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The city planner Edmund Bacon once described Beijing as "possibly the greatest single work of man on the face of the earth." When he was there, in the nineteen-thirties, you could still see that the city, from the walls surrounding it to the emperor's Forbidden City at its heart, was conceived as a totality--a work of monumental geometry, symmetrical and precise. Even the hutongs, the warrenlike neighborhoods of small courtyard houses set along alleyways, which made up the bulk of the city's urban fabric, were as essential to Beijing as the temples and the imperial compound, which has the same intricate mixture of courtyards and lanes. Bejing was all of a piece.
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