REUSE OF INDUSTRIAL HERITAGE: For Residential and Working Purposes in Poblenou

REUSE OF INDUSTRIAL HERITAGE

For Residential and Working Purposes in Poblenou

Alp Balcı

Abstract

Adaptation of existing buildings for new functions is not a new subject. The theoretical approach

towards adaptive reuse was well established and theoretically formulated at the beginning of the 19th century and it is used for many kinds of existing old or out of function buildings. Industrial heritages are one of these kind of buildings. They consist of remains of industrial culture with historical, technological, social, architectural and scientific value. To conserve and to study these symbols of past human activities is very important for current and future generations.

This paper focuses on Poblenou district in Barcelona which is already transforming from

industrial area to new business and creativity centre of the city. The project part of thesis is thought in La Escocesa Factory. This factory is already used as a work place for local artists. The project aim that reuse this factory for residential and working purposes of those artists.

Keywords

industrial, heritage, building, factory, transformation, adaptive, reuse, architecture, poblenou,

barcelona

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TABLE OF CONTENTS ABSTRACT KEYWORDS CHAPTER 1 - INTRODUCTION

1.1. General Information

1.2. Problem Statement

1.3. Research Methodology CHAPTER 2 - INDUSTRIAL REVOLUTION IN BARCELONA

2.1. Prelude of Modern Industry in Barcelona

2.2. Industrialization Era of Poblenou

2.3. Deindustrialization Era of Poblenou

2.4. Project of 22@ CHAPTER 3 - INDUSTRIAL HERITAGE PRESERVATION

3.1. Defining Industrial Heritage

3.2. Preservation of Industrial Heritage

3.3. Preservation Methodologies

3.4. Issues Effecting Preservation of Industrial Heritages

3.5. Impact of Industrial Heritages on Urban Context CHAPTER 4 - ADAPTIVE REUSE

4.1. Defining Adaptive Reuse

4.2. Adaptive Reuse for Industrial Heritages

4.3. Adaptive Reuse Methodologies

4.4. Impact of Adaptive Reuse on City Development CHAPTER 5 - LA ESCOCESA FACTORY

5.1. Art Factory ‘La Ecocesa’

5.2. Context Analyses CHAPTER 6 - CASE STUDIES

6.1. Theatre Sala Beckett / Flores & Prats

6.2. Loft 29 / Jordi Garces

6.3. Cristalerias Planell Civic Centre / H-Architects CHAPTER 7 - “LIVING ART” PROJECT PRESENTATION CHAPTER 8 - CONCLUSION LIST OF IMAGES BIBLIOGRAPHY 3

CHAPTER 1 - INTRODUCTION

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1.1. General Information

‘the production of more variegated spaces within the increasing homogeneity of international

History is not only battles, wars, deals exchange’. Therefore, heritage has become a major

or constitutions, but also about the evolution of resource for international tourism by providing human settlements, their daily activities, their visitors with authentic cultural experiences. [1] living environments, their traditions, their working conditions, etc. Especially, the related universe

In consequence, built industrial heritage

of their working environment is considerably has become a valuable asset to be used to regenerate relevant, as in many aspects represents more than declining urban areas and promote a more one generation of people that spent a substantial desirable place image. Since historic buildings part of their lives within those environments. contribute immensely to the attractiveness, Generally, these working environments are distinctiveness and identity of places. In addition industrial buildings from 18-19th century. These to that while moving towards a more sustainable historic buildings give neighborhoods their society, demolition of these culturally and distinct character and at the same time provide historically significant buildings is now hard to a tangible connection to the past. However, their be justified more than ever. Current urban polices history and their settings are often ignored and strongly support the concept of preserving and not honored as part of our cultural heritage.

reusing these buildings and their surroundings to create more sustainable, high quality, mixed use,

In recent years, the reuse of built high-density and historic neighbourhoods in a

industrial heritage has been a common practice more continental style in contrast to the Angloin a growing number of cities in industrial American city model. [2] developed cities around the world. This has become particularly noticeable in terms of recent 1.2. Problem Statement and ongoing urban regeneration schemes. The gradual acknowledgment that ‘culture can play a

As cities face fast rapid growth, the infill

catalytic role in urban regeneration’ has changed expansions for abandoned industrial sites become the perception towards industrial built heritage. more and more attractive to the development As a result of the increasing competition between community. These sites are usually centrally cities at the global scale, cities try to highlight their located in large cities such as Barcelona. They unique characteristics and establish a specific are often located next to main transportation place identity to attract investment, tourists and routes, surrounded by the neighborhoods residents. Heritage is widely used to construct and that have grown up around them. In the midpromote distinctive representations of a place. twentieth century, the increase in automobile Culture has been promoted as a major tool for use and construction of major highways created [1] HARVEY, D. (1991) The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, Wiley-Blackwell, Cambridge, MA [2] BINNEY, M. (1990) Bright Future: The Re-Use of Industrial Buildings, Save Britain’s Heritage, London

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alternatives to traditional rail road transportation problem and thesis statements. Second chapter and made it possible for people to live and work explains meeting between modern industry further away from the city core. Suburbs grew and city of Barcelona. Third chapter contains and industries moved out of the city, leaving definition of industrial heritages and their downtown industrial sites abandoned. Buildings preservation methodologies. Fourth chapter that had served industries in the cities now seem explains adaptive reuse term and its application to be interlopers in their own neighborhoods. It criterias. Fifth chapter contains some case study is important to look at the development of the projects about same topic from Barcelona. Sixth protection of the twentieth-century built fabric chapter examines housing traditions and design in order to determine the most appropriate way ciriterias in Barcelona. Seventh chapter is about to continue to aproach conservationand reuse of selelcted site and its analyses. Finally, chapter these buildings. Adaptive reuse is a strategy that eight explains project part of thesis. has been used increasingly for protecting the historical buildings and sites; and while in most of the projects where adaptive reuse practice is being applied the spirit of place is often missed.

