Ц3нец3detail english september october 2015

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English Edition

Review of Architecture · Solid Forms of Construction · Vol. 2015 · 5

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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

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Books, Exhibitions

Documentation 452

Residence in Vrhovlje dekleva gregorič architects, Ljubljana

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Residence near Pachacámac Longhi Architects, Lima

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Residence in Neusäß Manfred Lux, Neusäß

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“Kinderhaus” in Tettnang bächlemeid architekten stadtplaner, Constance

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Residence in Sweden Tham & Videgård Arkitekter, Stockholm

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Holiday Chalet in Maria Alm meck architekten, Munich

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Apartment Building in Munich bogevischs buero, Munich

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University of Applied Sciences in Mittweida Georg Bumiller Architekten, Berlin

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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 506 512 516 522 526

Property + Product Hotel Construction Heating, Ventilating, Air Conditioning and MVHR Lifts, Escalators and Parking Systems

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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.

Discussion

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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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1, 2 Original concept, 2009, master plan and rendering, Herzog & de Meuron 3 Bahrain pavilion, “Archaeologies of Green”, architect: Anne Holtrop, landscape architect: Anouk Vogel 4 As realized, with conventional pavillons, view of the longitudinal axis, Decumanus, on opening day, 2015 5 Austrian pavilion, “Team.Breathe.Austria”, comprehensive planning services, supervision and concept: Klaus K. Loenhart, outdoor climate control: Transsolar

until 31.10.2015 www.expo2015.org

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Herzog, Boeri, McDonough and Burdett’s response was as simple as it was original.

Their design is based on the basic pattern of the Roman colonial city. The 148 national pavilions line the east-west axis, designated “Decumanus” by the Romans. It runs 1.3 kilometres from an outdoor arena situated below the ground plane to a hill that acts as visual culmination. Perpendicular to the Decumanus is the Cardo. The motto, “parcel, not pavilion”, signified that each participating nation was to be assigned a plot of land of the same size. Each nation would have had the opportunity to customize the space by inserting gardens and simple sheltering structures in it.

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The truly unusual aspect of the concept: all parcels had the same width, regardless of the country’s population or its economic stature. That almost sounds like communist ideology – but even the FIFA, which has been vilified for its greediness, has an egalitarian means of coming to its decisions: “one land, one vote”. In place of separate competitions for the different pavilions, the team proposed a continuous tent structure that would not only have provided the different spaces shelter from heat and rain, but would also have unified the entire Expo site.

A moat encircling the entire site screens the temporary “tent camp” from the inhospitable surroundings, making it an island that is only

linked to the trade fair and the Milan Rho train station – which was built for the expo – via tunnel-like pier structures positioned above the roads and train tracks.

But is giving up the national pavilions (and the accompanying opportunity to present itself architecturally) in favour of focussing on content the right solution for Milan, or even the future of the expo per se? The concept for an expo without pavilions has parallels to Rem Koolhaas’s “Biennale without Architects” concept (Venice 2014), and to Okwui Enwezor’s tendency toward conceptual art (Venice 2015) including, for example, the reading of Karl Marx’s entire book Capital – a work that cannot be packed up and sold

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to the highest bidder on the art market after the festival has run its course. Enwezor has also set new standards with regard to global equal rights in the international art scene and was perhaps a source of inspiration – whether or not the team was conscious of it – for the Milan tent concept: as director of the Dcumenta 11 (2002), he selected Lacaton Vassal to design lightweight glasshouses with textile sun-shading whose buildingphysics properties clearly did not fulfil the standard requirements for the million-dollar masterpieces, overwhelmingly by Western artists, that were exhibited in them. On top of that, he placed art by less renowned African artists right next to these works.

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Not a charity event In the end, little remained of the master plan’s radicality. Or, in other words, everything stayed the same – nearly everything.

The hosts are enthusiastic about the merits of the master plan, with its clearly organized infrastructure, which provides a spatial hierarchy of “public space” built up around an Italian “strada” – it eases orientation, especially in comparison to the grid concepts of recent expos. But they didn’t want to miss out on the income of wealthy countries willing to pay for larger parcels. Therefore, on the Decumanus (ill. 4), every nation’s frontispiece has the same width, but some parcels are twice as wide and extend back much

farther into the “courtyards”, which yields strange “embraces” of the Chinese (ill. 6), French (ill. 14) and German (ill. 7) pavilions with poor neighbours such as Ecuador. But worse still, to tap into the brimming budgets of the corporate sponsors (for example, McDonald’s, Coca-Cola and Lindt), the hosts made sites available to them – even to companies such as the Chinese real estate developer Vanke that have nothing to do with food production – even along the main axis.

Because their master plan had been watered down, in 2011 the team responsible for it declined any further involvement with the clients. An expo is, of course, neither a Documenta nor an architecture or art bien-

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6 Pavilion of the Chinese real estate firm Vanke, architect: Studio Libeskind 7 German pavilion “Fields of Ideas”, architects: Schmidhuber, Milla & Partner, Nüssli 8 Pavilion of Intesa Sanpaolo, an Italian banking group, architect: Michele De Lucchi 9 Italian pavilion, architects: Nemesi & Partners 10 UK pavilion, “Grown in Britain & Northern Ireland”, artist: Wolfgang Buttress

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nale in which an artistic director develops a concept that serves as overarching theme.

But even for these types of events the director must find sponsors – as was evidenced, for example, in Venice by Rem Koolhaas’s contemptuous mien during a round-table discussion with representatives of the construction industry. On the other hand, there is a tendency to commission big-name artists, designers and architects to get the highly desired Expo Claim for start-up “Corporate Participants” – to optimally position a country that has accepted the invitation to the expo in the spotlight. Michele de Lucchi (ill. 8), for example, who interprets the Media Center’s large halls and the United Nations

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Pavilion as grain silos, and Norman Foster, in a variation of the metallic shingle-clad sand dune in Shanghai 2010, conjures desert sand into 12-metre-tall pink terra cotta figures, a move more evocative of the narrow passage leading to Petra, Jordan, than of the United Arabic Emirates (ills. 19, 20).

Daniel Libeskind sees no danger of kowtowing to the interests of corporations. He was asked by the Chinese real estate investment firm – with which he had already realized a museum in China – to design the its corporate pavilion for the expo (ill. 6).

“If the people here have a problem with the implementation of ‘Feeding the Planet’, it’s with the topic, not with the implementation”,

he said in his characteristic self-confident, friendly way. “An expo is not a charity event.

It’s an expo! I am an artist, and my main job is to inspire people.” His Vanke Pavilion is indeed one of the Expo’s most photogenic objects.

The “tree of knowledge”, in the truest sense a woodenly moniker, not only offers seating facing the water fountains, its roof garden also serves as one of the few vantage points from which one can survey an expo that has neither a funicular nor a tower from which visitors can orient themselves. At the same time, the red, scaled dragon, seems like the last parametric dinosaur, lasciviously in search of a “steal” in Europe, the sleepingbeauty continent – Libeskind’s wayward beast that originated in the media-saturated Expo 2010 has become lost in a chaste Expo Milano comprised of politically correct wood structures. Libeskind’s four “Wings” came about at his initiative: they are 12 metres high, with a glossy aluminium monocoque load-bearing system. The open corners accentuate the intersection of the tent roofs of the Cardo and Decumanus. At night they give off a glow in a variety of colours and, like oversized speakers, the beat.

Déjà vu and innovation Italy’s pavilion – the pavilion of the Expo’s host nation – is yet another atavism from expositions past (ill. 9): like China’s pavilion at the Shanghai Expo, it is not only the physical highlight that far surpasses all other pavilions, it is the only structure that will remain standing once the fair is over. With a price tag of 90 million euros, it would have been a pity to tear it down. The architecture – by Nemesi, a Rome-based firm – transformed the entire Cardo axis into “Little Italy”, and certainly is ambitious. An Italian manufacturer developed a new self-supporting concrete to make possible the textured panels that cloak the pavilion and the surface in the 6-storey high hall. The architects employed BIM in the design of the pavilion: its baroque complexity outdoes even Zaha Hadid’s most audacious constructions.

While the stringency and monumentality of

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Pavilion of Copagri, an Italian agriculture federation, architects: EMTB 12, 13 Chilean pavilion, architect.: Christián Undurraga 14 French pavilion, architect.: XTU 15 Pavilion of Save the Children, children’s aid organization, architect.: Argot ou La Maison Mobile 16 –18 Slow Food Pavilion, architects: Herzog & de Meuron

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the Chinese pavilion in Shanghai architecturally replicated the Chinese state, the theatricality, void of content, of the Italian pavilion in Milan unintentionally brings to mind an architectural ”casting” of the entanglements of Silvio Berlusconi, the former Italian prime minister – a democratic misadventure.

In terms of sensuality, the metallic gossamer of the British pavilion (ill. 10) has much more to offer. At night the tall sphere emanates honey-hued, candle-like light – the spatial sculpture interacts with a beehive in Nottingham. All very photogenic. But those visitors who were from the very first moment entranced by Thomas Heatherwick’s hypnotic Seed Cathedral in Shanghai – the sheer presence of the thousands of acrylic-rod “seeds” caused expo-goers to become oblivious to time and space and recline in a state of semi-hypnosis on the artificial turf – will likely consider not only the British pavilion but also the UN’s Pavilion Zero (the name stands for “zero hunger”) to be poor imitations of it. The latter is the Expo’s largest pavilion. Visitors pass beneath a bombastic triumphal arch made of drawers filled with the world’s knowledge – and at dusk the whose setup seems even more monumental. Ancient Rome’s imperial past sends its regards. Illuminated display cases with photos of different varieties of fruits and vegetables, coffee beans and wheat sprouts are intended to set the mood for the history of civilization and accompanying changes in human nutrition. But where is the mention for adults and for children of the opportunities and dangers of today’s gene manipulation?

Where is the display questioning whether and how meat can be produced without large-scale livestock farming or antibiotics?

If this expo is to make the world a better place, it will not suffice to depict domestication of animals as a plaster-of-Paris petting zoo – a backdrop for selfies. The United Nations propagates the biodiversity of smallscale orchards as a model for feeding the world, even though everyone knows that due to the low price of apples in Europe last year, nearly the entire crop rotted on the trees, and that Europe’s agrarian policies forced many 13

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long-established organic farmers to throw in the towel. The international organization’s depiction is not only grossly negligent, it also deceives an entire generation of youths in countries both rich and poor.

Is there any meaningful content at the Expo Milano at all? In light of so many “feel good” displays, the last room, showing aid projects in underdeveloped countries, seems like a clever Tweet – a call to participate in crowd funding. The entire United Nations pavilion seems like an ad campaign for Coca Cola or McDonald’s.

“Future Food District” – the title of one exhibition – sounds promising, but what is displayed in this gigantic hall?

A run-of-the-mill grocery store cooled to the hilt! The reply of the highly motivated attendant to my question: “All the products shown here fulfil strict criteria. There are no mass-produced products whatsoever. If you touch a kohlrabi, for example, its origin, nutritional information and carbon-dioxide footprint will turn up on the screen. And the wine is organic.”

The Decumanus might have more to offer, so I head there and try a few of the delicacies from far and wide; test my balance on a cable net above a Brazilian jungle (ill. 21); slink along under the mock-ups of Argentinian grain silos embellishing a never-ending bar to the hot rhythms of a panpipe combo;

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inspect Turkmenistan’s kitschy glowing carpets, Russia and Estonia’s cantilevering wood roofs (which remind me of the Leningrad Cowboys’ quiff hairstyle), the exotic loam castles of Oman, Qatar, Marocco, and Zambia; and check out the water curtains meant to keep the planet’s inhabitants cool – sustainably, of course. But didn’t Grimshaw show them in Seville? Or was it MVRDV in Hanover 2000? Next, I’m off to the Japanese pavilion. The word is that they have the most tasty food. An insider tip!

I receive a text message from a colleague who arrived by train in Milan five minutes before closing time: “Which is the best pavil-

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ion this year?” Good question. My mischievous response: Santa Maria delle Grazie.

That’s the church where the original Last Supper (4.6 x 8.8 metres) by Leonardo da Vinci can be seen – an image which is more thought-provoking than many of the multimedia displays I’ve just seen. Or perhaps the Triennale’s Palazzo dell’Arte – a renowned exhibition centre downtown: it’s showing the exhibition “Food Meets Art”, with works such as Andy Warhol’s “Last Supper”, and a piece juxtaposing a corpulent white women with African women so emaciated that they are unable to breastfeed their infants.

The exhibition addresses hard truths that

the Expo doesn’t even dare to hint at.

Maybe Daniel Libeskind is right. Perhaps it is not the task of a world exposition to call attention to the brutal reality, but to enchant. Not to fool visitors into believing in some imaginary world, but to give them the inspiration and strength they need to master the upcoming challenges.

With this philosophy, Bjarke Ingels, whose Danish Pavilion won the People’s Prize in Shanghai, has advanced from start-up firm to global player in the architecture scene in just five years. Isn’t the expo always also a reliable seismograph of our civilization and a springboard to a successful architectural career?

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But back to Milan: there are, it turns out, a few manifestations of the original master plan’s “gardens without architecture”.

Anne Holtrop’s design for the pavilion for the island nation of Bahrain (ill. 3) interprets the country as a lush Garden of Eden: under the shade of the imported palm trees, the setting is so luxuriant that papayas and other exotic fruits seem almost to grow out of the visitors’ hands.

Klaus K. Loenhart’s Austrian pavilion (ill. 5) goes a step further. In this pavilion the grasses, bushes and trees brought to Milan from South Tyrol (also known as Alto Adige) are not mere green decoration, but an the essential performative component of natural climate control. Via turbines, whose rotor blades were adapted especially for use in the pavilion, an artificial fog is created that provides the cooling in the atrium, whose wood components are painted black.

The German pavilion (ill. 7) also utilizes natural ventilation: it has an open louvered facade and serves as a study of a prototype of solar trees with organic photovoltaic technology on a delicate, net-like supporting structure.

And finally, there’s even a Jacques Herzog design: in cooperation with Carlo Pertini, the founder of the Turin-based slow-food movement, he developed a pavilion (ill. 16 – 18) dedicated to the movement as a recyclable modular construction system. In a twist of fate, it stands at the end of the Expo axis – quite close to McDonald’s.

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19, 20 United Arabic Emirates, architects: Foster and Partners 21 Brazilian pavilion, architects: Studio Arthur Casas, Atelier Marko Brajović

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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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tograph. Obrist wants to avoid a PR disaster like that again. “The pavilion is not an object of art, but a piece of architecture. Just what that meant is something I had to learn, too. We can’t afford to let the architects simply do what they like. Although there’s no official budget for the pavilion, and the financing of the whole scheme is based on donations and the ultimate sale of the object, one has to stick to a cost framework, and its feasibility has to be ensured.” For that reason, in their choice of material for the coloured skin, Selgas Cano did not specify plastic slabs, as they did for their auditorium in Cartegena and other permanent structures. Instead, they opted for a thin membrane that would be simpler to remove and transport to a different location. The Serpentine Pavilion was a new experience for the two Spaniards.

“Normally, as practised architects, we determine most of the parameters ourselves. In this case, though, we had to deal with a client who had implemented the project 13 times before. We were ‘laypeople’ in a team of pavilion experts,” explained José Selgas, laughing. “Of course, we made a precise study of the previous structures by our colleagues, so that we’d be able to design something completely distinct.”

Many in one – one of many “We haven’t built just one pavilion. We’ve built a whole series of them,” Selgas explains over the microphone to journalists at a press preview on 22 June, smiling as he rubs his left hand casually over his lips and unconsciously revealing his bright yellow wristwatch. Lucia Cano holds in her hands a vividly coloured orange handbag of translucent plastic, perfectly attuned to her fashionable summer shoes. In another context, these accessories would have been at best a topic for the gossip columns, but in this year’s Serpentine Gallery Pavilion, they are part of a Gesamtkunstwerk. The coloured strips are reminiscent of the glittering flags strung across the streets at Spanish summer festivals, the verbenas.

The layout of the pavilion resembles a Greek

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Serpentine Gallery Pavilion – Spanish Verbena in London’s Kensington Gardens

cross: three different tubular arms follow the main lines of the site, forming a central “igloo” where they intersect. The fourth arm rises slightly from the ground to create a viewing opening into the trees. Coming from the Serpentine Gallery, the scenography begins with the green of the grass and the surrounding vegetation. This is briefly neutralized by a white membrane, before bursting, in the central space, into a red-and-yellow pyrotechnic display in the colours of the Spanish flag, with an opening through which one can view the park. Here, visitors have the option of proceeding straight on beneath blue-and-green banderoles or making a detour to the right into the confines of a

glittering artificial world where an iridescent foil in psychedelic red and violet tones conjures the impression of an electrostatically loaded environment, shimmering, distorting the surroundings and letting them shine through in other places The most important building material: the sun With the 15th Serpentine Gallery Pavilion, Selgas Cano have made the British public a summer gift of good cheer. One thing they have forgotten, though, is sunshine.

In 2013, when the London sky was overcast, Sou Fujimoto’s white steel lattice grating gleamed subtly and seemed to merge with the clouds. The present translucent

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ETFE sheets, with coloured dotted grids printed on them, can assert themselves and achieve their effect only with difficulty against a dull sky. On the other hand, the design concept of creating “several pavilions in one” is all the more evident when the sky is overcast.

Calyx or bubble?

No, this pavilion is not a socially critical manifesto, but then no one would expect that of decorations for a Spanish garden festival. Even if it has a somewhat melancholy appearance from afar in rainy weather, as soon as the blanket of grey clouds over London dissolves, the outer skin begins to gleam and attract visitors like colourful blossoms.

Internally, a spectacle takes place that would otherwise be familiar only to insects seeking nectar in the calyces of flowers. Not just the walls and soffit light up in coloured gradients and strips, but also the concrete floor, the white-painted surface of which reflects, as in a screen, the load-bearing skeleton frame like a silhouette and the membrane as a series of coloured areas. When the sun shines, the segments of translucent, iridescent foil appear almost transparent, like a rainbow-coloured, shimmering bubble.

Then the projection of the sunlight transforms the contrasting sections of the pavilion into a symphony of different hues, creating a unified structure. The individual layers of the outer skin are visually superimposed and result in a multiple exposure, so that it is no longer possible to see whether the outer strips are projected on to the inner film or the other way round.

The 15th Serpentine Gallery project by no means came to an end with the opening of the pavilion in London on 25 June 2015.

