Problems in Setting Up and Running a Business Unit Essay

A business unit, sometimes called a strategic business unit or SBU, is a segmented group or department within a company that focuses on reaching a specific market or client. It may also focus on achieving a specific goal for the organization. While some businesses find success with this strategy, there are concerns and potential problems to consider before trying it at your company. Finances In business, money is usually a problem. It can be good to make money, but when you are just getting started with a business, it can be easy to lose money quickly. Before you start your business, develop a comprehensive list of the things you will need to finance and how much money you will need to make it happen. Discuss your business with others who have experience to try to cover as many costs as you can. When you have developed your startup budget, add 20 percent to it to cover the costs that you have not yet accounted for. When it comes to financing a startup, it is better to plan for more than you will need than to find yourself deep in debt right away. Employees Your employees can be your greatest asset and your greatest expense. It costs money to hire, train and retain employees. Your company needs to provide some sort of benefits package that includes health insurance, paid vacation days and paid sick days to attract and retain employees, and even then, you will have competition from other companies that may be able to offer better. As you delegate responsibilities to your employees, you begin to rely on them for your company’s success. A key employee leaving your company can have an effect similar to losing a major account. Space It is common for a new business owner to try to keep his office and warehousing costs down. When your company first starts out, a small and affordable space may be adequate. As your company grows, you will need more space, and you may realize that the facility you signed the one-year lease for is no longer sufficient. Have a backup plan available for warehousing just in case you outgrow your current warehouse. Offer sales employees the option of telecommuting to reduce the amount of office space you need. Become creative with your space, or you may find yourself spending money to remedy a space problem to which you are contractually bound for years. Problems Meshing Ideas When you segment your company in this way, you may find it becomes more difficult to get units to combine and work together. Though the separate units have different purposes, there may come a time when they need to convene in order to accomplish a goal for the organization. If your employees become too familiar with working in segmented groups, they may have problems working on joint projects with other units. Expensive Establishing business units can also be expensive. For one, you may have to create separate physical departments within the company. You may also need to create separate websites, mailing addresses and, in some cases, entirely new sub-organizations to properly establish these units. Finding a balance between efficiency and cost when maintaining these units can be challenging. Time-Consuming Setting up and running business units is also time-consuming. When you establish one, you must create a separate mission statement, budget, marketing plan and general business proposal. You must also set up technology and tools to support the department. You must then evaluate the functionality of the department before repeating the process with another business unit. If you decide to start all of your units at the same time and then determine that the formula isn’t working, you’ll also spend a significant amount of time dismantling or updating all of them. Social Responsibility Small businesses can encounter several problems related to Corporate social responsibility due to characteristics inherent in their construction. Owners of small businesses often participate heavily in the day-to-day operations of their companies. This results in a lack of time for the owner to coordinate socially responsible efforts.[9] Additionally, a small business owner’s expertise often falls outside the realm of socially responsible practices contributing to a lack of participation. Small businesses also face a form of peer pressure from larger forces in their respective industries making it difficult to oppose and work against industry expectations.[9] Furthermore, small businesses undergo stress from shareholder expectations. Because small businesses have more personal relationships with their patrons and local shareholders they must also be prepared to withstand closer scrutiny if they want to share in the benefits of committing to socially responsible practices or no t.[9] Job Quality While small businesses employ over half the workforce [10] and have been established as a main driving force behind job creation [11] the quality of the jobs these businesses create has been called into question. Small businesses generally employ individuals from the Secondary labor market. As a result, in the U.S. wages are 49% higher for employees of large firms.[11] Additionally, many small businesses struggle or are unable to provide employees with benefits they would be given at larger firms. Research from the U.S. Small Business Administration indicates that employees of large firms are 17% more likely to receive benefits including salary, paid leave, paid holidays, bonuses, insurance, and retirement plans.[12] Both lower wages and fewer benefits combine to create a job turnover rate among U.S. small businesses that is 3 times higher than large firms.[11] Employees of small businesses also must adapt to the higher failure rate of small firms. In the U.S. 69% last at least 2 yea rs, but this percentage drops to 51% for firms reaching 5 years in operation.[10] he U.S. Small Business Administration counts companies with as much as $35.5 million in sales and 1,500 employees, depending on the industry. Outside government, companies with less than $7 million in sales and fewer than 500 employees are widely considered small businesses.

