In Praise of Ruins

SUMMARY

The aim of this essay is to establish whether or not old architecture (ruins in particular)
should play an active part in the development of new architecture. The theoretical study that
forms the base of the essay is a chapter of John Ruskins Seven Lamps of Architecture, The
Lamp of Memory. By analysing it, I hope to gain a better understanding of our attitude
towards old buildings and of the ethical aspects that come to play within the field of
restoration. Furthermore, through an interpretation of the Lamp of Memory, I will question
what would constitute the most suitable future for our ruins. The emphasis will be on
debating whether or not restoration should be seen as the most definite form of destruction.
The building chosen to either challenge or support Ruskins aversion towards restoration is
Astley Castle, completed in 2012 by Witherford Watson Mann Architects. Their award-
winning proposal had as a starting point the ruin of a medieval fortified manor, destroyed by
fire in 1978 and neglected for three more decades. The choice of topic was highly influenced
by my current design project, which deals with the relationship between new and old, while
trying to integrate the damaged remains of two listed buildings. The conclusion will be
multifaceted, in conformity with Ruskins beliefs in some aspects, yet against them in others.
The final discussion will revolve around the benefits of restoration, as well as on the many
opportunities of encountering innovation where one would least expect it, - in the old.
INTRODUCTION The appeal of old buildings

Why do we love old buildings? Why do we think so highly of something that was perhaps
seen as ordinary back in its day? Maybe their romantic nature stimulates personal, emotional
associations or perhaps we are drawn to the stories behind them. It might be that their appeal
is the mere product of our yearning for a glorified past. Be that as it may, old buildings
represent living testimonies of our life on earth, giving us a chance to experience times gone
by. As students of architecture, the love towards old buildings can often turn into a guilty
pleasure. We are always trying to produce new, ground-breaking architecture and thus, we
begin to think that our time and effort is not worth being spent on anything that has already
been made. Old architecture turns into an obstacle in the way of progress, stifling the
designers creativity. It is not uncommon to believe that working with historical fabric does
not qualify as design, but as a simple set of restoration techniques. To me, this assumption is
not only prejudiced, but also flawed. A brief look at the great number of projects that deal
with new and old teaches us that the process of adding (), grafting, inserting (and)
knitting into the existing built fabric1 can be stimulating, challenging and a considerable
source of innovation. Therefore, instead of supressing our interest in old architecture, let us
explore and embrace it.
THEORY Introducing John Ruskins Lamp of Memory

John Ruskin states in the Lamp of Memory that one may live without architecture, but they
cannot remember without it.2 While the pages of history remain cold and devoid of any
imagery, the sight of a few remaining stones that have defied the passing of time speaks
volumes. Ruskin argues that just as we have an interest in understanding our past, we should
1 Francoise Astorg Bollack, Old Buildings New Forms New Directions in
Architectural Transformation, (New York: The Monacelli Press, 2013).
also aim to be remembered by the generations to follow. In other words, architecture has the
power to project the present into the future and should thus be made historical and
preserved as such.3 To Ruskin, there is no greater harm than to build for one generation
only. We must value our houses as if they were temples and leave them as legacy to our
children, lest our time on earth should escape their memory. Whatever we build, we should
assume we build forever, for indeed the greatest glory of a building is not in its stones, nor
in its gold. Its glory is in its Age ()4.
Ruskin gives perhaps the most comprehensive explanation to the appeal of old buildings. For
him, it is in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay,
even of approval or condemnation, which we feel in walls that have long been washed by the
passing waves of humanity.5 The ephemeral nature of all things is challenged by the long
lasting presence of these historical walls, as they connect various eras to one another. Ruskin
believes that a building becomes truly valuable only after it has witnessed true suffering and
its pillars rise out of the shadows of death6. Therefore, instead of designing for ageless
perfection, we should acknowledge the beauty of surfaces that bear the marks and scars of
time.
Most of the buildings we produce nowadays do not incorporate this dimension of time. They
fail to understand that the patina of wear and age, visible in some architectural materials, is
essential in appreciating the story of their roots and the history of human use.7 Even though
we dream of shiny, cutting-edge futures, we are still fascinated with the sight of old buildings
falling into decay. While history teaches us that entire civilizations can disappear in the blink
of an eye, ruins remain as bridges that restore the continuity of time. For centuries, our lust
for decay has been apparent, from Piranesis imagery of the ruins of Rome, to John Soanes
visualisation of his newly completed Bank of England as future ruin. We have seen buildings
on the brink of collapse preserved as monuments, rebuilt or simply demolished. However,
which of these types of intervention is the most appropriate when it comes to assessing the
future of the ruin? Furthermore, are we even entitled to make this decision?

