Shopping Mall

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SHOPPING MALL Copyright Š2012 by Hi-Design International Publishing

Edited and first published by Hi-Design International Publishing (Hong Kong) Co., Ltd. Address: Nanshan Haidesandao 16, Yangriwanpan 7-31B, Shenzhen, China Tel:0755-86586558 Fax: 0755-86586558 URL: www.hi-design.hk Email: info@hi-design.hk ISBN 978-988-19707-7-0 Chief Editor: Elaine Chou Book Designer: Fenice Wu, Shirley Qu

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage and retrieval system, without prior permission in writing by the publisher.

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Pendorya Shopping

Center

r

Forum Istanbul Shopping Cente Bahcelievler Carrefo

ur SA Shopping Cen

ter

FRIIS Aalborg City Center ndava

Retail Center Le

g Center

“Kruiz” Shoppin

Bahrain City Center 360° Mall Extension IKEA Store

, Heerlen

Betty Blue

Galleria Centercity

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Preface

序言

Shopping Centers – until recently, architectural wastelands!

Fortunately, the dark ages of shopping mall architecture are finally over!

Hardly anything of architectural merit was created between 1950 and 2000, especially in central Europe. Almost nothing met the high demands of modern, innovative design or found a place in architectural history. Few, if any, architectural or design journal explored this field in detail, and if they did, it was to criticize it.

What’s worse, this disturbing architectural shortcoming occurred despite the relatively significant amount of shopping malls that were opened or renovated during this period.

One of the principle reasons for this phenomenon might be the ownership and management structures of these malls, because during this period, the “traditional” mode of business gradually disappeared. The founding fathers, who usually owned the stores themselves and managed them with the utmost care, died out.

They were gradually replaced by professional mall managers, who were primarily responsible to groups of investors. As such, mall management focused less on actual trade and more on organizing the trading center. For a long time, these managers focused on finding the optimal merchandise mix, increasing commercial profits, optimizing cost structures or signing long-term lease agreements with renters who had very good credit ratings (primarily international chains).

As extra attractions, superficial entertainment schemes were developed to decrease customer boredom and increase length of stay and sales volume. Newly developed retail centers were no

longer managed by proper retailers, but rather by economists. The business vision was replaced by a commercial vision.

At this time, serious architects shunned the field of shopping real estate, as they viewed shopping malls as superficial places devoid of artistic-intellectual ambition and perspective. Too much mass commerce, too little authentic trade, too much trivial glitter, and too many blatant marketing strategies repulsed architects and rendered shopping centers practically a no-go.

The tendency to focus attention inside and thereby seal out the outside world was another turn off for architects. After all, the distinguishing features of many malls that are located on the outskirts of a city are massive parking lots. Buildings, cubatures or facades degenerated into single-usage, featureless, uninspiring big boxes, the main purpose of which was to present the logo and advertising.

Over the years, however, gradually mounting pressure on operators and investors slowly led to a paradigm shift. The reasons for this include the increased competition between malls, the constant search for distinguishing features and increasing public dissatisfaction with the “shopping monsters” on the outskirts of towns.

For this reason, more and more renowned architects have recently won competitions and obtained contracts in the world of shopping malls. Prominent examples include the “Galeries Lafayette” in Berlin by Jean Nouvel (1996), “Selfridges” in Birmingham by Future Systems (2003), Toyo Ito’s “VivoCity” in Singapore (2006),

购物中心——不再是建筑界的荒原 所幸的是，购物中心建筑的黑暗时期终于结束了！ 从 1950 年至 2000 年这一段时期，建筑史上没有什么可圈可点的成绩，中 欧的建筑尤其如此。现代建筑的设计标准似乎高不可攀，新颖的设计也极为少见， 这段建筑史几乎是平庸无奇。少有的建筑和设计形式深入探索这一领域，招之 而来的只有批评。 更令人堪忧的是，尽管在这个时期众多的购物中心或新建或重整，但这种 建筑弊端却暴露无遗。 导致此现象的主要原因之一归咎于这些商场的所有权和经营机构，正是在 那段时间里“传统”的商业模式逐渐地被取代。作为商场的拥有者和最初的开 创者，他们亲力亲为地管理事物，现在他们却渐渐地淡出商界，取而代之的是 专业的购物中心经理，他们为投资者效力。由此，商场管理层侧重的是业务中 心的经营机制而较少关注实际的业务情况。这些经理人长期地致力于寻找最佳 的商品结构，增加商业利润，优化成本体系，或是与信用度较高的承租人（主 要是国家连锁结构）达成长久的租赁合同。 为了增加吸引力，商场中通常都附带娱乐设计方案，从而增添顾客的兴致， 延长顾客在店内的停留时间。这些新建商业中心的管理者往往是经济学者而不

