chapter_2

C h a p t e r T h e

2

D e b a t e

23

The Debate

1

Are the decisions driven by strictures related to conservation and preservation? Which form of authenticity would this practice seek to conserve: the historic building or the historic way of building?

Importance of Heritage

Importance of Heritage The appealbehindheritagepropertiestobereusedis easy to understand. The original structure was designed foraspecificfunction,andthecontradiction of their present use in itself may provide the people with a unique experience of the past, along with the present. A moreimportant consideration than appeal is the economic sense of such projects. The soaring cost of a newconstructionhasmadetherecyclingofa building ofanyageawisealternative than bringing it down. In both, conservation and theme oriented projects,heritageplaysanimportantrole.Mostofthe decisions made are to enhance the existing heritage of the building. In theme based resorts, heritage is advertised as the theme itself and usually boasts of providingan“authentic heritageexperience”.Whena new use is to be incorporated, not everything can be saved or retained. Many elements from the original building might have to be demolished or rebuilt. To identifytheseaspectsandtoconserve“heritage” one has to understand, the value of heritage. Heritage is notjustthebuilding’sphysicalform;therearevarious other intangible aspects that are considered part of heritage. A better understanding of these intangible aspects also helps in recognizing “what to save?” fromtheoriginalbuilding.

19

Heritagecanconsistofthefollowing .

• • • • • •

Whatisrepresentative A collectiveculturalexperience A the continuing story of our people and their interactionwiththeirenvironment A sourceofunderstandingourpast Decisions of the past that have an impact on what wedotoday Reflectionofnotonlythebestandachievements, butalsoofourworstandfailures.

19. It is a danger to define heritage on the basis of our selected historyorourcurrentvalues. Articlefeaturedinthenewsdaily“The Hindu”/Friday,June23,2006

24

The Debate

Heritage value

Heritage value 20

Heritage, as derived from inheritance, is defined as “that which has been or may be inherited” and involves both previous and future generations. It is also described as the power of continuity from one generation to the next, and something we want to appreciate and experience to the fullest extent21.

Heritage provokes in the individual a sense of being part of and belonging to place and community, and directs the user to gainanoverall appreciation of the past. In 1983, the National Heritage Conference definedHeritage as “thatwhichapastgenerationhas preservedandhandedontothepresent and which a significant group of population hands on to the future22 “ The general notion of heritage is usually an old building or a premise of varying landscape which are of historic importance. But with respect to built form, heritage places become the products of constructions of history. Though they may have had independent roles, they also serve as places of formal education, research and conservation. In the 23 UGthesisbyAmitaKapur itisfurtherelaboratedas: “These historic buildings are nothing more than indispensable catalysts which trigger in the beholder a sense oflifecycle…this immediateemotionaleffect depends on neither scholarly knowledge nor historical education for its satisfaction, since it is evokedbymeresensoryperception.”

Knowledge of our history in general is vital to our understanding of the present. Architectural heritage not only includes individual buildings of exceptional quality,theirsurroundings,orgroups ofbuildingswith architectural stylesincoherence,butalsoallareasof towns and villages that have a historic or cultural interest. Insuchtowns, thesetting or neighbourhood ofabuildingofspecialarchitecturalorhistoricinterest is often an essential feature of its character. Our distinctive historic heritage is part of our identity, and reflects the diversity of our traditions and cultural experiences. It is an inheritance to be passed from one generation to the next. Each generation contributes another layer to thehistoricenvironment, andalsomakesdecisionsaboutwhatitwantstokeep from the past, so that there is a constant reinterpretation of the historic environment and its meanings.

20. Webster'snewworlddictionary,NewYork,1958 21. Obasli,Aylin- Tourists inhistorictowns./E&FNSpon, 2000/P-12 22.Porchelvi.S.-Heritage tourist resort- Pichavaram/ BIST, University of Madras, 2000 23. Kapur, Amita - Adaptive reuse ofoldbuildings:new functions and interiorspaces/CEPT, 1996

25

The Debate

Heritage precincts

Heritage precincts24 “If we are to maintain or create surroundings whichenable individuals tolocate their identity and derive security despite abrupt and rapid social changes, historic continuity must be 25 preservedintheenvironment.”

Conservation doesn't stop at the building level. The surrounding, or as termed above; precinct is also a dimension at which conservation should be practised26. And in the case of rehabilitation, the precincts provide a setting with distinct character.

Usually buildings in precincts are of similar vernacular style and typology along with individual variations. These buildings together provide a harmony to the streetscape with their unique form and scale, colours, traditional materials, fenestrations, and decorations. It is important to preserve this indigenous character. If there is any new intervention, it is ideal that they are built unobtrusively into the existing fabric. Many heritage scholars would agree that new constructions should be such that they harmonise with the special character of the precinct with sensitive architectural and visual qualities. Usually it is required to pay special regard to matters such as height, skyline, façade fenestration and colour, building materials, nameboards,volume,harmony,andrhythm.

Fig 1. View of Taj lakepalace hotel in Udaipur, Rajasthan.Apart fromthefacilitiesoffered,thehotelalsothrivesonitslocationand landscapeandthetownwhichprovidestheheritageexperience.

Fig 2. View of the surrounding fabric from the Shiv Niwas Palace hotelbuiltintheearly20thcentury.

Hence heritage does not apply only to old historic buildings. It could be characterized by interaction of people and environment, and could be sites, areas, land, landscapes, buildings, and artifacts that link us to the past. Heritage also comprises of traditions, culture, customs, crafts, local art, materials used for buildings, and even the way they are used, i.e., methods and techniques ofconstruction.Itstandsas a reminder ofthepast;itcontributestotheimageof a place and imparts a sense of identity, continuity, and security. Heritagevaluecouldbedefinedasaplace's natural and cultural environment that has aesthetic, historic, scientific, or social significance, or other significance,forcurrentandfuturegenerations Heritageconservationcanhave differentdimensions to it. As discussed earlier, it can be about individual buildingsorthesurroundingprecinctsas a whole. But apart fromthephysicalandspatialdimensionthereis anotherdimension,whichisthesocialaspect.

24. Heritage precincts are basically areas of a town where a number of traditional structuresarestillintactandacollection of suchbuildingsformtheunique“milieu” 25.MenonAGK/ThapparBK,“Historictownsandheritagezones”/ INTACH,1988,rajpress,NewDelhi 26. Architectural heritage of Pondicherry/ INTACH/ Asia Urbs Programme/July2004

26

The Debate

Why conserve?

Social dimension concerns the users, the local community, and theurbanpopulation.Itcanbasically be put in simple terms as the continuation of life. Is this lifearoundtheprecinctistaken careof?Itisvery important and related to the environment that the designer wants toprovide. Itcan also be theinformal trade that exists in the area; hence the new addition should respond to the informal economic activity in the towncentreandactasalinktothetraditionalway of life, which sometimes might have even been lost.

After designating an area for its heritage interests, it defeats the purpose if the character is allowed to be damaged, or by allowingnewdevelopmentthatisout of place, scale, or context with the area. This also ensuresthecontinuitythatneedstobetherebetween the newandtheexisting.Thisalsohelpsincontinuing 27 the culturalsignificance or religion andbelief in that region. Any development in such areas must preserve or enhance the special character and 28 appearance ofthearea .

Whyconserve?

Built environments are more evocative of the past and of the course of history than any other artifact, hence the history that comes with these historic buildings has the most significance in human life. It providesadatum,asenseofbelonging,andatimeto associate with. As discussed above they also play a very important role in the overall fabric of the region and society. Once the importance of heritage is understood then the conservation efforts wouldneed tomatchtheimportanceofheritage.

Due to misunderstanding and lack of information, many indigenous cultures and traditions have disappeared.

The link with the knowledge disappeared and values formerly passed down from generation to generation have been broken. The demise of an old building is part of this general process.Historicheritagehelpsdefinewhoweare.

Fig 3. Heritage is characterized by interaction of people and environment– sites, areas, land, landscapes, buildings and artifacts that link us to the past. Heritage also comprises of traditions, culture, customs, craft local art, materials used for buildings and even the way they are used i.e. methods and techniques ofconstruction. ImagesarefromUdaipur, around the palacehotel.

Our heritage buildings and places are part of our national identity, demonstrating our unique history anddiversity ofbackgrounds andexperiences.Once our historic heritage is destroyed, it cannot be replaced. Hence wefindcitiesandtownsthataretorn down by war being reconstructed. Even if life and ways oflivingchange,theheritageinbuiltformwould still be left behind. The part that existing buildings or

27. The definition of the 'cultural significance' of a place can be highly subjective and is dependent on community values and expectations,whichcanchangeovertime.

