Imprint
The book was prepared at the Faculty of Architecture and Interior Architecture at Hochschule Darmstadt, University of Applied Sciences www.fba.h-da.de Endowed chair CAPAROL Farben Lacke Bautenschutz GmbH and Knauf Gips KG Concept Hedwig Wiedemann-Tokarz, Kerstin Schultz Translation Jörn Frenzel Copy editing Susan James Project management Alexander Felix, Lisa Schulze Production Katja Jaeger Visual Design Peter Dieter, Dorothea Talhof www.formalin.de
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Preface
08 Introduction 10 12 14 18
Qualities Spatial Diversity Form and Texture Colour and Light
20 Spatial Concepts 22 24 28
Structure and Spatial Concept Concepts in Existing Buildings Free-standing Elements
34 Spatial Conditions 36 40 44 50 54 60
Indoor Climate Building and Room Acoustics Reflection and Absorption Daylight Artificial Light, Space, and Colour Integrated Fit-out Systems
62 Material 64 66 68 70 72 76 77 80
Gypsum as Raw & Building Material Materials and Finishes Textures and Ornaments Domes Boards and Preformed Elements Tools Folded and Curved Boards Profiles and Construction Grids
82 Elements of Interior Space 84 92 104 112 122
Wall Finishes Ceiling Finishes Floor Build-ups Wall Planes and Cells Room-in-room Systems
132 Joining, Connecting, and Dividing 134 142
Openings and Doors Joints, Joining, and Connections
148 Appendix 150 152 154 155 156 157 160
Definitions, Measurements Standards and Guidelines Bibliography Addresses Brochures and Fact Sheets Index Photo Credits
Contents
Lightweight structures can be used in various ways as separate spatial volumes, free-standing planes, or claddings – organizing, creating, or dividing spaces. Exhibition stand for Occhio, Light and Building, Frankfurt, Germany, 2010, Drändle 70|30 Corporate Architecture
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Introduction
Automotive light construction, lightweight body with tubular frame, ‘Mille Miglia’ BMW-328-Kamm Racing car, 1939, BMW
The non-load-bearing space creation in buildings using mainly dry materials is referred to as drywall construction or dry lining. This general term refers to various types of construction; it includes boarding and cladding as well as walls, floors, ceilings, slabs, three-dimensional bodies, and room-in-room systems. The available materials, such as wood, gypsum, or metal, and the related processing techniques allow for maximum creative freedom as regards shape and finish. Edged, precisely folded structures are possible, as well as curved free forms, two- or three-dimensional curved surfaces, and delicate millings. Depending on the design concept, the finish can be high-gloss polished, smooth matte, rough, textured, perforated, or bent, or it can bear milled ornaments. These techniques can be used on different substructures suitable to a given situation, thus forming seamless shells and claddings running across all vertical and horizontal surfaces or creating autonomous spatial volumes. Usually, ‘drywall construction’ refers to building with gypsum plasterboard, but in fact a significantly wider range of materials falls under this term. Typically, subconstructions are made of linear elements and define the basic architectural geometry and the visible surface is made of boarding material. Both layers work together to form a rigid self-supporting structure. Most commonly, systems consisting of gypsum board, metal, and mineral fibre and structures of wooden panels are in use. Common to all systems is the use of standardised boards and profiles and the relatively low dead load compared to solid building elements.
This construction method is derived from traditional steel and timber lightweight construction techniques. The first gypsum-based plasterboards were produced in Germany in the 1950s; however, the breakthrough in the construction method did not come until the 1970s and 1980s. Before that, solid construction methods with load-bearing components or timber-framed structures with earth or brick infill had been more common. Lightweight construction can be used in many ways. Floor plan configurations no longer have to be static, as with traditional masonry type partitioning, but can be flexibly adapted to changing space requirements. Dry constructions organise, create, or divide space, and may affect the physical properties and conditions of spaces. Choosing the appropriate board materials, adding layers, and filling the cavities, for example, with insulating materials makes it possible for drywall structures to meet high requirements in fire protection, sound insulation, room acoustics, heat protection, or radiation protection. This applies to the connection of spaces with other spaces and with building services. The rest of this chapter shows the possibilities and advantages of the drywall construction method in terms of flexibility, sustainability, speed, economy, and design aspects.
