School of Planning and Architecture, Delhi
Functional heritage: Seeing the Past as the Future Kritiika Anand A/2933/2016 5A
2nd December 2020
Guide: Prof. T. Lakshmi Priya Coordinator: Dr. Prof. Jaya Kumar
Word Count: 12,670
Functional Heritage: Seeing the Past as the Future
DECLARATION
The research work embodied in this dissertation titled “Functional heritage: Seeing the past as the future” has been carried out by the undersigned as part of the undergraduate Dissertation programme in the Department of Architecture, School of Planning and Architecture, New Delhi, under the supervision of Prof. T. Lakshmi Priya.
The undersigned hereby declares that this is her original work and has not been plagiarised in part or full form from any source.
__________________________________________________________________
Signature of candidate
Name: Kritiika Anand Roll No.: A/2933/2016 Year and Section: 5A Date: 2nd Dec 2020
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Certificate
This dissertation, titled ‘Functional heritage: Seeing the past as the future’ by Kritiika Anand, roll no. A/2933/2016, was carried out during the Fifth Year, Ninth Semester (2020) B.Arch. Program in the Department of Architecture, under our guidance during September - December 2020. On completion of the report in all aspects and based on the declaration by the candidate above, we provisionally accept this dissertation report and forward the same to the Department of Architecture, School of Planning and Architecture, New Delhi, India.
___________________________________________________________________
Prof. T. Lakshmi Priya Signature of Guide
___________________________________________________________________
Prof. Dr. Jaya Kumar Signature of Coordinator
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Acknowledgement I would like to express my sincere gratitude to my guide, Prof. T. Lakshmi Priya for her support and guidance throughout the course of this dissertation. I would also like to thank Prof. Dr. Jaya Kumar for her assistance and encouragement. I would like to thank School of Planning and Architecture, Delhi for allowing me to write this paper and be able to explore the field of conservation.
I would also like to thank my friend, Ar. Tahir Noronha for his guidance and help in deciding the topic of the dissertation. I would also like to thank my family for their constant support and help.
Lastly, I would like to thank my friends, Parul Nayar and Shraddha Malhotra for pushing me to strive for the best. This dissertation would not be possible without all of them.
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Abstract
Heritage is so much more than just the built form that embodies it. It is embedded in the nature of the space and also within the culture and beliefs of the people. It is what gives a space its character. This intangible historic value is as important as the built form itself. Our buildings are a reflection of who we are. Hence, it is important to continue this reflection to establish continuity with the future. Adaptive reuse is one technique that helps a building connect to the future and make it relevant.
The main aim of the dissertation was to understand how adaptive reuse can make a building and a historic neighbourhood relevant again by putting it to a new use. The paper tries to establish that through adaptive reuse another stratum of time can be created in a heritage building. First, heritage and the values associated with it were understood through literature review. Then the charters were analysed through the lens of adaptive reuse. An understanding of the adaptive reuse practices in India was developed and the gaps were identified. Further, case studies at the building level and neighbourhood level were taken up to understand how adaptive reuse works and whether it is acceptable or not. The data collection was primarily done using online methods. Efforts were made to conduct site visits of the case examples in Mumbai, but due to COVID-19 it was not possible. From the case studies, it was derived that there is no one set of rules that can be applied to adaptive reuse. Each building is different and requires different approaches. The comparative analysis helped identify a set of parameters that can be used as a checklist for sensitive adaptive reuse in the Indian context. Keywords: Adaptive reuse, Heritage, Conservation
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Index Declaration .................................................................................................................ii Certificate.................................................................................................................. iii Acknowledgement....................................................................................................iv
Abstract..................................................................................................................... v
List of Tables ............................................................................................................ viii List of Figures .............................................................................................................ix List of Illustrations.......................................................................................................xi
1. Chapter 1: Introduction ..................................................................................... 1 1.1.
Background ...................................................................................................... 1
1.2.
Research Question ........................................................................................... 3
1.3.
Aim ................................................................................................................... 3
1.4.
Objectives......................................................................................................... 3
1.5.
Scope ............................................................................................................... 3
1.6.
Limitations ........................................................................................................ 4
1.7.
Research Framework ....................................................................................... 4
2. Chapter 2: Literature Review ............................................................................ 5 2.1.
Heritage and Values associated with it ............................................................. 5
2.2.
Conservation Movement................................................................................... 6
2.3.
Charters: Successes and Failures .................................................................... 7
2.4.
Gaps in the current conservation method ......................................................... 9
2.5.
Adaptive reuse: What is it and why is it relevant ............................................ 11
2.6.
Adaptive reuse and revitalising a precinct ...................................................... 13
2.7.
Learnings and Takeaways.............................................................................. 14
3. Chapter 3: Methodology .................................................................................. 16 3.1.
Approach ........................................................................................................ 16
3.2.
Criteria for selection of case study ................................................................. 17 Page I vi
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3.3.
Parameters of analysis of building level case studies .................................... 18
3.4.
Parameters for analysis of neighbourhood level case studies ........................ 19
4. Chapter 4: Case Studies ................................................................................. 20 4.1.
Building Level Study .................................................................................... 20
4.1.1.
JN Petit Library, Mumbai ............................................................................. 20
4.1.2.
The LOFT, Mumbai ..................................................................................... 23
4.1.3.
Coal Drops Yard, London ............................................................................ 27
4.1.4.
Vienna Coal Gasometer .............................................................................. 32
4.2.
Neighbourhood Level Study ........................................................................ 35
4.2.1.
Kala Ghoda Arts District .............................................................................. 35
4.2.2.
Liverpool – Maritime Mercantile City ........................................................... 40
5. Chapter 5: Analysis and Findings .................................................................. 44 5.1.
Comparative analysis of building level case studies ....................................... 44
5.2.
Findings of building level case studies ........................................................... 49
5.3.
Comparative analysis of neighbourhood level case studies ........................... 51
5.4.
Findings of neighbourhood level case studies ................................................ 55
6. Chapter 6: Conclusion .................................................................................... 57
References .............................................................................................................. 59 Bibliography ........................................................................................................... 63 Appendix ................................................................................................................. 68 Originality Report …...…………………………………………………………………...70
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List of Tables
Table 1: Comparative analysis of building level case studies (Source: Author)………………………………………………………………………………………46 Table 2: Comparative analysis of neighbourhood level case studies (Source: Author)………………………………………………………………………………………53
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List of Figures Figure 1: Basic Research Framework (Source: Author) ......................................... 4 Figure 3: Detailed Framework (Source: Author) ..................................................... 17 Figure 5: JN Petit Library, Analysis through Plan (Source: Abha Narain Lambah Associates, Author) .................................................................................................. 21 Figure 6:JN Petit Library, Analysis through Plan (Source: Abha Narain Lambah Associates, Author) .................................................................................................. 21 Figure 7: JN Petit Library, Analysis through Sections (Source: Abha Narain Lambah Associates, Author) .................................................................................... 22 Figure 9: Lower level Plan, The Loft (Source: Archello, Author) ............................ 24 Figure 10: Mezzanine Floor Plan, The Loft (Source: Archello, Author).................. 25 Figure 11: Sectional Analysis, The Loft (Source: Archello, Author) ...................... 25 Figure 12: Material Palate (Source: Archdaily) ........................................................ 26 Figure 13: Coal Drops Yard, Pictorial Analysis (Source: Archdaily, Author) ........ 27 Figure 14: Coal Drops Yard Site Plan (Source: Archdaily, Author) ........................ 28 Figure 15: Coal Drops Yard Spatial Character analysis (Source: Archdaily) ....... 29 Figure 16: Coal Drops Yard Floor Plans (Source: Archdaily, Author) .................... 29 Figure 17: Coal Drops Yard Analysis through Sections (Source: Archdaily, Author) ..................................................................................................................... 30 Figure 18: Merging Timelines; Coals Drops Yard (Source: Archdaily, Author)..... 30 Figure 21: Gasometer B Floor Plan analysis (Source: Divisare, Author) .............. 33 Figure 22: Conceptual Analysis Gasometers (Source: Divisare, Author) ............. 33 Figure 23: Sectional Analysis Gasometers (Source: Divisare, Author) ................. 34 Figure 24: Fort Precinct Map (Source: URDPI) ...................................................... 35 Figure 25: Usage of buildings in the Fort Precinct (Source: UDRI Report) ......... 36 Figure 26:Grade of Heritage Buildings in The Fort Precinct (Source: UDRI Report) ..................................................................................................................... 36 Figure 27: Kala Ghoda Figure Ground (Source: UDRI) ......................................... 37 Figure 28: Infrastructure Analysis (Source: UDRI Report) .................................... 37 Figure 29: Parking wrt open spaces Analysis (Source: UDRI Report)................... 38 Figure 30: Trees Placement in Kala Ghoda Precinct (Source: UDRI) .................. 38 Figure 31: Open Spaces in Fort Precinct (Source: UDRI) ..................................... 39
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Figure 32: Liverpool Heritage City Plan (Source: Unesco).................................... 40 Figure 33: Liverpool Heritage Zone (Source: UNESCO) ....................................... 40 Figure 34: Maps of Precincts (Source: Regeneratingliverpool.com) ...................... 42
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List of Illustrations Illustration 1: J N Petit Library (Source: www.jnpetitlibrary.org) .............................. 20 Illustration 2: The Loft, Mumbai (Source: archello) ................................................. 23 Illustration 3: Gasometers Vienna (Source: Archdaily) ........................................... 32 Illustration 4: Gasometers Skyline (Source: Revitalisation of Gasometers C and D, PORR Group) ........................................................................................................... 32 Illustration 5: The attributes of Mercantile City (Source: Liverpool Report) .......... 42 Illustration 6: Kala Ghoda (Source: KGAF Website) ................................................. 53 Illustration 7: Liverpool Mercantile City (Source: Liverpoolheritage) ......................... 53
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Chapter 1 1.1
Background
Cities are documents illustrating the tangible and intangible evidence of our heritage. The physical evidence is found in the nature of historic buildings and landscapes which is further reflected in urban planning. Physical records of our past are maintained in the form of buildings. These are our mementos from the past. They reflect our culture, values, and identities. Our intangible values, experiences, cultural identity, and memories are attached to these buildings which makes it our heritage.
Conservation is the preservation of these heritage structures so that we have something from the past to hold on to. Conservation in India is often seen as the antithesis of development (Ranilakshmi V Isahiah, 1996). This could be because conservation is not just about the technical protection of a single building; but it also involves intangible values like people's links to tradition, customs, and beliefs, which are already under pressure to change in the hope of becoming more “modern”.
Even though tearing down a building and making a new one in its place seems progressive, it is actually not. Adaptive reuse redefines development and progress. Rather than seeing a heritage building as something that needs to be frozen in time, it repurposes it so that it can become relevant again. Just as development is identified with progress, conservation also needs to bend the rules and be able to accommodate change so that it can stay relevant. Change is inevitable, but how to bring about sensitive change should be a priority.
