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ATHENS

PARIS

MOSCOW

BERLIN

ONDON

CITIES The MagazineIssue 00 Industrial RenewalAutumn 2009


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The industry where your older relatives used to work, is now populated by squatters, artists,social workers or tourists and visitors. The brick tower at the end o the city doesnt smoke anymorebutis lit up in neon lights. Why? What happened?

The process o renovation o old industrial structures is the choice o the pilot issue o CITIES becauseit is one o the most wide and visible global phenomena that has strongly aected the lie o the cityrom many dierent points o view

Once, actories were a main source o employment o the city; actory workers populated the urbanlandscape o the periphery and the city was growing around industry through the provision o housingand necessary acilities.

Then something happened, especially within Western cities that experienced demonstrations, marches,sit-ins and strikes created by political parties and unions that were the protagonists o a never-endingbargaining process. The actory was closing down or moving.

Many o the bustling and ordered urban landscapes o the actories became detached rom industrial

production creating urban voids. In some places these buildings and spaces are still abandoned,however in other places there has been a process o renovation and reuse that the majority o cityusers have been witnessing rsthand and not only in western cities

The industrial buildings are ar rom dead. In this issue we give you a ew glimpses o the lie o thesespaces today; where paintings are drawn in an old con storage, where music estivals are held ina ormer gas actory and where skaters play on a ormer ship construction site.

CITIES wants to welcome you to explore this theme rom the general overview o the causes andthe consequences o this process, to specic case studies in the cities o London, Athens, Su Paulo,New York, Paris, Beijing and others. This issue has been built upon a collection o stories, photographsand art works that all spring rom personal experiences o the process o industrial renewal

CITIES invites you to walk with us, through the experiences o renewed industrial spaces, in our rsturban exploration


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Infuenza

fu01.com/

jeroen jongeleen, 2009


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We are proud to present to you the pilot issue 00 o CITIES the magazine.CITIES was born thanks to an idea, which later developed into anapproach to provide you with an opportunity to travel inside andoutside the pages o a magazine by reading personal views about urbanphenomena.

CITIES springs rom the idea to look both ways. To see things rom twoperspectives. Firstly to show city users what academia considers are theglobal processes being maniested in the streets and secondly, to makeurban experts and proessionals aware o city users views on those samestreets and processes.

Looking at the urban world rom this perspective, CITIES sees itsel asa new platorm, created in order to communicate academic vocabularyand knowledge about urban issues to a more accessible level and at thesame time to provide a ormat or local personal refections to reach outin within a context.

As urban planners and researchers, when walking around in cities,

we watch processes o gentrication, traces o shrinking cities,construction o knowledge intensive clusters, industrial renewal projects,attempts to create vertical greenery, riverront redevelopmentsand so on we cannot help but see these things.

All urban users are witness to these processes in one sense or another some are entertained, some are critical, some are nostalgic, and some

just dont care

CITIES wants to provide a ramework to help you understand what yousee the streets you walk every day, what you see as a tourist, the kindo urban processes you are witnessing, the strategies your city isdeveloping and many other themes that concern cities world wide.

In order to do so, CITIES uses your vocabulary, your culturally boundperspectives, your pictures, and your art

CITIES wants to scan the urban reality and to translate metropolitanunderstandings this is our strategy to welcome you on board,as a reader and, i you nd it interesting, as a contributor

Thank youAnna Hult & Francesca Miazzo


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CITIES The Magazine

Issue 00 Industrial Renewal

Autumn 2009

CITIES is set up as a Foundation

in Amsterdam, The Netherlands.

CITIES The Magazine is one part

o CITIES Foundation that alsoorganise workshops and exhibitions

that help to communicate global

phenomena that aect cities. To read

more visit citiesthemagazine.com

For all enquires including advertising

requests, or to join our mailing list

contact [email protected]

and we will get back to you at the

earliest opportunity.

To submit an article or photographs

or inclusion in the magazine email

[email protected]

LONDONPOWER + PIGS

Claudine St Arromanpg 8

UYUNIALL CHANGE,

PLEASEAbigali Wilkinson

pg 98

NEW YORKAT LEAST PARTIALLY

HOMEMADE

Johannes Novypg 36

SO PAULOTHE REDISCOVERYOF HERITAGE SITESAna Carla

Fonseca Reispg 76

NEWPORTGHOSTS IN ARMOUR

PunctumPhotographic

pg 84

PARISTHE 104

Marie de France,Claire Davodet &

Constance Marraudpg 90

T.P.E.S.PHILIPPE VAN

WOLPUTTEWilfried Lentz

pg 30

BERLINTHE UFERHALLEN

Kyria Amtsfeldpg 20


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Other contributers to this issue

include Helen Runting,

Melbourne who has edited

all the copy.

Francesca Miazzo

Co-Editor In Chie

CITIES Amsterdam

[email protected]

Anna Hult

Co-Editor In Chie

CITIES Stockholm

[email protected]

Chris Knox

Art Director

CITIES Gothenburg

[email protected]

The magazine is developed and

run by a small team o dedicated

proessionals who are commited

to making CITIES a success.

ATHENSTHE GAS, THE GAY,THE RADIO +THE ART CITYLeta Psaltipg 2

MALMAN OASIS OFTHOUSANDSOF WORKERSErik Rosendahlpg 66

BEELITZMONUMENTSOF DECAYFranca Sopranopg 60

MOSCOWSYMBIOSISOF 2 LIVESTatiana Elisafenko& Alexander Kotovpg 54

CHINADIE ANOTHER DAYJing Jingpg 44

M-CITYTHE ARTWORKOF M-CITYM-Citypg 70

RUINS REIMAGINEDINDUSTRIALRENEWAL AND THEREMAKING OF CITIESJoern Langhorst

pg 104


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2 CITIES The Magazine


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Where do you go when you eel like going out in Athens? Exactly whereeverything takes place, the colourul neighbourhood o Gazi. Gazi actually meansgas and the name o the specic area comes rom the old gas actory, which wasounded in the undeveloped Athenian neighbourhood in question, by 1857. By thebeginning o the 20th century and with Greece being wounded by the politicalevents o the time, with a unstable democracy, the Athenian neighbourhood whichhosted the gas production industry, struggle to create its own identity,in an attempt to reinvent itsel.

In the sidelines o a city that tries to ollow evolution as it proceeds in the resto Europe, the gas actory bring immediately change around it. Except orm thegas fow, diversity also makes its present rom the very start. The actory with itslow class, poor workers attracted the rst brothels, which made their appearancein the neighbourhood, only to be ollowed by the rst immigrants. By the endo the 20th century immigrants had created a lie or themselves by the wall othe actory, with small houses o ew rooms and big yards. This neighbourhoodwas established as a non popular one; ull o low shilling houses and transparent

people, as it was an outcast region.

The end o the century came as a surprise or the quite neighborhood, which bythen had narrow streets, illegal houses, illegal guests, and car repairmen shops.The ambitious project o the Texnopolis was to reorm the actory and our lives.In 1999, as i in an attempt to welcome the millennium, the municipality oAthens takes over the gas actory and turns it into Texnopolis. The name o thenew venue derives rom the Greek word Texni which means art and the wordPolis which means city. Namely an art city is built, practically in the middle onowhere or at least in an undiscovered part o the busy city. This industrial acilitywas to be transormed into a multi powerul cultural venue, giving a new dynamicperspective to the cultural identity o the city.

The actual premise o 30.000 square meters is located in the beautiul region,next to the ancient pottery workshops o Keramikos and the amous Acropolis.

THE GAS,

THE GAY,THE RADIO AND

THE ART CITYOnce upon atime there was

a actory, whichwas surroundedby hookers,that turned intoa city, whichcame to adoreart, hostedparties, a radio

that later onbrought thegays and theylived happilyever ater.

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The original project oresaw the creation o a multiculturallearning centre but also a location which will be able to hostmultiple events and actions. The actual acilities maintainthe sense o the past with the huge stove rooms, the pipelines and the gigantic chimneys. Texnopolis was set tobecome an establishment to preserve the old and to welcomethe orthcoming. In a sense it is the actory to produce art,to manuacture the new, to promote the modern and towelcome inspiration. Ater all, the word Gas comes rom the

ancient German word galist which means spirit.