1.3. Research Methodology

The objective of this thesis is to investigate

the relationship between new and old in adapted and reused historic industrial buildings and sites in Poblenou, and apply a adaptive reuse project onto selected site. Preservation of the abandoned La Escocesa Factory building will be carried out by the theoretical concept of the adaptive reuse strategy. The practical approach is to demonstrate that an understanding of the original function, the formal organization of the site, the use of materials, and the sustainability of industrial buildings in Poblenou can provide viable strategies for reuse, while making the heritage buildings viable once again in their new functionality.

The first chapter is an introduction to

the research that includes general informations,

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Fg. 1 “An Abandoned Industrial Building in St. Petersburg�

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Fg. 2 “Location of Provençals del Poblenou District”

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CHAPTER 2 - INDUSTRIAL REVOLUTION IN BARCELONA

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2.1. Prelude of Modern Industry in Barcelona

The rapid growth of the railway system,

first appeared in Catalonia in 1848, liberated

Barcelona was Spain’s leading industrial our industry from such proximity to ports and

city for years. As a consequence, the first railway consolidated the industrial axis along some rivers line of the entire country was established there in such as Llobregat, Cardener and Ter. The appearance 1848. Cuba was the primary focus of the Catalan of the textile suburbs a new model of territorial commercial activity, and the raw material imports organization of industry which kept away from from the country fueled the prominent fabric the cities as well as from the rural industry. The industry.

industrial revolution initiated the enlargement of different sectors of the Catalan industry, which

The loss of the colonial market and the was at the beginning restricted only to the cotton

war against Napoleon meant a serious restraint industry. Within the same textile sector, the to the industrialization process in Catalonia. development of the wool sector also took place, Afterwards came instability created by the Carlist which concentrated basically in the cities of wars. In spite of these negative historical events, Sabadell and Terrassa. In 1832 the first mechanic during the third part of the 19th century, a real loom for wool weaving was installed in Sabadell industrial revolution took place in Catalonia. In and in 1838 the first steam engine. Although 1828 the first mechanic loom was installed in a basic metallurgy was never developed, there Sallent and in 1832 the first steam engine staned was a considerable increase of transformation working in Barcelona. The passage or production metallurgy, which devoted mainly to the to mechanical industry revealed a great shortage production of textile machinery. Some of the of basic natural resources in Catalonia, specially old activities, such as paper manufactures and of coal and iron. Between 1841 and 1851, a lot cork industry, attained a completely industrial of mining companies were created in Catalonia character. [4] with very big investments but with completely negative results. The lack of iron prevented the 2.2. Industrialization Era of Poblenou establishment of a basic siderurgical industry, but on the other hand steam engines worked without

In the 12th and 13th century what we

any trouble with imported coal. Industrial know today as Poblenou was a humid puddly mechanization also introduced new aspects in zone which was used for economical profits with location tendencies. The rivers, which provided pastures of cattle destined to all Barcelona. With hydraulic energy since remote times, increased that activity it started to appear country houses. considerably in their importance. On the other The people living in that place, therefore, were hand, import of coal was always conditioned to only working in agrarian activities until the 18th the nearness of the ports. [3]

century.

[3] MARFANY, J. (2010) Is It Still Helpful to Talk About Proto Industrialization? Some Suggestions from a Catalan Case Study, Economic History Review, London [4] PUJADAS RUBIES, R. (1986) Articles of the Catalan Society of Geography the Catalan Industry, Diputacio Barcelona, Barcelona

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In the first third of the 19th century the He named that zone Icària and wanted to open

Industrial Revolution started in the district of the Eixample Streets to the important industrial Sant Marti, where the Poblenou is emplaced district of Sant Martí.

Because of many

now. It was the chosen place in order to set up inconvenient such as the presence of big industrial industries for many reasons such as: its proximity sites, the discontinuities of the district and the to Barcelona, the abundance and facility of presence of the railway lines, this plan was not providing water, the cheap food and the cheap done until the last years of the twentieth century. lands. So, Poblenou became a place that stood out for industrial activities such as the whitewash,

In 1870 the number of factories in Poblenou

the pattern and dry-cleaning. Consequently, grew a lot, and with that, it also raised the number this industrial development caused a parallel of population and houses. The majority of the demographic increase and construction of new houses built around the factories were very humble houses. Between 1840 and 1850 the concentration and with poor hygienic conditions. At work, the of new homes was named Taulat o Pueblo Nuevo. working conditions were also poor as workers had long working days, low salaries, insufficient

In 1859, Ildefons Cerdà established a food, lack of hygiene and helps for illnesses and

layaout plan of Barcelona that included Poblenou. disabilities. Consequently, the workers started to

Fg. 3 “Poblenou Distirct in 19th century”

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organize in workers associations. Therefore, the due to the impoverishment of the majority of labour movements started to gain importance at population and the impossibility of exporting that time.

products.