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Wall Depending on its position in a space, a wall may create a zone, separate functions, or guide users through the space. Cell Walls form new enclosed spaces within the existing fabric. They subdivide a space and influence the component properties. Example: Showroom Kris van Assche, Paris, France, 2013, Ciguë
Light interior fit-out elements form contrasts or additions to the supporting structure and create spaces and atmospheres.
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Addition/Expansion An addition connects to the existing fabric and completes the space beyond the existing building volume.
Solid/Implant Free-standing or added-on volumes create space for additional functions or for building services without interfering with the base of the built fabric. The usable space is extended from within.
Example: Rucksack House, Leipzig, Germany, 2004, Stefan Eberstadt
Example: 2Raumwohnung, Berlin, Germany, 2006, Behles & Jochimsen Architekten
Shell Dry construction shells may follow the contours of the existing fabric or reshape it. They give the room a new plasticity.
Spatial Diversity
Example: Display cases in the Museum Grube Messel, Germany, 2010, Holzer Kobler Architekturen
Room-in-room Systems In spaces with restricted floor plans, room-in-room systems can accommodate auxiliary spaces and building services. As three-dimensional volumes in space, they create complex spatial relationships and structures. Example: Private house, Azeitao, Portugal, 2006, Aires Mateus & Associados
Cladding Introducing new cladding into existing structures can completely change the perception of space. Cladding forms new, independent finishes that may also relate to complex technical or physical building requirements such as room acoustics. Example: Concert Hall, Copenhagen, Denmark, 2009, Ateliers Jean Nouvel
Functional Wall Within the construction plane or in the clearance between the lining and the support structure, cavities are created for niches, fixtures, furniture, or technical infrastructure. 13
Claddings or shells define the visual, three-dimensional and tactile qualities of space. As functional walls they can protrude or step back, integrating fixtures, furnishings, smaller rooms, or functional areas. 1 2 3 4
Elements in use Schematic drawing of doors Schematic drawing of functional shell Elements in half-extracted state 1 2
Example of Functional Shell The three-dimensional shell freely inserted into an available space forms a separate room within the room. The cladding creates a cavity, and flush doors and drawers have been recessed into the surface to accommodate materials and functions. Very narrow backlit joints indicate these openings, hinting at the shape of the objects behind in an abstract way. The plane of this graphical pattern on the wall turns into a three-dimensional composition as soon as the individual furniture objects are opened. Schirnstudio, Frankfurt, Germany, 2012, Meixner SchlĂźter Wendt Architekten
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Free-standing Elements In addition to the contours and geometry of space, threedimensional cladding may also strongly affect the physical room conditions due to its material properties.
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Concert hall, showing services and stage lighting in the gaps Schematic section Concert hall, showing auditorium lighting in the gaps
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Example of Acoustically Effective Shell The concert hall has been completely clad with timber panels, covering all surfaces of the space. Form, structure, and material have been entirely guided by the acoustic requirements of the concert hall. The hall has a long reverberation time because it is designed for operas and concerts. Technical elements such as lighting and ventilation are integrated into the shell. Between the individual scales of this timber skin, LEDs for lighting, ventilation outlets, and any other required technical elements have been accommodated. The individual scales’ finishes remain undisturbed and smooth, thus making the space tangible as a protective shell and reducing the visual distance between audience and orchestra. 1
Festival Hall, Erl, Austria, 2012 Delugan Meissl Associated Architects
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Spatial objects are independent volumes in an existing context. Depending on their position and dimensions, they create new zones or paths and supplement functions or spaces in a compact way. 1
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Contrast between spatial object and existing structure Schematic floor plan Curved form 3
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Example of Spatial Object Erected at the Architecture Biennale, this spatial object playfully blurs the boundaries between wall, floor, and ceiling. The rigid material appears as flexible as a textile, and all areas merge into one flowing form. The spaces created within invite the visitor to explore and observe. The Changing Room, Venice, Italy, 2008, UNStudio
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Example of Spatial Object A former office floor was converted into a doctor’s office. A freestanding spatial object integrates the existing columns. It accommodates all functional areas and necessary technical installations; visitors access the volume via a circumferential path located between the body and the existing building shell. With its carefully executed, rough texture and its colour, the body stands out from the rough, exposed backdrop of the basebuild finishes. Praxis Dr. B, Filderstadt, Germany, 2010, AMUNT architects Martenson and Nagel Theissen
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As a self-supporting structure, the spatial object either integrates or negates the existing load-bearing structure. It remains within the constraints of the floor plates and outer shell — or it penetrates both as an autonomous ‘implant’. Depending on the design concept, spatial objects may assume the geometry of the existing fabric or adopt completely free forms.
