Adaptive Reuse for Hospitality Design.

Focus on Qajari Architecture. Yas Jahani Spring Semester 2020 Berlin International

Advisor: Prof. Javier Martin Second Examiner: Prof. Dr. Carola Ebert

Adaptive reuse for Hospitality Design. Focus on Qajari Architecture

By

Yas Jahani

Submitted in partial fulfillment of the requirements for the degree of

Bachelor 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.

______

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 paraphrase, 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: gag'M

Date of Submission: Monday, August 3rd 2020

Table of contents

I. Abstract & Introduction

• Problem Definition & Research Aim

• Methodology

II. Adaptive reuse

• Adaptive Reuse: Importance & Definition

• Adaptive Reuse & Relevance for Hotel Design: Key Theoretical Strategies for a Successful Project

III. Building Typology of the Qajar Dynasty

• Isfahani & Tehrani Architectural Styles & their Characteristics

• Prominent Interior Characteristics of Qajari Residential Buildings along with the example of the Boroujerdi Historical House in Kashan

IV. Case Studies

• Introduction

• Case One | Joybar Boutique Hotel

• Case Two | Manouchehri House Two

• Case Three | Hanna Boutique Hotel

• Case Four | Azin Historical House

• Comparative Analysis & Conclusion

V. Design Proposal

• Introduction & Background: The Case of the Bafandeh Historical House

• Transformation

• Implemented Adaptive Reuse Strategies

VI. Conclusion VII. Bibliography & List of Figures

Yas Jahani 2020 1 I. Abstract

Winston Churchill once said: “ We shape our buildings; thereafter they shape us.” (Hartenberger, 2011.) Most of the existing buildings constructed during the Qajar era in Iran have outlived their initial owners, surroundings and functions. Their remainders strongly mimic the past, creating a divergence between what once was & what is today. The majority of these treasures are currently deteriorating, leaving nothing but piles of dust, being eventually replaced by fabricated structures. Fig.1 Abandoned Qajari house, Kashan. By author. (Fig. 1) Throughout the recent years, there has been a heightened interest in the new generation of architects and designers in Iran to revive these structures, cautiously preserving & restoring them back to their glorious existence, whilst giving them a new function. By transforming them into boutique hotels, they not only attract foreign tourists, but also local architecture and design enthusiasts across the country.

• Introduction

In the 21st century, a new ‘art de vivre’ is being practiced where topics such as ‘reduce, reuse, recycle’ , lowering CO2 emissions, culture and heritage preservation and economical sustainability play a dominant role within each society, leaving architects and designers with a new challenge within their professions; To reuse existing structures, rather than to thoughtlessly demolish them in order to construct anew, turning each individual into one of the key players in creating a better future, whilst setting the foundation for the evolving act of adaptive reuse.

Yas Jahani 2020 2 • Problem Definition

Recently, In the world of hottelerie, there is a spark of interest to revitalize old buildings, as the new generation of travelers seek more than just a standard accommodation, but rather a unique and authentic experience (Daspit, 2019). The number of adaptive reuse projects for boutique hotel purposes in Iran have been drastically increasing ever since the Manouchehri historical house in Kashan has opened its doors to international and local guests in 2010. (Aga Khan Development Network, 2020.) Not only do these buildings regain their value, they also provide an unmatched experience in a state-of-the-art world. Giving a second life to a building can have its good, bad and ugly. How to proceed with ancient structures remains one of the greatest challenges of the today’s world of architecture and design, as each structure has it’s unique history, characteristics and qualities that differ from another, resulting each building having to forego a different path in order to be able to host a particular and new function. The synthesis of the existing with the new design requires adequate knowledge on the adaptive reuse strategies that benefit each structure. It is important to mention that each strategy however, is not suitable for every building. The role of the architect is to extract the suitable strategies by stitching the buildings past with its future envision. (cf. Brooker & Stone, 2014, 79) Throughout the recent decades, researchers have gathered a broad range of strategies that help architects tackle the principle of adaptive reuse projects. A selection of existing literature on this topic will be thoroughly researched.

Yas Jahani 2020 3 • Methodology

The aim of this research paper is to tie a link between the strategic theories developed in the 21st century and their implementation on the existing historical buildings constructed during the Qajar era1, seeking to determine which of the strategies are best suitable to employ on these particular structures.

Initially, a selection of the current literature available on adaptive reuse strategies will be examined in theory, by conducting a thorough and comparative analysis, in order to observe which strategies can be utilized for these buildings.

The following chapter tackles the building typology of focus, granting an in-depth study of each architectural element and analyzing their function and purpose within the structure. In order for the reader to be able to visualize these specific structures in their distinct chronological order, a famous Qajari building is demonstrated. The purpose of this chapter is to provide an insight to the building typology, its unique materiality, the heritage and history and finally its national significance, which are crucial aspects when dealing with an adaptive reuse project as such.

After collecting & analyzing all the necessary theoretical information, four case studies will be thoroughly reviewed. The case studies have been chosen based on two criteria; The first aspect being the building typology and the second being the newly- applied function of the structure. Firstly, each project will be thoroughly investigated based on its initial versus new function, the process of restoration & the theoretical adaptive reuse strategies implemented by the architects. Eventually, a conclusion is driven by this analysis in form of a comparison. The objective is to investigate how far can interior design influence & intervene with the existing & to examine which strategic approaches architects impose in order to conserve ancient traits accompanied by the newly-attributed function & design of Qajari buildings. The outcome of this research will be reflected in the fifth chapter, the bachelor thesis project, a design proposal for the Bafandeh Historical House and its

1 The Qajar dynasty was an Iranian dynasty ruling over Iran from 1789 to 1925. (Wikipedia 2020)

Yas Jahani 2020 4 reprogramming to a boutique hotel & the project conclusion, serving to represent a personal strategic approach.

The intention of this research is to provide a basis for projects tackling the same building typology, its challenges and the methods architects can undertake guaranteeing a successful outcome with the help of the theory of adaptive reuse.

II. Adaptive reuse

• Importance & Definition

Nowadays, there is a high interest in the world of architecture and design to work with existing structures, repairing them and restoring them for future use, as “The inherent qualities of the place and its surroundings, combined with the anticipation of the future use, produce a multi-layered complexity impossible to replicate in a new building.” This process of alteration and adaptation is mostly known as ‘adaptive reuse’. (Brooker & Stone 2014, 9.) Offering a wide range of possibilities for transforming a building into a functional, yet authentic structure, adaptive reuse is a great tool for meeting society’s contemporary needs of today, whilst preserving the essence of the past. (Plevoets and von Cleempeol 2019, 23.) According to a study conducted by the university of Moratuwa, it is only necessary to demolish 0,5 to 1,0 per cent of the buildings constructed today, as most buildings can be used for up to 60 years on average, although their lifespan can even be prolonged to even a century by carrying out proper and regular maintenance. (De Silva, Dilantha & Perera, Kanchana. 2016.) Adaptive reuse is not only seen as a strategy of utilizing what already exists, but also, it is seen as a way to conserve history, culture and heritage, creating a beautiful collision between the past and the present, resulting a more diversified cityscape, appreciated more and more by the public today. (cf. Brooker & Stone 2018, 1.)

Yas Jahani 2020 5 The Venice Charter2 refers to the necessity of conserving one’s culture and heritage in the following manner; "The conservation of monuments is always facilitated by making use of them for some socially useful purpose”. (The Venice Charter 1964, article 5.)

• Adaptive reuse and relevance for hotel design: key theoretical strategies to a successful project

Hotels are great spaces in order for architects to experiment with trends, new technologies and concepts. The adaptive reuse for hospitality design is an even better opportunity for enthusiasts to merge historic buildings with contemporary features, allowing them to closely observe and monitor which characteristics are best suitable for a broad range of international temporary residents. (Nikolic, Marko & Kurtović-Folić, Nađa & Milojkovic, Aleksandar 2014, 97.)

