Adaptive Reuse of Historic Buildings in Retail Design
Interior Design Undergraduate Thesis, 2021 Faculty of Design, CEPT University
Adaptive Reuse of Historic Buildings in Retail Design As an opportunity for Brands to reflect their Identity
By: Pooja Panchal Guided by: Nidhi Aggarwal
Page intentionally left blank
Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.
Student Name & Code No: Pooja Panchal UI3916
Signature of student:
Date: May 11th, 2021
FACULTY OF DESIGN Student Name :
Pooja Panchal
Thesis Title
Adaptive Reuse of Historic Buildings in Retail Design: As an opportunity for Brands to reflect their Identity
APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme. Nidhi Aggarwal
Name and Signature of the Guide
WWW.CEPT.AC.IN
T +91 79 26302470 F +91 79 26302075
Dean, Faculty of Design
KASTURBHAI LALBHAI CAMPUS UNIVERSITY ROAD, NAVRANGPURA AHMEDABAD 380009. GUJARAT, INDIA
support and love, I would not be here.
Acknowledgement My heartfelt gratitude to, Nidhi Aggarwal, my guide without whose guidance, research insight and dedicated involvement; this research would not have been accomplished. Kireet Sir, Amal Sir, Jay Sir, Rajesh Sir, Naandi Ma’am, KD Sir and Chandra Ma’am for teaching me persistence. Vaibhavi Ma’am, for the right foundation and teaching me the value of perseverance. Mr. Jacob Keirig, for believing in me, giving the opportunity and opening a new horizon for me. My parents, Sucheta and Jayesh for the unconditional love, sacrifice and fulfilling all my wishes. My brother, Hiten for just being there and motivating me. My family, for the utmost care and being my strongest pillar. Motapapa, keep blessing and watching over me always. Avishi, Harsheen and Riya, the constants for these five years. Sanjana, Tanha and Pratik for the immense support and understanding. Jaydev and Vyas, for the valuable feedback and help. Akshat Bhatt, Abhishek Rustagi and Rooshad Shroff for sharing their valuable information for this research. Batch 2016, for this wonderful journey together. Everyone who helped me in some or the other way. CEPT, for this life altering experience, fulfilling some wishes and tons of unforeseen dreams. Thankyou god for listening to my prayers.
Abstract The primary purpose of retail space is to store, display and sell products to customers. Although the spaces must facilitate a friendly and hassle-free customer shopping experience, one of the objectives of designing retail environments is to build spaces, services, products which are aligned with the brand’s vision, mission, strategy and brand positioning while providing consumers with a unique experience. The research aims to study the reflection of brand identity through the adaptive reuse of heritage buildings in existing historic buildings. Therefore, the identity of the brand, its pattern of arrangements, diagrams, role of lighting, displays with other variables remains significant. The luxurious character and the monumental dimension of the historic building create a unique environment. The classical architecture of the building serves as a historic backdrop against which a retail identity of the brand is expressed. This creates a new identity while preserving the original structure. Contemporary initiatives respect and reinforce the building’s authenticity and add value to the position. Therefore, retail architecture becomes an integral aspect of the monument. This research paper aims to the study the adaptive reuse of heritage buildings in retail design and how do the brands reflect identity in the built environment. The implication of research is analyzed through case studies of selected brands and identify the varying factors of branded environments in heritage buildings. It is observed that the brands getting into sustainable design hereby believe in community involvement, environmental stewardship and adapting the heritage site for reuse.
Keywords: retail design, experience, adaptive reuse, environment, brand positioning, contemporary, architecture
Introduction In present competitive world, retail brands have created their identity from all aspects of the design ranging from store frontage, fascia and signage, through to the internal elements of equipment’s, merchandising, displays, lighting, in-store communications, point of sale and finishes. The retail design involves understanding of aesthetical approach within the space and how it will perform functionally and commercially. However, the established brands tend to maintain their identity in historical spaces by considering the sustainable aspects, cultural values, heritage conservation and community involvement. While retailing is timeless, Retail Design is one of the most challenging modern style disciplines. It embraces the architectural design, industrial design and communication design disciplines. Moreover, social science domain is also an important aspect which includes environmental psychology, sociology, cultural anthropology and merchandising. It is the touchpoint for the focus of attention and development of brand-customer communication. In contemporary architectural design, collaborating with existing buildings for sustained use has become incredibly valuable. The requirements include the need for sustainable development practices. Moreover, there is a need for fewer new physical spaces in the current economic environment and an even more increasing understanding of the importance of preserving historic spaces. This all highlights the importance of adaptive reuse. It stands for modifying a building’s function and program by adapting the modern requirements and needs. The purpose is to alter the heritage-value of historical spaces which has architectural significance as ‘ordinary’ spaces. This research focuses on studying the brands which adapt the concept of adaptive reuse. The brand’s vision, belief towards sustainability, conserving heritage and embodyingreflection of it’s ethos are the main focus.
Aim The research aims to study a brand’s retail store design in historic buildings relates to its brand identity, core values, influence and adaptive reuse approaches.
Objectives 1. To investigate the functioning of a brand through the elements of retail design such as storefront, design layout, display systems and role of environments. 2. To analyze the brand design strategies, approaches of brand continuation and varying factor in branding design elements from generic store spaces to adaptively reused spaces.
Research Questions 1. What are the differentiating factors of the brand between the generic stores and historic building stores? 2. How does a brand determine the adaptive reuse approach towards the historic building?
Scope and Limitations The scope is restricted to the case studies in India. The study focuses on adaptive reuse approaches adapted by brands and does not concentrate on architectural style the building. The study is to understand how brands maintain and redevelop identities imparting the retail experience in historic buildings while respecting the heritage value. Even though retail design is multidisciplinary and associates with different fields such as economics, urban planning, marketing management and social science discipline, this thesis aims on adaptive reuse and retail design. Therefore, as a result, the conclusions are derived from the comparative analysis of the case studies.
Methodology The thesis focuses on understanding retail design in the context of the relationship between heritage restoration and retail design. In order to develop an optimal approach for reusing heritage buildings, it strikes a balance between restoration and brand identity. The study concentrates on two critical elements of research: • Adaptive Reuse • Reflection of brand identity in the historical building The focus is on the research on adaptive reuse as well as practical examples of retail design in this approach. The latter part of the study forms a comparison between brand stores (Mall store and high street store) and stores in a historical building and understand the varying factors of brand identity and retail design. The research is carried out through the theory, diagrams and analyzing through visuals.
Relevance to the field It is essential to understand the relationship of interior design with retail branding and adaptive reuse. The challenges in adaptive reuse approaches are mainly focused on the architectural type and interior spaces. This research concentrates on the building elements of spatial design in retail while retaining the brand identity in historical spaces.
Retail Design and Branding
1.1.1 1.1.2 1.1.3 1.1.4
What is Retail Design? Elements of Retail Design Role of Store Environment Contextual Importance
1.2.1 1.2.2 1.2.3
Brand Identity Brand Image Brand Strategy
Adaptive Reuse of Historic Spaces
2.1.1 2.1.2 2.1.3 2.1.4 2.1.5
2.2.1 Good Earth- Jodhpur Store 2.2.2 Mehrangarh Museum Shop 2.2.3 Tianu-The Revival Project
03 3.1.1 3.2.1 3.3.1 3.4.1
What is Adaptive Reuse? Typology of Buildings Approaches and Process Strategies Advantages
Forest Essentials Juhu Store Lulu Mall Jodhpur Store
whatever it is, and if there’s a sense of entertainment and excitement and electricity, you wanna be there. — Howard Schultz,
ceo, Starbucks
1.2.1 Brand Identity 1.2.2 Brand Image 1.2.3 Brand Strategy
1.1.1 What is Retail Design? Retail design is the touchpoint for developing and extending communications between brand and customer. The term “retail design” incorporates all aspects of the design of the physical store including a technological sense and a virtual store from store frontage, fascia and signage to internal elements of equipment, merchandising, display, lighting, instore communications, point of sale and finishes. It also entails an understanding of aesthetic design aspects along with its operation technologically and commercially along with processing the installation on time and within budget while adhering to the numerous uses of public space regulations. Retail Design is one of the most challenging emerging areas of design encompassing all design disciplines such as architecture, industrial design, and communication design. Moreover, it also comprises of social science disciplines such as environmental psychology, sociology, cultural anthropology and marketing.
Architecture
Interior Design
Communiation Design
Industrial Design
Translation to 3D
Retail Design
Via other disciplines
Social Science
Exterior Design Interior Design In store communication
Connects People, brands & space
Visual merchandise
Fig. 1.1 Retail Design diagram
1.1.2 Elements of Retail Design Retail design is intimately connected to visual aesthetics, as this is the first point of contact between the brand and the customer. Scale, proportion, patterns, textures, and color are all elements of it. Visual merchandising is essential in establishing a store’s visual aesthetics. The store is subdivided in categories which visually influence the minds of consumers and aid in the generation of brand identity in the space.
Elements of retail design
Store exterior
Store interior
Role of environments
Contextual importance
Fig. 1.2 Retail Elements diagram
A. Store Exterior 1. Location The major factor of a retail store is its location which define the brand’s prominence. For any space, the surrounding context and scale impact the type of impression developed on the customers. Locations will span from a local store to a mall, from pop-up shops to standalone stores in prime areas. 17
2. Entrance The entry type is one of the core aspects of a brand’s first perceptions. Besides, it is the first point of contact of customer interaction with the brand. It determines the type of product the brand offers. 3. Store Front The storefront creates first impressions of building consumer relationships. For major retailers, the storefront is often the critical first point of impression. Every day, hundreds of people walk down the streets and into shopping malls, passing by numerous shops. Moreover, every storefront is competing for the attention of prospective consumers. The purpose of storefront design is to attract customer indoors in the ideal case. Moreover, it leaves an impression that prompts a return visit. Fig. 1.3 Store Front
4. Window Display It is the first point of interaction with the customers. It builds a connection with customers to step into the store and thereby the sale procedure begins. The stores have various kinds of window displays depending on convenience and the type of interaction. For instance, corner view, opening back and closing window. The combination of above factors builds the storefront which attract customers to the plight.
Fig. 1.4 Topshop’s Open-Back Window Display
• Open-back Window: It does not consist of a back panel; hence it allows the customer to have an arranged visual and transparency to investigate the store. These windows benefit from the store’s movement and the ambiance of the shop flowing into the window area to enhance the appearance of the store. These windows are present in fashion retails. This technique is effective at well-designed store environments because it gives an insight into the interior and this also ensures that the design of the store must be appealing.
• Closed Window: The closed window display prevents customers from viewing the entirety of the store, thereby highlighting the merchandise placed in the shop window. However, these windows create a dramatic effect by angling and controlling the lighting to emphasize the focus of the display. The concept of efficient approaches for illustration and catching interest turns into the trend in various retail segments.
Fig. 1.5 Versace’s Closed Window Display
• Arcade Window: This type of windows are always predetermined spaces with a domain on any side of an entrance that transforms into a curved display when customers reach the middle of the window. This area is increasingly innovative for visual communications groups as collections regularly reflect executives of the store and have little room to operate. These windows are used for brands with high visual identities to gain attraction. Fig. 1.6 Crockett & Jones’s Arcade Window Display
• Corner Window: Corner windows provides the most opportunity for brands to express a message as shoppers pass by the store. These displays allow more and more imaginative exhibits to reflect beyond a light in the glass. These displays further demonstrate the prominence and use benefit of the venue. Fig. 1.7 Boss’s Corner Window Display
B. Store Interior The importance of the interior in the development of an experience should be well established. It includes the essence of everything in the shop including products which come into contact with customers along with products that represent the employees and the proprietor. Mannequins, furniture, props, flooring, wall coverings, lighting, color and environmental graphics build up the store’s interior. 1. Store Layout
Fig. 1.8 Store Interior
The design of a store is one of the most significant aspects of its accomplishment which is a result of a lot of time, effort and labor. The store’s circulation, merchandise placement, ambience and layout affect the customer’s experience. The circulation of a store’s layout determines the customer flow which plays essential role in aesthetic experience. Furthermore, the circulation navigates by using the floor space designated for products which depends on the customer conduct strategy and principle of layout. With respect to these elements, spatial design is pursued in various ways. The longer a customer spends time in a store, the more probable they are to make a purchase. Hence, the intention is to engage the customers for a longer time. The layout and interior of the store are determined by the brands identity. The design layout is determined by the brand’s program. Some brands prefer an open floor plan with all areas accessible from the entry, whereas others tend to have partitions in spaces. • Forced Path Store Layout : This concept leads the customer down to a predetermined path in the stores. A forced-path layout has the benefit of optimizing every aisle of the store. This strategic design can entice consumers to place an impulsive purchase by introducing them to all the merchandise offered. (e.g: IKEA)
Fig. 1.9 Forced Path Layout diagram
Fig. 1.10 Grid Layout diagram
Fig. 1.11 Loop Layout diagram
• Grid Store Layout : The grid store layout design is a widely used in a repeatable pattern in retail. The benefits highlight the ability to travel quickly around a compact floor space by using regular fixtures and displays. With its prominence, the presentation is consistent, convenient and engaging in a seamless user experience. The retailer’s inventory management is made convenient by design which is a key component of a retail strategy to optimize the profits by using store layout design (e.g: Supermarkets, pharmacies). • Loop Store Layout : In a loop store layout, a pathway leads customers from the store’s entrance to the checkout area. The aim of the design is to reward a customer with engaging visual presentations and focal points. For a larger retail store (over 5,000 square feet), this layout is more functional. Additionally, it facilitates a simple and accessible customer flow loop (e.g: Supermarkets, pharmacies). • Straight Store Layout : The straight store layout is efficient and easy to organize which allows customers to get individual area. Furthermore, a simple straight style attracts customers to the store’s featured product at the back.
Fig. 1.12 Straight Layout diagram
Fig. 1.13 Diagonal Layout diagram
• Diagnol Store Layout : While consumers switch through spaces, the diagonal store layout uses aisles to set at an angle to improve customer sightlines and expose additional merchandise. This space management option is beneficial to small stores and it is incredibly useful to self-service retailers as it encourages increased movement and better customer circulation (e.g: Self service stores).
• Angular Store Layout : To regulate customers’ experience, the angular store layout focuses on curved walls and corners; rounded product displays and other curved fixtures.
Fig. 1.14 Angular Layout diagram
• Geometric Store Layout : A geometric arrangement provides both artistic expression and functionality when integrated with the requisite displays and fixtures. Merchandise displays and fixtures in a variety of geometric shapes and sizes work together to create a statement, often as an extension of the retailer’s overall brand identity. Fig. 1.15 Geometric Layout diagram
• Mixed Store Layout : The mixed store layout integrates design elements from different layouts to provide retailers with a versatile alternative. Department stores generate a dynamic flow across several departments showcasing a variety of products by combining straight, diagonal and angular concepts amongst other design elements. Fig. 1.16 Mixed Layout diagram
• Free Store Layout : The goal of a free flow layout is to not guide the customer through repetitive design patterns, displays or signage. Moreover, they provide freedom to communicate with merchandise and explore this retail store since there are no strict design guidelines. Fig. 1.17 Free Layout diagram
Fig. 1.18 Boutique Layout diagram
• Boutique Store Layout : The boutique-style is the most common free flow layout. Customers are encouraged to connect more intimately with products in semi-separate areas created by partitions, product displays, fixtures and merchandise which are divided by category. This design provokes customers’ interest in various products or merchandise themes within the overall category.
C. Store Display The concept of displays in retail stores goes beyond the dictionary description. They are not focused on a single type of experience. They play a significant role in the development of customer interactions and purchasing decisions. Furthermore, each display has a unique role to play in the experience’s formation.
Fig. 1.19 Store Display
D. Visual Merchandizing Visual Merchandising is the art of displaying merchandise appealingly to consumers. It imposes an aesthetically attractive background on the product and portrays it to shift the buyers to customers. Instore visual promotion is used to notify customers of the first aspect of the complex buying procedure because it is positioned in the store. The retailer should acknowledge their expectations during this system to achieve the customer contribution. Variables that contribute to the in-store design typically include store format, store planning, product, and signage positioning. These components will resolve the issue of the customer and provides a better purchasing condition. The following are the types of VM displays: 1. Point of purchase (POP): This type of product display is used to attract customers’ attention. It is generally a stand-alone showcase system held in a prominent location within the store.
Fig. 1.20 Nestle Kit-Kat’s POP display
2. Free Standing Display: These are free-standing display structures that are well-organized. They generally have slightly higherpriced items, more compact and smaller in proportion.
Fig. 1.21 Display Cases
3. Display Cases: These cases are fully encased in glass or acrylic. Therefore, when making a purchase, consumers often engage with the sales team. These situations are generally reserved for expensive and valuable products for security reasons.
4. Gondola Display: These type of displays have two-faced displays in the core of the store. They are self-contained, transportable, and adaptable due to the flexible shelves. These systems are usually found in grocery stores to display items.
Fig. 1.22 Gondola Display
5. Table Display: These are widely used for displaying clothes. They have more viewing areas and a low height, allowing the items to be seen from overhead. It is used to highlight the brand’s latest range or style. These have a culmination or collection of different products.
