Page 44 - Beyond Decommissioning

The fundamentals of industrial redevelopment 25

More specifically, the old industrial buildings and sites have certain features that
give them a peculiar atmosphere. The experience of such places goes from the whole
atmosphere to the smaller details that shape it. Brownfields draw attention in the form
of mixed feelings of fascination and rejection. A brownfield that has been abandoned
“expresses the withdrawal of a social world” and unclear prospects. So, the emptiness
that depicts former industrial sites and buildings can cause an atmosphere of abandon-
ment. Of course, the individual reaction to this sense of abandonment varies widely.
Architects, for example, have a working relationship to chaos. The same atmosphere
of abandonment can then inspire and turn into a sense of resurgence (Van Gendthallen
Amsterdam, 2015).
It is interesting that the renovation of many industrial sites has been initially pro-
moted by artists. Often encouraged by the cheap prices of these dilapidated areas, and
motivated by their imaginative prospects, artists have transformed these areas into
centers of artistic activities and interactions, for example, galleries, performance
places, studios, cafes, etc. Through the visualization of the identity and culture of a
place, stimulated by artistic initiative, industrial buildings and sites were made more
attractive, enhancing larger investments (University of Texas, n.d.).
What is the reason for the link between adaptive reuse and the cultural sector? One
answer is pragmatic: the openness of industrial spaces best fits cultural uses; thus, such
spaces can be readily used for exhibitions, workshops, and studios. But another answer
has to do with the architectural style of adaptive reuse. Adaptive reuse projects are
never repetitive or dull. In adaptive reuse, a dialog opens between the past and the
present. Old and new things merge and contrast, which is attractive and imaginative.
Old industrial features are stressed by adaptive reuse: brick walls are left raw, columns
and beams are exposed, and concrete surfaces are left untouched. Traces of the past are
not erased, but amalgamated in the new use. By contrast, modern materials, like glass
and metal, are often chosen for new building elements, like stairways or floors. It is the
clash of old and new that attracts people committed to culture (Hartmann et al., 2016).
Over the last 30–40 years, new destinations appeared in tourism because of the ever
growing competition and new economic priorities. In some cases, places that were
considered unattractive earlier—like former or even operating factories and other
industrial facilities—became touristic attractions. The cultural tourism, often associ-
ated with the revival of industrial heritage, has its origins in France, where, since
1960, it has taken the form of eco-museums for the knowledge of industrial practices
and community life. This concept was later adopted by a number of Western countries,
depending on the factors such as type and size of the industrial building, location,
financial support, and logistic and commercial priorities. The increased number of
industrial buildings turned into museums, together with the booming of themed itin-
eraries for the study of industrial activities (like The European Route for Industrial
Heritage (ERIH)) witness the cultural and social benefits stemming from the integra-
tion of industrial heritage in social life through tourism (Trifa, 2015). University of
Texas (n.d.) reads: “Post-industrial remains were not created to possess the values
of beauty but still seem inspiring to many of us.” This is a part of an ongoing cultural
change.