The International Competitiveness of the Biscayan Iron and Steel Industry (1880-1913)

This study has a double objective: to provide foreign colleagues with an insight into the controversy surrounding the international competitiveness of pig iron produced in Bilbao and also to present previously unpublished documentation regarding the European iron industry, which I have retrieved from the historical archive of Credit Lyonnais of Paris. This information includes the costs of Biscayan, French, British, German and Belgium pig iron broken down into five components (iron ore, coke, flux, labour and other costs), which is useful in determining the reasons why the pig iron from Bilbao became less competitive. The article is made up of three parts. Firstly, I will synthesise the controversy surrounding the competitiveness of the Basque iron and steel industry. Then I will present the itemised costs which provide information to illustrate how Biscayan pig iron was not competitive because it was produced with English coal which was more expensive than that consumed by the European factories located "on top of" or near coal seams. The article will finish with a section that, by way of conclusion, explains the comparative advantage and disadvantage of Bilbao, applying the first model of Alfred Weber's Theory of Industrial Location to three technological advances, occurring between the 1860s and 1913 (malleable iron, Bessemer steel and Thomas steel).

Are drawings dead? …and performance over aesthetics?

When the act of 'drawing' became what can only be called formalised, (whose growth can be said to have blossomed during the Renaissance), there developed a separation between the drawing and its procurement. Recently, David Ross Scheer, in his book ‘The Death of Drawing, Architecture in the Age of Simulation’ wrote: ‘…whereas architectural drawings exist to represent construction, architectural simulations exist to anticipate building performance.’ Meanwhile, Paolo Belardi, in his work ‘Why Architects Still Draw’ likens a drawing to an acorn, where he says: ‘It is the paradox of the acorn: a project emerges from a drawing – even from a sketch, rough and inchoate - just as an oak tree emerges from an acorn.’ He tells us that Giorgio Vasari would work late at night ‘seeking to solve the problems of perspective’ and he makes a passionate plea that this reflective process allows the concept to evolve, grow and/or develop. However, without belittling Belardi, the virtual model now needs this self-same treatment where it is nurtured, coaxed and encouraged to be the inchoate blueprint of the resultant oak tree. The model now too can embrace the creative process going through the first phase of preparation, where it focuses on the problem. The manipulation of the available material can then be incubated so that it is reasoned and generates feedback. This paper serves to align this shift in perception, methodologies and assess whether the 2D paper abstraction still has a purpose and role in today’s digital world!