Erik hoffman hts1

Histories & Theories

Diachronic Integrity: The Industrialised Architecture of Corporate Organisation Histories & Theories

Term 1
 Tutor: Zaynab Dena Ziari

Erik Hoffmann

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Erik Hoffmann

Histories & Theories

Table of Figures

Figure 1

Hoogvelt, Ankie M. M., 1903, Fordist assembly line

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Figure 2

Hoogvelt, Ankie M. M., N/A, Post-fordism

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Figure 3

Princeton Architectural, 2006, BMW Central Building

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Figure 4

Princeton Architectural, 2006, BMW Central Building

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Figure 5

Princeton Architectural, 2006, BMW Central Building

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Figure 6

Princeton Architectural, 2006, BMW Central Building

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Figure 7

Princeton Architectural, 2006, BMW Central Building

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Figure 8

Princeton Architectural, 2006, BMW Central Building

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Figure 9

Who is the Olivetti girl?, 1960s, advert publication Olivetti

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Figure 10

Olivetti typewriter, 1950, Olivetti lettera 22

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Figure 11a

Lambda chair, 1959, Olivetti design in Industry

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Figure 11b

Lambda chair, 1959, Olivetti design in Industry

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Figure 12

Ariante, 1979, Marco Zanuso/industrial designer

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Figure 13

Zanuso Scarmagno Modules, The Architect as a Manager

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Figure 14

Zanuso Scarmagno Modules, The Architect as a Manager

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Figure 15

Zanuso Scarmagno Modules, The Architect as a Manager

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Figure 16

Marco Sanuzo, 1963, Scarmagno ventilation ducts

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Figure 17

Modular columns, 1965, Scarmagno factory

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Figure 18

Olivetti, 1968, Scarmagno factory

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Figure 19

Olivetti, 1968, Scarmagno factory

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Figure 20

Connie Zhou, 2012, Where the internet lives [Google DC]

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Figure 21

Connie Zhou, 2012, Where the internet lives [Google DC]

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Figure 22

IT & Data Knowledge, 2013, Thermal surveillance [Google DC]

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Figure 23

IT & Data Knowledge, 2013, Thermal surveillance

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Figure 24 [a-c]

Connie Zhou, 2012, Where the internet lives [Google DC]

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Histories & Theories

The emergence of knowledge based services and technological progress in many ends around our ever changing industrial sectors have been direct drivers for the restructuring of architectural typologies. New methods of architectural design emerged to not only respond to such spacial changes, but further arrange organisational complexities that tie within the entity of the relative factory type. Nonetheless, architecture has often been unable to link material organisations and politics, instead merely seeking to be integrated in one or the other. A retardant factor in architecture’s participation along new highly specific industrial spaces that are ever more electronic and mechanical—thus considering technicians of space1 as the administrators of new technologies. How can architecture gain its agency in the corporate restructuring of our industrial sector by means of manufacturing and technological progression through the arrangement of relative entities within a certain culture of production? Along with mutating cultural patterns around the factory sphere over time, how can architecture capitalise an inter-disciplinary approach with the engineering sector through organisational systems in direct feedback reciprocation between production and social construct to innovate emergent industrial taxonomies?

The idea of industrial production—driven by fordism in modern times and still in repercussion today—entitled the opportunity to respond to the demand for increasingly specialised goods. Mass production of goods through specific tasks given to workers—such as that the factory works as an overall design. Output of the factory comes from various specific assemblies and processes systematically, from numerous hands of specialised workers. As our ever stagnating demand for highly specialised goods has brought post-fordist progressive productive factors of globalisation, flexible specialisation, and ‘the organisational revolution’2, the search for manufacturing strategies have been able to respond to the expansion of rapidly volatile markets.

