2541612

Architectural Design Analysis and Methodology

Preserving Old Colonial heritage buildings in Yangon with New Additions

Semester II/2017

Master of Architecture

(International Program)

Chulalongkorn University

A paper submitted to

Dr. Pat Seeumpornroj

 Contents

1 .Introduction 1

2. Background Studies 1

2.1. Brief history for the emergence of colonial heritage buildings in Yangon 2

2.2. Current situation of Conservation in Yangon 2

2.3. Principles and theories on preservation and combined works of old and 4-8

new architecture

3. Case Studies 8

3.1. Case Study 1: House on Sathorn, Bangkok. 8-13

3.2. Case Study 2: Champollion Museum, France 14-18

3.3. Case Study 3: Yale University Art Gallery, New Haven, USA. 18-21

4. Conclusion 22

List of Figures 23-24

List of References 24-25
 1

1. Introduction

Myanmar is a country which is composed of cities and towns with a rich of heritage
buildings all over the country. Among these cities, Yangon is a one of major economic center for
Myanmar with a rich of heritage buildings especially irreplaceable colonial heritage buildings as
it was used to be a capital city during the rule of British colonies. Although these buildings were
built by British, these buildings keep histories of an old cosmopolitan old Rangoon and memories
of forgotten colonial past which give knowledge of history to today’s new generation. For
example, colonial building such as the Secretariat, which Burmese important leader General Aung
San was assassinated in this building, carries collective memories of Burmese history. Nowadays,
these buildings can become the potential to be the major tourist destinations which explain the
history of Myanmar and they can be benefits of the country’s economy as well. However, since
Myanmar’s government moved the capital from Yangon to Nay Pyi Taw, most of these buildings
were unused and neglected. The conditions of these buildings need proper preservation. As people
lives and living styles are always changing, these buildings should not be stay in one particular
moment of time but we should find out ways to increase their usefulness in this contemporary time
which will suit to the modern life styles. Combining with old and new architecture has the potential
to increase these buildings’ values and will bring back their function in this modern world.
However, how can we find the possibilities of preserving old colonial buildings in Yangon with
new architectural additions? Moreover, combined works of old and new architecture will not only
benefit the old building value but also add the new value which is adapted to today’s need.

Key words: Preservation, Colonial buildings, Yangon, old and new, addition

2. Background Studies

In this section, the history and conditions of heritage buildings in Yangon will be observed
and the principles and theories on preservation and literature for combined works of old and new
 2

architecture will be studied as well. These studies will help to shed a light on ways on preserving
colonial buildings in Yangon with new architectural additions.

2.1. Brief history for the emergence of colonial heritage buildings in Yangon

Burma (Myanmar) was annexed by British by three Anglo-Burmese wars (1824, 1826, 1852-
1853 and 1885) (Frederica 1983) .Colonial period brought the most significant changes to
Myanmar especially in Yangon. Before British rule, Yangon was used to be a remote area with
palm-leaf and timber huts and muddy roads (Michael 2009). Since the time British took over
Burma, the political system of Burma changed to monarchy to administrative rule and Yangon
become the administrative center and economic hub of British Burma (Michael 2009). At that
time, Yangon was a cosmopolitan city with various nationals, such as Indians, Chinese, Indo-
Burmese, Eurasians, and Europeans (Frederica 1983). As British thought local architecture as
uncivilized and unorganized, they established new square grid pattern layout and built new
infrastructure and new buildings which suited to the new administrative system and new economy
(Michael 2009). After Myanmar got independence, these historic buildings were continuously
occupied by government offices. Nowadays, most of these buildings are abandoned and some are
still used by local communities.