The disconnect between the general public and a heritage building usually arises when the buildings are conserved as museums of their time. Rather than just restoring a building, conservation should aim to see a heritage building as having different layers. It should embrace all of these layers, and also add on new layers! Only with the incorporation of all these layers can a heritage building be brought back to life. Today, ‘minimal intervention’ and ‘reversibility’ and the main principles of conservation. This creates a disconnect between the heritage building and the urban fabric. Because of Page I 1
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reduced levels of intervention, it becomes almost impossible to differentiate between the new interventions and maintenance (Walls, 2013). Now, this could be both a drawback and an advantage. The conventional way of restoring a heritage building is very temporary and sanitized1. The best way though to restore a historic building is to utilize it (Viollet-leDuc). Violletle-Duc’s method of conservation and restoration has received a lot of criticism, yet it is still believed to be the most appropriate method of intervention (Bloszies, 2012). The design intent should be to add on new contemporary layers through appropriate interventions and create new layers of history, while still respecting the original structure. Adaptive reuse is not only a sentimental effort to save our heritage, culture, and values, it is also very practical and sustainable. At a time when construction industries are causing the maximum amount of pollution, it seems irresponsible to raze down a building to just build over it!
This dissertation would aim to use architecture to explore how heritage buildings can reflect the current culture, through contemporary adaptation and change of use, in a way that will retain the historic value, and what effect that has on the area, by studying the case of heritage buildings and historic neighbourhoods. It will try to establish that heritage should not be monument centric, rather be living heritage as these buildings are the ones that give the city its character. Nowadays, with the new development model, all cities look similar and have lost their individuality. Adaptive reuse can be used to establish a link between development and conservation and deal with the problem of loss of identity. It will try to establish that heritage is not just a “structure” but also the culture, history, and people too.
1
The difference between ‘freezing a building in its past’ and ‘sanitised restorations’ are that a building is frozen in its past when it is left how it is with little change. The age is the most important aspect and is preserved. Sanitised restorations are where measures are taken to remove any ‘dark spots or imperfections’ a building may have accrued over its lifetime. These restorations give a cosmetic mask to make historic buildings look pretty. (Mouat, 2006) Page I 2
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1.2
Research Question
How can adaptive reuse make a historic building and neighbourhood relevant again by ensuring that heritage is seen not only as a building/structure, but rather an intricate web of our historical timeline, spaces, and culture?
1.3
Aim
The dissertation aims to understand heritage buildings, and historic neighbourhoods through the lens of the historical timeline, spaces, and culture. It will then try to understand the effect of adaptive reuse on these buildings and neighbourhoods and how it links conservation to development. To see how adaptive reuse helps revive the urban fabric that is rapidly being gentrified.
1.4
Objectives
The main objectives of the dissertation are:
a. To analyse heritage buildings and historic neighbourhoods in totality; keeping in mind the people and culture and history. b. To identify why is there a disconnect between people and heritage, and understand how adaptive reuse can be used to bridge that gap c. To understand the impact of adaptive reuse on a heritage building and historic neighbourhood through a comparative analysis and identify defining parameters for sensitive adaptive reuse.
1.5
Scope
The dissertation scope will be to do a comparative analysis of four heritage buildings where adaptive reuse has been applied and also two historic neighbourhoods/ precincts and study their change of use with the passing time. The scope will be limited to a building and neighbourhood level. The study limits itself to the architecture in the British colonial era (Victorian style). Page I 3
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1.6
Limitations
Due to COVID 19, a major part of the research has been done using secondary sources. Case studies and data collection was also done using online methods. Attempts were made to conduct site visits and on-site interviews. This is a major limitation.
1.7
Research Framework
The objectives of the dissertation are fulfilled by examining and analysing the conservation systems in India concerning adaptive reuse and understanding the values that are associated with heritage buildings. Also, through literature review and
secondary
case
studies
an
understanding of adaptive reuse is developed. These insights help in understanding the approach to adaptive reuse and subsequent outcomes.
First, theoretical as well as practical approaches were reviewed through a study of the relevant literature. Case studies at the building level and the neighbourhood
level
were
then
undertaken to understand how adaptive reuse is done and how does it work spatially.
First,
approach
of
the
adaptive
process
and
reuse
was
understood and then the effect on the user was understood .
Figure 1: Basic Research Framework (Source: Author)
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Chapter 2: Literature Review To understand how adaptive reuse works and its implications on the urban level we need to understand what is heritage and what does it mean to people. The literature review examines the aspects of historic neighbourhoods and adaptive reuse.
The first aspect was to understand what heritage is, and what are the values associated with it. A lot of books, papers, and articles were analysed to try and establish a link between people and heritage. The second aspect was to study the current conservation method, its history, and try and understand its shortcomings. It was then important to understand how adaptive reuse fits into this scenario. Papers by Sheila Conejas, Rebecca Chan, Jacqueline Drayer, Bie Plevoets, Sally Stone, and countless others were studied to form an understanding of how adaptive reuse is done and what are the methods to do the same. Then papers and books on adaptive reuse and city fabric and adaptive reuse and urban revitalisation were studied to understand how adaptive reuse can bridge the gap between conservation and development.
2.1 Heritage and Values associated with it Heritage is the legacy of our past, it’s what helps make our present, and what we leave behind for our future generations. The term heritage can be described as something that holds sentimental and cultural values. This way of thinking is one of the reasons that buildings and spaces are recognised as the tangible part of the heritage and is consequently capable of being passed on. (Carman, 1996). ‘Heritage’ became mainstream as a concept since the Second World War. It represented values ranging from nostalgia to proof of the dark side of human nature. It can be seen both as a romantic notion and also as a blueprint for regeneration and rebirth (Belcher, 2016). To understand the values of heritage building it is important to understand how an individual perceives a heritage building and what is the essence of the building for them (Marmion et al., 2010).
Cultural heritage is like a social fact; it can be passive and it can be active. It passively sits in our cities. The activeness is brought out by the influence it exerts on its Page I 5
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immediate environment. It can also be felt in the way it affects the psyche of people and maybe also their choices. “Heritage becomes a representation of beliefs about self and community which nest in with other related belief systems to create a holistic structure that ramifies through all the areas — politics, economics, use of resources — where social life touches us as individuals” (de la Torre, 2013).
Heritage is a broader concept that encompasses both, the tangible as well as the intangible aspects of the environment. The tangible comes in the form of the landscape, the built, the cities, and the physical environment. The intangible is the culture and values and experiences embedded in the tangible. It could be perceived as a dynamic reference point and the starting point for growth and development. As stated in the ICOMOS Charters (The International Council on Monuments and Sites), heritage stems from the collective memory of the community and it lays the foundation for development. It leads us into the future (“ICOMOS Charters,” n.d.).
With increasing globalisation and gentrification, it is important to protect, conserve, and help integrate the cultural diversity and richness into the urban fabric. It is important to understand what role heritage plays in the lives of people, as more often than not, heritage is more than just four walls.
2.2 Conservation Movement
The history of building conservation took a new turn during the late 1700s in the French Revolution. It was a period of change, political and social upheaval, the disbandment of the monarchy along with all their traditions, and the fall of the aristocracy and religious authorities. To address the financial duress of the state, the National Assembly decided that all properties of the church were to be captured (Plevoets and Cleempoel, 2013). The “Commissionades Monuments” was set up in 1790, to set up an inventory of all the national properties and objects which were seen as useful for the public (Plevoets and Cleempoel, 2013). This included manuscripts, books, artifacts, and monuments as well. The confiscated buildings were maintained as state property and came under this commission, which was later divided (after the revolution Page I 6
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in 1837) into a separate commission that was solely responsible for historic buildings (Plevoets and Cleempoel, 2013). The first chief inspector of the 19th century ‘Commission des monumentahistoriques’ was Eugène EmmanuelaViollet-le-Duc (Jokilehto, 1986). There were two schools of thought regarding the movement during this period; ‘restoration versus conservation’. As both a theorist and restorer, Viollet-le-Duc was responsible for promoting the use of new materials in restoration work – substituting original materials for their more modern or stronger counterparts. He supported this with the argument that architecture was built and designed in a particular way due to the limitations of construction methods and materials at that given time (Conejos, 2013.). Viollet-leDuc’s method gave reuse and alterations to the original building a green light, only if it is done practically. In opposition to this theory was John Ruskin; a believer that the original state and then the weathered state of a building was how it should be maintained, damage included. Now, this school of thought is detrimental to the conservation movement as it forces a building to remain frozen in time. (Mouat, 2006) There were problems in both conservation models. In Violletle-Duc’saapproach there was a significant loss of the authenticity of the material of the building and its essence, while inaRuskin’s theory the decayaof a building is advocated; (Jokilehto, 1986).
Boito, to overcome the gap between these two arguments came up with a proposal that the methodaemployed for restoring any given project should respond to the building in question (Plevoets and Cleempoel, 2013). So there is no one correct approach, rather each building will require a different response (Plevoets and Cleempoel, 2013).
2.3 Charters: Successes and Failures
The foundation of the first charter drew from the conservation movements and also from the contributions of Riegl and Boito’s. This charter gave the guidelines for the
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restoration of heritage buildings (Walls, 2013). The Athens Charter (1933) was the outcome of the ‘conservation’ and ‘restoration’ discussions. It is a seven-point strategy for the maintenance of historic buildings and formed a set of unified guidelines for international use (“The Athens Charter for the Restoration of Historic Monuments - 1931 - International Council on Monuments and Sites,” 1933). The keyword to be noted here is ‘maintenance’ and how the term limits what can be done to historic buildings. Even though the charter was a starting point for an international movement, the guidelines were vague. Hence, a new and updated charter was required. The Venice Charter (1966) aimed to remove the faults within the Athens Charter by creating a more scientific approach to the existing guidelines. It made use of the concept that, a monument is not limited to just the architecture, but it is also an outcome of its urban or rural setting (“The Venice Charter,” n.d.). A major drawback of the Venice Charter was that the guidelines could be broadly interpreted which caused loopholes for exploitation. Then came the Burra Charter (Australia ICOMOS and International Council on Monuments and Sites, 2013), which added the term ‘cultural heritage’, to the Venice Charter. ‘Cultural Significance’ as a term, was first used in the Venice Charter in 1964. It was used to describe the different types of heritage other than the built environment (Zancheti et al., 2009). However, the Venice Charter used only the concept of cultural significance. The Burra Charter brought it to the frontlines and made it operational. It states that conserving heritage means not only the building but also maintaining and conserving the cultural significance of that space. (Zancheti et al., 2009) Even though the Burra Charter talks about cultural significance, it fails to acknowledge its origin (Zancheti et al., 2009). It still treats the historic site as stuck in one time rather than acknowledging the accumulation of the layers of history. This snapshot thinking is hence very reductive.
