heritage

Article

Identifying the Industrial Cultural Heritage of Athens, Greece,through Digital Applications

Niovi Andrioti 1,*, Eleni Kanetaki 2, Hara Drinia 3 , Zoe Kanetaki 4 and Alexis Stefanis 2

Citation: Andrioti, N.; Kanetaki, E.;

Drinia, H.; Kanetaki, Z.; Stefanis, A.

Identifying the Industrial Cultural

Heritage of Athens, Greece, through

Digital Applications. Heritage 2021, 4,

3113–3125. https://doi.org/10.3390/

heritage4040174

Academic Editors:

Anastasia Stratigea and

Martin Koplin

Received: 30 August 2021

Accepted: 30 September 2021

Published: 5 October 2021

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4.0/).

1 Department of History and Archaeology, National and Kapodistrian University of Athens, 15772 Athens, Greece2 Department of Conservation of Antiquities and Works of Art, University of West Attica,12243 Athens, Greece;

elkanet@uniwa.gr (E.K.); astefanis@uniwa.gr (A.S.)3 Department of Geology and Geoenvironment, National and Kapodistrian University of Athens, 15772 Athens, Greece;

cntrinia@geol.uoa.gr4 Department of Mechanical Engineering, University of West Attica, 12241 Athens, Greece; zoekanet@uniwa.gr* Correspondence: nandriot@arch.uoa.gr

Abstract: In Greece, the appreciation of industrial buildings is relatively recent, with the legalauthorities having recognized their historical value by listing them as monuments. Nineteenthcentury industrial buildings can be identified as cultural monuments of the past, as well as assist inthe reconstruction of urban landscapes. Additionally, individual initiatives, organized by volunteers,present the necessity for documentation through relevant research projects. The reuse of industrialbuildings for cultural activities has lately become a common practice. In Athens, a large numberof buildings dated to the industrial revolution and that present historical and architectural featuresworthy of being preserved have been recorded. Following the philosophy of smart cities, this paperpresents a digital inventory of the industrial buildings located in the historical center of Athens;many of which have recently been adapted to host cultural activities. The use of smart technology, bycreating a digital application for smart phones, will provide access to a continuously enriched registry,via interactive maps. This initiative will promote the buildings’ past and present use and, moreover,the creative concept of their multiple functions. The suggested model of cultural management isapplicable to every industrial building in Athens.

Keywords: industrial heritage; cultural monument; smart technology; mobile application; urbanlandscape; V.I.D.A.

1. Introduction

Apart from the historical constructions from antiquity and those built during the Me-dieval and the Byzantine periods, including Ottoman buildings, a large number of buildingsdated in the industrial revolution (19th century) can still be traced and incorporated intoour modern cities, presenting historical architectural features worthy of preservation. Itis important to acknowledge their identity and highlight their potential for serving newuses, through adaptation projects and structural remodeling. Buildings of the 19th century,during which the industrial development of urban centers took place, can be identified ascultural monuments of the past and help us to reconstruct urban landscapes.

The “UNESCO World Heritage Convention”, in 1972, referred to the kind of naturaland cultural sites that comply with the necessary criteria, in order to be inscribed andincluded in the World Heritage List. The 1972 convention included and presented the con-cept of cultural heritage and its national importance. Through its provisions, it emphasizesthe value of cultural and natural heritage as an important legacy for humanity. It also setsout measures for the recording, protection, and preservation of cultural property, in orderto preserve human history and memory. More specifically, cultural heritage consists ofmonuments, building complexes, and spaces, provided that they consist of heritage of auniversal value from a historical, artistic, or scientific point of view. Natural heritage also

Heritage 2021, 4, 3113–3125. https://doi.org/10.3390/heritage4040174 https://www.mdpi.com/journal/heritage

Heritage 2021, 4 3114

consists of natural monuments and geological and natural sites. The main subject of theconvention, in general, was to recognize the importance of cultural heritage in order topreserve and protect it [1].

The UNESCO convention was actually a follow up, as the 1954 “Convention for theProtection of Cultural Property in the Event of Armed Conflict”, adopted at The Hague(The Netherlands), was the first international treaty with world-wide adoption focusingexclusively on the protection of cultural heritage in the event of armed conflict [2]. Itcovered immovable and movable cultural heritage, including monuments of architecture,art, or history; archaeological sites; works of art, manuscripts, books, and other objects ofartistic, historical, or archaeological interest; as well as scientific collections of all kinds,regardless of their origin or ownership. The main objective of protection was developedin detail through other relevant international charters, such as the “Venice Charter forthe Conservation and Restoration of Monuments and Sites”, which provided guidelinesthat formed an international framework for the conservation and restoration of historicbuildings and had previously been elaborated by a group of conservation professionals inVenice, in 1964 [3]. The topic of industrial heritage is the main subject of this study and wasfurther elaborated and clarified in “The Nizhny Tagil Charter For The Industrial Heritage”,presented in 2003 by TICCIH (the world organization representing industrial heritage anda special adviser to the ICOMOS on industrial heritage) [4]. Therefore, it has been preciselydefined that industrial heritage consists of the remains of industrial culture that are ofhistorical, technological, social, architectural, or scientific value. These remains consist ofbuildings and machinery; workshops, mills, and factories; mines and sites for processingand refining; warehouses and stores; places where energy is generated, transmitted, andused; transport and all its infrastructure; as well as places used for social activities relatedto industry, such as housing, religious worship, or education [5].

