Mapping Vaqf-Ābād Qanāt watercourse in the urban landscape of Yazd City in two distinct periods: fourteenth and twentieth century

Water History ◽  
2021 ◽  
Author(s):  
Ali Asghar Semsar Yazdi ◽  
Ameneh Karimian
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
Yazd City

Living with Commercial Sex

2021 ◽  
pp. 149-180
Author(s):  
Siobhán Hearne
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
Negative Impact ◽  
Lower Class ◽  
Urban Life ◽  
Commercial Sex ◽  
Late Imperial ◽  
Imperial Period ◽  
Residency Restrictions ◽  
Imperial State

This chapter focuses on the experience of living in towns and cities in the late imperial period, when prostitution was a visible component of urban life. It examines the different unsuccessful policies employed by the imperial state to enforce the spatial segregation of registered prostitutes and attempts to render brothels invisible on the urban landscape. Official efforts to push lower-class sexuality to the spatial margins are also addressed, particularly policies of zoning and brothel ranking. Some landlords frequently complained to the police about the negative impact of nearby brothels on their rental prices, whereas others helped women who sold sex to resist some of the residency restrictions placed upon them by the police. Ultimately, officialdom’s attempts to limit the visibility of prostitution were spectacularly unsuccessful, as commercial sex was visible everywhere across the Empire’s towns and cities at the turn of the twentieth century.

scholarly journals THE INTERACTION BETWEEN LANDSCAPE ARCHITECTURE AND URBAN DEVELOPMENT. DO WE HAVE A COMMON GOAL? / KRAŠTOVAIZDŽIO ARCHITEKTŪROS IR URBANISTIKOS SĄVEIKA – AR TURIME BENDRĄ TIKSLĄ

2015 ◽  
Vol 7 (1) ◽  
pp. 6-19 ◽  
Author(s):  
Vaiva Deveikienė
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Urban Development ◽  
Urban Design ◽  
Landscape Architecture ◽  
Urban Landscape ◽  
Late Nineteenth Century ◽  
Common Goal ◽  
Late Nineteenth ◽  
The Relationship

The article analyses the problem of the relationship and interaction between urban design and landscape architecture. This refers to the period of the modern city from the late nineteenth century to the present day. There are presented and discussed urbanization processes and examples of solutions with emphasis on problems arising from the relationship between a city and nature as well as those related to urban landscape and sustainability of urban landscaping in the twentieth century. Straipsnyje analizuojama urbanistikos ir kraštovaizdžio architektūros santykio ir sąveikos problema. Aprėpiamas moderniojo miesto laikotarpis – nuo XIX a. antrosios pusės iki nūdienos. Pateikiama XX a. urbanizacijos procesų ir sprendinių pavyzdžių, aptariama akcentuojant miesto santykio su gamta, želdynais, t. y. gyvo, tvaraus miesto kraštovaizdžio, formavimo problematiką.

A Hotel of Her Own: Building by and for the New Woman, 1900-1930

2018 ◽  
Vol 45 (3) ◽  
pp. 517-541
Author(s):  
Nikki Mandell
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Real Estate ◽  
York City ◽  
Urban Landscape ◽  
Upper Class ◽  
Economic Role ◽  
The New Woman ◽  
A Site

This article examines the little-known phenomenon of apartment hotels built for single middle- and upper-class women during the early decades of the twentieth century. Focusing on New York City, where the first and most influential of these residences opened, this study argues that upscale women’s apartment hotels severed the Victorian equivalency between home and family, and reconfigured home as a site of women’s independence and self-fulfillment. They also helped redefine women’s economic role; rather than engaging elite women as consumers of household goods, apartment hotels engaged them as consumers of housing and as real-estate developers. As women’s apartment hotels moved from amusing experiment to markers of twentieth-century modernity, they etched the New Woman’s individuality, ambitions, sexuality, and civic engagement into the urban landscape.

A Neighbourhood under Storm Zhabei and Shanghai Wars

2010 ◽  
Vol 9 (2) ◽  
pp. 291-319 ◽  
Author(s):  
Christian Henriot
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Urban Landscape ◽  
Urban Setting ◽  
Success Story ◽  
Military Conflict ◽  
Major Aspect ◽  
Modern Warfare ◽  
Forms Of Violence ◽  
The City

AbstractWar was a major aspect of Shanghai history in the first half of the twentieth century. Yet, because of the particular political and territorial divisions that segmented the city, war struck only in Chinese-administered areas. In this paper, I examine the fate of the Zhabei district, a booming industrious area that came under fire on three successive occasions. Whereas Zhabei could be construed as a success story—a rag-to-riches, swamp-to-urbanity trajectory—the three instances of military conflict had an increasingly devastating impact, from shaking, to stifling, to finally erase Zhabei from the urban landscape. This area of Shanghai experienced the first large-scale modern warfare in an urban setting. The 1927 skirmish established the pattern in which the civilian population came to be exposed to extreme forms of violence, was turned overnight into a refugee population, and lost all its goods and properties to bombing and fires.

