road, and after thorough examination of both paths in the â€Å"yellow wood† he chooses one to proceed on (1). The speaker intended to save the other road for another day of traveling; however, he knew that his path in life would drift far away, preventing him from ever returning to the other road. When the future arriv es, the speaker plans to tell of his travels, and alter the truth by explaining that the path he chose was lessRead MoreEssay Analysis of The Road Not Taken, by Robert Frost854 Words   |  4 PagesIn the Robert Frost poem ‘’The Road Not Taken’’ there is a pervasive and in many ways intrinsic sense of journey throughout. In such, the poem explores an aspect associated with human decision, or indecision, relative to the oxymoron, that choices with the least the difference should bear the most indifference, but realistically, carry the most difficulty. This is conveyed through the use of several pivotal techniques. Where the first such instance is the use of an extended metaphor, where the poemRead MoreAnalysis OfThe Road Not Taken, By Robert Frost1011 Words   |  5 PagesRobert Frost, a renowned American poet, is regarded as one of the most influential and successful poets of the twentieth century. Frost’s popularity is derived most notably from the colloquial, descriptive language he uses in his poems and the impactful themes he portrays throughout them. The popularity of Frost’s poems also emerges from the interest that is sparked by his ability to â€Å"fool† the reader and hide the true meaning behind his words. One of the most acknowledged of Frost’s poems is â€Å"TheRead MoreAnalysis Of Michael Gow Will Be The Road Not Taken By Robert Frost1020 Words   |  5 Pagesand spiritual. So, the question is, does self-discovery only work within an individual or can it be influenced by others around us? Morning, teachers and fellow class mates. My prescribed related text to away by Michael gow will be the road not taken by Robert frost. Away explores the concept of self-discovery and transformation through the characters as they change. By encountering a physical journey, it provides the character with new perspective on life and an understanding attitude away fromRead MoreRobert Frost s Writing Style1589 Words   |  7 Pages Robert Frost once said, â€Å"The figure a poem makes. It begins in delight and ends in wisdom... in a clarification of life - not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion† (Robert Frost Quotes). This same kind of thinking opened the door for metaphorical poetry that helped to show the poets transparency. His love for the social outcast and the struggles of his life are exhibited greatly in his poems. Robert Frost helped

