Dissertation 2014

Dissertation! by!

PLAMENA KOSEVA!

UNIVERSITY OF THE! K!

PK !

ARTS LONDON!

The creative conversion of existing buildings during the last two decades in europe!

COURSE: BA Interior Design!

YEAR:

3!

The Creative Conversion of Existing Buildings During the Last Two Decades in Europe By Plamena Koseva

A Dissertation submitted to The University of the Arts London: London College of Communication in partial fulfillment of the requirements for the degree of Bachelor of Arts in the program of Interior Design

Approved By Dr. Ian Horton

London, United Kingdom January 2014

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ACKNOWLEDGEMENTS I would like to thank my tutor , Dr. Ian Horton for the professional guidance and the invaluable advice he gave me in order to write this dissertation.

I would like to thank Mister Ewen Hunter and the people from BAM Construction, Ltd. for permission to visit the site of the Fish & Coal Building, which is currently under reconstruction and not accessible for the public, and for the useful information they have provided .

I would like to thank Ms. Selena Bedwell for helping me improve my English and for her patience while she was teaching me. Otherwise I would not be able to write this dissertation.

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ABSTRACT Even though conversion of existing buildings is not a new phenomenon, it is still a current issue and one that has increased with the complexity of issues involved. This dissertation will explore the value of reusing buildings and will examine and test current issues related to building conversion and building conservation.

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CONTENTS PAGE ACKNOWLEDGEMENTS…………………………………………………2 ABSTRACT…………………………………………………………………3 CONTENTS PAGE…………………………………………………………4 CHAPTER 1 – INTRODUCTION 1.1 BACKGROUND INFORMATION………………………..5 1.2 – RESEARCH QUESTIONS………………………………7 1.3 – METHODOLOGY………………………………………..8 1.4 – SUMMARY OF THE CHAPTERS………………………8 CHAPTER 2 - REASONS FOR BUILDING CONSERVATION AND CONVERSION…………………………………..10 CHAPTER 3 - CLARIFICATION OF THE DIFFERENT METHODS OF BUILDING CONSERVATION……………………………………………...15 CHAPTER 4 – THE VALUE OF REMODELING 4.1 THE IMPACT OF REMODELING……………………..…..20 4.2 STRATEGY EMPLOYED IN REMODELING………...…...27 CHAPTER 5 – CASE STUDIES 5.1 CASE STUDY 1 - FISH AND COAL OFFICES………..…30 5.2 CASE STUDY 2 -FABRICA 126……………………..……37 CHAPTER 6 – CONCLUSION………………………………………….…….43 BIBLIOGRAPHY……………………………………………………….……..45

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CHAPTER 1 – INTRODUCTION 1.1 BACKGROUND INFORMATION Building conservation has been a fact for a long period of time. According to Uffelen (2011,p.7) “Existing buildings were being converted to new uses already in the Middle Ages”. Even though this is not a new topic it is still a current issue and one that has increased with the complexity of issues involved.

The idea of protecting existing buildings by law has also been in Europe for a relatively long period. The first move for former building protection was made as early as 1815 due to the great German architect Karl Schinkel. However, the most significant changes regarding building conservation took place after the Second World War. Today many buildings are protected as historical or architectural heritage. A great number of them have been transformed or converted into ones that serve a new use in order to meet the society’s needs.

The phenomenon is enjoying general acceptance and therefore it is developing and improving, offering diverse perspectives and innovative solutions for old buildings.

This dissertation aims to explore the values of conservation of old buildings and conservation methods and to signify that the reuse of existing buildings is not a common trend but an issue, especially in a time where the economy is unstable, and the climate changes show that there is an urgent need to recycle and reuse in order to minimize the negative impact of new construction upon the environment. Certainly it is a way of preserving a continuation of cultural phenomenon and national identity, too.

Through a detailed review of the different methods of building conservation, a clearer idea is realized about what the phenomenon of building conservation means. Architects’ ideas related to the theme are observed and the development of the process of building conversion is followed.

Attention is mostly concentrated on conversion of European Industrial buildings, as well as some examples of converted churches, during the last two decades. Industrial buildings are of great special interest nowadays. Being derelict and lying in decay for many years, they are

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steadily starting to be reborn. During the last twenty years factories, warehouses, power stations have increasingly been protected as a symbol of the historic value attached to the physical structures of the industrialization era. And the best option for keeping them alive is the process of conversion into new uses.

The dissertation also intends to prove that ‘some of the most spectacular examples of contemporary architecture are actually to be found in careful engagement with already existing buildings.’ (Feireiss L.,Klanten R. 2009). Works of great architects like Norman Foster and Herzog & de Meuron are included in order to prove that conversion of existing buildings is an exciting and creative process. The Herzog & de Meuron themselves acknowledge that, talking about their significant project of the conversion of Tate Modern Gallery: It is exciting to deal with existing structures, because the constraints demand a very different kind of creative energy. When you don’t start from scratch you need architectural strategies that are not primarily motivated by taste or stylistic preferences.

Our strategy was to accept the physical power of Bankside’s massive mountain-like brick building and even to enhance it rather than breaking it up or trying to diminish it.

This is a kind of Aikido strategy where you use your enemy’s strategy for your own purposes. Instead of fighting it you take all the energy and shape it in an unexpected and new way (Herzog & de Meuron, quoted in Moore & Ryan, 2000, p. 125) Churches , on the other hand are something sacred in meaning and their conversion into other purposes can be one of debate. However, today many churches have become derelict and that encourages their adaptation for different purposes. With their beautiful and massive appearance they become very appealing for any ambitious designer. Therefore some examples of churches are included as they can truly show an example of the new interacting with the old, in visual and contextual meaning.

John Ruskin once remarked that every good building must do two things: firstly, it must shelter us. And secondly, it must talk to us, talk of all the things that we think of as most

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important and that we need to be reminded of on a regular basis (Ruskin, quoted in Lewis & Littlefield, 2007, p.7) And what old buildings say to us, none of the newly built buildings can say. Just like people, the more grown up a person is the more stories he has to tell.

1.2 – RESEARCH QUESTIONS There are many questions arising, when thinking of old buildings. Questions that usually have more than a single answer and which can be debated on. However, the dissertation seeks to answer two main questions: Why convert and conserve existing buildings ? How to convert and conserve?

A secondary objective is to identify similarities and differences between different examples of conversion. The following list of secondary questions was developed to guide the main questions: What are the reasons for conservation? What are the benefits of conversion ?

