Integrating a New Construction Into the Historic Environment (without cover)

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BOOK 2 OF 2 - DESIGN PROPOSAL

“INTEGRATING A NEW CONSTRUCTION INTO THE HISTORIC ENVIRONMENT“

By Nils J. G. Molen

SERIES

BOOK 1 - RESEARCH REPORT

by Nils J. G. Molen

BOOK 2 - DESIGN PROPOSAL

by Nils J.G. Molen

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educational institution EINDHOVEN UNIVERSITY OF TECHNOLOGY, DEPARTMENT OF THE BUILT ENVIRONMENT

study MASTER IN ARCHITECTURE, BUILDING AND PLANNING

course 7XX37 FINAL PROJECT

graduation studio CULTURAL HERITAGE AND SUSTAINABILITY;

WORLD HERITAGE CITIES AS A CASE STUDY

case study VALPARAISO, CHILE

research group LORETO BECERRA WENGER & NILS MOLEN

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COLOFON © Augustus 2013 This is a publication within the framework of the graduation studio Cultural Heritage and Sustainability: World Heritage cities as case study, initiated by the chair of Architecture, History and Theory and led by Bernard Colen-brander, Ana Pereira Roders and Loes Veldpaus. Front cover and back cover: An old postcard (source: ebay) of the former building, and an impression of the partially restored main entrance of the design proposal.

Photo credits: If not indicated otherwise, all pictures were provided by the author.

Authors Nils Johan Gustaf Molen [email protected] Eindhoven, the Netherlands 0031 6 47 412 724 Eindhoven University of Technology Den Dolech 2 5612 AZ Eindhoven 0031 40 247 9111

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This research report “Integrating a new construction into the historic environment” is the second book in a serie of two. This subsequent research, in the form of a spatial study, is based on the results of the article “Revealing the cultural significance of Historic Urban Landscapes: Valparaiso as case study”. It claims on the validity of scientific methods performed during the making of the article whereby an understanding of the cultural significance was acquired. This report is not composed by elaborating a set framework as in the first research. Neither there is used a systematic method for assessing the impact on a cultural heritage property like Valparaiso, something that would be desirable in the case of development, considering the impact a building might have on its surroundings. However, the following design proposal has been developed with a constant awareness regarding its impact on existing OUV. There was made the attempt to develop a building which does not affect the cultural significance found in its surroundings, but rather contributes and strengthens it as a sustainable solution, also for future use.

The material presented here has been developed with the aid of the supervisors and fellow students. The Heritage Management Office (Direccion de Gestion Patrimonial) in direction of Paulina Kaplan Depolo has provided workspace, which made it possible to have access to archives, advice of involved professionals and to perform fieldwork. In particular I want to thank Carolina Peñaloza

Pinto for the constant help and endless patience with the linguistic difficulties. Also I want to thank Marcela Artigas Bolívar for the practical assistance and Loreto Becerra Wenger for preparing the project and performing fieldwork togheter with me. It is hoped that the booklet dedicates to better protection of heritage and inspires to examine current management affairs.

Preface

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The common theme of this spatial study is to propose a design that is based on results of the first research. After the finding that the residential area of Cerro Concepcion is subject to tourism pressures which cause a demand for non-inherent functions as hotel and commerce related functions, the proposal is made for a hotel building with a flexible program, that simultaneously can serve for the community. The vernacular surroundings of a building plot is reason to continue to work with the six vernacular rules and these are deployed in the design proposal to integrate in the World Heritage property without affecting the OUV. The result is a 30-rooms hotel building with commerce and communal exhibition space, and flexible spaces that can be changed of function and size according to demand from hotel or community.

Summary

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35, 110, 235

221, 145, 24

135, 135, 135

0, 160, 81

255, 95, 174

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Contents

1. Introduction

9 Background

9 Problem field

10 Objectives

2. Plot Abtao 348

13 A historical perspective

16 The former building

20 The approved building

3. Methodology

page 25

4. Results

30 6. Land use

32 5. Replacements

34 1. Materiality

38 2. Façade cladding

40 3. Stylistic elements

46 4. Transparency

5. Conclusions

page 51

References

page 53

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1.1 “Outstanding Universal Value, World Heritage Cities and Sustainability”

This international research project, operational since 2009 and continuing to 2014, is a co-operation between the Eindhoven University of Technology (TU/e), in the Netherlands, and UNESCO World Heritage Centre, in France. The over-arching goal of this research is to facilitate sustainable development to occur in WH cities without endangering their OUV for which these cities were inscribed onto UNESCO’s World Heritage List. For this purpose, the research is aiming to put forward a ground-breaking OUV assessment process (methods and tools), to help States Parties, national and local authorities, and related departments and institutions appraise and monitor the impact of sustainable development projects on the OUV of WH cities, based on their “best practices” (Pereira Roders & van Oers, 2010).

Previous case studies where amongst others Willemstad, Curaçao (2009/2010), The Stone Town, Zanzibar and Gall, Sri Lanka (2010/2011) and Island of Mozambique, Mozambique (2011/2012). An additional goal is to collect these and current case studies on the online platform Protected Urban Planet3 (PUP).