Define Project

[pic] Topic 1: Define project What is a project? A project is the defined set of planned and managed activities carried out for a period of time — with a defined start and end date. A project is designed to yield a set of products or services as agreed with the project clients and stakeholders. It has a lifecycle which is the process by which the project is undertaken. Five features that differentiate projects from ordinary work are that they: †¢ have defined beginning and end dates †¢ have a unique purpose with specific objectives that meet the client goals and requirements within specified quality and performance criteria use resources, such as money, time, people and equipment that have been allocated to the project †¢ usually follow a planned and structured approach to meet their objectives †¢ have a primary sponsor or stakeholder who provides direction and funding. Projects can be simple and easily handled by one person or large and complex projects re quiring many resources and the specialised skills of a dedicated project manager and team. What is project management? Project management is about striving to meet specific time, cost, quality and resource objectives.At the same time it must facilitate the entire process so as to meet the needs and expectations of all people affected by project activities. Project management is about making change through the use of techniques, tools and resources that manage change throughout the life of the project. Project management involves the project manager and team applying knowledge, skills, tools and techniques to project activities to achieve the requirements of the project. It is a continuous process utilising planning, organising, monitoring and controlling in all aspects of the project to achieve external and internal objectives.It also encompasses the closure and evaluation of the project. Managing a project includes: ? identifying the requirements of the project ? establishing clear and achievable objectives ? balancing demands for quality, scope, time and cost ? adapting the specifications, plans and approach to meet the different concerns and expectations of the stakeholders ? closing and evaluating the project Below is an overview of the aspects of a project that need to be determined and developed. What to determine |What this involves | |Project scope |Identify and plan the objectives, desired outcomes, limitations and budget. | |Timeline |Determine the time within which the project is to be completed—involves | | |planning, estimating, scheduling and controlling. A schedule for the life of | | |the project is developed. |Costs |Determine the costs associated with successful projection completion. This | | |involves cost estimation and forecasting, cost budgeting, cost control and cost| | |applications. A budget is developed. | |Quality processes, systems and outcomes |Construct a quality management plan. | |Human resources |Human resources are re quired for project tasks, eg for organising resources, | | |managing staff performance and leading the project team, etc.A human resource | | |management plan is developed. | |Communications processes |Ensure all parties with an interest in the project are kept up-to-date | | |throughout the life of the project. A communications plan is constructed. | |Risks and any uncertainty with processes |Risks need to be: identified, analysed, evaluated, treated, monitored and | |or achievement |reviewed.A risk management plan is constructed. | |Goods, services or support |Identify what goods, services and support are needed and determine who will be | | |the best person (or people) to provide these. It also involves developing | | |effective interpersonal relationships and finalising any contracts or | | |understandings. The procurement needs for the project will need to be outlined. |All the elements outlined above will need to be integrated with each other in line with the process and proce dures of the organisation. This involves acknowledging and considering how the different functions within the project interrelate — as well as how the project interrelates with the organisation. The project lifecycle What is a project’s lifecycle — or the process by which it is undertaken? The phases in a project lifecycle are: †¢ Phase 1: Initiation and concept †¢ Phase 2: Planning and development †¢ Phase 3: Implementation and execution Phase 4: Finalisation and review. The Initiation and Concept Phase In the initiation phase of a project, the following needs to occur: †¢ Write a description of the project concept/background †¢ Identify stakeholders †¢ Identify project objectives †¢ Define the scope of work to be carried out †¢ Agree to the development of the broad strategy — which identifies preliminary agreed phases, milestones and deliverables †¢ Identify constraints and assumptions †¢ Develop the pre liminary budget †¢ Develop the preliminary risks assessment Develop the broad quality plan †¢ Develop a broad communications plan. |Workplace Learning Activity | |Find out about the range in the types of projects that are managed by your organisation (or one with which you are familiar). | |How do they vary in size and complexity as well as in their aims and objectives? | |Talk to your mentor or colleagues with project management experience about their projects (current or completed). |Begin with general questions such as: | |What do they see as the characteristics of a project? | |How was the project initiated? | The project manager With responsibilities spanning the entire lifecycle of the project — from its planning, implementation, monitoring and control through to its closing and evaluation — the project manager is key to the success of the project. The project manager must have the ability to: build relationships with all key stakeholders, including man agement, clients, suppliers as well as team members †¢ build and lead an effective team — this will include motivating team members (eg by reinforcing to each person that they play an important role and by being optimistic and enthusiastic) †¢ manage interpersonal relationships †¢ problem-solve and make decisions †¢ negotiate with others to meet their needs as well as those of the project †¢ empathise with clients †¢ develop a vision for the project that can be sold to the team and key stakeholders †¢ exercise a high degree of professionalism †¢ communicate with all stakeholders provide reports as required. |Workplace Learning Activity | |If you are already involved in setting up a project in your workplace, clarify the following: | |What is the role of the project manager? | |If you are not the project manager, what is your role within the project? | |Here is another suggestion for workplace learning: | |Interview a project manager to find out what their role was within a recently-completed project.Ask them about the: | |characteristics of a good project manager | |skills and knowledge they needed in order to function as an effective project manager. | Define project stakeholders Knowing who the stakeholders are is critical to any project. Stakeholders are individuals or organisations who have an interest in, or involvement with, the project. Stakeholders have an impact on or are affected by the project. To ensure support for a project, the stakeholders must be identified as early as possible in a project lifecycle.Project team responsibilities As the project manager, you need to clearly identify the limits of each project team member’s responsibility. Questions to ask include: †¢ What is the overall responsibility of the project manager? †¢ What is the responsibility of individual project team members? †¢ How will changes to project specifications, deliverables, scheduling, resource usage, and other aspects of the project be managed? †¢ Who is responsible for each of these? Each team member should have clearly defined responsibilities to ensure that they understand what they are—and are not—allowed to do.Otherwise one person may go off and approve changes that