28. Warren, John-“Context: New buildings in historic settings�/1998UniversityofYorkP-75

27

The Debate

Why conserve?

complexes of buildings play in the rich and varied social pattern in which mankind is involved is often forgotten, so that destruction often has broader consequences on social patterns, which the obvious physical degradation would appear to suggest. The contribution that buildings make to the particular identity of a place is important to those who live in or come to visit that place. This is one of the important criteria for retention which is rarely stated clearly nor assessed accurately when an argument takes place about the retention of a particular building. While historical or architectural criteria are usually well stated, there is a special place for those buildings or places that contribute in other ways to the special characterofalocation.

AccordingtoBKThapar, “...Unless, therefore, a policy of protection and integrated conservation is urgently formulated, we shall soon find, to our dismay, that we have lost much of our heritage of buildings and sites which indeed form the traditional environment. As such, protection is needed today for historic towns, and old quarters of cities and towns, reflecting traditional character, most of which admittedly are in a state of flux and undergoing change-physical socialandeconomic...” 29 Hence the need to conserve can be understood broadly with relation to two aspects. One is to retain the heritage value that is slowly getting destroyed or lost in places. Secondly apart form the cultural and social significance, reusing heritage can be economicallyviable.

29, 30. Menon AGK/Thappar BK, “Historic towns and heritage zones”/INTACH,1988,rajpress,NewDelhi

28

The Debate

NuancesofConservation

Nuances of Conservation Adaptive reuse of heritage properties is a product of conservation and innovation. When the projects are predominantly conservation oriented, the designer has to create spaces and details, or modify the existing without compensating the conservation aspect. There has to be a fine balance between the two. And to manipulate and utilize all the necessary conservation aspects, one has to understand the conservation principles before using them in an adaptive reuseproject. Hence it is imperative to view conservation in general before looking at conservationinadaptive reuseprojects. B.K.Thappar (INTACH)says, Fig 4. Schematic diagram depicting the various nuances of conservation. Adaptive reuse can be categorized under rehabilitation.

“Theuseofthetermheritageisreasonorpurposeoriented answering the questions why and what, while that of conservation is action-oriented, answering the question how. At no time does conservation imply conversion of the “living” character of the heritage to non-living and eviction ofthepresentoccupantsanddiscontinuanceofthe customary usage or practices of the buildings concerned. Any adaptive use of the building must be in consonance with their original functions, as 30 wellastheirdignity” The same reference defines conservation as “the action taken to prevent decay and, as such, embraces all acts that prolong the life of cultural property” . The ethics of conservation should allow the maximum amount of existing material to be retained. Any intervention, therefore, has to be harmonious incolour,tonetexture,formandscale.At the same time, it should be identifiable from the original so that it does not falsify archeological or historical evidence. Conservation usually involves the following stages as in the Fig 4, which are discussedindetailinthefollowingsegment.

29

The Debate

Prevention and deterioration/ Consolidation of thestructuralfabric

NuancesofConservation

Rehabilitation and reuse is a process of returning a historicbuildingorahistoricquartertoastateofutility, inotherwordsputtingthebuildingsconcernedtouse.

Often superficial deterioration and lack of maintenance cause the building to be pulled down.

But if the structure is basically sound, a building can berehabilitatedeconomically by repairingcracks and leaks and providing modern amenities of water, electricity, air conditioning, garage, etc. It may not, however, be feasible in all cases, especially in religious buildings where religious practices have beendiscontinued for long due to historical andeven political reasons, and where their resumption may pose complex social problems. The next preference isforasympatheticorcompatibleuse,inconsonance with the original function as well as the dignity of the building, with or without adaptive alterations through whichhistoric and aestheticvalues canbesavedand brought up to contemporary standards. If it were a purely restoration project, almost all the features wouldberetained,butinthecaseofreuseprojectsall theconventional principlescannotbeapplied.Itadds another dimension to conservation. Recycling itself canbeatdifferentlevelsofintervention:

While a building is conserved, it is important to prevent it from deteriorating further, this involves analyzing and identifying dilapidated parts of a structure. The prevention of deterioration would involve investigation of the causes of decay and deterioration,notonlytoaparticularbuildingbutalso totheenvironmentandtheneighborhoodasawhole.

Its extent and scope may also include certain effective and preventive legislation to be enacted.

The term preservation on the other hand deals directly with cultural property. Its objective is to maintain the building proper in a permanent state of preservation.

Preservation ofthestructuralfabric The “preservation” movement was started as a 31 motivated effort to save “endangered” buildings.

The buildings that were prominent for their architecturalvalue were identifiedandpreserved. In various examples preservationists have tended to create sites frozen in time, likemuseums of thepast.

The site possessed the history and was capable of providing a certain experience to the visitors. In the beginning preservation seemed incompatible with economy of the building or the overall economic development of the community, because it doesn't give any financial returns. The preserved building usuallyisconstrainedtobeanexhibit.

Recyclinginwhich, • the use does not change and where there is nomajorchangeofthefabric.

• thereischangeinusebutnomajorchangein fabric.

• periodic additions are made to cater for changedneeds.

• building shell is retained and building interior changed.

• the facades only are retained to form an elementinanewbuilding • thebuilding is incorporatedasanelementina larger construction or in a new sequence of buildings • elements of the building are reused decoratively or as sculptural elements in the spacesorparksrelatedtobuildings.

Restoration istorevivetheoriginalcharacterandas such, should be based on respect for original material, original design, and authentic documented evidence. Restoration must be governed directly by respect for the aesthetic, historical, and physical integrity of the building. It is warranted essentially whenthereis: (a)The need for affording stability to the fabric of the building,and (b)The need, perhaps moreimportantly, to retain for the next generation the essential architectural features. Mechanical repetition with mathematical precision of any item, particularly the decorative features, is to be discouraged. When carried too far, restoration can devalue the message which a historicalenvironmentseekstoconvey.

31. Endangered– Heremeaningbuildings,whicharedeteriorating intime.

30

The Debate

Economic benefits ofHeritage

Economic and social benefits of heritage property Usually, in the property market, heritage listed properties form a very small part of the overall scenario. Butthecosttoconserveandrestorecanbe 32 high . So there is always a question of economic viability of conservation. In many places heritage is notconsideredasaresource.Indevelopingcountries like India, many heritage properties are lacking attentionandareindilapidatedcondition,andareleft to decay. Many commercial property market players have a negative view of heritage listing, to the extent that they may wrongly regard it as a stigma on the property.

Fig5. Aposteradvertisingfor“heritage”.Heritageisnowmarketed asacommodityandisusedtoattracttourists.

Thoughthesituationhasnotchangedconsiderablyin many places, architects, builders, and even town planners are now considering heritage as an economical asset. Now one does look at the long termbenefitsofaheritagepropertyandrecognizethe socialandeconomicbenefitsinrestoringandreusing it, especially where a property belongs to a particular heritageareaorprecinct.

The benefits of heritage are related to benefits of conservation. Pathan liststhethreeprimaryfunctions ofconservationdependingupontheirnatureas:33 • Itcontributestotheimageofthecitythatregisters inthemindsofthecitizens as well as the visitors who interactwiththemfromtimetotime.

• It imparts a sense of identity, continuity, and security to the citizens as they are born, grow, live revisitandreturntothecity.

• It influences the behavioural responses of the citizens, which in turn adds to the richness of the experienceofcitylifeitself.

Fig6. Schematic representation of benefits of a heritage property bothtotheownerandthecommunity.

32,34. NavrudStale,ReadyC.Richard: ValuingCulturalHeritage/ Applying Environmental Valuation Techniques to Historic Buildings,MonumentsandArtefacts.

33.Pathan,Pg-4

31

The Debate

What to save?

Whattosave?

Heritage stands as a reminder of the past; it contributes to the image of a place, and imparts a sense of identity, continuity, and security. Cultural heritage is now treated as an article of trade or “good”34 something that is commoditized, marketed and sold. Studies have shown that a high proportion of foreign tourists cite historic significance as an 35 important factor in choosing a destination .

AccordingtotheWorldTourismOrganisation,cultural tourism accounts for 37 per cent of world travel and thisisgrowingattherateof15percentayear. Where historic heritage is conserved for tourism purposes, otherprivate benefitscanarise.Forexample, hotels, shops andrestaurants may beestablishedinhistoric precincts to cater for tourists. This development of tourist infrastructure may, in turn, return additional benefitstoheritageconservationbyincreasingvisitor numbers.Further the benefits can be grouped under 36 two categories . One being the direct benefits the owner can achieve and other at a community level (Fig6).

Everything that has lived a moment and gone is “past”, and is in “history”. To save each and every aspect of this from destructionisimpossible.Alsothe meaningofabuildingtopeople changes from time to time. From being a documentation of building materials and methods that are understood and translatedintoparticular physicalconstruction,tothe building being a symbol of the institution it houses.

With age it reveals the past andstands as an artifact within any architectural tradition. Although the importance of a buildingchangesfromtimetotime, it reflects a sense of continuity in the life of the community. Hence,itisimportanttohaveamethodof selectionandelimination.Ageneral argument is that whatever has survived the last few centuries is eligible for further existence. Also, the answer to question of, “what d o we conserve?” i s complementarytotheanswertothequestion“whydo we conserve?” The factors that are common to both arethoseforwhichabuildingisvalued.Thesefactors are largely concerned with the cultural identity, economic benefits, and heritage value. It is more important to save heritage value as understood than to conserve heritage in terms of physical artifacts or buildings.