The analysis of the charters helped understand that the theories are mainly presented in three groups, stylistic restoration, conservation (anti-restoration), and restoration-conservation movements (Jokilehto, 1986). Through this, it is derived Page I 8
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that even though in the 19th-century conservation was heavily based on restoration of just the building, the 20th-century theories introduced values and culture and redefined restoration based on the values attached to a building. They started seeing the heritage building as more than just a building. The common themes identified in the charters are:
a. Minimal intervention b. Compatibility c. Authenticity d. Reversible intervention
These themes need to broaden their scope and become more flexible to accommodate the present.
2.4 Gaps in the current Conservation method
Conservation shapes the society in which it is situated, and in turn, it is shaped by the needs and dynamics of that society (de la Torre, 2013). India has a rich, and continuous civilization. Yet, the practice of conservation was introduced with the formation of the Archaeological Survey of India (ASI) in 1902 (Menon, 1989). A.G K. Menon says that India is trying to follow the European model of conservation in a fast-tracked and haphazard manner. Conservation in India, is seen as a technical activity or an afterthought, even though it has the potential to shape the future of our nation (Menon, 1989). In India, even though the historic character is recognized as ‘living’ and therefore has both economic and social value, it’s real value in the eyes of a conservationist appears to lie in its anachronism with the contemporary world (Menon, 1989). This thinking forces the heritage site to remain stuck in a particular period and doesn’t allow it to grow. This could be because, in 1882, the British Parliament passed the Historic Monuments Protection Act based on the English bias in favour of preservation exemplified by Ruskin’s advice that; (Jokilehto, 1986);
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“When care will preserve it no longer, let it perish inch by inch rather than retouch it.”
This philosophy was blindly absorbed by India (Jokilehto, 1986). With such thinking, it is no wonder why the public feels detached from historic buildings. The conservation approach has often been primarily based on sentimental and aesthetic considerations; conservation of living traditions, local distinctiveness, and culture is a relatively new concept in India (Ranilakshmi V Isahiah, 1996). Determining how to preserve heritage is difficult as there are so many different values attached to it. The public has intangible sentiments embedded in heritage, which have to be catered for. On the other hand, Councils also face resistance from property owners and developers who are after high benefit, low-cost commercial returns (Walls, 2013). To conserve in a way that is relevant to society today, we must understand how values are negotiated and determine how the process of analysing and constructing cultural significance can be enhanced (de la Torre, 2013). If the conservation of heritage in India wants to become relevant it will have to embrace the ever-changing ways of the city and accommodate change,(MEHROTRA, 2007) and this is where adaptive reuse comes in.
The ICOMOS Charters were implemented as guidelines for the conservation of historic buildings, to ensure intangible qualities within heritage buildings are not jeopardized by destructive maintenance (Walls, 2013). These Charters remain the leading protection of heritage today (Walls, 2013). But, the current emphasis on ‘restoration’ as specified by ICOMOS, has resulted in a ‘sanitized’ approach to conservation.
The sanitised appearance in the restoration of heritage buildings leads to the removal of our cultural heritage and histories. This ‘re-created’, pretty and positive tactic does not allow for the heritage values of the buildings to be incorporated and engaged in the present time. These actions rewrite history through a nostalgic distortion of time that removes any imperfections and unpleasant events of a building’s past (Walls, 2013). Page I 10
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Article 21 of the charter says that adaptation should involve minimal change to the historic fabric, done only after considering all possible alternatives (“ICOMOS Charters,” n.d.), but, adaptation should not be seen as an afterthought or a last resort. Our historic towns and cityscapes showcase a unique mix of social, architectural, cultural, and heritage values. Sadly, these are quickly being stripped down to meet the changing demands of the stakeholders and to make way for urbanisation. The heritage value and character is becoming side-lined (Kiruthiga and Thirumaran, 2019).
2.5 Adaptive reuse: What is it and why is it relevant
People carry an assumption that ‘heritage’ architecture must be historic (age-based) to be considered valuable and significant (Walls, 2013). But a building is never truly complete (Walls, 2013).
The world today is coming closer together due to globalization and cities are becoming more and more similar with each passing day. With so much cultural fluidity, people want to cling on to the past and try and make sense of it as a community (Díaz-Andreu, 2017). Urbanization, and globalisation are a common and inevitable phenomenon everywhere. Growth is required and also has beneficial qualities, but it also sadly, constitutes the loss of historical areas (Thirumaran, 2018). Globalisation should not come at the cost of our heritage and values.
ICOMOS defines adaptation as the process of changing the use of a place with another compatible use while retaining its cultural heritage value (“ICOMOS Charters,” n.d.). Adaptation processes have to include addition. As said by Sally Stone in her book, Undoing Buildings, the reuse of a heritage site creates a link with the past. It helps establish a relationship with the history of not only the building and its context and environment but also helps establish a link to the society that was pivotal in its construction (Stone, 2019). Building adaptive reuse is defined by Sheila Conejos as “a significant change of function of an existing building when the former function no longer has any meaning Page I 11
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or relevance” (Conejos, 2013) and it is an alternative to demolition and reconstruction as it takes up less energy and generates less waste. With passing time, the number of buildings that have rich histories and values attached to them are aging and need to be rejuvenated. A lot of adaptive reuse projects bridge different typologies and cultures and timelines – churches becoming restaurants, hospitals becoming schools, and more (Schmidt, 2018). The book Old Buildings, New Designs (Bloszies, 2012) talks about how adaptive reuse can be done sensitively.
There are three approaches to adaptive reuse. They are: 1. Typological approach 2. Technical Approach 3. Programmatic approach
In the typological approach, different typologies of buildings are studied based on the hosting space, and then the way to reuse it is decided (Plevoets and Cleempoel, 2013). The technical approach focuses on how to adapt a building to ensure it can best accommodate a new function. The Programmatic approach focuses on how the building can be adapted and made functional again (Plevoets and Cleempoel, 2013).
There is another new method that has come up, called the interior approach (Plevoets, 2014). This refers to not only the building’s interior, but also to the interior of the soul of the building, its essence, and that is taken as the main factor when considering adaptive reuse. The interior design approach focuses on the “soft values” or the non-tangible aspects such as the atmosphere, history, and stories surrounding the building. It focuses heavily on protecting the essence of the building instead of only focusing on its physical integrity (Medici et al., 2019).
The new functions that are added play an imperative role in adaptive reuse projects as they should be able to fulfil the needs of our ever-changing society and, without compromising the possibility of future use. (Medici et al., 2019)
Adaptive reuse is a method that could be the link between conservation and development, but as of now is a less explored path. Adaptive reuse of heritage buildings is like an afterthought when it should be the first explored option. It is the Page I 12
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method that helps keep the past alive without compromising the future. There are a lot of papers that talk about how adaptive reuse is economically and environmentally sustainable, but it can also become socially sustainable!
2.6 Adaptive reuse as a way to revitalise a precinct
Older buildings have character and a language unlike modern buildings which are completely devoid of ornaments, and are rarely embraced by the general populace. It is both about the building, and also about ourselves. A strong sense of identity is formed due to these connections to the past (“Why Adaptive Reuse Matters,” n.d.). Urbanization and globalisation pose a threat to heritage towns that possess unique architectural and cultural significance. A city should be viewed as different layers of the same reality. The historic building is the function of its urban or rural setting (“ICOMOS Charters,” n.d.). We want to show our cities as pretty and clean but that can never be the case. Our cities are a mix of cultures and opinions and ideas and our architecture should reflect that. Retaining the layers of history, and thereby the richness of urban growth and development enables us to be able to read and experience the stories that a city and its people have to tell. Buildings cannot speak to us, but we can still experience them and their stories. Only through recognising the layers (of time, growth, and change, for example) are we able to engage the city and represent it’s/our history in our everyday lives (Mouat, 2006). The idea is to be able to find the perfect balance between conservation and development. No change will lead to stagnant cities and too much will lead to a loss of cultural identity and urban character. The latter is seen in the case of India, where all our cities are being dotted by glass boxes with no importance given to context and culture. The perfect balance leads to cultural diversity (Bloszies, 2012).
There are many studies linking conservation to development. Jane Jacobs in her book has said, “New ideas need old buildings”(Jacobs, 1989). Historic neighbourhoods have the potential to act as anchors of neighbourhood identity, catalysts for neighbourhood revitalization, and incubators of small local businesses (Chan, 2011). The book helps further the notion that the preservation of the built heritage is a key Page I 13
Functional Heritage: Seeing the Past as the Future
component of placemaking in urban environments (Jacobs, 1989). It allows it to merge and become something new. Hence that directly links conservation with development.
Urban revitalisation and cultural heritage protection are both supposed to be part of our living environment. The renewal of urban centres is an ongoing activity that ensures we do not outlive our environment (Mouat, 2006). As stated in the article, revitalising urban areas through adaptive reuse, adaptive reuse can rejuvenate a community and keep the past alive too. It is the best of both worlds. (“Revitalizing Urban Areas Through Adaptive Reuse,” 2019)
The paper by Ian Gauger compares the effects of adaptive reuse development with new development using the parameters of the social sustainability of a community (Gauger, 2020). He shows that adaptive reuse is economically, environmentally, and even socially more sustainable than newly built environments. The architectural heritage offers a direct link with the evolution of society. It is a link to both the past and an opening to the future. The conscious sense of continuity with the past can offer many possibilities and indicators to future development (Stone, 2019).
2.7 Learnings and Takeaways
The books and reports that have been reviewed try and identify the reason for the disconnect between the general public and heritage structures. A lot of papers talk about how heritage is important. And, a lot talk about the values of people linked with heritage. But there is no connection about how the general public should be included in the decision making about heritage structures and also about their future. The Burra Charter Process is a powerful instrument for helping to determine the cultural significance of sites, but it must be revised on account of the challenges of the plural, multivalent, and contingent nature of values in society today (Zancheti et al., 2009). Conservation systems should not remain stagnant, but rather be kinetic as the world changes every day. This is possible if we combine the above theories of adaptive reuse and conservation.
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Even in the methods that adaptive reuse is carried out, there are gaps. In each of the three methods, they don’t focus on the actual host building while deciding a function for the building. This could lead to insensitive adaptive reuse and contamination of history in a way.
Rebecca (Chan, 2011) talks about how to link conservation with heritage but forgets to take into account the blend of cultures in a place. Prasad Shetty very correctly points out that, heritage remains an elite aesthetic imposition in India (“heritage conservation movement,” n.d.). The readings also throw light on the fact that the so-called heritage activists are the most a-contextual. The concern for protecting traditional skills and work patterns stink of an elite preoccupation for making museums out of cultures (“Rethinking Heritage,” 2017). This thinking needs to change and evolve before we can fully accept adaptive reuse as a common practice. The scope of architectural conservation needs to broaden and reach beyond the building level. They should try and include urban planners so that historic buildings can be integrated cohesively into the urban environment.
