ART DRIVEN ADAPTIVE REUSE OF ABANDONED

SPACES

Dissertation submitted in partial fulfilment of the requirement

For the eighth semester, Degree of
BACHELOR OF ARCHITECTURE
Of the University of Kerala

DISSERTATION
January 2019- June2019

Guided by Submitted by

Dr. Santhoshkumar K.G Lakshmi S

Department of Architecture

Thangal Kunju Musaliar College OF Engineering

Kollam- 691005, Kerala
MAY 2019

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Art Driven Adaptive Reuse Of Abandoned Spaces

Thangal Kunju Musaliar College Of Engineering

Kollam- 691005, Kerala

Depratment of Architecture

CERTIFICATE

Certified that this is a bonified record of the

dissertation submitted by

Lakshmi S

during the period of January 2019 to May 2019

in partial fulfillment of the requirements for the

Ninth semester, Degree of

BACHELOR OF ARCHIECTURE

of the University of Kerala

Guided by Submitted by
Dr . Santhoshkumar K.G Lakshmi S

Valued by
External examiner Internal examiner

2
 DECLARATION

I hereby declare that dissertation named……ART DRIVEN ADAPTIVE REUSE OF

ABANDONED SPACES…........................…., submitted to the Department of Architecture,

TKM College of Engineering, is a record of an original work done by me, under the

guidance of……Dr SANTHOSHKUMAR K G…………., Department of Architecture

TKMCE.

The information and given data in this report is authentic to the best of my knowledge and is

not submitted in any other university or institution for the award or any degree or

fellowship.

Lakshmi S

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Art Driven Adaptive Reuse Of Abandoned Spaces

ACKNOWLEDGEMENT

It is a genuine pleasure to express my deep sense of gratitude to my guide Dr.

Santhoshkumar KG , Department Of Architecture , T.K.M College Of Engineering for
helping me through the entire course of my semester . His patience and knowledge helped
me become more aware and more practical.

I am greatly indebted to sir Bony Thomas, cartoonist and co-founder of Kochi

Muziris Biennale for providing insight into the life of artists and helping me understand the
significance of the project.

I also thank my seniors who were helpful in sourcing out the relevant materials of
study based on their experience.

I place on record my deepest sense of gratitude to my friends and their willingness to

offer their knowledge and support.

Finally, I express my sincere gratitude to my family members and parents for their constant
support, prayers and encouragement over the years. Above all, I bow my head before God
Almighty for his blessings showered upon me in all my difficulty.

Lakshmi S

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Art Driven Adaptive Reuse Of Abandoned Spaces

ART DRIVEN ADAPTIVE REUSE OF ABANDONED

BUILDINGS

ABSTRACT

One of the largely advocated methods of conservation is adaptive reuse. It helps in

conserving the heritage value of building and at the same point provide an opportunity for a
new use . Art driven adaptive reuse, on the other hand focuses on a specific direction of
adaptive reuse intended to promote art and community spaces.

Kochi being the primary area of study, has many such abandoned buildings owing to
its rich cultural heritage of bygone British and Dutch eras. These buildings are very poorly
maintained and are becoming hubs of crime and anti-social activities .

While adaptive reuse helps provide an alternate function for the building, art driven
adaptive reuse helps to maintain its cultural integrity as well as make it enjoyable for all
sectors of the society through turning it into a community oriented space.

This dissertation tries to understand why such an intervention is important in today’s

context and analyse what are the different techniques to be followed while proposing it. A
sample building is chosen for this based on the requirement and a brief proposal for its
revival is suggested.

Also this dissertation provides a set of basic guidelines prepared based on the
conditions of selected sample building. These can be put to use for such an intervention in a
similar context. These guidelines help in creating a better practise of adaptive reuse in such
buildings which would have otherwise been left to the perils of time.

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Contents
DECLARATION ................................................................................................................. I
ACKNOWLEDGEMENT .................................................................................................. II
ABSTRACT .......................................................................................................................III
CHAPTER 1 INTRODUCTION .........................................................................................1
1.1Aim .............................................................................................................................1
1.2 Objective ....................................................................................................................1
1.3 Scope ..........................................................................................................................2
1.4 Limitations .................................................................................................................2
1.5 Methodology of work ................................................................................................2
CHAPTER 2 LITERATURE STUDY ................................................................................5
2.1 Introduction ...............................................................................................................5
2.2 Types of buildings that fall into abandonment ..........................................................5
2.3 Technique to retrofit : Adaptive Reuse ......................................................................7
2.4 Merits ........................................................................................................................8
The ‘third place’ phenomenon .......................................................................................10
2.6 Matrix of potential buildings in Kochi.....................................................................11
2.7 Design parameters for art spaces .............................................................................12
CHAPTER 3 – CASE STUDIES .......................................................................................13
3.1 Parameters identified for conduct of case study. .....................................................13
3.2. Literature case study ...............................................................................................13
3.3. Live case study........................................................................................................31
4. Analysis..........................................................................................................................38
Live case study on sample building ...............................................................................40
ERNAKULAM TERMINUS RAILWAY STATION...................................................40
CHAPTER 4 INFERENCE AND CONCLUSION ...........................................................47
REFERENCE .....................................................................................................................48

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TABLE OF FIGURES

FIGURE 1 GRAND CENTRAL STATION: NOW APPLE STORE ...................................................................................... 6