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1 Contrast between spatial object and existing structure 2 Schematic floor plan 3 Recesses in the volume create counters
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Types of absorbers 1 Porous absorbers: foam material, acoustic boards, carpet, mineral wool, textiles 2 Resonance-type absorber with insulated or non-insulated cavity 3 Perforated absorber 4 Helmholtz resonator 1
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The degree of surface absorption influences the perception of room size and room atmosphere. Absorbent Materials Porous materials absorb the sound pressure. This means that the sound energy is turned into mechanical deformations or movements in the material and thus converted into frictional heat. The acoustic absorption depends on mass, weight, surface condition of the material, and frequency. The absorption capacity for a given frequency is referred to as sound absorption coefficient α. It ranges between the values of α = 0 for total reflection and α = 1 for total absorption. The technical specifications for acoustic products list the specific absorption coefficients. Most of these data are based on measurements performed in a laboratory according to DIN EN ISO 354 (international standard measurement of sound absorption in a reverberation room). Absorbent surfaces reduce the reverberation. Room acoustics can be specifically controlled by the surface area and arrangement of the absorbing and reflecting surfaces. Humans also act as an absorber for the medium and high frequencies. Planners need to consider that excessive attenuation of a space — as by sound-absorbing ceiling systems, carpeting, upholstered seating, and an audience — will greatly impair speech intelligibility and clarity.
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Porous Absorbers The properties of an absorber depend on the composition of the material and its thickness. The optimal absorption of porous materials or acoustic panels at a certain frequency depends on overall aperture area and perforation size. A large proportion of small holes is favourable for the absorption of higher frequencies, because of the smaller wavelengths. Most often, absorbent materials in the form of boards, plaster, or meshes are applied directly to the wall surfaces. If these surfaces do not suffice, baffles or other three-dimensional shapes may increase the surface area, and thus the overall effectiveness. Resonance-type Sound Absorbers Panel absorbers or resonance absorbers follow the principle of the spring-mass system. They are usually made of flexible panels, mounted at a distance from the wall. As a result, fully sealed or partially open cavities are formed, in which the air absorbs the energy of the sound waves. They are particularly effective with regard to the long sound waves in the lower frequency range. The maximum absorption can be specifically adjusted to a particular frequency range by variation of the distance to the wall, the size and spacing of the board perforations, and the sound insulation. A special form of the panel resonator is the Helmholtz resonator; the air behind the ‘bottleneck’ acts here as a ‘spring’, transforming sound energy into friction. In its smallest form, the Helmholtz resonator can also consist of the perforation holes in acoustic panels.
