Industrial Ruins: Abandonment, Aesthetics & Reclamation

INDUSTRIAL RUINS ABANDONMENT, AESTHETICS & RECLAMATION

JACQUELIEN CANNOO

MA ARCHITECTURE UNIVERSITY OF WESTMINSTER 2014

Jacquelien Cannoo September 2014 University of Westminster, London MA Architecture Course leader: Dr Davide Deriu Thesis supervisor: Dr Krystallia Kamvasinou Thesis module leader: Richard Diord

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ABSTRACT

“ Nothing is more suited to making history come alive than ruins. Ruins are time on hold.

- Dekkers, M. 1997. The Way of All Flesh. (p.32)

�

Industrial ruins are a fascinating type of architecture,

After thorough research into these elements I have

it is as if time stood still on the moment the building

made a design for the Millennium Mills in London

became abandoned. Looking more closely you can see

where both the time when the building was in use and

time dĂ­d move on: nature is growing or a piece of graffiti

the time of abandonment can be found. The building

has appeared on a wall. There are certain aesthetics to

is given functions such as housing, combining this

be found in these ruinous atmospheres. Nevertheless

with an industrial ruin is a challenge. The longer we

there comes a time the building will be reclaimed and

reside within a function, the less we want to be in a

given a new function. Often when we reclaim the ruins

ruinous environment. I have approached the building

we tend to forget that the time of abandonment is part

as if it was an urban system: machines and elements of

of its history.

abandonment are kept and people can wander around as urban explorers. Apartments are placed between constraints, this way the apartments can have their own atmosphere.

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Figure 0.1. Aesthetics of Abandonment

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TABLE OF CONTENT 1 3

I. Introduction: Industrial Ruins

41

II. Theory: abandonment, aesthetics, reclamation & other key terms

7

III. Methodology & Methods 7

Literature review

7

Design approaches

8

Precedents

12

Case studies

29

Site survey

33

Analysis

IV. Design 41

Approach

42

Concept

43

Final design

54

V. Conclusion

55

List of Illustrations

57

Bibliography

1

I. INTRODUCTION: INDUSTRIAL RUINS The quote by Middas Dekkers on the right page

Another type of modern ruins is due to a (natural)

summarizes briefly people’s fascination with ruins.

disaster. Figure 1.3 shows a theme park in New Orleans

Ancient ruins (such as figure 1.1) are often considered to

that has been left unused since the park was flooded

be beautiful and charming and they have become part

after hurricane Katrina in 2005, demolishing many of

of the landscape. Sometimes artificial ruins were even

the attractions.

added to a landscape to make it more picturesque, as

Figure 1.4 beside it shows the city near the Chernobyl

for example in the English landscape gardens. Beside

nuclear power plant. A big area around the power

these ancient ruins there are also modern ruins. In my

plant is contaminated and the city closest to the site,

Thesis Strategy (Cannoo, 2013, p.2) I have recognised

Pripyat, is completely abandoned due to the unliveable

several types of modern ruins:

situation (World Nuclear Association, 2013).”

“Ruins through economical abandonment, for example

However the focus of this thesis was on abandoned

in Detroit where the city relied on the automotive

industrial ruins, because they stand for an important

industry for a long time. When the industry moved

era in the industrial history. Even though many are in

away from the city the factory became unused and

a state of decay, I considered that ruinous atmosphere

is now in decay (figure 1.2). Besides, a lot of jobs has

as a form of aesthetic. Not everyone might agree with

moved away with the industry, therefore people left

this, resulting in reuse designs where the aesthetics of

Detroit and many houses were left abandoned.

abandonment are gone, especially when the building is

Figure 1.1. Ruins of Glastonbury Abbey, UK

Figure 1.2. Packard Automotive Plant, Detroit, US (2011)

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“ Nothing is more suited to making history come alive than ruins. Ruins are time on hold.

- Dekkers, M. 1997. The Way of All Flesh. (p.32)

”

transformed into housing. And even if the building

My intention was to find design principles that keeps the

shows some of its history, it is often being restored

characteristics of an industrial ruin when the building

to its original aesthetic and we tend to forget that the

is being reclaimed. With a focus on the combination of

time of abandonment is also part of the history of that

this building type with housing, the challenge was to

building. Therefore, my primary question is:

transform it into an attractive atmosphere to live in.

I have researched this topic through literature, on

How can aesthetic values - that are part of an abandoned industrial ruin be kept with reclamation?

which will be elaborated in chapter II: ‘Theory’. Also through precedents and case studies which can be found in chapter III: ‘Methodology and methods’. The final chapter shows the research I have done through a design project.

Figure 1.3. Six Flags, New Orleans, US (2012)

Figure 1.4. Chernobyl, UKR (2011)

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£ object

£ abandonment

decay Figure 2.1. Ruination process

or closed down, leaving an empty abandoned building behind. When no one maintains the object, it will decay.

Professor of philosophy Florence M. Hetzler (1988) calls this stage of the process the “maturation as a ruin” (p.

51). Hetzler points out a time when animals starts to

II. THEORY: ABANDONMENT, AESTHETICS, RECLAMATION & OTHER KEY TERMS

live in the object, she does not give this stage a specific name, although I think we could name the object a ruin by now. This conclusion is strengthened when she describes a ruin as a product which is both human- and

Through literature I have found that there seems to be

nature-made and fuses more and more together over

a ruination process. Figure 2.1 is a schematic view of

time. The name ruin comes from the word falling, how

this process.

a building or object falls into decay (Roth et al., 1997).

The first stage of the process is the object itself

This also implies that the decay continues when it has

which is in use, in this thesis an industrial factory. This

already become a ruin.

type of building was often built during the industrial

“A word close to ‘ruin’ is ‘derelict’, yet these two terms

revolution, sometimes small to start with and

prompt opposite reactions – a ruin inspiring poetry,

expanded during the years due to a rise in demand.

the other calling for demolition.” (Williams, 2011, p.94).

The production (such as milling or mining) of many

Therefore I have put both the terms derelict and ruin

of the buildings that I have looked at decreased

above the fourth stage. Nevertheless I have looked into

significantly in the second half of the 20th century and

the two terms more carefully. The Oxford Dictionary

many of the companies who owned the objects moved

(2014) describes dereliction as “the state of having been

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ruin / dereliction

reclamation

abandoned and become dilapidated” (disrepair). Gilda Williams (2011) associates a ruin with nostalgia and memory. Perhaps a building in dereliction is still a stage before becoming a ruin. In the end she gives a definition for both of them: we can “define a ruin as an architectural site whose inhabitants were forced out, whereas the derelict site is a place so unwelcoming

unnatural. I am focussing on modern ruins, industrial

its residents packed up and left voluntarily” (p.98).

ruins in particular, but since ancient ruins already went

According to this definition my thesis is about ruins,

through the entire ruin process I have looked at these

rather than derelict buildings. Nevertheless I have kept

types as well. Therefore, the literature that I have used

the term derelict in the scheme, in which I consider the

is about both types: Hetzler’s definition is about ruins

difference between the two terms so small that it is the

in general and mainly about ancient ruins. Williams

same stage.

article however is about modern ruins.

