COEXISTENCE WITH INERT MATERIAL IN INDUSTRIAL LANDSCAPE by Manuel Mancho

COALLAB

COEXISTENCE WITH INERT MATERIAL IN THE INDUSTRIAL LANDSCAPE 1. INTRODUCTION 2. CONCEPT DEVELOPMENT o WHAT IS INDUSTRIAL LANDSCAPE o WHERE IS THE INDUSTRIAL LANDSCAPE VALUE  Infrastructure + process + architecture + raw material o INTERVENTION STRATEGIES 3. RELATION WITH FINAL PROJECT o ANALISIS IMPLEMENTATION o INERT MATERIAL o FROM INDUSTRIAL LANDSCAPE TO CULTURAL LANDSCAPE 4. CONCLUSION

INTRODUCTION Rotterdam, worldwide reference in its status as a port city and therefore, its industrial potential, has in its urban morphology a wide variety of contrasting landscapes ranging from the human scale of the city through the most rugged morphology agricultural and manufacturing environments, to draw its industrial landscape. This produce impossible scenarios to live but in themselves able to create great landscapes. This will bring the concept of Coexistence through different architectural landscape strategies as a solution to bringing large industries to a humanized landscape and livable. Two lines of research are formulated: â&#x20AC;˘ First, it is classified where the value of the industrial landscape lies and grouped in 4 blocks. â&#x20AC;˘ The second, the possible landscape intervention strategies relating to formalize the project as a link between industry and living modes through the use of architectural tools are considered. The junction of these two concepts will be bring the project in its Coexistence with the industrial landscape and will enable a unique solution to the intrinsic problem of these environments.

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HOW TO TRANSFORM THE INDUSTRIAL LANDSCAPE ON CULTURAL LANDSCAPE THROUGH ARCHITECTURE?

WHAT IS INDUSTRIAL LANDSCAPE? The advent of the Industrial Revolution meant that people inserted into the field change their natural environment by a violent presence of vertical volumes of enormous size factories, chimneys, tanks ... that shaped a new landscape physiognomy radically different starting. This has singled out the industrial area to this day. By definition, the industrial landscape is a transgression of where it is installed. Huge volumes, accented profiles of roofs, facades elongated... All these milestones of their pop; chimneys, tanks, structures, cranes, bridges... until now only been taken into account for performance, efficiency and productivity but also for its detrimental impacts outside the traditional concepts of aesthetics; noise, odor, dust, debris... Although, unlike civil architecture, industrial environments are constructs of functional processes, usually conceived without aesthetic purposes but according to the factory styles of the moment; austere designs without ornamental elements, based on functionalism, sober in the manufacturing complex shapes but in their facilities. Form serving the function. However, the architectural ideals, fashions and technology evolve over time. Currently, deep reflections on the wealth of the industrial landscape have allowed them to shed light environments that initially showed no apparent appeal. This has allowed to flourish in a hostile landscape a recognizable value, contributing to a 'culture' requalification of industrial heritage.

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WHERE IS THE VALUE OF THE INDUSTRIAL LANDSCAPE? Beyond mere artistic interpretation, the industrial landscape features a kind of attractive capable of stimulating the deepest of an observer senses. In 1955 the British historian Michael Rix was able to read a source of opportunities, from a nondestructive perspective, forged an important specialty within the field of architecture in these landscapes: the 'industrial archeology'. Rix listed in his treatise a number of particular facts of each industry highlighting the intrinsic value of each: "Buildings, machinery, artefacts, sites, infrastructure, documents and other items associated with the production, manufacture, extraction, transportation or construction of a product or range of products (...) mills, large factory sites and structures the workers' housing, warehouses and ancillary infrastructure " Each of these realities aims to locate the value of the industrial landscape. Aims, firstly, readability of the industrial environment, its ranking and better appreciation implicit richness of the place and on the other hand, understand what will later be intervention strategies that allow qualifying place. Therefore, any industrial landscape has a reference element that characterizes it, being able to be classified into four groups: Infrastructure, Processes, Architecture and Raw.

