Xinhua Town is about to usher in the first batch of owners to settle in, and Li Yaoyang also asked people to prepare a welcome ceremony for the owners, and each family gave a gift package of rice, oil and salt.

In this way, he is promoting the owner's sense of identity with the new residential community.

The gated community is the first of its kind in this era, especially for the Chinese who lived in Chinatown and were extremely insecure, the completely gated community brought them a strong shock.

Seeing the security team in red uniforms, such as the presence of royal guards, meticulously patrolling along the outer wall of the community, full of security makes them feel that the property they have spent most of their life savings to buy is worth it!

The intimate smile of the property management staff; The owner's canteen is delicious and fragrant; The community is surrounded by streams and trees, and every detail of the place makes the owners who are about to move into their new homes feel like they are in the clouds.

This is their new home, the paradise of their dreams.

Li Yaoyang sat in the car, watched the first batch of owners enter the community, and patted the second child in front of him:

"Let's go~"

"Brother Yang, don't you want to see it?"

"You don't have to look at it, the smiles on your faces are enough to say it all."

Xiao Er smacked his lips:

"Brother Yang, for the first time, I feel that what we are doing is beneficial to the society and to the old folks."

"By the way, were we sabotaging before?" Li Yaoyang said.

"No, no, that's not what I meant..."The little two were stupid, and they didn't understand it for a long time.

"Okay, I know what you mean, drive, go to the hotel."

"Yes!"

To be honest, compared with other apartments in this era, Xinhua Town is really a paradise.

It's not just ugly countries, it's the same all over the world, even if it was once the center of the world, the continent of Europa on the other side of the Atlantic Ocean is like a grandmother.

Of course, the ugly countries are relatively better, and they have taken the lead in making changes.

Balzac's 19th-century "apartment smell" was "an occlusive, moldy, rancid smell that chills, damp in the nose and into the clothes".

"It was the smell of the freshly eaten dining room, the smell of the food and the dishes, the smell of the almshouse, the peculiar smell of the tenants, young and old, the disgusting composition of the smell of their colds......

Unless you're unlucky, 21st-century Parisian guests won't smell it, but that's what happened before things like hotels and apartments went modern.

To understand the hotel, we must first understand the travel itself: the hotel at this time is obviously not always associated with the travel in the minds of later generations.

Countrymen and strangers flock to the city to prepare for a new life, not seeking the smell of Internet celebrities that young people who are now checking in at the attractions care about.

From the middle of the 19th century to the beginning of the 20th century, instead of town halls and art galleries, hotels were transformers of social energy, and "people" were the main medium of circulation.

In this regard, the new hotel of the ugly country is in a league of its own.

Although there is no shortage of crystal chandeliers and painted ceilings, it does not deliberately emphasize the gimmick of "royal" and "regent", the most striking thing is the size and facilities of the hotel.

Designed in 1827, the Tremont Hotel, an architecturally remarkable North American hotel, already has 170 rooms, a living room, a reading room, and a restaurant that can accommodate 200 people.

Charles Dickens, an English writer who visited Boston, described it as "not big, a little smaller than Bedford Square [in London]".

In this type of inn, which is beginning to take on a modern look, the important thing is not the bedroom, but the public space.

Literally, it is called a "studio", but it is not used to paint, but it is actually a living room, and the hotel has become the main social gathering in the city.

Residents often have family members, so the hotel rooms are mainly family suites, which are initially different for men and women, with men shuttling in public while designing a separate social space for women, and even the entrance is set up separately.

As for those individual rooms, they can only be used by single men, and women who go out alone do not exist.

The pattern soon spread across the North American continent, with the Astor Hotel in New York, which was twice the size of Tremont, and the Charles Hotel in New Orleans doubling the number of Astor rooms.

Pevsner speculates that the reason why the Ugly Country Hotel was so large in its inception was that travelers did not have relatives and friends in different cities like Europeans, and that most Americans were not accustomed to staying with other homes.

