Reuse | Redesign

Understanding the role of context and processes involved in the design and execution of building reuse and redesign

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

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Reuse : Redesign

Contents

Thesis Proposal

5

Introduction

9

Chapter One

11

Context

13

Function

19

Process

27

Context : Function

35

Function : Process

45

Process : Context

51

The Equations of Redesign

57

Site : the Existing Form : Adaptation Design : Redesign

Context : Function : Process

Chapter Two

63

Diwanji ni Haveli, Ahmedabad

65

French Haveli, Ahmedabad

93

Cafe Zoe, Mumbai

113

Khoj, Delhi

135

Comparative Analysis and Conclusion

159

Acknowledgments

163

Bibliography

165

Illustrations

167

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Thesis Proposal

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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, it is only apt for the built forms of the past, to retain themselves in some manner, so as to exemplify the value and 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 a 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 interrelationships, in order to procure a comprehensive understanding of their effects on redesign.

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Thesis Proposal

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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 a 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.

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Introduction

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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. It is the balanced out presence of the past and future that brings out an image, contextual to the present.

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Chapter One

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Context

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Context Site : the Existing

context noun

the circumstances surrounding an event, statement, or idea. contextualism noun

the term suggests an architecture that responds to its surroundings by respecting what is already there.

Ernesto Rogers was an Italian architect, writer and educator.

He was associated with several art and architecture periodicals as a prolific writer and architect, and was instrumental in the establishment of Italian Rationalism.

Adrian Forty Words and buildings: A vocabulary of Modern Architecture 2000

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 ambientali 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 ambientali and to take it dialectically, into account”.1 “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.”2 In the above statements, the term ‘preesistenze ambientali’ 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 Italy and 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).

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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.

Neil Levine The Architecture of Frank Lloyd Wright 1996

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 5th 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.

Frank Lloyd Wright Masieri Memorial Venice, Italy 1952

1.2 Intended Location of the Memorial on the Grand Canal

1.1 Elevation of the Masieri Memorial facing the Grand Canal as visualised by Frank Lloyd Wright

Frank Lloyd Wright Solomon R. Guggenheim Museum New York, USA 1959

1.3 Aerial View of the Guggenheim Museum showing it’s location in the urban context of 5th Avenue and Central Park 1.4 “Are they allowed to do that on Fifth Avenue?”

Illustration published in New Yorker magazine, 1958 14

Reuse : Redesign Colin Rowe and Fred Koetter Collage City 1978

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.

Colin Rowe was a British architectural historian, critic, theoretician, and teacher. He was acknowledged as a major intellectual 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.

Rowe compared this with Villa Savoye, “..an isolated primary solid, indifferent to the boundless spatial field it occupies.”3 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.

Antoine Le Pautre Hotel de Beavais Paris, France 1657

1.5 Elevation of the hotel’s facade.

Some of the walls were non structural, built in order to create a symmetrical facade, typical of French Baroque architecture.

1.6 Ground Level Plan showing the irregular site and central courtyard

Le Corbusier Villa Savoye Poissy, France 1929

1.7 View of Villa Savoye

1.8 Site Plan showing placement of the villa within the property 15

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.

Bernard Tschumi Event-Cities 3: concept vs. context vs. content 2004

“...there is no architecture without context. A work of architecture is always in situ, or “in situation,” located on a site and within a setting. The context may be historical, geographical, cultural, political, or economic.”4

Bernard Tschumi is an architect, writer, and educator, largely associated with deconstructivism.

Tschumi’s critical understanding of architecture remains at the core of his practice. By arguing that there is no space without event, he designs conditions for a reinvention of living, rather than repeating established aesthetic or symbolic conditions of design.

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.

Bernard Tschumi Architects Strasbourg Zenith Concert Hall Strasbourg, France 2003

1.9 Exterior view of the zenith concert hall

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?”5 16

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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 and techniques, especially in the facade and wall finishes, although in a contemporary way, suggests an influence of the existing surrounding and history.

Studio Lotus Raas Jodhpur, India 2011

1.10 View of Raas premises against its 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 cornice 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.6 Vlado Milunic and Frank Gehry Nationale-Nederlanden Building Prague, Czech Republic 1996

1.11 Street View of Nationale-Nederlanden Building 17

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.”7 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 a 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 : it is always rooted in the context of a particular setting.”8

References : 1,2. Ernesto 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

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Function Form : Adaptation

Function noun the purpose or activity for which a

thing is used or exists.

Functionalism noun

Theory that good design results from or is identical with functional efficiency, i.e. architecture should be determined by function alone.

The definition of function, to a 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 Modern 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 to 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.

Adrian Forty Words and buildings: A vocabulary of Modern Architecture 2000

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 18th century to the end of the 19th 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 ‘firmitas’ (structure), indicates the same. Here, ‘commoditas’ is synonymous with function.

Horatio Greenough was an American sculptor and art theorist.

He has been credited as the first English speaker to apply the term ‘function’, to architecture.

By the 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.”1 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 modern architecture was conducted, hence used equally by both supporters and opponents of the new architecture.

In the midst of the debate over functionalism, it was important for 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.

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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.”2 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’, declared Alison and Peter Smithson in 1957.3 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 a 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. If a 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 flight, or the open apple-blossom, the toiling 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 law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all 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 law.”4 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.’5 20

The American architect, Louis Sullivan, Horatio Greenough’s much younger compatriot, who admired rationalist thinkers like 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.

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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 reflect 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.

James Renwick, Jr. St. Patrick’s Cathedral New York, USA 1879

1.12 Interior View of St. Patrick’s Cathedral 1.13 Street View of St. Patrick’s Cathedral on 5th Avenue

Skidmore, Owings & Merril United States Air Force Academy Cadet Chapel Colorado Springs 1962

1.14 Interior View of the Cadet Chapel 1.15 View of the Cadet Chapel from the Academy’s runway

St. Patrick’s Cathedral built in a Gothic Revival Style is located on a largely commercial 5th Avenue, New York, surrounded by skyscrapers built in the latter half of the 20th Century - relatively modern buildings. The cathedral stands out among these structures due to contrast in styles, and its form, which is resplendent of its function, thus leading to 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 a church.

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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 so 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?”6

Bill Hillier Space is the Machine 1996 Bill Hillier, 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 a substantial body of research built on that theory, and a large number of articles concerned with different aspects of space and how it works Bernard Tschumi The Manhattan Transcripts 1981

1.16 Drawing,

by Bernard Tschumi, from, ‘The Manhattan Transcripts’, an attempt to explore the relation of bodily and social movement to built space, without resorting to a notion of ‘function’

The Manhattan Transcripts is a set of theoretical drawings developed between 1976 and 1981, based on the disjunction between spaces and their use, objects and events, being and meaning.

1.17 View of Corinthian dentils which are ornamental elements that emulate structural elements of older temples

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 is resplendent with examples of form forcing function.

Ancient cultures often keep the design details of their traditional culture even though their building technology had advanced significantly. Stone elements would be fashioned to emulate the wooden structural elements of the older buildings.7 22

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Change in Function It is because there is the 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).

Fred Scott On Altering Architecture 2008

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.

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.

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.”8 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 function to an existing obsolete building exemplifies a deliberate change in function in order to maintain the building as it is, in essence.

Tree House 6a Architects United Kingdom 2013

1.18 Plan, of the house indicating the extensionconsisting of a master bedroom and wet area, made to the existing pair of cottages in order to connect the original rooms while including a garden 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.

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Function Pod Gallery Stonewood Designs Chippenham, United Kingdom 2015

1.19 Section of Pod Gallery indicating the insert made in the barn to accommodate an art gallery

Pod Gallery is an example of adaptation in function of an existing Grade II Listed Home Farm Barn. This is done as an attempt to restore the barn to its original condition and maintain it, by providing it with a new function that adds a layer of utility and 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 it can be removed later if required.

Although functional adaptation in architecture is widely accepted and exploited, mainly from the latter half of the 20th 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.�9

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References : 1.

Horatio Greenough as quoted in Adrian Forty, Words and Buildings : A Vocabulary of Modern Architecture, Thames and Hudson, 2000

2.

Alvar Aalto, “The Humanizing of Architecture”, Technology Review, 1940

3.

Alison and Peter Smithson as quoted in Adrian Forty, Words and Buildings : A Vocabulary of Modern Architecture, Thames and Hudson, 2000

4.

Louis Sullivan, “The Tall Office Building Artistically Considered”, Lippincott’s Magazine, 1896

5.

Louis Sullivan as quoted in David S. Andrew, Louis Sullivan and the Polemics of Modern Architecture, University of Illinois Press, 1985

6.

Bill Hillier, The Space is the Machine, Cambridge University Press, 1996

7.

Robert Weitz, “Form Follows Function - A Truism that isn’t True”, The Brand Wash, 2013

8.

Aneurin Bevan, Minister of Health at the initiation of the National Health Service in the United Kingdom

9.

Peter Cook, Primer, Wiley, 1995

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Process

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Process Design : Redesign

design noun

the creation of a convention for the construction of an object or a system. process noun

a series of actions that are done to achieve a particular end.

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 outcomethe 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 of its 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 is a 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.

Jennifer Hudson Interior Architecture: From Brief to Build 2010

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.

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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.

Lorraine Farrelly Representational Techniques 2008

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.

H&M Store Estudio Mariscal Barcelona,Spain 2008

1.20 Series of conceptual sketches during design development of the H&M flagship

1.21 Analytical Sketch of the sculptural staircase inserted in the atrium

3. The Scaled Representation Displaying a proposed piece of architecture as a 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.

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Reuse : Redesign

1.22 Orthographic Drawings of the H&M flagship store

1.23 3D Renderings generated to visualise the character of the completed 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.

1.24

1.25

1.26

Views of the staircase at the H&M 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.

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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.

Graeme Brooker and Sally Stone Form and Structure 2007

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 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. 2

William Morris founded the Society for the Protection of Ancient Buildings (SPAB) in 1877. The society’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 Trodden Brochs Glenelg, Scotland 2000 years ago

1.27 View of a preserved broch in Scotland

A series of 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.

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Reuse : Redesign The Archaeological Survey of India (ASI), under the Ministry of Culture, is an organization for the archaeological researches and protection of the cultural heritage of India. Maintenance of ancient monuments and archaeological sites and remains of national importance is the prime concern of the ASI.

The Qutb complex, dating back to the 14th century, is another example of preserved structures. It consists of an array of structures, including the Qutb Minar, the Qubbat-ul-Islam Mosque, Alai Darwaza, the Alai Minar, the Iron pillar, the ruins of several earlier Jain temples, and the tombs of Iltutmish, Alauddin Khilji 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.

In 1984, Indian National Trust for Art and Cultural Heritage (INTACH) was registered as a society to stimulate and spearhead heritage awareness and conservation in India.

Tughlaq Dynasty Qutb Complex Delhi, India 1368

1.28 Aerial View of the Qutb Complex

2. Restoration The International Charter for the Conservation and Restoration of Monuments and Sites is a document that gives 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 evidence.

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.

Isidore of Miletus Hagia Sophia Istanbul, Turkey 360 AD 1.29 View of Hagia Sophia currently functioning as a museum. After a number of functions adopted by the building, it is under restoration to revive the mosaics covered up when converted into a mosque.

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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. It is the services that usually require attention.

The Paddington station in London is a Victorian Grade I 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 by a lightweight steel and glass trussed roof.

Nicholas Grimshaw Architects Paddington Station : Redevelopment London, United Kingdom 1999

1.30 Interior View of the Paddington Station indicating the original wroughtiron 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.

Carlo Scarpa Castelvecchio Museum Verona, Italy 1964

1.31 View of the Castelveccio Museum showing the pathway insert made into the original building 32

Reuse : Redesign

The Castelvecchio 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.

References : 1.

Graeme Brooker and Sally Stone, Form and Structure, AVA Publishing, 2007

2.

Fred Scott, On Altering Architecture, Routledge, 2008

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Context : Function

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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.

35

Context : Function Gerrit Rietveld Rietveld Shroder House Utrecht, Netherlands 1924

1.32 View of the Schroder 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. It is 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.

It is 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 II. 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.

Anne Frank House Amsterdam, Netherlands 1960

1.33 View of the Anne Frank House

If a 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.

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Reuse : Redesign Divercity Architects Kinsterna Hotel & Spa Monemvassia, Greece 2010

1.34 Section of the Kinsterna Hotel & Spa showing its location near Mount Taygetus and the fortress of Monemvassia

The Kinsterna Hotel & Spa, located at the scenic Monemvassia in Greece, was once a mansion built around a cistern. Its is located next to the Byzantine fortress of Monemvassia. 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 a 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 is usually reciprocative.

Waanders In de Broeren Book Store, is a book shop designed within a 15th 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 built 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 BK. Architecten Waanders In de Broeren Book Store Zwolle, Netherlands 2013 1.35 Interior View of the Waanders In de Broeren Book Store showing new

inserts made to add levels, between the existing columns without 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 it is valued for, are retained.

Here, the colonnade and vaults are maintained in their original condition while introducing a new set of elements in the least invasive way possible.

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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 House Anne Frank House Kinsterna Hotel & Spa Waanders In de Broeren Book Store

FUNCTION

Most Change

diagram 1.1

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 Kinsterna 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 1.1).

