COMMERCIAL DESIGN
GRADE A OFFICE MARKET
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CONTENTS 30 8
WORKPLACE Charter Hall, Sydney An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace 10 DNV GL Technology Centre, Singapore When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round 16 Kimberly-Clark, Chicago This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research 24 Dentsu Aegis Network, NetApp and Pacnet, Singapore Designed and built by interior design firm D’Perception, these projects reflect a close understanding of workplace efficiency and offer a ‘wow’ factor at the same time 30 Golden Agri Resources and Golden Stena Weco, Singapore These interiors projects optimise company promotion and business efficiency through striking aesthetics – designed and delivered by One Stop Creative 38
56 Cover
With its 31 stacked blocks arranged in a hexagonal pattern, The Interlace creates a new form of vertical village. These buildings enclose large courtyards that provide a wealth of recreational facilities. The project was developed by CapitaLand Singapore, and designed by architect Ole Scheeren working for OMA. Read more on pages 64-71.
City Serviced Offices, Singapore These office environments offer the benefits of standardised design but respond also to individual needs – the spaces are by One Stop Creative 40 Office Renaissance Property markets were fairly resilient during the GFC, with most rebounding within a short period – Leslie Chua, executive director Asia, IPD 42
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EDUCATION MIT Manukau Campus, Auckland This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange 48 Tyree Energy Technologies Building, UNSW Creating a new technologies building gave this university an ideal opportunity to walk the talk for sustainable design 56
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APARTMENTS The Interlace, Singapore With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement 66 Eliza, Sydney While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century 72
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PROJECT PORTFOLIO Grant Thornton House Podium, Wellington Boasting a contemporary profile and transparent, engaging aesthetic, this prominent building has been given a facelift, and now opens up to shoppers at street level 80
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INDEX
There are many reasons behind the rapid evolution of office design. Technology is one – wireless networks and smart phones mean employees no longer need to be tied to a single workstation. But a more collaborative approach to problem solving is probably the biggest instigator of change. There is a growing recognition that communication and flexibility are vital in the workplace. @DavidJideas facebook.com/trendsideas David Johnson
In this issue of Commercial Design Trends we profile office projects that are indicative of the growing move towards activity-based working, where one size does not fit all. These offices place an emphasis on sustainability, collaboration and opportunities for interaction. But they also recognise the need for plenty of natural light, quiet zones and breakout areas. These projects also highlight another key change – the need for stimulating office environments that bring a little fun to the workplace. Bright colour accents, funky designer furniture, leafy plants, indoor-outdoor rooms, and café-style kitchens are de rigeur. Today, employees are given every encouragement to be the very best they can be, and the results speak for themselves. In this issue, we also profile two dramatic apartment buildings with a real point of difference. The Interlace apartment complex in Singapore shows that great design isn’t just for an elite few – it can also transform more populist developments. In another story, the upmarket Eliza apartment building in Sydney was designed using parametric computer modelling, which enabled a cost-effective undulating facade where every floor is different. All this and so much more. Check out the tertiary education projects, which showcase new learning methodologies – not unlike the holistic approach to office design. Happy reading
Managing Editor John Williams – john.williams@trendsideas.com Regional Sales Director – SE Asia Hans Geese – hans.geese@trendsideas.com Editorial Editorial Director Paul Taylor Home Series Editor Kathleen Kinney Digital Editor James Gilbert Subeditor Jane McKenzie Senior Writer Colleen Hawkes Staff Writer Charles Moxham Email editorial@trendsideas.com International Business President Judy Johnson – judy.johnson@trendsideas.com General Manager Trends Media Group Louise Messer Director of Strategic Planning Andrew Johnson – andrew.johnson@trendsideas.com Executive Assistant Marinka Simunac
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A glass cube suspended above a void increases the drama of the new Charter Hall offices in Sydney. Beneath is a dedicated focus zone, where employees can choose from a vast array of potential work environments.
An exposed white diagrid defines the exterior of this new university campus and transport interchange. The facade references traditional weaving patterns that express the idea of both craft and technology.
Parametric modelling was used to design the fluid, undulating facade on the Eliza Apartments building. The top three floors are stepped back to maximise the sun and views from the penthouse.
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SECTION FOCUS WORKPLACE
SHARED EXPERIENCE Modern office design ensures employees are engaging on many levels as traditional workplaces give way to transparent, collaborative environments where flexibility is key
Project Charter Hall office
Location: No 1 Martin Place, Sydney
Architect: BVN Donovan Hill Architecture
SEA CHANGE An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace
When you are in the commercial property business, you are in a prime position to notice major trends in the workplace. And so it was for Charter Hall, an Australian company with an office, retail and industrial property portfolio in excess of $11 billion. Joint managing director David Southon says the company was well aware of the move towards activity-based working and investigated the potential for its new Sydney office at No 1 Martin Place. “Although our former building had an open-plan workplace, we were operating over a number of levels that were not well connected,” Southon says.
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“There was also no link between workstations and the more public parts of the office. It didn’t help that the building was old and tired and did not suit our long-term aspirations.” The company commissioned activity-based work experts at Veldhoen + Company to consult on possibilities for the Charter Hall workplace, and chose to implement such a model in its new premises, designed by BVN Donovan Hill Architecture. “We had the opportunity to accommodate the office over two connected floors,” Southon says. “But this was not just about creating a much more open and transparent workplace; it was also about
Preceding pages:A glass cube suspended above a void increases the drama of the new Charter Hall offices in Sydney. The soffits along the edges of the void feature mirror panels that help to ensure all parts of the office can be seen. These pages:Timber accents provide a warm, welcoming interior. So, too, does the informal entry, which features a concierge, rather than a traditional reception desk.
introducing a whole new way of working that would be significant cultural change for the company. Employees would have the freedom to work wherever they wanted, depending on their needs at any particular time – this office model recognises that one size doesn’t fit all.” Architect Abbie Galvin of BVN Donovan Hill Architecture says the new building provided a large floorplate over two levels that allowed for flexible planning to accommodate the required elements. There were also large windows to bring in natural light to most areas. “Charter Hall proposed a collaborative floor on the upper level and a focus floor on the lower level, with some crossover,” Galvin says. “We introduced a new generous stairway to physically and visually link the floors and to provide transparency and connection throughout the office. “Essentially, we removed two structural bays and wrapped the soffits at the edges of the void with mirror panels. These reflect the parts of the office you can’t see. We also added mirror panels to the ceiling, almost like a series of frescoes. These reference the company logo and give the entire space a little sparkle, creating an uplifting environment.” Creating a warm, welcoming office was crucial, for employees and visitors. Everyone entering the office arrives at the upper level where there is a concierge, not a reception desk.
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“The traditional barriers have been removed,” says Galvin. “When you come into the office, you are not confronted with a guard house – instead you immediately feel part of the Charter Hall hub. And the whole office is on view, and activated, so it is a very dynamic environment.” This animation is enhanced by a clear glass box accommodating a meeting room that appears suspended above the void. The team calls this The Lookout. Another active part of the office is an elevated timber platform that runs the length of the building beside the windows. This is a collaborative area known as The Deck, where staff can meet and connect both formally and informally. The tables can be grouped or moved aside to create a large space for social gatherings. Because the platform is stepped up from the main office, it retains a sense of separation without being cut off from the rest of the interior. “This is very much a town hall space,” Southon says. “It is used for our regular big breakfasts and drinks on a Friday, and it can be used for client events. It enhances the transparency of our business for our customers and stakeholders.” The lower floor presents a raft of different work environments, with employees able to sit or stand at workstations, sit at a table, in a lounge chair or in a lab space where the chairs are high and the
Below:A raised timber platform, called The Deck, creates a collaborative zone that can be used for social events and informal meetings. Right:The Deck runs the length of the office beside the windows, ensuring the natural light and views are maximised.
Left:The lower level is a dedicated focus zone, where employees can choose from a vast array of potential work environments. Below:Employees can group together while working on a shared project, or opt for breakout zones.
tables are bench height. There is also a high-focus zone, where people can work uninterrupted, and bunkers where workers can make confidential calls. “For most of the office, there are no partitions blocking the visual connectivity,” says Galvin. “Even when someone is sitting in one of the huge hood chairs, they can still have a sense of engagement with the office – they are not isolated.” The flexibility is supported by the latest office technology. Employees have new laptops and soft phone solutions, while the entire office is wireless and features new LAN connections and high-end audiovisual solutions. The use of paper in the office has been greatly reduced. In keeping with Charter Hall’s philosophy, sustainable alternatives were specified wherever possible. Natural light is maximised, products and timber were sustainably sourced, and the joinery
was modularised for minimum wastage. The design also ensures employees retain a sense of connection with the outside, no matter where they sit. Southon says there has been a noticeable lift in energy, enthusiasm, engagement and collaboration since the team moved into the office, and plans are under way to roll out the model regionally. “Charter Hall has always prided itself on its ability to deliver smart property solutions for clients by knowing the market and being able to take advantage of opportunities as they arise. Our new office supports this business focus by enabling greater collaboration, increased business efficiency and sustainable business growth.”