How do we convert and conserve in order for a true dialogue between old and new to be achieved through the language of architecture?

Is architectural conversion a common phenomenon ?

Is the process of working with existing buildings one that encourages creativity or one of constraint?

What to convert?

What are the values of remodeling an existing building?

How can architectural conversion change the surrounding area?

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1.3 – METHODOLOGY

This report attempts to first understand and then complement some prior studies completed by various authors. Mainly by Brooker & Stone (2004) and Earl (2003) which studies led to further investigations and analysis of the different methods of Building preservation. As well as Breitling & Cramer that considered overall strategies with working in an existing fabric.

In the dissertation there are different methods used in order to develop a complete structure.

There is a brief historical review combined with thematic reviews which compare different ideas as well as argumentative reviews which contrast two or more ideas. Examples of conversion projects were researched, understood and analyzed .

Two case studies were used to complete the dissertation, which are a result of the research and the investigation observed through both qualitative and quantitative research methods.

1.4 – SUMMARY OF THE CHAPTERS Chapter two identifies the reasons for building conservation and for building conversion in relation to the current issues . The chapter explains why existing buildings are being conserved and converted. Reasons like heritage, unity, economics and sustainability are defined as main issues and are supported by evidences. This chapter also makes a brief clarification of the meaning of the two procedures, conservation and conversion.

The following chapter, three, clarifies the methods involved in building conservation or explains how existing buildings are being conserved. Three main methods are explored and compared - preservation, restoration and remodeling. Different architects’ opinions about the methods are observed which form a main argument of whether working with existing buildings is a creative and beneficial option or one of constraint.

Chapter four concentrates on the values of one of the methods observed in chapter three –the

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method of remodeling. The chapter is divided into two sections. The first part observes the value and the impact of the process through a comparison of different remodeling projects which have been completed during the last two decades within Europe. Examples of various industrial buildings which have been converted into different new uses are described and compared. The second part of this chapter examines the different strategies employed in the process of remodeling. Again, several examples are described and compared in order to make a clarification of the strategies. The examined buildings are former churches remodeled into different new uses within Europe.

Chapter five consists of two case studies based on the issues of the previous chapters. It examines two current examples of building conversion. The buildings included have not been widely published. The first case study is a building which is still in the process of remodeling; therefore, it is not easily accessible by the public and it is not included in any of the literature reviewed, related to architectural remodeling.

The second case study is of a building which is located in the area where building conversion is still quite a new phenomenon, by contrast to the first case study which is one of the many examples of remodeling within the area.

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CHAPTER 2 - REASONS FOR BUILDING CONSERVATION AND CONVERSION

There are a variety of reasons for building conservation and building conversion. At a glance, both terms are concerned with saving existing structures and preventing them from future demolition. When talking about conservation of existing structures in relation to law, it usually means not only preserving from demolition but also preserving from any significant and unreasonable alteration that can affect their character. Old buildings of a special historical, architectural or cultural importance are protected by law or have the status of a listed building – a status which carries full statutory obligations of care and conservation. There are, also, many organizations, agencies, societies and institutions within Europe with statutory roles which are playing vital roles in the protection of not only old buildings but also cultural heritage. Therefore the main motive for building conservation is saving national heritage through understanding and celebrating the historical, cultural and social value that an old building has. Especially: After periods of great loss of historic buildings, such as after wars and catastrophes, the need to reaffirm one’s existence through architecture is particularly great. The rupture in continuity results in a deeper interest in the built heritage that remains ( Breitling & Cramer, 2007, p.19 ).

The process of preserving an old building, is also a process of preserving the identity of a place and the genius loci or the "spirit of the place", which has been formed throughout its history. And as Earl asserts, ‘protective laws, as we already seen, are invariably the product of a people’s history’ (2003, p.49).

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However, The commonest reason for preserving old buildings (leave aside for the moment the question of historic interest) is that they are useful resources, capable of serving a modern purpose. This may seem absurdly obvious, but it is often forgotten ( Earl, 2003, p. 9 ).

The preservation of old buildings does not mean that they are frozen in time and cannot be changed. They can be repaired, altered, extended and even demolished sometimes, but within a grounded reason. For example, when they are at risk and cannot be repaired, with time they become a danger and for security reasons are sometimes demolished. This can be done only with statutory consent. With statutory permission, old buildings can also be converted. The term ‘building conversion’ can be explained as an adaptation of a building or part of a building for a new use. The process is also referred to as ‘adaptive reuse’ (mostly used in the USA), ‘adaptation’, ‘re-use architecture’ or even ‘interior architecture’: The study of adaptive reuse has been a major focus of the Department of Interior Architecture for many years. Both this department and this subject are founded upon the leadership of Ernst Lichtblau… Secession, he changed both the name of the department and its professional orientation, from that of Interior Design to Interior Architecture. This change was transformative and brought "an entirely new set of issues and values,"influencing the direction of the department through the 21 st century. This 'repositioning' distanced the department from Interior Design as an application of surface materials and emphasized the need for a "thorough study of the principles of modern architecture, construction and technology of materials" so as to prepare the student "to design a building from the interior to the exterior. An intelligent understanding of the design of the structure as a whole ... can only be accomplished when the same principles are

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applied conscientiously to all of its parts. ( Interventions/Adaptive Reuse: Int/AR, 2009) Building conversion is an act of building conservation, too. Very often a building stops serving its past function. There are several options of what can be done with the existing fabric. One is demolishing the old construction and building a new one instead. If the building is historically or architecturally significant, it can be considered as a monument which is not functional but only significant, like a sculpture or a piece of art in a museum or gallery; it cannot be touched, only observed. And the most appropriate option, considering conservation and function, is to adaptively reuse the existing building or convert it. Thus, the fabric can be preserved from future demolition or abandonment. Therefore, conversion is a way of conservation not only for listed structures but also for all other existing buildings.

Also, the process is concerned not only with the buildings themselves, it is concerned about the whole environment. Topics like economy and sustainability, which are quite common and important nowadays, are also related to this phenomenon. And usually it is of great benefit for both the economy and the environment. Therefore cost effectiveness and sustainability are two of the most essential reasons for conversion buildings: Society is growing more aware of ecological issues and the thoughtless demolition of old buildings in now perceived not only as an ecological waste but also as the eradication of local identity, of cultural heritage and of socioeconomic values ( Breitling & Cramer, 2007, p.9 ).