This particular case study research was conducted in co-operation with the local authorities in

Valparaiso, including the Heritage Management Office “Dirección de Gestión Patrimonial” of the Illustrious Municipality of Valparaiso. The research team consisted of students Loreto Becerra Wenger (Brandenburg University of Technology Cottbus) and Nils Molen (TU/e), coordinated by Pereira Roders, Veldpaus and Colenbrander (TU/e).

1.2 Problem field

In a recent study of ICOMOS (2005) about threats on World Heritage is shown that ‘the two major threats were management deficiencies and aggressive development’ (p. 9). Development in the historic environment will cause an impact on the cultural heritage present. Impacts may have a positive effect, an example mentioned by Pereira Roders and Hudson (2011) is work that gives the general public better access and understanding of a property. A negative impact is when the changes made cause a loss of Outstanding Universal Value; a term used by UNESCO to refer to the (global) cultural significance of a place.

Although cultural heritage is widely recognized as a unique and valuable resource of economic development, local governments often favour development over the protection of cultural heritage Turner, M et al. (2011). Cultural Heritage may be understood as a stage within the continuous process of evolution concerning the diversity of properties that are considered to be of cultural significance (UNESCO, 2005). From this perspective the protection of cultural heritage may be explained as a challenging form of transformation. For transformations in the life cycle of assets or an attribute, the main aim is to not affect OUV rather to retain or restore cultural significance from its past, but still meeting demands by the current and future user.

1. Introduction

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Even though unregulated interventions to an attribute such as a building are likely to affect its OUV, the development of a new construction makes that the quality of an entire protected area becomes compromised, especially when inserting an aberrant function. Since inscription on the World Heritage List in 2003, sector Cerro Concepcion is subject to tourism pressures which caused a demand for hotels and economic related functions, in an originally residential area: 82,9% housing (Molen et al., 2013). In accordance with the results, showing an increase of ¼ hotel and commerce related functions, the building of a new large scale hotel is authorized in centre of Cerro Concepcion.

Although the intervention manual (UNESCO, 2003) states that new constructions should by no means be imitations or “scenographic” façade solutions (figures 1.1 and 1.2 provide an example of an imitation-like new construction in the core zone), the current design may cross acceptable design limits and cause negative impacts with loss of OUV as result. Also regarding the unoriginal function, the Heritage Management Office prefers a mixed program with supplementary programs which serve the sector and its needs.

1.3 Objectives

The objective of this spatial study is to develop a design proposal which integrates well in its historic environment: that is to say it does not affect the present OUV but rather causes a positive impact on its surroundings. The design proposal therefore will be a sustainable building, that is to say it respects the historic environment, meets present requirements of owner and community and makes way for future use. A commonly accepted definition for sustainable development is “development that meets the needs of the present without compromising the ability of future

generations to meet their own needs.” and this contains two key concepts “the concept of needs, in particular the essential needs of the world’s poor, to which overriding priority should be given; and; the idea of limitations imposed by the state of technology and social organization on the environment’s ability to meet present and future needs. (WECD, 1987, p.43)”. Thus in the case of development involved with cultural heritage there is besides present and future use also considered the cultural values gained from past generations.

The attempt will be made to bridge the gap between the economic forces which create demand for a hotel and the preference of the Heritage Management Office for a program that serves more for the community. The design proposal will be based on previous research and the design process will consist of examination of the already approved design. So, at the same time is explored to what extent different design solutions can reach, and which impact these have on existing OUV. Besides this, to achieve positive impacts there will be emulated for a the design that works as a medium for the general public to get a better understanding of the OUV existing in the place. Also positive is considered to strenghten the integrity by restoring attributes and the cultural values these convey.

1.3.1 Aims

- To engage the (previous) research, and the gained understanding of cultural significance, as a design tool;- A sustainable building which respects and integrates in its surroundings without affecting existing OUV and while meeting present and future demands; - To strengthen the OUV and understandability of it;- To explore the extent of design solutions

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Photo 1.1 (above) shows a mixed (housing and commerce) vernacular property in the historic centre of Valparaiso in 2002. Below (figure 1.2) is shown (from another angle) the in 2006 new developed super-market at the same location as the de-molished building. This one-floor building imitates the former building regardless its aberrant program; including false windows.

Source: Centro de Estudios para el Desarrollo Urbano Contemporaneo (DUC)

Source: Google Earth

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Figure 2.1. A satellite image of Cerro Concepcion of approximately 1:2500 with in the centre plot Abtao 348 (produced by Bing).

