COMMERCIAL DESIGN TRENDS Australia Vol 29/09 by trendsideas.com

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The shimmering, pixellated form of this new stadium by ARM in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea.

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CONTENTS

OFFICE DESIGN 700 Bourke St, Melbourne With its triangular geometry and multifaceted facade, this new office building responds to the shape and geology of the Docklands site, and the needs of the sole tenant – National Australia Bank 10 Circa CT1, Brisbane This eight-storey building had a two-fold design agenda. It needed to sit comfortably within a low-rise precinct, and it needed to provide an open, collaborative workplace 20

Geyser, Auckland Attracting the coveted 6-Star Green Star rating for office design, an NZIA award-winning, mixed-use building that raises the benchmark for sustainable architecture 26 ANZ Centre, Auckland Reinventing this office tower involved an award-winning new foyer and plaza at street level – but the refit also transformed the appeal of the offices above 34

PROJECT PORTFOLIO Sliced Porosity Block, Chengdu, China Inspired by the writings of an 8th-century Chinese poet, this multi-tower megacomplex wraps around a landscaped plaza to bring a human scale to a mixed-use development 46 Wanangkura Stadium, Port Hedland, WA The shimmering, pixellated form of this new stadium in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea 52

74 Cover

FMHS, Grafton Campus, University of Auckland An extensive makeover has transformed the former Brutalist architecture of this medical school, creating an inviting, people-focused campus with a new heart 60

The Light Pavilion is a futuristic lighting installation that appears to burst forth from one of the towers of Sliced Porosity Block – a multi-tower, mixed-use development by Steven Holl Architects. See story page 44-51. Photograph by Shu He.

Rundle Mall, Adelaide At the heart of this new retail centre is a dramatic atrium that gives expansive views in all directions, animating the retail spaces and enhancing the whole shopping experience 66

WOMEN IN CONSTRUCTION Encouraging diversity in the workplace is a strategic priority for this professional services and investment management firm. We profile three women in key roles

HOSPITALITY The Pavilions at Britomart, Auckland Described by the design team as an “anti-architecture” project, this inner-city retail and hospitality precinct emphasises softness, fluidity and greenery 76 Kitty bar, Treasury Casino, Brisbane You don’t have to be a high roller to enjoy this new bar at a Brisbane casino, which is in a heritage building that once housed the state treasury department and premier’s office 82 Américas River Oaks, Houston, Texas In this restaurant, custom furniture, furnishings and artworks feature abundant references to Latin American history and culture 88

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INDEX

A recent Canadian study put forward the hypothesis that people are significantly more likely to evolve pro-environmental habits in a building designed with sustainability in mind than in a building that does not. The results of the study provided empirical support that surroundings can have a profound and positive impact on human behaviour. @DavidJideas facebook.com/trendsideas

No surprise there, then. The real surprise is that it has taken so long for such an obvious factor to have an effect on modern workplace design. Thankfully, the days of endless rows of compartmentalised work stations are well behind us. But what does the future look like? A good start would be to take a look at the new NAB offices at 700 Bourke St. This Grade A office building sets a new benchmark for sustainable workplace design – one that encourages sharing and innovation through formal and informal meeting spaces, and through chance encounters. Next, we present Sliced Porosity Block, conceived by the multi award-winning Steven Holl Architects. This mixed-use project in China pushes the boundaries of the public’s acceptance and understanding of contemporary architecture, with the firm living up to its reputation for designing “buildings that satisfy the spirit as well as the eye”, as Time magazine notes. Rounding up this issue of Commercial Design Trends, we showcase three hospitality projects – a temporary, ‘anti-architecture’ precinct from the heart of Auckland, an Art Deco-inspired bar from Brisbane, and an avant-garde, fine-dining restaurant in Houston that takes its design cues from cowboys, gauchos, and the staple foods of Mexico – corn, beans and maize. Now, if that doesn’t arouse your curiosity, I don’t know what will. Lastly, our Trends publications are also available as eBooks. This exponentially increases the potential audience for our featured designers and advertisers. Our readers benefit from the enhanced multimedia experience that eBooks provide, and of course, the environmental footprint of our publications is minimised. Visit our website, www.trendsideas.com.