Beside this, there is a difference between ancient ruins

The previous four stages of the ruin process was

and modern ruins. I think the biggest difference is that

a conclusion I made after reading the literature,

ancient ruins are already 99% ruins, while modern ruins

however I have added a fifth stage in the ruin process:

are still mainly in the ruination process. The materials

reclamation. To define this term I have first clarified

of the building that are left as an ancient ruin have

a more general word, restoration, since there are

become a part of nature, while with a modern ruin the

several words that are often confused with restoration.

materials are still seen as something man-made and

Restoration is considered to be the care of existing

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buildings, because it contains a value worth keeping

called wasteland (Edensor, 2005).

(Zijlstra, 2011). The restoration department of the

On the other hand an industrial ruin also has

architecture faculty at Delft University has divided

many positive factors. For instance, it has a certain

restoration in three types: modification, intervention

mysteriousness. Ancient ruins were often important in

and transformation. The first is at the scale of building

the scene of a painting, ruins were considered romantic.

materials, the second can be a building or a small

Nowadays, a modern ruin is often used as a scenery of

building complex that is made “fit for new uses”

a movie. Edensor states it contains a “promise of the

and the last, transformation, concerns a big building

unexpected” (p.4). He also states that a ruin possesses

complex or even a complete city (Coenen, 2006). I think

rich history. To me a modern ruin often gives me more

these approaches make reuse, a new use or function

information about its history than an ancient ruin

for an existing building, possible.

shows me. That is because the ancient ruins are often

Reclamation is not the same as reuse, literally reclaim

so far gone that it is hard to see or imagine what it used

means “recover for reuse” (Oxford Dictionary, 2014).

to be, while a modern ruin is often still intact enough to

As the word also implies, I think reclamation is a step

show us what it used to look like. Beside this, a modern

before reuse, it is the decision to preserve a building

ruin contains a more recent history, to which we can

and make it fit to use again.

relate more easily: through our own memory or from family stories, while it is much harder to position our

Besides defining the key terms of the thesis, I have

history or (collective) memory in ancient ruins.

also explored why some people consider modern

According to Edensor (2005), these positive points

ruins as something positive and others as negative. I

are in a way hidden in ruins (p.167), which gives us an

think one of the reasons why some consider modern

understanding why some consider a modern ruin as

ruins as negative could be because these buildings

negative. One of his conclusions is that these ruins are

usually become ruins through a negative event, such

“material critiques” of today’s urban change. Another

as a disaster or financial problems. Beside this, the

conclusion is that a ruin lacks the strict order that

site often has become dangerous, according to Dr

cities have, which could give different insights.

Tim Edensor (2005) – reader in Cultural Geography at Manchester Metropolitan University – because of its

So, Edensor gives some answers to why people

decay or because it might be a place for criminals to

are fascinated with modern ruins: mysteriousness,

gather: ruins are, what he calls, a host of “unregulated

“promise of the unexpected”, history and critiques.

activities”. It is also a place that is often considered as

Midas Dekkers’ book “The Way of All Flesh, a celebration

ugly. Finally, according to some people every space

of decay” (1997) also gives some answers. Dekkers is a

should be used, especially in a more urban environment

biologist who writes in his book about the human aging

where everything that is useless or functionless is

process, he uses ruins and decay in everyday life as

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metaphors and with that he describes people’s

picturesque landscape. Dillon (2014) writes that William

fascination with ruins, decay and abandonment well.

Gilpin influenced the notion of the picturesque ruin in

Dekkers thinks an object is “at its best if it’s decaying”

his “Observations on the river Wye” by describing how

(p.29). By observing it you can touch or feel its history

nature takes over with time and calls natural elements

and with that you can become part of it: “nothing is

(such as moss and fungi) that have become part of the

more suited to making history come alive than ruins”

building by becoming “ornaments of time”.

(p.32). He describes how time is important for ruins,

In the painting “Tintern Abbey” (figure 2.2) J.M.W.

likewise with human life: “ruins are time on hold” (p.32).

Turner depicted the “enthusiasm for picturesque

Although on the other hand, time goes on: as Hetzler

ruins and all that they evoked of the medieval past,

(1988) said, a ruin is a place where animals build up a

the triumph of nature over the relics of culture and

life and where vegetation grows.

the idea that a ‘natural’ landscape was in fact ideally set off by some reminder of human time” (Dillon, 2014,

The purpose of my thesis is to research reclamation

p.10). I think this is where the term aesthetics touches

of industrial ruins. Bradley Garrett, researcher at

the term memory. Crinson (2005) describes memory as

the University of Oxford, was an urban explorer and

“a residue of past experiences that somehow stuck or

writes about the “exploration of unseen parts of the

became active in the mind” (p.12). Memory is related to

built environment” (Garrett, 2011 p.1048). He states

culture and traditions (Garrett, 2011) and is something

that it would be “ultimately self-defeating” to preserve

personal, while history is based on facts.

a ruin with the intention to “preserve the aesthetics of decay” (p.1062). One of my hypothesis is therefore that it is perhaps not (everywhere) possible to provoke the aesthetics of abandonment, but I do think it should be possible to provoke a memory of abandonment. I already mentioned memory before, it is a difficult term and therefore necessary to describe it, together with the terms aesthetics.

The urban explorers find the aesthetics in the possibilities of the abandoned place: “wondrous adventure,

inspiring

visions,

quiet

moments,

peripatetic playfulness, and artistic potential.” (Garrett, 2011 p.1065). They find this more interesting than the history of the place (p.1054). Aesthetics of ruins where already found many years ago, and very popular in the

Figure 2.2 Tintern Abbey (Turner, 1794)

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III. METHODOLOGY & METHODS Literature review

wider field and together with the research to several

One of my methods was to do a literature review on

precedents and case studies it helped me develop a

which I have elaborated in the previous chapter. I have

design approach which I will clarify in the following

also informed myself with the wider field by looking

chapters. My research framework however is a little

into different approaches towards reuse. For example

smaller, therefore I have not used all in the rest of my

the different international guidelines (Nara document

report.

(ICOMOS et al., 1994), Venice Charter (ICOMOS, 1964), and the World Heritage Operational Guidelines

Design approaches

(UNESCO: World Heritage Centre, 2013)) and the English

Another method of my thesis was to define design

Heritage principles and guidelines (English Heritage,

approach principles. As written earlier this thesis is

2008). Bold and Pickard (2013) wrote a useful article

about how to preserve an industrial ruin. My design

on the different guidelines in the reconstruction and

approach is therefore to preserve the existing. To

authenticity field.

research more into the principles I have looked for

To familiarise myself with different reuse approaches

several precedents and case studies and the architects’

and opinions I read different articles (e.g. Blundell-

approaches. The precedents were also used to better

Jones (2001), Cooke (2000) and Henket (1998)).

understand the relationship between the existing industrial building and the new function. Therefore I

Several talks were also useful to inform me:

searched for the functions of an event, museum, café/

Broken Edges: Cities and other Ruins (Mann and

restaurant, hotel, office and a house. All precedents

Witherford, 2014) which included a talk about the

include a list of activities and the time people spend in

2013 RIBA Stirling Prize winning Astley Castle and

such functions. Before I continue I would like to mention

how the architects had to use their imagination and

that I have not been at these precedents except for the

improvisation during the design phases because the

first precedent (De Fabrique). Therefore my personal

site was at some points too dangerous to access.

comments are grounded on pictures.

