How can the spirit of place be strengthened through

the adaptive reuse of church buildings?


Raic
MA(Hons): Interior Architecture and Design
2018

How can the spirit of place be strengthened through
the adaptive reuse of church buildings?
RAIC, Milana (17683435)

Submitted in fulfilment of a part of the requirements for the degree 


Masters of Arts in Interior Architecture and Design

Supervisor: Dr. Anna Catalani

Module: Research Methods
INT9002M
November 2018

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I declare that this report is my own work and has not previously been
submitted for assessment.

Milana Raic
17 November 2018

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Table of Contents

List of Figures v

1. Introduction 1

1.1 Aim 1

1.2 Objective 1

1.3 Delimitations 2

1.4 Project Site 2

2. Literature Review 2

2.1 Spirit of Place: Genius Loci 3

2.2 Spirit of Place: Significance 3

2.3 Spirit of Place: Sense of Place 3

2.4 Spirit of Place: Placelessness 4

2.5 Spirit of Place: Conclusion 4

2.6 Adaptive Reuse: Definition 5

2.7 Adaptive Reuse: Pros and Cons 5

2.8 Adaptive Reuse: Spirit of Place 6

2.9 Adaptive Reuse: Best approach 6

2.10 Adaptive Reuse: Sustainability 7

2.11 Conclusion 7

3. Precedents 8

3.1 Method 8

3.2 The Garden Museum, London 9

3.3 Quay Place, Ipswich 10

3.4 Boekhandel Dominicanen, Netherlands 11

3.5 De Petrus Meeting Centre, Netherlands 12

3.6 Conclusion 13

4. Project Plan 13

5. List of References 14

5.1 Precedent References 16

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List of Figures

Figure 1.1: Practical research site for INARDSMA module: 1

The church of St Mary-le-Wigford (Lincolnshire Archives, circa
1950)

Figure 2.1: The Garden Museum: Contemporary insertion 9

combines elements of harmony and contrast to the original
building (Coleman, 2018)

Figure 2.2: The Garden Museum: CLT insertion in harmony 9

with existing stone fabric (Coleman, 2018)

Figure 2.3: The Garden Museum: Elements of historic 9

significance highlighted through mute tone of insertion. (Raic,
2018)

Figure 2.4: The Garden Museum: Openings in foreground 9

protruding in against a mute background (Raic, 2018)

Figure 2.5: The Garden Museum: Openings in foreground 9

protruding in against a mute background (Raic, 2018)

Figure 3.1: Quay Place: Insertion in place of 1960s internal 10

buttresses. (Marshall, 2017)

Figure 3.2: Quay Place: Section through tower and nave to 10

contemporary extension, showing mezzanine intervention in
harmony with the existing vertical framework. (Molyneux Kerr,
2016)

Figure 3.3: Quay Place: Section showing public nave, semi 10

public meeting spaces and private therapy room in
contemporary rear addition (Molyneux Kerr, 2016)

Figure 3.4: Quay Place: Glazed spaces within mezzanine 10

intervention, providing views of activities in the central nave
(Marshall, 2017)

Figure 3.5: Quay Place: Transparency in 
 10

compliment to the existing stonework (Marshall, 2017)

Figure 4.1: Selexyz Dominicanen: Asymmetrical height 11

differentiation through central nave (Aldershoff, 2007)

Figure 4.2: Selexyz Dominicanen: Crucifix alter shaped table 11

in coffee shop and halo chandelier as translation of religious
symbolism (Aldershoff, 2007)

Figure 4.3: Selexyz Dominicanen: Contemporary Insertion 11

integrating through existing fabric. (Sketch: Raic, 2018)

Figure 4.4: Selexyz Dominicanen: Central axis define though 11

metaphoric alter created by composition (Sketch: Raic, 2018)

Figure 4.4: Selexyz Dominicanen: Modular bookcases fitting 11

into existing perforations created by the fabric (Sketch: Raic,
2018)

Figure 4.5: Selexyz Dominicanen: Modular bookcases fitting 11

into existing perforations created by the structure of the fabric
(Aldershoff, 2007)

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Figure 4.5: Selexyz Dominicanen: Respectful integration and 11
space allowed between the two layers of time (Aldershoff,
2007)

Figure 5.1: De Petrus: Sliding bookshelves to allow flexibility 12

of the public nave space. (Poelstra, 2018)

