( Re ) oa Understanding the role of context and processes involved in the design and execution of building reuse and redesignDeclaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. | consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying. Student Name & Code No: Kaveesha Shah UI 1110 Sign: Kansabathal Date: 30-05-2016CEPT UNI/ERSITY FACULTY OF DESIGN ‘STUDENT NAME : KAVEESHA SHAH (UI 1110) ‘THESIS TITLE + REUSE : REDESIGN - Understanding the role of context and processes involved in the design and execution of building reuse and redesign APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfgctory to warrant its acceptance as a pre-requisite to the degree of Bachelor in Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme. Prof. Snehal Nagarsheth Signature of the Guide Dean, Faculty of Design KASTURBHAI LALBHAL CAMPUS ‘7 #91 79 26302470 UNIVERSITY ROAD, NAVRANGPURA WWW.CEPTACIN F +91 79.26302075 AHMEDABAD 380009. GUIARAT, INDIA( Re \Sesign Understanding the role of context and processes involved in the design and execution of building reuse and redesign Guide : Prof. Snehal Nagarsheth Kaveesha Shah UI 1110ContentsContents Thesis Proposal Introduction Chapter One Context Site :the Existing Function Form: Adaptation Process. Design : Redesign Context : Function Funetion : Process. Process : Context The Equations of Redesign. Context: Function : Process Chapter Two. Diwanji ni Haveli, Ahmedabad French Haveli, Anmedabad. Cafe Zoe, Mumbai Khoj, Dethi ‘Comparative Analysis and Conclusion. ‘Acknowledgments Bibliography lustrations Reuse : Redesign 19 a7 35 45 SL ST 65 93 113 135 159 163 165 167Thesis ProposalReuse : Redesign Abstract “Change is the process by which the future invades our lives... Change is the law of nature. All the social, cultural, economic, and intellectual entities that define an era, become obsolete when they are ‘overrun by change. Although, while this change occurs, strong reference points to the history of a particular time, lead the way into the future. Architecture proves to be one such point of reference. As far as the history of architecture is concerned, in most cases, structure outlives function. In such a scenario, itis only apt for the built forms of the past, to retain themselves in some manner, so as to exemplify the value land essence of the time that they belong to. Architectural reuse is thus a result of functional obsolescence, which in turn is a result of change. Building redesign is governed by building reuse. The approach of redesign towards a building depends on the factors prompting its reuse. In order to be reoccupied, a building goes through processes which ensure its sustenance - preservation, restoration, remodelling, or adaptation to a new function, depending on the intention behind its reuse. Any approach made in order to make @ building of the past, functional in the present, constitutes redesign. In Retrofitting the Existing, Urvashi Singh attempts at understanding the rationale behind reuse as a practice, by confronting the debate about synthesis of the old and new. Bhaumik Bhatt's study, Adaptive Reuse : Indian Scenario further analyses the subject through functional adaptation in old buildings within the indian context, This study attempts to add to the above works, by addressing reuse as a highly practiced convention, with an intention of dissecting the factors associated with it. It also broadens the notion associated with reuse, in terms of functional change and intervention. This study elaborates and analyses the factors affecting reuse of buildings, by understanding each as an individual entity as well as their inter- relationships, in order to procure a comprehensive understanding of their effects on redesign.Thesis ProposalReuse : Redesign Aim The study is an attempt to understand the role of context and processes involved in the design and execution of building reuse and redesign Objectives ‘The objective of the thesis is to understand the relevance and importance of existing site conditions, while reusing a building, to the final design. In ‘an era, where reuse is strongly advocated for, it becomes imperative to analyze the influence that the past, and the existing has, on the decision making, and execution. The thesis also focuses on documenting the design process, execution, as well as the final outcome of such projects. Methodology The study, attempts to build @ theoretical perspective towards building reuse and redesign, through literature review and critical thinking. First, a brief look at the factors involved in reuse and redesign, as stand alone entities, followed by their relationship with each other. This forms a ‘comprehensive base to understand the potentials and effects of each of these on the final outcome. ‘Second, examining theory through case studies from three different sites, by typology, reused for different functions, but under the larger Indian ‘context. The case studies are examined through consecutive design decisions, simultaneously considering history, design, and execution of the project. ‘Scope and Limitations ‘The study is limited to the conclusions drawn from the set of projects used as references and case studies. inferences derived from the projects in question, apart from the case studies are from secondary sources. The case studies are used as illustrative examples to test the theory and are not part of a larger selection, but are derived from sources, best to my knowledge and capacity. The case studies are based on projects in India, favoring accessibility and a common ground for comparison in terms of larger context, but the study is not specific to a Western or Indian context. The study is not addressed towards a negating or affirming conclusion, instead hopes to direct some attention to the factors affecting a redesign and reuse on the whole, to convey the limitations and potentials of the same.IntroductionReuse : Redesign Introduction The general instinct is probably that the built environment should not be altered. However, the resources consumed on redesign, are greater than those used on new buildings, and this therefore challenges the set notion. This may appear as mere expediency, but deeply rooted theories are at the ‘consequence of the expedient. Apart from convenience, the ideas behind reuse through interventions in existing contexts, have been strongly promoted, and aptly so. ‘A work of alteration and intervention in a built from of a different era or style, is a representation of history in a tangible form. Apart from being an example of restoration, or being objectified as a work of art, architectural reuse is shifting its focus to the building being a product of urban regeneration, hence uplifting its cultural and social value. In an era where the past is being uplifted, worked upon and directed towards building a future, it becomes necessary to understand the ‘dynamics governing this process, in order to retain a palpable history for the present and the future. ‘Context’ - the building's historical and physical setting, ‘function’ - the intention and need behind the design, and ‘process’ - the journey a design ‘goes through, are crucial factors affecting a building's redesign Processes which the designer and design follow to establish design positions and their various relationships with the context and function, are what give rise to a design which establishes the rationale with which the building can be understood. While redesigning a building, the past leads to the future, and during the process strives to maintain an equilibrium between them. Itis the balanced ‘out presence of the past and future that brings out an image, contextual to the present.10Reuse : Redesign Chapter OneContext 12context the circumstances surrounding an event, statement, or idea contextualism the term suggests an architecture that responds to its surroundings by respecting what is already ‘there. Emesto Rogers was an italian farchtect, writer and educetor. He was associated with several fart and architecture periodicals as a prolific writer and architect, ‘and was inswumental in the establishment of Italian Rationalism. Adrian Forty Words and buildings: A vocabulary Cf Modern Architecture 2000 Reuse : Redesign Context Site : the Existing The 1960s saw the emergence of the terms ‘context’, ‘contextual’, and “contextualism’ in the architectural vocabulary. The germination of the idea is believed to have occurred when Ernesto Rogers in one of his periodicals, critiqued the works of the first generation of modernist architects, where he pointed out the lack of dialogue between the architecture and its surroundings, both in immediate physical sense and also in historic continuum. The terms used by Rogers were ‘le preesistenze ambientali’ (surrounding pre-existences) or ‘ambiente’. These terms were mistranslated in the English language as ‘context’. Context in English simply refers to the immediate surroundings, while what distinguished Roger's concept was the fact that the preesistenze ambientall and history are indissolubly linked: “to understand history is essential for the formation of the architect, since he must be able to insert his own work into the preesistenze ambientall ‘and to take it dialectically, into account” + “Let us resist the affected cosmopolitanism which in the name of still shallowly felt universal style raises the same architecture in New York, Tokyo, and Rio; identical architecture in both the country and the town. Let Us seek rather to blend our works into preesistenze ambientali, both the natural surroundings and those created historically by human genius.”* In the above statements, the term ‘preesistenze ambiental!’ is synonymous. with context. Hence, it can be said that when the term ‘context’is referred to in terms of architecture, it not only represents the physical surrounding, but also history. Context effectively became an important parameter when it came to the design of a built form. This, not only among architects and designers, but also among ones affected by the consequent design. A debate among the people of Italyand abroad regarding Frank Lloyd Wright's Masieri Memorial in Venice, illustrates the same. In 1952,Wright was commissioned to design a four-storey residence and library for architecture students at the Istituto Universario di Architettura di Venezia (IUAV). a3Context ‘The suitedness of the design to the site, a prominent location on the Grand Canal, was questioned by several Venetians regarding the relevance of modern architecture to historic sites, and about the degree to which Wright's design did or did not take sufficient account of its surroundings. Traditionalists and modernists argued whether contemporary architecture was appropriate for the historic waterway through Venice. City officials in Venice ultimately rejected the project on the grounds that Wright's design was aesthetically incompatible with the surrounding architectural environment. Frank Lloyd Wright's Solomon R. Guggenheim Museum also became subject to criticism post it's opening in New York in 1959. It's relationship with the context of the high end 5" Avenue became a matter of controversy. ‘The museum's design was considered by many to be too futuristic for it's location and it's function. 42 Intended Location of tho Memo on the Grand Canal 4a Elevation of the Masien| Memorial facing the Grand Canal as visualised by Frank Logs Wrgnt ‘Aerial View of the Guggenbeim Museum showing i's location in the ‘urban context of 5 Avene and Central Parke Ye < ia “Are they allowed to do that on Fitn “4 Nell Levine The Architecture of Frank Lloyd Wright 1998 Frank Lloyd Wright ‘Masieri Memorial Venice, Italy 4952 Frank Lloyd Wright Solomon R. Guggenheim Museum New York, USA 1959Colin Rowe and Fred Koetter Collage City 1978 Colin Rowe was a British architectural historian, critic, theoretician, and teacher. He was acknowledged as @ major Intelicual influence on world ‘architecture and urbanism in the second half of the twentieth century and beyond, particularly In the fields of city planning, regeneration, and urban design Antoine Le Pautre Hotel de Beavais Paris, France 1657 Le Corbusier Villa Savoye Poissy. France 1929 Reuse : Redesign A deeper understanding regarding the importance of context, in a period where architectural styles were rapidly developing, is illustrated by English critic Colin Rowe's comparison of the Hotel de Beavais with Villa Savoye. ‘The Hotel de Beavais built in 1657, adopts the French Baroque style. The triumph in the design is the architect's treatment of the irregular site, while maintaining all the major characteristics of French Baroque architecture, and creating a symmetrical facade. An articulated response to the context by the architect is indicated in the design Rowe compared this with Villa Savoye, “..an isolated primary solid, indifferent to the boundless spatial field it occupies."* Although Villa Savoye exemplified Le Corbusier's ‘Five Points of Architecture’ and went ‘on to become a marvel of Modern Architecture, Rowe argued that it failed to respond to it’s surroundings. Ernesto Rogers’ idea of context included the environment as formed by surrounding ‘monuments’, while Colin Rowe's understanding of context was based on ‘objects’ and the space they occupied. Both have a relevance of their own depending on the relationship being addressed - building to site, site to city. 45 Elevation of th hots facade, Some othe walls were nonstructural, bit In omer to create a smmetical facade, ‘ypical of French Baroque architecture. 16 (Ground Level Plan showing the imegular ste and central eouryers View of Vila Savoye 18 Site Pian showing placement of the vila within the propery, FryContext There are a number of methods in which context affects the process of designing a built form, but they can largely be summed up as either contextualizing concept- the context, being the overriding factor, reacting ‘to the design, or conceptualizing context -the designer's approach based on the existing context. Hotel de Beavais, is an example of contextualizing concept. Since the irregular plot could not be bypassed ignored, or circumvented, the concept had to be contextualized in order to build it in ‘the intended style. There can several possible approaches made to the context, while conceptualizing context. The Post-Modernist era recognized context as a key parameter that affects architecture and design. This was followed by several architects’ and critics’ views and theories surrounding context, and its effects and applications to architectural concept and design. * there is no architecture without context. A work of architecture is always in situ, of “in situation,” located on a site and within a setting. The context may be historical, geographical, cultural, political, or economic.”* Bernard Tschumi systematically explains the relationships between context and concept, by looking at three basic ways in which context may be approached and conceptualized - Indifference, Reciprocity, and Conflict. Indifference, whereby the idea and siting are superbly ignorant of one another-a kind of accidental collage in which both coexist but do not interact. Poetic juxtapositions or irresponsible impositions may result While every project has a context, not all contexts are equally interesting or inspiring. If the context is relatively banal for instance, it might prove to be laborious if not futile, to conceptualize banality. Bernard Tschumi's proposal for a Zenith concert hall in Strasbourg is an example of the same. The project is driven by a monolithic envelope, in turn housing the actual program. It emphasizes the relationship of the envelope to what happens inside rather than to conditions outside. 19 Exterior view of the zenith concert ball In certain situations though, context might actually be irrelevant to the program, or even ignorant for that matter. These too fall in the same category as ‘indifference’. *...can such a container still have a relationship with the city? Should it? Is it important? Or is “fuck context” becoming the theme?" 16 Board Tschuri EventCities 3: concept vs. context vs. content | 2004 Bemard Tschumi is an architect, writer, and educator, largely associated with deconstructvism Techumi’s critical understanding fof architecture remains at the core of his practice. By arguing that there Is no space without event, he designs conditions for 2 reinvention of living, rather than repeating established aesthetic lr symbolic conditions of design. ‘Berard Tchumi Architects Suasbourg Zenith Concert Hall Stiasbourg France 2003Reuse : Redesign Reciprocity, whereby the architectural concept and its context interact, closely with one another, in a complementary way, so that they seem to merge seamlessly into a single continuous entity. Raas, in Jodhpur is an example of ‘reciprocity’. The resort's architectural ‘concept merges with the context of Jodhpur city, while also complimenting the site, which is an old traditional haveli. The use of traditional materials land techniques, especially in the facade and wall finishes, although in a ‘contemporary way, Suggests an influence of the existing surrounding and history. Studio Lotus Ross Jodhpur, india ‘2011 J a0 — View of Ras premises ‘against ts context Conflict, whereby the architectural concept is strategically made to clash with its context, in a battle of opposites in which both protagonists need to negotiate with their survival. Vlado Milunic and Frank Gehry's design for Nationale-Nederlanden building in Prague, can be suggested as an example of ‘conflict’ in the relationship between concept and context. The deconstructivist building stands out among the several Baroque, Gothic and Art Nouveau buildings, typical to the cityscape of Prague, surrounding it. The main exterior facade overlooking the river bank, responds to the textures and scale of the adjacent row houses. Its staggered windows and horizontal striations gradually break into a wave pattern that relates to the undulating comice lines of the neighboring river front facades. It is constructed of pre-cast concrete panels with a plaster finish which is ‘common to the local architecture.® Vlado Milunie and Frank Gehry Nationale-Nederlanden Building Prague, Czech Republic 1996 au Steet View of Nationale-Nederlancen ulin aContext “I don’t see the sense in such a dance of windows in a neighborhood where respect for a certain canon has given rise to architecture governed by restraint and order.” ‘These three strategies - Indifference, Reciprocity, and Conflict are all valid design approaches to context. Selecting the appropriate strategy for a given project, is part of the concept. Context finds @ place of its own across various professions involving spatial design. An architect finds a context to work with, where an urban planner leaves off, an interior designer, where the architect finishes and an artist after an interior designer. This relay of sorts, ultimately leads to the completion of a systematically planned execution of a project. ‘As we trickle down through this hierarchy, the context becomes more and more specific, yet never completely in ignorance of the larger setting. “The relationship between the object and the intervening spaces is not formal : itis always rooted in the context of a particular setting. "* References : 1,2. Emesto Rogers as quoted in Adrian Forty, Words and Buildings :A Vocabulary of Modern Architecture, Thames and Hudson, 2000 3. Colin Rowe and Fred Koetter, Collage City, The MIT Press, 1978 4. Bernard Tschumi, Event-Cities 3 : Concept vs. Context vs. Content, The MIT Press, 2004 5. Rem Koolhaas, Bruce Mau, S, M, L, XL, 010 Publishers, 1995, 6. see Frank Gehry 1987-2003, El Croquis, 2006 7. Rafael Moneo, Theoretical Anxiety and Design Strategies in the work of eight contemporary architects,The MIT Press, 2004 8. —_Dalibor Vesely, Architecture in the Age of Divided Representation, The MIT Press, 2004 18Funetion the purpose or activity for which @ ‘thing Is used or exists. Funetionalism Theory that good design results from oF is identical with functional efficiency, i. architecture should be determined by function