2014 | Faculty of Architecture and Art

DOCTORAL DISSERTATION

Retail-Reuse: an interior view on

adaptive reuse of buildings

Doctoral dissertation submitted to obtain the degree of doctor

of Architecture, to be defended by:

Bie Plevoets

Promoter: Prof. Dr Koenraad Van Cleempoel

Co-promoter: Prof. Dr Annemie Draye

D/2014/2451/39
 Acknowledgements
The broad topic of this study can be described as ‘retail-reuse: an interior view on
adaptive reuse of buildings’. During the last six years, I have explored this topic

heritage conservation, architecture, retail design, but at last and above all from the
angle of interior architecture. This research has been highly enriched by the many
people whom I met in the last years and shared with me their thoughts and ideas about
these and many other issues.

In The

was a wonderful experience and of great value for my research. I appreciate very
much the faith he has shown in me at that time when he barely knew me, and which he
retained during the whole process. He accompanied me at the often-tortuous path of

way by giving me a scholarly article, a novel, or showing me a postcard of a painting.

to my research.

I received emails from colleagues teaching in the studio with interesting articles or

both of them. In a few years, the group of researchers has grown a lot, but the warm
atmosphere that was there when I started remained, and the discussions have even

and advising students with their thesis. I thank all students for their enthusiasm, their
 4

and practice.

library at our campus in Diepenbeek, the central library of Hasselt University, and the

I wish to express my gratitude to Hasselt University for supporting my research.

graduated as interior architect he convinced my parents to let me continue my study in

To conclude I want to thank my family. My parents have always supported me in

my choice for an academic career, even though they probably had another path in

family, my parents and parents-in-law helped us a lot, especially by taking care of our

mind. Our two sons, Fons and Marcel, always helped me to clear my thoughts.
 Summary
adapTIve reuse, which implies partly changing the function and programme of a
building and physically adapting it to new needs and requirements, has become an
increasingly important part of contemporary architectural and interior architectural

historic buildings that initially had other functions but are now transformed into shops
and other commercial functions. This practice, which we have called ‘retail-reuse’,
faces particular opportunities and threats for the heritage sector as well as the retail

retail environment. Existing studies on retail-reuse are scares and focus on its isolated

on the tension between retail and heritage preservation from the smaller scale – the
interior – does not exist so far.
Therefore, we look at the phenomenon of retail-reuse with an interior view,

is the relationship between adaptive reuse of historic buildings and retail design? Is
there added value for both sectors?” However, in order to elaborate on retail-reuse
from an interior point of view, we need a lexicon rooted in and built on the particular

the particular case of adaptive reuse into retail.

The goal

intervention, and elaborate further on existing concepts that are used in relation
to adaptive reuse and heritage preservation but which currently lack an interior

problems and opportunities of retail-reuse as a phenomenon, and secondly we identify

‘interior design’. In chapter two we sketch the evolution of the emerging discipline of
 6

approach’. This interior approach is further explored in chapters three and four. In
chapter three we describe three strategies for adaptive reuse that involve copying

theory into the theory of adaptive reuse: translatio, imitatio, and aemulatio
concepts describes a particular relationship between the copy and the model which we
recognize in selected examples from contemporary adaptive reuse practice. In chapter
four we elaborate further on three concepts that are at the core of conservation
and architectural theory today by looking at them from an interior perspective:
sustainability, authenticity, and genius loci.

overview of the legislation, but we focus on two aspects that are important in relation

about adaptive reuse in general, and on practical examples of retail-reuse. Our results

studies in Flanders and the Netherlands. In chapter seven we present a concept for
the measures that we believe could and should be taken by the Flemish government

retail sector. The proposed measures include policy measures, and in a limited extent
also legal measures.

We conclude

methods and tools that we could teach the students in order to reveal the genius loci of
 Samenvatting
herbesTemmIng, zIjnde het veranderen van de functie of het programma van een
gebouw en het fysiek aanpassen ervan aan nieuwe noden en vereisten, wordt steeds

van de restauratiewerkzaamheden, of op commercieel vlak. Bestaand onderzoek

stedenbouwkundige regeneratie, duurzaam ontwerpen, of consumentengedrag.

Onderzoek naar het spanningsveld tussen retail ontwikkeling en conservering van
erfgoed vanuit de kleine schaal – het interieur – is tot hiertoe onbestaand.

opportuniteiten. De eerste onderzoeksvraag is: ‘wat is de relatie tussen herbestemming

van historische gebouwen en retail design? Is er een meerwaarde voor beide sectoren?’.
Het bleek echter dat, om dit onderwerp gedegen te behandelen er nood is aan een
7
van het interieur. Daarom hebben we een andere onderzoeksvraag toegevoegd: ‘Hoe

van het interieur?’. Deze onderzoeksvraag hebben we eerst behandeld op basis van
voorbeelden van herbestemming in het algemeen, waarna we verder ingaan op retail-

heT doel van deze studie is het ontwikkelen van een gespecialiseerd lexicon via het

studie zich op het formuleren van aanbeveling voor het ondersteunen en verbeteren

met ‘reuse’, ‘renovation’, ‘adaptation’, ‘alteration’, ‘remodelling’, ‘refurbishment’,

welke manier deze verschilt van de betekenis van ‘interior decoration’ en ‘interior
design’. In hoofdstuk twee schetsen we de evolutie van de ontwikkeling van
 8

vier verschillende benaderingen in de hedendaagse herbestemmingstheorie: de

typologische benadering, de technische benadering, de programmatische benadering,

hiertoe onderbelicht bleef, en die verder bouwt op de zachte waarden van het gebouw,

Deze interieur benadering wordt verder uitgewerkt in hoofdstukken drie en vier. In

translatio, imitatio, en
aemulatio

onvoldoende benaderend werden vanuit het interieur: duurzaamheid, authenticiteit,

en genius loci.

studie: herbestemming, en de bescherming en het behoud van historische interieurs.

van het geven gebouw. Hiervoor baseren we ons op literatuur over herbestemming
in het algemeen, en op voorbeelden van retail-herbestemming. Het resultaat is

als in beperkte mate op wetgeving.

We besluITen

alsook over de methodes en instrumenten die we studenten kunnen aanleren om

de genius loci van een gegeven gebouw te ontrafelen. Daarenboven formuleren we

gebouwen met historische interieurs, en de noodzaak voor het vinden van geschikte
 Table of content
Introduction

PART 1: DEVELOPING A LEXICON FOR ADAPTIVE REUSE

- AN INTERIOR APPROACH

Chapter 1: Vocabulary

Chapter 2: Adaptive Reuse as an emerging discipline on the

crossing between conservation and architecture 9

Chapter 3: Aemulatio and the Interior Approach of Adaptive Reuse

translatio, imitatio, aemulatio

Translatio versus sequi: parallels to restoration
Imitatio: a contemporary interpretation of the model
Aemulatio: towards an experience of the building’s interiority
aemulatio: experiencing as a design methodology
 10

Chapter 4: Concepts of adaptive reuse from an interior

perspective

architecture

general and world heritage in particular

‘hyperreality’ and the ‘simulacrum’

Genius Loci
genius loci in architectural theory
genius loci in the context of heritage preservation
Genius loci and the interior
genius loci in the case of adaptive
reuse
genius loci
genius loci

Conclusion Part 1

PART 2: ADAPTIVE REUSE INTO RETAIL

- A CHALLENGING PROGRAMME

Chapter 5: The tension between retail design and heritage

conservation

interiors
 typology

Chapter 6: Identification of the various stakeholders and their

interests

11
Chapter 7: Considerations on policy regarding adaptive reuse

Conclusion Part 2

Discussion

Bibliography

Curriculum Vitae
 List of figures

Chapter 1:

Chapter 2:

13

alterations made to the building in the course of history left remarks on its

Chapter 3:

building without understanding of the building’s genius loci

 14

Duccio Malagamba

Chapter 4:
15
 16

genius loci

Chapter 5:
 17

Department
 18

city
Chapter 6:

‘hidden’ because the presence of historic features would attract to many ‘tourists’

Chapter 7:

19
 List of tables
Chapter 2:

Chapter 5:

chapels, and convents

21

Chapter 6:

study

Chapter 7:

genius loci
Introduction
 24

Problem statement and research questions:

WorkIng WITh existing buildings for continued use has become increasingly important
in contemporary architectural practice. The reasons for this are multiple, ranging
from the need for sustainable development patterns, current economic climate’s need

well as physically adapting the building to new needs and requirements.

In historic centres, adaptive reuse of the existing buildings for commercial use

historic centre is often also the commercial heart of a town the possibility for new
constructions is limited, and accordingly retailers often locate their stores in existing

Thirdly, from the heritage sector’s point of view a new use for the building is desirable
in order to avoid a degradation of the building itself and the cityscape to which it

and restoration.
But however tempting this immediate solution may seem, it is not always evident

some particular challenges. Usually there are many stakeholders involved, all with

not in the conservation of the historic building, while conservators fear an over-use of
the building without any respect for its heritage value. But even if the owner chooses a

guaranteed. In many cases, the building is rented out to a user who does not always

for example, monument boards have limited control over the use of the building after
its restoration.
Existing studies on retail-reuse are scarces and tend to focus on its isolated aspects

level
. These studies

the importance of qualitative architectural interventions, but fail to give examples

sustainable design
, as well as in relation to marketing

on the tension between retail and heritage preservation from the smaller scale – the
its interior features, how the programme functions within the buildings, and how it

What is the relationship between adaptive reuse of historic buildings

and retail design? An interior view on adaptive reuse of buildings.
- Is there added value for both sectors?
An inquiry into threads and opportunities

buT In order elaborate on this question, and to study the phenomenon of retail-reuse

and building upon the particular qualities of the interior, to speak about and evaluate

Interior architecture is at the core of contemporary adaptive reuse practice

, but, paradoxically, the theoretical basis
for this particular relationship between interior architecture and adaptive reuse has
only received limited attention. This may be partly caused by the fact that the growing
discipline of interior architecture itself lacks a profound body of theory
. Literature on
many of the books on
’
25
fall into two categories: ‘

decoration’ . Nevertheless, developing such a body of theory is important to

support the increasingly sophisticated and diverse practice of interior architecture. It
will also help to emancipate the discipline and become a recognised academic partner

qualities of the interior?

An inquiry into the emerging theory of interior architecture in relationship to

alThough oTher programmes may face similar problems and opportunities in relation
to adaptive reuse of historic buildings, for several reasons the retail sector is particularly
relevant for our study. Firstly, given the strong tension between the commercial interests
of the retail sector and the conservation interests of the heritage sector, this study is of

interior architecture because they are updated regularly to stay competitive with other
retailers and appealing to customers
propel the discipline of interior design forwards by creating innovative design solutions.
In the nineteenth and twentieth century several innovations in the retail sector have
 26

not only department stores take a leading role again by constructing new buildings
with distinct architecture, also supermarkets start to implement distinct architecture
to attract consumers . Thirdly, retailers often rent
existing buildings in which they introduce a completely new interior, usually changing

related to interior architecture. Fourthly, retail is economically an important sector and

many historic centres in Europe, retail is the function that is most prominently present
.

Objectives:

our research

Objective 1 – to develop a to speak about adaptive reuse of

buildings in general and retail-reuse in particular, from an interior architectural
perspective. This involves:
the introduction of new concepts that describe the particular relation

further that are used in relation to

adaptive reuse and heritage preservation, but which currently lack an interior
architectural contribution

Objective 2 – to formulate recommendations on a conceptual level to

support and improve the quality of retail-reuse projects. In order to come
to these recommendations, however, several steps are necessary:
to describe precisely the tensile relationship between heritage
conservation on the one hand, and retail design on the other hand in

phenomenon.

Structure and methodology:

InITIally, We started our research by studying the phenomenon of retail-reuse in

in order to be able to describe and understand the cases we were dealing with in the

qualities of the interior was not only felt in the context of our own research, but has
also been at the heart of lively and fundamental discussions with students, especially in
conferences and publications . Our contribution
to the development of such lexicon is described in part one of the thesis, including
chapters one to four.

In The

describing the adaptive reuse practice. Moreover, as interior architecture is a young

discipline without a profound body of theory and shared vocabulary, we also elaborate

evolution of the discipline in order to present its status quaestionis.

In the second chapter we sketch the origin and development of adaptive reuse as

existed in the course of history and which resonate still today. Our study focuses on
the evolution of adaptive reuse theory rather than practice, as a description based on
. Based on
this historical overview we sketch the diversity of adaptive reuse theory today, and we 27

the role of interior architecture herein.

that we have called ‘interior approach’. This interior approach breaks with the taboo

conservation, and that dominates contemporary adaptive reuse practice. Instead, the

philosophy in order to describe, analyse and compare examples of adaptive reuse that
involve copy and improvement of the existing building or interior. This results in three

intervention: translatio, imitatio, and aemulatio.

In the fourth chapter we dwell upon three existing concepts that have been used in
relation to adaptive reuse: sustainability, authenticity, and genius loci. For each of these

and conservation, based on literature and examples from practice. Next, we look at

related disciplines such as visual arts, literature, and philosophy. Our interior view on
sustainability, authenticity and genius loci
 28

shift or open up the adaptive reuse discourse into the direction of the ‘interiority’ of
the buildings – its narratives, memories, and poetic qualities.

parT TWo, aims to describe the tension between

conservation. It starts with a description of the legal framework for protecting and

description of the current legislation, but we focussed on two aspects that we found

historic interiors and secondly, aspects of adaptive reuse in general and retail-reuse
in particular. This study of the legal framework does not aim at an evaluation of the
applicability and adequacy of the Flemish immovable heritage legislation in general,
but instead wants to present a critical view on the legislation in relation to historic
interiors and adaptive reuse seen from one particular angle – interior architecture.

retail design and conservation. Based on the literature conducted in chapter two we

Each typology is studied based on literature and examples from practice in Flanders
and international. Not all of the examples stated in this paragraph are conducted as

these aspects that give additional insights in the practice of retail-reuse for the typology

an in-depth technical, urban, or economical study of the examples, but whenever

typologies that in general are more suitable to be reused for retail from those that are
in general not suitable for retail.

cases are selected and analysed in order to gain insight in the extent and complexity of

groups: owners, conservators, municipalities of historic towns, retailers, designers,

diverse, and may even seem contradictory, in some cases the diverse stakeholders’
interests may also overlap or complement one another.

The seventh chapter presents the measures that might be taken by the Flemish
afTer each

some openings for further research.

29
 PART 1

Developing a lexicon for adaptive reuse

- an interior approach
 Chapter 1: Vocabulary

In ThIs introductory chapter we develop a vocabulary that will be used throughout our

architecture, we elaborate on the concepts of ‘interior architecture’ versus ‘interior

design’, and we sketch the status quaestionis of interior architecture as an academic
discipline in its own right.

33

1.1. What is Adaptive Reuse?

There Is
practice of changing existing buildings in functional and architectural mode. There

, ‘adaptation’
, ‘alteration’ , ‘transformation’ , ‘refurbishment’
, ‘adaptive reuse’

, ‘revitalization’
, ‘rehabilitation’ , ‘renovation’
or ‘remodelling’

developed.
There are three reasons for this vagueness in terminology. Firstly, the degree of
change in comparison to the preserved part of the existing building varies greatly –
from minor maintenance works to almost complete redesign and rebuilding of an
 34

.
In the context of this research, it is not our aim to determine a sound terminology

to give our personal understanding of a selection of the above stated terms, based on

our study.

1.1.1. Reuse
conTrary To English, in Dutch there is a generally accepted term to indicate
the practice of changing buildings for new uses, which is ‘herbestemming
or ‘herbestemmen
translation of this Dutch term ‘herbestemmen
herbestemmen’ and ‘reuse’. ‘Herbestemmen’ implies that the new

‘to use again’ and as such may refer to reusing a building for a new function, but also
to using the building for its original use after a period of vacancy.

changing buildings for functional and architectural modes

‘adaptive reuse’ is more widely used and accepted. The single word ‘reuse’, however, is

usually happened gradually, spontaneous and vernacularly, the term ‘adaptive reuse’
seems too strong to describe the process.
In our study, we understand
regardless the physical interventions it may have brought along.

1.1.2. Renovation - Adaptation – Alteration – Remodelling

‘renovaTIon’ Is derived from the Latin re
to make changes
and repairs to (an old house, building, room, etc.) so that it is back in good condition’
‘restore to a former better state (as by cleaning, repairing, or rebuilding)

building is brought back to a ‘former’ state. However, generally speaking, renovation

aims at ‘improving’ the building and not at ‘restoring it to a former state’.
The term renovation is not so popular in an academic context, probably because of

synonym for maintenance: ‘

competent “upkeeping” .
But renovation does usually not imply a change in function - although it is sometimes
renovation as the improvement of a
and environmental impact.

‘adapTaTIon’ Is derived from the Latin ad aptare

and needs. In that sense, building adaptation is often used to indicate the adaptation of
the building to universal design standards , or environmental design
standards
adaptation as
‘any work to a building that go over and beyond maintenance to change
its capacity, function, or performance’ . In our study, we use this

‘alTeraTIon’ comes from the Latin alterare, meaning ‘to change in character or composition,
’.
‘pure architecture’, which means the construction of a new building on a completely
cleared site
change of the buildings’ aesthetics to almost completely rebuilding it to house a new

‘Work intended to change the function or appearance of a place’ .

Hence, where ‘adaptation’ implies only the strictly necessary works to obtain a certain 35
goal – adapting to environmental standards, universal design standards, change in
function, etc. -,
.

‘remodellIng’, accordIng to the Oxford Dictionary means ‘to change the structure
or form of something, especially a building
his important essay , Machado

There is a superabundance of freshly-coined and almost synonymous

terms referring to the type of architectural work traditionally called
‘remodelling’. Terms such as ‘architectural recycling’, ‘environmental

conceptual change with respect to previous stages of remodelling

Based on his text as a whole it seems that for Machado the process of ‘remodelling’
 36

function is the most obvious change, but other alterations may be made
to the building itself such as the circulation route, the orientation, the

may be demolished. This process is sometimes referred to as adaptive

architecture or even interior design .

term remodelling particularly emphasizes the physical intervention to

the building and as such tends to describe a strong architectural gesture.

despITe The fact that ‘renovation’, ‘adaptation’, ‘alteration’ and ‘remodelling’ are
often used as synonyms referring to the same practice of changing existing buildings

from continuity of the existing building by only carrying out maintenance works, to

Continuity = Change =
maintenance renovation adaptation alteration remodelling Complete
transformation

1.1.3. Refurbishment - Rehabilitation

‘refurbIshmenT’ Is
changing existing buildings, although its exact meaning is narrower than ‘adaptation’,
‘alteration’ or its precise ‘remodelling’. The word refurbishment is compounded from

its appearance and function. In the context of a building it primarily

involves extensive maintenance and repair as well as improvements to
bring it up to modern standards .

In contrast to maintenance, refurbishment measures also include intact

but, for example, outdated components or surfaces. … refurbishment

interior lay-out .
‘rehabIlITaTIon’, lIke refurbishment, includes maintenance works as well as aesthetic

interventions . Douglas limits rehabilitation to housing schemes. But

based on the context in which the term has been used by other authors
, this seems

‘reconstruction’ as a possible strategy for dealing with historic buildings and sites.
rehabilitation as ‘the act or process
of making possible a compatible use for a property through repair,
alterations, and additions while preserving those proportions or features,
which convey its historical, cultural, or architectural values’

1.1.4. Adaptive reuse

‘adapTIve reuse’ is the contraction of the words ‘adaptation’ and ‘reuse’, which are
described above. The term refers explicitly to changes that involve a functional as
well as physical component. The change in function however does necessarily mean
a radical change, but may instead be more subtle such as for example a commercial
37
station to house besides its original function also other functions such as retail in order
to meet contemporary traveller’s demands. Moreover, the degree of adaptation is not

structure and appearance, to some minor changes to an interior.

label
backgrounds such as interior architecture
, architecture and engineering
.
Because it explicitly includes a physical and functional component, we prefer this
term over the above described terms to name the discipline of working with existing

of interior architecture in relation to the reuse of existing buildings.

1.2. What is Interior Architecture?

1.2.1. Interior Decoration - Interior Architecture – Interior Design

InTerIor archITecTure

was made between the design of the interior, the exterior, and the furbishing and
 38

collaboration with the craftsman. From the nineteenth century onwards, however, the
furbishing and interior decoration was done by the décorateur who became responsible

. The furbishing and interior decoration was often looked

at as fashionable, personal and temporary. Therefore, and because the profession
décorateur was often perceived as inferior
compared to architecture.
In the course of the twentieth century, the task of the décorateur – called interior
designer or interior architect from then on – broadened to include the functional and
spatial organisation of buildings. The domestic house remained the most important
working domain, but gradually the interior architect became involved in the design

the interior architect continued to increase in diversity and complexity to museums,

cultural centres, airports and shopping malls. Today, interior architecture encompasses

scale, and from commercial to non-commercial interiors.

