Architecture and U.'banism

2014:02 No.521

Puhlishcl'/ Editor: ~obu)'uk i Yoshida

Senior I::d ilol": Asami Naito

Design Consultant: ,\la58i1ll0 Vignclli

Distributor: Shinkcllchiku-sha Co. , Ltd.: Sall'll Kalo

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Discuss ion for the -<Hh L1Xlllntc mational Un ivc l-sity Architectural COHlI)ctition: Productive Garden - A Space for Enjoyi ng Hokkaido wi th All Five Senses Kengo Kuma, Tomonari Yashiro, Kundo Koyama, Oarko Radovic

Feature:

Revitalization of Modernization Heritage 8

Essay: Urban Hevi l(llization is more than architectu ral design of solitary buildin gs JUl'g Sulzer

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IlIG Dan ish Na tional Maritime ivluscum

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Ste phe n Taylor Architects Shatwell Farm

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Essay: Post- Industrial Sites <IS Canvas Gabl'ic la Call1llagnol

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"awOI·th Tompkins The Shed

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Cruz y Ortiz Arqu itectos The New Rijksllluseum

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Jakob + Macl'ul'lane The Turbu lences FHAC Cen tre

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Between "fading smokestack industr ies and ascend ant post­industri al econo my",1 almost every city in form er industrial

, regions faces the chall enge of addressing d isused remains of the industrial past. \Vh en the once (often ration all y) o rdered, fUllctional , and therefore modern structures fo r industria l and manufactur ing production beca me obsolete, revi tali za tion, rehabi li ta tion , res to ration, recycl ing, (adaptive) reuse, and redevelopment are some of the many "re" terms associated with their conversions into new fun ctions. Amon g them , adaptive reuse is th e most co mmon expression for this ph enomenon , which has increased since ea rl y attempts in th e 1960s and 1970s. En vironmental concern s, historic preservation, w'ban renewa l. and desire for w'ban ily and cultural identity are the pri mary forces guiding th ese changes today. Therefore, the adaptive reuse of industrial buildings and landscapes has become a mainstrea m architectural prac tice and has played a n importa nt role in defining the nc,v aesthetic of sustainab ility.

The reasons for maintaining industrial bu ildings and the best approaches to re-purposing such structures remain central to the many as-yet-unresolved issues within regional development and urban renewal initi atives . .It is no secret that form er industrial faci li ti es are becoming popul ar retrofits for new galle ries and cultura l centers, and that many of them \Vere re-occupied spon taneously without professional architectural interven tio n.2

What makes th ese spaces so attractive? \\that quaJit.ies do these locations embody? As Martina Baum poin ts out, "as a contrast to the characterless buildings and cityscapes that are the sallle a ll over the world, these locations stand fo r a type of architecture that has specific features and relates to hi story and context, while at the same time offe ring space fo r current and future needs". Indeed , some post-industr ial sites exhibit powerful and unique architectural and urban qualities. They are location s that have a name, that show a degree of patina, tha t accept both programmatic and semantic cha nges, and tha t are rooted in the city's structure and thus enable people to identify wi th them as characters in the collective narrative of th e community. Baum describes these characteristi cs as dynamic-stable. stimulating architects a nd others to explore and to reuse these locations through the sim ultaneous qualities of sk1bili ty - through their history, context, and arch itecture - and of openness, through their fl ex ib le, in te1llretable a nd open space.' The very appea ling possibil ity of converting ind ustrial buildings by means of architecture is that of fosteri ng dialogue between o ld and new, approximating distinct gen eration s, attenuating socia·] boundaries, and increasing social lllobility, thus a llowing the diversity tha t Jane 1acobs avidly defended in " the need for aged buildin gs". Accord ing to Jacobs, a city thrives economicall y via the di versity created by old buildings within th e city context ."

