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Review of Architecture and Construction Details · Materials and Finishes · Vol. 2015 · 4
∂ Review of Architecture Vol. 4, 2015 • Materials and Finishes Editorial office: E-mail: redaktion@detail.de Tel.: +49 (0) 89 38 16 20-57 Christian Schittich (editor-in-chief) Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Julia Liese, Thomas Madlener, Emilia Margaretha, Peter Popp, Maria Remter, Edith Walter; Sophie Karst, Christa Schicker (freelance assistants) Dejanira Ornelas Bitterer, Marion Griese, Emese M. Köszegi, Simon Kramer (drawings) Product editors: Meike Regina Weber (editor-in-chief) Katja Reich, Hildegard Wänger, Tim Westphal, Jenny Clay Elise Feiersinger (pp. 328 – 392); Marc Selway (pp. 394 – 421) (English translations) Advertising: E-mail: anzeigen@detail.de Tel.: +49 (0) 89-38 16 20-34 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 “Architecture is a Discipline Charactarized by Materials” – a Talk with Aljoša Dekleva and Tina Gregorič Christian Schittich
Reports 340 Disseny Hub – Springboard to Barcelona’s Future Frank Kaltenbach 344 Books, Exhibitions
Documentation 346 Garden Pavilion in Smetlede Indra Janda, Smetlede 350 Communal Cooking in Berlin raumstar* architekten, Berlin 354 Residence in Tokyo Wiel Arets Architects, Amsterdam 359 Shop Facade in Tokyo Jun Aoki & Associates, Tokyo 363 Indoor Pool in Paris yoonseux architectes, Paris 366 Academy of Art and Design Basel Morger + Dettli Architekten, Basel 372 Church in Kanagawa Takeshi Hosaka, Yokohama 376 Logistics Centre in Spreitenbach Frei Architekten, Aarau 380 Residence in Munich Sauerbruch Hutton, Berlin
Technology 386 A Building Material with a Rich Tradition – Using Brick in Custom Solutions Dietmar Müller, Oswald Günzl
Products 394 Materials and Finishes 402 Facades 410 Anti-glare Shielding 414 Solar PV and Solar Thermal 418 Landscaping and Outdoor Living 422 Service 428 Persons and organizations involved in the planning • Contractors and suppliers 430 Programme • Photo credits • Editorial and publishing data
Editorial
Materials and Finishes When interviewed for DETAIL, the Slovenian firm Dekleva Gregorič emphasized that architecture is a discipline “characterized by materials” (see page 330). Their oeuvre is diverse, and nearly every building showcases a specific material. The same is true of the other projects we present in this edition: For example, the textured-glass skin of a residence in Tokyo by Wiel Arets transforms the massing into a crystalline entity, and the interior surfaces have the charm of coarse concrete (see page 354). Recycled EUR pallets filled with rammed earth give an experimental communal kitchen in Berlin a rugged touch (see page 350). A sophisticated rippling aluminium skin dematerializes the building massing of a logistics centre near Zurich (see page 376). And the colourful brick skin cloaking a villa in Munich not only shimmers, it also plays an important role in Sauerbruch Hutton’s three-dimensional articulation of the facade (see page 380).
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“Architecture is a Discipline Charactarized by Materials” – a Talk with Aljoša Dekleva and Tina Gregoricˇ
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Dekleva Gregorič is a firm whose individual buildings vary considerably in appearance, because the Ljubljana-based architects’ highly conceptual projects respond in a special way to the respective context. Material and its surface almost always play a central role. In the following interview Aljoša Dekleva and Tina Gregorič explain their philosophy and how they approach a design. They also tell about the current situation in their native Slovenia. DETAIL: Tina Gregorič and Aljoša Dekleva, as we’ve been touring Ljubljana, we’ve noticed a large amount of interesting contemporary architecture. That is surprising in a
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relatively small city – with just under 300,000 inhabitants. Dekleva Gregorič: There are certainly different reasons for this. First of all, in Ljubljana there is a very good architecture school. It is neither an academy nor a technical university, but a combination of the two. That goes back to the strong influence of Jože Plečnik and correspondingly, indirectly also to Otto Wagner and the Viennese tradition. At the same time, when Slovenia acquired its independence, the Ministry of Culture made an effort to foster talented young architects by offering scholarships that enabled them to study abroad. We also profited from that program and after
finishing our education at home, we completed the master’s degree program at the AA in London. But another important reason for the high quality of architecture in Slovenia certainly also has to do with the fact that the large state-run design offices didn’t survive the privatization phase that occurred during late 1990s and just after the turn of the millennium. That provided special opportunities to young ambitious architects who had new ideas. DETAIL: One of the offices that took advantage of these opportunities is Dekleva Gregorič. Please tell us a bit about your philosophy as architects?