6. Mannequinns: Mannequins are the physical embodiment of visual merchandising. They display objects in an environment that allows the user to see the object in action. Fig. 1.23 Table Display
7. Apparel Display Racks: They are very known styles of wardrobe displays. It is commonly found that all the clothes racks vary — found in different shapes, sizes, different levels to hang things on, and others have racks.
Fig. 1.24 Apparel Display Racks
8. End Cap Display: These displays have racks at the end of a two-sided retail stand that shoppers walk by as they travel through aisles. It enables the goods to be seen outside of the traditional aisle spaces. They also have a prime place to attract publicity — customers heading down a prime alley can view these things without heading down the sidewalk.
9. Grid Wall Display: Grid walls are a cost-effective, functional, lightweight, and durable for retail store exhibit. It is crafted with a wired grid that provides an accessible and elegant look in a retail environment, such as generic stores,pop-up stores, rebate shops, kiosks and public expo displays.
Fig. 1.25 End Cap Display
Fig. 1.26 Grid Display
E. Lighting It is an essential and fundamental aspect in visual merchandizing. Creating a visual and aesthetic tone of lighting not only impacts the customer’s perspective, but it can also significantly change the presence of the products in ways that make them look more appealing. The important lighting hypothesis knowledge will be helpful when trying to minister the store externally. Additionally, the luminance (splendor), optical temperature and the bearing and focal point of the light are also important factors to acknowledge. The objects on the displays and the organization premises directs in the decision making of the kind of light. For example, any hardware or innovation benefits from colder and more beautiful fluorescent lights, while a bookstore benefits from the warmth of tungsten bulbs in unique fittings. 25
F. Finishes and Textures These factors have a major contribution of adding visual interest to the space. It defines surfaces, impact the scale and conveys a design style. The textures and colors have a huge impact on the perception of the space. The appropriate application of finishes and colors creates a distinct brand story of the store. Moreover, it is identified in a study that color makes brand recognition by up to 80% and the store finishes becomes a passive communication which subliminally affects image insights of customers.
1.1.3 Role of Store Environment Every space is designed based on the end use it is slated to fulfill. The environment of a retail store refers to the design of a retail chain outlet which evokes unique human emotions in customers and increase likelihood of making a purchase. The environment of a store has the ability to influence customers’ in-store actions in an unnoticed yet in a significant way. A place of worship like a church is designed much differently than a mall or a football stadium. The design is successful if it inspires the user to do the intended activity and the desired way. Thus, retail atmosphere can be defined as those elements of design incorporated in a space which compel the user to do the desired activity. For a retail space, the desired activity is purchase of products and for it to happen it is essential that the customer is drawn to the store, feels like spending time inside is able to find the desired products and finally able to make the purchase successfully. To provide a complete shopping experience, it is imperative that the store atmospherics are in place and they appeal to the customer to encourage him to buy. An atmosphere in the retail space is built from the following factors: • External Variables: Store Front, Entrance, Display Windows, Location and the surroundings
• Internal Variables: Displays, Material and Finishes and Lighting • Store Layout: Circulation Space, Merchandize Category and Signages • Visual Merchandize: Assortment, Theme, Racks and Shelves and Cash Area
1.1.4 Contextual Importance Context plays a crucial role in retail as it is a major factor of the marketing effort. Also, an outstanding location serves as a critical factor that can draw customers. Since the retail stores differ by location, the significance of the brand can vary depending on the context. Owing to their various locations, a mall setup, for example, has a different rate of footfall in customers in comparison with a stand-alone store. Retailers can choose from a variety of locations. Each site has advantages and disadvantages. Because of the improvement of the territories and the lack of competition, multiple central commercial areas, neighborhoods, and Main Street sites have been more functional than those in the past. There are also several types of shopping centers for retailers, located in an indoor shopping center or ethos, as a specialty, concept, outlet, or main building. Moreover, other unique destinations include virtual locations, malls, resorts, shops inside stores, and temporary locations. Decisions on where to position a store are critical to the success of every retailer. Location decisions are significant because of their high cost, extended haul duty, and influence on customer service. Choosing the appropriate position category includes: • Target Audience: Aiming for a certain number of desirable consumers who will make a purchase. • Infrastructure: The measure to which the shop is accessible to prospective buyers. • Neighbouring Stores: Recognizing the extent of competing and complementary stores while considering the development of the area. 27
1.2.1 Brand Identity A brand identity is how a brand portrays itself to the world which is tangible and appealing to the senses. The identity is the key component of branding which provides the direction, intent and value to the brand. It is a set of brand relationships that the company strives to establish and sustain. The cumulative influence achieves its identity and personality. Fig. 1.27 Visual Identity of Cadbury
Fig. 1.28 Visual Identity of KFC
Fig. 1.29 Visual Identity of Puma
Visual identity was termed in the late 1980s serving to create an emotional impression on the viewers. In the economic world, it is a recognized tool to unify the varying aspects of business through consistent visuals. A brand’s visual identity comprises of various components- Logo, typeface, colors, and icons. Brands and branding are inextricably related to visual and verbal identity. The identity is a valuable attribute that needs to be emphasized and up-gradation. Moreover, it fuels the recognition, amplifies differentiation and makes great ideas and meaning accessible. In comparison to scientific knowledge, identity is a perception supported by evidence. It is the morality of a brand that allows it to be robust and succeed. A brand’s verbal identity includes the phrases or expressions it chose to describe the service or merchandise, including taglines, the brand’s voice, and many other aspects. Strong branding will assist a company in standing out from the economy and gain consumer trust. In 1986, J. N. Kapferer developed the concept of Brand Identity Prism to visualize the brand expressions through aspects. He identified six vital characteristics linked with brand identity and represented in prism form.
1. Physique: It describes the physical characteristics of a brand. (Logo, color palatte, style guide, iconography, etc). 2. Personality: It stands for the voice of the brand which embodies the tone of any communication. 3. Culture: The way of expressing the brands beliefs and missions which interacts directly with everything associated with the brand. 4. Relationship: It is a connection of a brand with the consumers engaging consistent familiarity and the needs of the people. 5. Reflection: It aims to the target audience, confidently pivoting the brand identity. 6. Self Image: A perception of consumers and their visualization.
Fig. 1.30 Kapferer Strategy Diagram
1.2.2 Brand Image Brand Image is the perceptual concept of a brand that is held by the customers. A brand’s image is the brand’s impulse: it resides in the memory of customers. It evolves with the connections and encounters with the brand. A substantial brand value makes it easier for consumers to connect with the brand and encourages new customers. It is the expression of the brand’s values and perspectives. Advertising has a central role to play in developing brand image, whether at the corporate, retail or product level. It informs consumers of the functional capabilities of the brand while simultaneously imbuing the brand with symbolic values and meanings relevant to the consumer.
BRAND IDENTITY
THE WAY YOU WANT FOLKS TO PERCEIVE
CUSTOMERS ACTUALLY PERCEIVE YOU!
Fig. 1.31 Brand Identity and Image diagram
THE WAYS THAT
1.2.3 Brand Strategy The brand strategy is the brand’s detailed plan for specific objectives - development and progress. To maintain the brand’s image, it incorporates tangible and intangible branding strategies—the theory emphasis within these methods on the delivery of basic principles. These approaches increase brand unity and influence (brand identity, communications) and promote positioning and competitiveness (brand location) with the touchpoints. These strategies aim to improve brand unity (internal branding). The strategies evolve through interdependent positioning of brand, its value, and the management of brand equity. The positioning of the brand in the retail world requires a comprehensive brand identity and a strong perception of consumers. Thereby, it is a crucial consideration for the impact of consumers, boost sales and build brand awareness. The factors considered in the development phase of these strategies are as follows: • Research: Simple process and purpose • Strategy: Continuously engaging • Touchpoints: Audience with the right target • Asset: Sensitivity to competition and research, staff as a corporate face • Design: Strong identity Branding is an approach to promoting the goods and services of a brand, as described by Lynne Mesher. The definition is associated with marketing and influences the consumers’ implicit wishes. It is a society pursued globally by consumerism and by individuals who describe their way of life, desires, and choices through the purchase of goods. The brands are recognized, and users acknowledge part of their daily life. Many brands have advanced in branding strategies to become a product-related mark. Marketing promotes the brand’s identity to the public, and the key demographic will identify with each brand a set of values and principles. The brand must be consistent, from colors to graphics and the product’s style to the interior. Cohesion strengthens the message of a brand and guarantees the value of the brand.
A branded environment is effective when it informs, inspires, and engages the consumers. A detailed analysis of marketing techniques such as brand image, positioning, and brand touchpoints is crucial to convey these attributes.
Example of Branding and Brand Strategy A touchpoint and turning point for any brand is it’s retail outlet. The most important factors like the location of the outlet, size and spatial and shopping experience determine the brand strategy.
Fig. 1.32 Nike’s Store Interior
Fig. 1.33 Levi’s Store Interior
A. Nike The brand that has been a part of our lives since years, has it’s outlets in different neighborhoods. It is usually in vicinity to brands that are it’s healthy competitors. It is usually found in big malls, within residential areas and on posh streets across the world. Generally, the stores are in 900-2500 sq.ft size area. As a brand, Nike is sophisticated, rugged and competent. It is one of the go-to brands for the most successful sportsmen. The in store experience in Nike is very smooth as it has product displays that are segregated and easily accessible. The reliability of the brand comes from its visual merchandising. The presence of different sections arranged in line with their color and material attributes, makes it comfortable for the customer to pick the product of their choice. The lighting of the store and the over ambience contribute to the total experience of shopping at Nike. B. Levis An iconic apparel brand which has gained trust from the customers over the years for innovation, quality, performance, durabilty, style and fit. A high quality brand caters to the upper middle class group of people to meet their needs. As a brand, it’s personality is authentic, casual, young and free. The brand stores have presence in urban areas and it is generally found in malls and high street stores. The neighbourhood of the store are the other healthy competitor brand stores. The spatial experience of the store is welcoming and simple which easily engages the customers. Even though presence of freely accessible product displays
and supporting visual merchandising creates the illusion of it being dependable, its planning, product display density, and the presence of material and color palette creates the impression of it being an authentic and reliable brand. The overall ambiance contributes to the experience of harmony.
Fig. 1.34 H&M’s Store Interior
C. H&M The affordable clothing brand aims to provide a smooth shopping experience. The brand identity is reflected with the displays following the geometric layout. The stores are located in urban areas and are found in malls as well as high street store. The personality of the brand: trendy, fashionable and young is personified through the interactive interior spaces. The range of collections and variety attracts the customers and caters to the middle class group of people. The realibility of the products is achieved from the visual merchandizing in the store. The store’s lighting and overall atmosphere add to the overall H&M’s retail experience.
Heritage speaks of its time and place but yearn for timelessness. —
Adaptive Reuse of Historical Spaces
2.1 Overview of Adaptive Reuse
Fig. 2.1 Adaptive Reuse Diagram
2.1.1 What is Adaptive Reuse? Historic buildings outlive their original functions. Adaptive Reuse is a method in which structures are modified for new purposes while preserving their historic characteristics. The phrase ‘reuse’ in the terminology adaptive reuse signifies that the structure was previously used for a particular function that has been obsolete. Thus, it requires a potential reuse. The term “adaptive” means that it is not necessarily reused for any function that integrates into it. Moreover, the new use must be adaptive to the building’s scale, location and most significantly the character. The aim is not just to recreate the past but to construct something which is bothcontemporarily valuable and aesthetically pleasing. Adaptive Reuse involves repurposing or refurbishing an old building which has become redundant to its original purpose. Adaptive reuse offers a new meaning to an architectural structure while simultaneously preserving the historical and cultural significance. As Schmeling states, adaptive reuse has been used widely in many varying ways of buildings all over the world. Moreover, the principle of adaptive reuse or renovation revolves around the concept of retrofitting, recycling, and repurposing an existing structure to suit our community’s cultural and economic shifts. The original internal and external structure adapts adaptive reuse, which affects the newly retrofitted structure. Therefore, it interprets a principle of integrating modern and historical architecture to preserve a building’s original and heritage structure while offering an appropriate application. The reuse of existing buildings has the highest ability to reduce environmental impacts because buildings tend to be responsible for nearly 40% of global greenhouse gas emissions, (Apserou. 2013) whether intentionally or unintentionally linked to operation and maintenance. Despite the several social and economic costs associated with vacant buildings, restoring an old property enables to support the modern needs as part of restoration.
Merely preserving the most structurally stable elements of an existing structure and adding contemporary materials could double a building’s lifespan. In addition, this approach allows one to encompass existing concept experiences while progressing forward with innovative concepts. It functions as a connection between the traditional and the conceptual. It initiates a connection between age-old design methods with contemporary concepts in science, theory, design, and innovation. There are many different approaches established for the reuse of a building, each with distinct variations. However, depending on the design approach, both methods can be incorporated in practice. Preservation/Conservation: Initiatives to preserve, restore, and retain all historic buildings. Conservation places a high value on retention. Adaptive reuse (Rehabilitation): Emphasizes the preservation and restoration of existing structures and thereby acknowledges a need to modify and incorporate to a historic structure because of deterioration. Restoration: It aims to preserve materials from a certain period of the building’s history and eliminate materials from past decades. Reconstruction: This provides for the re-creation of a non-surviving part of the building or site with appropriate modern methods. The adaptive reuse of a historical building with only preservation elements offers only a narrative for the building without taking into account the emotional nature of the building. On the other hand, modern reuse has a positive effect on society.
2.1.2 Typology of Buildings Adaptive reuse is not a stand-alone method. It is the consequence of both budding and program growth. That may be a new building paired with an existing program or an old building paired with a new program. For instance, where a need for a current program has already been found, the question arises whether the program can be retrofitted into a new building. If a historic building has already been destroyed or needs consideration for reuse, can a new program for building reuse be developed? However, one cannot avoid the process of reuse because of the fact that the building already exists which is the most significant aspect of the entire adaptive reuse process. It is essential to consider the building type holistically. It can reveal multiple unknown layers and codes which provide the foundation for creating conceptual approaches for project visualization. In specific contexts, Schmeling (2018) stated the subjects for building typologies of adaptive reuse which are as follows Industrial Buildings: As industrial growth and patterns evolve, the old factories, mills, and industrial sheds were relocated from the city center to the suburbs. Religious Buildings: Due to religious beliefs and political power changes, religious structures are frequently modified for reuse with several functions integrated. Community Buildings: Publics buildings like old schools, hospitals, and airports, are frequently reused due to their outgrown purposes. Political Buildings: Buildings with important historical occasions which serve as an emblem of authority as well as heritage significance such as palaces are often adapted for use as hotels, museums, library, public sector offices.
Individual Heritage Buildings: Old buildings with distinctive architectural styles such as traditional bungalows or mansions are often transformed into small boutiques, eateries, cafes, and restaurants.
2.1.3 Approaches and Process Adapting an old/traditional architecture to meet modern needs necessitates an intelligent and attentive approach to addressing the issues and requirements relevant to the existing building, including the contextual, physical, functional, technological, place identity, and customer experience. This method can be divided into three stages: Analysis — New Program — Strategy The review of the existing building, which contributes to the assessment of new specifications which can retrofit - the newly established curriculum, which aids in leading the plan to fulfil the current requirements. The technique then controls the general plan for the building design and recognizes its eventual reuse which contributes to visualizing the specifics of a building’s renovations. However, these phases can eventually intersect. Accomplishing a sustainable design approach for adapting a historic building and retrofitting it to reflect modern needs which necessitates a process of identifying all the design requirements and aligning them with the design approach stages discussed above. Analysis: An architect or a visualizer cannot avoid the articulated sense of the building. The method emerges from the interaction of buildings (the framework, background and history, narrative, form, aesthetics, typology) and programs (new usage, purpose, need, capital). The study of an existing structure assists in the development and the justification for the reuse and remodeling. Moreover, many conceptual possibilities may arise from an existing building typology,
The analysis of these openings will lead to a redesign strategy. New Program: As time progresses, the program maintains the tradition of the past (a familiar world and a sense of identity) while incorporating their understanding to fulfil their new needs. However, it is therefore critical to understand the changing demands are and the contribution to the adaptive reuse process. The Changing Needs: Transformations in culture is constant, progressive and uncertain. As a result of this aspect, buildings would need to respond to society’s changing demands effectively. Strategy: The critical part of transforming a building for reuse is the interaction between existing and modern. The approach is a program which informs and guides the new proposal to reuse a building consciously or unconsciously. A technique is a manifestation and description of an overview of a building environment, physical condition, and the conditions of new utilization. Nevertheless, when a building is to be reused, the most significant and meaningful aspect is the original building which necessitates the development of a strategy by addressing a significant problem: what does the building want to become? In this situation, the modern transformations cannot work without the existing buildings. However, the design’s consequence would be overwhelmed by the new software which must be reconfigured.
Fig. 2.2 Approach and analysis of Adaptive Reuse
2.1.4 Strategies This unique relationship between old and new brings rise to a symbiotic approach which can be categorized into three classifications: intervention, insertion and installation that contributes to a seamless integration of the existing building and the new components. Intervention: For intervention, the modification of a building responds to signals obtained from the existing building alone. However, the building will need to be condensed to retrofit the new program. The building layers need to be retold by reinvention, remodification, reproduction, extension or revealing to renew the location. Insertion: Insertion creates a symbiotic bond between new and existed by introducing a new element within, inbetween or besides which is powerfully conflicting and argumentative to the existing structure. Additionally, the newly inserted feature distinguishes a distinctly contemporary vocabulary, style and content against the antiquity of the original building.
