Professional Documents
Culture Documents
design
ISBN 978-80-969392-8-2
EAN 9788096939282
handbook
for cultural
centres
4
5
6 7
2 culture factories
integrity and even nobility in honest who built our society. They don't have
Since the founding of Trans Europe and the ideas of equality, solidarity labor. monuments to their memory, but
Halles (TEH) there has been and international networking were Throughout Europe from the 1960s these structures, where they built our
astrong association with old factory advocated. onwards, the idea that culture was prosperity and possibility for future
premises. Even today the criteria for not just reserved for ruling classes generations represent their spirit.
membership of TEH states that centres Similarly, the social and cultural lives and that everyone had an equal right There is an allure to these buildings,
should preferably originate from of workers and their families revolved to acultural voice was vigorously sometimes asimple and beautiful
acommercial or industrial heritage. around these hubs of industry with pursued by anew youth movement. form like the former creamery now
While it is understandable that young the central human need for individual This meant finding places to make the occupied by Mejeriet in Lund, Sweden,
activists and artists might squat or rent and communal expression and idea manifest, as the establishment was or the cathedral-like vastness of
these old buildings because they are communication at their heart, forming not about to allow revolutionaries into Kaapelitehdas (Cable Factory) where
abandoned or cheap, it is perhaps more their own neighbourhoods and adding their palaces of culture. The abandoned they once made the transatlantic
difficult to comprehend what attracts their own amenities. For almost two industrial sites were called back into communication cables for Nokia, that
them to these spaces other than centuries these neighbourhoods grew service, as factories of adifferent represents adifferent kind of history,
necessity. Occupying dilapidated, cold up around industrial buildings and this kind: culture factories. New forms of the unspoken people'shistory, survived
and dysfunctional warehouses might relationship is ingrained in the DNA of music, dance, performance, visual by new generations who continue the
seem obvious when you have no other cities and citizens. art and, in fact, any innovation that struggle for anon-hierarchical culture.
option, but surely acomfortable, new signified change and freedom, filled
and working building would be much As the great manufacturing age ended these former halls of industry. From All across Europe you can find these
more preferable, given the chance. Why in Europe in the 1960s and 70s, the counterculturalism to punk, communes cultural and art centres and these
make it aprinciple? buildings of the industrial age emptied. to eco-collectives, neighbourhood buildings. Go and discover them.
Still, these places seemed to attract centres to anarchist squats, this
Perhaps the answer lies in the history new generations who had different rehabilitation of our industrial heritage Sandy Fitzgerald
of these places. Our industrial heritage ideas for their use. It is no accident continues. With the fall of the Iron
is also the history of communities that what might be considered the Curtain in 1989, awhole new landscape
and, by association, the history of first symbolic transition from the old with respect to these old buildings
grassroots movements. Most of our to new was called The Factory. This, opened up, with many now undergoing
recent ancestry is rooted in the of course, was Andy Warhol'sstudio similar transformations to their
industrial revolution, in the factories founded in 1962 at 231 East 47th Street, Western counterparts.
and depots, storehouses and mills of Manhattan. If you look at the pictures
mass manufacturing and distribution. from that era in NYC, you notice Trans Europe Halles has recognised and
It is in and around these places that how the architecture reflects most embraced this trend from its founding;
people lived out their lives, fought for concomitant arts or cultural centres its original members themselves were
and built society from: the ground that occupied old industrial buildings: housed in abandoned covered markets,
up. This is where our modern cities brick walls, iron metalworking, surface old factories, and the like. The pioneers
come from, fashioned from the labour, pipes, mechanical boxes and lots of of new cultural movements also
skill, ingenuity and creativity of the support pillars. Warhol was the son of protected these former industrial sites
working people. Here the principles working class parents, suggesting that, and advocated for their preservation.
of the labour movement were forged to venerate our forefathers, we seek This heritage represents the people
8 9
Fabryka Sztuki, d
3 to love buildings
The relationship of the peolpe with the place where
they work is always felt from the outside also.
Agata Etmanowicz
10 11
4 location
Is the culture centre in city or in the countryside?
