ISSN 1614-4600 · SEP · OCT £12.50 · US$ 24.50 · €18
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Review of Architecture · Solid Forms of Construction · Vol. 2015 · 5
∂ Review of Architecture Vol. 5, 2015 • Solid Forms of Construction 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. 436 –444, 450 – 504); Peter Green (pp.446 – 448) Marc Selway (pp. 506 – 529) (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 436 Editorial 438 Expo Milano 2015 – Superficial Entertainment or Global Think Tank? Frank Kaltenbach
Reports 446 Serpentine Gallery Pavilion – Spanish Verbena in London’s Kensington Gardens Frank Kaltenbach 450 Books, Exhibitions
Documentation 452 Residence in Vrhovlje dekleva gregorič architects, Ljubljana 457 Residence near Pachacámac Longhi Architects, Lima 462 Residence in Neusäß Manfred Lux, Neusäß 466 “Kinderhaus” in Tettnang bächlemeid architekten stadtplaner, Constance 471 Residence in Sweden Tham & Videgård Arkitekter, Stockholm 477 Holiday Chalet in Maria Alm meck architekten, Munich 482 Apartment Building in Munich bogevischs buero, Munich 487 University of Applied Sciences in M ittweida Georg Bumiller Architekten, Berlin 493 St. Trinitatis, Catholic Priory Church in Leipzig Schulz und Schulz, Leipzig
Technology 498 The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig Ansgar Schulz, Benedikt Schulz
Products 506 Property + Product 512 Hotel 516 Construction 522 Heating, Ventilating, Air Conditioning and MVHR 526 Lifts, Escalators and Parking Systems 530 Service 536 Persons and organizations involved in the planning • Contractors and suppliers 538 Programme • Photo credits • Editorial and publishing data
Editorial
Solid forms of construction Solid forms of construction signify permanence, secureness, and prestige. Durability, in turn, suggests a long life span – and low maintenance costs. An alpine chalet by meck architekten, for example, employs solid wood for everything from the loadbearing components to the tabletop. For the design of the Pachacámac House in Peru, with cyclopean stonework, Longhi Architects takes cues from Incan principles (see photo, pp. 457), while for a new academic building at a university in Mittweida, Georg Bumiller stacks black prefabricated concrete units in a way that makes them appear monolithic (pp. 487). In Ansgar and Benedikt Schulz’s design for the new St. Trinitatis Priory Church in Leipzig, the horizontal layering of the stone building envelope emphasizes the material’s sensuous properties (pp. 493). And we also present a project at the other end of the durability spectrum: the temporary structures at this year’s Expo in Milan (pp. 438). For the Slow Food Pavilion, Herzog & de Meuron developed a wood construction system whose components are easily taken apart and, when reassembled, can also be reconfigured.
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Expo Milano 2015 – Superficial Entertainment or Global Think Tank? Frank Kaltenbach
www.detail.de In the age of the World Wide Web, it would seem that there is no longer a need for a 164-year-old event that brings together the world’s newest inventions in one place. But the hosts of this year’s Expo in Milan have not taken advantage of the opportunity to radically reinvent it – to move it away from being a showcase for national achievements toward a role as a global think tank. And in the media there is either no coverage whatsoever of the event or polemical reporting. Has the expo format hastened its own obsolescence, or is the Expo Milan a success after all? Jacques Herzog explains the run-up to the Expo 2015 in Milan: “We are not interested
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in events with pavilions that try to outdo each other. But because the theme “Feeding the Planet” is so important to us, we accepted Stefano Boeri’s invitation to design the master plan.” In cooperation with Boeri, the American architect William McDonough, who is renowned for his cradle-to-cradle concept, and British sociologist Rick Burdett, Herzog developed a design that, instead of showcasing architectural attractions, puts the content – namely concepts specific to the respective participating countries addressing global challenges – front and centre (ills. 1, 2). How can we get people to eat healthful food? In light of the monocultures and global monopolies on
seed that harm the environment, how can we sustain regional traditions and diversity in foodstuffs? How can we stop the largescale destruction of foodstuffs – while in other regions of the world people are threatened with starvation? Will we be able to feed the rapidly growing world population? Promise for the future as phase-out model? But what could be more paradoxical than building an entire new city to draw attention to these existential themes only to raze it months later? Was the Expo 2010 in Shanghai the last in a long line of shows in which the host country – in many cases a relative newcomer to the global economic stage – pretends to have a monopoly on unbridled growth – even on “the future” per se? In 1851, it was Great Britain at the peak of its power; in 1939, the USA just out of the Great Depression. Japan had its turn in 1970, only a few decades after its World War II capitulation – already the second strongest exporter of goods – as did, as mentioned, China in 2010 after just having transitioned from emerging economy to leading economic force. Another paradox is that the “most ecologically sustainable” expo site – with the exception of Paris’s Champ de Mars, where the Eiffel Tower stands – is the one accompanying an expo that, due to a political boycott, never even took place: in contrast to the sorry state of what remains of the “ecoexpos” in Seville and Hanover, Mussolini’s travertine structures for his ill-fated world’s fair (to be held in 1942) were rebuilt or completed after the war and are the basis for the EUR district on the outskirts of Rome. Expo without pavilions? This year Italy finally gets its expo. This time it’s Milan – a city with funding problems, but home to many of Europe’s top-earning firms. The city has the chance to bring its own development a step further. No plausible concept was developed for the post-expo use of the site, which is cut off from the new trade fair and the adjacent neighbourhoods by train tracks, highways, and jail walls.
