Structural Studies, Repairs and Maintenance of Heritage Architecture XVI
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REVIVING CRAFTSMANSHIP AND CRAFTS WITHIN THE
CONTEXT OF INDUSTRIAL ARCHITECTURAL HERITAGE
MOHAMAD H. NASRI & ALINE M. MANSOUR
Faculty of Architecture and Design, City University, Tripoli, Lebanon
ABSTRACT
In this paper, we attempt to redefine the heritage of craftsmanship and to find out how and where it can
exist alongside mass-production within our industrialized and digitalized society and within the setup
of our industrial architectural heritage. This theoretical background is grounded through a design
intervention that injects an urban/architectural program, with interactive public and
craftsmen/designers’ spaces, within an urban hiatus that is dominated by an industrial environment of
an abandoned early 20th century train station in the vicinity of the seaport of Tripoli, Lebanon. The
paper starts by explaining the process of transformation of the notion of craftsmanship and its
relationship with manufacturing and mass production since the industrial revolution. It then articulates
the recent attempts at reviving craftsmanship through the paradigm of individuation through
consumption where craftsmanship becomes not only a means of expressing individuality, but also a
communal experience based on technology and digital expertise, and on the role of the designer. Then
the paper moves into the design intervention in Tripoli where the revival of craftsmanship is projected
onto the domain of revitalization of industrial and architectural heritage, in a place where different
historical and architectural eras collapse into a number of abandoned sites and buildings, reconnected
and regenerated in a new urban/architectural scheme, in an attempt at rescuing the district from the
destined obsolescence it is heading towards. Finally, the paper concludes with highlighting
the importance of salvaging potential socioeconomic patterns, especially in the domain of
craftsmanship, through a smarter and more sustainable reclaiming of parts of the city that are belittled
under the tag of “abandoned industrial sites” or “deserted industrial buildings”.
Keywords: craftsmanship, crafts, industrial heritage, industrial archaeology, architectural heritage,
cultural heritage, urban gap, abandoned site, deserted building.
1 INTRODUCTION
The setting of this paper is the revival of crafts and craftsmanship within the context of
industrial architectural and urban heritage. The hypothesis of the paper is that the historical
leaps within the chain of development of our inherited crafts that occurred as a result of the
industrial revolution, and which were manifested in a complex process of transformation
leading ultimately to a paradigm shift, has indirectly led to the spread of gaps within the life
of the city, its socioeconomic patterns, and ultimately its inherited physical and urban forms
and patterns. And if there is anything to be done about reviving our heritage of crafts into the
contemporary model of production it is shifting towards, then it is probably important to
exploit and salvage the same city gaps with the aim of healing of our urban and architectural
industrial heritage.
Through the portrayal of a design intervention within a specific industrial setting, the
paper will illustrate an attempt at reviving of endangered crafts in the context of Tripoli,
Lebanon, superimposed upon a restorative endeavour of an urban gap, rich in industrial
architectural heritage, within the same city.
2 RESEARCH GOALS AND METHODOLOGY
Our research aims at a better understanding of the relationship between the process of
socioeconomic rejuvenation and the intrinsic transformation within the sector of crafts on
one hand, and, on the other hand, the process of urban reintegration of city gaps and
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444 Structural Studies, Repairs and Maintenance of Heritage Architecture XVI
architectural recycling of industrial buildings. In order to achieve this goal, we will work
along two parallel dimensions: understanding the historical transformation of the notion of
craftsmanship since the industrial revolution and its recent manifestation into new digitally
based and designer-centred models that are in need of new infrastructures and urban setups;
and parallel to that, exploring of urban gaps that are rich in industrial architectural heritage,
and that are characteristic of many of our cities today, in terms of their potential as appropriate
setups for the regeneration of local crafts and manufacturing enterprises set within a context
of digitalized industrialism.
3 TRANSFORMATION OF THE NOTION OF CRAFTSMANSHIP
“Craftsmanship is a basic human impulse. With that comes pride in one’s work, a sense of
purpose, a distinction that has more to do with the motivation that informed the production
than the production itself” (Sennett, [1]).