Examining the adaptive reuse process from an economic point of view, the statistics show: Various studies estimate that between 50% and 70% of all construction work and about half of the entire economic volume of construction now concerns work on

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existing buildings.’ ( Breitling & Cramer, 2007, p.9 ) The investigation done, not only proves that this practice is widely implemented, but also is a proof that the process of working on existing buildings is obviously beneficial, otherwise the percentage would not be so high. Therefore, it is important to notice that the practice of conversion can be recognized as a unique subject within the field of architecture. As such, it has characteristics and features different from the process of new construction.

Every architectural project, however, whether a new building or a reused one, is related to a budget. In most cases, conversion of an existing building is more cost efficient than construction of a new one. The cost for working on an existing building depends on different factors, like the scale, the condition of the building and the requirements for the new usage. In ‘Architecture In Existing Fabric’, Bretling & Cramer explain that cost savings of up to 40% are possible compared to erecting a new building, when the new usage is compatible and the construction and design intentions are clear in advance. (2007, p.201). Bretling & Cramer also explain that The conservation and maintenance of the existing values , the possibilities for conversion, further and interim use and finally the environmentally sound disposal of the building substance are key aspects that can become important economic factors ( 2007, p.199).

In addition, Weese asserts: ‘One valid case for preservation is economic. Can we afford to rebuild the environment every generation?... New construction is pricing itself out of many markets, making recycling not a sentimental exercise but a necessity. Another case for preservation is energy: important in the decision to recycle instead of rebuild. The residual value of energy built into old cities is enormous… Energy

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is wasted when any old building is pulled down (1976 cited in Earl, 2003, p.34).

It is a well known fact and a global issue today, that we are consuming the Earth’s resources faster than the rate at which the world can reproduce them. This is in contrast to past times where it was vice versa and we were consuming the Earth’s resources at less than the rate at which it could reproduce them. Therefore, more than ever before something should be done about this. As has been proved, the amount of energy that is wasted in the reuse of existing buildings is much lower than that wasted in the process of a constructing new buildings. Even more energy is wasted when the old fabric is demolished before the construction of the new one. One of the big issues with this unsustainable phenomenon of demolition is also the enormous amount of material waste which is usually hauled off to distant landfills. Even though nowadays there are recycling facilities for construction materials, they are still few and a huge amount of the materials are cast out. That inevitably contributes to environmental pollution: Whereas most building materials used before the height of industrialization are generally easy to recycle and dispose of safely, many more recent building materials from the 20th century either contain hazardous substances, or are difficult to separate from one another, incurring much higher costs for their appropriate disposal (Breitling & Cramer, 2007, pp.201-202).

Sustainability is not a fashionable trend but a process of great necessity. And ‘Reusing older buildings is the most sustainable practice in our built environment today.’ (The greenest practice cultural sustainability, adaptive re-use and the new preservation ethic, Feb. 2009 ). Evolving sustainability in our lifestyles would not only improve our environment and ecology but would be an act of responsibility

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toward coming generations. ‘We need devote more attention and effort to reusing what we already have.” (The greenest practice cultural sustainability, adaptive re-use and the new preservation ethic, Feb. 2009 ) because ‘It has been said that the greenest building is that which already exists. Historic, older or extant buildings are our single most sustainable resource in the built environment’ (The greenest practice cultural sustainability, adaptive re-use and the new preservation ethic, Feb. 2009 ) .

Finally, through a reuse of existing buildings a great contribution can be made not only to the environment, economy and history but to the preservation of national identity.

CHAPTER 3 - CLARIFICATION OF THE DIFFERENT METHODS OF BUILDING CONSERVATION

As the reasons for building conservation were defined in the previous chapter, the different methods of the process are clarified in this chapter.

One of the methods of building conservation is the process of Preservation.

Preservation in its dictionary sense means the act of maintaining something in its original or existing state and/or of preventing it from being damaged. From medieval Latin praeservatio(n-) and from late Latin praeservare -'to keep'. In terms of building conservation, the method of preservation is explained by Brooker & Stone as a procedure that maintains the building in the found state, whether ruinous or not. The building is made safe and any further decay prevented; the ruined condition is important to the historical understanding of the place (2004, p.11) .

Breitling & Cramer assert that ‘Allowing a building to age [the method of preservation] consequently is not only an inexpensive option; it also maintains its value’ (2007, p.114) and

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that the process involves: ‘appropriate maintenance without impression of age that lends the building its identity. Where maintenance is not sufficient, sensitive repairs can secure the long term future of the building.’ (2007, p.114) The method of Restoration is an act of returning something to its former or original good condition. As an architectural term it is the process of returning the condition of the building to its original state and this often involves using materials and techniques of the original period to ensure that the building appears as though it has just been constructed (Brooker & Stone, 2004, p.11) .

However, original materials and techniques are not used every time. Firstly, due to the fact that the restorers can be unfamiliar with the techniques used and secondly, because some old materials are not suitable for the current circumstances.

Very often it is not clear what the original state of the building was, or what it was intended to be (if the building was not completed). Then, the restorer is supposed to guess. While in the method of preservation traces of time, like cracks on the wall or patina (a thin surface layer that develops on something because of use, age, or chemical action) are valued, in the process of restoration it is the opposite -- those kinds of features are trying to be disguised. In restoration, the building should look like it is new even if it is not. Therefore, in the context of building conservation the two methods are quite contradictory. Even though both aim to save the actual structure from demolition, often the Preservation is an act of preventing the buildings from being restored, as Restoration itself can be considered as an act of ‘destruction’. Two very influential figures in the history of preservation, John Ruskin and William Morris affirm this. Ruskin ‘argues that restoration destroys the most valuable assets of a historic building’ (Breitling & Cramer, 2007, p.114) . For him ‘the aesthetic value of something was closely linked to its age , and this aesthetic value should not be impaired by

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modern intervention .’ (Breitling & Cramer, 2007, p.21).

William Morris absolutely maintains Ruskin’s idea. They both ‘strongly opposed “restoration”, which supposedly intended to “purify”buildings’ (Powell, 1999, p.10) and believed that the method of ‘Preservation in the place of Restoration’ is the right method of protection for ancient buildings. Ruskin and Morris also ‘accepted that buildings must change as society change – both were, in their ways , advocates of radical social transformation.’