In Greece, appreciation of industrial buildings has been relatively recent; state legisla-tion has established their historical value, referring to them as “industrial monuments”.Additionally, individual initiatives organized by volunteer groups of engineers, architects,and historians have promoted the necessity of their documentation [6] through relevantresearch projects. An essential method of protecting industrial buildings and monumentsis the adaptive reuse of these spaces, in order for them to be adapted, in a useful way, tothe urban landscape. Derelict spaces need to be transformed and reanimated into activeplaces; many possessing interesting stories to narrate. The re-use of industrial buildingsfor cultural activities, as a solution to the problem of protecting these buildings, has been acommon phenomenon over the past two decades, ensuring sustainability and their eco-friendly presence in the city. In this way, industrial spaces become hosts of culture andheritage and continue to play an essential role in the city’s storytelling [7].

2. Materials and Methods

The determination of the number of industrial buildings in the city of Athens wasthe purpose and cause of this research. Greece, among other countries, presents an abun-dance of industrial monuments, forming a valuable industrial heritage. It was observedthat many of the former industrial factories in Athens operate today as cultural spacesand theaters, distributed in numerous city areas, many of them accumulated in specificstreets and neighborhoods. This observation needed to be verified through a thoroughbibliographical research work, in order for this hypothesis and reflection to be analyzedand elaborated. Along with the concentration of examples and cases from internationalstudies and bibliography, the in situ research and examination of many industrial buildingsin Athens was required, for the purpose of verifying this theory on-site. After this process,it was important to create an archive with all the information of the industrial buildingsfrom this study that presented similar characteristics, in order to make classification lists(Tables 1 and 2). In this way, an on-line inventory was created using google maps, with acollection of information about the history and location of the buildings (Figure 1). Thespecific former industrial spaces were placed on a map and formed routes and clusters

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of industrial areas in the city of Athens. It was very interesting to note the distributionof the larger spaces in contrast with the minor ones in the city areas, which were builtdecades ago for a particular purpose. Once this online inventory was made, it was impera-tive to move forward to the proposition of creating a digital tool that would present thisinformation, combining the theory with an interactive map. Following other examples ofdigital applications, from other groups, such as MONUMENTA [8]; the Museum of GreekModern Culture, with the mobile application for a digital tour of the Bath House of thewinds [9]; and interactive maps from university programs [10], such as a database anddigital platform for the monuments of the Ottoman period in Corinth [11]; a proposal wasshaped, including research about the industrial buildings in the city, as well as oral andwritten information. The proposed application for mobile devices is presented, with thehope of it being realized in the future.

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the present has been done with respect for their identity and the uniqueness of their architecture, preserving the memories of the past, elements that need to be displayed more often.

The research initiated by the voluntary group V.I.D.A. (Vault of Industrial Digital Archives) gave an opportunity to collect unique information about each building, in order for this case study to evolve and present complete in-situ research [17]. The team consists of members from different science fields, for the purpose of interdisciplinary research of industrial archaeology. The need to record the industrial residues of Greece, resulted in the creation of an online inventory for Greek industrial heritage. V.I.D.A. team recorders work to locate, record, and rescue any available information from reliable sources in a serious and systematic digitization effort; effectively contributing to data rescue and testimony of Greek industrial heritage [18].

Figure 1. Interactive map as an online repository of all the buildings included in the survey, created in google maps. Online: https://www.google.com/maps/d/edit?mid=1k2_JPqmu1YgV1prOiWZodHSi2QOgqirZ&usp=sharing (accessed on 2 August 2021). .

A number of the above industrial constructions were also analyzed and listed according their past and present use, which created a digital inventory filled with information and visual depictions of the buildings . Moreover, the different industries mentioned at each location constituted valuable information about the development of industrial activity in each area of Athens. This process made it possible to present the case of industrial buildings reused for cultural uses, and then to refine the research by focusing on one specific building, “Peiraios 260”, in Peiraios street (Figures 2 & 3). Through this example, the research takes on a more concrete form and purpose, that of presenting the past and present history of an industrial building in Athens, with its adaptive reuse as a cultural center.

3.2. Case study: Former Furniture Industry “PEIRAIOS 260” Peiraios Street connected the city of Athens with its port, Piraeus. In 1836, with the

completion of the construction of the road, the city needed an axis for the transportation of the port’s products. The road had various problems due to floods and dust; however, in 1857 a part of it was designated as a place for the development of tile factories. These industries were the first examples of the industrial activity of the area, followed by the establishment of flour mills and tanneries. With the arrival of refugees in the 20th century, the character of the area changed radically and new settlements were created to house refugees in the areas Tavros and Rentis [19]. These young populations were the factory workers, who grew and multiplied. In the period 1883–1926, large factories appeared on Peiraios Street, among them the factory “CHROPEI”, the “Anonymous Pottery Company-Kerameikos”, the oil factory “Elais”, the chocolate factory “ION”, and the spinning mill

Figure 1. Interactive map as an online repository of all the buildings included in the survey, created in google maps.Online: https://www.google.com/maps/d/edit?mid=1k2_JPqmu1YgV1prOiWZodHSi2QOgqirZ&usp=sharing (accessedon 2 August 2021).

