CHAPTER 1: INTRODUCTION

1.1. Background of the Study

Centuries ago, when building materials were scarce and transportation was
expensive, it was more practical and affordable to adapt old structures to new
purposes. But as the world became more industrialized and proper transportation
networks were developed, access to low-priced materials.

The situation has evolved. Due to inflation, the cost of materials and labor has
increased, and it is challenging to dispose of waste in landfills. Older buildings are
cherished for their distinctive characteristics and contributions to the neighborhood's
character, in terms of identity and as learning specimens. However, these buildings are
put to be preserved rather than other forms of restoration that might increase their
building life. One such form of restoration is adaptive reuse.

The majority of the time, adaptive reuse is associated with the preservation of a
community's historically or architecturally significant structures. Additionally, it can
renovate any buildings that are inefficient, derelict, dilapidated, or underutilized.
Reuse and retrofitting bring older and newer underused structures to functional usage.
The main prospect of adaptive reuse is to put a building to some functional usage.

Adapting existing structure could lead to lower energy usage, better waste and
resource protection, and lower carbon dioxide emisions as compared to demolition and
new building. Different models and strategies are given for a comprehensive decision
making of which buildings are to be used as adaptive reuse. Buildings are subjected to
majorly three obsolescence which are: physical, economical and functional, among
others.

The physical durability of most historic buildings exceeds their useful life, paving the
way for economic obsolescence.and eventual demolition to make way for new
buildings. Adaptive reuse is a viable strategy to resort to prevent loss of these
buildings.

1.2. Aim

To study the set of variables that contribute to the decision making for a
heritage to be put into adaptive reuse and formulate the guidelines that follow the
conservation principles.
1.3. Problem Statement

Redevelopment and renovation are the most typical notions connected with
older structures. However, it is necessary to note that the costs of these two operations
are extremely significant. So, why not choose a more environmentally friendly and
sustainable option? Adaptive reuse of buildings is a viable option for preserving
neglected structures that might otherwise be razed. This technique would not only be
good for the environment, but it would also lessen the demand for new construction
materials. In a country like India, with an ever-growing population, it is crucial that
land be used in a sustainable manner, to provide for generations to come. However, it
is also imperative to understand the scope and limitations of putting a heritage building
into adaptive reuse and what are the key factors in the decision making of the process.
By examining the existing literature and government requirements, this report seeks
to close the knowledge gaps and proposes a paradigm for the adaptive reuse of a
historic structure.

1.4. Scope

 This study has been carried out on the restoration of heritage buildings and
their potential functionality.
 The study covers various abstract factors that go into the decision making
for a building to be put under adaptive reuse.
 The study also covers aspects of restoration and retrofitting.
1.5. Objectives

 To study about conservation of heritage and historic buildings.

 To determine a formwork of decision-making for adaptive.reuse of buildings.
 To study. the adaptive reuse potential of building typologies.

1.6. Limitations

 The study is only focused on the preservation and creative repurposing of

historic structures.
 The case studies studied are majorly limited to that of major forts/palaces in
Rajasthan.
1.7. Need of Study

 Conservation of heritage buildings.

Old structures in dilapidated states need to be studied for an overall state of repair.

 Landfill disposal of demolition debris has become less convenient.

With adaptive reuse, there is less requirement of disposal of demolition debris.

 Identity

Heritage is widely used to construct and promote distinctive representations of a place.

 Historical value

Older buildings are prized for their individuality and unique traits, as well as their
contribution to the fabric of their neighbourhood

 Land Use

In a country like India, with an ever growing population, it is crucial that land be used
in a sustainable manner, to provide for generations to come. Hence, reusing old
structures curbs that problem.

 Environment friendly.

Adaptive re-use is a technique that is quite environmental friendly as it lowers carbon

emissions.

1.8. Research Methodology

Qualitative Analysis is the course of action to be followed for the study due to the
descriptive data required so that it can be analyzed in a way such that the guidelines
can be studied and reasons for the lack of awareness regarding the adaptive reuse of
buildings may be found.

 Study various guidelines on conservation.

 Study guidelines on decision making for a building with potential to be reused.
 Finding out variables responsible for the same.
 Case studies of ideal and non-ideal cases to bridge between the literature study
and final application.
Figure 1 Research framework (Source: Self)
CHAPTER 2: HERITAGE AND CONSERVATION

2.1. Heritage

As per UNESCO, “heritage is both a product and a process, which provides

societies with a wealth of resources that are inherited from the past.”

“Heritage can also be termed as “the combined creations and products of nature and
man, in their entirety, that make up the environment in which we live in space and
time. Heritage is a reality, a possession of the community, and a.rich inheritance that
may be passed on, which.invites our recognition and.our participation.” (Quebec
Association for the Interpretation of the National Heritage, Committee on
Terminology, July 1980).

Figure 2 Classification of World Heritage presented by UNESCO

2.1.1. Natural heritage

 Figure 3 Natural Heritage (Source: ArtHouse Studio)

2.1.2. Cultural Heritage

Museums, artefacts, monuments, groups of buildings and locations, and other cultural
heritage items are a few examples. It includes both intangible cultural assets as well
as tangible heritage—movable, immovable, and submerged. (UNESCO Institute for
Statistics, 2009 UNESCO Framework for Cultural Statistics)

There are two major types of cultural heritage:

 Tangible heritage

All material traces, such as archaeological sites, historical monuments, artefacts, and
artefacts, are referred to as tangible heritage.

 Intangible heritage

Intangible heritage, as defined by UNESCO in 2003, refers to living communities'

activities, knowledge skills, along with instruments, items, artefacts, and cultural
spaces.

Architecture from past eras is tangible heritage that interacts with our living
environment and can be recognized by our five senses.
Figure 4 Heritage Building: Humayun's Tomb (Source: Shalender Kumar)

2.2 Built Heritage

An individual or group of buildings, structures, monuments or installations can

be considered an 'architectural heritage' if they are relevant in architectural, cultural,
social, political, economic, or military history, hence to garner the identity of the
country, it is imperative that these heritage buildings be kept in usage.

