Aesthetics of the Invisible World

The New York Times ran these pictures today in an article entitled When Auto Plants Close, Only White Elephants Remain.  In sum, the story notes that out of the 22 major plants closed since 2004 by GM, Ford and Chrysler, only 8 have found buyers.  These buildings end up an empty shell of undeveloped land that strain the communities they reside in and the companies that own them. 

The first picture is one of the few plants built in the actual city of Detroit.  The Packard plant has been abandoned for 50 years; it is a symbol of the hopelessness and blight that ensnare east Detroit after decades of opulence.  The New York Times ran the photo even though it is largely irrelevant to the article itself outside of supporting some worst-case scenario of these buildings sitting unused for a half century.  More significant than the evidence it provides, this plant helps build a meaningful narrative into the article.  It has an inherent romantic beauty that clearly tells the story of a bygone era.  Most articles about “Detroit” - even if they aren’t about the city itself - have a picture like this because the subject is thoughtful and meaningful.  Anybody who has been to the city itself knows the amazing architecture that can easily be seen throughout. 

Motor City Industrial Park is prominently displayed on the concourse of the Packard plant.  An unnecessary ode to the city.  An undeniable mark of civic pride.  The nickname.  The size of the letters.  This isn’t just any city, the is the Motor City.  Detroit Power.

The second picture (roll over the image to view) is a more contemporary suburban plant.  No notable architectural details.  No aesthetic concerns.  No pride.  Completely functional, this plant absolutely conveys the type of work that goes on inside. 

So if a plant from 50 years ago tells a story just by the way it looks, what will the plants of today tell the next generation about this one?  Comments welcome. 

[Packard Plant Photo: Rebecca Cook/Reuters]

[Wixom Plant Photo: Fabrizio Costantini for The New York Times]