“ADAPTIVE REUSE OF ABANDONED BUILDINGS”

A dissertation submitted in partial fulfillment of the academic

requirement of Graduation in Architecture.

By Student
Shanzi Naaz
Registration Number
0809AR171084
Under the Guidance of
Ar. Harshika Kemkar

School Of Architecture
IPS Academy, Indore
ACKNOWLEDGEMENT

It is a proud privilege to express my hearty gratitude towards the

contributions of all those who enabled me to complete and present this
dissertation.
I am grateful to my guide Ar. Harshika Kemkar for guiding me for the
proper methodology of the research. I am also thankful to my other
faculty members of school of architecture, IPS academy who
contributed to my dissertation.
Moreover, I am thankful to almighty god, my family members and
friends for their constant encouragement love and support.

Shanzi Naaz Ar. Yashika Gupta

B. Arch Dissertation Coordinator

VII Semester
Ar. Anugya Sharan

Dissertation Coordinator
 STATEMENT OF ORIGINALITY & ETHICS
DECLARATION

I declare that the research entitled “Adaptive Reuse Of Abandoned

Buildings” is the bonafide research work carried out by me, under the
guidance of Ar. Harshika Kemkar. Further I declare that this has not
been previously formed the basis of award of any degree, diploma,
associate ship or other similar degrees or diplomas and not has been
submitted anywhere else. I hereby, give consent of my dissertation, if
accepted, to be available for photocopy and inter-library loan, and for
the title and summary to be made to other organizations.

Place: Indore
Shanzi Naaz

Date VII Semester

B. Arch
CERTIFICATE

This is to certify that the Dissertation entitled “Adaptive Reuse Of

Abandoned Buildings” is the bonafide work of Ms. Shanzi Naaz, in
partial fulfillment of the academic requirement for the award of
“Bachelors of Architecture Degree”.
This work is carried out by her, under my guidance and supervision.

Prof. Ar. Manita Saxena Ar. Harshika Kemkar

Principal Dissertation Guide

School of Architecture

IPS Academy, Indore.

ABSTRACT

As times change, the need for various types of spaces diminishes.

These buildings, whose function is no longer required, become
subjects of abandonment. In many situations, the types of buildings
most likely to be forgotten include industrial buildings, political
buildings and community buildings. One of the possible lifelines for
such buildings is adaptive reuse as it reaffirms their presence in the
neighborhood. By doing so, one less building is added to the urban
fabric and there is a lesser negative impact on the environment. The
context, though undergoing a change, can still hold onto a bit of its
past.

An amalgamation of uses occurs when adaptive reuse is carried out

creating a more vibrant atmosphere. Adaptive reuse, when done
correctly, will ensure that while the building is functional it remains
true to its essence. Also, while the identity of the building undergoes
transformation it still retains its integrity.

Through understanding why buildings fail it can be made possible to

stop further buildings from becoming abandoned. And this new lease
of life can come in the form of renovation, restoration, retrofitting or
just reuse. Though adaptive reuse is just one solution, it seems to be
the popular option due to its wide array of positives. It can encompass
all the prior said solutions. And in retrofitting the fast spreading option
is the process of integrating photo voltaic panels into the building. This
is known as Building Integrated Photo Voltaic. By looking at these two
as a solution for the increasing mismatch in need for land and need for
use, a more sensible and logical answer is formed.
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TABLE OF CONTENTS

List of figure 2

1 INTRODUCTION 5

1 .1 INTRODUCTI ON AND THEME 1

1 .2 AIM OF THE STUDY 1
1 .3 STRUCTURE OF DISSERTATION 2

2 ADAPTIVE REUSE 4

2.1 AN UNDERSTANDING 4
2.2 TYPES OF BUILDINGS ABANDONED 5
2.3 POSITIVES OF ADAPTIVELY REUSING 8
2.4 FEASIBILITY FINANCIALLY 12
2.5 THE PROCESS OF ADAPT ING 12
2.6 CRITER IA FOR ADAPTIVE REUSE 14
2.7 LIMITATIONS FACED 15

3 THE WATERHOUSE 16

3..1 INTRODUCTION 16
3.2 INFLUENCE 17
3.3 INCORPORATION 18
3.4 MIXING OLD AND NEW 20
3.5 APPROACH AND CONSTRUCTION 23
3.6 DRAWINGS OF PROJECT 27

4 THE HIGHLINE 30

4.1 INTRODUCTI ON 30
4.2 HISTORY AND TIMELINE 31
4.3 IMPACT 34
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4.4 DESIGN 35
4.5 ELEMENTS OF HIGHLINE 39

5. THE FLOURMILL STUDIOS

5.2 SITE HISTORY AND HERITAGE
5.3 OPPURTUNITIES AND CHALLENGES
5.4 APPROACH AND OUTCOME
5.5 DESIGN
5.6 ENVIRONMENTAL INITIAT IVE
5.7 DESIGN FEATURES
5.8 DRAWINGS OF PROJECT

6. COMMON THREAD
6.1 THE SIMILAR ITIES

7. CONCLUSION
REFERENCES
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LIST OF FIGURES

FIGURE NO. TITLE PAGE NUMBER

Fig 2.2. 1 Industrial buildings 6
Fig 2.2.2 Political building 7
Fig 2.2.3 Religious building 7
Fig 2.3.1 Adaptive reuse 9
Fig 2.3.2 Apartment space 11
Fig 2.3.2 Office space 11
Fig 2.5.1 New shell in old structure 13
Fig 2.5.2 Maintaining original features 13
Fig 3.1.1 The Waterhouse hotel 16
Fig 3.2.1 Nang tang house 17
Fig 3.2.2 Nang tang lane 17
Fig 3.3.1 The guestroom overlooking lobby 18
Fig 3.3.2 Mirrored shutters 18
Fig 3.3.3 Strips in restaurant ceiling 19
Fig 3.3.4 Courtyard space 19
Fig 3.3.5 Section through courtyard 19
Fig 3.3.6 Section through lobby 20
Fig 3.4. 1 Entry door 21
Fig 3.4.2 Juxtaposition of materials 21
Fig 3.4.3 Entry to the hotel 22
Fig 3.4.4 Facade 22
Fig 3.4.5 Retained staircase 22
Fig 3.4.6 Bedroom + shower 22
Fig 3.4.7 Bedroom with lookout 23
Fig 3.4.8 Typical bedroom 23
Fig 3.5.1 Public massing 1 23
Fig 3.5.2 Public massing 2 23
Fig 3.5.3 Public circulation 24
Fig 3.5.4 Guest rooms 24
 4

