By Gillian Darley
This e-book examines the manufacturing facility in a couple of incarnations; as picture, as icon, as innovator and as laboratory. It strains the heritage of the fashionable manufacturing unit from the utopian schemes of Robert Owen or Claude Ledoux within the early nineteenth century, throughout the nice modernist "cathedrals of undefined" of Peter Behrens, Albert Kahn and Frank Lloyd Wright, to the post-industrial revival of former factories, equivalent to Renzo Piano’s reconstruction of the Fiat Lingotto manufacturing facility in Turin, or the landscaped commercial parks created out of former metal turbines within the Ruhr region of Germany.
This is the 1st booklet within the "Objekt" sequence, as a way to study quite a lot of iconic sleek gadgets throughout many layout fields, together with structure, business layout, photographs and type. The books are usually not meant as exhaustive histories in their topic, yet are written as thematic and discursive essays, holding in brain the wider cultural meanings of gadgets or structures up to their meant features within the glossy period.
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Extra info for Factory (Objekt)
A small guidebook was produced in 1848, advising ‘the stranger’ to obtain a note of introduction to the agent of each company in order to tour the various establishments, which numbered ten huge works and many smaller enterprises. The early mills had spawned printworks, carpet companies, bleach and dye works, as well as engineering and machine factories. By now many mills were rebuilding, expanding and converting to steam power. 68 m) 62 Cotton mills on the water, Hamilton Mills, Lowell, Massachusetts, 1840s, now a museum complex.
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’. Other factories were also founded by royal or imperial edict to produce and process the raw materials and necessities for the state, whether in peace or wartime, essentials such as paper currency and coins, heavy engineering, ship building, plate glass and munitions among them.
Pugin, Contrasts, or a Parallel between the Noble Edifices of the Middle Ages, and Similar Buildings of the Present Day; Shewing the Present Decay of Taste (London, 2nd edn 1841). Pugin idealizes the pre-industrial era by a vivid ‘before and after’. 33 Yet, despite the menacing image of the factory – epitomized in Augustus Welby Pugin’s Contrasts (1836), in which the industrial landscape was compared to that of an idyllic, pre-industrial medieval past – and the forceful arguments about the dignity of labour that Ruskin and William Morris would use as the guiding principles of the Arts and Crafts movement, well-founded pride in technological progress and achievement could also provide a positive counterbalance.