Figure 5.2: De Petrus: Whitewashed background and 12

mezzanine floor to allow elements of significance in
foreground. (Poeltra, 2018)

Figure 5.3: De Petrus: Highlighting of the elements of 12

significance (Sketch: Raic, 2018)

Figure 5.4: De Petrus: Insertion meeting flush with original 12

fabric (Sketch: Raic, 2018)

Figure 5.5: De Petrus: Curvilinear insertion expressed in the 4 12

external additions to the public space (Mbvda, 2018)

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1. INTRODUCTION


Contemporary changes in demographics, religious, cultural and social

values in urban centres have resulted in a decreasing number of church
attendees, with no sign of this trend diminishing. Church buildings are
becoming increasingly unviable or no longer appropriate for their original
purpose of religious worship; leading to the buildings declared as
redundant, vacant, converted or demolished. (Mork, 2015; Amayu, 2014). 


The problem identified was in conclusion to the the parallel thinking of two
thought streams. The first regarding the importance of retaining this sense
of belonging and familiarity that is attached to buildings viewed everyday
that have an element of underlaying significance to them, especially
historic churches, yet the difficulty of formally processing this intangible
importance that encompasses more than religion.
The second thought stream resulted from an article in The Guardian
announcing a £27 million growth programme by the Church of England as
part of a long term scheme of the church reaching out into the community
with aim of positive social change.
‘If the church wants to survive and thrive, it will need to see it self in a new
light - more responsive, and willing to embrace how people live
today’ (Rees 2018)

Naturally the problem rises in identifying this idea of the spirit of place that
is emanating from the church building and in turn retaining its significance;
in the face of the current unviability that creates a pivotal point of decision -
to demolish, conserve or adapt?
The route of research has been focused on the idea of adaption and
alteration (Scott 2009), as a bridge between the conservationists approach
of preservation and the architects approach of demolition and rebuilding.

1.1 Aim
This research proposal aims to analyse and evaluate methods of best
approach regarding the rise of adaptive reuse interventions to church
buildings that are currently under threat of demolition, vacant or hold an
unviable use; in parallel to strengthening the factors related to spirit of
place and cultural significance.

1.2 Objectives
• Define the concept of ‘spirit of place’ through exploring the ideas of
‘genius loci’ and ‘sense of place’
• Analyse approaches to best practice of adaptive reuse and its associated
benefits and problems, in the context of unviable and vacant church
buildings.
• Compare and contrast the approaches of four precedents sharing
morphological and typological similarities in the method and solution
regarding the stated research problem.

RAIC, Milana, November 2018 1






1.3 Delimitations
The research will not focus on creating new links between health and
wellbeing and spirit of place, but work with the existing framework that
surrounds these studies which show there is a positive connection between
the two factors. (Historic England, 2009 and 2014; Burra 2013 and
Graham, Mason, Newman, 2009)
The research will not create new definitions of terminology associated with
‘adaptive reuse’ (cultural significance, heritage values, conservation,
restoration and adaptation) and will use definitions stated in The Historic
England Conservation Principles, 2009 as well as in the Australia ICOMOS
Burra Charter, 2013.

1.4 Project Site

The research problem will be investigated through the practical design
project route in module INARDSMA.
The site chosen is the church of St Mary-le-Wigford in Lincoln.


Built in the late 10th century with additions in the following centuries and
owing its significance partially to being the church with the longest record
of unbroken service in Lincoln. However, the original intended use of
worship is no longer viable as the parish consists of a low residential
community and an overall decline in regular church membership.
The pews have been removed and the nave is now a multi use space
rented to community organisations, as well as the church hall and small
office spaces for public use. The current use is suitable, however not in an
optimal state nor economically or sustainably viable.
The church is a vessel encapsulating the significance of the former Wigford
parish, housing many fragment of former demolished churches as well as
remnants of the industrial revolution; set in a central location that holds the
spirit of transition and temporality, adjacent to the railway station and set at
the heart of the high street, south of Brayford pool.

‘The church holds a valuable depository of history within it’ 


(Reverend Jeremy Cullimore, 2018)







































Figure 1.0: The coast of Semantics. Despite the weather, the inhabitants enjoyed
viewing the sunset from the beach (Adam, 2014:234)


RAIC, Milana, November 2018 2

2. LITERATURE REVIEW
Please refer to Addendum D for full literature review

2.1 Spirit of Place: Genius Loci

In classic mythology, the latin term of genius loci refers to a protective spirit
attached to each place, watching over and holding a special character
associated with it, through this arises the term ‘sense of place’. 

