victoria maclean 050709359 dissertation

ADAPTIVE RE-USE OF ENGLAND’S HISTORIC INDUSTRIAL BUILDINGS
BY VICTORIA MACLEAN
INT 3158 – DISSERTATION
BA(HONS) INTERIOR DESIGN – YEAR 3 – MARCH 2008

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UNIVERSITY OF LINCOLN - FACULTY OF ART, ARCHITECTURE AND DESIGN - SCHOOL OF ARCHITECTURE
Acknowledgements
In writing this dissertation help was received from several amazing people, to whom I shall always
be extremely grateful. For reading through, what must have seemed an endless amount of drafts,
especially at Christmas time, I would like to thank my wonderful father, Mr William Maclean, for always
being there for me, and always willing to read through each chapter many, many times to ensure I was
making sense and doing the best I was capable of. Thanks also go to my tutor, Mrs Jane Lomholt, for
guidance each step of the way, from the initial proposal to the final draft. And finally to Mr Richard
Wilson, just for helping to keep me sane when I was getting stressed and panicking.

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Contents
List of Illustrations .................................................................................. p vii
Introduction .................................................................................. p 1
Chapter One – Qualifying Terms .................................................................................. p 5
Chapter Two – The Debate .................................................................................. p 9
Chapter Three – Case Studies .................................................................................. p 14
Conclusion .................................................................................. p 22
Bibliography .................................................................................. p 24

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Introduction
Fig. 1 Dean Clough Mills External Glass Elevator
[Source: Dean Clough Limited (2007) Dean Clough [online]. Leeds. Black
Orange. Available from: http://www.deanclough.com/office/availability.asp.
[Accessed 23 Jan. 2008].]
p 15
Fig. 2 Dean Clough Mills Office
Orange. Available from http://www.deanclough.com/office/space.asp.
[Accessed 23 Jan. 2008].]
p 16
Fig. 3 Dean Clough Mills Cafeteria
Orange.
Available from http://www.deanclough.com/facilities/cafe.asp. [Accessed 23
Jan. 2008].]
p 17
Fig. 4 Dean Clough Mills Artists Studio
Orange.
Available from http://www.deanclough.com/arts/artists.asp. [Accessed 23
Jan. 2008].]
p 17
Fig. 5 Dean Clough Mills Viaduct Theatre
Orange.
Available from http://www.deanclough.com/arts/theatre.asp. [Accessed 23
Jan. 2008].]
p 18
Fig. 6 New Concordia Wharf Façades After and Before Conversion
[Source: Powell, K (2004) City Reborn: Architecture and Regeneration in
London, from Bankside to Dulwich. London: Merrell Publishers Limited,
2004.p.30]
p 18
Fig. 7 New Concordia Wharf Penthouse Open Plan Apartment
[Source: Rainbow Projects Limited (2008) Look4aProperty [online].
London, Rainbow Projects Limited. Available from:
www.look4aflat.com/property/00456062.3 [Accessed 23 Jan. 2008].]
p 20
Fig. 8 New Concordia Wharf Apartment
[Source: Rainbow Projects Limited (2008) Look4aProperty [online].
London, Rainbow Projects Limited. Available from:
p 20

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In the field of interior design, much of the work is that of adaptive re-use, fitting a new use and
interior to an existing structure. In order to carry out such work, it is important to truly understand it, to
have respect for the buildings of our history and to work to develop them so they can remain with us, and
be respected and loved by many more generations. Industrial buildings are representative pieces of
British architecture. It was at the height of their success that great civilisations built great architecture.
Think of Egypt and the pyramids come to mind. Think of Rome and the Colosseum comes to mind. At
the time when Britain ruled the waves, and had the fastest growing industry in the world they were
building mills, railway buildings and warehouses. These buildings, that still exist today stand as an
example of Britain’s great history, its legacy. It is important that these buildings continue to be used, but in
converting them for today’s modern needs it is necessary to understand how to best do this without
compromising their character and integrity, or else a new office block might as well be built in its place.
This study seeks to prove that with the right treatment, adaptive re-use can be a success in
mixing the character of the old, with the fresh design of today. That a contemporary design that is in
contrast with the old structure can be introduced in to the building without sacrificing its character, and
that if anything, it complements the building and enhances its character. To prove that if a dialogue is set
up, between the architecture of the industrial masterminds and the interventions of the talent of today, an
exciting conversation can be achieved. This position in the debate is in line with many of today’s
architects and experts. Much of the literature studied on the topic, in an attempt to create a balanced
argument, is of the same standpoint. Much of the work that disagrees was written in the 1970s and
1980s when the debate was relatively new, adaptive re-use had not been commonplace in Britain until
this time. Since then much of the literature has come to be in favour. The main source of opposition
comes from conservationists who believe that historical architecture should be saved as it is, in the form
of museums for people to learn about the past. They believe in minimal interference with the structure,
only intervening where repairs are necessary for the buildings survival.

