ADAPTIVE REUSE New use of church
“It is a rare occurrence for a great building to be completed by the same person who began it.� Leon Battista Alberti
01 Introduction Motivation Vision Inspiration
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Adaptive Reuse Build within the Built Sustainable Urban Development Environment and Identity Memory Christiania / Memories The Layers of Time Old and New Phenomenon Project Framing Closures of National Churches Elements Learning form the Experiences Method Deliverables Presentation Plan Schedule Bibliography CV
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02 Context
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01 Introduction Motivation
The old historical heritages and ruins bring mass of fascination to me. They are always full of memories with strong atmosphere and character. You can imagine how people acted there and how they used the space before and in the future, even some voices will come into your mind. One can sense the magic of “time� by being in the space. Nowadays, those forgotten spaces are facing cruel fact either keep poetical abandoned or be taken down all over the world. At an era of information explosion, should we keep those physical histories for our children or simply erase them and build a new one? Can we do something for these elders by change the function of it used to be and give them a new life? Furthermore it might bring out land conservation and the reduction of urban sprawl or even the issue of sustainability.
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"I felt as if I was in a world of forgotten beauty, closer to a dream than reality. The sacred places seemed like orphans, lost to the world and kept apart from the bustling cities. Silently holding onto a life of their own, they were waiting for someone to share their story." Adriana Ross
Sanzhi UFO Houses, Taiwan ŠYihaw Liu
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01 Introduction Vision
The shrinking of many European cities at the end of the second millennium is a clear sign that the design and construction of new buildings is in steady decline. At the same time the alteration of existing built structures is becoming increasingly important. Society is growing more aware of ecological issues and the thoughtless demolition of old buildings is now perceived not only as an ecological waste but also as the eradication of local identity, of cultural heritage and of socio-economic values. Various studies estimate that between 50% and 70% of all construction work and about half of the entire economic volume of construction now concerns work on existing building.[1] I will take this issue as my study point; try to bring out more possibilities for the forgotten space and active the dark side of urban growth.
[1] Architecture in Existing Fabric Planning Design Building / Johannes Cramer Stefan Breitling
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Statement Reuse the abandoned space with a contemporary purpose – a church as practice The intention will be to capture the spirits in the existing fabric and explore innovative ways to reconcile real estate development with historical preservation and environmental protection by recycling existing structures. By adding new layers onto the old trace, suggesting a new concept of historical heritage conservation.
Diagram of the focus points for the project
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“In an era when the demolition of older buildings has been recognized, not just as a loss to the urban fabric, but also as a major source of environmental pollution, retaining historic structures and using them for new purposes is increasingly desirable.� Mosette Broderick
It once was abandoned due to the economic crisis, fortunately the theatre is reborn. Jiufen, Taiwan ŠYihaw Liu
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“Given the speed with which technical developments have progressed in the last decades, we call for a change in the current practice to erect buildings to last for hundreds of years. In this day and age buildings become obsolete much faster than in previous generations. For this and economic reasons we argue that the lifetime of a building should be limited. This would make it easier for us to finance new buildings and to remove obsolete buildings more quickly.� Walter Gropius
Ruined residential area makes an ironic contrast with the modern skyscraper. Shanghai, China ŠYihaw Liu
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01 Introduction Inspirations
Scarpa’s Castelvecchio is an inspiring example of preservation; where complex layers of ancient and recent history are both independent and dependent at the same time. The reconnection of the spaces with distinctly modern elements and his choice to expose, rather than brush over, the differing layers of history.
Castelvecchio Museum / Carlo Scarpa Verona, Italy ŠYihaw Liu
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“The problem of historical materials, which we can never ignore but can’t imitate directly either, is an issue that has always concerned me . . . I’ve had nothing but trouble from planning rules in Venice and the bureaucracies who interpret them. They order you to imitate the style of ancient windows forgetting that those windows were produced in different times by a different way of life with “windows” made of other materials in other styles and with a different way of making windows. Anyway stupid imitations of that sort always look mean. Buildings that imitate look like humbugs and that’s just the way they are” Carlo Scarpa
Castelvecchio Museum / Carlo Scarpa Verona, Italy ©Yihaw Liu
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01 Introduction Inspirations
Hedmarksmuseet represents the idea of history and nature from Fehn, who use different materials to define the time layers and zones which create various dialogues between past and present.