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是合格的零售商。因而，企业前景不得不为商业前景让路。 那期间，严肃谨慎的建筑设计师不接受购物中心建筑领域的项目设计，他 们认为商场缺乏品位、缺乏艺术和知性的内涵，过于商业化使其缺失真正意义 上的交易。建筑师们非常反感商场中繁琐的枝节和哗众取宠的营销，他们对此 避而远之。 建筑师也厌倦了以商场内部为重心并将其与外界隔绝的做法。毕竟，很多 地处市郊的购物中心都以容量较大的停车场为显著特征。楼体、空间、立面各 种要素的设计都简化成单一的实用目的，毫无特征的、呆板的陈列柜，所展示 的也无非标识或广告。 然而，时光荏苒，经营者和投资者在越来越大的压力之下，调整了思维模式。 原因在于商场间的竞争越发激烈，而顾客们也开始青睐特征鲜明的场所，越发 远离位于城市郊区的那些“商场怪物”。 借助此种形势，近来不断有知名的建筑师竞标成功并与购物中心签下设计 合同。下面列举一些成功的典范：让 • 努维尔于柏林——老佛爷百货 (1996)， 未来系统于伯明翰——塞尔福里奇百货公司 (2003)，伊东丰雄于新加坡—— 怡 丰 城 (2006)，Massimiliano Fuksa 于 法 兰 克 福 ——My Zeil(2009)，David

ERA Planning Architecture Consulting Co., Ltd.

Massimiliano Fuksa’s “My Zeil” in Frankfurt (2009) and David Chipperfield’s “Peek & Cloppenburg” in the Heart of Vienna (2011).

Historically speaking, marketplaces (the predecessors of the modern shopping center) were always places for intense social interaction, trade and exchange. And “indoor shopping” is also not a modern invention. For example, the Grand Bazaar in Istanbul (dating back to the 15th century) is one of the world’s largest, partially covered marketplaces, with over 4,000 shops in more than 50 streets, and even older examples can be found in the orient, such as in Damascus, Isfahan or Tehran.

In 19th century Paris, there were covered shopping arcades, such as the Grand Bazaar, which in 1825 already housed 300 individual shops. These arcades later developed into department stores, such as Harrods of London (approx. 1850), in which different kinds of goods were sold under one main brand name.

Increasing mobility and the rising popularity of the automobile led to shopping malls on the outskirts of town. Their recipe for success was certainly the combination of size, range of goods and accessibility. Particularly in the USA, this trend grew with enormous speed.

From a current perspective, the social relevance of shopping malls remains the same. However, old questions need to be asked again, and standard answers must be abandoned.

Without a doubt, this begins with the urban development aspects of shopping malls, regardless of whether they are located in the center of town or on the outskirts. In this context, not only

logistical or infrastructural questions have to be addressed, but most importantly, questions regarding the urban development context have to be clarified. How well does the mall fit into the surroundings? How much can it function as a socio-economic driver for the local area? Which cultural resources can be utilized? How can a contextually meaningful utilization mix be created? These are just some of the important questions.

In fact, due to its functional and spatial complexity, the building structure of a mall can be seen as a playground of architectural challenges. These challenges include the development of a functional utilization plan and space layout, a simple and preferably sign-free customer orientation, the unique experience of space, the skillful blending of events and usage types, and of course the question of design.

Last but not least, due to their size, future shopping malls have to provide creative and efficient solutions with regard to ecologic sustainability. After all, shopping malls are like small (or sometimes even large) cities, with a correspondingly large (or small) ecological footprint. Shopping malls have to be environmentally responsible, which makes the whole topic of shopping malls even more interesting.

Finally there is something in the architectural future of shopping malls to look forward to, as we await the new solutions that architects and designers will find for shopping centers!