“We have concluded the first phase, but the project will go on,” states José Selgas. “In November, the pavilion will be transported to Los Angeles, where we shall lay it out in a new configuration. Beneath the Californian sun – as long as there’s no smog there – the structure will gleam even more extravagantly than in rainy London.”

Edition

NEW

Asian Flavours Creating Architecture for Culinary Culture NEW September 2015.

Christian Schittich (Ed.), 144 pages. Format 25 × 23.5 cm.

ISBN 978-3-95553-267-3 Hardcover: € 39.– / £ 31.– / US$ 55.– + postage/packing + VAT, if applicable

A restaurant and travel guide for Asian food enthusiasts Ceremonies, rituals und traditions – as well as the fascinating combinations of flavours and unusual ingredients, the culinary customs of Asian countries also arouse great interest in Western cultures. But how are spaces for Asian eating and cooking traditions and processes designed? What kind of surroundings are these kinds of food and drinks consumed in?

This book presents the projects of Asian and European architects on both continents,

ranging from tea houses and sake bars through to entire restaurants. How are architects adapting and interpreting this cuisine in »our« latitudes? How do they respond to the conditions and cultures in these spaces without simply simulating an »Asian decor«?

Enhanced with selected recipes from individual restaurants and essays on various Asian cuisines and culinary cultures, the book is also a travel guide to Europe’s many special Asiatic spaces.

30 projects in Asian and European cities Background information and history behind the restaurant concepts Things worth knowing about Asian dishes and traditions

www.detail.de/asianflavours

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Ai Weiwei

Lard Buurman.

Africa Junctions. Capturing the City Nina Folkersma (ed.), Hatje Cantz, Ostfildern 2014, 216 pages, ISBN 978-3-7757-3791-3, € 38.– Capturing – on film – fleeting moments, situations, and scenes that depict reality and document it for the generations to come has from time immemorial been the main aim of photography. And so “Capturing the City” was selected as the sub-title this volume of photographs. Lard Buurmann has indeed “captured” situations in African locales.

Over the course of six years he visited fourteen cities in twelve African lands and recorded day-to-day situations in public squares with his camera: the activity on the streets, where “private” and “public” become intertwined, poverty, wealth, dirt, traffic, chaos – Africa. In these images, it is not the specific city – be it Kampala, Luanda or Cairo – that plays the decisive role.

Even for persons well acquainted with Africa, it is no simple task to identify the cities in the photos; the captions come in handy. Yet that doesn’t seem to be what the author is interested in. He composes his images by mining dozens of snapshots – always taken from the same spot: he then assembles people within the urban settings who have never actually come in contact with each other. Thus, he creates a vitality that is not real, yet authentic. His images tell a story based on fact. A story that doesn’t convey the reality 1:1, but that is nevertheless perhaps more precise than pure documentary photography.

The 80 images are accompanied by three essays by African authors who delve into the African city per se and into Buurman’s work.

The philosophically minded thoughts are in part well worth reading, though not easily grasped; some of the statements are so commonplace as to be equally applicable outside Africa. On the whole it is an inspiring book. The book was put together in association with an exhibition that was shown in Johannesburg and Amsterdam.

HW

After four years without travel, one of China’s leading contemporary artists has had his passport returned and will attend the first major institutional survey of his work in the UK. The RA will present some of his most important works from the time he returned to China from the US in 1993 right up to present day. Among new works created specifically for the museum will be a number of large-scale installations, as well as works showcasing everything from marble and steel to tea and glass. Ai Weiwei employs traditional materials and interventions with historic objects, architectural components and furniture. With typical boldness, the chosen works will explore a multitude of challenging themes, drawing on his own experience to comment on creative freedom, censorship and human rights, as well as examining contemporary Chinese art and society. One of the key installations will be Straight, 2008-12, part of the body of work related to the Sichuan earthquake of 2008.

Fabricated from ninety tonnes of bent and twisted reinforcement bars, collected by the artist and straightened by hand, it is a sober monument to the victims of the earthquake.

Main Galleries, Royal Academy of Art, London From 19 September to 13 December 2015 Touch the Earth Lightly How do buildings, architecture and people work with the landscape to create inspiring places? Inspired by the Australian architect, Glenn Murcutt, Touch the Earth Lightly is a series of exhibitions and events featuring: Glenn Murcutt; Architecture for Place and ISLAND; and eight houses for the Isle of Harris. This exhibition about Australia’s most internationally recognised architect profiles a selection of his built work and his working methods. Photographs by Anthony Browell fluently capture the essence of Murcutt’s design: harmony between building and nature.

The exhibition is concerned first and foremost with Murcutt’s houses, private residences that are not open to visitors. The focus on the sustainability of the natural environment puts Murcutt’s works at the forefront of contemporary architecture. They are eloquent of form and refined in detailing, but primarily concerned with bringing the qualities of the surrounding world into the daily experience of the occupants. Murcutt explains that he thinks by drawing. He considers architecture to be a path of discovery, and discovery to be a creative process. The exhibition presents drawings that trace the journey of creation through the various stages of the design process, from initial sketch to detailed construction drawings.

The Lighthouse Glasgow Until 04 October 2015

Bigger than a Breadbox, Smaller than a Building From the earliest forays of Italian Futurists to the more recent provocations of Gordon Matta-Clark and Christo and JeanneClaude, the medium of installation has been a powerful tool to push the boundaries of architectural practice by enabling architecture to adapt to the evolving demands of research and professional practice. This exhibition explores the power of architectural installations by featuring works by architects and designers who use this medium to test new technologies and building techniques, while executing pieces that are both sculptural and visually arresting. The show presents more than 10 examples of the medium by an array of Boston-based and international designers.

BSA, Boston Society of Architects, Boston Until 04 October 2015 Africa Architecture, Culture and Identity By pinpointing a number of judiciously selected examples from a cultural here and now, the exhibition sheds light on the diversity and complexity of the part of Africa south of the Sahara Desert. Through a number of projects spread over the continent the exhibition tells a story of the new architecture of different regions – with its various proposals for accommodating local traditions, strengthen the existing ones and creating solutions for the future. The exhibition presents a sensuous architectural scenography and a number of installations, where the form, scale and space of architecture can be perceived at full scale. In the exhibition, art, photography, film and other arts place the architects’ efforts in perspective and help to refine our image of this part of the world. The exhibition focuses on the following seven themes: Belonging, Co-Existence, Expanding Cities, Making Space, Rebuilding, New Communities and Building Futures.

Louisiana Museum of Modern Art, Humlebæk, Until 25 October 2015

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Residence in Vrhovlje Architects: dekleva gregorič architects, Ljubljana Team: Aljoša Dekleva, Tina Gregorič, Lea Kovič, Vid Zabel Structural engineer: Luka Pavlovčič, Ljubljana Others involved in the project: see page 536

To get the wood for the pilings required to build their city, Venetians exploited the forests along the eastern coast of the Adriatic Sea, including those near Triest. Here, in the Karst Region, they left behind a denuded landscape whose limestone bedrock had been laid bare. The traditional dwellings were built using that very stone. Their outer shells cloak compact volumes with sloped roofs and nearly windowless facades that protect the inhabitants from the elements.

The design of this new single-family residence, dubbed Compact Karst House, picks up on this tradition and reinterprets it.

In a departure from the original elaborate handcrafted construction method, the archi-

tects selected a hybrid structural system of brick masonry, with a sloped roof erected in reinforced concrete. But to give the building massing the impression of stone, they specified that the facade be executed with an outer layer of stone and concrete. Slip-forms were employed to create these outer wythes: stone was placed in the slip-form, and then the mortar was added. Excess mortar that came to the surface through the joints was only partially removed; in this manner an animated surface texture was achieved. The roof does indeed look like a slab of stone: the effect is produced by stepping the concrete slab. Below it is the seal, then the thermal insulation and another

concrete slab, which is visible inside. The living spaces are situated in two 2-storey wooden volumes – linked by a bridge – that are independent of the outer shell. On the ground storey, larger openings furnish views out to the landscape, while skylights in both bedrooms frame the sky. All built-ins and partition walls employ softwood plywood; load-bearing components are of cross-laminated timber slabs. The backsides of the suspended stair’s box-shaped, wood steps function as bookcases. At a later point in time, when the clients’ construction fund is replenished, this prototype-like house will become a weekend house, and a larger Karst House will be added nearby.

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Residence near Pachacámac Architects: Longhi Architects, Lima Luis Longhi Traverso Team: Veronica Schreibeis, Carla Tamariz, Isabel Loredo Structural engineer: Hector Suasnabar Noda mit Longhi Architects, Lima Others involved in the project: see page 536

For the Incas, the magic of a place played the central role at the beginning of an architectural intervention: the site itself determined a building’s use and form. To achieve harmony with nature they worked with natural materials and employed demanding artisanal techniques. Centuries later, the clients took this philosophy as inspiration and point of departure for its “Casa Pachacámac”. They selected a site in a gently rolling landscape about 40 km south of Lima, not far from the eponymous archaeological site of the pre-Columbian city Pachacámac. The highly intuitive design and construction process lasted seven years – during this time there was continual

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interaction between the architect, the craftsmen, and the clients. To keep the hill’s silhouette largely intact, the architects decided to situate most of the house’s spaces within it. Only the living room – which takes the form of a glazed box – extends beyond it: from this space the occupants have a panoramic view of the landscape. The embedded spaces have appendages that cut into the west slope. In the east, small openings in the solid facades permit cross-ventilation and allow sunlight to enter. Because the climate is temperate and the house well insulated by the soil that contains it, it has neither heating nor mechanical ventilation.

The ashlar stone that gives the building its

characteristic look is locally sourced.

Its varying forms and surface treatments were all handwrought. The resulting applications range from rough-hewn facade blocks to fine cladding in the interiors. In addition to the local ashlar and fine river gravel, the stone “carpets” embellishing the floors and the exposed-concrete surfaces supply contemporary accents. Bringing to mind sculpture, the built-in furniture seems to peal out of the concrete walls. The roof becomes a landscape; it is covered with an inorganic mix of recycled plastic bottles and soil, and as time passes the vegetation will grow and Casa Pachacámac will merge seamlessly with its surroundings.

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Vertical sections scale 1:20 1 vegetation layer root-inhibitor membrane inorganic substrate; sealing layer 200 mm reinforced concrete; 10 mm plaster 2 150 mm ashlar masonry; mortar 200 mm reinforced concrete 3 120 mm concrete lintel, polished 4 mahogany frame with double glazing 5 10 mm cement render, painted 6 150 mm reinforced concrete with wood texture 7 200 mm reinforced concrete, polished 8 100 mm reinforced concrete door frame 9 wooden door with single glazing in mahogany frame 10 laminate flooring 200 mm reinforced concrete 11 stone, fine 12 stone, coarse

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Residence in Neusäß Architects: Manfred Lux, Neusäß Team: Saskia Ilg, Nico Legarda Structural engineer: Alexander Furche, Hannover Others involved in the project: see page 536

Heavyweight construction is not the only method employed here: this home is a classical example of hybrid construction techniques. Although the stucco-covered structure brings to mind a pebble set in the landscape, only its core is of concrete. Its outer shell consists of a layer of cellulose (depth: 32 cm) and a wood loadbearing structure.

The design, with a 10 ≈ 10 metre footprint, makes use of passive climate control, has no basement, and is equipped with a heat pump, mechanical ventilation and panel heating. The large windows and facets are visible from afar. The idea behind the form: in order to attain the best possible ratio of area to volume, the architects sought to ap-

Site plan scale 1:2000 Layout plans scale 1:200 1 Entrance area 2 Living 3 Kitchen 4 Dining 5 Building services 6 Bedroom 7 Children

proximate a sphere. The placement of the windows takes into account the position of the sun. At nearly 10 m2 each, the openings facilitate significant solar gains, while the core acts as thermal storage – for both warmth and coolth. For natural ventilation there are small opaque apertures and the large sliding doors on the ground floor.

The approach to the design could almost be considered pragmatic, yet creates astonishing results inside. The large surfaces of glass, in combination with obliquely cut edges, slanted ceiling surfaces and radial walls emanating from the stairwell, with bestow the compact house a sense of spaciousness. The entrance hall profits from the

decision to do without a vestibule. The front doors’ ornamental perforation – which is derived from the floor plan – creates a play of light on the floor and ceiling.

From the entrance hall, the stair, following the terrain, leads down to the living room. At its narrowest point the latter is only 2.10 metres wide. But because it becomes broader toward the middle, adjoins the kitchen and the entrance hall, and has expansive openings that form a strong connection with the outdoors, the space is anything but cramped. The quality of the conrete surfaces is impressive: when the light is right, the pebbles in the concrete, brought to the fore by the bush-hammering, start to sparkle.

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“Kinderhaus” in Tettnang Architects: bächlemeid architekten stadtplaner, Constance Martin Bächle, Karin Meid-Bächle Team: Alexander Herbener, Lisa Kimling Structural engineer: merz kley partner, Dornbirn Others involved in the project: see page 536

At the intersection of the historic centre, the new central business district, and smallscale residential neighbourhoods, this new “Kinderhaus” operates in concert with the nearby church-run facilities. At the same time it fulfils two distinct functions at the urban scale. First, its location on the southern edge of the property screens the new facility’s outdoor play area and the houses behind it from the street. Second, the 75-metrelong structure, topped with an irregularly folded roof, provides a clear edge that stabilizes the heterogeneous urban space on the site of the former square fronting the train station. The light-toned brick facade and numerous loggias cut out of the two long ele-

vations give the “House for Children” an inviting, open appearance – an impression that is confirmed when one enters the building through its main entrance, which is situated in the western part of the building. This is where the “team rooms” are located, as well as the multi-functional zones and the eating zone, while the classrooms – with the necessary auxiliary spaces – for children aged one to six are located in the east. The corridors double as play space; the openings in the floor, combined with the classrooms’ glazed partition walls, interweave the interior and exterior spaces. The facades, floors and the sides of the loggias (the latter function as additional outdoor play space)

are all clad in the same brick, a bespoke mix of reddish-white water-struck bricks. What would normally be considered the back side of the clinkers – with the irregularities that result from the production process – was used as the “face”. In this manner a monolithic appearacnce was achieved. By working with bricks from a single lot, the architects ruled out unwanted colour deviations. The lightgrey sand-surfaced expansion joints also play a role in the building’s unified appearance: the colour matches the mortar joints and the precast concrete window lintels and sills. The brick veneer cladding the lintels and sills was made by sawing slices off the clinkers.

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Architects: Tham & Videgård Arkitekter, Stockholm Bolle Tham, Martin Videgård Team: Konrad Krupinski, Eric Engström, Carmen Izquierdo, Lukas Thiel, Mårten Nettelbladt Structural engineer: KE Gruppen, Olle Claesson, Stockholm Others involved in the project: see page 536

The variety of trees, the flowering shrubs, and the small meandering stream – whence the name Creek House – make the site on Sweden’s southern coast a veritable botanical garden in an otherwise agrarian landscape. Tham & Videgård saw it as their task to integrate the residence as unobtrusively as possible in the idyllic surroundings. They distributed the massing in a series of “boxes” connected to at least one other box – each with a function of its own.

The stream cuts the site in half diagonally.

Consequently the architects conceived of the entrance pavilion as a bridge structure connecting the two parts of the property.

Mock-ups were made to study the resi-

dence’s outer envelope, which consists of two layers: load-bearing LECA blocks and a veneer of brick.

The hard-fired, frost-resistant bricks have a highly animated appearance: this is created by the irregularities in the hand-fashioned bricks, as well as by the variety of colour shades. Because the back of the brick has a more pronounced texture than the front, the architects decided to use it as the front.

The bricks possess a rich range of colours; these are underscored by the lavishly applied grey mortar, which protrudes past the 30 millimetre joints, partially covering the brickwork. In a few locations, barely visible air vents are integrated in the solid-seeming

brick veneer. To this end, no mortar was applied to a number of joints in the brick bond, and the opening in the LECA blocks facing the building interior is covered with an operable wooden ventilation made of wood.

Inside the house, the flooring and the frames around the windows and doors are also in the same shade of deep red. As foreseen in the landscape concept, the complex vistas from room to room and out into the landscape tightly interweave interior and exterior. The residence’s ecological concept is also reflected in the handling of the building services: a geo-thermal heat pump heats the water used in the underfloor heating system.

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Vertical sections Horizontal section scale 1:20 A Window recess with cabinetry B Ventilation sash C Opening window

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1 240/115/65 mm “Elbmarsch” brick 30 mm joint; 20 mm air layer 100 mm mineral wool thermal insulation 250 mm LECA loadbearing masonry 2 2≈ 12.5 mm plasterboard 150/450 mm steel profile supporting structure 3 built-in furniture: 20 mm veneer plywood 4 hardwood frame: larch 5 12 mm solid larch ventilation sash 40 mm thermal insulation 12 mm plywood 6 open joint 7 50/300 mm steel angle 8 insect screen 9 weather drip, bent to shape 10 seal; separating membrane

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Holiday Chalet in Maria Alm Architects: meck architekten, Munich Andreas Meck, Axel Frühauf Team: Wolfgang Amann, Sandro Lenherr, Katharina Rumschöttel Structural engineer: haushofer ingenieure, Markt Schwaben Others involved in the project: see page 537

The austere building massing – considerably more compact than that of its neighbours – is situated in an idyllic alpine landscape 1042 metres above sea level: the residence is the foreground, the dramatic silhouette, the background. Three windowless exterior walls burrow into the slope; in contrast, the south side, which faces the valley, is extensively glazed. On the upper level a cantilevering loggia runs the entire length of the building. The architects achieved a balance between fulfilling local building codes and implementing a modern interpretation of the classical solid-timber alpine cabin.

To incorporate the sloping site in the design, the main circulation of the residence, whose surface area totals 145 m2, is positioned at an intermediate level. The carport, which is integrated in the building massing, provides shelter to the entrance. The first space one encounters upon entering the home is a gallery that links the two levels.

A stair leads up to the spacious living area – with accompanying kitchen – and two additional rooms. Located on the lower level are a second living room and three bedrooms with sleeping lofts. The latter are accessible by ladder. Solid wood is the predominant material for interior surfaces and the bespoke furniture. To ensure the comfort of the residents, each level has a woodburning stove and underfloor heating.

Aside from the reinforced concrete foundations and the walls in contact with the ground, it is a purely wooden structure.