have not been authorised and cause the project to go in the wrong direction, go over budget, or eventually fail. Project reporting requirements When you are developing or reviewing the scope of a project, make sure to include reporting guidelines, such as when to report to the project sponsor, stakeholders and project team. (It should be on a regular basis. ) There are a few different ways to meet reporting requirements; you may need to use several of these methods together: hold project team meetings where each team member reports on the progress of the project †¢ hold a sponsor or stakeholder meetings where you report on the progress of the project †¢ provide written reports †¢ send email reports †¢ use the reporting facilities in any project management software you may be using. Reporting requirements for a project are put in place to ensure that all those involved are kept up-to-date with the project’s progress. They also provide the opportunity to report any changes or unforeseen events. This means that such things can be rectified quickly—before they get out of hand.The important thing is that everyone involved has a clear understanding of their reporting requirements, and that these requirements are met. |Workplace Learning Activity | |If you are already involved in setting up a project in your workplace, keep notes on the process of working with | |stakeholders. To get you started with your notes, here are some questions that you could address: | |Who are the stakeholders? | |What are the issues that need to be clarified with stakeholders? |What are the benefits of involving stakeholders? | |What are the rights and obligations o f stakeholders? If you are a project manager (or managing part of the project), what are| |your obligations to stakeholders? | Access project scope and other relevant information Before commencing a project, there is a need for you to get a good understanding of the exact objectives of the project and the scope of work required to be done in order to achieve each objective. The following will need to be understood: †¢ Why is the project being undertaken? †¢ Are there limitations that may restrict the way the project is carried out? Exactly what is expected to done (or achieved)? What is not expected to be done? †¢ Will adequate resources be available? †¢ Where and when will resources be needed? †¢ What is the cost of the project? †¢ Is the client (or organisation) comfortable with the suggested strategy for spending the project money? The project manager will also need an agreement about the support that will be given to the project. Prepare the project scope definition and scope document The project manager may be asked to prepare the scope definition and scope document or be given one to follow.The project manager is usually involved in developing the scope. The scope should be as specific as possible and tell all stakeholders exactly what is to be achieved on completion of the project. |Scope document — checklist | |The following should always be included in a scope document: | |Background — overview of project | |Objectives to be achieved — i. . both primary and secondary objectives | |Scope definition — as stated above the scope should be as specific as possible and tell all stakeholders exactly what is to| |be achieved on completion of the project | |Broad strategy for achievement of projects — phases | |Constraints around which project is to work | |Exclusions showing what work is not to be done |Assumptions and questions to be answered | |Related projects that may have an effect on yo ur project — or projects that may be affected by your project | |Preliminary budget | |Preliminary risk assessment | |Broad plans for communication and quality (may also be included). | A scope document shows the scope, or extent, of a project.Let’s look at the key sections and an example of a project scope document. [pic] The things you will find in a project scope document Key sections of a scope document |Section |Details | |Scope statement or definition |This clearly states the project goal, objectives and deliverables. If it is not | | |specified in the scope statement then it is outside the scope of the project and | | |is not relevant.Project tasks should only address work that is relevant to the | | |project goal and objectives. | |Project constraints |These are any limiting factors that prevent the project from moving in a | | |particular path. Examples include: | | |You have dependent tasks that impact on specific areas of the project, for | | |example, tasks that cannot begin unless another one has started. | |You have a deadline that cannot be changed. | | |The implementation work for a system upgrade can only be done on the weekend, | | |when staff are not at work. | |Assumptions |These are aspects that the project manager builds into the scope document to | | |allow for any uncertainties that may occur. Examples of assumptions include: | | |Fifteen new personal computers need to be purchased for the project. | |All staff need yearly training in OHS. | | |All resources for the project will be sourced from outside of the company. | |Tasks list |You need to specify a list of tasks (and deliverables) to be achieved during the | | |project. They are all the activities that need to take place to bring the project| | |to completion.The deliverables include all the documentation, reports, contracts| | |and products that need to be produced and signed-off on by those in authority. | |Estimates (cost, time and |You need to make initial estima tes in relation to cost, time and human resource | |human resources) |requirements. These identify the boundaries of the project to enable you to | | |expand into the more detailed estimates that are needed to develop the full | | |project plan. |Contract statement |This will include the names of those authorised to initiate contract work, sign | | |contracts and completion acceptances. It also includes any contractual | | |limitations and penalty statements for possible contract variations. (Variations | | |and penalties apply equally to the client and providers. ) | The following is an example of a scope document, in this case for a project to install animal litter bins in local parks. Sample scope document Project Scope | |Project Information (Please complete all) | |Project Sponsor |Project Name | |Bob Smith |Animal litter bins | |General Manager | | |Sponsoring Department/Client | |Directive from Council Meeting | |Parks & Gardens | |Project Leader | |Arens Sirkel | |Sco pe the project | |The project will encompass the installing of animal litter bins and bag dispensers in all council parks. The bins | |and bags are to be purchased from Animal Litter Limited after recommendations from neighbouring councils.The | |project is to be completed within six weeks at an all up cost not exceeding $24,000. | |Description of the project | |(What is the vision? What will the finished product look like? ) | |The animal litter bins will be installed in prominent locations in each park, while also being close to entrances | |to allow efficient removal of waste by our waste management contractor. | |Identify the strategic objectives which relate to this project | |To reduce animal litter by encouraging owners to pick up after their pets. |Identify the main target audience | |Pet owners. | |What are the intended outcomes/deliverables of the project? | |That pet owners will use the bags provided to clean up their pets’ litter and deposit the bags in the bins | |provided, other bins or their own bins at home. | |What are the particular aspects of the project? | |Installation of bins. | |Other comments | |Collection of waste and replacement of bags has been contracted to our waste management contractor. | |A public awareness campaign will be conducted by council after the bins have been installed. |Proposed project timeline | | |Dates/Time |Notes | |Project lifespan: include dates or total time | | | |required for completion | | | |Phase 1: Scoping and feasibility |not