Industrial Architecture

This paper is dealing with new industrial architecture as emerging, re-birthed phenomenon in
architectural practice. Although the industrial buildings are not a new building typology, industrial
architecture was not always, so to say, “present” in construction of industrial facilities. Through
discussion in this paper we will try to define what we can call a new industrial architecture and
what the boundaries of this definition are. In this context, we made a distinction between the
vastness of the industrial buildings built as mass production facilities without any architectural
integrity and at the same time tried to find and present several examples of architectural works that
belong to the same building typology, but that can be considered as really representations of
industrial architecture.

A produção e o uso intensivo do tijolo na elaboração de galpões industriais  implicou na modelação de novas paisagens culturais, delimitando grandes territórios ligados à este material. Neste contexto observa-se a  absorção do tijolo em  seu uso aparente na  transformação do ambiente fabril e seu entorno na região do médio vale do Paraíba do sul, numa circunscrição temporal que abrange do fim do século XIX a meados do XX. Este trabalho é resultado de um projeto de investigação desenvolvido junto à Faculdade de Arquitetura da Universidade de Lisboa e ao GEPAS, Grupo de Estudos do Patrimônio, Arte e Sociedade, e que focou num levantamento de tijolos e olarias remanescentes e o uso deste material na alvenaria em dois complexos fabris de grande relevância, a Companhia Taubaté Industrial e a Tecelagem Parahyba. Uma leitura analítica deste inventário permitiu compreender  usos éticos e estéticos deste material. Foi assim possível entender a evolução do uso do tijolo aparente na problemática técnica da sua realização por expoentes de diferentes escolas de conceber e fazer arquitetura e, desta forma produzir um documento para sensibilização acerca deste patrimônio da cultura material.
Palavras-chave: Alvenaria de tijolo, poética arquitetônica, paisagem industrial, Tecelagem Parahyba, Companhia Taubaté Industrial

The article considers the need to develop a fundamentally new
concept of industrial architecture – "smart factory". The factors that
influence the architectural solutions of contemporary enterprises
are listed. The principles of forming the architecture of "smart
factories" are formulated and unveiled. Examples of production
facilities that meet these principles are given. The conclusion about
the positive impact of these principles on the architecture of hightech
industrial facilities is made.
Рассмотрен вопрос о необходимости развития принципиально
новой концепции промышленной архитектуры – «интеллектуальная фабрика». Перечислены факторы, влияющие на архитектурные решения современных предприятий. Сформулированы и раскрыты принципы формирования архитектуры «интеллектуальных фабрик». Даны примеры производственных объектов, удовлетворяющие обозначенным принципам. Сделан вывод о положительном влиянии этих принципов на архитектуру высокотехнологичных промышленных объектов.

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. The industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application ...

This model is designed to provide an interpretation of the original layout of the former Sudbury Hall gasworks. The gasworks are a rare surviving example of an ornate private gasworks built in the style of the surrounding estate buildings. The Sudbury Estate being built in the restoration style, the gasworks was built in 1874 and was designed by George Devey, a noted architect of the time. The gasworks supplied the house and various properties in the village, operating up until the 1920’s.
The gasworks is Grade II listed and has been in urgent need of repair and the local community has formed the Sudbury Gasworks Restoration Trust (SGRT), a building preservation trust which aims to save the building and adapt it to serve the community once again (http://www.sudburygasworks.com/history/). Sudbury hall is located in the village of Sudbury, Derbyshire, UK and the nearby Hall is now a National Trust Property.  This model is one of a series created by Russell Thomas for use in educational and public engagement projects.

