Professional Documents
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Aesthetics of Industrial Architecture in
Aesthetics of Industrial Architecture in
Ljiljana Jevremovic1
Milanka Vasic2
Marina Jordanovic3
1. INTRODUCTION
For the last several decades, industry has been leaving the cities and their metropolitan areas, although the
reasons can be different, the decay of industry has brought the similar problems and processes to the most
of cities worldwide. The derelict land and dilapidated buildings they left, challenge architects, planners,
politicians and all those who are interested in the vitality of own cities. Now there is decades-worth of
achievements ranging from well-publicized projects to those only known by their neighbours. One of the
1
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
е-mail: jevremovicljiljana@gmail.com
2
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
е-mail: milanka.vasic@gaf.ni.ac.rs
3
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
е-mail: marina.jordanovic@gmail.com
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puzzling questions that arose is determining how the redevelopment of industrial sites differs between
countries and regions, especially between developed and developing countries. A known successful
projects show how three powerful forces guiding development today – environmental concerns, renewed
urban cores and historic preservation – work together to redefine the post-industrial city. [1] This paper
tries to put some light into this complex process examining the aesthetic of industrial heritage as a
parameter of the redeveloping projects. Understanding that there are much more important aspects that
significantly shape the redevelopment strategies and projects, here is more concerns given to an idea that
in societies that have not jet faced any of successfully redevelopment, such as Serbia is, is very important
for a start to emphasize the existence of industrial heritage. In some way, it would be necessary to educate
all society, the people, not only professionals, to recognize, to respect and to value own industrial
heritage. The many successful strategies (projects) have entailed decades of effort, multitudes of
consultants, and concerted political will, as well as extensive financial resources, meaning that the
country, city and/or society in this venture cannot get into unprepared and without patience.
Figure 18 – Massachusetts’ Waltham Mills Buildings dates from 1816 (left); Interior of the typical cotton mill factory, Great
Britain, mid-1830 (right)
Most industrial buildings of XIX c. were multi-storied buildings that combined brick or masonry bearing
walls with heavy timber structural frames to obtain the largest column-free interior spaces possible. As
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the ultimate utilitarian places, their design features not only encouraged an efficient work process but
aimed to prevent fires. The fear of fire was so prevalent that insurance companies shaped much of the
early architecture. They discouraged interior wall coverings as well as ornament on building exteriors;
sought open, partition-free interiors to facilitate extinguishing fires; suggested flat roofs and discouraged
the attics; encouraged large windows to facilitate fire suppression; and recommended flat floor areas be
separated from interior stairs. The resulting stair towers that punctuated flat facades punctuated become a
familiar building type. [6] Whatever ornament, if any, was located at the towers, which were sometimes
capped with characteristic roof tops or cupolas to distinguish the owners’ identity. (see Figure 2)
Figure 19- Manchester, NH (USA), Millyard building near the Merrimack River ,1874 (left); Trent Mill, Chadderton, Oldham,
Greater Manchester, England, 1882 (right)
Figure 20- Albert Kahn's Packard Building No.10, 1903 (left); Chrysler's Tanks Arsenal, Warren Township, Michigan,
1941(right)
One of a few architects that were most influenced the aesthetics and development of industrial buildings
and the glorification of the functional design was Albert Kahn. He created the 1903 Packard Building
No.10 (see Figure 3-left), the first automobile factory to use reinforced concrete. The building of 30 foot
spans provided great flexibility for changes in production on the interior. This concrete frame, clearly
expressed on the exterior, had glazed openings to the ceiling permitting as much daylight onto the factory
floor as possible. Kahn designed buildings with an eye toward interior flexibility in order to complement
and enhance the manufacturing process, so the building’s exterior was a continuation of this interior.
During these early days of manufacturing there were two main theories of building for industry – housing
different operations in separate buildings specifically designed for those operations or having the entire
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plant in one building. Kahn preferred the later as it allowed for more flexibility, and due to reduced
number of exterior walls, these larger buildings were cheaper to build. Building factories in which
workflow determined operations demanded flexible layouts that could change as the manufacturing
process changed. Kahn soon championed single-story buildings for their flexible and adaptable use. Light
entered through clerestories or monitors on the roofs which were supported by wide-span structural grids.