alone. arian Forty Words and buildings: A vocabulary (of Modem Architecture 2000 Horatio Greenough was an ‘Americansculpiorand art theorist. He nas been credited as the frst English speaker to apply the term Tunction’, to architecture. Reuse : Redesign Function Form : Adaptation The definition of function, to @ considerable extent, even its meaning ‘and name have come into its own owing to the activities of the critics of architectural modernism since 1960. Similar is the case with functionalism, which was introduced during the Modem Movement. All the theories surrounding function, that exist so far are of recent making, not of a time when functionalism supposedly dominated modernism. It then, becomes imperative to identify what function meant before a period where functionalism introduced a turning point in architecture, in order to understand its development, and impact today. Historically, prior to 1930, multiple uses of function can be identified, all 10 do with the fields of mathematics, biology and sociology. When used in context of architecture, it was a metaphor based on either of these fields. ‘A ‘function’ describes the result of the action of one quantity upon another. In terms of architecture, from the first use of ‘function’ in the 18" century to the end of the 19" century, the quantity acted upon was almost always taken as the building's tectonic elements, its ‘structure’, a term with which function has been closely associated. Vitruvian’s triad of the three classic goals in architecture, ‘commoditas’ (utility), ‘venustas’ (beauty), and “irmitas’ (structure), indicates the same. Here, ‘commoditas’ is synonymous with function. Bythe mid 19th century, the meaning of function was limited to ‘use’. When applied in reference with architecture, it meant ‘the activity designated for a particular building or part of a building’. Horatio Greenough, used ‘function’, in this sense. For instance, he wrote, “to apportion the spaces for convenience, decide their size, and model their shapes for their functions - these acts organise buildings.”* From 1930 to 1960, as the Modern Movement thrived, ‘functional’ became a catch-on term for ‘modern’ architecture. For much of this period, it was the principal term through which the polemic on modem architecture was, conducted, hence used equally by both supporters and opponents of the new architecture. Inthe midstofthe debate over functionalism, itwasimportantfor modernists of this period, to be able to show that their work was not dominated by ‘form’ and ‘aesthetics’, and yet avoid being labelled crude functionalists. 19Function This resulted in the refinement of the meaning of ‘function’, and its deviation towards particular objects. One of the earlier indications of this, comes from Alvar Aalto,” Technical functionalism cannot create definite architecture.” ‘Among the younger generation of architects, ‘functional’ was stretched even further away from its earlier meanings : ‘the word “functional” must now also include so-called irrational and symbolic values’, deciared Alison and Peter Smithson in 1957. Hence, although the obvious meaning of function remains limited to ‘use’, architecturally, function refers to the program, the intention for which a building is designed. It is important to understand that if @ building manages to accommodate the use, which users are meant to carry out within it, the building cannot be necessarily defined as being functional. Looking back over the history of the concept ‘function’, it is clear that a practical need to address the relationship between buildings and the life within and around them has always existed. ‘The Form-Function Paradigm The ordinary use of language suggests that there is an association between the form and function of a building. Ifa kind of a building is named a school for example, and its nomenclature is deciphered, then there are two sets of meanings associated with it. One is the idea of a particular form of a social organization and the other is the form of the building. The historical question that needs to be accounted for is the turning of ‘function’ from a description of the action of a building's own mechanical forces upon its form, into a description of the action of the social environment upon buildings, and of the action of buildings upon society. “Whether it be the sweeping eagle in his fiight, or the open apple-blossom, the tolling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change, form does not change. The granite rocks, the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies, in a twinkling. It is the pervading faw of all things organic and inorganic, of all things physical and metaphysical, ofall things human andall things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This Is the faw."* Here, Louis Sullivan's iconic phrase ‘form follows function’ although later gained immense popularity, did not address function as anything to do with utility or user needs. His ideas of function were based on metaphysics, which is made immensely clear from the famous discussion in Kindergarten Chats 12 and 13, where he said, “The Germ is the real thing : the seat of identity. Within its delicate mechanism lies the will to power : the function Which is to seek and eventually to find its full expression in form.”® 20 The American architect, Louis Sulian, Horatio Greenough’s ‘much younger compatriot, who ‘admired rationalist thinkers ihe Greenough, coined this phrase In his article The Tall Office Building Artistically Considered in 1896, about fifty years after Greenough’s death, though Sullivan later attributed the core idea to Vitruvius's triad.James Renwick, Jt ‘st. Patrick's Cathedral Now York, USA 1879 Skidmore, Owings & Mert United States Air Force Academy Cadet Chape! Colorado Springs Reuse : Redesign Misused though Sullivan's quote has been, it opened a new dimension in the understanding of the form-function relationship. His point, that the style of architecture should refiect its purpose, made sense at the time, and continued to do so for much of the last century. Our minds are preprogrammed to associate a typology of a building with a function and consequently a form. This occurs due to words that are associated with a set of similar building typologies and social organizations in order for us to recognize one from another- ‘school’, ‘church’, ‘house’, for instance. This association is not limited to cognition. It also affects behaviour. By recognising types as form- function pairings, we anticipate how to behave in the kinds of spaces we expect to find in a building. Our minds develop ‘a set notion of such building types, in order to behave in ways appropriate to the form. 442 Interior View of St. Patick’s Catnecral 143 ‘Street View of St. Patick’s Cathedral on S* Avenue 14a Interior View of the Cadet Chapel 145 View of the Cadet Chapel from tho ‘Academy/s runway ‘St Patrick’s Cathedral builtin a Gothic Revival Style is located on a largely commercial th Avenue, New York, surrounded by skysorapers built in the latter half of the 20th ‘Century - relatively modern buildings. The cathedral stands out among these structures, ‘due to contrast in siyles, and its form, which is resplendent of its function, thus leading 10 immediate recognition and a specific behaviour. The Cadet Chapel on the other hand, ‘while accommodating the same function as the St Patrick's Cathedral, surprises the viewer, \with its form, since it doesn't match the quintessential preprogrammed idea of @ church. aFunction Bill Hillier, in Space is the Machine, elaborates upon the concept of the form-function relationship in terms of user associations of the same with a building, and factors giving rise to the paradigm. An important point put forth in the book, is the association of social institutions with buildings, and vice versa, leading to a form-function paradigm. “Does it matter that our ideas about social institutions come with ideas about buildings attached to them? Is the building in some sense a part of the definition of the social entities we name as schools, monasteries, and 0 on? If so, is this simply an association of ideas, or is there some well defined sense in which variations in social forms are expressed though variations in the forms of buildings?"¢ 118 Drawing, ty Berard Techumi, from, The Mannattan Transcripts fan attempt to explore the celaton of body anc social movement 29 ult space, without resorting, ta notion of funtion ‘The Manhattan Transcripts is 2 set of theoretical drawings developed between 1976 and 11981, based on the disjunction between spaces and their use, objects and events, being ‘and meaning. a7 View of Corinthian denis which are ornamental laments that emulate structural elements of ‘older tmples Aspects such as a reflection of the past, are often associated with the form a building takes in the present. Poetry and narrative are a primary cause for even the most rudimentary, seemingly practical designs. People go to great lengths to celebrate their culture with their buildings, cities, churches and objects. Emotional connection to form usually overrides functional imperatives, even when the original use changes. Architectural history s resplendent with examples of form forcing function ‘Ancient cultures often Keep the design details of their traditional cutture even though their building technology had advanced significantly. Stone elements would be fashioned to emulate the wooden structural elements, of the older buildings.” 