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~laptive reuse has emerged as one of the most co mmon ways 'ensure the conserva tion of industrial bui ldin gs, and for the llit two decades "historical significance" has predorni nated Imong the justifications within heritage conservation effolts. HI)IICver, adapLive reuse and preservation for archaeo logica l Irh istori c~iI reasons should not be treated as synonymous.5 As 1~,"eC h i ra rdo noticed, the history ofindustrial archi tecture lconcerned first and fo remost \vith the role that architecLs 1J\"eplayed in meeting the need fo r industrial buiJdings: a I)ntri bution that has varied in inlportance at different times and II.ces.' Industrial buildings became a professio nal architecture ,;konly in the earl y twentieth century. Peter Behrens's ACG TurblllC Facto ry (J 910) and Walter Gropius and Adolf Meyer's fa~ls Shoe l Facto ry (1913) exemp li fy th is early and not so l)lmtllon cO lllm iss ion type. On the other hand, Le Corbusier ,msed in certai n industria lly engineered artifacts the harmo ny ~athe d esired for a modern arch itecture. He pra ised silos and ,clories, which il lustrated his manifesto Toward an ArchiLeClure, I,blished in 1923, for the clear and distinct ar ticulation of mlumes and surfaces. 7

The 19505 rna rked a period of rising interest in industria l traditions, also in the professional architectu re and editoria l .. 1111. The British Architectural Review dedica ted its July 1957 'jleCial issue to industria l constructions from the late 18th ."Iury and first half of the 19th century, as an "architecture ~ominated by fun ctional considerations" presented in anonymously designed warehouses, fa ctori es, and mills, .... vhich ~ere adm ired for anticipa ting the fun ctionali sm associated ~ith modern architecture. Since that perlod , vacant industria l ,ites have channed artists , architects, and urban deS igne rs as anew creati ve and ex plo ratory platforrn. They also appeal as "ruins" for con ta ini ng, as Tim Edensor notices, th e "promise of tlleunexpected", no matter how mundane th ey may seem. For Edensor, industria l ru ins generate curious space, \vhich allows awide scope for irnaginati ve interpretation. By contesting the notion lh,ll ruins are spaces of \vaste - valueless, and satu rated lIith negati vi ty - he observes that they provide rich possibili ties, ~ch as adventure, acquisition, cultivation, shelter, leisure. and art. For him , the aesth etics of industria l dereli ction epitom ize ilsort of "modern gothiC", part of a wider sentiment, which t'merges out of a "post-industrial nostalgia ". ~ Accord ing to .~te\'en High and David Lewis, these locatio ns wi th th eir rus tin g monoliths, disembodied smokestacks, and aband oned fa ctories ~rve (IS rem inders thal wo rkers \vil o once stood at th e center J/oeld life are now relegated to th e periphery. I-l igh an d Lewis dlaracteri ze the emerging aesthetics of deindllslria'lization as -deincluslr ia l sublime": a sense of being swept away by the beautyancl terror o[ economic change. 9

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In New York the idea o[ reus ing [omler industr ial buildings emerged in Sa rlo's 19th-century cast iron factories and wa rehouses. In the 1950s the area was wide ly considered to be a depressed commercial slum known as "hell 's hundred acres". " However, the] 9605 saw an upturn for the dist rict when artists, such as Hobert Hausche nberg and An dy Warhol , took advantage of low rental costs by moving th eir studios into the large, weIl ­lit warehouses. II Co ntemporar il y in San F'rancisco, two former industrial co mplexes were converted into multi-use complexes, with shops, offices and restaurants: Ghirardelli Square (1967), adap ted from a n ea rlier choco late factory, and The Ca nnery (1968), tTans[ormed from a form e r Del Monte Cannery.

Outside the United States, examples such as the Fiat Lingotto facto ry and test facility, a miles tone of modern archi tectu re in Turin , designed by Giacomo Matte 'I~'ucco (1919), typifies industrial pla nts undergo ing tnmsformation to new uses by a renowned a rchitect. In 1985, Benzo Piano was commissioned to give a " new life" to the automobile complex closed in 1982 . It was reopened in ] 992 to host the Tur in Auto Show; in the following yea rs a congress center, auditorium , shopping mall , and school o[ engin eering joined the trad e fair. Two new structures were bui lt on the top: a pictme ga llery, and a buhble­shaped meeting roo m ,,~th attached heliport. The goa l [or this project was to allow this large historica l industrial structure to becom e a center for the edu cated elite to gather and exchange information , cultu re, and bus in ess. The Niccoli) Pagani ni Audi to rium (a+u, specia l issue, 10:05) in Pamla (2001) is another example led by Piano who designed an auditorium upon the remnan ts of the wa lled stmcture of a suga r [actory. Both projec ts show the power of connecting past and future. However, the earlier project has the undesirable aspect of favor ing wea lthier groups at the expense of the working class, once the city of Turin covered one thi rd of th e expenses.