FIGURE 2 OLD BRICK FACTORY IN HOUSTON : NOW APARTMENT ........................................................................... 6
FIGURE 3 BARADARI PALACE JAIPUR: NOW RESORT .............................................................................................. 7
FIGURE 4 FLOURMILL STUDIO, SYDNEY............................................................................................................... 14
FIGURE 5 SECTION 1 ............................................................................................................................................ 16
FIGURE 6 SECTION 2 ............................................................................................................................................ 16
FIGURE 7 PLAN GROUND FLOOR .......................................................................................................................... 17
FIGURE 8 INTERIOR OF STUDIO: OLD MEETS NEW ................................................................................................ 18
FIGURE 9 SHARJAH ART FOUNDATION : INSTALLATION ....................................................................................... 20
FIGURE 10 AL MUREIJAH SQUARE ...................................................................................................................... 22
FIGURE 11 COURTYARD : SAF GARDENS .............................................................................................................. 22
FIGURE 12 CALLIGRAPHY SQUARE ...................................................................................................................... 22
FIGURE 13SITE FOR BIENNIAL PROJECTS AT SAF SQUARE .................................................................................... 23
FIGURE 14 SOUQ SAQR ........................................................................................................................................ 23
FIGURE 15 GALLERY SPACE OF SAF .................................................................................................................... 23
FIGURE 16 HIGHLINE PAST AND PRESENT ............................................................................................................ 24
FIGURE 17 OLD RAILWAY TRACKS....................................................................................................................... 25
FIGURE 18 HIGHLINE PARK .................................................................................................................................. 28
FIGURE 19 LIGHTING ........................................................................................................................................... 28
FIGURE 20 PLANTSCAPING .................................................................................................................................. 29
FIGURE 21 MUSUEM BY RENZO PIANO ................................................................................................................ 30
FIGURE 22 CONSTRUCTION PHASE ....................................................................................................................... 30
FIGURE 23 HIGHLINE IN A NUTSHELL................................................................................................................... 30
FIGURE 24 PEPPERHOUSE SKETCH ....................................................................................................................... 31
FIGURE 25THEN AND NOW: PEPPERHOUSE ........................................................................................................... 32
FIGURE 26 CAFETERIA SKETCH............................................................................................................................ 33
FIGURE 27 EXPLODED VIEW OF GROUND FLOOR .................................................................................................. 35
FIGURE 28 EXPLODED VIEW OF FIRST FLOOR ....................................................................................................... 36
FIGURE 29 FIRST FLOOR ...................................................................................................................................... 36
FIGURE 30 CONSCIOUS SPREAD OF CLIMBERS ...................................................................................................... 37
FIGURE 31OLD WINDOWS ARE REPLACED ............................................................................................................ 37
FIGURE 32 ROOF AND RAFTERS ARE KEPT INTACT ............................................................................................... 37
FIGURE 33 BOARDS ARE USED TO HOLD THE PAINTING ........................................................................................ 37
FIGURE 34 OLD WALL TEXTURE AND DOOR RETAINED........................................................................................ 37
FIGURE 35 NEW RAMP AND WIDE ARCHED GATEWAY .......................................................................................... 37
FIGURE 36NEW RAILINGS ADDED ........................................................................................................................ 38
FIGURE 37 FLOOR IS REDONE .............................................................................................................................. 38
FIGURE 38 BACKSIDE OF STATION WHERE TRACKS ARE DUMPED ........................................................................ 41
FIGURE 39 ENCROACHED AREA ........................................................................................................................... 42
FIGURE 40 MAIN ENTRANCE ................................................................................................................................ 43
FIGURE 41 THE HEAVILY WEEDED AND RICHLY VEGETATED AREA ..................................................................... 43
FIGURE 42 LATERITE FACADE DEPICTING THE BRITISH ERA. .............................................................................. 43
FIGURE 43 DILAPIDATED STATE OF THE BUILDING .............................................................................................. 43
FIGURE 44 OLD LATERITE FACADE ...................................................................................................................... 44
FIGURE 45 PEEL UP SYLE :TYPES ......................................................................................................................... 45
FIGURE 46 INTERIORS: SUITABLEFOR LARGE GALLERY SPACE............................................................................. 45
FIGURE 47 SKETCH OF MODIFIED INTERIOR: ........................................................................................................ 45
FIGURE 48 OLD ENGINE PARTS ............................................................................................................................ 46
FIGURE 49 SKETCH OF AN INSTALLATION ............................................................................................................ 46

V
CHAPTER 1 INTRODUCTION

As times change the need and functionality of a space fall into disuse. Some of these buildings
whose function is no longer prevalent comes into abandonment .In most situations these are
either industrial buildings like factories, warehouses or political buildings and even
community buildings.

One of the best lifelines for these type of buildings include adaptive reuse. This dissertation
aims to provide an insight about how adaptive reuse reaffirms the presence of the building
within a community while remaining true to its function by the introduction of Art into play.

1.1Aim

The aim is to understand and analyse the role of art driven adaptive reuse in promoting a
community sense through advancements like biennale by finding out the various sectors of
society benefitted from this.

To apply the various techniques of retrofitting found from case study in a sample building
selected based on the criteria.

To formulate a set of guidelines for the management of such buildings in future.

1.2 Objective

1. To look at types of buildings that fall into abandonment.

2. Study techniques that can be used for reusing the abandoned building or retrofit it.
3. To see how art driven adaptive reuse helps create a new identity while maintaining
integrity.
4. To identify various design parameters for art spaces .
5. To get a detailed outlook through Case studies, of the type of structures used for adaptive
reuse.
6. To study impact on the levels of socio cultural, economic and physical infrastructure of
Kochi and through adaptive reuse how these spaces are given a new character.
7. To form a better understanding about adaptive reuse through examples and various
typologies of building that faces abandonment

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8. To apply the techniques used into a sample building collected based on the criterias
mentioned
9. To give guidelines for adaptive reuse in the area of study.

1.3 Scope

The abandoned yet culturally significant buildings of Kochi in the Dutch and British era. The
scope extends to adaptively reusing any building that has a link to the past and needs to be
maintained for future generations

1.4 Limitations

>Physical limitations

>Regulatory constrains

>Potential hazards like collapse etc.

1.5 Methodology of work

 Introduction
 Data collection
 Technical data
 survey
 impact analysis
 guidelines to retrofit
 Criteria for selection of sample building
1.Analysis of economic development
 Artists income
 Tourism
 Local vendors
 Homestay

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2.Analysis of sociocultural development

 General improvement of lifestyle
 Vendors are benefitted
 Recognition for artists
 Development of a trend in taking up art related jobs among visitors and volunteers

3. Analysis of physical infrastructural development

 Soft urban renewal

 Literature case study

 Sharjah Art Foundation
 Highline Park - New York
 Warehouse art gallery

 Live case study :

 +Kochi Muziris biennale
Pepperhouse

 Finding the common thread based on the criterias.

