Investigating Industrial Adaptive Reuse Typologies and Implementing Strategies in Bethlehem, Pennsyl

Investigating Industrial Adaptive Reuse Typologies and Implementing Strategies in Bethlehem, Pennsylvania

By Joseph Feldman

Joseph Feldman

Northeastern University | Boston, MA

ARCH4960 - Architectural Studies Capstone

Coordinator: Dan Adams

Acknowledgement

This capstone project was produced as part of my final semester in the Architectural Studies program at Northeastern University. I am truly grateful for all the support and criticism from my peers in the course.

Thank you to my Instructor Dan Adams, Director and Professor of the School of Architecture, for guiding me on my journey. Thank you to Northeastern University for providing a chance for members of the architectural studies program to participate in such a thorough semester-long project.

I want to wish the city of Bethlehem continued success with the Southside Community Center project and take a moment to acknowledge the value and spirit of their community.

-Joseph Feldman

I. HISTORY

HISTORY

History

Climate change is an ongoing and ever advancing problem we face as a collective.

Often architects are tasked with the impossible, finding methods of design to resist these challenges. One of the most popular methods designers use is adaptive reuse. Adaptive reuse is an architectural technique that seeks to build on, in, or around past infrastructure to communicate historical ideas and movements. It functions as both a tasteful aesthetic of design and a method of reducing carbon emissions and energy consumption. There are so many buildings worth reusing, with so many different lost stories waiting to be told. Each of these buildings come from different periods of time, and are always a part of the cultures and societies they once impacted.

With the period of industrialization and urbanization brought upon the vast array of infrastructure to support. These factories and mills were fundamental to supporting wars, urban developments, and everyday goods. Eventually, as technology advanced, we lacked a need for these buildings. We then entered the period of time defined by “Technological obsolescence,” or humanities ability, in the early to late 1900s, to outgrow technology faster than we needed it. Many cities decided to abandon and eventually neglect their old infrastructure. This is where the concept and need for industrial adaptive reuse joins in. Perhaps these buildings were constructed solely to fit the needs of growing populations, but as time passed they embedded themselves into their respective communities. Industrial heritage emerged, and the people began to shape their

lives around the work going on around them. There was a feeling of companionship between the working culture and surrounding businesses or families. Evidently, these buildings became synonymous with the town or city they were located in. Thus, when they lost their purpose and livelihood, the town’s livelihood was also lost.

Industrial adaptive reuse aims to solve that sense of loss and be able to supply functionality to whomever the building may serve. In fact, adaptive reuse also tends to attract more people over more typical modern construction. Economically, adaptive reuse will undoubtedly always cost less than new construction but can often have much more benefits than just that. When the forged industrial culture seemingly disappeared, so did many businesses who depended on that identity. Adaptive reuse projects cost less but they also provide a number of new working opportunities, especially in much larger urban projects. These work opportunities are often filled in with local businesses who fell out of touch. Jobs are not only created but they are recreated. Industrial developments also provide a dependable structural system and open layout, though it is worth noting that sometimes these systems are not always in the best of shape. Regardless, the ability to have an adaptable structure is appealing to many investors and people looking to see the project come to fruition. Universities and other high institutions love to participate in such projects, contributing to their individual message or stance on culture and climate change. Most importantly, industrial adaptive reuse projects save money, and make a lot more money at the same time.

Interior of Amherst College’s “Powerhouse” project by Bruner/Cott Architects (Amherst, MA) which was previously a steam plant.

Empire Stores (S9 Architecture) in Brooklyn, NY. Reuse of a 19th century warehouse.

What this book aims to do is to accurately understand the ways of industrial adaptive reuse and decipher the techniques in which architects have navigated the space. Through my research I was able to uncover 5 core typologies these industrial reuse projects seem to follow: Sculptural, Preservative, Ecological, Integrated, and Contextual. Each of these typologies show different architectural techniques to achieve their desired outcome. Nonetheless, all of these approaches have the same goal of achieving harmony between usable structure and surrounding heritage. Through the use of case studies we can further analyze the design choices of the projects and how those might impact and reflect the desired outcome. From there we can apply one or more of these techniques to a site with a similar need: Bethlehem, Pennsylvania.

Bethlehem Pennsylvania is home to many steel mills and factories and was once the second largest steel company in the United States. The Steel laid the groundwork for much of the time’s infrastructure, transportation, and even war efforts. This history saw booming demand for steel, strikes against working conditions and wages, and eventually bankruptcy and abandonment. Bethlehem steel was not only significant to the families and people of the community, but to the entire country. Reviving and maintaining that image is of great importance, something that should be carefully considered and thought out. Leaping to today, Bethlehem is looking for locations and ideas for a south side community center as a part of their Community Anthem Project. This book aims to offer ideas and applications of the discovered techniques to the steel mills located next to Bethlehem’s infamous Steel Stacks. The hope of this exploration is to discover how impactful and efficient an adaptive reuse project would be for a community center. Ideally, showing the many possibilities that can arise and eventually materialize.

View of Bethlehem Steel Stacks interacting with surrounding landscape.

View showing exterior of Bethlehem Steel wharehouse.

View from interior of annex to #2 machine shop in Bethlehem, PA.

II. TYPOLOGY

TYPOLOGY LIST

1Sculptural

The First Typology of industrial Reuse we will discuss deals with reusing the previous structure as an artistic expression or sculpture. Although this method tends to neglect maximum building efficiency and reuse of materials, its assets lie in the emotional responses evoked upon experience. This typology largely defines adaptive reuse projects that use the “Shell” of a building as the focal point. Often this formulated sculpture demonstrates the surrounding communities history or ongoing movements of its time. Within this section we will see the use of two unique techniques designers use: Carving and “box within box”. Carving deals with slicing open or through original forms to create spaces otherwise not possible. The box within a box method seeks to use the shell to shelter new programs and construction under its roof. The case studies we will look at are MSRDesign’s RIDC (Regional Industrial Development Corporation) Mill 19 Project in Pittsburgh, Pennsylvania and Heatherwick Studio’s Zeitz MOCAA project in Cape Town, South Africa.

This reuse case can often contribute to a monumental or artistic feeling. Sculptural reuse projects an imaginative feeling onto its users. It promotes each person to question the building’s use but also how they themselves might seem to use it. Thus, a blank canvas is created by stripping or carving around the shell of a project. Often these forms become abstractions of ideas or philosophies. The inspiration derived from each of these forms then starts to invade in the general programming of the new site. For example, The program afforded under RIDC Mill 19’s Steel

exoskeleton is the surrounding cities new space for their robotics industry. The solar technology then infused with the steel skeleton serves as an example of innovation for those who inhabit the site beneath. Everyday they are to be reminded of technology’s ability to shape and create, further contributing to a more fulfilling workflow.

The Sculptural typology also emphasizes the underappreciated purpose of adaptive reuse, story telling. Much of adaptive reuse’s mission is to store and revive a building’s or community’s history. Traditional reuse seeks to do this through maintaining and reusing materials to make a building appear or feel similar to its original. Sculptural projects seek to tell the perceived story through a much more radical view. Yes, Zietz Mocca in South Africa was a Grain Silo but it was also the key identity of its town. Carving these silos in dramatic forms promotes users to feel the scale of the silos and how important they were to the past community. Telling stories of the past is important but allowing more to formulate is just as rich. The deliberate exposure of materials allows the story of a project to further develop. Steel rusts, concrete cracks, and bricks crumble. The structural typology embraces these faults and allows for users to experience the materiality in all its beauty. Additionally, allowing ruination tends to symbolize a rejection of capitalist permanence. They go against the shiny images people tend to adore and embody the urban lifestyle and culture. By refusing to tear down a ruined shell, you openly project these values to all those who come to see.

The shell of an older industrial mill is usually structurally sound. They inherently make excellent candidates for sculptural reuse endeavors. We have discussed so much about what their appearance can invoke in its users, not yet how the actual physical experience is impacted. Adaptive reuse is not only about preserving and reusing the past but providing a future emotional connection to the landscape. When industrial structure is exposed people begin to elicit phases of thrill and rebellion upon exploration. What was once compressed space is now vast and open. Particularly for community spaces and areas with children, Sculptural reuse offers real estate for people to find and express themselves. Tactility plays a huge role with new spaces. Most people learn best through direct contact and experience. Yet it is

very rare to be able to experience and learn about history through those means.

The sculptural reuse typology is extremely unique but shows incredible merits in a number of industrial scenarios. Its speciality lies in supporting industrial narratives and, in a similar process, providing an enclosure for programs. It is an approach that perfectly preserves the past and offers an abstract depiction of a future we might want to have. Any chance we as designers have to show why we need to practice adaptive reuse is vital. Thus, the sculptural approach is arguably the best at informing users and visitors of the practices they partake in. Finally, Sculptural Reuse teaches us to connect the physical architecture with the

Exterior View of RIDC Mill 19 Project in Pitsburgh, PA.