The important questions to ask are can an old form retain its significance when the activities of the city itself have radically changed? And second, can a modern building be successfully woven into the historic fabric? The architect and the designer should regard the existing structure, not as a blank canvas, but as a multi-layered and multifaceted structure, which they have been allowed to activate (Stone, 2019).
The problem arises when the conservationist may want to keep the building or monument in the exact condition that it was found in, while the architect will possibly expect to make massive changes to facilitate the new users of the new building (Stone, 2019). A balance has to be found as neither of these extremes work. Patrick Geddes (1854– 1932) placed value in the ensemble and encouraged regeneration through modern development within a historic core. He was a pioneer of the idea that social reform could be achieved through improvements in living conditions (Stone, 2019).
Conservation is a constant search for authenticity, and as attitudes towards what is regarded as authentic evolves, methods and theories of conservation also need to evolve. Page I 15
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Chapter 3: Methodology The dissertation aims to understand heritage buildings and historic neighbourhoods in totality. It will then try to understand the effect of adaptive reuse on them. The main idea is to try and understand how adaptive reuse links conservation to development. To see how adaptive reuse helps revive the urban fabric that is rapidly being gentrified.
3.1 Approach The objectives of the dissertation were fulfilled by examining and analysing the conservation systems in India concerning adaptive reuse and understanding the values that are associated with heritage buildings. Through literature review and secondary case studies an understanding of adaptive reuse was developed. These insights helped in understanding the approach to adaptive reuse and their subsequent outcomes.
First, theoretical as well as practical approaches were reviewed through a study of the relevant literature to identify the definitions, aims, and opinions in respect of the following topics: culture, history, heritage and identity; their nature and importance; development and conservation; current conservation practices and understanding in India; and their impact on the overall development process.
Case studies were then undertaken to understand how adaptive reuse is done. First, the process and approach of adaptive reuse were understood and then the effect on the user was understood. Later, the case studies were also analysed on the degree of intervention, method of adaptive reuse, and a comparison of the past and the present.
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Figure 2: Detailed Framework (Source: Author)
3.2 Criteria for Selection of Case studies The concept of adaptive reuse was understood by doing case studies of 2 Indian buildings and 2 international buildings. Case studies were taken based on the level of intervention with the existing heritage fabric. The categories are minimum, medium, and extensive intervention.
Minimum intervention is when the intervention has little impact on the existing heritage fabric of the building, so any changes can be reversed. Medium intervention is when only moderate changes are made to the existing fabric but in this situation, the changes cannot be reversed. Extensive intervention is when there is large-scale demolition or removal of the existing heritage fabric.
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They are also chosen based on how many changes of uses it has undergone, its relevance before and after adaptive reuse and the type of change adaptive reuse brought about in the way people viewed the building.
After gaining an understanding of adaptive re-use through the building level case studies, two neighbourhood level case studies were done. A comparative analysis of one Indian case study and one international case study was done.
At the building level site visits were done, but due to COVID-19 on site interviews to gain insights about the user experience could not be conducted.
3.3 Parameter for analysis of Case Studies (Building level)
The case studies of adaptive reuse of historic buildings were evaluated based on the degree of intervention and number/ types of changes made to the heritage fabric (degree of intervention: minimum, medium, and extensive). Their strategy was then evaluated regarding the overall effect it had on the heritage fabric of the precinct. The buildings were analysed based on: (i)
History and Culture
(ii)
Continuum of layers of history
(iii)
Usage a. Functional b. Ownership
(iv)
Type of intervention: a. Minimum b. Medium c. Extensive
(v)
Integration a. Material Compatibility b. Spatial
(vi)
Reversibility
(vii)
Façade treatment and visual character
(viii)
Incorporation of services
(ix)
User Experience Page I 18
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These factors led to a better understanding of how adaptive reuse should be done.
3.4 Parameter for analysis of Case Studies (Historic Neighbourhood level)
The historic neighbourhoods study carried out all the building level analysis with an added layer of context. The effect of adaptive reuse not only on a building, but its context was understood. It tried to determine if adaptive reuse is the right way to revitalise a historic neighbourhood. The parameters for the analysis of the historic neighbourhood were:
(i)
Street Patterns
(ii)
Open built relationship
(iii)
Level of Publicness
(iv)
Historic Façade and Character
(v)
Type of change of use
(vi)
Quality of Space and its significance
(vii)
Layering of history and Culture
(viii)
Urban fabric integration
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Chapter 4: Case Studies To understand heritage and adaptive reuse, case studies at both building level and neighbourhood level are carried out. A comparative analysis was then carried out based on the parameters identified above.
4.1 Building Level Case Studies The case studies were chosen based on architecture style, level of intervention, and the effect of adaptive reuse on the heritage fabric and the urban fabric. The idea was to look for buildings that were given a new life because of adaptive reuse. A comparative analysis was carried out at the building level. The building level case studies help in forming an understanding of adaptive reuse, heritage fabric, and the interaction of the old and new.
4.1.1 JN Petit Library, Mumbai The J. N. Petit Library (officially the J. N. Petit Institute) is a library in a Grade II heritage structure in Fort, Mumbai (Dixit, 2020). The architecture style is NeoGothic. A part of the library had been leased out to the IDFC Bank. Presently the space is being converted into a primary school. Most of the buildings in its vicinity have undergone adaptive reuse.
Illustration 1: J N Petit Library (Source: www.jnpetitlibrary.org)
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Figure 3: JN Petit Library, Analysis through Plan (Source: Abha Narain Lambah Associates, Author)
Figure 4:JN Petit Library, Analysis through Plan (Source: Abha Narain Lambah Associates, Author)
The plans depict the way the services have been incorporated into the existing heritage building. It shows the data that was collected on-site about the building. Page I 21
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Figure 5: JN Petit Library, Analysis through Sections (Source: Abha Narain Lambah Associates, Author)
Analysis: The space has been converted into a bank. Since the walls and columns have been whitewashed, they have lost their essence and feel. Even though the visual character is maintained from the outside through the façade, from the inside you cannot make out that it is a heritage building. Just continuing the exteriors is not enough. It may be in cases when the heritage can be perceived from just the façade, but it is not the case here. The false ceiling conceals some of the services, but there are exposed ducts also running. These again take away the character of the heritage building. Adaptive reuse could have been done more sensitively.
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4.1.2 The Loft Mumbai The loft is an architecture studio in Mumbai, India. It is a part of a heritage structure that was originally a warehouse. It is in the vicinity of other heritage structures like Chhatrapati Shivaji Maharaj Terminus Victoria Terminus, the J.N. Petit Library, and many more. The warehouse was converted into a studio space for Studio PKA, by themselves. The space had been imagined to bring out an urban cultural identity and to be able to blend two different timelines and typologies. (“Studio PKA turns heritage building in Mumbai into own architects’ studio,” 2020) The project focuses on the 4th floor of the warehouse. The warehouse was built in the early 1900s and the architectural style is Victorian. The studio wanted to showcase the heritage building and bring it to the forefront. Hence the layers of plaster and whitewash were removed to showcase the bare walls. The walls were made of exposed brick.
Illustration 2: The Loft, Mumbai (Source: archello)
The above picture shows how the two timelines are merging. The office has a very modern look but also respects the historical value of the space. The studio made sure to not introduce a lot of new materials. The materials added were wood, metal sections, stone, and glass. All these materials add to the quality of the space without taking away the essence of the heritage structure. The space was imagined as raw and bare to make the user feel like he is in a heritage building. The space hence begins Page I 23
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demanding attention and comes alive. The Glass also adds on a layer of depth and visual connection so that the scale of the space is not lost. The space respects the structural integrity of the building and even highlights it, by keeping it exposed. The building was first stripped down to unearth the authentic materials and then they were responded to sensitively. The space does not undermine the heritage character but responds to it beautifully. It also tries to adapt it in a way so that in the future it can be easily readapted, which keeps the cycle of change going. (“The Loft Studio Space / Studio PKA,” 2019)
Figure 6: Lower level Plan, The Loft (Source: Archello, Author)
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Figure 7: Mezzanine Floor Plan, The Loft (Source: Archello, Author)
Figure 8: Sectional Analysis, The Loft (Source: Archello, Author)
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Figure 9: Material Palate (Source: Archdaily)
Analysis: This building is an example of good adaptive reuse. The architect has respected the quality of the space and has added on to it rather than taking away from it. The quality of space that gets formed merges two timelines harmoniously and creates a space that works well. The services have been incorporated without damaging and overshadowing the heritage structure. This is a minimal intervention form of adaptive reuse.
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4.1.3 Coal Drops Yard Coal Drops Yard is part of the former King’s Cross Coal Depot which was established in 1851 along the Regent’s Canal (October 16 and 2018, 2018a). The eastern wing of coal drops was constructed in 1851. The other wing was constructed in 1860.
It was a 3-floor high shed essentially. The working was that the trains would come in on the third storey and the wagon was emptied from the bottom. The goods were then sorted and then loaded into the vehicles waiting downstairs. The most common good received here was coal. This hopper floor where the goods fell to, was supported on a cast-iron framed structure (October 16 and 2018, 2018b). The materiality of the heritage structure hence was cast iron and bricks. Today it is a Grade II heritage structure.
Figure 10: Coal Drops Yard, Pictorial Analysis (Source: Archdaily, Author)
The coal drops yard has essentially seen two changes in use throughout the years. During 1986 all disused warehouses were used to stage illegal rave parties in London. This had also become the fate of the Coal Drops Yard up until 2008. In 2008, Argent group appointed Ar. Thomas Heatherwick for redeveloping Coal Drops Yard. It was Page I 27
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decided to convert it into a retail park. The coal drops yard was originally designed as two separate entities. The architect wanted to connect them somehow. That is where the idea of the “Kissing Roofs” emerged from. (“Coal Drops Yard / Heatherwick Studio,” 2018)
Figure 11: Coal Drops Yard Site Plan (Source: Archdaily, Author)
The adaptive reuse has been done in a way to respect the industrial heritage but also fulfil the needs of the current users. The building was first conserved and refurbished and then the additional structure was added. The heritage site has been given a modern twist, which was an impressive feat of engineering. It helps create a focal point and becomes the highlight of the space. Adaptive reuse is done using the method of contrast to highlight the heritage (RIBA, 2018). Because the building was a listed heritage building the main aim of the architects was to try and minimize the changes in the historical fabric and retain it as much as possible. Since the new structure had Page I 28
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to achieve a look that it was floating and the heritage structure could not take this weight, 52 pairs of steel columns were added.