The New English Landscape: the aesthetics of place in post-industrial Britain (Worpole, 2014). In this talk Ken Worpole compared the romantic picturesque English landscape with the rough and rural post-industrial British landscape.

These sources have elaborated me on the topic on a

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Precedents Events: De Fabrique – Utrecht, The Netherlands Type

Activities

short stay

party / celebration

public

conference / business

De Fabrique is a previous linseed oil (until 1962) and compound feed (until 1996) factory from 1921. The production moved out in 1996 and the building became functionless. Shortly after this the building was bought by a couple who saw potential in the building.

They transformed it into an event venue with a great industrial ambiance. It can house events of 50 people as well as 3500 people. (De Fabrique Evenementenlocatie, n.d. and 2012).

The building has not been abandoned for long. The reason I looked into this precedent is that its roughness is still there and used as an important element for the atmosphere. I have been in a part of the building for an event where they combined the buildings characteristic very well with the theme and dress code of the party: red (figure 3.1-2).

Museum: Mill City Museum – Minneapolis, Minnesota, US

Type

Activities

very short stay

gain knowledge

public

observe walk through

This building was originally The Washburn A Mill, built in the 1870s-80s, the largest milling factory in the world at the time. It is the only mill left from the Minneapolis’ Figure 3.1-2. De Fabrique (De Fabrique, n.d.) (2012) FIgure 3.3 Mill City Museum (Mygeekdaddy, 2011)

9

mill complex. Some parts were destroyed due to a fire in 1991 (Minnesota Historical Society, 2014). The ruins that were left over are now housing a museum about Minneapolis and the flour industry. I think it is very interesting how they left the outside as it was: a ruin (figure 3.3). They added elements in a transparent way so it is very clear what is new and what is old (figure 3.4).

Café/Restaurant: The Wapping Project – London, UK Type

Activities

very short stay

drink / eat

public

sit / stand work / study

meet people The Wapping Hydraulic Power Station opened in 1890 to provide the surroundings and even central London with electricity. It was one of the last hydraulic power stations in the world when it closed in 1977. In October 2000 the Wapping Project opened up for the public. With the transformation the architects (Shed 54) kept “as much of the existing building structure and machinery as possible” (figure 3.5-7). They combined today’s use as a restaurant and an art gallery with the industrial past of the building (Flores, 2010, online). Unfortunately the Wapping Project closed last December, therefore I cannot judge from personal experience. Nevertheless, seeing the pictures the atmosphere looks rather cold, which could be unpleasant to stay. It shows how interesting and warm or cosy you can make an industrial space with light and contemporary furniture.

Figure 3.4. Mill City Museum (Kotog, 2009) Figure 3.5-7. The Wapping Project (Unknown, n.d.); (Unknown, 2011)

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Hotel: Waterhouse Hotel – Shanghai, China Type

Activities

short stay

holiday / business

semi-private

sleep

This hotel is situated in a previously abandoned building from 1930. It used to be the headquarters of the Japanese Army. Architectural office NHDRO combined new and old in clear contrast and left the “exposed concrete and brickwork” untouched (Dezeen, 2010, online). I think this building is a good example of how I imagined to keep the aesthetics of abandonment. Especially the exterior where it would look like the building is in disuse without the corten steel upper floor (figure 3.8). By entering the building you would arrive in the reception where the walls are kept as they were (figure 3.9). However once you step into the (private) hotel rooms the presence of previous abandonment is completely gone in the contemporary decorated rooms (figure 3.10).

Office: The Factory – Sant Just Desvern, Spain Type

Activities

long stay

work

semi-private

drink formal meetings

Architect Ricardo Bofill transformed a disused cement factory into his head office. Eight of the fifteen silos have been reused for offices, laboratory, archive and exhibition space (figure 3.11-13). “The factory, abandoned Figure 3.8-10. Waterhouse Hotel (Menere, 2012) Figure 3.11-12. The Factory (Bofill,2012)

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and partially in ruins, was a compendium of surrealist elements: stairs that climbed up to nowhere, mighty reinforced concrete structures that sustained nothing, pieces of iron hanging in the air, huge empty spaces filled nonetheless with magic.” (Unknown, 2012, online).

The use of vegetation on the outside and inside the combination of the rough concrete with artificial light and soft-coloured furniture seems well-balanced House: Printing Factory Loft – Barcelona, Spain Type

Activities

permanent stay

live

private

cook eat / drink relax study sleep invite people

This previous printing factory has been transformed into a loft. The rough industrial look is present in the living room and kitchen by minimally cleaning the walls, columns, ceiling and floors (figure 3.14-15). However, once you enter the sleeping area nothing is left of the industrial atmosphere (figure 3.16).

With these precedents I have described not only the architecture, I have also given characteristics and activities with every function. It shows that the longer we stay in the function and the more activities are connected to it, the more new elements were added or the more rooms were converted with a contemporary Figure 3.13. The Factory (Bofill,2012) Figure 3.14-16. Printing Factory Loft (Estudio VilaBlanch, 2014)

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look (figure 3.17). It seems like the aesthetics of

Case Studies

abandonment depends on its new function after

Meelfabriek (Flour Factory) - Leiden, The Netherlands

reclamation and that the function of a house has the

The first case study is an old flour factory in my

most new elements and most contemporary rooms.

hometown in Leiden. With the same original function

This is due to the fact that it is a place we stay the

and same current situation (abandoned) it is very

longest and we are the most active in this function.

similar to the building that I have chosen as a site for

Therefore I have explored why that feeling and

the design. I have been cycling past this building for

aesthetics of abandonment is gone in bedrooms. This

more than 20 years and I always found it mysterious

could be explained best with a quote of the earlier

place. A couple of years ago the building opened its

mentioned Midas Dekkers (1997): “Where there are

doors for one day for the public and inside it contains

feelings, there are smells. Lovers smell of roses,

the aesthetics of abandonment that I have described

cosiness smells of food, fear smells of sweat. But which

in chapter I and II.

smells belong to the “ruins feeling”? What do ruins

Plans have been made to reclaim the building complex

smell of? Damp earth and moss, fungi, cellars and

which will soon be realized. I have had mixed feelings

heavily urinated-on lampposts. It’s an ambivalent smell:

about this: on the one hand I will not be able to pass

it reminds you of the past, but not without the terrifying

the building and wondering about the mysteries of

smell of rotting.” (p. 45). So, in our house we want

the building, on the other hand I am excited that the

cosiness and maybe we do not want to be reminded of

city is reclaiming the building and opening it up for the

the history of our house when we are asleep. So how to

public. I have explored how the building will be reused,

combine these two?