The art city in Gazi is dedicated to the memory o the Greekcomposer Manos Hatzidakis, who himsel constitutes a greatinspiration o the present Greek generation. Each room isused or dierent events and has the names o amous Greekpoets.

Up to this point the message is clear. The actory madethe neighbourhood, which later on transormed the actoryinto the Art City. But it doesnt stop there. The art city doesnot allow the area to remain the same. Exhibitions, events,shows, lectures, during the rst years o the Texnopolis

brings waves o intellectuals into the area, which salute theinitiative and eel immediately comortable in the small cas

o the poor services owned by the immigrants and the onesthe modern rhythms o the city had rejected. The Gazi areais suddenly discovered.

The media greet the new proposal, advertising agenciesstruggle to book its spaces, opinion leaders worship it andater all this years everything seems to revolve around thenew city within the city. Texnopolis is the next best thing,the talk o the town; everyone wants to be a part o it. The

art city turned rom a trend into a constitution. The trash artexhibitions, the Hellenic Fashion Week, the Synch estival aresome among the cultural events that nd a new housein Gazi. Yet again though, it doesnt stop there.

The wall o the actory, ater tow centuries becomes again thestarting point or a new reinvention o the neighbourhood.Bars, clubs, galleries, shops, cas, art spaces pop up likecolourul mushrooms in the area. All ollow the industrialstyle set by the architectonic rhythm o the Texnopolis andthe liberated spirit induced by the art movement. A metrostation in the centre o Gazi puts the place into the mapand Gazi is a perceived as a dynamic and beautiul part o

Athens. Can it stop there? ...Hell no!



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The municipality o Athens is more than proud o its pricelessjewel and relocates its alternative radio station in the centreo the Art city. Athena 9.84 radio stations starts transmittingrom the high-tech renovated central building o the Art City.One might wonder is there everything missing.

Now the Gazi area is the meeting point, oers everythingor everyone. The liberating spirit fowing like the gas beoreit, created an environment where the repressed Greek gay

community elt like home. The gay community discoveredand created a liberated village. Reaching today Gazi isconsidered the Greek Soho.

Will Gazi become a product? Will tourists reach Gazi? Howmuch beore we consume it like a pack o smokes, like abottle o Gin. Will Trick ever again perorm in the Texnopolis?Will Bjork ever come or a drink at Gazi the next time she isin Athens? Who cares? When it happens we will just relocateto another neighbourhood, take our bars and restaurants withus and leave the area to do what it does best reinvent itsel.I repeat my sel. who cares? Have to go meeting myriends at Gazi or drinks.

Text by Leta Psalti.

This article has been substantially edited from the original

submitted format (with the author's permission) by CITIES

the Magazine for your reading pleasure.

LETA PSALTILeta perceives her city (Athens) as a

cinematographic urban labyrinth where she nds

hersel trapped. In order to escape she enjoys

drinking cold coees under sunny skies andmojitos by the sea. She nds the dirt o the city

charming, and not specically in a kinky way.

She is tired o tourists wearing socks with sandals

and dreams o a day that environmental pollution

within the city will be just an urban legend.

STATS Area 411.7/km Total Population 3,130,841

Pop density 7,604/km

ATHENS

NUMBERS The Gazi Factory was established in the year 1857 andcommenced its operations rom the year 1862. The gas works

ceased operations in 1984. In the late 20th Century the buildings

were restored with even the tanks taking part in a vision called

Technopolis: City o Technology. The Technopolis is spreadacross an area o about 30.000 m2.

CONTEXT Athens, the capital and largest city o Greece,

dominates the Attica periphery; as one o theworld's oldest cities, its recorded history spans

around 3,400 years.

The Old ChimneysNatalia Dimou

The Gas TowerNatalia Dimou

Skaters at TexnopolisNatalia Dimou

Window relectionNatalia Dimou



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'Hole in Wall'David Skone

Battersea romthe railway

'Battersea Glow'Gordon Coe

West entranceo the Turbine Hall

Dickbauch

Interior o BanksideTate Press Office

Tate Modern exteriorTate Press Office

Olaur Eliasson'sWeather Project,

The Turbine Hall

Thomas Pintaric


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CLAUDINE ST ARROMANClaude is a 'native' o France, but became an

architect in London, where she has lived and

worked or 25 years. Inclined by nature towards

the 'people' spheres o architecture, she became

more actively involved in local community

projects through her (now) 10 and 15 year-

old children's own worlds. Claude is also acontemporary dancer and photo-artist.

LONDON

London is a major global city and one o the world's

largest nancial centres. Central London is home to

the headquarters o more than hal o the UK's top

100 listed companies (the FTSE 100) and more than

100 o Europe's 500 largest. London's infuence in

politics, nance, education, entertainment, media,

ashion, the arts and culture in general contributes

to its global position. It is a major tourist destination

or both domestic and overseas visitors.

CONTEXTArea 1,706.8/km

Total Population 7,556,900


STATS

Battersea A Power Station was built rst in the

1930s. The station had an annual coal consumption

o over 1,000,000 tonnes and would extract an

average o 340,000,000 gallons o water rom the

river each day. The station ceased generating

electricity in 1983. In 1993, the site and its

outstanding debt o 70 million were bought

rom the Bank o America by Hong Kong baseddevelopment company, Parkview International,

or 10 million. In 2004 the power station was on

the World Monuments Fund's List o 100 Most

Endangered Sites. On 30 November 2006, it was

announced that Real Estate Opportunities, led by

Irish businessmen Richard Barrett and Johnny

Ronan o Treasury Holdings, had purchased

Battersea Power Station and the surrounding

land or 532 million EURO (400 million). They

announced their 4 billion plans in 2008. The

station has made many appearances in the media

including appearances: 9 times on the cover o

music CDs; 6 music videos; 16 TV series; and,8 other uses in culture.

NUMBERS



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Until very recently Wedding had been a typical working-class district in Berlin. When Turkish guest workers beganimmigrating to Germany in the 60s, they did their bit to shapethe ace and image o this rough-tough quarter. Weddingspopulation nowadays is composed o approximately 30percent immigrants, and when you stroll along the streets,Turkish sports clubs, wedding dress shops, mobile phonestores, Dner Kebabs and plenty o ruit and vegetable storesconcretize the image o a place which resembles Istanbul

as much as it resembles Germany.40 percent o the population in Wedding are dependenton the State, which means people have little money, but lotso time (and, perhaps, even more ideas). Ater the all o theWall, Wedding suddenly ound itsel located in the middle othe city, however the quarter was not able to develop in theway the multicultural Kreuzberg did, with its uncountablegalleries art events and notorious night lie.

But despite the retention o its working class routes, changehas not bypassed this central quarter: closed-down actoriesare beginning to be discovered and reconquered. Wedding,

it seems, presents the potential to become a similar caseto the now-totally-overhyped Prenzlauer Berg, which was



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rediscovered in the 90s and is currently overcrowdedwith what I can only describe as yoga-practising yuppies,who slurp wheat grass juices whilst hiding behind theirMacbooks. Ater all, Wedding seems to be one o the lastreally spacious areas in Berlin or new urban development.Perhaps in this sense, its ate is sealed?

At the very beginning, the garage complex, which is todayknown as the Uerhallen, had the unction o a horse depot.

In 1926, the buildings were restructured and extended bythe German architect Jan Krmer who was then somewhatpopular or his designs o various streetcar depots in Berlin.Up until 2006, the Uerhallen housed the vehicle repairacilities o the BVG, the Berlin Public Transport System.

Since their withdrawal, the 370,000 square metre compoundhas been transormed into something like a tremendousart park or several artists. In particular, the Berlin-dance-scene elt attracted to the huge building (known as theUerstudios) that, with its gigantic roo structure and highceilings, used to be the central garage o the BVG.

