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Review of Architecture and Construction Details · Lighting and Interiors · Vol. 2016 · 4
∂ Review of Architecture Vol. 4, 2016 • Lighting and Interiors Editorial office: E-mail: redaktion@detail.de Tel.: +49 (0) 89 38 16 20-57 Christian Schittich (editor-in-chief, (V. i. S. d. P.), Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Julia Liese, Michaela Linder, Thomas Madlener, Emilia Margaretha, Peter Popp, Maria Remter, Jakob Schoof, Edith Walter, Heide Wessely Christa Schicker (freelance assistants) Dejanira Ornelas Bitterer, Marion Griese, Emese M. Köszegi, Simon Kramer (drawings) Editorial team DETAIL product information: Tim Westphal (manager), Hildegard Wänger, Jenny Clay Tel.: +49 (0)89-38 16 20-0 Elise Feiersinger (pp. 328 – 392); Marc Selway (pp. 394 –421) (English translations) Advertising: E-mail: anzeigen@detail.de Tel.: +49 (0) 89-38 16 20-48 Advertisement Sales Representative Cézanne Sales Services Denise Cézanne-Güttich Rotdornstr. 2 D–41352 Korschenbroich T: +49 (0)2182 578 39 73 F: +49 (0)2182 578 39 75 M: +49 (0)172 821 0095 E: dcg_detail@cezannesales.com Distribution and marketing: E-mail: mail@detail.de Tel.: +49 (0) 89-38 16 20-0 Subscription contact and customer service: Vertriebsunion Meynen Grosse Hub 10 65344 Eltville, Germany E-mail: detailabo@vertriebsunion.de Tel.: +49 (0) 61-23 92 38-211 Fax: +49 (0) 61-23 92 38-212 Publisher and editorial office: Institut für internationale ArchitekturDokumentation GmbH & Co. KG Hackerbrücke 6 80335 Munich Germany Tel.: +49 (0) 89-38 16 20-0 Fax: +49 (0) 89-39 86 70 www.detail.de/english
Discussion 328 Editorial 330 From Lighting Technology to Lighting Design Christian Bartenbach
Reports 336 The Broad in Los Angeles – Streamlined Facades for a Slower-paced City Frank Kaltenbach 340 Books, Exhibitions
Documentation 342 Residence in Ljubljana OFIS arhitekti, Ljubljana 348 Refurbishment of a Former Farmstead in Munich Peter Haimerl Architektur, Munich 353 Shop in Kuala Lumpur Russell & George, Melbourne 356 Pre-school in Bludenz Bernardo Bader Architekten, Dornbirn 360 University Library in Taipei Toyo Ito & Associates Architects, Tokyo 366 Transfer Terminal at Arnhem’s Central Train Station UNStudio, Amsterdam 371 Memorial Museum in Mons Atelier d’architecture Pierre Hebbelinck – Pierre de Wit, Liège 376 Timmerhuis in Rotterdam OMA, Rotterdam, Reinier de Graaf
Technology 386 LED Technology – From Indicator Lamp to Intelligent Lighting Uwe Slabke
Products 394 Special – Salone del Mobile, Milan 404 Lights and Lighting 408 Interior Walls, Ceilings and Acoustics 414 Flooring 418 CAD, Software and BIM 422 Service 428 Persons and organizations involved in the planning • Contractors and suppliers 430 Programme • Photo credits • Editorial and publishing data
Editorial Toyo Ito, who is nearing seventy-five, continues to reinvent himself. An attempt to identify resemblances in his buildings, even in just two of them, would likely be in vain. The common thread running through nearly all of his designs, however, is poise. This he combines with an inclination to do away with the distinction between indoors and outdoors – or at least to blur it. At a university library in Taipei, the irregularly placed mushroom columns stand on both sides of the library’s pared-down glazed skin (see. pp. 360). Filtered daylight enters the library space through glazed openings between the parasol-like supports, making the silhouettes of the roof structure – which brings to mind a small wood – appear indistinct. Perhaps it is this quality of light that endows the space with a special atmosphere. Daylight also plays an important role in an expressive transfer terminal at the new train station in Arnhem (see pp. 366). Carefully positioned skylights direct it deep into the interior, but also supply views outward, helping passengers to orient themselves. A pre-school in Bludenz, a town in western Austria, by Bernardo Bader (see pp. 356) and a residence in Ljubljana, Slovenia, by Ofis arhitekti (see. pp. 342) are, in contrast, characterised by thoroughly considered details and carefully selected surface materials. Both projects adeptly call attention to the contrast between the warmth of wood and exposed concrete. A shop in Kuala Lampur by Russell & George (see pp. 353) employs white to intimate luxury. The bright lighting and the slender cross-sections of the spatial screen obscure the contours. Toyo Ito would certainly be pleased. Christian Schittich
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In 1976 Christian Bartenbach established Ingenieurbüro Christian Bartenbach; in 1989 it was renamed Bartenbach LichtLabor, and presently it is named Bartenbach GmbH. His pioneering career has led to numerous inventions in areas such as glare control, daylight control and solar protection systems. In 2003 he initiated the establishment of the Lichtakademie, now known as “Bartenbach academy”.
