Ludwig Mies van der Rohes New National Gallery, Berlin

Ludwig Mies van der Rohes New National Gallery, Berlin The closest Ludwig Mies van der Rohe got to realising his vision of the column-free pavilion? Was this final expression of his ideas of canonical significance for 20th Century architecture? The New National Gallery in Berlin was Ludwig Mies van der Rohes last design. Throughout his career he had been employing the same central ideas he was concerned with to most of his designs, gradually developing and refining them. In order to understand his last building, said to embody successfully all the ideas he was most passionate about, it is important to see how these evolved from building to building over the years. Then one can consider this final expression of his ideas as a result of a lifetimes worth of work and assess it in terms of its significance in Modern Architecture. Since the 1920s, Ludwig Mies van der Rohe had been focusing on evolving two types of forms which could be adapted to a range of situations; the skeletal framed building with small cellular spaces ideally designed for office and apartment buildings and the single volume pavilion where a larger completely flexible space is needed. At a time of rapid and continuous change, it made sense for Mies van der Rohe to develop the latter, the infinitely flexible space. Contrary to the largely known notion by Louis Sullivan that form follows function, Mies believed that buildings should be designed with the least amount of fixed elements so as to be as flexible as possible and ready to adapt as their functional requirements change over time. His designs since 1921 are a demonstration of his quest for flexible space. He was pursuing open and flowing rather than closed and cellular. The New National Gallery is widely considered the most developed expression of such a space. In this project, Mies had the opportunity to create the infinitely flexible interior but also incorporate two more of his most important notions; appropriate and visible structure and fluidity between interior and exterior. Miess most central principles synthesized into a single pavilion of powerful scale and presence. Miess journey from his first buildings to the embodiment of his most significant ideas in the New National Gallery was anything but a straight line. However, there were significant steps that marked the development of his idea of the column-free pavilion. These significant stages were outlined by Miess pupil and future associate Peter Carter. The idea of an open and flowing space first materialized in the house designs of Frank Lloyd Wright where living areas are fairly open and interconnected. Wrights open plan designs excited architects all over Europe. However, it was Mies who took the idea of the de-cellurization of the building further. His sequence of space-liberating designs from about 1920 onwards changed the way in which architects thought. Miess Brick Country House was his first development of the free-plan interiors that Frank Lloyd Wright had introduced. It was a long way before the creation of the completely unobstructed interior space, but an important move in this direction, as in this project Mies started subdividing the interior by free standing walls rather than conventional ones. He only let walls to meet as L or T junctions to allow the interior space to flow freely from one room to the other and out into the landscape. Although this merely constituted the first step in his pursuit of open flowing space, Mies van der Rohe had already taken the concept of spatial continuity and fluidity much further than anything proposed by Wright. Though he had started removing interior walls, the exterior of the Brick Country House remained solid. The next step towards his open flowing space was abolishing the division between interior and exterior space. The opportunity to apply this was the Barcelona pavilion; one of the most influential designs of the 20th Century. In this project, Mies transformed practical, conventional walls into abstract planes freely disposed as in a De Stijl composition. In the De Stijl movement, artists simplified visual compositions with the use of primary colours and straight horizontal and vertical lines. In the Barcelona pavilion, walls are not functional in the conventional way. Instead of supporting the roof and separating specific rooms, these planes loosely define space. What is also unclear and undefined in this project, is the division between the interior and the exterior space, another important step towards his open-flowing space. After substituting load-bearing walls with slender columns, the next step to the Miesian transparent pavilion was to remove columns from the interior completely and placing them on the outside perimeter of the building. This would render possible the interior to be completely unobstructed from any fixed elements and theoretically make it totally flexible. This was first seen in his Concert Hall project in 1942. Lastly, in the Farnsworth House in Plano, Mies van der Rohe would dematerialize completely the outer walls of the pavilion so as to push the concept of transparency sandwiched between two horizontal planes. Mies van der Rohes long series of experimentation had as a result the development of a general architectural form, the column-free Miesian pavilion. The pure glass-walled version of the column-free Miesian pavilion would provide the parti for the New National Gallery in Berlin. The commission for a new art gallery in Berlin was an opportunity for Mies to finally build the single-volume clear-span pavilion in its purest form which he had never been able to build before. He was commissioned to construct a much needed permanent home for the modern art collection in the Western part of the then divided city. Though half the size and population of West Berlin, the Eastern part