ARCHITECTURE IN EXISTING FABRIC

Planning Design Building

Johannes Cramer
Stefan Breitling

ARCHITECTURE IN EXISTING FABRIC

Planning Design Building

Birkhäuser
Basel • Boston • Berlin
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 CONTENTS

9 Architecture and the existing fabric

15 Architecture and time

18 The built environment and identity
20 Old and new
24 The value of the built environment

29 The planning process

29 Special features of the planning process
29 Protective measures and essential repairs
31 Preparatory investigations
31 The level of planning detail
33 Casa de las Conchas, Salamanca, Spain
34 The participants
34 The client
35 The architect
35 The planning authorities
37 Overview: Planning permission procedure
41 Naumburg City Museum, Germany
42 The contractors
42 Decision-making and communication

45 Preparatory investigations
47 Recording historic buildings
47 Property and geographic details
48 Documentary evidence and archives
50 Recording the building as found
54 Metric building survey
59 Overview: Precision levels in measured surveys
66 Building survey
67 Houses on the Mühlenstrasse, Havelberg, Germany
68 Building archaeology
71 Nidaros Cathedral, Trondheim, Norway
74 Heubach Castle, Germany
75 Balbarini townhouse, Pisa, Italy
78 Bernhard chapel, Owen, Germany
79 Schminke house, Löbau, Germany
 83 Structural survey
86 Technical and material investigations
89 Evaluation and interpretation – strengths and weaknesses

95 Design strategies
97 Designing with history
101 Disposition
102 Definition of appropriate function
103 Municipal archives in the Church of San Agostin, Valladolid, Spain
104 Sensitive interventions
105 Tabourettli Theatre in the old Spalenhof, Basel, Switzerland
107 Auxiliary constructions
109 Bank in a 19th century building, Budapest, Hungary
111 Design strategies
111 Corrective maintenance
112 Private residence, Venice, Italy
113 Medieval house, Bamberg, Germany
115 Modernisation
116 Palazzo as museum, Venice, Italy
119 Adaptation
121 Loft in an industrial building, Madrid, Spain
122 Conversion and extension of an industrial building, Göttelborn, Germany
125 Hotel in a monastery church, Maastricht, Netherlands
128 Tyrolean Museum of History, Tyrol Castle, Italy
130 Single family houses, Utrecht, Netherlands
131 Historic office building, Zurich, Switzerland
134 Replacement
137 Architectonic expression
137 Correspondence
139 Swimming pool, Spexhall Manor, Great Britain
140 German Federal Foreign Office, Berlin, Germany
141 Unification
143 Fragmentation
149 Town hall conversion and extension, Utrecht, Netherlands
150 Nuevos Ministerios, Madrid, Spain
151 Junction and delineation
154 British Museum, Queen Elizabeth II Great Court, London, Great Britain
156 Documentation centre of the former Nazi party rally ground, Germany
159 Detail planning
159 Prerequisites
159 Development not demolition
160 An element-for-element approach
162 Library, Eichstätt, Germany
163 Planning on the basis of an accurate measured survey
165 Principles
165 Repair not renew
167 A cumulative process
169 Naumburg City Museum, Germany
171 Reclaimed materials
175 Solutions: two examples
175 Upgrading the thermal performance of windows
176 Villa, Buchschlag, Germany
178 Repairing timber roof structures

183 Building works

183 Site facilities
185 The workshop principle
185 Protective measures for building elements on site
187 Heubach Castle, library and museum, Heubach, Germany
189 Supervising building works
191 Samples, tests and mock-ups
192 Specifications and quantities
194 Construction time and Costing
196 Scheduling works
196 Architect's fees

199 Sustainability
200 Facility Management
202 Monitoring and maintenance
203 Preserving property value

205 Appendix
207 Bibliography
213 Index of architects
215 Subject index
219 Illustration credits
221 On the authors
ARCHITECTURE AND THE EXISTING FABRIC

It is a rare occurrence for a great building to be completed by the same person who began it.*
Leon Battista Alberti

The shrinking of many European cities at the end of the second millenni-
um is a clear sign that the design and construction of new buildings is in
steady decline. At the same time the alteration of existing built structures is
becoming increasingly important. Society is growing more aware of ecolog-
ical issues and the thoughtless demolition of old buildings is now perceived
not only as an ecological waste but also as the eradication of local identity,
of cultural heritage and of socio-economic values. 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 existing
buildings. Yet, many architects are not adequately prepared for this shift in
the focus of architectural work.
Up until well into the 20th century, architects have enjoyed a balance
between the design of new buildings and designs for existing built struc-
tures, both tasks being regarded as of equal status. Michelangelo
Buonarroti’s brilliant plans for St. Peter’s in Rome were informed by a
number of constraints from the existing site as well as by the surrounding
structures built by his predecessors. Almost all great architects up to the
time of Karl Friedrich Schinkel have split their attention between new con-
structions and a commitment to architecture within existing built contexts.
Only from the 1920s onwards conversion or modernisation work was dis-
credited with terms like “conversion architect” or “building in existing fab-
ric”. Today, many architects find even the very suggestion that their design
should be informed by what already exists so restrictive that they feel impos-
sibly constrained in their creative liberty. This irrational fear is reinforced
when the structure in question is a listed building. Listed buildings consti-
tute perhaps 3% of the existing building stock, but the methods developed
for their conservation and restoration have also proven applicable to more
everyday existing buildings. Just as irrational is the belief that conservation-
ists wish to hinder good modern architecture. There is no good reason for
any of these reservations.
The suggestion that designs for existing built structures allow no room for
creativity is also unfounded. A handful of famous architects from the 1960s
*Maxima quaeque aedificatio vix nunquam dabitur per eundem absolvi possit, qui posuerit.

The beginnings of consistent architectural design in existing building fabric: the conversion of
the Castelvecchio in Verona, Italy, to a museum by Carlo Scarpa (1964). 9
 have ably demonstrated the opposite, among them Carlo Scarpa, Karljosef
Schattner, Aurelio Galfetti or Massimo Carmassi. Their projects clearly
show exactly how exciting a task the qualitative development of existing
buildings can be in the hands of an ambitious designer. For example, in the
monograph of Herzog & de Meuron’s work, more than a third are conver-
sion projects for existing buildings.
The pioneers of the 1960s, embracing the innovative credo of the times,
gave little consideration to the conservation of existing building fabric and
resources. Today more attention is paid to these aspects. Many projects by
prominent architects have proven that it is possible to unite diverse consid-
erations in a qualitative design. The plans by David Chipperfield and Julian
Harrap for the Neues Museum in Berlin are just one such example. Without
compromising their design or aesthetic aspirations, they have been able to
combine the existing building fabric, methodically recorded and analysed,
with a modern concept to create a stimulating and yet restrained project.
Such designs, founded both on methodical analysis and creativity, demon-
strate the validity of this approach and should serve as examples for other
architects.
All the above designers were, and are, aware that the design approach for
new buildings is not always appropriate when developing designs for exist-
ing built structures. In addition to adhering to general building and plan-
ning regulations and fulfilling technical requirements, it is also necessary
to consider the given condition and configuration of an existing building, as
passed on to us by our predecessors, and the need and wish to integrate this
into a future design. In order to achieve this, it is vital to obtain a clear pic-
ture of the initial condition. Accordingly, the methodical recording and sur-
veying of the existing building is the first step in the planning process.
Although often complex and laborious, these steps prove their worth fur-
ther down the line. Without an understanding of the structural system, one
cannot consider its characteristics; without knowledge of the historic value
of the building, one risks damaging or destroying it in the design. A good
understanding of the existing building allows one to intelligently take into
account distortions and to bring out the qualities of the building materials
as well as the building’s artistic and historic value. It is therefore inevitable
that designs for existing buildings will have to react to more complex
parameters than a design for a new building. Consequently, the coordina-
tion requirements and negotiations are more complex. At times this may

10
 The deliberately modern insertions to a restaurant in Hamburg, Germany, give the room
an entirely new character ( Jordan Mozer, 2005).

appear excessive and the architect may wish to discharge himself of this
task. The architect is, however, better advised to grasp this as a challenge
and to use it as a productive instrument for the design process.
Unfortunately, all too many building sites testify to the designer’s unwilling-
ness to engage with the existing situation: the building is reduced to its shell
or outside walls and what results is then invariably more visual effect than a
well-designed and constructive solution. In some cases, designers become
overly enamoured with a fragment at the cost of the overall concept. Even the
terminology employed is unclear: care, maintenance, renovation, refurbish-
ment, conservation, restoration, repair, renewal, modernisation, replace-
ment, reconstruction; the list goes on. Ill-defined terminology compounds
the problem and it is no surprise that it leads to Babylonian confusion.
Against this background, this book aims to achieve three things: for those
for whom this is their first foray into this field, the book clarifies the differ-
ences between planning new buildings and developing designs for existing
built structures. This includes not only the greater degree of initial investi-

11
 gation necessary but also a shift in approach to design and planning.
Secondly, for those who are primarily interested in design, the book
describes and analyses different design approaches for relating new archi-
tecture to the existing built fabric, as they have become evident in the past.
It should be clear that the discursive approach of the book does not intend
to provide step-by-step instructions. And thirdly, the book details the partic-
ularities of construction sites in and around existing buildings.
Our main aim is to provide orientation, make connections and explain
approaches. Although we have attempted to describe the wide range and
variety of aspects as fully as possible, we cannot provide a conclusive
overview. For this and other reasons, this book cannot serve as a manual for
construction practice or as a handbook for solving practical design prob-
lems. Likewise, although we are much indebted to the topic and the many
parallels it has to offer, this book is not a guideline for conservation practice.
Others before us have provided instructive literature on this and we gladly
refer to their work in each chapter.
There are important reasons for the architect and designer to examine and
consider not only existing buildings in detail but also their own relationship
to the values, qualities and constraints the buildings hold within them. The
architect has to deal with complex interrelationships and juggle a variety of
design parameters. There are at times many opportunities for things to go
wrong, and a good result is therefore all the more satisfying. All those who
embark with commitment on a design project for an existing building will
discover a many-faceted and fascinating field of activity, one that is no less
interesting than designing new buildings and one whose particular com-
plexities present further interesting challenges. The historic building fabric
contains not only a wealth of resources and undiscovered qualities but also
no shortage of problems and defects which the architect will have to consid-
er and work with. Respect and creativity, the ability to work in a team, to
understand and coordinate very different kinds of information and not least
personal expression will be needed. And when all is complete, the result
will hopefully exhibit clarity and consistency and at the same time resist
being one-dimensional. That is what makes good architecture. 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.

12
We would like to thank numerous owners and photographers for their help
in providing us with extensive image material. Stimulating discussions with
friends and colleagues have helped us clarify many aspects. Wolfgang
Wolters aided us with advice and criticism. Thomas Eißing, Andreas
Potthoff, Jens Birnbaum, Arne Semmler and Friedrich Schmidt produced
illustrations for the book.
The complex and time-consuming picture editing would not have been pos-
sible without Anke Blümel’s knowledgeable and committed input. Bernd
Fischer’s care and attention at both macro and micro level has given the
book its beautiful form. We would finally like to thank both our publisher
Birkhäuser and the editor Andreas Müller for their initiative and construc-
tive assistance, without which the book would not have come to pass.

Johannes Cramer Stefan Breitling

13
ARCHITECTURE AND TIME

The faster the future becomes the new, the unknown, the more continuity and past we must
take with us into the future.* Odo Marquard

Architecture is always connected with time. Buildings are created out of

specific circumstances, they are designed to fulfil a particular purpose, and
their material and form are determined by the available means, techniques
and traditions. Once completed, they are invariably subject to a variety of
later transformations. A proverb reminds us that “the moment the last
craftsman has left a house is the moment decay begins”. The process of
aging leaves traces. Surfaces acquire a patina which, depending on the
aging properties of the material, can be protective, destructive as well as
awe-inspiring. Constructions and joints loosen as part of the natural aging
process, or are affected by outside influences such as fire or alterations. But
more often, it is functional requirements and the needs and wishes of the
owner and user that result in changes being made to existing buildings.
Building constructions are not made to last forever.
In an analogy with human existence, the built environment demonstrates
the delicate coexistence of longevity, gradual aging and sudden destruction.
That these changes can occur in a time span of only a few years or after sev-
eral hundred years is what makes architecture so fascinating. The traces
and scars of history leave their mark on the building fabric in successive lay-
ers, becoming apparent at faults and joints. They are an inseparable part of
a building and its qualities. The building fabric testifies not only to the
moment of its creation and the intentions and possibilities of its creators,
but also to history itself, the passage of time and the events and develop-
ments the building witnesses.
Change is a natural condition of life. In addition to the natural process of
aging, which architecture is also subject to, the changes made by the respec-
tive users play a particular role in the continued life of a building.
The quick succession of different historic circumstances, of fashions and
styles and the rapid development of new building techniques have brought
about the replacement of the old with the new throughout all ages of
European history. The demolition of incomplete building works, the neglect
of existing buildings and the removal of parts of them or their destruction
*Je schneller die Zukunft für uns das Neue, das Fremde wird, desto mehr Kontinuität und
Vergangenheit müssen wir in die Zukunft nehmen.

Fractal architecture as a mirror of reality. 15

 can be seen wherever one looks. Change
entails confronting the unknown, heralded
in by the new, and calls what is known and
familiar into question. Change can be unset-
tling, in particular when it is rapid and sud-
den and its irreversibility becomes painfully
apparent. Yet, despite this, change is a con-
stituent element of European culture.
Preservation is no contradiction to change.
The architectural means with which one
protects building substance and maintains
its value through completion, renovation,
reinforcement, conversion and extension of
existing buildings also represents a modifi-
cation of the pre-existing and thus is also a
form of change. The maintenance and
repair of one’s own property with the aim of
prolonging its lifetime and maintaining and
improving its value has been a matter of
course throughout the centuries. The ability
History produces layers. The façade of Barco Cornaro
near Vicenza, Italy, with its wall paintings from the to analyse a damaged building and develop
Renaissance has been modified repeatedly without appropriate and economic measures for its
regard for its historic beauty. One would take a differ-
ent approach today.
repair was particularly highly regarded as
the mathematical consideration of statics
gained increasing importance. Franz Ignatz Michael Neumann was a much
admired and sought after architect in the 18th century, who applied his abil-
ities almost exclusively to existing building structures. His solutions for the
cathedrals in Speyer and Bamberg demonstrate a deep understanding of
the historical and structural composition of the buildings. Out of this
knowledge he was able to develop remarkable and specific architectural
solutions that are regarded as some of the greatest achievements of the
Baroque age.
Architectural design in the built environment, the creation of a qualitative
and progressive design for an existing situation, has a long tradition. Good
architecture is born out of and developed in the context of existing environ-
ments, drawing upon pre-existing approaches and developing them further.
Many great designers in the history of architecture viewed architectural

16
 Even the greats adapted the works of other: the construction site of St. Peter’s in Rome around
1535. On the right the almost completely demolished Constantine Basilica, left the new struc-
ture, at which several famous architects had tried their hands: Donato Bramante, Raffael,
Antonio da Sangallo and Baldessare Peruzzi. None of the designs were completed. Without hes-
itation the great Michelangelo built upon their work from 1546 onwards. By the time of its com-
pletion, Carlo Maderno and Gianlorenzo Bernini had also contributed to the same building.

It has been well-known for hundreds of years that in order to design successfully in the context
of existing buildings, it is essential to obtain a precise and comprehensive overview of
the existing situation before beginning. This drawing from the 18th century charts the
precise location of cracks.

17
 design for existing built structures not as a restriction of their creativity but
as a field in which to be at their most creative. Karl Friedrich Schinkel went
to great lengths to emphasise the economy of his proposals for architectur-
al conversions. For each of his conversion projects, he provided a plan of the
original condition to allow the viewer to assess the changes themselves.
Some of these projects are among his most outstanding and architecturally
interesting creations. For the manor house for Alexander von Humboldt at
Tegel, near Berlin, he respected the owner’s wish to retain the old building,
allowing its dignity to shine through whilst heightening its effect by
cladding the existing tower and repeating it on the remaining corners of the
building. His design for an additional storey that does not overwhelm the
existing structure, and the accompanying unusual and brilliant solution for
resolving the circulation and distribution of functions, is inspiring and a
lesson for anyone faced with complex design tasks for existing buildings.

The built environment and identity

Our surroundings are fundamentally influenced by architecture. From the
wider cultural landscape to the local neighbourhood, historic buildings
determine the character and appearance of our environment. European and
international cities are defined to a large extent by the form and arrange-
ment of their buildings and these ensure that a place remains recognisable
over a long period of time. The architecture governs the genius loci, the spir-
it and identity of a place. This term encompasses the persistent qualities as
well as the current characteristics and potential of a built environment. The
safeguarding and ongoing development of the genius loci is one of the pri-
mary tasks of town planning.
Buildings generally last longer than a human lifetime. Many survive sev-
eral generations and some constructions, such as the Egyptian pyramids,
even seem to have freed themselves of the shackles of time. The very per-
manence of buildings makes them predestined for use as bearers and
points of orientation in individual and collective memory. Leaving aside
prominent monuments for a moment, whole regions and cities are also
defined by the variety and texture of buildings they contain, which
although often of very differing architectonic or artistic worth, have
become the bearers of many personal memories over the course of time,
and therefore are part of the general collective memory as well. The
importance of architectural continuity and the orientation it provides

18
becomes particularly apparent where urban
structures undergo rapid transformations.
Where the pressure on land and property is
high, such as in the centres of modern
cities, the rapid flux of appearance and dis-
appearance of buildings produces a nervous
insecurity, which we compensate for with a
stronger interest in historic processes.
Indeed, in large dynamic cities such as
Tokyo, London or Paris, the photo or film
can prove a more reliable record of memory
than buildings.
After periods of great loss of historic build-
ings, such as after wars and catastrophes,
the need to reaffirm one’s existence through
architecture is particularly great. The rup-
ture in continuity results in a deeper inter-
est in the built heritage that remains. In
Chicago, the great fire of 1871 was not only
the occasion for the recreation of the city,
but also for the definition of a specific local
architectural language. In Warsaw after the
ravages of the Second World War, it was
decided to rebuild the city in a form that Warsaw was almost completely destroyed during the
Second World War. The rebuilding of the old city
resembled the pre-war situation by rebuild- of Warsaw reconstructed what was lost without
ing on the same historic building plots. The copying it in detail.
architecture that was built used a contempo-
rary language but also alluded to the buildings’ previous forms. The conser-
vation of numerous war ruins after 1945 demonstrates the intensity of our
confrontation with history, even and especially in the face of death and
destruction. The authentic directness of the original fabric is much stronger
than a story or an image.
The architecture of individual buildings is always a contribution to the gen-
eral collective memory and accordingly is part of cultural remembrance.
What informs the aims of the conservation of the cultural landscape or the
urban genius loci also informs the architectural treatment of individual
existing buildings. The conscious consideration of how architecture deals

19
In rural areas the faithfulness to tradition often continues unbroken. The old building forms
are continued using modern materials. The ongoing maintenance and repair of personal
property is a part of normal life.

with history is one of the architect’s central responsibilities and one which
he or she should not and cannot avoid. Of particular importance is to
anchor a building in the current societal and historically conditioned dis-
course. Those elements of the existing built context that contribute to the
identity of a place should be conserved, used and built upon. This under-
standing of the role of architecture is the basis for a culture that is both
open-minded and rooted in the region. By drawing on tradition and devel-
oping it intelligently, the identity of the built environment can be strength-
ened considerably. Many European inner cities as well as the regional archi-
tecture areas such as of Vorarlberg or Graubünden or the work of such
architects as Peter Zumthor or Herzog & de Meuron are proof of this.
Architecture in the historic built context is a powerful expression of a
European culture in which innovation and tradition are combined to pro-
duce a complex and varied living environment that is rich in character.

Old and new

The general public’s relationship to the historical authenticity of architec-
ture shifts continually. European culture in particular values not only the
handing down of tradition but also of actual historical substance, be that
buildings or artefacts, as shown by the active culture of museums and by
conservation legislation. This desire to conserve is, however, ambivalent.
On the one hand, the conservation of the historic built environment is pur-
sued with an almost cult-like dedication and secures a meaningful environ-
ment. On the other hand, it is not possible to slow down the passing of time

20
and the aging process of objects and buildings cannot be prolonged indefi-
nitely. The recovery of something that has been lost, the capture of a specif-
ic point in time or the reversal of the process of development is in principle
impossible and also undesirable. The fact of death cannot be denied. In the
mid 19th century John Ruskin wrote eloquently of the dignity of authenti-
cally aged building fabric. For him the aesthetic value of something was
closely linked to its age, and this aesthetic value should not be impaired by
modern intervention. His writings were a major contribution to architectur-
al discourse and laid the foundation for modern conservation theory.
Ruskin’s ideas were taken up by the art historians Alois Riegl and Georg
Dehio, who in 1905 argued that the conservation and not the reconstruction
of a building should be the primary aim in the historical consideration of
old buildings.
Modernism, by contrast, regarded adherence to building traditions from
previous times to be a needless constraint on creativity and instead of tradi-
tion, 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. Walter Gropius, at the time
head of the Bauhaus, wrote:
“Given the speed with which technical developments have progressed in the
last decades, we call for a change in the current practice to erect buildings to

The drawings by John Ruskin of palaces in Venice show the authentic aging of the building fabric
complete with patina and traces of history.

21
 last for hundreds of years. In this day and age
buildings become obsolete much faster than
in previous generations. For this and eco-
nomic reasons we 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.”
After the Second World War and the trau-
matic losses sustained as a result of the aer-
ial warfare, the position of modern architec-
ture with regard to history was again rede-
fined. In 1964, the Venice Charter laid
down a series of concise guidelines for the
conservation of the built heritage that con-
tinue to guide our actions today. The funda-
mental message is that the evidence and
information contained within historic archi-
tecture is valuable and irreplaceable and
must therefore be maintained for current
Historical Roman finds fascinated the Bishop of
Seggau, Germany, in the 18th century just as tourists and future generations. To be able to hand
today are fascinated by the ruins of Ephesos, Turkey. down our knowledge of buildings, we must
research and document them. Measures to
conserve buildings should be chosen so that they preserve as much of the
authentic integrity of the building as possible. In problematic cases the
preservation of the building fabric should have priority over the preserva-
tion of its image. The Venice Charter also stated that any new measures,
materials and auxiliary constructions should be differentiated clearly to dis-
tance them from the historic building or monument.
The interest in and appreciation of the legacy of historic buildings rose
accordingly. The principles of modernist town planning had led to an emo-
tional erosion of the built environment, to a rationalist indifference that
could not be the aim of architecture. Social renewal, the preservation of his-
toric town and city centres and the ecological movement entered into an
alliance in which conservation was also an integral part. As part of the
European Architectural Heritage year in 1975, criticism of town planning
practices and the all too rational and uniform architecture it had produced
became more pronounced. The built environment, and in particular his-

22
toric town centres, were rediscovered by Postmodernism and rapidly rose to
become a central aspect of design intentions. The historic environment,
according to the postmodernists, already exhibits the complexity, random-
ness and character called for by new architectural movements opposed to
the emptiness of serially produced, repetitive architecture. The built envi-
ronment has its own innate genius loci which should be traced and strength-
ened. It also contains a variety of individual aspects, phenomenological
fragments, whose relationship is no longer
clear, and which can serve as inspiration,
which can be emulated or contrasted. In
practice, though, this approach often led to
an arbitrary assemblage of historic forms.
Today the consideration of historical sur-
roundings is standard practice and is en-
sured through a variety of design guidelines,
participation procedures, conservation legis-
lation and other regulations. Architectural
and historical research has gathered togeth-
er an abundance of material on the variety of
types and forms of building and has fur-
Modern access and circulation structure for the ruins
thered the understanding and classification of Ehrenfels Castle, Germany (Auer/Cramer, 1995),
of the construction and design of buildings. additive and reversible in character.

Nevertheless, our relationship to the history

of our architectural past is currently being questioned once more. More
recently, new tendencies have arisen that attempt to detach the relationship
of memory from the authentic traces of the past. Taking up the ideas of the
1960s, they assert the right of the individual to freely choose a view of his-
tory independent of canonised interpretations. In the 1960s this may have
been liberating; today it seems like a relapse into irresponsible arbitra-
riness.
What then does architectural design for the built environment mean under
such conditions? What goals should the design of repair, refurbishment and
upgrading measures have? How can qualities that existing buildings once
possessed be recovered? Each kind of architectural design for the built envi-
ronment is the communication of a particular attitude to the historic
authenticity of architecture. It is well known that the portrayal of images, in
the sense of a plain representation of an appearance, can easily lead to the

23
 unintentional loss of substance, and that the reconstruction of a previous
condition devalues the historical reality as well as the present. On the other
hand, society cannot and must not forsake the use of the memorial value
associated with existing built structures. Many issues of how to deal with
technical aspects of historic buildings, both in terms of construction and
design, have to a large degree been clarified and architects can draw upon a
wide variety of material in the search for appropriate solutions to specific
problems. For Karl Friedrich Schinkel as well as for Le Corbusier, “learning
from the past” did not simply mean emulating the past, but the creative
development of and improvement on what has been achieved up to now.

The value of the built environment

Most people’s opinion of old artefacts is contradictory. For many the old
often represents stagnation and decay. On the other hand, the old is also
viewed with a certain respect, recognising the fact that the aging process
involves survival in the face of difficulties. The very fact that something has
been conserved can stimulate wonder and reflection. Perhaps it is the famil-
iarity of old things that one values, and the experiences which have con-
tributed to their survival over time. The traces of aging can be perceived as
a form of cultural identity. For John Ruskin, the attraction of the city of
Venice was less the concentration of Renaissance and Baroque palaces to be
found there than the visible evidence of the city’s gradual dilapidation over
hundreds of years.
The value of the existing built environment is therefore very much depend-
ent upon one’s attitude and receptivity to history and the historical legacy.
The question of the attitude towards the old equates to the general meas-
ures of values at different times. Those who value only what is new will have
a problem accepting inherited values. Those who think in economic terms
and wish to make use and revitalise existing values will profit by making
clever use of existing built substance. The role of respect and disrespect,
and the awareness or ignorance of qualities and aspects of value becomes
most apparent when short-term decisions have long-term consequences.
The built legacy should be seen not only as part of our cultural heritage but
also as a material inheritance of society. From an economic point of view it
is of immense value. Large amounts of energy are embodied in the build-
ing materials and in the construction, and these remain as part of the build-
ing until its destruction. Moreover, historic building materials from the

24
 Architecture is an expression of its time. And time can sometimes pass rapidly. This office
building in Berlin was renovated in 1999 and remodelled again in 2003.

time before industrialisation consist of natural, ecological and healthy mate-

rials and have proven their suitability over many decades.
Those qualities which differentiate historic architecture from modern build-
ings can often have an innate value which can no longer be recreated eco-
nomically or without special means. Carefully hewn stone, intricate panelled
doors or elaborate decorations are today no longer to be had off-the-peg. The
expansive rooms, the grand entrances, the high ceilings and almost wasteful
and creative use of space so characteristic of many historic buildings are very
seldom realised for new buildings due to the high cost they entail or to build-
ing regulations. It is, however, precisely these aspects that many people value
highly. Finally, the demolition and disposal of old buildings represents a fur-
ther and often unnecessary action that also impacts on the environment.

Historic building materials sometimes require special Old buildings have many inhabitants. Therefore, the
skills for working them, but they are easy to care for protection of endangered species can also be part of
and ecologically sound throughout their useful lifetime. the architect’s task: bats in a restored gothic cloister.

25
 It is worth examining the different qualities
that a historic building contains and their
value in the present, and making these visi-
ble to the contemporary public. Done well,
this can increase the actual material value of
a property considerably. High returns can be
expected by forward-looking clients who buy
an old house in a less reputable quarter at a
low price and, through their investment in
revitalising the building fabric, transport its
The demolition of the foreign office of the former GDR
in Berlin took place without any public discussion on value outwards, improving the image of the
the value of the architecture. quarter and strengthening the local building
culture so that in turn the whole quarter
improves step by step. By contrast, the persistent process of renewal with-
out regard for what exists is uneconomical, as it discards the potential of the
already available resources. As such, in addition to a cultural value, the
existing built environment has a physical as well as an economic value that
is all too often overlooked when decisions are driven by short-lived fashions.
Clients with more foresight are aware that in order to maintain the real
value of their assets, regular maintenance and sustainable renovation meas-
ures are necessary. Given that 70 – 80% of the built environment in 2030
already exists in built form today, society in general and architects in partic-
ular will need to consider the existing built environment, professionally and
with a view to the future.

26
Further reading
Of the studies on the theoretical and philosophical aspects of time Ricœur is the most con-
cise. The discourse on memory was initiated by Halbwachs in the 1980s. Lübbe describes
the problematic relationship of the present to durability. Breitling/Orth have presented
collected volumes on memory and remembrance. Our relationship to the legacy of the built
environment is discussed from different perspectives by Anderson, Assmann,
Assmann/Harth, Bolz, Bloomer/Moore, Boyer, Loewy/Moltmann, Lowenthal,
Lynch and Tausch. More concrete discussions of particular places and buildings are under-
taken in Choay for France and François/Schulze for Germany. Mostafavi/
Leatherbarrow provide a detailed examination of the decay of buildings. Jencks re-exam-
ines the historic dimension for new architecture. Rossi and Lampugnani elaborate upon
the meaning of the existing built environment for the city. Oswalt provides a concise
overview of the motivations behind accelerated urban regeneration.
The beauty and intellectual value of old buildings is praised in Ruskin’s 1849 Seven Lamps
of Architecture and two years later in the Stones of Venice. Brachert attempts to objectify
these emotional perceptions. The basic principles and approaches of conservation theory are
best summarised by Huse. Numerous aspects are contributed by Wolters. Pedretti,
Lipp/Petzet and Meier/Wohlleben attempt a modern continuation of this theme.
Caperna/Spagnesi provide a good overview of the historical extent of the task of architec-
tural design in the existing fabric.

27
THE PLANNING PROCESS
Every intervention results in some destruction. Destroy then at least with understanding.
Luigi Snozzi

Special features of the Planning Process

The design process for working with existing buildings does not differ in
principle from that for planning new buildings. Design principles such as
functional usability, a high aesthetic quality and economic use of resources
apply equally, if not more so. The most significant differences are in the
more detailed initial research necessary, the greater number of participants
involved in the planning process – most notably the conservation authori-
ties in the case of listed buildings – and the more complex coordination of
the individual planning stages that these differences entail.

Protective measures and essential repairs

Many projects in the context of existing
buildings begin not with the project design
but with small-scale building measures. A
conscientious architect will want to ensure
that the existing building does not suffer
further dilapidation or vandalism during the
often lengthy process of planning and nego-
tiations. One of the first tasks for the archi-
tect is therefore to ensure the building is
safe and secure, and that a range of precau-
tionary protective measures are undertaken.
As the market for reclaimed materials and
Good and bad practice in securing buildings:
architectural salvage grows, the risk that ventilated below but sealed above and therefore
insufficiently secured buildings may suffer susceptible to rot damage.

unscrupulous plundering or even wilful

destruction within a short space of time has increased dramatically.
Unauthorised access to the building site should therefore be prevented as
soon as possible. A temporary site door and the bricking up of windows
(maintaining ventilation) are better than the loss of original fixtures.
Measures to protect against rainwater penetration are also essential.

The broken lintel in Burg Witten, Germany, is supported by truss rods. An effective and
reversible building measure (Hans-Busso von Busse, 1995). 29
Serious dry-rot infestation on the façade of the Half-timbered wall construction exhibiting large-scale
Narkomfin building in Moscow, Russia (Moisei deterioration of timber members resulting from a
Ginzburg, 1930). damaged gutter; after completed repair work.

Blocked gutters and downpipes should be cleared immediately and any

damage repaired.
Large and small-scale damage to the roof covering can be repaired with
replacement roof tiles or, where this is not sufficient, secured with corrugat-
ed asphalt panelling or another suitably durable material. The effort
required is usually minimal, and the protection it affords is considerable.
Even a small hole in a roof can be the cause of major damage through dry
rot during a half-year planning period. It is important to eliminate condi-
tions conducive for dry rot immediately and
Electronic monitoring of building cracks.
not to wait until actual construction begins.
Loose items already affected by rot should
be removed and disposed of according to the
regulations.
It is essential to ensure the structural stabil-
ity of the building. Sagging ceilings and
sloping walls must be supported in such a
way that the load is transferred to structural-
ly stable parts of the building. Monitoring
systems should be applied to open cracks
immediately so that building movement can

30
be observed for as long as possible during the planning phase, and possible
structural problems can be detected early on.

