3.2 Case studies

3.1.5 Conclusion of the literature review

In conclusion, derelict spaces provide an architectural solution, amongst other professions, to regenerate the space back into the urban fabric through an effective reuse programme that can create new growth opportunities for individuals and the city fabric. Additionally, a programme that focuses on social sustainability enhances the connections between users and the surroundings through reactive and interactive architecture that reflects human interests. Lastly, derelict spaces provide an opportunity for architecture to act as a catalyst for rediscovering past histories and identities, both tangible and intangible, through economic, social, political and cultural circumstances.

Fig 50: Sketch of existing ruin with adaptive intervention to explore the identity of the structure. (By author, 2021)

3.2 CASE STUDIES OF ADAPTIVE REUSE

3.2.1 Introduction

There is a dialogue between architecture and its surrounding context, both tangible and intangible, and the conversation between the two can become poetic and resourceful. Working with an existing structure, particularly a structure with historical layers, becomes difficult but has many possibilities for architects. A rich identity and story are already shaped and woven into an existing building, creating an atmosphere or experience that lives and radiates. However, through the passage of time, that identity could become blurred or ultimately forgotten.

As identity becomes obsolete, architects that work with an existing building wield a powerful tool to create a new atmosphere. More importantly, they have a responsibility to preserve the old and contribute to a new identity (Sadowniczyk, 2020).

There is a potent ambience in older or historic buildings, whether they are derelict or active, that holds an atmosphere that is explorative and mysterious. When one thinks of the initial opportunities these spaces provided, such as cultural, social and economic activities, it is disheartening to see how these structures and their identities have become lost and their impact disconnected from the active contextual fabric. In recent decades, architects, urban planners and developers have realised the importance of derelict spaces and how they can contribute to society through preservation and adaptive reuse.

Adaptive reuse is a particularly fascinating approach. It allows architects to use an existing building to contribute to a new programme that could benefit the local surroundings or community. There is no doubt that adaptive reuse has played a pivotal role in preserving existing structures and facilitating the growth of the surrounding fabric through their reuse (Sadowniczyk, 2020). However, there are certain issues associated with this approach.

The difficulty with some buildings in the twenty-first century is that they have forgotten their origins for preservation by losing the individuality and mood that the area initially had. Many adaptive reuse initiatives use an old building’s structure as the foundation for a new programme. The question should rather be: can the identity of the building contribute to a new programme that reflects the past genius loci as a method of preservation? To elaborate on this method of preservation , it is crucial to understand the existing method of adaptive reuse and its contribution. This study focuses on adaptive reuse to better understand how to approach the method that reflects the past genius

loci of a building as mentioned in the question.

3.2.2 Adaptive Reuse

Adaptive reuse has become a powerful, poetic and sustainable approach to design. It uses old or historic spaces and structures that it transforms or recycles into a new purpose with cultural, social and economic benefits.

Architects have been able to preserve the old structures with a new contemporary layer that contributes to the surroundings and transforms the spaces and how one uses the spaces within the structure. The thought-action of recycling, which is a similar process to adaptive reuse, takes place on a personal level. Humans are taught to recycle waste products and reuse objects, which ultimately reduces the amount of waste produced through human consumption. The same response becomes second nature to architects, who reuse or recycle derelict spaces in cities or suburbs to create new opportunities and contribute to a healthier city.

Adaptive reuse has become vital in retaining the essence of an existing structure. In most cases, the design or reuse incorporates the structural components, predominately the walls, as the essence of preservation. However, numerous layers may be considered and

Fig 51: 19th century church adaptive reuse from Metal Architecture, 2021.

Fig 52: Zeitz Mocca, Cape Town from The Spaces, 2021.

maintained.

This makes it crucial to retain the values and heritage of the building and to discover new or enhanced ways of representing or reflecting the historical layers. The historical layers should be reflected tangibly so that people react to the building with their senses.

It would be a disadvantage to the users of the building if the atmosphere and historical layers (which make up the identity of the building) were not compensated for in the adaptive reuse of the building.

Incorporating a contemporary layer that reflects the past functions provides a socially sustainable approach for the future. It also showcases responsibility and sets a precedent for other human values and not just in the architectural realm (Sadowniczyk, 2020).

3.2.3 Spirit of Place

Architecture is not limited to the design of a building and its sustainable approach, but rather, and more importantly, it is a design for human spatial needs. It involves human spatial qualities and an understanding of how these spaces allow one to react. Atmosphere has been at the forefront of architectural and spatial design. In the architectural sphere, “atmosphere” refers to the sensorial qualities that a space provokes, focusing on a user’s experience.

Peter Zumthor, 2006 defines atmosphere as “this singular density and mood, this feeling of presence, well-being, harmony, beauty…under whose spell I experience in precisely this way”. Similarly, Christian Borch (2014) notes in his book Architectural Atmospheres, which deals with the experience and politics of architecture, that the encounter of buildings and spatial clusters is increasingly acknowledged to be a sensual, spatial experience, which means that the perception of atmospheres that are assessed could be favourable or adverse.

The mind and body are inextricably intertwined, and architecture creates buildings using basic human proportions, such as the Vitruvian man. It stands to reason that if the human body is tied to the building it inhabits, the atmosphere should be considered.

Light, shadows, form and objects, sound, substance and texture, and simple air are the ingredients that make up atmospheres. These aspects are critical in eliciting an emotional response from the user (Sadowniczyk, 2020).

As adaptive reuse focuses on the identity of the space as a generator for an architectural design, programme and experience, the atmosphere enhances the shared ideas of experience and identity that evoke an emotional and Tabula Rasa attachment to the architecture. This makes adaptive reuse an excellent method for preservation and the design of a contemporary social, economic and cultural hub.

Taking into account that humans are limited to their senses, experience and atmosphere should be expressed through the elements mentioned above, such as light and shadow, form and object, texture, sound and smell, and air.

Fig 53: Representation of light and shadow from BluentCad, 2021.

Light and shadow have the power to elicit emotions in a building. These form a powerful tool for an architect and manipulating them can empower a space or emphasise its elements. However, less light and shadow can result in a more challenging or uneasy perception of spaces.

Fig 54: Representation of form and object as a void by the Medium, 2021. Forms and objects can be used in a building to delegate functions to users. This gives architects the freedom to choose how to use a building’s form and space. Form and objects allow an atmosphere to be present in that space, evoking the senses and emotions.

Fig 55: Concrete boarding finish as texture by Lughertexture, 2021. Materials and textures would not exist without light and shadow. They are complementary to one another. Materials set the tone and create a character for the building. Colours evoke emotions. For example, bright colours are used in kindergartens to create excitement, focus or relaxation. Colours, textures, and patterns create illusions of the architectural atmosphere (Sadowniczyk, 2020).

Fig 56: Church ambience as acoustics, 2021.

Additionally, sound plays an important role in evoking emotions. It adds another level to the visual emotions experienced, much like the music in films. More importantly, sound in an architectural environment provides clues to the users, such as orientation or restrictions to certain areas. An example could be sound in a museum, where musical themes could indicate particular historical periods.

Fig 57: Encapsulating air as transparency, 2021.

Finally, air creates space and fills the building; without it, the whole atmosphere is missing. Sound, heat and odour are more ways to evoke emotions and senses. The most substantial aspect of an architecture’s atmosphere is that it may be open-ended and interpreted in various ways.