included most of the cultural institutions and the historic centre of the city. It was in this context that the Culture Forum was designed. It was going to be a cluster of buildings dedicated to culture and the fine arts to replace the institutions that had fallen in the eastern part of the post-war city. The New National Gallery was going to be part of it and would epitomize the integration of West Berlin and West Germany into the democratic capitalist system of the West. The site for the new gallery was Kemperplatz, an area between Potsdammer Strasse and the Tiergarten that had once been a busy centre of Berlin life before being destroyed by wartime bombing. Apart from the church of St. Matthews of 1846, nothing was left standing after the war and this unused land that remained would provide the site for the development of Berlins new Culture Forum. The driving idea behind the gallery was the creation of a minimalist, steel and glass, column-free pavilion which would stand as a noble monument in the townscape. In his pursuit for a monument-like feel and uncompromising symmetrical composition, Mies referred to ancient temples such as the Parthenon. The gallery would later on be aptly named and largely known as the temple of light and glass. Once built, it would create a dramatic contrast to the other buildings of the Kulturforum by Hans Scharoun. Whereas Scharoun was much more expressionist, Mies opted for austere geometrical forms that show the structure of the building and let it stand out from, but also connect to its surroundings. Amid the visual tumult of Berlins Culture Forum there reposes a single island of order and tranquillity, the New National Gallery. Mies may have wanted continuity and fluidity between the pavilion and its surroundings. Nonetheless, it was never meant to hide in Berlins busy life, but as previously mentioned, it had to have a monumental form. This prerequisite, along with the inclination of the land encouraged the idea of setting the gallery on a large open terrace. The experience of reaching the entrance further intensifies the gallerys monument-like feel. Wide steps guide the visitor who begins to feel slightly separated from the surrounding city. The feeling intensifies as the visitor walks towards the back and the sloping site starts to fall away on either side. By then, the pavilion sits well above street level, and almost has the tranquillity of the top of a hill and has therefore become psychologically detached from the everyday bustle beneath. This method of detaching a building from its surroundings and raising it as if on a pedestal was often used by Mies van der Rohe, starting with his first project, the Riehl house. This method also gives the building a sense of calm, again referring to the ancient temple on the top of a hill. Sitting on the large open terrace, surrounded by sculptural works of arts, is Miess minimalist pavilion. It is the pinnacle of Miess idea of free space. He eliminated interior columns completely to allow for a large unobstructed space for artists to exhibit their work without any limitations in terms of space. Mies van der Rohe followed the notion he introduced in Barcelona pavilion and any fixed elements in the interior space of the gallery have no load-bearing function. The Tinos marble-faced columns in the New National Gallery provide for ventilation and roof drainage and the gallery is supported by eight slender cruciform columns placed on the outside of the pavilion, two on each side. By completely removing solid walls, Mies wanted to symbolise that space extends beyond the boundaries of the interior. The large spans of glass are set far back from the edge of the roof thus creating the effect of a floating plane. The unique open space created on the upper floor is mainly used for temporary, travelling exhibitions, and is ready to be modified according to changing needs, whilst all the permanent collections are safely hidden in the lower level, away from natural light. The steel and glass podium sits on a colossal subterranean stone pedestal. Though not visible, the lower level is perfectly proportional to the podium above. The lower level, apart from accommodating for the whole of the permanent collection, also includes all of the buildings functional spaces including support and utilitarian rooms. Closed on three sides, the lower floor only opens on the west side, to reveal a quiet outdoor sculpture garden. The garden is enclosed by grey granite walls which separate it from the surrounding bustling city. The floor, paved in granite slabs is another example of Miess pursuit of a flexible space. The slabs are laid loosely on the gravel, ready to be moved into new arrangements if required. With the outdoor garden, Mies created an oasis of calm in a bustling metropolis. Mies van der Rohe firmly believed in appropriate structure. A building, he was convinced, should be a clear and true statement of its times and in the case of the New National Gallery its time was characterised by advanced industrialism. For Mies van der Rohe, a buildings structure should be true to the materials and processes of its time, but also poetic and visible through the building, rather than obscured behind decorative features. Like many architects after the First World War, he wanted to bring the advantages of industrialized production methods to his architecture. He was interested in finding a new material which would allow most parts of the building to be manufactured in a factory, to ensure better quality and eliminate on-site labour. One of the most important features of a design that hoped to achieve transparency sandwiched between two horizontal planes, was the roof. Mies van der Rohe designed a monumental roof which he wanted to have as if floating above the large spans of clear glass. The design was a difficult issue to be negotiated with engineers but