Page 43 - Beyond Decommissioning

24 Beyond Decommissioning

modern “Nutzstil” (functional style). He made clear that “modern life” required a fit-
tingly “modern” design language, one free from the burden of historical models where
function, need, and construction would be given strict consideration. “Necessity is the
only mistress of art” was Wagner’s motto.
The interiors were tailored to the needs of the emperor, which meant Wagner could
justify the rich d ecor as functional—and therefore as modern. A painting on the rear
wall shows “A View of Vienna from a Balloon at a Height of 3000 m,” so merging
industrial progress, architectural beauty, and imperial prestige. From a loggia, two
stairwells—now closed—for the exclusive use of the emperor led to the train platforms
(Wien Museum, 2018).
The post-World War II years saw a major change. The new materials (e.g., plastic)
have shown poor resistance to deterioration. Although the 1950s and 1960s has pro-
duced some great works of industrial architecture, they have been poorly appreciated
by the general public: this contemptuous attitude continues in some segments of the
general public to this day. This is especially due to the dullness and poor quality of a
large part of the production of those years. The awareness of the value of these struc-
tures is urgently needed to preserve the fragile balance on which their appeal, if any,
rests. Besides, industrial heritage from this period is the greatest and commonest
worldwide, although it is not yet perceived rightly. In the lack of internationally
accepted evaluation criteria for the architecture of the 1950s and 1960s, there is a con-
crete risk that an entire generation of buildings may disappear forever.
Compared with other forms of architectural heritage (e.g., Renaissance or Greek-
Roman buildings), considered to be of the greatest cultural impact, the industrial
spaces are often considered mediocre and devoid of meaningful qualities. This attri-
bute is associated with the society’s bias about the feeling of beauty. The unconven-
tional aesthetics of the industrial buildings, often simple and straight, with no
ornamentation, has been until recently crucial in determining the social attitude to
these buildings. However, an aesthetic reinterpretation has taken place overtime. Cur-
rently, industrial structures are viewed by many as artistic units. In addition, regardless
its cultural component, the built environment can be appreciated in terms of its reuse
functions. The conversion of industrial buildings enhances their heritage values, con-
tributing to social recognition and reinforcing the attached values, while in parallel
opening the building to community’s development (Trifa, 2015).
There is a concept often associated with the value of old industrial buildings: atmo-
sphere (elsewhere in this book I have used synonyms: charm or fascination). Cur-
rently, most people seem to appreciate these buildings, and even call them
“beautiful.” While atmosphere is impossible to define or quantify, it is, however, a
tangible, concrete notion accessible to everyone. Besides the five traditional senses,
factors like gravity, scale, illumination, and orientation contribute to the atmosphere.
It is also possible to establish a link between atmosphere and history and historical
buildings. It has been stated that although atmosphere is based on the subjective
and emotional feelings, it is activated by such objective elements like materials, spa-
tial proportions, degradation of materials, connection details, relations with other
buildings, rhythm, light, etc.