2.2. Current situations of Conservation in Yangon

Currently in Myanmar, there is no legal framework and guidelines for the management for
these colonial buildings. The existing law “The Protection and Preservation of Cultural Heritage
Regions Law (1998)” only covers for the ancient monuments and sites (Hlaing 2006). Therefore,
the colonial heritage buildings in Yangon were in neglect for decades and some old buildings were
demolished with the need of rapid urbanization. In 1996, the Yangon heritage building list for
conservation was issued and 189 buildings were listed by Y.C.D.C (Yangon City Development
Committee) as heritage buildings in 21 townships of Yangon (Fig 2) (Hlaing 2006). YHT (Yangon
Heritage Trust) is the first organization which started to realize the significance of these buildings
 3

and raise awareness to preserve them (Thant, Moe, Rupert & Hugo 2016). YHT was founded in
2012 a group of architects, historians and business people who wish to conserve these heritage.
YHT is a NGOs organization which has been raised by the funds of donors from both local
business entrepreneurs and many other international associations. The vision of YHT is “to
promote and integrate Yangon’s unique urban heritage into a 21st century vision of Yangon as one
of Asia’s most liveable cities and their main missions are to protect heritage by developing clear
and sustainable policy options, engaging with government, business and civil society, undertaking
conservation projects and facilitating research and training (Thant, Moe, Rupert & Hugo 2016).
The aim of the trust is ensuring that Yangon can modernize without losing its unique heritage
(Thant, Moe, Rupert & Hugo 2016). In these days, YHT has been the only organization which is
doing heritage issues in Yangon and they proposed strategies and long and short term action plans
for Yangon to become a modernized city with a rich of heritage values (Thant, Moe, Rupert &
Hugo 2016). However, detailed research and plans for many heritage buildings are still needed.

Figure 1. Yangon Districts and townships

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Figure 2. Distribution of Listed Buildings, Yangon City (Hlaing 2006)

2.3. Principles and theories on preservation and combined works of old and new architecture

The idea of reusing building has been existed with human since in the past. From the
preservation of ancient monuments, the policies of historic preservation were also established .As
the field of historic preservation is very broad, various terms such as conservation, renovation,
restoration, repairing, rehabilitation and adaptation are used for different kinds of projects (Daniel
1988). In the early 19th century, many monuments were destroyed during French revolution and
 5

the modern terminology concerning with modern preservation, restoration and conservation were
first introduced (Liliane Wong 2017).

According to Viollet-le-Duc (1814-1879), he believed that the restoration of a building is not

to neither to preserve, repair or rebuild it. The restoration should be “reinstate it in a condition of
completeness” that has never existed before (Viollet 1990). He also trusted that the excellent way
to preserve a building is to find way to use it (Viollet 1990). He also stressed out architects should
have the knowledge of archaeology, building experiences, knowing about the materials,
understanding the style and forms, the anatomy, structure and temperament of the building.
Therefore, the principle of Viollet-Le-Duc for preservation is not to imitate the original and create
new use and new conditions which is different from the old structures (Viollet 1990).

Contrary to Viollet’s theory, John Ruskin (1819-1900) rejected the idea of restoration. He
claimed restoration as “total destruction” and also he argued that it is “impossible” to restore the
originally beautiful and great old structures (John 1849). He perceived historic buildings as
“sacrifices” of the builders of the past and these buildings can maintain the honorable memories
and distribute wisdom to present generations. Rather than restoration, he promoted the idea of
repairing with care for the dilapidation (John 1849).

Another theorist which adopted the idea of John Ruskin was William Morris (1834-1896). He
also viewed restoration of ancient buildings as “strange idea” and “most fatal idea” (William
1877). He believed that through processes of restoration, the old surface of the building has been
lost and he mentioned “the appearance of antiquity is taken away” (William 1877). He founded
SPAB (The Society for the Protection of Ancient Buildings) in 1877 to defend old buildings from
restoration and their work mainly focus on skillful repair. In their purpose, they highlighted “old
buildings cannot be preserved by making them new” (SPAB members).

For Alois Riegl (1858-1905), an art historian, he viewed historic preservation by distinguishing
various types of values in historic buildings. He classified commemorative values comprising age-
value, intentional commemorative value and historical value and another values are use-value and
art-value, newness value which are related to contemporary time (Riegl 1928) . He also accepted
that old buildings should be reused in modern era as he mentioned “most would prefer to regard a
building in use as something sturdy rather that as something ages and decayed” (Riegl 1928).
 6

For Camillo Boito (1836-1914) criticized both of Viollet and Ruskins theories and he
proposed the art of restoration into three divisions: Archaeological restoration (Antiquity),
Picturesque restoration (Middle Ages) and Architectural restoration (Renaissance, etc). Moreover,
he introduced eight principles to preserve old buildings (Camillo 1893).

