What Makes A Civilization - 1508 Words

Amongst the three books we’ve read and discussed the key similarity between them are civilizations. Starting from the beginning leading to the highest point in progress, then the quick downfall, The only difference is their point of view and what they thought civilization was based on the material they’ve collected and others work they’ve reviewed. So I’ll start with the question, â€Å"What is civilization?† civilization is the stage of human social development and organization that is considered more advanced. With that in mind each of these authors show a different insight into this development. Paul Kriwaczek shows civilization in the perspective that everything is a version of playing, and he puts it simply. The beginning, the middle and highest point, then the end. Fredy Perlman retells the ancestries, and progress of civilization perceived as the organized self-enslavement and self-alienation of societies. Susan Wise Bauer has the light fact that humanity needs hierarchy in the background of her opinions but tries to keep a more neutral point of view. What makes a civilization? There are about 10 things that make up civilization, here are 5 and I will go more in-depth with them at a future period in this review: Development of literacy, religion, economic classifications, social classes, and forms of government. Beginning with the positives of civilization, the improvement of agricultural science. Kriwaczek describes the hardships people had to overcome to produce foodShow MoreRelatedEssay about Lord of the Flies by William Golding1325 Words   |  6 PagesCivilization can be destroyed as easily as it is created.   Without the walls of society, humans are capable of committing actions that they would have never thought possible.   Lord of the Flies focuses on a group of boys who are alone on an island without authority. The novel reveals what can become of humanity without the presence of authority.   In Lord of the Flies by William Golding, the protagonist Ralph symbolizes leadership, civilization,   as well as the loss of innocence.   Ralph is the closestRead MoreComparing The Nile, Mesopotamia, And Indus Civilizations1475 Words   |  6 PagesComparing the Nile, Mesopotamia, and Indus Civilizations The civilizations of the Nile River valley, the Mesopotamia valley, and Indus Valley marked human progress toward fixed settlements and the development of a rich culture. These civilizations shared many characteristics that contributed to their success. What made these civilizations unique were the contributions that each one gave to the world. They contributed their own ideas and accomplishments in the areas of religion, science, and mathematicsRead MoreCivilization and Complex Society Essay677 Words   |  3 PagesCivilization is difficult to define in one word or phrase because a complex society or â€Å"civilization† depends on many different aspects. How then, is civilization defined? There are characteristics of a civilization that are more essential than others, some of which may be more important to one group than to another. However, a definition for civilization can be narrowed down to a few fundamental aspects that are necessary for one to exist. For a c omplex society to exist, it must have meansRead MoreHow Did The History Of Meroe Reflect Interaction With Neighboring Civilizations?1707 Words   |  7 PagesHow did the history of Meroe reflect interaction with neighboring civilizations? The way the history of Meroe reflected interaction with neighboring civilizations is they traded more often with their neighbors. That is how they received their fortune and power. 2) How was the decline of Meroe connected to the changing patterns of long-distance trade? The decline of Meroe was caused by deforestation because wood was needed to make charcoal for iron. The deforestation made Egypt’s trade go from theRead MoreFreud s Theory Of Instincts And The Individual Psyche1550 Words   |  7 PagesIn Sigmund Freud’s â€Å"Civilization and its Discontents†, we are introduced to a new outlook in the way we view our lives due to his analysis of civilization and how it has affected our happiness. Freud uses his theory of instincts in order to explain what encourages us as well as how our behavior is all linked together and is motivated by our instincts. He explains why humans seek happiness and how it is one of the toughest things to achieve. Towards the end of his book he also gives an insight onRead MoreHuntington And Mamdani s Views On Culture And Islam733 Words   |  3 PagesMamdani make two very different arguments. They both make points about what causes conflict. Huntington describes his theories on a future â€Å"c lash of civilizations† while Mamdani argues that 9/11 did not happen because of a clash of civilizations. Mamdani also disagrees with Huntington’s opinions on culture and Islam. Huntington believes that the world can be organized by civilizations based on culture instead of political or economic systems. Huntington focuses on two civilizations, WesternRead MoreIndus River Valley Civilization758 Words   |  4 PagesThe Indus River Valley civilization was an ancient civilization located on a subcontinent called India. The Indus River Valley civilization was naturally isolated by the Himalayas and the east and west Ghat mountains. The ancient civilization was located near a river, like most of the ancient civilizations of their time. Because India was surrounded by mountains on all sides, the subcontinent was very prone to attacks. A major problem for the Indus River Valley civilization was the constant monsoonsRead More Future of an Illusion by Sigmund Freud Essay949 Words   |  4 Pagesbecause of its blatantly traceable evolution through the history of the human civilization and psyche.   