DETAIL English 2/2017 - Refurbishment by DETAIL

ISSN 1614-4600 · MAR · APR £13 · US$ 24.50 · €18.90

English Edition

Review of Architecture and Construction Details · Refurbishment · Vol. 2017 · 2

∂ Review of Architecture Vol. 2, 2017 • Refurbishment Editorial office: E-mail: redaktion@detail.de Tel.: +49 (0) 89 38 16 20-57 Dr. Sandra Hofmeister (editor-in-chief, V. i. S. d. P.), Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Julia Liese, Michaela Linder, 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: Thomas Jakob, Jenny Clay Tel.: +49 (0)89-38 16 20-0 Elise Feiersinger (pp. 1–76) Marc Selway (pp. 78 – 97) (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 41352 Korschenbroich, Germany 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

Renovating, refurbishing, and extending The way a building is used may very well change over the course of its life cycle. The British artist Damien Hirst, for example, is showing his art collection in listed buildings that were built some 100 years ago as theatre workshops and have been masterfully renovated and expanded by Caruso St John Architects (page 54ff.). The Elbe Philharmonic Hall in Hamburg, in contrast, uses the Hanseatic city’s former quay warehouse as a base and stands out clearly from this existing plinth; the controversial project by Herzog & de Meuron finally opens to the public on January 11 – our contributing editor Frank Kaltenbach got a sneak preview and presents his thoughts on the building in this issue (page 4ff.). Our March / April issue focusses on refurbishments, rehabilitations, and additions. And these need not be associated with converting the building to a new use: many interventions also improve upon existing concepts. Following the restructuring by Studio Marco Vermeulen, the museum in De Biesbosch, a nature sancturay in the Netherlands, flows seemlessly into the surrounding polder landscape. And the historic Fondaco dei Tedeschi on the Canal Grande in Venice – which OMA has renovated for use as a high-end department store – has always been a platform for commerce. An interview with Reinier de Graaf gives a glimpse of the philosophy that lies behind the Office for Metropolitan Architecture’s refurbishment projects (page 12ff.). Best wishes for the coming year! We hope you enjoy our March / April issue. Sandra Hofmeister

Reports 4

Elegance beyond Pomp – The Elbe Philharmonic Hall Frank Kaltenbach

Francis Kéré. Radically Simple Heide Wessely

Discussion 12 “We Want to Re-program Buildings” – A Conversation with Reinier de Graaf Frank Kaltenbach

Documentation 20 Holiday Home on Pico Inês Vieira da Silva, Miguel Vieira, SAMI-arquitectos, Setúbal 24 Visitor Centre at the De Biesbosch N ational Park Studio Marco Vermeulen, Rotterdam; Studio Joyce Langezaal, Rotterdam 30 Art Gallery in Berlin Brandlhuber + Emde, Burlon Architektengesellschaft, Berlin Riegler Riewe Architekten, Berlin 34 Holiday Home on Lake Femunden Aslak Haanshuus Arkitekter, Oslo / Røros 38 Holiday Home with Studio in Funabashi Shingo Masuda+Katsuhisa Otsubo Architects, Tokyo 43 School Building in Sabadell Harquitectes, Sabadell 48 Lucerne School of Art and Design in Emmenbrücke EM2N, Zurich 54 Gallery Building in London Caruso St John Architects, London

Technology 62 Additional Storeys in Wood Construction – An Exemplary Project in Zurich Claudia Fuchs

Special Structure 70 Station of the Budapest Metro sporaarchitects, Budapest

Products 78 86 90 96

Refurbishment Ecobuild Lifts and Parking On the spot

98 Service 102 Persons and organizations involved in the planning • Contractors and suppliers 104 Programme • Photo credits • Editorial and publishing data

Discussion

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“We Want to Re-program Buildings” A Conversation with Reinier de Graaf Interview: Frank Kaltenbach

Reinier de Graaf has been part of the Office for Metropolitan Architecture (OMA) for 20 years. He is one of the firm’s nine partners. OMA has 250 employees in offices located in cities across the globe: Rotterdam, New York, Beijing, Hong Kong, Doha, Dubai, and Brisbane. De Graaf established AMO (the office’s think tank), co-curated exhibitions – such as “The image of Europe” (Brussels, 2004) and Publi Works at the Architecture Biennale (Venice, 2012) – and was in charge of the realization of several OMA buildings, including a skyscraper in Rotterdam, the Timmerhuis in Rotterdam, and Holland Green, the new seat of the Design Museum in London.