2 John Ruskin, The Seven Lamps of Architecture, 4th edn., (Orpington: George
Allen, 1883), p. 178.

3 John Ruskin, The Seven Lamps of Architecture, 4th edn., (Orpington: George
Allen, 1883), p. 178.

4 Ibid., p. 186.

5 Ibid., p. 187.

6 Ibid., p. 187.

7 Juhani Pallasmaa, The Eyes of the Skin, 3rd edn., (Chichester: Wiley-Academy,
2012).
 8 9

According to Ruskin, the concept of restoration represents the most absolute form of
destruction a building can endure. Such is the devastation brought about by restoration, that
nothing can be recovered after it. Trying to reinstate the lost fabric of a ruin is just as
impossible as raising someone from the dead.10 One may attempt to copy what went missing,
but the spirit of the building is tempered with and thus destroyed forever. When it comes to
ruins, Ruskin is adamant that we have no right whatsoever to touch them11, as they do not
belong to us. Their ownership is split between those who built them and all the future
generations of mankind. The death of those who laboured for their completion does not
diminish their absolute right over them. Ruskin acknowledges that sometimes restoration
might prove to be necessary, but he prefers to see it as a necessity for destruction. Accept it
as such, pull the building down, throw its stones into neglected corners, make ballast of them,
or mortar, if you will; but do it honestly, and do not set up a Lie in their place.12
PERSONAL INVOLVEMENT WITH THE TOPIC Questioning Ruskins theory

Whether or not destruction is the most fitting future for our ruins is debatable. Ruskins
categorical beliefs have nonetheless haunted me throughout the development of my current
design project. My scheme strongly mediates old and new by aiming to integrate the ruins of
two medieval churches, bombed during the Bristol Blitz and forgotten ever since. Once the
primary focal points of Bristols medieval heart, these two churches are now consumed by
dereliction, utterly blinded and silenced. Their current state denies any access to the very few
people who would want to know their story. Many, perhaps too consumed by the hustle and
bustle of everyday life, simply fail to acknowledge their presence. Therefore, I cannot help
but wonder, if the appeal of old buildings lies in their ability to convey stories of the past,
how are these two particular ruins enabled to do so? Is it truly nobler to leave them

8 Giovanni Battista Piranesi, Avanzo del Tempio della Speranza Vecchia,

<http://www.wikiart.org>

9 Joseph Gandy, Soanes Bank of England as a Ruin, <

10 John Ruskin, The Seven Lamps of Architecture, 4th edn., (Orpington: George
Allen, 1883), p. 194.

11 Ibid., p. 197.

12 Ibid., p. 196.
untouched, or should we try our best to give them back the voice that was ruthlessly taken
away?
PRACTICE Astley Castle

13 14

With the prospect of finding an answer, I have chosen to look closely into a specific project
that tackled the challenge of re-inhabiting a ruin. Witherford Watson Mann Architects
renovation of Astley Castle was highly acclaimed in the world of architecture, receiving the
UKs most prestigious distinction, the RIBA Stirling Prize in 2013. The ruin they dealt with,
located in Nuneaton, Warwickshire, has a particularly violent history, being destroyed by fire
in 1978. The fortified, moated manor was the home of Lady Jane Grey, the nine-day queen of
England. After being passed through the hands of several noble families, the building turned
into a rather dreary hotel after the Second World War. Its downfall into the state of ruin was
accelerated by the mysterious fire that consumed its roof in the 70s. Although regarded as a
Scheduled Ancient Monument and listed Grade II, three more decades of freeze-thaw and
vandalism continued to degrade its already scarred remains. 15

