Industrialization: The Latest Architecture and News

What architecture leaves in the ground outlasts what it puts in the air. A demolished building disappears from the skyline in a matter of days, but its foundations remain embedded in the soil for generations. The contamination caused by an industrial complex does not clear when the complex is torn down. The legal boundaries inscribed across colonial territory do not dissolve when the colonial administration ends. The ground holds what architecture quickly forgets.

This is what makes soil so uncomfortable as a subject. The discipline tends to orient itself upward, toward the form, the façade, the spatial experience of inhabitation. The ground is where architecture begins and, in a certain sense, where it ends: the point at which building becomes geology, legal title becomes territorial claim, and construction becomes extraction. Treating soil as a medium rather than a datum means acknowledging that the acts of building carry consequences that run deeper than the visible object above grade.

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In an industry defined by engineering tolerances and performance certainty, interior finishing still relies on a process that introduces variability into every project. Even experienced applicators often depend on judgement-based mixing—estimating water ratios and adjusting by feel until the material appears workable. While skill reduces variability, it does not eliminate it. The result is inherent inconsistency that transfers directly onto the finished surface.

The Van Nelle Factory, located in Rotterdam, is one of the most significant examples of Modernist Industrial Architecture. Designed by Johannes Andreas Brinkman and Leendert van der Vlugt between 1925 and 1931, with the involvement of Mart Stam — a pioneer in modernist furniture design and architecture — the factory was conceived as a progressive and functional building for processing coffee, tea, and tobacco.

Envisioned as a "daylight factory", the Van Nelle complex introduced revolutionary architectural and social concepts for its time. By integrating glass, steel, and concrete into an open, rational layout, it demonstrated how design could transform industrial processes while improving the lives of the people within. It was not merely a space for production but a symbol of optimism, representing the potential of architecture to reshape industries and communities.

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Silos hold a significant place among the remnants of the industrial era, distinguished by both their technological innovations and their iconic presence in urban landscapes. Typically cylindrical and made of reinforced concrete, these structures effectively addressed the demands and challenges of industrialization, providing a robust and economical solution for storage. However, throughout the 20th century, with the advent of new logistics and the relocation of activities from some urban centers to expanding areas, many of these silos were decommissioned.

However, despite their enclosed design appearing to be an obstacle for new uses, recent decades have seen initiatives that embrace and repurpose these structures. These projects integrate silos into the urban environment, emphasizing their significance as part of the local collective memory.

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This article was originally published on Common Edge.

"O beautiful, for spacious skies, for amber waves of grain, has there ever been another place on earth where so many people of wealth and power have paid for and put up with so much architecture they detested as within thy blessed borders today?"

Tom Wolfe wrote this in his 1981 book From Bauhaus to Our House. The conflict between modern and traditional design has barely abated since, as is evident in this recent article. In the U.S., modern buildings are often met with community aversion, for familiar reasons: their perceived coldness and lack of contextual sensitivity, the impact on local character, and the loss of historical continuity. But on another level, the critique against modern design finds even more purchase on the larger scale: the city. Modern U.S. cities reek of traffic congestion and pollution, social inequality and gentrification, a loss of community and cultural spaces, and a lack of usable open space.

Art has always been a means for people to connect with space, and art movements have served as a platform for exploring new relationships with architecture. By incorporating art into buildings and interior spaces, they have been transformed, resulting in a fusion that creates beautiful, inspiring, and spiritually uplifting environments. Throughout history, various art movements, such as the Renaissance in the 17th century, Baroque in the 18th century, and Art Nouveau, Art Déco, and Bauhaus in the early 20th century, have had a significant impact on architecture. Architects drew inspiration from the ideals, concepts, stylistic approaches, and techniques of these movements, using them to create large-scale habitable structures. As the home is a fundamental expression of an architectural movement and the simplest canvas to exhibit the artistic ethos of any particular era, studying the interior spaces of houses provides a detailed picture of art's influence on spatial organization, furniture design, product patterns, and user interaction.

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The institution of slavery shaped landscapes on both sides of the Atlantic Ocean. And in turn enslaved and free Africans and their descendants created new landscapes in the United States, the Caribbean, and Sub-Saharan Africa. African people had their own intimate relationships with the land, which enabled them to carve out their own agency and culture.

At Dumbarton Oaks in Washington, D.C., a symposium — Environmental Histories of the Black Atlantic World: Landscape Histories of the African Diaspora — organized by N. D. B. Connolly, a professor at Johns Hopkins University, and Oscar de la Torre, a professor at the University of North Carolina at Charlotte, sought to highlight those forgotten relationships between people and their environment.

Sigmund Freud, the author of “The Interpretation of Dreams” and the founder of Psychoanalysis, once argued that, “A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfillment in the creative work.”

On October 1, 1908, Ford launched its first model car in the American market, the Ford T, starting the automotive industry and establishing new paths for industrialization. Inspired by the manufacturing systems of weapons and sewing machines, in 1913, Henry Ford revolutionized production with the first moving assembly line to produce the Model T; a simple, safe, reliable and cheap car. 

The price decreased over time as production became more efficient. The Model T cost $850 in its first year and, as the manufacturing process became more efficient, it decreased to $290 in 1927, the last year it was produced. Industrialization led to optimized costs, time, and logistics.