Preparatory investigations
Initial planning investigations for new buildings concentrate primarily on
clarifying the urban context, the load-bearing capacity of the subsoil and,
not least, the client’s requirements. In most cases, a vacant site presents no
further difficulties. Existing buildings are more complex. Over and above
the specific measures described subsequently, a different way of thinking is
also necessary. For example, making even small alterations to the building
plan in order to achieve prescribed room sizes is not only costly but is in
essence a fundamental planning error. The opposite approach is appropri-
ate: What possibilities does the existing floor plan offer? How can the exist-
ing structure be used optimally, and how can the features and values of the
building be best respected and brought to the fore?

It can often be more economical to abandon an envisaged usage in favour

of a more feasible alternative, than to adapt an existing historic building
structure to a pre-conceived use at great financial cost and involving dam-
aging alterations to the existing building structure.

The level of planning detail

When planning a new building, an architect typically works from the whole
to the part, and although desirable, it is not entirely necessary to have planned
every last detail before construction work begins. When working on existing
buildings, this approach can quickly come unstuck. In many cases, the execu-
tion of a particular planning idea will depend on specific characteristics of the
existing construction, and these must therefore be determined in advance. It
is not sufficient to develop a general idea at a scale of 1:100 for submission for
planning permission, and then to work this up in detail at a later date.
The feasibility of a concept must be verified in detail at critical points, for
example where a new staircase is planned, where walls are to be removed
and for the routing of building services. This should be undertaken at the
concept stage and special attention should be given to the building’s struc-
tural system and to spatial interdependencies. Strengthening measures that
end up weakening the existing building structure make little sense.

31
 For this and other reasons, it is advisable to visualise and verify planned
interventions in three-dimensional representations, particularly when these
span several storeys. This step should not be underestimated and the addi-
tional effort is preferable to unforeseen or potentially disastrous conse-
quences during the construction process.

Isometric drawing of new circulation for the historic building of Palazzo Lanfranchi in Pisa, Italy
(Massimo Carmassi, 1980).

32
Sensitive response to the existing building

Conversion of the late medieval Casa de las Conchas

to a public library, 1990s
Salamanca, Spain
Client: City of Salamanca
Architects: Victor Lopez Cotelo, Carlos Puente Fernandez,
Javier Garcia Delgado

The 15th century palace played an important role in the rise

of the Renaissance in Salamanca. All building works neces-
sary for its conversion to a public library were based upon a
survey of the building and a detailed damage appraisal.
Through simple repair measures, carefully fitted to match
the building, and only few new additions, the atmosphere
The construction and design of the
and splendour of the original building substance pervades, new windows fulfil the new require-
whilst the room usage is left as flexible as possible. The ments of a library but are integrated
carefully into the existing façade.
design of new partitions, enclosures, ceilings, doors, win-
dows and other fittings picks up aspects of the existing
architecture and realises them using modern methods with-
out attempting to contrast with the old. The use of tradition-
al materials guarantees the best possible integration of the
new additions to the historic natural stone walls and wood-
en ceilings.
Detail drawing of the façade.

The “rustic” treatment of the A new window in an old seating

surfaces of new elements creates a niche with wooden grille, bottom-
similar material quality and sim- hinged window for ventilation and
plicity to the historic building fab- small wooden flaps reminiscent of
ric. historic shutters.
 The Participants

The client
The client is always the central figure, the person who determines what
should happen. Where clients have decided to invest in an existing build-
ing, one can reasonably expect that they have done so not purely for tax
reasons, but consciously and optimistically and in the knowledge of what
this entails. A favourable location, the historic atmosphere and any artis-
tic craftsmanship of fixtures are often rea-
son enough for such investment.
Nevertheless, the worry that unforeseen
difficulties could arise is widespread
among clients. The best way to alleviate
such concerns is through clear and deliber-
ate action. As ever, careful and thorough
preparation is the most reliable basis for a
project, and this will need to be financed
appropriately. In addition, it is essential
that clients are prepared to modify the
envisaged concept to fit the existing build-
ing and that they have the courage to
depart from standard solutions in order to
achieve a convincing result. This does not
mean sacrificing quality but rather an
acceptance of the particularities of a build-
ing, its history and the resolve to bring out
its qualities. This approach contributes to
the individual uniqueness and unmistak-
Interesting finds need not mean financial disaster for
the client. Finds can be conserved behind appropriate able identity of a design concept, and is the
protective covering. More extensive restoration is possi- reason why old buildings continue to be
ble but not obligatory.
valued so highly.

Old buildings invariably contain interesting finds: plastered details, wall

murals, concealed features and so on. The client and architect are not
obliged to invest large sums of money in restoring such finds. On the con-
trary: when well protected, valuable finds can survive for longer.
Conservation officers will only stipulate that suitable protection measures
are undertaken.

34
The architect
The architect is the designer and coordinates all the other participants. Many
more specialists are involved in the planning process for existing buildings
than for new buildings. In many cases, expert appraisals are required to
establish the qualities and particular characteristics of the building. These
concern not only the structural soundness but also the properties of materi-
als and the historic and aesthetic qualities of an old building. A high degree
of skill and responsibility is needed to determine which expert investigations
are absolutely essential and to avoid undertaking cost-intensive and even
unnecessary expert reports. This includes avoiding duplication and ascer-
taining whether certain reports have already been undertaken previously,
and if so, their validity. Architects must on the one hand avoid their respon-
sibilities becoming fragmented into individual areas which are then under-
taken largely independently of one another, and on the other hand resist the
temptation to undertake all the tasks themselves, even if they feel able to.

The evaluation of the individual specialist appraisals and their interrela-

tions and relevance for the later planning approach is the primary respon-
sibility of the architect. This cannot and should not be delegated to oth-
ers, whether the structural surveyor, who assesses the structural stability,
or the restorer, who will wish to highlight the historic values and qualities.

The planning authorities

The requirements a new building is expected to fulfil remain strict despite
continuing attempts at deregulation, and rightly so. It is quite clear that an
existing building erected many years ago is not able to fulfil today’s modern
requirements. The architect will nevertheless attempt to reduce the number
of deviations from current standards during the course of planning, howev-
er, in most cases this will not be entirely possible without either damaging
the original building or incurring high costs for the client. For such cases,
the building regulations allow the possibility of exemptions and relax-
ations in order that sensible building measures can be undertaken eco-
nomically and buildings continue to be used.
Such exemptions generally apply to aspects that cannot be changed: low
ceiling heights, room sizes and floor plan arrangement, as well
as the technical requirements of materials. For example, a historic timber
construction must stay a timber construction, despite stipulations such as
fire-safety regulations requiring other constructions.

35
 In these times of increasing scarcity of resources, energy efficiency is a
further aspect. Many historic buildings have thick stone walls and these
have excellent thermal properties. However, other parts of the construction
may offer poor thermal insulation. Often, a holistic consideration of the
overall energy efficiency of a building can balance out weaker areas.
Historic windows can be equipped with additional secondary casements to
fulfil minimal energy efficiency requirements and may then be accepted by
the planning authorities.
Fire safety is another problem area. The requirement that all load-bearing
elements of a structure should be made of non-combustible materials is
sensible in principle. In practice, many old buildings, particularly timber-
frame constructions with timber beam
floors, cannot be adapted to fulfil such
demands. Here the use of fire-retardant
cladding and fire alarm systems can ensure
that building inhabitants are able to evacu-
ate the building in good time. In the com-
paratively unlikely event of a fire, the build-
ing itself or any material assets may have to
be sacrificed. Noise insulation is also an
area where compromises are necessary.
However, in all cases, the willingness to
compromise on the part of the planning
authorities stops as soon as a threat to the
life and health of the inhabitants can no
The historic window is fitted with an additional case-
ment to improve thermal performance; the existing longer be ruled out.
window remains in place. Listed buildings represent a special case.
The conservation department of the local
planning authority will be able to provide a list of which buildings are affect-
ed. All alterations carried out on such buildings require a special listed
building consent. This may apply even if the measures would not normally
require planning consent. Listed building consent is typically applied for in
conjunction with planning permission, and stipulations in any consent
given carry the same weight as other areas of planning consent. In addition
to general building requirements, listed building consent regulates
everything which concerns the cultural and historical aspects of the listed
building.

36
 COMMISSION FOR
1. Measured drawings THE ARCHITECT
2. Design drawings
Plans, sections
Details (windows etc.)
PLANNING APPLICATION
3. Plan of alterations Local Planning Authority
4. Building phase plan
5. Plan of fittings and fixtures
Structure Conservation
6. Conservation plan LPA
Fire safety
7. Plan of losses Conservation
Environment authorities
Health & Safety office

Listed
either building
consent

PLANNING PERMISSION
or

CONSTRUCTION WORKS

Planning permission procedure

In accordance with internationally recognised guidelines for the conservation

of buildings, the conservation authority will in principle interpret every
alteration to a listed building as a loss of historical information that affects
its character and authenticity, and therefore also its conservation value. In
practice, it is generally understood and accepted that in the interest of the
long-term maintenance and use of a listed building, some degree of adap-
tation to modern standards is unavoidable, and even desirable. It is the
architect’s task to plan the necessary alterations, drawing upon his or her
sound knowledge of the building, so that they are of low impact to the
building fabric and maintain the authenticity of the building. Such
requirements are almost always fulfilled if a building measure is in principle
reversible. The identity of the building and its historic value must be pre-
served and passed on to future generations – that is all that is required. For

37
 The building phase plan and plan of finds showing
the historic complexity of the building according to
objective criteria.

Initial construction, used by the church 1916 / 1918 Door type (see room log)
Electric closure contact
Fittings for use as a KGB prison, 1945 – approx. 1954
Spyhole: funnel-shaped observation openings
Alterations made during use as a prison ca. 1954 –1964
(Remains of ) window bars
Changes made by the KGB prior to handover of the
building (approx. 1964 –1994) Electrical installations
Alterations since 1994 Sanitary installations
Date unknown Radiator
Plaster details: distinctive surface features, e. g. closure of
openings or particular plastering techniques
Fittings
Notes in parentheses denote past fittings and fixtures still
evident in existing fittings.
Dashes denote either the existence of concealed constructions
or where items have been removed.

38
 The conservation plan details to what degree
alterations are allowed based upon an assessment of
the value of the building’s features.

Very high density of finds, condition largely unaltered. Door type (see room log)
Representative of earlier use as a prison.
Overall context should be retained and not damaged by Electric closure contact
new insertions or fittings. Spyhole: funnel-shaped observation openings
High density of finds, condition only slightly altered. (Remains of ) window bars
Representative of earlier use as a prison. Electrical installations
Overall context should be retained and not damaged by
new insertions or fittings. Sanitary installations

Low density of finds, later alterations. Radiator

Less representative of earlier use as a prison. Plaster details: distinctive surface features, e. g. closure of
Overall context should be retained. openings or particular plastering techniques
Original building substance and changes made Fittings
by the KGB. To be retained as far as possible. Notes in parentheses denote past fittings and fixtures still
evident in existing fittings.
Dashes denote either the existence of concealed constructions
or where items have been removed.

39
 this reason, the conservation officer will want to focus on the principles
behind the design concept – as will the architect. The aim of the conservation
authorities cannot and should not be to overly involve themselves in design
decisions, to demand the extensive uncovering of items of historic or artistic
value or require the reconstruction of a previous built condition. The client
may wish to undertake some of these of his or her own accord, and nowadays
will likely meet with positive approval by the conservation authority if he or
she does so. However, the authorities lack the necessary statutory mecha-
nisms to enforce such requirements. That said, all those who too freely adapt
an old building to their own purposes, retaining only an arbitrary historic flair,
will quickly encounter massive problems with the relevant authorities.

The aim of conservation is the preservation, maintenance and long-term

sustainable development of an old building. Opinions are divided on the
merits of reconstruction: it has nothing in
common with the aims of conservation.

In order to avoid problems and interrup-

tions later in the construction process it is
strongly advisable to provide more detail
than the rather general descriptions usually
contained in building applications, and to
clarify in detail all aspects of construction
that could be relevant to the aims of conser-
vation. They should be declared in a conser-
vation plan and described in the conservation
concept. The often inevitable loss of histori-
Conservation is not the same as reconstruction.
The “reconstructed Neumarkt” with the rebuilt cal building substance, however inconse-
Frauenkirche in Dresden was completed in 2006; it is quential it may seem, should be declared in
not an example of building conservation.
a plan of losses that clearly shows the impli-
cations of the planning proposal for the building and whether the declara-
tions of the conservation plan have been observed. Deviations are then easily
identifiable and are an explicit part of the planning application. This open
approach avoids unwelcome, aggravating and time-consuming discussions
about the acceptability of individual building measures arising on site, even
if planning consent has been granted.

40
From building survey to design concept

Naumburg City Museum, 1991–1999

Naumburg, Germany
Client: Naumburg Town Council
Architect: Johannes Cramer The external wall of the old
building adjacent to the new circu-
The complex encompasses four burgher’s houses from the lation tract. The old brickwork
can be seen alongside the
Middle Ages and early modern era. Neglect had left the
rendered lift enclosure. The carved
building fabric much dilapidated and badly damaged. wooden posts are exhibits.
The historically important listed buildings were to be kept
as far as possible in their original condition and converted
for use as the town’s museum.
An accurate measured survey and detailed element-for-ele-
ment building analysis provided the necessary basis for con-
serving all relevant historic finds. Deficiencies were com-
pensated for by additive measures, ranging from a new cir-
culation tract to the structural reinforcement of the building
structure and the levelling of the old and worn stairs treads.

Entrance area with additional

binding beam for reinforcement
and the conserved colouring of the
ceiling joists from 1629.

Floor plan of ground floor showing building phases The worn steps are levelled;
and detailing the plaster treatment strategy. Detailed the weak beams are given
information about planning intentions at the planning additional support.
application stage avoids problems arising later in the
construction phase.
 The contractors
The success or failure of building measures
will be largely determined by the qualifica-
tions and proficiency of the contractors. The
intricate nature of planned works and the
need to work with and respect the existing
building structure and fabric mean that the
majority of building measures will be the
work of qualified craftsmen. Contractors
must be prepared to undertake work with
Intricate repair work to a window frame undertaken by
a craftsman. The carpenter’s mark indicates the date of care and this should be both demanded and
repairs. fostered by the architect.

Decision-making and communication

The complexity involved in working on existing buildings places greater
demands on all participants than work on new buildings does. It is there-
fore all the more important that the architect maintains an overview of all
aspects and reliably communicates all relevant information to the parties
involved. Large planning meetings involving all participants, although
increasingly common in recent years, are not always the most appropriate
method; due to the many individual areas of responsibility, they can quick-
ly become tiresome for those participants whose expertise may only be
required for individual aspects and may not be requested at all on certain
days. Instead, it can be more effective to coordinate individual measures in
smaller groups and only to discuss the overall results in larger meetings. In
this respect it is advantageous to provide a graphical summary in the form
of plans and a centrally stored electronic room log that can be accessed by
all participants.
Many building works may need to be undertaken while the building is occu-
pied. In such cases it is essential to provide detailed information and to
inform building occupants of works that may affect them. The purpose,
process and results of works should be described as well as any disruption
that may ensue such as noise, dirt and restricted usability. Again, the provi-
sion of more detailed information before works begin is better than discon-
tent and disputes during construction.

42
 An electronic room log is a central depository of all information recorded about the building.
It allows all participants to access as well as to update information; without doubt this is how
building information will be recorded in the future.

Further reading
Schrader is a helpful reference for traditional building materials. Most literature on this
topic is from the field of conservation. The issue of conservation-oriented planning methods
has been a central topic in the field for many years, as has the task of repairing inhabited
and otherwise used buildings. The works by Ashurst, Baer, Feilden, Fischer,
Petzet/Mader, Thomas as well as Whelchel all deal with these issues. Also consult the
literature discussed in the following chapter. Franz 2003 is helpful in questions of planning.

43
Stone-for-stone measured drawing of a gable with
details of all finds, ranging from indications of
alterations to remains of old plaster.
PREPARATORY INVESTIGATIONS
Only those who know the past have a future.* Wilhelm von Humboldt

Carefully executed and detailed preparatory investigations are fundamentally

important for developing designs for existing buildings. Without thorough
knowledge of the building, its specific characteristics and often complex
structural interrelationships, it will not be possible to plan competently and
therefore to avoid the unwanted complications that often occur later on in
the building process: construction delays, uncertain planning objectives,
spiralling costs and, in severe cases, even damage to the building or person-
al injury.
Although such problems are often conveniently blamed on the age and
defects of old buildings, it is the job of the architect to foresee and avoid
these difficulties.
The record of a building describes the physical fabric of an existing building
in its dimensions and structural constitution in the state it is in as found. A
building survey ascertains the changes in use and physical alterations the
building has undergone during its lifetime,
Collapse caused by a planning error. The famous col-
and examines its overall decorative and artis- lapse of the Campanile in Venice on the 14th June
tic qualities as well as its technical and mate- 1902 was caused by improper alterations made to the
brickwork. The photo is, however, forged.
rial properties. Where the building is listed,
its historic importance will also be estab-
lished as part of a conservation assessment.
Finally, an evaluation of strengths and weak-
nesses summarises the results according to
a series of different criteria.
Without adequate analysis, it will not be pos-
sible to provide reliable answers to the
client’s three primary questions.
• Is the building in danger of collapsing?
• Are renovation and conversion works
financially viable?
• What values should inform the work (eco-
nomic, historic and idealistic)?

*Nur wer die Vergangenheit kennt, hat eine Zukunft.

45
 The recording of the building and the building survey should be as factual
and objective as possible. Interpretation and evaluation follows in a third,
distinct step. This is where the strengths and potential of the building are
identified and differences of opinion can be discussed. For instance, not
every apparent defect may actually present a problem; not every defect
needs remedying. An overview of all the findings provides the basis for
determining the scope and boundary conditions for the design process.

Many aspects of the survey can only realistically be undertaken by specialists.

Even where budget constraints are tight, architects should resist the temp-
tation to undertake necessary investigations themselves or to delegate these
to insufficiently qualified persons. The architect should also avoid excessively
restricting the scope of the investigations. Savings made at this stage can be
a false economy and may very often result in higher costs being incurred
later on in the construction process.
The progressive degree of detail required with each step of the design
process often results in recordings being taken in several stages. Checklists
can be used to help structure the process. This approach should not result
in approximate (i.e. possibly incorrect) measurements being taken first and
then refined (i.e. revised) at a later stage. Instead, in the first stage the most
important data should be recorded; subsequent stages then supplement and
expand upon this information in greater detail. It should never be necessary
to correct previous records!
As a result, the initial inspection can be undertaken using existing
building plans or schematic sketches of the building. This encompasses a
general appraisal of the structural system and any significant defects as well
as a quick identification of valuable fixtures and finishes, and an overview
of their restoration potential and, where possible, an exact dating of the
building. The main inspection builds on selected aspects of the initial
inspection, extending it with detailed specialist investigations and recording
all information in measured drawings true to deformations and a compre-
hensive room log.

46
Recording historic buildings
The information accumulated during the planning process should be docu-
mented and archived in such a way that it can be passed on to future gen-
erations. Future building works will then be able to draw on and use exist-
ing building documentation. Should a building be demolished, the docu-
mentation will be the only record we have of it. For the archival of building
documents, planning authorities and conservation departments require
plans to be presented clearly with all necessary annotations and references
for easy identification.
To ensure the long-term availability of building records, plans, photos and
other documents should be stored in an archivally permanent medium. For
example, drawings made with pencil on acid-free stiff paper have proven
more durable than tracing paper, which ages not well. For black-and-white
photographs, baryta photo paper is a better storage medium than PE paper.
Glass plates are the most durable photographic medium and last almost
indefinitely according to current knowledge. By contrast, the long-term
usability of digital data such as photos, text and plans is as yet uncertain.

Property and geographic details

The development of a systematic record of an old building begins with the
collation of all relevant information about the property. One should also
establish which planning authorities will need to be consulted. Initial ideas
for usage scenarios, access and conversion possibilities should be discussed
early on with the local authority building control and conservation depart-
ments and, where applicable, the redevelopment agency. The title register
provides details of rights of way or other restrictions and conditions affect-
ing the property, and is available from the land registry. Public records and
official documents may provide details of the age of the building, of alter-
ations made, conditions or relaxations that apply as well as building plans
and appraisals that have previously been undertaken. The precise geograph-
ic location should also be recorded (map grid reference or GPS) together
with a title plan showing the plot designation and boundaries. Parameters
such as the building volume, gross area and usable floor space should be
calculated, although until a measured survey has been undertaken these
may initially have to be approximated.
Finally, a reconnaissance visit to the building and its surroundings should
be undertaken to determine the location of the property in its built context.

47
 Documentary evidence and archives
A clear idea of the building and its environs is essential for developing a
competent design proposal. After a first visit to the site and clarifying objec-
tives with the client, the next most useful step is to research and assess any
available literature in the archives. For famous buildings, documentary
material can be practically inexhaustible. In other cases, published works
such as the Handbuch der Deutschen Kunstdenkmäler by Georg Dehio or
Sir Nikolaus Pevsner’s Buildings of England and local topographical studies
can be particularly useful. They provide a concise overview of the typical
characteristics of a variety of types of historically important buildings.
Inventories and gazetteers are a further source of comprehensive, well-
researched information and the architect will usually not need to expand on
the information contained within. For local documents, public libraries and
County Records Offices are good sources of information. Further documen-
tary research is in most cases unnecessary, particularly if time is limited.

An 18th century plan for the

conversion of the orphanage in
Eichstätt, Germany. New structural
elements were also marked in
red at that time. Two buildings
were combined to form a single
complex.

The escape stairs are located

behind the new façade.

Conversion plans for the orphanage by Karljosef Schattner (1988). The

48 Baroque façade to the rear was demolished and replaced in a modern form.
One can easily spend a lifetime researching in archives. It can be indispensable
to track down and study archived building records. In countries like Germany
and England the requirement to submit drawings with planning applications
was introduced in the mid 19th century. Older building plans will only occa-
sionally be available. Records of previous submissions for building works and
alterations, granted or otherwise, can be examined at the local authority plan-
ning office, and in many cases they are sufficient to quickly piece together the
more recent history of a building. For older buildings, further documents may
be found in public archives such as the County Records Office. Permission may
be required from the owner to view certain documents.
Plans from official documents can generally be regarded as reliable and any
alterations marked provide indicators of where to look in the building itself.
However, even a hundred years ago building projects were not always
realised as approved and one should not blindly trust all plans. For this rea-
son it is vitally important to verify them against the building itself.

Old records often contain interesting accounts: Building plan from around 1800. Hearths and
“14th Decbr. 1739 – a mason was sent up back and fireplaces are marked precisely.
forth across the roof of the monastery’s barns and stor-
age buildings, replacing the odd tile here and there…”
Maintenance is always better than repair.
 Although the information obtained from old plans may be correct, they are
not generally metrically accurate. As a result, planning building works
based on historic building plans can often lead to serious problems. In all
but the simplest of projects, new drawings will need to be drawn up for a
new design proposal.
An experienced researcher will be able to turn up further interesting facts
from numerous other sources for many buildings, even those of lesser
importance. Bureaucracy and record-taking was remarkably well-developed
already 200 or even 400 years ago. However, for the layperson this direc-
tion of research may be less productive: it is not only difficult to evaluate
archived materials; it may also be difficult to read the manuscripts them-
selves. Here specialist architectural historians can be of assistance. Early
maps from archives such as tithe maps, and possibly also fire insurance
plans, are by comparison easier to evaluate and can be obtained from the
Ordnance Survey or local cartographic and records offices.

Recording the building as found

It is advisable to document the condition of the building before building
works commence, for several reasons. Reliable documentation represents
an invaluable reference when developing a design proposal; it is also an
effective means of clearly recording the initial state of the building in the
case of disputes. For such purposes, photographic records and a room log
have proven particularly useful. A photographic survey documents the con-
dition of the building, both in general and in detail. At a minimum, each
room should be photographed diagonally
Each find is photographed with a record and colour from two opposite corners using a wide-
card that identifies it clearly avoiding confusion at a angle lens to capture the entire room.
later stage.
Important details need to be recorded by
taking additional photographs. These
images should always be photographed con-
taining a reference card for identification
and a colour chart. The camera positions
should be marked in an overview plan.
The room log structures and describes the
entire building. Traditionally recorded man-
ually on survey report sheets, today it is
increasingly recorded in digital form. The

50
 The plan of fittings and fixtures registers all fixtures and the building phase they originate from.

room log contains all relevant information about the building and allows
the participants access to all aspects, whether for general orientation or for
details of specific finds. The room log should be organised according to a
consistent numbering scheme, which from then on serves to identify each
part of the building. Every page of the room log should contain a standard-
ised page head for easy identification together with a photograph of the
respective surface and a supplementary drawing describing findings and
their positions. The condition of each room is described in turn together
with all immovable fixtures. Each surface – floor, walls, ceiling and exterior
surfaces – is recorded individually. Extra sheets describe aspects such as
doors, windows and construction details.
The room log can be supplemented with further information as it
becomes available, for example the results of detailed investigations or the
invasive opening-up of building elements. The level of detail that needs to
be recorded will depend on the kind of architectonic intervention. In recent

51
 The room log provides an overview of the existing building. The consistent use of room
52 numbers throughout the entire planning process is essential.
years, a number of checklist-based software packages have become available
and without doubt they assist in the technical capture of information.
However, they are not yet sufficient for the holistic consideration of a build-
ing with its qualities and weaknesses. The traditional analogue room log is
just as extendable. The initial condition is recorded first, the subsequent
planning is added later, followed by the final documentation of the end
result. Internet-based room logs which can be contributed to by all particip-
ants in the planning process are currently in development.

Measured drawing showing deformations (original

scale 1:20) of a building showing severe distortion. The
sloping floors have been levelled in the living areas but
not in the roofspace. The cause of the problem has
obviously occurred at ground level.

Measured drawing showing deformations (original

scale 1:20) with building phases marked. The roof
structure tilts markedly. Considerable packing was nec-
essary to level the floors.

53
 Finally, in addition to recording all the individual features in a room-by-room
report, a plan of fittings and fixtures should be drawn up that provides an
overview of all significant findings in summary form. As with the building
phase plan, this plan should provide information about the age of the individ-
ual features using the same labelling system as used in the building phase plan.

Metric building survey

Without reliable building plans, every building project is destined to fail.
The drawing up of the required plans is therefore the first step for every
planning task. The precision needed in such plans depends on the condi-
tion of the building and the degree of interventions planned. Obviously, the
plans for the repainting and minor refurbishment of a flat from the 1950s
need not be as detailed as those required for remedying structural deficien-
cies in a medieval half-timbered house.
Incorrect or inaccurate building plans cannot be used as a basis for plan-
ning, and certainly not for building works. This would not only compromise
the architect’s obligation to provide accurate building documentation; such
plans also form the basis for later facility management systems and rental
agreements. In this respect, existing planning documents that predate 1945
do not represent a reliable basis for planning anything more than prelimi-
nary proposals.
The plan scale, degree of detail and the methods of a measured survey is
determined by the precision of measurements required. In the field of con-
servation it has become common practice to grade building plans according
to levels of precision which form the basis for specifications, contractual
agreements and costings. The model presented here, as used in Germany,
features four levels of precision; in Great Britain the RCHME has also
defined four, slightly different, “Historic Building Recording Survey Levels”.
In this model, precision level I represents an approximate schematic survey;
precision level IV describes the building complete with all deformations and
the diagnoses of pathological investigations. The room numbers should be
recorded in all building surveys regardless of the level of precision.

Precision level i: Survey at a scale of 1:100 providing basic documentation

of the building type, its spatial organisation, elevation, form and external
appearance. The plans can serve for preliminary planning proposals or ren-
ovation measures that do not require alterations to the building construction.

54
Standard survey of a medieval building in Regensburg, Germany.
Too simple: no evidence of building distortion – no damage?

Measured drawing of the same building showing deformations.

Serious distortion is evident: building works will be complicated.

55
Analytical measured drawing of a section of the medieval city walls in
Basel, Switzerland; hand measurement, original scale 1:20.

Interpretation of finds with building phases marked; digital drawing.

Precision level ii: provides a near-accurate representation of the con-

struction as-built at a scale of 1:50 or 1:100. The plans can serve as a basis
for simple renovation works that do not encompass conversion measures,
for townscape studies and as preliminary documentation for building and
property inventories. Measurements should be accurate to within a toler-
ance of ±10 cm in relation to the entire building dimensions.

Precision level iii: is an exact and geometrically accurate drawing at a

scale of 1:25 or 1:20 and is suitable for building research requirements and
for planning conversion works. In order to accurately record all building
deformations, a three-dimensional surveying system is necessary, on which
all measurements and detailed surveys, outdoors and indoors, should be

56
based. Heights should be specified as metres above sea level. Floor plans,
sections and elevations must be related to one another via survey datum
points. The survey and plan drawing must take place on site. Measurements
should be accurate to within a tolerance of ±2.5 cm. Where necessary, the
actual measurements taken should be noted in the drawing.
As far as can be ascertained on site, plans should show the construction and
structure of the walls, the direction of beams and joists, visible deforma-
tions such as sagging and slopes in floor levels, non-vertical wall inclina-
tions, non-rectilinear room forms and, where visible, indications of previ-
ous building constructions and alterations. Where required, further details
such as doors, windows or wainscoting covering the lower part of a wall can
be indicated as simple contours.

Precision level iv: is a comprehensive analytical survey with all findings

including details at a scale of 1:25, 1:20 or greater. It is primarily used for
historically significant buildings requiring complex restoration and conver-
sion measures, for building translocation measures (transferral to a new
location), for structural preservation measures, for scientific building
research and where building distortion is considerable. Measurements
should be accurate to within a tolerance of ±1–2 cm. All surfaces such as
floor materials and coverings, wall decorations and so on should be record-
ed as well as the results of pathological investigations of all kinds, particu-
larly in section and elevation.

The selection of the level of precision required can have far-reaching conse-
quences and the architect should on no account leave this choice to third
parties. Unfortunately, this is all too often given insufficient consideration
at the outset of the project, with the result that the same building may end
up being surveyed several times over, first schematically, then more accu-
rately and finally to a high level of detail in order to provide a reliable basis
for planning. Quite apart from the delays incurred during the planning
process, an attentive client will most certainly question whether the cost of
repeat surveys is the result of insufficient or even deficient consultation on
the part of the architect.

57
 As a rule of thumb, the more complex and extensive the building measures
will be, the more precise the plans will need to be. Buildings exhibiting sig-
nificant distortions or requiring complex structural repairs make a true-to-
form measured drawing necessary. The addition of new vertical elements,
such as stairs and lifts, chimneys or service ducts will be difficult to plan
without a measured survey that accurately describes the distortions of a
building. Complex interior fittings often also necessitate precise measure-
ments taking into account all surface irregularities. And even the partition-
ing of large rooms entails an accurate survey, possibly without the record-
ing of distortions. What happens when the proposed minimum toilet facil-
ities no longer fit as planned because the wall length is actually 10 cm short-
er than shown in the plan?
In general when drawing up plans for existing buildings it is advisable to
choose a scale that is twice as precise as one would normally use – for exam-
ple, a scale 1:50 for the design planning. The extra effort incurred is not as
excessive as it once was, thanks to computer-aided design.
Apart from planning considerations, good drawings make it considerably
easier to reckon up with the various contractors once works have been com-
pleted.
The measured drawing represents the state of the building as found when
the survey is undertaken. Additional interpretative annotations as regarding
alterations and changes, for example, are interesting and desired. However,
interpretation does not mean that supposedly less important information
can be omitted in the interests of speeding up the process of surveying. This
is important not only for methodical reasons but also in order to accurately
record all planning data.
Whether the building is recorded by hand using pencil and measuring tape,
or digitally using a laser theodolite or 3D-scanner, is in principle largely
irrelevant. In today’s computerised office environment, digital data record-
ing will facilitate the use of the information later in the design process. By
recording digital data in a system that can be updated continuously and by
allocating all data to its precise position in the building, one can avoid the
problem of duplicate measurements mentioned earlier. The traditional
image of the architect setting off with a metre stick in hand to ascertain an
overview of the building is now relegated to the past. However, the simple
length by breadth measurement of rooms, even if using a laser distance
meter, is not sufficient due to the high degree of approximation. Therefore,

58
 Precision levels in measured surveys
Planning purpose Plan contents

Precision Level i
Scale 1:100; Tolerance +/- 10 cm
Schematic survey of the entire building
•feasibility study
only serious deformations
•deriving floor areas and volume
only distinct irregularities in plan
•facility management
simplified representation of wall and ceiling thicknesses
•routine maintenance measures (only)
no fittings (doors, windows)

no finishes

not suitable for design planning

not suitable for building measures
Precision Level ii
Scale 1:50; Tolerance +/- 5 cm
Near-accurate measuring survey of the entire building
• functional planning
deformations < 10 cm
• planning application
clear irregularities in plan
• planning of works that apply to one storey only
near-accurate representation of wall and ceiling
• planning of works for buildings without serious thicknesses
defects or deformations
presentation of the main construction elements
• planning of works for building measures not
schematic representation of fittings (doors, windows)
affecting the building’s load-bearing structure
main room fixtures (wall panelling, suspended
ceilings etc.)