13 Astley Castle completed, < http://www.landmarktrust.org.uk/our-

landmarks/properties/astley-castle-683#tabs=Overview>

14 Astley Castle as ruin, <

http://www.napierandco.com/wpimages/wp022f1c23_05_00.jpg>

15 Joseph Rykwert, Quiet Interventions in Architects Journal, (July 5, 2012),

https://goo.gl/sq5xR0, [accessed 8 May 2016].
 16

Whether or not the original building was ever an outstanding piece of architecture is hard to
say. Perhaps it was its regrettable fate that gave it a higher power both architecturally and
visually. Time the destroyer was a good architect, bringing light and creating long views
out.17 When Witherford Watson Mann were commissioned by The Landmark Trust to turn it
into one of their residences, the odds of its redemption seemed slim. The architects
understood the necessity of striking the perfect balance between simply restoring it and
leaving it as a crippled, romantic artefact. We re-established a kind of wholeness, making it
stable, binding it together; but we retained a feeling of incompleteness, leaving it porous, its
wounds still open.18 The buildings boundaries had already been blurred by ruination.
Therefore, the architects chose to create an inside-out enclosure, by focusing the
accommodation within the original Norman core, while leaving the 17th century additions as
open courtyards. These are perhaps the most powerful spaces with their ceiling made of
clouds and the original window shutters still decomposing. The sun traces its way across the
paved floor, while the old fireplace adds to the whole theatrical ambience.

16 Astley Castle Evolution through Centuries, < http://www.architectural-

review.com/Pictures/web/y/d/y/diagrams_zoom_0_380.jpg>

17 Project Astley Castle, (competitionline, 2016),

<https://www.competitionline.com/en/projects/51919/from/post/73041>,
[accessed 8 May 2016].

18 Ibid.
 19 20

The new residence is also upside-down, in terms of the distribution of accommodation. All
bedrooms and secondary spaces are on the ground floor, while the living room is on the top
floor, to benefit from better views towards the surrounding English countryside. The greatest
challenge was to make everything stable, but before any physical work could be carried
through, they needed to understand the ruin. Their award-winning concept was the result of
careful surveying of the historical walls, in spite of the complex issue of gaining safe access
to all parts of the ruin. We never went down the <touch it delicately> route. We went into
this ruin and pushed it strongly.21

22 23

19 Courtyard, http://listedbuildingsurveys.co.uk/wp-
content/uploads/DSCN8355.jpg

20 Courtyard, https://s-media-cache-
ak0.pinimg.com/originals/7e/cb/38/7ecb38d32461d9c3f717cceb648fdd7f.jpg

21 Pamela Buxton, How they Kept the Keep, in RIBAJ, (1 September 2013),
https://www.ribaj.com/buildings/how-they-kept-the-keep, [accessed 8 May 2016].

22 Ruin of Astley Castle, http://www.napierandco.com/astleygallery.html

23 Astley Castle completed, http://www.domusnova.com/gfx/ul/blog/Astley-

Castle-70-0.jpg?width=482&crop=auto
Stabilizing the existing fabric without causing any further damage was no easy task, but
Cintec drilling achieved an almost invisible repair. After the restoration and stabilisation
processes ended, the remains formed a structure of two halves. In order to bind them together,
the architects proposed two massive, steel reinforced, T-shaped concrete lintels, the heaviest
one weighing five tons. They described the construction of the new brick walls as trying to
find an order where there appeared to be none.24 Every intervention had to take up the uneven
and fractured profiles of the existing walls. The choice of materials did not only have to be
sympathetic to what was already built, but also needed to accommodate this lack of straight
edges and alignment. The chosen brick is 30 mm thin, making it easier to follow the
jaggedness as tightly as possible. Its softened, pinkish-grey colour does not intend to blend
with the existing reddish sandstone, but rather contrast and complement it.

24 Negotiating the ruin: The Story of Stirling Prize winning Astley Castle in
drawings, in The Architectural Review, (25 February 2014), <
http://www.architectural-review.com/archive/negotiating-the-ruin-the-story-of-
stirling-prize-winning-astley-castle-in-drawings/8658413.fullarticle> [accessed 9
May 2016].
 25 26

Once the walls were completed, they could finally support their new glued laminated timber
roof. Timber was also used for any partition walls, floors and stairs, adding warmth to the
domestic spaces. During their years of neglect, the historical walls got considerably wet and
therefore, terracotta tiles were introduced at the junction between masonry and timber, lest
there should be any residual moisture to dry off over time.
Witherford Watson Mann treated the project with surgical precision, highlighting the essential
while disposing of the incidental.27 Their intervention could be summarized as a new core

25 Exploded axonometric, personal drawing

26 Interior quality and materiality, photos from <

http://www.landmarktrust.org.uk/our-landmarks/properties/astley-castle-
683#tabs=Overview>,
http://www.williamanelay.co.uk/image/cache/data/Astley/Picture2-940x500.png,
http://www.dezeen.com/2013/07/20/astley-castle-renovationby-witherford-
watson-mann/

