Dissertation - Rebecca Waldron

Adaptive Reuse: The Inextricable Link Between Sustainability and Heritage Preservation With a focus on Sydney public interiors

Rebecca Waldron

Bachelor of Interior Architecture Final Year Dissertation

Individual Plagiarism Declaration

Adaptive Reuse: The Inextricable Link Between Sustainability and Heritage Preservation With a focus on Sydney public interiors

Abstract

The process of adaptive reuse seeks to utilise existing buildings and sympathetically give them a new purpose or function. It is a way of acknowledging the past whilst catering for the future. Places that lose relevance expose themselves to neglect and decay so the idea of marrying existing structures with innovative, contemporary architecture ensures their pertinence within society. The Heritage Act was introduced in NSW in 1977 to create guidelines and limitations on additions to heritage listed structures. This legislation ensures Australia’s shared history is not lost. The built environment is detrimental in eliciting memories and recalling our past and architects and designers today are imperative in protecting that.

This dissertation seeks to explore the possible benefits of adaptive re-use through three key criteria of sustainable design; environmental, social and economic. It explores the combination of sustainable design and heritage preservation. Two contemporary examples of Sydney public interiors will be used as case studies to explore the potential benefits of adaptive re-use, The Mint by FJMT Architects and Carriageworks by TZG Architects. The analysis will be undertaken through an exploration of publication and imagery on the topic. Through this analysis, this dissertation aims to prove that existing and contemporary architecture can co-exist simultaneously, ensuring its relevance today and hereafter whilst greatly benefiting society through its sustainable design practices.

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Acknowledgements This dissertation is the result of an individual research based project although could not have been achieved without the substantial help from academics and educators at the University of New South Wales. Specifically, Dr Sing D’Arcy who was the course convenor for Dissertation 2019 and clearly communicated the steps throughout the process. I must also gratefully acknowledge Dr Laurence Kimmel who acted as my supervisor for the duration of 12 weeks and was consistently willing to provide constructive feedback.

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List of Illustrations Figure 1.1- Waldron R, 2019, Venn diagram of sustainable design principles, Graphic Image UNSW

Figure 2.1- Stuart Miller, Street Faรงade (West) of the old Rum Hospital and Sydney Mint, Sydney Living Museums, Digital image; viewed 5th May 2019 < https://sydneylivingmuseums.com.au/venues/the-mint >

Figure 2.2- Site position within the heritage precinct of Macquarie Street, FJMT Architects, Digital image; viewed 5th May 2019 < https://fjmtstudio.com/projects/the-mint/ >

Figure 2.3- Courtyard view looking back towards the old Mint Building, now currently the Caroline Simpson Library and event spaces, FJMT Architects, Digital image; viewed 5th May 2019 < https://fjmtstudio.com/projects/the-mint/ >

Figure 2.4- Louvered windows changing from a changing from a vertical wall plane to a horizontal ceiling plane opening to the courtyard, FJMT Architects, Digital image; viewed 5th May 2019 < https://fjmtstudio.com/projects/themint/ >

Figure 2.5- Suspended walkway over remaining archaeological site within The Mint, FJMT Architects, Digital image; viewed on 5th May 2019 < https://fjmtstudio.com/projects/the-mint/ >

Figure 2.6- Suspended walkway over remaining archaeological site within The Mint, FJMT Architects, Digital image; viewed on 5th May 2019 < https://fjmtstudio.com/projects/the-mint/ >

Figure 2.7- Stuart Miller, Considering the central courtyard and function spaces of The Mint, Sydney Living Museums, Digital image; viewed 5th May 2019 < https://sydneylivingmuseums.com.au/venues/the-mint >

Figure 2.8- Douglas Riley, Central courtyard view including the gravel outlines of the old chlorine gas chamber, Digital image; viewed 5th May 2019 < https://sydneylivingmuseums.com.au/venues/the-mint >

Figure 2.9- Waldron R, 2019, Successfulness of sustainability in The Mint Building, Graphic Image UNSW

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Figure 3.1- Front faรงade of Carriageworks function and performance centre, Digital image; viewed 5th May 2019 < http://ocp.net.au/eveleigh-carriage-works/2017/8/23/eveleigh-carriage-works >

Figure 3.2- Front faรงade of Carriageworks function and performance centre looking down at the multitude of repetitive bays and showcasing the original brick materiality, Digital image; viewed 5th May 2019 < http://ocp.net.au/eveleighcarriage-works/2017/8/23/eveleigh-carriage-works >

Figure 3.3- Interior concrete forms showcasing the new materiality, Digital image; viewed 5th May 2019 < https://www.tzg.com.au/project/carriageworks/ >

Figure 3.4- Contrast of old and new materiality 01, Digital image; viewed 5th May 2019 < https://www.tzg.com.au/project/carriageworks/ >

Figure 3.5- Contrast of old and new materiality 02, Digital image; viewed 5th May 2019 < https://www.tzg.com.au/project/carriageworks/ >

Figure 3.6- Waldron R, 2019, Successfulness of sustainability in Carriageworks, Graphic Image UNSW