(Powell, 1999, p.10). But they accepted the natural change which is involved in the process of Preservation rather than the ‘imitated’ change which they believed, was involved into the process of Restoration.

In his Manifesto of The Society for the Protection of Ancient Buildings, Morris refers to the method of Restoration as one of ‘’forgery’’. He sees ‘conservation as linked to the cause of modernity, encouraging creativity rather than the imitation of the past.’ (Powell, 1999, p.10) Even though, for modern architects, the idea of conservation was far away from ‘encouraging creativity’ : Modernism , by contrast, regarded adherence to building traditions from previous times to be a needless constraint on creativity and instead of tradition, posited fundamental renewal and asserted the right to innovate. Each generation should create its own environment and architecture should undergo radical renewal at regular intervals. ‘(Breitling & Cramer, 2007, p.21).

Modern architects argue that ‘the lifetime of a building should be limited. This would make it easier for us to finance new buildings and to remove obsolete buildings more quickly.’

(Walter Gropius, quoted in Breitling & Cramer, 2007, p.22).

Nevertheless, as opposed to Gropius, Carlo Scapa who was his contemporary ‘always preferred adding to existing buildings rather than designing new structures’ (Powell, 1999, p.11) Even though there was no special interest in building conservation by modern architects

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before the Second World War, that fact has changed due to the great loss of valuable historic buildings, caused by aerial warfare .‘The conservation of numerous war ruins after 1945 demonstrates the intensity of our confrontation with history, even and especially in the face of death and destruction’ ( Breitling & Cramer, 2007, p.19 ).

The contrast between old and new modernism is seen to particular effect in some of the industrial cities of northern England. During the 1960s and 1970s, usable old buildings were destroyed in favour of banal new developments which reflected a tragic loss of self-esteem- Bradford declined steadily in wealth and prestige after the Second World War. Now old buildings that have survived the carnage are being transformed (Powell, 1999, p.16).

Despite the fact that there was a period of no respect for the old existing buildings, ‘Almost all great architects up to the time of Karl Friedrich Schinkel have split their attention between new constructions and a commitment to architecture within existing built contexts’ (Breitling & Cramer, 2007, p.9). Therefore, ‘the suggestion that designs for existing built structures allow no room for creativity is also unfounded’ (Breitling & Cramer, 2007, p.9). On the contrary, the work of many great architects of the past and present prove exactly the opposite.

From Brunelleschi’s masterpiece, the dome of the Duomo in Florence, which was an addition to an existing building, to Foster’s re-roofing of the great court in the British Museum in London.

Hence, if the method of Restoration is considered as a process which does not involve much creativity but rather ‘copy’ creativity and Preservation is viewed as a process which ‘encourages creativity’, then the method of Remodeling is the process of actual Creativity or the one which involves the most creativity.

‘The recognition that reuse was a different issue from repair and restoration – always the preserve of specialist agencies and practices – opened the way for transformation to be

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integrated into the art of architecture.’ (Powell, 1999, p.13) Remodeling, is the process of wholeheartedly altering a building. The function is the most obvious change, but other alterations may be made to the building itself such as the circulation route, the orientation, the relationship between spaces; additions may be built and other areas may be demolished…Sometimes two of the methods may be employed in unison (Brooker & Stone ,2004, p.11) .

The method of Remodeling usually is referred to as building conversion or as adaptive reuse.

But while the process of conversion of existing buildings is mainly focused on the change of

their function rather than the change of their structure or form, Remodeling in the context of building conservation is focused on both, the function as well as the aesthetic appearance.

However, Remodeling, ‘Architectural Conversion’ and ‘Adaptive Reuse’ are usually used as interchangeable terms.

Remodeling, on the other hand, is a process which respects the significance of the buildings, especially when they are listed. And even though notable changes appear on the existing building, these changes are always considered very carefully so that the New respects the Old. Sometimes new and old are in contrast, sometimes in harmony, but the new alteration always aims to underline the character of the existing structure and to highlight its best features. A good understanding of the old building and its ethos is not only inspiring but also ensures the success of the final result. Therefore, Remodeling is considered as the most creative method of building conservation.

On that account, the next chapter concentrates on the exploration of the values of Remodeling through examining different buildings within Europe which have been creatively converted involving the methods of building preservation. Attention is mostly concentrated on former industrial sites or churches. Industrial buildings always propose challenges in terms of

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functionality and churches in terms of institutional meaning, and challenging sites inspire and bring creative new solutions.

CHAPTER 4 – THE VALUE OF REMODELING

4.1 THE IMPACT OF REMODELING In Europe over the last two decades, monumental new remodeling projects have taken place. Many of these projects ‘have been undertaken by large and famous architectural practices and so have received massive amounts of coverage in newspapers, journals and books‘ ( Brooker & Stone,2004 p.12). Some of them included remodeling of remarkable landmark buildings such as The Reichstag in Berlin and The British Museum in London, both remodeled by Norman Foster, or The Military History Museum in Dresden.

Brooker & Stone put the question ‘Has remodeling become so respectable that these prestigious architects are prepared to raised it or have the architects raised its profile?’

(2004 p.12). Whatever the reason, it only proves that remodeling is a valuable process that is growing and developing. And the impressive appearance of the projects is an evidence that the process involves much creativity: You can make a good contemporary design but you cannot construct history. An appealing multilayered existing building is like a gift from the past. It needs open-mindedness, fantasy, and sensitivity, in order to add something new in a convincing form. It is a manifold dialog between old and new that enables the new to emerge in togetherness, with each other or against each other ( Brückner to Jäger, 2010, p.11).

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However, ‘as well as the perceived value of remodeling significant buildings , the reuse of the insignificant and overlooked is also becoming common practice’ (Brooker & Stone,2004 p.12). Especially for industrial buildings. In the past they had started to decline. Many of them have been underused or derelict, as well as demolished. Numerous vacant factories, warehouses, mills, power stations and depots were left behind. There was no special interest in them for a long time; therefore, there has been ‘little success in persuading policy markets to see the enormous value in converting these unique buildings to new uses’(Stratton 2000, p.6). ‘Disused industrial and transportation structures barely had a chance of being conserved until well into 1980s. (Jager, 2010, p.8). But that started to change: Now, at long last, and before the dwindling numbers of our unique heritage buildings are finally expunged from our towns and cities , it seems that common sense has begun to appear. Some efforts now are being made to revitalize these buildings with new uses that are appropriate for the twenty-first century.