Shifting demand renders the need to think of new ways of production and the more the production of services is based on knowledge, the more possibility for innovation and flow3 . Industries have increasingly over time been concerned about their corporate organisation and how it responds to altering cultural patterns around our working environment. The idea of subjectivity and social interaction as a crucial factor for communication and knowledge exchange within the working space. An expanded view on production plus way of living together as offering new possibilities in how we manufacture knowledge and matter. Filippo Innocenti mentions regarding organisational systems in corporate productive spaces as the arrangement of complexities, “the more specific manufacturing processes are, the more possibility for innovation occurs in several levels of superposition, hybridisation and multiple opportunities”. The question raised is simply how can architecture shape our social environment in our productive spaces through several levels of social

1 Technicians of space: [Space, Knowledge, and Power Interview with Paul Rainbow, skyline, March 1982, trans. Christian Hubert.]

Engineers, builders, polytechnicians. Architecture wasn’t even by the 19th century even practitioners of the the great three variables: territory, communication and speed. Such tend to escape the domain of architecture as technology becomes increasingly specific.

2 Organisational revolution: In a fast-moving global landscape fraught with geopolitical and environmental uncertainties, how must large

organisations change to stay ahead of the curve? Boulding, Kenneth E. The Organizational Revolution, a Study in the Ethics of Economic Organization. New York: Harper, 1953. Print.

3 Innocenti, Fillipo. "Organisational Systems in Corporate Productive Spaces." Zaha Hadid Architects. Architectural Association, London.

10 Oct. 2015. Lecture.

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Figure 1: ’Fordist’ wheel factory. Workers were assigned specific tasks along a production line.

Factory worked as an overall design

Figure 2: Post-fordism

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and interdisciplinary interconnectivity? Christian Hubert states in his interview of Space, Knowledge, and Power that in order to use architecture as a model of political organisation and carefully manage organisational tools in order to place complex variables of: territory, domain and its subjects together, one has to “deal with complex and independent realities that have their own laws and mechanisms of reaction […] there are no fundamental phenomena, but only reciprocal elation and perpetual gaps between intention in relation to one another”. Therefore, one must identify the underlying factors and arrange them in respect to the specificity of the task, and politicise the discipline as the mediator between the human and non-human, culture and technology, nature and politics4. Such social reconstructions around the industrial sectors can be identified in intelligent moments in modern architectures, were architects were able to harmonise to new organisational levels the complexities within productive spaces in order to respond to changing cultural patterns around way of living and work.

A recent example of an architectural communication hub briefed by car manufacturer Bayerische Motoren Werke AG (BMW) and issued as an architectural competition won by Zaha Hadid architects in 2002 is the BMW Central Building in Leipzig, Germany. Opened in 2005, the building had to connect a stack of processes and join the whole factory complex composed of three main manufacturing departments: Body-in-White, Paint shop and Assembly. Whilst also serving as an entrance to the entire factory and office spaces, the building needed to respond to various contradictory, functional requirements, proving technical communication between different stages of production and further enhance the communication of workers5 .

The factory was designed programmatically in the way workers move around the factory. All the structure is oriented to show the patterns of movements through lines in the building with the aim to emphasise the linear trajectories. The major visual impact of the curved beams on the roof act beyond their role of support to be orientation instruments within the space6 . The lightness to support the roof further reduces the need to use place column on the ground since the goal of the project was maximise free-space with least amount of obstructions. The feedback with the engineering team became exceptionally integral, where the persevered realisation of curvilinear beams to hold the roof in large spans—and yet be an outmost significant and tool of aesthetically visual dissemination7. The trajectories in the building interconnect all working spaces so that there are no hierarchal segregations between white and blue collar workers. The ideology that social interaction is a substantial factor in communication, and hence corporate productivity lead to the development of expansive cascading slabs to allow flexible occupation patterns. The primary organisation is the scissor-like section connecting the two ground floors with the first floor in a continuous field. BMW’s ambition for the project was to “urbanise the site”8 and stage more transparent production processes along flexible office areas within a communication network. This overall transparency of the internal organisation is a manifest of the typically disconnected spaces that avoid the usual segregation of work status groups. This nerve building moreover exhibits every 4

Zaera-Polo, Alejandro. "The Politics of The Envelope." 2008. Log No. 13/14. 193-207. Web.

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Stacy, Lee. BMW. Vero Beach, FL: Rourke Pub. LLC, 2005. Print.