(Hilty, 2014; Morreale, 1992; Norberg-Schulz, 1979)

Through historical records we can see the importance held regarding

working interdependently with the intangible ‘spirit’ and the tangible
building fabric; advised by Alexander Pope in his Moral Essays in 1731 ‘in
architecture, all must be adapted to the genius of the place, … beautiful not
forced into it, but resulting from it’.

In our current reality the concepts of genius loci and spirit of place may
seem as entirely intangible, open ended and qualitative, however the
genius loci is formed by a range of factors that make up this local
distinctive character; ‘the sum of all physical as well as symbolic values in
nature and the human environment’ (Jiven and Larkham, 2003). In the
context of urban design and architecture there are 4 identifiable, tangible
elements to consider: The topography of the earths surface; cosmological
light conditions and the sky as natural conditions; buildings; symbolic and
existential meanings in cultural landscape. (Jiven and Larkham, 2003)

2.2 Spirit of Place: Significance

In relation to the make up of the local distinctive character, Historic
England’s Heritage Values inform us of the concept of ‘heritage
significance’ which is the sum of all the heritage values associated with the
place. The value of a historic place is grouped into evidential value, historic
value, aesthetic value and communal value. This is assessed through a
statement of significance in order to manage, use and conserve it
appropriately. (Historic England, 2008 and Burra, 2013)

There is a differentiation identified between the ‘genius loci’ and ‘sense of

place’. The former seen as the range of factors that make up the unique
characteristic of the place and the latter seen as the way we experience,
use and understand the place.

2.3 Spirit of Place: Sense of Place

In relation to ‘space’ and ‘place’, there is a stronger level of attachment
between the user and the ‘place’ in comparison to the usage of the word
‘space’. The values, meanings, symbols and myths surrounding the ‘space’
translate into the reinforcement of becoming a meaningful ‘place’. (Najafi
and Shariff, 2011)

Meanings and messages associated with space are decoded through our
individual perception, resulting in a differing experience of the place for
each of us. As the definition states that sense of place is an emotional
connection between people and place, there is no one defining
characteristic but a group of singular perspectives with various
experiences, motivations and intellectual backgrounds experiencing the
tangible and intangible characteristics of the space. (Hashemnezhad,
Heidari, Hoseini, 2013)

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Spaces with ‘a sense of place’ provide the social interaction and
encouragement to ‘dwelling a little longer’ to connect with one another,
which are increasingly becoming important factors linked with the health
and well being of society in the current urban environment. (Najafi and
Shariff, 2011)



Although no direct links are found between ‘sense of place’ and heritage
environments, there are promising positive links indicating increased social
capital, encompassing wellbeing, higher self esteem, better heath and
social cohesion generated through interactions between people (Graham,
Mason, Newman, 2009). The Heritage Counts survey assessed the value
of heritage on wellbeing, economy and sense of place; showing the
contribution of heritage to sense of place and identity, boosting social
capital and positive relationships between life satisfaction, slightly higher
than impacts of participating in sports and arts. (Historic England 2014)

2.4 Spirit of Place: Placelessness

When we are not responding to our contextual environment sensitively and
to the respective genius loci; we are risking creating such placeless ‘non-
places’, defined as ‘culturally unidentifiable environments that are similar
anywhere’ (Relph, 1054). Through this rise in placeless and lack of
interaction with our immediate environment, have resulted in the
contributing factors in the prevalence of depression and discontent
(Hashemnezhad, Heidari, Hoseini, 2013). On the opposite end of the
spectrum is the concept of ‘topophilia’ an emotional and cognitive link
forming the love of a place (Tuan, 1977), indicated by a strong relationship
between the place and the person, in turn resulting in more care and
feelings of ownership and a strong sense of place and belonging.

2.5 Spirit of Place: Conclusion

There is an agreement in the importance of examination of the particularity
and differentiation of the given place from another, understanding of the
cultural and historic significance and inextricably linked spirit of place;
before undertaking any maintenance, conservation or development work.
(Seamon and Sowers,2008.,Burra, 2008., Scott, 2009).


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2.6 Adaptive Reuse - Definition
The approach of ‘adaptive reuse’, focuses from perspectives of function,
conservation, environment, economy and the socio-cultural context.