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Abstract 01

Table of Contents

Acknowledgments 02

List of Illustrations 03

Table of Contents 05

Introduction 06

Chapter 1 09 -

1.1- Economic Sustainability 09

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1.2- Environmental Sustainability 10

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1.3- Social Sustainability 11

Chapter 2- Case Study I: The Mint 13 -

2.1- Economic Sustainability 16

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2.2- Environmental Sustainability 17

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2.3- Social Sustainability 19

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2.4- Synthesis 22

Chapter 3- Case Study II: Carriageworks 23 -

3.1- Economic Sustainability 25

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3.2- Environmental Sustainability 26

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3.3- Social Sustainability 27

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3.4- Synthesis 29

Conclusion 30

References 31

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Introduction This dissertation studies how a successful example of adaptive reuse combines both sustainable design and heritage preservation: with a focus on Sydney public interiors.

The process of adaptive reuse seeks to utilise existing buildings and sympathetically give them a new purpose or function. Adaptive reuse on heritage listed structures should have little impact on the existing fabric of the building and be considerate of their historical context and significance. (Commonwealth of Australia 2004) There are now over 20,000 heritage listed buildings in Sydney and many sit dormant and inactive. (Heritage Offices 2008) When a buildings current function becomes obsolete, a new function that will add future value to the building is inserted.

(Conejos 2011 p.1) Places that lose relevance expose themselves to neglect and decay so in response to this, marrying heritage structures with innovative, contemporary architecture ensures their pertinence within society and adds value for the future. (Commonwealth of Australia 2004)

The concept of adaptive reuse dates as far back as the renaissance period where traditional monuments were being repurposed. (Plevoets and Van Cleempoel 2013) During the French revolution (18th century), religious buildings were being confiscated and sold to military operations and industrial groups and by the 19th century theoretical discussions pertaining to the notion of adaptive reuse were being conducted. (Ibid) Contrasting opinions became paramount between the French and the English on this topic. The ‘restoration movement’ was led by Eugene Emmanuel Violletle-Duc (1814-79) of France and the ‘conservation movement’ was led by John Ruskin (1819-1900) in England.

Today in the 21st century there is still great debate as to what is the optimal approach to historical buildings.

(Ibid)

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As can be seen in Figure 1.1, a successful example of adaptive reuse combines sustainable design and heritage preservation. (Conejos 2011) By bypassing the process of demolition and reconstruction with the bonus of energy savings, adaptive reuse is a sustainable choice. (Commonwealth of Australia 2004) It conserves the architectural, cultural, environmental and economic values associated with the existing building. (Bullen 2011)

Figure 1.1- Waldron R, Venn diagram of

sustainable design principles, UNSW 2019

There are two distinct ways to apply the principles of adaptive re-use, these being blending in (the new functions seamlessly fit into the existing building and its respected style) and contrast (intentionally designed to juxtapose the existing structure). Both options can be viable, sustainable choices, although contrasting allows new energy efficient materials and services into the space, whilst blending in often requires a greater level of craftsmanship: meaning more time and cost. Architects, designers and builders are crucial in achieving a positive outcome in changing the nature of historical sites. (Heritage Offices 2008) The new work must be an informed choice regarding its rich history.

Adaptive reuse becomes part of the long evolving history of the site. It is part of the journey and not the final destination or outcome. (Heritage council of Victoria 2013) The Royal Australian Institute of Architects (RAIA) believes heritage listed buildings are not a constraint but instead an endeavour of innovation and creativity (Heritage Offices 2008)

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The first chapter of this dissertation will investigate the origins of adaptive reuse in Australia and why it is now so prevalent. It will explore the opportunities, challenges and limitations associated with this process regarding heritage listed buildings and discuss the importance of heritage legislation and building conservation within Australia. This chapter will also examine the possible benefits of adaptive reuse, in particular the social, environmental and economic advantages.

The second chapter of this dissertation will explore the application of adaptive re-use within traditional colonial architecture. An in-depth analysis of The Mint Sydney re-designed by FJMT architects in 2009, will assess the successfulness of adaptive reuse through the three key criteria of sustainable design.

Similarly, chapter three of this dissertation will explore adaptive re-use within industrial heritage. An in-depth study of Carriageworks Sydney re-designed by TZG architects in 2006, will assess the possible benefits of creating a new form insertion inside a heritage envelope with a focus on sustainable design.

Contemporary literature, government reports and scholarly journal articles pertaining to adaptive reuse and its potential benefits form the basis of the framework of this dissertation and overall methodological approach.

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Chapter 1 Benefits of Adaptive Reuse The most commonly referred to definition of sustainability is from the 1987 report of the World Commission on Environment and Development: Our Common Future. This report determines that sustainability addresses the â&#x20AC;&#x153;needs of the present without compromising the ability of future generations to meet their own needsâ&#x20AC;?. This definition will be explored below to establish how economics, the environment and society can change today to ensure their survival for the future.