Figure 12: Coal Drops Yard Spatial Character analysis (Source: Archdaily)
Figure 13: Coal Drops Yard Floor Plans (Source: Archdaily, Author)
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Figure 14: Coal Drops Yard Analysis through Sections (Source: Archdaily, Author)
Because the Coal Drops Yard was never imagined to be a retail hub, a lot of work had to go in for converting it into one. Lifts and staircases were added on. The added level had a glass facade as the architect wanted to keep the visual connection. The central plaza formed is used to conduct events and gatherings. The whole space has been transformed into an extraordinary space, by merging two timelines.
Figure 15: Merging Timelines; Coals Drops Yard (Source: Archdaily, Author)
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Analysis: This example of adaptive reuse is an extensive one. The architect has added a whole new structure on top of the existing built. You can see two different timelines and cultures in one go in this building. Though to achieve this, many parts of the heritage building had to be removed. Even though the services have been blended in, the structure is too bulky. It takes away the focus from the heritage building. The space has lost its original spatial quality. The original structure had to be modified a lot to accommodate the vision of the architect.
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4.1.4 Vienna Coal Gasometer Renovated into Housing The Gasometers in Vienna were built from 1896 to 1899 for the gasworks for the district. Their purpose was to store and supply the town with coal gas. They were the largest of their type at that time. When the city shifted over to natural gas in 1984, they were put out of use. Soon, in 1991 they became classified as heritage structures and were hence not demolished. They were put to temporary uses in between but mostly remained as abandoned, empty containers. These structures had a lot of cultural and architectural value of the citizens of Vienna attached to them, hence the city couldn’t just let them perish and lay abandoned. In 1992 the city called for architects to come up with ideas to revitalize the area and breathe life into it. The work began in 1999. First, the Gasometers were gutted and only the exterior brick wall along with parts of the roof were retained (“The Architecture of the Gasometers,” n.d.). There are four gasometers; A, B, C, and D. These were converted into multiple uses. Shops, Housing, Offices, Multiplex, and restaurants were all built into it. The Gasometers went from being abandoned to the most prime location in the city. Today, they together form the city centre. This is the perfect example of how adaptive reuse can completely transform a space and in turn the area around it (Pham, 2013).
Illustration 3: Gasometers Vienna (Source: Archdaily)
The original material, brick, was retained and concrete pillars were added. These pillars were required structurally. Curtain walls of glass and aluminum were also added to get in ample lighting into the spaces. Illustration 4: Gasometers Skyline (Source: Revitalisation of Gasometers C and D, PORR Group)
The visual character of the historic building is maintained through the façade.
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Figure 16: Gasometer B Floor Plan analysis (Source: Divisare, Author)
Figure 17: Conceptual Analysis Gasometers (Source: Divisare, Author)
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Figure 18: Sectional Analysis Gasometers (Source: Divisare, Author)
Analysis: This is also an example of extensive adaptive reuse. But here it is justified as the gasometers had to undergo a massive change of use. The essence of the gasometer lay in the dominance it exerted due to its sheer volume and also its architectural quality that can be seen in the façade. Both these qualities have been retained. Hence it is an acceptable form of adaptive reuse.
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4.2 Historic Neighbourhood Case Studies After the building level analysis, an understanding of adaptive reuse was attained. Comparative analysis of two historic neighbourhoods was then carried out to establish how adaptive reuse works on the urban level.
4.2.1 Kala Ghoda Arts District Mumbai is a culturally diverse city. Along with being the economic and financial hub of India, it is also a prominent arts and cultural hub
(Bhatt,
2008).
Owing
to
British
colonization, colonial buildings are scattered throughout the city of Mumbai, but the highest concentration is in the South Mumbai area known as “Kala Ghoda". It is a part of the Fort Precinct. Numerous art galleries, cultural centres, museums, and libraries are housed here making the space both culturally and artistically very rich.
The statue of King Edward VII (as the then Prince of Wales) mounted on a horse in the area is what gave Kala Ghoda its name (“Kala Ghoda Area,” 2018). The name translates to “Black Horse”. In 1965 this statue was removed from the Figure 19: Fort Precinct Map (Source: URDPI)
precinct
owing
to
sentimental
values.
However, in the year 2017, the 'Kala Ghoda' returned to the area with a new statue of a similar-looking horse without its rider (“The Tale of the Kala Ghoda,” 2018). The statue was renamed the “Spirit of Kala Ghoda” (“The Tale of the Kala Ghoda,” 2018). The new Kala Ghoda statue reflected the history of the precinct minus its negative connotations. So, this was a pretty good compromise.
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The Kala Ghoda Association or the ‘KGA’ was founded in 1998. It is a non-profit organisation put in place to help the development and conservation of the colonial buildings of the area. It also started a Kala Ghoda Arts Fest, which is a cultural activity. It highlights the colonial architecture and also the heritage of the area. It helps us create a direct link with these buildings. The 10-day long festival has tours, shows, music, and culture!
Figure 20: Usage of buildings in the Fort Precinct (Source: UDRI Report)
As shown in the map above most of the buildings in the Kala Ghoda district are commercial. They have been adapted to different uses.
Figure 21:Grade of Heritage Buildings in The Fort Precinct (Source: UDRI Report)
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From the above map, it is derived that most of the buildings in the Kala Ghoda Precinct are not listed heritage buildings. Nonetheless, they have all been conserved and retained their historic character. They all flaunt their heritage facades and that is what gives the space its essence. All the buildings here have been adapted to various functions like retail, restaurants, and exhibition spaces. The layers of history continue adding up. (Centre, n.d.)
Figure 22: Kala Ghoda Figure Ground (Source: UDRI)
Figure 23: Infrastructure Analysis (Source: UDRI Report)
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From the report, it is learned that the infrastructure indicated in Figure 28, is lacking and can be added upon. The location of the toilets could also be better. At the moment they are not integrated properly with the historic fabric. The street furniture and public amenities are present as an afterthought at the moment and have not been designed keeping the historic fabric in mind.
Figure 24: Parking wrt open spaces Analysis (Source: UDRI Report)
Figure 25: Trees Placement in Kala Ghoda Precinct (Source: UDRI)
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The seating and urban furniture can be given along these avenues. The trees add to the openness of the space and help give it a certain character. The open built relationship has been maintained. There are laws in space regarding the height of buildings and the scale of spaces. Most of the open space in the precinct is concentrated in one space. The open space in Kala Ghoda lies in the museum and cannot be accessed without a ticket. Car parks have taken over the plaza and the open space the district receives.
Figure 26: Open Spaces in Fort Precinct (Source: UDRI)
Analysis: From the secondary data present and the semi site visits that were conducted, it was understood that Kala Ghoda as a precinct was revitalised by adaptive reuse. Most of the buildings present here are unlisted heritage buildings. They have been repurposed and reinvented through adaptive reuse. The space today, adds on a layer of culture, history, and heritage to the city of Mumbai. It forms the image of the city.
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4.2.2 Liverpool - Maritime Mercantile City The port of Liverpool played a very crucial role in the development of maritime mercantile culture in the 18th and 19th centuries and was a major reason for the growth of the British Empire (Gary Arndt, 2007). The port city is a great example of a world-class port that represents global trading and the connections of the British Empire (Arndt, 2011). Liverpool’s economic demise and loss of population in
Figure 27: Liverpool Heritage City Plan (Source: Unesco)
the late 20th century created a need to rejuvenate and regenerate the area (Hinchliffe, n.d.). The city had to be repurposed and reimagined. Liverpool’s ports are a unique historic treasure and it didn’t take them long to figure out how that could help in repurposing the area. The process began when the Albert Dock Warehouses
were
conserved,
restored,
and
repurposed, and given back to the city in the 1980s (Hinchliffe, n.d.).
The citizens of Liverpool were very proud of their cultural heritage and used that to help revive their economy. Today the building owners display pride in the WHS Status of their buildings and the city. They have learned how to maximize profits from this story of culture and sense of identity, and have learned to generate an economy out of heritage. (Centre, n.d.)
Liverpool was a commercial port and was crucial for the organisation of the transAtlantic slave trade (Centre, n.d.). It has a major role to play in world trade and was one
Figure 28: Liverpool Heritage Zone (Source: UNESCO)
of the prime ports for the British. It had a lot Page I 40
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of innovative warehouses and dock facilities. The 6 areas have been divided based on the typology of buildings, the architecture style, and usage. 1. The Pier Head The Pier Head was designed to be the centre of attraction for the riverfront. The skyline is decorated by traditional 19th and 20th-century monuments. (Hinchliffe, n.d.) 2. Albert Dock It is made up of monumental dockside warehouses designed around a system of historic docks (Hinchliffe, n.d.). It has an industrial character. 3. Stanley Dock This is the most famous and complete historic dockyard in the world. It was constructed using brick, stone and iron, and innovative technology and is the pinnacle of the industrial heritage of the Victorian period. (Hinchliffe, n.d.) 4. Commercial District It contains all the trading buildings. It houses great Victorian architecture. The architecture here is lavish and grand and forms the image of the city. (Hinchliffe, n.d.) 5. The Cultural Quarter This is similar to the Kala Ghoda Arts Precinct. It houses multiple public buildings like museums and art galleries. The majority of civic infrastructure is also located right here. (Hinchliffe, n.d.) 6. The Merchants Quarter This is mainly a housing sort of district. This is where the traders would reside. It also contains warehouses. (Hinchliffe, n.d.) The map showcases the 6 district divisions in the maritime city. The important buildings in each are highlighted. According to the report by the Liverpool City Council, these areas have been revitalised using adaptive reuse. The city has undergone multiple transitions and changes in use over time. Buildings are adapted to house different functions depending on the requirement and needs of the city. This practice has helped the city become a tourist hub and get economic returns.
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Figure 29: Maps of Precincts (Source: Regeneratingliverpool.com)
The main attributes of the Liverpool Mercantile Maritime city are: 1.
Spirit of Innovation: This is
seen in the way the materials have been used and the construction techniques required for building the dockyard. 2.
Global Trade: The city was at
the centre of trade and the many commercial buildings in the vicinity testify for that. It generated a huge amount of revenue and was an important port town. Illustration 5: The attributes of Mercantile City (Source: Liverpool Report)
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3. Cultural Exchange: There are so many buildings of cultural importance present here. (LOCUS Consulting Ltd, 2017)
Liverpool has banked on not only the tangible part of their heritage, but they have also focused on the intangibles and have brought them to the limelight. They have come up with multiple schemes and laws to protect their historic fabric and have figured out a way to blend it in with the urban fabric. What turned the city around was earning the tag of a world heritage site. That was something tangible and could be used. That gave the necessary push for public participation in conserving and rejuvenating the historic sites. (LOCUS Consulting Ltd, 2017) However, the population is on the rise in Liverpool. This could threaten all that the city has worked for. In an attempt to make the city more developed it may lose out on its authenticity and historic character (Nazia, 2016). Awareness levels need to be improved and sensitive decisions must be taken. Liverpool also has a 10-day long festival, that highlights the heritage. This is a step in the right direction. Many buildings in Liverpool have been adapted and repurposed. This has helped the city.