(see Figure 4) These buildings required more acreage and also a change material – thus raised the use of
steel. Steel not only was mass produced but could span great distances compared to cast iron or concrete,
thereby providing the flexibility required for the ever-changing manufacturing processes. [4,5]
Figure 21- Albert Kahn's Chrysler Half-Ton Truck Plant - Export Building, 1937, exterior (left) and interior (right)
Electric and coal-fired power combined with advances in mass production developed for the heavy steel
and automobile industries allowed greater flexibility for buildings and their location. Soon the one-story
factory that spread over many acres was seen more efficient than multi-storied buildings. Industry
indelibly changed the landscape and population patterns by moving outside compact cities to where land
was plentiful. This demanded a new and expanded road and rail system for materials and workers.
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Figure 22 - Peter Behrens’ AEG Turbine Factory Berlin, 1907 (left); Walter Gropius and Adolf Meyer’s Fagus Shoe Last
Factory, Alfeld on the Leine, 1911(right)
Exploring how to respond to industry continued at the Bauhaus. Although it had several phases and its
aesthetics approach was not monolithic, its influence is still seen in designers’ responses to mass
production of everyday products. Its machine-celebrating spare lines and structural expression still infuse
discussions of modern design.
Figure 23- Diemme Filtrations, Lugo, Italy, from '60s (left); Saarinen's IBM Rochester building from 1958 (right)
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The end of XX century had brought many causes that leaded to the fundamental shifts in society and,
consequently, shifts in industry and in organizational matrix of the cities. Deindustrialization, share of
total employment and total investments indicated a dramatic decline in industrial growth. Changes in
economy structure, decline in employment in manufacturing, accompanied by rise in employment in
services and other supporting companies. Globalization, economic changes that influenced the urban
structure of cities is not limited anymore to national and regional borders. Production facilities are being
relocated intensively to other regions that offer suitable economic incentives, lower production costs in
form of cheaper labour force and lower taxes. Shifts in business strategies, technical innovations and new
organizational and economical concepts lead to functional concentration, efficient land use and higher
productivity, which cause radical changes in organization of spaces and facilities. Due to the urban
growth, complexes that used to be on the outskirts of the city today are inside urban city structure
(distributive warehouses, industrial buildings, infrastructural facilities...). New business concepts, users’
and citizens’ demands have led to relocation of these functions in new areas, outside the city, leaving
empty sites inside the urban city core. >4@ Political changes, shifts in political systems of many countries
have brought big changes: industry transformation, decay of existing economical and industrial subjects
caused by country transformation into market-driven economy through processes of transition, and raise
of new factories. These processes have left closed, ruined factories and their properties, often in very
significant locations in the cities. The character of all mentioned factors describe their universality, they
exist in high-developed countries as well as in developing countries.
Figure 24 – Interior of Urban Outfitters Headquarters, former Navy Yard in Philadelphia, USA (left); Interior of Residential
Apartment in converted Printing Press factory, Barcelona (right)
The term “industrial aesthetics” can refer to the deliberate exposure of structural and mechanical elements
as well as the repurposing of the objects of manufacture. Industrial architecture and design extolled the
economical use of material and methods of construction that were often not hidden or camouflaged –
from the clear expression of the reinforced concrete frame of the daylight factories to the exposed metal
trusses of steel factory buildings and the early exhibition halls and train stations.
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Today, that approach is being use aesthetically in all types of buildings, not necessarily just factories and
warehouses. Clear expression of structural element, as well as building systems such as mechanical and
electrical services, is developed into its own aesthetic. This aesthetic is clearly exposed when the
nonindustrial Centre Pompidou (R. Rogers & R. Piano, 1977) was opened in Paris, France. Often
compared to the Eiffel Tower, which stunned many at the time because its structure was left exposed, the
building of the Centre Pompidou is all steel frame, ducts and pipes. Famous for its exterior escalator that
climbs up the plaza façade and affords a wonderful view of Paris, the building makes architecture out of
industrial elements, though it is unclear how much of the structure and services are simply “uncovered”
and how much exists for the overall effect and design.