OMA spawned the famous “fuck context” quip and received worldwide acclaim for it. But its most important recent projects have been refurbishments and additions that reveal a sensitive approach to the existing building. How does that go together? Reinier de Graaf: That comes from the essay “Bigness or the problem of Large”, in which we explore the potential large buildings have for cities. Like a lot of our essays, it is phenomenological, a description based on the world we see around us. We are not dogmatic and that means that we respond to changing situations, which, in turn, means that we’re the first to abandon our own slogans.

For a number of years we’ve been witnesses to how post-war modernism has not received due regard and is consequently at the mercy of the wrecking ball. We think it’s important to fight this tendency and do what we can to try to keep these building from being torn down. One such example is the former Commonwealth Institute in London, which you breathed new life into in the form of the new Design Museum? The former exhibition building, in which the Commonwealth nations mounted shows, had been closed after the dissolution of the Insti-tute. Anyone who experiences the spectacular roof structure with a light dramaturgy that borders on the divine can’t believe that this icon stood empty for so many years. The historic preservation agency finally became alarmed when other post-war buildings in London were demolished. It then added the building to the registry. But the building was in very bad shape. The foundations were no longer up to par, and the large introverted space received only dim light from the narrow clerestory glazing – although it would have been possible to have windows facing the surrounding park. The politicians even tried to have the building removed from the historic registry to avoid having to pay for the renovation. Then an investor entered the process, and that was the turning point. We teamed up with the landscape architects at West 8 to develop a vision of how the entire grounds belonging to Holland Green could look, and we won the competition held in 2008 for the master plan. Then the search for a fitting use began. We made several feasibility studies. We made studies, for example, to determine whether the BBC, which had long desired a concert hall, could move in there, open office spaces for firms such as Google and much more. Not one of them was successful, but the public took note of the project and eventually we came into contact with the Design Museum. That completely changed the situation: at first we had tried to plan the build-

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Discussion

1 Reinier de Graaf 2 – 5 Garage Museum of Contemporary Art, Gorky Park, Moscow 2015, former Vremena Goda pavilion with restaurant, 1968 2 Way up via original staircase fitted with new handrails 3 Socialist wall mosaic 5 Entrance facade with new polycarbonate envelope

ing in a way that would attract a tenant. From that point on, we had a tenant who we could plan a building for. Did you also design the interiors? In conjunction with our colleagues at Allies and Morrison – with whom we had built the headquarters of the Rothschild Bank in the City of London – we were commissioned with the Commonwealth Institute’s building carcass and envelope, as well as with the three neighbouring apartment cubes (ills. 11, 12, 13). The Office of Metropolitan Architecture did not take part in the subsequent competition for the interiors of the Design Museum. But during the planning

we were in close contact with John Pawson, who won the competition. How was it possible to save the building despite the difficult parameters? It was clear that the public sector would not be in a position to fund the project alone. At the same time, in light of the booming international real estate market, this site is in one of the most desirable locations for highend apartments – for example, it’s very close to the large museums in Kensington. And so for obvious reasons the investor proposed to the city that he would cover the costs of refurbishing the existing building if in return he received permission to build

new apartments on the site. Of course, erecting high-end apartments is only socially compatible at a limited scale, but in this case they do contribute to the common good. You had the transverse wing of the existing building – which passed beneath the curved roof – torn down. Please tell us how that came to pass. That is out of the ordinary for a listed building, but a partial demolition was required by the competition brief. The architectural quality of that wing was not exactly outstanding, and its removal was good for our design. We combined the parts of the

