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CONSERVATION OF HERITAGE BUILDINGS CONSERVATION: Conservation of a Historic/ Heritage Building is the action taken to retard the process of decay of the building in order to prolong its life so that it is available to the present and future generations to experience and enjoy INTERNATIONAL PRINCIPLES OF CONSERVATION SUGGEST: Minimum effective action is always the best. This action should be reversible and not prejudice future interventions.

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Page 1: Conservation slide show

CONSERVATION OF HERITAGE BUILDINGS

CONSERVATION:

Conservation of a Historic/ Heritage Building is the action taken to retard the process of decay of the building in order to prolong its life so that it is available to the present and future generations to experience and enjoy

INTERNATIONAL PRINCIPLES OF CONSERVATION SUGGEST:

Minimum effective action is always the best.

This action should be reversible and not prejudice future interventions.

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THE CONSERVATION OF A BUILDING INVOLVES THE FOLLOWING:

Respect for and conservation of the building fabric or material. The preservation of the historicity of these materials is considered extremely important internationally.

Respect for and conservation of the methods of construction that are unique to the buildings in question.

Respect for and conservation of the original quality and perception of spaces within the building.

Conservation of the various elements that lend to the building its character.

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THE VENICE CHARTER

INTERNATIONAL CHARTER FOR THE CONSERVATION AND RESTORATION OF MONUMENTS AND SITES

DEFINITIONS

ARTICLE 1. The concept of an historic monument embraces not only the single architectural work but also the urban or rural setting in which is found the evidence of a particular civilizatiom, a significant development or an historic event. This applies not only to great works of art but also to more modest works of the past,which have acquired cultural significance with the passing of time.

ARTICLE 2. The conservation and restoration of monuments must have recourse to all the sciences and techniques,which can contribute to the study and safeguarding of the architectural heritage.

AIMARTICLE 3. The intention in conservation and restoring monuments is to safeguard them no less as works of art than as historical evidence.

CONSERVATIONARTICLE 4. It is essential to the conservation of monuments that they be maintained on a permanent basis.

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ARTICLE 5. The conservation of monuments is always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not change the layout or decoration of the building. It is within these limits only that modifications demanded by a Change of function should be envisaged and may be permitted.

ARTICLE 6. The conservation of a monument implies preserving a setting,which is not out of scale.wherever the traditional setting exists.It must be kept. No New construction, demolition or modification, which would alter the relations of mass and color,must be allowed.

ARTICLE 7. A monument is inseparable from the history to which it bears witness and from the setting in which it occurs. The moving of all or part of a monument cannot be allowed except Where the safeguarding of that monument demands it or where the safeguarding of that monument demands it or where it is justified by national or international interest of paramount importance.

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ARTICLE 8. Items of sculpture, painting or decoration,which from an integral part of a monument, May only be removed from it if this is the sole means of ensuring their preservation.

ARTICLE 9. 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. It must stop at the point where conjecture begins, and in this case 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.

ARTICLE 10. Where traditional techniques prove inadequate, the consolidation of a monument can be achieved by the use of any modem technique for conservation and construction, the efficacy of which has been shown by scientific data and proved by experience.

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ARTICLE 11. The valid contributions of all periods to the building of a monument must be respected,Since unity of style is not the aim of a restoration.When a building includes the superimposed work of Different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest and the material which is brought to light is of great historical, archaeological or aesthetic value, and its state of preservation good enough to justify the action. Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work.

ARTICLE 12. Replacements of missing parts must integrate harmoniously with the whole,but at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence.

ARTICLE 13. Additions cannot be allowed except in so far as they do not detract from the interesting parts of the building, its traditional setting, the balance of its composition and its relation with its Surroundings.

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GUIDELINES BY S.P.A.B

( THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS)

REPAIR NOT RESTORATION:

Although no building can withstand decay, neglect and depredation entirely, neither can

aesthetic judgment nor archaeological proof justify the reproduction of worn or missing parts. Only as a practical expedient on a small-scale can a case for restoration be argued.

EXPERIMENTATION

Old buildings are not the place to test unproved materials

RESPONSIBLE METHODS

A repair done today should not preclude treatment tomorrow,nor should it result in further loss of fabric.

COMLEMENT NOT PARODY

New work should express modern needs in a modern language.These are the only terms in which new can relate to old in a way which is positive and responsive at the same time. If an addition proves essential. It should not be made to out-do or out-last the original.

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REGULAR MAINTENANCE

This is the most practical and economic form of preservation.

INFORMATION

To repair old buildings well, they must be understood. Appreciation of a building’s particular architectural qualities and a study of its construction, use and social development are all enlightening. These factors also help us to see why decay sets in and how it may be put right.

ESSENTIAL WORK

The only work which is unquestionably necessary(whether it be repair, renewal or addition) is that essential to a building’s survival.