3. In Situ Research3.1. Industrial Buildings: Theaters and Cultural Centers

Due to the changes the city has faced, concerning the transformation from an industrialto a modern city of the 20th century, many aspects of the social and cultural spaces wereinfluenced. A large amount of abandoned industrial buildings were in decay, withoutuse, causing pollution and citizen disapproval. It was at this point, when buildings werebeing neglected, that artists explored the idea of presenting theatrical plays in differentspaces and buildings, with promising spatial possibilities [12]. They had the urge tocreate new narrations with a direct connection between the viewer and the space wherethe performance was taking place. The landscape was at the center of the performance,and the building was formed into a character, creating a new experience with its specialidentity [12]. The way people watched theater changed drastically, and in addition tothe way that artists created and moved during a live performance. That is when site-specific performances were born, giving actors a new way of expressing [13]. The thoughtthat theatrical performances could be presented everywhere inspired artists around theworld and created a new wave of presenting artistic pieces and performances in obsoleteindustrial spaces, which were revived through their new use [13]. Industrial buildingswere the main kind of derelict spaces in which cultural performances and activities tookplace, for the reason that this was more economical than building a new center and becausethey were immense empty spaces, presenting so much potential [14].

In Athens, the concept of industrial buildings’ adaptive reuse began in 1960 [15],when old industries were recognized as preserved monuments and not constructions tobe demolished. These buildings were cultural symbols that facilitated national memory

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and, as heritage buildings, were evidence of people’s lifestyle in the past [16]. Accordingto this mentality, several uses and meanings were applied to industrial buildings, such asspaces for cultural activities. Individuals and cultural groups wanted to find new formsand styles, in order to manifest their beliefs and, principally, to present their work usingdifferent landscapes. Based on this cultural tendency in the 20th century, this researchfocuses in thirty industrial buildings (Tables 1 and 2), located in Athens, Greece, which havebeen reused as theaters (Table 2) or cultural spaces (Table 1). These spaces were examinedconsidering their use as either theaters or cultural centers, their location, their date ofconstruction, and their date of reuse. In general, the main locations were Peiraios street,Iera Odos; the area of Votanikos, Metaxourgeio; and, moreover, in the historical center ofAthens, in Plaka, Thisio, Neos Kosmos, Psiri etc. Most of these buildings were built in thelate 19th century and during the interwar period (1930–40), and finally, the period of theiradaptive reuse mainly began from 1990 to 2000. Through the research of industrial shellsin various areas of Athens and through the process of recording the specific buildingsand complexes, convergences were observed, but also discrepancies between records. Theindustrial buildings that were studied are buildings of the 19th and 20th century and werecreated in the era of the industrialization of Greek production. Most of the industries werecreated by men who later handed over the factories as a legacy to their family. Several ofthe families came from abroad, such as Asia Minor, or from other parts of Greece, suchas Thessaloniki, and set up their businesses in Athens in order to expand. In the majorityof them, of the factories and handicrafts that are recorded, historically contributed tothe emergence of the industry of Greece and specifically of the capital, Athens, creatinga strong core of production. The production units that developed, depended in eachseason on the demand for their products and the international market, as the productionwas transferred to foreign countries. Depending on international and domestic economicdevelopments, the creation of new production units and the decline of older ones wasaffected. The factories were a catalyst for shaping the social life of the inhabitants of Athens,especially in the areas where the existence of factories prevailed over houses. Workingconditions varied from factory to factory, but inequalities and hardships persisted in thelower working classes. Accordingly, living conditions in highly industrialized areas wereunhealthy and generally unsuitable for housing, which did not prevent the state frompromoting working-class neighborhoods in these areas. Each region maintained its owncharacter, and the type of production that prevailed over the years contributed to this.Furthermore, the development of the factories, in terms of their size and expansion, tookplace according to the size of each area and the possibility of exploiting the land. Factoriesusually required the use of water or raw materials, factors that affected their installation.Thus, the recording of large building complexes in remote areas from the historic centerof Athens was observed due to the opportunity to exploit the space, with mainly smallercrafts and warehouses in the city center. Examples of timber depots in the areas of Psiri,Thiseio, and Plaka are numerous, providing a valid observation of the size difference in theindustrial units. Furthermore, this phenomenon was observed due to the decentralizationof industrial factories, for reasons of health and the avoidance of environmental pollution.Owing to this phenomenon, however, there are differences in the reuse of the buildingsthat were recorded. The use of building complexes as spaces for multiple cultural uses is,understandably, observed due to the large size of the buildings that constitute an industrialcomplex and the opportunity to house a variety of activities. One such example is thebuilding complex of Peiraios 260, which consists of six buildings, with the ability to hostperformances, exhibitions, etc. Therefore, the buildings located in the historic center ofAthens, due to their size, are reused today and house theatrical stages; operating as theatersand not as spacious cultural centers. Of course the theatrical spaces in turn host activitiessuch as periodic exhibitions in their limited spaces; however, they basically function astheatrical organizations. The people who were interested in the reuse of the buildings andthus helped to save them from oblivion and the wear and tear of time are, in the majority,artists. There are several examples of actors or directors who recognized the industrial

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shells and gave them a new identity through reopening them, and this was usually donebe groups of two or more people. From oral testimonies and written interviews with theowners of the buildings, there was a group collaboration in order to create spaces for art, asthe project of remodeling a space proved to be full of difficulties. At the time of their reuse,of course, industrial buildings were different types of building, ready to be exploited, withthe aim of housing cultural activities, and with respect for the nature of the building. Therenovation of the log buildings was usually either the work of important architects, suchas K. Krokos and M. Perrakis, or a collective effort by the owners. Overall, the recordedindustrial shells are important monuments of industrial archaeology and are part of thenational heritage of Greece. They present complete examples of reused industrial factories,which today house theaters and cultural organizations. Their re-animation in the presenthas been done with respect for their identity and the uniqueness of their architecture,preserving the memories of the past, elements that need to be displayed more often.