2 Bl Hilier Space is the Machine 1996 Bil Hiller, as the original pioneer Of the methods for the analysis of spatial patterns known as ‘space syntax’, is the author Space is ‘the Machine’, which reports 2 substantial body of research built on that theory, and a large number of articles concemed with different aspects of space and how it works. Berard Tschuri The Manhattan Transcripts 1981Fred Soott ‘On Altering Architecture 2008 Fred Scott is a visiting Professor of Interior Architecture at Rhode Island School of Design and was previously course leader for Interior Design at Kingston University, London. He wrote On Altering Architecture as a response to conversations regarding interior design's potential towards. interventional design Tree House 6a Archrects United kingdom 2013, Reuse : Redesign Change in Function Itisbecause there isthe idea of utility, that there is the idea of obsolescence. Nothing can serve a purpose forever. At some point in time it will not be able to accommodate the function it was intended for, because of it becoming outdated and simultaneous development in the same field. This is bearing in mind that the stated function is not universally constant (which is very unlikely because although all need based parameters can remain constant, time cannot). Similarly, according to the Functionalist model, all works of architecture stand in the danger of being considered, by some agency or another, as a waste of space. Hence, the concept of architectural obsolescence. Because of the uncertainties in being able to fit function tightly to the built form, the idea of obsolescence is amenable to other interpretations, such as, what might be considered aesthetic obsolescence. In this case, the building remains unaltered, which indicates that the reason behind the obsolescence is something extrinsic. It can be considered ‘as obsolete through the changes in patterns of use which can no longer be accommodated. This is further evidence of the relationship between function and behavior as suggested by Bill Hillier. Further, bearing in mind the relationship between social institutions. and buildings, the residual idea of functionalism is probably the kind that envisages buildings in achieving social progress, and consequently becoming obsolete once the stated function is achieved : “that is, prisons, ‘would be demolished once all criminals have been corrected through their use and mental hospitals closed down once their inmates were returned to sanity. A building, while still under occupation, can be effectively considered to be obsolete if/when it requires to be altered to accommodate the increasing demands in function. On the other hand, bearing in mind the building's value, it is made to change its function in order to sustain it despite its obsolescence. Extensions made in existing buildings are suggestive of alteration to accommodate change in function. Adaptation of a new funotion to an existing obsolete building exemplifies a deliberate change in funotion in order to maintain the building as itis, in essence. 18 rot Ae 7 =] Plan, of: the house we * iL indicating the extension- Lo gaff SS ete cee qui See 4 1 pair of cottages in order 1 eh to connect te original = rooms while including @ arden access, Tree House is an example of an extension made in response to the functional needs of a mother of a busy family who, on being reliant on a wheelchair found herself increasingly ‘confined to a single room. 23Function a9 Section of Fed Galley inicating the inser. made in the bam to fsccommadate an aft eelery Pod Gallery is an example of adaptation in function of an existing Grade I! Listed Home Farm Barn. This is done 3s an attempt to restore the barn to its original condition and maintain t, by providing it with @ new function that adds a layer of utility ané contrast to ‘the barn which was previously in a deteriorating state. The insert made into the barn is, reversible it only directly touches the barn floor; hence itcan be removed later if required. Although functional adaptation in architecture is widely accepted and exploited, mainly from the latter half of the 20" Century, its basis effectively challenges the concept of functionalism. The idea behind adaptive reuse largely addresses history, conservation, and restoration, but function is a very important parameter since it is the variable factor in the scenario. “The design process usually starts with a functional grouping of parts...the trick is to investigate this grouping as much as possible."* 2a Pod Gallery ‘Stonewood Designs CChippennam, United kingdom 2015Reuse : Redesign References Horatio Greenough as quoted in Adrian Forty, Words and Buildings : A Vocabulary of Modern Architecture, Thames and Hudson, 2000 Alvar Aalto, “The Humanizing of Architecture”, Technology Review, 1940 Alison and Peter Smithson as quoted in Adrian Forty, Words and Buildings : A Vocabulary of Modern Architecture, Thames and Hudson, 2000 Louis Sullivan, “The Tall Office Building Artistically Considered”, Lippincott’s Magazine, 1896 Louis Sullivan as quoted in David S. Andrew, Louis Sullivan and the Polemics of Modern Architecture, University of Illinois Press, 1985 Bill Hillier, The Space is the Machine, Cambridge University Press, 1996 Robert Weitz, “Form Follows Function - A Truism that isn’t True", The Brand Wash, 2013 Aneurin Bevan, Minister of Health at the initiation of the National Health Service in the United Kingdom Peter Cook, Primer, Wiley, 1895, 25Process 28dosign the creation of @ convention for the construction of an abject or a system. process fa series of actions that are done to achieve a particular end, Jennifer Hudson Interior Architecture: From Brief to Build 2010 Reuse : Redesign Process Design : Redesign Unlike many other design and art based disciplines, which often begin with the theoretical stance of the artist, the design of a built environment is always influenced by the experience of the place that it is supposed to inhabit. The practice of designing built forms is an intricate process of satisfying the needs of the users, while balancing this with considerations of situation and place. In the field of architecture and built environment, the word ‘design’ may have a number of different connotations. All of these can be termed ‘design’, but what they represent, are progressive stages of the same. The thought-process is ‘designing’, the conceptual representations are also ‘designing’, the formal drawings are ‘design’, and so is the final outcome- the built environment. This journey that design goes through, is the design process. Hence, if one intends to understand the design process, it is, necessary to analyze design at all ofits stages during the process. Design Process 1. The Idea The idea or the concept for a building or interior may be inspired from numerous sources or factors. But, the germination of design occurs at this stage and it governs the entire process further, making it a crucial point in the design process. At any stage during the design, the concept is. always deemed key, and every decision is a response to the original idea. The concept may emerge from the context, program, function, location, materials, techniques, or even memory of a place, or time. ‘The idea behind the H&M Store in Barcelona emerged from the site, which isa listed 19th century neo-classical building. The opportunity to redesign a classified building to incorporate a modern attention grabbing flagship store- as stated in the brief, created a contrast which became the take off point of the design. Since the site offered a chance to work with classical proportions, the concept consisted of opening the central void below the cupola and linking the three floors with a sculptural staircase, which would take the natural light to the basement below them. arProcess 2. The Musings The idea of a design leads to a concept, which becomes a sketch, as a result of musings over the idea. These sketches can be categorised according to concept, analysis, and observation. Conceptual sketches can reveal the essence of a complex idea. A concept sketch may be drawn at the beginning of a project, but it is relevant throughout the process and after the completion of the project. Analytical sketches can be used to analyse a building or space or component. In a project's initial stages, they may conveys design intention; later on in the process they can explain ideas associated with aspects of construction. Observational sketches can be used to describe aspects of buildings, exploring materials or space in detail. Musings do not remain limited to hand drawn sketches, but extend to several experimental techniques, based on the nature of the project. Collages and photo-montages create a composite image that offers a realistic image of a design idea. 1.20 Series of conceptual sketches during Gecign development of the HAM tagship 421 Analytical Sketen of tho sculptural slaircaceineerted inthe atrium 3. The Scaled Representation Displaying a proposed piece of architecture asa series of drawings presents a challenge. The information in the drawings needs to be both accurate and interconnected to tell the story of the building and communicate the proposed scheme clearly. Orthographic drawings, refer to a system of interrelated two-dimensional views of a building. The purpose of these drawings is to technically describe how to physically realise a conceptual idea. Three-dimensional images or models, make the interpretation of a building easier, and create an impression of a building that is immediately accessible. They create an essence of what it might like be to occupy or work in a building to give a convincing overall impression of a project. 28 Lorraine Farrelly Representational Techniques 2008 HEM Store Estudio Mariscal Barcelona,Spain 2008Reuse : Redesign St = 122 Orthographic Drawings of the HAM fagship store 123 8D Renderings generated to ‘vsualise the character of the competed project 4. The Manifestation The manifestation of the design is the final stage from it's representation to its execution. The design execution is all about using the earlier stages of the process to their best advantage, in order to make the execution simpler and smoother. Depending on the materials and techniques employed, this process may be quicker or slower. Here, construction and detail drawings. are used as maps to build a component as intended. For instance, as the design process of the H&M store progressed, from ‘conceptual ideas, analytical sketches and 3D renderings of the staircase, to construction drawings made to scale, which aided in the execution of the sculptural staircase as intended. The final staircase as completed still reflects on the drawings, 3D models and even the conceptual sketches of the same. This correlation even after the completion of a project, marks the journey of a successful design process. 