together with some history of the building and the site.

short stay few activities

The city of Leiden was built within a defence structure, which is still visible in today’s map (figure 3.22). The defence structure included an empty space within the fortifications between the canal and the inner canal (figure 3.21). In the 19th century space was needed for housing and new industry. It was not possible to build outside the border because it was part of another municipality. Because the defence structure was not necessary anymore for defence, the open space permanent stay many activites Figure 3.17 Function vs. stay / activities (2014)

between the canal and the inner canal was used for new buildings. This zone became an industrial zone, on which the Flour Factory was built in the 1880s. Today two

13

factories still stand: the power factory, which is still in

heavy loads.” (De Meelfabriek, n.d., online). The facades

use, and the abandoned flour factory. The latter has

will be stripped and will reveal the industrial structure

been in use for one century until 1988. Ten years after

(figure 3.20). I found this approach of looking beyond

a project developer bought the building complex and

the surface very interesting. Industrial buildings often

another three years later the factory became a heritage

need a firm construction to carry big loads, in this case

listed building. Architect Peter Zumthor was appointed

the heavy loads of flour. It is therefore much more

to design a masterplan for the site and construction

interesting to read the function from its inner structure

started this year (De Meelfabriek, n.d.).

than from its façade.

Peter Zumthor designed a masterplan which includes a hotel, restaurant, shops, workshops and housing. The complex exists of several buildings of which only three will be demolished (figure 3.25-27). Zumthor has found the complex’ character beneath the surface: “There is beauty and strength in the physical structure of the industrial buildings which were designed to carry

Figure 3.18a. Aesthetics of abandonment (2013)

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Figure 3.18c Figure 3.20. Stripped faรงade (demeelfabriek, 2014) Figure 3.18b Figure 3.19. References to the past (demeelfabriek, 2014)

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Figure 3.21. Canal structure (n.d.)

outer canal canal road canal fortiďŹ cation Figure 3.22. Leiden (unknown, 1785)

inner canal

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Figure 3.23. 1956 situation De Meelfabriek (2014) Figure 3.24. Present situation De Meelfabriek (2014)

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1. silos 2. our warehouse 3. boiler house 4. cleaning building 5. extension mill

4.

10.

6.

6. mill

1.

1.

7. workspaces

1.

1.

2.

8.

9.

8. sta residence 9. office 10. garages

10.

(red: listed)

3.

5.

6.

1.

4.

1.

1.

1.

1.

2.

18

hotel ďŹ tness & spa cafĂŠ restaurant fashion / design boutiques workshop building apartments loft ateliers loft apartments student housing houses

Left: Figure 3.25. Present situation buildings / water (2014) Figure 3.26. Maintained buildings (2014) Right: Figure 3.27. Future situation (2014)

19 19

20 20

Figure 3.28. De Meelfabriek (2013)

21

22

Figure 3.29. Ruhr Museum (Gonzรกlez, 2011)

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Zollverein and the Ruhr Museum The Ruhr Museum is part of the Zeche Zollverein mining

the Ruhr Museum. The area has become a centre for

area in Essen (figure 3.30-31), which was the biggest

design, art and culture. (Cerutti, 2011).

mining complex of the Ruhr area. Zollverein consisted of twelve shafts build between 1847 and 1932. The area

I saw similarities between the urban fabric and the

is divided in three parts: Schacht XII; Schacht 1/2/8; and

interior of the Ruhr Museum. Both have constraints

the Kokerei (coking). The Ruhr museum stands on the

(black in figure 3.40-41) in the urban plan or floor

area of Schacht XII, the last shaft through which coal

plan and they build the park or the museum around

was extracted. In 1986 all shafts were closed and the

those constraints within its border or façades. I think

shaft XII was put under preservation. In 1996 also the

it is interesting how OMA used the available spaces,

Coking plant closed which meant the Zollverein mine

without taking any buildings and/or machines out. In

was completely out of use.

the Ruhr Museum the exhibition is set up between

Shortly before the site was marked as a UNESCO World

original industrial elements (figure 3.37-39) and the

Heritage Site, transformation plans had started. The

necessary new elements have a contemporary and

masterplan is designed by OMA, who also redesigned

contrasting look (figure 3.32-34).

Figure 3.30. Essen on the Map (GeoBasis-DE/BKG, 2009)

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Figure e 3.32. Ruhr Museum: origin original inal in al iint interior nter nt erio ior ex extracted (2014) 4)

Figure 3.31. Zollverein area(Google Earth 7.1, 2014)

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Figure 3.33. Ruhr Museum: interior with new columns (2014)

Figure 3.34. Ruh Fi uhr Museum: with new interior (2014) uh

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Figure 3.35. Historical situation Zollverein (2014) Figure 3.36. Present situation Zollverein (2014)

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Bottom: Figure 3.37. Exhibiting between the existing (2014) Right: Figure 3.38. Exhibiting between the existing (Gonzรกlez, 2011) Figure 3.39. Keeping machines as it is (Willemsen, n.d.)

28

Figure 3.40. Constraints (building structures) Zollverein (2014)

Figure 3.41. Constraints Ruhr Museum(2014)

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Positive/negative aspects: + Just beside residential area. + Drawings might be available. + Industrial heritage: worth preserving.

- Might not be possible to access the building.

Site survey In earlier stages I had selected two buildings and one industrial site as possible sites. To select the site I defined the positive and negative aspects of each one.

The descriptions of the first three sites are revised

- Abandoned atmosphere not very present.

texts of my Learning Contract (Cannoo, 2014).

Lots Road Power Station, London The Lots Road Power Station, also known as the “Chelsey Monster” or the “mini-Battersea”, is a 1904 Victorian building which provide electricity for the District Line of the London Underground until the 1990s (figure 3.42-43). From the outside it seems like the least decayed building of the four possible sites. Plans have been made to reclaim the building and transform it into shops, restaurants and apartments. The plan included the development of the surrounding area with two 25-storey buildings

Chatterley Whitfield, Stoke-on-Trent This is an old coal mine which includes 20 buildings including 5 heritage isted buildings (figure 3.44-45).

There were plans to reuse the site, but it is a slow process and has not started yet (English Heritage, 2013). In terms of programme the case study of Zeche Zollverein is similar to this site. The site would be too big to design as a whole. Therefore I would have sketched a design for the the masterplan in which the ambiance would be the main focus and one building would be selected to design in more detail.

(Prynn, 2013).

Figure 3.42. Lots Road Power Station (2014)

Figure 3.43. Lots Road interior (Formation Architects, n.d.)

30

Positive/negative aspects: + The area can be viewed on the Open House day: it might be possible to visit it at a different time. + Drawings might be available through the English Heritage. + Industrial heritage: worth preserving - 3-4 hours by train to visit.

- Not all buildings are open because they are too dangerous.

Figure 3.46. Bata Shoe Factory (McNeilly, 2013)

Bata Shoe Factory, East Tilbury During the ‘interim crits presentation’ external critic Harry Charrington gave me the tip of the Bata Shoe Factory as a potential site. It is a 1930s Czechoslovakian shoe factory, which was in use until 2005 (figure 3.46).