There are about 3650 monuments and archaeological sites of national importance as
per Ministry of Culture, Government of India (2022).

2.3. Conservation

2.3.1 Terminologies
 “Conservation” can be termed as the process of caring for a monument (here)
in order to preserve its cultural, historical, or architectural significance. It
includes but is not only limited to its maintenance, preservation, restoration,
reconstruction and adoption. The conservation of a site may require one or
more of these processes in combination. (Handbook of Conservation of
Heritage Buildings, CPWD, July 2013).
 "Preservation" refers to preserving a place's identity while also halting
deterioration. (Handbook of Conservation of Heritage Buildings, CPWD, July
2013)
 “Restoration” refers to returning the earlier look, feel and fabric of a place to
an earlier known condition by without introducing new materials that may
disrupt its original identity. (Handbook of Conservation of Heritage Buildings,
CPWD, July 2013)
 The term "reconstruction" describes the process of adding materials—new or
old—to a structure in order to bring it as closely as feasible to a previously
 recognised state. This does not include either recreation or abstract
reconstruction. (Handbook of Conservation of Heritage Buildings, CPWD,
July 2013)
 “Heritage Precincts” refer to any space that is in requirement of conservation
and preservation for historical,.architectural, cultural or ecological reasons.
(Ministry of Culture, Government of India, 2022)

2.3.2 Reasons for Conservation

 In the absence of patronage and governmental acknowledgment, the
knowledge of ancient building techniques with which it is related is likewise
in danger of disappearing.
 Conserving the "living" heritage gives the chance to preserve both traditional
structures and conventional building techniques.
 In a world that is becoming more globalised, protecting vulnerable
architectural heritage of a country promises the survival of the sense of place
and its own character.
 It stipulates us with the chance to shape the future as well as preserve the past.
 • Conservation provides alternative employment opportunities as well as a
parallel market for local and alternative building materials and technology
when resources for new development are severely constrained.

• This "living" heritage coexists peacefully with the environments where it initially
appeared. The quality of the environment can be greatly enhanced by
comprehending this intricate biological network and safeguarding it.

Figure 5 Heritage conservation policy matrix. (Source: Srinivas 2015)

2.3.3 Ethics of Conservation

According to Feilden (2003), the following ethical principles must be strictly
upheld in conservation work:

 Before making any changes, the building's condition needs to be documented.

 Historical evidence cannot be removed, altered, or destroyed.
 Any action taken must be minimally essential.
 The integrity of cultural property's aesthetics, history, and physical
construction must always guide any intervention.
 Treatment procedures and tools must be meticulously recorded.
2.4. Listing of Heritage Buildings

As per CPWD, 2013, listing of heritage buildings can be done by the following
two phases. They are:

 Background research

Before the beginning of the actual work, the necessary background knowledge is to be
obtained from a variety of sources.

This would guarantee that no significant building or exemplary building type is

overlooked.

 Field work

A dependable map of the area and all of its components should be collected before
doing any fieldwork. To scan heritage properties and record information for each
property in the required manner involves a lot of fieldwork.

2.4.1 Grading of Listed Buildings

Grading of heritage buildings according to Model Building Bye-laws, Town and

Country Planning Organization (2016), is as follows:
Table 1 Listed Precincts Grading (Model Building Bye-laws, Town and Country Planning Organization (2016)

2.4.2 Parameters of Listing

Parameters for listing are given below:

Table 2 Criteria for Listing, Model Heritage Regulations, Ministry of Town and Country Planning Organization
(2016)

 Change of ownership is not prevented by Listing. Change of use shall not be

permitted without. prior permission from Heritage Committee. Use should be
in harmony with function.

2.5. UNESCO Heritage Conservation Charters

2.5.1. Athens Charter (1931)

Adopted in 1931 at the First International Congress of Architects
and.Technicians of Historic Monuments, Athens 1931.
The "Carta del Restauro" or seven key resolutions made at the Congress are:
 It is essential to create international organisations that can provide operational
and advisory support for restoration. To avoid errors that would detract from
the structures' historical significance and character, any restoration initiatives
must be exposed to informed criticism.
  For all nations, national legislation is required to address the issues related to
the preservation of historic sites.
 Excavated areas that won't be restored right away need to be reburied for
preservation.
 Restoration projects may involve the utilization of contemporary methods and
materials.
 Strict custodial protection is to be provided for historical sites.
 The preservation of the areas around historic places should be a priority.

2.5.2. Venice Charter (1964)

The Venice Charter addresses guiding principles and best practises for the
preservation and restoration of historic sites. The value of monuments as enduring
witnesses to long-standing practises that communicate spiritual truths is emphasised
in the preface to the Venice Charter. It was created on the basis of an international
congress of architects and monument conservators and is an expansion of the Athens
Charter from 1931.

It has 16 articles and seven key decisions that govern the principles of conservation.

DEFINATIONS

Article 1: T he idea of a monument includes not just a single piece of architecture but
also the rural / urban setting where the remnants of a certain culture can be found.

Article 2:
All the sciences and methods that can help with the study and preservation of the arc
hitectural heritage must be used in the conservation and restoration of monuments.

Article 3: Monuments are to be conserved and restored in order to preserve them as

historical artefacts and works of art.

CONSERVATION

Article 4: The preservation of monuments requires that they be kept up permanently.

Article 5: Utilizing monuments for a worthwhile cause always contributes to their

preservation.

Article 6: The preservation of a setting that is not out of scale is necessary for the
protection of a monument. The traditional environment must be preserved wherever it
is. Any new building, destruction, or modification that might change how mass and
colour relate must be prohibited.

Article 7: Monuments cannot exist without the history it witnessed by it and the
environment in which it takes place. Displacing a monument in its entirety or in part
is not permitted unless it is absolutely necessary to protect the monument or if it serves
a vitally important national or international interest.