124 Views of the staircase al tne Had store while under construction and after completion Every design project comes with its own set of requirements and challenges, ‘and hence their own design processes. The process that any two projects go through can hardly ever be the same. But these tools, techniques, and methods applied to the design are largely common and are made flexible to fit the requirements of the design at hand. Understanding the scopes ‘and potentials of these design tools, by experimentation and combination, can open up an array of possibilities to the development, and the final design itself. 29Process Reuse and Redesign The reuse of existing buildings and the redesign of spaces within them are subjects that are central to evolution of the urban environment, and issues of conservation and sustainability have become vital to the development of cities. As the manner in which urban environment has changed, the prevailing attitude towards building reuse has also altered. There are a number of different methods used in the conservation of a structure and there are distinct differences between each approach: preservation maintains the building in the found state; restoration is the process of returning the condition of the building to its original state: renovation is the practice of renewing and updating a building and remodelling, or adaptation is the process of completely altering a building. Sometimes two of these methods may be employed in unison + 1. Preservation Preservation is a practice that maintains a building or structure, in its found state, however ruinous it may be. The building is made safe and any further decay is prevented from occurring; the ruined condition is, important to the historical understanding of the place. Buildings chosen for preservation are memorials to failed collective architectural endeavour; the reason for preserving such paradigms is to retain examples of how architects attempted to device a built form fitting to ‘emergent convictions of particular time and places, which is the purpose of architecture. ? sar View of a presened rach in Sotnd Aseriesof brochs, in the north of Scotland are an example of well preserved structures. Brochs are tall stone towers, up to about eight meters high. Built from two concentric circles of dry stone, they were both defensive and protective. The gap between the walls provided sufficient space for living, sleeping, and circulation. They possibly had different wooden floor levels, within the structure, while the ground level center area was probably used for the animals. The building was most likely to have a timber roof. These structures have been preserved in their ruinous state, while the possibility of any further decay has been prevented, but no attempt to return them to their original condition has been made. 20 Graeme Brooker and Sally Stone Form and Structure 2007 Willam Mortis founded the Society for the Protection of Ancient Buildings —_(SPAB) in 1877. The sociely’s aims are to preserve and repair buildings with respect to their age and character. They regard the romance and authenticity of the building as Important and advise on the ‘methods and skills necessary to retain this, Dun Tredden Brochs Glenelg, Scotland 2000 years agoThe Archaeological Survey of India (AS), under the Ministy of CCutture, isan organization for the ‘archaeological researches and protection of the cultural heritage Of India. Maintenance of ancient monuments and archaeological stes and remains of national ‘importance is the prime concer ofthe ASI. In 1984, Indian National Trust for ‘Arcand Cultural Heritage (INTACH) was registered as a society to stimulate and spearhead heritage awareness and conservation in India. Tughiag Dynasty Qute Complex Deihi, india 1368, The International Charter for the Conservation and Restoration of Monuments and Sites is ‘a document that gies an international framework for the preservation and restoration of ancient buildings. The intention of the charter is to safeguard these sites as both, works of art, and as historical evdence, Isidore of Miletus Hagia Sophia Istanbul, Turkey 360 AD Reuse : Redesign ‘The Qutb complex, dating back to the 14" century, is another example of preserved structures. It consists of an array of structures, including the Qutb Minar, the Qubbat-ubisiam Mosque, Alai Darwaza, the Alai Minar, the Iron pillar, the ruins of several earlier Jain temples, and the tombs of Itutmish, Alauddin Khili and Imam Zamin. The adjoining area spread over with a host of old monuments, including Balban’s tomb, has been developed by the Archaeological Survey of India (ASI) as the Mehrauli Archaeological Park, and INTACH haspreserved and restored around 40 monuments in the Park. 128 ‘Aatial View of the Qutb Complex 2. Restoration Restoration is the process of returning the condition of the building to its original state. This often involves using materials and techniques of the original period to ensure that the building appears as it would have when constructed. This approach is typically used to conserve precious or listed buildings, such as churches and other buildings with a historical significance, where the method of occupying them has not drastically changed. Such buildings have usually been added to, changed or substantially altered during their history. While restoring them, which of these stages it should be restored to, is often debated upon. The Hagia Sophia, for instance, was originally built as a church in 360 AD, and underwent subsequent additions over the years, until in 1453, the Ottoman invaders converted it to a mosque following cover-ups of several catholic mosaics and renovation of the alter to add a mihrab. 120 View of Hagia Sophia ceurenty functioning ‘98 8 museum, Ater 8 umber of functions ‘adopted by the pose balding, it is under ‘the mosaics covered Up when” comerted Into a mesque. aProcess In 1935, the building was converted into a museum, and restoration of the ‘many fragile frescos and mosaics has been underway since. In the process, both the elements, that of a church and a mosque that are significant to ‘the building's history have been preserved and revived 3. Renovation/Redevelopment Renovation is the process of renewing and updating a building. The overall function largely remains the same and the structure is generally untouched, but the manner in which the building is used, is brought up to date. Itis the services that usually require attention The Paddington station in London is a Victorian Grade | listed terminus, which was redeveloped as an attempt to establish it as an international station. The new scheme preserves the key elements of the 1930s architecture, including the classical stone wall facades while adding a pre cast concrete structure, with glass bridges and mezzanine decks contained bya lightweight steel and glass trussed roof. 130 Interior View of the Paddington Station indicating ‘he original wrought iron arabesques and the reworked roof structure 4, Remodelling/Adaptation Remodelling is the process of completely altering an existing building. The function is the key change in this process, but other alterations may occur, such as circulation, orientation, relationship between spaces, based on the requirements to accommodate the new function. Additions or extensions may be constructed, while other areas may be demolished. This process is also referred to as adaptive reuse. 1st View of tho Castohectio Museum showing the pathway Insert made into the ginal bling 2 Nicholas Grimshaw Architects Paddington Station : Redevelopment London, United Kingdom 1999 Carlo Scarpa Castelveezhio Museum Verona, aly 19641. 2. References Reuse : Redesign ‘The Castelveechlo Museum, originally a complex of buildings, courtyards, gardens, and the tower of Scaliger Castle, was restored and converted to museum in 1964, The approach taken by Scarpa was one based upon an interpretation of the history and context of the original building. Based on these, he then applied a new contemporary layer of value and consequence to the building. While intending to conserve a building owing to its history and value, these techniques are largely employed. The process that goes behind the redesign of a building mainly depends on the original found state of the building - context, hence deducing its value and importance, and the intention behind redesigning it - function. The extent to which a given building may accommodate any new work, also depends on these factors. Graeme Brooker and Sally Stone, Form and Structure, AVA Publishing, 2007 Fred Scott, On Altering Architecture, Routledge, 2008 33Context: FunctionReuse : Redesign Context : Function ‘The most significant difference between the design or redesign of interiors and the design of almost anything else is the existence of the original building. While the other most important governing factor when remodelling, is the introduction of a new function. These two together lay the stepping stones to the consequent adaptation and redesign of a building. As it has been recognized earlier, in terms of architecture, context is more than just the physical surrounding. It is consideration of history as well While, function is not simply use, but also the relationship it has with the Users and environment, and the meaning it is intended to convey. Bearing this in mind, while the redesign of a building takes place, depending ‘on the concept, either the context or the new function are given higher priority during the design process. This in turn is reflected on the design, often in the form of elements, expressions and nuances. To understand the influence of context and function on the design, it is important to examine the relationship between them, and how they affect each other. Context : Function Buildings that are considered to be adapted and reused, are ones that can no longer accommodate the function they were originally intended for. During this process, every building comes with a history which automatically affects the concept. If the building has a very strong inherent context, its adaptation is usually an attempt at retaining it, in its original state as far as possible. The new functions applied to such buildings are the least invasive ones. In such cases, very few alterations are made to cater to the new function; the methods applied to do so, are such that the building is affected in the very least of ways. The Schroder House for instance, is one of the few existing landmarks of De Stijl. It was built for Madame Schroder and her two sons, while they were growing up. Once her sons were grown up and had moved away, she lived as the curator of the house, conserving a monument of the time. in doing so she carefully repressed the interplay between the house and the everyday that threatened to dominate the initial order. 