Fig 3.5.5 Analysis of factors 25

Fig 3.5.6 Adding members in lobby 26
Fig 3.5.7 Creating room within framework 26
Fig 3.5.8 Addition of Cor-ten mezzanine 26
Fig 3.5.8 Creation of new rooftop 26
Fig 3.6.1 East elevation 27
Fig 3.6.2 South elevation 27
Fig 3.6.3 Courtyard north elevation 27
Fig 3.6.4 Courtyard south elevation 27
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CHAPTER-1. INTRODUCTION

1.1 INTRODUCTION AND THEME

The number of buildings that are being abandoned due to their

incapability to adapt to a specific program is increasing drastically. In
many situations, the types of buildings most likely to become subjects
of adaptive reuse include industrial buildings, political buildings and
community buildings. Adaptive reuse is seen as an effective way of
reducing urban sprawl and environmental impact. Through adaptive
reuse old, unoccupied buildings can become suitable sites for many
different types of use. Adapting a building is sustainable at the most
fundamental level, and it also helps preserve the urban context while
adding richness and vitality. This reusing of a space results in unique
and innovative answers. Adaptive reuse is a solution that maintains the
character of the building while not compromising on its functionality
and integrity.

1.2 AIM OF THE STUDY

This dissertation aims at understanding why certain buildings fall into

disuse and to look at how this can be halted in its tracks and reutilize a
building before it falls into abandonment. Construction cost can be
brought down when a building is adapted rather than built from the
foundation. There are a number of examples that can be looked at for
reference in these aspects and through looking at various typologies a
better understanding shall be formed about adaptive reuse. The
following are some of the aims of the dissertation:

 To look at typologies of buildings that become subject to

abandonment.
 Study techniques that can be used for reusing the abandoned
building or retrofit it.
 To see how adaptive reuse can help create a new identity while
maintaining the integrity of the building.
 Analyze the effectiveness of adaptive reuse to increase life span
of the building.
 Case studies on types of structures used for adaptive reuse.
 Break down a case study to see what works in adaptive
reuse and what doesn't.

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 Draw parallels between case studies on crucial criteria to find a

common thread.
 Look at a building that can be retrofitted and reutilized in local
context to halt abandonment that is underway.
 Gather a holistic understanding of the pros and cons of adaptive
reuse.

1.3 STRUCTURE OF DISSERTATION

The format of the dissertation shall be along a unilateral approach of

understanding the reasons for abandonment, and viewing adaptive
reuse as one of the solutions to revive the structure. Through case
studies a common thread shall be found and by looking at modern
retrofitting options a live case study shall be hypothetically
approached. The dissertation structure hopes to give a better
understanding of the breakdown of the following pages.

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CHAPTER-2. ADAPTIVE REUSE

2.1 AN UNDERSTANDING

"To view something as a ruin is already to have a perspective. Urban

planners see industrial ruins as potential sites for redevelopment into
museums, art galleries, or trendy apartments. Political economists see
industrial ruins as the waste products of an uneven geography of
capitalist development. Dereliction tourists, artists, and
photojournalists see industrial ruins as beautiful yet tragic physical
reminders of mortality and finality. But where some people see ruins,
others see homes situated within painful processes of transformation.”

Due to de-industrialization and urban decay, buildings began to be

abandoned. And buildings that were abandoned but built not too long
ago were seen as modem ruins. They deteriorated and crumbled, or
they became a place for miscreants. The structures began asking for
attention, for care. People who viewed the poorly kept buildings as
opportunities began converting them into structures with a new
function. This was called as gentrification during the initial stage.
Today it is referred to as adaptive reuse. But this adaptive reuse is
different from retrofitting and facadism, which alter the structure and
facade of the building respectively.

Adaptive reuse broadly refers to the process of reusing an old site or

building for a purpose other than which it was built or designed for. It
can be viewed as a compromise between historic preservation and
demolition. This process of reutilizing a building allows culturally and
historically important buildings to be redeveloped and repurposed
instead of demolished. Through adaptive reuse the internal and
external structure of a building is adapted so that the character of the
old influences the format of the new.

"There are layers of meaning and history which help to enrich the
character of these buildings. We think that this history and the stories
associated with each layer are what make the buildings special.”
- Tim Hawk
 8

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. 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 option for the reclamation of sites.

2.2 TYPES OF BUILDINGS ABANDONED

Historic buildings give neighborhoods their distinct character and at

the same time provide a tangible connection to the past. However, their
history and that of their settings are often ignored and not honored as
part of our cultural heritage. As cities face fast rapid growth, the infill
expansions for abandoned sites become more and more attractive to
the development community. These sites are usually centrally located
in large cities. They are often located next to main transportation
routes, surrounded by the neighborhoods that have grown around them.
Abandoned buildings in a once prosperous area of town have created a
chain reaction and spurred further dilapidation of adjacent structures,
stores, and residences.

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
Community buildings, such as churches or schools where the use has
changed over time.

In the mid-twentieth century, the increase in automobile use and

construction of major highways created alternatives to traditional rail
road transportation and made it possible for people to live and work
further away from the city core. Suburbs grew and industries moved
out of the city, leaving downtown industrial sites abandoned. Buildings
that had served industries in the cities now seem to be interlopers in
their own neighborhoods. There is currently a proliferation of
 9

properties ideally suited to adaptation situated in former industrial

areas, places which have become redundant as manufacturing has been
relocated. These factories, warehouses and docks are often perfect for
alternative uses as they are robustly built and grand in scale.

Fig 2.2.1 Industrial buildings

As governments change and colonies become independent, the

buildings then used as political hubs fail to accommodate the growing
amount of personnel and footfall of visitors. The political agenda gets
shifted to a more accommodating structure and the older structure falls
into disuse. The character it lends to the city fabric slowly fades unless
the building is reutilized.

Fig 2.2.2 Political building

Community buildings though built for a specific purpose are

essentially those easily readapted by the society. The sense of
familiarity that communities associate with them ensures the reuse of
 10

the building through various functions being incorporated within its

shell.

Fig 2.2.3 Religious building

2.3 POSITIVES OF ADAPTIVELY REUSING

The most successful built heritage adaptive reuse projects are those
that best respect and retain the building's heritage significance and add
a contemporary layer that provides value for the future. Derelict or
abandoned buildings often have a great deal to offer in terms of
location and character and should be viewed as opportunities rather
than eyesores. In many cases, retaining older buildings - especially
those of architectural or historic character - can strengthen the
enduring legacy and enjoyment of a community. Lifestyle is enhanced
not just from the revitalization of existing infrastructure, but also from
the adaptation of these places into useable and accessible spaces.
Adaptive reuse contributes to the livability and sustainability of
communities for generations to come.
"The greenest building is one that is already built”
-Carl Elefante

There are few more wasteful processes than tearing down an existing
building and replacing it with something entirely new. These buildings
often represent a faded memory of more settled or prosperous times,
and, while not all have outstanding historic or aesthetic credentials,
they often make up for it through a character that comes from age and
use. Their replacement with modern constructions can remove any
 11

legacy and connection with the surroundings, something that

intelligent reuse can retain.