Ã‚  Ã‚  Ã‚  Ã‚  The first argument that Freud makes in his assault on religion regards civilization. Freud argues that human civilization arose as a result of mankinds needs to protect itself from nature. It was precisely because of these dangers with which nature threatens us that we came together and created civilization. (Freud, 19) As a result of the need for organization and manpower to prepareRead MoreThe Roman Empire : A Sophisticated Civilization1262 Words   |  6 PagesG.Max Cruz World History 7.2 March 24 , 2015 The Roman Civilization The Roman empire was a very sophisticated civilization. The empire lasted from 27 BC through 476 CE. They had a republic government that was very strict,there was also times ruled under emperors. It was a powerful nation with a strong in military leadership, agriculture, and trade. The world as it is known today would not be the same without the existence of the determined leadership of the Roman empire. The Roman empire beganRead MoreWhat Makes A City?1088 Words   |  5 Pages What makes a city? There are many thing that makes a city a city and a society a civilization. There are many definitions for civilization and I think the most correct it that a civilization is an advanced society. Most archaeologists use the term complex societies instead of civilizations. This essay discusses how complex societies are made up of several characteristics like dense populations, substance base, craft production, monumental architecture, taxation and some civilizations even had

Marble Rock Geology, Properties, Uses

Parametric and algorithmic design Free Essays

string(57) " to the single conditions of the site has been produced\." Architecture is frequently practiced in a universe dominated by the many, the client or the public and in many instances merely understood by the few. Architecture has been comparatively unsuccessful at traveling frontward with the universe frequently neglecting to associate and pass on with cultural displacements, altering ways of life and the promotion of engineering. Where other design related patterns such as the automotive industry have blossomed, rhenium seeded, re adult and regenerated with displacements in the manner people live and the engineering of the present, architecture seems to hold floundered. We will write a custom essay sample on Parametric and algorithmic design or any similar topic only for you Order Now As a consequence designers presently work in an environment using century old engineerings, with a client market which avoids hazards to personal addition at all cost and a populace which frequently still sees the president seen in architectural history as the really signifier of a relevant architectural hereafter. The multitudes seem bewildered by the possibilities presented by the possibilities of the present. Even fellow practicians and faculty members within the architectural subject would look to be somewhat taken aback by the possibilities now available to us. Not merely on a technological degree, but the impact that these new techniques moms have on the very rudimentss of architectural theory and signifier. This brings me to my inquiry†¦ †¦ Parametric and Algorithmic Design: Fake Forms or a Relevant Architecture? Computer aided design changed many design orientated professions such as the automotive and aeronautical industries as far back as the 1980 ‘s when they were foremost decently developed. A digital revolution if you will. Compare this to architecture where production and design still utilize techniques, theory and cognition developed during the industrial revolution. Although the bulk, if non all designers do utilize some signifier of computing machine aided design techniques the boundaries can still be pushed farther. Procedures such as BIM ( constructing information modeling ) are get downing to go a existent force in architectural design in topographic points such as the USA. BIM is a procedure where the designer does non merely pull a line as with traditional pulling techniques or with plans such as AutoCAD ( which to an extent, is merely a digital version of a traditional drawing ) but alternatively when an designer draws a line, he draws a wall, with the possibility to uni te this information with a illimitable choice of belongingss be they size, cost, structural or how they relate to other members in a design. BIM begins to manus back the rubric of â€Å" Master Craftsman † to the designer, where the designer can see how design develops as a whole and do alterations consequently. Parametric and algorithmic architectures are presently at the head of the BIM architectural thought, they are the merchandises of the few created utilizing advanced computing machine scripting techniques and separately written pieces of package. Using the latest design engineerings available to us, uniting this with the modern stuffs and production techniques frequently developed in Fieldss which have embraced the digital revolution more openly, parametric and algorithmic design can get down to dispute cultural, technological and historical boundaries which designers have possibly failed to to the full dispute in the recent yesteryear. Parametric design is a procedure based non n fixed metric measures such as traditional design but alternatively, based a consistent web of relationships between single objects, the bricks are different but they are connected with the same bond. This allows alterations to a individual component whilst working with other constituents within a system. In a similar manner to that of parametric design, developments in scripting have allowed for algorithmic design processes to progress. These allow complex signifiers to be grown from simple methods while continuing specific qualities. In the most basic sense, a user defines a set of regulations, and the package would set up the signifier harmonizing to the regulations. If parametric design is a method for control and use of design elements within a web of any graduated table, algorithmic design is a system and objects bring forthing complex signifier based on simple constituent regulations. With the combination of these methods, rules, modern production techniques and stuffs parametric and algorithmic architectures have the possible to force architecture, beyond uncertainty into the twenty-first century. Age old architectural jobs and theory such as â€Å" signifier vs. stuff † and â€Å" signifier vs. map † can