Craftsmanship, per definition, is the notion of measuring the skilfulness and accuracy of
one’s manual work in a barefaced economic framework of individualized wages, and a candid
social framework of producer and consumer. However, craftsmanship, per significance, and
especially in the typical case of a middle eastern traditional city like our case of Tripoli,
Lebanon, has held a very clear role in shaping both the cultural and architectural facets of the
city’s earliest developed markets or souks, such as: coppersmiths’ souk, herbalists souk, khan
of the sewers, khan of the soaps, etc., each of which dedicated to a particular type of craft,
structured around a network of alleys, and stretched alongside the city’s main arteries.
Since the last couple of decades, such markets, or souks have been suffering tremendously
both in economic and physical manners. Due to the shift of interest, from the traditional,
meaningful, and sincerely made goods, to the cheap and mass-produced, imported products,
and due to the lack of the much-needed developments by the public sector, the souks grew
into a weak case of coarse display arenas, unable of nurturing themselves nor serving the
consumption needs of end-users in the globalized world we live in.
The truth of the matter is that, as the engine of industrialization thundered through the
Western world, it left in its wake a number of new social, economic and political
developments that have shaped the manufacturing world we know today. Since the onset of
the modern era and the industrial revolution of the 18th century, craftsmanship has functioned
as an upright concept opposing industrialism or mass manufacture. In the 19th and early 20th
centuries, products were either crafted – high quality and expensive or mass-manufactured
and low quality and cheap.
In reference to such a critique, one might mention the communist ideas of Karl Marx that
has become one of the most significant arguments against industrialism ever written. For
Marx, modern industrial capitalism dehumanized labourers and made them tools of the upper
classes (Marx and Angels [2]). Another response was the aesthetic reaction of the Arts and
Crafts movement, which also derided the effects of modern mass production – adopting many
of Marx’s ideas in the process. According to the Arts and Crafts movement, industry forced
a separation of the craftsman from his craft and the artist from his art (Crook [3]). Both
movements, then, were particular responses to the problems of industrialization. Marxism
and the Arts and Crafts movement both used radical ideas to support their responses, and in
their opposition to industrialism and their consensus that it is a dehumanizing force, these
two ideologies were quite similar.
However, one cannot deny the fact that industrial methods of production stood as straight
up forces of change that were able to facilitate a better correspondent relation between the
two acts of consumption and production, regarding both time and cost effectiveness, and has
therefore projected our ability to produce more conveniently. “The world of manufacturing
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has always been a hotbed for innovation and experimentation, often veering towards
extremes, from the industrial revolution’s steam punk mess and hierarchical layouts, to
modernism’s clinical tidiness and utopian dreams” (Dowdy [4]).
4 A NEW PARADIGM OF CRAFTSMANSHIP
Recently, craftsmanship has been undergoing several attempts aiming at its revival that are
quite promising. The rise of a new paradigm of individuation through consumption offers
many new possibilities to craftsmanship as a concept. It means that craftsmanship, though a
means to expressing individuality, it can really be re-defined as a communal experience.
Since the Digital Age, our manufacturing, production processes, and consumption needs
have completely changed. As manufacturing techniques evolved, machines became quite
capable of making beautiful, high quality objects, and Design with a capital D replaced mass
production in the quality vs. quantity debate. The designer became master of production, able
to dictate his designs to the market through the impact of digital technology. Makers design
products that get modified via crowd sourcing or redesigned by their end-users; crowd
funding and direct, small-scale investments make this financially possible.
Interestingly, what we are describing here is a quite similar system to what production
appeared as through the Pre-Industrialization era – a period of workshops and division of
labour – where the notions of makers and users become one and the same. How can we then,
re-examine crafts and small-scale manufacture within our histories of industrialization? And
how can we reflect on the long survival and adaptation of artisanal works within our
globalized world of production and consumption? And, last but not least, how can we
incorporate our new models of crafts and craftsmanship within our plans of revitalization of
industrial and architectural heritage?