In order to better understand the strategies of adaptive reuse for the re-design of Qajari interiors, one has to primarily predefine some of the terminology related to safeguarding and preserving the structure itself, whereas to begin with strategies that focus more on tackling its interior, as the principal aim is to stay true to the structure and to correctly preserve its features, avoiding false interpretations. Therefore, the chosen guideline would be that of the Venice Charter. “Over three decades later the Venice Charter continues to exercise its validity” . (Jokilehto, 1998, 229.)

Taking the Venice Charter as the guideline developed for monument preservation, one is able to define the following terminology; Restoration, conservation & excavation.

The term restoration taken from the Venice Charter, Article 9, implies that this process is a “highly specialized operation”, as it focuses on preserving the aesthetic and historic appearance of a structure. It is viewed as a delicate operation, as it should not,

2 The Venice Charter for the Conservation and Restoration of Monuments and Sites is a set of guidelines, drawn up in 1964 by a group of conservation professionals in Venice that provides an international framework for the conservation and restoration of historic buildings. (Wikipedia 2020)

Yas Jahani 2020 6 in any way disrespect the authenticity and materiality of the artifact, staying true to its originality. “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.” It allows the use of modern craftsmanship, if proven necessary during the process of conservation. Moreover, it may allow additional features so long as they do not distort the observers attention and cause imbalance with the overall landscape.

The term conservation or preservation describes the maintaining and prolonging the existing structural life of a building, avoiding further harm, modification or re- construction. It allows no new architectural maneuver, as its sole purpose is to safeguard the product of time. One contains a building in its discovered state, thus allowing it to express its historical significance. (cf. Venice Charter 1964, article 4-8.)

Excavation is characterized by the archaeological process of maintaining, reassembling and protecting architectural features as discovered on site by using standardized methods. The alteration and binding medium should be recognizable and shall only be utilized if the intention is to safeguard its initial aesthetics.

Summarizing the articles stated in the Venice Charter in 1964, one can argue that as an architect, one must study the buildings history in-depth before proceeding with any adjustments. If, however, aesthetic-related decisions take place that disregard the authenticity of the structure, it should be visibly distinct from the remainder, stated clearly in the definition of the term restoration. (cf. Venice Charter 1964, Article 9.) The same argument has been proposed for the excavation of specific architectural objects. (Article 15) While this may not seem to affect interior designers at first, it certainly will be of interest when discovering features such as ancient paintings on the walls or even unexpected objects, having occurred multiple times during the process of adaptive reuse for Qajari buildings. (Tahereh Mokhtarpour, interview by author, Kashan, February 20, 2020.) The term conservation, however, is not of immediate interest, due to the lack of connection in relation to hospitality design and the change of function for this purpose,

Yas Jahani 2020 7 as it strictly prohibits any drastic measure in regards to the re- construction and alteration of certain parts or even the decoration of the building in order to be able to host a new program. (cf. Venice Charter 1964, Article 5 & 6.)

In their publication “Adaptive reuse of the built heritage” in 2019, Bie Plevoets and Konraad von Cleempoel discuss five contemporary approaches developed throughout the 70s, offering various insights within this discipline.

The first one, the typological approach, suggests the correlation of the building typology in accordance to the function; Meaning, “which function(s) can be suitable for particular typologies.” Extensive studies have been gathered from a selection of building typologies, ensuring efficiency when it comes to selecting a specific function. This strategy, however, requires gathering more specified data on distinct architectural typologies, their characteristics and risks in regards to the adaptation process. (Plevoets and von Cleempeol 2019, 16-17.)

In contrast to the previous, the architectural approach aims to establish a broader range of initiatives, examining which design strategies can be best employed on existing buildings. A series of strategies, which were developed and identified by authors such as Brooker and Stone, Jaeger, etc. have been implied by the authors. (Plevoets and von Cleempeol 2019, 17-18.)

The technical approach is characterized by a more scientific perspective towards adaptive reuse. In contrast to the theory and concepts of the architectural approach, certain researchers believe that technicality is crucial when it comes to standardizing an ancient structure. By making necessary improvements to the technologically out-dated buildings, one ensures a more economical, energy- efficient, safe and sustainable future. (Plevoets and von Cleempeol 2019, 18-19.)

The programmatic approach is primarily defined as the determination of the program followed by the detection of a suitable building site in order to host this particular function. Unfortunately, heritage sites have not been emphasized in this

Yas Jahani 2020 8 particular approach, as contemporary architecture is the focal point of the following strategy. (Plevoets and von Cleempeol 2019, 19.)

Finally, the Interior approach refers to the importance of interior design as a profession that ties a link between architecture and adaptive reuse. The sole purpose of this occupation is to alter a space, no matter what state it is in. Giving life to a building certainly requires an artistic sense. Therefore, the prime focus of this strategy is to enhance the atmospheric quality of the space, digging deeper into “its immaterial aspects, atmosphere, and narratives, and a more ‘poetic’ approach towards building adaptation.” (Plevoets and von Cleempeol 2019, 19.)

In addition, there are a number of more specified theoretical strategies developed that revolve around the process of adaptive reuse in the recent decades. The following key terms are going to be further defined using Brooker and Stones publications; Intervention, insertion, installation, superuse, artifice, reprogramming, on/off site and narrative.

Graeme Brooker and Sally Stone are among the handful of authors and researchers on developing adaptive reuse strategies, publishing several books3 on this subject. It is important to mention that even though these strategies have qualities that differ from one another, they can be utilized & combined together to some extent, resulting exceptional outcomes. (Plevoets and von Cleempeol 2019, 18.)

In their book “Rereadings”, Brooker and Stone describe Intervention as a strategy that strongly connects and brings out both the past and the present of the building, by cautiously showcasing and sometimes even uncovering delicate facets of the structure created by time. The newly- integrated elements clearly differ from the old, yet create a harmonious appearance as a totality. It respects the buildings history by bringing out it’s essence through exposing parts of it to the audience during the process of remodeling. “Intervention is a robust strategy in which a dialogue between the old building and the remodeling is developed; the two do not exist independently but become intertwined”. (Brooker and Stone 2014, 87.)

3 Rereadings, 2014 & Rereadings 2, 2018 (Brooker & Stone), Adaptation Strategies for Interior Architecture and Design, 2016 (Brooker)

Yas Jahani 2020 9 Insertion on the other hand, creates a contrast between the old structure and the newly- added element. “A symbiotic relationship between the two elements is established based upon juxtaposition, counterpoint and contrast, and this relationship heightens the quality of both” (Brooker and Stone 2014, 103.). An inserted interior element creates an interior within the interior of the space, which is visibly and visually distinct from the existing structure.

The strategy of Installation suggests that the characteristics of the new and temporary structure are purposefully included and contrasted to the existing, thus creating some sort of an “exhibition-” like setting. The new element within the space is used for a certain time frame and is not a permanent feature. Therefore, there is no direct link between the added element and the existing structure and it is merely a subjective design decision of the architect responsible for the remodeling of the building. (Brooker and Stone 2014, 127.)

In a later publication, Graeme Brooker offers five additional strategies; Superuse, Artifice, Reprogramming, Narrative and On/Off Site, which brings them to a total of eight.

Superuse is a strategy primarily introduced by 2012Architecten in Holland, which suggests the reuse and recycling or up-cycling of often uncommon and existing materials as new elements within a space, by focusing on factors such as durability and affordability. During the construction, one might come across found elements and objects which can often be reused throughout the development of the project. (Brooker 2016, 66-67.)

Artifice is described by Brooker as “the employment of the art of cunning”, intending to provoke and to delude the audience. It is “designed to deceive, duplicate or replicate the existing.” (Brooker 2016, 11.) This strategy is oftentimes used in an exhibition or retail space, creating drama and trompe-l’oeil. (Brooker 2016, 92.)

Yas Jahani 2020 10 Reprogramming is characterized by the clash of the original use of a space with its newly developed purpose. With this lack of connection, the architect has the opportunity to skillfully narrate a new story. (Brooker 2016, 10.)