get down to be solved in new ways, building times can be reduced, stuffs can be managed more expeditiously, and edifice qualities can be improved significantly. In the analysis and comparing of two undertakings using parametric and algorithmic architectural design rules, I aim to to the full understand how relevant these signifiers and methods of bring forthing architecture truly are when compared to their traditional opposite numbers. I have selected my illustrations from opposite terminals of the architectural graduated table size wise, but from a similar household of traditional public architectural type signifier, analyzing how relevant the parametric signifiers are in relation to different state of affairss and scenes. My first probe, looks at a impermanent theater located within the site of Corbusier ‘s Carpenter Centre – A coaction between architecture Firm MOS studios and creative person Pierre Huyghe, selected for its truly alone location and it ‘s modern-day drama on the more traditional theater / marquee / outdoor stage signifier. Theaters are traditionally really expansive edifices, for 1000s of old ages they have been portion of human civilization with signifiers as far back as antediluvian Greece still found in theatre design. This coupled with its set base / park marquee like size associated with formal marquees form around the Victorian age made the undertaking peculiarly interesting. The challenge for MOS studios was to bring forth a return on the theater whilst responding suitably to its location in what is an highly outstanding topographic point. The design in basic signifier is similar to that of any regular theater with raked seating, unhampered screening and high-quality acoustics but it was with the usage of parametric procedures that a theater which corresponds to the single conditions of the site has been produced. You read "Parametric and algorithmic design" in category "Essay examples" The theatre sits in the underbelly of the Carpenter Centre by Le Corbusier, commissioned to mark the fortieth day of remembrance of the edifice. Corbusier ‘s Carpenter Centre is the Centre for the ocular humanistic disciplines at Harvard University, MA. Completed in 1942 the edifice is the lone edifice of all time completed by Corbusier in the United States of America and the last to be completed during his life clip although he ne’er really visited the edifice due to ill wellness. The edifice corresponds with Corbusier ‘s five points of architecture ( as seen in the Villa Savoye, France ) with interior elements such as the incline, a dominant characteristic, detonating out from the interior of the edifice supplying an s – shaped walkway go oning into the environment. Curved dividers besides extend through the chief walls of the edifice in to the environing countries singing to and from the pilotis which back up them. This creates a series of permeating interior and exterior events running along the promenade incline. Within the design of the Carpenter Centre you can see the elements of undertakings crossing the full calling of Corbusier modified and adapted into this edifice. The marionette theatre itself, like Corbusier ‘s Carpenter Centre, was designed with a set of parametric quantities or architectural regulations if will. These parametric quantities were derived from a given brief and restrictions of the infinite created by the Carpenter Centre itself. To avoid damaging the Carpenter Centre no contact with either the ceiling or the edifices back uping structural systems was permitted. Therefore, suiting the marionette theater in between these of import structural barriers became cardinal. The designer has described the theater as â€Å" an organ placed in a new host † , it has a feel similar but non precisely that of a parasitic construction. Is seems non to be taking off, leaching from the Carpenter, but adding to it, giving it new life as though it truly is a new organ, a new bosom. This imagination is reinforced in the pick of stuffs for the theater, farther showing the feel of new life. The chief ego back uping construction is a poly carbonate, clad on the exterior with a moss. The moss adds heat and noise insularity, absorbing sound from the nearby street with sound quality being of paramount importance in practicality of a working theater. At dark visible radiation from within the theater glows through the light polycarbonate A ; moss giving a green freshness, as if it truly is a new organ, a new hub from which life stems into the Carpenter Centre. The rounded signifier of the theater was produced though the parametric use of elongated diamond molded panel units, each one person in signifier, each one connected through the same set of parametric quantities. This parametric use was created through the restrictions of site, the demand for ego back uping structural unity, the usage and the limitations of fiction procedures during production. The ultimate signifier is hence created through a system of analysis where the most efficient signifier was deduced utilizing the parametric system. Most of the theater was prefabricated and assembled off site. The extended diamonds were designed to be produced from a individual level piece of polycarbonate understating both fabricating times and otiose stuffs. Each of the 500 pieces was CAM cut, before being folded into three dimensional signifiers with points drilled to link each of the diamond signifiers. The full construction could so be assembled by linking the panels utilizing simple too ls. The usage of simple manus tools meant that the theater could quickly be assembled and dissembled, suited to the impermanent nature of the construction, it was imperative that the construction could non merely be dissembled, but left no lasting hint of its building on the carpenter Centre. This once more was made possible through the usage of parametric design. Each panel is 3 † in deepness and spans over 15 † at the Centre ; they were stiffened with a froth insert to assist with rigidness with the combination of strategic panels being placed inside out, therefore moving as cardinal