2020//Berlin International University of Applied Sciences

2020//Berlin International University of Applied Sciences

REIMAGINING THE INTERIOR REIMAGINING THE INTERIOR ARCHITECTURE OF ALBANIAN HAMMAM BATHS ARCHITECTURE OF ALBANIAN HAMMAM BATHS

Identifying design strategies in the adaptive reuse of Bazaar’s Hammam Identifying design strategies in the adaptive reuse of Bazaar’s Hammam

Master of Arts in Interior Design

Master of Arts in Interior Design Master thesis/ Spring Semester 2020/Bora Stafa

Master thesis/ Spring Semester 2020/Bora Stafa

. Yüksel Pögün-Zander, PhD

Advisor: Prof. Yüksel Pögün-Zander, PhD Second Examiner: Prof. Sigurd Larsen

Second Examiner: Prof. Sigurd Larsen

REIMAGINING THE INTERIOR

ARCHITECTURE OF ALBANIAN HAMMAM BATHS

Identifying design strategies in the adaptive reuse of Bazaar’s Hammam

By

Bora Stafa

Submitted in partial fulfillment of the requirements for the degree of Master in Interior Design

At Berlin International University of Applied Sciences

The author hereby grants Berlin International University of Applied Sciences (BI) permission to place this thesis in the library, reproduce and distribute copies of this thesis, in whole or in part, for educational purposes. Any original of the thesis will not be available for borrowing.

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The author hereby legally declares that he/she has completely written the attached thesis on their own and has not used any other tools than those explicitly mentioned in it. In all instances where the author has borrowed content created by other authors, either directly or in para- phrase, it has been explicitly marked in the thesis as such. This thesis has not been presented, fully or in part, to another examination authority, or been published anywhere. (The above declaration has legal value both internally at Berlin International University and externally under German public law as an „Eidesstattliche Erklärung“.)

Signature of the Author:

Date of Submission: 26.08.2020

ACKNOWLEDGMENTS

I am very grateful to my family for the continuous support and encouragement throughout my endeavor and I would like to express my deepest gratitude to my university and my beloved professors and mentors for sharing their knowledge and the continuous support in every step I took.

Finally, many thanks to my friends and colleagues for inspiring and challenging me in a positive way throughout this journey.

ABSTRACT

This research thesis explores the architecture of hammam typology and proposes a strategy of adaptive reuse to save these buildings upon a specific region, in Albania. Hammam structures, which used to combine daily and sacred life by providing water to support body and soul, should be regarded as gems of cultural heritage that reconnect people to their past but also to their future.

After the introduction aiming to present the reader with the research aim and methodology; a short historic architectural overview is done. Two of the most representative cases of Albanian Hammam typologies still exist, in the city of Elbasan, although abandoned and forgotten in time. The research addresses two consequences of the historical heritage hammam’s development. Firstly, the way in which hammam’s heritage has been leftover and is being demolished; Secondly, the need to rebuild heritage and community without any loss of identity in the city.

The research leads to a design project exemplifying the adaptive re-use approach, when dealing with a historical structure, witnessing cultural values. Remodeling and alterations are necessary to result in new possibilities of saving these structures from degradation and complete demolition. The attempt of the research as well as the project, is to re-imagine the interior qualities of hammam in the present time. TABLE OF CONTENT

1. INTRODUCTION …………………….………………………….....………....page 6

1.1 Research topic and its context

1.2 Research Aim & Objectives

1.3 Methodology Approach

2. HISTORIC ARCHITECTURAL OVERVIEW…………………….……...….page 8

2.1 The architecture of Hamam in Islamic culture. Past and Present

2.2 Historical background of the Hammam in Elbasan

2.3 Comparative analyses of existing structures. Form, function and building phases.

2.4 Conclusions

3. TOWARDS THE INTERIOR APPROACH OF HAMAM REUSE…….…...page16

3.1 Restorations and Adaptive Reuse Definitions

3.2 Relevant Approaches in Adaptive Reuse

3.3 The Architectural Palimpsest, as a theoretical Insight towards Adaptive Reuse Strategies

3.4 Case Studies_ Evaluating Best Practices

3.4.1 Merida Museum of Roman Art, by Raphaël Moneo 3.4.2 Neues Museum in Berlin, Germany, David Chipperfield 3.4.3 Carlo Scarpa, Castelvecchio Museum 3.5 Observations

4. REIMAGINING THE INTERIOR ARCHITECTURE OF HAMMAM BATHS……...... ….page 30

4.1 Current state of the building

4.2 Reasons for change

4.2.1 Requirements 4.2.2 New use

4.3 Design strategies to maintain the historic character

4.4 Project intervention as an illustrative example and part of the Research. Graphic illustration from the project.

5. CONCLUSION…………………………...... …………………………...……page 62

Approaches applicable to other hammam architypes

References

“ Marco enters a city; he sees someone in a square living a life or an instant that could be his; he could now be in that man’s place, if he had stopped in time, long ago; or if, long ago, at a crossroads, instead of taking one road he had taken the opposite one, and after long wandering he had come to be in the place of that man in the square. By now, from that real or hypothetical past of his, he is excluded; he cannot stop; he must go on to another city, where another of his pasts awaits him, or something perhaps that had been a possible future of his and is now someone else’s present. Futures not achieved are only branches of the past: dead branches.”

- Italo Calvino, Invisible Cities 1. INTRODUCTION

1.1 Research topic and its context

Geographically, the city of Elbasan is situated in the Shkumbini river valley in the heart of the country. The city was built on the remains of the ancient Scampi’s city, a fortified Centre situated on the Via Ignatia, the road which was the extension of the Appian Way, who connected the harbor of Durazzo to the city of Byzantium. During the Ottoman Empire, Roman castle was fortified and was given the name Kala, once a military origin standpoint, while today it represents only the historical quarter considering that the city outgrew its borders by time. From an important commercial center during the Ottoman invasion, the city underwent significant interventions of modernization, establishing itself as a military outpost in the politics of expansion of the boundaries of the Ottoman Empire towards the West. In fact, in 1466 the fortification of Elbasan was reconstructed by the Ottoman sultan Mehmet II on the ancient Roman plant in the configuration that is seen today. Among other cultural monuments, the two existing hammams, date back to the Ottoman Empire and even earlier, Roman Empire. Economically, the region is a popular touristic destination, mainly interested in visiting the castle quarter, also known as Kala quarter.

The research looks into the case of Albanian hammam architecture and what adaptive reuse strategies can be implemented to save the abandoned structures of the Hammams in the region. The two hammams, Bazaar’s Hammam and Kala’s Hammam, which represent two of the last existing models in the city of Elbasan, dating back to the mid-sixteenth century, are outstanding among the monuments built during the Ottoman Empire. Turks built thousands of hammams for health purposes within the borders of the Ottoman empires. As well as in Turkish history, these buildings formed a very unique public culture experience in Albanian history. Most of these buildings are now neglected or abandoned due to multiple reasons, mostly social economic factors. In 2006, the two hammam structures were subjects of an architectural survey performed by a group of ten civil engineering and architecture students of the University of Pisa, Italy, in collaboration with the Institution of Culture Monuments in Albania. Foremost, the reader will be introduced to the context of the research project in this particular site in Albania.

1.2 Research Aim and Research questions

In order to search for the fate of the lost hammam culture in the area, the historical background of Albanian hammams, is initially researched. Adaptive reuse strategies and conservation strategies are evaluated, through comparative case studies; to gain new insights on historical buildings reuse.

6 The research aim will be conducted by using the new concept of adaptive re-use to conserve cultural heritage in its context. Adaptive Reuse has become increasingly important in contemporary architectural practice. The reasons for this range from the economical need for less costly architecture, to the ever-increasing awareness of the benefits of our architectural heritage. Different literature reviews highlight that in historic centers, adaptive reuse of the existing buildings is frequently a reoccurring practice. Since the historic center is often the heart of the city, the possibility for new construction is limited so the relocation of a new program in historic abandoned buildings such as hammam, is a good opportunity which interacts well with the community and the touristic attraction element. From the heritage sector point of view, a new use for the existing structure is desirable in order to avoid a degradation of the building itself and the loss of identity of the city to which it belongs. The research aim is to formulate a new concept about hammam´s reuse in particular, from an interior architectural perspective; so that the particular relation between the existing building and the new interior intervention, can be identified.