Installation: The character of elements that comprise the installation is positioned to enhance the existing building experience and coincide with each other without intervening in this situation. Installation could also relate to permanent or temporary structures alongside an existing structure to meet additional functional demands on the site.
Fig. 2.3 Strategy Diagram
2.1.5 Advantages When conservation and rehabilitation are approached successfully, it has social, economical, cultural and environmental benefits. Social: Culture, rituals, architecture, language and every social and technical aspect of each region which manifest their inherent uniqueness in a range of methods. At present, it is essential to conserve those cultural features in the age of globalization. The factors for this are as obeys: • It assists as individuals and spaces in retaining their identities. • It helps individuals to become more mindful of their core beliefs which leads to more stability in their lives. Cultural: Local and sociocultural dynamics determine the scope and essence of manifestations. Culture must be respected because of its inherent value and importance to a place’s history. In addition to physical influences such as climatology, customs and traditions can be seen in a place’s architecture. These cultural representations have the significant capabilities: • Inspire and assist designers in the conservation of heritage. • Offers educational importance for the society. • It helps to understand more about other cultures induces immigrants to come. This desire also applies implicitly to the philosophy of tourism. Enabling cultural mixing which is essential in today’s world to create harmony in diversity. Economical: This becomes a financially viable strategy because: • Avoiding demolition expenses and saving time.
• Rather than constructing a new structure, existing capital should be used for small jobs that the building requires. • Since the old structures were built from local supplies, local materials and resources can be used when rebuilding and rehabilitating them. In addition to addressing the social cause, this would restore ancient values, create new jobs, and reduce costs. • The existing infrastructure will be used. Environmental: Throughout the history of construction, the materials chosen were locally available. This is indeed efficient and cost-effective, although it functions well with the prevailing climatic conditions. For instance, sandstone is a locally accessible building material which often serves as a shield against the high sun and heavy desert winds. Understanding the advantages of locally available materials, it will result in• Energy efficiency and conservation. • Reducing carbon footprint. • Developing and implementing appropriate climate management strategies. The demands of new functions may not necessarily complement those of the original functions, but sufficient super-imposition and adaptation for the existing planned functions is essential.
Illustration of Good Earth Jodhpur Store
2.2.1 Good Earth- Jodhpur Store Location
Designed By
: Rooshad Shroff
Year of Completion : 2015 Area
: 1,950 sq.ft
Original Structure
: Multistorey Haveli
Good Earth is an elevated home decor company with a proud Indian heritage. It celebrates the affection of locally sourced craft and the artisans behind it, the store is partnering for a contribution to an urban regeneration program designed to restore glory to Jodhpur’s ancient Walled City. The project is a genuinely unique shop in the heart of this historic neighborhood, built to be more of a cultural experience than just another retail store. It is located across from the popular Jodhpur stepwell, which serves as a source of inspiration and a starting point for the design language, and is housed in an old multi-story haveli which serves as a source of inspiration and a starting point for the design language. The store sells the heady tale of a souk, one that intentionally invigorates the five senses more than any product. The haveli is divided into themes and houses the brand’s beautifully designed items, which are strategically positioned protagonists of a twenty-year journey. The concept is inspired from a narrative which also includes connections not just to the past, but also with the local context in which the store is situated. The architect was influenced by the Toorji ka Jhalara stepwell across the street and thus certain areas of the store offer a feel of an amphitheater.
A. Location
Fig. 2.4 Store Location
The site is located in the densely populated part of Jodhpur with a very rich heritage. A 18th century stepwell is located across the building adding to its value. There is a axial approach to the building. From the street one walks through a big open space, which acts as a meeting point and threshold before entering the building.
B. About the Site The Good Earth store outlet is housed in a Moon House Haveli- a heritage haveli which is almost 90 years old. The building blends smoothly with the brand as the identity replicates arts and crafts tradition which connects with the historic period. The inspiration behind the interiors of the space comes from the brand history about the old Silk Route—the several trips from the ancient trail, sights and sounds has influenced the brand’s key collections. The store is thus a contemporary re-imagination fashioned aligned to the typical Silk Route souk—a little contribution of Samarkand (a city in Uzbekistan)and a dash of the Bosporus (waterway in turkey).
Facade treatment: The entrance of the store is renovated at multiple levels- the ground level is raised to the existing plinth Structure to unify the ground level by demolition of the unnecessary plinth. Additionally, the entire floor is covered with Red Stone flooring which is locally sourced material. Surrounding: The wall’s on the either side of the Haveli are built uptil the foremost structure which gives the Haveli a distinct identity. The service pipes are removed and the visible water tanks on the terrace is covered by the walls.
Existing Plinth
Fig. 2.5 Existing Haveli
Evened Plinth
Fig. 2.6 Post Reuse -Good Earth Store
The facade magnificently retains the Haveli structure with efficient brand approaches. The intricate stone jalis connect to the historic times and glorify the beauty of craftsmanship.
Backlit Brass Signage
Fig. 2.7 Store Entrance
Entrance: The entrance is lit with warm lighting fixed in the flooring lightning the facade from the bottom surface to up the structure. The unnecessary lighting and electrification services are avoided and thus respecting the heritage structure. The addition of plants brings life to the space. Signage: The brass backlit signage is fixed over the brackets on the facade.
The closed windows on the first floor are transformed into fixed glass windows enabling the source of natural light and also attracting the visitors by having a partial see through to the space.
Window Display 1 Window Display 2 Closed back window display
Fig. 2.8 Good Earth Facade
The arches are transformed into display windows by covering with glass which then functions as glass open back display window allowing to see through into the store.
Other Havelis
Threshold Staircase
Ground Floor Plan
Entry Fig. 2.9 Old Haveli Plan
Fig. 2.10 Adaptive Reuse into a store
Structural Member
These drawings indicate the transition of the spaces by the addition of interventions. The staircase and a structural member on the first floor are the only interventions made, thus keeping the essence of the haveli. 52
First Floor Plan Fig. 2.11 Additions done for the store
C. Store Layout The haveli previously functioned as a residential building which is now transformed into a concept boutique retail space on the ground and first floor. The store is not a merely retail space but also crafts a rich cultural experience through the room spaces. Each room of the haveli narrates a brand story with the products, display and branding strategies. Moreover, the identity focuses on the cultural context of the location and reflects the heritage elements through the design language. 1 2 3 4 5 6 7
Tableware Room: The store entrance opens up to the Tableware room where the table display in the space is inspired from the the stepwell- Tuwarji ka Jhalra and the color palatte is inpired from the Art Deco. The traditional terrazzo flooring with geomteric patterns compliments the space.
Tableware Room Storage Spa Room Display Window Cash Desk Home Furnishing Room Courtyard
Fig. 2.12 Ground Floor Plan
Fig. 2.13 Tableware Room
Fig. 2.14 Display
Fig. 2.15 Good Earth Facade
Open Back Window Display
Closed Back Window Display
Fig. 1.16 A-Ground Floor Part plan
Display Window: The room space is transformed into a closed back window display and cash desk area. It displays the beauty products on a circular gondola display system. The lantern lights (home decor) in itself is a display and also lightens up the display area.
Fig. 2.17 Closed back window display showcasing gondola display
Spa Room: The spaces reflects a hand painted wall and ceiling in Nathwada style by the traditional Pichhwai artisans. The wall fixed unique circular displays are designed for displaying soaps and the system is crafted in brass metal and textured glass covering on it. The other wall shelf displays beautifully merge with the surface finish and has lights fixed beneath the shelves for the products. The space is air conditioned by high wall AC units which are positioned such that they blend in with the interiors. These are further painted to blend in with the theme of the space.
Fig. 2.18 Spa Room
Circular wall display
Shelf detail with fixed light beneath
Courtyard: The ground and upper floor levels guide into an openair inner courtyard with an enticing forest motifs along with Rajasthani pichhwai paintings of nature and animals. The ceiling is covered with polycarbonate roofing material supported with a metal structure. The brand’s signature lanterns are hung from the ceiling which does visual merchandizing and also enhances the space. The space also provides a sensorial experience by it’s wafting incense aromas. The space offers tasting of the herbal tea and coffee for the visitors.
Fig. 2.19 Courtyard
Apparel Room Consultation Room Changing Room Storage Trellis
Fig. 2.20 First Floor Plan
Apparel Room: The space reflects Art Deco color palatte in surface finishes and materials. Every corner of the space is occupied by various displays by respecting the heritage elements and conveying to the another use. The ‘khadki’ have been used as display corners which are covered with wooden framed glass and thus adding value to the space. The khidki display in itself has an inbuilt display inspired from the step well, individually highlighting each peice of jewellery.
Fig. 2.21 Apparel Room
The swing is hanged from the ceiling with the support of additional structural member, in which the seating surface material has transparency depicting the minimalistic approach of design. The lantern lights are inspired from the city’s Sufi Festival, made from fabric. It connects to language of garments and represents elegance. The apparels are hanged in wooden apparel rack displays and has low heigh cabinets for the storage.
Fig. 2.22 Apparel Room
Khidki Display
Lantern Lights
Fig. 2.23 Apparel Room
Changing Room: The dark theme based changing room takes the inpiration from Art Deco period. The walls are are painted with geometric patterns and ceiling covered with painting. The flooring is covered with carpet with traditional motifs. The brass framed mirror element enhances the space.
Fig. 2.24 Changing Room
Consultation Room: The room has low light with a mood ambiance. The stone walls and the jali reconnects to the old structure and the seatings with traditional motif pattern upholstery of the city.
Fig. 2.25 Consultation Room
E. Visual Merchandizing
Fig. 2.26 Ground Floor Plan
Table Displays Shelf Display Rack Display Wall Display
Fig. 2.27 First Floor Plan
Fig. 2.28, 2.29 and 2.30 Table Displays
Fig. 2.31 Rack Display
Fig. 2.32 Wall Display
F. Elements Furniture: It is inspired from art decofurniture pieces which were a nod to the city’s famous Umaid Bhawan palace.
Fig. 2.33 Metal Furniture
Flooring: The floorings is achieved in Indian white marble and terrazzo which is city’s locally available material.
White marble Flooring
For adaptive reuse, the renovated flooring has been done in the same flooring type with geometric patterns.
Old Terrazzo Flooring
New Terrazzo Flooring
Fig. 2.34 Terrazzo Flooring
The air ventilation outdoor unit and DB is placed in the courtyard area and covered with a jali.
Fig. 2.35 Jali
Lights Fixtures: The use of adjustable track lights is observed in all the room spaces. These strip lights are used in Apparel room for the ambiance lighting .
Fig. 2.36 Strip Light
Fig. 2.37 Track Light
Murals: Marble, wood and Brass materials is observed in the spaces. The wall and ceiling murals are executed in the traditional pichhwai style by local craftsmen which add embellishment to a well-woven tale.
Fig. 2.38 Wall mural and hanging
Illustration of Mehrangarh Museum Shop
2.2.2 Mehrangarh Museum Shop Location
: Studio Lotus
Year of Completion : 2004 Area
: 2,550 sq.ft
The Mehrangarh Museum Trust is India’s leading cultural institution and center of excellence which was established in 1972 by the 36th Custodian of Marwar-Jodhpur, to bring the fort to life for tourists. The detailed research and an in-depth approach to adaptive reuse reveal the exquisite original structure of the Mehrangarh Museum Shop at the 15th-century fort while using design intervention to revitalize its business. This systematic evaluation the renovation and reinterpretation of a space inside the Mehrangarh Fort in Jodhpur that had previously served as a place that sells regional heritage items and memorabilia.
A. Location The shop is built in one of the India’s largest forts situated in Jodhpur, Rajasthan. It was built in 1459 which stands 410 feet above the city and is surrounded by towering thick walls. It is around 2 kilometers away from the main city of Jodhpur. There are many palaces within the walls that are renowned for their exquisite carvings and vast courtyards.
Fig. 2.39 Mehrangarh Fort Location
B. About the Site
Fig. 2.40 Mehrangarh Fort
The store rejuvenates the heritage structure entirely built from sandstone and locally available materials. It demonstrates the mystical rhythm of the colonnade of arches that connect the space altogether. It celebrates the craftsmanship of the local vendors and contribute to sustainable aspects. The material palatte comprises of the local sandstone, tempered iron, local rosewood and glass.
Fig. 2.41 Entrance and display sketch
Fig. 2.42 Exploration Sketch
The above sketches are exploration ideas for various kinds of display systems in the interior. The ideas revolve around free standing designs or minimal approaches, giving imporance and value to the heritage structure.
C. Store Interiors The approach towards adaptive reuse removes the modern day renovations done in the site over the years. The new interventions are minimal and contemporary display designs which enhance the space by its organization and design. The store’s floor and walls were stripped bare to showcase the original stonework’s quality and to give customers the feeling of walking through a “historical relic”. The store entance welcomes with a beautiful heritage structure. The entry to the space is from the multifoil arch with absence of doors and signage. The glance of the displays are allowed at the entrance point and welcomed by the green life, connecting to the nature. Fig. 2.43 Store Entrance
The site previously had several coats of limewash on the walls and the colonnade of arches that connected the space, there was exquisite stone texture and carvings that had already been covered up by the layers of paint applied over the years.
Fig. 2.44 Site before renovation
Fig. 2.45 Site before renovation
Old Display Area I: The old museum shop was covered with finishes and various materials which concealed the originality of the grandeur space. Different types of display systems were used in the space, covering the walls surfaces of the store. Display Area I: The space restores its authenticity by the removal of layers of finishes. The introduction of monotony by revealing the stone structure creates an interesting space. The display systems have minimalistic approach. They are free standing to avoid the surface contact in order to respect the historic building.
The transitional spaces are transformed into entirely open spaces by the removal of the door elements. Thereby, the arches demark the spaces. Prefabricated copper-clad cubes with pre-attached lockable glass shutters were inserted into existing stone niches to create spaces for valuable items such as jewelry.
Fig. 2.46 Old display Area I
Fig. 2.47 Display Area I
Fig. 2.48 Garments Display
Fig. 2.49 Niche Display
The cash desk area is replanned in the space. The mirror element is introduced in the cash desk to retain the continuity of the space.
Fig. 2.50 Old Cash Desk
Fig. 2.51 Cash Desk
C. Store Display The visual merchandizing is done in various ways in the store. The similar aspect of the display systems: minimalistic design and has minimum contact with the surfaces. Table Displays: All the table displays have consoled tabletops which are crafted from locally available sandstone. The structure is made in metal with black finish. Shelf Display: The shelf diplay have metal structure with black finish and locally sourced wooden shelf tops.
Fig. 2.52 Display Area
Customized Display: A minimal and simple modular display system is built by the local artisans. All the fixtures are mounted on expanding pressure rods with rubber mounting on either side, with accent lighting highlighting the architecture and product lighting. The entire design is done with the intention of not drilling a single hole in the walls or ceiling. Moreover, around the existing stone columns, special pressure clamps were created to keep the entire show in place without any structural elements damaging the old framework. With respect to the historic architectural buildings and monuments, specific limitations are followed to avoid the damage of the original structure.
Fig. 2.53 Display Area II
Fig. 2.54 Display Structure
Fig. 2.55 Display Area II
Illustration of Tianu Project
2.2.3 Tianu- The Revival Project Location
: Studio PKA
Year of Completion : 2020
“ The Revival Project speaks of a desire to recover and respect the past, an ode to architectural heritage in Mumbai” - Puran Kumar
: 4,000 sq.ft
: Heritage Structure
Tianu is a handcrafted and contemporary teakwood furniture design brand. The brand intended to relocate from their current location to a new location to define the sensibilities as furniture designers, art connoisseurs, and strong supporters of the city’s architecture and heritage. Studio PKA viewed Tianu as an opportunity to efficiently refurbish a space inside a heritage framework – which further helps restore and is commercially sustainable while acknowledging the value of preserving the remains of a bygone period. Since the building was devoid of a connect with the street, a vital intervention was access to the store. Adaptive reuse of obsolete and abandoned spaces inside the heritage precinct can efficiently rekindle an infatuation with the past. By reactivating a vacant corner of Ballard Estate, the store aims to inspire businesses to participate in reusing and restoring historic buildings within the neighborhood rather than depending on the ‘modern.’ Tianu – The Revival Project is a revival for both the room it utilizes and the context in which it exists.
A. Location It is situated in South Mumbai Victorian-era house in Ballard Estate. This area is Mumbai’s original central business district. Although Ballard Estate exudes grandeur, the precinct has lost its lustre over time. Despite being in excellent condition, most houses are empty and deserted, although glass spires sprout up in some areas of the city to take their place. New innovations and building improvements, on the other hand, affirm the desire to inhabit spaces within the city. The surrounding buildings in Ballard Estate are commrcial along with government and corporate offices.
Fig. 2.56 Tianu Location
Fig. 2.57 South Mumbai Map
B. About the Site Ballard Estate is a business district in Mumbai. It is an iconic are known for European Renaissance style Grand Hotel and Port houses.
Fig. 2.58 Ballard Estate Location
Fig. 2.59 Old Ballard Estate
Fig. 2.60 Old Feltham House Exterior
Fig. 2.61 Tianu Exterior
In order to respond to the needs of the client and respect the nature of the space, minimal interventions have been carried out. Adaptively Re-Using old and defunct spaces within the heritage precinct could effectively rekindle a tryst with the past.