This paper analyses industrial buildings that were built at the beginning of the twentieth century, when technological progress represented the new future. These constructions possess a series of technological and cultural values that make them an important witness and record to understand the change that occurred in the modernist conception of architecture. Giedion identifies this epoch as a period of transition between the second and the third conception. In this phase, several factories were built with a modern vision, designed by engineers, which were quickly transformed into fields of experimentation, turned into models with new shapes and new materials. Experimentation fields inspired by new spatial and pragmatic needs that ended up creating a new architectural language. Architecture has no historical references to discuss and begins its change internally, creating spaces that are more flexible. Forms, materials and industrial aesthetics have had a great influence on architects and modern architecture. Industry and its processes have inspired and continue to attract the imagination of artists and architects.
The purpose of this paper is to investigate, through the history of industry, two examples of power factories of the early twentieth century: the Tejo Power Station in Lisbon and the Montemartini  Power Station in Rome. Their conversion into technical museums is an act due to their architectural and scientific value, since an industrial building is nothing more than a combination of art and technology. 
The paper is organized in three parts. The first part will introduce the history of the industry and the need to mechanize the workspace, favoured by the creation of new materials. The second part aims at discussing the birth of industrial architecture with European examples, focusing more on the case studies examined and how a power station space works. The last part will be dedicated to the historical analysis of the consequences of industrial architecture, which in fact created a "big zero", reinventing prototypes, promoting a process of standardization and a new modern language based on industrial aesthetics and on its efficiency. The charm of industrial aesthetics cannot be ignored, and in many cases it is pivotal for a project to reuse the building, as occurred with the power plants analysed. Through an analysis of very big and complex machines, it is possible to understand how the beauty of the industrial object has changed the vision of art and architecture.

On the extreme Southern Edge of Orange County California, amongst the rolling grass covered hills and wooded canyons of Rancho Mission Viejo, lies a little known complex of plain nondescript buildings and large steel framed structures – known for decades as the Capistrano Test Site


In early 2010, an historical evaluation of the test site found that 11 buildings and structures associated with development of the Lunar Module Descent Engines qualify as important resources under the California Environmental Quality Act.  These features were used in the testing and development of the Lunar-Module Descent Engines from 1964 to the end of the Apollo Program in 1972

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially an artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. Industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application o...

Dresden’s gateway to the skies: the world’s first streamlined airship hangar and its influence on architectural history

The Dresden municipal airship hangar built in 1913 is the first aerody- namic airship hangar of its kind and an archetypal design for all subse- quent streamlined airship hangars. For the first time, its construction and usage history is comprehensively presented, analysed and placed within its historical context. The focus point in the research paper is the dome-like revolving door as a new kind of architectural device, which is first exemplified by the Dresden airship hangar as well as the scaf- fold-free mounting technology using the hinge function of the support structure’s joints. The airship hangars in Liegnitz and Posen, which are contemporary and constructed in the same way, are also analysed and looked at in terms of architectural history.
The biography of civil engineer Ernst Meier (1868-1934), the previous- ly unknown creator of this type of airship hangar, is included and itself constitutes a significant outcome of the research. In contrast to the usu- al airship hangars of the time, the revolutionary innovation of Meier’s round-shaped hangar is shown, helping to place it within the devel- opment history of aerodynamics related to buildings, and in particular to airship hangars. Ernst Meier’s airship hangar shares the lot of many inventions ahead of their time and faced rejection. Fifteen years later, in 1929-30, Karl Arnstein builds an adapted version of Meier’s hangar in the USA by using his Dresden construction plans. The so-called Airdock, a new superlative in terms of size and engineering excellence, made the international breakthrough with its streamline shape and was a turning point in airship hangar design. Its formal influence on all airship hangar designs of the 1930s and 1940s until 2000 is internationally traceable and visible in numerous airship hangars and airship hangar projects in the USA, Spain, Brazil, Germany, the United Kingdom and the Soviet Union. The concluding part considers the last streamlined hangar built in 2000 in the formal architectural tradition of the Dresden archetype. A digression on event buildings with dome-like retractable roofs demon- strates their origin in the airship hangar’s dome-like revolving door and thereby their influence on architectural history overall.
The time frame represented here covers the short period of the giant Zeppelin airships of circa 1910 to the 1940s and extends to the construction of the CargoLifter airship dockyard in 2000.

The Bridgewater Canal was first opened on 17th July 1761.  2011 marked the 250th anniversary of this momentous event. It was affectionately known as the ‘Duke’s Cut’, and was viewed by contemporaries as one the most influential transport monuments of the Industrial Age. The papers in this  monograph take a fresh look at the archaeological and historical importance of the 41 mile (66 km) long canal. They  range from studies of the Worsley canal village, the underground canals accessing the coal mines, and the barges using the canal, to the Castlefield  canal basin, Runcorn terminus and the warehouses along the route. The monograph also summarises archaeological and historical work on the canal over the last 20 years, as well as suggesting a research strategy for the future. From canal boats and aqueducts, to embankments, warehouses and water-management, the Bridgewater Canal was the fore-runner of many of the innovations in transport during the Industrial  Revolution,  making it a monument of world significance.