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INTEGRITY

As good buildings age.the bond with their sites strengthens.A beautiful,interesting or simply ancient building still belongs where it stands however corrupted that place may have become use and adaptation of buildings leave their marks and these.in time, we also see as aspects of the building’s integrity.This is Why the society will not condone the moving or gutting of buildings or their reduction to mere facades. Repairs carried out in place,rather than on elements dismantled and moved to the work-bench,help retain these qualities of veracity and continuity.

FIT NEW TO OLD

When repairs are made, new material should always be fitted to the old and not the old adapted to accept the new. In this way more ancient fabric will survive.

WORKMANSHIP

Why try to hide good repairs? Careful,considered workmanship does justice to fine buildings, leaving the most durable and useful record of what has been done. On the other hand,work concealed deliberately or artificially aged,even with the best intentions,is bound to mislead.

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GUIDELINES BY S.P.A.B

( THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS)

MATERIALS

The use of architectural features from elsewhere confuses the understanding and appreciation of the building,even making the untouched parts seem spurious.Trade in salvaged building materials encourages the destruction of old buildings,whereas demand for the same materials new helps keep them in production. The use of different but compatible materials can be an honest alternative.

RESPECT FOR AGE

Bulging ,bowing,sagging and leaning are signs of age which deserve respect.Good repair will not officiously iron them out, smarten them or hide the imperfections. Age can confer a beauty of its own. These are qualities to care for,not blemishes to be eradicated

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ADAPTIVE REUSE OF HISTORIC BUILDINGS INVOLVES THE FOLLOWING

ENGINEERING ASPECTS

A.MATERIALS 1. Behavior of materials both old and new

2. New materials are stronger but less durable than old materials that are weaker but more durable

3. Hence compatibility between the two

B. STRUCTURAL BEHAVIOR

1. A thorough understanding of the behavior of the existing structure.

2. Old buildings have established patterns of behavior due to their age that should not be altered

3. Fresh loads should not be added as far as possible. This applies to even finishes especially flooring material

4. New additions including openings should be made cautiously

5. Services should be introduced sensitively especially plumbing and sanitary services.

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DESIGN ASPECTS

Linked to the aspects of materials and structural behaviour

Additional elements can boldly be a statement of modernity but follow the simplicity and refinement that the old building exhibits.

New additional buildings can also be modern but follow characteristics of scale, proportion, rhythm,texture and overall form of the existing.

Imitation that will create confusion between which is original and which added should as far as possible be avoided.

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CASE STUDY- SENATE HOUSE AT CHENNAI

CONSERVATION OF HERITAGE BUILDINGS

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CASE STUDY- SENATE HOUSE AT CHENNAI

FACT FILE:

CONSERVATION ARCHITECT: AR.KALPANA ( INTACH CHENNAI )CONTRACTOR: L & T ARCHITECTURAL STYLE: INDO SARCENIC STYLE.

CONSERVATION STEPS UNDER TAKEN IN SENATE HOUSE

REPLASTERING THE INTERIOR WALLS WITH CHETTINAD LIME PLASTER. THE EXTERIOR WALL IS EXPOSED BRICK WORK AND EACH BRICK IS EXAMINED AND ERRODED BRICKS IS REPLACED WITH NEW BRICKS. BROKEN STAIN GLASSES ARE REPLACED WITH NEW ONES PLANT GROWTH IN THE EXTERIOR FAÇADES ARE REMOVED CAREFULLY BY SCIENTIFIC METHOD. WATER SEEPAGE POINTS ARE FIRST SPOTTED OUT AND GIVE APPROPRIATE TREATMENT

CONSERVATION OF HERITAGE BUILDINGS

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CASE STUDY- SENATE HOUSE AT CHENNAI

CONSERVATION OF HERITAGE BUILDINGS

DECORATIVE PLASTER: IN SENATE HOUSE POWDERED OR PULVERISED SAND HAS BEEN USED WITH PURELIME PUTTY FOR DECORATIVE BEADINGS AND DECO-WORK

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CONSERVATION OF HERITAGE BUILDINGS

CASE STUDY- SENATE HOUSE AT CHENNAI

REPLACEMENT OF NEW BRICKS

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CONSERVATION OF HERITAGE BUILDINGS

CASE STUDY- SENATE HOUSE AT CHENNAI

ORIGINAL LIME PLASTER WALL

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CASE STUDY- SENATE HOUSE AT CHENNAI

CONSERVATION OF HERITAGE BUILDINGS

SOFFIT OF THE DOME UNDER RESTORATION

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CONSERVATION OF HERITAGE BUILDINGS

CASE STUDY- SENATE HOUSE AT CHENNAI

EXTERNAL FAÇADE- SENATE HOUSE

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STAINGLASS ROSE WINDOW

CONSERVATION OF HERITAGE BUILDINGS

CASE STUDY- SENATE HOUSE AT CHENNAI

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DECORATIVE PATTERN BY STENSIL METHOD

CONSERVATION OF HERITAGE BUILDINGS

CASE STUDY- SENATE HOUSE AT CHENNAI

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Thank You

By Jaikumar Ranganathan

Photos by Jaikumar Ranganathan