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Absorbers in a room a Baffles b Acoustic ceiling c Wall panels d Wall covering e Carpet f Curtain g Absorbing pinboard h Sound diffusing sail i Acoustic plaster
3 Absorbent materials 1 Melamine resin foam 2 Perforated gypsum plasterboards 3 Milled pattern 4 Slotted wood veneer board 5 Dyed wood-wool panels 6 Textile absorbent panel, smocked felt, Anne Kyyrö Quinn 7 Textile absorbent panel, folded felt, Anne Kyyrö Quinn 8 Acoustic ceiling with baffles, Chamber of Commerce, Hamburg, 2014, Johann von Mansberg and Hörter + Trautmann Architekten 9 Acoustic plaster
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Artificial light can amplify or entirely distort the spatial impression. 1 2
Interaction of space object and light objects Office, Amsterdam, Netherlands, i29 Interior Architects Highlight producing precisely drawn shadows LebenAusGestorben, exhibition for the 100th anniversary, Waldfriedhof Darmstadt, Germany, 2014, Implementation: Jule Bierlein, Frank Jochem, Yordanka Malinova, h_da, in cooperation with Theater Transit
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Artificial Light Artificial light fulfills a strongly creative function, besides having to compensate for the lack of natural light in buildings and providing acceptable illumination levels for the task at hand. In contrast to daylight, illumination, direction, and light colour are precisely defined and controllable. Strategically placed lighting provides focal points and spatial highlights, which is especially important in retail settings. Luminaries, as lighting objects, can enter into a dialogue with the fixtures and furniture in a space. Side-lighting causes static shadows and highlights the threedimensionality of finishes and objects. Soft, diffused light, however, can blur the defining edges of a room. The combination of various separately operable lighting circuits may create lighting scenarios, which will affect room ambiance or even completely alter the impression of space.
values above 80 CRI providing good colour rendering. Coloured artificial light, however, may also be used deliberately to unsettle the viewer’s expectations and to distort the colour reproduction intentionally.
Artificial Light and Colour Rendering The quality of colour reproduction depends to a large degree on the light source. The colour temperature of light is measured in degrees Kelvin. The red-orange-yellow light spectrum ranging from about 1500–3300 K is perceived as pleasant; the range of 3300–5000 K is perceived as neutral white light, that is, as the typical artificial lighting; and the cold blue light range of about 5000–9000 K is similar to zenith light. Depending on the colour of light, each lamp can be assigned a colour rendering index CRI in the range of 1–100, with all
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Artificial Light, Space, and Colour
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Example of Distorted Colour Perception Caused by Lighting Objects made of armouring irons representing border fences on blue sand are placed in a white room. The fading light colour of the backing walls constantly changes the colour of the objects in the room completely, reversing brightness and darkness; the blue colour turns green against the yellow light and almost black against the red light. The viewer can no longer safely classify whether the visible colour is the material colour or light colour.
Light colour white — material colours are visible. Light colour magenta — blue is amplified. Light colour yellow — blue appears as green. Light colour red — blue appears as black. Optical distortion of the tunnel’s dimensions through colour and light Schematic floor plan showing real dimensions
Pavilion of the Republic of Kosovo: ‘Speculating on the Blue’, Venice Biennale 2015, Venice, Italy, Flaka Haliti
Example of Modified Spatial Impression Caused by Lighting A long underground passage is structured by the use of coloured surfaces and coloured light. Although the individual coloured areas have significantly different lengths in plan, they appear similar in perspective view, thus seemingly to shorten the space a great deal. Coloured ceiling panels used in conjunction with coloured light create planar stretches of space varied by asymmetrically arranged typefaces. Hence, visitors have the impression of passing through coloured portals, which are partly generated by mirroring and reflection. Redesigned pedestrian tunnel between Alice-Hospital and Children’s Hospital Darmstadt, Germany, 2015, Implementation: Natascha Roth, Hochschule Darmstadt
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Gypsum-based materials are characterised by a versatile appearance and a wide range of applications. 1 2 3 4 5 6 7 8 9 10 11 12
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Moulded, solid colour plaster relief Milled relief, gypsum fibreboard Gypsum fibreboard with milling for underfloor heating Plasterboard stack Moulded plaster relief Patterns of different perforations and reliefs Gypsum perforated board Coated wall Structured plaster Embossed and coloured plaster Textured plaster Dyed acoustic plaster
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Material
All the spatial concepts featured here can be implemented with just a few basic materials. Usually, a formative and loadbearing substructure made of timber or metal is covered with one or more layers of timber or plasterboard. These layers stiffen the structure, and the top layer also forms the visible finish — similar to a skin. Depending on the specific use, the range of featured materials further includes metal, glass, and plastics. Additional layers of insulation or special board materials improve the physical properties of the structures. These boards are each manufactured for specific conditions; for example, cement-bonded panels are for use in humid conditions, particularly heavy boards for sound insulation, or boards with enclosed PCM particles for thermal mass. The rest of this chapter provides an overview of the usual finishing and building materials in drywall construction and the techniques for processing and treatment, as well as the range of applications.