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In the centre of Cerro Concepcion is located a fairly large building plot addressed as Abtao 348 (figure 2.1). The longer side, of approximately forty meters, is located adjacent to the inclined main street Templeman. And the two short sides of twenty meters border Papudo street and the approximately 3,8 meters higher Abtao street. Since the former building was destroyed in the 80’s because of fire, this plot is used currently as a collective parking lot, where inhabitants of the neighborhood park their cars behind the remained, but ruined walls. The current owner of Abtao 348 also purchased the three (vernacular) properties at Papudo street which are adjacent to the terrain. What exact consequences the current development proposal will have on these originally houses (currently used as commerce) is not clear. Though, recently building plans are developed for plot 348 and following the management authority development is also necessary:

“Development is possible and very necessary, an empty plot is always an underutilized urban piece, and in places like these, it’s good to have habitability, use and dynamism to keep the neighborhood in good condition. (Heritage Management Office, 2013)”

The owner of the Abtao 348 proposes a large scale hotel, including commercial space, and is already approved for construction. Despite the demand for hotels resulting from economic forces related to tourism pressures, the Heritage Management

Office though opts for a program which supports the community:

“We can give an opinion based on what we believe the sector needs, also relating to what we believe are the needs of the city, and then there is the vision resulting from the experience of previous interventions in this area. We suggest to evaluate a mixed use, as these use supplementary programs, in which always provides for housing as the main program. The type of house is key, this that the user or target audience is heading the housing (students, small families or young couples, families of 4 or more, group homes or seniors), and a program to provide a service or involvement with the neighborhood, which can be small-scale commerce for example. Its function should be mixed, i.e. be a building that contributes architecturally to value of the existing ensemble, from this point of view is not a star architecture trying to compete with that already exists, that does not mean it is lower in quality, expression or image, just to be very respectful and well made. Consistent with the building type of environment, or corresponding with the urban landscape (heights, solid volumetries, rhythm in closed and open. (Heritage Management Office, 2013)”

2.1 A historical perspective

From a historical point of view, Cerro Concepcion makes part of one quarter with Cerro Alegre spread over two hills, separated by the Uriolla street. The architecture of this quarter has been influenced by European models and by the workmanship of North American master carpenters. To a large extent, the quarter was planned and developed by German and English immigrants, starting from the first half of the 19th century (UNESCO, 2003a, p. 27). Given the planned nature of this quarter’s development, its road network and division into lots attempt some sort of regularity within

2. Plot Abtao 348

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Figure 2.2. Map of Valparaiso in 1838. Source: Atlas de la Historia Fysica y Politica de Chile by Claudio Gay.

Cerro Concepcion

historical centre

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the difficult conditions imposed by both the incline and topography (p. 27). The orthogonal layout of the more or less regular blocks flanking main street Templeman is exactly the quality of this hill when comparing to the other 16 hills surrounding the bay which have a so called “vernacular urban fabric (p. 935)”.

In the map of Valparaiso in 1838 (figure 2.2), included in the atlas made by Claudio Gay for the French marine is shown the relatively unbuilt hills along the coast. Following this map, the occupation of the hillsides started to concentrate around the historic centre in the surroundings of the Matriz church. In Cerro Alegre and Concepcion the buildings were merely located along the hills edge, especially where is now Paseo Atksinson. In a map of 1822 is readable that there are located “iron houses on one lot and other burned houses and gardens” (Bahamondes P.). Also this author states that “in 1825 José Waddington bought the hill one year after the pavement of the first roads”. In the photo (figure 2.3) from 1860 is visible that while the presence of infrastructure there are still relatively few buildings at Cerro Concepcion.

The process of settlement of Cerro Concepción occurred with the advent of the Republic and the opening of the port to trade, leading to the establishment of numerous foreigners in Valparaiso, especially British and German (Waisberg, 1992). Their intention was to live at some distance from the crowded and noisy plain, in contact with nature and the landscape. (UNESCO, 2003a, p. 28)

About the exact history of the building plot Abtao 348 is little known, let alone information of the former building. Noted is the division into (almost) equal lots in, and around the building block. Within the building block, plots with a width of 7,8 and depth of 10 meters are built with

a single house typology, raised in two models. In a (unclear) map (figure 2.4) from 1875 which corresponds to a register of properties made by the Insurance Association of Chile (Bahamondes P.) is notable the perimeter of a building located on plot Abtao 348. Considering this map, it is uncertain if this is the former building, nor is to say if this is the first building respecting the original plan of the division into lots. Assessed against the present models of a housing typology with the width of 7,8 meters, one can opt that the original intension was to divide the plot in question in six more plots, and thus several houses. However, measuring of the size of the plot gives no clear answer, since three houses of 7,8 meter do not seem to fit.

Figure 2.3. Cerro Concepcion in 1860

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2.2 The former building

The discovery of an old undated postcard (figure 2.5) meant the only visual proof for the appearance of the former building that was worked with during this research. Considering this postcard, which depictures a monumental main entrance of the building, and figure 2.6, which shows the lower end of a part of the wall still remaining today, we can conclude this was indeed the building that was destroyed approximately thirty years ago.

Despite of the missing photos, and the limited information the postcard reveals, there are important conclusions to be made from the postcard. The first characteristic of the former building is a façade, placed back with respect to the neighboring building in the perimeter, which

causes an open space in front of it. This fact is also shown in figure 2.6 where a vertical line between stucco and brickwork is still present on the neighboring building. The open space in front of the building is used for a monumental entrance which goes up to a central placed, double stairway, accessible from both sides and covered with a classical arch. This classical arch is built with two pairs of double columns, set on an articulated wall, which is partly filled with steel garden fences. From the postcard also derives the height of the façade, which extends above the eave of the neighboring building. In the eave of the former building is visible an articulation whereby the middle part is emphasized. This articulation plays role in a classical hierarchy, where arrangements of parts are gradually made, from the whole elevation to the entrance door.