Editorial Editorial Director Paul Taylor USA Series Editor Kathleen Kinney Deputy Editor Ellen Dorset Subeditor Jane McKenzie Senior Writer Colleen Hawkes Staff Writer Charles Moxham Contributing Writer Mary Webb Email editorial@trendsideas.com International Business General Manager, Trends Media Group Louise Messer President Judy Johnson – judy.johnson@trendsideas.com Sales Director Leslie Johnson – leslie.johnson@trendsideas.com Director of Strategic Planning Andrew Johnson – andrew.johnson@trendsideas.com Sales General Manager Sales Ben Trethewey Regional Manager Costas Dedes Senior Business Manager Adrian Law Business Managers Gill Angel, Matt Roxburgh, Norma Vaz PA to Managing Director Annette Hyland Production Custom Printing Brent Carville Agency Manager Annette Nortje Account Manager Chris Maxwell Account Co-ordinator, Agency Jenny Leitheiser Client Co-ordinator Darcelle Bell Art Director Titan Ong Wei Sheong Graphic Designer Joan Clarke Staff Photographer Jamie Cobel Image Technician Ton Veele DV Camera Operator/Production Manager Bevan Read TV Editor Gene Lewis Digital Sales Development Michael Larimar Digital Marketing Co-ordinator Miha Matelic Web, Production & TV Assistant Clint Lewis Digital Production Assistant Antony Vlatkovich Email production@trendsideas.com

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Selected by Commercial Design Series Editor John Williams

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Large firms and multinational corporations have an increasing awareness of their broader responsibilities – not just to their own workforce, but also to the wider community. This precinct is a prime example.

Sliced Porosity Block features five towers with cantilevers, setbacks and angled facades designed to allow the sun’s rays to penetrate through to a central plaza and neighbouring residential communities.

More ideas, information and inspiration plus the full multimedia experience at Trendsideas.com

The interior of the Américas River Oaks restaurant is a non-linear architectural narrative designed to convey the surreal New World culture of hybrids, like a dream or a poem that unfolds as you walk through it.

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SECTION FOCUS OFFICE DESIGN

SHARED EXPERIENCE Innovation and collaboration define the modern office, with sustainability another key design driver

Project National Australia Bank (NAB) 700 Bourke Street

Location: Docklands, Melbourne

Architect: Woods Bagot

TO THE POINT With its triangular geometry and multifaceted facade, this new office building responds to the shape and geology of the Docklands site, and the needs of the sole tenant – National Australia Bank

Large firms and multinational corporations have an increasing awareness of their broader responsibilities – not just to their own workforce, but also to the wider community. And it’s an outlook that is reflected in the design of many new corporate premises. The NAB office at 700 Bourke St in Melbourne’s vibrant Docklands precinct is a prime example. Developed, owned and managed by Cbus Property, the 16-storey Grade A office building needed to set a new global benchmark for sustainable workplace design – that was the brief given to the architectural team at Woods Bagot. It was a benchmark that had to be reinforced by the architecture, says Monica Klyscz, head of commercial property for NAB.

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“We wanted the building to make a strong visual statement,” Klyscz says. “Because the site is next to the Southern Cross train station, there was an opportunity for the development to establish both a landmark and a gateway to the Docklands precinct. We envisaged an all-access area for the public, with cafés, retail outlets and an NAB store.” Authenticity was also critical – the building needed to be true to the site in terms of its context and the materials used. To this end, Woods Bagot referenced the site’s geology and proximity to the water. The architecture responds to the triangular shape of the land and the fact that the site straddles the basalt shelf under Melbourne, and the silty base of the Docklands area. This natural tension is reflected in

Preceding pages:A new gateway to the Docklands precinct in Melbourne – this 16-storey, Grade A office building was designed by Woods Bagot for NAB. The building, which is close to the Southern Cross train station, provides commanding views back to the city centre. These pages:The exterior references the geology of the site and its triangular shape. Giant fractured fissures break up the horizontal mass of the building. These are clad in triangular panels in colours that mimic the earth and the landscape.