On the other side o the street, one nds the Uerhallenwhere currently some 50 artists are working in studios that

CablesAuthors own

Inside the UerhallenAuthors own

CanalAuthors own

ChimneyAuthors own

Notice at entrance to

UerhallenAuthors own

Studio spacesand workshops

Authors own

Entrance to UerhallenAuthors own

PipesAuthors own



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they rent or a mere 3 euros per square metre. One o them isDaniel Biesold. When I ask him how he eels about workinghere, he says its a unique place, the conditions are perect.He loves the quietness o the area as opposed to the wholeart-renzy in Mitte and elsewhere. The artists can work inpeace and benet rom a ruitul atmosphere that encouragesexchange between artists, students and also the public, asnumerous exhibitions take place here. His colleague WernerLiebmann, one o the rst artists to make use o one o the

studios elt so ardent about the place that he packed his twochildren, planted a small garden, and moved in completely.

Shannon Sullivan who does improvisation theatre in theUerstudios says she enjoys working here as they are pulledback and secluded which gives her a sense o reedom towork and explore. She has been watching the developmento the Uerstudios since they were publicly announced asa project and eels excited about the prospect o a centrewhere the independent contemporary dance scene can cometogether and work in close proximity to each other.All in all, the Uerhallen and their location in Wedding, as oneo the last undiscovered quarters in Berlin are a very unique

place and seem to be a perect example o the phenomenao the creative energy and exchange o it. From a typical

working class neighbourhood, Wedding is moving towardsa dierent era. At the same time, Wedding is still an areainhabited by immigrants and low-income households. Thesocial mix o the area create a sparkling, lively and authenticatmospheresomething dicult to perceive everywhere inthe city

Text by Kyria Amtsfeld.

KYRIA AMTSFELDMy name is Kyria and I am 25 years old. Two years

ago I moved rom Amsterdam to Berlin. Initially,

I just wanted to take a break rom art school and

gure out what to do next during that year, but

a year turned into two and I am still here and I

have no intention to leave so ar. I write or some

magazines and I am working on a novel. Apart

rom that, I am currently studying North Americanstudies.



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BERLIN

NUMBERS The garage complex o Berliner Verkehrsbetriebe (BVG) atUerstrasse, ormerly a horse depot, was restructured and

extended in 1926 by the architect Jan Krmer, who had already

designed various streetcar depots all through Berlin. Until the

year 2006 the UerHallen were the main garage o BVG where its

vehicles were repaired. The complex is massivewith its main

space measuring over 3,000 square meters and ceilings that

seemingly never endthe UerHallen organizers now have thereedom to explore expansive and challenging projects.

STATS Area 891.82/km Total Population 3,431,700


CONTEXT Berlin is Germany's largest city. It is the secondmost populous city and the eighth most populous

urban area in the European Union Located in

northeastern Germany, it is the center o the Berlin-

Brandenburg metropolitan area



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Like many cities in Belgium, the city o Antwerp has many derelict, vacant buildings

and spaces. These spaces are sometimes inhabited by the homeless. As a result thesebuildings are typically demolished by developers and city councils as quickly as possible.What is not generally acknowledged is that these deteriorated spaces serve an importantunction in the memory and social landscape o the city and in a way possess a beautyo their own. The rapid measures taken to demolish these unused spaces are a way toexclude everything that is irrational, chaotic and seemingly unreasonable in urban planning.Philippe van Wolputtes interventions draw attention to the existence o these spaces bymaking them accessible again or a short period o time, and he approaches his subjectswith an almost Freudian-like obsession. Using narrow corridors and holes, he creates newpassageways and inltrates nearly impenetrable spaces, giving them a new temporaryunction as a ctional exhibition space.

Text by Wilfried Lentz

The Interventions oPhilippe Van Wolputte



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AT LEASPARTIALHOMEMA

A popular assumption that resonates in muchthat is said or written about the conversion oindustrial urban spaces to new, post-industrialunctions, is the idea that contemporary citiesin the advanced capitalist world have becomealmost completely devoid o industrial activity.



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Factories and workshops, it is said, have closed, and workers

in manuacturing and other productive industries all butdisappeared as the transportation and communicationsrevolution, globalization as well as changes in capitalistaccumulation namely, the shit toward the production oservices and spectacle rendered urban industries involvingmanual labor or crat obsolete.

The transormation o urban economies towards services,inormation and consumption is a story well told that needsno repeating. It is a story that gures particularly prominentlyin discussions related to the present and uture developmento New York City. Here, the discourse surrounding thecitys experience o deindustrialization and related rise

to prominence as the worlds center o nance, businessservices, and cultural production has been so powerul and

so pervasive that the Big Apples once amed legacy as one

o the United States greatest industrial, working class townshas been all but orgotten.

The same can be said o the citys remaining, mostly small-and mid-sized manuacturing and industrial businesses- printers, garment manuacturers, woodworkers, bread-making rms, metal workers etc. Their ongoing contributionto the citys economic vitality - as well as their urgent need osupport in order to stay in business and thrive receives littleattention, particularly in the current governance environmento the global city and sel-proclaimed real-estate capital othe world.

Instead city politics are preoccupied with investing ingrowth sectors like tourism, media, and entertainment

YE


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and pampering the FIRE (Finance, Insurance, Real Estate)industries, New Yorks main source o capital (and repeatedcrises), oten at the direct expense o blue collar businessesand the tens o thousands workers they continue to employ.

This bias is anything but new, o course. Several scholarsto the contrary have shown that the spectacular declineo New Yorks industrial sector in the course o the secondhal o the twentieth century - which has cost the city

about 750,000 to 1.000,000 blue-collar jobs and parallelcorporate and nancial expansion is by no means owed toprocesses o global economic restructuring alone, but ratheralso intrinsically tied to deliberate decision making in thecitys political arena. In other words: or several decades cityocials have been pro-actively involved in the developmento new, mostly high-priced commercial and residentialdevelopment either on or near industrial land in the ormeconomic development initiatives, tax subsidies, avorablezoning laws or exemptions, place marketing and so orth.And or several decades city ocials have been directly orindirectly involved in industrial displacement as well as thepreventable destruction o industrial enclaves as well as

stable mixed use neighborhoods in which industry and otherland-uses co-existed in close proximity to one another.

Whats new, however, is the scope and extent o the presentassault on New Yorks working class, blue-collar economy.Whereas industrial displacement in previous decadeswas limited primarily to centrally located areas, mostly inManhattan and selected parts o Brooklyn, manuacturers inthe past ew years were under attack in virtually every parto the citys ve boroughs due to skyrocketing real-estateprices, unmatched waves o gentrication as well as anupsurge o partisan policies avoring residential and oce

expansion over industrial retention. For instance, since 2002,the year the citys current mayor billionaire businessmanMichael Bloomberg took oce, more than 20 large-scalerezonings have converted about 20 percent o the citysalready scarce manuacturing land into some other categoryo land use - residential, commercial, or mixed-use zoning and not one, according to a recent study o the Pratt Center,added a single acre o new space or manuacturers.

As a result, otherwise healthy businesses were priced orzoned out, while the rapidly shrinking amount o actory-riendly land today only about 3 percent o manuacturing-zoned land contains according to the Pratt Center vacant

and rentable space - severely limited the opportunitiesor new companies to do business in New York. Eorts to



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reduce the damages caused by land-use changes or supportindustrial companies to establish new acilities, relocateexisting ones, or expand meanwhile were or the most partlimited, hal-hearted, or lacking any sort o ollow-through,as Matthew Schuerman observed, and have overall donelittle to improve the plight o New Yorks industrial base. Itsstruggle is tragic in more than one way. Oten well-paying,stable jobs or working-class New Yorkers have been lost;income polarization as well as the split between whites and

minority groups, who rely disproportionately on industrialjobs, have widened; the enormous potential o New Yorks inmany ways thriving scene o young and cutting-edge nichemanuacturers has not been capitalized upon to the extentpossible; and New York has become even more vulnerable toWall Street volatility despite the stated goal o local ocialsto diversiy the economy and address the economic problemso blue-collar workers.