Narrative on the other hand is utilized to enhance the history of the spacial environment. The architect in this scenario, safeguards specific features of the space, in order to showcase significant incidents occurred within the space; A story worth reciting. This strategy is a powerful tool for professionals in order to fuse the unforgettable past with the future story of the structure, leading to the creation of a unique experience for the audience. (Brooker 2016, 11 & 140.)

The eighth and final strategy proposed by Brooker, the strategy of on/off site, aims to underline the necessity of occasionally using modern manufacturing techniques to facilitate the re-construction process for certain parts of a building. Ready- made and pre- fabricated elements can often elevate the quality of the interior, with the new element becoming the centerpiece alongside the preserved and restored setting. (Brooker 2016, 11.)

In conclusion, all of the strategies analyzed in the following sub- chapter, i.e. the strategies proposed by Plevoets and von Cleempeol and Brooker and Stone, describe overall processes in which an architect can intervene within an existing structure and not a specific method one shall utilize, leaving room for creative design decisions. Summarizing these 13 sets of strategies, one can observe some similarities in their descriptions, allowing some of them to merge together. It is also essential to mention that one is also able to reduce some of the strategies demonstrated, due to the examination of the specific building typology of focus.

Starting with the architectural approach, it be can argued that it is rather a general term describing various methods and strategies allowing architects to tackle existing buildings. It incorporates strategies such as Intervention, Insertion, etc. developed by authors such as Brooker and Stone.

Yas Jahani 2020 11 The technical approach, on the other hand, emphasizes on the usage of modern manufacturing techniques, benefiting out- dated structures, which is closely related to Brooker & Stones strategy of on/ off site. After all, the majority of the necessary equipments, such as modern ducts for HVAC & materials in order to address present- day needs, have to be prefabricated, separately ordered and delivered to the building site.

There’s also a parallel take on the Interior approach & the strategy of narrative, both stating the atmospheric dominance of the structure, putting the architect and designer as the center-point during the process of adaptation.

Due to the fact that heritage conservation does not play a crucial role when speaking about the programmatic approach (Plevoets and von Cleempeol 2019, page 19), it will further be discarded from the list of the strategies aiming to investigate Qajari buildings.

Moreover, the typological approach neglects taking into account two crucial aspects; Firstly, granting an extensive study on specific typologies (Plevoets and von Cleempeol 2019, page 17), such as the one at hand, and secondly, constraining architects, as the indicated typologies may not support the intended function, prohibiting the formation of unique spacial experiences.

In addition, the strategy of Installation, is omitted from the list of the strategies helping to analyze case studies for two reasons; One being its temporary nature and the other for being vastly used in a museum- like context, serving no particular relevance for hospitality design.

With four strategies being omitted and two being combined, it comes down to a total of seven different strategies, reprogramming, intervention, insertion, on/ off site, artifice, superuse & narrative, which will be further employed to analyze four case studies.

Yas Jahani 2020 12 III. Building typology of the Qajar dynasty

Rasouli argues that the Persian architectural structures are categorized into six different styles that developed in Persia (Iran). Their names are based on the names of each dynasty that ruled over the country at a specific time. These dynasties are known as the Seljuk, Moghul, Timurid, Safavid, Qajari and the Pahlavi Dynasty. (Rasouli. 2013, 33)

As structures built during the Qajar era are the main focus of this thesis, one can therefore narrow the content of research down to one specific era and building typology; The “Qajari” architectural style.

Furthermore, one has to consider the fact that the development of architectural styles are also dependent on three major factors; Location, civilization and culture. These methods are each developed in specific geographical locations and are further influenced by each regions culture, traditions and social circumstances. As a result, a further division into the seven following categories is suitable; The Persian, Parthian, Khorasani, Razi, Azeri, Isfahani and Tehrani (mixture) methods or styles. (Rasouli. 2013, 34)

Focusing on structures constructed during the Qajar era, one can therefore argue that the architectural methods implemented on these structures at the time can either be of the Isfahani style practiced starting from the Safavid era until the middle of Naser Al-Din Shah Qajar’s government or the Tehrani (mixture) style, adopted from the middle of Naser Al-Din Shah Qajar’s reign until the middle of the Pahlavi era. Both of these methods and their characteristics will be further analyzed into depth. (Ghobadian 2018, 162. Ghobadian 2015, 21-23.)

Yas Jahani 2020 13 • Isfahani & Tehrani architectural styles & their characteristics

According to Pirnia, The Isfahani style began in Azerbaijan and was afterwards widely used in the city of Isfahan, where its name derives from. It is the city where the most prominent monuments of this style are located to this day. (Pirnia 1990, 269)

The main characteristics of this style are:

• “introverted” buildings, developing private courtyards. (Fig. 2)

• Structural walls made from bricks

• Convex arches

• Three- pointed arches

• Sloped roofs with mud and thatch coverage

• Simple or spiral columns with ornamental capitals

• Decorative tiling and plasterwork

• Realistic paintings on walls

• Use of wood timber profiles and boards as substructure

• Use of brickwork as substructure cladded with plaster, stone or mud and thatch for the facade (Ghobadian 2015,45)

Fig.2 Exterior view: the Divan (Bekhardi) mansion.

Yas Jahani 2020 14 As for the Tehrani style, Pirnia argues that during the reign of Naser Al-Din Shah Qajar, due to the access to the western world and the process of modernization, the architectural style was manipulated and altered. Most of the styles features were inspired by the Western architecture at the time, giving it more of a neo-classical appearance. (Fig. 3) (Ghobadian 2015, 22-23)

The main characteristics of this style are:

• "Extroverted” buildings

• Neo-classical design of the facade

• Symmetry in plan and main facade

• Sloped roofs constructed with galvanized iron profiles

• Semi-circular arches

• Columns and railings built with cast iron

• Classical columns inspired by Doric, Ionic and Corinthian columns

• Classical decorations, sculptures, paintings, plasterwork

• mirror-work

• Terrace above the main entrance

• Staircase at the main staircase

• Use of stone as cladding for the facade (Ghobadian 2015,119 & 123.)

Fig.3 Exterior view: the Masoudieh mansion.

Yas Jahani 2020 15 • Prominent Interior Characteristics of Qajari Residential Buildings

The architecture of the residential houses constructed during the Qajar era followed two overall principles; The most important being privacy and security. Due to their introverted structure and height, the view to the interior is blocked, ensuring visual privacy. (Fig.4) (Raviz, Seyed et Al. 2015)

Fig.4 Section through an introverted house: Visual privacy from the exterior.

This type of structure also enables acoustic blockage, creating a sense of peace and comfort from the outside world.

The courtyard, being the central and the most public part of the house can therefore be described as the contemporary “living room”, gathering members of the house together. Less public parts of the house, such as the bedrooms are located on the upper levels, increasing the privacy of each inhabitant. (Raviz, Seyed et Al. 2015)

Yas Jahani 2020 16 The following table illustrates the main spacial divisions and elements of residential buildings constructed during this era as well as their characteristics:

Plan Rectangular Floors Usually two to three Thick and massive walls were constructed in order to keep out the heat caused by the sun in the warmer seasons, whilst retaining Walls it during cooler seasons of the year. They also ensure acoustic blockage. (Malahbani, Yusef et al. 2012, 39) Geometric, usually octagonal passage, followed by a long corridor, leading to the Vestibule & Corridor main space, usually being the courtyard. It is situated right after the main entrance. (Eiraji et al. 2011) Each house has 2 courtyards; The internal and external courtyard. The internal courtyard was used by the family & their caretakers, ensuring their privacy and Internal and External courtyards security, whereas the external courtyard was mainly used on specific occasions. The later is centrally located in plans, serving as the main connection to rooms and terraces. (Imani 2014) The biggest and most beautiful room of the The Kings Hall building, where people used to serve their guests in. (Imani 2014) Usually symmetrical in construction and shape with a rectangular plan, located around the courtyard areas and on the floors above. Three & Five- door rooms The rooms typically consist of either three or five openings, known as a “three-door" room or a “five- door” room. (Imani 2014) • Columns: Structural yet embellished with ornaments