 Techniques to retrofit : art driven adaptive reuse

 Conclusion
 Intervention on Sample building
 Guidelines for adaptive reuse

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 Flow chart of methodology of work

aim,objective, scope
introduction
brief description on adaptive
reuse
art driven adaptive reuse of abandoned

listing of abandoned
structures
Analysis
buildings

identification of past and

data collection present use
Intervention on Sample
identifying international building and
standards of adaptive reuse formulation of
guidelines

literature case study on

converted abandoned spaces
Common thread
case study

live case study

 Selection of sample building

merits and
demerits application of
indian context people and suitable
sample building
case study sectors selected based on techniqus
international benefitted the given criteria adopted from
context case study
what to do and
what not to do

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CHAPTER 2 LITERATURE STUDY

2.1 Introduction

Urban planners see industrial ruins as potential sites for redevelopment into museums, art
galleries, or apartments.

tourists, artists and journalists see industrial ruins as beautiful yet tragic reminders of the past.

“Where some people see ruins some see homes within painful process of transformation”

Buildings that were abandoned but not built too long ago was seen as modern ruins. They
deteriorated or crumbled or they became a place for social miscreants.

2.2 Types of buildings that fall into abandonment

Historic buildings

Historic buildings give neighbourhood their distinctive character and at the same time provide
a tangible connection to the past.

However their history and that of their settings are often ignored and not honoured as part of
our cultural modifications .

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Figure 1 grand central station: now apple store

Industrial buildings

As cities become increasingly modern the process of manufacture moves away from the
city.This leads to old factories becoming abandoned

Figure 2 old brick factory in houston : now apartment

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Political buildings

Figure 3 Baradari palace jaipur: now resort

These are buildings like palaces and buildings which cannot support visitors to and from the
site

During mid twentieth century the sudden increase in automobile and construction of major
highways and networks created an alternatives to traditional rail road transportation and made
it possible for people to live and work further away from the city core suburbs grew and
industries moved out of city leaving some of them to fall under dissuse.

2.3 Technique to retrofit : Adaptive Reuse

People saw the poorly kept building as an opportunity to convert them into structures with
new function.
This was called gentrification from the initial stages .Today it is referred to as adaptive reuse.
This is different from retrofitting or facadism which is to alter the structure of façade of the
building.
Definition:

Adaptive reuse is defined as the process of reusing an old site or building for a new purpose
other than which it was built or intended for. It can be visualised as a compromise between
historic preservation and demolition. This process of reutilising a building allows culturally
and historically important building to be redeveloped and of modified purpose instead of
demolishing.

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By reusing an existing structure the energy required to create these spaces is lessened as is
the material waste that that comes from destroying the old sites and rebuilding using new
materials .

2.4 Merits

The most successful built heritage adaptive reuse projects are those that best respect and retain
the buildings heritage significance and add a contemporary layer that provide a value for
future .

> energy conservation

> contributes to sustainability

> enhances community character

> encourages investment

> enhances innovation

>saves time

>environmental benefits

>increases market value

Why art driven adaptive reuse

Since as long back as 1960s , renewal of SoHo in downtown of Manhattan to the 2009
opening of the Sharjah Art Foundation Spaces, artists and gallerists have long looked upon
neglected and abandoned structures and adapted them for their personal use such as studio,
exhibition, and performance spaces.

According to a report by Jennifer Tobias during her C-MAP visits to Mumbai, Delhi, Goa,
Bangalore, and Kochi similar art-driven adaptive reuse of nineteenth- and twentieth-century
architecture was noted. This makes one wonder about preservation of such structures in India,

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and what it signifies in a vast, diverse country experiencing rapid growth amid centuries of
architectural heritage.

In India, various public and private institutions address preservation, but there’s no national
mandate for relatively recent works. Nationally the Archaeological Survey of India (ASI) and
the Architecture Heritage Division of the Indian National Trust for Art and Cultural Heritage
(INTACH) monitor sites that are more than one hundred years old.

The internationally oriented advocacy group Docomomo International (“Docomomo” stands

for “documentation and conservation of buildings, sites, and neighborhoods of the modern
movement”) follows developments in India but lacks a national chapter.

At the city level, initiatives may vary. One of the most promising development is the 2006
creation of the Indian Heritage Cities Network (IHCN), which is affiliated with UNESCO
New Delhi.

This strengthens the need to connect to the past through built heritage without losing its
integrity and not just mere preservation through concepts like museums.

Guidelines By the Secretary Of The Interior's Standards For Rehabilitation

The Standards should be applied to specific to rehabilitation projects in a reasonable manner,

taking into consideration economic and technical and environmental feasibility.

1. A property needs to be used for its historic purpose or be placed in a new use that requires
minimal change to the main characteristics of the building and its site and environment.

2. The historic character of a property should be retained and protected . The removal of
historic materials or changing of features and spaces that characterize a property should
avoided.

3. Each property should be recognized as a physical record of its time, place, and use. Changes
that create a misguiding sense of historical development, such as adding features or

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architectural elements from other buildings, shouldn’t be undertaken.

4. Most properties might change over time; those changes that have acquired historic
significance in their own right needs to be retained and preserved.

5. Differentiating features, finishes, and construction techniques or examples of delicate

architecture and craftsmanship that characterize a property has to be preserved.

6. Destroyed or diminishing historic features needs to be repaired rather than replaced. Where
the cause of severity of deterioration requires replacement of a distinctive feature, the new
feature most match the old in design, color, texture and other visual qualities and, where
possible, materials. Replacement of missing features should be substantiated by
documentary,physical,or photographic evidence.

7. Chemical or physical treatments, such as sandblasting, that cause damage to historic

materials may be avoided unless absolutly necessary. The surface cleaning of structures, if
appropriate, needs to be undertaken using the gentlest means possible.

8. Significant archelogical resources affected by a project must be protected and preserved.

If such resources are to be disturbed, revival measures shall be undertaken.

9. New additions, exterior alterations, or related new construction should not destroy historic
materials that characterize the property. The new work shall be distinguished from the old
and may be compatible with the massing, size, scale, and architectural features to protect the
historic integrity of the property and its environment.

10. New additions and adjacent or related new construction shall be undertaken in such a
manner that if it is removed in the future, the essential form and integrity of the historic
propertand its environment would have to be unimpaired.