(1) Difference of style between the new and the old

(2) Difference of construction materials
(3) Suppression of profiles or decorations
(4) Exhibition of removed old pieces, installed next to the monument
(5) Incision in each restored piece of the date of restoration or of a conventional sign
(6) Descriptive epigraph carved on the monument
(7) Description and photographs of the different phases of the work, placed within the
building or in a place close to it, or description printed in a publication
(8) Notoriety (Camillo 1893)

Another conservation architect, Bernard M Feilden (1919-2008) viewed values in

conservation as (1) emotional values: wonder, identity, continuity, spiritual and symbolic, (2)
Cultural values: documentary, historic, archaeological, age and scarcity, aesthetic and symbolic,
architectural, townscape, landscape and ecological, technological and scientific, and (3) Use
Values: functional, economic, social and political (Bernard 1982). His ethnics of conservation
were recording the condition of building before intervention, without destroying, falsifying or
removing historical evidence, minimum intervention, respecting the aesthetic, historical and
physical integrity and cultural property when doing intervention and documenting all methods and
materials used during treatment (Bernard 1982 ).

During the 20th centuries, architects started to distinguished different strategies in adding
new architecture in old buildings. Francoise Astorg Bollack, an architect, sees through
combinations of old and new architecture in five strategies; such as insertions, parasites, wraps
and juxtapositions and weavings (Fig 3) (Francoise 2013). In insertions, a new space is added into
the old structure (Francoise 2013). Parasites is the new additions is attached to the old structure
and the combination of the two benefits both old and new (Francoise 2013). In wrapping, the
additional part is wrapping all around the old fragile old structure. Juxtapositions additions is the
 7

new additions is standing adjacent to the old structure and is representing different features which
is not the same with the old (Francoise 2013). Weavings is a strategy which the new additional
works are weaving in and out of the old buildings and in this case there is no recognizable feature
between old and new (Francoise 2013).

Figure 3. Five strategies of combinations of old and new architecture (Francoise Bollack)

Paul Spencer Byard, an architect and a lawyer, viewed the architecture of additions at the
end of the 20th century in four aspects: the architecture of imitation, architecture in the shape of
things, the architecture of appropriateness and the architecture of possibility (Paul 1998). He
mentioned the architecture of imitation have the great commercial value. However, he mentioned
it is hiding the difference and “dishonor” the past which gives benefit to the imitation and it is
architecture of society that does not need to know the difference between the origin and the
imitation (Paul 1998). For the architecture in the shape of things, it is opposite from imitation but
it has to reconcile the difference with the old buildings (Paul 1998). The architecture of
appropriateness is understanding and supporting the old building expression, curing flaws and
maintaining positive values of the old structures (Paul 1998). Architecture of possibility focuses
on the possible modern tectonics, new construction technologies which bring new evolution in
combining with the old building (Paul 1998).

According to the section of restoration in Venice Charter 1964, the replacements should be
harmony with the whole but it should be distinguishable from the original. Moreover, the additions
 8

are not allowed except they are not detracting the traditional setting and interesting parts of the
building in relation to its surroundings as well (The Venice Charter 1964).

From all these theories, I believe Viollet-Le-Duc is the pioneer of introducing the idea of
reusing building in the modern way. However, his theories has less attention on values and
authenticity of historic buildings. For Ruskin and Morris, I think their theories are not suited to
some of historic buildings as old buildings are existing in long period of time and some old
buildings need more than just repaired. For Bernard and Riegl, they highlighted about values and
it is one of the important factors that need to be considered in historic buildings. However, Bernard
did not mention what kind of style the new addition should follow in contemporary conservation
processes. Some principles of Camillo Boito are agreeable such as there should be difference
between the old and new and he pointed out the importance of documentations of historic
structures. I believe Bollack’s idea that buildings can be restored with new architecture as long as
the combined work is beautiful and useful. It is important to be distinguishable from old and new
as many architects such as Paul Byard and Camillo, including Venice Charter highlighted as well.