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In terms of the study, success will be focused on how the buildings, such as mills and
warehouses, can be adaptively re-used with the introduction of a contrasting and modern interior, while
still retaining an essence of their original character. Adaptive re-use is also commonly known to many as
creative re-use and regeneration, emphasising the need for exciting and creative schemes to be
introduced. Adaptive re-use of buildings has taken place for centuries, it is not a new phenomenon
developed by 20th
Century architects. By many it is seen, first and foremost, as a matter of economic
sense, often in the past little regard was given to the building’s history or character. It was not until the
nineteenth century that legislation was put in place to protect this. (Powell, 1999) In 1975 SAVE Britain’s
Heritage was formed to publicly campaign for endangered historic buildings. In addition to this in 1998
the British government set a national target to ensure sixty per cent of all new developments are built on
brownfield land. With the new political significance of avoiding large greenfield developments, it is
important to look at the adaptive re-use of England’s surplus of neglected Nineteenth Century industrial
buildings, are they benefiting from their new lease of life or are we abusing our architectural inheritance?
Under threat from nature’s decay and ruin, can adaptive re-use save them or would it ultimately be an
insult to our history?
Character, in the sense of a building, is difficult to define. Julian Holder argues that to speak of
character in a building is to treat it as a living person and not simply bricks and mortar (Holder, 2001)
therefore making the term inappropriate. However, while Holder argues that the concept of character in
historic buildings is a somewhat obscure one, many experts in the field still choose to apply it to their
arguments. It is a common term understood by many but cannot be used loosely. For a thorough
conclusion to be drawn, the term character must be precisely and objectively qualified from the outset of
this study.
The study focused on secondary research. A great deal has been written about the subject in the
form of books since adaptive re-use’s implementation got underway in Great Britain in the 1970s. SAVE
Britain’s Heritage has produced several publications on the matter, and the government has introduced
policies and accompanying literature to advise on suitable management of schemes. There is also an
intense debate within professional circles, considering the most appropriate treatment of industrial

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heritage, opinions range from absolute conservation to adventurous creative re-use. However, one of the
major problems with referring merely to books is their relevance in current discussions and opinions. In
order to avoid such a predicament, an extensive search of recent journal articles was undertaken to
ensure the discussion is relevant to today’s attitude.
Amongst the great deal of literature studied were a certain few that informed the study more than
others. SAVE Britain’s Heritage have produced a large amount of literature on the topic of adaptive re-
use, of saving Britain’s buildings. In particular Bright Future: The Re-use of Industrial Buildings in 1990
and Satanic Mills: Industrial Architecture in the Pennines in 1979 focussed on industrial buildings. It was
important to refer to both publications in order to see how the debate has progressed. In 1979, when
adaptive re-use was a relatively new occurrence in Great Britain, the discussion centred on memories of
life in the mills, people that had worked in these buildings were still alive and the belief was that they
would not want to go in these buildings again. However, even in 1979 the example of a tannery was used
to show that adaptive re-use could be a success because people appreciated it for the great building that
it was, not for the past environment within it. Bright Future then shows how the debate advanced in a
decade. While in relative terms, the debate in 1990 is now out-dated, this book still shows the progress
made in adaptive re-use and the more willing attitude people were beginning to possess. The source also
aids the study with a selection of case studies, one of which is Dean Clough Mills.
Kenneth Powell is an important figure in the debate. He was involved in writing both of the
significant SAVE Britain’s Heritage publications in this study. His own book Architecture Reborn was also
an important source. Being more recent, published in 1999, it sets the debate in a more recent time
period. In it he refers to all adaptive re-use schemes, there is no focus merely on industrial buildings, but
this does not diminish its importance. This source not only expresses Powell’s personal opinions but
refers to many experts, so places the study in a broader debate and directs further reading. Stuart
Brand’s How Building’s Learn: What Happens After They’re Built is important to the study for this same
reason, it is essential to the research that a variety of attitudes are drawn in. “Loved buildings are the
ones that work well, that suit the people in them, and show their age and history,” (Brand, 1994: 209).
This quotation focuses the investigation of what makes a success, and links with Peter Stewart’s Context

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article, ‘Building in Context: the CABE casebook’ in which he concludes that conservation is an anagram
of conversation, (Stewart, 2003: 22). That history should be readable through the building’s design, the
old and the new should work together to create a dialogue in history.
The paper is organised in a manner to aid the reader in understanding the debate. Before the
discussion of how to ensure success in adaptive re-use, it is important to first debate what success is.
Success is subjective. In order to structure a legitimate argument it is essential to assess what is meant
by success in this circumstance. As the question is one of character, the definition of character is also
central to the discussion and must have a solid explanation before any debate on its success can begin.
Chapter One of the paper focuses on this assessment of important terms which are the basis of the rest
of the paper, referring to significant individuals in the debate. In Chapter Two, it can then be examined in
detail what elements of design practice contribute to the success in the mixing of the character of the old,
with the freshness of the new. It explores Stewart’s belief in conversation in a scheme, ideas about
façade retention, and questions if contrast really does always work. Furthermore, Chapter Three provides
two well known case studies, Dean Clough Mills and New Concordia Wharf, in which the beliefs put
forward in the previous chapter can be analysed against ‘successfully’ executed schemes. Finally, the
debate will all come together from the examined opinions of experts and case studies to conclude how an
adaptive re-use scheme can successfully introduce a new, contemporary interior while retaining an
essence of the character of the building.