At the beginning of the 20th century

In 1970’s the crisis of the textile sector

Poblenou became an industrial neighborhood started, so many businesses disappeared and the and the scenery of civic discontentment and hard unemployment rose. The problems of the times with succession of strikes and attempts. neighborhood

also

were

affected

by

the

For instance, Poblenou suffer the revolutionary demographic increase caused by the migratory outbreak that happened in Barcelona during movements during the Francoism period. Despite the period now known as Tragic Week in 1909. this, during this decade the neighbors associations Therefore, religious buildings and a police station started to demand a better life in Poblenou were burned.

trough different campaigns. With the start of the democratic transition, Poblenou seemed to start

As it was an industrial neighborhood, to recover and gain stability and better conditions

Poblenou was characterized by its political and for their neighbors.

But the economic crisis

union activity. In 1931, during the Second Spanish started and many important factories started to Republic, Poblenou was a republican an anarchist close down. Until 1990 more than 1300 industries neighborhood. The labor union known as CNT closed. Poblenou as an industrial neighborhood gained importance in the factories and workshops. suffered a slow transformation but continued in And in 1936 when the Civil War started it was time. another time scenery of revolutionist episodes.

And, what is more, Poblenou becomes a zone of

After a period of decay, Poblenou

war factories, with an abundance of metallurgic underwent a further dramatic transformation, industry. [5]

with the 1992 Olympic Games being the main trigger for this, recovering the area and opening

2.3. Deindustrialization Era of Poblenou

the entire city to the sea. Most of the factories and train lines next to the seafront were torn down

In 1950’s, some buildings were constructed while those in good shape and located throughout

in order to recover the cultural activity. It was the district were mostly preserved. Many new also the years when two new parish churches areas were developed such as the Vila Olímpica were built and Santa Maria was reconstructed. (the residential area for the athletes during the The economic decrease of these years caused the Olympics), and new artificial beaches were built. closing of many big factories, because of the lack The Vila Olímpica also became the first residential of first materials or fuel. These closings were also area built next to the city’s coastline, besides the [5] MOUCKLEY. B. (2010) Poblenou Guide, SuiteLife, Barcelona

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old fishing neighbourhood of Barceloneta. Also,

As a project of urban refurbishment plan,

in 1999, the Diagonal Avenue, which previously it answers to the need to recycle the obsolete stopped at Glòries Square, was stretched to the sea industrial fabric of Poblenou quarter, creating and the new Diagonal Mar and Fòrum areas. [6]

a diverse and balanced

environment with

production centres, social housing, facilities and

According to Antoni Luna, Professor at green space aimed at improving both the quality

Universitat Pompeu Fabra (UPF), “The Olympics of life and of the workplace. represent a key moment which changed the image of the entire city. They were a project to

As a project of economic revitalization

which Barcelona has aspired since the 1930s plan, it offers transform the Poblenou District and especially after the end of the dictatorship, into an important scientific, technological, and considering it an excuse to carry out important cultural platform, making Barcelona one of the infrastructural works”. “When Barcelona finally most dynamic and innovative cities in the world. succeeded in hosting the event, the City Council mostly promoted the construction of small buildings and infrastructure. The Olympics had a positive impact: they allowed the creation of a maritime front and artificial beaches”, Luna said.

“Before the Olympics, there was just a small stretch of beach: the sand and the water were dirty and small restaurants were on the sea front, blocking access to the sea. Prior to 1992, Barcelona was a city with the sea at his back. After the Olympic Games, it became a city which looks towards the sea and which is very attractive for its coasts”, he added.

2.4. Project of 22@

The 22@Barcelona Project, approved by

the Barcelona City Council in 2000, involves the transformation of 200 hectares of industrial land in the center of Barcelona into an innovative productive district, aimed at concentrating and devoloping knowledge intensive activities.

[6] MOUCKLEY. B. (2010) Poblenou Guide, SuiteLife, Barcelona [7] 22@ Barcelona (2010), 22@ Barcelona Project Presentation Dossier, Ajuntament de Barcelona, Barcelona

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As a project of social revitalization

plan it favours the networking of the different professionals working in the district and encourages and supports innovative projects that foster collaboration among companies, instutions and residents as well as social educational and cultural organizations.