Chipperfield 于维也纳中心——Peek & Cloppenburg(2011)。 纵观历史，市场（现代商场的前身）一直都是社会活动较为频繁的场所， 人们于此进行买卖与交换。“室内购物”也不是当代才有的新鲜事物。例如， 伊斯坦布尔的大巴扎（追溯到 15 世纪）就是世界最大的市场之一，值得一提的是， 它的市场涵盖 50 条街道上的 4000 家店铺。距今更久远的市场则出现于东方的 大马士革，伊斯法罕和德黑兰等地。 19 世纪的巴黎已是店铺林立。在 1825 年大巴扎就容纳了 300 间独立商户， 百货商店就此成长起来，比如伦敦的哈罗兹（约创办于 1850 年），在此，各 式各样的货品都在其名下出售。 随着交通的改善和车辆的增加，商场都向城市周边转移。它们之所以能吸 引顾客在于规格齐全、种类庞杂、环境便利。尤其是在美国，此种趋势迅速蔓延。 从现代的角度来看，商场的社会关联性没有改变。然而，同样的问题再一 次需要面对，统一的标准答案必须被摒弃。 毋庸置疑，无论地处市内还是郊区，购物中心首先考虑的是城市发展相关 的因素。这不仅仅涉及逻辑与基础结构的问题，最重要的是明确城市发展的脉 络。购物中心是否能和谐融入周边环境？它对当地的社会经济发展到底起多大

作用？哪些文化资源适宜利用？如何创造出融洽的整体效果？值得深思的不仅 仅于此。 实际上，由于功能和空间的复杂性，商场的结构建造就是一场建筑上的挑 战。这些挑战包括空间布局和功能利用开发方案，简便、无标牌的顾客引导体系， 别具一格的空间感受，场地活动与应用类型的巧妙结合，当然还有设计本身的 问题。 最后强调的是，商场大多占地较广，因此必须采用有创意、高效的可持续 发展的解决方法。毕竟，购物中心可以看做是小型的（有时候甚至是大型的） 城市机能，具有或大或小的生态痕迹。他们应对环境负责，这一点让购物中心 的设计更加有意义。 总之，购物中心的建筑设计有着值得期待的前景，相信建筑家和设计师们 能给商场的未来勾勒出更新更美的蓝图！

Mark Jenewein, LOVE architecture

Mark Jenewein, LOVE architecture

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Contents

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目录

Pendorya Shopping Center

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Forum Istanbul Shopping Center

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Daesung D3 City

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Bahcelievler Carrefour SA Shopping Center

048

Betty Blue

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Galleria Centercity

072

Riga Plaza

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FRIIS Aalborg City Center

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VARENA

112

Caserne de Bonne

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Santa Monica Place

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John Lewis Department Store and Cineplex

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New Central Flower Market

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The New Gerngross!

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Extension IKEA Store, Heerlen

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Forum Kapadokya Shopping Center

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“Kruiz” Shopping Center

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Market, Town Hall Offices, Public Space and Parking in Rubí

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Forum Aydin Shopping Center

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La Vache Noire

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Leto

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Pfohe Mall

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Interspar F체rstenfeld

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Facade Shopping Center Limbecker Platz

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GECO-COOP

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Shopping and Services Centre Futura

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Renoma Department Store

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Municipal Market of Pinhal Novo

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Retail Center Lendava

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Retail Center Holermuos

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Saint-Peray

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Rebuilding Trondheim

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360째 Mall

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Bahrain City Center

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Index

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Pendorya Shopping Center Architects: Kerem Erginoğlu, Hasan Çalışlar Firm: Erginoğlu & Çalışlar Architects Design Team: İ. Kerem Erginoğlu, Hasan C. Çalışlar, Romain Cadoux, Barış Yüksel, Işık Süngü, Özlem Ünkap, Türkan Yılmaz, Osman Özmen, Sezen Bilge Location: Pendik, Istanbul, Turkey Contractor: Ataman Construction Project Management: IMS Structural Project: Modern Engineering Mechanical Project: Besa Electrical Project: Enkom Lighting Consultant: Yıldız Ağan Facade Pattern Design: Nesrin İçen Transportation: HARTEK Landscape Architecture: Gardensa Area: 90,000 m² Photographer: Cemal Emden

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Pendorya Shopping Center is located on the E-5 highway, in a development zone, which is expected to have offices and residential buildings in the future. The main criteria used in determining the design and form are derived from the structure’s particular location.

Turning its back to the busy and noisy E-5 highway, dynamic and surprising inner spaces of the building are exposed to the sheltered open square, which is expected to become the new gathering area.

With direct access from car parking and inner spaces transferred to the outer spaces, this new open square is anticipated to become the new point of attraction for pedestrian access. It is envisaged as a twenty-four hour living area where different outdoor activities are pursued. Basement floors are reserved for car parking. Service

and parking lot entrances are from the E-5 side for easy access.