Figure 2.4. Photo of a map Cerro Concepcion made in 1875. The map shows the contours of former building.

19Figure 2.4. Photo of a map Cerro Concepcion made in 1875. The map shows the contours of former building.

From this well considered façade design there can be claimed that in fact the former building was not vernacular or spontaneous, but rather intentional designed and strongly determined by classical rules.

The open space in front of the building corresponds to in the Nomination File so called attribute “social and family use of gardens”. This is a very characteristic space for this neighborhood and also limited to sector one “Cerro Alegre and Concepcion” of the World Heritage site. It is encountered in series, in front of a housing block (figure 2.7) were it is used as a garden, or more scattered throughout the neighborhood, in paved form with a heavy wall as perimeter (figure 2.8). The “social and family use of gardens” may be regarded as one of the different types of “the intermediate space” which stands between the public and private space. In the Nomination File several of these types are mentioned, such as balconies, turrets, bow windows and verandas (UNESCO, 2003a, p. 13). However, from the text may be deduced that all these spaces are interior spaces, and the garden is not included. So, the

front garden is in the strict sense of the word no intermediate space, but anyway it is a between space or transitional space between private and public.

In addition to the writing about the use of gardens, also mentioned is another exterior space, namely

Figure 2.5. Postcard of calle Abtao showing the entrance of the former building (without date).

Figure 2.6. Current situation: entrance to parking lot (source: Google Earth).

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private space

semi-public

semi-public (lower level)

Figure 2.9. Effect of the intermediate space on the public space.

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Figure 2.7. Aerial photo from 2003 showing the Paseo Atkinson with gardens in series (Source: Nomination File).

Figure 2.8. Social and family use of gardens.

the alleyway: “In the hills of Valparaiso, the boundaries between public and private space are blurred and thoroughly mixed up in the scarcity of space. Public spaces are the natural extension of houses and, at the same time, are traffic lanes or recreation grounds for the entire population. (Nomination File, p. 13)” and “The alleyway and the promenade are an extension of the house...This superposition between public and private spaces is complemented by the richness of the intermediate spaces. (Nomination File, p. 27)”.

Whether the front garden on the postcard carries the name intermediate space or not, the fact that public and private are blurred and mixed up,

contributes to the characteristics of a residential area. Here, the claimed public space allows for a social cohesion and also social control which is needed to make an area inhabitable (2.9). Finally, we can conclude that the very heavy and specific arch which divines space so strongly, could be seen as interior space indeed. Considering it in this way, it was a unique space, and since destroyed remains unseen today in this shape.

From the fact that the building is related to the attributes “the intermediate space”, “the garden fence”, “social and family use of gardens” and not the least the “coexistence of academic and vernacular stylistic elements”, but also the very

private space

semi-public

semi-public (lower level)

Figure 2.9. Effect of the intermediate space on the public space.

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fact that one of the rare postcards of Cerro Concepcion shows this façade, means it was of great value. And with these insights one can conclude that when the former building burned down it was a loss of an asset indeed, the loss of integrity and therefore a loss of cultural values conveyed through this asset. So, for the question if the former building was indeed of significant quality and worth considering for reconstruction or inspiration for new development this postcard provides a confirmation. And with this determination was continued to a methodology to integrate, another design proposal, into its surrounding without affecting existing OUV, but to rather strengthen it.

2.3 The approved building

Before I go into the methodology, and subsequent the reconsidered new proposal, first a short assessment of the already approved design. The latter topic, on the intermediate space, is continued as first example since the approved design integrates a kind of intermediate space as well. In this case it is an exterior space as well, but then within the perimeter of the building’s outline. Namely, at front side (and backside), the ground floor is placed back, as in the former

building, but the first and second floor protrudes over it (figure 2.10), and connects with the outline of the neighboring building. So in spite of the space is used for social (economic) purposes, it is no garden as in the former building. And therefore the chances are that, although a claim is put on public space, and it is superimposed with private space, the cultural value deviates from the original one. This example demonstrates how an attribute can be elaborated and shaped in different manners. And the question in elaborating an attribute remains whether it conveys the intended cultural value.

Another attribute found in Cerro Concepcion is the phenomenon of the “roof as a fifth façade”. This is mainly caused by applying the same materials for façade and roof. But also because of a simple or not very elaborated roof eave, whereby the façade seems to continue to the roof. However, the perception of this phenomenon is also allowed because of the height differences on the hillsides. The majority of the buildings do not have the same height, and stairways leading up or down the hill make their roofs visible. Besides this, the views from and to other surroundings hills make the whole buildings visible (figure 2.11). Notable in the approved design is the flat roof, whereby

Figure 2.10. Intermediate space / entrance (adapted from original source: cerroconcepcion.org).

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Figure 2.11. The phenonemon of the fifth façade. Source: Banco Gráfico de Chile.

Figure 2.12. roofline / inclination treatment (adapted from original source: cerroconcepcion.org).