Hamar Museum / Sverre Fehn Hamar, Norway ŠHelene Binet
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“My most important journey was perhaps into the past, in the confrontation with the Middle Age, when I built a museum among the ruins of the Bishops’ Fortress at Hamar. I realized, when working out this project, that only by manifestation of the present, you can make the past speak. If you try to run after it, you will never reach it.” Sverre Fehn Every Man is an Architect 1997 Pritzker Prize Acceptance Speech
Hamar Museum / Sverre Fehn Hamar, Norway ©Stanley Vogel
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01 Introduction Inspirations
A statement that matches the monumental dimensions of the church and gives an extra dimension.13th century gothic architecture becomes a bookstore through continuous dialogue between history and modernity, which creates retail space in to a multi-level bookcase by taking advantage of the spatial magnificence of the church’s character and successfully converts a holy space into a knowledge fountain.
Bookstore Selexyz Dominicanen / Merkx+Girod Maastricht, The Netherlands ŠRoos Aldershoff
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Bookstore Selexyz Dominicanen / Merkx+Girod Maastricht, The Netherlands ŠRoos Aldershoff
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01 Introduction Inspirations
The historic Leegkerk church, a national monument, dates from the 13th and 16th centuries. It was originally conceived as a place for contemplation, assembly and refuge on high ground. The foundations saw that the church needed to be integrated into their regional, recreational and educational networks. Furthermore it was essential that the church retain its original, “traditional” multifunctional spaces for social, cultural and spiritual activities. The range of facilities and their quality – both technical and ‘emotive’ – necessitated preeminent treatment.
Leegkerk Church Interior Renovation / awg architects Leegkerk, The Netherlands ©awg architects
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The architecture firm awg architecten, from Antwerp, designed a new interior to achieve these ends and to add a new layer to the church’s long and significant history.
Leegkerk Church Interior Renovation / awg architects Leegkerk, The Netherlands ŠHarold Koopmans, Omke Oudeman
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Light
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02 Context Adaptive Reuse - the process of adapting old structures for new purposes
Adaptive reuse deals with the issues of conservation and heritage policies. Whilst old buildings become unsuitable for their programmatic requirements, as progress in technology, politics and economics moves faster than the built environment, adaptive reuse comes in as a sustainable and effective option for the reclamation of sites which also reducing urban sprawl and environmental impact. By reusing an existing structure within a site, the energy required to create these spaces is lessened, as is the material waste that comes from destroying old sites and rebuilding using new materials. Through adaptive reuse old, unoccupied buildings can become suitable sites for many different types of use. In many situations, the types of buildings most likely to become subjects of adaptive reuse include; industrial buildings, as cities become gentrified and the process of manufacture moves away from city; political buildings, such as palaces and buildings which cannot support current and future visitors of the site; and community buildings such as churches or schools where the use has changed over time.
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Zollverein coal mine industrial complex / master plan OMA Essen, Germany ŠYihaw Liu
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02 Context Build within the Built
It is a long tradition in architectural design within the built environment, the creation of a qualitative and progressive design for an existing situation. “Context” is always emphasized by teachers and seniors, during my architecture education, drawing upon preexisting approaches and developing them further is the priority. Many great designers in the history of architecture viewed architectural design for existing built structures not as a restriction of their creativity but as a field in which to be at their most creative. Michelangelo Buonarroti’s brilliant plans for St Peter’s in Rome were informed by a number of constraints from the existing site as well as by the surrounding structures built by his predecessors. More recently, many projects were united diverse considerations in a qualitative design such as the Neues Museum in Berlin by David Chipperfield and Julian Harrap is an example shows their aesthetic aspirations combine the existing fabric, methodically recorded and analyzed, with a modern concept.