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1 Tina Gregorič and Aljoša Dekleva 2 Curtain Office, Ljubljana, 2014 3, 4 XXS-House, Ljubljana, 2004
Dekleva Gregorič: Corresponding to our education here in Ljubljana and then at the AA in London, we very strongly view designing as something of a research process. In each project we choose certain themes that we want to study and experiment with. These may be social, philosophical and contextual in nature, or have to do with a special material. Above all, however, we see architecture as a social discipline. Architecture reflects society and influences it. Architecture is for people; without the users it would be useless. That’s why we also give the user a strong generative part. Participation as part of the design process is an important topic for us, as is creating space for social interaction. We already started to address these topics in our master’s thesis, which was entitled “Negotiate my Boundary!”, and was subsequently published in book form. DETAIL: What role does the Slovenian context play in your architecture? Dekleva Gregorič: Understanding architecture in the Slovenian context is important to us. First and foremost, it’s our cultural heritage – above all, of course, Plečnik. But we make reference to Slovenian modernism of the 1960s and 70s to an even greater degree. It is part of the international modernist movement and yet independent. Compared to modernism in Germany or in France, for example, it has much stronger regional characteristics. DETAIL: What characteristics does Slovenian modernism have? Dekleva Gregorič: Edvard Ravnikar, the founder of Slovenian modernism, was, on the one hand, a student of Jože Plečnik. On the other hand, he later worked at Le Corbusier’s atelier in Paris. He is the one who brought these two currents together. As an important professor at the university in Ljubljana, he had a strong influence on the entire next generation. Ravnikar developed a modernism that arose from the specific context and as a reinterpretation of the local tradition. In the 1960s and 70s – when Slovenia 4
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XXS-House, Ljubljana, 2004 Floor plans, section scale 1:200
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“Architecture is a Discipline Charactarized by Materials” – a Talk with Aljoša Dekleva and Tina Gregorič
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Disseny Hub – Springboard to Barcelona’s Future Frank Kaltenbach
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Architects: MBM Arquitectes, Barcelona Josep Martorell, Oriol Bohigas, David Mackay, Oriol Capdevila, Francesc Gual
The city expressway that had for decades reduced Placa de les Gloriès Catalanes – the central square in Cerdà’s Plan of Urban Expansion of 1855 – to a derelict “green strip” is now only present on obsolete Google Earth images. In just a few months’ time, the wrecking equipment helped implement an urban renovation project named 22@ that had been painstakingly planned for many years: where the Avinguida Diagonal cuts across Via de les Corts Catalanes, a green oasis is emerging that, like Manhattan’s Central Park, is destined to have an impact on the dense city’s air quality and be its new cultural hot spot. Jean Nouvel’s 142-metrehigh crystalline Torre Agbar (2004), initially
an office tower and currently being converted into a 5-star hotel, was the unequivocal first step in the restructuring process of the Poblenou district. The Museo de Can Framis by BAAS arquitectura was completed in 2009, and opposite it, a year later, the Media ICT Building, with ETFE cushions supported by a green steel structure, by Eric Ruiz-Geli. Situating the Disseny Hub between Torre Agbar and the cheerful tilted mirrored roofs of Els Encants flea market (2014), a popular spot on the southern corner of the Placa, is akin to placing a pearl in its setting. Now a municipal library, four design institutions and a restaurant occupy a surface area of 30,000 m2; they provide a
basis for vital urban life. The name Disseny, by the way, has nothing to do with Disney. Many Spaniards have trouble pronouncing it. The word is Catalan, and the proper pronunciation sounds somewhat like “design”. The competition brief (2001) specified that only one fourth of the volume was to rise above the ground plane: with its landscaped roof terraces and a series of glazed skylights, the 160-metre-long partially subterranean wing for temporary exhibitions and administration doubles as the park’s topography. Nonagenarian Oriol Bohigas and his colleagues envisioned the 30-metre-high structure as visual culmination of the Avenida Avila, but this will not be palpable until