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the perception of the fifth façade is not allowed, at least not from street level. Also, the height differences in the building block (3,8 meters) itself are not shown in the building’s exterior (figure 2.12).

In the previous research was revealed that the quality of the vernacular architecture, accounting for almost 50% of Cerro Concepcion, was found amongst others, in the imported materials from the harbor. The architectural office responsible for current design, seem to have seized this fact to reinvent the façade, since they propose a cladding with industrial materials and harbor-like characteristics. In the case these materials come from the harbor, a tradition in this sense would be continued. The unit-like expression in the façade may be perceived as sea containers coming from the harbor. Although the commonly used sheet materials formerly applied in Valparaiso came from the harbor, they were applied for functional reasons only. These were not applied to act as a reminder of the harbor, instead the exact reason for the immigrants to move to this hill was to avoid the noisy harbor area while still overlooking the harbor activities. So, from this perspective the approved design brings as it were the harbor to Cerro Concepcion, and it is the question

whether this is needed. Apart from this disputable interpretation, the vernacular buildings were painted in one color with residual paint from the harbor, instead of the three different colors in the approved design (figure 2.13).

Despite the fact that a more extensive analysis can be made, which also considers plans and sections, the last three examples considered if the same cultural values are emulated and elaborated. So regarding the question if a design proposal integrates a certain attribute at all, it is the question too, if this attributes in the end conveys the same cultural value as originally. And here, original is the cultural value at time of inscription, which originated from historical events. The manner how an attribute is integrated and shaped may range from various design solutions, and from imitations to contemporary conceptions. Finally, restoring eventual historic situations may yield the best results regarding the cultural values that were conveyed by the attributes.

Figure 2.13. materials and use of color (adapted from original source: cerroconcepcion.org).

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With the aim to integrate the new construction in its surroundings without affecting existing OUV and simultaneously meeting present and future demands, there is developed a design strategy which is based strongly on the results of the previous research and claims therefore its validity. After a historical research considering the qualities in the plot’s surroundings and former building, the strategy was to determine the value of the plot and its surrounding architecture. And already before engaging the common activities involved with a spatial study, it was clear that 45,3% of Cerro Concepcion is vernacular (48,1% in 2003) and that the plot is surrounded with vernacular architecture. Moreover, everything indicates that the proportion of vernacular architecture used to be larger before 2003, even in the building block of the plot in question. Since, in the previous research was revealed the state of authenticity and integrity of vernacular architecture, and its substantial values and characteristics, the idea was to elaborate these in the new design to be able to integrate well.

Central to the Burra Charter is the principle that when dealing with cultural heritage assets it is necessary to understand its cultural significance before undertaking any development project (Pereira Roders and Hudson, 2011): Previous research provided an elaboration of a framework to perform cultural heritage assessments. First, the official documents used for inscription to the World Heritage List were analyzed: Nomination

File (NF) by the State Party of Chile, the Advisory Body Evaluation (ABE) by ICOMOS. As a result, the understanding of the cultural significance at time of inscription and consequently an inventory of attributes, where these were classified as tangible or intangible, and allocated cultural values: social, economic, political, historical, aesthetical, scientific, age and ecological (Pereira Roders, 2010). Then, to perform fieldwork we defined a set of six rules (enlisted below) to reveal the vernacular building stock. These rules were based on the Charter of the Built Vernacular Heritage (1999) by CIAV ICOMOS, where points are formulated to recognize vernacular architecture. Additional data was gathered regarding land use, heights and structural conditions. After revealing the current state of authenticity, we reconstructed by comparing material from 2001 used for inscription, the state at time of inscription. The evolution through time was revealed using a database and maps produced with a Geographical Information System (GIS).

1. Materialitythe used building technique for structural system is adobe, adobe-wood (Adobillo), Quincha (variant adobe-wood), or just wood, and to level the slope of the hillside a rock foundation, a base made of masonry-bricks or a pillar structure of wood can be used; 2. Façade claddingthe façade is cladded with plancha ondulada or metal sheets, adobe-stucco, Chilean- or concrete-stucco (reinforced) or wooden cladding; 3. Stylistic elementsThe application of simple ornaments, if any, these are of meaningless character found on functional parts of the building; 4. Transparency The transparency of the façade has to be less than 25%;

3. Methodology

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5. ReplacementsReplacements, because of alterations or extensions to the building, are made of materials or parts with a “non-aesthetical” purpose; 6. Land useThe buildings program indicates an original residential purpose: its land use is housing.

These six rules are involved with the most substantial values and characteristics of the vernacular and convey the cultural values which are recognized to be of global importance. And because these six rules are taken into account and elaborated to a greater or lesser extent in the proposal it approaches the same values. So the design approach is the pursuit of the same values, with the expectance of a building which results integrates well. And each time, there is considered the approved design to understand how it incorporates these points, and where is room for improvement.

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4 out of 4 d.s.

3 out of 4 d.s.

2 out of 4 d.s.

1 out of 4 d.s.

undecorated set

excluded

Decorative set1. an almost symmetrical façade; 2. rhythm in façade openings; 3. classical lists or cornice at floors and roof made of tin;4. prefabricated guillotine-style windows/ classical doors and windows

Undecorated set1. an almost symmetrical façade;2. rhythm in façade openings;3. undecorated wooden lists.