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“A good building must be capable of absorbing the traces of human life and thus of taking on a specific richness.” Peter Zumthor
Neues Museum / David chipperfield Berlin, Germany ©Yihaw Liu
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02 Context Sustainable Urban Development
For the purpose of sustainable urban development, there is no alternative to a thrifty way of dealing with resources, which include the stock of industrial areas and buildings. For us, the existing building stock must therefore be regarded not merely as a material and economic resource, but also as an important component that makes the city itself into a source of new developments and new lifestyle. The architecture of existing buildings indicates its original usage and significance. As witnesses to the past, the buildings are part of each location’s identity. However, the location’s identity is shaped not merely by prestige buildings, but also to a considerable extent by the everyday buildings used for residential purpose, trading and production. These buildings also contribute just as much to identification and orientation and equally represent a social value. If the existing buildings are appropriately converted, they can remain as an active part of the urban structure and as a node in the network of relationship, interlacing and movement in the urban space. These locations thus also have a relational value.
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“In an era when the demolition of older buildings has been recognized, not just as a loss to the urban fabric, but also as a major source of environmental pollution, retaining historic structures and using them for new purposes is increasingly desirable.” Mosette Broderick
Kolumba art museum / Peter Zumthor Köln, Germany ©Yihaw Liu
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02 Context Environment and Identity
Everyday experience moreover tells us that different actions need different environment to take place in a satisfactory way. As a consequence towns and houses consist of a multitude of particular places. “Taking place” is usually understood in a quantitative, ”functional” sense, with implications such as spatial distribution and dimensioning. “Similar” functions, even the most basic ones such as sleeping and eating, take place in very different ways, and demand places with different properties, in accordance with different cultural traditions and different environmental conditions. The functional approach therefore left out the place as a concrete “here” having it’s particular identity.[2] Our surroundings are fundamentally influenced by architecture which governs the “genius loci”, the spirit and identity of a place (material substance, shape texture and color). This term encompasses the persistent qualities as well as the current characteristics and potential of a built environment. The very permanence of buildings makes them predestined for us as bearers and points of orientation in individual and collective memory.
[2]Genius Loci Towards a Phenomenology of Architecture / Christian Norberg-Schulz
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“The possibility of remembering is conditioned by forgetting itself, and it’s the relationship between the two that constitutes memory. Thus we must not forget to ask what is being forgotten in the making of memory.” Paul Ricoeur
While reconstruction of a city destroyed by war or nature such as Chicago, Cologne, Warsaw, Hiroshima…etc., an important principle is to find a specific local spirit and the identity.
1945 Hiroshima, Japan ©AP
2001 Hiroshima, Japan ©EPA
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02 Context Memory
According to Nietzsche, while in the world of animals genetic programs guarantee the survival of the species, humans must find a means by which to maintain their nature consistently through generations. The solution to this problem is offered by cultural memory, a collective concept for all knowledge that directs behavior and experience in the interactive framework of a society and one that obtains through generations in repeated societal practice and initiation.[3]
[3]Collective Memory and Cultural Identity / Jan Assmann and John Czaplicka A daydreaming place in my childhood. ŠYihaw Liu 26
Buildings, landscapes and materials serve as poignant reminders of our personal and collective heritage and history. Sites become palimpsests upon which layers of memory are recorded through time. They are inherently linked with past events and through such connections become powerful mediums of remembrance in the built fabric. How important is continuum of culture or the recognition of a cultural memory in the built environment of the 21st century? What of the challenge in combining conversion and memory in an ethical and cultural dialog?[4]
1945 Hiroshima, Japan ŠAP
The church and town was destroyed in the Spanish Civil War in the Battle of the Ebro, 25 July–16 November, 1938. The ruined church was left standing as a memorial of the decimated town and the many dead. Recently, it was redesigned and installed a huge plexi-glass roof system to protect and preserve the ruin and restore it to multifunctional public use.
[4]Interventions Adaptive Reuse Difficult Memories: Reconciling Meaning / Markus Berger Sant Pere de Corbera church / Ferran Vizoso Corbera, Spain ŠFerran Vizoso 27
02 Context Christiania / Memories
The area of Christiania consists of the former military barracks and parts of the city ramparts. It’s a remarkable example as reused area since 1971. There are hundreds of buildings on Christiania in creative shapes, sizes and colors - from old army buildings dating back to the by-gone barrack days, to elaborate self-build homes. All the buildings have their own unique story to tell. Christiania is a place that collects every single object from decorations to building materials. "Re-Cycle" a new meaning has been given. They carry their own story here and create a new episode. Collectors in Christiania they never stop. They started little by little, from a simple wagon house and keep growing by different purposes. They create lots of interesting spaces simply by their artistic sense and the material they can get. All those memories from different materials create a various attractions here.