Flexibility in the inner space is achieved by variations in the plan schemes of the retail areas and easy pedestrian flow by a welldesigned circulation system. In this way movement between the different common/social areas, such as the open square, covered square, terrace area, and galleries is facilitated.

Taking into consideration the intensity of the surrounding highway traffic, the façade is designed with a logo-strip to easily catch the eye. The façade is covered with glass panels, on the ground floor, whereas custom-made, precast concrete panels with patterns dress the upper floors of the façade. Long-term maintenance as well as visual coherence is thus achieved.

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Forum Istanbul Shopping Center Architect: ERA Planning Architecture Consulting Co., Ltd. Location: Istanbul, Turkey Area: 400,000 m²

Forum Istanbul Project was developed in a design partnership between ERA, BDP, T+T, and Chapman Taylor for Bayrampasa District where E5 highway marks the south boundary of the site. The east and north ends are lined off by tramlines.

The project is a mixed-use development including retail, residential, office and entertainment areas settled in three combined parcels. The project’s retail functions cover a shopping center with 100,000 sqm leasable area, 15,000 sqm hypermarket, 30,000 sqm IKEA Store, 10,000 sqm DIY stores, and 5,000 sqm sports store with large parking space for 5,500 vehicles. 20,000 sqm of office area also supports retail functions. The shopping center is planned on four storeys with shops, department stores, restaurants, leisure area, cinemas, and a 7,500 sqm aquarium which was designed in the basement levels where ocean life can be discovered. The building is inspired by ‘city within the city’ concept. A traditional city structure has been the inspiration for the design master plan. A city like image and scale is aimed through a combination of different buildings on the exterior as well as interior spaces.

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DESIGN NARRATIVE

位于高度密集的城市环境中，本案被打造成一个融文化和自然为一体的商业建筑。在设计上，D3 City 融入了韩国传统的山水画的 怀旧元素，垂直的构造形式非常具有艺术气息。 本案设计的精彩之处在于应用亚洲灯笼状的结构形式，透过外部覆盖层发出温暖而热烈的光芒，在晚上吸引来往于此的路人为之驻 足。从本案外部的通道可以爬到灯笼状建筑顶层的零售中心，这里既有意大利山城特点，又不失现代建筑的风格。作为首尔独具特色的地方， D3 的城市设计上也集合了自然元素来创造了一个城市绿洲，对这个区域的工业历史做出了重新的诠释。D3 城市中心运用娱乐、文化以 及引人注目的风景元素来推动人流活动，进一步提高了建筑的人行路线的人流流动。 作为该区域一个地标性建筑，由 Jerde 设计的高层办公室和酒店建筑象征着该区作为首尔中心的冲天活力及其复兴。自然元素被大 量应用到该商业建筑中，花园和梯田交错，一系列的室内小瀑布，底层中一条用玻璃封闭的“灯河”引领人们去探索和发现。建筑内的 娱乐区包括一个地下的花园和位于 B02 层的大型活动空间，在广场和公园间用一个通道相连。由于受到韩国动感文化的启发，也为了为 此公共文化发源地注入新的自然活力，Daesung D3 城市中心为城市社会活动树立了一个新的标准，使来到这里的人们将自然和城市环 境因素共同融入到自己的生活之中。

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Bahcelievler Carrefour SA Shopping Center Architects: ERA Planning Architecture Consulting Co., Ltd. Location: Istanbul, Turkey Area: 65,000m²

The building Bahcelievler Carrefour SA is composed of a hypermarket, a shopping mall and an enclosed parking.

Located on D100 in European side of Istanbul, the project is adjacent to a busy highway, near to the Istanbul Ataturk Airport.

The conceptual design of the building takes the chaotic expression of the surrounding neighborhood as reference and brings it to a level of a “clear” architecture. It is separated from the sharp and visually crowded urban context with its calm curvilinear forms.

The white streamline shape is also considered as a reference to the planes that land and take off every minute just across the site. Warm materials and intensive use of natural light offers visitors a serene escape from the city.

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Galleria Centercity

Architect: Ben van Berkel Firm: UNStudio Location: Cheonan, South Korea Area: 66,000 m² Photographer: Christian Richters Portrait Photographer: Inga Powilleit

Galleria Centercity Department Store marks the entrance to a new development area. It is prominently visible from the main road that declines down from the direction of Seoul. As such, the building will play a major role in the new urban development.