The above arguments are mainly concerned with how one can deal with conservation of heritage projects. Conservation is an important aspect and cannot be neglected, but a well conserved building alone cannot make a good resort that is also successful. At times, in heritage resorts, when the predominantobjectiveof conservationistourism,the conversion can become a superficial exercise devoid of cultural significance. It could end up as a hasty restoration of dilapidated and previously ignored historic areas. Once they gain new value as assets, they could just be done up or reduced to a series of pleasing facades with the prospect of commercial gain.Whenheritageisusedtoprovideanexperience for theusers, alongwithconservation,there is also a needtocreateathematicenvironmentforthepeople, an environment that is interesting, and an environment that can provide an experience that peoplepaymorefor.

35,36. Conservation of Australia's Historic heritage places/ CommonwealthofAustralia2005

32

The Debate

2

Are all decisions taken in these projects by the designer p r e d o m i n a n t l y t h e m a t i c or utilitarian in their attitude? Are they are functional, economical, andsoon?

Importance of Theme

Importance of Theme Many heritage properties with diverse structures have been recycled to be resorts or restaurants.

Ships, railway stations, factories, palaces, bungalows etc. offer a variedpotential for preserving or recreating the past through adaptive reuse. The following segment looks at various issues that arise when adaptive reuse projects have a theme based approach. Sometimes these environments are present in the old building and only need to be enhanced,sometimestheyarecompletelyrecreated.

Then can this approach to recreate be termed authentic? How muchcanadesignercompromiseto achieve such an experience? Securing a future for historic buildings is dependent on securing funds to enable their conservation and tourism is the most preferred approach; hence tourism and the requirements of a resort play a major role in such projects. After all it is the ultimate incentive for the investorinaheritageresort.

Theme based projects In the near universal availability of boarding and lodging, the options range from budget to super luxury. But like many other gifts ofthe modernage, it may be seen as a mixed blessing. There is often a trade-off between the presence of a heritage experience, local flavour, and uniqueness of the experience on the one hand, and time, comfort, and convenience on the other. One often finds situations inwhichafterclosingtheblindsinaluxuryhotelroom, itturnsout tobeachallengetoguesswhereyou are.

This is the reason why the conceptofheritage hotels and themed hotels is gaining popularity with many discerningtravelersworldwide.

Designating a theme, which allows for unity in planning and design along with a unique experience can be quite a challenge. Guidelines are set out by several factors with the existing playing a majority role.Thefactors could be the user needs andmainly the economic aspects.And duetothepresenceofthe old, the further addition that is done has to successfully regenerate and recapture historical or industrialheritageelements.

33

The Debate

Importance of Theme

For example, the Neemrana Fort near Delhi and the Bassi fort in Chittorgarh were designed with one purpose inmind–tokeepoutinvaders.Astayinsuch an environment, along with the luxury can be quite a history that is worth reliving. These heritage resorts usually have several main ideas to draw from, including the celebration of past accomplishments and the realization of future potential and the regenerative use of people, ideas, and resources.

Such themes haveapotentialtobeincorporated into a design feature, trademark, or lexicon in a graphic way, or in a “slogan” or phrase describing the “product”–inthiscasetheresort.

Fig 6. View of the Neemrana Fort Palace, the fort, built in 1464.

Being situated on a plateau isanimposingbastionwhichsprawls vertically over several levels and covers three acres of barren Aravallihillside.

In such theme based environments, there is a genuine attempt to provide a glimpse into the way of life that has long since lapsed and to recreate the vanished ambience. Much of the charm of these heritage hotels is in the individual attention and personalized service.Families,ofteninresidencefor many decades, welcome visitors as they would guests to their own homes. Naturally, each ancestral heritage property tends to be uniquely different, reflecting its own history, tradition, and culture. On many occasions, a visit to heritage hotels also provides a window into life in rural scenarios, its diverse cuisines, festivals and fairs, folk dances and music. Heritage destinations provide opportunities for adventure, which are not only enjoyable but also add an extra dimension the visitor's experience. For some stimulationandexercise,attheNeemrana,one can visit the ruined forts above the palace, or the nearby 18th century step well which once provided the ruler and his entourage with a retreat in the summer.

Fig 7. The furniture is a blend of traditional Indian and colonial styles. The services like health spa and the blend of Frenchand traditional Rajasthani cuisine, along with the surrounding that includes the town and a step well enhance the thematic experience.

34

The Debate

Functional requirements

Functional requirements Increasing number of tourists impose pressures on the resort managementfortheprovisionofadequate infrastructure, superstructure, and services. Usually the capacity of existing services in old buildings is likely to be very limited, and insertion of new infrastructurecanbetrickyandthere has tobemany associated implications to the historic fabric, both inside and around, as well as the fabric above and below the ground. Also the new function would have its own requirements, usually different from the old one, hence the scale of spaces, comforts, and ambiencecomeintoplay.

Environmental issues have becomeapublicconcern and they appear high on the recent agendas ofmany developed country37 . With growing pressure and concern about the environment, agents and operators a r e trying t o look green and environmentally friendly in their images in response to customer demands for a high quality environment and for so-called ecoproducts. What hascometobe known as green or eco tourism is more likely to be a m a r k e t i n g strategy. Tourism and tourist developments are greedy consumers of the natural environment and of culture. Once it has become a touristattraction,asmall or fragile monument is often surrounded and overwhelmed by sign boards, parking facilities, souvenir shops, restaurants, and cafes.Although the monument may be safeguarded, the surrounding environment is often not. Green areasandnaturalbeautyspotsontheotherhandare used up for large hotels and resorts. Crowds can becomeathreattothefragilebalanceofnatureandto thefabricofhistoricbuildingsandsettlements.

In the past there's been a strong emphasis on providing fully air-conditioned spaces. This is not necessarily an effective solution as one of the pleasures of visiting a historic building lies in the experience of being enclosed within an entirely different world. This experience is severely hampered if the environment is clearly artificially controlled. On a morepractical front, air-conditioning for a collection needs to provide both temperature andhumiditycontrolandruntwentyfour hours a day.

Such an expensive process often becomes cost prohibitive, causing theenvironmenttobelessstable than ifthere'dbeennoair-conditioninginstalledinthe firstplace.

37. Obasli,Aylin,2000.P-143.

35

The Debate

Services structure

Fig 8. Tourismandenvironment:impactinterrelationships.

Services Structure

production, snow-clearing, and other maintenance, ventilation,andsecurity.Theseareservicesincluded in the basic functions of management provided for under the leasing agreements of most markets.

Tenants and merchants working in the same space would have much to benefit from a facilitated exchange of goods and ideas. Carpentry, painting, electrical work, marketing and promotion ideas, product development, and packaging concepts are suggested both by localmerchants who arecurrently producing and/or selling goods, and by potential tenant/ownersoftheresortpremises.

The resort will require services related to the hospitality structure, as well as services aimed at facilitating each step of comfort level and environment,andcreatingacohesive“whole”,where thecharacter,function,andexperienceoftheresortis enhancedbothforthetouristsandstaff.

A coregroup of essentialservices wouldbeincluded as part of the basic hotel and combined with a “package” of supportservices unique to theneedsof specific location and theme. Further, an integrative system of identification andexchange ofservices for and among management and local resources has been identified as highly desirable by hoteliers. This allows us toacknowledge that peoplehaveskills and ideas to offer. This category of services refers generally to physical infrastructures: utilities, heat, light, water, wet areas for food production, washrooms, shelter/space for retail, as well as,

With a collective service pool, community members and owners would be able to make their ideas and skills accessible to others. At the same time, they wouldbeabletodrawfromeachothertohelpfittheir needs. This is felt to be highly preferable to hiring contract workers,althoughwhere skills maynotexist, contracts could be developed for training and education. Many resorts function by hiring the local

36

The Debate

Economic aspects

people, which is economically more viable than having their own hotel staff transferred. This service structure emphasizes training and capacity building, aswellasprovidessupporttosmallproducersandto the more general aim of community economic development. It also describes a more ad hoc structure of complementaryservices, rather than the implementation of permanent “business support services� which already exist in other facilities. The expertise for this service component would be provided by representatives of management, administration, the community,aswellas contracted resource people asneeded.

Economic aspects In our present society undoubtedly the first reason which would be advanced by most building users or building ownersforthereuseofanexistingbuildingis that it would cost less to do so than to demolish and rebuild. More sympathetic and comprehensive feasibility studies are needed in particular to try to qualify the real benefits which may flow from the retention rather than the destruction of the physical andsocialcontextinwhichthebuildingisplaced.