Is it in the centre or in the suburbs?
Is it astandalone building or apart of acomplex?
Moritzbastei, Leipzig, 521 000 inhabitants
Village Underground, London, 15 000 000 inhabitants (metropolitan area) Stanica ilina-Zrieie, ilina, 82 000 inhabitants
Antic Teatre, Barcelona, 5 300 000 inhabitants (metropolitan area) OZU, Monteleone Sabino, 1257 inhabitants
Rda Sten konsthall, Gteborg, 522 000 inhabitants Not Quite, Fengersfors, 345 inhabitants
12 13
Creative Centre Carnation, Tartu
5 ambitions
It is nearly impossible to imagine that it could work,
which is why it is suitable as the greatest ambition.
14 15
6 old vs. new
16 17
NOASS, Riga
Dzintars Zilgalvis
18 19
Moritzbastei, Leipzig
It'sareally big building 1400 square We do events that use the whole
metres, but the space is divided into building. You can walk around in
alot of small rooms. We would like to acircle and in one night you can dance
have more people in one room. Overall to radio music or hard rock or techno;
we can host about 1200 people, but not it'slike asmall festival. If you are in
in one room. the electronic room, you can't hear
anything from the heavy metal floor.
It'squite unique we can have It'scompletely separated, but you
different events. In one room we can can easily walk to the next floor and
have theatre, in the second music, in see it. Walls are made of stone, three
the third reading. It'san advantage on metreswide.
one hand, and on the other it'sdifficult,
because we are limited, we can do We are not able to change the main
concerts for 300 people maximum. construction to widen things. Our
challenge is to use the space we have in
an intelligent way and to structure our
programme so that it fits the building.
Torsten Reitler
20 21
Pekarna magdalenske mree, Maribor
9 time to squat
The trigger was thefeeling of one'sright
for space being endangered.
Borut Wenzel
22 23
Centre for Creative Industries Fabrika, Moscow
10 no grants
Fabrika pays and produces cultural
content by itself. We don't have any
funding nor sponsors. Our factory is an
umbrella center we have tenants, we
deliver spaces for them, and they pay
the rent. This rent is low, so it is akind
of discount for creative industries. This
money is more or less enough to pay
salaries, to pay taxes, to renovate our
buildings and to arrange and produce
exhibitions. So we are completely
independent and we do not use any
financial support.
Asya Filippova
24 25
Fabryka Sztuki, d
11 private-public
partnership
Forms of self-governance adapted from the non-cultural
sector offer new possibilities for funding.
Agata Etmanowicz
26 27
Moritzbastei, Leipzig
12 protected building
Besides some advantages, the status of ahistorical
monument brings along with it alot of obligations.
Torsten Reitler
28 29
ufaFabrik, Berlin
Sigrid Niemer
30 31
OZU, Monteleone Sabino
14 hidden defects
Even the use of an almost new building might involve
hidden defects, left behind by the previous user.
This place was built in the 80's. It was to carry water away was fake! It was
supposed to be atypography workshop. closed. This was only the beginning of
It was open for six months and then it, and then there was awall.
they closed because it was too isolated.
The streets were too narrow for the Why should people build afactory here,
truck to bring paper. in the middle of nowhere? Without
foundations? The answer is there was
Then it was acandy factory for four some public money to build industrial
years. They were supposed to produce areas in the mountains, probably for
candies here, but they were only financing new activities. They decided
packing them. Sometimes they were to build this, they stole money from the
also packing candies that were too old building, and this is the result.
to be sold. This place belongs to the
local community. They managed to Paola Simoni
get rid of them but the place was filled
with all the stuff. Tons of old candies
everywhere... 18 tons' worth. It took two
years to fix and empty the space.
32 33
Village Underground, London
15 warehouse
Awarehouse = lots of space.
34 35
Bakelit MAC, Budapest
16 loft
Every disadvantage of aspace which makes it more difficult to
use compared to others decreases interest and, as aresult, also
its market value. That'swhen it starts to be interesting for us.
36 37
A38, Budapest
17 ship
Rent on the river bank is expensive and usually the
best in town. The idea of creating acultural centre
on aship looks like avery effective one.