The main architectural theme is that of dynamic flow. This is found both inside and outside. The architecture of the 66,000 m² building responds to its central position by presenting a deliberately changeable aspect all-around. Moiré effects, special lighting and animations ensure that the outside changes appearance constantly.

Inside and outside are brought together in an intricate manner, as four different thematic interior clusters can be identified in the exterior surface.

The strategy for the building enclosure consists of creating an optical illusion. The facades feature two layers of customized aluminium extrusion profiles on top of a back layer of composite

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aluminium cladding. The vertical profiles of the top layer are straight; but those of the back layer are angled. This results in a wave-like appearance, which changes with the viewpoint of the spectator (Moiré effect).

The interior derives its character from the accumulation of rounded plateaus on long columns. The repetition of curves, enhanced by coiled strip lighting in the ceilings of the platforms, gives the interior its distinctive character. This organization has been made possible because of the complex spatial arrangement of the atrium.

This central void is simple and straight in one cross-section, but oblique and jagged in the opposite cross-section. The result can be seen as a kind of spatial waterfall, a relatively narrow central void cuts through the volume from top to base, with smaller pockets of space emanating from it, like rivulets.

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Riga Plaza

Architect: Andris Kronbergs Firm: Architectural Practice ARHIS Ltd. Location: Riga, Latvia Area: 80,310 m² Photographer: Indrikis Sturmanis

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Site plan Solution The two-storey building volume forming a sharp angle in the plan occupies the North-Northeast part of the land plot. The visitor parking lots are located on the ground level on the South-Southwest sides of the building. Multi-storey parking lot is located on the southwest part.

Delivery and household yard is formed on the northern side of the building.

The main entrances to the building are formed at three most significant points of the building – corner part of the building that faces towards the main street; corner part of the building that faces the main access road to the territory; the building area which is close to multi-storey parking lot.

Commonly active elements with decorative-informative purpose are places in the areas next to main entrances – flag poles, information signs, advertising stands, benches, bicycle parking stands, as well as taxi parking lots and special parking lots for vehicles of disabled people. All territory is greened and landscaped.

Spatial Solution The spatial solution foresees creation of a two-storey building volume with horizontal roof and facade in a single dynamically bent ribbonlike form. The active facade image expresses the dynamic nature of the spot (direct proximity to Island bridge and transport sections) and it is basically perceived from distant and dynamic points of perception.

The dynamics of the building façade are reinforced by use of multicoloured metal clusters. The roof form has a special meaning being easily perceived from distant viewing points.

The multi-storey parking takes a form of a 3-storey building body with reinforced concrete facade.

Functional Solution The commercial and entertainment complex is formed as a single

building volume on two storeys with internal two-level shopping street along the longitudinal direction. Commercial, recreational and entertainment objects of different nature and area are adjacent to the main axis – “the central street”. Direct connection to the multistorey parking lot is made at level +6.000. The largest functional object – hypermarket – is located at the north end of the building. Multiplex cinema is located above the hypermarket. On the second floor of the eastern part of the building there is an entertainment complex. The first and the second floors are interconnected by elevators, escalators and stairs.

Facade Solutions Basically the facade is made as a single architectural form based on the idea of a national waist-belt. On the whole the facade forms a common ribbon-like composition around the building volume, which is seemingly elevated at the places of main entrances thus forming the three main entrance sections. The facade finishing is made out of dense and perforated multi-colour cassette-type panels aligned into bands, increasing the building dynamics on the whole. During the dark time of the day these dynamics are reinforced by the luminaries placed behind the perforated panels.

The entrance door areas within the façade are formed as glazed facade systems with sliding and revolving entrance doors.

Main Interior Principles The floor of the public area is made like a natural or artificial stone plate layer with special pattern.

The ceilings of the public area form a special atmosphere of the room together with the natural overhead light.

The location of glazed commercial facades of the stores is advertising sign area. The location of the stair and opening aisles is within the steel and glass structures.