The funding ofheritageorientedprojects involvesthe conscious useofheritage and targets tourism. Along with the developmentofculturalandtourismactivityit also generates income and leads to the economic development of the locale. The sources of such investment could be varied, usually partnerships, initiative of local authorities, private sectors and internationalinvestorslike largehotelchains.

The economic advantage of such resorts is directly linked to the economic advantages of heritage which has already been discussed. But it is imperative to understand the roleoffundingfortheseprojects.The designer usually has to work with a limited budgetfor the project and has to take many things into consideration. Further, apart from providing an experience for the users, the main concerns for a resort would be to get back the invested money.The use of a cultural object is purely for the purpose of tourism development, and the object is profit.

Although it can be argued that it is a managerial responsibility, the designer also has a role by providingasettingthatisattractivetotheuser.

37

The Debate

Theme-“Heritage”

Theme-“Heritage”

The funding for such projects can directly affect the quality of construction and the materials used, leading to the size of the project and additions, and ultimately the facilities provided for the tourists. An imbalance between the amount available and resources needed for construction can affect the sustainability of the overall project. Good craftsmanship and even skilled labour can work out expensive and the designer might have to compensate for certain traditional methods and replace it with new technology. Hence the introduction of cheap techniques can produce a generic product that gradually erodes local vernacularanderasesuniqueaspectsofthephysical landscapeoflocale.

The concept of heritage hotels has been gaining popularity with many perceptive travellers worldwide.

India is now a fast emerging popular tourist destination and has many charming heritage properties– mostly old palaces, hilltop forts, hunting lodges, and colonial bungalows. They date back centuries and not only display India's traditions and customsbutalsobringalivetheflavourandambience oftherichpast.Stayinginaheritagehotel can add to the guest's experience of a place in many ways, whether it's a place of historical or religious significance, a wildlife sanctuary, or an eco-tourism destination.

Such projects adopt historic themes that try to highlight the distinctiveness of a city or a town by calling attention to its local heritage. These efforts however are often criticized for their lack of authenticity and for their reliance on a limited set of architectural clichés. Because, of course, in the real world, the use must be also economicallyviable. It is believed by some conservationists that only compatible uses should even be considered. But such a dogmatic stance may result in the building being lost entirely. Despite all these objections, tourism redevelopment still offers the promise of economic growth and the immediacy of often dramatic physical improvements– factors that continue to draw enthusiastic support from public officials,developers, andportionsofthepublic.

On the other hand, if all thechangesaredone based on the theme and utility value, it could damage the heritage significance of the place. The comfort and luxury that is expected from the resort requiresmany services and infrastructure to be incorporated in the design. The provision of spas and swimming pools will become additional requirements.

Though services and functionally gets a higher priority for a successful resort, the intangible heritage should neitherbecompensatednoralteredinanywhichmay affect the character of the precincts. The successful reuse of buildings goes beyond finding a compatible and economically viable use for the building itself. In the longtermyouneedasituationinwhichthecontrol mechanism does not markedly differentiate the building from itsneighbours.Thisusuallypreserves a better aesthetic environment for the building, but moreimportantlyitremovesmostofthepressuresfor redevelopment and it creates equity between neighbours.

38

The Debate

3

How do user perspectives affect these understandings? F o r example do tourists and tourism affect thesedecisions?

Tourism

Tourism Tourism can consist of a standard set of programs– atrium hotels, festival malls, convention centres, redeveloped water/sea fronts,landscapes,stadiums, and restoredhistoricalstructures orneighbourhoods.

According to Mathieson, tourism may be defined as “The activities of persons travelling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business and other purposes,” and a tourist is described as, “A visitor who stays at least one night in collective or privateaccommodationintheplacevisited.”Tourism is a diverse and fragmentedindustryandtakesplace all over the world, in developed and developing countries, and within urban and natural areas, providingarangeofeconomicopportunitiesformany different sectors. Hence t h e scope and characteristics of this industry have implications for globalisation, poverty improvement, biodiversity conservation, and,inthiscaseheritageconservation.

Someindustrystakeholders even claim that they are increasinglyrecognising theneedtoprotectcultures, heritage, andtheenvironment,andhencedeveloping countries are allowed to obtain the full economic potentialoftourism.

Oneofthemainadvantagesoftourism in a historical location is that it brings revenue and income to the placeAlsowithregardtoheritage,tourismcelebrates the localcultureresultingin enhanced localservices, improvedinfrastructure,andgreateropportunitiesfor entertainment and recreation38. Appreciation of the historic environment by visitors not only becomes a reason for conservation but can increase local interest in the environment. At a larger level, tourism indirectly opens up previous unavailable investment finances. It encourages other environmental improvements, adds life and activity to a place, provides an example of conservation and may boost the economy to a level which will enableother smallscaledevelopmentstohappen.Tourists'appreciation can lead to better understanding and insight into someofthevaluesoftheimmediateenvironment.

Tourism is an example of a user benefit arising from historic heritage places, which may be captured by the owner of a property and/or by members of the localcommunity.

38. Mathieson, Alister/ Tourism-Economic, physical and social impacts”/LongmanGroupLtd,1982.

39.Obasli,Aylin,2000.P-43

39

The Debate

Tourism

Summarizing Orbasli's views39, tourism can play an important role for the future of heritage buildings/precinctsbecause: Tourist interests generate greater heritage awareness and the conservation of less obvious historicbuildings Well conserved buildings that are being used encouragemoreprojectstoberealised.

Community awareness of the benefits of conservation increases local involvement and demand for conservation, and the forming of local associations.

Uses are provided for otherwise redundant buildingsastouristaccommodation; Thepromotionofarchitecturalandhistoricvalues (locally and nationally) motivates cross-cultural communication.

Demand TOURIST:forms oftourism

DESTINATION CHARACTERISTICS

CHARACTERISTICSOF THE TOURIST Duration o f stay

Environmental processes

Tourist destination

Type oftourist activity

Economic structure Pressure generation

Level ofusage

Levelsoftourist satisfaction

Political organisation Leveloftourist developlement

Carrying capacity

Social structure and organisation

Socio-economic characteristics

IMPACTSOFTOURISM

Economic

Physical

Social

Impact control Fig 9.Aconceptualframeworkoftourism, depictingtherelationshipbetweenvarious characteristics of tourists along with impactsoftourism.

Management strategies policy

Finance

40

Information carrying capacity guidelines

Engineering controls

The Debate

What makes a historic property a tourist destination?

Heritage and tourists

Asimilarsituationoccursinaheritageprecinct;asitis in a structure of historic importance, the urban form and fabricofahistorictownareaprimaryattractionto visitors, and is a free commodity. Nowadays with the increase in tourists interested in historic sites, once less valued monuments and overlooked traditional environments can become valuable means for widening one’s cultural understanding. In many instances tourist's interests can activate conservation programmes for archeological sites, monuments,orvernacularbuildings, and even entire urbanareas.

Many resorts attract tourists for various reasons. It could be anything from beaches, exotic locations, business,tomerelyaconvenientlocationconnecting other important locations. Recently in many towns and cities, which have any kind of history, the vernacular heritage is being rejuvenated to expand the tourism base. Much of the traditional urban heritage previously removed to make way for the grand hotels and offices is now being re-valued and reinstated as tourist attractions. The market is growingonlybecauseoftheneeds.

What do the tourists want?

So whatdothetouristsexpectfromaresort?Itcould bethelocation,facilities,access,andtheservice.Itis mainly the setting that a historic environment provides. One important aspect in these kinds of projects is the ambience created. The particular qualityofenvironmentmadepossiblebythesensitive reuse of old buildings cannot be achieved by new construction. For many people it is an important quality which allows them to feel partofaculturewith historical roots. It could be either woven over the significance of the existing building, or completely fabricated serving to the vision of the designer.

People are generally attracted by the environment, the unique atmosphere created for them, which is different from the normal day to day lifestyle. In the case of a heritage resort, the old buildings provide a sense of continuity and a link to the past. These heritage-themed spaces offer a quiet note of romance, an aura of mystery, and keep the user wondering about the stories they could tell. Visitors are free to imagine a dramatic or even an ordinary past, at the same time they are comforted by the buildings ongoing presence and its endurance.

Peoplevisithistoricplacesplacingimportanceonthe retention of a certain established surrounding, for all the associations and memories they possess andfor visible links to the past that help to define a certain history. People relate to thisandsometimes areeven abletoplacethemselvesinthissetting.

The motivation of the tourists can be categorised as physical, cultural, personal, and finally for prestige and status40. Though there are many reasons for visiting a resort as mentioned in Fig 10, one of the main reason would be to seek new and different experiences in different environments, the desire for change. So what do the tourists expect? In a usual resort it could be the location, facilities, access, and the service. It is mainly the setting that a historic environment provides. Oneimportantaspectinthese kinds of projects is the ambience created. It couldbe either woven over the significance of the existing building, or completely fabricated serving to the visionofthedesigner. People aregenerally attracted by the environment, the unique atmosphere created forthem,whichisdifferentfromthenormaldaytoday lifestyle. In the case of a heritage resort, the old buildings provide a sense of continuity and a link to thepast.Theseheritage-themedspaces offeraquiet note of romance, an aura of mystery and keep the user wondering about the stories they could tell.

