This thesis researches abandoned architecture in relation to the conditions of human abandonment. Architecture is a living and breathing entity that requires attention. This research equates the abandoned structure with an abandoned human, focusing on the idea of a “prosthesis” and the “need to heal.” The thesis spans two parts: a theoretical research framework (Part I) and a practical design application to a specific abandoned structure in Beirut (Part II).
This thesis researches abandoned architecture in relation to the conditions of human abandonment. Architecture is a living and breathing entity that requires attention — abandoned architecture is often neglected due to different circumstances.
The research equates the abandoned structure with an abandoned human. An existing abandoned structure possesses immense possibilities prior to its reconstruction. The process of intervening is framed not as reconstructive but as a reclamation — by understanding the different modes and techniques of intervention, we diagnose the abandoned architecture and identify the most suitable healing.
Bollack (2010) addresses in “Old Buildings New Forms: New Directions in Architectural Transformations” five existing modes of intervention on abandoned or historic buildings. Each mode implies a different relationship between old and new — from the most additive to the most embedded.
The focus of Part II is to reclaim the abandoned by understanding the material and identity of the structure while using technological advancement to cater for the rebirth and reclamation. The structure chosen is the Bechara el Khoury Mansion in Zokak el Blatt, Beirut — a highly neglected neighbourhood once home to artists, painters, and musicians.
The mansion is made up of 2 floors. You enter the site with a large symmetrical staircase that leads up to a front yard, then another staircase to the ground floor. The Central Hall typology and the Gallery wrapping describe the traditional Lebanese house typology.
For this intervention, the central hall was transformed into a vertical void spanning the entire 4-storey mansion. The Gallery was replicated along the entire mansion, acting as a terrace and outdoor space. The building becomes a Cultural Centre — reclaiming what was once unevident to the neighbourhood.
The Central Hall to Void — the traditional hall is opened vertically across all 4 floors, becoming an atrium of light and circulation. The Gallery to Terrace — the wrapping gallery is extended and becomes an outdoor terrace at every level, connecting the building to the city.
Two primary methods are applied: juxtaposing behind the structure a connecting new prosthesis, and superimposing a new structure onto the existing. These follow both rural and urban concepts of expansion — tested through massing studies before being developed into the final scheme.
The new addition follows a structural language that contrasts the existing stone building. A deep crimson steel truss roof system spans the new floor, supported by gold-ochre concrete columns and frosted cyan structural cores. The facade of the addition uses a curtain wall system with an external skin of triangular perforations derived from sun orientation and wind direction.
Based on the sun orientation and wind direction, triangular perforations are derived along the entire facade of the additional floor. The facade follows a curtain wall system — after the glass panels are installed onto the CW profile, an external skin of triangular perforations is mounted onto the aluminium profile, acting as a shading and wind device.
Three layers: 1. Curtain Glass Profile 2. Glass Panel 3. Perforated Panel.
