How much potential lies within the bones of an old, run-down factory building, perhaps even one that’s been abandoned for decades on end? On the surface, sometimes it can seem like there’s no market to resell an industrial complex with such a specific purpose, especially if the rest of the neighborhood has long since moved on, transitioning into commercial and residential districts. But creative re-use can make the most of these large, open spaces full of steel and concrete.

Instead of just knocking them down and starting over, these factory renovation projects reduce waste and help preserve the history and character of industrial neighborhoods while shape-shifting into spectacular residences, offices, schools, museums and cultural centers.

Private Residences

When renovating an old industrial structure, perhaps the most dramatic shift comes in a transformation to a residence. Taking spaces that can feel cold, hard and out of scale and making them feel like a cozy home where people spend intimate time with their loved ones is no easy feat, but it all comes down to embracing the building’s existing qualities.

When New York studio Fogarty Finger converted a defunct New Jersey factory that once housed a workshop for Alexander Thomson & Sons Pattern Makers, they identified the features that made the structure feel unique, like the weathered timbers. The company made wooden forms that were then cast in metal for propellers, and the antique industrial details contrasting with softer materials gives us a sense of what the space felt like in its prime.

Reclaimed factories make ideal live/work spaces for creatives and small business owners. In Beijing, Office Project transformed a striking factory building into a home, studio and gallery for a calligraphy artist. The tall one-story structure gave them plenty of bright white space for the exhibition areas, and a new steel roof rises up on one end to accommodate new clerestory windows for lots of natural light.

Inserting new volumes within the larger factory building can be a cool way to subdivide the space, as seen at 5Lmeet no.88, a mixed-use space in Beijing containing restaurants, a bookstore, offices and apartments within a former abandoned soy sauce factory. DAGA Architects subverted the traditional Chinese courtyard with a “floating island” meeting space in the center of the largest room, which hovers over small, partially enclosed workspaces. The apartments are ultra-compact and feature a lot of transforming furniture to save space. 

Perhaps the best-known example of converting a factory into a residence is Ricardo Bofill’s private home in Spain. The architect found a disused cement factory in 1973 consisting of over 30 silos, massive machine rooms and subterranean galleries, and spent decades converting the ruins into a surrealist palace surrounded by lush greenery, leaving many of the original industrial elements in place for context.

Offices & Schools

Offices and schools are a natural fit with the proportions of these old buildings. In Denmark, MVRDV and COBE collaborated to turn a former concrete factory into the Roskilde Festival Folk High School campus, located near the site of the popular annual festival and representing the first new folk school in Denmark in 50 years.

“We saw an immense potential in creating a creative school with an instant ‘street creditability’ because the school would be placed within an existing building, an abandoned factory,” COBE founder Dan Stubbergaard told Dezeen. “This meant that the school would not become institutional as a new building might be experienced as.”

A 120-year-old steam plant and Brutalist office building has become the headquarters for medical company ProMedica in Ohio. Architecture firm HKS spearheaded the project as part of an effort to revitalize Toledo’s downtown area. Originally designed by architect Daniel Burnham, who’s also known for his role as chief architect of the 1893 Chicago World’s Fair, the structure offered a dramatic, spacious, history-infused waterfront setting for the new ProMedica Headquarters campus. The steam plant was vacant for three decades before it was purchased by the company, and its interior now contains four stories of offices, communal spaces and an atrium.

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Former Factories Transformed Creative Reuse Of Industrial Structures

Taking Postmodern ideas to high-contrast extremes, this set of nightclub-and-entertainment structures designed by MVRDV borrows from its surroundings, boiling area architecture down to white-and-gold shadows on peel-to-play facades.

Since neither core space of The Imprint needed natural light, the decision was made to create faux windows instead. These would reference the neighborhood in an abstract way, while the minimalist color palette and pulled-up zones would result in something distinctively contemporary. It would be easy to mock the effect, but (to be fair) as an entertainment complex, the idea is to grab attention.

Like raised curtains, areas that are pulled up from the street also clearly convey where entrances are, while multimedia screens just inside suggest what is going on is more exciting and worth looking into. “Reflection and theatricality are therefore combined,” explain the architects. “With our design, after the nightly escapades, a zen-like silence follows during the day, providing an almost literally reflective situation for the after parties.”

Windows, doors, and other elements mirror what’s all around. “By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours,” explained Winy Maas, principal and co-founder of MVRDV. “This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city.”

“Two months ago most of the cladding was done and client said, ‘this is an art piece’. What is interesting about that is that they are looking for that momentum – that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm.”

One person’s ego-centric vision of how cities should adapt to their own particular individual needs encroaches upon the dreams of another, as revealed by MVRDV’s Tetris-like open-walled ‘(W)Ego House.’ The design is part art installation, part futuristic vision, part warning against architecture that’s one-size-fits-all. Originally created in 2015 and displayed at Dutch Design Week 2017, it’s now reassembled for UABB, the seventh Bi-City Biennale of Urbanism and Architecture in Shenzhen.

MVRDV worked with The Why Factory, a think tank and research institute associated with the Delft University of Technology, to create the installation, which “represents a window into the future of adaptable housing to the user’s needs. The vision allows the coexistence of multiple lifestyles in an optimized dense reality.”

Dwelling on the concept of coexistence, the architects posit that we all have to learn to negotiate with each other to optimize use of limited urban space. The layout of (W)ego is meant to be adaptable and reconfigurable, though the installation displays it as stacked static rooms.