Project:Charter Hall office, Sydney Architect:BVN Donovan Hill (Sydney) Interior design:BVN Donovan Hill; specialist graphics and signage by Urbanite (part of the Frost collective) Workplace consultant:Veldhoen + Company Construction company:Isis Mechanical and electrical engineer:EMF Services Quantity surveyor:MBM Fire consultant:EMF Services Window and door joinery:X-clusive doors and glass auto sliders Automatic gate:Centaman
Blinds:Silent Gliss Wall and floor tiles:Nash Tiles Paints and varnishes:Mars Lighting:TLE Artarmon Office furniture:Workstations from Living Edge; chairs and coffee tables from Jardan; additional furniture from Unifor, Wilkhahn, Corporate Culture, Stylecraft Security system:Hud Security Signage:Wizardry
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Story by Colleen Hawkes Photography by Shannon McGrath SEARCH | SAVE | SHARE AT trendsideas.com
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Project DNV GL Technology Centre
Location: Singapore
Interior designer Aedas Interiors
COMMON GROUND When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round
Mergers invariably spark changes that may include relocation along with a close study of work practices and requirements. Such was the case when Norwegian firm Stiftelsen Det Norske Veritas (DNV), a company involved in a wide variety of international risk assessment and advisory roles across a range of industries, merged with German-based Germanischer Lloyd, to become DNV GL. With the need to relocate to a new seven-storey office tower in Singapore, the expanded company’s fit-out had to combine several elements, including a green agenda and a strong sense of coming together. When interior design company Aedas
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Interiors came to the DNV GL Technology Centre project, the client’s goal was to achieve a workplace that would reflect the firm’s proud heritage, its diverse businesses, and its sense of unity as a global company, says project designer Steven Shaw. “Aedas Interiors spent several weeks with the different business groups and the leadership team to understand what this meant and how it could be applied to the new building, which had to bring together several business groups previously spread across a number buildings. “During this period, it became clear to the design team that a key part of the company’s social culture
These pages:The fifth-floor reception lobby of the new head office of global giant DNV GL is intended as a common point of entry for all staff. High-visibility stairways lead to other floors. A 3-D MDF board above the reception picks up on the water and waves of the company’s previous logo, creating an eyecatching feature.
was the morning arrival process,” says Shaw. “However, this communal ‘moment’ could have been lost in the new building as staff would be able to move directly from the internal carparks on levels two and three directly to their own floor – bypassing the fifth-floor reception.” To retain this vital aspect of team bonding – even more important with so many previously unrelated business groups coming together – the arrival and base building lift strategy was reconsidered. “We inserted a void and stairs to link staff socially across the four upper office levels. The
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ground floor is used for external training and levels two and three are for parking. The eventual solution added a second set of lift doors that open directly on to the fifth-floor reception. The lift is programmed so that all staff and visitors arrive here, and then move through the workplace via the stairs in the atrium to capture the sense of community,” Shaw says. “The expanded stair voids also bring a strong sense of visual connection between floors.” The overall design concept reinforces the Norwegian heritage of DNV – mainly through the
Below left:The light colour scheme gives this office floor an appropriately Scandinavian feel. Birch tree graphics vary floor-tofloor, acting as way finders. Lower left:This conference room near the circulation stairs looks out to a collaboration space. Right:The DNV GL corporate colours of green and blue feature throughout the interior. Lower right:Front-of-house breakout areas are airy and open.
use of colour, details and furniture selection. “An emphasis on white and light-toned wood species evokes the Scandinavian feel. This is reinforced through environmental graphics that showcase images of Norway. The columns on each floor are wrapped with graphics of birch trees. These are shown in different seasons on each level and act as wayfinding elements, so visitors know where they are at a glance.” The overall green and blue colour scheme is based on DNV GL’s corporate identity. The layout of the desking also facilitates easy
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staff connection. Low partitioned workstations create an open-plan workplace that allows lines of sight right across each floor. Meeting rooms, quiet rooms and utility areas are located at the core to maximise natural daylight on the desk surfaces. The 120º workstations are used instead of benching to define individual workspaces, while also fostering collaboration and teamwork in groups. Breakout areas are located on each office floor in close proximity to the atrium. A variety of spaces provides for dining and casual coffee breaks as well as working and informal meetings.
Below left:The level seven breakout connects to a rooftop garden and barbecue area. Lower left and below:The level one entrance includes a security counter and waiting area, as well as training and relaxing spaces.
The level seven staff area at the top of the stair void opens to an outdoor terrace and garden, which is used for staff and client functions. While the upper office floors are dedicated as workspaces, the ground level is used for external training programmes that DNV GL runs for clients. This area is supported by breakout spaces for group coffee breaks and lunches. The adaptable training rooms can be converted into one large room to accommodate bigger groups. Graphics on this floor express the company’s four key business groups: Maritime, Oil & Gas, Energy and Business
Assurance. The bold images and a video wall are visible from the outside, acting as a giant billboard. “A primary vision for the client is to have a global impact for a safe and sustainable future,” says the designer. “To communicate this message, the facility was designed to achieve BCA Greenmark Platinum for office interiors. Design strategies that were key to gaining this accreditation include efficiency in planning, use of environmentally friendly materials, the installation of a green wall, and the creation of a central waste management recycling collection area.”
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Left:Function meets feature – this level one training breakout space is highly visible from outside the building. The lower box is a meeting room and the skewed upper box displays graphics and a video wall.
Project:DNV GL Technology Centre, Singapore Architect:DCA Interior designer:Aedas Interiors; design team, Steven Shaw, Eric Magno and Julia Agonoy Construction:Ngai Chin Construction Mechanical and electrical engineer:WSP Ng Pte Ltd Quantity surveyor:WT Partnership Partitioning system:Hufcor from MTM Solutions Blinds:Tachikawa Blinds and Somfy motor from TTS Window Fashions Drapes:Double-pleated, manual by TTS Window Fashions Tiling:Italian silver Beige travertine from Surface Stone; Bisazza from Bisazza Singapore Flooring:Interface carpet from Contrac-Image Trading Wall treatments:Frequency 101 Echo Panel from Woven Image; Instyle Circuit from Infinity Pte Ltd Ceiling:Cirrus 75 and Armstrong Metalworks lay-in System with Peak Form Silhouette Grid 22
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Veneers:Tubao Oak engineered veneer Paints:ICI Dulux; Akzo Nobel Paints Lighting:Trilux and ALW from LuxSpace Workstations:Mascagni from Ergoworld Office chairs:Hag from BW Furniture Reception furniture:Viccarbe from BW Furniture Additional furniture:About A Chair, white; Bella coffee table, birch wood; Bella Rectangular Desk, white and birch; Bjorn in grey; Mags ottoman; Hee barstool and lounge chair, white; Alcove Highback sofa in green, blue and grey Kitchen equipment:Zip HydroTap Story by Charles Moxham Photography by Owen Raggett resource list | plan | images Search 44703 at trendsideas.com
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Project Kimberly-Clark office
Location: Chicago, IL
Architect: Eastlake Studio
PAST MEETS PRESENT This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research
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Below:Reclaimed maple wood floors from an old factory bring visual warmth to the interior of the new Kimberly-Clark offices in the refurbished Civic Opera House building in Chicago. The reception area features Eames chairs on a green carpet.