“We Want to Re-program Buildings” – A Conversation with Reinier de Graaf

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6 – 9 Fondaco dei Tedeschi, an exclusive department store, Venice 2015, during the 16th century it was the headquarters of the city’s German merchants, from 1870 to 2011, main post office 6 Elevator cab with window facing existing wall 7 Basement with escalator 8 Historic courtyard with walkable glass roof 9 View from the escalator into the courtyard

building worth preserving with three residential buildings to arrive at a matrix of four cubes The continuum of outdoor spaces is as important as the buildings. Now the effect the existing building makes is much clearer than before, and being able to discard the wing was the basis for it (ill. 11). What were the most important measures taken to ensure that a new use be found for the listed building? First of all, repairing the tent roof. In the end, however, we had to shore up the entire building. During the construction phase the reinforced concrete piers seemed to float on slender steel stays. The biggest

surprise was that we would not have to retrofit the 8-centimetre-thick curved concrete shells. The four oblique piers in the corners of the building were upgraded to box trusses, and the rainwater that collected in only four spots, and therefore took on torrential force, is now distributed via a negative pressure system. The biggest quandary involved replacing the blue-toned, single-pane glazing with double glazing and placing enough windows in the formerly window-free brick wall to bring sufficient daylight into the administration spaces – and to achieve all of that without veering too far from the original appearance.

How did you manage that? With a silkscreen print whose dots are blue on the outside and black on the inside. Because the background – the park – is light in hue, the human eye barely notices the dark dot matrix, so the view out to the vegetation is almost completely clear. The apartment buildings remind me of the Timmerhuis in Rotterdam that you completed last year. Are there parallels? The two projects differ fundamentally with respect to the brief and the parameters. The Timmerhuis is a low-budget project with the Rotterdam Museum on the ground floor, and offices for city administration and apartments that nearly anyone can afford on the upper levels (ill. 10). That’s why its structure is simple and economical: a steel frame of identical cubes. We then tried to get spatial variety out of this maximized standardization. From the exterior, the Timmerhuis’s cubes seem as if they have nothing to do with the adjoining existing building dating to the nineteen-fifties. But on closer inspection it’s less obvious than you might think. In fact, the existing building and the new one are now what we might call symbiotically interwoven. The most important vertical circulation – with broad stairs and elevators – is situated in the new part. The attic of the existing building, in contrast, holds most of the new structure’s building-services equipment, which means that you look at the purity of the modern building, the airiness, the lightness, and the transparency. They are in a way secretly subsidized because we have the old working for the new. The old actually has a lot of new functions that it never had, simply to preserve the purity of the new. At the Garage Museum of Contemporary Art in Moscow we have the exact opposite situation (ills. 2 – 5). In that case we put the building services equipment in the cavity of the new double polycarbonate facade, to take as little as possible away from the archaic effect of the existing reinforced concrete ceilings.

Documentation

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Visitor Centre at the De Biesbosch National Park Architects: Studio Marco Vermeulen, Rotterdam Exhibition Design: Studio Joyce Langezaal, Rotterdam Structural engineers: Raadgevend Ingenieursburo van Nunen, Rosmalen; W5A Structures, Waalre Others involved in the project: see page 102

Back in the nineteen-nineties, De Biesbosch (“forest of sedges” or “rushwoods”), a nature sanctuary in southern Holland, was named a national park. From the start it was equipped with a small visitor centre with eleven museum pavilions. The program to safeguard the country against flooding, which comprises 4450 hectares of polders, stipulated that this museum be modernized and enlarged. The project team at Studio Marco Vermeulen decided to retain the pavilions and add a wing holding a restaurant and temporary exhibitions; this new wing has a generously glazed facade oriented toward the park. The architects not only refurbished the existing hexagonal structures, but also covered the

entire complex in a layer of vegetation, and, consequently, integrated it in the surrounding landscape. On the tops of the eleven hills are waterways and a path that leads to a viewing platform. The existing facades, floors and roof structures have been retained to a great extent; in a few instances additional levels – and dormers – were added to hold the administration spaces. The facades disappear behind the berms, and a biomass system provides heat to the underfloor pipes so that the room temperature is optimal. Old and new are united and become a spatial continuum that – via the restaurant terrace – extends deep into the park.