Zietz MOCCA

Capetown, South Africa

Heatherwick Studio’s project Zeitz MOCAA (Museum of Contemporary Art Africa) is a beautiful reuse project located right on the Victoria and Alfred Waterfront of Cape Town, South Africa. The project is an industrial reuse of what was originally a grain silo facility, where maize could be stored and graded. This facility was crucial to the economic power of Cape Town, functioning as one of the most important players in South Africa’s Agricultural supply chain. It was one of the largest silos of its time and was one of the tallest buildings in Sub Saharan Africa. As technology advanced, the need for such a large storage and grading system was unnecessary, leading to its abandonment in the early 2000s.

The design of the museum sought to retain the exterior shell as much as possible. In doing so, Cape Town was able to still have their landmark, while proving to have a functional use of the building. Within the concrete exterior frames, new fragmented glass panels were installed, referencing a clear dialogue between old and new materials. In order to achieve these facades, Heatherwick’s used the technique of carving. Carving out of the facade allowed the original structural shell to remain, while providing much more intense and dramatic light intrusion.The studio also chose to carve into the 42 existing cylindrical silos, creating an overwhelmingly complex interior. In between silos, sky lights were installed to offer those newly created spaces unique views and light. The resulting carved spaces allow for extremely spacious rooms with massive ceilings. The immersiveness of these new carved out spaces contribute significantly to experiencing the art.

Uniquely in this project, the carving of the canvas or building relates directly to the message and program contained within. Museums are places of artistic expression and exploration. African art from all over the continent is able to be shown and displayed in Zeitz MOCAA. Demonstrating such expression through the physical architecture elicits a creative sentiment in all its users, priming them for future appreciation of African Art. Although this project does much for the local Cape Town community, its impressive ornate scale and particular industrial reuse aesthetic tend to attract tourists. Thus, the architecture is able to invite and allow visitors to understand and appreciate African art and culture. Sculptural typologies do the best job at openly showing the past materials of a project, in order to stimulate the curious minds they serve.

Exterior View of Zietz MocAA showing carved out crevices for new glass panels.

Interior view showing cavred out silo making room for public gathering space.

Carving into the historic Maiz Storage Silos. New Structure allows for light to pass through. The void spaces serve as perfect places for social gatherings and experience of the Maize Process.

Grading Facility facades carved out in favor of custom modern glass panels. All aspects of the building are afforded direct sunlight fragmented by the new installations.

RIDC Mill 19

Pittsburgh, Pennslyvania

MSR Design’s RIDC (Regional Industrial Development Corporation) Mill 19 Project shows the adaptive transformation of a munitions production mill and later brick storage facility. The mill, owned by the former Pittsburgh Jones and Laughlin Steel Company, functioned specifically as a rolling mill for 10 inch steel bars. Pittsburgh has had a long history with industrial mills and has come to embrace it as their hard working identity. Eventually the mill closed in 1997 and was abandoned. Upon stripping the rubble and steel siding, a beautiful structural exoskeleton was revealed and a new adaptive reuse project took off. This project also demonstrates how the sculptural typology does not necessarily mean it is inefficient. With the use of the largest single-slope bifacial glass photovoltaic array on the existing steel skeleton, Mill 19 is able to consistently provide clean energy to its occupants.

This project thinks about the sculptural typology differently in that the architects chose to strip away from the original building to pick what was to stay. However, the entire interior of the building was to be cleared completely to make way for new programs. Thus, the “box within a shell” method was practiced. This technique allows for virtually the same amount of space and real estate the original building bore, while also still projecting the significance of its history. Formally, This project also leaves many holes and openings within its shell. As I said previously the qualities of an explorative facade inspire and create a unique sense of creativity. The exterior landscape also contributes significantly to this wild feeling. Parts of the cleared debris and facade were repurposed into furniture supporting

the outdoor public spaces.These cleared elements are also dispersed throughout these spaces as smaller art installations.

Additionally, the technique used allows for users to become immersed in the symbolism history provides. As people tend to run faster while running with other fast people, people in certain environments tend to change the way they work and think. Being surrounded by such prominent industrial architecture allows users to blend their original working lives with more grit and sustainable thinking. This is especially important when considering the people the project was meant to serve. Some of the current users are members of Carnegie Mellon’s Manufacturing Futures Institute and Advanced Robotics for Manufacturing (ARM) Institute. These tenants are specifically important because they are focussed on the next generation of production and automation. Especially in a new and improving Pittsburgh scene of tech resurgence, this project’s shell perfectly states that it embodies the hard working mentality steel production entails, and will continue its efforts for the next generation of Pittsburgh.

Exterior view showing exposed skeleton and new interior enclosures.

View showing designed gap between shell and architecture.

The vast and complex steel of Mill 19 is exposed and shows all structural members. Being just members, the building becomes truly translucent and all interior programs are visible.

New, contrasting exterior stairs and circulation allow for a clear and vibrant path to inside. You are then forced to invade and puncture the open facade to enter a new realm.

2

Preservation

The Second Typology of this list focuses on preserving the core elements of a building to retain its original image and influence. This typology also encompasses rebuilding faulty or unsafe elements to ensure a still usable space. Though, usability is not the primary concern with this method. Preservation is a common technique used all throughout time by societies and civilizations. The sentimentality buildings hold is undeniable. These structures detail accurate histories, authentic values, and often architectural breakthroughs. The techniques utilized within this typology are stabilization and reprogramming. Stabilization seeks to make any existing structure safe for standard use without altering original form and materiality. To reprogram is to utilize an existing shell for a different program than the original. The case studies introduced for this typology are MSRDesign’s Mill City Museum in Minneapolis, Minnesota and Albert Khan Associates restoration of Ford Piquette Avenue Plant in Detroit, Michigan.

Although not as common as other industrial reuse typologies, preservation is surprisingly useful for industrial projects. The actual structure of most industrial mills, armories, and warehouses is usually intact. Therefore, preservation of, for example, the facade of a building is made much easier if other variables are not factored in. However, preserving these Industrial buildings requires significant knowledge of preservation technology. It is an extremely delicate process where you have to consider load bearing capabilities and current material strengths.You also have to consider new materials that can fit in with other

original deteriorating ones. Anything that is truly original must also be ensured to be utilized and or highlighted as a testament. These engineering aspects are crucial to the preservation of an adaptive reuse project.

Economically, Preservation is the most cost effective. Utilizing the maximum amount of what still exists is crucial. This doesn’t necessarily mean just preserving structure where it can be. For instance, extra bricks on the floor might still be usable and authentic enough to reconstruct a broken facade. Though perhaps the most important economic opportunity preservation supplies is the ability to attract tourism. Preserved structure is extremely informative regarding the history of the building itself, ongoing movements, and community values. This is often why Preservation reuse projects fit the program of museums and memorials. The physical appearance of preserved projects enhance the feel and knowledge of what is told inside. This also aligns with the users of the space. Often local schools or cultural centers can utilize this space to further enhance accurate education, or simply to strengthen local knowledge about the site. Also, on preservation style projects, there is often local governmental support, whether that be aid or supplementation of resources. This agenda is implemented in many countries’ methods to preserve culture and architectural identity. Either way, all of these interactions foster some kind of economic appeal to the local community.

But what is the appeal to upholding the exact appearance and feeling a building once had? Buildings by just existing

have meaning to those their presence is imposed upon. One thing that has constantly bonded people and communities is a sense of belonging and comfort. Psychologically, we are inclined to gravitate towards buildings we deem more comfortable than others. In industrial cities, where buildings are abandoned and identity has been lost, there aren’t a lot of places to go. Preservation implies the denial of an inherent movement to go against tradition and embrace modernity. Reuse and preservation is the last line we have against the threat of cultural erasure. Preservation is urgent and controversial in any building it sees to impact. In fact, the building doesn’t necessarily have to be occupiable. The best example of this is a future case study we will look at: Mill City Museum. This project involves a brand new building placed right next to ruins of the previous

structure. Those ruins are equally as valuable to a normal reuse preservation project. Symbolic in the sense that it fights against the political agenda of erasure.

The Preservation typology encompasses a lot of what people consider to be adaptive reuse. It is perhaps the most authentic and carries significant meaning in its use. Preservation not only stimulates curiosity but actively informs users of history. It displays the notion of pride. It provides a roadmap to what local architecture should be or represent. As Tyler Norman says, preserved projects are best viewed as “hosts.” Hosts are meant to contain activity, ideas, or feelings. But, hosts also have the duty to inform and connect with others. When we preserve these industrial mills or warehouses we allow the mentality of a working

Preserved Facade of Ford Piquette Building (Detroit, MI).

Mill City Museum

Minneapolis, Minnesota

MSRDesign’s team was a part of another industrial reuse project located in Minneapolis, Minnesota. The Mill City Museum strategy sought to erect new construction out of a series of abandoned and destroyed mills, more specifically the Washburn A Flour Mill. In 1878 the building exploded as a result of a flour dust explosion. This explosion took 18 lives and leveled much of the local business area. After being reconstructed in 1880, the building was made to withstand future disasters with the use of new ventilation and dust collection systems. After closing in 1965 the building was registered as a historic landmark. However, in 1991, a fire broke out taking much of the building, leaving only partially standing limestone walls and concrete infrastructure. The reason that the museum was left to burn was due to the abandonment of the local area following all the closures.

