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add cultural and social as well as economic value.

The new uses of the building should have a synergistic compatibility with the old forms most significantelements.

The manner in which the new exists with the old depends on the designer's interpretation. In heritage resorts, tourism is the primary motive. Hence the needs ofthetouristshavetobecarefullyunderstood, and fabricated themed environment might make senseultimatelytheuserisbenefitedandthebuilding is kept alive. The lessons that are to be learnt from history and heritage can still be taught with the remains. At the same time, it is also important not to make a poor imitation and create a bogus image of the history. This neither benefits the user as it isn't real, or the existing building as it makes it look less authentic. If imitation is considered a strong way to bring thenostalgic feeling,thenitshouldbedoneina sensitive way being truthful to the craftsmanship and material, or at least trying to reach the quality of originalcraftsmanshipwiththeexistingone.

The multiple polarities oftherequirementsofaresort, its facilities and historic context along with heritage significanceproduceacomplexpatternofpressures.

Pressures here refertotheinterestofthecommunity, construction costs, local economy, financial returns and user needs and comforts. It also involves many intangible aspects. Designers withasolepurposeof providing a thematic environment may tend towards recreation based on imitation and standardization.

Designers with sensitivity towards the quality of the historic environment will exercisespecialcareonthe impact of their work. They will be conscious that the existing environment represents a statement in time and their intervention can affect this aspect that the environment displays. At the same time if the design is excessively historicist, it may cause the environmenttodisplayagreater historic appearance than is justified. Both kinds of projects have the capability of providing a great experience for the tourist

The risk in having heritage as a theme is when the need to provide the theme overcomes the desire to conserve theplace as well. While trying toadaptold buildings fortheprinciplereasonofattractingtourists the original flavour of the place might be lost. The challenge is to make sure that the outcomes of adaptive reuse are not only sound in terms of conservation values but also in terms of the readapted buildings having a real existence and having an authentic role that is not too contrived and nottoofalse.Thoughthemedenvironmentisfuntobe part of, few people want their cultural identity refracted through a type of Disneyland experience.

Attempts at adaptive reuse should result in a profound expression of respect for the past yet still manage togiveusaninspiringexpressionof who we are today and what our cultural values are. Buildings should be reworked in a timeless and enduring fashion. If we want buildings to work in the present and the future we shouldn't imagine it will always be possible to recycle old buildings with their existing envelopes.

Adaptive reuseisin-betweenaheritageconservation project and a purely thematic based resort. The overriding theme should be neither, but be one of appropriateness. And need should be to develop change without severingcontinuity with thepast.The choice between the projects being predominantly imitationorimaginativerecreationliesinthedecision of the designer, for whom the dividing line between the old and new is what makes these projects interesting- theoverlapthepresenceofthepastinthe present is what excites the tourists who use these resorts. Ultimately the user-experience is important and a building with a significantheritageimmediately eases the process of providing experience. The old features and existing spaces constraints establishes boundaries for the designer. At the same time, it provides a valuable base and setting to work on. For example, a building's articulated response to location, climate, topography and culture represents an organizational principle that is specific for that region. In many cases it might be a safer method to follow certain aspects of the building, since it would be the best solution for that region. The designer

In a sense the idea of adaptive reuse at its least imaginative is a denial of the modern architectural principle that form follows function. Any adaptive reuse has to accommodate respect for the original architecture with a strong approach to how to articulate the spaces for today's needs.Theyhaveto

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OnInterpretation

should capitalizeonthisasmuchaspossible.Onthe other hand the new has to provide an evocative whole. Historyorimitation,ifdoneinabalancedway along with enhanced services, and improved infrastructure have greater opportunities for entertainmentandrecreation.

Interpretation is one of the most important factors in utilisinghistoricbuildings.Good interpretationwillnot overwhelm the building, but should set the scene as the visitor enters the site, informing them both about the history ofthebuilding and those whoinhabited it.

Hence the first major principle is to understand the building andits context andtoassessitssignificance.

A valuable base and hints can be derived from a detailed documentation of the existing building. This aids a good design and its ability to interpret the underlyingopportunities theoldbuildingcanprovide.

Carefulrestorationoftheexistingprovidesavaluable source of information. Sometimes the building itself can be made into a museum exhibit. Conservation requiresacautiousapproachofchangingasmuchas necessary but as little as possible. In both the examples discussed earlier, the existing buildings are changed as much as necessary and as little as possible, without unnecessary embellishment. The old buildings are usually built in an era when the stability of techniques and form imposed certain homogeneity of appearance. The construction methods were simple and long lasting – the form or appearance of such structures naturally imposed itself on the viewers. Through time, the range of architectural solutions has also increased.