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Documentation

Site plan /rendering Sections • Layout plans scale 1:750

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Entrance Information / Tickets Water safety Nature and leisure Agriculture Willow cultivation Reeds and rush cultivation St. Elizabeth’s flood

9 F ishery 10 T emporary exhibition 11 L ibrary 12 V ideo room 13 S torage 14 K itchen 15 R estaurant 16 T errace 17 O ffice Video, construction site: www.detail.de/D1_2017_Vermeulen

Visitor Centre at the De Biesbosch National Park

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Vertical sections scale 1:20

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roof construction: 30 mm peat in biodegradable bags with grass seeds; 70 mm substrate bituminous sheeting, glass-fibre reinforced, root-proof 160 mm sandwich panel (existing): 120 mm insulation between 25 + 15 mm hardboard 240 mm steel Å-beam (existing) gypsum plaster, smooth 12.5 mm plasterboard vapour retarder 50 mm acoustic insulation between steel profiles gypsum plaster, smooth 12.5 mm plasterboard 15 mm oriented strand board 40 mm rockwool between 75 mm stud system 300 mm aerated autoclaved concrete (existing)

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t wo-layer bituminous sheeting 30 mm expansion joint XPS insulation block floor construction (existing): 50 mm screed with underfloor heating 50 mm reinforced concrete slab 250 mm precast reinforced concrete unit 350/500 mm foundation (existing) 75/175 mm squared timber 18 mm multiplex board 50 mm coarse gravel with water bituminous sheeting 100/100 mm steel SHS welded to existing structure 18 mm multiplex board 140 mm flax insulation between 75/175 mm squared timber vapour retarder 9 mm multiplex board

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Documentation

10 12

Technology

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Additional Storeys in Wood Construction – An Exemplary Project in Zurich Spillmann Echsle Architekten Text: Claudia Fuchs Others involved in the project: see page 103

In Zurich-Albisrieden, a heterogeneous, upand-coming district well connected to the city centre, seventeen new apartments have been built in wood construction atop a nineteen-forties commercial structure. Zurichbased architects Annette Spillmann and Harald Echsle developed a concept for the refined penthouse addition in which the maisonette units are stacked above one another and interlocked, creating generously dimensioned maisonettes with spacious roof terraces. Because the building’s existing structural members could not support additional loads, the top two levels were dismantled and replaced with a three-storey-high lightweight wood construction. A steel-beam grid was added to bear the loads that this intervention creates, and the central longitudinal beam was retrofitted: these direct the loads into the existing load-bearing members. The team decided to use wood construction because it is lightweight, and because it can be pre-fabricated to a great degree, which reduces the construction time. The exterior faces of the wood elements are clad in prefabricated fibre-cement panels. They have a similar appearance to the original heavyweight construction, and therefore, despite the formal independence of the new levels, make possible a homogeneous whole.

Starting point Dubbed the “Rauti House”, this building originally served as the factory of a ventilation equipment firm; it is located on a busy street – Rautistrasse – that leads from the northwest side of Zurich to the historic centre. In combination with the neighbouring building, this ensemble was erected in 1947 and extended in 1952, a design of Rudolf Kuhn. The continuity between the two buildings is typical of the late 1940s and the early nineteen-fifties. The Rauti House is 62 metres long and 15.70 metres wide. Its 7.6-metre spans were dimensioned for commercial use and for office space. In 1960, an additional storey was added (ills. A, E); it had major shortcomings with respect to energy efficiency and execution, for example, substandard sealing of the roof. While deciding how best to refurbish the building (which is not listed on the historic registry), the architects were also called upon to explore its potential. The zoning regulations permitted additional floor area amounting to about 30 %, and specified that 40 % of the overall surface area be allotted to residential use. Thus, adding storeys for apartments was possible. Loft apartments The concept developed by Spillmann Echsle makes use of these “urban reserves” to create large, attractive apartments with loft character. The apartments are situated not only in the two levels whose cube-like volumes step back from the plane of the existing facade – but also “camouflaged” in the third storey, where the building envelope is a punctuated facade. The decisive design parameter: units should face both the busy, noisy street and the quiet courtyard. Moreover, efficient circulation was a prerequisite. The architects developed maisonette apartments that are all accessed via a central hallway – a “rue intérieur” – on the fourth floor. From this level, stairs within the two-storey units – which interlock both vertically and horizontally – lead either up or down to the apartments with frontage both on the side facing the street