1.1- Economic Sustainability The economic benefits of adaptive reuse are still up for debate, although some research has proven the community does benefit from the process. Inserting an exciting new function within an old, inoperative building can add to tourism and therefore acquire a greater income into the local economy. (Heritage Offices 2008) It also attracts people by enhancing the liveability of a community and can draw people to live in the area. (Ibid) The most common benefit of the adaptive reuse process is that the overall cost is lowered due to working within an existing building and utilising existing materials, rather than needing new ones. By doing this there often a cost saving in construction supplies and transport. (Heritage Offices 2008)

However, adaptive reuse is often perceived by the public as an expensive process. If sites are contaminated or existing structural work is deemed unsafe, extra charges for engineering and other services can be costly. The importance of undertaking ongoing maintenance must also be considered before beginning the process. (Heritage council of Victoria 2013) The new use of the building needs to make enough money long term to ensure the conservation and restoration is viable. (Heritage Offices 2008) Conservation projects can cost more than ordinary construction due to the skills and craftsmanship needed to retain the structure, as well as any support needed to ensure its stability and

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longevity. One benefit to this however is that the specialised skilled workers needed means adaptive reuse projects on heritage buildings often employ more workers than new construction and therefore generate a better economy.

(Heritage Offices 2008)

Economic constraints can force architects and designers to push the boundaries and create interior functions that sit within the existing building that is left untouched, crumbling and cracking. A sense of beauty and rich history can be found in examples like this. (Heritage council of Victoria 2013) Authorities have an important role in making adaptive reuse a feasible option. To ensure it is a viable process in the future, heritage bonds, grants or loans could be offered as incentives. This would ensure owners will not be disadvantaged by constraints the heritage system may apply.

(Heritage Offices 2008)

1.2- Environmental Sustainability “Around 80,000 buildings in Australia have fallen through the ‘green gap’ and are missing out on retrofit opportunities that would improve their energy productivity, resilience and sustainability”- The Green Building Council of Australia (GBCA). (Sebag-Montefiore 2016)

Adaptive reuse is significant due to the notable contribution it can make to environmentally sustainable initiatives.

Approximately a third of the landfill within Australia comes from the construction industry. From this, seventy-five percent consists of brick, timber and concrete. Therefore, re-using existing buildings diminishes overall landfill by significantly reducing waste. (Heritage Offices 2008)

Materials and energy used in constructing a building is known as embodied energy. This includes the acquiring of natural resources, manufacturing and transportation of materials and administrative tasks. (Heritage council of

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Victoria 2013) Revitalising and repurposing existing structures retains and conserves their embodied energy. The Australian Greenhouse Office states â&#x20AC;&#x153;The reuse of building materials usually involves a saving of approximately 95% of embodied energy that would otherwise be wastedâ&#x20AC;?. (Heritage council of Victoria 2013) Research undertaken in 2001 found that forty percent of energy and material consumption annually was due to new buildings as well as twenty-five percent of harvesting for timber, sixteen percent for water supplies and forty-five percent of carbon dioxide production. (Commonwealth of Australia 2004)

In the present day, the built environment has a prominent role in addressing the current, imperative needs concerning climate change. It is estimated that the industry is responsible for 40% of global resource demand. The biggest contribution the built environment can make towards climate change is utilising the existing infrastructure through the process of adaptive reuse. (Langston 2008)

It is important to understand how to address new technological advancements in relation to the revitalisation of buildings to determine how they can be designed to accommodate sustainable adaptability for the future. (Conejos 2011) Some of the new additions that improve the environmental sustainability of buildings include water tanks, solar panels and insulation (functions that did not exist in traditional architecture although greatly improve it).

(Heritage council of Victoria 2013) Lastly, there is less transportation of materials when conducting an adaptive reuse project, except for gathering and distributing recycled materials for other projects: A sustainable design choice.

1.3- Social Sustainability When adaptive reuse involves heritage buildings it has great social significance for the community as it adds to their landscape, history and identity. It becomes a transmission of heritage from one generation to another. (NSW Heritage

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Office 2004) Increasing populations are becoming disoriented and individuals wish to anchor within a place that they can celebrate their individual and collective identities. (Nethery 1993)

When successfully done, a revitalised heritage building can greatly add to the community by restoring a piece of its shared history and ensuring its survival. Rather than allowing a building to crumble and fall into neglect, restoring it can allow it to be used and appreciated in the future rather than merely recalling it in the past. (NSW Heritage Office 2004) Communities recognise future generations will benefit from the protection of heritage buildings. Their lifestyle will be enhanced not only by allowing them to recall their past, but also in providing new useable and accessible spaces. (Ibid) The NSW Heritage Act (1977) helps to protect these sites with an extensive history by placing regulations on what can be changed. (Freeman, Martin and Dean 1985)

Finding new uses for heritage buildings within communities has proven to provide the area with new commercial and residential property opportunities. (NSW Heritage Office 2004) Councils who promote the concept of adaptive reuse could be ultimately increasing the liveability in their areas. (Ibid) It is important to note that communities are not static. They are continually evolving and therefore infrastructure needs to be adaptable and evolve with them. (Bullen 2011)

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Chapter 2 Case Study I: The Mint The Mint ‘We wanted the redevelopment to be a model project, one that combined the best in conservation theory and practice with the best in contemporary architecture, and also one that showed how a thoughtful and considered approach to structuring a project could significantly influence the outcome.” —Peter Watts, Founding Director of the Historic Houses Trust’ (1981–2008).