Visitors are free to imagine a dramatic or even an ordinarypast,atthesametimetheyarecomfortedby the buildings ongoing presence and its endurance.

People visit historic places, placing importance on the retention ofacertainestablishedsurrounding,for all the associations and memories they possess and forvisiblelinkstothepastthathelptodefineacertain history. People relate to this and sometimes areeven abletoplacethemselvesinthissetting.

40. Mathieson, Alister/ 1982, page 3 1

41

The Debate

Heritage and tourism

Heritage and tourism Tourism is one of the successful methods that can keep a heritagebuildingalive.Especially incountries like India, it is difficult to raise funds for heritage development, andtourism can be a useful economic solution. Modern day educated tourists also tend to appreciate the heritage, which the local peoplemight take for granted. Inhistory andinpresentthere are a number of towns that are economically dependant and thrive on revenue from tourism. Any added attraction canalsoimprovetheeconomyofthatplace and provide funds to maintain the old buildings. In some cases, tourism can cause the place to lose its original character, but if it is well planned and delivered to the visitors inacontrolledscenario,itcan prove to be the best alternative to keep old buildings alive.

The generalpublic mayenjoy the charmingcharacter of historic places, but when it comes to their homes, their places of work, and their routineshopping, they normally expect the very latest comforts and convenience. Though the public opinion favours the historic street scene and its traditional architecture, they also expect the advantages that modern buildingsbringtotheirdailylives.Touristsadmireand relish theideaofspendingdaysor weeks inahistoric environment. It is considered as leaving the routine life behind to live an alternate reality for the time it lasts. Though the serenity,mystery,andthehistorical significanceofaheritagepropertyisappreciated,the tourists at least require the usual comforts that are availableto themathome,ifnotmore.

Motivations

Physical motivation

Refreshment of bodyandmind; For health purposes(i.e.eithermedically prescribed or undertaken voluntarily) For participationinsports Pleasure- fun, excitement, romanceand entertainment.

To shop

Cultural motivations

Curiosity about foreign c ountries, peopleand places, Interestsinart,music,architecture,folklore, Interest inhistorical places(remains, monumentschurches) Experiencing specific international andnational events.

Personal motivations

Visiting relativesand friends Meetingnewpeople andseekingnew friendships Seeking newanddifferentexperiences in differentenvironments Escaping fromonesownpermanentsocial environment Personal excitement oftravelling Visitingplacesandpeoplefor spiritual reasons Travelling fortravel’ssake

Pursuit ofhobbies

Prestige and Continuationofeducationorlearning

Fig 10.Schematic diagram showingthedifferentmotivations that drive tourists to travel.

Seeking ofbusiness contactsand professional goals, Conferences andmeetings Egoenhancement and sensual indulgences fashion

42

The Debate

4

Are the architectural ideas meant to provide an experience located in history and typology? Then the adaptive reuse projects are an attempt to recapture it,Inthatcase what conflicts arise between utilitarian arguments and the desire t o provide such an experience?

The Old Vs. The use

TheOldvs.TheUse From the earlier discussion, it is clear that the users require a certain ambience thatisassociatedwiththe history oftheexisting built environment. Whetherthe project is conservation oriented or theme oriented, theexperiencedesiredbythetouristsisrelatedtothe stories and the historical significance the old possess. Hence any changes oradditiontoit, tries to providethisexperience.Inaresort,providingsuchan experience can be complicated as it also needs to incorporate the necessary comforts and services.

Theuserdemandsairconditionedspacesandluxury ofaresort, along with thehistoricexperience.Usually the old buildings are not designed to accommodate such modern needs, but they have a strong understanding of the local climate. Traditional and vernacular buildings have best possible solution to such climate with available materials at that time.

Some designers consider such climatic response alsoaspartoftheexperienceandanychangeinsuch a system might alter the feel that the original space provides. This is in turn connected to construction methods and materials used. For example, the original building may possess ventilated roofs and louvered doors but due to user need, the place may require installation of air-conditioners. This would thenleadtotheuseofglassoranynon-porousdoors, whichcouldchangethewholeexistingambience.

Either the existingshould have largesized rooms, or the smaller spaces have to be made more comfortable for the users. This is the reason why many buildings, though of heritage significance cannot be used as resorts, but more as museums, boutiques, andcoffee shops.Thelowceiling heights of many mills and factories, constructed in the late nineteenth century, make them functionally obsolete for industrial and several new uses today. In some rare instances, the adaptive reuse of an older historical building may not be feasible due to unworkablestructuralproblemsorotherfactors.

43

The Debate

At the same time incorporating new use within a historic framework can be complex. The original building follows proportions and technology of a different era,andcansometimesmakeitfunctionally obsoletefornewusestoday.Forexample,placement of columns in a smaller span can cause a design challenge. Concrete slab floors can be difficult to reconfigure. Old wiring and plumbing (if existed) will likely need to be removed. The addition of extra stories to the exterior can often be problematic, structurally. Some interventions may not be feasible due to unworkable structural problems or other factors. Inaddition, therecanbeconcernoverhowto determine circulation and accessibility. In order to provide for parking, certain structures may be considered unnecessary and cleared. Overall, the vernacular craftsmanship of historic industrial buildings is of a higher quality than most current construction, and any new addition provides a contrastingdisplayofcraftsmanship.

The Old Vs. The New

Fig11. ViewofthecourtyardatGalleFortHotel.Theadditionofthe poolprovidesvalueadditionandchangestheusageofspace

Other aspects like the provision of a spa or a swimming pool etc. may also need to be accommodated, and at times the existing structure might not have space or provision for this. In such situations,thedesignerandthemanagementhaveto decidewhetheritisneededatall,andifneededithas to beprovidedforandcleverlyincorporatedintheold itself.Thematicenvironmentsareprovidedtotourists needs by learning from earlier modern movements and using new technologies. But in some cases this processmaycausesuchplacestoabandonhistorical aims and ambitions in favour of celebrity and spectacularity. The tourists are provided with interpretations of history in various forms. Are these interpretations accurate, or are they inauthentic and merenostalgicvisionsofthepast?

Fig12. (Left)Viewofthedetailofcolumn-capital.Thedetailingwas done according to original styles, and executed by skilled craftsmen.

(Right) The new ceiling addeddoes not disrupt the nature of the space, but provides the necessary additional light for the lobby space.

Fig13. Theexistingverandah,hasbeenconvertedasdiningarea, the new louvered doors allows the enclosure to be flexible and invitesanycuriousby-passer.

44

The Debate

The Make-belive environment

The Make- believe environment With integration of conservation with tourism, it can be questioned whether tourism is an outcome of conservation or vice versa? When conservation increasingly becomes a product of tourism then it would result in a hurried attempt to re-create or even sometimes invent history. Then there is a possibility of the resultant product being a mere spectacle, devoid of all the original historical characters and significance.

41

According to Lucien Steil , there are three modes of architectural production–imitation, copy and pastiche. To Steil the first is the truly creative, imitation is the process of creating something new; not simply novel butoutofathoroughunderstanding of the underlying principles learnt from the precedents.Thedesignobjectivesandtechnologyto achieve them need to be fully comprehended; the affordances of specific patterns of built form must be understood. On the other hand a copy is a mere replication or reproduction of a precedent while a pastiche is a reproduction of a number of elementscompositional stylistic of someprecedent.Apastiche isthusa“partialandimperfectcopy”anditfocuseson the appearance or rather the impression of appearance of an artifact, be it a small object or a precinct or even a city. Thedesigner needs to have a thorough knowledge of the technique, typology and history inordertoimitateorcopytheexistingandany compensationintheunderstanding and method may resultinapastichereproduction.

A theme park represents a fictive narrative of social identity – not real history, but a collective image of what modern people are and should be and it exercises the spatial controls that reinforce this identity42.

Such reproductions are merely a spectacle. They may not possess any underlying principles but created only for the visuals. A few recent examples end up creating their own versions of history, and many compensate on the scale and senseofplacethattheplacesarecapableofcreating.

Nevertheless its very presence in shape and form becomes a symbolical element in many places.

Spectacle can be a main reason for a place to be a destination.

41. Steil,Lucien on imitation,Architectural Design 58, no.9/10 8-9.(1998) 42. ,Zukin Sharon :the cultureofcites;Blackwellpublishersltd.

1995 Pg 55.

45

The Debate

On theother hand, this sortofphenomenonneednot be necessarily wrong; one of the more successful examplesthatcanfallunderthisisDisneylandwhere architecture finds itself caught between the art of display and the accommodation of use. Disney land may not be an adaptive reuseproject,it doesn't have any historical value to it and it's completely created from fables. But it is one of the better examples for a thematic place.Itisacknowledgedashavingdevised the so-called “pottedhistory”.Onecan learn from the manner in which it excels in providing a themed environment in their resorts. The environment created for visitors in Disney can give many clues when one tries to enquire into heritage resorts that arethemeoriented.