From Lighting Technology to Lighting Design Christian Bartenbach
What are the main approaches to good lighting planning? What methodology is appropriate to the work? When I began my career in lighting technology more than fifty years ago, I was only interested in the technical and physical aspects. In the mid-twentieth century, measuring and calculating were the predominant activities in the profession. Lux values were the essential benchmarks, as were the simple distribution of light and the highest efficiency, and calculating lighting systems was the “standard setting”. But what is the purpose of these specific values? Were we perhaps approaching the topic from the wrong angle? If we want to understand the fundamentals of
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light and its effects on us, we must direct our attention to the mainspring of every project: the human eye. Progressing from seeing to understanding As visual creatures at the end of the evolutionary chain, we live in a world oriented primarily to sight. About half of all of the sensory input that reaches the brain is visual – says neuroscientist and Nobel Prize-winner Eric Kandel. “Seeing well” is a prerequisite to “recognition”. As research in the Bartenbach Light Laboratory has shown, optimising vision requires the stabilisation of the visual performance for the entire field of vision. The fovea covers 20 per cent. The fo-
vea is the zone we use when we direct our attention to an object and it allows us to see the object in focus. The outer zone of the field of vision, in which the objects we see are out of focus, accounts for the remaining 80 per cent. The co-action and the optimisation of the brightness of the area of focus and the surroundings are dependent on the final state of the adaptation process. The brightness at the object to be focussed on should, as a rule, be greater than the luminance of the surroundings – actually a banal realisation, but such conditions are rarely achieved. Because with regard to the overall visual perception process, next to visual performance, the emotional aspect should also be taken into account, in our research the autonomous, parasympathetic process called heart rate variability (HRV) is ascertained as a criterion for a relaxed state. Increasing heart rate variability signifies relaxation, and diminishing it, excitation. When looking at information-laden surfaces while the colour temperature increases from warmer (2500 degrees Kelvin) to cooler tones (4500 degrees Kelvin), experimentees in the light laboratory experience an increase in relaxation; when the change in temperature is inverted, they experience increased interest in being active. Our research also shows that both the visual performance and the relaxation process can be significantly improved when the materials providing spatial definition have the appropriate surfaces. Even when the brightness of the object to be focused on is the same as in the surrounding zone, vision is influenced by the texture of the materials’ surfaces. A study for museums confirms that the eye must focus longer on objects that have new or high-intensity sensory stimuli, and that for this reason they receive the most attention. At the top of the hierarchy of what attracts our attention is a fellow human being, followed by movement, brightness, contrast, chromaticity and textures. From the “look” to the luminaire To become an image, the visual stimuli received by the eye must undergo mental
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Changi International Airport Terminal 3, Singapore 2007, architects: SOM Reflectors to deflect light into the atrium Genzyme Center, Cambridge MA, USA, 2004 architects: Behnisch Architekten Messe Basel (trade fair), 2013 architects: Herzog & de Meuron
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processes. The more we know about visual perception, the more precisely and objectively we can implement the appearance as intended by the architect. This approach inverts the normal procedure. Normally the luminaire determines the appearance, but here it is the targeted appearance of the room, the user requirements and aesthetic considerations that – via visual perception – underlie the lighting concept. We analyse the targeted appearance with the architects and clients, and then with the aid of visual approximations we develop an initial concept. We simulate visual components in virtual and in physical models and evaluate them: the goal is to arrive at a visual con-
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ception that everyone can understand. The artificial sky, which we built from scratch in 2006, is an important tool. It far surpasses digital visualisation. The dome, which has a diameter of six metres, allows us to regulate luminance distribution and colour temperature. It is also equipped with a mobile artificial sun (ill. 10). So, by placing a model in it we are able to simulate the lighting under every conceivable daylight situation. Not until the image we want to achieve has been articulated can the relationship between luminance, material texture, and illuminance be objectified and translated into luminaires or an entire lighting system.