3. Case Studies

In this section, old buildings with new additions which have economical and functional
benefit with new uses are chosen as case studies. In these case studies, the theories, principles and
strategies that architects adopted, relationships between original buildings and new additions,
structural system, material usage, styles and values will be analyzed.

3.1. Case Study 1: House on Sathorn, Bangkok

House on Sathorn is a 128 years old colonial mansion built in 1889 and it has been renovated
in recent years. It is located on the Sathorn Road which is in the heart of Bangkok. It was built
during King Rama V reign and owned by a wealthy Chinese immigrant Luang Sathorn Rajayutka
who built Sathorn Canal (2 Bangkok October,2007). It is a combination of four buildings (building
A, B, C and D) with one courtyard. Recently these building were used as Russian embassy and it
 9

has been leased to North Sathorn Hotel Co.,Ltd in 2003. These buildings had been used by various
decedents and currently it has been restored as a mixed used of restaurants, bars and function
rooms. Kudakahn architects, Bangkok, is responsible for the overall renovation and New York
based firm , Avroko ,renovated the interior works.

In terms of relationship between old and new additions, it has been found out that the original
three structures has been maintained and the building D on northern part had been demolished and
rebuilt (Fig 4). Moreover, analyzing the removal parts and additional parts, it has been found out
that only some stairs and interior walls are removed. A few walls, walkways and stairs were added
for connecting the buildings up and down and as a connection for adjacent buildings. The
remaining exterior structures have been remained intact (Fig 5).

Figure 4. Ground Floor Plan, House on Sathorn

 10

Second floor plan (Building B) Third Floor plan (Building B)

Figure 5. Analysis for additions and removal parts

 11

In terms of structural system, the old buildings were three storeyed building with load building
walls and pile foundation (Fig 6). Almost all of the main structure of the old buildings has been
maintained except the building D.

Figure 6. Longitudinal Section (Building B)

For the styles of the building, the newly rebuilt building and the additional parts used the
similar styles as the old colonial design. However, it can been seen that architects intention of
differentiating old and new in usage of materials such as using green windows with slightly
different style in new additions. At the same time, architects also used the same details in some
parts such as the pattern in handrails and the design of the additional columns are using the same
styles (Fig 7). Moreover, some replacing windows were also using the same style and material as
the old.
 12

Figure 7. Styles in old building and new addition

For materials inside the buildings, almost all of the replacing parts maintain the same detail as
the old as much as possible such as the patterns on the ceiling (Fig 8), the fan light above the
windows (Fig 9) and the pattern of the texture tiles inside the toilets which is hardly available
these days (Fig 10). For the additional parts, architects used aluminium windows for to
differentiate between old and new (Fig 11).

Figure 8. Metal Ceiling Pattern Figure 9. Windows with fan light

 13

Figure 11. Aluminium Windows on additional part

Figure 10. Tiles with texture

As the building has been restored as a new mixed use for commercial purpose, new functions
such as restaurant, bars, function rooms and meeting room were added as new values for
contemporary life. Old cultural values, such as motifs at the pillars which represents Chinese
zodiac symbol (Fig), the patterns at the ceiling (Fig) were preserved and maintained intact.

For the restoration of these buildings, it is contrast to Ruskin and Morris theory as the
restoration purpose it to restore to its original positions including additions. The principle applied
is closer to Bernard’s theory as the original structure of the building is maintained as less
intervention as possible and records of the existing structures were documented. In this restoration,
the original cultural and symbolic values of old colonial style were maintained as its original
position.
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3.2. Case Study 2: Champollion Museum, France

Champollion museum is a located in Figeac, France and it is a reused project of a medieval

building. It is originally a birthplace of Jean Francois Champollion (1790-1832), a French scholar
and philologist (Francoise 2013). For the reused museum, Moatti & Rviere Architects designed it.
The most recent used of the building was a tenement housing low-income families (Francoise
2013).

