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
2 3
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
8 9
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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