The primary technique used in this project is stabilization. Industrial reuse projects are usually structurally sound and built well even for today’s rigorous standards. However, the activities occurring under the roof of these projects were often dangerous and made out of flammable or dangerous materials. Thus, fires and explosions weren’t entirely uncommon for mills and warehouses. Normally it would be obvious to simply clean up or demolish the site. However, MSR was able to successfully implement stabilization of the remaining structure to ensure a preservation of the overall site and image. The existing ruined limestone walls were reinforced with steel strategically placed on the interior of the site to preserve the resilient image on the street facing side. The new courtyard interior was formed and allowed users an extremely intimate experience with the

materiality of older industrial construction. It provided a brilliant introduction to the museum program that was to follow. Within the walls, the existing doors or machines were seen to be preserved and then utilized as pieces in the new museum.

Though, the most important aspect of stabilization is the symbolic meaning displayed. Stabilization inherently derives from the term resilience. The techniques within architecture tend to parallel local trends and feelings.Where much human activity has been lost following explosions, closures, and fires, it appears to be impossible and pointless for a sense of pride and community to exist. Stabilization attempts to fill that void by making a general statement. It indicates a feeling of hope in people. Being that it is a reuse project it also invokes a sense of culture. Hope and resurgence of culture allow communities to engage and enjoy their local landscapes significantly more, attracting more life in the process. Finally, combining these reuse notions with the museum aspect of the project, a surplus of non community members is introduced, allowing other people to see how special the project really is.

Exterior view showing preserved ruined walls and concrete structure.

View showing new construction and stabilization methods for limestone walls.

Existing, and still operational, concrete silos are tied back to the limestone facade with more steel beams and tie backs. Thus, creating a visual and physical connection between each part of the building.

To prevent collapsed structures from falling over into newly created void space, steel beams are utilized with a moment of cross bracing in each of the corners to ensure equal load distribution and safety.

Ford Piquette Avenue Plant

Detroit, Michigan

The Ford Piquette Automotive Plant was one of the most iconic and influential industrial factories in United States history. It was where the first ever Model T car was produced and thus founded the affordable car market and manufacturing. Ford’s first factory was modeled after many existing New England textile mills, with wooden post and beam framing. Though considered old for a building, this plant was extremely advanced in technical and mechanical systems. These include the use of firewalls, doors, and a sprinkler system with a massive reserve tank. This specific area in Detroit was a hub for automotive production due to its central location and access to public transportation. Since then, Detroit has become synonymous with the name Ford and automobiles. The architecture surrounding also reflects that image and Detroit has many facilities with similar stories waiting to be told again.

Due to the advanced original facilities provided by the Ford plant, Albert Khan associates were able to minimally interact with the site to achieve an adequate preservation. Thus, with a recreation and repair of the facades the appearance to any visitors was identical to what it was. The mechanical systems, however, did need to be updated quite a lot to ensure a pleasant experience for users. Often this is common amongst accurate preservation projects. In general, working conditions were much less pleasant, safety was neglected, and codes were of less importance. The reprogramming technique is the most common of industrial preservation projects. It allows the original function of the building to still exist as an enclosure with whatever new program to fit the new collective interest. The new purpose

of the Ford Plant is to serve as a museum of automotive and Ford artifacts. Although any program can be installed, it is both more convenient and relevant to choose a related field.

Detroit’s rich history and pride in their city made this decision an obvious choice. Users could now travel to and through a facility that is both nostalgic and comforting. Though this is just one of many plants,The visual experience alludes to a recreation of the entire city. People can now see through a smaller lens to learn significantly about the contents of the museum and the context surrounding them. In preservation projects, preserving the physical architecture is not always the main concern. What these projects really do is encompass and preserve moments in history. It also makes a claim that history is vital to what makes us human. Finally, preservation projects that promote reprogramming allow everyday people to experience and imagine a world where we are able to adaptively reuse the many industrial sites around us. Giving access to these examples paves the way for more and more reuse projects, forcing design firms and architects alike to focus on and utilize adaptive reuse.

Interior view of new plant layout, showing cars as artifacts for the museum.

Exterior Facade remodeled to look identical to original plant.

Facade restored and preserved to have identical features as the original entrance. Smaller front door alludes to a new program of a museum, cars now enter towards the back of the building.

Existing framing and structure remains exactly the same, with all old machine parts being removed. The result is now a huge, spacious venue for a museum and other events like weddings or banquets.

3

Ecological

The third typology sees adaptive reuse as an opportunity to help tackle climate change. Although adaptive reuse is inherently an ecological center approach to architecture, this typology innovates even. Ecological projects tend to focus heavily on maximum preservation of original materials, energy efficiency, and reduction in carbon emissions. Evidently we as architects have discovered that an ecological approach to architecture is something that we always need to consider. Not only do we ought to design for better building sustainability, but hopefully a more safe and hospitable built environment. More specifically, the two techniques used by designers in ecological industrial reuse projects are conscious programming and sustainable materials and systems. The case studies we will look at within this typology are John Edel’s, and Bubblydynamic’s, project “The Plant” in Chicago, Illinois and GBD Architect’s project “The Armory” in Portland, Oregon.

As previously mentioned, the structure and skins of many industrial projects are mostly intact and have significant reuse potential. Thus, Industrial projects already provide a perfect vessel for those kinds of endeavors. Though, if every industrial reuse is able to use these vessels, what makes an ecological project truly unique? First, ecological reuse projects prioritize maximum reuse of materials. Imagine old machinery in a steel mill being broken down for raw steel and interjecting those back into say furnishings of the reuse project. Often in Industrial settings, there are a large array of different mills and factories bunched up. Sometimes, these surrounding facilities are simply unable

to support a new structure and idea. This can be due to improper structural capabilities, weather exposure and damage (like mold and rust), or damage from human interventions. Whatever the case, these buildings still have potential to be reused. Materials from these surrounding facilities can be broken down and stripped to support any building capable of withstanding new conditions. Ecological projects have come to support the notion that “the greenest building is the one that already exists.”

It is also worth noting that industrial projects have massive amounts of embodied carbon inherently. Previous construction and building science knowledge, allowed these inefficient processes and materials to run rampant. Steel and concrete, which are extremely common in many mills or factories, were the products of ridiculous amounts of carbon release. The activities inside also were large contributors to carbon and gas release. Demolition of these buildings would effectively lose all the carbon emissions previously made. Ecological reuse then recognizes that the building they are trying to reuse never starts at zero embodied carbon. Therefore, Industrial adaptive reuse projects aimed at being beneficial to environmental causes consider life after reuse. For instance, a project we will look at soon called “The Plant,” in Chicago Illinois, utilizes the many programs contained within the minimal reuse of a meat packing facility. The design of the space catered to multiple businesses who all feed off one another to reduce waste and eventually produce their own energy. Hence, certain programs will always differ in how much energy can be reduced and carbon emitted.

However, Ecological reuse is not only difficult, but also expensive. If sustainable building practices were inexpensive, every project would participate. The difficulty of making sure older industrial buildings are structurally adequate for modern standards is perhaps the most concerning. Structures may appear to be safe and sound, but the cost of hiring engineers and tests starts to build up. Usually if certain parts are inadequate, it may result in entire systems needing to be replaced or retrofitted. Thus, a way industrial reuse projects attempt to save money is to maintain the source program originally installed. If minimal altercations need to be made inside or outside a structure, money is bound to be saved. Yet, all of this needs to be done and considered while still trying to communicate the history and nostalgia of a building.

Ecological industrial reuse is vital for the battle against climate change.These projects not only perform substantially well, but serve as an example to other ecologically centered projects aiming to attain a similar impact. Consequently, one could argue that ecological reuse may be the most important industrial reuse typology. It is extremely difficult, but perhaps the most rewarding. Interestingly, the energy saved from these techniques allows that local community to be associated with that newer carbon conscious movement. Finally, ecological reuse projects have the power to connect local communities and unify them on critical matters.

Interior view of grow beds in the Plant (Chicago, IL). Plants are being fed by Niitrates and carbon produced by Tilapi Farm.

The Plant

Chicago, Illinois

Bubbly Dynamics’s “The Plant” project is one of the most revolutionary industrial adaptive reuse projects focussed on ecological benefit and climate change. Previously, The plant was actually a meatpacking plant in the Back of the Yards neighborhood of Chicago. Up until 2010 the plant saw use for meatpacking, specifically processing pork. The building was then abandoned and most people saw no potential for any reuse project to occur. The consensus was to just harvest the raw materials from the facility, since it contained so much steel and copper. However, Bubbly Dynamics decided to purchase the facility and reuse the site with a conscious programmatic plan: A closed loop of a conglomerate of collaborative small local food businesses.