Modern business isn’t necessarily best suited to a state-of-the-art contemporary building. Sometimes, the most inspiring workplace is one imbued with character that has developed over many decades. When global manufacturer Kimberly-Clark went looking for a new Chicago office for its social media research team, it was the 85-year-old Civic Opera House building that came up trumps. Architect Tom Zurowski of Eastlake Studio, who has been involved in the building redevelopment, says the Civic Opera House had long been hailed as an iconic Art Deco building. “The interior, however, was not somewhere a young workforce would aspire to – it was regarded as a somewhat stodgy old building with lots of small, enclosed offices. “On the plus side, the building is right on the Chicago River, so it has extensive views. And the penthouse floors where this office is located had the advantage of large windows on three sides.” Eastlake says the new building owner had already gutted the floors, leaving just a bare shell with exposed services. “Our job was to make the spaces habitable, by ensuring they met local building codes, which was challenging. This included creating a second egress on the upper level of this office.” The architect says the building was redeveloped to meet the needs of young professionals, who are commonly looking for older character buildings that cater to modern technology requirements, and have additional amenities – this building features a fitness centre, entertainment deck and bar. “This office also reflects a growing trend in office design, whereby personal space is shrinking and shared space is growing.” Interior designer Cindy Howery of Potter Lawson, who was commissioned to design the interior for Kimberly Clark, says the office epitomises this new workplace model. “This is social media research in action,” Howery says. “It is more about working in cafés than cubicles, and using laptops, tablets and phones. SEARCH | SAVE | SHARE AT trendsideas.com
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“The team wanted to walk the talk with an office that reflected the way they worked. This was never going to be a typical corporate workplace.” In keeping with this design brief, the entire office is open and transparent. Demountable Muraflex glass walls provide acoustic privacy for meeting areas but ensure visual connections remain. Staff are encouraged to use the entire office, not just the workstations. No-one is assigned a particular desk; workers log in each morning and work wherever they need to be. This may be at a collaborative table, workstation or in one of the many breakout areas, which include an area with a green carpet and picnic table. Sun loungers and a kitchen island with bar stools are other options. Howery says the head of the department loved the raw, exposed loft-style aesthetic of the original, gutted interior. “He would have liked us to do nothing,” she says. “But we needed to ensure the materials were durable and that it would be fit for purpose. The floor, for example, looked like raw concrete, but was actually a softer subcrete that had to be
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covered. We didn’t want carpet, vinyl or tiles, so opted for reclaimed maple wood from an old factory. This not only works with the look, but also references the company’s Midwest origins. The wood helps to warm the space visually, but doesn’t detract from the very clean, crisp feel.” Reclaimed barn wood from the Midwest is another key feature. The wood wraps a large structural column in the centre of the office, and also clads the stair core. A new HVAC system was left exposed in the ceiling, along with the existing pipes and cables, which were painted white to match the ceiling. Stairs that lead up to meeting and training rooms were also painted white, and much of the furniture is white. Large 80in televisions are suspended from the ceiling in many areas. These can be used to share information from individual computers. The office also has a dedicated lab with a bank of screens. The natural lighting that illuminates most of the interior is supplemented by unobtrusive strip lighting, cylinder cans and pairs of pendant lights.
Below:Large circular windows on the top floor are among the original Art Deco features that captured the attention of the Kimberly-Clark team. This area is used for meetings, corporate training and webinars. Top right:The office presents several breakout areas that workers are encouraged to use. This front-of-house kitchen features a sink and small refrigerator and can be used for entertainment purposes. There is also a more functional kitchen area for workers. Lower right:White furniture enhances the crisp, clean aesthetic.
Left:Mobile cabinets at each workstation can be moved easily. The room at the rear is a research lab. Right:Ceilings and exposed mechanical services were painted white to enhance the light, airy interior. Lower right:The Kimberly-Clark offices occupy much of the floor space on the upper two penthouse levels.
Project:Kimberly-Clark offices, Chicago, IL Architect:Tom Zurowski, Eastlake Studio, Chicago, IL Interior designer:Cindy Howery, Potter Lawson, Madison, WI Construction company:Reed Construction Mechanical and electrical engineer:Kent Consulting Partitioning system:Muraflex Blinds:MechoShade Wood flooring:Reclaimed white barn wood from Stone Source Ceiling:Optima by Armstrong Paints:Benjamin Moore Workstations:Herman Miller Canvas Office chairs:Steelcase Gesture
Reception furniture:Herman Miller Eames molded plywood lounge chairs Additional furniture:Herman Miller Swoop chair, Coalesse SW 1 chairs, Bertoia bar stools, HBF Nest and Dialogue chairs, Davis Join chair Story by Colleen Hawkes Photography by Steve Hall, Hedrich Blessing save | share Search 44646 at trendsideas.com
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Project Dentsu Aegis Network, NetApp, Pacnet
Location: Singapore
Interior designer D’Perception
DYNAMIC PRESENCE These projects reflect a close understanding of workplace efficiency and offer a ‘wow’ factor at the same time – D’Perception designed and built the interiors
A contemporary fit-out of a company’s offices goes beyond creating efficient workplace systems. Strategically reworked spaces will likely offer a vibrant calling card for the client and promote pride, wellness and enhanced productivity in staff. This is the design philosophy of D’Perception, a Singapore-based interior design firm that opened its doors in 1991. Short for Design Perception, D’Perception offers a variety of services, from professional design and build projects to design consultancy, project management and full facilities management, says executive director Andy Chua.
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“We take great pride in offering exciting new concepts in design to enhance output, increase efficiency and facilitate flexibility and collaboration in the workforce. Essentially, our goal is to make environments more human-centric and productive. As one of the largest independent interior design firms in Singapore, with a full-time staff of 140, D’Perception offers full-suite interior design consultancy and turnkey solutions for a variety of commercial disciplines. With registered offices right across Asia Pacific, the company’s perspective and reach is broad – and it has an excellent track record of successful projects with global and local clients.
Below and right:Commercial interiors specialist D’Perception undertook the contemporary fit-out of Dentsu Aegis Network offices. Bold colour accents, plantings, and curving ceiling elements all contribute to the contemporary ambience. Lower right:Circular breakout spaces provide both transparency and a degree of privacy. Snaking carpet forms act as wayfinders.
This page:The reception area at Dentsu Aegis Network features a glass stairway, flowing graphics, and an abundance of natural light.
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Working as a cohesive team, D’Perception is always looking for ways to add value to its services. Key descriptions would be ‘affordable’ and ‘reliable’. “We use value engineering techniques to ensure you get the quality you want, at a price you are more than comfortable with. And at the same time, we deliver on time, on budget, world-class design and aesthetic strategies for corporate offices, retail premises and hospitality establishments.” Andy Chua says D’Perception can match and beat most industry competitors, and has the track record to prove it. As one of few ISO-accredited interior design firms in Asia, the company gives clients reassurance that it meets industry-approved operational standards and procedures at all times. The projects seen here – Dentsu Aegis Network, NetApp and Pacnet – reflect the company’s calibre. The first fit-out, at One Raffles Place, was for brand, media and digital communications services provider Dentsu Aegis Network. The firm asked
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D’Perception to create a collaborative workspace for multiple entities. The overriding office dynamic had to be energised, innovative and connected. “In response, this project features colourful breakout volumes and long lines of sight through the open-plan spaces,” says Chua. Key features were the futuristic reception, a back-lit sculpture wall, and vibrant circular meeting pods dotted through the interior.” The Dentsu Aegis Network project attracted the coveted BCA Green Mark Gold for its extensive use of sustainable materials, together with a strategic reuse of existing furniture and materials.” For the second project, NetApp wanted D’Perception to design the ‘Office of the Future” for their new APAC headquarters in Singapore. The fit-out had to reflect the company’s commitment to their core values. Chua says the project also had to acknowledge that NetApp is consistently recognised as a great place to work around the world.
Below:D’Perception designed and delivered the contemporary fit-out of the new NetApp office hub in Singapore. Colourful graphics and gleaming surfaces reflect the company’s bold, contemporary ethos. Right:An exposed ceiling juxtaposed with natural wood surfaces and refined furnishings give this social space a chic, welcoming appeal. Lower right:Playful graphics and natural plantings feature throughout the fit-out, including in this informal breakout space.
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Left Commercial interiors specialist D’Perception undertook the contemporary fit-out of Pacnet offices. The project was BCA Green Mark Gold-accredited. This breakout lounge celebrates form, line and colour. Lower left The Pacnet guest lounge evokes the client company’s international reach. Below The Pacnet reception features gleaming surfaces, strip lighting and reflective pillars.
“The company creates innovative storage and data management solutions that deliver outstanding cost efficiency and accelerate business breakthroughs,” says Chua. “As such the offices had to promote efficiency and creativity, optimise flexibility and contribute to employees’ productivity – resulting in customers’ and partners’ success.” To achieve all these goals, D’Perception created a variety of contemporary, vibrant and imaginative work spaces that promote communication, teamwork and enhance workplace productivity. These include a variety of workspaces such as a large, multipurpose training and speaking venue, collaboration areas and open workstations. The office is also designed with sustainable materials and energy-efficient systems which earned NetApp the Green Mark Gold Plus certification awarded by the Singapore Building Control Authority. For global telecommunications service provider
Pacnet, the fit-out of its new offices at One Raffles Place had to create a link between prominent branding and dynamic customer experience. “We configured a vibrant work environment to create a sense of belonging. And the project also promoted a culture of corporate responsibility and awareness by repurposing system furniture using sustainable materials and finishes. The 25,000sq ft fit-out also attracted the BCA Green Mark Gold official grading. For details, contact D’Perception Singapore Pte Ltd, 19 Tanglin Rd, #07-01, Tanglin Shopping Centre, Singapore 247909. Tel: (+65) 6734 5988. Email: enquiry@dperception.com.sg, or visit the website: www.dperception.com.sg save | share Search 45172 at trendsideas.com
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Projects Golden Agri Resources and Golden Stena Weco interior office fit-outs
Location: Singapore
Design and build One Stop Creative Associate Pte Ltd
STRATEGIC INNOVATION These interiors projects optimise company promotion and business efficiency through striking aesthetics – One Stop Creative designed and delivered
Left and top right:This Golden Agri fit-out by One Stop Creative features a generous use of marble in the reception and meeting areas. Clear glass partitions introduced all around the office optimise natural light penetration and respond to the request for an interior that fulfils the strict principles of feng shui. Right, lower:Rich timber floors, a feature meeting space and crisp glass shelving all come together for the Golden Stena Weco fit-out by OSCA. The reinvented space promotes collaboration and team support, as well as the well-being of staff.