The way towards the new concept, includes the two main research questions listed below;

- Firstly, what are the general characteristics of hammam architecture?

- Secondly, are there any possibilities/opportunities to restore and reuse hammams?

Reusing a historical building is never an easy challenge, so the answers to these questions will derive through the research methodology.

1.3 Structure and methodology

The methodology used to conclude with the objective of the research thesis, will be structured in four main sections;

1. Comparative analyses of the two remaining hammam structures in Elbasan.

Comparative analyses on form, function and building phases as a research method has a vital part of the study, because it will guide the initial stages of the research. Also it aims to give answer to the first research question, gaining insight about the general characteristics of the hammam structure. Preparing a comprehensive resource about hammams in general is a secondary step towards this answer.

2. A literature review of different approaches and uses for historical buildings, will be conducted to bring to light the opportunities and restrictions of these buildings. Taking a stand with one of the adaptive reuse approaches is necessary for the survival of hammam as part of the daily life again, providing a new reuse proposal for them.

7 3. Conceptualizing a new program through analyses of Case studies:

The process of conceptualizing a new program will derive from case studies, which evaluate the best practices of reuse. The adaptive reuse strategies which have the potential to alter the interior qualities of hammam structure within the implementation of the new program, will be identified.

4. Design practice - as a research method in order to gain a true understanding of the host space before the intervention proposal.

This method is crucial in the research since it aims to reveal the possibilities and opportunities to reuse hammams. Within the hammam reuse, the moment of creating the new elements is strictly dependent on the actual size, shape and plan organization of the old. Thus, the form of the remodeled structure follows the form of the existing.

2. HISTORIC ARCHITECTURAL OVERVIEW

2.1 The architecture of Hammam in Islamic culture: Past and Present

The tradition of the hammam bath, was spread throughout Islamic society from the seventh century. Because of its use purpose to clean the body, hammams, represented the place where the user could complete the rites of purification imposed by the Islamic religion several times a day before prayer. The intersection between religion and comfort, and its availability to various levels of society, made Muslims become true interpreters and successors of Roman and Byzantine thermal tradition. In fact, it should be highlighted that the term “Turkish Bath”, by which the western nations referred to these buildings for centuries, is in fact a misnomer.1 Tracing back to 600 A.D, hammams were also spaces were major life events were celebrated with the rituals of bathing, among which weddings and births. During different times of civilization that hammams have existed, the perception and appreciation towards them has shifted quite significantly ( Ergin 2005.)

“ Today, a lot of hammams are demolished all over Islamic cultures. The act of demolition reflects a shift in the urban planners’ administration and perception of Ottoman built heritage. From now on Hammams acquired new layer of meaning- in addition to their religious, economic and medical significance- in that they became a symbol for a traditional Ottoman lifestyle. As such, hammams were viewed either negatively or positively, depending on the person’s attitude towards modernization. The meaning of architectural heritage also shifted due to power of economic policies

1 Archeological source claim that Islamic bathhouses trace back to their Romano-Byzantine predecessors.

8 which is intimately related to the intervention of the nation-state. While other buildings like mosques acquired symbolic value, others like hammams fell outside of the preservation due to monetary reducement.” ( Ergin 2005)

Firstly, as symbols of traditional Muslim life, hammams were deemed unsuitable for modern city life; while also claimed that these communal bathhouses were not hygienic- an attitude also widely held today.

Secondly, bathhouses could never attain the same status as the magnificent mosques codified as national heritage; therefore, they were rarely considered worth preserving. As a consequence, due to the standpoint of infrastructure in urban plans, a lot of bathhouses in Islamic cultures were demolished. Alongside with them also architecturally significant structures of bathhouses in Albania, as they were considered a blockage in the plan route, a “useless” old monument, as it is stated in the book “Monuments” for Albanian Cultural Heritage Monuments by V. Shtylla (Shtylla 1979.)

2.2 Historical Background of the Hammam in Elbasan

In the layout of the Ottoman town, the public baths (Hammam) are usually linked to the Imanet or to the Kulliye. A Kulliye can be described as a “multi-functional social and welfarecenters” associated with Turkish architecture, which usually included also a mosque, a canteen, a Koran school, a library and a hospital. The hammams were usually positioned a bit further away from the above-mentioned buildings. The city of Elbasan has two of the last models of historical hammams - still in existence in Albania (Stylla 1979.)2 The Kala ‘s Hammam inside the fortified perimeter is positioned at the East end of the road axis that traces the ancient decumanus within the city´s structure.

Figure 1.1 Actual Arial vew of the location of the two hammams. 3- Kala Hammam, 5- Bazaar Hammam .Source: “Architectural Survey of Elbasan Fortress”, by Roberto Pierini.

2 Aside from Elbasan, the Albanian cities that still save the plans of the public baths are Durazzo, Scutari,Kruje ,Gjirokaster, Corovode and Lezhe. V. Shtylla, in “Monumentet”,17,(1979) p.119

9 The Bazaar’s Hammam is instead found externally in the Southeast corner of the surrounding wall near the “Agajt”, closely connected to the mosque ( Pierini 2009.)3

The presence of Elbasan’s two hammams was already witnessed by the second half of the XVII century. The Turk EvliyaCelebi in fact talks about the two structures in his 1672 journey chronicles, though it is possible to already relate their construction to the second half of the previous century (Stylla 1979.)4,5,6 Today the two hammams are abandoned structures that urge to be preserved. If the recent transformation to coffee shop, in the case of Bazaar’s Hammam, has canceled certain significant elements, it nevertheless has allowed the structure to remain undamaged and recognizable (Figure 1.2).

Figure 1.2 Bazaar’s Hamam Interior photographs. Source:https://naishtedikur.info/carsi-hamam-ose-hamam

In terms of location, The Kala’s Hammam inside the city walls is in an isolated and independent position with no links to other gathering centers; whereas the Bazaar’s Hammam, which is located in the southern area, regarding the south-west angular tower, was functional to the nearby bazaar and its two mosques, Aga and Bedesten, both missing. ( Figure 1.1) The Kala’s Hammam, positioned near the eastern door, whose cozy shape and dimensions can remind us of Byzantine public baths,directly influenced by the great Roman baths even if smaller and cozier. Moreover, some other architectural elements inside are easily compared and can confirm this hypothesis. In addition to their unquestionable historical and architectural value, which allows them to be included among the monuments of greatest admiration in the city, they also document the regional characteristics with which the culture of the Ottoman Hammam was established and developed (Pierini 2009.)

3 Generally connected to the mosques, the thermal structures were dedicated to the fulfillment of the religies duties-both major and minor- before saying the pray 4 The Ottoman explorer who traveled through the territory of the Ottoman Empire and neighboring lands, recording his commentary in the “Book of Travel”. 5 Along with Elbasan’s bath Celebi mentions two in Berat that no longer exist, the bath in the district of Mecite in Gjirokastër addition to private baths in Berat, Kavaje and Elbasan. 6 V. Shtylla, Restaurimi I dybanjavemesjetare ne vendin tone,”Monumentet”,17,(1979),p.83

10 2.3 Comparative analyses of existing structures

Elbasan´s hammams display a fairly similar planimetrical scheme that is also frequent in other Albanian public baths.7 The various settings show a regular form with outlines of a rectangular plan distributed along an axis which, from the unheated entrance, gradually brought on ever increasing room temperatures ending with the water tank room and the boiler.8 Like the roman baths, a typical hammam consists in three basic interconnected rooms: the sicaklik , the intermediate room and the sogukluk.9,10,11 The main evolutionary change between Roman baths and Turkish baths was linked with the sogukluk, cool room. While the Roman frigidarium included a quite cold-water pool in which patrons would immerse themselves before moving on to the warmer rooms; for the Ottomans the cold-water room was dispersed within the structure.