and the side facing the courtyard. The seventeen apartments overlap; each unit extends either two or three storeys (ills. C, F). All of the eight different types (which, including the living / dining room, have from 3.5. to 5.5 rooms and a floor area ranging from 90 to 135 m2) have the generous feel of a townhouse. On account of the offset arrangement of the cubes, the rooms have different lengths: this produces a dynamic flow of space that extends out to the adjoining outdoor spaces. The boxes’ cantilevers protect these loggias and balconies from the elements. The upper maisonettes also have roof terraces, reached via a private stair. Existing load-bearing structure reaches its limits The existing load-bearing structure is a reinforced concrete frame with a central row on columns, measuring 70 ≈ 70 cm each in cross-section, and at a centre-tocentre distance of 5.40 metres, and ribbed concrete floors. In the plane of the facade 12 ≈ 20 cm reinforced concrete columns set at a distance of 1.80 metres from each other bear the loads. The original building had two storeys. Additional levels were added in 1952 and 1960, and the load-bearing structure had reached its limit. The structural members would not have been capable of supporting the additional loads created by adding more storeys. Because the ceiling above the third floor was structurally deficient, the two top floors were removed. The storeys that were then inserted employ lightweight wood construction. The architects wanted to keep the exterior masonry walls on the third floor, but the measures required to stabilize them were prohibitively expensive, so they were dismantled – stopping at the upper edge of the spandrel. Reinforced concrete columns between the windows have been replaced by wood columns. Then the masonry walls were reconstructed. Consequently, the building gives the impression that only two new storeys – in wood – were added.

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Technology

A B C D E F

xisting building prior to renovation E Site plan scale 1:5000 Axonometric drawing of apartment types Front of building with three-storey addition Building phases through Concept for adding floors: the third and fourth storeys are dismantled, and three new storeys with maisonette apartments inserted

2015

1960

1952

1948

Additional Storeys in Wood Construction – An Exemplary Project in Zurich

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Steel structure and retrofitting of the central beam To direct the new loads as evenly as possible into the existing structural members it was necessary to develop a relatively elaborate solution to retrofit the main beam. Because not all of the new storeys’ loadbearing walls correspond to the building’s basic structural grid, the facade pillars are loaded unevenly. For this reason, it was necessary to introduce a load-distribution grid made of steel beams above the second storey: the cross beams have a depth of 180 cm (HEB), and the beams running the length of the facade have a depth of 280 cm (HEM; ills. G, H).

The new wood construction is supported by the underpinning grid. The underpinning grid directs the loads, on the one hand, into the facade piers, and on the other, into the existing reinforced concrete downstand beam at the centre of the second storey than runs the entire length of the building. Because the quality of its concrete was not high enough to bear additional loads, the downstand beam (depth 38.5 cm, width 1.46 metres) had to be structurally retrofitted. This was accomplished by adding 16 cm of concrete topping bonded with shear connectors (ill. J) as well as with strips of carbon-fibre-reinforced plastic (CRP): longitudinally several

Fifth floor

layers of 12 cm wide bonded carbon-fibre reinforcement were added: they improve the flexural tensile strength (ills. G, J). Transversely, the downstand beam was sheathed on both sides of each central column in 30 cm wide carbon-fibre-reinforced-plastic strips, as many as five layers were built up (using adhesives) as shearing-stress reinforcement (ill. L). Carbon-fibre-reinforced-plastic strips have been employed for several years in the structural retrofitting of concrete structures and have general admissibility status. For reasons related to fire safety, all CRP must be sheathed in fire-retardant board (EI60 rating).

cc c

c Fourth floor a

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bb a b Third floor

b a

Layout plans • Sections scale 1:750

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Technology

G E xcerpt of plan: steel-beam grid as underpinning and retrofitting strips on ceiling and downstand beam utilizing carbon-fibre reinforced plastic (CRP): 1 Steel beam, new 2 Ceiling structure, existing 3 CRP louvers on top of ceiling 4 CRP louvers on underside of central beam 5 CRP strips for sheathing central beam H Main beam at centre of building with concrete topping and connections to steel beams