Due to the site being a meat packing facility, relatively up to USDA standards, converting the site was not as difficult and saved money, energy, and resources. Clean up of the site saw potential and an abundance of resources to be used for the newly planned renovations. Although most people tend to view the term ecological in terms of carbon, it also relates to waste build up and resource availability. The idea behind these businesses was for each product and by-product to be utilized to the fullest extent by another business. For instance, the Chicago Brewery uses spent grains from its brewing process to then feed the fish from the Tilapia Farm. The by-products of nitrates and carbon from the fish then seek to help feed the plants. A cycle of materials is created and waste is severely limited. This also relates to the embodied carbon previously discussed. The meat packing plant was an extremely carbon intensive machine, from daily operations to the construction and maintenance of

the space. The new plant design attempts to take back from that carbon footprint and try to approach a more net zero approach.

Ironically, the by-products of such conscious programming, and reduction in waste, are reductions in carbon. Out of industrial ecological projects like this, innovation and clever thinking from designers is inevitable. The Plant’s “Anaerobic Digester” is revealing of such. Essentially, extra biomass produced by any of the businesses is to be recycled and introduced to the digester. In turn, the digester consumes this mass, eliminating the need for landfills to store and destroy usable material. Then, the Anaerobic Digester produces energy for all the businesses contained inside the plant. Things like light, heat, cooling, and steam are all supplied by this newly created system. This new innovative approach to architecture and engineering has now served as an example for urban renewal projects. Chicago is one of many cities where an industrial heritage is present, seeking to be revived and multipurpose to address our current hardships. Hence, The Plant is one of the most powerful and impressive ecologically centered reuse projects.

Interior view showing specialized carbon capture system for breweries production of beer. Sending that carbon to the farms and algae bioreactors.

Exterior view showing outdoor garden and painted facade detailing interior programs and values.

Existing openings were repaired but kept exactly the same. What were previously garage openings for meat trucks serve as perfect openings for necessary resources and food deliveries.

Existing open layout structure was kept for new open layout businesses, allowing new relationships to bloom. Clean up of the site saw many resources like bricks and steel to be usable for new businesses and systems.

The Armory

Portland, Oregon

The Armory, by GBD Architects, takes a much different approach to an ecological reuse project than Bubbly Dynamic’s project. Originally, in the 1800s, this building served as the armory for the first ever regiment militia in the United States. Founded in 1891, It was one of the oldest standing buildings in Portland, in desperate need of renovation. Out of the ruins of a militant armory, came a performing arts center and theatre. The intensive reuse of all possible materials such as the wooden trusses and brick exterior allowed this project to achieve LEED Platinum status and be regarded as one of the greenest buildings in America. In fact, it was the first building in the National Register of Historic Places to achieve the LEED Platinum certification.

This project is a perfect combination of modern building systems with adaptive reuse appearances. The exterior of the building largely remained the same and was reused to sustain the character of the structure. These walls are extremely thick at 30 inches and thus provide significant insulation. The roof also largely remained the same as it was still structurally capable and added to the overall character of the building. Any sources of new materials were required to be either locally curated or ensured to have a high recycled content. Additionally, any waste generated from transportation to final construction of the project was also to be recycled. This recycled mentality also transfers to its users. Patrons watching plays often leave their playbills for other users or use electronic versions to save paper. Even the cleaning materials used to maintain the new Portland Center Stage are environmentally sustainable,

contributing to the ecological ideology that sustainability is not a destination, rather an ongoing process. Every material used to build, use, maintain, and even repair is sustainable contributing to a functional ecological reuse project.

However, these aspects needed to be tied into a modern aesthetic and system. New window glazing and skylights were installed to help with proper daylighting and forgo energy intensive lighting. These windows and skylights often open manually for proper ventilation, ensuring fresh air without any machinery use. In general, theater spaces are rather difficult to ventilate and thus consume a lot of energy from heating and cooling. The armory’s new air flow cavities under seating risers provides that comfortable experience, while also contributing to a more quiet theater experience. Any fixtures are also ensured to be low flow and any plants are native, drought tolerant species. Furthermore, water is collected via a rainwater catchment system and stored in their 12,000 gallon storage tank. These modernized mechanical systems play off and intertwine with the sustainable materials utilized in the project, creating an advanced but still tasteful industrial reuse.

Interior view of the Armory’s historical wooden truss roof system.

Exterior view showing original armory facade.

Original openings kept to allow for significant natural light. Glazing was upgraded to more modern standards to allow for proper daylighting and thus reduction in energy from either heating or cooling.

All windows are able to be opened manually, even the newly installed sky lighting system, to reduce energy waste from machines. Skylighting and windows can also provide proper ventilation to its users.

4

Integration

The fourth typology of this list sees adaptive reuse as the perfect method to blend modern ideology or culture with older historic architecture. Integration projects attempt to actively incorporate these more modern methods of architecture wherever possible. These connections are what allow people who perhaps have limited knowledge of the local history, or even architecture, to bond with the newer reuse. Integration reuse projects, however, have many similarities to other typologies where bridging is deemed necessary for a project to function as intended. Where this idealized integration stands out is where the architecture being reused is made as an excessive visual statement or to connect multiple buildings in an industrialized area. Thus the two techniques to be discussed in this typology are interjecting and bridging. The case studies we will look at within this typology are Bruner Cott Architect’s project “MASS MoCA” in North Adams, Massachusetts and PAU’s (Practice for Architecture Urbanism) “The Refinery at Domino” Project in Brooklyn, New York.

It is also worth considering that the integration typology is not limited to the contrast of modern and historic architecture. It also encompasses the integration of modern ideas and historic traditions or beliefs. Aesthetically, our current society favors the use of modern architecture. Large glass curtain walls, intricate forms, and minimal ornamentation are all aspects of modern architecture we have come to idolize. For instance, one of the architectural techniques we will discuss is coined by bridging different industrial buildings together. But, this bridging could also

be characterized as connecting. Although this is interpreted as more so a physical connection to allow movement from one space to another, it can also be seen as connecting people to the new building. Evidently, a new architectural project is pointless if people don’t want to enter or be a part of its mission. Connecting everyday people to things they are comfortable and appreciate allows them to then assimilate into adaptive reuse and historical industrialized architecture.

Integration projects can fluctuate greatly on their approaches but have similar goals. Texture is extremely important in this reuse approach. Contrasting exposed existing structure with modern insertions like glass allows that internal connection to formulate. What begins to happen is that users then start to feel and sense traces of past architecture. It sparks curiosity about what happened before their presence, and stimulates a journey to learn the local culture. Integration is almost like a balancing act for reuse projects. Designers try to find the balance between modern transparency and industrial solidity. For example, in some integration projects newer elements that modern users require like elevators and fire stairs are actually not connected physically to existing structures. Frequently these new elements are self supported to acknowledge the notion that older architecture is important and must be protected and idolized.

You must also ensure that the addition or renovation you wish to integrate is properly executed. For instance, if you wanted to differentiate an integrated segment of the building

but decided to make the new construction significantly out of scale, you would have the adverse effect of the goals integration seeks to achieve. The integration must also be navigated through newer mechanical systems. This ties into the ecological typology and often is overlooked. Mechanical systems are visible and have deep impacts on the message of the building as well. As opposed to ecological, an integrated approach would neglect efficiency in favor of aesthetic principles and flow. It is nice for adaptive reuse projects to boast brand new efficient HVAC systems and Radiant heated flooring, but if done incorrectly can stand out and take away from the message of the building.

Integration is perhaps the most broad and convoluted of all the typologies we will discuss today. Though, it is crucial

for some industrial scenarios. A clash between historic and modern is not only a pleasant experience for users, but connotes a distinct ideology about industrial architecture. You could adaptively reuse a historic steel mill by completely preserving the entire building to ensure accuracy. But, you could also create moments of spectacle within the project while still being respectful of the industrial culture. These new integrations can also detail how that existing working culture or community has grown. Architectural taste from an industrial steel producing culture may grow more into the exposed metal look with large openings, which are a part of more modern ideas. Creating moments of these unified desires allows users to experience historic information with architectural pleasure. Thus, allowing people to fall in love with the possibilities industrial adaptive reuse can provide.

Interior shot of gallery in Mass MoCA (North Adams, MA).

Mass MoCA

North Adams, Massachusetts

The Mass MoCA (Massachusetts Museum of Contemporary Art) project, by Bruner Cott Architects, is one of the most tasteful executions of the integration reuse method. In the 18th and 19th century, Mass MoCA was occupied by many colonial European settlers. They developed the land, creating an eventual town with many different mills, iron workshops, and trade shops. From there, Arnold Print Works occupied much of the massive area, leading to the eventual construction of the entire Mass MoCA complex. Finally, Sprague Electric Company took over and outfitted much of the interiors of these mills to be state of the art facilities in electronics and research. Following a decline in sales, they were forced to close in 1985, leaving the site vacant. The city of North Adams became a post-industrial ghost town and needed a project to fill that void. Since then, Bruner/Cott has successfully transformed the site into one of the largest contemporary art museums in the United States.