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Serpentine Gallery Pavilion – Spanish Verbena in London’s Kensington Gardens Serpentine Gallery, London Until 18 October 2015 Frank Kaltenbach
Architects: Selgas Cano The English like their gardens colourful. Every year in May, when the grey months of winter have receded into the past, tens of thousands of visitors crowd their way into the grounds around the Royal Hospital in London to see the famous RHS Chelsea Flower Show – the biggest exhibition of its kind in the world. This is followed at the beginning of July by the floral display at Hampton Court Palace in south London, while the loveliest beds of roses traditionally attract admirers to Queen Mary’s Gardens in Regent’s Park. People wishing to escape the heat of summer, though, and rest their eyes from overstimulation make their way to Hyde Park and neighbouring Kensington Gardens with their broad areas of grass and stocks of trees. Here, the colour of lush green dominates. This summer, however, the visual tranquillity of the verdant setting is being disrupted by the vivid colours of an accessible art installation that must inevitably attract the attention of curious passers-by: the Serpentine
Gallery Pavilion by the Spanish pair of architects Selgas Cano. Over the past 15 years, the tradition of a summer gallery has established itself in Kensington Gardens. A different architect of renown has annually been commissioned to design a temporary structure. The only condition is that it must be his or her first independent building work in Britain. “Architecture for all” is how Hans Ulrich Obrist, the co-curator, describes it, in reference to the democratic concept of “art for all”. Here, namely, in contrast to the expensive London flower shows, no entrance fee must be paid. The pavilion is financed exclusively by sponsoring on the part of the planners and other companies and through the ultimate sale of the structure to another patron at the end of the exhibition. Same procedure as every year? For the first 12 years, commissions were awarded exclusively to international star architects. Now the turn of the younger generation has come: Sou Fujimoto, Smiljan
Radic and, this year, the Spanish pair of architects Selgas Cano. Zaha Hadid was the first in 2000, with a contribution to the millennium celebrations in the form of a folded origami construction. In 2001, Daniel Libeskind created a structure consisting of intersecting angular aluminium panels; and in 2002, Toyo Ito designed a fragmented white steel cube. In the following year, Oscar Niemeyer created a miniature Niemeyer, and in 2005, Alvaro Siza and Eduardo Souto de Moura constructed a parametric timber grid, the plug-in socket connections of which made it simple to dismantle and transport. Since 2006, Hans Ulrich Obrist has been a member of the Serpentine team and “codirector of exhibitions”. London is a world metropolis, he says, which makes it all the more amazing what great architects have never built here: Mies van der Rohe, Gropius, Cedric Price. “We wanted to change that by inviting a different architect of international renown each year to erect a temporary summer pavilion.” In 2010, Jean Nouvel dipped his scheme in garish red. In 2011, Peter Zumthor designed his pavilion in black. None of the early structures, however, was as colourful as that by Selgas Cano. Didn’t the choice of these two architects mark a breach with the rules, though? After all, only a short time before, the Spaniards had completed the offices of Second Home in Hanbury Street, London (see DETAIL inside 1/15, p. 22). “Second Home is not a building. It’s simply an interior. The pavilion is, therefore, the first independent structure by Selgas Cano in the British Isles. We have observed the rules,” Hans Ulrich Obrist said in our interview in vindication of the choice. When the client knows more than the architect Serpentine Pavilions follow strict rules, although they enjoy great latitude. In 2004, MVRDV challenged the curators by designing a hill over the existing structure that was not realizable. Julia Peyton-Jones had to inform the disappointed public on that occasion that there would be no pavilion to pho-
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Apartment Building in Munich Architects: bogevischs buero, Munich Team: Michael Holzäpfel, Henry Rist, Erich Obermeier Structural engineer: Sailer Stepan Ingenieure, Munich Others involved in the project: see page 537
Schwabing is one of Munich’s most popular neighbourhoods, but it too has its difficult locations. Belgradstrasse, for example, is a busy street straddled by heterogeneous urban fabric. Partly on account of the neighbouring transformer station and the subway tunnel, the site had been vacant for a number of years before the owner, the City of Munich, decided to erect a building combining subsidized housing and a hub for streetcleaning equipment. The special feature is a generously scaled veranda-like circulation space cloaked in a grey stucco facade. This zone not only plays a role in the circulation, but also creates a buffer between the loud city and the respective spheres of privacy. As if in a theatre box, residents may survey the activity on the street below, while at night, as soon as the building’s yellow wall is illuminated, they change from members of the audience to performers. Then the “luminaire” becomes a stage set. Openings cut out of the floors furnish vertical views extending across all levels. By doing this, the architects made the entrances to the apartment doors visible, a situation that fosters neighbourly relations. All 28 apartment units are wheelchair acces19 sible;18some 19 have 19 19the 19option to annex a neighbouring unit. They