This research aims to reveal and explore the commonalities and differences in the definition of interventions on built heritage between theory and practice, using new aspects—cultural values and attributes of cultural significance—to support the definition process. A comparative approach is employed to discuss how different interventions are defined in international doctrines and applied in a local project, including stakeholders’ perspectives.

International organizations have adopted doctrinal documents that promote best practices in heritage management. However, these doctrines are difficult to compare and apply. Due to the lack of alignment in definitions between doctrines and the lack of research on how cultural values and attributes of cultural significance influence the definition of interventions.

In filling these gaps, the main research question was asked: What are the trends of interventions and their definitions under the influence of cultural significance, as scoped by international doctrines between theory and practice? The research utilized theoretical frameworks on cultural values and attributes and analyzed documents and interview transcripts from the National Gallery Singapore.

The main findings indicate the diversity in defining interventions at the international level. Values play a dynamic role in shaping intervention definitions, whereas attributes influence them in a hierarchical pattern. At the local level, stakeholders' perspectives on definitions are shaped by the local context and a mindset of "practicality." This research concludes that Singapore follows international trends while locally customizing and evolving its definitions. This research proposes a possible novel approach to defining interventions in built heritage that bridges theory and practice.
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The former site of Kloos Kinderdijk in Alblasserdam is transformed into a mixed-use area, combining housing, recreation, retail and public outdoor space. The aim is to create a liveable environment for the residents, the neighbours and visitors. The transformation combines the translation of the heritage values, the social needs of Alblasserdam and spatial improvements.

Centrality denotes areas within a city that serve as pivotal hubs of social, economic, and political activity, transcending geography to symbolize authority, influence, and resource concentration. This concept is both cognitive, involving a comprehensive perception of reality, and social, encompassing the amalgamation of assets and activities. Centrality thus represents a fusion of diverse elements.
The new Baggerarea in Sliedrecht has been remodelled with small interventions to enhance its social and cultural significance. A key change is opening the inner dyke to pedestrians, reclaiming it as public property akin to the old dyke. New functions include an inner-making street in the Rotterdam Steelworks BV shipyard, featuring a Box in Box system accessible from both ends of the dyke. Additionally, the old Dredging Museum and its extension have been transformed into a hotel. The Wow-Keet will be cladded with wood and repurposed as a pavilion for relaxation and coffee.
Mirroring architectural heritage can generate meaningful urban interventions, enriching collective memory. This approach is embodied in the New NBM (Nationaal Bagger Museum), incorporating distinctive elements from Sliedrecht, such as glass-stained windows above entrances and steel columns in the Van Eijck hall. Inspired by monumental buildings like the old and reformed churches, the town hall, and old dredging contractor houses, as well as the shape of old dredging ships, these elements coalesce into the New NBM’s design, preserving and enhancing the area’s historical essence and to also enhance its social and cultural significance.

On the periphery of a dike, a maritime industrial area between Alblasserdam and Kinderdijk in the Netherlands, a former windmill and ship manufacturer operated during the 19th and 20th centuries. This narrow 250-meter-long hall, known as Kloos Kinderdijk, is defined by its spectacular length and characterised by its spacious and light atmosphere. It is situated between two contrasting Dutch landscapes: on one side, the typical sophisticated, delicate, horizontal polder landscape with UNESCO World Heritage windmills at Kinderdijk; and on the other side, the robust river landscape, once pivotal for the maritime industry and still significant today. Kloos is one of the few remaining shipyards. However, not for long as Kloos is now waiting to be demolished. With the demolition of this building, the last visible maritime-industrial remnant will be lost.

Maritime-industrial heritage is in danger of being lost. It is crucial to transform these sites with a reinterpretation towards the future. This research is a new way of thinking about heritage and moves away from conservative preservation methods. It illustrates how undervalued buildings can be saved, reinterpreted for future significance, and thereby gain visibility by adding value through a more radical architectural adaptive-reuse approach.

In the case of Kloos Kinderdijk, the area has struggled with water issues for years, and these problems are expected to worsen due to rising sea levels. Therefore, Kloos' design involved building a floating volume above the existing. This floating volume is flood-resistant, maintains the spatial openness of the polder landscape, and offers panoramic views of both the polder and river landscape. The construction of the floating volume radically breaks through the existing structure, to enhance the building's visibility from the river landscape.