(Stratton, 2000, p.6).

One of the most significant examples of this industrial revival is the conversion of the former Bankside power station in London with architectural cladding by Sir Giles Gilbert Scott into the new Tate Gallery, designed by the Zurich-based Herzog & de Meuron, which opened in 2012. The project lead to an enormous regeneration for the whole area. ‘Tate Modern is the first institution of international stature to adapt an existing industrial structure ( it contains 133,500 square feet – 12,402 square metres – of exhibition space alone.’ (Moore & Ryan, 2000, p.15). Now this pleased the conservationists and many interested in art or just visitors.

Tate Modern (FIG 4.1 & FIG 4.4) is not only a Gallery of modern art, but with its significant transformation it became a place of special interest. Except for the fact that ‘some critics felt that the building imposed a strong – and not necessarily positive - image of the past on an institution devoted to the present and the future’ (Powell, 1999, p. 225), its conversion is

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successful on many levels. A key issue is that by building conservation(even though Bankside is not a listed structure), a total revitalization of a run-down area can be achieved. Another very similar impact on another run-down area in London was the transformation of St Pancras Station (FIG 4.3) in 2007: The redevelopment of St Pancras was a long time coming; many years of blight and uncertainty had allowed the station and its immediate environs to slide into decay and dereliction…By the year 2000, before the redevelopment works started, the area was not one that took a pride in its appearance (Durant, Dyke, Gambrill , Lansley & Shelton, 2008, p.28) .

The new transformation included restoration of both Sir Gilbert Scott’s Midland Grand Hotel and William Barlow’s great arch (which are standing next to each other) and the contemporary extension of Barlow’s train shed. This not only brought them to an absolutely impressive appearance: ‘The old and the new are separated by a great glass transept extending 22.5 metres from the north gable to the extension roof, and more than 100 metres across.’ (Durant, Dyke, Gambrill , Lansley & Shelton, 2008, p.28), but gave a start for the regeneration of a whole area, today very different from what it used to be, in a positive way.

Despite the fact that , ‘Britain was the world’s first industrial nation. It was also one of the first to experience the full trauma of decline in traditional manufacturing and dock handling, and has pioneered the conservation and re-use of redundant factories and warehouses’(Stratton, 2000, p.12), some other European countries also have quite significant industrial buildings which have been converted into different uses. In much the same manner, they have been part of regeneration programs. One of them is Foster and Partner’s German Design

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Centre in Essen (FIG 4.4), Germany, which was a former colliery power plant. Built in 1932 but closed in 1986, it was ‘ one of many closed in the region, but the pithead buildings were considered worthy of retention and reuse and were indeed protected buildings’ (Powell, 1999, p.183). In 1997 it opened as the new design centre, part of a regeneration project.

Another case, again in Germany but this time in Berlin, is the conversion of the Osram light bulb factory, a vast complex built between 1906 and 1914. From a large piece of land full of derelict industrial buildings, it became the new, transformed Oberbaum City – a mix of commercial and residential use.

The Oberbaum City project reflects the rediscovery of rundown and hitherto inaccessible quarters of Berlin which has followed the removal of the Wall…and is intended as an important element in the regeneration of the eastern half of the city. (Up to 6,000 new jobs are envisaged within the scheme.) (Powell, 1999, p.239).

Another remodeled industrial building, this time not part of a regeneration project but for certain with a great positive impact on the area, is Caixa Forum in Madrid (FIG 4.5) , again designed by the great Herzog & de Meuron. The existing building is a former power station built in 1899. Listed due to its contribution in the establishment of electrical power in Madrid, the building is located very close to Paseo del Prado and the world famous Museo Nacional del Prado. Located in a developed area ‘but in an otherwise architecturally unremarkable’ (Feireiss & Klanten , 2009, p.94) situation, the power station was converted into a cultural house. Today it is ‘a magnet for local and international art lovers, both for its cultural programming and for the building itself’ (Feireiss & Klanten , 2009, p.94). Bloszies thinks the impact of the remodeling ‘The juxtaposition of new, old, and living architecture of this scale exists nowhere else in the world.’ (2012,p.107) can only prove how valuable and exceptional the process

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of remodeling can be.

The examples shown are just a small part of the whole array of valuable remodeled buildings, part of an amazing industrial heritage that have been converted during the last two decades. And they all have been adapted and remodeled into a variety of different purposes and designs. From a former slaughterhouse converted into a cultural center ( 'Store 8B and 17c' in Madrid) to a factory converted into residential use (The Factory in Norwich). Some are large in scale (like Hotel Lodz in Poland, a former textile factory), others are small (like The Wapping Project restaurant and gallery, a former pumping station, London) but they are all valuable and bring a positive impact from a historical, architectural, social and environmental point of view.

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FIG 4.1 Tate Modern: a symbol of Britain as it would like to be â&#x20AC;&#x201C; Telegraph( 2010) [Online Image] Available at: <http://www.telegraph.co.uk/culture/art/art-features/7623851/Tate-Modern-a-symbol-ofBritain-as-it-would-like-to-be.html>

FIG 4.2 Turbine Hall [online image] Available at: <http://www.flickr.com/photos/finnhopson/6101167758/in/set->72157630843737328/>

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FIG 4.3 The new roof meets the old on the eastern side of the St Pancras Station (2008) Taken from the book (The Transformation of St Pancras Station (p.90)

FIG 4.4 Essen Design Centreâ&#x20AC;&#x2122;s Interior [online image] Availabe at: <http://www.fosterandpartners.com/projects/essen-design-centre/)

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FIG 5.5 Caixa Forum The exterior lighting draws attention to the Caixa Forum, the heart of the museum centre of Madrid. [online image] Available at http://www.arup.com/Projects/Caixa_Forum.aspx#!lb:/Projects/Caixa_Forum/Caixa_Forum2.aspx

4.2 STRATEGY EMPLOYED IN REMODELING Since prehistoric times, there have been modifications of existing buildings to adapt to different needs. According to Uffelen â&#x20AC;&#x153;Existing buildings were being converted to new uses already in the Middle Agesâ&#x20AC;? (2011,p.7). However, it is only recently that different strategies for adaptive reuse have been developed. In Re-Use Architecture, Uffelen gives an example of a mosque in Cordoba that in the Middle Ages was an Islamic mosque and now is a Catholic Christian cathedral. By giving such an example Uffelen wants to show that: Every architectural conversion changes the building not only materially but also from a standpoint of content.

