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The paper introduces ethical and aesthetical implications emerging from participative forms of adaptive heritage reuse. Its aim is to depict the overall framework to contextualize the investigations explored in the Special Issue titled “Ethics and aesthetics of adaptive heritage reuse in Europe.” Therefore, the article confronts with potentialities and contradictions of “open” heritage processes, introducing key critical elements to recode heritage practices and planning in today’s conjuncture of global change.

The paper drawn on a literature review, which combines different bodies of studies: heritage, urban studies, care studies and recent policy documents. A photographic essay, moreover, serves to “augment” the presented argumentations through a visual apparatus resulting from one of Gaia Ginevra Giorgi’s artwork, which develops in the intersection between performative art, participation and territorial reuse.

The author argues that for adaptive heritage reuse to be really sustainable, ethical and aesthetical heritage codes need to be reassessed and reoriented toward the present socio-ecological priorities, multiplicating the ways cultural heritage is conceived, valued and reused. The paper suggests proceeding along the creative paths of uncertainty, providing the first elements to develop political projects of abundance and enjoyment for current urban settlements.

The presented argumentations can be used as a baseline by heritage managers and policymakers to experiment with participative processes of adaptive heritage reuse and to identify more environmentally and socially just trajectories of urban development.

The paper expands the concept of adaptive heritage reuse, considering the active participation of both human and non-human agents. Treating heritage in a laic way, namely free from absolute and preordered judgments of value, it deals with uncomfortable heritage materiality and contexts, illuminating the quality of unpleasant or odd forms of beauty.

This article sets out to show how principles and questions about method that underlie a way of interpreting the discipline of conservation and restoration can find results in research and studies, aiming at achieving even conscious reuse process. The occasion is the very recent research performed on the former Church of Saints Gerolamo and Francesco Saverio in Genoa, Italy, the Jesuit church annexed to the 17th-century College of the order. It is a small Baroque jewel in the heart of the ancient city, former University Library and actually abandoned, forgotten for years, inaccessible and awaiting a new use.

The two-year work carried out on the monumental building was conducted according to a study and research methodology developed and refined over the years within the activities of the School of Specialisation in Architectural Heritage and Landscape of the University of Genoa. It is a multidisciplinary and rigorous approach, which aims to train high-level professionals, up-to-date and aware of the multiple problems that interventions on existing buildings, especially of a monumental nature, involve.

The biennal study has been carried out within the activities of the Post-Graduate Programme in Architectural Heritage and Landscape of the University of Genoa. The work methodology faces the challenges of the contemporary complexity, raised by the progressive broadening of the concept of cultural “heritage” and by the problems of its conservation, its active safeguard and its reuse: safety in respect of seismic risk, fire and hydro geological instability, universal accessibility – cognitive, physical and alternative – resource efficiency, comfort and savings in energy consumption, sustainability, communication and involvement of local communities and stakeholders.

The goals of the work were the following: understanding of the architectural heritage, through the correlated study of its geometries, elements and construction materials, surfaces, structures, spaces and functions; understanding of the transformations that the building has undergone over time, relating the results of historical reconstructions from indirect sources and those of direct archaeological analysis; assessment of the state of conservation of the building recognising phenomena of deterioration, damage, faults and deficits that affect materials, construction elements, systems and structures; identification of the causes and extent of damage, faults and deficits, assessing the vulnerability and level of exposure of the asset to the aggression of environmental factors and related risks; evaluation of the compatibility between the characteristics of the available spaces, the primary needs of conservation, the instance of regeneration and possible new uses; the definition of criteria and guidelines for establishing the planning of conservation, restoration and redevelopment interventions.

By reconsidering the concept of the historic environment, the aim of this study is to better understand how heritage is expressed by examining the networks within which the cultural performances of the historic environment take place. The goal is to move beyond a purely material expression and seek the expansion of the cultural dimension of the historic environment.

Conceptually, the historic environment is considered a valuable resource for heritage expression and exploration. The databases and records that house historic environment data are venerated and frequented entities for archeologists, but arguably less so for non-specialist users. In inventorying the historic environment, databases fulfill a major role in the planning process and asset management that is often considered to be more than just perfunctory. This paper approaches historic environment records (HERs) from an actor network perspective, particularizing the social foundation and relationships within the networks governing the historic environment and the environment's associated records.

The paper concludes that the performance of HERs from an actor-network perspective is a hegemonic process that is biased toward the supply and input to and from professional users. Furthermore, the paper provides a schematic for how many of the flaws in heritage transmission have come about.

The relevance here is largely belied by the fact that HERs as both public digital resources and as heritage networks were awaiting to be addressed in depth from a theoretical point of view.

The purpose of this paper is to describe the different design approaches architects take towards the adaptive reuse of small-scale shipyards. Thereby giving a proposition for future projects by giving insight in how others preceded and showcasing different possibilities.

The research is based on a literary review in combination with a case study, following one main question: What architectural approaches do architects employ in redesigning nineteenth- and twentieth century dockyards in Northern Europe and how do these approaches consider the history of building and context? First, this paper researches the history of adaptive reuse. Additionally, the historical and cultural context of shipyards is researched. Finally, a case study is done linking theory with practice. Selected cases are: Kromhout shipyard in Amsterdam, Verftet Ny-Hellesund in Ny-Hellesund and the Maritime Museum in Helsingør.

Four approaches to adaptive re-use were distinguished in the cases: differentiation, continuation, cultivation and optimisation. Each has its own implications for the design and the chosen approach is ultimately related to the important heritage values of each individual shipyard. Heritage professionals proved to have a great say, in the early stages of the adaptation process, in which the adaptive reuse approach was chosen.

This comparative research enables an in-depth analysis and comparison and thorough qualitative understanding. It however limits the insight in the representativeness of these cases.

This paper compares the adaptive reuse of small-scale shipyards in an international perspective. It offers insight into the patterns, principles and context of the architectural reuse of this underexposed industrial heritage.