38 39
DOM, Bologna
18 circle venue
Acircular floor plan, with an evenly distributed technical
structure, enables aversatile configuration.
Federica Rocchi
40 41
Village Underground, London
42 43
Suvilahti, Helsinki
20 gas holder
Agrand space has closed one chapter of its existence; its
future has not been decided yet. It is already clear that
whatever will be created in it will be extraordinary.
44 45
Stanica ilina-Zrieie
21 train station
Stanica still functions as astation.
The negotiations with Slovak National Hundreds of people pass through every
Railways to rent the building for day on the local route ilina-Zrieie.
asymbolic price took us two years. Everyone, even those who have never
We were too young to be accepted been inside to see aperformance
as partners for negotiation by the or have acoffee, feel the benefit of
company. That is why there was it being acultural centre. It is clean
Marek Adamov'sfather to make the and safe throughout the day, and the
appointments and even accompany surrounding area is held to an above-
us to the official meetings. We started average standard.
the renovation of the whole building
with our first short-term contract that Thanks to the train live, in space is
allowed us to use just one room. It vivid also besides cultural ewents, all
was only later that we finally got the the day.
contract to use the whole building for
the next 30 years for asymbolic annual
fee. The contract included an obligation
to invest aminimum of EUR 300 000
into the renovations.
Robo Blako
46 47
Village Underground, London
22 studios in wagons
In the beginning there was apersonal need.
Its fulfilment brought along unplanned fulfilment ofthe
same need for abroad group of other people.
Auro Foxcroft studied furniture design Together with forty other artists,
at university. When he finished it, he he used four decommissioned tube
found it hard to find astudio space carriages of the Jubilee Line and two
in central London that wouldn't cost shipping containers.
alot of money. He was on atrain to
Switzerland when he had this idea In the meantime, he doesn't need
of getting old cheap carriages and astudio anymore since he stopped
transforming them into offices. working in interior design he has
become the director of acultural
centre."
Amelie Snyers
48 49
Stanica ilina-Zrieie
Materials:
50 51
Melkweg, Amsterdam
24 growth
From atwo-month event to the top of cultural
centres in Europe. Step by step, forty years.
2000
70s 80s
52 53
Melkweg, Amsterdam
24
54 55
Interzona, Verona
25 re-location
Relationship to the place where we work is
important. The team is even more important.
Ada Arduini
56 57
Stanica ilina-Zrieie
26 mistakes
| Build the biggest cultural centre. Living Underground workshop 2012
| Artists are the best accountants. participants
| Don't get involved with
the community.
| Don't make astorage space.
| Keep secrets from each other.
| Don't inform people; surprise them.
| Ask sponsors for money and
don't contact them ever again.
| Buy the smallest, cheapest
and oldest car.
| Ignore the town planners
and architects.
| Finish your space at the beginning,
so you don't have to improve it later.
| Follow the rules and
strictly obey the law.
| The profit from a bar or
ashop? You don't need it.
| Trust everything that'ssaid,
don't put it on paper.
| Do several projects at the same time.
| Focus on the aesthetic,
not on content.
| Use one space for all activities,
don't try it out before the opening.
| Don't rent equipment, buy it.
| Don't measure, just cut.
| Don't set deadlines.
| Don't worry about how the
building looks from the outside.
| Don't bother with the mess
outside, it'snot yours.
| Do things conventionally
and copy others.
| Be adictator.
58 59
Suvilahti, Helsinki
Stuba Nikula
60 61
Buenaventura, Castelfranco Veneto
28 think tank
It is better to consult professionals with certain issues.
In2005, Buenaventura was at the point of changing completely.
It was supposed to leave the old building for the new one
and redefine itself. The 59th Trans Europe Halles meeting
offered it the best possible people to help out with the decision
making representatives of all other member centres.
1. 2.
| Residential accommodation: 10 places 3.