Nowadays,therearesomanymethodsandbuildings have a possibility of being built with technologically complex system of execution. Architectural design does not comprise only of the façade, but also the plan andsectionof thebuilding.itisnotenoughifthe designaddresses only the streetorsquareinfrontof it, itshouldbear some relation towards the inside the building.Afaçade that conceals the truth, or sets out to deceive can clearly be an obstacle to a comprehensivedesign,anditsappreciation.

Although the discussion and argument can go on, and the attitudes frequently propounded; assessment of intangible aspects are often elusive.

However it seems appropriate to raise a few questionsregardingthevariouslevelsofcommitment and style the designer provides for such reuse projects.And answers toanysuchquestions depend on designer's interpretation which is based on the combinationofbothvaluesandtechnique.

Such mix of old and new techniques often result in creative details and methods. Details in modern architecture have a similar role as ornament or decoration in traditional architecture. But the difference lies in the aspect whether the detail or ornament is essential or merely added. Thedetailing can subdue or make the new stand out. Sometimes suchdetailsthatdifferfromtheoriginalarepreferred, thus while allowing for the new function, it makes clearly legible the existing architecture that may be enhanced, and the part of the new proposal that is

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enhancing it. Conversely, lack of proper detailing only impoverishes the architecture and deprives the user of a certain degree of experience that project/designer could have provided.Abuilding has the potential to express its own true unique nature only throughdetails and articulation, especially in an existing layout which is already overwhelmed by traditional craftsmanship and spaces of grandeur scales.

movement between them can be an interesting experience for the user. Sometimes thecontrast and the enhancement of the theme is considered “inauthentic� representation of heritage. Our distinctive historic heritage is a part of our identity, and reflects the diversity of our traditions andcultural experiences. It is an inheritance that is passed on from one generation to another. Each generation contributes another layer to the historic environment andalsomakesdecisionsaboutwhatitwantstokeep from the past. Hence there is a constant reinterpretation of the historic environment and its meanings, any break in this continuity would disrupt thisprocess.

Integrity Ingeneral, the oldbuildings have a strongintegrity of space and structure. Though they are different from the old, the new materials incorporated must be in consideration with the character of the original building. Two unique materials can still coexist with each other. For example, if the new structure has columns made out of different materials, it could still follow the same symmetryandgridliketheold,which automatically provides an association with the old in terms of the spaces generated. Another method to maintain the integrity is to make keep the changes that reduces significance can be reversible. This meansitshouldhaveminimumimpactonthefabricof significance, and provide the opportunity for change at a later date. One can also retain the spaces, character views to and from the building, to maintain the association. Itisnecessarytoretainandinterpret the building so that its past function is readable, at least in outline. Contents, fixtures and objects are likelytobeevidenceofthepastuseandthereforepart of the story. After the use changes, the old signs and advertisements provide ready recognition ofthe past use.

Whiledifferentcultureshavedifferentwaysofdealing with theirheritage,awidely heldnotionofauthenticity advocates the practice of non-intervention in the preservation of cultural artefacts. Some prefer minimum intervention as being authentic. Then in buildings, being authentic in a true sense would not proceed beyond fossilization, and any kind of intervention can be called inauthentic. Hence authenticity is a nebulous term and cannot be quantified it is merely a rhetoric term and remains elusive.

The userandthepeople On theotherhand, visitingaheritageresortisnotlike visiting a museum or just a journey into the past. It needs to be a pleasurable experience of leisure and cultural activity which attracts tourists. Functionally the most significant concern is the users. A heritage resort should remain sufficiently attractive, convenient and interesting for the tourists. Many sophisticated servicesareneededtobeincorporated inthe new design. This requires a finebalanceofthe sensibility and technology while doing the interiors, so that these services do not intrude or compromise the design of the old of its simplicity and beauty.

People associated with a place shouldbeinvolvedin the conservation process, in collecting information about the place and its operation and in contributing tothestatementofsignificance.Forinstance,itwould be desirable to speak to the former users to understand how te original buildings functioned in practice. Their memories of the building will throw new light on the fabric and its importance. They may alsohaveoldrecordsandphotos.

Continuity The existingcontext alwayssuggestsaresponse;the existing forms are associated with events which it might have accommodated. Although the modified new suggests a different action, the notion of the eventthatusedtotakeplacecanstillbeinterestingto the new space.Thisistheunderlyingprinciple of any thematic environment. Specifically to resorts, the thematic environment createddemandscontinuityat various levels.They are decided first by thedesigner and further enhanced by the functioning of the resort itself. Sometimes dynamic spaces in the new can provide contrast to existing spaces and the

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Another important consideration is the economic aspectofsuchbuildings.Mostoftheprojectsmaynot be able to afford the concerned for maintaining the fabric of an old building by introducing complete environmental standards and services. Here again a fine balance is required, as conservation is energy saving,whereasanewbuildingisenergyconsuming.