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Gannon, Todd. Zaha Hadid, BMW Central Building. New York: Princeton Architectural Press, 2006. Print.

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Gannon, Todd. Zaha Hadid, BMW Central Building. New York: Princeton Architectural Press, 2006. Print.

BMW’s vision of the central plant, as Norbert Reithofer, responsible for production in the Board of Management states in an interview in Stacy, Lee. BMW. Vero Beach, FL: Rourke Pub. LLC, 2005. Print.

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Figure 3: BMW Central Building acting a nerve, drawing all sectors of production together.

Figure 4: Ceiling composed of curvilinear beams as direct visual devices for trajectory direction within the central.

Figure 5: Mixing of blue and white collars around the spaces. Such can be well noted in the interconnectivity seen between the colours in the central restaurant.

Figure 6: Showcasing of manufactured product within the factory. Every third series BMW goes around the central four time before it is delivered to its owner.

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3-series car four times during their different stages of manufacturing by having four operative lines of the production line transverse the central and silently exhibit 650 car a day—a pronouncement of showcasing for what the employees cooperatively craft. An iconic move in bringing the collectivity of the factory and processes in a visually communicative and rewarding manner. The already low differentiation in the spaces of the central are communicated by the change of materials, such as the concrete stairs representing the programmatic continuations of flow, and the shortcut stairs suspended from the structure as means of detachment. Subtle means of communication in the continuity of spaces and visual differentiation is not only exhibited in the inside of the building, but also in the outside envelope. Patterning of façades of trajectory lines give the opportunity to map programmatic flow of the processes directly on the surface. Techniques employed to structure highways and bridges could easily be deployed to develop buildings, and communicate the nature of the automotive output that is being created at the facility. Project architect Lars Teichmann mentions the Central Building as “designed to be predominantly functional, but it complies equally with the representational requirements, presenting the brand in an almost cinematic way”9, a showcase of BMW. The overall communication this hub carries in many levels is a successful example of corporate restructuring, where architecture was used to emphasise the response for a changing culture in the factory space and to augment the working experience with the conscience of social interconnectivity. The entirety of the factory complex emulated in its iconic connective plant speaks the mediation between the human and non-human —the urbanisation of the industrial space where the culture and technology of the working space is formulated subjectively to prevail new opportunities, in state-of-the-art arrangement of complexities and understanding of underlying entities through testing and architectural management.10 The innovation in production can trigger new social constructs. If carefully configured through organisational strategies specifically dealing with complex and independent realities with their own laws and mechanisms of reaction, can become new tools for directly managing industrial production and branding image.

9 Lars Tiechmann in Gannon, Todd. Zaha Hadid, BMW Central Building. New York: Princeton Architectural Press, 2006. Print.

10 Space, Knowledge, and Power Interview with Paul Rainbow, skyline, March 1982, trans. Christian Hubert.

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Figure 7: Main stairways, communicated as primary circulation through materiality, in this case concrete.

Figure 8: Programmatic communication not only internal, but also external with the articulation of lines on the faรงades.