The Oficina di Buenaventura Cultural "The meeting drew from the extensive for permanent resident BV staff
Centre is located in northern Italy, knowledge and experience of its | Private kitchen for per- Whatever you decide for the future
40km from Venice. Castelfranco Veneto members who were able to share stories manent residents. of Buenaventura, it is your decision.
is asmall, prosperous town with 30,000 of the start of their projects. | 10 places for short-term art- What we advised are just our views and
residents. ists and guests. thoughts. My only advice (to misquote
Buenaventura should use existing | AConference Hall for up to 100 seated. the father of Socialism) is that
We have: buildings. They should start with | Acatering kitchen able to philosophers and politicians spend
asmall house with space around it and serve up to 100 people. most of their time talking and arguing
| Aconcert venue for 100 people develop slowly. | Offices with 20 work stations about what is wrong with the world
| Abar | Technical storage (Minimum of 2) when what is important is to change it.
| An apartment with rooms They should have: | Independent premises for
for five volunteers children'sactivities. Paul Bogen
| An Internet room with 12 PCs | Atheatre with aseating capacity of200 | Green space outside.
| Aconference venue used also and good flexibility with the ability | Parking for cars and bicycles." 4.
for courses (tango, theatre, to become aflat floor throughout.
photography, video, etc) | 2 Dressing Rooms TEH meeting report The old centre closed down. The new
| Akitchen for 40 people | Amusic venue for 300 standing one was never built and the group fell
| Adarkroom. people which may also be used apart. We can't be sure whether one day
for music rehearsals. Buenaventura won't be renewed or have
Buenaventura staff | Abar/caf should be the hub of the afollow-up centre.
centre, serving all the spaces and able
to open to the outside in the summer.
| 4 workshops (e.g. photographers,
painters, artists, sculptors, etc.)
62 63
Stanica ilina-Zrieie
29 flux
Since 2003 the train station has been rebuilt many times.
Itis already clear that the current state is not final.
64 65
30 venues
Melkweg, Amsterdam
Interzona, Verona
66 67
Men spaustuv, Vilnius Stanica ilina-Zrieie, ilina
31 questions
to ask yourself
In the history of Stanica, there have 2004
been two meetings where together
they revised the positions of everyone | 8 x job descriptions
who works here and everything that | activities
represents Stanica the activities | target groups
they are doing, the distribution | volunteers
ofresponsibilities, the mission, the | internal communication
vision and the future plans.. | mission
| reconstruction of the building
Most of the people are not the same; the | responsibilities
team has grown. Stanica has become | traffic management
awell-established institution which | where does Stanica see
deals with adifferent set of problems itself in 5 years?
and thus, the structure of its planning | to-do list
has changed.
2012
| 14 job descriptions
| what don't we want at Stanica?
| what characterises us?
| what do we want to change?
| who doesn't want to do what?
| who has the main
responsibility for what?
| mission
| what are we successful at?
| what'sour motivation?
| what are we not doing and should be?
| new system of bar management
| new system of meetings
| our history
| solutions for the space crisis
| organisation structure
72 73
Antic Teatre, Barcelona
32 advice on renovation
My advice: To all of you who want to make changes
In 2005 we managed to avoid being The basic renovation project comes
and are responsible for acultural
closed down for not fulfilling certain to 950,000. This includes work to
As the person responsible for the Antic centre, that is, who sign, pay and
health and safety regulations. This guarantee load-bearing standards in
Teatre Ifound myself in avery difficult have maximum responsibility for
marked the beginning of our project the performance hall, new toilets,
position, with absolutely no experience everything, You really must read the
to completely renovate aculturally, improving and extending the
in building renovation (much less for whole project through in depth. Even
historically and architecturally performance hall, anew terrace, all the
listed buildings!), with no knowledge if you aren't an architect and can't
significant building and put it to public new installations and restoration of the
of architectural blueprints, renovation understand it because it'snot your
use as atheatre. faades. Our contract, signed in 2007,
projects, or official regulations. specialisation, you must do this. If you
gives us 20 years to complete these jobs.
read it over and over you will begin
Antic Teatre'srenovation is important
to understand. You need to find an
for the following reasons: List of the completed renovations:
expert and technical manager of the
| Neighbourhood renewal: in this
project. Someone who is familiar with
neighbourhood, currently undergoing | 1. Structural reinforcement of the
all applicable regulations for work
transformation in the very heart floor in terrace, hall and bar.
according to law, to obtain all permits,
of the city'sold town, many of the | 2. Blocking the windows in the perfor-
and in our case, the final or initial
buildings do not comply with current mance hall, soundproofing the hall
license favorable for control of the
regulations and are in bad condition. and reinforcing it with iron beams.
environment.