rocks. These strategic interior out anchor panels besides act as fanlights, leting visible radiation to go both in to and out of the theater. When assembled the panels dissipate forces around the tegument of the theater, making the ego back uping monocoque construction. The monocoque construction mean that mo lasting ingredients or structural supports had to be made with the Carpenter Cent re, hence the marionette theater became connected through its relevancy as a design but remained separate as a structural object. With the marionette theater sitting in a deep-set exterior courtyard underneath the Carpenter Centre, the alteration in degree of 1.25m between the street side and the courtyard had to be addressed, and so this became one of the cardinal parametric quantities in the design. This was overcome by integrating the 1.25m alteration in degree in to the raked theater seating, with the existent public presentation phase sitting at the lower degree of the courtyard. As you enter the marionette theater at street degree, the extended diamond signifiers combine with the alteration in tallness and about phantasmagoric size of the marionette theatre itself to making a ocular semblance, a false position. This invites the visitant into the theater with a sense of thaumaturgy and wonder, pulling the eyes towards the phase terminal where the parametric boundary lines of the diamond signifiers stop suddenly with the debut of the phase. The usage of this optical semblance helps to reenforce the sense of theater, a sense of thaumaturgy that I experience could be easy have been missed or overlooked with the usage of other stuffs or building techniques. You could maybe state that similar signifiers could hold been created in concrete or wood, but so the all of import drama of visible radiation created by the polycarbonate panels chosen would hold been missed. With the combination of stuff and parametric design â€Å" theater † is really incorporated into the design of the construction. The Glossy polycarbonate panels besides reflect light, making an ambient radiance visible radiation during public presentations, with the lone illuming coming from the marionette show itself, this transforms the theater into a glowing lantern at dark, projecting it ‘s energy onto the au naturel bare concrete surfaces of the Carpenter Centre. It seems to work good in a apposition between the hi-tech nature of the design and the connexion created with what is a really ancient signifier of amusement, connected by illuming which would look to pull you in a similar manner to that of a candle visible radiation. During the twenty-four hours the coefficient of reflection is reversed when the natural visible radiation brings the exterior milieus into the marionette theater, this focuses the attending on what is go oning in the outside universe, the walls about become the walls of an Aboriginal cave, stating the narratives of the exterior universe as they are go oning. This connexion to the outside universe through the coefficient of reflection of visible radiation is reinforced by the framing of a individual tree which sits beyond the entryway of the theater. It frames the position with some purpose whilst making a sense that the tree could perchance inquire as some barrier, a bound to the boundary of the theaters threshold. Through extended analysis and research this theater and its host edifice, the carpenter Centre I believe that this truly is a singular signifier, an first-class piece of design. The theater works with and replies to every one of its parametric challenges. Through the usage of parametric design I feel that a signifier has been created that would otherwise ne’er have been imagined or realised. The organic signifier of the theater, created utilizing really non organic production techniques replies to the brief on so many degrees. It creates this new bosom, new hub for the Carpenter Centre. It does non seek and mime the great modernist architecture used by Corbusier himself, but in no respect does it contend against it, it somehow moves in to an architecture beyond, with each single member of the theater being really geometric, but arranged in an intelligent manner, produce a signifier which is more organic. Neither structures the same but they do work together. The marionette the ater design speaks of the Carpenter Centre today ; it speaks non of the architecture and the Carpenter Centre of the past, but the architecture, the people and the Carpenter Centre of the hereafter. The designers could hold chosen so many different attacks to bring forthing a marquee of kind on this site but I ‘m positive they would hold struggled to bring forth a design that overall worked more responsively with the entireness of the design challenge presented. The 2nd illustration of parametric architecture that I have analysed is the Mercedes Benz Museum, Un Studio, Stuttgart 2005 – with parametric and algorithmic working by Designtoproduction. This illustration of parametric design was selected non for its evidently parametric visual aspect but for the manner in which parametric modeling combined with BIM was used in the building and design of what can merely be seen as a truly radical edifice. Today the bulk of the universes exceeding historical, cultural and artistic pieces of are all in topographic point, the hereafter of the museum, as seen with this, the Mercedes Benz museum, lies with those who can to the full pass on a specializer aggregation, what they are about and where they came from. They have the capableness to excite a civilization much more than a generalist aggregation, the plants, the autos in the museum coud be seen to talk much more of the people that the bulk of today ‘s art. This is where the usage of pa rametric design can be seen to act upon and wholly pass on the work of Mercedes in a new manner. The importance of museum design has been at the head of architectural thought since Frank Lloyd Wright foremost challenged the program of the museum with the design of the Solomon R. Guggenheim Museum in New York, 1969. Since so museum has been challenged once more