A definition is given by Yung and Chan in 2011 ‘any building work and
intervention to change its capacity, function or performance to adjust, reuse
or upgrade a building to suit new conditions or requirements’; with an
agreed underpinning of economic viability (Cantell, 2005). In regards to
function, either an intervention of a new function is necessary when the
former has become obsolete or the optimisation of the current use if this is
appropriate (Conejos et al cited in Garstka, 2012:12 and Scott, 2007).
Another factor in the definition is the importance of preserving the original
character of the building, the spirit of the place and the heritage
significance in this transition process (Love and Bullen, 2009 and Scott,
2007).

2.7 Adaptive Reuse - Pros and Cons

There is a general agreement that the highest regarded benefits of
adaptive reuse of heritage buildings are of socio-cultural importance as
well as environmental and play an important role in the developing local
sustainability frameworks (Bullen and Love 2011).

Through adaptive reuse, heritage markers and ‘cultural icons’ that create
an ‘aesthetical’ environment are retained the sense of place is reinstated.
Impacting positively to the local identity, quality of life, well being and social
capital of the community; as oppose to the ‘mentality associated with a new
building stock that can be replicated anywhere and therefore lends no
specific connection to the local environment’ (Bullen and Love 2011).

There is an agreement in the approaches benefits to sustainability,

reducing environmental impact by reusing and extending the interlinked
‘embodied energy’ that the building holds; in addition to making use of the
existing connection to the public infrastructure system and reducing the
contaminants released during the demolition and construction process
(Bullen and Love, 2011 and Garstka 2012). The opportunity for sustainable
innovation and testing new technologies was too identified as a positive
aspect.

Most barriers encountered in the approach of adaptive reuse are seen in

the financial aspect, initially perceived as uneconomic and unviable due to
problems with maintenance costs, existing layout restrictions, health and
safety regulations and associated planning restrictions (Bullen and Love,
2011).

The agreed solutions in moving forward and making heritage buildings
attractive to developers as viable projects relies on the proposal of new
funding initiatives offering tax concessions and adaptation with reduction of
existing framework to provide flexibility in meeting building requirements
(Amayu ,2014 and Bullen and Love, 2011).

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2.8 Adaptive Reuse: Church buildings and Spirit of Place
Church buildings are a physical manifestation of importance to religious
and secular communities, representing socio-cultural values that unite
large congregations of people that share in common religious or cultural
beliefs. Making up the most significant single group of the historic
buildings, church buildings are often associated with the ‘genius loci’, the
distinctive atmosphere of the place (Mork 2015).

Belonging to not only the immediate religious users, the church belongs to
the local and national identity, ‘One does not require a religious affinity with
a church in order to regard it “ones church”. When a church has been
declared redundant, it is not only the religious heritage that is threatened,
but also the cultural heritage from the surrounding community, and for that
sake the national heritage’ (State of Quebec Canada in Mork, 2015).

Mork generates a scale of attachment from varying levels of association,

responsibility and ownership associated with the church. With active
members of the congregation seeing the church forming their spiritual
home and to the christian community as a place of religious worship; the
local community as a landmark and symbol of their every day streetscape
and associated cultural heritage and lastly in the wider context the church
is seen as part of the national heritage (Mork, 2015).

The church contributes to the tangible elements of history manifested

within the physical environment; they are physical markers of place, often
constructed in a central and visually important location, in proximity of
residential and commercial centres, with an integral role in the physical
layout and development of town planning strategies (Mork, 2015).

There is an increased interest in the significance of heritage buildings
including churches in the sustainable urban planning neighbourhood
regeneration strategies, through adaptive reuse to conserve historic,
cultural and architectural significance of these older buildings. (Bullen
Love, 2011 and Mork, 2015)

‘cities need old buildings to badly is it almost impossible for cities to have
vigorous streets and growing district without preserving their older
buildings’ (Jane Jacobs, 1961)

2.9 Adaptive Reuse: Best approach to church buildings

In the approach of adaptive reuse, there is an agreed consensus that the
best function of a church is its original function, however if vacancy and
demolition are the next unavoidable stage, there is an agreed success of
those interventions that have been utilised for public nature, respecting the
community and cultural associates. Whilst in contrast, the least successful
approach from a social perspective are private conversions, this is seen as
a personal attack on the community, on religion and on the cultural
significance of the church (Mork, 2015).