Positive/negative aspects: + Small scale. + Drawings will probably be available.

- East Tilbury is not very alive (it’s a “ghost town” (Rose, 2006)).

There is a Thames Gateway plan to regenerate the town, including the old factory.

Figure 3.44. Chatterley Whitfield (Dace, 2013)

Figure 3.45. Chatterley Whitfield interior (ChatWhit Admin, 2013)

31

Millennium Mills, London

MM and left it behind abandoned.

The site I had chosen is the Millennium Mills (MM) in

A starting point when I was searching for sites was that

Newham, London. Seen the amount of pictures that

I wished to try to stick to the masterplan (if present).

are available online it is a very popular building for

In the case of the MM there are plans to develop the

urban explorers. The building, an old flour factory,

derelict area, called Silvertown Quays (figure 3.51). The

is situated at the Royal Victoria Dock and the only

development team says developments could start

building in a wide empty field, the Silvertown Quays

in 2015. Part of this team are Fletcher Priest, West 8

(the green area in figure 3.49a and figure 3.50). It is

and CivicArts. The current masterplan shows that

part of the London Development Plan that was set up

the area will become a residential area combined

in 1981. The surrounding is also part of the Plan but

with offices and with mixed use in the plinths. This

has already been developed. These are the residential

choice was made after a survey that held under the

area Britannia Village (figure 3.49: orange); City Airport

residents of the surrounding areas in which “90%

(blue) and the Exhibition and Convention (ExCel) centre

asked for local shops”; “80% wanted new jobs and

of London (red). A little more to the south are the

training opportunities”; “84% wanted new cafes and

Thames Barriers and the Thames Barrier Park (yellow).

restaurants”, etc. (Silvertown London, 2014, online).

In 1981 the production of the factory moved out of the

All buildings will be newly build, except for two: the

Left page: Figure 3.47. Location Millennium Mills (Google, 2014) Figure 3.48. Millennium Mills, south side (2014) Right page: Figure 3.49a. Areas around MM (OS VectorMap Local, 2014)

32

Millennium Mills and Silo D, the only two remaining buildings with a rich industrial history. Both are

- Unsafe: will probably not be accessible - Very big building

heritage listed: Silo D is grade II, the MM is locally listed

I selected the site of the Millennium Mills, which had

and it is suggested for national listing. The currently

the biggest abandoned atmosphere to which I was

disused and abandoned MM will be transformed into a

searching for, it has the most design possibilities

residential building with mixed use on the lower oors.

and the most positive factors although the second

The previous function is similar to the case study of the

positive aspect was not right: I could not get hold of

Factory in Leiden.

good drawings, but I had found a lot of pictures with which I could make an assumption of the oor plans

Positive/negative aspects: + Within a development area (Docklands) + Drawings will probably be available through EH or the Docklands development + Very abandoned atmosphere + Lots of interior pictures online made by Urban Explorers + Industrial heritage: worth preserving.

and sections. It is a big building with many unique oor plans due to the existing elements which I wished to preserve,. However, in the timeline I made for the Learning Contract (2014) I would be designing for almost 12 weeks and I knew it would be possible to make a design in that time. Eventually the research and analysis phase took more than I had anticipated, which gave me a very short time to design.

3.49a

3.49b

3.49c

3.49d

3.49e

33

Figure 3.50. Current situation Silvertown Quays (Google Earth 7.1, 2014) Figure 3.51. Masterplan Silvertown Quays (Silvertown London, 2014)

34

Analysis History Before the invention of steam power mills were powered by water or wind. In London these type of mills were located on a Dock at the Isle of Dog. The seven windmills that stood there gave the dock the name Millwall. In the 19th century the mills became Figure 3.51a. 1900-49

larger and larger. The milling industry soon moved to the Royal Victoria Docks where three mills were built in the early 20th century: Co-operative Wholesale Society Mill (1901), Premier Mill (1904) and the Millennium Mills (1905). The three of them produced the our for the London Market and more. The latter two mills are shown in ďŹ gure 3.51 and 3.52, the Wholesale Society Mill is located a little to the west. The mills were in use until the 1980s and many of the building structures were

Figure 3.51 b. 1971

demolished shortly after. Most of the Millennium Mills are preserved and a small part of the Premier Mill (also known as the Rank, after its founder Joseph Rank Ltd).

(Royal Museum Greenwich, n.d.).

Figure 3.51 c. 1982

Figure 3.52. Millennium Mills and Premier Mill in early 1930s (Rik UE, 2014) Figure 3.51 d. 2014

1905 Millennium Mills opened

by William Vernon and sons

35

2014 Thesis for MA Arch

1932 Mills are being replaced by new, concrete buildings

Building

1899

2000 2012 Olympic Games

1912 King George V Dock opens

1855 Royal Victoria Dock opens

Area

1988 London City Airport opens

1904 Premier Mill opened by Joseph Rank Ltd 1901 Co-operative Wholesale Society Mill opened

1981 London Docklands Development Corporation 1981 Royal Docks closes

1880 Royal Albert Dock opens

Figure 3.53 Time line (2014)

Building As part of the analysis I have tried to find out what the interior is of each room. Since I was not able to get access to the building I have done this with the many pictures made by Urban Explorers which are available online. Figure 3.54 shows a schematic outcome of my observations. The floor plan in figure 3.55 is a combination of several floors to show the interesting rooms in one picture.

I have abstracted this floor plan to figure 4.2 and 4.4 which shows the constraints around which I want to build. These two floor plans shows similarities with the constraints in the urban plan.

Aesthetics Values With the illustrations on page iv-v I have showed some features in which I found an aesthetic value. Similar illustrations are figure 3.18 on page 13-14 which are taken from the Flour Factory in Leiden. With the figures of 3.56 I have edited some pictures to emphasize the valuable and interesting aspects.

fiFixed xed elements elements loose elements Loose elements vegetation Vegetation Figure 3.54

36

Figure 3.55

e.

a.

c.

f.

b.

d.

37

Figure 3.56a Figure 3.56b

38

Figure 3.56c Figure 3.56d

THE VISION SILVERTOWN QUAYS IS SET TO BE THE NEXT

NEW BRIDGE CONNECTING THE DOCKS A new and accessible crossing that will enliven the water and put the Crossrail station at Custom House within 10 minutes of the site.

ICONIC MILLENNIUM MILLS Restored and revitalised historic structures like Silo-D and Millennium Mills will be accessible and visible from across the site.

CHAPTER IN EAST LONDON’S TRAN SFOR

WALKWAY AROUND THE DOCKS Opening up the dock with a broad boardwalk similar to London’s Southbank. This will be a new animated space with ‘pop up’ pavilions, restaurants and bars.