RESUMEN: La industrialización valenciana se fundamentó sobre una base agraria, especializada en tres producciones orientadas al mercado: el arroz en las zonas de marjal, la naranja en los antiguos secanos transformados de las llanuras litorales, y la vid para la elaboración de vino en las comarcas interiores de secano. Estos cambios fueron posibles gracias a la creación de una red de ferrocarriles que enlazaron los centros productores con los puertos de exportación y a la adopción de una moderna tecnología propia de la Revolución Industrial. Destaca la aplicación de la máquina de vapor como motor de los arados de subsuelo para roturar nuevas tierras destinadas a viñedos, de las bombas para elevar el agua para el riego de los huertos de naranjos y de las turbinas para el desagüe de los campos de arroz. Estos avances tecnológicos, entre otros, permitieron la puesta en cultivo de amplias superficies en un corto espacio de tiempo.
El tema de la industrialización valenciana ha sido estudiado desde el campo de la historia económica, pero no se ha prestado la misma atención a los paisajes resultantes de este proceso. Por ello esta comunicación pretende ofrecer una visión de conjunto de estos tres tipos de paisaje y de su patrimonio construido, que ha sido objeto de estudio de forma muy desigual. Se plantea también como un estado de la cuestión en el que se recogen las principales referencias bibliográficas y se identifican aspectos pendientes de estudio.
Analizamos un ejemplo representativo de cada uno de estos tres paisajes: los arrozales del marjal de la Albufera de Valencia, los huertos de naranjos de la Ribera del Xúquer y los viñedos de la Meseta de Utiel-Requena. Identificamos los rasgos caracterizadores de cada uno de ellos, sus principales tipologías arquitectónicas y elementos construidos entre los campos de cultivo (casas de máquinas y chimeneas; secadoras y trilladoras de arroz; bodegas de vinificación…) y en los bordes de las poblaciones, próximos a las estaciones de ferrocarril, relacionadas con la transformación o manipulación para su comercialización (molinos arroceros, bodegas de comisionistas, almacenes de naranjas…). Con el cambio tecnológico han quedado obsoletos, por lo que muchos catálogos han abordado la conservación y reutilización de los más destacados, cuyo significado no puede entenderse de forma aislada, sino en relación al paisaje del que formaron parte.
ABSTRACT: The Valencian industrialisation was agrarian based, specialising in three market-oriented productions: the rice in the zones of marsh, the orange in transformed former dry lands of the coastal plains, and the grape for the production of wine in the non-irrigated inlands. These changes were possible thanks to the creation of a railroad network that connected the production centres with the export ports and the adoption of a modern technology from the Industrial Revolution. It is worth noting the application of the steam engine as motor of the subsoil ploughs to plow new lands destined for vineyards, of the pumps of water for the irrigation of orange trees fields and of the turbines to drain the rice-fields. These technological advances, between others, allowed farming wide surfaces in a short period.
The Valencian industrialisation topic has been studied from the field of the economic history, but the same attention has not been brought to the changes in the landscapes as a result of this process. Hence, this communication tries to offer an overall view of these three landscape types and their heritage buildings, which have been unequally object of study. It appears also as a state of play in which the principal bibliographical references are gathered and pending aspects on study are identified.
We analyse a representative example of each one of these three landscapes: the rice-fields of the Valencia’s Albufera marsh, the fields of orange trees of the Ribera del Xúquer and the vineyards of the Utiel-Requena plateau. We identify their features, the principal architectural typologies and elements built between the farming fields (machines houses and chimneys; tumble rice dryers and threshers; fermentation cellars…) and the edges of the villages, close to the railway stations, related to the transformation or manufacturing for commercialisation (rice mills, wine merchanthouses, orange warehouses…). With the technological change, they have become obsolete, and many catalogues have approached the conservation and reutilisation of the most outstanding whose meaning cannot be understood in an isolated form, but in relation to the landscape of which they were part of.