It is also suggested that the solutions are partially reversible and kept
incomplete to allow an intergenerational dialogue in its transmission into
the future (Scott 2008). The incompleteness and flexibility allows for
through further adaptability and intervention, without compromising the
existing fabric and retaining respect for the associated significance and
spirit of place.

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An understating of the sensitivity of the Christian denomination in relation
to the degree of proposed intervention in necessary. The Orthodox church
holding high regard for the building as the materialisation of the holy spirit,
therefore the church can only be utilised as holding the original intended
function of worship, or it is to be demolished. However the Catholic
denomination holds the Eucharist as the source of Christian life, all the
content for preforming the ritual are considered of importance and should
be removed before the church is repurposed. The eutherian church and the
Reformation churches do not consider the building or objects as sacred
and are only used for the practical aspect (Mork, 2015).

2.10 Adaptive Reuse: Sustainability and Environment

Addressing ‘one of the most important issues facing society in the 21st
century’ (Historic England, 2008) in the context of working within the
heritage environment, arises the crucial re-using and recycling of heritage
buildings in sustainability practice. Yet this forms the most significant
challenge with existing historic buildings, in terms of improving the energy
efficiency without destroying the existing distinctive significance (Historic
England, 2008). If buildings of historic importance and heritage significance
want to move forward, a key issue to research is the sustainability aspect
of the materials and processes used in the proposed intervention as well
as improving the existing energy efficiency of the building.

2.11 Conclusion
Our urban environments are adapting and expanding to meet the
changing needs of the demographic; the adaptive reuse approach can
offer a sustainable, economically and socio-culturally viable route.
Acknowledging and retaining the cultural significance and reinstating
the associated spirit of place, through best practice of socially viable
public and semi-public use interventions that are partially reversible
to allow for the transition and intervention of the next generation.

Through the literature review there is an agreement into the methodology

of approach to vacant or unviable church buildings and an insight into the
external factors and considerations in terms of the positive impact on
wellbeing and sustainability in the socio-cultural context. However, limited
research of the interior architecture approach in tackling the ideas of
sustainability in the interior church building fabric, an insight will be
provided by the synthesis and analysis of the four precedent studies.

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3. PRECEDENTS


3.1 Method
Following the 7 precedent based knowledge recycling models (Eilouti
2009), the information produced will be a synthesis of the data gathered
into principle based design (PRBD) in relation to the elements of
composition as well as conceptual based design (CNBD) in relation to the
intangible philosophy and paradigm behind the current situation of the
church and the context preceding the design process. The precedents will
too be wholistically considering through a system based design (SYBD).

Primary sources of information such as first hand photographs, sketches

and collected booklets from a precedent visit are used as well as collected
photographs descriptions from the architects website. In support with with
secondary sources such as published reviews, journal articles and
awarding bodies commentary.

The precedents chosen are exemplary contemporary concepts in solving

the research problem identified, of church buildings under threat of
demolition or listed as ‘at risk’ due to their current unviable use; developing
a process in creating a new multi-viable use whilst retaining the spirit of the
place through their interventions.

The precedents selected based on morphological similarity of the church

building in the UK are The Garden Museum in London and The Quay,
Ipswich.

The precedents based on prospective public use typology (including multi

use co-working, library, community space and cafe) are the De Petrus
meeting centre and Selexy’s Dominican bookstore, the Netherlands.

RAIC, Milana, November 2018 8

 The Garden Museum, 2007
Location: Vauxhall London
Architects: Dow Jones

Dow Jones architects had won a competition to

redesign The Garden Museum, with a first phase
intervention within the building and a second phase
extension to create an external public face in the form
of a glass cloister clad in bronze tiles.

The church of St- Mary at Lambeth was discovered as

scheduled for demolition in the 1970s by Rosemary
and John Nicholson who campaigned for its rescue
and conversion into a museum.

Aim
The aim of the project was to create a gallery space
where temporary exhibition could be housed in secure
and environmentally controlled conditions, as well as a
dedicated place for permanent collections.
Respect for the archaeological significance that is
layered with the contemporary interventions both
internally and externally was a significant priority.