scholarly journals Features of the conceptual approach of contemporary Ukrainian artists in the genre of urban landscape

2020 ◽  
pp. 22-29
Author(s):  
Andriy Bludov
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
Urban Space ◽  
Urban Landscape ◽  
Point Of View ◽  
Conceptual Approach ◽  
General Direction ◽  
Modern City ◽  
Creative Person ◽  
The City

The article examines the features of the perception of the urban environment as a specific phe- nomenon. The article considers the artistic works of a group of contemporary Ukrainian artists P. Makov, A. Sai, L. Dzhuraev, A. Priduvalov in the genre of urban landscape from the point of view of a conceptual approach, which allows us to understand the general direction of development of this type of genre. The works of contemporary Ukrainian artists reflect how a modern city creates an endless combination of connections between different aspects of life and the corresponding various forms and impressions. The article analyzes the works that the authors demonstrated as their reflections on changes in the urban environment in special creative projects. The urban environment causes a creative person to strive to convey his atmosphere, images, rhythms in his own language. For centuries, artists have depicted the urban space, but it was in the twentieth century that the transformation of the urban environment into an urban one contributed to the fact that the city became a source of special inspiration for subsequent times. The theme of urbanism is specific in the work of contemporary Ukrainian artists, where the very phenomenon of the city is the basis of creative inspiration. The aim of this work is to study the conceptual and programmatic works of contemporary Ukrainian artists to reveal the theme of urbanism in painting and the main trends in displaying the city as a concept in the work of artists.

Introduction to Richard Rogers

2006 ◽  
Author(s):  
James Attlee ◽  
Richard Rogers
Keyword(s):  
Twentieth Century ◽  
Public Discourse ◽  
Urban Landscape ◽  
Urban Life ◽  
Political Issues ◽  
Interior Spaces ◽  
The Face ◽  
Late Twentieth ◽  
Trafalgar Square ◽  
The City

It is surprising how few architects have come to grips with the crisis that faces the contemporary city. Richard Rogers is an exception. Over the last thirty years or so, the buildings that have made Rogers famous have been, as much as anything, explorations of the principles that have concerned him: flexibility, modernity, inclusivity, and sustainability. At the same time, in his writings and public discourse, he has been a passionate advocate of the city as a place of social and intellectual interchange, a democratic and architecturally stimulating environment. This vision is rooted as much in the civic ideals of the Italian Renaissance—Rogers was born in Florence—as in the late twentieth-century avant-garde. Many of the changes to the public face of London that have taken place over the last decade—the opening up of the river and the pedestrianization of Trafalgar Square are two examples—were called for by Rogers in architectural proposals, writings, and public statements published since the 1980s. Architecture, he has argued, cannot be detached from social and political issues. Increasingly, his words have had a prophetic edge, befitting his senior status within the profession and the cultural life of the nation. As one of the best-known architects on the planet, Rogers, at least potentially, has the ear of both government and business, the twin agencies holding the future of the urban landscape in their hands. For this reason alone, what he has to say merits close attention. Rogers first came to international prominence with the opening of the Pompidou Centre in the Beauborg area of central Paris, designed with his then partner, Renzo Piano, in 1976. One of the key buildings of the twentieth century, it changed the face of the French capital, creating a new cultural heart of the city. Rogers’s banishment of services to external ducts, creating vast open interior spaces, was to become a trademark further developed in the Lloyds Building in London, completed in 1984. Both structures celebrate urban life and activity, although one is a public and one a private space. The Beauborg has been compared to a giant climbing frame.

Twentieth-Century Mosque Architecture in East Asia: The Case of Taipei’s Grand Mosque (Senibina Masjid abad ke-20 di Asia Timur: Kes Masjid Besar Taipei)

2019 ◽  
Vol 16 (1) ◽  
pp. 92-106
Author(s):  
Federica A. Broilo
Keyword(s):  
Twentieth Century ◽  
Hong Kong ◽  
Urban Landscape ◽  
Mainland China ◽  
Islamic Architecture ◽  
Muslim Population ◽  
Architectural Analysis ◽  
Muslim Countries ◽  
Foreign Politics ◽  
The 1960S