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 it is 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

Reuse : Redesign Ellis Williams Architects BALTIC Gateshead, England 2002

1.36 Schematic View of insert made in the Baltic Mill Building

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 a 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, but one 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.

Block Architects Vegan House Ho Chi Minh, Vietnam 2014

1.37 Sketch of the Vegan House and its surrounding buildings 39

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.

Future Systems Shop Entrance New York, USA

1.38 View of entrance

the

shop

West Chelsea, once a run 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 a challenge where the building has no display windows in which to present the designer’s works; but requires a new entrance which is attractive 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 fulfill the function of a window display and create a detachment through the design of the shop entrance. By retaining the buildings exposed brick facade, the signs and fire escape, a memory of the building’s past as a warehouse is hinted upon.

The Coworkrs building, which was an underutilized industrial shed in Brooklyn, has been converted to a workplace for startups. Here, the building 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.

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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.

LEESER Architecture Coworkrs Brooklyn, USA 2016

1.39 Interior View Coworkrs

of

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 Vegan House Shop Entrance Coworkrs

FUNCTION

Most Change

diagram 1.2

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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 View of the sliding folding sandstone shutters forming the facade

1.41 View of the reflective element in the restaurant reflecting picturesque views of the fort

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 it is 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 (fig.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).

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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.

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Function : Process

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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 it is 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.

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Function : Process Mehrangarh Fort Jodhpur, India 1460

1.42 View of the Mehrangarh fort overlooking the city of Jodhpur

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 to 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 Lotus Mehrangarh Museum Shop Jodhpur, India 2004

1.43 Interior View of the Mehrangarh Museum Shop 46

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 a 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).

Kalhofer and Korschildgen House Extension Remscheid,Germany 1998

1.44 Street View of the house and extension in the ‘winter position’

1.45 Street View of the existing house along with its extension, in ‘the summer position’

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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, or 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.

A long 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.

A sloping 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 cubic structure in steel and glass which houses the dining room. In warm weather, it is 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.

Guilherme Paris Couto Restaurant in Oporto Oporto, Portuagal

1.46 View of the restaurant overlooking the river 48

Reuse : Redesign

1.47 Section of the 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.

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Process : Context

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Reuse : Redesign

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 21st 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 19th century, and as a consequence, is often subject to redesign.

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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. A listed building to be adapted for a new function may be redesigned to incorporate interventions and additions.

Although if it is in a 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.

A 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.

1.48 Sectional model of the Sackler Galleries depicting its location between two buildings

1.49 Interior view of the stairwell under construction

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.

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Julian Harrap Architects, Foster + Partners Sackler Galleries London, UK 1991

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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 14th 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.

Selexyz Dominicanen Bookstore Merkz+Girod Architects Maastricht,Netherlands 2007

1.50 3D drawing of the steel structure 1.51 Interior view of the steel 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 conflict 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 18th century house had been built upon the ruins of a 17th century palace, which in turn had been constructed over a 16th 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 18th century palace, a long 17th century picture gallery and remains of older buildings.

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Process : Context

Andrea Bruno Architects Rivoli Musueum of Contemporary Art Rivoli, Italy 1985

1.52 Drawing indicating the various layers of the existing building along with new intervention

The approach made to this varied context involved celebrating the diversity and bringing these distinctive elements together by introducing a series of conflictingly modern interventions. The existing parts of the castle were restored and an addition of a roof over the picture gallery was made along with circulation routes.

A series of deliberately contemporary alterations were made with the intention to add another layer of archaeology to the collage of the museum.

The extension made to the Gothenburg Law Courts in 1937 was in direct response to the original building with the intention of maintaining continuity and tradition to the urban regeneration.

The classical law courts were built in 1817 and are located in the center of old Gothenburg. The extension made in 1937 is sensitive to the original, and does not overpower the existing facade; it rather defers to it. The new facade is asymmetrically modern , but it employs the proportions and rhythm of the original buildings. A slight recess separates the two buildings, but the positions and proportions of the windows remain constant.

The techniques used to construct the extension are equivalent to the ones used in the original building. The character of the existing is carried forward to the wall finishes, colour scheme, and ornamentation as well. Here, the processes involved are a direct take off from the existing.

Erik Gunnar Asplund Gothenburg Law Courts Extension Gothenburg, Sweden 1938

1.53 View of the Gothenburg Law Court and its extension influenced by the original building

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Bernard Tschumi Architects Acropolis Museum Athens, Greece 2009

1.54 Analytical sketch of the building’s levels above the excavation site

Usually the process applied to the design is contextualised to be in dialogue with the approach made to the context. Although, in certain cases, the approach to context and the design process may not be in direct response with each other.

For instance, the Acropolis Museum comes with a very distinct context.

It does not include an existing built structure instead, the entire museum in built on the findings of an archaeological excavation at its site. Here, the design was approached in a contemporary way by applying modern construction techniques in the architecture. The response to the existing was made by carefully addressing the excavation site from the interior by raising the foundation and creating a viewing deck above it. Although the construction and materials are modern in nature, the design is based on the classical principles of Greek architecture as a response to the building’s location at the foot of the Acropolis in Athens. The approach to context is reciprocative, but the process is conflicting.

Redesigning a built form, inherently involves an important role of the context. The effects the context has on the design, or vice versa, builds the character of the new design. This involves adopting a design process which always addresses the context, in thought and in execution.

As observed earlier, the approach made to the existing may be a result of change in function, or process, but the same approach is always carried forward to consolidate the overall design. Ideation, drawings, manifestation, and all design decisions are in correlation with the approach.

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The Equations of Redesign

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The Equations of Redesign Context : Function : Process

Redesign and alteration can be viewed as the mediation between preservation or demolition of a building. The building’s history undergoes many interpretations. The habitation and use of a building itself as a process, is an act of developing relationships with the envelop. The variations in the inhabitation are seen as variations from the actual or proposed reality. When the building’s needs are obsolete, the shell of the building exists, once again, with renewed possibilities.

The interpretations of change are affected by three parameters - context, function, and process. Their study is an attempt at deriving a set of relationships between them, in order to analyse or to conduct a redesign project.

Context, being the predominant parameter when it comes to redesign, directly influences the change in function, and design process. Depending on the nature of context, the degree of change in function is determined, which in turn determines the type of processes applied. existing CONTEXT

change in FUNCTION

nature of PROCESS

diagram 1.3

Once the degree of change in function and nature of processes are determined, the approach to context is derived, which ultimately influences the character of the overall design in the form of tangible elements, components, and interventions. change in FUNCTION

nature of PROCESS

approach to CONTEXT

diagram 1.4

The variables in these equations, produce varying results, which can be illustrated through examples.

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The Equations of Redesign

Shop Entrance (refer page 39) existing CONTEXT defunct + typology

change in FUNCTION warehouse to boutique

nature of PROCESS intervention + insert

The building is located in the old warehouse district of New York. The entire neighborhood has been redeveloped as an upmarket area including shops, offices, cafes and so on. The building has no historical significance of its own, but is part of a larger regeneration plan. Thus, the building is flexible enough to incorporate any new function, in this case a boutique.

1.55 Exterior view of the boutique indicating the context within which the building is located

change in FUNCTION warehouse to boutique

nature of PROCESS intervention + insert

approach to CONTEXT indifference

The building goes through a major change in function owing to lack of historic depth. This results in more invasive processes such as independent inserts and new interventions, irrespective of the existing building. The new design does not respond to the original building’s style or character.

Although, some facade elements like fire escape stairs and old shop signs are retained as an indication of the building’s past.

1.56 Axonometric view of the newly designed entrance, inserted within the preexisting warehouse shell

1.57 Plan of the redesigned boutique indicating the indifference of the layout to the existing 58

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Selexyz Dominicanen Bookstore (refer page 53) existing CONTEXT history + typology

change in FUNCTION church to bookstore

nature of PROCESS conservation + intervention

The Selexyz Dominicanen Bookstore is contained within a 14th century Dominican church. The building which was once an important friary, most recently had been housing the city archive, storage for flowers, a bicycle park and even a venue for boxing matches. The building though neglected was never demolished owing to the medieval frescoes it housed.

The building when considered for reuse, hence provides an opportunity for drastic change in function, but strives to retain its history manifested within its original stone elements, and frescoes.

1.58 I m a g e s documenting the various uses of the church prior to the bookstore

change in FUNCTION church to bookstore

nature of PROCESS conservation + intervention

approach to CONTEXT conflict

The building belonging to a certain typology of Dominican churches allows considerable change in function provided that the existing is maintained.

Hence, the process would involve conservation of the existing, along with intervention to meet the requirements of the new function. While introducing a set of new interventions, bearing in mind the value of the existing, a modern set of techniques and materials are applied to conflict with the building. This contrast, allows the new and the old to stand out against each other.

1.59 Sketch of the bookstore’s floor plan 1.60 Interior view shows the assymetrical design of the bookstore which allows one half of the church to remain as it originally was 59

The Equations of Redesign

Vegan House (refer page 40) existing CONTEXT narrative + location

change in FUNCTION residence to part-restaurant

nature of PROCESS renovation + intervention

The vegan house is located on a busy Vietnamese street. It is tightly surrounded by clustered houses and shops. The building itself does not have a significant history, but the owner is collector of old and discarded furniture and windows. This narrative adds to the context. Owing to the building’s location, a considerable change in function cannot be made.

The house converts itself partly to a restaurant followed by renovation of the rest of the house.

1.61 Views of the Vegan House’s location

change in FUNCTION residence to part-restaurant

nature of PROCESS renovation + intervention

approach to CONTEXT reciprocity

The building does not go through major functional changes due it its location. Thus, the process largely involves basic functional intervention and renovation, bearing in mind the narrative. The use of windows to create a new outer layer of the building, is in reciprocation with the narrative which forms a major part of the context. The owners collection of windows and furniture becomes an integral part of the new design.

1.62 Axonometric view of the Vegan House indicating the elements added and reused, also indicating the positioning of the new layer of windows added to the building 60

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context conflict

function reciprocity

diagram 1.5

When a building has a strong context, the approach that is made to it with the redesign is either reciprocative or in conflict. This is due the strength in the context, which cannot be disregarded. Hence, the new design is either in rhythm with the old and follows its character to blend with it, or it is contrasting in nature to allow the old and the new to stand out as individual entities with contrasting characters (diagram 1.5).

context

function reciprocity

indifference

diagram 1.6

When a building has a relatively weak context, the change in function overpowers the design process. In such cases, the new design is either reciprocative or indifferent to the existing. Depending on the historical and architectural depth of the building, the new design may take hints from the existing and reciprocate its character or it can be completely indifferent to the context, and create an interior which does not respond to the shell it is contained in (diagram 1.6).

There exist situations where the design is not strongly deviated towards one particular approach, and is in between instead. In such cases the design decisions do not result in clarity and hence, in terms of the overall design, are weak positions. Instead when a design greatly responds to the context or function, there is a clarity in approach, which result in strong design positions.

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Chapter Two

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Diwanji ni Haveli

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Diwanji ni Haveli, Ahmedabad City Heritage Centre, Ahmedabad

Context The medieval city of Ahmedabad founded on the banks of the Sabarmati river, which having undergone urban development expanded across the river, hence dividing itself into two major parts. The old city of Ahmedabad consists of rich built heritage and cultural identities. The city comprises of the historic community ‘Pol’, which is largely a cluster of hundreds of houses of all scales built tightly next to each other.

The old city of Ahmedabad with its unique fabric, is one of the only cities with a large part of its original dwellings, still surviving. The onset of urban development in the old city, gave rise to an urgency to preserve these structures.

Diwanji ni Haveli is a historical ‘pol’ house in the old city of Ahmedabad. As compared to the average pol house, it is larger in scale and comprises of more ornate elements, due to the wealthy ownership.

The haveli was built more than two centuries ago and belonged to Shankardas Kantharia, the last Subedar- governor, for the Mughal empire.

The house was later restored by his fourth generation Motilal Diwan who was the Diwan of Kutch and Bhuj. It was subsequently converted to an inexpensive accommodation which later became a school, while remaining under the ownership of the Shodhan family, whose ancestor Shankardas Kantharia originally owned it.

Having been vacant for over a decade, it was restored by the City Heritage Centre of Ahmedabad, in 2015, as part of a larger plan for revitalisation of heritage houses in the old city.

The haveli’s restoration is an attempt at generating an idea of the potentials of these buildings, mainly among haveli owners and members of the pol community. It intends to convey an image of the haveli as it was originally visualised in order to encourage preservation and restoration of such structures.

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Diwanji ni Haveli

Diwanji ni Haveli is located at the Sankdi Sheri lane near Manek Chowk in the old city of Ahmedabad.

This lane mainly consists of residential buildings and a few abandoned institutional buildings. Several of these buildings are under consideration for restoration. The City Heritage Center of Ahmedabad (CHC), have a proposed plan to revitalise all the buildings of the Sankdi Sheri, to set an example of large scale restoration, in order to promote conservation of many such buildings in the walled city. Diwanji ni Haveli is the first of these buildings.

The House of MG, which was one of the initial havelis to be restored and reused, functions as a hospitality complex. Another property owned by the house of MG, is located in the Sankdi Sheri, and is under restoration and to be reused as a secondary branch of the same. Another institutional building in the Sheri, owned by the Ahmedabad Municipal Corporation (AMC), is under restoration to be used as its branch office within the walled city.