The scale of the site and quantity of different industrial buildings made this project to be an extremely interesting challenge. Thus, properly connecting these buildings was of the most importance. The goal was to produce a modern campus feeling amongst users, through reuse of existing bridges and new modern circulation construction. More symbolically, it was bridging industrial identities to each other through modern technology and aesthetics. People visiting the museum were forced to experience both forms of architecture simultaneously. Modern ideologies were also dispersed throughout this reuse process as well. For instance, the spatial arrangement of the museum and

circulation is actually irregular and goes against a traditional linear feeling. Irregularity is a reflection of modern contemporary art, which is also the program for this new project. Bruner Cott was able to successfully intertwine modern programs and human patterns into industrial heritage and construction.

Yet, the design decisions still do not completely integrate modern architecture. Most Modern Contemporary art facilities tend to follow suit of white wall construction in an attempt to make the art the focal point. Mass MoCA challenges this by actively integrating the previous industrial architecture into the new art exhibitions. Now exposed brick walls and steel beams are perceived in the literal context or background of art. This integration implies an interesting philosophy to its users. Industrial reuse is, in a sense, a contemporary artform that should be considered as such. The new bridging between spaces also signifies an inclusive environment. Everyone has the right to experience art through their own lens. Well done integration projects like Bruner Cott’s Mass MoCA can be incredibly powerful in relinquishing different principles, allowing users to make those discoveries themselves.

Exterior view of courtyard. Moments of connection between structures become visible.

Interior view showing the experience of modern experiences within historical space.

Existing openings to be punctured, allowing a greater sense of irregular circulation. Void space in between to be converted into a courtyard allowing users to choose whichever direction to travel.

In Between existing mills, modern circulation is installed with proper integration of flow. Corridors contain multiple methods of travel inspiring users to get lost in their artistic journey.

The Refinery at Domino

Brooklyn, NewYork

PAU’s (Practice for Architecture Urbanism) vision for the domino sugar refinery was truly unique and abstract. The history behind the refinery dates back all the way to 1856 where this building produced 98% of all sugar consumed in the United States. The sugar factory also was the cornerstone of the local Williamsburg community. In fact, most of the candy and chocolate stores or factories in Brooklyn flourished as a result of the success from Domino. Due to poor economic conditions post war the business began to die out. It lasted until 2004, signifying its end as the last major industrial enterprise on Brooklyn’s waterfront. PAU then began designing an adaptive reuse of the building in 2017 with a mix of many different programs and connections to the physical history of Domino.

This project perhaps resembles the previously discussed Mill City Museum Project understood in the preservation typology. Though the New Refinery has a gap and similar methods of connection, there is much more going on in the void to foster that integration or connection. The existing structure has been cut up and through to allow people anywhere to traverse the space or pass through entirely. In this project there is a distinct contrast between modern and industrial architecture. This is where the technique of interjection becomes apparent. The most obvious and main example of this is the new modern glass structure protruding out of the refinery shell. This method of architecture captivates its audience and forces them to engage with newly created spaces. On the other hand, users of the space feel more connected to the history of the refinery being just in reach of the envelope. In a sense, those

on the outside get to physically interact and learn, while tenants of sorts are forced to observe like an art gallery. Very similarly to the Mass MoCA project, Adaptive reuse is at its core a form of modern art and thus should be admired as such. Integration allows people to fully comprehend that understanding and enrich their experience with reuse that much more.

There is also interjection within the void spaces. These newly created gaps contain life in the form of planting beds, large trees, and intimate lighting. The integration of green space at its core is a modern initiative that all designers try to utilize. It is the attempt to fight back against climate change and invoke a connection to nature. The new refinery’s different programmatic uses also further align with modern initiatives. Within the refinery there are office spaces, affordable housing options, and community facilities. Integrating all these programs within a building reflects the modern belief of efficiency in the face of environmental crisis.This building is extremely powerful in that it successfully contrasts modern architecture with industrial past, while also providing avenues to connect the two.

Exterior view of the Refinery at Domino and its surrounding landscape.

Interior view of plantings interjected between new and old facade.

New modern glass structure extrudes out of the existing brick envelope. The result is a spectacle across the Local Brooklyn community’s skyline.

Gap in the current project was already apparent in the original structure. Multi-height spaces from industrial machinery allowed for new void spaces to be just as tall and thus allow for interesting moments like new lighting and greenery.

5

Contextual

The fifth and final typology contains projects who emphasize the connection between project and local social fabric. Oftentimes we look at reuse projects as singular organisms, isolated from its surroundings. But, buildings are pieces of a larger scale urban landscape. This typology requires fundamental understanding of the evolution of neighborhoods, and how to mitigate them more efficiently with reuse. This approach also favors larger scale considerations over smaller more intimate modifications. Though all adaptive reuse projects stimulate a feeling of connection and pride among community members, contextual reuse projects aim to repair and reweave severed or even dangerous parts of cities back into circulation. Contextual reuse is the most different from other typologies in that it follows suit towards urban planning and landscape integration. The two techniques embedded within this typology are revitalization and access. The case studies we will look at within this typology are Lake Flato Architects project “Pearl Brewery District” in San Antonio, Texas and DS+R’s (Diller Scofidio + Renfro) “High Line” Project in New York City.

The purpose of contextual reuse is to revive what once was. The current view of adaptive reuse is that when you restore a building, you restore that local community’s interaction with that space. A more coherent identity is developed with each adaptive reuse. However, contextual reuse is perhaps a much more intense depiction of this process. Cities have beautiful pasts that are worth honoring and allowing locals the chance to be proud of that helps boost morale.

But contextual reuse considers the present day dilemmas faced by that community. It is then that the adaptive reuse project becomes a medium for change and a beacon for tradition. Cities with voids from losing their identity suffer not only economically, but factors like transportation and crime come into play. Reweaving projects back into the social fabric is the main goal of contextual reuse, providing systematic changes to communities more thoughtfully and naturally.These changes would thus be otherwise impossible or of bad taste without the identity of adaptive reuse as a medium. This is to say contextual reuse might be the most critical of any typologies.

Additionally, the contextual typology is truly unique because it contains the use of any aforementioned typology. Since the scale of contextual industrial reuse is often multitudes of buildings or structures, there is a lot of room for diversity in approaches. Urban diversity is crucial, because it tends to be the best method against issues like gentrification. These projects are not simply made to attract, but invade and spread throughout the community. Not only are the buildings themself of importance, but how might people access the space? If there isn’t sufficient access or motive, the building’s use will fall victim to neglect. More access means more diversity in users. This is a common issue as cities tend to isolate these industrial areas from the natural circulation. It is an abstract approach that advocates for greater issues like zoning and urban renewal.

Contextual reuse also considers the economic state of its surroundings and aims to introduce new member of local

businesses into the project. The luxury afforded by scale is that so many different programs can fit into one area. From these isolated industrial ruins comes massive business conglomerates. This is most important in cities suffering from economic disparity or division. Not only is it economic for the local government to not demolish industrial buildings, but the businesses and revenue the building(s) will return is significant. Businesses that may have disappeared due to finances may be afforded an opportunity to try again and integrate back into the economy. Reintroducing local business, as opposed to outsider powerhouses, makes the overall contextual project just that much more intimate. A more lively experience for users correlates directly to safer and more frequent interactions.

The last, but maybe most significant, typology puts into perspective what industrial adaptive reuse is really trying to do. We have come to discern that Industrial reuse is economical, efficient, informative, and expressive. But, through the discussion of these typologies it is imperative to understand that these reuse projects are possible and should be utilized in any context provided. A more sustainable plan for infrastructure is necessary more than ever. If we consider these contextual projects as serving their larger cities, then there is something to be said about these larger contextual projects in relation to all cities. A global initiative of adaptive reuse could effectively solve many issues like class division, climate change, and the housing crisis.

Exterior Shot of “The Pearl” project’s lively courtyard in San Antonio,Texas.

The Pearl

San Antonio,Texas

Lake Flato Architects transformation of the pearl brewery is a testament to the power contextualized architecture has. In 1883 the original brewery was founded, and in 1887 their signature beer, pearl beer, was created. In 1894 the historic brewhouse was built and served as a symbolic feature for San Antonio’s industry. Just before prohibition, The San Antonio Brewing Association (name before the Pearl brewing Company) was the largest in the entire state of Texas. However, the owner supplemented incomes and rent to make it through prohibition and the great depression, supplying beer to anyone who wanted. Finally, in 1952 the Pearl Brewing Company got its name and served the Texas community. Following the closure of the facility in 2001 and immediately plans were made to address this vacant site. Since then, a multicultural hub of businesses and entertainment has flourished in the site.