The ‘third place’ phenomenon

Renowned sociologist Ray Oldenburg pioneered the concept of a third place in his book the
great good place , published in 199 . Oldenburg delineates the third place as a local hub. A

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community centre or a home away from home but which mostly fulfils the function of being
a necessary zone, outside of one’s home and workplace for one’s expression connection and
growth it’s a place where people get together for no other purpose except the joy of being
there . The best third place are also free and /or inexpensive .

2.6 Matrix of potential buildings in Kochi

Table 1

S Name Past use Period Present use Structural Defects Owners Addition
. condition hip Or
n alteration

o
1 Pepper house Pepper British mixed Good , minor Private Service
storage Structurally units
stable
2 Dutch warehouse Dutch Biennale Bad , major Major private no
warehouse venues damaged
3 unknown Spice Dutch Abandoned Good , stable minor private no
store
4 Unknown Rice British unknown Good , stable minor private no
storage
5 Shyam vital Tea British Tea godown Good , stable minor private no
and co. storage
6 V.Dasa Tea British Tea godown Good , stable minor private Minor
prabhu and addition
sons
7 Old kochi Railway British abandoned Partially major public no
railway stable
station

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2.7 Design parameters for art spaces

 Requirements
- Administration
- Guard room,
- Small amphitheatre
- Cafeteria
- Exhibition rooms.
- Sculpture garden
- Store room

 Corridor:
- Corridors must be 8 to 9 feet in use.
- Keep corridors in same width if possible, otherwise bottlenecks may arise.

 Gallery
An art gallery has a specific focus and is managed by a curator who has good knowledge
about the display or artefacts. These galleries are typically open to members of the public.to
encourage cultural education and enrichment

 Height of building
- Less than 12 meters for covered exhibition space
- For any additional elements such as roof elements sky lights , vertical roof connection
etc. , the height must be less than 17 m
 Open spaces
- A minimum of 30% is dedicated to open spaces and greenery.
- Structures used for plants ensuring soil permeability
 Exhibits :
- Objects placed above 1 m will be seen only from below by most seated and short
viewers
- Railings at a maximum height of 915 mm
- Create colour contrast between items and background particularly when they’re
displayed at lower levels

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CHAPTER 3 – CASE STUDIES

3.1 Parameters identified for conduct of case study.

 Typology
 Reason for abandonment .
 Community revitalization due to the new intervention.
 Whether the intervention was successful on the levels of
 Economic upliftment
 Socio cultural harmony
 Physical or infrastructural strengthening

3.2. Literature case study

Abandoned structures used for art galleries and installations by artists around the world were
identified

3.2.1. Flourmill studios

3.2.2. Highline Park - New York

3.2.3. Sharjah art foundation

3.2.1 Flourmill Studios

INTRODUCTION

Flourmill Studios is a commercial development of 47 strata studios, with shared spaces and a
cafe, housed in the nineteenth-century Crago Flour Mill in Newtown, Sydney.

The flour mill is adjacent to the railway line and close to the station in an area with a
substantial industrial history. The development provides affordable studio spaces for small
creative businesses.

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The adaptive reuse seeks to amplify the building’s industrial qualities, using the flour mill’s
structure, fabric and remnant industrial artefacts to give the project a specific character, while
maintaining the existing overall plan structure and volumes.

The industrial aesthetic also informs the new architectural, landscape and graphic work,
which is designed to read as a new layer in the life of the building.

Figure 4 Flourmill studio, sydney

SITE HISTORY AND HERITAGE

Crago Flour Mill operated from 1897 until 1984 and was added to and altered as milling
technologies changed. When the mill closed much of the machinery was removed, but the
main pulley shaft, some hoppers and wheel drives and a goods lift remained. From 1984 the
building was used for storage, a dance school and studios for artists and craftspeople. When
the developer purchased the mill, it was a run-down warren of spaces over four buildings,
with little access from one part to another, and no clear entrance. It did not comply with the
Building Code of Australia in many areas, particularly in terms of fire and safety. Crago Flour
Mill is listed on the local heritage inventory by Marrickville Council.

OPPORTUNITIES

The flour mill – with its structure of thick timber columns and beams, steel trusses and
remnant machinery – had the potential to become an engaging workplace attractive to the
target market – small creative businesses, who responded to the raw industrial aesthetic and
inner urban location.

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CHALLENGES

The principal challenge was to make the four buildings – with different structures, floor levels
and circulation – work as a coherent complex with appropriate access and fire egress. Care
was also needed to ensure that the addition of the lift tower did not adversely affect the
roofscape. There were public concerns about the changes of use and the potential loss a
creative facility. This was ameliorated in part through the new use also providing upgraded
small-scale facilities for creative industries.

APPROACH AND OUTCOME

The project sought to retain as much heritage fabric as possible, including substantial scars
that evoked previous alterations. The planning aimed to keep the mill plan legible within the
reuse, while rationalising circulation. The large, new entry courtyard, and street-level cafe
contribute to the streetscape and urban environment. The new circulation route starts with a
street-front entry leading to a central core containing lift, stair and amenities and the east-west
circulation spine, which connects the various parts and levels. This rationalised system
involved making openings at each level and creating internal hallways.

Flourmill studios is approached from via a paved landscaped courtyard .topped by a

framework of original steel columns and beams, the courtyard is overlooked by balconies
adapted from ills early loading bays. To one side of entrance, a café provides a vibrant meeting
place with seating extending into courtyard and towards the street.

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Drawings of project.

Figure 5 section 1

Figure 6 section 2

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Figure 7 plan ground floor

The adaptive reuse :

 Retained the hardwood, concrete and steel structure;

 the timber loading-bay;and metal-clad fire doors (now painted bright red).
 Remnant machinery, including large hoppers, drive shafts, wheels and belts remain
within studio spaces and the three-storey pulley shaft, located in the main circulation
spine, is enclosed with fixed fire-rated glass panels.
 Non-significant accretions were removed.
 This exposed the original form of the building, created views in and out, and increased
natural light levels inside.
 Internal partitions were removed, returning spaces to original volumes.