The make-believe environment

Fig 14. Scene from Disney-Lego land-It is probably the ultimate example of theatrical commercialisation of themed environment with the recreation settings from fables to house hospitality establishments.

They provide the users with an amorphous environment with symbols and images that consistently signifytheexperience.Theexperienceis often criticized to be “staged” and completely recreated for the sole purpose of entertainment. In heritage resorts also, the designer aims towards achieving experience based on certain degree of fantasy, an alternate reality. Fantasy interprets certain events in the past, envisions events in the future. The present events depicted are removed in time andspace from the actual activities or situation.

But the designer has to decide whether one can afford togotosuchextremesinaheritageproject.Or would such a decision devalue the preservation of historic material and the public understanding of historyitself?

Fig 15. Taking Disneyasatypicalexampleonecansaythat,the DisneyCorporationmightbeacknowledgedashavingdevisedthe so-calledpottedhistory.

Fig16. PlanofAgraharamhouses in DakshinChitra, showing the absenceofinnerwallsintherowhouses.Hencewhatlookslikethe housing street, is actually an interactivedisplayofspacesinside, thatenablestheusertowalkalongallthehouses.

Fig17.Viewofthehousesfromoutside,resemblingthetraditional agraharamstreet.

46

The Debate

Spectacle architecture

What can be learnt from such spectacle architecture? still succeedincreatinganexperiencebyhavingtheir ownpuresimulacrum. But many fear the outcome of an image based approach could results in either facadism or the replication of historic style and pastiche. But what matters ultimately would be the qualityofrenewal.

Althoughthere are variousarguments overrecreated history as a thematic environment, it has its own advantages.Theyare staged for a reason,andithas its own benefits and economical success. These thematic environment employ culture and heritage images as a backdrop. It is a backdrop to a staged and controlled event within designated boundaries, where the actual attraction is often the rides and adventure that are provided. Similarly in a heritage resort, thehistorycanbeusedanunderlyingtheme,a backdrop, while the resort can functionally excel and beaneconomicalsuccess.

When the resort is of a large and sizeable scale, it is easiertomanagewhentheorganisationandservices are meticulously worked out. The service or the management team would prefer environments and spaces that are easily serviceable. When traditional style and materials are used, this may prove costly and local artisans may not have the skill to repair the existing traditionalmethod of construction. In Disney land, modern materials are imitated to look like old, which accommodates the need of the visual for the userandtheeasymaintenanceforthestaff.

At a larger urban level these recreations have great impacts on economy, society and culture of cities, Zukin says, “they (Disneyland and Disney world) transcend ethnicclass,andregionalidentities tooffer a national public culture based on aestheticizing 43 differencesandcontrollingfear.�

Also apart from responding directly to the visitor expectationofaprovidedexperience,theyareableto accommodate all the desired facilities. All the necessary amenities andcomforts areinparwiththe tourist expectation. In such environments, political and economic problems can be eliminated. Also the difficulties of maintenance are taken care of. Most of the building materials are faked, and they are in prefabricated glass fibre. In heritage resorts, though theuseoftraditionalmaterialslikewood give a sense of authentic addition, in many cases are expensive, and thecraftsmanshiphardtofind.But using modern materials can be easier and more reliable for construction in terms of time, sustainability, and availability.

Mostofthetouristsaresatisfiedbythevisualimages, andmaynotquestiontheuseofactualmaterials and craftsmanship. The experience looked out for by tourists are based on imagery. Thematic environments in heritage resorts provide an image, image of the old, image that can be defined as the reflectionofabasicreality.Butthedesignershouldbe careful so that the image created doesn't mask or pervert this basic reality. It shouldn't mask the absence of a basic reality completely.There are also projects in which the new is contrasting to the old.

They have no relation to any reality whatsoever, but

43. ,Zukin Sharon The cultureofcites; Blackwell publishers ltd.

1995 Pg 55.

47

The Debate

Context andContinuity

Context and continuity The conservation of buildings is about retaining and continuing the importance of the building to people.

The firststep in planning for the futureofthebuilding is understandingitthroughresearchofitshistoryand context, through documents by examining the building and its context in detail and by discussion with people associated with it. From analysis of the research a statementofsignificanceisprepared.The understanding of the building and its significance provides the basis for developing a policy that addresses the care of the fabric, the use or compatible uses of buildings, the setting and the relationships between the place, and also policies about interpretation and management. The document that is produced is commonly known as a conservationplan orconservationpolicy.

Fig18. Viewofbrahminhousesin“dakshinchitra�,thenewhouses aremodeledontraditionalbrahminhousesreplicatingthetradition ofconstructionandtheidentity.

Acrucialfactor thatmakesarchitecturein thehistoric context is to intervene in existing heritage precincts, in an established social milieu. The site and surrounding comes with an existing identity, tradition of construction, and a cultural background. In an historiccontextthecommunity has a level ofconcern and affects the nature of any intervention and may affect or prohibit change in many ways. This is different from other kinds of projects in which the investorandthedesigner are the primary parties and the community has a lesser role. Hence, with increasing commercial pressures, it is essential for designers to be sensitive to the wider ownership of historicsettingsandtorecognizethedelicatebalance that is requiredbetween personal innovation and the character of extentbuildings andlandscapes. Hence there is a need to provide for continuity between the existing and the new. To maintain the continuity, one of the ways is to reconstruct, in some cases it might even be acceptable to copy what was there before, depending on the quality of construction, and resemblance.

Fig 19. View of the KarnatakahouseinDakshin chitra.Although thishouseisbuiltinTamilnadu,thematerialsusedtoconstructthis housearetruthfultotheoriginalhouseform.

Another way is to build in traditional design.

Traditional design and techniques are still employed in small town and villages. By hiring such workers, it provides them with work and improves the economy of a community; it also ensures that the new construction involves skilled labour. This involves using traditional materials. Using traditional material helps, but it might not always be the answer. Often

48

The Debate

Context andcontinuity

traditional forms, features anddetails are reduced to a series of motifs applied in a way that seeks to be new and fresh but frequently looks contrived and recent, the buildings then tend to suffer from comparison with their historic neighbours because theylackdecorationanddetailing.

Using traditional design requires knowledge of the historic context in which the old building is based. It can be a language of visual terms that could be particular to a historic period. It makes statement about history and circumstance, social status, etc. It could beabouterudition, origins, andeven attitudes.

These things can be broadly termed as the style of that period. Similarly one can derive scale, mass, texture, and volumetric form. These are the parameters that arouse emotions derived from 44 experience echoing in the caverns of the mind. It can recreate the half remembered past and give focus to the present. It is a powerful tool and has its place and ethic in its use. The experience created is furtherdiscussedinthelatersegment.Sometimesan emotional parameter that can aid this notion of continuityisamelioration.

Amelioration is defined as the growing acceptability of a design when once established on the ground, the “getting used to it” factor.45 To grow up with something or to mature in its presence is likely to produce love, for even a noxious environment. Thus the shockingcontrast can become less shocking. So when recreation is categorized as dishonest therefore architecturally unethical,itmaybepractical and popular. It can succeed against design theories “socially”,andmaysucceedinaretrospectiveway.

44, 45. Warren, John-“Context: New buildings in historic settings”/1998UniversityofYork,Pg.14 46. Mehrotra Rahul, Paper on “Architecture and contemporary Indianidentity”

49

The Debate

Tradition and Identity

Tradition and identity

Invent tradition

Conservation and preservation also play an important role in the identity of a place.

Reconstructing using traditional materials, restoring somethingtoitsoriginalformalsohasaresponsibility to maintain the identity of the place. Identity can be recognized at various levels. According to Rahul Mehrotra, region or nation emerges from what they identify with, the values and rules by which a society relates toeachother creatingitsspecificculture.This brings the designer to have an understanding betweenidentityandculture.

Many would agree that without tradition and culture we would all be much poorer in various senses.

People attach their emotions and actions to aspects of their immediate environment, which in turn gives them a sense of identity and makes them proud of that place. Identity can be strongly influenced by using traditional design.

At the same time, architecture that uses traditional design can be original, creative Some designers have a notion of being original is being non traditional. Is it that, being creative means that one cannot borrow things from the past? One can be creative in using traditional methods as well. And even if they are new ideas or new methods of construction, they can co-exist with the existing traditional construction. An approach based on tradition but intimately connected with the new is what can be advocated. It is important to relocate the notion of identity beyond the discourses of ‘symbol’ and the ‘local’ in a larger cultural dimension,thusagoodbalancedapproachcaneven inventnewtraditions.