Weight Of Identification Essay - 1063 Words

The Weight of Identification What is light weight to the touch of a hand, but those who bear it around their neck feel the ultimate mass and value carried behind it? It is made up of a ball bearing chain that connects to another smaller chain holding a pair of two-inch by 1 and 1/8 inch engraved metal plates. They make a very distinctive metal sound over the heart when the human body is in motion. Engraved upon these metal plates is someones name, followed by their blood type, social security number and religion. This is no ordinary necklace, this combination of chain and nickel copper alloy, is a pair of dog tags. Dog tags are given to recruits during the first few days of basic training. They are the initial attribute of initiation for†¦show more content†¦It solidifies the idea that the ones that have been lost in war, will live on forever and their duty is not just a mere statistic of casualties on the battlefield. The metal plates have been through it all, created by ni ckel and copper yet truly forged in blood sweat and tears. They have endured hardship though mud, sand and water, but if they are examined closely, the ordinary eye would notice that they are not completely damaged or disrupted.Dog tags represent hardship, and determination to never be broken or bent. They are often kept around the necks of veterans after their enlistment, in order to retain the memory of the family they were once adopted by; to keep the friends and the bonds created close to the heart. A veteran never forgets his or her fellow comrades, nor the drill sergeant from basic training that supplied each tag from the very beginning. Dog tags can symbolize the beginning of a new path for someone, but also the end. During the ceremony of a fallen service member, the tags are hung from the lower receiver of an M4 carbine. The helmet worn by that soldier rests peacefully atop of the stock of the weapon as the funeral detail renders a 21 gun solute, this is called the battlefi eld cross. Dog tags can be hung from rear view mirrors, around picture frames or worn by family members as well. In the National Veterans Museum in Chicago,Show MoreRelatedDecision Making Process From A Manager s Point Of View1730 Words   |  7 PagesIndividual Essay A manager has to make and implement decisions as part of his role. Discuss the decision making process from a manager’s point of view. What is the role of intuition in decision making? Why do managers make wrong decisions? According to the essay question, as part of manager’s role, they have to grind and use their skills to make important decisions that will affect the future of their business. Decision-making is an important organisational process that impacts every level includingRead MoreComparison: Patenting Life by Michael Crichton and Decoding the Use of Gene Patents by John Calfee989 Words   |  4 Pagesshow symptoms at three months; they cannot crawl or walk and they suffer seizures, which result in paralysis and death by adolescence. Parents of these children engage researchers to help create an identification test for Canavan disease by donating tissue and funds. In 1993, the gene receives identification and the families receive a commitment from a New York hospital to offer the test for no cost to patients, but the researchers employer, Miami Childrens Hospital Research Institute, patents theRead MoreCNTs Toxicity in Real Time Essay839 Words   |  4 Pages1991, Carbon nanotubes (CNTs) have gained a lot of interest due to their many unique physical and chemical properties. They are almost one dimensional structures with high mechanical strength (100 times stronger than Steel), ultra-light weight (1/6th the weight of steel) and exhibit excellent electrical and thermal conductivity. Most importantly, CNTs have the ability to effectively cross biological barriers and cellular membrane allowing their use in a wide spectrum of biomedical applications suchRead MoreHow Obesity Has Revolutionized The Way We Think About Health And Sickness Essay1567 Words   |  7 Pageschildhood obesity increasing at a previously unseen rate, it is and will continue to be an important area of study. Thus, this essay will explore how obesity has revolutionized the way we think about health and sickness. Specifically, the focus will be on childhood obesity, which presents a unique set of problems and impacts the future of our world. For that reason, this essay will describe how social factors (socioeconomic status and media) and biological factors (satiety responsiveness, FTO gene )Read MoreSusan Sontag s The Way We Live Now1327 Words   |  6 Pagessurrounding AIDS. In my essay I will examine how Sontag’s story highlights varied ways through which people who are close to or at least know an AIDS patient react to his diagnosis. In her short story Sontag uses point of view to reveal how the uninfected are affected by the AIDS. The uninfected have a daunting task of dealing with attitudes and perceptions of the affected. The story opens with the conversation between Max, Ellen, Greg, Tanya and Orson: At first he was just losing weight, he felt only aRead MoreReflection Paper: 1 Credit Study Skills Course608 Words   |  3 Pagesprior or during exam period. It’s worth reckoning that the entire session was of great importance to my study and exam preparation skills. During session, there were fundamental skills useful when handling multiple choice questions, completing typical essays and when prioritizing of exam questions. After attending this study skill session, I found the entire moment enjoyable and very informative on all issues related to my future exam preparedness. Obviously, the ability to plan and contain negativeRead MoreBullshit Army Essay1247 Words   |  5 Pagesunlocked computers, and identification cards. If left unattended or unacounted for, a potential for a security breach is very likely. With a breach of security the enemy could potentially obtain information that could lead to getting a step up on our forces, and in a worst case scenario beconme directly responsible for the death of military personnel. Likewise is true for the misplacement of the militraty identification card. If left in the wrong hands, the identification card presents an oppurtunityRead MoreEyewitness Identification, Criminal, And Criminal Law Essay1487 Words   |  6 Pageswith law enforcement, prosecution deals, and an overloaded system: This could happen to anyone. State prosecutors should not be able to convict anyone on eyewitness testimony only, without any other physical or forensic evidence. In eyewitness identification, in criminal law, evidence is received from a witness who has actually seen an event and can so testify in court.† (Law.com Legal Online Dictionary) While this could be an important piece of the investigation, it can never take the place of DNARead MoreEating Disorders Are Serious Conditions Involving Extremely Unhealthy Dietary Habits1046 Words   |  5 PagesLaijing Song ENGL 1301- Essay 4 January 9, 2015 Eating Disorders in Adolescents Eating disorders are serious conditions involving extremely unhealthy dietary habits. The two most common eating disorders are anorexia nervosa and bulimia nervosa. In the past few decades, eating disorders have become more and more prevalent in western countries. A lot of people suffered from the diseases, for example, famous Princess Diana has struggled with bulimia for many years. It should be kept in mind thatRead MoreBeauty Is Only Skin Deep1270 Words   |  6 Pagesâ€Å"Evolution†, there is a woman, she walks into a dimly lit room and takes a seat. Her name is unknown and she has a straight face on. Since her name is unknown, let us call her Jane doe. Jane Doe is a name given to women after they have died and no identification can be found to put an identity to a face, however in this case Jane is not dead. Doe sits in this room a shadow is cast over her face from the poorly lit room. Which gives the illusion of her having tired looking dark blue eyes, and a slight