Precision Level iii

Scale 1:25 / 1:20; Tolerance +/- 2 cm
Measuring survey true to deformations of the entire building
• planning of works for buildings with more serious
deformations < 5 cm
defects and distortions
exact plans with all irregularities in wall paths
• planning of works for measures that span several
presentation of the construction in detail
storeys (e.g. lift, stairs, chimney, ducts etc.)
building materials annotated
• planning of works for buildings with valuable
detailed drawings of fittings (doors, windows)
building substance
main surfaces and finishes (wall murals, floor
• building measures in listed historic buildings finishes etc.)

reflected ceiling plans (joist positions, plasterwork etc.)

main historically relevant finds

Precision Level iv
Scale 1:25 / 1:20; Tolerance +/- 2 cm
Comprehensive analytical measured survey of the entire building
• building measures for historically significant
deformations < 2 cm
buildings All aspects of precision level III as well as:

all surface finishes (walls, ceilings, floors)

all fittings and fixtures

all historically relevant finds

Precision Level v
Scale 1:10 / 1:5 / 1:1; Tolerance +/- 1 cm
Detail survey for conservation purposes
• complex structural planning in buildings exhibiting
all individual aspects of the construction

all individual aspects of surfaces
serious distortion
• detailed repair measures
stone tooling

• detailed interior planning
wall murals

• detailed planning of restoration works

 for almost all planning requirements regardless of the precision level
required, the creation of measured drawings is generally undertaken by spe-
cialists, usually employing specialist equipment (although this does not pre-
clude architects from acquiring such specialist knowledge). As a result, the
architect will need to clearly define the services required of the surveyor.
The definition of requirements for later design purposes can be as critical
to the usability of the survey as the level of precision required.
Contrary to common practice, reliable measured drawings should not be
drawn up in the office from more or less intelligible sketches and lists of
measurements. Instead, it should be created and drawn on location. The
measured drawing is neither a presentation drawing nor a working draw-
ing. It has its own qualities, which are derived from the requirements of
documentation and building surveying. It should be undertaken using a
hard pencil (6H) on polyester-based drawing film, a 4H pencil on stiff
paper (e.g. Hammer 4R) or with a tacheometer (total station) and laptop as
a CAD-drawing. One should draw only what one has measured directly on
to the medium without intermediate sketches. The pencil has proven a tech-
nically versatile, robust and durable instrument and is commonly used not
least because it is possible to immediately rectify any errors. Film is dimen-
sionally stable, i.e. does not stretch, and is resistant to tearing, to warmth
and in particular to moisture (e.g. rain!). However, film is not entirely resist-
ant to ageing. Documentation drawings (e.g. for conservation archives) are
therefore often recorded on acid-free paper.
By drawing up on site, measuring errors can be detected and verified imme-
diately. As the drawing slowly progresses from the overall reference system,
the base line, measurement grid or traverse to basic data, internal structure
and details, each step builds upon those previously taken. Errors become
immediately apparent – the draughtsperson notices an anomaly and can
track down the error by taking control measurements. Anyone who has
attempted to locate an error in a drawing produced in the office or in hasti-
ly taken site sketches will recognise that, despite its apparent laboriousness,
drawing on site may indeed be quicker and certainly more accurate.
Drawings made on site also tend to reflect more of the character of an old
building: the determining characteristics of the building are captured more
easily and where the material qualities of surfaces are drawn, their graphi-
cal treatment appears more authentic. Drawing is in essence a personal
study of an object. Observations, thoughts and questions which arise dur-

60
ing the process of drawing can be recorded immediately as annotations. If
the drawing made on site does not copy well, it can quickly be traced in the
office as the original is known to be reliable. In many cases drawings are
redone for particular purposes, for instance for the structural surveyor, for
charting defects or as artwork for publication, and the layout and format
may be adjusted accordingly.
The surveying of buildings is not so much a science as a craft. The methods
themselves are relatively straightforward and by keeping the working
process as simple and methodical as possible, the survey will be both more
accurate and progress more rapidly. The complexities of buildings make the
process more complicated, however with a little experience and routine the
measuring process will progress quickly.
Given the widespread availability and comparatively low cost of reliable
laser theodolites, a geodetic survey of a building will almost always be
undertaken, not least because the surveyor’s recorded data can be used
directly for the later design phase. When undertaken correctly, the resulting
measurements are not limited to a particular scale representation. The diffi-
culty lies in the high degree of detail and in the accompanying poor visual
clarity of geodetic survey drawings. However, a geodetic survey can contain a
great degree of information on individual elements in one drawing and, in
contrast to the hand drawing, these can also be organised in different layers.
Distortion-rectified photographs allow accurate measurements of
planar surfaces to be derived, and their use has become more common
since the advent of low-cost digital photography and a variety of user-friend-
ly software packages. The dimensional accuracy of a rectified image applies
only for a single two-dimensional planar surface, which should be flat and
not be curved or otherwise distorted. Projections and indentations as well
as openings and architectonic modulations will be out-of-scale as they
appear overly distorted.
This limitation does not apply to stereo photogrammetry. This method
can be used for the detailed recording of entire (scaffold-free) elevations and
is particularly useful for detailed and strongly delineated façades. For the
proper photogrammetric recording of buildings with more than three
storeys, a crane-mounted aerial platform may be necessary in order to
obtain unobstructed photographs of the upper storeys. Current photogram-
metry systems capture data in digital form and, when carefully planned, the
data can be used directly for the later design phase. Photogrammetry is

61
 rarely used for surveying building floor-plans, particularly since the advent
of digital recording methods.
Today’s high-performance computers enable content from different kinds
of surveying systems to be integrated in a single data set. A photogrammet-
ric or rectified image can be included in a sub-layer of the geodetic survey;
likewise a detail hand measurement of intricate surface details.
The advent of 3d laser scanning technology is changing the way in
which buildings are recorded. Laser scanners employ a principle that is
similar to that of the laser theodolite. Using a laser theodolite, each point is

Digital measured drawing with individual details of fittings and floor finishes arranged on
different layers; on the left the layer structure on screen, on the right the plotted drawing.

A hand measurement showing all surfaces. The drawing serves as a basis for
reconstructing the 17th century pattern of use.

62
 Late 13th century

Early 14th century – 1330

14th century

Early 15th century – 1447

Mid 16th century

Early 17th century

Late 17th century

1890s

1900 – 1904

1908

1908 –1945

1945 –1989

1989 –2000

Digital measured drawing with building phases marked.

chosen and its coordinates are recorded one-by-one. The laser scanner
records a large number of points automatically and in rapid succession gen-
erating a so-called point cloud with millions of points. A disadvantage is
that to obtain data in a form usable for the later design planning requires
considerable computer processing resources. Automated systems capable
of producing useful results are not yet available; however, technical develop-
ments will most certainly make this possible in the near future. The advan-
tage is that the point cloud contains a precise and complete image of the
existing building fabric as a reference for the architect.

63
 For architectural surveying, the architect
will need to decide upon the point density
required to adequately record a surface. A
point density of 5 mm is sufficient for accu-
rate building surveys and detailed planning,
and can be achieved by most currently avail-
able systems. The significantly more accu-
rate structured light systems are not suit-
able for recording large surfaces due to their
limited range, but they are useful for record-
ing individual areas of detail.
The assumption that a particularly complex
and modern approach will automatically pro-
vide more reliable results cannot be con-
firmed in practice. The skills, training and
commitment of the surveyor will continue to
be the primary determinant of reliable results.
Therefore, architects should request refer-
ences and samples prior to commissioning a
surveyor. For comprehensive surveys it may
also be wise to formally accept and test inter-
Cracks on the building elevation are marked on a
rectified digital photograph. mediate survey results (on the computer).

64
 Repairs/completion with mineral mass
Stonework repairs with silicic acid ester
Splicing or replacement with new
New element as reconstruction
Repairs/reinstatement of historic scaffolding
Stonework repairs around historic scaffolding
holes

Stereometric evaluation representing all joints with

two lines of a photogrammetric analysis of Speyer
Cathedral, Germany, for use in the restoration of
stonework (in this case additions and repairs).

65
3D laser scan: on the left the point cloud as captured
by the scanner, on the right the graphic interpretation
of the data as section and elevation.

Building survey
The building survey reveals the relationships between the original construc-
tion and any alterations that may have been made to the building’s plan,
structure and fittings over the course of its lifetime, as well as any dangers
or defects that may have arisen in the process. An understanding of the
load-bearing structure is of particular importance, and the condition and
technical properties of the building and materials are also relevant.
A systematic survey of the condition of a building and a diagnosis of all
defects is a necessary prerequisite for the later planning process, not just
from a technical point of view but also with regard to building costs.
Without knowledge of the extent and implications of defects and damages,
the architect will not be able to act professionally. What actually constitutes
a defect is not, however, always as obvious as it may seem – besides other
aspects, the assessment depends on the planning approach taken.
As with the measured survey, a systematic and methodical conditions sur-
vey requires expert knowledge and is usually undertaken by specialists.
Whilst many may find it interesting to investigate and unravel the history

66
 Not every defect is a problem: determining the history of
the building structure

Houses on the Mühlenstrasse 2–3 and 4–5, 1999

Havelberg, Germany
Client: Havelberger Hoch- und Tiefbau Street façade.
Survey: Yngve Jan Holland, Stefan Breitling

A thorough knowledge of the history of a building is vital in

order to be able to reliably plan safe and sustainable build-
ing works. The original half-timbered building was con-
structed after the devastation of the Thirty Years’ War in
1660 and is one of the oldest houses in Havelberg. At first,
expensive foundation works were proposed due to the
marked settlement of the building. A two-day building sur-
vey was sufficient to draw up the necessary documentation,
to analyse the dates of the building phases and to clarify the
condition and structural stability of the building. The invest-
Rear elevation showing finds
igation showed that the building was stable and had and building phases.
remained so for at least 150 years. The distortion of the
building was the result of a fire and subsequent repair
measures undertaken in the 18th century, in which the floor
was levelled and the timber frame had been shifted. The
expensive foundation works proved to be unnecessary; the
investment in the survey and investigation led to consider-
able cost savings.

Roof plan.

Longitudinal section through the roof structure looking north.

Building phases

pre 1660 1st half 20th century

after 1660 After 1945

18th century Unknown

early 19th Dendro inspection point
century
after 1855 Camera position
 of the building, without appropriate knowledge it is all too easy to overlook
important facts, damage valuable building fabric or recognise it too late as
such. It is the architect’s task to determine the extent of investigations
required, which specialists need to be consulted (e.g. conservator, archaeol-
ogist, historian and dendrochronologist) and to define their activities appro-
priately and precisely. It is no longer realistic to assume that architects can
cover all these fields themselves. Instead, an architect should have sufficient
knowledge of the building survey to coordinate and direct all the tasks. Only
he or she is able to define the requirements of the individual investigations
and to resolve their interdependencies with a view to obtaining useful
results reliably and economically. Clients will be sceptical about open-ended
“research” that may result in lengthy, expensive and possibly even unneces-
sary investigations. It is therefore all the more important that the kind and
scope of investigations are selected and clearly defined with a view to clari-
fying specific questions or problem areas. The purpose and form of special-
ist investigations and their relevance for the project objectives should
always be evident, and although they will inevitably contain some jargon,
they should be understandable and of use to other participants.

Building archaeology
A building survey begins by determining the evolution of a building, i.e. the
phases in which a building has been constructed and the history of any alter-
ations made. An understanding of a building ’s evolution is a prerequisite
for assessing the origins of building defects, whether manifest or hidden.
The survey also reveals the cultural and historical value of the building,
again, both where it is plainly visible and where it is concealed. For the archi-
tect, it provides information regarding the qualities of the building and its
deficiencies. In order to stabilise the building, it is necessary to understand
the building structure and any potential defects. Similarly, an awareness of
the former spatial arrangement of rooms provides useful clues for the later
design phase. For example, throughout the 19th and 20th centuries large
rooms were often subdivided into smaller spaces – the history of alterations
made to a building indicates where partitions can be easily removed to cre-
ate a more useful or attractive building plan without requiring too much
work and without impacting on the original structure of the building.
A historical investigation reconstructs the history of the building, represent-
ing the time of origin of individual building elements in plan, section and

68
elevation drawings that denote the original condition and
the subsequent major building phases. The reconstruction
should address the architectural history, any structural alter-
ations made as well as changes in how the building was
used. Naturally, such investigations will involve research in
archives and reference literature. The building phases are
commonly marked in drawings using dark colours for older
periods and successively lighter colours for subsequent
phases. Isometric drawings of the individual building phas-
es help to communicate and understand the findings.
Even when it is possible to conclusively reconstruct the
entire history of a building, this does not automatically
mean that a particular previous building phase (whether as
originally built or a later phase) has to be reinstated.
An archaeological investigation of a building involves both
non-destructive means of analysis as well as techniques

The plan from 1903 was used to obtain building permission and shows
only some of the alterations that have taken place over the centuries. The
remainder can only be determined by a detailed investigation. The build-
ing phase plan summarises the results.

pre 1504/05

approx. 1560

approx. 1600

18th century

1903

69
 Measured drawing and interpretation of Freyenstein Castle, Germany.
The accurate digital measured drawings serve as the basis for the
building phase plan. By linking together the finds in three dimensions,
the evolu-tion of the building can be traced, illustrated here in three
building phase models.

Reconstruction proposal of
the condition in 1500

Reconstruction proposal of
the condition in 1620

Reconstruction proposal of
the condition in 1900

Cro
ss s
ect
ion
ion Pla
ect n
al s
din
gitu
Lon
70
Documenting and understanding complex structures
using a 3D digital survey model

Nidaros Cathedral, octagon, research project 1999–2004

Trondheim, Norway
Client: Nidaros Domkirkes Restaureringsarbeider
Project leader: Stefan Breitling

The octagonal apse at the east end of Nidaros Cathedral is

one of the most interesting of its kind in a medieval cathe-
dral. The early gothic building was begun in 1161 and later
became an important destination for pilgrims in the 13th
and 14th centuries.
The complex architectonic form made it necessary to repre-
Interior view of the octagon
sent the building spatially in three dimensions. The detailed looking east.
measured survey, in particular of the junctions as well as of
numerous details, provides indications of the design and
planning of the choir. By analysing the settlement and dis-
tortion of the different parts of the octagon it was possible
to date the different sections. A three dimensional tacheo-
metric survey served as the basis for an HTML-based digital
building information system in which all available docu-
mentation could be collated. The information could be
made available to the different specialists involved in the
monitoring and planning of restoration works.

Section through the octagon of Rotatable 3D digital model with

Nidaros Cathedral looking south; database system and context
produced from 3D digital model. menus providing information in
HTML form. The picture shows the
Plan of Nidaros Cathedral. building ornaments. Rütenik 2004.
System: Breitling 2005.
 drawn from archaeological stratigraphy. Where destructive techniques are
used, it is vital to minimise damage to the existing building fabric as much
as possible, however seductive it may be to “delve deeper”.
Historical building plans can provide first indications of previous alterations.
An apparently irregular arrangement of different sized windows in a façade
can point to a changeable building history. Distortions in the building struc-
ture may have been caused by a deficient building structure, and walls with
differing thicknesses or changes in direction can indicate alterations or dif-
ferent construction periods. More subtle transitions can often be detected
more easily with the help of sidelight. As a rule of thumb, similar patterns
of change may often have occurred around the same time. Similarly, changes
in building materials also point to different construction periods.
The location of concealed elements of the building structure can be detected
using thermography. Although more commonly used to detect heat loss,
thermography can also be used to reveal subsurface structures when the
mechanical properties of the building materials are sufficiently different.
Other remote-sensing technologies such as ultrasonic or microwave analysis,
as seen in medicine, are rarely used, primarily due to the high cost involved.
Where the analysis of archive documentation and non-destructive methods
show that alterations have taken place, it will often be necessary to open up
the building structure to extend one’s
18th century building plan: the different wall thickness- understanding of the situation. Such inves-
es and their seemingly irregular arrangement indicate tigations will necessitate some form of
that the symmetric building complex incorporates
parts of an earlier building. destruction and should therefore be chosen
with great care. Costs are incurred not only
for the opening-up but also for the later
reinstatement, and any damage affects the
value of the building. In listed buildings
such operations require specific consent. In
all cases, openings should be kept as small
as possible and should not impact on the
overall appearance or the surrounding fab-
ric. The perimeter of openings to be made
should be clearly delineated and identified
with a reference marker (see also room log).
Widespread destruction of building fabric
through the excessive or careless opening-up

72
of floors and walls, regardless of by whom or
for what reasons, represents negligence on
the part of the supervising architect.

The opening-up of building fabric, whether

undertaken by the structural surveyor, tim-
ber infestation assessor or others, should
generally be supervised by an architectural
historian or conservator to avoid important
building substance from being overlooked
or inadvertently damaged.

The purpose of archaeological investiga-

tions is to clarify questions that cannot be
answered by pure observation. Typically this
involves opening-up seams between parts of
buildings from different construction peri-
ods, transitions between materials or open-
ings that have been bricked- up or otherwise
sealed. Because such procedures inevitably
result in damage to the building fabric and
Sidelight makes alterations and deformations
possibly also to as yet undiscovered valuable more visible.
building substance, it is advisable to begin
where damage is already evident, e.g. at cracks in plaster or where previous
interventions have been undertaken. This strategy may also prove useful
because cracks are often an indicator of concealed defects or finds. In this

The spatial arrangement of finds is often of special sig-

nificance. It is indispensable to show them in their
physical relation to one another.

73
 From defects analysis to planning concept

Heubach Castle, library and museum, 1991–1997

Heubach, Germany
Client: Heubach Town Council
Architect: Johannes Cramer

The aim of the project was to conserve the valuable 16th and
17th century interiors and to insert a modern use into the
historic building. The former seat of nobility was erected in
1525 on the remains of an earlier building and in 1627 was
Gable after completion with a
reconstruction of the colour subject to major modifications. Few further alterations took
scheme from 1627. place and in 1983, when it was taken over by the municipal-
ity, much of the building substance was original, although
Interior view of the library with
traces of walls dating back to 1627 suffering severe decay. The damage was so serious that the
visible in the floor. demolition of the building was considered.
The badly damaged timber construction has been strength-
ened through the addition of a secondary supporting struc-
ture of high-strength steel bearing beams and stainless steel
columns. The structure extends into part of the second
floor. An accurate measured survey was vital for both the
planning and on-site insertion of the structure. The historic
surfaces have been conserved both indoors and outdoors.
The variety of different artistic finds that survived the ages
could be conserved without the need for large-scale comple-
tion. Traces of the past history of the building have been pre-
served and have a subtle presence.

New supporting structure with stain-

less steel columns and steel joists run-
ning the length of the building, pro-
filed to reflect the bending moment.

Stone-for-stone measured survey of

the gable with details of all finds,
ranging from indications of altera-
tions to remains of old plaster.
The existing building as generator for the design concept

Balbarini townhouse, 1989

Pisa, Italy
Client: private
Architect: Massimo Carmassi

The history and artistic qualities of this much altered town-

house were first fully revealed through a detailed building
The exposed masonry walls and
survey. The exposed walls exhibit clear traces of the building’s the delicate stair together form a
past and the variety of colour schemes from different periods new layered space.

read like a lexicon of interior design through the ages.

The design concept treats the various historic finds as
apparently random fragments of interior scenery and the
lightness of the modern interventions is designed to con-
trast with the “maltreated” original fabric of the building.
The new circulation requirements are achieved by introduc-
ing delicately detailed glass walls, thus adapting the existing
building to its new use. The result is a stimulating tension
between new and old.

The fragmentary layers of wall decoration describe

the long history of the house.

Detail drawing for the insertion of the glass wall. Isometric drawing showing historic fittings
and new insertions.
 way several questions may be clarified at once. The relative age of walls in a
room is best checked at corners where two surfaces meet rather than in the
centre of each surface. Once a pattern has been established, it is not neces-
sary to check every single instance, e.g. where vertical cracks mark the posi-
tion of timber posts in the subsurface, one
need not reveal each and every stud.
Building archaeology is a specialist skill and
it would exceed the scope of this book to
cover specific situations in detail. It suffices
to say that aspects such as the composition
of mortars, the effects of repointing, empty
halves of timber joints in the roof structure
and a plethora of other specific cases indi-
cate to an experienced building archaeolo-
gist where alterations have been made, how
the pattern of use has changed and when fit-
tings have been added.

The thoughtless removal of plaster without prior inves-

tigation by a restorer has resulted in the destruction of
a large area of old coloured plaster. Regrettably the
result of incompetence.

76
A conservator’s appraisal is an external
and internal assessment of the existence,
condition and historical importance of fit-
tings and fixtures associated with a building.
Unlike the present day practice of fitting out
interiors, in all ages and into the 20th cen-
tury the wall was regarded as the bearer of
architectonic and artistic decoration.
Intricate wall murals, historic wall cover- Renovated
ings, colouring and plasterwork are among interior with
panel showing
the many different artistic expressions that an older colour
are likely to be found in historic buildings. scheme.
In many cases, such finds are buried
beneath later layers of plaster or wallpaper and it is essential to systemati-
cally clarify the existence of original finishes prior to the design phase. Such
investigations are typically undertaken by a qualified architectural conserva-
tor or restorer with specialist knowledge of plasters and colours. A conser-

Record sheet. Successive layers of wall coverings can reveal interesting finds.

77
 From church to barn to cultural centre

Cultural centre in the Bernhard chapel, 1991–2002

Owen, Germany
Client: Owen Town Council
Architect: Hans Klumpp

Until 1999, an unprepossessing farmhouse stood on the

edge of the market place in the town of Owen. In 1877 an
obsolete tithe barn, which had originated from an earlier
church that had survived after the Reformation, had been
Exterior view after completion.
Rough plaster is old, new is smooth. turned into the farmhouse. Two extensive frescoes with
medieval wall murals had survived all later alterations, hid-
den behind stacks of hay and thick layers of plaster. It was
damaged and incomplete but still legible in structure and in
details. The design concept opened up the entire area of the
former nave. All new additions are clearly recognisable as
being ‘modern’. In a complex restoration process, the his-
torically important wall murals were carefully revealed,
cleaned and in parts retouched to improve legibility. For
experts it is easy to distinguish between the original and the
retouched areas. The building now serves as a clubhouse
and public space for cultural activities.

Analytical cross section based upon

a stereo-photogrammetric survey
showing the building phases and
wall murals.

The interior after renovation.

A light coloured plaster above and
below the murals, with larger miss-
ing areas in a similar-coloured mor-
tar and tratteggio retouching to
improve legibility.

The condition of the murals after uncovering, cleansing and retouching.

Reconstruction of original colour scheme

Schminke house, 1933/2000

Löbau, Germany
Client: Wüstenrot Foundation
Architect: Hans Scharoun/Pitz & Hoh

The Schminke house by Hans Scharoun is regarded as a

milestone of 20th century architecture due to its radical and
uncompromising design. The not entirely adequate building
techniques of the time and years of neglect had left the house
in a sorry state. The renovation concept aimed to restore the
authentic substance of the building whilst respecting later
modifications. The intention was to draw on an almost com-
Interior after restoration and
plete knowledge of the building and the history of the alter- reconstruction of the original
ations made. Of primary concern was the legibility of colour scheme.

Scharoun’s floor plan and the delicate colour scheme he had

developed. With the help of a detailed conservator’s analysis,
it was possible to reconstruct the entire original colour
scheme. The renovation concept demonstrates an awareness
of the ongoing history of a building, and the original condi-
tion was not restored throughout. The historic colour
scheme was restored only in sections of the building.

View of the building after

completion in 1933.

Detail of conservator’s analysis of Cleansed area of external render Entrance area with reconstruction
the historic colour scheme. showing the original colouring. of the historic colour scheme.
 vator will also be able to interpret the successive layers of plaster and paint
with regard to the chronology of the building. Again, care should be taken
here not to damage large areas of existing building fabric with rough tools
– a breach of basic rules of the discipline. As a specialist for materials, the
conservator will also be able to analyse historic mortars and to manufacture
similar mortars for repairs. Likewise, if historic colour schemes are to be
restored, the conservator can advise on the appropriate composition of his-
toric colours and traditional materials.
As old buildings rest on old soil, one should be aware that any earthworks
undertaken may reveal finds of archaeological interest. Even the
renewal of connections to utilities may turn up finds, and these must gen-
erally be examined by the local authority archaeological department. If rel-
evant finds are discovered, be they the remains of graves, artefacts or parts
of previous buildings, the local authority should be notified. The assess-
ment of the significance of finds should be left to the archaeologists. Finds
may be discovered both outdoors and indoors, for example evidence of for-
mer production facilities. If a find proves interesting the immediate sur-
roundings will be examined to determine the extent of other possible finds
before a full archaeological excavation is undertaken. It can therefore be
advisable to undertake an archaeological investigation prior to commence-
ment of building works in order to avoid unwelcome delays later in the
building process.
Most buildings will contain some smaller
Archaeological find discovered under the floor at finds that may provide clues to the cultural
ground level. Some of the tanning pits from around and historical use of the building. Whether
1700 still contain their original contents.
a lost trouser button, items concealed with-
in walls or a cache of discarded crockery,
these finds reveal a lot about the identity and
the uses of an old building. For receptive
owners or clients, this can add further
meaning to their project.
The desire to conclusively determine the age
of a building and any subsequent building
phases using a variety of dating methods
is widespread, although strictly speaking it
is of secondary importance for the planning
process. For centuries, the dating of a build-

80
ing according to stylistic period has
served as a primary means of determining
the approximate age. Experienced architec-
tural historians will be able to draw well-
reasoned conclusions, although a potential
for substantial error always remains.
Document-based dating can be mislead-
ing: written evidence may not necessarily
refer to the building fabric as it exists in the
present day and dates given in documents
Over a long period of time, broken crockery has
should not be blindly trusted. Inscriptions been thrown through the narrow window into an
can be more reliable but here too a potential inaccessible space.

for error can still exist. It was not uncom-

mon to re-use old building materials in a later building, including those
with inscriptions, and it is also known that inscriptions were sometimes
added at a later date.
Dendrochronology or tree-ring dating is a much more reliable indica-
tor. When undertaken correctly, an analysis of the annual growth rings of
construction timbers enable one to determine the age of the wood precise-
ly. Where in the past entire cross-sections were removed for analysis, today

Piecing together the shards sheds light on the everyday life of the earlier inhabitants.

81
 small timber drill core samples are taken
resulting in far less damage to the building
substance. Both the taking of core samples
and their subsequent analysis are the work
of specialists and specialist laboratories.
Given the general interest in determining
the exact date of a building, the investment
in a dendrochronological analysis is almost
always worthwhile. Other scientific dating
methods such as thermoluminescence dat-
ing (for dating brickwork), radiocarbon dat-
ing, also known as carbon-14 dating (for
The reliability of evidence! How can one explain both
dates above the door? organic materials) or optically stimulated
luminescence (OSL, for mortars) are less
Dendrochronology. The distance between the annual
rings differs according to the climate of each year. A commonly used due to the complicated
long succession of tightly and widely spaced rings never sampling and lengthy analysis procedures
occurs repeatedly. By analysing historic climate data
one can determine when the tree grew from its core to
as well as the high costs and relatively impre-
bark. cise results.
The removal of a cross-section of a beam provides a
good overview but destroys the beam in the process.
A drill core (marked B1 and B2) preserves the overall
integrity of the beam. The uneven growth of the annu-
al rings means that the absolute distances between
annual rings from two drill cores can differ. The pat-
tern of wide and narrow bands is however the same.

82
Structural survey
A structural survey ascertains the general
structural stability of an existing building,
any deformations or distortions of the build-
ing structure and the interdependencies of
individual building elements, which can be
particularly complicated when a building
has undergone a series of alterations. A
comprehensive and precise survey of the
load-bearing structure, describing its char-
acteristics, potential capacity and all defi-
ciencies is an essential part of building
investigations and their representation in
clear plans is a prerequisite for understand-
ing the building structure. Serious damage
can result when supporting walls are
opened up, concealed structural members
Without precise knowledge of the building even a small
are cut through or supplementary strength-
alteration can lead to disaster. The ceiling of the chapel
ening measures are removed because one is on the ground floor of Idstein Castle, Germany, is sus-
unaware of their role or they are judged to pended from iron bands that hang from the roof.
Caution is called for before carelessly sawing through
be of secondary importance. A structural what might at first appear to be an obstacle.
appraisal collates all information relevant
for the later design phase such as the direc-
tion a ceiling spans or the location of
immovable structural elements. A carefully
executed historical investigation of the
building as described earlier will also be
able to determine whether defects that
appear to be drastic are in fact the result of
damage that the building sustained a long
time ago, and therefore possibly are no
longer serious.
An investigation of the load-bearing struc-
ture is therefore only complete once both
the original structure and all subsequent
alterations, together with any resulting
structural implications, have been deter-

83
 mined. Historic load-bearing systems are generally straightforward con-
structions designed to withstand normal compression and tension.
Complex technical engineering constructions are a more recent phenome-
non and even today are less common. Accordingly, with the help of the
building phase plan, it is generally not difficult to determine the original
structural system in the majority of cases. It becomes more complex when
later alterations have affected the building’s structural mechanisms. In
many half-timbered buildings, “bothersome” braces and struts have been
removed as part of modernisation measures, impairing the building’s abil-
ity to withstand distortion. Openings made in supporting walls may affect
how load is distributed across the rest of the structure. Inappropriate
repairs may not adequately fulfil the original purpose and material fatigue
contributes to structural weakness. In many cases, previous deficiencies
may have been solved through additional strengthening measures and like-
wise it is not uncommon to find that whole sections have been replaced in
the past. All such developments also need to be determined as part of the
survey. Only once one has gained a full appreciation of the structure of a
building can one repair or alter the structure appropriately. This principle is
commonly used when analysing the subsoil of a plot of an old or new build-
ing and should be also adopted when working on existing buildings.

As proof of a full understanding of the original structure and any subse-

quent alterations, the load-bearing system should be reconstructed as a
drawing illustrating the different building phases and their structural sys-
tems.

For the assessment of structural stability and load-bearing capacity

of historic building structures as well as of margins of safety, the structural
engineer can draw upon a whole series of calculation models. The structur-
al performance of many historic constructions has been systematically
assessed and engineers will usually be able to base their investigations on
these standard values without needing to ascertain the actual performance
of every structural member in the building, although all models can only be
an approximation of the actual conditions on site. However, more important
than the determination of individual material characteristics is an under-
standing of the overall constructive interdependencies and relationships of
structural components. For example, structural movement is generally
undesirable though in some cases it can be better to observe the pattern of

84
movement over an extended period of time
and to accept it rather than to intervene too
hastily in a delicate construction that is
gradually coming to rest.
Distortions that become evident in the
measured survey and an analysis of cracks
in plasterwork provide a first indication of
possible defects in the structural system.
Not every crack or distortion is necessarily
serious but they should be examined care-
fully. In particular, cracks that are evident in
the uppermost layers of a building indicate
probable ongoing movement. Where more
recently applied finishes over previous
cracks have remained intact, this indicates
that the cause of damage has probably sta-
bilised. Vertical cracks, especially in the cor- Analysis of distortions in a residence in Venice. By
determining the degree of deviation from the horizon-
ners of rooms, may be less dramatic than
tal or vertical, problem areas can be quickly visualised.
diagonal shearing cracks across wall sur-
faces that may result from uneven settle-
ment or load redistribution. In order to
properly assess their significance, cracks Serious problems: The gable wall has collapsed
should be charted across several stories. The previously and been rebuilt. The tie rods barely hold
together the building and new cracks have already
extent and seriousness of distortions often
started appearing.
becomes evident as a result of systematic
mapping, e.g. the recording of height nota-
tions or the use of vectors. Cracks follow the
path of least resistance and it is common to
see them traverse wall openings. Cracks that
appear in conjunction with bulging walls
are almost always a warning signal. The
degree of deformation or distortion and
therefore the implications for structural sta-
bility can be determined by levelling which
should be undertaken as part of the meas-
ured survey. One should be aware that older
buildings can exhibit complex patterns of

85
 distortion and it is advisable to monitor the movement of a building struc-
ture for a longer period of time. The seasons or other climatic changes can
often have an effect on the building, and meaningful results can only be
obtained by monitoring movement for at least one year.
Serious distortions of floors and ceilings are almost always a sign of ongo-
ing structural problems. Insufficient bracing can lead to skews in buildings,
sagging floors can result from the removal of supporting walls in the floor
below and decaying timber pile foundations can cause settlement: the list of
possible causes can be extensive. However, aside from those mentioned, in
most cases the most serious structural damage results from inappropriate
interventions made to the building structure.
Another cause of structural defects in an otherwise intact structural system
is material fatigue or fungal or beetle infestation. The extent, cause and
implications of rusty iron in steel constructions, corroded reinforcement
rods in concrete and organic infestation of timber structures must be con-
clusively examined before the architect or surveyor is able to assess the
structural stability or estimate the cost of necessary remedial works. It is
therefore essential to examine the technical and mechanical properties of
building materials. An investigation of building defects in historic build-
ings is at the same time an examination of the history and cause of defects.
If damage is repaired but the cause is not remedied, further cost-intensive
repairs will almost certainly follow. A replacement for a decayed floor joist
will also gradually decay if the source of water ingress is not remedied, e.g.
a cornice that directs water into instead of away from the masonry.
Similarly, reapplied plaster will flake off repeatedly if the rusty iron lintel it
conceals is not properly treated.