Figure 2.1- Stuart Miller, Street Façade (West) of the old Rum Hospital and Sydney Mint, Sydney Living Museums

The Mint is located at 10 Macquarie Street in Sydney’s CBD and is a prominent example of adaptive reuse within Australian colonial buildings. (The Mint CMP 2017) As can be seen below in Figure 2.2, the building is part of the oldest running complex in Sydney and sits within a heritage precinct including, although not inclusive of, Hyde Park Barracks, Sydney Hospital and the district courts. (Nethery 1993)

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Heritage Precinct on Macquarie Street (The Mint highlighted)

Figure 2.2- Site position within the heritage precinct of Macquarie Street, FJMT Architects,

The history of the site dates back to 1810 when Governor Lachlan Macquarie took command of the colony and instigated a large refurbishment of older buildings as well as launching construction of new ones to fit the current needs of the colony. (Simpson 1995) During this time, the building in most need of replacement was the old general hospital. The decision was then made to build a new convict hospital and later that year a contract was signed with Alexander Reily and Graham Blaxcell to begin construction. The deal was unconventional however due to the payment process. Instead of being paid money, Blaxcell and Reily were given the right to import rum and therefor the hospital became colloquially known as â&#x20AC;&#x2DC;The Rum Hospitalâ&#x20AC;&#x2122;. (Griffin 2009) The building operated as a working hospital for a decade before the south wing of the building changed function to address military needs. Originally used as a military hospital and infirmary, it later became offices for the forces. (ibid) By 1854, the military base had moved from Sydney to Melbourne and the South Wing once again was under construction to become a mint or coining factory.

The Mint opened in 1855 and successfully operated for 71 years before it was relocated to Melbourne and government departments moved into the offices. (ibid)

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The extensive and rich history of the building, now commonly known as The Mint, has given it a rightful place on the NSW State Heritage Register (item 00190) as a singular structure as well as part of a group (the heritage precinct including the Barracks). The Mint was originally listed by means of a Permanent Conservation Order under the Heritage Act as well as a place of local significance on the Sydney LEP 2012. (NSW Office of Environment and Heritage)

The adaptive reuse project was implemented by FJMT architects in 2004 and saw a complete change in function.

Converting from government offices into new features such as a library, a research/resource centre, offices, lectures and social events/ private functions. (Tatlow 2011) The heritage listings the building had previously acquired forced FJMT to take a creative approach to the design with an emphasis on heritage. (Mackaness 2005) Since the refurbishment of The Mint, the Sydney Living Museums (formerly known as the Historic Houses Trust) took up occupancy within the building with the location of their head office. Through this the Mint reaffirmed its importance within the heritage area of Macquarie Street and Queens Square. (The Mint CMP 2017)

The Mint building is an architectural highlight within Sydneyâ&#x20AC;&#x2122;s built environment due to its unspoken dialogue between past and present. (Mackaness 2005) The Mint Building is significant due to the successful juxtaposition of old and new; its rich history and contemporary design and its continual evolution to meet the needs of the community. (The Mint CMP 2017) The successfulness of the adaptive reuse process regarding the Sydney Mint will be further discussed below within the criteria of economic, environmental and social sustainability.

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2.1- Economic Sustainability Due to the heritage listings on The Mint Building, there were constraints put on what could be changed and what had to be restored. Furthermore, considering the long history of the site it was evident there would be complications with the existing structure and that the adaptive reuse process could be costly.

The overall budget for the design and construction of The Mint in 2004 came to a total of $14 million. The vast expenditures of the project were greatly due to the asbestos found throughout the central courtyard and surrounding buildings and the immense setback of planning approval by council. (Griffin 2009) The situation concerning asbestos set the project back a tremendous amount of $250,000 as well as delaying the construction for over two weeks (resulting in further construction costs). (Ibid) The setback by Sydney City Council due to the first development application was due to the layout of the buildings. The council determined the design was “not orthogonal” and was not aesthetically consistent with the surrounding heritage properties. Rather than fight this FJMT conceded and changed the design; further setting the project back in time and funds. (Manincor 2005)

Today, The Mint is owned and run by the Historic Houses Trust (HHT) and accommodates their headquarters. The founding director of the HHT Peter Watts determined that moving the headquarters into one of Sydney’s oldest public buildings and within a historical zone in the heart of the CBD ‘had the capacity to catapult us into a new league—as a major player in the delivery of cultural services in New South Wales’. (The Mint CMP 2017) Furthermore, Watts insisted the new functions of the public courtyard, Caroline Simpson Library and Research Centre would greatly serve the community. (Ibid) The HHT is principally funded by the government in NSW and therefore the financial upkeep of the building is their responsibility. (Sydney Living Museums)