Figure 4.2. Qualification of buildings in 2003, filtered on vernacular (source: Nomination File).

Figure 4.1. Stylistic elements in surroundings.

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The plot, subject to a slight incline, makes part of a building Block which is two-third vernacular, and another 70% of its direct surrounding architecture is vernacular. Approximately 60% of these surrounding buildings incorporate at least 3 out of 4 stylistic elements as used in the previous research (figure 4.1). At least 90% of the vernacular in Cerro Concepcion was valued environmental singular1, and the two cases of modern architecture in its surroundings are valued discordant2 in 2003 (see figure 4.2).

The qualification of the vernacular architecture present at the plot is reason to continue to work with the results found in the previous research.In that research we were able, through the set of (six) rules, to reveal the vernacular’s qualities and characteristics, besides additional values that were found. With the challenge to develop a new construction that integrates well, that is to say it does not affect the present OUV in its environment,

there will be used these six rules again to design the building. And also these have been used to reflect on the planned building. The design is explained with renderings made from west direction showing mainly the south- and northwest facades.

There needs to be noted here that this project is no attempt to build a vernacular building. Apart from the fact the former building was most likely not vernacular, building the vernacular is not possible as an academic, since the expertise in design and construction is not transmitted informally (CIAV, 1999). Also the planned character, prepared from another continent, would not comply with the spontaneous feature of the vernacular.

Figure 4.2. Qualification of buildings in 2003, filtered on vernacular (source: Nomination File).

1. Environmental singular are those whose volume and façade treatment meets interesting elements and constitutes an environmental contribution with its attributes, but do not stand alone in the whole. It can correspond with an architectural typology, less elaborated, complex or distinctive then most prominent and representative buildings of the area, but they constitute an element what supports or reinforces the ensemble, permits a notable articulation with the environment and, helps to shape a particular environment (UNESCO, 2003).

2. A discordant one is which because of its form, size, composition and materiality or style alters the unity of the ensemble. And does not integrate the typology of the buildings in the sector (UNESCO 2003).

historical artistic

environmental singular

environmental

discordant

unbuilt

historic monument

4. Results

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4.1 6. LAND USE

There is a reason for starting this section with land use to explain the design proposal. Namely, in the land use is found the essence of the problem present in Cerro Concepcion: tourism pressures which cause a demand for hotels and commerce related functions, while being originally a residential area where more than 80% used to be housing. An increase of ¼ hotel and commerce related functions was revealed in the previous research. In this line is also the development of a new large scale hotel.

Up to now, the presence of hotels is limited to small scale hotels or hostels in modified (residential) buildings. But the approved 43-rooms hotel design covers a plot of 800 m2 along the entire width of the building block. Besides the scale related issues, and the aberrant land use, and their effect on the historic environment more problems come with the typology of the hotel. A substantial issue is the centrally organized program, which may cause an introverted building, closed towards the community. And this, whilst previously mentioned that Cerro Concepcion is a residential area with a community involved where takes place the superposition of private and public space.

The central organized layout occurs in a lobby with distinctive entrance from where this space connects to supplementary spaces such as the reception, restaurant and vertically transport which links hallways to the hotel rooms. In this relation scheme from entrance to hotel room, all movement goes through a central point, and accesses through a single entrance. This is where the problem lies: one façade which plays a role in urban tissue, and others which make no part in interior and urban circulations. Often these secondary facades, with eventually some emergency exits, are less elaborated and are

vulnerable to become desolated public space. As a hotel gets more comprehensive, more functions will connect to the central space, and in case of the more independent functions, more external accesses become part of the façade.

In line with the Heritage Management Office that prefers a mixed program with supplementary programs which serve the sector and its needs, there is sought in this design for more involvement with the community. The building integrates at the backside, adjacent to the street level and below the exclusive hotel function, independent spaces that serve for community as well as hotel. In figure 4.3 is shown in transparent green space that connects with the lobby, and which is used for restaurant surface, but can be used as exhibition or conference space too. In the same figure, in blue, space that borders the public and has room for commerce, that is grocery store instead of souvenirs shops. The transparent yellow spaces are also flexible space. Here, is the possibility to situate the original function of the area, being it housing in the form of studios for starters or expats. But the spaces can be furnished too, as hotel rooms, but according to the demand also as office or small commerce. These spaces are accessed from outside and inside: an superposition of public and private in the exterior and interior space.

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Figure 4.3. Mixed program.

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4.2 5. REPLACEMENTS

This section continues on the program of the building. In the previous research emerged the suspicion that originally a larger part of Cerro Concepcion was vernacular before 2003. And a part of the other buildings found their origin in vernacular construction, but lost this quality throughout time. So, there were buildings which for example had three sides with all the characteristics for being vernacular, but the main façade adjacent to the public domain appeared classical. Here, the possibility was that a originally vernacular building was intervened by replacing the façade. And the reason for a classical representative façade would be aesthetical instead of functional. In this case would be stated, that since the vernacular is not about focusing at society, but rather to the resident with the aim to protect and to provide shelter, it had lost its vernacular value.