As a new additions, an entire new building has been added inside the shell of the original
building. The medieval stone façade walls are maintained and a new glass volume is inserted inside
the old walls (Fig 12) (Francoise 2013). The idea is the overlapping and juxtaposition between old
and new layers (Francoise 2013).

Figure 12. Ground Floor Plan, Champollion Museum

 15

The original old structure of the shell is stone load bearing structure. The new additional
structure was reinforced concrete and the beam of the new concrete floors are hung from the old
façade using metallic struts (Fig 13) (Design Media Publishing Limited, Feb 2013). This create a
space between two facades which forms a loggia (Fig 14).

Figure 13. Longitudinal Section, Champollion Museum

Figure 14. Spaces between two facades

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As the original façade with Gothic arcades and the shape of the openings have been maintained
as the old feature, the sense of old building do not disappear. At the same time, by removing the
old windows, the completely different new architecture can be seen through the old openings (Fig
15). In the interior of the building, the old walls also leave untreated and the new walls glass is
inserted. That is why, the juxtaposition of old and new styles can see from the façade of the
building and the inside of the building as well (Fig 16).

Before Restoration After Restoration

Figure 15. Before and after restoration

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Figure 16. Old walls remain untreated with new glass walls

For the choice of materials, architects mainly used modern materials which is glass. For the
façade walls adjacent to the original façade, two layers of laminated glass with copper foil in
between is used (Fig 17). The old interior walls have been maintained in its original position
without any treatment (Fig 18).

Figure 16. Laminated glass with copper foil Figure 17. Old wall without treatment

By reusing as a new museum, this building can show use values and newness value by using
new materials and contemporary ideas. As the old walls have been maintained as the original, the
value of age and historical value still remain inside the building as well.

In terms of principle and strategies, architects used the strategies of insertions by Bollock and
the principle of Viollet-Le-Duc as they used the new additions which is different from the older
styles and created new functions. Moreover, architects also mentioned “our purpose is to create a
kind of reverse archaeology, which can exist in this place only, in this location, in this structure
 18

and in this moment”. In this project, architects chose to keep important parts of heritage and
intended to preserve a new identity and mystery.

3.3. Case Study 3: Yale University Art Gallery, New Haven, USA

Yale University Art Gallery in New Haven was built in 1953 and it is one of the
masterpiece of Louis I. Kahn. It is a building which is addition to the long historic gallery
buildings; Trumbull gallery by John Trumbull (1832), Street Hall by P.B. Wight (1864), sculpture
gallery by Egerton Swartwout (1928) (Fig 18) (Paul 1998). Currently, the Trumbull gallery was
demolished and the sequence starts from the street hall which is attached by bridge to the sculpture
gallery and Louis I. Kahn’s gallery is sitting adjacent to the sculpture gallery (Fig 19) (Paul 1998).

Figure 18. The Sequence of Gallery buildings

Figure 19. Louis I. Kahn’s gallery and its adjacent buildings

The new addition of the gallery starts from the recess from the existing sculpture gallery
wall. The space in front of the recess is the new entry which is facing to side of the old existing
 19

galleries (Fig 20). The South wall which is connected to the old buildings is designed in plain,
smooth walls with four horizontal lines dividing equal segments.

Figure 20. The entrance and the joint with the old building

The old gallery buildings are masonry structure and the new additional building was
constructed of site-cast concrete, curtain wall and bricks (Fig 21). For the floors and ceiling, the
waffle concrete slabs were used (Fig 22) (Megan 2010). Therefore, most of the materials used are
modern materials and new techniques.

Figure 21. Yale University Art Gallery under construction

 20

Figure 22. Waffle Concrete Slab for ceiling and floor

In terms of styles, Louis Kahn’s design is modernist design which is completely different
from the classical architecture. However, he used abstracted rectangular box shape which is
proportionate to the existing old gallery building. The difference between old and new makes both
of them become distinct.

Figure 23. Rectangular shape which is proportionate to the old gallery building
 21

As the new additional gallery design is giving respect to the old building design in terms
of form and proportion, it can be said that the historical value of the old structures were preserved
in this combination. The new structure also the values of newness which is functional for the
modern life styles.

