architecture and conservation

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

2. THE CONSERVATION OF A BUILDING INVOLVES THE
FOLLOWING:
 Respect for and conservation of the building fabric or material.
The preservation of the historicity of these materials is considered
extremely important internationally.
 Respect for and conservation of the methods of construction
that are unique to the buildings in question.
 Respect for and conservation of the original quality and
perception of spaces within the building.
 Conservation of the various elements that lend to the building
its character.

3. THE VENICE CHARTER
INTERNATIONAL CHARTER FOR THE CONSERVATION AND RESTORATION
OF MONUMENTS AND SITES
DEFINITIONS
ARTICLE 1. The concept of an historic monument embraces not only the single
architectural work but also the urban or rural setting in which is found the evidence of
a particular civilizatiom, a significant development or an historic event. This applies
not only to great works of art but also to more modest works of the past,which have
acquired cultural significance with the passing of time.
ARTICLE 2. The conservation and restoration of monuments must have recourse to all
the sciences and techniques,which can contribute to the study and safeguarding of the
architectural heritage.
AIM
ARTICLE 3. The intention in conservation and restoring monuments is to safeguard
them no less as works of art than as historical evidence.
CONSERVATION
ARTICLE 4. It is essential to the conservation of monuments that they be maintained
on a permanent basis.

4. ARTICLE 5. The conservation of monuments is always facilitated by making use
of them for some socially useful purpose. Such use is therefore desirable but it
must not change the layout or decoration of the building. It is within these limits
only that modifications demanded by a Change of function should be envisaged
and may be permitted.
ARTICLE 6. The conservation of a monument implies preserving a setting,which
is not out of scale.wherever the traditional setting exists.It must be kept. No New
construction, demolition or modification, which would alter the relations of mass
and color,must be allowed.
ARTICLE 7. A monument is inseparable from the history to which it bears witness
and from the setting in which it occurs. The moving of all or part of a monument
cannot be allowed except Where the safeguarding of that monument demands it or
where the safeguarding of that monument demands it or where it is justified by
national or international interest of paramount importance.

5. ARTICLE 8. Items of sculpture, painting or decoration,which from an integral part
of a monument, May only be removed from it if this is the sole means of ensuring
their preservation.
ARTICLE 9. The process of restoration is a highly specialized operation.Its aim is
to preserve and reveal the aesthetic and historic value of the monument and is
based on respect for original material and authentic documents. It must stop at the
point where conjecture begins, and in this case moreover any extra work, which is
indispensable,must be distinct from the architectural composition and must bear a
contemporary stamp. The restoration in any case must be preceded and followed
by an archaeological and historical study of the monument.
ARTICLE 10. Where traditional techniques prove inadequate, the consolidation of
a monument can be achieved by the use of any modem technique for conservation
and construction, the efficacy of which has been shown by scientific data and
proved by experience.

6. ARTICLE 11. The valid contributions of all periods to the building of a monument must
be respected,Since unity of style is not the aim of a restoration.When a building includes
the superimposed work of Different periods, the revealing of the underlying state can
only be justified in exceptional circumstances and when what is removed is of little
interest and the material which is brought to light is of great historical, archaeological or
aesthetic value, and its state of preservation good enough to justify the action. Evaluation
of the importance of the elements involved and the decision as to what may be destroyed
cannot rest solely on the individual in charge of the work.
ARTICLE 12. Replacements of missing parts must integrate harmoniously with the
whole,but at the same time must be distinguishable from the original so that restoration
does not falsify the artistic or historic evidence.
ARTICLE 13. Additions cannot be allowed except in so far as they do not detract from
the interesting parts of the building, its traditional setting, the balance of its composition
and its relation with its Surroundings.

7. GUIDELINES BY S.P.A.B
( THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS)
REPAIR NOT RESTORATION:
Although no building can withstand decay, neglect and depredation entirely, neither can
aesthetic judgment nor archaeological proof justify the reproduction of worn or missing
parts. Only as a practical expedient on a small-scale can a case for restoration be argued.
EXPERIMENTATION
Old buildings are not the place to test unproved materials
RESPONSIBLE METHODS
A repair done today should not preclude treatment tomorrow,nor should it result in
further loss of fabric.
COMLEMENT NOT PARODY
New work should express modern needs in a modern language.These are the only terms
in which new can relate to old in a way which is positive and responsive at the same time.
If an addition proves essential. It should not be made to out-do or out-last the original.

8. REGULAR MAINTENANCE
This is the most practical and economic form of preservation.
INFORMATION
To repair old buildings well, they must be understood. Appreciation of a building’s
particular architectural qualities and a study of its construction, use and social
development are all enlightening. These factors also help us to see why decay sets
in and how it may be put right.
ESSENTIAL WORK
The only work which is unquestionably necessary(whether it be repair, renewal or
addition) is that essential to a building’s survival.