required |Directed by council, scoped| | | |by General Manager | |Phase 2: Planning |4 days | | |Phase 3: Implementation |3 weeks | | |Phase 4: Evaluation |2 days | | |Proposed budget | |Detail proposed budget or financial constraints for the project. |Overtime wages/contractor payments $ 7,000 | |Bins & posts $ 15,000 | |Materials (cement, etc) $ 2,000 | |Scope signoff | | | |This scope has been approved by: Bob Smith_____________________ Project Sponsor | | | |Depa rtment: General Manager Date_____/_____/_____ | Use the scope document during the whole project It is a good idea to revisit the scope document while the project is running, to check that the project is meeting its objectives and to make sure that activities are within its scope. During the plan phase you should use the scope document as a basis to expand into a detailed activity list of the project deliverables. Workplace Learning Activity | |If you are already involved in a team that is setting up a project in your workplace, keep notes on the scoping process. To | |get you started with your notes, here are questions you could address: | |What does a project scope define? | |Who was involved in identifying the scope? What tools were used to describe the scope? | |What was involved in risk management planning? | |How will the scope provide a foundation for subsequent steps in the project? | |How was it carried out? How long did the process take? |Here are other suggestions for work place learning: | |Find out about project scoping procedures in your organisation (or one you are familiar with) | |Ask your mentor or colleagues involved in project scoping if you could sit in on their scoping meetings or join the project | |scoping team. | |Speak to people in your organisation about how the scope for their projects was identified. | |Identify a small project that you could manage as part of your work — and develop a scope definition (this could come in | |useful for you later). | Seek clarification of issues related to the project and parameters With any project, there is a project sponsor (or sponsors) — a person or organisation who might be a backer or financier.A project sponsor’s role includes the ones below: †¢ provides a single point of reference regarding management decisions †¢ reports project progress to boards and top management. †¢ provides clarification of any issues related to project and project parameters. Note t hat there may also be other stakeholders, eg, the main client, funding body, or manager who may also need to be contacted for clarification at regular intervals throughout a project. |Workplace Learning Activity | |If you are already involved in a project team in your workplace, answer the questions below.Alternatively, obtain answers to| |these questions from a project manager in your organisation (or one you are familiar with). | |Who is the project sponsor (or sponsors)? | |What are the types of issues would you need to clarify with a sponsor? | |Apart from the sponsor, are there any other stakeholders who you can approach for clarification about aspects of the project? | Clarify relationship of the project to other projects and the organisation’s objectives It is important that the project manager and team understand how the project they are working on fits in with the organisation and other related projects that may be in progress. In your workplace, you will probably fi nd that there are a number of projects that are running concurrently.They may be completely self-contained projects — with no one project having any bearing on any of the others. However, the following may also occur: †¢ Your project may need to be completed before another can begin — or vice versa (your project will not be able to begin before the other project is completed) †¢ Allocation of resources such as staff, funds and equipment, may be affected, eg there may be tools or templates developed for one project that will be used or adapted for the new project. It is good policy to establish a relationship with other project managers especially where the project they are working on has bearing on the new project. Workplace Learning Activity | |If you are already involved in a project team within in your workplace, answer these questions below. | |How does the project you are working on fit in the organisation? | |What other projects are related to this proj ect and how? | |Here is another suggestion: | |Interview a project manager to find out how they identified other projects that had a bearing on the project they have | |recently completed in the workplace. | |. | Determine and access available resources to undertake the projectThe resources that are generally utilised within projects are: †¢ people — internal staff and sometimes contractors and other staff external to the organisation †¢ tools and equipment †¢ time †¢ raw materials †¢ money. In order to identify the resources needed for a project, you will, firstly, need to determine what tasks will need to be carried out to arrive at the project outcomes. Achieving your project objectives means blending activities and tasks to be carried out with time and funds available. The ‘work breakdown structure’ (WBS) is a complete list of all the work that needs to be carried out to achieve the milestones, phases and/or objectives of the project. A WBS will allow the planning sequence of activities and tasks and where they have a dependency on other activities and tasks. From the WBS, the schedule, resources and the cost of the project will be determined. A WBS will also lead to an understanding of the overall project. A WBS can take one of two approaches — either a top-down approach or a bottom-up approach: †¢ Top-down approach — The objectives are analysed to determine the phases the project must go through as it moves towards completion. A logical break-up of phases might be on the basis of major decision points or milestones. †¢ Bottom-up approach — This approach is a reverse of the top-down approach. Tasks to meet the project objective are determined and grouped with related tasks to form activities.Activities are then grouped to form project phases in logical sequences. This allows resources, duration and dependencies to be allocated at the task level. The cost of the individual resources will need to be calculated in order to determine the overall costs and budget for the project. How long a task will take will affect the cost of the project. Once the WBS is determined, calculations can be made for each task incorporating time allotted for each task as well as the resources and staff required. A dollar value is applied to each task and the sum total becomes the budget. In the initiation phase, a preliminary budget is prepared for the resources required and this is then detailed fully in the project plan. Workplace Learning Activity | |If you are already involved in a project team in your workplace, answer the questions below. | |How were the resources identified for the project? | |What resources will be required for this project? | |What staff (and skills) is required for the project? | |How did you prepare the work breakdown structure? | |Here are other suggestions for workplace learning: | |Interview a project manager to find out how they identified the resourc es for the project they have recently completed in the| |workplace.Also ask of the project manager the questions outlined above. | |View documentation that was compiled to identify resources within a project. | More resources For a comprehensive list of current readings and websites for Topic 1 – Define Project – please see the OLS for this unit and see Additional Resources and Websites. ———————– Contents What is a project? 1 Define project stakeholders 6 Access project scope and other relevant documentation 8 Seek clarification of issues relating to the project and parameters 15 Clarify relationship of project to other projects and organisation’s objectives 16 Determine and access available resources to undertake project 18 More resources 19