• Wooden windows & doors

• Niches “Taghcheh”: integrated shelving & Decorative elements storage unit on walls

• Decorative Plaster and Mirror work

• Paintings

• Brickwork (Imani 2014)

Yas Jahani 2020 17 Being a central feature in Persian gardens or courtyards, a fountain was used as a Water fountain means for bathing, keeping fruits and vegetables cool and purely for aesthetic purposes. (Wikipedia 2020) The kitchen is located in the most hidden part of the house, usually in the internal courtyard. The kitchen is not designed in Kitchen the direction of the main axes of the house or near the main spaces. (Raviz, Seyed et al. 2015) Not all buildings used to have bathrooms, as public baths were being used at the time. If so, they were usually located on the Bathroom lowest level, the basement, consisting of two sections; one for changing clothes and the other for bathing. (Raviz, Seyed et al. 2015) Toilets were essentially holes dug in the Toilet ground, usually located near the entrance of the house. (Wikipedia 2020) A room built beneath the ground level in order to provide shelter during the warm season and to keep stored water and food cool. They are typically cooled by underground Basement aqueducts or windcatchers. During summertime, the temperature of this space can become up to 15 degrees cooler than the upper level. (Malahbani, Yusef et al. 2012, 37) Depending on the season and geographical orientation of the building, the rooms will be more/ less exposed to the sunlight, hence Winter & summer chambers will be utilized more/ less frequently throughout the certain period. (Masaf.ir. 2020) Constructed for ventilation purposes. Wind catcher or -tower (Hejazi. 2007, 193.)

It is important to mention that the construction of buildings during the Qajar era sightly vary due to factors such as wealth, climate, available materials and construction methods in the region, etc., yet all of their divisions follow the same principle. (Radoine. 2016. Page 2.)

Yas Jahani 2020 18 The isometric projection of the Boroujerdi house4 serves as an overview to the most significant characteristics:

Windcatchers

Central dome of the main hall External courtyard Basement Pathway to the Internal courtyard & private quarter

Entrance No. 2 Windcatcher

Entrance No. 3

Entrance No.1 Corridor Skylights

Fig.5 Axonometric projection of the Boroujerdi house.

The ground floor plan of this house serves as a chronological overview to its main rooms and divisions:

1 Entrance 2 Vestibule 3 1 Winter Chamber 2 4 External Courtyard 6 5 4 3 10 5 Main Hall 6 Kings Hall 7 7 7 Passage 9 8 Internal Courtyard 8 9 Internal Courtyard 10 Hall of Mirrors

Fig.6 Ground floor plan of the Boroujerdi house. | Waiting Room

4 Built in 1857, this residence was constructed by the architect Ostad Ali Maryam, for the bride of Haji Mehdi Boroujerdi, a wealthy merchant. It took him almost 18 years and with the help of around 50 craftsmen to complete this house. (tappersia.com 2014) The plasterwork and the paintings were all created and supervised by the famous artist Kamal-ol-Molk. (Wikipedia 2020)

Yas Jahani 2020 19 To conclude, due to the process of westernization and the access to “new” materials for construction and new technologies, the architectural style during the Qajar dynasty drastically changed throughout the era (1779-1925), resulting into the fading out of the traditional Persian architecture of the past. (Ghobadian, 2015, 121-123.)

Not only did this shift occur in architecture, but also in the daily lives of the society, with the development of cities and buildings to the introduction of cars in 1907, resulting in a modernized lifestyle, early on during the Pahlavi era (1925- 1969). (Ghobadian, 2015,131.)

Simplified geometries and features dominated the late 20s architecture, whereas culturally significant structures were being demolished for the development of street network, having no purpose due to their size or function. (Ghobadian, 2015, 131.)

As a result, the majority of these structures, situated in rural areas today, were abandoned by their owners, in hopes of thriving in a modernized cityscape. Therefore, it is of national significance for professionals to take action in order to safeguard what is left of them, otherwise they will eventually become obliterated from the history of this land.

Yas Jahani 2020 20 IV. Case Studies

• Introduction

The following case studies are analyzed based on their architectural typology and previous versus newly- assigned functionality, aiming to investigate which adaptive reuse strategies best depict the conversion of Qajari buildings to boutique hotels.

The Following diagram provides an overview on the context of each chosen case study:

Boutique Hotel Qajari Architecture

One | Joybar Boutique Hotel • •

Two | Manouchehri House Two • •

Three | Hanna Boutique Hotel •

Four | Azin Historical House •

• Case One | Joybar Boutique Hotel

Location: Isfahan, Iran Duration of remodeling: Approximately 2 years Owner: Tahereh Mokhtarpour Interior design: Tahereh Mokhtarpour Index: Former residence of a family of 11 converted to boutique hotel Fig.7 Internal courtyard | Fig.8 Skylight above the restaurant area.

Yas Jahani 2020 21 The Building

Architect Tahereh Mokhtarpour has approached to renovate and to transform an old introverted Qajari house into a nine bedroom boutique hotel. It is a hidden gem among the many human-scale passages within the city of Isfahan, only accessibly by a narrow corridor. The house is spread across a 408 m2 land, consisting of two and a half floors, including an additional basement unit, which has now become a suite among the nine. Two years after fulfilling the restoration and reprogramming process, the hotel opened its doors to the public for the first time several months ago.

Transformation

The two and a half story high building consists of a small inner courtyard housing various functions today: Being the central meeting and greeting point for guests throughout the day, granting access to all facilities and divisions within the hotel, being an outdoor cafe, as well as a place to unwind, enjoy the birds chiming whilst hearing the water flow from the fountain while reading a book about ancient Persia. (Fig.7) The major divisions of the house are still intact. New functions are given to each spacial division in order to make the former house, functional as a boutique hotel. For instance, the traditional kitchen has been reprogrammed and now houses the reception area. Details of the original old structure can be inspected and are visibly distinct from the new, showcasing the buildings heritage & historic value by stripping back the old plaster finish from the brick ceiling, as well as the reuse of the wooden doors. (Fig.9) Due to the existence of the basement unit, there was an opportunity for the architect to create extensions for the creation of a gift shop, storage Fig.9 Old vs. new brick structure visible on the reception ceiling. By author. room and a powerhouse: Necessities for a functional and contemporary boutique hotel.

Yas Jahani 2020 22 The entirely new gift shop area, accessible from a pre-fabricated staircase from the upper restaurant area, consists of modern elements such as micro-cement flooring and contemporary furniture. A hint of the traditional architecture is, however, detectable; The rectangular niches created on the walls. (Fig.10)

Fig.10 Prefabricated staircase granting access to gift- shop. By author.

An addition of two new rooms were constructed on the first floor, equalling to nine rooms in total. The newly added rooms are built according to the architecture of the building, staying true to its form and materiality. The exterior view towards the newly-added divisions demonstrates a sense of harmony between the new segment of the building & the old structure. (Fig.11)

Fig.11 Before and after picture showing the additional rooms on the first floor.

The architect deliberately blocked the view to the neighboring building by adding a high extension to the separating wall. Not only it is constructed for visual blockage

Yas Jahani 2020 23 purposes, but according to the architect, it also acts as reinforcement to the building. (Fig. 11) The skylight, which is visible in the restaurant area of the ground floor, is an added element, allowing ambient and natural light to dramatically brighten up the space. (Fig.8) Due to fire regulations, there has been a need for the production of railings along the terrace area, visible around the inner courtyard.5 (Fig.11)

Strategies

During the recreation of Joybar boutique hotel, a series of adaptive reuse strategies have been utilized and can be detected; Mokhtarpour has employed the strategy of Intervention, which included the extensions of the basement level, a new replacement for a fallen roof, the skylight construction, as well as the new rooms and the separating wall in the courtyard, whilst tying them to the original structure, creating a dialogue between the old and new by aesthetically merging them together. The newly added features and geometries however, are inspired & reinterpreted by the original in a more contemporary and minimalistic manner. Going more into the details, the strategy of narrative is also used to showcase parts of the original walls and ceilings. Exposing the old brick pattern, conserving discovered paintings on the walls & retaining the outer wooden opening embellished with colorful glass6 (Fig.12 &13) does not only respect the buildings originality, but is also a constant reminder of its past life, being echoed over and over in the observers subconscious mind.