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The new functions fitted out within the redesign of The Mint were imperative in deciding the value of the building to the community and ensuring its relevance. The function of the site after the redevelopment included features such as a library, a research/resource centre, offices, lectures and social events and private functions. (Tatlow 2011) Within recent years there has been an increase in use of the buildings for commercial use. Some of these uses include venue hire (for corporate and social functions) and hiring out zones such as the courtyard for dining experiences and meetings. (The Mint CMP 2017) There is also a permeant restaurant on site called the No. 10 Bistro. The restaurant sits in the top floor of the old rum hospital building and the lower floor houses a small shop by the same name that sells flowers and gifts and acts as a cafĂŠ that flows out the western veranda on Macquarie Street. (Ibid)

Overall, the project was funded by the NSW government and cost more than previously intended due to council setbacks and asbestos findings. However, the new functions placed within the building today ensure it is a highlyutilised building by not only locals but also tourists (enticed by their free entry and tours), therefore bringing in a greater source of income into the Australian economy. (The Mint CMP 2017)

2.2- Environmental Sustainability The environmental planning act (EPA) ensured that environmental sustainability was an imperative factor for the adaptive reuse project by FJMT architects. The EPA act (established in 1979) was authorised to ensure proper management of land and assured ecological sustainability. (The Mint CMP 2017) The Local Environmental Plan (LEP) was created under the EPA act and addresses these conservation practices and planning instruments in detail. The Mint development included the use of the existing land and erection of new buildings/structures; this work was assessed under the EPA Act: Environmental Assessment, part 5. These acts and plans put in place on The Mint ensured the adaptive reuse process was done with great care to limit the potential environmental impact. (Ibid)

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Contrasting old and new materiality is an essential aspect of the aesthetic re-design of The Mint. The original structure was composed of brick and natural sandstone, whilst the new structures contrast this with contemporary, industrial materials such as steel and glass. (Griffin 2009) In addition to having a striking appearance, the opposing materials possess different thermal qualities. The existing sandstone, cladding the library and research centre, has a good thermal mass. This stops the temperature from fluctuating and strives to keeps it constant. (Ibid)

New materials of glass and steel

Old material of Sandstone and timber

Figure 2.3- Courtyard view looking back towards the old Mint Building, now currently the Caroline Simpson Library and event spaces comparing old and new materials, FJMT Architects

Contrary to existing materials, new structures are built primarily with glass and therefor allow areas to heat and cool drastically. To improve the thermal properties of this material, substantial measures were taken within the design process. These include the incorporation of timber louvres (as can be seen in Figure 2.4) that enable light and air to pass through without the need of much artificial mechanisms. (Griffin 2009) This innovative window technology allows the louvres to interchange between a vertical to a horizontal plane (opening the space up to the central courtyard and creating an overhead shelter in the process). All interior spaces have been designed to have primarily natural ventilation using openings. New mechanical systems such as underfloor heating and cooling were also added to assist. (Ibid)

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Figure 2.4- Louvered windows opening to courtyard, FJMT Architects Overall, it can be determined that environmental sustainability was imperative in the adaptive reuse of The Mint.

Existing legislation, EPA acts and LEP’s ensured this. Furthermore, FJMT made a conscious effort to create a sustainable space using materiality and new technologies. They attempted to match the thermal mass qualities of the existing materials with the new ones, with the added support of new technology. (Griffin 2009)

2.3- Social Sustainability ‘The 19th century spaces, fabric and patina should be respected, enhanced and integrated with the new building. The industrial quality should be incorporated, not ‘smothered’ by the adaption. The HHT sees this as a positive element in the project rather than a constraint to be managed.’ – Historic Houses Trust

The extensive history of The Mint building ensures its pertinence within society. With a variation of functions over time; from a hospital, to law offices, to the Royal Mint and finally a community based function centre and library, the building has served many purposes. Each of these functions were critical to societies needs during their time and adds to the historical significance of the site making it so valuable today. (Mackaness 2005) The social value found in the sites heritage is the reason the Historic Houses Trust/Sydney Living Museums have created their headquarters

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there. The HHT cares for 12 historic houses, garden and museums across New South Wales. Their focus is on “Making the past accessible, meaningful and engaging to NSW’ residents and visitors”. (The Mint CMP 2017) The social significance of The Mint spans across each of its past uses and is supported by accounts of workers and patients from the site. Many convict patients, hospital staff, government workers and the public have a tie with the site and therefore so do their descendants (The Mint CMP 2017)

In the past, community interest has saved The Mint from demolition. The high level of social significance discussed above was reflected in the protesting to save the former rum hospital from being knocked down and defacing Sydney’s heritage. (The Mint CMP 2017) The result of this lobbying was The Mint being the first identified building for preservation by the Sydney Cumberland Council (within the post-war scheme). (Ibid) The outcome of this commitment to saving the building was a permanent conservation order in 1981. (Griffin 2009)