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Chapter One: Qualifying Success
Before adaptive re-use can be assessed in terms of success, in regards to retaining an essence
of the building’s original character, it must first be set out what success is. What constitutes character
varies from person to person. It is difficult to truly qualify it, Peter Larkham and Andrew Jones argue that
it is not feasible to apply a scientific approach to defining it (Larkham and Jones, 1993). There will always
be disagreements, but by investigating what experts commonly believe to be a representation of
character, it is possible to form an accurate definition of architectural character to make it applicable to the
study and consider success levels of the case studies.
In studying the term “character” and associated words, by their literal English definitions, an
assessment of them can provide an element to the debate of their meanings. Character, according to the
Concise Oxford English Dictionary, is the distinctive nature of something, a feature typical of something.
In this sense “character” in an industrial building would be its individual features that enable people to
recognise it and differentiate between that and, a surrounding building of a different era or use. James
Douglas describes an industrial building prior to 1900 as one of multiple storeys, with long front or side
elevations of load-bearing masonry. Walls are punctuated at regular intervals with large windows, and an
internal frame to support the floors of the large, open internal spaces (Douglas, 2002).
Planning Policy Guidance 15 (PPG 15) is a document produced by the British Government to
recommend methods of treatment of the country’s historic buildings. The government recognises that
while conservation of a building’s character is to be a major consideration, it cannot prevent all new
development, nor is that desirable. However, where development does take precedent over basic
conservation, they advise that special regard be had for matters of scale and tradition in details like
windows and materials. It is believed that “in general, it is better that old buildings are not set apart, but
are woven into the fabric of the living and working community” (DoE: 1994). PPG 15 shows the
importance of retaining character in the country’s historic buildings, and by giving listed building status to
industrial heritage, the government shows that these buildings are of the same importance as stately

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homes and churches. It is clear from this piece of literature that character in the eyes of government
legislation is in the details, the craftsmanship and materials.
Katie Farrelly claims that such wide open spaces and an industrial look win buyers over and are
ideal for open-plan living and minimalist design. The big beams and floorboards are a trend buyers look
for (Farrelly, 2007). This would suggest that the character in England’s industrial buildings like mills and
warehouses comes from its grand scale. This looks at character of a building on a macro scale. Ken
Powell supports this assertion of the building’s grand scale being an element of its character stating that
the mills of Lancashire are “an architecture of scale and grandeur” and in the textile towns of the North,
the mill’s chimneys are as important to the skyline as church spires. (Binney et al, 1979: 54) Not only the
scale, but the details of the buildings often attribute themselves to its character. Features common to
mills and warehouses include their exposed beams, and as Hippolyte Taine says, flanks of fouled bricks
and shutterless windows (Binney et al, 1979: 3). These standard characteristics are applicable to the
majority of Britain’s industrial heritage and are what many people associate with their character.
Recounting this to the dictionary definition, it is simple features such as smoke tainted walls and large
open floor areas with exposed beams that give industrial buildings their character, and if architects
choose to clean the bricks, or section the building into smaller rooms, then its character has been
compromised.
Character in the sense of a building, just as with people, has more than one dimension. In an
article for Context, Peter Stewart judges character, not only by a standard listing of characteristics but by
elements that represent the spirit of the age” (Stewart, 2003: 78). In this respect, for an industrial building
to successfully retain an essence of its original character after modernisation, an element of how it was
and how it felt for its occupants during its original use must be retained. This would suggest that not all
original elements of the building are essential to its character, only those that project a sense of the past.
Ken Powell states that early conversions of industrial buildings tended to erase or dilute their ambience
because associations with the industries were negative, architects wished to eliminate the spirit of the
age, a reminder of harsh working conditions. However, now few people remember how life was in the
mills so this is no longer necessary (Powell, 1999: 10). Even in the 1970s when there were considerably

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less people still alive that remembered the hardships in the mills, Randolph Langenbach claimed “People
do not always possess negative associations with their former places of work, at least not in a form which
is directed towards the buildings themselves” (Binney et al, 1979: 23). This belief is in contrast to that of
Stewart’s as it is the character of the building, not of previous environments that is sought to be retained.
But what is building character? The condition of the building, the dirty bricks and the cracks in the walls
came from the activities that took place in it. While people occupying the spaces in modern times may
not wish to feel the hardships of the people that first occupied them, without the ‘spirit of the age’ showing
through the building’s condition it would just be like any other mass produced space of the Twentieth
Century.
Character, to many, lies in the streetscape so retaining this is preferable to new-build. Dependant
upon the building’s use, many people may only see the exterior of the building. Façade retention relies
on this, a contrasting and modern interior can be introduced while the character is retained by keeping the
façade of the building, which may represent a distinctive landmark. James Douglas argues that although
their distinguishing characteristics offer psychological reassurance, with this approach the result can be
branded a fake (Douglas, 2002). In an interview with Michael Hammond for the Architects’ Journal,
Richard Coleman argues that the practice of façadism results in buildings losing their integrity. In his
article Hammond also comments on the International Commission on Monuments and Sites (ICOMOS)
who speak of ‘Façadism in Europe’ and argue that the practice represents a genuine danger to the spatial
integrity of our heritage (Hammond, 2003). It is clear that many experts agree that façade retention is not
a favourable option in adaptive re-use as it is not true to the building. Although John Earl argues that
some people regard the “tension set up by this extraordinary juxtaposition as architecturally exciting” he
also states that the façade raises expectations (Earl, 1996: 85 - 88). PPG 15 also states that preservation
of merely the façade is not usually an acceptable approach, it can destroy much of the buildings special
interest (Latham, 2000). On the whole, with façade retention the interior does not retain the character or
spirit of the age, so if this approach is taken it is not likely to be viewed by many as a success.
How the final design looks is not the only method of qualifying success, Daniel Coffey believes
that his success in the field of adaptive re-use comes from “understanding the construction techniques of