Gypsum-based materials develop their specific materiality and appearance only through particular finishing techniques. Depending on the processing and treatment of the material, it can appear shiny and glossy, reflective, or dull/matte and earthy. When selecting the finish and materials, it must be considered whether an area is viewed up close or from a distance, what kind of atmosphere the room should have, and what sense of scale is to be generated. In addition, the characteristics of the materials are highly variable with respect to their properties in terms of building physics. The combined effects of reflection behaviour, room acoustics, and thermal performance determine our haptic or tactile and other sensory perceptions. Thus, materiality, structure, and texture have direct impact on our comfort. In this interplay of all elements, each must be able to develop its specific qualities and create a concerted, greater whole.
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Gypsum has been used as wall plaster or stucco for centuries and is, therefore, part of our cultural heritage.
Gypsum Gypsum-based building materials have been used as a mortar for masonry since ancient times. In the Middle Ages, they often served as a binding agent for screeds. Later on, the material’s malleability for use in moulding, carving, or layering became highly valued. In Baroque times, bold, improvised stucco ornaments blurred the boundary between heavy solid elements and immaterial-seeming floating structures. In interior building, plaster is used in many different forms: in its powdered form mixed with additives and water it becomes anhydrite screed. In moist form, stucco or plaster are both highly malleable; industrial products include boards and prefabricated building elements for dry use.
Gypsum cycle
Raw gypsum Ca [SO4] · 2H2O
During setting/hardening, the gypsum slurry crystallises with the water, releasing heat energy in the process Ca [SO4] · 2H2O + n - 1½H2O
Gypsum is dehydrated by burning Ca [SO4] · ½H2O + 1½H2O The result is stucco (calcium sulphate hemihydrate) Ca [SO4] · ½H2O
When mixing, water is added again Ca [SO4] · ½H2O + nH2O
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Raw Material and Building Material The great plastic malleability of gypsum is based on its chemical composition. Mined natural gypsum is a compound of calcium sulphate and water; it is also found as anhydrite, which is formed by intense heat and pressure. The occurrence of gypsum is relatively common. Depending on the geological conditions, gypsum is mined in open pits or underground. Today, more than half of processed pure gypsum is produced in flue gas desulphurisation (FGD) units. Both natural and industrially produced gypsum is characterised by full recyclability and absence of pollutants. In order to further process raw gypsum and turn it into a building material, it must be crushed and dehydrated by burning. The temperature during the firing process can be adjusted to influence strength and setting time, producing gypsum with specific properties for various applications, such as stucco, gypsum plaster, or plaster for board materials. As a building material, gypsum is mixed with water and then hardens in the air, with thermal energy being released and the excess mixing water evaporating. During setting, gypsum crystallises to take on the desired shape without shrinking. This process can be reversed as often as desired; hence, gypsum can also be recovered from construction waste. Specialised recycling companies process this waste to produce new gypsum. Interior Building Material Due to its capacity for repeated absorption and release of water, gypsum as a building material has a positive effect on indoor climate. The material absorbs moisture from the air into its pores and subsequently releases it. However, plaster is not suitable for areas that are always damp or humid, since constant exposure to water dissolves the material. In addition to its capacity to absorb and release moisture, gypsum building material has good strength and low thermal conductivity. Due to the chemical properties of gypsum, all board types are non-combustible — the stored water of crystallisation is released in the event of fire and prevents rapid and excessive overheating of the back of the panel. The high number of macro pores in the boards has a regulating effect on room climate due to rapid vapour absorption and release.