The Bazaar’s Hammam, the bigger in size of the two existing ones, has mostly maintained the original structure´s characteristics, having undergone a significant intervention of preservative restoration between 1973 and 1975 (Stylla 1979, p.83-90.) From the grand entrance room (1)- the cemekan, which used to serve as a reception and dressing room area, with the central and small wooden balcony; you then enter upon the vaulted room, which is at intermediate temperature (2)- the sogukluk. This was also used as a dressing room during the winter. It is directly connected to the washroom (4) and the lavatories(5). The first heated room (6 )- thesicaklik could only be accessed from the middle room. The direct link between the entrance and the room was in fact opened during the last century´s restoration work. Lastly, from the heated room you accede to the two rooms that were once devoted to steam baths; these rooms, arranged side by side, are adjacent to the last barrel-vaulted room of the water tank (8) with the oven (9). The furnace´s mouth was directly open to the outside thus facilitating the procedure of fuel-supplying. ( Figure 1.3)

7 For example the same installation typology is found in the baths of Scutari, Kruje, Gjirokaster. 8 Aside from the axial distribution of the spaces, which is typical of Hammam’s of the lower Mediterranean Western area ( like Moroccan ham- mams ,or the “Alhambra” baths in Spain). On the Eastern countries a less rigid distribution pattern was developed. 9 The sicaklik, also called hararetwas the term representing the hot room, in Latin caldarium. 10 The intermidiate room represented the warm room, in Latin tepidarium. 11 The sogukluk, was the term representing the cool room, in Latin frigidarium.

11 Figure 1.3 Plan, vertical sections and elevation drawings, based on scanned photographs by the architectural survey of Bazaar’s Hammam. Drawings by A. Cartei, F.Degl’Innocenti, J. Farsetti, A. Ferrara

12 The planimetrical scheme of the Kala´s Hammam (figure 1.4) turned out to be more complex and articulate. From a first analyses of the topical survey maps done by Roberto Pierini, in 2006, one can identify at least two construction phases. The typological scheme of a bath, with axial distribution of the rooms, are in fact found in the central group, which is very evident in the plan. This group is comprised of the sokukluk at the entrance (A1, 2 ), with the adjoining toilets ( 3,4 ), the sicaklik ( A2. A3); the stream-bath areas (11, 12), and finally the tank with the water-heating systems (14).

Fig.1.4 The architectural survey of Kala’s Hammam. Plan drawing by M.G.Bevilaqua

Figure 1.5 The architectural survey of hammam of the Kala.Vertical sections by M.G.Bevilaqua

13 The second expansion phase can be identified in the construction of the two heated rooms (5. 9 ) parallel to the main ones and probably in the total reorganization of the cemekan (15, 16). With the building of the new rooms, which were reserved for women, the contemporaneous but not promiscuous use of the Kala´s Hammam was granted to both sexes. This was in contrast to the Bazaar´s hammam, which in recent times had been open to women only on Thursdays of every week. The cemekan in the Bazzar’s Hammam today looks like an open space used as an external recede of the coffee shop. It is difficult to locate any features in it that suggest the original arrangement.12 The current layout of the mekan in the Bazaar’s Hammam goes back to the restoration work of the 1970´s. The work was led by Valter Shtylla, who in his desire to philologically construct the structure, in substance ordered the displacement of the bath’s access area from the Eastern front to its current Western position, the recreation of covering and the openings of the ceiling windows ( Styella 1979, p. 83.)

Everything inside is covered by bricked vaults whose geometry can at times be affirmed, but at times appears hidden by a multiform ornamental apparatus. The square-plan spaces in both plans generally conclude with a system of pendentive domes. Most frequently in the Bazaar’s Hammam, there is an octagonal perimeter which is achieved by a system of trompe. Barrel vaults are found again in the more typical rectangular plan spaces, while within the service spaces which are of an extended rectangular form. In both baths the sicaklik’s serve as a partition of the space via a sequence of three vaulted systems which are articulated by wide arches of a convex. In the Bazaar’s Hammam two-barrel vaults with cloister heads are symmetrically arranged to the sides of a central dome, a cloister vault, and a half cloister vault.13

The only sources of lighting in the internal rooms are a series of opened lighting oculars in the vaults. Generally circular or hexagonal in shape, some oculars in the Bazaar’s Hammam assume the shape of a six-pointed star.( Figure 1.6) The ornamental apparatus is limited to the connection surfaces between the space’s walls and the surface of the vaults’ intrados. All the decorations display their purely geometric character; only on certain occasion-in the hottest rooms of the Bazaar’s and in the small innermost rooms of the Kala’s baths-can one find shapes which can be traced back to the more complex decorative techniques of muqarnas the (Stylla 1979, p. 128.)14 (fig.1.5.)

12 It is in fact impossible to determine the if within the Kala’s bath the cemekan had a ligneous covering,like the Bazaar’s bath,or a vaulted one; and whether or not it was fit with a small balcony and a central fountain. 13 Often found in other Turkish baths and in Islamic architecture in general.Accoring to K.C.Creswell, its origins rea found in the housing units of the VIII-century Umayyad palaces. 14 A meticulous description of the hypocaust’s structures is related by Shtylla in his study of Turkish bath in Albania. A first layer of 4 cm, thick rock slabs is positioned upon these. A 3cm layer of mortar on top of this forms the pavement’s rock bedding surface.

14 Outside the walls of the Hammam small bathtubs called kurnas are still present along with the niches for oil lanterns. Apparently, what’s also been originally preserved is the pavement, which is in wide slabs of chalky rock. This is just like the hypocaust system which allowed for the circulation of the furnace’s hot air. During last century’s restoration the waterproof plaster surface was also restored. It covers all the internal surfaces of the Bazaar’s bath and was created using lime mortar intermix with brick powder (Pierini 2009.)

On the inside however, the Bazaar’s Hammam recent restructuring work, has heavily cancelled any significant traces of the original finishing touches: a layer of paint with bright colors covers all the internal surfaces; the kurnas are now dismantled outside and remodified to flourish. Within the two structures the perception of elegance in details and the stereometry of the spaces come to an end inside, which is reserved for the private circle of body treatments and religious sentiments. Outside the Hammam appear with their “ mute, heavy, building masses, without any pretense of architectural effect or force.” The only clue is suggested by the outline of the coverings which, souring over the walls thick with rough rocks, define the structures within the urban settings (Pierini 2009.)

2.3 Conclusions

In the Albanian models, the typology of the installation seems simplified within the axial arrangement of the various rooms. Generally, more lacking in the employment of materials and the elaboration of decorations, in Albanian hammams even the sicaklik, which is the heart of the structure – does not assume personal centrality as in Anatolian examples. Coming back to Elbasan, the similarity of the two baths is noticeable:

- Firstly, the covering of the vaults in the two hammams is worked out in ways that are substantially different. In Bazaar’s Hammam, the domes are denounced on the outside with hexagonal plan drums and covered with six layers. At the Kala’s, the volume of the domes is hidden by roofs on a plan that is generally square or rectangular.

- Secondly, the spaces at the Bazaar’s Hammam, are characterized by a geometrical and constructive precision, which one cannot encounter quite the same, in the Kala´s Hammam.

- Lastly, the two hammam structures, as they exist today, do not exhibit the same evolution history in terms of users. That is to say, that the Bazaar´s Hammam has embraced more transformations, from time to time restorations to a different function it has today. The Bazaar’s Hammam was abandoned for a while and then opened

15 to be reused as a caffe which is the partial function it has today. The cold space is arranged for this function while the other spaces are out of use. This new function is questionable for its contribution to the community inhabitants. Meanwhile the Kala´s Hammam, currently under the Cultural Heritage Protection for its location inside the castle wall perimeter; did not encounter a different use.