The walled city of Ahmedabad is on UNESCO’s tentative list of historic sites of the world. The buildings of Sankdi Sheri, including Diwanji ni Haveli, fall under the list of historic properties cited by UNESCO, and is a part of the conservation and revitalisation plan of the walled city. It has been classified as a Grade-III building, which suggests that it is of moderate importance. This creates an opportunity for the building to adopt a new function or to continue catering to its original function, post restoration.

The building has a strong contextual value exemplified through its courtyards, ornate elements, the abundant use of wood, stone and lime,- all of which reflect the typology of a pol haveli. These components of the building, act as strong reference points to its restoration and reuse.

2.1 Aerial View of the pol community at Ahmedabad old city

2.2 Views of Sankdi Sheri where the haveli is located

2.3 Views of the adjoining pol houses - both occupied and abandoned, from the haveli’s courtyard

2.4 View of the House of MG secondary building under construction across the street from the haveli

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Site Plan of Diwanji ni Haveli

2.5 Panoramic view of Diwanji ni Haveli showing its location in the Sankdi Sheri surrounded by a cluster of houses and shops

2.6 Panoramic view of the surrounding buildings from Diwanji ni Haveli’s terrace 67

Diwanji ni Haveli

Function

guest room

hall

art gallery 1

guest room

First Floor Plan

entrance porch reception

main staircase

outer courtyard

CHC workspace (new)

central courtyard kitchen

underground water tank

Ground Floor Plan

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terrace

art gallery 2

Third Floor Plan

art gallery 3

guest room

Second Floor Plan

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Diwanji ni Haveli

Transverse Section through the central courtyard

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The original building belonged to Shankardas Kantharia, but was majorly used as the residence to the Diwan of Kutch through the 1870s. The haveli consists of a large central open to sky courtyard, which is typical to pol houses. It also includes several vast halls and rooms, whose functions were left to interpretation. These could be used as common spaces for the family to gather, or entertain, while others were used as bedrooms.

Over the years as the haveli was unoccupied, it was used to house several other functions. The large spaces of the haveli created a flexibility while adopting new functions. It became an accommodation complex, where boarders used the halls as individual homes. At this time, many spaces were divided using temporary partitions. When the haveli became a school, the halls were used as classrooms, while the courtyard as a common recess area.

The function of the haveli after its restoration was not intended to be changed considerably. The objective was to reuse the haveli such that few areas could be rented out for accommodation, while certain spaces could remain open to public. The section of the haveli which once housed bedrooms have been restored as guest rooms, while the vast common halls are converted to art gallery spaces. A small section of the haveli houses the current workspace for the CHC.

2.7 Image courtesy of City Heritage Centre, Ahmedabad

2.8 Image courtesy of City Heritage Centre, Ahmedabad

Views of the haveli’s facade in a defunct and abandoned state before restoration 70

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CONTEXT

Least Change

Diwanji ni Haveli

FUNCTION

Most Change

diagram 2.1

Diwanji ni Haveli is a building of heritage value and historical significance. It is part of a typology of buildings - pol havelis, which are no longer constructed, and very few of which are preserved. Owing to this, the building’s redesign is primarily focused on the restoration of the haveli. In this scenario after restoration, the building can be reused and may cater to a new function, but it cannot accommodate a function which is drastically different from the original.

Due to the building’s context, there is a certain limitation in the amount of physical change it can go through, due to which the new function as well, responds to the original (diagram 2.1).

The redesign of this building intends to be a live example of the potentials and merits of restoration of such structures. All the major interventions and processes applied are an attempt at maintaining the visual character of the original building, while exhibiting a variety of possible processes and techniques.

2.9 Image courtesy of City Heritage Centre, Ahmedabad

2.10 Image courtesy of City Heritage Centre, Ahmedabad

Views of the haveli’s facade in a defunct and abandoned state before restoration 71

Diwanji ni Haveli

Process The initial on site processes mainly consisted of restoring the building’s structural integrity, following which repairs and extensions within the haveli were made. Facade restoration began with retrieval of the original wood and stone elements (fig. 2.11). Many of the original floors were damaged due to decay in wood joinery and were replaced with a lighter material (cement bonded particle board) to ensure the stiffness of the floor (fig. 2.12). The new floors are flushed with the original floor level.

During the process, skilled artisans and craftsmen were delegated the task of recreating the ornate wooden columns, brackets and carvings on the door and window frames. Many of these components were completely restored, while several were recreated using parts of the original element. The major craftsmanship was required in the restoration of wooden elements although, materials like stone in the columns’ base and intricate details in lime plaster have also been worked upon (fig. 2.13).

The original building is a combination of a wooden frame structure and brick load bearing structure. Most of the original brick walls are refinished and retained, while wooden columns, beams and joinery have been recreated and restored.

Image courtesy of CHC, Ahmedabad

Image courtesy of CHC, Ahmedabad

Image courtesy of CHC, Ahmedabad 72

2.11 Facade restoration began with the removal of signage and parts of walls painted over, to recover the original. Wood and stone carvings on the facade and restoration of fenestrations was the key task.

2.12 Floors of most part of the haveli was in a bad condition due to the decay of wooden joints in the original floors.

Redoing the floors with wooden joists and alternate flooring materials was one of the initial tasks.

2.13 Stone carvings were an important part of the haveli’s restoration.

Artisans carved stones bases of wooden columns to replicate the original.

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Orhthographic drawings were made to document and analyse the existing structure (fig. 2.14). 3D models were used to visualise spaces after restoration (fig. 2.15, 2.16). The carving patterns on the wood and stone elements were made on site directly using the preexisting elements as a reference.

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2.14 Plan of the underground water tank which aided in its restoration

presentation drawing by Ragin Shah for CHC, Ahmedabad

2.15 Sectional view of the art gallery where a new ceiling material was intended to be used. 3D models were used to develop the gallery’s design presentation drawing by Ragin Shah for CHC, Ahmedabad

presentation drawing by Ragin Shah for CHC, Ahmedabad

2.16 Sectional view of the art gallery depicting the original wooden structure in the ceiling and restored windows. 3D model provided a groundwork of the original building and its structure based on which the new design was developed 73

Diwanji ni Haveli

Reuse : Redesign The redesign of Diwanji ni Haveli is an approach which is dominated by its context and intention of restoring the building to its original visual appearance, while renovating it to update the manner in which the building is used. The design process thus takes into account, materials and techniques which aid to restore the building’s original character. Interventions and redesign conducted as a result, directly respond to the original building. Functional requirements while updating the haveli to incorporate services and alternate circulation routes, are strongly contextualised through traditional processes.

•Extension The primary decision towards updating the building was an addition of a service block on the upper levels, to provide an individual bathroom to each of the guest rooms. The kitchen block on the ground floor was extended two levels to meet this requirement.

The extension was contextualised by reciprocating to the haveli’s character. The windows were replicated to match the series of windows on the inner facade. The overhung roof structure was reused and placed to continue on to the extension. This gives the courtyard a uniform character, and provides the extension with an appearance of being part of the building, when originally constructed.

Images courtesy of CHC, Ahmedabad 2.17 Views depicting the various stages of restoration of inner facade and extension of the service block

2.18 Drawings of the facade elevation and section as redesigned for the service block extension presentation drawing by Ragin Shah for CHC, Ahmedabad 74

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Courtyard Before Redesign 75

Diwanji ni Haveli

The original haveli’s topmost floor was largely intended to be used as a storage attic. It is covered by a trussed roof structure, which compromises on headroom. This space deprived of large fenestrations, due to which it is poorly lit with natural light.

The redesign of the building aimed at exhibiting potential techniques that can be applied to update a haveli while restoring it. An addition of a terrace level to the existing was one of the key features to exhibit the same. The entire haveli has a trussed roof finished with terracotta tiles. The roof over the guest rooms on the upper level of the haveli is restored, while a terrace extension is made over the art gallery spaces.

Due to this, the attic level of the haveli can now accommodate a new function. The wooden trussed structure is restored, while the rafters are removed to add metal trusses to support a flat roof. Tension cables are used to stabilise this structural combination. The ceiling is effectively raised, providing an opportunity for insertion of fenestrations to allow natural light.

The service block extension and the flat roof are the two most significant spatial changes made during the haveli’s restoration. Most of the elements and spaces have been restored and updated to function efficiently.

Image courtesy of CHC, Ahmedabad 2.19

Image courtesy of CHC, Ahmedabad 2.21

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Views of the third level attic space before and after redesign.

The redesign mainly allowed for extension in headroom along with an accessible terrace over it. Added fenestrations allow abundant natural light.

2.20

Image courtesy of CHC, Ahmedabad 2.22

Views of the trussed roof before restoration and while under repair. Most of the key wooden trusses were restored, while some weaker members and rafters were repaired or replaced, to recreate the original roof

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Roof and Attic Before Redesign 77

Diwanji ni Haveli

•Restoration Courtyards are typical to the pol house typology. They are key spaces in pol houses and havelis, since they regulate ventilation and interior temperature, along with being spill out spaces for various activities within the house. Courtyards create interesting inner facades which usually include ornate fenestrations, through which the courtyard is visible, from inside both the upper and ground storeys (fig. 2.23, 2.24).

restored windows

restored wooden columns

Image courtesy of CHC, Ahmedabad 2.23

Image courtesy of CHC, Ahmedabad 2.25 78

Views of the central courtyard before and after redesign.

Views indicate the repair and restoration of wooden columns and fenestrations around the courtyard.

2.24

Views of the outer courtyard before and after redesign. Views depict the service block extension and revitalisation of the wood and stone elements in the courtyard 2.26

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Diwanji ni Haveli has two major courtyards. One central courtyard which is surrounded by spaces on all four sides, and another semi private courtyard opening out to the neighbouring houses. The semi private courtyard is surrounded by the haveli on three sides including the service block extension. This area is now utilised as a cafe for the employees at CHC. Originally the courtyard floor was unfinished and was paved during restoration. Restoration of the courtyard included revitalisation of the inner facades and fenestrations (fig. 2.25, 2.26) The central courtyard originally had an IPS flooring which had damaged over the years. This flooring was replaced with a polished kota stone for the open to sky area, while surrounding spaces were finished with patterned tiles (fig 2.27, 2.28). With the refurbishment of the flooring, the character of a typical haveli is restored. The inner facades and fenestrations surrounding the courtyard, were repaired and refinished.

Images courtesy of CHC, Ahmedabad

2.27 Views depicting the original courtyard flooring and the process undertaken during the installation of the new flooring

2.28 Plan indicating the new flooring pattern and visual character of the patterned tile in the courtyard area presentation drawing by Ragin Shah for CHC, Ahmedabad 79

Diwanji ni Haveli

The west wing of the haveli is restored to be used as art gallery spaces. Since, these areas are intended to be public spaces, they were redesigned while incorporating a variety of techniques and materials. The hall on the first floor, includes fenestrations overlooking the central courtyard along with access corridors to the guest wing. The original fenestrations and niche storage units have been restored completely.

Although the original wooden floor was damaged due to termites, much like the floors of the entire haveli.

A new floor slab was installed and finished with patterned tiles which match the haveli’s aesthetic.

The wooden columns were restored and refinished. The columns are to be used as display elements for the artwork presented in the space, in order to keep the walls with the niches and fenestrations unoccupied.

2.29 View of the gallery floor under repair Image courtesy of CHC, Ahmedabad

2.30 View of the corridor leading to the guest wing through the first floor gallery

2.31 View of the gallery after redesign with restored fenestrations and new flooring

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The second floor gallery was intended to exhibit an exploration with potential materials which can be used after restoration. The floor, wooden columns and fenestrations were repaired with the same techniques applied on the first floor gallery. Although, this space had extensive ornate lime work around the fenestrations and storage niches. This was used to conceptualise the hall as a ‘stucco gallery’. The existing lime work was repaired and restored, while precast POP slabs were used to finish the ceiling. The pattern on the ceiling was replicated to match the pattern on the new floor tile.

The openings in the gallery area lead to a terrace overlooking the courtyard and leading to the guest wing.

This terrace is a common space between the public and private areas.

original lime decorative elements

2.32 View of the hall in its existing condition.

Carvings in lime plaster are seen around the niches.

Image courtesy of CHC, Ahmedabad

2.33 View of the terrace surrounding the central courtyard, outside the stucco gallery

2.34 View of the stucco gallery after redesign.

Synchronised patterns of the floor and ceiling are depicted.

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Diwanji ni Haveli

A large hall in the east wing of the haveli used to be the main living space when it functioned as a residence. This room allows ample natural light through large fenestrations. Due to its size over the years, it was used as a multipurpose area and has been restored without consideration of a specific function (fig. 2.36, 2.38).

The corridor leading to this hall overlooks the street and is part of the front facade. It’s roof is supported by ornate wooden columns which were highly damaged over the years. During restoration, the columns were recreated and the floor was refinished (fig 2.35, 2.37).

Image courtesy of CHC, Ahmedabad 2.35 View of the corridor adjoining the hall, before restoration

Image courtesy of CHC, Ahmedabad

2.36 View of the main hall before restoration

2.37 View of the corridor adjoining the hall, after restoration and redesign 2.38 View of the main hall after redesign with restored fenestrations and new flooring Image courtesy of CHC, Ahmedabad 82

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•Updating The haveli is restored with the intention of being reused either for its original function as well as incorporation of new functions. During this process, the building is updated in order to be relevant to the new use in the present scenario. The services of the building required maximum attention during this process.