Technical and material investigations

An inspection of the technical and material properties of parts of the build-
ing construction aims to identify the kinds of materials used in the build-
ing and their respective conditions. As with the structural survey, a diagno-
sis of the cause of defects, together with an appraisal of the risk of future
damage and the means of avoidance are central aspects. A materials inspec-
tion takes into account not only damage to the building structure and shell
(e.g. rising damp) but also the condition of fittings and fixtures (e.g. plaster-
work over hollowed out subsurfaces, the condition of windows and floors).
Although the identification and recording of such details at this stage may

86
seem laborious, it proves valuable later when it comes to quantifying the
extent of necessary renovation measures.
As with all investigations, it can be more cost-effective to first undertake an
initial inspection in order to identify the necessity and purpose of further
investigations.
The extent and effects of material sampling should be considered and stip-
ulated in advance of the inspection. Not all specialists will be sensitive to the
value of the existing built fabric and without guidance unnecessary damage
can occur as a result of material sampling.

Non-destructive diagnosis of the structure beneath the “Over-enthusiastic” sampling damages the building. The
render using thermography. degree shown here is excessive, even for complex situations.

The extent of investigations necessary to diagnose the specific problems

encountered should be determined at the outset, i.e. whether investigations
are to be non-destructive, semi-destructive or destructive. In many cases it
will be sufficient to inspect and record damages visible on the surface. For
construction elements that are concealed beneath surfaces, a number of
non-destructive techniques exist, most notably thermography which allows
materials with different surface temperatures to be detected beneath plas-
ter. The same method is commonly used to detect heat loss or measure the
effectiveness of insulation material.
Historic buildings up until the mid 20th century are built from materials
whose properties we know well. Nevertheless, each type of building, each
type of construction and each material has its own specific characteristics
and susceptibilities to environmental conditions, moisture, weathering,

87
 material fatigue and other potentially damaging external influences.
Particular attention should be given to the durability and potential for
defects of comparatively recent constructions and materials, most notably
reinforced concretes and plastics whose longevity has not yet been proven
over hundreds of years.
In general a materials inspection will examine the structural stability of a
material, its robustness, any possible material loss, moisture content, chem-
ical damage and organic decay. As residual moisture is one of the most
common causes of building defects, an analysis of water penetration and
points of ingress is especially important. This includes external conditions
such as ground water level, soil moisture levels, water seepage, rainfall, sur-
face water and splashing as well as internal sources of moisture such as
condensation and vapour diffusion.

FALLACY: “Saltpetre” erodes masonry

Rising damp from the ground that travels upwards through masonry also
transports soluble salts. When the moisture evaporates the salt crystallis-
es increasing in volume by a factor of seven. If this happens in render and
plaster or near the surface of brickwork, it will cause the surface layer to
flake and fall off, a process known as spalling. Cement render is common-
ly applied in an attempt to contain the problem; however, all this does is
simply push the moisture further upwards.

In addition to structural stability, thermal transmission properties, wind-

resistance and acoustic insulation are further relevant material properties.
Only in exceptional circumstances will it actually be necessary to test the
properties of a material, e.g. the quality of timber or compression strength
of stone masonry. Instead, where the properties of constructions or mater-
ials are deemed inadequate, additional secondary measures may be under-
taken to compensate. In most cases, investigations will aim at confirming
the structure and composition of materials. This helps not only to assess the
quality of the building construction as well as its expected durability, but
also to select complementary and appropriate materials for repair meas-
ures. Detailed material investigations are undertaken by specialist laborato-
ries, product manufacturers or certified materials surveyors. In addition to
the accredited materials testing institutes, a number of independent labora-
tories offer analytical services often with a rapid turnaround. Drawing upon

88
vocabulary more commonly used in medi-
cine, they offer early detection and holistic
appraisal services for processes damaging
the existing building fabric. Given that the
architect will not be able to reliably investi-
gate such aspects him- or herself, attention
should focus on the purpose of investiga-
tions and the formulation of questions that
need clarification. This enables the architect
both to determine the extent of necessary
investigations as well as to assess the rele-
vance and implications of the results.
The damage continues on upwards unavoidably
The analysis of building defects should be behind the cement “repairs”. It would have been better
undertaken methodically and on larger sur- to leave as it was.
faces. An isolated examination of the centre
of an area of serious damage can skew the overall picture in which, despite
an area of major damage, a large part of the building may remain unaffect-
ed. The measured drawings serve as the basis for a survey of defects.
The survey of defects charts building damage categorised according to a con-
sistent pattern so that the plan drawings provide a compact overview of the
overall situation. It is advisable to restrict the number of categories as far as
is practicable. In most cases, more than three category colours in addition to
the defect-free area will not be necessary. Major damage is usually marked
in dark red so that the plan already provides a clear graphic indication of
those areas where most building measures will be necessary and changes
are unavoidable. Mapping damaged areas also helps to objectively assess the
overall extent of damage, which may in actual fact be less than originally
thought: serious defects often dominate the impression of a building on site;
few people see how much of the building is free of damage.

Evaluation and interpretation – strengths and weaknesses

The results of historical research, the building survey and the different
investigations undertaken need to be compiled into an overall report which
provides a clear overview of the information obtained and their implications
for the planning objectives. The report should be comprehensible to all par-
ticipants: a pile of individual specialist appraisals is of little help when the
interrelationships between them and their relevance for the project are not

89
The systematic survey of Trondheim Cathedral, Norway, differentiates between the objective recording of data
(left: types of stone) and its assessment (right: defects). The two drawings depict the same thing but convey differ-
ent information. Certain kinds of stone weather more quickly than others. The plinth is subject to greater wear
than the gable. A causal relationship is not automatic.

90
made clear. This should take the form of an evaluative summary that
describes the qualities of the building and its deficiencies. It is one of the
architect’s central tasks when dealing with existing buildings.
Discussions concerning the re-use of historic buildings can often become
contentious, and it has proven useful to describe both the facts and their
evaluation not only verbally but also in the form of plan representations.
These provide an objective summary of factual and verifiable information
and, should discussion arise, enable an evaluation of the implications using
objective criteria.

1. Building phase plan

As described on p. 69. No other plan provides such an immediate overview
of the original building and the alterations it has undergone over its life-
time. In addition, a spatial visualisation of alterations and the phase-by-
phase evolution of the building volume are often particularly informative.

2. Plan of damages
As described on p. 89. Here too, a plan summarising all the individual
building defects recorded provides the best possible overview of the condi-
tion of a building. Areas in which defects are most evident, whatever they
may be, will be those areas requiring major building works. This will often
be where new interventions, for example to adapt the building to a new use,
can be undertaken without causing any conflicts. Conversely, planning
measures should endeavour not to impact upon areas without any damage.

3. Plan of fittings and fixtures

A carefully planned design will attempt to conserve and bring out the qual-
ities of a building. Accordingly, major interventions should not be undertak-
en where valuable fixtures and finishes are intact and complete. A plan of
fittings and fixtures provides an overview of areas where valuable finds exist
and interventions are best avoided and where they can be undertaken with
less impact on the building.
In many cases the plan of fittings and fixtures has been reduced to a map of
positives in which only those building elements of particular relevance for the
further planning process are mapped, leaving out less significant observations.
Whilst this approach concentrates on the most important elements early on in
the design process, one should be aware that it inherently imposes an evalua-

91
 tion and that others may have different opinions on what is regarded as
“important”. A fourth plan provides a discussion and interpretation of the
first three plans:

4. Conservation plan
At this stage, evaluation is explicitly desirable and the plan should serve as
a basis for further discussion. It is the architect’s task to identify and map
all aspects which determine, influence or otherwise restrict the later design
process. The conservation plan draws upon the three plans above and eval-
uates the findings. The evaluation should be marked clearly and unambigu-
ously: it is better to state openly from the outset which elements one regards
as less important rather than to have to enter into heated debate later on
during the building process. The conservation plan usually contains a cate-
gorisation of elements according to their value, e.g. “interventions possi-
ble”, “interventions only in particular conditions”, and “must be retained”.
Categorisations should be made both for the building shell and struc-
ture as well as for fittings and fixtures.
This plan provides a breakdown of the most important findings and the
condition of the building and weighs up positive observations and deficien-
cies. The reasoning behind the evaluation should be described in the text.
The measured drawings, the investigations undertaken and the final analy-
sis of strengths and weaknesses provide the architect with all the informa-
tion necessary for the later development of a design. The challenge for the
architect is to maintain an overview of the many individual aspects that
need to be considered and to develop an overall planning strategy that takes
these into account.
In some cases, the assessment of the preliminary investigations may lead to
the painful conclusion that the intended future use or envisaged building
measures are not compatible with the existing building. An attempt to
implement plans regardless of incompatibilities very often results in large
scale damage to the original building substance and therefore also devalues
the property itself. From an economic point of view, it is advisable to find a
more suitable use for the old building and an alternative housing for the
incompatible function.

92
Further reading
As an introduction to measured building surveying we recommend Cramer 1993, Eckstein
and Klein. Eckert and Franz provide details of working with archives. Matthews is a
standard reference work on modern surveying and further surveying issues are discussed by
Wangerin; digital techniques are illustrated by Wiedemann as well as in the anthologies
by Weferling et al. Rodwell describes his personal experience in the field. An overview of
the application of modern photogrammetry is given by Almagro.
Grossmann 1993, Tussenbroek and Schuller provide a systematic introduction to his-
torical research; Wood illustrates these with many examples and Bedal outlines surveying
approaches to residential building research. The basic standards of archaeological documen-
tation are described by Gerkan 1930, and H. Schmidt and Docci describe the history of
the methods employed. Dendrochronology is described by Schweingruber, Eissing and
Schöfbeck. The use of thermography in surveying existing buildings is described by Cramer
1981.
The fundamental principles of restoration are described in Brandi and Schädler-Saub.
Renfrew and Fehring describe the basic archaeological principles. The documentation of
building measures for historic buildings is described by de Jonge/van Balen,
Petzet/Mader, Thomas and Mader. The room log was developed by W. Schmidt.
Simplified approaches to surveying are described by Arendt, Kastner, Bauen im Bestand
and Klemisch. Gänssmantel/Geburtig/Schau illustrate how modern building docu-
mentation methods have progressed beyond the traditional graphical building survey to
serve the purposes of facility management.

93
DESIGN STRATEGIES
Every place is open to innovation as long as there is innovation. Giorgio Piccinato

Developing architectural designs in the context of an existing building is no

less demanding than creating a design for a new building. The development of
an effective and functional building plan, a coherent design concept and the
coordinated choice of materials is just as important for old buildings as it is for
new. In the process of converting an old building, the architect should be aware
that a consistent approach is required in order to avoid the large number of
bespoke situations from leading to a variety of disconnected, individual solu-
tions. At the same time, the existing building should not be subordinated to an
artificial conceptual straitjacket, nor be disfigured to the extent that it is no
longer recognisable – effectively resulting in the loss of its qualities. The ten-
sion between the specific individual character-
istics of a building that has evolved over time,
and the desire to achieve a coherent and con-
sistent design concept, is what characterises
architectural design in the context of existing
buildings. A good design concept not only
exploits the qualities and possibilities a build-
ing offers; it contributes to contemporary
architectural discourse and also upholds sus-
tainability far beyond the guarantee period.
And even more than in the design of a new
building, the quality of workmanship is deci-
sive for the quality of the final result.

Modernisation of a façade from the turn of the century

in Milan, Italy (Giovanni Muzio, 1923). The unusual
solution earned it the nickname “Ca’ brutta”.

The Marienkirche in Müncheberg, Germany (Klaus Bock, 1999). The insertion of a library 95
into part of the church interior occupies a space no longer required for the smaller church
congregation.
The Alte Pinakothek in Munich, Germany, reconstructed using the rubble in a simplified
form. An iconic work of architecture in existing fabric (Hans Döllgast, 1956).

96
Designing with history
The challenge of using an old, often dam-
aged, building as the basis and context for a
new and ambitious design project was first
taken up in modern times by architects
rebuilding cities after the ravages of the
Second World War. Projects such as Hans
Döllgast’s creative reconstruction of the Alte
Pinakothek in Munich or Rudolf Schwarz’s
work in Cologne are justly famous and still
exemplary today. Although many compara-
ble projects were undertaken at the time,
none of the protagonists developed a theo-
retical approach to their design and much of
their experience was lost after the main
wave of reconstruction had been completed.
In the 1960s and early 1970s, Carlo Scarpa
remained as the solitary protagonist
involved in architecture in a historical con-
The reconstruction of the Gürzenich in Cologne,
text, with his exacting and meticulously Germany, a leading example of a self-assured and yet
detailed designs strongly informed by the historical reconstruction after the war
(Rudolf Schwarz, 1958).
tradition of arts and crafts. His approach to
presenting historical fragments and of char-
acterising individual formal values was
inspiring to others, and a small school of
Reconstruction using old building materials and
like-minded architects formed including a composition of historic remnants from war
Karljosef Schattner, Guido Canali and rubble in Wroclaw, Poland.
Massimo Carmassi. Standing firmly in the
Modernist tradition, they champion its prin-
ciple credo to break with the past and to
innovate without compromise, but in the
context of the historical environment. They
clearly and consciously demarcate the
boundary between the old and new in form
and in principle: the old appears as a relic of
a no longer comprehensible but neverthe-
less dignified past; the new building or

97
 building element distinguishes itself
through its own materiality, employing new
structural concepts and design approaches
as an expression of the present, and of the
future emerging out of it. Such architecture
conveys a message, as if declaring the posi-
tion of mankind as time passes.
The architectural expression and style of
each of these architects is nevertheless high-
ly individual. Out of a primarily analytical
approach, often involving fragmentation
strategies, different styles have arisen:
Scarpa developed a highly poetic architec-
A thematic interpretation of the castle using concrete
and showing little regard for the existing building ture; other architects have employed the
fabric: Castelgrande in Bellinzona, Switzerland strongly didactic approach of a “window on
(Aurelio Galfetti, 1989).
the past” in which an opening in the mod-
ern building frames a view of a section of
the original historic building substance; still others have adopted an ironic
architectural language, such as Schattner’s “falsifications” of historic finds.
In the 1980s some architects began to explicitly emphasise the value of his-
tory in its own right. Carmassi, for example, employs creative processes of
analysis and fragmentation to enhance the quality of the original. In a care-
fully orchestrated process of assembly and reframing, residual colouring is
enhanced or comparatively insignificant historic building elements appear
ennobled when set against a background of facing brickwork. Through their
carefully crafted appearance, these buildings refer to the special quality
inherent in historic architecture.
Renewed interest in the urban and the historical built environment brought
about a revival of renovation and conversion work in the 1970s. Of particu-
lar interest from a theoretical point of view is a greater readiness to draw
inspiration from the historic building fabric and to develop something new
out of its specific characteristics. A careful analysis of the existing context is
used to define the structures within which sensitive modernisation meas-
ures and new designs can be developed.
This kind of analysis based upon an examination of the genius loci, the spir-
it of a place, can be harnessed in other ways for the design process as well.
In his commentary to Rowe and Slutzky’s book Transparency , Bernhard

98
Hoesli adopts a method for the critical analysis for interpreting modern
architecture and applies it directly to design in the historical built context
and within the European city. Drawing upon the notion of transparency, he
reveals structures and geometric proportions in the existing built context,
which are then used as a basis for design. In a manner not dissimilar to the
traditional principles of proportion, he reduced both the existing context as
well as the new design to a series of simple geometric patterns, deriving a
common basis for both new and old. Here the new is not simply created as
a contrast to the old, but as a continuation of its pattern of development. In
this way, a new building, for instance an infill in a row of historic buildings,
is structurally as well as historically related to the place, even if in appear-
ance it looks quite different. This approach can be as simple as continuing
the eaves line and pattern of window openings; it can draw upon particular
formal characteristics or it can choose to highlight an individual aspect of
the history of a place. Several designs by Peter Eisenman and Daniel
Libeskind adopt this latter approach. For example, in their respective pro-
jects in Berlin, an analysis of particular aspects of the context – the resi-
dences of specific individuals or the historical arrangement of the urban
surroundings – provides data points and reference lines, with the resulting
meshwork of lines serving as generators for the design in plan and eleva-
tion. The appeal of such methods is in the understanding of the transfor-
mations of the built environment as a continuum in which the building’s
design is situated. The new building is conceived as a further layer added to the
palimpsest of traces from previous times. Specific historic occurrences are
deemed as being fundamentally important and expressed through the design.
The user or visitor is made aware of the continuum in which he or she stands.
This notion that beneath the surface, basic patterns and characteristics persist,
a kind of baseline upon which the fashions and styles play their melodies, is
fundamental to a specifically European comprehension of the city.
Last but not least, as Alison and Peter Smithson have shown with their “As
found” approach, published in 1990, every urban situation and every build-
ing has its own specific and embedded value – it is the designer’s task to
perceive and discover it. By drawing on this intrinsic value, even a simple
building can assume new meaning and a new future with comparatively lit-
tle effort. The building becomes an objet trouvé, an inadvertent work of art
that touches and engages us with its apparent foreignness and seemingly
unintelligible message from the past.

99
 When one examines current architectural
projects, it appears that many architects
have found a clear concept for developing
designs in the context of existing buildings.
Post-modern complexity, a revival in the
appreciation of character and uniqueness
and a renewed interest in the materiality of
architecture are closely intertwined with the
natural development of the built environ-
ment.
In recent years a fourth approach has gained
increasing importance: the integration of the
new as a conscious continuation of the exist-
As Found – every house has the potential for alteration:
a new layer around an old house in rural surroundings. ing. This approach regards the contrasting of
old and new as visual and functional frag-
mentation at the cost of architectural unity.
Street scenes characterised by a series of excessively strong architectural
statements are regarded as undesirable, possibly because after the initial
attraction has waned, the danger is that one is left with a series of empty
clichés. The wish for greater unity and harmony in the built environment
goes hand in hand with a latent desire to smoothen the transition of history.
Against this background, design in the context of the built environment
becomes a statement of the architect’s attitude towards history.
Does design within the built environment differ formally from that for new
buildings? The answer is, of course, no. Many of the design strategies, con-
cepts and possibilities described in this chapter have originated in new
buildings and have later been applied to conversion projects; others have
made the opposite transition. For example, MECANOO’s and Erick van
Egeraats’s concept for a conference room, suspended in the courtyard of a
turn-of-the-century town house, is in principle identical to a similar formal
solution by Frank Gehry in the entirely new building for the DG Bank in
Berlin. The exposed cable-runs fixed to the facing concrete of the Kunsthal
in Rotterdam, planned by Rem Koolhaas and built in 1993, also represent
an ideal and sustainable solution for an old building. And ever since the
Centre Pompidou in Paris, the arrangement of circulation and services on
the outside of a building has also become well-known for new buildings.
Similarly, the variety of different forms seen in buildings that have under-

100
gone many changes in their lifetime has become inspirational for a gener-
ation of post-modern designers. Hans Hollein’s “Haas-Haus” in Vienna
exhibits this approach clearly. Similarly, Charles W. Moore’s project for the
Piazza d’Italia in New Orleans, the dislodged stones in James Stirling’s
Staatsgalerie in Stuttgart or the provocative projects by SITE in the United
States are further examples of modern architecture that play with the theme
of historical fragments. Even the most straightforward continuation of his-
torical forms into the present, a long unbroken tradition in the English
speaking world and France, so vehemently opposed by international mod-
ernism in the 1920s, has seen a revival in the architecture of Hans Kollhoff
or Paul Kahlfeldt. Why shouldn’t such approaches to new building apply
equally well for working with existing buildings?

Disposition The complete gutting of the salt museum in Hallein,

Every design for an existing building Austria: a reductionist approach leaving only the
external walls standing and discarding the social,
changes it in some way. The change is inten- historic and aesthetic value of the existing building
tional and accepted as such. In this respect, (Heinz Tesar, 1995).
designs for existing buildings differ funda-
mentally from the special case of conserva-
tion work, which regards all change with a
degree of scepticism. However, the fact that
alterations will be necessary and also desir-
able should not serve as an excuse to effect
changes that significantly impact on the
identity of the existing building. The gutting
of a building in order to achieve an optimal
spatial arrangement effectively eradicates
the building’s identity and the ability to use
its existing structure in any other way in the
future. The consideration of an existing
building only in terms of its external appear-
ance and urban presence ignores its cultur-
al and artistic values and shows disregard
for both cost-effectiveness and sustainabili-
ty. The decision to gut or demolish a build-
ing is almost always the result of inflexibili-
ty and a lack of willingness to engage cre-

101
 atively with the building as found. Through the selection of an appropriate
use, where necessary with auxiliary buildings for special requirements, it is
possible to find an architecturally appealing and functionally effective solu-
tion for almost any historic building.

Definition of appropriate function

A fundamental aspect of the quality of a design is determined at the very
outset of the planning and design process: to what degree is the envisaged
use compatible with the existing building? A continuation of the existing
function generally results in the least conflict. It is easier to plan new flats
in an existing residential building or offices in a former factory than to con-
vert a multi-storey car park to owner-occupied flats or open-plan offices to
urban residences. The notion that the best use of an old building is the con-
tinuation of its existing function was first explicitly formulated as part of the
1964 Venice Charter. However, the architect should not view this dogmati-
cally. Sometimes the mark of a successful project is the tension between the
expected use, i.e. what the original building conveys, and a completely dif-
ferent, new function that has been cleverly fitted into it. It should, however,
also be self-evident that a radical change of use will almost always involve
major and costly conversion works to the
Smaller room partitions beneath a large Baroque building substance and may often cause a
stuccoed ceiling. The new walls maintain a distance to series of additional problems. The conver-
the existing building, a technique previously used by
Le Corbusier in the 1920s. Markt 33, Braunau, Austria sion of fifteen town houses to a hotel will
(Laurids Ortner, 1994). necessitate major changes to the access and
circulation; likewise, the introduction of
flats into a former church will involve signif-
icant new structural works. Not every client
can be convinced of the necessity of such
expensive solutions. A design for an existing
building will be most successful when it
avoids unnecessary problems. For this rea-
son, the existing building structure should
inform the future use of the building, and
not vice versa. This is not simply a matter of
quantifiable material advantages but also of
the nature of the building: the “aura” of a
historic building informs its later use. It is

102
Renovation as a fragment

Municipal archives in the Church of San Agostin, 2004

Valladolid, Spain
Client: City of Valladolid
Architect: Primitivo Gonzalez and Gabriel Gallegos
The condition of the church before
In the first half of the 20th century, the baroque church had conversion works began.
already decayed considerably and the monastery had had to
be demolished. After extensive archaeological investigations
had been undertaken, the conversion of the building for use
as the municipal archives began. The aim was to maintain
the ruin as a legible fragment: the collapsed vaulted ceiling
is capped by a modern wooden ceiling, the stumps of bro-
ken walls are plainly whitewashed, and the uneven old walls
contrast with the smooth insertions made of wood and
metal. Remains of the Romanesque cloister arcade are pre-
sented out of context on a raised “rack” for all to see.
Archaeological dig in the nave
of the church.

General view showing the raised display of the remains of the cloister.

The old irregular walls contrast with the smooth The interior of the church houses
modern insertions. the reading room.
 no coincidence that most former churches are re-used for cultural purpos-
es such as museums, public function rooms or concert halls and not for
commercial or residential purposes. An appropriate choice of function will
also be most readily accepted, and therefore contributes to the long-term
sustainability of the conversion works.

Sensitive interventions
The building plan, the distribution of rooms and the circulation in an old
building very often differs from the typical arrangement that would be used
when planning a new building. Room heights may be too high or too low
and the proportions, shapes and succession of rooms in old buildings were
generally determined by the evolution of the building, the pattern of use
and the technical limitations of the time. Very often the historic pattern of
circulation and access is at odds with contemporary requirements: the
Baroque enfilade of rooms was the height of fashion in its day, but today it
results in rooms trapped behind other rooms; narrow staircases were nor-
mal up until the 19th century, today they are unacceptable. Grant funding
sometimes stipulates particular room sizes for particular functions. The
temptation to alter the existing plan through the removal and re-introduc-
tion of walls so that it fulfils the requirements is understandable. It goes

The concert hall as an autonomous construction inserted into the Beurs van Berlage
Commodities Exchange in Amsterdam built by Berlage in 1904 (Zaanen/Spanjers, 1990).

104
A stair that supports the house

Tabourettli Theatre in the old Spalenhof, 1988

Basel, Switzerland
Client: private
Architect: Santiago Calatrava

On the upper floor of a late medieval house in the old town

of Basel, a hall was to be converted for small-scale events.
The atmosphere of the surroundings is characterised by its
history. The adaptation of the rooms made improvements to
the circulation and the structure necessary. The design solu-
tion combines both in a single structure: the stair construc-
The elegant sweeping stair leading
tion transfers the load of the upper storey to the foundation. to the theatre.
The flamboyant design of the stair is mirrored in the treat-
ment of the ceiling and furnishings.

The modern support structure designed by

Santiago Calatrava (model photo).

Sketch illustrating the construction

principle.

Section showing the extent of building measures.

The new structures are marked in red.
 without saying that such design strategies not only impact significantly on
the identity of the old building but also entail major alterations to the build-
ing structure with all their associated technical and structural conse-
quences. The most sensitive option therefore is to maintain the basic room
structure as dictated by the load-bearing structure. Partitioning walls that
are non-load-bearing, whether part of the original building or added at a
later date, can be removed without any consequences for the building struc-
ture, although it is important to bear in mind that their removal may impact
on valuable fixtures or finishes.
These considerations do not mean that changes to the building plan should
be rejected outright, but at the same time at it makes little sense to shift a
wall by a few centimetres to fulfil grant stipulations or to slightly raise a ceil-
ing to conform to minimum room-heights for building regulations. In both
cases it can be more viable to leave large areas of the existing building as
they are and to compensate for the disadvantages with more radical inter-
ventions in other areas of the building. For instance, one could completely
remove only some of the too low ceilings; where a part of the building is
badly damaged, this section could be completely rebuilt with a different
building plan; a tiny bedroom could be compensated for with a spacious
and airy living room in the roof space; dark access corridors can be made
more attractive through naturally lit seating areas at each end. Old buildings
only rarely correspond to schematic standards, and in the same way as
relaxations to regulations are gradually being granted in recognition of this,
the planning approach should focus rather on the strengths that a building
has. The aim of planning should on the one hand be to maintain and build
upon the identity of the building in its structure and plan, and on the other
to improve its usability and make it more attractive through well-chosen,
selected interventions.

106
Auxiliary constructions
Over the past decades, our expectations of comfort levels as well as technical
building standards have changed radically. As a result, very few old build-
ings are able to fulfil contemporary expectations without some degree of
modernisation. Typically each deficit is investigated and remedied in turn,
however a more holistic approach can prove more effective: by locating those
functions that require more serious changes in order to fulfil modern-day
requirements in auxiliary constructions, for
instance in a part of the building that will
need to be rebuilt anyway or as part of an
extension, it is possible to minimise the con-
flict between historic building substance
and modern-day requirements. Even in
cases where new building sections are not
imperative it can still be worthwhile to con-
sider locating complex requirements in aux-
iliary constructions, for instance in the form
of a new extension or external construction.
One of the most common problems is the
provision of lifts and disabled access in his-
toric buildings. In most cases, existing stair-

Improved circulation in the National Portrait Gallery in London made by inserting a new entrance and
stair into a small courtyard ( Jeremy Dixon and Edward Jones, 2000).

107
An additional storey clad in perforated steel sheeting is
added to an unassuming residence in the narrow streets
of Eichstätt, Germany.

In London a new roof structure is hoisted onto an old

building like a big piece of furniture. Its form earned
it the name “White Cube”
(MRJ Rundell & Associates, 2002).

cases and stairs do not fulfil fire safety regulations and their dimensions
and steepness often conflict with building regulations. The first step is to
discuss whether a relaxation of the regulations will be permitted for the old
building substance. However, even if consent is granted, the question of
how to provide disabled access remains. And even if the old staircase was
removed in its entirety and replaced with a new construction, a lift may still
not fit into the available space.
An alternative strategy is often simpler: by locating the new access require-
ments in a custom-built external auxiliary construction, the existing build-
ing fabric can be preserved. As a new construction, it can be built to con-
form to building regulations without impacting on the existing building.

108
Conference room suspended over a courtyard

Bank in a 19th century building, 1997

Budapest, Hungary
Client: ING-Bank
Architect: MECANOO, Erick van Egeraat

The 19th century building is well suited for use as offices

but the integration of larger rooms is only possible by mak-
ing major alterations. The design concept tackles this prob-
lem by locating a large new structure above the internal
courtyard, in this way turning it into an atrium. The struc-
tural capacity of the existing building is sufficient to bear
Glass roof and circulation around
the weight of the new structure which in terms of design is the conference room.
independent of the old building. Its amorphous, organic
form as well as its materials and surface finish contrast with
the surrounding building.

Floor plan at the level of the The freeform conference room sus-
conference room. pended over the courtyard.
 The new construction may be built as a subordinate extension of the exist-
ing building or as a completely separate construction placed alongside but
apart from it. A common strategy is to insert new circulation requirements
in courtyards or adjacent areas of the plot. The roofing over of previously
open courtyards, although often involving complex solutions for fire regu-
lations, ventilation and lighting, can create new and attractive spatial con-
stellations.
The same principle can likewise be applied for other technical requirements
that are difficult to incorporate in the existing construction. For example,
before attempting to integrate new sanitary installations into an old half-
timbered house, or to create large rooms by demolishing separating walls,
it may make more sense to locate these in an extension, perhaps in connec-
tion with a new external access construction.
The addition of a further storey is another means of achieving similar aims.
Buildings erected before the First World War in particular are often solid
enough to bear the load of one or two additional storeys. This allows greater
exploitation of the existing plot as well as the creation of spaces that can
serve new purposes. It makes sense to locate larger rooms in the new sto-
ries. This approach is dependent not only on the load-bearing capacity of the
foundations and walls, but also determined by fire regulations and possibly
by local development or conservation plans.

110
Design strategies
The design concept is informed by the existing building, the condition it is
in and the overall project aims. As the decision for a particular design strat-
egy will shape the subsequent steps in the design process, it is important to
discuss the different options early on with all who are involved in the pro-
ject. By clarifying the direction from the outset, the architect will have the
necessary backing and freedom to elaborate a design proposal. The design
task will vary depending upon which values one chooses to view as more or
less important, and without a clear concept a design may end up as an
unsatisfactory mixture of different conceptual approaches.
A central question when deciding between different design concepts is the
extent and degree of interventions and alterations they entail. The range of
options varies from simple corrective maintenance, to upgrading and mod-
ernisation works to deliberate alteration and extension. A final option is the
possibility to demolish and replace the existing building. It is safe to say that
the more extensive the alterations will be, the greater the cost – and vice
versa. In principle, the decision to undertake major alterations and incur
high costs is not necessarily bad, however, the architect will need to be able
to justify the decision, and explain the reasoning behind the chosen con-
cept, its implications and the expected results.
In reality, a particular design strategy is chosen less often than one might
expect on the basis of a conscious analysis of the condition and pattern of
damage. All too often, unclear expectations concerning the values of the
building and vague hopes of improving the value of the property determine
the choice of strategy, without the implications of decisions being properly
considered. For this reason, it is particularly important to think through the
eventual consequences of a particular design strategy, right from the very
outset.

Corrective maintenance
The greatest immaterial asset of a historic building is its age. Our appreci-
ation of its very existence and the fact that it has survived for so long, often
exhibiting wear and tear, provides us with a window onto the past and
anchors the building in the course of time. The attempt to hold off or even
negate the effects of aging robs it of its dignity and identity. The buildings
of the past, as John Ruskin writes in The Seven Lamps of Architecture, “…
are not ours. They belong partly to those who built them, and partly to all

111
 Adaptation by repair

Renovation of a private residence, 2006

Venice, Italy
Client: City of Venice
Architect: Piana and Schubert

In the renovation of the unprepossessing house on the edge

of Venice, special emphasis was given to maintaining its
varied historical identity. The deformations and settlement
in parts of the building were not changed; instead the
repairs were adapted to fit the prevailing conditions.
The garden elevation after
completion of renovation works. Traditional techniques and workmanship were employed
for the renovation works and the overall result is restrained
and calm. The division of the former private residence into
four residential units adapts the building to contemporary
requirements.