"Studies of industrial sites have tended to focus on purely functional understandings of their origins, layout, design and meaning. Industrial buildings have often been seen as an entity apart from other forms of post-medieval architectural expression. This is symptomatic of the isolation of industrial
archaeology, not only from the broader spectrum of archaeological thought but also from other disciplines which strive towards a deeper understanding of the development of consumer society. This paper explores the origin of the typical industrial complex, arguing that elements of medieval
cognition were retained into the 19th century."

Conflicts arising between the conservation of industrial architecture, transformation through re-use, and the promotion of industrial heritage in a regenerated area will be discussed. It will address the issue of conserving and reading the tangible remains of industrial heritage when the provision of new cultural uses calls for transformative action resulting in contemporary architectural additions. The conversion of an old Edwardian hydraulic pumping station into a museum in Manchester, England, will provide a case in point illustrating clashes in values. The survival of a material testimony to the past in the form of a recycled listed building implies a reshaping of its identity, and its adaptation to the context of urban regeneration. Located in Spinningfields – a redeveloped commercial and residential area of central Manchester – the pump house looks incongruous in contrast with iconic contemporary buildings hinting at successful revitalization. Yet this dichotomy was reduced by the commission of an eye-catching extension to the museum. This study will investigate the interwoven processes of adaptive re-use and redevelopment in connection with representation and the way industrial heritage is visually promoted in the building itself and in documents produced by a museum which is not dedicated to industrial history per se.
The conservation report written by industrial archaeologist Steve Little, a selection of the literature produced by the museum – newsletters, promotional leaflets, invitations – as well as in situ observations of the building itself and of its interpretation boards, will be used to assess the challenge of the conservation and promotion of industrial heritage amidst transformative tendencies and culture-led regeneration. The aim is also to show the articulation of old and new in the building itself and its surroundings, and to reflect on the use of industrial heritage for promotional purposes.
If the heritage of the building did not take centre stage in its re-use, its industrial function is highlighted by interpretation boards and signage helping visitors to grasp the former existence of the building; moreover, only minor interventions were made to the original building. But despite the industrial aesthetic adorning the new extension, the attention it draws to itself – thereby promoting a dynamic image and triggering curiosity regarding its content – is also a hindrance to the permanence of the pump house’s historical and architectural significance as an industrial site, even more so since it is overshadowed by visually striking architecture all around. What the building represents therefore comes second to its potential as a container housing a museum collection. Successive phases of adaptive re-use – a conversion later followed by redevelopment – suggest a progressive disengagement from the initial attention paid to the conservation of industrial heritage and its use as a promotional tool, as corroborated by physical transformations and the museum’s documentation.
The example of The People’s History Museum illustrates changing attitudes towards the conservation, re-use and promotion of industrial heritage, and the reshaping of image and identity, in the context of physical regeneration.

Ensaio teórico apresentado no Depto. de Teoria e História da Universidade de Brasília - UnB. O ensaio tem por objetivo identificar diretrizes de projeto aplicáveis à incorporação do conceito de ZEMCH (Zero Energy Mass Custom Homes) para edificações habitacionais industrializadas, trabalho feito por meio de estudos de casos comparativos.

Protecting the cultural heritage of industrialisation, a major stage of human history observed over the past two centuries, should be a high priority for modern societies in order to comprehend their own formation.

However, in Hungary, industrial heritage, especially that of the state socialist era, has been poorly represented in the cultural heritage of the country. Analysing industrial heritage preservation in Hungary in comparison with the Dublin Principles, the Joint ICOMOS - TICCIH Principles for the Conservation of Industrial Heritage, as well as with recent developments in the field in some East-Central European countries, this deficiency is especially remarkable.

There can be no doubt that the preservation of the industrial heritage in Hungary has been substantially determined by the specifities of the country’s history, namely, deindustrialisation coincided with the rapid process of regime change and privatisation. As a consequence, the scarcity of preserved industrial heritage originating in recent historical changes deprives contemporary Hungarian society of proper self-understanding.