When further comparing the two plan designs one notices that, there still exists the possibility to change and adapt the existing structures for future uses. The qualities of the structural system, with the vaulted rooms, repeated arches and narrow corridors; can impose some difficulties upon the reuse potential. The proposed program is restricted to suit the space qualities the best. Accordingly, the new elements added to the building will be imposing a new language of existence with the original spaces; rather that is interacting with the old or simply sliding through it, imposing the old. Assuming that hammams structure, as historical structures, are built upon the same distribution logic and almost same structural qualities of space; the next chapter will serve in gaining an insight how to reuse/remodel /reprogram the hammam potential.

3. TOWARDS THE INTERIOR APPROACH OF HAMAM REUSE

3.1 Restoration and Adaptive Reuse Definitions

The concepts of Restoration and Adaptive Reuse came through since Renaissance period or French Revolution, during which religious buildings were altered by giving new functions, such as industrial or military uses (Cantacuzino 1975.)15 Even though the concept of reusing has been implemented since ages, however the interventions were done without considering heritage preservation. As a result, adaptive reuse as a design strategy emerged only in the 1970’s thought various theorists such as A. Riegl, C. Boito, J. Ruskin, W. Morris. In order to understand the adaptive reuse interpretations, it is important to firstly denote concepts as preservation, restoration, renovation, remodeling and adaption.

15 Adaptive reuse was recognized as independent practice from conservation or preservation , by Serban Cantacuzino, Romanian architect in the 20th century. Originating the adaptive reuse strategy.

16 The Venice charter summarizes very briefly the aim of every preservation concept: The intention in conserving and restoring monuments is to safeguard them no less as works of art than an historical evidence.16 On the other hand, conservation which means to keep, to preserve is the supreme preservation principle (Petzet 2004.)

Restoration ( restaurare) means to re-establish; The Venice charter says that the aim of restoration is to preserve and reveal the aesthetic and historical values of a monument and is based on respect for original material. Thus, it should go beyond merely preserving, or conserving a monument. In other words, it focuses on the values of a monument that are hidden and reestablishes them (Petzet 2004.)

Renovation (renovare) means to renew; As the third method in preservation, different from preservation or restoration, renovation aims particularly in achieving aesthetic unity in a monument through the purpose of “making it new again”, instead of just making it visible again. Since all renovation work lies in the complete removal or renewal of the surface of a monument, therefore renovation is out of question for certain categories of monuments. Only conservation and restoration are within the acceptable limits (Petzet 2004.)

Remodeling, is a more contemporary definition, with similar denotations as reusing, adapting, thus the history of remodeling really contains five stages: to add, to rebuild, to contrast, to construct narrative and to create wholeness ( Stone 2019.) Whereas Adaption, is described as a strategy that establishes the relationship with the building´s history, but also the society it participates in. That is to say, the architect who transforms the building to accommodate a new use has to be conscious in the intentions of the original building (Stone 2019.)

Today, the conservation of historic buildings, instead of their demolish, together with the current awareness of sustainability have both resulted in many adaptive reuse projects. Adaptive reuse is recognized as a process to wholeheartedly alter a building, meanwhile conserving the cultural heritage (Cleempoel 2019.) As such, it is understandable that the process of adaptive heritage reuse is an important strategy which transforms heritage buildings into usable locations, providing an additional value which is sustainable regeneration. This method is preserving the value of heritage, including public, religious, industrial, military and industrial heritage sites; playing an important role in urban sustainable regeneration, as well as attracting private funds and tourism (Cleempoel 2012, p.155-160.)

16 Principles of preservation, An introduction to the International Charters for conservation and restoration 40 years after the Venice Charter, Michael Petzet

17 When implementing Adaptive Reuse as a design strategy, by changing the functional classification of the buildings, there are difficult challenges that adaptive reuse poses to architects and designers. Changing the functions of the building introduces new regulatory conditions ( Shen 2007.) It is crucial that, designers understand the change of use may acquire a complete renovation of the existing structures and refurbishment. According to the Department of Environment and Heritage, adaptive reuse is a process that involves physically changing the function of a disused or ineffective building (DEH 2004.) This usually involves major space reorganizations or service replacement. Through Adaptive Reuse many heritage buildings can be transformed into usable places, as well as regenerate the area to which the building pertains, in a sustainable manner.

3.2 Relevant Approaches in Adaptive Reuse.

As Adaptive Reuse became an establishing discipline, various approaches have co-existed; each one offering its insights and identifying its own salient issues. Today the four main categories in play are the typological approach, technical approach, programmatic approach and strategic approach (Cleempoel 2013.)

Typological approach was firstly introduced by Sherban Cantacuzino, in his publishing “New uses for old buildings”, which made him a pioneering researcher in the 197os. In his book, Cantacuzino discusses eleven different typologies for which he formulates new possible functions:[1] Churches and Chapels, [2] religious establishments, [3] fortifications, gates and barracks , [4] town houses, country houses and others, [5] schools, [6] corn exchanges,[7] barns and granaries, [8] mills, [9] malting and breweries, [10] warehouses [11] pumping stations. In his further publishing, the six main typologies are presented as the public buildings, private buildings, commercial buildings, industrial buildings, ecclesiastical buildings and rural ones.

Technical approach focuses on how to adapt a building so it can accommodate its function the best, also has less theoretical thinking than the other approaches. Firstly, introduced by Highfield at his publishing “The rehabilitation and reuse of old buildings.” In 1987, the approach was formulated by a series of technical studies of specific buildings, and discusses how to adapt a building in term of technical performance.

Programmatic approach involves selecting a program and then subsequently searching for an existing building suitable to accommodate it; mostly historical buildings because of their authentic character. Although different from the previous approaches, it still does not address the poetic potential of adaptive reuse, as a comprehension of architecture critics.

Strategic approach, starts also from physical intervention, but their focus is in the

18 “affective” aspect of each adaption. Rodolfo Machando ‘s discussions in “Architecture as a Palimpsest” argue the relevance of typological approach. He brings a new emphasis on the form- form relationship, different from the form- function relationship, that the typological approach suggests. Moreover, he states that the way the architect or designer deals with the past of the building should be regarded crucial for the process of remodeling ( Cleempoel, 2013.)

3.3 The Architectural Palimpsest_ A theoretical Insight towards Adaptive Reuse strategies.

The complex process of reuse of historical buildings “seems” often unfinished or imperfect, for the structures themselves carry into the present time a character and history of the past ( Stone 2019.) As Sally Stone unfolds in her publishing “Undoing Buildings”, this way of creating a multi-layered background, is often referred as an architectural palimpsest.20

The fist theoretician who refers to architectural palimpsest was Rodolfo Machado: “ When the alterations in the building’s content are of such a type that the buildings original or latest function is changed; then the building is re-functionalized, a different story is born, a new plot is composed out of the old words, a new interpretation has taken place.” (Machado 1976, p. 27)

He metaphorically refers to the historical building as an “old canvas”, on which the alteration of the building is happening, is said being rewritten over, partially erasing, writing between the lines. His series of metaphors suggest possible ways of remodeling buildings (Machado 1976.)

More recently, Brooker and Stone have developed these theoretical ideas into their writings by classifying three types of strategies which indicate the relationship between the old and the new: Intervention, Insertion and Installation.

Intervention initiates when the process of remodeling is such that the old and the new are completely intertwined and cannot exist independently. This strategy only works when the architectural response of the modifications draws all their cues from the existing building. [8] The building is regarded by the architect as a narrative, to be reinterpreted. Meanwhile, Insertion represents the introduction of a new element

20 Pal-imp-sest : a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing, Oxford dictionary

19 into, between or beside an existing structure. It is a practice which aims to fit in the confines of the existing building, an autonomous element, the dimensions of which are dictated by the existing. The inserted element can be seen as independent but still establishes a dialogue with the existing.