Prefabricated wood components The additional storeys were erected in timber platform frame construction and timber frame construction. To optimally direct the loads to the existing columns, some of the walls were executed as crosswalls in crosslaminated timber. The other walls were erected in timber platform frame construction. The floors are timber box elements (glued). The prefabricated elements, whose dimensions were limited by transport logistics to 2.5 ≈ 13 metres, are equipped with fire-proofing cladding, insulation, and, to improve their acoustic insulation, contain cement board. The apartments were fitted out using lightweight construction. In some G

Products

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Refurbishment

Open for business

Innovative choice for penthouse reconstruction

These serviced offices in London’s Mayfair welcome staff and visitors into the central atrium via a semi-automatic Tormax 3-wing revolving door that combines style with easy access and reduced energy consumption. The dramatic black profile enhances the refurbished interior, which takes its design cue from typical Art Deco hues and striking geometric black and white. The staff benefit from a range of services including reception, back-office and bespoke business support, whilst the revolving entrance and airy atrium give the impression of entering a smart hotel rather than a suite of offices.

A project for the penthouse offices of an investment group in the United States proved a showcase for an untypical use of Kerto® LVL from Metsä Wood. The panels are more usually used as a structural component in applications including beams, joists, trusses and frames. However, in the One Main office in Boston the wooden surfaces are built entirely from this laminated veneer lumber product. The 1970s concrete slab building with hermetically sealed windows and full air conditioning offered plenty of structural redundancy to hang the quite lightweight ceiling panels from the roof slab.

it was a pragmatic choice to balance costs, fabrication and aesthetics, and as a large laminated sheet it lends itself to milling that yields a good, strong edge. Each part was fabricated offsite using a 3-axis CNC machine. The design algorithms divided up the architectural forms into discrete elements that could be nested on to the sheets, all automated and optimised by the architectural team, which provided the actual tooling paths in 3D instructional files. Dowel holes were milled for easy location spatially, needing not much more than correct sequencing, alignment and glueing or nailing.

The semi-automatic system is powered by the 5201 revolving door operator designed for reliable operation with minimum maintenance. If an emergency leads to power failure, the operator utilises the energy generated by the door being rotated as people exit the building to operate a brake mechanism – meaning there is a speed limitation even during such failures. Adaptable external safety devices and optional break-out function also contribute to safety.

The functional office space is ‘trapped’ between two active surfaces – the floor and ceiling – which are each ‘animated’ by functional attributes such as vents or light cowlings. The base spatial arrangement is established by the reception desk seeming to rise out of the floor, or by the ceiling being ‘pulled’ down towards the floor for structure or up to the sky for light.

The ceilings, walls, floors and static furniture were created as striated elements from layers of LVL, with functional elements such as ventilation grilles, light pockets and door handles formed directly by milling the mass of wood. The goal was to minimise labour on site, which to a great degree occurred as the larger finished parts were delivered – for example, entire office floors and the reception desk arrived as complete elements and were merely positioned on site.

¥ Tormax United Kingdom Ltd United Kingdom � +44 (0)1932 238040 www.tormax.co.uk

Architects dECOi chose Kerto-Q LVL, which has approximately 20 % of its veneers glued crosswise, for a number of reasons including its thickness and sheet size, as well as the fact that it is relatively inexpensive and there was no huge wait-time for the product:

¥ Metsä Wood United Kingdom � +44 (0)1205 362461 www.metsawood.com

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Refurbishment

Restored to splendour

Aluminium systems blend the old with the new

The Sheraton Park Lane Hotel restoration and redesign by MKV Design elevates its Art Deco heritage and combines this with sophisticated new interiors. The hotel is now designated a Sheraton Grand, distinguished for its interior design, range of amenities and high standard of service. The reception lobby (top) benefits from new glazed entrance doors and the decluttering of space around the full-length windows to increase natural daylight. Materials and individual design elements refer to the inheritance of the hotel, from the polished travertine floor to the Macassar ebony veneer wall cladding and the silver fretwork around the large central ceiling light.

Marley Alutec’s rainwater and eaves systems have been used in an extensive restoration and extension project that brought a fire-damaged listed school building in Scotland up to date. Whilst no-one was injured in the fire, the building suffered significant damage and proposals were put forward for the partial demolition, rebuild, refurbishment and extension.