Thanks to the high degree of prefabrication, the construction phase lasted just sixteen weeks. The exterior walls employ glue-laminated timber. Large-format components are made of cross-laminated softwood boards.

The cantilever is made possible by storeyhigh cross-wall elements.

The floor decks and roof are also executed in glue-laminated timber – in the case of the roof, the ends of the trusses extend beyond the building envelope and are visible. Soon the untreated larch boarding will begin to turn silver, and the home will blend in with its surroundings.

Documentation

Site plan scale 1:1500

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Holiday Chalet in Maria Alm

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;yƑĩŵŨ ĻČyğś ° XбŨýĩğś scale 1:250 1 2 3

Entrance Gallery Void

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Bedroom Non-programmed Living room Kitchen Terrace Wood-burning stove

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Holiday Chalet in Maria Alm

standing seam roofing: 0.8 mm copper sheet 5 mm bituminous sheeting 24 mm timber boarding 80/50 mm squared timber; ventilated cavity sarking membrane; 240 mm PUR insulation 200 mm cross-laminated timber 25 mm larch boarding; 30 mm squared timber ventilated cavity; house wrap 120 + 160 mm mineral wool insulation 146 mm cross-laminated timber 20 mm protective mat; 200 mm XPS insulation 5 mm bituminous sheeting 220 mm reinforced concrete 35 mm lumber-core plywood (3-ply), softwood set atop stringers (clad in lumber-core plywood) 20 mm lumber-core plywood (3-ply), softwood 15 mm oriented strand board 60 mm mineral wool between wood studs 15 mm oriented strand board 20 mm lumber-core plywood (3-ply), softwood counter: 80 mm precast reinforced concrete unit 15 mm lumber-core plywood (3-ply), softwood,

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lye treated, soap finish 65 mm heating screed of brick polythene film separating layer 20 mm impact-sound mineral wool insulation 140 mm cross-laminated timber 15 mm lumber-core plywood (3-ply), softwood, lye treated, soap finish; 15 mm softboard 140 mm cross-laminated timber 15 mm lumber-core plywood (3-ply), softwood lye treated, soap finish 65 mm heating screed of brick polythene film separating layer 30 mm impact-sound mineral wool insulation 140 + 120 mm thermal insulation 5 mm welded bitumen sheeting 250 mm reinforced concrete wood bench: 60 mm lumber-core plywood (3-ply) column: 180/260 mm glue-laminated timber triple glazing Ug ≤ 1.1 W/m2K in larch frame textile solar control 25 mm larch boarding 80/240 squared timber 100/140 mm larch

Vertical section scale 1:20

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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 accessible; some have the option to annex a neighbouring unit. They are oriented to the west – away from the loud street. The building envelope with TICS integrated apertures (for 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.

Section Plans scale 1:500

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Residents’ entrance Rubbish Storage for prams Common room Storage Play area Streetcleaners’ entrance Administration Break room Free space Changing Shower Workshop Drying room Access to parking garage Kitchen Living/Dining Bedroom Children

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Apartment Building in Munich

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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 & reinforced 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 plaster; 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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Apartment Building in Munich

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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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University of Applied Sciences in Mittweida

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Site plan scale 1:5000

Architects: Georg Bumiller Architekten, Berlin Team: Jens Bussewitz, Thomas Eysholdt, Lennart Häger, David Meyer, Heiko Ottinger, Felix Sommerlad, Frank Stoffers, Jens Zimmermann Structural engineers: Erfurth+ Mathes Beratende Ingenieure, Leipzig Others involved in the project: see page 537

The bas relief facade, consisting of more than 600 through-coloured precast concrete units with terrazzo look, cloaks the compact building massing of this self-confident counterpoint to the older university buildings across the street. Due to the growing number of students – especially in the schools of media and social work – there was an urgent need for a new building. The prelude, so-to-speak, is a small forecourt – an inviting gesture that helps visitors find the main entrance. The first indoor spaces are a bright, generously scaled foyer and lounge zones intended to foster interaction among the students. The 400 m2 television studio, screened off by a ring of naturally lit spaces,

constitutes the heart of the building. Lecture halls and seminar rooms – which are ventilated mechanically – are oriented to the busy Bahnhofstrasse, while the smaller offices face green spaces. A broad ravine-like staircase, framed by soaring oblique exposed-concrete walls, connects the foyer to the lofty atrium. The latter provides access to the roof terrace atop the parking structure adjoining the new building to the south. The high-tech facility’s demanding acoustic requirements sparked the decision to employ solid-masonry construction. The load-bearing concrete facade consists of pylons and lintels. They are combined to arrive at Lshaped components that are inserted into

one another in puzzle-like fashion. The architects devised a vertical and horizontal arrangement of these components – which vary in size and weigh up to 15 tons – that created a monolithic figure. They were inspired by the ziggurat: the proportions become more slender as the structure extends toward the sky. The inner organization of the university building is also legible in the varying dimensions of the facade’s openings and the widths of its pylons. In terms of budget, the facade components’ high degree of variability was compensated for by the compact building massing, resulting in moderate costs. These facts are evidence of an overall sustainable economy of means.

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1 8 XбŨýĩğ ° ;yƑĩŵŨ ĻČyğś scale 1:1000 Third floor Ground floor 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Main entrance Foyer Auditorium TV Studio Stage set Stage direction Rehearsal studio Editing room Storage Archive Building services Printing plant Seminar room Broadcasting studio Office Parking deck

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Vertical sections Horizontal section scale 1:20 1 50 mm gravel 1.5 mm polyolefin roof sheeting 315 – 205 mm stonewool insulation to falls vapour barrier bituminous sheeting 400 mm reinforced concrete deck 20 mm gypsum plaster 2 coping: 3 mm sheet steel bent to shape 1.5 mm polyolefin roof sheeting maritime pine planks 3 gutter, aluminium 4 prefabricated sandwich unit for facade: 80 mm reinforced concrete shell 80 –120 mineral wool core insulation, glued 280 – 520 mm prefabricated reinforced concrete post, load-bearing vapour barrier, glued 10 mm plaster 5 5 mm linoleum 45 mm calcium sulphate panel 150 mm cavity 400 mm reinforced concrete deck 20 mm gypsum plaster 6 80 mm flat blind 7 thermal double glazing in aluminium frame Ug = 1.0 W/m2K 8 15 mm joint, sealed, sand-surfaced 9 prefabricated unit: reinforced concrete lintel resting on post, front sanded, sides acid-treated 10 5 mm linoleum 45 mm calcium sulphate panel 130 mm cavity 120 mm foam glass insulation vapour barrier 300 mm watertight concrete 100 mm foundation course 11 100 mm paving stones in gravel bed

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Prefabricated lintel: through-coloured reinforced concrete unit Prefabricated unit: sandwich post Outer layer: in combination the sandwich post and lintel form L-shaped elements. On each successive story, the facade steps back 80 mm.

The widths of the posts vary, and their arrangement is staggered.

Construction sequence of prefabricated sandwich units for the facade

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Production of the prefabricated units The prefabricated units have three layers: the outermost layer is the U- or L-shaped shell. These are produced in a variety of angles; the surfaces are lye-treated. Only the fronts contain the larger stones, a more costly material: after the units are sanded, these stones become visible. In this manner it is possible to minimize the amount of material required to achieve the terrazzo-like surface. After the insulation is installed, the reinforcement is positioned and then concrete is poured into the sandwich unit’s load-bearing core. Production of these units in the workshop guarantees a consistent high standard at a low cost.

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St. Trinitatis, Catholic Priory Church in Leipzig Architects: Schulz und Schulz, Leipzig Structural engineer: Seeberger Friedl Planungsgesellschaft, Munich Büro für Baustatik Benno, Dominik und Mathias Förtsch, Leipzig Others involved in the project: see page 537

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Presbytery Church sanctuary Weekday chapel Sacristy Fellowship hall Church offices Priests’ quarters Classrooms Solar system Water reservoir

www.detail.de This prominent site across from Leipzig’s city hall had been empty since the bombing of the Second World War. The new church now fills the entire triangular site and the clear edge it creates is the prelude to future development of the unused land adjoining it to the west. The new bell tower, in combination with the city hall tower opposite it, forges a gateway on the six-lane Martin Luther Ring. The church sanctuary, in contrast, is oriented to Wilhelm Leuschner Platz; its tall wall helps frame the outdoor space.

The presbytery – as the church’s new central meeting place – is cut into the building massing between these two high points.

Although the building makes a monolithic impression, it is open and inviting.

Above the entrances to the presbytery, bridge-like and cantilevering building components, which are part of the reinforced concrete structural system (in which no expansion joints are used) and take the form of wall-like beams, span between the two ends of the site. The durable building envelope is one component of the complex sustainability concept for a self-sufficient church. On sunny days oblique daylight emphasizes the horizontal layering of the stone, as well as the differing dimensions of the projection of the individual layers: the impression varies from a subtly forged pattern to a sensual “crust”. In certain lighting conditions the letters carved into the stone (ST · TRINITAS) seem to appear out of nowhere. At dusk a pastel glow emanates from the Rochlitz porphyritic tuff (see p. 498ff). With their archaic, austere design, the interiors are the antipode to the hustle and bustle of the city. In the fellowship hall the urban activity is visible through floor-to-ceiling glazing, but in the church sanctuary the glass’s transparency is obscured by the artistic treatment of the windows. With a ceiling height of 14.50 metres, the church sanctuary yields a transcendental spatial experience, and this experience is heightened by the soft light entering through the skylight situated even farther up – 22 metres above the floor – adjoining the wall behind the altar.

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Section through gallery Church sanctuary Weekday chapel scale 1:500

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grit of porphyritic tuff, 16/32 mm range 70/700 mm Rochlitz porphyritic tuff, saw-cut surface; protective mat bituminous sheet, uppermost layer with granulated slate surface (brown) 100 –120 mm foam glass on levelling mortar reinforced concrete stainless steel top-hat profile on Ø 140 mm stainless steel threaded rod, with injection mortar in reinforced concrete deck, fixed-flange connection to seal

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Rochlitz porphyritic tuff, saw-cut surface, three layers of stone with different cross sections: 85/160 mm, 170/140 mm and 255/120 mm in irregular bond, variable lengths, laid on stainless steel console tolerance adjustment 18 mm air space 180 mm foam glass, thermal conductivity group 038, full-surface gluing 300 mm reinforced concrete beam 20 – 25 mm lime-cement render, felted; paint permanently elastic joint, sand-surfaced 40 mm angle quoin cut out of solid stone 255/40 mm porphyritic tuff, saw-cut surface, variable lengths, each with 4 bolts; 20 mm open joint 40/40 mm RHS steel supporting structure

200 mm foam glass 160 – 200 mm reinforced concrete 8 soundproofed window with insulated edge (warm edge): 14 mm laminated safety glass of float glass, sand-blasted, with New Testament text, and toughened glass, sand-blasted, with Old Testament text + 16 mm cavity + 10 mm toughened glass 880 mm interstitial space 10 mm toughened glass + 16 mm cavity + 14 mm laminated safety glass of toughened glass, sand-blasted, with Prologue to Gospel of John + float glass 9 luminaire in window 10 heating to prevent condensation on glazing

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St. Trinitatis, Catholic Priory Church in Leipzig

Soundproofed windows on upper level scale 1:10

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Rochlitz porphyritic tuff, saw-cut surface, three layers of stone with different cross sections: 85/160 mm, 170/140 mm and 255/120 mm in irregular bond with variable lengths tolerance adjustment 18 mm air space 180 mm foam glass thermal insulation, thermal conductivity group 038, glued 300 mm reinforced concrete 15 mm plaster console: 80 ≈ 40 mm stainless steel angle cavity wall ties at intervals

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aluminium frame, black anodized baffle plate: 12 mm toughened glass, edges enamelled, glued to stainless steel profile, back-up: secured mechanically baffle plate supporting structure: stainless steel Z-profile drainage and ventilated cavity: 3.5 mm aluminium channel, slitted 38 mm triple glazing, solar control/insulated in aluminium/oak frame reveal: 20 mm wood composite board with oak veneer

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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig

Building envelope: Rochlitz porphyritic tuff was 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

Edition

Hermann Kaufmann IZM Illwerke Zentrum Montafon Marko Sauer (Ed.), 2015.

116 pages with numerous drawings and photos. Format 21.6 × 27 cm.

Bilingual English/German.

ISBN 978-3-95553-245-1 Hardcover: € 49.– / £ 40.– / US$ 69.– + postage/packing + VAT, if applicable

Next-generation wooden construction The federal state of Vorarlberg holds a distinguished position in wooden construction. The sole renewable building material has given rise to an active and innovative scene here, where tradespeople, planners and industrial enterprises build upon their possibilities and develop their field together. In this dynamic environment, Hermann Kaufmann is one of the key protagonists and has been working with his team to push the material to its limits for decades. In regards to its size and industrial manufacturing, the Illwerke Zentrum Montafon has successfully made a quantum

leap in wooden construction. The approximately 10,000 m2 administration centre sets high standards in prefabrication – and is built just as precisely and comfortably as the small jewels that Vorarlberg is famous for.

The publication describes the emergence of this building: from the influence of the water and the topography, from the development of the cubature defined by the static structure of the building system and the uniform conditions for all working spaces, to the change of the office culture due to the architecture, and finally, the integration of art in the construction.

Einheit von Material und Raum Unity of Material and Space Ein mehrgeschossiger Holzbau ohne innere Verkapselung Das Holz trägt die Lasten und schafft gleichzeitig die Raumatmosphäre.

A multi-storey timber structure without inner encapsulation Wood carries loads and characterises the interior atmosphere

Marko Sauer

Wettbewerbsentwurf bere ts im Wettbewerbsstadium waren die Details im Grundsatz definiert Maßstab 1 100

Competition design; the basic details were already defined at the competition stage

Currently the largest and most sustainable wood-hybrid construction in detail

Scale 1 100

Das Illwerke Zentrum zu entwerfen, hieß, die Ausfüh rungsdetails, insbesondere die der Fassaden, akribisch zu definieren. Die Stützenpaare aus Leimschichtholz gliedern den Raum und die Fassade Ihr Abstand ist definiert durch die Breite der Deckenmodule Die Fensterelemente wurden – im Gegensatz zum Prototyp des Systems separat auf die Baustelle geliefert und jeweils zwischen die Stützen eingebaut Sie bestehen aus einer Festver glasung und einem Lüftungsflügel Der feste Teil liegt bündig mit der Fassade, der Rahmen des beweglichen Flügels ist nach innen versetzt Eine Verblendung aus emailliertem Glas zwischen den Fensterelementen ver deckt die Stützen Von innen ist der Rahmen um die Festverglasung nicht zu sehen An den Seiten schließt ihr Holzrahmen ohne Versatz an den Stützen an und auch im Sturz wird die Flucht der Decke nahtlos übernommen Das Resultat ist verblüffend: Aus den Büros betrachtet, löst sich die Festverglasung nahezu auf und gibt den Blick auf die Landschaft frei Jeweils drei Brüstungselemente bildeten in der Vorferti gung zusammen mit drei Stützenpaaren ein Fassadenele ment und wurden gleichzeitig versetzt Im Schnitt zeigt sich die Brüstung zweigeteilt: Im Inneren steht sie auf dem Deckenelement, außen überlappt sie dessen betonierte Stirn. Die Stahlkonsolen für das Vordach wurden bereits im Werk in das Brüstungselement eingebaut In der weite ren Montage ließ sich das Vordach, ebenfalls in Modulen vorgefertigt, einfach an die Stahlkonstruktion anschrau ben. Es schützt das Holz der Fassaden und mindert die Blendung im Inneren der Büros. Das Vordach verhindert den Brandüberschlag von einem Stockwerk ins nächste, was eine wichtige Rolle bei der brandschutztechnischen Genehmigung des Fassadenmaterials spielte.

Designing the Illwerke Centre Montafon (IZM) involved the preparation of meticulously detailed production drawings, especially for the facades Both interior space and facade are structured by paired glued laminated timber (glulam) columns whose spacing is defined by the width of the slab elements In contrast to the system prototype, the window units were delivered to the site separately and installed between the columns They comprise a fixed light and a vertical vent The fixed light is flush with the facade while the frame of the opening vents is set back towards the interior Externally, the columns are hidden behind enamelled glass facings positioned between the window units The frame around the fixed lights is not visible from the inside The wooden frames are directly planted on the columns at the sides and the upper frame member also merges seamlessly into the plane of the ceiling The result is stunning from the office perspective, the virtu ally invisible fixed light offers an unobstructed view of the landscape One prefabricated facade element consists of three spandrel panels and three paired columns, arranged in alternation The base of the spandrel panels is formed so as to rest on the upper face of the slab on the inside while overlapping the concrete front edge of the slab on the outside Steel brackets for the canopies were integrated in the spandrels at the factory This allowed the canopy, which was also prefabricated in modules, to be easily bolted to the steel construction during assembly The canopy protects the wood components of the facades and reduces glare inside the offices It also functions as a barrier to prevent the external spread of fire between storeys. This played an important role in obtaining fire protection approval for the facade material.