5 REVITALIZATION OF INDUSTRIAL ARCHITECTURAL HERITAGE
The notion of industrial architectural heritage covers the essential, and side characteristics of
sites, buildings, structures and even materials that embody a certain industrial presence. To
attempt to revitalize an industrially categorized site requires a selective study of its industrial
past, with the aim of understanding the nature and correlation between all of the collective
architectural, urban, construction and engineering elements unveiled.
Many surveys undertaken over the years in different cities around the world revealed that
the number of industrial buildings at risk of demolition is on a much greater scale than other
types of buildings at risk. While the theories of industrial heritage are still gradually gaining
significance, and where cities are starting to catch on the potential in transforming many of
its wasted, abandoned sites into a rather cultural, touristic destination quite distinct from the
rest of the city, the appreciation of the importance of industrial heritage by the general public
is still very much lacking in many places.
This is much the case in our example of the Mediterranean city of Tripoli, Lebanon, which
as of the middle half of the 20th century has started to catch on with the rise of a new factorial
troposphere that have completely wiped out a certain era, and opened doors to a new one.
New typologies of industrial buildings for modern transportation and manufacturing started
to flourish and developed into more complex industrial sites around the city. And due to the
unplanned sprawl of the city in many cases, those peripheral industrial sites became parts of
the city proper. But because of recurrent cycles of economic recessions, many of the above
setups were mismanaged, unmaintained and became unable to sustain themselves, and were
often abandoned and deserted leaving urban gaps that quickly transformed into slums.
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6 THE URBAN HIATUS
In actuality, the pith of the mess starts right at the northern borders of Tripoli, in a district
that has gone through its highest and lowest peaks of economical and physical shapes, in the
shortest period possible. A hidden shelter on the outskirts of the city has made of this district
a favourable destination for civil wars to outburst, resulting in its quick transformation from
an outgrown fruitful region to a hiatus of architectural, industrial remnants that are destined
for obsolescence (Fig. 1).
The appeal to this district lies in the diversified historical and architectural epochs it has
gone through and that have physically manifested into a number of sites and buildings, each
with its own character and significance, despite their current unfortunate state.
Figure 1: Industrial, commercial, residential and farming zones in northern Tripoli.
6.1 The harbour
Settling right at the northern side of the district, the seaport (Fig. 2) was one of the two major
transportation methods used in importing foreign products to supply the local markets and
souks, which had its severe drawbacks on the production of locally made goods. The
imported products consisted of ranges of construction to furnishing materials as in woods,
metals, and clothing lines along the different sorts of fabrics, textiles, etc. A notice to mention
is that back in 1952, the quantity of products brought from abroad across the same port has
reached about a hundred thousand tons, which is around the same period of the rise of the
industrial movement in the region.
(a)
(b)
Figure 2: The seaport of Tripoli in (a) 1920; and (b) 2017.
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6.2 The train station
One of the most astonishing elements around is the “l’Orient Express” railway station that
takes up to 57,000 m2 of the total area of the district, as in more than 50% of it. Built in 1908,
with the financial assessment of local families, the railway was planned on connecting the
city of Tripoli with Europe, Paris through the lands of Homos and Istanbul. It indeed arrived
at Homos for the first time back in 1911 (Fig. 3(a)). The authority of the station was handed
down to the Lebanese government as off the Independence Day, dating back to 1943, after
the French had their full control over it.
In 1975, the station had suffered tremendously during the backlashes of the civil war and
had completely stopped working ever since. Its devastating state is worsened as time went
by, and what remains of it can still be witnessed today: The cracked walls, broken windows
and shattered roofs, barely hanging in place, due to the lack or complete absence of
maintenance efforts and renovation strategies (Fig. 3(b)).
(a)
(b)
Figure 3: The train station in (a) 1920; and (b) 2018.
The historical stone structures of the train station (Fig. 4) are now often used as shelters
for cultural events, where different artists of different ages settle their small handmade
merchandise on some tables under the crippled brick roofs, poking through the segmented
arched openings, trying to appreciate this historical site with high sensitivity.
