ADAPTIVE REUSE_CASE STUDIES.pdf

ADAPTIVE RE-USE
PRESENTATION BY AR.GEEVA CHANDANA 1

OLD : ADAPTIVE REUSE +
NEW : ADDITION | TRANSFORMATION
01 | RENOVATION AND EXTENSION OF THE PIER ARTS CENTRE, ORKNEY ISLANDS, SCOTLAND
02 | A NEW CAFETERIA IN KASSEL’S ZEUGHAUS RUIN
03 | CONVERSION OF A VENETIAN CUSTOMS HALL INTO A MUSEUM
04 | GARE MARITIME IN BRUSSELS TURNED INTO A TIMBER SHOPPING CENTRE
05 | CHÂTEAU DU LOUVRE INTO LOUVRE MUSEUM IN PARIS
INTERNATIONAL CASE STUDY OF ADAPTIVE REUSE

NEW : ADDITION
1

After Construction
THREE BUILDINGS FOR ART : RENOVATION AND EXTENSION OF THE PIER ARTS CENTRE, ORKNEY ISLANDS, SCOTLAND
REIACH AND HALL ARCHITECTS, EDINBURGH

• Centre (PAC) occupies a strategic position in this stone frontage, directly
adjacent to the ferry terminal. The Centre houses one of the most significant
collections of British art from the twentieth century, and the permanent
collection is regularly supplemented by temporary exhibitions. Established in
1979 in two landmarked historical buildings directly on the stone pier, the Pier
Art Centre was refurbished and expanded by Reiach and Hall Architects from
2005 to 2007.
• The ensemble consists of three distinct elements: a building along Victoria
Street on the landward side and two buildings that extend perpendicularly from
the street towards the sea. The whitewashed street side building contains the
entrance, offices, and library, along with an artist’s studio.
• The latter two are a renovated waterfront warehouse and a new building in
black with a simple pitched roof in a modern form that recalls traditional
warehouses. The original pier building contains the permanent collection,
whereas the temporary exhibitions are held in its newer counterpart.
• Unlike the waterfront warehouses of stone, this building has an exterior that
oscillates between solid and void: black zinc ribs alternate with translucent
glass infill. At night, the illuminated interior radiates like a lantern from between
the ribs of the outer skin.
• The interior spaces of the gallery are plastered white and punctuated by glazed
openings in the gable wall and along the side facing the sea. Spacious, tranquil
exhibition spaces enable the works of art to come across at their best; soft
northern light filters into the spaces and establishes a connection between the
visitor and the surrounding landscape.
The Pier Arts Centre | Reiach and Hall Architects

2

FROM OBSTACLE TO CONNECTING LINK : A NEW CAFETERIA IN KASSEL’S ZEUGHAUS RUIN
KASSEL BUILDING DEPARTMENT, PROF. HANS-JOACHIM NEUKÄTER

• On March 1, 1582, Landgrave Wilhelm IV laid the four corner- stones
of the Zeughaus, in which the city’s arsenal of weapons was
housed. “The building, whose considerable dimensions are
highlighted in older descriptions, shall be on plan a rectangle of 96.80
meters long and 21.80 meters wide,” according to a historical source.
In the Second World War, Kassel was the target of aerial attacks by
the Allies; following bombing in 1943, the Zeughaus was gutted by
fire—only its external walls remained. In the following decades, the
shell deteriorated and became overgrown.
• At the beginning of the 1970s, the city planned to construct two
vocational schools on the Zeughaus site. In 1991, Kassel citizens
founded an association with the goal of preserving the ruin and
giving it a new use.
• In order to achieve permanent use of the building, Hans-Joachim
Neukäter, director of the municipal building department, presented a
design that received unanimous consent and was ultimately realized:
A cafeteria, missing from the school until now, was to be integrated
into the ruin. The newly created space is at the disposal of the
vocational students and is also available for public events. The
architect describes his concept as follows: “Inside and outside
correspond to old and new. The outside is sturdy, the inside is
fragile. This gave birth to the idea of integrating a glass object into
the ruin, one that does not restrict the space or make it smaller, and
does not compete with the imposing appearance of the remaining
outer walls.
• Three horizontal layers characterize the design concept: Level 1 of
the cafeteria (ground floor), which lies half a meter above the former
floor, the set-back mezzanine level above, and the roof slab. Level 1
and the mezzanine level connect the two classroom wings,
accommodate their differences in height, and are enveloped solely by
a transparent glass and steel construction.”