Fig. 2.62 Old Entrance
Fig. 2.63 Old Entrance
Fig. 2.64 Store Entrance
On the removal of plaster, the arched entrance is discovered and renovated. The classical arched entrance and windows are redesigned to restores the heritage elements.
Fig. 2.65 Old Window
Fig. 2.66 Old Window
C. Store Layout
1 Retail Floor Space 2 Cabin 3 Huddle Area 4 Pantry 5 Toilet Fig. 2.67 Ground Floor Plan
Entrance: The frontage encourages the visitors, potential buyers, and also enables the street by serving as a virtual extension of the pavement outside – through the wood and glass vestibule which juts inwards and encourages elements of the shop to percolate out.
Fig. 2.68 Store Entrance
Retail Floor Space: The store boasts of an open floor plate that extends from the entrance till the cabin at the back. A screen is located under the mezzanine which divides the retail space in two and inevitably indicates a separation.
Fig. 2.69 and 2.70 Retail Floor Space
Fig. 2.71 Retail Floor Space
The cement board partition is designed as a versatile intrusion which serves as a backdrop for art and furniture while still restricting and allowing visual access to and from the store’s entrance through louvres.
Fig. 2.72 Retail Floor Space
1 Workspace 2 Huddle Area 3 Store Room 4 Loft Area 5 Retail Floor Space below 6 Dinning Fig. 2.73 Mezzanine Floor Plan
The space acquired double-heighted open floor plate which was interjected by a low-height mezzanine, boarded-up arched fenestrations and no connection to the street. Mezzanine: The mezzanine is retained and used as the workspace - The interplay of levels within a heritage structure adds to the character of the space – an insert that breaks the homogeneity of a single plane. On the whole, the insertions respect the space for what it was.
Fig. 2.74 Mezzanine Area
Huddle Area: The space is equipped with a simple material palatteterrazzo tiles flooring, wooden furniture and storage cabinets, glass windows for partial see through from the meeting space and wooden louvres covering the ceiling and thus hiding the services.
Fig. 2.75 Huddle Area
Display Area: The space offers a neutral color and material palatte with exposed concrete ceiling, kota tiles and wooden furniture. The printed upholstery and tint of yellow color in cushion covers and paintings brings a spark into the space.
Fig. 2.76 Display Area
Huddle Area
Retail Space
Retail Floor Space
Fig. 2.77 Section AA’
Retail Space Fig. 2.78 Section BB’
Mezzanine level walls repainted Exisiting partitions demolished to open floor space
Mosaic tiles retained in mezzanine level Plaster removed to expose brick walls on ground floor
Doors bolted and blocked from inside
Fenestrations opened up to enhance quality of space
Shuttering and brickwork demolished to facilitate new entrance
Mosaic tiles striped off the ground floor level
Fig. 2.79 Transition of the space- Axonometric Diagram
Summary The study of the sites with different approaches of adaptive reuse are recognised. The purpose and the method of approach are:
Good Earth Store
Mehrangarh Museum Shop
Tianu: The Revival Project
Victorian Era House
Intervention
Intervention Installation
Building Type
Haveli Purpose
Restoration Strategy
Intervention Insertion
A world where ancient wisdom is infused with modern aesthetic. — Howard Schultz,
Case Studies
Brand- Forest Essentials 3.1.1 Brand Introduction 3.2.1 Juhu Store 3.3.1 Lulu Mall 3.4.1 Jodhpur Store
3.1.1 Brand Introduction
Fig. 3.1 Forest Essentials Logo
A. About the brand Industry Wellness and Cosmetics Founded 2000 Headquarters New Delhi Presence India, UK, UAE, US, Australia
Forest Essentials is an authentic and conventional skincare brand founded on the ancient science of Ayurveda in year 2000, India. As a founder of Luxurious Ayurveda, it has flourished into the quintessential brand of Indian beauty, fusing ancient Ayurvedic beauty traditions with a contemporary, modern style for an essential element on efficiency, multisensory experience, and delight of use. The brand believes in an ecologically conscious environment, women’s economic empowerment and social contribution. They are certified clean and cruelty free beauty. Their products are Ayurvedic-certified and influenced by Ayurvedic preparations. Forest Essentials was created as a tribute to Mother Nature. The brand brilliantly combines a traditional Indian Ayurveda philosophy with luxury and produces cosmetics, that are organic and super effective.
“ A world where ancient wisdom is infused with modern aesthetic.”
2 Fig. 3.2 Forest Essentials Logo
The company’s logo is composed of a wordmark and an emblem above it. The gold and white color scheme of the company’s visual identity is a reflection of elegance, beauty, and splendor. It makes the logo look high-end and evokes a sense of quality and effectiveness. 1. The recognizable brand’s icon features a fine image of a tree, enclosed in a circle. According to the company, it is a Tree of Life, which symbolizes the Law of Nature and the fact that all life on our planet is related. It is a perfect graphical representation of the organic cosmetic’s brand essence and purpose.
Fig. 3.3 Tree of Life
2. The typeface is very elegant and has its serifs distinct and elongated, creating a timeless sense of classic design. The bottom part of the inscription contains “Luxurious Ayurveda” lettering, which is also in all-caps but executed in a clean and thin sans-serif typeface, which adds a modern and strong feeling to the logo, accenting on quality and progressive approach.
C. Color Palatte
Fig. 3.4 Forest Essentials Brand Color
Fig. 3.5 Forest Essentials Festive Color Palatte
The brand label colors are inspired from the semiprecious stones which were significantly used to make the pietra dura inlays namely – jasper, carnelian, and topaz – and contribute to the brand’s luxury.
D. Design and Packaging The brand identifies itself through Indian heritage via a series of illustrations on the special product collections which are directly influenced by decorative artworks of Mughal. These were especially the pietra dura marble inlay works depicted on well-known Mughal-era Indian monuments such as the Taj Mahal, Humayun’s Tomb and the Red Fort.
Fig. 3.6 Mughal Motifs
These Mughal decorative motifs indicate luxury, opulence, and relative wealth. The use of such Mughal aesthetic helps the brand interact with attributes such as persistence and rituals, which, as Lena Fäustle and Kate Lottridge pointed, are “components of heritage which make a brand rich with elements of the past and relevant to the context of the present and future.”
Fig. 3.7 Brand Identity
Fig. 3.8 Mughal Motifs
A signature of the Kampani Kalam work of art, the section of the house dedicated to women, in royal India. In an era without cameras, the Company style of paintings captured daily life of India with its beauty, realism, and perspective. This curation encapsulates handpicked essentials.
Women of the Zenana
Fig. 3.9 Product Packaging
As featured in “Oriental Memoirs” by James Forbes, the renowned illustration on this gift box is of the Indian Nightingale bird, Bulbul, perched on the Custard Apple tree. Indian plants were a subject of great interest for their medicinal and therapeutic value, in addition to their vivid beauty in the field of art.
Indian Nightingale
Fig. 3.10 Product Packaging
It captures the vivid depiction of men and women on a bare background engaged in crafts and occupations, group dances during festivities, and religious processions.
Group of Dancers
Fig. 3.11 Product Packaging
E. Brand Personality
Made in India
F. Product Range The brand was launched in India and now has its presence globally. Despite of their physical presence, they also ship the products in Europe and some other countries.
Fig. 3.12 Product Range
Fig. 3.13 Product Collection
The natural skincare and hair care products promote the Ayurvedic philosophy with a holistic approach. The beauty care is desired, with only naturally distilled pure essential oils, pure cold pressed, organically grown vegetable oils, and plant extracts using it in skin applications. In the union of their herb products, oil recipes, and Vedic remedies, they use old Ayurvedic formulations from scholars. It is then interspersed with an interpretation of a contemporary biochemist’s point of view to produce goods with a background of India’s oldest science yet delivered in an easy-to-use format. Their products are broadly divided into four categories: Haircare, facial care, body care, and wellness. Fig. 3.14 Product Range
G. Brand Presence The brand was launched in India and now has its presence globally. Despite of their physical presence, they also ship the products in Europe and some other countries.
Flagship Store
India UK UAE US Australia Fig. 3.15 Brand presence globally
Heritage Building
Forest Essentials Juhu Store Location Mumbai Designed by Design by Meta Year of Completion 2013
3.2.1 Site Location The store is located at street facing shop situated in an apartment building site at Juhu, Mumbai.
Fig. 3.16 Store Location
Fig. 3.17 Store View
3.2.2 Plan The store plan reflects a mirror geometry following a loop-store layout with displays and engagement throughout the circulation pathway. It has two separate openings for entry-exit. Moreover, it has a C-type banquet seating in the between space of the openings. The retail space is segregated into: • Display Area • Seating Area • Cash Area • Storage Space • Wash Area
Fig. 3.18 Store Plan 1 2 3 4 5 6 7
Entry/exit door Display window Mirror Panel Display Window Banquet Seating Table Display Artwork Display Panel Display Case I- Dark Wood Finish
8 9 10 11 12
Cash Counter Display Case II- White Duco Finish Wrapping Desk Toilet Store Room
3.2.3 Facade The store façade has an elegant design with intricate details and lighting. The signage area is cladded with grey marble and the backlit brass logo. The central part- display area has glass displays with mirror panel in the background
Fig. 3.19 Facade
Fig. 3.20 Store Elevation 1 2 3 4 5 6 7
Grey Marble Cladding Brass Signage Glass Wooden Door with glass panel Display Windows Display Windows with back mirror panel Black marble sill
3.2.4 Entrance The store has two different doors for entry and exit with wooden and glass traditional doors. The doors have glass display windows with mirror panel on the either sides and the central display windows have laminated glass with gold leaf work wooden frame.
3.2.4 Furniture
Fig. 3.21 Furniture Plan
1. Banquet Seating: The C-type banquet seating is aligned to the central space of the store. The upholstery is neutral in color.
Fig. 3.22 Cash Desk Plan
2. Cash Desk: The cash desk is designed at the centre of the store in wooden traditional table and classic wooden chair. Fig. 3.23 Cash Desk Elevations
Fig. 3.24 Section I details
2. Wooden Jali Work: This decorative intricate work is achieved on wood and finished with cream duco. This Jali design acts an partition to conceal the sevice units and thus allowing the AC ventilation air to circulate through the jali punctures. 99
Fig. 3.25 Section II details
Forest Essentials Lulu Mall Location Kochi Designed by Design by Meta Year of Completion 2015
3.3.1 Site Location The store is located in a corner shop situated on the ground floor of the shopping mall in Lulu, Kochi.
Hypermarkets Lulu Celebration Area Brand Stores Forest Essential Store Fig. 3.26 Lulu Mall ground floor plan
Fig. 3.27 Lulu Mall
3.3.2 Plan The store is well designed, following a loop-store layout. The entire store walls are surrounded with displays, creating an engagement throughout the circulation pathway. The central area of the space offers a seating area alongside display tables. The cash counter is free standing in the core of the store. The retail space is segregated into: • Display Area • Seating Area • Cash Area • Storage Space • Back Office
Fig. 3.28 Lulu Store Plan 1 2 3 4 5
Entrance Octagonal Banquet Seating Table Display Consultation Table Display Case I- Dark Wood Finish
Display Case II- White Duco Finish Artwork Display Cash and Wrapping Desk Back Office Storage Area
3.3.3 Facade The design of the facade is simple and minimalistic with the brand signage board placed on the top with a backlit brass signage. A section of the store front has mirror glazing for the transparency of viewing the displayed products.
Fig. 3.29 Store Entrance
Fig. 3.30 Facade
1 2 3 4 5 6
Artwork Display Table in dark brown finish Backlit Brass signage Structure Column Lightbox Octagonal Banquet Seating
Entrance: The store has a center-based open entrance with lightbox displays on either sides. It is aligned with the cash desk and a central octogonal banquet seating for the visitors. 105
3.3.4 Furniture
Fig. 3.31 Furniture Plan
1. Cashdesk: It is placed at the centre of the store which has a central cash desk and wrapping desks on the either sides. It is a traditional table with dark wooden finish and wooden details.
Fig. 3.32 Cash Desk Elevation
Fig. 3.33 Cash Desk Plan
2. Seating: It is a traditional octogonal banquet seating with dark wood finish and exclusive upholstery. It is placed in the central area.
Fig. 3.34 Banquet Seating Plan
Fig. 3.35 Banquet Seating Elevation
Fig. 3.36 Section I Detail
Branding These stores are a modern and experientially rich spaces with Indian craftsmanship, albeit with a modern twist. To store environment has aesthetic vocabulary with classical detailing and Indian heritage theme incorporated. The interiors reflect redolent of beauty, a rich heritage, luxurious yet modern, ornamental, and contemporary designs. It portrays the Indian modern Shish Mahal which adds the value and personality to this deeply rooted Indian brand.
Fig. 3.37 Juhu Store
Fig. 3.38 Lulu Store
A. Visual Merchandizing The Forest Essentials stores have a style reminiscent of a 1970’s cosmetic showroom with thick, white and dark brown finished shelves inset in minimal wall niches set on low counters suspended a few inches above. Wood with both dark brown and cream polish alternate to evoke both richness and a light, modern sensibility against a limited, disciplined color palette that includes gold, black, and aqua accents. The display cases have crown mouldings and fixed lighting underneath the shelves for highlighting the products. Mirrors are placed behind the shelves for additional light illumination which enhances the customer experience.
Fig. 3.39 Lulu Store Visual Merchandizing
The light boxes are informative. It conveys scientific p r o d u c t information. For example, use and benefits of saffron, sandalwood, cinnamon etc.) 110
Fig. 3.40 Juhu Store Visual Merchandizing
Fig. 3.41 Case Display Detail
Table Displays: There are various wooden traditional tables placed all over the stores for product display. These significant circular tables have marble tops and sinks placed with fountain water dispensers in the central space. These are designed as the brand caters to the relative products.
Fig. 3.42, 3.43 and 3.44 Table Displays
B. Surface Finishes Walls and display cases are given baseboards, chair rails, crown moldings, and strict symmetry throughout the plan, imparting a new sense of calm and order. The mirror and reflected light is an important theme in the stores. The dropped ceiling, disco era feeling, and 19th-century chandelier represents mixed emotions. The marble patterned floors that get reflected in the mirror-work ceilings endows the space with an ornamental feeling that, when combined with the ‘stained glass Jali work gives the space a formal, clean, yet very decorative feeling.
Fig. 3.45 Juhu Store environment
Fig. 3.46 Lulu Mall Store environment
C. Light Fixtures The stores have warm downlight on the ceiling for the ambiance and a chandelier. It is placed in the central area of the store. The 19th century chandelier is retained from the former space and forms a suitable surrounding.
Fig. 3.47 and 3.48 Chandelier
D. Elements Art Works: The Forest Essentials brand culture is further developed with a series of photographs printed on canvas. These depict traditional ayurvedic beauty rituals and are mounted like oil paintings in niches amidst the architectural framework that holds the company’s products.
Fig. 3.49 Printed Canvas
Forest Essentials Jodhpur Store Location Jodhpur Designed by Architecture Discipline Year of Completion 2017 Area 750 sq.ft Original Structure Residential Building
3.4.1 About the Site Tunwarji Ka Jhalra, an overlooked stepwell in the heart of Jodhpur, was covered with muddy, stagnant water up to ground level. The historic building and its surroundings are currently boldly refurbished and redesigned as a burgeoning cultural boulevard in the city. Advancing towards the Stepwell square in the old city of Jodhpur one comes across the most prominent building of the JDH Urban Regeneration program. A minuscule and congested residence-turned-retail space. This project in Jodhpur is a residence turned retail space by adaptive reuse of conventional old city structure. The ideology which drives this project has a central vision of marrying 18th-century architecture with 21st-century elements to construct an unrivalled visual experience.
Fig. 3.50 Existing Residence
3.4.2 Site Location and Context The site is surrounded with residential and commercial buildings. It is situated in the heart of the city.
Fig. 3.51 Store Loaction
Toorji Ka Jhalra A stepwell which holds a historic value in the city built in 1970’s by the queen. It is believed and age old tradition, where women built the public water works. Fortunately, this well was sunk and obstructed for decades and recently cleaned, drained and restored by urban regeneration project. The excavations went down over 200 feet to discover hand-carved treasures in Jodhpur’s renowned rosered sandstone. 116
Fig. 3.52 Toorji Ka Jhalra stepwell
Fig. 3.53, 3.54, 3.55 Existing site surroundings
3.4.3 Layout Plan
Fig. 3.56 Ground Floor Plan
1 2 3 4 5 6 7 8 9
Entry Product Installation Linoleum Floor Finish Mirror Display Product Display Point of sale Spiral Staircase in Gold Stepwell Plinth CORTEN Steel Cladding
10 11 12 13
Stepwell Model in brass Consultation Table Skylight above Gold Profile on Glazing
Fig. 3.57 First Floor Plan
The store is designed in the entire space of the historic building wherein it is distributed on the ground floor and the first floor, connected by a spiral staircase. The site is respected while positioning of elements and circulation of the space and is efficiently done. The displays and the elemets are balanced between the two floors.
3.4.4 Signage Two kinds of signages are showcased in the building. On the exteriors,overhanging flex banner signange (forming a chhajja) with the logo printed on the fascia is used. This kind of signage helps in retaining the aesthetics of the building. The other type of signage is brass logo situated on the entrance wall at the eye level.