Article 8: A monument's essential sculpture, painting, or decorating pieces may only

be removed if this is the only way to guarantee their preservation.

RESTORATION

Article 9: “Restoration work requires a high level of expertise. It is based on respect

for original material and authentic documentation and aims to conserve and disclose
the monument's beauty and historic worth. Conjecture must be the point at which it
ends.”

Article 10: When conventional methods are insufficient, a monument can be

strengthened using any contemporary technique for construction and conservation,
provided that technique's value has been established via scientific evidence and
practical experience.

Article 11: Since uniformity of style is not the goal of a restoration, it is important to
acknowledge the legitimate contributions made by each time to the construction of a
monument.

Article 12: Replacements for missing components must harmonise with the entire
while also standing out from the original in order to prevent restoration from tampering
with aesthetic or historical evidence.

Article 13: Unless they preserve the building's interesting features, its historic context,
the composition's balance, and its relationship to its surroundings, additions cannot be
permitted.

HISTORIC SITES

Article 14: Monument sites need to get special attention in order to preserve their
integrity and ensure that they are taken down and displayed tastefully. The concepts
outlined in the previous paragraphs should serve as an inspiration for the conservation
and restoration work done in such locations.
EXCAVATIONS

PUBLICATION

2.5.3. Burra Charter (1979)

Created in 1979 by ICOMOS Australia, the Burra Charter was used to manage cultural
heritage monuments more effectively which bringing about awareness as well.

The Burra Charter lays out the fundamental guidelines that must be followed in order
to protect historic sites. The procedures to be used or how a heritage site should be
managed are not specified. A monument, structure, or archaeological site, or an entire
region can be studied using these philosophies.
Figure 6 The Burra Charter Process, flowchart from Australia ICOMOS Burra Charter 2013, p10.

2.5.4. Nara Document on Authenticity (1994)

It was created in spirit of the Venice Charter in Nara, Japan, 1993. It highlights
the equality of importance of each culture. According to the Nara document,
authenticity is as it is highlighted in the Venice Charter (1963). A respect for cultural
and diverse respect is demanded for.
Although the culture that created the heritage is primarily responsible for its care and
administration, the document calls for adherence to the values and obligations set forth
by international charters.

2.5.5. Historic Urban Landscape – HUL (2011)

 Urbanization and globalization

 Development
 Environment

Historic Urban Landscape as is relevant to the development on urban level.

CHAPTER 3: ADAPTIVE REUSE

3.1 Adaptive Reuse

At its core, adaptve reuse denotes the proces of re-using an old structure for a
function other than which it was builtor designed. It is a form of sustainable renewal
of buildings which extends the life of a building and renovates the structure without
demolishing it or destroying it. Adaptive reuse offers a practical substitute for
destruction and replacement. It uses lessenergy and produces less trash, and by giving
recognizable landmarks a fresh lease on life, it can help society.

It is best defined as “a process that changes a disused or ineffective item into a newitem
that can be used for a different purpose” (Department of Environment and Heritage
(DEH), 2004, p. 3).

In its entirety, adaptive reuse is most commonly compared to conservation or

preservation of a heritage structure.

The term "adaptive reuse" refers to the ideas of buildng conversion, such as reusing
an existing structure for a new use and employing salvaged materials in a construction
(i.e., material reuse).

3.1.1. Key Points

 Large-scale interior space organisation, service replacement, or service

upgrading may be necessary while making building modifications.
 Alternately, minimal restoration work can be required for adaptive reuse, with
the building's intended function being the only thing altered.
 When adaptive reuse is used on historic structures, it not only preserves the b
uilding but also the labour, expertise, and commitment of the original builder
s. (Love and Bullen, 2009).
 The architectural, social, cultural, and historical values are also preserved thr
ough adaptive reuse. (Latham, 2000).

3.1.2. Adaptation

“Adaptation means the process of modifying a place for use while retaining its cultural
heritage value. Adaptation processes include alteration and addition.” (Icomos, New
Zealand, 2010)
“Adaptation means changing a place to suit the existing use or a proposed use.” (The
Burra Charter, ICOMOS, Australia 2013)

3.1.3. Factors Affecting Adaptive Reuse

Factors affecting the decision-making of adaptive reuse of historic buildings are:

 Cultural  social  economic

importance sustainability sustainability

 heritage  life cycle  ability of

significance assessment building to
adapt
 influence on local  orientation  value to local
economy of building community

 meeting
sustainable
development
pointers

Figure 7 A model for adaptive reuse decision making (Bullen P, Love P 2011)

3.1.3.1. Capital Investment

While deciding whether to reuse/ destroy their created asset, owners and operators take
a variety of financial factors into account. They frequently focus on expenses related
to development and construction, operations, marketing, and maintenance needs.
3.1.3.2. Asset Conditions

Purpose-built, single-use structures are thought to be too difficult to maintain and

modify without major capital outlays. Due to their considerable compartmentalization,
structures like prisons would not offer many chances for repurposing. Low-rise
structures that did not make the most of their zoning or available plot ratio would not
be a viable option for repurposing. In this case, demolishing the existing structure and
erecting a high-rise structure might yield a higher financial return.

3.1.3.3. Regulations

The necessity of implementing sustainability strategies for the built environment has
repeatedly been mentioned by the government and other organizations. However, state
and local governments are not taking the initiative to support adaptive reuse and put
sustainable technologies into practice.