3

ART AT THE TIP OF THE ISLAND : CONVERSION OF A VENETIAN CUSTOMS HALL INTO A MUSEUM
TADAO ANDO ARCHITECT & ASSOCIATES

• The old customs office, Punta della Dogana, occupies a prominent
site in the lagoon city: it stands at the tip of an island in the
Dorsoduro district, bordered by the Canal Grande and the Canale
della Giudecca, diagonally opposite from Piazza San Marco.
• In the past, investors have repeatedly shown interest in the
seventeenth-century building, which has been empty for decades ;
the changes that would have been necessary for converting it into a
hotel or apartment building were, however, not acceptable to the
city and its residents. François Pinault, a French billionaire and art
collector, was ultimately able to win the Venetians over to his
concept for converting the building into a museum of contemporary
art.
• The architecture of the new “temple of art” is the brainchild of Tadao
Ando Architect & Associates. The Japanese architect for converted
the building that is more than three hundred years old. Ando has
succeeded in revitalizing the former customs building in a
surprisingly sensitive way. It was soon decided to leave the external
appearance of the building untouched—not only because of the city
authority’s strict requirements. The stuccoed brick masonry of the
outer walls was carefully restored and, where needed, secured with
stainless steel anchors. Slight imperfections in the stucco were
repaired, whereas the brick was left visible in larger areas affected
by spalling. The building is covered by a wave-like series of gabled
roofs that cover the parallel, long rectangular halls comprising the tri-
angular plan. Atop the restored timber roof structure, the architects
have set a new roof that is reminiscent of the original, but which
integrates additional skylights.
• Inside, to start with, all the partition walls, stairs, and other additions
from the last two centuries were removed—only the original structure
remains. Walls were left unsurfaced to a great extent. Missing bricks
were replaced by the architects only where it was absolutely necessary,
using bricks with characteristics coming as close as possible to the
existing ones.
• The newly inserted structural elements, however, establish a clear
contrast to the existing fabric: here Ando has worked with the porcelain-
like, polished, exposed concrete that has become his trademark, as well
as elements of steel and glass.
• The floors are depending on the floor level and the part of the building
either exposed concrete or covered with linoleum. The smooth surfaces
contrast with the irregular brick walls and rough wooden beams of the
historical building. Since the new and old elements maintain a balance,
the existing fabric and the new construction do not compete with one
another. Instead, they form a new entity the art museum. For Ando, this
alliance also symbolizes the union of past, present, and future: the shell
stands for the past, his architecture represents the present, and the art is
that which transcends the present.
ART AT THE TIP OF THE ISLAND : CONVERSION OF A VENETIAN CUSTOMS HALL INTO A MUSEUM
TADAO ANDO ARCHITECT & ASSOCIATES

GARE MARITIME IN BRUSSELS TURNED INTO A TIMBER SHOPPING CENTRE
Neutelings Riedijk Architects and Bureau Bouwtechniek
4

Gare Maritime in Brussels turned into a timber shopping centre

• Neutelings Riedijk Architects and Bureau Bouwtechniek have
converted a railway station in Brussels into a mixed-use
development, which is the largest cross-laminated timber project in
Europe.
• Within the former 20th-century railway shed the architecture studio
has created 12 pavilions from 10,000 cubic metres of timber making
it Europe's largest cross-laminated timber (CLT) project according to
developer Extensa.
• The goods railway sheds near Brussels' docks have been turned
into a covered hall filled with shops and offices and space for
events, as part of the wider Tour & Taxi development.
• A glass and timber roof covers the historic steel struts of Gare
Maritime. The CLT volumes below are clad in oak and surrounded
by trees and indoor parks.
• Using large amount of CLT was part of the plan to make the
development of Gare Maritime as sustainable as possible.
• Neutelings Riedijk Architects followed the principles of the circular
economy – where materials are kept in circulation rather than
discarded in favour of extracting new raw materials – for the project.
• The modular CLT structures can be easily taken apart and the panels
repurposed at a later date. CLT is made by glueing together panels of
wood, a renewable material, to create a light yet sturdy construction
material. For Gare Maritime, using CLT meant the structures could
be prefabricated offsite to cut down construction time.
• As an adaptive reuse project, Gare Maritime conserves energy and
materials by making use of an existing structure instead of
demolishing and building an entirely new complex in its place.
• Jan de Moffarts Architects, Bureau Bouwtechniek, Ney & Partners and
Boydens undertook the restoration of the old railway sheds. The riveted
lattice girders and three-hinge trusses have been carefully restored
and, in certain places, reinforced.
• Gare Maritime also runs entirely on non-fossil fuel energy. Solar panels
are included in the street-facing facade and a further 17,000 square
metres of solar panels are installed on the roof. Rainwater is collected to
water the ten gardens, which are all planted around four different
themes – woodland, flowers, grass and fragrance. Eight mosaics by
Brussels-based artist Henri Jacobs also decorate the interiors.
GARE MARITIME IN BRUSSELS TURNED INTO A TIMBER SHOPPING CENTRE
Neutelings Riedijk Architects and Bureau Bouwtechniek