This thesis explores the intersection between Soviet ideals and their manifestation in the urban planning of utopian projects, with a focus on Magnitogorsk—a city emblematic of the Soviet Union's quest to materialize its revolutionary dreams into concrete reality. Soviet ambitions in urban planning were often characterized as overreaching, with numerous visionary projects remaining unrealized due to their impracticality. Yet, these unrealized plans have left a significant mark on global urbanism, offering insights into the aspirations and ideological dogmas of the seized-to-exist state. This study examines the defining characteristics and principles of socialism as applied to urban design, delving into the common belief that sought to reshape cities in accordance with collectivist and egalitarian doctrines.
Moreover, the thesis investigates the influence of major Western urban models—namely the Garden City, the Linear City, and the Radial City—on the planning of Magnitogorsk, revealing a complex synthesis of foreign concepts with Soviet visions. This research uncovers how these Western models were adapted, adopted, or transformed to align with the Soviet ideology, thereby contributing to the creation of the Soviet dream city - at least on paper. The overarching question it addresses is: How Western models facilitate the embodiment of Soviet ideals in the urban plans of Magnitogorsk, and what does this synthesis reveal about the pursuit of the Soviet utopian city?

This study explores the potential application of architectural considerations from three Dominican priories—St. Dominic Church, Sainte-Marie de La Tourette, and the Dominican Motherhouse— emphasising their reflection of divine transcendence as a design narrative for the adaptive reuse of St. Dominic Church to multifunctional Art Complex Het Steiger. St. Dominic Churchʼs introverted design offers opportunities for reinterpretation, emphasising hierarchy and contemplative qualities. Sainte-Marie de La Touretteʼs mystical themes suggest diverse lighting interventions and preserving a mystical atmosphere in Het Steiger. The Dominican Motherhouse poses challenges regarding user groups, spatial hierarchies, and integrating circulation and exhibition spaces in Het Steigerʼs redesign. These priories contribute nuanced design strategies, offering valuable considerations for Het Steigerʼs transformation into a harmonious coexistence of existing and new architectural layers.

This paper is aimed at investigating the design of care homes for independent elderly people within a former church building. With the growing vacancy rate of churches, the aim of this research is to see if they can complement the housing need present among the elderly. In the Netherlands, a quarter of all religious buildings have already been transformed into a new function at this moment in time, which will only increase over the years3. In the case of elderly housing, this percentage doesn’t go above four per cent of the total transformations4. This article reveals the reasons why care isn’t at this moment of time appealing to host in a former church, as well as the design strategies that can be followed in order to make care functions more attractive to facilitate within a church. In addition, I also believe that the social character of the church can contribute to facilitating care facilities. This is due to the church already having a social role in society which can be complemented by taking care into consideration. Therefore, I would like to explore what we as architects can do with these buildings to provide the elderly with sufficient living space where they can live the rest of their lives and where their mental well-being is stimulated.

National Monument Christus Triumfator church in Bezuidenhout, the Hague was designed by the team D.S.B.V. under Geert Drexhage in 1959-1962, however, among three churches under Drexhage's, only Christus Triumfator church survives in the secularization and shrinking religious community in the Netherlands. The design of Christus Triumfator church reflects a time of Dutch postwar modern architectural profession shifting into a capitalized environment, confrontation between new theories and old tradition, group standardized design for mass clients, and cooperations of professional consultants. The research aims to point out the linkages between Christus Triumfator church and its postwar modern architectural theories and traditions background for a redesign proposal.

For a contemporary redesign and intervention to respond to that from the 1960s, one of the subjects is to treat carefully in the sequence, space order, and materiality in the Christus Triumfator church by understanding the facts and meanings behind, and another one is to react to the mass production pattern matured in the era. A new zero-waste design challenge might be to set away from the producing loop, reduce and revital the form to that just meet the need, and reclaim from the past production in a tengible or intangible way that triggers reflections of the past and the future.

Brutalist buildings have, until recently, been loved by few. As a result, many Brutalist buildings have fallen into disrepair, and some have even been demolished. Nowadays, many suggestions are made about how these brutalist buildings can be restored and future-proofed. This research looks at Brutalist buildings that have been transformed since their construction to ensure their survival. This will provide the inspiration needed for future renovations of brutalist buildings.

The main research question of this thesis is: “How did brutalist buildings adapt after being built over time?”. Using the Aula of the TU Delft as the case study project, this question is answered. The Aula by Van den Broek en Bakema, a Dutch architecture firm, since its completion has seen two major renovations. Once in 1991 by Evert Kleijer, and later by Mecanoo in 1998. These two alterations vary in size, impact, and success, which makes it a perfect project to analyse.