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建筑布局方案 这座两层建筑体在北—东北区域形成一个尖角外形；来访者车辆停靠于首层西南侧；多层停车场则位于西南侧；发货区和家庭用品区 位于建筑的北侧。 进入本案的主入口位于建筑的最显著的三个位置：面向大街的拐角处；面向该区主路的入口处；与多层停车场的近邻处。 在主入口旁的区域通常设有装饰性、信息性动感功能元素——旗杆、信息标志、广告牌、长椅、自行车停车场、出租车停车场和残疾 人专用的特殊停车场。所有区域都被绿色覆盖，风景宜人。 空间方案 空间上设计师创造了一个两层的建筑体，带有水平的屋顶和立面。立面上仅用动感的彩虹状作为装饰。动感的立面形象生动地诠释了 本地动感的本质——通向 Island 大桥的直接通道和交通枢纽区。设计上充分考虑到远观景象和动感因素。外立面的动感特征通过使用彩色 金属束得以加强，而屋顶则拥有更特殊的意义，它使本案从远处也显而易见。 多层的停车场为三层结构，立面用混凝土材料加固。 功能方案 本案为商业和娱乐综合体的两层单体建筑。内部两层购物街纵向而建；不同性质的商业、休闲和娱乐区与作为主轴的中心大街相邻； 到达多层停车场的直接通道海拔为 6 000 米；其中最大的功能体为超市，位于本案的北端；多元化的电影院建于超市之上；位于本案二层东 侧的是一个综合娱乐中心；一层和二层间用直梯、扶梯和楼梯相连。 外立面方案 外立面的设计基本上基于这样的理念：国家的腰带。总体来看，里面构成了一个彩虹状的图案。在主入口区仿佛被抬起的弧形恰好作 为入口门。外立面用密集的打孔彩色暗盒状面板装饰，整齐地排列成弧形的带状，增强了建筑的整体动感形象。光线较暗时，隐藏在打孔板 后的照明灯可以弥补光线的不足。 外立面内的入口门为玻璃立面结构，装有推拉门和旋转门。 内部设计元素 公共区域地板使用天然或人工石板铺成，精心布局成特殊的图案。 公共区域内的天花板与顶部的自然光线构成一种特殊的和谐氛围，使人倍感舒适。 商店的透明玻璃立面是广告标志区。钢铁和玻璃结构内部设有楼梯和走廊的出入口。 094

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Caserne de Bonne Architect: Groupe-6 Environmental Architect : Architecture et Développement Sonia Cortesse Consultants: BETREC (structure VRD); GECC-AICC (fluids) Acoustics Engineer: Synesthésie Location: Grenoble, France Area: 16,643 m² Photographer : Luc Boegly Drawings : Laurence Bouchard

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Grand Plan

The city of Grenoble and the French Ministry of Defense launched in 2000 a program for the conversion and development of the 8.5 acres old Bonne garrison into new housing quarters (family and social housing), a park and a shopping center. The site is located between the city center and the “Grands Boulevards".

In 2005, Groupe-6 won the competition for the design and construction of 16,643 m² of shopping space, a student hall of residence, and a carpark which should open to the public in 2010.

Winner of the 2009 “Eco-quarter” prize, the “Caserne de Bonne” project is dedicated to reduce its impact onto the natural environment, boost economic development and quality of life. Beacon of the "HQE" objectives for a commercial center, the project has made essential choices : – A bioclimatic system and the use of collectively generated power. Heat is produced thanks to the urban heating system (“chauffage urbain”), a network heating system allowing a minimum rejection of CO2 (objective of 161g/kWh produced).

– A naturally ventilated mall – no heating, no air-conditioning, with well insulated external façades and an internal envelope that encourages thermal exchanges with the shops. South oriented, it is closed in winter, heated by the sun. In summertime, the doors open allowing natural ventilation.

– A wooden structure mall with European tree species only (concrete is used for the superstructure only). This is the first commercial center of this kind in France.

– 1000 m² of solar panels.

– An air-conditioning system using the ground water (between 13 and 15 °C).

– Half of the pluvial rains are absorbed thanks to an infiltration trench, and the rain drops are regulated thanks to the green roofs (holding 55mm of water, i.e. 68% of the decennial rains, i.e. 80mm over 24h).

Embarrassing the ZAC sustainable regeneration, the center is designed like a green city quarter. From the material used, the parking, the terraces by the park, the covered and uncovered streets and squares, the service, to the bioclimatic mechanism, everything belongs together.

The mall is a green, fresh and welcoming luminous volume permanently connected to the park and the street. Large glass vitrines, places and restaurant terraces extend these open views while the timber louvers and glass roofs let the natural light infiltrate this shopping promenade. More than a commercial space, the "Caserne" is a place.