CHÂTEAU DU LOUVRE INTO LOUVRE MUSEUM IN PARIS
Louvre Pyramid by I.M, Pei: The Glass Pyramid
After Construction
Before Construction of the Pyramid
5

• The building was originally built as a fortress in the 12th century,
under King Phillip II to prevent invasions from the north.
• Charles V razed the Louvre to make way for a royal residence, but his
plans were derailed due to the hundred-year war and it fell into
disuse until 1527.
• By the 16th century, King Francis I began construction on the palace,
expanding it over time until the commencement of The French
Revolution.
• It was then converted to a museum by Louis XVI in the year 1793.
• In a building designed and built as a palace, and converted as a
museum; it is the organization of the new circulation system which
becomes the main problem. The basic plan organization of a
Museum is a loop, where the visitor is expected to come back to the
entry point, and it was thus that the original tour of Louvre as a
Museum was laid out-starting at one end of the Grand gallery, and
continued through the entire palace through the passages, making it
the most tiresome of all such places.
• With more than 3 million visitors in an year by 1980, the situation was
getting out of control. The problem somehow was to re-organize the
visitor traffic, without disturbing the historical character of the
building, which, in fact was one of the main attractions of Louvre
Palace.
• In the context of the foregoing arguments, I. M. Pei ‟s proposal for
intervention is a beautiful combination of the functional
requirements and the 20th century reverence to the historic
structures.
• As Pei‟s design was selected as a result of an international
competition, it can be assumed that the functional part of I. M. Pei‟s
proposal, providing a central entry in the open foreground (a place
which used for parking anyway) and short-circuiting the long
treacherous journey through the long passages was considered the
most appropriate solution. It dealt with the problem without
disturbing the visual character of the place, and was the most
sensitive design in this respect.
• Pei also used to his advantage the fact that the palace had
functioning basements, and preferred to place all of his new
accesses and foyers (including the beautiful 20th century spiral
staircase & the unique lift) entirely below the main courtyard. All the
accesses are thus beautifully organized, with not a single
disturbance to the scene above, except the glass pyramids as roof of
the entrance foyer.
• Louvre Pyramid thus is a celebration ofthe principles of modern
architecture, a perpetual reminder of its philosophy, andits sensitivity
to the history.

• Construction cost of Louvre in 16th century - In total, it is
estimated that the Louvre cost around 30 million livres to
build. This is the equivalent of approximately $4.5 billion in
today’s money.
• The Glass Pyramid of the Louvre was inaugurated the 4
March 1989, and the total cost of the Louvre Pyramid was
$2 billion.

CHÂTEAU
DU
LOUVRE
INTO
LOUVRE
MUSEUM
IN
PARIS
Interiors

NEW : ADDITION | TRANSFORMATION
INDIAN CASE STUDY OF ADAPTIVE REUSE

Collage
House
|
S+PS
Architects,
Mumbai

• The project looks at the idea of recycling and collage in several ways,
from the very physical - like materials, energy, etc. to the intangible -
like history, space and memories.
• The front façade sets the tone for what lies within, with a “corner of
windows” that recycles old windows and doors of demolished
houses in the city. This becomes a major backdrop for the living
room with a exposed concrete faceted ceiling above countered by
the polished white marble with intricate brass inlay on the floor.
• Metal pipe leftovers pieced together like bamboo form a “pipe wall”
integrating structural columns, rainwater downtake pipes and a
sculpture of spouts that in the monsoon are a delight for all the
senses.
• In the central courtyard on one side scrap rusted metal plates are
riveted together, Kitsch colored tile samples retain a planter in the
middle and on the third side is a wall clad in cut-waste stone slivers
lifted off the back of stone cutting yards and waste generated on
site.
• Hundred-year-old columns from a dismantled house bring back
memories, and nostalgia is nourished with a lightweight, steel and
glass pavilion (with solar panels above) on the terrace level
overlooking fabulous views down the hillside. This approach is
reinforced again in the interior materials and elements.
• It plays up this contrast between the old and the new, the traditional
and the contemporary, the rough and the finished.
• One finds use of recycled materials like old textile blocks, Flooring
out of old Burma teak rafters and purlins, colonial furniture, fabric
waste (chindi) along with new ways of using traditional elements
and materials like carved wooden mouldings, beveled mirrors,
heritage cement tiles, etc.
Collage House
S+PS Architects | Area: 520 m²