Flex Banner
Flex Banner Brass gold Signage
Fig. 3.58 Store Elevation
Fig. 3.59 and 3.60 Brass Signage
Fig. 3.61 Painted logo on arch window
Fig. 3.62 Forest Essentials Jodhpur
3.4.5 Facade
Entry Red Stone Cladding Product Display Window Gold profile on Glazing Stone Railings Mumpty Fig. 3.63 Store Elevation
A. Facade Railing The northern facade is covered in railings of Corten steel on first floor and terrace. It is used due to its ageing property and color similarity as of the sandstone. The metal is chosen specifically to change appearance over time, enabling the building to adapt to the changing weather conditions and climate. A Brazilian flame creeper climbing the facade brings a pop of elegance to Fig. 3.64 Corten Steel Railing the metal scrim. In this way, it retrieves the character and aesthetics of the old building. Stone jali (meaning fencing or netting) or stone lattice works date back to the Mughal period. Jalis are found in Fig. 3.65 Stone Jali almost all ancient Indian architecture. Its purpose is to give in to the wind, allow B. Entrance the free flow (circulation) of air, and bring in light. It is traditionally done by stone carving, a sculpting technique. The entrance to the store is from the multifoil arch, leveled above the ground floor. The entrance wall is adorned with the brass logo, welcoming table with product displays of new arrivals and fresh flowers. The either side of the entrance is multifoil arch window display. Fig. 3.66 Entrance
C. Surface Finishes • Wall and Ceiling Finish The interior takes its inspiration from Art Deco and exaggerates color palette and proportions. The interiors are adorned in a pastel green color from the brand’s festive catalog.
Fig. 3.67 Ground Floor Interior
Rather than the standard khaki and gold, this store features an elegant blue and gold color scheme, paying tribute to the Blue City.
Fig. 3.68 Jodhpur- Blue City
Fig. 3.69 and 3.70 Festive Product Packaging
• Flooring The entire floor of the store is designed in hand-cut and wax-polished linoleum, an adaptation of an antique mosaic-inspired flooring pattern, incorporating brass accents breaking the floor into modules.
Fig. 3.71 Linoleum Flooring with brass inlay
Fig. 3.72 Entrance of the store
Linoleum is a modern type comfort flooring which comprises of resilient material. This flooring provides a bouncy yet cushioning effect while walking.
D. Display System and Storage The displays are an integral part of the the retail spaces. Different types of displays are observed in the store, each crafted beautifully and minimalistic in design. The product display system is more than an apparition than a display mechanism. The exhibit becomes more interactive than a standard shelving system due to its ability to be physically maneuverable. The mechanisms are gold-painted which stands out against a pastel green background, the wall finish color. Types of displays in the store: • Shelve Display System • Window Display System • Table Display System
Fig. 3.73 Ground Floor Plan indicating display areas
Product Installation Window Display Shelf Display Table Display Fig. 3.74 First Floor Plan indicating display areas
Fig. 3.75 Ground Floor Display area
Fig. 3.76 Ground Floor display area
Entrance Door Topical Display Arched Window Stone Display Fig. 3.77 Section
Shelve Display System The system has a minimalistic design approach. It is entirely made of metal and gold brass finishing. The metal shelf tops are bent underneath for inbuilt lighting for product focusing lights. Underneath the shelving system, closed shelf cabinets are placed for storage of the stocked products. The tops of the cabinets are also utilized for the product displays.
Fig. 3.78 and 3.79 Shelf Display system
Metal Brass finished rod
Metal weilding Joinery Metal shelf top
Light Fixture Detail The metal sheet is bent at an angle-hiding the light fixture Bevel Edge Detail
Storage Cabinet
Fig. 3.80 Shelf Display and storage detail
Fig. 3.81 Table Display with mirror installation
Table Display System The circular table display is built from metal coated with brass finish. It is mainly a mirror display, focusing on the products. The mirror frames are significantly designed which merges with the store element design.
Fig. 3.82 Table Display
Fig. 3.83 and 3.84 Table Display with mirror installation
Window Display System The arches and arched windows are utlized for various kinds of displays. These are entirely covered with glass and decorated with gold painting.
Fig. 3.85, 3.86 and 3.87 Window Display
E. Windows The arched windows are adapted as shop windows with an added glazing etched in a similar arch, which is achieved by the vernacular gold painting technique of Jodhpur. The arches inscribed as gold paintings on glass complement the existing arches’ form. The use of glass for arched windows and articulation is also another means of blending modern and traditional architecture. Even though the material is contemporary, the painter has granted it an adaptive importance. The branding and signage on the show windows make use of the age-old vernacular gold painting techniques of walled city of Jodhpur.
Fig. 3.88, 3.89 and 3.90 Gold paintings on windows
This painting technique gained prominence during the mediaeval era. Gold. They are differentiated by bold lines, precise detailing, the use of fine brush strokes, and the use of gold colors, which effectively draw the attention of every viewer
F. Lights and Fixtures The entire store has warm lighting with track lights and hanging light fixtures. The handcrafted technical track lights sculpted in brass, with a retro and vintage look, are a relic of a bygone era. The glass hanging lights are beautifully crafted with intricate design.
Fig. 3.91 Vintage Brass Tracklight
Fig. 3.92 Vintage Hanging Light
E. Furniture The furnitures are a modern twist on Art-Deco kitsch, using velvet and suedes adding a plush feel to the space. The structural frameworks of the furniture are extravagantly crafted from brass and gold.
Fig. 3.93 Consultation Table and Chair
Fig. 3.94 Bench
Point of Sale Fig. 3.95 Ground Floor Furniture Plan
Consultation Table
Fig. 3.96 First Floor Furniture Plan
G. Elements Staircase: The dramatic brass metal spiral staircase leads to the upper floor of the retail outlet. Spiral staircase were often used in historic buildings, due to compact spaces.
Mumpty Stone Railing
Working Model Stepwell Topical Display
Product Display Fig. 3.97 Section
Fig. 3.98 and 3.99 Staircase Detail
The staircase is very elegant and attractive element of the store. It is designed efficiently with the least details and crafted in metal with brass finish over it. Every part is connected by weilding method. 134
Model Installation: The wooden installation of the iconic heritage stepwell of Jodhpur has been placed in the center of the space. It adds the value of heritage culture of the city and enhances the richness of the store with its presence.
Fig. 3.100, 3.101 and 3.102 Wooden Stepwell Insallation
Mirror Element: The mirror is placed on the either side of the store on the plain wall. It enhances the store with reflection of the lights and makes the space appear enormous.
Fig. 3.103 Ground Floor Area
Artworks: These artworks are inspired from nature which associates with products and their origin.
Fig. 3.104 Product Packaging Installation
Fig. 3.105 and 3.106 Paintings Display
3.4.6 Observations
Mall & High Street Store
Historical Building
These stores follow loopstore layout with the store walls surrounded with displays and cash desk stationed in the centre. In the Juhu store, the plan reflects a mirror geometry.
The layout is distributed on the two floors of the building with the balance of elements. Each floor follows a loop store layout and the central space is designated to the mirror display and model installation respectively.
The signages are located on the top side of the facade with brass backlit logo on plain sufaces.
The flex banner signage is used in the exterior of the building. The purpose to use this kind of signage is to retain the aesthetics of the heritage site. Moreover, it is placed on the first floor and ground floor. The brass logo is placed at eyelevel on the entrance wall of the store.
The comparitive analysis of the above case studies to understand how differently the brands reflect their identity in historic buildings with respect to various aspects.
Facade Surface Finishes 138
The stores have minimal and elegant store fronts. The elements contributing in the facade are: • Signage • Window display • Light box • Display Tables • Artwork
The facade is the architecture of the building. The intention is to avoid any damage to the existing building. The arched window and arches are adaptively reused as display windows.
The stores inherits the core brand identity through the color scheme and materials. The finishes and the wall cladding are a common aspect which complements with the language of furniture.
The space represents Art-Deco in a contemporary modern by exaggerating colour schemes and proportions. The design scheme reintroduces brass and gold which are inherent to Art-Deco and associated with the traditional interior finishes of Jodhpur.The palatte consists of pastel green- a color from festive range catalogue. The ceiling and wall are monotonously painted in same color while the flooring is done in mosaic geometric pattern with the use of modern techniques.
There are three types of displays: Shelf display, table display and window display. The wooden cabinetshelf displays with different finishes are spread throughout and enclosed with walls. Similarly, closed wooden storage cabinets are designed at the bottom of display cases.
There are three types of displays: Shelf display, table display and window display. They have minimalistic and simple design approach with brass finishes. The arched windows and arches functions for visual merchandizing. The purpose of this of approach aims to unhide the architecture while adaptively reusing it.
Visual Merchandizing
Furniture Light Fixtures 140
Traditional types of furniture are placed in the central space of the store. Banquet seatings are designed with wooden structures and covered with classic upholstery. The cash desks are antique and dark polished.
The furniture is simple, elegant and minimal. The seatings are cushioned in velvet and and metal structure is brass finished. The tables have either metal or marble top surfaces with metal brass finished structures.
The stores have warm lighting and downlight fixtures fixed in the ceiling. The central spaces are emphasized by the placement of the chandelier.
The store has warm lighting with handcrafted antique brass and glass light lamps with an amalgamation of modern track light system. This method of lighting allows minimal occupying of ceiling space.
Several paintings are framed for the artworks which are figurative, represent the Indian identity and narrate a story.
The artworks are displayed through the installation of product packagings and paintings inspired from nature and its elements. It significantly depicts the origin of the products and its purity.
Material and Color Palatte
Beige Color
Dark Brown Finish on wood
In Cream Duco Finish on wood
Pastel Green Color
This research analyzed how retail brands reflect their identity while adapting historic spaces as retail spaces. Understanding the value of heritage buildings and adaptive reuse approaches is critical in the evergrowing retail industry. In the space-building elements of the retail industry, brand image and touchpoints are crucially significant. In the detailed retail design, several criteria describe the spaces and elements: brand identity, brand image, and strategy. In addition, these elements convey the customer experience. The first chapter of the thesis gives an understanding of the role of retail design along with the importance of brands and branding. The study of brand identity reflected in the functioning of retail space and thus, it is a governing factor. The strategies impact in various ways, as it creates an image of the brand in customer’s mind. Moreover, the brand environment of the retail space is responsible to create a unique experience for the customers. The objective purpose is to protect, preserve and identify the conceptual and heritage significance of the building with adaptation and accommodate the new function to the building. Diversifying the lifespan of a building from “cradle to grave (CTG)” to “cradle to cradle (CTC)” is strengthened by preserving all or the maximum fundamental elements of the building and as many other elements as feasible. Adaptive Reuse enables the modernization and reconstruction of historic architecture. Additionally, the adopted measures address the purpose of brand and consumers, while still being compatible with the existing structure. The case studies have different approaches for branded environments in heritage buildings. The brands narrate stories by involving organizations, culture, influencers, and customers which builds their image and value. Retail brands consider historic buildings as an asset and a way to construct a specific brand identity rather than focusing on its limitations. Creation of a unique experience is established in a brand like Good Earth with its presence already there in multiple cities. Being situated in a historical building can make the offerings more ‘authentic’ and evoke the 144
customer’s emotional experience. As seen in the case study of Good Earth, the brand takes the opportunity to create a concept boutique store. The site provides the advantage of crafting experiences through the rooms. Retail brands around the world now have been increasing their focus on sustainability over the years. The responsible brands (such as Forest Essentials, Good Earth and many more) are adaptively reusing the historical spaces and creating a new identity of the brand. Through this approach, the brands outshine and create a strong presence in the retail world. The reuse of historical buildings for retail advances the viability of historic centers and stimulates urban regeneration as well. In the case of Mehrangarh, the store revitalizes its business through the purpose of Adaptive reuse. For retail reusability in historic structures, the correlation between the adopted interior design of the brand and the existing historic architecture is fundamental. The adaptive reuse approach relies on the building’s ‘cultural identity. The redesigned building is considered as a “comprehensive framework” for the brand. Through the studies, it is identified that every location is unique and therefore the framework cannot be repeated owing to the specific attributes established with space and time. History reveals the perceptions, understandings, and experiences which define characteristics of the culture and contribute to the veracity of places. Therefore, it is key and critical to understanding the site environment in such a way that design specific assertions are revealed as inspiration for alteration. However, the mall and high street stores retain the brand identity and the continuity as factors remain constant. With comparitive analysis of brand chain stores and historical space, excluding the store layout and VM, all the factors are inconsistent. The design approach in historical space is aligned with the building type, location context and branding strategy. The brand reestablishes the historic elements by the new functions and build an identity. It also attempts to connect with the context emerging from the roots.
For instance, organizing a display installation is also inspired from the stepwell, the inclusion of stepwell model in the interiors and gold painting techniques on the glass. The traditional practices are brought into use. Store Type
Mall and Highstreet Store
Backlit brass signage
Signage, Window Display, Lightbox, Diplay Table, Artwork
Loop store layout
Historical Space
Brass logo and flex banner signage
Signage and Artwork
Surface Finishes
Shelf display, table diplay and window display
-Color Palette: Traditional and cream and dark wooden brown -Ceiling: Reflected surface -Flooring: Marble
-Color Palette: Simple metal pastel green and furniture gold -Ceiling: Painted ceiling -Flooring: Linoleum
Light Fixtures
Material Palette
Ceiling downlight fixtures
Wood, glass, mirror, marble, brass, fabric
Canvas prints
Linoleum, glass, mirror, marble, brass, velvet
-Paintings -Package Installation -Wooden Site Installation
Reflection of Art Deco characteristics in space 1. Strong use of geometric patterns, mainly triangles 2. Mosaic Tiles
Flooring 3. Use of lines
Display System 4. Bold color palette (use of one or two hues)
Finishes 5. Hard edges and rectangular shapes
Display System 147
6. Stylized Florals
Light Fixture The Jodhpur store creates a unique identity from the chain stores of the brand. It establishes the concept of Art Deco and reflects its characteristics in the spatial design. By this conceptual approach, the store deviates from the brand’s identity and thus the design elements are inconcistent and store specific. Approach Advantages Brand
•Through adaptive reuse of historic spaces, it allows brand to push their boundaries for creating a unique experience. • They promote the cultural aspects of the surroundings which build a narrative and strengthen the brand identity. • They set a distinct position in the retail market by taking this opportunity.
Adaptive Reuse
• It enhances the significance of the building by conserving and preserving the site. • It attracts and encourages the tourism.
Location/ Context
• Contributes in the development of Urban regeneration program. • It promotes the local crafts and locally sourced materials. It also benefits the craftspeople and artisans.
This research can be concluded that the historical spaces allow the brands to adaptive reuse and establish an importance by giving a new identity. Additionally, the brands took the initiative to derive a new concept and deliver a unique experience. The historical space transforms completely reestablishing a new purpose. The established brands outstand and afford to be experimental in creating varied spatial experiences through adaptively reusing the historical spaces.
Bibliography Websites: Architecure Discipline | Project. (2019a). Www.Architecturediscipline.Com. architecturediscipline.com/project/forest-essentials
https://www.
design/ What is the Brand Identity Prism?: Nugno Blog %. (2019, December 16). Retrieved from https://bynugno.com/blog/what-is-the-brandidentity-Francis, A. (2018, January 25). Elements of Retail Store Interior Design. Retrieved from https://www.mbaknol.com/retail-management/ elements-of-retail-storeinterior Green Goose Design. (n.d.). Forest Essentials. Retrieved May 11, 2021, from https://www. greengoosedesign.com/contact.php http://www. I ivem int.com/ Money /01 TUYYSxE Bh U9m Fvd Kk3 NO/Heritage-bu i Id i ng s-a regetti https://cdscandoit.com/your-brand-as-it-relates-to-the-retail-environment/ ng-a-facel ift-for-modernday-use.html Pisano, F. A. B. I. O. (2017, July 12). Archetypes in branding: How to build a consistent archetypebased brand strategy | Thinking | Landor. Retrieved April 18, 2019, from https://landor.com/thinking/ archetypes-in-branding-how-to-build-a-consistent-archetype-based-brand-strategy prism/ Sheehan, A. (2017, February 15). 8 Ways to Incorporate Brand Identity Into Your Retail Store. Retrieved April 23, 2019, from https://www.shopify.com/retail/8- ways-to-bring-brand-identityto-life-in-your-retail-store Studio Lotus. (n.d.). Mehrangarh Museum Shop. Retrieved May 11, 2021, from https://studiolotus.in/ showcase/mehrangarh-museum-shop/65 Studio PKA. (n.d.). Tianu the revival project. Architectandinteriorsindia.Com. Retrieved May 10, 2021, from https://www.architectandinteriorsindia.com/projects/10843-tianu-the-revival-project-bystudio-pka The Impact Of Culture On Branding. (2016, August 29). Retrieved from https:// Websites:www.brandingstrategyinsider.com/the-impact-of-culture-onbranding/#Xp4NG8gzZPZ
Unpublished Thesis: Aastha W.(2014). Adaptive reuse of heritage sites into neemrana non hotels-the design strategy. (Undergraduate thesis). Cept University, Ahmedabad. Ghatwai, V.(2020). Consistency in Inconsistency: design approaches to branded environments. (Undergraduate thesis). Cept University, Ahmedabad. Panchal, K. (2019). Reflection of brand personality in retail store environments. (Undergraduate thesis). Cept University, Ahmedabad. Soni, N. (2018). Interface : an inquiry into factors influencing design of retail store facades with context to it’s consumer positioning. (Undergraduate thesis). Cept University, Ahmedabad.