However on the other hand, when the decision has been made to include the old structure as an esthetic factor or as raw material instead of building a

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new one, then every future use will be juxtaposed to the tradition of the location.

(Uffelen, 2011,p.8).

When a building is reused, it is changed either by its appearance (construction) or by its purpose (meaning).

When it is changed by appearance, different architectural strategies are applied in order for good interaction between the old and the new to be achieved. Different authors identify the architectural strategies in different ways. Jäger (2010) defines three main strategies: addition, transformation and conversion. Brooker & Stone (2004) also identify three strategies: intervention, insertion and installation while Breitling & Cramer (2007) look at them in a much more detailed way. The authors define strategies like subdivision, house-in-house, completion, conversion, extension, intervention and some more.

When the purpose of the building is changed, its contextual meaning is also changed. And the most controversial adaption, as Uffelen (2011) remarked, is the one of changing the purpose of churches: In many parts of the world, religious congregations are shrinking , leaving behind vacant architectural treasures. Built for ecclesiastical use and bound by a long architectural tradition, empty churches cannot be easily adapted for new uses (Bloszies, 2012, p.124).

Therefore, through some examples of converted churches, the strategies will be examined.

Selexyz Dominicanen Bookstore (FIG 4.6) is a former church in Maastrict, Netherlands, dating from the thirteen century which has been converted into a bookshop.

Bloszies remarks that, â&#x20AC;&#x2DC;The conversion of the church into a bookshop has been successful on many levels. The repurposed building continues to serve the community as a source of wisdom as it has for centuries [meaning of the place], the edifice has retained its historic identity, the book stacks fit into the nave remarkably well, and the aesthetic features located in hard-to-sleep places are more easily viewed. (2012, p.124)

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Maison de l’Architecture in France is a former monastery, which first had been converted into the school of architecture and then remodeled into an important international centre of culture and art. And like Selexyz Dominicanen Bookstore, the converted building ‘continues to serve the community as a source of wisdom’ (Bloszies, 2012, p.124) . In contrast, The Church Bar in Dublin, Ireland significantly differs from the Selexyz Bookstore and Maison de I’ Architecture in ‘meaning’ as it is a former church converted to a bar and nightclub. The conversion of The Church in Dublin is considered as an inappropriate and not successful remodeling, especially by religious people.

‘The Vatican has expressed alarm over the "immoral" trend for churches to be converted into bars and nightclubs’ (Squires,The Telegraph,November 2009).

However, the construction strategy applied is similar to all of the converted churches, where the old building is almost entirely preserved. And the strategy of insertion is used where a new structure is inserted into the existing building without ‘obscuring the extraordinary original structure’ (Feireiss & Klanten , 2009, p.154).

FIG 4.6 Selexyz Dominicanen Bookstore [online image] Available at <http://projkt22.wordpress.com/2012/07/15/selexyz-dominicanen-bookstore/>

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CHAPTER 5 – CASE STUDIES 5.1 CASE STUDY 1 FISH AND COAL OFFICES Location:

London, UK

Former use: Industrial / Offices / Stables

Architect: Lewis Cubitt

Converted: Offices/Retail/Restaurant

Architects: Victoria Ridgewell for David Morley

Year:

2013 – 2015 [under development]

Constructor: BAM Construction Ltd

The Fish & Coal is an exceptional building and part of what can be called a remarkable development. The location of the site is a notable example of urban transformation. At 67 acres, King’s Cross Central is a rapidly growing, mixed-use property development in central London. It has gone from being at the heart of Britain’s industrial success to a derelict and underused area and now is being reborn again. In under a decade it has changed from redundant warehouses which have lain blighted for many years to creatively converted Victorian industrial buildings mixed with shiny contemporary buildings. King’s Cross is an area where the new complements and respects the old. There is a balance between the past and the future. In terms of building conservation, with more than twenty (20) historic buildings and structures that are being creatively refurbished and converted, King’s Cross regeneration project demonstrates an extraordinary respect for the architectural heritage: “King’s Cross is a model of constructive, conservation, that captures the special quality of London as it has grown over the centuries.” English Heritage The Fish and Coal Offices were built as an addition to the The Goods Yard complex, which comprised the Granary Building, The Train Assembly Shed, and the Eastern and Western Transit Sheds. Designed by Lewis Cubit , the complex was completed in the 1840s and today it has a listed building status. The Granary Building was mainly used as a wheat warehouse.

In 2011 was converted and beautifully extended into the new home of the world famous

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Central Saint Martins College of Arts and Design, part of the University of the Arts London.

The project has received seventeen different awards, including a RIBA award, and the architect, Stanton Williams, won gold at Building Design’s Architect of the Year Awards. In 2012 The Western Transit Shed was also converted into unique office spaces.

The Fish and Coal building is about to follow their example. Consisting of five blocks, it is a beautiful structure which follows the curve of Regent’s Canal. From outside it seems like the blocks are connected, but each block has its own entrance. The first block was completed in 1851 and the additional blocks in the early 1860s. The structure was built as offices to house clerks employed to monitor the flow of freight through the sheds.

Just like the whole area, the building has undergone a variety of changes. Not only was it abandoned for a long period of time, but in 1983 it was significantly damaged by fire.

However, the building had great powers of endurance and sat quietly waiting to be reborn.

Today the Fish and Coal Offices are just about to revive. Since the fire gutted much of the structure, even though it does not officially have the status of a listed building, it is part of a conservation area, and the conservation strategies should be applied to it as well. The strategies applied by David Morley Architects for the Fish & Coal’s new design promise it a bright future. Together with the basement of the former offices, the building will be creatively remodeled. Since the structure is elevated, the basement, which consists of more than twenty (20) beautiful valuts, is on the canal level. The whole building will first be refurbished and repaired through the strategy of preservation. Blocks 1 and 2 will retain their former function as offices, while Blocks 3, 4 and 5 will be converted into retail and catering. The valuts, which were used as stables in the past and as a nightclub in later days, will be converted into a unique restaurant which will offer a beautiful view of the Regent’s canal. Almost the whole interior will be transformed and some walls will be either demolished or openings will be made in order to connect the blocks into one whole. However, the walls will only be refurbished, and their original brick appearance will be preserved. The method not only is

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more cost-effective, but also is an act of respect for the age of the building. Even though the whole interior will be changed, the ethos of the place and its genius loci will remain.