These alterations have had an impact on the brutalist essence of the building. The first one altered the exterior view, but through the usage of similar materials, and gravitating towards original design ideas, had minimal negative impact on the brutalist feeling of the Aula. The second alteration, on the other hand, destroyed key design concepts in the interior whilst also clashing with the original materials, shapes, and construction methods and caused major damage to the brutalist essence of the building. The research highlights the importance of respecting the original design concepts and the essence of a building when making alterations.

The misguided idea of permanence in architecture has proven to be an illusion (Brand, 1994; Ford, 1997). Present-day solutions such as the adaptive and circular design of buildings strive to enable frequent changes in buildings to satisfy the needs of users in our transient society. However, this challenges the idea of permanence in architecture, a concept that people profoundly believe in (Ford, 1997).
By outlining the new notion of permanence as identified by Katrina Touw (2006) and the principles of adaptable and circular design as identified in recent literature studies (Asker et al., 2021; Hamida et al., 2022). Then establishing a framework which shows the relation between the two topics used to evaluate five case studies. This thesis seeks to identify if the new approach to building design strives to achieve permanence and in what way.
We can conclude that by thinking about the inherent value of the building at its end-of-life whether it be to maintain, reuse, recycle, or repurpose, the stakeholders involved in the design process actively engage in achieving permanence.

Churches are one of the most important features of the Dutch townscape. They were the cultural hub of the town for a long time. The 20th century marked the start of a societal change: ontkerkelijking. More and more churches are becoming vacant in the Netherlands and Belgium. These buildings can be reused, and the past can help us. The research question is as follows: “How have churches been reused in the past 30 years in the Netherlands and Belgium?”.
This question will be answered by analysing five case studies in the Netherlands and Belgium. First, the history and the new design of the churches will be introduced. Then, a short history of restoration and conservation will be given. The five adaptive reuse approaches, as composed by Plevoets & Van Cleempoel (2019), will be discussed. These approaches will be linked to the case studies. Lastly, a spatial analysis of the case studies will be done. These analyses show that churches with a new social function tend to be designed with a circular approach and have kept more of the spatial qualities of the original church building. However, all case studies have been designed with the history of the building in mind.

This study analyses the visual identity of Riga as a port city through the examination of postcards from the early 20th century to current times. The study draws on a collection of over 130 postcards and examples of modern port photography, which were analyzed using a combination of visual analysis and contextual research. The results reveal a number of recurring visual motifs in the postcards, including images of ships, wharves, and industrial infrastructure, as well as more romanticized depictions of Riga’s waterfront and skyline. Overall, the study suggests that Riga’s visual identity as a port city was shaped by a complex interplay of industrialization, modernization, and cultural heritage. The findings have implications for our understanding of Riga’s history and identity, as well as for the broader study of port cities and their visual representations.

The architectural evolution of the Romanian coast after WWII saw brand new developments, fuelled by the need to create a profitable touristic industry, that is promoted locally and internationally, painting a picture of the progress and success of the socialist society. Tourists from all over Europe are known to have passed through these resorts. The initial development plan focused on health and treatment facilities, similar to other countries in the Soviet sphere, built on modernist urban principles, proposing a new relationship between public architecture and the natural environment. For most people, the bohemian resorts have lost their fascination and elegance, but still hold a dear place in their hearts, for others, they represent a communist reminder that needs to be erased.

The paper reflects upon the coastline’s relationship to water, landscape and its surroundings. A critical evaluation of the coastline architecture is undertaken, initially from an ideological and political point of view, followed by an architectural one, discussing the solutions, concepts and overall contextual approach over the frontier area. The tourism-related establishments thoroughly encapsulate social and political success, as well as an architectural significance, justifying their resurrection and relevance on the Romanian coastline, even in contemporary times.

The thesis is diving into the search for the Romanian identity in architecture and at the end of the 19th century. Did the New Style that emerged from it capture the spirit and adapt to the new times?

The design of embassies is a highly sensitive and important challenge. Two case studies of Dutch embassies in Africa designed by Dutch architects are chosen to investigate the way local conditions influence the design of Dutch
purpose-built embassies on other continents. A literature study was performed to compare the two case studies on three aspects: how the designs deal with local culture, climate and architecture. Data was analysed in the form of texts, drawings and photos. The results showed that both case studies dealt with the local conditions in a very similar way in all three aspects. The results could serve as a toolbox for designers without experience in the design of a building in another continent.