Art and tourism, as Ca rol Berens notes, are two powerful econom ic development pa rtners that often work together to rescue abandoned in du strial bu ild ings and landscapes." Today's iconic exa mple of such is the Tate Modern (a+u, specia l issue, 02:02) by He rzog & de MeUl'on (2000) in London's fOlm er Bankside Power Stati on, a massive brick building located across Thames from Sl. Pau l's Cathedra l, built in two phases between 1947 and ] 963 , and closed in ] 981. Although conside red to be the origi nal designer Gi les Gil bert Scott's masterpiece, the bui lding was unprotected at the t im e of Tate 's acquisiti on in 1993. In the fo llowing year, Tate h eld an architectural competi tion for the conversion of the Bankside into an "a rt led and not archi tecture led" museum . Among the participants o[ the com petition such as Tadao Ando, David ChipperIield ,

72

'fhis page, left.: Ta le Modem by Herzog & de Mew"On. Photo by Shillkenchikll­sha. This page, right: In terior view of SESC-Pompeia Factory Leisure Cen/.er by Lina Bo BarcH PIWIO courtesy of the aUlhor.

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:esyrJ{lhe author. This page, General view oj Pearl Brewery

Iml:e FIala Architects. PIWlO by iDwm. courtesy oj tile orchil.ct .

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\1.\, Rafael Moneo, and Henzo Piano, the winner Herzog & de "'ron's design stra tegy was " to accep t the physical power of

kside's massive, rnountai n-like brick build ing and to even mnce it rather than breaki ng it up or tryi ng to diminish it. treated the Scott build ing like part of oW' own structu re, tsomething which is wo rse or different"," Acco rding to

'I,'s main publicati on on th e transforma ti on of the Eanksid e, Swiss team won "because they proposed the least drast ic nges to the Bankside .... Londoners will still be ab le to

'Wlize Giles Scott's power station"," The popu larity of this rjecl gave to L-I erzog & de MeUl"on another commission to mert an old power and gas sta tion into an a rt center for the

,ll\aForum Madrid (a+u 14:01 ) in 2008 ,

'Yond the European and Am erican contexts, one of the most ~uentia l architects in Brazil , Lina Eo Bardi (who would ' year celebrate her 100th birthday), achieved renown in

""live reuse of industria l buildings by mea ns of architectural Irrention on a grand scale, Her transformation of the old rm ill complex Solar do Unhao into a museum of popular art

S,lvador in the earl y 1960s, and her SESe-Pompeia Factory <~re Center (a+u 99:02) , in Sao Paulo , completed in the late 177, distingu ished her as a semina] figure in saving Brazilian lustrial heritage and eleva ted the discourse [or both the

i-!oric significance and architectura l va]ue of such structw"es Ihesocial and cultural fabri cs of their commun ities, SESC

llCial Service of Co mmerce), a non-profit institution founded in '16 that acts th roughout Brazil with the purpose of promoting !ture and quality o[ life among workers and their families,

,"ght the site and co mmissioned Bo Bardi , "The people at ilCasked me if the old factory was worth preserving, I looked ~ it and found that it was a pioneering exa mple of the use of

",forced concrete, the l-Jennebique system, and that it was not <lyextremely rare but in good condition, requi ri ng no special !fk at the site"," Thus, th e initial impulse of demolish ing a Jlller steal drum factory gave way to Bo Bardi's initiative to

create a new use for it. Although the industria l co mpl ex had no .Iutory protection at that ti me, Eo Bardi 's approach based on ll>principles of austerity and simplicity became a successful ference fo r both adaptive reuse of industria l past and heritage nservation, A few th ings - "some water and a fireplace" as described - that she added changed the cold and d isciplined

rkspace of the former factory, She explained: "we tore down ~ parli ti o n walls in order to free up la rge poeti c spaces for Ie com munity", In th e seco nd phase of the project, opened in 1'86, 80 Bardi conceived two buildings "designed fro m scratch" 'pre,stressed concrete con nected lIy skywalks to house sport ,ur~, changing rooms, and a swimming pool at the grou nd

ke!, II large cylindrical water tower was also erected, Made

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73

of exposed concrete in a sl ightly tapered co nical form , and 75 m in height, it refers to the o ld smokes tack demo lished befo re the interven tion. Wh ile in terconnected, one can distinguish the old industria l construction from 130 13ardi's interven tion by observing the contrast between distin ct mate ri a ls (old­bri ck and new-bare concrete) and geometr ies (facto ry sheds and can li levered read ing space and sport center with puncbed­through apertures).