are oriented to the west 17– away from the loud street. The building envelope with TICS integrated apertures (for16 forced ventilation) is dimensioned to attain a superb energy efficiency standard (German designation: KfW 70). This standard is remarkable for a building with a low budget. The architects achieved it by inventively employing inexpensive building materials and by exposing ductwork in the 2-storey subterranean parking garage where the equipment is cleaned and repaired. On the ground floor a variety of amenities – including an outdoor break space – are available to the fifty employees. The administrative spaces are cloaked in a robust metallic facade. In keeping with the zoning ordinance, the facade steps back. To absorb the vibrations caused by the subway and tram, the building’s foundations are positioned atop elastomeric bearing pads. 19 18 19
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2 Vertical section scale 1:20 1 roof construction: extensive vegetation bituminous sheeting, two layers max. 180 mm EPS insulation to falls vapour barrier 300 mm reinforced concrete deck 2 aluminium sheet, 2 % slope 130/160 mm solid wood, laminated 3 fire-protective glazing (30-minute rating) in wood frame 4 10 mm finish coat & r einforced render 180 mm mineral wool 10 mm adhesive 200 mm reinforced concrete 10 mm plaster 5 handrail: 50/50/3.2 mm steel SHS 6 floor construction: 3 mm linoleum; 30 mm mastic asphalt 30 mm impact sound insulation levelling course: 40 mm cement-bound fill 7 end plate: 10 mm steel, galvanized 8 50 mm cast stone paver 30 – 60 mm grit 17 mm drainage mat with impact-sound improvement bituminous sheeting, 2 layers 9 15 mm p laster; 200 mm precast concrete unit 15 mm plaster 10 coping: 40 mm cast stone 11 precast concrete unit with blockout for handrail
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1 2 Vertical section scale 1:20 1 coping aluminium sheet, 2 % slope 40 mm wood plank, chamfered corner 2 roof construction: extensive vegetation bituminous sheeting, two layers max. 180 mm EPS insulation to falls vapour barrier 300 mm reinforced concrete deck 3 wall construction: 10 mm finish coat and reinforced render 180 mm mineral wool 10 mm adhesive 200 mm reinforced concrete 10 mm plaster 4 wood window, triple glazing 5 accessible threshold, aluminium 6 balcony: precast concrete unit watertight concrete, no treatment following removal of formwork 7 50/50/3.2 mm steel SHS 8 aluminium sheet coping 9 50 mm cast stone panel max. 30 mm fill bituminous sheeting max. 180 mm PUR insulation to falls bituminous sheeting 10 floor construction: 5 mm linoleum 30 mm mastic asphalt separating layer 30 mm impact sound insulation 40 mm cement-bound fill 300 mm reinforced oncrete deck acoustic ceiling
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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig
uilding envelope: Rochlitz porphyritic tuff was B used for the facades, soffits, roof parapet, and as grit on the flat roofs
Ansgar Schulz, Benedikt Schulz
In keeping with characteristics inherent to the building type, the design of the facade of the new Catholic Priory Church in Leipzig aims for durability and a matter-of-fact presence. We decided to work with the unique volcanic rock from central Saxony known as Rochlitz porphyritic tuff whose varying levels of iron-oxide produce a lively variety of colours in the spectrum ranging from red, grey to yellow, and which contains quartz and feldspar. Porphyritic tuff is a soft, highly porous stone; following major volcanic eruptions some 280 million years ago it formed about 30 kilometres below the earth’s surface. On account of its outstanding characteristics (e.g., ease in processing and frost-
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resistance) Rochlitz Ignimbrit, as it is known in modern petrographic terminology, has been used as a building material since the tenth century, and this is evident in many of west Saxony’s cities. However, because there was no practicable means of transportation – the nearby river is not navigable – the material did not spread beyond the region. This fact makes the stone a truly local material – and a recognizable sign that the new priory church is part of the region’s, and in particular Leipzig’s, building tradition. For example, the Old City Hall, located on Leipzig’s Marktplatz and dating to the sixteenth century, employs this material. Further outstanding buildings are
the Romanesque abbey church at the Benedictine monastery in Wechselburg, which is considered the nucleus of Catholicism in Saxony; and the Augustusburg Hunting Lodge originally owned by the Electors of Saxony. For centuries the facade material has been a part of the day-to-day lives of the people of Leipzig: the stone creates special emotional value. But at the new Priory Church in Leipzig, Rochlitz porphyritic tuff is far more than adornment or ornamentation: as homogeneous envelope, the stone makes a decisive contribution to the sculptural form of the building. Up close the characteristic yellow streaks, zones bleached by iron oxide, become apparent. Horizontal layering The projecting and receding layers of stone are a contemporary reinterpretation of the region’s architectural tradition. Layering is the basic framework for structuring the material. Within this ordering principle each individual stone can be discerned. In sum they contribute to the desired effect: “united in diversity”. The structuring of the horizontal layering is derived from the building’s vertical grid, based on a multiple of 17 centimetres. The three different layers, with heights of 8.5, 17, and 25.5 centimetres, were laid in an irregular bond. The lengths of the stone units are a result of the dimensions of the rock-blasted material and the longest possible saw cut. This yields blocks of stone with lengths of 60 to 90 centimetres; within the rules for bonds and joints the stonemasons had a measure of freedom in laying the tuff. The fact that blocks of any length were admissible simplified the extraction and processing of the porphyritic tuff and helped reduce waste during the production process. In addition to the fact that the material is locally sourced (minimizing energy expended in transport), this constitutes another component of the comprehensive sustainability concept. The different heights of the horizontal layers contribute to the facade’s three-dimensional effect, as does the 2 cm