At Diwanji ni Haveli, an addition of toilets and air conditioning were of primary importance. The extension of the service block accommodates the services for the guest wing (fig. 2.17, 2.18, 2.38).

A staircase located off the central courtyard was removed to incorporate a common toilet for employees and visitors (fig. 2.40). The haveli consists of a number of staircases used to access the upper storeys, leading to a variety of circulation routes in the entire building. One of these routes was compromised to cater to the functional requirement of a service block. Air conditioning units were installed in the terrace area outside the stucco gallery. These facilitate air conditioning in the art gallery wing (fig. 2.41).

2.39

2.40

View of the extended service block and common toilet block

2.41 View of air conditioning units on the second floor terrace

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Diwanji ni Haveli

•Reuse A majority of havelis and pol houses have a water harvesting system, to store rain water in underground tanks. The courtyards were built over these tanks, since a large quantity of the rain water was collected from the courtyards.

The underground tank in Diwanji ni Haveli is located under the outer courtyard. This tank can be accessed through a staircase route from inside the haveli (fig. 2.45).

During redesign, this tank was restored and intended to be used as an underground spa. To facilitate this, the tank was cleaned and repaired following which, an addition of a glass floor and seating was made (fig. 2.44).

presentation drawings by Ragin Shah for CHC, Ahmedabad 2.42 Drawings of the existing underground tank

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2.43 Drawings of the tank as designed to be used as a spa after restoration

Reuse : Redesign

Images courtesy of CHC, Ahmedabad

2.44 Views depicting the various stages of the underground tank restoration intended to be reused as a spa

2.45 Views of access route to the tank after restoration.

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Diwanji ni Haveli

The outer courtyard now functions as a cafe and spill out space for the employees at CHC. The courtyard was restored to its original condition and paved with a new flooring. Wooden movable furniture accommodates the courtyard and facilitates the cafe. The original kitchen block is restored to function for the cafe.

2.46 View of the outer courtyard while being restored Image courtesy of CHC, Ahmedabad

2.47 Photo montage of a cafe wall depicting typical pol street art, to be added to the courtyard

2.48 View of the courtyard after restoration, functioning as a cafe

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The rooms in the haveli’s east wing are restored and reused as guest bedrooms. The spaces are restored to their original state, while movable furniture is added to facilitate the functional requirements. The extension of the service block, provides a bathroom for each guest room (fig. 2.49, 2.50).

A small hall off the central courtyard, now functions as the a workspace for the City Heritage Centre (fig.

2.51). Post restoration, basic functional interventions in terms of furniture and wall fittings were made.

The character of all the new elements strongly reciprocates with the haveli’s original aesthetic.

Image courtesy of CHC, Ahmedabad 2.49

Image courtesy of CHC, Ahmedabad 2.50

View of the gallery after redesign with restored fenestrations and new flooring

2.51 View of the City Heritage Centre workplace within the haveli

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Diwanji ni Haveli

Elements and Components

preexisting cast iron grill

metal trusses supporting flat roof

restored wooden frame reconstructed wooden shutters

tension cable detail

Contextually Functional : The windows surrounding the courtyard were restored to their original state. The wooden frames remain intact, while new shutters were built to replicate the original. The existing cast iron grills have been reused.

Functionally Contextual : Extension of the attic floor to create a flat roof is a result of the intention to present the variety of potential techniques, which can be applied while restoring a haveli. This makes it a functional decision. Contemporary techniques and materials - tension cable structure, metal trusses and cement sheets are used. An attempt at contextualising this decision has been made through resotartion of the existing truss structure ans use of stained glass and wood in the construction. Although unlike other elements, a visual conflict is created due to exposed details of the same. new column restored column

new stone base Contextually Functional : The structure around the courtyard required extra support in order to maintain stability. A column was added next to a preexisting column to fulfill this requirement. This double column was provided with a new stone base, and the new column was made to replicate the original one exactly. An ornamented wooden member was added between both the columns to add to their structural stability.

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coloured acrylic sheets

restored frame and shutters

new window

existing window

Contextually Functional : Windows surrounding the outer courtyard are restored to appear as they originally did. Wooden frames and shutters are repaired and reused while stained glass panels are replaced with coloured acrylic sheets, creating a visual reciprocity but conflicting the original material palette. Windows on the newly extended service block are influenced by the existing windows, although have a raised sill which breaks the uniformity maintained by the original openings.

restored wooden beam

restored lime work

recreated lime work

Contextually Functional : Ornate circular wooden columns and beams in the outer courtyard are completely restored. Wooden beams which were excessively damaged are reinforced using RCC while retaining the outer wooden layer, to resemble the beam in its intended original state.

Contextually Functional : The windows and niches in the second floor gallery were surrounded by decorative elements created in lime. Most of these have been restored while highly damaged pieces were replaces with new ones. The redesigned “stucco gallery� is influenced by these elements.

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Diwanji ni Haveli

CONTEXT 1. typology

location

history

narrative

change in

FUNCTION 2. existing

introduced

nature of

PROCESS 3. restoration

extension

renovation

remodelling

nature of

PROCESS 4. contextual

functional

ELEMENTS 5. contextually functional

functionally contextual

CONTEXT

FUNCTION

CONTEXT

FUNCTION

6.

conflict existing CONTEXT typology + location

change in FUNCTION haveli residence to accommodation/art gallery chart 1 please refer text on page across 90

reciprocity change in FUNCTION haveli residence to accommodation/art gallery

nature of PROCESS restoration + extension

nature of PROCESS restoration + extension

approach to CONTEXT reciprocative

Reuse : Redesign

Conclusion 1. Diwanji ni Haveli belongs to a specific typology of buildings with immense heritage value, within the setting, of the historic old city of Ahmedabad -location. Its restoration was considered due to the rapid deterioration of several other buildings of its kind. The building’s history and narrative suggesting associations with a Subedar of the Mughal Empire, and Diwan of Kutch, add to the haveli’s contextual value. Due to this, the approach towards its redesign is dominated by the context.

2. The building’s redesign is mainly aimed at its preservation. The preservation and restoration of the haveli’s original character, can be stated as being its function after redesign, in terms of intention, not utility. Due to this, the haveli retains most of its existing functional relationships, on the basis of which new functions have been introduced.

3. All the elements and spaces which are repaired and restored, maintain the original character of the haveli- courtyards, wooden elements, limework. While the new elements, - fenestrations, railings, staircase, new flooring are made reciprocative with the original and aligned with the building’s aesthetic, through relevant materials and techniques. The two main extensions made in the haveli include the service block, whose design is directly influenced by the existing. The flat roof extension alternatively, completely involves processes and materials which are in conflict with the existing. Although, this conflict is not a deliberate one.

Design strategies applied to introduce new functions in the haveli through remodelling - CHC workspace, cafe, spa, art gallery, guest rooms, are all reversible in nature. None of the new functions are embedded in the restored building permanently.

4. All the significant functional decisions made towards the haveli’s redesign and reuse are primarily responsive to the context, although processes applied are not completely authentic. This is suggested by the use of modern flooring material in the entire building, stained glass replaced by acrylic sheets, and cable structure used in the roof extension. The building’s visual appearance is completely restored, albeit employing relatively modern materials and techniques. The redesign of the roof is the only functional decision, which has not been adequately visually contextualised.

5. A response to the building’s context has been made by maintaining the elements and spaces which define the haveli’s typology- courtyard, wooden columns and beams, lime plaster elements. At the same time new interventions are made to exaggerate the preexisting notion of the haveli typology patterned flooring, POP decorative ceiling, ornate furniture elements and fixtures. These elements are thus contextually functional.

6. As a result of the context being of primary importance to the redesign, the response made to the existing, is largely reciprocative. The change in function in terms of usage, reciprocates with the context as well, while the intended function is fulfilled with the haveli’s restoration. The nature of processes and techniques applied to restore and recreate the haveli’s spaces and elements, indicate strong visual reciprocation.

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French Haveli

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French Haveli, Ahmedabad Threee Foundation

Context French Haveli is a restored Gujarati heritage home, which was originally the traditional haveli of a Jain family built a century ago in Dhal ni Pol, an area home to many Jain jewellers and mercantile families, in the walled city of Ahmedabad. It now serves as a boutique hotel, with the intention of maintaining this traditional structure and introducing the guests to the community.

The setting of the haveli is a reminder of the proceedings of daily lives back in the ancient times due to its location among clusters and rows of houses joined by labyrinthine streets which open into sub lanes called ‘Khadki’, and squares called ‘Chowks’.

In the early 2000s, the Ahmedabad municipality flagged off programmes for the renovation of the historic city centre as part of an Indo-French collaborative project along with a visiting team led by Pierre Cadot and other French architects sharing their expertise with Indian designers.

The French team restored the haveli and lived in it till 2005. It became a residency named Arts Reverie—run by art consultant Anupa Mehta, along with Jeremy Theophilus and Barney Hare Duke—for artists and other creative professionals The haveli remained the residency for the Arts Reverie for a period of six years before it was fully converted into a heritage home/ boutique hotel, under the heritage home-stay policy for the walled city, launched by the municipal corporation.

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French Haveli

The French haveli is located in the Khijada Sheri, Dhal ni Pol in the old city area of Ahmedabad. The Khijada Sheri is largely a residential area, which consists of several buildings and structures of historic significance, many of which are preserved and have been restored.

The French Haveli is immediately surrounded by several other heritage homes, a few of which are still inhabited, and a square including a birdfeeder - ‘chabutra’, and a Jain temple which are over a century old (fig. 3.1, 3.2).

Views of the bird feeder at the square in front of the haveli 3.1

3.2

Views of the Khijada Sheri, where the haveli is located amidst several other houses 3.3

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Site Plan of the French Haveli indicating the street and the ‘chabutra’

3.5 Panoramic view of the French Haveli showing its location beside abandoned, and inhabited houses undergoing expansion

3.6 Panoramic view of the surrounding buildings from the French Haveli’s terrace overlooking the square, ‘chabutra’, and the Jain temple.

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French Haveli

Function

terrace library hostel room

suite room

terrace

Second Floor Plan

guest room dining hall

guest room

study guest room

First Floor Plan

entrance

study

admin courtyard lounge kitchen

staff quarters

Ground Floor Plan 96

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Cross section through courtyard The redesign of French Haveli was conducted largely with the intention of retaining and conserving it. Owing to this there has not been a considerable change in function. The haveli which was once a residence, and later a residency, is now a boutique hotel, where all the bedrooms and halls of the haveli are converted to guest rooms.

The French Haveli is part of a typology of pol houses, which require conservation. Due to its heritage value,history, and location among a dense cluster of pol houses, the haveli’s context proves to be a strong one and thus dominates its redesign process. The building is hence not flexible enough to incorporate drastic spatial changes or extensions. (diagram 3.1) The haveli, as a boutique hotel, intends to provide an authentic pol house experience to its guests. All the major interventions and processes applied are an attempt at maintaining the character of the home that the haveli once was, while incorporating functional changes to streamline its use as a hotel.

CONTEXT

Least Change

French Haveli

FUNCTION

Most Change

diagram 3.1 97

French Haveli

Process Processes involved in the redesign and reuse of the French Haveli were intended towards restoration and conservation of the building.

During its initial restoration conducted by the French team, the haveli’s facade was completely restored and while during redesign to be converted to a hotel, the facade was refinished. The pediment and cornice mouldings on the facade were highly damaged due to weathering and a large portion had to be repaired.

It was finished with cement plaster to avoid further damage. Wooden fenestrations and columns were restored, while several decayed wooden elements were reconstructed based on their original designs.

The building is a combination of a load bearing brick structure along with a wooden frame structure.

Following the structure’s repair, all the building’s surfaces were refinished using a variety of different materials- cement plaster, paint on walls and glazed and patterned tiles, china mosaic for floors.

3.7 3.8 Images courtesy of Nikhil Vyas at CHC

3.10 Images courtesy of Nikhil Vyas at CHC

3.12 Images courtesy of Nikhil Vyas at CHC 98

3.9

3.11

3.13

Views of French Haveli’s facade before restoration, after restoration in 2000 and after redesign, in 2006

Views of the pediment under repairs during the facade restoration process

Views of the facade openings and terrace floor being refinished during redesign

Reuse : Redesign

A series of views generated using a 3D model were used to visualise the haveli after restoration. These provided an overall understanding of the space planning and new circulation routes of the haveli. The model was also used to make decisions regarding the new finishes and materials.

3.15

3.14

3.16

presentation drawings by Ragin Shah for French Haveli 3D model views of the French Haveli depicting street view and sectional views after redesign

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French Haveli

Reuse : Redesign The redesign of French Haveli is an approach which is dominated by its context. The new function is incorporated to respond with the existing built form and narrative, to provide an experience of the traditional lifestyle of the pol community. The design process thus takes into account, materials and techniques which aid to restore the building’s original character. The lack of space within and around the house, results in a failure to accommodate major spatial interventions. Elements and spaces resultant of functional requirements, are contextualised through traditional processes.

A courtyard is a key element of a typical pol house, as a result of which, the redesign of the courtyard was the primary design move. All the spaces surrounding this open to sky area, were cut off from it through doors and windows, lining its periphery. These partitions were taken down to allow natural light from the courtyard into all its surrounding spaces, while creating a larger common area for the guests.