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the past, how they relate to the building codes of today, and the implications of existing building
geometries” (Coffey, 2004: 56). Although Coffey isn’t a completely objective source in that he refers to,
and hopes to promote, his own work, Earl agrees the building and its context must be known intimately if
the scheme is to be a success (Earl, 1996). Here, once again, is the mention of the buildings integrity.
Without understanding the building in detail, historically interesting fabric, which may be key to its
character, can be lost. The methods employed in the adaptive re-use are therefore essential in a scheme
being successful.
From this initial investigation into what constitutes character in England’s industrial buildings, it is
clear that many experts associate character with the unique characteristics of this building era, and the
building’s use. These common characteristics are in the details of the windows, and in the formation of
them, many of them in lines along the building to enable plenty of natural light to enter. John Adams
argues that questions of architectural character become lively where external elevations are threatened
with alterations to windows (Adams, 1997). While there is nothing of particular significance in the bricks
themselves, the character is found in these by their discolouration, their darkness caused by the
industry’s smoke-filled cities. The grand scale in the large open floor plans is another common feature of
the buildings, and in turn their exposed beams running through them, clearly aged and worn with time.
Stewart contributes an important element to the question of character with his statement about ‘the spirit
of the age’. While he doesn’t claim that the building should feel how it once did to work in, an element of
its life should be evident, the character gives the building a sense of history. To cover over the dirty walls,
and to replace the worn beams in order to make the building feel clean and new, to meet modern
standards, would be compromising the building’s integrity in the same way as façade retention does. A
characterless building denies the interest in adaptive re-use, and shows little skill in the architect.

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Chapter Two: The Debate
There is much debate between conservationists and progressive designers as to what the correct
treatment of Britain’s historic Industrial buildings ought to be. Conservationists argue that adaptive re-use
is never true to a building’s character. Douglas states that to traditionalists, respect for the past, and
adaptation works that are modest and sensitive, and do not undermine the building’s architectural merit,
are more important than conversion at any price (Douglas, 2002). To those that oppose adaptive re-use
of historic buildings, the belief is that buildings should show their history, they are not our buildings to do
with as we like, they should be used to show today’s and future generations how life once was, restored
as working museums, as a living piece of archaeology. The policy of minimum intervention lies at the
heart of conservation philosophy today (Hammerson, 2004). Conservationists believe that the character
of a building can be destroyed by even a small difference in detail, to simply maintain a building, and
repair when necessary is the preferred option.
“Industrial buildings” are what Stuart Brand has termed low road buildings. Successful re-use in
these buildings is not hard to achieve because they are discarded buildings, any change is likely to be an
improvement. Brand also refers to J.B. Jackson’s theory that the building must first die; experience an
interval period of neglect, before it can be reborn (Brand, 1994). This claim would suggest that the most
successful adaptive re-use projects come from those that are neglected, derelict buildings. While these
may be the most striking to potential investors in that they will see themselves as the saviour of a building
that may otherwise be flattened, can a ‘dead’ building truly have character? Surely after being
abandoned the building would suffer from damp and decay, which would potentially affect those features,
that it is claimed, give character. If character is to be seen in these buildings have they not become like
ruins, with their character existing in their ruin? In run-down areas the original windows are likely to be
broken, and damp would cause ruin to the walls and exposed beams. To replace the damaged windows
and beams may put character back in to the building, and even possibly still give the space an essence of
what it once was, but it would only be an imitation of the past. Many people believe that character lies in
the original features of the building. In Powell’s Architecture Reborn he quotes many architects; John