27 Joseph Rykwert, Quiet Interventions in Architects Journal, (July 5, 2012),

https://goo.gl/sq5xR0, [accessed 8 May 2016].
embedded within a perforated framework. The resulting weaving of old and new elements
makes it impossible to picture them without one another ever again.
From a personal point of view, Astley Castle fully deserves the acclaim it received after
completion and should pave the way for all architects working in the field of conservation.
Although the architects managed to save some of that romance of the ruin, the existing
elements play an active part in making the building work and to me, this is what sets it apart
from the majority of adaptive re-use projects. They approached the ruin without obsessing
about modernity and I believe this is what enabled their success. The appeal of Astley Castle
comes from allowing a bit of uncertainty as to what was there before and what was added
later.
THEORY VS PRACTICE How do they respond to one another?

Going back to Ruskins definition of restoration as a complete lie, a dreadful attempt of

copying something that used to be, I believe that too many architects are afraid to challenge
that. As a consequence, in the majority of cases, whenever someone chooses to build in the
proximity of a historical structure, their main preoccupation is to make as clear of a
distinction as possible between the old and the new. This turns into an obsession with
constantly juxtaposing the old with high-tech steel and glass detailing28, to avoid any claims
that what they are trying to achieve is dishonest, or as Ruskin would put it, a lie. At the other
end of the spectrum, Witherford Watson Mann chose to approach this with no unnecessary
acrobatics, ending up with a richly layered, understated intervention. Consequently, I believe
not many would disagree that the proposal at Astley Castle constitutes an exquisite piece of
architecture. Nevertheless, this alone cannot comprise an argument to Ruskins theory about
tempering with ruins. In other words, did the existing structure really belong to the Landmark
Trust and were they actually entitled to pass it into the talented hands of WWM? If we were
to take Ruskins words literally, it probably belonged to its original architect and to all the
generations to come and its restoration also meant its final destruction. Would it have been
better off as a ruin, then?
DEBATE AND PERSONAL POINT OF VIEW

Just as many others, I find myself captivated by the aesthetics of decay. Being within a ruin is
an otherworldly experience that has no equal. When we first discover a place, it is in our
nature to seek orientation. To do so, we rely on our body as a constant and we experience
everything in relation to it. We situate ourselves either inside or outside of spaces, constantly
seeking boundaries to dictate our every movement. Being inside conjures up feelings of
protection and security, while being outside does the complete opposite. Therefore, ruins
challenge everything we are used to when it comes to experiencing space. Boundaries are
softened and the security of being contained is replaced with uncertainty and exposure. In this
ever changing world, we seek for permanence and, in most cases, we find it within our
homes, which represent the invariable centre of our existence.29 Just as Ruskin, we also

28 Edwin Heathcote, Stirling shortlist: Astley Castle by Witherford Watson Mann,

in Architects Journal, (20 September, 2013),
http://www.architectsjournal.co.uk/buildings/stirling-shortlist-astley-castle-by-
witherford-watson-mann/8653305.article, [accessed 9 May 2016].
expect our buildings to be permanent, to some extent. Hence, experiencing a ruin shakes this
idea to the core, as it is constantly decomposing and all we encounter is discontinuity.
These are just a few of the many reasons why ruins are fascinating and any further discussion
could easily form the content of another essay. To cut things short, we can conclude that ruins
are indeed mysterious and poetic establishments. Even so, we cannot deny that they are never
the natural state for a building. Any construction is made with a purpose, be it social,
spiritual, cultural, etc. A building in ruin fails to accomplish its original purpose and thus, to
me, it stops being a building. Only through restoration can it regain a scope, even if that
means that it will never be the same, but rather turn into a new building, in a new time and
with a new spirit. But what if the purpose of ruins is simply to take us back to certain
moments in time? This might not be the purpose they were intended with, but it is a purpose
nonetheless. I believe that ruins achieve quite the opposite, making history ambiguous and
distorting the frontiers between different timescales. Whenever we return to a ruin, we feel
that, as it decomposes, it keeps forgetting us. In my opinion, ruins should be seen as resources
and, if done properly, they should be adapted and reused. By doing so, we get the chance of
enjoying them not as detached and unattainable objects, but as active and essential buildings
of the present.
Needless to say, the way in which this is achieved is of utmost importance. Of course, not all
interventions are going to be as considerate and careful as the one at Astley Castle. This is
only one of the many ways in which the architecture of transformation can happen. Author
Francoise Astorg Bollack speaks about the myriad of possibilities that arise from working
with existing structures in her book, Old Buildings, New Forms. She proves that an
addition to the old does not necessarily have to be polite or discrete in order to be successful.
On the contrary, the new can often wrap around the old, insert into it or even act as a parasite
that simply attached itself to the latter.