The oak cladding to the spandrels and canopy soffits was installed in the form of panels on site. The orientation of the

Die Verkleidung aus Eiche wurde in Elementen vor Ort angebracht, an der Brüstung ebenso wie an der Unter sicht des Vordachs Die Ausrichtung der Bretter am Vordach unterstützt die Absicht der inneren Wirkung: Der Blick fließt hinaus in die Landschaft und die Ver kleidung folgt dieser Bewegung Unter den Fenstern bilden stehende Eichenholzlatten ein regelmäßiges Band rund um das Haus Im Inneren wird die Brüstung durch ein umlaufendes Regal ergänzt, das fest verbaut zwei Schichten von Ordnern aufnimmt Da dieses auch vor den Stützen verläuft, die leicht gegenüber der Brüstung vor stehen, entsteht hinter dem Regal ein Hohlraum, der eben falls gedämmt ist Die Stützen stehen nicht direkt auf dem Beton des Decken elements auf, denn in diesem Detail trifft die Präzision des Holzbaus auf die großzügigeren Toleranzen im Massiv bau Die Holzstützen weisen an ihrem oberen Ende jeweils eine Platte mit einem Hüllrohr auf Durch eine Aussparung im Deckenelement reicht das Rohr bis ins nächste Geschoss Die darauf stehende Stütze greift mit einem Dorn in das Hüllrohr und übernimmt präzise die Höhe Als Folge bleibt zwischen dem betonierten Boden und der Stütze ein Ab stand Dieser wird vor Ort vergossen, um den Brandschutz und die Lastabtragung zu gewährleisten Obwohl die Fassade in den Obergeschossen rund um das Gebäude gleich aussieht, unterscheiden sich die Details an der Längs und Querseite, da das Deckenelement eine Richtung hat An seiner kürzeren Kante endet es mit einem Betonüberzug, an der langen Kante mit einem Holzbalken. Um die Details zu vereinheitlichen, ist an den kurzen Fassaden im Norden und Süden zusätzlich ein Betonbalken eingebaut. Die Details der Fassade selbst entsprechen wieder dem Regelschnitt.

canopy boards reinforces the desired interior perspective, the view out into the landscape following the direction of the cladding Vertical oak slats below the windows form a regular band around the building exterior while the interior spandrels are fronted by a continuous built in shelving system accommo dating two rows of document folders The shelving also runs in front of the columns, which s ightly protrude from the span drels, giving rise to a hollow space behind the shelving, which is insulated The columns do not bear directly on the concrete of the slab element in this deta l, the precision of timber construction meets the more generous tolerances typical of solid construc tion methods A plate with a sleeve is fixed at the upper end of each timber column The sleeve is carried into the next storey through an opening in the slab element A pin attached to the above column engages with the sleeve, thereby ensuring that it is positioned at precisely the right level The resulting gap between the concreted floor and column was grouted on site for the purposes of fire protection and load transfer Although the upper storey facades appear identical on all sides, the details on the long and short fronts vary due to the direction of the slab element the shorter edge is terminated by a concrete coating, the longer edge by a wooden beam To harmonise the details, an additional concrete beam was installed on the shorter northern and southern facades The facade assembly itself conforms to the standard details

The further development of the LifeCycle Tower construction system Unity of material and space: the supporting structure is identical to the interior finishings

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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig

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2 – 4 The 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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Stainless steel consoles before stone is laid 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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The Stone Facade of St. Trinitatis, Catholic Priory Church in Leipzig

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11 –13 Stone parapet with open joints 11 Section through roof parapet at rising wall scale 1:20

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noise – exterior noise must be taken into account in the acoustic concept. Thus, the openings in the facade required a high standard of soundproofing. To attain this standard we employed a double-shell facade with baffle plates that deflect the noise. To underscore the singularity of the building envelope, we positioned these panels flush with the facade. The enamelled edges of the baffle plates are glued to a steel frame made of L- and Z-profiles. The rainscreen masonry above the baffle plates is supported by consoles. This structurally elaborate solution is concealed by a frame, made of bent-to-shape aluminium sheet, that functions as the casing does in conventional windows: it clads the lintels and reveals. Below the baffle plates, the aluminium frame doubles as the exterior windowsill –

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and serves as the transition to the stone. On the sides the frame also accommodates the varying stone projections resulting from the layers’ different widths. For ventilation and, as the case may be, to allow water that has entered the window assembly to flow back out, in the lower zone the casing of the window has weep holes (see page 496).

Cross window A special feature is the large cross window on the west wall of the church sanctuary; it mirrors the Greek cross mounted on the altar wall in the east. The interaction of positive and negative forms calls attention to the east orientation of the church sanctuary. The glass used in the cross has a satin finish and allows additional light to enter the church space (ills. 2 – 4).

The dimensions of the cross also have their origin in the building envelope’s layers. The arms are 34 centimetres wide and 34 centimetres high. In both directions the overall length of the window is 918 centimetres in both directions. The subdivision of the individual glass surfaces inevitably emphasizes the centre of the cross: it also takes the form of a Greek cross. The exterior glass panes and the interior openings both have a width of 34 cm. A “light funnel” absorbs the varying depths of the insulating and anchoring assemblies on the exterior and interior sides of the space. The assembly consists of a triple glazing unit, which, as window element, is glued to a steel frame, which is secured at intervals to the steel supporting structure.

The entire assembly can be dismantled and components can be replaced.

Bell tower In the church tower, where the bell is suspended, the stone facade is executed on three sides as stone louvers to allow the sound to spread unimpeded into the city (ills. 1, 10). The lower part of the tower has loadbearing, uninsulated reinforced concrete walls; in the upper reaches they metamorphose into reinforced concrete columns.

As part of the stone facade, the louvers in this zone are secured by a U-shaped horizontal steel supporting structure with which the 8-centimetre-thick stone plates – with a width of 24 centimetres and a length of 108.5 centimetres – are bolted on the rear.

In this area, no mortar is placed in the head joint: this facilitates unhindered thermal expansion of the stone. Photovoltaic cells are incorporated in the tower’s fourth solid side facing the south.

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Prof. Ansgar Schulz, born 1966 in Witten / Ruhr, studied architecture from 1985 to 1992 at RWTH Aachen and ETSA de Madrid. Prof. Benedikt Schulz, born 1968 in Witten / Ruhr, studied architecture from 1988 to 1994 at RWTH Aachen and UC de la Asunción / Paraguay. In 1992 he and his brother founded Schulz und Schulz in Leipzig. Since 2010 they have headed the department of building construction and civil engineering at the architecture school at the Technische Universität Dortmund.

Products

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Property+Product Hotel Lanserhof Tegernsee in Marienstein, Germany

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In 2014, the Hotel Lanserhof Tegernsee opened its doors, following the success of the model on which it is based in Tyrol, Austria. Located in a unique natural setting at an altitude of 900 metres, ingenhoven architects have created one of the most state-of-the-art health-care centres in Europe. The sustainable design concept is characterised by the unusual combination of a hotel and a medical department that focuses on prevention and recuperation.

The building has a rectangular layout along the lines of an ancient monastery. At the heart of the complex lie the medical treat-

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ment, consulting and exercise rooms, whose design and furnishimg meet state of the art standards. They are oriented, just like the communal areas △ restaurant, lounge and reception △ towards the quiet, leafy courtyard. A little to the side, and only connected with the main building in the basement area, lies the bathhouse with a sauna, outdoor pool, gym and yoga room. The 70 exclusive rooms and suites also provide space for rest and relaxation. Compared to conventional hotel rooms they are generous in size, with each one occupying an area of at least 55 m². Floor-to-ceiling windows allow plenty of daylight to enter. Loggias clad with different types of wooden slats make

the transition to the surrounding natural environment. They allow light incidence to be individually regulated and views of the surroundings to be enjoyed. The architects placed a strong emphasis on minimalist but high-quality room furnishings with elegant shapes and subtle colours. When it came to materials, a strong focus was placed on sustainability. In keeping with the concept and location of the building, most of the products and materials used are DGNB (German Sustainable Building Council) certified, such as the larch for the facade, which came from sustainable and certified plantations. A building biologist was involved in the planning right from the start.

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C A Map scale 1:7,000 B The rectangular building has been optimally embedded into the surrounding countryside. The communal and medical areas are oriented towards a leafy atrium, whilst the rooms and suites offer guests panoramic views of the lake and mountains.

C The loggias in front of the rooms serve as a pleasant transition zone between inside and outside △ an ideal place into which to retreat.

D The entire building is designed to sharpen the focus on the essentials. Thus, with regard to the furnishings, a strong emphasis has been placed on a pared-down, timeless design and bright colours.

E Even if guests spend a lot of time alone in their rooms, communal areas such as the lounge with its fireplace and cosy atmosphere are inviting.

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Green roofs △ extensive Sealing △ bituminous Insulation △ PUR 2 % Gradient ≥ 170 mm Vapour barrier △ bituminous membrane with a metal inlay on a bituminous primer Reinforced concrete ≥ 320 mm Levelling/painting Flooring △ oak whitened 25 mm Cement screed as heated screed 70 mm Separation layer Impact sound insulation △ mineral 20 mm Compensating insulation △ EPS 60 mm Reinforced concrete 340 mm Levelling/painting Wood flooring △ teak FSC-certified 25 ≈ 125 mm Substructure △ battens 45/70 mm Plastic terrace base △ height-adjustable Precast reinforced concrete unit 200 mm Safety glazing △ post and beam construction wood Sliding shutters with vertical blinds △ larch 1,200 ≈ 3,370 mm Flooring △ oak whitened 25 mm Cement screed as heated screed 65 mm Separation layer Impact sound insulation △ mineral 20 mm Compensating insulation △ EPS 65 mm Reinforced concrete 460 mm Levelling/painting Flooring 10 mm Cement screed as heated screed 100 mm Separation layer Impact sound insulation △ mineral 20 mm Compensating insulation △ EPS 240 mm Reinforced concrete 250 mm Insulation ≥ 100 mm (above unheated rooms)

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Fitness area Terrace Sauna area Pool Medical area Courtyard Event room Offices Lounge Kitchen Restaurant Rooms and suites

Project participants Client: Lanserhof Marienstein GmbH, D–Marienstein/Waakirchen Architect: ingenhoven architects GmbH, D–Düsseldorf Assistants: Christoph Ingenhoven, Barbara Bruder, Thomas Höxtermann, Ursula Koeker, Peter Jan van Ouwerkerk, Bibiana Zapf, Lutz Büsing, Anette Büsing, Lorena Büdel, Moritz Krogmann, Cornelia Piecek, Silvia Kalisch, Dorothée Valenzano, Katharina Kulpa, Vanessa García Carnicero, Georg Vahlhaus, Darko Cvetuljski, Sara Bayan, Michael Deckert Structural engineering: Binnewies Hamburg, D–Hamburg Facade planning: DS-Plan AG, D–Stuttgart Sustainability concept: DS-Plan/ingenhoven architects Fire protection: HHP Ingenieure für Brandschutz, D–München Acoustics: Müller BBM GmbH, D–Planegg Building services engineering: Adenbeck GmbH, A–Wels Lighting design: Tropp Lighting Design [special lighting], D–Weilheim Space planning: ingenhoven architects / Enea Landscape Architects, T17 Landschaftsarchitekten, D–München

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Project management: Malojer Baumanagement GmbH & Co., A–Innsbruck

Partition wall △ seminar room: Bene AG, A–Waidhofen /Ybbs, www.bene.com Doors and fittings: Steel doors /gates: Hörmann KG, D–Steinhagen, www.hoermann.de Sliding door – entrance: Blasi GmbH, D–Mahlberg, www.blasi.info Fittings: Franz Schneider Brakel GmbH + Co. KG, D–Brakel, www.fsb.de; Dorma Deutschland GmbH, Ennepetal, www.dorma.com Fixtures: Dornbracht Deutschland GmbH & Co. KG, D–Iserlohn, www.dornbracht.com WC: Toto Europe GmbH, D–Düsseldorf, de.toto.com Floor-level shower: Aquamaster shower elements made of DuPont Corian, Pfeiffer GmbH & Co. KG, D–Asslar, www.pfeiffer-germany.de Fireplaces: Lounge, bathhouse: Boley BV, NL–Veghel, www.boley.nl; Suites: Kal-fire BV, NL–Belfeld, www.kal-fire.com Materials: Curtains, Création Baumann AG, CH–Langenthal, www.creationbaumann.com; Upholstery fabrics, Kvadrat, DK– Ebeltorft, www.kvadrat.de Wallcoverings: Alcantara, Winter Creation GmbH, D–Eimeldingen, www.winter-creation.com

Products and manufacturers Facade: Facade system: Raico Bautechnik GmbH, D–Pfaffenhausen, www.raico.de Terrace canopy: Alucobond, 3A Composites GmbH, D-Singen / Hohentwiel, www.alucobond.com Awnings: Claus Markisen Projekt GmbH, D–Leinfelden-Echterdingen, www.clauss-markisen.de Solar protection: Specht Sonnenschutztechnik GmbH, D–Steinhagen, www.hella-specht.de Floors: Parquet: Mafi Naturholzboden GmbH, A-Schneegattern, www.mafi.com Wall and floor tiles: Glasmosaik, Trend Group S.p.A., D–Kirchdorf an der Amper, www.trend-group.com; Marazzi, Marazzi Group S.r.l, I–Modena, www.marazzi.it Interior lighting: Wallwasher, Erco GmbH, D–Lüdenscheid, www.erco.com; Downlights, XAL GmbH, A–Graz, www.xal.com; Desk and table lights, Flos GmbH, D–Langenfeld, www.flos.com

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Edition

best of DETAIL: Facades June 2015.

Christian Schittich (Ed).

200 pages with numerous drawings and photos. Format 21 × 29.7 cm.

Bilingual English/German.

ISBN 978-3-95553-247-5 Paperback: € 49,– / £ 40.– / US$ 69.– + postage/packing + VAT, if applicable best of ∂ series

Architectural highlights from DETAIL The facade serves as the building‘s public face, allowing rapid assessment of its architecture. Yet, how does a building’s envelope really make a difference in the quality of its architecture? “Best of DETAIL: Facades” explores this topic with theoretical discussions and an in-depth look at a range of selected projects, which, besides showcasing suitable materials and designs, give the reader a detailed look behind the scenes. It turns out that quality architecture can only result from a coherency between the facade, structure, internal organisation and building services

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– design elements that interact directly with each other. This presents the architect with enormous challenges, particularly as the unity between the exterior and interior is no longer a given, as today‘s range of materials and design possibilities offer nearly limitless creativity. The book gathers highlights on this issue from various DETAIL publications. All contributions share a sophisticated consideration of what goes on behind the facade, in short: good architecture offering abundant inspiration and constructive solutions for the reader’s own work.

Vordach Stahlb ech 5 mm Türb att be dseitig E chenfurn er geölt 70 mm Streckmetall Masche 200/70 Alumin um e oxiert 3/30 mm Distanzha ter 90 mm Windpapier schwarz OSB Pla te 22 mm Wärmedämmung/Holz ständer 200 mm Damp bremse Instal at onsebene/Metall unterkonstruktion te ls ausgedämmt 240 mm Gipskartonp at en 25 mm Streckme all Alumin um e oxiert 3/30 mm Distanzha ter 230 mm Befestigungsprof l 30 mm Abdichtung EPDM 2 mm Holzweichfaserplatte 60 mm Holzelementdecke m t Mine ralwo ledämmung 260 mm S ah träger HEA 220 Gipskartonp at en 25 mm Oberlicht öffenbar Holz achwerkbinder Innenverkle dung Gipskartonpla te ge ocht bedruckt 12 5 mm Hu profi /M ne al aser 30 mm Metal ständerp of l 100 mm Ins al ationsebene 155 mm Oberlicht Ac y glas

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canopy 5 mm sheet steel 70 mm door leaf oak veneer on bo h sides oi ed 3/30 mm expanded metal aluminium anod sed mesh size 200/70 90 mm d stancer house wrap black 22 mm oriented strand board 200 mm insulat on/timber studs vapour retarder 240 mm bu lding se v ces layer/metal supporting structure part al insu at on f ll 25 mm p asterboard 3/30 mm alumin um expanded metal anod sed 230 mm distancer 30 mm mount ng profi e 2 mm EPDM sealant 60 mm sof board 260 mm timber composi e e ement wi h mine al wool ins 210 mm w de flange Å beam 25 mm p asterboard roof l ght operable timber truss inter or c adding 12 5 mm p aste board pe forated mprinted 30 mm top hat prof /m n fibre 100 mm metal stud 155 mm bu lding services ayer roof l ght ac ylic g ass

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High quality architecture via integrated design Facades – Unifying exteriors with interiors DETAIL – Straight to the point

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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

Edition NEW

∂ Practice

Bathrooms and Sanitation Principles Design Implementation

Sibylle Kramer

Bathrooms and Sanitation NEW June 2015 Sibylle Kramer.

120 pages, with numerous drawings and photos.

Format 21 × 29.7 cm.

ISBN 978-3-95553-232-1 Paperback: € 49.90 / £ 40.– / US$ 66.60 + postage/packing + VAT, if applicable ∂ Practice series

Contemporary sanitary planning Customised bathrooms are a basic requirement these days for every house, apartment and hotel room. In addition to personal hygiene, bathrooms also have an important function at the emotional level when it comes to taking time out, indulging and relaxing. The public sector can also benefit from appealing and hygienic sanitary areas. Planners are increasingly required to deal with customer desires and offer personalised solutions, in addition to knowing about the technical requirements and movement areas

of sanitary facilities. Besides producing well designed floor plans, experts need to take into account sustainability and accessibility, as well as materials, light, colour, fixtures and fittings.

“Bathrooms and Sanitation” provides comprehensive information on the basic principles of contemporary sanitary planning, as well as detailed solutions for state of the art execution and fitting. A selection of successfully completed projects offers readers inspiration for their own work.

Comprehensive design principles and planning tools Examples of successful projects Sanitary areas as a sign of quality when evaluating buildings Renovation, modernisation and accessibility Fittings, materials and lighting design

www.detail.de/p-bathrooms

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Adaptable comfort

Diffusion collection introduced by bespoke designer

Milano Bedding offers a stylish range of beds, sofas and sofa beds to meet both contract and residential needs, with design, function and comfort at the heart of the product. The Cayman is a contemporary design featuring a distinctive headboard that incorporates slide-out shelving fitted with an LED lamp, power socket and USB port. It is available with different types of slatted and pocket-spring bed bases and, depending on the fabric, the bed covering can be totally removable and washable.

The Hughie coffee table in shagreen and metal, shown above, recreates the glamour of the Art Deco era and is just one of many designs by Simon Orrell Atelier – a division of the workshop of custom-made furniture maker Simon Orrell Designs. This statement coffee table with its stylish metal legs is finished in natural shagreen and bronze patinated hammered steel. Size is 110 cm wide ≈ 50 cm deep and 42 cm high, and it is also available in other finishes.

Jeremie, a sofa and sofa bed, has three new versions made with Designers Guild fabrics.

Its daybed shape recalls the Art Deco style, which can be played down or emphasised by its variants: Trendy, in a turquoise fabric with white details and an orange base; Fashion, in shades of deep pink with floral striped details and green base; and Glamour, in elegant taupe and brown colours.

The seat is feather and high-resilient polyurethane foam, with feather backrest pillows and a solid beechwood base, in standard wenge finish or RAL colour on demand. ¥ Milano Bedding Italy +39 (0)362 307 144 www.milanobedding.it

This long-established furniture designer has been creating custom-made pieces for interior designers and private clients since 2001. Specialising in luxury materials such as parchment, paua, pen shell, violet oyster, hammer shell, gesso, gold and silver leaf, mother of pearl and cracked eggshell, as well as the natural shagreen, Simon Orrell has carved out a niche for his brand of distinctive finishes.