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“The faster the future becomes the new, the unknown, the more continuity and past we must take with us into the future,” Odo Marquard
A collage demonstrate the strong character and identity of “living” based on layering different materials from everywhere ©Yihaw Liu
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02 Context The Layers of Time
“Time” won’t stop for anyone, so do things. Everything in the universe is keeping changing until it finds a transient balance in the chaos. Water is a remarkable example, which keeps changing it’s from and permeates through living things. We are living with the dimension of time; things keep changing and decay all around us. The trace of aging can be perceived as a form of cultural identity. Rock seems strong, crumble by the weather. It is a process of transforming in different period, same as buildings.
The nature creates this sculpture and it will be destroyed by the nature Yeh Liu, Taiwan ©Allen Yang
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Architecture school building Copenhagen, Denmark ©Yihaw Liu
A proverb reminds us that “the moment the last craftsman has left a house is the moment decay begins”. Human desire controlling the development of buildings and cities, we move the furniture to find the comfort; dig a hole on the wall to introduce the sunlight; extend the space for more activities; all the changes on the building are demanded by functional requirements or even by the nature . Building constructions are not made to last forever. For John Ruskin, the attraction of the city of Venice was less the concentration of Renaissance and Baroque palaces to be found there than the visible evidence of the city’s gradual dilapidation over hundreds of years.
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One could always find the trace and scars in a building which shows the different usage and stories and they become an inseparable part of a building and its qualities. That these changes can occur in a time span of only a few years or after several hundred years is what makes architecture so fascinating. It’s not only a proof of the history but also contains the memories of a human or the society. It is really interesting to discover the meanings and histories behind those layers.
The layers of architecture might be caused by time, religion, economics, politics, building technology and purposes which demonstrate the collective memory. Tarbes Cathedral (Cathédrale Notre-Dame-de-la-Sède de Tarbes) Tarbes, France ©Yihaw Liu 32
“Culture memory is not about giving testimony of past events, as accurately and truthfully as possible, nor is it necessarily about ensuring cultural continuity: it is about making meaningful statements about the past in a given cultural context of the present.” Cornelius Holtorf
Banque de France / Cabinet Yves Le Bris Dijon, France ©Yihaw Liu
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02 Context Old and New
“Every new work of architecture intervenes in a specific historical situation. It is essential to the quality of the intervention that the new building should embrace qualities that can enter into a meaningful dialogue with the existing situation. For if the intervention is to find its place, it must make us see what already exists in a new light. We throw a stone into the water. Sand swirls up and settles again. The stir was necessary. The stone has found its place. But the pond is no longer the same.” Peter Zumthor
Am Kupfergraben 10 gallery / David Chipperfield Berlin, Germany ©Dorothee Dubois
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Dispatchwork / Jan Vormann Aarhus, Denmark Bocchignano, Italy ŠJan Vormann
We are standing on the past. While we add something new, the attitude demands the idea of how you see it. The various dialogues between Old and New is the most fascinating part for me, which could either echo or dissolve in the existing system, or make an intense contrast demonstrate a specific statement, one can discover the intention from the way they respect or disobey the existence.