Gypsum as Raw & Building Material
Raw gypsum
Gypsum binders for direct application or further processing
Direct on-site application
Further processing
Factory-mixed gypsum plasters
Gypsum plaster for special purposes
Prefabricated elements, e.g.
Gypsum building plaster Gypsum-based building plaster Gypsum-lime building plaster Lightweight gypsum building plaster Lightweight gypsum-based building plaster Lightweight gypsum-lime building plaster Gypsum plaster with enhanced surface hardness
Gypsum plaster for fibrous plasterwork Gypsum mortar Acoustic plaster Thermal insulation plaster Fire protection plaster Thin-coat plaster, finishing product
Gypsum building boards Gypsum wallboards Fibrous gypsum products Gypsum elements for suspended ceilings Gypsum fibreboard
Gypsum-based Building Materials
Gypsum as raw material 1 Anhydride Ca [SO4] — without crystal water 2 Anhydride mining below ground 3 Burnt gypsum: gypsum powder 4 Gypsum mining in a quarry 5 FGD (flue gas desulphurised) gypsum
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Depending on the radius, linear curved plasterboard shapes can be bent either wet or dry. Curved Shapes In their dry state, gypsum boards can be bent only up to a radius of 1000 mm without breakage. Smaller radii down to 300 mm are bent wet. Due to their longitudinal edge forms and the direction of the fibres in the cardboard, the panels can only be bent in a longitudinal direction, and must be cut and added onto if geometrically required. Depending on the bending radius, both systems can be used in combination. To stabilise the form, two layers of boards with staggered joints should be used. The visible side can be located both inside and outside. So-called formable gypsum boards at a thickness of only 6.5 mm are particularly suitable.
are attached to a form and fixed. After drying, the panel retains its shape and can be mounted on the supporting framework. Changes in form can be achieved by repeating the process. Dry Bending For larger radii, dry boards can be fixed to a supporting framework of flexible or preformed profiles running in a transverse direction. For smaller bending radii, the panels must be prepared by being incised at close intervals. Careful subsequent filling and skimming creates a smooth surface.
Wet Bending This method involves the manufacturing of curved panels across a form prior to installation. The boards are first perforated on the side to be inside the radius with a needle roller, and then repeatedly wetted until the plate is saturated and excess water drains off. Following a short exposure time, the plates
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Schematic diagram for bending techniques 3 Wet bending Board 6.5 mm; r > 300 mm Board 9.5 mm; r > 500 mm Board 12.5 mm; r > 1000 mm 4 Dry bending with small radius For dry bending with large radius see picture 7 this page. Board 6.5 mm; r > 1000 mm Board 9.5 mm; r > 2000 mm Board 12.5 mm; r > 2750 mm
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Variations, Bending 1 Sinus profile as substructure for horizontally curved walls with additional straight, vertical studs 2 Curved profiles as substructure for vertically curved walls; to be combined with additional straight, horizontal profiles 5 Slit board is bent and fixed to substructure 6 Filling 7 Dry bending, large radius 8 Dry bending, dome shape
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The shape, structure, and materiality of the ceiling determine the ambiance and sound of a space to a significant degree. Ceiling Claddings As it is largely undisturbed by fixtures and furnishings, the ceiling surface forms the largest contiguous area of a room. The integration of lighting and other technical installations is of fundamental importance because of their prominent appearance. With a high enough ceiling, it is possible to hide all installations in the void between the structural ceiling and the suspended ceiling. Suspended ceiling systems can vary in design and appearance from smooth simple elements to three-dimensional objects, folded patterns, or microstructures; they shape the space fundamentally. Depending on the type, the ceiling itself can provide fire protection, radiation protection, or soundproofing; it can also serve as a lighting element and improve acoustics. A distinction is made between ceiling claddings that are directly affixed to the soffit, suspended ceilings, and selfsupporting systems. The selection of the appropriate system follows geometric, design, and technical considerations. The substructure usually consists of a grid of crossed profiles or battens that are suspended from or mounted directly to the soffit. With low suspension height, the profiles of the substructure can be arranged at the same height level. Seamless Ceilings Seamless ceilings consist of a planked substructure with joints that are filled and smoothly skimmed. They either have a smooth surface or are pre-perforated to improve room acoustics. The folding and bending techniques described in the previous chapter make a virtually unlimited range of shapes possible. The use of boards with special characteristics allows the production of fire-rated or soundproof ceilings and ceilings