‘Here the tombs of the dead mix with

spaces for the living, vegetation with
construction, victorian-mediavel stone
gothic with the cross laminated timber Figure 2.1: Contemporary insertion combines elements of Figure 2.2: CLT insertion in harmony with existing stone fabric
harmony and contrast to the original building (Coleman, 2018) (Coleman, 2018)
of contemporary exhibition spaces’
(Moore, 2018)

The brief resulted in defining the hierarchy of the

spaces into public, semi public and private, as well as
temporary and permanent.
The solution creates a ‘belvedere’ within the existing
building that allows permanent gallery space on
the first floor and temporary galley space at ground
floor, leaving the nave empty to allow for a diverse
programme of exhibitions and seminars to accompany
the above permanent exhibitions.

The belvedere provides a raised floor to offer a new

perspective with the height advantage that was
previously not available.
In the permanent collections and mezzanine
insertion the choice of material was prefabricated
panels of cross laminated timber, due to its light
weight yet structural load abilities and flexibility of
configuration. This provided a time efficient route of Figure 2.3: Elements of historic significance highlighted through Figure 2.4: Openings in foreground protruding in against a
mute tone of insertion. (Raic, 2018) mute background (Raic, 2018)
only 3 weeks for the internal component in the course
of the 12 week total programme of works, the choice
is also environmentally friendly and carbon negative.

The lime washed tone of the CLT panels is a

similar hue to the existing limestone walls, set
back behind the columns in the nave to show the
hierarchy of significance and to allow the existing fabric
to be in the foreground. The insertion recedes into the
background, however is contrasted by the strong dark
timber stained doors and furniture that protrudes from
these mute panels as well as the beautifully restored
stain glass windows to take centre stage.

The prefabricated internal insertion can be

disassembled to leave the original fabric as is with little
damage, however the external addition as part of the
larger scheme represents a solid movement forward
with time and altering the immediate landscaping.

References: Figure 2.5: Belvedere insertion creating a differentiation of multi

Jones 2018, Moore 2018, Young 2018, Dow and Jones 2018, use public space on ground floor and semi private permanent
Jones and Woodman 2017. space on upper floor. (Raic, 2018)

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 Quay Place, 2016
Location: Ipswich, UK
Architects: Molyneux Kerr

“Quay Place is a nationally and internationally

important example of how historic urban
churches can be brought back to life, adapted to
a high standard and saved for the benefit of
communities. It will also demonstrate what many
have long believed- that a well cared for
historic environment is good for you.”
(Jon Neal, Suffolk Mind)

The project received the RICS Awards in 2017 in the

category of Building Conservation stating ‘The high
quality and sensitive conservation has transformed
the church while securing another use for the
building’
The 15th century church was a near miss of the
plague, war damage and demolition threats over the
years due to decline in congregation, to consequently
be described as ‘at risk’ by Historic England.

Aim
Figure 3.1: Insertion in place of 1960s internal buttresses. (Marshall, 2017)
The aim was to rescue and reopen the
medieval-grade 2 listed building after 68 years
of abandonment; though repair, adaptation and
extension works over a period of 8 years without
compromise to its original character. The collaboration
team included The Churches Conservation Trust (who
received a £4 million grant from the Heritage Lottery
Fund), Academy Consulting and the local mental
charity Suffolk Mind.

The project holds high regard to the importance of

collaboration, using the church as a ‘living classroom’
for heritage conservation workshops, as well as
working with the school children, local artists,
crafts people and volunteers, in return the building
representing a sanctuary to the community and those
connected to it; bringing the church of St Mary at the Figure 3.2: Section through tower and nave to contemporary extension, showing mezzanine intervention in harmony with the
Quay to the heart of the community. existing vertical framework. (Molyneux Kerr, 2016)

The use is now a heritage and wellbeing centre, the

church fabric housing public functions for community
activities and events in contrast to the extension
housing more private therapy rooms.

The first phase of the project started with extensive

repairs and refurbishment followed by the second
phase of a new mezzanine floor insertion and a
contemporary two storey extension.
The new Insertion of the mezzanine and meeting
rooms provides dramatic views of the nave, this was
placed in the south aisle in response to the replacement
of the existing 1960s internal concrete buttresses,
however this was the most technically challenging as it
required temporary support to the building followed by Figure 3.3: Section showing public nave, semi public meeting spaces and private therapy room in contemporary rear addition
(Molyneux Kerr, 2016)
pre-loading of the steelwork to receive later loads,
as well as internal repair work to the stone columns
damaged by crystallisation of moisture penetration
requiring

‘As a conservation project, it

exemplifies how high-quality
conservation coupled with
imaginative new-build solutions can
enable the re-purposing of underused
heritage assets, providing
opportunities for public engagement
and learning, and demonstrating how
our historic buildings can enhance
individual and community wellbeing’
(Civic Trust Awards 2019)