Project of 22@Barcelona enables the

creation of up to 3.200.000 m2 of new business area, 114.000 m2 of new green spaces, 4.000 social housing, transforming the old industrial land into an area of the highest environmental quality. [7]

Fg. 4 “22@ Project Working Area�

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Fg. 5 “Context Analysis of La Escocesa Factory in terms of Transformed Industrial Buildings”

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CHAPTER 3 - INDUSTRIAL HERITAGE PRESERVATION

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3.1. Defining Industrial Heritage

they had not been regarded or respected as components of heritage, and also because their

The Industrial Revolution profoundly original uses had been considerably altered and

modified landscapes and life styles. The massive the technology they used, although innovative at means employed to extract raw materials and the time they were built, had not held up under exploit the minerals and agricultural products long-term pressures. resulted in great achievements and grandiose constructions, testifying to the creative genius of

While preserving industrial buildings

humankind. Guardians of the past, industrial sites may be seen as a positive step towards heritage testify to the ordeals and exploits of those who maintenance

generally,

the

growing

focus

worked in them. Industrial sites are important on industrial architecture is not remarkable milestones in the history of humanity, marking considering the fact that appreciation for humanity’s dual power of destruction and creation architectural styles related to distinctive historical that engenders both nuisances and progress. They periods has increased over the years. Individual embody the hope of a better life, and the ever- iconic buildings that have been singled out greater power over matter. The last 30 years have as unique in some way, for instance as being brought increased awareness of the importance of representative of a significant architect, are industrial history in understanding heritage. [8]

frequently the primary centers of attention of preservationists. This is true especially as they

It is importatnt to note that Industrial have become endangered due to breakdown of

Heritage exists in all phases of human materials or negligence of maintenance, or due to development. Therefore it is not only found in the physical or functional obsolescence as they edge 19th and 20th centuries, but as well for example in towards the half-century mark. [9] prehistoric, medieval times.

3.3. Preservation Methodoligies 3.2. Preservation of Industrial Heritage

Concepts of preservation that affect design

At the end of the 20th century, the methodologies for industrial heritage buildings

architectural

inheritance

of

the

modern must be discussed, and any discussion should

movement emerged as more of a threat than outline the guidelines to which interventions at any other time. The built heritage celebrated must adhere in relation to the historic building. As the energetic spirit of the Machine Age. Many published in the Standards and Guidelines of the significant industrial buildings had already been Conservation of Historic Places in Canada (2003) destroyed or had changed beyond recognition at there are different approaches to treatments for the end of the 1980s. This was primarily because the conservation of industrial heritage buildings; [8] The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2003) [9] PRUDON, T. H. M. (2008) Preservation of Modern Architecture, Wiley, Hoboken, NJ

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these can be broken down into four categories:

The obsolescence of modern industrial

preservation, rehabilitation, restoration and architecture is also definable in physical reconstruction.

In

response

to

functional terms of materials and building systems. The

exigencies of buildings from the more recent past, experimentation and new developments in these rehabilitation emerges as the most appropriate fields, prominent in the 20th century, set the strategy. It focuses on the process that created the foundation for the post-war construction boom. building rather than on its individual, tangible Physical obsolescence is a much more critical components. Furthermore, it is suitable that condition for Modern industrial architecture than buildings with architecture rooted to a large degree for traditional industrial buildings. in functional principles find uses that continue their original practicality. One approach could

Design intent:

be that the appropriate rehabilitation of heritage

Continuity and ability to identify the

building through compatible programs should original design purpose is of the essence in the be consistent with the original design intent; this preservation of modern industrial architecture. approach holds out promise for the continuity Original design intent can be defined as the visual of that intent.Traditional or older buildings can and conceptual interpretation of the designer’s be “rehabilitated’; industrial buildings undergo creativity; as such, it influences both the building “preservation”. It should be considered essential and its construction at the same time. An in conservation to find a use for a building that is acceptance of greater reliance on the intangible compatible with its original one, and in this same diverges from conservation preservation practices: spirit, and that will continue its functionality. it demands the association of definition with Conservation must involve more than just keeping authenticity and, to a lesser extent, with material a structure standing. [10]

preservation. On the other hand, in traditional preservation practice, the original material itself

3.4. Issues Effecting Preservation of Industrial and its presence are noticed as the most authentic Heritages

characteristic; accordingly these need to be preserved in Modern architecture. Parameters

Functionality and obsolescence:

The main concerns in the preservation of are essential; however, the priority remains with

of both design intent and material authenticity

modern industrial architecture are functionality, design itself. [11] obsolescence and life span. These concerns can be substantially defined with regards to function- 3.5. Impact of Industrial Heritages on Urban specific designs, taking into account sudden Context changes which might affect the specific function of those architectures.

The character of the city is determined by

[10] Standards and Guidelines for the Conservation of Historic Places in Canada (2003) [11] [12] MOSHAVER, A. (2009) Re Architecture: Old and New In Adaptive Reuse of Modern Industrial Heritage, Ryerson University, Toronto

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the experience of the urban fabric; it is built layer certainly desirable and must be consistent with by layer, carrying forward the testimony of each their surviving physical context. [12] subsequent generation. When we talk about the significance of preserving the man-made setting, we must also think about ways to sustain it in the future. Our environment is endangered when a contemporary improvement fails to appreciate a building’s “architectural” value. So, it appears that principles of “past” and “progress” work together in the same context; this raises a couple of questions concerning architectural reactions and how the value of the built environment can be demonstrated within a context of change.

Urban transformation is an unavoidable

process of urban growth. It is one that must be appropriately managed so as to sustain the overall cultural nature of a place, which is termed its ‘sense of place’. In practice, urban conservation is perhaps today’s most visible strategy for such management. It comprises the concepts of managing the pressure between continuity and change in the city and of recognizing the sense of a place and establishing precedents for the creation of the long-term characters for the urban context.