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↘ INFRAESTRUCTURE (bridges, ports, cranes, channels…) The industrial landscapes of this group harboring elements larger scale. It mainly refers to those systems that support industry for the development of other activities and operation, essential in the structural organization of industries. The contribution that this category projected onto the industrial landscape goes hand in hand with the contrast of scales that generate outsized elements in relation to human scale. One of many examples of the value of the 'infrastructure' in the industrial landscape is the tension generated between urban (or natural) morphology and different rail transport through the town on arrival at the train stations. Once activity ceases, the reprogramming of these spaces often create prints that leverage its appeal as open and infinite element. Railway, New York, station Principe Pio, Madrid...

↘ PROCES (quarries, factories, refineries …) Includes those industrial landscapes whose attractiveness resides in the methods of operation of the industry's own understanding that the appeal lies in the way you act, manage, organize ... the raw material. According to Koolhaas for his project in Zollverein - "Invariably, the primary decision is left intact the original one; it was before the new essence residual states, the focus of intervention. "Exemplary is the case of the mining region of Zeche Zollverein. His intervention was aimed at inserting a series of smaller pieces to put in the industrial set value and facilitate the circulation to complete a performance that was practically

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invisible. He carried out a strategy staining with a striking light allowing the circulation spaces evoke reminiscent of the old glow of molten metal recalling previous use and putting in value of simple and intelligent way.

↘

ARCHITECTURE

(warehouses,

factories,

auctions…) In most cases, the characteristic industrial landscape takes advantage of the architectural constructions, with a strong identity, determine the territory in which they are located. Because the technical and structural shapes vary, those styles that have been lost by a mere resource optimization, today, have become constructive elements of great value and in many cases the reference landmarks in the city. In Madrid, constructions as Tabacalera, Slaughterhouse ... turn out to be cultural landmarks increasingly impact on the city. Reference elements with architectural interest, not so evident at first sight, now recall the industrial architecture of the capital.

↘ RAW MATERIAL (silos, container, stacking…) Finally, the value of the raw material is one of the elements that contrast generated in the industrial landscape as it stands strongly with the ratio of the scale. This group forges an important sense in the perception of the industrial landscape, it implies the need to provide more radical solutions in their speeches given the uniqueness of the place. Landscapes that at first glance convey a welcoming environment should, through architecture, give the viewer a sense of ownership of the territory. Proposals are endless transformations container, however, most of them end up taking from its original environment, identifying the 6

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intervention on a single element and not the territory. Less obvious are the interventions on the large storage silos raw material, which sometimes are able to use their buildings for residential units, business incubators.

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WHAT INTERVENTION STRATEGIES APPLIED TO INDUSTRIAL LANDSCAPE? Once located the value within the industrial landscape has to opt for narrow a range of intervention strategies consistent squeeze maximum value of this industrial landscape. This is to create a catalog of the most representative industrial landscape strategies that goes, in a precise way, making project decisions. This catalog has a similar purpose as Koolhaas warning against a series of performances sense: "Reset, reset, regroup, reform, renew, revise, retrieve, redesign, return, (...) redo, respect" Richard Serra develop, likewise, a list of 'behavioral attitudes' to his own sculptural production between 1967 and 1968. And finally, Santiago Molina with Silvia Colmenares at its congress "Strategies for Conversion of Industrial Architecture" (2011 Seville) studies a nine catalog of possible intervention strategies, after analyzing the value of the industrial landscape, allows gird project decisions in the context of industrial architecture, "filling, emptying, cleaning, evoke, begin art, locate, delete, camouflage, expandâ&#x20AC;Śâ&#x20AC;? From these examples it is choose a set of strategies that improve on the one hand the implementation of the architecture within the Industrial Landscape and, second, to maintain the rich landscape environment. For this project it will be taken related reference LANDART since they are those that come closest to the processing industry as LANDSCAPE and not as manufacturing milestones.

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↘ BUILD MATERIAL AS INTRINSIC MEANING Walter di María, contemporary artists and sculptor, focused much of his work to emphasize, in a minimalist way, the landscape by Land Art.1 According to Richard Wollheim in 1965 described the Land Art as: "A kind of artwork with very low artistic content. Works in which different forms are reduced to minimum conditions of order and complexity, both from a morphological, perceptive and meaningful view" Thus, Walter di Maria had the "Earth Room", a large room in which the sculptor introduced 127,000 kilos of dark earth, reaching a height of just over half a meter. All this in full metropolis of New York. A large concentration of land with a musty smell wordlessly reminds us where we came from and conveys a sense of emptiness.