More importantly, the rise of the hotel industry in the ugly country is completely parallel to the process of the ugly country becoming a world power.

By the beginning of the 20th century, hotels in big cities had become their home, especially young couples looking for opportunities in the economic take-off areas, and professionals who were constantly flocking to new industrial bases.

These people helped push Manhattan's housing prices to the top of the world, turning San Francisco from a small seaside town into a West Coast powerhouse.

San Francisco had only 500 people in 1848, and less than 30 years later, its Palace Hotel had 755 rooms.

Another 30 years later, Ford introduced the Model T, and after the ugly country became a country on wheels, there was no need for ugly people living in hotels to buy houses.

Because they'll be going from city to city, and they'll eventually be able to sail all the way back to their hometown in the small town anyway.

Why is it that almost everything related to modern hotels is driven by ugly people?

Because no one is more accustomed to such large-scale, periodic migrations than they are.

Hilton's business came into being in Texas in 1919, Mario's Marriott eight years later, and Sheraton in 1937 by Henderson and Moore.

By the time Pritzker launched its new brand, Hyatt, in 1957, it was clear that the industry was already the norm for modern life.

One can judge the degree of globalization of a city by the presence or absence of a large hotel brand – note that the last one also founded the Pritzker Architecture Prize 20 years later - "the vane of contemporary architecture", which seems to be related to the vane of urban fluid space.

Looking back at the history of contemporary inns, it's easy to see that it's not a type-defining space.

In other words, the inferior apartment that made Balzac pinch his nose was not bad for the money and the local tyrants' boarding place in a foreign land.

and the 20th century to achieve an industrial chain brand, in fact, is not the same type of building;

Or, the lodging of the upper class, which only allowed women to move in small areas, and the taverns that waited for them, could not be designed according to the same principle.

If there's one thing that catches the strings in this variety, it's that the prosperity of each type of hotel is related to the city's location.

The dream of the hotel is also the dream of urban ambition, a dream that is, first and foremost, a sociology of home/foreign transformation, whose concrete architectural container owes to a modern invention:

Sociology and space are inseparable.

The Waldorf Astoria Hotel in New York was originally the property of the Astor family, a hotel magnate.

Beginning with less than five floors, it is still a tribute to European high society, and despite its name inn, Wilhelm Waldorf Astor wanted it to be as low-key and luxurious as possible, with less "typical hotel character".

Manager Usain Bolt has geniusly aimed at the unique advantage of the ugly countrymen: the bigger, the better!

As soon as the Waldorf Astoria Hotel in the same neighborhood was completed, Usain Bolt began to convince the owners of these different properties to merge their businesses together.

So, in fact it's a combination of two hostels.

This merger is thanks to the unique architectural style of the ugly city's big city, the skyscraper, which does not listen entirely to the artist's advice, but only obeys the logic of real estate speculation.

Previously, Chicago's auditorium building was also a striking hotel.

Who says a large space like a movie theater has to be on the top floor of a shopping mall?

At that time, these hotel rooms hung over the hollow of a theater with a span of 75 meters and a height of nearly 30 meters.

Even at the end of the 19th century, this line of thinking was a brainstorm.

However, structural technology in the modern sense was well established at that time, and with electric lighting, no matter how large the size of the building was, the interior would not be completely black.

As long as fashion trends make large-scale real estate investment profitable, engineers can do whatever they want to build buildings of gigantic size and peculiarity.

No matter how you "carve out" within this volume, even if you dig a large hole like the auditorium building, its various parts and functions can be spliced together as you like.

As for whether or not to copy the appearance of European architecture, it has become less important.

The theater and the hotel are just right, so a big scene is staged in the hotel, and the performance is more than just the stage.

Fashionable new women smoke in public, and concerts, dances, dinner parties and theatrical performances are staged in the presence of guests, "in the ultimate of urban luxury".