The launch this year of the new division of the company means that a diffusion collection of stylish interior pieces is now available using the same materials and made by the skilled artisans who create the custommade furniture, but more readily available to order. The products include mirrors and side tables, as well as coffee, console and

dressing tables. Two other examples in natural shagreen are the Sephera two-drawer dressing table (not shown), which also features bone stringing to create a stylish piece with a serpentine front reminiscent of Art Deco design, and the Opie side table, below, centre. This is from the spring/summer 2015 range and has a striking ‘Euclid’ geometric top and metal legs. It measures 60 cm high ≈ 40 cm in diameter.

Straw marquetry is another of the unusual finishes available and the lamp base shown below, also new for this year, offers a contemporary spin on a traditional technique.

Straw work was used for boxes and small items of furniture in the 18th century in England and in France.

The sunburst pattern was a popular motif of the Art Deco period and has been given an update on this lamp base. Split and pressed strips of straw are dyed and applied to the surface of each piece to create an eyecatching design. The lamp base is 30.5 cm high ≈ 20 cm wide ≈ 10 cm deep. ¥ Simon Orrell Designs United Kingdom +44 (0)20 7371 9339 www.simonorrelldesigns.com

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Boutique appeal

Wallcoverings range with material impact

Waterworks’ luxury bathroom ranges are widely used in the hospitality sector in the US and the company now showcases both the contemporary and the traditional in its King’s Road, London showroom. One of the first to specify was the Rosewood Hotel in High Holborn, where designer Tony Chi chose the handmade Normandy hammered copper basin with the nickel finish seen below for the opulent Manor House suite. The basin, in a variety of finishes, sizes and shapes, is set here in a Keystone Calacatta marble slab and teamed with the Amelie three-hole, deck-mounted mixer.

Designer Ulf Moritz has created his sixth collection for Marburg Wallcoverings, and has employed a range of materials not usually associated with such products: together with the richness of the colours and fashionable design themes, this makes for a contemporary and lavish collection that would add drama to a hotel’s public areas or to its suites and bedrooms.

Many of the products, including lighting, brassware and vanity units, look very much at home in boutique-style hotels, such as the RW Atlas range, created in collaboration with top American designers Roman & Williams, from which comes the Marquee mixer tap, above. In burnished nickel with sidemounted lever handles, this works well with the Manchester undermount vitreous china basin, and the Keystone marble vanity top and splashback. ¥ Waterworks United Kingdom +44 (0)20 7384 4000 www.waterworks.com

This new collection from the Amsterdambased designer, entitled Imagination, comprises 65 non-woven wallcoverings, and eight digital prints and applications. One of the unusual materials is basalt yarn, more commonly found in the automotive industry and in ship building, being non-flammable and very flexible. Specially selected basalt rocks are used, and the yarns are pulled out of the molten mass of rock. The structure gives the wallcoverings a weighty feel, enhanced by the rich colours including ruby, emerald, azure and copper.

Another material is mica, a mineral that readily separates into thin flakes, and these fine rock chips are applied in a stripe design to create an interesting new image, which is clad by a crystal clear foil. Glass is the third uncommon wallcovering material used in this collection. Fine glass beads

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make a broad design, applied in variously sized dots and arranged in circles, reminiscent of sunbeams.

Dots and circles are a recurring theme △ for example, in the richness of the symmetrically arranged, slightly elevated gold dots as seen top, or the graphic rings, composed of orange, silver and petrol on a dark, rich grey ground or gold, copper and warm aubergine on sepia brown. As a counterpart, and in combination with the rings, are naturalistic hummingbirds painted in watercolour and digitally printed on the coverings, as shown above, left.

Other themes include: a houndstooth pattern, one as an all-over design, the other as a statement; a striped wallcovering with a concrete effect, for horizontal or vertical application, with a baroque design, matching or as a counterpart, in copper or metal hues on the existing cross stripe; and a starry sky covering for walls or ceilings, enhanced by randomly applied crystals. ¥ Marburger Tapetenfabrik J.B. Schaefer GmbH & Co. KG Germany +49 (0)6422 81 0 www.marburg.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 threestorey 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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Hotel

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 Topshield2 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

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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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Core benefits

Winning design takes on the challenges

Kingspan Insulated Panels has launched the IPN-QuadCore, an insulated panel core claimed to deliver the best thermal, fire and environmental performance of any closedcell material. The product has a ‘unique’ microcell structure and is set to bring about a fundamental shift in building performance, resulting in lower lifetime costs and enhanced environmental credentials, says the company. Stated benefits include a 20 % thermal improvement over standard polyurethane insulated panel core insulation, a lambda value of just 0.018 W/mK and U-values as low as 0.08 W/m²K.

The Chamber of Commerce Innovations Campus (HKIC) in Hamburg, Germany is described as a unique building with a radical design that successfully overcame a series of significant project challenges. The high-rise facade was created using specially adapted aluminium window systems from Wicona to reflect the appearance of the surrounding classical structures but with eco-building principles. Its extensive glazing is illuminated at night by back-lit translucent pilaster LED strip lighting.

Said md Gilbert McCarthy, “This is our most significant insulated panel technology breakthrough in a decade. The property market demands high-performance, energyefficient buildings that deliver low risk, high net yield and reduced environmental impact. The unprecedented performance of IPN-QuadCore helps to deliver these superior buildings, making the strongest business case yet for sustainability.”

A study by energy consultants AECOM is said to have found that, when used in a standard 5,000 m² distribution warehouse in the UK, an IPN-QuadCore building envelope will reduce annual energy demand by almost 14 % compared with the notional Part L2A 2013 specification, and could even reduce the initial capital cost of constructing the warehouse because it reduces the required HVAC system size. Certified to FM 4882 for use in smoke-sensitive occupancies, it achieves a reaction to fire of B-s1,d0 to EN 13501-1 with fire resistance of up to one hour insulation and three hours integrity to EN 13501-2. The product has initially been introduced to cold-store insulated panels, with a wider roll-out later this year. ¥ Kingspan Insulated Panels United Kingdom +44 (0)1352 716100 www.ipn-quadcore.co.uk

The six-storey building is the result of a design competition, won by Johann von Mansberg Architekten, to provide a stimulating environment for study, learning and training for the Hamburg School of Business Administration and the Chamber of Commerce. It boasts 15 meeting and seminar rooms, a 240-seat auditorium and a public cafe on the ground floor. The scheme was devel-

oped on an ‘impossible’ site △ positioned between two historic buildings, opposite the classical facade of the old Stock Exchange and directly above live railway lines and underground tunnels.

Wicona’s Wicline 75 evo high thermal performance window was developed into a bespoke solution, with the aluminium profiles adapted to the architect’s specific requirements, including a special width. Frames are fitted with pressed-on pilaster strips externally, which enhance the static load-bearing capabilities of the glazing and give the appearance of supporting columns, as employed in classical architecture.

The glass was also specially designed for the project and features etching and screen printing. The ribbon windows have concealed openings and the frames have an anodised Champagne finish to complement the surrounding buildings. With an overall depth of 75 mm, this window solution is claimed to deliver outstanding energy efficiency that could easily achieve the demanding ‘Swiss Minergie’ standard required for the project, and Uw values of less than 1.0 W/m²K. The systems were fabricated and glazed off site.

The evo window suite uses common components and easy-to-fit accessories across the range. There are fitting options with visible or concealed hinges, and large sash sizes can be accommodated up to 2.5 m high by 1.7 m wide and weighing up to 160 kg as standard, whilst still maintaining slim profiles and narrow sight lines. There are options for enhanced security, bullet and burglar resistance, thermal and weather performance, acoustic protection, open-in and open-out systems, and a range of window fittings. ¥ Wicona United Kingdom +44 (0)845 602 8799 www.wicona.co.uk

The natural warmth of bricks was always the first choice for this project.

Being able to use them with cutting-edge technology was irresistible.

Penny Shankar – Penny Shankar Architects, Designer for Lawn House Building

Designers know a good thing when they see it.

That’s why they make brick their choice in their designs.

Brick. See the material difference.

Call us today on 020 7323 7030 email brick@brick.org.uk or visit www.brick.org.uk @BricksUK #everythingconstructive

Photo copyright Katie Vandyck

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Modern material links past and present

Solid choices

When designing a residence dubbed the Ice Loft, near Hamburg in Germany, local architects Köhler Architekten specified the solid surface material Hi-Macs® by LG Hausys for the facade, helping to integrate the new three-storey building into its historical surroundings. The classical facade structure was reinterpreted, although the building’s dimensions and proportions are based on the adjacent and nearby properties dating from the 19th century.

Structural finger-jointed timber KVH® and glued laminated timbers Duobalken® and Triobalken® are kiln-dried solid timber products described as representing the state-ofthe-art in modern wood construction. KVH, which meets standard EN 15497:2014, has been dried to a maximum wood moisture of 15 % ± 3 %. Duobalken and Triobalken are laminated wood products consisting of two and three laminations respectively, meeting EN 14080:2013, and also kiln-dried to a maximum moisture content of 15 %.

Using a glass staircase as a linking component, the architects staggered the structure, similar to the adjoining property, across a classical semi-basement and two residential storeys above it, then finished it with mouldings and a gable-end roof. The ceiling height of the ground floor is higher than that of the first and second floors, and vertical ribbon glazing connects these two upper floors. The colour Alpine White was chosen for the facade panels, in keeping with the style of the smooth, white surfaces of the adjacent buildings, and giving a distinctive depth effect.

The thermoformable acrylic stone material offers a wide range of design possibilities, especially when used in three-dimensional designs. Architect Florian Köhler utilised

shaped panels to imitate the plaster mouldings found in the old buildings of the area, and it also features in the building’s interior, in the translucent Opal shade, where it has been used to form the wash basins in the bathrooms. It is also resistant to wear, staining and scratches.

The concave-shaped elements finishing the sheet metal-covered arched roof bend towards the road, whilst the dormer windows copy this shape, creating the impression of small waves moving across the roof. The translucence and crystalline nature of the material, together with the colour, makes this ‘wave movement’ appear ice-like, giving rise to the name of the building.

The design and functional advantages of HiMacs are said to be particularly evident in non-weight-bearing ventilated facades such as on this residence, where heat insulation and weatherproofing are functionally separate areas. Links on the roof, floors and window sills can also be designed inconspicuously, with the use of a special subframe structure to connect the panels, giving sufficient air space for wall insulation.

The horizontal structure of the facade was not the only aspect to be reinterpreted, as the elongated construction was reinvented in a new form: the round central structure highlights the symmetrical nature of the building, continuing across the two HiMacs-covered residential storeys into the ground floor. At this point, a change of material has been introduced. In contrast to the rest, the base is covered with grey sheet metal, with a mesh structure attached. This mesh structure will act as a support for climbing plants, eventually turning the surface into a ‘vertical garden’. ¥ LG Hausys United Kingdom +44 (0)1892 704074 www.himacs.eu

The structural finger joints in these timber products are designed to have at least the nominal strength of the jointed timber and, due to the method of cutting used and the low moisture content of the materials, they are dimensionally accurate, stable and have little propensity for cracking. The company says subject to relevant regulations the timber can be used without preservative treatment. All three products are available in various dimensions and a choice of woods (spruce, fir, pine, larch and Douglas fir) in precisely defined surface qualities. ¥ Überwachungsgemeinschaft KVH e.V. Germany +49 (0)202 769 7273 www.kvh.de

Edition

NEW SOM Structural Engineering

DETAIL engineering 4: SOM Structural Engineering NEW July 2015

∂ engineering

Christian Schittich (Ed.), diverse authors.

144 pages with numerous drawings and photos. Format 23 Ă— 29.7 cm.

ISBN 978-3-95553-223-9 Hardcover: â‚Ź 49.– / ÂŁ 40.– / US$ 69.– + postage/packing + VAT, if applicable ∂ engineering series

How to design supertalls With nearly 80 years of experience in integrating architecture and engineering, Skidmore, Owings & Merrill’s (SOM) work remains groundbreaking, especially when it comes to designing supertalls.

Besides addressing the question of “how high can you goâ€?, as well as the issues of efďŹ ciency and economy, this fourth volume of the DETAIL engineering series presents the theoretical background of SOM’s structural group. On the basis of a variety of projects with their general structural concept or their speciďŹ c details, the book explains the

SCALE + FORM

Ta l bu lding case study

Burj Khalifa

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Norma sed spec ra energy of across-w nd moda force

Wind tunnel test ng Reduction of w nd forces Wind tunnel test resu t model f equency elated to he recur rence interval for wind even s The vertical axis s propo tional to the resonant dynamic forces divided by the square of he w nd veloc ty a Or g nal bu ld ng configu rat on b Configuration after several refinemen s of the architec tural massing 5 9 Burj Khal fa 5 10 Tianjin CTF Financ al Centre Tianjin (CN) anticipated com pletion 2018 5 11 Wind tunnel workshop Tianjin CTF Financ al Centre BMT Wind Tunnel 5 12 Wind tunnel tested schemes Tianjin CTF Financ al Centre

process of ďŹ nding corresponding solutions.

These solutions illustrate the company‘s core values: simplicity, clarity, hierarchy, efďŹ ciency and continuous reseach.

In addition, the projects – from James Turrel Skyspace to Burj Khalifa – are also placed in the context of SOM’s work as a whole using anecdotes from a number of other wellknown SOM projects as John Hancock or Sears Tower. This volume considers how to ďŹ nd new structural solutions, as well as how materials can be used innovatively to create “next generationâ€? buildings.

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wind unnel testing was undertaken during wh ch the struc ural and archi ectural teams refined the tower s shape to ncrease ts perfor mance Wind tunnel testing was performed in Rowan Wi liams Davies and Irwin Inc s (RWDI) boundary layer wind tunnels in Guelph Ontar o The wind tunnel programme included r gid model force ba ance tests full multi degree of freedom aeroelastic model studies measure ments of local sed pressures pedestrian wind environment studies and wind cl matic studies (Fig 5 6) Using the wind tunnel to understand and optim se w nd performance was cruc al to the tower s design Several rounds of force balance tests were undertaken as the tower s geometry evolved and became refined

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After each round of wind tunnel test ng the data were analysed the building was reshaped to m nimise wind ef ects and the bui d ng s harmonics were refined (Fig 5 7) In general the number and spacing of the setbacks changed as did the shape of he wings originally the setbacks were arranged in a sp ralling counter clockwise manner which was reversed during test ng to clockw se Wind direc ional ty was also studied with respect to considering the d rection of the frequent and strongest winds As a result the ower orienta t on was changed so as to better accommodate the most frequent strong w nd directions for Dubai: northwest south and east Through wind tunnel test ng the tower s struc

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Construction process Material technology and cons ruction methods have a signif cant impact upon the des gn of supertall building systems These elements must be incorporated ear y in the design process so as to prov de a system that acili ates eff ciency and constructability The construction sequence for Burj Khal fa has the central core wa ls being cast first in three sections; the wing walls next; then the s abs for the core and wing wall areas; and the wing nose columns and s abs after these Wa ls are formed us ng an automat c se f climbing

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ture was tuned to minimise the effects of the wind This was accomplished by us ng the results of the tests to perform parame r c studies on the effects of vary ng the tower s stif ness and mass distribut on (Fig 5 8) Along with this effort the process described above of estab lishing and refin ng the shap ng of the tower resulted n a substantial reduction in wind forces by confusing the wind and encouraging disorganised vortex shedding over the he ght of the tower These efforts also resulted in reduced w nd forces and motions such that the predicted bui ding motions are within the ISO recommended values w thout the need for auxi iary damping SOM engineers and arch tects often work n partnership together using a wind tunnel to develop the design of a tall bu lding The devel opment of the Tianj n CTF Financ al Centre (Fig 5 10) included intensive experimenta ion in the wind tunnel to test the effects of various building configurations inc uding the shape and porosity of the top the shape of the corners possib e slots or vents and several other geo metric deta ls (Fig 5 11) The wind tunnel testing revealed hat the total w nd overturn ng forces on the tower could be reduced by more than 50 % by adjusting the geometry of he tower The result ing geometry resulted n great material sav ngs and a more strik ng arch tectural form that d rectly expresses wind engineering princ ples (F g 5 12; see s debar Confusing the wind p 55)

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Iconic architecture as a result of structural solutions: From Sears Tower to Burj Khalifa

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formwork system allowing for quick floor cycle t mes with a m nimal amount of crane usage Only the rebar cages needed to be hoisted by cranes Concrete is d stributed to each w ng using concrete booms attached to the formwork system Two of he largest concrete pumps in the wor d are util sed to del ver concrete to he ghts over 600 m in a single stage The core and wing wall areas uti ised an up up con struction process where the walls and wind wall co umn cou d proceed several floors above the slab pours Th s was much faster than the typ ical construction process Utilising concrete construction for Burj Khalifa was a natural cho ce Concrete offers h gher stiffness mass and damping for controlling bui ding motions and accelerations wh ch was crit cal in designing he wor d s tal est bui ding In fact due to the stiffness of the system SOM was able to design the tower to satisfy mot on and acceleration criteria without the use of supp emental damping dev ces Additionally the tower s flat plate floor construction offers increased flexibil ty in shaping the bu lding as well as providing he min mum possible floor th ckness in order to maxim se the ce ling height

New structural solutions: Form-ďŹ nding of tall buildings The process of simplifying: Showing the essence of the structure Tall and economic: Key issues for efďŹ cient design of high-rises

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Construction

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Earthwool for e4 house

Construction show dates

Steel-framed system

Wienerberger’s e4 brick house™ concept, which we reported on last year, has now been turned into a reality at the BRE Innovation Park in Watford, Hertfordshire. Intended to be as adaptable as possible, to work as well through shared ownership as it would as a family home, the concept was developed in conjunction with Arup to address the need for affordable, sustainable housing in the UK, and the name reflects the four principles on which it is based: economy, energy, environment and emotion.

The newly launched UK Construction Week, from 6-11 October, spans five halls of the National Exhibition Centre in Birmingham and includes nine shows specific to the industry. Organised by design and build event company Media 10, it brings together all stakeholders within the built environment across every facet of design, build and product innovation, and upwards of 55,000 visitors are expected to attend.

The Vista development of apartments and family homes in Peterborough’s South Bank area was designed by architects Barnett North LLP as an eco-friendly housing project providing sustainable living, with a range of renewable features available in each zero-carbon home. As the UK’s largest zero-carbon housing development at the time of construction, the building also had to achieve Level 6, the highest level, of the Code for Sustainable Homes.