List of Figures Chapter 01 Fig 1.1 to Fig 1.2 Fig 1.3 Fig 1.4 Fig 1.5 Fig 1.6 Fig 1.7
Illustration by author https://in.pinterest.com/pin/43417583895141421/ https://in.pinterest.com/pin/40743571599298421/ https://www.unibox.co.uk/news-inspiration/7-Types-Of-WindowDisplay http://www.imcorp.jp/jmss.asp?iid=28523159&cid=8 https://www.dreamstime.com/hugo-boss-store-displays-cornermilan-italy-storefront-entrance-german-luxury-fashion-housecorso-giacomo-image160930206
Fig 1.8 Fig 1.9 to Fig 1.18 Fig 1.19 Fig 1.20 Fig 1.21 Fig 1.22 Fig 1.23 Fig 1.24 Fig1.25 Fig 1.26
https://in.pinterest.com/pin/738379301376168708/ Illustration by author https://in.pinterest.com/pin/393924298655271551/ https://in.pinterest.com/pin/477803841710018203/ https://in.pinterest.com/pin/362750944960721111/ http://www.imcorp.jp/jmss.asp?iid=28523159&cid=8 https://in.pinterest.com/pin/591308626054584147/ https://in.pinterest.com/pin/373728469054836711/ https://www.popon.net/Point-of-PurchaseDisplayGalleryWinchester-Ammunition-AA-End-Cap-Display.asp https://in.pinterest.com/pin/226165212527184023/
https://si0.twimg.com/profile_images/1891768437/logo.jpg
Fig1.28 to Fig1.29
https://issuu.com/gigili/docs/puma-brandanalys is 1228974531212180-1
Fig 1.30 to Fig 1.31 Fig1.32
Illustration by author https://issuu.com/gigili/docs/puma-brandanalysis-1228974531212180-1
Fig 1.33 Fig 1.34
https://www.onlinestudien.org/levi%27s-store https://misfitcreative.com/work/hm-stuido/
Chapter 02 Fig 2.6 to Fig 2.7 Fig 2.8 to Fig 2.13 Fig 2.14 Fig 2.15 Fig 2.16 Fig 2.17 to Fig 2.18 Fig 2.19 to Fig 2.20 Fig 2.21 Fig 2.22 to Fig 2.26 Fig 2.27 to Fig 2.31 Fig 2.32 to Fig 2.33 Fig 2.34 to Fig 2.39 Fig 2.40 Fig 2.41 Fig 2.42 Fig 2.43 to Fig 2.44 Fig 2.45 to Fig 2.46 Fig 2.47 Fig 2.48 to Fig 2.52 Fig 2.53 to Fig 2.54 Fig 2.55 to Fig 2.62 Fig 2.63 Fig2.64 Fig 2.1 to Fig 2.5
Illustration by author https://rooshadshroff.com/spaces/good-earth/Firm Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/Firm Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://www.google.com/ul?sa=i&url=https%3A%2F%2Ftimesofindia. indiatimes.com%2Ftravel%2Fdestinations%2Fdiscoveringjodhpur24-hours-in-the-blue-city%2Fas65888217.
Fig 2.65 to Fig 2.68
https://studiolotus.in/showcase/mehrangarh-museum-shop/65
Chapter 03 Fig 3.1
https://www.darwinthenandnow.com/archives/5217/evolutionarytree-of-life/
Fig3.2 Fig3.3 Fig 3.4 to Fig 3.5 Fig 3.6 Fig 3.7 Fig 3.8 Fig 3.9 Fig 3.10
https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html Illustration by author https://thedieline.com/blog/2013/9/4/forest-essentials.html? https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html https://www.forestessentialsindia.com/morning-ritual-gift-box.html https://www.forestessentialsindia.com/indian-nightingale-bodycare-honey-vanilla-selection.html
https://www.forestessentialsindia.com/group-of-dancers-bodycare-selection.html
Fig 3.12 Fig3.13 Fig 3.14 Fig 3.15 to Fig 3.16 Fig3.17 Fig 3.18 Fig 3.19 Fig 3.20 to Fig 3.26 Fig 3.27
Illustration by author https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html? Illustration by author https://www.google.com/maps/ Illustration by author Data provided by Studio Meta Illustration by author https://www.google.com/ url?sa=i&url=https%3A%2F%2Fwww. lulumall.in%2Fkochi%2F&psig=AOvVaw1ZV_IcIastLt9X_
Fig 3.28 Fig 3.29 Fig 3.30 to Fig 3.36 Fig 3.37 Fig 3.21 to Fig 3.49 Fig 3.50 Fig 3.51 Fig 3.52
Illustration by author Data provided by Studio Meta Illustration by author Studio gave Data provided by Studio Meta Provided by Architecture Discipline Illustration by author https://img.locationscout.net/images/2020-04/toorji-ka-jhalraindia_l.jpeg
Fig 3.53 to Fig 3.55 Fig 3.56 to Fig 3.58 Fig 3.54 to Fig 3.62 Fig 3.63 to Fig 3.64 Fig 3.65
Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author https://5.imimg.com/data5/VN/SS/MY-59857112/pink-sand-stonejali-500x500.jpg
Fig 3.66 to Fig 3.67
Provided by Architecture Discipline
Fig 3.69 to Fig 3.72
https://previews.123rf.com/images/pomiti/pomiti1705/ pomiti170500037/78249054-jodhpur-blue-city-photos-rajasthanindia.
Fig 3.73 to Fig 3.74 Fig 3.75 to Fig 3.76 Fig 3.77 Fig 3.78 to Fig 3.79 Fig 3.81 to Fig 3.99 Fig 3.100 to Fig 3.107
Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline
Review Feedback Review I: 19.01.2021 • Understand process through flowcharts, diagrams or pictures to explain process/methodology/ relations to make the study more informative. • Study brands in detail and select one established brand for better comparison in the primary case study. • Study the adaptive reuse concept thoroughly while doing the case studies. • Understand Interior elements of the brand making in spatial design and what language is being followed in different contexts. • Probable case studies idea: -Studying global brand-ZARA as a second case study and keep primary case study as mixed fashion in adaptively reused spaces. -Comparison of store design changing from a mall setting to that of a store designed in historical spaces. -Levis Store in Fort Area, Mumbai and compare with a mall setting store. -L’Occitane en Provence- A cosmetic Brand, Fort Mumbai -Fab India, for the Indian context. • Suggestion: Make sure the demographic aspect of the case studies remains constant. It will help in concluding.
Review II: 02.03.2021 • For Secondary Case study of brand ZARA, compare the flagship stores of India and Europe. • The selection of primary case studies is appropriate and in context. • Study each project in detail for a better understanding and clarity.
Review III: 27.04.2021 • What will be the outcome of analysis? • What are the conclusion based parameters? • List down the parameters nd form a comparitive table.
Faculty of Design CEPT University [email protected] 156
Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser .
Enter the email address you signed up with and we'll email you a reset link.
- We're Hiring!
- Help Center
Re-Architecture: Adaptive Reuse of buildings with focus on interiors
6-page report giving an overview of the topic - completed for Bachelors degree in Architecture
Related Papers
Professor Graeme Brooker
Teresa Zywotkiewicz
This thesis explores the fundamental aspects of interior architecture regarding the existing built environment. It focuses on the necessity of restoration, preservation and adaptive reuse as possible solutions when approaching a new project concerning an existing building. Through the study of books, current journals and relevant projects, a universal understanding is formed about approaches that can be used to react to the existing built environment. Also discussed are the more challenging situations that can arise, such as how to deal with heritage, contentious places or the concept of memory of place. Examples and case studies are worldwide to appeal to a greater audience. The thesis outlines and defines possibilities for repairing, restoring, and protecting the existing built environment while keeping them practical in the current time. Before concluding the thesis, a design project, done in conjunction with the thesis, is discussed and explores how the different approaches and interventions discussed can be used to react to a site based on the specific site’s history, value and intangible qualities.
Handbook of Research on Pedagogical Innovations for Sustainable Development
Deborah Schneiderman
This chapter addresses the integration of sustainable practice into the interior design studio through the investigation of a grant-sponsored adaptive reuse project. A fourth-year Interior Design studio project afforded the opportunity for exchanged conceptual ideas between students and a sponsoring industry client. The project provided students the opportunity to adapt and reuse a formerly unremarkable bank building, converting it into an innovative office space that meets LEED Silver certification standards. As participants in a sponsored project, the students were provided a unique opportunity to work with, and to be funded by, the client. Evaluations and completed projects indicate that students in the studio learned sustainable values and strategies through this integrated studio approach. The real-world project provided the students experiential knowledge through the implementation of innovative client-centered design and enforced the significance of adaptive reuse as a critic...
Iran University of Science & Technology
Ehsan Masoud
Changing and repurposing existing buildings for their continued use was quite common in the past and structurally safe buildings were adapted to meet new functions and needs. In modern conservation theory, Adaptive Reuse is an important means of preserving cultural heritage. The main question is what are the priorities and shortcomings of adaptive reuse theoretical references within interior architecture based on comparative study with Nara Document parameters. The research method of this study is qualitative, with logical argument as a strategy. The priorities were studied and then the most important weaknesses and drawbacks of these approaches to Adaptive Reuse were analyzed in a comparative study with the Nara Grid by 32 semi-structured interviews with experts in the fields of Architecture, Interior architecture and conservation. The results show four main Adaptive Reuse priorities extracted from the reviewed literature: Host Space Function, Programmatic Approach to New Use, Tech...
Dicle AYDIN
Ana Pereira Roders
Akshay Singavi
“The greenest building is the building which is already built.” while quoting architect Carl Elefante, Director of Sustainable Design at Qunin Evans Architects in Washington, D.C. (Sidler, 2014) Human population is going to increase over time and so are its needs. And one of our basic needs is land. Land for construction, agriculture, transport etc. But, how much ever our demands increase, the net surface area availability on ground would stay constant. In this face, we need newer buildings and for which often our older buildings, many a times, buildings with cultural and heritage value are also taken down. Does need of newer buildings directly point to razing down of older structures? Do these buildings not possess a value which is beyond monetary terms? Moreover, is this method of raze and rebuild over it, a sustainable practice? A non-maintained building, which has long lost its purpose and now stands in ruins, often turns into a hub for vandals, drug peddlers and other anti-social activities. Social psychology studies often quote the “The broken window theory” which states - if a broken window is left broken and not replaced, it is probable that soon all the other windows would be broken too. The window becomes a symbol to the society that no one cares. Such situations have immediate impact on their surroundings and also spread out eventually, leading to desertion of an entire vicinity. Hence, adaptive reuse of older neighborhoods, buildings and structures can also help in controlling the urban sprawl and thus impacting the development of the urban fabric of a city. It generates a relation between the user and the buildings, as these buildings are brought back to their former glory. Adaptive reuse is a method of utilizing existing buildings, renovating them and inducing new uses in the building, other than the one for which it was built. The site itself is a green alternative to green field development. Adaptive reuse is an essential tool to preserve the 8 history of a city and put old, unused and unhabituated but structurally sound buildings to newer uses. Industrial buildings, due to their large footprints and utilitarian architecture possess a high potential to undergo adaptive reuse. Considering the high carbon footprint and embodied energy, razing down industrial buildings or complexes has adverse effects on the environment as well. These buildings, due to their scale and proportions, as well as history that revolves around them, are important exhibits of a city’s industrial history which makes them worthy of conservation. Mumbai has a rich industrial history which witnessed a dominance of various cotton textile mills across the island city. With change in industrial development and pattern these mills got shut down. Eventually, these land parcels are now luring developers and land sharks, who want to raze down these iconic structures to lead way for soaring apartment blocks. The purpose of this design thesis is to display methods for reusing an industrial structure, in a sustainable manner, while protecting its original visual characteristics. It would focus on techniques in which the building could be reused and additions could be made to meet LEED standards, while preserving the original character of the buildings. An important palette of techniques was recorded in the dissertation, which has become the design guideline for this project.
The International Journal of Architectonic, Spatial, and Environmental Design
Frederico Fialho Teixeira
International Journal For Multidisciplinary Research
Sakshi Doshi
Adaptive reuse explores the choices between destruction and recreation, giving a location a new cycle rather than locking it in a certain moment in time. Adaptive reuse maintains its lengthy history while solving the issue of land scarcity and planting a new layer without removing the roots of former levels. Due to the rapid growth and development worldwide, nations tend to preserve their historic sites that represent their heritage to assist communities in preserving their wide variety of environmental personality and heritage. The adaptive reuse technique is employed for this purpose, with the phrases "adaptive reuse" and "renovation, refurbishment, and rehabilitation" often used interchangeably. However, this study seeks to distinguish each term based on a framework discussed in the literature and determine the value that could be achieved by considering the potentials of the three sustainability pillars while adaptively reusing historic structures.
nilufer saglar onay
Interior architecture is mainly concerned with adapting existing buildings to new uses and requirements. While determining the extent of intervention, the historic and cultural background of the building plays a very important role. Therefore in adaptive reuse, before starting to develop design proposals, buildings of cultural significance need to be analyzed carefully in order to determine architectural and spatial potentials. This paper aims to evaluate the process and results of a design studio, which was realized during 2014-2015 Fall Semester in the ITU Department of Interior Architecture. The main purpose of the studio experience was to create adaptive reuse proposals for a historic commercial building by focusing on the theme of “functional unity”. In the first phase of the study, course program was organized in three basic steps: analyzing spatial potential, determining compatible use and developing project proposals. At the end of every step there was a jury to evaluate each phase. Every step had its own priorities and criteria for the jury. After evaluations project proposals were classified according to their main foci as well as advantages and disadvantages of different approaches in terms of functional unity. As a result it was observed that in historic buildings there are different ways of maintaining functional unity based on the intention of the intervention. While identifying compatible use or uses for a historic building, functional unity needs to be evaluated as one of the basic design criteria in order to retain its cultural significance. This is mainly because a historic building can fully reveal it’s potential only if it is experienced and evaluated as a whole.
RELATED PAPERS
KIPS Transactions on Software and Data Engineering
Journal of the Atmospheric Sciences
Marco Mascia
Dr.Stanislav S.Makhanov
Revista chilena de infectología
Isabel Zúñiga
anna maria bagnasco
Journal of Modern Processes in Manufacturing and Production
Mehdi Moghri
Artuklu Akademi
Clinical, Cosmetic and Investigational Dentistry
ali maisam eshraqi
The Astrophysical Journal
APL Materials
Rakesh Mote
Comment s'approcher des femmes. Guide
Howlett-Martin Patrick
Nigerian Journal of Clinical Practice
Michael Okafor
Journal of Biological Chemistry
Ricardo N Farías
Infection and immunity
Juan Alfeo Álvarez
Frontiers in Forests and Global Change
Mauro González
Lucivaldo Costa
Frontiers in Environmental Science
The American Catholic Sociological Review
elaine cook
Dr. Sheikh Shawkat Zamil
Action Research Literate
Syipa Ispiyani
Ezekiel Mercau
See More Documents Like This
RELATED TOPICS
- We're Hiring!
- Help Center
- Find new research papers in:
- Health Sciences
- Earth Sciences
- Cognitive Science
- Mathematics
- Computer Science
- Academia ©2024
DigitalCommons@RISD
Home > Interior Architecture > Interior Architecture Masters Theses
Interior Architecture Masters Theses
• Master of Arts (MA) in Adaptive Reuse, a one-year+ program
• Master of Design (MDes) in Interior Studies / Adaptive Reuse, a two-year+ program
• Master of Design (MDes) in Interior Studies / Exhibition + Narrative Environments, a two-year+ program
Both programs take an innovative and progressive approach to addressing design issues intrinsic to the reuse and transformation of existing structures. US News & World Report and Design Intelligence have both ranked RISD’s Interior Architecture programs among the top in the country.
Each MA candidate produces a final project that begins with a research component in the fall and evolves into a studio/design project in the spring. MDes candidates demonstrate competency through self-directed Degree Projects that include a seminar on theory, a research component and a studio component. Each DP focuses on the transformation of an existing structure of their choice in the city of Providence. All MA and MDes candidates also participate in the RISD Graduate Thesis Exhibition , a large-scale public show held annually.
Graduate Program Director: Markus Berger
These works are licensed under a Creative Commons Attribution-NonCommercial-No Derivative Works 4.0 License .