Sometimes, adaptive reuse is the only way that the building's fabric
will be properly cared for, revealed or interpreted, while making better
use of the building itself. Where a building can no longer function with
its original use, a new use through adaptation may be the only way to
preserve its heritage significance. Just by retaining the sound members
of the existing building and incorporating newer materials the building
can have a prolonged span from cradle to grave.

Fig 2.3.1 Adaptive reuse

Adaptive reuse of existing structures is associated with the following

advantages:

Energy Conservation: Energy is conserved by reclaiming and

repurposing existing structures and their materials and their embodied
energy, as well as making use of existing available infrastructure such
as access to transportation and utilities.
Contributes to Sustainability: Existing structures are often located in
established growth areas with a significant population density and in
developed areas, reusing these structures will help support the
neighborhood. Often, the materials that are used are of high quality and
have many years left in their life cycle. Brick, stone, copper, slate,
concrete, and masonry units are enduring materials, and should be able
to withstand the test of time.
Enhances Community Character: Reuse retains historic resources
and community character by providing renewed life to historic
 12

structures in an economically viable manner. Building reuse can

provide a link between the community's history and its present and
future while accommodating up-to- date needs, and is often more
harmonious with community character than new construction.
When done well, adaptive reuse can restore and maintain the historic
significance of a building and help to ensure its survival. Rather than
falling into disrepair through neglect or being rendered unrecognizable,
historic buildings that are sympathetically recycled can continue to be
used and appreciated.
Encourages Investment: Reuse can encourage more investment,
development, and revitalization in areas and in other structures that
might otherwise remain vacant or underused, yielding potential
employment opportunities.
Enhances innovation: Changes in our society have created an
opportunity to develop unique and innovative solutions for existing
buildings. There are plenty of vacant buildings just waiting for
innovative solutions. The challenge is to look beyond their rundown
conditions to see the potential. Empty buildings, which once served
only a single function may now successfully support multiple
functions. These innovative design solutions can help spur new,
creative ideas
Cost Savings: Rather than demolishing existing structures that have
outlived their originally intended use, reuse saves on demolition costs,
champions recycling, and creates unique design opportunities.
Increases Market Value: Values can be increased by preserving
aesthetically-appealing building features and architectural elements
that are often characteristic of older buildings. Materials and quality of
construction of the past is often not economically possible to reproduce
today.
Saves Time: Provides potential time savings can result through
building reuse because the building and infrastructure is in place, and
municipal approval and permitting can occur more quickly and less
expensively than comparable new construction.
Environmental Benefits: One of the main environmental benefits of
reusing buildings is the retention of the original building's “embodied
energy". That is, the energy consumed by all of the processes
associated with the production of a building, from the acquisition of
natural resources to product delivery, including mining, manufacturing
of materials and equipment, transport and administrative functions. By
reusing buildings, their embodied energy is retained, making the
project much more environmentally sustainable than entirely new
construction.
 13

Fig 2.3.2 Apartment space Fig 2.3.3 Office

space

An old factory may become an apartment complex, a rundown church

may find new life as a condominium, or an old office building may be
transformed into a vibrant retail facility. In many ways, an
adaptivereuse project can invigorate a community by meeting the
changing needs of the population.

"As Modern architecture increasingly becomes part of the continuum

of architectural history and its buildings experience threats that range
from material to functional obsolescence, not to mention demolition
due to abandonment and lack of appreciation, concern for its
preservation has grown.”

2.4 FEASABILITY FINANCIALLY

Arguably the most important factor in the decision to adapt an existing

building is cost. Whether the owner is private or public, budgets
always come into play.
Unless the actual goal is historic restoration of a treasured landmark
(when restoration may cost more than a new building), then adaptive
reuse must be the more cost-effective option, or rebuilding will win
favor.

There can be many cost advantages to reusing an older structure, such

as lower establishment costs. Further, there is little or no demolition
 14

required, land acquisition is often less expensive, and many - if not all
- of the required utilities and services are already connected and may
only need modernization. Also, there are additional savings that result
because the structure is already in place and thus the materials and
their corresponding erection costs have already been accounted for in
the structure.

2.5 THE PROCESS OFADAPTING

Adapting a building to suit contemporary needs requires an intelligent

and sensitive approach to issues and restrictions determined by the
dimensions, condition and materials of the existing structure. It is
essential to understand what it is possible to save and what needs to be
overhauled to ensure the structure is secure and the resultant building
will meet modern standards for safety, accessibility, and sustainability.

Often the most innovative solutions occur when an architect attempts

to renew a building whilst retaining the original footprint and as many
features as possible. In this scenario it is necessary to either fit
something inside the existing walls or create new space on top of what
is already there. In some cases, the damage to an existing structure can
be so severe that it is functionally redundant and beyond restoration. In
this scenario, it may still be worth retaining some original features to
help to provide consistency with nearby buildings. Fitting a newly
constructed shell inside existing walls isone way of giving the space
new purpose, whilst maintaining the legacy of its predecessor.

Fig 2.5.1 New shell in old structure Fig 2.5.2 Maintaining original features
 15

"Where a building has largely retained its structural integrity, the changes
needed to alter or enhance its functionality may be relatively minimal.”
The process involves, in the first place, the preparation of an architectural
design scheme according the possibilities and potentials offered and the
constraints imposed by an existing building which is often of historical
importance. And in the second place the necessary alterations or conversions
are to take place, generally, within the boundaries defined by the building
envelope and in line with the new project.
In some cases the process of adaptive reuse may exceed the boundaries of the
existing structure.

2.6 CRITERIA FOR ADAPTIVE REUSE

Built form is subject to mainly to three types of obsolescence namely:

physical, functional and economical. Although building derelict is due
to a variety of factors it can be generalized that they are all the natural
outcome of the changing modes of production and consumption
triggered primarily by the consequences of technological
transformations. Least hazardous among the three types is the physical
one as it can easily be remedied and put to its original state provided
that funds are available. Whereas functional and economical
obsolescence's, more often than not occur in tandem, and are the main
causes of derelictions and building demolitions.