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Site plan scale 1:10,000 Section • Layout plans scale 1:1000 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Placa de las Glòries Catalanes Avinguda Diagonal Gran Via de les Corts Catalanes Els Encants flea market Torre Agbar Foyer Documentation centre Exhibition Library Entrance Void Terrace Foyer of auditorium Auditorium Office Building services
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the proposed buildings are erected on the flanking sites: they will provide the square’s spatial definition. As dialectic contrast to the ephemeral rounded forms of the sparkling Torre Agbar – which make it seem to merge with the sky – the crisp lines of the reinforced-concrete building clad in a non- lustrous zinc skin, and whose steel structure cantilevers 30 m, extend horizontally. Pedestrians negotiate the 7 m level change between the new pleasantly cool outdoor area replete with water basin and seating steps, and the elevated Placa de les Gloriès by passing through the two-storey foyer. Visitors can reach the district centre via a bridge. On the left are a café-restaurant, a
bar, and a library; on the right is a large hall that hosts temporary exhibitions. Display cases illustrating the topic New Materials add a further level of meaning to the foyer. The office spaces on the level below the foyer – not accessible to the public – are also noteworthy: in particular, the large ornamental tapestries designed by FAD & BCD in cooperation with BAAS arquitectura. Visitors make their way to the permanent exhibitions on the upper four levels, as well as to the auditorium and the roof terrace, by passing from the foyer to the circulation tower adjoining the main building: the tower has bright yellow surfaces and a cascade of high-tech escalators that are rotated to a different an-
gle – in plan – on each level. The result is a dramatic vertical shaft of space that furnishes a variety of views upwards and downwards. The items on display, including both modern industrial design and the artisanry of an earlier age – for example a baroque carriage made of wood, and ceramics hand-painted by Picasso – are presented in a sober, neutral atmosphere: the space has a rib-like, artificially lit ceiling. Two exhibitions – a critically minded cultural-historical undertakings – on evolving fashion and Catalonian poster art are situated on the building’s top two levels. The background is black, and the lighting underscores the vibrant colours of the items on display.
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Communal Cooking in Berlin Architects: raumstar* architekten, Berlin Michael Kloos, Vinzenz Kanig Team: Andreas Winter, Alice Hillebrand, Michael Grosch Structural engineer: Robert Maziul, Cottbus Others invovled in the project: see page 428
The founder of “himmelbeet” – a non-profit organization whose name translates to Heaven’s Bed – literally wants to reach new heights with her idea for neighbourhood gardening. Twenty-two metres above the ground surface, atop two unused parking structures in Berlin-Wedding, two new gardens, each with a surface areas of 6000 m2, are to be created for the residents. For the time being, the gardeners are still tending what had previously been ground-level wasteland in the same neighbourhood. The community project enjoys such great popularity that there are now long waiting lists for the coveted annual leases of the plots. And the list of activities offered here is long, as
well: next to professional gardening, there are, for example, workshops on tango dancing and cooking. In keeping with the founder’s vision of the organization – one of her aims is to conduct the operation in an environmentally sound manner – the building, which holds the café and classroom spaces, was erected of recycled EUR pallets. Because a large number of volunteers – the gardeners – participated in the construction of the simple cube, the emotional attachment to the project is strong. To increase the facade’s thermal mass, the pallets were filled with loam, and, for stabilization, connected to the load-bearing wood-stud construction. Cooking workshops are held in the
35 m2 interior, and the counter is also used to prepare the food and beverages served by the café. Users can rent the space for private events. A row of the EUR pallets can be tilted up: this reveals the slate boards that announce the daily specials; the counter opens directly on to the large terrace. The terrace surface consists of two layers of EUR pallets; they tie it visually to the cube. The urban garden’s freshly harvested herbs and vegetables make their way directly from the garden plot to the kitchen, where they are transformed into meals to be served and enjoyed by the gardens on the terrace. It’s hard to imagine a shorter path between delivery, processing and consumption.