The Cold War was a time of intense war-preparations by the two opposing blocs, NATO and the WTO, including for a potential nuclear war. The building of massive underground bunkers was an essential part of these developments, with Object No. 1180 being a relevant example of Soviet bunker building during the last decade of the Cold War. Originally built to house the command point of the Soviet Army’s High Command of the Southwestern Direction, this bunker system was abandoned soon after the fall of the Soviet Union. A chaotic process of attempted dismantlement followed. At the same time, there is an increasing interest in this site from urban explorers and people interested in dark tourism. The aim of this thesis is to discuss the current situation of the site, compare it with other bunkers that were already transformed into tourist destinations, and propose suggestions for converting Object No. 1180 into a tourism attraction for a wider audience. A side objective of this work is to spark academic interest in the currently under-researched Soviet-era heritage in terms of bunker building and militarized landscapes. After discussing Object No. 1180’s current situation and cultural significance, and also undertaking the necessary comparisons with other sites, several suggestions on its conversion into a heritage site are given. They focus mostly around the concept of non-invasive tourism development, in order to preserve the authenticity and cultural significance of the Object No. 1180 bunker system. The creation and implementation of a tourism development project for Object No. 1180 would make it accessible for a diverse audience of tourists, while also contributing to awareness-raising regarding the Soviet-era bunker heritage.

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially an artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. Industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application of general color harmony principles. Then discussion focuses on refining principles of color usage in architecture that appear in contemporary architecture in order to systematize those principles, particularly important for architectural education and new practitioners of architecture. In conclusion, it is stated that universal color harmony principles are applicable in architecture as well, as in other visual arts.

In the paper the aesthetical category of industrial architecture is discussed. Through a brief historical overview of the development of industrial architecture, the aesthetic and formal qualities of this building typology were identified. In a situation when the territory of today's cities, "flooded" by physical remains of an important period of our humanity, industrial era, in the form of buildings and complexes of former industrial giants that are tightly woven into the urban matrix, the paper addresses the issue of how the aesthetics of industrial architecture becomes close or is close to modern man and the society. On the assumption that this relationship is one of the key factors for establishing successful revitalization of old industrial properties, the paper discusses the current trends of industrial heritage evaluation and the relationship between this process and the public opinion as a relevant indicator for the proper decisions.

Cuando la epidemia de cólera morbo de 1885 paralizó la industria y la minería vizcaínas planteando en toda su crudeza el tema de la salubridad pública, la población de Bilbao se abastecía todavía en parte de agua de la ría; de la misma ría a la cual se vertían las aguas sucias de la ciudad. La mortalidad era excesiva, del orden del 40 por mil, y el debate no tardó en llegar al Ayuntamiento de la Villa. Se iniciaba en 1890 y ya al año siguiente era convocado un concurso de anteproyectos de saneamiento que ganaba el titulado Mens sana in corpore sano, presentado por un ya reconocido ingeniero de caminos, Recaredo de Uhagón, (1848-1912) que acababa de redactar y publicar el proyecto de saneamiento de Valladolid. En el Jurado, prestigiosos arquitectos como Achúcarro e ingenieros como Churruca o William Gilí, el solicitado director de la Orconera, apreciarían el conocimiento de las últimas técnicas y la viabilidad de la solución aportada por el proyecto ganador.

The object of study of the investigation is the industrial architecture of bricks of the Historical Set of the Minas de la
Reunión, of which there will be realized a constructive exhaustive analysis by means of that there will describe and
characterize the constructive systems and the materials used for its execution. All this will use as base to produce a study
of cases of elements of every building types, staying this one formed of informative cards. Given the existence of diverse
wealth assets that stay out of the delimiting of Historical Set, everything exposed will be of application for these, comparing
them those who yes are included and extending the object of study of the work.
Parallel, there will be analyzed those who were the agents participants of the construction of the elements who compose
the object, making his entail visible with the same one.
Finally, the above mentioned analyses will make clear the need of the patrimonial recognition of this architecture and it will
give place to a diagnosis and a proposal related to his conservation and putting in value.