the external fissures that draw energy up through enclosed atria, and break up the monumental horizontal mass of the building. The triangular panels that clad the fissures echo the colours of the earth and landscape. Other triangular glazed panels on the front facade have a reflective luminosity that mimics the rippling waters of the bay beyond. The triangular motif extends up to a canopy on the rooftop terrace, and to the inside, where the geometry informs the interior design, starting with the concourse and sky lobby. In line with the desire for an open, transparent workplace, there are multiple entry points. “Just as we chose to activate the concourse level 12

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with retail tenancies, restaurants and cafés, so we wanted to encourage people to come into the NAB environment,” says Klyscz. “This was part of the overriding concept of openness and transparency. We have incorporated an auditorium, exhibition spaces, seminar rooms and a childcare facility that can be shared with the wider community.” A spectacular, full-height atrium reinforces the sense of connection, providing views both vertically and horizontally across all levels. Open staircases and bridges link the various levels, with the bridges crisscrossing the atrium at an angle, reinforcing the triangle geometry. Informal meeting areas are positioned at the pivotal point on each level.

Above left:The geological references continue on the interior, where front-of-house desks and enclosed meeting rooms on the sky lobby level appear to be formed from faceted rock crystals. Right:A stairway winds like a ribbon up through the large, central atrium (above right). Timber features extensively, in keeping with the need for an inviting,sustainably designed workplace.

Facing page:Dolore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rciduip euis. olore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rciduip euis. olore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rcidu. Right:Dolore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rciduip euis. olore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rciduip euis.olore dolore modolor percin velisi te er sed molorpe rilluptat ent dolorpe rcidu.

Preceding pages and left: To enhance a culture of openness and transparency, the levels are all open to each other. Sky bridges cross the atrium, with the structural elements reinforcing the triangular motif. Below:Staff are encouraged to work wherever they feel is most suited to the task at hand, which may be in the café or rooftop garden.

The 63,000m2 building, one of three NAB offices in Bourke St, brings together approximately 6000 staff from five different properties. Klyscz says many of the workers came from campus-style workplaces, while others had worked in more traditional offices. “The modern workplace is all about interaction and collaboration,” says Klyscz. “We want to encourage knowledge sharing and innovation through formal and informal meetings, and through chance encounters. “We have incorporated flexible, real-time working principles, with around 95% of employees working in a diverse range of spaces or micro climates. People work in teams and can choose to work in the environment best suited to the task in hand.” Work spaces include meeting rooms, quiet rooms, video conferencing rooms, work booths, collaboration tables, team huddle spaces and informal meeting spaces, including the café and rooftop garden. “Interestingly, the triangular-shaped workplace provided by the architects has been proven to be

an environment that encourages collaboration.” The building, which was constructed by Brookfield Multiplex, has achieved a 6 Star Green Star Office Design v3 rating, in keeping with the NAB focus on a sustainable workplace. “Sustainability has been a priority for the NAB property portfolio for many years,” says Klyscz. “We were one of the first corporations to achieve carbon neutral status in 2010.” Environmentally sustainable design features include the energy-efficient facade, which incorporates high-performance solar glazing and fritted glass technology. Brookfield Multiplex says the building also boasts the largest chilled beam installation to be built in Melbourne, blackwater recycling, rainwater harvesting, a co-generation plant and rooftop-mounted solar panels. Other eco-friendly initiatives include reduced waste during construction, sustainable furniture and furnishings, extensive daylight penetration provided by the atrium, energy-efficient sensor lighting, and the provision of 600 bicycle racks. More than 6000 indoor plants help to improve the air quality.

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Below:Shade canopies enliven the rooftop garden of the NAB building. The roof incorporates solar panels.

