Wahlseminar Raumgestaltung WS10

Pantelakis, Anastasios

last years, we can easily draw up built examples with the

direction for the designing process of conversion

title Conversions, in other words adaptation of a

projects, through the redefinition of the term materiality

building or part of a building in a new use. Many of these

and the meaning of conversion.

examples are proposing the conversion of the preexisting spaces into cultural spots in urban or suburban areas. In a period of time in which the discussion of preservation, restoration or conversion of buildings in terms of sustainability is gaining public attention, two factors are rising, as questions to the architects. The first is the subject of the term sustainability, the design process and the changes in which architectural practice and thinking should be adapted and the second is the object, in other words, the materials.

Taking the materiality of conversion projects as criterion for a probable categorization, we come up with a long list of contemporary examples, for which the material chosen was weathering steel. The analysis of the material’s qualities and of the selected projects, does not aim to uncover the advantages or disadvantages of the material or of the projects. On the contrary, the goal of

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the paper is to propose through this analysis, a new

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

Between the entries of the architectural almanac of the

betreuung Kottbauer, Anton

materiality of conversion projects: the example of weathering steel

Materiality of Conversion Projects

the discourse and specially to the texts which we can

Schippert: ?Nothing will be achieved if we don’t clear

analyze, we are coming up with the two different

away every ruin along with the mental debris’ .

Inroduction to the theoretical background and the

opinions of the debate, which were trying to find their

The matter of reusing spaces by designing a new

history of conversion, through an analysis of

expression in the built environment of the destroyed

function inside the existing shell, is getting popular in

architectural texts.

European cities. On the one hand there is the claim, that

the architectural discourse as a proposal of

monuments, which will be rebuilt, should visually

postmodernism together with the search of the

After the middle of the 20th century and the end of the

simulate their original glory and on the other hand the

architects for a new way to perceive the built

second world war, the events brought into the

opinion of those who wish to preserve the building

environment and topology, an idea that later was called

foreground issues concerning the position of architects

fabric as the physical evidence of history has been

Contextualism. The research for arguments in order to

over the historical styles. The demolished cities of

constantly rehearsed. The great need for immediate

compose the theoretical background to accompany

Germany became the field, in which a debate started and

housing of the residents put on the map modernism and

conversion projects of this time, has its roots in the book

still continues to develop and detains the architectural

with it, the tabula rasa position of its supporters against

of John Ruskin, The Seven Lamps of Architecture, written

thinking and practice of nowadays. If we try to go back to

historical styles, as it was expressed by Hans

in 1849. The text ?The Lamp of Memory’, is supposed to

Abb. 13971-011

Abb. 13971-002

Abb. 13971-003

View of the main staircase, Neues Museum Berlin, David Chipperfield,

Front view, Museum and Exhibition Center in Veenhuizen,

Inside view, Conversion of the Castle Firmiano, Bolzano, Italy, Wener

2009

Netherlands, Atelier Kempe Thill architects and planners, 2008

Tscholl Architekt, 2008

tendency of historic reconstruction. Particularly, Ruskin

Monuments in the Nineteenth Century”, an address

never existed before’ [Eugène-Emmanuel Viollet-le-Duc,

is writing: ? we may live without her, and worship

given at the university of Strasbourg on 27 January

Dictionnaire raisonné de l’Architecture Française du

without her, but we cannot remember without her’ [John

1905.]

XIème au XVIème siècle, vol. VIII, 1868, article

Ruskin, The Seven Lamps of Architecture, Dover

Despite the clear direction of the Venice Charter [The

"Restauration" (English translation taken from M. F.

Publications, 1989, p. 186] , emphasizing in this way the

Venice Charter (1964 Charter for the Conservation and

Hearn, ed., The Architectural Theory of Viollet-le-Duc,

role of architecture in the human function of memory or

Restoration of Monuments and Sites) article 9, “The

Cambridge, Mass. 1990)]. What the architectural

better for remembrance. As he is alleging ?It

process of restoration is a highly specialized operation.