Improving the environment gives the | 3. Construction of acabin
neighbourhood new life, in addition for technicians.
Semolinika Tomic
to the residents themselves and | 4. Building amoving grid for
people who are passing through. lighting and other props.
| Performance arts: Barcelona has | 5. Reconstructing the whole
many theatres, but young and terrace and access steps.
experimental companies find | 6. Building male, female and
it hard to gain afoothold in the handicap-accessible toilets.
market. With affordable ticket | 7. Creating secondary access
prices and awelcoming policy, for the disabled, which doubles
Antic Teatre opens the doors to as an emergency exit.
innovation and new audiences. | 8. Fitting of alift for access.
Social centre: in its original | 9. New electricity and
incarnation as the Circulo plumbing systems.
Barcelons, the centre provided | 10. Installation of several fire doors.
cultural activies for poorer local | 11. Fireproofing.
people. Antic Teatre continues along | 12. Installation of smoke detectors
these lines, as ameeting place for and ahose connection point
people from the neighborhood. for firemen in case of afire.
| 13. Installation of an air conditioning
system in the theatre, bar and foyer.
74 75
Stanica ilina-Zrieie
33 non-financial support
of renovation
The hardest is to find money for
building (e.g., electricity) and the
easiest is for the programme. For the
building we use part of the money
from the bar and donations. For
reconstruction, you actually don't
need money you need material
and people. It is easier to search for
volunteers or for companies that can
donate material than to ask for money.
Marek Adamov
76 77
Stanica ilina-Zrieie
34 communication
of an architectural vision
The workshop, which dealt with the architectural vision of
the development of Stanica for the next 10 years, was unique
not only due to its content, but also because its results were
coherently formulated and presented to the public.
Marek Adamov
78 79
Men spaustuv, Vilnius
35 cover first
How to beginreconstruction? If abuilding is not going to fall
and it doesn't need astructural overhaul, it is necessary to
enclose its exterior, which protects it from atmospheric exposure.
The roof and faade are acceptable, but we need to close the
openings of the buildings. Then we can work inside year-round.
80 81
Mains dOeuvres, Paris
36 venue reduction
Abig space can always be made smaller.
82 83
Rda Sten konsthall, Gteborg
37 temporary partitions
Abig space offers more options than asmall one.
You can't turn small rooms into abig one, but abig
room can easily be divided into smaller ones.
84 85
Teatr ania Nowa
38 separating public
fromstaff
Alot of operational problems can be avoided by separating
the space for visitors and staff. It seems obvious if only this
rule wasn't breached with almost every centre's conversion.
86 87
Antic Teatre, Barcelona
39 narrow venue
In asmall, narrow venue, the capacity of the standing audience
can be low due to the inefficient arrangement of access corridors.
By reducing their number you can achieve abetter balance.
Semolinika Tomic
88 89
Rda Sten konsthall, Gteborg
40 industrial gallery
An exhibited object stands out more in aneutral environment. In a
space with strong character, the two are always in a dialogue with
one another. What has more value? The building or the exhibition?
90 91
Manifatture Knos, Lecce
41 grid
Huge rectangular fields of poles are the only size
limitation for the programme in this hall.
92 93
Manifatture Knos, Lecce
42 mobile furniture
The space is vast, the floor is even.
Tables, stage, dividing walls and other
furniture are constructed to be easily
moveable by asingle person.
94 95
WUK, Wien
43 instant blackbox
theatre
The theatre hall is aneutral space with blacked-out walls
and ceiling, so that full attention is paid to the spotlight,
where the performance takes place. That'senough.
96 97
Not Quite, Fengersfors
44 flat floor
Some holes are better filled than covered.