(a)
Figure 4:
(b)
Recent photos for buildings in the train station. (a) Main building;
(b) Administration building.
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6.3 The Lions’ Tower
A few meters down the railway station, and facing the north, lies the Lions Tower, aka “Burj
al Sibaa”. Built around the Mamluk era, about seven hundred years ago, it was one of seven
different towers that were constructed on the city shoreline to protect against military
invasions. Henceforth, the city proper grew separately from the seaport and its surroundings.
The medina (now the old town) with its souks and narrow alleys was planned out inland with
a fortified and introverted configuration to withstand nearby wars.
The tower is a three-level high, bulky looking building made out of sturdy sandstone
vaults, walls and columns. Entry is through a 4 meters high, recessed portal. Other openings
around the building are rather narrow and limited in number (Fig. 5). The Lion’s Tower is
one of the only two towers that remain standing to this day. As for its current usage, folk
musical events are sometimes held within.
(a)
(b)
Figure 5: The Lions’ Tower. (a) Early 20th century; (b) In 2018.
6.4 The concrete and steel structures
Settling on both verges of the district’s main vehicular street are the industrial factories
(Fig. 6(a)). Some are active, while others remain dysfunctional ever since the year of 1975,
the onset of the civil war, when the district was shot down and stripped of almost all of its
precious belongings. The factories were dedicated to the production of logwoods, aluminium,
tiles and other construction related materials. The abandoned factories were mostly
concrete structures while active factories were made out of steel skeletons cladded in plain
metal sheets.
One particular industrial building to highlight here is a concrete “giant” structure, which
rises three levels high with a total elevation of approximately seventeen meters (Fig. 6(b)).
The three levelled building is basically two strands of concrete structures incorporating, on
each floor, a series of workshops for furniture manufacturers with an attic ring sitting on top
of the workshops beneath.
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(a)
449
(b)
Figure 6: Industrial buildings within the site:(a) Timber factory; (b) The concrete “giant”.
An appeal to this building would be the inner circulation that is shaped by two bridges
connecting the two strands with each other, one resting flat while the other is basically a ramp
looping over the open space in the heart of the building. These bridges were designed to carry
out vehicular circulation allowing access for service trucks to reach the top of the building,
besides on foot access. Additionally, one staircase is found inside each of the two structures,
essentially leading the workers upward to their different stationeries while shortening the
loopy distance.
Unfortunately, as is the case with almost all buildings in this hiatus, this particular
structure is in a dreadful state, to the point where one might see the reinforcements of steel
bars hanging out of many of its columns as well as floors. However, there is an undeniable
potential of transformation, found in the physical entity and the space within, that might
produce an outstanding experience for both visitors and workers. This will lead this structure
to play a central role in our proposed intervention.
6.5 The junkyards
And lastly, in the narrower portion of the site, we can find a re-usable materials’ outdoor
market, where a number of humble businessmen sell various building components ranging
from glazed doors to bathroom fixtures that are previously used or found in abandoned
buildings, but for cheaper prices (Fig. 7). The components are either sold as is or crushed and
recycled into other products. This business takes up almost the majority of the site and takes
away from its appeal, as there would be mountains of junk accumulating all over.
(a)
(b)
Figure 7: The junkyards. (a) The recycling arena; (b) The market.
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7 THE DESIGN INTERVENTION: HEALING OF THE URBAN HIATUS
The coexistence of all the above elements, including overlooked historical monuments,
abused or abandoned industrial buildings, and wasted potential spaces, give our seaport
neighbouring district an immensely distinguished and dominant industrial atmosphere
saturated with the aroma of historical buildings, and standing in high contrast with the
residential and commercial districts around. This northern hiatus, like other similarly
neglected sites, is heading to a state of being almost entirely erased out of the map; historical
buildings left to vanish, and surrounding properties turned into slums. A salvaging strategy
of intervention is desperately asked for in such sites in order to stop the increasing
deterioration and exploit inherent potentials of reuse and development with the aim of
ensuring a prosperous and sustainable future for the city and its people as a whole.