Underlying the widespread indierence or even outrighthostility on the part o city politics toward manuacturingand blue-collar work is the widely held belie that theinterests o the city are served best when New York City

land is put to its highest and best use and that propertyin the city has become simply too valuable to be wasted

or manuacturing businesses, no matter how successulor viable they are. A city that relies heavily on property taxrevenues, New York according to this perspective mustnot impede but has to acilitate the dynamics o the (realestate) market i it wants to stay afoat economically, and orthis reason cannot aord to cling sentimentally on lower-yielding industrial uses. Related to this, observers have notedthat the citys war on industry is urther propelled by theNew Yorks chronic housing shortage, i.e. the undeniable

demand or additional residential development, as well asthe determination o the current administration to radicallyoverhaul the citys abric through a plethora o iconic urbandevelopment mega-projects emphasizing tourism, retail,as well as oce and residential development, which areimagined as being able to enhance New Yorks position asa world-class global city. Industrial activities meanwhile ormany New York City leaders do not t in with the image oa global city they are trying to promote, but are rather seenas dirty barriers to progress and a more beautiul urbanlandscape.

Taking the cumulative eects o the described developments

into account, it is not dicult to see that demise o NewYorks industrial base is in act at least partially homemade.

Abandoned pierAuthor's own

Closed actoryAuthor's own

Abandoned pierAuthor's own

BrooklynLil' Shy

Landscape,BrooklynLil' Shy


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Much o the citys heavy industrial and port-related economywould most likely have withered away either way due tothe changing nature o the global economy and relateddevelopments beyond the citys scope. Yet the reasons orthe massive extent o New Yorks deindustrialization inrecent decades the city has lost proportionately more jobsthan the rest o the region and most other large industrialcities in the United States - as well as the present struggleo whats let o New Yorks manuacturing base lie closer tohome.

Taking the complicity o New Yorks elites in the demise oindustries as well as the dire situation o the citys remainingblue-collar sector into account, uncritical narratives thatcelebrate the transormation o New Yorks industrial andmanuacturing centers in recent decades as evidence orthe citys renaissance as an attractive and vibrant place

to live, work, and consume in, leave a sour atertaste. Whathappened to the previous land users, to the businesses orwhom the actories and warehouses that today house oces,apartments, galleries, shops and restaurants were built?What led to their disappearance? And, nally, who benetsand who pays rom the widespread conversion andupgrading o working industrial areas into a dierent use?

Text by Johannes Novy.

JOHANNES NOVYA researcher at the Center or Metropolitan

Studies (CMS) in Berlin and PhD Candidate

in Urban Planning at Columbia University in

New York, Johannes divides his time between

writing on his dissertation, conducting research,

part-time teaching and enjoying the two cities

he calls home: Berlin and New York.

NEW YORK

Area 1,214.4/km

Total Population 8,363,710Pop density 10,606/km

STATS

October 2007 marked a milestone in the transormation o the

United States economy. The Bureau o Labor Statistics reported

that the number o manuacturing jobs ell below 14million, a loss

o 6 million rom a high o almost 20 million in 1979. The last time

the number was below 14 million was 1950. For context, during

the 57 year period, the population o the United States doubled

and gross domestic product increased by over 500 percent in real

dollars. The haemorrhaging o manuacturing has been a national

reality, especially since the early 1990s.

NUMBERS

New York is the most populous city in the United

States. A leading global city, New York exerts a

powerul infuence over worldwide commerce,

nance, culture, ashion and entertainment

CONTEXT


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We have two Chinese characters in the wordcreation. Chuang which means wound, andZao which means produce. So we could saythat the meaning o creation in Chinese is todie rst, beore being revived.

This is perhaps an odd explanation or creation (Chuang

Zao), but it is, to some extent, Chinese logic. I we ollow thisway o thinking, particularly in considering Chinese urbandevelopment at present, then we might be let in somedoubt at to whether we are in the process o dying or theprocess o being revived

In a climate characterized by a lot o sarcastic criticismo Chinese urbanization and globalization, we must eachbe accorded our own opinion way o viewing the issue odevelopment, because it is impossible to nd a integratedanswer or a norm which holds across cultural contexts anddierent individual experiences. The ollowing represents myview o what it is that is actually going on with the Chinese

creative industry, and the broader processes o urbanreshaping which it supports.

Smart regeneration

It might be posed that right-wing or conservativeperspectives upon Chinese urban development shouldtake lesser issue with the term "smart growth". Since itstill incorporates the magic "growth" which, whetherdescribed as smart or dumb, still retains its inherentcharacter smart growth essentially allows things tomove orward. In my opinion being a little progressive mightwell be the best way orward in undertaking a truly smartregeneration at this crucial time o growth and change.798 Dashanzi Art District, Beijing, is one well-known urbanexperiment, embedded in the ormer ruins o old actorieswhich were constructed during the war years. As manypeople globally have expressed strong interest in this rising

star o industry incubators, I keep their opinions in mindwhilst taking a walk through this area. I am seeking an



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answer to the question o how this urban model is reallyworking out.

I have been to 798 several times in the past, but this timeI come especially to research urban design in the contexto creative economy. The rst impression o 798 is strikingthe imagination fies in the art atmosphere, which emergesaround you. The old actory building, with its exposedstructure, leaves me with a strong symbol o the wholedistrict, beyond the typical impression 798 one could ndin any report. When I wander urther into the site, along themain street o 798, I nd galleries with oreign names, whichin itsel is a rst legible sign o the properties and charactero the district. A number o smaller local artists studiosand galleries are located on the bystreet in a much smallerscale. From the aesthetic perspective, I eel the place has astrong western Chinese style, the characteristic components

o which are easy to pick out: color-red; items- red lantern,terracotta gures, dragon totem, etc.

Those old actories and warehouses provide perectly highand open spaces or artwork production, exhibition andsales. The new unction o art studios within the actorybuildings has worked out very well or the perormanceo contemporary Chinese design, which is infuencedby both the West and by traditional Chinese values. Theboom o Chinese art market has made developers exploittheir properties in terms o building new structures in theexisting abric or the creative industry. Nevertheless,the buzzing construction o 798 today make me doubt i

the simple duplication o these actory buildings with thesame Chinese symbol idea is the ultimate design solution

or sustaining the demand o creative industry. Or, in otherwords, i the old actory building becomes a trend thatuse actories as the creative industry buildings, is thereany other perormance o architecture could give spaceand stimulate the creative industry? I also realize that thegentrication has already come to 798. The commercialstrategies o the limousine parties and beauty industryparticipation have been used to attract more investment.The dense commercial atmosphere and growing rent haveorced more and more groups o culture initiatives out o,or to the outlying areas o 798.

798 Dashanzi Art District has been an eective trigger,providing an example old actory regeneration project,which in turn has been considered an integral part o thecity experience or the rest o Chinese rst line cities. Withthe crazy boom o the Chinese art market around 2003, the

smartest Chinese property developers and oreign investorsocused on the potential o old industrial ruins or creativeindustry development: dubbed the 798 eect .

Ater the rst step o regeneration, 751 D-park in the 798neighborhood was born as a second industry incubator inthe 798 Dashanzi district. The new D-park was competedin 2001, starting design trading rom 2006, and is morerelated to applied art, crats, design and the merging oindustry into the existing urban abric.

As time goes by, no matter whether in period modern artor traditional art, it seems that people always build up both

libraries and museums as a mark o the historical period.In the new 751 D-park, a library and a museum have been

Signage at the 798Arianne Rivard

Photo shoot atrailway lineAnna Hult

Exterior spacein development

Gongfu King

Open o Nike eventAnna Hult

New and oldarchitecture combined

Charlie Fong

Amelie GalleryCharlie Fong

Interior space at the 798Charlie Fong



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established in the old actory spaces - spaces which, duringmy visit I elt to be both peaceul and impressive. Sometimesthey have small exhibitions or some sort o special event,which are intended to act as a culture-spreading catalyst.However, through my personal investigation and interviewsI undertook with the owners o galleries, I recognized thatthe true management situation o those galleries and studiosare not at all what we see on the prosperous surace creative soul and identity are viewed as things that eitherhave been lost or things which the managers have no timeto think about. Those galleries and studios are, in act,almost exactly the same and their content and concept seemno more important than economic benet as a short-termstrategy. I have to ask mysel i this is the way o sustainablecreation in the long-term: or, in other words, i the uture o798 / 751 are really on the right track towards sustainabledevelopment and integrated planning?