Img 1: Walter de María. Superior: "Earth Room". (1977)

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â&#x2020;&#x2DC; CONTRAURBANISM MATERIAL AS THE RECONSTRUCTION OF LANDSCAPE Lara Almarcegui known for his concept of "Wrecking, self-constructions and wasteland" series supports the dematerialization of objects and their reinvention, reconstruction and reinterpretation landscape. "Objects hardly interest me, what haunts me are the places and my working relationship with them; I find it scary how we have been taught art. Producing objects in the workshop traveling by truck to the exhibition hall, where they are exhibitedâ&#x20AC;? His work at the Venice Biennale reflects its claim in which the human being sheds its material reality. As main shaft presented a mountain formed by debris cement, tiles, and turned into gravel occupying its central hall, making it nearly impossible to directly access this space bricks. Moreover, other minor mountains each made of a single material (wood flour, glass and the mixture of steel slag and ash), located on the perimeter rooms, where the public circulating surrounding the larger mound 2

Img 2: View of the pavilion with the draft Lara Almarcegui for the Venice Biennale 2013

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â&#x2020;&#x2DC; SECOND READING FOR THE APPRECIATION OF LANDSCAPE Santiago Sierra "Art vs. Globalization "could be classified in a controversial group but at the end of the day, not intended but through Land Art as a tool, claiming ownership transmit a series of ideas. "His work is characterized by reduced to minimalism, the anti-form, the situations, as creator of social sculpture, ready-mades attended a post-utopian society or stories set in devastated by the ravages of neoliberalism cities" "Man is positioned and returns the message to Nature itself, participate in this dialogue not from a passive stance, as a mere player scenic values; but from an active position, intervening in nature, modifying it through art and aesthetic obsessions projecting themselves into the seemingly wild and pristine. " Through his works Santiago Sierra displays his arsenal of work and transcribed through the landscape an anti-globalization ideology. It is one of the most strident artistâ&#x20AC;&#x2122;s strongly contrasting landscape reading against the message you hope to convey.

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â&#x2020;&#x2DC; THE ORIGINAL EMPTY The strategy appeals to potential drain of maintaining intact the value of the original vacuum. The vacuum will always be fictitious as a strategy always tend to fill up. However, rob a landscape all its instruments of representation, empty of meaning, can be use as patterns of behavior of the moment, while its "original" condition states belonging to history. The sculptor Eduardo Chillida raised a controversial strategy emptying; a huge cubic hollow dug inside Tindaya Mountain, on the Canary Island of Fuerteventura space.

"Years ago I had an intuition, we sincerely believed utopian. Within a mountain, creating an interior space that could be offered to men of all races and colors, a great sculpture for tolerance. My sculpture want this mountain, it's time mountain want to know if my sculptureâ&#x20AC;?

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â&#x2020;&#x2DC; EVOKE SENSATIONS Involves releasing evoke feelings or sensations in memory or imagination. To generate this kind of emotions architecture has relied on a series of ingenious formal tools that are capable of producing in the viewer a flow alterations in their natural state. Peter Eisenman's Holocaust Memorial in Berlin draws a landscaping project in which the stelae are designed to produce an uneasy, confusing atmosphere, and the whole monument seeks to represent a supposedly ordered system that has lost touch with human reason. Intended to spark a parallel reality of architecture to the field of fine arts. Evoke often involves changing the "culture into sculpture". The eigenvalue of the industrial, architectural or landscape element becomes an iconographic element for its scenic value. Anish Kapoor, artist and landscaper reference is the "conceptual art" through sculpture using colors. The color in Kapoorâ&#x20AC;&#x2122;s work as a sculpture in itself, always use primary, blue, red and bright yellow colors. His sculptures explore the idea of emptiness or how to fill the space.