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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig
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2 – 4 T he cross window in the west facade of the church sanctuary above the entrance portal is integrated in the stone facade’s vertical grid 2 Cross window Section scale 1:20 cross window: triple glazing glued to frame, Ug = 0,60 W/m2k, with a UV-resistant edge compound stone facade: Rochlitz porphyritic tuff, saw-cut surface, three layers of stone: 85/160 mm, 170/140 mm and 255/120 mm in irregular bond, variable lengths, laid on stainless steel console
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incrementation of the depths: the layers of the porphyritic tuff have depths of 12, 14 and 16 centimetres (ill. 10). The coarse surface structure of the stone contributes to the tactile quality of the facade, which was achieved by employing the simplest of means: the stone used at the new Priory Church is untreated and its surface texture determined solely by the saw cut. Granite base Porphyritic tuff is open-pored, soft, and vulnerable to de-icing salt, so it was necessary to find another material for the base. Therefore, in the splash zone of the building, there is a change in material to granite, which is
more suited to fulfilling this task. It extends as much as 50 centimetres above grade – and is woven into the facade in combination with the texture of the porphyritic tuff and the rising slope of the site as it runs from west to east (ill. 9). Beucha granite, which is also quarried near Leipzig (about 30 kilometres southeast of the city), contains reddish iron oxide: this makes it a good match for porphyry. The surface of the granite was bush-hammered – which made it look even more similar to the porphyry. As locally sourced material, Beucha granite is also part of Leipzig’s building tradition; it was used, for example, in the construction of the monument to the Battle of Leipzig.
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Forgoing ventilated cavities The assembly consists of a solid-masonry porphyry rainscreen at least 12 centimetres thick, with stone of different depths (12, 14 and 16 centimetres). Next is an 18-millimetre levelling course, and then an 18-centimetre layer of foam glass insulation. To withstand the forces associated with wind pressure and wind suction, the stone veneer is secured to the 30-centimetre-thick reinforced concrete structure by means of standard cavity-wall ties. The stone facade’s vertical loads are directed story by story and around the openings via stainless steel consoles in the loadbearing reinforced concrete (ill. 5). It was a conscious decision to do without a ventilated cavity for the stone facade: this facilitated attaining the greatest possible distance to the load-bearing structure and stone veneer and activates the overall assembly using standard cavity-wall ties. Moreover, from the building physics standpoint the material properties of the foam glass make it possible to do without a ventilated cavity. The 18-millimetre-thick levelling course compensates for tolerances in the building shell and for those in the stones in the rainscreen. Expansion joints In order to thermally separate the stone facade and the load-bearing structure, expansion joints had to be incorporated in the porphyritic tuff masonry. The vertical expansion joints have an interval of 5 metres, the horizontal ones, an interval of 4.08 metres (storey height in the grid). To best integrate this thermal separation – a structural necessity – in the building envelope (and, correspondingly, keeping in mind the masonry’s irregular bond) we designed a permanently elastic expansion joint as a meandering joint; for its appearance (joint width, type of sandsurfacing) we took cues from the facade’s mortar joints – both the course joints and the head joints (ills. 7, 8).
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Anti-graffiti protection A transparent, vapour-permeable anti-graffiti emulsion – that detracts neither from the
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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig
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tainless steel consoles before stone is laid S Angle quoin at the transition from facade to suspended soffit Expansion joints with sand-surfaced silicone upon completion Open expansion joints prior to pointing. Base: Beucha granite, resistant to de-icing salt.
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9 Section through base scale 1:20 10 Building envelope: Rochlitz porphyritic tuff was used for the facades, soffits, roof parapets, and as grit on the flat roofs Passageway to the presbytery from Martin Luther Ring, a busy street. For the double facade the soundproofed windows are equipped with a baffle plate.
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facade’s chromaticity nor from its sensual qualities (in particular, the sense of touch) – was applied to the stone to keep it free of graffiti.