Today the site is utilised in a multitude of ways. Acting as a café, restaurant, exhibition gallery, social function rooms and a quiet secluded getaway from the noise of the bustling city. The Mint is used for numerous creative events such as Sydney Open (run by the HHT) and the Sydney Festival. (The Mint CMP 2017) The Caroline Simpson Library and Research Centre are a publicly accessible space that devotes its shelves and facilities to Australian architecture, interiors and gardens. (Ibid)

The new functions outlined above had to be formatted inside the existing bounds of the buildings. The key objective was to amalgamate features of the retained coining factory with the new functions: an example of environmental sensitivity. In addition to this brief a new refined entryway was to be constructed with a direct line of symmetry through the site. (Griffin 2009) As shown in Figure 2.7, the new buildings are easily distinguished through their use of materiality and construction. (The Mint CMP 2017) The new structures are light and appear hang above ground in a

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cantilevered form, whilst the existing buildings are darker, solid and grounding. The link between old and new is made by a glass ceiling that offsets the existing wall plane, appearing to never completely meet. As can be seen in Figures 2.5 and 2.6 below, timber pathways suspend above the archaeological remains of the coining factory and allow them to be glimpsed from the edges. Gravel patterns in the courtyard outline the once present chlorine chamber; responsible for the separation of gold and silver (refer to Figure 2.8). (The Mint CMP 2017)

Figure 2.5- Louvered windows changing from a changing from a vertical wall plane to a horizontal ceiling plane opening to the courtyard, FJMT Architects

Figure 2.7- Stuart Miller, Considering the central courtyard and function spaces of The Mint, Sydney Living Museums

Figure 2.6- Suspended walkway over remaining archaeological site within The Mint, FJMT Architects

Figure 2.8- Douglas Riley, Central courtyard view including the gravel outlines of the old chlorine gas chamber

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The highly commended and awarded redevelopment of The Mint plays on the union of historical preservation and new design intervention. The importance placed on the heritage of the site plays a significant role in the social sustainability of the building. The new structures pay respect to the former functions of the industrial site as well as its existing bones and form. This restoration and tribute to the past allows the community to recall their extensive history dating back to colonial times and find a sense of identity. The new functions fitted out within these bounds addresses the evolving needs of the community and reaffirms the buildings relevance to society today. (Griffin 200

2.4- Synthesis: Environmental, Economic, Social The adaptive reuse process in FJMTâ&#x20AC;&#x2122;s The Mint building is highly environmentally and socially sustainable due to the choice of materiality and its application and the clear, concise juxtaposition of old and new to delineate the sites rich history. However, from the information above it can be determined that the process lacked economical sustainability due to the immense setbacks and exorbitant final budget.

Chapter

Figure 2.9- Waldron R, Successfulness of sustainability in The Mint Building, UNSW 2019

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Case Study II: Carriageworks

Introduction to case study 2: Carriage works “Embrace the buildings past whilst providing it with a bold new future”- Tonkin Zulaikha Greer Architects 2006

Figure 3.1- Front façade of Carriageworks function and performance centre, Digital image Carriageworks is located at 245 Wilson Street, Eveleigh NSW, within the bounds of the former Eveleigh Carriage Workshops. It is a notable example of adaptive reuse within Sydney’s industrial heritage buildings. (Heritage Council of Victoria 2013) Sydney’s demand for heritage properties and ‘age value’ paired with limited opportunity for new construction has led to industrial buildings becoming top real-estate. (Brito 2004)

The history of the site dates back to 1882 when the Eveleigh Carriage Workshops were constructed on what was then desolate farmland. Post construction it became the largest railway workshop in the Southern Hemisphere and employed over 3000 people within its 100 years of operation. (Heritage Group DPWS, 1999). The workshops constructed and maintained locomotive vehicles and had an impressive reputation for their craftsmanship especially in carpentry skills. (Ibid) By the 1950’s the workshop was under pressure as it was not progressing enough in a

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rapidly changing world with vast technological advancements. During the 1940’s the once trusty material of timber was being exchanged for the sturdy material of steel and steam was being replaced with electricity. More work was being outsourced and production slowed through the 1970’s and 1980’s until it eventually came to a halt in 1996 and the workshops were closed. (Heritage Group DPWS, 1999). Following these events the site sat empty, cold and disused, a constant reminder of the constant need to evolve and ‘advance’. (Ibid)

Due to its intensive history in railway developments Carriageworks is listed on the State Heritage Register and therefore new work had to comply with NSW heritage guidelines. (Office of Environment and Heritage NSW) Today Carriageworks is devoted to being a creative place with a primary focus on performance as well as being a multi-faceted community events centre. New functions include three inter-changeable theatres, practice zones, relating offices and public amenities. Due to its transformable nature, it is continually evolving with its community.

(Uffelen 2010)

Carriageworks is one of Sydney’s largest and oldest industrial establishments dating back to the 1800’s. The building is significant due to its unique design to mirror the traditional railway carts in its form to pay tribute to its past whilst becoming a multifunctional community space that easily evolves to suits current needs. (Uffelen 2010) The successfulness of the adaptive reuse project regarding Carriageworks will be further discussed below within the criteria of economic, environmental and social sustainability.