Interior design is an interdisciplinary practice that is concerned with the

creation of a range of interior environments that articulate identity and
atmosphere, through the manipulation of spatial volume, placement

little or no structural changes to the existing building, while ‘interior architecture’

argued that both terms are generally used to point to the same practice and as such
may be considered synonyms

study in particular, and for the theoretical and practical development for the discipline

terms indicating the same profession.

1.2.2. A body of theory supporting the discipline

durIng The last decennia, several authors have argued that the emerging discipline
of interior architecture lacks a profound body of theory
. Literature on interior
many of the books
’
usually fall into two categories: ‘

of domestic decoration’ . Nevertheless, developing such a body of theory is

important to support the increasingly sophisticated and diverse practice of interior
architecture. It will also help to emancipate the discipline and become a recognised
academic partner . It could also be argued that architectural theory
has claimed a group of authors and concepts that belong more the realm of interior
architecture and which are now in the process of being re-interpreted.
The last decade, however, several important publications have supported the
development of interior architecture as an academic discipline. In Intimus. Interior Design
Theory Reader,

.
Interior Design and
Architecture: Critical and Primary Sources

reader, From Organisation to Decoration,

39
on diverse aspects of the interior.
Moreover, beside the Journal of Interior Design

IDEA Journal
Home Cultures Int/Ar, a publication by

Interiors: Design Architecture Culture

and the International Journal of Interior Architecture + Spatial Design
contributed to the further development of the discipline. But there are still aspects of
interior architecture that remained theoretically underdeveloped.
In what follows, we will elaborate on the current and potential role of interior
architecture to adaptive reuse theory and practice. For example, interior architectural
theory could investigate how to ‘read’ the host space, with particular attention to its
‘soft values’ or its genius loci. It may lead to a more modest relationship between the old
and the new that focuses on the experience of the user rather than on an architectural
statement. In order to do so, a new lexicon, or ‘canon’ needs to be developed focusing
on the particular qualities of the interior, the building’s ‘interiority’. In the next
 Chapter 2: Adaptive reuse as an emerging
discipline on the crossing between conservation
and architecture 3

alThough The practice of altering buildings for new uses has occurred throughout
history, adaptive reuse as a discipline in its own right propelled by theory and practice

current streams of thought. This overview is solely based on written documents –

.
The aim of this chapter is to gain insight in the extent and the diversity of adaptive
reuse theory today, and to identify how the discipline could or should move further.

41

2.1. Building reuse in the past: the vernacular process

of building adaptation

alTerIng exIsTIng

period, monuments from ancient times were transformed for new uses or during the

. These interventions, however, were done in a pragmatic way in many

cases without heritage preservation as an intention . Instead, the
.

. The book, edited

 42

Because their structure tends to outlive their function, buildings have

continuously been adapted to new uses – a fact which has enabled
generation after generation to derive a sense of continuity and stability

pilfered for materials or condemned for political reasons, the process of

modern bull-dozer .

an important aspect of urban development as it improves the quality of a town, for

– recycling of materials available on site - and social terms - continuity of the normal

because

… a true complexity and a meaningful variety arise from the gradual

incremental process. This sense of continuity is further reinforced by

the intelligence of successive generations which, through trial and error,
produces a type of architecture which, by being so meaningful in social
terms, by being elaborated with the concurrence of so many people,
becomes almost necessarily a product of great quality .

been changed throughout time. Edward Hollis, instead of visualising the physical,
.
his book , he explains in thirteen stories how ancient
buildings are ‘stolen, appropriated, copied, translated, simulated, restored, and prophesied’, as these
are the terms he used to describe the spontaneous alteration of buildings.

rather than organised and build further on the needs and wants of society rather than

2.2. Reuse as a strategy towards conservation of

cultural heritage

2.2.1. Viollet-le-Duc and Ruskin: reuse and heritage preservation

an ImporTanT turning point in the history of building conservation was the French

absolute monarchy that had ruled France for century’s collapsed and traditional ideas
about monarchy, aristocracy and religious authority were abruptly overthrown. In the
place of these long established notions the Enlightenment put forward a completely
43
 44

new set of principles upon which to base the seemingly new society on the horizon. In

Commission des Monuments” was founded in order to set up an

inventory of all national properties seen as ‘useful for the public education, of the

to allow for the establishment of a separate commission responsible for historic

Commission des monument historiques was
.

be involved in numerous restoration works, many of which were Gothic buildings

task of ‘restoration’ were often far-reaching and, in some instances, involved adding
completely ‘new parts’ to the building, albeit ‘in the style of the original’
. This approach was rooted in the nationalist zeitgeist which saw historic buildings
as national monuments that were to be restored so as to illustrate the ‘achievements of
the nation’. Despite being a national movement, and generally focused on a strict stylistic

then to satisfy so well the needs dictated by that use that there will never
be any further need to make any further changes in the building. … In
such circumstances, the best thing to do is to try to put oneself in the
place of the original architect and try to imagine what he would do if he
returned to earth and was handed the same kind of programs as have
been given to us. Now, this sort of proceeding requires that the restorer
be in possession of all the same resources as the original master – and
that he proceeds as the original master did .

alter the original building for reuse in clear, direct and practical ways. However, it
not only resonates today because it serves as a historical precedent for contemporary

On Altering Architecture in which

‘sympathy’:
 Translation in poetry is akin to the work of bringing a building from a
past existence into the present. This carrying over of meaning in poetry
is recognized as a work requiring inspiration equivalent to that of the
original author and so similarly, one might come to view restoration as
an art equivalent to any other related to building .

contemporaries and descendants were totally against the approach he promoted with
a destruction
’ . Elsewhere, he called it
‘

It is impossible, as impossible as to raise the dead, to restore anything

that has ever been great or beautiful in architecture… Do not let us talk
then of restoration. The thing is a Lie from beginning to end...Take
proper care of your monuments, and you will not need to restore them
.

45
and a preference for the protection, conservation and maintenance of monuments.

of a building and, as a result, the marks of age were seen as an essential element to

. In their
manifesto they state:

It is for all these buildings, therefore, of all times and styles, that we plead,

wall or mend a leaky roof by such means as are obviously meant for
support or covering, and show no pretence of other art, and otherwise
to resist all tampering with either the fabric or ornament of the building

our ancient buildings as monuments of a bygone art, created by bygone

manners, that modern art cannot meddle with without destroying
.

For the anti-restoration movement then, the building should be allowed to exist
 46

between these two approaches was to remain a point of debate throughout the

2.2.2. Riegl and Boito: use-value and rule books

The polemIcs

appointed . In his essay Der Moderne

Denkmalkultus: Sein Wesen und seine Entstehun from the following decade, he ascribed the

on monuments

value, historical-value and intentional-commemorative-value, on the one hand, and

remove all traces of natural decay and to restore every fragment of the work to create
a historic entity. By contrast, he suggested that supporters of the anti-restoration
movement appreciated monuments exclusively for their age-value and that, for this
grouping, the incompleteness of an artefact should be preserved as traces of natural
decay that testify to the fact that a monument was not created recently but at some
point in the past. He described the scenario thus:

…the entire nineteenth-century practice of preservation rested

essentially on the traditional notion of a complete amalgamation of
newness-value and historic value: the aim was to remove every trace of
natural decay, to restore every fragment to achieve the appearance of
an integral whole. The restoration of a monument back to its original
condition was the openly accepted and eagerly propagated purpose of
all rational preservation in the nineteenth century.

The rise of age-value in the late nineteenth century generated opposition

preserved today. The contradiction between newness-value and age-

value is at the centre of the controversy which rages over the treatment

consideration of age-value has begun to prevail in its preservation. The

would prefer to regard a building in use as something sturdy rather than

as something ages and decaying .

He points to the innumerable monuments that are still in use or that have received
a new use in the course of history and states:
 Material life is a prerequisite for psychic existence, and indeed is more
important because there is no psychic life without physiological basis. It
follows then that an old building still in use must be maintained in such
a condition that it can accommodate people without endangering life or
health - any hole or leak must be repaired immediately. In general, we

whatsoever are made to age-value. Only in cases where use-value is

fraught with newness-value must consideration of age-value be even

value only in a few exceptional cases .

. Der Moderne Denkmalkultus: Sein Wesen und seine Entstehung was only translated to

relation to ‘value assessment’

and ‘conservation theory’ 47
.

WhIlsT rIegl’s approach towards the restoration and adaptation of monuments

was rather theoretical there was another author who took up the polemic previously

Questioni pratiche di belle arti, restauri, concorsi, legislazione,

professione, insegnamento

guidelines for the restoration of historic buildings

approach he saw a loss of the material authenticity

circumstances of the building or monument in question. In doing so he distinguished

methods that architects or restorers could use to allow them to adapt buildings whilst
producing no confusion as to what was old and what was new. These, he suggested,
 48

exhibiting removed old pieces which could be installed next to the

placing the documentation within the building or nearby

underlining notoriety .

but focuses on restoration instead, his ideas are directly applicable to both situations
and indicate another early theory that sought to overcome the two extremes of the
conventional wisdom of the time. Moreover, when Boito speaks about ‘restoration’,
this term may be interpreted more broadly than the general international meaning of
the word. The Italian world restauro does not only refer to ‘the action of returning something
but also involves aspects of reconstruction, as well as
adaptation to contemporary needs.

2.2.3. World War and its effects on restoration theory

The Influence of Boito on Italian and international conservation practice was to prove

ensures the continuity of their life, should be encouraged but that these
buildings should be used for a purpose which respects their historic or
.

for modernist architects to apply their own ideas, not only at the level of individual
buildings, but also at an urban scale. Nowhere was this more evident, or more

they rebuilt. Indeed, there is not even a word in Latin that corresponds to the
English world ‘restoration’. Instead, the terms mean ‘to
re-establish’, or ‘to rebuild anew’.
the problems of thirty-three cities and proposed a set of ‘statements’ for the creation
of the ideal modern city. Their analysis led to the now famous proposal for the division
of the ideal modern city into four main functions: dwelling, recreation, work and

historic parts of cities however, are less well documented. They state:

retained:

for the population that is compelled to live in it.

the focal point.

It also states that:

be desired

and furthermore that: 49

By the demolition of slum dwellings surrounding the historic

monuments, green areas can be created, which improve the hygienic

between conservation and restoration on the one hand, and modern architecture

remaining historic fabric of the post-war-period, and adapting it to the needs of the
modern world, modern architecture’s belief in the future and new techniques led it to
dismiss existing architecture and see it is a barrier to development and advancement.

In many ways the clarity of this division was a complete inversion of the situation

however, this oppositional perspective was being challenged and architecture and
conservation began to move closer together as a number of important architects and
design theorist began to show increasing interest in working with historic buildings.
This shift in the thinking of architects was paralleled by a shift in ideas coming
 50

was limited to antique and medieval buildings but, as a result of the destructions of
the two world wars, there was also an increasing awareness regarding the value of

and even complete historic cities were now considered as falling within the remit of

potentially need ‘conserving’ in this new and expanded context was enormous.

form of ‘conservation’ practice. It states:

the conservation of monuments is always facilitated by making use of

.

Thus, the ideas of architects and conservations can, in sense, be seen as coalescing

of important architects who began to work with historic buildings as a matter of

a special issue entitled , that dedicated itself to building reuse

and
Design Relationship. Both conferences led to book publications in the years that followed

an early
Architecture as Palimpsest. In
this text Machado
anti-restoration movement on the one hand, and the external debate about whether
architectural design has to be based on a tableau-rasa on the other. He did so through

been removed so that the space could be used again for another. In
antiquity the word was applied loosely to any writing material that
had been cleared and reused. … In late classical and medieval times
the scarcity and costliness of vellum were so great that it was quite
frequently salvaged after the text, which had been inscribed thereon,

the equivalent of a palimpsest. … but also the remodelled architectural

work itself, since it can be seen as a text of a special kind that is
51
 52

future formal discourses to be inscribed upon it, then remodelling can

.

Here Machado employs the term ‘remodelling’ to refer to ‘adaptive reuse’ and
draws an analogy with writing which allowed him to consider the overlaying of formal
interventions within an existing form, adaptive reuse, as a creative act in and of itself.
It was one that did not destroy the existing context but which was not completely
restricted by it either. It would prove to be an indication of what the future of adaptive
reuse would conceive itself as in the coming decades.

2.3. Adaptive reuse as an architectural challenge

The 1970s then can be seen as the historical moment in which the notion of ‘adaptive
reuse’ came to establish itself as a creative discipline in its own right with a philosophy
or a theory behind it. This does not mean however, that there was, or is, only one
approach or theory of contemporary reuse. On the contrary even then, but especially

2.3.1. Typological approach

a pIoneerIng

current conservation practice, and is followed by a selection of international examples

which had a very similar structure, but which focused on only six typologies which
he subdivided into several building types. In this publication his typologies included:

documentary or category based approach, several authors have studied adaptive reuse
by analysing case studies through the typology of the host space and have developed

extensive work on building adaptation according to the typology of the host space
and although the variety of building types he discusses is limited in comparison to
 CATEGORY TYPOLOGY LITERATURE
(Bordage & Faure, 2002; Cantacuzino, 1989; Douglas, 2006;
Factory
Henehan et al., 2004; Latham, 2000b; Stratton, 2000)
(Cantacuzino, 1975, 1989; Douglas, 2006; Henehan et al., 2004;
Warehouse
Latham, 2000b; Stratton, 2000)
(Cantacuzino, 1975, 1989; Cunnington, 1988; Douglas, 2006; Fisher,
Barn
1992; Stratton, 2000)
Industrial
buildings

Granary (Cantacuzino, 1975, 1989; Cunnington, 1988; Latham, 2000b)

(Cantacuzino, 1975, 1989; Cunnington, 1988; Douglas, 2006;
Mill
Latham, 2000b; Stratton, 2000)
Brewery (Cantacuzino, 1975, 1989; Latham, 2000b; Stratton, 2000)
(Cantacuzino, 1975; Cunnington, 1988; Latham, 2000b; Stratton,
Malting
2000)
Mining site (Stratton, 2000)
(Alavedra, 2007; Cantacuzino, 1975, 1989; Cunnington, 1988;
Church & Chapel Douglas, 2006; English Heritage, 2003; Latham, 2000b; Morisset et
Religious
buildings

al., 2005)
Convent (Cantacuzino, 1975, 1989)
Beguinage *
Presbytery *
City Hall (Cantacuzino, 1975, 1989)
Museum (Douglas, 2006)
(Cantacuzino, 1975, 1989; Cunnington, 1988; English Heritage,
School
2005; Henehan et al., 2004; Latham, 2000b)
Hospital (Cantacuzino, 1975, 1989; Douglas, 2006; Latham, 2000b) 53
(Semi-)public
buildings

Court House (Cantacuzino, 1989)

Office (Cunnington, 1988; Douglas, 2006; Latham, 2000b)
Library (Latham, 2000b)
Theatre (Latham, 2000b)
Hotel & Hostel (Cunnington, 1988)
Post Office (Douglas, 2006)
Railway station (Cantacuzino, 1975, 1989; Latham, 2000b; Stratton, 2000)
Castle (Cantacuzino, 1989; Latham, 2000b)
(Cantacuzino, 1975, 1989; Cunnington, 1988; Latham, 2000b;
Country house
Residential
buildings

Nichols & Adams, 2013; van de Weijer, 2012)

(Cantacuzino, 1989; Cunnington, 1988; Douglas, 2006; Latham,
Farm
2000b)
Town house (Cantacuzino, 1975, 1989; Cunnington, 1988; Latham, 2000b)
Apartment building *

Fortress (Cantacuzino, 1975; Latham, 2000b)

buildings
Military

Barrack (Cantacuzino, 1975; Latham, 2000b)

Gate (Cantacuzino, 1975)

Craft shop *
Department store (Henehan et al., 2004; Latham, 2000b)
Commercial
buildings

Exchange (Cantacuzino, 1975, 1989)

Bank (Cantacuzino, 1989)
Market (Cantacuzino, 1989; Latham, 2000b)
Boutique *
Passage (MacKeith, 1986)

* these typologies have been added based on found examples instead of literature
 54

new uses. Furthermore, Douglas backs this up by focusing on the reason for the

numerous oTher studies have emerged under the umbrella of this genre and investigate

regeneration, engineering, sustainability and economy but these publications are not

conservation is often organised on national or local level, a wide variety of regional

we attempted to be as complete as possible, this list is not exhaustive.

industrial buildings, residential buildings, and churches. Other typologies have been
discussed only limitedly, among which religious buildings other than churches, military

have received minor attention, but as we only cited international literature, they may
have been studied more in-depth in nationally conducted studies. For example, post

category or typology, and may be valuable in guiding future research questions.

2.3.2. Technical approach

In conTrasT
approached building adaptation as primarily a technical question and, in a sense, have
become even less theoretical in their thinking. In this vein there exist a number of
‘guidebooks’ focused on how to adapt a building so as to ensure it can best accommodate
The
.
between domestic and non-domestic buildings and then goes on to develop a technical
chapter in which he discusses the improvements necessary to adapted buildings in

. This reference text has been

followed up by numerous other editions in which he has expanded the number and
range of technical issues to be considered by the designer adapting existing structures
to include issues of sustainable redevelopment

of the work of Douglas

they approach the host space merely as a container that can be adapted for functional,

the typological approach, for the consideration of conservation and heritage or what
we may call the genius loci of the host building.
The last decennium however, these technical issues have inevitably come to the
fore in the theory and practice of reuse as ecological imperatives have imposed ever
more complex technical challenges on the designers of these newly adapted spaces
. Throughout the literature dedicated to these questions, there is
emphasis on the fact that reusing existing buildings is, in principal, a sustainable

than those necessary for new constructions. However, all the authors dealing with
these purely technical strategies of reuse also identify that historic buildings often

in ecological terms.

55
UPGRADING LITERATURE
Loadbearing structure
(Douglas, 2006; Giebeler et al., 2009; Gorse & Highfield,
Frames (timber structures, iron structures,…)
2009; Highfield, 1987; Rabun & Kelso, 2009)
(Douglas, 2006; Giebeler et al., 2009; Gorse & Highfield,
Floors
2009; Highfield, 1987; Rabun & Kelso, 2009)
(Douglas, 2006; Giebeler et al., 2009; Rabun & Kelso,
Walls
2009)
(Douglas, 2006; Giebeler et al., 2009; Rabun & Kelso,
Roofs
2009)
(Douglas, 2006; Gorse & Highfield, 2009; Rabun & Kelso,
Underpinning
2009)
Heavy-lifting (Gorse & Highfield, 2009; Rabun & Kelso, 2009)
Building envelop
Internal surfaces (Gorse & Highfield, 2009; Highfield, 1987)
Introduction of new floors (Douglas, 2006; Gorse & Highfield, 2009)
Façade (Gorse & Highfield, 2009; Highfield, 1991)
(Douglas, 2006; Gorse & Highfield, 2009; Rabun & Kelso,
Accessibility and circulation
2009)
Comfort, Safety and Energy Efficiency
(Giebeler et al., 2009; Gorse & Highfield, 2009; Highfield,
Fire-resistance
1987; Rabun & Kelso, 2009)
(Douglas, 2006; Giebeler et al., 2009; Gorse & Highfield,
Thermal performance
2009; Highfield, 1987; Rabun & Kelso, 2009)
(Giebeler et al., 2009; Gorse & Highfield, 2009; Highfield,
Acoustic performance
1987)
(Douglas, 2006; Gorse & Highfield, 2009; Highfield, 1987;
Preventing moisture and dampness
Rabun & Kelso, 2009)
Indoor air quality (Douglas, 2006; Rabun & Kelso, 2009)
 56

One consequence of the increased concern across the design world with issues
of environmental importance is, naturally enough, an explosion in the theories and

an interdisciplinary approach towards reuse of historic buildings, including issues of

conservation, architecture, interior design and planning beside aspects of engineering.

etc. may include aspects of acoustic and thermal improvement. Moreover, the actual

insight in the particular technical problems that are related to adaptive reuse, and the
extent in which they are discussed in adaptive reuse literature.

2.3.3. Programmatic approach

a ThIrd approach to reuse that has yet to be fully examined in theoretical treatises but
which has been applied in reality for some time, is the programmatic strategy. This

it. In the studies that have been made into this strategy there tends to be an emphasis
on contemporary architecture and interventions rather than aspects of heritage
conservation .
Nevertheless, it is important that this approach will be further developed, in
particular given that historic buildings are continually, and increasingly being adapted

historic buildings because of their ‘authentic character’. In the case of the retail sector,

the buildings that occupy our city centre shopping areas are often old.
The early investigations that exist into the programmatic approach to reuse, need
to address these and other issues if, as some of its proponents claim, it can help solve

housing for an aging demographic is to be fully developed within our existing building
stock.

to adaptive reuse, we have drawn on literature presenting a typological approach

dwelling, culture and education are programmes that have been extensively discussed
in relation to adaptive reuse. Industry, military functions, and religious functions
show much resemblance anymore to the original building.