A Bad Experience and What I Learned From It Essay

When my dad asked if I wanted to participate in a recital contest, which was citywide, I agreed without hesitation. I was a proud peacock thinking that it was impossible for me not to win, so I neglected practicing. But when I turned on the microphone, I was faced with a problem: What was the stunning opening line that I used to start speeches with? I was too arrogant to start with the common â€Å"Good morning, ladies and gentlemen,† when I really couldn’t think of anything else. So there I stood, face ashen, eyes wide, holding on to the last hope that the lines would pop up. They didn’t, and the bell rang. I walked miserably off stage, trying hard not to trip to retain what little dignity I had left. The audience was quiet, and I was not used to it. Well goes the say,† No pain, no gain.† Were it not for the loss, I wouldn’t know the importance and essentiality of previous drills and being humble. Since then, I always make sure I practice till the last minute for anything that is to come. Read more:  No Pain No Gain Essay

Leadership Essay Example | Topics and Well Written Essays - 1250 words - 9

Leadership - Essay Example Leadership theories are the theories which study different aspects of the leadership and come up with the ideas of what makes a successful leader. Some theories like Contingency theory focuses more on the different situations that affect the leadership while theories like ‘situational theory’ focuses more on the behavior pattern of a leader in a particular situation. However, even though theories help us to understand the behavior and thinking patterns of a leader in his private and public life, it cannot confine the leader in a particular set of behavior patterns. Leaders are leaders because of their boldness, their power and their belief. These are the characters of spirit and not jut mind or body. Leaders are those who go beyond their minds and their bodies and function from their heart. The qualities of decision making, motivating people, understanding their needs and being flexible are very important for being a successful leader. At the same time, the behavior pattern and thinking pattern of a leader is also are very important. History is an evidence that leaders, whether they are political or corporate, have different characters from people who are not leaders. They are dynamic, accept change gracefully, stick to their belief and take risks. They are fighters and do not hesitate to put their life in danger when fighting for the truth. Leadership theories help us to understand the way the leaders function. According to the contingency theory, the success of the leader depends not only on his or her abilities to lead, but also on different external situations and factors. These factors are beyond the control of the leader. The external factors could be the behavior of the people who follow him,

Globalisation, Brands & Business Organisation Essay

Globalisation, Brands & Business Organisation - Essay Example It therefore follows that corporate branding is now a powerful method by which corporations can signal corporate social responsibility. This research study demonstrates that corporate social responsibility is an important feature of corporate social responsibility and as such branding creates pressure on corporations to implement greater corporate social responsibility practices. The main question is whether or not using corporate branding to improve corporate social responsibility is a sound financial decision for companies. Will consumers be moved to purchase branded products because they are linked to corporate social responsibility? Or should companies market their brands so as to influence consumer sentiments in favour of the social or ethical standard incorporated in the brand? In determining whether or not to incorporate CSR into corporate branding another relevant question is whether or not companies can strategically and effectively make the connection between a trademark an d CSR. These are the main questions considered in this research study. This study is therefore divided into two parts. The first part of this study offers a definition and explanation of the concepts and development of corporate social responsibility in the 21st century. The second part of this paper represents the main part of this study and analyses corporate branding and demonstrates its synergy with corporate social responsibility. The second part of the paper also demonstrates how corporate social responsibility is an important part of corporate branding and corporate reputation management. Introduction Corporate branding is an important strategy used by firms to remain current and meaningful or to respond to market changes. Corporate branding is driven by brand personality which reflects the values of the corporation.1 Thus corporate branding and brand personality connects the values of the corporation with consumers either directly or indirectly. In this regard, brands build corporate reputation and essentially require stakeholder management.2 Brands make promises and build trust and as such are just as effective for connecting the corporation with the community and stakeholders as corporate social responsibility (CSR) is.3 Brand value can measure corporate performance as a result of its combined commercial value, its ability to drive consumer demand and its strength in terms of building corporate reputation, loyalty and market position.4 It therefore follows that branding can be an important instrument for implementing CSR. However, there are a number of important issues worth considering. Firstly, the issue of whether or not trademarks or brands can be effectively used to connect specific aspects of CSR to the company behind the trademark or the brand is important for determining the feasibility of implementing CSR in corporate branding strategies. Secondly, the issue of whether or not corporations may have to market brands or trademarks so as to infl uence consumer loyalty to the CSR issue and thus the brand or trademark requires consideration. Thirdly, it is also important to determine the extent to which CSR influences consumers to purchase a brand connected to a social cause or issue. CSR is particularly important for today’