References: Figure 3.4: Glazed spaces within mezzanine intervention, Figure 3.5: Transparency in
ArchDaily 2018, LOM 2018, VisitChurches 2018, Civic Awards providing views of activities in the central nave (Marshall, 2017) compliment to the existing
2018, Molyneux Kerr 2018. stonework (Marshall, 2017)

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10
 Boekhandel Selexyz Dominicanen, 2007
Location: Maastricht,The Netherlands
Architects: Merkx+Giord Architecten, Interior Collaborators: Keijsers Interior Projects

The project received the Lensvelt de Architect

Interior Prize in 2008 and The Guardian announced
it as ‘probably the best bookstore in the world’ in
2008, it is increasingly referenced as one of the best
examples of adaptive reuse of architecture.

The Dominican church was built in 1294 as part of the

Maastricht friary and used for worship until the
Napoleon Invasion in 1794, undergoing major use
changes from military base, warehouse, archival
centre, florist and most recently a bicycle store.

Aim
The aim was to retain the unique original character
whilst achieving the client’s space requirements for
a commercial bookstore, the strategy to achieve this
was the insertion of an oversized bookshelf on two
levels whilst respecting the significance of the church.

The bookcase structure is asymmetrically situated

on the traditional plan, creating a distinct height
differentiation through the central axis of low display
plinths on the left side and the two storey black steel
bookcase on the right. The plinths around the columns
are a modular system made from a simple industrial
fibreboard, the same modular system is used but
altered to fit as bookcases below the existing windows
bounded by the flanking walls.

The divide in height creates a ‘path to a hypothetical Figure 4.1: Asymmetrical height differentiation through central Figure 4.2: Crucifix alter shaped table in coffee shop and
alter’ which is now a coffee shop that contains a table nave (Aldershoff, 2007) halo chandelier as translation of religious symbolism
(Aldershoff, 2007)
in the shape of a crucifix as well as a large traditional
chandelier as a representation of a halo, the design
can be seen as metaphorically playing in parody or a
translation of time from its religious context.

The insertion had to be of the same monumental scale

to keep the proportion and balance correct without
overpowering or feeling overshadowed. The material
of the steel bookcase is in contrast to the sandstone
fabric yet powerful enough to give it equal mass, even
though it is constructed in the dark steel material,
there are perforations to allow light and views through
the structure, giving it a much lighter, less dominating,
transparent feel.

‘The object neither imposes on the

space nor clashes with the churches
architecture, it enhances the
experience’ (Merkx+Giord Architects 2007)

The height of this new intervention provided a new

Figure 4.3: Contemporary Insertion integrating through
up close perspective to the vaults of the nave and the existing fabric. (Sketch: Raic, 2018)
14th century frescoes by Jan Vessers.

Figure 4.4: Central axis define though metaphoric alter created

As part of the project there is also a cortex steel box by composition (Sketch: Raic, 2018)
created at the external entrance, reflecting outwards
and signalling that there has been a contemporary
intervention inside.
The project is a dialogue between history and
Figure 4.5: Modular bookcases fitting into existing perforations
modernity “project with multiple souls, where created by the fabric (Sketch: Raic, 2018)
tradition and innovative solutions come together
over a good book and a good cup of coffee”
(Merkx+Giord Architects 2007)

As seen on the plan, the new addition does not

interfere with the existing fabric, it respectfully allows
space between the two elements of time, although the
building has been changed it still offers an opportunity
to be removed and reversed to just the original shell
without damage or disruption to the fabric.

References: Figure 4.6: Modular bookcases fitting into existing perforations Figure 4.7: Respectful integration and space allowed between
Merkx-Giord 2007, Fairs 2007, The Museum Times 2015, created by the structure of the fabric (Aldershoff, 2007) the two layers of time (Aldershoff, 2007)
Tofani 2016, Brooker 2013, HomeDSGN 2012.
RAIC, Milana, November 2018 11
 De Petrus Meeting Centre, 2018
Location:Vught,The Netherlands
Architects: Molenaar&Bol&vanDillen, Interior Architect: Jan David Hanrath

Project is housed in the former St Peters church

designed by Carl Webber in 1884, the idea of
transformation was raised by the community, showing
us the potential impact off loss to the socio-cultural
significance of the local community.
‘They wanted to save the church from
demolition’ (Project Architect Ivo van De Thillart)

The first phase of the project was to identify the

elements of significance in order to restore them to their
former glory such as preserving the original structural
elements creating the layout as well as the arched
roofs, stained glass windows and original columns.
The importance of these elements is highlighted in
their restored bright state against a whitewashed
background as well as the white mezzanine insertion
blending into and out from this white palette.