3.1- Economic sustainability

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Due to the state heritage listings on Carriageworks, there were constraints put on what could be changed and what had to be restored. Furthermore, considering the long history of the site it was evident there would be complications with the existing structure and that the adaptive reuse process could be costly.

As an alternative to demolishing the remaining buildings of the Eveleigh Railway Workshops and erecting a new structure to suit the communityâ&#x20AC;&#x2122;s current needs, a heritage assessment was carried out by the NSW government. It was then determined that cultural value could be found within the history of the building and consequently the government organisation, Arts NSW, funded the adaptive reuse project. (Bacon 2009) Opening in 2007 and coming to a total budget of $50 million, a new contemporary arts centre was fitted into the walls of the old railway workshop.

(Ibid) The project was under strict budget constraints as the Arts NSW donation of $50 million was the financial limit for repurposing the building. To accommodate the limited budget, construction was staggered with the opportunity for the site to grow over a long period of time. (Heritage Council of Victoria 2013) Four of the existing bays became performing arts centres and one bay became a large art gallery with many more bays to be developed in the future.

(Ibid) Luckily a sizeable saving was made by utilising the existing materials and structures onsite with new unobtrusive interior forms insertions. The largest part of the budget was spent on the roof removal and reconstruction over the main performance theatre. The roof was required to be raised to accommodate the large capacity of people although the new roof was made to mirror the original roofs morphology. (Heritage Council of Victoria 2013)

Overall, the project was funded by the NSW government and stayed within budget. The new function as a creative hub in Sydney draws a large crowd through public events such as the annual Sydney Fashion week, weekly markets, and temporary performances and exhibitions. These events are not exclusive to locals however, they also draw many tourists to the area, greatly benefitting the Australian economy.

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3.2- Environmental sustainability In assessing the environmental sustainability of Carriageworks, a great importance was placed on materiality, transportation of materials and the need for mechanical services.

As shown in the below images (Figures 3.2 and 3.3), the existing brick facades have good thermal qualities and therefore compensate for not needing as many mechanical heating and cooling services. (Heritage Council of Victoria 2013) The new primary material of concrete mirrors the brick in its thermal properties and continues the environmentally friendly materials throughout the building. (Ibid)

Existing brick facade

New concrete forms Figure 3.2- Front façade of Carriageworks function and performance centre looking down at the multitude of repetitive bays and showcasing the original brick materiality, OCP Architects

Figure 3.3- Interior concrete forms showcasing the new materiality, TZG Architects

The greatest environmentally sustainable factor within the adaptive reuse process of Carriageworks is the saving of embodied energy due to very little material waste. Australian greenhouse office notes that â&#x20AC;&#x153;the reuse of building materials usually involves a saving of approximately ninety-five percent of embodied energy that would otherwise be wastedâ&#x20AC;?. (Heritage Council of Victoria 2013) The existing building was predominately left in its original form (with the

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exception of removing one portion of the roof) and remained as the main structure. (Ibid) Furthermore, sustainable design initiatives have been included such as skylights above the entrance foyer and public hallways. These allow for less artificial light to be used and more energy to be conserved.

Unfortunately, some new mechanical services had to be added to enhance the environmental comfortability of the building and to regulate temperatures. (Heritage Council of Victoria 2013) Air-conditioning, heating and fans were implemented throughout the spaces to enhance the pre-existing thermal qualities of the building. Fans are the primary source of cooling however and use far less energy than air-conditioning (which has been limited to the performance spaces only). (Ibid)

3.3- Social sustainability The extensive history of Carriageworks ensures its pertinence within society due its significant social railway developments. Contrary to The Mint, Carriageworks only had one clear use prior to its refurbishment in 2006 and therefore solely celebrates its rich industrial heritage by leaving the exterior of the workshop buildings untouched.

(Heritage Group DPWS, 1999). Walls remain in their original brick style proudly displaying their 100 years of working history and large bays are left unsegregated to emphasis the scale and importance of their previous use. (Ibid) The interior renovations of the workshops respect post-modern urban planning principles by long parallel hallways being created by large concrete performance rooms. These long hallways are reminiscent of the old railway trains that used to fill the space. (Heritage Group DPWS, 1999).

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Figure 3.4- Contrast of old and new materiality 01, TZG Architects

Figure 3.5- Contrast of old and new materiality 02, TZG Architects Today the Eveleigh Railway Workshops are known as Carriageworks and are

a multifunctional series of performance theatres and studios used for dance, theatre, music, art and organic food markets every Saturday. The functions are continuously evolving and the site has the ability to transform with them.

(Bacon 2009) Carriageworks plays a major role in creating an identity for the surrounding area. It is a piece of history people from the railway industries cling to and a piece of history new members of the community want to be a part of.

(Office of Environment and Heritage NSW)

To recall the past and share the historical significance with visitors the existing structure had to be retained. Freestanding, acoustically sound concrete boxes were inserted into the vast space allowing the envelope of the existing building to be left untouched (refer to Figure 3.5). The tall workshops, comparable to soaring cathedral ceilings, have no dividing walls separating spaces and skylights allow an abundant amount of natural light to penetrate the space.