Distraction caused by glare The aim of physiological processes is to optimise our ability to focus attention. One form of unwanted distraction is glare. This refers not only to lighting systems – they are only one part of our surroundings – but also to all of the surfaces defining a space, above all ceilings and walls whose surfaces (more specifically, their luminance, textures, and colours) have a strong effect on the process of seeing. From the specular louver luminaire to the glare-free LED One path-breaking development was the specular louver luminaire for fluorescent
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lamps, which was developed in 1969 and first employed in the Bayer-Farbwerken, a chemicals factory in Krefeld, Germany. Thanks to its efficiency – only 20 W/m2 at 700 –1000 lux – not only was it possible to reduce consumption of electricity, in cooperation with the climatologist Klaus Daniels, it was also possible to cut back the required air-change rate of the openplan offices from eight changes per hour to three changes per hour. In the field of vision the specular louver luminaire’s antiglare value was 80 –100 cd/m2, while the white louver luminaires that were readily available at the time had a much less favourable efficiency factor of 50 W/m2 and
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an intrinsic luminance of 4000 cd/m2. The advent of computer workstations increased the need to provide glare-free spaces. Thus, despite resistance from the luminaire industry, the specular louver luminaire became the leading product on the market (ill. 4). As next step in the development of the specular louver luminaire, a specular louver ceiling was introduced for open-plan offices, and was later expanded upon in the form of the integrated suspended louver ceiling (ill. 5). At the time, the latter was considered the most progressive system: it incorporated the climate control’s supply and exhaust vents. So-called secondary technology – which is
high efficiency and glare-free – developed in parallel: light emitted from a fluorescent lamp shines upward to the reflector (ill. 6); the inherent brightness of the ceiling system is less than the brightness of the area to be illuminated. Secondary technology was implemented, for example, in rooms in which the automotive industry exhibits its wares, for example, where BMW presents its prototypes. It makes possible a great variety of light and spatial milieus, yet prevents a direct view into the source of light, ensuring that the illuminated objects are the centre of attention. With the projector mirror system we took secondary technology a step further (ill. 11h). The advantage lies in the considerable distance between the primary source of light and the secondary system, or, in other words, the reflectors. It provides glare-free light in large spaces. But the projector mirror system can also be employed for security reasons to brighten zones, for example, circulation spaces. We employed this system in a train station in Lucerne designed by Santiago Calatrava. In the building’s escalator zone we increased the intensity of the ambient lighting five-fold. In the meantime, conventional lamps are increasingly being replaced by LED lamps. But regardless of the technological progress and the many new opportunities that have accompanied it and will continue to do so in the future: LED technology will not have any impact whatsoever on the fundamental requirement that light be glare free – because that is what makes it possible to “see well”. Of course, we lighting planners see advantages and opportunities in the fact that these lamps require so little space. One example of how we try to bring in our experience in making lamps to exploit the potential of LED are the ring lamps that we used, for example, in the Rathaus (city hall) in Kolbermoor, Germany, by Behnisch Architekten, and which we continue to develop (ill. 9). Bringing daylight into the core of the building Much progress has been made in artificial lighting, but there is ultimately no substitute
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ouver luminaire development 1969 L Dresdner Bank 1978, architects: ABB Architekten Development of louver ceiling 1971 Secondary luminaire, Sparkasse Köln 1993 architects: HPP Architekten Daylight control by means of louvers, refurbishment BMW four-cylinder high-rise, Munich 2006 architects: Schweger Architekten Daylight control by means of heliostats and highly reflective facade elements Genzyme Center, Cambridge MA, USA 2004 architects: Behnisch Architekten
for daylight. Back in the early 1980s – taking the design of the Vaucher Residence as point of departure – we began work on systems that are able to provide daylight to workplaces via ceiling reflectors. In 1985, we applied this principle to giant shovelshaped glass deflectors in the multi-storey atrium at Foster’s Hong Kong and Shanghai Bank, and years later, in the kinetic facade of the Soka administration building in Wiesbaden, Germany by Thomas Herzog. In this project, when there is insolation, the individual shovel-shaped deflectors close and act as solar control and direct the required amount of daylight to the reflectors in the offices’ ceilings. The vast glass roof of the Design Center in Linz, Austria, also designed by Thomas Herzog, is one of the best examples of how daylight can be redirected and used without having to fear that the infrared portion and the accompanying glasshouse effect will cause overheating. This was achieved by employing prism grids (situated between glass panes) that are adjusted to the position of the sun: they prevent infrared light form entering the interiors. The dimensions of the roof of Terminal 3 at the Changi International Airport in Singapore, designed by Skidmore Owings Merrill, are even larger: the nine-hectare roof surface employs operable aluminium reflectors situated below the glass roof to direct daylight exactly where one needs it, while protecting the interior from the heat that direct sunlight creates. At night the reflectors diffuse the integrated artificial light; this contributes to an efficient and uniform illumination (ill. 1). At the Genzyme office building in Boston, USA, designed by Behnisch Architekten, several systems were employed at once: heliostats and reflectors on the glass roof, for partial solar reflection, guide daylight into the atrium without the danger that the space might overheat. Interior wall surfaces and parapets of highly reflective materials also contribute to reflecting light to the hall’s floor (ills. 2, 8). In the office zone, the light deflec8 tion occurs via specular reflector louvers
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and highly reflective surfaces mounted on parts of the ceilings. The transparency toward the outdoors is attained by using perforated louvers. The light permeability is sixty per cent, whereby for a maximum load the G-value was reduced to below ten per cent. If desired, higher G-values are admissible. In most cases the aim is uniform, natural light. But by employing reflectors, choreographed lighting effects can also be had. When the sun is shining, a light chimney installed as part of the refurbishment of St. Hedwig, a chapel in Königsbrunn, Germany (architects: Schrammel Architekten), makes it possible to reflect and modulate
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light on to the wooden ceiling – it is an integral component of the artistic concept. By bringing in information from outdoors this measure sets the “sedentary” room in motion – somewhat like a mobile. Daylight control outdoors Daylight control can also be employed outdoors. A skylight system at the trade fair in Basel, a Herzog & de Meuron design, transports light colour and the dynamic quality of the sky through a skylight with a diameter of thirty-eight metres to the underground space in which entrances to the fair and streetcar stops are located. It is known as the City Lounge and is located under the
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Résumé Understanding spaces and the scenarios that take place in them is the prerequisite to the development of a holistic appearance. Light and design must be viewed as one and the same. In the future, lighting planners will increasingly go beyond the application of lighting techniques and they will be lighting designers. That will make lighting design an integral component of architecture.