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Stone parapet with open joints With just a small number of carefully developed details it was possible to achieve the striking geometrical, homogeneous form: the design decisions were pared down to a minimum and made in deference to the system structuring the facade. We view the articulation of the parapet as a logical progression of the vertical surfaces; these are topped by a solid coping stone. Only in this manner is the transition to the facades of the church sanctuary and the church tower (which rise past the main roof surface), as well as to the fifth facade – the main roof, which is visible from a number of adjacent buildings. Standard metal coping would not have been appropriate in this specific setting. For the joints between coping stones a great number of materials (among them, lead wool) were tested, but they were either unsatisfactory in terms of durability, or required high maintenance. The much more satisfactory solution involved leaving the joints open and placing the waterproofing layer below the coping stones. These stones themselves rest on strips of protection mats and are secured by means of threaded rods and top-hat profiles to resist wind suction. Wedge-shaped foam glass insulation on a levelling course is employed to attain a sloped surface. The flat roof – the fifth facade – is also covered in porphyry, in this case aggregate (range 16/32 millimetres), a waste product resulting from the cutting process (ills. 11 – 13). Rear-ventilated soffits There is also a sixth facade: the underside of the cantilever adjoining the church sanctuary and the two bridge structures above the covered passageways. To emphasize the sculptural quality of the building it too is made of porphyritic tuff. Here the vertical veneer of porphyry masonry transitions into a suspended facade of porphyry plate (ill. 6).
The rear-ventilated cladding is oriented to the facade’s largest stone formats. The plates are 4 centimetres thick, 25.5 centimetres wide, and 109 centimetres long and are secured by means of anchor bolts, spaced at one-fourths of the overall length, along the plates’ long sides. An angle quoin serves as transition from facade to soffit; it is both fastened to the masonry console and suspended from the underside of the concrete deck (see page 494). Double facade for noise abatement On account of the church’s location on Leipzig’s inner ring street – a busy street whose lorries, automobiles, and streetcars produce
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Hotel
Permanent showcase for checking out products, services and systems in situ Hotel-Kompetenz-Zentrum (HKZ), or the centre for hotel design excellence, serves as a permanent exhibition platform presenting a wide range of hotel products and services for architects, designers and planners. The HKZ business park, in Oberschleissheim near Munich, covers 5,500 sq.m and the centre is divided into three floors offering solutions in the restaurant and gastronomy area, a fully equipped and functioning hotel floor, a materials library and single exhibition areas for different manufacturers.
pitality industry as a neutral platform where credible and practical solutions for the decision-making process can be found.
The hotel floor features 11 individually designed guest rooms, from a comfortable three-star setting to an opulent five-star suite as well as a large reception area, plus a working bar and cafe. In addition to spaceplanning the overall flow and co-ordination of this floor, hospitality interiors studio JOIDesign developed the design of each space from concept through to installation.
The concept of a hotel design gallery has proved popular with furniture, fixtures and equipment (FF&E) providers, with products and services from over 195 well-known companies installed so far. The showroom will continue to expand with new design scenarios installed within the HKZ business park, which also has conference facilities.
In an area of 1,000 sq.m, organisations from across Europe present their products and solutions. This not only includes the visible products, such as wallcoverings, flooring, furniture and lighting, but also aspects of hotel operations such as fire safety, accessibility and security issues. The HKZ thereby serves the different stakeholders of the hos-
This ‘hotel without guests’ features a representative cross-section of the world of hotel facilities. Fully operational equipment has been installed in realistic scenarios, so that visitors can experience at first-hand how products work, for example the water pressure from a tap or shower head or the illumination cast by a pendant light.
In addition, the extensive materials library enables an array of patterns, palettes and innovations in areas such as carpeting, wallpaper and tiles to be seen, touched and instantly trialled in situ whilst exploring a wealth of combinations. The testing of operational software, POS systems, dispensing and cooling equipment and vending machines in simulated yet real-time settings will
also be available. “We not only want to explain what is visually and conceptually possible, but to really show the interplay of ideas, technology and service, too,” said Christian Peter, the manager of HKZ who first originated its concept. JOI-Design won a judges’ So Cool award for the HKZ design at last year’s Gold Key Awards for Excellence in Hospitality Design. These are given by the International Hotel, Motel + Restaurant Show® (IHMRS) a comprehensive trade event for the hospitality industry held each November in New York. Closer to home, two forthcoming hotel events in London this autumn are The Independent Hotel Show, at Olympia West on 20 and 21 October, and Sleep, The Hotel Design Event at the Business Design Centre on 24 and 25 November. ¥ Hotel-Kompetenz-Zentrum GmbH Germany � +49 (0)89 550 5212 0 www.hotelkompetenzzentrum.de ¥ JOI-Design GmbH Germany � +49 (0)40 68 94 21 0 www.joi-design.com
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Artist-themed decor lends dramatic appeal
Parquet pattern
A Daliesque design is the striking theme for this Barcelona hotel, part of the Vincci group of hotels. The overall design concept by TBI Architecture & Engineering, also based in Barcelona, was inspired by Gala, the famed wife and muse of surrealist artist Salvador Dalí, and the hotel is named in her honour. The dramatic relationship between the exotic couple was key to the creative thinking behind the renovation project.