3.1.4. Principles for adaptive reuse of Heritage Buildings

Principles are explained below:

Finding the right balance between three distinct elements—change, restoration, and
adaptation—that must satisfy all the project's stakeholders exhibits a difficulty. In
finding balance, adaptve reuse of a bulding must have five basic principles that are:

Adapted building should perform satisfactorily as per functional requirement of the

stakeholders.
 It must adjust to modifications and changes made.
 It ought to establish connections with the new users.
 The structure should complement the surrounding area and add to the site's
context.
 By offering visual coherence, it should produce a visual statement.
 It must be environmentally friendly, easily accessible, and environmentally
sustainable.
 It must also be cost efficient. (Singh & Ahmad, 2019)
3.2. Literature Context of Adaptive Reuse

3.2.1. Historical Theories

The works of Eugène-Emmanuel Viollet-le-Duc, Austrian art historian Alois

Riegl, and English author and critic John Ruskin are the three historical perspectives
covered below with respect to conservation and adaptive reuse:
 3.2.1.1. Eugène-Emmanuel Viollet-le-Duc (1814-1879)

His theories on restoration of old buildings are the basis for foundation of adaptive
reuse in 19th century. This French architect thought that modernising architecture and
incorporating new features to achieve proper symmetry that had never before existed
was "true and have artistic value," which were lacking in the 19th century.

He also said that renovated structures ought to be logical, practical, and forward-
thinking. The architect and restorer Viollet-le-Duc favoured restoring a structure while
preserving its original design and features, but he also backed the idea that the
restoration should demonstrate change and adaptation rather than simply presenting
the heritage structure as both a static, non-functional monument to history. He
emphasized the importance of documentation, analogy and good judgement for a
successful adaptive reuse. (G. Peters:2014)

3.2.1.2. John Ruskin (1819-1900)

He criticised Viollet-le-beliefs Duc's regarding restoration for reuse. He advocated

routine maintenance because he believed restoration might lead to the fabrication or
loss of historical authenticity as he believed that these are link to the past.

He criticises Viollet-le-notions Duc's of reuse and labels them as lies and exaggerated
depictions of the past. In line with Ruskin:

“It is impossible, as impossible as to raise the dead, to restore anything that has ever
been great or beautiful in architecture. …. that spirit which is given only by the hand
and eye of the workman, never can be recalled. …And as for direct and simple
copying, it is palpably impossible.” (Kalcic, 2014)

3.2.1.3. Alois Riegl (1819-1900)

He argued that any heritage that is being examined for adaptive reuse should have its
worth assessed in terms of its significance to history, culture, freshness, and coolness.
These innate qualities include artistic worth, historical significance, age, use, and use
in the present. This will not only increase its adaptation or have an impact on its
adaptive reuse, but it will also aid in framing specific values that may be employed to
give adaptation a fresh feel. He therefore backed the adaptive reuse theories of Viollet-
le-Duc.
3.3. Adaptive Reuse Strategies

Development of a strategy model is dependent upon two parts. One of which

is figuring out the factors responsible. Secondly, case studies are important to be
carried out to be sure about the model so created. Following factors were studied
(table 1). It is also imperative to study both, the interiors and exteriors of a building to
carry about a study. The most effective adaptive reuse projects preserve a building's
historical relevance while simultaneously incorporating a modern element that raises
its value going forward. (DEH, 2004).

Table 3 Applicable research studies on factors that affect adaptive reuse decision-making ( Mısırlısoy D, Gunce
K)

The model below suggests a qualitative approach, but the ultimate choice is
dependent on a number of factors, including the decision-makers, project participants,
the setting of the historic structure, local policy concerns, etc. These factors can be
taken into account when interpreting and making the final decision. Any type of
historic structure that is unoccupied, used improperly, or abandoned qualifies for this
model.

STEP 1: Definition of the Actors

The actors are the interested parties who take part in the decision-making process and
have an influence on the decision regarding the new usage. Users, producers, investors,
and regulators are the four categories into which these actors have been divided. The
actors in the projects should be identified during the decision-making process because
they can change from project to project. After the actors have been identified,
interviews with them need to be conducted.

STEP 2: Analysis of Existing Fabric

The analysis of the current buildings which takes place in the second step, identifies
the original purpose of the architectural legacy, as well as its physical attributes,
heritage value, and district needs.

STEP 3: Deciding Conservation Actions

STEP 4: Definition of adaptve reuse potential

Identification of the potential for adaptive reuse is the 4th phase. Potential for adaptive
reuse is the likelihood of reaping rewards from its use.

STEP 5: Decision of possible new function

There are three options to decide a functions after the potential has been determined:
 The first option is to continue using the structure for its original purpose while
making the required adjustments to make it meet modern needs.
 The second strategy is to retrofit the building for mixed usage. In this method,
the building's original purpose is preserved and supported by additional
purposes for the building's long-term sustainability.
 The third strategy involves adapting the structure for a completely new
purpose. However, because it depends on the heritage building's values, this
approach cannot be used for all types of heritage buildings.
Figure 8 A model for creating adaptive reuse techniques for heritage buildings ( Mısırlısoy D, Gunce K)

3.4. Adaptive Reuse Potential Model

Up until recently, a building's potential for adaptive reuse has mostly been
determined by intuition and experience. Now, there exists a model which can be used
to calculate the potential of a building being put into adaptive reuse which is called the
Adaptive Reuse Potential Model. It is applicable to all nations and architectural styles.
The ARP model determines a building's life cycle's adaptive reuse potential in order
to choose when to intervene.
Figure 9 Adaptive Reuse Potential Model from AdaptSTAR (Langston et. al., 2008)

The assessment of useful physical life begins with an estimation of predicted physical
life. Then, by using the formula for useful life,

Equation 1. This equation's structure supports the idea that useful life is, in fact,
discounted physical life. It is based on the well-known discounted cash flow method,
in which the "discount rate" is defined as the sum of the obsolescence components
divided by Lp annually.

Equation 1 Useful Life of a building

A maximum scale of 100 is possible for the x- and y-axes by multiplying the values
for ELu (effective useful life), ELb (effective building age), and ELp (effective physical
life) by 100 and dividing by Lp, respectively. Lb is referred to as the building's present
age (in years).

3.5. Framework

The framework of adaptive reuse has been proposed by Arfa et. al in their 2022
research paper:

 Pre-project phase

This phase, which comes first in the adaptive reuse process, is concerned with the
decision of whether to save, reuse, or demolish a structure. The word "initiative" is
frequently used to define this phase's key component. The "initiative" may cover a
range of actions taken from various angles.