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building. The combination of a special geometric convexity in the cross-section, materials testing, and empirical model simulations helped us to arrive at a solution in which even when there is harsh sunlight, the customised aluminium louvers and expanded metal screen create glare-free, optimal daylight conditions (with available daylight of 15 to 22 per cent) in the City Lounge (ill. 3). At the recently completed conversion of La Stafa, a former department store on a popular shopping boulevard in Vienna, Austria, into a low-budget design hotel, an arrangement of the hotel rooms in which they face a cylindrical courtyard there was concern that there would be too little daylight available in the rooms. But by sheathing the courtyard’s surfaces in highly reflective stainless steel, sufficient daylight can be reflected six storeys downward. In addition, an increasingly dense pastille texture improves the light distribution through the windows on the lower levels.
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9 L ED ring luminaire with heatsink for the dissipation of thermal energy, secondary system with ca. 3000 lm per luminaire, Bartenbach GmbH 10 Artificial sky, Bartenbach GmbH, Aldrans 11 Various applications of light rays a Junior spotlight b Nautilus spotlight c Lens luminaire d Secondary luminaire e Involute luminaire f Specular louver luminaire g Round luminaire h Projector mirror system i Wall spotlight k Indirect luminaire
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Pre-school in Bludenz Architects: Bernardo Bader Architekten, Dornbirn Team: Joachim Ambrosig (Project architect) Sven Matt Structural engineers: Brugger Ingenieure, Bludenz Others involved in the project: see page 428
This atmosphere of this pre-school on the western edge of Bludenz, Austria, is characterised by a light shade of rough-sawn fir and crisp exposed-concrete surfaces. A skylight above the central hall admits ample daylight, and large windows provide views out to the landscape. Nothing detracts from the “cut” of the rooms: spotlights are positioned flush with the concrete ceiling, and fluorescent tubes between the suspended wood louvers. The indirect light produced by ribbon lighting behind the lockers accentuates the walls. The square floor plan of the two-storey cube also possesses extremely simple geometry. Differentiation is introduced in the form of
two spaces cut out of the cube: they create a sheltered entrance on the northern corner and a loggia facing the garden. Some of the window elements, which are all generously dimensioned, are flush with the inner wall surfaces, while others are set back slightly from the facade; this produces a subtle bas relief in the facade. The outer skin consists of vertical, rough-sawn boards of locally sourced pine; because these trees are small, the facade was divided horizontally. The facade’s structure employs prefabricated wood elements, while the interior consists of load-bearing concrete walls and ceilings. Inside, an atrium leads to the five classroom
modules. Circulation zones on and below the gallery serve as extended play areas. The central element of the hall is a singleflight stair. The relatively thick wood balusters define an edge and offer the required degree of enclosure, yet are spaced far enough apart to allow the children to see out into the atrium. The pre-school is named after the illustrator Susi Weigel, whose work embellishes the glass surfaces of the doors.These are a foil to the restrained aesthetics of the spaces; the round seating pillows in shades of blue and yellow act in concert with her designs. The atmosphere is embellished and enlivened by these colourful, playful elements.