98 99
Men spaustuv, Vilnius
45 telescopic seating
Avenue that can offer facilities for theatre, projections,
dance, concerts where people are seated, concerts where
people are jumping, company parties, congresses, filming
that is aprofitable venue. To enable such a variety of
programmes, technical equipment needs to be adjusted.
100 101
124 credits
Published in 2014 Cooperation | Paola Simoni Photos, graphics Date of record 2013/05
1st edition, 700 pc. | Katarna Gatialov | Paul Bogen (with story number) | Pekarna magdalenske
| MarekHarark | Rbert Blako | Peter Lnyi: 6e, 9, 13, 14, 2005/05 mree, Maribor
Publisher | Matej Veverka | Sandra Jgeva 15, 18, 22, 25, 30b, 30g, | Buenaventura, | Metelkova, Ljubljana
| Truc sphrique, | Estelle Weiss-Tisman | Sandra Ottoson 30h, 37, 51a, 42, 43, 44, Castelfranco Veneto | Interzona, Verona
cultural centre | Marta Blakov | Sandy Fitzgerald 46, 52, 54, 58b, 61, 63, 65, | OZU, Monteleone Sabino
Stanica ilina-Zrieie, Makov | Semolinika Tomic 72, 74, 75, 76, 77, 78, 79, 2012/05 | Manifatture Knos, Lecce
www.stanica.sk | Jana Baierov | Sigrid Niemer 82a-b, 82e-h, 85, 91, 92, | A38, Budapest | DOM, Bologna
| Stuba Nikula 94, 95, 103, 105, 107, 108, | Bakelit MAC, Budapest
Printed and bound Respondents/ | Tanel Saar 109, 115, 120a, 121, 122 | Tabaka Kulturfabrik, 2013/07
| i + i print spol s.r.o. Contributors | Torsten Reitler | Peter Snadk: 5, 6a, 6d, Koice | Teatr ania
| Ada Arduini | Werner Wiartalla 7, 20, 27, 30c, 30e, 30f, Nowa, Krakw
Editor, author of texts | Agata Etmanowicz 30j, 35, 45, 47, 48, 51, 2012/08 | NOASS, Riga
| Peter Lnyi | Agn Tuskeviit Living Underground 2012 53, 55, 56, 57, 59, 60, | Stanica ilina-Zrieie | Men spaustuv, Vilnius
| Amelie Snyers workshop participants/ 62, 64, 67, 70b-e, 71b, | Melkweg, Amsterdam | Kultuuritehas
Graphic designers | Andrea Alba lecturers 73, 82c, 82i, 82k, 83, | Antic Teatre, Barcelona Polymer, Tallinn
| Marcel Benk | Asya Filippova | Adam Gebrian 86, 88, 93, 99, 100, 101, | Suvilahti, Helsinki
| Peter Lika | Benedek Vasak | Alison Killing 102, 104, 106, 110, 111, 2012/09 | Kaapelitehdas, Helsinki
| Borut Wenzel | Cor Schlosser 113, 116, 117, 120b, 123 | ufaFabrik, Berlin | Korjaamo, Helsinki
Photo editor | Camille de Wit | Juri Battaglini | Lucia Blanrikov: | Not Quite, Fengersfors | Verkatehdas,
| Peter Snadk | Cor Schlosser | Katarna Gatialov 16, 29, 31, 36, 38, 39b, | Rda Sten konsthall, Hmeenlinna
| Dzintars Zilgalvis | Karl Hallberg 43b, 58a, 70a, 71a Gteborg | Creative Centre
Co-editors | Enrico Blasi | Lea Linin | Stanica archive: | Moritzbastei, Leipzig Carnation, Tartu
| Marek Adamov | Federica Rocchi | ubica Segeov 21, 23, 30d, 33, 34, | Centre for Creative | Fabryka Sztuki, d
| Rbert Blako | Jadranka Plut | Marcel Benk 69, 90, 98, 118 Industries Fabrika,
| Pavla Lnyiov | Juri Battaglini | Martin Janok | Melkweg archive: 6c, Moscow 2013/12
| Peter Hapo | Karl Hallberg | Maurizio Buttazzo 24, 30a, 30i, 82d, 82j | Village Underground,
| Kate Zilgalve | Michele Bee | A38 archive: 6b, 17, 112 2012/12 London
