Keywords
archeology
historical monument
conservation of cultural property
Train Station
How to Cite
Abstract
Intervening to reuse? Intervening minimally to conserve? Does using, reusing, change the use? Different concepts,changing as societies and fashion, leading to very different solutions, and also directly affecting the degree of socialperception and valuation of that listed or recognized as monument. A tour of the main stations of the Compañía de losCaminos de Hierro del Norte (Company of the Iron Ways of the North) in Spain allow analyzing these issues and givesrise to reflect on them and their concrete results to consider the findings in future interventions. This paper analyzesthe type and degree of intervention in the selection made from the examination of the constructive materiality of theintervention, use, environment, and the degree of maintenance, among other factors, and the reflection on it. Theeffectiveness of legal protection figures and their application to specific cases is another of the issues. Comparinglittle intervened stations, as Medina del Campo, and some almost abandoned, as Canfranc station, with other widelytapped as Valencia station and then assess the degree of social appreciation of these monuments of industrial heritage,may allow a glimpse on the ways to follow and help establish basic guidelines as well as clear criteria for intervention.Apuntes is registered under a Creative Commons Attribution 4.0 International Public License. Thus, this work may be reproduced, distributed, and publicly shared in digital format, as long as the names of the authors and Pontificia Universidad Javeriana are acknowledged. Others are allowed to quote, adapt, transform, auto-archive, republish, and create based on this material, for any purpose (even commercial ones), provided the authorship is duly acknowledged, a link to the original work is provided, and it is specified if changes have been made. Pontificia Universidad Javeriana does not hold the rights of published works and the authors are solely responsible for the contents of their works; they keep the moral, intellectual, privacy, and publicity rights.
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