The exterior will remain almost the same. Only Block 4 will be extended through an additional roof structure leading to Block 5’s roof terrace. The additional roof structure will be a ‘glass cube’, which will provide a dignified architectural intervention. The new structure will not only offer a beautiful and aesthetic appearance but also a stunning view. The strategy of intervention employed in the design decision is so successful because it ‘reactivates’ the building and creates a dialog between the old and the new which talks about rebirth.

David Morley Architects have included in their design many sustainable solutions. Thus, the conversion of Fish and Coal is not only conservation of the past, it is conservation of the future. And just as Boris Johnson referred to the Granary building, the same is valid for Fish & Coal : “The Granary Building is a stunning development that embraces the past while looking to the future… it has brought an enlightened focus to the surrounding area.” - Boris Johnson , Mayor of London Fish & Coal Offices, as well as the whole regeneration development, contribute to the fundamental change of the social and economic character of the King’s Cross area in a positive way.

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FIG 5.1 â&#x20AC;&#x201C; Existing floor plan of the original structure ; Survey by David Modley Architects

FIF 5.2 Existing basemen and vaults plan; Survey by David Morley Architects

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FIG 5.3 Existing Sections; Survey by David Morley Architects

FIG 5.4 Existing Elevation,;Survey by David Morley Architects.

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FIG 5.5 New Roof Truss (Development )

FIG. 5.6 Column; will be preserved; (Development)

FIG 5.7 Refurbished brick wall (Development)

FIG 5.8 â&#x20AC;&#x201C; Fish & Coal Canal View

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FIG 5.9 Fish & Coal

FIG 5.10 David Morley Architectâ&#x20AC;&#x2122;s Rendering proposed for the New Fish & Coal; Source: BAM Construction Ltd

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5.2 CASE STUDY 2

FABRICA 126 Location:

Sofia, Bulgaria

Former use: Flour Mill Converted:

Multifunctional Creative Centre

Year:

2011 - 2012

FABRICA 126 is one of the few examples in Bulgaria where the process of adaptive reuse is applied; therefore, it is of a great social interest. Located in Sofia, within an industrial zone, the existing building was the main flour mill of the city for a long period of time. It was built in 1927 and in 2011-2012, following repair work, was converted into a multi-purpose art and cultural center.

Today FABRICA 126 offers ten spacious halls with an overall area of 1 500 square meters, which are allocated within three floors and five different levels. The halls can be altered into spaces with various purposes ranging from party spaces to workshops and exhibition galleries. The exterior of the building retains its original appearance but the interior is almost entirely refitted for its current function. Most of the roof trusses and some columns were left with their original appearance. Combined with the new elements, an interesting interaction between past and present forms the ethos of the spaces. The existing building does not have a listing status, but the preservation of a great deal of its original appearance speaks of respect for what has been left. At the same time, the new function of the space gives opportunities for new developments.

What is most distinctive about the conversion is that its function is completely changeable.

The main aim of adapting the old mill was to encourage creativity and bring more people together in order to exchange ideas and collaborate. The place was designed in a way that can

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always offer some new adaptive solution. The different spaces, as large halls, gives the opportunity to be constantly transformed and converted from an exhibition space to a place where a movie is filmed or a photo session is shot, to a nightclub or workshop or most importantly from an empty space to one full of ideas and opportunities.

The conversion of the old mill into a multi-purpose centre is successful at many levels. Not only does it contribute to the revitalization of the area, but it also encourages the idea of working with existing buildings.

FIG 5.11 Plan ; First floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto >

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FIG 5.12 Plan: Second Floor, First Level [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto >

FIG 5.13 Plan : Second Floor, Second level [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto >

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FIG 5.14 Plan: Third Floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto >

FIG 5.15 Interior, Second Floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto >

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FIG 5.16 Hall; Secon floor FIG 5.14 Plan: Third Floor [Online image] Available at: <http://fabrica126.com/зали/#!prettyPhoto >

FIG 5.17 Hall; Third Floor, FIG 5.14 Plan: Third Floor [Online image] Available at: <http://fabrica126.com/зали/#!prettyPhoto >

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FIG 5.18 Fabrica 126 Exterior (2012) [Online image] Available at: http://edno.bg/index.php/en/blog/fabrika-126#

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CHAPTER 6 - CONCLUSION Due to its value remodeling is becoming more and more a common practice. Besides its contributions to the historical heritage and its cost-effective solutions for many old buildings, it is extremely valuable because it involves sustainability which today is a necessity. It contributes to the energy waste , which is involved in the construction process, being reduced significantly. Which leads to carbon reduction and therefore saves much of the natural resources that the Earth produces.

As the most creative method of building conservation, even the fact that most modernist architects reject it, remodeling has been enjoying general sympathy in the past as well as in recent days. The process of remodeling is valued so much by both conservationists, because it preserves the best features of an old building and its genius loci, and by the architects and designers, because it encourages creativity.

Through the different strategies of remodeling, like insertion, intervention, addition or extension, that have been developed recently, impressive design solutions can be achieved. The strategies give opportunities for the designer to decide how to create interaction between the old and the new. Therefore one of the most successful architectural projects is achieved due to applying these strategies.

On the other hand, a conversion of an old redundant factory or power station, not only leads to the building being reborn, but also to the whole surroundings to be transformed and developed.

Therefore, remodeling not only contributes to the process of preserving an old historical building or of saving a redundant, insignificant building and transforming it into a significant one, it also contributes to helping the current unsteady economy. Itâ&#x20AC;&#x2122;s value is much greater! It is not only the most creative method of building conservation, it itself is creativity which impact the development of the architecture

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and design. It not only contributes to one of the most significant architectural projects to be created, and whole redundant and unused areas to be transformed into vibrant places full of new opportunities, it contributes to the whole environment which means to saving the Earth as well. And that is invaluable. It combines the past with the present, thinking about the future.

In conclusion,â&#x20AC;&#x2DC;Those who in their design are able to respect the past, the present and the future, and to achieve a balance between cultural tradition, practical requirements and contemporary expression, will be contributing to the fundamental values of European society. (Breitling & Cramer, 2007, p.12)

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BIBLIOGRAPHY Bloszies, Ch. (2012) Old Buildings, New Designs: Architectural Transformations.