The Ultimate Great Essay Samples Trick

The Ultimate Great Essay Samples Trick The Upside to Great Essay Samples Thus, the proposal to boost funding for riverside recreational facilities might not be justified. Many libraries in distinct schools and campuses normally have some helpful materials that students may use if they need to write fantastic essays. Students lead busy lives and frequently forget about an approaching deadline. Any paper is going to be written on time for an inexpensive price. Similarly, you're totally free to order entire academic project and be confident that we'll deliver a best paper for you. You have to smooth out each of the kinks within your essay. Concerning the history of health robotics. It is possible to also secure several discounts on our site which will help you to save some more money for future orders or anything you want to spend them on. After discovering our website, you will no longer will need to bother friends and family with these kinds of requests. When you elect for our writing service, you are likely to find a thorough set of academic offerings. Our customer support will gladly tell you whether there are any special offers at the present time, and make sure you are getting the very best service our business can deliver. A History of Great Essay Samples Refuted When you buy an essay, be confident that it's an essay that'll truly help you to receive your prefe rred grade because specific class. If you're able to take your essay and substitute the name of a single school for another, then you've failed to deal with essay prompt adequately. The info given via the essay should be precise. It gives you an opportunity to show how effectively you can read and comprehend a passage and write an essay analyzing the passage. Be more specific once you pick a topic, because it is going to demonstrate you have researched your assignment. You should choose any random subject, even if it may appear simple. It is going to also be much simpler to write about a topic you're passionate about. Finding a great essay topic and organizing points for your essay can be very frustrating if you don't understand how best to go about doing it. At our cheap essay writing service, you can be certain to acquire credible academic aid for a fair price, since the name of our site suggests. For you to receive a good subject, you need to do some thorough research. You've got to explain your theme within the body of the essay. When finding the necessary example of a great essay or research paper, you may benefit in many facets of essay writing. Or you might even receive a distinct portion of your essay paper done. Sample essays are also helpful when I will need to compose some unfamiliar essay format that I have never written before. An opinion essay outline appears much enjoy a conventional essay outline. Looking at IELTS essay topics with answers is a superb approach that will help you to get ready for the test. Prior to starting any essay writing activity it's encouraged to brainstorm ideas. After you are certain regarding the title you wish to write about, you can find with ideas by merely formulating questions about it. The following are a few vital strategies for essay writing you will need to understand. If you wish to compose a terrific essay one of the situations you have to understand is there are different forms of essays and each of them should be written in a different way. Get a lot of eyes or expert undergrad article experts which can help you out. When having an essay example you've got access to ideas of a different person that has complicated the research and you are able to observe the issue from totally different perspective that is a terrific advantage for an accomplished research or essay. Many students normally have a hard time writing an essay that's of top quality.