Another unique urban case, which has to be mentioned isXintiandi, in Shanghai. In act, ater the original Xintiandiproject gained (unpredicted) success, other cities started tobuild their own new creative industry areas, with Tiandi asthe chain agency. Nanjing the old kingdom and moderncultural heritage city has 1912 commercial district, whichcombines the diverse unctions o entertainment, restaurantsand living apartment within old heritage architecture. Wuhan- Chinas transportation center and one o the our biggestcities - reconstructed its old colonial architecture districtutilizing a strategy o opening hal rebuilt architecture as therst commercial step to win the capital or reconstructing

the other hal o the project area, whilst concurrentlypursuing a related policy to alleviate stress on the rent o

houses which were within the construction zones.

Directing the eye toward southern China, I nd that theyhave built up OCTLOFT in the east industry garden,Shenzhen, at the scale o 55,465 sq. m. within rststageand 95,591 sq. m. within the second stage (which is startrom 2007). Design city is the city vision or Shenzhensdevelopment, which has been put on agenda o the 11thveyear master plan o the National Economy and SocietyDevelopment Shenzhen. By now the owners who occupiedthe rststage project are all top creative agencies includingart, design, media, advertising, photography, culture, etc.I believe OCTLOFT will have a bright uture, as the resulto its clear regional advantage.

Averting the sight to western China, and zooming intoSichuan province (a very important part o China with its

basin topography and complicated mountain environment),a creative industry city net has been developed whichconnects Beijing, Shanghai, Nanjing, Shenzhen, etc. Thenet takes the orm o an association and industry platorm,which has government support.

The Value of Design

We will be in trouble i sustainability is couched as a no-growth approach. As such, smart regeneration might bea more appealing approach or urban planning in addressingconservative ideologies, particularly in the eld o urbandevelopment. We have to realize that China as a boomingstar is going orward and that the worldwide impact o the

label made in China (rather, sadly, than created in China)is the consequence o that rapid economic growth.



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In a climate o ast-paced change, pointing to the past to the historical neighborhoods in the old cities or townsmight provide an eective way to demonstrate the value odesign. The our Chinese inventions in ancient times (thecompass, gunpowder, paper making and printing) are, aterall, not occasional cases but an inevitable consequence atera period o great economic and culture prosperity. We arein such a period now, and the question is: what will comerom this one? We know that urban planning is as equally

important as architecture in creating an urban heritage.With respect to the ortune let by our ancestors, we have torethink the denition o creation in terms o urban planningand ask ourselves whether we really have to die rst, beorewe can be revived

Text by Jing Jing

This article has been substantially edited from the original

submitted format (with the author's permission) by CITIES

the Magazine for your reading pleasure.



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JING JINGJing Jing grew up in an University Town

in the middle o China. Fast developed and

booming market o China laid the ground to her

architectural and urban proessional oundation.

On a current "journey to the west" she is

widening her vision and complementing her

comprehension o cities. Her experiences as an

design and architect student in chinese booming

cities and the city o Stockholm makes her intoa city user with many eyes.

CONTEXT China is a national or multinational entity extending over alarge area in East Asia.

Beijing is a metropolis in northern China and the capital o

the People's Republic o China

Shanghai is the largest city in China, and one o the largest

metropolitan areas in the world. Located on China's central

eastern coast at the mouth o the Yangtze River, the city is

administered as a municipality o the People's Republic oChina with province-level status.

STATS Area Beijing 16,801.3/kmShanghai 7,037/km

Total Population Beijing 17,430,000

Shanghai 18,884,600 Pop density Beijing 888/km

Shanghai 2,683.6/km

NUMBERS 798 Art Zone is a part o Dashanzi in the Chaoyang District o Beijing thathouses a thriving artist community, among 50-year old decommissioned

military actory buildings o unique architectural style. .

Xintiandi is a car-ree shopping, eating and entertainment district o Shanghai,

China. It is composed o an area o restored traditional shikumen ("stone

gate") houses on narrow alleys, some adjoining houses which now serve as

book stores, caes and restaurants, and shopping malls.

CHINA



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Every building has its own lie. Someo them live orever, some die, some arereborn and start a new lie.

My rst visit was at the time Norman Foster gave a lecture in one o the ormer

wine halls. On the way there, I was expecting to experience something absolutelynew, contemporary, but when I arrived I couldn't gure out how such a amousarchitect could be presented at an old actory like that. The place looks very poor:the area is ull o dirt and broken glasses and the walls, covered with grati, arecold and unwelcoming.

You could sense that a really interesting event would be happening there, becauseo the posters spread everywhere. Ater the lecture, I kept wondering why theorganizers chose that place, why they decided to mix two dierent atmospheres:a lecture on contemporary architecture and/in the spirit o the old, almost deadbuilding?

Several months later I went to the 'Winzavod' (that's what its called in Russian)

to a biennale o the contemporary art project Veryu (which in translation means"I believe"). That time, I elt the specics o this place. Installations o contemporaryart and new vision should be presented at a place absolutely opposite to them.The gap between the space and the work - helps you eel these dierent spiritswhile they are mixed and exist at the same time. You can ocus on either sideo this symbiosis, eel it ully and dive into it, surrounded by the plain and calmenvironment. Only at moments like that can you eel the spirit o an old historicalplace such as this actory. Two contrasts living together attract in their own ways.

The 'Winzavod', was an unpopulated and unattractive site in Moscow in a districtclose to the centre o city, at the back o Kurskaya train station. Just our years agoit was a completely abandoned, old wine actory, which still kept the spirit andatmosphere o the past. Now it has been turned into one o the most attractive artcentres, consisting o a group o buildings saved by 'Federal Historical Protection'with the interior reconstructed by Alexander Brodsky. The smell o wine, thesounds o the drops rom ceiling and some o the interior details, in a mystical way,keep the eeling that you are still in a wine actory. Even names o the exhibitionpavilions are reminiscent o its previous lie: White Workshop, Red Workshop,



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Cognac Workshop, Big Wine Storage. In total,the complex is over 20 000 square meters withgalleries, book shop, cae, architectural oces andsoon, a cinema.

Unortunately, this place is becoming more andmore commercial New caes, art galleries, shopsand restaurants all add to the contemporary sideo the environment. O course, they try to maintain

the key concept o the place by continuing toshow contemporary art, although in my opinionthey are killing this pure idea o symbiosis o twodierent lives: it is becoming unbalanced.

A boom in contemporary art and an internationalshowcase called the 'Second Moscow Biennale'has inspired exhibitors all over the city. One othe rst successul events held in Winzavodwas The Grati Festival; and the art project"I believe" already mentioned. It is denitely a bigscale attempts to bring new lie and change theatmosphere o the whole area, which is not really

a place or tourists or public lie and which mostpeople still consider to be one o the most scaryareas in Moscow.

Text by Tatiana Elisafenko & Alexander Kotov

TATIANA ELISAFENKOMy name is Tati and I am a current

student o two architectural

institutes (KTH School o

Architecture o Stockholm and

Moscow Architectural Institute in

Russia). I'm working mysel right

now as a junior architect making my

own projects. Next year I will nish

my Masters at KTH and nish myarchitectural education.

ALEXANDER KOTOVI just realised that I have studied

architecture or seven years.

Five o them were in Moscow in

two in Sweden where I have just

graduated! It`s long period o my

lie but I remember I started to build

and create cities rom Lego and sand

castles in childhood I was playing

like crazy. So as you see I keep myinterest even now.