“Rinsing” salts from the brickwork

through continuous irrigation with a
normal garden sprinkler system.

The condition as found before

renovation work began.

Cross section drawing from the

accurate measured survey;
original scale 1:20.

The renovated and repaired terraz-

zo floor and smooth plastered
walls after completion of renova-
tion works.
Saved from collapse

Structural stabilisation and renovation

of a medieval house, 2005
Bamberg, Germany
Client: private
Planning: Hans Reuter

Over several hundred years, the medieval house next to the

Obere Brücke in the centre of Bamberg had gradually tilted
more and more towards the water until it was feared it
The crooked three-storey house on
would collapse. An accurate measured survey was undertak- the water’s edge.
en documenting the distortion of the building and all
defects. Based upon this survey, a structural solution was
drawn up that uses a steel framework to take up the load
and convey it to a strengthened foundation. The steel frame-
work was welded in the workshop and inserted and screwed
together on site. Other interventions to stabilise the struc-
ture did not need to be undertaken.

Drawing detailing the structural

stabilisation.

An accurate measured drawing

documents the degree of distortion
of the building.

A new steel framework stops the

building from toppling.
 the generations of mankind who are to follow us.” He argues that a restora-
tion destroys the most valuable assets of a historic building. Allowing a
building to age consequently is not only an inexpensive option; it also
maintains its value. If this approach is taken, a design may not actually
result in any noticeable works, and for some architects this may seem insuf-
ficient; it requires a degree of self-assurance to allow a building to speak of
its age without feeling the need to introduce contemporary elements.
A sensitive architect will always consider if and where the effects of aging
should best be accepted as they are, as well as to what degree the aging
process can be slowed down through appropriate maintenance without
affecting the impression of age that lends the building its identity.
Where maintenance is not sufficient, sensitive repairs can secure the long-
term future of a building. In this context, repairs encompass the correction
of defects in the existing building fabric which do not require extensive
material replacement, or changes to the overall structure. As they are count-
ed as part of the general maintenance costs, they should always be inexpen-
sive. Repairs should always use the same materials and techniques as the
original construction. Where contractors are not familiar with traditional
craftsmen’s skills, the risk of unintentional damage can be high. The phrase
“repairs to the repairs” (familiar from recent publications) testifies to the
problems associated with utilising contemporary and inappropriate tech-
niques for the refurbishment of historic buildings.
Maintenance works can include restoration, the purpose of which is to
stabilise and improve the condition of damaged fabric, as well as conser-
vation, which simply stabilises the condition as found. Both options can
clearly be attributed to the field of building conservation, but this does not
preclude them from being appropriate in other contexts. Many techniques
from the field of building conservation not only have proven effectiveness,
but are also inexpensive and ecologically sound, and therefore eminently
suitable for use when dealing with historic buildings. As such, the repair of
damaged building fabric using conservation techniques is not merely a pos-
sible option, but often a sensible one.

114
Modernisation
The improvement of a building for contem-
porary purposes, whether it is known as
adaptation, upgrading, rehabilitation, reno-
vation or modernisation, is a natural part of
the building’s life cycle. Standards change
and existing buildings will continually be
adapted to fit current expectations. The skil-
ful adaptation of a building to fulfil new
requirements is not only a challenging
design task for an architect, but is also a
practically inexhaustible field of work.
Nevertheless, many architects do not find it
easy to place themselves in the “servitude”
of an old building, and “modernisation” is
often regarded as the unloved cousin of
“true” architecture – even the word itself has
a technocratic and uncreative ring to it.
The old walls of the Casa Muti in Pisa, Italy, form
In contrast to this, the innovative potential a dramatic contrast to the modern insertion
of modernisation has been exploited suc- (Massimo Carmassi, 1991).
cessfully by interior designers, who have
explored its creative possibilities for many years. This includes not only sen-
sitive responses to the historic and spatial context through appropriate fit-
tings and furnishings but also methods that bring out the haptic or visual
qualities of historic materials. In the retail sector, historic fragments have
become a much-loved and almost indispen-
The exposed Roman walls as an “atmospheric” back-
sable element of shop design, and the “raw ground for the up-market range of goods
finish” of old walls adorns many trendy fash- (Split, Croatia).

ion shops, though more so for its atmos-

pheric effect than any actual historic value.
In everyday terms, modernisation can often
simply mean the improvement of the over-
all appearance of the building through the
redesign or repainting of the façade. For the
architect in the first instance it entails adapt-
ing the existing building to the require-
ments of modern infrastructure. Only in

115
 Artful addition

Adaptation of a Palazzo to a museum, 1963

Venice, Italy
Client: Fondazione Querini-Stampalia
Architect: Carlo Scarpa

The architect was asked to develop a solution for the ground

floor rooms and garden which were subject to flooding.
Scarpa began by raising the level of circulation in the build-
A new bridge marks the entrance to
the Palazzo. ing through the design of an intricate and detailed insertion
that echoes, among other things, the entrance channels for
boats in Venice. His artful and elaborate additions contrast
with the rough surfaces of the exposed brickwork walls.
Technical installations are not hidden away but treated as
independent volumes. Similarly, other deficiencies are not
solved by replacing elements but by employing additive
measures. The craftsmanship of the new additions connects
the new with the old.

Design sketch for the repair of

a worn stair.

The stair after conversion Raised circulation routes, new technical installations
measures. housed in free-standing elements.
rare cases will it be possible to continue
using the existing heating, sanitary and elec-
trical installations. The first question is
therefore which strategy is most appropriate
for the renewal of technical services. In addi-
tion to considering that old buildings will
generally necessitate more detailed and com-
plex coordination with services engineers,
the architect will also need to examine
whether the existing routing of services is
sensible. The renewal of the existing services
as routed in the building will often entail a
The technical installations in this loft in Madrid,
considerable amount of destruction, regard- Spain, are surface-mounted and can be repaired and
less of how carefully the measures have been replaced easily (Manuel Serrano, 2005).

planned – the plaster along all cables will

have to be removed and openings made in floors and walls for water, waste
and heating installations. In order to reduce this damage, as well as the sub-
sequent repairs entailed, it may make more sense to change the routing or
to surface-mount new cabling rather than to embed it in plaster. In many old
buildings built before the 1950s, unused chimney flues are ideally suited for
vertical installation risers. The architect will
only need to ensure that sanitary and electri-
WC-container in the 2nd floor of a former warehouse
cal installations are kept separate and that in Nijmegen, Holland, now converted for use as a
fire breaks are provided to stop the spread of gallery. An independent insertion for independent
sanitary installations (Diederen and Dirrix, 1997).
fire between floors. For the horizontal rout-
ing of electrical installations and heating
pipes on each floor, a large number of
acceptable solutions are now available.
In addition to the renewal of electrical and
heating installations, modernisation meas-
ures usually also result in significant changes
to kitchens and bathrooms. The variety of
sanitary facilities in a modern bathroom
necessitates a more differentiated distribu-
tion of services, and the risk of leakages and
spillages is the main problem, particularly
for timber floors. The installation of enclosed

117
 and stable containers with specifically
designed transfer points for water installa-
tions reduces the risk and extent of leaks.
When reorganising floor plans, changes
should avoid alterations to the load-bearing
system wherever possible. For example,
cramped conditions can be relieved by
removing partitioning walls that were intro-
duced in many buildings after the war to
alleviate the housing shortage. The reorgan-
isation of circulation and entry, for instance
through the addition of a porch, can
The outside lift provides comfortable access without
impacting on the building fabric in Schaffhausen, upgrade an entrance situation. Combining
Switzerland. two small flats in a worker’s housing estate
makes it possible to provide attractive living conditions for families. The
addition of a self-supporting balcony construction to the outside of a build-
ing makes the flats within more attractive and increases the floor area.
Last but not least, modernisation also includes upgrading the energy-effi-
ciency of a building. Modern requirements almost always necessitate that
heat loss is reduced wherever possible whilst at the same time improving
the indoor environment. The heavy thermal mass of the load-bearing walls
of historic buildings is an often largely underused potential. At the same
time, historic building materials can react sensitively to ill-conceived
upgrading measures, for example inadequate moisture diffusion as a result
of excessive insulation. Rather than viewing this susceptibility as a disadvant-
age, one can instead regard it as a kind of inbuilt early warning mechanism,
signalling deficiencies before harm occurs to the inhabitants or users.
Where a building undergoes a change of use, the existing load-bearing
structure may not be sufficient for the new load. The design of strengthen-
ing measures which not only serve their purpose but also harmonise with
the existing building and its appearance is a particularly demanding design
task. Structural engineers have developed a variety of cost-effective tech-
niques for catering for increased load requirements whilst avoiding impact-
ing on the fabric and identity of the building.
More recently, modernisation measures have also included the removal of
hazardous and toxic building materials to ensure the long-term sustainable
and healthy use of a building.

118
Adaptation
The adaptation of existing buildings to ensure their continued use is a cen-
tral aspect of architectural design in existing built contexts. Although there
is some overlap with modernisation, adaptation is generally characterised
by a change in the character of the building as a result of a change of use or
fundamental building works. Adaptation also means creative transforma-
tion, and the input of the architect is usually visible to a greater or lesser
extent alongside the historic characteristics of the existing building. The
basic options for adaptations are relatively limited: the subdivision of a
building by introducing new walls and floors adapts it to new uses without
changing its general form; the conversion of a building involves making
sometimes significant changes to the building substance but respects its
overall volume; the extension adds new functions and built elements to an
existing building; and finally, the method of combination unifies several
buildings into a single unit.
The simplest way to ensure the continued development of a building is
through a change of use. For many kinds of buildings, changes of use take
place all the time without requiring significant alterations to the building.
For example, a change of use from residential or commercial premises to
offices is relatively straightforward. Even
Large volume and large floor area: The church of
more fundamental changes of use or the St. Maximin in Trier, Germany, is converted into a sports
extension of usable space can often be hall (Gottfried Böhm and Dieter Baumewerd, 1995).
realised without major or costly interven-
tions, and without sacrificing the building’s
identity.
In times of property market slump or long
decision-making processes, an interim
temporary usage can ensure the contin-
ued use of a building, as well as continued
income, without the need for large-scale
investment.
The subdivision of large and spacious
buildings using architectural means (as
opposed to interior design) has numerous
historic precedents. After the Reformation
in the 16th century, and later again during
secularisation as well as after the Second

119
Complete conversion: Classical statues stand between World War, even churches were often con-
machines of the ACEA electricity works, both carefully
verted for other purposes. Nevertheless, the
restored, in Rome (ACEA, Comune di Roma, 1997).
strategy of subdivision is primarily a prod-
uct of the last 20 years. The transformations
of the post-industrial age have rendered a
large number of vast buildings suddenly
redundant, necessitating a reappraisal of
this kind of industrial architecture. The fas-
cination of these vast spaces stands in stark
contrast to the cramped flats built in the
20th century and the many tiny office
spaces built after the war. In the meantime,
the number of converted and subdivided
industrial buildings – the conversions often
achieved with comparatively little expendi-
ture and sparse means – is considerable.
The simple repetitive structure and typically
unadorned and functional architecture
allows the architect the freedom to realise
his or her own ideas largely independent of
technical or administrative constraints.
Numerous architects have tackled the prob-
lem of inserting new uses into large existing
spaces by taking a house-in-house
approach, in which the new use is more or

Conversion as refurnishing: The

Interbau Pavilion in Berlin, built in
1957 by Fehling and Gogel, now
serves as a fast food restaurant
(Petra and Paul Kahlfeldt, 2006).

Temporary use of the doomed

Palast der Republik in Berlin
(Urban Catalysts/raumlabor
berlin, 2005).

120
Loft in a shed

Living in an industrial building, 2005

Madrid, Spain
Client: private
Architect: Manuel Serrano

The conversion of an architecturally insignificant industrial

building in Madrid's “Loftown” retains the envelope of the
original industrial building and inserts a mezzanine into
The stairwell with constructivist-
the high space, connecting it to the floor below with a con- inspired staircase and surface-
structivist stair. All technical installations are surface- mounted technical installations.

mounted on the exposed walls. If necessary they, as well as

the other insertions, can be removed or repaired with ease.
The smooth finish of the new insertions contrasts with the
irregular surfaces of the old building.

Plan. Furniture on rollers emphasises

the functional flexibility of the
Section. insertions.

The bathroom is the only enclosed

room on the gallery.
 Transforming obsolete industrial buildings

Conversion and extension of an industrial building, 2004

Göttelborn, Germany
Client: Industriekultur Saar GmbH
Exterior view of the new structure Architect: Augustin und Frank
and the converted industrial building.
Both of the industrial buildings from the 1960s have no
inherent historic value. Before the pithead was closed, they
served as auxiliary structures for the mining works. Their
conversion for administrative and public functions makes
use of the intact construction and solves the lack of thermal
insulation through the addition of an innovative second
skin. The design is completed by high-quality interior work
in both buildings that is appropriate to their industrial char-
acter. A new structure provides guest accommodation. The
overall appearance is characterised by industrial materials.

Both industrial buildings before

conversion.

Interior view after conversion. Interior view after conversion.

Section through the existing build-

ing and new addition showing the
new energy-efficient building skin.
less independent of the existing construc-
tion. Although from a historic point of view
this approach is admirable, difficulties arise
where individual spaces within the building
need to be attached to the external façade for
light and ventilation. The approach is most
successful where the existing space is large
enough for new uses to be inserted as free-
standing objects. It is no surprise that the
conversion of many churches follows this
basic principle.
The almost untouched envelope of a factory building
In the history of architecture there is a long in Shanghai, China, now houses offices
tradition of the completion of buildings at (Ma Weidong and Teng Kunyen, 1997).
a later date. The tradition of building where
others had left off in the past began long before the 19th century practice of
completing the towers of gothic cathedrals, for example. Buildings have
often been built on or out of the ruins of their predecessors. After the

Later use of an unfinished construction from 1960 for the Winter Olympics in Turin, Italy,
as an ice rink (Gae Aulenti, 2006).

123
The climbing labyrinth in the “MACHmit! Children’s Museum” in Berlin – a large piece of
furniture inserted into a church (Klaus Block, 2003).

The garages for vintage cars in the Meilenwerk, Berlin, Small office cubicles for the university administration
are an independent construction over several storeys in the large banquet hall of the Orangerie in Eichstätt,
within the former tram depot (Dinse, Feest, Zurl, 2003). Germany (Karljosef Schattner, 1974).

124
Furnishing a church

Hotel in a monastery church, 2005

Maastricht, Netherlands
Client: Stichting Monumentaal Erfgoed Limburg
Architect: Rob Brouwers, SATIJNplus Architecten

The former Deutschorden monastery was secularised in the

19th century and was used for a number of different pur-
poses before being converted into a hotel. The design con-
cept leaves the monks’ accommodation largely unchanged
and, excepting the modern furnishings, uses the existing
structure without significant modifications for the hotel
rooms. The church itself houses the reception area, offices,
The restaurant, a freestanding
lounge, bar and restaurant. All of these functions are object placed within the church.
accommodated in two-storey constructions that, like pieces
of furniture, are placed within the church as freestanding
objects without touching the walls. The irregularity of the
gothic building contrasts with the smoothness of the new
insertions and the transparency of the glazed lift. The expe-
rience of entering the building is heightened by a sculptur-
al funnel-like construction made of polished copper.

Floor plan of the entire complex.

The new insertion contrasts
deliberately with its historic
surroundings.

The entrance as a piece of

sculpture.
 Second World War, the period of rebuilding is characterised by numerous
creative attempts at finishing incomplete remains. The principle of continu-
ing the existing structure of the building but in a simplified form, as exem-
plified by Hans Döllgast’s legendary reconstruction of the Alte Pinakothek
in Munich, remains as valid as ever: The spatial form, proportion and build-
ing structure is maintained, but surface modulations and decoration is
either reproduced in a simplified form or simply omitted. The highly origi-
nal solutions developed by Gottfried Böhm for Saarbrucken Castle in the
1980s or by Chipperfield/Harrap for the Neues Museum in Berlin (early
21st century) show that two generations later this approach has lost none of
its appeal. Catastrophes, such as those resulting from fire, will continue to
challenge architects to find a respectful balance between qualitative conser-
vation and modern additions. A 1:1 reconstruction of the past condition
is certainly a possibility; however, this becomes questionable if there is no
hope of achieving the quality or meaning of what has been lost. This reser-
vation will always apply for works of art, as well as for the decorative work
of specialist craftsmen. Such considerations have, for instance, obviously
informed Anderhalten Architects’ conversion of the plenar hall in the
Academy of Sciences in Berlin.
The Redoutensaal in the Hofburg Palace in Vienna
was re-erected in its original volume after extensive fire Of all the different approaches to adapta-
damage but using modern fittings, to serve as an tion, the strategy of conversion has been
attractive events’ hall of the congress centre
(Manfred Wehdorn, 1997).
most widely adopted among architects in
the past. Throughout the ages, architects
have employed a whole palette of architec-
tural options ranging from slight to radical
reorganisations of the floor plan, modifica-
tions to the structural system, the reconfigu-
ration of circulation and access, and the
adaptation of architectural forms according
to prevailing taste. In most cases the conver-
sion maintains the basic structure and floor
levels of the existing building, occasionally
removing sections of the floor to improve
the long-term usability of the spaces in the
building. Conversion concentrates primarily
on the redesign of the existing spaces and
the adaptation of the building to a new use.

126
It can be particularly enriching when con-
version measures reveal parts or even entire
sections of past interiors in all their splend-
our. Major European cities such as Basel,
Zürich, Regensburg or Lübeck attribute part
of their regained attraction to the efforts
invested in investigating and revealing their
specific historic treasures, also with regard
to individual and attractive interiors. Here,
modern materials and furnishings under-
The war-damaged hall of the Academy of Sciences
line the role of interior design. in Berlin was reconstructed in a simplified form
A special case of conversion works, particu- (Claus Anderhalten, 2003).
larly relevant and popular in inner-city
areas, is the roof conversion. The relationship of new openings or
dormers on the roof to the overall appearance of the building must be con-
sidered carefully. The overwhelming desire to maximise the use of available
space has clouded our appreciation of its effect on the roofscapes of towns
and cities, as well as our awareness of the problems associated with using
roof spaces, such as the provision of an escape route in the event of fire and
appropriate insulation. The insulation of the roof covering is seldom suffi-
cient to ensure a comfortable interior during periods of prolonged high
temperatures. Additional ventilation measures will need to be planned to
dissipate the warmth that collects beneath the roof without the need for
environmentally unsound air conditioning. Care should also be taken to
correctly detail vapour-permeable mem-
The recovered medieval timber-planked room is a well-
branes to ensure sufficient vapour diffu- accepted and dignified space for the head of the local
sion. authority in the newly converted town hall in Wels,
Austria.
The extension is a further common strate-
gy for continuing to use a building and has
been employed for thousands of years.
When an existing building no longer pro-
vides sufficient space, it is extended, either
in the form of new buildings or upwards as
a new storey, and in some cases even down-
wards underground. In recent decades,
architectural discourse has explored the
relationship of new extensions to the origi-

127
 A museum in a Tyrolean landmark

Tyrolean Museum of History, 2003

Tyrol Castle, Italy
Client: Independent province of Bolzano
Architect: Scherer & Angonese/Hellweger

Tirol Castle is one of the oldest and most important castles in

the Alps. The majority of the existing building dates back to
the 12th century. Based upon comprehensive building
research and archaeological investigation, the complex was
converted to a municipal museum between 2000 and 2003.
The historic building fabric from the different ages is main-
tained as it was. It serves as an exhibit in itself, the phases of
Staircase in the keep.
the structure documenting the complex history of the region.
The often exposed historic walls are contrasted with modern
insertions, also made of exposed materials. A carefully
designed lighting concept highlights the contrast between the
irregular existing fabric and the smooth new insertions.

Exhibition room.

Section with archaeological Floor plan showing the building

analysis. phases of the overall complex.
nal context in form and design. In tight
inner-city plots where space is limited, the
architect should first examine the remain-
ing space between the building and the
neighbour. In many cases this is the most
promising option of mobilising space.
When building alongside an existing build-
ing, a key question is how both parts con-
nect with one another. This is not only a
question of form, but also a technical and
organisational problem. It is important to
know the exact heights of the existing floor
levels, including any deformations, as well
as to clarify the nature of the construction
against which one will be building.
The notion that an existing building can
remain unchanged through the addition of
a new extension is rarely true in reality. Even
when no building works are undertaken in
The industrial character of the building on the out-
the old building, new access, openings and skirts of Milan, Italy, takes the roof as its cue and cre-
connections must be created to connect the ates a complex living space (Francesca Donati, 2001).
two, and this often leads to a change in the
way the existing building is accessed and used. If insufficient floor area is
available for an extension, the addition of a new storey can serve the
same basic purpose. Of particular importance when planning an additional
storey is the question of access and the provision of an escape route in the
event of fire. It is important to clarify this question using the available doc-
umentation before suggesting this option to the client. Local firemen must
be able to reach the building from the outside (max. ladder height), and in
addition, the extra storey may also have fire resistance implications for the
existing staircase. Whilst it generally makes sense to organise the new
storey according to the pattern of load-bearing walls, numerous projects
have shown that attractive alternative solutions are also possible. The addi-
tion of a new storey necessarily involves sacrificing the roof construction,
and this must be considered carefully, in particular when roof constructions
are historically important, which may be the case for constructions built
before the early 20th century. It is also important to bear in mind that the

129
 Adaptations to a residential area

Conversion of single family houses, 2004

Utrecht, Netherlands
Client: private
Architect: ZECC Architects

The terraced houses in a residential area on the edge of

Utrecht date back to 1900, no longer fulfil current technical
standards and are too small for most families. The uniformity
of the architecture is slightly oppressive. Roof dormers were
added to individual buildings in the row, giving it a new urban
texture and making the individual houses more unique.
Although the basic strategy is identical, each dormer has a dif-
Roof conversion after completion.
ferent appearance, with different materials and slightly varying
forms according to the wishes of the inhabitants. The addi-
tions give the row a more articulated urban form.

Roof conversion after completion.

Cross section of a house before and after conversion.

Model.

New floor plans.

Modernisation of a bank

Conversion of a historic office building, 2002

Zurich, Switzerland
Client: Credit Suisse
Architect: Atelier 5 The central customer service hall is
now used for access and circulation.
The neo-classical Schweizerische Kreditanstalt, constructed in
1877 and altered again in 1899, needed fundamental mod-
ernisation whilst respecting the different building phases.
Consequently, the architects’ concept draws on the history of
the structure. Numerous later additions that had disfigured
the building were removed and emphasis was given to high-
lighting the elaborate material treatment of the historic
rooms. Additional offices were created in the interior court-
yard of the building. In places it was also necessary to reorgan-
ise the access to the offices. New metal and glass partition
Circulation areas are partitioned off
walls were inserted into the access areas to fulfil modern with additional glass walls.
requirements and fire safety regulations. A consistent colour
concept provides clarity and orientation within the building.

The historic façade has remained

Additional offices were created in the internal courtyard. largely unchanged.

Detail drawing.
 wall plate and joists of the roof level are
often not as strong as those for the lower
floors.
The underpinning of a building in order
to insert additional storeys below ground,
although now increasingly common in
urban areas, is a strategy with only limited
implications for architectural design.
Where an extension is not possible, for
whatever reasons, the combination of sev-
eral buildings for a single common purpose
is a further means of overcoming functional
limitations by developing existing buildings.
The new circulation in an extensive complex of old build-
ings used by the University in Toledo, Spain, makes use The disadvantages are however often con-
of the old courtyard to reorganise the entire complex siderable, especially when neighbouring
(AUIA, 1993).
buildings were built at different times and
have uneven floor levels and heights. Openings made from one building to
the next will almost always result in the need for special solutions to over-
come differences in height. Often the skilful placement of a new common
staircase with stepped landings at the floor heights of each building can
overcome this problem, however, it can become particularly complex where
disabled access is necessary. The unification of several individual buildings

Cubic roof additions to a house in Graz, Austria, The Architects’ Building in Moscow: classical core with
transform an otherwise unremarkable building an overly modern addition (Asadov, 2006).
(INNOCAD, 2001).

132
into one large building is almost always a problem as each building has its
own load-bearing structure. It makes little sense to transform a series of
individual buildings at great cost and to rob each of its identity in order to
create a building that would be simpler and more cost-effective to erect else-
where using other means.
An exception to this rule is when existing buildings are left more or less as
they are and united under a common roof. The lightweight structures from
the 1970s are a model for this kind of approach. The artificiality of this
approach, which has been borrowed from landscape design, is readily
apparent, but, as well-known projects by famous architects continue to
demonstrate, it can still be very appealing.

133
 Replacement
From time to time, an architect may come across a building, or part of a
building, that has reached the end of its useful life, where no amount of
maintenance will improve its condition, and modernisation amounts to
rebuilding entire sections of the building. In such cases there is usually no
sensible alternative but to demolish the building, taking care to dispose of
its materials ecologically. Whether one decides to save a particular element,
either for nostalgic reasons, or to incorporate it into a new replacement
building, is a matter of personal preference. At what point the decision to
demolish and renew the building should be made is dependent upon each
situation. Although a demolition may appear simpler than complex repairs,
the decision to renew should not be made lightly, both for reasons of sus-
tainability and of cultural identity. Where cities are shrinking and vacant
buildings are demolished, the lack of ade-
The remnant as generator for the design of a new
building: historical analysis and remnants found in quate follow-up uses has led to dramatic con-
excavations determine the face of the new townhouse sequences: the replacement of buildings
on Friedrichswerder, Berlin (Marc Jordi, 2006).
with car parks rapidly leads to an impover-
ished quality of life.
The most common reason for demolishing
or gutting a part of the building is not, how-
ever, defects in the existing construction, but
the desire to achieve a radically different
building structure. In many cases all that
actually remains is the historic façade as a
symbol of the original building and a conces-
sion to the townscape. This approach can be
regarded as an extreme version of fragmen-
tation. The justification is usually the
assumption, rarely correct, that it is easier to
build a new building on the foundations of
the old building than to work within the con-
straints of the old building.
This approach cannot produce good archi-
tecture. The detachment of the façade from
its original context and structural basis and
its independence from the new replacement
building is a poor compromise that results

134
in an unhappy splicing of new and old, and
is an approach that is better resisted.
If one were to classify a building according
to the amount of original building sub-
stance remaining, then the remodelling of
the Reichstag in Berlin by Sir Norman
Foster or the Castelgrande in Bellinzona by
Aurelio Galfetti would count as new build-
ings. The Reichstag was completely gutted.
In the interiors, the only remaining traces of
The former elevation as decorative element of the
a hundred years of history are the graffiti modern new building on the corner of Rossmarkt,
scratched into the walls by Russian soldiers Frankfurt am Main, Germany ( Jean Nouvel).
in 1945. No interiors of the old Reichstag
from 1894 are still in place, likewise no trace of the Reichstag fire in 1933,
or of damage sustained during the Second World War or of Paul
Baumgarten’s sparse reconstruction after the war. Similarly, the
Castelgrande in Bellinzona bore numerous traces of history and different
uses in its lifetime. The conversion has removed all of these including all
fittings in favour of a completely new design. The results of both projects
are magnificent, though their relation to their history is almost entirely one
of image; almost all of the original building substance has been lost.
What an architect chooses to build on a cleared plot is not the subject of this
book. However, one special case continues to fascinate the public to the
present day: the reconstruction of important historic buildings that
have previously been lost. Although some commentators think otherwise, a
new building that is built in the form of a historic building, regardless of
how well-researched and executed it may be, remains a new building and as
such a contemporary architectural statement.
The aim of a reconstruction project is often associated with the desire to
recover a valuable piece of architecture. After traumatic periods of loss in
particular, the need to recover at least some of what was lost through recon-
struction was great, as it were reversing the loss, and classifying a historical-
ly irreversible fact an “error” or “wrongdoing” of history. A prominent exam-
ple is the rebuilding of the old city of Warsaw right after the Second World
War. A more recent example is the reconstruction of the Frauenkirche in
Dresden, completed in 2005. Both symbolise a new beginning for the inhab-
itants of these cities. In Warsaw the buildings were rebuilt on their original

135
 floor plans using the remaining rubble, but in the contemporary architectur-
al form of the 1950s. As such they only give an impression of what was lost.
In Dresden, however, the impression is that we can make it possible to liter-
ally resurrect the original.
Any reasonable person will agree that it is impossible to regain something
that has been destroyed. If hypothetically, a lost painting by Rembrandt
were to be repainted from photographs made of the original, neither experts
nor the general public would view it as an actual Rembrandt. It could never
replace the original and the reproduction is known to be simply a rendition
of the original. The same principle applies to architecture.
The new Frauenkirche in Dresden is not the product of Georg Baer and his
master craftsmen, but of their 21st century counterparts. This “major work
of the Baroque age” has not been recovered, but has been rendered in the
form of a reconstruction.
In addition to this, most architectural reconstructions are a poor rendition
of the past, often no more than a rather generalised image of a point in his-
tory. Few people are prepared to invest the high cost of appropriate planning
and constructional realisation, which in most cases would far exceed the
actual value of the building. Manufacturing and production conditions
change so rapidly that it becomes virtually impossible to repeat building
processes from even the comparatively recent past. The results of recon-
structions are therefore almost always new buildings with a contemporary
layout behind façades which more or less successfully imitate history.
The uneasy relationship many architects have to such hybridised compro-
mise-reconstructions is understandable, as they no longer fulfil the long-
standing canons of good architecture such as harmony of form and content,
and unity of construction and materials.
The attempt to reconstruct a building whose material substance has been
lost may on the one hand be viewed as paying respect to the past and its
achievements, but on the other hand it also reveals a deep-seated fear in our
society as well as among architects of what the future will bring, together
with a latent mistrust in the capabilities of today’s architects.

136
Architectonic expression
However good a design concept or strategy,
the final result will also be determined by
the formal and aesthetic qualities of the
overall design. Conservationists and sup-
porters of sustainability may argue about
the degree of original building fabric that
has been retained in a project – whether we
actually like the end result is a matter of
each and every person’s individual taste.
Building legislation aims to achieve a bal-
ance between the owner and the architect’s
right to freedom of taste on the one hand,
Historic front, glazed rear: the new Kommandantur
and the right of the public at large to a qual- (commandant’s headquarters) on the boulevard
itative environment on the other. Local Unter den Linden in Berlin
(Thomas van den Valentyn, 2003).
design guides set out guidelines that ensure
that developments are compatible with the
local environment. Given these constraints, relevant design questions
include how the new relates to the old, whether interventions are visible or
not, and, often of the most interest to the public, whether the design is bold
and striking or reserved and restrained. The possibilities range from the
extremes of integrative conformity to defiant contrast.
Every design made in the context of existing structures will need to address
the issue of how new additions connect with or differentiate themselves
from what already exists. This fundamental question has characterised dis-
course on design in historic contexts in all periods, and has brought forward
a variety of often emphatic opinions. This is where hierarchies are deter-
mined: whether the new design subordinates itself to the old building, or
whether it stands out through conspicuous design or choice of materials.

Correspondence
The continuation of existing forms and architectural means is a simple
approach to harmonising the new with the old. Where the same or similar
constructions, materials, colours and forms are used for new buildings and
where extensions correspond to the basic volume, eaves, cornice lines, and
roof form of the original, the result will be harmonious – but also probably
a little lacklustre.

137
 The slight differences between the original and the new building, however,
provide room for expression. In recent years in particular, many architectur-
al concepts exhibit a desire to continue the basic structure, idea and often
also proportions of an existing building, but at the same time to create
something new and independent by sensitively modifying these basic prin-
ciples. The new design distinguishes itself from the existing building
through subtle differentiation rather than direct contrast. Wood remains
wood, but a different kind of wood is chosen. Through the careful selection
of materials and artistic means, the new element resonates with the old. By
engaging with the craftsmanship of the original, a dialogue between new
and old can result: a whisper of difference that describes the natural succes-
sion of time and the process of continual renewal. Drawing on tradition,
such as the use of materials or regional styles and typologies, need not nec-
essarily be folksy; it can provide a grammar from which a new architecton-
ic expression can result. The continuation of tradition has the added advan-
tage of harmoniously connecting with the original and avoiding structural
or technical ruptures. Building upon tradition also strengthens regional
identity and can even enliven entire sectors of the local economy, as the
regions of Vorarlberg and Graubünden in the Alps or the Norwegian archi-
tecture school have demonstrated so successfully in the 1980s and 1990s.
This form of correspondence adopts only selected aspects from tradition, in
the process transforming them into a new expression that builds upon but
distances itself from the past.
Harmonisation is, however, not without risks. The belief that quality is auto-
matically assured when new elements correspond exactly with the original
often ends in dissatisfactory results. Where the new corresponds entirely with
the old, it communicates a false impression of history and a lack of design ini-
tiative. On the other hand, the arbitrary incorporation of elements from the
past will appear just as devoid of meaning. When drawing a correspondence
between new and old, the skill is to weigh-up the typological strengths of the
old and to interpret these imaginatively using modern means.

