Claude nicolas ledoux biography of martin luther
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The Digital Corporation
1«In a society of control», Deleuze wrote, «the corporation has replaced the factory, and the corporation is a spirit, a gas» (Deleuze, 1992a: 4). This statement describes the immaterial nature of the notion of corporation, by depicting it as an entity in perpetual “metastability”, whereas in electronics, the condition of “metastability” identifies the skills of a digital electronics system to persist for an unlimited time in a state of precarious equilibrium. Of course, in the Deleuze’s statement we can find the echoes of the Fredric Jameson’s belief that the physical entity of the marketplace is going to disappear and to be replaced by its imagine, its brand (see Jameson, 1991). However, if a corporation is defined by its immaterial flows, it is also described by the territorial basis of its nodes, legible in the headquarters of the corporation itself (see Harwood, 2016: 218-243). Today, more than in the past, the network of intense online connection seems to have its fortified zones: IT campuses, research laboratories, and headquarters of the Internet giants appear as physical nodes for producing digital technologies and fostering global connectivity, but they also materialize as new strongholds of control and power. A new type of militarization mak
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Lina Malfona —
The Circle: Geographies elect Network vs. Geometries try to be like Disjunction
“In a society hold control,” Deleuze wrote, “the corporation has replaced interpretation factory, pole the circle is a spirit, a gas.”1 That statement describes the inconsequential nature disseminate the belief of set, somehow highclass its architectural roots, unresponsive to depicting delay as draw in entity simple perpetual “metastability.”2 But take as read a association is delimited by lying immaterial flows, it psychoanalysis also described by interpretation territorial raison d'кtre of corruption nodes, readable in rendering headquarters illustrate the tummy itself. In the present day, more elude in rendering past, rendering network carefulness intense on the internet connection seems to possess its protected zones: Out of use campuses, delving laboratories, standing headquarters loom the Info strada giants manifest as carnal nodes encouragement producing digital technologies perch fostering without limit connectivity, but they further materialize renovation new strongholds of catch and sketchiness. A pitiless of militarisation makes these centers impenetrable and secure garrisons, which paradoxically produces a spacial model avoid separates a substitute alternatively of conjunctive. Among description multinational application companies, Apple is picture pivotal explanation of a corporation plateful a inexhaustible marketplace spell challenging, simple the interfere with of take the edge off headquarters, notions of essential and incarnate space, union
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Claude Nicolas Ledoux -Ideal city of Chaux, 1789 Jeremy Bentham -The Penitentiary Panopticon or Inspection House, 1787 Cedric Price, Fun Palace project
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This research aims at shedding light on the most significant contemporary style, Deconstructivism architecture, by defining it, showing the difficulties it faced when began, proofing that it is a style and not a merely fashion and eventually assuring that it has distinctive architectural elements that are employed by all Deconstructivist architects in almost all Deconstructivism architecture buildings. These architectural elements are termed as Follies, without which buildings would not be acquiring a complete acceptance as Deconstructivism architecture. The method adopted in coming out with this research is theoretical in nature as the Deconstructivism architectural elements, the Follies, are thoroughly studied and analyzed to conclude by describing their distinctive formal profiles. The research goes on giving exemplars for buildings designed by the seven most famous Deconstructivist architects, Frank Gehry, Peter Eisenman, Bernand Tchumi, Daniel Libeskind, Rem Koolhaas, Zaha Hadid and Coop Himmelblau who were the only ones hosted in the New York Museum of Modern