L’Antic Colonial, part of the Porcelanosa Group, has introduced its Legacy natural wood floors collection, which brings back the traditional interwoven parquet design but with a modern twist. Unlike the typical long strips of wood, this range is offered in a square format of 100 ≈ 100 cm with a thickness of 2 cm and a multi-layer structure that uses a mixture of quality natural materials: each piece of parquet is formed by a first layer made from slats of French oak and a second panel made of birch giving an attractive finish and enduring quality.
The palatial building housing the 80-room Hotel Vincci Gala dates back to the year 1900 and its original facade needed to be preserved, as well as the grand white marble staircase inside. However, the three- storey addition above features a gold mesheffect curtain wall, which is designed to create a new, modern and dynamic facade in juxtaposition to the historic exterior. Gregor Mertens, project leader at TBI, outlined how this recurrent theme of contrasts between colour, texture, material and architectural eras plays out also within the interior: “We have worked with a strong palette of black and gold, and with the interaction of light and dark within the interior ... The aim was to give the space both an extravagant and an elegant touch, in homage to the style of the artist himself.” Taking this approach,
and using DuPont™ Corian® in the intense jet black colour of Deep Nocturne, a fusion of ancient and modern, glamorous and informal has achieved a dramatic scheme for the bar area. The material was chosen to form the flowing fascias and countertops, the colour being one of four new black tones created using DeepColour™ Technology, which enables production of the darker hues with improved performance, durability and colour intensity. The high performance was a key factor in its specification, considering the high-traffic nature of such environments, in addition to its appearance and design flexibility. Said Gregor Mertens, “We have worked with DuPont Corian in order to achieve a continuous, organic form, which both contrasts and harmonises with the golden box that frames the bar.” He emphasised the importance of the lack of visible joints between the sections, adding that the new technology and the Deep Nocturne colour allowed this dramatic effect to be achieved seamlessly.
To achieve the design, the oak slats are laminated, forming an interwoven panel: this construction, together with the technical properties of the natural materials, gives the parquet a high thermal resistance, thus allowing it to be installed with underfloor heating systems. Four colours are currently available, to suit most interior design schemes: the lightest shade is Ceniza, followed by Tobacco (shown above), the warmth of Cognac (below) and finally the deep, dark reddish tones of Vulcano.
¥ DuPont Corian United Kingdom � +44 (0)800 962116 www.corian.co.uk
¥ Porcelanosa United Kingdom � +44 (0)8444 818952 www.porcelanosa.co.uk
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Modular styling
Streamlined surfaces cover a range of functions
The Marmoleum modular collection from Forbo Flooring Systems offers the possibility to mix, match, combine or contrast to create individual schemes from a choice of over 140 items. Four tile sizes range from the extra-large 75 ≈ 50 cm size down to 25 ≈ 25 cm, with medium-format square and rectangular tiles in between, whilst two plank options provide additional choice. The flooring is made up of 88 % natural raw materials, with 76 % rapidly renewable and 58 % recycled content, and with the new Top shield2 finish can be used immediately after installation. A series of design grids is available as part of the online room planner tool.
The modern design for the renovated 4-star Pullman Hotel in London’s St. Pancras was enhanced by the use of Silestone® quartz surfaces for the reception, bar and restaurant. Interior design company Dula-Werke Dustmann chose quartz material processing specialist Rosskopf to design and produce the various elements, which needed to look good and offer the durability that daily use demands. Silestone is composed of 94 % natural quartz, which comes in a wide range of colours and a number of finishes, some including a bacteriostatic protection system. The composition of quartz, various pigments and polyester resin offers a non-porous, cutand heat-resistant surface said to be easy to clean and maintain.
The collection comes in four themes. Shown top is Marble, a compendium of classic and contemporary marbled colours to bring a mix-and-match dimension to any floor plan. Below is an example of Lines, which offers 15 fresh colours based on the popular Striato design, along with innovative ‘crossgrained’ tiles. The plank formats open up a number of design options, from abstract linear to classic herringbone. ¥ Forbo Flooring Systems United Kingdom � +44 (0)800 093 5258 www.forbo-flooring.co.uk
The spacious reception and lounge area, annexed to the Golden Arrow restaurant and bar with its own show kitchen, is the heart of the hotel, which has 312 stylish rooms and suites. Whilst the reception area is largely of a puristic, linear design, the bar is fresh and colourful and the restaurant is embellished with warm, rich colours to generate an elegant yet cosy feel. Dominating the hotel entrance is a large information and self-check-in counter with integrated touch-screen displays. Bright white
515
Blanco Zeus has been used for the 1.50 mhigh, 70 cm-deep counter along with acrylic glass, illuminated to give a warm glow. Various cut-outs have been milled into the 12 mm-thick quartz for mounting the touch screens and for the control panels and card slots on the front of the counter. Three freestanding reception terminals complement the check-in area; here, the quartz material sheets were fabricated with recesses for PC workstations and table lamps. The main part of the L-shaped bar counter extends forward of the backlit acrylic base, to function both as a stand-up bar and to offer seating for guests. Again cut-outs have been milled into the surfaces, for beer taps and lighting and for the coffee machines and cashier’s terminal. The grey and white mottled-effect Bianco Rivers design is also used for the stand-up tables, contrasting with the yellow bases and the bar stool legs. Dark-coloured quartz is used for several of the restaurant tables and the circular vinotheque, for wineglasses as well as bottles, is framed with the same material. ¥ Rosskopf + Partner AG Germany � +49 (0)37291 25 0 www.rosskopf-partner.com
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Lifts, Escalators and Parking Systems
2015 ¥ 5 ∂
Double-decker lift-off
Luxury apartments benefit from safe, secure parking
Kone has begun on the first phase of its elevator installations for the Kingdom Tower in Jeddah, Saudi Arabia. Due for completion in 2018, the tower is expected to rise to a height of more than 1 km. The company will supply and install 57 elevators including its DoubleDeck elevators, described as the fastest, highest double-decker elevator, and capable of travelling at a speed of over 10 m/sec, supported by UltraRope® hoisting technology. With a carbon fibre core, a high-friction coating and at one-third of the weight of conventional steel ropes, this is designed to significantly cut elevator energy consumption in high-rise buildings.