The research initiated by the voluntary group V.I.D.A. (Vault of Industrial DigitalArchives) gave an opportunity to collect unique information about each building, in orderfor this case study to evolve and present complete in-situ research [17]. The team consistsof members from different science fields, for the purpose of interdisciplinary research ofindustrial archaeology. The need to record the industrial residues of Greece, resulted in thecreation of an online inventory for Greek industrial heritage. V.I.D.A. team recorders workto locate, record, and rescue any available information from reliable sources in a seriousand systematic digitization effort; effectively contributing to data rescue and testimony ofGreek industrial heritage [18].

A number of the above industrial constructions were also analyzed and listed accord-ing their past and present use, which created a digital inventory filled with information andvisual depictions of the buildings. Moreover, the different industries mentioned at eachlocation constituted valuable information about the development of industrial activity ineach area of Athens. This process made it possible to present the case of industrial buildingsreused for cultural uses, and then to refine the research by focusing on one specific building,“Peiraios 260”, in Peiraios street (Figures 2 and 3). Through this example, the research takeson a more concrete form and purpose, that of presenting the past and present history of anindustrial building in Athens, with its adaptive reuse as a cultural center.

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“I. G. Gabriel” of the Textile SA of Neo Faliro. The textile factory “Hellenic Mills SA” is also important; owned by the Sikiaridis family, in the era of deindustrialization and reuse of industrial waste, it houses the School of Fine Arts. Furthermore, the adaptive reuse of the “HALCOR” metallurgy complex by the Hellenic Foundation, and the reuse of the “Tsaousoglou” furniture factory by the cultural center “Peiraios 260” (Figures 2 & 3), created the basis for the consolidation of the Peiraios area in later years [20]. The era of deindustrialization of Peiraios Street and the wider areas that connected Athens and Piraeus began in the 1960s, when large industrial units were removed and placed close to the Thriasio field and highways. The tendency for decentralization of industrial production prevailed and intensified in 1970, when the most systematic deindustrialization of the street took place, with its completion in 1980. Piraeus street was in decline, as with the closure of the factories and their abandonment, urban gaps were created, without green spaces. Waste ended up in the area, while traffic difficulties prevailed, with the exploitation of empty shells as advertising surfaces [21]. The industrial building complex “Peiraios 260” is a typical architectural example of an industry from 1960 to 1970 and was a furniture factory (Figure 4) of the Tsaousoglou family, specifically Ioannis Tsaousoglou, who had founded, in the 1920s in Thessaloniki, a small furniture production company due to the needs of the local market. Later, the business expanded as there was a demand for products (Figure 5), and it was transferred to Athens. Some years later, in 1954, the successors of the family business were the three sons of I. Tsaousoglou: Eleftherios, Charalambos, and Lazaros. They established the “Hellenic Metal Furniture Industry (EBME) Tsaousoglou” at Piraeus 260 (Figure 2) and managed, through international collaborations and upgraded expertise, to establish themselves in the industry [22]. “Peiraios 260” has been listed as preserved by the Ministry of Culture and does not maintain its equipment today. The complex consists of five buildings (Figures 7–9) and outdoor areas [23] and started to be reused in 2006, after the restoration of the buildings. The importance of the building lies in the fact that it is located on the historic street of Peiraios, which is the historic axis that connects Athens with the port of Piraeus, and with two other important buildings (Athens School of Fine Arts, Hellenic Cosmos Cultural Center) forms a cultural triptych [24].

Figure 2. Former “Tsaousoglou” furniture factory, in “Peiraios 260”. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021) Figure 2. Former “Tsaousoglou” furniture factory, in “Peiraios 260”. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021).

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Figure 3. Logo of “Tsaousoglou” furniture metal furniture company. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 4. Inside the furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 5. Products of the “Tsaousoglou” furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

An important part of Athens’ industry developed on this road, with a concentration of many industries along the street. After the deindustrialization of Peiraios Street and its closure, Peiraios 260 passed into the ownership of the National Bank, which donated a part of the building to the Athens and Epidaurus Festival [24]. Today, the industrial building with its restoration, constitutes a center for cultural events, performances, and exhibitions. The case of Peiraios 260 is evidence of the course of industrial operations in this area, from their prosperity to their decline. Furthermore, this case is a representative example of the reuse of an industrial building with a cultural character, as after the renovation of the street several industrial buildings acquired a similar use [25].

Figure 3. Logo of “Tsaousoglou” furniture metal furniture company. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021).