Strategies & Leadership in an Organization-Free-Sample for Students

Question: Critically analyse the relationship between traits, motives and effectiveness of leaders. Answer: Introduction The success of a firm or company is highly dependent on the type of leadership that exists in the organization. As such, if the leader is competent and astute then the chances of the company or organization succeeding are high. To be an effective leader entails a lot of things. One has to have certain traits and also be directed by some motives. A critical examination of these factors reveals that there is a link between the motives, traits and the effectiveness of leaders or those who give direction to the organizations. Discussion The manner in which a leader behaves greatly determines how other people within the organization perceive them. A leader should have traits that are consistent with the firms objectives. DuBrin (2015) classifies leadership traits under two broad categories, the general traits, and the task related traits. Some of the general traits that good leaders must have include self-confidence, assertiveness, enthusiasm and a good sense of humor. As for the task related traits, things like flexibility and emotional intelligence are important for the achievement of goals that have been set by the organization. These traits need to be seen by the subordinates so that they may develop a lot of trust and respect for him or her. The motives of leaders vary. Some of the most common motives of leadership include to have power either for self-gain or to protect the organization, to infuse the organization with a stronger drive to work and to achieve specific goals that may not be done by other people (Luria, Berson, 2013). Effective leadership should be driven by leaders who do not have ulterior motives for the organization (Schuh, Zhang Tian,2013). In addition, they should not be thoughtful of only themselves and therefore only benefit themselves. A leaders motive should be determined by peers whenever a decision is to be or has been made. There is a close relationship between a leaders motives, traits and his or her effectiveness. Generally, when the motives of a leader are sinister it is very easy to tell by just a close examination of their characters (Northouse,2015). It is common, for example, for a leader who wants to gain power for selfish gains to start behaving in a secretive manner. This would be in an attempt to keep their goals from being known by those who may offer strong opposition, or to avoid a challenge of any sort. In a similar way, some character traits reveal that a leader lacks ulterior motives and that he or she is committed towards the achievement of the organizations goals. When for example the leader becomes flexible, it shows their willingness to accommodate new ideas and to compromise for the good of the company. There is, however, a possibility that good traits do not always mean that a leader is effective. Similarly, some traits associated with bad leadership do not always hold (Holt Marques, 2012). Steve Jobs, the founder of apple was not always the humble, listening or compromising type of person even though he was one of the greatest C.E.Os, achieving so much during his tenure as the company's boss. He was known for being dictatorial in his dealings especially when he had the intuition that he was right. This put him on a collision course with a lot of workers most of whom thought he was very arrogant (Allio, 2012). During one of the meetings with VSL company, a chip manufacturing firm he became abusive and made threats when he felt like they were slow in delivery, prompting them to change their methods. He was not only fond of speaking his mind no matter how outrageous his words were, but also terminated contacts when he felt they did not meet his quality (Isacson, 2013). Despite this, he still turned out to the greatest Apple has ever had, with a good number of leaders emulating his style. One common trait that has been associated with most of the wealthy successful leaders is humility. It is common for some bosses to even act it out since many people like to be associated with simple leaders whose degree of humility is very high (Cronin Genovese,2015). This trait of being simple has been seen in leaders such as Jack Ma and Bill Gates. It is very common to find pictures comparing how Gates adorns very simple clothes, despite having been the C.E.O of one of the most profitable companies, alongside leaders and sportsmen who spend a lot in designer shoes and expensive watches. Jack Ma just like Bill Gates is also portrayed as one of the most humble people despite his status, with good intentions for his company and those that he helps. This means that a good proportion of the population associate humble leaders with goodwill not only in the workplace but also outside their workplaces. A leader must have a passion for what he or she engages in. The success of projects is highly dependent on how passionate the leader is and how this is transferred to the subordinates. An example of a project that came out to be successful as a result of the passionate leader is the Talent Management System of the IBM. The project, something that had never been tried before was to cost quite a lot of money to implement hence its failure to materialize could have resulted in a lot of losses (Sparrow, Hird Cooper, 2015). Randy McDonald, the HR in charge at the inception of this project was however un-waivered by the obstacles that he had to go through in order to meet his goal. His passion for this project led to the creation of an unrivaled talent management system that is now being adopted by other organizations including those that do not deal with computer hardware or software (Reiche, Mendenhall Stahl, 2016). From his determination, it is clear that those who exhibit this trait always have the by the motive of achieving what may not seem realistic at first. The chances of a passionate leader succeeding in comparison to those who do not have this trait are very high hence it is important for effective leadership. Effectiveness in leadership relies on the leader's ability to establish a culture in which specific traits are common to all the organization's staff. There needs to be collective trustworthiness if the organization is to survive without getting involved in scandals that may pit certain groups against one another. The leader should always act in such a way that he or she is transparent and no questions can be raised about their motives for doing certain tasks or making some decisions. Not only should the leader show this, but should also inspire this trait in those who work as subordinates or occupy executive positions. Whenever there is widespread trust, it is possible for those with evil or self-centred motives to think twice before taking any action especially if it may break the trust bestowed on them by others. An organization with an established culture of this sort is full of individuals who would value their reputation. Hence effectiveness in leadership is highly dependent on trust. Visionary people are usually associated with high level of effectiveness. It is rare to find a person who is visionary deviating from the organization's overall goal meaning that they are always driven by positive motives such as the socialized power motive (Goleman, Boyatzis McKee,2013).Most of the time people of this sort actually strive to discover new methods of solving problems that exist within the company or identify new activities that their peers can engage in for the benefit of all. Having a strong vision enables people within an organization to identify new gaps in the market and also potential causes of failure for the organization (M.Taylor, Cornelius Colvin, 2014). In case this trait lacks in a majority of the employees, a single person can still steer the organization to greater heights provided he or she is visionary. Thus the more visionary a leader is, the higher the probability that he or she will be driven by positive motives and also the higher the chances that they will be very effective when it comes to running the organization. Conclusion To sum up, there is a very close link between the motives, traits, and effectiveness of a leader.It is always easy to predict why a person is interested in the leadership role based on their traits. There are some traits that are commonly associated with good leaders and these traits are always shown by those who gain leadership positions with good motives. Importantly, there are some traits that may not always mean that a leader is effective. Sometimes leaders who are uncompromising may appear arrogant but still manage to perform way better than those who seem to have all some of the characters associated with good leaders. A good example is Steve Jobs, a man whom many thoughts was arrogant only to turn out to be an uncompromising individual once his mind was made up. Effective leaders should strive to be visionary, humble and be driven by motives that may lead to the achievement of the organization's goals. References Allio, R. J. (2012). Leaders and leadershipmany theories, but what advice is reliable?.Strategy Leadership,41(1), 4-14. Cronin, T. E., Genovese, M. A. (2015).Leadership matters: Unleashing the power of paradox. Routledge. DuBrin, A. J. (2015).Leadership: Research findings, practice, and skills. Nelson Education. Goleman, D., Boyatzis, R. E., McKee, A. (2013).Primal leadership: Unleashing the power of emotional intelligence. Harvard Business Press. Holt, S., Marques, J. (2012). Empathy in leadership: Appropriate or misplaced? An empirical study on a topic that is asking for attention.Journal of business ethics,105(1), 95-105. Isacson, W. September. 2013.Steve Jobs: Biography. Luria, G., Berson, Y. (2013). How do leadership motives affect informal and formal leadership emergence?.Journal of Organizational Behavior,34(7), 995-1015. Taylor, C., J. Cornelius, C., Colvin, K. (2014). Visionary leadership and its relationship to organizational effectiveness.Leadership Organization Development Journal,35(6), 566-583 Northouse, P. G. (2015).Leadership: Theory and practice. Sage publications. Reiche, B. S., Mendenhall, M. E., Stahl, G. K. (Eds.). (2016).Readings and cases in international human resource management. Taylor Francis. Schuh, S. C., Zhang, X. A., Tian, P. (2013). For the good or the bad? Interactive effects of transformational leadership with moral and authoritarian leadership behaviors.Journal of Business Ethics,116(3), 629-640. Sparrow, P., Hird, M., Cooper, C. L. (2015). Strategic Talent Management. InDo We Need HR?(pp. 177-212). Palgrave Macmillan UK.