discourse is seeking, is to resolve this contradiction, is to

(restoration) means the most total destruction which a

Its aim is to preserve and reveal the historic value of the

find a unified field theory [CRONOCHAOS, the

building can suffer: a destruction out of which no

monument and is based on respect for original material

participation of OMA in the Biennale of Architecture in

remnants can be gathered: a destruction accompanied

and authentic documents. It must stop at the point

Venice, 2010]. The absence of this field of theory was

with false description of the thing destroyed. Do not let

where conjecture begins”.] and the freedom of the

lately apprehensive, when the German Parliament

us deceive ourselves in this important matter, it is

modernist agenda, the prevailing prejudice has

decided to rebuilt the Berlin Schloss, through the texts

impossible, as impossible as to raise the dead, to restore

continuously tended towards historical restoration. One

that were released in architectural journals. The texts can

anything that has ever been great and beautiful in

of the reasons for this common opinion nowadays, is

be concluded in the following three points:

architecture’[John Ruskin, The Seven Lamps of

partly the loose of criticality in architectural practice of

1.A building should be treated like a book, containing

Architecture, Dover Publications, 1989, p. 203] , and he is

postmodernism, which proposed a new way to perceive

stories into stories, in which an addition would look like

coming to the conclusion that ?Do not let us talk then of

space for the users but at the same time it lead to the

a new chapter in a never ending book. [?Like books that

restoration. The thing is a Lie from beginning to end’

creation of the architecture of themed environments, like

contain a story within a story, renovations and building

[John Ruskin, The Seven Lamps of Architecture, Dover

shopping malls or themed parks. Such a theoretical

argumentation are akin to adding a new chapter to a

Publications, 1989, p. 205] . On this basis the art historian

construction was the idea to preserve and in many

never-to-be-completed text’, Enrique Sobejano,

Georg Dehio, gave a lecture warning against the excess

occasions to restore the old city centers in Europe,

Fuensanta Nieto, Reading the Existing Fabric, Detail,

of restoration. ?Conservation aims to mention the

offering a fake reality to their residents or visitors.

11/2009, p.49]

existing- Restoration aims to recreate the non-existing

In other words the theory concerning conversion project

2.The idea that the procedure of designing a building

on the one hand is a reduced, faded reality- but

was not enriched during the last years but it seems to

comports with this of writing, has a result the reference

invariably reality on the other is fiction’.[ Georg Dehio,

follow the words of Eugene Viollet-le-Duc ?To restore a

to the procedure of reading. In other words, the architect

art historian, gave a lecture warning against the excess

building is not to repair it, nor to do maintenance or to

is called to analyze the existing structure, the intention

betreuung Kottbauer, Anton

rebuild, it is to reestablish it in an ultimate state that

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of restoration. “The protection and Preservation of

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

be a moralistic essay which is attacking the 19th century

of the building’s designer, the construction, the forms,

confirming in this way the need to find a new direction

started the last years to enhance the choices of the

which means he should read the already built

for architectural thinking and practicing on conversion

architects with new materials, causing a revolution in

environment that he has to reinterpret. [?In the

projects. This new direction could be found by examining

the procedure of finding materiality for a project. Every

comprehensive evaluation of built fabric, historic

closer the techniques of reconstruction, conservation,

epoch of our architectural history is characterized, in a

preservationists tend to treat the building as a

restoration, renovation and repair, methods that are all

large extent, by the materiality of the buildings, as a

“document”. A precise, thoughtful reading of this text is

in the disposal of the architects. In other words, we are

profound available matter or as an architectural choice.

the perquisite to further composing’, Jabornegg & Palffy,

looking for a method in order to preserve our history and

For example ancient Greek architecture with marble,

The New Old and the Old New, Detail, 11/2009, p. 52]

to what degree we destroy or confuse meaning and

gothic with stone, modernism with steel. This is a

3.The third parameter concerns the perception and the

reality in the process of restoration or preservation

revolution of the architectural styles nowadays, a period

role of the architect. The first is the architect-designer

[ David Chipperfield, The Neues Museum, Berlin:

of time that the choices are more than ever before. It is

and the second the architect-archeologist. The image of

Restoration, Repair and Intervention, Domes, 3/2009,

the age of hyperchoice.

the ruins for the first one has a totally different impact on

p.56].

