In the whirlwind of daily life, a large majority of urban centers transform to accommodate new functions and/or needs demanded by their populations, seeking to improve, renovate, or update the infrastructures, equipment, networks, and spaces that enable community life. Although times change, and with them, many buildings that once served important protective or sheltering functions start to become obsolete. However, the heritage they leave behind reflects the passage of time and provides a living testimony of their history, contributing to the consolidation of identity and the recognition of a sense of belonging.
When referring to the concept of restoration, activities related to the preservation and/or cleaning of facades and structures, the maintenance of certain deteriorated materials and elements, the reconstruction and/or replacement of spatial and constructive characteristics from other eras, etc., come into play. According to Alberto Humanes, "the objective of architectural restoration is the recovery and conservation of what has been built," and although the debate must be very broad and face diverse viewpoints, there are contemporary architectural practices that aim to find strategies and tools to revalue these buildings with features worthy of remaining in the collective memory.
Throughout history, interventions on existing buildings involved operations of replacement or addition in the architectural language of the time, with few references to their original architecture. By the late 18th century, as awareness of history and the value of inherited heritage grew, interventions began to reflect interpretatively on existing structures, exploring how to intervene in them. While Viollet Le Duc's ideas understand restoration as the restitution of the monument to "a finished state" based on the logic of its construction and style, the theories of Ruskin, and later Boito, identify it with maintenance, preserving the monument from operations that do not aim at its conservation, respecting the contributions to its original state and differentiating the necessary interventions.
On the other hand, and among other viewpoints, the alternative derived from historical practice advocates for creative intervention in buildings based on the architecture of each present time. In fact, the orthodoxy of the Modern Movement supports this type of intervention in any historical context, taking the concept of authenticity consolidated in difference, as endorsed by Boito, to its maximum extent, and proposing the coexistence of the old and the new through "contrast."
Now, what is understood by heritage? What economic, political, landscape, cultural, and social variables are involved in a heritage building restoration? What role do these buildings play in urban centers and how does historical preservation interact with the processes of rehabilitation and renovation of these spaces?
On the Restoration of Historic and Cultural Interest Buildings
As Brandi states, "restoration should aim to re-establish the potential unity of the work," many professionals in architecture, archaeology, history, and research agree on the importance of preserving certain features of buildings related to their construction techniques, materials, furnishings, and more to uncover part of the hidden traces and stories they hold. For example, the consolidation and restoration of the water tower and Caracol mine in Aledo represents a volumetric recovery that follows techniques and uses materials found in the original building, while the restoration of Castell de la Tossa de Montbui also takes historical premises and data from the original tower's construction elements but focuses on consolidating existing walls and constructing specific elements referencing historical features.
On the other hand, the restoration of the Torre de la Cabrilla watchtower involves a series of landscape interventions around it along with minimal modifications. This type of defensive building demonstrates, as seen in the Tower-Castle of Espioca in Picassent, the importance of studying not only the visible monument but also the possible hidden vestiges that may be found in its immediate surroundings. In fact, in Picassent, an initial phase of archaeological monitoring is carried out to gather information about the old constructions built around the tower that likely shaped its exterior appearance.
While Carquero Arquitectura has focused on restoring and consolidating the existing structures in the Castle of Morella, avoiding reinterpretation of its original state, other perspectives conceive restoration as a creative act. The House of Waters in Cartagena is a case based on the restoration of Casa Dorda, an old 18th-century convent built for the Discalced Carmelites. Focused on revaluing the ground floor of the palace as a heritage of the city and a cultural interest site, the restoration seeks to host the new headquarters of the city's water company, justifying the project's purpose through the theme of water, which will serve as a unifying element in the use of new materials.
On the Restoration and Renovation of Apartment Interiors
In interior design, the coexistence of styles, colors, and textures can contribute to the creation of welcoming and comfortable environments for their inhabitants. Often, the remodeling of these spaces gives a second life to buildings, leading to new uses and spatial qualities, better living conditions such as increased ventilation and natural lighting, etc. But how does restoration interact with the rehabilitation and reform of apartment interiors?
In the quest to promote the urban recovery of the most degraded historic centers through abandoned property rehabilitation, it is essential to conduct research and monitoring before any intervention to discover which architectural elements and spaces will be enhanced, restored, or preserved. The restoration of 8 floors of a residential building dating back to 1872 in Barcelona involved archaeological work where hidden stone lintels, Nolla mosaics, and hydraulically rich chromatic pieces were found under floors, along with coffered ceilings. Another example is seen in the rehabilitation of two dwellings in Cabanyal, which aimed to maintain the character and spirit of the original typology by restoring original hydraulic floors, high-value wooden carpentry, tiles, stained glass, and other details.
While the use of original materials and their interaction with new elements is generally part of contemporary renovations, emphasis is also being placed on the development of sustainable strategies. As seen in the renovation of La Carbonería in Barcelona or the public housing Vilar 3 in Orense, efforts are being made to reduce energy costs by incorporating passive solutions, more affordable costs, etc. Based on the recovery of historical essence and a commitment to contemporaneity, Can Santacilia house in Palma de Mallorca is also designed with sustainability parameters to maximize its energy efficiency, increase thermal insulation, care for thermal bridges, and use an efficient central air conditioning system.
On Restoration and its Dialogue with the Reconversion of Industrial Spaces
Intervening on heritage buildings presents a challenge that can be approached from various angles, considering factors such as historical preservation, architectural recycling, restoration, replacement, and more. Whether or not there is an intention to recover the value of existing elements, many industrial spaces in large cities still stand out for their brick architecture.
While there are cases such as the recovery of the Old Manresa Slaughterhouse FUB3, which works on the restoration of a historical complex while preserving its early 20th-century industrial character, there are also projects like the Grao Flour Mill that are classified as “in process” interventions. In this project, the building embarks on a new phase of its life, adapting technologically while maintaining the character of its volumes and the presence of its architecture in the city.
Another example is the Oliva Artés Museum, which involves the recovery and transformation of an old industrial building from 1920 into a museum. It aims to preserve the character of the building and its interior space, only adding the minimal pieces necessary for its operation. Meanwhile, the Alquería del Pi, which corresponds to the traditional architectural type of the Valencian orchard house developed between the 16th and 18th centuries, reuses the original construction materials of the building, discarding only the pieces that are impossible to recover due to their poor state of preservation.
This article is part of the ArchDaily Topics: Refurbishment, proudly presented by Sto. Extending the lifespan of buildings reduces cost and environmental impact, avoiding demolition or more substantial interventions in the future. Sto's products for facades, facade refurbishment, crack repair, waterproofing, and concrete restoration systems are used on heritage buildings, adaptive reuse projects, renovations and maintenance of new buildings all over the world. Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
