Degradation to Renewal | How Artists and Architects Revitalise Decaying Spaces

Introduction | 8-10 Minute Read

The intersection of architecture and artistic practice reveals a profound dialogue between the built environment and creative expression, particularly through adaptive reuse. This approach to architecture offers a sustainable alternative to new construction, emphasizing the repurposing of existing buildings while preserving their historical integrity. For architects, designers, and artists, adaptive reuse is not merely about conserving structures; it’s a practice that engages with the natural processes of decay, exploring how these processes can be creatively reinterpreted to give new life to old spaces.

This essay the role of artists and architect collectives in adaptive reuse, focusing on the dual themes of sustainability and material decay. It argues that creative interventions by artists in repurposing historical and culturally significant buildings predate contemporary architectural trends in sustainability and heritage preservation. By exploring case studies and theories from both architecture and cultural sociology, this essay highlights the vital contributions of artists and collectives in transforming the built environment.

Adaptive Reuse: A Bridge Between Decay and Sustainability

Adaptive reuse refers to the repurposing of buildings for new functions while maintaining their historical character. This practice is increasingly recognized as a cornerstone of sustainable architecture, offering solutions to the environmental challenges posed by urban expansion and new construction. However, for artists, adaptive reuse goes beyond sustainability—it transforms decay into an artistic medium.

Evidence of this artistic approach can be seen in the work of artists who occupy decaying structures, turning them into vibrant creative spaces. For instance, artist collectives often repurpose unlisted buildings, which lack formal heritage protection, allowing them greater freedom to engage with the decaying materiality of these spaces. As noted by Jones (2021), "The decaying materiality of unlisted buildings often becomes a central element of the artist's practice, serving as both a metaphor and a physical manifestation of the passage of time." This artistic engagement with decay highlights the dual role of artists in both preserving and transforming architectural spaces.

Moreover, this intersection of decay and creativity aligns with broader sustainability goals within architecture. By repurposing existing structures rather than building anew, adaptive reuse reduces the carbon footprint associated with construction and minimizes material waste. Brooker and Stone (2004) emphasize that adaptive reuse is a vital aspect of sustainable urban development, especially in cities where space is limited, and environmental impacts are high. Thus, the practice not only preserves architectural heritage but also supports broader environmental objectives.

20 Ton Studios | North Milwaukee

Case Study: Quartiers Modernes Frugès and the Tension Between Preservation and Adaptation

The tension between preservation and adaptation is a recurring theme in adaptive reuse, particularly in cases where artists and architects must navigate the complexities of maintaining a building’s historical integrity while repurposing it for contemporary use. A prime example of this tension is the Quartiers Modernes Frugès, a modernist housing project designed by Le Corbusier.

Over the years, the original design of the Quartiers Modernes Frugès has been adapted by its occupants to suit their needs, often in ways that diverge from the architect's original intentions. This reflects a broader challenge in adaptive reuse: balancing the preservation of a building's historical purity with the practical needs of its users. As noted in Consuming Architecture (2021), "The process of architectural renovation ‘true to the original’ is a relatively new phenomenon historically speaking, with a symbolic classification system and a whole arsenal of influential institutional practices as a premise." This points to the evolving nature of preservation practices, which must reconcile the tension between maintaining historical authenticity and allowing for necessary adaptations.

In this context, artists and architect collectives play a crucial role. By engaging with decaying materials and repurposing spaces in innovative ways, they challenge conventional preservationist approaches. Their creative interventions often propose a more dynamic model of conservation, one that integrates both historical integrity and contemporary cultural relevance. This model not only preserves the physical structure but also reanimates it, making it a living part of the community rather than a static monument to the past.

Le Corbusier | Filippo Poli | Quartiers Modernes Fruges 

The Role of Artist Collectives in Repurposing Historic and Unlisted Buildings

Artist collectives have long been at the forefront of adaptive reuse, often operating outside traditional preservation frameworks. Their occupation of historic and unlisted buildings contributes to cultural revitalization and introduces new uses for these structures. This creative reimagining of space is particularly evident in cities where artist-run spaces have transformed underutilized buildings into hubs of cultural activity.

