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

Abstract

In Greece, the appreciation of industrial buildings is relatively recent, with the legal authorities having recognized their historical value by listing them as monuments. Nineteenth century industrial buildings can be identified as cultural monuments of the past, as well as assist in the reconstruction of urban landscapes. Additionally, individual initiatives, organized by volunteers, present the necessity for documentation through relevant research projects. The reuse of industrial buildings for cultural activities has lately become a common practice. In Athens, a large number of buildings dated to the industrial revolution and that present historical and architectural features worthy of being preserved have been recorded. Following the philosophy of smart cities, this paper presents 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. Τhe use of smart technology, by creating 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 is applicable to every industrial building in Athens.

1. Introduction

Apart from the historical constructions from antiquity and those built during the Medieval and the Byzantine periods, including Ottoman buildings, a large number of buildings dated in the industrial revolution (19th century) can still be traced and incorporated into our modern cities, presenting historical architectural features worthy of preservation. It is important to acknowledge their identity and highlight their potential for serving new uses, through adaptation projects and structural remodeling. Buildings of the 19th century, during which the industrial development of urban centers took place, can be identified as cultural monuments of the past and help us to reconstruct urban landscapes.

The “UNESCO World Heritage Convention”, in 1972, referred to the kind of natural and cultural sites that comply with the necessary criteria, in order to be inscribed and included in the World Heritage List. The 1972 convention included and presented the concept of cultural heritage and its national importance. Through its provisions, it emphasizes the value of cultural and natural heritage as an important legacy for humanity. It also sets out measures for the recording, protection, and preservation of cultural property, in order to preserve human history and memory. More specifically, cultural heritage consists of monuments, building complexes, and spaces, provided that they consist of heritage of a universal value from a historical, artistic, or scientific point of view. Natural heritage also consists of natural monuments and geological and natural sites. The main subject of the convention, in general, was to recognize the importance of cultural heritage in order to preserve and protect it [1].

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

In Greece, appreciation of industrial buildings has been relatively recent; state legislation 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 relevant research projects. An essential method of protecting industrial buildings and monuments is the adaptive reuse of these spaces, in order for them to be adapted, in a useful way, to the urban landscape. Derelict spaces need to be transformed and reanimated into active places; many possessing interesting stories to narrate. The re-use of industrial buildings for cultural activities, as a solution to the problem of protecting these buildings, has been a common 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 and heritage 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 was the purpose and cause of this research. Greece, among other countries, presents an abundance of industrial monuments, forming a valuable industrial heritage. It was observed that many of the former industrial factories in Athens operate today as cultural spaces and theaters, distributed in numerous city areas, many of them accumulated in specific streets and neighborhoods. This observation needed to be verified through a thorough bibliographical research work, in order for this hypothesis and reflection to be analyzed and elaborated. Along with the concentration of examples and cases from international studies and bibliography, the in situ research and examination of many industrial buildings in 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 buildings from this study that presented similar characteristics, in order to make classification lists (Table 1 and Table 2). In this way, an on-line inventory was created using google maps, with a collection of information about the history and location of the buildings (Figure 1). The specific former industrial spaces were placed on a map and formed routes and clusters of industrial areas in the city of Athens. It was very interesting to note the distribution of the larger spaces in contrast with the minor ones in the city areas, which were built decades ago for a particular purpose. Once this online inventory was made, it was imperative to move forward to the proposition of creating a digital tool that would present this information, combining the theory with an interactive map. Following other examples of digital applications, from other groups, such as MONUMENTA [8]; the Museum of Greek Modern Culture, with the mobile application for a digital tour of the Bath House of the winds [9]; and interactive maps from university programs [10], such as a database and digital platform for the monuments of the Ottoman period in Corinth [11]; a proposal was shaped, including research about the industrial buildings in the city, as well as oral and written information. The proposed application for mobile devices is presented, with the hope of it being realized in the future.