In tJle 2.1 sl century, a new generation of archjtects has been producing a broad range of thoughtful and inspiri ng projects th at depa rt rad ica ll y [TOm "second hand " spaces: LTL's Austin Ar th ouse (2010), and Clarernont Unive rsity Adm inistrative Campus Center (2011); Diller Scofidio + Renfro's High Line (2009 and ongoing; a+u. 10:05); hiaqu i Ca rnicero's (with Ignacio Vila and Alejandro Vised a) Hangar 16 / Matadero, Mad rid (2011 ; a+u 14:01); Roldan & 13erenguc's Fabra i Coats in Barcelona (ongoin g), and Bo Bardi 's form er collabo rators Marcelo Ferra z and Francisco Fan ucci of Brasil Arquitelllra 's Engenho Piracicaba Theater (201 2)

Another a rchitecture-o rien ted ini tiative fo r reusing former industrial facilities is Pearl Brewery in San Antonio , Texas. When producLi on ceased at the Pea rl Brewery in 2001 , it was believed by many that the structures would eventuall y be demol ished. In 2002, the 22-acre brewery co mplex was purchased by Silver Ventures, a San An tonio-based investment firm . Lake Flato Architects were th en commi ssioned to develop a mas ter plan fo r the Site, which included a variety of industrial artifacts such as tanks, bottl ing equ ipment, and cranes. After a yea r o[ site invento ry and two years of reuse plan developern ent, Pearl bas becom c a f1avor[u l, lively food-oriented urban di stric t with res taura nts, shops, office space a bra nch of the Cul inary Institute of America (CIA), a weekly farmers' marke t, and residences. Architects introdu ced a new street grid , reduced th e width o[ some exist ing streets, shran k the surface parkin g in to sm a! ler lots, and planted more than 500 trees. In add ition , they applied a series of susta inable des ign st ra tegies - permeab le pavers, new bioswales, photovoita ic panels on roofs, rain water storage in old brewing vats - whi ch achieved a LEED Cold certifica tion. An o ld wa rehouse was removed in o rder to make th e 1894 brew house more v'isible from Ule peopJe a rr ivi ng on Pea rl Parkway. Histo ric train tracks were preser ved , res tored , an d re-instafl ed on site. The ga rage, originall y buil t in 1939, housed the Aveda Institute, a compa ny that concentrates on dealing en vironmentall y friendly products. The Texas Fa rm to Ta ble Cafe, whi ch only uses Texas-grown ingredients is also located wiLhin the garage.

The potential to en hance our lives is what makes architecture so fascinating. Even more is th e possibility of a rchi tec ture to restate the m eaning of places by converting zom bie build ings into a thoughtful , vita l, and sus tai na ble ones. While architectlU"e may in tervene sha rply in the industrial heritage as «in strument of power and abstract reason", it may act sub tly in smaJI portions to brin g a holistic sense of coexistence a nd simultaneous

74

perception of past and prese nt, and to allow new interpretati01l1

and in teractions. 16 Architecture indeed has, it seems, a poetic powe r by not imposing itselr when bringing new meaning to obsolete buildi ngs; the results may be a more di verse, rich. and dynam ic spaces. By buildi ng upon the practiccs es tab lished by a rchi tects fTo m Lina 130 Bardi to Lake FlalO Architects, 21st cen tury arch itects can re-situate, fe-characte ri ze and re-think mban dereliction to tap th e powerfully roman tic, poetic potent o f the deindustrial subli me. By working sin cerely with its his t{" and con text, i.ndustrial heritage is a rich resource [or archileel' offering the base, support, and crea ti ve opportunity, like a bla can vas for a pa in ter. It ma y encourage cultural identity in the ea r o f globa li za tion , and link past, present and future reSOuIT~ in crucial moments o f environmenta l conce rns.