A notable example is the transformation of vacant industrial spaces in New York's SoHo district during the 1970s. Artists repurposed abandoned factories and warehouses into affordable lofts and galleries, laying the groundwork for the neighborhood's cultural and economic revival. This historical precedent demonstrates that adaptive reuse, while now associated with sustainability and urban development, has long been a strategy employed by artists to create their own spaces within the urban fabric.

In more recent examples, collectives like SET in London and Two Queens in Leicester have utilized vacant buildings as temporary studios, providing affordable space for artists facing rising real estate costs. These collectives exemplify the potential of adaptive reuse to support the arts in urban environments, even as they contend with the challenges of temporary arrangements and instability. As noted in Consuming Architecture, "The lack of formal listing often allows for greater freedom in the adaptive reuse of buildings, enabling artists to engage more deeply with the space's materiality and history" (Smith, 2021). This freedom encourages innovative approaches to both aesthetic and functional transformations, allowing artists to experiment with space in ways that might be restricted in more formally protected buildings.

Two Queens | Leicester

Challenges and Opportunities in Adaptive Reuse

While adaptive reuse offers significant opportunities for creativity and sustainability, it also presents challenges, particularly in terms of regulation and preservation. Listed buildings, which are protected due to their historical or architectural significance, often come with strict regulations that limit the extent to which they can be altered. For artists seeking to repurpose these spaces, these regulations can be a significant barrier.

Additionally, gaining permission to make changes to a listed building can be time-consuming and costly, as highlighted by Smith (2021), who notes that "listed buildings require special permission for any changes, and the process of gaining consent can be time-consuming and costly." However, this challenge also presents an opportunity for artists to engage with a building's history in a more thoughtful and deliberate way. The restrictions placed on listed buildings can encourage creative solutions that respect the structure's historical integrity while still allowing for artistic expression.

Conversely, unlisted buildings provide minimal restrictions for artistic intervention though, involve their own issues and regulations. These structures are often in a state of significant disrepair, requiring substantial investment to make them suitable for occupation. Though, it could be argued in cases that states of decay can be a source of inspiration, who may choose to incorporate the building's material degradation into their work. The decaying materiality of these unlisted buildings serves as both a metaphor and a physical manifestation of the passage of time, as explored by Jones (2021).

Conclusion: Towards a Dynamic Model of Conservation

Adaptive reuse in architecture bridges the gap between preservation and innovation, sustainability and decay. The artists and the architect can engage with the material degradation of buildings and transforming these spaces into sites of creative practice. Their interventions challenge conventional preservationist approaches and propose a more dynamic model of conservation, one that integrates both historical integrity and contemporary cultural relevance.

As cities remain centralised on issues of sustainability and urban density, adaptive reuse offers solution to new construction. By repurposing existing buildings, cities contribute to the preservation of architectural heritage while also supporting broader environmental goals. At the same time, the creative engagement with material decay invites possibilities for how architecture can be experienced and understood.

Conclusively, the intersection of architecture and artistic practice through adaptive reuse highlights the transformative potential of creative interventions in the built environment. By repurposing historic buildings, artists and collectives preserve the past but also contribute to the ongoing evolution of architectural heritage.

References

Brooker, G. & Stone, S. (2004). Re-readings: Interior architecture and the design principles of remodelling existing buildings. London: RIBA Enterprises.

Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.

Maudlin, D, & Vellinga, M (eds) 2014, Consuming Architecture: On the Occupation, Appropriation and Interpretation of Buildings, Taylor & Francis Group, Oxford.

Smith, T. (2021). Contemporary Art and Architecture. 2nd ed. London: Routledge.

Jones, A. (2011). Art, Modernity and Critique. Cambridge: Cambridge University Press.

Yablonsky, L. (2012). The Studio System. In J. Hoffman, The Studio (pp.66-69). London: Whitechapel Gallery