Commercial fit-outs are about more than good looks – celebrating a firm’s values and enhancing its team spirit and efficiency are equally vital. One Stop Creative Associate (OSCA) specialises in the transformation of office interiors. The team designs and builds corporate environments that are functional, visually exciting and cost effective for clients, says OSCA marketing director Allan Chin. “We offer a cohesive, experienced service that includes a personalised delivery at every stage, programme flexibility and project transparency.” The company conceptualises a project with computer-aided 3-D software, perspective drawings and space planning scenarios for presentation to clients. A detailed job scope, full costings and contract documentation are all part of the service. OSCA has grown rapidly in recent years, working with multinational bodies and small-to-medium business all over Singapore. Both makeovers seen on these pages reflect One Stop Creative’s design prowess and show how new business often comes via word of mouth from enthusiastic existing clients. 38
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OSCA was engaged by Golden Agri to create the new Singapore operations office in Golden Agri Plaza. The generous use of marble in these spaces evokes the natural world, and also a sense of permanence. With the project on a tight schedule, great management with responsive mobilisation of OSCA resources gave a timely, first-class result, says Allan Chin. Golden Stena Weco recently entered into a joint venture with Golden Agri in the same plaza. OSCA received the interior design contract on the strength of the success of the Agri operations project. “The Stena Weco reception exudes calm and stability. It also imbues the workforce with a sense of spirit and corporate identity,” Allan Chin says. For further details, contact One Stop Creative, 161B Rochor Rd, Singapore 188436. Tel (+633) 61800, or visit the website: www.osca.asia save | share Search 45209 at trendsideas.com
Project City Serviced Offices
Location: Republic Plaza/City House/The Concourse, Singapore
Design and build One Stop Creative Associate Pte Ltd
DEDICATED SPACE These office environments offer the benefits of standardised design but respond to individual needs – the contemporary spaces are by One Stop Creative
Creating new offices to a standard template will optimise space planning, maximise tenancies and keep the management happy. However, the tenants’ own needs have to be considered too. One Stop Creative Associates (OSCA) is a Singapore-based interior design and build company specialising in transforming office interiors, says OSCA marketing director Allan Chin. “Our tailored design solutions together with a flexible, highly creative team ensure all projects precisely meet our clients’ needs. The City Serviced Offices fit-outs, all at noted Singapore addresses, are a good example of what we can offer. “We were awarded the turnkey contracts for all three projects. The challenge for OSCA was to achieve contemporary Grade A serviced offices for the client that maximised usable floor space and created proactive workspace environments. “Our approach was to design each office area with a modular form, then customise them to match each client’s needs. Versatile and affordable, the modular layouts offer the bonus of amenities, facilities and services on site. They also provide flexibility for short-term or start-up businesses.”
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Key design points included inviting reception areas and a maximum number of individual offices, emphasising prime locations and external views. “The fit-outs had to offer great working circulation for all individual offices – achieved in part by extended corridors,” says Chin. “Pantries and rest rooms form part of centralised utility areas, while all the meeting rooms are expansive and comfortable.” Having grown to be one of Singapore’s leading commercial fit-out specialists, One Stop Creative has a design team and a marketing team that come into play on every project. Other pluses include a personalised service delivery at every stage, and an ongoing quest to always add value. Other client benefits include project flexibility based on needs, and a high level of integrity, professionalism and transparency on all work undertaken. For further details, contact One Stop Creative, 161B Rochor Rd, Singapore 188436. Tel (+65) 6336 1800, or visit the website: www.osca.asia save | share Search 45231 at trendsideas.com
These pages:The light-filled City Serviced Offices at City House, Republic Plaza and The Concourse were all designed and created by One Stop Creative. The offices combine adroit space planning with vibrant, youthful colours. Breakout and service spaces are located centrally within the floor plans. OSCA uses tools such as Autocad to optimise floor planning and so maximise benefits for the owner.
Market sector Office renaissance post GFC
ASIA PERFORMS WELL Asian office property markets were fairly resilient during the GFC, with most markets rebounding within a short period – Leslie Chua, executive director Asia, IPD
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Below:Distinctive new Grade A office developments in Singapore include South Beach Tower, due for completion in the fourth quarter of 2014. More than half the space in the building is under negotiation and RaboBank has already secured approximately 2800m2.
With the onset of the global financial crisis (GFC) in late 2007, financial markets were faced with an unprecedented shock. While the crisis had its roots in the US mortgage market, the flow-on effects through the rest of the financial system were substantial, and commercial property was not exempt. Commercial property was impacted on two fronts. Within capital markets, at the onset of the crisis in 2008 and 2009, liquidity dried up, borrowing costs skyrocketed, and many investors were forced to deleverage. At the same time, the underlying tenant demand for commercial property was hit as businesses and consumers tightened their belts. The combined effect was a sharp fall in the value of many commercial property assets. Income returns offered some protection, but in many cases the fall in capital values was large enough to push total returns into the red. After 2009, the dynamic shifted as the initial effects of the crisis wore off and liquidity started to return to the market. In response to the financial crisis, policy makers globally cut interest rates and encouraged liquidity with schemes such as the Troubled Asset Relief Program (TARP) and Quantitative Easing, while at the same time cutting interest rates to historically low levels in an effort to spur growth. The resulting excess liquidity and low interest rate environment has seen investors become increasingly focused on income yield, a fact which has benefited Asian office markets. From 2010, the relatively attractive yields on offer for Asian office property, together with relatively stronger underlying economic growth, have caused an inflow of international capital, which has helped support returns. Since 2010, this capital inflow has been the primary driver of office property returns with yields firming over most markets. The impact of the crisis was most pronounced in the office markets of North America and Europe where a long run-up in commercial property values had encouraged borrowing and speculation. Asian markets were shielded to some degree by more
resilient domestic demand, lower borrowing, less institutionalised commercial property markets and less speculative development. Figure 1 below demonstrates how the office property investment market cycle in Asia differed from that in the United States and the United Kingdom.
Figure 1: In both the American and Asian markets, returns fell from 2007 and bottomed out in 2009. However, whereas returns in the United States fell sharply for two years before recovering, returns in Asia softened in 2008 and were only marginally negative in 2009. The UK downturn was also quite pronounced but it preceded the other two markets by about a year. Within Asia, the experience was different across national markets. In Korea and Taiwan, total returns were never negative. Returns in Korea fell sharply from almost 27% in 2007 to just over 5% in 2008, but stabilised in subsequent years. Taiwan’s returns fell in 2009, but bounced back strongly in 2011 to double their pre-crisis level. These markets benefited from close links to the Chinese economy and strong domestic growth. Both these factors kept the underlying demand for office space high, which in turn supported returns. In the remaining markets, returns did dip into negative territory at some point following the collapse. Hong Kong was somewhat exceptional in that a trough was reached in 2008, but a sharp SEARCH | SAVE | SHARE AT my.trendsideas.com
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rebound has seen returns outpace almost all other Asian economies in the ensuing years. Like Korea and Taiwan, Hong Kong’s close ties to mainland China helped drive stronger domestic growth, which again supported office returns. Unlike Hong Kong, returns in the remaining Asian markets bottomed out in 2009, or 2010. The return profile of the Australian, New Zealand and Singapore markets followed a similar trend during the crisis, while Japan suffered the largest falls of any Asian market, and also posted the weakest recovery. These markets were generally more exposed to western capital markets and thus were more vulnerable to the downturn. In Japan’s case, an aging population has been a long-standing problem that drags its economic growth. Figure 2 examines the relationship between property returns and the macroeconomy and how this varies across regional markets. Over the period 2006 to 2012, office markets in Asia generally outperformed the local economy, but those markets with the strongest underlying domestic growth witnessed the best performance. Overall, Asian office property markets were fairly resilient during the financial crisis. Returns in most markets were impacted, but not to the same extent as markets in North America and Europe. Where returns in Asian office markets did enter negative territory, the contraction generally lasted less than a year, with most markets rebounding to some extent due to an inflow of capital seeking the high returns
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Below left:The Hong Kong skyline will continue to change over the next six years, but many office towers will be in new hotspots. Shown here is Gateway Towers in Kowloon. Below:Shanghai Tower will deliver much needed supply to the Pudong office market in China, when it reaches completion in 2015. Right:Platinum Park is a distinctive new integrated development in Kuala Lumpur designed by leading UK firm Foster + Partners.
