Timber Design & Technology Middle East - June 2020

Canada’s first zero-carbon, mass timber higher education building Microlibrary Warak Kayu highlights the potential for sustainable wood construction in Indonesia East meets West: Celebrating Indian design in American hardwoods Foster + Partners completes Dolunay Villa with handcrafted undulating structural timber roof A triumph of biophilic, home-owner-centric architecture in Amsterdam T.ZED Architects wraps ‘KOA Canvas’ with thermally-modified tulipwood

EDITOR’S NOTE KOA Canvas ©Mark Goodwin

June 2020 Issue 47

PUBLISHER Andy MacGregor publisher@citrusmediagroup.net +971 55 849 1574 MARKETING DIRECTOR Eric Hammond marketing@citrusmediagroup.net INTERNATIONAL SALES DIRECTOR James Hamilton james@timberdesignandtechnology.com EDITOR Tony Smith editor@timberdesignandtechnology.com

On our cover this month is ‘Koa Canvas’, a unique new residential community in Dubai by T.ZED Architects, who have wrapped the property with thermally-modified American tulipwood. Over 750 square meters of thermallymodified tulipwood has been used to create the cladding element, which also transforms into an outdoor shaded walkway and elevated public balcony. According to the architects, this is the first time that the material has been used in these quantities in the region despite the slight stigma that comes with applying timber to buildings in the Gulf region. In their defense, T.ZED Architects are not afraid to let the development weather gracefully - a point that has also been communicated in the design brief provided by a highly motivated and visionary client.

Having personally visited the project (prior to the lockdown),I’d like to congratulate both the architect and the client here for taking the time to understand and pioneer the use of this material, which will ultimately help this building stand the test of time in this arid desert climate.

Biophilia refers to our innate need for a connection with nature. An extension of this, biophilic design seeks to connect our inherent need to affiliate with nature in the modern built environment. In this issue, we take a look at the ‘Connected Space’ and ‘Freebooter’ projects, which both incorporate elements of biophilic design and the extensive use of timber and other natural materials. DaeWha Kang Designs were commissioned to create the ‘Living Lab’ and ‘Regeneration Pods’ as a part of the health, wellness, and user experience aspect of Connected Workspace, an experimental work environment that had been designed for the express purpose of measuring the impact of biophilic design on worker wellness and productivity. Designed and developed by GG-loop, Freebooter is the first developed and designed biophilic residential project in Amsterdam; a response to a design brief with the experience and wellbeing of the end-user being the most important consideration.

Timber Design & Technology is published 4 times a year

Situated along the coast of the Aegean Sea in Turkey’s southwestern province of Muğla, the private Dolunay villa has been carefully sited amid the natural rugged setting, prioritizing the spectacular sea views. Designed by Foster + Partners, the house features a handcrafted undulating structural timber roof that has been designed to appear like an extension of its rocky, beachside setting. Solid structural oak beams rest on steel columns and support a large 7.5m cantilever that provides generous outdoor shaded spaces and cool shaded courtyards to the rear. More importantly, the prefabricated and precision engineered structure contains substantially less carbon than a typical concrete roof. Inside, the material palette consists of stone, wood and bronze and features various tones of warm browns and greys found throughout the rocky outcrops and sandy beaches of the site.

by Citrus Media Group (powered by WillyMac Associates FZ LLC)

Embracing the so-called new normal, we’ve ramped up our digital strategy to bring you all of the stories covered in this issue and more on our new website. With the digital future becoming a reality for billions across the globe, it felt right for us to enhance our online presence as we aim to establish the magazine as a reference for the timber industry. Do log on to the website - www.timberdesignandtechnology.com - for the latest updates and sign up if you would like to receive a copy of the magazine. In closing, I would like to thank our advertisers, our partners and our readers.

Level 14, Boulevard Plaza - Tower One, Emaar Boulevard, Downtown Dubai, PO Box 334155, Dubai, UAE Is designed by dozign and is printed by SUQOON Printing Press & Publishing Great care is taken to ensure the accuracy of the contents of Timber Design & Technology but the publishers accept no responsibility for any errors or omissions.

All contents are © 2020 Citrus Media Group and may not be reproduced in any form without prior consent.

Letters and readers’ contributions may be edited at our discretion.

CONTENTS 10 SUSTAINABILITY

34 PROFILES

Canada’s first zero-carbon, mass timber higher education building

NHG Timber Ltd: the natural source of world hardwoods

14 SUSTAINABILITY

60 TALL TIMBER

Microlibrary Warak Kayu highlights the potential for sustainable wood construction in Indonesia

C.F. Møller Architects complete Sweden’s tallest timber tower

20 ANALYSIS

64 TECHNOLOGY

The Link - Making streets and celebrating passage

SCM to host comprehensive programme of live link-ups and webinars

24 ANALYSIS

68 WOOD WORKS

East meets West: Celebrating Indian design in American hardwoods

JCPCDR Architecture suspends its ‘Flying Table’ using detachable seat belt inspired mechanism

30 COMMENT Measuring the impact of biophilic design on worker wellness and productivity

DESIGN & DECOR

38 Dolunay Villa

44 Lindis Lodge

48 Freebooter

52 KOA Canvas

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Image Š Grafton Architects

Grafton Architects Selected for Project Team for Anthony Timberlands Center

The University of Arkansas Board of Trustees has approved Grafton Architects, based in Dublin, Ireland, in partnership with Modus Studio of Fayetteville as the project team for the planned Anthony Timberlands Center for Design and Materials Innovation. Yvonne Farrell and Shelley McNamara, co-founders of Grafton Architects, were recently named the 2020 recipients of the Pritzker Architecture Prize, an award known internationally as architecture's highest honor.

"This is fantastic news," said Farrell and McNamara. "We are very excited about building our first building in the United States in Fayetteville, Arkansas. This building helps us think about the future optimistically, where the use of timber with all its possibilities, becomes real, useful and hopefully loved."

The planned center, part of the Fay Jones School of Architecture and Design, will be located on the northeast corner of the University's Windgate Art and Design District, along Martin Luther King Jr. Boulevard in south Fayetteville. This campus district houses existing and proposed buildings for the School of Art and University Libraries. The new applied research center will serve as the epicenter for the Fay Jones School's multiple timber and wood design initiatives, house the school's existing and expanding design-build program and fabrication technologies laboratories, and serve as the new home to the school's emerging graduate program in timber and wood design.

"We are delighted and honored by this opportunity to work with Grafton Architects and the Fay Jones School of Architecture and Design," said Chris Baribeau, Principal at Modus Studio. "This is a unique opportunity to see the possibilities of an innovative wood building through an international lens while lending our Ozark perspective. Our passion for craft in architecture and making will serve our University of Arkansas students, faculty and staff for years to come."

The selection of the design team comes after a months-long process unlike anything previously done for a university building. The Fay Jones School initiated a design competition that was funded in large part by a grant from the U.S. Forest Service and the U.S. Endowment for Forestry and Communities. A total of 69 firms from 10 countries answered the university's request. From those submissions, six finalist firms were selected to conceive conceptual design proposals for the new research center. The other finalist firms were WT/GO Architecture of New Haven, Connecticut; Dorte Mandrup A/S of Copenhagen, Denmark; Shigeru Ban

Architects of Tokyo/New York/Paris; Kennedy & Violich Architecture of Boston, Massachusetts; and LEVER Architecture of Portland, Oregon.

"The basic idea of this new Anthony Timberlands Center is that the building itself is a Story Book of Timber," Farrell said. "We want people to experience the versatility of timber, both as the structural 'bones' and the enclosing 'skin' of this new building. The building itself is a teaching tool, displaying the strength, color, grain, texture and beauty of the various timbers used."

She said that the building's cascading roof responds to the local climate, captures natural light and encloses this state-of-the-art educational facility. The building has a civic quality, opening up to show the vibrant research activities, not only to the students working within it, but also to the general public passing by. Design on the project is scheduled to begin this summer.

"The selection of Grafton Architects, in partnership with Modus Studio, for the Anthony Timberlands Center project immediately magnifies the already immense significance of the Fay Jones School's current and future initiatives in the further development of timber and wood innovation for the state of Arkansas," said Peter MacKeith, Dean of the Fay Jones School. "As Pritzker Prize winners and as RIBA Gold Medalists, the engagement of Yvonne Farrell and Shelley McNamara and all at Grafton Architects deepens and extends the legacy of architectural design excellence epitomized by our namesake Fay Jones, FAIA, the 1990 AIA Gold Medalist, a legacy now continued by our colleague Professor Marlon Blackwell, FAIA, and the 2020 AIA Gold Medalist.�

"Further, as sensitive, resourceful innovators in the use of materials and construction, light and space, structure and detail, Yvonne and Shelley and their Grafton colleagues will bring to tangible presence the vision of John Ed and Isabel Anthony, Chancellor Steinmetz and Governor Hutchinson, and so many others across the state in the forest communities of Arkansas," said MacKeith. "Lastly, as an accomplished, recognized women-led practice, Grafton Architects confirms for all our students that the design professions are equally theirs in which to find their identities and to realize their potentials. Grafton's partnership with Modus Studio, an alumni-led practice already experienced in wood design, detailing and construction, augurs well for the successful execution of this important project. This selection, in short, is a landmark day for our school, our university and our state."

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Business as usual for the Malaysian timber industry despite global pandemic The Covid-19 pandemic brought much of the world economies to a grinding halt. It was tough for businesses to keep their financial wheels turning and the impact of lockdowns were particularly brutal. Malaysia was not spared as the economic indicators showed a worrying trend during the Movement Control Order (MCO), when it was first implemented from March 18-31, 2020 to contain the pandemic.

As many companies faced mounting challenges to survive as supply and demand for both overseas and domestic markets were disrupted, the government of Malaysia promptly rolled out the ‘Prihatin Stimulus Package’ of over RM 260 billion (USD 61 billion) to weather the financial crisis brought on by Covid-19. Numerous consultation sessions among the various ministries, government agencies and the private sectors took place to discuss and fine tune

the implementation of the regulations and SOPs for businesses that were given approval to operate during the MCO. As many industries were contemplating a shutdown, the timber sector received special approval from the Ministry of Health through the Ministry of Plantation Industries and Commodities (MPIC) to operate under strict adherence to the SOPs during the MCO. More than 500 timber-based companies were granted approvals of which over 70 percent were furniture and moulding manufacturers.

The Malaysian Timber Council (MTC), together with many public and private sector organizations, played a key role in facilitating the smooth operation of the timber sector by analyzing and channelling feedback from industry players to the government through consultation sessions.

Leers Weinzapfel Associates receives 2020 AIA COTE Top Ten Award Winner of the 2007 AIA Architecture Firm Award recipient, Leers Weinzapfel Associates has received its first COTE Award for its work on the John W. Olver Design Building. Conferred by the AIA Committee on the Environment, the COTE® Top Ten Awards is the industry’s best-known award program for sustainable design excellence. Each year, ten innovative projects are recognized for their integration of design excellence with environmental performance.

use. Its timber structure reduces embodied energy, and the building envelope is highly-efficient, with mechanical equipment zoned for maximum efficacy. Radiant flooring and chilled beams also provide savings. Glazing and skylights maximize interior daylight, reducing the need for artificial lighting. Water management is integrated into the landscape design, modeling the role of water in the native ecosystem and dramatically reducing stormwater runoff.