Although the aim is not to construct a vernacular hotel building (something that actually is impossible), the abovementioned acknowledges that the built environment is an ever evolving situation, driven by different motives and interests. To achieve a mixed program that in the end is flexible as well, design solutions are provided. Part of the flexible transparent green space (figure 4.3) are the sliding façade parts, which when used for an event can be opened. Even when the hotel would be exploited in the whole building, preprogrammed access doors (figure 4.4) are integrated. A double door (fig. 4.4.1) with stairs to two rooms are found in the southwest façade., and in the northwest façade three door give access to flexible spaces, whereof one connects to the escape route. Also the façade is perforated to be able to comply with lighting requirements needed for the wide range of program. The flexible spaces (20m2 each) located in transparent yellow in (figure 4.3) are

interconnected with two double doors opening in both directions (fig. 4.4.2). This provides the ability to enable and increase the space to rent. The flexible program is also achieved, besides the preprogrammed doors and façade design, by the structural system (materiality) which allows a open floor plan.

Figure 4.4.2 (source: www.dhm.de)

Figure 4.4.1. Entrance doors in the opposite building

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Figure 4.4. Characterstics related with changes in program: preprogrammed doors in dark red and perforations in light red.

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4.3 1. MATERIALITY

For the materiality of the vernacular buildings in Cerro Concepcion accounts that 96,3% is constructed with the Adobillo structural system (Molen et al., 2013). Besides this, in the whole building sample of Cerro Concepcion is found that 63,0% of the buildings has an Adobillo structural system. And this, while only 45,3% of the building sample is vernacular indeed. Plausible even is that the former building was built in a similar manner. So, constructing a new development with a system which continues in the line of the adobe-wood system would be logical.

However, interventions made today in Valparaiso are usually constructed with reinforced concrete, also the two modern buildings next to the plot. This is a building method which has different properties: it is heavy instead of light, massive and not thin and frame-like, it does not need to be cladded as the “Adobillo” do needs, but also it is not optimal regarding earthquake resistance. However, another structural systems is found as well, where the similar design of “Adobillo” is maintained. In figure 4.4 is shown a lightweight, flexible, structure shaped in a similar way, but replaced by the stronger and more durable

material steel. In this case the system can be seen as an evolved and improved version.

In this thought is also the proposed the following structural system. There is elaborated a system which could be seen as an evolved version of the adobe-wood system. First, steel trusses are placed on a firm reinforced concrete base (figure 4.6), then they are interconnected with steel beams and diagonal braces are placed. Between this structure, where normally the façade is constructed from several adobe blocks, are now placed prefabricated façade parts (figure 4.7).

Figure 4.4. Intervened building (source: Google Earth)

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Figure 4.7. Materiality.

Figure 4.4. Intervened building (source: Google Earth)

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Figure 4.6. Phased construction.

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4.4 2. FAÇADE CLADDING

Although the Nomination File describes that “Wood is the predominant, although not exclusive, material both for the structure and finishing. Metal covering, often corrugated, is very common. (UNESCO, 2003, p. 28)”, there was revealed that the share of wood is only 4,4%. With a share of three-fourth, the most significant façade materials in Cerro Concepcion, are corrugated steel sheets or plancha ondulada (51,9%) and Chilean stucco (21%). In the direct surroundings of the plot a 70% of the buildings is cladded with corrugated steel sheets.

Another attribute is the “use of color”. In the surrounding buildings is found an extensive use of color, where each building is in its total, or sometimes without masonry plinth or windows- and doorframes, painted in a different color. While the approved building incorporates several colors, scattered in a chaotic manner, the current design uses one color. And despite the fragmentation of the volumetric design, with different roof surfaces that show the height differences in the plot, the one color used for façade and roof cladding shows the wholeness and the building in its total.

The continuation of the façade cladding to the roof is due to the incorporation of attribute “roof as fifth façade”. During this spatial study was found this additional value of vernacular architecture, namely the phenomenon of the attribute “roof as fifth façade” is actually conveyed by vernacular buildings. In figure 4.15 are shown the buildings which have the same façade and roof cladding: around 95% of these buildings are vernacular.

The design proposal as seen in figure 4.8 is not painted, but cladded with copper sheets which are durable and built up a protection layer by oxidation. The choice for these panels come from

the fact that Chile is the largest producer of Copper (Singleton, M., 2013), so it represents the Chilean industry, and also cultural aspects since copper is used for jewelry. The impression also shows the (oxidized) copper panels, equal for the façade and roof.

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Figure 4.8. Façade cladding: oxidized copper.

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4.5 3. STYLISTIC ELEMENTS

The four stylistic elements from the decorative set are elaborated in this building: rhythm, an almost symmetrical façade, classical lists or cornices and classical doors and windows. In this section these elements will be explained through the corresponding four impressions. The application of the stylistic elements must make the connection with surrounding buildings and therefore integrate the building better. The way of application however, the reinterpreting of elements through extrusion of motives, is a way of reflecting on the original elements.