Revenue Function Assignment Example | Topics and Well Written Essays - 250 words

Revenue Function - Assignment Example It is almost impossible to obtain accurate and reliable financial figures for the intangible services being provided (Cleverly,Song , &Cleverly,2011). According to Brown (2012) in Encyclopedia for Business ,the external revenue generation of not-for profit organizations adds to the complexity. These organizations rely on funds from other external sources, which is a challenge itself since there is no incentive for the contributors. The role of the largest client of healthcare organizations, that is government, makes the whole process even more complex due to the complex payment system. For the successful running of HCO understanding of policies, rules and procedures is of utmost importance(Cleverly,Song , &Cleverly,2011). The integral part of economy of any country is composed of Non-profit organizations because of its valuable services. Unaffordable services are made available and approachable through these organizations. This increases the pressure on such organizations to fill the discrepancies which result in the complexity of the revenue functions. Just like profit organizations such not for profit organizations are also a business and the requirements for revenues has to be met for effective functioning of the organization. Cleverly, W. O., & Song, P. H. & Clevrly,J.O. (2011).Financial Envoirenment of Healthcare Organizations.Essentials Of Healthcare Finance(7th Ed.). Retrieved from

The Marketing Strategy by Nestle Assignment Example | Topics and Well Written Essays - 500 words - 1

The Marketing Strategy by Nestle - Assignment Example The lobbying and activism resulting from the approach created a serious ethical challenge for the company. The Nestle problem was not addressed articulately because of the activism that was associated with the death of infants as a result of the consumption of the infant formula. From research, it was realized that other factors contributed to the situation by increasing contamination of the infant food. However, these factors were not exhaustively handled because of the activism associated with the issues (Ghillyer 78). The problem in the case was not effectively evaluated in the process leading to the creation of ethical problem without concrete facts. The final research reveals many factors that influenced the performance of the infant formula but the damage was already done because of the social activism. The problem faced by Nestle can be defined articulately as a problem of contamination and be addressed by handling all activities from production to consumption which are not addressed in the activism approach. This question is vital because the performance or perceived performance of the product is the main cause of the ethical problem. In order to understand the situation, the evaluation of the reasons of occurrence is vital. The situation must be evaluated to understand the cause of the problem. For instance, the nestle infant food case was aggravated by the water quality and sources of contamination in the consumption stage leading death of infants which was in turn blamed on the product. Understanding of the situation is vital because it facilitates the decision making process. The situation occurred because the formula required the addition of water. However, the quality of water was compromising leading to a serious problem for the company and the infants. Therefore, the understanding of the actual causative factors is vital because it facilitates situation analysis.

Learning journal Essay Example | Topics and Well Written Essays - 1500 words - 1

Learning journal - Essay Example Significantly, Student A had a fast food business and is looking to taking a shift after completion of his degree in Business Degree where he hopes to be a financial Analyst after a certain period. Strategic Learner Realizing one-self is a vital factor especially when one wants to be successful; typically, one should know the kind of person they are and what style and mode of learning fits them best. Considerably, the best methods which are applicable when it comes to interpreting of information are through visual, audio and kinesthetic methods and this can go hand in hand with reflection, experience, theories and experiments (Fleming and Mills, 1992: Kolb, 1984). Student A learns most out of seeing and activity, as from the results which he should put much into so that they can impact his life as an academic and a professional. Any good learner with a strategy will identify specific methods (one of them being a main method) that they will use for their personal learning experience a nd simply apply these methods with Kolb’s cycle. From this a lot can be achieved including Student As goals and aims in both worlds (academic and professional). Moreover, the mindset of a person also matters in any learning situation and a matter of fact the best mind set is one that has room for growth and not the fixed mindset (Carol 2007). In this case, Student A must have a growth- mindset that will help him overcome the different difficulties and challenges in different situations i.e. he can acquire more knowledge out of the normal class/school setting and read further about the current trends of the business world and this will have a great impact and be part of the learning process. Student A will be in a better position if he is able to learn independently and the growth mindset will be easily developed; all the same, this will involve seeing the teacher after class or before for consultation, guidance and feedback. Significantly, there are merits that Student A has like his problem solving and investigating skills that are essential when it comes to independent study but his poor skills in time management and planning might be a big hindrance to his development as a strategic learner. Being a financial analyst requires a lot and for Student A to be successful he must have a lot of self-awareness and high emotional intelligence which he will be likely to apply in most of his working situations. Self awareness and emotional intelligence are applied in social and professional behavior through displaying high levels of maturity and consideration of the people one is working with, respecting both these people and also the cultures of these environments despite the diversity. By and large, Student A must be alert in all the relative areas reflected in his learning journal, core skills and personal SWOT analysis portraying high level of confidence and put into action an active learning style. However, he must also observe his weaknesses and not let t hem take the best of opportunities or affect his learning and development. Skills Analysis Student A’s has high mark when it comes to his core skills through experiences and a lot of developments that have helped him in analysis; all the same, through the SWOT analysis the threats still