3. In Situ Research

3.1. Industrial Buildings: Theaters and Cultural Centers

Due to the changes the city has faced, concerning the transformation from an industrial to a modern city of the 20th century, many aspects of the social and cultural spaces were influenced. A large amount of abandoned industrial buildings were in decay, without use, causing pollution and citizen disapproval. It was at this point, when buildings were being neglected, that artists explored the idea of presenting theatrical plays in different spaces and buildings, with promising spatial possibilities [12]. They had the urge to create new narrations with a direct connection between the viewer and the space where the 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 special identity [12]. The way people watched theater changed drastically, and in addition to the 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 thought that theatrical performances could be presented everywhere inspired artists around the world and created a new wave of presenting artistic pieces and performances in obsolete industrial spaces, which were revived through their new use [13]. Industrial buildings were the main kind of derelict spaces in which cultural performances and activities took place, for the reason that this was more economical than building a new center and because they 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 to be demolished. These buildings were cultural symbols that facilitated national memory and, as heritage buildings, were evidence of people’s lifestyle in the past [16]. According to this mentality, several uses and meanings were applied to industrial buildings, such as spaces for cultural activities. Individuals and cultural groups wanted to find new forms and styles, in order to manifest their beliefs and, principally, to present their work using different landscapes. Based on this cultural tendency in the 20th century, this research focuses in thirty industrial buildings (Table 1 and Table 2), located in Athens, Greece, which have been reused as theaters (Table 2) or cultural spaces (Table 1). These spaces were examined considering their use as either theaters or cultural centers, their location, their date of construction, 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 of Athens, in Plaka, Thisio, Neos Kosmos, Psiri etc. Most of these buildings were built in the late 19th century and during the interwar period (1930–40), and finally, the period of their adaptive reuse mainly began from 1990 to 2000. Through the research of industrial shells in various areas of Athens and through the process of recording the specific buildings and complexes, convergences were observed, but also discrepancies between records. The industrial buildings that were studied are buildings of the 19th and 20th century and were created in the era of the industrialization of Greek production. Most of the industries were created by men who later handed over the factories as a legacy to their family. Several of the families came from abroad, such as Asia Minor, or from other parts of Greece, such as Thessaloniki, and set up their businesses in Athens in order to expand. In the majority of them, of the factories and handicrafts that are recorded, historically contributed to the emergence of the industry of Greece and specifically of the capital, Athens, creating a strong core of production. The production units that developed, depended in each season on the demand for their products and the international market, as the production was transferred to foreign countries. Depending on international and domestic economic developments, the creation of new production units and the decline of older ones was affected. 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. Working conditions varied from factory to factory, but inequalities and hardships persisted in the lower working classes. Accordingly, living conditions in highly industrialized areas were unhealthy and generally unsuitable for housing, which did not prevent the state from promoting working-class neighborhoods in these areas. Εach region maintained its own character, 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, took place according to the size of each area and the possibility of exploiting the land. Factories usually 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 center of Athens was observed due to the opportunity to exploit the space, with mainly smaller crafts 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 the industrial units. Furthermore, this phenomenon was observed due to the decentralization of 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 buildings that 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 industrial complex and the opportunity to house a variety of activities. One such example is the building complex of Peiraios 260, which consists of six buildings, with the ability to host performances, exhibitions, etc. Therefore, the buildings located in the historic center of Athens, due to their size, are reused today and house theatrical stages; operating as theaters and not as spacious cultural centers. Of course the theatrical spaces in turn host activities such as periodic exhibitions in their limited spaces; however, they basically function as theatrical organizations. The people who were interested in the reuse of the buildings and thus 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 shells and gave them a new identity through reopening them, and this was usually done be groups of two or more people. From oral testimonies and written interviews with the owners of the buildings, there was a group collaboration in order to create spaces for art, as the 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, with the aim of housing cultural activities, and with respect for the nature of the building. The renovation of the log buildings was usually either the work of important architects, such as K. Krokos and M. Perrakis, or a collective effort by the owners. Overall, the recorded industrial shells are important monuments of industrial archaeology and are part of the national heritage of Greece. They present complete examples of reused industrial factories, which today house theaters and cultural organizations. Their re-animation in 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].

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 (Figure 2 and Figure 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 “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” (Figure 2 and Figure 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 6) 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 (Figure 7, Figure 8 and Figure 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].

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].

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 industrial buildings that are reused due to tourist and cultural plans, a beneficial way of highlighting them and creating means of attraction for the public is the spatial and semantic connection between them in the urban fabric [29]. The industrial monuments contain images and constitute signs of historical changes. For this reason, they are presented through thematic activities and routes, where they emerge in direct interaction and communication with the city in which they play a decisive role [30]. Experiential experiences through cultural routes are a part of industrial tourism, which functions as a means of developing the economy of a city. Industrial tourism includes concepts such as production and processing activities, the architecture of buildings, their technical equipment and machinery, and their products. This branch of industrial heritage includes in its broad definition the study and understanding of the social, economic, and cultural issues of specific eras [31].