9. INTEGRITY
As good buildings age.the bond with their sites strengthens.A beautiful,interesting
or simply ancient building still belongs where it stands however corrupted that
place may have become use and adaptation of buildings leave their marks and
these.in time, we also see as aspects of the building’s integrity.This is Why the
society will not condone the moving or gutting of buildings or their reduction to
mere facades. Repairs carried out in place,rather than on elements dismantled and
moved to the work-bench,help retain these qualities of veracity and continuity.
FIT NEW TO OLD
When repairs are made, new material should always be fitted to the old and not the
old adapted to accept the new. In this way more ancient fabric will survive.
WORKMANSHIP
Why try to hide good repairs? Careful,considered workmanship does justice to fine
buildings, leaving the most durable and useful record of what has been done. On
the other hand,work concealed deliberately or artificially aged,even with the best
intentions,is bound to mislead.

10. GUIDELINES BY S.P.A.B
( THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS)
MATERIALS
The use of architectural features from elsewhere confuses the understanding and
appreciation of the building,even making the untouched parts seem spurious.Trade
in salvaged building materials encourages the destruction of old buildings,whereas
demand for the same materials new helps keep them in production. The use of
different but compatible materials can be an honest alternative.
RESPECT FOR AGE
Bulging ,bowing,sagging and leaning are signs of age which deserve respect.Good
repair will not officiously iron them out, smarten them or hide the imperfections.
Age can confer a beauty of its own. These are qualities to care for,not blemishes
to be eradicated

11. ADAPTIVE REUSE OF HISTORIC BUILDINGS INVOLVES THE FOLLOWING
ENGINEERING ASPECTS
A.MATERIALS 1. Behavior of materials both old and
new
2. New materials are stronger but less
durable than old materials that are
weaker but more durable
3. Hence compatibility between the two
B. STRUCTURAL
BEHAVIOR
1. A thorough understanding of the
behavior of the existing structure.
2. Old buildings have established
patterns of behavior due to their age
that should not be altered
3. Fresh loads should not be added as
far as possible. This applies to even
finishes especially flooring material
4. New additions including openings
should be made cautiously
5. Services should be introduced
sensitively especially plumbing and
sanitary services.

12. DESIGN ASPECTS
 Linked to the aspects of materials and structural behaviour
 Additional elements can boldly be a statement of modernity but follow
the simplicity and refinement that the old building exhibits.
 New additional buildings can also be modern but follow
characteristics of scale, proportion, rhythm,texture and overall form of
the existing.
 Imitation that will create confusion between which is original and
which added should as far as possible be avoided.

13. CASE STUDY- SENATE HOUSE AT CHENNAI
CONSERVATION OF HERITAGE BUILDINGS

14. CASE STUDY- SENATE HOUSE AT CHENNAI
FACT FILE:
CONSERVATION ARCHITECT: AR.KALPANA ( INTACH CHENNAI )
CONTRACTOR: L & T
 ARCHITECTURAL STYLE: INDO SARCENIC STYLE.
CONSERVATION STEPS UNDER TAKEN IN SENATE HOUSE
 REPLASTERING THE INTERIOR WALLS WITH CHETTINAD
LIME PLASTER.
 THE EXTERIOR WALL IS EXPOSED BRICK WORK AND EACH
BRICK IS EXAMINED AND ERRODED BRICKS IS REPLACED WITH
NEW BRICKS.
 BROKEN STAIN GLASSES ARE REPLACED WITH NEW ONES
 PLANT GROWTH IN THE EXTERIOR FAÇADES ARE REMOVED
CAREFULLY BY SCIENTIFIC METHOD.
 WATER SEEPAGE POINTS ARE FIRST SPOTTED OUT AND GIVE
APPROPRIATE TREATMENT
CONSERVATION OF HERITAGE BUILDINGS

15. CASE STUDY- SENATE HOUSE AT CHENNAI
CONSERVATION OF HERITAGE BUILDINGS
DECORATIVE PLASTER:
IN SENATE HOUSE POWDERED OR PULVERISED SAND HAS
BEEN USED WITH PURELIME PUTTY FOR DECORATIVE BEADINGS
AND DECO-WORK

16. CONSERVATION OF HERITAGE BUILDINGS
CASE STUDY- SENATE HOUSE AT CHENNAI
REPLACEMENT OF NEW BRICKS

17. CONSERVATION OF HERITAGE BUILDINGS
CASE STUDY- SENATE HOUSE AT CHENNAI
ORIGINAL LIME PLASTER WALL

18. CASE STUDY- SENATE HOUSE AT CHENNAI
CONSERVATION OF HERITAGE BUILDINGS
SOFFIT OF THE DOME UNDER RESTORATION

19. CONSERVATION OF HERITAGE BUILDINGS
CASE STUDY- SENATE HOUSE AT CHENNAI
EXTERNAL FAÇADE- SENATE HOUSE

20. STAINGLASS ROSE WINDOW
CONSERVATION OF HERITAGE BUILDINGS
CASE STUDY- SENATE HOUSE AT CHENNAI

21. DECORATIVE PATTERN BY STENSIL METHOD
CONSERVATION OF HERITAGE BUILDINGS
CASE STUDY- SENATE HOUSE AT CHENNAI

22. Thank You
By Jaikumar Ranganathan
Photos by Jaikumar Ranganathan