The PAPER TRAILS project has secured the edition of an issue of the journal Ge-conservación ( to be published in 2023 under the title PAPER TRAILS: Post-industrial histories, technical memories and art practices. The volume will be edited by Herminia Sol, Federica Martini, Renata Faria Barbosa and Ricardo Triães and an external Scientific Council will evaluate the articles following a blind-review process.


UPDATE: The volume in question was published as a Special Issue in Volume 24 of the journal Ge-Conservación on the 15th of December 2023, and has been assigned the DOI:

The complete Volume 24 of Ge-Conservación  is available for download here:


Scientific Council of the volume

Ana Bela Morais - CEComp, University of Lisbon, Portugal

Ana Torrejais - Historical and Pedagogical Museum Prudente de Moraes, São Paulo, Brazil

Cecília Pérez Winter - CONICET/ University of Buenos Aires, Argentina

Fernando Costa -TECHN&ART, Polytechnical Institute of Tomar, Portugal   

Graça Filipe - HTC, NOVA University Lisbon, Portugal

Inês Serrano - TECHN&ART, Polytechnical Institute of Tomar, Portugal

Jaelson Bitran Trindade - ARTIS, University of Lisboa/ Member of the Research Fund Council of the Paulista Museum, Univ. São Paulo, Brazil 

João Coroado - TECHN&ART, Polytechnical Institute of Tomar, Portugal

Jorge Custódio - Portuguese Association of Industrial Archaeology/ IHC, NOVA University Lisbon, Portugal

Leonor Loureiro - West Dean College, Reino Unido

Luís Mota Figueira - GOVCOPP, Univ. of Aveiro/ TECHN&ART, Polytechnical Institute of Tomar, Portugal

Luís Pereira -TECHN&ART, Polytechnical Institute of Tomar, Portugal

Luiz Oosterbeek - UNESCO - CIPSH/CGEO, Univ. of Coimbra/ Polytechnical Institute of Tomar, Portugal

Marisa P. de Brito - Breda University of Applied Sciences, The Netherlands

Silviu Miloiu - Valahia University, Romenia

Zoltán Somhegyi - Károli Gáspár University of the Reformed Church, Hungria



Industrial heritage sites are commonly regarded as a nostalgic reminder of a past life, however their abundance raises legitimate concerns about their future. In recent times, pressure has been mounting, especially as a result of the emergence of new policies for urban planning and for heritage safeguard, to reuse or transform existing constructions within the frame of heritage laws (Oeverman & Mieg, 2015; Douet, 2016). The scale of technological obsolescence along with successive post-industrial and deindustrialization processes questions the number of buildings preserved and what should be kept when industrial production is over. Are all former industrial buildings to be preserved? What are they to be held for? What are the communities concerned and involved in the construction of this heritage? And what forms of preservation may be performed to keep both the material and immaterial memories that industrial experiences entangle?

Following guidelines by the Council of Europe in the 2010s, integrated conservation and revitalization practices have helped take the notion of industrial heritage out of the memory sphere and back into the productive one. While since the 1970s, industrial reconversions have frequently resulted in a transformation from an industrial site to a cultural location (Steyerl, 2009), the 21st-century industrial aesthetic shifts and readjusts to current economic rules and labour modes. At the same time, historical conversions such as the French "tiers-lieu" (third places) - industrial sites converted into cultural sites in the 1990s - have once again become vulnerable under the pressure of new territorial marketing policies. In such a changing context, new forms of conservation emerge across heritage studies, memory studies, and art practices that advocate for organically including in the preservation process workers' memories and technical knowledge along with the physical architecture of the industrial building.

In parallel, recent reflections on the usage of creative processes concerning industrial heritage conservation are challenging more orthodox stances on conservation ethics (Holtorf, 2020). These views argue that past legacies, far from being complete, mirror the transformation of perceptions of the past as time goes by. Some go even further and advocate for the adoption of a strategy that incorporates creativity in the conservation of severely damaged heritage items (Ireland, 2015). This approach also aims at instilling the objects with creative interest and, as a result, help in decision-making processes regarding the new shape and life they will be given while considering, at the same time, the significance of heritage preservation for future generations.

The volume “PAPER TRAILS: Post-industrial histories, technical memories and art practices” questions contemporary cultural, social and economic contexts where industrial heritage is performed. It promotes an interdisciplinary approach by summoning industrial heritage conservation and restoration, while also resorting to perspectives emanating from memory and artistic studies. With this in mind, the volume aims to assess current models for conserving tangible and intangible industrial heritage through the means of conservation and restoration, architecture, memory studies and art practices, while exposing the conflicts that these different views may carry.

The volume welcomes contributions on (but not limited to):

  • recent examples of conservation/restoration techniques of former industrial buildings;
  • sustainable development of reconverted industrial buildings (material vulnerability of reconverted former industrial buildings);
  • ecological impact of conservation/restoration of industrial heritage;
  • art-based conservation/preservation of industrial buildings as a creative and social empowerment act;
  • industrial heritage transformation through co-creation and artistic appropriation;
  • community-based art processes creating new narratives for post-industrial contexts; and
  • controversial and contentious narrative-related memories of industrial heritage (representativity, choices and intervention techniques).



Oeverman, H., & Mieg, H. (2015). Industrial Heritage Sites in Transformation. Routledge Puplication.

Douet, J. (2016). Industrial heritage re-tooled: The TICCIH guide to industrial heritage conservation. Routledge.

Holtorf, C. (2020). Conservation and Heritage As Creative Processes of Future-Making. International Journal of Cultural Property, 27(2), 277-290.