Location:National Australia Bank (NAB), 700 Bourke St, Docklands, Melbourne Architect:Woods Bagot; principals – Nik Karalis, Rodger Dalling; architecture – Nick Deans, Frank Rog, Marija Cakarun; interiors – Amanda Stanaway, Anna Arkell, Kylie Holton, Kathryn Ellis, Simon Pole, Tarryn Manskie, Rosalind Poerwantoro, Tom Withers Workplace consultant:James Calder, Calder Consultants Structural engineer:Winward Structures; 4D Workshop Structural engineer for interior fit-out:Irwin Consult Mechanical, electrical, fire, ESD and hydraulics consultant:Norman Disney & Young Quantity surveyor:WT Partnership Construction company:Brookfield Multiplex Information technology consultant:IPP Consulting Acoustic consultant:Audio Systems Logic Signage and wayfinding designer:Pidgeon/Tilt Design Catering and kitchen consultant:SDG Audiovisual and information technology consultant:NAB Project manager:APP/Montlaur Project Services Facade manufacture:G James Glass & Aluminium; Yuanda External glazing:China Southern Glass Revolving doors, automatic sliders and door locking systems:Dorma Lifts and escalators:Kone Stone flooring:Supplied and installed by Apex Stone Internal glazing:Seelite Wall joinery:VOS (Melbourne) Feature ceilings:Jacaranda Industries Bathroom fixtures:Caroma Teapoint tiles:Signorino Tile Gallery Theatrette ceiling:Sapphire Timber battening:Woodform Architectural Writable glass panels:Envoy, Chatboard Carpet tile:Interface Flor Broadloom carpet and rugs:Tretford from The Gibbon Group Paints:Dulux Storage and furniture joinery:Schiavello Blinds:Hunter Douglas Story by Colleen Hawkes Photography by Andrew Ashton See image gallery of this project online at trendsideas.com/au2909p8

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Project Energex Northern Metro Office Circa CT1 office tower

Location: Brisbane

Architect: Arkhefield

SENSE OF COMMUNITY This eight-storey building had a two-fold design agenda. It needed to sit comfortably within a low-rise precinct, and it needed to provide an open, collaborative workplace

Architecture has always been about people, but in earlier decades it often seemed as though the human factor was relegated to a low priority when it came to the development of commercial buildings and tower blocks. All that is changing rapidly, as architects, local councils and developers take a more holistic approach to new developments. The physical, visual and emotional impact of a new building is now influencing the design to a much greater level than ever before. The new Circa CT1 office building in Nundah, Queensland, reflects this changing focus. Brisbane architecture and interior design firm Arkhefield was contracted to design the masterplan for an entire precinct, and consequently commissioned to design the office building and Energex NMO interior, as well as a mixed-use development.

Architect Juergen Weigl says the development needed to work with the scale of the existing lowrise buildings in the suburb. It also needed to play a role in activating the centre of Nundah, which had a number of vacant retail tenancies. “Altogether there are 300 residential units in the plan, along with retail premises and this office building,” Weigl says. “Already, Nundah is gaining a new dynamic as people come back to work and live in the centre of the suburb. The precinct is close to a train station, which is also helping to energise the area.” To ensure the eight-storey CT1 building would sit comfortably with the existing low-rise buildings, there is a strong horizontality to the facade. “We chose a horizontal design language, with concrete elements expressed on the exterior,” says Weigl. “Each elevation has a different treatment

These pages:The design of the new Circa CT1 building in Nundah, Queensland acknowledges the existing low-rise buildings in the suburb. Rather than create a monolithic tower, the team at Arkhefield introduced a strong horizontal design language to reduce the apparent height of the eight-storey building. Different sunshade treatments feature on each facade.

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to reflect varying requirements for sun shading. Angled structural columns on the corners signal the point at which one facade terminates and another begins. These columns, or blades, were also designed to allow unobstructed views back to the city and mountains to the south, and the sea towards the east.” The architect says being able to design both the exterior and the interior fit-outs for Energex NMO and Powerlink meant the exterior could help shape the interior, and vice versa. “To express the material palette of the exterior, we have used the same language on the inside, for both fit-outs. For example, we have pulled the concrete blade walls into the building to celebrate its form. Two meeting rooms with exposed structural concrete walls also protrude into the central atrium in the middle of the building.” Weigl says the atrium was a crucial element, but it needed to be warm and welcoming, rather than a cavernous, cold, intimidating space, which is often the case with larger buildings. “Ensuring the proportions and acoustics made for a comfortable environment was critical. Timber flooring and timber blades along the walls help to