Lake Flato describes this project as a mixed use village and social hub of San Antonio. This is an excellent description of the project as this project is not solely dependent on industrial adaptive reuse. What this project does best is provide a modern convenient experience to users, with notes of personality and nostalgia. The Pearl’s master plan begins with work around the main pearl brewing building and grows on to more modern forms of construction. Similar to an integration approach, the pearl seems to match adaptive reuse architecture with newer construction. Yet, unlike the integration approach, this contextual project repeats that example on a significantly larger scale. The goal for the Pearl’s new culinary school, hotel, and outdoor plazas is not to appeal to a more modern form of

architecture, but use these various amenities to attract and revitalize an entire city. Adaptive reuse does not necessarily have to be strictly physical in its appearance. The notion of reuse and sustainable design transcend the original site and start to become more intertwined with the newer San Antonio community.

When discussing the Pearl’s use of space for newer more modern architecture, some might interpret that as incorrect or ignorant. However, adaptive reuse comes in all different shapes and sizes for different reasons. By basing this project off of one extremely significant piece of historical architecture (The brewing building), you are able to tie together modern elements, giving them even a similar significance. Thus these new modern buildings garner a similar attraction, which is vital for the introduction of many new and local businesses. The current residents of San Antonio are able to feel at home, while tourists are able to connect and find joy. Connecting all these projects together into one unified site is difficult but necessary for communities with pieces they lost long ago.

Exterior view of modern and historic architecture connected to pearl hub.

View of corridor connecting different buildings to original reuse.

Large scale infrastructure is met with direct access to mass transportation. The reuse of The Pearl then acts more so as a destination. The project then fits directly into the heart of San Antonio.

New Modern architecture is built directly adjacent to the existing structure. These pieces start to gradually build, forming a social hub. Introduced infrastructure builds off of historic narratives to attract tourists and locals alike. Typology List

The High Line

NewYork, NewYork

The infamous High Line project by DS+R (Diller Scofidio + Renfro) is an abstract, but ingenious application of industrial adaptive reuse. The High Line’s history starts in the mid 1800s where freight trains moving on street level tracks delivered food to people in lower Manhattan. However, street level tracks were extremely dangerous and in 1933 they were moved to an elevated or high line. The tracks transported millions of tons of food and produce, even traveling through buildings for easy access and delivery. Following the introduction of trucking, the High Line slowly dwindled and finally lost use in 1983. Since its abandonment, wild life had taken over and the highline appeared as a beautiful overgrown garden. DS+R eventually decided on making this long rail line a public urban park, inspiring many different pieces of abandoned urban industrial infrastructure to be reused across the globe.

This project differs greatly from any others we have looked at so far due to its scale and landscape focus. Though, this project has every right to be considered an industrial adaptive reuse project. The approach to contextualization here is apparent through urban biodiversity. The more industrialized we become, the less green space we seemingly have. The High Line embraces the wild look and promotes a new connection between landscape and reuse, something completely unique but extremely significant. Inherently adaptive reuse projects are already environmentally friendly and, upon introducing natural biodiversity, becomes that much more when combined. The industrial heritage is enriched that much more as a ruined aesthetic is maintained.

This uniqueness and location drives many tourists every year thanks to the High Line’s transformation from a piece of infrastructure, to destination and urban journey.

We have spoken much about the importance of access to these contextually centered projects, but what about them providing access. Possibly the most impressive part of this project is that it is also a route for transportation in Manhattan. It is a completely public space with access to different parts of Manhattan and the many businesses that newly created exits or entrances serve. It is also accessible for users to the many new small local businesses that occupy spaces directly on the High Line. The High Line also hosts many different art installations and smaller performances, allowing people free access to local culture and entertainment. These factors attract tourists and locals alike, boosting economic growth and revenue by an unprecedented scale. Finally, the High Line has served as the framework for reimaging larger scale urban projects in other areas. In a sense, the High Line has created access for other people in different industrial cities looking for reuse projects of similar magnitude and significance.

View shwoing wild landscape blending with modern infrastructure and circulation.

Far away view displaying scale and multitude of access points to High line.

Multitude of access points are afforded to create a more ecological highway. This ecology is further reinforced by the introduction or rather manicuring of existing wild growth.

In more manageable areas, local vendors are afforded the opportunity to sell goods. Given the high volume of people traversing the High Line everyday, this exposure is crucial to these businesses and stimulates economic growth.

III. BETHLEHEM

BETHLEHEM

Background

The city of Bethlehem’s naming derives from the Palestinian town Bethlehem, just south of Jerusalem. The origins of the city thus are deeply rooted in religion, stemming from the original Moravian missionaries who traveled. Christianity was the binding element of Bethlehem, even bringing in the existing Native American settlers into their teachings. The Moravian culture, and the architecture they erected, never faded. In 1745 The Moravian College was created which founded the education system in Bethlehem. Throughout the 18th century many different historical structures were created like the first public waterworks and the Sun Inn, where even George Washington visited. The Morovarian community in Bethlehem was one of the most prominent in the United States as well. All activity relied on the church both in spiritual avenues and more literally the physical church location. Much later, in 1937, Bethlehem was named the “Christmas City” due to its link with Christianity and physical location with snow being considered ethereal and ideal.

Bethlehem is also heavily associated with wars within and outside the United States. First, during the revolutionary war, many lost soldiers actually took shelter in the surrounding suburbs of Bethlehem. This was due to the hospitality projected by the town and physical location of it being in a valley (Lehigh Valley). The location right next to the Lehigh canal also contributed to the ease of access associated with traveling to or exporting out. This would continue all the way to World War II where the soon to be formed Bethlehem Steel Company started to supply much

of the steel required for arms and ammunition. The location also was home to the Lehigh valley military base which tended to be fed by locals looking to join in on the fight. The location was also important to the Civil War, supplying the Union (Northern) states with shelter and similar armament needs.

In 1857, the Iron Company was formed, which would later become the new identity of Bethlehem, replacing the existing dominant Morovian culture. At this time, Bethlehem was recovering from the Civil War efforts and many different identities started to emerge. Boroughs of different parts of Bethlehem began to differentiate such as the Relevant borough of South Bethlehem. However, this separation was actually challenged by the original borough of Bethlehem. The South side then attempted to resist this new problem and create their own city. Legally, this was shut down by the supreme court, and Souther Bethlehem was forced to conform with the existing Bethlehem boundaries. The steel culture associated with the entire city was actually more aligned with the Southern portion of the town and started within their period of being independent. If steel work defines what Bethlehem is, then it was truly all South Bethlehem had.

Architecture construction began to become more centralized and different architectural pieces began attempting to create that new desired connected narrative. These projects like the central fire station and the Library of the Bethlehems opened up to consolidate those efforts. Even the advanced railroad system was created in order

to foster that idea of connection further. However, those existing steel plant would forever remain on the southside of the Lehigh River, forever being associated with that side of the community.Yet, the steel working community, although fundamental to South Bethlehem, was far from perfect. For instance, in 1941 Steelworkers decided to strike for around four days due to poor conditions. The strike was brutal and violent, but showed an unrelenting care for the workers in the Mills and an inherent due respect that they deserved. This attitude and mentality remained and latched on to the perception of who Bethlehem was.

Unfortunately, the Bethlehem Steel Corporation was shut down in 2001 after struggling to meet ends for a long time. Efforts to keep this production system open was indicative of

the desire and need from the social community steel working brought. Economic growth and stability was actually less of a priority in favor of maintaining that level of community. Therefore in losing this steel past, you begin to lose all that is important for Bethlehem, but more importantly, South Bethlehem. In response, new projects like the Wind Creek Casino and the SteelStacks have attempted to revitalize this culture and economic prosperity once experienced by the city of Bethlehem. Ever since, the local governing body has tried to string together projects to reemerge that cultural feeling and grow Bethlehem’s economic development.

Map from 1878 showing the North and South Side of Bethlehem.

Existing reuse along the river has brought many new and existing residents out, livening the area of South Bethlehem.

Clear break in the narrative of reuse and engagement of architecture along the south side of the Lehigh River.

More modern construction, is also strung into the mix and forms that new architectural boundary in Bethlehem.

Past Reuse/New Projects

Existing Buildings Site

Overview & Guidelines

The Framework for these designs is to be based on a current initiative for Bethlehem’s new South Side Community center. The project is currently in the beginning stages, allowing many people to give valuable inputs and even decide on a proper site. Thus, this book offers a solution through adaptive reuse of a mill on the southside of town. The goal is to not only provide viable design options for a community center, but call attention to the medium in which it can prevail. The site is situated right in the middle of Bethlehem, on the southern side of the interjecting Lehigh River. To the left is the infamous, and intact, Steel Stacks that were once used to produce steel for the entire United States. On the right side is a brand new modern casino and entertainment center. These attractions garner a lot of attention and are situated between major avenues and bridges. The importance of activating this site is undeniable as it could serve as a bridge, connecting those two areas. A community center would also attract many local resident’s allowing them to feel more ownership of their surroundings. Due to the scale of the perceived site, multi use is not only probable, but ideal. Income and job creation for the surrounding area is an important aspect to both attracting necessary funding and having residents in favor of the project.