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John Lewis Department Store and Cineplex

Architects: Foreign Office Architects Structure: Adams Kara Taylor Main Contractor: Sir Robert McAlpine M & E / Fire Services: WSP Group QS & Project Management: Cyril Sweett Planning Consultant: Donaldsons LLP Traffic Engineer: Waterman Burrow Crocker Shell Electrical Contractor: Goodmarriott and Hursthouse Ltd Shell Mechanical Contractor: Emcor Engineering Services Ltd Location: Leicester, UK Area: 34,000m² Photographers: Satoru Mishima, Peter Jeffree, Helene Binet and Lube Savesk

Department stores are conventionally designed as blank enclosures to allow retailers the flexibility to rearrange their interior layouts.

However, the physical experience of shops is an increasingly important consideration to compliment the convenience of online shopping.

The concept for the John Lewis store is a net curtain, providing privacy to the interior without blocking natural light. The design of the store provides the retail flexibility required without removing the urban experience from shopping. The store cladding is designed as a double glazed façade with a pattern introduced, making it like a net curtain. This allows for a controlled transparency between the store interiors and the city, allowing views of the exterior and natural light to penetrate the retail floors whilst also futureproofing the store towards changes in layout. Thus, the store is able to reconfigure its interiors without compromising on its exterior appearance.

FOA’s pattern design introduces a number of local references from Leicester and John Lewis to a pattern selected from John Lewis’s archive of textile patterns. The use of pattern draws inspiration from Leicester’s 200 years of textiles and weaving, the translucency

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of saris worn by the Indian population living in Leicester and John Lewis’ own tradition of producing quality fabrics.

In order to establish a consistent identity between the cinema and department store, the curtain concept is extended to the cinema.

This curtain both associates the cinema and department store and resonates with the theatre curtains which were a traditional interior feature of cinemas. Cineplexes are usually large volumes containing multiple screens which require no daylight in the interiors, except in the lobby areas. To cater for the 12 cinema screens it encloses, the Leicester Cineplex needs to be equally opaque and therefore, its curtain is designed as an opaque stainless steel rain screen.

In order to enliven this curtain, the stainless steel façade is treated in mirror finish and pleated at different scales to diffuse the large volume into a series of smaller reflective surfaces. The stainless steel curtain pleats at two scales; the larger scale contains services and the smaller scale is achieved through using stainless steel fixed in a single pattern. The finer grain achieved through the pleats provides the cinema with texture while the mirror finish adds color and changing patterns to its surface throughout the day.

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The New Gerngross!

Architects: love – architecture & urbanism Location: Mariahilferstraße 42-48, 1070 Vienna, Austria Area: 52,500 m²

1. Restructuring the Existing Center The layout of the store was not intuitive. Walkways were complex and confusing, and it was difficult to navigate. To improve this, the layout of the indoor levels (G, 1st, 2nd, and 5th) has been entirely re-designed and smaller retail spaces have been added. The key to designing the individual levels was to think “empty” in order to enable the future implementation of an improved orientation system.

2. Create a new Center!

To this end, the atrium, with its escalator network, took center stage. The atrium serves as the nucleus and has become the store’s central orientation point.

3. The Atrium: a sweeping upward perspective The atrium has become the store’s new nucleus and central orientation point. The ceilings of the individual levels are rounded and “rolled” upwards. In this way, the atrium expands up towards the retail levels, appearing larger and more open than the atrium in its previous incarnation. The atrium and retail areas seem to melt together, bringing the individual levels into a mutual dialogue and making the store into a special continuum.

4. The Interior The retail areas of the new store are distributed like ice floes on each story. These floes are marked by a change in floor covering and ceiling material, thereby forming a star-shaped pattern of paths on both the ceiling and the floor. In this way, the materials on the floor and ceiling facilitate orientation within the building. Paths and retail areas are explicitly marked and visible from afar.

Large perforated metal areas in the ceiling demarcate the retail areas. These areas form a multifunctional, highly flexible ceiling

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system and house the primary technical installations, security technology and product lighting.

In contrast, the network of paths is mirrored with a high-quality plasterboard ceiling. Both ceiling concepts flow in rounded edges up over the entire atrium. Together with the escalator paneling, this creates a unified effect that stretches across the entire interior of the Gerngross department store.

5. The Gerngross Facade The facade of the new building forms the logical continuation of the interior: the ice-floe theme of the interior space continues on the new facade. To this end, large-scale, amorphous colour fields were applied. Leaving some space in between, an ornamentally designed, semi-transparent white area was then attached. Together, these layers form a conglomerate of light and colour. In the evening, this effect is reinforced by a lighting concept between the two layers of the facade.