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introduce a visual softness. We added an acoustic treatment to the walls to control the sound levels in the atrium. A sculptural light installation is another visual device enhancing the key circulation area – the lights appear to dance up the atrium.” The architect says Energex wanted the focus of the workplace to be on collaboration and communication, which determined the idea of open floor plates and the central staircase. “This increases the opportunities for social interaction and provides a strong visual connection both vertically and horizontally. To allow for this, we pushed the building core out to one side.” Weigl describes it as a non-hierarchical workplace – there are no enclosed offices in the building. Private spaces have been incorporated, but these are defined by full-height glass partitions rather than solid walls, maintaining the sense of transparency. “We also pulled the work areas away from the building perimeter – this is a circulation area that can be used and enjoyed by all staff, not a select few. And we created zones to introduce a human scale to the fit-out. It is still a large, open space, but there are clearly defined areas with support

Below:The major tenant in the building is Energex NMO, which occupies the top five floors. The first Energex floor – Level 3 – is lined with timber blade walls. An open staircase winds up a central atrium, which is of a scale designed to keep the space warm and inviting. Right:A light installation by Luxxbox enlivens the atrium and draws the eye up towards the transparent roof.

These pages:Exposed concrete blade walls echo the design language and material palette of the exterior. The walls frame two meeting rooms that appear suspended within the space. Different zones help define areas. Story by Colleen Hawkes Photography by Scott Burrows

services in close proximity. Staff feel comfortable in these spaces, but they never lose the context of the whole building.” Energex specified a number of different work options for staff, including fixed desks, hot desking and informal meeting tables. Staff can choose where they wish to work on any given day. Sustainability was another driver for the design, with the base building achieving a 5 Star Green Star

rating, and the interior built to Green Star principles. Key features include a high-efficiency floor plate that maximises natural light and external views, light sensors and rainwater collection and use. “We also used high-performance glazing, but with a low tint to the glass,” says Weigl. “This ensures people outside can see into the building, which fits with the community-oriented principles that determined other aspects of the design.”

Location:Energex NMO fit-out, Circa CT1 office tower, Nundah, Queensland Architect and interior designer:Arkhefield (Brisbane); architecture team – Andrew Gutteridge, Juergen Weigl, Matthew Smith, Michael Carlotto and Erin Wheatley; interior design team – Emma Cecchin, Corinne Trang and Belinda McGrath Developer:Property Solutions Construction company:Hutchinson Builders Civil engineer:Bornhorst & Ward Electrical, lighting and communications consultant:WSP/SDF Environmental consultant and fire engineer:WSP Hydraulic engineer:BRW/Woods & Grieve Engineers Mechanical engineer:WSP/HVAC

Facade system:G James Cladding:Alpolic aluminium; Vitrapanel fibre cement Sunshade screens:McLay Industries Timber handrails and feature wood wall linings: Finecraft Furniture Automated sliding doors and door hardware:Dorma Black precast concrete stairs:Precast Concrete Products Awards:AIA Queensland State Award, Commercial Architecture; AIA Brisbane Regional Commendation Interior Architecture and Commercial Architecture View, save or share this story online at trendsideas.com/au2909p20

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Project Geyser

Location: Auckland

Architect Patterson Associates

NATURAL RESPONSE Attracting the coveted 6-Star Green Star rating for office design, the mixed-use Geyser in Parnell raises the benchmark for sustainable architecture

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Below:A translucent double facade on the Geyser complex by Patterson Associates traps and utilises warm air in winter and opens up to provide cross ventilation in summer.