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Site plan scale 1:3000 Section • Layout plans scale 1:500 1 2 3
Entrance Hall Personnel
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Kitchen Terrace Classroom Extra room Building services Storage Active play Void
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100 mm extensive roof vegetation separating layer 50 mm drainage layer 60 mm XPS thermal insulation root-inhibitor membrane bituminous seal 310 –190 mm thermal insulation to falls vapour retarder 300 mm reinforced-concrete slab squared timber framework for suspended ceiling 60/60 mm battens 40/40 mm counterbattens 40 mm acoustic fleece between supporting structure 30/30 mm battened fir ceiling 30 mm channel boarding, pine, vertical 2≈ 60/60 mm battens and counterbattens 10 mm house wrap 20 mm boarding thermal insulation between 260 mm squared timbers 20 mm boarding vapour retarder 80 mm mineral wool thermal insulation between 100 mm squared timbers 20 mm fir wainscoting 20 mm ash parquet 70 mm screed with underfloor heating separating layer 80 mm impact sound insulation 350 mm reinforced-concrete slab handrail: 70/45 mm squared fir, dowelled to baluster baluster: 70/45 mm squared fir, bolted from the back to element of ceiling cladding 150/150/10 mm steel angle ceiling cladding: 30 mm veneer plywood, fir veneer 20 mm ash tread
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Transfer Terminal at Arnhem’s Central Train Station Architects: UNStudio, Amsterdam Team: Ben van Berkel with Arjan Dingsté Structural engineers: BAM Advies & Engineering, ABT, Arup, Amsterdam Others involved in the project: see page 429
www.detail.de Since 1996, UNStudio has been at work ona master plan for the entire district around Arnhem’s central station. By 2020, it is expected that some 110,000 passengers per day will pass through the station. For years the two towers erected in the first phase – one blue and one green – stood isolated, and the parking garage lacked an entrée. In this context, the rounded openings above Willemsplein, an expressway that had just been resituated below grade, and the long roofs above the train platforms were perplexing. With the completion of the 22,000 m2 transfer hall, the architects have inserted the overarching linking element between the different components of this infrastructure pro-
ject. At street level passengers have access to the bus station (for long-distance travel) and the pedestrian tunnel to the train platforms 8 metres above ground level. In the square in front of the station, at 4.40 metres below grade, the bus station (local traffic) docks onto the complex; from here bicyclists head down to the two-storey bike garage, which also accommodates a workshop and a bike-rental shop. The parking garage extends two levels below the bike garage. The spatial arrangement of the transfer hall, but above all, the manner in which the different levels are connected by means of a system of ramps and sloped levels, stems largely from three-dimensional
analyses of passenger flow and sightlines. The daily operation of this ambitious project functions astonishingly smoothly. Because the hall allows an unimpeded view in all directions to the different means of transportation, persons arriving here for the first time quickly get their bearings – even without wayfinding signage. The office towers are visible – even from the underground levels – through expansive glazed skylights, further aiding orientation. The project’s generous scope pivots on the central architectural element, which incorporates load-bearing structure, circulation and lighting: it’s been dubbed The Twist. On the second belowgrade level, this 16-metre-high, double-
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Transfer Terminal at Arnhem’s Central Train Station
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Transfer Terminal at Arnhem’s Central Train Station
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LED Technology – From Indicator Lamp to Intelligent Lighting photons
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How light is produced in an LED lamp Luminaire developed especially for the foyer Approximate values for efficacy and life expectancy of various lamps 4 Flexible floorstanding luminaire for workplace lighting and general lighting 2, 4 First application of LED lamps in a large-scale project: Unilever headquarters in Hamburg 2009, Behnisch Architekten
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Over the course of the last 130 years – if we take into account that, next to daylighting, artificial lighting has become an integral component of interior design and architecture – the development of new lamps has repeatedly had an influence on architecture. The technology behind LED – light-emitting diodes – holds still more major changes in store. On account of the evolution of the filament lamp, the fluorescent lamp and the halogen lamp, which led up to the LED, our way of working with the product “luminaire” will radically change – similar to how the land-line telephone has evolved into the smart phone. The rapid technological development of the LED lamp and the increasing demand
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for it have been accompanied by a drop in price – it is now close to that of conventional lamps. While the technology has long been the standard for event lighting and for special effects, now an increasing number of large office buildings are being completely equipped with LED lamps. The LED lamp is about to make a major breakthrough, also in ambient lighting – and it is driving out all other technologies. For decades, lighting planners and architects have been able to rely on their empirical findings, but they are only just beginning to learn about LED technology. In order to make the most efficient use of it, there is no alternative to becoming acquainted with its
characteristics and coefficients relating, for example, to life cycle, efficacy, coloured light, colour rendering, or luminous flux. Because there is continuous development, these values are dynamic and when viewed in isolation, their significance is limited. When preparing the specifications for a luminaire it should be taken into account that the standards, for example, for overall efficacy, must continually be adjusted to reflect the state of the art. This value has risen from 80 to 140 lm/W in just a few years’ time. LED lamps with more than 200 lm/W are already in use. At present there is no end in sight to the technological developments.
