ARCHITECTURAL ESSAY
on
METHODS IN PROTECTING HISTORICAL ARCHITECTURE
There are many ancient buildings surrounding us that are deteriorating. We are losing our heritage and many architects want to try to prevent this. The question we now face is should we replicate, protect, recreate or redesign those historical structures?
by
KIRSTY WILLIAMS
C3252536
Module AC 2.1
There are many ancient buildings surrounding us that are deteriorating. We are losing our heritage and many architects want to try to prevent this. The question we now face is should we replicate, protect, recreate or redesign those historical structures? When a building is lived in, worked in, loved, cared for, and has been the epitome for any particular collaboration of people, that space has a spirit and character captured within its walls, that no modern building can possibly possess. That energy may not necessarily be positive, possibly a consequence of how the building was used, but it still captures our imagination, and entices us to dream of an architectural romance of copious sorts. I am going to be using the reference “historical � throughout this essay, and 1200 - 1700 AD is the era that I am referring to. The vast majority of historical architecture, I believe, provides a sense of amazement for all of us, even those who hold no direct interest towards architecture. Those buildings demand a respect, whereas modern controversial buildings often encourage an opinion. This may be connected to the technology available today, that we have given blinkers so we cannot understand how something could possibly be constructed without it. We no longer work with our hands, we work with our heads, and this disconnection could possibly be the reason why architecture designed in the 20th century to modern day does not provide the same emotional relationship. Architecture has been simplified. It is now driven to use new technologies and straightforward construction techniques, which results in spaces that are often over-designed and simplified, to allow for what we may describe as change. This has also been influenced by current economical conditions; clients often prioritise building quickly and efficiently to employ the building as soon as possible. These time limits have put an end to the historical workmanship which crafted each detail, and were cherished in previous works of architecture. There are such qualities in historical buildings. a richness, a grandness, simply a sense of awe. This lack of time and emotional conquest perhaps is why our reactions are so different when viewing architecture from different eras. The most beautifully crafted buildings, those which hold so much amazement are simply timeless. Antonio Gaudi’s Sagrada Familia cathedral is yet to be finished, and has been in construction since 1882, but for the delicacy and sheer depth of the structure, is it not worth waiting for? Have we lost respect for detail?
Sagrada Familia: Detailed facade
I recently paid a visit to the city of York, to view the acclaimed cathedral, but I have to admit that it was the small shop fronts and tiny cobbled streets that truly captured me. The city of York have not ignored their heritage, but have embraced it. One moment that stood out to me was when an elderly lady was walking down the street, saw a bottle on the pathway, picked it up, then placed it in the nearby bin. This attitude towards her surroundings would have been influenced greatly by the respect that the community have for the buildings that shape the city. Architecture influences people in more ways than one, and this is just one simple example of it. Many of the historic houses that have been renovated into shops bear their beams left uncovered, cared for without affecting their character. Some do seem to be collapsing but if new additions to help the structural integrity have been added, they are not visible. It seems the surrounding community have a passionate approach towards the restoration of its traditional background. However, when I observed the
Cobbled street of York: Application of respect
Cathedral, different techniques have been used to restore the dilapidated sections. Some areas have been chosen to make the division between areas quite obvious, with the additional components clearly new and unmarked, with no discolouration from years of wear. Whereas other sections have used a more sympathetic approach and have pre worn the new components to help them camouflage within the amass of material. Architects are sometimes faced with renovation projects that requires a particularly delicate approach. After recognising the different methods and procedures used in York Cathedral, it seems clear that depending on its immediate environment within the building, contrasting effects may have to be applied for the remediation to work successfully. The choice made by the Architect would never be correct, or the contrary, as individuals hold strong opinions with regard to the renovation of historical architecture. As a nation, we are recognised as being outspoken, if we believe there are any issues that affect our relationship with a building, or even the area surrounding it, we have no difficulty in questioning these motions.