These two parameters are creating the frame for

the design. It is an object, which can be transformed, in

?The reality of architecture does not simply coincide

materiality in conversion projects, mooting the role

order to reach the concept of the architect. On the other

with what is built, but rather finds its manifestation in its

which materials are called to play in the design of a new

hand, the perception of the archaeologist uses the given

materials’[Jacques Herzog, The Hidden Geometry of

function in a preexisting space. Materials are appearing

ruined environment as a structure made out of parts,

Nature, p.209] . Which means that the procedure to give

either as expression tools, as solutions to construction

which can be connected in only one way, offering not

materiality to a project is coming in the foreground as

problems or law constraints, or as a way to experiment,

the whole structure but the impression of it. [?The

the method that we are seeking. What is distinguishing

as part of the designing procedure itself.

architect is frequently at odds with the archeologist. To

conversion projects from other designing projects, is the

In this way, weathering steel is standing out of the long

one the ruin may be manipulated as any artifact can be

relationship between the existing and the non-existing,

list with the available materials due to its special

for visual effect, while the other every fragment is a part

the material and the matter. The meaning of materiality

qualities, referring to many of the previously analyzed

of a jigsaw or a puzzle to which there is only one correct

is coming back in the form of architectural critical

parameters. What is following is an analysis of this

answer’, Julian Harrap, Building in Ruin, Detail, 11/2009,

thinking and it turns to be a main task in the agenda of

material as far as its quality and properties, its history

p.51]

the architect, when he is not called to design in the

and uses are concerned, or differently a user manual.

Through these writings someone could easily realize the

context but with the context.

roots in the postmodern way of thinking and its loan of

At the same time, the endless development and

the linguistic model as a tool to perceive space,

inventiveness of the sector of materials technology

The material was released into the market as it had the

marine transportation in the form of containers and in

advantage of resisting to corrosion. Due to the chemical

1971 for the construction of railcars in USA. The material

composition the material has the possibility, when it is

is selected for two practical reasons:

Weathering steel is characterized as structural steel that

exposed to exterior climate environment, to create a

1.

has better corrosion resistance than ordinary carbon

protective layer on its surface. Thus steel is underlie to

common steel and can be used in almost the same

steel due to the inclusion of relatively small quantities of

corrosion in order to get self-protected. The mechanical

structural applications.

alloying metals, particularly nickel, chromium,

properties of weathering steel cannot be easily defined

2.

molybdenum, typically 2%-3%. It was first produced in

due to the different types of chemical composition of its

corrosion, costs that in cases such as bridges are

the USA in 1930s and 1940s under the brand name Cor-

mass. However they are similar to those of common

enormous.

Ten, which means Corrosion resistance-Tension

structural steel.

Weathering steel is used for the first time as an

strength. In 1968 a new specification was issued which

The material was firstly used in structural constructions

architectural material in 1964, for the building John

provided higher strength and enhanced weathering

and basically in bridges’ construction as well as in

Deere World Headquarters, Moline, Illinois, USA

Abb. 13971-004

Abb. 13971-005

Abb. 13971-006

South facade, John Deere Headquarters, Moline, Illinois, Eero

Can Gili Footbridge, Alfa Polaris

Musealization of the Archaeological Site of Praça Nova of São Jorge

Analysis of the material, its qualities and application.

Saarinen, 1964

It concentrates all the mechanical qualities of

It relieves from the cost of conservation against

Castle, JLCG Arquitectos

betreuung Kottbauer, Anton

energy distribution poles. Later on its use was spread for

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features.

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

Weathering Steel: A User's Manual

designed by Eero Saarinen. The material is applied in the shading system that protects the gold-mirrored glass facades of the building. Apart from industrial or architectural application the material is used in 1977 as an expressive mean, by Robert Indiana, who created a sculpture in public space, exposed in the exterior climate of the place.

Weathering steel like all the materials offered nowadays, is unfortunately also characterized by its weaknesses.

Firstly, it cannot be used in coastal areas as the corrosion stages cannot be detected before. Moreover, the detailing and specially the joints and the drainance system should be designed in such way, avoiding to collect water in basins as the corrosion behavior changes dramatically in such points. A serious disadvantage of the material is that it causes the discoloration of surrounding surfaces.

architectural office Herzog and de Meuron the design for

formed addition made of weathering steel.

Analysis of Caixa Forum in Madrid and Opernfestspiele

the conversion of the old electricity plant of Madrid into

In the text which accompanies the project, describing

in St. Margarethen according to their materiality.

art space and hosting several parallel public events.

the goals and the design process, the architects analyze

From the existing building the architects decide to keep

shortly the project with the under titles: a Magnet, a new

The selection and analysis of two different conversion

the shell of the factory made of classified brick, and to

Address for the Arts, a Spectacular Transformation and a

projects, basically as far as materiality is concerned,

detach it from the ground in apparent defiance of the

Construction Below and a Construction Above Ground.

aims to give answers to questions raised by this paper to

laws of gravity. Thus three groups of spaces are created

As far as materiality is concerned they refer only to the

the architects for their choices, for the criteria for these

in the section. The underground level which consists of

classified brick shell of the factory, which as they state ?

choices, it will manifest the impact of the choices on the

the auditorium and many parking lots, the public plaza

are reminiscent of the early industrial age in Madrid’

users and finally it will evaluate the results.

and the entrance in the ground floor and the ?flying’

[Herzog & de Meuron, CaixaForum Madrid, Domes,

Caixa Forum Madrid, Spain, Architects: Herzog and de

volume housing exhibition rooms, café and restaurant.