The Effects of Pressure on Students to get Good Grades free essay sample

Living in a society like the one we are living today, can be very challenging for students. As the world gets more competitive, students are getting more pressured to achieve their goals in life. Pressure have become one of the known factors to affect a student’s life. Anyone who passed through this stage has felt the same way. Getting good grades has become one of the goals students today are aspiring for. It has been perceived that a good mark from school can place someone to a decent job and make that person stand out from others especially when it comes to interviews and conversations. With such belief, students neglect on the negative effects of the pressure they are encountering because they want to maintain high grades. There are few effects of pressure on students to get good grades such as, extreme stress, cheating during exam, and changing of the attitude. We will write a custom essay sample on The Effects of Pressure on Students to get Good Grades or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Main point 1: Extreme stress All the stress experienced by a student from either parent or peer is considered one of the effects of pressure handed to them because of their want to have good grades. Normally, parents apply pressure upon the student in order to keep up in school and not allow the student to fall behind. However, a problem arises when the parent apply excessive pressure on the student. The effect of such pressure can lead to negative health of students. Students tend to have lack of sleep – without having enough of sleep will cause the students’ body to become sick. Main point 2: Cheating during exam Students tend to cheat during exam when they become mentally and physically exhausted. We have been aware of plagiarism being the cause of many violations done by students. (Ex: can either be for their research paper, thesis paper, or just a simple hw) There are also incidents of cheating in examinations through copying other’s answers and putting them on the test paper, recognizing them as one’s own. These sinful acts are the effects of the belief that good grades can send you off to better jobs and a more secured future. Main point 3: Changing of the attitude This particular outcome is definitely disturbing because values and morals become affected. According to an interview conducted by Palmer (2005) to Ms. Denise Clark Pope, students as she said, â€Å"know that cheating is wrong; they tell me they wish they did not do it†. As the statement goes, honesty, respect, and integrity have all been violated for the sake of possessing a good grade. Conclusion In a nutshell, dealing with all the effects of pressure on maintaining an excellent grade comes with a price. It results in extreme stress, cheating and the worst of all, changing of the attitude. All these made a clear understanding of what learning really is about. It is not a matter of only getting a good grade but rather learning with understanding and receiving the grades that one truly deserves. As for this, students must realize that education is in fact teaching people not only academically, but morally.