7.1 Scope and objectives of intervention
The main target of our proposed intervention within this urban gap is to generate a catalyst
for the growth of local manufacturing enterprises by creating a context where craftsmanship
is showcased within an envelope of industrialism. The richness of both the district and
craftsmanship are to be highlighted and brought to the people, whether artisans or simple
visitors, in a new creative, interactive environment, while paying full admiration to the
monumental components of the district that have long been neglected.
On the socioeconomic level, the intervention attempts to accommodate some of Tripoli’s
most commonly known crafts (furniture making, fabric and textile related crafts, and soup
and fragrances production), making use of the convenient locality of regional sources of
goods, the harbour and factories in this case, and pumping a business-focused program that
is able to offer craftsmen, as well as designers, an opportunity to gain both public exposure,
and a steady income.
7.2 Design methodology
With the intention of re-establishing a rich connection between our urban gap and its
surroundings, and with the aim of re-purposing of its identity through the creation of an
innovation hub for digitalized craftsmanship, that is relatively new to the city of Tripoli, the
idea is to highlight the passage of time that this district has gone through by shedding focus
on its abandoned and looked-down upon buildings, and linking them together, and with other
new structures, within an overall scheme of urban landscape.
Figure 8:
Sectional diagram through the site showing the superimposition of the existing
and proposed structures and programs within the setting of a comprehensive
park.
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On the urban/architectural level, therefore, the intervention involves a phased
transformation of the area, including the abandoned train station and the surrounding
industrial structures and sites, into a public park that reconnects the deserted structures after
transforming them into public buildings with cultural programs (Fig. 8). In this way, the
intervention reclaims potential structures and spaces that are dissected by vehicular
circulation, reconnects them by pedestrian paths and bridges, and transforms them into
interactive public places where craftsmanship, though a means of expressing individuality,
can really be re-defined as a communal experience.
7.3 Mechanisms of intervention
“The essential meaning of craft in architecture lies in the nature of the connections a building
or space creates – both internally, between its constituent parts, and externally, through its
relationship to its place. These connections can be physical, temporal, or even spiritual.
Ideally, all three are integrated into one effort” (Sofield [5]).
Regenerating the site will therefore work along four interconnected, urban/architectural
dimensions: first, conceiving the place as an all-inclusive public park, second, the provision
of communal and interactive spaces, third, the superimposition of a pedestrian network over
the vehicular one, and fourth, interfacing with reused and new structures through programs
that are dedicated to the crafts revival and public service (Fig. 9).
Figure 9:
Diagram representing the design layers applied over the targeted district. (a)
Transversal pedestrian paths; (b) Lion’s Tower; (c) Longitudinal pedestrian
paths; (d) Train station buildings; (e) Pedestrian bridges; (f) Loading bay area,
(g) Production center; (h) Sunken plaza; (i) Public facilities; and (j) Innovation
center.
7.3.1 The communal public park
The district under consideration will assume as its base layer a comprehensive park upon
which the other layers of paths, interactive spaces, and functioning buildings will be
superimposed. The acute lack of green and public spaces in Tripoli naturally drives towards
such an approach. The train station site on the northern side will consume the bigger part of
the park which will be lined up with prolonged promenades, along the lines of the historical
railway roads, connecting the old structures of the station after transforming them into exhibit
spaces and follies. The green scape in the southern part of the site submerges with the
buildings at times, and surrounds them at others, creating thereby a potential environment for
interaction with the industrial and public services within the buildings (Fig. 10).
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Figure 10: The conception of a park with layers of green areas, pedestrian paths and bridges,
and buildings for crafts innovation and production.
7.3.2 The public space
Industrialized craftsmanship entails elements of skill, workmanship, and design, but also
participation, community, and the merging of maker and user. This have led us to think of
public or semi-public spaces that invite people to communicate and collaborate, but also
allows for individual consumerism.