Fig.12 Interior of one of the rooms showing conserved paintings. | Fig.13 Reused & retained frames.

5 Tahereh Mokhtarpour, in conversation with the author, February 2020, Appendix 1.

6 Irregularity in the colors: the original glass was randomly replaced by initial owners due to being damaged.

Yas Jahani 2020 24 Utilizing linear lighting fixtures enables the creation of an infinite corridor, fascinating the guests as they enter the inner courtyard, creating a sense of curiosity to see what is awaiting them inside, demonstrating the usage of artifice. (Fig.14) On\off site was utilized for the prefabricated staircase connecting two levels, as well as the exterior railings ordered and transported on-site. The reuse of the original wooden door frames is a

Fig.14 Entrance corridor: linear clear indication of superuse. lighting enhancing the architecture. The reprogramming of the building was crucial in By author. order to bring life back to a neglected residential house by transforming it into a purposeful boutique hotel, which is appreciated and respectfully occupied by many more today.

Yas Jahani 2020 25 • Case Two | Manouchehri House 2

Fig.15 Courtyard showing Qajari architecture section.

Fig.16 Interior view: room. Fig.17 Interior view: restaurant.

Location: Kashan, Iran Duration of remodeling: Approximately 3 years Owner: Saba Manouchehri Architect: Akbar Helli Interior design: Ravagh group Index: Private residence converted to boutique hotel

The Building

The Manouchehri House number two7, situated in Kashans historic neighborhood, has been restored back to its glory by Saba Manouchehri with the help and support of a team of specialists.

7 Located north of the Manouchehri Traditional House & Hotel (one), about a three-minute walk, in one of the human- scale passageways.

Yas Jahani 2020 26 Transformation This hotel is a symbol of traditionalism versus modernism, consisting of several rooms situated along the central courtyard and a restaurant in the former basement unit. (Fig.15&17) Following a narrow corridor into the lounge area of the hotel, the guest emerges into the world of textiles and traditional Persian craftsmanship, discovering one of the many local talents of the city at a glance. (Fig.18) A live workshop dedicated to massive Persian looms is discovered in the lounge area, in an effort to retain the traditional art of textile Fig.18 Entrance corridor showcasing weaving. (Radoine. 2016. Page 3.) handmade local textiles. By author.

Continuing down the same trail, one is led to a heavenly internal courtyard, a typical trait in ancient Qajari houses. The fusion of late Qajari architecture (Fig.15) with the early Pahlavi architecture (Fig.19) is reflected in different sections of the building, untouched, clearly indicating that they were constructed throughout different periods, a truly unique feature of this hotel.

Fig.19 Internal courtyard, view towards the early Pahlavi architecture section. By author.

Yas Jahani 2020 27 While the overall brick structure is a reminder of the buildings past, the newly designed interior elements clearly differ and divert the attention away from the history. Contemporary, simplistic and vibrant furniture and finishes dominate the interior, creating a sense of historic detachment. However, the interior design group uses elements, such as colorful Persian carpets, cushions and decorative pieces in order to create a balanced outcome. (Fig.20&21)

Fig.20 Interior view: room showing modern cubic furniture.

Fig.21 Interior view: room furniture showing modern interpretation of traditional seating elements. By author.

Strategies

The most intriguing characteristic of the new spacial design is that it actively & constantly recites a story about the ancient Persian arts and crafts. By engaging the guests, it allows them to become intertwine with the Persian roots and heritage. A brilliant usage of narrative. The linear & simplistic furniture designed and inserted into the existing structure of the former house create a modern interior, juxtaposing to the old exterior. By utilizing this strategy, the team has been able to create a clash of traditional versus modern Persian way of living into an otherwise deserted residential building, without intervening in its original brick structure & major architectural characteristics, enhancing the quality of the design.

Yas Jahani 2020 28 The reprograming of the building into a boutique hotel enables one to be able to momentarily experience both lifestyles in an instance, whilst respecting the buildings true essence.

• Case Three | Hanna Boutique Hotel

Fig.23 Interior view: Restaurant extension.

Fig.22 Street view: old vs. newly repurposed symmetrical building. Fig.24 Interior view: Suite 201.

Location: Tehran, Iran Duration of remodeling: Approximately 3 years Owner: Private sector Architect: Mahsa Majidi, Persian Garden Studio Interior design: Persian Garden Studio Index: Private residence converted into boutique hotel

Yas Jahani 2020 29 Building

Aiming to bring life back into the famous dead- end in Tehran8, a ninety-year-old three story building has been converted into 1200 m2 award wining9 boutique hotel by Persian Garden Studio. (Amirrahimi. 2019, 48)

Transformation

Existing brick walls purposefully stripped back of their plaster coverage by the architects reveal the buildings various facets, brought in contrast by steel beams used to reinforce the structure without having to demolish them, respecting the periods features. (Fig.23) (Amirrahimi. 2019, 48) In order to make the building functional as a boutique hotel, the architects intervened in the existing structure by adding a distinct volume dedicated to the creation of separate bathrooms for each suite, rising up towards the rooftop, being visually connected to the multi- purpose room extension. (Section BB) The white cubic extensions designed for the creation of the bathrooms, restaurant, the multi-purpose room, as well as an additional gift shop or gallery clearly contrast the old structure, with parts being blended in with the old existing facade & its original window openings. (Section AA & Fig.25 & 32) (Amirrahimi. 2019, 49)

Fig.25 Axonometric projection of the building including new volumes.

8 The Lolagar street is a famous street located in the city center, best known for its Pahlavi era symmetrical buildings. (Fig.22)

9 1st place, Memar Award, in the renovation category, 2019, WAN Awards 2019 Shortlisted in “Adaptive Reuse” & “Mixed use” Category, 2019 & Finalist in “Hotel & Hospitality”, “Culture” & “Old & New” Category, World Architecture Festival 2019

Yas Jahani 2020 30 Fig.26 Section AA showing new volumes indicated in green. | Fig.27 Section BB (east section) showing L-shaped extension.

New pathways were created using contemporary materials, such as concrete slabs along the outline of the hotel, including platforms on different levels in the garden, allowing the observer to discover the building from different angles and eye- heights. (Fig.28) The transition between the restaurant & garden has been minimized by a seamless glass window, extending all around its surface, allowing daylight to penetrate the interior inducing comfort in the lower level. (Fig.29)

Fig.28 Exterior view: Pathways. | Fig.29 Exterior view: Underground restaurant at night.

Yas Jahani 2020 31 By dramatically framing part of the gift shop floor using glass and black steel, the architects showcase a cistern underneath the former parking space (the gift shop extension today), discovered during the process of re-construction, allowing guests to view the hidden space beneath. (Fig.30) The circulation path towards the rooms on the first floor remains untouched, revealing traces of the past. (Fig.31) The interior was designed using modern materials, such as epoxy flooring and black steel accents with marble tiles combined with modern furniture, opposing to the rest of the structure. (Fig.23&24)

Fig.30 Interior view: Gift-shop area & underground cistern. By author. | Fig.31 Interior view: main staircase

Yas Jahani 2020 32 Strategies

The studio created a functional hotel by implementing the strategy of Insertion, producing a new additional volume, enveloping the structure, which incorporates various functions necessary to host its temporary users. The strategy of Intervention was utilized in order to display the core of the building along with the required reinforcement enlightening the observer of the process of its rehabilitation. Narrative is indirectly employed by keeping the main interior staircase pure from any alterations, exhibiting its long period of abandonment, showcasing a newly- discovered cistern, as well as the visual connection to the untouched identical neighboring building seen from the panoramic multi- purpose room, as well as Suite 201. (Fig.22) The buildings reprograming resulted into the revival of Lolagar, ensuring a boost in curious visitors, seeking to indulge in quality experience & to nourish their intellect.