Bringing together the previously dispersed departments of Landscape Architecture, Architecture, and Building Technology programs, the John W. Olver Design Building is a dynamic space of exchange, collaboration, and experiment, celebrating a shared commitment to sustainability. The first, and at the time, the largest, cross-laminated timber (CLT) academic structure in the US, the LEED Gold project demonstrates emerging technologies of mass timber as a renewable construction resource with economic and aesthetic advantages.

The building’s pivotal campus site brings students and faculty together in its well-lit ‘Commons’ for organized and informal collaboration. Studio and maker spaces surround this area, and the functioning ecosystem of the building’s landscape and roof garden provide instructive outdoor classrooms.

Image © Ngoc Doan | Stimsom

The building’s integrated sustainability maximizes passive design impact, and engineering solutions minimize its operational energy

“The Olver Design Building, a pioneer in CLT academic structures realized due to faculty advocacy, is both a learning environment and a teaching tool,” said Andrea Leers, Principal at Leers Weinzapfel.

“Its highly innovative engineered structure makes it an example for the sustainable use of wood and builds on the leading-edge research of the university’s Building Construction Technology program.”

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Image © CIFM/interzum Guangzhou

Return of Asia’s largest woodworking machinery, furniture production trade show in July

Touted as the largest and most comprehensive trade exhibition for the woodworking and upholstery machinery, furniture materials and interior decor industry in Asia, CIFM / interzum guangzhou will be back in its namesake city from July 27-30, 2020. Traditionally held alongside the China Guangzhou International Furniture Fair (CIFF) office segment, the new date will see this year's CIFM / interzum guangzhou coinciding with the home installation of CIFF, which features household furniture as well.

layout to facilitate procurement.

Poised to be a shot in the arm for the rebound of the furniture market in the second half of the year, the triple event will showcase industry verticals comprising finished furniture, production equipment and raw and auxiliary materials under the same roof, offering attendees a chance to grasp the trade dynamics of the entire industry.

With more time spent staying home, the pandemic has inadvertently brought about a newfound awareness by consumers on their living spaces - new materials, personalized designs, customization and aesthetics are aspects that have become more prominent than ever.

Debuting this year, the ‘in’ Live Streaming · Online Business Matching aims to allow selected buyers who are unable to visit the exhibition to connect with exhibitors providing added business opportunities to both parties. The scheduled one-on-one sessions will be held on the first three days of the show according to the four main product categories sought by buyers: hardware, machinery, decorative materials and upholstery accessories. All interzum guangzhou 2020 exhibitors have the opportunity to participate in the event.

While recognizing that ‘touch-and-feel’ in the furniture industry is irreplaceable, organizer Koelnmesse said that the live streaming component serves to provide industry players with a more diversified procurement experience to meet the various business needs and unique situations of buyers.

Thanks to China’s Belt and Road Initiative and the rapid development of the Guangdong-Hong Kong-Macau Greater Bay Area, as well as the exhibition’s long-standing reputation for its effectiveness, interzum guangzhou has continued to garner strong support from loyal exhibitors, while also ushering in several new names. As part of the plans to maximize efficiency, Area C of the event venue will also be optimized and integrated to present a more refined and centralized

Based on estimates from the International Monetary Fund, China is expected to contribute 28 percent of global economic growth from 2019-2024, playing an important role in the global economy. In addition, the country has the advantages of a huge market and the presence of the entire industry value chain, which provides an internal driving force for overall economic recovery in the post-pandemic era.

Riding on this wave, a spokesperson of Italian hardware brand Italiana Ferramenta said: "The market now has increasingly strict demands for product design and furniture details. Furniture manufacturers are constantly looking for better hardware accessories, because wellmade hardware accessories can enhance the overall value of furniture and in turn provide better products for consumers. The current custom furniture trend in China has driven production companies to continuously improve the flexibility of their products and services."

"In recent years, we are seeing an increasing number of design studios and small- scale custom production factories that provide customized services and furniture products. Furniture customization trends reflect the structural upgrading of furniture consumption, especially in China. These trends will cause new changes in the furniture industry and the formation of new supply chains to adapt to these market changes," said a spokesperson from Linak Transmission Systems on his observations of a more market-oriented industry.

According to the organizers, the novel coronavirus outbreak might ironically have a positive impact and provide just the right impetus to drive China’s bid to transform and upgrade its furniture production industry from just ‘manufacturing products’ to ‘manufacturing quality products’.

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New report demonstrates the sustainability of U.S. hardwoods challenging to implement where forest management units and supply chains are more fragmented.

Image © AHEC

“The low percentage of certified U.S. hardwood forest can be attributed to a lack of incentives for non-industrial forest owners that do not prioritize timber production and typically harvest only once in a generation; relatively higher unit costs for operators that do not benefit from scale economies; the challenges of communicating and coordinating certification amongst millions of forest owners; and extreme fragmentation of supply chains, which creates significant challenges for wood tracking. In addition to discriminating against smaller forest operators and traders, another limitation of certification is that it cannot substitute for good forest governance and is open to abuse where this is absent,” added Wiles.

A new report released by the American Hardwood Export Council (AHEC) has demonstrated the sustainability of U.S. hardwoods by comparing the requirements for responsible timber sourcing in regulations (such as in EUTR in the EU and Lacey Act in the U.S.) and typically contained in public and corporate procurement policies. The results of the report proved that, in several important respects, AHEC’s strategy goes beyond what is deliverable by forest certification systems like FSC and PEFC and is much wider in scope than most timber procurement policies.

Due to a lack of awareness of alternatives and of major changes in the policy environment for forest products, technical requirements for ‘sustainable timber’ are still typically equated with FSC and PEFC certification. These technical requirements are however increasingly out of step with the growing recognition that the major problems associated with forests in some parts of the world, such as deforestation and poor governance, cannot be addressed through forest certification.

Unlike strategies based on forest certification, AHEC aims to address all these environmental aspects while also recognizing the importance of independent assessment and expert review to ensure the credibility of sustainability claims.

“Many of the requirements focused on certification do not accommodate the need for broader metrics of sustainability in the forest products sector and to recognize the importance of other issues not covered by forest certification including carbon footprint and other life cycle impacts; transparent information on national forest governance; the quality of forest resources at national and regional level; clear data on species volume, growth and harvest; efficient use of the full range of species and grades; product durability; and waste management and disposal. These amongst other factors have led the European Commission and other authorities in the EU, to conclude that neither FSC nor PEFC certificates are an adequate assurance, in isolation, that timber is at negligible risk from illegal harvest,” said Roderick Wiles, AHEC Regional Director.

Forest certification systems like FSC and PEFC require compliance with a wide range of good forestry practices to be demonstrated by an accredited third party. It also requires that wood be traced through the supply chain to a certified forest management unit. The concept has proved valuable for buying organizations seeking to demonstrate that their timber products derive from well managed forests. However, certification has certain limitations. While it can work well when timber is traded in large and relatively undifferentiated commercial volumes from large state and industrial forest holdings, it is technically more

In the absence of large-scale forest certification, the U.S. hardwood sector has developed innovative mechanisms to demonstrate and communicate the sustainability of products drawing on comprehensive national data sets on forest resources, governance and management; independent risk assessment involving the collection and systematic analysis of data to demonstrate that all U.S. hardwood is legal and sustainable; and scientific and ISO conformant LCA of the environmental impact of each individual U.S. hardwood specification at the point of supply to manufacturers in export markets.

The AHEC website hosts an interactive forest map to provide easy access to data derived from the USDA Forest Inventory and Analysis (FIA) program on forest volume, growth and harvest. Users can drill down to show data on individual hardwood species at national, state and survey unit level. This level of access to data on the distribution growth and harvest of commercial species at national level is unprecedented in the global forest products sector.

AHEC was also one of the first to commission a comprehensive LCA study of the cradle-to-gate environmental impacts of delivering U.S. hardwood lumber and veneer in 2012. This study is unique in the wood sector for the level of detail on environmental impacts provided for individual species and thicknesses of lumber and transport scenarios.

AHEC has subsequently used this data to inform LCAs of finished products and structures containing U.S. hardwoods regularly undertaken for AHEC demonstration projects.

AHEC commissioned the first ‘Seneca Creek’ study in 2008 and an update of this study in 2017. The studies aimed to facilitate U.S. hardwoods’ continuing market access by providing a credible thirdparty assessment of the risk of illegal and unsustainable practices with respect to U.S. hardwood exports. The results of both studies have been very positive, not only confirming a negligible risk of illegal harvest in U.S. hardwood exports, but also confirming that there is a negligible risk of unsustainable practices in line with sustainability principles defined in government procurement policies in the EU as well as in other markets across the globe.

“We have developed the American Hardwood Environmental Profile (AHEP) system to provide our members with a simple mechanism to deliver species-specific data required to be reported for EUTR and similar regulations, alongside sustainability data from the FIA, the LCA and the Seneca Creek Assessment, to their overseas customers. AHEPs can be issued by AHEC members either for the term of an individual supply contract or for individual consignments of U.S. hardwood exported by AHEC members to anywhere in the world. Looking ahead, we want to push for full integration of scientific life cycle data into the design and procurement process, confident in the knowledge that the choice of American hardwood is environmentally sound and exceeds all legal requirements,” concluded Wiles.

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Canada’s first zero-carbon, mass timber higher education building DIALOG, EllisDon and Smoke Architecture come together to design and build a structure defined by indigenous principles and stories

When Centennial College held a competition for its A-Block Expansion Building in the autumn of 2019, it was clear they were looking for a design unlike any other. Not only does the Progress Campus gateway building have the potential to become the first net-zero carbon, mass timber, highereducation facility in Ontario

when it’s completed in 2023, but it also embodies the College’s deep commitment to truth and reconciliation.

Centennial selected DIALOG, in partnership with EllisDon and Smoke Architecture, to design and build a structure defined by indigenous principles and stories. DIALOG and Smoke

approached the project using the Mi’kmaq concept of ‘TwoEyed Seeing’ - viewing the world through both an indigenous lens and a Western lens - and were inspired by the Anishinabek ‘Seven Fires’ prophecy that says we need to pick up things ‘left by the trail’.

This process started with a

considered response to the existing topography. Listening to the land, the team chose to align the structure to the cardinal directions. The main entry is at the east, the traditional location for the entrance in indigenous structures. A grand stair ascends to the west, as part of the wisdom hall, a three-

Image © DIALOG

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level high active multi-storey convergence space for students, staff, and visitors that connects people to indigenous stories.

The narrative of the design is a story of seed, growth, culmination, and balance.

The design is celebratory, meaningful, and considered.

The new building will connect

to the existing street edge, completing the corner to yield greater pedestrian connections and enhanced public realm. It responds to the future success of the A Block expansion through providing a bold, new gateway that’s designed on indigenous principles, while leveraging the highest sustainability aspirations.

Further, the north and west façade acts as a tool for storytelling, visibly branding the building to represent the aspirations of the institution.

An indigenous commons forms the heart of the building - the structure flows around this circular room that opens out into a soaring central courtyard.

At the building’s corner, seven posts anchored in a centerstone represent the Seven Mishomis (Grandfather) Teachings. The building envelope aspires to biomimicry: the aluminum shingles of the façade are formed like the scales of a fish or snake. For the animal, the skin allows for fluid movement; for the building, the skin

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completes a high-performance envelope adjusting to changing temperature conditions.