also a chance for the architect to bring the post-war industrialised production methods in this project. The roof, being massive, was made in sections. Its thickness is constant and always visible. What varies between sections is the quality of the steel which changes according to the level of pressure sustained by each section. The roof is a fine example of Mies van der Rohes pursuit of true structure. The ceiling, with no false ceiling added to it, also incorporates a black grid of beams which is used as an exhibit surface when the gallery hosts light exhibitions. The colossal roof, 1200 tonnes of steel, was put together and raised in one day. As a whole, the gallerys sharp geometrical structure is a sharp contrast to Scharouns neighbouring Berlin Philharmonic, built only a few years before. Whereas Scharoun was much more expressionist and concealed his structure with organic shapes, eliminating any kind of symmetry, Mies van der Rohe opted to show the structure in every possible way. All these structural and compositional elements form Mies van der Rohes pavilion, his last great design and one of the most important buildings of modern architecture. The New National Gallery may succeed magnificently as a work of art in itself but it has been criticised widely as an exhibition space. In his pursuit of the column-free clear-span pavilion Mies may have compromised certain aspects of the gallery and its functionality as an exhibition space. Whilst the lower ground galleries and the sculpture garden fulfil their purposes admirably , the pavilion above disappoints in significant ways. In the upper floor, light floods the pavilion from its glass walls on all sides and can be regulated by white curtains on three sides. Theres also a lighting system in the roof with warm diffuse light. However, in exhibition spaces, diffused indirect lighting from above is more ideal, modifiable by blinds and electric light only if necessary. The sideways illumination in combination with the lighting from above fails badly. Pictures are inadequately lit and there is a strong glare compromising the visitors comfort in viewing the artwork. The curtains partially eliminate the glare but compromise the gallerys visual transparency which is its strongest feature therefore defeating the purpose of the large spans of glass walls. In his drive for the translucent pavilion, Mies seems to have compromised the viewers comfort and experience of viewing the exhibited artwork. Moreover, the upper pavilion which Mies was so determined to create as a multifunctional space, is not as successful. Though its large-scale is suitable for exhibiting large objects and the side-lighting lights such objects beautifully, the space is unsuitable for smaller paintings. Smaller paintings are lost in the grand scale of the pavilion. It seems that Mies van der Rohes vision of the column-free pavilion fails as an exhibition space. Ironically, the lighting and grand-scale of the upper floor seem to restrict the spaces use to certain types of exhibitions, rather than adding to the infinitely flexible space that Mies van der Rohe envisioned. As a result, this infinitely flexible space turned out to be unfriendly for exhibiting art but Mies was unapologetic. It is such a huge hall that of course it means great difficulties for the exhibiting of art. I am fully aware of that. But it has such potential that I simply cannot take those difficulties into account. He considered the gallery a closed form, perfect in itself and would not allow any modification that would alter its perfectly symmetrical form. For example, when it was proposed to extend the flower floor to gain functional space that was very much needed for the gallery, a change that would in actual fact be invisible, Mies van der Rohe refused to ruin the careful proportions between the two floors. The lack of substantial functional space, and the unwillingness to do anything about it, further demonstrates that Mies compromised the buildings functionality as an exhibition space in his effort to create the perfectly proportional Miesian pavilion. Though the upper floor may not be perfectly suitable for exhibiting and viewing paintings, it is the gallerys primary architectural expression. The building is the result of many gradual steps in Mies van der Rohes journey towards the column-free pavilion and is considered a shining symbol of modern architecture. Here is a 20th Century icon of timeless serenity and composure, its functional imperfections forgotten as one contemplated its majesty as a monument and symbol. The way it sits on its site, its simple yet careful composition, along with its visible structure and use of materials make it a true Berlin monument which expresses the spirit of the industrial time in which it was designed and built. From a must-see tourist attraction and symbol of Berlin in post stamps, to a home for 20th Century European art, Mies van der Rohes last project and all the ideas it embodies represents one of the most important buildings of 20th Century architecture. Buildings such as this will refresh us by awakening all the more mans deep desire for poetic serenity and structural honesty. Ludwig Mies van der Rohe is largely considered as one of the pioneering masters of modern architecture. In every building his intentions are straightforward and his concepts of truth to structures, materials and harmonious composition are stated clearly. By this point in his career, he had developed the ideas he was most passionate about and incorporated them into the New National Gallery. It is with this project that Mies van der Rohe managed to create the column-free pavilion he had been striving for the most of his career. It stands as a monument in its context and embodies his most important principles, thus rendering it as a building of great significance for 20th century architecture.