It utilises a fabric first approach and integral to this has been the use of the manufacturer’s own building products and solutions as well as innovations from other sectors of the industry. Knauf Insulation’s Earthwool insulation was specified for the house, which is designed to meet and exceed the latest energy performance standards and to continue to meet these standards for its 150 years plus life cycle.

The external wall cavity has been insulated to achieve a U-value of 0.18 W/m²K by filling the cavity with 150 mm of DriTherm Cavity Slab 32 Ultimate, which has a thermal conductivity of 0.032 W/mK. The water-resistant, semi-rigid slabs are designed to suit standard vertical wall-tie spacings, whilst the resilient nature of mineral wool allows the slabs to knit together to provide continuous insulation.

The roof is insulated at ceiling level to give a U-value of 0.12 W/m²K. This was achieved by installing 350 mm of Loft Roll 44, with 100 mm installed between the ceiling joists and 250 mm added above. In a range of thicknesses, its combi-cut perforations give the flexibility to be used between 400 or 600 mm ceiling joists. ¥ Knauf Insulation United Kingdom +44 (0)844 800 0135 www.knaufinsulation.co.uk

Whilst providing an opportunity for suppliers and contractors to connect face-to-face, it will also be relevant to professionals working in all aspects of residential and commercial construction planning and design, with a mix of seminars, demonstrations, debates and discussions, as well as more than 1,000 exhibitors offering a range of products, services and systems.

Building on the recognition of Media 10’s Grand Designs Live, the first UK Construction Week also features the newly acquired Timber Expo, the Build Show (incorporating Civils Expo), the Surface & Materials Show, Kitchens & Bathrooms Live, Energy 2015, HVAC 2015, Smart Buildings 2015 and Plant & Machinery Live. The eight professional shows are open exclusively to trade visitors from 6 – 8 October. Grand Designs Live is open to the public from 8-11 October.

Timber Expo, now in its fifth year, is supported by a comprehensive seminar schedule co-ordinated by TRADA, and other event partners include the Structural Timber Association and the British Woodworking Federation. The Surface & Materials Show should be of interest to specifiers and designers looking for cutting-edge solutions within this sector, and showcases the latest flooring trends in a surfaces workshop, a selection of innovative architectural materials with industry experts SCIN Gallery and interiors knowledge from show partners SBID. ¥ www.ukconstructionweek.com

For one of the steel-framed apartment buildings, a thermally efficient cladding system was a priority and so the specification of a premium performance insulation was key.

Celotex PIR insulation was chosen to ensure a thermally-efficient envelope, minimising heat loss whilst offering reduced running costs and lower levels of carbon emissions when utilised behind the terracotta and timber rainscreen cladding.

Some 600 m² of Celotex RS5000 was installed as part of the external wall build-up.

Specified in a thickness of just 100 mm to maximise the habitable space available, the insulation offers a lambda value of 0.021 W/mK and is suitable for use in warm steel frame constructions for ventilated facade applications. It meets the performance criteria in BR 135, and thus is suitable for buildings above 18 m in height – claimed to be a first for PIR insulation.

With low-emissivity, textured aluminium-foil facings, it has low global warming potential and zero ozone depletion potential. Annual energy savings have been calculated at approximately £300 per household, and the homes are said to require 74 % less energy for heating when compared to a typical dwelling built to 2002 regulations. ¥ Celotex Ltd United Kingdom +44 (0)1473 820850 www.celotex.co.uk

∂ 2015 ¥ 5

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Facade panel ranges offer multiple material, finish and size options The Hunter Douglas QuadroClad® facade system, which was developed using aircraft technology, encompasses a flat, durable panel with a coil-coated aluminium skin that can be folded or curved to produce undulating facades. Panels are bespoke made for every project, and offer a wide range of shapes, joint options, materials – aluminium, zinc, copper and stainless steel – and colours. The system uses the same substructure for all panels, giving the freedom to create screens using a combination of two, three or all four finishes.

various widths, from 200 to 600 mm in 50 mm increments and lengths up to 6 m as standard, the plank panel format is available in aluminium, zinc or copper, with flat or variable parabolic surfaces.

The coil-coated metal has a wide range of options, materials and finishes, such as the Luxacote® three-layer system that comprises an anorcoat pre-treatment, a colour coating and a transparent topcoat to im-

Suitable for high-rise or single-storey buildings, sloping facades, external soffits and ceilings, they are claimed to be capable of withstanding wind loads up to 3,000 N/m².

The low-maintenance system features integrated channels to provide ventilation and rain and condensation drainage behind the cladding surface.

The panels are built to be lightweight yet very strong, due to the stable metal honeycomb structure that is fitted between two layers of smooth, coil-coated, adhesivebonded aluminium. The QC-200, with visually closed joints, is available in a maximum panel size of 1,500 ≈ 4,500 mm, whilst the QC-300, with open joints, is available in sizes up to 1,500 ≈ 6,000 mm, so making a facade system suitable for larger surfaces with fewer panels.

Also from Hunter Douglas, the multiple panel facade system (MPF) is said to offer myriad design options for both low- and high-rise buildings. Developed to resist high wind loads, the MPF system seen above, right, incorporates cranked corners that are precisely integrated with the support systems. The joints can also be open or closed, offering another creative option. The panels can be laid horizontally, diagonally or vertically for maximum effect and their concealed fixing allows free thermal movement with an easy-to-install method. Available in

Q Q Q

prove the durability of exterior aluminium building applications. Colours in this system range from subtle shades to bold, colourful and metallic options. There is also the choice of PVF2, which is resistant against weathering and strong solar radiation. ¥ Hunter Douglas United Kingdom +44 (0)1604 766251 www.hunterdouglas.co.uk

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Heating, Ventilating, Air Conditioning and MVHR

A wall to warm to

Special finishes extend the design options

From Juma Exclusive, the designer thermal wall of natural stone is set in a polished stainless steel construction. The electrical heating system concealed behind the Juwall warms the stone, providing an even, gentle heat. An optional built-in band of flame, as seen below, gives a more luxurious feel, and there is also a version with a towel warmer.

The type of stone, width, height and design can all be customised. A design line from Juma, manufacturer and processor of natural stone products from its own quarries, the Exclusive portfolio includes other made-tomeasure luxury items for the bathroom and spa and exclusive wall and floor coverings, all made by craftsmen from the finest natural materials, says the company.

Radiator manufacturer Tubes Radiatori has supplemented its existing range of variants with some special finishes to enhance the design appeal further. The aluminium Soho model, above, benefits from the addition of black, titanium and silver anodised finishes.

It comes in vertical and horizontal, singleand double-column styles, with the doublecolumn version also available as a freestanding unit. A key feature is its water saving, using around 75 % less compared to a traditional tubular radiator with the same thermal output, says the company.

¥ Juma GmbH & Co KG Germany +49 (0)8465 950 0 www.juma-exclusive.com

All the painted products in the collection, in over 100 RAL colours, are additionally available in a wrinkled white and pearlescent black finish, giving a slightly rough surface to lend a natural look to any domestic setting. This includes the Trame low carbon content steel radiator (above, right), whose tubular elements are fashioned to resemble

the warp and weft of woven fabric. Horizontal and vertical models in three tube diameters give a total of 279 size variations.

In addition to 110 shades of varnished steel, the modular Milano, below, left, is offered in a natural finish with a transparent coating for protection, so retaining the look and texture of the steel. The free-standing version emphasises its sculptural nature, but it can be wall-mounted or ceiling-hung with a tie studs kit to position it at the desired height.

Finally, all the chrome-plated models in the collection now come in black nickel and polished tin, including the t.b.t. radiator below, which can also be fitted horizontally or freestanding with chromed feet. ¥ Tubes Radiatori Italy +39 (0)423 7161 www.tubesradiatori.com

Edition NEW Sebastian El khouli Viola John Martin Zeumer

Sustainable Construction Techniques

Sustainable Construction Techniques From structural design to interior fit-out: Assessing and improving the environmental impact of buildings

∂ Green Books

NEW June 2015 Sebastian El khouli, Viola John, Martin Zeumer. 152 pages with numerous drawings and photos.

Format 21 × 29.7 cm.

ISBN 978-3-95553-238-3 Hardcover: € 59.90 / £ 48.– / US$ 84.– + postage/packing + VAT, if applicable ∂ Green Books

Building for the future today What makes building materials sustainable?

How to reduce the amount of embodied energy in building constructions? And how does a Life Cycle Analysis work? These are questions which are becoming increasingly more common in the context of sustainable construction.

The DETAIL Green Book “Sustainable Construction Techniques” offers a thorough guide to ecological building design and sustainable construction methods, which will be par ticularly valuable for architects.

Fa lbeispiele

Sanierung und Erweiterung eines Einfamilienhauses in Hamburg

Neben passiven wurden auch aktive Maß nahmen an der Gebäudehülle umgesetzt Der neu errichtete Anbau fungiert dabei als kleines lokales Kraftwerk zur Versor gung der Bewohner Als sichtbarer Bestandteil der Architektur kamen dach integrierte Solarthermie und Photovo taik module zum Einsatz Die 19,8 m2 große Solarthermieanlage liefert in Kombination m t einer Luft Wasser Wärmepumpe Heiz wärme und Warmwasser Das System verfügt über einen mit 940 l groß dimen sionierten Warmwassertank, der sowohl die Entnahmestellen in Alt und Neubau als auch die Fußbodenheizung speist Den für den Gebäudebetrieb (Hi fsstrom inkl Wärmepumpe sowie Haushaltsstrom inkl Beleuchtung) erforderlichen Strom stellt die 75 m2 große Photovoltaikanlage bereit Die polykristal inen Zellen in der Dachhaut und die transluzenten Glas Glas Module über Terrasse und Carport sind auf jährlich rund 7000 kWh Strom ausgelegt; Überschüsse werden ins örtli che Netz eingespeist [9] Zur Reduktion von Lüftungswärmeverlus ten sowie zur Verbesserung des Innen raumklimas und der Behaglichkeit sind darüber hinaus alle Fenster mit einer um fangreichen Sensorik ausgestattet Diese erfasst die Innenraumtemperatur, die

a

Luftfeuchte sowie die Konzentrationen von CO2 und VOC (flüchtige organische Verbindungen) in der Raumluft Eine auto matische Fenstersteuerung regu iert abhängig von den Messwerten den Min destluftwechsel und das Innenraumklima Im Gegensatz zu einer mechanischen Lüftungsanlage kommt diese Technologie ohne kostenintensiv nachgerüstete Lüf tungsschächte aus Weiterhin steuert das System auch automatisch den Sonnen und Blendschutz Der Sonnenschutz wird dabei nicht nur zur Regulierung der Innen raumtemperatur im Sommerfall eingesetzt in kalten Winternächten sorgt er zusätz lich zur Verbesserung der Dämmwirkung und somit zur Reduktion der Transmis sionswärmeverluste durch die Fenster Durch die Sanierung sank der jährliche Endenergiebedarf des Gebäudes um fast 65 % Der Primärenergiebedarf beträgt nun 47,2 kWh/m2a und unterschre tet damit den Grenzwert der EnEV 2009 um 65,7 % Planungsprozess und erste Betriebserfahrungen

Während der Planungsphase wurde der Umgang mit dem Bestandsgebäude anhand von drei Modernisierungsvarian ten mit unterschiedlichem Budgetrahmen untersucht (Abb 6 26)

b Basismodernisierung

Die »Basismodernisierung« sah ledig lich eine energetische Ertüchtigung der Gebäudehülle vor Die Gebäude struktur blieb ohne große Veränderun gen erhalten Gezielte Durchbrüche machten den Grundriss offener und zeitgemäßer Die Variante »Erweitungsmodernisierung« beschreibt eine Generalsanierung, bei der das Gebäude in seinen Rohzustand zurückversetzt wird Der Altbau sol te ent kernt, die Hülle energetisch saniert wer den Ergänzt wurde das Wohngebäude durch einen kleinen Anbau in Holzrah menkonstruktion Die Variante »Aktivhaus Modernisierung« beschreibt in ihren wesentlichen Grund zügen den Umbau, der letztlich in Ham burg Wi helmsburg realisiert wurde Nach der Fertigste lung und einer Zeit der öffentlichen Ausstellung im Rahmen der IBA startete das Projekt in eine zweijährige Testphase mit einer Probe fam lie Diese wurde im Rahmen eines Mon toringprogramms durch ein inter disziplinäres Forschungsteam aus Architekten, Soziologen, Gebäude und Solartechnikern betreut Sensoren und Zähler erfassten den Energie und Wasserverbrauch der Familie, die Raum temperaturen, den Tageslichtanteil, die

c Erweitungsmodernisierung

6 26

san ert Du chb üche m Grundr ss

entkernt

en kernt

Dach

san ert + Dachfens er

san ert + Dachfenster

neues Sparrendach + Dachfenster

Gebäudetechnik

Öl Brennwertkessel He zkörper Solarthermie + Trinkwasserspeicher

Luft Wasser Wärmepumpe Solar thermie Puf erspe cher Fußboden heizung Tr nkwasserspeicher

Lu t Wasser Wärmepumpe Solar therm e + PV Pufferspeicher Fuß bodenheizung Trinkwasserspeicher

k e ner Holzrahmenbau

großer Holzrahmenbau

Anbau P atzbedarf

Kosten (brutto)

b eibt bestehen + Überf rstverg asung 2 3 Personen 50 % 140 000 €

san ert

Aktivhaus Modernisierung

Gebäudehü le Gebäudestruktur

Energiebedarf + CO2 Em ss onen (zum unsan erten Bestand)

saniert

3 4 Personen

4 Personen

Energ e 60 % CO2 70 %

Energie 65 %

274 000 €

460 000 € 6 27

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The authors provide an overview of the most relevant databases and certification standards for building products and illustrate how a Life Cycle Analysis is conducted.

They also identify key ways of optimising the planning process in line with ecological criteria, while offering advice for the selection of building materials and elements.

Detailed documentation from five buildings constructed in Europe and North America serve to illustrate the associated assessment processes in this book.

6 26 Entwurfsvarianten (Grundrisse Maßstab 1 500) a Basismodernisierung b Erwe terungsmodernisierung c Aktivhaus Modern s erung (realisierte Var ante) 6 27 Vergleich der En wurfsva ianten 6 28 Dachgaler e m sanierten Bestandsgebäude 6 29 Schn tt Fassade/Dach Bestandsgebäude Maßstab 1 50 1 Dach Doppeldeckung Faserzement ichtgrau Lattung 40/60 mm Konter attung 30/50 mm Unterspannbahn (sd = ca 0 15 m) Wärmedämmung Holzfaserplat e 35 mm Sparren 100/220 mm dazwischen Wärme dämmung M neralwolle (WLG 035) OSB P atte 15 mm als Dampfsperre Fugen luftd cht verk ebt Gipskarton 12 5 mm 2 Fenster Dre fachverglasung in Holz Aluminium Rahmen 3 Außenwand Außenputz minera isch 10 mm Wärmedämmung M neralwo le 200 mm Mauerwerk Bestand 240 mm Innenputz 10 mm 6 28

Innenraumluftqua ität, das Verhalten der Gebäudesteuerung sowie manuelle Ein griffe Neben quantifizierbaren Messgrößen wur den auch A ltagserfahrungen der Bewoh ner mit dem Gebäude über Interviews, Fragebögen und ein Onlinetagebuch auf gezeichnet Auf diese Weise hoffen die Soziologen, Faktoren identifizieren zu können, mit denen sich das Wohlbefinden in Gebäuden über den heutigen Wissen stand hinaus wissenschaftlich quantifizie ren ässt Erfahrungen aus dem ersten Jahr zeigen, dass die Maxime der Ressourcenscho nung mit jener der Wohnqual tät gut in Einklang gebracht werden konnten Die Erträge der Photovoltaikanlage übertreffen die Kalkulation um etwa 10 %, Heizwärme und Warmwasserbedarf fallen (mit zusammen 58 kWh/m2a statt der voraus berechneten 84 kWh/m2a) rund 30 % geringer aus als erwartet Im Sommer übersteigt der Wärmegewinn aus der solarthermischen Anlage den Bedarf der vierköpfigen Familie deutlich Ledig ich der Stromverbrauch der Anlagentechn k liegt über den theoretischen Berechnun gen Insgesamt beträgt die gemessene Abweichung etwa 55 % oder absolut rund 2500 kWh , sodass das Ziel des Nettonullenergiebedarfs im ersten Betriebsjahr um ca 2300 kWh verfehlt wurde Dies ist unter anderem auf die zu groß dimensionierte Solarthermieanlage und die daraus resultierende Notwendig keit zurückzuführen, überschüssige Erträge durch die Wärmepumpe an die Außenluft abzugeben Um die sommer lichen Überschüsse künftig nutzbar zu

machen, wurde die Gebäudetechn k für das zweite Testjahr um eine Geothermie anlage zur saisonalen thermischen Zwi schenspeicherung ergänzt Damit soll die im Sommer in den Erdboden einge speiste Wärme künftig im Winter zu Heiz zwecken zur Verfügung stehen Sowohl im Alt als auch im Neubau stel len sich bezogen auf Normen des Kom fortmonitorings [10] ganzjährig eine hohe thermische Behaglichkeit sowie Qualität der Raumluft ein Nur se ten kommt es zu Überhitzungen [11] Die Jahresverteilung der Temperaturen (Abb 6 30, S 114) an unterschiedlichen Messpunkten im Gebäude zeigt, dass vor allem die Räume im Erdgeschoss des Altbaus durch die vorhandene Speichermasse weniger stark auskühlten und überhitzten Das massive Mauer werk sowie die Durchlüftung im Treppen raum sorgen für den intendierten Kamin effekt Der leichte Anbau in Holzständer bauweise verhä t sich thermisch ähnlich wie die Räume im Obergeschoss des Altbaus, bei denen die (leichte) Dach konstruktion den größten Teil der Hüll fläche bildet Die Nutzer selbst berichten, dass sie den Neubau im Sommer trotz der Verschattungsmöglichkeiten zeit weise als zu warm wahrnehmen An kalten Wintertagen wird von unangeneh mem Luftzug berichtet Die automatische Öffnung der Fenster über Sensoren ist zudem nicht geräuschlos und wird ins besondere im Altbau (in den privaten Räumen) zeitweise als störend beschrie ben In der Nacht scha ten sie die Gebäu desteuerung daher manchmal komplett aus [12]

Life Cycle Analysis for buildings Embodied energy and recycling-friendly construction Key certification standards and databases Design optimisation during the planning process

1

Comprehensive documentation of building projects 2

3

6 29

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www.detail.de/sustainable-construction

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Heating, Ventilating, Air Conditioning and MVHR

2015 ¥ 5 ∂

Statement pieces

Biomass chosen to cut fuel costs and carbon emissions

The 2015 collection of Scandinavian-inspired pellet stoves by MCZ comprises four new models, a new finish and a fireplace, all available this autumn. The company says the essential characteristics are materials of the highest quality and impact (glass, stone, thickness of the metal) and the fact they have no front ventilation grilles. A previous iF Design Awards winner, Toba (above) is relaunched with a leather-effect ceramic finish, described as highly tactile and very original. It comes in air-operated, ducted and hydro versions in Burgundy, Sandstone, Soapstone, Skin and white or black.