The Swiss-based Lifestyle Hospitality & Entertainment Group is a hotel management company incorporating international lifestyle hotels, luxury resorts and private residences under the Kameha brand. A recent project is the development of exclusive apartments designed by tecArchitecture within the walls of the listed Theresienhospital building, in Düsseldorf, which dates from 1636.
For the redevelopment of London Bridge railway station, Kone is to supply and install 24 TransitMaster® 140 escalators. The overall project is part of a wider scheme funded by the ThamesLink programme to upgrade the rail network. As well as increasing the number of platforms at London Bridge and providing lifts and escalators for step-free access, there will also be improved links between the Tube and bus network. ¥ Kone Great Britain United Kingdom � +44 (0)8451 999999 www.kone.com
The Kameha Residence offers luxury living on a grand scale. Over a gross floor area of around 13,000 sq.m, the 59 apartments benefit from first-class services and amenities including secure underground parking, with two Wöhr Multiparker 740 automatic parking systems providing a total of 98 spaces. These are managed via a set of two vehicle entry and exit transfer cabins, with a parking process capacity of approximately 50 cars per hour and a maximum time of 240 seconds per car. Conventional parking in the courtyard would have given a third fewer spaces; instead, this area has been landscaped to offer a comfortable outside seating place for the residents. In addition, underground parking means there are no narrow ramps or driving lanes and no dark stairwells, making it safer for users and their vehicles, as no damage
is caused by theft or vandalism. The overall parking area is 708 m2, with individual parking of approximately 7.2 m2 and a total volume per vehicle of 49 m3. As well as residential use, the Multiparker 740 is suitable for offices and public parking and can be adapted to individual project requirements. Space is saved by stacking cars side by side and on top of each other in a high-rack storage system, with longitudinal parking next to the storage and retrieval system. The parking system caters for differing vehicle types, and for individual vehicle weights up to 2.5 tonnes – higher loads are possible on application. The optimised system configuration features up to three parking rows to the right and the left of the storage and retrieval system, and up to eight parking levels stacked on top of one another. A customisable arrangement of the transfer area is possible. Ease of operation is a key feature, with several control options, for example by transponder chip or remote control. ¥ Otto Wöhr GmbH Germany � +49 (0)7044 46 0 www.woehr.de
∂ 2015 ¥ 5
Product Information Index
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Product Information Index Property+Product Hotel Lanserhof Tegernsee in Marienstein, Germany (3A Composites, Bene, Boley, Blasi, Claus Markisen, Créaton Baumann, Dorma, Dornbracht, Erco, Flos, Franz Schneider Brakel, Hörmann, Kal-fire, Kvadrat, Mafi Naturholzboden, Marazzi, Pfeiffer, Raico, Specht Sonnenschutztechnik, Toto, Trend Group, Winter Creation) 506
Maximising space Two five-bedroom luxury homes have been built on the site of a post-war detached house in the Golders Green district of London, where development space is at a premium. Each property had room for just a single garage so a Cardok electro-hydraulic car lift was fitted in the driveways of both houses to maximise the parking area. The lift can accommodate one car below ground with space to park another vehicle on top, which means parking is available for three vehicles at each property. Each Cardok can lift the equivalent of two Range Rovers and descends to a depth of 4 m. The company has also provided muchneeded additional parking at a new luxury development at Bushey in Hertfordshire, where four homes have been built on a corner site that originally had just one house on it. The fourth house was restricted for drive space but with a car lift installed inside a double garage there is now room for three cars altogether. The build was planned so the Cardok was installed first and the house and garage were built over and around it. ¥ Cardok UK Ltd United Kingdom � +44 (0)20 7112 8870 www.cardok.com