Fig.32 Interior view: Clash of the new volume with the old facade. By author.

Yas Jahani 2020 33 • Case Four | Azin historical house

Fig.33 Interior view: Kitchen and living area with a central fountain. Fig.35 Exterior view: Private courtyard looking towards the guest room and the terrace of the master bedroom.

Location: Kashan, Iran Duration of remodeling: Approximately 3 years Owner: Padideh Azin Architect: Akbar Helli Interior design: Ravagh group, Padideh Azin Index: Dyeing workshop and store converted to private residence Fig.34 Interior view: Entrance to the Bazaar, previous store entrance.

The Building

Located in the heart of Kashans bazaar, this particular building was originally utilized as a traditional dyeing workshop during the Qajar era before being transformed into a private home. The most intriguing aspect of this building is the fact that it was designed as a store and workshop combined. (Fig.34) It consists of two floors and a small basement unit accessible from a private courtyard, with a water fountain located as the central element within the interior.

Yas Jahani 2020 34 Skylights can be seen in the center of every dome-shaped ceiling structure, which was a necessity at the time, as it served for indirect lighting purposes, allowing workers to see the true colors of textile products, ensuring their correct pigmentation. (Fig. 36) The skylights of the private residence, however, consists of a glass coverage, in contrast to the bazaar’s skylight structure, which was an addition to the rooftop facade by the architect during the process of adaptation.

Bazaar Hallway

Azin Historical House

Fig.36 Birds eye view: Roof structure and bazaars network.

In contrary to the previous case studies chosen, this structure has the unique characteristic of an overall contemporary approach; The open plan of the building gave the architect the opportunity to come up with a contemporary lifestyle setting within a traditional structure, primarily designed for an entirely different purpose.(Fig.33)

Yas Jahani 2020 35 Transformation

During the renovation process, the building did not experience drastic changes in regards to its initial structure, as it is intertwined to the rest of the bazaars structure. (Fig.36 & 37) The interior walls are all kept as they were previously found. Newly added bricks clearly differ & contrast the old, due to their lighter tone. (Fig. 39) Due to its previous function, the building did not however, incorporate services such as the kitchen Fig.37 Interior plan: Ground level. and bathroom areas, which were an added feature to it. The newly added elements do not in any way, try to mimic the past, but are designed in a contemporary and independent manner. (Fig. 39) The objects found after the purchase of the workshop are kept and displayed as decorative and symbolic elements within the space, beautifully retaining the memory of the buildings past. For instance, the so called “kuzeh” which were used in order to store the dyeing mixtures. The storage rooms found on the first and the basement floor were transformed into two bedroom; the master bedroom & guest bedroom.10 (Fig.35&37)

Strategies

A series of adaptive reuse strategies can be identified in the following project. The first one being Insertion, as the introduction of glass frames, as a new juxtaposing element, are used in addition to the existing dome-shaped roof & are modeled in a manner that is befitting to the original form, placed across the outline of the old skylight opening. The two elements clearly differ in their materiality and are therefore distinguishable as old & new, yet induce a sense of unity.

10 Padideh Azin, in conversation with the author, February 2020, Appendix 2.

Yas Jahani 2020 36 Also, the design of an independent kitchen island and counter clearly defines the above mentioned strategy, by representing a contrasting contemporary composition, yet creating fusion with the traditional setting. On/off site is carried out by the manufacturing and the on-site transportation and assembly of the glass framing used for the re-construction of the skylight. In addition, Intervention can be identified in the brick structure situated on the roof, as parts of it have been replaced by newer ones, due to damage over time. This phenomenon can also be detected in the reconstruction of the water fountain. The new parts are entirely inspired by the existing, aiming to showcase facets created by time, exposing the true charisma of the structure. Narrative is carried out by excavating found objects in a space no longer used for its previous purpose, a meaningful memory for the user. Finally, the strategy of reprogramming is utilized for the change of occupancy from a previous workshop and store to a private residence.

Fig.38 Interior view: Before the remodeling. Fig.39 Interior view: After the remodeling.

Yas Jahani 2020 37 • Comparative Analysis & Conclusion

By analyzing the four case studies above, four strategies particularly come into the spotlight; Intervention, Insertion, reprogramming & narrative. Intervention, applied for the rehabilitation of Joybar, Hanna hotel & Azin residence, a necessary strategy bringing out the true essence of the structures history without it being artificially manipulated, binds the new with the existing entities. While the strategy of Insertion was mostly utilized for the creation of new functions, it also serves to promote contemporary lifestyle, enhancing the buildings ability to host and to provide a world class service without drastically altering its original structure. Reprograming, emerging in all the case studies, does not describe any structural procedure performed on the building. It exclusively serves to demonstrate the new function assigned to the host building along with the change in occupancy, being viewed as the fundamental phase, shaping the core of the process of adaptive reuse. Lastly, narrative is used in a more subtle manner in the projects, yet plays a significant role by producing a profound sense of meaning and respect towards the adapted building, aiming to preserve the heritage of the historic artifact. The other strategies, namely on/off site, superuse & artifice were only applied to a certain extent. On/off site, being utilized for the rehabilitation of Joybar and Azin residence, by transporting the prefabricated staircase and railings, as well as the manufactured glass fittings, facilitates and shortens the period of restoration of such complex projects. Artifice, being only used in the entrance corridor of Joybar, is a powerful tool in order to create a strong first impression, highlighting the form of the ancient building. It has the ability to generate strong visual statements. Superuse, seen in Joybar, can potentially offer a wide range of possibilities, as the materiality of the building typology itself allows for the reuse of sustainable materials and elements during adaptation, closely tying it to the main aim of building reuse; Promoting sustainability.

Yas Jahani 2020 38 Overall, all strategies examined were utilized in the following case studies to some extent, demonstrating a variation of methods and techniques ensuring a successful adaptive reuse for Qajari buildings, with strategies such as superuse leaving room for more exploration for the creation of an environment-friendly future in the world of hospitality design.

V. Design Proposal

• Introduction & Background: The Case of the Bafandeh Historical House

Bafandeh historical house is a heritage- protected building situated in Kashan, constructed during the Qajar era. Built according to the dry weather condition in the region, sunken courtyards offered access to underground aqueducts11, hence the highest level of the building is positioned on ground level. (Fig.41) (Radoine. 2016. Page 2.)

Fig.40 Exterior view: During the adaptation process. Fig.41 Drone footage: Distinct sunken courtyard architecture.

11 A qanat or kariz is a sloping underground channel to transport water from an aquifer to the surface for irrigation and drinking, built mostly in dry and arid areas. This technology has been developed by the Persian people sometime in the early 1st millennium BCE. (Wikipedia 2020)

Yas Jahani 2020 39 Consisting of three floors, the unoccupied building will soon accommodate one of the boutique hotels in the city, offering individuals a chance to experience the charm and historic elegance of ancient Persian houses.

Fig.42 Long section. By author.

• Transformation

Due to the size of the building, its transformation to a seven- bedroom intimate boutique hotel was a reasonable decision in bringing it back to its former glory, offering guests a rather personalized service. Additional elements & divisions, however, were needed in order to make the structure functional. The creation of a ramp inspired by the existing along with a staircase granting access to the rooftop, induced a functional traffic network along the building. The courtyard serves as an outdoor communal space, offering amenities such as pool, lounge, access to the gym extension, as well as the restaurant. The reception, indoor lounge and gift-shop are found upon entrance, not only aiming to provide service to the guests present, but also to individuals who stumble upon the hotel, curious to see what they have to offer. A cafe is designed on the rooftop, granting a panoramic view towards the ancient city.