PROGRAM LITERATURE
(Cantacuzino, 1975, 1989; Fisher, 1992; Latham, 2000b;
Dwelling Nichols & Adams, 2013; Powell, 1999; van de Weijer,
2012)
Culture
(Cantacuzino, 1975, 1989; Fisher, 1992; Latham, 2000b;
Museum & Exhibition
Powell, 1999)
Library (Fisher, 1992; Latham, 2000b; Powell, 1999)
Theatre (Cantacuzino, 1975, 1989; Latham, 2000b; Powell, 1999)
Education (Cantacuzino, 1975, 1989; Fisher, 1992; Latham, 2000b;
Powell, 1999)
Retail (Cantacuzino, 1975, 1989; Latham, 2000b; Powell, 1999)
Office (Cantacuzino, 1975, 1989; Fisher, 1992; Latham, 2000b;
Powell, 1999)
Leisure (Cantacuzino, 1975; Latham, 2000b)
Care (Cantacuzino, 1989; Latham, 2000b)
Industry (Latham, 2000b) 57
Religious (Latham, 2000b)
Military (Latham, 2000b)
Mixed-use development (Cantacuzino, 1975, 1989; Fisher, 1992)

2.3.4. Strategic approach

In Architecture as Palimpsest Machado considers a series of metaphors from the
practice of writing – such as writing over, underlining, partially erasing, interstitial

about the remodelling of buildings. He questions the predominant attention for the

instead, he argues for an increased emphasis on the ‘form/form relationship’ as he

believes this to be the critical potential of the activity. Moreover, Machado continues
that the activity of remodelling is not limited to the production of ‘form’, but rather

way one might deal with historic buildings. He states :

of the style in vogue at that time. It is for this reason that, in times before the
attentive study of styles has been developed up to the point where it is today,
replacements of this type were merely considered aberrations, and sometimes as
a consequence false dates were assigned to parts of an edifice that should rightly
 58

that the ‘meaning’ of the past and the way the architect or designer deals with it,
should be considered as essential. He states:

because it, itself, is the material to be altered and reshaped. The past

alThough These more ‘poetic’ ideas did not initially receive much consideration, by

traces, albeit less forceful ones, of Machado’s more poetic palimpsest ideas.

who, as with

. Their approach also starts from physical intervention but

ARCHITECTURAL
DESIGN STRATEGIES
EXPRESSIONS

Brooker &
Robert 1989 Jäger 2010 Cramer & Breitling 2007
Stone 2004

Building within Insertion Transformation Modernisation Correspondence

Building over

Building alongside
Addition
Unification
Building around Adaptation

Intervention

Adapting to a new
Conversion
function Junction and
Installation
delineation

Building in the
Replacement
style of

Recycling
Corrective
materials of
maintenance
vestiges
proposed strategies, they suggest, the meaning of the building can be either accepted,
transformed or supressed. In , they explain:

It is through an understanding and interpretation of the spirit of place

and the particular contextual setting within which a building exists that
the designer or architect can heighten, change and reactivate a space.

are unique only to that particular situation. The designer can analyse
and use these found qualities as the starting point or basis for the next
layer of construction .

Their use of categories and latent concern for a sense of place is also evident

develop these

practical but also acknowledges a more poetic understanding of adaptive reuse more
akin to the ideas of Machado than any of the other strategies we have mentioned.

59

as such they focus their strategies on alterations that are mainly within the contours

reuse may seem rather far-reaching for buildings, they may be valuable in the context
of larger sites or historic towns.

2.4. Towards an interior approach of adaptive reuse

In ThIs discussion our focus has been on the notion of reuse and the various theories,

have evolved over time and become ever more nuanced, complex and, possibly,

and technical approaches are clearly practical in nature and, as issues of sustainability
become ever more pressing, will only grow in importance. The programmatic and
strategic approach are concerned with the role the adaptation of our buildings may
be able to play in the adaptation of society at large to the issues it will face in the
 60

coming years. Moreover, the strategic approach begins to focus on a more ‘poetic’
understanding of adaptation and draw on the ideas of Machado and the notion of
the palimpsest.

they all seem to have in common. The people behind their conception, development
and promotion have tended to be architects. This is perhaps one of the reasons why
the more ethereal and intangible ideas of the palimpsest have not been fully explored.

background. In recent years however, there has been a sea change with more writings

What is Interior Design?

Interior architecture, interior design, interior decoration, and building

degrees, with the transformation of a given space, whether that is the

crumbling ruin of an ancient buildings or the drawn parameters of a
new building proposal .

welcomed. It is perhaps by introducing the sensibilities of the ‘interior thinker’ into

we argue is necessary. That approach would draw more on the ‘soft values’ of the
interior architect. It would be able to draw the parallel between alteration and poetry
and introduces notions of empathy and generosity in
our response to existing buildings and their adaption to the needs and sensibilities of
new users.
It could be an approach that combines the typological, technical, programmatic

to draw attention to the need for an understanding of ‘the poetics of the space when
adapted’. Hints at the possibility of applying intangible aspects to adaptation are

of these authors have stressed the importance of retaining a sense of the historic

genius loci.
Chapter 3: Aemulatio and the Interior Approach
of Adaptive Reuse 6

In conTemporary adaptive reuse practice we have seen a new approach, which has

This approach we have called the ‘interior approach’. In their introduction for the
reader From Organisation to Decoration
‘interior’:

between inside and outside and was also used to describe spiritual and
61
inner nature of the soul. By the early eighteenth century, it had also
come to mean the inner character of an individual and the non-coastal
territory belonging to a country. It was only in the nineteenth century
that interior came to designate the inside of a building .

The ‘interior approach’ refers to the current as well as to the original meaning of
the word: on the one hand it refers to the building’s physical interior, as this particular

inner nature, its soul – as this is the main inspiration for the concept for adaptation.
In this third chapter, we explore this ‘interior approach’ of adaptive reuse. In order to
translatio,
imitatio, and Aaemulatio.

Interiors: Design Architecture

Culture
 62

3.1. Generosity

adapTIve reuse
reimagining of the physical relationship between the existing building and new
interventions. The concept of adaptive reuse has often been associated with powerful

the theory, various architectural strategies for reuse have been developed that explore

to support this approach:

The process of restoration is a highly specialized operation. Its aim is to

preserve and reveal the aesthetic and historic value of the monument
and is based on respect for original material and authentic documents.

moreover any extra work which is indispensable must be distinct from

the architectural composition and must bear a contemporary stamp.
The restoration in any case must be preceded and followed by an
archaeological and historical study of the monument
.

the buildings’ interiority. These new approaches appear to be more ‘poetic’, drawing
on the memory of the building, which is often represented in and through its interior
features. They recognize the given building as being predisposed toward reuse, and
this allows them to create a more modest and sensitive relationship between the old

to the generous quality of a given building, which is open to ‘host’ new functions and
users.

functions other than the ones for which they were originally built. Throughout history,
people have recognized the generous quality of certain buildings as they used them

changes were made to the interior of the building.

who until recently were mainly known for their iconic interventions to historic
Forum in Madrid: to breathe new life and energy into the building with a few dramatic
interventions. They planned to add a large white cube that could be used as a dance
rehearsal space and a fully functional stage. Initially, the client supported this approach,
but after they consulted with future users of the building – including artists, curators,
and advisors – they discovered that the users all loved the existing spaces, even though

artists want to work with the historic structure, which they found exciting and inspiring
. The artists recognized an intrinsic quality of the building that the

its genius loci

when confronted with the adaptation of a given building, selects materials that position

in reusing several of the most important historic buildings in the Netherlands, among

Council of State
63
new and unique strategy of adaptive reuse in which the interior occupies a central
role. The designers show true respect for the historical interior, as well as its narratives

new concepts. This ‘interior approach’ seems to establish a complex and sophisticated
relationship with the host space. It uses the building’s physical interior as well as its
‘interiority’ – the building’s inner nature, its soul – as the main inspiration for the
concept for adaptation.

3.2. The interior approach: copying as a strategy for

adaptive reuse

3.2.1. The copy and the model: translatio, imitatio, aemulatio

The projecTs described above have one thing in common: they address two taboos
On Altering Architecture: improvement and copying . The
interior approach is not strictly restorative – although it sometimes includes restoration
of certain elements – neither is it an intervention in the modern sense of the word,
showing a clear contrast between old and new. Instead, it embraces copying as a
valuable method for intervention.
64
philosophical and artistic debate.

translatio, imitatio, aemulatio

implies a certain progression, ordered in a sequence of increasing freedom from the
translatio – some authors have used the term sequi
imitatio, aims at
aemulatio, aims to improve upon the

concrete example of the application of these concepts may clarify their meaning.
In Rubens’s Theory and Practice of the Imitation of Art

for example the Rape of Europa after Titian, may be considered an example of translatio,
as they represent a close approximation of the original for the purpose of learning

imitatio
65

his model in critical ways, creating an aemulatio

Entombment of Christ

The concepts of translatio, imitatio, and aemulatio are also particularly relevant in
understanding the act of copying in relation to adapting and reusing historic buildings.

3.2.2. Translatio versus sequi: parallels to restoration

The fIrsT step – translatio/sequi
according to the Oxford Dictionary involves ‘the action of returning something to a former

the models which we select for imitation have a genuine and natural
 66

was not that of the original. … For the man whose aim is to prove
himself better than an other, even if he does not surpass him, may hope
to equal him. But he can never hope to equal him, if he thinks it is his
duty merely to tread in his footsteps: for the mere follower must always
lag behind .

of the original features of the building while ignoring the overall social, architectural,
and functional qualities, as well as its genius loci

building was completely restored, including the original interior decorations. But the

the original monumental, neoclassical concept of the building. In addition to being an

over-literal imitation, there were also some cheap tricks by the lighting designers that
hindered the proper evocation of the interior’s original atmosphere.
sequi to refer to the concept of translatio
Sequi means
and does not necessarily require a critical attitude, which can result in an over-literal
copy of the original without a true understanding of the model. In contrast, translatio,
means translation and does involve a critical and creative stance towards the model.

acts of translating a building from a past era into the present. He compares the process
of altering an existing building with the translation of poetry:

Translation in poetry is akin to the work of bringing a building from a

past existence into the present. This carrying over of meaning in poetry
is recognized as a work requiring inspiration equivalent to that of the
original author and so similarly, one might come to view restoration as

separate from the literal .

give it back its form and colour, as well as its original life
.
translatio in relation to adaptive reuse is the

shopping arcade that housed an interesting mix of functions from its construction to

covered all tangible and intangible aspects of the building’s architecture and – as much
as possible – its interiors, while at the same time it involved setting up regulations in
 67

literal imitation of the original building without

understanding of the buildings’ genius loci.
68
order to preserve some of the more sensitive qualities of the building. For example,
in order to keep retail activity at a small-scale, the stores retained the dimensions

Hague, which failed to address the intangible qualities of the Galleries

.

3.2.3. Imitatio: a contemporary interpretation of the model

The second step in the evolving relationship between the copy and the model, imitatio,

example of such imitatio

Meuron. Jacques Herzog explains:

appropriate .

69
of delayering, conservation, restoration, redecoration, and refurbishment. Inspired
by the unusual craftsmanship, they were able to capture the historic essence and

mahogany woodwork was cleaned and the plasterwork, which was added in a later
phase, was removed in order to reveal the original decoration. Because in some spots
the original decoration was in a rather poor condition, the designers decided not to
apply a full restoration, neither to leave it in its rough state. Instead, they left any

paintings, adding to the readability of the pattern while still showing the wash of

conditions of the historic layer of paint, an abstraction of the original pattern was
printed on top of it, complementing the copper tone of the background.

meet the lighting requirements for the various uses of the room, a new chandelier
was built in a contemporary form, imitating the original chandelier, which had been

original gaslight, so halogen lamps encased in tinted glass globes were used. The form
and material used to construct the new chandelier refer to the original one, but at the
same time, incorporate innovative modern lighting techniques .
 70

3.2.4. Aemulatio: towards an experience of the building’s interiority

an example of the third step of the model-copy relationship is the interior of the The

the original. Instead, the new interior attempts to surpass the original aesthetically as
well as functionally, and as such creates an aemulatio of its model. The Empire style of

the same luxurious and sophisticated atmosphere. The chandeliers, as with all other

of which contain small slices of gold in order to produce a brilliant light. The columns
in stucco antico, the gold leaf on the stucco of the ceiling, and the preservation of the
symmetrically placed mirrors in the room all contribute to the brilliant atmosphere.

aemulatio
for their contemporary elegance in design and furnishing, closely inspired by their
point de
Hungary
brighten the stucco cove and ceiling.

laid the stone in a point de Hungary

yet tranquil presence. The particular red colour applied on all the walls above the

artwork, becomes a true aemulatio.

buildings. But Moneo’s reference to the past is not merely typological or material.

emotional experience from the visitor through its scale, materiality, incidence of light,
and its relation to the museum collection.

3.3. Creating the aemulatio: experiencing as a design

methodology

alThough The translatio, imitatio, aemulatio

71
72
 determine the style of a building by certain external features. It is not

how it was designed for a special purpose and how it was attuned to

rooms, feel how they close about you, observe how you are naturally led

lInkIng The understanding of architecture with its experience inevitably requires some
emotional involvement. To set up an aemulatio, the designer needs to be empathic with
the original builder and the original function for which the building was developed,
since the aemulatio intends to install an ‘ideal’ version of the original. In the nineteenth

architects with the task of restoration or reuse, ‘to put oneself in the place of the original

’
it as such, his approach towards restoration embodies the idea of aemulatio as he states:
73

fact never have actually existed at any given time .

contemporary adaptive reuse practice, especially in relation to a building that lacked

work seems relevant in relation to our interior approach. Before setting up a plan

scrutiny was not restricted to archival research on the building’s history and its physical
and architectural state, but it also included an extensive set of hand drawings of the
building’s exterior and interior in full detail.

transformation of a former synagogue into a Jewish museum in Oslo. His methodology

completed a theoretical study of the history of the building and its function, and the

time, he used his artistic skills as a tool while analysing both the material aspects and
the intangible, atmospheric aspects of the space through his own senses, translating
his observations and impressions in sketches . If we want students
and professional designers involved with adaptive reuse to gain a true understanding
 74

and elaborated on as valuable research methods, as tools for the analysis of the host
space in order to gain a true understanding of it.

3.4. The building as a palimpsest: the interweaving

of place and memory

despITe InTeresTIng

drawings and paintings must have grown from the view of the past
and of his relationship to it that he developed on the foundation of

was making the past live as that he saw himself as part of a living and
constantly changing tradition, singing with new verses a song passed
down from one generation to the next .

architecture. Machado introduced the metaphor of the palimpsest to describe

the process of adding new layers – physically as well as narratively – to an existing

used this metaphor to explain a variation of positions and ideas in relation to building
reuse and adaptation. It is still a valuable metaphor for an interior approach, where
one aims to enhance the physical appearance of the original building using the
previous layers as inspiration for contemporary interventions.

directly on the marble plates. The ochre brown veins of the marble are integrated
in the landscape and these veins even outline the shape of the ‘cave’ in which Jesus
is born. The empathy of the artist with this precious underlayer expresses well our
concept of the interior approach and aemulatio. It also surpasses Machado’s concept

a new, stronger image that only exists because of its generous and empathic attitude
toward its context.
75
 76

condition by creating an extraordinary spatial experience, combining the serenity

of the church with a contemporary programme. The selection of materials and
morphology enhances this aemulatio.

3.5. Towards a lexicon for describing the interior

approach of adaptive reuse

To descrIbe, clarify and understand the ‘interior approach’ of adaptive reuse, we

translatio,
imitatio, and aemulatio

the interior approach as a true and valuable strategy for adaptive reuse, next to other
existing architectural strategies.
In order to come to this ‘interior approach’, we leave behind the concept of

approach’ aims at a more organic evolution of the building, based on a sense of

generosity rather than contrast, based on aemulatio rather than imitatio. The visual
metaphor of the palimpsest was extended by that of the baroque marble painting:
there is no intention to erase a previous layer, but rather to create a new, stronger
image that can only exist due to its generous and empathic attitude toward its context,
such as the church-library in Lavapiès.
In order to describe, understand, and apply the interior approach to its full extent,
a new and profound lexicon should be further developed, building upon the particular
qualities of the interior, and rooted in the building’s interiority.
 Chapter 4: Concepts of adaptive reuse from
an interior perspective

In ThIs fourth chapter we elaborate on existing concepts that have been used in relation

approached from an interior perspective: sustainability, authenticity, and genius loci.

conservation and with examples from practice.

77

4.1. Sustainability 7

4.1.1. Sustainable Construction – Sustainable Development – Sustainable Design

The Word sustainable refers to the Latin sustinere (tenere: ‘to hold’ and sus: ‘up’), or

however, makes a distinction between ‘sustainable construction’ and ‘sustainable

waste and pollution, saving energy, increasing the use of recycled and locally produced

and land-use. It includes social planning issues such as creating workplaces and
housing near each other to reduce waste and minimize transport problems. However,
implies

Interiors: Design Architecture

Culture
 78

economic issues.
In an ideal situation, ‘sustainable design’ covers both approaches – it implies

development aspects such as urban planning and regional identity. In The Philosophy of
Sustainable Design McLennan says:

sustainable because they contain a few features that lower their

to maximize the quality of the built environment, while minimizing or

.

He argues that as the word sustainable means ‘to be maintained’, it does not
necessarily imply the need to change the way we relate to the natural world. He
believes that instead of ‘sustainable design’, ‘restorative design’ would better cover its
meaning. In that sence the most sustainable buildings as those that have been designed

its physical structure.

4.1.2. The tension between sustainable design and interior architecture

noWadays, demolITIon and construction are by far the largest producers of waste - in

is vital for creating environmentally responsible buildings and interiors. Even more
than architecture, interior architecture is often seen as temporary as it anticipates
current fashion and persional taste. Indeed, many interiors have a very short lifespan,

between interior architecture and sustainable design.

In The
with patterns of mass consumption and increased ecological footprint as a larger share
of the world’s environmental problem is caused by individual and aggregate increases

appealing to customers, retail interiors are updated on a regular basis. This rapidly

company which is very active in sustainable design, not only of its products but also of
its stores is Freitag. They produce unique bags which are made entirely from recycled
materials such as old truck tarpaulin, seat-belt webbing and old bicycle inner tube.
This ‘evironmentally responsible’ aspect of their products is also translated into their
store location and design, packing and presentation of merchandise, and their supply
and distribution management.
itself is composed of seventeen used overseas cargo containers which were stacked
by applying fastener elements used in the shipping industries. The base contains a
retail store in which large window openings provide the showrooms with daylight,

inside boxes piled one on top of the other one, covering one side of the containers

a photograph of the bag inside so the customer can see the characteristics of the

multifunctional: packaging, storing and in-store presentation.

business and as such they are widely recignized as the leadership in environmental

79

if appropriate, these were incorporated in the newly constructed buildings, and

include LED lighting in refrigirators and parking lot lights, use of daylight, secondary
loop refrigeration systems, use of recylcled or recycable construction materials, and

The TWo

constructions as well as for the redesign of existing building. They want to help a
 80

Both present six categories to measure how environmentally friendly a retail building

sustainable sites

energy and atmosphere

materials and resources
indoor environmental quality
innovation in design

Each category is again subdivided in a number of credits with an attached score.

For the LEED system, building reuse is only mentioned in one category of both lists

too limited and that adaptive reuse can contribute stronger to sustainable retail design,
especially in Europe with many underused monumental building in commercial parts
of historical city centers.

4.1.3. Adaptive reuse as a strategy for sustainable design

alThough These

friendly society would be a shift towards what he calls ‘post-consumer lifestyle’ – where

only relevant on product level but also relate to the physical environment. Except for
recycling of scraped materials and products as illustrated by the example of Freitag,
adaptive reuse of existing buildings is an other way to do so. In ,

respectfull towards the environment because the amount of recources needed for reuse
is far less than those needed for new constructions. They add that when the existing

and collective memory. Or as stated by English Heritage in Hertige Works:

The re-use and adaptation of heritage assests is at the heart of

sustainable development. Not only does re-use lessen the amount of
energy expended on new development, but heritage can be used to
boost local economies, attract investment, highlight local distinctivenes
81
82
historic buildings have been rehabilitated into retail, dwelling and other functions by

business in the city

challenges to architects, interior architects and engineers dealing with adaptive reuse,
which has led to development of extended theories and studies on technical aspects of

4.1.4. Generosity and sustainable design: an intrinsic relationship

conTrary To
existing buildings and several new constructions on the site, the ultimate sustainable
interiors are those that have survived the course of time and remained unchanged

83

change as well as the people that use them. Nevertheless, as illustrated by the example of

architect – we should try to create buildings and places that have generosity as an
intrinsic characteristic.
 84

4.2. Authenticity 8

The Word ‘authentic’ refers to the Greek authentikòs autòs

Latin auctor
as opposed to pretended, genuine as opposed to counterfeit . Being
authentic is having authority, being trustworthy, credible, convincing, real, genuine or
original . But the adoption of the concept of authenticity is complex

thesis three disciplines are particularly relevant: cultural heritage, adaptive reuse and
– in relation to part two of the thesis - retail design. In each of these disciplines,

4.2.1. The notion of authenticity in relation to cultural heritage in general, and World
Heritage in particular
auThenTIcITy Is

But the word itself was hardly ever mentioned in their writings.