Hotel Permanent showcase for checking out products, services and systems in situ (Hotel Kompetenz-Zentrum, JOI-Design) Adaptable comfort (Milano Bedding) Diffusion collection introduced by bespoke designer (Simon Orrell Desins) Boutique appeal ((Waterworks) Wallcoverings range with material impact (Marburger Tapetenfabrik) Artist-themed decor lends dramatic appeal (DuPont Corian) Parquet pattern (Porcelanosa) Modular styling (Forbo Flooring) Streamlined surfaces cover a range of functions (Rosskopf + Partner) Construction Core benefits (Kingspan Industries) Winning design takes on the challenges (Wicona) Modern material links past and present (LG Hausys) Solid choices (Überwachungsgemeinschaft KVH) Earthwool for e4 house (Knauf Insulation) Construction show dates (UK Construction Week) Steel-framed system (Celotex) Facade panel ranges offer multiple material, finish and size options (Hunter Douglas) Heating, Ventilating, Air Conditioning and MVHR A wall to warm to (Juma) Special finishes extend the design options (Tubes Radiatori) Statement pieces (MCZ Group) Biomass chosen to cut fuel costs and carbon emissions (Rural Energy) High-performance ductwork systems (Kingspan Insulation) A warm glow (Windhager) Lifts, Escalators and Parking Systems Technical upgrades and design enhancements across product ranges (Schindler) Faster, higher, smoother claim for elevators installed in new US trade centre (ThyssenKrupp) Double-decker lift-off (Kone) Luxury apartments benefit from safe, secure parking (Otto Wöhr) Maximising space (Cardok)
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526 527 528 528 529
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2015 ¥ 5 ∂
Programme for 2015 • Photos ∂ 2015 1 Roofs ∂ 2015 2
Glass Construction
∂ 2015 3
Concept: Industrial Building
∂ 2015 4
Material and Finishes
∂ 2015 5
Solid Forms of Construction
∂ 2015 6
Steel Construction
∂ Review of Architecture + Construction Detail
DETAIL English appears in 2015 on 15 January, 2 March, 4 May, 1 July, 1 September, 2 November.
Published by: Institut für internationale ArchitekturDokumentation GmbH & Co. KG, Hackerbrücke 6, 80335 Munich, Germany Tel.: +49 (0)89-38 16 20-0 Fax: +49 (0)89-38 16 20-66 www.detail.de
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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. 436, 459 left, 460: CHOlon Photography/Longhi Architects
pp. 462– 465: Jens Weber, D–Munich
p. 437: Claudia Fuchs, D–Munich
pp. 477– 480: Florian Holzherr, D–Gauting
pp. 438 top, 443 top right, 443 bottom right: Herzog & de Meuron, CH–Basle
pp. 482, 484, 486: Michael Heinrich, D–Munich
pp. 438 bottom, 439, 441, 443 top left, 443 top middle, 444 top right, 444 bottom, 445, 446 top, 447, 448, 483, 493, 496, 497, 500, 502 second from top, 502 second from bottom, 504: Frank Kaltenbach, D–Munich
pp. 487– 492: Werner Huthmacher, D–Berlin pp. 494 top, 495, 498, 503: Stefan Müller, D–Berlin pp. 494 bottom, 502 bottom: Schulz und Schulz, D–Leipzig
p. 440 top: ©Hufton+Crow
p. 502 top: F. X. Rauch GmbH, D–Munich
pp. 440 bottom: Schmidhuber/Milla & Partner/Nüssli
p. 510 – 509: HG Esch, D–Hennef
pp. 442, 443 bottom left, 466 – 470: Roland Halbe, D–Stuttgart
p. 510: Simone Ahlers for JOI-Design
p. 444 top left: Foster and Partners, GB–London
p. 514 top left, top centre, bottom left, bottom centre: Jose Hevia for DuPont Corian
p. 446 bottom: Iwan Baan, NL–Amsterdam p. 450 bottom: Erik-Jan Ouwerkerk, D–Berlin pp. 451, 471– 476: �ke E:son Lindman, S –Stockholm pp. 452– 456: Janez Marolt, SLO–Ljubljana pp. 457, 459 right, 461, 505: Juan Solano/Longhi Architects p. 458: Elsa Ramirez, PE–Lima
p. 515 top right, bottom centre, bottom right: Dula-Werke Dustmann & Co GmbH p. 518 top left, top centre, bottom left: Nikolaus Herrmann p. 528 top left: Adrian Smith + Gordon Gill Architecture/ Kone Corporation p. 528 bottom left: Network Rail/Kone Corporation
Black-and-white photos introducing main sections: page 437:
German pavilion “Fields of Ideas”, Expo 2015 Milano Architects: Schmidhuber, Munich; Milla & Partner, Stuttgart; Nüssli, Roth
page 445:
Serpentine Gallery Pavilion in London Architects: Selgas Cano, Madrid
page 451:
Residence in Sweden Architects: Tham & Videgård Arkitekter, Stockholm
page 497:
St. Trinitatis, Catholic Priory Church in Leipzig Architects: Schulz und Schulz Architekten, Leipzig
page 505:
Residence near Pachacámac Architects: Longhi Architects, Lima
CAD drawings All CAD drawings contained in the “Documentation” section of the journal were produced with VectorWorks®.
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