The second phase focused on retaining original

layout of the church and intervening with a design
focused on function and updating facilities, resulting
in the insertion of the 500m2 mezzanine level which
aimed to accommodate office, study and meeting
spaces as well as technical, acoustic and lighting
facilities. The mezzanine is placed in the aisle to
preserve the original spatial quality and allow for the
open space below to receive natural light as well as
acting as a viewing platform.

The ground floor even though restricted by the existing Figure 5.1: Sliding bookshelves to allow flexibility of the public Figure 5.2: Whitewashed background and mezzanine
nave space. (Poelstra, 2018) floor to allow elements of significance in foreground.
columns, forms an open plan flexible space with the (Poeltra, 2018)
bookshelves placed on sliding rails into the side aisles
to accommodate the various uses such as concerts
and large exhibitions in the nave.

The rooms of the office spaces and meeting areas in

the mezzanine are inserted between the classical plan
of the column grid, in contrast to the curvilinear form
of the mezzanine floor itself moving in and around the
columns, breaking the symmetry of the plan. However
as it is in the white tone the same as the background it
still seems to be playing and integrating itself back into
the overall composition.

In contrast to this the meeting spaces are composed

of a black crittal frame and glass to allow for
transparency and seamless views, the black steel
element is again reflected in the supporting columns
as well as the modular bookshelves. The bookshelves Figure 5.3: Highlighting of the elements of significance Figure 5.4: Insertion meeting flush with original fabric
even though in this strong contrasting colour and (Sketch: Raic, 2018) (Sketch: Raic, 2018)
material, in their totality form a symmetric composition
within the asymmetric intervention.

The intervention of the mezzanine is stated to be easily

reversible, however it is meeting flush with the original
fabric of the church walls and as part of the larger
intervention consisting of 4 new pavilions connected to
the ground floor of the church, the church is ultimately
changed beyond reverting back to the original without
damaging the fabric.

The mezzanine forms part of the larger De Petrus

multi functional meeting centre of 3000sqm with the
library, the vaunt museum, open co-working space,
bookstore, coffees shop, exhibition space and
restaurant that seeps out from the ground floor.

References: Figure 5.5: Curvalinier internal insertion expressed in the

Molenaar&Bol&vanDillen 2018, ArchDaily 2018, CNNStyle four external additions to the public space (Mbvda, 2018)
2018, homeitaliamagazine 2018, Hoeijmans 2018.
RAIC, Milana, November 2018 12
3.2 Conclusion
Having researched the previous four precedents, there becomes evident
the overarching idea and methodology that is translated through the design
processes. 

Refer to Addendum F for full considerations to take forward through
synthesis of precedent research.

The sequence initially starts with repairs to the existing fabric and
selective restorations to elements of significance; followed by the
intervention of a use that is suitable to the form as well as
economically and socially viable; all without compromise to the
significance of the fabric and its intangible links to the spirit of place.
In many cases the internal interventions are expressed through an
external manifestation to reflect the inward transformation.


4. PROJECT PLAN


From a theoretical perspective following the literature review and the
accompanying theoretical background research, there has resulted in the
further exploration of theories, constraints and systems of best practice in
the field of alteration; regarding the current problem that church buildings
are facing in response to the socio-cultural needs as well as the idea of the
church itself undergoing a pivotal change in this time construct.

Through the exemplar precedent examples a further aim identified is to

build on the design considerations that have linked all four projects with the
aim to further explore solutions that incorporate an element of
sustainability. As well as looking outside of the church typology for
precedents that retain a level of integrity and respect in the layering of
history into the contemporary time through fine detailing, with the works of
Carlo Scarpa as the first point of reference.

Furthermore in keeping with the sensitivity of the existing spirit of place, the
exploration of collaborate methods in the design process is to be
considered (as in precedent of The Quay), that can reinstate the local
cultural and heritage significance of the church as a building and the
church as a community (Reverend Jeremy Cullimore 2018).

RAIC, Milana, November 2018 13

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