Figure 2: on offer from Asian office property. The data used in this article comes from IPD’s Pan-Asia Return Indicator (PARI), which contains data for more than 4000 assets in nine countries worth over US$270 billion. These assets cover a broad range of commercial property types from 2006 to present. For more information, visit www.ipd.com save | share Search 44083 at my.trendsideas.com
SECTION FOCUS EDUCATION
SENSE OF PLACE Modern campus architecture reinforces the concept of an open education facility, integrating effortlessly with the wider community
Project MIT Manukau Campus and Transport Interchange
Location: Manukau, Auckland
Architect: Warren and Mahoney
RIGHT ON TRACK This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange
Modern tertiary education is a far cry from the ivory towers of the past. Not only has the whole concept of an elitist education been turned on its head in recent years, but tertiary facilities are actively merging with the community to remove barriers and encourage participation. The Manukau Institute of Technology (MIT) takes this one step further with the opening of the new 20,000m2 Manukau Campus to accommodate the Faculty of Business and IT and the School of Distribution and Logistics. The campus is fully integrated with Auckland Transport’s new Manukau railway station and bus interchange.
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Architect Blair Johnston of Warren and Mahoney says the combination of education and transport facilities is unique within New Zealand. “The focus has centred on producing the best possible learning environment while also bringing commuters and the people of Manukau City into the heart of MIT, exposing its programmes to the widest possible audience,” he says. “The project is aimed at improved educational outcomes in Manukau, which statistically has a tertiary education uptake rate that is only about half that of the rest of the country. By identifying and removing barriers and thresholds, we have made
Preceding pages and below: An exposed white diagrid defines the exterior of the new MIT Manukau Campus and Transport Interchange. The diagrid references traditional weaving patterns, while the triangular forms on the canopy present a similar motif in timber that carries through to the interior. Right:Stairs crisscross the atrium linking all six levels and helping to animate the student facilities.
a welcoming, all-embracing facility. Providing the interchange within the building enabled us to go beyond mere co-location towards true integration. It is literally bringing education to the people.” On the exterior, the building boldly addresses the street providing a defining landmark that is a key part of the rejuvenation of adjoining Hayward Park. An exposed white diagrid, with a diamond-shaped grid, reinforces a sense of place. “This needed to be a cultural building that would reflect the community and express its place in the world,” says the architect. “So rather than using an orthogonal grid on the facade, we opted for the duality of a design that is reminiscent of traditional weaving patterns. It expresses the idea of both technology and craft. While this is a highly technical building we have imbued the entire campus with a sense of craft and textural richness.” The facade is further defined by layering. Beyond the diagrid are fixed louvres, angled to deflect the sun and reduce heat loads inside. Horizontal louvres feature on the east and north sides of the building, while the west facade has vertical louvres. Another key determining factor in the design was the existing rail trench. “The building needed to straddle the trench, so much of the structure is hung from the roof trusses – in part it was built from the roof down, rather than
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from the ground up,” says Johnston. “This has given the building a certain lightness that would not have been achieved otherwise.” This need to accommodate the trench led to the soaring six-storey atrium, which was not part of the original brief. “By enclosing this area, rather than having separate wings linked by an open courtyard, we created the opportunity for a major civic space at the heart of the building,” says Johnston. “Every floor has a mezzanine that opens into the atrium, enhancing a sense of connection at all levels, both horizontally and vertically. The learning process is highly visible and the entire building is animated – people are much more likely to use the stairs rather than the lifts because they are such a prominent part of the architecture.” At the west end of the atrium, sky bridges form social student hubs on each level. These are as much a part of the learning environment as the classrooms. “Modern pedagogy is much more focused on peer-to-peer learning. This building follows that trajectory. More than half the learning spaces are open and defined only by furniture and moveable screens. There is a lower proportion of traditional learning spaces,” Johnston says. The various levels on the building are defined by
Below:The triangular pattern reappears on the carpets, with each floor defined by a different colourway. Right:Glazing in the atrium is confined to clerestory windows and the ends of the buildings, rather than overhead. This ensures the interior is not affected by solar heat gain. Much of the atrium is suspended from the roof, due to the need to straddle the rail trench below ground. The building comprises three separate structures designed to move independently in a seismic event.
different colours, which help with wayfinding. The colours reference the baskets of knowledge from traditional Maori mythology. Motifs introduced on the exterior also flow through to the inside. And the design team specified Southland beech timber throughout the interior to add warmth and to bring a residential feel to the building. Dramatic wood panels are a key feature of the atrium ceiling, and the auditorium, with the diamond motif repeated in both areas. Flexible learning environments are created by positioning columns at the perimeter of the building rather than in the centre. Johnston says it is difficult to know what the institute’s needs might be in 20 years, but these floorplates can be adapted easily. The sense of openness also extends to the train station, where the entry, in one corner of the atrium, is angled at 45°.
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“Again we wanted to remove barriers and make the entry as seamless as possible,” says Johnston. Peter Quigg, MIT director of academic operations, says one of MIT’s fundamental operating strategies is to make education accessible. “Having an integrated transport interchange fulfils that need almost to perfection,” he says. “Accessibility has a direct bearing on student numbers, especially in our catchment area, so to have rail and bus services bring people right to the door couldn’t be better.” Quigg says the new building is the first phase of a three-phrase project that will eventually see two further MIT buildings adding another 45,000m2 to the facility. There are also plans to build Te Papa North Museum on the other side of Hayward Park, which will be an additional drawcard.
Below:Learning spaces include an auditorium, which is lined with beech timber, interactive classrooms and breakout student hubs on each level of the atrium. These feature colourful furniture and pods where students can meet and share ideas. Right:The student hubs occupy the sky bridges that link both sides of the atrium.
Left and above:The entry to the train station near one corner of the atrium is angled at 45째. As with the MIT facility, there are few barriers to negotiate. Top and far right:Trains pull up right inside the building. Both MIT and Auckland Transport benefit from the greater exposure to the wider community.
Project:Manukau Institute of Technology (MIT) Manukau Campus and Transport Interchange, Auckland Architect:Warren and Mahoney, Auckland Structural engineer:Holmes Consulting Group Services engineer:Aurecon New Zealand Acoustic engineer:Marshall Day Acoustics Fire engineer:Holmes Fire & Safety Quantity surveyor:WT Partnership Project manager:Beca Carter Hollings & Ferner Main contractor:Hawkins Construction Facade design, engineering and installation: King Facade International Lift services:Otis Elevator Company
Air conditioning, heating and ventilation systems:Aquaheat New Zealand Interactive classroom and theatre technology:Automation Associates Feature timber panels:Southland beech from Lindsay & Dixon Story by Colleen Hawkes Photography by Jamie Cobel save | share | video | images Search 44560 at trendsideas.com
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Project Tyree Energy Technologies Building, UNSW Australia (University of New South Wales)
Location: Sydney
Architect: Francis-Jones Morehen Thorp (FJMT)
LEADING BY EXAMPLE Creating a new technologies building gave UNSW Australia an ideal opportunity to walk the talk for sustainable design
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Below:The new Tyree Energy Technologies Building at UNSW weaves in and out of the trees on the edge of a village green. The upper levels are clad in terracotta ceramic panels, while the lower level – the student commons – is fully glazed.
Just as teaching and learning methods have changed with emerging technologies, so do education facilities need to keep pace. The new Tyree Energy Technologies Building at the University of New South Wales (UNSW) not only needed to accommodate new teaching and learning spaces for up to 1240 undergraduate and postgraduate students, it also had to reflect the university’s focus on sustainable energy technology research, education and industry collaboration. Faculty of Engineering development manager Stephen Wooldridge says the school wanted the building to achieve a 6 Star energy rating that would support the university’s research into solar photovoltaic technologies, sustainable clean fuels, smart grids, energy storage, energy economics and policy analysis. “At the same time UNSW wanted a building that would provide a memorable and distinctive address for the campus,” Wooldridge says. “It needed to make a strong design statement.” Architect Matthew Todd of Francis-Jones Morehen Thorp (FJMT), the firm that won the limited entry competition to design the building, says the site was of considerable strategic importance. “The site is the junction of three interconnected urban zones – the retail frontage of Anzac Parade, the tree-lined mall that is the main approach to the university, and the huge oval that forms a village green. This project created an opportunity to create a significant gateway to the university – one that would also be a hub of activity.” Todd says the new building needed to respect the existing Modernist architecture and the ceremonial formality of the mall, which forms a strong entry axis and is integral to the identity of the university. “The significant mature trees also had to be preserved. We needed to integrate the building as much as possible with the landscape. It was also clear that each of the building facades would need to provide a different contextual design response.” SEARCH | SAVE | SHARE AT trendsideas.com
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Below:On the north side, a series of wide steps creates a communal area for students beside the main entry. Viewed from the side, the sawtooth roof has a sculptural presence.