25Context: Function 432 ‘View of the Sohreder House Since the house was specifically designed bearing in mind a family’s needs, once Madame Schroder was the only occupant, it became obsolete. ‘After Madame Schroder, anyone occupying her house would need a list of instructions to maintain the rituals. This is an indication of the fact that the house though a monument now, can never be occupied. Its preserved, but kept occupied in order to maintain arguably, the only true De Stijl building. It now functions simply as a museum, where the object at display is the house itself. It can be said that the function of the house, is to retain itself as a palpable form of history. The Anne Frank House, is another example of a building which is reused as a museum given its history. Here, the history of the house, is less about its architectural significance, as with the Schroder House and more about the narrative associated with it - if the building were to collapse or the original architecture were any different, it would not affect the significance of its place. itis a typical Amsterdam canal house built in 1653, which accommodated a number of different functions over the years until in 1960 converted to a museum which preserved and restored most of the areas and objects, which were reminiscent of the World War Il. Given the change in function to preserve the building for the significance of the place, a few functional changes were made to make it operational as a museum, including an extension made to increase the exhibition space and museum facilities. 1.33 View of the Anne Frank House If @ building's location forms the most crucial part of its context, the methods in which the function is catered to become reflective of the same. The importance given to the context is evident in the new function that is, applied to the existing 38 Gertt Rietveld Rietveld Shroder House Utrecht, Netheriands 1924 ‘Anne Frank House Amsterdam, Netherlands, 41960Diversity Architects Kinsterna Hotel & Spa Monemvassia, Greece 2010 BK. Architecten Weanders In de Broeren Book Store Zwolle, Netherlands 2013 Reuse : Redesign 134 Section of the insterna Hotel & Spa if showing. locaton ear Mount Taygets Ss ‘nd. the fortess of % Nonemessia The Kinsterna Hotel & Spa, located at the scenic Monemvasia in Greece, was once @ mansion built around a cistern. Its is located next to the Byzantine fortress of Monemvasia. It was restored and adapted as a hotel. Hence, although the function of the building has changed, but in essence it is still the same. It was a mansion which housed a family, ‘and now is @ hotel which accommodates guests of the city. This change in function does demand an increase in facilitates and features as a hotel, but does not take on its location; say as compared to if it adapted into a performance space, which would require more interventions, bearing in mind its context. ‘Several mansions, palaces and forts at such locations, resort to adapting into hotels and resorts, as a manner to conserve the structures and their history. The design approach made to such contexts ss usually reciprocative. Waanders In de Broeren Book Store, is a book shop designed within @ 15% century Dominican Broerenkerk church in Zwolle, Netherlands. The city of Zwolle is one with a historical and cultural significance, home to several heritage buildings and structures. The site for this project being one of them. The bookstore is that with a large capacity of books and products on display, to accommodate which, new levels had to be introduced. These are buitt on the side wing of the church without touching the original columns. The building has been dealt with in a way that its expanse and historical feeling are maintained 138 Intaror View of tho Waanders In 1 de Browen Book ' Store showing new « a inserts made to add : & levels, Between the existing columns winout disturbing them When the existing building, while having a contextual value of its own, belongs to a typology of structures, it allows for a significant change in function, and design, as long as the elements itis valued for, are retained. Here, the colonnade and vaults are maintained in their original condition hile introducing a new set of elements in the least invasive way possible. arContext: Function All the design decisions made, giving a higher priority to the context can be termed as contextually functional - decisions, elements, components, which are made functional, such that they respond to the context better, and indicate the context’s relevance, to that particular project. The stronger and more inherent the context, the less there is the flexibility and room for change in function. The following diagram is the representation of the same. CONTEXT Least Change Schroder Howe —e—_Seveerfiowes Anne Frank House ———_@ ___imefrontHowe Kinstema Hotel & Spa —$_——_——_—_9—_ aint se __| Woanders h de Broeren Boot Store Pron Bot Store | FUNCTION Most Change diagram 1.4 The Schroder House being of monumental value has an inherent context which allows essentially no room for change in function; the Anne Frank House which carries a significant memory provides a room for extension and change but at the same time strives to retain all the spaces and elements symbolic of that memory; the location of the Kinstemna Hotel & ‘Spa is what largely defines its context, hence allows relatively more change but with a new function which is suggestive of the original function, which maintains the location as an integral part of the new design; Waanders In de Broeren Book Store belongs to a typology of buildings that are now considered ‘heritage’, thus allowing a considerable change in function provided that the elements that define the typology are maintained (diagram 1.4), Context : Function When the change in function becomes the key intention behind adaptive reuse, it tends to dominate the design process. The design is made to primarily accommodate the new function, and then consequently made contextual. This includes the set of projects where designing a building which responds to the function is given more importance than response to context. That is to desist from the fact that the context is disregarded, but itis not given primary importance. ‘The BALTIC art gallery located in England, is contained within the once iconic Baltic Flour Mill. The building was originally constructed as a series of massve concrete flour silos which were placed within the area defined by even larger towers. These comprised of the primary structure of the 38Elis Willams Architects BALTIC Gateshead, England 2002 Block Architects ‘Vegan House Ho Chi Minh, Vietnam 2014 Reuse : Redesign 136 ‘Schematic View of ‘nee made inthe Battle Mil Bung The silos were removed during adaptation of the mill to the art gallery, which was placed within the vacant space. Circulation was placed within the retained towers. The two short ends of the building were glazed allowing large amounts of natural light to penetrate the gallery. The large flour mill lettering on the sides of the building was retained, as a reminder of the once magnificent days of the mill Here, the nature of the existing site allows a considerable change in the building comprising of the large insert which accommodates most of the new activities, based on which subsequent decisions have been taken. The building retains a memory of the past through the structural towers ‘and mill lettering which charcterise the building's history. Vegan House is a reuse project where an old Vietnamese house is converted to restaurant. The ground level of the house functions as a restaurant while the upper levels are the residence of the owner. ‘The Vegan House comes with a narrative which is to manifest into form, the memory associated with the client's collection of old windows and furniture. The project comes with a strong context owing to its story, butone that only the client relates with. The concept behind the project involved setting the house apart within its cluttered surroundings, by experimenting with the facade. This function to create a new skin for the building, is fulfilled by contextualising it to the setting through the use of the client's old windows. ae ST EN ae wom Howse and its surrounding bulings 20Context: Function ‘The design approach made at the Vegan House is an example of buildings that are associated with contexts which are strong but not universally relatable - contexts where the building's and user's background is stronger ‘than the physical existing. These need to be incorporated within their functions to make an association with the narrative. 