The design team embraced indigenous approaches to living in harmony with nature. This approach augmented Western notions and methodologies of sustainability and pushed them to explore ideas beyond Zero-Carbon Building certification and LEED. The design integrates western ideas of innovation inspired by author Steven Johnson.

Walls that act as barriers to communication are removed (removing walls also makes the design more accessible and inclusive). Opportunities for people to share ideas are expanded. Spaces are created with ‘spare parts’ (from both indigenous and western ways of knowledge) that can be recombined into new ideas.

Environmental sustainability is a key focus and attribute that the college wishes this building to embody. Its zero-carbon emissions design, along with its ability to store thousands

of tonnes of carbon in its sustainably harvested mass timber wood structure, will be an important precedent in both Canada and globally. Centennial allowed for widespread use of wood while ensuring the space accommodates flexible academic delivery. The college is also pursuing an effective sustainability strategy to reduce energy consumption, aiming to achieve a minimum LEED Gold Standard and a Net Zero, or possibly Net Positive, building.

The interior of the building will be covered in exposed wood, while aluminum shingles on the facade of the building will resemble the scales of a fish or snake. Using a variety of mass timber and wood products in place of traditional building materials will be equivalent to the energy use needed to operate 470 home for one year and taking 941 cars off the road. In keeping with the desire to tread lightly on the environment, DIALOG plan to source all of the wood from an FCS certified sustainable forest in Chibougamau in Quebec.

Image © DIALOG

Image © DIALOG

Image © DIALOG

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Image © DIALOG

The wood that will be used is 90 percent black spruce and 10 percent jack pine and balsam fir.

The building design inside and out will reflect innovation and sustainability as key themes. A high-performance enclosure will reduce heating and cooling loads on the building, whilst a smaller, highly efficient mechanical system will reduce energy use allowing for smaller photovoltaic design requirements. Adopting an offset mindset through the purchase of Renewable Energy Certificates (RECs), approximately 5 percent of the building’s energy requirements will be powered by solar photovoltaic renewable energy. Further, indigenous plants and vegetation will be used in the landscape to support local ecosystems.

Once completed, the six-storey

addition will provide 150,000 gross square feet of space, which includes renovations to the existing A-Block building.

The expansion will be a mass timber, zero-carbon building with academic programming space for the School of Engineering Technology and Applied Science programs (ICET), flexible classrooms that support indigenous ways of teaching and being, as well as support areas such as the Wisdom Hall, an engaging student touchdown space, along with collaborative spaces, administrative offices and food services.

The expansion project will be connected to the existing A-Block building on levels 2 and 3 to provide easy passage between the two buildings. The college is committed to eliminating barriers and improving accessibility for

persons with disabilities in a manner that respects dignity, independence, integration and equality of opportunity. This building is a significant first step towards realizing the goals outlined in the college's Indigenous Framework and advancing their commitment to truth and reconciliation with the indigenous peoples of Canada.

The A-Block Expansion project will begin with interior A-block renovation work commencing in late June, as well as ‘early works’ site preparation, such as rerouting underground utility lines and vegetation and bridge removal over the late spring and summer. Full site mobilization and construction will start in the early fall. Substantial completion is anticipated by fall 2022, and building occupancy is scheduled for January 2023.

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Microlibrary Warak Kayu highlights the potential for sustainable wood construction in Indonesia

Image Š KIE & team

Made completely from FSC-certified timber, the library also functions as a mini community center, an event and workshop space

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Architecturally it represents SHAU’s passive climate design, material and typology experimentation for the tropical context. After numerous design iterations, the most favorable design concept was the one with the whole building being elevated, like a traditional ‘rumah panggung’ (house on stilts) on account of the fact that it not only functions as library but also adds value by becoming a neighborhood and community center. In addition, it also serves to promote Indonesian engineered wood products and manufacturing capabilities. By

elevating the library, various spatial configurations, multiple programs and a wide range of activities can be offered.

On the ground is a large semi outdoor area, which can be used for workshops, as well as a wide tribune seating at the entrance for watching presentations or movies. A wooden swing serves to grab the attention of kids.

The ground area is framed by a ring of planter boxes to create a more intimate atmosphere.

Upstairs in the library itself, there is a net where kids can lie down, relax and read but also directly communicate with parents and friends in the space underneath. According to SHAU, it is important to have this multi-programmatic approach to make the library a popular place, since reading alone is not yet considered a fun activity in the country.

The Microlibrary Warak Kayu is the latest addition to the iconic architectural landscape of Semarang, the capital of Central Java in Indonesia. It is built at Taman Kasmaran, a public square in the city center with direct proximity to the river and has a great view to Kampung Pelangi (Rainbow Village - a local tourist attraction). The square has a cafeteria with warungs (small vendors) underneath and there is a local school nearby. It will also be a part of the city’s tourism route where the free bus tour will stop. In that sense, the library serves not only the local neighborhood but is embedded in the larger city network and thus has an increased reach.

Image © KIE & team

The Microlibrary Warak Kayu is the fifth built project within the Microlibrary series - an initiative to increase reading interest by creating socially-performative multi-functional community spaces with environmentallyconscious design and materials, which aim to serve low-income neighborhoods. Designed by SHAU and prefabricated by PT Kayu Lapis Indonesia, this project is a collaboration between the local community, private sector and the government - a gift from the Arkatama Isvara Foundation to the city of Semarang. The microlibrary charges no entry fee and is run by the Harvey Center a locally-embedded charity group in Semarang - in coordination with the local government.

The first library in Indonesia made entirely of FSC-certified wood The building can be seen as a living educational spot for wood and construction techniques. All of the wood used in the building is FSC-certified. This was possible thanks to the donor and client, the Arkatama Isvara Foundation, which has a strong relationship with PT Kayu Lapis Indonesia, an integrated wood manufacturing company. A variety of their available materials and products, primarily Bangkirai and Meranti, for construction have been used

and only the foundation, footings and roof cladding are not made from wood.

The design process included a bottom-up process, where all available products in the factory were first evaluated, and the design was developed from that.

As one of the design exploration results, the brise soleil was based on the ‘Zollinger Bauweise’, a construction system developed in the 1920’s in Germany. It is a form of a reciprocal system, resulting in a distinctive slightly shifted diamond pattern. This pattern happens to resemble a local mythical creature - ‘Warak Ngendog’ - and its dragon-like skin, displayed during annual festivals in Semarang. Hence the name Warak Kayu in Indonesian - meaning Wooden Warak, which is a positive narrative for communicating the design to a

Image © KIE & team

Image © KIE & team

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According to the designers, they first had a look what products and wood materials were available from PT Kayu Lapis Indonesia. Factoring in the availability and considering maximum length of products, they started their initial sketches until arriving at an initial design concept. In parallel, the team from SHAU also started a discussion on the design with both the R&D and costing teams at Kayu Lapis to get an idea of possible challenges, and the whole framework of the building.

From the initial design idea and incorporating specifications from the structural engineer, they were able to identify which products would meet their requirements, and which would be the best to use in terms of

Image © KIE & team

wider audience.

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An egg-crate like deep screen Zollinger brise soleil - is designed to block the lower sun altitude angles in the mornings and afternoons. This means that direct sunlight cannot enter the building in an unobstructed way. As a result, the diffusereflected sunlight is sufficient

Wood as construction material outperforms many other materials in terms of embodied energy, water and air pollution, carbon footprint, and it also regenerates naturally.

For the Microlibrary Warak Kayu, all of the wood used complied with both the SVLK (Indonesian Legal Wood) and FSC (Forest Stewardship Council) certification. The wood was sustainably logged in Central Kalimantan, then shipped from Sampit over the Java Sea southwards to Semarang (Java) and the factory. The whole process also included nursery, replanting and harvesting time planning to maintain sustainability for the coming years.

Image Š KIE & team

Environmental performance: climate design, material & construction The Microlibrary Warak Kayu is designed around passive climatic design aspects. No air conditioning is used; therefore no energy is spent. Semarang has a tropical monsoon climate according to the KĂśppen climate classification with temperatures up to 34 degrees Celsius during the end of the dry season. The building is cooled down by means of cross-ventilation and solar heat is prevented from entering using shading elements.

The roof overhang provides shading around noon. The longer facades are oriented North-West and South-East due to site restrictions.

to read books without artificial lighting. In addition, the depth requirement of the Zollinger brise soleil was determined by the angular relationship between the sun path and building rotation. The cross-ventilation aspect also helps to drag the moisture out of the building and prevents books from getting moldy or damaged.

Various types of wood products and wood species were used. For the main structural components like columns and beams, Bangkirai-based FJL (Finger Joint Laminate) was used. For decking and the Zollinger Brise Soleil, different Meranti-based plywood types in various thicknesses were employed. The main structure of columns, beams and secondary beams has the highest volume of all materials. Here only Bangkirai - a tropical hard wood with high weather resistance often used for outdoor furniture and decking - has been used. The byproducts of this manufacturing in the form of leftover and small-cut wood pieces were trimmed and processed for finger joint strip elements.

Image Š KIE & team

re-use, durability, manufacturing and costs.

Apart from the concrete foundation, all wooden elements were prefabricated at the factory in Semarang and then transported within 20km to the site. Prefabrication of the elements at the factory, on-time delivery and on-site assembly meant less noise, dust and generally less harmful impact on

the direct environment during assembly and at the same time, a faster construction time.

Prefabrication also meant a higher degree of precision was achieved with minimal mistakes due to better trained workers, modern tools, higher safety standards, and a safer construction process.

In Indonesia, wood is mostly used for traditional buildings or resorts, more often than not to cover up concrete or brick construction underneath. Using wood as the main structural element is rarely seen. In this regard, the Microlibrary Warak Kayu has modern/contemporary and traditional elements in terms of architecture but also in terms of construction techniques. The building will be used as a showcase by PT Kayu Lapis for visiting architects and construction professionals. Overall, it will help inform a broader audience about the possibilities of timber construction and how wood can be used for different types of buildings, not just traditional temples or resorts.

Southern Yellow Pine

STRONG. BEAUTIFUL. SUSTAINABLE.

Main Uses Appearance and impact resistance make Southern Yellow Pine (SYP) suitable for a wide range of decorative uses, such as windows, doors, floors, and mouldings. Ease of preservative treatment makes SYP good for decking and outdoor use.

Physical and Mechanical Properties Weight ranges from 537 to 626 kg per cubic metre. High density gives SYP natural strength, weight, and impact and wearing resistance. SYP has a higher specific gravity than Scots pine and stands up well to rough treatment while remaining easy to work with.

Learn more about America’s favourite timber at:

AmericanSoftwoods.com

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The Link - Making streets and celebrating passage

Image Š Make Architects/Peter Bennetts

European craftsmanship and Australian expertise come together to deliver curved glulam timber passageway

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Simon Lincoln, Studio Lead Australia said: “The Link is a great example of how retailers and landowners are thinking differently to adapt to changing consumer behavior, incorporating

new uses into their centers, but also creating flexible spaces like this, spaces that don’t necessarily drive revenue but that tap into what patrons are looking for in terms of places that promote wellbeing and that provide a more relaxed, natural environment.”

All other features within the space are below eye level in order to celebrate the scale and beauty of the architecture. Landscaping, stairs and travellators have been carefully positioned to create areas to dwell and relax as well as space for a new restaurant to spill out and flexible areas for events and pop-up uses.