The Old Pinakothek, with its progressive concept, became a model for many 19th -century museums. Completed in 1846, by Leo von Klenze, the structure was severely damaged post-war. Its first restoration plans included a complete tear-down and a new master plan. Hans Döllgast fought for its preservation and state of history, adding a method of plain textured exposed brickwork as a commitment to the present, consequently giving rise to a new perspective of ruin conservation. Creative approaches of re-constitution that involve analyzing a monumental space and its history with a focus on reconstruction that is strategic, have brought a shift in the way one can approach architecture since the 1890s. The unconventional philosophy and strategic craftsmanship serve as an inventory of practices that have inspired architecture in Berlin and across Europe today.

Keywords: Modern restoration, Creative re-building, Analytical futures, Alte Pinakothek, Repair, Craftsmanship

Since the beginning of the twentieth century modernistic movements gained influence in architecture and also in church architecture. Specified on protestant churches, we find that a church is a really special building. The design as to be serving the congregation, so they can serve their God. But the design also has to say something to the world. The question is if the charachteristics of modern architecture are capable of doing all this. A theoretical study will first show what modern architecture is, with its charachteristics. Than it will explain what a protestant church building should be. FInally it will show, by using two casestudies, that this combination is a struggle. Their characteristics are too contradicting to have both fully come to their own.

With the increasingly urban nature of global conflict, the preservation and renewal of damaged heritage have become central challenges in architectural discourse and practice. Many discussions about the reuse of ‘found’ heritage in urban contexts have emerged in post-war economies. The reconstruction of European cities after the Second World War continues to serve as a reference point in this debate. The large scale of devastation in German cities has provided historical points of comparison in approaches to conservation. This research investigates how the concept of continuity and relation to heritage is expressed as a pioneering method to restore monuments in contemporary architecture. The Alte Pinakothek, located in the Kunstareal area of Munich, is used as a primary case study for the investigation of this restoration ideology. The Old Pinakothek, with its progressive concept, became a model for many 19th-century museums. Completed in 1846 by Leo von Klenze, the structure was severely damaged during the Second World War. Its initial restoration plans included a complete tear-down of the original structure and the creation of a new master plan. Hans Döllgast, the architect responsible for its restoration, fought for the preservation of the Alte Pinakothek and its historical state by incorporating an effective gesture of reconstruction. He modeled the theory of continuity into practice. This paper examines his restoration ideology and key techniques involved in ruin conservation. Creative approaches to reconstitution, involving the analysis of a monumental space and its history with a focus on strategic reconstruction, have brought a shift in architectural approaches since the 1890s. The unconventional philosophy and strategic craftsmanship serve as an inventory of practices that have inspired architecture in Berlin and across Europe today.

Le Corbusier had a big influence on architecture with his modernistic approach and style. A big inspiration for him was the car and how they were mass produced and standardized, initiated by Henry Ford with the Model T. Inspiration of car design can be seen in his architectural approach and designs. This fascination led to him entering an automotive design competition with his cousin, creating his own ideal car design; the Voiture Minimum (Lorenzo, 2011).
There has been a lot of research into the career of Le Corbusier. The main reason being his big architectural influence through his revolutionary style and modernistic principles. However, the Voiture Minimum has not seen any of the same success and amount of publications. In Contrary to the opinion of Le Corbusier, is it mostly seen as only a small footnote to his career. With this thesis, my goal is to connect his architecture and car design and try to understand how his revolutionary architectural vision influenced his automotive design.
To do this, firstly there is an introduction an explanation on why Le Corbusier was interested in cars, to create a base understanding of his fascination with them. After that his architectural vision will be summarized and compiled using his book “Vers une Architecture”. Then the Voiture Minimum is being introduced, after which the design approach he took for the Voiture Minimum is analysed and compared to his architectural design approach of the time.
After this comparison of Le Corbusier’s architectural vision and his automotive design, many direct similarities have be found. These similarities that have been highlighted by this analysis lead to the conclusion that Le Corbusier’s architectural vision and knowledge directly influenced and guided his automotive design.

SuperDutch is a movement defined in the 1980’s in the Netherlands as the means through which the country was placed back into internatioal discourses, being marked by architectural innovations and the rediscovery of Dutch national identity. At first sight, the buildings of this period appear to be formed upon the foundation of globalization and Neomodernism and not on the organic evolution of Dutch traditional architecture, in contrast to the suggestion that the name Super”Dutch” gives. Hence, this paper investigates the physical and ideological relationship between the Dutch historical architecture and the new development of the SuperDutch to find their common essence. The goal is to find which of the elements of the architecture of the past are still identifiable in the buildings and concepts of the SuperDutch by presenting an overview of the evolution of Dutch traditional architecture from the 16th until the 20th century and its relation to the movement through literature research and a critical analysis on visual media from the period mentioned.