3/2009, p.123].

Meuron, Year: 2008

This last over ground group consists of two floors of the

Weathering steel is applied on the external surface of the

Abb. 13971-007

Abb. 13971-008

Abb. 13971-009

View from the street level, CaixaForum Madrid, Spain, Herzog & de

Perforation of weathering steel, CaixaForum, Madrid, Spain, Herzog &

The ramp leading to the auditorium, St.Margarethen Opernfestspiele­

Meuron, 2008

de Meuron, 2008

n, Austria, AWG, 2008

betreuung Kottbauer, Anton

existing shell and two more floors as a plastically

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The bank institute La Caixa in Spain assigned to the

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

Analysis of Built Examples

two last floors of the building, that were added by the

situ, come with the decision to communicate with the

process of a new function in this old structure, a

designers, it is a skin façade surface. The surface is

visitors-users their reading of the space. Weathering

continuously changing meaning. Every change in this

constructed in pieces of 1x1m and 11mm thickness and

steel overwhelms the storytelling and recalling of prior

way has its imprint on the building, forming an endless

they are compact or perforated. The perforation of the

industrial memories of Madrid. The rusted surfaces of

storytelling, a collective product of the different users.

surface is succeeded by a laser cutter and has the shape

steel relegate to abandoned industrial shells, to an

Another weak point of the weathering steel has to do

of the image of the rusted steel captured by the

atmosphere which activates the procedure of memories’

with the perforation of the surfaces. The architects

microscope. Small irregular openings in specific points

recall by the visitor. What the material is offering is only

design on the surface of a self-protective almost ?

thrive to create a connection between the interior space

the reminiscence through the optical contact. Inside the

immortal’ material the signs of its weakness. They design

and the view to the city, an atmospherical space behind

building the sense of ageing is lost under the glossy

the openings that would be the result of corrosion on the

the skin reminding the Arabic wooden clostran.

materials’ environment, a different experience by the

surface of a common material, giving an aspect that is

After the analysis of the text and the experiential visit to

users. So, externally the sense of ageing, is what they

against the idea of the invention and application of the

the building, the questions concerning the choices of

architects try to achieve, through the contact of the

material. A more forthright decision would be to allow

materials by the architects are emerged. Two notices in

material with the external climate, while inside the

the surface to get rusted and finally get annihilated in

the text are the kick point to start the discussion:

ageing of the surfaces by the contact with the users is

order to reveal the inner world of the building. The

1. ?The surprising sculptural aspect of the CaixaForum’s

not allowed.

absence of the contact between the users and the

silhouette is no mere architectural fancy, but reflects the

This relationship is actually the storytelling of the

process of ageing of the material and the superficial

roofscape of the surrounding buildings’[ Herzog & de

building’s history, as it revolves an unconscious but also

manipulation of the perforation of the skin sets serious

Meuron, CaixaForum Madrid, Domes, 3/2009, p.123].

sensitive procedure between the user and the building.

questions for the materiality’s validity to the architects.

2. ?The classified brick walls of the former power station

On the other side the impact of the user is not visible on

CaixaForum however succeeds largely the topic of

are reminiscent of the early industrial age in Madrid’

the weathering steel surfaces, firstly because it’s used

conversion and its communication with the visitors but

[ Herzog & de Meuron, CaixaForum Madrid, Domes,

only for the external surfaces and secondly because the

not through the choices of the materials. This cannot be

3/2009, p.123].

view of rust distances the user from the material. If we

succeeded only with the addition of a volume on the top

Both references are the results of the context’s analysis

accept that the topic of conversion or reuse of a space is

of the old building that is exposed to change its color

and have as a consequence the search for materials and

focused in the storytelling of its past, we come up with

due to the external climate, reminding a previous use.