A swing was added in the courtyard, along with furniture to act as a lounge. A typical pol house courtyard is devoid of a swing- the swing is usually placed at one if its peripheral spaces. Here, the swing is suspended from a metal I-beam, added in the courtyard for structural stability. The swing adds to the haveli contextually, but not authentically. The original IPS floor was refinished using patterned tiles. Several of the wooden columns surrounding the courtyard were restored, while columns which were largely decayed, were reconstructed.

View of the courtyard after redesign 3.17 Image courtesy of French Haveli

3.18 100

Views of wooden columns in the courtyard under construction and the re-tiling of the floor 3.19

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Courtyard Before Redesign 101

French Haveli

While the haveli functioned as a residency for Arts Reverie, the existing halls and bedrooms accommodated the artists. At this time, the spatial relationships of the interior spaces was retained as they originally were. After redesign to function as a hotel, a service block was added into the building in order to provide a bathroom to each guest room. The spaces located above the original service area of the haveli on the ground floor, were added to the service block. On the first and second floor, this service block occupied a part or whole of existing halls and rooms, thus affecting the original space planning.

The extension and inclusion of these service areas is a strongly functional decision, further contextualised through materials like wood and lime plaster, although all the bathroom fittings and several finishes- tiles, glass, mosaic are relatively modern materials. This creates a juxtaposition of traditional and contemporary elements and finishes.

original service area

The bathrooms of the haveli originally were located on the ground floor. This area after redesign, is converted to a common service area for staff and guests (fig.3.20,3.21), off the reception area (fig.3.22). A part of the block is cut off and included within the staff quarters to provide direct access. This space is used as a footprint while locating the bathrooms for the upper storeys.

Ground Floor Plan

The service area extended onto the first floor is divided into two- an attached bathroom for the double bedroom (fig.3.23) and a common bathroom shared by the guests of the two single bedrooms. The common bath is a result of a lack of space, without which one single bedroom would be compromise(fig.3.24).

First Floor Plan

The second floor consists of two bedrooms, each with an attached bathroom. The suite includes the bath area resultant of the service block extension(fig.3.25), while the shared bedroom has a bath area added independently during redesign (fig.3.26,3.27). This area has a new plumbing line taken from outside the building. independent service area Second Floor Plan

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3.20

3.21

3.22

Views of the renovated common bathroom off the reception area on the ground floor

3.23 View of the extended service block incorporating the attached bathroom for the double bedroom on the first floor

3.25 View of the attached bathroom for the suite room on the second floor

3.24 View of the two adjacent single bedrooms on the first floor

3.26 3.27 Views of the shared bedroom on the second floor with independent attached bathroom added during redesign 103

French Haveli

Semi-public spaces surrounding the haveli’s central courtyard are now used as common areas for the boutique hotel. These include the lounge and courtyard on the ground floor, dining space on the first floor and library area on the second floor.

Although the existing spatial relationship is largely the same, all of these functions are modeled into the building after redesign. Traditional pol houses did not include areas designed specifically for dining or study.

The open to sky central courtyard and spaces surrounding it, act as a formal lounge for the haveli’s guests. This area is redesigned by restoring the wooden columns, refinishing floors with patterned tiles and incorporating a swing and eclectic furniture pieces - to create an image of the original existing. (fig. 3.28,3.29).

Ground Floor Plan

The dining area on the first floor is situated adjacent to the courtyard openings. This space is used as a common dining for all the haveli’s guests(fig.3.30,3.31). The staff members use the staircase located off the kitchen and courtyard as a service route to the dining room. The spill out space off the dining room and guest staircase acts as a common informal lounge area for the guests(fig.3.32). The windows in this space open out to the ‘chowk’.

First Floor Plan

The space on the second floor adjacent to the courtyard outside the guest rooms, is used as a library accessible to all guests of the haveli. Here, the floor is refinished using patterned tiles, on the basis of which a POP patterned ceiling is designed (fig 3.33,3.34,3.35). This ceiling and flooring continues on to the suite room as well.

Second Floor Plan

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3.28

3.29

Views of the open to sky courtyard and lounge

3.30

3.31

3.32

3.34

3.35

Views of the dining area on the first floor and informal lounge area

3.33 Views of the library area on the second floor

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French Haveli

The haveli which was once a typical pol house, accommodating a family, now functions as a hotel. This new function is in response with the old one, but affects the factor of privacy. In case of a family, all semi private areas of the house are common to all, also true to the hotel, except access to the terrace.

Bedrooms of the time, now function are guest rooms. The interconnection of circulation routes within the haveli created a fluidity in movement as one house, although as a hotel, these routes are segregated and divided to secure each room’s privacy. In this case, the many openings and staircases within the haveli prove to be an advantage.

entrance main entrance single room staircase

main staircase

Ground Floor Plan

The haveli has three entrances, of which only one entrance- off the courtyard, is mainly used(fig.3.36). Three staircases off the courtyard space lead to the first floor- main guest staircase next to the reception, staircase off the lounge leading directly to first floor single bedroom (fig.3.36,3.37), and staircase across the kitchen used for services as well as guests.

entrance service staircase

The two single bedrooms on the first floor are interconnected.

The staircase leading to one single bedroom can be used by both depending on the guests and room’s vacancy(fig.3.37).

The service staircase opens into the study adjoining one single bedroom(fig. 3.38). Hence, both the single bedrooms can be completely cut off from each other in terms of accessibility and circulation if necessary(fig.3.39). The main staircase can be used for the double bedroom(fig. 3.40) as well as single bedrooms.

interconnected single rooms

First Floor Plan

terrace

The second floor consists of two bedrooms- one suite(fig.3.41) and one shared room. Both of these open into private terraces with views of the surrounding houses and chowk respectively(fig.3.42,3.43). The main staircase leads to these rooms.

terrace Second Floor Plan

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3.36 View of the two front entrances to the haveli and staircase leading to single room

3.37 View of the single room and private staircase leading to it

3.38 View of the study adjacent to second single room

3.39 View of a single bedroom on the first floor

3.41 View of the suite room

3.42 View of the suite room terrace

3.40 View of the double bedroom on the first floor

3.43 View of the shared room terrace

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French Haveli

Elements and Components Most of the design decisions reflected in the elements resultant of intervention, reflect being dominated by the haveli’s context, although many of these elements are a result of a functional requirement.

The existing elements and components of the haveli have been fully restored to resemble the original.

While new elements strongly respond to the typological character of the building. During intervention and redesign, the new function is set in accordance with the existing spatial relationships within the haveli.

This indicates a strong but restrained influence of the function on new elements.

restored wooden frame

coloured glass

restored wooden frame

restored panelled shutters

Contextually Functional : The series of windows surrounding the courtyard on the first floor, have been restored. These consist of wooden frames and panelled shutters. Post restoration, they have been finished with paint.

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Contextually Functional : The windows on the haveli’s facade were restored during the initial facade restoration in 2000.

These originally consisted of wooden frames and stained glass panes. During restoration the wooden elements were restored and repaired while the stained glass was replaced with dark glass. Later during redesign, the windows were painted over and coloured glass panes were added.

Reuse : Redesign

Contextually Functional : The pediment on the haveli’s roof has been restored to its original character as a response to its contextual value. Now it serves as a reminder of the time the haveli was constructed and its European character adds to the French context.

hatch

Contextually Functional : The original wooden staircases are narrow steep stairs located at three different parts of the haveli. These have been restored to their original condition. Functionally they are not very efficient in nature- handling luggage, but they add to the typological context of the pol house. Each staircase has a hatch at the top, which can be shut and locked if required. These have been retained and are occasionally used to regulate the haveli’s circulation and privacy

109

French Haveli

CONTEXT 1. typology

narrative

location

history

change in

FUNCTION 2. existing

introduced

nature of

PROCESS 3. restoration

renovation

remodelling

nature of

PROCESS 4. contextual

functional

ELEMENTS 5. contextually functional

functionally contextual

CONTEXT

FUNCTION

CONTEXT

FUNCTION

6.

conflict

existing CONTEXT typology + history

change in FUNCTION pol house to boutique hotel chart 2 please refer text on page across 110

reciprocity

change in FUNCTION pol house to boutique hotel

nature of PROCESS restoration + intervention

nature of PROCESS restoration + intervention

approach to CONTEXT reciprocative moderately conflictive

Reuse : Redesign

Conclusion 1. French Haveli belongs to a typology of heritage pol houses within the walled city of Ahmedabadlocation.The haveli was restored by a team of French architects as part of a revitalisation plan for the old city, subsequently becoming a residency for an arts program. Following this narrative, the haveli was converted to a boutique hotel. With the specific typology and part restoration, the haveli’s redesign is in response to the existing context, while its reuse is a result of the same.

2. The building upon redesign, in essence serves its existing function- accommodation. Although the nature of accommodation is vastly different. The new function in terms of utility is derived from the intended function, which was to occupy the haveli to generate value. In this scenario, a boutique hotel is the most fitting ‘new’ introduced function. The haveli’s program was detailed out based on the existing building. Hence, the function itself was in direct response to the context.

3. All the existing elements of the haveli have been fully restored to resemble the original, but are finished with relatively modern materials and finishes.- facade, fenestrations, wood and stone columns. The courtyard, surrounding spaces, kitchen are renovated, while all the guest rooms are remodeled from existing halls and rooms.

4. Accommodation of the new function within the haveli’s existing spatial relationships was conducted with minimal intrusion. Due to this, the physical relationships between spaces remains the same while functional relationships are changed. Incorporating services on each floor was a major functional intervention, which was conducted while compromising on the least possible space.

5. Restoration of the preexisting elements allows the context to remain an integral part of the redesign.

Some elements and spaces are redesigned to appear more traditional - re-tiling of all the haveli’s floors with patterned tiles, addition of swing in the courtyard, eclectic furniture elements. These decisions exaggerate the typological notion of a haveli, although they are not necessarily authentic, since they are not original or appear like the original. This suggests a contextualisation of the new elements.

6. The extension of the service block, creates a conflict with the context due to use of contemporary materials and finishes. These spaces, added as a functional requirement are not responsive with the character of the existing.

As a result of the decisions taken during the haveli’s redesign due to its typology, the response made to the context here is reciprocative in nature. The new function is a direct result of the original, while processes applied, although not purely traditional, are influenced by the context.

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Cafe Zoe

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Cafe Zoe, Mumbai The Busride Design Studio

Context The 1970s saw a tremendous decline of the cotton mills in Mumbai the industrial, commercial, and financial capital of India. The potential redevelopment of the land they occupy in the heart of the city, soon became a major urban policy issue.

These mills, even in their derelict condition, comprise of Mumbai’s industrial heritage. Although, since 1991 the state government permitted the sale of mill land subject to certain conditions, to pave way for high rise buildings.

Owing to this, a large number of mills were demolished, leaving behind the mills which were under dispute of ownership. These remaining mills provide an opportunity to be rented out and reused for commercial purposes.

Todi Mills at Lower Parel, Mumbai, which are over a century old, are an example of one such mill complex. The reuse of these mills began in 2007, with the Blue Frog club being introduced within one of its structures. This allowed Todi Mills to be recognized once more, in a reinvented format.

Following this, the buildings surrounding Blue Frog, were occupied by several retail and commercial ventures.

Cafe Zoe is located in the Todi Mill compound within one of these trussed structures. A large portion of the mill was burned down due to a fire mishap.

The building was rebuilt and revived to incorporate the cafe.

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Cafe Zoe

Cafe Zoe is located at the Todi Mill complex at Lower Parel, Mumbai. Todi Mills are one of the few remaining industrial mill structures in Mumbai. This entire mill complex has been revitalised through the introduction of several cafes, restaurants, and commercial avenues within the mills. Most of these have abundant interior space due to the open plan spaces housed within the trussed structures. Facade treatment and connection with the outside is limited due to its location and lack of space between buildings, as a result of internal divisions within individual structures.

Owing to the mills’ history and significance, most of the original structures are retained, and the interior spaces are conceptualised around the preexisting industrial aesthetic.

The mill which houses Cafe Zoe has a trussed roof structure which provides ample natural light. It consists of a frame structure comprising of cast iron columns and steel beams and trusses. The original structure consisting of wooden beams as well, which were destroyed during a fire.

4.1

4.2

Interior View of the Todi Mill Social, another restobar located at the mill compound

Street View of Awfis collaborative workspaces at Todi Mills

4.3

4.4

Interior View of Blue Frog club which was introduced within one of the mills at Todi, the first one in the complex to be reoccupied

Exterior View of Blue Frog club indicating a lack of inside - outside relationships

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Site Plan of Cafe Zoe at Todi Mills, Mumbai

4.5 Panoramic view of buildings surrounding Cafe Zoe at Todi Mill compound

4.6 Panoramic view of the surrounding areas around Cafe Zoe’s entrance. Any significant part of the cafe is not visible from the street.

115

Cafe Zoe

Function

storage/garden deck

mezzanine cutout

mezzanine dining area

Mezzanine Floor Plan

entrance

stage

deli

dining space kitchen bar

toilets

service entrance

Ground Floor Plan 0 116

5m

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CONTEXT

Least Change

Cafe Zoe

FUNCTION

Most Change

diagram 4.1

The building within which the cafe is designed, was originally part of a group of cotton industrial mills.