There are often criteria for deciding whether a building should be

conserved and reused or just
demolished. Some of these determining criteria include-
• The societal value of a given site - the importance to the
community of the use of a site by community members or
visitors.
• The potential for the reuse of a particular site -the physical
damage sustained to the site and its support of future use, the
character of the existing site in terms of the proposed reuse.
• The historical importance of the site - in terms of both the
physicality of the street-scape and the area, as well as of the
role of the site in the community understands of the past.
• The natural ecological conditions of the site; whether the site is
suitable climatically or can support the proposed environmental
work needed in the site.
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2.7 LIMITATIONS FACED

The following are challenges in implementing adaptive reuse:

• Physical Limitations: Structural constraints involved with
retaining aesthetically appealing, architectural or historic
features may make fitting a new use into an existing building
challenging, and may require added creativity and flexibility.
• Regulatory Constraints: Existing structures may pre-date
zoning, building permit, and other local development
regulations and thus their rehabilitation to meet modern
requirements can be challenging. For example, zoning may
limit uses and restrict possible reuse opportunities, or require
variances. Off-street parking may be difficult for an existing
older building to meet. However, the statewide building code
has built-in reliefs to help address this matter.
• Potential Environmental Hazards: Environmental
contaminants such as asbestos and lead can be present in many
older buildings, requiring costly mitigation.
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CHAPTER-3. THE WATERHOUSE

3.1 INTRODUCTION

The Waterhouse boutique hotel is located by the Cool Docks

development on the South Bund district of Shanghai. The Waterhouse
is a four story, 19 room commercial establishment housed in a 1930’s
structure. The Waterhouse at South Bund transforms a crumbling
factory and former army HQ in the historic Shiliupu dockyards into
gritty-glam designer digs. The boutique hotel fronts the Huangpu River
and looks across at the gleaming Pudong skyline.

The design team for this project is NHDRO (Neri & Hu Design and
Research Office). The main building materials of log, weathering steel,
copper, glass, COR- TEN steel and concrete was used alongside
existing materials to create this space. The hotel spans a floor area of
3,000 square meters and houses the hotel as well as a party space at the
rear.

Fig 3.1.1 The Waterhouse hotel

3.2 INFLUENCE
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Fast-disappearing, Shanghai's nong tang (lane houses) combine

European construction with Chinese notions of tightly packed
residential life. From the street, these early-20th-century buildings
present gabled facades respectable and a bit staid. But as one walk
through the door to the lane that is seen running between the houses,
one is encountered by a messy world of clothes hanging out to dry,
shutters flung open, people gossiping, and kids running around. Private
space bleeds into the public realm, with some folks cooking in the
shared lane and others bathing their children there. The lane connects
the people at various levels , merging their public spaces and private
spaces too, to an extent Neri & Hu Design and Research Office tried to
capture the spirit of a nong tang in its design of the Waterhouse at
South Bund. Blending old and new, Western and local, the firm turned
a nong fang on end. ‘We wanted to create a vertical lane house,” stated
Lyndon Neri. Thus, instead of a series of public-blurring-into-private
spaces that unfolds as one walks down an alley, the hotel seems to
reveals itself through a number of vertical cuts offering views down
and up from guest rooms into public spaces and vice versa.

Fig 3.2.1 Nong Tang home Fig 3.2.2 Nong tang

lane

3.3 INCORPORATION

The three-story-high lobby contains a tall, narrow pane of glass, behind

the reception, overlooking the most public space in the hotel. This is a
window of a guest room. “Book that room, and you get to present
yourself to everyone in the lobby; one guest did it totally naked", said
Neri.

1
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Fig 3.3.1 The guestroom overlooking lobby Fig 3.3.2 Mirrored shutters

At the hotel's restaurant the ceiling contains a pair of long, deep slices
bringing light from guest rooms' one story above. Though there is no
clear view into any of the rooms because the vertical slot is too narrow,
the architects have designed a three-dimensional game of peek-a-boo.
For the inside surface of the window shutters, the architects used
reflective metal, continuing their voyeuristic game of offering peeks
into unexpected places.

Fig 3.3.3 Strips in restaurant ceiling Fig 3.3.4 Courtyard Space

The east-west section shows how certain guest rooms get peeks into
public spaces, such as the lobby and the restaurant, creating a
voyeuristic frisson that enlivens the hotel. In addition to carving out
the tall lobby, the architects animated a courtyard at the center of the
site with the wood-and-mirrored-metal shutters that form ever
changing patterns depending on which ones are open and how they are
angled.

Fig3.3.5 Section through courty

Fig 3.3.6 Section through lobby

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3.4 MIXING OLD AND NEW

History seems to serve as a powerful force in this project due to it

being located in an old docks area. The hotel retains the rugged
character of its industrial past. The architects have let layers of time
impart a richness of experience that expensive surfaces would have
covered up. From the ghosted outlines of floor slabs removed to create
the tall lobby space to a small cluster of foam-green tiles mounted in
the 1950s and still clinging to one wall of the lobby, the original
essence of the building seems to have been kept intact.
Instead of refinishing the building's aging facades and interior surfaces,
the firm seems to have flaunted decay as a prominent theme. Fading
paint, water stains, even holes in plaster walls remain for all to see. In
general, new elements - such as flush windows, a concrete reception
desk, and black-painted steel columns and beams - clearly identify
themselves as modem insertions. There is a distinction between what
was added and what retained and what was refurbished. This
distinction is Subtle at times and quite prominent at times.

Fig 3.4.1 Entry door Fig 3.4.2 Juxtaposition of materials

But in a few places, Neri and Hu have blurred time periods —as seen
in the mixing of new gray bricks with old ones as floor pavers and
recycling wood from the old building's rotting roof for tabletops in the
restaurant and shutters facing a courtyard.
 22

From the outside, one can clearly see NHDRO's approach to history
and materials. The Cor-Ten steel wraps around a new rooftop garden
and slides from an entry canopy to the front door. The new floor that is
added mimics the form of the older structure and wraps around it
perfectly. But the change in material depicts what was and what is.
Inside, new materials, such as CorTen, concrete, and painted steel,
recall the building's industrial heritage without masking their relatively
younger age in comparison to the building. In stitching together three
adjacent buildings to create the hotel, NHDRO has kept old elements
such as concrete stairs and used ramps to negotiate different floor
levels, instead of erasing these quirks with a common core for each
story.

Fig 3.4.3 Entry of the hotel Fig 3.4.4 Façade Fig 3.4.5 Retained Staircase

While each guest room is different, they all adopt a uniform

vocabulary: oak floors and beds, concrete bathrooms with tinted-glass
walls, and built-in desks and cabinets along new white walls. Along
walls where the old building fabric was retained one can view
freestanding elements, such as mirrors and furnishings designed by the
firm. Making the most of the building's idiosyncrasies, some rooms
enjoy private decks while others get glassed-in viewing platforms
raised a couple of feet, the better to spy on neighboring lots and catch
glimpses of the Huangpu River.
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Fig 3.4.6 Bedroom + Shower

Fig 3.4.7 Bedroom with lookout Fig 3.4.8 Typical bedroom

While each guest room is different, they all adopt a uniform

vocabulary: oak floors and beds, concrete bathrooms with tinted-glass
walls, and built-in desks and cabinets along new white walls. Along
walls where the old building fabric was retained one can view
freestanding elements, such as mirrors and furnishings designed by the
firm. Making the most of the building's idiosyncrasies, some rooms
enjoy private decks while others get glassed-in viewing platforms
raised a couple of feet, the better to spy on neighboring lots and catch
glimpses of the Huangpu River.
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3.5 APPROACH AND CONSTRUCTION

The project looks at the movement of people and people interaction.