When “culture” and “identity” seminally influence the architectural process, animportantnotioncomesinto play. A notion that deals with context, genius loci, sense of place, etc. A notion which comprises of vernacularism, regionalism, and heritage conservation. In a society like India, these notions would be evolving, transforming to include changing needs. To generalize all these notions can be put together to be termed as cultural significance.

Mehrotrasays, “Itisonlythrough this process of recognizing the kinetic nature of cultural significance that architecture will respond to contemporary realities and experiences and be truly put to the 46 servicesofemergingaspirations.“ An historic context represents humanness, a certain individuality, care, and craftsmanship. A sort of richness and diversity that are lacking in the modern plastic, machine-made components that a building posses now– a building with its repetitive components and massive scale projects. Heritage in this context provides a familiar environment and provides a sense of place, which is directly associated with what is called genius loci. Buildings have lots of association and meanings for people.

Some might be publicly known and acknowledged, suchaseventssurroundingatempleorasettlement.

Other meanings might be know only to a particular group of people such as users, regular visitor, or people associated with establishing the use and some stories may even be awaiting rediscovery via research.

50

The Debate

5

Heritage and authenticity

Does the process self-defeat its purpose if it fails to protect the building's heritage value and if the new design is not part of the total philosophyofheritage?

of heritage tourism have resulted in proliferation of inauthenticity how does one qualify and quantify the “experience” in a building,and how does thedesigner incorporate “authenticity” in his reproduction? Can the incorporation of much needed services like airconditioning in heritage buildings, which initially the original building never possessed lead to so-called inauthenticity? It is felt that physical alterations that goalongwiththenewuseinadaptivereuseschemes may devalue aspect of authenticity. In this regard, some consider the method of restoration is more important than applying adaptive reuse to the building.

Heritage and authenticity Earlier, tourists reached places seeking genuine sense of the past and with sufficient education to understand theirsignificance,butnowasthenumber of tourists increases, more and more sites are created where tourists areprovided with insignificant recreationsofthepast,whichcanbeeasilyaccepted.

Out oftheissuesdealtwithinadaptivereuseprojects like spatial obligations, structural considerations, infrastructure, and aesthetic issues, the issue taken here is the aesthetic one. Are tourists given the authentic experience that they seek? Orbasli states that, “at present for the tourism industry, history has become a product that canbemarketed,soldandrecreated. These historical assets are readily transformed into products thataresoldtoconsumers seeking an experience.” Tourists and their consciousness are motivated towards this desire to seek “authentic” experience, but can one be sure if theexperienceisinfactauthentic?

In Webster’s dictionary47, “authentic” is defined as “being actually and exactly what is claimed;” the second definition refers to authentic as being fully trustworthy as according with fact. ” Even if authenticity of a culture does not necessarily mean that each of its parts needs to be authentic itself (however defined), the idea of the authentic regional culture seems to be strengthened if it consists of a certain amount of regional-authentic elements.

Authenticity is a complex term in which design, materials, workmanship, andsettingshould be taken intoaccount Nara document ofauthenticitystates:48 “Conservation of cultural heritage in all its forms and historical periods is rooted in the values attributed to the heritage. Ourabilitytounderstand these values depends, in part, on the degree to whichinformationsourcesaboutthesevaluesmay be understood as credible or truthful. Knowledge andunderstandingofthesesourcesofinformation, i n relation t o original and subsequent characteristics of the cultural heritage, and their meaning, is a requisite basis for assessing all aspectsofauthenticity.”

Heritage tourism correctly and comprehensively understood, can bring together individuals and organizations committed to the preservation of our heritage resources with those concerned for the people's economic interests, simultaneously generating a very high level of citizen participation, hospitality, and enjoyment. Thompson in his book says, “To display only what is authentic must definitely (on moral, logical or economic grounds) be the proper aim.“ Do all heritage buildings undergo same kind of authentic reuse? What is the relationship between authenticity and heritage tourism? How do these issues affect architectural decisions?

47. PimonsatheanYongtanit: Currentissuesconcerningadaptive reuseintheconservationofurbanculturalheritage.

Recently, authenticity in the socio-cultural context has become an additional consideration in projects involving heritage significance. According to the tourism industry, people seeking cultural or heritage tourism experiences, desireauthenticity ofplaceand experience. Conversely, the growth and profitability

48.InNovember 1995, 45 specialists from 28 countries linked to ICOMOS metinNara,Japan,where33paperswerepresentedto initiate a debate aimed to establish a base on which to clarify authenticity asaframeworkinwhichtoevaluatethequalityofthe architecturalelementsthatmakeuptheworld'sculturalheritage.

51

The Debate

Heritage value

West elevation after alteration

West elevation before alteration

View after alteration

View before alteration

How does it fail to protect heritage value?

Fig 20. View of Pondicherry Court- before and after alterations.

The old building featured arcaded ground floor, colonnaded first floor, elaborate cornices, rendered pilasters, louvered partitions and high arched windows. It was later altered considerably- the originalfinishwas strippedoff,mostofthecolonnadesandarches were bricked up while the high windows were filled by inserting heavy concrete sunshades. The new three storied structure was merged with the open souther facade of the building. The placementofstaircasesontheeastandwestsideshavedrastically changedthevisualimageofthefacades.

Aprojectmaybeconsideredpredominantly thematic, when the existing features are compensated for and when the new is fabricated with considering the existing features.Thethemeoftheresortovercomes the desire to conserve when the sole purpose of addition is tourist requirements, comforts, and the heritageambience isgivenonlyinthefaรงade.

Some of the approach can comprise of an intervention at a precinct level to finer details in the building composition and existing elements.

Sometimes the original floor plan or interior spaces might be radically changed, which may damage the qualityandrelationshipofspaces.Theadditionsmay disturb the originality of the building and may even defy the context of the traditional townscape of the precinct. With respect to scale and proportion, dummy columns or squatted proportion of openings may intimidate the abutting heritage building and considerably vary the overall street context of the precinct. Concealing the traces of the presence of older elementsmaycausevisualdamage and break the existing harmony. Original finishes might be stripped or replaced with facing/cladding materials such as ceramic tiles,orsynthetic plasters may bein disharmony with the traditional materials. Features

52

The Debate

Heritage value

The evocative new

such as the roof and windows can often by repaired rather than replaced. Even colour schemes sometimes may drastically contrast with the typical colourschemesoftheprecincts.

Thoughtherearemanyviewstoit,authenticitycanbe a highly subjective state of being. In practice it may vary from culture to culture and changes with time. If the heritage resorts have to provide an economically successfulthematicenvironmentforthevisitors,they must accommodate modern building needs, and should meet current day requirements. This does involve some challenges to public taste and conventions, which might not be a bad thing. At the same time the historic buildings should be treated with care and integrity, minimizing the changes they undergo to meet the visitors needs, and maximizing the authenticity. Then we may achieve a situation where the historic components continue to embrace the new and even if the new is distinguishable from old, it does not upset their individual essential characteristics. Criticisms, debate, and controversy, iftakenonthepositive, only ensure that professional scrutinyandpublicinterestsarealiveandwell.

The reason for such an approach is usually due to lesser knowledge of the existing building, lack of interest or research and most often lack of funding and unavailability of traditional materials and craftsmanship. Modern construction materials and labour are usually cheaper and easily available. As discussedearlier, theoldbuildingmaynothavemany services and the new services may become a hindrancetothe existingheritage.

Usually minimum removal fromheritageproperties is sufficient; one reason is that the more the retained elements, the more it helps to provide that heritage experience. Also the conservation norms prevent major demolition and dismemberment of any part of the building or artifacts. To provide for the necessary theme, comforts, and to protect the heritage value canbeaninterestingchallengeandthenewhastobe carefully inserted into the overall philosophy of heritageandabalancedthematicunityisattained.

The issues in developing a historically significant building specifically for tourism can range from a provision of pureusercomfortstoarepresentationof a past era and creative interpretation of history. The limits for creative intervention can only be judged for each situationindividually,butabove all thedesigner must remain honest. The moreconsumer driven that “heritage� becomes, so will the authenticity that is attached toit.Aconservedandbeautifiedoldbuilding is seen as desirable but the economical constraints require a deeper understanding and provide for the superficialityofcontemporarylife.

It can be summarized that if certain features or elements are removed in an historical building in ordertoaddanewfunction,thentheyaredueto: Dilapidated condition of certain segments Obstructiontoneweraddition To connect spaces that might be accordingtothenewdesign Circulation To incorporate new services like airconditioning, parking access roads, toiletsandotherleisurefacilities.

53

The Debate

6

Evolution of Framework

Are all decisions dynamic?

Meaning the parameters that legitimize such projects are related to the experience the design successfully evokes within the stated objective. Design is then evaluated as to how creatively it caters t o o r a c h i e v e s that experience.

Evolution of Framework Ifthedecisionsaredynamicandvaryforeachproject, then a frameworkcanbegeneratedthatcanaidboth asagenerativeanda critical tool. Theintentionisnot to quantify or evaluate these projects, but it is important to understand the pressures created by such multiple polarities generated: in this case being the historic context, user requirements, economic constraints, need for providing a thematic environment, etc. The matrix or a framework that is evolved couldguide further researchorevenprovide a platform for analysis and evaluation of similar projects. These parameters do overlap theoretically.