and once more by a battalion of designers such as Renzo Piano A ; Richard Rodgers with The Pompidou Centre, Paris, 1977 and Daniel Libeskind with the Jewish Museum, Berlin, opened 2001. The Mercedes Benz Museum can be seen to associate to all of these illustrations in its chase to step frontward off from the regular, to dispute the infinites, circulation waies and signifiers of a museum, to make a museum of intent. The success of a museum depends upon the ingeniousness of its internal agreement, infinites created and its ability to exhibit artifacts within these infinites in a relevant manner. The museum will / has become cel ebrated non merely in the go oning line of disputing museum architecture get downing with edifices such as Frank Lloyd Wright ‘s Guggenheim in New York but for seting the digital design procedure steadfastly on the map. Stuttgart is place of the Mercedes Benz trade name, and so with the demand of a new museum, UN studios were chosen to redesign a new museum on a new site close to the chief gateway to the metropolis, where the old museum had antecedently been located in a dedicated edifice within the existent Mercedes mill. The design is based on a construct affecting the over laying of three round signifiers in program with the remotion of the cardinal infinite making a triangular shaped constructing tallness atrium country. In subdivision the edifice raises over eight floors in a dual spiral signifier, maximizing infinite and supplying 16,500 square metres of functional infinite on a comparatively little footmark. Originally the brief brought to UN studio suggested that the edifice should be no more than two floors high with concerns that any more tallness in the edifice may do complications with exhibits, for illustration the manoeuvring and exhibiting of lorries, circulation jobs around such big pieces and structural unity of the edifice with highly heavy exhibit tonss. With the site being situated so near to a major expressway it was shortly suggested by UN studios that the edifice should be taller associating to the close state of affairs to the expressway, seeing that jobs such as circulation and weight of exhibits could be overcome with the correct cognition and attitude towards the undertaking. The circulation system used in the Mercedes Benz Museum s similar to that used in the pompidou Centre Paris, with the circulation running around the external frontage of the edifice. In a similar manner, the circulation can be seen to pull clear links with the incline like circulation of the Guggenheim New York. The chief difference with both of these edifices is that the Mercedes Benz museum has, through advanced building techniques combined with the usage of parametric modeling is able to convey the chief forces applied to the edifice to a structural nucleus through floor slab s instead than margin, hence to the full emancipating the frontage and program of the edifice. The visitant enters the edifice on the land floor where they are met by the huge graduated table of the unfastened atrium. This land floor is home to the general installations expected of a big museum ; response, gift store and coffeehouse but it is where the circuit begins that the signifier truly takes a leap forward. The museum is designed so the visitant is transported to the 8th and top floor of the edifice before working their manner down dual spiral signifier inclines on a circuit that would take about six hours to finish in entireness. Transportation system to the top floor is a jubilation in motion itself, the visitant is transported via a portal like lift with limited screening ; â€Å" flashes † of projected imagination are seen from the interior. Once at the top floor, two Tourss split from the get downing location each following one of the dual spiral inclines, each following a different side to Mercedes huge history. The two Tourss known as â€Å" Collection â⠂¬  and â€Å" Myth † vary in their exhibits with the â€Å" Collection † circuit being more of a historic timeline of Mercedes design and the â€Å" Myth † circuit taking more romantic, cultural return on Mercedes history, having some of the company ‘s greatest designs and autos antecedently owned by the likes of Ringo Starr. As a consequence the particular feel of the two Tourss h seen designed to change and accommodate to the assorted exhibitions tremendously. The â€Å" Collection † circuit is flooded with natural, true illuming whilst the â€Å" Myth † circuit is illuminated in a much more theatrical manner, miming the love affair and glorification associated with its exhibits. The tour waies do traverse at assorted points through the vertical of the infinite, leting the visitant to pick and take between the two Tourss. The eight degrees of the edifice are separated into regular and particular countries, based on their maps within the museum and their impact of the construction as a whole. The degrees alternate between individual and dual tallness infinites as they progress through the vertical of the edifice. Classical sculpturers such as Bernini and Brancusi knew the importance of the base, they were Masterss of this, one time once more the base has been utilized in this museum, making positions, foregrounding without blinding and concentrating the visitant ‘s attending where it is needed. Not merely have pedestals been used but with the employment the semi handbill inclines which hug the exterior boundaries of the edifice, positions have been produced, supplying new, interesting and invigorating positions of the exhibitions. Sing the foliage shaped, semi handbill, exhibition infinites from a battalion of highs as you descend through the edifice generates a series of bird’s-eye overvi ews. Visitors see the exhibits from higher, lower, closer and more distant position points. No sing angle is of all time rather the same, and the normal caput on viewed attack is avoided, there is a sense that you will ne’er capture every position throughout the circuit, that the edifice is invariably altering, writhing about and beyond you, that you as the visitant ne’er rather to the full understand where