Winzavod'sbrick exteriorAuthors' own

Exterior areasat Winzavod

Authors' own

Studios in the interioro Winzavod

Authors' own

Stairwell and walkwaysAuthors' own

Entrance to one othe many buildings

Authors' own



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MOSCOW

NUMBERS Located only 15 minutes by car rom the heart o Russia theKremlin this ormer winery is now the heart o the country's

burgeoning contemporary art scene. Winzavod consists o seven

buildings with a total space o 20,000 square meters located on

privately owned, gated property.

STATS Area 1,081/km

Total Population 10,524,400Pop density 9,735.8/km

CONTEXT Moscow is the capital and the largest city oRussia. It is also the largest metropolitan area in

Europe, and ranks among the largest urban areas in

the world. Moscow is a major political, economic,

cultural, religious, nancial, educational, and

transportation centre o Russia and the world.



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Countries o Eastern and Central Europe traversedtwo decades o structural, political end economictransormations. The inclusion o newly bornex-Soviet countries into the European Union is oneo the most problematic and ascinating processesthat Europe is acing nowadays. There are manyaspects that politicians, citizens and city users arewitnessing; one o the most intriguing processesis the demilitarization o huge portions o urbanlandscape.

Due to lack o unds, connectivity, political supportor interest, sometimes those sites did not becamenew amazing urban structures, with new unctionsand uses like many others all over the world.Ex-Soviet military spaces are icons o an ancientpast, which still echo in the memory o ourolder relatives. Those icons become nowadaysmonuments o decay.

Thanks to the work and ardour o passionatephotographers, those abandon structures arepresented as holy, solitary, almost imaginarysymbols o the past and portraits o a story thatstruggle to become memory.

Beelitz Heilstaetten

Situated in between Berlin and Potsdam (DE). 100years o history, hidden monument o decay andnatural roo terrace.

Military hospital complex. About 60 buildings. Atthe beginning o the 20th century the complexwas used by the Berlin workers health insurancecorporation. Then, soldiers o the Imperial GermanArmy and Adol Hitler recuperated in the complex.Ater the World War II, the Beelitv Heilstaetten wasa Soviet Union military hospital until 1995. The

story o the complex becomes even darker aterthe withdrawal o the Soviets. The complex was a



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neurological rehabilitation centre and a centre or researcheson Parkinson diseases till 2000.

The complex is dark. Inside, the walls are completelyscratched by natural orces. Fires let black images onhidden corners and the emptiness o the rooms leave spaceor obscure antasies. An hospital is never a place to haveun: diseases, operations, blood, screams and nightmaresthe eeling while walking along the corridors makes you

uncomortable, especially when the rooms are urnished withthis minimal derelict style: one single old abandoned bad,table, chair, operation machine. ramed by the light o thewindow, shining in the darkness o the atmosphere.

But sometimes things change Every building o thecomplex has many levels. Climbing the dusty stairs it ispossible to switch situation, view and impressions theoperation room is big, bright and round: it looks like anabandon dancing room o the late 19th century whispersthe romantic personality that is walking with me inside thismacabre realm .

While climbing, it seems that the atmosphere gets less tenseand dark. Am I already used to this obscure environment?

Two places collidingAuthor's own

Interior or exterior?Author's own

Building exterior withthe orest closing in

Author's own

HallwayAuthor's own



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BEELITZ

Area 180.08/km

Total Population 12,147Pop density 67/km

STATS

Originally designed as a sanatorium by the Berlin workers' health

insurance corporation, the complex rom the beginning o World

War I on was a military hospital o the Imperial German Army.

During October and November 1916, Adol Hitler recuperated at

Beelitz-Heilsttten ater being wounded in the leg at the Battle o

the Somme. In 1945, Beelitz-Heilsttten was occupied by Soviet

orces, and the complex remained a Soviet military hospital until1995, well ater the German reunication.

NUMBERS

Beelitz is a town in the Potsdam-Mittelmark district,

in Brandenburg, Germany. It is situated about 18

km south o Potsdam, in a glacial sandur plain

surrounded by extended pine woods.

CONTEXT



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I climb even higher and pass a set o stairs that have almostcompletely transormed into dust; here we are, at the top othe complex. Stripes o sun cut the atmosphere in ront o us:what a situation

The most pathetic point o the whole story is that on the topo the building I am happy, relaxed, my pupils get smaller andI embrace the magnicence o a green system taking over thecomplex, rom the top. I eel like in a post-atomic situation,

with a happy ending.

In reality, I am watching an enormous amount o ruins, dirty,rusty, dusty and scratched () - in which you would neverbring any riend to share a relaxed aternoon- with a orest onthe top. Yes, with a orest. On the roo. Natural elements hadthe possibility to knock the door o the complex and t theirroots in the sailings, growing, growing, and growing, or years.Thats it.

According to your mood and liestyle you can nd thissituation amazing or disgusting, but I realize that in orderto nd it amazing, you should employ a kind o special

approach to the whole experience Ater what I dened as a romantic view o the sunset on this roo-orest, I get cold,

FRANCA SOPRANOFranca Soprano is an old woman, with a lot

o urban experience. She grew in the Italian

countryside. Once she decided that the integrity

and the values o her country were alling down,

she moved abroad. Firstly to the north, then to

west, then to east working in restaurants by

night, and exploring the unknown, abandon

corners o many, many cities. Since a couple o

years she is back in Europe and she still conserves

the same passion or the old rusty corners o our

metropolitan agglomerations. Franca would like tohave a amily, but it is too late.

and I come back to the city o Berlin. A city ull o abandonedsites, surrounded by a big orest.

Text by Franca Soprano.



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Not long ago it was an oasis or thousands o workers, eatinglunch or showering. Beore that, some o the largest and mostmodern ships o our times were built on its roo. Today, itsone o the last untouched monuments o Malms industrialera - and whatever else you want it to be.

Oyuki Matsumoto umbles as she looks or the light switchas we enter the cold cavelike rooms o Stapelbdden. Shedoesnt like to be here alone, she says, with the meter thick

concrete walls isolating the building rom all exterior sounds,and the covered windows not allowing any kind o out-look.'Some kids used the basement or recording a Zombie movie',Oyuki Matsumoto says, as bright lights hesitantly reveal thespace in which thousands o workers used to shower. Thescene couldn't be better.

When walking through the old whar area in the fatlands oWest harbour in Malm, amous or its sustainable planningand Santiago Calatravas Turning Torso, its easy to missStapelbdden the old slipway and dining room or thesta at Kockums whar. The wedge orm almost makes thebuilding disappear into the ground, and the mottled concrete

melts together with the grey winter sky. On the sloping roo,the hulls o vessels were once were put together beore theywere slipped into the Sound between Sweden and Denmark.The inside o the building was used as dining and changingrooms or up to 6 000 employees. Long beore brutal marketorces shut down most o the Swedish wharindustry, that is.

During late the 1990s and early 2000s, the area wastransormed rom a deserted industrial harbour into the mostattractive district or living and high technology companies



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in Malm. When the city government began to discuss whatto make o the old slipways uture, the rst thought wasto include it in a great Industrial outdoor museum. A park,where the remains o the golden days would be let as theyare, everything else around it being renewed and modied orthe 21st century.

But when some skaters suggested using some o the land tobuild a skate bowl, the administration saw new possibilities.

What would happen i they just let the citys youth, theskaters, the artists or anyone else decide what to do with thearea?

Being designed and built by the skaters themselves, the skatepark soon became one o Europes biggest and best outdoorbowls and a new landmark or Malm, hosting internationalcompetitions and attracting tourists rom all over the world.But - what to do about the odd sloping building neighbouringthe skate bowl?

In 2006, Malm City employed Oyuki Matsomoto as aproject leader, and Caroline Lundholm as a process leader

or Meeting Point Stapelbddsparken. Oyuki and Carolinegot the keys, $600 000 and complete reedom. Together withseveral associations already gathering the city youth, andgreat support rom the administration, their mission wasdene what to do with the 3 000 square meter building.

Oyuki Matsumoto walks 30 meters into the dark greatdining room and turns right, just beore a simple ca bar,into the old kitchen. A single lamp leaning against the wall



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makes shadows sharp against the white tile-walls. All thekitchen gear is gone, but marks in the foor reveal the history.Tomorrow Anke Feuchtenberger, said to be one o Europesbest alternative comic strip makers, will exhibit here, Oyukisays, looking at a heating an humming in the middle o theroom: the only sign o preparation. 'I wonder how they willmanage to get everything ready in time?'