These mills were built with an open plan, a frame structure and trussed roof to allow flexibility in use with heavy duty machinery as well as manual labour. In order to regulate lighting within the building, the roof comprises of large openings facing the north, which allow reflected natural light to render the interior space.

With the redesign of a mill building, there is a negligible possibility for retention of the original function.

Industries and mills function mainly owing to the machinery and equipments, which the building houses and acts a shell. This allows a wide range of possibilities for introduction of new functions, and considerable liberty in spatial design. (diagram 4.1) In such cases usually the new function take over the existing, although the Todi Mill complex is one of the few surviving mills in Mumbai and are of architectural value as industrial heritage. Thus, the building’s context was taken into deliberate consideration during its redesign.

117

Cafe Zoe

Transverse Section

0

5m

The mill, although a part of a typology of buildings, largely is a defunct shell which can accommodate any new function. It provides the flexibility to allow considerable change in the existing structure, but with a few constraints. The history and narrative surrounding the mills, generates architectural and historical value, which cannot be ignored.

It represents a typical Mumbai cotton mill, which post redesign intends to add value to the existing shell in order to promote further reuse. The most important factor governing the redesign was to accommodate the new function, while maintaining the mill’s original character.

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Cross Section

0

5m

The new function of the mill bears no similarity or influence to the original function. The idea behind developing a restobar within the structure is a result of commercial interest, due to the mill’s ownership dispute, and due its location within Todi Mill compound which houses other similar ventures and has a preexisting target audience.

The building’s frame structure and generous volume, create an open plan which, allows flexibility during redesign and can incorporate large inserts and interventions.

The key functional aspect while redesigning was to incorporate service areas- kitchen, toilets, and create maximum floor area for the bar and dining space. In addition to this, vertical displays for books and other retail products were part of the requirement.

119

Cafe Zoe

Process The concept of the redesign of the abandoned mill to a restaurant cum bar was based on sustaining the original architectural elements and finishes of the mill as a memory of its previous function, while introducing new elements which cater to the cafe’s function. The idea was to intervene the space with elements which add another layer to the mill’s history and manage to sustain themselves once the cafe vacates the building, which is intended to be reused again.

During the process, collages, photo-montages and 3D models were used to develop the new design, in order to contrast the original and the new elements (fig4.9-4.13). These views aid in visualising the new materials and aesthetic of the space, while exhibiting the manner in which the cafe is intended to be used.

The original building has a frame structure, and an open floor area which provide ample liberty while making new inserts in the space. As a consequence after restoration and repairs of the existing, significant spatial interventions were made within the building.

The initial on site processes included scraping off the plastered walls to revive the arched bricks made in the original construction. The building’s compromised structure was repaired with an addition of new steel beams (fig.4.7,4.8).

4.7 Views depicting repair of the existing structure and revival of the brick arches from the original construction Images courtesy of Studio Busride

4.8 Views of metal frame of the mezzanine structure, while under construction Images courtesy of Studio Busride 120

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4.9 Photo Montage of the kitchen wall elevation indicating the garden on the deck above the kitchen

4.10 3D conceptual view of the cafe as visualised during the initial stages of the design process

4.11 3D conceptual view of the cafe showing intended finishes and furniture layout

4.12

4.13

3D view of the cafe’s entrance and deli space

3D view of the cafe’s bar area

All presentation drawings courtesy of Studio Busride 121

Cafe Zoe

Reuse : Redesign The redesign of the mill building to be used as a restobar is a process which significantly leans towards the new function. The approach for the mill’s redesign takes into account decisions and strategies which include reviving the original building to develop the cafe’s aesthetic along with updating it to accommodate any new function. Space planning and inserts made in the building are designed to allow smooth functioning of the cafe and are contextualised.

•Restoration In terms of Cafe Zoe’s redesign, restoration mainly refers to the repair of the existing shell and the revival of original structural elements. A fire at the building resulted in several broken walls and damaged structure.

The original cast iron columns were completely restored, while most of the wooden beams had to be replaced with steel sections. A burnt wooden beam was revived through reinforcement and was installed in order to serve as a memory of the original building.

Several parts of the wall which were reconstructed over the years had been finished with wall plaster.

These walls were scraped to remove the plaster and recover the original brick construction, which included brick arches. Once recovered, the exposed walls were treated to prevent further damage (fig.4.14).

Although the processes included restoring the walls to their original state, the product appears to be a result of preservation. During preservation the building is left in its found ruinous state, here the mill was restored to its found state. Further repairs in the wall’s construction were not made and it was left unfinished.

restored brick arches

4.14 View of the restored brick wall which is left exposed displaying the original brick construction

122

Reuse : Redesign

restored wooden beam

Before Redesign 123

•Updating An update in the building’s services was made in order to make it relevant to its current and future reuse.

The electrical wiring for the entire building had to be redone. The wires are pulled through the walls and floors, leaving the partitions and non structural elements free, in case they are removed in the future (fig.4.15). Air conditioning ducts are introduced through the brick walls, and run exposed through the entire space (fig.4.16,4.17). Their units are located on the rear elevation of the building.

4.15 Presentation drawing courtesy of Studio Busride Interior elevation of partition wall indicating new electrical lines

4.16 View of the electrical lines and air conditioning duct on the restored brick wall

124

4.17 View of the and air conditioning duct through the double height dining space

Reuse : Redesign

•Reuse The building was redesigned to be used as a restobar. The design process incorporated functional decisions while considering the building’s original character and new function’s temporary nature. The mill has been restored and reused in a manner that caters to its function as a dining space and any future functions that it may serve.

The existing structure is restored, repaired and reused. Inserts and interventions made, are either generic to any function or reversible in nature. Due to this, the mill facilitates the current function while creating a further potential reuse. The large open space has been strategically disintegrated to accommodate services and addition in floor space.

A response to the existing is made through use of industrial materials and construction techniques. The overall layout comprises of movable furniture, which allows flexibility in the layout and convenient removal/ addition/repair. This is also suggestive of the temporariness of the cafe (fig.4.18,4.19).

4.18 View of the movable furniture in the dining space

4.19 Panoramic interior view of Cafe Zoe

125

Cafe Zoe

•Inserts The most significant spatial change made within the building is the mezzanine floor insert. It is constructed using metal sections and dry construction techniques. The mezzanine level overlooks the entire ground floor dining space. A metal staircase against the kitchen wall, leads to the mezzanine floor which is used as a dining area (fig.4.20). A cutout in the floor slab, over the bar area, creates a visual access to it (fig.4.21).

Movable furniture is used on the mezzanine to allow flexibility in layout. The mezzanine level, allows the diners a closer proximity with key features of the mill - the exposed brick wall, capital of the cast iron columns as well as the trusses.

mezzanine

metal staircase

4.20 View of the bar through the cutout in the mezzanine floor

metal and cable railing

lighting installation

4.21 View of the bar through the cutout in the mezzanine floor

126

Reuse : Redesign

Before Redesign 127

Cafe Zoe

A cuboidal volume is inserted in the space to accommodate a kitchen. The partition wall becomes a key feature of the kitchen wall elevation, since it includes a shelving system for the products sold at the cafe (fig.4.23). The low ceiling height is apt for the kitchen area, and continues on to the entrance space, which also includes a deli and corresponding seating. A service entrance is added on the rear end of the building, for the staff and employees, to access the kitchen.

A loft is formed on top of the kitchen which is utilised as a storage area and a kitchen garden (fig.4.22).

The abundant natural light allow healthy growth of the plants. This is accessible from the mezzanine level and is visible from any part of the cafe.

kitchen garden loft

kitchen partition wall

4.22 View of the staircase against kitchen partition wall and loft with kitchen garden

loft

shelving for retail display

service window

4.23 View of the kitchen partition wall elevation with shelves for retail display

128

Reuse : Redesign

Cafe Zoe’s program included a bar as part of the redesigned cafe. A space in the centre of the dining area is dedicated to the bar, allowing it to become an anchor and central element to the entire cafe. Its placement is a strategic decision made to keep it independent from the mill’s original structure. The seating on the lower floor surrounds the bar on all sides, while it is also visible from the cutout on the mezzanine level.

Its periphery is constructed using a simple brick masonry and is finished with a tile different from the overall flooring to prevent it from blending. A bar stool seating surrounds the periphery on three sides.

4.24 View of the bar

129

Cafe Zoe

A raised level on the floor area was introduced to cater as a stage for occasional performances. This includes storage elements for the necessary equipments as well as casual seating. The seating here, mainly comprises of couches and coffee tables as opposed to the formal dining table and chair seating on the main dining floor.(fig. 4.25) The entrance area to the cafe has a low ceiling which is an extension of the kitchen block insert. This area was conceptualised as a ‘deli’. The seating in this area is cut off from the main dining space due to the disjunction in volume. The deli area is used as a typical bakery and cafe as opposed to a formal restaurant.

shuttered service entrance retained

4.25 View of the stage area and informal seating on raised platform

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Reuse : Redesign

Elements and Components

Functionally Contextual : New metal trusses replaced the original wooden trusses which were damaged in a fire. These trusses include non- structural cables, which visually replicate the wooden beams as a reminder of the original element. These elements are consciously suggestive of being new, while providing an image of the old.

Contextually Functional : The existing brick walls were scraped to restore the original brickwork including arches. These, once restored, were treated to avoid further damage. The exposed brick wall is reflective of the original mill’s character, adding an industrial aesthetic to the new design, while responding to the context.

Contextually Functional : original cast iron columns are restored and still play a major role in retaining the building’s structural stability. The columns which originally supported wooden beams, now have a metal beam structure fabricated over them.

131

Cafe Zoe

CONTEXT 1. history

typology

narrative

location

change in

FUNCTION 2. introduced nature of

PROCESS 3. renovation

restoration

remodelling

nature of

PROCESS 4. contextual

functional

ELEMENTS 5. functionally contextual

contextually functional

CONTEXT

FUNCTION

CONTEXT

FUNCTION

6.

reciprocity

existing CONTEXT history + typology

change in FUNCTION industrial mill to restobar chart 3 please refer text on page across 132

change in FUNCTION industrial mill to restobar

nature of PROCESS restoration + insert

indifference

nature of PROCESS restoration + insert

approach to CONTEXT primarily reciprocative marginally indifferent

Reuse : Redesign

Conclusion 1. Cafe Zoe is designed within an industrial relic of architectural value due to its history. By typology it is one of the few existing cotton mills, with a typical column and trussed structure. It is surrounded by the narrative of having been partly destroyed in a fire, causing damage to the wooden structural elements.

These factors provide the building with a strong context to work with during redesign.

2. Since the building was originally constructed and used as an industrial mill, it fails to retain any of the original functions. While reusing the building, this provides an opportunity to introduce any function within the mill, since it acts as a shell. Due to this, the redesign of the building is driven by the new function.

Here, the intention is to reuse the building to retain its value, while creating possibilities for further reuse, and the mill is utilised as a restaurant.

3. Processes involved restoration of the key elements signifying the building’s typology - cast iron columns, brick walls, wooden beams. The building was renovated to include services and remodelled to be used as a cafe.

4. Here, there is a balance between context and new function, both of which strongly affect the redesign and results of which are reflected in the building’s elements and components. The context although strong in terms of history and narrative, its typology provides immense spatial flexibility, owing to which the new function takes over.

5. Elements such as the brick walls, cast iron columns and wooden beams are restored as a response to the context. While new elements- metal trusses, mezzanine floor are contextualised to reflect the original character.

6. Cafe Zoe’s strong context and drastic change in function lead to processes involving both restoration and new inserts within the building. All the processes are directed towards reciprocation to the existing - major use of metal, finishes influenced by the industrial aesthetic. The mezzanine insert and overall spatial breakdown are indifferent to the existing shell, since they do not reflect the original existing, instead they are functional additions to a once empty space. The approach made to the context here, is mainly reciprocative and marginally indifferent.

133

Khoj

134

Reuse : Redesign

Khoj, Delhi Studio Lotus

Context ‘A space for artists, run by artists.’

KHOJ established itself in 1997 as an annual workshop. It is a non-profit, contemporary arts organisation based in Delhi which provides a financial, physical and intellectual space for artists through its various programs. It plays a central role in the development of experimental, interdisciplinary, and critical contemporary art practice in India– constantly challenging the established notion about art.

Since its establishment, Khoj has been integrally involved with the Khirkee Extension area in Delhi. It has been the context against which Khoj has held several workshops with constant participation from the people of Khirkee. The community is well versed with Khoj’s activities in their locality, and vice versa.

Hence, when the organisation decided to create a space of their own and settle down, Khirkee was their primary choice of location. After the establishment of their own building, Khoj also facilitates a residency program for artists from all around the world.

“Khoj aims to connect creative practitioners and catalyze interdisciplinary collaboration and experimentation to create new possibilities of art and art-making. It also seeks to build networks and informed audiences who engage critically with contemporary art in India.”

135

Khoj

Khoj is located in the Khirkee Extension area in New Delhi. Khirkee is surrounded by the Khirkee Masjid, a relic of the 14th century on one side and a very urban locality with a mall, Select City on the other. Its location provides a lot of opportunity for engagement and exchange between the past and the present.

It has inspired several artists to base their workshops on location, whether it is the ghetto community of Khirkee, or the commercial platform of the mall.