List was
cultural and natural heritage
’ , there was imbalance
in the distribution of listed properties between the continents, in favour of European,
. In an attempt to compensate
this imbalance, a more elaborate understanding needed to be formulated, particularly
,
traditional societies, and cultural diversity . The discussion, held at
.

paper deals with conservation and contemporary management of nineteenth

century shopping arcades and was published Journal of Cultural Heritage
 .
tangible and
of heritage need to be considered
.

and design, materials and substance, use and function, traditions and
techniques, location and setting, and spirit and feeling, and other internal
and external factors. The use of these sources permits elaboration of the

heritage being examined .

This, however, did not stop the discussion on the concept of authenticity. Heynen

qualities of authenticity. Other authors questioned the authority of experts for claims

community . This top-down relationship can also be

found in the relationship between expert, heritage site and the visitor or user who is
considered a passive consumer , even though the notion of authenticity 85

experts .

conservation practice for assessing, discussing and reporting on heritage-values

especially within an interdisciplinary context
.

ensure the quality of guidance provided to management and conservation treatment

authenticity but proposes to deconstruct and reassemble the concept to make it more
understandable and easy to use in conservation analysis, for example by analysing

that assists to explicate the authentic values of a particular building or site. The Nara
grid presents the ‘aspects’ and ‘dimensions’ of authenticity as formulated in article

the

of ideas on the topic’ . Elsewhere we have used this grid for assessing and
comparing the authenticity of three nineteenth century shopping arcades: Galleries
 86

The Hague . Moreover, in the context of Master

4.2.2. Authenticity in relation to adaptive reuse

alThough herITage cannot be frozen and should be understood in a dynamic context

of a historic building or site challenges its authenticity. This becomes particularly

apparent in historic towns where development of commercial and other activities
threatens the historic structure. Jokilehto illustrated this tension between heritage
preservation and contemporary development with the example of the historic town

too much of its fabric has been lost due to - among other reasons - uncontrolled
commercial development .9

its direct surroundings were considered a possible threat for the conservation of the
historic structure

contemporary development and the conservation of its historic architecture and

urban morphology
have researched the
tension between heritage and retail development in historic areas, which resulted in a
checklist for new development in order to balance both aspects. Their study, however,
focuses on new buildings in historic areas and not on adaptive reuse of existing historic
buildings for retail.
Indeed, also in reusing one single building, there exists a constant tension between
contemporary interventions to guarantee the building’s future use and preservation
of the historic structure. This is especially the case for buildings that cannot be used
anymore for the function they were initially designed for and which have to be adapted

of the monument, and to integrate the former appearance of the building with its

trading centre for northern Europe.

 88

new image . Therefore, when introducing a new function in a historic

building, awareness of the values attributed to the building is essential in order not to
harm the authenticity of the place. The approach of the designer of the new addition

4.3.3. Authenticity and the heritage experience: ‘staged authenticity’, ‘hyperreality’

and the ‘simulacrum’
besIde culTural, social, political and aesthetic values, heritage assets also have an
economic value. On the one hand, an economic or business approach to heritage
conservation may create new opportunities for the heritage sector as people like to
stay in a historic building for dwelling, working, relaxing or shopping because it may

tourism sector or the real estate sector may threaten a qualitative and heritage-led
conservation of historic buildings or sites .
The last decennium, ‘authenticity’ has become an important marketing strategy

no longer want to be considered as mere ‘consumers’, but instead search for

products, services and places that corresponds to what they value important, their

itself as genuine, real, original, or ‘authentic’ in order to compete within the current
experience economy.

customer experience implies appealing to customers’ senses, emotions and values with

or may even be a ‘simulacrum’. Given the economic value of heritage buildings and

indicated as ‘fake authenticity’

of heritage tourism to appoint to experiences that are arranged in order to give

authenticity versus staged authenticity are two poles of a continuum, and that many
nuances and interpretations may exist and that, beside tourist settings, his theory

is
and its image, the original and the copy, the model and the simulacrum, the authentic

hand iconic copies, on the other hand phantasmatic simulacra. Icons are good, well-

through the Idea. However, a simulacrum is not a copy of a copy or an endlessly

degraded icon .

live in the era of simulation, inaugurated by a liquidation of all referentials: the model
of the real has no origin or real anymore. It is no longer a question of imitation, nor
duplication, nor even parody. He described this ‘decay of the real’ in four steps:

phases of the image:

It masks and perverts a profound reality

It masks the absence of a profound reality
It bears no relation to any reality whatever: it is its own pure 89

copies anything and reality is replaced by nostalgia which is the plethora of truth, of
.
Baudrillard argues that in the era of nostalgia, reality is replaced by hyperreality.
He gives Disneyland, among many other examples, as a perfect model of the hyperreal

success of the operation but it also is a social microcosm, a miniaturized pleasure

are no longer real, but belong to the hyperreal order and to the order of simulation
.

shopping village in the Netherlands, created as a themed park around the shipyard

historicised architectural elements inspired partly on Marken Island and partly on

to .

In hIs article Plato and the simulacrum, Deleuze takes the theory on simulacra even further
 90

but he undermines the very distinction between copy and model. Deleuze says the
simulacrum is not a degraded copy, rather it contains a positive power which negates

that produces the real. Deleuze describes the era of simulation as the ‘overthrow of

copies.
In the context of heritage conservation and restoration, the term simulacrum has
often been used to point to restoration-works that are not based on solid evidence but
rely on an impression or an idea of the original architecture or style

. However, in Heritage and Globalisation Labadi states that, based

to bring back the building to its original condition . Hodges adds to

that that artefacts restored or reconstructed as a ‘simulacra of an imagined former state’,
although not being authentic in a material way, have the potential of showing other
aspects of authenticity such as for example craftsmanship. His approach corresponds
to Deleuze’s approach of the simulacrum holding a positive power in contemporary
society.

that is raised up above the original, which improves the original and re-establishes
it in a state that might even never have existed - corresponds with our concept of
aemulatio

concept of simulacrum is hardly even considered a valuable concept for preserving or

or architecture . The ‘interior approach’

however, might shed another light on the concept of simulacrum and recognize it as
a valuable method for conserving the immaterial aspect of a building’s authenticity
 91

Lararium
 92

4.3. Genius loci

The concepT of genius loci

accompanied him through life and determined his character and essence, but also
places such as buildings, towns or landscapes. This genius loci was usually visualised by
a snake
the representation of the genius loci in the lararium

4.3.1. The genius loci in architectural theory

ThaT romans honoured the genius of a building or place illustrates the importance
they ascribed to their relationship with the places where they lived. This particularly
meaningful relationship between man and place, is what Heidegger has called
‘dwelling’ .

is a dwelling. Bridges and hangars, stadiums and power stations are

market halls are built, but they are not dwelling places. Even so, these
buildings are in the domain of our dwelling. That domain extends over
these buildings and yet is not limited to the dwelling place. The truck

the working woman is at home in the spinning mill, but does not have

station, but he does not dwell there. These buildings house man. He
inhabits them and yet does not dwell in them, when to dwell means
merely that we take shelter in them .

concept of genius loci

dwelling. He states:

dwells when he can orientate himself within and identify himself with
an environment, or, in short, when he experiences the environment as

It implies that the spaces where life occurs are places, inn the true sense

as the concrete reality man has to face and come to terms with in his

of the architect is to create meaningful places, whereby he helps man to

dwell .
 93

- man visualises his

understanding of nature

- man complements nature

that symbolizes nature

 genius loci is more than the ‘character’ or ‘atmosphere’
of a place – although atmosphere is an important aspect of genius loci -, it is a

architecture. It is always rooted in the given natural topology of the earth. Norberg-

he creates an enclosure where nature suggests a delimited space, a path where nature

translating a natural characteristic of the environment into the characteristic of a

heIdegger In points to the dual meaning of the word

building. Today, building has primarily been understood as constructing. But in the

German, ‘bauen’, is the verb for to build and ‘der Bauer’, is the noun for a farmer.
In that sense, to build may be understood as to cultivate, to grow, to take care

in its environment and revealing the true meaning of genius loci

For Zumthor, buildings become particularly interesting when they relate to their
surrounding in such a way that it becomes ’ 95
.

I have a passionate desire to design such buildings, buildings that, in

time, grow naturally into being a part of the form and history of their

situation. It is essential to the quality of the intervention that the new

building should embrace qualities that can enter into a meaningful

place, it must make us see what already exists in a new light.

Indeed, Zumthor’s buildings often seem to merge into their surrounding. This
is not only true for buildings becoming part of a rural landscape such as his baths in

recognizes the quality of the genius loci in the works of modernist architects such as

at as the architect that implemented the genius loci

however, his work does not portray this intrinsic meaning of the concept as,

in the local circumstances.

 96

buT besIde
tried to describe the intangible, poetic quality of architecture as well as the elements or

from poor quality, but this distinction is made intuitively, irrespective of pre-set
parameters. In two extensive works A

without a name’. In doing so, he looks at vernacular constructions, towns that have

he does not only takes into account their physical characteristic, but also the way the
space is adapted to and shaped by the its use. Based on this analysis he develops a
‘pattern language’ – a set of ‘guidelines’ to organise and improve buildings and places.
In their search for genius loci
in the vernacular process of buildings, and the tacit knowledge that is captured
herein. This resonates with an undercurrent in contemporary architecture that

the traditional design process - the architect draws the design on paper, where after
building workers and craftsman construct the building according to plan. Instead,

space, about which they say:

ideas are explored through the production of large scale mock-ups,

developed through careful consideration of place and a practice that

draws from traditional skills, local building techniques, materials, and
an ingenuity arising from limited resources .

characteristic: it is not iconic, but it is a humble architecture. On the hand one, it is

humble in its relationship to the surrounding landscape, but also in its position within
the local building tradition.

anoTher aTTempT to unravel the genius loci

Toorn . In ‘ ’, they identify eight
‘vectors’ of contemporary architecture as a helpful tool bridging the gap between
practice and theory in architecture. The eight vectors are as follows:

individual thoughts and actions, and make the functioning of society durable

of durée as it is the ideal medium for representing the past in the present.
97
 98

durée becomes
concrete. The notion of context in architecture is often narrowed down to

social conditions, ecological problems, or ideologies.

which the discipline operates. In its role as shelter, habitation, construction

border. Not only as to the demarcation of its physical boundaries, but also

comes literally into contact with mankind and the history of the location.
raison d’être of a place. The programme does not only refer

the ‘invisible programme’, being the artistic, political or ideological agenda.

region to which meaning is given by those who make use of it.

and aesthetical phenomenon, but also a means of communicating an identity.

The identities of the designer, the client, and the distribution and production

ensemble takes place by recognition and in usage.

identity – re-enters the discourse and so reproduces the durée

is the externalisation of an ‘underlying’ meaning and as such is eminently

meaning comes about.

genius loci, these ‘vectors’ or
dimensions of architecture can be seen as an impetus to unravel the intangible quality
of buildings and places - its genius loci.

4.3.2. Defining the genius loci in the context of heritage preservation

In The genius loci seems

always been accepted ‘as a matter of course’

based on its ‘unique character’, or more general its genius loci .

Genius loci
 genius loci seems closely linked
to authenticity
for it is rooted in the concrete and unique local conditions. The interpretation of
this particular aspect of authenticity, however, turned out to be rather ambiguous as
it involved tangible and intangible elements. Therefore, ‘spirit of place’ became in

particular attention to the relationship between the tangible and intangible aspects.
The conference resulted in the

and open for diverse interpretations, but it is nevertheless an important contribution

to the investigation of the ‘spirit of place’, the genius loci, as it states:

written documents, rituals, festivals, traditional knowledge, values,

elements that give meaning, value, emotion and mystery to place.

and consider them as opposed to each other, we have investigated

the many ways in which the two interact and mutually construct one
another. The spirit of place is constructed by various social actors, its
architects and managers as well as its users, who all contribute actively 99
and concurrently to give it meaning.

the
genius loci

genius loci becomes visible where those individual values

genius loci of each building or

values.

4.3.3. Genius loci and the interior

an example

quality of this interior is established through the combination of the architecture with

are carefully placed in the room, rather than by the individual quality of the distinct
architectural and interior features.

the tangible elements of the spirit of place - contrarily architectural theory had
considered the genius loci to be primarily established through the relationship between
100
itself, and in relation to space.

; examples are the natura

morta

emotion stirring in his heart as the wanderer in ancient Greece felt as

and astounding deities. He gazes with the eye of a believer, and the
innermost bones of these things, dead to us because their life is stilled,
appear to him in their most consoling guise: in their aspect.
Thus he shares in the great lyricism created by the latest and deepest
European art: the metaphysics of the most common objects
has made so familiar to us that, however wise we may be to the mysteries
of appearance, we often look at them with eyes

genius loci is mainly shaped by 101

seventeenth century Dutch interior, but instead the interior is brought back to its very
essence
textiles, daylight penetrates the room through windows and open doors, allowing a

buT more even than designers or artists, novelists seem to have the skill to point to the
essence or genius loci of interiors. Often, they only needs a few sentences to describe
the atmosphere, or character of a room, in which they may give as much attention to

I ran up to the top of the house to cry by myself in a little room beside
the schoolroom and beneath the roof, which smelt of orris-root, and
was scented also by a wild currant-bush which had climbed up between

the half-opened window. Intended for a more special and a baser use,
this room, from which, in the daytime, I could see as far as the keep of

because it was the only room whose door I was allowed to lock, whenever
my occupation was such as required an inviolable solitude .
 102

The novelist’s skill to capture the genius loci of a place was also recognized by

preparation of his essay ‘the Arcades of Paris

It was a narrow corridor decorated with pilasters supporting a ridged

glass roof, which was littered with garbage thrown from neighbouring

and also the smell of garlic. It was here, above all, that those arriving in

doors of the shops, one spied dusky alcoves where sometimes a piece of
mahogany furniture, the classic furniture of the period, would manage
to catch a ray of light. Further on, a small bar hazy with the smoke

books
.

one of the aspects that draw his attention was ‘the interior’. In one of his earlier
versions of this essay, ‘Paris: Capital of the Nineteenth Century
interior as follows:

individual. To dwell means to leave traces. In the interior, these are

are imprinted in the interior

.

habits, and movements. He points here to the very essence of the interior, its genius
loci

involved public interiors and the passage in particular, which he considered the public
interior 11
4.3.4. Preserving or recreating the genius loci in the case of adaptive reuse
a True challenge for conservators, architects, and designers is how to preserve and
revive this genius loci of interiors, buildings and places in the process of adaptive reuse.
The genius loci in that case has to be translated into an actual context, as stated by
Herbertson:

There is a genius loci as well as a Zeitgeist – a spirit of place as well as

alters with man’s relation to the region. The historian has to reckon with
both in his great cycle, the geographer has to consider both in trying
to understand the present regional consciousness
.

the genius loci as well as the zeitgeist. The product of the overlap between place and

be preserved without decline. Malpas explains that memory and forgetting are not
separate or contradictory but are instead two sides of the same process
forgetting brings certain aspects to the background, it also enhances other aspects,
or opens up places for new impressions. This process of balancing memory and
103

and which values to let go

.
genius loci seems very

features and disregards or even ignores the more ‘soft values’ of the building – the

shop, located on one of Oslo’s main street corners, with a very beautiful interior existed

restored very close to its original, the atmosphere and experience of the building’s
interior has changed completely – its genius loci

The decorated shelves housing black textile covered boxes made

liqueur, beer glasses and football signs. The shop counter has been
adapted to the pumping of draft beer. The quit conversation and the
scent of exclusive leather in the old shop has been replaced by the smell
of beer and the sound of pop music and clinking of glasses .
 104

focused on particular, isolated aspects of the buildings such as its general structure,

building’s genius loci. Indeed, some of the contemporary interventions did not seem to

polychromy, the use of dynamic coloured lighting, the introduction of contemporary

furniture, and above all the fact that the building became a transit between two
important shopping streets which increased the number and pace of the people using
the building.

4.3.5. Constructing a new genius loci

oTher projecTs of adaptive reuse, however, did succeed in preserving, recreating or
even constructing a completely new genius loci. The probably most famous and widely

the thirteenth century but has been rebuild several times in the course of history.
In the early twentieth century the castle had been transformed into a museum for
medieval art. The rehabilitation of the site was executed as a ‘stylistic restoration’,
emphasizing and even enhancing elements from the Gothic period. Because the

restauro critico
he did not intent to restore the building to its original or former condition but he
critically recomposed the building by selecting elements from the past. He decided

applied new plastering on the interior and exterior walls but left areas with original

compromise the authentic experience of the site. On the contrary, it enhances the

. He leads the visitors through

the site via newly added geometrical planes, bridges and staircases. The visitor enters
the site through a medieval gate in the city wall, and comes in a modern garden

the site continues this regional tradition. The circulation leads the visitors through

experience is enhanced by the presentation of the historic artefacts and works of

Cangrande

actual museum. By placing the statue outside but under a roof, it is protected from
105
106
 Cangrande

genius loci of the site is

established through the relationships he creates: the relationship between the history

space surrounding them.

genius
loci

ever since. The design of the new programme illustrates a deep understanding of
the genius loci of the site, building further on its narrative as well as physical memory.
Its contemporary function as a library is closely related to the original educational
programme of the site. The ruin is preserved in its rough but delicate condition as a

in order to obtain a similar texture than the rough, crumbling brickwork of the ruin.

as a sort of patio’s, tranquil zones between the silent interior of the library and the 107
turbulent urban life at the square in front. On the inside, too, the new additions are

paving stone that are used at the square in front of the church are extended at the
interior. The space is covered by wooden lattice under a glass roof and forms a subtle
visual reference to the original vaulted ceiling of the church. This structure allows

sensitive relationship that the architect created between the new interventions and the
host space generates a sublime experience of the building and the place.

as IllusTraTed

construct anew the genius loci through establishing meaningful relationships between

visualize these relationships, a new layer is added that builds further on the narrative
and physical memory of the given building or site.

We belIeve that for the discipline to move further, the future practice and theory of

the present, but instead should actively search for the values and memory of the host
space and try to establish a meaningful relationship between the present and the past
through a sequence of tangible and intangible associations.
 108

4.3.6. Revealing the genius loci: objectified parameters versus subjective experience
noT everyone, however, is as sensitive for the genius loci. Therefore, as an architect
or designer, one should develop the skill for reading, revealing and constructing this
aemulatio, one

genius loci - is not only

required in order to create an aemulatio, but for every act of restoration, adaptation

unravelling the aspects that form the genius loci

But nevertheless, a true understand of the genius loci can only be obtained only

architectural theory focuses on the understanding of architecture through sensory

of matter, space and scale are measured equally by the eye, ear nose,

sensory experience which interact and infuse each other .

methodology to reveal the genius loci. In Questions of Perception

characteristic of the genius loci.

programmatic content, enmeshed experience is not merely a place of

events, things, and activities, but something more intangible, which
emerges from the continuous unfolding of overlapping spaces, materials,

and material as an experiential continuum. Though we can disassemble

these elements and study them individually during the design process,

break perception into a simple collection of geometries, activities, and

sensations .

genius loci as the interweaving of natural and historical

the search for the genius loci with the search of the painter, the writer, or the musician,

founding tradition .

In order to come to a ‘poetic’ architecture, rooted in the spirit of the place - the genius
loci
more rational design phase
adequate to read and absorb the sensitive, and poetic qualities of places is hand

position in the space, a sketch also registers a distinct moment in time in a personal

immaterial and atmospheric aspects such as scent and sound are experienced while
drawing, and may eventually even be registered for example by combining drawing
and writing.
In anthropology, the registration of visual and other types of sensory observations

including handwritten text, sketches, photographs, collages, video, transcripts of tape,

actually stores the ‘living’ process of data collection. This mnemonic back-up system
is made for personal reconstruction and analysis afterwards. The switch between the
personal memory and the reading afterwards is an internal communication process.

rigor but instead may even evoke a ‘visceral pleasure’.