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It is foremost not a purely recent post-modernist ideal that the boundaries between work and social spaces should be blurred to shed new lights on production innovation. In mid 20th century, Italian rationalist product designer and architect Marco Zanuso introduced his vision for a new set of factories for Olivetti—an internationally renowned typewriter and adding machines manufacturer, which at the time was responding to its global scale expansion in foreign markets due to unprecedented sales and international funding11. Starting in 1957 From Argentina and Brazil to further heroism during the 1960s in Ivrea, Italy, Zanuso placed his skills and his apprehension of industrial production to architecture in an attempt to ‘industrialise architecture’. Using the paradigm of the factory, Sanuzo aimed to shape society’s interdisciplinary and social corporations through architectural tectonics able to reflect the particular design culture of Olivetti. Olivetti was famous for the attention it gave to design: “A preoccupation with design developed into a comprehensive corporate philosophy, which embraced everything from the shape of a space bar to the colour scheme for an advertising poster.”12 This ideal that design was as much of a collaborative process as a culture was the ambition of Adriano Olivetti, whom commissioned Zanuso to rise a communitarian ideal for his industrial society. Cultural model that emphasised the collaboration of realities and technicians, along with an indispensable application of architecture. Analysing and reorganising the paradigm of the factory as a routine of living and working. Architecture had reached a level where it could be used as an actual progressive social structure to serve, where Marco Zanuso and Adriano Olivetti found a communal atmosphere in the company which could be exploited to the greatest interest of social fruition13. The corporate culture of Olivetti approached the connection of product design, architecture and planning to a ‘city’. It was the characterisation of industrial production as a collective art form. The political dimensions in resource provision of: education, shelter, living and working was acknowledged by the company through several public works within its campuses and immediate location.14 Douglas Spencer broaches in his Architectural Deleuzism: “promoting communication as a mechanism of valorisation, control and feedback, this spatial model trains the subject for a life of opportunistic networking. Life, in this environment, is lived as a precarious and ongoing exercise in the acquisition of contacts, the exchange of information and the pursuit of projects.”15 Idealistically seeing the factory as an overall construct, such corporate view of a company as an everyday social and working hub was a new concept applied in a moment of the company’s historical records, where technology was at an optimum of innovation. A critical moment in architecture16 when technology is topped up with innovation and specificity—thus relating back to Innocenti’s argument—becomes a paramount parameter in the overall organisation of production.

11 Mass Production And Modernism In The Work Of Marco Zanuso 1936-1972'. Ph.D. Columbia University, 2011. Print.

12 Jonathan Martin in the International Directory of Company Histories. Woodham, Jonathan (1997). Twentieth Century Design. Oxford:

Oxford University Press. p. 160.

13 Blakely, Shantel. 'The Responsibilities Of The Architect: Mass Production And Modernism In The Work Of Marco Zanuso 1936-1972'.

Ph.D. Columbia University, 2011. Print.

14 Ballabio, Fabrizio, and Tomasso Franzolini. "Role Module: Zanuso's Participatory Design or the Architect as Manager." The Architect

as a Manager. & Mission Critical, Architectural Association, London. 17 Oct. 2015. Lecture.

15 Spencer, Douglas in his essay Architectural Deleuzism Architecture of Neoliberalism: How Contemporary Architecture Became an

Instrument of Control... and Compliance. S.l.: Bloomsbury, 2016. Print.

16 Tomasso Franzolini in Mission Critical Systems Architectural Association, London. 17 Oct. 2015. Lecture.

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Figure 9: Olivetti advert of its renewed typewriting machines

Figure 10: Olivetti Lettera 22 typewriter, 1950.

Olivetti products were treated as state-of-the-art products, which as a whole with the factory established its own branding through design.

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In order to realise such complex organisation of highly specific electrical and mechanical products —ranging from analogs to electrics—Zanuso used Olivetti’s patented industrial tools to organise the space. As the space was determined not by the human, but by the energy capacity17, the requirements for the space were dealt in a series of intelligent arrangements of managing tools through such equipment. Hence, the development of standardised modules not only as convenient pre-fabricated elements, but as managerial tools lead the opportunity to make an industrial zone infinite, in the way it could be isotropically expanded in any direction. Marco Zanuso’s post-WWII essays co-written with Paolo Chessa touched on the cultural significance in industrial production through several aspects of conventional life. They outlined the potential of mass producing a room, a house, a kitchen, an entire building—defending the set of criteria for the use of the module, material selections and organisation of the construction site. Such essays on pre-fabrication were keeping with the contemporary discourse on the rationalisation of architecture among Italian postwar rationalists. Moreover, Zanuso’s expertise in industrialisation through his product design career expressed a deep sense of comprehension in pre-fabrication possibilities and electrical equipment.

His industrial designs ranged widely from telephone and TV handsets to ingenious furniture and connection mechanisms able to stack or clip under several or single materials, including plastics.

17 Ballabio, Fabrizio, and Tomasso Franzolini. "Role Module: Zanuso's Participatory Design on the Architect as Manager." The Architect

as a Manager. Architectural Association, London. 17 Oct. 2015. Lecture.