Following the philosophy of smart cities [32], this paper presents a proposal for a digital inventory of the industrial buildings found in the historical center of Athens that have recently been readapted to host cultural activities. Τhe use of smart technology, by creating a digital application for smart phones, will provide access to a continuously enriched registry, via interactive maps offering relevant information about each building. This proposal is an initiative aimed at realization in the future, with appropriate funding, as an application has not been implemented at the present time. The purpose of this initiative is the protection of the industrial buildings, with the promotion of the buildings’ past and present use and, moreover, the creative concept of their multiple functions. The presented model of cultural management is applicable for every industrial building in Athens. More specifically, the application proposed for mobile phones will contain information about the 30 industrial buildings that have were recorded during the survey (Table 1 and Table 2). The application will initially refer to the location of each building, by placing a point on the map. Furthermore, the user will be informed about the identity of the building, following its historical course from the moment of its initial operation in industry, until the moment of 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 worked or lived in the recorded industrial area. An important addition would be the proposed routes, which the user would have the opportunity to choose, depending on the areas that they would be interested in exploring. This application is designed to be used in situ, in order 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 of Construction	Date of Termination of Activity	Equipment	Date of Re-Use
1. Peiraios 260	furniture factory	Peiraios street	1960	1990	Not saved	2005
2. Chytirio Theatre—Art cafe	foundry	Iera Odos	1880	-	Saved	2000
3. Virsodepsio (The old Tannery)	tannery	Votanikos	1896	1970	-	1994
4. Peiraios 131	lumber factory	Peiraios street	-	-	Not saved	1998
5. Athinais Cultural Center	animal silk production factory	Votanikos	1920	1950	-	2000
6. Melina Cultural Center (PIL-POUL)	hat factory	Thisio	1896	-	Not saved	1980
7. BIOS—ROMANTSO	printing factory	Omonoia	1930–40	-	-	2012
8. Technopolis	gas factory	Kerameikos	1862	1984	Saved	1999
9. Hellenic Cosmos Cultural Center	pipe production factory	Peiraios street	1940	-	Not saved	1997
10. Scholeion tis Athinas “Irene Papas”	pipe production factory	Peiraios street	1916	-	-	1993
11. “Apollon” Cultural Center	rice factory	Kaminia	1876(~)	-	-	2006
12. Athens School of Fine Arts	textile factory	Peiraios street	1925	-	Saved	1992

Table 1. List of industrial buildings: cultural centers.

Name	Former Use	Location	Date of Construction	Date of Termination of Activity	Equipment	Date of Re-Use
1. Peiraios 260	furniture factory	Peiraios street	1960	1990	Not saved	2005
2. Chytirio Theatre—Art cafe	foundry	Iera Odos	1880	-	Saved	2000
3. Virsodepsio (The old Tannery)	tannery	Votanikos	1896	1970	-	1994
4. Peiraios 131	lumber factory	Peiraios street	-	-	Not saved	1998
5. Athinais Cultural Center	animal silk production factory	Votanikos	1920	1950	-	2000
6. Melina Cultural Center (PIL-POUL)	hat factory	Thisio	1896	-	Not saved	1980
7. BIOS—ROMANTSO	printing factory	Omonoia	1930–40	-	-	2012
8. Technopolis	gas factory	Kerameikos	1862	1984	Saved	1999
9. Hellenic Cosmos Cultural Center	pipe production factory	Peiraios street	1940	-	Not saved	1997
10. Scholeion tis Athinas “Irene Papas”	pipe production factory	Peiraios street	1916	-	-	1993
11. “Apollon” Cultural Center	rice factory	Kaminia	1876(~)	-	-	2006
12. Athens School of Fine Arts	textile factory	Peiraios street	1925	-	Saved	1992

Table 2. List of industrial buildings—theaters.