3.2. Case Study: Former Furniture Industry “PEIRAIOS 260”

Peiraios Street connected the city of Athens with its port, Piraeus. In 1836, with thecompletion of the construction of the road, the city needed an axis for the transportationof the port’s products. The road had various problems due to floods and dust; however,in 1857 a part of it was designated as a place for the development of tile factories. Theseindustries were the first examples of the industrial activity of the area, followed by theestablishment of flour mills and tanneries. With the arrival of refugees in the 20th century,the character of the area changed radically and new settlements were created to houserefugees in the areas Tavros and Rentis [19]. These young populations were the factoryworkers, who grew and multiplied. In the period 1883–1926, large factories appeared onPeiraios Street, among them the factory “CHROPEI”, the “Anonymous Pottery Company-Kerameikos”, the oil factory “Elais”, the chocolate factory “ION”, and the spinning mill“I. G. Gabriel” of the Textile SA of Neo Faliro. The textile factory “Hellenic Mills SA” isalso important; owned by the Sikiaridis family, in the era of deindustrialization and reuseof industrial waste, it houses the School of Fine Arts. Furthermore, the adaptive reuseof the “HALCOR” metallurgy complex by the Hellenic Foundation, and the reuse of the“Tsaousoglou” furniture factory by the cultural center “Peiraios 260” (Figures 2 and 3),created the basis for the consolidation of the Peiraios area in later years [20]. The eraof deindustrialization of Peiraios Street and the wider areas that connected Athens andPiraeus began in the 1960s, when large industrial units were removed and placed close tothe Thriasio field and highways. The tendency for decentralization of industrial productionprevailed and intensified in 1970, when the most systematic deindustrialization of the streettook place, with its completion in 1980. Piraeus street was in decline, as with the closureof the factories and their abandonment, urban gaps were created, without green spaces.Waste ended up in the area, while traffic difficulties prevailed, with the exploitation ofempty shells as advertising surfaces [21]. The industrial building complex “Peiraios 260” isa typical architectural example of an industry from 1960 to 1970 and was a furniture factory(Figure 4) of the Tsaousoglou family, specifically Ioannis Tsaousoglou, who had founded,in the 1920s in Thessaloniki, a small furniture production company due to the needs of thelocal market. Later, the business expanded as there was a demand for products (Figure 5),and it was transferred to Athens. Some years later, in 1954, the successors of the familybusiness were the three sons of I. Tsaousoglou: Eleftherios, Charalambos, and Lazaros.They established the “Hellenic Metal Furniture Industry (EBME) Tsaousoglou” at Piraeus260 (Figure 6) and managed, through international collaborations and upgraded expertise,to establish themselves in the industry [22]. “Peiraios 260” has been listed as preserved bythe Ministry of Culture and does not maintain its equipment today. The complex consistsof five buildings (Figures 7–9) and outdoor areas [23] and started to be reused in 2006, afterthe restoration of the buildings. The importance of the building lies in the fact that it islocated on the historic street of Peiraios, which is the historic axis that connects Athens

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with the port of Piraeus, and with two other important buildings (Athens School of FineArts, Hellenic Cosmos Cultural Center) forms a cultural triptych [24].

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Figure 3. Logo of “Tsaousoglou” furniture metal furniture company. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 4. Inside the furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 5. Products of the “Tsaousoglou” furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

An important part of Athens’ industry developed on this road, with a concentration of many industries along the street. After the deindustrialization of Peiraios Street and its closure, Peiraios 260 passed into the ownership of the National Bank, which donated a part of the building to the Athens and Epidaurus Festival [24]. Today, the industrial building with its restoration, constitutes a center for cultural events, performances, and exhibitions. The case of Peiraios 260 is evidence of the course of industrial operations in this area, from their prosperity to their decline. Furthermore, this case is a representative example of the reuse of an industrial building with a cultural character, as after the renovation of the street several industrial buildings acquired a similar use [25].

Figure 4. Inside the furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2August 2021).

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Figure 3. Logo of “Tsaousoglou” furniture metal furniture company. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 4. Inside the furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

Figure 5. Products of the “Tsaousoglou” furniture factory. https://www.tsaoussoglou.com/gr/about (accessed on 2 August 2021)

An important part of Athens’ industry developed on this road, with a concentration of many industries along the street. After the deindustrialization of Peiraios Street and its closure, Peiraios 260 passed into the ownership of the National Bank, which donated a part of the building to the Athens and Epidaurus Festival [24]. Today, the industrial building with its restoration, constitutes a center for cultural events, performances, and exhibitions. The case of Peiraios 260 is evidence of the course of industrial operations in this area, from their prosperity to their decline. Furthermore, this case is a representative example of the reuse of an industrial building with a cultural character, as after the renovation of the street several industrial buildings acquired a similar use [25].

Figure 5. Products of the “Tsaousoglou” furniture factory. https://www.tsaoussoglou.com/gr/about(accessed on 2 August 2021).

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Figure 6. Image of the former “Tsaousoglou” factory today, operating as the “Peiraios 260” cultural center. Building D. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

Figure 7. Inside the theatre of “Peiraios 260”. https://www.oval-studio.com/sites/default/files/2018-07/%CE%A4%CE%95%CE%A5%CE%A7%CE%9F%CE%A3_%CE%A0.260_%CE%99%CE%9F%CE%A5%CE%9D%CE%99%CE%9F%CE%A32016.pdf (accessed on 2 August 2021).

