The professional manager held ultimate responsibility for construction, while the designer's authority with respect to the client receded. on-site work done by subcontractors was managed by large general contractors who provided the supervising engineers, and did not necessarily have to adhere to the designers places (Cuff 33). This change was a direct consequence of the arrangement of work in the Industrial Revolution, where specialisation was given new dimensions and management sped up to keep pace with the quickening of material manufacturing, steam-powered machine labour, and transportation systems. It also was necessitated by the increase in the mathematical and mechanical knowledge of structures. It became difficult if not impossible for one person to understand the complicated mathematics of design and materials, and to apply this within the field of craftsmanship and building. With increasing information through new media, it was also difficult to keep abreast of current technological advances.
All of these changes were evident in the three buildings discussed above. In the case of the Eiffel Tower, the new system of bidding out design contracts -- one that harkened back to Renaissance competitions -- is clear. Eiffel was not a single man but a design firm under his direction, and his company won the contract over 100 other bidders. With Telford, Paxton, and Eiffel, fresh designs using different materials were implemented based on new principles of mathematics and production. Some of these designs, such as that of the Crystal Palace, resulted in new services including heating and ventilation (Nuttgens 245); Paxton's innovations with glass and iron were a radical departure from previous architecture (Kostoff 595) and heralded the rise of construction materials in the future (skyscrapers) rather than those of previous eras (Middleton & Watkin 359) . In each case, the site work was managed efficiently by the contractor, not by the architect. The contractor coordinated subcontracted labour in these buildings. The sites were organised with sophistication based on premanufactured materials and mechanisation of the worksite. Craft guilds vanished, replaced by contractors to improve productivity and uniformity. The designer made designs off-site and submitted them to the contractor. Architecture moved away from involvement with construction. The master builder tradition disappeared with this professionalised split.
The change to labour was in the reduction of the amount of manpower necessary given the ascendancy of the new machines and the mechanisation of all processes formerly requiring human and animal muscle. The workforce reduced although the scale of the building projects increased. Labourers were required to possess increased specialisation, and may have been guided in their work practises by the Protestant notion of the intrinsic value of work. In addition, knowledgeable people were needed to run machines. The notion of the guild dissipated, transformed now into the industrial labour union that tried to negotiate wages against entrepreneurial capitalists who built to make money. Subcontractors and contractors managed their own labourers under the overarching eye of the general contractor. The architect, who was now a pure designer, played no role in the management of craft builders or engineers.
Much of the management thought during this time influenced the way labour was organised in the factory system. A great deal of scrutiny was applied towards increasing worker motivation and productivity through incentives. The division of labour into specialised tasks was amplified. Manufacturing processes were simplified and reduced, with their unnecessary elements eliminated. Production was standardized and submitted to quality-control procedures, increased surveillance, and monitoring. This entire culture was in the service of profit.
All of these management theories, driven by a social scientific thrust, combined to lay the groundwork for twentieth-century management techniques, epitomized by Taylor's the Principles of Scientific Management, which extends beyond the time period of this investigation. They reflect the growing need in the Industrial Revolution for the creation of a professional class of managers. Many of the ideas would have been adopted by industrial contractors in their supervision of work processes, although only in an elementary form. As such the Industrial Revolution, both in its social and technological influences, prepared for later generations of project managers.
One of the fundamental testaments to the rapid amount of progress levied during the Industrial Revolution in areas of economics, labor, and construction technology is the length of time with which major structures were erected. At the beginning of the period, projects such as the Menai Straits Suspension Bridge and Iron Bridge routinely took around five...
The display of the various religious artwork effectively served to reinforce the fact that such faith was the governing power in the land, which the church itself reflected merely in its principle usage as a house of worship. The Hagia Sophia served a similar purpose, as it was built during one of the periods of devastation inflicted upon the Hagia Irene and was also viewed as a symbol of
It also set up a conflict between labour and capital, a variation of the old conflict between peasants and nobility. Because it was based on a competitive "free" market, capitalism inherently sought labour-saving and time-saving devices by which it might increase efficiency and productivity. In other words, manufacturing and production processes were sped up through specialisation (division), automation, mechanisation, routinisation, and other alienating forms of production in which the
"Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one," Klee said (cited by Pioch). With this revelation and the expressionist approach Klee learned under Blue Rider tutelage, Klee developed his signature style. After the First World War, both Klee and his
In contrast, English baroque has been described as being more secular, with a higher degree of classical inspiration. However, as Daniells states, this form of the Baroque style is not easy to categorize with finality (Daniells). Wellek uses the term 'restraint' to characterize English baroque (Wellek). With regard to the period of the Scientific Revolution, English Baroque drew inspiration from renaissance geometry. As in the Italian or Roman Baroque, there
Industrial Revolution and Beyond It is difficult for anyone now alive to appreciate the radical changes that the Industrial Revolution brought to humanity. We imagine that we know what it was like before this shift in economics, in culture, in society: We think of farmers tilling fields and of their children piling hay into stacks for winter forage, or of trappers setting their snares for the soft-pelted animals of the
The Palais des Soviets and the Palais des Nations, like the Party Buildings in Nuremberg, symbolized the hoped for triumph of a "new order." Communism, like Nazism, believed that society functioned according to certain, almost mathematical laws. The dialectic of class against class had brought the proletariat to power, and the communist Soviet state represented the natural and inevitable apex of human evolution and history. Le Corbusier shared in
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