The trend away from elitist private offices and claustrophobic cube farms towards more egalitarian, open-plan commercial workspaces has improved the lot of the white-collar worker. Now, the game has changed again with a new breed of architecture that holistically addresses the entire building in terms of worker health and comfort. A picture of shimmering glass, Geyser, in Auckland, was a runner-up in the highly competitive Office category in the World Architecture Festival in Singapore this year. The project is the sixth that architectural firm Patterson Associates has created for owner Samson Corporation, and the first to earn 6 Green Stars for office design. In fact, Geyser is the first new build office building in New Zealand to attract this high rating. A 6-Star rating represents world leadership in office design, according to the New Zealand Green Building Council, which is responsible for assessing environmentally sustainable design initiatives. Geyserâ&#x20AC;&#x2122;s high-tech innovations mean it is set to use only one-third of the energy of a standard office building and half the amount of artificial lighting and water. Staff will breathe 100% fresh air, compared to around 25% in air-conditioned offices. Facing the street on three sides, Geyser is made up of five individual buildings that together take up one end of a large city block. Three lines slice through the site plan, forming divisions between the buildings. Each ground floor is given over to retail or F&B, with the three floors above providing for 24 open-plan offices, for a total occupancy of around 450 people. The five buildings are connected by outdoor atria, walkways and a courtyard that help create a sense of community for all those who work, dine or shop there. A 165-vehicle automated car stacker serving five levels of underground car parks beneath the centre of the development contributes to the efficient use of space. To some extent, the drive for green efficiencies has dictated the look of Geyser, says architect Andrew Patterson. For example, natural light floods into the heart of the complex, greatly reducing the amount of energy MORE OFFICES AT trendsideas.com

These pages:Open-air atria divide the five Geyser buildings. Internal faces have the reverse pattern of the glass facades.

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required for artificial lighting, and bringing a human scale to this mixed-use development. In most areas the ground-level retail spaces open to both the street and the atria, creating dual shop frontages. The open-air internal atria had another advantage too. Built-up use of the lot was limited by council bylaws, but being open to the skies, the walkways didn’t count, so there was more room for retail and office space. However, the most distinctive visual aspect of Geyser is its patterned translucent facade. This provides a passive heating and cooling system so efficient that the building needs only minimal heat input in the morning over the coldest winter months and has no need for any air conditioning. “Essentially, Geyser has a double glass facade that traps air heated by the sun in the winter and redistributes it across the whole building, says Patterson. “This is controlled by a computerised system that takes its weather cues from a meteorological station on the roof. Individual tenants can open internal windows to make use of this heated air.” In summer, the computer can open up strategic vents of the outer facade, forming convection currents allowing cool air to waft through the interiors. No matter what the season, Geyser enjoys 100% fresh, naturally circulated air. It is the innermost, reflective facade and the use of frit glass, which filters the sun’s rays, that give Geyser its shimmery, see-through quality. Large, vertical hinges on the articulated windows are also part of the distinctive patterning. Some elements of the concrete facades were designed to look as if they were moulded around the operable external facade, for continuity. Other strategies that contribute to Geyser’s high green rating include low-wattage lighting, a rainwater harvesting system used to supply toilets and irrigation systems and low-flow water utilities. The design also utilises showers, lockers and cycle parks to encourage active transport. Geyser is also close to major public transport hubs. Besides the efficient use of space, there is the convenience of the high-tech car stacker that parks cars automatically. Once the car is parked in the virtual garage, a turntable spins it around, loads it onto a lift and takes it to an available space. When it’s time to leave, drivers just swipe their card and the machine finds and returns the vehicle. The economy of space comes from the low head heights and narrow bays – just a 75mm-100mm space between wing mirrors, made possible by an MORE OFFICES AT trendsideas.com

automated service and a computer that works out how to best utilise every available space. If someone is away for two weeks, for example, a spot won’t sit empty. Samson Corporation general manager, Marco Creemers, says Geyser is not only architecturally innovative, it offers huge cost savings to tenants through the impressive array of green features in the new development. But savings are also likely to result from a rise in productivity and reduced absenteeism, two factors that improve significantly

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along with the quality of the indoor environment. Setting is everything in terms of business and retail success – not just a handy geographical location but also a dynamic, go-ahead office environment that surrounds a company and by association becomes part of its ethos. “Businesses locating here make an important statement about commitment to the welfare of our planet, and also to the wellbeing of staff, guests and customers,” says Creemers. “Geyser promotes environmental, cultural and social wellbeing.”