Nol es

Writt en in coUabomlion with Dr. Stephen Caffey Alexander Abua

I. Tllis eXllression was coined by Slephen Iligll and David W. Lewis. Corporo:f Was/.elond (Ithaca , NY: Cornell Ulliversi ty Prcss, 2007). 2. Sec Torre David in Caracas, Venezuela. 3. Sec Martina Baul1l & Kees Chrisliaansc (cds. ). City as LQft: Adaptive Reusee Resolllcejor Su.stainable Urbo /l. Development (Zuri ch: glH Verlag, 2012). 4. Jane Jacobs, "The need for aged buildings" , in TIle Dealh and Life ofGrrot AlIle/iC(lIl Cities (New York: The Modern Library, 1993 (1961]), pp. 244-260. 5. According to the Nizhny TagH Charter ror the Induslrial l·leri tage (2003'. induslria l heritage consists of the remains of industrial culture, wllich arc of historical. Lcclmologicai, sodal, arch ileClul"<I1 or scienliric va lue. These rema cOllsist of bui ldillgs and machinery, workshops, mi lls and ractories, mincsarwl sites ror processing and re£i ning, warehouses and stores, Ill accs whercene~ is generated, transmilled and used, transport and all its infrastlUcture, aS lltIl as places used for social activi ti es related to industry sud l as housing. rcli~OO! wors hip or education . 6. Sec Diane Ghi ra rdo, Archi/eclIIre After Modemism (New York: Thames & Hudson, 1996), p. 17 1. 7. t e Co rbusier, Towords a New ArchiIecture (London: .1 011 11 Hodkcr, 1931). 3. Sec Tim Edcnso l', Industrial Huias: Spaces. ileslhelics ami Maleriaiity (Orl New York: Berg, 2005). 9 . I I igll & Lewis, CO/VOlUte JriasLef{J/ul , pp. 8-11. 10. Donald G Presa, "SoHo-CasLl rOIl Historic District Extension Designation HeporL". Ed ited by Mary Heth Belts. (New York Ci ty Lanullwrks Preservation Commission , 20 10). II . See Kees Cllrisli'li.l nse, '"Traces of tJ1C Ci l)' ilS Loft'· in Ba llIn & Christiaw Cily (IS Loft, pp. 14- 21. J 2. Sec Caro l Berens, Redeveloping Indus/.riol Si les (Hoboken, New Jersey: ll~ 2011 I. 13. See Herzog & de Mew'on , "Tale Modern". in QlIadenls 230 (2001), p.65: J. lIerzog, N. Serota and R. Moore, "'Convers<lllon", Bu ilding Tale Modern. (London: Tate GaUcry Publi sh ing, 2000), 1J.5. Sec also Tamara Hogic., "Conl'\'I'f IndusLri al BU ildin gs: Where Past and Prcsent Li ve in Fonnal Unity" (TUDclft. 20091. 14. H. Rya n, "Transformation", in Bll ildillg Tale Modem, p. 19. ] 5. Una Bo Bard i , SfollesAgairlS/ Dia"wl1ds (London, AA Publiclllions, 2013.p. n ]6. " Post-induslrial " alludes to what SoHi-I\'loral es call s /errail/ vague: ~Tht relationsh ip between Lhe absence of use, oC activity, <Ind the sense of frcednn. of expectancy, is fundamental to understa llding all the evocative polential tIw the ci ly's terrains vagues have accrued as part of the very perception of the on in recen t years. Void . Ihen , as absence. and yet as promise, as encounter. as the spaee of the possible, expectation." Ignasi cl e So la- i\·lora les Hubia, ~Terraif. Vague" in Quuderns 2]2 (1996), pp. 34-42 , 37.

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iabriehl Cam llagno l was bom in J 976 in Bmzil, is an architect (gradualed in 1999) and tStall! professor of lll'chitccturc at Texas A&~'I University in College Stat ion where she

II:hl'S dcsign. history a nd theory since 2007. She received her ?llaster's (2003) and PhD. lXr8,' degrees ill archi tecture illid urban plan ning from University of S:1o Paulo, BraJ:i l. She lIounding member of the Bl"aziliall Co mmitlee for the Conservation of the Industrial

lrilage (T ICCIH -Brazil). She is the author of AssclltamclIIos Agroinduslriais I Agroilulustrial ~ltmelZlS (RiMa/ Ful)CSI): Silo Carlos, Brazil . 2004). as wcll as articlcs on industria l heri tage IIlBrazi lian arch itecture a nd town plarrning.