Tourism: An Attractive Industry For Economic Development

ABSTRACT Tourism is widely recognized as an important catalyst for economic growth. According to the United Nations World Tourism Organization (UNWTO), the tourism industry is amongst the biggest industries that make substantial contribution to the economy in terms of its contribution to the GDP, the revenue generated, increased employment and other benefits. The success of the tourism industry begs the question what are the characteristics that make it an attractive industry for economic growth. In order to respond to this question, this analysis will explore on the various tourist attraction sites including natural and cultural attractions, heritage sites, national and wildlife parks, theme parks, gardens and museums, beaches and coastal regions, and entertainment and events. This will include examining how these attractions contribute to economic development. UK will be used as the case study. INTRODUCTION Tourism is widely recognized as an important catalyst for economic growth. According to the United Nations World Tourism Organization (UNWTO), the tourism industry is amongst the biggest industries that make substantial contributions to the economy in terms of its contribution to the GDP, the revenue generated, increased employment and other benefits (Business tourism 2003). Take for example the UK, the 6th largest destination in the world attracting over 32 million overseas visitors yearly (Williams et al., 2010). UK’s tourism industry is the 5th largest industry and contributes to a large proportion of the GDP. In 2007, the industry was valued at ?114 billion representing 8.2% of GDP and employing over 2.65 million people (Williams et al., 2010). In 2009, the industry was valued at ?115.4 billion of the UK economy, hence representing 8.9% of UK GDP (Williams et al., 2010). The tourism industry is further anticipated to grow yearly at 2.6%, a growth rate similar to that of retail and construction industries (Williams et al., 2010). Indeed, tourism increasingly continues to become an attractive industry for economic growth with an increasing number of visitors. This begs the question what are the characteristics that make tourism an attractive industry for economic developmentThis analysis is thus intended on exploring on these characteristics with a focus on the factors that lead to economic development. Before giving an overview of the fundamental aspects of the economics of tourism, we will first define what we understand by the term â€Å"tourism† WHAT IS TOURISM? The term â€Å"tourism† was first defined by Hunziker and Krapf (1942), the main pioneers of tourism research. They defined tourism as a sum of relations and phenomena that resulted from travelling and staying of non-residents. In this context, a stay does not result into permanent residence of the individual and is not in any way connected to permanent or temporary earning activity. This conceptual definition was for a considerable time generally accepted but had certain flaws. For example, a visit to the hospital could be considered as a form of tourism. Furthermore, under this conceptual definition, non-residents were only identified with foreigners; hence domestic tourism had no place in it. In the later years, a more succinct definition of tourism was put forth by the British Tourism Society. Based on the work of Burkart & Medlik (1974), the British Tourism Society adopted the following definition. Tourism is deemed to be inclusive of any activity concerned with short-term movement of people to destinations other than their neither main continuous domiciles nor place of work (Burkart & Medlik 1974. Within this conceptual definition, activities involving a stay or a visit to the destination are included. It also allows for domestic and day visits as well. This definition still applies up to date. Another conceptual definition that deserves special attention is that put forth by Gilbert (1990). Gilbert (1990) posits that tourism is a part of recreation that involves travelling to other destinations for a short term-period with the aim of satisfying a consumer need. This definition places tourism in the overall context of recreation. Recreation according to Cooper et al. (1993) refers to the pursuits engaged in during leisure time. However, it should be noted that tourism is not only confined to activities carried out during leisure time. Part of the tourism (business tourism in particular) takes place during working time including conventions and business meetings. TOURIST SECTORS Tourism comprise of five main sectors: THE ATTRACTION SECTOR: – this sector comprise of the natural and cultural attractions, heritage sites, national and wildlife parks, theme