The choice of planting ties in with the wider strategy for Chadstone to use native species.

This is supported with evergreen climbing plants such as climbing Boston Ivy and scented Jasmine

to provide a broader sensory experience. In addition, artificial lighting is minimal, primarily used to illuminate the structure at night.

Fiona Mackenzie, Chadstone Director said: “We’re very proud of what we’re creating as Chadstone evolves to become a world-class, integrated destination for retail, dining, entertainment, tourism, business and now luxury accommodation. The Link has enhanced the amenity for the more than 24 million people who move between our Tower One offices, Hotel Chadstone and the retail precinct every year.”

A quick lifecycle assessment of The Link reveals that 155 cubic meters of glulam have been installed. According to RUBNER, 118 tonnes of carbon dioxide is

Image © Make Architects/Peter Bennetts

Inspired by the arched glass roof that is iconic to Chadstone, The

Link is formed from a curved ‘glulam’ timber structure with a tensile, semi-translucent ‘PTFE’ fabric stretched over to protect customers, guests and visitors from the weather, yet still connect people to the environment. The simplicity of its materials belies the complexity of the Italian larch timber diagrid structure, which essentially acts as a harmonica - each element holding the other in position, albeit supported by hidden steel foundations. The design itself is highly sustainable, open at the sides to provide cross-ventilation and eliminate the need for air conditioning.

Image © Make Architects/Peter Bennetts

Designed to connect the shopping center, which is the largest in the Southern Hemisphere, with the newly opened Hotel Chadstone Melbourne, MGallery by Sofitel, The Link is a tranquil walkway that replaces part of a multilevel car park and creates a more accessible, engaging entrance to Chadstone. Make Architects’ design team fostered close collaboration to bring crafted, specialist materials from Europe and used Australian experts and engineers to create the route that spans 110m, stretches up to 15m high and blurs the boundary between different leisure, commercial and retail uses at the center and also between an internal and external environment.

The Link is easily and highly adaptable. It has been designed for effortless maintenance and to stand the test time, to integrate different uses and to itself be used for different things now and in the future.

The entire length is envisioned as a flexible space that can cater to a wide range of activities. It was delivered in an extremely tight timescale and the project team is delighted with how it combines European craftsmanship with Australian expertise to deliver a space that works perfectly for this location.

Image © Make Architects/Peter Bennetts

Jacob Alsop, Partner at Make Architects said: “The Link is designed with the local climate in mind. It provides shade but is an-open structure and provides a welcome change from the

many hermetic air-conditioned buildings that dominate Australian cities. Its form is inherently urban, reminiscent of covered passageways and thereby reinforces the idea of The Link as a street and also a public, civic space.”

Image © Make Architects/Peter Bennetts

stored directly in the wood whilst only 18 tonnes of carbon dioxide emissions were generated from all production processes (cradle to gate). Thanks to the net storage effect, The Link provides an active contribution to climate protection of around 100 tonnes of carbon dioxide, which is equivalent to the greenhouse gas emissions of 4 Australians per year. Moreover, in Austria, where the Rubner Group sawmill is located, about 30 million cubic meters of wood grow every year.

Based on this, the 155 cubic meters used for the structure of The Link will have grown in about 7 minutes.

Image © Make Architects/Peter Bennetts

Image © Make Architects/Peter Bennetts

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Image © INDO-

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East meets West: Celebrating Indian design in American hardwoods INDO- combines traditional craft processes and modern manufacturing methods to create contemporary objects INDO- is an award-winning contemporary furniture and homeware design studio based in Providence, RI and New Delhi, India. Founded by Urvi Sharma and Manan Narang, both of whom grew up in New Delhi and met in Providence while studying at the Rhode Island School of Design (RISD), the brand was launched at the Architectural Digest Design Show 2018 in New York. INDO- is a product of living in and experiencing both places and cultures. Experimenting with traditional craft processes and modern manufacturing methods to create contemporary objects, INDO- produces work that is both innovative and acknowledges the places and people who inspire it.

Laura Wood, Nicobar and Studio Endo. She uses her experiences growing up in India and working across the world to develop a unique design process that embraces aspects of both Indian and American design and production.

According to Narang, weaving as a craft is still highly relevant unlike basketry or carving. All three processes have been mechanized but hand-woven fabrics/rugs still hold high economic and perceived value.

Through their designs, Sharma and Narang have used Indian

craft to put a unique spin on a range of furniture pieces including barstools, tables, benches, chairs, rugs and other items. The duo have successfully created modern furniture pieces that reference traditional dyeing and weaving methods from their childhoods in New Delhi, India. According to Narang, deconstructing traditional methods‚ finding what makes a process special‚ is at the core of their philosophy.

A series of solid wood dip dyed coffee and side tables that reference the technique

Urvi is a furniture and product designer based in Providence.

She completed her BFA in Furniture Design at RISD in 2017. She has worked with a number of furniture and product design companies in the United States, UK and India, including Established & Sons, Bethan

Image © INDO-

Manan is an architect, furniture designer, and maker. Having completed his B.Arch from the School of Planning and Architecture, New Delhi in 2011, he worked in his familyowned furniture retail and manufacturing business Lifestyle Furnishers - in New Delhi before moving to America.

In 2018, he completed his MFA in Furniture Design from RISD. His aptitude for highly demanding, detail-oriented design work along with his experience in manufacturing and construction methods has allowed him to deconstruct and distill traditional craft processes as the inspiration for his design work.

of glazing ceramics, the Pilar Tables are inspired by the rich use of colored tiles and mosaics in Gaudi’s architecture. Available in American maple, white oak or walnut with varying tops, and with the ability to work in clusters or by themselves, they serve a wide range of demands, from accent to statement pieces. The Pilar Collection is a nod to simple, functional contemporary design with a beauty inherent in the handmade, absorbed layer upon layer into its surface. In addition, the Mooda Mirror, also available in maple, white oak or walnut is composed of hardwood dowels stitched together to create a beautiful geometric edge. The glass in turn reflects the dowels, completing the form of the Mooda.

“We’ve designed nine different products across four collections and have started gaining some traction. In addition, we also offer custom design and build services if customers demand a particular version of a product.

Not only are we using traditional techniques and knowledge and skills that have untapped potential, but we also aim to explore new techniques and different ways to create more contemporary objects for younger audiences and consumers,” said Sharma. “Before INDO- was established, we worked on a number of projects individually that are now being refined to be included in our product line. In addition, we are also planning to release a new range of lighting fixtures within the Mooda series, which includes 2 sizes of wall sconces and pendants in the second half of 2020.”

The Ikat credenza is a low-rise tambour credenza inspired by the process of weaving Ikat

Image © INDO-

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fabrics, in which each warp end is dyed individually with the desired pattern prior to weaving the final product. The result is a pattern that has a slightly 'fuzzy' appearance, a distortion inherent in the fabrics, yet shows the skill that is involved in such a labor-intensive process. Each slat of the sliding door is treated as a warp end and hand dyed prior to assembling them together to create the tambour surface.

The uneven quality of the lines creates an enhanced sense of movement as the tambour turns a corner, creating the illusion of unrolling fabric.

replaced by mass-manufactured counterparts makes you aware of what is being lost for the sake of convenience or cost‚" adds Narang. “The furniture that we have created has become an outlet for practitioners of that craft to continue forward.

The same example can be extrapolated to apply to other crafts with the whole premise of pushing craft forward as a source of inspiration. Looking ahead, we hope to continue to design new products and bring in new work every year that helps INDO- stay relevant and keeps its audience engaged.”

Char Quarter is a contemporary take on the humble Charpai/ Charpoy, an archetypal Indian rope bed, literally meaning four legs (Char=four, pai=legs). The name borrows from the split turning method employed to create a subtle reference to the spindle turned legs, the method of wood measurement which is peculiar to the United States (in quartered board feet instead of cubic feet), and the Indian pun for a full measure of a liquor bottle.

Sharma and Narang work primarily in solid wood but also incorporate other materials or composites wherever appropriate. Their focus currently is on using high quality and accessible American hardwoods, such as maple and white oak. However, they also offer their current range in walnut or other species if a customer requests for it. Sharma started working with American hardwoods when she came to study Furniture Design at RISD. It was there that she was introduced to multiple species and the possibilities of working with solid wood. Narang, on the other hand, has been working with American hardwoods ever since he joined his family's furniture business.

"Homogeneity in contemporary design is something I loathe.

Everything looks so similar; there's no sense of place or identity. Living in a place where most objects were traditionally handmade and have been

Image © INDO-

Image © INDO-

Image © INDO-

Image © INDO-

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“We chose to use American hardwoods for their durability, appearance, availability and sustainability. Every species has unique characteristics that the same product rendered in hard or curly maple or white oak can look vastly different,” said Narang. “We pride ourselves on our resourceful and judicious use of hardwoods, which are probably amongst the most natural and sustainable materials available to us today. Yet, because they have a long growth cycle, it is important to be mindful of where and how much we use of this amazing resource. The story of our products is after all inspired by regional crafts, resourcefulness in using easily available and local materials and reimagining the applicability of processes long forgotten to create fresh and unique products.”

INDO- came about as a product of their individual inquiries into identity and craft. Sharma was working on how to create an interaction between Indian and American furniture through her degree project while Narang was focused on how to apply craft in new and interesting ways in order to revive dying art forms.

Through INDO-, the duo have embraced the Indian qualities of things being handmade, meaning each piece is one-ofa-kind, and merged it with the

forms present in contemporary American furniture. They also understood the importance of creating an identity and origin for each of their products given that quite a lot in Indian design and the products made are related to the places and people who make them.

“Since we started INDO-, we have become a part of a growing movement of designers and makers that have emerged in the last few years in America.

Discerning clientele now want to know the designers who create good work and where their furniture comes from rather than just picking up something that is readily available. This convergence of identity, craft, quality and finish is where our work lives. It is for this reason that INDO- was featured as a part of the Dwell 24 Emerging Designers of 2019. In addition, we have also received multiple awards and nominations including the 2019 NYCxDESIGN Emerging Product Designer Award and the Providence Design Catalyst Grant 2019,” added Sharma.

Both Sharma and Narang are very positive of the potential for their pieces in India. Aggressive deforestation over the last three decades has resulted in shortages and inflated pricing for CP teak and thus opened

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Image © INDO-

“Growing up, a lot of the objects we encountered were handmade. Now some of that is being lost for the sake of convenience. Through INDO, we’re trying to celebrate an element of the hand and the identity it brings with it; something that resonates deeply with all Indians. With this in mind, our long-term plan is to introduce our product line to the Indian market and gauge interest from the design industry, but a lot of work still needs to go into developing the logistics and product consistency when manufacturing remotely.

That being said, we have recently received an order for 40 rooms at a luxury hotel in Sri Lanka, which will allow us to further explore manufacturing in India. For now though, we’re happy to see the business growing, while also supporting traditional crafts,” concluded Sharma.

Image © INDO-

“In general, red oak has been more easily accessible compared to white oak. However, ash remains one of the most commonly used American hardwood in the Indian market owing to its dramatic open grain structure and its ability to accept different stains uniformly. Indians still love ‘brown furniture’ and hardwood furniture is highly sought after.