Soro
Village
Pub
|
Raya
Shankhwalker
Architects

• “Soro”, meaning alcoholic beverage in
Konkani is a tavern conceptualised within
the ruins of an old corner store. The corner
store itself became the protagonist in the
story of the bar; the design is centred around
the concept of a 1940’s warehouse owned
by a local dealer who traded in different
merchandise. Thus retaining as much of the
original structure as possible became
pivotal.
• The three walls that stand at the junction of
the roads abutting the site have been left
largely untouched. Their dilapidated charm
became the perfect opportunity to create an
understated entrance into the young, hip,
industrial chic bar that unfolds within.
• The interior walls have been brought to life
with vintage graffiti by Patanga Arts, a
Mumbai based set design company. Bold
elements of graphic design were introduced
into the flooring by using an eclectic array
of cement tiles in a customised pattern.
• All the ducting and electrical piping was left
exposed carrying forward the theme of the
industrial warehouse.
Soro Village Pub
Raya Shankhwalker Architects | Area: 211 m²

Shiori, Japanese Restaurant Goa
Studio Praia | This 132-year-old hardware store in Goa is now a humble Japanese restaurant

Shiori, Japanese Restaurant Goa
Studio Praia | This 132-year-old hardware store in Goa is now a humble Japanese restaurant
• When Rochelle Santimano of Studio Praia, and her team, Allison Joseph, was
approached by Sahil Adwalpalkar and Nikhil Moye to restore a 132-year-old P.P.
Moye & Sons hardware store that sold everything from hardware to fishing
equipment to accessories into a yakitori bar, it was clear that the rustic vibe of
the restaurant would blend well with the neighbourhood of Siolim.
• In many ways, these imperfections also had to be preserved. When it comes to
Goa, not all the restorations take the adaptive reuse route. In some cases,
cement and concrete is plastered on, demolishing the original character of a
space.
• In Santimano’s able hands, the humble restaurant had to align with the emotional
core of the original space, even though it was a hardware store. “After the initial
documentation of the site in the form of detailed existing drawings and
photographs, we emptied the structure down to its bare shell which allowed us
to truly feel the space,” she explains.
• “The cracks in the uneven walls, the imperfections in the wooden roof
structure, the distressed doors, windows and old grills, all lent to its unique
character, and I was able to understand clearly what we wanted to preserve.”
• Santimano explains that her team built a material palette consisting of dark
moody walls, natural teak wood, cane and black cement oxide floors. As it was
a load bearing structure constructed mainly in laterite stone and mud, knocking
down the walls wasn’t feasible. “So, we worked on fitting the requirements of the
brief into the existing three rooms—the first room that earlier housed the billing
desk and large display cabinets now is the bar, the second room which was
mainly used for storage and display is a dining area and the third room has a
sushi counter, the washrooms and the kitchen.”