parks, gardens and museums, beaches and coastal regions, and entertainment and events (Anon 2004). THE ACCOMMODATION SECTOR: – this sector comprise of the hotels, motels, apartments, villas and flats, guest houses, holiday villages, campsites, marinas, touring caravans and condominium timeshares (Anon 2004). THE TRANSPORT SECTOR: – Consists of the airlines, railways, shipping lines, car rental operators, and bus and coach operators (Anon 2004). THE TRAVEL ORGANIZER SECTOR: – the sector covers tour operators, travel agents and incentive travel organizers among others (Anon 2004). THE DESTINATION ORGANIZATION SECTOR: – this includes regional and national tourist offices, local tourist officers and tourism associations (Anon 2004). In order to answer the question: what are the characteristics that make tourism an attractive industry for economic development, we will explore on the attraction sites discussed above. This will also include exploring on business tourism and its contribution to economic development. CULTURAL AND HERITAGE ATTRACTIONS Cultural and heritage attractions play a significant role in the tourism industry. Most of the world heritage sites have a cultural significance that transcend national boundaries and of importance to the present and future generations. Currently, there are 890 world heritage sites reflecting a rich diversity of the world’s cultural heritage (Endresen 1999). In the United Kingdom, sites as diverse such as the Giant’s Causeway, City of Edinburgh, Blaenavon Industrial landscape, and Manchester City help make up the UK’s heritage (UNESCO 2009). In this context, Manchester city, one of the most vibrant cosmopolitan cities has a thriving art and cultural scene that attracts a large number of visitors. The city’s attraction centres include the sports stadiums, museums and galleries, and music venues (UNESCO 2009). The rich cultural heritage, vibrant arts scene and the multicultural population in UK makes it a very attractive tourist destination. Museums which showcase the best of Britain’s culture and history attract millions of international and domestic visitors. Britain’s culture and heritage is estimated to attracting ?4.5 billion worth of spending by inbound visitors annually (UNESCO 2009). NATURAL LANDSCAPE SITES Another popular attractive site in the tourism industry is the natural landscape. Natural landscapes such as Stonehenge, the most famous and mysterious landmark in the UK, attracts a vast number of tourists (Mieczkowski, 1990). Built over 650 years ago and consisting of a ring of monolithic stones, the landmark is a very popular attractive site. Scenic landscapes such as the Wye Valley, an internationally protected landscape straddling the border between Wales and England also attracts a large number of visitors (Mieczkowski, 1990). This area that covers parts of Hertfordshire, Gloucestershire and Monmouthshire is widely recognized for its gorgeous scenery and dense native woodlands as well as for its wildlife and archaeological remains (Mieczkowski, 1990). NATIONAL AND WILDLIFE PARKS National parks also play a huge role in the tourism industry. Britain’s finest national and wildlife parks, zoos and animal attractions such as the Animalarium attract a large number of visitors (Mathieson & Wall 1982). The national parks offer a variety of activities ranging from walking, exploring on the rich and cultural heritage to pursuing other activities such as cycling, rock climbing, and absailing among others (Mathieson & Wall 1982). An estimated 110 million people are estimated to visit national parks in England and Wales annually (UNESCO 2009). ENTERTAINMENT AND EVENTS Entertainment and events also play a major role in the tourism industry. Majority of the concerts and music festivals taking place in the UK attract more than 7.7 million visitors, domestic and overseas combined (ICTHR 2010). The significant amount of revenue generated from entertainment and events is used in boosting the UK’s economy. A great majority of these tourists are UK residents who travel outside of their regions to attend events and see their favourite artists perform live in another region within the UK (ICTHR 2010). London dominates as the destination for live music tourism in the UK. Music tourists at the capital outnumber the local music fans. Its dominance can be attributed to the high number of domestic music tourists attending concerts. With a population of more than 7 million people, the region is host to the O2 Arena, the most successful concert venue in the world (ICTHR 2010). London region is also a host to Wembley stadium and Royal Albert Hall as well (ICTHR 2010). Its parks, mainly Victoria Park, Hyde Park and Clapham are home to a growing number of music