Translation, | Lemmit Kaplinski | Natalia Novik | Google Earth: 4, 19 | WUK, Wien | Nov synagga, ilina
proofreading | Marek Adamov | Nina Vurdelja | Antic Teatre
| Monika ustekov | Mrton Bauer | Peter Lnyi archive: 32, 39a 2013/02
| Sandy Fitzgerald | Maurizio Buttazzo | Peter Lika | ThisWayDesign: 3 | Mains d'Oeuvres, Paris
| Christopher Ketchum | Mia Christersdotter | Semolinika Tomic | Zuzana Godlov: 24
| Elena Agia Bountouraki Norman | Stuba Nikula | Attila Urban: 40
| Michele Bee | Yaroslav Taranov | ufaFabrik archive: 114
ISBN | Monika Chabanov | Zuzana Godlov | STEALTH.unlimited
978-80-969392-8-2 | Nataa Serec archive: 119
| Olli Hietajrvi
264 265
125 list of participants
| A38, Hungary, Budapest, www.a38.hu
| Antic Teatre, Spain, Barcelona, www.anticteatre.com
| Art Factory d, Poland, d, www.fabrykasztuki.org
| Arts Printing House, Lithuania, Vilnius, www.menuspaustuve.lt
| Bakelit Multi Ars Centre, Hungary, Budapest, www.bakelitstudio.hu
| Buenaventura, Italy, Castelfranco Veneto, www.buenaventura.it
| CCI Fabrika, Russia, Moscow, www.proektfabrika.ru
| Creative Centre Carnation, Estonia, Tartu, www.nelk.ee
| DOM La Cupola Del Pilastro, Italy, Bologna, www.lacupola.bo.it
| Interzona, Italy, Verona, www.izona.it
| Kaapelitehdas, Finland, Helsinki, www.kaapelitehdas.fi
| Korjaamo, Finland, Helsinki, www.korjaamo.fi
| Kultuuritehas Polymer, Estonia, Tallinn, www.kultuuritehas.ee
| Mains D'Oeuvres, France, Saint-Ouen, www.mainsdoeuvres.org
| Manifatture Knos, Italy, Lecce, www.manifattureknos.org
| Melkweg, The Netherlands, Amsterdam, www.melkweg.nl
| Metelkova, Slovenia, Ljubljana, www.metelkovamesto.org
| Moritzbastei, Germany, Leipzig, www.moritzbastei.de
| NOASS, Latvia, Riga, www.noass.lv
| Not Quite, Sweden, Fengersfors, www.notquite.se
| Nov synagga, Slovakia, ilina, www.novasynagoga.sk
| OZU, Italy, Monteleone Sabino, www.ozu.it
| Pekarna magdalenske mree, Slovenia, Maribor, www.pekarna.org
| Rda Sten konsthall, Sweden, Gteborg, www.rodasten.com
| Stanica / Truc sphrique, Slovakia, ilina, www.stanica.sk
| Suvilahti, Finland, Helsinki, www.suvilahti.fi
| UfaFabrik, Germany, BerlinTempelhof, www.ufafabrik.de
| Verkatehdas, Finland, Hmeenlinna, www.verkatehdas.fi
| Village Underground, UK, London, www.villageunderground.co.uk
| WUK, Austria, Vienna, www.wuk.at
| Tabaka kulturfabrik, Slovakia, Kosice, www.tabacka.sk
| Teatr ania Nowa, Poland, Krakow, www.laznianowa.pl
Engine Room Europe was athree-year programme (April 2011-May 2014) of activities dedicated to independent
cultural workers and their creative processes. It was initiated by Trans Europe Halles (TEH) and co-ordinated
by Melkweg (Amsterdam, The Netherlands) in association with 10 co-organizing TEH members. Engine Room
Europe has been funded with the support from the European Commission. This communication reflects the
views only of the author, and the Commission cannot be held responsible for any use which may be made of
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