Figure 6. Image of the former “Tsaousoglou” factory today, operating as the “Peiraios 260” culturalcenter. Building D. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

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Figure 6. Image of the former “Tsaousoglou” factory today, operating as the “Peiraios 260” cultural center. Building D. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

Figure 7. Inside the theatre of “Peiraios 260”. https://www.oval-studio.com/sites/default/files/2018-07/%CE%A4%CE%95%CE%A5%CE%A7%CE%9F%CE%A3_%CE%A0.260_%CE%99%CE%9F%CE%A5%CE%9D%CE%99%CE%9F%CE%A32016.pdf (accessed on 2 August 2021).

Figure 7. Inside the theatre of “Peiraios 260”. https://www.oval-studio.com/sites/default/files/2018-07/%CE%A4%CE%95%CE%A5%CE%A7%CE%9F%CE%A3_%CE%A0.260_%CE%99%CE%9F%CE%A5%CE%9D%CE%99%CE%9F%CE%A32016.pdf (accessed on 2 August 2021).

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Figure 6. Image of the former “Tsaousoglou” factory today, operating as the “Peiraios 260” cultural center. Building D. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

Figure 7. Inside the theatre of “Peiraios 260”. https://www.oval-studio.com/sites/default/files/2018-07/%CE%A4%CE%95%CE%A5%CE%A7%CE%9F%CE%A3_%CE%A0.260_%CE%99%CE%9F%CE%A5%CE%9D%CE%99%CE%9F%CE%A32016.pdf (accessed on 2 August 2021).

Figure 8. Image of the former “Tsaousoglou” factory, today operating as the “Peiraios 260” culturalcenter. Building H. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

Heritage 2021, 4 FOR PEER REVIEW 9

Figure 8. Image of the former “Tsaousoglou” factory, today operating as the “Peiraios 260” cultural center. Building H. https://www.athina984.gr/2021/06/01/xekinaei-simera-to-festival-athinon-oi-treis-protes-parastaseis/ (accessed on 2 August 2021).

Figure 9. Image of the former “Tsaousoglou” factory, today operating as the “Peiraios 260” cultural center. Building A. https://www.culturenow.gr/two-hands-neo-ergo-toy-payloy-tsakona-stin-peiraios-260/ (accessed on 2 August 2021).

3.3. Cultural Management: Digital Mobile Application In Greece, with Development law 3299/2004, an important step was taken towards

the protection of industrial buildings, by providing incentives to investors for their maintenance and reuse. More specifically, financial support was provided for various actions, such as investment projects for the production or standardization of geographical indication products (G.I.E.) and products with protected designation of origin (P.D.O.) if they are made by companies that are housed in traditional or preserved stone buildings or industrial complexes, other than those for which a joint ministerial decision is required. Furthermore, investment plans for the construction and exploitation of craft centers and buildings in the special craft and industrial zones defined in the context of urban and spatial planning, as well as areas of social and cultural functions, central markets, and slaughterhouses were made local government organizations of 1st or 2nd degree or cooperatives. Moreover, the Development Law concerns investment plans of the above bodies for the transformation and configuration of old industrial premises and other facilities into spaces with social and cultural functions, exhibition centers, central markets, and slaughterhouses [26]. The interests that arises from the point of view of science and the economy are united with the ultimate goal of the reuse of industrial shells. These two sectors coexist in the field of cultural management, which approaches industrial heritage with the hope of restructuring a region’s economy. The main incentives of the project consist in preserving the cultural identity of the buildings and their characteristics and, moreover, creating attractions for the public with profit motives, as well as educational functions. Through the management of cultural resources (cultural heritage management), strategies and goals are established aimed at financial benefits. The effectiveness of the strategies depends on the management plan that will be implemented in each building functioning as a cultural resource; for example, the description of the building and its location, the report on the condition in which it is maintained, the chances of its viability, market research, the architectural study, the organization and the proposal for implementation of the program, as well as the calculation of the renovation cost of the building [27].

Τhe cultural management of industrial heritage focuses on two main aspects, namely its promotion as a social and cultural feature of a place’s identity, and also as a method for the regeneration of cities and the integration of new spaces, with cultural uses and leisure events. The combination of cultural heritage and tourism, through the reanimation of industrial buildings, contributes to the creation of a sustainable urban environment, when a parallel sustainable plan also emerges for derelict buildings. [28] Regarding the

Figure 9. Image of the former “Tsaousoglou” factory, today operating as the “Peiraios 260” culturalcenter. Building A. https://www.culturenow.gr/two-hands-neo-ergo-toy-payloy-tsakona-stin-peiraios-260/ (accessed on 2 August 2021).

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An important part of Athens’ industry developed on this road, with a concentrationof many industries along the street. After the deindustrialization of Peiraios Street and itsclosure, Peiraios 260 passed into the ownership of the National Bank, which donated a partof the building to the Athens and Epidaurus Festival [24]. Today, the industrial buildingwith its restoration, constitutes a center for cultural events, performances, and exhibitions.The case of Peiraios 260 is evidence of the course of industrial operations in this area, fromtheir prosperity to their decline. Furthermore, this case is a representative example of thereuse of an industrial building with a cultural character, as after the renovation of the streetseveral industrial buildings acquired a similar use [25].