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â&#x2020;&#x2DC; REMOVE WHAT ALREDY EXISTS. Christo and Jeanne Claude base their artistic purpose on transform the landscape of a city, an environment or nature through reduction from place to its own housing, making and altering reality to a different dimension. Strip a place of their original identity supposed to deprive him of all those patches that prevent displayed as is. This creates suggestive empty spaces characterized by the presence of bare structure. The greatest success in this case is not so much wealth detect the architecture but in its relation to space. Therefore, it is important to preserve its already precarious condition, subtly acted on the site. However, erasing the traces that the industrial landscape produces on the environment should not be conceived if its main purpose is based on hiding what exists precisely to oppose the principles mentioned above. "Clear thus has its origin in a myopia look that prioritizes the youth of the smooth and devoid of scars" 3

MOLINA, Santiago y COLMENARES, Silvia. Congreso: Estrategias de ReconversiĂłn de la Arquitectura Industrial. (2011) Sevilla 3

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↘ REDRAW REALITY The materiality of Richard Serra in his most representative works is closely linked to landscaping concepts. In fact, his sculpture began to link to landscape environments, demonstrating that their work could go beyond the physical material itself. That is why the maxim of one of the best artists currently intend to alter the look of art, away from the museum severity and reflect an active way (almost always harmful) human footprint on nature. "Freed from the traditional pedestal and once immersed in the real space of the observer, Richard Serra sculpture enters into a new relationship with the spectator, whose experience with the object becomes an essential part of its meaning. The Matter of Time allows us to perceive the evolution of the artist's sculpted forms, from a relatively simple double ellipse to the more complex spiral. As viewers walk in and around them, these are transformed unexpectedly, creating a dizzying, unforgettable sensation of space in motion" 4

Imagen 5: “La Materia del Tiempo”, Richard Serra, Museo Guggenheim Bilbao 2005

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RELATION WITH THE FINAL PROJECT IMPLEMENTATION ANALYSIS Coal as raw material, has a strong interest for his contribution as a source of energy and heat but also represents a great industrial contribution for its unique properties: lightness, mechanical, chemical and electrical characteristics... surprisingly discovered each year 500,000 new components derived from this material by research laboratories. However, Rotterdam, fourth petrochemical port in the world donâ&#x20AC;&#x2122;t have in its territory a place able to exploit and export the opportunity as unique as coal material. That is why a program that embraces activities relating to the preparation, characterization and application of this material giving the city an opportunity to raise awareness to society is proposed. The project is part of an industry of "cleansing" of coal next to the city of Rotterdam. An environment with a very characteristic landscape while hostile, in a suggestive way, makes the industrial setting its own unique landscape. That is why this place can implement the foregoing. A coal washer is a place with a very strong character, being a hostile landscape while suggestive. And therefore to improve awareness and aims to generate a direct approach to the public by inserting this landscape architecture and program in the heart of the industrial landscape.

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• On the one hand, the value of landscape reside in the RAW MATERIAL, coal, who brings the element with the greatest potential and identity in context. Thus, coal will generate the wealth of place in its pre and post debug statements in your storage situation provisionally make up a landscape of black mountains of excessive heights simulating a sinuous and hostile, gloomy and lunar context ... analyzes the INERT concept. • On the other hand, the intervention strategy for the Coal-Lab project goes very close to the result analysis of the value of the inert, as industrial production generates complex landscapes and its successful implementation will depend on the coexistence of architecture with this pattern.

THE INERT MATTER The concept of the 'inert' in reference to coal aims to highlight the duality between nature and relative random nonliving. Nature as "productive force, origin, essence ..." It is understood, although there is also the concept of nature understood as opposed to artifice. In the context of the purification of coal, the inert concept also suggests a term relating to the ephemeral landscape generated. "The natural thing would be conceptually framed landscape and its main value would emanate from the values given by the man at different stages of evolution from the experience, aesthetic contemplation, etc."5 Inert has an own value by itself as long as it generates landscape. While it is important to understand the viewer where lies the essence of

MAIZ, Tomas. Revista FABRIKART. Ed. Universidad País Vasco (2001) País Vasco.