In light of this, we're working on establishing a manufacturing supply chain of pre-finished furniture parts and home decor

products between American and India in the near future and spent the latter part of last year sampling our Mooda and Pilar collections in Delhi,” said Narang.

Image © INDO-

the market for ‘plantation teaks’ from African countries such as Ghana, Ivory Coast, Sudan and Tanzania. According to Narang, these woods were available for lower costs, but because of the way these woods are harvested (grown to a 7-8" girth, chopped and sized to a 6" square with a prominent water line in the center), the quality is highly suspect. The search for alternatives has led to people accepting American hardwoods such as ash, maple and oak and this transition has been steady over time.

INDEX DUBAI MAKES IT EASY FOR INTERIORS PROFESSIONALS TO FIND YOUR PRODUCTS The United Arab Emirates has USD$443Bn worth of projects currently in design & fit-out phase and requiring interior products and solutions. INDEX has been accelerating growth by enabling companies to access this high value market to meet this consistently growing demand for 30 years.

Exhibiting at INDEX from 31 May - 2 June 2021 will ensure you make new connections and have immediate access to a flow of new leads and projects for the year ahead.

SHOWCASE YOUR SOLUTIONS TO 30,000+ DESIGNERS, CONTRACTORS AND REGIONAL DISTRIBUTORS THIS SEPTEMBER

SECTORS INCLUDE: Furniture | Furnishing | Lighting | Technology | Surface

CO-LOCATED WITH:

ENQUIRE ABOUT EXHIBITING TODAY If you want to supply to interiors professionals in the Middle East, INDEX is the definitive platform for you to be present at this year.

Contact the team to find out more…

www.indexexhibition.com | info@indexexhibition.com | +971 4 445 3648 | @indexdubai

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Measuring the impact of biophilic design on worker wellness and productivity Experimental workspace by DaeWha Kang Designs combines biophilic principles with technology

COMMENT

Mitie is one of the leading outsourcing and facilities management companies in the UK, and they have created a new ‘Connected Workspace’ initiative that incorporates sensor technology, big data, and machine learning to revolutionize the way that their portfolio of buildings are managed and maintained.

Working in collaboration with Mitie and Dr. Marcella Ucci (Head of the MSc in Health, Wellbeing and Sustainable Buildings at the University College of London), we have created not only a physical space, but also a pilot study to measure the impact on employees in a detailed post-occupancy study.

The ‘Living Lab’ and ‘Regeneration Pods’ were commissioned as part of the health, wellness, and userexperience aspect of Connected Workspace. An experimental work environment on the 12th floor of the Shard, the space has been designed for the express purpose of measuring the impact of biophilic design on worker wellness and productivity.

Biophilia refers to human beings’ innate need for a connection with nature. Human physiology is wired to seek qualities of light, view, material, and other factors common in the natural world. This project comprises two spaces designed according to those principles: a Living Lab that functions as an immersive work environment, and two Regeneration Pods that provide short-term rest and meditation functions for Mitie employees.

Image © Tom Donald

The Living Lab is fully immersive, with rich and intricate patternization, natural materials, and interactive and dynamic lighting. The room gains privacy through bamboo screens that wrap onto the ceiling above. The floor, desks, and task lights are also formed from different shades and textures of bamboo, providing a holistic organic language for the entire space.

The lighting in the Living Lab is circadian and linked to an astronomical clock - cool blue in the morning, brilliant white in the afternoon, and fiery orange as the day winds down.

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The light softly breathes, very subtly shifting intensity in an almost imperceptible way, giving additional dynamism to the experience.

During the study, Mitie employees worked at these desks for four weeks at a time, answering daily surveys about their comfort, satisfaction, and emotional response. They then spent four weeks working in a control area on the same floor with similar environmental conditions but without biophilic design, and their responses were compared between the two spaces.

While studies have established the positive impact of daylight, natural materials, and a direct visual connection with nature, aesthetic design also has a strong impact. The bamboo screens strike a balance between the regular rhythm of structural ribs and the variation and playfulness of discrete leaves that maintain a sense of transparency and intricacy in the space. The leaves catch natural light but also diffuse embedded lighting within the screen itself.

While the living lab creates a sense of enveloping enclosure towards the rest of the office, it opens up towards the façade, providing long vistas and a strong connection to the sky. The Shard has a very technical aesthetic of glass and metal, and the warm bamboo palette of the Living Lab establishes a strong counterpoint to that material language.

Following biophilic principles, the desks within the Living Lab are beautifully crafted from natural bamboo and incorporate living plants directly into their workspace, but they also incorporate substantial technology. Achieving the experimental study on the users requires adapting for confounding environmental factors between the lab space and the control space, and on-desk sensors detect air quality, light levels, and temperature and humidity.

An access card reader identifies the users and allows them to activate the task lights and charging strips, while an under-

Image © Tom Donald

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for sitting meditation. The additional cushions allow one to sit as if on a bench, but also take off your shoes and sit in a lotus posture.

The visual language of the pods reflects their function but also creates an anchoring identity for this corner of the Shard floorplate.

Giving a visual reminder of the importance of mental health and mindfulness was one of the key requirements of the design. The soft seating within the pods are large enough for someone to lie down and rest, but also designed

Image © Tom Donald

The Regeneration Pods are also a part of Mitie’s mental health and wellness initiative and provide a tech-free meditative moment within the workday. Like the Living Lab, the Regeneration Pods provide a sense of shelter and refuge while also maintaining beautiful views to the outside.

They are curated by a behavior psychologist in Mitie’s team who trains staff on mindfulness and meditation.

Image © Tom Donald

desk sensor records when they are actively working at the desk. All of this data is collected in Mitie’s data lake and can be correlated with the survey results. Direct access to living nature is also shown to have a host of benefits, and planters are organically integrated directly into the desks together with the task lights.

The Regeneration Pods also have a rich texture and material. Again following the structural logic that we see in nature, continuous ribs provide overall stability, while individual vanes create the overall enclosure of the space. All of the complex forms were fabricated by master craftsworkers at Aldworth James & Bond, who combined high-tech digital fabrication with traditional hand-finishing techniques to achieve a silky and sensuous final result.

As in the Living Lab, technology plays a role in the pods as well.

Activating a pod with one’s access card begins a sound and lightscape that has been designed for mindfulness and reflection.

A bell chimes three times to indicate the beginning of one’s fifteen-minute period and again at the end to indicate it is time to return to the day-to-day routine of work. A cactus garden surrounds the pods and again gives a direct connection with living nature in addition to the material and form

COMMENT 33

Working closely with guidance from Dr. Marcella Ucci, we undertook an intensive 8-week pilot study of employees. A cohort of eight employees spent four weeks in the Living Lab and four weeks in a control area.

We recorded their emotions, physical comfort, and feeling of productivity through a series of daily, weekly, and monthly surveys and interviews.

Image Š Tom Donald

Key findings showed that employees in our workspace felt 38 percent more calm, relaxed, laid-back, and at ease. 10-20 percent higher levels of perceived productivity were also seen, based on concentration, problemsolving, quantity, and quality of work. Employees were also 10 percent more focused and 14 percent happier by mid-afternoon compared with how they felt when they arrived at work.

Overall, 81 percent were more satisfied with their overall indoor environment than the ordinary office space.

Mitie have invested in the Connected Workspace imagining the future of the workplace.

The wellness team that commissioned this project has pushed the boundaries of the architectural field with their determined commitment to

bring together technology and biophilic design in a way that showcases a measurable impact on wellbeing. The decision to bring together specialist data scientists, technicians, designers, and academics through not only design but also operation and pilot study has resulted in something fresh and new.

This is markedly apparent when one looks at the Shard at night and sees the circadian lighting with its fiery glow in the midst of floor after floor of harsh white light. The future of workplace design will include more sensors, more measurable metrics, and ambition to improve the experience for all. But ultimately design should be at the service of humans; and finding ways to integrate the technology and data with beautiful and humanoriented design is the greater task.

This project is a strong step in the direction of bringing together data and design, and working towards our vision of measurably improving human wellbeing with designs of beauty and innovation. *This article has been submitted

by DaeWha Kang Design, a London-based studio with a mission to improve human wellbeing through beautiful and innovative design.

Image Š Tom Donald

of the experience.

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NHG Timber Ltd: the natural source of world hardwoods The company specializes in sourcing tropical and temperate timbers from across the globe with a special focus on West Africa

One feature of hardwood timber supply to the MENA region is the wide collection of suppliers and traders who approach the market in a variety of different ways, with varying amounts of knowledge and professionalism!

This can leave buyers confused and not knowing who they can really trust. One dynamic, U.K. based supplier, NHG Timber has been constantly involved with selling to the region since 1996, and during that time has been the source of good service and straight dealing that all their

clients have come to rely on.

NHG Timber was founded in 1981 by Nick Goodwin, a name that many readers may be familiar with. The family business was strengthened by the addition of his two sons, Ben and Guy, who now run the business following their father’s retirement, along with long term associate Stuart McBride. The company specializes in tropical and temperate timber sourcing worldwide with a special focus on West Africa. Many readers

will be familiar with NHG logos adorning packs of Sapele, Iroko, Dabema, Kossipo and many other timbers in various markets in the Gulf. This success has been built up not only on a deep and practical product knowledge, but also on forging long-term relationships with clients based on mutual respect and trust.

Products

Hardwood Lumber: NHG Timber specializes in the supply of hardwood lumber from West

Africa, North America and Europe. These are available in fixed dimensions as well as standard sizes, and Ben, Guy and Stuart have the in-depth knowledge and experience of their supply areas to be able to source practically any desired hardwood product that clients require, along with providing advice and support. New ideas for grades, species and specifications are suggested on a regular basis.

Softwood Lumber: Echoing

the company’s European sales, species such as Western Red Cedar, Douglas Fir and Southern Yellow Pine are sourced from NHG’s North American network of suppliers.

Finished and Semi-finished products: NHG can supply a variety of products such as hardwood decking, machined profiles, moulding blanks and finished sections to give clients a fully bespoke hardwood service from expert and experienced producers.

Image © NHG Timber

Image © NHG Timber

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Logs: Market trends are progressively realizing the importance of added value, but NHG still has a good business in log supply, and sources African and American logs for those buyers who wish to control their own yields.

MENA Region

Ben Goodwin heads up sales of African timber to the region and is obviously passionate about the product judging by the frequency of his bimonthly sourcing trips to

several West African countries to check the quality and regularity of supply on behalf of a wide customer base.

“As a company we have enjoyed working with our clients in the MENA region, where we have been able to gain the loyalty of our clients by consistently offering a good service and good timber. We visit our supply sources in Africa at least once every two months, which means we can secure supply of wellknown and not so well-known

species,” said Ben Goodwin.

It is always a challenge finding new timbers for a competitive market, but their buyers are interested. “One thing I admire about our clients is that they are not afraid to try something new, and there are several new species initially introduced

by NHG, that are now being used with great success in the market. Widening the number of species being used is much better for the sawmill in using the precious forest

Image © NHG Timber

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Guy Goodwin works with Ben in securing African supply and heads up sales to Lebanon, Jordan and North Africa. The full complement of species traded is rounded off by Stuart McBride, who supplies American hardwoods from several well established, quality minded

suppliers as well as beech from Europe. He, as well as Ben, has been travelling to the Gulf region several times a year for many years and knows the markets intimately.