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Ruskin argued that imitating past styles is an insult rather than a compliment to builders of the past. In a
case of disrepair it is preferable to demolish and replace the building with an ‘honest’ modern structure
than to attempt a ‘false’ restoration. In 1990, Richard Rogers also insisted that merely copying the past
belittles the integrity of a building (Powell, 1999: 10 - 17).
SAVE Britain’s Heritage and the system of listed buildings show the same interest in preserving
first-rate industrial heritage in England as the conservationists do, but the important difference is their
openness to change. Listed building status is given to English buildings that are seen to have a special
historical interest. As with the conservationists, they seek to preserve this. Listed building status,
however, is not in place to prevent any form of change. The government have shown in policies such as
PPG 15 and of re-use of brownfield sites, that they are open to those with the initiative to implement
adaptive re-use in their buildings. With different grades of listing, come different degrees of change
possible in schemes. Industrial buildings come under all grades of the classification. The use of this
method supports developers in creating successful adaptive re-use schemes while retaining an essence
of the building’s character, in that it forces them to consider the special features that it possesses, and
that resulted in it becoming listed. Without this developers would be able to do as they wish with the
building, taking no account of any of its character if they desired. Therefore in retaining the character,
listed building legislation is an important factor in a schemes success.
SAVE Britain’s Heritage was formed in 1975 to publicly campaign for endangered buildings.
Publications produced by the group cover a wide variety of buildings, but unlike some heritage groups
that focus on England’s glorified architecture, in its stately homes and palaces, this heritage organisation
recognises the importance of industrial design to England’s architectural legacy. In their publication,
Satanic Mills: Industrial Architecture in the Pennines, Ralph Langenbach uses the example of a former
tannery: “To many, it was a poetic justice that in the tannery’s place – not just on the site, but in the same
building – should now be comfortable and character-filled apartments” (Binney et al, 1979: 24). This
would suggest that they believe an element of the success in retaining the building’s character was in the
way it was respected as a great building, and not because of its past. It was enhanced by its new found
use without compromising its character and integrity. However, in this case of re-use it is only the

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features of the building that were retained, it would seem that the essence of how the building once was
has been erased, so can it be counted as a true success in retaining its character? Earl argues that
although the original fabric may be intact and recoverable, in cases of re-use like this of the tannery, it
may not ‘read’ properly (Earl, 1996). And if it is the case that the history cannot be properly understood
then an important factor in what gives it character has been lost. Unfortunately, too often the restraints on
industrial buildings can be the factors that weaken a scheme. Whilst listed building status prevents any
undue injury to the building’s character, it also limits a designer’s creativity. In trying to retain original
character, Marcus Binney argues that the potential of the redundant buildings is only half-realised in
second-rate and unimaginative schemes (Binney et al, 1990).
Carlo Scarpa influenced the motto that “contrast always works”. This approach of contrast may
be better described as creative re-use, another commonly known term for adaptive re-use. English
Heritage believe that due to their robust nature, industrial buildings can respond well to a design approach
based on contrasting modern design with that of the past (English Heritage, 1995: 4). Many architectural
experts have argued that to copy the past degrades the building’s integrity. In this case, to make a
scheme successful a contrasting design should be introduced. By establishing a clear, new interior
alongside the old features of the building, it can help bring out the character more, the old stands out in
the same way as the new rather than blending in, its character becomes a main feature in itself. If this is
so, then the question of creating a successful adaptive re-use scheme by introducing a contrasting and
modern interior is not that complicated, for it is believed that contrast always works. Any scheme of this
sort, therefore is a success. However, the scheme may not get the go-ahead. In Re-using Redundant
Buildings: Good Practice in Urban Regeneration the government states that where exciting but
unconventional schemes are proposed, it is the local authority’s flexibility that will make the difference
between success and failure (DoE, 1987). According to the Royal Institute of British Architects there is a
lack of experience in conservation and historic buildings in many local authorities, expertise within these
sectors is essential (RIBA, 2003). A progressive authority may be necessary for a scheme to succeed;
too many compromises could result in only a mediocre result, yet still if that authority is not appropriately
skilled and experienced it could consent to something which would devastate the building’s character. A
combination of both experience and forward thinking is necessary for a successful contrasting scheme.

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At the same time however, the authority, although not as daring in its decision, may relieve the character.
Ambitious architects that wish to put their mark on a building can design such a modern interior that it will
strive so hard to distinguish itself from the old that it will in turn compete for attention (Earl, 1996: 113).
Christian Schittich, however, argues against Scarpa. This belief is no longer appropriate, the
approach should be to target each scheme to the individual building (Schittich, 2003). While a form of
contrast may work in one environment, it may not in another. This is not to say that contrast is not an
element in the success of adaptive re-use, only that the contrast should be directed towards the particular
building, what is a success in one might not be when applied to another; there is no standard formula.
Powell states that the issue is “no longer about new versus old, but about the vital relationship between
the two... the new highlights the merits of the old” (Powell, 1999: 19 – 23). In treating a building as an
individual, it requires great amounts of focused research. Generalised assumptions of industrial buildings
could lead to failure. With the grand advances in technology throughout the period in which these
buildings were constructed, there is no set design. The building itself, and its context has to be
investigated thoroughly, its history and its construction is vital knowledge. Although it has already been
argued that to simply copy the past belittles its integrity, it is nevertheless important to understand the
past to create a complimentary design. Earl argues, that in no other way can the risk of losing the
evidence of the past be avoided (Earl, 1996). Without such knowledge, important aspects of the building
that grant its character could be lost. And without this, as Stewart states, architecture will not be able to
speak across the centuries, and “conservation is, after all... an anagram of conversation” (Stewart, 2003:
22)
It therefore can be seen that it is a common belief that a contrasting interior is likely to lead to a
successful adaptive re-use scheme. The argument that these buildings, a familiar sight in towns and
cities throughout the country, are “low road buildings” highlights their ease of conversion. However, as
Schittich argues, this is not to be taken as a definite. To treat the building as just a standard modern
structure, accommodating of any newly implemented interior, is likely to lead to failure. In order to
execute such a design it is vital to work with the building, to know it intimately before even beginning to
contemplate how it will look. By taking this approach, to compliment the building, it is possible for all