li;!U

1. Stephen High an d David W. Lewi siH rCorpo rHt e Wa stelandJ (Ithaca. NY: Corne ll

Ullivcn;ity Prcss. 2007) (J)4I""fffll;';nf";:.'&J.Ho

2. ",",,-*;(x. 5 (J)oillln '7 n Af.:.ill -::> :$f 1:::: f (J) t?f t :t'0)- 'f0Jo

3. Martina Baum & Kees Chrisliaa n sc f.j;,J r Cil y a s Loft: Adap Li ve Be u sc as a

Hesourcc for Susta inab le Urban Deve lopnrcnt J (Zuri ch: gta Ve rlag, 2012 )0

4. ;).:r.. -1 :.; - ;; .:r.. -1 :J ""f;(.<} r 7 ;I. 1) tJ*t1IT1!O){iE t~J (~II;W.mJt& : Ul n; t.5j:~ , 1fil ,l.·,Hi:l

II<~, 2010) iJj Jij( , Ii'iHJ;\!JO).t,'ll!1tJ 214- 227J'l0

5. 1ll",;!Illl10 1lII -; <:> "- S'''-' J< "'MI!;;t (2003l1oJ; I1li, lll,ll;!llllt Ii, I!BertH HIit1'l ,

~±~t1'l . l:I!!I!'l't1'l", Q' 'liH'l't1'llatiiliO)",,, !!l1.l!:::Cfto) ;!I\!JiJ' G I:< " 0 C -j L.to;!llllk: Ii,

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i'f!l!i.:!iJ't'tll'h"o 6 . Dia ne Ghinlrd o'E" r Arc h itccture Afte r Mod e rn ism J ( New Yo r k : Tha mes &

I-Iudson , 1996) 171 ~~

7. 'v - :J ,v l: .:l. ~x.:g rilm~ .I6 C'"LTJ U~;}~ : JIW:IWtJE~, Ift.QWI:&:~, 1967)0

8. Tim Edensor~ rJ ndu 5tri al Ruin s : Spaces. Aesth etics a nd MaterialityJ (Oxfo rd ,

Ne w York: Berg, 2005L

9 . Hi gh & Lewis'2i il"Corpomte Waste landJ 8-- 1.1 no

10. Don al d G Presa ~ rSo l-lo-Cas t Iro n lIi s to ri c Di s trict Ex ten sion Des igna tion

HeportJ O"i ary Bcth Bc tts l: ) (Ne w Yo rk Cil. y Landmarks Prescrvation

Commiss ion, 2010)0

II . Kecs Chris t iaanse~ rCit)' as Lo ft : Adapti ve Beuse liS ;I Hcsource fo r Sustainable

Urban Dcvclopmen U(Ba um & Chrisliaansetw)rTraecs of the City as LofU H ...... 21 ~0

12_ Ca ro l Berens~ rnedcvclo ping Indus tr ia l Si tcsJ ( Ho bo ke n, New Je rsey: Wilcy_

2011 )0

13. ""v':;"* - ff . 7 / f · f - L. 0 :.; * rQuadcl'lls 230J rTatc ;\lodernJ (2001) 65~"

1. Herzog. N. Scrota and B. Moore~ rBuildi ng Tale ModemJ rConvcl"S.1tionJ ( london. Tatc

Ca llery Pu blishing:, 2000) 45 1"1" Tama ra Hogic ~ rCo llverted Indu st ri al BuildingsJ

(TU Delft . 2009) "*00-0 14. B. Byan:r,: rnu ilding Tate .\Joden rTr<1 l1Sforlll atiouJ 19no

15 . Lina Bo Bard i ~: rStones Again s t Diamo nds j ( Londo n, AA Publications , 2013)

Jl7 Ao

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~.fJT, aEBOS'lliit3 i1"Anypiace J,QfWOJa::rJlMJ NTT I.U~, 1996, 130 QJo

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-7;) ,v xerlrJ) (jIJ~ j.. /' ;'\-""f® I) , r Assenta rnc rrlos Agro indu slriais I Agroindustrial

Se LLlemenlsJ ( RiJ\'la/ Fapesp: Sao Carlos, Bra zil , 2004) ~!lis~, £~Jrl~.?5J:. Tj-;f '7

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