Karen Lens
Universiteit Hasselt, Arts and Architecture, Faculty Member
- Arts and Architecture, Interior Design, Interior Design (Architecture), Interiors, Architecture, Architectural Theory, and 14 moreSpace and Place, Interior Architecture, Artistic Research, Walking, Adaptive Reuse, ADAPTIVE RE USE, Heritage Conservation, Cultural Heritage Management, Retail Design, Architectural History, Cistercian monasteries, Archaeology of Medieval Monasteries, Medieval Cistercian Female Monasteries, and Fashion and architectureedit
Historical buildings define the view and character of villages and cities, but some lose their function because of social, economical, political or religious changes. Without a suitable use, it is difficult for owners to conserve their... more
Historical buildings define the view and character of villages and cities, but some lose their function because of social, economical, political or religious changes. Without a suitable use, it is difficult for owners to conserve their property. Adaptive reuse has proven to be a useful solution. However, the research and practise to fitting new programs in existing (historical) buildings is rather complex. Not every heritage site can be transformed into a museum, hotel or concert hall as lever for economic, touristic regeneration.
To find suitable programs we need to understand current contextual demographic, ecological, economical, technological, transformations. Different interpretations of one situation are possible. Necessary knowledge is not pre- structured and asks careful moves towards a problem definition. Architects and designers can play an important roll in analysing transformations of the building and its context and in searching for suitable programmes. Their visualizations can open up a debate with all stakeholders. How can we confront design students with this complexity during their education? Subsequently can we use the therefore organised design studio as tool to develop alternative approaches to develop programs? What is the minimal intervention to define adaptive reuse?
Therefore, we organise a 12-weeks design studio in the master interior architecture. Based on in-group work gathered context data, the students develop a key plan by teams of 4 and create an individual partial design. Lectures of experts, involvement of design tutors and interaction with stakeholders guide them through the design process. Sketches, models and notebooks will document the process.
To find suitable programs we need to understand current contextual demographic, ecological, economical, technological, transformations. Different interpretations of one situation are possible. Necessary knowledge is not pre- structured and asks careful moves towards a problem definition. Architects and designers can play an important roll in analysing transformations of the building and its context and in searching for suitable programmes. Their visualizations can open up a debate with all stakeholders. How can we confront design students with this complexity during their education? Subsequently can we use the therefore organised design studio as tool to develop alternative approaches to develop programs? What is the minimal intervention to define adaptive reuse?
Therefore, we organise a 12-weeks design studio in the master interior architecture. Based on in-group work gathered context data, the students develop a key plan by teams of 4 and create an individual partial design. Lectures of experts, involvement of design tutors and interaction with stakeholders guide them through the design process. Sketches, models and notebooks will document the process.
Research Interests:
Adaptive reuse has proven to be an important strategy in conserving historical buildings. Nevertheless, reprogramming underused religious heritage sites in Western Europe is a sensitive subject because of its sacred aspects, history and... more
Adaptive reuse has proven to be an important strategy in conserving historical buildings. Nevertheless, reprogramming underused religious heritage sites in Western Europe is a sensitive subject because of its sacred aspects, history and connection to the surroundings. They represent strong intangible qualities. What can we learn from this original hybrid struc- tures for adaptive reuse focusing on four monasteries and their diversified programs that made them self-sufficient?
White Sisters and Herkenrode (Belgium) are still operating through a diversified program taking into account the memory of the buildings. Whereas Pousada de Santa Maria du Bouro (Portugal) and Ecole de Musique (France) were installed with a singular, homogeneous contem- porary program rather independent from its historic value. We will argue – partly by referring to the historic St Gallen model – that a heterogenous programming which respects the genus loci favors the protection of historical, cultural, social values and even sacred aspects of monastic sites.
White Sisters and Herkenrode (Belgium) are still operating through a diversified program taking into account the memory of the buildings. Whereas Pousada de Santa Maria du Bouro (Portugal) and Ecole de Musique (France) were installed with a singular, homogeneous contem- porary program rather independent from its historic value. We will argue – partly by referring to the historic St Gallen model – that a heterogenous programming which respects the genus loci favors the protection of historical, cultural, social values and even sacred aspects of monastic sites.