Theses from 2023 2023
the people's food project , Grace Barrett
Kala in my Moholla - art in my neighborhood , Priyata Bosamia
Nature as Material, Time as Tool , Chuchu Chen
FROM VAULT TO PLATFORM （Democratizing Museums through the Lens of the Metaverse）） , Zhaoyang Cui
Intensifying the Experience of Contemporary Art , Wanjin Feng
Manifesto of Poor Images: Re-imagine Guggenheim in the Post-digital Age , Mengning He
Adding Subtraction: Wasting Time in Space , Daeun Kim
NEW CHAPTER , Gunju Kim
A Cloud Above , Jiwon Kim
Greening Seoul : A New Toolkit for Adaptive Reuse , Woojae Kim
A.R. Futuristic Scenario in Seun , Yookyung Lee
Eviction to Placement: Rethinking the current supportive housing systems for hidden homeless families , Fang-Min Liou
The Mobile Senior University , YOUSHURUI LI
making pla(y)ces: softening the city through play , Shivani Pinapotu
Interstice , Shravan Rao
Overlooked Modi Vivendi , Natalia Silva
Chinese tea ceremony spirit revival , Hongli Song
Nurturing Haven: A Safe Place for Single Mothers , Meng Su
A Day Stood Still , Yuting Sun
Imaginatorium for children with visual impairment , Xueyun Tang
Reconcile Liminality , Zefeng Wang
Illusion of Consumption, Architectural Rebellion: Unraveling the Maze of Consumption , Xinjie Xiang
Beyond Burial - Transforming Death: A New Ritual of Farewell and the Ecological Return of the Body to Nature , Chang Xie
Interactive Architecture - Intervention of Virtual Business on Commercial Space , Yihao George Xu
On the Power of Attainable Architecture Community Engagement and Interaction through Architecture: A New Approach to Architectural Exhibitions , Jianing Yang
Glowing Under the Bridge—A Healing Space for Wounded Souls , Ruier Zhao
Moving Narration: A journey through history , Yincheng Zhu
Finding Psychological Healing in College Settings , Dici Zou
Theses from 2022 2022
Notes in improvisation : Spatializing Black Identity through music , Esther Akintoye
Dying differently: designing a death-oriented psychedelic treatment center , Grace Caiazza
Blurred lines : Border crossing between Macau and Zhuhai , Weiwei Chen
Regenerative residences: shrinking stress levels in the sky , Peter de Lande Long
Adaptive reduce: forging architectural futures through degrowth , Erika Kane
Unfolding embodied experience: a process-driven immersive exhibition design model , Mooa Seongah Kang
Block Chain Home , Jonggun Lee
Last sunset : design to alleviate social isolation for Chinese elderly , Linghui Li
Rebuilding Collective effervescence : a "Ballroom" for post-pandemic revelry , Di Ma
Re:Connection: exercises in unplugging and mindfully reconnecting , E. J. Roseman
Dear City, give me some space; creating space for ephemeral forces in a city , Abinaya Sivaprakasam Thamilarasan
From invisible to visible: the third wave/way of intervention for Dashilar , Jiali Tian
Endless construction : occupant activism and authorship , Jiayi Wang
Beyond Spectacle : parametric design to life in space , Ding Xu
Design for designers : An incubator for young designers to grow , Jiajie Yang
The Cthulhu Journey : storytelling through an architectural immersive experience , Rui Zhang
Theses from 2021 2021
Posthuman ecologies , Christine Chang
Loneliness / Togetherness : Interiority and connection under isolation , Huaqin Chen
Space between memories: pause , Young Jae Cho
Cultural acupuncture: decentralization and deocratization in Chinese exhibition design , Ruohan Duan
Adaptive reuse as evidence of scientific progress: recontextualizing a space for growing knowledge , Kayci Gallagher
Reclaiming modern architecture: an urban visual narrative of Kuwait City , Yara Hadi
Unraveling the living: reframing cramped housing as a social living , Dong-zoo Han
Beyond pasta: understanding Italian American culinary culture in Federal Hill , Chufan He
Going back , Zhiyi Hilary He
Augmented city , Xing Huan
Woven healing: reimagining the rural health center , Mahasweta Jayachandran
Living · Sharing · Connecting : rebirth of Longchang Apartments Heritage Community , Linhong Jiang
Migrating architecture: vernacular futurism , Yichu Jiang
The second home: breaking the cycle of lonely death , Woohee Kim
Reinforcing connection within collective housing: a new vision of Red Steel City , Guangyi Niu
Ascents and descents in the 21st Century: restoring Chand Baori , Japneet Pahwa
Nossa quadra, nossa historia: the power of collaborative and communal outdoor spaces as a tool for belonging & agency , Rebecca Maria Pepl
Terminal: through the "windows" of a Tram Car Museum , Yuyi Si
Ritualizing of space in the 21st century: fostering of communal identity through celebration of Tamil culture , Mridula Swaminathan
Sensory refreshment: TCM reconsidered , Ni Tang
Remember me: how we can modify the home for people with dementia , Wenjin Wang
The retrieval of memory: holding time in the Shanghai gasometers , Liman Wei
Fostering cultural understanding: mirroring ways of living in Providence, RI, USA and Beijing, PRC , Jiarui Tina Wu
The future of Beijing urban courtyards , Zhuoqi Xu
Remembering Chinatown: a fusion of food, identity, & memory , Robert Yang
Overflowing boundaries: competition and mutualism in urban villages , Chen Zhang
Rural acupuncture: carefully introducing tourism within an underground village , Shangyun Zhou
Theses from 2020 2020
Lacunae in the urban landscape , Meriem Aiouna
Melting away - Ilha Formosa , Hao-Chun Chang
Behind appearance : hidden dimensions in the work of Wassily Kandinsky and Paul Klee , Ning Ding
Realistic utopia : utopian architecture exhibition at Arcosanti , Xiao Fang
Contextualize , Jiaai He
Community pop-up galleries : the instruction manual , Mary Iorio
Living under surveillance , Fan Jia
Urban memory : Beijing City wall ruins reconstruction & exhibition , Yuan Jin
Dialogue across time : Atlanta, 1996 and 2020 , Qianyu Liu
Exploration and autonomy : wild children in the city , Xiaojie Li
Getting closer : exploring re-contextualization in exhibition , Yiran Mu
Generating tension : memorial of sexual slavery , Mary Park
Ciudad informal : a new model for urban living , Rebeca Isabel Peña Reinoza
The milky way : agritourism on a Chinese dairy farm , Wanyue Qiao
Reactivating street life : fostering more communal interaction in Longtang , Ziyang Qiu
Banoo-Serai : an all women sanctuary , Kimia Rahnavardi
Envisioning work : an autism friendly and anxiety free office , Naixin Ren
Re-connect , Xin Ren
Creating a safe haven : a study on coastal resilience in a time of climate change & sea-level rise in the Philippines , Maria Carla Victoria M. Sebastian
Unite the divided : the transition between death and life , Qing Shi
Practicing a senior living , Siyu Shuai
Re-source : Re-source your resources , Raquel Swartz
Lived-in grassland : nomadic architecture in the nomadic community of Mongolia , Linxi Wang
Living and alive : homeless shelter design , Zixu Wang
Re-occupation : buildings, ideology and decolonization in Northeastern China , Ziyu Wei
The ultimate task of public libraries : introducing architecture as pedestal , Elaine Wu
Reality behind beauty : Hayao Miyazaki's perspective of human and nature , Tianyang Wu
Individuality : enhance living in Shenzhen's urban village , Lanting Zhong
Theses from 2019 2019
[Super] structure : expanding the network / reclaiming the path , Anna Albrecht
- All Collections
- Departments
- Online Exhibitions
- Masters Theses
- Disciplines
Advanced Search
- Notify me via email or RSS
Contributor Info
- Contributor FAQ
- RISD Interior Architecture MA and MDes
Permissions
- Terms of Use
Home | About | FAQ | My Account | Accessibility Statement
Privacy Copyright
10 Amazing Interior projects in adaptive reuse
Adaptive reuse is the practice of the utilization of existing resources by reusing old and historic buildings for purposes other than what they were designed for. It can also be defined as an approach towards architectural conservation which focuses on accommodating a building’s heritage in modern contexts. The practice gained popularity after the industrial revolution in the 19th century when old buildings with heavy ornamentations and old-world charm were torn down or left behind in ruins and a way was given to modernization and postmodernization. As the mindset of people and the overall ideas of the society continued to change, architects like Philip Johnson realized the importance of historic architecture and started working towards the preservation and conservation of such structures. As a result, a movement was born in America in the 1960s to legally protect historic architecture and was slowly adopted across the globe. These buildings which were earlier in ruins were now given new purposes and adaptive reuse became an approach towards saving people’s memories.
1. La Fabrica (RBTA office), Barcelona
Redesigned by Ricardo Bofill
Originally proposed as a cement factory during the post-world war 1 era, La Fabrica was adapted to be used as the residence and office of the architect himself. The expansive industrial complex formerly consisted of thirty monumental silos, various large rooms, and a web of tunnels. The transformation of the abandoned factory began in 1973 when Bofill found hidden areas in the structure and started to develop complementary relationships between various parts of the buildings. Today, the campus provides a series of spaces, ranging from brutalism to surrealism, while keeping intact its industrial touch. The studio known as La Catedral is distributed on four floors in the silos with the help of spiral staircases and encourages communication and teamwork through its open and vast meeting spaces. The residence complements the office areas by utilizing the raw and unfinished character of the structure through its materiality and scale. The premise is engulfed in a series of gardens, blurring the line between nature and built. The building which at one point in time used to blow out smoke is now encapsulated by greenery. The architect Ricardo Bofill calls it ‘a re-purposed city within an abandoned factory’.
2. Jaegersborg Water Tower, Copenhagen
Redesigned by Dorte Mandrup Arkitekter
Intent on creating better living conditions for the youth of Denmark, architect Dorte Mandrup repurposed an iconic water tower into a student housing facility, accentuating the need for natural light, effective space utilization, and premium quality. To maintain the original tower’s integrity as a landmark structure, Mandrup retained the existing 12 columns and circular tank and added an extra layer of bay windows to accompany the newly crafted housing units within. The tower also made way for leisure and recreational centers at its base. The interior spaces of the reimagined tower combine colored panels with tall windows and create eclectic patterns throughout the multi-purpose housing units.
3. Alila Yangshuo hotel
Redesigned by Vector Architects and Horizontal Space Design
For the transformation of an abandoned sugar mill into a resort hotel, Beijing-based Vector Architects and Ju Bin of Horizontal Space Design wanted to accentuate the connection between the old and the new. An assemblage of gabled masonry structures and accommodation blocks in simple and minimal forms were designed to balance the existing cluster of buildings. The industrial aesthetic was achieved by using contemporary materials and construction techniques that complemented the original materiality and textures. Nuances of the old, visually light, and transparent structure were kept intact by using perforated planes that also helped in enhancing natural lighting and ventilation. A sunken plaza with a reflecting pond is used to signify the symbolism of the old building.
4. Church Restoration into Residence, Chicago
Redesigned by Linc Thelen Design and Scrafano Architects
In an attempt to convert an archaic church into a modern abode for a family of five, Linc Thelen Design and Scrafano Architects peeled back the original structure to its structural shell and exposed its wooden beams, iron turnbuckles, and stained-glass windows. The concept of ‘past meets present’ is depicted by a combination of the practicality of contemporary living with the symbolism of a religious structure. The repurposed building displays a juxtaposition of new elements like the Linc Thelen’s glass and steel staircase with the historic character of the place of worship with its intricate stained-glass windows, 25-foot high ceilings, and a bell tower. Neutral colors along with bold geometry add to the rustic and eclectic charm of the space.
5. The Ned, Soho House, London
Redesigned by EPR Architects
Formerly designed as Midlands Bank office by Sir Edward Lutyens, The Ned was a challenging project for EPR Architects because it required close attention and sensitivity to the conservation process of the original building. Today, the new building offers a seamless combination of thirteen eateries and bars, two-hundred and fifty bedrooms, rooftop lounges, various support spaces, and a significant, landmark-like frontage, all within its original fabric, through intelligent and innovative space utilization. The former vaults and safe deposits are used as hidden cocktail bars and the original plant rooms are being utilized as libraries, spas, and lounges. Wall tapestries, walnut paneling, parquet floors, and original materials have been retained to maintain the historic and iconic character of the bank. The existing carved plasterwork and intricate 1920s style chandeliers complete the glamourous look and feel of The Soho House.
6. Franz Kafka Society Centre, Prague
Redesigned by Steven Holl Architects, Marcela Steinbachova (Skupina)
As a small, dark, one-story building originally used for laundry and storage purposes, the newly adapted Franz Kafka Society Centre in Prague now utilizes its basement as an interactive space for concerts, exhibitions, and lectures and its upper floors as offices. The repurposed building also houses Franz Kafka’s private library which is now washed with natural light by the addition of huge windows and skylights. These windows are deliberately placed off-axis to the partitioned shelving system of the library to expand the views from the openings and create visual connections throughout the interiors.
7. Kanarie Club, Amsterdam
Redesigned by Studio Modijefsky
In a city known for its extensive tram network, the architects preserved the building’s elements and context while repurposing the De Hallen tram depot, originally used for servicing and restoration of broken trams. The redesigned interior of the Kanarie Club uses the same material and color palette of the train depot and showcases various references to the depot’s history. Custom made furniture and signages resemble the traditional design of old trams and their seats, while light-integrated arches are designed to align with the rails on the ground. Attention is paid to the symbolism of the original structure by designing a central, empty pool, conceptualized on the practices of previous users and squatters.
8. Taj Falaknuma Palace, Hyderabad
Redesigned by Wimberly Allison Tong and Goo (WATG) and P.T. Vijaya
The Taj Falaknuma Palace in Hyderabad is a baroque palace hotel that redefines royalty by the use of the finest finishes and materials. The conservation survey was carried out by Rahul Mehrotra and Associates. The resultant design of the hotel is a team effort of Wimberly Allison Tong and Goo (WATG) and P.T. Vijaya, a landscape firm based in Bali. The external section of the palace which faces the city is given the same Palladian feel to mirror the original identity of the building. The existing colonnades are reused and the symmetry of the original building is kept intact by matching the interior elevations of the southern and eastern sides. Excessive care was taken during the reconstruction of the palace so that no part of it is damaged. The original leather which was used in the cabins had intricate hand-made carvings with approximately 10,000 designs on every square inch. This century-old leather was not fit for reuse and therefore, local craftsmen were called to recreate the exact pattern. The same treatment was given to the wall to wall carpets and exact replicas were created by importing the yarn and dye from abroad. Taj Falaknuma Palace is a beautiful example of how carefully carried out adaptive reuse can be a huge success.
9. Imagine Studio at the Trees, Mumbai
Redesigned by Studio Lotus and GPL Design Studio
In an attempt to combine nature, historic heritage, and urban development in an evolving context, The Imagine Studio by Studio Lotus and GPL Design Studio has repurposed an old industrial campus in Vikhroli, Mumbai into Godrej’s experience center. Placed inside a couple of power generation plants and boiler rooms, the marketing studio is accompanied by showcase flats and various multi-purpose spaces and is juxtaposed with a piazza that reveals the company’s history. The repurposed building continuously references the neighboring silos that are sliced open and redesigned into a museum. These cut-off slices are used as a part of street furniture.
10. De Bank / KAAN Architecten, Rotterdam
Redesigned by KAAN Architecten
Formerly known as De Nederlandsche Bank, the new office of KAAN Architecten comprises of more than eighty workspaces, made in place of the piano nobile of a historical building designed by Prof. Henri Timo Zwiers that was destroyed during the world war two bombings. The original building’s clear, rectangular floor plate is utilized to make effective work and leisure spaces alongside several monumental passages. The use of wood and pre-existing concrete gives the office a monumental feel. The spatial rhythm represents the philosophy of the architectural office by creating an interactive, functional, and raw working system.
In conclusion, the want to re-adapt and re-use historic structures may have begun as a trend which was essentially based on nostalgia and emotion, but now it is a concept which is treated as a typical and standard practice. In today’s world, adaptive reuse is no more a process that is based on a certain philosophy but is a design strategy that most architects try to incorporate in their projects, a balance between historic preservation and demolition.
Yamini Kathuria is an architect who has recently graduated with a masters in interior design from CEPT University, Ahmedabad. A strong believer of the notion that built-spaces directly influence how people live, connect and perform, she approaches design as a multi-layered process which involves creativity, analytical research and contextual awareness.
Norman Davenport Askins, Architect- 15 Iconic Projects
How the selection of interior materials can help reduce the risk of further spreading COVID-19
Related posts.
AR-Adapted Warehome for Sale
Alchemy of Architecture: How Does Architecture Impact the Daily Lives of People
Architecture in the 5th dimension
Architectural Anthropology: Understanding People for Better Designs
- Architectural Community
- Architectural Facts
- RTF Architectural Reviews
- Architectural styles
- City and Architecture
- Fun & Architecture
- History of Architecture
- Design Studio Portfolios
- Designing for typologies
- RTF Design Inspiration
- Architecture News
- Career Advice
- Case Studies
- Construction & Materials
- Covid and Architecture
- Interior Design
- Know Your Architects
- Landscape Architecture
- Materials & Construction
- Product Design
- RTF Fresh Perspectives
- Sustainable Architecture
- Top Architects
- Travel and Architecture
- Rethinking The Future Awards 2022
- RTF Awards 2021 | Results
- GADA 2021 | Results
- RTF Awards 2020 | Results
- ACD Awards 2020 | Results
- GADA 2019 | Results
- ACD Awards 2018 | Results
- GADA 2018 | Results
- RTF Awards 2017 | Results
- RTF Sustainability Awards 2017 | Results
- RTF Sustainability Awards 2016 | Results
- RTF Sustainability Awards 2015 | Results
- RTF Awards 2014 | Results
- RTF Architectural Visualization Competition 2020 – Results
- Architectural Photography Competition 2020 – Results
- Designer’s Days of Quarantine Contest – Results
- Urban Sketching Competition May 2020 – Results
- RTF Essay Writing Competition April 2020 – Results
- Architectural Photography Competition 2019 – Finalists
- The Ultimate Thesis Guide
- Introduction to Landscape Architecture
- Perfect Guide to Architecting Your Career
- How to Design Architecture Portfolio
- How to Design Streets
- Introduction to Urban Design
- Introduction to Product Design
- Complete Guide to Dissertation Writing
- Introduction to Skyscraper Design
- Educational
- Hospitality
- Institutional
- Office Buildings
- Public Building
- Residential
- Sports & Recreation
- Temporary Structure
- Commercial Interior Design
- Corporate Interior Design
- Healthcare Interior Design
- Hospitality Interior Design
- Residential Interior Design
- Sustainability
- Transportation
- Urban Design
- Host your Course with RTF
- Architectural Writing Training Programme | WFH
- Editorial Internship | In-office
- Graphic Design Internship
- Research Internship | WFH
- Research Internship | New Delhi
- RTF | About RTF
- Submit Your Story
Looking for Job/ Internship?