But thats not Oyukis headache. Her and Carolines job is to

make sure that anyone who wants to use Stapelbdden can.The idea is to see what happens i they just open the doors.So ar the result has been estivals, movie recordings, art andphoto exhibitions, regional conventions and an indoor skateramp. The only problem is to know when reedom or somebecomes limiting or others, Caroline says.

Soon ater starting the project we noticed that one groupstarted to own the space, telling others what to do and notto do. We had to ask them to leave, as they dened thespace or others. The biggest obstacle at this stage thoughis the poor condition the building itsel is in. Process leaderCaroline Lundholm just called the real estate oce to discuss

the project, and describes it as a balancing act between thelegal ramework and community visions.

The building needs to be xed beore we can really use it,but we need to be here to know how to x it. But now, twoyears into the project, Caroline, Oyuki and the city know whathas to be done. During 2009, the leaking roo will be xed,the broken windows will be replaced and then heating andventilation will be installed.

ERIK ROSENDAHLErik Rosendahl is a reelance journalist living in

Stockholm. He is right now on the top o his urban

career that started in a small coastal village on

the Swedish south coast via the university town

o Lund and later Malm. He has studied Human

Geography and is as a journalist illustrating thedramatic change Malm is going through.

Oyuki exploringStapelbddenAuthors own

One o the many

dark corridorsAuthors own

Oyuki exploringStapelbddenAuthors own

The chapel insideStapelbddenAuthors own

One o the presentlyused spaces

Authors own

Let industrial equipmentAuthors own



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The city o Malm has, encouraged by the success with theskate park, decided to open up or the grass root movementswhen renewing the city landscape. Stapelbddsparken is oneexample where industrial renewal is made to adjust itsel totodays demands, without erasing a unique history.

Caroline and Oyuki have one year let in their task o deningStapelbdden. Already they see what can be with streetculture, art and a new media centre or young people: a

meetingpoint.

'I would like to see how teenagers share these uniquepremises with established artists. One idea is to let peoplebe here or ree i they share their expertise and experiencein exchange', Caroline says, and gives one example whereStapelbdden is a welcome institution:

We are planning or a photo exhibition about rainbowamilies. Its a high school student producing the pictures asan exam work. Every gallery in town shes been in has turnedher down. But we think its a great idea and she will use thebasement, where they shot the Zombie movie.

Text by Erik Rosendahl.

MALM

STATS Area 335.14/km Total Population 290,078


CONTEXT Greater Malm is one o Sweden's three ociallyrecognized Metropolitan areas and since 2005 is

dened by the municipality o Malm and 11 other

municipalities in the southwestern corner o Scania

Malm was one o the earliest and most

industrialized towns o Scandinavia, but until the

turn o the millennium had been struggling with the

adaptation to post-industrialism



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M-CITY, BOLZANO



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M-CITY is a polish artistthat plays with ormsand cities spaces bytranserring elementso urban reality intomodels using modularconstructions. Exampleso his work are presentedover the next ew pages

Here are presented the instructions to cut out the templateor the production o several actories, houses, streets,vehicles and people, which can be placed in most urbanlandscapes. This gives the possibility to create any city,which is a duplicate o existing solutions, a comment onthe environment or its own interpretation.

Construction

All elements o urban reality are made using a template.The rst stage o its preparation is the pencil sketch o theobject on a sheet o A-4 ormat. Figures are done in theisometric and entered in the module standing on the twocubes. As a result, the refection o the template is muchsimpler, and more importantly, it enables us to use most othe ragments matched each other indenitely. All buildingshave a clearer let site and a darker right side, which givesthe depth eect. The nal stage o work is cutting a template.Use it as a stencil and enjoy the urban creation

This experience can also be perormed on line.http://www.m-city.org/m-city/konstruktor/konstruktor.html



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M-CITY + ZBIOK + CZARNOBYL, BERLIN



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M-CITY, WARSAW



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Impressive and probably overwhelming at rst sight, thisis the ourth most populated city in the world, squashedbetween Mumbai and New York. The 6% o the Brazilianpopulation who call So Paulo their home respond or around9% o the national GNP and share the country's third largestbudget, just ater the Brazils and So Paulo States.

A little bit o history. Founded in 1554 by Jesuit priests whowere attempting to expand the Christian world, So Paulowas or decades no more than a poor village. However, italready held in itsel three o its most distinguishing traits:entrepreneurship, mobility, and diversity. One o the reasonsor the location o So Paulo is communication. At thecrossroads o three rivers, it was also a converging area orold Indian roads (peabirus), which crossed a signicant parto South America. These were actually the paths ollowedby the Bandeirantes, traders o Indian slaves and emerald

seekers who, in their endeavours, knew no natural obstaclesand eventually shaped the continental borders o Brazil.

They were also as culturally diverse as people those dayscould be. Portuguese by birth or descendence, these rstpaulistanos spoke, lived and ate ollowing the Indiancostumes, reserving the Portuguese language to ocialconversations with oreigners. Dierently rom otherBrazilian cities, like Rio or Salvador, who turned their eyesto Portugal, So Paulo looked inside Brazil. Its indisciplinewas condemned but also eared by the Portuguese crown,and the city was eventually let to its own devices due toits economic and geographical situation. Entrepreneurship,

mobility and diversity were urther reinorced in So PaulosDNA ater the arrival o immigrants. From the second hal o

So Paulo is one o those placeswhere emotions are extreme..



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the 19th century, the city became home to those who broughttheir memories, culture and courage to start a new lie in anunknown land.

It is claimed that at the turn o the century, 1/3 o the citypopulation was Italian, and other huge oreign contingentsmade it the rst Japanese and Lebanese city outside o theiroriginal countries - to the extent that its rare nowadays tond a paulistana amily with less than a ew nationalities inits blood. The coee-growing sector, at the end o the 19thcentury, propelled the city to the centre o Brazilian economy,then consolidated with industrialisation which, in turn,attracted its workorce rom all the dierent regions o thecountry, making it a mingled microcosm o Brazil. A newbreath o entrepreneurship, mobility and diversity. Maybe thecity was too busy working to care or its own heritage.

Maybe, in this constant fow o changes, policymakers weretoo ocused on the present and sometimes on the uture, topreserve the city roots. But as no tree can have ar-reachingbranches without solid roots, it was eventually in the late1970s that a ew initiatives started to reuse pieces oindustrial heritage. Among the rst, SESC Fbrica Pompia,conceived by the Italian (paulistana by residence) architectLina Bo Bardi, on behal o SESC So Paulo. This is a privateorganisation o commerce and service employees, whichdoes a great job managing a percentage o the taxes due tothe government, and developing cultural, educational, socialand sports programmes. The site was one o the remainingindustries o the 1920s in this then industrial neighbourhood

and is cherished by the whole citys population.

Interior o the

Estacao Luz

Priscila Godoy Darr

Pedestrian bridge,Estacao Luz

Priscila Godoy DarrFacade o theEstacao Luz

Priscila Godoy Darr

Facade o the

Estacao Luz

Priscila Godoy Darr



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ANA CARLA FONSECA REISAna Carla Fonseca Reis is a ounding partner o

the consultancy company "Garimpo deSolues

economics, culture and development" (www.

garimpodesolucoes.com.br), UN Special Advisor

on Creative Economy (UNCTAD, UNDP), volunteer

Director o Economics o Culture o Instituto

Pensarte, international speaker in ve languages,

researcher, proessor and coordinator o a number

o university courses on culture and managementand curator o various national and international

congresses.