Lancashire Care NHS Foundation Trust has chosen biomass technology to heat The Harbour, its new £40 million mental health facility (top) in Blackpool, Lancashire. The Herz BioFire 600 kW boiler, supplied by sole mainland UK distributor Rural Energy, will greatly reduce fuel bills whilst providing a significant income from the government’s Renewable Heat Incentive (RHI) scheme.

The 12.1 kW Stream, with a geometric style front and no visible vents, is available in serpentine stone or as a painted steel finish.

Room space is maximised due to its 39 cm depth and to the upper smoke outlet, meaning it can be used with the existing flue. As standard, the patented Comfort Air® system enables hot air ducting in several rooms, whilst the No-Air function allows for quieter operation by means of natural convection when desired. ¥ MCZ Group SpA Italy +39 (0)434 599 599 www.mcz.it

The company worked closely with M&E contractor NG Bailey, providing expert advice and guidance towards a bespoke biomass solution that also included a giant underground fuel store. The 157 m3 store will reduce the number of deliveries and the potential disruption to Harbour residents. Filtration specialist Glosfume provided a ceramic filtration system to remove the particulates from the boiler emissions down to a level comparable with a gas boiler and improve the air quality of the surrounding area.

Lancashire Care project director Alistair Rose said finding the right renewable energy solution was key. “The highly cost-effective heating solution and the requirement to reduce fuel delivery frequencies and costs by using the largest vehicles possible influenced the layout of the whole site and the location of the energy centre relative to

the site circulation road. As a result, the details and benefits of the heating solution had to be understood at a very early design stage for the whole project to support and influence the project architects.”

An 800 kW Herz BioFire boiler installed in John Cleveland College in Leicestershire (below) is expected to save up to £45,000 a year in fuel and maintenance costs, compared to the £200,000 bill for the previous oil-fuelled boilers, and carbon emissions should reduce by around 250 tonnes a year.

Rural Energy was responsible for the project from initial system design to installation and commissioning. A fuel hopper is located outside the plant room with an auger to transport the fuel into the boiler.

Financed through a community-funded cooperative investment, the first of its kind in the education sector, this installation is also eligible for income from the RHI scheme which, combined with energy cost savings, will be used to establish a fund for initiatives at the college and in the community. ¥ Rural Energy United Kingdom +44 (0)203 167 0979 www.ruralenergy.co.uk

∂ 2015 ¥ 5

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High-performance ductwork systems

A warm glow

Kingspan Therma Duct insulation was used in the construction of the Silverstone University Technical College (UTC), helping it to achieve a BREEAM rating of ‘Very Good’.

Based at the Northampton circuit it is one of the government’s flagship UTCs, created through a partnership between Silverstone Circuits, Tresham College and the University of Northampton. Students aged 14 to 19 will have the opportunity to study a technically orientated curriculum in high-performance engineering or events management.

The Windhager FireWIN Klassik biomass boiler has a compact design in a range of colours and replicates a wood-burning fire with a visible flame concealed behind a double-glazed window. In outputs of 3.8 to 12 kW, the wood pellet boiler boasts an economical fuel consumption as it modulates the output of heating required and has a low energy consumption of up to 50 W, as well as benefiting from the government’s domestic RHI payments. This boiler range can be manually or automatically fed and an automatic ash compaction feature requires it to be emptied as little as two or three times a year, making it a suitable choice for the smaller property.

Around 700 m² of insulation was installed on the roof for both the rectangular and round ducting. It offers high-performance thermal insulation for these and flat oval ductwork and associated HVAC equipment for installation outdoors, and can achieve a thermal conductivity as low as 0.022 W/mK with a BRE Green Guide rating of A+. Thicknesses are 20, 25, 30, 40 and 50 mm, and it is suitable for both new-build and refurbishment projects in a range of sectors.

A 53-unit development in Highgate, London became on completion the UK’s largest residential scheme designed to meet the Passivhaus Standard. Developed for Camden Council by Willmott Dixon and designed by Rick Mathers Architects, the Chester Bal-

more development, below, is part of Camden’s Community Investment Programme (CIP) for homes, schools and community facilities. Over 1,200 m² of the Kingspan KoolDuct system was specified as part of the design to keep energy consumption to a minimum, enabling occupants to reduce costs without compromising on their comfort. The system comprises premium performance KoolDuct panels, fabrication methods, coupling systems and a complete line of accessories to produce pre-insulated rectangular HVAC ductwork, for optimum airflow through the MVHR system.

The air-leakage rate can be reduced to a fraction of that typical of sheet metal ductwork, states the company, so enabling significant electricity consumption savings to be made. This is because of reduced heating and cooling loads as well as less energy required to run the fan. Additionally, as the system is pre-insulated, the space required to install the ductwork was reduced, allowing a clean, minimalist aesthetic to be maintained throughout the properties. ¥ Kingspan Insulation United Kingdom +44 (0)1544 387384 www.kingspaninsulation.co.uk

The company has recently launched the myComfort remote heating control mobile app for its biomass range of boilers, for control of individual heating systems from any recognised smartphone or tablet. The app can be retrofitted to Windhager boilers that are installed with MES plus controls and with current software, and requires a fixed LAN cable to the householder’s router. ¥ Windhager UK United Kingdom +44 (0)1225 892211 www.windhager.co.uk

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Lifts, Escalators and Parking Systems

Technical upgrades and design enhancements across product ranges Schindler UK has launched a series of innovations designed to significantly improve the energy efficiency and sustainability of its escalators and moving walkways. The latest technical advances include more efficient drive systems, intelligent power management, low-power components and the use of more sustainable and recyclable materials.

These features combine to significantly reduce power consumption for lower running costs and to minimise impact on the environment by cutting carbon emissions.

The escalators and moving walkways now benefit from optimised motors and advanced gearing technology claimed to be 11 % more energy efficient than the market standard. Ecoline intelligent power management options optimise efficiency without compromising passenger flows. Features include: stop-and-go and slow-speed operation; eco power option, where an escalator

stops after an adjustable time running at slow speed, for applications with intermittent flows including periods with low or no passengers; and motor power that automatically adjusts according to passenger load, for continuous and heavy traffic. LED lighting is now available for escalator balustrades, skirts, combs, steps and truss lighting.

There are two comprehensive escalator ranges. The 9300 can be adapted to suit a range of building types from shopping centres and cinemas to museums and retail stores. The 9700 is engineered for larger public spaces and high-traffic applications such as airports and railway and tube stations. The 9500 horizontal moving walkway boasts 35 system-relevant mechanical and electrical safety features.

Schindler’s 3300 lift range has also benefited from a series of new design options,

enhancements and energy efficiency improvements. For commercial and residential applications, the range is designed to offer the features of a bespoke lift system with the cost efficiency of a standardised product.

To help reduce a building’s carbon footprint, the lift will now achieve an A-rated classification for energy efficiency in line with the VD14707-1 standard. This is a lightweight system, which utilises clean drive technology to reduce energy consumption by up to 30 %, and its sustainable design means it is almost 100 % recyclable. LED lighting is standard across the range.

The design options have been increased to include: three additional car options – 800 kg for up to 10 people, 900 kg for up to 12 people and 1,000 kg for up to 13 people; variable car sizes as standard – the car width and depth can be increased in 10 mm increments and there are now more car height options to suit specific project requirements and to maximise space efficiency; and a three-car group arrangement has been added to the range. The entrance widths available have been increased to 1,100 mm on selected car sizes, whilst a set of four centre- or side-opening doors has been added to the standard range.

A wider range of styles and finishes means there is now a choice of more than 40 colourways for walls and floors, and there are three decor lines – the colourful and bright Santa Cruz, the Piccadilly for more sophisticated applications, and the durable but contemporary Esplanade, which uses different types of stainless steel for a robust finish. Car and landing doors can be supplied in fire-rated glass, and stainless-steel car operating panels and hall call furniture and indicators are standard. ¥ Schindler UK United Kingdom +44 (0)1932 758100 www.schindler.com

∂ 2015 ¥ 5

Lifts, Escalators and Parking Systems

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Faster, higher, smoother claim for elevators installed in new US trade centre ThyssenKrupp has installed what are said to be the fastest elevators in North and South America at One World Trade Center in New York. Five of the elevators are able to travel at nearly 23 mph and reach almost to the top in 60 seconds. These high-speed elevators are equipped with several special features including aerodynamic aluminium shrouds to deflect air and maintain speed, similar to a spoiler on a car. The guide system is designed to minimise vibration for a smoother ride, whilst sound-suppressing materials throughout elevator cabs and doors limit noise. In total, the company has designed and installed 71 elevators and

12 escalators throughout the building. The elevator system provides energy conservation in the form of regenerative drives that recapture elevator energy and return it to the building’s electrical system. LED lights in cab ceilings will save more than 78,000 kWh annually versus halogen bulbs.

Destination Dispatch™ is an advanced dispatching system that directs passengers to the elevator that will get them to their destination in the shortest travel time, grouping people together based on the floor they are travelling to, so the number of stops is reduced. The One World Trade Center build-

ing measures 1,776 ft to the top of the spire, a number which has historical significance in the United States, representing the year of the Declaration of Independence. The materials for the spire were supplied by Ken-Mac Metals, a US-based affiliate of ThyssenKrupp, and the top weighs about 6.3 tonnes. The building is said to be currently the highest in the US and the fourth highest in the world. ¥ ThyssenKrupp AG Germany +49 (0)201 844 0 www.thyssenkrupp.com

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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

529

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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From old to new – recognising and maintaining value For architects, the amount of work to be done on existing buildings is steadily increasing. This is partially a reflection of the advancing age of buildings, but it is also due to constant changes in building and social requirements. The desired or necessary measures, however, are always personalised and vary considerably.

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1 Dachaufbau Wohnhaus K es gewaschen 50 mm Körnung Ø 20 40 mm Dachdichtung B tumenbahn zwei ag g Dämmplatte PU Alum n um kaschiert 120 mm Damp sperre Sperrholzp atte Birke gesch iffen 2≈ 18 mm Holzba ken BSH 75/220 mm 2 Dachaufbau Innenhof K es gewaschen 50 mm Körnung Ø 20 40 mm Dachdichtung B tumenbahn zwei ag g Sperrholzp atte 18 mm Vol ho zbalken Sperrholzp atte Birke gesch iffen 18 mm 3 Absturzsicherung auf Rahmen aus Stahlrohr | 60/60 mm geschwe ßt 4 Abdeckb ech B ei 5 Randbalken BSH 240/450 mm 6 K inker 228/108/40 mm Luftschicht 650 mm Wärmedämmung 108 mm Dampfsperre K inker 228/108/40 mm 7 Sturz Be on ert gte l mit Or beton ausgegossen 8 solierglas Weißg as in Rahmen E che 9 Eichendie en ge augt 18 mm Reflek orp atte für Fußbodenhe zung Wärmedämmung EPS 2≈ 90 mm Sperrholzp atte Birke gesch iffen 18 mm Holzba kendecke BSH 75/220 mm 10 Terrakotta liese 25 mm Mörtelbett Heizstr ch 80 mm Trennlage Wärmedämmung 100 mm Trennlage Bodenplatte Stahlbeton 250 mm 11 Ziegel (der Ruine entnommen) 62/215 mm m Sandbe t

Design aids and sources of inspiration Specialised articles and examples of projects

1 roof construction of res dence 50 mm washed g avel f ll (graded 20 40 mm) bitum nous seal two layers 120 mm aluminium insula ing board coa ed vapour barrier 2≈ 18 mm b rch plywood sanded 75/220 mm g ue aminated imber beam cei ing 2 roof construction of nterior courtyard 50 mm washed g avel f ll (graded 20 40 mm) bitum nous seal two layers 18 mm plywood squared t mber 18 mm b rch p ywood sanded 3 sa ety rai ing wi h f ame of 60/60 mm steel SHS welded 4 ead coping 5 240/450 mm g ue lam nated edge beam 6 wall construction 228/108/40 mm c inker br ck 650 mm vo d 108 mm thermal insulation vapour barr er 228/108/40 mm c inker br ck 7 precast concrete intel poured out w th conc ete 8 ow i on double glaz ng in oak frame 9 18 mm oak planks w th lye inish ref ector plate 2≈ 90 mm EPS 18 mm bi ch plywood sanded 75/220 mm g ue aminated imber beam cei ing 10 25 mm terracotta ti e floor ng mortar 80 mm heat ng screed sepa at ng layer 100 mm thermal insulation sepa at ng layer 250 mm reinforced concrete slab 11 62/215 mm br cks of ruin in sand bed

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Persons and organizations involved in the planning ° Contractors and suppliers

page 452 Residence in Vrhovlje

page 457 Residence near Pachacámac

page 466 “Kinderhaus” in Tettnang

mœ÷ĩƍČĈÐ ĥ À 6221 Dutovlje

Lomas de Jatosisa, Pachacámac

nýČ÷ÐČĘśŨœyîÐ ţÀ ØØƚţĥ ]ÐŨŨğyğé

° ČýÐğŨ¿

ĩœŵŨ RÐœŨĩŨ Showroom Pertot s.r.l. ° Ƣœ±÷ýŨбŨś¿ dekleva gregorič architects, Ljubljana www.dekleva-gregoric.com ° ]ÐyĘ¿ ƢČĈĩŝy ÐĊČÐƍyÀ ]ýğy %œÐéĩœý¶ ;Ðy 9ĩƍý¶À mýÄ uy¦ÐČ ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ Luka Pavlovčič, Ljubljana www.konzola.eu

° ČýÐğŨ¿ Private ° Ƣœ±÷ýŨбŨś¿ ;ĩğé÷ý Ƣœ±÷ýŨбŨśÀ ;ýĘy ;ŵýś ;ĩğé÷ý ]œyƍÐœśĩ www.longhiarchitect.com ° RœĩĈбŨ yœ±÷ýŨбŨ ŤXŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ *бŨĩœ Xŵyśğy¦yœ BĩÄy ° ]ÐyĘ¿ mÐœĩğý±y X±÷œÐý¦ÐýśÀ ÷œýśŨýyğ ĩŨŨÐéÐœÀ yœČy ]yĘyœýƖÀ -śy¦ÐČ ;ĩœÐÄĩ

° ČýÐğŨ¿ XŨyÄŨ ]ÐŨŨğyğé ° Ƣœ±÷ýŨбŨś¿ bächlemeid architekten stadtplaner bda AyœŨýğ ±÷ČÐÀ 9yœýğ AÐýÄü ±÷ČÐ ĩğśŨyğ±Ð www.baechlemeid.de ° ]ÐyĘ¿ ƢČÐƐyğÄÐœ *Ðœ¦ÐğÐœ ° RœĩĈбŨ yœ±÷ýŨбŨ¿ ;ýśy 9ýĘČýğé ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœýğé yğÄ âýœÐ ĻœĩŨбŨýĩğ¿ ĘÐœƖ ĊČÐƑ ĻyœŨğÐœ u] %ʦ*À ĩœğ¦ýœğ www.mkp-ing.com ° ČбŨœý±yČ ĻČyğğýğé¿ AýČČÐœ ŵğÄ XŨŵ±ĊÐ %ʦ* ĩŁ9% ]ÐŨŨğyğé www.pb-miller-stucke.de ° *mR¿ TÐğŨś±÷ČÐœ TýÐÄÐśśÐœ -ğéÐğýÐŵœéÐśÐČČś±÷yâŨ ʦ*À XŨŵŨŨéyœŨ www.ren-rie.de ° ŵýČÄýğé Ļ÷Ƒśý±ś¿ %B yŵĻ÷ƑśýĊ #ýğĊÐğ¦ÐœéÐœ Ņ 9ĩČČÐéÐğ Stuttgart www.gn-bauphysik.de ° ƢœŨ ƎĩœĊ¿ *yœyČÄ #Ł AŹČČÐœÀ L÷ğýğéÐğ www.haraldfmueller.de ° ;yğÄś±yĻÐ yœ±÷ýŨбŨŵœÐ¿ lohrer.hochrein landschaftsarchitekten und stadtplaner bdla, Munich www.lohrer-hochrein.de ° ;ýé÷Ũýğé ÄÐśýéğ¿ XŨœĩĘČýğýÐ ;ý±÷ŨÄÐśýéğÀ ĩğśŨyğ±Ð www.stromlinie-lichtdesign.com

° #y±yÄÐ yğÄ œĩĩâ¿ Stavbarstvo Žerjal, Marko Žerjal www.stavbarstvo.com ° #ýŨŨýğéüĩŵŨ ĻČƑƎĩĩÄ yğÄ âŵœğýŨŵœÐ¿ ]ýĘĩ Rĩ÷ýŝŨƍĩÀ %œĩśŵĻČĈÐ www.timo-pohistvo.com ° ;yĘýğyŨÐÄ ƎĩĩÄ ƎĩœĊś¿ 9;* %ʦ*À nŹœƖ¦ŵœé www.klh-gmbh.de ° nĩĩÄ ƎýğÄĩƎś¿ VELUX Slovenija d.o.o., Ljubljana www.velux.si ° ƢČŵĘýğýŵĘ ƎýğÄĩƎś¿ ƢČŵĊĭğýéśŨy÷Č ÄŁĩŁĩŁÀ Ljubljana www.alukoenigstahl.si ° X±œÐÐÄ yğÄ ŨýČÐś¿ Showroom Pertot s.r.l., Muggia www.pertot.com ° ;ýé÷Ũś¿ Lumina Italia s.r.l., ƢœČŵğĩ www.lumina.it #ČĩśÀ ĩƍÐƖƖĩ www.flos.com

Contractors and suppliers Details of contractors and suppliers are based on information provided by the respective architects.