3.3. Cultural Management: Digital Mobile Application

In Greece, with Development law 3299/2004, an important step was taken towardsthe protection of industrial buildings, by providing incentives to investors for their mainte-nance and reuse. More specifically, financial support was provided for various actions, suchas investment projects for the production or standardization of geographical indicationproducts (G.I.E.) and products with protected designation of origin (P.D.O.) if they aremade by companies that are housed in traditional or preserved stone buildings or industrialcomplexes, other than those for which a joint ministerial decision is required. Furthermore,investment plans for the construction and exploitation of craft centers and buildings in thespecial craft and industrial zones defined in the context of urban and spatial planning, aswell as areas of social and cultural functions, central markets, and slaughterhouses weremade local government organizations of 1st or 2nd degree or cooperatives. Moreover, theDevelopment Law concerns investment plans of the above bodies for the transformationand configuration of old industrial premises and other facilities into spaces with socialand cultural functions, exhibition centers, central markets, and slaughterhouses [26]. Theinterests that arises from the point of view of science and the economy are united withthe ultimate goal of the reuse of industrial shells. These two sectors coexist in the field ofcultural management, which approaches industrial heritage with the hope of restructuringa region’s economy. The main incentives of the project consist in preserving the culturalidentity of the buildings and their characteristics and, moreover, creating attractions forthe public with profit motives, as well as educational functions. Through the managementof cultural resources (cultural heritage management), strategies and goals are establishedaimed at financial benefits. The effectiveness of the strategies depends on the manage-ment plan that will be implemented in each building functioning as a cultural resource;for example, the description of the building and its location, the report on the conditionin which it is maintained, the chances of its viability, market research, the architecturalstudy, the organization and the proposal for implementation of the program, as well as thecalculation of the renovation cost of the building [27].

The cultural management of industrial heritage focuses on two main aspects, namelyits promotion as a social and cultural feature of a place’s identity, and also as a method forthe regeneration of cities and the integration of new spaces, with cultural uses and leisureevents. The combination of cultural heritage and tourism, through the reanimation ofindustrial buildings, contributes to the creation of a sustainable urban environment, whena parallel sustainable plan also emerges for derelict buildings. [28] Regarding the industrialbuildings that are reused due to tourist and cultural plans, a beneficial way of highlightingthem and creating means of attraction for the public is the spatial and semantic connectionbetween them in the urban fabric [29]. The industrial monuments contain images andconstitute signs of historical changes. For this reason, they are presented through thematicactivities and routes, where they emerge in direct interaction and communication withthe city in which they play a decisive role [30]. Experiential experiences through culturalroutes are a part of industrial tourism, which functions as a means of developing theeconomy of a city. Industrial tourism includes concepts such as production and processingactivities, the architecture of buildings, their technical equipment and machinery, and their

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products. This branch of industrial heritage includes in its broad definition the study andunderstanding of the social, economic, and cultural issues of specific eras [31].

Following the philosophy of smart cities [32], this paper presents a proposal for adigital inventory of the industrial buildings found in the historical center of Athens thathave recently been readapted to host cultural activities. The use of smart technology,by creating a digital application for smart phones, will provide access to a continuouslyenriched registry, via interactive maps offering relevant information about each building.This proposal is an initiative aimed at realization in the future, with appropriate funding, asan application has not been implemented at the present time. The purpose of this initiativeis the protection of the industrial buildings, with the promotion of the buildings’ past andpresent use and, moreover, the creative concept of their multiple functions. The presentedmodel of cultural management is applicable for every industrial building in Athens. Morespecifically, the application proposed for mobile phones will contain information about the30 industrial buildings that have were recorded during the survey (Tables 1 and 2). Theapplication will initially refer to the location of each building, by placing a point on themap. Furthermore, the user will be informed about the identity of the building, followingits historical course from the moment of its initial operation in industry, until the momentof its reuse. It is proposed that this information will be provided audio-visually on screen,either as photographic or video material or as an oral testimony from people who workedor lived in the recorded industrial area. An important addition would be the proposedroutes, which the user would have the opportunity to choose, depending on the areas thatthey would be interested in exploring. This application is designed to be used in situ, inorder for a visit to the industrial buildings to combine real and virtual user experiences.

Table 1. List of industrial buildings: cultural centers.

Name Former Use Location Date ofConstruction

Date ofTerminationof Activity

Equipment Date ofRe-Use

1. Peiraios 260 furniture factory Peiraios street 1960 1990 Not saved 20052. ChytirioTheatre—Art cafe foundry Iera Odos 1880 - Saved 2000

3. Virsodepsio (The oldTannery) tannery Votanikos 1896 1970 - 1994

4. Peiraios 131 lumber factory Peiraios street - - Not saved 19985. Athinais CulturalCenter

animal silkproduction factory Votanikos 1920 1950 - 2000

6. Melina CulturalCenter (PIL-POUL) hat factory Thisio 1896 - Not saved 1980

7. BIOS—ROMANTSO printing factory Omonoia 1930–40 - - 20128. Technopolis gas factory Kerameikos 1862 1984 Saved 19999. Hellenic CosmosCultural Center

pipe productionfactory Peiraios street 1940 - Not saved 1997

10. Scholeion tisAthinas “Irene Papas”

pipe productionfactory Peiraios street 1916 - - 1993

11. “Apollon” CulturalCenter rice factory Kaminia 1876(~) - - 2006

12. Athens School ofFine Arts textile factory Peiraios street 1925 - Saved 1992

The main tool of the application will be the interactive map, through which the userwill have the chance to explore Athens and the areas that were important industrial centers.The purpose of designing the application is to highlight the industrial heritage of Athens,focusing on buildings with a specific reuse, and at the same time to highlight the importantrole that industry and its buildings play in Athens’ character. The industrial buildings ofAthens must be noticed and presented so that everyone can understand the architecturaland urban history of the city. Urban streets are defined by their buildings, which create

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areas and landscapes. The history of the buildings should be made known, so that thecitizens can appreciate their own city. In conclusion, through this application the user willreceive multiple types of information: historical, architectural, and cultural.