Each point in the building aims at providing a new view to the visitor.

Fig 3.5.1 Public area massing 1 Fig 3.5.2 Public area massing 2

Fig 3.5.3 Public circulation Fig 3.5.4 Guest rooms

The core area of the building is centered around the lobby space and
around it branches out the ramps and passages. Corridors and hallways
contain large openings of glass and mirrored shutters to give the guest
a new perspective of the space. The views are not restricted to just the
 25

building but flow into the courtyard space, the streets and also the
riverfront and skyline. The public spaces are at the road corner to give
an interesting take to the room. The rooms on the other hand are
dispersed all around. To retain the essence of the space the rooms are
individualistic and based on the amount of privacy needed the room
elevation is played with. Balconies and peering bays provide a
connection to the building even while being enclosed in one's own
space. By creating levels of different usage the guests interact with
people who are staying at the hotel and with those visiting the
restaurants. The ceiling element is also played with by altering heights
and material finishes. Though placed at a junction, the building design
aims to reduce the interference of external noise. The levels and the
presence of the courtyard create a more introverted space.

Though cut off it still reminds one of the industrial heritage and
location of the building
 26

The architects worked with the different floor levels inherited from the
original buildings and added a roof deck on the highest portion of the
hotel overlooking the Bund. Neri &Hu’s structural addition, on the
fourth floor, resonates with the industrial nature of the ships which
pass through the river, providing an analogous contextual link to both
history and local culture. The conscious effort of the architects ensured
that while the link to the past is maintained, the guest is reminded of
the modern setting, as seen in the black painted new support members
and concrete. The materials that are newly added are not out of context
as they reflect the heritage of the space and do have inspiration from
industries, like steel and concrete.

Fig 3.6.6 Adding members in lobby Fig 3.5.7 Creating

rooms with framework

Fig 3.5.8 Addition of Cor-ten mezzanine Fig 3.5.9 Creation

of new rooftop
 27

New black-painted steel elements provide structural support for the

three-story- high lobby and shore up portions of the old buildings that
needed reinforcement. A hallway resonates the project's layering of
history - with new structural-steel elements, large windows, and
CorTen cladding complementing the building's old masonry fabric.
Communal tables made of salvaged wood and floors of gray brick
work with Solo chairs are present in the restaurant. In the rooms range
the size varies from 300 to about 645 square feet, and they all share a
low-key palette of materials and components, including concrete sinks,
wood floors, and tinted-glass partitions for the bathrooms.

Fig 3.6.1 East elevation Fig 3.6.2 South

elevation

The elevations show the old concrete of the building meeting the new
Cor-ten steel and the flushed in windows of the guest rooms. The
curved profile of the building is replicated in the floor. The building
has a stark distinction of modern and old but they work well together
to reinforce the idea of history and context.

Fig 3.6.3 Courtyard north elevation Fig 3.6.4 Courtyard north

elevation
 28

The courtyard replicates a vertically lane house with corridors and

shutters and mirrors and glass panes giving views into all the
surrounding faces of the building.
It contains salvaged wood from the rooftop and at the same time it
contains glass in flush frames. The wall is smoothened out and painted
white in some places, while old exposed and broken bricks are seen in
other pockets. New corridors and old hallways cut through the
courtyard space.

Fig 3.6.5 Ground floor plan

Fig 3.6.6 First floor plan

 29

The floor plans depict the solid and voids of the building, the
connectors and elements too. The areas spill out into the lobby space
and corridors. The narrow spaces lead to larger ones and the entire
process of travelling from one point to another becomes experiential.
There are purely public levels and purely private level and levels
where the two merge cohesively.

Fig 3.6.7 Second Floor plan

Fig 3.6.8 Third floor plan

 30

Fig 3.6.9 Fourth floor plan

CHAPTER-4. THE HIGHLINE

4.1 INTRODUCTION

The High Line,also known as the High Line Park, is a 1.45-mile-long

linear park built in Manhattan on an elevated section of a disused New
York Central Railroad spur called the West Side Line. The High Line
has been redesigned and planted as an aerial greenway and rails-to-
trails park, inspired by the Promenade Plantee Paris. The 13-mile
project eliminated 105 street-level railroad crossings and added 32
acres to Riverside Park. Besides becoming a green corridor in a
bustling city, it has become a source of tourist revenue and has helped
better the surrounding neighborhoods. Friends of the High Line
celebrate 15 years of successful advocacy to preserve the entire
structure. The High Line proves that a site-specific, adaptive reuse
approach is a viable holistic alternative that embraces both change and
continuity.
“A revitalized piece of New York City's past.”

Fig 4.1.1 Rails to trails

• 1847
o In 1847, the City of New York authorized street-level railroad tracks
down Manhattan's West Side to ship freight. For safety, the railroads
hired men to ride horses and wave flags in front of the trains. However,
so many accidents occurred that Tenth Avenue became known as
"Death Avenue”.
• 1934
o As part of the West Side Improvement Project, the High Line opens
to trains. It is designed to go through the center of blocks, rather than

31.
 32

over the avenue, carrying goods to and from Manhattan's largest

industrial district.

Fig 4.2.1 Tracks running between blocks Fig 4.2.2

Elevated railroas tracks

• 1980’s
o Following decades-long growth in the interstate trucking
industry, the last train runs on the High Line in 1980. A group
of property owners lobbies for demolition while Peter Obletz
challenges demolition efforts in court.

 1999
o Friends of the High Line is founded by Joshua David and
Robert Hammond, residents of the High Line neighborhood, to
advocate for the High Line's preservation and reuse as public
open space and elevated greenway.

 2002-2003
o The planning framework for the High Line's preservation and
reuse begins. A study done by Friends of the High Line finds
that the project is economically rational, and leads to an open
ideas competition.

 March - September 2004

o Friends of the High Line and the City of New York select a
design team - James Corner Field Operations, a landscape
architecture firm, Diller Scofidio + Renfro, and Piet Oudolf,
planting designer.
 33

Fig 4.2.3 Conceptual randering

• 200-2006
o The City accepts ownership of the High Line which is donated
by CSX Transportation, Inc. in November 2005.
o June 9, 2009 - Section 1 opens to the public.
o June 8, 2011 - Section 2 opens to the public.

 April-September 2012
o The New York City Planning Commission approves a zoning
o text amendment for High Line at the Rail Yards.