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Documentation
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Entrance Counter Kitchen/Seating area / Space for workshops Serving counter with tilting hatch Terrace
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Shop Facade in Tokyo Architects: Jun Aoki & Associates, Tokyo Structural engineer: Permasteelisa Japan K.K., Tokyo Others involved in the project: see page 428
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Ginza is one of Tokyo’s most important shopping and recreational districts. There is a large concentration of boutiques around Ginza’s “Chūō-dōri” (literally: Main Street): among them, this Louis Vuitton flagship store, which has just been enlarged from two to three levels. As part of the renovation work the decision was made to introduce a new facade that would extend across all of the building’s eight stories. The architect was required to incorporate the steel structural system that had supported the previous building envelope; this limited the options available to the him. In concrete terms this meant that the new skin’s thickness was not allowed to exceed 24 cm and its weight had to be below 40 kg/m2. The response: a double-skin aluminium casing of 5 mm thick panels consisting of both funnel- and star-shaped elements in five different sizes. The panels have a fluoropolymer coating that gives the surface the appearance of mother-of-pearl. The panel joints run diagonally, hidden behind the star panels. The facade’s depth is accentuated by backlighting: LED lamps are integrated in the funnel-shaped elements. The star pattern was inspired by the typical chessboard pattern with which Louis Vuitton has come to be identified, but the facade is also open to other interpretations. Perhaps the most poetic of them is the reference to the dot patterns that often adorn traditional kimonos.
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Shop Facade in Tokyo
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A, B Preliminary studies of facade panels to determine the optimal distribution of the LED lamps C Portion of facade: view of the panels, with diagonal expansion joints scale 1:75 D Medium-sized facade panel Elevation Vertical section scale 1:10
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1 fluoropolymer coating 3 mm aluminium panel, flat 2 fluoropolymer coating 3 mm aluminium panel, concave 3 aluminium anchor to withstand wind loads 4 fluoropolymer coating 5 mm aluminium star panel, flat 5 circular expansion joint, neoprene 6 LED lamp circular arrangement with 5 mm glass pane cover 7 80/90 mm steel angle 8 aluminium cylinder, anchor of star panel 9 light reflecting board, aluminium, with sealant on back side 10 existing column: 125 mm wide-flange steel Å-profile 11 beam: 95/80 mm steel angle 12 90/75 mm steel angle 13 connecting piece between concave and flat panels for high-precision butt joint calibration on 60/30/3 mm aluminium channel 14 diagonal expansion joint, neoprene
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Window connection d etails Horizontal section • Vertical section scale 1:10 1 5 mm aluminium panel, flat 2 3 mm aluminium panel, concave 3 frame, all sides: 2 mm stainless steel sputter coating in bronze tone 4 2≈ 12mm laminated safety glass (high transparency) 5 80/90 mm steel angle 6 existing column: 125 mm wide-flange steel Å-profile 7 3 mm aluminium panel, flat 8 supporting profile: 20/40 mm steel channel 9 existing beam: 250/125 mm steel Å-section
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A Building Material with a Rich Tradition – Using Brick in Custom Solutions Dietmar Müller, Oswald Günzl
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Brick is one of the oldest building materials known to man. Bricks of fired clay were first used in 3000 BCE as building material. Lighter in weight, more adaptable than stone, and easy to handle, bricks have spread across the globe and are the basis for fascinating icons of architectural history: from the dome of the Hagia Sophia in Constantinople, via the thin bricks typical of the Byzantine era, in which the thickness of the joint in some cases surpasses that of the brick, to the Gothic St. Martinskirche in Landshut, completed in 1500, with its 130-metre-high masonry tower – the world’s tallest load-bearing-brick structure. On account of its excellent building physics properties, durability and, last but not least, sensual qualities, brick is always up to date. In addition to clinker bricks and facing bricks, with which even today traditional surfaces can be achieved, ceramic tile plates, which are manufactured in a newly developed process, offer a freedom of design that has only recently come to fruition.