Yas Jahani 2020 40 Seven rooms were created, including an additional two, inspired by the architecture of the structure. Their preserved interiors, furnished using contemporary independent stand- alone furniture, aim to clearly differentiate to the rest of the structure. Four extensions were created to accommodate a bathroom, a private covered patio for two separate units, along with the creation of the kitchen & the restaurants main hall.

• Implemented adaptive reuse strategies

The strategies implemented for the revival of the Bafandeh house aim to respect the structural characteristics of the building, yet produce a contemporary and comfortable ambience by its reprogramming into a hotel. The structures potential to be able to host another function, lays in the creation of necessary extensions. Utilizing the strategy of insertion, new distinct divisions were shaped along the building structure. The restaurant, consisting of the existing entrance hall and new main hall, is a vivid representation of the old boundary meeting the new. (Fig.43)

Fig.43 Long section: Clash of old and new materiality. By author.

While the stripped-back brick structure was reinforced with steel beams to retain the existing foundation of the entrance using the strategy of intervention, the inserted linear lighting fixtures were used to showcase its niches.

Yas Jahani 2020 41 In the main hall, Insertion was employed for the design of built-in furniture merging with the outline of the walls, as a clear indication of the newly developed section.

Fig.44 Axonometric projection: Restaurant space. By author.

The skylight, inspired by the original dome- shaped structures on the roof was inserted using glass blocks, offering natural light to the space under. (Fig.45)

Fig.45 Perspective: Restaurant main hall. By author.

Yas Jahani 2020 42 In the rooms, insertion played an important role in producing a contemporary circular single unit consisting of the beds, storage units and tables, as the central multi-functional piece within the space, juxtaposing to the historic architecture. (Fig.47)

Fig.46 Axonometric projection: Room 1. By author.

Reprogramming is utilized to transform the former house, into a boutique hotel for people of different ages, nationalities and backgrounds. To conclude, the safeguarding of the ancient architecture of Bafandeh along with its adaptation has been successfully secured, by vastly utilizing the strategy of Insertion, allowing it to host contemporary social needs of today.

Fig.47 Perspective: Room 1. By author.

Yas Jahani 2020 43 VI. Conclusion

With intervention, Insertion & reprogramming being used to reconfigure Bafandeh, it is evident that these strategies shape the overall prerequisites of reviving Qajari buildings. While intervention slightly modifies the overall interior divisions, insertion is a more drastic approach in making the building utilitarian as a hotel, whilst containing its structural characteristics, making it the ultimate strategy when it comes to tackling this particular typology, fusing the act of monument preservation with interior design. On the other hand, reprogramming forms the foundation of revitalizing historic artifacts alongside their location, impact on tourism industry & socio- cultural aspects. The design strategies, if applied suitably, can be a sustainable incentive to restoring out-dated structures, reviving them for the benefit of this & the future generation.

Fig.48 Axonometric projection: Reprogrammed boutique hotel. By author.

Yas Jahani 2020 44 VII. Bibliography

• Aga Khan Development Network. 2020. “Manouchehri House”. Accessed June 5. https://www.akdn.org/architecture/project/manouchehri-house.

• Amirrahimi, Reza. 1st place: Hanna boutique hotel. Memar Magazine Nr. 118. 2019.

• Azin, Padideh. “Azin historical house”. Interview by author. Personal interview, Appendix 2. Tehran, February 24, 2020.

• Brooker, Graeme, and Sally Stone. 2014. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Publishing.

• Brooker, Graeme, and Sally Stone. 2018. Rereadings 2: Interior Architecture and the Design Principles of Remodelling Existing Buildings.

• Daspit. 2019. “Revitalizing Old Buildings Sets Growing Trend for Hotel Industry”. Accessed January 12. https://www.beckgroup.com/beck-think/ revitalizing-old-buildings-hotels-trend/.

• De Silva, Dilantha & Perera, Kanchana. 2016. “Barriers and Challenges of Adaptive Reuse of Buildings”. Accessed January 12.

• Eiraji, Javad , Nalbandy Boukani, Ayub and Sabounchi, Marjan. 2011. “The Relationship between Qajar Architecture and Art and Iranian Culture and the Effects of West and East on them.” Paper presented at the International Conference on Humanities, Society and Culture IPEDR Vol.20 (2011), Singapore.

• Ghobadian, Vahid. Ghobadian, Samira. 2018. Tradition and modernity in the contemporary architecture of Tehran during the Naseredin Shah period. Translated by author from Persian language.

• Ghobadian, Vahid. 2015. Styles and concept in Iranian contemporary architecture. Translated by author from Persian language.

• Hartenberger, Ursula. 2011. “Why buildings matter”. The Guardian. Accessed March 15. https://www.theguardian.com/sustainable-business/sustainable-building. Rasouli, Houshang. 2013.The architectural history and methods in Iran. Translated by author from Persian language.

• Hejazi, Mehrdad. 2007. Persian architecture. International Journal of Design and Nature. 1. 186-196. 10.2495/JDN-V1-N2-186-196.

Yas Jahani 2020 45 • ICOMOS scientific journal. 1964. “ International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964)” https:// www.icomos.org/charters/venice_e.pdf.

Paper .”ویژگی های خانه های دوره قاجار در اقلیم معتدل خزری.“ .Imani, Peyman. 2014 • presented at the National conference for geography, urban planning and sustainable development, February 2014. Translated by author from Persian language.

• Jukka Jokilehto (1998) The context of the Venice Charter (1964), Conservation and Management of Archaeological Sites, 2:4, 229-233, DOI: 10.1179/135050398793138762.

• Karavansera. 2020. “House.” Accessed February 27th. http:// www.karavansera.com/house.html.

• Malahbani, Yusef, Yaran, Ali, Parvardi Nejad, Samira, Eskandari, Manije. 2012. Translated by author from ”ارزیابی معماری همساز با اقلیم در خانه های کاشان.“ .31-40 Persian language.

• Manouchehri house. 2020. “Manouchehri House’. Accessed June 5. http:// www.manouchehrihouse.com/en/manouchehri-house.

• Masaf.ir. 2020. “Winter chambers and summer chambers”. https://masaf.ir/ memari/post/34119. Translated by author from Persian language.

• Mokhtarpour, Tahereh. “Joybar boutique hotel”. Interview by author. Personal interview, Appendix 1. Isfahan, February 20, 2020.

• Nikolic, Marko & Kurtović-Folić, Nađa & Milojkovic, Aleksandar. 2014. “Hotel design and adaptive reuse: From historic palaces to the city’s dilapidated structures”. Facta universitatis - series: Architecture and Civil Engineering. 12. 97-112. Accessed January 24. doi. 10.2298/FUACE1401097N.

• Othman, Atman Ahmed, Elsaay, Heba. 2018. “Adaptive reuse: an innovative approach for generating sustainable values for historic buildings in developing countries”. DE GRUYTER OPEN. Accessed January 12. doi: 10.2478.

• Pirnia, Mohammad Karim. 1990. Iranian Architectural Styles. Translated by author from Persian language.

• Plevoets, Bie, and Koenraad Van Cleempoel. 2019. Adaptive Reuse of the Built Heritage: Concepts and Cases of an Emerging Discipline . New York: Routledge.

Yas Jahani 2020 46 • Radoine, Hassan. Manouchehri House On-site Review Report, edited by Aga Khan Award for Architecture, 2016. Accessed June 5. https://s3.us- east-1.amazonaws.com/media.archnet.org/system/publications/contents/10744/ original/DTP103129.pdf?1475764553.

• Raviz, Seyed & Nik Eteghad, Ali & Uson Guardiola, Ezequiel & Aira, A.. 2015. “Iranian courtyard housing: The role of social and cultural patterns to reach the spatial formation in the light of an accentuated privacy.” 10. 11-30. Accessed February 25. Doi: 10.5821/ace.11.29.2653.