138
An extension in the tradition of workmanship

Swimming pool extension to a manor house

Spexhall Manor, Great Britain
Client: private
Architect: Purcell Miller Tritton Exterior view of the swimming pool
with the old house in the background.
The manor house dates back to the 17th century and was
fundamentally remodelled in 1908. Following a change of
ownership, it was decided to upgrade the building to meet
modern standards and provide contemporary comforts.
This included the creation of extensive recreational facilities
and a swimming pool. The decision to adapt and extend the
existing building in the same form as the original led to a
doubling of the original volume and duplication of the
material and workmanship of the original building. A casu-
al visitor will not notice immediately that significant parts of
the complex are new. This is largely due to the exacting
The historic manor house.
workmanship and careful detailing of the new additions,
which continue the principle of the original.

Elevation drawings of the old manor house with the extension.

Interior of the new building with

seating area and swimming pool.

Working drawing.
 Built continuity

German Federal Foreign Office in the former Reichsbank,

1940/1999
Berlin, Germany
Client: Federal Republic of Germany
Architects: Hans Kollhoff/Helga Timmermann

The former Reichsbank building was constructed from 1933 to

1940 by Heinrich Wolff and furnished luxuriously but not lav-
ishly. It survived the Second World War largely unscathed and
after refitting continued to be used by the GDR authorities.
The “Weltsaal” after conversion works.
After the reunification of Germany in 1989, the demolishing of
the building for ideological reasons was briefly considered
before it was decided to convert it for use as the Federal Foreign
Office. The design respects the basic arrangement of the build-
ing, clears it of most of the additions made in GDR times, and
continues the tradition of the original building, using high-
quality but conservative fittings and finishes but without imitat-
ing it in the slightest. The design aims to be a built continua-
tion of the existing building but with a contemporary spirit.

The post scanning centre – a new

addition in the inner courtyard.

Floor plan of overall complex.

The foyer.

The entrance hall in the The entrance hall in The entrance hall in the Federal
Nazi era, 1945. GDR, 1989. Republic of Germany, 2000.
Unification
A building that has grown with time, under-
going a series of alterations in the process,
is almost always complex and irregular.
Some architects and clients value precisely
this characteristic and have made it the
starting point for their design. Whilst this
can be instructive, the demonstrative pres-
entation of historical fragments, regardless
of how important they may be, has becomes
so widespread in recent years that it has pro-
voked a counter approach in which impor-
tance of historical traces is played down in
The Sainsbury Wing of the National Gallery in
favour of the formal presentation of the London continues the architecture of the original,
building as a unified whole. In the 1970s, interpreting it anew (Robert Venturi, 1991).
there was a similar reaction to the colourful
experiments of the 1950s, and many buildings were replastered and paint-
ed in sober colours resulting in a more cubist and uniform appearance.
Whenever the spirit of the age admires the clarity of large forms and clear
gestures, many existing buildings are formally unified using colour or
materials. Walls with complex structures or varying materiality can be made
to appear more uniform by applying a paint or stain in the same colour to
all surfaces. The lining of all walls with a new layer serves the same pur-
pose. Here, the old surface is conserved unchanged behind the new lining
without the need for any extra investment. The new lining or colour treat-
ment lays down its own set of formal parameters. This solution has many
advantages over and above visual unification: it conserves the existing fab-
ric and is largely independent of the construction. Whether the new layer is
a simple lining made of plasterboard or a lavishly executed work of art is a
matter of the architect’s design intention, and applies equally indoors as
well as for the redesign of elevations. The strategy of formal unification is
most appropriate where the historic value of a building is comparatively
insignificant and the course of history has resulted in a confused agglom-
eration of different forms. In such cases, the use of varied design treat-
ments in response to the variety of forms only serves to exacerbate their
irregularity.

141
 The remodelling of façades of historic
buildings has been a favourite preoccupa-
tion of architects through the ages. The face
of a house was and still is changed even
when only slight alterations are made to the
building itself. In the past the primary
motive for such alterations was to lend a
degree of order and structure to irregularly
placed windows. Today, in addition to
improving the energy efficiency of the build-
ing’s skin, elevation remodelling aims to
give the building a clear identity and a con-
temporary appearance. Once again, the
arrangement of the windows, whether sym-
metrical or freely arranged, offers the great-
est potential for design.
Where the unification of different buildings
cannot be achieved by means of remodel-
ling the elevations, two or more buildings
can be integrated by means of a new unify-
The face of the Traumbaum-Kindergarten in Berlin is
completely transformed by the imaginative insertion ing structure, be it a new elevation or a
(Baupiloten, 2003). common roof structure. The old structures
disappear behind a new element. In princi-
ple the existing buildings can continue to be used as they are. However, the
new element often changes the constellation of the existing buildings, and
new spaces, in particular for circulation, can improve the way in which they
are used.
In addition to the formal unification of a building complex, the recon-
struction of a historic condition from the building’s history is with-
out doubt also a form of unification. The reconstruction of a previous
state – often the initial, original condition of the building, in as far as this
is known – is particularly popular because it gives the building a specific
identity which many people can relate to. It is easy to define the aims of
such projects, they lead to clearly visible results and are generally well-
received by the public. Some reconstructions are even undertaken with the
support of the conservation authorities. The aim is usually the historicised
restoration of “impaired” urban ensembles. For individual buildings, the

142
motive is the reproduction of a past situa-
tion or the smoothing over of design incon-
sistencies.
All such decisions result in the eradication
of a variety of subsequent historic traces,
often tragic or disturbing ones, and create
an artificial condition, in which it appears
that time has stood still without further
development. Whether this is for an individ-
ual building or an urban ensemble, what is
required is the experience and services of
conservators and restoration contractors
rather than the services of a creative archi-
tect. Here the conflict between history as an
individual point in time, and the single-
minded desire to reconstruct this moment
on the one hand, and history as a succession
of developments and sequence of events on
the other hand, becomes clear. Architecture,
through its often remarkable longevity and
The Haus der Presse by Wolfgang Hänsch (1961) in
versatility, is able to testify to both. It can Dresden, Germany: once an Avant-garde building from
convey history both in terms of image as GDR times, now with a remodelled façade of screen-
printed glass panels (Martin Seelinger, 2003).
well as building substance. In this respect,
the reconstruction preserves a moment in time, a unified and aesthetic
image of its time, but often in conflict with the reality of a changing world.

Fragmentation
Ever since Carlo Scarpa’s masterly mise-en-scène of history in his remod-
elling of the Castelvecchio Museum in Verona from 1964 elevated the
potential of historical finds to its central theme, the dissection and fragmen-
tation of a building into individual elements has become one of the most
important means of incorporating history into a design. The use of histori-
cal analysis as a generator for the architectonic design can invest a design
concept with meaning. It leads to highly individual solutions and forms a
complex system of references. For many designs adopting this approach,
the physical dissection of the existing building is a popular starting point.
Sometimes it is sufficient to simply remove the most recent layer of wallpa-

143
 per and paint to open a window onto the past. It is not uncommon, once the
wood-chip wallpaper has been removed, to find the remains of previous wall
decorations: stencil and roller patterns, painted timber panelling or wall
panels. In many cases, these will have been damaged or even destroyed by
the later insertion of technical installations. Nevertheless, these traces of the
past seem to exert considerable fascination, and the popularity of uncover-
ing such traces as a means of lending interest to shops, restaurants and bars
is positively uncanny. In most cases, these traces serve as little more than
an eye-catcher. The message they convey is limited, primarily because no
indication of the meaning of the fragment is provided – and arguably is of
little interest to the owner.
When the removal of wallpaper reveals little of interest, the plasterwork is
often also removed. The brick masonry, concrete or stonework beneath is
revealed, often exhibiting traces of alterations and changes. What one reads
into such alterations is another question. Although the problem of loose grit
from the mortar joints of exposed brickwork walls is widespread and diffi-
cult to control, the display of exposed constructions, although never origi-
nally intended to be seen that way, remains as popular as ever. The work of
Scarpa, Carmassi or Canali, as well as of numerous other architects since
the 1990s, is unthinkable without such revelatory design methods.
Massimo Carmassi is in this respect a mas-
Café Silberstein in Berlin. The 1920s wall mural has
been revealed and left unchanged. The contrast ter at developing a stimulating juxtaposition
between new and old lends the room a special charac- of broken fragments, delicate artistic sur-
ter.
faces and skilfully designed new elements
out of a seemingly incoherent collection of
remaining fragments. The central aim of
such fragmentary approaches is not to
explain historical interrelationships but for
the visitor or inhabitant to marvel at the sur-
prises the building has to offer and the his-
torical distance between the finish of “today”
and the broken fragments of “the past”. This
historical distance can only be perceived if
both “today” and “the past” are present
wherever one looks. This implies that such
illustrative solutions are not possible with-
out a considerable flurry of visual detail.

144
This illustrative effect becomes even clearer, the stronger the difference
between new and old is. The complexity of a historic building, its material-
ity, surfaces and colours already provides for much interest on its own.
When a design adds new elements – a new building volume or a building
element – this often is clearly differentiated from the existing building. If
the old plaster is rough, the new plaster is often smooth; if the old staircase
is made of wood, the new is often made of steel. Once the new element has
been completed and is ready for use, the old element appears worn, old and
no longer sufficient alongside it. This approach – consciously or subcon-
sciously – results effectively in a depreciation of the old building substance
in comparison to the new. The once fully functional old building is reduced
to a picturesque showpiece. The original intention to bring out the qualities
and value of the building has actually resulted in the opposite. The fascina-
tion with the portrayal of new and old is less interested in the value of the
old building as an integral whole, and is more about the fading memory of
it. Even the most masterful practitioners of this approach did not act in the
interests of conservation when designing their fragmentation strategies. On
the contrary, the arbitrary and unrelenting interventions made to otherwise
intact buildings by Scarpa in Castelvecchio and Schattner in the Museum of
the Diocese in Eichstätt, are enough to make any conservator’s hair stand

The drama of new and old in a former farmhouse in Lans, Austria, transformed by precisely
placed interventions (Martin Scharfetter, 2004).

145
 on end. Little more than the external walls remain of the castle in Verona,
and the defect-free and fully functional timber construction of the former
warehouse in Eichstätt as Schattner found it, could no doubt have served as
a museum without modification – the elaborate cable-truss supporting the
cut-off posts is an artistic decision rather than one dictated by function.
Historical analysis is also the basis for a didactic design approach, which
attempts to communicate the value of the historic building substance, its
historical references and meaning by systematically uncovering pieces of its
history and making these generators for the design concept. The basic
intention to make the individual characteristics of the building legible and
so lend the building a historic and social dimension is particularly enticing:
many owners buy old houses for exactly this reason. The investment is
often also cost-effective. Interesting finds made in the building also serve
quite simply as decoration, obviating the need for “art installations” and are
typically well-received by the general public. Whether left visible as they are
or specially presented at certain times, they offer a window to the past, and
serve as attractions for tourists and even more so for the inhabitants and
users; a restored historic find serves both as a nostalgic reminder of an
often subconsciously idolised notion of the past as well as a novel decorative
element. And what has proved so successful for presenting relics of the
building fabric can likewise be applied to rendered elevations.
As far back as the 1960s Polish restorers and conservators recognised the
potential of historic finds as a central theme for the design of building ele-
vations, in the process ennobling and stimulating interest in the history of
buildings. Although today such demonstrative approaches are viewed with
a degree of scepticism, there can be no doubt that the integration of historic
finds in building elevations, when presented discreetly and in moderation,
is seen favourably by the general public.
A further approach to the art of fragmentation is one of deliberate alien-
ation or defamiliarisation. The original building is maintained in its
material substance but either its surfaces or its tectonics are so radically
transformed, that the message the building conveys is changed, resulting in
an entirely new character. Going beyond the strategy of contrasting new and
old, deliberate alteration of the existing configuration creates a formal dif-
ferentiation between different historic periods and what is new, in this way
expressing change. Through its very contradictory nature, this form of frag-
mentation makes reference to a society that has lost its clear idea of the

146
world, using means similar to those of deconstructivism to replace it with a
reflection of the splintered nature and arbitrariness of the world. Other
techniques, including the ironic “falsification” of finds such as in Karljosef
Schattner’s “revelations” in his Ulmer Hof project, adopt a similar
approach. They illustrate the flexibility of defamiliarisation strategies and
their ability to portray very different prevailing moods.
Some designers revel in the playful folding of old and new layers into a
complex representation of reality expressed through the architecture. One
effective game of deception is the reversal of inside and outside; indeed,
many extensions result in outside becoming inside as a matter of course, a
natural consequence of the growth of a building. In the Architecture
Museum in Frankfurt by Oswald Mathias Ungers, this strategy is used to
stimulate a profound consideration on architecture itself.

Hidden beneath the plaster of a building in Spandau, The history of the “Koberg 2” building in Lübeck,
Berlin, Germany, are numerous historic finds from the Germany, disappears behind a flap. Curious visitors
late medieval period. can discover for themselves.

147
 Deliberate alienation: the modern stair winds upwards The old roof panels of St. Valentin am Forst, Austria,
over the Roman mosaic in the Franciscan monastery in parish church are re-laid in an artistic form on the new
Porec, Croatia. The pierced rubble wall is painted black. extension and document the relationship of new and
old (Reinhard Gieselmann, 1992).

The council chamber in Perchtoldsdorf, Austria: the

upper part of the room retains its historic decoration,
the lower part receives modern fixtures and furnishings
(Hans Hollein, 1976).

148
Theatrical contrasts

Town hall conversion and extension, 1999

Utrecht, Netherlands
Client: City of Utrecht
Architect: Enric Miralles
General view after the conversion.
Utrecht town hall originates from medieval times and has a
long history of complex alterations. The extension of the
administrative facilities into neighbouring buildings neces-
sitated a reassessment of the distribution of functions. A
detailed analysis of the existing building fabric provided the
basis for the new design. A new council chamber was creat-
ed in the upper storey of the old building and the circulation
reorganised completely.
The design concept contrasts the new with the old, providing
carefully orchestrated surprises throughout the building.
The almost complete demolition and fragmentary rebuilding
The foyer with pictures arranged in
of the north wing, and the design of the foyer and the meet- an apparently random fashion
ing rooms all follow this principle. Material, colour, artistic across the walls.

expression and interior design are used in a variety of ways

to intentionally contrast with the existing building.

In the meeting room, remnants of

historic fixtures are set against
seemingly chaotic modern ele-
ments.

The building phase plan – the basis

for the conversion proposal.
 Lecture room in a monumental building

Conversion of the arcades of the Nuevos Ministerios,

1940/2004
Madrid, Spain
Client: Ministerio de la Vivienda
Architect: Jesús Aparicio Guisado and
Héctor Fernández-Elorza

A section of the arcades of a government ministry building,

erected in the monumental style of the Franco era, was to be
converted for use as a multi-purpose lecture room. The proj-
ect attempts to respect the existing building and to introduce
an independent and modern solution into the controversial
The lecture hall as a new ele-
ment between the old walls. architecture of the original. The new insertion is separated
from the existing structure and differentiates itself from the
irregular surfaces of the original through their smooth facing
and deliberately chosen delineation between new and old.
The space between the insertion and the existing structure
serves as an installation duct and climate buffer. In this way
technical requirements complement the design solution.

General view of the building

from 1940.

The design of the new entrance The smooth new insertion contrasts Longitudinal schematic section
frees itself from the existing monu- with the existing building. showing scissor-lift stage and
mental architecture. projection room.
Junction and delineation
The way in which the new and the old are brought together determines
whether the existing building plays a leading or a supporting role. At the point
where they join one can read the value ascribed by the architect to the existing
building, and his or her position with regard to the historical continuity of
architecture in general. This is where the attempt at integration or the balance
of the relationship is measured, and where the success of references or allu-
sions is made or broken. Although the junction is undoubtedly a critical point,
one should be aware that the overall design will be more convincing when the
underlying principle behind the junction of new and old is also apparent in
the treatment of both parts of the project. Shadow lines and changes of mate-
rial are devices not limited to either the new or the old building.
The principle of delineation applies at both large and small scales, whether
in the overall composition of the building volumes, for instance through the
introduction of a glazed section often serving no other purpose than the
transition between buildings, or in the junction between two different mate-
rials using a shadow line. From a construction point of view, a movement
joint is essential as new building constructions have different internal
movement dynamics to old, settled building structures. However, it does
make a fundamental difference whether the meeting of different ages is
consciously expressed or allowed to happen silently.
In almost all designs made in the context of existing buildings, the joint is
the primary visual delineator of the bipolarity of new and old, and a separa-
tion of the past and the present. In its function as separator and bridge, the
design of the joint must be carefully considered and expressed accordingly.
The same basic design treatments used for the coexistence of old and new
building substance also apply for the composition of additions and exten-
sions to old buildings. Contrast and composition are similarly valid con-
cepts beyond the expression of material traces of history. If the old building
is varied and highly decorative, the new building often is deliberately plain
and unadorned; where the old building is large enough, the new addition
often nestles in behind it, or alternatively deliberately towers over it; if the
old building has a pitched roof, the new addition is often given a flat roof;
where the old building is half-timbered, the new building is often rendered
in stone or as facing concrete, and so on.
A common approach to delineating two parts of a building from different
periods is to insert a clearly perceptible glazed element between them. In

151
 contrast to the past, where the technical pos-
sibilities of glass were not available and
great effort was invested in interlocking the
bonding of masonry, today the transition
between two buildings has been reduced to
a glazed slot, often frameless. The transpar-
ent slot delineates the historic process of
addition and growth; from a technical point
of view, it also serves to mediate between the
thermal movement of both structures.
Where an internal separation between new
and old is not necessary, many designers
have found it sufficient to express the delin-
eation of new and old as a simple recess or
gap.
The apparent immateriality of glass makes
it an ideal building material for delineation
as it is neutral, avoiding the need to express
a particular design approach. However,
other devices for junction and separation
The extensive new additions to the Teyler Museum in
Haarlem connect only occasionally with the old buildings are also possible, for instance a change of
via narrow glass corridors (Hubert-Jan Henket, 1994). material or a deliberate change of surface
treatment. The hand-applied render or plas-
ter of an old building may be uneven and
irregular. A smooth surface such as a fine-grade facing concrete, painted
metal or planed wood creates sufficient contrast. Even a change from rough
plaster to smooth plaster is sufficient to indicate where two parts of a build-
ing meet.
In conservation practice, it is common to differentiate repairs from the orig-
inal through a change of colour in the mortar used. Italian renovation prac-
tice employs a technique called sotto livello in which the new plaster is
applied less thickly so that it remains behind the level of the original plas-
ter. A change in level is a further device used to delineate different areas in
architectural design. Straightforward continuation of the original surfaces
and alignment only rarely produces satisfactory results. Clearly perceptible
projections or recesses, overhangs or the set back arrangement of new
building volumes are usually more successful approaches.

152
The new circulation for the parish centre at Klingenmünster, Germany, is independent of the historic building and
resolves the transition using a glass strip (Auer/Cramer/Frotscher, 1995).

The shadow line is a traditional means of architectonic expression and it

is no surprise that it plays an important role in the junction and delineation
of different parts of buildings. Few other solutions embody the aspects of
separation and transition so naturally.
The use of the expressed join as an architectonic device is questionable
when its artistic elaboration exceeds the event it marks, for example where
a deep recess separates a small addition to a family house or where a glass
slot provides the transition to an otherwise unimportant lean-to. Seen from
the future, such elaborately demonstrative joints may appear all the more
excessive once the new element has also aged and undergoes further trans-
formations – from a future standpoint the difference in age will be less obvi-
ous than from the present.
A joint is also necessary where one building penetrates another, at the
point where the old and the new intersect. In this case the joint serves a pur-
pose that is primarily structural rather than of architectonic expression. The
concept of penetration already embodies a degree of appropriation of the
other, and such designs will usually be demonstrative enough without the
need for further elaboration of the junction. When the device of penetration
involves breaking open the building fabric, it can be attributed to the

153
 Deliberate transitions

British Museum, Queen Elizabeth II Great Court, 2003

London, Great Britain
Client: The British Museum
Architect: Sir Norman Foster

General view of the glass-covered court. The integration of the courtyard into the museum circula-
tion, including a new visitors’ level, several flights of stairs
and a glazed roof, introduces many new elements into the
old structure. The junction between old and new is not left
to chance but is the product of a consistent design strategy:
separation and transition is a conscious act, whether as a
glass bridge between the old structure and the central rotun-
da, a glass strip between the new floor level and the original
façade or a metal-lined recess between existing building and
new stair. The same principle is applied in both the old and
the new building. Similarly, a discreet but perceptible recess
separates the glazed roof from the walls of the old structure.

The visitors’ level is separated from

the façade of the old building by
a glass strip.

A narrow joint delineates the

boundary between the new floor
and the old façade.

The glass bridge connects the central rotunda with

the museum galleries.
approach of fragmentation. Where it is used
to present an individual artefact or frag-
ment, it may also serve to abstract this frag-
ment from its original context. The portray-
al of this formal device will inevitably
involve a contrast of material and form, pre-
senting an image to the viewer that
describes the process of intrusion.
This device can be used to deliberate effect
to differentiate the present from the past.
The almost brutal piercing and breaking
open of a monolithic construction from the
Nazi period and its penetration with a new
element provides enough conceptual dis-
tance to allow the politically correct utilisa-
tion of the building. The drawn-out process
of dismantling the Palast der Republik in
Berlin, the former political and cultural
The new Sackler Galleries of the Royal Academy of
headquarters of the GDR, can be seen in a Arts in London has a glass strip in the floor at the
similar context. Here the artistic intention is point where it meets the façade of the old building,
to portray the process of dismantling as a allowing one to still comprehend the old elevation
(Norman Foster, 1991).
contrasting image to that of the sudden
demolition of the Palace that previously stood in its place. If architectural
mise-en-scène has its origins in theatre, then the architectonic event is a
natural progression of this. With it the process of formal fragmentation
acquires a temporal dimension not usually associated with architecture.

155
 A thorn in the side of Nazi architecture

Documentation centre of the former Nazi party rally

grounds, 2001
Nuremberg, Germany
Client: Town council of Nuremberg
Architect: Günther Domenig

The congress building on the former Nazi party rally

grounds in Nuremberg remained a ruin for decades after
the end of the Second World War. The documentation cen-
tre, created at the end of the 1990s, takes the contradictory
nature of the ideologically stigmatised site as its theme and
View of the entrance situation.
breaks it open with a precisely formed and bizarre construc-
tion that pierces the building diagonally. The artificiality of
the new building contrasts strongly with the former Nazi
building. The fracturing of the building is desirable and
Axonometric drawing of the entire demonstrative.
complex with the new building.

Interior view showing the penetra-

tion of the old with the new.

Cross section of the new building.

Further reading
A comprehensive guide to architectural design in the
context of existing buildings has not existed up to
now. Brooker/Stone have presented a volume with
particular emphasis on the aesthetics and Linhardt
has demonstrated some aspects for the conversion of
houses. The many available case study volumes avail-
able testify to the general relevance of this topic
(Herbers, Lerch, Powell, Schittich, Schleifer,
Simon). Some of these include extensive introductory
essays on background issues (Mastropietro, Spital-
Frenking, Thiébaut, Walz). The Wüstenrot
Stiftung organised two design competitions in 1999
and 2006 and the results are systematically docu-
mented together with essays in printed form.
As far back as 1932, Gutschow/Zippel undertook a The surface of the repairs to the masonry is set back
fundamental examination of conversion, though it slightly from the level of the original masonry (sotto
had little effect. Meyer-Bohe examines many aspects livello), indicating the difference between the original
and the repairs and signifying the passage of time.
associated with extensions. Deliberations of Hoesli
and the Smithsons have been published in rather
marginal contexts.

157
DETAIL PLANNING
The image of a preserved memory, to be protected, is for me the reference point.*
Andrea Bruno
In the design of a new building, an appealing concept may distract attention
from weaknesses in the detailed execution. However, for projects involving
historic or existing buildings, it is primarily the quality of the design of
details and individual solutions that will determine the character of the end
result. Countless architects, from Karl Friedrich Schinkel to Carlo Scarpa,
from Michelangelo to Sir Norman Foster, have demonstrated this impress-
ively in their work. Finding the right balance between necessary and sensi-
ble adaptations on the one hand, and individual design expression on the
other, is one of the most challenging aspects of preparing designs for exist-
ing buildings. Attention to detail is the measure of success or failure, and it
is unfortunate that, all too often, insufficient care is taken during this some-
what unloved planning phase, causing an ambitious design to slip back into
mediocrity. Such pitfalls may be easily avoided by accepting some funda-
mental prerequisites, and by adopting a limited number of basic principles
that apply to the design and planning of construction works in existing
buildings.

Prerequisites

Development not demolition

Historic building materials have demonstrated their longevity through their
very survival across many decades or even centuries. In many respects they
show themselves superior to modern building materials. Given this, it is
both surprising and distressing to observe that largely intact buildings are
often stripped down to their basic construction, only to be restored to their
preceding condition again using modern materials. This not only destroys
items of potential national, cultural and historical value, but also deprives
others of the chance to utilise and exploit the potential of historic buildings,
an aspect of increasing importance in the property market. It is precisely
the qualities of craftsmanship that many owners or potential buyers value
in old buildings. The individual character of historic glazed windows, the
complexity and craftsmanship of stucco elevations or the ornate decorative
ceilings of historic rooms are difficult to regain if lost due to carelessness
*Questa immagine di memoria conservata, da proteggere è per me la misura di riferimento.

Exacting repair of a window: only the damaged sections have been repaired. 159
 during the construction process. The artistic and technical merits of the
architect’s design stand or fall with his or her ability to bring out the exist-
ing qualities of the building, and to supplement them with contemporary
additions. Therefore, although it is often laborious, it is important that the
preservation of the existing building substance takes priority over demoli-
tion work. This should be adhered to not only in principle but also consid-
ered carefully in detail, with an evaluation of whether each building meas-
ure is sensible.

An element-for-element approach
The design of new buildings can often be reduced to a collection of repeat-
able, standardised details. In principle, architectural design for existing
buildings does not depart from this approach: where new elements are
added or where similar requirements recur, the repeated use of common
details can impart a degree of consistency to an otherwise often chaotic
building project.
That said, a fundamental principle when developing plans for existing
buildings is that the design and planning should be adapted to fit the
specifics of the existing building rather than forcing a standardised
approach on the building. For example, wall openings that at first appear to
have the same dimensions will upon closer examination invariably differ in
size. It follows that although the windows appear to be of the same size, the

Plan of works for strengthening the roof construction in Castelvecchio, Verona, by Carlo Scarpa. Original scale 1:10.

160
architect must stipulate each of the window
dimensions precisely. Leaving this to the
contractor may otherwise result in the
smallest dimension being used, with the
inevitable result that the larger openings
will have chunky frames. Cases such as this
demonstrate that it is insufficient to develop
a series of standard details for an existing
building. Indeed, in most instances it will
be necessary to create a drawing for each
individual situation, showing not only the
design and technical solution but also how it
can be realised in that particular physical
Analytical drawing of the Teatro Giuseppe Verdi in
location. The plans of individual works Pisa, by Massimo Carmassi.
must therefore take into account their phys-
ical context, where necessary drawing it in three dimensions.
Every new building measure and every new building element impacts on
the existing building somewhere. The point at which old and new meet
should be designed deliberately and systematically, and should be detailed
in a drawing. In the past builders traditionally employed a wide variety of
details for such transitions including fillets, cover strips, mouldings and
recesses, many of which are largely forgot-
ten today. Modern building construction is Repair of rafters: only those sections that are actually
damaged are cut out of the rafters and replaced.
too often given to using mastics and
sealants to cover joints, and not all architects
give adequate consideration to such details.
The principles that apply for newly inserted
building elements are equally valid for reno-
vation work. In complex cases, it may even
be necessary to develop detailed drawings
for what may at first appear only to be minor
and limited damage. The architect should
not leave the selection of appropriate repair
works and their extent to the contractor, just
as he or she would not delegate architectur-
al design decisions. Again, the only reliable
basis for planning is one that considers each
building element individually.
161
 A current representation of historical finds

Library, 1625 / 1980

Eichstätt, Germany
Client: University of Eichstätt
Architect: Karljosef Schattner

Built in 1625 and altered in 1688, the Ulmer Hof was built
as a canonical residence and later converted for use as a
library for the University of Eichstätt. The courtyard was
roofed over to create space for the reading room. The his-
toric dimension of the complex is recorded on the courtyard
elevations in the form of fake “conservator’s finds” painted
in an enlarged and generalised form onto the wall, an iron-
ic reference to the building’s history. By contrast, much of
The reading room in the covered
courtyard. the original substance was lost when the building was gut-
ted for conversion.
The modern roof is separated from The modern additions differentiate themselves from the old
the surrounding buildings by a and smoothened building fabric in material and surface fin-
glazed strip.
ish. The new elements are separated from the existing fab-
ric by a joint and by a broad glazed strip at roof level.

The even walls of the courtyard

elevations are painted with jambs
around the windows and fake con-
servator’s finds as an ironic refer-
ence to the history of the building.

Floor plan of the library complex.

Planning on the basis of an accurate measured survey
In many situations, following the approach above would not be feasible
without an accurate measured survey; it is usually a false economy to work
solely from schematic plans. A measured survey that is true to deforma-
tions is the only reliable basis for detailed construction planning, especially
when buildings exhibit deformations or irregular shapes. If the floor slopes,
the direction in which a door opens can be an important criterion: if disre-
garded, it may be necessary to cut an unsightly section out of the door. The
decision to apply a new levelled floor over an uneven floor, if not thought
through adequately, may result in an uncomfortably low sill height beneath
the windows, and in the worst case this may no longer even conform to safe-
ty regulations for railing height.
If architects are unaware of walls and floors which are inclined or slanting,
or do not pay close attention to this when planning, unfortunate discoveries
can arise at construction time, especially when new interventions span sev-
eral storeys as is the case with stairs, lifts, chimneys and service ducts. It can
be a nasty surprise to discover during construction that a new intervention
will not fit, because structural elements of the old building are unexpected-
ly found to be “in the way”. Where this may be an issue, it is advisable to
draw sections through all necessary axes of the planned construction to
establish vertical relationships in advance, or to undertake 3D laser scans to
ensure that the planned intervention will fit.
An accurate measured survey is essential wherever repairs or alterations are
to be undertaken in historically or technically complex situations. Exact
plans which accurately describe the planned measures, their extent and exe-
cution are the only reliable basis for successful construction works. It is the
relationship between technical improvements and the conservation of artis-
tic values and historic fabric that presents the greatest challenge to the plan-
ner and demands the greatest level of planning detail.
Finally, one should also be aware that the irregularities of an old building,
whether built that way or distorted through age, will result in difficulties
when attempting to introduce modern building products, which are gener-
ally precisely cut and perfectly straight. One can, of course, solve this prob-
lem with malleable filler materials or elastic mastics. Aside from reserva-
tions about using these from a conservation point of view, such slapdash
approaches rarely result in good architectonic solutions.

163
Plans for the renovation and com-
pletion of a partially damaged nat-
ural stone door jamb. The basis is
a measured drawing showing defor-
mations and incorporating all
recorded information, e.g. plaster
and paint analyses. The success of
the planned measures is dependent
upon an exact element-for-element
specification. Analytical drawing of
the external face (original scale 1:20),
plan of works for the internal face
and completed condition.

Where old and new meet, transitions and adaptations should be considered
and planned with care from the outset, obviating the need for spontaneous on-
site decisions or complicated technical solutions.

Adjustable bolts, easily adaptable cover strips or wood blocks cut to size are
just some tried and tested solutions, but the appropriate solution should be
considered for each situation afresh.

164
Principles
In addition to conforming to generally
accepted standards and building regula-
tions, the detail planning of works should
adhere to a few additional basic principles,
which result from the fact that construc-
tions and materials are largely set before
construction works begin. The opposite
approach of designing according to a system
that ignores the building and such principles
will almost certainly lead to incalculable prob-
The floor joist has been trussed with sag rods. The load
lems, cost overrun and delays. is transferred via four bolts in the lower base plate.