Stuart comments: “The reason for the regular visits to clients is mainly because we do not employ a local agent, unlike many of our competitors.

Everyone in the company is both

specialized in their source area and has a good understanding of all the products we sell. We find that one of the main problems in the market is the lack of detailed knowledge of issues such as grade, measure and technical properties of species, so by visiting regularly we can be on hand to assist directly and support clients with timely, accurate information. We believe that this sets us apart from the

competition, some of whom we have noted over the years, can be fair weather friends.”

NHG have established a strong brand name and reputation in the market. The company is always looking to expand and find new customers to serve, who will in turn benefit from their professionalism, product knowledge, and often, a new and surprising timber to consider!

Image © NHG Timber

resource in a more effective and environmentally friendly manner,” added Ben.

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Foster + Partners completes Dolunay Villa with handcrafted undulating structural timber roof

Image Š Nigel Young / Foster + Partners

Prefabricated and precision-engineered wooden structure contains substantially less carbon than a typical concrete roof

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The house is embedded within a beautiful Mediterranean garden that offers a multi-sensory experience with fragrant plants such as thyme and lavender alongside rich seasonal planting and mature olive trees. The main entrance takes you directly to the heart of the villa with the private family quarters to the eastern side, orientated to respond to the contours of the site, and the public living and dining areas to the west, with exceptional views of the setting sun over the Aegean.

The journey through the villa is

from ‘opaque to open’, reflecting the differing levels of privacy throughout and the design seeks to blur the boundaries between inside and outside living, with the large glass doors along the façade that slide back completely providing an unobstructed flow of space between the interior and exterior spaces.

“There’s a real split between the public forum and the private.

A sense of discovery and a richness of experience comes through in the way the spaces change as you walk through the site,” said Niall Dempsey, Partner, Foster + Partners.

The full scale is revealed by following the gradient of the sloped site to the south side, where it switches into a two-storey structure, partially embedded it into the landscape. The unexpected transition between the one and two-storey sides to the villa is reflected externally in the material finishes. Its windowless north side is lined with stone and timber slats,

Image © Nigel Young / Foster + Partners

Situated along the coast of the Aegean Sea in Turkey’s southwestern province of Muğla, the private Dolunay villa has been carefully sited amid the natural rugged setting, prioritizing the spectacular sea views. The site is accessed from the north, with a curving road that leads to the drop-off for the villa. The design uses the natural contours of the site to create a low-rise building that appears as a single storey structure on approach.

while the south sea-facing side is enveloped by large areas of glazing.

through the villa, the form of the roof unveils itself to the visitor.

The house features a handcrafted undulating structural timber roof, designed in conjunction with Swiss firm Blumer Lehmann. The prefabricated and precisionengineered structure contains substantially less carbon than a typical concrete roof. The solid structural oak beams rest on steel columns, supporting a large 7.5m cantilever, providing generous outdoor shaded spaces and cool shaded courtyards to the rear.

Foster + Partners and Blumer Lehman worked closely to develop and finalize the master surface. Once established, mockups and material samples were reviewed for approval and sign off. The beams were milled out of 20mm thick oak blanks glued and clamped together.

The milled beams were hand sanded and treated before shipping to site. European oak was specified on account of its overall appearance and durability for the roof in addition to spruce for the secondary beams (not visible).

The villa's giant undulating timber roof is designed to appear like an extension of its rocky, beachside setting.

According to Foster + Partners, the roof design is very much a part of the sense of discovery one has moving through the villa. The architects have deliberately designed the roof as a very clean, simple, understated horizontal surface that blends with the landscape upon arrival. As one moves

The central feature stair that connects the two levels is made from solid Portuguese limestone and is supported through post-tensioned cables running through the stone with no other visible supports. Preserving the purity of the staircase and offering a feeling of lightness, the balustrades are made from thin glass tubes with a timber handrail that has been bent and

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

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Image © Nigel Young / Foster + Partners

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Reflecting the high levels of craftsmanship in the design, each element has been designed to respond to the specific requirements of the client from hand-carved solid timber doors to bespoke ceramic tiles and basin in the bathrooms.

There is even a smaller sunset pavilion closer to the coast that features natural stone walls, olive groves, wooden tables and a bamboo soffit.

Inspired by the villa’s immediate surroundings, the natural interior material palette consists of stone, wood and bronze and features various tones of warm browns and greys found throughout the rocky

outcrops and sandy beaches of the site. The choice of oak joinery and leather furnishings provides a relaxed, elegant feel to the coastal retreat. Many of its finishing touches are bespoke including custom joinery, furniture and flooring in American walnut, mahogany, cedar and teak.

“We were fascinated by the local landscape and wanted it to flow through the interior spaces and

effectively disguise the building.

Even though it gets incredibly hot in the summer, we wanted the building to be able to breathe naturally. The landscaped open courtyards within the house allow the prevailing sea breeze to gently move through the villa.

These are simple ideas that have come together in an elegant way,” concluded David Summerfield, Head of Studio, Foster + Partners.

Image © Nigel Young / Foster + Partners

shaped on site. Solid European oak was again specified for the handrail to match the soffit, joinery and flooring.

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Architecture Workshop completes Lindis Lodge in the Southern Alps of New Zealand

Image Š Patrick Reynolds

Design draws inspiration from the imposing grandeur of the vastly scaled glacial landscape

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The built object in the landscape has long been a challenge for New Zealand architecture particularly amongst the beautiful scenic backdrops of Aotearoa NZ. On this remote site, where architecture’s neighbor is ecology and geology rather than built environment, how might we address the problem of the isolated building?

Architecture Workshop’s strategy for the Lindis Lodge, a fivebedroom luxury lodge, in a remote glacial valley in the NZ Southern Alps explores this question.

property, in the remote and glacial Ahuriri Valley, draws inspiration from the imposing grandeur of the landscape. The roof contours - made from Spotted Gum hardwood lamella - is designed to mimic the weaves and folds of the valley,” said Christopher Kelly, Principal Architect at Architecture Workshop. “I saw this as an opportunity to create something special rather than a standard American lodge, which has its appeal, but both the building and the experience is different here.”

The architecture draws inspiration from the imposing grandeur of the vastly scaled glacial landscape and the weaving folded moraine across the valley that ensued - remnant topography from the glacial retreat 10,000 years ago. The strategy is to bind the building with the land and to make it an attribute of the site. Topography is the common ground for the disciplines of landscape and architecture and for their contribution to contemporary culture. The lodge effectively forms a new ground; a constructed topography that adds a further fold within the continuity of the existing glacial moraine.

In the Lindis Lodge, the visitor experience is encompassed between two layers; the excavated and embedded new ground in the moraine beneath intimate low black ceilings and the other light and woven, a soaring timber lamella perched on the riverside edge that hovers above to protect and most strikingly forms a new, and picturesque topography. Here the fragility and exposure of the solitary human figure within such physical and temporal vastness is in turn protected by the enveloping roof and the firelight flickering in the hearth, as in a high country musterer’s hut.

Image © Patrick Reynolds

Image © Patrick Reynolds

The site is exposed to an extreme climate ranging from 35 degrees Celsius in summer to minus

Image © Patrick Reynolds

“The vast glacial landscape is the precedent for the building. The

Image © Patrick Reynolds

Image © Patrick Reynolds

Image © Patrick Reynolds

Image © Patrick Reynolds

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16 degrees Celsius in winter with regular severe winds. The remote location is served by a fragile single-phase power supply. A backup generator is provided in the buried energy shed. The building is provided with a hydronic underfloor heating system, laid directly under engineered timber flooring to allow for quick response.

Heating and domestic hot water is provided by a geothermal heat pump system complete with a 25x12x3m large ground source collector field. Efficient LPG gas condensing boilers provide backup when needed. Gas fireplaces provide further comfort and atmosphere.

Potable water is filtered from the on-site bore and rainwater harvesting system and black and grey water systems discharge to the biodegradable on-site sewage treatment plant. The large overhanging roof incorporates an airtight membrane within the layer of R6.0 insulation. The two facades include low E double glazing with a R-value of 0.9 and thermally broken window frames on the riverside. Heat recovery ventilators provide fresh air and extract air ventilation. Ductwork behind the split stone chimney breast recirculates the heated air

in the 6.2m high Great Hall.

The detail construction layers of the parametric roof contours are the result of an established close collaboration between the architect and structural engineer.

A full-scale prototype piece was built, which led to the invention of ‘screw laminated’ fabrication for the spotted gum hardwood lamella enabling a cost-effective on-site assembly of the complex gridshell roof.

According to the architect, ‘screw lam’ involved 3 layers of 90x23mm spotted gum timber (10 times stronger than pinus radiata) bent in 3 layers on site between steel nodes and screwed together with pairs of screws at 150mm cns.

“The design intent is to bind the building with the land primarily by constructing a ‘new ground’.

For Architecture Workshop, responding to the strong topographical context was a strategy where architecture and landscape could resemble each other more and the integration of timber, both structurally and for finished surfaces of walls, floors and the ceiling, would reinforce the rising ecological consciousness of contemporary culture,” concluded Kelly.

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A triumph of biophilic, home-ownercentric architecture in Amsterdam Freebooter harmonizes form and function across a meticulously crafted layout Designed and developed by Amsterdam-based studio GG-loop, Freebooter is the first developed and designed biophilic residential project and an expression of the studio’s signature and philosophy of responding to a design brief with the experience and wellbeing of the end-user continuously in mind. The complex, situated in the center of Amsterdam’s Zeeburgereiland and with an eyeline to the Ij River, consists of two, two-bedroom apartments occupying 120 square meters each.

Image © Francisco Nogueira

A celebration of craftsmanship in contemporary design, this bespoke two-apartment block harmonizes form and function across a meticulously crafted layout. Boasting a parametric louvered façade, which is a focal point for the neighborhood, this block opens into a compact interior layout revealing combinations of window features, timber interiors and layered finishes. The picturesque Zeeburgereiland is the perfect backdrop for family living and entertaining, with open-planned organic curves walking through to comfortable living spaces, fostering a sense of wellbeing and connection to nature.

Sensitive to Dutch history, customs and culture, the project took as its starting point, the maritime past of the Netherlands. Like much of the Netherlands, Freebooter’s location of Zeeburgereiland was underwater until 1910, and the body of water surrounding in which it stands was the main thoroughfare for ships docking

into Amsterdam. Freebooter has thus become a modern-day ‘ship on land,’ with many references to wind, water and sail. Today, the complex is a focal point for the neighborhood that stands out in stark contrast to its neighboring buildings. On a land that belongs to this water, a new ship has set sail!

“We are part of nature in a deep and fundamental way, but in our modern lives we’ve lost that connection. Our studio envisions home and city design that respects both inhabitants and the environment, reconnecting both in the process,” said Giacomo Garziano, architect, designer and founder of GG-loop.

“Freebooter is a response to that; as I see biophilic design as the key to truly innovative design, balancing the technical aspects of environmentally conscious construction with the qualitative, lived-in experience of an organic and natural space.”

Maritime design was the main source of Freebooter’s aesthetic and was also a source of technical inspiration. The development’s construction was entirely prefabricated down to the last detail, with western red cedar, pine and steel the key materials used throughout each apartment - references to the materials used in ship-building. Freebooter also takes its cue from Dutch maritime history, and in particular to ‘Freebooters,’ historical figures who assembled freelance sailing teams to take to the high seas in search of adventure and new lands.