Name	Former Use	Location	Date of Construction	Date of Termination of Activity	Equipment	Date of Reuse
1. Neos Kosmos Theater	beer warehouse	Neos Kosmos	Early 20th century	-	Not saved	1999
2. Thission Theater	wood warehouse	Psiri	Early 20th century	-	-	1997
3. Greek Art Theater Karolos Koun (Art Theater)	wood warehouse	Thisio	20th century	-	Not saved	1985
4. Kykladon Street Theatre—Lefteris Vogiatzis	warehouse	Kipseli	-	-	Not saved	1982
5. Embros Theater	printing factory	Psiri	1930	-	Not saved	1988
6. 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 Vasilakou Theater	wood warehouse	Kerameikos	1937	-	Not saved	1998
12. Apothiki Theater—Aliki Georgouli	wood warehouse	Psiri	-	-	Not saved	1980
13. Sfendoni	wood warehouse	Makrigianni:	-	-	Not saved
14. Altera Pars	car paint shop	Kerameikos	-	-	-
15. Argo	warehouse	Metaxourgeio	-	-	Not saved
16. Attis	glass factory	Metaxourgeio	-	-	Not saved
17. Politeia	1. typewriter 2. printing office	Psiri	1930	After World War II	Not saved
18. Emborikon	printing house	Psiri	-	-	-

Table 2. List of industrial buildings—theaters.

Name	Former Use	Location	Date of Construction	Date of Termination of Activity	Equipment	Date of Reuse
1. Neos Kosmos Theater	beer warehouse	Neos Kosmos	Early 20th century	-	Not saved	1999
2. Thission Theater	wood warehouse	Psiri	Early 20th century	-	-	1997
3. Greek Art Theater Karolos Koun (Art Theater)	wood warehouse	Thisio	20th century	-	Not saved	1985
4. Kykladon Street Theatre—Lefteris Vogiatzis	warehouse	Kipseli	-	-	Not saved	1982
5. Embros Theater	printing factory	Psiri	1930	-	Not saved	1988
6. 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 Vasilakou Theater	wood warehouse	Kerameikos	1937	-	Not saved	1998
12. Apothiki Theater—Aliki Georgouli	wood warehouse	Psiri	-	-	Not saved	1980
13. Sfendoni	wood warehouse	Makrigianni:	-	-	Not saved
14. Altera Pars	car paint shop	Kerameikos	-	-	-
15. Argo	warehouse	Metaxourgeio	-	-	Not saved
16. Attis	glass factory	Metaxourgeio	-	-	Not saved
17. Politeia	1. typewriter 2. printing office	Psiri	1930	After World War II	Not saved
18. Emborikon	printing house	Psiri	-	-	-

The main tool of the application will be the interactive map, through which the user will 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 important role that industry and its buildings play in Athens’ character. The industrial buildings of Athens must be noticed and presented so that everyone can understand the architectural and urban history of the city. Urban streets are defined by their buildings, which create areas and landscapes. The history of the buildings should be made known, so that the citizens can appreciate their own city. In conclusion, through this application the user will receive multiple types of information: historical, architectural, and cultural.

4. Conclusions

During the conducted survey by team V.I.D.A., with the purpose of creating an inventory of industrial buildings in Athens, Greece, the main idea was to inform people about the importance of industrial heritage. Each building that was recorded and listed in Athens presents a unique story about its past and present use. It is very interesting that these industrial spaces were transformed in order to function as theaters or cultural centers, as part of a worldwide phenomenon in the 20th century, and with creative alterations favoring artistic expression. In addition, it is important to emphasize the value documentation when considering industrial monuments, so as to preserve and protect them. The process of registering industrial buildings is an integral part of industrial archaeology. This concerns the 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 a public archive, with direct access to it via an electronic form. There are several voluntary registration 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 without the help of smart technology. Technology offers countless opportunities to evolve tools to highlight and promote the importance of world heritage. More specifically, applications are created to promote the heritage of a city and motivate citizens to learn more about the history of their city. In addition, these applications play a very important role regarding a city’s tourism, as they are repositories of information accessible to all. Nevertheless, it is vital to mention that the in situ use of the mobile application could present limitations concerning people with movement disabilities. The creation of a mobile application aims at its convenient and beneficial use by everyone; whereas the in situ use of the application could be difficult, due to the non-virtual routes the application proposes that users follow in the city. At the same time the application operates as a inclusive tool for these groups, due to the virtual information it provides. Moreover, the use of the app requires a compatible android 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 opportunities into the hand of each user, it raises questions about the hazards that on-site visits and the observation of these monuments would have to consider. Digital applications offer a virtual experience, often with no need for the physical presence of the user, and so they create 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 and function, aiming at a sustainable preservation of cultural heritage. The next generations should be able to acknowledge the role of industrial buildings in the economic and social life of the country and their significance for our collective memory.