The destruction of urbanism is a major and

grave change that has taken place in the recent past, and one that we must be aware of. The critical issue is how to attain urban context value that would both improve local character and support a sense of community. We will not be so naive as to assume that the entire built environment can be protected and secured. However, when working with heritage structures, this preservation is

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CHAPTER 4 - ADAPTIVE REUSE

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4.1. Defining Adaptive Reuse

4.2. Adaptive Reuse for Industrial Heritages

Adaptive reuse usually refers to the reuse of

Industrial

structures

are

remarkable

sites or buildings for purpose other than they were architecturally for their dimension and simple originally built or designed for. These new uses ornamentation, and also for their efficiency. can offer economic, social and cultural benefits to Another important aspect is that worker safety is their environments. As well, reuse is one approach a prime criterion for the construction of industrial to sustainability since it conserves original durable buildings. North American industrial buildings building materials. Adaptive reuse deals with of the 19th and 20th centuries are leftovers from issues of conservation and preservation of built vernacular architecture that served a practical heritage as well as strategies and policies. Once old purpose rather than an aesthetic one. Modernstructures become unsuitable for their functional heritage industrial buildings are deserving of and programmatic requirements, adaptive reuse preservation and a new life. Many older industrial becomes a sustainable option for reclamation of buildings have been ignored because they had sites. [13]

no association with famous people, unlike some palaces and castles that have been carefully

The urban areas that mostly became preserved. Many industrial buildings continue

subjects to adaptive reuse in the process of to be ignored by much of the conservation development of the city in the 20th century community because they are still considered included endless number of industrial sites and as nuisances and eyesores. They are frequently their buildings due to the fast development of unnoticed also because their environment has industry and technology that forced the industrial deteriorated, the landscape is contaminated, processes to move further to the urban periphery and it is considered that their architecture is away from the city center. Therefore, in the unexceptional. This attitude ignores the notable context of urban development, adaptive reuse detailing, character-defining elements, and careful turns into an approach to urban renewal where use of public spaces usually found in industrial historical industrial facilities being that have being complexes. [15] abandoned and neglected remain the carriers of social meaning. Heritage buildings are physical 4.3. Adaptive Reuse Methodologies repositories of collective memory embedded in the place, in the obsolete infrastructure and

Adaptive reuse is regarded as an essential

the abandoned open spaces once preserved strategy of cultural heritage in current preservation and retrofitted. They represent social value that theory and practice. Since prehistoric times, there celebrates intangible cultural heritage embedded has been modification of buildings to adapt to in the historical material of the built form. [14]

changing demands; however, it is only recently

[13] The Royal Australian Institute of Architects (RAIA) (2011) New Uses for Heritage Places [14] LYNCH, K. (1972) What Time is This Place, MIT Press, Cambridge, MA [15] MOSHAVER, A. (2009) Re Architecture: Old and New In Adaptive Reuse of Modern Industrial Heritage, Ryerson University, Toronto

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that different strategies towards adaptive reuse

Strategic

approach:

The

strategic

have been developed. After review and evaluation approach concentrates on the processes and of contemporary literature on the adaptive reuse strategies used for adapting important structures. of heritage buildings, we can identify three main Machado’s essay ‘Architecture as Palimpsest’ strategies for heritage conservation: typological, describes what he calls ‘some pre-theoretical “suggestive material” that could be used as ideas

technical and architectural. [16]

to consider what is particular to remodeling’. He

Typological approach: ‘A New Use for talks about a sequence of metaphors to propose

Old Buildings’ by Cantacuzino was the first various potential methods of remodeling. [19] publication on adaptive reuse. Its introductory essay discusses the history of adaptive reuse and 4.4. Impact of Adaptive Reuse on City its role within current conservation practice. It Development goes on to give a variety of examples from all over the world; these examples are presented according

An increasing number of cities are

to building type before adaptation. A number of initiating holistic policy approaches to decrease authors including Douglas followed this strategy and revitalize their derelict or underutilized of creative re-use of buildings; he also organized a heritage industrial structures. An option for our section of his broad work on building adaptation ever-growing cities, adaptive reuse is a sustainable according to the typology of the building. [17]

strategy for existing structures and materials.

One controversial concern in contemporary

Technical

approach:

Several

writers urban expansion is the adaptive reuse of aged

considered building adaptation as mainly a urban industrial sites or structures. These sites technical matter. Also, some ‘guidebooks’ have are known as brownfields instead of greenfields been written regarding how to decide on a new due to the fact that they may contain chemical function for adapted buildings. ‘The rehabilitation contamination; it is of course necessary to deal and re-use of old buildings’ by Highfield with this problem before the structures can be put published in 1987 is a booklet in which the to residenti- al or commercial use. A successful author first explains the benefits of rehabilitation. adaptive reuse project can offer growth and also He differentiates domestic and nondomestic bring heritage tourism to its city and new life to buildings and in a technical chapter he discusses its neighborhood. [20] the upgrading of fire resistance, thermal function, acoustic performance, elimination of damp

The particularity of our times must be

infiltration, condensation and timber decay; at the considered in the same way as is historic context; end is a compilation of some precedents which he we must project it into the future so that it will be explains mainly from a technical point of view. [18] able to add new components to the historic fabric.