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Figure 11a: Lambda chair designed by Marco Zanuso along with Richard Sapper.

Figure 11b: Plastics as relatively new material for domestic appliances and furniture. The Lambda chair could be stacked one on top of each other without scratching and getting blocked.

Figure 12: Ariante fan designed for Vortice. Zanuso’s career as an industrial designer was of vantage to his architectural concepts due to his visions of blending principles of one another and bringing concepts from his furniture and object design practice as managerial tools to design the factories.

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As a series of realised prototypes in south america, the factory in Scarmagno, Italy, was the culmination of his experimentations. Zanuso’s goal to fully industrialise his architectural project rendered the development of systems to join pre-fabricated concrete modules. Application of relatively basic yet clever modes of construction and principles in architecture became the drivers for the factories overall layouts and specifics. A grid system was employed composed of prestressed concrete modular units of four pillars, two primary beams and four secondary beams .

They could be manufactured efficiently in a factory, easily brought in site and exceptionally practical to assemble. Space for the next module was always left so that a new set of beams and pillars could be slotted in all four directions of the factories. As every organ of the factory entailed its own auxiliary area and power source, the independency of the modules allowed for expansion at will. The peripheral incompleteness of the factory communicated the mis-match between the elements and hence the legibility of the overall system18 . Relationships were made within the entity of the project, where mechanical and electrical capacity determined the ventilation ducks, of which the end of the channels were amalgamated into the secondary V-shaped beams. Furthermore, the distinction and functioning of the vertical and horizontal elements were designed using urban planning techniques as organisational methods to maximise functional independence. The decentralisation of factory elements—overall the vertical ones commanding the ventilation and electrical mechanisms—gave ground for indefinite circulation of workers around the working space.

Power supply systems both mechanical and electrical entered the space scattered in grid square tunnels, where all the electric systems hang down to the space from the secondary beams. The downscaling of decentralisation by proposing social reform—in which material interests were dealt with high rational thinking—responded to Olivetti’s manifesto on communitarian thinking. Citizens could gather in sectarian supervisory organs which largely unified product processes in both: agriculture and industry. Zanuso acknowledges in his memoire that “the problem is not to conscientiously or agonistically refute technological development, for which there is no credible radical alternative, so much as to re-appropriate capacities to control technologies and science at a cultural level: if regulation is necessary it must presuppose a rigorous and cultivated consciousness of technology and of science that today is present itself as an indispensable condition of civilitá [civility].”19 Quantifying the factors of the industry such as material resources, human behaviour, operational and servicing parameters becomes a strategical tool to create decisions and organise them. In Zanuso’s case, strategies of embedment within his pre-fabricated modules created the whole project’s “DNA”20—which contained in every single unit—is found overall and can be ‘infinitely cloned’. The idea of what is the lifetime of a factory can be addressed when such systems allow for non-constricting parameters of expansion and near constant innovation in the industrial sectors. Nonetheless, it is such innovation in the technological sector calling for new methods of manufacturing which dictates the lifetime of a factory since no matter how flexible the space might be, new architectural typologies arise from methods of construction and social fashion mutating over time, hence the need for new typologies to accommodate

18 Role Module: Zanuso's Participatory Design on the Architect as Manager." The Architect as a Manager. Architectural Association,

London. 17 Oct. 2015. Print 19 Mass Production And Modernism In The Work Of Marco Zanuso 1936-1972'. Ph.D. Columbia University, 2011. Print.

20 Architectural DNA expressed by the Factory Futures agenda as the underlying backbone structure which physically and lyrically

expresses the organization of the complexities as whole.

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Figure 14: Module system developed

by Microsoft for data processing.

Bunker like pods with fully integrated cooling units and heat extraction. The human has no place to interact specially with such digital typology.

Architecture for machines.

Figure 13: Module system developed for the final factory in Scarmagno. Vshaped slotting system of pillars, primary and secondary beams.

Figure 15: Rather simple and fast assembly of the factories and elements simply has to be put together.