The Palm Court sits at the heart of the replanned ground floor – the vaulted ceiling with original stained glass is enhanced by a mirrored surround and new lighting. For the bespoke carpet the designers created a preliminary idea of what they wanted to achieve, which carpet and rug company Nourison then translated into this striking palm-leaf motif in the Art Deco style. ¥ MKV Design United Kingdom � +44 (0)20 7242 2466 www.mkvdesign.com

Built in 1872, St Mary’s Primary School in Larkhall, South Lanarkshire is classified as a category C listed building by Historic Scotland and Jim McCracken, architect at South Lanarkshire council, said that crucial to the planning process was the use of building materials which would satisfy the listing requirements. “It was important that materials contributed to maintaining the traditional external facade whilst also complementing the new-build extension. Marley Alutec’s aluminium products provided a perfect bridge between new and old, tying the two parts of the building together really well.” The Traditional Moulded Ogee guttering and Traditional downpipes offer the look and feel of cast-iron rainwater systems but with the modern performance characteristics expected from 21st century buildings. Made from marine-grade aluminium, the guttering

offers a life expectancy of 50 years. It is claimed to be virtually maintenance free and the whole system can be fully recycled at the end of its service life. Also installed at the school is the Marley Alutec Evoke fascia and soffit system: this is manufactured from highly durable composite aluminium to give a low-maintenance and long-lasting alternative to timber, sheet aluminium or plastic eaves systems. Featuring a nano self-cleaning coat, Evoke also has a life expectancy of 50 years. Aluminium can be recycled repeatedly without losing its quality, making the products amongst the most sustainable building materials available, states the company. Jim McCracken commented that these sustainability credentials were just as important as the aesthetics, as the council strives to build as responsibly as possible, and concluded: “The installation of Marley Alutec’s products was quick and straightforward and the finished result provides real continuity between the two parts of the school.” ¥ Marley Alutec United Kingdom � +44 (0)1234 359438 www.marleyalutec.co.uk

Heating, Ventilating, Air Conditioning and MVHR

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Cascading benefits

Ventilation ductwork speeds up installation time

Windhager biomass boilers are providing heating and hot water to the Salutation Hotel in Perth, which dates to 1699 and is said to be the oldest established hotel in Scotland. Two 180 kW BioWIN Excel Kaskade systems, each comprising three 60 kW BioWIN Excel automatically fed wood-pellet boilers, have replaced the 84-bedroom hotel’s gasfuelled system, offering a greener solution to heating whilst significantly reducing its carbon footprint and energy costs.

A state-of-the-art manufacturing site near Belfast has been upgraded and expanded as part of a £35 million investment programme. The work on the facility, situated on one of Northern Ireland’s greenfield sites, included the installation of oval ductwork fabricated from Kingspan KoolDuct Panels to provide a lightweight, fast track HVAC solution for the project.

The building has recently been refurbished and expanded to offer more rooms, which has increased the requirements for the property, and the installation was completed within the footprint of the hotel. The cascaded format is especially beneficial as it is designed to provide a reliable supply of energy with automatic back-up support from the other two boilers should one need to be shut down for maintenance. The wide modulating output range ensures the boilers consistently provide their maximum efficiencies depending on the requirements of each installation, states the company. ¥ Windhager UK United Kingdom � +44 (0)1225 892211 www.windhager.co.uk

The 100,000 sq.ft factory has been carefully customised to the firm’s needs, allowing them to continue to provide innovative solutions within dynamic but cost-effective settings, whilst benefiting the local community with the creation of new opportunities for skilled workers in the aerospace sector. Beattie Flanigan and Gilmore Engineering Services oversaw the mechanical and electrical specification. For the ventilation ductwork they selected a flat oval ductwork product from cg3 Systems fabricated using KoolDuct Panels, which comprise a non-fibrous, rigid, thermoset-modified resin insulation core faced with silver aluminium foil on one side and silver- or black-coated aluminium foil on the other. The panels are said to achieve thermal conductivities as low as 0.022 W/m.K and have a BRE Green Guide Summary Rating of A. Ductwork fabricated