New York: Princeton Architectural Press Brandt, S & Cantacuzino Sh. (1980) Saving Old Buildings. London: Arcitectural Press Limited Breitling, St. & Cramer, J. (2007) Architecture In Existing Fabric: Planing, Design, Building. Berlin: Birkh채user Verlag AG Brooker, G. & Stone, S. (2004) Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises Ltd Borden, I. & Ray, K. (2005) The Dissertation: An Architecture Student's Handbook :2nd ed. Oxford: Architectural Press Durant, S., Dyke, A., Gambrill, B., Lansley, A. & Shelton R. (2008) The Transformation of St Pancras Station. Laurence King Publishing Ltd Earl, J. (2003) Building Conservation Philosophy : 3rd ed. United Kingdom: Donhead Publishing in association with the College of Estate Management, Reading Engel, J., Santifaller, E. & Zimmermann, M. (2008) Transform: The Revitalisation of Buildings. M체nchen, Berlin, London, New York: Prestel Verlag Fajardo, J. (2008) WOW!: Converted Spaces. Barcelona, Spain: LOFT Publications Feireiss, L. & Klanten, R. (2009). Build-On: Converted Architecture and Transformed Buildings. Gestalten, Berlin

J채ger, F. (2010) Old & New: Design Manual for Revitalizing Existing Buildings.

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Basel, Switzerland: Birkh채user GmbH Lewis, S. & Littlefield, D. (2007) Architectural Voices: Listening to Old Buildings.

Great Britain: Wiley-Academy, a division of John Wiley & Sons Ltd Moore, R. & Ryan, R (2000) Building Tate Modern: Herzog & De Meuron Transforming Giles Gilbert Scott. London: Tate Gallery Publishing Limited Powell, K. (1999) Architecture Reborn: The Conversion and Reconstruction of Old Buildings. London: Laurence King Publishing Ltd Stratton, M. (2000) Industrial Buildings: Conservation and Regeneration. USA and Canada: E & FN Spon Uffelen, Ch. (2011) Re-Use Architecture. Braun Publishing AG

ONLINE 2009 editorial Interventions/Adaptive Reuse: Int/AR , [internet] Vol. 1, p4-5, 2p; Available at: < http://web.ebscohost.com.arts.idm.oclc.org/ehost/detail?vid=3&sid=ff19bd07-ed55-47848ac0eb65745e5c55%40sessionmgr198&hid=114&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d #db=aft&AN=85227699> Squires, N. (2009) Vatican condemns 'immoral' church conversions, The Telegraph [internet] Available at: http://www.telegraph.co.uk/news/worldnews/europe/vaticancityandholysee/6670813/Vaticancondemns-immoral-church-conversions.html Online Recources http://www.parliament.uk/about/livingheritage/transformingsociety/towncountry/landscape/overview/historicsites/ http://www.telegraph.co.uk/news/worldnews/europe/vaticancityandholysee/6670813/Vaticancondemns-immoral-church-conversions.html http://www.kingscross.co.uk/the-mix http://edition.cnn.com/2013/12/09/living/aj-irpt-remodeled-churches/ http://www.psmag.com/environment/old-buildings-combine-sustainability-preservation-

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31861/ http://www.buildingconservation.com/books/directory2013/index.html#/4/zoomed http://www.preservationnation.org/information-center/sustainable-communities/greenlab/lca/The_Greenest_Building_lowres.pdf http://books.google.co.uk/books?id=ofW92R6svXIC&printsec=frontcover&source=gbs_ge_s ummary_r&cad=0#v=onepage&q&f=false http://www.parliament.uk/about/livingheritage/transformingsociety/towncountry/landscape/overview/historicsites/ http://www.english-heritage.org.uk

ILLUSTRATIONS FIG 4.1 Tate Modern: a symbol of Britain as it would like to be â&#x20AC;&#x201C; Telegraph( 2010) [Online Image] Available at: http://www.telegraph.co.uk/culture/art/art-features/7623851/Tate-Modern-a-symbol-ofBritain-as-it-would-like-to-be.html FIG 4.2 Turbine Hall [online image] Available at: <http://www.flickr.com/photos/finnhopson/6101167758/in/set->72157630843737328/> FIG 4.3 The new roof meets the old on the eastern side of the St Pancras Station (2008) Taken from the book (The Transformation of St Pancras Station (p.90) FIG 4.4 Essen Design Centreâ&#x20AC;&#x2122;s Interior [online image] Availabe at: <http://www.fosterandpartners.com/projects/essen-design-centre/) FIG 5.5 Caixa Forum The exterior lighting draws attention to the Caixa Forum, the heart of the museum centre of Madrid. [online image] Available at http://www.arup.com/Projects/Caixa_Forum.aspx#!lb:/Projects/Caixa_Forum/Caixa_Forum2.aspx

FIG 5.1 Existing floor plan of the original structure ; Survey by David Modley Architects, FIG 5.2 Existing basemen and vaults plan; Survey by David Morley Architects FIG 5.3 Existing Sections; Survey by David Morley Architects FIG 5.4 Existing Elevation,;Survey by David Morley Architects FIG 5.5 New Roof Truss (Development ), Personal Archive FIG 5.6 Column; will be preserved (Development ) Personal Archive FIG 5.7 Refurbished brick wall (Development) Personal Archive

47

FIG 5.8 Fish & Coal Canal View; Personal Archive FIF 5.9 5.9 Fish & Coal; Personal Archive FIG 5.10 David Morley Architect’s Rendering proposed for the New Fish & Coal; Source: BAM Construction Ltd FIG 5.11 Plan ; First floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto > FIG 5.12 Plan: Second Floor, First Level [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto > FIG 5.13 Plan : Second Floor, Second level [Online image] Available at: <http://fabrica126.com/зали/#!prettyPhoto > FIG 5.14 Plan: Third Floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto > FIG 5.15 Interior, Second Floor [Online image] Available at:

<http://fabrica126.com/зали/#!prettyPhoto > FIG 5.16 Hall; Secon floor FIG 5.14 Plan: Third Floor [Online image] Available at: <http://fabrica126.com/зали/#!prettyPhoto > FIG 5.17 Hall; Third Floor, FIG 5.14 Plan: Third Floor [Online image] Available at: <http://fabrica126.com/зали/#!prettyPhoto > FIG 5.18 Fabrica 126 Exterior (2012) [Online image] Available at: http://edno.bg/index.php/en/blog/fabrika-126#

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END!

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