Reusing heritage sites o the early 20th century or culturalpurposes proved to be a successul path. One o my preerredexamples in the eld is the Museum o the PortugueseLanguage, hosted in a still operating railway. Under theinitiative o the Secretary o Culture to the State o So Paulo,but developed through a public-private partnership andmanaged by an independent NGO, it opened its doors in2006 and soon became the most visited museum o Brazil. Italso generated synergies with the Arts Museum (Pinacoteca)

across the road and the nearby Museum o Sacred Arts. Butmore than that, it proved that a state-o-the-art museum canbe appropriated by the rushing, mixed avalanche o peoplewho work or live downtown.

Though contrasts are one o the most ascinating aspects oSo Paulo, it is time that more and more social and culturalbridges reunite economic extremes. These two examples aredoing their part. But above all, what So Paulo really needsis a concerted public policy, integrating all dierent sectorsand recalling that mobility be it physical, cultural, social oreconomic is one the citys strongest marks.

Text by Ana Carla Fonseca Reis.

SO PAULOArea 1,522.99/km

Total Population 11,037,593

Pop density 7,216.3/km

STATS

The SESC Pompeii is an urban acility that contains theaters,

gymnasiums, swimming pool, leisure areas, caeteria, restaurant,

exhibition spaces, pubs, shops and other services. The Museum

o the Portuguese Language (Portuguese: Museu da Lngua

Portuguesa) is an interactive museum about the Portuguese

language in the city o So Paulo, Brazil. The museum is

contained within the Estao da Luz train station, in the Luzdistrict. The museum is located above the train platorm, where

300,000 people pass each day.

NUMBERS

So Paulo is the largest city in Brazil and the

world's 7th largest metropolitan area.[2][3] The city

is the capital o the state o So Paulo, the most

populous Brazilian state. It is also the richest city in

Brazil. The name o the city honors Saint Paul. So

Paulo exerts strong regional infuence in commerce

and nance as well as arts and entertainment.

CONTEXT



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The Corus Whiteheadssteel works in NewportSouth Wales started itslie in the 1920s with aworkorce o 300 people.

The actory was then closed down in 2005 and is currentlybeing demolished as part o the citys ongoing development,with the prospective o building a hospital on the siteinstead. For almost 100 years, the building has employedgenerations o local amilies and at its height over 2000people worked there.

Two local Newport photographers, Matt Wright and JanireNajer, ound the history o Corus Whiteheads steel works

ascinating and in 2008, with the support o Corus, the ArtsCouncil o Wales, The Riverront and many others, the siteexpanded to become a major exhibition involving around20 local artists.

The project reinterpreted the space rom many dierentpints o views: the history o the place, the abandonmentand the regeneration. The ormer Whiteheads Steel plantsin central Newport are now demolished, but the Ghostsin Armour initiative brought new lie to the space andbecame a relevant contribution to the current redevelopmento the city.

The social, historical and artistic work o Ghosts in Armourturns around dierent attempts to rediscover the industrialatmosphere o the space. The outcome is a completeoverview o a portion o the South Wales history. Inspired bythe past, the project presented an inspirational explorationo time and space combining artistic elaborations and media;such as photography, lm, sound installations, documentary,printmaking, painting and poetry as well as the UKs rstpublic showcase o the Wright Georges Photosphereconcept.



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'Interior Bare'Matt Wright

'Photosphere'Matt Wright

'Traces o Light'Matt Wright

'Steel Spectres'Janire Najer



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NEWPORT

STATS Area 190/km Total Population 140,200

Pop density 738/km

CONTEXT Newport is a city and unitary authority area inWales. Standing on the banks o the River Usk, it is

located about 12 miles (19 km) east o Cardi, and

is the largest urban area within the historic county

boundaries o Monmouthshire and the preserved

county o Gwent.



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Bernard Roderick

Employed at Whiteheads 1970 2004

My name is Bernard Roderick, I started working

at Whiteheads the 4th o October 1965 and I still

remember it as i it was yesterday. I started as a16 years old young boy and I nished as an old

man. My rst job was as a sample tester and I

nished as a production planner. Obviously, ater

working there or 40 years I have been swapping

to other many places that have enriched my

experience on site.

Im sitting outside the works at the moment

with my granddaughter, looking at the place and

something seems wrong. It is a sad situation to

check that the buildings are not longer there and

that it has been converted into a car park beore

building the new hospital as I have heard.

I had lots o good experiences, some unny and

some sad as well. I started when it was more

that 2000 people working in the actory and we

nished 2 or 3 o us only, so it wasnt a good

experience at all. I have lots o things to be

thankul or. We had a good salary and I brought

my amily on that and we had really good times

with the other ellows.

As Ive said, it is sad to see it in its current state

but all those memories o when I was there are

going to stay with me orever.

Keiron Kinsey


I am Kieron Kinsey and I started as an electric

apprentice in August 1971. As a 16-year-old boy

coming out o school I was very nervous on thebeginning but ater meeting the other apprentices

I started to settle down.

I remember the rst day as i it was yesterday.

We all had an induction course; we all were

introduced to a man called Bernard who was the

timekeeper. He saw us the clock cards and the

procedure to clock in and out and other basic

things.

Working on the site or 35 years there is so much

I could talk about But or me one o the things

that really stood out it was ater my 4 years

apprentice when Whiteheads was under short

time working. So there were not jobs available or

me and the other electricians. We were transerred

to another actory in town but luckily ater 18

months we could come back.

I remember also in January 1980 the start o the

steel strike that went on or three months being a

hard time or all the workers and their amilies.

Being in Whiteheads so long I had the time to

meet so many good people becoming riends o

some o them too. At the moment, maybe we

dont see each other so oten but when we dothere is always something to talk about as the

Christmas parties, the sports days and amily

trips.

Being a witness o the demolition you have

fashbacks o the good and the bad times. A lot o

people had a good living or working here and it is

unortunate that another generations cant have

the opportunities I had.

Formeremployees othe Whiteheadssteelworksreminise about

their many yearsat the actory



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Phillip Ward


My name is Bernard Roderick, I started working

at Whiteheads the 4th o October 1965 and I still

remember it as i it was yesterday. I started as a16 years old young boy and I nished as an old

man. My rst job was as a sample tester and I

nished as a production planner. Obviously, ater

working there or 40 years I have been swapping

to other many places that have enriched my

experience on site.

Im sitting outside the works at the moment

with my granddaughter, looking at the place and

something seems wrong. It is a sad situation to

check that the buildings are not longer there and

that it has been converted into a car park beore

building the new hospital as I have heard.

I had lots o good experiences, some unny and

some sad as well. I started when it was more

that 2000 people working in the actory and we

nished 2 or 3 o us only, so it wasnt a good

experience at all. I have lots o things to be

thankul or. We had a good salary and I brought

my amily on that and we had really good times

with the other ellows.

As Ive said, it is sad to see it in its current state

but all those memories o when I was there are

going to stay with me orever.

Clive Bateman


My name is Clive Bateman, I started in

Whiteheads in 1974 and I worked in the tandem

mill as a ourth and third man, second man andI quite enjoyed there. I also worked in other

mills having good times too until I got to the

re department where I didnt have such a nice

period because o the nature o the work. From

the cold bay I moved to the top crane in Bay

number 6 covering the tandem, a place really

noisy to work in.

I remember some Scottish people working with

us, creating a good atmosphere between all. And

slowly people with other nationalities coming to

work with us sharing experiences and dierent

ways to organize.

Whiteheads was also a good place to work, the

money was excellent and I think everybody was

a bit prosperous or working there compare to

working in other actories.

It is a shame that it is being knocked down

because it was a way o lie or many people.

Lyndon Stevens


My name is Lyndon Stevens; I started working

on site in 1970 on the heavy strap until I moved to

the tting line where I was or 33 years.

I enjoyed my time at Whiteheads a lot, not that I

miss it now that Im retired. Although I really miss

the comradeship and all the boys that have been

looking ater me and vice versa.

I do miss the place too, the riendship, and the

work because ater so long I was used to it and at

the end o the day it gave me a good living.

My other memories o Whiteheads had went

back to late December when most workers rom

the slitter line went together or some drinks and

some o them didnt come to work the ollowing

day.

My saddest memory actually I would say it is

coming down to the site to see that all is been

fatten. Whiteheads gave me a good living and I

enjoyed being part o this community.


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