 September 21, 2014 - Rail Yards opens to the public.

Fig 4.2.4 Area Zoning Fig 4.2.5 Phases of
highline

The entire span of the highline covers all types of land use. It provides
a break in the New York street elevation of skyscrapers and
commercial facades. Spread across a wide income level the highline
draws people from all walks of life. Though purely pedestrian it has a
large number of visitors per year and it is inspiring more such
redevelopments pan the country.
 35

4.3 IMPACT

The recycling of the railway into an urban park has brought on the
revitalization of Chelsea, which had been "gritty" and in generally poor
condition in the late twentieth century. It has also spurred real estate
development in the neighborhoods that lie along the line. Mayor
Bloomberg noted that the High Line project has helped usher in
something of a renaissance in the neighborhood: by 2009, more than
30 projects were planned or under construction nearby. The urban
fabric along the High Line is undergoing a transformation. There are
several major construction projects underway along the route, with the
likes of Frank O’ Gehry designing one, and even buildings that aren't
undergoing major renovations are adapting themselves to the park's
existence.

Residents who have bought apartments next to the High Line Park
have adapted to its presence in varying ways, but most responses are
positive; some, however, claim that the park became a "tourists logged
catwalk" since it opened. The real estate boom has not been victimless,
however, many well-established businesses in west Chelsea have
closed due to loss of neighborhood customer base or rent increases.
But as rents rise, so do property values and assessments. In sharp
contrast to the speed of Hudson River Park, this parallel linear
experience is characterized by slowness, distraction and the other
worldliness that preserves the strange character of the High Line.
Providing flexibility and responsiveness to changing needs,
opportunities and desires of the dynamic context, the proposal is
destined to remain eternally unfinished, emerging growth and sustain
change over time.

4.4 DESIGN

The first step was to clean and remove some elements of the old
structures to clean up, strengthen and modernize the party was to be
reused. In many places the removed parts were restored and returned to
their places of origin, for example the old railroad tracks, which were
integrated in the formation of flower beds for planting. The final phase
in the transition of the High Line to a public park is the construction of
the landscape of the park.
 36

The walks in the park created from a conical flat plates and cement
were placed above the waterproof layer of concrete, leaving spaces
between them for electrical conduit and drainage. Construction of
stairs and elevators allow visitors to access from street level. It also has
wheelchair access at access points where there is no elevator.

Fig 4.4.1 The stripping down

• Structure
Before the new concrete structure could take shape, it was necessary to
eliminate all elements of the former, since the steel rails, gravel, earth
and debris and the first layer of old concrete.
All that was needed to reach the steel structure of the High Line and
make the necessary repairs. Some of these repairs were waterproofing
for the steel beams in concrete and drainage systems had to be installed
on the old structure.
The concrete that forms the path isn't reinforced with fiber optics, but
with gravel, creating a textured surface. The architects create many
features just by casting this concrete in different ways. Besides being a
structural element this concrete has been moulded to be interactive,
aesthetic and functional
 37

Fig 4.4.2 Steel beam in concrete Fig 4.4.3 The end section
• Stairs
In some places, the beams are removed to allow the stairs cut the
structure of the High Line from the visitors center and meet face to
face with the steel beams on their way to the park. The
staircases are located at many points with hidden entries or detailed
entrances and along with staircases elevators are provided at selected
points for the disabled.

Fig 4.4.4 Section through staircase

• Lighting
LED elements integrated into the fabric of the High Line, illuminate
the paths of the park at night. The lights are placed at ground level,
creating safe to walk at the same time allowing walkers to enjoy the
surrounding ambient light. These lights have also been placed in the
bottom, between the beams, to gently illuminate the sidewalk. The
lighting structures are aluminum and stainless steel. By playing with
 38

the height of the light strips the night time view of the highline is more
appealing and noticeable.

Fig 4.4.5 Led strips alon the path Fig 4.4.6 Strips under steps

• Plants
The High Line's planting design is inspired by the self-seeded
landscape that grew on the out-of-use elevated rail tracks during the 25
years after trains stopped running. The species of perennials, grasses,
shrubs and trees were chosen for their hardiness, sustainability, and
textural and color variation, with a focus on native species. Many of
the species that originally grew on the High Line's rail bed are
incorporated into the park's landscape. The land has been distributed in
different planting areas. Plants have been chosen in these areas
nurseries.. The vegetation ranges from different types of grass, shrubs,
bulbs, perennial trees to tropical plants such as banana trees. The
pavements were resolved with precast concrete with wood and aged
steel planters like the side walls of the access stairs.

Fig 4.4.7 Replanting Fig 4.4.8 Replicating the old

Inspired by the wild seeded landscape left after the line had been
abandoned, the design aimed to refit this industrial conveyance into a
 39

post-industrial instrument of leisure. Through a strategy of

"agritecture"-part agriculture, part architecture, the design team created
a new paving and planting system that allows for varying ratios of hard
to soft surface that transition from high-use areas to richly vegetated
biotopes, with a variety of experiential gradients in between.

• Railroad
During transfer, each section of the railway was marked and mapped
its location to be stored for later to be returned to their place of origin
and integrated together with various ornamental plantings.Following
the move, the steel elements of the structure of the High Line were
treated with a sand blasting to remove lead from the original painting.
The top layer is closest to the original color of the High Line.

Fig 4.4.9 Relaying of railoroad Fig 4.4.10 Placing of concrete

teeths

4.5 ELEMENTS OF HIGHLINE

One of the features of the High Line is the peel-up benches that seem
to rise up as a natural extension of the path itself. This new mélange of
seating, along with a wider pathway, opens up the park a bit. Besides
the peel up bench there are peel up tables and wooden beach chairs and
wooden stepped seating along with exposed steel structural beams to
sit on. Also the form of the ground is played with so as to create steps
that double as places to sit and dwell over thoughts.
 40

Fig 4.5.1 Wooden bench Fig 4.5.2 Peel up bench

Fig 4.5.3 Peel up typology

Just beyond the initial patio of new seating, subtle reminders of the
railroad's past are intricately woven into the landscape. The Rail Track
Walks helps bring visitors down to the level of the old rail bed. The
path gently undulates, dipping slightly onto full-on rail tracks. They're
designed to look like they're lined with loose stone gravel, giving the
landscape a more rugged feeling, but the material is actually a bonded
aggregate—it's smooth and solid. It's also widely accessible for people
with disabilities, despite its appearance. These three linear walks reveal
the High Line's rail tracks, evoking the High Line's history as an active
freight rail line. On these walks, visitors can interact with rail artifacts
or rest in one of several alcove pockets of peel-up benches located
throughout the pathways.
 41

Fig 4.5.4 Rail track walks Fig 4.5.5 Concrete teeth

The places where the path rakes into the greenery, the concrete is seen
to be clawing at the soil. It sets up a tension that gives a vague
impression of impermanence, rather than the integration the architects
intended.