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Figure 8 interior of studio: old meets new

ENVIRONMENTAL INITIATIVES

 Cyclists room
 4 self contained bathrooms
 Carpets manufactured from recycled pet bottles
 Thermally insulated roof
 Openable windows for fresh air
 Operable skylights and roof windows to increase natural entilation
 Independent split system air conditioner
 Solar panels on roof
 Rainwater collected from roof to maintain landscape
 Reuse of existing building materials and structures

DESIGN FEATURES

exteriors

 New steel framed balconies to south and west facades

 Restored timber windows and loading bay doors
 Heritage brickwork with blocked widows to be reopened
 New landscaped entry courtyard featuring original steel structure and loading bay

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In common area

 Exposed timber or steel beams and columns

 A mix of original timber flooring and polished concrete
 Kitchenettes on each level , shared common balconies
 Restored machinery , sliding fire doors
 Interpretation sign boards

In studio

 Painted solid entrance doors with glazed aluminium side panel

 Studios have recycled bottle carpet flooring as well as concrete finish
 Suspended fluorescent lighting
 Exposed cable system
 Original masonry walls and new painted plaster boards mix of timber steel columns and
corrugate steel concrete columns
 Steel mezzanine platform and balconies adapted from loading bay

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3.2.2 Sharjah art foundation spaces

INTRODUCTION

Sharjah Art Foundation’s new spaces are located in the Heart of Sharjah, a central area that
is regarded as a distinct urban representation of Sharjah’s built environment cultural identity.

SAF Art Spaces is an urban development project with an adaptive re-use approach. The
buildings dialogue with both the existing physicality of the urban fragment as well as its
history and past use in order to reactivate the area and invigorate the reception of
contemporary art, which is befitting within the culturally rich, multi-layered urban context.

Figure 9 sharjah art foundation : installation

PRESENT USE

The project offers five exhibition buildings, which provide a range of interiors to experience
art along with a variety of exterior spaces including courtyards, alleyways, open squares and
an inter-connected roofscape.

APPROACH

Without being spatially nor programmatically overly determined, each exhibition building
has a pronounced spatial quality, scale, and lighting characteristic, producing a spectrum of
more contextualised or more abstracted frameworks for exhibiting and perceiving art.

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In response to the urban context and courtyard typology, the design subtly transforms
introverted spaces that in the past supported private residential life around the courtyard into
more fluid spaces that make provision for a communal social and spatial experience around
contemporary art.

CONCEPT AND OUTCOME

On a conceptual level and in an attempt to retain the place’s historic footprint, the project
reinterprets pre-existing or documented architectural traces within the plot and readapts
historic architectural elements and materiality to new uses and conditions.

The intention is to balance the creation of open, and fluid contemporary spaces with a
celebration of unique traditional urban characteristics.

The revived traditional aspects of the architecture include thick peripheral walls, meandering
alleys and reintegrated rooftops, which were once inhabited outdoor residential spaces. The
roof becomes an extension of the urban space providing not only plunging views into alleys,
courtyards, and exhibition spaces to intensify the perception of artwork but also provides
views across urban layers, with limited vistas of the Creek and Gulf beyond.

Artwork is to be encountered in exterior spaces against a reading of the immediate site, the
surrounding landmarks and furthermore the extended site with its historical layers. The result
is an integrated experience that transforms and contextualises readings of both artwork and
site.

DESIGN

Serving communities across the emirate, Sharjah Art Foundation’s principle venues are
located in the historical area of the city of Sharjah bordering its active creek and shipping
port. These venues are centred around three public squares:

Al Mureijah Square, Calligraphy Square and Arts Square. Additional offsite venues and
centres are situated in other neighbourhoods of the city and in more than six urban areas and
communities throughout the emirate.

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1 Al Mureijah Square

Sharjah Art Foundations’ contemporary

galleries are located in this square
alongside a series of restored courtyard
houses and coral stone enclosures.
Inaugurated with Sharjah Biennial 11
(2013), the new buildings provide
flexible, climate-controlled space for the
presentation of works in various media,
as well as those of large-scale and Figure 10 Al Mureijah square
technical ambition.

Adaptive reuse approach

Complimenting these new spaces

are a number of restored
traditional houses, coral stone
enclosures and courtyards used
for exhibitions and public
programmes, including the SAF
Urban Garden and the Mirage
City Cinema.

Figure 11 courtyard : Saf gardens

2 Calligraphy Square
The heritage buildings of
Calligraphy Square serve as
temporary exhibition space for the
Sharjah Biennial and other SAF
projects. This area is home to a
number of Sharjah’s art and
cultural institutions and initiatives
including the Calligraphy Museum,
the Calligraphy Biennial, Figure 12 Calligraphy square
Calligraphy Studios and the Sharjah
Heritage Museum.

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Adaptive reuse approach

Calligraphy Square bridges the

space between Arts Square and
Al Mureijah Square. The large
courtyard for which the area is
named is often used as a site for
Sharjah Biennial projects.

Figure 13site for biennial projects at saf square

3 Art Square

Central to Sharjah Art Foundation (SAF)

programming, Arts Square is
demarcated by

Souq Saqr that runs parallel to Sharjah

Creek, the Sharjah Art Museum and the
restored courtyard houses of Bait Obaid
Al Shamsi and Bait Al Serkal. Figure 14 souq saqr

The two houses, which once

belonged to the prominent
families for which they are
named, provide dedicated space
for SAF programming. The
museum, programmed by the
Sharjah Museum’s Department,
is also used for the Sharjah
Biennial. The three buildings
offer a mixture of modestly
scaled gallery spaces, restored Figure 15 gallery space of SAF
plaster and chandal wood beam
rooms, various size courtyards
and roof terraces overlooking
Sharjah Creek.

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3.2.3 The Highline Newyork

INTRODUCTION

The highline also known as the highline park is a 1.45 mile long linear park built in Manhattan
on an elevated section of a disused new York central railroad spur called the west side line .
The high line has been redesigned and planted as an aerial greenway and rails to trail park ,
inspired by the promenade plantee Paris. The 13mile long project eliminates 105 street level
railroad crossings and added 32 acres to Riverside Park. Besides becoming a green corridor
in a bustling city, it has become a source of tourist revenue and has helped better the
surrounding neighbourhoods . The highline proves that a site specific adaptive reuse approach
is a viable holistic approach that embraces both change and continuity .

