C.R.R.B - Conservation

Adaptation for new use is by no means a new phenomenon; buildings have been re-used throughout history. The Baths of Diocletian in Rome were converted into the ‘Santa Maria degli Angeli Church’ by Michelangelo in 1566. However new intervention practices are seen as a creative way to breathe new life into an existing historic context, whilst reinventing an economic and social value. The new and old architecture - a layered combination - would ensure the continuation of an authentic character, whilst providing an appropriate new use. The new use would eventually add to the building’s historic fabric. The International Conservation charter, conscious of the growing trend of re-using historic buildings to keep them from falling in to disuse and neglect, addresses the issue in a series of charters.

International Charters:

1999 Burra Charter

1994 Nara Document,

1983 Appleton Charter,B – Rehabilitation

1964 Article 5 the Venice Charter

In 1983 the Appleton Charter defined rehabilitation from a conservation perspective: “modification of a resource to contemporary functional standards which may involve adaptation for new use” [1983 Appleton Charter,B – Rehabilitation]

In 1964 the Venice charter outlined a strategy for re-use

“The conservation of monument is always facilitated by making use of them for some socially useful purpose. Such is therefore desirable but it must not change the lay-out or decoration of the building. It is within these limits only that modifications demanded by change of function should be envisaged and may be permitted” [Article 5 the Venice Charter, 1964]

History and Theory of Conservation re -use

Frazer Hay…

"First we shape our buildings, then they shape us, then we shape them again-ad infinitum"

[Stewart Brand, 1994]

"First we shape our buildings, then they shape us"

[Winston Churchill, 1943]

There is a fine balance between architecture and humanity. The buildings we design directly influence the way in which we live our lives, they direct and manipulate the way in which we engage with our social values, educational, commercial and spiritual needs, even our appreciation of the arts. This means the balance between society and architecture is in a constant state of flux, buildings and people evolve repeatedly, new buildings are built to facilitate our social development but more often than not, it is the existing buildings which are re-shaped, as Stewart Brand's quote suggests, "First we shape our buildings, then they shape us, then we shape them again-ad infinitum". Stewart Brand's quote in 1994 is a reinterpretation of Winston Churchill's quote in 1943 "First we shape our buildings, then they shape us" whilst addressing the nation with regard to the re-building of the 'Houses of Parliament' after its destruction during the Second World War. There were 51 years between each quote and in that period of time, society was changing rapidly, freedom from world war, politics, technology and science had accelerated development in travel, communication and finance. These changes had altered the way in which society viewed itself, it was now well on its way to becoming an International community. Cultural phrases such as, "the global village" appeared and architecture was increasingly seen as a machine for living. As the feeling of internationalism grew, the significance of a national identity grew too. Cultural tourism evolved, architecture and the arts were under growing pressure to facilitate modern life styles but also preserve national identity. International organisations like ICOMOS [International Council on Monuments and Sites] in 1965 and UNESCO's [the United Nations Educational, Scientific and Cultural Organization] world heritage convention 1972 emerged. The rising interest in heritage combined with the nationalistic feeling after the war and the economic value associated with cultural tourism fuelled the continuing debate on conservation theory and on how best to care for the buildings of cultural significance.

Since the nineteenth century the debate over restoration verses anti-restoration has dominated conservation theory. Restoration focused on the recording and reconstruction of structure championed by the Frenchman Emmanuel Violet-le-Duc, infamous for his rigorous, stylistic and often brutal restoration works.

"Means to re-establish [a building] to a finished state, which may in fact never have actually existed at any given time"

[Braziller George. 1990]

Anti Restoration on the other hand argued that to restore the architecture to a fictitious past, destroyed the structures authenticity and historic fabric, this theory was championed by Englishmen, William Morris and John Ruskin, who founded the Society for Protection of Ancient Buildings [SPAB] in 1877. "Neither by public, nor by those who have the care of public monuments, is the true meaning of the word restoration understood. It means the most total destruction which a building can suffer: destruction out of which no remnants can be gathered; a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture".

Ruskin John, [180-1989]

The SPAB Manifesto introduced a 'conservative repair' ideology; repair rather than replace with a soulless copy, respect and celebrate the structures' authentic and historic fabric.

The SPAB and Viollet-le Duc discourse, underpins much of the western European contemporary conservation theory and practice.

A contemporary theory of conservation regarding architectural intervention and the building's subsequent re-use, has been developed to tackle the growing number of historic buildings which have become tired and neglected. For buildings no longer fit for purpose and struggling to adapt to a new use, rehabilitation was required. In 1983 the Appleton Charter defined rehabilitation from a conservation perspective: "modification of a resource to contemporary functional standards which may involve adaptation for new use" [1983 Appleton Charter,B - Rehabilitation]

Adaptation for new use is by no means a new phenomenon; buildings have been re-used throughout history. The Baths of Diocletian in Rome were converted into the 'Santa Maria degli Angeli Church' by Michelangelo in 1566. However new and considered architectural interventions are seen as a creative way to breathe new life into an existing historic context, whilst reinventing an economic and social value. The new and old architectural- a layered combination - would ensure the continuation of an authentic character, whilst providing an appropriate new use. The new use would eventually add to the building's historic fabric.

Early examples of contemporary architectural intervention work within a historic context are those of Swiss architect Peter Zumthor, Norwegian architect Sverre Fehn and an Italian designer Carlo Scarpa.

Carlo Scarpa, a designer from Venice who never completed his architectural education, went on to create some of the most celebrated and revered architectural intervention projects, studied by architects and students throughout the world, the most famous being the Castelvecchio Museum in Verona. Originally a castle, the building was re-designed as a museum displaying a collection of sculpture, statues and paintings. The new and historic layers can clearly be read through the architect's considered material choices and elegant detailing which underpins the use of form in relation to the host building's structural requirements.

The Norwegian architect Sverre Fehn, built a regional museum for the municipalities within the historic ruins of a medieval cathedral in Hamar , Norway. The design intent was to create ways in which the materials and the structural forms of Fehn's architecture, would contrast and co-exist alongside that of the cathedral's. Fehn makes no attempt to interfere with the historic fabric of the host structure. The new intervention sits comfortably within the historic context, leaving the site easily read and clearly understood as new and historic layering.

The Swiss architect Peter Zumthor built an art museum around the wreckage of the parish church of St.Kolumba which was destroyed in WW2. Commissioned by Cardinal Meisner, Zumthor won the architectural competition in 1997 and the project was finally realized, 10 years later. The museum is an ancient castle for religious art - 2000 years of sycamore culture, as well as for modern installations. This project on first impression seems an extreme example of an intervention project; the new architecture almost smothering the historic ruins of St. Kolumba, almost using it as a piece of 'spolia'. It is not until you take a closer look that you see the sensitive way in which the architect has detailed the junction between new and historic, and you begin to see the architectural integrity within the scheme. The material choice and finish to the new building's exterior gives the building an understated presence, respectful, almost shy of its ancient host. The interior of the church is easily read and clearly layered. Light is used to great effect to highlight and soften the impact of the intervention.