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Figure 17: Roof of factory and ventilation system at terminals of ventilation ducts.

Figure 16: Ventilation ducts incorporated in v-section secondary beams.

Figure 18: Scarmagno Olivetti factory. Electrical equipment hanging vertically, leaving ground non obstructed by cabling.

Figure 19: Neat arrangement of working spaces.

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changes. Just as the digital age procured the abatement of physical information into computerised ‘invisible’ intelligence, the change in our productive space might synchronically become more and more abstract, and it is of challenge for architecture to diachronically redefine its role in the organisational operations that it can contribute in social, technological and manufacturing entities as whole.

As Alejandro Zaera Polo recognises in his Political Critique of Materialism in The Power of the Envelope: “The power of architecture is not iconographic but also organisational”. It is thereof substantial for architecture to gain its agency in the filling of gaps between the human and nonhuman—interfacing interdisciplinary knowledge and tying the imaterial production21 to material organisations. If no manifestation is carried regarding the managerial potential of architecture at both social and productive levels, then architecture will increasingly find itself excluded from technical domains developing exponentially specific. As the architect might not be able to always master all engineering expertise and other disciplinary factors that tend to escape architecture’s domain, it become architecture’s opportunity mediate itself as a social construct as much as physical one. The more technology advances, the higher the call for increasingly specialised technicians. Thus, the architect might not always have such specific knowledge on a certain technology—unlike Zanuso whom worked with electrical equipments throughout his career— but can hence mediate to brace the organisational opportunities of architecture with technical knowledge. Nonetheless, today there has been no succeeding in coupling typological and disciplinary traits in architecture22. Disciplinary segregation cuts opportunities of knowledge exchange and thus production sectors are unable to work jointly to cover the gaps of one another.

Zanuso’s work coupled avant-garde technological complexities within Olivetti’s machines with convenience at multiple levels as an effort of knowledge pairing. Such can also be identified to a more purely programmatic sense, in the more recent Leipzig BMW Central Building’s mission to broaden social interactivity as the substance of technological innovation and overall corporate embellishment.

Nevertheless, the progressive abstraction the digital age brought to our spaces is left obsolete in the hands of our technicians of space, which are plausibly the agents of such state-ofthe-art technologies, but does this signify that new highly technical building typologies should be purely dictated by such narrow disciplines? In a world were information technology has erupted to change all sharing and processing of intelligence, where machines generated to conceive such perpetual exponential growth of ‘ones and zeros’ are far from inconsequential, architects are found superfluous in their skills for Mission Critical23 typologies—an esoteric spatial backlash of the productive structure of ‘digital space’ has been overlooked. Mission critical typologies are categorised as facilities whose failure will result in the tremendous cost of business operations.

Such typologies can be identified in hyper-scale data centres, supercomputing labs and frequency trading platforms. The high levels of expertise required in the composition of such facilities dealing with invisible architectures sees the architect himself as an added value to the project, thus staying out of commission. “In a world where facilities are requited to run 24/7, where availability demands range between 99.6% and 99.99% (downtime is valued at £6.5m per hour in the case of a financial

21 Imaterial production as term before even the digital age, where capitalist entities non materialised could be generated such as social

constructs, gentrification, norms of consumption from productive sectors. Zaera-Polo, Alejandro. "The Politics of The Envelope." 2008, Log No. 13/14.Aftershocks: Generation(s) since 1968: 193-207. Web. 22 Douglas Spencer 2011, Replicant Urbanism, Notes on the Sophisticated City 23 Factory Futures. "Mission Critical." Fulcrum Real Estate 98 (2014): Fulcrum. Ditto Press. Web.

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Figure 20: Google data centre. Where the internet lives. Mechanical infrastructure to support IT infrastructure.

Figure 21: How do we enter a realm of digitally where matter becomes almost purely representational to what happens in our ‘clouds’?

Figure 22: Level of maintenance and monitoring is a complex system of softwares analysing the data spaces 24/7 with over redundancy in backup supplies of energy and energy production.

Figure 23: Thermal regulation is the number one factor in hyper consumption data centres which are by no means weightless.