The building which houses Khoj, was once a set of two buildings- the studio, and residence of architect Ashok Lal, who was himself deeply involved with the urban regeneration of Khirkee. After his workplace was relocated, he donated his property in Khirkee, to Khoj in order to aid the development of their own space.

Khirkee is devoid of strong building and renovation norms, which creates a flexibility while redesigning the facade, and during the introduction and removal of preexisting elements.

5.1 Khirkee neighbourhood in Delhi where Khoj is located, is one of the early communities which settled down immediately post independence and sustained till date. Although it is a largely downtrodden and poor community, the locality is maintained and is attempting redevelopment owing to its history. Khoj is a part of this redevelopment.

Images courtesy of Khoj

Images courtesy of Khoj

5.2 Khirkee Mosque is a significant monument of the 14th century located near the Khoj building. It is used as the basis of several workshops, art walks, and installations by the artists.

The clay model as pictured, is part of one such workshop.

5.3 City Select Mall is a shopping avenue located close to the Khirkee Extension. It is an important urban landmark, and is used as a stage to exhibit interactive installations by the artists at Khoj.

Images courtesy of Khoj

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Reuse : Redesign

Site Plan of Khoj

The building is located on a narrow street surrounded by tightly built shops and residences. All the buildings have a common wall between each other, similar to the wall dividing Khoj’s site. Many of the surrounding buildings are unoccupied and in a derelict condition.

5.4 Views of the buildings surrounding Khoj

5.5 Street Views of Khoj indicating its location on the narrow street, and ruinous buildings surrounding it 137

Khoj

Function

terrace (inaccessible)

terrace (inaccessible)

studio

residence

Terrace Plan (existing) studio

bedroom

balcony

bridge

domed lounge

studio

studio

residence

First Floor Plan (existing) conference/studio

bedrooms

courtyard

courtyards

living area

entry/reception

kitchen

offices studio

Ground Floor Plan (existing) 138

residence 0

10m

Reuse : Redesign

staff quarters

terrace

Terrace Plan admin and media lab

design office

library/archives

multipurpose hall

cafe

First Floor Plan artists’ studios elevator shaft

artists’ residence courtyard

artists’ studios

Ground Floor Plan

0

0

10m 139

Khoj

Transverse Section through common wall cutout

0

5m

The original building was used as an architect’s studio, with his residence adjoining it. Due to this, the building was strongly demarcated into mainly workspaces and domestic spaces. Khoj’s program comprises of artists’ studios, offices and a residence for the artists. The original function hence, strongly influences the space planning in the new design. The architect’s studio spaces now accommodate the artists’ studios, while the residential area on the ground level, become the artists’ residence. The following drawings of the building before and after redesign, indicate the comparative use of spaces based on privacy.

Existing Redesign

140

Reuse : Redesign

Cross Section through entry way and artists’ studio

0

5m

Khoj, although a part of a typology of buildings, largely is a defunct shell which can accommodate any new function. It provides the flexibility to allow considerable change in the existing structure, without any specific constraints. Despite the narrative surrounding Khirkee, the building is of no particular historical or architectural value.

It defines a typical ghetto built form, which post redesign intends to generate value within its setting. The most important factor governing the redesign was to accommodate the new function, based on which the project was conceptualised.

The key functional aspect while redesigning was to create a path of movement that integrally connects both the buildings. This became the take off point for the design.

CONTEXT

Least Change

Khoj

FUNCTION

Most Change

diagram 5.1 141

Khoj

Process The concept of the redesign of the studio and residence to the artists’ organisation building, was based on a comprehensive interconnection between the two structures, while opening out the building to the people of the community, to promote interaction.

During the process, conceptual and analytical sketches, orthographic drawings and 3D models were used to develop the new design. The 3D models were used to visualise and understand the layers of the existing, in order to generate analytical solutions for the interconnection of the two buildings. (fig. 5.16) Sketches were used as a medium to visualise and convey the manner of usage as conceptualized in the initial stages, once the redesign is complete. These visuals give a clear before/after idea of the building. (fig. 5.9,5.10,5.11) The original building has a load bearing structure due to which a large number of interventions and spatial changes could not be incorporated while redesigning. As a consequence a significant portion of the building was repaired and refinished, and several elements were restored and reused.

The initial on site processes included the demolition of a part of the common wall to create an interconnection between the two buildings, and the removal of the bridge in the studio building, to create one large courtyard space. The stairwell in the studio building was removed to create a large entry into the courtyard, for people of the community and exhibition visitors. The residential block contained several arched niches which were leveled out, and most of the original wooden fenestrations and flooring were refinished and retained.

5.6 3D model of the original building

Image courtesy of Studio Lotus

Image courtesy of Studio Lotus 142

5.7 View of the common wall being punctured to create an interconnection between the two buildings

5.8 View of arched niches being leveled out. All the original wooden frames of the fenestrations are retained.

Reuse : Redesign

Image courtesy of Studio Lotus

Image courtesy of Studio Lotus

Image courtesy of Studio Lotus

5.9 Sketch depicting the courtyard space after the existing bridge is removed. It also indicates the opening made in the common wall along with the bridge and staircase insert. It is meant to be used as a performance space while the onlookers may watch from the parapets of the bridge and upper levels.

5.10 Sketch depicting the courtyard space, while being used for a performance, from the first floor. The new design intends for the space to be flexible and to incorporate as many viewers as possible. The corridor spaces, newly added bridge, terrace and even the artists’ studios can accommodate people. All the spaces around the courtyard act as an ‘amphitheater’ in their own right.

5.11 Sketch of the new exteriors of Khoj from the street. The facade is intended to be leveled out in order to make the building appear as a single entity from the street. The idea is to create a frame instead of a mass to fill the void; the frame can also be used to incorporate a temporary installation.

143

Khoj

Reuse : Redesign The redesign of the new building for Khoj is a process which is largely dominated with the change in function and the necessity to accommodate the new function in the old building. The decision making process hence takes into account, strategies that successfully manage to house the new function. Interventions made as a result of such strategies are primarily functional and are subsequently contextualised through relevant processes.

As the primary attempt at forming a connection between the two buildings, the common wall separating them, was punctured to create openings. (fig. 5.12) This wall is a load bearing one, owing to which openings had to be placed strategically, in order to maintain its structural integrity. Two main openings were madeone where the wall separated the two courtyards, since here the wall was structurally independent, and another window at the top of the entrance stairway, which allowed more light into the area. (fig. 5.13) This opening allows the two courtyards to be connected, creating one large open to sky space, which due to its staggered placement could either be used as one large courtyard, or as two separate spaces.

opening

5.12 View of the opening made between the two courtyards indicating the connection and staggered placement of the spaces

5.13 View of the entrance stairway and the opening at the top of the stairs on the common wall

144

Reuse : Redesign

Courtyard Wall Before Redesign 145

Khoj

The staggered placement of the two courtyards indicates the presence of a common wall which has been punctured. The load bearing wall between the two structures is a strong anchor to the building, hence even after creating punctures into it, the wall’s presence, as a single dividing element can be experienced.

A metal staircase and bridges on the first and terrace level have been introduced in the smaller courtyard volume, as the key interconnecting elements in the new building. The bridge mainly connects both the buildings, while the staircase creates an access route to the terrace without having to pass through any workspaces. The terrace becomes easily accessible to the visitors to view a performance or exhibition. (fig. 5.14) This staircase can be accessed from the first level, while an elevator shaft is introduced on the ground level to create access from the courtyard to the entire building.

5.14 View of the staircase and bridge insert within the courtyard volume in the residential block

146

Reuse : Redesign

Courtyard Wall Before Redesign 147

Khoj

A bridge on the first level of the existing building, connecting the studio spaces created two spill out courtyards on the ground level. (fig. 5.15) The space under the courtyard formed a passage leading to the conference area. Khoj required an open performance/exhibition space, which led to the removal of the bridge, to create one large courtyard space. This open to sky courtyard serves as an open to all exhibition and performance space, simultaneously allowing ample light into the artists’ studios surrounding it.

The corridors, newly added bridge, studios, and the terrace accommodate viewers, thus eliminating a need for specific seating and viewing areas. (fig. 5.16) The courtyard was paved in order to serve its function better and create a continuity with the smaller courtyard on the residential side of the building.

Since the bridge was a key element of the original architecture, its removal suggests a design decision dominated by the new function. There is no gesture made in the new design, that indicates the existence of a bridge which is now eliminated.

5.15 View of the bridge from the residence balcony, before redesign 5.16 View of the spaces surrounding the courtyard used as viewing areas after removal of the bridge

148

Reuse : Redesign

Courtyard After Redesign 149

Khoj

The residential block of the existing building had its facade wall recessed as compared to the studio. This created a disjunction in the overall facade of the building after redesign. A metal fabricated frame was added to the recessed facade in order to create a visual alignment, while hinting at the original facade setting.(fig. 5.17) The newly added frame corresponds with the metal fabrication inserts made within the building, and responds to the idea of all new interventions involving metal while existing remains in wood.

The residential block facade fenestrations had arched elements which were removed and made orthogonal in order to create a uniform aesthetic.

5.17 View of the metal frame insert made to the new facade, which creates a double height void in the entryway

150

Reuse : Redesign

Facade Before Redesign 151

Khoj

The stairwell from the studio block was removed during redesign in order to create an alternate public entry into the courtyard. This entry is mainly used during events and workshops.

The staircase insert made in the residential block courtyard now becomes the primary circulation route and an alternate to the stairwell which is removed. The skew wall, the stairwell shared with a studio is maintained, which adds on to the narrowing passageway now created, which frames the courtyard and shifts the focus of the visitor to the inside.

There is no gesture made to suggest the existence of the stairwell, in the entry passageway.

5.18 View of the public entrance to the courtyard, created by removing the preexisting stairwell

152

Reuse : Redesign

The terrace of both the blocks were largely inaccessible and unused. A large dome over the lounge area in the residential block prevented access onto the terrace. The dome occupied considerable terrace space, while not being visible as part of the building’s facade elevation. During the redesign process, the lounge was intended to become a multipurpose hall and exhibition space for Khoj. The dome covering it, posed an acoustic issue for the space planned under it.

The dome along with the parapet between the two terraces was taken down in order to create an open space on the terrace, intended to be used to conduct workshops, exhibitions, and viewing space for performances in the courtyard.

Metal fabricated frames over the terrace respond to the frame on the facade and are used as structure for installations and exhibitions. Although, the removal of the dome is not suggested after the redesign.

5.19 View of the dome over the lounge in the residential block. The dome made the terrace essentially inaccessible.

153

Khoj

Elements and Components Most of the design decisions reflected in the elements resultant of intervention, reflect being dominated by the change in function. These elements are designed bearing in mind the new function and are contextualised subsequently.

This is true for all the elements which are added as part of the redesign, albeit not the elements which have been eliminated. The new elements are contextualised to respond to the existing and vice versa to develop a uniform character. The removal of significant elements - the bridge, stairwell, dome, does not respond to the redesign of the building, and have left no hint of having existed.

The metal frame added on the facade to create an alignment is a design decision dominated by the context. The existing facade created a disjunction, in response to which, the frame has been added to hint an alignment as well as the original facade. The metal frame manages to respond to the context better compared to a mass extension. The frame subsequently is a functional element since it caters to temporary art installations and exhibits.

The original exposed brick walls, wooden window and door frames, as well as the new metal elements are finished in white. This decision allows for the building to blend as one and diminish the boundaries between old and new.

The original elements are brick and wood while new interventions are in metal. Although, the white washed finish fails to exaggerate on this deliberate choice of material.

The courtyard needed to be paved in order to be able to use it as a performance and open exhibition space.

This function has been contextualised by paving the courtyard with some of the stone pieces, that were used as the flooring material in the studios and staircase, which were discarded after being removed.

154

Reuse : Redesign

The bridges on the first and terrace levels, and the staircase are key inserts made while redesigning, to incorporate interconnected circulation between the two buildings. These elements are free from the existing walls to avoid disturbance to the preexisting fenestrations. They are fabricated from metal sections creating a material contrast with the existing elements which are predominantly wood and brick.

All the original wooden fenestrations were left intact, while new doors and windows were fabricated in metal. The original fenestrations have arched lintels, most of which have been retained. All the doors and window frames, both metal and wood, have been finished in white.

155

Khoj

CONTEXT 1. location

narrative

history

typology

change in

FUNCTION 2. existing

introduced nature of

PROCESS 3. renovation

remodelling

extension

restoration

nature of

PROCESS 4. contextual

functional

ELEMENTS 5. functionally contextual

contextually functional

CONTEXT

FUNCTION

CONTEXT

FUNCTION

6.

reciprocity

existing CONTEXT defunct + location

change in FUNCTION residence/studio to artists’ association chart 4 please refer text on page across 156

change in FUNCTION residence/studio to artists’ association

nature of PROCESS intervention + insert

indifference

nature of PROCESS intervention + insert

approach to CONTEXT moderately reciprocative largely indifferent

Reuse : Redesign

Conclusion 1. The site was chosen due to its location in Khirkee and has a narrative of being donated by architect Ashok Lal. The context is hence mainly defined by its location and narrative, which are easily taken over by the change in function.

2. The building retains the existing function as a residence, through the artists’ residency, while all the other functions are newly introduced. The concept of the new design is based on the function as well, which was to mainly interconnect the two blocks and generate a holistic image of the new artists’ association building.