[16] CANTACUZINO, S. (1989) Re Architecture: Old Buildings / New Uses, Abbeville Press, New York, NY [17] DOUGLAS, J. (2002) Building Adaptation, Butterworth-Heinemann, Oxford [18] STRATTON, M. (2000) Industrial Buildings, Conservation and Regeneration, E & F N Spon, London

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In recent years our urban contexts suffered a great deal of damage because of misguided guidelines that refer to “the architecture of our time”. While it’s obvious that our opinions of the art and architecture of the past are unavoidably influenced by our concern about the present, we should try to set aside for awhile our obsession with applying “the architecture of our time” and appreciate historic sites as living entities that can grow and adapt without losing the character that makes them worthy of conservation and that can offer models for contemporary construction. [21]

Fg. 6 “The Silo by COBE Architects”

[19] MACHADO, R. (1976) Old Buildings as Palimpsest, Towards a Theory of Remodelling, Progressive Architecture [20] BERENS, C. (2010) Redeveloping Industrial Sites: A Guide for Architects, Planners, and Developers, John Wiley & Sons, Hoboken, N.J [21] SEMES, S. W. (2009) In Institute of Classical Architecture and Classical America, W.W. Norton & Co, New York, NY

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CHAPTER 5 - LA ESCOCESA FACTORY

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Fg. 7 “A Street Art on the wall of La Escocesa Factory”

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5.1. Art Factory ‘La Escocesa’

Barcelona City Council is currently working on an architectural project for the refurbishment of

La Escocesa is a former industrial complex the space. [22]

located in the district of Poblenou, Barcelona.

The development was initially dedicated to the production of chemical products for the textile industry, and dates back to 1852. Since 1999 it has become a creation space and meeting point for artists, which had previously been in short supply in Poblenou and other parts of the city. Hundreds of artists and craftspeople from different disciplines have since worked in its facilities.

In 2006 the real estate company Renta

Corporación purchased La Escocesa to build offices and homes and the artists were evicted from the factory, which was left completely empty by the end of 2007. The same year the Barcelona City Council approved a plan for the renewal of La Escocesa, which was catalogued as Industrial Heritage. Two of the buildings in the complex, a total of 2400 m2 of the factory, were established as devoted to public use. In the Strategic Cultural Plan of Barcelona, 2006, the ‘Factories for Artistic Creation’ programme included La Escocesa as part of the project.

In early 2008, the City Council gave

provisional management of space to La Associació d’Idees, a group of artists from different disciplines with a long history of regular work in the factory.

These same artists are currently continuing their project of the self-management of the space by offering studios for artists at a low cost, and by organizing activities in the neighbourhood.

[22] Fabrica de Creacio (2012) La Escocesa Factory, Retrieved 22.05.2019, from https://www.laescocesa.org/en/paginas/la-escocesa

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Fg. 8 “Current Situation of La Escocesa Factory”

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Fg. 9 “Context Analysis of La Escocesa Factory in term of materials and heights”

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CHAPTER 6 - CASE STUDIES

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6.1. Theatre Sala Beckett / Flores & Prats

Location: Barcelona

Project Year: 2016

Sala Beckett / Obrador Internacional

de Dramatùrgia is a place not just to perform contemporary theatre but dedicated to the formation of young dramaturges, giving them the possibility to put in scene their plays for the first time. Sala Beckett is also a place were the most renowned Catalan dramaturges have studied, and is constantly exchanging workshops and

Fg. 10 “Former Situation of Sala Beckett”

seminars with many other countries in Europe and America. Founded 20 years ago by SanchisSinisterra as Teatro Fronterizo, is today a reference in the drama world in and outside the country.

The new building will maintain the spatial

characteristics of the original building and will grow on top of it to give space to the new programme.

With this transformation of the existing

building, old and new will work at the same time:

Fg. 11 “Current Situaton of Sala Beckett”

it will be a place where one will find signs of previous occupations, but the whole building will be actualized for the new use.

The result is not a piling up of programme

but something else: in its interior an enormous vestibule connecting the three levels, and outside, a big new roof that transforms the old “Cooperativa” into a big house: The New House for the Dramaturges.

[23]

“The ruinous state in which we encountered was of interest, not because we wanted to restore it, but rather to take the ruin forward and make it a participant, with its unfinished character of superimposed periods, in a new reality that would continue to be updated on this foundation. The challenge of the project is therefore to adapt the building to its new use without banishing its ghosts.” Flores & Prats

[23] Flores & Prats Architects (2016) Sala Beckett / Obrador Internacional de Dramatùrgia, Retrieved 22.05.2019, from http://floresprats.com/ theatre-sala-beckett/

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Fg. 12 “Ruined Ba

34

ar of Sala Beckett�

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6.2. Loft 29 / Jordi Garces

Location: Barcelona

Project Year: 2009

Composed of a set of 5 buildings that

made up the industrial area , the result is 29 exclusive lofts in which attention has been paid to the original elements , such as volumetry, exposed brick, the set of facades, the heights, the windows of large dimensions and structural elements such as old wooden trusses or wrought iron.

There are seven different types by size and

distribution , with surfaces ranging from 100 to 240 m2 divided into one, two or three levels.