Given the size of the building, it is optimal to divide them into 3 different sub buildings, each with their own architecture and features. Building 1 is significantly longer and in perhaps the worst shape of the 3. The roof system is peeling, and there appears to be a lot of water damage. Although the framing is stable, and is unique. Building 2

opens up and is directly connected to building 1. It offers an intricate framing system with trusses and brick infill between steel framed walls. It also has a unique moment of a circular opening towards the front of its facade. This building is directly connected to building 3, the tallest building, more catered to office tasks. Both buildings 2 and 3 have similar present architectural features. For instance, the classic rectangular windows are all broken and damaged on all sides. From this information, it makes sense to then tackle these buildings in phases accordingly, preferably starting with building one to take advantage of its continued health and stability. For these proceeding studies, we will exemplify design ideas that show the activation of all buildings however.

Regardless of the phase in which a building is tackled, there are common procedures and methods to achieve a desirable industrial reuse. Since the project is inherently for a community center, garnering the people of Bethlehem to help in this affair only contributes to a much richer, and even cheaper, project. Volunteering in the early stages of a significant reuse project is common, making sure the building is stable enough to work on, and all damages are assessed by licensed professionals. The experience then initiates bonding and an intimate connection to the actual architecture, something that can not be fabricated or bought. In fact, a common practice allows ex workers or family members associated with the site a chance to either reconnect or gain closure. Industrial archaeologists are to be introduced to ensure authenticity, especially in preserved elements or any “trash” found. Any resources recovered,

whether laying in the open, from destroyed sections, or newly deconstructed parts, are to be stockpiled and reused in later parts of the project. The more volunteers and local

businesses involved with this project, the more authentic and successful the final project will present itself.

City of Bethlehem, Pennsylvania with proposed site highlighted. (South Side is defined by anything South of central river).

Exterior shot showing unique framing and window conditions.

Exterior shot showing roof conditions and materiality.

Interior shot of existing steel mill.

Exterior shot of facade and window conditions.

Town Heritage of Bethlehem

Bethlehem Steel

Isometric drawing of existing building in its context of Bethlehem, Pennsylvania.

Existing Site Plan highlighting main methods of access and immediate context.

DalyStreet

Lehigh River

Minsi Trail Bridge

“Phase Division”

The use of phases in architecture is long practiced by firms to ensure a clear plan of growth an economic possibilities. This is more apparent on larger projects such as the Bethlehem mill being discussed. Dividing these buildings is important both for users of the space but also funders looking to make the proposed project worth their while.

Exploded Axon of existing buidling showing relevant framing and newly divided fragments.

Building1

Building2

Building3

Isometric rendering detailing existing steel framing system and brick infill (All Buildings).

Isometric rendering showing common roof damage and makeup of building 1.

IV. APPROACHES

APPROACHES

“Stripping Carving”

To create sculpture, one must actually sculpt or subtract from an orignal structure. The actions of sculpting and carving must be percise and not take away from the historical ambiance a building has. Carving not only offers interesting views, but allows users to inspect the inner workings of what once was a prominent figure.

Sculptural Approach

Approach 1

The sculptural approach to this Facility aims to provide usable space through carving and stripping existing infill. This concept best addresses the poor roofing conditions for building 1, as most of the roof is either visibly damaged or indirectly damaged through weather exposure. However, the core steel framing is still intact and, due to the modularity of the design, more damaged or degraded portions of the space can be removed easily. Out of the destruction and removal of brick infill, many opportunities arrive for material reuse as well. Depending on the building, construction and deconstruction can be reduced

allowing for a degree of mischief and contrast between formal space and free flowing activity. This removal and stripping contributes to an interesting and abstract design for Bethlehem, while still allowing for a functional use case.

Removed brick can be utilized for new construction within the steel shell. Due to the multitude of new spaces created out of voids, buildings can be constructed as needed, contributing to a more economic appeal. The removal also leaves gaps between primary steel elements and exterior framing, allowing the introduction of a green barrier. This now creates a new relationship between striking exposed steel and landscape. Building 3’s shape and condition, it is to be left as is, and maintained for outside sources or local companies to drive economic output of the project. Above all, this new enticing form is meant to attract and stimulate

Axon Highlighting Steel Exoskeleton to be maintained and exposed.

Steel Roofing is rusted and broken apart.

Wood rot has caused framing and joists to collapse. Any usable wood to be reused for other aspects of project.

Trusses help maintain structural integrity and show unique steel architecture

Brick Infill is removed, leaving steel framing exposed. Brick to be reused in new interior structures and repairs of existing.

Diagram illustrating new penetrations between existing sturctures and the voids they leave behind.

Green space situated in structural voids afforded by the stripping of existing brick infill.

Approaches

Elevation showing new construction under steel framing.

“Reprogram Recycle”

Preservation is, in essence, the face of adaptive reuse. These structures still need to have purpose and thus can be reprogrammed to fit whatever new agenda calls for it. Though, preservation requires authentic intentions and materials, of which can be found laying around ironically where the ruins reside.

Preservative Approach

Approach 2

Often the most impactful way to reintegrate an older building into the local community is a tasteful preservation project. Authenticity is always important, especially if the primary program is inherently derived from local desire. What preservation also brings is the opportunity for volunteer work. Clean up, local historic knowledge, painting, and material sourcing are all activities necessary to preserve and able to be done by anyone. The main considerations of this particular mill reuse is to do a lot of repair and stabilization. Many bricks are missing or damaged, the roof system needs to be structurally analyzed and repaired thoroughly, and machinery, or anything else of value inside, needs to be documented and protected. The materials for these tasks can be supplied by anything recovered from the building, or

other surrounding, unrecoverable buildings.

Due to the replication of the existing interior, the overall programmatic approach of the building needs to fit that same agenda. This particular case, buildings one and two are extremely open with very high roofs. Building three, however, is floored and thus will be the product of more conventional programming, like office spaces, or housing. The higher roofed buildings are more catered to a community center. Certain sections of the building will need to contain more temporary construction elements, while the rest will be maintained and left open. Open spaces are perfect for community activities, especially entertainment like indoor basketball. Any machinery or interesting conditions can be exhibited in a museum platform to allow for more diverse programs. Therefore, these open form programs all mesh together under an accurate and character filled building, allowing that building’s message to remain alive and useful.

Axon Highlighting Steel Exoskeleton to be maintained and exposed.

Brick Infill on the facade is to be repaired intensively with scattered bricks and using other surounding building’s scraps.

Approaches

Intricate Steel framing system to be preserved. Gaps are also to be preserved and programmed around. Roof to be repaired by repacing existing steel siding. Siding is warped from weather conditions.

Wood framing from roof is largely to be removed and replaced entirely. Wood rot and water damage is apparent everywhere.

Section Diagram showing all elements needing to be addressed for the preservation.

New divisions to be introduced dispersed preserved structure (Around 25% of Building 1 Shown).

Flex doors bridge new areas inbetween steel

framing

Student seating for children looking to do work

Approaches

Office Space for community related tasks and events.

Liesure Space for children and adults to relax.

Storage space for liesure supplies and equipment.

Showing new flex spaces utilized in various ways (Around 25% of Building 1 Shown).

Diagram

some repairs to improve the authenticity of the structure.

Industrial Facade of Building 3 is in great shape but needs

“Mechanize Community”

Adaptive reuse is inherently an ecological discourse. Given our more modern construction capabilities, it seems foolish not to introduce those methods in reuse projects to further push that agenda. However, if these systems can successfuly weave togethor new communties, or foster the revival of existing ones, ecological concerns become solutions.

Ecological Approach

Approach 3

One of the more attractive qualities reuse projects have are the environmental benefits they may reap. Ecological approaches tend to emphasize this part of the project and let that be read throughout every level of the building. Although there are many different ways to execute an ecological project, this approach will analyze the reuse of the multitude of industrial equipment contained within the abandoned envelope of our site. More specifically, the gas engine with a blower, a very common machine utilized in the steel production process. Similar to Bubbly Dynamics approach to creating equipment for conversion of food waste into energy, why not go further in reusing already existing equipment. Of course machinery would need to be

repaired and cleaned, but their form and charm of the steel industry is undeniable. Perhaps, we can let these blowers become mini gardens for anyone to contribute to.

The existing building can also be retrofitted in a way to reflect efficient outcomes without much aesthetic differences. In general, the building is rather open and has no true enclosures. Ventilation is not as much a concern, but any method of possible, or more efficient heating is necessary. Building 2 and 3’s abundant window array could be replaced with much more modern glazing for better daylighting and forgo future energy consumption of lighting fixtures. Building 1’s roof window array, between each roof slope’s seam, is also manageable and would benefit from reglazing. The overall program of a community center would do well with a reintegration of local businesses that may have gone out of business such as Dinky’s Ice Cream, a past Bethlehem staple. Those businesses can then utilize the aforementioned machinery to contribute to the energy efficiency of newly highlighted building systems.

Axon Diagram showing where new glazing systems are to be implemented.

40’ 80’ 160’

Plan Showing new solar array fitted on ideally sloped existing roofs.

40’ 80’ 160’

Diagram illustrating how old gas engine with blowing cylinder can be repurposed with ecological notes.

Approaches

Showing direction of energy from solar panels to congolmerate of businesses and liesure.