Failing to maintain the space at optimum temperatures will render in massive costs to mission critical facilities who responsibility determines availability of increasingly web based industries (e.g banking, telecommunications etc) 17

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brokerage operation), where structures need to sustain loads of up to 15kN/sq w, where mid size facilities with a 250kW UPS can be expected to spend £200, 000 per annum on power, it is clear that we are facing extreme demands that needs to be incorporated within the architectural knowledge.”24 We can respond looking back at Zaera Polo arguing in The Power of the Envelope that “the relationship between politics and architecture is one of mutual influence. The question is not whether architecture has the right to political entity or party, but rather what architectural strategies can trigger in the distribution of power […] and develop a political discipline by drawing the links between spatial typologies and political modes.” Abstract values such as computational capacity and interconnectivity are becoming crucial parameters which are invisible to space. Such imperceptibility must be analysed and re-arranged to outline strategical approaches in the restructuring of such new types of spacial design. As space is increasingly characterised by the need to accommodate dynamic processes such as environmental, societal, and economical factors, it is here that data intensive facilities could benefit from architectural input. An effective reconstruction in the politically social and technological realms by architecture’s ability to manage, could re-entitle new kinds of production in both material, and imaterial25 cultures of our industries—as was done in the uprising for electric manufacturing the 20th century, and even programmatically in older production typologies seeking to alter their corporate systems.

24 In reference to the ignorance of spacial repercussions where the architect has been neglected to participate. Factory Futures.

"Mission Critical." Fulcrum Real Estate 98 (2014): Fulcrum. Ditto Press. Web. 25 Imaterial production as term before even the digital age, where capitalist entities non materialised could be generated such as social

constructs, gentrification, norms of consumption from productive sectors. Zaera-Polo, Alejandro. "The Politics of The Envelope." 2008, Log No. 13/14.Aftershocks: Generation(s) since 1968: 193-207. Web.

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Histories & Theories Figures 24 a-c: Data scales

24.a: Local

24.b: Regional

24.c: Exterior - global 19

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Bibliography Ballabio, Fabrizio, and Tomasso Franzolini. "Role Module: Zanuso's Participatory Design or the Architect as Manager." The Architect as a Manager. & Mission Critical, Architectural Association, London. 17 Oct. 2015. Lecture.

Blakely, Shantel. 'The Responsibilities Of The Architect: Mass Production And Modernism In The Work Of Marco Zanuso 1936-1972'. Ph.D. Columbia University, 2011. Print.

Boulding, Kenneth E. The Organizational Revolution, a Study in the Ethics of Economic Organization. New York: Harper, 1953. Print.

Douglas Spencer 2011, Replicant Urbanism, Notes on the Sophisticated City Factory Futures. "Mission Critical." Fulcrum Real Estate 98 (2014): Fulcrum. Ditto Press. Web. Gannon, Todd. Zaha Hadid, BMW Central Building. New York: Princeton Architectural Press, 2006.

Print.

Hoogvelt, Ankie M. M. Globalization and the Postcolonial World: The New Political Economy of Development. Baltimore, MD: Johns Hopkins UP, 2001. Print.

Innocenti, Fillipo. "Organisational Systems in Corporate Productive Spaces." Zaha Hadid Architects. Architectural Association, London. 10 Oct. 2015. Lecture.

Jonathan Martin in the International Directory of Company Histories. Woodham, Jonathan (1997).

Twentieth Century Design. Oxford: Oxford University Press. p. 160.

Space, Knowledge, and Power Interview with Paul Rainbow, skyline, March 1982, trans. Christian Hubert Spencer, Douglas in his essay Architectural Deleuzism Architecture of Neoliberalism: How Contemporary Architecture Became an Instrument of Control... and Compliance. S.l.: Bloomsbury, 2016. Print.

Stacy, Lee. BMW. Vero Beach, FL: Rourke Pub. LLC, 2005. Print.

Zaera-Polo, Alejandro. "The Politics of The Envelope." 2008. Log No. 13/14. 193-207. Web.

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