Decades after this trend have started; there are no signs of giving up. In fact, factories continue to be
converted for residential and commercial use, their beams and pipes left exposed. What started as a small
trend among artists in search of large studio space has now mushroomed into a string of conversions into
different uses and scales. The appeal of these buildings as places to live has saved a huge percentage of
the industrial heritage.
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5. CONCLUSIONS
The industrial aesthetic has often been more admired by architects and artists than the public at large;
however, the clean lines and expansive volumes that were an outgrowth of these design ideas now please
the modern eye and aesthetic that can be considered as a key to renovation success. If we perceive and
assess industrial and technical structures from an aesthetic-symbolic perspective, it is clear that the value
of these works is not based only on their functional and technical components, but also derives from their
specific poetry, monumentality and beauty. In contrast to other types of architecture they acquire these
qualities in very interesting forms.
Although, it also seems that the public, as well as the conservation bodies, are still learning to appreciate
the quality of these structures, there are good examples where valuable works of this category is being
assessed and saved from demolition and disappearance. An important element in the structural change of
a former industrial area is the rediscovery of its own past. The examination of the industrial history, that
leads inevitably to an examination of its architectural witnesses. Yet, it is obvious that the public more
appreciate the industrial buildings from earlier history than the one from recent past.
In order to redefine the architectural past as something of value, the term ‘industrial culture’ acquires a
special meaning. The confirmation, examination and presentation of the circumstances enable the history
to be viewed from a different angle. The opening up and development of former industrial areas enables
new forms of public discussion. Today, industrial culture is one of the unique selling points with
particular value. Industrial halls are being transformed into exciting art and cultural sites, residential
premises or attractive commercial space but it is not necessarily the matter of convenient building
conservation. This cannot work like a simple protection of physical structures. The industrial architecture
plays a significant role in new forms of identification with the space, the region and the history.
There are many lessons to be learned about how cities are changing from hubs of industry to redefined
urban centres. While it’s obvious that works for one doesn’t work for all, certain principles crop up
throughout many of the projects. Whether is about the remarking of a harbour or the rebuilding of
dilapidated building, the redevelopment of industrial sites required incredible perseverance, knowledge,
and, yes, a bit of luck.
REFERENCES
[1] Bergeron, L., Maiullari-Pontois, M.T.: Industry, Architecture and Engineering: American
Ingenuity 1750-1950, Harry N. Abrams, Inc., New York, 2000, p. 288
[2] Berens, C.: Redeveloping Industrial Sites – A Guide for Architects, Planner and Developers,
John Wiley & Sons, Inc., Hoboken, New Jersey, USA, 2011, p. 239
[3] Edensor, T.: Industrial Ruins: Space, Aesthetics and Materiality, Berg Publishers, Oxford,
GBR, 2005, p. 197
[4] Elgendy, H., Seidemann, D., Wilske, S.: The role of spatial planning in steering market-driven
urban change of deteriorated urban areas, 42nd IsoCaRP Congress, 2006
[5] Munce, J.: Industrial architecture: an analysis of international building practice, F.W. Dodge
Corp., the University of Michigan, 1960, p. 232
[6] Nelson, G.: Industrial Architecture of Albert Kahn, New York, Architectural Book Publishing
Company, Inc., 1939, p.175
[7] Stratton, M. (ed.): Industrial Buildings – Conservation and Regeneration, Taylor & Francis e-
Library, 2005, p. 274
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IV INTERNATIONAL SYMPOSIUM FOR STUDENTS OF
DOCTORAL STUDIES IN THE FIELDS OF CIVIL
ENGINEERING, ARCHITECTURE AND
ENVIRONMENTAL PROTECTION
Marina Jordanović1
Ljiljana Jevremović2
Milanka Vasić3
1
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Niš, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email: marina.jordanovic@gmail.com
2
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Niš, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email: jevremovicljiljana@gmail.com
3
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Niš, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email:milanka.vasic@gaf.ni.ac.rs
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