you are within the edifice. Together the base, bird’s-eye screening infinites and invariably writhing signifiers create a new particular complexness within the signifier of a museum. Never before has something been exhibited like this before. There is a changeless feel of motion within the exhibits and the signifier of the edifice. The museum â€Å" attempts to put the inactive in gesture † says one German architectural critic, â€Å" as if it wants to turn out that the architecture is still alive † , it has been said to research gesture in all of its possible looks. The whole Acts of the Apostless as an gas pedal for the different, unpredictable and erstwhile inexplicable infinites presented to the visitant. The unfastened program has been achieved through the ability to convey perpendicular tonss to the cardinal distribution nucleuss via the floor slabs with the facade systems transporting limited perpendicular burden. The floor slabs within the exhibition countries cover an country of about 30m without intermediate structural columns, made possible through the usage of parametric modeling and advanced structural computation. In add-on to the existent exhibit weights and unrecorded tonss such as visitants to the museum the floor slabs besides have to reassign a important sum of the horizontal burden from the distorted exterior structural system to the immense cardinal tri column nucleus of the edifice. The floors little curvature and slope aid to make a truly dynamic infinite around the autos aswell as making the structural support for the edifice. The floor creases, becomes the wall before turn uping once more to go the ceiling. UN studios most recent plants have been described as associating to and remembering ways in which Baroque designers worked and diagrammed their work. Van Berkel, co laminitis of UN studio, amused by the comparing says † I have been truly fascinated by Bernini and Borromini. Not merely in their edifices but by their unbelievable ability to project their subject into inquiry with advanced representation techniques † . These techniques are imperative in the agencies of bridging the spread between the abstract of idea and the pragmatism of edifice building, they become indispensable when get downing to grok how a construction may work and how edifice may run. They open new skylines and give architecture a holistic dimension, a agency of making volu mes that respond straight to undertaking demands. As an ultimate statement: The Mercedes Benz Museum by UN studio could non hold been created without the aid and research offered by Designtoproduction and their parametric work. There was limited clip to plan what can merely be described as one of the most complicated constructions in modern clip, and so, over two hundred and 40 six different companies and technology houses were employed to assist with the production of the Mercedes Benz Museum. Designtoproduction were able to supply solutions to the spreads between dividing design and production. This was imperative as these stairss are interconnected, they extremely influence each other and with so many different squads working on the undertaking, strong design and production links were needed. Parametric design proved to be the key to the edifices success in this respect. â€Å" The lone solution was to command the geometry of the edifice every bit wholly as possible utilizing the latest computing machine engineering † Ben van Berkel, UN Studio ‘s carbon monoxide laminitis and manager. The entwining signifiers of the Mercedes Benz Museum meant that the signifiers could hardly be described utilizing standard programs and subdivisions, yet contractors needed working programs, subdivisions and inside informations to build the edifice. From the basic geometry of 2D parametric modeling, the borders were transformed in to constantly lifting 3D signifiers by layering degrees ; finally the 3D volumes of the construction began to lift from the layering of programs. For different edifice constituents the geometry was straight taken from the theoretical account, therefore shuting the concatenation of information from early design phases until the building and fiction. For illustration, the formwork for double curved surfaces was accurately developed into field boards taken from information in the parametric theoretical account. Interior designers do n’t believe in Numberss, they think in relationships, in connexions, in the whole. CAD bundles do non believe in dealingss, they think strictly in Numberss, they do non care for relationships or what they represent within the signifier or design of edifice. The parametric CAD theoretical accounts that Designtoproduction produced combined these Numberss behind the developing edifice in a set of a parametric quantities, ordering what would work and what would non ; therefore 1000s of Numberss become simply a smattering of meaningful parametric quantities. The parametric theoretical account for the Mercedes Benz Museum was non lone portion of the design but key to the building. It linked the take parting trades in the edifice in a harmonic whole with the designer moving one time once more as the maestro craftsman at the helm, supervising the building as a whole. Unlike those who use digital architecture simply for aesthetic qualities, UN studios have gone be yond anyone else in the agencies of imaginatively pull offing a edifice through a design with a mathematical parametric theoretical account, without compromising the initial design rules, cramping the design with formal or preconceived solutions. The Guardians architecture critic Jonathan Glancy has described the edifice as â€Å" jet-age Baroque † . The usage of parametric design tools, the designer had been able to plan and make a edifice which seems as though it is a merchandise of or closely linked with the Mercedes Benz trade name. It screams motion, engineering, the hereafter, and the impossible. If you think about this edifice in any other sense, an exhibitioner of modern art, an exhibitioner of any other signifier of specialist aggregation or historical artifact it merely would non work. The edifice would look to be genuinely intentionally tailored to the client and intent, that of exhibiting the greatest plants of Mercedes Benz, with this, the museum is already seen by many as one of the individual most amazing edifices of the new century. How to cite Parametric and algorithmic design, Essay examples