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Approximate values for efficacies (luminous flux per watt) and lifetime efficacy
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These lower prices have been met with a surge in lower-quality products, including untested, unapproved luminaries that laypeople have difficulty telling apart from the higher-quality products. This negative tendency, which first made its appearance in the residential lighting sector has increasingly also affected the industrial lighting sector. To guarantee the success of optimised lighting planning we recommend that the characteristic values on the product data sheets be verified by an independent testing institute. Sustainable – without alternative LED lamps convert considerably more of the fed-in electricity into light than any other relevant lamp technology that has been relevant thus far. This has to do with the physical makeup of LED lamps. Up to now the process involved making a filament (Wolfram) glow so that it emits light. During this process, heat is produced. In the semi-conductor process in LED, electrons encounter holes, and electric energy is transformed via electro-luminescence directly into light (electro magnetic energy). The portion of thermal energy released is still about 50 to 70 per cent (ill. 1). For today’s LED, with one watt, a luminous flux of up to 200 lumens can be produced. That means that the efficacy of a LED is twenty times greater than that of the filament lamp and twice as great as the T5-fluorescent tubes (ill. 3). They have a lifetime of up to twenty-five years, which translates into additional savings, because as a rule there is no need to replace an LED luminaire. The European Union has already done away with the filament lamp, and beginning in September 2018, the halogen lamp will also be prohibited. As a result the variety on offer will be further reduced. The sales figures for the energy-saving lamp, also known as compact fluorescent lamp (CFL), are declining rapidly, because, among other reasons, environmental protectionists have called attention to the fact that they 4 contain mercury, which is highly toxic and
therefore has come under the scrutiny of consumers. Transitional solution: retrofitting The luminaire industry has adjusted to this change: in many cases, LED luminaries make up 50 per cent of their revenue. Some have reorganised and now only carry LED luminaries. Because lighting is a mass product, there are a large number of new companies that want to position themselves. On the other hand, the market for conventional lamps and sockets continues to shrink and is being kept afloat for the meantime by retrofit lamps (ill. 8). Retrofit lamps are LED lamps with a conventional socket for fila-
ment or energy-saving lamps (E27, E14) or halogen lamps (GU 10, GU5.3, G9). Dimmable versions are also available. But using an LED retrofit lamp as a replacement means that the character of the light emitted from it will change. When space available for the lamp is particularly tight, the high luminous flux of 1000 lm of a halogen spotlight (GU5.3, M16) cannot yet be achieved by means of LED retrofit products. Moreover, in historical contexts, when LED lamps replace other types, a reinterpretation of the lighting mood originally intended must be undertaken. When considering whether retrofitting with LED lamps is economical, a comparison of wattage is still ill-suited be-
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Special – Salone del Mobile, Milan
Off-the-wall designs
Comfort with style marks key theme of collection
Lettera G plays with unusual ideas, shapes, colours and materials to redesign and reinvent living spaces in its collection of furnishing accessories, shown at the Milan Design Week. The Moodern stacking chair in a range of bright colours reinterprets the vintage look by using the same colour for the seat and back, in frosted matt acrylic with polished edge, and for the lacquered metal legs, creating a monochromatic effect.
Held annually in Milan, the international furniture exhibition Salone del Mobile is the biggest trade fair of its type and at this year’s show in April Italian company Flou presented examples of its comprehensive furniture and accessories collection for living and sleeping areas, which is dedicated to comfort and wellness and created by well-known designers.
The Dandy umbrella stand is composed of two interlocking acrylic modules, finished with a steel spring, to light up rainy days in transparent shades of sage green, light blue, amber and violet. Seen below is the wall-mounted version of Bookshape, part of a wide range of bookcases designed to offer flexible storage in the contemporary environment. It is available in an all-white opaque metal version and in white metal with wooden supports. Other sizes include freestanding versions of 58 and 31 cm in width, both with 10 cm deep shelves and standing 198 cm tall. ¥ Lettera G srl Italy � +39 (0)39 64 79 16 www.letterag.it
The curve of an aeroplane wing was the inspiration for Carlo Colombo’s Softwing collection of armchair, pouffe and LED lamp. connected by common features: a soft fold, gentle roundness and an elegant curve. The armchair, in the roomset above and featured below, right comes with a high or low backrest and an outer shell in walnut, ebony or matte or polished larch that wraps around the upholstered area. The fabric or leather covers are completely removable. The Softwing lamp, which can be seen in both table and standard versions in the roomset, is available in bronzed or graphite coloured metal, with a transparent, smoked or bronzed LED glass ball that lights up with a touch of the hand. Designers Emanuela Garbin and Mario Dell’Orto have created the Olivier mirror,
also in the main picture, which completes the collection of the same name. With an elegant bevelled edge, it is offered as a square or a rectangular mirror in three sizes, the largest at 180 ≈ 180 cm making a striking statement piece. Natevo is a Flou brand that produces furniture and accessories with LED lights incorporated. Torri is available in two models. The first is a bar-refrigerator, below, left, complete with shelves and spaces for bottles and glasses. The second is a storage unit with soft-touch drawer closure for accessories such as handbags, hats, gloves and scarves. In matte ebony and polished or matte larch, both units have rotating doors and are embellished with side bars in crystal glass carrying the LED lighting. Also from Natevo is the Kara vanity in ebony or polished larch and surrounded by mirrors; the gentleman’s version repeats the curved shape, whilst an LED fixture set at the back of the marble top emits light suited to a work desk. Both are shown above. ¥ Flou SpA Italy � +39 (0)362 3731 www.flou.it
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Special – Salone del Mobile, Milan
2016 ¥ 4 ∂
New classic table and chair arrangements
Heart of the home
The 2016 collection from Frag includes two designs by Christophe Pillet, which show the leathers and hides to advantage in crafted pieces that are described as new timeless classics. Sahrai is a series which includes a lounge chair, ottoman and coffee table, as shown above.
Toncelli chose Salone del Mobile to open its new flagship store, in the cultural district of Brera. The showroom welcomes industry professionals and a selection of private clients to discover its custom-made kitchens which can be ‘fine tuned’ to accommodate every requirement. The company states that here the kitchen is presented as a natural extension of the living room, made with the finest materials and stylish design, whose technical elements are said to make for extraordinary versatility, blending seamlessly with living environments.