On the other hand, Installation includes examples when the new elements, influenced by the existing, are designed to fit (not exact) within the existing building and when removed the building can return to its original state. Hence, the old and the new exist independently (Stone, 2005.)

Brooker and Stone theoretical thinking starts from the physical intervention but with their focus is on a “affective” aspect of each adaption, therefore supporting the architectural palimpsest theory. By applying the proposed strategies, they suggest, the meaning of the building can either be accepted, transferred or suppressed.

Analogously, Liliane Wong, addresses two critical issues in adaptive reuse: first, the need to take a stance on time within a host structure already characterized by a form, material and organizational identity and, second the one’s authorship on the host (Stone 2019, p.120.) The concept of Adaptive Reuse is explained within three types of approaches: The Passive, the Performative and the Referential. Same a s Brooker and Stone, she suggests in each strategy, the genius loci of the host space, (which she refers as DNA) can be either accepted, transferred or suppressed.

The Passive, as the name is described as a technique that has a passive correlation with the original building, while inserting a new independent interior which can change. The application of this technique implies the suppression of the building’s meaning, since it does not interfere with the original structure (Wong 2016, p. 127,128.)

The Performative type, requires the participation of the existing structure, the animation of the new form, interacts with the existing, to create possibilities for the emergence of new realities (Wong 2016, p.129,131.) This strategy allows the host space DNA to be accepted.

Unlikely as Passive or Performative type, the Referential alters the host structure through design strategies and interventions that are affected by the building´s history and enhance its past, therefore incorporating what was with what is (Wong 2016, p. 132,135.) This strategy enables the host structure ‘DNA to be perpetuated in the future, so to be transferred.

Bie Plevoets & Koenraad Van Cleempoel, with the latest publication of “Adaptive Reuse of the build Heritage”, are the next theoreticians who include the architectural palimpsest, even in a more “poetic” way, into their writings. They introduce three new strategies in adaptive reuse theory: aemulatio, façadism, and ruination. As stated in the book publication, while the first searches for extreme merging of the old and the new, the second is characterized by contrast and the third builds on the ephemeral characteristics of a crumbling structure (Cleempoel 2019.)

20 The first strategy, aemulatio, clearly opposes the modern notion of adaptive reuse, which states that a clear division of the old and new is crucial to respect the historic and architectural values of the building. Aemulatio, goes beyond the imitation concept, it aims to surpass the aesthetical and functional original design of the building.

Next one, facadism, coming from the traditional concept of preserving historic facades and constructing new buildings behind it, is reinterpreted as a strategy for adaptive reuse, to improve the building´s functionality, aesthetics, and urban performance.

Lastly, ruination suggests the integration and reuse of ruinous buildings in the urban context. They also conclude that ruination can also give a new meaning and a sense of liberty upon a building. The beauty of imperfection, incomplete and rich history inherent to ruins help create emotional and genuinely inspirational spaces which would be lost if they would be restored to their former intact state (Cleempoel 2019.)

Theoretical Conclusion:

Within the modern age, the interior architecture and building reuse have evolved. “The postmodern approach is to create a new wholeness; that is, for the new additions to harmoniously complete the buildings, so that it responds to the past and to the future “ -Rowan Moore (Stone, 20005, p.196.) Many architectural critics emphasize that adaptive reuse approach, is not only practical but also denotes a deeper understanding with the host space, similar of Machado´s Palimpsests theoretical thinking. Bringing light to the Palimpsest metaphor is important, as it describes accurately the essence of these strategies. Therefore, the differences of connotations that Brooker & Stone, Liliane Wong and Plevoets & Cleempoel bring, are minimized by the possibility of an overlapping of these strategies.

21 3.4 Case Studies evaluating Best Practices

3.4.1 Merida Museum of Roman Art, by Raphaël Moneo

EMBRACING THE MEMORY as a method towards re-using the host space

Location: Merida, Spain

Architect: Hose Raphaël Moneo

Merida Ruins: Dating back to 25 BC

Transformation: National Museum of Roman Art

Year of Completion: Completed in 1986

Figure 3.1 Rooms of Musus, Prado Museum Extention, Raphaël Moneo Source : https://www.archdaily.com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo

“ Within the infinite universe of time and space, architecture creates one moment, one place. Moneo wishes it to continue to perform this function, to be a prop to our identity, to our knowledge of where and when we are, and therefore of who we are. A Moneo building creates an awareness of time by remembering its antecedents. It then layers this memory against its mission in the contemporary world (Campbell 1996.)”

Considered as probably the greatest living architect in Europe, Rafael Moneo, represents a successful adaptive reuse case with his intervention, in Merida Museum of Roman Art (Netto 2013.) This project is fascinating and intriguing in a way as

22 to reduce the label of criticism to nonsense, Robert Campbell writes in his Pritzker Retrospective. To get a better understanding about the project first a small historical background is presented, to continue further with an architectural analyses review.

The city of Merida, founded in 25 BC as a strategic Roman Route, became one of the most important cities in the Roman Empire. As an ancient site, Merida preserves other Roman monuments including a triumphal arch and a theatre. The museum designed by Moneo was built upon the archeological ruins; linked with a secret underground passage with the Roman site. Moneo´s design of the walls seems to recall the Roman aqueducts, which conducted water inside the city of Merida. Representing the element of history through his architectural choices, he aims to evoke the Roman past; either through its scale, materiality or light elements. The new design proposal of the museum, is built upon the old roman ruins which are preserved underground. Moneo brings the Roman arches in a bigger scale, to be followed later also by the scale of the bricks which he uses carefully to resemble the scale of the bricks used Roman architecture. Precise, rhythmic and beautifully evoking the past. (Figure 3.1)

Nevertheless, his reference to the past is not merely typological or material. The purpose in his design aims to evoke an emotional experience of the visitor through its scale, materiality and the conversation he sets with the museum collection (Cleempoel, 2014.) Other architecture critics express there is something almost innovatory about the his delicate way of intervening with the existing structure. Through its mastery of materiality, he achieves the interplay of the modern and the ancient. The sense of refinement in his modern intervention, is partnered with the sleek iron railings and floating concrete slabs in the upper floors. The interior daylight is another crucial element he brings to the design.

“The handling of the interior daylight is masterful, here an ever-changing golden wash. The light contrasts with the ghostly paleness, therefore the pastness, of the antiquities on display.” writes Robert Campbell for the architect (Campbell 1996.)

Adaptive Reuse Strategies : Aemulatio (B.Plevoets & K.Cleempoel ), The Referential (L.Wong)

Through the selection of materials and the building morphology, a rather sensitive approach towards the existing site is noticed in the project. Adaptive reuse strategy in this case is presented with Aemulatio. As a newly introduced strategy by Plevoets & Cleempoel, that goes beyond the imitation concept; Moneo´s attitude towards the host space is evident. He surpasses the aesthetical and functional original design, by rewriting the future of the place upon its ruins. Moneo´s intervention evokes an “ideal” version of the original, which is indeed what aemulatio intends. In terms of the strategies’ possibility to overlap in their essence, the Refential Strategy also describes Moneo’s intervention significantly. The interventions are affected by the site’s history and aim to enhance it by incorporating what was with what is. The host space DNA is transferred.

23 3.4.2 Neues Museum in Berlin, Germany, by David Chipperfield

FOLLOWING IMPRINTS OF THE PAST as a method towards re-using the host space

Location: Berlin, Germany

Architect : David Chipperfield

Staatliches Museum: 1843-1855

Transformation: Historic National Museum

Year of Completion: Completed in 2009

Figure 3.2 Perspectives from Neues Museum, Berlin, David Chipperfield Source : https://omrania.com/inspiration/stitching-past-present-neues-museum-berlin/

Neues Museum is an illustration of the design intervention in the framework of semi-ruin host buildings. Staatliches Museen located at the museum Island in Berlin, was originally designed by Friedrich August Stuhler, during 1843-1855. The original building fell into a state of ruins, after being bombed during the second World War. Despite the emergency measures to secure the building in the 1980s, the renovation started only in 2013, when at the bombed remains of the Museum, Chipperfield undertook the restoration work (Neues Museum 2020.)