• Rogers Merlino, Kathryn. 2018. Building reuse: Sustainability, preservation, and the value of design.

• Tap Persia. 2014. “Boroujerdi House.” Last modified May 2014. https:// www.tappersia.com/boroujerdi-house/.

• Welcome to Iran. 2019 “Boroujerdi House.” Last modified April 2019. https:// welcometoiran.com/boroujerdi-house/.

• Wikipedia. 2020. “Qajar dynasty”. Accessed March 10. https:// en.wikipedia.org/wiki/Qajar_dynasty.

• Wikipedia. 2020. “Qanat”. Accessed June 5. https://en.wikipedia.org/wiki/ Qanat.

/Accessed February 25. https://fa.wikipedia.org .”توالت“ Wikipedia 2020. Toilet • wiki/%D8%AA%D9%88%D8%A7%D9%84%D8%AA.

• Wikipedia. 2020. “Venice Charter”. Accessed March 10. https:// en.wikipedia.org/wiki/Venice_Charter.

• Wikipedia 2020. “Vestibule (Architecture).” Accessed February 25. https:// en.wikipedia.org/wiki/Vestibule_(architecture).

• Wikipedia 2020. Water fountain “Howz”. Accessed February 25. https:// en.wikipedia.org/wiki/Howz.

Yas Jahani 2020 47 • List of Figures

Fig. 1 Abandoned Qajari house, Kashan. By author. Fig. 2 Exterior view: the Divan (Bekhardi) mansion. https://bekhradi-house.com/persian-galleries/. Accessed February 2020. Fig. 3 Exterior view: the Masoudieh mansion. By Blondinrikard Fröberg. https://www.flickr.com/photos/blondinrikard/28364552647 Fig. 4 Section through an introverted house: Visual privacy from the exterior. Page 15. Raviz, Seyed & Nik Eteghad, Ali & Uson Guardiola, Ezequiel & Aira, A.. (2015). Iranian courtyard housing: The role of social and cultural patterns to reach the spatial formation in the light of an accentuated privacy. 10. 11-30. 10.5821/ ace.11.29.2653. Fig. 5 Axonometric projection of the Boroujerdi house. Courtesy of the Ministry of Culture & Heritage Preservation in Kashan. February 22, 2020. Fig. 6 Ground floor plan of the Boroujerdi house. Courtesy of the Ministry of Culture & Heritage Preservation in Kashan. February 22, 2020. Fig. 7 Internal courtyard. Courtesy of Tahereh Mokhtarpour. Fig. 8 Skylight above the restaurant area. Courtesy of Tahereh Mokhtarpour. Fig. 9 Old vs. new brick structure visible on the reception ceiling. By author. Fig. 10 Prefabricated staircase granting access to gift- shop. By author. Fig. 11 Before and after picture showing the additional rooms on the first floor. Courtesy of Tahereh Mokhtarpour. Fig. 12 Interior of one of the rooms showing conserved paintings. Courtesy of Tahereh Mokhtarpour. Fig. 13 Reused & retained frames. Courtesy of Tahereh Mokhtarpour. Fig. 14 Entrance corridor: linear lighting enhancing the architecture. By author. Fig. 15 Courtyard showing Qajari architecture section. Courtesy of Manouchehri Hotel. Fig. 16 Interior view: Room. Courtesy of Manouchehri House. Fig. 17 Interior view: Restaurant. By @laylool Instagram account. December 2019. https://www.instagram.com/p/B6bPQXuhAkS/?igshid=uglsygmhdth1

Yas Jahani 2020 48 Fig. 18 Entrance corridor showcasing handmade local textiles. By author. Fig. 19 Internal courtyard, view towards the early Pahlavi architecture section. By author. Fig. 20 Interior view: room showing modern cubic furniture. Courtesy of Manouchehri House. Fig. 21 Interior view: room furniture showing modern interpretation of traditional seating elements. By author. Fig. 22 Street view: old vs. newly repurposed symmetrical building. Memar Magazine 118, Page 49. Fig. 23 Interior view: Restaurant extension. By Contemporary Architecture of Iran. http://www.caoi.ir/en/projects/item/1371-hanna-boutique-hotel-lolagar- tehran-persian-garden-studio.html#description. Fig. 24 Interior view: Suite 201. By Contemporary Architecture of Iran. http://www.caoi.ir/en/projects/item/1371-hanna-boutique-hotel-lolagar- tehran-persian-garden-studio.html#description. Fig. 25 Axonometric projection of the building including new volumes. By Contemporary Architecture of Iran. http://www.caoi.ir/en/projects/item/1371-hanna-boutique-hotel-lolagar- tehran-persian-garden-studio.html#description. Fig. 26 Section AA showing new volumes indicated in green. Memar Magazine 118, Page 50. Fig. 27 Section BB (east section) showing L-shaped extension. Memar Magazine 118, Page 50. Fig. 28 Exterior view: Pathways. Memar Magazine 118, Page 49. Fig. 29 Exterior view: Underground restaurant at night. Memar Magazine 118, Page 50. Fig. 30 Interior view: Gift-shop area & underground cistern. By author. Fig. 31 Interior view: main staircase. By Contemporary Architecture of Iran. http://www.caoi.ir/en/projects/item/1371-hanna-boutique-hotel-lolagar- tehran-persian-garden-studio.html#description. Fig. 32 Interior view: Clash of the new volume with the old facade.By author.

Yas Jahani 2020 49 Fig. 33 Interior view: Kitchen and living area with a central fountain. Courtesy of Padideh Azin. Fig. 34 Interior view: Entrance to the Bazaar, previous store entrance. Courtesy of Padideh Azin. Fig. 35 Exterior view: Private courtyard looking towards the guest room and the terrace of the master bedroom. Courtesy of Padideh Azin. Fig. 36 Birds eye view: Roof structure and bazaars network. Courtesy of Padideh Azin. Fig. 37 Interior plan: Ground level. Courtesy of Padideh Azin. Fig. 38 Interior view: Before the remodeling. Courtesy of Padideh Azin. Fig. 39 Interior view: After the remodeling. Courtesy of Padideh Azin. Fig. 40 Exterior view: During the adaptation process. Courtesy of Marcel Nezadi. Fig. 41 Drone footage: Distinct sunken courtyard architecture. Courtesy of Marcel Nezadi. Fig. 42 Long section. By author. Fig. 43 Long section: Clash of old and new materiality. By author. Fig. 44 Axonometric projection: Restaurant space. By author. Fig. 45 Perspective: Restaurant main hall. By author. Fig. 46 Axonometric projection: Room 1. By author. Fig. 47 Perspective render: Room 1. By author. Fig. 48 Axonometric projection: Reprogrammed boutique hotel. By author.

Yas Jahani 2020 50 Appendix 1. Interviewee. Tahereh Mokhtarpour, the owner and architect of Joybar Boutique Hotel. Date. February 20th 2020 Location. Kashan | Iran

Question 1. How was the building used initially?

Question 2. What made you decide to turn it into a boutique hotel?

Question 3. What is the concept behind the transformation?

Question 4. What were the elements you decided to keep | discard?

Question 5. What did you add on throughout the process?

Question 6. What were the challenges you’ve experienced during the reprogramming and how did you tackle them | come up with solutions?

Question 7. Was there a special focus you had in mind in regards to the existing structure?

Question 8. Is there anything important you would like to mention about the design?

Yas Jahani 2020 51 Appendix 2. Interviewee. Padideh Azin, the owner and the interior designer of Azin Historical House. Date. February 24th 2020 Location. Tehran | Iran

Question 1. How was the building used initially?

Question 2. What is the concept behind the transformation?

Question 3. What were the elements you decided to keep | discard?

Question 4. What did you add on throughout the process?

Question 5. What were the challenges you’ve experienced during the reprogramming and how did you tackle them | come up with solutions?

Question 6. Was there a special focus you had in mind in regards to the existing structure?

Question 7. Is there anything important you would like to mention about the design?

Yas Jahani 2020 52