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“The western facade fronting Anzac Parade needed to bridge the area between the retail strip on one side and the leafy trees on the other. We consequently fractured this facade into three distinct modules. The building weaves in and out of the trees, while at the same time it makes a gesture out towards the streetscape. The eastern laboratory module is turned to acknowledge the orientation of the Village Green.” Terracotta-coloured ceramic panels clad the exterior, which incorporates fixed vertical sunscreens. Because these are full-height screens, they allow plenty of natural light to flood the interior, and help to angle views while maintaining a degree of privacy for the offices inside. “The terracotta colour provides visual warmth and gives the building a very earthy, Australian feel,” says Todd. “It also echoes a much older brick building on the campus.” On the western elevation the building is lifted up, so it appears to float above the ground level, thanks to a fully glazed lower level. “This is the student commons area, with a café and informal meeting and study areas,” says Todd. “It’s a very transparent, social space – you can see right through the building, which helps to give the architecture a sense of lightness.” On the north side, the building opens up to the mall, with a series of wide steps creating an easy transition into the building. The platform also functions as a gathering place for students. “In a way this facade harks back to traditional agoras and ceremonial public steps,” says Todd. “We also created a huge portal for the main entry – it resembles an enormous carved-out cube. This was formed from a precast concrete aggregate mix with a custom colour and honed finish.” Louvres along part of the north facade screen the sun from the academic offices behind. The architect says other devices were also introduced to relieve the massing of the building on this side. “We chose to push down the roof at the front to align the building with the tree canopy, and build it up at the back to accommodate the labs and plant. The roof itself is a complex curved sawtooth. We wanted to articulate each of the elevated parts, so these are treated as individual extrusions that give the building a sculptural look when viewed from the side. These elements are also expressed on the inside with curved plaster ceilings.” SEARCH | SAVE | SHARE AT trendsideas.com
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Preceding pages and left: Natural light floods the large central atrium, which features glass elevators and sky bridges. The atrium was designed to provide a sense of transparency and opportunities for social interaction. Below:Breakout areas are positioned to maximise views of the village green. Story by Colleen Hawkes Photography by John Gollings
Automated glazed areas on the sawtooth roof bring natural light down into a large central atrium, and enable it to be naturally ventilated. Todd says three key principles drove the interior design – interaction, transparency and flexibility. “Interaction is encouraged by the atrium design, in particular the creation of social hubs, generous circulation paths, meeting rooms, oversized stairs, bridges and interconnecting labs. Functions of the building are open or closed through varying levels of transparency, in the facade and interior design. “Laboratory spaces are conceived as flexible modules that can be either separate or connected. The spaces can be adjusted over time.” Wooldridge says the building is the first at UNSW to implement a rooftop photovoltaic system and a tri-generation plant. Most of the roof is covered by
a 150kW photovoltaic array, and the 800kW tri-generation system produces enough energy each year to supply almost 400 houses. “Other energy-saving features include the highly efficient facade and the underground labyrinth that provides the building’s cooling at no cost. In addition, specific materials were selected to minimise the environmental impact of the build. “The university’s leading-edge research in photovoltaics has also been facilitated by a stateof-the-art Class 10,000 clean room. This ultra-clean lab is used in the research and development of more efficient silicone chips for PV solar panels.”
Project:Tyree Energy Technologies Building, UNSW Architect, interior designer and landscape architect:Francis-Jones Morehen Thorp (FJMT), Sydney Construction company:Brookfield Multiplex Project manager:Capital Insight Structural and civil engineer:Taylor Thomson Whitting Mechanical and specialty gas:Steensen Varming Electrical engineer, specialist lighting, fire engineering and vertical transport:Arup Hydraulic and fire services engineer:Warren Smith & Partners Acoustic engineer:Acoustic Studio Sustainability consultant:Aecom Informatics and audiovisual:Wizard; Spinifex Group Accessibility consultant:Morris Goding Clean room consultant:AB Mandal Quantity surveyor:Davis Langdon Cladding:Yuanda; Ceramica Mayor Tempio by Precast Concrete Group (Qld); Alubond Roof:Fielders KingKlip Glazing system:Yuanda; Viracon (performance glazing)
Hardware:Sliding doors and operable walls by Dorma; Keeler hardware by Ikon Doors Balconies/balustrades:Hoop pine FSC timber by Cubic with Briggs Veneers; stainless steel and perforated mesh by Active Metal Flooring:InterfaceFlor, EcoSoft carpet tiles, Forbo Surestep, Bolon distributed by The Andrews Group Paints:Wattyl; Dulux Custom perforated ceiling and timber laminated battens Cubic Veneers:Briggs Veneers Lighting:Star Electrical HVAC:Allstaff Public area furniture:Interstudio, ChairBiz, Maxton Fox, Inline tables, Chairman’s Rest, Stylecraft, Dexion Compactus, Gregory task chairs Security system:Designed by Star Electrical, installed by Prosys Integrated Security Systems Signage:Integrated Signage & Design Lift services:Elevator Services Group; Kleemann
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SECTION FOCUS APARTMENTS
OUTSIDE THE SQUARE Architects and developers are finding new solutions to challenge the design of the traditional apartment high-rise
Project The Interlace
Location: Singapore
Architect: OMA/Ole Scheeren
COMMUNITY SPIRIT With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement
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Preceding pages:With its 31 stacked blocks arranged in a hexagonal pattern, The Interlace creates a new form of vertical village. The buildings enclose large courtyards that provide a wealth of recreational facilities. Below:Each block is six storeys high, but at no point does the development exceed the stipulated 24 storeys. The openings between the buildings create physical and visual permeability, providing cross ventilation and maximising views.
Distinguished architectural firms are most often commissioned to design prestigious projects for the high end of the market. But the experience and skills they can bring to a more populist market niche can have far greater ramifications. This Singapore project proves that innovative architecture is not the sole prerogative of an elite few. Rather, it can be accessible to a much wider market – in this case more than 1000 households. The Interlace, developed by CapitaLand Singapore, was designed by architect Ole Scheeren working for OMA. The design brief was straightforward – the development needed to create an iconic urban habitat of the future, says Wong Heang Fine,
chief executive officer of CapitaLand Singapore (Residential). “This was always going to be an exemplary development that would promote a sustainable, highly accessible and eco-friendly living environment, with a strong sense of community,” he says. “We set out to create an outstanding design for a development that is not only within reach of those who aspire to own a private residential unit, but also those who aspire to a unique lifestyle.” The design was driven by many factors, including the shape of the 8ha site, which completes a 9km green belt. It was also determined by the need to maximise opportunities for social interaction.
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“In Singapore, the standard typology for residential developments is a cluster of isolated, towers, which do little to enhance a sense of community,” the architect says. “This design, in contrast, explores a dramatically different approach to tropical living, providing an expansive and interconnected network of communal spaces within a natural environment.” Thirty-one apartment blocks, each six storeys high, are stacked in a hexagonal arrangement to create eight large-scale courtyards. The interlocking blocks resemble a vertical village, complete with cascading sky gardens and both public and private roof terraces. Extensive residential amenities and facilities are interwoven with the landscape, amid lush vegetation, providing opportunities for social interaction, leisure and recreation. “The architecture is more about the spaces between the buildings than the built-up areas themselves,” says Scheeren. “While the buildings provide the residences, they are more importantly a tool to generate the open spaces.” The architect says the company experimented with many different configurations to maximise the design of the courtyards and natural light. “In the end, it was the hexagon that won out over a square or rectangular form. The angles at which the buildings meet are 120°, not 90°. This means the buildings are slightly turned away from each other, which helps to open up the views and provides more privacy. It also creates well-articulated outdoor areas.” Scheeren says the stacking principle ensured
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there would always be openings in the blocks. “There are no sealed envelopes – the buildings are completely permeable,” he says. “This allows the light, wind and cooling breezes to penetrate. It also creates visual openings, so residents don’t feel cut off from the wider landscape. The development has a very different feel to a tower block – it is all about lightness, openness and transparency.” The architect says the exterior of the building is layered to create a stratification of outdoor living areas. These range from highly communal sky gardens to slightly more private terraces and very private spaces. All apartments have balconies, and many have protruding terraces that can become an extension of the living room. “It looks deceptively simple, but there is a richness and complexity to the architecture that helps to generate a sense of excitement and freedom,” says Scheeren. “The development never feels crowded. “The accommodation itself is also varied within each block. While the overall building form is highly dynamic, each individual block is an entirely pragmatic rectangle that allows a very efficient layout. Spaces are also generously sized and light filled, and the quality of the fit-out is high.” As with all OMA buildings, sustainable design determined every aspect of the architecture. “We incorporated passive design strategies throughout the project,” says the architect. “Daylight is optimised, and there is shading in the courtyards. Apartments are positioned to minimise solar gain, while taking advantage of the breezes
Below:The hexagonal form can be seen from above, in both the plan and finished development. Right:Because the buildings are stacked on a 120° angle, views and privacy are maximised. The hexagon motif can be seen on the underside of the concrete slabs.
permeating through the building. The apartments also benefit from evaporative cooling over the various bodies of water, which remove humidity.” Communal facilities include an environmental deck, which is integrated into the green belt. This incorporates the eight themed courtyards created by the built forms, which in turn are linked by a 4m-wide jogging track. One of the courtyards is designated as a community garden for use by residents. Art works, including sculptures by renowned artists, have been integrated into the landscape. Multi-generational interaction is encouraged, with children’s playgrounds as well as exercising equipment for adults and the elderly. Approximately 130 apartments are designed with ageing-in-place provisions, such as step-free bathrooms. There are also 16 dual-key units, which provide separate but adjoining apartments that will serve the needs of multi-generational families. Wong Heang Fine says that at the end of May 860 units out of 1040 had been sold. “The feedback from residents confirms The Interlace is like a self-sufficient community within a well-established development, with all the facilities they need available on site.” Wong says the development has already received several notable awards and has cemented its position as a new Singapore landmark.