Figure 16 highline past and present

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(Source: highlinenewyork.com)

Time line and history

1847

In 1847, the city of new York authorized street level railroad tracks down manhattans
west side to ship freight . For safety the railroad hired men to ride horses and wave flags in
front of trains . however after so many accidents occurred that tenth avenue became known
as the death avenue

1934

as part of west side improvement project the highline opens to trains . it is designed to go
through the centre of blocks , rather than on the avenue , carrying goods to and from
manhattans largest industrial district

Figure 17 old railway tracks

1999

Friends of the highline is founded by Joshua David and Robert Hammond , residents of
highline neighbourhood , to advocate for the highline preservation and reuse as public open
spaces and elevated greenway

2002 -2003

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The planning frameworks for highline preservation and reuse begins . a study suggested that
the project is economically rational and leads to an open ideas competition

March September 2004

City of new York and friends of highline select a design team – James corner field operations
a landscape architecture firm Diller scofidio + renfro and piet oudolf , plantig designer

2005- 2006

The city accepts ownership of the highline which is donated by csx transportation , in
November 2005

June 9, 2009 –section 1 opens to public.

REASONS OF ABANDONMENT

The railways were built in 30’s and they were being used until the 80’s. It was abandoned for
almost 25 years until the re-treatment project began, during this period time one part of the
tracks were cut away.

The Highline project is designed by the architecture firm Diller Scofidio + Renfro which is
an inter-disciplinary design office and we can see the effects of the uniting approach for the
landscape, functions and building materials in this project.

APPROACH

The aim of the project was reclaiming the abandoned railway structure in an attempt to
revitalize the neighborhood and create a public park.

The project was completed in 3 sections between the years 2009 and 2015. The final part of
the promenade is finished last year.

OBJECTIVE

They have produced the solutions through 3 topics.:

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By the intervention of a new paving system they became able to merge the landscape with the
building materials and greenery became a substantial part of the experience.

They promoted the sense of duration by designing the experiences with various lengths of
times in the promenade.

They had a careful sense of dimension and scale while designing the physical environment.

By peeling up the pavement units, several functions were introduced for the users such as
benches, planters, work-spaces. By the use of 201 plant species the organic plants were
combined by the building materials in order to have a somehow wild, cultivated, intimate and
social spaces.

DESIGN

The winning proposal by James Corner Field Operations with Diller Scofidio + Renfro
includes over a dozen access points to the elevated park. Whichever entrance is activated, a
key component will attract users to spend time and explore the complete park. For instance,
enter a little past 14th St. and enjoy the sundeck and water feature; enter close to 23rd St. to
lounge on the open lawn and seating steps; or enter past 26th St. to enjoy the viewing area.

FEATURES

PAVEMENT

Inspired by the wild seeded landscape left after the line had been abandoned, the team created
a paving system that encourages natural growth which creates a ‘pathless’ landscape.
”Through a strategy of agri-tecture - part agriculture, part architecture –

the High Line surface is digitized into discrete units of paving and planting which are
assembled along the 1.5 miles into a variety of gradients from 100% paving to 100% soft,
richly vegetated biotopes,” (DS + Renfro.)

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This undefined and unobtrusive environment allows the public to meander and experience the
park as they wish.

SEATING

Peel up technology is used tobring about

seating arrangement

Figure 18 highline park

RAILWAY TRACKS

Before the new landscape could take form atop the High Line, every component of the
structure was tested and treated to ensure its structural strength. As each piece of rail was
removed, it was marked and mapped so that later, it could be returned to its original location
as an integrated planting piece.

LIGHTING

Energy-efficient LED lights gently illuminate the park’s pathways and allow the eyes to adjust
to the ambient light of the surrounding city sky.

Lights installed on the underside of the High Line illuminate the sidewalk below.

Figure 19 lighting

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LANDSCAPE

For the vast garden, soil was delivered and distributed to specific areas and more than one
hundred different species of plants, selected from nurseries along the East Coast, were planted
by a team of horticulturists to match the plans created by landscape architects

Figure 20 plantscaping

AFTERMATH

The promenade has initiated more than 30 new projects in the nearby neighbourhood,
including Renzo Piano’s new satellite for the Whitney Museum of American Art. The new
space will offer greening opportunities, alternative transportation options, and social benefits
to meet changing needs in urban environments. It is expected that the radical infrastructure
conversion will attract thousands from around the world in its opening season.

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Figure 21 musuem by Renzo Piano

Figure 22 construction phase

Figure 23 highline in a nutshell

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3.3. Live case study

Majority of warehouses in Kochi have been dysfunctional and only 3 warehouses have
been reused , these are the ones built during the British and Dutch period as biennale venues.
Pepper house , map project space ,aspinwall

a. Pepperhouse

3.3.1. Pepper house

Figure 24 pepperhouse sketch

INTRODUCTION

Pepper House is a waterfront heritage property located on the Kalvathi Road in between Fort
Kochi and Bazar Road.

The building consists of two historic ‘godowns’ (an Indian word for a dockside warehouse), one
facing the street and one overlooking the waterfront.

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These large, two-story buildings with Dutch style clay roofs are separated by a large courtyard
which would have once been used for storing goods waiting to be loaded onto ships in the harbour.

The sixteen thousand square feet Pepper House complex is currently undergoing renovations and
will eventually house a courtyard cafe, gallery, studios for artist residencies and event spaces.
In the long-term Pepper House is intended as an evolving project to create a multi-purpose space
that will host and promote visual arts year round in Kochi.

Figure 25then and now: pepperhouse

Ground floor

1 Visual arts library(1000 x 790)

2 Design shop(1000 x 790)
3 Wooden stairs
4 Exhibition room 1(1400 x 440)

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5 Exhibition room 2(1400 x 440)

6 Exhibition room 3(650 x 670)
7 wooden stairs
8 Cafe(1400 x 240)
9 Courtyard
10 Cafe seatings(1100 x 790)

Figure 26 cafeteria sketch

Building before adaptive reuse

The structure consists of a central courtyard with storage spaces on all sides .the central
courtyard was used for the loading, unloading ,drying of pepper.it is a two floored structured
on three sides and a single floored on the third side. Laterite, wood, stone, glass etc. are used

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in the building. It has the traditional sloping roof with wooden rafters and Mangalore tiles .the
structure is supported with wooden and laterite columns.