3. Processes applied as a response to the new function lean less towards conservation and more towards complete renovation. The original fenestrations are the only key elements to be conserved. As a result most of the elements of the building are functionally contextual, except for the facade frame.

4. The significant changes made in the existing are as a response to the new function - punctures made in the common wall, removal of stairwell in the studio block, and a bridge and staircase insert made in the smaller courtyard.

Despite having an elevator shaft for overall circulation between the two buildings, Khoj currently functions without an elevator, due to which a complete interconnection between the two blocks has not been established. The courtyard, and artists’ studios and residences are accessed via the public entrance, which in turn is rarely used by the public. The entryway staircase leading to the cafe and admin spaces functions as the primary entrance to Khoj.

5. The elements comprising of the new design are highly functional in nature and have been subsequently contextualised. The removal of significant elements of the original building has not been addressed. A conscious decision of using a contrasting material palate for the new inserts is contradicted by the choice of finishes, which blend the old and new elements with each other.

6. As a result of the redesign being dominated by the new function due to lack of depth in the context, the response made to the context is mainly indifferent. This is primarily suggested by the nature of processes applied and the removal of significant existing elements without contextual compensation.

157

Comparative Analysis and Conclusion

158

Reuse : Redesign

Comparative Analysis and Conclusion

The study is categorised via three keywords - ‘context’, ‘function’, and ‘process’, the factors essentially impacting redesign. The intention is to understand the impact of change in ‘function’ at a preexisting ‘context’, on the ‘process’ it undergoes.

A designer while conducting redesign of a building, takes a position between context and function. If the approach is aligned with the context, the design reflects it through elements and interventions. Alternately, when the approach is strongly directed towards the function, the design decisions are of a functional nature, and may be further contextualised.

Supremacy of the new function, takes away from context, while a strong context results in compromise on the function.

The case studies are conducted with the intention of demonstrating this theory, and obtaining an overview of the types of relationships between the above mentioned factors. These projects are evaluated on the basis of the nature of their contexts, intention behind their reuse, language of intervention and extent of change, to procure an insight into the design decisions taken. These lead to a particular approach to the context, which is reflected in the form of components and elements, in the design.

Diwanji ni Haveli is a building with a deeply rooted history and narrative surrounding it. Although, most importantly it is part of a typology of buildings with immense heritage and cultural value in the old city of Ahmedabad. The haveli when approached for reuse, was surrounded by a strong context which could not be ignored or bypassed. The redesign, thus comprised of processes and decisions constantly involving the context.

The revitalization of the haveli, was the primary intention behind its reuse.

As a result, the building after redesign is strongly in reciprocation with the visual quality of the original, which allowing minimal functional and spatial change. (diagram 6.1) French Haveli, as well is part of a typology of buildings which are in great correlation with the Diwanji ni Haveli typology. Although the major difference here is social and physical scale of both the buildings. Diwanji ni Haveli, belonging to a governor of the Mughal Empire is a large structure with ornate wooden elements, thus connoted as a ‘haveli’- mansion.

French Haveli on the other hand, was home to a Jain merchant family over a century ago, thus lacking a variety of decorative elements, and large spaces.

159

Comparative Analysis and Conclusion

It is termed French ‘Haveli’, although originally it belongs to the typology of a typical ‘pol house’. French Haveli comes with a strong context and background, but it is not as rigid as Diwanji ni Haveli. French Haveli allows relative flexibility in spatial and functional changes. (diagram 6.1) Both these projects comprise of approaches which attempt at exaggerating the typological notion of a ‘pol haveli’. The design approach at Diwanji ni Haveli is comparatively more authentic in terms of spatial interventions reuse of courtyards, service block insert (ref. pages 78,83,100,102). In both cases, processes involved are directed towards visual reciprocation with the context, but lack authenticity in terms of materials and techniques involved.

CONTEXT

Least Change

Diwanji ni Haveli French Haveli

Cafe Zoe

Khoj

FUNCTION

Most Change

diagram 6.1

Cafe Zoe, like the pol houses, is part of a typology, though lacks similar correlation. The building is an industrial relic with historical significance, located in the mill district of Mumbai. Typologically, this building consists of a frame structure, a trussed roof and an open floor plan, which allow flexibility in redesign. Here, the context presents with a possibility of establishing balance between old and new. This results in a design which responds to the existing through restoration of original elements (ref. page 122), as well as spatial inserts, which aid further functional reuse.(ref. page 126) Hence, the design though largely functional, also provides due response to the context, resulting in considerable change to the original. (diagram 6.1)

160

Reuse : Redesign

Khoj Artists’ Association building, is located at a ghetto locality in Delhi.

The program is set up within a derelict residence in the area devoid of a deeply rooted history or typological significance. The design decisions made during its redesign are functional in nature, and are further contextualised.

Driven by the new function, the building’s redesign consists of major spatial interventions and inserts. (diagram 6.1) These cases to a large extent assist with demonstrating the theory involving factors affecting building reuse and redesign. The study does not reach an affirmative or negative conclusion, neither does it hope to. Instead, it concludes with an overview of the factors governing the process of building redesign, their many inter-relationships, potentials as well as limitations.

The theory provides a scope for a further exhaustive understanding of each aspect discussed here.

Each building has a unique context associated with itself, resulting in infinite possibilities of approaches towards their design and redesign.

The intention is to make an attempt at deriving a method with which to approach a building, while employing all the factors it is strongly associated with to their best advantage, to produce a design which consolidates the building’s past and future to generate an image most responsive to the present.

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Acknowledgments

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Acknowledgments

I would sincerely like to thank my parents, to whom this work is dedicated, for their constant support and understanding, my sister, Anushka for her wonderful energy and enthusiasm, and Aneri, for always being around.

Rajiv Patel and Ragin Shah at City Heritage Center, Ahmedabad, for their guidance and inputs through the Diwanji ni Haveli and French Haveli studies. Zameer Basrai and Hinal Majumdar from Studio Busride and Shailja, for their contribution towards Cafe Zoe’s analysis. Vedika at Studio Lotus, and Promona at Khoj for their valuable insights on Khoj’s redesign process.

Harsha, Keta, and Varun for being the torch bearers through the entire journey.

Kuki, Jeevika, Aashna, and Sritej for the infinite coffees, endless discussions, words of encouragement, and for truly being my buffer!

Lastly and most importantly, I would like to thank Prof. Snehal Nagarsheth, without whose guidance and vision, this study would not have been possible.

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Bibliography

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Bibliography

Books Fred Scott, On Altering Architecture, Routledge, London and New York, 2008 Adrian Forty, Words and Buildings : A Vocabulary of Modern Architecture, Thames and Hudson, London, 2000 Bernard Tschumi, Event Cities 3: Concept vs. Context vs. Content, MIT Press, Cambridge, 2004 Bill Hillier, The Space is the Machine, Cambridge University Press, 1996 Graeme Brooker and Sally Stone, Form and Structure, AVA Publishing, Switzerland, 2007 Christian Schittich, in Detail : Building in Existing Fabric - Refurbishment, Extensions, New Design, Basel Birkhauser Publishers for Architecture, 2003 Sherban Cantacuzino, Re/architecture, Old Buildings/new uses, Abbeville Press, 1989 John Warren, Context: new buildings in historic settings, Architectural Press, Oxford, 1998 Neil Levine, The Architecture of Frank Lloyd Wright, Princeton University Press, 1996 Colin Rowe and Fred Koetter, Collage City, The MIT Press, 1978 Rafael Moneo, Theoretical Anxiety and Design Strategies in the work of eight contemporary architects, MIT Press, 2004 Kenneth Frampton, Modern Architecture : a critical history, Thames and Hudson, London, 1992 Rem Koolhaas and Bruce Mao, S,M,L,XL, 010 Publishers, 1995 Peter Cook, Primer, Wiley, 1995 Bernard Tshumi, The Manhattan Transcripts, John Wiley and Sons, 1994 Alvin Toffler, Future Shock, Bantam Books, 1970 Aldo Rossi, The Architecture of the City, MIT Press, Cambridge, 1982 Kenneth Powell, Architecture in Conservation, New uses for Old Spaces, Academy Group Ltd., 1998 Lewis Mumford, The City in History, Secker and Warburg Ltd.,1961 Darryl D’Monte, Ripping the Fabric : The Decline of Mumbai and its Mills, Oxford University Press, 2002 William Morris, SPAB Manifesto, 1877 Kevin Lynch, The Image of the City, MIT Press, Cambridge, 1960

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Bibliography

Mark Taylor and Julieanna Preston, Intimus : Interior Design Theory Reader, John Wiley and Sons Ltd., England, 2006 Achyut Yagnik and Suchitra Sheth, Ahmedabad, Penguin Books, India, 2011 Dalibor Vesely, Architecture in the Age of Divided Representation, The MIT Press, Cambridge, 2004 Richard Levene and Cecelia Fernando Marquez, Frank Gehry (19872003), El Croquis, 2006 Loraine Farrely, Representational Techniques, AVA Publishing, Switzerland, 2008 Jennifer Hudson, From Brief to Build, Lawrence King Publishing, 2010

Periodicals Alvar Aalto, “The Humanizing of Architecture”, Technology Review, 1940 Louis Sullivan, “The Tall Office Building Artistically Considered”, Lippincott’s Magazine, 1896 Robert Weitz, “Form Follows Function - A Truism that isn’t True”, the Brand Wash, 2013 Fred Scott, “Architectural Recycling”, Architecture Today, 2008

Unpublished Research Thesis Retrofitting the Existing, Urvashi Singh Adaptive Reuse : Indian Scenario, Bhaumik Bhatt The Presence of the Past for the Future, Anand Iyer Works of Carlo Scarpa : an investigation into the phenomenon of insert, Parantap Bhatt Artificial Lighting in the adaptive reuse interiors of heritage buildings, Krisha Nagrecha Change and Continuity : an exploration into the phenomena of adaptive reuse of historical buildings, Urvi Velani

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Illustrations

Cover Illustration by author based on Selexyz Dominicanen Bookstore 1.1 1.4

‘Context’ title illustration by Renzo Piano for Tjibaou Cultural Centre Masieri Memorial Elevation by Frank Lloyd Wright (from The Architecture of Frank Lloyd Wright, Neil Levine) Illustration for New Yorker magazine by Alan Dunn (Guggenheim Museum postcard collection)

‘Function’ title illustration by Norman Foster for Reichstag, New German Parliament 1.16 Drawing based on ‘function’ by Bernard Tschumi (from The Manhattan Transcripts, Bernard Tschumi) 1.20 1.21 1.22 1.23

‘Process’ title illustration, ‘Squiggle’, by Damien Newman Conceptual Sketches for H&M Store by Javier Mariscal (from Representational Techniques, Lorraine Farrelly) Analytical Sketch for H&M Store by Javier Mariscal (from Representational Techniques, Lorraine Farrelly) Drawings for H&M Store by Estudio Mariscal (from Representational Techniques, Lorraine Farrelly) 3D Renders for H&M Store by Estudio Mariscal (from Representational Techniques, Lorraine Farrelly)

‘Context : Function’ title illustration by Nicholas Grimshaw for Eden Project 1.37 Vegan House sketch by Block Architects (http://www.blockarchitects.com.vn/) ‘Function : Process’ title illustration by Design Engine for The Visitor Centre, Hardwick Park ‘Process : Context’ title illustration by Bernard Tschumi for Le Fresnoy Art Center 1.48 Sectional model of the Sackler Galleries by Foster + Partners (http://www.fosterandpartners.com/) 1.49 Interior view of the Sackler Galleries by Foster + Partners (http://www.fosterandpartners.com/)

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1.50 3D construction drawing for Selexys Dominicanen Bookstore by Merkx + Girod Architects (from From Brief to Build, Jennifer Hudson) 1.51 View of Selexys Dominicanen Bookstore mezzanine under construction by Merkx + Girod Architects (from From Brief to Build, Jennifer Hudson) Presentation drawing for Rivoli Museum of Contemporary Arts by 1.52 Andrea Bruno Architects (from Form + Structure, Graeme Brooker and Sally Stone) 1.54 Analytical sketch for Acropolis Museum by Bernard Tschumi 1.55 Exterior view of refurbished warehouse by Future Systems (from in Detail : Building in Existing Fabric - Refurbishment, Extensions, New Design, Christian Schittich) 1.56 Drawing for refurbished warehouse by Future Systems (from in Detail : Building in Existing Fabric - Refurbishment, Extensions, New Design, Christian Schittich) 1.57 Drawing for refurbished warehouse by Future Systems (from in Detail : Building in Existing Fabric - Refurbishment, Extensions, New Design, Christian Schittich) 1.58 Images documenting prior uses of the Dominican church (from From Brief to Build, Jennifer Hudson) 1.59 Sketch for Selexys Dominicanen Bookstore by Merkx + Girod Architects (from From Brief to Build, Jennifer Hudson) 1.60 Interior view of completed project by Merkx + Girod Architects (from From Brief to Build, Jennifer Hudson) 1.61 Images of Vegan House exterior by Block Architects (http://www.blockarchitects.com.vn/) 1.62 Axonometric drawing for Vegan House by Block Architects (http://www.blockarchitects.com.vn/)

All drawings and illustrations by author except when mentioned otherwise

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