House Rehabilitation / BAST Toulouse, France Š Courtesy of BAST
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02 Context Phenomenon
“Ten churches in Copenhagen over the last year has been closed to ordinary hymns and communion because the benches anyway just gathering dust most of the year. Instead, the church must now use for other purposes.� Sara Maria Glanowski
A contentious new proposal calls for the closing of state churches across Denmark, Including nearly half of the churches in Copenhagen. Reducing the number of churches in the city from 70 to about 35 will save millions of kroner and make worship better for Copenhagen's 350,000 tax-paying members of Church of Denmark at a time when both membership and attendance is dwindling, according to Copenhagen diocese budget committee chairman Torben Larsen. Nationwide, about 80 percent of Danes are taxpaying members of the church. In Copenhagen, that number is about 60 percent. Only about 20 percent of members attend regular Sunday services. Those figures have led to suggestions to close an undetermined number of the country's more than 2,300 parish churches. Church officials note that the subject of closings has come up before, but that new rules and budget restrictions mean that closings become a reality this time around. As the prospect of closings becomes a real possibility, the debate is heating up about what to do with the empty churches.[5] [5]The Copenhagen post February 7, 2012 Chris Jones
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Up to 200 more church closings could be on the way The culture minister, Marianne Jelved (Radikale), announced on Friday that six churches in Copenhagen would be closed, and now the church minister, Manu Sareen (Radikale), says that even more churches may be shut down. "There are some parishes where the church only has 200 members," Sareen wrote in a press release. "We have to discuss closures to secure that the Church of Denmark spends its resources most effectively. No one is served by empty churches." Sareen said he could not give an exact number on how many churches might be wholly or partially shut down, but that there were at least 200 – and perhaps more – that he would be assessing. Copenhagen’s bishop named 14 churches for closure last spring. Six of those were shut down in Friday's decision, and two more will have their daily operations cease. Friday's decision will lead to the closing of the following Copenhagen-area churches: •Samuels Kirke •Blågårds Kirke •Utterslev Kirke •Bavnehøj Kirke •Absalons Kirke •Gethsemane Kirke
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[6]The Copenhagen post September 16, 2013 RW
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Life
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03 Project Framing
I will focus on the experiment of “Adaptive Reuse” particularly in a church, which includes what function could be suggested into the reuse of the church space, what is the local needs and what quality (the original spirit of the space, atmosphere, light and materials) of the space could be taken as the advantages during the reusing design process in an existing fabric.
Skt. Andreas Kirke ©Yihaw Liu
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03 Project Framing Closures of National Churches in Copenhagen
01. Absalons Kirke 02. Ansgarkirken 03. Bavnehøj Kirke 04. Blågårds Kirke 05. Davids Kirke 06. Fredens Kirke 07. Gethsemane Kirke 08. Lutherkirken 09. Samuels Kirke 10. Skt. Andreas Kirke 11. Skt. Pauls Kirke 12. Skt. Lukas Kirke 13. Solbjerg Kirke 14. Tagensbo Kirke 15. Utterlsev Kirke 16. Ålholm Kirke
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03 Project Framing Closures of National Churches in Copenhagen
01. Absalons Kirke
02. Ansgarkirken 634m2
728m2
1934
1939
9
1
41,618
9,834
23,213
5,399
55.78
54.90
05. Davids Kirke
06. Fredens Kirke 485m2
784m2
1910
1899
1
2
5,828
4,691
3,715
2,980
63.74
63.53
09. Samuels Kirke
10. Skt. Andreas Kirke 475m2
1093m2
1932
1901
2
2
21,111
7,308
9,758
4,473
46.22
58.79
13. Solbjerg Kirke
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14. Tagensbo Kirke 530m2
315m2
1908
1969
1
1
9,277
7,314
6,134
3,964
66.12
54.20
Scale Built Year Churches in the Parish Residents of the Parish Plaza
National Church Members in the Parish
Tower
National Church Members in %
03. Bavnehøj Kirke
04. Blågårds Kirke 308m2
406m2
1977
1926
9
3
41,618
11,681
23,213
5,269
55.78
45.11
07. Gethsemane Kirke
08. Lutherkirken 393m2
804m2
1916
1918
9
2
41,618
14,924
23,213
9,465
55.78
63.42
11. Skt. Pauls Kirke
12. Skt. Lukas Kirke 1145m2
383m2
1877
1897
1
1
4,194
6,779
2,817
4,447
67.17
65.60
15. Utterlsev Kirke
16. Ålholm Kirke 500m2
728m2
1963
1939
2
1
13,296
7,550
7,030
5,188
52.87
68.72 Source: January 2012, Kirker i Danmark
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03 Project Framing Closures of National Churches in Copenhagen
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01. Absalons Kirke