In our intervention, communal spaces are not limited to public outdoor space but can be
part of the buildings themselves, either piercing a building through a public galleria, or
overlapping with the interior space proper. Public communal spaces can be sunken (Fig. 11),
can bridge over vehicular streets as floating platforms, or can be part of a bridging building
itself. All these different combinations are expected to provide a varied and rich palette of
spatial and urban experiences within the overall setting of a public park.
Figure 11: The sunken plaza.
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7.3.3 The pedestrian path
The old train station and the surrounding industrial sites and buildings, which are separated
by vehicular streets, are now connected through a continuous promenade and network of
paths generating the concept of a public park where the design and production of crafted
objects are experienced within a diversified setting of industrial heritage.
The pedestrian pathways knit together the building and spatial components, bridging
sometimes over vehicular streets, and passing through architectural structures at other times
What results is a continuous looping promenade manifesting itself through a sequence of
paved paths within the landscape, ramping platforms, and floating linear spaces (Fig. 12).
Within the old train station itself, a grid of longitudinal and transversal pedestrian
pathways stretches across the entirety of the linear region, along the existing lines of the
historical railway roads, and connecting the Lion’s Tower on one side and the different old
buildings of the railway station on the other.
Figure 12: Variety of pedestrian paths.
7.3.4 The semi-public building
The notion of monolith building blocks that house a number of functions to satisfy an
envisaged program is transformed into a typology of dynamic forms and spaces that
propagate through the park in an attempt to break down the scale of some monumental
structures and to integrate the public experience within the spaces of designers and makers.
The old stone buildings of the train station are either transformed into small galleries and
exhibition spaces, or into a number of follies that enrich the experience of the public park.
From the railway station, pedestrians cross towards the concrete ‘giant’ building which
previously housed workshops and work yards but is now transformed into an Innovation
Centre for product design, receiving designers, craftsmen, as well as public visitors. The
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monolith of the building itself is stripped out of its massiveness and traversed by a galleria
in addition to its internal atrium (Fig. 13). The building then breaks into different public
platforms that bridge over another vehicular street, unto a sunken public plaza that provides
access to a couple of showrooms. Through the open-air sunken plaza, the journey continues
up into the semi-public circulation and exhibition spaces within the new Production Centre
bridging again across the main vehicular street, and then ramping down back into the railway
station. This loop is expected to assure maximum interaction between the designers, the
makers and the consumer public, and is meant to dramatize the urban/architectural experience
and ground it in the spirit of heritage and history.
Figure 13: The redesigned concrete “giant” building.
8 CONCLUSION
The paper touched on the subject of regeneration of a city’s inner gaps, abandoned buildings
and deserted sites, endorsing it as a vital strategy for enabling people of achieving a more
live-able, sustainable city through the awakening, restoration and revitalization of historic
fabrics, in order to meet contemporary needs.
The design intervention aimed at promoting the rise of new ecological approaches towards
an urban context that is vividly on the verge of disappearance, and rejuvenating a number of
professional skills and trades that are highly underrated but still stand as the main source
of living for many artisans that are quite good at what they do, but lack the ability of keeping
up with the quickly advancing digital timeline.
A healthy rehabilitation plan and program, on both urban and cultural scales, can
ultimately improve the sense of belonging and attachment of people to their communities and
cities on one hand, and open up a new scape of opportunities for many sectors to rise
and develop on the other.
REFERENCES
[1] Sennett, R., The Craftsman, Penguin Books, 2009.
[2] Marx, K. & Angels, F., The Communist Manifesto, Pluto Press: London and Chicago,
pp. 11–13, 1996.
[3] Crook, T., Craft and the dialogics of modernity: The arts and crafts movement in lateVictorian and Edwardian England. The Journal of Modern Craft, 2(1), pp. 17–32, 2009.
[4] Dowdy, C., Production values: 3 companies reinventing the modern working space,
Wallpaper*.
www.wallpaper.com/architecture/three-companies-reinventing-themodern-working-space.
[5] Sofield, M., Craft + context: Connecting architecture to place and time.
www.terrain.org/2013/currents/craft-and-context/.
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