A large-scale white frame also emphasizes some areas of the façade (e.g. main entrance, bay), thereby showing them off to their best possible advantage.

Due to the large scale of the facade, the entire building is harmonized, and the true size of the building is emphasized.

Advertising media, such as logos and slide-in plates, have been aggregated and drastically reduced as compared to their former state.

The ornamental pattern was designed to ensure a continuous view from the building into the street space (50% free cross-section).

Furthermore, the entire facade was thermally reengineered and technically modernized, so the ornamental pattern functions simultaneously as sun protection.

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1. 现有建筑的重建

店面的布局最初并没有给人一种直观感。通道错综交杂且易造成误导，让进入的顾客很难准确找到目的地。为了改善这一现状，室内 的布局（首层、二层、三层和五层）被设计师们重新进行了划分，并增加了一些小型的零售区域。设计这种独立空间的关键就是把头脑清空， 由此才能设计出一个便于今后改进的定位体系。 2. 建造一个新建筑 内部的中央大堂设计了自动扶梯，此处是内部人们的中心聚集地以及整个百货大楼的方位标识中心。 3. 中央大堂：盘旋向上的美景 大堂是百货大楼的中心位置。空间的天花板呈圆形并盘旋向上。以这种方式，大堂拓展到零售区，比之前的大堂更宽敞、更开放。中 央大堂与零售区有机结合，这使得独立空间之间相互连接，使得整个百货大楼有机统一。 4. 内部设计 新商店的零售区像浮冰一样分布于每个楼层，因地板以及天花板材质不同而相互区别。天花板及地板上均有星状通道指示，从而引导 顾客选择购物路线。简洁明了的路线指示以及特点鲜明的零售区域，从远处也清晰可见。 天花板上大型的穿孔金属区起到了划分零售区域的目的。这些区域形成了一个多功能、高灵活度的吊顶系统并可容纳大楼的主要技术 设施、安全技术和照明。 同时，纵横交错的购物路线与镶有高质量石膏板的天花板相互呼应，天花板的设计理念延伸到整个大堂顶部的圆形边缘设计中，再加 上自动扶梯镶板，创建了一个统一的空间效果，此种设计风格与整个 Gerngross 百货大楼内部空间的风格相得益彰。 5. Gerngross 立面 本案外立面的设计风格是内部设计上的逻辑延续：“浮冰式”内部空间的设计理念同样被设计师们运用到了楼体外部。为此，设计师 们运用了大量多变的颜色。精心装饰设计的半透明白色区域粘到外墙上，中间留下一定的空间，这些外墙粘贴层体现了光线和色彩的完美 结合。夜晚，在灯光的照耀下，两层之间反射的光尤其耀眼夺目。 一个大型的白色框架也使得建筑物的外立面（如主入口以及商铺间隔处）迥然不同。这样的设计也使得本案在同类建筑中脱颖而出。 由于立面规模的巨大，整个建筑是统一的，建筑物的具体真实大小也被充分强调。广告媒介，例如，商标、嵌入式广告板较之先前已 大幅减少。 建筑内交叉区 50% 的空白空间使人们的视线从室内到室外不被打断。墙体外侧的装饰性图案确保建筑物的设计风格和街道的风格融 为一体，同时兼具了防晒功能。此外，整个建筑立面都使用了热处理材料，应用先进技术，这使新 Gerngross 大楼显得现代感十足。

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supporting handrail detached from balustrade, handrail inclined 12ยบ inward, cladding with padding - material matches floor surfacing, flat, 5mm stainless steel uprights, distance and dimensions in accordance with static requirements screwed on to console.

rendering bent, slanted balustrade

cone-shaped balustrade with laminated safety glass, glazed in accordance with regulations, 2m element size reference company: finiglas, tambest, float glass (optiwhite) surface cover and adjacent surface removable for maintenance purposes

u-profile inserted as drain (cleaning!)

GK edge protection with rounded profile (spackled) min. 2mm steel sheet / decoupled from steel shoe balustrade steel sub-frame glass with flange plate with steel sub-frame screwed on EPDM coating steel sub-structure welded on additional screw-on T-square (when necessary) rounding to be adapted to inserted ceiling

cross-section

smoke barrier system (low overall height) visual part of cover in black installation of spots based on lighting design bartenbach sprinkler installation sprinkler based on stipulated building technology

cladding in the atrium in frame technology frames made of wood-based material / depend on the position of the beams plasterboard cladding

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cross-section of escalators

typical cross-section escalator cladding

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