02. Ansgarkirken
05. Davids Kirke
06. Fredens Kirke
09. Samuels Kirke
10. Skt. Andreas Kirke
13. Solbjerg Kirke
14. Tagensbo Kirke
03. Bavnehøj Kirke
04. Blågårds Kirke
07. Gethsemane Kirke
08. Lutherkirken
11. Skt. Pauls Kirke
12. Skt. Lukas Kirke
15. Utterlsev Kirke
16. Ålholm Kirke
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03 Project Framing Elements
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03 Project Framing Learning from the Experiences
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Health Center Læsø Kur, Læsø Denmark Virgin Active Health Club - Repton Park, London Uk B.K.S IYENGAR YOGA center, CPH Denmark
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Art Gallery Nikolaj Kunsthal, CPH Denmark Saint-Philibert de Dijon, Dijon France
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Library La Nef, Dijon France Selexyz Maastricht, Maastricht Netherlands Waanders in de Broeren, Zwolle Netherlands Lonate Ceppino library, Lonate Ceppino Italy LiteraturHaus, CPH Denmark
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Auditorium Sant-Francese auditorium, Spain
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Theatre Theatre Dijon Bourgogne, Dijon France Ptuj performance centre, Slovenia
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Restaurant & Bar Glück & Seligkeit, Bielefeld Germany The church bar, Dublin The church bar & restaurant, North Ampton, UK Sprito Martini Night Club, Brussel
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Museum Archaeological museum, Dijon France Art museum, Provencher Roy Canada
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Multifunction Leegkerk Church Interior Renovation, Netherlands
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Housing Westbourne Grove Church, London UK Dutch church, Haarlo Netherlands Former Saint Jakobus Church to Rent, Utrecht Netherlands Church of living, Utrecht Netherlands House In A Church, Rotterdam, Netherlands John knox church, Australia Kruisherenhotel, Maastricht Netherlands
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"I do not believe God has a problem with beer." "Once a church is out of service, it is not a church anymore. The bricks are not sacred, but the church has been the site of many emotional experiences and those memories should be respected." Roskilde Bishop Peter Fischer-Møller
The transformation of churches has been pushed into a various purpose; I will keep my mind open, and search for a suitable purpose for the local community which should be a place for everyone as the original aim for the church. 01
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03 Project Framing Learning from the experiences
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03 Project Framing Learning from the experiences
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Form those examples we can find there are lot of potentials for church transformation. The sacred character shouldn’t be taken as a restriction but an advantage of the quality for the future space. The open space in the nave, the acoustic, the light quality and materiality are what makes church reuse so charming for me. Apart from the residential cases, all others are providing a social space for activities. This (“Serve”) is how the church used to be. For the modern society, the “gathering space” is what we need for more purpose.
St Paul’s Church in Bristol is now a circus and physical drama training centre as a result of an innovative partnership with Circomedia which took benefit from the high nave space.
Circomedia school / The Churches Conservation Trust Bristol, UK © The Churches Conservation Trust
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04 Method
I will make more researches base on the closures churches for the social needs, space potential, theories and my interests to have a specific site and a more clear specification for the function of the space after program.
Program
Research
Concept
Social needs
Site analysis
Space potential
Function plan
Personal interests
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Site
It is essential to get a clear picture of the initial condition before design stage. I will record and survey the given fabric by pictures, measuring drawings, videos, and user interviews to capture its characteristics. It is necessary to consider the given condition and configuration of an existing building, as passed on to us by our predecessors, and the need and wish to integrate this into a future design. I will study on the old and new space by sketch models, diagrammatic sketches and section drawings. Collage will be a useful tool to study on the materials and scenario. I will use 1/50 section drawing and 1/50 section model to bring out the qualities and atmosphere of the building materials as well as the building’s artistic and historic value. 1/10 details demonstrate how the adaptive reuse works.