Le Manuel des constructions rurales est l'une des premières publications belges sur l'architecture des bâtiments agricoles. Onzième volume de la Bibliothèque rurale de Belgique, une collection de livres établie par le gouvernement en 1848 pour soutenir l'industrie agricole, il a été édité à trois reprises à Bruxelles en 1854, 1856 et 1861. Ses auteurs successifs ont été les architectes Henri Duvinage, en qualité d'architecte attaché à la Maison du Roi et Théodore Bona, directeur de l’École de tissage et de dessin industriel de Verviers. Document peu connu de nos jours, Louis Bouchard-Huzard, le spécialiste français des constructions agricoles au XIXe siècle, inclut et commente ce manuel ainsi qu'une dizaine d'autres références belges dans la Bibliographie de l'architecture rurale qu'il publie en 1870. Une architecture utilitaire est le point de vue défendu dans le Manuel des constructions rurales, destiné à un public de propriétaires. Cet article, sur base de sources contemporaines au manuel et d'études récentes en histoire de l'architecture et de l'agriculture, montre que cet ouvrage propose la voie d'une architecture industrielle, imprégnée d'une philosophie architecturale rationaliste à la française, dans un contexte où la recherche d'un style national est d'actualité.

Over the more than twenty years during which he was first surveyor to the Peabody Trust, Henry Astley Darbishire (1825-1899) pragmatically and systematically developed a cost effective, salubrious urban housing model of detached blocks grouped around squares. 150 years on, his estates dotted through London survive in rude health, well occupied and in demand, most of them still under the original administration. Grazing the margins of our awareness, but instantly recognisable on account of their standard configurations and brick materiality, these estates originate in the Victorian clinical detachment of the middle-class architect from the working classes for which he provides, but also in his lesser-known fascination with industrial buildings and their employment of brick decoration to enliven great volumes.

Nel periodo compreso fra la fine del XVIII secolo e gli inizi del XIX secolo si è lentamente compiuto il  processo di industrializzazione di Roma. Basandosi sull’analisi di documenti d’archivio e cartografia storica, unitamente ad una ricognizione diretta sul territorio, lo studio si propone di esaminare le variazioni nella distribuzione territoriale delle industrie romane, che è un elemento fondamentale per la comprensione dell’attuale assetto urbanistico e territoriale della Capitale. Le industrie censite nei documenti sono state posizionate in un sistema GIS, realizzando mappe tematiche e diacroniche.
La comparazione fra i dati geografici relativi alle industrie dei periodi iniziale (1810) e finale (1925) presi in esame ha costituito la base per analizzare la progressiva decentralizzazione degli insediamenti produttivi romani e le direttrici d’espansione delle nuove zone industriali, in relazione ai principali fattori di localizzazione che le hanno determinate.

THE ROMAN INDUSTRIES FROM THE FRENCH OCCUPATION TO THE RISE OF FASCISM. A GIS ANALYSIS
Between the end of the XVIII century and the beginning of the XIX century the process of industrialisation of Rome was slowly carried out. Basing on the analysis of archive documents and historical cartography, together with a direct survey on the territory, this research proposes to examine the changing  in territorial distribution of roman industries, which is fundamental to understand the actual urban layout and the territorial planning of the Capital.
The industries recorded in the historical documents have been placed in a geographical information system, in order to create thematic and diachronic maps.
The comparison between geographic data related to the industries from 1810 to 1925 has formed the basis to analyse the gradual decentralization of production plants and the lines of expansion of the specific industrial zones of Rome, in relation to the main location factors.

""This (revised) profile aims to give a simple insight into the construction and operation of gasholders and their tanks, for those who investigate former gasworks sites. Although gasholders seem simplistic, the complexity and ingenuity of these structures should not be underestimated; they have been the result complex engineering design which has been well documented in many texts. This profile is limited to a brief description of the various types of gasholders, their operation and importantly their tanks.
Gasholders are generally the only feature of a gasworks to still remain visible today, characterised by a series of large interconnected (telescopic) cylindrical vessels (lifts) which rise and fall depending on the volume of the gas stored. The number of operational gasholders has gradually decreased due to the improved storage capacity of gas within the gas mains, but a few still remain today. Despite this, the tanks of former gasholders are often still present on
many former gasworks sites hidden beneath the ground. During demolition they formed ready made repositories for wastes and as such can potentially pose a risk to human health and controlled waters.