This philosophy however elusive it may be, can become a simple foundation for the future logical thought processes, through which imagination and creativity must move to achieve the required objectives. Ultimately the new wholeshould be more evocative than the original building. The aim of the conclusionisbasicallyan“order�inthisarrayofideas that can aid logical conclusions. These rationalisationscanbesummarisedas

Assess/Understand/Appreciate/Recognise Each place has its unique qualities. This uniquenessiswhatmakesitdifficultandspecial.

Significanceofheritageandlocalmilieu.

Userrequirement.

Spiritandcharacteroftheplace.

Prepare/Plan Conservationplans.

Sustainability.

Luxuryrequiredbythetourists.

Deal with the whole and not in specific fragments.

Examine/Consider Compatibilityoftheuse.

Optimummanagementofavailableresources.

Innovative andcreative design solutions for the users.

Encourage/Promote Enhancedculturalexperience Valuablelocalcraftsandarts

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Illustration credits

Guide to Examples Illustrated

Illustration Credits Illustrations not mentioned on this page are accreditedtothestudentresearcher.

Hotel de l'orient, pondicherry, 17 Rue Romain , Pondicherry, 605001 French Colonial, 18th century, Renovation:1999, Architect: Ajit Koujalgi and Francis Wacziarg,

Images and drawings of Hotel de l' Orient INTACH, Pondicherry.

Drawings of Sterling, Swamimalai Associates,Chennai.

Sterling Swamimalai Thimmakudy Agraharam, Baburajapuram Post, Kumbakonam 612 302, Tamil Nadu.

1896 villa, Renovation: Bharath and Associates

Bharat and

Shiv Niwas Palace hotel, City Palace, Udaipur- 313001, Rajasthan.

Mewar dynasty, Mughal and Rajput style

Chapterone–Overviewonadaptivereuse Fig.no.1,2: www.tate.org.uk Fig. no. 3, 4, 7-13: Ar. Channa Daswatte, MICD Architects, Srilanka Fig.no.15:Orbasli,Aylin,E&FNSpon,2000

Neemrana Fort Palace, District - Alwar, Neemrana - 301705, Rajasthan.

Built-1464, Renovation 1986, Architect (renovation) Aman Nath,

Chaptertwo–Thedebate Galle fort press, 1862, Renovated 2004, MICDAssociates, SL

Fig. no. 1,6,7:KapoorAnuradha,Roli&JanssenBV 2005 Fig.no. 5: www.heritagenh.com Fig.no. 8,9,10:Mathieson,Alister,1982 Fig. no. 11,12,13: Ar. Channa Daswatte, MICD Architects, Srilanka Fig.no.14,15:Dr.ParimalaSelvan Fig.no.16:Porchelvi.S,UniversityofMadras,2000.

Fig. no. 20: Architectural heritage of Pondicherry, INTACH,July2004.

Galle fort hotel, 28 Church Street, Galle Fort, Galle, Sri Lanka.

Architects (renovation): MICD Associates, SL. 17th-century grand merchant's house built in Dutch colonial style.

Dutch house, 18 Upper Dickson Rd., Galle, Sri Lanka.

Architects (renovation): MICD Associates, SL. Dutch colonial.

Chapterthree–TheDemonstration

Amethyst, Sundar Mahal, 14/30, Padmavathi Road Gopalapuram, Chennai 600086.

Fig. no. 1, 2, 7-9, 11-14, 16-20, 22, 68 : Ajit Koujalgi, INTACH,Pondicherry.

Fig. no. 3-6,10,15,21,37,44: Architectural heritage ofPondicherry, INTACH,July2004.

Fig no.23,25:KapoorAnuradha,Roli& JanssenBV 2005 Fig.no.29,30: www.murugan.org/temples Fig.no.36,39,43:VissaAshwin.

Dakshin chitra, East Coast Road, Muttukadu Chingleput District, 600 118.

Architect: Laurie Baker.

Plateno.7:BalajiKalpana Plateno.8:VissaAshwin

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Bibliography

Bibliography Books Alsayyad Wezar Consumingtradition,manufacturingheritage Routledg,2001.

INTACH ArchitecturalheritageofPondicherry AsiaURBSProgramme,July2004.

AsiaURBS Achievingeconomicandenvironmentalgoalsthroughheritagepreservationinitiatives AsiaURBS,2004 Croft, Virginia Recycled as restaurants: Case studies inAdaptive Reuse Whitney Library of Design, NY, 1991 Cantacuzino Sherban Re Architecture: Old buildings new uses Abbeville press, New York, 1989 Desai Miki, Lang Jon, Desai Madhavi Architectureand Independence OxfordUnipress,1997 Ghosh Santosh Architectural and Urban conservation Centre for built environment, Amit offset.