material bestow facades, roofs and floors made of brick, tile and clinker an unmistakable character. Whether monochromatic or colourful, with or without glaze, the colour spectrum ranges from cool white, via grey to warm shades of yellow and orange. And we must not forget the classic brick colours: red and red-blue, to brown and deep-black. Thanks to modern production equipment, at present bricks can be had in almost any size, shape or texture. Countless built examples document the great variety of design possibilities and the creative continued development of the tradition-rich material – from the “thin format” (240/115/52 mm) via
Refurbishment Following a long phase of perfecting materials by means of industrial processes, there is now increasing demand for artisanal surfaces. Hand-cut clinker bricks are often used in refurbishments when historic preservation stipulations must be complied with. At Munich’s Frauenkirche, for example, a number of damaged clinker bricks must be replaced. The authorities attach importance to having the new clinkers correspond – both in terms of raw material and the method of production – as precisely as possible to the fourteenth century prototypes. The raw material for the new clinkers is extracted from similar clay deposits to those of the original bricks. And like in the Middle Ages, to shape the bricks, the traditional process – in which an extruded mass is hand cut – is employed, and wood forms are used to attain an authentic surface texture. Unique in format, shape and colour The natural chromaticity and surface structure as well as the sensual qualities of the
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terra cotta bricks (format as needed, maximum dimensions: 600/600 mm) to the ceramic-tile plates (maximum length: 3.0 m) used in thermally insulated exterior walls with rear-ventilated facade systems. In cooperation with architects and planners, new surfaces with relief patterns and bespoke formats are being created: these allow for a great variety of applications in architecture and urban design. Moreover, the building material’s optimal building physics characteristics are formidable: brick is frost-proof, fire-resistant, resistant to acids and lyes, and free of efflorescence. Thanks to their low thermal conductivity, tile and clinker facades create a
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pleasant interior climate, keep the warmth in the building during winter, and protect it from overheating in summer. Rear-ventilated rainscreens can also be employed inside buildings. On the one hand, these may be employed purely as a design element. On the other hand, perforated ceramic-tile plates have advantageous sound control properties and are therefore often employed in interiors as acoustic elements. (ills. 5, 6). Dimensionally stable products with smooth cut surfaces The production process is similar for all brick products. A combination of naturally occurring clays, loams and sands with different colours and different firing characteristics determine the colour the final product will have. The origin of the colours that come about during the fire through the oxidation processes are purely natural – and UV-resistant and weatherproof. Bricks are usually formed in an extrusion press process. In the extrusion press it is the die that determines the cross-section of the product, which is then cut to size using a thin wire (ill. 13). Then the so-called green brick is dried and fired. Clinkers are bricks that are fired at temperatures of up to 1300 °C. At such high temperatures the sintering process begins: the pores close, and the finished product – the clinker – will therefore absorb very little water. Ceramic bricks and facade tile of terra cotta are fired in a tunnel for 75 hours at temperatures similar to those used to fire clinkers. Life cycle of raw materials Once the raw material has been extracted it is possible to fill in the clay and loam pits and to use them in land or forest management, or as recreational space (re-cultivate), or allow them to be colonized by plants and animals (re-naturalize). Tile and clinker facades will last one hundred years or longer, are resistant to soiling, and age gracefully. The production process is free of toxins; all types of bricks can subsequently be com7 pletely recycled.
Clinker brick paving For floor surfaces in public, commercial and private settings, clinker brick paving unites aesthetics and functionality. Whether in pedestrian zones or forecourts, drive-ways or terraces – this natural and highly durable paving is well suited to achieving striking, one-on-a-kind designs of ground surfaces. Because the paving is fired at temperatures on the verge of sintering, it is particularly robust, frost-proof and resistant to mechanical loads. Because it is made of a single material, its dimensions are limited by the firing technique; clinker brick paving typically measures 24/11.8/5.2 cm. However, a large number of formats are available for different
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6 1– 4 “k house” Munich 2015; arch.: Sauerbruch Hutton 1 Model scale 1:20. To study the effect of the colours in the facade, the architects used brushes to manually paint each of the raised surfaces of the textured facade. 2 The partially glazed “humped bricks” were designed especially for this project. Only the face of the humps is glazed. The manufacturer developed a special industrial process to produce the bricks. 3 Facade mock-up scale 1:1. Louisa Hutton fine-tuning the facade with colour samples. 4 Facade section scale 1:10 5, 6 Acoustic brick 5 Section of wall assembly, scale 1:10, with acoustic insulation, rear-ventilated 6 “debis Systemhaus”, office building in Aachen, architects: Nellesen. Brasse. Partner, 1997 7 490/40 mm clinker brick paving, special format, used on edge. The animated surface is attained by adding salt during firing. “Museum der Kulturen Basel”, arch.: Herzog & de Meuron, 2010