OPEN LANDSCAPED AREAS

Quality homes, mixed in size and tenure will cater for a wide variety of needs and deliver a vibrant and diverse community.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

50

0

100

200m

Figure 4.1. Constraints (building structures) Royal Victoria Dock (2014)

Figure 4.2. Constraints Millennium Mills (2014)

0

5

10

MATION

OVER 2,500 NEW HOMES

A large piazza the size of Covent Garden at the heart of the dock with vibrant green parks along the dock front and quiet residential squares.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

39

20

30m

40

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

50

0

100

200m

Figure 4.3. Constraints (trees) Royal Victoria Dock (2014)

0

Figure 4.4. Constraints (vegetation & dirt)Millennium Mills (2014)

5

10

20

30m

41

IV. DESIGN Approach My proposition is to preserve the building. Often this would be done in radical ways, by adding completely new structures that stands in contrast with the building. My approach swings the other way: conservation. By only restoring what is necessary and let the building decay further. This will not be possible everywhere, therefore I propose to combine this with smaller contrasting interventions. The interior of the apartments will be contemporary with existing industrial elements (such

£

as the façade) and the units will stand in the factory as if it would stand in the urban fabric. What I have seen by looking at the precedents is that with reclaiming an industrial ruin we often tend to forget that the time of abandonment is part of the history of the building

Figure 4.5 Often: Ignoring the time of abandonment (2014)

(figure 4.5). My approach is to acknowledge that time (figure 4.6).

£

Figure 4.6. Abandonment part of building’s history (2014)

42

Concept The existing masterplan is to convert the MM into apartments. What would usually happen is that every available square metre will be part of an apartment. My concept is different: I wish to build on the similarities I found in the analysis of the urban and the factory’s fabric (figure 4.1-4). Therefore, I see the building as an urban space. ‘Squares’ that have houses around or between it.

The building will be part of the urban fabric by opening it up and put units in the building in the same way houses would be put in an urban landscape. In this way

Figure 4.7 Making a connection and opening up (2014)

it should still be possible to explore the building and its aesthetics of abandonment.

Urban space: - Industrial abandoned look - Memory of 1982-2014

Figure 4.8 Extending street lines from masterplan (2014)

Apartment: - Industrial look - Memory of 1930-1982

Figure 4.10. Apartments / urban space (2014)

Figure 4.9 Extending street lines into the building (2014)

43

Final design With this design the building has become part of the

(figure 4.11 and 4.15). Even the roof will be cut through

urban fabric as well as it has become an urban plan

above the void in the middle part and replaced by a

itself. Lines of streets are extended into the building

glass roof (figure 4.12-13).

to invite people to walk through the building and to connect the water and people with the rest of the area (figure 4.7). In this way four lines are extended through the building (figure 4.8-9). Where the lines are extended the façade is cut open en replaced by a glass façade. In this way we can peek through the façade and the construction will be revealed. This is a similar approach as Peter Zumthor had for the Flour Factory in Leiden. It will also be a way to show the building has been reclaimed.

The main cut is in the middle of the factory and will become a void from the ground floor to the upper floors

Figure 4.12 South East façade (2014)

Figure 4.11. Sketches of the void in earlier stage (2014)

44

Programme:

Function

Amount

Apartments (50-120 m2) Offices Retail Restaurant/cafe Leisure

100-200 6000-7500 m2 40-60 1

The designated programme in the masterplan is housing and mixed use. I had determined a programme brief with which I could design (figure 4.14). Based on this I have designed the following: The ground floor is entirely reserved for retail, this includes small restaurants which can use the square or the waterside for small terraces. In this way the ground

Figure 4.14. Programme brief (2014)

floor works as part of the urban space.

The 1st, 2nd and 3rd floors are used for small flexible offices or rentable workspaces to stimulate residents of the surrounding area (or the Millennium Mills) who have their own office close to home. On these floors the south side of the building can be used for apartments.

The rest of the floors are meant for

apartments.

Figure 4.13 North west façade (2014)

45

All functions are situated in between the ‘urban space’

with minimal cleaning, although they will be made safe

or around the constraints (fixed elements such as

to play for children. Here the memory of the building’s

machines and staircases and in some cases around

history during its abandoned time is being preserved.

more flexible elements). The apartment itself will be

In this way people can explore the previous ruin and

cleaned up to give it a homey (/cosy) feeling. Like the

see the aesthetics of abandonment as if they are an

precedent of the printing factory loft in Barcelona, it

‘urban explorers’.

will have a subtle industrial atmosphere which will show

The main restaurant is situated on the top floor, where

a link between the new function with the building’s

everyone can enjoy a nice view towards the city or the

original function.

airport (figure 4.16-17).

The urban space in the building will be left as they are

Figure 4.15 Impression of the void seen from the 6th floor (2014)

46

Figure 4.16 View from roof towards City Airport (UrbanX, n.d.)

Figure 4.17 View rom roof towards the City (Rik UE, 2014) Figure 4.18. Impression of urban space with apartments on the left (2014)

47

A part of the small building of the Rank is used for a leisure centre with water sport facilities, the rest of the Rank is left empty and will function as a leisure space for the residents of the Millennium Mills (ďŹ gure 4.20).

Figure 4.19 Sketches of the apartment’s atmosphere (2014)

Figure 4.20. Sketches of the Rank (2014)

48

Figure 4.21. Earlier sketch of how to place an apartment in the urban space (2014)

49 41.2 35.3

In memory of all lives lost in MH17

31.0 26.7 22.6 18.6 16.0 12.9 9.8 6.6 3.5

Section A

Figure 4.22. Section A and B 1:1000 (2014) Figure 4.23. Section C (2014)

Section C

50

41.2 38.3 34.2 29.9 25.9 21.9 17.9 14.3 11.3 7.3

Section B

1 2 3 4 5

Figure 4.24. Floor plan of the ground floor(2014)

Housing (50-120 m2) Offices Retail Restaurant/Café Restaurant/Caf Leisure Ground floor 1:1000

A

C

3

B

5

3

3 C

3 A

B

51 6th floor 1:1000

1 1

1

1

1

1 Figure 4.25. Floor plan of the sixth floor(2014)

1 2 3 4 5

Housing (50-120 m2) Offices Retail Restaurant/Café Restaurant/Caf estaurant/Café Leisure

52

1

1

1

1 4

9th floor

5th floor 1

1

1

1

5

1

1

1 1

1

4th floor

1

8th floor

1 1

1

2

1

1

5

2 1

1

3rd floor

1

7th floor

1

2

2

1 1

2

2

2 1

2

1

2nd floor 2

2

2

2

2

2 1

2 3

5

2

5

1

1st floor 2

Figure 4.26. Floor plans 1:2000 (2014)

53

54

V. CONCLUSION In this thesis I have researched the building type

By preserving the ruinous spaces urban exploring (“the

of Industrial Ruins, it was a research on how we can

exploration of unseen parts of the built environment”

reclaim these buildings without ignoring the aesthetics

(Garrett, 2011, p.1048)) will still be possible. Apartments

of abandonment. With reuse projects the history of

are placed in spaces where there are no physical

the building is often an important part of the design

constraints and the interior can be more contemporary.

concept. However, when reclaiming industrial ruins we tend to forget that the time the building was

I have found two answers to the research question “how

abandoned is also part of the building’s history.

can aesthetic values – that are part of an abandoned industrial ruin – be kept with reclamation?” The first

Therefore I have proposed a design for the Millennium

is through its new function: by giving the reclaimed

Mills where three times comes together: the time of use

building a short-stay function with only a few activities.

as a factory (past), the time of abandonment (present)

If we do want a long-stay function with more activities

and the time of reclamation (future).

than the answer would be to see the ruin as an urban fabric, but at the same time part of the surrounding

In the thesis I have found that the aesthetics of

urban fabric. Also by designing with and around the

abandonment is preserved more often when the

physical constraints that have an aesthetic abandoned

function requires a short stay and few activities. The

value.

function of a house is the opposite of this: it is a place where we stay permanently and have lots of activities.