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adaptive re-use schemes to be a success. The system of listed buildings, and heritage organisations
campaigning for the rescue of such wonderful but neglected landmarks, are also vital to the execution of
adaptive re-use schemes, they create attention while offering guidelines in practice, ultimately saving the
character of these buildings. Ultimately, it is largely dependent upon the architect, an over-ambitious one
could see the demise of a grand piece of architecture, while an experienced and sensitive architect will be
able to leave their mark without destroying any integrity or character in the building. This combination of
skilled architect with legislation and heritage campaigns is sure to be the key to realising successful
adaptive re-use schemes, suitable to the modern age, while retaining the character and beauty of the
past, a living reminder of Britain’s legacy.

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Chapter Three: Case Studies
Assessing the preservation of character in adaptive re-use schemes requires inspection, not only
of expert’s theories, but also live buildings showing it in practice. Theories behind the essence of
character in industrial buildings, the features and spirit of the age, may not be implemented with ease or
success in some cases. While the experts are valid in their beliefs, different buildings or uses may react
differently, people living in converted mills may not want to experience the spirit of the age that the
character offers, a home is commonly a place of comfort, not a place of historical interest. Non-residential
uses on the contrary are less likely to want a homely feel and as a result could value the more intense
feeling of character in a space. Case studies will give support to the theories that can work when they are
applied to designs, and show the difficulties in realising other theories of what represents character and in
retaining it.
Dean Clough Mills, in Halifax, is a spectacular example of re-use, not only in the region, but one
of national significance (Binney et al, 1990). The site is around 1.25 million square feet, making it a large
and highly ambitious scheme. Its buildings, formerly the home of the world’s largest carpet factory, date
from the 1840s to the 1860s. Dean Clough was completely closed in 1983. Ernest Hall was very
important to the conversion of the mills for a modern use, but Binney et al claim that conversion is not
really an appropriate term as the buildings were generally already suitable for their new use, requiring
only repainting, new electrics and plumbing and then insertion of partitioning (Binney et al, 1990). Without
even looking at the interior this claim would suggest that the character of the building was therefore
retained. With little work taking place many of the original features will have been retained. However the
partitioning of the building takes away the grand scale of open plan mills, to surrender such an important
feature unquestionably jeopardises the character. Over half of the site is occupied by business, making it
non-residential, so the assumption, should be that retaining the spirit of the age in these spaces will cause
few problems.

ii
From the exterior, the mills undoubtedly still have their character. They are buildings of a great
industrial scale, and have retained their renowned regular row upon row of ordered windows. The
exterior of the building has remained, for the most part, untouched. The only indication of a modern
presence in the building is from the introduction of an external glass elevator. The use of glass serves to
blend the new structure with the old so as not to act as a parasitic element that takes the focus from the
original features. It also maintains the buildings integrity, making it more than a meagre façade retention
scheme, hiding its new modern use behind the historic appearance of the building. A successful adaptive
re-use is reliant on this clear mixture of old and new not only on the interior but also the exterior so as not
to deceive the viewer. In this respect, Dean Clough Mills therefore have an element of success in the
scheme.
Fig.1 Dean Clough Mills External Glass Elevator
[Source: Dean Clough Limited (2007) Dean Clough [online]. Leeds. Black Orange. Available from:
http://www.deanclough.com/office/availability.asp. [Accessed 23 Jan. 2008].]
With over half of Dean Clough made up of office space it is expected that retaining the character
successfully is feasible since the negative associations with past industry is not perceived to be an issue
in places of work as much as homes. Much of the character retention in these spaces though, is limited
to the walls. While, in many, the large spanning floors have been kept, their presence cannot truly be felt
because of the mass of office furniture crammed in. However, during their original use the mills had the
floors crammed with machinery and workers, so it could be argued that to an extent there is a similarity,
and therefore possibly, the spirit of the age can be felt in these spaces. Other than this element of the
office spaces though, they are very much neutral spaces, reflecting little of the character; while they may

ii
have been as full with machinery as these are with furniture, accounts of these spaces in history claim
they were not as light and well ventilated as these appear to be. The introduction of carpet to the space
also makes it a much more comfortable place to work, in contrast to the uncomfortable and harsh working
conditions known to have been experienced at the time. So it can be seen that while an attempt has
been made to retain an essence of character in these spaces with the retention of the original walls and
large spaces, it has only been realised with limited success.
Fig.2 Dean Clough Mills Office
[Source: Dean Clough Limited (2007) Dean Clough [online]. Leeds. Black Orange. Available from
http://www.deanclough.com/office/space.asp. [Accessed 23 Jan. 2008].]
The cafeteria in the mill is a clear failure in retaining the character of the building. It appears to be
completely modern, ignorant of the past. All the fixtures and fittings are very new and comfortable, and it
shows no evidence of ever being a historic building. The walls have been covered to give a clean finish,
and while the floor appears to be a solid stone floor as it may have originally been, being surrounded by
such a new interior, it is not prominent in the space. The explanation for the feeling of freshness in the
cafeteria is likely to be due to the fact it is a place to relax, a place to feel comfortable. Regardless of
these issues though, this means that the cafeteria lets the scheme down in retaining an essence of the
character in it. To be a success, the whole building should surely reflect the same issue of character
preservation. In addition to the cafeteria, other rooms such as toilets and office kitchens have had little
regard for the character of the building. While there is no explanation for this, it can be assumed that with
these being less public areas, and much less grand spaces, the relevance of character retention in these
spaces was seen as secondary to the design and functionality.