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Grid Ceilings Grid ceiling systems with individual removable ceiling panels placed in a substructure allow access to the ceiling void for maintenance purposes or for retrofitting. The latter is of particularly great importance in rooms with high technical requirements, such as offices and laboratories. In the simplest case, the substructure that the boards are laid into remains exposed as a grid. If only the joints between the panels are supposed to be visible, they are inserted with an overlap. Besides the common panel sizes of 60 × 60 cm or 62.5 × 62.5 cm, other grid dimensions can be produced. The specifications of the substructure and the panels depend on the vendor. In order to facilitate the adaptation of the grid to edges of a room or to irregular space geometries, it is possible to create solid borders or fringes around the perimeter. Ceilings tiles are often made of mineral fibre sheets, since they provide good sound absorbing properties. Another possibility is the incorporation of metal cassettes. These are more robust and ensure frequent maintenance and revision.
Ceiling as spatial shell Ceiling cornice Ceiling panel
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with radiation protection; they can also be used as thermal mass when the appropriate materials are incorporated. If the ceiling shell is supposed to trace the shape of the room, the substructure (battens or slats) is mounted directly to the soffit, in a fashion similar to the previously introduced wall linings. A ceiling design that describes a free form or a void calls for a suspended ceiling.
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Ceiling Finishes 1 2 3 4
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The open ceiling made from individual sheets improves room acoustics, creates a concealed installation void, and provides indirect lighting through the gaps. Galerie des Galeries, Paris, France, 2007, Pascal Grasso Architectures Cornice framing the historical ribbed ceiling, Offices Dancie Perugini Ware Public Relations, Houston, USA, 2015 MaRS Formation of a light cove, Apartment Sabottka, Berlin, Germany, 2012, Thomas Krรถger Architekt LED backlit joints emphasize the geometry of triangular ceiling elements. Emperor UA Cinema Sparks, Foshan, China, 2014, OFT Interiors
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Closed ceilings may expose selected areas of the existing ceiling. Detail section II Ceiling cladding with universal brackets, low ceiling void
Detail section I Simple ceiling cladding Dry lining 1 2
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Substructure of wooden battens Universal bracket
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Wall connection without joint, no fire rating Wall connection with shadow gap, no fire rating
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Detail section III Ceiling cladding with Nonius hangers Wall connection without joint, vertical flexible connection, with backing to achieve fire rating Wall connection with shadow gap, no fire rating
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a Soffit b Substructure of timber, laths, and bearings 50 × 30 mm, directly fixed to soffit c Gypsum plasterboard d Framing metal, fixed directly to soffit with clips
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a Soffit b Framing metal, base profile/support profile CD 60/27, directly fixed to soffit with universal brackets c Plasterboard d Perimeter profile for easy assembly e Shadow gap profile
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a Soffit b Substructure metal, base profile/support profile CD 60/27, Nonius hangers c Plasterboard d Perimeter profile CD 60/27, fixed with angle bracket e Board strips, 100 mm minimum f Perimeter profile UD 28/27 g Edge trim Deliberately positioned, lighted cut-outs in the smooth suspended ceiling provide views of the soffit above; the suspended ceiling contains downlights, plus an air-conditioning and installation void. Artis Capital Management, San Francisco, USA, 2009, Rottet Studio
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Metal-coffered ceiling Foyer, Silver Tower, Frankfurt, Germany, 2011, Schneider + Schumacher
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Detail section I Coffered ceiling, visible profiles
Detail section II Coffered ceiling, concealed profiles
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Universal bracket Quick hanger Metal ceiling panels laid on framing 4
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Detail section III Post cap ceiling
Universal bracket Quick hanger Metal ceiling panels, Clip-in system
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a Soffit b Framing, Nonius hanger c Mineral fibre ceiling panel, laid on framing d Mineral fibre ceiling panel with groove for profile e Metal panel laid on framing f Metal panel with perimeter grove clip-in systems g Main runner (Post Cap) h Drywall without soundproofing requirements
Tile ceilings and grid ceilings offer easy access to the ceiling void. 97
Individual spatial objects can subdivide rooms, while providing highly functional space.