Epistemology Essay Example | Topics and Well Written Essays - 1750 words

Epistemology - Essay Example By being â€Å"in the head†, do we mean, for instance, that what we call the â€Å"mind† is actually just the brain and consequently that what we call â€Å"mental states† are nothing but the physical states of the brain? If this is the case, we should then in principle be able to tell a person’s thoughts simply by examining the physical states of his or her brain, but this is, if not utterly improbable, a possibility that in the immediate future is least likely to materialize. Or perhaps we mean that the mind is something other than the brain but in some special way is related to the brain, like that it is through the brain that the mind affects our behaviors. But what kind of entity is the mind, if at all it is an entity, if it is not the brain? There are two general kinds of existence under which any conception of how the mind exists can be classified; namely, physical existence and metaphysical existence. By â€Å"physical existence† we mean the kind of existence that lends itself to empirical observation and quantitative measurements while by â€Å"metaphysical existence,† we mean the kind of existence that does not. ... For my purpose, I shall focus on the materialist views of the mind, for it is here where we can differentiate the mind from the brain. As we shall see later, there are variations of this view, for there are different ways in which the mind can be said to exist physically. Thus, I shall examine the basic claims and arguments under the materialist view of the mind upon addressing the main issue of this paper, i.e. is the mind nothing but the brain? The Materialist View The materialist views are divided into non-realist physicalism and realist physicalism. The issue between these two types of materialism concerns the reality of mental states in relation to the reality of the physical states of the brain or of the body: whether there really are no mental states and hence there are only these physical states or there really are mental states in addition to these physical states. Accordingly, non-realist physicalism rejects the existence of mental states and claims that there exist only th e physical states of the brain or of the body; while realist physicalism affirms the reality of mental states in addition to the reality of the physical states of the brain. For non-realist physicalism, I shall examine the views of behaviorism and identity theory. And for realist physicalism, I shall examine the views of functionalism and computationalism. Afterwards, I shall present my own argument as to which among the said arguments best prove the nature of the mind’s existence. Behaviorism Behaviorism is generally regarded as the view that reduces mental states to the physical states of the body or, more precisely, to the body’s behaviors (Kim 1998, p. 24-46). This view is also often expressed as the view that claims that mental states are nothing but

Pros and Cons of Capital Budgeting Measures Research Paper

Pros and Cons of Capital Budgeting Measures - Research Paper Example Examples here include the payback period and the accounting rate of return. The other techniques employed in the evaluation of projects are the discounted methods of appraising capital projects. In these methods, the future expected cash flows are discounted at the organizations cost of capital to determine the projects’ to be undertaken. In this approach, only projects with positive net present value will be undertaken in order of their profitability. The idea of capital budgeting before investments are undertaken is necessitated by the need to avoid incurring losses and to maximize the returns of a firm at the lowest cost possible. The budgeting process is also necessary because of the capital constraints that companies face. Due to capital inadequacy, companies and firms will not be in a position to undertake all the projects and therefore creating the need to only undertakes the most profitable investments (Baker, 2011). Failure to undertake capital budgeting process may c ause organizations to realize heavy losses and have going concern problems. In this paper, discussion has made on the pros and cons of the methods of NPV, IRR, MIRR and discounted payback method. I would prefer the use of NPV and IRR methods of capital budgeting in instances that we have independent projects with equal sizes. The two methods can thus be used interchangeably and would be preferred because they incorporate the risk and time values in their calculations. MIRR, which is an improvement of IRR, is also preferable in cases where we have projects having irregular cash flows and therefore provides a solution to some of the short falls of IRR. Investment appraisal should therefore be keenly undertaken by qualifies personnel and all necessary weights should be integrated when determining the best method to use. It must be noted that all the methods used in capital budgeting measures have some limitations (Brigham & Ehrhardt, 2010). The best that should be done is to ensure tha t such deficiency does not impair materially the decision to be made. Net Present Value The NPV of a project is the present value of all the future expected cash inflows less the present value of the future expected cash outflows (Parrino & Kidwell, 2009). In this case, the future expected cash flows are determined currently and discounted using the cost of capital of the firm. NPV takes into account only cash flows and does not use the accounting profits or items like depreciation. It is commonly used by many organizations in their investment appraisal method. Most businesses and organizations that are interested in the viability and profitability of projects have normally applied the NPV method as a way of evaluating their actions. The wide acceptance of NPV is because it is easier to understand and to interpret the results even to those without financial knowledge. NPV has various advantages. To begin with, the method considers the time value of money and therefore shoulders the effect of inflation and interest rates that are likely to adverse affect the value of money. It must be noticed that the value of 1 dollar today may not be the same as the value of the same dollar in 3 years time because of time difference. The second reason for use of this method is that it gives the criteria to use in the selection of the projects to be undertaken. The firms may undertake investments with positive NPV’s because they have a net gain as opposed to those with negative NPV’s which results into losses. The investors or firms are