As Midas Dekkers describes: we want that place to be cosy and ruins are not considered as a cosy place (Dekkers, 1997).

However, I wished to follow the masterplan of the site I had chosen (the Millennium Mills in London). In the masterplan the building was to become housing combined with mixed use. It became a challenge of how we can combine an industrial ruin with housing.

In the design proposal I challenged this by seeing the building as an urban fabric with houses placed within it.

55

LIST OF ILLUSTRATIONS Figure 0.0 Figure 0.1 Figure 1.1 Figure 1.2 Figure 1.3 Figure 1.4 Figure 2.1 Figure 2.2 Figure 3.1 Figure 3.2 Figure 3.3 Figure 3.4 Figure 3.5-6 Figure 3.7 Figure 3.8-10 Figure 3.11-13 Figure 3.14-16 Figure 3.17 Figure 3.18 Figure 3.19 Figure 3.20 Figure 3.21 Figure 3.22 Figure 3.23-24 Figure 3.25-27 Figure 3.28 Figure 3.29 Figure 3.30 Figure 3.31 Figure 3.32-37

(cover) intosly0 (2012). Spillers Millenium Mills, London – Sept 2012. Available at: http://www.28dayslater. co.uk/forums/industrial-sites/74359-spillers-millenium-mills-london-sept-2012-a.html [Accessed: 15 June 2014] Credits: (from left to right): Rik UE (2014); OliverT (2011); bassboyjoe (2014); Rik UE (2014) (3x); bassboyjoe (2014). Available at: <http://www.28dayslater.co.uk/> (Accessed: 5 August 2014) Own illustration (2013) Spiegel Online (2011). Photo Gallery: Derelict Detroit. Available at: <http://www.spiegel.de/fotostrecke/photogallery-derelict-detroit-fotostrecke-63754-2.html> [Accessed: 2 December 2013] Jorgensen, E. (2012). Six Flags New Orleans. Available at: <http://flic.kr/p/dxbip5> [Accessed: 3 December 2013] Daily Mail Reporter (2011). The ghost city of Chernobyl. Available at: <http://www.dailymail.co.uk/news/ article-1380432/Chernobyl-Pictures-abandoned-disaster-zone-25-years-nuclear-meltdown.html> [Accessed: 19 November 2013] Own illustration (2014).

Turner, Joseph M.W. (1794). Tinern Abbey: The Crossing and Chancel, Looking towards the East Window. [painting] Tate [Online]. Available at: http://www.tate.org.uk/art/artworks/turner-tintern-abbey-the-crossingand-chancel-looking-towards-the-east-window-d00374 (Accessed: 5 August 2014) De Fabrique (n.d.) Kalvermelkfabriek [Online] Available at: http://defabrique.nl/locaties/locaties/locatiegroep/ kalvermelkfabriek/loods5-2/ (Accessed: 6 June 2014) Own illustration (2012) Mygeekdaddy (2011) Mill City Museum [Online] Available at: https://flic.kr/p/acVFXF (Accessed: 6 June 2014) Kotog (2009) Cocktail Hour [Online] Available at: https://flic.kr/p/6JaMRg (Accessed: 6 June 2014) Unknown (n.d.) The Wapping Project Images [Online] Available at: http://www.londontown.com/ LondonInformation/Restaurant/Wapping_Project/683a/ (Accessed: 10 June 2014) Unknown (2011) Chasing against the odds: Jules Wright [Online] Available at: http://wow.sportmax.com/ en/?p=600 (Accessed: 10 June 2014) Menere, Derryck (2012) The Waterhouse at South Bund / Neri & Hu [Online] Available at: http://www.archdaily. com/263158/the-waterhouse-at-south-bund-neri-hu/ (Accessed: 3 May 2014) Bofill, Ricardo (2012) The Factory [Online] Available at: http://www.archdaily.com/294077/the-factory-ricardobofill/ (Accessed: 9 May 2014) Estudio VilaBlanch (2014) Industrial loft in the heart of Barcelona [Online] Available at: http://www. estudiovilablanch.com/en/project/type-of-project-housing/industrial-loft-in-the-heart-of-barcelona (Accessed: 5 May 2014) Own illustration (2014) Own illustration (2013) demeelfabriek (2014) The Meelfabriek Café on Meelfabriek Square [online]. Available at: http://www. demeelfabriek.nl/en/masterplan/ (Accessed: 5 August 2014) demeelfabriek (2014) Meelfabriek Fitness & Spa, new floor for exercise classes, visitors dance, stretch and play under the new skypools. [online]. Available at: http://www.demeelfabriek.nl/en/buildings/meelfabriekfitness-and-spa-meelfabriek-cafe-and-restaurant/ (Accessed: 5 August 2014) Duijn, A; Ergün, E.; Moe Soe Let, A. (n.d.) Singelgracht [poster]. In possession of: The authors and TU Delft.

Unknown (1785) Historische kaart Leiden – Leyden in 1785 [map]. Historische plattegrond [Online]. Available at: http://www.historischeplattegrond.nl/historische-kaart-leiden-leyden-in-1785.html (Accessed: 5 August 2014) Own illustration (2014).

Own illustration (2014). Credits: http://www.demeelfabriek.nl/en/masterplan/ Own illustration (2013) González, Brigida (2011) A former coal washing plant is now the Ruhr Museum [online]. Available at: http:// www.yatzer.com/the-ruhr-museum-hg-merz (Accessed: 5 August 2014) GeoBasis-DE/BKG (2009). Google Maps [online]. Available at: http://maps.google.co.uk/. [Accessed 11 April 2014].

Google Earth 7.1 (2014). Ruhr Museum, Essen 51 29’11.89”N, 7 02’21.16”O, elevation 214km. http://code.google. com/apis/earth/ [Viewed: 10 February 2014] Own illustration (2014)

56

Figure 3.38 Figure 3.39 Figure 3.40-41 Figure 3.42 Figure 3.43 Figure 3.44 Figure 3.45 Figure 3.46 Figure 3.47 Figure 3.48 Figure 3.49a Figure 3.49b-d Figure 3.49e Figure 3.50 Figure 3.51 Figure 3.51 Figure 3.52 Figure 3.53-55 Figure 3.55a Figure 3.55b Figure 3.55c Figure 3.55d Figure 3.55e Figure 3.55f Figure 3.56 Figure 4.1-4.15 Figure 4.16 Figure 4.17 Figure 4.18-26

González, Brigida (2011) A former coal washing plant is now the Ruhr Museum [online]. Available at: http:// www.yatzer.com/the-ruhr-museum-hg-merz (Accessed: 5 August 2014) Willemsen, Thomas (n.d.) Denkmalpfad Zollverein. Stiftung Zollverein [Online]. Available at: http://www. zollverein.de/welterbe/geschichte_zollverein/geschichte-denkmalpfad/denkmalpfad-zollverein (Accessed 1 May 2014) Own illustration (2014) Own illustration (2014).