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Schematic axonometric view of room-in-room system Room-in-room setting as exhibition architecture Exhibition ‘Der Schatten der Avantgarde’, Folkwang Museum, Essen, Germany, 2015, Hermann Czech
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Example of Spatial Object Colours, smooth and rough surfaces, and built-in booths and counters combine to form a complex, multifunctional, and exciting object. Praxis Dr. B, Filderstadt, Germany, 2010, AMUNT Architekten Martenson und Nagel Theissen
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Differentiated elaboration of spatial object Schematic plan
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A free-standing spatial object on a vacant office floor accommodates all functions of a medical practice in one large structure. Detail sections 3 4 5 6
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Parapet with skylight Sliding door with skylight Door in wall with rough surface Recessed seating area
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Drywall with gypsum plasterboard Flush timber skirting Floating cementitious screed (installed after walls) Perimeter insulation strip Skylight glazing 10 mm, toughened glass or laminated safety glass
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L-Section aluminium 12 × 65 × 2 mm L-Section aluminium 30 × 40 × 2 mm Glass fixing L-Profile 20 × 80 × 2 mm Sprayed plaster, acoustic rough finish Sliding door fixing: L-Profile steel 60 × 60 × 5 mm
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Guide rail for sliding door Door leaf of sliding door Sound insulation door, timber Steel slim line door frame without face 42 mm multiplex as substructure for seating 12.5 mm gypsum plasterboard 9 mm gypsum plasterboard
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Example of Functional Elements Three bodies of different sizes have been placed into the space and separated from floor and ceiling by light gaps. They accommodate the reception, the waiting room, and the change-rooms. Radiology practice FR32, Kinderzentrum Friedrichstadt hospital, Dresden, Germany, 2009, STELLWERK architekten 1 2 3 4
Architectural objects in the space Schematic plan Detail section, spatial object with cabinet 1:25 Detail section, spatial object with counter 1:25
In the foyer of a medical practice, each of the three curved elements carries a different function. h
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b c a Drywall with two layers of gypsum plasterboard b Body: base formed from aluminium profiles with double-layer plasterboard c Independent wall lining foms light gap at base and top, depth 10 cm d LED light strip e Built-in cabinet f MDF facing for cabinet doors, colour-coated g Maritime pine backing for securing the cabinets h Suspended ceiling with one layer of gypsum plasterboard i Wall connects with shadow gap j Downlight k MDF counter, colour-coated l Recessed skirting
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Example of Folded Architectural Sculpture The shape of the stand has been derived from a folded ribbon. It forms a covered workshop area and evolves into a tunnellike space which provides exhibition areas for material samples and work pieces. The exhibition stand shows drywall construction from the raw skeleton to completion. Here, the raw and unfinished is on an equal footing with high precision and accurate detailing. Exhibition stand Phantasiewelten, FAF Kรถln, Germany, 2013, Hochschule Darmstadt and Plasterer Master Class in Heilbronn, Planning: Vera Burbulla, Isabel Vรถlker, Katrin Walter
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Schematic plan Exhibition stand with work counter and exhibition tunnel Assembling exhibition stand Schematic drawing of light gap below counter Schematic drawing of indirect lighting for exhibition area Schematic drawing, base of inclined wall
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A precisely folded ribbon becomes a spatial walk-in structure. 129