138 ? View of the shop - entrance ‘WestChelsea, once arun down district of New York with derelict warehouses has been turned into an upmarket area, by creating a setting fitting for a wide range of galleries, clubs, restaurants and fashion boutiques. ‘The design for a shop entrance for a Japanese designer's boutique, came with @ challenge where the building has no display windows in which to present the designer's works; butrequiresa newentrance which isattractive enough to intrigue passers-by. The boutique lies concealed between art galleries, and the concept that was developed was that the clothing too like art, needs to be discovered. The facade was left unchanged - with its old signs and an external fire escape ladder. Leading from the entrance portal into the interior, a tunnel like assymetric tubular structure forms a ‘transition between the existing building and the newly designed shop. The glass entrance door, offers a glimpse of the interior. Here, the entrance is an insert made into the existing warehouse, irrespective of the context. The concept was largely developed from the brief which was to fulfil the function of a window display and create a detachment through the design of the shop entrance. By retaining the bulldings exposed brick facade, the signs and fire escape, a memory of ‘the building's past as a warehouse is hinted upon. The Coworkts building, which was an underutilized industrial shed in Brooklyn, has been converted to a workplace for startups. Here, the bullding has no historic significance much like the other buildings around it which subsequently adapted to new functions. All these buildings have a strong character of being unused for a long time and its effects are clearly visible in the building's interiors. ‘The approach made to the building was one where all the existing elements were maintained as they were- raw and unfinished, while focus was shifted on working towards a concept that successfully satisfied the needs of a new function- a workplace for startups which made a statement of new innovation. 40 Future Systems Shop Entrance New York, USALEESER Architecture ‘Comorkrs Brooktyn, USA 2016 Reuse : Redesign ‘A dramatic series of brightly colored stairs, have been used, to create ‘connected pathways throughout the three levels. The origami-like folds of the stairs are carried through the kitchen areas. Bands of lighting are recessed into the floors as well as the cabinetry in common areas. 138 Interior View of Coworks The final result maintains the building's original ‘rawness’ while creating distinct focal areas and spaces for the next generation of startups. Here, the building provides immense room for change and interventions ‘owing to the fact the only criteria with the context in mind was to keep it untouched, while focusing on new elements which reflected the new function. All the design decisions taken, with respect to function, which are further contextualised, can be termed as being functionally contextual -functional decisions, elements, components, which are made contextual in order to respond to the context in some way, without obstructing its function. ‘The stronger the sense of existing function, expansion, or new function, the more change, addition, and intervention, the site can accommodate. CONTEXT Least Change BALTIC —e—mae Vegan House ———_~_ eee dd Shop Entrance —_g_—_“Swbtorce _ Comorts pe FUNCTION Most Change diagram 12 “aContext: Function BALTIC comes with a significant history along with a site which allows more flexibility resulting in a considerable change, while maintaining the mill's, memory; the Vegan House’s context was largely based on the memory associated with the collected windows and furniture, whose method of application to the facade has made it contextual, irrespective of the existing facade; the design for the shop entrance in New York, is a result of response to the function which was to create an attractive entrance for a mill converted to a shop without a street display - leading to an insert conflicting the existing which has been kept undisturbed; Coworkrs has arguably the most unconditional context to work with, considering the lack of historic depth and immense open space, leading to sizable inserts and interventions. The stronger the change in function, the less reciprocative response to the context, leading to more and varied change in the building (diagram 1.2). ‘While it is understood that the decisions made during the redesign of a building can only be governed by either the context or the function, any one project as a whole may not necessarily be termed as being contextually functional or functionally contextual. This is often reflected in the elements and components of the new design, which may be termed so. 1.40 Viow of the sling folding sandstone shutters forming the facade sat View ofthe refiective lament inthe K I restaurant reacting i K e picturesque views oF 1 = te tor For instance, the screening element at Raas, is designed to meet the requirements of detaching the guest rooms from the common premises and the street, and to add a layer, which would be the new skin of the building. This element is the result of a necessity to meet its function; but. itis further contextualised to relate to the context. The use of sandstone - both material and technique, which is an unconventional choice for sliding, folding screens, is a reflection of contextualisation of the element. Here, ‘the screen is functionally contextual (ig.1.40). Further, in the same project, the reflecting element in the restaurant of the resort, is a product of response to context. Unlike, the sandstone screens, ‘this element is a result of context, rather than that of necessity. It reflects ‘the view of the fort overlooking the resort. Its function is to respond to the context, hence making it contextually functional (fig1.41). 2Reuse : Redesign Hence, understanding the impact of context versus function to a particular project, aids its decision making and can prove to be an important factor to ‘categorize design decisions while analyzing a building's redesign process. “3Function : ProcessReuse : Redesign Function : Process When a building is considered for redesign, it is done so with an idea of maintaining some proportion of the existing. The building's original function, and the consequent intended function, are factors that govern the method of the building's treatment. Unlike context and function, the relationship between function and process is a linear one. The design process is always in response to the function, but the function may not get affected by the set of processes ‘employed. Design processes are chosen, depending on the function that itis intended for, after redesign. This is because, every building comes with a history of its own and in several instances, it has undergone many changes in structure and in function over the years. Depending on the new function, the building, at one of these stages in its history, is considered to be the starting point of the redesign. If the building's function is changed or reconsidered as a means to sustain it, then processes usually focus on techniques of conservation like preservation and restoration. In such cases, the building is usually brought, back its original built state or is preserved as it is found. ‘The Mehrangarh Fort in Jodhpur, India is one of the largest and oldest forts in the country, built in 1460. Within its boundaries, there are several palaces known for their intricate carvings and expansive courtyards. The fort has been restored and is maintained by the Mehrangarh Museum, Trust, who have conserved the building under the Conservation Master Plan. Post its restoration, a large area of the fort was converted into a museum. Here, owing to the fact that the fort cannot cater to a major change in function, due to its overpowering context which cannot be circumvented, the processes involved have largely been those of conservation of the building in its original state. The courts and palaces which have been converted to galleries to exhibit artifacts, do not perturb the original structure in any way. 45Function : Process. Mehrangath Fort Jodhpur, India 1460 122 View ofthe Mehrangamn fort, verooking the oy of Joahpur Buildings which consequently become spaces which are simply meant to accommodate people; to house something which needs to be observed, generally fall under this category. These include historical buildings that become, museums, art galleries, exhibition spaces, and buildings of monumental value. This is because, such functions require minimal tangible elements and components to serve their new function, subsequently disturbing the original form, in a negligible way. In several cases, when the function of such structures changes drastically, ‘the design approach and processes employed are such that they are easily reversible. The Mehrangarh Museum Shop is one such example. The new display and lighting elements are designed bearing in mind the Mehrangarh fort's, historical value. Therefore, the techniques applied to insert these new elements do not disturb the original columns, and can be easily dismantled 10 bring the space back to its original condition. Special pressure clamps were developed for Post card & book display around the existing stone columns that hold the entire display in place without any structural elements damaging the old structure. All light fixtures were mounted on expanding pressure rods with rubber mounting on either side that stayed in place using pressure. Studio Lous ‘Mehangath Museu Shop Jodhpur, india 2004 143 interior View of the Mehrangam Museum shopKalhofer and Korschildgen House Extension Remscheid,Germany 1998 Reuse : Redesign If a building is approached with a function which is looking for a site to be accommodated in, or if the overall function goes through expansion, then relatively less proportion of restoration is seen, and more invasive processes like renovation, remodelling, and updating of the building are applied. Extensions in existing buildings are largely a result of such a scenario. The extension of a house in Remscheid was designed bearing in mind a similar intention. The intensively used garden of this timber-framed house ‘was accessible only via an internal staircase in the basement plinth storey. The client, who lives on the ground floor, required an enlarged living area with a more immediate link to the garden. Since a later shared use of the upper floor was foreseen, an uncomplicated change of functions was necessary. Keeping in mind the need for @ expansion