Table 2. List of industrial buildings—theaters.

Name Former Use Location Date ofConstruction

Date ofTerminationof Activity

Equipment Date ofReuse

1. Neos Kosmos Theater beer warehouse Neos Kosmos Early 20thcentury - Not saved 1999

2. Thission Theater wood warehouse Psiri Early 20thcentury - - 1997

3. Greek Art TheaterKarolos Koun (ArtTheater)

wood warehouse Thisio 20th century - Not saved 1985

4. Kykladon StreetTheatre—LefterisVogiatzis

warehouse Kipseli - - Not saved 1982

5. Embros Theater printing factory Psiri 1930 - Not saved 19886. Fournos Theater bakery Exarheia 1935 - - 1992

7. Vafeio—Lakis Karalis dyehouse Votanikos 1885 - Not saved 1998(part)

8. Alkmini anthracite factory Petralona(Lower) 1930 - - 1995–96

9. Metaxourgeio warehouse Metaxourgeio - - Not saved 1999

10. Apo Mixanis Theatro hardware factory,printing factory Metaxourgeio 1930 1982 - 1990

11. Katerina VasilakouTheater wood warehouse Kerameikos 1937 - Not saved 1998

12. ApothikiTheater—Aliki Georgouli wood warehouse Psiri - - Not saved 1980

13. Sfendoni wood warehouse Makrigianni: - - Not saved14. Altera Pars car paint shop Kerameikos - - -15. Argo warehouse Metaxourgeio - - Not saved16. Attis glass factory Metaxourgeio - - Not saved

17. Politeia 1. typewriter2. printing office Psiri 1930 After World

War II Not saved

18. Emborikon printing house Psiri - - -

4. Conclusions

During the conducted survey by team V.I.D.A., with the purpose of creating aninventory of industrial buildings in Athens, Greece, the main idea was to inform peopleabout the importance of industrial heritage. Each building that was recorded and listed inAthens presents a unique story about its past and present use. It is very interesting that theseindustrial spaces were transformed in order to function as theaters or cultural centers, aspart of a worldwide phenomenon in the 20th century, and with creative alterations favoringartistic expression. In addition, it is important to emphasize the value documentation whenconsidering industrial monuments, so as to preserve and protect them. The process ofregistering industrial buildings is an integral part of industrial archaeology. This concernsthe complete recording of the physical characteristics of the buildings that exist in an area,as well as the existing condition of the space. In addition, this information constitutes apublic archive, with direct access to it via an electronic form. There are several voluntaryregistration teams in Athens, which work on a non-profit basis to save industrial heritage,in order to promote the value of its existence.

In conclusion, the task of creating an electronic repository could not be realized with-out the help of smart technology. Technology offers countless opportunities to evolve toolsto highlight and promote the importance of world heritage. More specifically, applications

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are created to promote the heritage of a city and motivate citizens to learn more about thehistory of their city. In addition, these applications play a very important role regardinga city’s tourism, as they are repositories of information accessible to all. Nevertheless, itis vital to mention that the in situ use of the mobile application could present limitationsconcerning people with movement disabilities. The creation of a mobile application aimsat its convenient and beneficial use by everyone; whereas the in situ use of the applicationcould be difficult, due to the non-virtual routes the application proposes that users follow inthe city. At the same time the application operates as a inclusive tool for these groups, dueto the virtual information it provides. Moreover, the use of the app requires a compatibleandroid mobile device that connects to the internet, in order to function properly. Although,the promotion of cultural heritage in a digital form puts a vast number of opportunitiesinto the hand of each user, it raises questions about the hazards that on-site visits andthe observation of these monuments would have to consider. Digital applications offer avirtual experience, often with no need for the physical presence of the user, and so theycreate a virtual culture, instead of the revival of a real monument in the eyes of the visitor.Future work will consist of combining these two realities into a single experience andfunction, aiming at a sustainable preservation of cultural heritage. The next generationsshould be able to acknowledge the role of industrial buildings in the economic and sociallife of the country and their significance for our collective memory.

Author Contributions: Conceptualization, N.A., A.S., E.K.; methodology, N.A.; formal analysis,N.A.; investigation, N.A.; resources, N.A.; data curation, N.A.; writing—original draft preparation,N.A.; writing—review and editing, N.A.; A.S.; E.K.; H.D.; Z.K. visualization, N.A.; supervision, A.S.;E.K. project administration, N.A. and A.S. All authors have read and agreed to the published versionof the manuscript.

Funding: This research received no external funding.

Data Availability Statement: Data available at: https://www.google.com/maps/d/edit?mid=1k2_JPqmu1YgV1prOiWZodHSi2QOgqirZ&ll=37.981473313748296%2C23.709887297715387&z=12 (ac-cessed on 2 August 2021).

Acknowledgments: The authors would like to thank the National Kapodistrian University of Athensand the postgraduate program “Museum Studies” for their contribution regarding our participationat the 4th Euro-Mediterranean Conference 2020.

Conflicts of Interest: The authors declare no conflict of interest.

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