Repair not renew

Every old building will exhibit wear and tear after decades of use and expos-
ure to wind and weather. As a result, the planner may feel inclined to renew
worn building elements. However, they may still be able to serve their pur-
pose for a long time, and it is always worth first examining whether worn
elements can be repaired. This is not only better from an ecological point of
view; in many cases it is also much more economical. One should also con-
sider that existing building elements are usually exempt from current reg-
ulations, whereas new building elements will have to conform. This is
just one of the reasons why a comprehensive conversion can often be
more effective than erecting a new building.
Repair in this context should only mean repairs. This in turn means that
the intervention should be limited to what is absolutely necessary. The use of
the same tools and the same materials that craftsmen used in the past ensures
that the entirety of the construction remains homogenous – an important
precondition for problem-free construction. Special attention should be

Traditional conservation-oriented strategies also prove their worth in “standard situations”

and are often more economical than replacement. Backfilling of cavity behind render from
around 1900.

165
 given to the appropriate choice of materials for repairs. Plasters and
renders, for example, are usually mixed especially to match the colour and
structure of the surrounding area. A degree of careful experimentation and
several sample panels may often be necessary to achieve the right recipe.
These must be given due consideration during the construction process.
Similarly, the choice of suitable mortars and pointing for old brickwork
should not be left to the contractor or blindly follow technical regulations.
Before voids are filled or pressure-grouted, an analysis of the existing mortar
is essential. Unsuitable mortars may result in ettringite formation and
expansion of the mortar, pushing the brickwork apart. Cement mortars
cannot be applied where lime mortars have previously been used. Intact
brickwork dissipates excess moisture in the construction through the mortar
bedding, and if the joints are sealed with an impervious material such as
cement mortar, the moisture is forced into the brickwork itself, ultimately
damaging it. Cement mortar is therefore almost always inappropriate for
old brickwork. Weathered or washed out mortar indicates that the hardness
of the mortar was correctly chosen. Mortar joints should be regarded as a
wearing layer that protects the more valuable masonry. Care should there-
fore be taken to ensure that new materials are compatible with the existing
construction. The large number of renovation problems and subsequent
damage that can result from insufficient knowledge of the existing building
should serve as a warning to the planner.
Finally, from a formal and aesthetic point of view, the continuation of a tra-
dition in terms of materials is also advisable where building elements need
to be replaced in their entirety, even though in principle a number of alter-
natives would be possible. Plastic windows with chunky profiles, however
practical or supposedly durable they may be, do not fit in a historic build-
ing. Vinyl wall coverings or the like are not only vapour impervious; they
also destroy any historic atmosphere. Similarly, brick slips do not belong on
buildings built before 1920.

166
A cumulative process
Any building measures undertaken in or within an old building are unlikely
to be the last in its long history. The notion that a design is “once and for
all” and will last forever is naïve, not only in today’s fast-moving day and
age. Indeed, renovation and conversion works would not be necessary if
structures never deteriorated and if standards of fittings never became obso-
lete. As such, repairs and additional fittings are to be expected. Given this,
the question is how to design adaptations to existing building structures so
that these too can, in their turn, be adapted at some point in the future to
meet the economic and living requirements of the age.
And when repairs are necessary, this does not automatically entail the
removal and replacement of damaged or weakened building elements. Such
“repairs” can often snowball, leaving little of the original building substance
remaining.
Newly introduced building elements do not have this disadvantage. The cor-
rection of deficits through additive building measures which at least in the-
ory are reversible and which conserve the original identity of the historic
building has a long tradition. That this tradition can be traced back to the
19th century historic preservation movement does not question its validity
in the slightest. On the contrary, such strategies are as applicable as ever,
both in general and in detail. “Better a crutch than a lost limb” notes John
Ruskin succinctly in his Seven Lamps of Architecture published in 1849. In
addition to the obvious advantages from the point of view of conservation,
such measures are usually also less costly. That new interventions are plain-
ly recognisable as being of their time gives them a special quality of their
own. This approach comes close to being a reversible measure, one that
leaves the original building untouched and introduces a new use in such a
way that it can be removed without great cost to the original structure. In
practice it is clear that no building works can be absolutely reversible. Yet
there is a large difference between a heavy concrete construction that neces-
sitates fundamental interventions in the building structure and other solu-
tions that are easier to remove at a later date.
The occasionally somewhat relaxed approach to structural dimensioning in
the past and the higher load and safety requirements stipulated in today’s
regulations often make it necessary to strengthen the load-bearing capacity
of old structures. The most obvious approach is to replace the weak struc-
tural member with one of sufficient structural stability. However, the collat-

167
 eral damage that the removal and replace-
ment of structural elements entails rules out
such measures in almost all cases.
Additional structural support is a bet-
ter and more economical strategy. The load-
bearing capacity of insufficiently dimen-
sioned ceiling joists can be compensated for
by the addition of a binding beam in
midspan: this simple measure reduces the
necessary cross-section of the joists dras-
tically, often obviating the need for any other
strengthening measures. The burden placed
The town walls in Visby were protected against col-
lapse in the mid-19th century using cast-iron columns - on a column can be reduced by placing an
simple and effective. additional post adjacent to it. Openings in
walls can be filled in to improve the struc-
tural stability of walls, and flanges can be used to stabilise overloaded bear-
ing elements. Additional rafters placed between existing rafters will reduce
the load each rafter has to bear. Delicate cable trussing can improve the
load-bearing capacity of a binding beam, and in extreme cases, can be used
to stabilise vaulting. Last but not least, slender tension rods can be used to
take up the load that may be pushing walls apart.
Similar principles apply for building services. In most cases modern
requirements and the prevailing technical standards will necessitate the
complete renewal of the building’s services. The insertion of concealed
wiring beneath plaster results in systematic damage throughout the entire
building, often at considerable cost. Again, additive measures represent a
cost-effective and conservation-oriented alternative. By deliberate routing
wiring on the wall rather than in the surface of the wall, damaging interven-
tions can be avoided.
Also in this case the architect will have to plan these measures in more
detail than normal: each specific situation for each set of wires will need to
be planned, and detailed solutions will inevitably need to be developed.
However, this approach in most cases is best for the building and for the
appearance of the overall result.
A further commonly used and useful additive measure is the lining of walls
with murals, wall coverings, stucco details or other “finds” in the building
with a second skin in order to protect them from further wear and tear. It

168
Twice the effect: structural repair
and building a museum

Naumburg City Museum, 1991–1999

Naumburg, Germany
Client: Naumburg Town Council
Architect: Johannes Cramer A catwalk in the roof mounted on
a horizontal steel truss.
The structural stability of the pitched roof from 1531 had been
compromised by the incorrect removal of the tie beam some
decades ago. The external walls had bowed outwards and
cracked and some rafters had broken under the load. Others
were damaged by beetle infestation. The renovation concept
retained much of the original building substance including
the roof in its existing form. The structural and thermal func-
tion of the roof is fulfilled by a new steel roof structure, an
additive measure inserted over and between the existing roof.
A steel truss was inserted horizontally just above the ceiling
joists and runs at a slight diagonal across the floor plan, serv-
ing both as a ‘catwalk’ in the roof and to stiffen the lateral
forces. New exposed ventilation ductwork was introduced
above the old collar beams.

Execution drawing showing the posi-

tion of the horizontal steel truss.

View up into the ridge with

exposed ventilation ductwork.

Cross section as an accurate measured drawing with

analysis of the supporting structure and schematic rep-
resentation of the structural solution.
The visible routing of cables under the ceiling avoids
damaging the existing building fabric and has an
aesthetic appeal of its own: London, Tate Modern
(Herzog & de Meuron, 2000).

Not only for old buildings – cables routed visibly along

the ceiling in modern architecture: Kunsthal in
Rotterdam (Rem Koolhaas, 1992).

is, of course, possible to restore and present such finds; however, this is not
a legal requirement and protective measures may be the simplest, least costly
and best way to preserve the finds for the future. Whether the second skin
is a freestanding construction or anchored to the wall is secondary, as long
as the finds themselves are not damaged.
The need to improve the energy efficiency of buildings has consequences
for the external skin of a building. Contrary to popular belief, the overall
energy performance of an old building, particularly when heavy in mass, is
much better than is generally believed.
The common solution of applying a layer of external insulation most often
unpleasantly disfigures the appearance of the building. Many architects
have solved this problem by introducing a second skin outside the building.
As with the structural measures described above, the strategy is not to
upgrade an existing built substance, but to resolve its deficits using an addi-
tional building element. The “bell jar” approach often associated with con-
servation projects is rarely successful, as can be seen in the new building on

170
the Pariser Platz in Berlin (Behnisch/Durth) which incorporates the ruin of
the Akademie der Künste within an entirely new building. The alternative
approach of locating the second skin within the existing building, forming
a climatic buffer zone inside the building for access and services, borrows
principles from modern climatic glazing façades and has proven successful
for many old buildings.

Reclaimed materials
The material and aesthetic quality of many historic building materials is
undisputed. Old brickwork and roof tiles exhibit subtle variations in colour,
panelled doors and deep profiled architraves bestow buildings with their own
particular atmosphere, and the natural irregularity of old floorboards is diffi-
cult to emulate – even if the owner is willing and can afford it. Given this, it
is hard to understand why old and still functional building materials end up
in the skip only to be replaced by almost identical but new materials.

The freestanding shelves made of Cor-ten Steel give the sacral space a special character:
Toledo, cultural centre (Angeles Novas & Fernando Barredo, 2004).

171
The new insertions into this school building in Berlin
are completely independent of the load-bearing struc-
ture and lend the room a totally different character
(Die Baupiloten, 2003).

Each storey has a character of its own.

The lecture theatres at the University of Applied Sciences in Wildau, Germany, are
autonomous elements built inside a former factory, each with their own structure and servic-
es. The factory façades remain largely unchanged (Anderhalten, 2007).
A timber-clad country cottage with its gable cut off is housed within a new
glazed construction (Meixner/Schlüter/Wendt, 2004).

Isometric drawing.

173
 With this in mind, a responsible planner will want to identify all possibilities
where existing building materials can be re-used, and whether and to what
degree the use of old building materials is appropriate to the project aims.
The recovery of such materials is by definition more costly and requires addi-
tional planning. The architect must determine in each case which elements are
to be salvaged, by what methods, and where and how they will be stored before
being re-used. From the point of view of workload, it would be simpler to spec-
ify gutting and disposal, and the temptation to cut corners is obvious; neverthe-
less the easier option inevitably leads to a poorer end result. Aside from consid-
erations of sustainability, the re-use of old building materials is not only aes-
thetically more authentic, but often also more economical for the client.
Where building materials recovered from the site are not sufficient for the
building measures planned, a flourishing trade in salvaged materials may be
able to provide additional matching material for almost all historic building
materials. From bricks of all formats to floorboards, hinges and door han-
dles, one can find almost everything with a little initiative.

New building made of old bricks. The patina lends the The re-use of recovered roof tiles; checked carefully
building a particular character: Museum Island upon removal, stored on end and covered, each is just
Hombroich by Erwin Heerich. as good as a new tile.

174
 Precise documentation of damage to a timber window.

Solutions: two examples

This book is not meant as a manual for the renovation of old buildings. The
following, however, are good examples of how an analysis of defects, possi-
ble repair strategies, and the resulting built solution are interlinked. The
underlying principles are transferable to other questions not dealt with in
detail here.

Upgrading the thermal performance of windows

The removal of “old and draughty” wooden windows and their replacement
with plastic thermal windows is a common strategy for modernising and
improving the energy efficiency of old buildings even though a systematic
analysis of defects often shows that the technical defects of existing windows
are comparatively minor. In many cases, the windows could be repaired for a
fraction of the price of replacement; however, single-glazed windows have a
number of clear disadvantages: they are draughty and offer poor thermal and
noise insulation. All of these deficits can be alleviated simply and cost-effec-
tively through additive measures. Furthermore, the original historic window
can be retained. The addition of a second layer of windows, connected to the
original windows by a box frame, dramatically improves the noise insulation
and renders thermal insulation acceptable. The latter can be improved by
using thin (10mm) thermopane glazing for the internal window panes, while
a lip seal ensures the windows are draught-proof. Known as “Kastenfenster”,

175
 Saving building materials from the skip: preserving
identity by reusing existing elements

Villa, 1997
Buchschlag, Germany
After renovation and modernisa-
tion: a shady balcony is built over Client: private
to provide two new bathrooms. Architect: Johannes Cramer

A typical villa built in 1912 was to be converted to the mod-

ern needs of a family whilst maintaining as much of its his-
torical identity as possible. Two new bathrooms, until then
lacking, were added by building on top of the shady balcony
on the north elevation. Its timber construction echoes the
grey tree trunks of the beech trees in the garden. Defects
were repaired throughout and elements which were no
longer adequate for their purpose were upgraded using
additive measures instead of replacing them. Where walls
were demolished, the windows and doors were first careful-
ly removed and used elsewhere in the building. For the
insulation of the roof, the roof tiling was taken up, stored
and then re-roofed, missing areas being completed with
reclaimed roof tiles.
Upgrading building elements: a
second inner layer strengthens the
door and provides a new locking
mechanism and alarm system.

A panelled door is adjusted to fit

into another opening in the same
house.
Building elements change position: drawings submitted as part of the
planning application showing the re-utilisation of existing elements.
 or “box-window”, this kind of window was commonly used in buildings from
the turn of the century and can be seen throughout central Europe. As this
additive measure obviates the need for almost all ancillary works associated
with the removal and replacement of windows, this approach is almost
always more economical, and is aesthetically more authentic. The “disadvant-
age” is that it necessitates extra planning and coordination – the extra effort
is recommended nonetheless in the interests of sustainability.

The addition of a second set of internal

casements turns a window into a
“Kastenfenster”.
Upgrading the thermal perform-
ance of a window through the
addition of a supplementary,
10 mm thick thermopane glass.

Upgrading the thermal perform-

ance of a window through the
addition of a secondary casement
mounted directly onto the window.

177
 Repairing timber roof structures
Timber constructions such as roofs or half-timbered buildings can last
many hundreds of years provided they are kept dry and are protected from
water ingress. Contrary to popular belief, beetles, woodworm and other
pests do not present a major threat to historic timber constructions. There
are only very few beetle larvae that can feed on dry wood. For this reason,
green and moist softwood timbers are most at risk; fresh infestation of old
timbers is the exception. Even in such cases, only the sapwood is affected,
whilst the heartwood remains intact – even when the surface damage looks
dramatic, the structural stability of the timber may not be affected. The most
serious damage is caused by persistent
Charting damage in the roof construction: precise
detail survey of damage for two pairs of rafters exhibit- dampness over time. Continually high mois-
ing differing damage patterns. ture content levels will lead to rot within the
wood and the subsequent loss of tensile
strength. In moist and unventilated condi-
tions, timbers may also become infested
with dry rot fungus. With time, dry rot will
cause systematic wood decay and its myceli-
um strands are able to penetrate large dis-
tances through non-wood materials in its
search for suitable conditions. Dry rot is vul-
nerable to higher temperatures (above 27°C)
and below a temperature of 20°C it falls dor-
mant, though it will become active as soon
as favourable climatic conditions prevail. It
is therefore important to eradicate dry rot
entirely. In both cases, a detailed timber
infestation appraisal should be carried
out by a qualified professional. The report
details the extent of fungal attack and the
constructions affected, for example charting
damage to each of the rafters and determin-
ing the remaining load-bearing cross-sec-
tion through tapping, endoscopy or drilling
resistance measurement. In addition, all
dry rot wood-boring beetle decay (beetle infestation and fungal attack)
brown rot insecure joint
will be charted according to type and extent,

178
 Medium-grade Floor joists un- Timber beam
deterioration of covered – no appa-
joist ends evident rent damage.
Cut back
in area opened for
inspection. Brown
rot, death-watch
beetle infestation.
Narrow bearing Downpipe
seat: ~ 10 cm.
(Floor joists 1/2).

Major dry rot damage

to joists 1–5.
Death watch beetle
infestation of beam
ends of joists 6–9 and
pugging boards.
Significant sagging of
bearing beam (plaster
Previous renovati-
cracks up to 3 cm) –
on attempts. New
structural appraisal
bearing beam.
necessary.
Joists 3 & 4 cut
back. End of beam
towards R. 4 dis-
lodged and sunk.
Narrow bearing
seat: ~ 10 cm.

Timber beam
Substantial brown
rot on timber joists and
bearing cill
Previous rain-
water ingress
Significant sagging
of floor joists in
centre of room.
Major dry rot damage of Floor joists uncovered –
Medium-grade dete- timber joists and bearing cill. no apparent damage.
rioration of end of Further infestation likely in Narrow bearing seat:
joist 2: brown rot, surrounding areas. ~ 10 cm.
death watch beetle Joist dislodged from trimmer

Steel girder Trimmer

beneath beam
Major dry rot dama- Wet rot and brown rot
ge to floor joists and damage to floorboards
bearing beam. and floor battens.
Death watch beetle.
Floor joists below lar-
gely intact – rest moi-
sture content ~ 10%
(acceptable).

Wet rot and brown rot

damage to floorboards
and floor battens.
Death watch beetle.
Floor joists below lar-
gely intact – rest moi-
sture content ~ 10%
(acceptable).
Timber beam Timber beam

Proposed works

R. 1: – Cutting back of floor joists in region of stair (by about 1.5 m) R. 6: – No noteworthy damage to timbers in the uncovered inspec-
– Cutting back of bearing beam (by about 1.5 m) tion area – Structural appraisal of masonry bearing seat.
– Chemical treatment of masonry R. 7: – Cutting back of timber joists 1–5 up to bearing beam.
R. 2: – Partial replacement of floorboards and battens in window recesses and – Cutting back of timber joists 6–9 by about 50 cm.
up to a depth of about 50 cm into the room and along external wall. – Chemical treatment of masonry
R. 4: – Poor previous attempt at renovation near joist 1 (trimmer tilted,
joists dislodged, sunken beam, makeshift repair with steel girder). Visually apparent damage to construction
– Cutting back of all damaged joists in areas marked – further damage and
Areas of rainwater ingress. Concealed timber damage
cutting back very likely (concealed, currently covered areas).
can be expected.
Remove entire floor covering in Room 4 and parts of adjacent Room 8.
Calculate for further major damage and construction repair/replacement works. Repair of damage to the base of the roof con-
– Chemical treatment of masonry
struction in Oettingen town hall, Germany.
The expert craftsmanship of the carpenter has
Extent of dry rot infestation
its own character, informed by history.
Timber damage through wet rot, brown rot or (obstinate) (Reuter + Mittnacht).
death watch beetle
 pattern of damage, fruiting bodies and spores, and may also be classified
with the help of subsequent laboratory investigations. The appraisal will
also recommend measures necessary to eliminate the problem. Even if the
architect decides not to follow all the recommendations provided, a system-
atic timber infestation appraisal provides indispensable information, partic-
ularly for load-bearing timber structures. The appraisal will also indicate if
treatment with hazardous wood preservatives and insecticides has been
undertaken previously. If such substances are detected (Hylotox/Xylamon),
workmen may need to use protective breathing apparatus.
The appraisal forms the basis for determining the detailed measures
required for the repair and, where necessary, the strengthening of the roof
construction. In the simplest case this may entail the replacement of dam-
aged sections by qualified craftsmen.
Where there are many cases of similar damages, each should be remedied
in turn applying the same repair methods. In such cases the extent of each
instance of the damage determines the degree of repair or replacement nec-
essary. Exacting work is required of the craftsman for both technical and
aesthetic reasons.
Occasionally, additional structural supporting measures may be necessary,
either to rectify deficiencies in the roof structure or to conform to stricter
regulations or increased loads. A precise plan of damages and a measured
drawing that shows all deformations are an essential basis, especially when
strengthening measures are necessary.

Repair of damage to the base of the roof construction in Oettingen town hall. The expert craftsmanship of the
carpenter has its own character, informed by history. (Reuter + Mittnacht).

180
 The base of the roof structure of the Heiliggeistchapel in Berlin, exhibiting extensive
damage. An additional steel construction is introduced to stabilise the system without
damaging more of the building fabric (Hüffer/Ramin, 2005).

Further reading
Only limited general literature on this topic is available. A basic introduction can be found in
Feilden and Whelchel. Grossmann 1994, Hölscher and Lipp describe general repair
strategies and the implementation is described by Klotz-Warislohrer. Ahnert/Krause or
Manuale del Recupero provide systematic drawings of historic building constructions.
Beckmann and Pieper describe the particular issues associated with historic load-bearing
structures.
Grün and Reul offer helpful advice on strategies in the context of historic materials.
As a general guide to questions of renovation, Rau/Braune and Bauen im Bestand offer
further extensive literature on specific issues. The renovation of timber structures is described
in Tampone 1996 and 2002 as well as by Ridout. Könner and Grossmann 1994 offer
extensive information on the durability of historic constructions.
A general overview of typical damage patterns for common constructions together with the
necessary investigation and repair methods is given by Reul. Wenzel/Kleinmann’s series
of volumes with practical recommendations on the conservation of historic buildings pro-
vides detailed information on historic masonry, mortars, steel and iron constructions, tim-
ber constructions and foundations.

181
BUILDING WORKS
It is precisely because history should be continued that it is so important to consider how the
new should be and how it should relate to what already exists.* Karl Friedrich Schinkel

Site facilities
The on-site facilities for construction projects on vacant sites have different
requirements and organisational arrangements to those for projects involv-
ing existing buildings. The improvement and development of existing build-
ings involves not only ensuring that contractors work with great care, but
also that the existing building fabric is not damaged or demolished through
carelessness or ignorance. The transport of materials, their storage, the
entrances, access routes and common areas all need careful planning and
organisation. Furthermore, from day one of building works, built elements
already exist on site, items that may be valuable and therefore liable to theft.
The building site has to be secured appropriately and kept locked when
building works are not in progress. By observing these few basic principles,
many unnecessary problems during the building works can be avoided.

The building site as a public attraction

Building sites are often objects of fascination for the general public. Famous
building sites such as Ground Zero in New York or the Potsdamer Platz in
Berlin, with its “Infobox”, have always been and still are a public attraction
for passers-by and future users alike. Construction work on existing build-
ings is especially fascinating, offering sights of interest right from the start
of the work. Many of the individual building measures are of a small scale
and exhibit skilled craftsmanship, and as such are well-suited to public dis-
play. This can take the form of regular opening times, of “open days”, or of
suitably secured paths through the building site. In all cases the safety reg-
ulations must be observed and it is wise to exclude the owner’s liability
should accidents nevertheless occur.
In general, the building site will be much more informative to the public if
it is supported by an occasional guided tour or by descriptive signs, boards
or plaques, even if these are makeshift. Archaeologists have a long tradition
of communicating their work, and their experience offers good pointers to
how this can be achieved.
*Aber eben dadurch, dass die Geschichte fortgesetzt werden soll, ist sehr zu überlegen, welches Neue und
wie dies in den vorhandenen Kreis eintreten soll.

The complete enclosure of the building site is the only way to ensure
that works can progress independently of the weather. 183
 Stone restoration work on a fountain in Trient,
Switzerland, is open for public viewing every afternoon.
Descriptive panels explain the building works.

“You are entering the year 1600” – presenting the

building site to the public as part of an open day.

Direct contact is the only way for the participating

decision makers to fully understand the complex
interrelationships in a building.

The history of a building can also be an attraction

after building measures have been completed:
conserved wall; finds from the house and a
chronology describe the historical dimension.

184
The workshop principle
Well-ordered, conservation-oriented and
sustainable site management can only suc-
ceed if all participating workmen are aware
that building works in existing buildings
have more in common with a workshop
environment than a construction site. This
can sometimes literally mean that an entire
building is enclosed in a temporary cover
for the duration of the building works – that
the building is brought into the workshop,
in a manner of speaking. This principle has
proven effective over decades of conservation
work, and is now often used also for com-
paratively ordinary buildings. It affords pro-
tection from wind and rain, protecting fin-
ished work from damage through sudden
showers, and allowing work to progress
unhindered. Temporary on-site heating
measures can enable work to continue
Temporary air conditioning protects extensive areas of
regardless of outdoor temperatures. exposed decorated walls and ceilings from damage
during the building works.
A well-ordered building site is an essential
aspect of the workshop principle. Chaotic conditions where building
materials are stacked messily, building rubble is not removed and works
progress haphazardly will impede the work of even the best workmen, and
may result in unintentional or thoughtless damage to intact parts of the
existing building. The site supervisor should ensure that the building site
is kept orderly and cleared regularly, just as a workshop would be.

An environment conducive to concentrated work will encourage workmen

to use their tools with the same care and attention to detail as they would in
a workshop, and accordingly to achieve better results. Where chaotic con-
ditions prevail, good results cannot be expected.

Protective measures for building elements on site

The protection of the existing building fabric, whether in good condition or
awaiting further building measures, is one of the central tasks for the site

185
The uncontrolled dropping of rubble A tidy building site motivates tradesmen to work
throws an entire building site into exactingly and with respect for the existing building fabric,
disarray. in Villa Mosler by Mies van der Rohe.

supervisor. The building industry is used to working from the building shell
to fitting out, and contractors will need to be made aware that when work-
ing within existing buildings large parts of the building fabric are already
in a usable or near-usable condition, and should stay that way.
Nonetheless, all too often intact rooms do end up being damaged during
the building process and for this reason, it can often be advisable to close
off entire sections of buildings, and to ensure and check that they remain
closed off. This will only be effective if closed-off areas are designated as
such and are clearly marked.
Protection measures range from shielding areas where materials are trans-
ported in the building and where accidental damage is to be expected to pro-
tecting especially sensitive areas that may suffer damage from vibrations or
moisture ingress. Experience shows that architects are invariably over-opti-
mistic about the care that can be expected from contractors in their attempt to
fulfil their quotas quickly and efficiently. Among the areas most vulnerable
to damage are the routes into and through the building along which mater-
ials and equipment will be transported. Protective sheathing should be pro-
vided around doors and entrances and protective floor panelling laid on vul-
nerable floor surfaces, taking care to ensure that they do not rub or impact
on the surface beneath. It is not uncommon to cover all floors until all
major works have been completed. Where structural members are to be

186
The building site as workshop

Heubach Castle, library and museum, 1991–1997

Heubach, Germany
Client: Heubach Town Council
Architect: Johannes Cramer Aerial view of the building site
and its surroundings.
The very well preserved fittings of this former seat of nobil-
ity (see also p. 74) had to be protected against damage dur-
ing construction works, even when these involved major
repair works to the construction. Protective measures had to
be undertaken throughout the building. A protective enclo-
sure sheltered the entire building against the elements and
sensitive areas such as the original floors were covered with
protective sheathing. The creation of conditions similar to a
builder’s workshop is the best way to ensure exacting crafts-
manship and attention to detail.

Protective covering laid over

the original floor: chipboard
panels on insulation matting.

Building works under protective Mapping of defects

covering: thorough repair of the and evidence of previons colour
roof structure and roofing with schemes.
recovered tiles.
Securing the access route as well as the building fabric with an additional stair that is robust enough for visitors.

The protection of sensitive plaster surfaces with panels and insulation on a

latticework support. To prevent it from vibrating or becoming dislodged,
the panels should be screwed in place, never nailed.

Safeguarding historic stucco

against spray and debris from foun-
dation works using plastic sheeting;
Shielding around door jambs as
protection against accidental dam-
age from building machinery.

Protecting the edges of plaster sur-

faces avoids damage during the
188 building works.
replaced in the vicinity of intact building fabric, the surrounding area
should be protected. Particularly vulnerable or valuable wall surfaces have
to be entirely covered with panelling and with a layer of vapour permeable
insulation. Here it is important to consider works that may take place in
these areas and whether it will be necessary to open the panelling to effect
repairs. Last but not least, elements of the building that are in danger of col-
lapsing or dislodging should be secured temporarily or else removed and
stored for the duration of the works.

Supervising building works

Without continuous presence on site and permanent supervision of the
building works, the project design will not be realised to its full potential.
However exact the planning may be, and despite comprehensive documen-
tation, there will always be questions that arise during the building works
that can only be solved by the architect. Uncoordinated snap-decisions can
often have significant implications for other works which even the best con-
tractors will not be aware of. Furthermore, the temptation to simplify com-
plex details is widespread.

The best way for the architect to ensure that a project design will be rea-
lised as intended is by being available on site. It is important to know this
in advance and to account for it in fee negotiations. In addition, protect-
ive measures will only be effective if they are regularly checked and main-
tained.

Coordinating contractors
The fact that both major construction works and finishing trades often take
place alongside one another during work on existing buildings necessitates
a tighter coordination of building measures than is the case with new con-
struction projects. Works must not impinge on or damage one another. To
achieve this, it is necessary first to determine what is valuable and what is not
– and it is just as essential to brief the contractors on site as it is to describe
all works in detail in the specification. Realistically, one cannot assume that
the detailed descriptions given in the specification have been communicated
fully to each and every workman on site. This is why it is so important to
protect vulnerable areas from damage, as described above. Because it is
not possible to physically protect everything that is of value, it is equally

189
Areas of particular value should be clearly marked on A conspicuous sign marks an area with paint dating
site. back to the 15th century.

important to mark any items at risk clearly and conspicuously. Any sign
will do, as long as it is understandable, clearly visible and remains in place.
Rather than explaining the historic or aesthetic value of the area in question,
the message should indicate what the contractors should or should not do,
e.g. “Leave untouched!”.
Where individual building measures apply to specific areas, the extent of
measures should be marked clearly and unambiguously. At what point
exactly should a structural member be cut and repaired? Which specific
areas of plaster should be removed? Which door (those marked with a
sprayed X) should be disposed of? Which wall (the one with a line sprayed
along its entire length) should be removed? This is the only way to avoid
overzealousness resulting in work exceeding what was originally planned.
It is fundamentally important to coordinate the work undertaken by the
different trades. A good network diagram, such as that produced by project
management software, or other coordinated works schedules, are useful to

190
coordinate measures with one another. Without due consideration, the danger
is that one trade will unintentionally damage preceding work undertaken by
another. In particular, the routing of services in historic plaster, all manner
of mortise and demolition works, works that span several storeys or adapta-
tions to fit irregularities in the building are often the cause of drastic and
unwanted damage resulting in entirely unnecessary setbacks.

Samples, tests and mock-ups

Material samples, colour schemes and the fitting of test specimens have
become a common strategy in new buildings: alternative elevation panels
are tested before cladding an office building; colour schemes are tried out
on the building itself before one is chosen. This is equally if not more
important when working with old buildings. Ultimately, the new additions
and the old building should suit one another, and it is seldom possible to
achieve sufficiently reliable results on screen. In Switzerland it has become
common practice to mark the volumetric perimeter of a proposed building
measure using a scaffold frame to assess its visual impact on the sur-
roundings. The same principle can be appropriate for visualising addition-
al visible construction elements within an old building. A 1:1 model may be
the only sure way to determine whether a deep truss girder will disappear
in the lofty heights of a large room or obtrusively disturb the overall character
of the room. And even if a particular structural solution has been decided
on, it can be worthwhile, particularly for large construction elements, to
include the prior construction of a lightweight mock-up and its approval in
the specification. The mock-up helps determine that the construction can
be installed and fits as planned, and also that elements can actually be trans-
ported into the building! Only once this has been tested and approved should
the manufacture of the actual element begin. Without such verification, the
risk is that a complex and expensive construction element may resist all
attempts to fit it into the building, with the unavoidable incurrence of further
costs as well as possibly serious damage to the substance of the building.
For building materials, the same principles apply as for new buildings:
building materials should never be installed without prior viewing of sam-
ples and their approval! The particular historic qualities of old building
materials often lead to unsightly and undesirable contrasts with modern
building materials, particularly with regard to colours and surface textures.
Special attention should be given to paints. As ever fewer contractors mix

191
Colour trials for the reconstruction of the original colour
scheme, based on finds made by conservators on site.

Test installation of a wooden mock-up of a supporting

construction to be made of welded steel; the
principle is good but it is still too bulky in detail.

their paints on site, it is very important to conduct colour tests beforehand

and to approve only the desired results. Again, the extra effort involved in
realising the plans as intended can be foreseen, and should be included in
the specification accordingly.

Specifications and quantities

The specification of construction works for new projects can fall back on
all-inclusive specs, saving the architect the sometimes tiresome task of
ascertaining quantities. However, the variety of specific individual solutions
coupled with the varying extent of repairs for each individual building ele-
ment mean that works planned for old buildings may need to be broken
down and specified in detail. Every action must be considered and where

192
 Exact specifications for the restoration of the different A mock-up construction marks the extent of a new
decoration schemes ensure an interesting design appro- building measure (addition of a lift and dormers) to
priate to the historic substance. help assess the impact it has on its surroundings.

appropriate specified individually. This includes, for example, detailing the

execution of transitions from new materials to the existing building fabric
as a separate, individual task. A logical consequence of such detailed speci-
fications is that the reckoning up of completed works must also be conduct-
ed in similar detail. Because repair measures are undertaken only where
repairs are necessary, this can result in a series of small areas, each of which
needs to be measured individually. The specification should therefore explic-
itly regulate the billing of small quantities, to avoid incurring standard mini-
mum charges often contained in standard specifications.
The detailed and accurate plans created earlier in the planning process
prove their worth when it comes to ascertaining quantities. Where planned
works have been detailed in drawings in an appropriate scale, the quantities
can be determined directly from the drawing. For example, if the working
drawings for the structural repair of an irregularly formed façade are based

193
 on a stone-for-stone measured survey and include the exact positions and
lengths of masonry pins, the quantities used as given in the specs, then,
providing the works are carried out as planned, discussions and arguments
about quantities should be unnecessary. A further advantage is that the
measured drawings also serve as a record of the work undertaken.