The main materials of the build,

like a ship’s hull, were limited to wood, steel and glass. The floor plan of each apartment, referencing a ship’s layout, is organic and free-flowing, with step-inclines to spaces that are designed to envelop and ‘unfold’ as the inhabitant moves through it. As well as acknowledging Dutch innovation and the nations’ pioneering nature, it was the spirit of the Freebooter that Giacomo Garziano sought to bring to the apartments. In the same way, Garziano brought together a highly skilled team of craftsmen and carpenters to help realize his vision.

One of the most important features of the Freebooter development is its use of light, itself famous in the Netherlands and used as the inspiration for some of the world’s most beloved paintings by the Dutch masters. As each home’s light changes every minute of every day and even seasonally, Garziano conducted a yearround study of light conditions to create the optimal shape and positioning of the structure’s louvers. This parametric facade enabled optimal distribution of light while simultaneously allowing for an appropriate level of privacy.

Freebooters were intrepid adventurers who had their ‘eyes on the prize’. The overall design has thus been inspired by their courageous spirit, as it explores new realms of design.

GG-loop’s design aesthetic is extravagant without being invasive, visionary and futuristic while paying attention to

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Image © Francisco Nogueira Image © Michael Sieber

“The Dutch have always been pioneers and innovators and have an incredible drive to go for it. So too did the team that built these homes,” concluded Garziano.

“The Freebooter development is an expression of GG-loop’s embracing of biophilic design - the notion that our built and living environment should not only be ‘green’ in terms of materials, construction, and energy efficiency features, but should be made of healthy and productive spaces to help us reconnect to nature and in which wellbeing is fostered.”

Image © Francisco Nogueira

Construction of the key internal elements required strong craftsmanship and timberwork, as well as solid structural expertise. The project is made from a hybrid structure of crosslaminated timber (CLT) and steel, and was prefabricated offsite, allowing for an exceptionally fast build-time of three weeks for the four floors. Finishing the block took place over six months. As a next step and in response to

developer-interest, Garziano is busy creating a modular, timber ‘active house’ version of the project that can be expanded over time.

Image © Francisco Nogueira

local cultures, customs and sensibilities. The floorplan, flow of spaces and organic lines were also created with careful consideration to daily use and the typical tasks of dwellers.

The end result is a home that is a healthy and productive habitat for rest and living.

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T.ZED Architects wraps ‘KOA Canvas’ with thermally-modified tulipwood Cladding element transforms into an outdoor shaded walkway and elevated public balcony

Image © Mark Goodwin

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Image © Simone Bossi

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spa treatment rooms and 2 infinity pools. This mixed-use development aims to re-interpret how people live, to re-imagine the public realm of cities, and last but not least to enable social interactions.

T.ZED Architects’ design approach was anchored in the investigation of the site itself, the opportunity of responding to a diverse set of expectations and programmes - in such a nontypical mixed-use development, as well as materializing the client’s vision into a forward-thinking architectural language and an urban catalyst for a new type of neighbourhood in a city like Dubai.

Image © Simone Bossi

T.ZED Architects have wrapped ‘KOA Canvas’, a unique new residential community in Dubai representing a new era in modernised urban property development, with thermallymodified American tulipwood.

Over 750 square meters of tulipwood thermally-modified (TMT) have been used to create the cladding element, which also transforms into an outdoor shaded walkway and elevated public balcony. KOA Canvas comprises a collection of 86 residencies, a member’s only workplace and social club (Nasab), a multi-purpose amphitheater, a photography studio, a café’ and restaurant, fitness facilities,

The project also presented the architects with an opportunity to identify a balance between a more traditional culture dictated by an existing framework - to be given a new life - and a modern one anticipating the needs of social customs of our times (internal courtyards and modern majlis).

KOA Canvas documented the successful and sustainable transformation of an existing office building into a thriving urban space for communal activities alongside the creation of an additional two new-built structures, with a variety of programmes that express contemporary architecture of the

Image © Anique Ahmed

Image © Anique Ahmed

Image © Anique Ahmed

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Image © Simone Bossi

Image © Simone Bossi

region. Despite Dubai’s natural desert landscape, the design approach for such a wider context in mind led T.ZED Architects to address the architectural proposition by absorbing and infusing the lush environment surrounding the site. This is highly reflected in the materiality chosen for the overall mixed-use development.

According to T.ZED Architects, the design brief presented by the client was very compelling.

The overall inspiration for the project came from the unique context and the visionary programme of the project.

The opportunity to intervene architecturally within an existing raw concrete structure while designing two new adjacent buildings allowed them to investigate how a sensible, seamless and successful conversation between the two different buildings could be established. In addition, the scale of the project, the design process and the high-level outcomes led T.ZED Architects

to investigate the brief on many levels.

“The eco-system and the site, the diverse set of expectations for a non-typical mix-use development and last but not least the client’s passionate vision were the greatest influences. From an architectural perspective, embedding nature into modern residential areas was also the most compelling driver. This level of accessibility, integration and ‘seamless indoor-outdoor living’ was a great design motivation and inspiration to us. This attractive prospect to redefine the modern language of buildings fits with our practice’s ambition to develop a contemporary architectural framework that is relevant and contextual to this region,” said Tarik Al Zaharna, Founder and Director, T.ZED Architects.

Thermally-modified tulipwood was used primarily as a shading element to prevent overheating of the double-height co-working,

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Image © Simone Bossi

KOA Canvas has its own strong identity, compelling context and programme, a sounding vision to produce a new model of modern living, whereby boundaries are not defined by where one lives, works and socializes. As a result, there was a clear vision on the part of the architects to design and build a development that celebrates materiality, natural light, natural ventilation as well as weathering.

T.ZED Architects have used TMT to not only shade the building, but also cross-ventilate it, and

Image © Simone Bossi

“One of T.ZED Architects’ key architectural values is materiality and the importance of experimentation with natural materials to the extent of manipulating and enhancing their natural qualities to accommodate the climate and the general context. With

KOA Canvas, we have proudly introduced a more innovative approach to designing buildings with natural materials, whose rationale deepens the vision of the programme sought by the whole project. Such an investigation allowed us to claim that the harsh environment - typical of the Gulf region - is actually conducive to revive and maximize the use of natural resources to the benefit of a physical contemporary structure while bringing harmony to human needs and enhancing human experiences,” added Zaharna.

Image © Simone Bossi

and closed office spaces. The south-facing and east elevations were clad in vertical TMT louvers that are operable when in close proximity to office windows. This vertical element offers shade to an outdoor amphitheater and creates a clear-cut line between the water feature and usable landscape. As the TMT wraps around the building to areas that receive less direct sunlight, the vertical turns to horizontal in order to create an extended pergola for shading of social programmes on the ground floor.

In plan, the TMT is offset from the building, tracing the sun direction as well as architectural programme of walkways, entrances and restaurant terraces.

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This is the first time that thermally-modified tulipwood has been used in these quantities in the region and T.ZED Architects are not afraid to let the development weather gracefully as has been communicated in the design brief provided by a highly motivated and visionary client. On their part, the architects are happy to demonstrate the benefits of using natural materials wherever possible, through craftsmanship, an acknowledgement of the context and the environment.

Although a large-scale project, KOA Canvas has been approached with all the finesse, craft and detailing to the level of a nichescale design. The result is a contextually relevant project that aims to contemporize regional

architecture.

“KOA Canvas, the first development under KOA needed to set the precedent not only for future developments under KOA, but also needed to challenge the status quo of how developments are thought of regionally. Amongst the many exciting features pertaining to KOA Canvas, an essential one is the fact that this building will weather and will stand the test of time in this arid desert climate. This is due to a fine balance between using the right materials for external cladding, landscaping and moulding the architecture in a way that relates to the sun-path and wind direction. Now that we understand the versatility of the material, we are looking to evolve the use of thermally-modified tulipwood into becoming a key component of the building's design as well as its performance,” concluded Zaharna.

Image © Anique Ahmed

According to Zaharna, the material was particularly pleasant to work with as it was easy to cut and mechanical fixing methods were straight forward. Due to its light weight, it was also easy to transport, and storage for acclimatization was done on site.

This enabled them to remain on track with regards to project timelines. Zaharna believes it was vital for them to partner with a leading industry organization such as AHEC, who was prepared to invest in and willing to promote architectural experimentation and research. As a result, KOA Canvas is a unique project that eventually reveals both its success and originality, without shying away

from the not-long-ago past where natural materials were adopted to traditional housing and other basic structures in the Middle East.

Image © Simone Bossi

“The use of timber has almost always been a common thread in our projects. We celebrate this material despite the slight stigma that comes with applying timber to buildings in the Gulf region.

The appreciation of weathering of buildings as well as finding opportunities to celebrate craftsmanship all lay in introducing 'lighter' elements in architecture; these opportunities present themselves perfectly by the use of timber in general. TMT, along with its durable properties, also provided a rich contrast in color to the quartzite stone building it shades behind. Our historical

collaboration fostered with AHEC stems back a few years and this was instrumental in understanding the opportunities for experimenting and favouring this material,” proclaimed Zaharna.

Image © Mark Goodwin

to have visual proof of passing time, all while being purposeful and aesthetically well-founded.

Internally, the architects have decided to acknowledge the dual aspect of the timber and have continued the material into some public spaces as a way of drawing the outside in.

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C.F. Møller Architects complete Sweden’s tallest timber tower Use of solid wood instead of concrete will save an estimated 550 tonnes of carbon dioxide over the building’s life

Image Š Nikolaj Jakobsen

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C.F. Møller Architects have completed the Tall Timber Building, which during its construction, became Sweden's tallest solid wooden building in the new district of Kajstaden at Lake Mälaren in Västerås. With the entire building including the walls, joists and balconies as well as the lift and stairwell shafts being made from crosslaminated timber (CLT), the project has become a landmark for the area and a benchmark for a sustainable future.

Kajstaden is a central residential neighborhood near the water in the Öster Mälarstrand area of Västerås. The new neighborhood

is designed as a city block and is a natural extension of Västerås city center. The area includes Mälarparken and Notuddsparken, which link together to form a cohesive green area. The neighborhood has a generous view of Lake Mälaren and is located directly adjacent to the square and the quayside promenade.

Timber construction means sustainability, at least according to C.F. Møller Architects. In recent years, the Scandinavianbased architectural company has focused on the use of timber in construction, as this can create huge CO2 savings.

Image © Nikolaj Jakobsen

Image © Nikolaj Jakobsen

Image © Nikolaj Jakobsen

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Buildings made of timber also have a positive effect on the indoor climate and the people living in the buildings. This is something to be welcomed by the first residents who are now starting to move into Sweden's tallest solid-timber building.

Sweden's tallest timber building

The building is situated in the Kajstaden district of Västerås, an hour's drive from Stockholm, with beautiful views of Lake Mälaren. Kajstaden Tower is 9 storeys high, with an elevated ground floor and a double height top floor. All parts of the building including walls, beams,

balconies, lifts and stairwells, are made of CLT. The building was developed in close collaboration with Martinsons, Bjerking and Consto AB, with Slättö Förvaltning as the client.

“The building in Kajstaden constitutes a new chapter in the history of construction, as it is currently Sweden's tallest solid-timber building. Through research projects and our other timber projects we have focused on innovation and contributed towards developing ways of realizing high-rise buildings made of timber. Industrial timber technology also provides architects with better tools for

designing beautiful houses that boast a high degree of detail,” said Ola Jonsson, Associate Partner at C.F. Møller Architects.