Graphical And Mathematical Representation Essays - Flat Earth Theory

Graphical And Mathematical Representation Essays - Flat Earth Theory Graphical and Mathematical Representation Question: Find the graphical and mathematical representation of an object shot from a slingshot. Apparatus: See attached paper for apparatus. Method/Procedure Summary: - Gather a slingshot, ball, tape, measure tool, table, scale, stopwatch, protractor on a table - Keep the slingshot from moving around on the table by applying tape - Put the ball on the slingshot and measure the distance it is pulled back and keep the - distance consistent - Measure the weight of ball in kilometers - Measure the angle of the launch (independent) - Launch the ball using the slingshot while measuring the time in seconds (dependent) - Measure how far the ball traveled horizontally in meters(dependent) - Repeat steps 5-7 for 6 trials Data: pull length: 0.05 (m) ball: 0.0023 (kg) angle (?)horiz dis (m)time (s)horiz vel (m/s) 50.460.212.19 100.830.392.13 201.410.692.04 301.800.882.05 401.980.982.02 452.000.992.02 900.001.020.00 horiz vel (m/s) = horiz dis (m) / time (s) Analysis: See attached paper for graphs, motion maps, interaction schemes, force diagram. The horizontal and vertical velocities and displacement are independent of each other. To reach a maximum vertical displacement, a 90? angle of launch must be used. To reach a maximum horizontal displacement, a 45? angle of launch must be used. To reach a maximum time of flight, a 45? and 90? angle of launch must be used. Horizontal displacement vs. initial horizontal velocity The y-intercept is initial velocity of the ball. The slope is acceleration of the ball. Equation: Velocity (m/s) = 0.06 (s ^2) Dis (m) ^2 ? 0.26 (s) Dis (m) + 2.30 Vel (m/s) Initial vertical velocity vs. time of flight Conclusion/Evaluation: The experiment was interesting, but very confusing. We were unable to calculate the initial vertical velocity of the ball at a 90? angle of launch. Because of this one of graphs, along with its supplement data were not calculated. But we still learned many things about projectiles from this project. We learned that the horizontal and vertical displacement and velocities are independent of each other. We also learned that 45? angle of launch will give you a maximum horizontal displacement and 90? angle of launch will give you a maximum vertical displacement. We learned that doing the experiment on the grass lawn was much better than on cement because the grass stopped the movement of the ball. The project can be improved by review of what will be done before that starting of the project. Also a more open project allowing us to vary the project would also improve the experiment.