In terms of principles, this building is used the strategy of juxtaposition that Bollock
mentioned. Rather than the 19th century theories, his approach in preserving the identity of the old
structure seems to be closer to the belief of Bollock “we can incorporated with a new construction,
benign or invasive” and creating a beautiful combined structure.

By comparing case studies, it is found out that each case has different historical
significances. In House on Sathorn project, the original old mansion has historical significance not
only the external colonial style of the building but also many details inside the building such as
the patterns on ceiling, the motifs on pillars and including the tiles inside toilets. Therefore,
architects chose to maintain with these values as much as possible and replacing the new parts
which is the same with the original pattern in order to achieve harmony with the old. However, in
the case of Champollion Museum, the main historical significance of the building is original
external wall which depicting the figure of medieval building and the façade also compatible with
the surroundings. The interior of these walls also have mural paintings. That is why, architects
chose to maintain these walls, removed the less significant parts of the building and used the
strategy of insertion by adding a new volume inside. For Yale Art Gallery, the original sequence
of the gallery buildings already showed the different combination and different styles representing
different epoch. Therefore, as a modernist, Louis. I. Kahn used modern design. However, he used
the same proportion and height as the adjacent old building to preserve the significance of the old
structure. In addition, it can be concluded that there is no clear distinction between old and new
additions if the building is restored to original state by using the same patterns, colors and materials
in some part. There are issues in availability of materials, patterns and craftsmanship if the new
addition has to restore the original detail of the old time. Moreover, there are possibilities of
preserving age values and adding new values can be the same at this modern time and new
architecture can still preserve the old identity with beautiful and useful combination. New
additional architecture adjacent to old structures can also preserve the identity of the old by
understanding the form and proportion of the old.
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4. Conclusion

From this study, it is important to understand the historical significance of the old building
very well if they have to be combined with new additional architecture. As there can be various
values inside the historical buildings, these values should be distinguish so that it will be clear for
architects to decide the important parts that need to be keep and the unimportant parts which the
new addition can be added. In combining old building and new architecture, there are possibilities
of destroying and fading the significance of the old structure in many ways. Therefore, it is crucial
that new addition can promote or preserve the historical significance. The difference between the
old and new structure is also essential as the imitation of the old structure can lead to confusion
between the real and the imitation and it can reduce the old building significance. A successful
addition to the old structure not only prolong the value of the old but also create new functional
value and the combination of old building and new addition can fulfill today’s society need.
Preserving old buildings with new architectural additions is an effective approach for this modern
society as old building cannot be preserved as the past time as the life styles of people are changing.
Therefore, it is also possible for preserving old colonial buildings in Yangon by adding new
architecture which will benefit in extending the lives of these neglected structures.
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List of Figures

Figure 1. Yangon Districts and townships

Figure 2. Distribution of Listed Buildings, Yangon City (Hlaing 2006)

Figure 3. Five strategies of combinations of old and new architecture (Francoise Bollack)

Figure 4. Ground Floor Plan, House on Sathorn

Figure 5. Analysis for additions and removal parts

Figure 6. Longitudinal Section (Building B)

Figure 7. Styles in old building and new addition

Figure 8. Metal Ceiling Pattern

Figure 9. Windows with fan light

Figure 10. Tiles with texture

Figure 11. Aluminium Windows on additional part

Figure 12. Ground Floor Plan, Champollion Museum

Figure 13. Longitudinal Section, Champollion Museum

Figure 14. Spaces between two facades

Figure 15. Before and after restoration

Figure 16. Laminated glass with copper foil

Figure 17. Old wall without treatment

Figure 18. The Sequence of Gallery buildings

Figure 19. Louis I. Kahn’s gallery and its adjacent buildings

Figure 20. The entrance and the joint with the old building

Figure 21. Yale University Art Gallery under construction

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Figure 22. Waffle Concrete Slab for ceiling and floor

Figure 23. Rectangular shape which is proportionate to the old gallery building

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