Industrial Equity Limited

Question: Discuss about the Industrial Equity Limited. Answer: Introduction: The main issue discussed in the above mentioned case law is about the powers that the majority shareholders of a company has to amend the articles of association of a company and if the resolution passed for the amendment of the articles of WCP Ltd which would enable the enforced acquisition of the shareholdings of the minority shareholders is valid or not. The majority stake was held by Industrial Equity Limited (IEL) who tried to forcefully take the minority stake of Mr. Giancarlo Gambotto by introducing a paragraph in the articles of WCP Ltd. IEL was the owner of 99.7% of the issued capital of WCP Ltd via a wholly owned subsidiary. However soon the majority stakeholder decided to become a wholly owned subsidiary of WCP ltd as well as it would benefit him for tax purposes as well as for the costs of administration. It therefore decided to include a new section, section 176 of the Corporations Law in its articles wherein it sought to buy the minority stakeholders shares as well for 1.80 cents per share. But Mr. Giancarlo Gambotto and Ms. Eliana Sandri did not support for such an alteration and hence did not turn up for the general meeting in which decision for such an alteration would take place. Rule: In simple terms any alterations in the articles of a company which connotes oppression of any kind to any member of the company would be invalid and beyond the powers conferred in section 176 of the Corporations Law. Articles of a company may be altered for allowing the majority power to confiscate the shares of the minority only if it is lawful with regards the purpose for which such an expropriation is taking place and it should at the same time ensure that the minority shareholders in no manner be oppressed. Thus fairness of such an alteration is of utmost importance. By fairness it means that the price at which the expropriation is offered to happen should be not less than the market value and other factors such as the companys goodwill, its dividend structure and future should all be considered as well. The burden to prove the farness lies on the majority shareholders. Thus as per section 176 of the Law an expropriation of shares of the minority is valid if it is fair in all circumstances and is for the benefit of the company. Such as n the case of Brown v British Abrasive Wheel Co Ltd [1919] 1 Ch D 290, the alteration in the articles of the company was rejected as the majority shareholders wished to purchase the shares of the minority as the majority were ready to put in the additional capital which the company needed but in lieu of the shares of the minority. The court rejected it as such an alteration did not benefit the company in any manner. Hence as per the rule any change in the alteration of the articles of association of any company is welcomed and agreed by the court only if it is in the bonafide interest of the company as a whole and the minorities interest is not suppressed in any manner whatsoever. Application: The said case has a very unique judgement passed by the High Court. The decision of the New South Wales Court of Appeal was reversed by the High Court eventually and a final decision was passed in the year 1995 in favour of the minority shareholders. The High Court applied the provisions of Section 176 of the Corporation Law very minutely by studying each word of the section in depth. It also referred to the previous case laws and found out the dissimilarities of the case. The decision taken in the year 1993 was further reviewed by the Supreme Court and a final verdict was spelt out in 1995. Initially, McLelland J said that the said alteration led to a suppression of the rights of Gambotto and other minority shareholders and hence was invalid and impressed upon the fact that alteration should be bonafide for the benefit of the company as a whole was not apt for the particular case. However on an appeal put forward in the New South Wales court of Appeal it was agreed by Meagher JA and Cripps JA together that the suggestion put forward by McLelland J, that any alteration in the articles which would allow confiscation of shares of the minorities would always lead to oppression is false. They reiterated section 176, which states that the shareholders of a company has the right to make changes in the articles of a company by passing a special resolution but only if such an alteration does not cause any kind of an oppression by the majority over the minority. It also conferred upon the fact that such an alteration was basically for the benefit of the company as well, as WCP L td would end up gaining with regards the tax instance as well would further benefit in saving upon huge costs on administration. Lastly the price offered by the majority shareholder for such an act is also not unfair i.e. it is above the net asset value of the company. The appeal made by them was further seconded by Priestley JA which stated that the shares are a sort of property and again impressed upon the fact that it is the rights of the majority shareholders to alter the articles as per section 176 and compensation for the same was adequate enough hence it was a valid stance by the majority shareholders to proceed with such an alteration. However the High Court pronounced a different judgement which enabled to strengthen the position of the minority shareholders of a company drastically. The High Court did not pay heed to the old test which stated about the interest of the company and introduced two new tests for the said case. The first test is with regards the changes to be made in the articles of the company which leads to conflict of interest amongst the various shareholders of a company but it does not include