forms in the existing surrounding built environment, but

the question: How can we achieve this storytelling,

The user, emancipated from the optical play of the

received with a contemporary language. The architects

avoiding a symbolic language? A possible answer would

addition, realizes instinctively the conversion, the

after their own experience with the built environment in

be that it could be achieved through the designing

change, in the way he is moving in the space, the way he

auditorium comes as an additional reason that

architectural invention which the visitors are

completes the idea of contact and interaction between

experiencing.

nature and materials. The results of the material’s ageing is obvious through its imprint on the surrounding

Opernfestspiele St. Margarethen, AllesWirdGut, 2008

materials, like the wooden planks which are corrupted

In 2008 the architectural studio AWG gave over the

and at the same time are absorbing the rust color of

project of converting the roman stone quarry in the area

weathering steel, creating in this way a close

St. Margarethen into an open air auditorium for opera

relationship between the users, the environment and the

plays. The topic of descent visitors till the bottom of the

materials.

stone quarry was the critical issue that the architects who took part in the competition had to focus in. The entry of AWG was selected as a result of a distinguished solution for the way which would lead the visitors to the level of the auditorium, a carefully directed experience of the site. This route is carried out by continuous ramps made of weathering steel and timber planks for the floor, forming strong, straight lines in the natural site of the quarry, created by the human impact on it.

In this occasion weathering steel is called to work as a structural body which bridges the openings in situ. And its application is successful not only because the color change are coming to cooperate with the palette of the protected nature, but mainly because the application of the material is an interpretation of the reasons which lead to its invention. Weathering steel is used this time in an expressive architectural application in order to bridge

betreuung Kottbauer, Anton

deduction of the groundfloor, that creates an

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the gaps. The reuse of the space as an open air

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

is experiencing the space. It’s not the addition but the

The Paradigm of Slums

inventiveness of the builders. The result is non-fixed

conclusion, concerns the future of architectural practice.

structures, which are flexible and are used at will, until

If we examine more precisely architectural exhibitions,

the end of the materials life circle. Materials are searched

which also manifest political and economical trends of

like spolia in order to be converted and reused, revealing

developed countries, like the expo2010 in Shanghai, we

If we turn now our look to constructions, which in

always the craftsmanship and the inventiveness of the

are coming up with a new model of architectural

contrast with these analyzed before are not the result of

builders.

practicing. The architect is nowadays distanced by

architectural designing, but in a different way we are

If we return now in the designed built environments, the

formalistic search, and as a designer is called to plan an

using the concept of conversion to describe them. It is

preservation, conversion or reuse of old shells of urban

experience for the user of the space. A fact that is leading

about the slums, that encircle numerous metropolises

areas, like Vienna School of Economics, AKH, the ORF

to the designer-inventor and user-explorer. These two

[Editorial, Detail, 12/2010] in developing countries in the

headquarters or the housing estate in Alt Erlaa in Vienna,

results are giving us the chance to wind up with a

south hemisphere. The most characteristic for these

are bringing into the discussion the results of projects

proposal concerning the future of materiality in terms of

constructions is the method and the way in which the

which will produce big amounts of waste material and

conversion.

materials are selected and used, in order to house

also need similar amounts for their reconstruction. In

immediately the needs of the residents. As far as the

other words, the discussion is pointing again the

materials are concerned, they are the profound offered

materiality of the projects.

materials that are found in their urban environment and

?They (materials)find their highest manifestation…once

most of the times they are reused materials, like thin

they have been removed from their natural context’

surfaces of steel, plastic foils of packaging, bricks or

[Herzog, The Hidden Geometry of Nature, p.209] . In this

stones and wood by demolished buildings. The most

case we can reexamine the meaning of conversion and

important reason for this choice in materials, is the

we can come up with two conclusions. The first one

financial inability of the residents to invest in new,

refers to the purposes of creating the meaning of

construction materials and of course the climate, which

conversion. Either it’s about spaces or materials,

allows housing in such imperfect constructions.

conversion appears nowadays to be the ultimate form of

The method that the residents are using, consists of the

sustainability, in cases of urban and regional

search for waste material in their close urban or

development. Reusing is minimizing and even

suburban environment and then the joint of the

annihilating gray energy of materials, in a way that it’s

materials, in a way which is characterized by the

changing the values of architectural design. The second

Analysis of materiality in slum construction.

betreuung Kottbauer, Anton 10 11 weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

Abb. 13971-010 In this Kenyan slum, photographs were printed on waterproof vinyl and doubled up as makeshift roofs, JR

The Future of Materiality in Conversion Projects

sustainable development of urban areas is apropos

respond to the terms: experience, authenticity and

nowadays more than ever. Moving on this axis, the

ecology. ?What interest us in projects and buildings is

Proposals about the future of materiality in conversion

architectural practice is called to redesign functions in

modeling, creating an instrument for the perception of

projects, as a result of the previous analysis.

spaces that already exist, mixing up in this way the

reality and our interaction with it’[Herzog, The Hidden

design process. The economy of space and resources are

Geometry of Nature, p.209].