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ile elements as rear-ventilated rainscreen T with different standardized supporting structures attuned to the respective tiles. Sections scale 1:2 8, 11 Standard solution: smooth surface with continuous, dominant horizontal joints 9,10,12 Customized solution: dominant vertical joints and barely discernible horizontal joints attained with double rabbet and grooved surface. Extension of the State Parliament Building in Munich, 2012, architects: Leon Wohlhage Wernik 13 –15 Rainscreen with rear-ventilated tile elements and customized profiles 13 Extrusion process: the moist clay is pressed, as continuous strand, through the specially developed die 14,15 “Marktscheune” community centre in Hallstadt, architects: Schettler Architekten, Weimar for Schettler & Wittenberg, Weimar, 2015
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paving patterns. In addition, the surface and the design of the face have an influence on the effect of the floor covering, from classically elegant to archaic. Textures are also possible on clinker brick paving, for example, to achieve tactile floor guidance systems for blind and visually impaired persons. For the new entrance courtyard to the “Museum der Kulturen Basel”, Herzog & de Meuron selected clinker brick paving in an elongated bar format. The integrally coloured slate-grey paving with a robust salt glaze has fine nuances resulting from the coal-fuelled fire: they are muted yet animated. This is also underscored by the precise form of the bricks (490 mm long, 40 mm wide, with a 6 mm wide joint), which are laid on edge. The narrow, unusually long format, the crisp edges, and the dimensional stability of the bond – with the brickwork sloping slightly downward – all play a part in showcasing the precise craftsmanship; the courtyard also functions as a transitional space to the contents of the museum (ill. 7). Clinkers in the facade In facade design with ceramic tiles, architects can choose from a variety of materials and construction methods: facade clinkers, terra cotta facades and rear-ventilated tile facades are being realized around the globe. There are historical differences from region to region: particularly in northern Germany, clinker facades are equally prominent in both historic and contemporary urban ensembles. And to this day, architects often select the “look” of the clinkers made in coal-fired Hoffmann kilns with their expressive, dynamic kaleidoscope of colour. On account of environmental issues and lacking quality control, this traditional manner of production is no longer possible. However, by employing contemporary firing techniques – including modern tunnel kilns – and adding natural aggregate, the special look can still be achieved. In addition to clinkers’ long-established standard formats, in recent years narrow bar formats have been added to the palette – as exemplified 10
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at the Kolumba, an art museum in Cologne designed by Peter Zumthor – and provide further options. Modern production techniques with very small tolerances allow planners to specify exceedingly narrow joints. Clinker facades are often executed as facing masonry on the load-bearing exterior wall and the surface applied thermal insulation. The cavity can measure 200 mm and more. This method may also be executed with core insulation (i.e. no air layer). Depending on facade geometry, brick format and colour, thermally insulated clinker facades cost – including delivery to the site and labour – from 160 to 350 euros/m2.
Geometrical experiments with clinker bricks Clinker facades can be conceived in three dimensions: Sauerbruch Hutton Architekten, for example, realized the powerful facade of the residence known as “k house” in Munich with bespoke three-dimensional clinkers (see page 380, ills. 1– 5). The brick, 210 mm long and 52 mm high, has two 55 mm wide protrusions on its long face. The bricks sheathing the base of the building have a slightly darker tone (darker clay was used) than those used in the upper part. The bricks have a partial glaze, namely only on the fronts of the two projecting “humps”. The architects specified all 15 glaze colours with glossy surfaces. To be able to accurately
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Eye-catching design gives school the wow factor
Surface attraction
The Portakabin Group has constructed a new sixth-form centre in Wakefield, West Yorkshire using a Yorkon off-site solution, which reduced the programme to just 13 weeks on site. Crofton Sixth Form is a partnership between Wakefield College and Crofton Academy, creating a purpose-designed learning centre to meet increasing demand for post-16 places in the region. Facilities include six classrooms, a quiet study area, computer suite, common room, office, circulation areas, lift, toilets with disabled access and plant room. All teaching and study areas have full IT connectivity.
the Portakabin Group previously. We knew the approach would result in delivery of the building on time, on budget and built to a very high standard – and to a much shorter programme than on-site construction could achieve.” He added that it would also allow the sixth form centre to be expanded very quickly in the near future to meet the increasing demand for places. The building was designed with partitions which will be removed to open up the space on completion of the second phase and groundworks and the service infrastructure required for the expansion are already completed.
Engineering and steel production company Trimo has marked the 40th anniversary of its Trimoterm fireproof facade panels with the introduction of the Trimoterm Design suite, offering new visual options to designers and architects. GlaM is described as the first panel aesthetic that allows the designer to play with the contrasting features of matt and gloss shine to deliver an enormous variety of patterns, in addition to a predesigned Vario Dot pattern, which is also available.
This is said to have been a particularly challenging project with the site being located so close to existing school buildings and between steep grass banks. It involved the use of a 500-tonne crane to lower the steelframed modules into position. Portakabin provided a full service including modular design and engineering, manufacture, fitting out and landscaping. Cranage was carried out during school holidays to minimise disruption to teaching.