In the façade rhythm is elaborated a rhythm which reflects on the facades opposite to the building, but which achieves its own logic structure as well. One which connects to the opposite site, but emanates from the spaces behind the façade. In the different facades is found a different rhythm, and sometimes it is deliberately deviated. So, in the whole there is found a tendency towards symmetry, but as in the surroundings never completely symmetrical. The sliding façade parts and the ending of the volumetric block on the northwest side do not incorporate stylistic decoration, but these confront a modern building. Symmetry is found most complete in the elevated entrance block, the façade which uses hierarchy to emphasize the hotel entrance, so symmetry is part of this hierarchy. As revealed during the previous research the inclined facades incorporate less symmetry. Classical lists or cornices are continued along the building block, connecting to the lists of neighboring buildings (figure 4.11). These lists have an extruded middle part, which is the exact motive of the crenelated tin rolls, sold per meter during 19th century.

In the last impression (figure 4.12) is shown an exploded view of a façade fragment. Here, the

view has to clarify how the detailing of the window frame will be made. Comparing the impression with figure 4.12.1 gives insight in the different detailing of window- and door frames. The photo of vernacular building 26 is a very elaborated classical door which is constructed with wooden parts, all colored different from wall cladding. By continuing the set façade cladding with a grid of 1000 millimeters (1200 mm structural grid) in the side or southwest façade the extruded classical detail gets cut through (noted is that in vernacular architecture the corrugated steel sheets cladding are placed randomly without composition). The cuts will be notable after construction, and therefore show it is the classical whole is built up from extruded parts. The goal of this particular detailing is to lead to a better understanding of the Outstanding Universal Value present in the surrounding. In other words, it has an educational purpose. Namely, this way of interpreting elements and the honesty about being the new construction or a modern development, while making no attempt for replicating, but at the same time having historical decoration shows these are of significant value in the older buildings.

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A A A B B B

Figure 4.9. Symmetry.

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Figure 4.10. Rhythm.

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Figure 4.11. Classical lists / Cornices.

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Figure 4.12. Fragment of the façade showing classical details.

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Figure 4.12.1 Example of a very elaborated door frame in classical style.

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4.6 4. TRANSPARENCY

In spite of figure 4.14 is inconclusive towards the entire façade, table 4.13 shows the proportions of open and closed façade and the percentage of transparency. Open façade parts are defined as open parts in façade and supporting wall behind, this equates to windows and doors. The attempt was made to achieve a result under or equal to 25% transparency, the state found in the vernacular buildings. The table shows also numbers printed in red, these conflict with the previous definition of transparency where the southwest façade has a surface of 36 square meters of sliding parts. Here, the construction behind is an open part as well, but when the sliding parts are closed the building complies with the transparency found in its surroundings. This part in the building plays part, besides the programmatic solution for community, to reveal a self-contained quality of the building, namely the view towards the spacious garden.

Table 4.13 Transparency of the design proposal

Properties of vernacular buildings parts in m2 transparency in

closed open percentages1. Public facadessouthwest 256 (220) 45 (81) 17,50% 36,80%northwest (backside) 157 40 25,50%southeast (frontage: entrance) 151 42 27,80%2. Private facades (courtyard)northeast 124 16 12,90%southeast (frontage: entrance) 149 35 23,50%northwest (backside) 101 25 25,00%

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Figure 4.14. Transparency.

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The former building was an asset on its own, for the community and being unique in its kind, the monumental frontage could have been an attribute with Outstanding Universal Value. Although not yet inscribed on the World Heritage List during the eighties/nineties time, the state of authenticity and integrity of the whole building sample of Cerro Concepcion was decreased when the former building was destroyed.

Where it is important in the historic (protected) environment that cultural values are enhanced over time, the integration of attributes which convey these values to a new development is a logic design strategy. However, in their form and design, materials and substance, use and function and construction techniques these attributes may range from imitations to contemporary architecture. Therefore the restoring of attributes and return of former cultural values should be given priority over the new construction and its own logic to return a lost cultural value as veracious possible.

Shown in figure 4.10, but not discussed during the six points which comply to the vernacular, an important feature of this design is the reconstruction of the former “intermediate space” entrance as it existed in the previous building. The partly reconstructing of the old wall, and partly reinterpreting the body of the classical arch in a contemporary way pursues the restoring of the social values in the neighborhood.

For development involved with cultural heritage, both interventions to existing buildings (or other objects) and new constructions, there needs to be an understanding of the cultural significance. To gain this understanding, research can be performed prior to the design phase, with the goal to reveal the state of authenticity and integrity, the substantial values and characteristics of an attribute. The systematic approach performed during the research should be continued for the design proposal. In this previous research the state of authenticity and integrity could only be revealed by identifying the vernacular building part through the six rules which were prepared in consultation with professionals. For the design proposal these six rules were systematically integrated into the design.

Finally, if a building does not conceal that it is a new construction, and when it has its own logic rather than incorporation false elements to accomplish an similar physical appearance as surrounding architecture, the reinterpreting and reflecting, design wise, on aesthetical values conveyed by their attributes can lead to a better understanding of OUV. Because for the general public the building will be perceived as new because of contemporary features, but the appearance of details, similar as in its historic environment make it clear that especially those are of great value.

5. Conclusions

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References