Frierdich Wilhelm IV described his vision for Berlin’s Museum Island as a “cultural acropolis”; a sacred sanctuary for the arts and sciences that would cement the Prussian

24 capital as the Athens of the north (Wainwright 2019.)

What Chipperfield managed to recreate was a new museum experience, looking almost as a white temple, in a synthesis of the classical and the modern. Three main elements seem to be merged into the new structure, all of which part of the classical museum´s architectures; the entrance staircase scenery from Friedrich Schinkel´s Altes Museum, as well as Friedrich Styler´s unifying colonnade and the stone Plinth of Pergamon museum (The Guardian 2018.) In deeper analyses review of Chipperfield´s architecture, the building stands out for its attitude of working with the layers of the past, as well as setting a new conversation of the old and new in a more diffused way;

“No imitation of an old décor is attempted, yet the spirit of the building has been preserved (Jodidio 2010.)”

For instance, traces of gun bullets and fire marks are preserved as if ornaments; parts of east and west façade are rebuilt by mimicking the old façade in its material and color; deteriorated print left untreated, becomes a new pattern. ( Figure 3.3)

Figure 3.3 Wounds of the war for Neues Muesum in Berlin Source : https://www.nytimes.com/2009/03/12/arts/design/12abroad.html

25 Instead of creating contrasts with its intervention to the former building, David Chipperfield pealed of carefully many layers of the building while gently adding new ones. The concept of peeling off surfaces is used in the inner walls, while he closed some former windows due to programmatic implications, as well as on the exterior of the building creating an almost ornamental expression.

Chipperfield recreated a past experience in plan through the reconstruction of a staircase in its exact previous location, by introducing the new material of natural stone. The following of imprints in what was there before the bombing, emerge the old and the new in a new experience. The new situation resonates with the building original state but imposes its new character to the visitor.

Adaptive Reuse Strategies: Intervention (Brooker & Stone), The Performative Type (L.Wong)

Despite the fact that Neues Museum does not indicate a change in its original function, it’ s relevance lies in the strategic approach of reuse, when remodeling the old structure. Opposite from Modena museum of Roman arts, where the Roman ruins are preserved carefully as a monument of past memories; in Chipperfield´s work, the palimpsest is represented in following the imprints of the past. Imprints, which are brought in the exact location, in new contemporary materials. The adaptive reuse strategies can be introduced with Intervention and the Performative Type. The remodeling process of Chipperfield is such that the old and the new are interely intertwined. Thus, they cannot coexist independently.

Whereas , the strategy of Performative Type, acts through the process of change the museum is taken into. The semi-ruin host building of the museum, is drawn from an old unfinished state to a complete new one. The reuse performs in rewriting over the old, by preserving the scars of the building as ornaments and incorporating them into the new design. The host space DNA is accepted.

26 3.4.3 Castelvecchio Museum, by Carlo Scarpa

THE ARCHITECTURAL CONVERSATION as a method towards re-using the host space

Location: Verona, Italy

Architect : Carlo Scarpa

Castle of Castelvecchio: “Old Castle”,1355

Transformation: Castelvecchio Museum of Art Exhibition

Year of Completion: Two main phases; 1957-1964 & 1967- 1975

Figure 3.4 The transformation of Castelvecchio, by Carlo Scarpa Surce: https://acanthusmagazine.com/carlo-scarpa-und-das-castelvecchio-in-verona/

“The work of Carlo Scarpa may be seen as a watershed in the evolution of twentieth- century architecture, not only for the emphasis that he placed upon the joint but also for his particular use of montage as a strategy for integrating heterogeneous elements” - Kenneth Frampton 21

As described by many architectural critics, Carlo Scarpa´s work is considered as the work of a surgeon, for the scale of its details, as well as for the mastery of cutting within the existing structure and introducing new elements

Kenneth Frampton for Carlo Scarpa and adoration of the joint (Framton 1995). “Studies in tectonic culture: the poetics of construction in nineteenth and twentieth century architecture”,Chapter 9.

27 Castelvecchio museum is considered to be Scarpa´s greatest masterpiece; representative of his approach towards respecting the historic building spirit but also giving it a new life, that of modern times experience. The restoration process which started from 1957 to 1975, is described by many as a process of renovation, addition and subtraction. He started his work by excavating more into the original structure, where among his prominent interventions was the demolishing of the wall and Napoleon´s monumental staircase. He always followed his design decisions with valuable explanations, as in this case he liberated the wall to bring light to the exhibition rooms. (Figure 3.4)

“Scarpa is probably the first architect to introduce the approach of exposing the narrative of a place, to building reuse and adaption. This work is thought by many to be the greatest work of remodeling in the world” (Stone 2019.)

The Castelvecchio museum represents a whole host building transformed for new use. The re-designing of Castelvecchio adapts a monument to the new use of a museum, celebrating the surprising journey of the visitor through a continuously unfolding promenade. The visitor´s experience is enriched through Scarpa´s narration of Verona´s history, as he tells its story through physical elements. Scarpa´s work is layered and considered complex to briefly describe. Scarpa re-layered elements both in interior as in exterior. Another crucial element in his work is the selected combination of materials, either cheap materials or expensive were celebrated for their use next to each other. Among the various materials were: concrete, stone, wood, steel, marble, tiles and glass. While the introduction of the new elements of sculpture, fountain, roof, openings, aimed to celebrate the wholeness of his design, by becoming particles of his design. He worked with the layers also in façade, by cutting the outer layer and adding a new layer inside, while he treated the garden around Castelvecchio as a moment of tranquility towards the inner space experience.

A pivotal element in Scarpa´s design is the art of joining through detail. Since Castelvecchio, Scarpa´s reputation has been established as the master of details: According to Richard Murphy´s observations, Scarpa´s intention with the building is that of clarifying and exposing the layers of history by selective excavations and creative demolition (Murphy 1990.)

Scarpa respects rigorously the ancient, by repairing in minimum the ruins of time, while using the modern only when necessary to restore the whole. Accordingly, his demolition is far more selective than creative and his additions are far more creative than critical. Scarpa´s critical selection of components, is obtained by both demolition and additions: Some components he erased through selective demolitions, and others he retained through his creative additions. He also dared to make a gesture on the façade by designing a secondary one in the inside to break the symmetry of the windows. His design celebrates a whole state of the host space, in a harmonious composition of old and new.

The significance in his design strategy, lies in his superimposed drawings, where he

28 used to overlay several elevations, floor plans or sections in one single drawing. These drawings resulted in his layering approach towards the host structure (Murphy 1990.)

Adaptive Reuse Strategies: Intervention (Brooker & Stone), The Performative Type (L.Wong)

The strategy of Intervention is used by Scarpa to alter and remodel the excising structure of Castelvecchio. The new potential activated in the museum is achieved through the process of uncovering and interpretation. The complex layering of the old and the new that Scarpa introduces, cannot exist without interacting; while at the same time being considerate of the meticulous junction of each other. Among other historical values of the original building, Cangrande statue was preserved to further be incorporated it in the new design. In this way Scarpa also implies the strategy of the Performative type. The manner in which he exposed the statue by adding an extension of the roof, demonstrates the reinforcement of the identity in each component of his design. A harmonic composition of the old element with the new addition is achieved.

3.5 OBSERVATIONS

It is crucial for the research aim, to explore the historical buildings’ remodeling examples of the most celebrated architects in adaptive reuse. The three case studies chosen above are not a coincidence:

Firstly, they are all examples of working with historical structures, representing at its best the architectural palimpsest as a theoretical approach, being considerate of the past qualities of the space, determining a sense of continuity of these qualities, while implementing the adaptive reuse strategies. Either to Merida Museum of Roman Art, Neues Museum or Castelvecchio Museum, the new alterations are influenced by the past history of these spaces. The memory of what has been is altered within the process of remodeling and transformation.