Figure 10 Most repetitive features mentioned by the authors in the reviewed literature in phase 1 (Arfa et. Al. 2022)
  Preparation phase

Unlike new construction, which starts with a blank canvas, adaptive reuse of a building
starts with an existing structure. When it comes to heritage buildings, this is essential
since, in order to be considered when developing design concepts, existing qualities
must be carefully recognised, analysed, and assessed during the reuse process.

Figure 11 Most repetitive features mentioned by the authors in the reviewed literature in phase 2 (Arfa et. Al. 2022)

 Implementation phase

The third phase of the Adaptive Reuse process involves putting into practise the
agreed-upon design methods, which may involve removing, conserving, or adding a
particular component to an existing building. Throughout this time, a number of
factors, including time management, finances, and the executive team's expertise, must
be taken into consideration.

Figure 12 The most repetitive features mentioned by the authors in phase 3 ((Arfa et. Al. 2022)

 Post-completion phase
Depending on how the stakeholders behave and the terms of their agreement with the
producers, their activities may or may not be taken into account during the
development process. First and first, upkeep is crucial. Only a few academics,
including Cramer and Breitling, Hendriks and van der Hoeve, and Misirlisoy and
Günçe, have expressly focused on maintenance as a phase in the adaptive reuse of
cultural sites, despite its significance. The review of an AR project years after its
completion can be regarded as the process's last step.

Figure 13 The most repetitive aspects mentioned by the authors in the reviewed literature in phase 4 (Arfa et. Al.
2022)

3.6. Benefits and Barriers of Adaptive Reuse

Table 4 Benefits and Barriers of adaptive reuse (Love P, Bullen P 2011)

Table 5 The relationship between pillars of sustainability and the benefits of adaptive reuse (developed by Othman
et. al)

3.7. Issues in Implementation

 Environmental Design

The risk of adopting measures that can have unforeseen effects on other elements of
the structure is the main obstacle to a substantial energy retrofit. The process of interior
insulation raises the possibility of interstitial condensation, which could endanger the
fabric of the building and its structural integrity.

 Implementing Technology

Installing modern systems and technologies in historically significant structures can

present a number of obstacles as well as chances to breathe new life into a dreary
structure.

 Inclusive Design

Heritage structures should be present for the enjoyment and involvement of all people
in order to help define the cultural identity and worth of a city. All people, including
those with disabilities, are unable to enter certain areas due to barriers in the built
environment. Access may be limited by things like raised entrances, small doorways,
interior finishes, vertical circulation, and lack of access to universal restrooms, among
other things.

 Planning Considerations

Since the goal is to guarantee viable active uses that maintain a building's conservation,
planners typically must see the reuse of historic structures favourably. But if the
previous use, such as industrial or communal, is protected by planning regulation,
there may be obstacles if you're altering the use. When modifying old structures,
planning policies regarding design, heritage, land use, neighbour amenity, etc., must
be taken into consideration.

 Commercial Barrier

There are several financial concerns with adaptive reuse because it was once thought
to be more cost-effective to tear down an existing structure and build a new one.

3.8. Published Models

Table 6 Published models in AR process (Arfa et. al., 2022)

Studies that have guided the AR process of historic buildings have been identified
by Arfa et. al in their study in 2022.
Table 7 10 step procedure proposed by Arfa et. al (2022)
CHAPTER 4: REJUVENATION THROUGH ADAPTIVE REUSE

Any conservation or restoration procedure must preserve the original materials,

morphology, and structural layout. The building's original form, original design,
original construction methods, historical modifications and alterations, and any
material or geometrical changes or flaws (such as deformations) that do not jeopardize
the building's safety must all be considered when determining the elements of the
structure (either a natural or an urban area). (Roca P, 2011)

4.1. Restoration

To achieve a high level of authenticity, restoration entails protecting the structures

from further damage by accurately recreating the materials and procedures.

4.1.1. Standards for Restoration

Table 8 Breakdown of Building Adaptation into two categories (source: Shahi et. al, 2020)
4.2. Adaptation

The process of altering a location for usage while preserving its cultural heritage value
is known as adaptation. Alteration and addition are adaptation processes. (Icomos,
New Zealand, 2010)

A place is altered to accommodate a present usage or a suggested use. (The Burra

Charter, ICOMOS, Australia 2013)

Table 9 developed definitiion framework in multple building adaptation case buildings. [Image references: (Arban,
2010, 2019; ERA Architects, 2019;) (Source: Shahi et. al, 2020)

4.3. Retrofitting

Building retrofitting, a subtype of building renovation, is concerned with changing an

existing building to improve its energy performance and efficiency. Examples of
retrofitting activities include lowering the amount of heating and cooling needed,
improving HVAC effectiveness, and incorporating active and renewable energy
systems.

4.4. Rehabilitation

Making the necessary structural repairs to make buildings safe and livable is the main
focus of rehabilitation. Economic and life cycle analyses are used to compare the
merits of a rehabilitation project to those of demolition and new construction.

4.5. Renovation

Rennovation is the process of updating the interior design of an existing structure or

replacing or repairing damaged components. Renovation fixes isues that are no longer
feasible, energy-efficient, or satisfy users or occupants while maintaining the
structure's functionality.

4.6. Conversion

Building conversion is a tactic for repurposing outdated and abandoned structures that
no longer serve their intended purposes or are no longer occupied. It has a similar
scope to building refurbishment along with changing the purpose of the building.