ii
Fig.3 Dean Clough Mills Cafeteria
[Source: Dean Clough Limited (2007) Dean Clough [online]. Leeds. Black Orange.
Available from http://www.deanclough.com/facilities/cafe.asp. [Accessed 23 Jan. 2008].]
An aspect of great success in the mills are the areas of creativity. The spaces where comfort is
secondary to the function are the spaces in which the scheme has been most successful in preserving the
character. In both the theatre and the artists’ studios a large amount of the features in the building that
are claimed to give it character have been retained. The original walls are clearly exposed, even left in
the same condition as they were found, the unclean stone adding to the sense of character. Beams are
still on show, and in these spaces even the original cold stone floors are still in place.
Fig.4 Dean Clough Mills Viaduct Theatre
Available from http://www.deanclough.com/arts/theatre.asp. [Accessed 23 Jan. 2008].]

ii
Fig.5 Dean Clough Mills Artists Studio
Available from http://www.deanclough.com/arts/artists.asp. [Accessed 23 Jan. 2008].]
To make a sound judgment, it is also essential to study a residentially based adaptive re-use
scheme. New Concordia Wharf in London was a Victorian grain warehouse in 1885, today however it is
apartments, converted primarily by Andrew Wadsworth with the partnership of Pollard Thomas Edwards
and Associates. Nicholas Lacey was the original architect on the project, but Wadsworth’s vision for the
scheme didn’t match with Lacey’s ambitions to radically make-over the mill (Powell, 2004: 30). This
change of architect is likely one of many reasons why the adaptive re-use of New Concordia Wharf
became such a success.
Fig.6 New Concordia Wharf Façades After and Before Conversion
[Source: Powell, K (2004) City Reborn: Architecture and Regeneration in London, from Bankside to Dulwich. London: Merrell
Publishers Limited, 2004.p.30]

ii
The apartments were left at the shell stage of conversion, allowing new residents to add their own
personal touch to their apartment. This subsequently allows the building to have a character, that is not
like many new build apartment blocks with their identical living spaces. However, character in the fact
that each apartment is individual does not necessarily mean the original character has been retained. In
leaving empty shells Wadsworth took a risk, he could not be sure that new tenants would adorn their
spaces in a manner respectful of the old character. Fortunately in 1982, the building was listed grade II,
ensuring the retention of character in each of its individual shells. Wadsworth did not just rely on
individual tenants to save the character of the building themselves, he took active measures to ensure he
played a role in retaining the character himself. The big, heavy internal timbers have been retained and
cast-iron columns have been fire-protected (Binney et al, 1990). And if nothing else, the scheme kept an
element of its character by façade retention, original stone sets remain and exterior gangways and hoists
have been kept. The top of the chimney has been reinstated as a feature, and while old windows were
replaced, they were at least given the detailing of the knobbly cast-iron originals.
“Keeping the character has pushed up the prices, and owners pay a premium for the character of
these desirable flats” states Binney about New Concordia Wharf (Binney et al, 1990). The grand open
spaces in the building serve the trend of open plan living. Figure 7, in particular, demonstrates the benefit
of large floor spans. The character is further enhanced by this minimal design, the shortage of distracting
furniture leads to the eye being driven more towards the buildings features. It is a very considerate
design that does not aim to take the focus, it does not try to distinguish itself from the old so much that
they compete, as Earl argues can occur in such schemes. Almost all of the features that it is claimed
combine to generate character in an industrial space are present in this space, exposed beams, large
windows at regular intervals, exposed columns, and a large floor plan, “the appearance and construction
of these late Nineteenth Century warehouses have been respected, retained and even enhanced by the
architects,” (Baumgarten, 1984: 48).

ii
Fig.7 New Concordia Wharf Penthouse Open Plan Apartment
[Source: Rainbow Projects Limited (2008) Look4aProperty [online]. London, Rainbow Projects Limited. Available from:
Another indication of the success of this scheme is the awards it has received, in 1985 it won the
Europa Nostra European Conservation Award Gold Medal, then in 1987 it won both the Times RICS
Conservation Award and the Civic Trust Award. To win such awards and then go on to inspire further re-
use schemes in the Shad Thames area shows the success of this scheme. However, despite the
apparent success of the scheme in saving the character it can be argued that some elements of
restoration jeopardised the integrity of the building. Despite the stress being on preserving the character
of the historic fabric as found, (Powell, 2004: 30) many of the windows, although they appear genuine,
were copied from the past. Although copying them in this way makes the building feel more like a whole
complete structure, it is unfortunately against the opinions of those like Rogers who believe it belittles the
integrity of the building to simply imitate the past. In addition to the window imitations, the entire interior
façade was sandblasted, once again potentially limiting the impact of a true character in the building.
Fig.8 New Concordia Wharf Apartment
[Source: Rainbow Projects Limited (2008) Look4aProperty [online]. London, Rainbow Projects Limited. Available from:

ii
All things considered in both Dean Clough Mills and New Concordia Wharf, there are elements of
success and elements of failure. They begin to give an insight in to the difficulties in successfully
retaining the character of old industrial buildings in their new uses. It has shown that it not only depends
upon the designers, but upon the new use that is being imposed upon the building. Some spaces require
more modern disruptions than others, which undoubtedly has an effect on the overall character. Both
schemes show the difficulty in implementing a scheme which has the spirit of the age.

ii
Conclusion
It is clear that a variety of elements contribute to a successful adaptive re-use scheme. No one
factor alone will make a scheme a success. The focus of research in this study was how an adaptive re-
use scheme can be a success when a contrasting and modern interior is introduced into an industrial
building. Adaptive re-use is not straightforward. Each building is individual, and as a result each requires
its own individual approach. Despite this, however, certain elements in the design approach will
guarantee success. While there is no set formula to follow to secure success, if certain guidelines and
techniques are followed, then each individual building, and individual scheme, ought to prosper.
Conversation is an anagram of conservation was the argument expressed by Stewart (Stewart,
2003: 22). This proposal is at the centre of adaptive re-use. Conversation is fundamental to a successful
adaptive re-use scheme. Listed building status and the campaigns of SAVE Britain’s Heritage show the
importance of the vital mix between the old structure and the new contribution to the space. In order to
make the saving of buildings worthwhile, its history must show through. As Earl argued, too much change
and fresh intervention into a space makes it hard to read (Earl, 1996). If the fusion of old and new is not
balanced, the conversation in the space will not be easily interpreted.
As Richard Rogers argued, to copy the past demeans the integrity of the building. In order for a
scheme to be a success, it must rely on a contrasting element in its design. The alternative term, creative
re-use, shows the need for vision and creativity in regeneration of industrial buildings. To reiterate
though, the contrast must be balanced; too much will obscure the character and become too much of a
focus point in itself, while not enough contrast will lead to failure in a mediocre and unoriginal outcome.
Again this shows the importance of a dialogue between the old and new in the scheme. The new and the
old must work together in a positive and complimentary relationship, each enhancing the others merits. If
they work against each other, this will ultimately lead to the scheme’s failure.
The case studies, Halifax’s Dean Clough Mills and New Concordia Wharf in London, further
develop the argument for conversation in design. Dean Clough Mills are most successful in retaining the
character in the areas which require the least intervention, the theatre space and the artists’ studios are
the most successful in character preservation. The cafeteria erases much of the past, in this space there
is no conversation between the old and the new. The office spaces too, remove a reasonably large
amount of the original features, limiting the potential for a dialogue in the space. Dean Clough Mills alone
show the two extremes in adaptive re-use, complete contrast with the old so as to obscure history, and
minimal intervention retaining character as much as possible. The success of the spaces in which minimal
intervention takes place does not justify the conservationists’ belief that spaces should not change in
order to secure their history. Conversation in the building between its past and its present give a much

ii
better insight into the building’s history. By attempting to enhance the character of the old, adaptive re-
use ultimately makes history easier to read for future generations, it enables them to see the building’s life
through time, not just frozen in a specific period. The ideal outcome of adaptive re-use can be better seen
in New Concordia Wharf. The studio apartments examined show a healthier balance of the history of the
building mixing with the modern home interior introduced. They show that when a conversation of time is
taking place in a building, it can be a great success in maintaining history while still introducing the
modern comforts and styles for Twenty First Century life.
Façade retention is a common mistake. Being the aspect of the scheme that most people see, it
is seen as the most important area in which to keep the character, to remind people of the history and
maintain the existing streetscape. Many projects that focus primarily on saving the exterior of the building
fail as adaptive re-use schemes. The buildings were used in history internally as well as externally, to
wipe away the interior is to wipe away much of the basic character. Façade retention not only sacrifices
the character of the building but also the integrity. While Earl argued that to some people façade
retention can make a scheme architecturally exciting (Earl, 1996), many believe that it is not true to the
character of the building and sacrifices the integrity so cannot ever be seen as a successful method in
saving the character of Britain’s industrial architecture.
Adaptive re-use is an indispensable asset to British architecture; it moves us forwards into the
future while ensuring we do not forget our history. Success in this field requires great knowledge of the
buildings of the past, and a sympathetic attitude to the building at the same time as being forward thinking
and inventive. Each building is individual, and requires a unique approach if it is to work. However, it is
important in all schemes that a dialogue is set up between our past and our future, to enable architecture
to speak through the centuries. Adaptive re-use is not an insult to our history, or abuse of our
architectural inheritance, provided that the job is undertaken by experienced architects that have a love
and respect for the buildings, and ensure a conversation is set up between our history and our present.

ii
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