The ‘X’ shape of the chair frame, inspired by the traditional film director’s armchair, is an element that runs through the collection.
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The lounge chair and ottoman are covered in nubuck leather, with the backrest and seat of the chair made from a single cushion shaped in three sections to mould to the weight of the body. An elegant touch is the thin upholstered leather detail on the horizontal part of the chair arm. The coffee table features a textured tabletop with an original sandstone effect. Composed of an armchair, lounge chair, stool and two pairs of tables, the Square Collection has a seat design based on a cube covered in hide or leather, hollowed out and upholstered with a leather cushion for the seat and one for the backrest. The arms are gently curved whilst retaining the clean, elegant lines. The thin metal legs add a sense of length and lightness to these minimalist designs, and the collection is completed by a pair of generously sized rectangular coffee tables and two square side tables, both featuring an ardesia grey finish giving a natural-look textured surface.
Shown are examples of the current range. The Essential model (below), elegantly styled in Noir Saint Laurent marble and elm with leather finish, offers enhanced home automation features. It is described as linear and unconventional, as is the concrete kitchen (top) named Wind, which currently occupies the heart of the showroom. Set amidst the minimalist blocks of this kitchen, the Tea Tall Unit offers a decorative motif with its three-dimensional door styling giving depth and rhythm to pleasing effect.
¥ Frag srl Italy � +39 (0)432 671375 www.frag.it
¥ Toncelli Cucine SpA Italy � +39 (0)587 635032 www.toncelli.it
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2016 ¥ 4 ∂
Lights and Lighting
Altered images
Winning scheme
Joined-up thinking
Surface design company Lumiscopic has introduced a collection of bespoke illuminated surfaces featuring dichroic film from 3M. The light-responsive surfaces change colour depending on the viewing angle, projecting a vibrant spectrum of warm or cool coloured light. “It has inspired me to create amazing effects with my artwork that might not have otherwise been possible,” said designer and owner Lisa Alcock. “The aim of my exclusive collection is to produce a ‘wow’ effect – stopping passers-by in their tracks, and generating an energising and uplifting ambience.”
Lighting solutions from B Light were specified for Casino Lugano in Switzerland for its major refurbishment. The lighting needs were complex, due to a rationalisation of spaces, the general restructuring of existing systems and a need for highlighting various areas with differing lighting solutions; in addition, the existence of many surveillance cameras required an efficient means of neutralising the effect of horizontal lines that switched-on LEDs can cause on film.
Working from her London studio in the King’s Road in Chelsea, Paula Goodburn sources work from innovative artisans who marry traditional techniques with contemporary design. The handmade creations have provenance and their own individual stories, making them either unique or part of limited editions. Accessories include lighting, ceramics, wood and bronze pieces and soft furnishings, all individually sourced from South Africa, where Paula was born.
Dichroic Glass Finishes DF-PA Blaze shifts from warm tones of cyan, blue and magenta to red and gold, whilst DF-PA Chill changes from the transmissive cool tones of blue, magenta and yellow to the reflective colours of gold and blue. Films can be applied to glass, plastic or acrylic surfaces, from feature wall panels and large-scale lighting panels to worktops, shelving and furniture as a visual opaque or decorative graphic, easily removed without damaging surfaces.
Mushroom Small T luminaires with magnetic bases were installed on The Magnet Track, a surface-mounted track, over the tables. Featuring a 355 ° adjustment on the horizontal plane and 90 ° on the vertical plane, with high-frequency PWM dimming and high chromatic output, these are said to enable perfect video recordings and allow cameras to identify cards and their colour, as well as chips, to monitor potential cheating. Linear Tube 112 Slim dimmable luminaires in custom lengths were used in the gaming room: the suspended fittings partially overlie, giving a diffuse light over the area.
The distinctive light fitting shown here is the Protea by Willowlamp, an award-winning South African lighting company. The chandelier can be ceiling-mounted or hung from a pendant. The company’s designs fuse organic forms with high-tech materials and are based on a patented method of attaching ball chain to laser-cut steel frames. This ‘chain curtain’ system has endless design possibilities, ranging from very simple, sleek lampshades to highly complex sculptural art forms and custom chandeliers for larger residential or commercial projects at the high end of the market.
