Saidja Heynickx
Universiteit Hasselt, Arts & Architecture, Department Member
Research Interests:
Architects and designers confronted with the complex task of adaptive reuse of an existing (historic) building need to establish a relationship with the host space before they actually start designing. This relationship may be very... more
Architects and designers confronted with the complex task of adaptive reuse of an existing (historic) building need to establish a relationship with the host space before they actually start designing. This relationship may be very formal, through analysis of the physical characteristics of the host space, but can also be emotional, focussing on the intangible qualities of the place, the building, the interior. Our contribution investigates how sketching may be a valuable technique in establishing a formal as well as emotional relationship with the host space. The technique of sketching in the discipline of architecture, more specifically for the first perceptual registration of the existing space, is an underestimated tool for basic and detailed visual data collection. To gain insight in the technical and methodological aspects of sketching in architecture, we make a comparison with two other disciplines with parallel systems on the perceptual site-specific sketch, the so-called fi...
Research Interests:
Research Interests:
Whereas the façade and structure of buildings might stand the test of time, the interior is much more sensitive and has often been altered to changed needs and desires. The introduction of a new, minimalistic interior, marked by a simple... more
Whereas the façade and structure of buildings might stand the test of time, the interior is much more sensitive and has often been altered to changed needs and desires. The introduction of a new, minimalistic interior, marked by a simple contrast between the new and the existing, is often the easiest solution but might affect the experience of the building’s ‘spirit of the place’. Some designers prefer to deal with the remnants of the interior in a more sensitive and delicate. Through a process of intelligent copying and interpreting, the particular tangible and intangible qualities of the modern interior (lay-out, materials, circulation, decoration, relationships between space, lighting, incidence of natural light, etc.) are incorporated in the new interior design.
But such an approach requires specific skills from the designer. Beside basic historical and technical knowledge on the building to alter, the designer needs a certain degree of empathy with the building: experiencing the interior, connecting with the user and to put oneself in the place of the original designer - not in order to create a reconstruction, but to reveal and understand its characteristics and qualities.
This essay elaborates on the problem of adapting modern buildings with interiors at risk because it is only partially preserved, forgotten, hidden under or behind later additions, not documented, or not protected. We reflect on different methodologies that can be used by designers to develop an understanding of the host building and its interior, such as: scientific documentation made by a third party, photography, sketching or models. For many buildings that lack of available knowledge and material evidence, it is necessary to combine different methods.
We illustrate our argument with student work on adaptive reuse of Modern Movement buildings. A sensitive adaptation of the original interior, requires a particular skill based on an empathic approach from the designer. Offering tools to develop a deep understanding of the host space and its interior is also necessary in the curriculum of interior architecture.
But such an approach requires specific skills from the designer. Beside basic historical and technical knowledge on the building to alter, the designer needs a certain degree of empathy with the building: experiencing the interior, connecting with the user and to put oneself in the place of the original designer - not in order to create a reconstruction, but to reveal and understand its characteristics and qualities.
This essay elaborates on the problem of adapting modern buildings with interiors at risk because it is only partially preserved, forgotten, hidden under or behind later additions, not documented, or not protected. We reflect on different methodologies that can be used by designers to develop an understanding of the host building and its interior, such as: scientific documentation made by a third party, photography, sketching or models. For many buildings that lack of available knowledge and material evidence, it is necessary to combine different methods.
We illustrate our argument with student work on adaptive reuse of Modern Movement buildings. A sensitive adaptation of the original interior, requires a particular skill based on an empathic approach from the designer. Offering tools to develop a deep understanding of the host space and its interior is also necessary in the curriculum of interior architecture.