~ Rs.3,500 ~ Rs.900 ~ Rs.140 ~ Rs.300
~ Rs.1000 ~ Rs.450 ~ Rs.500
~ Rs.700

Maya
|
Maze
Concept
Design
LLP

• Location- Jayanagar, Bangalore | Area - 6000 sqft | Year - 2022
• The site is located in south Bangalore, it was an existing bungalow which had to
be converted into a restaurant. The villa was about 25-30 years old and it was
extremely compartmentalised with small rooms & living areas.
• The existing structure was a G+1 with a common staircase. The structure was a
conventional grid system with slabs & beams and thick brick walls. The villa had
quite a large front yard and there were good setbacks all around the building.
• The villa was set in residential area that is slowly converting into a commercial
street and shared compound walls with another residence & a commercial
building which was quite dilapidated.
• The inspiration was from Geoffrey Bawa’s architecture and design sense. The
intent was to maximise the usability of the space after studying the existing
structure in depth with its limitations. Minimal details which would create a larger
impact in the overall aesthetics & feel of the space were added.
• The idea was to create spaces which were lit only through indirect lighting, a
contrast between the floor & the ceiling, and spaces where the artworks would
stand out the most with a few vernacular details added on to bring out the
tropical vernacular character & vibe.
• There was major intervention in the structure since it was an existing building.
Firstly, smaller rooms were completely knocked off to create larger open
spaces. A whole new extension on the first floor was added which acted as a
semi outdoor seating area which was made up of a decking slab and new metal
columns to support it. A new metal service staircase was added at the rear,
connecting the kitchen with all the service areas in all the floors right up till the
terrace. A dumbwaiter was added connecting the kitchen with all the floors. A
new flight of staircase was added to connect the existing staircase to the terrace
floor. A Mangalore tiled sloped roof was added to the terrace to create a covered
area for the seating and create a courtyard effect.
Maya, Restaurant + Art Gallery, Bangalore
Maze Concept Design LLP

• The designers had to strengthen the existing slab and beams by anchoring ISMB’s from beam to beam wherever required. The Majority of
the ground floor was used for kitchen and other utilities, a nice double height area with long chandeliers made up of Cane with the forms
inspired from Buddhist stupas stood at the entrance of the ground floor. Right below the double height was the entrance to the art gallery
and the staircase which leads to the main dining area. The first floor consisted of an indoor & semi outdoor seating area.
• The indoor Seating area had a mix of Booth seating, 4 seaters and a Cocktail/Mocktail Bar Counter. All the service areas, office & dumbwaiter
were located at the rear connected by a service staircase, this arrangement ensured the services had a separate circulation. When you move
onto the second floor you’re welcomed by a courtyard with a lotus pond at the centre, the remainder of the area is covered with sloped
mangalore tiled roof creating a covered semi outdoor seating area, we have different kinds of seating arrangements to accommodate the
guests.
• The designers created a booth seating with masonry & a concrete finish with a planter box. A private dining area has also been incorporated
which has the provisions to host workshops & other events as well. The outer boundaries of the restaurant was covered due to the presence
of a dilapidated structure on one side and a private residence on the other.
• The designers created provisions planted creepers at the top which would eventually grow and create a green wall. The wood for the doors
and windows are polished in a dark walnut colour that builds a contrast with the white walls. As we move up to the first floor the terracotta
floor tiles are used across the entire floor and warm cotton black and white printed fabrics are used for the upholstery. The bar has a bit of
wood and cane depicting a pattern of a traditional saree on the façade. The furniture was also one of the highlights. They were designed to be
simple and sturdy, mostly in wood and wicker to merge in with the aesthetic of the space created. Earthy tones of fabric was used along with
wood polished in a walnut finish. The fabric used for the upholstery were mainly black and white patterned prints.
• The third floor is mainly the outdoor/ courtyard vibe of the entire restaurant. The central area works as a courtyard with printed tiles and a lily
pond at the centre along with seating on three sides. The general lighting are focus lights that are used to accentuate the Mangalore tiled roof
along with decorative lights are mainly bamboo lights. Cane furniture is used as the main element on this floor and wooden table tops along
with a few green Jaipur marble tops.
Maya, Restaurant + Art Gallery, Bangalore
Maze Concept Design LLP

La Pôz Place | Minnie Bhatt Designs
Dilapidated Colonial office to an European themed restaurant.
Imagined by Minnie Bhatt, this Mumbai restaurant in the buzzing Kala Ghoda embraces a European interior story

La Pôz Place

La Pôz Place, Restaurant, Mumbai
Minnie Bhatt Designs
• La Pôz Place, a restaurant in the
precinct of Kala Ghoda, Mumbai, is
comfortably nestled inside a colonial
building.
• Minnie Bhatt of Minnie Bhatt Designs
was brought on board to design the
interiors of this 2,500sqft restaurant
and she was instantly captivated by
the potential that this space
presented.
• The designer decided to fashion the
interiors in a manner that preserved
and highlighted the essence of the
space while also adhering to the
client’s brief. “The clients basically
wanted a European café aesthetic,”
she says.
• “The concept was to create a
charming European eatery which also
goes along with the colonial charm of
its vicinity, and to incorporate
simplicity and minimalism where
materials speak their own language.”

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