As far as the architects are concerned, this process of negotiation is a good thing, and W(Ego City) displays a novel way in which various kinds of housing can be Tetrised into a single building taking up a relatively small footprint in a city where undeveloped land is hard to come by. They argue that every dwelling could be unique, each one ergonomic and tailor-made to particular spatial needs. Some people might need an accessible space all on one level toward the bottom floor, others may prefer a more unusual space that requires active climbing, others are happy to pay less for a smaller and simpler unit.

That may be true, but is the firm accidentally making a statement on the impact of class, and how the dreams of the rich impede upon the everyday comfort and survival of those with fewer resources at their disposal? While some might look at (W)Ego City and see a playground where they can choose the customized residence of their heart’s desire, others see a maze of ridiculous spaces that aren’t just unavailable to them, but produce irregular, impractical, virtually unusable ‘leftover’ spaces that would likely rent for lower prices.

MVRDV co-founder Winy Maas says “Through gaming and other tools, (W)ego explores participatory design processes to model the competing desires and egos of each resident in the fairest possible way.”

But when multiple people are ‘negotiating’ with each other to build their own spaces however they want within a limited envelope, and not everyone has the same financial resources, physical strength, entitlement and pushy personalities, who wins?

Looking like something out of a Kubrick film, the new Tianjin Binhai Library by MVRDV and local firm TUPDI features cascading floor-to-ceiling bookshelves that double as benches centered around a luminous sphere. From outside, the library has the appearance of a mysterious eye, with the layered interior elements acting as louvres for the facade. Gaze up at the walls from ground level and it seems like the books just keep going and going, all the way to the ceiling. The library contains an incredible 1.2 million books.

Designed and built in just three years, the Tianjin Binhai Library is located in the cultural center of Binhai district in the coastal city of Tianjin, outside of Beijing, China. It’s part of a complex of cultural buildings by prominent international architects, which are all connected by a glass canopy. The building has already become known locally as ‘The Eye.’

“The Tianjin Binhai Library interior is almost cave-like, a continuous bookshelf. Not being able to touch the building’s volume we ‘rolled’ the ball shaped auditorium demanded by the brief into the building and the building simply made space for it, as a ‘hug’ between media and knowledge” says Winy Maas, co-founder of MVRDV. “We opened the building by creating a beautiful public space inside; a new urban living room is its centre. The bookshelves are great spaces to sit and at the same time allow for access to the upper floors. The angles and curves are meant to stimulate different uses of the space, such as reading, walking, meeting and discussing. Together they form the ‘eye’ of the building: to see and be seen.”

Along the edges of the interior, beyond those undulating walls, various educational facilities can be found on five levels. A subterranean service space holds even more books as well as a large archive. Books for children and the elderly are located at the lowest levels, and while it may look like the bookshelves grow less and less accessible as they reach the ceiling, it’s an illusion: the books on the higher levels are actually painted onto the surface of the wall.

You might be wondering how in the world they’re going to keep this bright white space clean. The answer, apparently, is ropes and movable scaffolding. Sounds like a fun job.

Not all architecture incorporating lots of living greenery is doomed to remain an unrealistic rendering, depicting buildings that can’t structurally support the weight of all the soil and water needed to keep full-sized trees alive. Architect Thomas Heatherwick built ultra-strong concrete pillars into his 1000 Trees design, for example. Other buildings take a subtler approach, choosing ivy, potted plants or existing trees rooted in the ground. All of these projects attempt to meld urban architecture with lush gardens in the hopes of cleansing the air, storing CO2 to mitigate climate change and providing enhanced access to green spaces in cities.

Valley: Green-Terraced Towers by MVRDV in Amsterdam, The Netherlands

Construction began in August 2017 on MVRDV’s ambitious ‘Valley,’ a mixed-use complex of green-terraced towers in Amsterdam’s central business district. ‘Valley’ is notable not only for its unusual offset stacking of volumes , creating an irregular shape, but also for all the greenery it supports. The towers include 196 apartments, 7 stories of offices, shops, restaurants, cultural facilities and a three-story parking lot.

House for Trees by VTN Architects in Ho Chi Minh, Vietnam

VTN Architects approached ‘House for Trees’ as a way to alleviate the lack of access to green spaces as well as poor air quality found in big cities like Ho Chi Minh. This residential project incorporates trees into its design, envisioned by the firm as a “small park in a dense neighborhood.” The trees are set into deep planter boxes disguised among the concrete volumes of the house, with cut-outs allowing their crowns to rise as high as they like.

Nautilus Eco Resort by Vincent Callebaut in the Philippines

The Nautilus Eco Resort by Vincent Callebaut is designed as a ‘zero emissions, zero waste, zero poverty’ development for the Philippines in response to environmental and social problems in the country, like overfishing, pollution and mass tourism. The project would be built from reused or recycled materials, self-sufficient in producing its own energy and food, and engage volunteer ecotourists in cleaning up plastic waste that washes up onto the area’s beaches. It consists of a series of shell-shaped hotels and apartment towers spiraling around a central island housing a nautical center and scientific research laboratories. The plant walls cool the buildings as they grow food.

Amata + Triptyque Timber Building in São Paulo, Brazil

Constructed entirely from Brazilian timber, this building is a collaboration between architecture studio Triptyque and forest management company Amata. The building aims to be a giant carbon sink, contributing towards the fight against climate change. Each square meter of wood is capable of absorbing a metric ton of carbon dioxide from the environment. The 13-story building contains co-working, co-living and dining spaces, the edges of its terraces dripping with living plants.

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