Secondly, in all the structures of case studies, the program adapted to or found in the host space is the museum experience and temporary exhibition program. This program is easily adapted in historical structures, indicated by the values they have inherited and urge to convey in the present time. As seen in the three case studies the museum experience gives the host structure the possibility to be altered through additions and extractions, while still embracing its context. Moneo, Chipperfield and Scarpa allowed the qualities of the respective host structures, Merida Musem of Roman art, Neues Museum and Castelvecchio Museum; to unfold to the visitor, from the entrance gestures, through the promenades, to the moments of extensions. Finally, their strategies of remodeling are considered either extreme in the adaptive

29 reuse approach. They are all architects who have a strategic approach towards the host space. The common aim of their interventions is the providing of a method to rearticulate the excising space, into a critical route for the visitor. The architectural strategies they use are the inviting gestures of a pavement, of a step, or the architectural moment of extensions within the building. Either by the strategy of Intervention, Aemulatio or Performative type in adaptive reuse, they all have in common a more sensitive approach towards the traces inscribed in the historical structure.

In light of these examples, the hammam structure, witnessing a lot of historical values, is compelled to not merely behave towards the typological approach but rather the strategic approach. Hence not only focus on the importance to the form-function relationship, rather the form- form relationship. In order to achieve a genuine approach towards the hammam, the analyses process is fundamental. Brooker & Stone emphasize that the form of the adaption is directly connected to the form of the building, its actual size and organization of the old. The analyses of context and environment, historical factors, as well as form and structure analyses, will be introduced in the next chapter.

4. REIMAGINING THE INTERIOR ARCHITECTURE OF HAMMAM BATHS:

4.1 Current state of the building

As mentioned in the historic preview, Bazaar’s hammam is one of the biggest in its size in Albania, located in the central park of the city, in the south west of the old castle walls.(Figure 1.1)

Like an exceptional building of that time, its entrance was from Uzun Carshi, (the street which it was named after by the inhabitants “Carshi Hammam”) today nonexistent, with exit to the old bazaar street, today the main boulevard. ( Figure 4.1 ) According to the layout of the plan, the building’s exterior dimensions are 26.20 m long x 13.90 m wide. Sicaklik, the changing room, is a rectangular plan with dimensions of 10.90 m. The sicaklik has a mezzanine level made from wood material and the floor material is stone. The roof stands upon four wood columns, situated around a fountain. From a door in the right side of the sicaklik layout, is accessed the cool room, with a cylindric roof cover. The cool room is equipped with a big stone stool were the visitor could climatize the body. Meanwhile the main heated room is accessed from the cool room as well as the sicaklik area. The main heated room is a big rectangular plan layout of 3.70 x 8.30 m, divided on both sides by arches. From here are accessed the two stream rooms, at that time referred as isolation rooms. They both have a rectangular plan of 3.70 m. In the current state of the building deterioration of the

30 Figure 4. Current structure state walls is noticed. This is due to natural factors of humidity and lack of proper fresh air circulation inside the structure. The building needs to be preserved based on its original shape and representative architectural elements. The most problematic part of the building are the vault rooms. The degradation of plaster, partial absence on the stone surfaces, damages of the decorative elements of the vaults, as well as moisture and vegetation on the wall surfaces are evident. The current materials, influenced by the latest restoration are rubble stone and lime mortar. The restoration aimed to save the original function of the building, although the loss of the hammam culture in the society, resulted in the current loss of its importance. Bazaar’s Hammam was a place of cultural significance. The inhabitants of the city used to celebrate their marriages and childbirth events, mostly in the sicaklik area, which use to serve as a welcoming space, for preparing before washing and relaxing. Currently it is partly used as café, whereas the vault rooms with the other parts of the building, do not serve to the user’s activity. Accordingly, they are out of use.

Figure 4.1 Floor Plan Analyses of structure’s current state

31 4.2 Reasons for change

The loss of the original function and the cultural values in Bazaar’s Hammam guides for adaptive reuse. The purpose is to approach the structure by preserving aesthetic, social, artistic and spiritual characteristics, to pursue the reflection of the symbolic places in the collective memory, as well as transferring it to the future generations. Relating to this, the adaptive reuse of the hammam can be regarded as a positive approach in terms of protection. In order to maintain the sustainability of a new function and preserve the cultural memory, some evaluations of the space need to be done. According to the nature of the structure the characteristics which will be evaluated are the spatial fluidity, volumetric hierarchy and massive hierarchy.

Section AA1

Figure 4.2 Spatial Fluidity Analyses, in plan and sections.

32 1. Requirements

- Bazaar’s Hammam has its own spatial layout, both in circulation as well as in the distribution of temperature areas in its previous use. Therefore, the original spaces and its fluidity in circulation should be observed and taken into account. (Figure 4.2)

The new function which is to be given, should interact effortlessly within the existing space. The importance of creating a strategy compatible with the original spatial fluidity of the building, is in the making of a stronger function both in the sense of sustainability and in the spatial memory. (Figure 4.3)

Section AA1

Figure 4.3 Room Temperature Analyses, in plan and sections. Indicating also the light qualities in the existing space.

33 The hammam has a spatial volumetric quality. There are three types of volumes in the hammam: the main volumes, a passing volume, and the related volumes. The main volumes are the sicaklik and the main heated room, the passing volumes serves as a connection link between these two main rooms, and the related volumes are the two stream rooms and the water tank which derive from the main ones. ( Figure 4.4)

Section AA1

Figure 4.4 Volumetric Hierarchy Analyses, in plan and sections.

34 In the functional formation of the structure, the mass plays a very important role. In the hammam, the massive hierarchy exists in two forms as horizontal in the sicaklik part and vertical in the stream rooms as well as the other parts of the space. When applying the new program, the division of massive parts of the structure shall be considered, in order to provide a suitable function to the existing structure as well as to consider the memory of these spaces and what they used to serve for. (Figure 4.5 )

Section AA1

Figure 4.5 Main Massive Spaces Analyses, in plan and sections.

35 The massive, the volumetric and the spatial feature are important to be highlighted, as the three of them create the basic character of the structure. The spatial analyses also contribute to distinguishing the main areas in the structure:

As a result, in Bazaar Hammam there are three main volumetric spaces; the first, sicaklik, although with not a central axiality in the plan, it represents a primary open space which imposes further alterations. The second one, is formed by the main heated room and the two stream rooms, connected by their common characteristics of light, temperature and circulation. Whereas the third massive volume is formed by the passing volume and water tank, hence characterized by the intermediate temperature and secondary functions. The second and third massive volume have a more private access, imposing difficulties of circulation and daylight in the building. Whereas the first volumetric mass, where the two entrances of the building are located, has the capacity to improve the connection with its urban surroundings. Reminiscing here, that the whole plan layout was arranged in order to have the main entrance from the Carshi street and exit in the Bazaar street, a feature which is lost due to urban plan changes. Still, this memory route can be evoked through adaptive reuse strategies with the existing, in order to set a new connection with what once was.

2. New use

Figure 4.6 Bazaar’s Hammam sectional diagrams: Findings in its original use.

36 Located in the heart of the city, Bazaar’s Hammam is evidence of a distant era and an ancient civilization, dating back to the roman empire, settled in the area. Hammam function was one of gathering people for ritual baths part of the religious culture, also celebrations ,a value which is lost in time but leaves room for interpretation. (Figure 4.6) The qualities of its original function, is a primary influence in the process of implementing a new program. Therefore, the intention is to establish compatible uses, within the structure. In this way the memory of the space is enhanced within the new use, accordingly fitting the space qualities the best.