The anthropological method of analysis can be inspirational for architects as well. 109
The process of exploring a room though sketching by hand can be compared with

a sort of personal scanner of the experienced environment. In the sketch, scanner

sensation of touching the paper with the same hands elicits a special remembering,

with the mnemonic and phenomenological process of drawing

.
 110

genius loci
 Conclusion part 1

In ThIs
lexicon to speak about adaptive reuses of buildings, building upon the particular

concepts describing the particular relationship between the existing building and the
translatio, imitatio, and aemulatio. On the other hand, we
elaborated on existing concepts that are used in relation to adaptive reuse and heritage
preservation, but which tend to be weak in dealing with aspects on the interior:
sustainability, authenticity, and genius loci.

as a

structure and appearance of a building according to the level of change they produce

design, it are two stages of the same discipline.

status quaestionis of the discipline we
were able to formulate which contribution to adaptive reuse theory and practice may 111

described by adaptive reuse theory so far – typological approach, technical approach,

approach’. Instead of demonstrating a passive attitude to the building to be altered –

respecting the building as handed over from the past into the present – this ‘interior
approach’ requires an active engagement with the poetic quality of the host space, its
meaning, memory, or genius loci.

with its conceptual possibilities. Therefore, we paused with the traditional concept of
adaptive reuse, characterised by a sharp contrast between the old and the new. Instead
we recognized and dissected ‘copying’ as a valuable methodology for designing new

concepts that describe a particular sensitive relationship between the copy and the
model, were introduced into the theory of adaptive reuse: translatio, imitatio and aemulatio.
Translatio describes interventions that stay very close to the practice of restoration,
intending to renovate the building for contemporary use but at the same time aiming
at aesthetic similarity. Imitatio moves further from its model – the host space - but aims
to equal the original building rather than to surpass it. Aemulatio,

of contemporary adaptive reuse theory and practice: sustainability, authenticity and

genius loci. Each of these have been extensively discussed from an architectural as well
as a conservational point of view. But were only limitedly approached from an interior
 112

perspective. However, for each of these concepts, such ‘interior view’ broadened,
nuanced and enriched its’ meaning.

technical features to lower the environmental impact of the building, but about
creating qualitative, timeless and generous buildings and interiors that can be passed

neglected by contemporary interior architectural practice that aims at fashionable and

building or site are preserved as a close following of their original. However, in relation
to the interior, authenticity may be used to describe the way in which a building or
aemulatio aims to surpass rather than equal
its original model, it may be considered inauthentic or fake from a conservational
point of view, but at the same time it may generate a deeper and authentic experience

that the boundaries between the authentic and the simulacrum are becoming blurred.

genius loci.
The concept of genius loci
architecture and heritage conservation, but its meaning still leaves room for
interpretation. In architectural theory, the interpretation of genius loci largely relies on

genius loci, or what he calls ‘quality without a

genius loci is not iconic,
but instead it is a humble architecture. Humble in its relationship to the surrounding
landscape, in how it positions itself within the local building tradition, and in its

added

genius loci as the intersection or overlapping of

the distinct individual values of the interior, building, or place. The genius loci of each
site is absolutely unique and therefore seems to exceed the individual values.
genius loci of interiors relying on representations of interiors
by painters, and descriptions by novelists. This strengthened the role of movables –

The genius loci of interiors is a very sensitive quality that is particularly threatened
in the process of adaptive reuse, which often does not involve the conservation or

conclude, we state that in order to reveal the genius loci of a building or site one needs

individual aspects of the context, but through a personal, and therefore unavoidably
 genius loci may be recreated through
establishing meaningful relationships between the present and the past through a
sequence of tangible and intangible associations, building further on the narrative and
physical memory of the host space.

We have started our study by elaborating on the adaptive reuse of historic buildings

adapting buildings that belong to our cultural heritage. However, almost unnoticed

Indeed, interior architecture as a practice does always proceeds within the framework
of a given building and as such is closely related to adaptive reuse
. In the second part of this thesis we will focus on one particular branch within
interior architecture: retail design.

because they are updated regularly to stay competitive and appealing.

retail sector

since the beginning of the twentieth century, people spent an increased amount of 113
time shopping, turning it into an important leisure activity. Therefore, the physical

technology and distribution, today the customer – the user – has become the core
of retail business, and as such also of retail design
. But in fact customer experience has been a crucial aspect of retail design since
eighteenth century, when the design of shops has developed into a distinct architectural
typology .
The particular focus on the user, and his or hers spatial and emotional experience
is not limited to the design of retail spaces. Instead, it is at the hart of interior
architecture in general. However, as the focus on emotional experience is clearly
present in the retail sector, we have focussed our further study on the retail sector, and

or brands to consumers. It is trans-disciplinary in its intention to create a sensory interpretation of

the consumers’ needs into a spatial programme

however, is limited to physical store environment – thus excluding retail spaces
that primarily aim at selling services or communicating a brand identity.
114
 PART 2

Adaptive Reuse into retail

- a challenging programme
 Chapter 5: The tension between retail design
and heritage conservation

In pracTIce, historic buildings are frequently reused and adapted for retail purposes.

framework and current policy. Our focus is on aspects of adaptive reuse, and the

between retail design and heritage conservation based on literature and examples
from practice. Therefore, we classify the build heritage into six categories, each of
them including several architectural typologies and we analyse the added value of

117

5.1. Heritage conservation in Flanders: legal framework

To elaboraTe on the tension between retail design and heritage conservation, it

is essential to understand the legal framework for protection and safeguarding of

description of the immovable heritage legislation but we focus on selected aspects that

general and retail-reuse in particular. Therefore, we draw on the legislation immovable

heritage, policy documents concerning immovable heritage, and to a limited extent on
the urban planning legislation. Moreover, we do not aim to give an evaluation of the
applicability and adequacy of the Flemish immovable heritage legislation but rather
give a critical view on the legislation in relation to historic interiors and adaptive reuse,
seen from one particular angle: interior architecture.

heritage in Flanders is governed by three separate decrees:

 118

The reason

these types of heritage. In order to come to one instrument for inventory, protection,

- that concerns all types of immovable heritage: monuments, sites, urban and rural
landscapes, and archaeological sites.

concerning cultural heritage needs to be tuned with the policy lines concerning urban
planning, but also culture, tourism, environment, and agriculture. Thirdly, improving
Parl. Doc.

This decree is put into force

’. In a concrete manner, the decree can only
be brought into practice after the Flemish Government agreed on the implementing

to the present situation are foreseen in the Decree Immovable Heritage, we will make
a comparison between both.

5.1.1. Definitions
The fIrsT

and ‘urban or rural site’. The notion of ‘monument’ is important for our study in
relation to its interior. ‘Urban or rural site’ seems not relevant in relation to interiors,
but is interesting in its relation to the urban fabric. In historic centres, goods protected
as part of an urban or rural site may be reused for retail, which has consequences for
Monument
a monumenT

work of man, but also includes works of nature, or combined works. In practice
‘monuments’ as such may point to a single building, but also to larger sites of several
buildings, or to a building including its direct natural surrounding such as a garden,

the values attributed to a monument are very diverse, and especially the socio-cultural
value, is open for broad interpretation. Moreover, no minimum age is required for

by Draye 119

heritage are arranged by one and the same decree.

– including all parts of the building irrespective their date of construction, including
the interior of the good, including even certain movable goods that are integral part

of a building .

‘ The formulation
‘movable, immovable by incorporation’, however, was unsuitable in relation to
cultural goods that are part of monuments because legally this formulation could

that the livestock is included in the protection

this formulation was changed to ‘cultural goods that are an integrated part of it, including

goods may include works of art, paintings, sculptures, archives, apparatus, machinery,
Parl. Doc.
 120

interior – and its atmosphere. In practice it is not always easy to determine which
cultural goods are part of the protection and which are not. Older protection orders
beschermingsbesluit

Raad Van State

integrated cultural goods – also for cases where such detailed list is available.
Irrespective of such explicit list of the movable goods included in the protection,
the immovable elements of the interior are always part of the protection. The
executive order concerning maintenance of monuments and urban and rural sites

Order - dedicates one chapter to regulations particularly related to the interior of a

In The
changed, and the possibility to include cultural goods in the protection stays valid.
The particular legal consequences of protection in relation to the interior will be given
in the executive orders of the decree but these have not yet been laid down by the

parlementaire

competent minister suggests limiting goods that can be included in the protection to:

building, they are part of a

with its fully intact interior, all designed by the architect. Or the building

museum. The fact that the monument is a has to be proved by

source material.

historical, folkloric, industrial-archaeological or other socio-cultural

value and its historical connection with the building can be proved by

painting of the immediate surrounding of the immovable good, made

 on request of the owner for the building and the painting itself has
intrinsic value.
The cultural good is related to the function of the building, it is of

industrial-archaeological or other socio-cultural value and its

historical connection with the building can be proved by source

machinery that are part of an industrial-archaeological good.

The cultural goods belong to the lifework of an important person.
The life and work of this person in this building has to be the basis for

house, including cultural goods.

To conclude the parliamentary preparation states that based on the above listed
criteria, in the adoption of the decree Immovable Heritage, the protection of cultural
Parl. Doc.

interiors is not desirable for two reasons. Firstly, because most of the valuable interiors

121
example, patios or covered exterior spaces may be considered part of the interior or
exterior.
On the other hand, historic interiors are a vulnerable and fragile domain in our
cultural heritage and many valuable interiors remain unprotected within the current

periods. Elements that were more durable have been preserved, while other more
sensitive elements have been replaced in the course of time. Fashion and taste are
motives for replacement of movable and immovable elements of the interior. Because
of all this, most preserved interiors are organically grown ensembles
.
Furthermore, interiors may be valuable regardless their intrinsic connection to the
building in which they are located. Under the conditions stated in the parliamentary
preparation, such organically grown interiors can only be part of the protection if
they belonged to the lifework of an important person, which is not always the case.
However, it is not sure that the restrictions proposed in the parliamentary preparation
will be included in the same form in the executive orders of the Decree Immovable
Heritage.

For the protection of complete interiors, the decree ‘concerning the Protection of
March

of exceptional value.
 122

Urban or rural sites

In The

- a group of one or several monuments and/or immovable goods

including its surrounding elements, as there are vegetation, fences,
water, bridges, roads, streets, squares, which are of general interest for

- the direct surrounding of a monument, physically or visually connected

with it, which gives the intrinsic value of the monument its due because
of its strongly visual character, or which may safeguard the preservation
or maintenance of the monument for its physical characteristics

However, the protection of a building as part of an urban or rural site might have

protection may cause limitations as to the creating of a shop window, or entrances,

5.1.2. Inventory
The InvenTory of immovable heritage is an important policy instrument and

Heritage. In relation to our study, the inventory is an interesting instrument as it

we have analysed two examples of retail-reuse of buildings that are not protected but

an agreement with the Flemish government to respect the heritage value of the site,
although the site nor any of its individual buildings have been legally protected. For
the owner the advantage was that some of the buildings without heritage value could

was conserved and rehabilitated solely with private funding.

by municipality, regardless of their protection. Initially, the inventory primarily

organize guidance for owners that wanted to renovate a good listed on the inventory.
Draye states that such measures could be inscribed in the urban planning legislation
that heritage conservation needs to be integrated in urban planning policy, and has

subsidies for maintenance works, even very small amounts, might encourage owners
to take well care of their building .

inventory:

and interior climate, if this is necessary in order to preserve the

heritage value of the good
Buildings not conform with urban planning regulations can more
easily be used for another function. For example, a farm may be
reused for housing even though it is located in an area reserved for
agriculture.
To demolish a building it is necessary to obtain an urban planning

needs to hand in an extra copy of his report with additional

photographic material. The municipality can only give the permit

For social housing there is a regulation that the costs for renovation

the same size, otherwise the building has to be demolished and 123
replaced by a new one. This regulation is not valid for buildings

Up to now, there are no subsidies for owners of goods listed in the inventory. In
some other countries buildings or sites have to be included in the inventory before they

legal consequences.

5.1.3. The protection procedure

There is a particular procedure for the protection of monuments and rural and

– both types follow the same procedure. The detailed steps in the procedure are not
directly relevant to our study. However, this procedure has a certain timespan which

maximum twelve months, which can be extended only once with six months after
motivation of the Flemish government.
 124

against the protection of a good, the necessary measures can be taken already
during the protection procedure. The procedure foresees for several parties – owners,

regarding the protection. Firstly, whenever a building or site is considered for

protection, the authorized minister can start the procedure by inscribing the relict on

sets up this list, each citizen, owner, association or municipality can ask the minister

proposal is sent to several involved parties who are invited to formulate their advice.
If they do not within the given period, there advice is considered to be positive. The
involved parties include:

urban planning and immovable heritage. They have to formulate their advise

. Thirdly, all the

of the building/site and formulates an advise for/against protection, taking into

the .

In The Decree Immovable Heritage, the procedure stays basically the same, but is

information on the amendment and abolition of a protection order than the decree

whenever appropriate, the cadastral data of the lot or lots in which

a statement if the protection concerns a archaeological site, a

monument, cultural historic landscape, or urban or rural site with,

Their are owners who appeal to a protection decision because they say that have
 realisation of the heritage value which have been the basis for its

the particular regulations concerning preservation and

whenever appropriate, the particular regulations concerning

Each protection order is supplemented with the following appendixes:

a geo-referenced plan indicating the protected good, and whenever

whenever appropriate a list with the cultural goods that are an

In the past protection orders were sometimes very limitedly motivated which could
give discussion on the actual consequences of protection. This, however, is remediated
by this explicit list of minimum information that has to be included.
125
5.1.4. Legal consequences for owners of protected goods

to several legal consequences with implications for owners, notary publics and public
authorities responsible for delivering building permits. In relation to our study, we only
discuss the legal consequences for owners.
Owners are confronted with easements and maintenance duty. The maintenance

, but
are described in more detail in the Maintenance Order.

are valid for all protected goods described in detail in the Maintenance Order. The

relative easements, which means that they are valid unless permission to deviate from
it is granted by the competent authority.

heritage all kind of works that are considered ‘maintenance’, which the owner is

can be considered maintenance can and must be executed at the owner’s initiative.
 126

in the maintenance order. In relation to our study, we will only discuss the content of

Important as to retail-reuse is the fact that ‘

is forbidden for monuments and goods

This restriction to install advertising panels or other publicity on a protected

interior of monuments – there are no regulations linked to the interior goods protected

in the monument and that are immovable by incorporation must be preserved in

works, or for reasons of security, the conditions have to be arranged per agreement
between the owner or usufructaris, the executer of the works, and the agency.

a good condition to prevent it from deterioration and damage, and to execute all works
necessary for its preservation and maintenance by, among other things:

up keeping of services, among which electrical installation, heating,

timely action against deterioration caused by woodworm, fungus, mould, and

control of the light quality and climate conditions, mainly the heating and
humidity in the building, in a way that avoids harmful conditions for the

the immediate undertaking of consolidation and security measures in case

of emergency.

works on interior decorations, including paintings on walls, ceilings, dados,

 undertaking of works at, or replacing or removing – even temporarily – of

installing or replacing technical services such as heating, climate control,

the owner only needs to hand in one application, namely at the urban planning

to an urban planning permit, the owner of a monument applies for a permit directly

have to be revised several times before a permit may be granted.

all tenants or users of the good about its protection as a monument or part of urban 127

towards owners and usufructaris, according to Boes they are also directed towards
tenants and other users . Indeed, especially regulations concerning
the interior of monuments are often strongly related to the use and up keeping of the
building, which is as much the responsibility of the user than of the owner. Examples
in that respect are the control of the light quality and climate conditions such as

the interior that are often executed by tenants such as painting works or other small

the building is protected as a monument, this has to be clearly communicated towards

included in the tenant contract.

In The
Here, the maintenance duty is not only formulated towards owners, but also towards

’. The distinction between

have not yet been laid down, no comparison can be made between the actual and the
future situation. The concept text of the executive orders states that the description
 128

of the general easements will be generalised as much as possible, while in the future

be applied more frequently in practice. But for the already existing protection orders,

become unavoidable in the future.

5.1.5. Premiums and subsidies

In order to compensate the additional costs that owners of protected goods have
to make in order to maintain and restore their building according to the legal

support that is given to owners or tenants that invest in the necessary maintenance

the good is located. This so-called ‘couple-subsidy’ has recently been annulled by the
decree concerning the regulation supporting the budget for 2014

procedures for application for both premiums, and the type of works that qualify for
the premiums are described in the executive orders.

The regulaTIon on the restoration premium is described in detail in the executive

monuments
Order. Not for all works executed on a monument a premium can be obtained but

the expense of the owner. For example, for the restoration of an original kitchen or
bathroom the owner may obtain a restoration premium, while for the installation of

works include:
safeguarding and stability of the monument, …

protection against bad weather conditions, natural disasters, …

 accessibility of the monument regarding its safeguarding and maintenance,
…
treatment of valuable elements of the monument
repair of valuable elements of the monument that are preserved
replacement of elements of the monument that are preserved but cannot be
repaired or restored anymore
replacement of elements of the monument that are not preserved but for

removing of inconvenient elements, removable of improperly executed

interventions, removing or hiding of inappropriate additions

means of photo, video, measured survey, etc.

Important in relation to our study is the fact that this list includes works that
involve the exterior as well as the interior of monuments, and eventually the movable

building in order to facilitate a new use are currently not considered for subsidy.
129

for retail choose not to apply for this premium for several reasons. Firstly, there is no

application. Instead, the term depends on the available budget and the amount of
submitted applications. Basically the works cannot be started before the premium is

is sold within ten years after having received a restoration premium, part of the

same is true when the building is rented out and the restoration brings surplus value

to tax.
The restoration premium can also be granted for research that aims at improving

The website www.onroerenderfgoed.be states that owners are in general

 130

of the possibilities for adaptive reuse of a monument or site may be part of such

Maintenance premium
The maInTenance premium is described in the order concerning the regulations for the
maintenance premium for protected monuments and urban or rural sites

that can be subsidized. Most of the works are subsidized for both monuments and
goods that are protected as part of an urban or rural site, but the article also lists a
number of works that are only subsidized for monuments. These include works on the
interior:
maintenance works on the interior or on cultural goods that are

the maintenance and conservation of interior decoration, statues,

and ceilings, dodos, woodwork, historical paintings on valuable

elements, mantelpieces, stucco, terracotta, silk, leather, textile and
paper

limited. The maximum term within which the owner is informed about the approval

who did not apply for a restoration premium did apply for a maintenance premium

In The

good. The text of the decree gives the minimum amount of the premiums, which

Further details will be described in the executive orders.

In his policy document, minister Bourgeois explains that he wants to investigate the
possibilities to reorient the premium policy in order to support not only maintenance
and restoration works, but also works improving accessibility and adaptive reuse of
Parl. Doc.
included directly in the new decree, nor is it discussed in the parliamentary preparation.

reuse, a premium may be a valuable instrument to enhance reuse of the building.

But, in general works related to the reuse of a building for a new function will
for research on the possibilities for reuse is very valuable. The latest policy letter of
Parl. Doc.
premium has been granted for researching the possibilities for adaptive reuse of the
church St Jozef Arbeider
been subsidized in that respect.

funding may convince owners – local authorities and private owners – to invest in the
rehabilitation of their monument.

5.1.6. Adaptive reuse in current legislation and policy

on The one hand, the aspect of adaptive reuse is not mentioned in the text of the

function of a monument or building that is part of an urban or rural landscape

does not require permission from the agency immovable heritage, but may require
on the regulations for
permits for change in function’
a planning permit is required whenever one of the main functions stated below of an
immovable good, is partially or completely changed in an other main function stated
131
housing
residential recreation
day recreation
agriculture

industry and craft

For example, to reuse an industrial building for retail, a planning permit is
required even if this change in function does not require any physical intervention.
Moreover, an urban planning permit is also required when the main function of an
immovable good is partially or completely changed from a public function into one

Note also that these regulations are not only valid for protected goods, but also for
other buildings, among which heritage buildings that are listed in the inventory. In
practice, however, changing the function of a protected building without involvement
of the agency immovable heritage will be very rare as a change in use will usually also
require adaptation of the building, for which advise of the agency is necessary.

about the total budget that has been spent on this particular type of restoration

email correspondence with the office responsible for the restoration premiums,
 132

on The other hand, adaptive reuse has been an important spearhead in the Flemish

reuse in the successive legislative terms.

his term that by linking social programmes to adaptive reuse, monuments and site can
play a new role in contemporary society. His policy focused on three typologies that are

fact that adaptive reuse of monuments including historical interior elements is even

Parl. Doc.

for not-protected buildings with heritage value, for example goods included in the

especially the protection of monuments including movable cultural goods was to

Parl. Doc.

formulated two main priorities for his policy: on the one hand establishing the new

the other hand continue the focus on adaptive reuse, with particular attention for the
Parl. Doc.

The minister proposed two instruments that should support the agency immovable

beheerskaders

frameworks would result in a list of concrete opportunities and threats, and may

coordination adapted to the particular situation or problem, and the realisation of

has been developed for adaptive reuse of religious heritage, and parish churches in
such evaluation frameworks should aim at a compromise between the conservation
of the heritage value of the monument on the one hand and the requirements

actual intension of the protection of goods in order to safeguard the protection of

their intrinsic value unconditionally. Interesting, however, is the fact that beside policy
supporting instruments, ‘research by design’ is stated as a valuable methodology to
support adaptive reuse practice.

the minister stated that the interest of the private sector for investing in immovable
one of the reasons therefore is the ad-hoc approach of the

and premiums’ Parl. Doc. . Indeed, although there

be very long because owners have to revise their proposal several times before a permit

the possibilities of subsidizing particular works to improve accessibility and adaptive

Parl. Doc. 133

When a project is sponsored by third

Parl.
Doc. .

procedures.
The policy of minister Bourgeois clearly focuses on investment of private parties
in immovable heritage and adaptive reuse. However, the government itself might

by realising governmental or public programmes in protected, or valuable historic

Le Code

Société , real

intercommunals, church fabrics, and centres for public welfare, prior

to any decision to construct a new building, have to execute a study to
 134

show that it is impossible to integrate their activity in a building, that is

a protection procedure has been initiated, that is located in the same

believe that also in Flanders the government can take an exemplary role in adaptive

that have been realised by governmental or public institutions are the alteration of

Genk in the government has been an important stakeholder.