4.7. Material Reuse

Waste management is a sustainable practice that aims to recover as much of the waste
as is economically and technically feasible before dumping it in a landfill. This
technique helps to reduce resource consumption and waste generation. This approach
is primarily concerned with cutting down on material use, followed by reusing or
recycling current materials.
Table 10 Scope of Application in different categories (Shahi et.al 2020)
CHAPTER 5: CASE STUDIES

5.1. Neemrana Hotel, Alwar

Figure 14 Neemrana Fort (Source: TripAdvisor)

Location: Neemrana, Alwar, Rajasthan

Year of Original Construction: 1446

Year of Acquisition: 1986

Year of Restoration: 1991

Original Owner: Nimola Meo and Raja Dup Raj

Current Owner:
Aman Nath, Sonavi Kaicker, Aadya Nath, Priya Wacziarg, Wacziarg Family Trust

Architect: Aman Nath (Architectural Restorer)

Area: 25 Acres (Across 5 levels)

Architectural Style: The building's design combines Rajput, Mughal, Sultanate, and
Raj temple styles. The Jait Mahal's numerous niches exhibit the sultanate architectural
style. The Panch Mahal, Darbar Mahal, and Zenana all have Rajput architectural
elements. The locations have an air of mystery, illusion, and adventure. Although not
on a strict scale, built and natural places interact.
Background of the building

In 1986, Nath teamed up with two Indian friends, Lekha Poddar and OP Jain, to
purchase it from the Raja of Neemrana, who had lost all of his riches, for INR 7 lakhs
($10,000). The notion of turning it into a hotel and making some money off of it came
later; their first plan was to renovate it for personal use. Phase I of the restoration
project, which was laborious, took five years. In reality, the Fort had been a ruin for
40 years and had been robbed by nearby villagers. It was made up of numerous palace
wings that were erected over 12 levels up into a hill across six acres of garden.

In 1992, Neemrana was operating as a 15-room hotel when Wacziarg joined. There
were gradually more rooms added—18, 24, and so on. Currently, it has 14 storeys dug
into the hill, with 77 rooms and suites total. The building received the INTACH-
Satte prize for tourism and rehabilitation in 2000. The Fort received honours from
UNESCO, the Indian travel industry, and the Government of India's National Awards
in addition to being nominated for the Aga Khan Award in 2004.

Plans

Figure 15 Floor Plan for Spatial Use

Figure 16 Historical - Architecture Floor Plan

Context
 The fort exhibits the play of level, courtyard, and staircases in its planning and
adheres to the site's topography.
 Two hills were enclosed by the fort wall, and plateau rock was used as a natural
foundation.
 Suraj Pol served as the main entryway.
 At the foot of the hill, there were stables and ministers' homes.

Figure 17 Suraj Pol (Source: Self)

The five levels feature various structures:

Jait Mahal

It served as the King's master bedroom, the prince or princess's bedroom, and a secret
meeting chamber for ministers. It has now been converted into luxurious rooms. The
walls have been updated while preserving the building's original character and leaving
all of its major columns exposed.

Bhim Niwas or Panch Mahal

This was on the ground floor of Panch Mahal and used as a courtroom. The exterior
which was done in stone still exists. The retrofitting and refurbishments have been
carried out in the interiors. The architectural elements of the same are still intact.

Hawa Mahal

The tea terrace patio and open meeting spaces are located in the Hawa Mahal. These
are presently used as restaurants and open bars.

Aam Khas

At Aam Khas, a public place, the king would address his ministers from a upleveled
platform. These days, this space is used for outdoor seating by both events and
restaurants. Other than landscaping, asphalt, and renovations, nothing fundamental is
changed.

Holi Kund

During festivals, the King and his family get access to Holi Kund, a special location.
This location has a kund that is used for Holi. Also employed at kite festivals and other
events. This location serves as a gathering spot as well. This has a Jharokha-filled front
wall that serves as a Purdah between the insiders and the outsiders.
 Figure 18 Interior facade (Source: Ketan Singh)

Restoration process

Figure 19 Debris used for facade (Source: Self)

As the masonry recommended in relation to the scale of the courtyard, the top level
apartments of the Jai Mahal are adorned in the corners. Drainage was made clean by
clearing away debris such as stone, mud, and building materials.
5.2. Lake Picchola Hotel

Figure 20 Lake Pichhola Palace (Modified from Pinterest)

Location: Lake Picchola Island, Udaipur

Year of Original Construction: Between 1743 to 1746

Year of Restoration: 1961 to 1969

Original Owner: Maharana Jagat Singh II of Mewar

Area: 4 Acres (16000 sqm)

Architect: Delia Narayan “Didi” Contractor

Site Context

The 83 rooms and suites at the luxury hotel Lake Palace, which has a 4-acre natural
base, include white marble walls. The Gul Mahal, Darkhana, Barah Patharon ka
Mahal, and Gul Mahal are among the impressive group of structures that make up the
three-story Jag Mandir Palace. The black and white marble walls have ornate niches
and semi-precious stone decorations. Its courtyards are lined with gardens, fountains,
pillared terraces, and columns.
Figure 21 Floor Plan (Jag Mandir)

Gul Mahal
Initially, Gul Mahal, was simply a modest sandstone palace with a grand dome when
it was first built in 1551.

Figure 22 Gul Mahal

 It has three circular chambers, each with a domed roof.

 The Mughals are said to have imitated this style of decorating.
 A large circular apartment with murals and paintings that is unique in Rajput
design surrounds the Mahal.
 It is constructed of white and black marble. the principal palace.
 The Gul Mahal is incorporated into Jag Mandir, the main palace.
 The interior of the palace was designed as a maze of reception rooms, living
quarters, and internal courts. - The palace is next to The Zenana.
Jag Mandir

Figure 23 Darikhana on Northern side of the sight

The Gul Mahal is incorporated into the main building. Inside, a labyrinth of receiving
rooms, living quarters, and internal courts were constructed.

