By Gillian Darley
This booklet examines the manufacturing unit in a couple of incarnations; as photograph, as icon, as innovator and as laboratory. It strains the background of the fashionable manufacturing unit from the utopian schemes of Robert Owen or Claude Ledoux within the early nineteenth century, during the nice modernist "cathedrals of undefined" of Peter Behrens, Albert Kahn and Frank Lloyd Wright, to the post-industrial revival of former factories, similar to Renzo Piano’s reconstruction of the Fiat Lingotto manufacturing facility in Turin, or the landscaped business parks created out of former metal generators within the Ruhr zone of Germany.
This is the 1st publication within the "Objekt" sequence, with the intention to study a variety of iconic sleek gadgets throughout many layout fields, together with structure, business layout, pics and model. The books aren't meant as exhaustive histories in their topic, yet are written as thematic and discursive essays, protecting in brain the wider cultural meanings of gadgets or structures up to their meant capabilities within the smooth period.
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Additional info for Factory (Objekt)
Schinkel learned that 400 factories had been built in Lancashire over the last ten years, yet many were already so smokeblackened that they might have stood for 100 years. However well prepared he might have been by Beuth’s reports, or by his own observations in the smoke-laden atmosphere of the Midlands and south Yorkshire, Schinkel was still utterly horrified by the scale and quality of the wider industrial landscape in Manchester: ‘monstrous shapeless buildings put up only by foremen without architecture, only the least that was necessary and out of red brick’.
Ornamental detail alluding to the activities within. Former royal tobacco factory (now university), Seville, 1766, architect Sebastian van der Vorcht. 43 King of Naples rewarded his silk workers with well-built housing alongside the elegant Baroque factories of San Leucio. In Seville, the royal tobacco monopoly was housed in a factory complex that was second only to the Escorial in size and complexity. In all these industries, profits were either garnered directly by the royal sponsors or were raised through licensing, hence ‘royalties’.
To enforce efficiency in an unskilled, possibly casual, workforce was no mean task, and a logical geometry evolved to ensure a high quality, mass-produced commodity. The physical and moral well-being of the workforce was essential to the process, translated at the saltworks at Chaux into workers’ accommodation and vegetable gardens. In reality, the 200 workers found themselves in a highly circumscribed society, cut off from the outside world by a massive wall topped with thorn branches and a dry moat, behind a forbidding entrance lodge, the gates of which were rarely open and were attended by liveried guards, initially wearing the uniform of the king.