Rtf will connect you with right design studios.
Moscow Park City Building, Russia
Park City Moscow Building, Russian Property Design Images, SHC Architects News, New Architecture
Moscow Park City : New Building
Architecture Development in Russia design by Swanke Hayden Connell Architects
19 Feb 2008
Swanke Hayden Connell Designing Adaptive Reuse Projects In Moscow
Firm Working on Third Major Assignment in Russian Capital
Park City Development Moscow
MOSCOW, RUSSIA – Swanke Hayden Connell Architects (SHCA) has been awarded the contract to design four buildings within the Park City development in downtown Moscow.
Park City Moscow
These buildings will occupy the historic center within the mixed-use master-plan for the 36-acre (14.6-hectare) site. Two of SHCA’s buildings involve adaptive re-use of existing late 19th century brewery buildings, and two will be new ground-up construction. They will accommodate hotel, residential, retail, and entertainment uses.
The projects represent the third major assignment for SHCA in Russia. The firm is currently designing Project Slava, a five million square foot (465,000 square meters) mixed-use complex in downtown Moscow as well as the 70-story Moscow International Business Center mixed-use tower that is part of a new Moscow City development.
According to Peter Gross, Architectural Design Principal for SHCA, all of these projects are being designed to the highest global standards. “American architects like Swanke Hayden Connell are bringing in cutting edge architecture that is creating an entirely new skyline for the city of Moscow,” he explained. “These new large scale developments will help transform the city into a world class business center.”
The Park City master plan is on a site off of Kutuzovsky Prospekt, the main avenue named for the general who defeated Napoleon in 1812, stretching west from the center of Moscow. It is adjacent to the Hotel Ukraine, which is one of the “Seven Sisters” – seven skyscrapers built under the Stalin regime. The site enjoys an extraordinary length of waterfront along the Moscow River.
The buildings that SHCA is designing front onto a broad pedestrian promenade which connects a central public square at the heart of the master-plan with the riverfront. Two of the buildings involve the adaptive re-use of the late-1800s Badaevsky Beer Brewery buildings. One of the these will be adapted into an entertainment, spa, and retail center. The other building will be a boutique hotel. Between theses two buildings will be a new high-end mid-rise residential tower, and adjacent to the river will be a two story restaurant and retail pavilion. With its dynamic design, this pavilion will become one of the signature structures of the whole master-plan development.
Because the two existing buildings functioned as a brewery in the 19th century, they are idiosyncratic structures constructed of heavy masonry with many load-bearing walls. They include unique spaces, such as vast vaulted rooms and silo-like structures, which present opportunities for the design of unique spaces for public functions and hotel rooms.
“One of the key design challenges is to achieve the right balance between the ‘anatomy’ of the existing structure and the modern interventions required for the program,” Gross noted. “Our goal is to create an integrated dialog between the historic and contemporary portions of the design. It is this juxtaposition which will create a thrilling experience.”
Construction on the SHCA projects at Park City is expected to begin in 2008.
SHCA’s Project Slava entails six separate A+ class office buildings varying in height from nine to 22 stories, with a common retail podium on the first, second, and third floors, spanning over existing and planned new streets. The tallest of the six office buildings is designed as the signature piece of the complex, intended to become a new symbol in the Moscow skyline. The project will start construction presently.
SHCA’s 70 story office tower in Moscow City includes over 2.2 million square feet (207,000 square meters) of space on a 150,000 square foot (14,000 square meter) site. The building will have 50 floors of commercial office space based on Class “A” U.S. occupancy standards. Above the office space will be a sky lobby with amenities to be shared by the offices as well as 19 floors of residential apartments. The tower will sit on two floors of retail space, cafes, restaurants and a casino that will relate to the nearby retail complex. Currently under construction, the project is scheduled for completion in 2010.
Swanke Hayden Connell Architects is the continuation of an architectural practice founded in 1906. Staffed with more than 300 professionals located in eight offices worldwide, the firm provides services in five core areas of practice: architecture, interior design, master planning, strategic facilities planning, and historic preservation, working with a variety of corporate and institutional clients.
Moscow Park City property development image / information from Swanke Hayden Connell Architects
Moscow Park City design : Swanke Hayden Connell Architects
Location: Moscow , Russia
Moscow Architecture Developments
Contemporary Moscow Buildings
Moscow Building Developments – chronological list
Russian Architecture Tours by e-architect
Moscow Architectural Designs
Contemporary Moscow Architecture Designs – rchitectural selection below:
Moscow Architects Offices
Moscow Architecture
Russian Architecture Designs – chronological list
Moscow Tower Design Moscow Tower Design
Russia Tower Russia Tower
Gazprom Russian Tower
Russian Architecture Competition
A101 Moscow Architecture Competition
Comments / photos for the Park City Moscow property design by Swanke Hayden Connell Architects page welcome
- Hispanoamérica
- Work at ArchDaily
- Terms of Use
- Privacy Policy
- Cookie Policy
8 Projects that Exemplify Moscow's Urban Movement
- Written by Marie Chatel
- Published on July 27, 2016
When it comes to urbanism these days, people’s attention is increasingly turning to Moscow . The city clearly intends to become one of the world’s leading megacities in the near future and is employing all necessary means to achieve its goal, with the city government showing itself to be very willing to invest in important urban developments (though not without some criticism ).
A key player in this plan has been the Moscow Urban Forum . Although the forum’s stated goal is to find adequate designs for future megacities, a major positive side-effect is that it enables the city to organize the best competitions, select the best designers, and build the best urban spaces to promote the city of Moscow. The Forum also publishes research and academic documents to inform Moscow’s future endeavors; for example, Archaeology of the Periphery , a publication inspired by the 2013 forum and released in 2014, notably influenced the urban development on the outskirts of Moscow, but also highlighted the importance of combining urban development with the existing landscape.
Concluding earlier this month, the 2016 edition of the Moscow Urban Forum focused on smart cities and the impact of technology on the ways we interact with people and use public infrastructure and civic spaces. The 2016 Forum invited city officials, urbanists, and architectural practitioners – including Yuri Grigoryan from Project MEGANOM ; Pei Zhu from Studio Pei Zhu ; Hani Rashid from Asymptote ; Reinier de Graaf from OMA ; Yosuke Hayano from MAD Architects ; and Kengo Kuma from Kengo Kuma Architects – to share about their knowledge and experiences in urban design. With the city looking forward to the built results of the latest Forum, we take a look back at some of the major developments in Moscow that have emerged in the past five years.
1) Gorky Park and Garage Museum
In 2010 the city government decided to improve Muscovites’ urban environment and create public spaces, and Gorky Park was the first project of note. The Russian equivalent of Central Park, it used to attract masses of tourists to its amusement park, but no residents would spend time there. Its reconstruction began in 2011 and featured infrastructure for strolling, sport, work, culture and leisure.
Inside the park lies the Garage Museum of Contemporary Art , a landmark building from the Brezhnev communist era which was renovated and transformed by OMA in 2015. The Dutch firm kept the original structure “as found,” only repairing elements from its prefabricated concrete walls – often clad with brick and decorative green tiles. Instead, the redesign focused on a double-skin facade of polycarbonate plastic that enclosed the original structure and preserved it from decay.
2) Zaryadye Park, Diller Scofidio + Renfro
Due to open in 2018, Zaryadye Park designed by Diller Scofidio + Renfro is probably one of Moscow ’s most cutting-edge projects. Located next to the Kremlin, the Red Square, and St Basil’s Cathedral, the project embodies what the architects calls “Wild Urbanism.” The project notably includes four artificial microclimates that mimic Russian landscape typologies: the steppe, the forest, the wetland and tundra. “It is a park for Russia made from Russia,” as Charles Renfro explains , in that “it samples the natures of Russia and merges them with the city, to become a design that could only happen here. It embodies a wild urbanism, a place where architecture and landscape are one.”
3) Moscow Riverfront, Project Meganom
Russian firm Project Meganom has also designed an ambitious project for Moscow ’s riverfront. Their masterplan also aims for a dialogue between the built and natural environment. A series of linear green spaces follow the river, and lines for pedestrians, cyclists, cars, and public transport are clearly delineated, improving the use of the public squares. River embankments are also transformed to function as areas for activities, communication, education and creativity nodes for public gathering.
4) Krymskaya Embankment, Wowhaus Architecture Bureau
Wowhaus Architecture Bureau recently transformed the 4-lane road at Krymskaya Embankment into a landscape park that connects Gorky Park with Krymsky bridge. The area used to be deserted, but is now reactivated with distinct transit and sport zones, as well as pavilions for artists’ exhibitions. Wave-shaped bicycle ramps, paths, and benches feature on the artificial landscape, which is also used for sledding, skiing, and skating in the winter.
5) Hermitage Museum and ZiL Tower in Moscow, Asymptote Architecture
New York architectural firm Asymptote Architecture are currently building two projects, a 150-meter residential tower and a satellite facility for St Petersburg’s well-known Hermitage Museum , where modern and contemporary art collections will be displayed. Situated in one of Moscow ’s oldest industrial areas, Asymptote’s buildings will lie in place of a Constructivist factory – which explains why the museum was reportedly inspired by El Lissitzky's "Proun" painting, as the terrace interior clearly shows.
6) “My Street”
“My Street” is the largest-scale program led by Moscow ’s government. The project aims to create about 50 kilometers of new pedestrian zones within the city center and periphery. The extensive program aims to solve parking issues, renovate street facades, and repair sidewalks and walkways with delimited areas for public transports, cars, cyclists, and pedestrians. “My Street” also requires a strong governance strategy and coordination; led by the Strelka Institute’s consultation arm KB Strelka , the project also involves 17 Russian and foreign architecture practices that were all individually in charge of one street, square or group of streets. Notable architects include the German firm Topotek 1 , the Dutch group West 8 , and the Russian firm Tsimailo , Lyashenko and Partners.
7) Moscow Metro
Moscow Metro is an architectural masterpiece that has been elaborated on since the 1920s. Its stations from the Stalin era are known for their unique designs with high ceilings, elaborate chandeliers and fine granite and marble cladding. To ensure that Moscow Metro remains an emblem of the city’s urban culture and powerful transportation system, the city’s government organized various competitions for the renovation of some Metro stations. Russian-based practice Nefa Architects was chosen to redesign Moscow’s Solntsevo Metro Station, while Latvian firm U-R-A will transform Novoperedelkino Subway Station . New stations are also being built, including two stations by Russian firms Timur Bashkayev Architectural Bureau and Buromoscow which should be completed by the end of 2018.
.jpg?1469536252 "Solntsevo Metro Station / Nefa Architects. Image Courtesy of Nefa Architects")
8) Luzhniki Stadium
Luzhniki Stadium is Moscow ’s main venue for sporting and cultural events. With Russia hosting the 2018 FIFA World Cup , the stadium should reflect Moscow’s intent to become a leading megacity, which is why $540 million has been spent on construction works. Its renovation mainly focuses on the roof and seating areas, and the capacity is planned to increase up to 81,000 seats. Works will be completed by 2017.
Find out more information and talks on Moscow’s urban development and the future of megacities on Moscow Urban Forum’s YouTube channel .
- Sustainability
世界上最受欢迎的建筑网站现已推出你的母语版本!
想浏览archdaily中国吗, you've started following your first account, did you know.
You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.
COMMENTS
Interior Design Undergraduate Thesis, 2021 Faculty of Design, CEPT University. Adaptive Reuse of Historic Buildings in Retail Design As an opportunity for Brands to reflect their Identity
Therefore in adaptive reuse, before starting to develop design proposals, buildings of cultural significance need to be analyzed carefully in order to determine architectural and spatial potentials. This paper aims to evaluate the process and results of a design studio, which was realized during 2014-2015 Fall Semester in the ITU Department of ...
The purpose of this design thesis is to display methods for reusing an industrial structure, in a sustainable manner, while protecting its original visual characteristics. ... Within the context of this research project the word integration is used to reference the way in which the processes of adaptive reuse and interior design can work ...
The RISD runs bachelor and master's courses on interior design and adaptive reuse, and the Int|AR journal reflects this focus, with each issue gathering contributions around a specific theme. Relatively short papers generally revolve around the analysis of one case study, usually complemented by a plentiful supply of images and drawings.
In the realm of architecture, the concept of reusing abandoned buildings through adaptive reuse has emerged as a sustainable and innovative practice. This article delves into the intricate details of adaptive reuse, exploring its significance, typologies, and implications in architecture, interior design, and urban planning.
2.2. Adaptive reuse. The term 'adaptive reuse' has been defined in various ways. (Mehr Shabnam Citation 2019) described adaptive reuse as 'any work to a building in order to change its function, performance, and capacity over and beyond maintenance' (Mehr Shabnam Citation 2019) According to Brooker and Stone, adaptive reuse includes that 'the function is the most obvious change, but ...
Design for Adaptive Reuse (IADfAR) concept, to be implemented by environmentally responsible designers realizing "integrated, comprehensive, anticipatory design" [10] (p.268), can be assessed as an attempt to achieve resources e ciency, as well as an alternative solution to the waste of valuable
I certify that this thesis satisfies the requirements of thesis for the degree of Master of Science in Interior Architecture. Prof. Dr. Uğur. U. Dağlı ... interior design or adaptive reuse, the effort is bringing in a new life; breath to the existing space, while trying to balance this "new" with the "old"; "original" character ...
The proposed design concept, referred to as interior architectural design for adaptive reuse, is based on the reintroduction of reclaimed or salvaged building construction materials and products ...
In this context, this paper focuses on the adaptive reuse of interior architecture in student projects produced during an exchange semester in the international master of interior architectural ...
The Adaptive Reuse (AR) of heritage buildings is a complex process, which aims to preserve the values of heritage buildings while adapting them for use in the present and transferring them to the future. This paper aims to identify steps in this process and develop a structured model. The model is an 'ideal', it needs validation in practice ...
The purpose of this design thesis is to display methods for reusing an industrial structure, in a sustainable manner, while protecting its original visual characteristics. ... Also, detailed research on parameters in adaptive reuse and interior spaces have been noted in the various cases. For the technical approach, it was clear that there are ...
The underlying design conce. 10. CORDAN: ADAPTIVE REUSE IN INTERIOR ARCHITECTURE. be havio ral, and rmat ion -based exchange throughout the space. s sense, thce is mean. strongly. rectan a ...
1.3 Research Problem, Research Question and Purpose of the Thesis. This thesis attempts to explore and interpret the forces and the direction of development of contemporary China. Shanghai, as a cutting-edge city at the forefront of development, serves as an example. Within architecture the focus is on architectural adaptive reuse.
Here are the 20 topics which can lead further in the research. 1. Factors determining the Adaptive Reuse. Before deciding whether to revive the existing or insert a built form is decided based on many factors such as economic considerations, social considerations, and environmental considerations.
Interior Architecture offers the following degree program options at the graduate level: • Master of Arts (MA) in Adaptive Reuse, a one-year+ program. • Master of Design (MDes) in Interior Studies / Adaptive Reuse, a two-year+ program. • Master of Design (MDes) in Interior Studies / Exhibition + Narrative Environments, a two-year+ program.
5. The Ned, Soho House, London. Redesigned by EPR Architects. Formerly designed as Midlands Bank office by Sir Edward Lutyens, The Ned was a challenging project for EPR Architects because it required close attention and sensitivity to the conservation process of the original building.
Innovative design typology for adaptive reuse of old buildings in public spaces. November 2018. Journal of Engineering Science and Technology 13 (11):3547-3565. Authors: DAN SHAO. YUKARI NAGAI. M ...
The need for an adaptive reuse approach was caused by a possible missed opportunity to create vibrant public space in the "Garden Ring" area otherwise characterized by decline. Such approach helped to fully reinvent a building's purpose and outlook bringing it back into the living fabric of the modern city.
The project will start construction presently. SHCA's 70 story office tower in Moscow City includes over 2.2 million square feet (207,000 square meters) of space on a 150,000 square foot (14,000 square meter) site. The building will have 50 floors of commercial office space based on Class "A" U.S. occupancy standards.
6) "My Street". "My Street" is the largest-scale program led by Moscow 's government. The project aims to create about 50 kilometers of new pedestrian zones within the city center and ...