Fig 4.5.6 Steeped seating levels Fig 4.5.7 Intresting rise

and fall of level
 42

CHAPTER 5. THE FLOURMILL STUDIOS

5.1 INTRODUCTION

The Flourmill Studios is a commercial development of 47 studios, with

shared spaces and a cafe, housed in the nineteenth-century Crago Flour
Mill in Newtown, Sydney. The flour mill is adjacent to the railway line
and close to the station in an area with a substantial industrial history.
The adaptive reuse seeked to amplify the building's industrial qualities,
using the flour mill's structure, fabric and remnant industrial artifacts to
give the project a specific character, while maintaining the existing
overall plan structure and volumes. The robust industrial aesthetic also
informs the new architectural, landscape and graphic work, which is
designed to read as a new layer in the life of the building.

Fig 5.1.1 Flourmill studios

5.2 SITE HISTORYAND HERITAGE

"Crago's mill, originally named Federal Flourmills, was designed by

Sydney architects Nixon and Allen. The Mill was continually altered
and upgraded to accommodate new technologies and make various
wheat and flour products.”
- The Bakers & Confectioners' Journal, 23 December 1907,
Mitchell
Library
Crago Flour Mill operated from 1897 until 1984 and was added to and
altered as milling technologies changed. When the mill closed much of
the machinery was removed, but the main pulley shaft, some hoppers
and wheel drives and a goods lift remained. From 1984 the building
was used for storage, a dance school and studios for artists and
craftspeople. When the developer purchased the mill, it was a rundown
warren of spaces over four buildings, with little access from one part to
another, and no clear entrance. It did not comply with the Building
Code of Australia in many areas, particularly in terms of fire egress
and safety.

Fig 5.2.1 F. Crago ans sons Ltd. Federal flour mills

 44

5.3 OPPURTUNITIES AND CHALLENGES

The flour mill — with its structure of thick timber columns and beams,
steel trusses and remnant machinery — had the potential to become an
engaging workplace attractive to the target market — small creative
businesses, who responded to the raw industrial aesthetic and inner
urban location. The principal challenge was to make the four buildings
— with different structures, floor levels and circulation — work as a
coherent complex with appropriate access and fire egress. Care was
also needed to ensure that the addition of the lift tower did not
adversely affect the roofscape. There were public concerns about the
changes of use and the potential loss a creative facility.

5.4 APPROACH AND OUTCOME

The project sought to retain as much heritage fabric as possible,

including substantial scars that evoked previous alterations. The
planning aimed to keep the mill plan legible within the reuse, while
rationalizing circulation. The new entry courtyard and cafe contribute
to the streetscape and urban environment. The new circulation route
starts with a street-front entry leading to a central core and the east-
west circulation spine, which connects the various parts and levels.
This rationalized system involved making openings at each level and
creating internal hallways. The adaptive reuse retains the hardwood,
concrete and steel structure; the timber loading-bay; and metal-clad
fire. Remnant machinery remain within studio spaces and the three-
story pulley shaft, located in the main circulation spine, is enclosed
with fixed fire-rated glass panels. Non-significant accretions were
removed.
This exposed the original form of the building, created views in and
out, and increased natural light levels inside. Internal partitions were
removed, returning spaces to original volumes.
 45

Fig 5.4.1 The restored façade Fig 5.4.2 The machinery kept intact

The interior is subdivided into studios in a manner that respects the

areas and volumes of the original spaces. The aim was to create
flexible, adaptable interiors that would help extend the life of the
building, while allowing the original plan to be easily read within the
adapted building. New work is distinguished by modern materials,
bold graphics and bright colors. This continues the robust industrial
aesthetic, while also reading clearly as new. Interpretation was
integrated from the beginning of the project and the new work is
designed to be reversible. While incorporating the new elements it was
ensured that they worked well with the existing features. Also the two
had to match the required safety norms, namely in terms of fire egress.
The design team worked closely with the BCA consultant and fire
engineer and the resulting innovative solutions to compliance issues
allowed the design ideas to be realized.
 46

Fig 5.4.3 Studio Interior Fig 5.4.4 New and old meet

5.5 DESIGN

Flourmill Studios is approached from via a paved and landscaped

courtyard. Topped by a framework of original steel columns and
beams, the courtyard is overlooked by balconies adapted from the
mill's early loading bays. To one side of the entrance, a café provides a
vibrant meeting place, with seating extending into the courtyard and
towards the street.
The entrance foyer features heavy original timber columns and beams
and incorporates the building's restored original goods lift. An early
grindstone is set into the foyer floor in front of the letterboxes. The
building contains 47 individual studios ranging in size from 25 to over
250 square meters. Some studios feature warehouse-style timber
columns and beams, original timber loading bay doors, historic sliding
fire doors and the remnants of the drive shafts and wheels that once
powered the mill.
 47

Fig 5.5.1 Original sliding door painted red Fig 5.5.2 Maintaining spaces

Others take advantage of soaring double-height spaces with concrete

ceilings, steel beams and overhead soda hoppers once needed to
produce flour. Slicing vertically through the building, the original
pulley room, with its massive wheels and leather belts which
connected the mill's machinery to the motor room, can be glimpsed
from central hallways and foyers.

Fig 5.5.3 Retaining timber structure Fig 5.5.4 Restored roofing

5.6 ENVIRONMENTAL INITIATIVES

 Cyclists' room
 4 self-contained bathrooms
 48

 Carpets manufactured from recycled PET bottles

 Thermally insulated roof
 Open able windows for fresh air supply
 Operable skylights and roof windows to increase natural
ventilation
 Independent split-system air-conditioners
 Solar boosted gas hot water, with solar panels located on the
roof
 Rainwater collected from roof to maintain landscaping
 Re-use of existing building materials and structures.

5.7 DESIGN FEATURES

On the building's exterior:

 New steel-framed balconies to the south and west facades and
’Juliet’ balconies overlooking the entrance courtyard and café.
 New custom orb insulated roofing.
 Roof windows, skylights and adjustable aluminum louvers for
sun shading.
 Restored timber windows and loading bay doors.
 Heritage brickwork with blocked windows to be re-opened.
 New landscaped entry courtyard featuring original steel
structure and loading bay, with interpretation of circular wheat
silos.
 Original painted Flourmill signage to railway elevation.

In the common area:

 Exposed timber/steel beams and columns.
 A mix of original timber flooring and polished concrete.
 Kitchenettes on each level, shared common balconies and
breakout areas.
 Restored machinery, sliding steel fire doors and views to
original hoppers.
 Interpretation signs describing the mill's machinery and
operation.