Construction time and costing

Building works on historic buildings have the reputation of being incalcu-
lable, both in terms of cost and time. Although costs and construction times
are commonly exceeded, this need not be so. A comprehensive survey of the
building, a design that is sensitive to the existing building and rigorous site
supervision will all contribute to a more reliable costing and scheduling of
works. Should difficulties nevertheless arise, then it should be remembered
that this is not a problem limited to working with old buildings, but one of
construction and planning in general. Unfortunately, far too many new
building projects are also subject to spiralling costs and long construction
delays.

Building costs and cost control

In addition to drawing on one’s own experience, a number of tools and cost
comparisons exist to assist in the proper and reliable costing of building
measures, and once one has familiarised oneself with such tools, they pro-
vide a sound basis for calculating the cost of works. An intimate knowledge
of the building and its specific structural and technical characteristics
together with a full description of the individual design intentions are
indispensable. If these are not known in advance, it should be no surprise
when the final costs do not correspond to initial estimates. Making design
decisions during the building process can be a fascinating way of working.
It is of course sometimes unavoidable, as earlier decisions may have to be
reconsidered based on what is revealed during the actual construction
process. One should, however, be aware that spontaneous decisions do have
implications for building costs, whether it is the removal of a wall that was
originally to be retained, the uncovering of an interesting find instead of con-
cealing it behind protective cladding, or the unplanned fitting out of spaces.
Often it is decisions such as these, made without due consideration, that are
the cause of escalating costs.

194
Element-for-element reconstruction of the badly damaged façade of Neu-Agustusburg
in Weissenfels (1694), based on a digital measured survey.

Pointing
Stabilisation
Complete with render / filler
Splicing / renewal
Repair in-situ
Fill cracks and holes with silicic
acid ester (note: dots do not
denote injection points)

Needle-bonding, stainless steel

Retain iron bracing
Remove iron element

195
 Unpleasant surprises later can be avoided by agreeing any necessary addition-
al measures with the client immediately, through the continual monitoring
of costs incurred and, more importantly, by verifying that work is actually
planned for in the cost calculation before it is undertaken.
The much discussed issue of whether renovation and modernisation works
on existing buildings are cheaper or more expensive than a corresponding
new building cannot be answered conclusively. Given the varying conditions
of existing buildings, the different standards of fittings and the economics
of planning, there are simply too many variables involved.

The factor with the greatest influence on construction costs is without

doubt whether the envisaged usage can be fitted into the existing building
structure with reasonable interventions. If extensive alterations are neces-
sary, even the most economical and sustainable project plan will be unable
to achieve major savings. The ability to weigh up the overall interests of the
client alongside the project aims is the actual strategic responsibility of the
architect.

Scheduling works
Realistic project scheduling is a particularly challenging aspect of construc-
tion, and the programming of works within existing buildings, where the
works are often interdependent, is without doubt especially so. A common
cause of delays is that traditional materials, as found in the building and
used for its repair, are often unsuitable for use during the cold winter
months. Moisture ingress, for example when filling voids in walling, should
be avoided if there is a danger of frost. Some historic building materials
should not be used under certain temperatures – for example, the use of
lime as a binding agent or coating is severely limited at temperatures below
10°C. Other measures are time-consuming in summer, for instance where
chemical processes take place – the stabilisation of disintegrated stone sur-
faces or their desalination are examples. Good knowledge of the individual
building measures is the best way to avoid unforeseen difficulties.

Architect’s fees
The planning work involved when working with historic buildings is without
doubt far greater than for new buildings. The preliminary investigations are
more extensive, the number of specialists involved is greater, the planning
process is more complex, and the site supervision requires more involvement

196
on site. The client should be made aware of this early on. It is a common mis-
conception that a survey requires only slight alterations to become a plan, and
should therefore be an integral part of an architect’s services. Even if some
drawing time can be saved, which is in no way certain, this is more than
cancelled out by the additional work required in the planning and construc-
tion phases. The element-for-element approach when working with existing
buildings results in a large number of bespoke solutions and individual situa-
tions that need to be detailed. By contrast, when planning a new building,
a single standard detail can clarify a whole series of planning questions.
For this reason all but the most basic of surveys and all architectural research
are generally considered to be special services and are often remunerated
additionally. Furthermore, the particular complexity of design projects for
existing buildings can also be reflected by an additional fee surcharge.

Further reading
Very little further reading is available on this topic. König/Mandl bring together an extensive
overview of building costs. Schulz provides information concerning the organisation of the
building site. Petzet/Mader and Thomas also offer insights into aspects of site supervision.

197
SUSTAINABILITY

Sustainable development meets the needs of the present without compromising

the ability of future generations to meet their own needs.
Brundtland report, World Commission on Environment and Development, 1987

The continued use and development of existing buildings is fundamentally

sustainable. Its aim is to maximise the overall lifetime of buildings. It
ensures that the effort and investment that was required to originally erect
a building can be utilised for as long as possible into the present and future.
The issue of the lifetime of a building–and the amount of required or pos-
sible maintenance and conversion measures it can undergo during its life–
is much easier to assess for existing buildings than for new buildings. A
house that has been home to three or four generations, or a former factory
now used as a space for events or as a fashionable shopping centre, has
already demonstrated its ability to adapt to new uses and users. The degree
of urban and infrastructural integration and the arrangement, construction
and materials of a building have demonstrated their qualities, strengths and
weaknesses. The construction has aged, undergone repairs and proved its
durability; those elements and materials of the building that were not
durable have been replaced. This experience allows one to develop strat-
egies and techniques which guarantee the sustained use of the building
long beyond its investment write-off period. With appropriate maintenance,
there is no reason why the building cannot progress to future phases of use
without the need for major investment. Architectural design in the context
of existing buildings extends the use of buildings over multiple future phas-
es of use, and in the process, carries over the existing qualities of the
building into the future.
The property market has for a long time been accustomed to taking into
account the later use of a building in its calculations. Independent of the
different calculation models employed for financing new construction pro-
jects, the ability to continue using a building after the amortisation period
promises higher returns on the initial investment. 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. A building can be understood as a non-recurring investment, whose

A disgrace for the profession: the thoughtless and unqualified treatment of historic building
fabric leads to unnecessary and costly destruction, robs the historic building of its identity and
makes it impossible for others to use and work with the historic building fabric. 199
 value can be continually increased through appropriate maintenance and
clever development.

Facility Management
Facility management is a term used to describe the process of discovering
and exploiting the underused resources of existing building stock. It takes
into account the entire process of managing buildings and properties across
all their operational phases. Particularly for businesses in the manufacturing
or service industries, property can often represent a large part of their over-
all assets. Where these are underused or poorly managed, clever facility
management can activate their economic potential. In any case, facility
management must be considered in the future business development strat-
egy, if one is to avoid the cost of upkeep from exceeding the utility value of
the property.
Facility management begins with the making of an inventory of all proper-
ties, their overall value and their function, and draws up a balance of the
existing situation. In a second stage, the condition of the individual proper-
ties and their optimisation possibilities are assessed. Many approaches and
methods are similar to those used for the investigation and surveying of
existing buildings for architectural design purposes. Good building plans
are once again a must, and the availability of reliable information is a pre-
requisite for developing strategies of action. The aim of both is to gain
added value through the rediscovery and utilisation of pre-existing qualities.
The real value of an existing building is of course also dependent upon the
way in which one assesses it and how well one communicates this. For this
reason facility management must take a step back from the often restrictive
conventional notions of valuation and consider how existing property assets
can be re-evaluated. In order to obtain a value assessment that is as precise
and realistic as possible, the valuation should take into account aspects that
are otherwise often ignored. A crucial aspect for the overall calculation is
the time span over which a construction project should be assessed. To
properly assess the long-term perspective for architecture in the context of
existing buildings, one must, of course, take into account costs resulting
from a building’s operation as well as for repairs and renovation. In this
respect, frequent renovation measures will be problematic. When consid-
ered over a longer time span, short intervals between renovations can be
cost-intensive for several reasons: they fail to fully exploit the usage poten-

200
tial of the renovation measures, they involve some destruction of the exist-
ing value of the building, and they incur construction costs for the usable
volume which unnecessarily squeeze potential profits.
Design and construction works within existing buildings as well as general
maintenance are usually regarded as being expensive. The cost of design in
the context of existing buildings is indeed more expensive than their coun-
terparts when erecting a new building. It is important to survey and assess
each specific case individually; the cost of individual works can be higher
than comparable standard solutions due to the number of bespoke solutions
required. The greater proportion of manual labour by qualified craftsmen
also increases the costs. When erecting new constructions the costs for
materials and labour are approximately equal. This proportion shifts for
renovation work: whilst material costs remain relatively low, the cost for
labour as well as specialist skills and consulting can amount to as much as
80% of the overall costs. Given this, the aim is almost always to limit the
degree of works to the minimum necessary to ensure the continued use of
the building, and the overall investment can often be very cost-effective.
Although the cost for the design and planning may at first glance appear
high, it usually pays for itself as cost savings during the building works.
The cost of construction works for existing buildings is very much depend-
ent upon the building itself and the compatibility of the new usage or
requirements. If the new usage is largely compatible and the construction
and design intentions are clear in advance, cost savings of up to 40% in
comparison to erecting a new building are possible. For certain types of
buildings, redevelopment concepts have been developed into successful
economic models. Examples are the conversion of inner city former factory
buildings into lofts, furniture stores and local centres, or the redevelopment
of dockland areas or the fitting out of roof spaces. All these help to strength-
en identification with historic building substance, to provide continuity and
to contribute to sustainable neighbourhoods.
If one includes the costs for maintenance and repairs in the overall calcula-
tion of building costs, which is an integral part of every economic assess-
ment, then sustainable, well-chosen and planned repair, upgrading and
conversion works are more cost-effective than new constructions. Finally,
the cost for the demolition and disposal of building materials at the end of
the useful life of a building should also be part of the overall calculation.
Whereas most building materials used before the height of industrialisation

201
 are generally easy to recycle and dispose of safely, many more recent build-
ing 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.

Monitoring and maintenance

The most cost-effective treatment of existing buildings is continual mainte-
nance and upkeep. Long-term maintenance contracts, regular reviews by
caretakers as well as specialists and the keeping of building maintenance
logs all support this purpose. The latter documents the ongoing condition
of a building over a long period of time, any alterations that have taken place
and the development of defects, and provides the necessary basis for recog-
nising and remedying negative developments before they become more
serious. Regular and qualified maintenance secures the long-term value, an
old insight that is particularly relevant in times of economic constraints.
For the “normal” owner of a historic building, a good model for the sustain-
able and systematic maintenance of existing buildings is provided by the
regular inspections conducted by conservation organisations for culturally
important monuments. Housing associations also have long-standing exper-
ience in this area. The inspections are usually based on a checklist-based
maintenance plan which includes the regular clearance of gutters and
downpipes, the repair of leakages and other aspects that can quickly lead to
damage to the building fabric. For large buildings such as castles or church-
es, it has proven effective to conduct building works in phases over an
extended period of time so as to be able to observe their impact and sustain-
ability before proceeding with new works. This approach not only spreads
the cost of building works over a longer period but also provides maximum
feedback for the planner and so contributes to the long-term value of the
building.
The use of techniques from facility management enables maintenance,
repair, renovation and refurbishment works to be adjusted to fit the actual
aging process of the building fabric. The long-term monitoring of an exist-
ing building and critical aspects of its construction provides a reliable indi-
cation of the aging process of the building and the opportunity to react
accordingly. The trick is to undertake as few measures as possible but as
soon as they become necessary, so that more serious defects requiring more
extensive works can be avoided.

202
 Condition
(after renovation)

Initial Condition
(after construction)

Deterioration Z0–Z1

Condition Z1
Deterioration Z2/Z3
Building constitution

Deterioration Condition Z2
Z1–Z2
Condition Z3

Damage threshold
Collapse

Time
Renovation period

The life cycle of a building and investment in its upkeep. Ongoing maintenance can
avoid such major renovation measures; in most cases the standard of the renovation exceeds
that of the original building.

Preserving property value

The property market values buildings according to a series of very different
factors. Most of these valuation factors are subject to continual fluctuation
and include such aspects as advantages and disadvantages of location and
the image of the building. The primary task for architects is to ensure that
the value of the building is maintained and where possible increased in the
long term. Sensitivity is required to find the middle road between conser-
vative preservation and ephemeral fashion. An attempt to increase the value
of a property not only by upgrading its standards through the addition of
new bathrooms, lifts, insulation etc., but also by remodelling the building
according to contemporary tastes, often amounts to short-lived “beautification”.
The repainting of a façade in more friendly colours or the improvement of
the entrance area in an apartment house are without doubt positive for the
value of a building; more extensive remodelling can, however, conflict with
the overall aesthetic concept of a building or even with its construction.
Anyone involved in working on existing buildings should be aware that the
long-term value of a building lies in its historic and aesthetic form as

203
 embodied by the building fabric. Every alteration will inherently involve
some degree of damage to the existing fabric, and this applies equally for alter-
ations to its aesthetic appearance. The post-modern pediment over the
entrance to a slab block from the 1960s already appears dated after only ten
years. On the other hand, the aesthetics of facing concrete from the 1970s,
although presently generally unloved, will probably be more appreciated in
the not too distant future.
It is not only cheaper but also maintains the value of a building not to react
to short-lived aesthetic fashions and instead to care for and bring out its
innate aesthetic qualities. Even aspects which may presently be perceived as
passé may be viewed as attractive and exclusive in a few years’ time or by
other users. As such, architectural design for existing buildings requires not
only a whole series of competencies but also and above all, patience.

Further reading:
The approaches and methods of modern facility management are described by Gänssmantel/
Geburtig/Schau. Alda/Hirscher provide insights into property development and the
valuation of existing buildings. Kastner details the systematic assessment of historic buil-
dings and the use of checklists. Hamesse points to the close relationship between economi-
cal and ecological renovation strategies. Reul 2005 describes the lack of sustainability and
economic absurdity of renovation works planned without thorough knowledge of the buil-
ding. The development and keeping of building maintenance logs is described by
Klemisch. He also notes that the care for existing building stock with a view to avoiding
more serious damage through the documentation, inspection and specific maintenance of a
building is a field that has yet to be fully exploited by architects and engineers. Finally,
Hassler/Kohler provide statistical information on the existing building stock.

204
Appendix
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BRANDI, Cesare: Teoria del Restauro; Milano 1963

Our selection makes no claim to be complete. The
list includes mostly individual publications and BREITLING, Andris and Stefan ORTH: Erinnerungs-
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211
INDEX OF ARCHITECTS Harrap, Julian 10, 126
Hänsch, Wolfgang 143
ACEA + Comune di Roma 120 Heerich, Ernst 174
Alberti, Leon Battista 9 Henket, Hubert-Jan 152
Anderhalten, Claus 126, 170 Herzog & de Meuron 10, 20, 170
Aparicio Guisado, Jesus 150 Hollein, Hans 101, 148
Asadov, Aleksander 132 Hüffer + Ramin 181
Atelier 5 131
INNOCAD 132
Auer, Gerd 23, 153
Augustin + Frank 122 Jones, Edward 107
AUIA 132 Jordi, Marc 134
Aulenti, Gae 123
Kahlfeldt, Petra and Paul 101, 120
Baupiloten 142, 172 Klumpp, Hans 78
Behnisch, Günter 171 Kollhoff, Hans 101, 140, 170
Bernini, Gianlorenzo 17 Koolhaas, Rem 100
Block, Klaus 95, 124
Lópes Cotelo, Victor 33
Böhm, Gottfried 119, 126
Bramante, Donato 17 Maderno, Carlo 17
Breitling, Stefan 67, 71 MECANOO 100, 109
Brouwers, Rob 125 Meixner / Schlueter / Wendt 173
Busse, Hans-Busso von 29 Michelangelo 9, 159
Miralles, Enric 149
Calatrava, Santiago 105
Moore, Charles W. 101
Canali, Guido 97, 144
Mozer, Jordan 11
Carmassi, Massimo 10, 32, 75, 97, 98, 115, 144,
MRJ Rundell + Associates 108
161
Muzio, Giovanni 95
Chipperfield, David 10, 126
Cramer, Johannes 23, 41, 74, 153, 169, 176, 187 Neumann, Franz Ignatz Michael 16
Nouvel, Jean 135
Dehio, Georg 21, 48
Novas, Angeles + Fernando Barredo 171
Diederen + Dirrix 117
Dinse/Feest/Zurl 124 Ortner, Laurids 102
Dixon + Jones 107 Oswalt, Philipp 210
Döllgast, Hans 96, 97, 126
Peruzzi, Baldessare 17
Domenig, Günther 156
Piana, Mario 112
Donati, Francesca 129
Pitz + Hoh 79
Egeraat, Erick van 100, 109 Puente Fernandez, Carlos 33
Purcell/Miller/Tritton 139
Fernandez Elorza, Hector 150
Foster, Norman 135, 154, 155, 159 Raffael 17
Frotscher, Heinrich 153 Reuter, Hans 113, 180
Riegl, Alois 21, 210
Galfetti, Aurelio 10, 98, 135
Ruskin, John 21, 24, 27, 111 167
Gallegos Borges, Gabriel 103
Garcia Delgado, Javier 33 Sangallo, Antonio da 17
Gehry, Frank 100 Scarpa, Carlo 10, 97, 98, 116, 143, 144, 145, 159, 160
Gieselmann, Reinhard 148 Scharfetter, Martin 145
Ginsburg, Moisei 30 Schattner, Karljosef 10, 48, 97, 98, 124, 145, 147, 162
González, Primitivo 103 Scherer + Angonese 128
Gropius, Walter 21 Schinkel, Karl Friedrich 9, 18, 24, 159, 183

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Schubert, Leo 112
Schwarz, Rudolf 97
Seelinger, Martin 143
Stirling, James 101
Tesar, Heinz 101
Ungers, Oswald Mathias 147
Valentyn, Thomas van den 137
Venturi, Robert 141
Wehdorn, Manfred 124
Zaanen/Spanjers 104
ZECC Architekten 130
Zumthor, Peter 20

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INDEX OF SUBJECTS Construction planning 33, 75, 87, 113, 131, 139, 140,
160, 161, 163, 164, 165, 169, 194, 195
Access routes 183, 186, 188 Contractors 42, 112, 114, 183, 185, 186, 189–191
Adaptation 111, 119–134, 139, 164, 165, 199 Contrast 33, 75, 115, 125, 128, 137, 144, 148, 149, 151,
Addition of storeys 110, 129 155, 192
Additional structural support 168 Conversion 126
Additive measures 41, 88, 116, 167–173, 175 Corrective maintenance 11, 45, 111–114
Age, impression of age 21, 116, 138–141 Correspondence 100, 115, 117, 127, 137-138, 159
Aging 111 Costing, cost control 193–196, 200, 202
Appropriate choice of materials 166 Cultural landscape 18
Archaeology 68, 69, 80, 93, 103
Dating methods 80, 82
Architectonic expression 120, 137–157, 162, 170
Defamiliarisation 133, 146, 147, 151, 155
Architect’s fees 189, 196
Deformation 55, 58, 59, 67, 71, 72, 73, 83, 85, 86,
Archives 48–50, 72
112, 112, 129, 164
As found 99
Dendrochronology 68, 81, 93
Authenticity 23, 37
Design strategies 43, 93, 110
Auxiliary constructions 102, 107, 109, 131
DESIGN STRATEGIES
Box window 175, 177
Adaptation 111, 119-134, 139, 164, 165, 199
Building archaeology 60, 68-82, 72, 76, 83, 128, 147
Aging 111
Building cost 67, 111, 174, 194–196, 197, 199
Change of use 47, 101, 104, 119, 199
Building material 152
Combination 132
Building materials, historic 25, 43, 80, 159, 196
Completion 123
Building mechanics 45, 72, 86–91, 118, 129, 141, 169
Conservation 20, 22, 114, 165, 184, 193
Building phase plan 38, 41, 54, 69, 70, 84, 91, 128,
Conversion 126
148, 149
Corrective maintenance 45, 111–114
Building phases 71, 203
Correspondence 100, 115, 117, 127, 137–138, 159
Building plan 54-65
Modernisation 111, 115–119, 196
Building record 47, 49, 54
Reconstruction 24, 40, 69, 72, 79, 80, 91, 126,
Building rubble 185, 202
135, 136, 137, 142, 144
Building services 168
Refurbishment 24, 67, 114, 166, 201, 203, 205
Building survey 41, 45, 46, 66–91
Repairs 33, 48, 84, 86, 117, 159, 163, 165, 175,
Building time 72, 185, 188, 189,194–197
180, 193, 203
Building works supervision 189–194
Restoration 111, 114
Ceiling height 35, 133 Upgrading 113, 118, 119 175–177, 180
Change of use 47, 101, 104, 119, 199
Detail planning 59, 159–181
Checklist 46, 53, 202, 205
Didactic design 146
Circulation 32, 41, 50, 75, 102, 104, 107, 108, 109,
Digital Building Information System 71
110, 118, 126, 131, 132, 133, 143, 149, 153, 171
Disposition 101-106, 199
Client 34, 35, 40, 102, 147, 174, 196, 202
Distortion-rectified photograph 61, 64
Combination 132
Documentation 47, 50–54, 56, 60, 67, 189, 194
Completion 126
Dry rot 30, 178, 179, 180
Composition of building volumes 151
Conservation authorities 37, 40 Edge protection 188
Conservation 19, 21, 22, 114, 165, 184, 193 Electrical installation 38, 117
Conservation plan 37, 39, 40, 92 Endangered species, protection of 25
Conservation legislation 20 Energy efficiency 36, 118, 142, 170
Conservation topographical studies 48 Exemptions and relaxations 35, 110, 165
Extension 107, 110, 122, 127, 149, 151, 152, 157

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Façade 123, 134, 143, 147, 162, 172, 191, 195 Plan of fittings and fixtures 37, 51, 54, 91
Facility Management 54, 59, 93, 200–202, 203, 205 Planning authorities 35–40
Fire safety 35, 36, 108, 110, 131 Planning detail, degree of 31, 163
Fittings and fixtures 54, 59, 62, 66, 75, 77, 91, 140, Planning permission procedure 37
187, 196 Planning process 29, 81
Floor plan arrangement 35, 101, 104, 127, 133 Planning, element-for-element 160–163, 197
Fragmentation 98, 103, 143–147 Precision levels 54–57, 58, 59
Functional planning 59, 102–104 Preparatory investigations 31, 45-93, 194
Fungal or beetle infestation 86, 178 Presentation 98, 103, 144, 145, 147, 155, 157
Preserving property value 202, 203
genius loci 18, 19, 23, 98
Property development 199, 204, 205
Gutting 101, 102, 134, 162
Protective measures 29–31
Hand measurement 56, 61, 62 Protective measures for building elements 185–189,
Heating 117, 118, 185 190
Historic authenticity 23
Reclaimed materials 171–174, 176
House-in-house approach 120
Reconstruction 24, 40, 65, 69, 72, 79, 80, 91, 126,
Industrial buildings 123, 124 135, 136, 137, 142, 144
Initial inspection 46 Refurbishment 23, 67, 114, 166, 201, 203, 205
Inspections 202 Remnant 134
Interim temporary usage 119 Repairs 33, 48, 84, 86, 117, 159, 163, 165, 175, 180,
Inventory 48 193, 203
Restoration 114
Joint 150, 151, 153, 162
Restorer 35, 68, 77–80, 147, 162, 187–193
Junction and delineation 151–157
Reversibilty 37, 167
Laser scanner 58, 62–65, 163 Roof conversion 127, 130
Laser theodolite 58, 61, 62 Room distribution 104
Lift 41, 58, 110, 125, 133 Room log 42, 46, 50, 51, 52, 53, 72
Listed building 29, 36
Samples 191-192
Load-bearing capacity 31, 88, 110
Sanitary installation 38, 117
Main inspection 46 Scanner, 3D: see Laser scanner
Maintenance 48, 114, 199, 201, 202–203 Second skin 168, 170
Maintenance plan 202 Shadow line 151, 153
Mapping 46, 91 Single-glazed window 175, 177
Marking 47, 53, 69, 190, Site facilities 183–189
Measured survey 41, 44, 53–63, 74, 89 sotto livello 152, 157
Mock-up 191–192 Special services 197
Modernisation 111, 115–119, 196 Specifications 54,191, 192, 193
Moisture 87, 166, 186 Stairs 33, 41, 58, 105, 108, 116, 121, 162, 163, 188
Monitoring 30, 71, 202-203 Standard minimum charges 193
Stereo photogrammetry 61, 65, 78
Noise insulation 36, 175, 177
Strengths and weaknesses, evaluation and
objet trouvé 99 interpretation 45, 89–93
Opening (sondage) 73, 78, 79 Structural stability 84, 88
Structural survey 83–86, 169
Photogrammetry 61, 62, 93
Structure 30, 35, 37, 46, 59, 66–72, 84–86, 105, 109,
Photographic record 50
113, 167, 168, 169, 171, 172, 178, 180, 181, 189
Plan of damages 89, 90, 91
Structured light systems 64, 73
Plan of finds 38, 67

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Subdivision 58, 68, 119, 120, 137
Surface-mount installation 117, 121
Survey 54–63, 94, 181, 193, 194
Survey of defects 85, 87, 89, 175, 178
Survey, accurate 53–63, 112, 113, 163
Survey, comprehensive analytical 57, 78
Survey, schematic 55, 195
Survey, tacheometric/geodetic 61, 70, 71
Sustainability 47, 101, 104, 134 165, 174, 177, 159,
199–205
Thermography 72, 87, 93
Thermopane glazing 175
Timber infestation appraisal 178, 180
Tithe maps 50
Title register 47
Town planning 22
Underpinning 133
Upgrading 113, 118, 119 175–177, 180
User involvement 43
Venice Charter 22, 102
Windows 36, 57, 59, 81, 159, 160, 175–177
Working load 168
Workshop 185, 187
Written information 50, 73, 183, 190

217
ILLUSTRATION CREDITS Kaunat, Angelo 132
Klomfar+Partner 128
Altenkirch, Dirk 74 Kollhoff Architekten 140
Anderhalten, Claus 172 Kraneburg, Christian 173
Archivio Museo di Castelvecchio, Verona 160
Martiradonna, Andrea 129
Atelier 5 131
Marzee Gallery 117
ASD, Yngve Jan Holland, Andreas Potthoff 63
Mazzola, Sebastiano 120
Augustin und Frank 122
meixner-schlueter-wendt 173
Basel Conservation Department, Hans Ritzmann 56 Miotto, Luciana / Archivio Museo di Castelvecchio
Basel Conservation Department, Bernard Jaggi 105 Verona 8
Basel Conservation Department, Mathias Merki 56 Moreno, Joaquim 112
Basel Conservation Department, Stephan Tramèr 73 Müller, Stefan 181
Battistella©CISA-A. Palladio, Gianantonio 118 Munich Technical University, Building History 113
Baupiloten, Susanne Hofmann 172
Nemec, Studio 140
Bergamo, Fabrizio 206
Berlin Conservation Department 77 Ohara, Nobuko 123
Bitschnau/Hauser 128
Pavan, Vittorio 112
Bitter, Jan 142, 172
Prussian Palaces and Gardens Foundation Berlin-
Bleyl, Markus 41, 164, 169
Brandenburg 72
Block, Klaus 124
Prussian Palaces and Gardens Foundation Berlin-
Blümel, Anke 108
Brandenburg, Andreas Potthoff 62
bpk / Kupferstichkabinett, SMB /Jörg P. Anders 17
Purcell, Miller, Tritton LLP 139
Braunau City Administration 69
Bryant, Richard / arcaid.co.uk 104 Reichwald, Helmut 78, 79
Reuss, Wolfgang 79
Calatrava, Santiago 105
Ricciardi, Enrico 45
Carmassi, Massimo 2, 75, 161
Richters, Christian 109
Ciampi, Mario 75, 115
Cirenei, Matteo 95 Sánchez López, Eduardo 33
Cramer/Sack 51 Schnieringer, Karl 55
Schubert, Leo 85, 112
Dechau, Wilfried 94
Schwarz, Ulrich 140
Dienstleistung Denkmal, Semmler/Schmidt 43, 66
Serrano, Manuel 117, 121
Gieselmann, Reinhard 148 Sloun, Etienne van 125
Gilbert, Dennis / VIEW 155 Snower, Doug 11
Gonzalez, Primitivo 103 Sternberg, Morley von 108
Gross, Felix / Kunstverlag Josef Fink 78 Storemyr, Per 90
Suzuki, Hisao 33
Halbe, Roland 123, 150
Helfenstein, Heinrich 105 Trapp, www.tobiastrapp.eu 119
Hofburg Kongresszentrum & Toeten, Sybolt 152
Redoutensäle Wien 126
Wett, Günther R. 145
Hollein, Hans 148
Wicky, Gaston 131
Holzmanufaktur Rottweil 158, 175, 177
Winde, Jörg 28
Hüffer/Ramin 181
Wolf, Peter 187
Hundertmark, Hein / Cultuurhistorie
gemeente Utrecht 149 Young, Nigel / Foster+Partners 154
Huthmacher, Werner 122, 127
Zecc Architekten 130
Jakobs, Dörthe 78, 79 Zugmann, Gerald 156

All other illustrations have been provided by the

authors.
219
ON THE AUTHORS

Prof. Dr.-Ing. Johannes Cramer Dr.-Ing. Stefan Breitling

Freelance architect, Professor of History of
Architecture and Urban Development Stefan Breitling studied classical archaeology in
Freiburg im Breisgau and architecture at the
After his architectural studies, Johannes Cramer Technical University of Berlin. In 1996 as part of
worked at the TH Darmstadt, the DAI German the Graduate College for Art History, Building
Archaeological Institute and was recipient of a Archaeology and Conservation at the Otto Friedrich
Heisenberg Scholarship at the University of University of Bamberg and the Technical Univer-
Hanover. From 1989 to 1997 he was Professor of sity of Berlin, he received a doctoral scholarship
History of Architecture and Settlement Develop- from the DFG German Research Foundation. From
ment at the University of Bamberg, since 1997 1998 to 2003 he was a research associate, later an
Professor of History of Architecture and Urban academic associate at the chair for History of
Development at the Technical University of Berlin. Architecture and Urban Development at the
He has led research projects on buildings from Technical University of Berlin with Professor
Roman times (Basilica of Maxentius, Rome) to the Johannes Cramer. He completed his doctoral dis-
20th century (Berlin Wall). He has published wide- sertation on Manor houses between the Elbe and
ly on building surveying, building research and the Oder 1400–1600 in 2001 at the Faculty of
archaeology as well as on various architectural Architecture of the Leibniz University of Hanover
topics from medieval times as well as 20th century with Professor Cord Meckseper.
architecture, including World Heritage sites such
as St. Michael's Church in Hildesheim and the old He has led research projects on the Ri-Rdzong
town of Istanbul. Monastery in Ladakh, on houses in Fener, Istanbul,
http://baugeschichte.a.tu-berlin.de on the Basilica of Maxentius in Rome, the Ottonian
Collegiate Church in Walbeck, Naumburg
Since 1977 Johannes Cramer runs an office for Cathedral, the Franciscan Cloister Church in Berlin
building archaeology, building research and build- and other buildings. From 1999 to 2004 he was
ing conservation and is a consultant to the commissioned by the Nidaros Domkirkes
UNESCO. He has undertaken restoration and con- Restaureringsarbeider to lead the historical investi-
version projects throughout Germany and Europe, gation of the octagonal apse of Nidaros Cathedral
often on buildings with valuable and sensitive in Trondheim. From 2002 to 2004 he was commis-
building substance. These include World Heritage sioned by the ARGE Pergamon Museum to plan
sites such as St. Mary's and Imperial Cathedral in the restoration and archaeological preparation of
Speyer and the Pergamon Museum in Berlin. the Mshatta Façade in the Museum for Islamic Art
Furthermore, he has undertaken numerous conser- in Berlin. Since 1997 he works as a freelance
vation analyses and reports on historic buildings architectural historian and conservation expert. He
in preparation for their correct and appropriate is a member of the Koldewey Society and the
historical renovation and conversion. Wartburg Society for research on castles and forts.
www.prof-cramer.de Since 2006 he is a Visiting Professor of Building
archaeology and history of architecture at the Otto
Friedrich University of Bamberg.

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