The 528 m2 building features a distinctive external envelope with a bold green and black vinyl wrap, which contrasts with the building’s dark-grey external finish. Said Jon Howard, director of estates at Wakefield College, “The building’s performance and appearance have exceeded all our expectations. We wanted an eye-catching facility and that is exactly what has been achieved. It definitely has the ‘wow factor’ and reflects the college’s identity and values very well.
The concept architects for the scheme were P+HS Architects, and director Phil Bentley commented, “We recommended a Yorkon solution for this project having worked with
“The new facility has been exceptionally well received by everyone who has visited it, including other schools and colleges. The internal layout utilises every inch of space and we now have an outstanding sixth-form centre for up to 150 students.” As well as offering configurations and permutations to meet almost any design brief, site and building footprint, this off-site building solution is said to be highly sustainable, with vehicle movements to site reduced, less material wastage, improved thermal efficiency, fewer internal columns to facilitate space planning and future reconfiguration to meet changing local needs. ¥ Yorkon United Kingdom � +44 (0)845 2000 123 www.yorkon.info
The company has produced over 50 million sq.m of panels for use on buildings in more than 70 countries and these are claimed to provide the perfect combination of mechanical properties (thermal insulation, fire resistance, sound insulation) and aesthetics. The new design solution is composed of a complex PVC film, with finishing from high gloss to matt in appearance; the material can be used in external and internal applications, including facades and interior walls and ceilings. Gloss levels are: high gloss � 50 –80 %; semi-gloss/semi-matt � 30 – 40 %; and matt � 10 – 20 %. ¥ Trimo UK Ltd United Kingdom � +44 (0)1270 665303 www.trimo.org.uk
∂ 2015 ¥ 4
Solar PV and Solar Thermal
Flat-roof expertise
Putting solar energy at the top of the agenda
IBC Solar has completed the construction of a 237 kWp solar energy plant in the Polish city of Lodz. Installed on the roof of a hospital, the project is said to mark a milestone as the biggest photovoltaic (PV) rooftop installation to date in Poland. The company supplied a total of 947 of its PolySol modules as well as the inverters and the IBC AeroFix PV mounting system, a product developed over many years of experience with ballasted flat-roof mounting systems and described as very flexible, lightweight and stable.
Lighting specialist Nimbus supported the OnTop team from the Frankfurt University of Applied Sciences in the Solar Decathlon competition, which was held in Versailles, France. This competition, which invites collegiate teams to build a full-scale, entirely functional, solar-powered house, was inaugurated in the U.S. and the European edition now takes place every two years.
Thanks to a high degree of prefabrication and by using materials such as aluminium and stainless steel, the system is claimed to offer the optimum solution for applications where an exceptional level of quality, efficiency and flexibility is required. In addition, by aligning part of the array in an east-west direction, a maximum number of modules could be installed. The system provider is headquartered in Germany, and its Czech subsidiary IBC Solar s.r.o., which serves both the Czech and Polish markets, was responsible for delivering the components and supporting the local installation company with the planning of the PV system and static calculations. It also trained the installers for the actual project execution.
The stakes are high for the students, as they invest at least two years of their studies in a project to develop the best solar house that is independent of external energy supplies. “The Solar Decathlon is not only a competition but also a personal challenge for all participants,” explained Sebastian Fiedler, Professor at the Faculty of Architecture, Civil Engineering and Geomatics at the university. “Just taking part is a great success in itself.” Twenty teams qualified for the final in Versailles, which culminated in a two-week exhibition in which all the solar houses were accessible to the public. The OnTop team’s PlusEnergy prototype was a 100 sq.m house designed to generate more solar energy than it needs itself and which can be placed on top of existing buildings, as in the rendering shown above. In this way, additional living space can be
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created in built-up areas where increased density at ground level is not possible. In Frankfurt, for example, infill development is playing a key role in the turnaround in Germany’s energy policy: urban wasteland and the free roof spaces of numerous residential complexes from the middle of the 20th century are now to be developed. If infill development is realised with PlusEnergy houses, these constructions could supply the older buildings in the neighbourhood with their surplus solar energy, and this approach could also reduce the rate at which growing metropolises gradually encroach on more space. Maximum comfort and minimum power consumption was the aim for the lighting scheme at the OnTop house, and this is said to have contributed to its winning first place in the Social Housing category of the competition. The university team and Nimbus worked together to create a lighting concept that envisages perfect interaction between artificial light and daylight. Glass doors guide sunlight deep into the interior; at the same time the surfaces reflect light and brighten up the rooms even more. This is supplemented by a full spectrum of LED luminaires: from ceiling luminaires providing general lighting to desk, reading, bedside and wall-mounted luminaires, as well as two outdoor luminaires lighting up the terrace.