festivals (ICTHR 2010). BEACHES AND COASTAL AREAS Beaches and coastal areas are also a huge attraction site for tourists. Tourism in the south of Wales, for example, is primarily focused on the coastal areas in order to attract its visitors. The Welsh tourist industry which is worth ?3.5billion and makes a significant contribution to Wales’ GDP relies largely on its excellent coastal scenery in attracting tourists (Williams, et.al, 2010) BUSINESS TOURISM Another important, yet least acknowledged component of the tourism industry is business tourism. It is one of the most lucrative components of the tourism industry with various benefits that stimulate the growth of the economy. In the UK, business tourism is a wide sector encompassing Conferences and meetings – the British Conference Market Trends Survey 2001 estimates this to be worth around ?7.3 billion annually (Business report 2003). Exhibitions and trade fairs: – these are listed as the 5th largest marketing medium in the UK attracting 11% of the media expenditure and are estimated at ?2.04 billion annually (Business report 2003). Incentive travel: – the value of inbound incentive travel market is estimated to be around ?165 million annually (Business report 2003). Corporate events: – estimates for this segment are between ?700 million and ?1billion annually (Business report 2003). Outdoor events: – a rough estimate of the outdoor events is around ?1billion annually (Business report 2003). In the past few decades, business tourism has grown significantly exceeding the overall tourism growth rate. According to the International Passenger Survey 2001, business tourism accounted for 29.7% of all overseas visitors to the UK and 31.7% of the inbound earnings (Business report 2003). From what can be discerned, investment in business tourism can significantly stimulate the growth of the economy. It may lead to regeneration of urban and inner cities as evident with Birmingham, Glasgow, Cardiff, Belfast and Manchester (Business report 2003). Its resilience during the great recession makes it even more an attractive industry for investment. The business tourism proved resilient, being less affected by economic downturns and by disasters such as the Foot and Mouth Epidemic unlike leisure tourism (Business report 2003). With the above in mind, it is worthy examining some of the main elements that make attractions to be appealing to many. CHARACTERISTICS OF TOURIST ATTRACTIONS It is important to recognize that tourists’ attractions are not all equal. Some may have more potential to draw visitors than others. The main elements that set attractions apart include quality, uniqueness, authenticity, drawing power and activity options. QUALITY: – high quality is a key principle for tourism development. This means offering smooth customer oriented operations and procedures and ensuring that attractions have a pleasing appearance and that they are visitor friendly (Merchant 2005). This includes asking these questions Is the attraction visitor friendly .How does it rate in terms of the appearance, hospitality, operations and resource protection AUTHENTICITY: – authenticity refers to originality. For example, if it is a cultural heritage attraction, authenticity would imply letting the distinctive local flavour of the community to shine in ways that create a â€Å"sense of place†(Merchant 2005). We can consider: Whether the attraction reflects the natural and cultural heritage of the community UNIQUENESS: – this is the â€Å"edge† that sets attraction apart from competition. It involves asking the fundamental question: Is the attraction unique Take for example, The London Eye which is sitting on the South Bank of River Thames. Hanging like a gigantic wheel, this landmark is instantly recognizable. It is currently the biggest Ferris wheel in Europe standing 135 metres high and supported by a giant A-frame which juts the spindle (UNESCO 20090. This makes it unique from other Ferris wheels which use two A-frames and axle support method. DRAWING POWER: – this is a measurement on the power to attract a large number of visitors (Merchant 2005). ACTIVITY OPTIONS: – this is an important characteristic of attractions (Merchant 2005). It involves assessing whether the attraction site offer a varied and changing set of activities. CONCLUSION Indeed, tourism is an attractive industry for economic development. Major attraction sites including the scenic landscapes, cultural and heritage sites, national and wildlife parks, landmarks, theme parks, gardens and museums, beaches and coastal regions, and entertainment among others attract a large number of visitors. There is no doubt that the industry contributes to a large proportion of the GDP and is responsible for employing