Later, the Dutch architect Koolhaas wrote in "Crazy New York":

"For those who don't have space in their own apartment...... For those who are burdened by their homes, the meticulous service frees them from the trivial tasks of running a small private palace. ”

This is a concentrated explosion of the ugly country model of "home hotels", hotels are "home", more than rooms, there is an illusion of a peaceful life for you to have.

At the same time, it allows you to seek a kind of social entertainment outside of your sense of security – being in the middle of a crowd without always being disturbed by them.

The 40-storey "largest hotel of all time" is itself a contradiction:

The entire building, like the hotel part of the auditorium building, floats on steel pillars, and underneath it, there is even a railway line that rumbles all day long.

Above the hollow, the barbecue houses decorated with frescoes of scenes from Don Quixote's stories, mimicking Scandinavian-style spaces.

The starlit roof on the 18th floor alludes to the tropical Florida backdrop, plants, flowers, pink flamingos...... It has nothing to do with the dark world in the tunnel beneath your feet.

In the hotel, guests who appreciate the decorative elements removed from Basleton Park in England can hardly imagine that behind their life here are unloading docks, storage rooms, cleaning rooms, conveyor belts, elevators, etc., which are invisible to ordinary people......

The hotel's freight elevators are as busy as the streets outside, and one is big enough to send limousines straight into the middle of the oak-floored ballroom for the annual car show.

What impressed guests the most was the hotel's seemingly all-enduring dining service.

It's a huge kitchen system, not a single chef, that makes this service possible, and it's directly supported by countless conveyor belts, delivery waiters, and telephone networks.

Guests can stay at home and live in a small world that seems to be just his family.

Architectural theorists saw a revolutionary ingredient in this.

At this time, Europe was still filling the gaps in existing cities with the fragments of residence, but the ugly people were inventing all kinds of "big" hotels, making up daydreams of urban life out of thin air:

“…… A multitude of private or public functions – balls, banquets, exhibitions, concerts, theatre performances – all in a space of its own, including halls, theaters, restaurants, cloakrooms, dance floors, ......"

A hotel, Koolhaas says, is a plot — a story that engineers and designers build together in a tight "world of neuromechanics" that keeps inventing it.

In this drama, through the conversion warehouse of the hotel, you can see how the unknown person becomes a metropolitan person step by step.

In the beginning, regardless of the size of the rich and the poor, the residence could only be private, and the "village in the city" was only a collage of individuals, and then the shared urban "neighborhood" was born, and from scratch, the foreigners laid the most basic social organizations in the new city.

Since then, "suites" and "apartments" have emerged, and mutual aid apartments and duplexes have agreed on a tighter economic logic and more complex community needs.

But they're not big hotels after all.

The difference is that the public part of the latter is designed far more than it needs to be realistic, and the traveler's restraint does not explain the unnecessary luxury of the hotel, and these "superfluous" parts are the source of the endless fantasies of the metropolis:

The people who stayed in the hotel didn't know each other, but they were "lonely together".

However, it is only this unrealistic fantasy that is the ultimate thrust of the city's economy, and the lights in the golden gates also illuminate the sidewalks outside the doors.

Later, in 1990, Graves designed the Disney Hotel – just as not many people remember who designed Waldorf Astoria, Graves is not strictly the most talented architect in the project, but Disney himself.

"Paradise" is another name for the new hotel, and it is also based on the architectural concepts that created the Ugly Metropolis:

Tourists are happy to ride the various trains through the movie sets, the dream has been going on for at least a day, and now the most important thing is to spend a night here.

The infrastructure of the human heart has been extremely perfect, such as the birth of VR technology, which allows people to change the scene at will, and the original architecture or interior design with fancy renovation is just the last hand.

Most modern people are sedentary, and ordinary life is therefore more in need of miracles that can be condensed in extraordinary "places" - but the miracles in everyone's mind are different.

You should have lived in a hotel for at least a while before you might know the story behind its seemingly generic wallpaper.

For example, at a party in New York, a woman who told her about staying at the legendary "Chelsea Hotel" was confused, and you would inevitably see a hint of disappointment in the other person's eyes.