The structure has two staircases one at the front wing and the other at the rear wing, it also
has a veranda on three sides and balcony on two sides. Features of the building include
wooden, semi-circular arches, wooden doors, white red combinations, roof tiles, wooden
columns, clearstory windows, wooden staircase.

Building after adaptive reuse

Presently it has a mixed use ( library, design shop, café, biennale venue)and is under private
ownership. The structure has good structural stability and has only a few minor defects like
wooden flooring deterioration. Additional alterations include renovated roof, change of
flooring material, painted, added steel beams for extra stability.

Ground Floor

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Analysis

The entry from the street starts with a ramp rather than step which provides easy access for
wheelchair into the building The positioning of library and cafe helps people in spending
more time inside the building.

Pepper house used one of its godown as a design workshops were artist from all over the
world can come and conduct their work shops.

Planning around the courtyard gives cross ventilation and lighting to all exhibition halls.
The two stair ways brings ease in vertical circulation into the exhibition halls in two wings on
north and east

Figure 27 exploded view of ground floor

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First floor
analysis
Exhibition room in first floor is
used by residential artist for thier
artworks .
Exhibition halls one and two are
renovated recently by plastering
laterite wall with cement mixture.
Three and four are small halls
also used for workshops.
The wooden flooring and wooden
beams are partialy damaged due
to humid climate in monsoon.
Figure 29 first floor

Figure 28 exploded view of first floor

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The old rustic look of the building is made by conscious plantscaping with climbers that
spread on the wall .

Photographs of the building

Figure 30 conscious spread of climbers

Figure 31old windows are replaced

Figure 32 roof and rafters are kept intact

Figure 33 boards are used to hold the
painting

Figure 34 old wall texture and door Figure 35 new ramp and wide arched gateway
retained

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Figure 37 floor is redone Figure 36new railings added

4. Analysis
Finding the common thread

The case studies were chosen on the basis that they were all linked to the industrial age and
were located in cities of crucial importance to development and trade. They are situated in
locations that a\were central to industrialisation but lost importance as technology advanced .
the three structures went through stages of abandonment where some informal efforts of
revival kept them occupied for a brief period of time , this seen in each case study as some
manifestation structural alterations or scars of renovation

Thus it can be concluded that people can relate much better with buildings that are well woven
with uran fabric rather than buildings that stickout as a sore thumb. Which is the case of most
modern buildings these days.

Observation

Final analysis can be done in 3 major heads

- sociocultural
- economic
- physical /infrastructural

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Table 2

Case study Sociocultural Economic infrastructual

Flourmill studio -New jobs for artists Value of land -Addition of
sydney and performers increased structural elements
-People began to make the building
viewing art as a real stronger
time job -Introduction of new
character
Sharjah art -People began -Tourism prospered -Traditional
foundation relating to the -Artists icome buildings were
surrounding in a increased incorporated into
better way -Land value modern context and -
-Lots of sub increased mild changes was
businesses started brought about to
profiting original architecture
Highline park Community spaces -Small businesses Old rail tracks were
newyork were increased and increased removed and
in effect quality of -Land value contextually suitable
life improved increased park was brought
exponentially about
Kochi Biennale -Community space -Small vendors were -Old buildings were
increased benefitted retrofitted mildly
-A sence of third -Home stays were and structural
place instilled benefitted members were
-No elite were -Restaurants made provided wherever
participatory income necessary
-A cleaner city -Transportation was -Weeds and other
Less public menace modified for better menaces were
like drugs etc effectively removed

From the analysis of case studies a sample building is selected from a similar area and
attempts are made to propose guidelines for retrofitting the building.

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Live case study on sample building

ERNAKULAM TERMINUS RAILWAY STATION.

The railway station is 110 years old and is located near the high court in ernakulam.it has
been in the dilapidated state since almost 6 decades. The following study is to provide a basis
for conversion of this ruin into an art and heritage interpretation centre .

Building selection criteria:

 Built during British era.

 Has rich cultural significance and historic evidences linked to the building which
makes it a potential property for conservation and reuse.
 Building is not intact and further damage can be prevented if taken care of properly
 Continuous maintenance necessary hence it should be converted into something which
has regular activity taking place in it.

History

History says that Rama Varma, the then Maharaja of Kochi (1895-1914), took the initiative
in establishing the rail line. He took up the matter with the British, who ultimately asked the
State to bear the expense of laying the rail lines.

In July 16, 1902, the first passenger train chugged its way to this station. The steam engine
with six bogies arrived from Shornur, through a metre-gauge track. The 62-mile track was
converted into broad gauge in 1935.

Financial constraints came in the way of the project and the king sold elephant accoutrements,
mainly caparisons which belonged to the Poornathrayeesa Temple, to fund the project.

Construction work by the Madras Railway authorities took place in 1899. Thus, it took half a
century for the first train to come to Kochi after the first train in India ran from Mumbai to
Thane in 1853. The rail link to Kochi played a vital role in its development as the business
hub of Kerala

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Figure 38 backside of station where tracks are dumped

backside of station were railway tracks are dumped

Location

Its is located in Ernakulum near the high court junction.

The area near the Ram Mohan Palace was chosen because of its proximity to the Ernakulum
market. The nearby boat jetty made it convenient for people to travel to West Kochi and
Vypeen.

Significance of structure

Among those who arrived at the station were Mahatma Gandhi, Lal Bahadur Sastri, Lord
Irwin and the Archbishop Joseph Attipetty.

The development of Kochi port threw up the need to extend the rail line up to Willingdon
Island for transporting bulk goods.

It was built in bricks and since there was no electricity then, the platform was lit using
`petromax' lamps.

Decline of railway

The Ernakulam South station was set up in 1929 and the Harbour Terminus in 1943. Thus,
the Ernakulam Terminus station began to lose its prominence. It catered to passenger traffic
till the early sixties, when it became the Ernakulam Railway Goods station.

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Current state

The present state of the railway station is very much in ruins and seeks immediate action to
prevent it from further damage.

21 families have illegally encroached the railway property .

Figure 39 encroached area

There was a proposal to convert the station into a hub for the suburban rail project, which did
not take off. Problems related to land acquisition have hampered the proposal to route the
goods-train traffic from Vallarpadam to Ernakulam through the station.