(Heritage Council of Victoria 2013) The only structures touching the ceiling are the ornate brick walls, cast-iron columns and steel trusses pre-existing from the buildings inception as shown in Figure 3.4. (Ibid)

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Timothy Greer from TZG Architects states “Successful adaptive reuse relies on a series of relationships between the inherited artefact, where the memories of earlier use are imbued in the textures of its materials and antiquated forms – and its new use which is contemporary and relevant.” This statement accurately represents the design choices made during the adaptive re-use of the Eveleigh Railway Workshops into the vibrant art centre of Carriageworks. (Greer 2016) It was a community based project that draws on the history of the site and reminds people of their heritage. It is a draw card to tourists who come for events such as fashion week and Sydney Festival as well as locals who enjoy seeing the constant change- no two visits are the same.

3.4- Synthesis: Economic, Environmental, Social From the above data, it can be determined that the adaptive reuse process by TZG Architects in the creation of Carriageworks was highly economically, environmentally and socially sustainable. This was greatly due to the reuse of the existing structure; cutting down material and transportation costs, saving embodied energy and retaining the value of the past.

Figure 3.6- Waldron R, 2019, Successfulness of sustainability in Carriageworks, UNSW

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Conclusion The main premise of this dissertation was to discuss the process of adaptive reuse and examine the inextricable connection between heritage preservation and sustainable design principles. This was done by focusing on public interiors within the Sydney landscape.

Chapter one explored this notion by breaking down the concept of sustainability into three key criteria; economic, environmental and social. This breakdown identified the importance of retaining the history of heritage buildings whilst also assessing the financial practicalities of refurbishing an older building, the environmental impacts of this and finally questioning whether society benefits from this process.

In light of acquiring a greater understanding of sustainable design, chapter two provided an in-depth case study of the heritage listed Mint Building, to observe how one of Sydneyâ&#x20AC;&#x2122;s most notorious adaptive reuse examples measures up against the three sustainability criteria. Ultimately, this study identified that it was highly valued for its environmental and social sustainability standards, however was not financially practical.

Furthermore, Chapter three provided a contrasting case study of a heritage listed industrial building, Carriageworks.

Contrary to The Mint Building, Carriageworks was well respected for being economically, environmentally and socially sustainable. Although the adaptive reuse of The Mint only came to a total of $14 million and Carriageworks came to a total of $50 million, Carriageworks was still more economically sustainable due to the square metre to cost ratio.

In conclusion, it can be definitively stated that adaptive reuse can successfully combine heritage preservation with sustainable design practice to better the economy, environment and celebrate Australiaâ&#x20AC;&#x2122;s history.

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Conejos. S, Langston. C and Smith. J (2011). Improving the implementation of adaptive reuse strategies for historic buildings. Naples, Italy: S.A.V.E Heritage: Safeguard of Architectural, Visual, Environmental Heritage.

De Manincor. J (2005). The Mint. Sydney, NSW: Architecture Australia FJMT (2019). The Mint - FJMT. [online] Available at: https://fjmtstudio.com/projects/the-mint/ [Accessed 2 Apr. 2019] Freeman. P, Martin. E. and Dean. J (1985). Building conservation in Australia. Canberra: RAIA Education Division.

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Heritage Council of Victoria (2013). Adaptive Reuse of Industrial Heritage: Opportunities and Challenges. Melbourne, VIC: Heritage Council of Victoria.

Heritage Group, Department of Public Works and Services [DPWS] (1999). Eveleigh Carriage Workshops: Conservation Analysis. HG Report no. 99/19: Australia Heritage Office NSW (2008). New Uses for Heritage Places: Guidelines for the adaption of historic buildings and sites.

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OCP ARCHITECTS. (2019). Eveleigh Carriage Works â&#x20AC;&#x201D; OCP ARCHITECTS. [online] Available at: http://ocp.net.au/eveleigh-carriage-works/2017/8/23/eveleigh-carriage-works [Accessed 2 Apr. 2019] Plevoets. B and Van Cleempoel. K (2013). Adaptive Reuse. London, UK: Libri Publishers Sebag-Montefiore. C (2016). Preserving Historical Buildings: The most sustainable thing is to not build new stuff. The Guardian; Australia Simpson. M (1995). Old Sydney Buildings. Kenthurst, NSW: Kangaroo Press Sydney Living Museums. (2019). Sydney Living Museums. [online] Available at: https://sydneylivingmuseums.com.au [Accessed 20 April 2019].

Tatlow. M (2011). A Walk in Old Sydney. Sydney, NSW: New Holland Australia The Mint Conservation Management Plan (2017). Sydney, NSW: Historic Houses Trust/ NSW Government.

TZG ARCHITECTS (2019). Carriageworks Arts Centre | Tonkin Zulaikha Greer Architects. [online] Available at: http://www.tzg.com.au/project/carriageworks/ [Accessed 17 Apr. 2019] Van Uffelen. C (2010). Re-Use Architecture. Salenstein, Switzerland; Braun Publishing World Commission on Environment and Development: Our Common Future; 1987

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