The critical analysis of the examples, raised and

the reasons which lead to the need to reuse an old shell

In the age of totally mechanized construction the

examined the use of weathering steel in conversion

as well as the requirement for preserving the past built

reminder of the construction of the imperfect, the

projects, in order to enrich the discussion of materiality

environment. The combination of these two factors

elevation of construction to the level of expression,

in projects like them. A problematic is developed ahead

brings to the foreground the choices of the architect,

brings back to architecture the notion of craft and

as a result of the analysis of weathering steel,

who has to design a new interpretation for the space in

contributes to the enrichment of architecture at the level

concerning the architectural choices of materials out of

the form of the function and offer to the user-visitor the

of both meaning and senses [Editorial, Domes, 3/2009].

context full of choices. The analysis of successful or

experience that he envisioned.

The procedure of designing a new function for a

failed application of the material in the projects does not

Going a step forward, we are adding one more

conversion project is characterized more by the idea of

tend to create a list with advantages and disadvantages

parameter, the conversion of spaces by inserting cultural

transforming the experience of the user according to the

of weathering steel.

function. During the last years, arts which are

different functions of the space. That means that the

It is clear that the eye contact as a tool to activate

characterized by the adjective performative, are getting

storytelling and the communication with the history of

memory, in a nostalgic tone, is contradicted with strict

more and more popular. They are using high technology

the building is perceived through the kaleidoscopic

spatial decisions of the architects. Every material as an

as an expressing tool, and are calling the audience to

experience of the user over the palimpsest of the

expressive tool reveals the choices of the architects, it is

interact, in a way that someone cannot distinguish the

different historical imprints, as these are reflected on the

a formal way for example to show that a space is

performer by the viewer.

new space that the architect designed with his self-

luxurious, public or intimate. The meaning that the

This change in the relationship between artists and

imposed formal constraints. The decision for the

architect wants to transfer to the users of the space is

audience needs several changes in the form of spaces,

materiality of the new function comes as a result of the

achieved through their experience in the designed

which are hosting such performances. The space by itself

forming of an architectural invention. It is proposed, that

space.

is becoming part of the experience offered and the visit

the designed new experience of the building will

In these terms the return to the meaning of conversion is

is looking more like a site-specific performance and the

become the storyteller of its history, and not the used

required in order to reach a conclusion. The reusing of

visitor turns to be energetic explorer or performer. This

materials. The example of the artists working in the St.

abandoned buildings’ shells as a strategy for the

evolution is leading to design spaces which should

Margarethen abandoned stone quarry is a very good

argument to support the change proposed. The artists

in the space using the material that was once produced there, but also they were interacting with it (for example the japanische Rine) treating the space of the stone quarry as a chance for artistic invention with its material.

We are looking for an architecture, whose material qualities are less a manifestation of manual competence rather than of conceptual intelligence [Philip Ursprung, Herzog & de Meuron, Natural History, Lars Muller Publishers, 2005, p.55]. In other words materials are part of the design intelligence as Michael Speaks refers to it [Michael Speaks, Design Intelligence, Organizing for Change, Birkhauser, 2007, p.14]. Conversion is getting a new meaning every time through its materiality.

Architects is proposed to work on conversion projects, not like problem solvers, but on the idea of converting materiality, either in form of space or spare material, in order to invent a new experience for the users, part of the new function. Just like the slum residents, they are working on waste space or material in order to give to it a new meaning.

12 13

proposed in the same place. They were not only working

weathering steel wahlseminar raumgestaltung 256049 2010w Pantelakis, Anastasios

than before, a new experience in other words was

betreuung Kottbauer, Anton

were reusing the space in a completely different way

Literaturverzeichnis

Jacques Herzog: The Hidden Geometry of Nature-

Return in Design In: BLT, Architects (Hrsg.): [URL: http://

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betreuung Kottbauer, Anton

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