Kapoor Anuradha Indian heritage hotels- legacy of splendour Roli & Janssen BV, 2005 Mathieson Alister and Wall Geoffrey Tourism-Economic, physical and social impacts Longman Group Ltd, 1982 Menon AGK, Cultural identity and Urban development INTACH, Raj press New Delhi, 1989 Menon AGK, Thappar BK Historic towns and heritage zones INTACH, Raj press, New Delhi, 1988 Oltre il Restauro Restoration and beyond, Architecture from conservation to conversion, Projects and works by qndrea brund(1960-95) Edizioni Lybra, Imagine, 1996 113

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Orbasli, Aylin Tourists in historic towns E & FN Spon, 2000 PierrevonMeiss ElementsofArchitecture E&FNSpon,1990 RaoShankaranarayana.A.V TemplesofTamilNadu VasanBookDepot,2001 Thompson. M.W Ruins, their preservation and display British museum publication ltd Venturi, Robert Learning from Las Vegas The MIT press, 1994 Warren John, Worthington John, and Taylor Sue Context: New buildings in historic settings University of York, 1998 Webster'snewworlddictionary NewYork,1958 Zukin, Sharon The culture of cites Blackwell publishers ltd. 1995 Undergraduate research theses Balaji, Kalpana The impact of colonialism on traditional South Indian Temple-centred settlement, case study: Triplicane, Madras CEPT, 2004 Kapur, Amita Adaptive reuse of old buildings : New functions and interior spaces CEPT, 1996.

Pathan, Ayub Adaptive reuse, case study of Bombay dockyards CEPT 2000 Porchelvi. S Heritage tourist resort- Pichavaram BIST, University of Madras, 2000

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Acknowledgments

Research papers Cantell, Sophie F The Adaptive Reuse of Historic Industrial Buildings: Regulation Barriers, Best Practices and Case Studies Submitted in partial fulfillment of the requirement for the degree Master of Urban and Regional Planning, Virginia Polytechnic Institute and State University, May 2005 www.nvc.vt.edu Conservation of Australia's Historic heritage places Commonwealth of Australia 2005 www.pc.gov.au Kelleher Michael Images of the past: historical authenticity and in authenticity from Disney to Times Square CRM journal 2004 www.nps.gov Larkham j Peter Sense of place, Authenticity and Character: A commentary Journal of Urban Design,vol. 8, No. 1, 67-81, 2003 Menon AGK Towards an Indian charter, Seminar-467 July 1998 Maris Casal, Stella The adaptive reuse of buildings www.international.icomos.org Mehrotra Rahul , Prasad Shetty and Rupali Gupte Architecture and contemporary Indian identity, Paper on Architecture and Identity, Sponsored by Volkswagenstiftung and Berlin University of Technology www.architecture-identity.de Nara document of authenticity www.international.icomos.org Navrud Stale, Ready C. Richard Valuing Cultural Heritage/ Applying Environmental Valuation Techniques to Historic Buildings, Monuments and Artefacts www.nba.fi/tiedostot Pimonsathean Yongtanit Current issues concerning adaptive reuse in the conservation of urban cultural heritage www.macauheritage.net

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Acknowledgments

Acknowledgments Ithank, Myfamilyfortheirunconditionalsupportandbeliefinme.

My guide Prof.A.Srivathsan, forhispatience, discussions anddirection.

ParikkaandSelvanfortheirgeneroussupport.

Ar. Channa Daswatte(MICD, SL), Ar. Balaji (Bharath Associates, Chennai), Ar. Ajit Koulagi (INTACH, Pondicherry) for providing me valuable material and an opportunitytostudytheirwork.

DakshinChitra.

Ar. P.T. Krishnan, Ar. Nimish Patel, Prof. Tara Murali, Prof H. K. Vyas, Prof. N. Chhaya for initial discussions that led totheclarityoftheresearch.

Mr. Jayakumar (Kumbakonam), Ashwin's family, and Tarun(Chennai)fortheirhospitalityandencouragement.

Sembian and Anupama for helping me with the measure drawings.

Chetna, Gangu, Darshan for their support, and online computertroubleshootingadvice.

Ashwin, John, Kalpana, Malavika, Tarun, Anushka and Rajivfortheirhumourandcompanythroughthethesis.

Kalpana, Sagarika and Anushka for their discussions and helpinformatting.

Ashok, Veer, Viraj, Sagarika, Mihir, Naman, Anjalika, Ranjeet, Gangu, Niketa, and Rika for the invaluable time spendtogetherduring thecourse.

Batch99.

TheThesiscommittee,SchoolofArchitecture,CEPT.

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