If you have any specific enquiries on this subject please contact Dr Russell Thomas on thomasru@pbworld.com."

usine à gaz, officina del gas, gasværk, gasfabriek, Gaswerk, εργοστάσια αερίου, gázművek, ガス工場, gasskraftverk, gazownia, gasômetro, газовый завод, плинара, plynáreň, plinarn, gasverk, fábrica de gas, havagazı fabrikası, газовий завод, 煤氣廠"

ABSTRACT: Between Two World Wars, industrial architecture in Belgrade has reached zenith in the State Printing House of the Kingdom of Yugoslavia, the capital work of Serbian Modernism, built between 1933 and 1940 by architect Dragiša Brašovan (1887-1965). First State Printing House in liberated Serbia began working in September 1831, and the estate of blacksmith Štajnnlehner in Pop Lukina Street was purchased in 1847 for the seat. However, at the end of the third decade of the 20th century due to accessing the future Bridge of king Aleksandar I, building was scheduled for demolition. In addition, shortage of space, also work organized in several buildings were the main reasons that in April 1933 the call for competition was announced for a new building of the State Printing House on the property of  Vlajko  Kalenić  Foundation  between  Njegoševa  and  Mileševska Streets,  which  was  one  of  the  few  in  the  interwar  period  for  the  industrial complex. Architect Dragiša Brašovan from Belgrade won the first prize, Zagreb team Jovan Korka, Georg Kiverov and Đorđe Krekić second and joint project of Belgrade architects Dragan Gudović and Dimitrije M. Leko was third. In addition, eight projects were rewarded, but the names of those architects remain unknown. The list of participants has not been fully reconstructed, but known are the projects by Zagreb architects: Drago Ibler and team Lavoslav Horvat and Stjepan Planić.  Inadequate size of plot soon ordered the change of the location. The State Printing House was built by architect Brašovan, with project modification, in Vojvode Mišića Boulevard on the property bought from brothers Gođevac. The building of The State Printing House by Dragiša Brašovan is a unique example in Belgrade architecture from the fourth decade of the 20th century. Functional futuristic architecture transmits the idea of modular architecture and moderate expressionism. Technical characteristics of the State Printing House: its size and layout, the organization of floors, applied construction techniques and materials, were an innovative approach to the problem of industrial architecture that Dragiša Brašovan made in accordance with progressive technological demands. A case study of the building of the State Printing House (BIGZ), industrial object that has lost its primary function, highlights the trends of social changes in the second half of the 20th and early 21st century, and the way they reflect into architectural heritage. Furthermore, raises the question of cultural significance and consequences of rapid technological and industrial development.

APSTRAKT: Međuratna industrija Beograda je doživela zenit u zgradi Državne štamparije Kraljevine Jugoslavije, kapitalnom delu srpskog modernizma arhitekte Dragiše Brašovana (1887-1965), izvedenoj u periodu od 1933. do 1940. godine. Prva Državna štamparija u oslobođenoj Srbiji počela je da radi u septembru 1831.  godine, a 1847. za sedište je otkupljeno imanje kovača Štajnlehnera u Pop Lukinoj ulici. Međutim, krajem treće decenij e 20.  veka  zbog  presecanja  pristupne  ulice  ka  budućem  Mostu  kralja Aleksandra I, zgrada je predviđena za rušenje. Pored toga, evidentan nedostatak prostora otežavao je rad koji se obavljao u nekoliko zgrada. Iz tih razloga je u aprilu 1933. godine za novu zgradu Štamparije na imanju Zadužbine  Vlajka  Kalenića  između  Njegoševe  i  Mileševske  ulice raspisan konkurs, jedan od malobrojnih u međuratnom periodu za objekat industrijske namene. Prvu nagradu je osvojio arh. Dragiša Brašovan iz Beograda, drugu zagrebački tim Jovan Korka, Đorđe Kiverov i Đorđe Krekić i treću zajednički projekat beogradskih arhitekata Dragana Gudovića i Dimitrija M. Leka. Takođe je otkupljeno još osam radova. Nisu objavljena imena arhitekata otkupljenih radova, kao što ni širi spisak učesnika konkursa do danas nije rekonstruisan. Poznati su i projekti zagrebačkih arhitekata: Draga Iblera i tima Lavoslav Horvat i Stjepan Planić. Zbog smanjenja  površine  zemljišta  predviđenog  za  podizanje  Štamparije, izabran je drugi plac u Bulevaru vojvode Mišića, kupljen  od braće Gođevac, na kome je uz izmene prvonagrađenog projekta zgrada sagrađena. Zgrada Državne štamparije Dragiše Brašovana predstavlja jedinstven primer u beogradskoj arhitekturi četvrte decenije 20. veka. Njena funkcionalno-futuristička arhitektura prenosi ideju modularne arhitekture ali i umerenog ekspresionizma. Tehničke karakteristike Štamparije: organizacija spratova, veličina i raspored prostorija, primenjene  građevinske  tehnike  i  materijali  govore  o  inovativnom pristupu problem industrijske arhitekture koji je Dragiša Brašovan izveo u skladu sa progresivnim tehnološkim zahtevima.  Studija slučaja zgrade Državne štamparije (BIGZ-a), industrijskog objekta koji je izgubio svoju primarnu  funkciju, osvetljava  tokove  društvenih  promena  u  drugoj polovini 20. i početkom 21. veka i način na koji se one reflektuju na arhitektonsko  nasleđe.  Takođe, otvara  pitanje  kulturnog  značaja i posledica ubrzanog tehnološkog i industrijskog razvoja.