millions of people. This makes it an important industry for investment. (2,070 words) REFERENCES Anon, 2004. Economic characteristics of the tourism sector, http://v5.books.elsevier.com/bookscat/samples/9780750666374/9780750666374.PDF {Accessed 21st January 2012} Burkart, A.J. and S. Medlik, 1974. Tourism. Past, Present and Future. London: Heinemann. Cooper, C., J. Fletcher, D. Gilbert and S. Wanhill, 1993. Tourism. Principles & Practice. London: Pitman Publishing. Business tourism partnership report, 2003. Business tourism briefing: an overview of the UK’s business tourism industry. London http://www.businesstourismpartnership.com/pubs/briefing.pdf {Accessed 20th January 2012} Endresen, K., 1999. Sustainable tourism and cultural heritage: A review of development assistance and its potential to promote sustainability http://www.nwhf.no/files/File/culture_fulltext.pdf {Accessed 20th January 2012} Gilbert, D.C., 1990. â€Å"Conceptual issues in the meaning of tourism†. In: C.P. Cooper (ed.), Progress in Tourism, Recreation and Hospitality Management, Vol. 2. London: Pitman Publishing. Hunziker, W. & k. Krapf, 1942. Grundriss der Allgemeinen Fremdenverkehrslehre. Zurich: Polygraphischer Verlag International Centre for Tourism and Hospitality Research (ICTHR), 2010. The contribution of music festivals and major concerts to tourism in the UK. London: Bournemouth University. http://www.ukmusic.org/assets/media/UK%20Music%20-Music%20Tourism.pdf{Accessed 22nd January 2012} Mathieson, A. and G. Wall, 1982. Tourism: Economic, Physical and Social Impacts. London: Longman. Merchant, R., 2005. Tourism attraction characteristics. Community tourism handbook: Minnesota Extension. http://nercrd.psu.edu/entrepreneur_what_works_wksp/Handouts/MerchantCharacteristics23.pdf {Accessed 20th January 2012} Mieczkowski, Z., 1990. World Trends in Tourism and Recreation. New York. UNESCO, 2009. World heritage sites. http://www.unesco.org.uk/world_heritage_sites {Accessed 20th January 2012} Williams, et.al, 2010. An assessment of UK heritage coasts in South Wales: J A steers revisited. Journal of Coastal Research. http://www.griffith.edu.au/conference/ics2007/pdf/ICS087.pdf {Accessed 20th January 2012}

The Nuiances of The German Ideology Essay Topics

The Nuiances of The German Ideology Essay Topics The Key to Successful the German Ideology Essay Topics Ideology is the lens whereby somebody views the world. To put it differently, It isn't consciousness which determines existence, it's existence which determines consciousness. In this manner, the nature of the lacunar discourse is what isn't told (but is suggested). It is crucial to understand that for Marx alienation is not only an issue of subjective feeling, or confusion. What You Should Do to Find Out About the German Ideology Essay Topics Before You're Left Behind The events that caused the unification of Italy and Germany. The radical movement in the usa met with problems and support. In most instances, certainly not. France and subsequently the usa. Nevertheless we're left with an extremely rich text on the essence of alienated labour. However, get ready to cope with a few challenges that are usually faced by writer having to handle an essay about nationalism. Additionally, the simple fact that Marx delayed publication of a lot of his writings meant that is been only lately that scholars had the chance to appreciate Marx's intellectual stature. This isn't to say that interesting and provocative ideas can't be extracted from these types of fragments of polemic but rather that there's a contextual and interpretive disjunction in doing this. From the above mentioned, it's clear that there's no agreed definition of what ideology is. Nationalism helped to unite people with a mutual history and culture. Their ideology proved to be an ideal world. The dominant ideology is made and shaped by people who have power (for Marx, those who have the way of production). Not everybody follows every one of the tenets of a particular ideology. Althusser also proffered the idea of the ideological state apparatus to spell out his theory of ideology. There are an endless number of beliefs, so ideologies ought to be infinite too. If you're hesitating about what theme to select, consult with the history of your favourite country and discover out about its ideology. What's the nativist approach in regard to child language acquisition. Both the financial structure and the evolution of the productive forces appear to have explanatory priority over each other. What the worker gained in the capability to buy because of higher wages, in addition, he lost in the capability to get a number of the things he now took part in producing. The character of individuals is dependent upon the material