Formation Architects (n.d.) Lots Road Power Station, Chelsea [online]. Available at: http://www. formationarchitects.co.uk/LotsRoad.php (Accessed: 3 March 2014) Dace, Ashley (2013) Chatterley Whitfield [Online]. Available at: http://www.geograph.org.uk/photo/3328382 (Accessed: 14 January 2014) ChatWhit Admin (2013) Powerhouse [Online]. Available at: http://chatterleywhitfieldfriends.org.uk/site-plan/ walker-fan-house-and-drift/attachment/powerhouse-2/ (Accessed: 14 January 2014) McNeilly, Charlie (2013) Bata Shoe Factory [Online]. Available at: https://flic.kr/p/eVqcMv (Accessed: 3 August 2014) Google (2014). Google Maps [online]. Available at: http://maps.google.co.uk/. [Accessed: 8 August 2014].

Own illustration (2014) OS VectorMap® Local (2014). Neighbourhood [pdf map], Scale 1:10,000. Available at: http://edina.ac.uk/digimap [Created: January 2014] Own illustration (2014) London City Airport Ltd (n.d.) Aerial Shots – Runway Collections [Online]. Available at: https://www. londoncityairport.com/News/ShowSet/72157629569933641 [Accessed: 23 April 2014] Google Earth 7.1 (2014). Silvertown, London 51 30’14.12”N, 0 02’01.32”O, elevation 825m. http://code.google.com/ apis/earth/ [Viewed: 8 January 2014] Silvertown London (2014) The Vision [Online document] Available at: http://www.silvertownlondon.com/ downloads.html (Accessed: 16 April 2014) Own illustration (2014) Rik UE (2014). Millennium Mills [Online]. Available at: http://www.28dayslater.co.uk/forums/industrialsites/88363-millennium-mills-london-march-2014-a.html [Accessed: 16 April 2014] Own illustration (2014) 3dmaxuser (2014). Millennium mills [Online]. Available at: http://youtu.be/S5Ou3OaBCdo [Accessed: 19 May 2014] Gentle step (2013). Spiller’s Millennium Mills – 12th April 2013 [Online] Available at: http://www.28dayslater. co.uk/forums/industrial-sites/79925-spillers-millennium-mills-12th-april-2013-a.html [Accessed: 19 May 2014] Rik UE (2014). Millennium Mills – London – March 2014 [Online] Available at: http://www.28dayslater.co.uk/ forums/industrial-sites/88363-millennium-mills-london-march-2014-a.html [Accessed: 16 May 2014] kent urbex (2010). Millennium Mills, London December 2010 [Online]. Available at: http://youtu.be/Bq6jx0KZ48 [Accessed: 21 May 2014] Landie_Man (2010). Rank Hovis Mills, Docklands, London, June 2010 and Road Trip [Online]. Available at: http:// www.28dayslater.co.uk/forums/industrial-sites/51579-rank-hovis-mills-docklands-london-june-2010-road-trip. html [Accessed: 19 May 2014] idem 3.55b Own illustration (2014) Credits: b: sentinel (2014) c: Gabe (2013). Available at: <http://www.28dayslater.co.uk/> (Accessed: 5 August 2014); d: 3dmaxuser (2014) Available at: <http://youtu.be/S5Ou3OaBCdo> (Accessed: 5 August 2014) Own illustration (2014) UrbanX (n.d.). 60. Millennium Mills [Online]. Available at: http://urbanxphotography.co.uk/millenium-mills [Accessed: 16 May 2014] Rik UE (2014). Millennium Mills – London – March 2014 [Online] Available at: http://www.28dayslater.co.uk/ forums/industrial-sites/88363-millennium-mills-london-march-2014-a.html [Accessed: 19 May 2014] Own illustration (2014)

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DEZEEN. 2010. The Waterhouse at South Bund by NHDRO. [Online] 6 September 2010. Available: <http://www.dezeen. com/2010/09/06/the-waterhouse-at-south-bund-by-nhdro/> [Accessed: 10 June 2014].

DILLON, B. 2014. Ruin Lust, artists’ Fascination with Ruins, from Turner to the Present Day. London, Tate Publishing.

EDENSOR, T. 2005. Industrial Ruins: Spaces, Aesthetics and Materiality. Oxford, Berg.

ENGLISH HERITAGE 2013. Heritage at Risk Register 2013. London, English Heritage.

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GARRETT, B. L. 2011. Assaying history: creating temporal junctions through urban exploration. Environment and Planning D: Society and Space, 29, 1048-1067 HETZLER, F. M. 1988. Causality: Ruin Time and Ruins. Leonardo, 21 (1), 51-55.

MINNESOTA HISTORICAL SOCIETY. 2014. Mill City Museum [Online]. Available: <http://www.millcitymuseum.org/> [Accessed: 9 June 2014].

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PRYNN, J. 2013. Lots Road power station gets a new life in £1bn flats and shops project. The Standard [Online] 25 September 2013. Available: <http://www.standard.co.uk/news/london/lots-road-power-station-gets-a-new-life-in-1bn-flats-andshops-project-8838979.html> [Accessed: 23 February 2014].

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Further reading:

BLUNDELL JONES, P. 2001. Working with the given. Arq, 5, 305-311.

BOLD, J. & PICKARD, R. 2013. Reconstructing Europe: The Need for Guidelines. The Historic Environment, 4, 105-28.

COOKE, C. 2000. What is the point of saving old buildings. Arq, 4, 137-148.

DOUET, J. ed. 2012. Industrial Heritage Re-tooled: the TICCIH guide to Industrial Heritage Conservation, Lancaster, Carnegie Publishing Ltd ENGLISH HERITAGE 2008. Conservation Principles, policies and guidance for the sustainable management of the historic environment, London, English Heritage.

HENKET, H.-J. 1998. The icon and the ordinary. In: CUNNINGHAM, A. (ed.) Modern Movement Heritage. London: Routledge.

ICOMOS 1964. International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter). Venice, Italy.

ICOMOS, UNESCO & ICCROM. 1994. The Nara Document on Authenticity. Nara (Japan).

MANN, W. & WITHERFORD, S. 2014. Broken Edges, cities and other ruins. 12 February 2014. London, LSE. UNESCO: WORLD HERITAGE CENTRE. 2013. Operational Guidelines fo the Implementation of the World Heritage Convention.

Paris.

WORPOLE, K. 2014. The New English Landscape: the aesthetics of place in post-industrial Britain. 20 February 2014. London, University of Westminster.

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