CREATING A NEW BRAND FOR A NEW MARKET. TATANANO - ESTIMATING THE TUUE Case Study

CREATING A NEW BRAND FOR A NEW MARKET. TATANANO - ESTIMATING THE TUUE COST OF THE CHEAPEST CAR IN THE WORLD - Case Study Example Apart from all these features and benefits offered by the car, it is being promoted as a part of one of the biggest brands of India, Tata. Tata has already high share and in the vehicles industry of India for around 70 years. The company has developed strong brand equity by supplying low cost and quality products with innovations to compete with the international market. Tata is considered to be the ideal developer of the cheapest and most fuel efficient car in the mass market of India as they have the advantage of 65 years of market experience and brand loyalty in vehicle sector. For this reason the company has made huge investment in this Tata Nano project. Other competitors do not have a brand loyalty as Tata in the target market and for this reason have been reluctant to make huge investment in any new project. Tata takes the first mover advantage because of which Tata is market leader today in the cheapest vehicle customer segment. Question # 2: Most of the international countri es including EU are concerned about the environment effect which will be generated by the launch of Tata Nano. The most important effect is pollution which will be increased because of the excessive use of Tata Nano by consumers, as a result there will be high consumption of fuel and hence high emission of carbon gas would take place. This in turn will cause several diseases. Apart from this, when huge quantity of cars will be launched every year it will make the traffic congested in roads which in turn will cause traffic jams, hence creating daily routine problem for people. In response to all these environmental concerns of international countries, Tata justify their Tata Nano as a low pollution emission car as compared to other cars and they considered the car as an alternative of motorcycle and scooters. Tata Nano would create a bit more pollution then motorcycles and scooters but it would improve the living standard of the middle class sector. The people of India gives the pref erence to Tata Nano because a major part of population of India lives in rural areas and facing difficulties in travelling on motorcycles and scooters with their families, so Tata Nano will be a great alternative for them to use the car for business purpose and for family use also. Hence this car is beneficial in both aspects. Question # 3: The other companies would be concerned because Tata will supply their Nano product in a very large segment of around 50 million potential customers. Along with this the company already has high brand equity and loyalty in the mind of the consumers. For this reason, all other vehicle producers have been highly concerned with the situation. The launch of Tata Nano will directly affect the Bajaj motors low price and consumption vehicle. At the same time many producers of motorcycles and scooters will also be affected by the production and launch of Nano production. With a huge production plan of Nano, Tata motors can introduce this vehicle in intern ational market also because they are bearing a very low cost of production. Along with this the company has high brand image in the international market as one of the oldest producers of vehicles with quality products. Tata Nano would offer customers in foreign countries with a low price car option as it would cost around US $2500 which is the cheapest among all cars. Question # 4: With the

Problems with Genetic Manipulation Essay Example | Topics and Well Written Essays - 750 words

Problems with Genetic Manipulation - Essay Example In Wood's society of predetermination through genetic alterations, no one has to take any measure of personal responsibility. In the introduction of Better Living through Genetics, James Wood uses persuasive speech (logos) as well as a somewhat morally appealing argument (ethos) to convince the reader of the benefits of genetic engineering. An example of this is the sentence "Genetic analysis during in vitro ("test tube") fertilization enables couples to eliminate sickle cell anemia and a host of other diseases from their offspring.". What parent to be would not wish to ensure the healthiest of offspring There is certainly a sense of moral fiber behind wanting to make sure that one has healthy, disease free children. This statement is therefore supported by both logos and ethos. Logos is the part of Aristotelian argument that specifically deals with persuasive argument through speech. As the essay continues, Wood tried to convince his readers of the boundless benefits of literally designing and predetermining their offspring in an almost Hitler like ideology. The statement that follows is an example of something one would assume came straight out of the holocaust ".Nevertheless, society will still have to protect itself from criminals. The only practical solution, until defects are purged from the species, is mandatory genetic testing and preemptive action, including putting people with "criminal genes" in prison before they commit crimes." The fact that the reader cannot escape the notion that Wood's "utopia" is an almost genocide or ethnic cleansing of sorts, allows one to determine that both pathos (appealing to one's emotions) and ethos (moral competence) are completely abandoned. Although, a few statements such as the above idea that one can prevent one's offspring from genetic deformities and disease, may be arguably an example of either pathos or ethos. The overall essay however, deviates from both. In addition, the essay is somewhat choppy and therefore lacking in logos (argument through speech). If the piece had been more eloquently written, one may be able to find it more persuasive. This is not to say that some of the statements here and there are not worded reasonably well and therefore slightly convincing. For example, Wood discusses that the process of creating his genetically engineered "utopia" would take place in stages and eventually appeal to everyone "Almost every one of the myriad incremental steps toward utopia appeals to some value such as competitive advantage or convenience". This causes the reader to wonder if perhaps they are not being open minded enough or perhaps they have missed the greater picture. This is an example of logos (argument and persuasion through speech. The summary of Wood's essay sums up the "utopia" he desires as essentially a planet with robotic organisms devoid of any spirit or autonomy. This is the absolute opposite of the very nature of humanity and is therefore very amoral. Therefore, ethos is not an element of argument used overall in Wood's essay. The following statement in Wood's summary explains this machine run "utopia" void of humanity"In sum, the new technologies

Relationship Between Museum and Cultural Identity

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