5.1.7. Policy regarding protection and rehabilitation of historic interiors

alThough The current legislation provides the possibility for protection of interiors,
including particular movable goods, historic interiors are still very vulnerable. This issue

Parl. Doc.
him, a legal instrument had to be developed for the protection of movable goods –

be established, eventually in protected industrial buildings.

But the last decennium, however, policy has not supported the implementation
of the currently strong legal possibilities to protect historic interiors, including its

Parl. Doc.
that including movable elements as part of the protection of a monument could only
be considered in very exceptional cases, ‘
.
.’

to be reconsidered according to the same principle. He added that movable goods

with intrinsic heritage value had to be stored in heritage depots, whenever their
preservation in situ hindered the development of the monument of which they were
part. His successor Minister Bourgeois, currently competent for immovable heritage,
Parl. Doc.
of creating legal certainty for owners of protected buildings. He proposed to add a
list of all movable goods that are considered part of the protection of a monument
in the protection order. This is currently put into practice, and is legally set down in

However, this article is only rarely brought into practice as still many new
buildings are erected to house public or governmental programmes without
sufficient effort to investigate the possibilities of reusing an existing building
Commission
Royaledes Monuments, Sites et Fouilles
also wanted to put strict limits to the type of goods that can be included on such list. His
ideas have been stated in detail in the parliamentary preparation as explained above

Indeed, the value of historic interiors as a representation of the way of life and the
personal identity of previous generations has been undervalued by policy since many

proposal stands in direct contrast with the original intention of the protection system
that is to evaluate goods based on their intrinsic heritage value, instead of its extrinsic
use-value, or market value.

We belIeve, however, that it is possible for monuments with historic interior to be reused

concepts of translatio, imitatio, and aemulatio

to be approved by the agency immovable heritage when the building and its interior
are legally protected. The criteria by which proposals for restoration, renovation and 135
adaptive reuse are evaluated focus on preservation of individual heritage values and

genius loci of the interior,

building or site.
More than a combination of individual movable and immovable elements, an
interior is a holistic entity that consist of movable and immovable elements, but that
derives its particular quality from the combination of these tangible aspects with the
intangible aspects such as texture, odour, view, and incidence of light

The relationship between the elements creates an atmosphere and tells

a story of life and activities that took place in that space and represents
an intangible aspect of the interior. To grasp the totality of an interior

The quality that is established in this relationship between material and immaterial
aspects is what we have called the genius loci
that such value in Norway – but also in the Flemish legal context – is not included
in the evaluation criteria used by conservation authorities involved in protection and
safeguarding of cultural heritage. This becomes problematic when dealing with the
genius loci as a criterion upon

conservation and rehabilitation of historic interiors.

 136

5.2. Retail-Reuse: a typological approach

noT all buildings are suitable to be reused for retail purposes. But although each
building is unique and has its own characteristics and value, some typologies seem
more generous towards a retail programme than others. In what follows we review

Industrial buildings

Military buildings

Beside literature, we based on examples in order to learn from good as well as

bad practice. Indeed, as existing scholarly studies on retail-reuse are limited, realised
cases are most representative for the current state-of-the-art. Not all of the examples
stated in this paragraph are conducted as ‘case studies’, following a strict methodology

the practice of retail-reuse for the typology discussed in particular are worked out.

these aspects as well.

5.2.1. Industrial buildings

Typologies: factory – warehouse – barn – granary – mill – brewery – malting –
mining site – railway station

Today, many industrial buildings and sites are abandoned due to closure and
relocation. This lack of occupancy can have various reasons. Firstly, as urban areas
have extended beyond their former boundaries, factories and warehouses that were
initially build on the outskirts are today part of the centre of the town .
This may cause a limitation to further development and growth of the industry. On
the other hand, contemporary environmental regulations concerning noise, smell,
dust or ground pollution may banish industries from the city centre to industrial

Out of the examples discussed in this chapter, we have selected ten case studies,
companies move their production to countries with lower production-costs
.
Industrial buildings are often open structures, which are easy to adapt to
contemporary uses without much conversion of the basic structure. Moreover, in
general the structure of these buildings are able to bear high loads, and even if the

social factor in this. However, in order to avoid a fragmentation of the building or site,

expensive and time consuming. The rehabilitation of industrial heritage is often a

phases to spread costs.

the character of a town or region because of the important role they played in the
137
the presence of the buildings still generates a sense of familiarity and can be a point

of the value of ‘ordinary’ buildings such as vernacular buildings or industrial

structures . This wider concept of heritage was further strengthened

approach towards culture and society. This also addressed the relationship between

heritage plays an important role in this process. The industrial site has for the person
involved primary an historic and narrative value – ‘
’. It is usually their desire to pass this over to the future local inhabitants
.
Indeed, the local community often feel strongly related to ‘their’ industrial heritage.

even may involve them in the decision-making process and that the new use meets

focal point around which communities will rely and revive their sense of civic pride
and be the starting point for a larger urban regeneration

an InTeresTIng example of the rehabilitation of a former industrial site in which

 138

in the textile industry and the collapse of the sector led to high unemployment and
economic recession

new constructions and houses an interesting mix of shopping, hospitality, leisure and

to be very successful with many events organised at the site and with a very limited

large. Following the example of Manufaktura, other industrial and historic buildings
have been rehabilitated into retail, dwelling and other functions by private investors.

abroad in attracting tourists, but also companies willing to take up a business in the
city .

the site dates back to the early twentieth century and served as storage place of transit

well .

used as they are, exploring the full potential of the unique character of the industrial
139
140
structures. Indeed, these buildings seem particularly generous towards their new use
as art gallery.

Where manufakTura

Instead of starting with a thorough restoration of the building, a detailed master plan

using the building in its current state, only carrying out maintenance and repair that is
absolutely necessary for safeguarding the building and its users.

a bed and the shower in the morning and as such will only need limited investment.

141

will be carried out gradually by making use of an installation for the cleaning of the

won the competition organised by the municipality of Maastricht for adaptive reuse

half of other, more traditional redevelopment proposals that did only include costs
for renovation and adaptation of the building, but that did not include costs for the
exploitation .

economic recession is not necessarily a threat towards safeguarding our heritage,

but it may instead be an opportunity to think about new ways of using, reusing

possibilities for involving the local community in the process of redeveloping of the
building, which is – as stated above – often very important in relation to industrial
heritage.

To conclude, industrial buildings are often very suitable for adaptive reuse, and

adapted, structurally as well as architecturally. The heritage values of these buildings

and sites are often related to their role in the social and urban development of a town
 142

conservation of all architectural elements and details is not always necessary and as
such, often large architectural interventions can be done without harming the heritage
value of the building or site. However, when machinery or industrial installations need
to be preserved in situ, this requires some creativity of the designers commissioned
with the rehabilitation of the building.

engagement by the local community because of its social and urban value. For

is a positive factor in redevelopment of the site, such as for example for Manufaktura,

opportunity towards the conservation of the building.

Thirdly, the large area of the site may be an opportunity for investors looking for
large, available sites in the urban fabric for creating for example a shopping centre.

Manufaktura - where in more rural areas retail can be an important aspect towards

Retail sector Heritage sector

Retail as a catalyst for sustainable

Open structure, able to bear high loads development
Opportunities

easy to adapt to new use Building open for the public

Heritage values often allow rather strong Public support for the conservation and
alteration redevelopment of the site
Often large site, located in the city centre Restoration largely financed by private
Social engagement investors
Large, available area in urban fabric Reintegration of the building or site in the
urban fabric

Large site: high cost for realization and

maintenance Possible loss of the historic value due to
Threats

Large site: extensive programme needs to strong redevelopment of the building or site
be developed Large sites, protected as a monument:
Machinery and installation that have to be subsidy for restoration and maintenance may
preserved in situ can cause limitations to the become very high
reuse and remodelling
5.2.2. Religious buildings

sInce The

concerning monastic life as well as the secular church who accompanies the religious

increases rapidly
time in history that religious heritage undergoes a period of vacancy and rehabilitation

state for military purposes or as a depot

the desolation of the buildings happened very abrupt. There was no transition period

is rather an evolution.

convents, beguinages and presbyteries. Today, the most pressing problem exists for

143

initial use is mostly residential it is most suitable to use these buildings for secular
residential purposes.

The discourse on adaptive reuse of religious heritage in Flanders

In order
might soon be abandoned, several initiatives have been taken. In Flanders, several
conferences and symposia have been organised concerning the future of religious
Vlaamse Contactcommissie Monumentenzorg

reuse of religious heritage. Important attention was given to the social integration
of the religious heritage, and of parish churches in particular. One way of achieving
social integration is through giving the building an appropriate new use
. But the discussion about what is an ‘appropriate use’ is rather
complex and creates lots of discussions. The religious authorities are rather reserved
against all functions that do not have a connection with the religious spirit
. For churches, for example, a concert is possible but only
when religious music is performed, the same for exhibitions which are only acceptable
when religious art is exposed. Tourism is very much welcomed. For the exploitation
of these activities, they rely on voluntary workers
 144

congregation needs to transfer ownership through selling our donation, it is essential

.

cannot be organized in a church building Delbeke indicates parties, political meetings

the end of the same meeting, the debate about commercial activities in a church was

use of religious buildings:

rope and made a whip. Then he chased everyone out of the temple,
together with their sheep and cattle. He turned over the tables of the

But also retailers are rather restrained against locating their store in a religious
building. Large chains as Zara and Mango refused strongly to located their shop in
the Dominican church in Maastricht because of the spiritual history of the building.
organised two symposia

This resulted in a publication In een ander licht, published by the Flemish Government

guidelines formulated as a conclusion of this publication, a social or cultural use is

put forward as the most suitable new use for religious buildings, these examples are
also seen as valuable as these involve buildings that have lost their religious use since
many years, and as such their religious past has been long behind
. This publication however
did not close the discussion and symposia continued to be organised: Loci Sacri
 ,
Kerken her(be)stemmen The church and the city

alThough The problem of vacancy and reuse for parish churches and convent

be reused for secular uses .

cannot be used in any way for divine worship and there

is no possibility of repairing it, the diocesan bishop can relegate it
to profane but not sordid use.
causes suggest that a church no longer be
used for divine worship, the diocesan bishop, after having heard the
presbyteral council, can relegate it to profane but not sordid use,
with the consent of those who legitimately claim rights for
themselves in the church and provided that the good of souls

‘A profane but not sordid use

unworthy and as such forbidden. This indeed has important consequences as to reuse 145
of parish churches in regions where the roman-catholic religion is most present. The

in the form of the conceptual nota . The policy

.

The discourse on adaptive reuse of religious heritage in The Netherlands

noT only in Belgium, secularization and consequently vacancy of religious heritage is a
growing concern. In The Netherlands, churches that are not protected as a monument

legal matters, the question how to deal with abandoned churches and other religious

rehabilitated churches with a large variety of new uses – also commercial functions -

Netherlands and the organization of Dutch municipalities published a guidebook for

civil and religious communities about how to deal with reuse of religious heritage. The
publication covers the reuse of roman-catholic parish churches as well as protestant
 146

churches, Jewish synagogues and Islamic mosques and contains a theoretic framework

emotion, functionality, symbolism, architecture, urbanism and monumentality. But at

the same time, the possibility of public–private cooperation is stressed and several
examples of reused churches which are successful both on economic as aesthetic level

reuse, but one of the case studies included as an example of good practice involves

publication on adaptive reuse of churches. They dedicate a paragraph to the issue

of commercial reuse and state that depending on the character of the shop or service
which is brought in, a commercial use may be acceptable or not. For example, a
restaurant may be suitable, but a supermarket is not. However, they add that such
a ‘less suitable use’ may be valuable as a temporary use for the building whenever

In uk, English Heritage researched extensively the conservation of churches beyond

their religious use. Instead of focusing on the possible new uses for a church, the focus
of their research is on practical issues such as the integration of services, extension
of the heating system and on how contemporary extensions to the building could be

noTWIThsTandIng The political and social debate about what to do with our religious
patrimony, private investors, public organisations and municipalities are reusing and
adapting churches and convents into a variety of functions, including retail. Indeed,
churches and convents are often located on central places in historic centres, which
147
148
make them very attractive for retailers.

doing so, the typology of the church, with its very particular vertical spatial qualities,

bookcase stresses the monumental dimensions of the church, while from upstairs the
visitor can see the architectural details close up. To emphasize the original building
even more, the lighting plan not only highlights the books on sale but also the church
itself. In order to respect the historic interior as much as possible, most of the lighting
is integrated into the newly added bookcasing. The exterior of the church remained
almost untouched, except that the entrance has been marked by huge doors clad
in corroded steel to indicate the church’s new function to the public.
received much attention by national and international press

in religious buildings from religious authorities as well as from monuments boards, no

design which respected very clearly the typology of the building is very important and

149

altered.

materials such as carpets and textile ribbons wrapped around a metal frame, serving
as a sort of ‘lowered ceiling’.

and as such their transformation from religious buildings into retail did not cause any

host space concerns a parish church, especially when the church has recently been
used as place for worship. In Belgium, to the author’s knowledge no examples of

Sainte Famille
in order to gain income for the restoration and maintenance of the building. They

former convents were demolished and shopping arcades or ‘passages’ were

150
 .27

was largely present, which shows their interest in the reuse and adaptation of ‘their’
church.
Examples of convents reused for retail are also rare. The Bogaerdenklooster in

as it was expected to be. Gradually shops are being replaced by less public activities,

an important shopping street in the city. The interior of the former convent has already
been removed before Donum rented the place.

large shop windows. They solved this problem by creating a large shop window about

interior, they were able to create a sort of ‘gallery’ which could be reached by stepping

alThough some
retail sector and the heritage sector – exist, religious buildings are in general not

transformation of the building, which may harm its heritage values – not only the 151
architectural and historical value but also the socio-cultural value, which is often
referred to as the ‘sacral atmosphere’ of the building. Even if the interventions are
completely reversible, the experience of the buildings may be strongly altered and

typology of both churches and convents is less suitable for retail. Both are very ‘closed’

churches there are movable cultural goods such as organs, altars or sculptures that are
included in the protection and which are expected to be conserved in situ. Integrating
these elements in the retail design in a respectful and valuable way is a real challenge.
Fourthly, churches have a rather small area compared to their volume, which make

all that, the symposium ‘Historic buildings and religious heritage, opportunities for the

symposium ‘Historische gebouwen en oude gebedshuizen, opportuniteiten voor

Historische gebouwen en oude gebedshuizen, opportuniteiten voor de

 152

buildings: churches and chapels, and convents

Retail sector Heritage sector
Opportunities

Towns: central location in urban fabric Building open for the public
Rural areas: parish churches located at the Restoration largely financed by private
centre of a community investors

Large architectural interventions may

Closed architectural typology difficult to threaten the architectural and historic value
create shop window and attractive entrance of the building
‘Sacral atmosphere’ of the building (socio- Commercial interior may threaten the social-
cultural value) may cause social resistance cultural value of the building – its ‘sacral
Threats

Churches: small area compared to volume atmosphere’

high maintenance costs Social resistance
Parish Churches: need to be desecrated Parish Churches: need to be desecrated
before being reused before being reused
Protected cultural goods are difficult to Often impossible to conserve protected
integrate in the retail design cultural goods (interior elements) of the
building in situ

5.2.3. (Semi-)public buildings

Library – Theatre – Hotel and Hostel

publIc and semi-public buildings are often very suitable for reuse into a retail

houses, libraries, theatres and hotels are usually not reused for retail because of their

socio-cultural value are often the most important heritage values of these buildings.
Therefore, a cultural, touristic or ceremonial use is often more suitable than a retail

of the theatre is completely preserved and serves as a unique setting for the store.

been removed completely and only the basic structure of the building is preserved.
These examples raise another issue: the historic interior – which is often conserved in

interior are included in the protection, the retailer may be confronted with very strict
regulations towards adaptation of the building.

However this category could also be classified within the category of residential
buildings as the function of the typology can be considered as temporary
residence.
also offIces

are adapted into residential functions, varying from social housing, to student

and schools. Only a few example house commercial functions: including four hotels,

creates a dissociation from the historic building to strengthen its own image. Instead of

wants to dissociate itself from this by creating an image of being fashionable, trendy,
and low-priced. The contrast between old and new is applied to all aspects of the
new design – material, colour, form, lighting, and technique – but the most extreme 153
intervention is made by the central staircase, where a glass and aluminium structure
seems to cut through the centre of the historic building. The most important interiors

of the added furniture is obviously contemporary, these rooms appear more original

allowed to create a classic ‘shop window’, which the designers solved by introducing a
virtual shop window.

alThough museums are usually not reused for retail in its entirety, part of the museum
may be transformed into the museum shop, which is becoming increasingly important
for contemporary museums . The integration of such retail facility may
cause particular challenges comparable to those of retail-reuse, as to circulation,

needs and requirements on the other hand – the need for bars, restaurants, and above
all retail . Examples of railway stations that have gone
154
 156

implement retail concepts especially thought out for this type of ‘rush shopping’.

among The

breakfast at the initiative of a private local investor. In towns and city centres, the post

of the building, which forms an additional barrier for possible customers to entre
spontaneously. In the case of large buildings that are transformed for a shopping
centre, additional vertical circulation has to be integrated in the original building in

to services such as a hairdresser, and beauty salon. In the past vacant shop units at the

were two stores high and vertical circulation was organised in each individual shop

However, from the point of view from the heritage sector, conservation and restoration
of these very typical interior features is often required, even more since many of such
original counter halls disappeared in the course of time due to modernisation of the
postal service .
158
Others
There are
Stadsfeestzaal
Stadsfeestzaal

half of the twentieth century, the building was very popular for parties and events, but

occasionally used, and hence decayed due to a lack of maintenance .

the building’s direct surrounding. The developer who bought the site organised the

was reconstructed, based on old plans and pictures from the city archive, a photo
survey made in preparation of the planned restoration, and remains found on the
site.
some shortcomings. Firstly, notwithstanding many features of the building have been 159
Stadsfeestzaal

leaf touching for accentuating decorative features, and the application of constantly

contrast - between the historic building and the new addition. Thirdly, most retailers
complain about their accessibility and visibility, and the strong regulations on signing
and branding due to the monumental character of the building. The developer put
it this way:

the building looks like a monument, a museum, but does not look like
a shopping centre.

heritage features of the building in a successful retail design. In order to overcome this
 160

as IT

public and semi-public buildings often contain valuable architectural and interior
features that need to be preserved and restored in order not to harm the heritage

retailer consciously selects a monumental building to house its store, the monumental
character may be added value towards the retail design, and as such the commercial

of their architectural value.

Retail sector Heritage sector

Opportunities

Building open for the public

City hall Often central location in urban fabric
Restoration largely financed by private
–School Public character of the building
investors
–
Hospital
– Court
house –
Library – Often major restrictions towards Architectural interventions and
Theatre adaptation of the building because commercial interior (e.g. integration of
Threats

– Hotel of the architectural value vertical circulation, shop windows,

and The presence of an historic interior creating of separate shop units) may
Hostel may cause strict regulations threaten the architectural value of the
towards adaptation of the building building

Usually ceremonial, touristic, or cultural reuse

Office Usually residential reuse

Opportunities

Building open for the public

Often central location in urban fabric
Restoration largely financed by private
Public character of the building
investors

Post
Architectural interventions and
office In the case of a very large building: commercial interior (e.g. integration of
Creation of separate shop units may vertical circulation, shop windows,
Threats

be necessary creating of separate shop units) may

Vertical circulation harm the architectural value of the
Retailers have limited visibility from building
the exterior Difficult to preserve authentic interior
features (e.g. counters) in situ

Railway
Usually not a complete transformation into retail, but retail functions are added to the original
station -
programme of the building
museum
5.2.4. Residential buildings

large resIdenTIal buildings such as castles or large farms and country houses become
abandoned because maintenance costs become too high for the owner. It seems the
most obvious use for those abandoned residential buildings is again a residential
function, perhaps on a smaller scale than initially intended. Many castles are divided
into several luxurious apartments. Maintenance costs can then be shared among the

as well
often transformed into a museum or other cultural function. Because castles, farms and
country houses are mostly situated outside the city centres, it is not obvious to bring a

.
In the case of a town house, a retail function is more common. Many examples
can be given where houses inside the historic centre are partly or completely converted
into a shop. Here, the introduction of a large shop window may causes problems.

to enlarge existing windows to the ground level. For many retailers this is a great
disadvantage. In many historic centres, however, this process of converting the ground 161

have stopped this process of enlarging shop units in this way. Instead, retailers willing

are often poorly maintained, which on the long term may cause a degradation of the

of housing which turn these centres into desolated areas after shops are closed. The
’ in order to

.34
 162

retail architecture. Only since late medieval times it was allowed to sell goods in other

in the streets in the direct surrounding of the marketplace. The premises in those

shops only distinguished themselves from other buildings trough an inscription on

eighteenth century . Therefore it is not always easy today

to understand if a certain building was initially used for retail or only for residential

Dommershausen and the partitioning wall between both premises were built up as a

the creation of a large shop window. The structure of the partitioning wall was not

back to the nineteenth century and was not very valuable in historic or architectural
sense

attached to the historic buildings through a glass stroke in order to also show the back

a new staircase was introduced next to the historic staircase connecting the ground

in its monumental character

character of the building: shelves were even placed before historic interior elements.