of the function, following a ‘subsequent change, the extension was made to be a flexible one. The form. of the new structure, is one that corresponds with the existing structure dating back to the 1950s. ‘The new volume of the house is raised on a supporting structure consisting of steel box sections. Industrial rollers in channel section tracks allow the entire section to move backwards and forwards. During the warmer months of the year, it can be slid aside, opening up a platform at ground floor level which can be used as a terrace (fig.1.45).. | T 144 I Street View of the house and extension } in the winter pestion ous Sire Vow of the J) eds nose tne watt cin The suner potion aFunction : Process. The platform consists of metal gratings which allow light to penetrate the area beneath. A narrow staircase between the old and new structure provides access to the garden even when the new extension is moved to its ‘winter position’ (fig.1.44) Here, the nature of function allows for the original building to remain as it, is while simply making an addition to the structure. Although no processes of conservation have to be conducted, a reciprocation of the existing is, seen in the new extension. In certain cases, the need for redesign of a single structure is part of a large scheme. Here, the key intention is to provide a function to an area, locale, oF space to add value to it.. Such spaces are usually chosen by individuals to incorporate their commercial interest. The transformation of an old cargo boat into a restaurant along the Duoro in Oporto, is one such example. Along term urban planning project has been implemented to activate the riverside space and to upgrade the road strip along the river Duoro in the Portuguese city of Oporto. AS part of these measures, a disused cargo boat has been converted to a restaurant. The boat is held in position by ‘two steel masts driven into the river and left in an untreated state. Asloping gangway leads down the river bank to the former ship. High walls screen the restaurant from the bustle of the shore, leading to disjunction. from the shore while the broad view of the river unfolds. The other three sides of the restaurant are fully glazed with large opening elements. A steel platform with a wood plank deck has been constructed on the old vessel, and set on top of this is the small cubie structure in steel and glass which houses the dining room. In warm weather, itis extended to the terrace and deck. Here, while reusing the cargo ship, techniques are applied bearing in mind the needs of a restaurant and that of value addition to the riverside area. The major focus is not the sustenance of the existing, owing to which, processes of conservation are not applied to this project, but the design retains the character of the ship. \ iL r 146 View of the restaurant overlooking the rvar Guilherme Paris Couto Restaurant in Oporto Oporto, Portuagalar ‘Section ofthe reused cargo ship ‘The new function governs all the processes applied to the redesign project, based on the new needs and requirements, while the processes are always, ‘a response to the concept and function. Function might be governed by the response to context, consequently affecting the nature of processes applied. This indicates an interrelationship between context, function, and process. 49Process : Context 50Process : Context Process and context have a reciprocative relationship when it comes to building reuse. The processes applied based on context, take hints from the existing structure, materials, and techniques. While the nature of approach to the context, is defined by the type of process and techniques applied. Unlike context and function, neither process nor context can be given a higher priority, instead both play an integral role in defining each other. If a design takes off from the type of process employed, it characterises, the approach to context. Whereas if a design begins at the approach to context, the process is contextualised to exemplify the nature of approach. Process : Context Process based on context begins with a thorough analysis of the physical existing. The analysis of structural systems of a building, results in the necessity to consider appropriate on-site processes, followed by response to context. Different types and qualities of spaces can be created from different structural systems. The key intention is to make alterations ‘and additions in a way that the structural integrity of the building is not compromised. Structural systems can largely be categorised as load bearing, and frame structures. The 21* century saw the introduction of contemporary construction techniques such as monocoques and fractals, although the basic understanding here, can be limited to load bearing, and frame structures. Load-bearing buildings contain thick walls constructed using stone or brick, and are built from the ground up, layer by layer incorporating their own ‘weight. There is a restriction in spans and openings, resulting in confined ‘spaces and limited natural light. The reuse of load bearing buildings usually results in a very specific type of interior. They have confined interior spaces with restricted natural light. Any structural changes have to be thoroughly compensated for. This was the most common building technique before the 19" century, and as a ‘consequence, is often subject to redesign, stProcess: Context A building with a frame structure, usually has a definite order to it. The columns are generally arranged as a grid, leaving free, uninterrupted space between them. A frame construction usually employs steel, timber, or concrete. The surrounding and partition walls are thin as they do not correspond to the frame. While redesigning a frame structure, these walls can be altered if needed. ‘They can be arranged in any pattern or organisation that supports the new activity of the building. A series of interventions can be slipped between ‘the structure. The building's initial condition also indicates requirements for on-site processes before redesign begins. listed building to be adapted for a new function may be redesigned to incorporate interventions and additions. Although if it is in @ particularly poor condition, it may have to undergo restoration and repairs before further alterations are made. Hence, in such cases a combination of processes are applied. While redesigning the Sackler Galleries, the facades of the original buildings were completely restored, before remodelling the space. The Sackler Galleries are accessed through what was once a narrow gap between the rear of the original building and the Garden House extension. contrasting insert of steel and glass has been introduced in this slender space, which forms the circulation route. This element is self supporting and does not rely on the original building for structural stability. It allows the visitors to view the building's facade up close while climbing up the stairs. Owing to the visitors’ intimation with the facade, it was restored with the same quality and expertise as the original a8 Sectional model of the Sackler Gallons depicting its location betweon wo bulcings 129 Interior view of the stairwell “under ‘constuction The initial on-site processes applied are either in respect to structural stability, resulting in civil changes, or restoration and repairs, followed by which contextual and functional interventions can be made. 2 Julian Harrap Architects, Foster + Partners Sackler Galleries London, UK 1981Selexyz Dominicanen Bookstore Merkz*Girod Architects Maastricit,Netherlands 2007 Reuse : Redesign Process : Context ‘The exterior context around an interior is a very influential consideration to redesign. Several site specific conditions influence the form and character of the building and have a subsequent effect on its interior. Such contextual factors include surrounding buildings, topography, urban density, and history. Processes exercised in the redesign of a building result in the ‘embodiment of the design approach made to the context. ‘The Selexyz Dominicanen Bookstore in Netherlands is housed within a 14% century Dominican church. Selexyz is a popular bookstore chain in the Netherlands which intended to reactivate the building by introducing one of their stores within it. The key intention was to introduce the new function, within the building without disturbing the existing elements. ‘An addition of a mezzanine was necessary in order to house the programmatic requirements. The mezzanine was designed to be accommodated among one of the two massive colonnades of the church. The key feature of this project is exhibited in the execution processes. The existing elements were preserved as they were found originally. The mezzanine was built using a metal structure carefully maneuvering the original columns without disturbing them. 150 3 drawing ofthe stoel structure 1st Imerior view of the stool mezzanine Under construction In order to make this intervention without disrupting the existing, metal fabrication was used. The character of the newly added mezzanine hence is in a.conflct with the existing stone structure. This response to the context, is then carried forward to the remaining new elements. The conflict in the old and the new allows a distinct visual segregation in the interior of the bookstore. Both set of elements allow each other to stand out, consciously exhibiting the past and the present. The analysis before restoration and remodelling of the Castlello di Rivoli to the Rivoli Museum of Contemporary Arts, revealed that the original structure had been modified and added to over time. Each of these layers belonged to a different era. The unfinished 18" century house had been built upon the ruins of a 17” century palace, which In turn had been constructed over a 16" century palace built over medieval ruins. Each layer was not fully demolished before the successive building was. constructed hence, it was discovered that the site contained half an 18" century palace, a long 17" century picture gallery and remains of older buildings. 53