Analysis:
From the data collection, we understand that the city has been revitalized using adaptive reuse. The city has brought back places to life by giving them new functions and making them relevant again using adaptive reuse.
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Chapter 5: Analysis 5.1
Building Level Analysis
At the building level, the buildings are analysed based on the parameters mentioned in the methodology.
1. History and Culture: The before and after of buildings are compared to see how they sit with each other
2. Continuum of layers of history: The buildings are analysed on how they have responded to the past and the present and whether any permanent changes have been added.
3. Usage: This point analyses both the functional change of use of the building and how the ownership has changed. The functional change would help determine the type of adaptive reuse that will happen.
4. Type of intervention: This is divided into three parts; Minimum, Medium, and Extensive. Each has been explained in the methodology. The types of intervention determine the types of adaptive reuse and also have an impact on user experience and integration.
5. Integration: This is divided into two parts; Spatial integration and material Compatibility. Material compatibility determines how the new and old materials blend (Explained in Charles Bloizes book in the literature review). The next is spatial integration which is determined by the quality of space being formed and the continuation of the historic character.
6. Reversibility: The buildings are then analysed on the parameter of whether the change is reversible or not. This can be linked to the type of intervention.
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7. Façade treatment and visual character: This determines if there is a continuity in the visual character of the building and how does it look. The visual character usually gives the heritage building its identity.
8. Incorporation of Services: This is a very important parameter. It analyses how the services have been integrated into the historic building and whether it is compatible or not.
9. User Experience: This is the most important parameter. Adaptive reuse is done primarily for the user, hence recording the experience is of utmost importance. For the buildings in Mumbai, the experience was recorded using the questionnaire given in the Appendix.
A comprehensive analysis was done for each of the buildings. Then a comparative matrix for analysis was formed to understand the type of adaptive reuse and its repercussion. This will help understand the model to do adaptive reuse. The building comparative analysis matrix is attached below.
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Case Study
Criteria for Selection
J.N. Petit Library, Mumbai
The Loft, Mumbai
Coal Drops Yard, London
Gasometers, Vienna
It was built in 1856. The architecture style is Neo-Gothic (Dixit, 2020). The library is functional even today and is open for all Mumbai residents. The building has given out a part on lease to a bank.
The Loft is a part of a heritage structure (warehouse) in South Mumbai (“The Loft Studio Space / Studio PKA,” 2019). The original warehouse was built in the early 1900s in Victorian style. It is now office space.
Coal Drops Yard is part of the former King’s Cross Coal Depot, established in 1851 alongside the Regent’s Canal, Victorian Style architecture (October 16 and 2018, 2018a). The coal drops yard has essentially seen two changes in use throughout the years.
They were built in 1881, (Victorian style) and went out of use in 1981. Today they have been repurposed and have become the city centre (“The
JN Petit Library (Source: jnpetit.org)
The Loft (Source: Archdaily)
Coal Drops Yard (Source: Archdaily)
The library is a very prestigious building and is of great importance to the Parsi Community. Most of the buildings in its vicinity have undergone adaptive reuse. The building reflects its history and presence through the historic façade.
It is a part of a heritage structure that was originally a warehouse. It is in the vicinity of other heritage structures like Chhatrapati Shivaji Maharaj Terminus Victoria Terminus, the J.N. Petit Library, and many more.
It was a 3-floor high shed essentially. The working was that the trains would come in on the third storey and the wagon was emptied from the bottom. The goods were then sorted and then loaded into the vehicles waiting downstairs. The history is reflected through materiality.
These structures had a lot of cultural and architectural value of the citizens of Vienna attached to them, hence the city couldn’t let them perish and lay abandoned. In 1992 the city called for architects to come up with ideas to revitalize the area and breathe life into it.
The façade and the presence of the The building reflects its history building help carry out the different through the façade and the scale of layers of history. spaces. It reflects the current time by the use of materials like glass.
The building is a great mix of the past and the present. Both can be perceived when in proximity to the building. The history lies with the materiality and the present is reflected in the kissing roof structure.
The Gasometers have retained the existing history façade that gives a very dominating presence. But the interiors have been adapted to fit in the needs of the present
Architecture of the Gasometers,” n.d.).
Photographs
History and Culture
Continuum of layers of history Parameters
Change of Usage
The Gasometers (Source: archello)
Functional
Library- Bank- School
Warehouse- Office
Coal Retrieving- Rave house- Retail Hub
Gas Supply- City Centre with housing and Offices
Ownership
Public to Private
Private to Private
Private to Public
Private to mixed-use
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Minimum The architect first restored the building to its original state and then added on to it.
Minimum
Medium
Medium Type of Intervention
The building façade has been maintained, but it is independent of it. The interiors have been whitewashed but the work done is temporary and can be reversed. Extensive A new structure has been added on top of the old structure. This is a permanent change and hence is an extensive intervention. The adaptive reuse model followed is that of trying to create contrast.
Extensive
The materials (external)
Parameters
Material Compatibility
are
compatible The materials are compatible The materials are not compatible (continuing the original) (Break in the visual character)
The façade has been restored to reflect the historic character. The interiors have been whitewashed and don’t give the essence of the space.
The building limits the number of new materials. It used materials that are lightweight as well as cost-effective and those that complement the essence of the place.
Spatial Integrity not maintained
Spatial Integrity maintained
Integration
Spatially
The building was first restored to retain the functional industrial heritage of the site. The new materials were added like glass and steel to create a contrast with the original materials (Brick). The new structure now overpowers the heritage structure and takes away from it.
Extensive The interiors were completely redone. This is a classic example of how adaptive reuse has been used to revitalise an area, by converting these unused 'cylinders' to a city centre.
The materials are compatible (visual character) The structure of the new block is made up of a system of concrete pillars that reach full height. Aluminium and glass curtain walls close off the houses, which, thanks to their limited width, enjoy abundant natural light. Thick walls of bricks are already existing.
Spatial Integrity maintained by Spatial Integrity not maintained creating contrast
The False ceiling that has been Most of the spaces respect the The Kissing roof structure adds to the The space has been completely added changes the scale of the space spatial quality of the original heritage spatial quality. The contrast also transformed. Even though the drastically. building. helps highlight the scale of the space. visual continuity is there in terms of the scale and feel of the space, it has changed from what it used to be. Page I 47
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Yes
Reversibility
The main changes made are to the interior of the building which are not permanent, hence the treatment can be reversed Continuity is maintained
Façade Treatment and Visual Character
The users do not feel as though they are in a heritage building, when inside it. The space is functional though and meets the demands of the user
Non-Compatible, but works
Incorporation of Services
The services are running in exposed ducts and do not properly blend in with the space. The space is comfortable on the lower floor. In the mezzanine floor, it feels congested due to the false ceiling Mildly Acceptable
Analysis
No
The space has been reused in a way A permanent structure has been that respects the original materiality added on top of the existing heritage and respects it. The changes are structure. It is an irreversible change reversible Continuity is maintained
Continuity is not maintained
The façade has not changed at all The original façade and visual The skyline has changed as a whole and from the street, you can feel the character have been maintained in new floor has been added on top of presence of the historic building. both the interiors and exteriors. it. The contrast helps highlight the layers of adaptation. Good
User Experience
Yes
The walls and columns have been whitewashed; they have lost their essence. Though the visual character is maintained from the outside through the façade, from the inside you cannot make out that it is a heritage building. There are exposed ducts also running. These again take away the character of the heritage building.
Great The space has ample light coming in, and the heritage quality is in no way compromised. The space has been completely transformed but is still the same in a way.
Compatible and works The services are exposed, but they do not take away from the heritage building. Rather they have been blended.
Completely Acceptable This building is an example of good adaptive reuse. The architect has respected the quality of the space and has added on to it rather than taking away from it. The quality of space that thus gets formed merges two timelines harmoniously and creates a space that works well.
Good The space has a really good quality and because of adaptive reuse, it has become very lively. The design appeals to the retail users and even those who just come for the experience. Compatible and works The structure did not have to change much to accommodate the services. All the changes that were made were done to accommodate the design thinking. The services do not disrupt the quality of the heritage structure. Mildly Acceptable This example of adaptive reuse is an extensive one. The architect has added a whole new structure on top of the existing built. To achieve this, many parts of the heritage building had to be removed. The structure is too bulky. It takes away the focus from the heritage building. The space has lost its original spatially quality.
No Even though the essence of the heritage structure is maintained it has been changed drastically to accommodate the new functions. Continuity is maintained The original form and materials and the basic shell has been retained. Due to that, the history of the building can be experienced. Great The space went from being abandoned to a city centre. The façade makes you feel like you’re in a historic area. The space has been transformed and has become the focal point of the city Non-Compatible, but works The whole structure had to be changed to accommodate the services. Since the functionality has been changed drastically that change was required and unavoidable Moderately Acceptable This is an example of extensive adaptive reuse. But here it is justified as the gasometers had to undergo a massive change of use. The essence of the gasometers’ lay in the dominance it exerted due to its sheer volume and also its architectural quality that can be seen in the façade. Both these qualities have been retained.
Table 1: Comparative analysis of the building level case studies Page I 48
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5.2
Findings from the Building Level Case Studies
From the table, we understand the different approaches of adaptive reuse that have been applied to each of these buildings. The adaptive reuse has been categorised as mildly acceptable, moderately acceptable, and completely acceptable based on the parameters and the analysis. At the building level site visits were conducted. In the case of the J.N. Petit Library site visit and user experience was understood first hand. Due to COVID-19 the same was on possible for the other case studies. Hence, secondary sources and data was used to analyse the buildings.
The J.N. Petit example is mildly acceptable as even though the exteriors have been maintained, the adaptive reuse done in the interiors cannot be justified. The interiors have been whitewashed and the services do not blend in properly.
The type of adaptive reuse done in the loft, is completely acceptable. The space has been transformed into something modern yet it retains its historic value through the materials, the scale of space, architecture, etc. It creates a blend of two different timelines which is exactly what the aim of adaptive reuse is; merging two timelines without any compromise of values and beliefs.
The type of adaptive reuse done in Coal Drops Yard, is mildly acceptable. Even though the architect tried to highlight the heritage structure using contrast, the new structure ends up overpowering the heritage structure. A lot of the heritage structure had to be removed to accommodate the new structure.
The adaptive reuse done in The Gasometers is moderately acceptable. Even though major changes were made, it did not affect the essence of the heritage structure (As explained in the literature review in; Values associated with heritage buildings). The values people hold with that structure get reflected in the façade. Hence the adaptive reuse can be accepted. It is a great example of reduce, reuse, and recycle being applied in the construction industry.
