舊建加新:

New Design in Old Buildings:

Innovative Revitalisation of Heritage Buildings

舊建加新:

創意新設計，活化舊建築

HOYIN LEE + LYNNE DISTEFANO

DIVISION OF ARCHITECTURAL CONSERVATION PROGRAMMES FACULTY OF ARCHITECTURE, THE UNIVERSITY OF HONG KONG

CONSERVATION APPROACHES

Preservation 完全保護

Conserve everything, change nothing, same appearance as found Application: archaeological sites

Restoration 保育復修

Conserve existing, add missing parts, return to an earlier appearance Application: national monuments, such as the Forbidden City

Adaptive Reuse 改做再利用 / Revitalization 活化再用

Conserve selectively, allow changes for new use, appearance updated with new addition Application: heritage buildings that no longer serve the original use

Reconstruction 保育重建

Partially or completely replicate the old

Application: Murray House in Stanley, many places in Mainland China!

Should heritage buildings be revitalized as museums?

博物館是歷史建築的最佳的活化用途嗎？

TECHNICAL REQUIREMENT:

Does the place have sufficient space not only for the display, but also for the storage of collections, in accordance with the requirements of the accreditation organization?

Space required: 40% of the building for public collection space (display)

20-30% for non-public collection space (storage and conservation) Exhibition-storage ratio:1 : 1 for large or national museums

2.7 : 1 for medium or general museums 4 : 1 for small or local museums

Source: Barry Lord, Gail Dexter Lord and Lindsay Martin (eds.) Manual of Museum Planning, 3rd ed. (Lanham, Maryland: AltaMira Press, 2012), section 7.1.)

Image source: www.bruynzeel.co.ukk; www.constructor-storage.com

MANAGEMENT REQUIREMENT:

Will the place remain a self-styled "museum" or be able to become a accredited museum?

A museum, as an institute, has to meet the accreditation requirements of a national or an international museum accreditation organization, such as, Arts Council England, American Alliance of Museum, and the International Council of Museums (ICOM) 國際博 物館協會, among others.

Image source: www.athelstanmuseum.org.uk; www.bris.ac.uk; learn.michenerartmuseum.org; shellmuseum.org

TECHNICAL REQUIREMENT:

To achieve accreditation, does the operation meet professional standards and guidelines for museums, such as those laid down by ICOM?

Image source: icom.museum

A museum has to have its own collection (otherwise, it's an exhibition venue 展覽場地) as well as the resources to hire professional staff to carry out research and publication, as well curatorial, conservation and protection of the collection.

Image source: archaeologicalmuseum.jhu.edu

MANAGEMENT REQUIREMENT:

Is the place able to meet the international museum standards for relative humidity and temperature control as well as security?

Image source: www.genetec.com; www.cci-icc.gc.ca

Collection Type: General museums, art galleries, libraries, and archives (all reading and retrieval rooms, rooms for storage of chemically stable collections, especially if mechanically medium to high vulnerability)

RH and temperature set points: historical annual average for permanent collections or 50% RH with the temperature between 15 and 25°C.

Source: David Grattan and Stefan Michalski, "Environmental Guidelines for Museum," article on the website of the Canadian Conservation Institute (2 March 2012) at: www.cci-icc.gc.ca/caringfor-prendresoindes/articles/enviro/index-eng.aspx#ft1aa

FINANCIAL REQUIREMENT:

Does the place have stable funding sources to sustain the museum operation and development?

Image source: photos.state.gov

Unlike the model found in most of the world, where museums are largely supported by the national government, American museums keep their operations going by cobbling together a mosaic of funding sources, from government sources, from the private sector and, increasingly, from earned income [(mostly through renting out event and shop spaces) and investments].

Source: Ford W. Bell, "How are Museums Supported in the U.S.?", article on the website of the U.S. Department of State, Bureau of International Information Programs (published March 2012) at:

http://photos.state.gov/libraries/amgov/133183/english/P_You_Asked_How_Are_Museums_Supported_Financially.pdf

"The quickest way to bankruptcy is to set up a museum!"

Dr. Joseph Ting, former Chief Curator of the Hong Kong Museum of History

「想快啲破產，最好就係搞博物館！」

前香港歷史博物館總館長丁新豹博士

The debate - conservation = preserve everything; change nothing?

爭議 - 保育 ＝ 原汁原味；一個不少?

Unknown Internet sources

suitable for national monuments and archeological sites 適用於國寶、考古遺址

Lee Ho Yin

sometimes, changing nothing = a useless ruin 一成不變，有時只有一堆廢墟

The premise - conservation ≠ preservation

前提 - 保育並不等於一成不變

The premise - new design is necessary for reuse of old buildings

前提 - 再用舊建 必需有新

The question - how to integrate new design in old buildings?