El tema que abordará la presente tesis de titulación, comienza con el propuesto problema/proyecto  que consiste en llevar a cabo una intervención en la planta Embotelladora Bacardí y Cía. De Félix Candela, construida en la segunda mitad del siglo pasado. Localizada en Tultitlán Estado de México a un costado de la carretera México-Querétaro.
El tema fue propuesto por el Dr. Juan Ignacio del Cueto, ya que él tiene  contacto directo con la Compañía Bacardí en México y sabía de las inquietudes que tenía la misma por explorar las posibilidades de un proyecto de ámbito cultural y social para la empresa. La propuesta me pareció interesante ya que se sabe históricamente en arquitectura que ahí intervinieron  arquitectos como Félix Candela y Mies Van der Rohe.
La intervención que ha sido  propuesta por la compañía Bacardí y debe tener una función/servicio social, por lo cual deberá responder a la población cercana a la misma, es decir a los habitantes de los municipios de Cuautitlán, Cuautitlán Izcalli y Tultitlán.
La petición en la que se basa el proyecto tenía dos vertientes principales: la primera consistía en reacondicionar el edificio de oficinas proyectado por el Arq. alemán Mies Van der Rohe para albergar un museo de sitio para la misma empresa  y la  segunda petición  es que con  el terreno restante (en desuso) del complejo Bacardí se propusiera un proyecto para uso social, esto sin que ellos pierdan el control de la parte donde se realizaría el Proyecto que debería ser utilizado y visitado por todos los habitantes de la zona . En este proyecto de tesis sólo nos enfocaremos en la segunda petición, por el motivo de que la primera es un proyecto museográfico que por razones de conservación del edificio de oficinas sería una intervención mínima y respetuosa del mismo por su valor histórico y que correspondería más a un proyecto museístico y curatorial. Por las razones antes expresadas es que abordaré la segunda petición la que concierne al  Proyecto para uso socio cultural que denominaremos a partir de aquí como “Polo Cultural” y que por la complejidad del mismo.
Cuando comenzó el proyecto empezaron también a surgir reflexiones  sobre lo que implicaba realizar esta intervención en una zona de la importancia que implica la compañía Bacardí, y la otra condición de peso era proponer un Proyecto que va a convivir si no directamente al menos en el mismo terreno con edificios proyectados por los arquitectos Félix Candela y Mies van der Rohe.
A partir de estos primeros motivos de peso histórico empezaron a surgir incógnitas sobre el contexto y entorno donde se haría la intervención. Y vale la pena recalcar que por contexto entendemos una compleja construcción histórica, económica material y social de elementos que lo conforman y que es difícil si no imposible crear una idea total de un contexto, de cualquier contexto ya que estas construcciones de sentido tienen un valor particular, que depende de quien mira y como lo hace.

Las reflexiones que fueron surgiendo y dando forma a esta tesis, hablan de un proceso de diseño que consiste en tres partes. Desde la investigación previa para saber donde estamos parados históricamente, pasando por la investigación de campo para saber la situación actual del lugar que vamos a intervenir y para finalmente dar paso al proceso de diseño teniendo como base esta investigación anterior que nos permite y ayude llegar a un anteproyecto de Polo Cultural .