Timber has a number of advantages

The advantages include the fact that timber is a renewable raw material, and the fact that buildings made of solid timber have very low energy and carbon footprints. The use of CNCmilled solid timber and glulam constitutes a high-precision technology and provides an airtight - and thus energyefficient - building without adding other materials to the walls. The low weight of timber

also means fewer deliveries to the construction site and thus a safer, quieter and more efficient working environment during construction.

In the building in Kajstaden, there are four flats on each floor, and each floor has taken four craftsmen an average of three days to put together. Mechanical joints and screws have been used, which means that the building can later be taken apart and the materials can be reused.

“Wood technology facilitates a value-adding lifecycle perspective in all stages of construction and is crucial to the goal of a bio-based

Image © Nikolaj Jakobsen

circular economy. The total carbon dioxide savings from the use of solid wood instead of concrete are estimated at 550 tonnes of carbon dioxide over the building’s life,” added Rob Marsh, Sustainability Manager at C.F. Møller Architects.

Timber is part of a sustainable future

C.F. Møller are currently engaged in construction projects across a total area of 100,000 square meters with a focus on the use of solid timber in Sweden and the UK, and hope to be able to help push the construction industry in a more sustainable direction by realizing these projects as good examples and sharing

Image © Nikolaj Jakobsen

Image © Nikolaj Jakobsen

Image © Nikolaj Jakobsen

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its knowledge of building with timber.

"We’re delighted that more and more timber buildings are to be built. It’s the total critical mass of sustainable buildings in our towns and cities that will be crucial to the attainment of a positive impact on our planet. C.F. Møller hopes to be an important contributor to the development of timber construction and is involved in various development projects and networks in the field of sustainable construction in Scandinavia and internationally, its aim being to share its knowledge and what it has learnt from its colleagues," said Jonsson.

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SCM to host comprehensive programme of live link-ups and webinars Registration for ‘SCM Live Show’ is now open on the group website

SCM Group, a leader in wood processing technologies since 1952, is set to present its latest technologies to industry experts and companies using new tools and state-of-the-art multimedia channels. This is the aim of the ‘SCM Live Show’, which will be streamed live from June 30 to July 2, 2020. With key industry events being cancelled or postponed until the end of the year, SCM continues to offer all its support in terms of technology and knowhow to the production needs of wood processing businesses, from large industries to artisans, from furniture to windows and doors

to joinery.

With the ‘SCM Live Show’, the Italian group has prepared an extensive programme of live link-ups and webinars, which will allow participants to be a part of the technological change in progress, from all over the world via the internet, on all three days of the event. More importantly, participants will be able to interact with SCM experts just like they would in a real live TV show.

Experts will illustrate what’s new for each wood machining process as well as the most important market trends, all live from the

Technology Center in Rimini and other Group plants.

“We are experiencing a period of dramatic changes and SCM is transforming a need, that of maintaining relations with its partners, into a genuine digital strategy,” explained Luigi De Vito, Wood Division Manager at SCM. “Over the last few months, we have been doing this by continuing to guarantee and optimize all our maintenance activities, assistance and training remotely with our digital tools and services, and we do so with even greater conviction today, by

organizing a unique event at world level such as the ‘SCM Live Show’.

The technological innovation, which has always distinguished SCM with its increasingly performing, flexible and evolved solutions, will combine with a communicative and multimedia innovation, ready to mark a new page in the history of wood processing.”

Latest technologies

The numerous technological events taking center stage during the event – standalone cells and machines integrated with one another, dedicated to different

Image © SCM

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application environments – will be capable of meeting the varied production needs of secondary wood processing: from upgrades for the wide range of machining centers and panel drilling to machining centers for solid wood and timber construction; from proposals for flexible and j-shape industrial edgebanding, to angular sizing; from integrated surface treatment, with the latest solutions for pressing, sanding and finishing, to state-of-the-art solutions for packaging; from specific technologies for windows and doors and integrated lines for doors, to models for squaring-

tenoning and profiling.

The SMART&HUMAN FACTORY will play a key role for the furniture industry. Successfully launched at LIGNA 2019, it will be presented again during the SCM Live Show with new advantages aimed at further increasing the productivity and flexibility of panel machining processes, to reduce refuse and waste, and optimize the quality of the end product even on more delicate materials. The new version will showcase various configurations, which this production model could take based on the customer’s

production requirements. It is made up of flexible, modular automated cells integrated by anthropomorphic robots and interconnected by intelligent AMR unmanned shuttles.

Sizing/nesting cell: The morbidelli x200 nesting machining center, designed for ‘batch 1’ flexible production will be directly integrated into the high performing flexstore hp automatic warehouse for shaped panels. This allows the stored and labelled panel to be directly loaded onto the worktable, which protects those panels with a

delicate surface. Once the nesting function has been completed, an anthropomorphic robot directly unloads the cut panels from the worktable, to then position the different cut parts on the AMR shuttles that head off towards the different cells.

In terms of management of smaller pieces and waste, the robot picks these up, making them available for future madeto-order productions with a considerable optimization of the materials used. The cell is also designed so that all the panels with no problems of delicate

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SCM will show its unique industry strength as an exclusive all-round partner in providing technologies for sanding, pressing and painting for businesses looking to achieve exclusive, quality finishings.

Examples of integrated process will be illustrated during the virtual event, including flexible painting cell for the veneered panel with structured effects and painted MDF panel; painting panels with the latest 3D effects and super opaque finishings; and 3D lamination for laminated panels with 3D patterns and laminated routed doors.

Image © SCM

Digital software and services

surfaces can be manually unloaded from the belt. In parallel with the nesting which, by cutting into single sheets, offers excellent flexibility, is the ‘pack’ cut done with a blade that guarantees high productivity on repetitive logical cuts. This function will be done by the new gabbiani p80 sizing machine, distinguished by the ‘Saw-set’ device for a more rapid, exact setting of the tools and the new advantages including the 60 and 80 mm blade projections, an additional extractor outlet on the presser and the automatic blade release with a switch.

Flexible edgebanding cell: The new ‘batch 1’ stefani cell E is configured with an anthropomorphic robot for complete automatic management of the panel loading/unloading operations.

The solution combines the advantages of customized production and large volumes with a compact overall design and, above all, with an accessible investment even for SMEs. Parameters like color, edge thickness, the position and depth of the mortise, the

management of the protective film and panel sizes can be continually changed without interrupting the production flow. With the new ‘pickback’ bridge system for the automatic return of panels, the panel is automatically rotated to speed up the next in-feed. It will also be possible to unload at the end of the cycle in masked time with the next loop load.

Packing cell: This cell is the ideal solution for furniture kit manufacturers and will include two machines – the cut c 200, an automatic punching machine for just in time cutting and production of an open cardboard box, with the required sizes and shape; and the pack c 100, an automatic solution for packaging with hot melt glue, starting with the pre-punched sheet of cardboard. All the operator will have to do is position the product for packaging on the open box (in this case the panels coming from the edgebanding cell) after which the upper lid will automatically be closed by the pack c 100.

Thanks to the automatic measurement change setting, packages can be created with

At the forefront of the ‘SCM Live Show’ is the ‘Digital Integrated Woodworking Process’, which will demonstrate how software and digital services can support the customer at each stage of the process in creating a piece of furniture: from planning and preparing the data to machine production, right up to production monitoring,

In response to production planning needs, SCM will also present a manufacturing execution system (MES) solution integrated into the SCM machines to assist customers with programming and managing the production flow. The new HMI multi-touch Maestro active will demonstrate how control and even simpler, better interaction with the machine can be achieved at the production stage. Finally, in support of the production monitoring stages, machine maintenance and after-sales service, the new Digital Services enabled by the Maestro connect platform will also be presented.

To register for the SCM Live Show, please visit: www. scmgroup.com/en/scmwood/ news-events/events/e112523/ scm-live-show

Image © SCM

Integrated surface treatment

maintenance and after-sales service. For the data preparation stage in the machinery, the new programming software versions will be presented for the Maestro cnc machining centers and Maestro ottimo CUT cutting optimization.

Image © SCM

different size boxes, positioned in sequence on the roller.

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Image © David Foessel

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JCPCDR Architecture suspends its ‘Flying Table’ using detachable seat belt inspired mechanism

Image © David Foessel

Space-saving piece can be used as a desk, meeting table, dining table or coffee table

Image © David Foessel

Image © David Foessel

Image © David Foessel

Image © David Foessel

Image © David Foessel

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“I wanted to design a large table that could meet a variety of needs

Image © David Foessel

Its mechanism is made possible by several techniques, inspired by everyday objects including detachable straps like ‘seat belts’, electric curtain motors, integrated lighting, and folding legs. These details including the floorstanding legs and the remotecontrol transmitters are all hidden in a rather rustic-looking tray with sleek, contemporary lines.

“This is a table with entertainment value, it was designed as an everyday architectural object, versatile and functional,” added Petillault. “The table is suspended from four safety belts, which are fastened to a docking station on the ceiling.

The belts are wrapped around a roller shutter motor that allows

Image © David Foessel

Petillault got the idea for the table whilst working on various office renovation projects in Paris. According to the architect, due to the limited space in Paris, it is very important that rooms remain versatile and can be used for different purposes. Meeting rooms, for example, are not always occupied, but take up a large part of the building plan and are often filled with furniture, which are not very flexible in terms of their use.

and adapt to different situations.

A table that can be stowed away without much effort and as attractively as possible brings a previously unattained flexibility to every office - from the mobile Tiny Office to the open-plan complex,” says Petillault. “Depending on the chosen height, it can be used as a desk, meeting table, dining table or coffee table. Afterwards the table slides to the ceiling via a remote control.”

the table to be lowered to the desired height.”

Petillault has designed a table made of solid oak, which is connected to a docking station on the ceiling by a pulling mechanism. The table can either hang from the belt attachment or stand firmly on the floor via the fold-out legs. The belts are retracted from the docking station by remote control and extended again as required. Should more space be required, the table makes room and disappears to the ceiling.

Image © David Foessel

Architect Jean-Christophe Petillault from JCPCDR Architecture has designed a particularly space-saving version of a table in these unprecedented times of working from home. As a study around the paradox between simplicity and technology, the Paris-based studio designed the ‘Flying Table’ to be an everyday architectural object, both highly versatile and functional. The result of the studio’s study is this fun table, which, as its name suggests, can be suspended from the ceiling, assembled as a regular table, or tucked away when not in use.

According to Petillault, the lighting integrated into the ceiling element has both functional and aesthetic value and also provides a slightly futuristic touch. The rounded light strip gives the solid wooden

furniture a certain lightness. This design allows a traditionally large and heavy piece of furniture to become a versatile, playful and contemporary object.

“As a desk, dining table, meeting table or coffee table, this piece of furniture is designed with the spirit of flexibility, which allows it to adapt to several uses or spaces, while offering an object with a strong visual identity and without compromise,” concludes Petillault.

It can be used in homes, offices, workshops - basically any place where one would use a table. The only difference being that the user is also able to use their room for different purposes. Whether on the ceiling or on the floor, the ‘Flying Table’ will always remain a luxurious and sharp architectural feature but won't get in the way.

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