The findings from the case studies are that even if the type of adaptive reuse falls in the minimum or medium category, it can still be insensitive. For example, in the J.N. Petit library, the intervention was medium but, it has still lost its essence and character Page I 49
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since the adaptive reuse done was insensitive. By getting the user experience it was understood that even though the building retains its street character, the interiors do not do it justice. On the other hand, the Gasometers had undergone extensive adaptive reuse, and yet it is considered moderately acceptable. This is because the value of the Gasometers lay in its façade and volume. Since that was maintained, the values associated with the space was not lost.
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5.3
Neighbourhood Level Analysis
At the neighbourhood level, the selected case studies were analysed based on the parameters mentioned in the methodology.
1. Street Patterns: The types of streets formed, the vegetation, and their condition were analysed. The heritage buildings shape the streets so it was important to analyse how the streets sit in the city presently
2. Open built relationship: This is an important factor to understand the dynamics of the open space in the district and how do they relate to the buildings around it.
3. Level of Publicness: It was important to understand the hierarchy of spaces and how they work with each other after a change of use. The dynamics of the space keeps changing depending on the change of use.
4. Historic Façade and Character: It is important to see how the visual character of a historic district is maintained. If new buildings are added what type of façade should they have.
5. Quality of Space and its significance: This helps in understanding how adaptive reuse has changed a space and how has it changed the quality of space that is then formed. It is a comparison of the past and the present.
6. The layering of history and culture: the way the old and new blend with each other creates interesting types of spaces. It is important to understand their dynamics and see if they are integrated into the urban fabric.
7. Urban fabric integration: This helps in understanding how adaptive reuse helps merge the historic fabric into the urban fabric. Urban integration can be achieved through the streets, the furniture, the façade, etc.
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The two selected neighbourhoods were analysed based on these parameters. Then a comprehensive comparative analysis was done to understand how adaptive reuse can rejuvenate an area.
The research question; how can adaptive reuse make an area relevant again has been answered through the case studies. Both the examples are of places that were becoming redundant but were revived with the help of adaptive reuse.
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Case Study
Kala Ghoda Arts District, Mumbai
Liverpool - Maritime Mercantile City
Criteria for Selection
Colonial buildings are scattered throughout the city of Mumbai, but the highest concentration is in the South Mumbai area known as ˜Kala Ghoda". It is dotted with, Art galleries, Museums, Libraries, and cultural centres. It became a part of the UNESCO heritage list in 2018. Conducts the Kala Ghoda Arts fest every year in February.
Liverpool has one of the longest and most recognizable waterfronts in the United Kingdom (LOCUS Consulting Ltd, 2017). The tangible evidence of Liverpool’s global significance as an international seaport survives in many forms, especially in its surviving docks and warehouses (which have now been adapted into different uses). It became a part of the UNESCO heritage list in 2004. Conducts the River festival every year in May.
Photograph
Illustration 6: Kala Ghoda (Source: KGAF Website) Illustration 7: Liverpool Maritime Mercantile City (Source: Liverpool.org)
Street Patterns
Open Built Relationship
Originally there were a lot of open Plazas and streets in the precinct. The streets The historic street pattern has been maintained. The SPD has issued laws are cluttered with hawkers and roadside markets today. This has in a way added about how to maintain the street character and how urban integration can be to the street character, but it takes away from the heritage buildings present done sensitively. there.
The open built relationship has been maintained. There are laws in place regarding the height of buildings and the scale of spaces. Most of the open space in the precinct is concentrated in one place. The open space in Kala Ghoda lies in the museum and it cannot be accessed without a ticket. Car parks have taken over the plaza and the open space the district receives.
After falling into ruins, the character of the streets that is achieved after rejuvenation follows the same open built nature as that of the historic city. The Council encourages redevelopment proposals for buildings that would result in an enhancement of the character of the historic site.
Parameters Level of Publicness
The district houses many public buildings all of which can be easily accessed. The district contained many typologies of buildings ranging from hotels to public The only drawback is that the access is not free. Since most of them are buildings. All the spaces have congregation spaces near them and that adds galleries and museums, they can’t be accessed just like that. to the level of publicness.
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Historic Façade and Character
Parameters
Mumbai has come up with guidelines that the historic façade and the street character formed by them has to be maintained. If any new building is being constructed it has to have an arched colonnade in front of it so that it can respond to the historic context. It has also said no to the setbacks and keeping them would change the street character.
The buildings around have been adapted to various other uses like shops, restaurants, exhibition spaces, banks, etc. The only rule is that the façade cannot change and the adaptive reuse process has to be carried out sensitively. The Type of change of Use change of use of the buildings has helped add a new layer of history to the heritage.
Quality of space and its significance
Layers of History
Urban Fabric Integration
Analysis
The city has guidelines in place if any change needs to be made to the façade. If any change is made: It should not visually dominate the main façades of the building It should not be visually intrusive in views along the streets on which it is sited It should respect the pattern of the window, string course, and parapet alignments along streets (LOCUS Consulting Ltd, 2017)
The buildings have been adapted to different uses ranging from offices to hotels to retail. The council is committed to ensuring that unlisted historic buildings in the WHS is wherever possible retained and re-used. This helps add on to the development, without compromising the historical integrity.
Today the district is the heart of Mumbai. It is the hub for artists and creative Ever since adaptive reuse has rejuvenated the precinct it has become the tourist people. Every year the KGA hosts the Kala Ghoda Arts Fest. It is a 10-day long hub of the city. Every year a River festival is held in the city just like Kala Ghoda. activity. This fest adds to the heritage character by highlighting it and giving it This fest gives the heritage building limelight and brings them centre stage. importance. The layers of history are visible in the façade in places where the signages The layers of history are visible due to adaptive reuse. It has added a new layer merge with the historic façade. It is seen in the way people interact with the of history to these abandoned buildings and that has brought out a new type spaces and how they have been given new meaning of urban development.
The integration with the urban fabric is unclean at places. The parking and open The integration with the urban fabric is pretty good. The two time periods have spaces issues need to be resolved. People need to be made more aware of the merged beautifully and created a different type of space. With the coming in of history of the space. development that integration is in danger.
From the above points, the analysis is that adaptive reuse has helped the district The analysis is that adaptive reuse can rejuvenate a city and give it a new life. It change for the better. Today it is well recognized and an integral part of the city. has been found that due to adaptive reuse the place has also revived There is still time to go for proper integration. economically.
Table 2: Comparative Analysis of the Neighbourhood Level Case Studies
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5.4
Findings of the Neighbourhood Level Case Studies
From the table, we can understand that each of the case studies chosen are spaces that have been changed and made relevant again using adaptive reuse. For the Kala Ghoda Arts District Case study, site visits were done to understand the spatial quality of the space. Due to COVID 19, first hand user experience could not be documented, and inferences were drawn from existing reports and studies on the same.
In the case of Kala Ghoda Arts District, most of the buildings in the neighbourhood are not graded heritage structures. Nonetheless, they hold a certain value for the people. They help in forming the image of the city and give the space a cultural character. Today, the neighbourhood has been developed as the cultural hub of Mumbai. The essence of the neighbourhood lies in the visual character, the street character, and the way the past interacted with the present. These are the tangible aspects relating to the values that are attached to the space. Even the name ‘Kala Ghoda’, pays homage to the history of the space and keeps the past alive. The name is an example of intangible heritage that has been associated with the neighbourhood. Through the case study, it was analysed that, the urban fabric has been integrated with the historic fabric in some places. There are still many things left to be done. The status of becoming a UNESCO World Heritage Site reinforced the pride of the citizens in the cultural heritage of the space.
In the case of the Liverpool Maritime Mercantile City, it was found that even though the citizens were proud of their heritage, economic and social problems (LOCUS Consulting Ltd, 2017) led them away from it. The status of a World Heritage Site turned the city around. Citizens started taking pride in their culture and history and started taking steps towards conserving and preserving it. Like Kala Ghoda, most of the buildings in the neighbourhood are not listed as heritage buildings. But a survey demonstrated that many of the unlisted buildings were of significant architectural or historic interest
(LOCUS Consulting Ltd, 2017). Today the conservation and
management plan of Liverpool follows the concept of, “virtuous circle of cultural heritage”. They have brought cultural heritage to the forefront.
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From the neighbourhood level case studies, the findings were that how adaptive reuse can rejuvenate a space and increase its economy. It was also understood how the parameters derived from the literature review are important factors that give a space its character.
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Chapter 6: Conclusion Through this dissertation, one has understood that the best method to make heritage buildings and historic neighbourhoods relevant again so that one can connect with them is sensitive adaptive reuse. Through the literature review, case studies, site visits, and site interviews, it was derived that adaptive reuse helps bring heritage back to life and enhances the historic fabric of a city. It helps in connecting the past to the present. This research identified different criteria for evaluating the adaptive reuse types based on case studies of 4 heritage buildings and 2 historic neighbourhoods.
The findings from the literature review suggested that people hold certain values in heritage buildings. These values are the ones that should be conserved and not just the whole building itself. Through the literature review, it has been proved that to apply adaptive reuse to any building it is important to first see the building as an outcome of its context, its history, and the culture. First, heritage as a concept was understood and then the values associated with it were linked to the intangible heritage. These values and links need to be preserved and taken forward. It was then understood that adaptive reuse is the best method to bridge the gap between the past and the present.
From the case studies analysis and findings, it was derived that there is no one proper way to do adaptive reuse. It depends on the place, the history, culture, and the values that are associated with the building. It answers the question of the dissertation, that to do adaptive reuse you need to first view the heritage building as part of a whole and not as an isolated structure. Conservation and adaptive reuse are done for the people. If they are still able to relate the building to their heritage and culture after adaptive reuse, it implies that the method employed is successful. The continuity of the connection between the people and the heritage building is extremely important. Heritage is both the tangible and the intangible, and conservation needs to cater to both these sides.
From the case studies and the literature review a set of parameters have been identified which are a good starting point to understand what type of adaptive reuse can be done and where. It can act as a checklist that can be taken forward. The Page I 57
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parameters that have been identified are area-specific and hence prove that sensitive adaptive reuse can only be done if it responds to the context. They make sure that a heritage building is seen as a continuation of its context. The way forward from this research is to develop upon the parameters and using them derive a method to do sensitive adaptive reuse in the Indian Context.
Adaptive reuse not only gives a building a new life, but it can also enhance and rejuvenate a historic neighbourhood. Through the case studies that were carried out at the neighbourhood level another set of parameters were derived. It was found that adaptive reuse, when done sensitively adds on a new layer of time and culture to a place. Today our cities are growing at a rapid pace and we are losing our identities. From the case studies of historic neighbourhoods, it was found that when adapted, these spaces are more habitable. Also, they help form the image of the city.
