The Aesthetics of Hanoi's Architecture: Sense of Place through the Eyes of Local Painters
Bibliographic record
Abstract
An authentic sense of place, according to the Canadian place theorist Edward Relph, is often found in the experiences of painters who attempt to convey their personal attitude to place through their artworks.1 Taking this idea as a point of departure, this article sheds some light on one aspect of the aesthetics of architecture through an examination of the interrelationship between a visual art, architecture, and place. To illustrate some of the ways that place identity and local architecture are presented in paintings, we look at the work of two of Hanoi's painters: Bui Xuan Phai (1921–1988), a French‐trained painter who is famous for his paintings of Hanoi's ancient streets in the 1960s, 1970s, and 1980s, and surrealist artist Nguyen Manh Hung (b. 1976), whose paintings reflect more recent changes to Hanoi's built environment. This article discusses these artists’ work with reference to their personal experiences with the city. It suggests how the study of paintings of Hanoi's architecture may contribute to the understanding of Hanoi's sense of place by bringing to consciousness details that might otherwise be repressed or simply go unnoticed. We first describe certain characteristics of Hanoi's streets and buildings in the past and the present that put the discussion of the paintings and the sense of place they communicate in context. Given that painting is a powerful form of aesthetic expression, this article suggests that paintings of Hanoi's cityscape and its architecture can contribute significantly to the understanding of Hanoi's sense of place. The artists’ different approaches to painting suggest both that Hanoi's sense of place has shifted in response to socioeconomic and political changes caused by foreign interventions and that the local culture, with its routine patterns of village life, still greatly influences the city's architectural character. It is, then, important for us to offer some background concerning these influences, not the least of which is war, as war can bring about both urban destruction and reconstruction, and, therefore, war and its subsequent politics can change the identity of place for the victors as well as the victims, which in this case were one and the same people.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.003 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".