For exampleinamoreheritageconservationoriented project, the aspects under heritage projects will be more and it will be intersected by the theme based parameters; an appropriate overlap would only provide a balanced themedenvironment in the given economic framework, without compensating too muchontheconservationaspect.

Ultimately theexperienceinvokedbysuchprojectsis directly affected by the architectural features, hence understand or critically view each project, materialistic architectural dimension has to be incorporated within the framework. Initially the location of thebuilding, and the social milieu in which the building is set should be looked at. Then if one considers the building as a whole, the form and design of the building and the materials used in the same will comprise of the other tangible aspects of thedesign.Theymaybecategorisedas– Locationandsetting, Formanddesign, Materials, Traditionsandtechniques.

54

The Debate

Heritage value

Fig 21. Framework of parameters pertaining to predominantly conservationorientedprojects.

Location and setting, Form anddesign, Materials, Traditions and techniques.

Fig 22. Framework of parameters pertaining to predominantly themeorientedprojects.

The different factors that drive thedecisions are interconnected.

The above diagrams depict the interconnection between each factorspertainingtothetwokindsofapproachesdiscussedsofar.

55

The Debate

Heritage value

Architectural features Locationandsetting

Form and design

At a macro level, the old buildings are part of certain setting and the fabric of the building gives a strong sense of continuity. A building of any form is always viewed with the background. Due to this establishment over time and familiarity they form a relatively homogenous fabric and hence certain regularity is achieved. The new building can either chosetobeapartofthissetting,orbecomeabreakin this setting. Invariably any break in this regularity or rhythmgainsimmediate importance.The break could be either the form or the building, or the scale, materials, or evenjustthefunction.Thedesigner has todecide whether tobreak thissetting or beapartof it, and for this the relationship between the environs andthenewproposalhastobecarefullyunderstood.

The next level would be the building's overall form and design. This would comprise of aspects that are directlylinkedtoarchitectural issues.The old building would already be based on a certain organisational principleandmovementpattern.Itwouldhaveitsown unique scale, spatial organization, and hierarchical spaces. Whether the building is old or new, they are never alone, there is always a relationship between objects. They are always in the company of other existing volumes, site conditions, or even the surrounding landscape. The new design has to interactwiththese,andthe modulationofnewformor volume tries to have a certain harmony with the existing. Plan building heights and massing, faรงade articulation, and parking so that the scale of new buildingelements,especiallyaroundtheperimeterof the site, reflects the scales prevailing in the surroundingarea.

Does the new design stand out from the surroundings, or intermingle and add to the whole experience? Even if there are no specific built forms or structure around it, the building is still part of a fabric and it is dependant on the surrounding resources; this background could be the physical form ofthefabric,orasocialsetting.Thebuildinghas to face the street in a certain way, same as how it responds to theadjacent buildings. In thatcasedoes the new design only use and deplete it, or does it become a part of it and enhance the whole neighbourhood? Is the new building socially and environmentallyresponsible?

Further the articulation of various elements also needstobeanalysed.Forinstance,onecancompare the openings present in the old and the new. Doors and windowsaretwotypicalmethodsofmanagingan opening in an opaque structure; they were looked at as mere piercing in a wall, and were completely dependant on the structure, predominantly load bearingwallsinhistoricbuildings.Itcouldbeasource ofairandlightoritcouldgofurtherandevenframean exteriorview.Butinmoderntimessteelandglasshas made it possible to extend this notion and there are new possibilities. The existing structures usually possess well defined openings with a specific style and belongingtoacertainperiod.Theopeningswere a direct response to the climatic understanding and style that existed at that time. Does the new design also follow the same? Or does it explore newer possibilities? The same argument can be applied for structural system, and the construction techniques involvedinbothnewandold.

In most cases certain aspects present in the old building provides valuable hints to the designer in terms of its response to the local climate and surrounding. Does the new building follow the same climaticresponseorhaveitsown?

56

The Debate

Heritage value

Tradition andtechniques

Materials

The methods of construction of past centuries were often based on a system of load bearing walls, or of other ways of makingmaterials work by the principle of compression. But now that the technology offers different possibilities, architects havealready broken away from conventional closedplans,and“liberated� the planandmadedifferentkindofspatialexperience possible. There are concepts and techniques which go beyond the primary function of the building.

Tradition and construction techniques are implied in the form of symbols or icons expressing the importance of crafts and creativity that already existedinthatlocale.

Inoldbuildingsthe materials areusuallynot made to look likesomethingelse. Thecharacters of materials inanoldbuilding are usually visible in an honestand true way. Due to the limitation of resources and restricted techniques,theconstructionstrictlyrelated to the form offered by the material. But nowadays, technology allows us to make an imitation of a construction technique and substitute with another material. There are so many methods and materials to clad theexteriorandinteriorofabuilding. In anold building, one could experience the honest display of heterogeneous materials, would thenewdesignalso havethesame?

In theme parks, the technique of construction is usually falsified. What people see outside need not be related in terms of the technology of the original construction underneath. Just like materials and texture, construction techniques also associate the user to history and tradition. Does the new design followtraditionalmethods,orinvolvereadilyavailable knowledge and technique? Tracingback the method ofconstruction canhelppreservethelocalcrafts and even provide an income to people around. On the other hand, using old techniques might suffer due to unskilled labour and prove to be expensive and time consuming.

The characterofamaterialhasastronginfluenceon the form and the spaces in the building. They have their own symbolic significance; it can directly associate the user to its history and eventually the places history. Do the materials in the new design respond to all these associations already existing in theold?

The designers sometimes have to trace the roots of craftsmanship andgetthenewwork done inorder to haveanauthentic reproduction.Itmaynotpossiblein allscenarios,thenhow does one replace the old with new material?

57

The Debate

Heritage value

Use and function

Essence/otherintangibleaspects

In the earlier segment,theuserrequirementsandthe requirements of a resort werediscussed.Thetourists expectadifferentexperience,andtheresortsprovide thissuperficialreenactmentofapast-timeexistence.

Although the users are willing to experience something newand ready forsurprises, certain basic necessities or preconceived notions of a resort are expected by the user.This could be anything fromthe size of a room, the swimming pool, or the services including food. Certain comforts have to beprovided as basic necessities. Onemightarguethat this is the job of the resort management, but the architect as a designer can enhance the experience. Then the management'srolebecomesmeremaintenance.

Every old building along with utility values has an intangible heritage values. For example, every building has a story, associated history, and an experience togoalongwithit,evenasameresymbol or image. At the same time, the designer wants to create an identity for his own design. What does the designer give more importance to, the story or the mere conservation of the building? Heritage value has been discussed earlier, has it been given importance?

Inapurelyconservationproject,itmight beenoughif just the building is conserved in its material aspects, and in many cases, the building itself is turnedinto a museum exhibit. But in a resort, to add to the experience created for the user, the “story� has to be told. Even if it is just superficial re-enactment, the tourists must enjoy the experience. It all adds to the emotionalimpactthenewandtheoldhasontheuser.

Theyenhance thehistoricassociations formedbythe user.

Thereneedstobeabalancebetweenthedemandfor such luxuries and the heritage experience the resort boasts about. Sometimes theusermight be wiling to compensateforcertaincomforts,aslongasitisworth the special experience. But it can be a risk and the designer hastotakeadecisionregardingthat.Orcan a functional requirement compensate for a heritage aspect of thebuildingatall?Theoldbuildingsarenot designedforcomfortsthatexistnow,sohowdoesthe new proposalaccommodatesuchservices?

58

The Debate

Heritage value

The overall framework Both thediagrams (Fig. 19&20) areinterwoven with the above mentioned architectural aspects to arrive at an analytical framework. The intangible aspects could be theeffect of thenewuseontheoldbuilding and the relationbetween the spaces.Theimportance given to the traditions and techniques used in the building would reflect on how well the traditions and character of the building are maintained. Sometime re-creation raises question of authenticity and for their reliance onalimited set of architectural clichĂŠs.

Theycanbederivedfromtheexistinghistoriccontext categorized as scale, mass texture, volumetric form, andstyle.Styleoftenreflectsthefamiliarfeatures,the remembered attributes that play on ones emotions brought about by the history the existing building possess. For this not to become pastiche, thequality ofthestylewould bedependantonthefundamentals of architectural good practice, integrity, texture, massing,composition,andrhythm.Useandfunction, essence, and spirit of the place represent these intangibleaspects.

Essence or intangible aspects

E

F

L

Fig23. Theanalysisreliesonbasic understandingof architectural aspects and elements present in the projects. The architectural features and experience it invokes in the user are identifiedand comparedwithsimilarelementsandexperience that usedtoexist intheoriginalfabric.

59

60