Restoration Process
 The extraordinary water palaces of Udaipur began to deteriorate by the second
half of the 19th century.
 The Jag Niwas Palace was chosen by Bhagwat Singh to become the first five-
star hotel in Udaipur.
 American architect Didi Contractor joined this hotel project as a design
consultant.
 One of the main players in the renovation of the historic structure was Taj
Hotels Resorts and Palaces, which took over management of the hotel in 1971
and constructed an additional 75 rooms.
 The exquisite glass inlay panels were restored.
 Panels were repaired using lime plaster that had been ground, sieved, and then
reconstituted with water and locally produced soap. On the south-west side,
significant repairs were needed to the first and second floors.
 The Maharani suites were preserved with a mix of modern and old furnishings.
 The family's priceless artefacts and paintings have been employed.
5.3. Haveli Dharampura

Figure 24 Haveli Dharampura (Modified from Bharat Aggarwal)

Location: Delhi

Year of Original Construction: 1887

Year of Restoration: 2010

Original Owner: N.A.

Area: 12000 sqft (approx.)

Built up area: 15400 sqft

Architectural restorer: Ar. Kapil Aggarwal, Ar. Pawan Sharma (Space Architects)

Current Owner: MP Vijay Goel, Siddharth Goel

Architectural Style:

Background of the building

The operation started with an initial inspection of a dilapidated structure by Ar. Kapil
Aggarwal and MP Vijay Goel. The structure had architectural features like brackets,
multifold arches, jharokhas, balconies and sandstone facades that showed signs of its
history and had been deemed an inhabitable space by the government because the old
wooden foundation was crumbling.

Figure 25 Haveli before restoration (Modified from Bharat Aggarwal)

The documentation had to be done since no plans or drawings were available to them.

Conservation

The entire fabric of Chandni Chowk was researched for two years before any
restoration plans could begin. The restored space has features from Mughal, Jain
Rajput, and Hindu architecture. The main aim has been to create a fusion of a tradition
and a contemporary space that would be inviting to Indians and foreigners alike.
 Figure 26 Construction Phase (Modified from Bharat Aggarwal)

Restoration

Figure 27 Exterior facade, Haveli Dharampura (modified from Bharat Aggarwal)

Façade: The pedestal is engraved with arches, elephants and vines, typical of North
Indian Havelis. It also has niches and arches provided. After restoration, two materials
were given to the façade, red paint along with light brown Dholpur stone.

The pedestal has a chariot engraved on it and the steps that lead up to the entryway.

On either side of the pedestal, 4 brown wooden doors have been repaired and fashioned
into doors to resemble the doors from old times. MS strips have been fashioned into
an arch like form (figure 27).
 Figure 28 MS strips on arch (modified from The Merit List)

 The open courtyard features an octagonal floor pattern with a fountain in

the middle, mimicking a traditional haveli courtyard.
 The former haveli, which had a Ground +2 structure, had a second story
that was uninhabitable because of broken floor slabs and floor access.
 The second and third stories as well as a terrace area had to be erected in
the Ground +1 structure that was rebuilt and structurally upgraded.
 There were restaurants, a museum, stores, and many hotel options among
these places.

Figure 29 Pre restoration Inner Courtyard (Source: Space Architects@ka)

 Figure 30 Post Restoration Inner Courtyard (Source: Space Architects@ka)

 Where necessary, columns and epoxy grouting were added to strengthen the
main structure.
 All slabs were corrected, and certain spots got micro-concreting. Every
architectural feature was duplicated using the same scale and polish, but
different materials were employed to raise the standard and lower the price.
 With the help of highly skilled labour that was hand-selected from several
sites in India, these components were totally rebuilt.
Figure 31 Ground Floor and First floor plans (Source: Space Architects@ka)

Figure 32 Second Floor plan (Source: Space Architects@ka)

 Between the upper floors and the floor below them, there is a setback. The
visual connection is improved considerably as a result.
 All of the rooms have windows that open up to the courtyard, providing a
tremendous amount of natural light, circulation, and connectivity. Private
suites, two per floor, have been positioned above the ground-floor reception
area. Each floor has a modest covered courtyard.
 All of the floors' hallway railings are "contemporary clones" of the previous
haveli architecture. The railing is composed of wood, while the balustraades
are paintd GI pieces. Through the railings, a play of light and shadow can be
seen on the white stone flooring throughout the day.
 Figure 33 Concept of Visual Connectivity (Source: Space Architects@ka)

 Another suite and a sizable front terrace space facing the courtyard are located
above the restaurant. Glass panels and arches form the background of the patio
area.
 Through lazer cutting black mosaic stone into the shape of arches and setting
it in front to create the appearance of shadows of these arches, these arches are
duplicated on the floor.
 This terrace can be used as a location for dancing and music performances
because it is the Haveli's most visually connected area.
 There are 7 rooms total on the second floor, including 3 suites. Small spaces
that are used as open mirror rooms with lounge setting may be found in the
corners of each floor.
Figure 34 Pre restoration elevation (Source: Space Architects@ka)

Figure 35 Post restoration elevation (Source: Space Architects@ka)

Activities provided

The building is a mixed use building with suites, restaurant, classical dancing areas,
open areas, lounges etc.

5.4. Inferences

Parameters Neemrana Hotel Lake Pichhola Hotel Haveli

Dharampura
Location Alwar Udaipur Delhi
Area 25 Acres 4 Acres 12000 sqft
 Year of 1446 Between 1743 to 1746 1887
Original
Construction
Urban - - 
Significance
Social   
Significance
Cultural   -
Significance
Historical
Significance   -

Architectural   
Significance
Grade of
Building Grade II Grade II Grade III
(According to
Listing)
Change of
Function Resort Heritage Hotel Mixed Use Building
Provision of Hospitality, Hospitality Hospitality,
Activities Recreational Recreational,
Commercial
Restoration Reuse Conservation and Reuse Conservation
purpose
Charters N.A. N.A. Model Heritage
followed Regulations
Table 11 Case Study Inferences

Inferences:

 The buildings were grade II or grade III listed buildings, i.e. hold regional

significance.

 The functions were changed in a way to use these buildings commercially

and majorly in the hospitality sector.

 Restoration in the third building was done following all the ethics of

conservation since it was begun as a conservation project while the other two

were refurbished and adapted.