Ireland, T. (2015). The ethics of visibility: Archaeology, conservation and memories of settler colonialism. In The ethics of cultural heritage (pp. 105-125). Springer, New York, NY.

Steyerl, H (2009) Is a museum a factory? e-flux #7. Available at: (accessed 3 February 2022).



May 5th 2023

Deadline for submission of full article.



As part of the submission process, authors must check the compliance of the submission with all of the items listed below. Submissions that do not conform to the guidelines will not be considered. Therefore, it is important that the following instructions be carefully followed.

  • The file must be in format Microsoft Office Word® (*.doc);
  • When possible, website addresses and DOI must be included in the references;
  • Font: Garamond; simple line spacing and justified; no indentation at the beginning of the paragraphs; 12 points line spacing between paragraphs; all pages must be numbered; all illustrations, photographs and tables must be inserted within text in their adequate location and not at the end of the document; it must be used italics and not underlined (with exception for URL addresses);
  • The text must follow the Harvard Style; and
  • The text must follow the instructions required to be peer-reviewed under the blind-review system.

The papers submitted for publication must be original, i.e. they should not have been previously published, nor submitted or pending publication elsewhere. Any other situation should be signaled and duly referenced by the authors and will be analyzed by the Editors on a case-by-case basis, with the ultimate goal of ensuring transparency and safeguarding the originality of the paper. Failure to comply with these principles constitutes grounds to reject a manuscript, for which reason it is suggested that the template, available for download, and guidelines made available for this purpose be consulted

An external Scientific Committee will undertake article assessment by a pair of peer review process. Its acceptance or refusal and, when necessary, the article proposal alteration will be sent to authors by e-mail.

Texts presentation will be assessed by the Editorial Board. Authors can carry on corrections within the deadlines established in the program.  Yet, the proofreading of the texts and their linguistic quality is the authors' entire responsibility. Ge-Conservación takes no responsibility on the information presented on the articles nor can it be identified with it.


Article language. The original is presented in one of the following accepted languages: Spanish, English or Portuguese. The papers must contain a Spanish and an English title and abstract and, if written in Portuguese, must also incorporate the title and abstract in that language.

Authors must prepare the original following the guidelines presented below: 

  1.  Submission of original articles

    Authors must send the article on digital version, to the email address by the established deadline. If authors are unable to meet this deadline, they should contact the editors, through the email previously provided, in order to request an extension of the deadline for a period not exceeding 10 consecutive days.


Organization of files

The title of the text file will be based on the author’s name that should provide a complete list of sent files.


PAPERTRAILS_SURNAME_name_index (list of sent files, font: Garamond, 10 pt, normal letters, in MS Word® *.doc)



PAPERTRAILS_SURNAME_name_paper (for paper text in MS Word® *.doc)



PAPERTRAILS_SURNAME_name_illustrations (a list of illustrations and their respective captions in Microsoft Office Word® *.doc).



PAPERTRAILS__name_cv (Short CV of the authors that include postal address and e-mail address and ORCID if available. Font: Garamond, 10pt, normal letters, in MS Word® *.doc)



PAPERTRAILS_SURNAME_name_foto (One photo of each author should be in JPEG format and have enough quality for Web publishing, 200 pps)



The maximum amount of words allowed per article is 6000 (including bibliography, notes, captions, etc... .).

Manuscripts must include:

  • Title: this must be short. Those too long could suffer corrections. Letter size: 14 points;
  • Two cover pages, one with the explicit identity of the authors and the other without any reference to authors, containing only the title;
  • Author’s name(s): placed below title and must include full name and e-mail address. Letter size: 11 points;
  • Abstract: Main body of the text must be preceded by an abstract of 100 up to 150 words in Spanish and English, no matter what the idiom selected for the writing of the article. Letter size: 10 points;
  • Keywords: From 4 to 8 keywords, in small letters, below each abstract. These keywords must describe the most important aspects of the work, such as: main subject (e.g. conservation), materials in study, methodology applied, etc. In particular occasions, it can be used combined terms (e.g. preventive conservation).  Letter size: 10 points;
  • Main body of the text: Letter size: 11 points. Titles: bold letters, 11 points;
  • Notes: Do not use the automatic system of the software. You should insert notes within the text using 1. Notes or references should be at the final of the text, Garamond font, before bibliography and it must be numbered in sequential arabic characters. Letter size: 10 points;
  • Bibliography: Letter size: 10 points;
  • Short CV of the authors that include postal address and e-mail address and ORCID if available . Letter size: 10 points;
  • List of Captions (illustrations, photographs, graphs, tables) that includes authorship credits from that material that has been obtained reproduction authorization.  Letter size: 10 points.
  1.  Illustrations and tables

It can be used a maximum of 10 illustrations: photographs, graphs, etc.. Their placement within the text should be done using a reference inside curved parenthesis and sequentially numbered: [illustration 1], [illustration 2], [table 1], etc.. Those with link connections should be inside straight parenthesis [] and there is no limit number.
Images should be in JPEG format and have enough quality for Web publishing (200 pps). Authors must sent images within the text or on independent files, identified with the authors’ name. In all situations, it must be added a document with a list of illustrations and their respective captions in Microsoft Office Word® format.

      3. Permissions

It is authors’ responsibility to obtain all the permissions for the reproduction of the copyright material that is to be included in the publication. That includes photographs, tables and illustrations that have been published elsewhere, before.

Authors will undertake the responsibility of ask for the necessary reproduction permissions. Permission copies must be sent with the manuscript.

Please read the copyright statement on the website's privacy policy