Project:The Interlace, Singapore Developers:CapitaLand Singapore; Hotel Properties Ltd Design architect:OMA – designer and partner-in-charge Ole Scheeren (now at Buro Ole Scheeren) Architect of record:RSP Architects Planners & Engineers Main contractor:Woh Hup (Private) Limited Civil and structural engineering consultant: TY Lin International Mechanical and electrical engineering consultant:Squire Mech Landscape architect:ICN Design International Quantity surveyor:Langdon & Seah Singapore Awards:Urban Habitat Award 2014; CNBC Asia Pacific Property Award 2010 Best Architecture (Multiple Units) Singapore; BCA Universal Design Mark Platinum Award; BCA Green Mark GoldPLUS Award Story by Colleen Hawkes Photography courtesy of CapitaLand Singapore and Woh Hup (Private) Limited save | share | video | images Search 44675 at trendsideas.com
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Below:Each of the eight large courtyards is themed and lushly landscaped. In time there will be cascading sky gardens as well.
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Project Eliza Apartments
Location: Sydney
Architect: Tony Owen Partners Architects
BACK TO THE FUTURE While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century
It’s rare for architects to get the opportunity to design a new benchmark building in the inner city, so when a prime park-side site became available in Sydney’s Elizabeth Street, there was intense interest in the development. And architect Tony Owen did not disappoint. With a design he describes as challenging, Owen set out to push the boundaries using parametric design tools to create a sustainable, new landmark for the CBD. “While this was always going to be a very contemporary apartment building, it still needed to sit within the historic context of the location,” Owen says. “The site is opposite St Andrews Cathedral and close to the Great Synagogue and
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the Sheraton Hotel, all fine examples of Sydney’s beautiful heritage architecture.” The building – Eliza Apartments – consequently presents a contemporary expression of the principles embodied in the surrounding buildings, including the traditional bay window common to buildings in Elizabeth and Macquarie Streets. “Traditional contextual materials, such as sandstone and steel, are also used in a modern and challenging way,” the architect says. “We utilised parametric 3-D computer modelling to mould the facade to the changing environmental conditions on the skin. The profile of every level is different, as the design responds to the differing unit plans, views and sun on each level.”
Below:Eliza Apartments in the Sydney CBD was designed using parametric modelling to create a fluid, undulating facade where every floor is different. Right:The tessellated facade features sandstone and metal, which is in keeping with the heritage architecture of the surrounding buildings.
Owen says digital technology made it cost effective to create different plans and specifications for each of the 17 levels. “We now have the tools to create complex geometric forms that are as affordable as traditional designs. The technology is there to push the limits. “For this project we used Meyer software and Rhino scripting to determine the design, with the Frank Gehry Digital studio assisting in the fabrication geometry. The computer drawings were sent straight to the builder who used routing robots to laser cut the hundreds of tessellated, individually shaped metal and sandstone panels.” Owen says the technology enabled the design
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team to create a highly sculptural, fluid facade, with a design he calls “liquid architecture.” It is a bold, curvaceous contrast to the egg-crate box style of architecture that has typified Sydney’s apartment buildings in recent years. The geometry of the curving bays of the front facade gradually changes as the building rises, with the three-level penthouse stepped back to maximise the sun and views. “We took the geometry right down to the ground, with a protruding metal canopy over the entry,” says the architect. “The neighbouring buildings tend to have a decorative solid sandstone podium, so we created a similarly detailed podium.”
Below:The ripple of the balustrades brings a fluid look to the exterior. The penthouse occupies the top three floors, which are stepped back to maximise the sun and views. Right:Every apartment opens out to a large balcony, where views are framed by the curve of the balustrading.
The tessellated motif continues in the lobby, which features a long, sculpted sandstone wall that curves to form the ceiling. The motif also appears in mirrored timber screens in lift lobbies, and at the rear of the building, in a 10-storey green wall. “This glazed living wall, on the north side of the building, creates a pleasant outlook for bedrooms at the rear,” says Owen. “It also lets plenty of natural light and sun.” The living areas and master bedrooms all have panoramic park or harbour views – or both. These are accentuated by the curve of the large balconies and balustrading. The balconies act as a climate buffer zone for each apartment. The doors can be opened partially to capture the breeze, or opened fully to extend the size of the living area. In keeping with the brief from developer Ceerose, no expense was spared on the interior. Fixtures and fittings are of a particularly high standard,
and include C-Bus lighting, limestone floors, dark-stained wood panelling and cabinetry, and a fireplace set within a bronzed mirror wall. Some kitchens have a butler’s pantry and a separate preparation area for catering purposes. Special features of the penthouse include a marble staircase, pool and roof terrace. Edward Doueihi of Ceerose says the building is destined to become a contemporary classic that will shake up design standards in the city. “We wanted Eliza to stand out and it does,” he says. “Nothing in this building is off-the-shelf. It has all been custom built. It has been a labour of love for us, but is the best endorsement for quality and attention to detail that our company could have.”
Project:Eliza Apartments, Sydney Architect:Tony Owen with Esan Rahmani, Gerardo Oiz, Claudio Porly, Michael Civovic, Benny Ng, Wendy Tong, Raymond Ng, Diana Quintero Saul, Tony Owen Partners Architects, Sydney Developer:Ceerose Structural engineer:M+G Consulting Mechanical and electrical engineer:Cardno ITC Landscaping:Site Landscape Facade panels:Advanced Precast (Aust)
Facade structure:Micos Glass; Aluminium Facade Solutions Facade sandstone:Stoneplus NSW Lobby and balcony floor tiles:Marble Lobby walls:Sandstone Apartment floor tiles:Limestone
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Story by Colleen Hawkes Photography by John Gollings
Below:At ground level, the metal canopy flares out to highlight the entry. The ground floor of the building has retail tenancies. Top right:While the lower levels of the building have two two-bedroom units per floor, the upper levels have single fourbedroom units. Apartments on the upper levels look across Hyde Park to the historic Gothic Revival architecture of St Andrews Cathedral. Lower right:The tessellated motif on the facade can be seen in the sandstone lobby and on a green wall at the rear.
SECTION FOCUS PROJECT PORTFOLIO
OPEN FOR BUSINESS Wellington rivals other great cities of the world with its exciting, vibrant feel – this redevelopment further animates the heart of the capital
Project Grant Thornton House podium
Location: Wellington
Architect: Athfield Architects
LIFE BLOOD Boasting a contemporary profile and transparent, engaging aesthetic, the reinvented Grant Thornton House opens up to shoppers at street level
Historically, Wellington grew up as a city of public servants, not shoppers, and impersonal streets were home to grey suits and little else. Decades on, the capital has a pedestrian life to rival New York – bustling, vivacious, and ready to spend. To further this trend, the Wellington City Council (WCC) has designated some thoroughfares in the capital as premier, as noted in the WCC Public Space Design Manual: “Premier streets are the spine of the central city network. They carry a high pedestrian volume, with comparatively low traffic movement. The interface on these streets tends to be characterised by small unit, ground-floor shops.” Lambton Quay, the golden mile of Wellington retail, is one such premier street named in the document. Taking a key position on the corner of Lambton Quay and Featherston St, the existing ANZ Podium and Tower was a purpose-built banking head office designed in the ’80s. However, despite its location, the building added little but mirrored glass and a toilet hub to the heart of the CBD.
A transformation of this landmark building, renamed Grant Thornton House, has made the tower’s 13 floors of office space more accessible, and so more attractive, to tenants. It has also brought the podium to life from the ground up. The podium redevelopment was undertaken by Athfield Architects. Project architect Neil Drummond says several elements were addressed. “We created a new office entry from Featherston St, replacing the old corner entrance with one halfway along the building. The relocation made this access more prominent, which was part of the brief from the building owner, Willis Bond & Co. “The new doorway connects through to the Lambton Quay entrance, establishing a spacious, light pedestrian cross-link between the two. This facilitates movement through the building, and provides improved access into the tower lobby, also upgraded, and the tower itself.” The open lobby, at the heart of the cross-link, features a panelised system of full height, stainless
Before
Preceding pages, below left, and right:The curving glass nose of the podium of Grant Thornton House – previously the ANZ Podium and Tower – fills out a premium retail corner that once accommodated a block of public toilets (below left). This was one of several changes to the building to utilise this key shopping area in the capital. A new horizontal canopy turns upwards to signal the entrances. This carries the naming tenant’s signage. Below:Before-and-after floor plans show how the foyer now snakes through from one side of the triangular block to the other, with the lobby of the refurbished tower in the middle.