Design
Detailing
Production
Process Diagram Inspired by Damien Newman’s Squiggle
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05 Deliverables
Drawing List: Conceptual Schematic Diagram Context Site Plan 1/100 Plan 1/50 Sections 1/50 Detail Section 1/10 Exterior and Interior Perspective Visualizations
Models: Conceptual Study Model Site Model 1/100 Section Model 1/50 Detail Model 1/20
Publications: Project Program Project Book (Process and results)
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“I realize that interaction between the designs for a new building with associations of the past is a dangerous tightrope to walk, with compromise and sentimentality on either side� James Stirling
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06 Presentation Plan
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300x200cm Presentation Plan demonstrated by the project "Leegkerk Church Interior Renovation / awg architects" and my previous project
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07 Schedule
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08 Bibliography
Bibliography: Baum Martina, Christiaanse Kees, City as Loft-Adaptive Reuse as a Resource for Sustainable Urban Development, Zurich, gta Verlag, 2012 Cramer Johannes, Breitling Stefan, Architecture in Existing Fabric - Planning Design Building, Basel, Birkh채user Verlag AG, 2007 Diserens Corinne, Crow Thomas, Kirshner Judith Russi, Kravagna Christian, Gordon Matta-Clark, London, Phaidon, 2003 Fjeld Per Olaf, Sverre Fehn - The Pattern of Thoughts, New York, Monacelli Press, 2009 Klanten Robert, Feireiss Lukas, Build-On - converted architecture and transformed buildings, Berlin, Gestalten, 2009 Murphy Richard, Carlo Scarpa and the Castelvecchio, London, Butterworth, 1990 Norberg-Schulz Christian, Genius Loci - Towards a Phenomenology of Architecture, New York, Rizzoli, 1980 Thiebaut, Pierre, Old Buildings Looking for New Use - 61 examples of regional architecture between tradition and modernity, Stuttgart, Edition Axel Menge, 2007
Webography: http://en.wikipedia.org/wiki/Freetown_Christiania http://en.wikipedia.org/wiki/Adaptive_reuse#cite_note-1 http://www.nyu.edu/about/news-publications/news/2010/08/24/ nyu-launches-historical-and-sustainable-architecture-ma-programin-london-.html http://www.merkx-girod.nl/en/projects/retail/shops/selexyzbookstore/dominicanen-maastricht.html http://www.archdaily.com/371299/leegkerk-church-interiorrenovation-awg-architects/ http://www.janvormann.com/ http://cphpost.dk/news/church-struggling-with-empty-pewsyndrome.733.html http://www.visitchurches.org.uk/Aboutus/ Regeneratingcommunities/Projectsexamplesofourregenerationwo rk/AcircusschoolBristol/
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09 CV
Education: 09/2012– Dep.11, The Royal Danish Academy of Fine Arts School of Architecture (Copenhagen, Denmark) 09/2002–06/2007 Bachelor of Architecture / Dep. of Architecture, Ming Chuan University (Taoyuan, Taiwan), 01/2006–02/2006 Workshop ,The Florence Between The Artificial and Natural (Romualdo Del Bianco Foundation) (Florence, Italy) 08/2005–09/2005 "Finding a new paradise in the Hakka town"The seminars and work camp for conservation and redevelopment of the local cultural and living environment (Hsinchu, Taiwan) 07/2005–07/2005 Workshop, La New / Cimei, Penghu Landscape project (Penghu, Taiwan) 06/2005–06/2005 Workshop,"Yilan International Children's folklore and folkgame Festival" Landscape installation (Yilan, Taiwan)
Work Experience: 09/2009–01/2012 Project Management / Designer, Blue Dragon Art company (Taipei, Taiwan) 10/2008–09/2009 Construction Assistant, "Penglai Elementary school" Public art installation, (Taipei, Taiwan) 06/2008–06/2009 Project Assistant, "Chung-Hsiao Elementary school, Keelung" Public participation activities Planning 02/2007–02/2007 Winter Intern, "Shih Shy Gong artist studio" (Taipei, Taiwan) 01/2007–02/2007 Construction assistant,"Architecture of tomorrow" exhibition / (Taipei, Taiwan) 07/2004–09/2004 Summer Intern,"Sheng-Yuan Huang Architects & Planners / Field Office" (Yilan, Taiwan)
Competitions: 09/2007 "National Taiwan Ocean University" Public art / 1st Prize (Keelung, Taiwan)
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The Royal Danish Academy of Fine Arts School of Architecture Department 11 Yihaw Liu Stud5455 2014 Professor: Tom Mose Petersen Merete Ahnfeldt-Mollerup Nicholas Thomas Lee