To conclude, within the category of residential buildings, the only typology that

only includes opportunities and threats in relation to this typology. Mainly for the
retail sector there are several opportunities towards retail-reuse of town houses.
 163

windows had been enlarged in the past to create a shop window

 164

the retail activity in towns in the early seventeenth century

165
 166

enlarging them up to ground level. From the point of view from the heritage sector,

as the interior structure and interior features of the building are often considered less

general not supported by conservation policy today, in historic centres where pressure
for development become stronger, this practice still occurs frequently and is allowed by
local urban planning departments.

Retail sector Heritage sector

A-location in urban fabric

Earlier alteration to retail function: large shop
Opportunities

windows & combination of several premises

into one large store Building open for the public
Upper floors may be used as stockroom or Restoration largely financed by private
as an extension of the shop investors
Usually limited original historic features at
the interior of the building -> easily to
integrate retail design

Abandoned upper floors

Original windows rather small and not at
Or existing vertical circulation in the buildings
street level -> less suitable for shop window
Threats

has to be adapted to more intensive use,

In case of residences/offices on upper floors:
which may harm the architectural value of
valuable square meters have to be offered in
the building
order to create an additional entrance to the
Risk for ‘façadism’ as the interior structure is
upper floors
often considered less valuable

5.2.5. Military buildings

Typologies: Fortress – Barrack – Gate

accordIng To
be reused for a retail activity. Nelissen gives one example of former army barracks

explanation, nor plans or pictures are included. Latham does not give any example
at all.
Despite literature discusses retail functions as a possible new use for military
buildings, examples are very rare. Military architecture has usually a closed typology,
they are mostly located outside the city centres and are not easily accessible. For all

and conferences have been organised addressing this theme. The values that can be
attributed to military buildings and site are very diverse: they might have historical value,

values however all might be threatened by integrating a retail activity on the site as this

discussed further in this study.

Retail sector Heritage sector

Large architectural intervention needed to

Threats

Closed architectural typology

integrate retail activity might harm the
Isolated location
heritage values of the building (tangible and
Difficult accessibility
intangible) 167

5.2.6. Retail buildings 37

from The nineteenth century onwards, many city centres developed into places for

architectural typologies. New retail concepts led to the development of the passage

Biennale Herbestemming in Maastricht, http://www.biennaleherbestemming.

The examples discussed in this paragraph are discussed in two publications,

on restoration and rehabilitation of nineteenth century shopping arcades in

Beside ‘passage’, this building type is also called, e.g. ‘arcade’ or ‘gallery’.
 168

then, store design provided an important contribution to the architectural heritage of

our historic towns. During the second half of the twentieth century, due to social and
economic changes, many historic markets, passages and department stores became

were completely renovated. In the last decennium, however, those ‘authentic’ store
environments that have survived the course of time have become popular again for

these historic retail facilities are restored and brought back into use.

. Nature as inspiration is one of the main characteristics of the art nouveau,

role of architecture in retail branding and he explains:

be noticed, talked about, visited, copied. This was a well-established

innovative aspects is the uninterrupted curved-glass frontage. Following the modernist

concept of integrating art and design, Emberton also designed the interior with

contemporary design: leather and curved plywood armchairs and plywood tables

Equipment Ltd

store archive even includes unrealised plans to commission sculpture from Eric Gill

feW sTores exist that not only preserve its original interior, but are used for decades
169
170
171
172
 But retail concepts, and the requirements of retailers and customers have
changed: demand for bigger shop units, rise of chain stores at the expense of the
independent retailer, need for vehicle access for shoppers and servicing and demand

present considerable challenges to the historic fabric of the buildings, as well as to

the contemporary retail design, particularly in retail buildings including several shops.

well as on the level of historic preservation.

173

.
Hubert maintains its original programme and prestigious character. Therefore, the
building is still a popular location for retailers, especially those selling typical Belgian
products or brands – not only because of the central location but also because of its
unique character and atmosphere. Notwithstanding some minor repairs, the building

of the initial programme – both in tangible and intagible features – as a basis for the
restoration concept. The overall character and spirit was well preserved by respecting,
among others, original ornaments and typology. The small-scale character of the
separate shop units, for example, is conserved in the contemporary programme.

. Its construction
was an essential part of the monumental transformation of the historic centre of
174
175
 176

in its original state and is still an important symbol for the city of Milan. Today, the

attractive place for shopping and strolling. It includes many prestigious stores, some

stores, more popular restaurant chains, such as Mc Donalds, are equally present which
may threaten the luxurious and exclusive character.

appointed a Belgian contractor, Henri Mortiaux . The architectural

style of the realized building was not eclectic as initially proposed but neoclassical

gradually decayed. Today, it is owned by Fortis Bank who restored and rehabilitated
the buildings for commercial purposes.

activities. Moreover, several historic shops have been combined into one large shop
unit to meet the needs of contemporary retailers for larger commercial areas. Hence,
the small-scale character of the initial retail function is lost. The shops that are today

to maintain its original grandeur and prestige, unlike Milan and Brussels.

In deparTmenT stores, the preservation of the historic character of the building often

interior .
historic character of the host space.

The besT

contemporary retailers’ and consumers’ demands and current regulation towards

Nonetheless, the monumental character and historic features of the building

technical installations for cooling and heating, but also lighting of the products at

and furniture may not be suitable for presenting products in a way that is attractive 177

The other way around, also for the heritage sector there are some threats in
rehabilitating historic retail buildings for contemporary demands. The current
requirements and regulations for safety and accessibility, and the updating of
technical installations may demand rather invasive interventions to the building may

the protection, many historic shop interiors have been removed in the last decades.
But even today retail interiors are often not protected and as such are very vulnerable.
Beside threatening the physical appearance of the building – the tangible heritage
values – reorientation of the retail activity and commercial pressure may also harm
the original atmosphere and the genius loci of the building – the intangible heritage
 178

Retail sector Heritage sector

A-location inside the historic
centre
Building contributes to the
Opportunities

Original use is usually the best

branding of the retailer as being
use for a building
‘authentic’.
Building open for the public
Building designed for retail ->
Restoration largely financed by
basic features for retail
private investors
programme are present: shop
window, attractive entrance,
circulation space, etc.
Department store–
Market –Passage - Interventions in order to meet
Boutique safety and accessibility
regulations, and for updating
Accessibility and safety technical installations may harm
regulation the architectural value of the
Threats

Authentic gondolas and building

furniture may not be suitable for Commercial pressure may harm
presenting products in a the heritage value of the building:
contemporary attractive way the tangible values (architectural
and historic value), and intangible
values (socio-cultural value, and
genius loci)
Opportunities

Building open for the public

Central location in the urban
Restoration largely financed by
fabric
private investors

Exchange – Bank
Architectural interventions and
Creation of separate shop units commercial interior (e.g.
Threats

may be necessary integration of vertical circulation,

Vertical circulation shop windows, creating of
Retailers have limited visibility separate shop units) may harm
from the exterior the architectural value of the
building
 5.3. Opportunities and threats for retail-reuse by
category and typology

based on the literature and examples discussed above, we can conclude that some
heritage categories and typologies are more suitable to be reused and adapted for
retail than others. The opportunities and threats for the retail and the heritage sector

Typologies that are very suitable for retail are industrial buildings and, evidently,
buildings with initially a retail function. For industrial buildings, the large area of the
site is often the most challenging aspect, for the retail as well as the heritage sector. The

approach rehabilitation, it might be a valuable approach for the heritage sector, as

well as for individual retailers looking for a unique location to house their store.
The rehabilitation of historic retail buildings for contemporary retail activity seems

challenges as well. In general retail interiors are replaced quickly, and as a result many
historic interiors are lost. Today, however, customers appreciate the ‘authenticity’ of
179

sector, but only for those retailers that consider the monumental character of the
building as added value for their commercial activity, and that are as such willing
to accept the limitations the building might cause towards the retail design. Indeed,
public and semi-
such cannot be strongly remodelled in order to facilitate a new use. The examples
discussed above have shown that not only high branching retailers are interested

is an interesting new use as the building remains accessible for the public, of course
under the condition that the retail design respects the heritage values of the building.
From the retail sector there is a strong interest in occupying former houses
in the historic centre, primarily for the location of these buildings. In the past,
residential buildings were most present in the urban fabric as their was no building
type particularly for retail – retail happened on the markets, in the streets, in the
houses
 180

on since decades. In many cases, the building has been completely remodelled and

of view of the heritage sector, this is most unfortunate. However, as this evolution
from housing to retail has grown historically, it is not evident to change this tendency
which has been launched by local

back the residential function at the heart of historic centres contributes to sustainable

original character and genius loci.

in rural areas are in general not suitable for retail-reuse. The retail-sector has shown

adapt in order to be commercially attractive, and all buildings located in rural areas
are in generally not very attractive. From the point of view of the heritage sector,
the necessary adaptations to make the building commercially viable would be far-
reaching and would harm the heritage values of the building. Nevertheless, as the

residential buildings. Examples of successful retail-reuse of religious buildings are

Table 5.7: Opportunities and threats for retail-reuse by category and typology
OPPORTUNITIES AND THREATS REGARDING RETAIL-REUSE
CATEGORY TYPOLOGY EXAMPLES
RETAIL SECTOR HERITAGE SECTOR

Open structure, able to bear high loads easy to adapt to new use Retail as a catalyst for sustainable development
Heritage values often allow rather strong alteration Building open for the public
Industrial buildings

Often large site, located in the city centre Public support for the conservation and redevelopment of the site
Social engagement Restoration largely financed by private investors
Large, available area in urban fabric Reintegration of the building or site in the urban fabric Tour & Taxis, Brussels (BE)
Factory – warehouse – barn –
Large site: high cost for realization and maintenance Possible loss of the historic value due to strong redevelopment of the building or site Kanaal, Wijnegem (BE)*
granary – mill – brewery –
Large site: extensive programme needs to be developed Large sites, protected as a monument: subsidy for restoration and maintenance may become very high Manufaktura, Lodz (PL)
malting – mining site
De Nieuwe Eiffel (NL)*
Machinery and installation that have to be preserved in situ can cause limitations to the reuse and
remodelling

Often mixed-use development

Towns: central location in urban fabric Building open for the public
Religious buildings

Rural areas: parish churches located at the centre of a community Restoration largely financed by private investors Selexyz Dominicanen, Maastricht (NL)
Church and chapel - Convent Closed architectural typology difficult to create shop window and attractive entrance Large architectural interventions may threaten the architectural and historic value of the building McGregor, Ghent (BE)
‘Sacral atmosphere’ of the building (socio-cultural value) may cause social resistance Commercial interior may threaten the social-cultural value of the building – its ‘sacral atmosphere’ Donum, Antwerp (BE)
Churches: small area compared to volume high maintenance costs Social resistance Bogaerdenklooster, Sint-Truiden (BE)
Parish Churches: need to be deconsecrated before being reused Parish Churches: need to be deconsecrated before being reused Eglise Sainte Famille, Schaarbeek (BE)*
Protected cultural goods are difficult to integrate in the retail design Often impossible to conserve protected cultural goods (interior elements) of the building in situ
Beguinage - Presbytery Usually residential reuse

Often central location in urban fabric Building open for the public
City hall –School – Hospital – Public character of the building Restoration largely financed by private investors
Court house –Library – Theatre Often major restrictions towards adaptation of the building because of the architectural value Selexyz Verwijs, The Hague (NL)
Architectural interventions and commercial interior (e.g. integration of vertical circulation, shop windows,
El Aleneo, Buenos Aires (AR)
– Hotel and Hostel The presence of an historic interior may cause strict regulations towards adaptation of the building creating of separate shop units) may threaten the architectural value of the building
Shopping Stadsfeestzaal, Antwerp (BE)
Usually ceremonial, touristic, or cultural reuse

Office Usually residential reuse

H&M Barcelona (ES)
(Semi-)public buildings

Often central location in urban fabric Building open for the public
Public character of the building Restoration largely financed by private investors

Donum, Hasselt (BE)

Post office In the case of a very large building:
Kruidvat, Leuven (BE)
Architectural interventions and commercial interior (e.g. integration of vertical circulation, shop windows, Post Plaza, Gent (BE)
Creation of separate shop units may be necessary creating of separate shop units) may harm the architectural value of the building Magna Plaza, Amsterdam (NL)
Vertical circulation Difficult to preserve authentic interior features (e.g. counters) in situ
Retailers have limited visibility from the exterior

Central Station, Antwerp (BE)

Railway station - museum Usually not a complete transformation into retail, but retail functions are added to the original programme of the building Central Station, Amsterdam (NL)
St Pancras Station, London (UK)
Kings Cross Station, London (UK)

Castle - Country house – Farm Usually residential reuse

Residential buildings

A-location in urban fabric

Earlier alteration to retail function: large shop windows & combination of several premises into one
Building open for the public
large store
Restoration largely financed by private investors Xandres, Ghent (BE)
Town house Upper floors may be used as stockroom or as an extension of the shop
Betsabe in Sint-Martinus, Sint-Truiden (BE)
Usually limited original historic features at the interior of the building -> easily to integrate retail design
Hema in Dommershausen, Tongeren (BE)
Abandoned upper floors
Original windows rather small and not at street level -> less suitable for shop window
Or existing vertical circulation in the buildings has to be adapted to more intensive use, which may harm
In case of residences/offices on upper floors: valuable square meters have to be offered in order to
the architectural value of the building
create an additional entrance to the upper floors
Risk for ‘façadism’ as the interior structure is often considered less valuable
Apartment building Usually renovated or demolished

Fortress – Barrack – Gate Closed architectural typology

Large architectural intervention needed to integrate retail activity might harm the heritage values of the
buildings

Isolated location
Military

building (tangible and intangible)

Difficult accessibility

A-location inside the historic centre Galleries St-Hubert, Brussel (BE)

Original use is usually the best use for a building
Building contributes to the branding of the retailer as being ‘authentic’. Passage, The Hague (BE)
Building open for the public
Department store– Market – Building designed for retail -> basic features for retail programme are present: shop window, Galleria Vittorio Emanuele, Milan (IT)
Restoration largely financed by private investors
Boutique – Passage attractive entrance, circulation space, etc. Bijenkorf, Amsterdam (NL)
Retail buildings

Interventions in order to meet safety and accessibility regulations, and for updating technical installations Daniel Ost, Brussels (BE)
Accessibility and safety regulation
may harm the architectural value of the building Knize, Vienna (AT)
Authentic gondolas and furniture may not be suitable for presenting products in a contemporary
Commercial pressure may harm the heritage value of the building: the tangible values (architectural and Waterstones Picadilly, Londen (GB)
attractive way Prada, Milan (IT)
historic value), and intangible values (socio-cultural value, and genius loci)
Building open for the public
Central location in the urban fabric
Exchange – Bank Restoration largely financed by private investors Royal Exchange, Londen (GB)
Creation of separate shop units may be necessary
Architectural interventions and commercial interior (e.g. integration of vertical circulation, shop windows,
Vertical circulation
creating of separate shop units) may harm the architectural value of the building
Retailers have limited visibility from the exterior

Opportunities Threats Remarks

* project not (yet) executed

 Chapter 6: Identification of the various
stakeholders and their interests

besIde The

Retail

and problems later on . Today, this is often not the case. For example, owners
or developers sometimes invest a lot in a master plan for the site without consulting

limitations this brings about. In other cases, a building is altered into retail spaces, but
without knowing which type of retailer will be renting the space. Bert Gebreurs, the
183
in a former monastery explains:

to the building, completely separated from what we were doing on the

 184

6.1 Methodology

ouT of

level retailers42
excluding military buildings as to the authors knowledge no examples are available.
Of these ten cases, six cases are located in Flanders, one case in Brussels, and
three cases in the Netherlands. Four of the six Flemish cases involve buildings that are

,
which allowed us to evaluate the strengths and weaknesses of the legal framework

on interviews as a primary source of data. For each case study we interviewed various

information on the whole process was described in a publication

, which contained

General themes that were focused on during the interviews were:

The process of collaboration with other stakeholders

indicates the stakeholders interviewed for each case. The number and type of

and short interviews with

Discount retailers are not included in our case study research as they usually do
not locate their store in historic buildings, or in case they do their motivation
therefore is primarily location and surface area, and not the historic character of

the intercept interviews were done by students of the second bachelor interior
architecture. They recorded and transcribed all interviews.
* not legally protected, but included in inventory immovable heritage

STAKEHOLDERS

Retailer/Store manager

Chain store manager

Restoration architect

Heritage Consultant

Project Developer
Interior architect
BUILDING

Consumers
CASE STUDY

Architect
CATEGORY

Industrial 1. Kanaal Vervoordt (BE)* x

buildings

2. Selexyz Dominicanen (NL) x x x x x x

Religious
3. Donum , Antwerpen (BE) x x x
buildings
185
4. Stadsfeestzaal, Antwerpen (BE) x x x x x
(Semi-)public 5. Selexyz Verwijs (NL) x x x x x
buildings 6. Donum, Hasselt (BE) x x x

Residential 7. Hema, Tongeren (BE) x

buildings 8. Xandres, Gent (BE)* x x x

Commercial 9. Passage, The Hague (NL) x x

buildings 10. Galleries Saint-Hubert, Brussels (BE)

and The Netherlands and as such all interviews were conducted in Dutch, they were
recorded and transcribed. Beside interviews, we relied on archival research, literature
study and site visits as additional sources of data. For each case study we have made
a report including a description of the history of the building or site, the concept
of restoration, and the new interventions and programme. However, for reasons of

instead.

groups:

made notes during the interview and we made a report immediately after.
 186

owners, sometimes developers of historic buildings or sites

conservators, mainly heritage consultants
municipalities of historic towns
retailers, including individual retailers as well as chain store retailers

and urban planners

users, including consumers but also other visitors with no intent to purchase,
and people passing-by

interests in retail-reuse more in-depth. For some stakeholder groups – namely owners,
retailers, and designers - our description directly relies on the interviews. Other
stakeholder groups were not clearly represented by one particular person, namely
the conservators, municipalities, and users. The interest of the conservators are

city branding and urban regeneration. The users are a very diverse group, including
consumers but also other visitors with no intent to purchase, and people passing-by.

6.2. Owners

Whoever buys a protected building or site often does so because he or she appreciates
its historical or architectural quality and as such accepts the legal consequences

request of the owner. Indeed, owners of protected good can receive premiums for

good to be protected, especially when they intent to rehabilitate the building in order
to sell it, or rent it out. In such case, the protection may cause substantial limitations

introduce vertical circulation in the central hall, which has vast consequences for the

reconstructed for which the additional costs were enormous. The interests of the
owner contrasted strongly with the interests of the heritage sector, represented by the
 It takes about two years before obtaining a restoration premium and

do so as we had an agreement with the government that bounds us to a

for two years. Moreover, as a developer we had bought the building

with the intent to develop it, … and later on sell it ... you would not get

Our case studies have shown that also owners who keep the building in their
own property and use them for their own store have not requested a premium for

187

immovable heritage not to start a protection procedure for valuable buildings are
sites that are not yet protected, under the condition that the owner will respect the

legally protected, all valuable buildings and features on the site are conserved and
safeguarded, although several buildings have been seriously remodelled and other, less
valuable buildings have been demolished in order to make place for constructions on
the site.