In the studios:
 Painted solid entrance doors with glazed aluminium side panels
 49

 'Timber' studios feature carpet flooring manufactured from

recycled PET bottles while 'Concrete' studios to have polished
concrete finish
 Suspended fluorescent lighting
 Exposed cable tray system for distribution of power and data
when required
 Individual split-system air conditioners provided to each studio
 Open-able timber windows to most studios and some fixed
aluminium- framed windows
 Original painted masonry walls and new painted plasterboard
partitions
 ‘Timber' studios include a mix of hardwood/steel columns and
beams
 'Concrete' studios have corrugated steel/ concrete ceilings and
steel beams
 Original building features vary from studio to studio but may
include. remnant drive-shafts and wheels, painted sliding steel
fire doors, steel hoppers, steel mezzanine platforms, some new
balconies.

5.8 DRAWINGS OF PROJECT

Fig 5.8.1 Ground floor plan

 50

Fig 5.8.2 First floor plan

Fig 5.8.3 Second floor plan

Fig 5.8.4 Third floor plan

 51

Fig 5.8.5 Fourth flor plan

Fig 5.8.6 Terrace plan

 52

Fig 5.8.7 Gladstone elevation

Fig 5.8.8 Railway elevation

Fig 5.8.9 Section 1

 53

Fig 5.8.10 Section 2

CHAPTER-6. COMMON THREAD

6.1 THE SIMILARITIES

The three case studies were chosen on the basis that they were all
linked to the industrial age and were located in cities of crucial
importance to development and trade. They are situated in locations
that were central to industrialization but lost importance as technology
advanced. The three structures went through stages abandonment,
where some informal efforts of revival kept them occupied for a brief
time period. This is seen in each case study as some manifestation-
structural alteration or scars of renovation.

Fig 6.1.1 Comparision based on criteria

As it can be seen the structures were used for different functions and
fell into disuse due to modern times. Industrialization created solid
sturdy structures with large internal spaces that could be easily adapted
to suit modern needs. They contain character and reflect upon an older
time period. They are made up of materials that work well with
modern additions and thus adaptive reuse is effective, efficient, and
yields aesthetically appealing and functional structures. Though some
changes are irreversible, they contribute to the value of the building.
They are all influenced by local contextual elements which are
 55

incorporated into the end product. They all have distinct old and new
members and then they have a member that is an amalgamation of
what was and what is. They all had problems that were overcome, be it
physical, environmental, economic etc. These studies
encompass most of the factors found in any of todays abandoned
buildings.

Through the study of the case studies it is evident that, though all the
structures were industrial in their essence and original context, they
were adaptively reused into three completely different projects. The
buildings could be reused as anything, be it commercial, business or
public. The constraint on the type of function that can associated with
an abandoned building is next to nil if the architect is innovative and
dedicated to the revival of the space.
People relate to the buildings better as they are well woven into the
urban fabric, instead of sticking out as a sore thumb, like completely
modern buildings would. Real estate and market value gets a boost and
the community gets a good value addition when the structures that are
preexisting in the heart of the neighborhoods get a new lease of life.
The cradle to grave time period for the building is prolonged.
 56

CHAPTER-7. CONCLUSION

Buildings when built with a specific function in mind, face the threat
of becoming obsolete when the need changes. At the same time, when
a building is open ended and serves as a mere shell, it fails to garner
the attention of the people. There is thus a necessity to understand the
context during the initial stages of design. Even if a conscious effort is
made to ensure longevity of a space, the building can become obsolete.
In such situations of abandonment, the approach to shaping the
buildings future is crucial. The life span of the building is somewhat
similar to a human, namely the “cradle to grave” period. Anything in
the designers' power to prolong a buildings life span must be carried
out. This is because the building already built, it is well connected, and
it failed predominantly due to a change in the political, economic or
cultural context. If the building had become a subject of obsolescence
due its structural failure then the investment in its future is
questionable.
The buildings that contain a sturdy and sound foundation and structural
system are the best contenders for the process of adaptive reuse. They
have been in their location for a long time period and thus have layers
of local context and history added to them. They are centrally located,
have a sense of community, contain necessary services (a bit outdated
at the most) and are already constructed. By retaining the sound
members of the building, retrofitting the outdated ones, introducing
complimentary members, and restoring the landmark features of the
structure a new lease of life can be given. As the building is now
restored to suit changing needs, adding an environmentally friendly
element can improve its sustainability factor. The building can sustain
itself and over a period cover the cost incurred in its restoration. These
building integrated factors can either replace existing elements or can
be coupled onto them as secondary features. These need not be purely
functional and can also have the aesthetics of the space in mind. A best
suited example for a growing trend in adaptive reuse and retrofitting is
the Building Applied Photo Voltaic panels. It is one of many options
where the building begins to reduce its carbon foot print by being more
aware and conscious of its impact.

History should serve as a reminder and should not be repeated.

Buildings that are on the path to obsolescence should be weeded out
and this disuse should be stopped in its tracks. A few steps to do so are
by creating ancillary uses, renovating, adapting, and involving the
 57

building with its surroundings. These buildings can optimize the

function they were designed for if they are more open and interactive
to the users. By creating spaces that are flexible the trend of falling
into a derelict stage can be curbed early.

The essence of a building is what lends character to the space, what

sets it apart. This should not be sacrificed when adapting a building to
be functional. If this satisfied the process is successful in the
fundamental sense. Also the identity of a building is important. The old
use of the building provided it with its established identity and the
architects' aims to rework this identity in favor of their design.
While altering the identity of the structure the architect must ensure
that he stays true to the integrity of the space. As times are changing,
population growth is increasing. Technology is rapidly advancing. But
the amount of land available stands at the nearly same amount that it
was years ago. Thus land value increases and vacant lots are reducing.
These factors coupled together have pushed adaptive reuse into the
spotlight as the most preferred solution to tackle abandoned buildings.
Thus, it is time to embrace a trend that is holistic and creates spaces
that amalgamate what was and what is.
 58

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infrastructure-the-high-line-in-new-york-007512.html

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http://www.landscapes2.org/ToolsElement/Pages/A

daptiveReuse.cfm

http://www.bizjournals .com/albany/stories/2002/10

/21/focus4.html?page=all

http://www.fastcodesign.com/3036030/the-5-best-things-about-the-

new-high-line

http://www .onyxsolar.com

http://www .wbdg.org/resources/bipv.php

http://www.renewableenergyworld.com/rea/news/article/2012/05/the-
challenges-building-integrated-photovoltaic

http://www .solarserver.com/solar-magazine/solar-report/solar-
report/building- integrated-photovoltaics-an-emerging-
market.html

http://gaylordbuilding.org/abouthistoricpreservation/#.VROcZfmUc-g