The rise of the modern Civil Rights movement Essay

The rise of the modern Civil Rights movement - Essay Example Rise of the modern civil rights movements Major players in the modern civil rights movements Faced with racial discrimination, social prejudice and poor service provisions, the minority groups realized that they had to fight for their legitimate rights. Studies by McWhorter2 showed that religious leaders, influential businesspersons, and early African American scholars pioneered the modern civil rights movements. Some of the most notable individuals who spearheaded the movements included the following, Thurgood Marshall, Martin Luther King, Malcolm X, Rosa Parks, and James Meredith. Thurgood Marshall was the first black Supreme Court justice, who prior to his appointment was the attorney of the civil rights groups NAACP. Martin Luther Jr. being the most influential figure in the civil rights movement was among the founders of summer Christian leadership conference, which organized civil disobedience movements across the nation. Along with Luther in the struggle for civil rights was a lso Malcolm X popularly known as the Black Nationalist and the founder of organization of the Afro American Unity. The main events that shape the modern civil rights movement The efforts of the modern civil rights movements culminated to the legislature of new laws and amendment of racial discriminating laws that had been passed by the past administrations. In 1948, President Truman signed the executive order 9981, which provided for equality of treatment and opportunity for all in the armed forces. Six years later, the ruling by supreme in 1954 abolished segregation in public schools and termed it unconstitutional. Because of the 1954 ruling, James Meredith became the first black person to enrol at the University of Mississippi. In 1963 Martin Luther lead the famous march on Washington which congregated at the Lincoln memorial, where Martin delivered the â€Å"I have a Dream â€Å"speech. In his book, Dierenfiled3, wrote that in keeping his promise of the great society, President Johnson signed the civil Rights Act of 1964, which led to prohibition of any form of discrimination, based on race, color, or religion. According to Pitney,4 the President also signed the most documented act of 1965, the Voting Rights Act, which had been passed by the congress. The act abolished the requirements for literacy test and poll taxes making the voting much easier for the African Americans. In addition, Immigration and National Services Act was also passed in the same year, allowing for citizens from other nations apart from the European nation into the U.S. With the recognition of universal equality for all persons without regards to race or gender, the Supreme Court in 1967 passed a ruling that declared the prohibition of interracial marriage unconstitutional. Another notable event in the timeline of civil rights movement was the Los Angeles riots of 1992, which occurred after a court jury, acquitted four white police officers who were videotaped beating Rodney King. Ot her groups that fought for equality in the 1950s Apart from the civil rights movements that championed for the rights of the African Americans, there were also other civil groups fighting for people with disabilities and workers welfare. In his book Caro5, observed that those living with disabilities also faced the similar challenges to some extent that the African Ameri

The girls stories Essay Example for Free

The girls stories Essay What is there about Millers presentation of the society of Salem which allows the girls stories to be believed? In the 16th century, the lives of most people were centered around God. Many of the laws of the time were based from the Bible, the Ten Commandments in particular. It was believed at the time that there were supernatural forces at work to cause one to stray from Gods path. Ministers and clergymen thought it their duty to purge the Earth of these beings when they presented themselves. During the 1600s, due to most peoples strong belief in God there was consequently a strong belief in the Devil. It was believed that, as God had angels working in his order, the Devil had witches working to corrupt innocent souls. If something went wrong, there were two reasons for it: that you had displeased God or that the Devil was tempting you. So naturally when something as devastating as your child falling ill occurs, you would be looking for someone to blame: a witch. As the people of Salem based their laws on the teaching of the Bible and believed that the Bible itself told them that witches were to be punished by death. To the people of Salem the forest that surrounded the town was met with suspicion. The forest was inhabited with Indians, and as the Indians were not Christians they were believed to be evil, and therefore any association with the forest was considered to be part of the evil. As the girls were struck down by illness after dancing in the forest, it gave the town people the suspicion of the Devils involvement. The original cause of the suspicion was that two of the girls in the town fell ill, one of who was the daughter of Goody Putnam. Having already lost seven children at young ages, Goody Putnam was very worried for the health of her child. She was also becoming suspicious of how many children she had lost, with them all being seemingly healthy at birth. Goody Putnam was the first to cry witch. As the people of Salem based their laws on the teaching of the Bible they believed that the Bible itself told them that witches were to be punished by death.

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