29 Dr. Dylan Trigg, Architecture and Nostalgia in the Age of Ruin, (University of
Sussex, 15 January, 2010), p. 2.

30 Santa Caterina Market, EMBT Associated Architects http://barcelona-

home.com/blog/wp-content/upload/2013/11/santa-catarina-market.jpg ; Higgins
Hall Pratt Institute, Steven Holl Architect
http://1.bp.blogspot.com/_291uGw41Ne8/S3uYiKmTV0I/AAAAAAAAA5A/gz6tyidH
1j8/s640/Steven+Holl+[Higgins+Hall]+01.jpg ; S(ch)austall (Showroom), FNP
Architekten, http://www.apartmenttherapy.com/schaustall-by-fnp-architekten-
89439 ; Sharp Center for Design, Alsop Architects in association with Robbie,
Young + Wright Architects, http://www.pcl.com/Projects-that-
Inspire/Pages/Ontario-College-of-Art-Design-Sharp-Centre-for-Design.aspx
Regardless of the category they fall into, each restoration project needs to first and foremost
make sense of what the old wants. Often, the existing structure can prove unyielding and
seems to have a life of its own. The most thoughtful interventions are the ones that manage to
overcome the limitations imposed by the old. In this case, these limitations are not to be seen
in a derogatory way, but rather as yet another challenging layer of the whole design process.
CONCLUSION

In conclusion, Ruskin is right in many ways. He is right to declare that a buildings age is of
great value. He is right to expect that our buildings aim for permanence and incorporate the
dimension of time. His belief that restoration drastically changes the spirit of the ruin is
perfectly valid. However, I cannot agree with accepting destruction as the only moral future
for old architecture. To me, there is something utterly immoral about remaining indifferent
and watching as these remnants of the past fall into oblivion. I believe that, in some way, a
part of them does belong to us and it is our responsibility to ensure that, as Ruskin himself
would want, as many generations as possible get the chance to see and appreciate them. In
my opinion, the ruin of Astley Castle was in no way impaired by its restoration. On the
contrary, it had only to benefit from being preserved as a vital element that enables the
existence of a new building. The residence is fully booked for a couple of years in advance
and a great number of people have chosen it as the backdrop to their most special moments,
such as weddings or anniversaries. Thus, the old manor continues to fulfil its purpose of
being a building and of capturing new memories and stories.
BIBLIOGRAPHY

Astorg Bollack, Francoise, Old Buildings New Forms New Directions in Architectural
Transformation, (New York: The Monacelli Press, 2013)
Buxton, Pamela, How they Kept the Keep, in RIBAJ, (1 September 2013),
https://www.ribaj.com/buildings/how-they-kept-the-keep, [accessed 8 May 2016]
Heathcote, Edwin, Stirling shortlist: Astley Castle by Witherford Watson Mann, in
Architects Journal, (20 September, 2013),
http://www.architectsjournal.co.uk/buildings/stirling-shortlist-astley-castle-by-witherford-
watson-mann/8653305.article, [accessed 9 May 2016]
Negotiating the ruin: The Story of Stirling Prize winning Astley Castle in drawings, in The
Architectural Review, (25 February 2014), < http://www.architectural-
review.com/archive/negotiating-the-ruin-the-story-of-stirling-prize-winning-astley-castle-in-
drawings/8658413.fullarticle> [accessed 9 May 2016]
Pallasmaa, Juhani, The Eyes of the Skin, 3rd edn., (Chichester: Wiley-Academy, 2012)
Project Astley Castle, (competitionline, 2016),
<https://www.competitionline.com/en/projects/51919/from/post/73041>, [accessed 8 May
2016]
Ruskin, John, The Seven Lamps of Architecture, 4th edn., (Orpington: George Allen, 1883),
pp. 176-198
Rykwert, Joseph Quiet Interventions in Architects Journal, (July 5, 2012),
https://goo.gl/sq5xR0, [accessed 8 May 2016]
Trigg, Dylan, Architecture and Nostalgia in the Age of Ruin, (University of Sussex, 15
January, 2010), p. 2
Trigg, Dylan, The Aesthetics of Decay Nothingness, Nostalgia, and the Absence of Reason,
(New York: Peter Lang Publishing, 2006, 2009)