These are absolutely diaphanous spaces that grant total flexibility of use. A very special project that offers the possibility of living in a historic building in one of the most thriving areas of Barcelona and next to the sea, a fully urban building with summer residence ingredients.

In an antique sugar factory the project is

comprised of non-conventional buildings aimed at a special client, both dynamic and progressive.

There has been a clear focus on obtaining a finished product both high-quality and unique in nature.

The project took hold in the building elements of the original industrial space. The warehouses were “sliced” vertically following the rhythm of the roof trusses, converting each segment in twoand three-storey lofts. The existing buildings of various levels were reassigned large, open-space single-level units. [24] [24] Garces & Deseta & Bonet Architects (2009) 29 Non-Conventional Housing, Retrieved 22.05.2019, from http://www.garces-deseta-bonet. com/portfolio_page/29-habitatges-no-convencionals/

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Fg. 14 “Indoor Space of Loft 29”

Fg. 13 “Inner Facade of Loft 29”

The spaces are defined by the inhabitant. Like a blank canvas, space is left for improvisation. At the same time, the study of architecture, respects the existing building. An exercise of reflection and good work that allows the user to be part of the history of the building itself and to create a new history in it. Concha Rodrigo, Author Fg. 15 “Front Facade of Loft 29”

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Fg. 16 “Front Facade of Civic Centre”

Fg. 17 “Classroom of Civic Centre”

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6.3. Cristalerias Planell Civic Centre / H - Arq

The building section shows how it controls

and manages the air under natural conditions. In Location: Barcelona

winter, it is necessary to control heat loss due to

air renewal, redeem the heavy internal load built

Project Year: 2014

due to the inertia of the wall structure, and draw

This public facility houses an adult fresh air from the atrium, which acts as a natural

education centre, a language standarization recycle. In summer, the heat must be dissipated consortium and a hotel on a triangular plot in by moving the largest possible volume of air and Les Corts district. Two of the three sides of the fresh air must be strictly natural, based on solar site area defined by the heritage-listed frontage chimneys and caps that apply the Venturi effect. of the former Planell glass factory, built on Calle Cross-ventilation between the courtyards is Anglesola in 1913. The building makes use of the ruled out by the program and the need to avoid entire plot, acting as an intrinsic part of the urban conflicting noise. landscape, although the triangular shape and the classified facades prevent it from occupying the entire site.

The programme is distributed across four

levels which are set back from the south-facing heritage facade. The resulting atrium reconciles construction and heritage, improves the natural lighting for the classrooms and provides a heat and sound barrier. This long, narrow courtyard is reproduced at the northern vertex, which

Fg. 18 “Ventilation Diagram of Civic Centre”

exhausts the geometry but acts as a relational system between the administrative uses of the building and the exterior.

The architects chose a wall of glass blocks

with the same 8 cm thickness as the bricks.

Different internal areas of the building form a public zone with bays of contrasting brick colours in a patchwork effect that interweaves the new sections of the structure and the existing facades to create a homogeneous vintage aesthetic. [25]

Fg. 19 “Sun Light Diagram of Civic Centre”

[25] H Arquitectes (2014) Cristalerias Planell Civic Centre, Retrieved 22.05.2019, from http://www.harquitectes.com/projectes/centre-civiccristalerias-planell-barcelona/

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Fg. 20 “A Facade with Sun Shades in Barcelona�

These sunshades are one of the absolute must object in a typical Barcelon house. Because of climate it is necessary to protect indoor space from sunlight.

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41

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Fg. 21 “Inner Patio of Casa Mila�

Inner patios are one of the most common elements in any Barcelona apartment block. Because of climate houses need cross ventilation and patio respond this need. Also, sunlight can reach every part of houses with this voids. We can see one of the best examples of inner patios in Casa Mila.

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CHAPTER 7 - ‘LIVING ART’ PROJECT PRESENTATION

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‘Living Art’ Project

“Living Art Project” is an social housing

project which is located in La Escocesa Factory.

It is designed for artists who works there with facilitator details for their daily lives.

Main housing building is built inside of

the former main factory bulding. A metal frame structure system supports existing facade and new building at the same time. Building is raised from ground level to provide free access and ventilation. Upper two floors are working studios for artists. Then next six floors are housings.

Totally, this block has 48 apartments and 80 - 120 resident capacity. There is a big courtyard in the middle of the building and it provides day light, and cross ventilation for apartments. On the exterior facade there is a thin steel columns which support old and new buildings at the same time.

And, also there are bamboo sun shades for sunny days.

The main goal of ‘Living Art’ Project

is provide high quality living, working, and recreating areas and comfortable indoor and outdoor spaces for habitants.

Fg. 22 “Facade Illustration”

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1. Current Situation

2. Clean Out

3. Structure

4. Mass

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5. Inner Patio

6. Sunlight & Ventilation

7. Balconies

8. Final Situation

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old chimney

gallery

street art wall

Why “hipped roof � factory building?

On this site there are two defined industrial heritage buildings. One of them with flat roof and the other one with hipped roof. The new building located into hipped roof building. Because other building is currently used as a work studio. But the hipped roof building is out of function. And there is a tube bridge between buildings. So if the hipped roof building is used, working area will increase, and this building will gain a new function.