Islam was introduced to Taiwan in two different periods via migrations of populations from the continent. The first one occurred in the seventeenth century in the wake of Ming loyalist Zheng Chenggong’s campaign of resistance against the Qing. The later one was in the mid-twentieth century following Chiang Kai-shek’s retreat to Taiwan after the defeat of the Nationalists in the Civil War against the Communist Party. Taipei’s Grand Mosque was built in 1960 following the second migration of Muslim population from mainland China. At the end of the 1950s, the Chinese Muslim Association (CMA) in Taiwan commissioned the construction of Taipei’s Grand Mosque to Chinese architect Yang Cho-cheng. The building, inaugurated in 1960 in front of several leaders of the Muslim world, is an architectural anomaly in Taipei’s urban landscape and it has strangely been overlooked by the most relevant contemporary western literature on building mosques in non-Muslim countries. Three important mosques were built in non-Muslim countries in the first half of the twentieth century: the Jamia Mosque in Hong Kong (1915); the Kobe Mosque (1935); and the Old Tokyo Mosque (1938) in Japan. At first glance, Taipei’s Grand mosque is immediately recognizable to the general public as a temple of Muslim faith, because it features elements traditionally associated with mosques, such as the dome, and the two slender minarets. For its design, the architect Yang Cho-cheng combined several Islamic architectural traditions (Umayyad, Fatimid, Safavid, and Ottoman) with new building techniques like the use of reinforced concrete. Even if it might look like some sort of architectural pastiche, it is actually the manifesto of the foreign politics of Taiwan in the 1960s. The following article is a detailed architectural analysis of Yang Cho-cheng’s Grand Mosque and all the factors which led to its peculiar design. Keywords: Taiwan, Islam, Islamic Architecture, Taipei, Mosque design, 1960s. Abstrak Islam diperkenalkan ke Taiwan dalam dua tempoh yang berbeza melalui migrasi penduduk dari benua itu. Yang pertama berlaku pada abad ketujuh belas semasa kempen penentangan Ming Zheng Chenggong terhadap Qing. Yang kemudiannya adalah pada pertengahan abad kedua puluh selepas berundurnya Chiang Kai-shek ke Taiwan selepas kekalahan Nasionalis kepada Parti Komunis dalam Perang Saudara. Masjid Besar Taipei dibina pada tahun 1960 berikutan penghijrahan kedua penduduk Islam dari tanah besar China. Pada penghujung tahun 1950-an, Persatuan Cina Islam (CMA) di Taiwan telah menyerahkan kerja pembinaan Masjid Besar Taipei kepada arkitek Cina bernama Yang Cho-cheng. Bangunan yang dirasmikan pada tahun 1960 di hadapan beberapa pemimpin dunia Islam, adalah anomali seni bina lanskap di bandar Taipei tetapi ironinya kesusasteraan barat kontemporari seperti tidak mengiktiraf pembinaan masjid-masjid di negara bukan Islam. Terdapat tiga buah masjid penting yang telah dibina negara bukan Islam pada separuh tahun pertama abad kedua puluh: Masjid Jamia di Hong Kong (1915); Masjid Kobe (1935); dan Masjid Tokyo Lama (1938) di Jepun. Sekilas pandang, masjid Grand Taipei diketahui oleh masyarakat umum sebagai tempat pengibadatan orang Islam, kerana ia mempunyai unsur-unsur tradisi sebuah masjid, seperti mempunyai kubah, dan dua batang menara yang tinggi. Dalam reka bentuk senibinanya, arkitek Yang Cho-cheng telah menggabungkan beberapa tradisi seni bina Islam (Umayyad, Fatimid, Safavid, dan Uthmaniyyah) dengan teknik bangunan baru seperti penggunaan konkrit bertetulang. Walaupun ia kelihatan seperti sejenis karya senibina, ia sebenarnya adalah manifesto politik asing Taiwan pada tahun 1960-an. Artikel ini bertujuan menganalisa seni bina dengan terperinci mengenai Masjid Besar yang dibina oleh Yang Cho-cheng dan semua faktor yang membawa kepada keunikan reka bentuk seni binanya. Kata Kunci: Taiwan, Islam, Arkitek Islam, Taipei, Rekabentuk Masjid, 1960s.

Subway Fare

2017 ◽  
Author(s):  
John Timberman Newcomb
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
William Carlos Williams ◽  
Rapid Transit ◽  
Urban Modernity ◽  
Social Forms ◽  
Early Twentieth Century ◽  
Symbiotic Relation ◽  
Modern Experience ◽  
The Impact

This chapter examines the poetics of rapid transit that emerged in the early twentieth century, including the verses of William Carlos Williams. Wishful civic boosters of the early twentieth century discerned signs of financial utopia in the “symbiotic relation” between skyscrapers and urban railways. These interdependent social forms were viewed as hallmarks of twentieth-century urban modernity. Rapid-transit poems of the period feature close-up encounters mingling people of different classes, races, and genders with unprecedented frequency, unfathomable swiftness, and sometimes uncontrollable force. This chapter first considers the differences between skyscraper verses and rapid-transit verses in terms of engagement with the modern urban landscape fashion before discussing “rapid-transit verse” in greater detail. It explores American poetry's fascination with rapid transit as a central theme, focusing on poems that dealt with subjects ranging from commuting to subways. It also analyzes William Carlos Williams's rapid-transit poetry to demonstrate the impact of the New Verse movement's passionate engagement with urban-industrial space as the site of modern experience.

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