from this system can reduce air-leakage rates to a fraction of those typical of rectangular sheet-metal ductwork, thus offering the triple benefits of cutting energy use, operational carbon dioxide (CO2) emissions and costs, states the company. Andrew Gilmore, MD of cg3 Systems, discussed the project: “The most challenging issue was the short programme timescale in which we had to carry out the installation works. The system did not require any secondary insulation, which meant it was great to install quickly. The product’s lightweight nature also meant that no additional steelwork was required to support it, which saved on construction time and also massively reduced the possibility of injury to our onsite operatives, particularly during highlevel works.” Suitable for internal and external applications, the panels feature a rigid phenolic insulation core manufactured with a blowing agent that has zero Ozone Depletion Potential and low Global Warming Potential. ¥ Kingspan Insulation United Kingdom � +44 (0)1544 387384 www.kingspaninsulation.co.uk

104

Cover 2_2017: Visitor Centre at the De Biesbosch National Park Architects: Studio Marco Vermeulen, Rotterdam Black-and-white photos indroducing main sections: page 3: The Elbe Philharmonic Hall Architects: Herzog & de Meuron, Basle page 11: Fondaco dei Tedeschi in Venice Architects: OMA, Rotterdam page 19: Holiday Home on Pico Architects: SAMI-arquitectos, Setúbal page 61: Dachaufstockung in Zürich Architekten: Spillmann Echsle Architekten, Zurich page 69: Station of the Budapest Metro sporaarchitects, Budapest page 77: Holiday Home with Studio in Funabashi Architects: Shingo Masuda+Katsuhisa Otsubo Architects, Tokyo 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.

2017 ¥ 2   ∂

p. 35 bottom, 35 middle: Frontal Media AS pp. 38 – 42: Shingo Masuda+Katsuhisa Otsubo Architects pp. 43 – 46: Adrià Goula p. 48 top: EM2N pp. 48 bottom, 49, 50 bottom, 51, 52 top: Roland Bernath pp. 50 top, 52 bottom, 53: Filip Dujardin pp. 54 – 55, 56 bottom, 57, 59: Hélène Binet pp. 56 top, 60: Sabine Drey p. 58: Prudence Cuming Associates / Kioyar Ltd. pp. 61, 63 – 65, 66, 67: Roger Frei pp. 62, 68: spillmann echsle Architekten ag pp. 69, 70, 71 top, 73 top left, 73 bottom, 76: Tamás Bujnovszky, Budapest pp. 71 middle, bottom: Andreas Ordon, Munich p. 78 top, bottom centre and right: dECOi Architects p. 79 top left, bottom left: Sheraton Grand London Park Lane

pp. 1, 11, 14 top right, 14 bottom, 15: Delfino Sisto Legnani & Marco Cappelletti, Courtesy of OMA

p. 90 top centre and right, bottom centre and right: Klaus Multiparking

pp. 3, 17 top, 18: Frank Kaltenbach

p. 94 top left: Thies Rätzke

pp. 4, 5, 6, 7: Iwan Baan

p. 94 top right, bottom left: Michael Zapf

pp. 8 top, 9 top, 10 top: Architekturmuseum TUM

p. 94 bottom right: Kone corporation

pp. 8 bottom, 9 bottom, 10 bottom: Daniel Schwartz / Gran Horizonte Media

p. 96 top: Messe München

p. 12 top: Ekaterina Izmestieva / Strelka Institute

p. 96 bottom left and right: Boris Storz

pp. 12 bottom, 13 top: Vasily Babourov, Courtesy of BFA.com

p. 97 top left and right: Messe München

p. 16: Ossip van Duivenbode

p. 97 bottom: Boris Storz

p. 17 bottom: Gravity Road pp. 19 – 23: Paulo Catrica p. 24 top: ©BiesboschMuseumEiland pp. 24 bottom, 25 – 29: Ronald Tillemann p. 30: Roman März, Courtesy of the artist Daniel Turner and KÖNIG GALERIE pp. 31, 33: Michael Reisch p. 32: Ute Zscharnt pp. 34, 35 top, 35 bottom, 36, 37: Tom Gustavsen

CAD drawings All CAD drawings contained in the “Documentation” section of the journal were produced with VectorWorks®.

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