For these reasons, the hammam space is given back to the community, by proposing the implementation of a cultural event program. As a result, from the massive volumetric analyses, the evidence of the three main massive volumes gives the structure, the flexibility to develop coexisting functions within the program of the cultural event space. (Figure 4.4) In this way, the hammam functions not only as a museum experience but as a public resource for the city and its citizens. Therefore, the collective memory associated with Bazaar’s Hammam will be transmitted also to the future generations. The new program aims to contribute to protect the hammam characteristics, and its heritage values towards the community. The sectional drawings served as a design tool in the process of conceptualizing a new program. (Figure 4.7)

Figure 4.7 Bazaar’s Hammam sectional diagram: Reinterpretation of spaces. Proposal of possible functions.

37 4.3 Design strategies to maintain historic character

The main strategies to maintain the historic character in the hammam structure can be brought up in four sessions:

1-Establish compatible uses within the hammam structure.

2-Distinguish and forward the architectural characteristics of the space, as features of the new design.

3- Implementing adaptive reuse strategies to ensure partial demolishment, additions and alterations are effective within the historic character of the structure.

4- Implementing preservation strategies in the weathering of materials, in the existing surfaces, achieving this way a more palimpsest effect.

Two of the main difficulties the building imposes for the new use, is the circulation and daylight. As described in the spatial massive analyses, these difficulties are mostly visible in the vaulted rooms, consequently perceived as dark rooms and not good ventilated. Accordingly, alterations are required to gain better quality of the space. In order to have a better understanding of the alteration possibilities, as well as the new features of the design to be acquired, the existing layering of the structure is further studied. (Figure 4.8) The importance of dissembling the architecture layering of the space to then reassemble it in a new coherent way, through strategic approach, lies in the coexistence of the new and the old. As seen in the diagrams the first layer of openings, and the layer of relative surfaces assume possibility of alteration and reinterpretation, whereas the walls and vaults, are mostly preserved.

The entrances alterations contribute in a better visual connection, improving the daylight spread within the vault rooms, but also stimulate the memory of the place. Whereas the partial demolishment of walls in the lavatories and toilet, is being reinterpreted with the same logic that these spaces cannot function the same anymore. The fountain element is altered into a water surface in the heart of the main massive volume. Bringing the water element into the hammam is very important, as water significantly stands for reflection, peace and contemplation. So metaphorically, it gives back to the structure, but most importantly to the residents, its lost identity. In the cool room, the stone element where the visitors used to lay down to climatize their bodies, is kept and conveyed into a sitting element. Whereas in the main heated room, the circular imprints in the plan are reinterpreted in an interior installation. The quality of the gathering in the main heated room is still preserved but conveyed in a more coherent function. Therefore, the presence of hammam lives on, providing an enrichment of the current design. The relevance of rediscovering the inscribed elements of the building that are already present, stands in their aspect of reuse. The new interior architecture aims to be an architecture of reusing, remaking, reinterpreting. ( Figure 4.9)

38 Figure 4.8 On the left, analyses of the structure’s existing layering in Section BB1. On the right sequence diagrams of the inscribed elements in order of appearance; Openings, related volumes, walls and vaults. (These analyses are equally done in all paces)s

39 An imprint can stimulate memory :

Figure 4.9 Conceptual diagram: Translating the existing architectural elements into features of the new design.

40 Figure 4.10 Exploded diagram: intervention scheme

41 3- Implementing adaptive reuse strategies to ensure partial demolishment, additions and alterations are effective within the historic character of the structure.

The intervention on the existing structure is based on adaptive reuse criteria. The main entrance, once from Carshia street, (now the back façade) is represented with an addition which acts as a memorial route floating into the building. The memorial route cuts the building in a vertical plane and creates a small rooftop, from where visitors can see the main vaults of the hammam, as well as the historical city. From a vertical element it proceeds into horizontal planes, with the rearrangement of the mezzanine level, into the path walk inside the hammam. The path walk, is slightly elevated, to create the experiencing of the rooms. From here every place in the hammam develops. Therefore, the addition of the route creates the museum experience of the hammam in its new use. Whereas, the insertion of the new roof structure and mezzanine serve the purpose of gaining better space qualities in the main volume of the structure. The massive roof and mezzanine volumes are demolished to be introduced as shell structures, in order to gain more height into the interior space. The path walk ends with an extension of the underground cinematic experience room, according to the existing lower ceiling. The project intervention derives from Strategic Approach towards the host space. Therefore, the proposal aims to create a new dialogue of the form-form relationship. The memory of what has been is altered within the process of remodeling and transformation. The new and the old aim to coexist in the same structure.

4- Implementing preservation strategies in the weathering of materials, in the existing surfaces, achieving this way a more palimpsest effect.

The interventions through adaptive reuse urges to be implemented, against the danger of the building’s complete demolition in the near future. Nevertheless, the project proposal cannot coexist in the current condition of the structure. Although the structure has been previously restored, there is a lack of maintenance noticed in the interior walls, exterior façade, including the vaults. The deteriorated materials of the interior are to be restored through custom construction techniques, as well as use of original building materials. For instance, the removal of layers of cement mortar are to be replaced with plaster of the same composition as the original; the severely damaged stone masonry is to be replaced with custom made techniques, as well as the consolidation of the vaulted domes both inside and outside is performed. In terms of contemporary design and materials, the main roof and the extended roof in service of the cinema, are being replaced in white roof coatings, consisting of polymetric materials. The new roof materials reflecting the sun’s energy, serve to keep surface temperatures very close to ambient temperatures. The entrance gesture extends towards the building, as well as the recreation of the columns around the fountain, consists of corten steel material. Whereas the main furniture materials, are wood and white stone. The color selection of the new intervention is generally light, contrasting the stone and plaster materials of the walls. The vaults serves as a main source of light in the building. In addition to that, new light fixtures are introduced like spot and diffused lights.

42 4.4 Project intervention as an illustrative example and part of the research.

43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 5. CONCLUSION

“Therefore, when we build, let us think that we build forever. Let it not be for present delight, nor for present use alone; let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labor and wrought substance of them, “See! This our fathers did for us.” For, indeed, the greatest glory of a building is not in its stones, or in its gold. Its glory is in its Age.”- John Ruskin, The seven Lamps of Architecture

Seems like what reminds John Ruskin’s words, among many, are the architectural projects of the most celebrated architects in adaptive reuse. It should be obvious by now, that adaptive reuse aim has shifted, from a post-industrial approach to a postmodern one, aiming to harmoniously complete a new wholeness. Most importantly, responding to the past and to the future, with the sensitivity to understand the genius loci of architectural spaces. Throughout the process of designing, empathy interchange with the buildings is a quality which should be embraced. What is crucial to learn from adaptive reuse, is that the way to complete the new wholeness harmoniously, not merely by our own spatial interpretations. Our perception of the past, conditioned by our perception of the present remains questionable. In case we are dealing with historical buildings, the final reckoning is to acknowledge and enhance properly the spatial qualities of the space, and it´s history. In the case of hammam structures, the characteristic features of the anatolian architecture represented, impose a genuine approach when dealing with the space. The collective memory hammam is associated with, assumes a palimpsest methodological thinking, redesigning over the old.

Therefore, it is probable that the future use of the hammam structures, can rely significantly in perceiving them as “palimpsestuous buildings”, with great potential in the remaking process. The remodeling strategies and alterations are necessary to result in better interior qualities of the original structure, as well as accommodate the new use requirements. The main difficulties of circulation and daylight that hammam structures impose, can be easily altered by the interpretation of the original openings’ layering, in a more contemporary way. In this case, the implementation of the strategic approach towards the host space suggests new opportunity avenues of use. Accordingly, the hammam structure witnesses flexibility for adapting different uses, within the altered space. The relevance of strategic approach towards the hammam structure lies also in the preserving of its aesthetic, social, artistic and spiritual characteristics.

The research is an illustrative example on the attempt to reuse these structures into a public resource for the community, yet protecting and conveying their historical values. In order to maintain the public interest open for the hammam, the dialogue between the building and its community should be established through continuous exhibitions, conferences, social gathering activities, most importantly promoting the local culture values.

62

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