The proposal to convert the land into a parking area for cars coming to the High Court has
been hanging fire because of the fear that it will affect migratory birds which throng
Mangalavanam.

The railway station is in a state of ruin, and the rails are covered with weeds. A coat of paint
has long evaded the corrugated grills and the mud bricks.

The building itself was witness to the visits of many historic personalities.

Limitation

 Financial constrains
 Legal and technical difficulties
 Rehabilitation of 21 families is the major challenge posed while rebuilding the old
railway station

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Photographs of the building

Figure 40 main entrance

Figure 41 The heavily weeded and richly

vegetated area

Figure 42 laterite facade depicting the

British era.

Figure 43 dilapidated state of the building

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Feasibility of the intervention

In Ernakulum terminus railway station the retrofitting of building with art driven adaptive
reuse is the best possible option considering the fact that:

 Turning it into a busy railway hub might intervene with the integrity of mangalavanam
bird sanctuary nearby.
 Tampering with existing structure would destroy the historic characteristics and
evidences of past .
 Art driven adaptive reuse eliminates these factors and smartly retrofit the building for
the future use which benefit maximum variety of user groups.
 Flourishment in tourism is another factor which generates income for maintenance .
 Nearby markets and small scale vendors are benefitted from this.

Application of retrofitting technique :

The following are the possible interventions that can be done to achieve this :

Tracks

 The tracks are to be integrated with planks as in the case of highline park to make it a
path for evening walk etc
 Old rusted trackes should be removed and soft plantscaping can be done without
disturbing the existing plants

Structure

 Any structures with significant damage can be

reconstructed with the same material used in the past
 Exposed timber or steel beams and columns can be
used for this
 Reuse of existing building materials and structures

Figure 44 old laterite facade

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Seating

Peel up technology .

Introduction of agritecture : it combines organic and building materials to wild ,cultivated ,

intimate and social

Figure 45 peel up syle :types

Interiors

Can be converted as art spaces and art cafes , here

various historic knowledge and art works of artists
can be depicted to represent the cultural
importanceof the uilding and its precinct.

Painting lighter colors on the interiors to brighten Figure 46 interiors: suitablefor large gallery space
up the spaces and focus more on the art works and
installations.
Removing weeds , termites etc to avoid structural
damage
Using terracotta flooring for a natural and rustic
look . it can be accompanied by mild acid washes
if salt rises and forms a dusty layer .

Figure 47 sketch of modified interior:

Terracotta flooring, interior painted white and boards installed

for hanging art works. Sufficient lighting etc.

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Exterior

 Putting up installations depicting the cultural significance

 Benches using peel up technology
 Shaded spaces
 Provision of library and art café
 Building itself turns into a masterpiece and historic artefact,\.

Figure 49 sketch of an installation

Figure 48 old engine parts

Old engine parts found on the site which can be effectively converted into installations for
attracting people into the building.
4.2 Guidelines

 Only minimal changes be done in order to maintain historic character

 Regular maintenance be done to ensure the safety of visitors .
 Adaptive reuse should not cause alterations to streetscape, as streetscape play vital
role in heritage of the area
 Construction of permanent structures within compound should not be allowed
 Any construction done should be reversible.
 Façade should not change and colour must be maintained as such in the old structure
 Only structural changes done should be in the case of structural damage in order to
protect it from further deterioration
 Architectural features finishes materials and construction techniques should be
preserved .
 Addition of interior walls should not have structural changes that is significant enough
to alter the buildings identity
 Damaged or deteriorated parts maybe replaced or even reconstructed if repairing is
not possible
 Landscaping must complement the surrounding and natural landscape must be
allowed to flourish in a controlled manner
 Ambience must be maintained from outside as well as inside.

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CHAPTER 4 INFERENCE AND CONCLUSION

4.1 Inference

 Anything in the designer’s power to prolong a buildings lifespan must be carried out.

 The buildings that contain a sturdy and sound foundation and structural system are the
best suited ones for process of adaptive reuse .

 A culturally significant building have been in their location for long time period and
thus have layers of local context and history added to them . They are centrally located
, have a sense of community , contain necessary services and are already constructed
.

 These buildings need not be purely functional and can also have aesthetics in mind
 A best suited trend in the growing retrofitting needs is the art driven adaptive reuse.

 Through this dissertation the importance and scope of art driven adaptive reuse has
been tried to be understood .
 The various sectors of society that have benefitted from this were identified.
 Various international as well as Indian context has been studied which comes in this
respect.
 And contributions from these case studies have been adopted to retrofit an abandoned
building identified under these parameters.
 Avoid patterned floor or carpets in low lit areas
 Sufficient lighting on the interior spaces to make it visible to all visitors
 Light and colour must combined to produce a clearly delineated circulation route into
, through and out of every exhibition space.

4.2 Conclusion

The conclusions that are drawn from this study is that adaptive reuse is one of the best
techniques to retrofit a building without losing its integrity .
Several case studies done on this topic emphasise the need of art driven advancements in
creating community spaces , and the importance of it in shaping a creative city.
The various techniques used were finally adopted on a sample building which satisfies these
criteria to maximum extend .
And some guidelines were also formulated to carry this out in a meticulous manner .

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REFERENCE

1. FOURNIER, D. AND K. ZIMNICKI. Integrating Sustainable Design Principles into

the Adaptive Reuse of Historical Properties. Washington DC: U.S.A.C.O.
ENGINEERS, 2004.

2. https://post.at.moma.org/content_items/815-art-driven-adaptive-reuse-in-several-
indian-cities

3. .S. Anandan, "Biennale turns Aspinwall House into a mammoth canvas,”

4. Kochi-Muziris Biennale website“Biennale Venues,” Kochi-Muziris Biennale online,

5. www.nps.gov/tps/stadards/rehabilitatio/rehab/stad.htm

6. http://sharjahart.org/sharjah-art-foundation/about/sharjah-art-foundation-venues

7. https://www.firstpost.com/india/around-fort-kochi-and-mattanchery-part-1-century-
old-settlements-fight-to-retain-historical-legacy-3448748.html

8. http://kochimuzirisbiennale.org/pepper-house/

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