An interesting constituent, sometimes seen as an inconvenience within a renovation project, is Listed Building status. What I am interested in, however, is the classification of this, and what the criteria is of each structure/edifice. The official descriptions of grade listing within England are a such (reference 1); Grade I: Building of exceptional interest. Grade II*: Particularly important buildings of more than special interest. Grade II: building that are of special interest, warranting every effort to preserve them. These classifications are very loose fitting and are seemingly judged on the personal opinion of the adjudicators. How is the word “interest” defined within the specific context? If a building is listed for a specific reason, for that particular “interest”,we should ensure that this is protected from eradication. Another more detailed illustration of the elements that decide which grade a structure may be are stated below (reference 2); Architectural context; the lists are meant to include all buildings, which are of interest to the nation for the interest of their architectural design, decoration and craftsmanship; also important examples of particular building types and techniques. Historical interest; buildings which illustrate important aspects of the nations social,economic,cultural or military history Close historical association; with nationally important people or events If a building is listed due to its association with an important person, it has to be questioned which specific components or elements of that building is of “interest”? Or is it in fact simply the knowledge of such an event? At what stage of renovation on a building with such characteristics do we declare that it cannot be adjusted to any further extent. If a full renovation did take hold, and, for example, the complete exterior
changed, would the reason that the building was listed in the first place still exist? If the lines of the legendary Abbey Road pelican crossing on which The Beatles had an iconic image taken were removed, the location would still exist, but would the symbolism? There is no answer to such a question, it is simply a case of debated opinion, which constitutes my argument that there is no correct approach towards the salvation of historical architecture. Many renovation projects undertake listed buildings and attempt to retain the structural elements. However, if the initial listing status was judged on the craftsmanship, or the technique of construction, they may be taken away, along with the character, which would destroy the architectural appreciation. History can never be replicated. One may want to incorporate styles, materials, theories, however they would be interrogated by others for doing so. Those that currently exist need to be loved,cared for, looked after before we eradicate them entirely. How we do so is indeed an ongoing argument, and conflicting procedures are presently in use.
A landscape in central London: Modern simplicity vs historical complexity
If we ever have the wonderful opportunity to work with a beautiful historical building, our primary objective should be to communicate the respect we have for them. Should that demand contemporary techniques to easily distinguish between the “old” and the “new”, or be a more delicate sympathetic approach which reflects and tries to merge centuries together, either attempt would be successful. I personally believe that the vast majority of people find attempts that have identified the difference between what previously existed and what we have recently added are welcomed, as they can sympathize with the different elements. The alternative technique may be seen as “lying” to the viewer, and not letting them see their true history. Replicating historical architecture leaves the architect open to questioning. Replication would never be accepted within our society, as it would be seen as a forgery. We can protect the architecture, but only to a certain degree without actually interfering directly with the structure. If we recreated a design to its very basics, including materials used in creating , and construction techniques, not only within the actual structure, we would in essence be creating a character and personality to the building, which would be appreciated by those that used it. Be that because of the novelty of people actually working hard to create a building, or of the thoughtful approach, it would undoubtably be respected. This, however, does not solve the issues we face with existing buildings. They do not necessarily need to be redesigned themselves, they may have a different use as to what it was created for, but we as architects are employed to consider all these fundamentals. We should use our skills in the subject and our creativity to bring our heritage back to life, such as Carlo Scarpa did with Castelvecchio. So many buildings stand empty and dilapidated. They do not need to be as we can give them a new lease of life. The approach is decided by the architect, and we should not cast judgement on them, as they are still keeping our history intact. Any positive attempt to help save our heritage should be applauded, and we should be looking for ways to do so ourselves.
Bibliography Books (Reference 1) J. B. Cullingworth & Vincent Nadin (2001). Town and country planning in the UK. Canada: Routledge. ISBN 13: 9780415139137 (Reference 3) Charles Mynors (2006). Listed buildings, conservation areas and monuments. London: Sweet and Maxwell . isbn 4: 9780421758308 (3.2.2 criteria for selection)
Resources Below are indirectly referenced, but have influenced my writing greatly.
Books Simon Unwin (2009). Analysing Architecture. Canada: Routledge. ISBN; 0415489288 Simon Unwin (2000) An Architecture notebook. London: Routledge ISBN-13: 978-0415228749 Calogero Bellanca (2011) Methodical Approach to the Restoration of Historic Architecture. Italy: Alinea Editrice ISBN; 8860556023
Images All images provided have been sketched by myself or my own photographs. 1566 words - main title or photographic titles not included