After
Before
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steel, American oak timber and frosted backlit glass walls, with slender angled lines of niche lighting. These play across the ceiling and down the walls, echoing the dog-leg shape of the foyer, and the newly introduced ‘folded’ exterior signage. Reconfiguring the former single ground-floor tenancy into multiple tenancies was central to the project. Cold, impersonal reflective glass was replaced with vibrant retail opportunities. New frameless clear glazed shopfronts at street level are the maximum height possible, and the removal of the out-of-date mirror glass allows effective daylight penetration to the majority of the floorplate. There are nine tenancies in all, spread around all three sides of the block at ground level, with the existing renovated offices above. “The podium’s upper-level facade, composed of steel transoms and mirror glass, was retained in the redesign,” says Drummond. “However, we sought to create a distinction between this heavy aesthetic and the inviting new boutique shop frontages introduced below. To achieve this, a new horizontal canopy draws a line between the two different treatments – as if between two time frames – and this runs right around the building.” Providing high visibility to the tower’s entry points on both Lambton Quay and Featherston St, the canopy turns up 90° at these junctures. These upright canopy elements also help break up the
horizontality of the streetscape, says Drummond. These folded elements sit just clear of the level one facade. At the same time, the canopy maintains pedestrian weather protection with a continuous cantilevered glass lid that connects to the existing facade. “Perhaps the most dramatic structural work undertaken was the twin two-storey corner frameless glass extensions, one at the corner of Grey and Featherston Streets and the other at the Lambton Quay bullnose, previously home to the toilet hub,” says the architect. Designed to meet the current code loading and extend the transparent vernacular of the reworked ground-floor facade, these elements are underpinned by new lightweight steel support structures. “In another liberating move, the rounded public toilet block on the prominent Lambton Quay corner was relocated to the corner of Grey St, on the shortest side of the triangular block, downplaying its presence,” says Drummond. The quieter Grey St is classed by the WCC manual as a ‘Special Street and Shared Space’, so this amenity was appropriate here. The demolition and relocation of the existing block, in a highly populated retail precinct and bus route with myriad trolley wires, required careful consideration of noise, dust and health and safety issues, including heavy machinery access to the site.
Before
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These pages:The corner of Featherston and Grey Streets was given a two-level addition in keeping with the new street frontages. White tiles signal the new public toilet amenity.
Built over the existing basement entry ramp, the new public facility is clad in high-quality large format white clay tiles. This finish references the previous mosaic tile cladding. “The new pedestrian cross-link through the building, the full-height, clear-glass frontages and the banishment of an unsightly amenity together
give this key building a presence that, rather than reflecting back at you, invites you in,” says Drummond.
Project:Grant Thornton House, Wellington Architect:Athfield Architects Owner:Willis Bond & Co Construction company:LT McGuinness Structural engineer:Dunning Thornton Mechanical and electrical engineer:NDY Quantity surveyor:Rider Levett Bucknall Earthworks:Multi Civil Contractors Landscaping:Horokiwi Paving Fire consultant:Holmes Fire Cladding:APL Roofing:Equus
Facade design:Athfield and Wight Aluminium Window and door joinery:Wight Aluminium, Ultra Glass Hardware:Sopers Macindoe Handrails:Fabricon Metal Solutions Blinds:Window Treatments Wall and floor tiles:Hurricane Tiling Wallcoverings:Prime Interiors Ceiling:Metro Ceilings Signage:Watermark Signs
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Story by Charles Moxham Photography by Grant Sheehan
Below:Rays of light – custom inset wall and ceiling light fixtures reflect the shape of the walkway and the perpendicular nature of the signage outside.
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Trends 30/09
index AB Mandal
63
Dexion
Kleemann
63
Sopers Macindoe
84
Acoustic Studio
63
DNV GL Technology Centre 16-22
Langdon & Seah Singapore
71
Spinifex Group
63
Active Metal
63
Dorma
63
Lindsay & Dixon
55
Squire Mech
71
Advanced Precast
76
Dulux
63
Living Edge
15
Star Electrical
63
Aecom
63
Dunning Thornton
84
LT McGuinness
Steelcase
29
Aedas Interiors
16-22
Agonoy, Julia
22
A&H Meyer
3
Eastlake Studio
63
24-29
Elevator Services Group Eliza Apartments
63 72-77
78-84
LuxSpace
22
Steensen Varming
63
M + G Consulting
76
Stone Source
29
Magno, Eric
22
Stoneplus NSW
76
Akzo Nobel Paints
22
EMF Services
15
Mars
15
Stylecraft
15
Allstaff
63
Equus
84
Marshall Day Acoustics
55
Stylecraft
63
Alubond
63
Ergoworld
22
Maxton Fox
63
Surface Stone
22
Aluminium Facade Solutions
76
Fabricon Metal Solutions
84
MBM
15
Taylor Thomson Whitting
63
APL
84
Fielders
63
MechoShade
29
The Andrews Group
Aquaheat New Zealand
55
Forbo
63
Metro Ceilings
84
The Interlace
64-71
Armstrong
29
Francis-Jones Morehen Thorp
Micos Glass
76
TLE Artarmon
15
Arup
63
(FJMT)
MIT Manukau Campus and
Athfield Architects
78-84
Frost Collective
56-63 15 78-84
Transport Interchange
63
Tony Owen Partners 46 - 55
Architects
72-77
Morris Goding
63
TTS Window Fashions
22 71
Aurecon New Zealand
55
Grant Thornton House
Automation Associates
55
Gregory
63
MTM Solutions
22
TY Lin International
Beca Carter Hollings & Ferner
55
Hawkins Construction
55
Multi Civil Contractors
84
Tyree Energy Technologies
Benjamin Moore
29
HBF
29
Muraflex
29
Building, UNSW
29
Nash Tiles
15
Ngai Chin Construction
22
Ultra Glass
84
Unifor
15
Bertoia
29
Herman Miller
Bisazza Singapore
22
Holmes Consulting Group
Bolon
63
Holmes Fire & Safety
55
Niro Ceramic
Briggs Veneers
63
Holmes Fire
84
Norman Disney & Young
Horokiwi Paving
84
Bristol Technologies Brookfield Multiplex BVN Donovan Hill
IFC, IBC 56-63 8-15
46-55
Hotel Properties Ltd
64-71
Howery, Cindy
24-29
5 84
Oiz, Gerardo OMA
76 64-71
One Stop Creative Associate
BW Furniture
22
Hud Security
15
(OSCA)
Capital Insight
63
Hufcor
22
Otis Elevator Company
Hurricane Tiling
84
Owen, Tony
ICI Dulux
22
Porly, Claudio
76
ICN Design International
71
Potter Lawson
24-29
CapitaLand Singapore Cardno ITC Ceerose
64-71 76 72-77
38-41 55 72-77
56-63
Urbanite
15
Veldhoen + Company
15
Viracon Warren and Mahoney
63 46-55
Warren Smith & Partners
63
Watermark Signs
84
Wattyl
63
Wight Aluminium
84
Wilkhahn
15
Willis Bond & Co
84
Centaman
15
Ikon Doors
63
Precast Concrete Group
63
Window Treatments
84
Ceramica Mayor
63
Infinity Pte Ltd
22
Prime Interiors
84
Wizard
63
ChairBiz
63
Inline
63
Prosys Integrated Security
Chairman’s Rest
63
Integrated Signage and Design 63
Systems
InterfaceFlor
63
Rahmani, Esan
Civovic, Michael
76
Interstudio
63
Reed Construction
Coalesse
29
IPD
42-45
Contrac-Image Trading
22
Isis
8-15
Corporate Culture
15
Jardan
Charter Hall
D’Perception Singapore Davis Furniture Davis Langdon DCA
8-15
30-37
Jones Lang LaSalle
29
Kent Consulting
63
Kimberly-Clark
16-22
King Facade International
Rider Levett Bucknall
Wizardry 63
Woh Hup (Private) Limited
76
Woven Image
22
24-29
WSP Ng Pte Ltd
22
84
WT Partnership
22
WT Partnership
55 63
RSP Architects Planners & Engineers
64-71
Yuanda
OBC
Scheeren, Ole
64-71
Zip HydroTap
29
Shaw, Steven
16-22
Zurowski, Tom
15
24-29 55
15 64-71
Silent Gliss
15
Site Landscape
76
22 24-29
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