page 462 Residence in Neusäß ° ČýÐğŨ¿ Private ° Ƣœ±÷ýŨбŨś¿ Manfred Lux, Neusäß www.lux-architect.com ° ]ÐyĘ¿ Saskia Ilg, Nico Legarda ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ ƢČÐƐyğÄÐœ #ŵœ±÷ÐÀ *yğğĩƍÐœ ° X÷ÐČČ ±ĩğśŨœŵ±Ũýĩğ¿ Ƣ X 9ŵéÐČĘyğğÀ BÐŵś î www.kugelmann-bau.de ° #y±yÄÐ yğÄ ƎĩĩÄ ±ĩğśŨœŵ±Ũýĩğ¿ %ŵĘĻĻ AyýÐœ %ʦ*À ýğśƎyğéÐğ www.gumpp-maier.de ° nýğÄĩƎś¿ nýĻâČÐœ #ÐğśŨÐœ Ņ #yśśyÄÐğ %ʦ* Zusmarshausen www.wipfler-fenster.de ° ŵś÷ü÷yĘĘÐœÐÄ ±ĩğ±œÐŨÐÀ ŨýČýğé yğÄ ýğğÐœ âýƐŨŵœÐś¿ Lux Putz Stuck, Schlipsheim www.lux-putz-stuck.de

° nyŨÐœüśŨœŵ±Ċ ¦œý±Ċś ây±yÄÐ Ť ;ĩééýyś¿ nýÐğÐœ¦ÐœéÐœ %ʦ*À *yğğĩƍÐœ www.wienerberger.de ° Tĩĩâ yğÄ ây±yÄп *ĩČČ #Čy±÷Äy±÷¦yŵ %ʦ* ĩŁ9% Überlingen www.hollflachdachbau.de ° nýğÄĩƎś¿ Tý±÷yœÄ XŨĩ±ĊÐœ #ÐğśŨÐœ¦yŵ %ʦ* Uttenweiler www.fensterbau-stocker.de ° X÷ÐČČ ƎĩœĊ yğÄ ýğśŵČyŨýĩğ¿ #Ł 9ýœ±÷÷ĩââ XƑśŨÐʦyŵ %ʦ* ĩŁ 9% AŹğśýğéÐğ www.kirchhoff-strassenbau.de

° #Čĩĩœś¿ nýČĘś XĻĩœŨ¦ĩÄÐğśƑśŨÐĘ %ʦ* nýÐśÐğŨ÷ÐýÄ www.wilms-wiesentheid.de uýéyğĊÐ #ČýÐśÐğÀ *ýČƖýğéÐğ www.a-ziganke-fliesen.de TŁBŁ śŨœý±÷ XÐœƍý±ÐÀ ;ý±÷ŨÐğśŨÐýğ www.rnestrichservice.de ° ;ýé÷Ũýğé¿ ;]X Ü ;ý±÷Ũ ;Ðŵ±÷ŨÐğ %ʦ*À ]ÐŨŨğyğé www.lts-licht.de 9ĩœĩğy ;Ðŵ±÷ŨÐğ %ʦ*À Ƣŵ霦ŵœé www.korona-licht.de ° XĩČyœ ś÷yÄýğé¿ XŨyý¦À #ÐČȦy±÷ www.staib-sonnenschutz.de ° #ýœÐ ±ŵœŨyýğ¿ Čyŵśś AyœĊýśÐğ RœĩĈÐĊŨ %ʦ* Leinfelden-Echterdingen www.clauss-markisen.de

page 471 Residence in Sweden ° ČýÐğŨ¿ Private ° Ƣœ±÷ýŨбŨś¿ ]÷yĘ mýÄÐé œÄ ƢœĊýŨÐĊŨÐœÀ XŨĩ±Ċ÷ĩČĘ

ĩČČÐ ]÷yĘÀ AyœŨýğ mýÄÐé œÄ www.tvark.se ° ]ÐyĘ¿ 9ĩğœyÄ 9œŵĻýğśĊýÀ œý± ğéśŨœĭĘÀ yœĘÐğ -ƖňŵýÐœÄĩÀ ;ŵĊyś ]÷ýÐČÀ A œŨÐğ BÐŨŨÐȦČyÄŨ ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ 9 %œŵĻĻÐğÀ GČČÐ ČyÐśśĩğ Stockholm www.kegruppen.se ° œý±Ċś¿ 9ČýğĊÐœƎÐœĊ Tŵś±÷ %ʦ* ĩŁ 9% Drochtersen www.rusch-klinker.de ° nýğÄĩƎś¿ Preconal, Stockholm www.preconal.se ° ]ýČÐś¿

ýśyƖƖy XŁĻŁƢŁÀ ƢČŨÐ www.bisazza.com Marazzi Group S.r.l., Modena www.marazzi.it ° ;ýé÷Ũýğé¿ -âĭ ČбŨœý± Ƣ À œĩĘĭČČy www.ifoelectric.com X-A X XŁĻŁƢŁÀ ĩœŨÐ #œyğ±y www.simes.com

ÐéyÀ AÐğÄÐğ www.bega.de

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° RœĩĈбŨ yœ±÷ýŨбŨ¿ Aý±÷yÐČ *ĩČƖ ĻâÐČ ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ Sailer Stepan und Partner, Munich www.ssp-muc.com ° ;ýé÷Ũýğé ÄÐśýéğ¿ Lumen3, Munich www.lumen3.de

page 477 Holiday Chalet in Maria Alm ° ČýÐğŨ¿ Private ° Ƣœ±÷ýŨбŨś¿ meck architekten gmbh, Munich ƢğÄœÐyś AбĊÀ ƢƐÐČ #œŹ÷yŵâ www.meck-architekten.de ° ]ÐyĘ¿ Sandro Lenherr, 9yŨ÷yœýğy TŵĘś±÷ĭŨŨÐČ ° RœĩĈбŨ yœ±÷ýŨбŨ¿ nĩČâéyğé ƢĘyğğ ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ haushofer ingenieure, Markt Schwaben www.haushofer.com ° XŵĻÐœƍýśýĩğ¿ ƢğÄœÐyś mĩČĊÐœÀ uÐČČ yĘ XÐÐ www.architekt-volker.at ° ]ýĘ¦Ðœ ±ĩğśŨœŵ±Ũýĩğ¿ *ĩČƖ¦yŵ AÐý¦ÐœéÐœ %ʦ* ĩŁ 9% Lofer www.holzbau-meiberger.at yğÄ¿ X±÷œÐýğÐœÐý RÐŨŨĘÐśśÐœ %ʦ* ĩŁ 9% G¦Ðœ÷yŵśÐğ www.schreinerei-pettmesser.de

page 482 Apartment Building in Munich

ÐČéœyÄśŨœyîÐ ØŢŤØĥ 80804 Munich ° ČýÐğŨ¿ A%X AŹğ±÷ğÐœ %ÐśÐČČś±÷yâŨ âŹœ XŨyÄŨÐœğÐŵÐœŵğé ʦ* ° Ƣœ±÷ýŨбŨś¿ bogevischs buero, Munich www.bogevisch.de ° ]ÐyĘ¿ *ÐğœƑ TýśŨÀ œý±÷ G¦ÐœĘÐýÐœ

° Tĩĩâ¿ 7BX y±÷Ũб÷ğýĊ %ʦ*À #ÐČÄĊýœ±÷Ðğ www.jns-dachtechnik.de ° ČÐƍyŨĩœ¿ 9ĩğÐ %ʦ*À %ÐœĘÐœýğé www.kone.com ° ČбŨœý±ýŨƑ¿ AŹČČÐœ ČÐĊŨœĩŨб÷ğýĊ %ʦ*À Ƣŵœy±÷ www.mueller-elektro-aurach.de ° œƑ ±ĩğśŨœŵ±Ũýĩğ¿

yýÐœČ ÐĘĘÐČ÷ŵ¦Ðœ %ʦ* ]ĭéýğé yĘ -ğğ www.demmelhuber.de ° nĩĩÄÀ ƎýğÄĩƎś yğÄ Äĩĩœś¿

ýÐŨś±÷ *ĩČƖƍÐœyœ¦ÐýŨŵğéÀ GâŨÐœś±÷Ǝyğé www.bietsch.de ° AÐŨyČ ây±yÄп *y±ĊÐğ¦ŵ±÷ğÐœ %ʦ* ĩŁ 9% Dietersburg www.hackenbuchner.de ° *ÐyŨýğé¿ %Ð÷œýğéÐœ Ņ nÐýśyğé %ʦ* #y÷œÐğƖ÷yŵśÐğ www.gw-doerfler.de ° mÐğŨýČyŨýĩğ¿ #ÐýśŨČ ;ŹâŨŵğéśü ŵğÄ 9 ČŨÐŨб÷ğýĊ %ʦ* ĩŁ 9%À Essenbach www.feistl-klima.de ° AÐŨyČƎĩœĊ¿ AÐŨyČȦyŵ ]ýÐĻğÐœ %ʦ* *ÐýğśÄĩœâÐœéœŵğÄ ]ĩœ¦yŵ 9œ ĘÐœÀ

yÄ ČyğĊÐğ¦ŵœé www.torbau-kraemer.de ° -ğŨÐœýĩœ Äĩĩœś¿ RČyğĩŨбÀ ]ŹîČýğé www.planotec.de ° Interior plastering and ýğŨÐœğyČ ýğśŵČyŨýĩğ¿ Tĩśśyœĩ %ýĻś¦yŵ %ʦ* ĩŁ 9% ƢyČČÐğ www.rossaro.de ° ]- X¿

ÐœéĘyğğ yŵÀ ÷ÐĊýœ±÷Ðğ ° ]ýČýğé¿ *ÐÄƎýé #ČýÐśÐğÀ 9yŵČśÄĩœâ www.hedwig-fliesen.de ° RyýğŨ ƎĩœĊ¿ XŨÐâyğ *ÐœÄÐœÀ ±÷ýğé www.herder-maler.de ° #Čĩĩœýğé¿ AyƐ *ĩâĘyğğÀ BÐŵŨœyŵ¦Čýğé www.fussboden-hofmann.de ° 7ĩýğÐœƑ¿ X±÷œÐýğÐœÐý X±÷œĭéÐœ 7Ł ƢŁ %ĦT Salzweg www.schreinerei-schroeger.de

page 487 University of Applied Sciences in Mittweida

y÷ğ÷ĩâśŨœyîÐ ijäÀ 09648 Mittweida ° ČýÐğŨ¿ Sächsisches Immobilien- und

yŵĘyğyéÐĘÐğŨÀ ÷ÐĘğýŨƖ ° Ƣœ±÷ýŨбŨś¿ %Ðĩœé ŵĘýČČÐœ Ƣœ±÷ýŨÐĊŨÐğÀ ÐœČýğ www.bumillerarchitekten.de ° ]ÐyĘ¿ 7Ðğś ŵśśÐƎýŨƖÀ ]÷ĩĘyś Ƒś÷ĩČÄŨÀ ;ÐğğyœŨ * éÐœÀ yƍýÄ AÐƑÐœÀ *ÐýĊĩ GŨŨýğéÐœÀ #ÐČýƐ XĩĘĘÐœČyÄÀ #œyğĊ Stoffers, Jens Zimmermann ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ œâŵœŨ÷ Ņ AyŨ÷Ðś ÐœyŨÐğÄÐ -ğéÐğýÐŵœÐ Leipzig ° XŵĻÐœƍýśýĩğ¿

ÐŵśŨÐœýÐğ Ņ ś±÷ƎÐÀ ÐœČýğ ° *mR¿ -9; -ğéÐğýÐŵœśéÐśČČś±÷yâŨ ʦ*À ;ÐýĻƖýé ° ČбŨœý±yČ ĻČyğğýğé¿ ČÐĊŨœĩ -ğéüRČyğ %ʦ*À œÐśÄÐğ www.elektroplanung-dresden.de ° ŵýČÄýğé Ļ÷Ƒśý±ś¿

yŵĻ÷ƑśýĊ ¤ ýğŨÐéœýÐœŨÐ RČyğŵğé 9yý TÐğŨœĩĻ nĩČâéyğé XĩœéÐ %¦T

ÐœyŨÐğÄÐ -ğéÐğýÐŵœÐ m -À ÐœČýğ

page 493 St. Trinitatis, Catholic Priory Church in Leipzig BĩğğÐğĘŹ÷ČéyśśÐ ųÀ ƚçijƚŢ ;ÐýĻƖýé ° ČýÐğŨ¿ 9yŨ÷ŁRœĩĻśŨÐýĻâyœœÐý XŨŁ ]œýğýŨyŨýśÀ ;ÐýĻƖýé ° Ƣœ±÷ýŨбŨś¿ Schulz und Schulz, Leipzig Ƣğśéyœ X±÷ŵČƖÀ ÐğÐÄýĊŨ X±÷ŵČƖ www.schulz-und-schulz.com

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° ]ÐyĘ¿ ÷Ł nýś±÷yČČyÀ Ł Tĩî¦ÐœéÀ ;Ł nĩČŨÐœÀ AŁ*ĭğýéÀ 9Ł ;ýЦğÐœÀ RŁ %yââœĩğÀ 7Ł %yČČýŨś±÷ĊÐÀ XŁ BÐśŨœĩýÀ #Ł *ÐýČyğÄÀ XŁ nÐýśĊÐÀ TŁ ŹŨŨğÐœÀ ]Ł %ĩ÷œ ° XŨœŵ±ŨŵœyČ ÐğéýğÐÐœ¿ XÐЦМéÐœ #œýÐÄČ RČyğŵğéśéÐśÐČČś±÷yâŨ ʦ* -ğéÐğýÐŵœ¦Źœĩ âŹœ ]œyéƎÐœĊśĻČynung, Munich www.sfp-ingenieure.de

Źœĩ âŹœ yŵśŨyŨýĊ ÐğğĩÀ ĩĘýğýĊ ŵğÄ AyŨ÷ýyś #ĭœŨś±÷ -ğéÐğýÐŵœ RyœŨğÐœschaftsgesellschaft, Leipzig www.statik-foertsch.de ° ƢœŨýśŨý± ÄÐśýéğ ČýŨŵœéý±yČ yœÐyś¿ 7ĩœéÐ RyœÄĩÀ ;ĩś ƢğéÐČÐś www.jorgepardosculpture.com ° ƢœŨýśŨý± ÄÐśýéğ ±÷ŵœ±÷ ƎýğÄĩƎś¿ #yČĊ *y¦ÐœĊĩœğÀ ;ÐýĻƖýé www.klemms-berlin.com ° ;ýé÷Ũýğé ÄÐśýéğ¿ RÐŨÐœ ƢğÄœÐś ÐœyŨÐğÄÐ -ğéÐğýÐŵœÐ âŹœ ;ý±÷ŨĻČyğŵğéÀ *yʦŵœé www.andres-lichtplanung.de ° *mR¿ A;] -ğéÐğýÐŵœÐ %ʦ*À ;ÐýĻƖýé www.mlt-ingenieure.de ° Ƣ±ĩŵśŨý±ś¿ AŹČČÐœü

A %ʦ*À œÐśÄÐğ www.muellerbbm.de ° ŵýČÄýğé Ļ÷Ƒśý±ś yğÄ śŵśŨyýğy¦ýČýŨƑ¿ Aý±÷yÐČ ;yğéÐ -ğéÐğýÐŵœéŁ ʦ*À ÐœČýğ www.michael-lange.de ÐÐ ±ĩğ±ÐĻŨ %ʦ*À yœĘśŨyÄŨ www.ee-concept.de ° -ğśŵČyŨýĩğ œĩĩâ yğÄ ây±yÄп ÐŵŨś±÷Ð #GƢA%;ƢXŘ %ʦ*À *ýČÄÐğ de.foamglas.com ° *yğÄČÐśÀ Äĩĩœś yğÄ ƎýğÄĩƎś¿ #œyğƖ X±÷ğÐýÄÐœ œyĊÐČ %ʦ* Ņ ĩŁ 9% www.fsb.de ° ByŨŵœyČ śŨĩğп mÐœÐýğýéŨÐ RĩœĻ÷Ƒœ¦œŹ±÷Ð yŵâ ÄÐĘ Tĩ±÷ČýŨƖÐœ ÐœéÐ %ʦ*À Tĩ±÷ČýŨƖ www.porphyr-rochlitz.de ° ÷ŵœ±÷ ƎýğÄĩƎś¿ ÐœýƐ %ČyśśŨŵÄýĩśÀ ]yŵğŵśśŨÐýğ www.derix.com ° AĩœŨyœ âĩœ ğyŨŵœyČ śŨĩğÐ ây±yÄп ňŵý±ĊüĘýƐ %œŵĻĻÐÀ Gśğy¦œŹ±Ċ ƎƎƎŁňŵý±ĊüĘýƐŁÄÐ ° Ƣğ±÷ĩœśŤXŵĻĻĩœŨ ¦œy±ĊÐŨś Ľây±yÄÐśľ¿ 7GT Ƣ*; %ʦ*À ÐœČýğ www.jordahl-group.com ° ƢğŨýü%œyââýŨý RœĩŨбŨýĩğ¿ -ČĊyü ÷ÐĘýÐ %ʦ*À L÷œýğéÐğ www.ilka-chemie.com ° ByŨŵœyČ śŨĩğÐ âČĩĩœ ±÷ŵœ±÷¿ ]TƢ G %ʦ*À yÄ ;yğéÐğśyČƖy www.traco.de ° ; Čýé÷Ũś ýğ śyğ±ŨŵyœƑ¿ *ĩââĘÐýśŨÐœ ;Ðŵ±÷ŨÐğÀ X±÷yČĊśĘŹ÷ČÐ www.hoffmeister.de ° R÷ĩŨĩƍĩČŨyý± ĘĩÄŵČÐś Ľây±yÄÐ ŨĩƎÐœľ¿ XŨĩ X ĩŁ 9%yƢÀ XŨŹ÷ČýğéÐğ www.sto.de ° ByŨŵœyČ śŨĩğÐ ây±yÄп #ŁpŁ Tyŵ±÷ %ʦ* ĩŁ 9% www.fx-rauch.de ° AÐŨyČƎĩœĊśŤƢČŵĘýğŵĘüƎĩĩÄ ƎýğÄĩƎś¿ #;u XŨy÷Čü ŵğÄ AÐŨyČȦyŵ ;yŵŨÐœ¦y±÷ www.flz-lauterbach.de

538

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. 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

p. 458: Elsa Ramirez, PE–Lima

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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