問題 ^{- 如何舊建加新？}

pseudo-conservation: save the façade 偽保育：保立面

Wikipedia; Flickr

pseudo-conservation: imitate the past 偽保育：仿古

Central Pier, Hong Kong, 2006 (Civil Engineering and Development Department, Government engineers)

Wikipedia

12hk.com

Central Pier, Hong Kong, 2006 (Civil Engineering and Development Department, Government engineers)

Lee Ho Yin

Heritage 1881, Hong Kong, 2009 (Cheung Kong Holdings, Hong Kong developer)

Lee Ho Yin

pseudo-conservation: save the façade and imitate the past 偽保育：保立面、仿古

sustainable conservation: innovate for the future!

可持續保育：創新造未來！

English Heritage’s

Conservation Principles, Policies and Guidance

for the Sustainable Management of the Historic Environment (2008) 139 The recognition of the public interest in heritage values is not in conflict

with innovation, which can help to create the heritage of the future.

英國文化遺產機構

在2008年發表的「文物保護準則，政策與指引」

第 139 段 公眾對保育的訴求，與創新的設計，兩者並無矛盾；因為要有創新

的建築設計，才會有未來的建築文物。

The Louvre Pyramid, Paris, 1989 (I M Pei, American architect)

testq.com

The Louvre Pyramid, Paris, 1989 (I M Pei, American architect)

architeccture-student.com

Reichstag, Berlin, 1999 (Norman Foster, British architect)

Foster + Partners

Reichstag, Berlin, 1999 (Norman Foster, British architect)

Foster + Partners

a provocation

International Examples of Super Innovative Adaptive Reuse Projects

我挑釁你

超創意活化再用的國際例子

architecture must burn!

We are fed up with seeing Palladio and other historical mask . . . . We want architecture that has more to offer. . . . If it is cold, then cold as a block of ice. If it is hot, then as hot as a tongue of flame.

Architecture must burn.

An anti-Postmodern Historicism manifesto by two angry young architects of the Austrian architectural office Coop Himmelblau, 1980.

讓建築燃燒吧！

我們厭倦了建築仿古的面具，我們要更具創意的設計。

若要冷，就要如冰、若要熱，就要如火。讓建築燃燒吧！

一九八零年, 奧地利「藍天組」建築事務所的兩位憤青建築師,

為針對後現代仿古建築所發表的宣言

Rooftop Falkestrasse, Vienna, 1988 (Coop Himmelblau, Austrian architects)

Energy Roof (design), Perugia, 2010 (Coop Himmelblau, Austrian architects)

Coop Himmelblau

Energy Roof (design), Perugia, 2010 (Coop Himmelblau, Austrian architects)

Coop Himmelblau

Clark Quay, Singapore, 2006 (Will Alsop, British architect)

Lee Ho Yin

Clark Quay, Singapore, 2006 (Will Alsop, British architect)

Clark Quay, Singapore, 2006 (Will Alsop, British architect)

Lee Ho Yin

Clark Quay, Singapore, 2006 (Will Alsop, British architect)

alsoprmjm.com

Ontario College of Art & Design, Toronto, 2004 (Will Alsop, British architect)

stanjones.ca stanjones.ca

The architectue of Daniel Libeskind(American architect)

Royal Ontario Museum Extension, Toronto, 2007 (Daniel Libeskind, American architect)

dcnonl.com

Royal Ontario Museum Extension, Toronto, 2007 (Daniel Libeskind, American architect)

www.dailycommercialnews.com

tv-facts.net; fringe.wikia.com

Military History Museum, Dresden, 2011 (Daniel Libeskind, American architect)

en.academic.ru

The architecture of Zaha Hadid(British architect)

2009 Winning Competition Entry for Port House, the new headquarters of the Antwerp Port Authority (under construction; to be completed in 2015), Antwerp (Zaha Hadid, British architect)

www.maroc.nl

“The jury / board of directors finally opted for the proposal by Zaha Hadid Architects, because: the design preserves as much as possible of the dignity of the present building as a monument, adding a new [landmark] object to the site.”

thesuperslice.com

Reversible changes: 2009 Winning Competition Entry for Port House, the new headquarters of the Antwerp Port Authority, Antwerp (Zaha Hadid, British architect)

Docks de Paris, Paris, 2009 (Jakob + MacFarlane, French architects)

designbuild-network.com

flickr.com

archifield.net

Reversible changes: Docks de Paris, Paris, 2009 (Jakob + MacFarlane, French architects)

Reversible and non-reversible changes 可還原 與 非可還原 的改建

Reversible changes: Ontario College of Art & Design, Toronto, 2004 (Will Alsop, British architect)

designbuild-network.com architecture.uwaterloo.ca

Reversible changes: Clark Quay, Singapore, 2006 (Will Alsop, British architect)

Reversible changes: Royal Ontario Museum Extension, Toronto, 2007 (Daniel Libeskind, American architect)

www.digitalmediatree.com smogr.com

Reversible changes: Military History Museum, Dresden, 2011 (Daniel Libeskind, American architect)

Lubic & Woehrlin Architekten

Non-reversible changes: Heritage 1881, Hong Kong, 2009 (Cheung Kong Holdings, Hong Kong developer)

S. B. Ng of Ming Pao Weekly

"The aim is to recognize and reinforce the historic significance of places, while accommodating the changes necessary to ensure their continued use

and enjoyment."