the expropriation of shares or any property rights attached to such shares. Thus such changes are acceptable and valid until and unless it contradicts any purpose stated in the articles previously or leads to any sort of oppression. The second test includes any kind of conflicts with regards the alteration of the articles of association of a company with regards the confiscation of the shares by the majority shareholders of the minority. A two limbed test was introduced by the High Court with regards the same First was the purpose and second was the fairness of such an expropriation. Mason CJ, Brennan, Deane and Dawson JJ , pronounced that a proper purpose means something that saves the company or the organization from suffering from any serious harm or damage. Thus expropriation should be done so as to ensure that the company is saved from such detriment. Proper purpose was defined as expropriation of shares of a rival group or those held by a foreign entity or an individual. Therefore it is clear that this part is stricter than the traditional purpose which said bonafide benefit for the company as a whole. Further to this the joint judgement concluded that the proposed alterations of the articles of WCP Ltd were null and void as it failed to clear the first limb test. By making such a change the company did not try to overcome a possible loss instead tried to simply gain a benefit which ultra vires the definition of proper purpose. Howsoever, there are some issues with regards this concept. Firstly the distinction made between the two phrases does not connote any difference to the company as avoiding any act which would cause harm tot he company is also for the benefit of the entity and similarly denying a company from obtaining any benefit can cause detriment to the company. Secondly this view failed to consider the nature of the shares. It did not differentiate between the private and public company shares expropriation purposes. Thirdly the concept of proper purpose has led to a reversal of the oppression by the minority over the majority. Apart from the joint judgement, McHugh Js view for the first limb is a wider one and more acceptable. It stated that the purpose is said to be a proper one if it enabled safeguarding or promoting of the interest of a company. But one additional clause which McHugh J added was that the proper purpose should be external to the organization and hence saving on the administration cost does not comply with such an external purpose, but the tax benefit does justify the same. The second limb of fairness enabled the minority shareholders to ask the majority to prove that there has been no oppression. Joint judgement divided the same into two parts procedural and substantive. The former demands the shareholders with majority stake to disclose all the important data and also that the shares of the company should be valued by an expert who is not influenced by the companys shareholders or any such other related person. The latter focussed upon the price at which the shares would be acquired by the majority shareholders. Joint judgment stated that only the market price of the shares was not the true test of sufficiency. It should consider other factors such as dividend loss and future benefits derived. McHugh J, though seconded with the joint judgement but had some deviations to the same as well. He said that the market value of the shares of large listed public companies is prone to market fluctuations. He found that there was a proper purpose attached but the price offered was unfair and hence ultimately both the joint judgement and that pronounced by McHugh J were similar i.e. the expropriation was unacceptable and invalid in nature. Although Gambotto did not question upon the fairness of the expropriation. Gambotto had also stated about section 180(3) of the Corporations Law which was duly rejected by the joint judgement as it does not restrict trading of the shares before expropriation even if such a clause is valid. However the decision was in favour of the minority shareholder as although the proper purpose was available but the fairness of the dealings was not proved by the majority shareholders. Conclusion: On a concluding note it is understood from the above issue, rules to be applied and that finally applied that past judgements are just used as references and the provisions should not be read at its face value only. They should be understood deeply as to what the Law means to say. It is clearly proved that the Corporation Law has become stringent with regards the corporate governance after the decision has been spelt out in favour of the minority shareholders in the said case study. Further it has paved the way to introduce a reform in the legislation in this area which would protect the interest of the minority as well as the majority shareholders to the extent that nobody is oppressed by each others dealings. It has clearly stated that the concept of bonafide for the benefit of the company as a whole has been dismantled totally and that the sections of the Corporation Law should be studied and viewed with a broader mind. References Brown v British Abrasiye Wheel Co (1919) 1Ch290, Sid Deborah A. DeMott, Proprietary Norms in Corporate Law: An Essay on Reading Gambotto in the United States, inGambotto v. WCP Ltd.: Its Implications for Corporate Regulation90-101 (Ian Ramsay ed., 1996), (online), https://scholarship.law.duke.edu/faculty_scholarship/3140 Gambotto v WCP Ltd (1995) 69 AWR 266 (Gambotto) Kevans, Stephen, Oppression of Majority Shareholders by a Minority ? Gambotto v WCP Ltd, (1996), Sydney Law Review Journal (Online), https://www.austlii.edu.au/au/journals/SydLawRw/1996/6.pdf Mitchell, Vanessa, Gambotto and the Rights of Minority Shareholder , (1994), Bond Law Review 6(2) Ramsay, Ian and Saunders, Benjamin, What Do You Do With a High Court Decision You Dont Like ?- Legislative , Judicial and Academic Responses to Gambotto v WCP Ltd, (1996), Melbourne Law School (Online), https://law.unimelb.edu.au/__data/assets/pdf_file/0006/1709610/42-WhatDoYouDoWithAHighCourtDecisionYouDontLike1.pdf