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housing

working studio

working studio

office

commercial

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50

V Pere I e d r Carre

site plan 1/1000 51

connection between current & new studio

cross ventilation diagram

natural light diagram 52

structure diagram

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Typical Floor Plan 1/125 Each floor have eight flat in two different types. First type has one bedroom, one liivng area with open plan kitchen and one bathroom. Second type has two bedrooms, one living area with open plan kitchen and one bathroom. In addition, all type of flats have private laundry room outside.

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Working Studio Floor Plan 1/125 There are two working studio floors, and they have open plan working space with different kind of working furnitures for artists. In addition each flooor have batrooms and small kitchenttes for users. Inner patio covered by openable glass and it provides natural light and fresh air at the same time.

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57

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Ground Floor Plan 1/125 On this level, a large empty space surrounds main entrance hall and vertical circulations. Users can reach two different vertical circulation axis from this main entrance hall. In addition there are two administration offices for whole complex. And also there are two locker room for employees.

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60

section 1/250 61

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Front View 63

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Back View 65

CHAPTER 8 - CONCLUSION

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Conclusion

After the industrial revolution, as in every city, there have been fundamental changes in

Barcelona. The Poblenou district, has become an industrial area and has developed according to this function over the years. However, after external effects such as economic crises, technological developments and the Olympics, the industry moved out of the city. This has caused many factory buildings in the Poblenou district to remain idle and unusable. In time, the municipality decided to transform these buildings and the entire neighborhood on a large scale and started projects.

In this context, the ‘Living Art’ project, which is the subject of this thesis, aims to transform the

La Escocesa Factory, which serves artists albeit in a ruined way, to new living and working spaces. The main idea of the project is to evacuate the unused factory building in the area, to strengthen it with a structure and to work in harmony with the new mixed-use building to be built. In this project, it will provide 3000 m2 living and 1200 m2 working area in total and will enable hundreds of people to live and work. While building the project, residential architecture traditions and natural conditions from the history of the city were taken into consideration and designed accordingly.

In summary, ‘Living Art’ will be an integral part of the transformation in the Poblenou region.

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LIST OF IMAGES PAGE

TITLE

DESCRIPTION

6, 7

Figure 1

http://desertedplaces.blogspot.com/2014/09/an-abandoned-industrial-complex-in-st.html

8, 9

Figure 2

made by author

12

Figure 3

https://www.lavanguardia.com/local/barcelona/20160307/40255807028/poblenou-patrimonio-industrial.html

14, 15

Figure 4

made by author

16, 17

Figure 5

https://www.arch2o.com/escocesa-art-centre-cristina-neagu/

25

Figure 6

https://www.archdaily.com/874698/the-silo-cobe/59546ecfb22e38bee3000042-the-silo-cobe-photo

27

Figure 7

http://ajuntament.barcelona.cat/fabriquescreacio/en/fabriques/fabrica-a-fabrica/la-escocesa

28, 29

Figure 8

http://www.roldanberengue.com/?p=project&id=133

30, 31

Figure 9

made by author

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Figure 10

http://floresprats.com/theatre-sala-beckett/

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Figure 11

http://floresprats.com/theatre-sala-beckett/

34, 35

Figure 12

http://floresprats.com/theatre-sala-beckett/

36, 37

Figure 13

https://morewithlessdesign.com/en/29-non-conventional-housing/

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Figure 14

https://morewithlessdesign.com/en/29-non-conventional-housing/

37

Figure 15

https://morewithlessdesign.com/en/29-non-conventional-housing/

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Figure 16

https://www.detail-online.com/article/from-glass-factory-to-civic-centre-cristalleries-planell-in-barcelona-32975/

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Figure 17

https://www.detail-online.com/article/from-glass-factory-to-civic-centre-cristalleries-planell-in-barcelona-32975/

39

Figure 18

https://www.detail-online.com/article/from-glass-factory-to-civic-centre-cristalleries-planell-in-barcelona-32975/

39

Figure 19

https://www.detail-online.com/article/from-glass-factory-to-civic-centre-cristalleries-planell-in-barcelona-32975/

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Figure 20

https://www.instagram.com/barcelonafacades/

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Figure 21

taken by ilknur gĂźngĂśr

45

Figure 22

made by author

46

Figure 23

made by author

46, 47

Figure 24

made by author

48

Figure 25

made by author

49

Figure 26

made by author

50, 51

Figure 27

made by author

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The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2003) The Royal Australian Institute of Architects (RAIA) (2011) New Uses for Heritage Places Flores & Prats Architects (2016) Sala Beckett / Obrador Internacional de DramatĂšrgia, Retrieved 22.05.2019, from http://floresprats.com/theatre-sala-beckett/ Garces & Deseta & Bonet Architects (2009) 29 Non-Conventional Housing, Retrieved 22.05.2019, from http://www.garces-deseta-bonet.com/portfolio_page/29-habitatges-no-convencionals/ H Arquitectes (2014) Cristalerias Planell Civic Centre, Retrieved 22.05.2019, from http://www. harquitectes.com/projectes/centre-civic-cristalerias-planell-barcelona/ 22@ Barcelona (2010), 22@ Barcelona Project Presentation Dossier, Ajuntament de Barcelona, Barcelona

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