Diagram

Mini Market aimed at reclaiming old businesses. Any vendors work togethor on supplies and reuse while utilizing new efficient systems.

New mini parks are created and maintained for garden infrastructure and an opportunity for kids to explore the industrial past.

Green Infrastructure is apparent in all facets of the design to contribute to a true ecological feel.

Approaches

Basketball and other recreational activies allow all programs to collide under the ecological initiative.

Axon showing new interaction of green programs and spaces inbetween.

“Connection Interjection”

Integration involes many different methods of introducing modern architectural elements into reuse. Interjecting is the most obvious and abstract methodology used. This injerjection should then be properly connected to the culture surrounding and, more literally, should provide spacial connection to the older architectural elements involved.

Integrated Approach

The importance of connection to any architecture project can never be overstated. If people lack proper connection to a building they will in turn not use or respect the building. Thus, in projects where revenue is crucial, you must maximize any connections people may have with architecture and the specific building, to achieve that level of return. The integration approach aims to inject modern architectural construction into the existing space of the steel mill. This phenomena of adding very modern architecture into communities to boost engagement and economic growth is not new for Bethlehem as the casino complex next door is a perfect example. The combination of past architectural and cultural beliefs (steel and working

class communities) with modern architectural aesthetics, of which a majority of people align or are attracted to, creates the dynamic of economic return and cultural revival.

This design inherently draws all attention to the modern elements, aiming to produce a spectacle for any users. This new mass also allows for proper connection between buildings and new interesting spaces. The modern facades also attract many businesses and thus solve the harsh funding problems faced. The community center can also easily be integrated with the new modern architecture, allowing for certain spaces and classrooms to have proper building systems, and other more recreational spaces to be located in the existing framework. The center is also afforded the opportunity to be connected with any other programs to be introduced within the other buildings, thus offering an overall more diverse experience for any users. Kids are also drawn to the previously mentioned spectacle, allowing for a hub of youth to be established in Bethlehem.

Axon Diagram showing emerging new modern architecture.

Approaches

Elevation diagram showing new spaces interjecting out of existing infrastructure.

Mixed Use Community Center

Program diagram of new construction.

Exploded Axon showing new modern curtain walls and opportunity for interior real estate.

Approaches

New, more inviting entry points further attract more people to interact with the building

New, more inviting entry points further attract more people to interact with the building

Modern sturcture allows for internal connection of all buildings

Modern sturcture allows for internal connection of all buildings

Diagram showing new connections offered by modern interjection.

40’80’160’

40’80’160’

Approaches

Axon showing possible uses and interjections created by the new architecture.

“Access Revitilzation”

Sometimes the adaptive reuse of a building can contribute much more than just a new use of space. Large scale projects like these can truly change the dynamics of cities. They can provide access to new areas and dictate the flow of people. These newly intorduced dynamics offer different perspectives and allow broken parts of cities to be completely revitalized.

Contextual Approach

The more literal benefits of a reuse project are obvious: new functioning buildings at lower costs with less of an environmental impact. But, if you look more in depth at the point of adaptive reuse, the real purpose is to mend the past and present. If you further abstract this, a reuse project can bridge together entire communities, towns, and cities. The contextual approach to industrial reuse is the physical manifestation of that ideal. Often with this approach, the physical architecture takes a step back from the urban landscape element. The contextual approach almost performs urban reuse where, in addition to reusing physical spaces, you reuse older landscape ideas and past connections. This new approach is perhaps the most efficient at the revitalization of entire communities. The new connections formed (or in a sense repaired) give access

to more afflicted members or sections of neighborhoods.

The actual design implemented is unique in that the interior of the existing structure can be left hollow or designed with previous elements in mind. At the same time, the smaller surrounding buildings can be implemented into the greater context of the project, regardless of their condition. Parks and green space are some of the most affordable ways to adaptively reuse a site and sometimes have the greatest percentage of human use, especially for kids looking to have fun. The existing railway is to be repaired and integrated back into the previously renovated Hoover Mason Trestle. Thus, a new connection across the entire coast of the Lehigh River is activated and more people have access to both the reuse projects and the greater South Bethlehem. Similarly, the new outdoor patio area activates a dead parking lot area and allows for local businesses to reintegrate into the urban fabric of Bethlehem.

Axon Diagram showing emerging new modern architecture.

Site Plan showing new activations and connections within the reuse.

HOOVER-MASON TRESTLE

The connection between the Trestle and abandoned rail is seemless, making the journey through and to more fulfilling.

New stair cases are dispersed throughout the rail for many different moments within the space.

EXISTING PORTION

Overgrown rail road is groomed and let to flourish. A new connection between industry in nature is established.

Elevation showing the reuse and connection between the Hoover-Mason Trestle and the abandoned rail way.

OUTDOOR PATIO

EXISTING STRUCTURE

V. CONCLUSION

CONCLUSION

Final Thoughts

Throughout this exploration, we have uncovered many different pursuits of what is considered to be industrial reuse. However, it is important to recognize there are many different typologies waiting to be quantified, and many that are incapable of being defined. In reality, these typologies aim to achieve the same goal, just with differing executions. Their labels beside the fact are irrelevant to the magnitude of importance they have. What began as a simple investigation of these typologies, revealed much larger implications of the architecture these techniques aim to alter. Inherently, architecture serves the people who surround it, or in a lot of cases, inhabit it. Thus, architecture is not only the generation of new forms and ideas, but a reflection of those people and what they stand for, exposing the true nature of what adaptive reuse really tries to address: history and personality.

Industry has and always will be crucial to urban development. When you decide to redevelop that industry you subsequently redevelop the urban landscape. Analyzing this notion more closely, it becomes more and more apparent that industrial adaptive reuse has the potential to drastically change, or perhaps even revert, current urban conditions, problems, and deficiencies. The multitude of ways one can approach this quest is reflective of societies inclination to embrace creativity in design. Recognition that reuse needs to be catered to different situations is also relevant due to different communal values and aesthetic preferences. That is why these applications are for the purpose of true and rough exploration, for the hope that new ideas can be spurred and applied in different contexts.

The Bethlehem community’s industrial heritage, and the attempt to fully encapsulate and comprehend it, has proven to awaken a sense of gratitude and curiosity in me. It was the best example of the implications of taking away that heritage can create. For what was once a thriving industrial community now has the steep shadows of its artifacts hanging over them. Yet, their industrial journey mimicked the broader story shared by similar cities like Detroit and Pittsburgh: Prosperity, declination, death, and finally, reinterpretation and innovation. It is also important to recognize that just because broken industry exists as fragments among a community, does not mean they warrant drastic change. A community’s needs are met by the architecture they demand. In Bethlehem’s case it is a crucial community center project that has many different implications than just providing a space for kids.

The proposal of these ideas into Bethlehem to make this community center associated with an industrial reuse project has many different concurrent outcomes than just sustainable architecture. Kids are able to grow up appreciating the once fundamental aspect their town and community are built on. Appreciation is then passed down from generation to generation, never allowing that history to dwindle. They also grow up with the understanding of more vital human issues like aggressive climate change and economic disparity. Building that connection between architecture and humans is what this idea truly focuses on. Though it is important to teach about and value those past narratives, similarly to the new twist between desired program and heritage, it is just as important to develop new

narratives that can grow with the people who intend to tell or understand them.

By clearly categorizing these adaptive reuse approaches into the Sculptural, Preservative, Ecological, integrated, and Contextual, people begin to visibly see the scale and complexity when working with industrial infrastructure. It also highlights the difficulties with proximity to other projects or unique architecture. Stitching a new story onto that existing fabric is difficult but fruitful. From any of these perspectives, the adaptive reuse of this specific steel mill on the Lehigh River can have dramatic consequences. But these consequences are offset by the potential of economic opportunities, true social cohesion, and an enhancement of daily life for people of Bethlehem. Going further, the hope then becomes if Bethlehem could serve as the model for other post-industrial cities looking to creatively pursue adaptive reuse. Precedents can be set for these industrial cities and how to generate different strategies or combinations through the use of typologies. Finally, and most significantly, the lessons learned here offer advice on sustainability, historical appreciation, and urban renewal to adaptive reuse projects all over.

In truth, this investigation advocates for people to think about utilizing what adaptive reuse can really provide in our current architectural landscape. No typology or technique is more valuable than another. Ultimately, they all share characteristics but with different parameters to start. The vessel of Bethlehem symbolizes a much larger shift in the field of industrial reuse architecture. It is the opportunity

to think not only about preserving the memories of the past, but about actively creating new ones. Over this journey, We have come to terms about the power adaptive reuse holds, and hopefully spurred questions about the lack of reuse we see in many cities. We see all these new modern constructions more and more, meant to symbolize innovation and betterment. In spite of that notion, this paper hopes to affirm the idea that true modernity is best seen as authentic adaptive reuse, caring for both culture and the built environment. Hopefully that belief can be carried on by organizations in the future so that our society is able to earnestly revolutionize industrial architecture.

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Thank you