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the landscape and it is important to bring about a change of mentality that allows enhance their material and physical courage without discarding his sensitive value. "The landscape means, represents and constitutes an invention, a mental construct developed by someone who perceives and interprets from the experience of the senses. Perhaps for this reason, a landscape not have identity outside perception. There would be a landscape if there was a look that contemplate". Any approach to the landscape will require an objective interpretation study the tangible characteristics of the territory and, second, a subjective view of the observer who contemplates and appropriates it through the senses, aesthetic and CULTURAL attributing qualities, participating in the alteration of the landscape through its own sensory experience of reality.

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FROM INDUSTRIAL TO CULTURAL LANDSCAPE Having understood the importance of emphasizing the cultural value INERT MATERIAL, is understood that the project context requires a change of mentality that facilitate the reinterpretation of the essence of the landscape. A new sensory vision of the spectator that induces an appropriation of place through the senses. Thus, it is committed to an evocative intervention on the spectator causing a rush of sensations hitherto unknown to them. STIMULUS  CONFUSION  COLLAPSE  CHANGE OF PERCEPTION

The project immersed in industrial environments which look is the way through which will produce the least impact on the existing landscape. This has a major effect on the conception of the project, it aims to be a place of awareness on what is important is not so much the architectural landmark as its ability to excite sensations. Therefore intended to be imperceptible to the normal operation of the intelligent help of industry implementation strategies. On the other hand, the architectural ensemble will play a double role itself solely for EVOKE on the viewer. For this, the volume of the building, plus research and visitor center will itself containment building program and retaining wall carbon. The escalation architecture, sober and sinuous be responsible for awakening a first state of disorientation over the visitors caused by uncomfortable circulation spaces between the program and the anguished rumblings of trucks, cranes, machinery... This set of stimuli cause the observer very different feelings that surely impress your perception and memory. From a certain disinterest or start a captivating visual collapse of lethargic acceptance rejection. At the end, you will experience a deep unanticipated aesthetic emotion. 27

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CONCLUSION Having understood the importance of industrial grounds in the view of a city were to propose different strategies that are able not only to integrate this territory but induce sensitization to awaken interest in the observer. Land Art artists pose daring strategies ranging from changing the topography, blurring the horizon, packing buildings, reinterpret material... in order to generate a dialogue between landscape and viewer. That is why the purpose of architecture in the environment that is presented to COAL-LAB project by the industrial landscape must respond very similarly to the way of understanding these landscapes by artists to produce plastic emotions in the viewer who faces this landscape. The architecture must be the tool to intervene in the landscape within the structure of it, modifying either from a contrasting or mimetic posture, in which a mining operation or summative, emptying or cleaning is done ... but always sensitive to the feelings that are intended to convey. Is to get that man can appropriate the territory, modifying and reinterpreting it as its sensitivity. It is necessary that architecture facilitates this dialogue which will work, interpenetrating with the landscape, structuring a new vision low sensitivity and ability to interpret it. From this it is understood that the coexistence with inert matter could not be otherwise than with a sensitive territory architecture, but above all, that the industrial landscape squeeze their potential to enrich the city with cohabiting.

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BIBLIOGRAPHY Kastner, Jeffrey. Land Art y Arte Medioambiental, Phaidon Press, 2005. Tiberghien, Gilles A., Land Art, Carré, Paris, 2012. HERNANDEZ Martinez, Ascensión, El Reciclaje de la Arquitectura Industrial, Unv. Zaragoza. LEON RAMOS, Mili, Arquitectura Integrada, Tesis de Arquitectura (2006) Quito. MOLINA, Santiago y COLMENARES, Silvia. Congreso: Estrategias de Reconversión de la Arquitectura Industrial. (2011) Sevilla MAIZ, Tomas. Revista Fabrikart. Ed. Universidad País Vasco (2001) País Vasco. ALBA, Mº Isabel. Nuevas Miradas Sobre Nuevos Paisajes. Ed. Cersa (2010) Sevilla. ARONSON, Shlomo, Aridscapes, Proyectar En Tierras Asperas Y Frágiles, Ed. GG (2001) Barcelona RUBY, Ilka, Groundscapes, El Reencuentro Con El Suelo En La Arquitectura Contemporánea, Ed. GG (2013) Barcelona ABALOS, Iñaki, Atlas Pintoresco, Ed. GG (2008) KOOKHAAS, Rem, Espacio Basura, Ed. GG (2002) Barcelona.

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