¥ 3M Commercial Graphics United Kingdom � +44 (0)800 121 4739 www.3M.co.uk
¥ B Light Italy � +39 (0)434 630 835 www.b-light.it/en
¥ Porcupine Rocks United Kingdom � +44 (0)20 7351 2584 www.porcupinerocks.com
∂ 2016 ¥ 4
CAD, Software and BIM
421
Product Information Index
Waterproofing details Grace Construction Products has published its first set of BIM standard details and BIM objects, for Preprufe® pre- and post-applied waterproofing membranes and Hydroduct® cavity drainage. These objects and details meet the BS 8102: 2009 Code of Practice for waterproofing protection of belowground structures and are available to download free from the NBS National BIM Library, RIBA Product Selector and the Grace website. In Autodesk Revit format, they cover the full range of waterproofing systems for integration into 3D building models, complementing the company’s comprehensive technical service. “Grace has always operated on the principle of helping our customers to succeed and the adoption of the BIM technology is a logical next step,” said sales director Richard Finn. “BIM allows us to combine this powerful tool, our deep knowledge and technical support with the company’s range of advanced solutions demanded by increasingly complex and critical substructure projects around the globe.” ¥ Grace United Kingdom � +44 (0)1753 490000 www.grace.com/construction/en-gb
Special – Salone del Mobile, Milan Off-the-wall designs (Lettera G) Comfort with style marks key theme of collection (Flou) Pro kitchens at home (Abimis Kitchen) Range extensions and new table design on show (Thonet) New classic table and chair arrangements (Frag) Heart of the home (Toncelli Cucine) Shades of grey (Giorgio Collection) Double the choice in bathroom collections (Devon & Devon) Colour comes to the fore in tile ranges (Lithos Design) Looks familiar (Astep)
394 394 396 396 398 398 400 400 402 402
Lights and Lighting Altered images (3M Commercial Graphics) Winning scheme (B Light) Joined-up thinking (Porcupine Rocks) LED introductions (Aura Light) Shells and shapes (Victoria Stainow) Shining examples (Formica) On the retail track (Modular Lighting) Leading lights (RV Astley) Outside interest (Vibia Lighting)
404 404 404 406 406 406 407 407 407
Interior Walls, Ceilings and Acoustics One new addition (Ecophon) Metal and mineral systems perform on all levels (Armstrong Ceilings) Distinctive designs inspired by the natural world (Wallpepper) Custom panelling (Opera 3B) Clear advantage of moveable shopfronts (Style) Industrial edge (Iris Ceramica) Green walls inside (ANS Global) Streamlined ceiling completes station project (Hunter Douglas) Flooring Colourful characters for soft play surfaces (Forbo Flooring) Updated collection (IDS) Comfort and convenience in practice (Gerflor) Versatile marbles (Marazzi) The new black (Junckers) Patterned ranges offer design flexibility (Karndean Designflooring) CAD, Software and BIM Updates simplify intricate tasks for fast results (Evolute) Digital engineering (Prater) Data files to download (Mumford & Wood) Detailed spec process aids streamlined build (Marley Alutec) Museum design wins out (Computers Unlimited) Waterproofing details (Grace)
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Cover 4_2016: University Library in Taipei Architects: Toyo Ito & Associates Architects, J –Tokyo Black-and-white photos introducing main sections: page 357: Changi International Airport Terminal in Singapore Architects: SOM, USA–Chicago,IL page 365: The Broad in Los Angeles Architects: Diller Scifidio + Renfro, Gensler Architects, USA–New York page 373: Transfer Terminal in Arnhem Architects: UNStudio, NL–Amsterdam page 419: F. Hoffmann-La Roche Headquarters in Basel Architects: Herzog & de Meuron, CH–Basel page 429: LED light installation (S)triptychon in Munich Artist: Alexander Emil Deubl, D–Munich Photo credits: Photos for which no credit is given were either provided by the respective architects or they are product photos from the DETAIL archives. pp. 328, 335, 336 bottom, 338, 339, 361, 363, 365: Iwan Baan, NL –Amsterdam pp. 329, 330: Image courtesy SOM/®Tim Griffith pp. 331 top, 333, 386, 387: Roland Halbe, D–Stuttgart pp. 331 bottom, 337, 366/367, 369 bottom: ®Hufton+Crow pp. 332, 334: Bartenbach GmbH, A–Aldrans p. 336 top: Jeff Duran/ Warren Air, courtesy of The Broad and Diller Scofidio + Renfro p. 340: Superstudio, Il Monumento Continuo, New York 1969, litografia: courtesy Fondazione MAXXI pp. 341, 369 top, 370, 378, 380 top, 381, 384 top: Frank Kaltenbach, D–Munich pp. 342–347: Tomaž Gregorič, SLO–Ljubljana p. 348 top: Edward Beierle for Euroboden Bauherr: Stefan F. Höglmeier/Euroboden pp. 353–355: FunkyDali MAL– Kuala Lumpur pp. 356 top, 357, 358 bottom, 359: Adolf Bereuter, A–Dornbirn pp. 356 bottom, 358 top: David Schreyer, A–Wörgl
CAD drawings All CAD drawings contained in the “Documentation” section of the journal were produced with VectorWorks®.
2016 ¥ 4 ∂
p. 360: Kai Nakamura, J–Matsudo p. 366 top: Siebe Swart, NL–Amsterdam p. 368: Ronald Tilleman, NL–Rotterdam pp. 371–375: François Brix, B–Namur p. 376: Ossip van Duivenbode, NL–Rotterdam pp. 377, 380 bottom: Sebastian van Damme, courtesy of OMA p. 379: Philippe Ruault, courtesy of OMA p. 382, 383, p. 384 bottom: Sebastian van Damme, NL–Rotterdam
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