conditions determining their production. The 30-Second Trick for the German Ideology Essay Topics The main aim of topic choice for a proposal essay is to demonstrate t he idea can be put into place in practice. Utilizing appropriate words in an academic essay 3 not signify that informal language play a major part in the evolution of an academic essay. We will be able to help you go for an essay topic according to the degree of education. If you have selected the correct topic, but don't understand how to compose your essay, we recommend you to acquire our writing help. Additionally, you can capture reader attention with the aid of funny essay topics. Informative essays are somewhat more descriptive. An argumentative essay requires you to choose a topic and have a position on it. Therefore, take care when picking a topic for your controversial essay. the German Ideology Essay Topics - Is it a Scam? People started to get clothes, instead of making their own. VIII Social life is basically practical. They are called constant capital. Bringing increasingly more into it. For instance, in college, you might be requested to compose a paper from the opposing perspective. On a single hand, Late Neoliberalism tells us we don't have any future, and there isn't any hope. Chance variation would be an issue of individuals trying out new types of financial relations. The reply to this is there is nothing like it anywhere else. The true struggle is between different classes to get dominion in order to symbolize its interest as an illusion of the overall interest. An individual's thoughts tend to get shaped by their political and financial conditions. Topics are broken up into categories in order to produce your choice simpler. Really showing here that world history isn't the work of some metaphysical shift in sphereology, but instead the end result of material transaction.

The Sociological Aspect of Obesity Essay - 7419 Words

The Sociological Aspect of Obesity ABSTRACT Much has been written to explain the medical aspect of obesity but little attention has been paid to understanding the sociological aspect of the epidemic. This research attempts to understand the sociological aspect of obesity by examining the socio-cultural, gender, and psycho-social effects and includes the different perceptions of the epidemic as well as what is deemed acceptable in the society we live in. In the American culture, obesity is seen as a bodily abnormality and deviance that should be corrected. Obesity has indeed become one of the most stigmatizing bodily characteristics in our culture (Brink, 1994). In the Western culture, thinness does not just mean the size of the†¦show more content†¦Based on background information, a central hypothesis was developed that obesity is an ongoing, gendered and embodied cultural process that has harmful consequences for the obese individual (e.g. Harjunen, 20022003). The various social implications of obesity will be explored via interviews (with obese people or former obese people) conducted and the surveys taken of people in the Boston area. Introduction The purpose of this paper is to study the social aspect of obesity and an individuals personal experience of being fat. I understand obesity as a socially and politically meaningful divergence that is analogous to other significant differences based on the body, for example: disability, gender, and ethnicity (ef. Cooper, 19971998; Young, 1990). In my research, I approach obesity as a discursive category that is created, produced and reproduced through various social practices, such as: medicine and health care system, school, religion, and the media (e.g. Foucault, 1979). I claim that in American culture, a thin body is held as the original, normal body; whereas obesity is viewed as a `temporary disruption to the balance of the body. According to our cultural understanding, an obese body is viewed as being in the process of constant transformation. The idea of a permanently fat person is unacceptable and an obese body must be standardized and normalized. The goal is to transform andShow MoreRelatedThe term Sociological Imagination was coined by C. Wright Mills and refers to seeing sociological700 Words   |  3 PagesThe term Sociological Imagination was coined by C. Wright Mills and refers to seeing sociological situations from a broad point of view, going beyond one’s thoughts and feelings, and by seeing it how others would see it. In the textbook Introduction to Sociology by Giddens, et. al Mills argued that we needed to â€Å"overcome our limited perspective†¦[and have] a certain quality of mind that makes it possible to understand t he larger meaning of our experiences† (4). 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