6.3. Conservators

for conservaTors, when a building loses its initial function, reusing it for other

’ . His ideas were echoed by the

The owners of Donum also own the building

 188

saying that ‘
socially useful purpose’
regarding protection and safeguarding of immovable heritage has the last decennium

completely by themselves, without subsidy. Moreover, when a building is reused for

retail, the building remains accessible for a large public, which is not the case with for

categories show additional opportunities for the heritage sector when reused for retail
– especially industrial buildings may be reintegrated in the urban fabric. This might
reinstall their urban, as well as their socio-cultural value.
On the other hand, many sad examples are at hand where the historic building is
over-used to maximize commercial exploitation at the expanse of its intrinsic values.

included an interesting mix of functions - small shops, dwellings, a hotel, a movie

theatre, and a bar – was not preserved, instead a new programme was introduced that

architectural and historic value of the building, the limited programme caused a loss
of the original atmosphere of the building, its genius loci. Other examples exist where
the historic interior is completely removed in order to adapt the building to a new use.

and rehabilitation of the whole complex, the interior was in a bad condition and
restoration was not possible anymore. However, no historic or architectural research
has been carried out to study the historic interior, neither has to interior been

But even if the owner executes a substantiated restoration, the quality of the

case of a tenant, heritage boards have almost no control over the use of the building

a faceless space furnished, looking like any other building of the same brand. This was
the case for one case study in particular: the rehabilitation of the Dommershausen in

building
without taking into account the buildings interior: shelves were even placed before

interventions and as such this is not a permanent problem intrinsically related to the
 189

because the presence of historic features would attract to many ‘tourists’ to the store
 190

physical building. Nevertheless, the heritage values may become invisible, and are in

one hand, rehabilitating a protected building or site for retail may attract a larger

hand, when the building is not presented to the public in a way that respects and
demonstrates its heritage values, the educational aspect may get interrupted or can

emotionally, retailers located in a historic building may look to enhance its authentic
values. Nevertheless, a commercialisation of the heritage experience may lead to a
‘staged authentic’ setting, which indeed is not favourable from the point of view of the

6.4. Municipalities of historic towns

on an urban level, reusing historic buildings for retail may enhance the viability of
historic centres and as such may stimulate urban regeneration
state that reuse of the city’s architectural
heritage can act as part of the city’s image and its city branding. They explain that the
purpose of city branding is to promote a city for certain activities and in some cases

strategy is to orientate the city branding towards reworking, repackaging and re-
presenting historical and existing cultural qualities of the city. Maastricht, for example,

. One of these

attention by national and international press

and was visited by many people for its unique architectural
experience rather than for its actual function as a bookshop.
Municipalities are sometimes also the owner of historic buildings or site. In
Maastricht, the municipality owned the Dominican church, and kept it in his property
even after the building had been integrated in the new Entre Deux development.
On the one hand, the municipality had to bear most of the costs for the restoration
of the building. But, on the other hand they were able to keep some control over

property of the municipality. They, however, decided not to keep the building but to

was unavoidable.
 6.5. Retailers

usually, The

as an added value from a commercial point of view. Indeed, when the building is

the restoration and maintenance of the building may bring about additional costs.

archaeological excavations of the Dominican church as it was the retailers’ decision

to create a cellar as stock room and for the integration of rest rooms. In the Galleries

monumental character of the building from commercial point of view. Indeed, the
191
to English Heritage
’
. In general, we might say that retailers selling comparison goods – goods which
are bought after a process of selection and comparison based on price, quality and
style - are more suitable than those selling convenience goods – goods which are

.
For some retailers, being located in a historic building may become a tool for

customers an ‘authentic experience’

The owner of Donum, a lifestyle and furniture

were very positive and he felt the unique historic setting of the store created a kind
of curiosity that triggered people to enter. Moreover, it created exposure by national

that this suited them.47

former hospital.

in a historic building is not commercially viable because the design of the store is
 192

too expensive, the typology of the historical buildings causes limitations to the stores’
layout and design, and in some cases ‘tourists’ without any intention to buy, may in fact

of economic recession commercialisation of the retail environment became more

and exclusive towards more fashionable, easier accessible and more transparent in an
attempt to reach a larger – and especially younger – group of customers.48

6.6. Designers

Today, archITecTs and designers consider working with historic buildings an

interesting challenge and an important aspect of their work . This

create new buildings. But as a reaction against the increased tempo in demolishment
and new construction, a growing interest has been developed in conservation of old
buildings of every kind from the second half of the twentieth onwards

buildings of every kind are transformed for a variety of programmes, among which

expressed their pleasure for working with an historic building. Bart Lens, architect of

If you have the opportunity to work with historic buildings in an urban

context … for an architect, this is as a gift. Therefore, the architect
should show some respect for the building. If you don’t force yourself
to the building, if you let speak the architecture for itself and you try to
approach the building in a modest way … than it will work.49

50

restoration architects, architects, interior architects, retail designers, and in the case
or retailer of the building – but who on the other hand may becomes the ‘mediator’
between the owner or retailer and the monuments boards. Therefore, when assigning
a retail-reuse task to an architect or designer it is important not only to look at his or
hers experience as to retail design, but equally consider his or hers experience with

6.7. Users

dependIng on

passing by. On the one hand, working, shopping or living in a historic building may

mainly because of its unique atmosphere and not so much for shopping, and visitors

talk about the building as a store, but as a monument instead. On the other hand, the
193
buildings may cause practical implications and limitations to the use of the building as
to comfort and accessibility.

6.8. Retail-reuse: an added value for different

stakeholders

alThough The
seem contradictory, in some cases the diverse stakeholders’ interests may also overlap
or complement one another. For example interventions taken to facilitate a retail use
of the building may also be added value from the point of view of the conservators –

the books on sale and to generate a customer experience, but at the same time it also

but can be realised at the same time, sometimes also enhancing one other.
 194

Retailer:
good location

competitors
Municipality of customer experience Designer:
historic town: public exposure portfolio
urban regeneration retail branding historic building
city branding as an inspiration
for contemporary
intervention
public exposure

Retail-Reuse Project

Owner: User:
aesthetic quality
use of income from
unique, authentic
rent
experience
increased market value
Conservator:
conservation and
safeguarding of the
building
integrated conservation
building accesible for
large public
 Chapter 7: Considerations on policy regarding
adaptive reuse

To conclude our study on retail-reuse of historic buildings we present measures

that might be taken by the Flemish government in order to support and improve the

legal measures as well as policy measures.

195

7.1. Legal measures in Flanders

as shoWn
protection of buildings and sites allows the protection of a wide variety of immovable

a heritage values. Moreover, the protection as a monument is not limited to the

consequences for the owner, on the one hand, do also concern the interior, but on the
other hand, the owner can also obtain a premium for the restoration and maintenance
of interior elements.

monuments should be retained in the future legal framework because, as shown in

chapter four, the genius loci

Immovable Heritage indeed allows the same level of protection as the legal framework

Decree Immovable Heritage have not yet been laid down, it is not certain that the legal

interior.
Therefore, we argue to include in the executive orders of the new Decree
Immovable Heritage a detailed description of the maintenance duty for interiors
 196

also argue that maintenance and restoration premiums continue to be obtainable for

monument.

7.2. Policy measures

7.2.1. Towards a dynamic evaluation system for adaptive reuse projects

alThough The current legal framework creates the possibility for protection of historic
interiors, during the last decennium its implementation has not been supported by

that cover historic interiors including rural goods, because they considered protection
in such case to be a limitation for its adaptive reuse. But also other stakeholders, such as
owners and architects have experienced protection of a building or site as a limitation

results in a ‘freezing’ of the monument. However, avoiding new protections or revising

existing protections is not an appropriate measure to encourage adaptive reuse of
heritage buildings and sites. Instead, we believe that a clear communication of the

might open up the possibilities for adaptive reuse and increase the overall quality of

Today, the evaluation is presented as being very rigid: assessing if all individual
heritage values are respected and if its representative features are preserved, restored

immovable heritage are:

all the heritage values of the monument should be respected
all historically important heritage characteristics and heritage elements
should be preserved

been done to explicitly include in new protection orders a description of the attributed
heritage values, and eventually the heritage characteristics and elements that represents

interventions are considered harmful and which are not. Moreover, evaluation of
interventions may sometimes be ambiguous as a particular intervention can harm one
value while enhancing another. For example, removing authentic machinery from an
industrial site may harm the industrial-archaeological and historical value of the site,
social value as a catalyst in local economy, as well as its urban value through functional
reintegration in the urban fabric. Furthermore, the quality of the new interventions,
nor the relationship established between the old and the new is taken into account in
the current evaluation system. These aspects, however, largely determine the way the
monument is experienced and interpreted by the user, or visitor.

values, also looks at the relationship between the old and the new, and the overall

questions:

monument or site?

as its function?

concepts of translatio, imitatio, or aemulatio

they compromise historic value in favour of a more sensitive experience of the building.

197

experience.

heritage value attributed to a monument or site, the underlying goal of preservation

should be on the preservation or recreation of its genius loci. Even though genius loci

gain a deep and true insight in the building’s interiority. The genius loci is constructed
through the heritage values as well as the present-day values of the building or site.
The task of the architect or the team involved in the rehabilitation of the monument

However, as we have argued in chapter four, not everyone is as sensitive for the
genius loci. Therefore, as an architect or designer, one should develop the skill for
reading, revealing and constructing this unique, and sensitive quality. Therefore, we
genius loci of

, but

this is not communicated as such through information brochures, or the official

 198

Bouman and van Toorn ,

but we also incorporated the elements which we found in the work of philosophers

form the genius loci

Our parameters include:

These parameters, however, are not a ‘recipe’ for recreating or constructing a genius
loci genius loci is more

and designers in developing a sensitivity for the aspects that construct the genius loci.

architecture, urban design or conservation to reveal the genius loci of interiors, buildings,

design decisions that they might have taken instinctive, based on their experience and
tacit knowledge, but which sometimes need to be made explicit in discussions with

This list of parameters is not exhaustive. Looking at the genius loci

perspective – for example an urban perspective – might show additional parameters.

parameters can be replaced by others. Moreover, it is not necessary to work with each
of these parameters in order to preserve, recreate or construct the genius loci
needed to involve particular aspects of the genius loci may depend on the particularities

the genius loci

we also added pictures, and drawings.

In order to synthesise our proposal for a dynamic evaluation system for adaptive

present the relationship between the genius loci

genius loci
genius loci, without
genius loci itself around
this circle, as we consider the genius loci as an ultimate goal, which might sometimes
Table 7.1: Analysis genius loci Library Escuelas Pias in Lavapies

Old versus new Design strategy Space Interior versus exterior Objects

Exterior: ruin is Exterior: the Vaulting in wooden lattice under Paving stones used at the square in Library reading
Form & Design

kept ‘roofless’, ruin is a glass roof: ‘reconstruction’ of front of the church are extended in tables refers to
new consolidated in the interior space the interior furniture traditionally
interventions its rough used in a
with materials condition, scriptorium.
that are rather than
analogue with restored
old materials;
Interior: new
interventions in modest materials such as wood, glass

Texture Details Joints Artificial light Day light

Exterior: new Integration of Exterior: Synergy in materials between old and new; General lighting of the
Materials & Substance

façades in remains of the Interior: modest materials for new interventions interior is kept to a Penetration of daylight is
different sizes former building minimum; functional filtered through wooden
of bricks refers in the new lighting (for reading) is lattice of the vaulting
to rough, façades integrated in the furniture;
crumbling (concept of chandelier marks the
brickwork of the ‘spolia’); place where originally the
ruin; window frames altar of the church was
Interior: new in ruin invisible placed
interventions in modest materials such as wood: the from exterior
old prevails over the new
Programme Durée Spontaneous Use Un-used space

The un-used spaces of the ruin (patio’s) are closed from the square to
Use & Function

University library in Archaeological excavations under the church are prohibit spontaneous use as places for hang-out Patio’s function as a barrier between tranquil
former church, new shown; educational programme fits with original interior and turbulent urban life at the square
construction at the site of function of the site (education)
the former convent used
as lecture rooms; bar on
the roof of the new
building

Craftsmanship Narratives Identity

Tradition & Techniques

Bricks of different sizes Church burned down during Spanish civil war; church is preserved as a ruin, as a physical
memory of this dramatic event. Church and new addition mark the view of the square, and as
Subtle reconstruction of the interior space (vaulting) in modest materials (e.g. wooden lattice) such give a face to the area Lavapies.
as a reference to the original monumentality of the church.
The church and convent was historically important for the
neighbourhood; the new function for the buildings is an impulse
for the area today

Context Borders Memory

The newly designed square Patio’s as barrier between tranquil interior and turbulent urban life at the New buildings
Location & Setting

is oriented towards the ruin square attached to the

of the church; the apartment remains of the
blocks are a ‘background’ former church,
for the square convent and school
in order to
reconstruct the
original morphology
of the site

Views Scent Sound Climate Zeitgeist

Spirit & Feeling

View from the interior of the library to the square and scent of books reminds of the history of the church as Patio’s are a ‘sound buffer’ that filters the noise from
vice versa is ‘blocked’ through the patio’s an educational centre for Lavapies the square
 200

Fig. 7.1: Representation of dynamic evaluation system

be impossible to reach but which nevertheless can guide decisions when balancing or
genius
loci indicate that not all of them should be applied in order to construct the genius
loci, and it implies that other parameters may be added. The values of the site are
presented as grey ellipses that form the basis or background for the genius loci

values, and use value, newness value, and relative art value for the present-day values.

often focus solely on the heritage values

arrows within these ellipses, pointing towards the genius loci.

7.2.2. Developing a ‘standard for good practice’ for retail-reuse

aparT from a revision of the criteria for evaluation, which seems valuable for all type

adaptive reuse into retail functions. The idea from minister Bourgeois to subsidize
interventions that facilitate a new use does not seem necessary or particularly helpful
201
advantage from a premium as it is liable to taxes. On the other hand, the suggestion to

between the submission of an application for renovation and the approval or refusal
of the permit are not longer for protected buildings than for non-protected buildings.
But in practice the procedure is often prolonged because owners and architects usually
have to wait several weeks, or even months for an appointment with a consultant of

Therefore, shortening of the actual terms to obtain a renovation permit for protected
buildings would not be realized through revision of the legal procedures but through

transparency in the evaluation criteria.

Given the great diversity among protected buildings as to size, typology, building
period, and especially the attributed heritage values, evaluation criteria are necessarily
very broad and as such open for diverse interpretation. Therefore, we propose

sites into retail.

In order to support retail-reuse of historic buildings, such standard for good

indicating the opportunities of the immovable heritage patrimony for the retail sector
 202

an explanation of the legal framework that is applicable to retail-reuse of protected

that describe the basic legal consequences, obligations and advantages for owners of
protected goods . However, there are some very

often strongly refurbish the interior of a building, for which they might need a permit

restrictions for companies that consider requesting a premium or subsidy should

therefore also be explained.

threats towards retail-reuse in relation to distinct architectural typologies. In that

out further.

partially be integrated in the typology-based discussion of the opportunities and

threats towards retail-reuse. But it would also be interesting to include case studies of

but also international examples should be included. Indeed, the retail sector is very

may also be inspirational for adaptive reuse of heritage buildings and site that are not
legally protected.
 Conclusion part 2

In parT
historic buildings and retail design, seen from an interior perspective, and to indicate
the added value of retail-reuse for both sectors. Therefore, we described the tensile
relationship between heritage conservation on the one hand, and retail design on the

Firstly, we described the current legal framework and policy regarding protection
and safeguarding of historic buildings in Flanders, by focussing on aspects related
to historic interiors, and on aspects of adaptive reuse in general, and retail-reuse in

Flemish immovable heritage conservation policy the last decade. However, practical
measures to support and encourage adaptive reuse in practice have mainly focused
on the most problematic typologies, such as churches and other religious buildings.
In relation to historic interiors, the current legal framework allows a strong and all-
embracing protection of historic interiors, but policy acts rather restrained against
203
protecting interior features as these are considered to hinder adaptive reuse of the
building.

sector as well as the heritage sector, in relation to the distinct architectural typologies

suitable to be adapted and reused for retail than others. Typologies that are very
suitable for retail are industrial buildings and, evidently, buildings with initially a retail

have potentiality for the retail sector, but only for those retailers who consider the
monumental character of the building as added value for their commercial activity,
and who are therefore willing to accept the limitations the building might cause towards

are located in rural areas are in general not suitable for retail-reuse. Nevertheless,

generally suitable to be reused for retail are successful from the point of view of both

of the suitability of a particular building to be reused for retail, and that can point to
some expected problems related to the typology of the host space.
 204

value of the building contributes to the marketing of the store or brand, or enhances

Finally, we proposed several measures that can be taken by the Flemish government

criteria based on which proposals for restoration, renovation and adaptive reuse of

of the current rigid approach that only seem to evaluate how the existing heritage
values and elements are respected by the new proposal, we believe a more dynamic
evaluation that also takes into account the relationship between the old and the new

genius loci should be the

genius loci.

an overview of the opportunities and threats towards retail-reuse in relation to distinct

immovable heritage to evaluate proposals for adaptive reuse, and examples of good
and bad practice.
206
Discussion
 208

ThIs research
heritage conservation and retail development in historic city centres in Europe. To
counter this tension, we aimed at developing guidelines for designers, retails and

from an interior point of view seemed therefore valuable and necessary.

all historical features of a building – failed in evoking a meaningful, or ‘authentic’

experience. This observation was not only related to adaptive reuse into retail

the building’s interiority was fundamental for the discipline of adaptive reuse to move

building is established through the relationship between the old and the new. It is an
issue that seems therefore relevant for the theoretical development of both adaptive
reuse and interior architecture. Indeed, interior architecture always operates from

still a young academic discipline with an emerging theoretical basis, its contribution

. Elaborating on the relationship

between interior architecture and adaptive reuse may advance both disciplines. In
order to contribute to this, our originally practice-based research proposal has moved
towards a more theoretical study on adaptive reuse of buildings – protected and non-
protected ones – within the discipline of adaptive reuse, which is described in part
translatio,
imitatio, and aemulatio

been considered problematic for the adaptive reuse of a building, we have pointed
towards the opportunities of integrating, copying, or even improving the traces of the
historic interior in the contemporary design. In order to leave behind the taboo on
copy and improvement, we believe that the discourse on adaptive reuse should shift
its focus from authenticity to genius loci, which is a richer and more subtle concept that
incorporates tangible and intangible aspects, heritage as well as present-day values.
However, more research should be done about the adaptation and reuse of
buildings including an historic interior that is legally protected or that is desirable
to be conserved for its historic or architectural value. Firstly, there is a need for

layouts and atmospheres. Examples that we have stated in this thesis presented cultural
programmes, or stayed very close to the original function of the building. Therefore,
it should be investigated if other programmes such as dwelling, retail or education are
develop methodologies that reveal the poetic qualities of a given buildings beside its
physical characteristics. In this thesis, we have suggested drawing as a usefull method

besides drawing, other methods such as model making, photography or literature have

are skilled in constructing a genius loci

design studio. Thirdly, design strategies that can lead to a more sensitive relationship
with the host space should be developed. Our description of the concepts translatio,
imitatio and aemulatio

frontiers of the disciplines of architecture and conservation hold much potential still
and may be inspirational for new types of interventions. For example, Herzog and de

by techniques used for restoration of paintings .

into a library. But more than through a theoretical study, the problem of adaptive reuse
of buildings with historic interiors should be approached through the methodology 209
of research by design. In recent policy documents, research by design is stated as
Parl.
Doc.
outcomes .

perhaps dIfferenT
guidelines, nor did we develop concrete tools for evaluating - and by that possibly

practice, such concrete guidelines and instruments have to be developed by an

Our most important recommendation is to create a more dynamic and transparent

heritage values of the building are respected, with limited attention for the quality of

the old and the new is crucial for the way the building is experienced by the user,
and for the conservation or recreation of the building’s genius loci. Therefore, besides
evaluating if the existing heritage values are respected, one should also consider if

adaptive reuse into retail, the proposed evaluation framework might be supportive
 210

restoration where the function of the building is not changed. However, in order to
validate these conclusions beyond the particular case of retail-reuse, our proposed
conceptual framework should be applied to a wide variety of case studies of adaptive

Next to revising the evaluating criteria, we also believe these should be made

brochures explaining legal consequences and available premium systems for owners

measures should be taken to inform owners, but certainly also architects about the

about the criteria by which proposals are evaluated. Therefore we proposed to set
up a ‘standard for good practice’. In the context of our study we only suggested such

can be valuable.

durIng The course of my research I was also involved in education: teaching courses

interior architectural and adaptive reuse practice.

minimalistic and contrasting design language seemed often the most obvious solution.

preserved or lost qualities of the historic building and its interior. The examples that

inspiration for students in that respect. By introducing the concepts translatio, imitatio
and aemulatio, such strategies can be named and may be considered a worthy alternative
beside traditional, more contrasting design strategies.

inspiration can often be found in other disciplines such as urban planning, restoration,
visual arts, or even poetry and literature. Therefore we have to show students examples

insights and initiated original design strategies and we have to encourage them to look
themselves beyond the architectural and interior architectural theory and examples

Moreover, past practice of adaptation and reuse of old structures can also be
inspirational for contemporary adaptive reuse practice. In current education,
architectural and interior history are focused on new buildings and interiors and does
not, or only limitedly discuss the approach towards the existing historic fabric in distinct

would be valuable for students and practising architects and interior architects. On the

a vacant building or site, they often come up with very conventional programmes such
as restaurants, hotels, or bed and breakfasts in more rural areas. Developing methods

as well as rural contexts – was beyond the scope of this study but is an urgent matter

211
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