CHAPTER 6: CONCLUSION

6.1. Inferences

Building obsolescene is caused due to three major factors, namely: physical,

economical and functional. Other reasons for obsolescence of buildings include:

 Technological obsolescence
 Political Obsolescence
 Social Obsolescence
 Legal Obsolescence

Different strategies and formworks have been formulated throughout the years to
process a building back into its functional state from its state of defunctness.

The most crucial stage is that of the pre-project phase due to the different
implications of ‘values’ i.e. variables in consideration during the decision making
of an adaptive reuse project and the decision of the clients.

Following are the semantics of conservation of heritage buildings which are crucial
values in determining the use of a heritage building :

 Cultural
 Economic
 Identity
 Historical
 Integrity
 Aesthetic
 Psychological
 Uniqueness
 Visualize
 Moral
 Local
 Educational
 Political
 recreational
 individual
 Humanistic
  Bequest
 conflicting

Figure 36 Frequency of semantic values in reviewed studies (Tabrizi, et al.)

From the graph above, it is evident that these are some crucial semantic values that
must be taken into consideration.

It is crucial to recognise the heritage values that drive the need or desire for
conservation and that, as a result, must be respected before taking any conceivable
action on the conservation or restoration of a heritage property on the basis of above
given values.

Adaptive reuse as a building technique to prolong the life of a building that has lost its
purpose and functionality gives a large array of architectural design options.

The major strategies recommended work under the given formwork:

 Pre-project Phase

During which the above values must be taken into consideration first before applying
the adaptive reuse potential model on the building.
In which:

 Initiation Phase

During the initiation phase, the principles of conservation, as mentioned in Venice

Charter, 1964 about publication and documentation must be followed. They are:

There should always be thorough documentation in the form of analytical and critical
studies that are documented with drawings and photographs for all preservation,
restoration, and excavation projects.

In this case, it holds for restoration process. The same set of instructions have also
been given in ASI handbook, which states the documentation pattern and requirements
as:

Before beginning any fieldwork, a reliable map of the entire area and all of its parts
should be acquired. There is a lot of fieldwork involved in scanning heritage properties
and accurately recording information for each location.

By physically evaluating the property to ascertain facts such as the physical attributes
of the property, the date of construction, the style of the building, design
characteristics, etc.

Moreover, Burra Charter 1964, must be closely followed.

 Before deciding on the location's future, comprehend the area's cultural value
and what it means to the people who inhabit it.
 Include the local communities in the project
  Implementation Phase

When it comes to the adaptive reuse of heritage buildings, during implementation,

Ethics of Conservation as stated by Feilden (2013) are to be followed:

 Before making any changes, the building's condition needs to be documented.

 Historical evidence cannot be removed, altered, or destroyed.
 Any action taken must be minimally essential.
 The integrity of cultural property's aesthetics, history, and physical
construction must always guide any intervention.
 Treatment procedures and tools must be meticulously recorded.

As per Venice Charter, Article 8: “A monument's essential sculpture, painting, or

decorating pieces may only be removed if this is the only way to guarantee their
preservation.”

 Article 10: “Any modern technique for building and conservation, the
usefulness of which has been demonstrated by scientific data and experience,
can be used to consolidate a monument when conventional methods are
insufficient.”
 Article 11: “Since uniformity of style is not the goal of a restoration, it is
important to acknowledge the legitimate contributions made by each time to
the construction of a monument.”
 Article 12: “Replacements for missing components must harmonise with the
entire while also standing out from the original in order to prevent restoration
from tampering with aesthetic or historical evidence.”
  Article 13: “Unless they preserve the building's interesting features, its historic
context, the composition's balance, and its relationship to its surroundings,
additions cannot be permitted.”
 Post Completion phase

Their actions may or may not be taken into consideration during the development
process, depending on how the stakeholders act and the conditions of their agreement
with the producers. Upkeep is important. Building maintenance must be carried out
regularly for smooth running.

6.2. Conclusion

As per the chart by Shahi et al., the breakdown of building adaptation can be done as
follows:

Table 12 Breakdown of Building Adaptation into two categories (source: Shahi et. al, 2020)

As per my findings,

Table 13 Breakdown of Adaptive Reuse (Source: Self)

The above table explains how Adaptive reuse can be split into two categories, i.e.:

 Conversion
 Refurbishment
Conversion can be further split into further subcategories:

 Rehabilitation
 Retrofitting

In cases of conversion, this is nonstructural. Rehabilitation and retrofitting when done

non structurally, are termed as conversion.

Refurbishment can be split into:

 Retrofitting
 Renovation
 Rehabilitation

These can be termed by the following two subcategories being followed in the process:

 Conversion of Activity
 Material Reuse

This may or may not be structural.

The function of the building is decided during the decision making phase.

Figure 36 The proposed model for adaptive reuse procedure for a heritage building. (Source: Self)

This model has been proposed taking the following model proposed by Arfa Et. al in
their study as a specimen (Table 7).
These guidelines have been worked upon the model proposed by Arfa et. al according
to the literature for Adaptive Reuse and heritage conservation charters and government
guidelines.

The above set of guidelines for adaptive reuse is specific for heritage building. The
modules may be implemented on other building typologies as well, however, there is
relaxation in terms of restoration and retrofitting since buildings other than heritage
buildings do not require strict guidelines on the maintenance of their identity unless it
is specified by the stakeholders.

Figure 37 Proposed Detailed model (guidelines) for Adaptive Reuse Procedure (Source: Self)

A historic building is more than just legacy. It is a treasure trove of building

necessities. Whether it be a new building to be built, or to learn vernacular techniques
from, heritage buildings not only promote a self of identity but cultural knowledge to
be passed unto the future generations. The study accumulates a set of guidelines to an
aspect of conservation of heritage.
6.3. Future Scope of Work

The future scope of research work considers ruling in the sustainability factors of
adaptive reuse in case of heritage buildings. Due to lack of resources and time,
sustainability quotient of these buildings could not be discovered, however it was a
prospect of this topic that was viewed in a lot of research papers, that reinstated the
cutting down of carbon footprint as this procedure is followed.