Constructive Conservation:

Sustainable Growth for Historic Places (2013)

"… these case studies emphasise the balance between understanding significance and accommodating necessary alterations to ensure the

continued use and enjoyment of historic buildings, monuments and landscapes."

"The aim is to recognize and reinforce the historic significance of places, while accommodating the changes necessary to ensure their continued use

and enjoyment."

UK Constructive Conservation vs HK Revitalisation Scheme

Constructive Conservation In Practice (2008)

Revitalising Historic Buildings through Partnership Scheme (2008)

"Through good adaptive reuse of our historic buildings, we aim to give these buildings a new lease of life for the enjoyment of the public."

Heritage Conservation 文物保育

51. In my view, revitalisation, rather than preservation alone, should be pursued to maximise the economic and social benefits of historic buildings. This is in line with the concept of sustainable conservation.

51. 我認為歷史建築物不應單單保存，而是應該活化，發揮它們的經濟及社會效

益，這樣才符合可持續保育概念。

Image: www.gov.cn / Xinhua

The HKSAR Chief Executive’s 2007 Policy Address

Constructive Conservation / Revitalisation / Adaptive Reuse

We advocate



ADAPTIVE REUSE: integrating the old with innovative new design to make a building of the past relevant to the needs of the present, and thereby continue it to the future.

我們 提倡



改做再利用 ：以新舊合一，使到過去的建築能迎合現今所需，從而延續 到未來。

Overseas examples

外地例子

Adapting the old Gas Works as Offices and Amenity Spaces 30 The Bond, Sydney, 2004 (Tanner Architects, Australia)

sydneyarchitecture

Green Building Council Australia

Adapting the former No. 2 Railway Goods Shed as Offices and Amenity Spaces Goods Shed North, Melbourne, 2009 (BVN Architecture, Australia)

Being development

Adapting the historic Ford Motor Company Assembly Plant as an event venue Craneway Pavilion, Richmond, CA, 2009 (Marcy Wong Donn Logan Architects, USA)

Neri & Hu Design and Research Office / www.dezeen.com

Adapting an old Japanese Army Headquarters as a boutique hotel

The Waterhouseat South Bund (水舍), Shanghai, 2010 (Neri & Hu Design and Research Office, USA)

Neri & Hu Design and Research Office / www.dezeen.com

Adapting an old Japanese Army Headquarters as a boutique hotel

The Waterhouseat South Bund (水舍), Shanghai, 2010 (Neri & Hu Design and Research Office, USA)

Serie Architects

Adapting the former Hangzhou Machine Factory as offices and for commercial uses Hangzhou XinTianDi Factory H, 杭州新天地工業遺存 H 地塊(under construction) (Serie Architects, UK)

Adapting the former Hangzhou Machine Factory as offices and for commercial uses Hangzhou XinTianDi Factory H, 杭州新天地工業遺存 H 地塊(under construction) (Serie Architects, UK)

Serie Architects

Adapting the former Hangzhou Machine Factory as offices and for commercial uses Hangzhou XinTianDi Factory H, 杭州新天地工業遺存 H 地塊(under construction) (Serie Architects, UK)

vimeo.com/15801909

Video at: http://vimeo.com/15801909

Adapting the former Hangzhou Machine Factory as offices and for commercial uses Hangzhou XinTianDi Factory H, 杭州新天地工業遺存 H 地塊(under construction) (Serie Architects, UK)

Local examples

本地例子

tumblr.com; tumblr.com; Lee Ho Yin; Ming Pao

Lee Ho Yiin

Adapting two rows of shophouses as offices, studios & exhibition venues for comic & animation artists Comix Home Base, Wan Chai, Hong Kong, 2013 (Urban Renewal Authority, HK)

Musketeers Education & Culture Charitable Foundation Herzog & de Meuron

AGC Design

Innovative design in revitalization – HK is now at a critical juncture

有創意,具創新的活化再用建築文物:

AGC Design

Provocative concept proposals for the URA's Revitalisation of Central Market, Hong Kong, 2009 (Lee Ho Yin of ACP, HKU) Hong Kong Place; Lee Ho Yin

Innovative design in revitalization – HK is now at a critical juncture

有創意,具創新的活化再用建築文物:

AGC Design

"Urban Floating Oasis (UFO)" by AGC Design Ltd. 由創智建築師有限公司設計的「漂浮綠洲」

URA / AGC Design Ltd.

AGC Design Ltd. / hk.apple.nextmedia.com

Innovative design in revitalization – HK is now at a critical juncture

有創意,具創新的活化再用建築文物:

"Urban Floating Oasis (UFO)" by AGC Design Ltd. 由創智建築師有限公司設計的「漂浮綠洲」

YouTube at www.youtube.com/watch?v=sxVSw4K-es8

SUMMARY 總結

We advocate



NO! to preserving old buildings as museum objects



YES! to revitalizing old buildings with innovative design to serve the communities through needed new uses

我們 提倡



說不：僵化舊建成為古董



說得：活化舊建，創新設計，實際用途，有利社區

Thank You

謝謝