Our buildings are a reflection of our aspirations and hence as our aspirations change the built form should adapt accordingly to reflect that. Heritage represents the past culture of our cities and countries. It is a challenge to design the re-use of heritage buildings, as it requires a delicate balance between being too sensitive and not being sensitive enough. Adaptive reuse requires focus on reimagining the physical relationship between the existing building and new interventions. Heritage buildings do need to be protected, but in a way that ensures these buildings remain occupied and re-used. This added new layer of relevance can transform the building and the area around it as seen in the case studies.
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References Books
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Vienna
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Bibliography Books Belcher, G., 2016. 12. Values in World Heritage Sites, in: Sandis, C. (Ed.), Cultural Heritage Ethics : Between Theory and Practice, OBP Collection. Open Book Publishers, Cambridge, pp. 181–195. Bloszies, C., 2012. Old Buildings, New Designs Architectural Transformations. Princeton Architectural Press, New York. Carman, J., 1996. Heritage value: combining culture and economics 21. de la Torre, M., 2013. Values and Heritage Conservation. Herit. Soc. 6, 155–166. https://doi.org/10.1179/2159032X13Z.00000000011 Deenihan,
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https://www.iccrom.org/sites/default/files/ICCROM_05_HistoryofConservation 00_en_0.pdf. Leow, S., 1998. MODERN ARCHITECTURE IN HISTORIC CITIES. Plevoets, B., Cleempoel, K.V., 2013. ADAPTIVE REUSE AS AN EMERGING DISCIPLINE: AN HISTORIC SURVEY. Stone, S., 2019. Undoing Buildings: Adaptive reuse and cultural memory. Routledge 52 Vanderbilt Avenue, New York, NY 10017, New York, NY. Zancheti, S.M., Hidaka, L.T.F., Ribeiro, C., 2009. JUDGEMENT AND VALIDATION IN THE BURRA CHARTER PROCESS: INTRODUCING FEEDBACK IN ASSESSING THE CULTURAL SIGNIFICANCE OF HERITAGE SITES 8. Page I 63
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Published Papers and Documents
Australia ICOMOS, International Council on Monuments and Sites, 2013. The Burra Charter: the Australia ICOMOS charter for places of cultural significance 2013. Bhatt, R., 2008. Phenonmenon of District Art in Kala Godha Festival, Mumbai. Ball, Rick., 1999. Developers, regeneration and sustainability issues in the reuse of vacant industrial buildings Chan, R.C., 2011. Old Buildings, New Ideas: Historic Preservation and Creative Industry Development as Complementary Urban Revitalization Strategies 215. Conejos, S., n.d. Designing for Future Building Adaptive Reuse 333. Conejos, S., n.d. Designing for Future Building Adaptive Reuse 333. Díaz-Andreu, M., 2017. Heritage Values and the Public. J. Community Archaeol. Herit. 4, 2–6. https://doi.org/10.1080/20518196.2016.1228213 Delle, James A., 2011. Archaeology, Intangible Heritage, and the Negotiation of Urban Identity in Lancaster, Pennsylvania. https://www.jstor.org/stable/23070203 Foster Gillian, 2020. Circular economy strategies for adaptive reuse of cultural heritage buildings to reduce environmental impacts. ICOMOS Charters, n.d. Menon, A., 1989. Conservation in India - a search for direction [WWW Document]. Mouat, C., 2006. CONSERVATION VERSUS RESTORATION – A STORY ABOUT LAYERS OVER TIME. Nazia, P., 2016. Liverpool waterfront heritage status at risk as mayor rejects UN plea |
Liverpool
|
The
Guardian
[WWW
Document].
URL
https://www.theguardian.com/uk-news/2016/jul/17/liverpool-waterfront-worldheritage-site-status-risk-mayor-rejects-unesco-plea (accessed 10.27.20). Plevoets, B., 2014. Retail-Reuse: an interior view on adaptive reuse of buildings. Penića, M., Svetlana, G., 2015. Revitalization of Historic Buildings as an Approach to Preserve
Cultural
and
Historical
Heritage.
https://linkinghub.elsevier.com/retrieve/pii/S1877705815018196 Schmidt, 2018. Why Is Adaptive Reuse Important in Today’s World? [WWW Document]. Schmidt Assoc. URL https://schmidt-arch.com/why-adaptivereuse-important-todays-world/ (accessed 7.28.20). Page I 64
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The Athens Charter for the Restoration of Historic Monuments - 1931 - International Council on Monuments and Sites, 1933. The Venice Charter, n.d. Walls, S., 2013. Architecture as a work-in-progress. Research question : How can New Zealand learn from the European way of adapting heritage buildings to promote conservation as an ‘unfinished architectural fragment’, displaying an inscription of time of a building’s past and associated future? Zanchetti, S., 2009. JUDGEMENT AND VALIDATION IN THE BURRA CHARTER PROCESS: INTRODUCING FEEDBACK IN ASSESSING THE CULTURAL SIGNIFICANCE OF HERITAGE SITES.
Unpublished papers and Documents Ezzat Othman., 2018. Adaptive reuse: an innovative approach for generating sustainable values for historic buildings in developing countries Hung-Ming Tu, 2020. The Attractiveness of Adaptive Heritage Reuse: A Theoretical Framework. Kiruthiga, K., Thirumaran, K., 2019. Effects of urbanization on historical heritage buildings in Kumbakonam, Tamilnadu, India. Front. Archit. Res. 8, 94–105. https://doi.org/10.1016/j.foar.2018.09.002 Mohammed, N., 2016. The Criteria For Decision Making In Adaptive Reuse Towards Sustainable Development. https://cyberleninka.org/article/n/672785 Parkinson, A., 2015. Defining ‘official’ built heritage discourses within the Irish planning framework: insights from conservation planning as social practice Ranilakshmi V Isahiah, 1996. DEVELOPMENT THROUGH CONSERVATION. Institute of Advanced Architectural Studies University of York. Sharpe, S. 2012. REVITALIZING CITIES: ADAPTIVE REUSE OF HISTORIC STRUCTURES. Thirumaran,
k, 2018. Effects of urbanization on historical heritage buildings in
Kumbakonam, Tamilnadu, India.
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Newspaper articles, interviews and webpages Arndt, G., 2011. Liverpool – Maritime Mercantile City UNESCO World Heritage Site [WWW
Document].
Everything
Everywhere
Travel
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URL
https://everything-everywhere.com/unesco-world-heritage-site-168-liverpoolmaritime-mercantile-city/ (accessed 10.24.20). Centre, U.W.H., n.d. Victorian Gothic and Art Deco Ensembles of Mumbai [WWW Document].
UNESCO
World
Herit.
Cent.
URL
https://whc.unesco.org/en/list/1480/ (accessed 10.7.20). Dennis, A., 2013. Theories of Architectural Conservation – A Guest Post by Douglas Read.
https://vialucispress.wordpress.com/2013/02/01/theories-of-architectural-
conservation-a-guest-post-by-douglas-read/ Dixit, T., 2020. From A Parsi Student Library To A Heritage Structure, JN Petit Library’s History
Is
Fascinating
[WWW
Document].
Whats
Hot.
URL
https://www.whatshot.in/mumbai/heritage-structure-jn-petit-librarys-history-c25274 (accessed 10.14.20). Drayer,
J.,
2015.
Past
as
Future:
Making
adaptive
reuse
work.
https://thinkingcity.org/portfolio/past-as-future-making-adaptive-reuse-work/ Hinchliffe, J., n.d. Liverpool Maritime Mercantile City World Heritage Site: Lessons for the conservation and management of port cities. Hughes, Laura., 2014. Breathing life back into the mundane : the adaptive reuse of Dunedin’s industrial heritage. https://unitec.researchbank.ac.nz/handle/10652/2581 Killburn, D., 2006. The Value of Heritage. http://www.kahoidong.com/essay01.htm Marmion, Calver, S., Wilkes, K., 2010. Heritage? What do you mean by heritage? Medici, S.D., Toro, P.D., Nocca, F., 2019. Cultural Heritage and Sustainable Development: Impact Assessment of Two Adaptive Reuse Projects in Siracusa, Sicily. MEHROTRA, R., 2007. Conservation and Change: Questions for Conservation Education in Urban India. Built Environ. 1978- 33, 342–356. October 16, P.D., 2018, 2018. Coal Drops Yard: The early history. Gasholder. URL https://www.gasholder.london/2018/10/16/coal-drops-yard-the-early-history/ (accessed 10.14.20). Page I 66
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Rethinking Heritage, 2017. . BARD Studio. URL https://bardstudio.in/rethinkingheritage/ (accessed 7.29.20). Revitalizing Urban Areas Through Adaptive Reuse [WWW Document], 2019. . DPR Constr.
URL
https://www.dpr.com/view/revitalizing-urban-areas-through-
adaptive-reuse (accessed 9.25.20). RIBA,
2018.
Coal
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https://www.architecture.com/awards-and-competitions-landingpage/awards/riba-regional-awards/riba-london-award-winners/2019/coaldrops-yard (accessed 10.14.20). Studio PKA turns heritage building in Mumbai into own architects’ studio [WWW Document], 2020. . Dezeen. URL https://www.dezeen.com/2020/08/29/studiopka-mumbai-the-loft-architects-studio-india/ (accessed 10.14.20). The Loft by Studio PKA, 2019. . RTF Rethink. Future. URL https://www.rethinkingthefuture.com/office-buildings/the-loft-by-studio-pka/
(accessed
10.14.20). The Loft Studio Space / Studio PKA [WWW Document], 2019. . ArchDaily. URL https://www.archdaily.com/924685/the-loft-studio-space-studio-pka (accessed 10.14.20). The
Tale
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Appendix Checklist used to study the buildings during the site visit
1. Name of the building: 2. Location 3. Year of Construction: 4. Typology 5. Architectural Style 6. Usage present and past 7. Visual Character: 8. Status/ Condition of Surroundings: Building first 9. Current users: 10. Previous users: 11. Status of heritage building: 12. Treatment of Façade: 13. Relevance of the building after adaptive reuse
Questionnaire to understand the user experience of the buildings that have undergone adaptive reuse:
1. How many years has the building been in use for after its change of use?
2. How do you feel the space has changed after adaptive reuse? Moderate
Good
Very Good
3. Do you feel like you are in a heritage building? Do you feel its presence? Yes
No
4. According to you has the building become more relevant after adaptive reuse? Yes
No
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5. Has the building achieved spatial comfort? Have the services been incorporated properly? Yes
No
Moderate
6. Did you as the user consent to adaptive reuse? Yes
No
7. Are you happy with the quality of the space? Yes
No
Could be better
8. What according to you gives a heritage building its essence? a. The history around it b. Visual Character c. Façade and materials d. Spatial quality and Scale e. Overall presence
9. Should heritage buildings be conserved? Yes
No
Maybe
10. Do you think adaptive reuse can transform an area? Yes
No
Maybe
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Originality Report
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