The project was partly funded by the Polish government through a public grant. In that country coal power is still very strong, but the aim is to grow the share of renewable energies over the next years in order to meet the energy and climate change policies of the European Union. The PV market there is evolving, and solar energy will become increasingly important in the energy mix of the country.
The diverse LED lighting scheme met the need for a cosy atmosphere and, at the same time, all 30 or so luminaires together only consume just over 300 W, and that is when all are switched on at the same time and are not dimmed.
¥ IBC Solar AG Germany � +49 (0)9573 92 24-0 www.ibc-solar.de
¥ Nimbus Group GmbH Germany � +49 (0)711 63 30 14-0 www.nimbus-group.com
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2015 ¥ 4 ∂
Programme for 2015 • Photos ∂ 2015 1 Roofs ∂ 2015 2
Glass Construction
∂ 2015 3
Concept: Industrial Building
∂ Green 2015 1 ∂ 2015 4
Material and Finishes
∂ 2015 5
Solid Forms of Construction
∂ 2015 6
Steel Construction
∂ Green 2015 2
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. p. 328: Miran Kambič, SLO – Ljubljana p. 329: Christian Schittich, D– Munich p. 330 top: Tamás Bujnovszky, H – Budapest p. 331: Matevž Paternoster, SLO–Šmartno pri Litiji pp. 330 bottom, 332, 333: Janez Marolt, SLO –Ljubljana pp. 334, 335: Cristobal Palma, RCH –Santiago pp. 336 – 338: Miran Kambič, SLO –Ljubljana p. 339: Iñigo Bujedo Aguirre, E– Barcelon p. 340: © Marc Soler/Alamy pp. 341, 342: Lourdes Jansana, E–Barcelona p. 344 top left: Dansk Arkitektur Center, Copenhagen p. 344 top right: Christian Schittich, Munich pp. 345, 354 – 358: Jan Bitter, D– Berlin pp. 346 – 349: Tim van de Velde, B –Brussels p. 350: Udo Meinel/raumstar* architekten pp. 351, 352, 353 bottom: Hannibal Hanschke/raumstar* architekten pp. 359, 361, 362: Daici Ano, J –Tokyo pp. 363 – 365: Alexandra Mocanu, F– Paris pp. 366 – 371: Valentin Jeck, CH – Stäfa pp. 372 – 375: Koji Fujii/Nacasa & Partners Inc.
pp. 376 – 379, 393: Thomas Züger/Atelier Kontrast pp. 380, 387 bottom, 388 top left, 388 top right, 389 bottom, 391 top, 391 right: Frank Kaltenbach, D– Munich pp. 381, 383, 384: Stefan Müller-Naumann, D– Munich p. 382: noshe, D – Berlin p. 385: Agrob Buchtal GmbH PP. 387 top, 388 bottom, 389 top, 392: Moeding Keramikfassaden GmH, D– Marklkofen p. 389 middle: Schettler Architekten, D – Weimar p. 390 bottom: Burkhard Franke, D – Munich p. 402 top centre, top right, bottom right James Dryden for DuPont p. 406 top left, bottom left René Müller Photographie/seele p. 406 top right Bond Bryan Architects p. 407 top centre, top right Novelis p. 410 bottom left RCKa Architects p. 410 top, bottom right Peter Bennetts/Okalux GmbH p. 412 top right, bottom right Yunus Özkazanç p. 414 bottom left BDP p. 417 top, right OnTop team /Frankfurt University of Applied Sciences p. 417 bottom, centre OnTop team /Frankfurt University of Applied Sciences/Ohlenschläger
Black-and-white photos introducing main sections: page 329: National and University Library of Slovenia, SLO – Ljubljana Architect: Jože Plečnik page 340: Disseny Hub in Barcelona Architects: MBM Arquitectes, E–Barcelona page 345: Residence in Tokyo Architects: Wiel Arets Architects, NL–Amsterdam page 385: Museum of Cultures in Basel Architects: Herzog & de Meuron, CH–Basel page 393: Logistics Cebtre in Spreitenbach Architects: Frei Architekten, CH–Aarau
CAD drawings All CAD drawings contained in the “Documentation” section of the journal were produced with .
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