This page:A red wall in the underground carpark evokes Auckland’s fiery volcanic past. Close parking bays and minimal headroom are two space-saving advantages of the facility. Facing page:Samson has a tenancy in its own development. An emphasis on glass walls in the fit-out echoes the spirit of the architecture.

Right:The 3-D quality of the glass facade is more easily seen from an angle. Retail windows animate the ground-floor frontage.

Location:Geyser, Auckland Architect Patterson Associates Ltd Client:Samson Corporation Contractor:Mainzeal Property and Construction Environmental engineering peer reviewer:Arup Australia Electrical engineers:eCubed Building Workshop Structural engineers:Joyce Consultants Environmental engineers:Tricia Love Consultants Quantity surveyor:Rider Levett Bucknall Facade design and construction: King Facade New Zealand Facade structure:Structure Design HVAC:Thurston Consulting Car stacking design:International Parking Systems Fire engineer:Chester Consulting Security system:Boss Signage:Designed by Milk, installed by Signs Advertising Landscaping:Natural Habitats Cladding:Glass-reinforced concrete (GRC) from Unicast Cladding Systems Elevator services:Kone Elevators Hardware:Wilson & Macindoe Flooring:Holcim Green Star concrete mix with honed, exposed aggregate finish, by Polished Concrete Paints:Dulux, NZ Enviro Choice Lighting:Concept Lighting Story by Charles Moxham Photography by Jamie Cobel To view a video and gallery online go to trendsideas.com/au2909p26

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Trends 29 /09

Project ANZ Centre

Location: Auckland

Architect: Warren and Mahoney

REFRESHING CHANGE The regeneration and modernisation of one of Auckland’s landmark office buildings has revived its public presence and helped retain its anchor tenant

The ANZ Centre, originally the Coopers & Lybrand Tower, first made its mark on the Auckland skyline in 1991. Twenty years on, the building stood confidently as a good example of late ’80s office design, with a long term tenant occupying a substantial portion of the building. But for how long? This was the dilemma faced by the building’s owner, Precinct Properties, says development manager Iain McIntyre. “ANZ were a substantial occupier and exploring options for a new premises, so we had to come up with a compelling strategy to retain them.” Architects Warren and Mahoney were engaged to revitalise the building and, in the process, help convince ANZ to stay on as the anchor tenant for the next 15 years. Principal John Coop says that

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due to its age, some aspects of the building were not performing well, and public spaces had become weak and unsupportive of the occupants, and no longer engaged with the rest of the city. “We needed to give the structure a new lease of life, retain its premium grade status, and create a project that would be internationally modern,” says Coop. “The existing tenants clearly required a high-performance working environment that was both flexible and collaborative; one that was more closely related to their clients.” It was also critical to address the building’s response to its location in the CBD, and to upgrade the amenities at ground level – primarily by creating an internal public thoroughfare, a generous seating hall with a café, and a suite of meeting rooms.

Below left:The new vaulted glass entry to the ANZ Centre re-establishes the building’s presence in Auckland’s CBD. Top right:Five pieces of art were specially commissioned for the new lobby space. Birds and Boats by Neil Dawson greets people as they enter the new lobby at ground level. At the top of the escalators, Sarah Hughes’ Orangery is a dynamic, naturally backlit wall of glass. Bottom right Over 60% of the marble from the existing lift core cladding was recycled, providing a durable and low-maintenance floor for the new lobby.

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Previous pages:The curved, granite-clad form of the existing tower can easily be recognised within the footprint of the extended lobby area. Facing page:Sleek glass canopies replace the heavy rosso porrino granite arches of the original design. Below:A kiosk was designed to service the plaza. On the other side of the grassed area stands a new suite of meeting rooms. Below right:The visual intent was to connect the new plaza to the adjacent St Patrick’s Square. Story by John Williams Photography by Jamie Cobel

“By adding a new rectilinear spine along the northern side of the site, the foyer was expanded over the existing external walkway,” says Coop. In doing this the architects were able to utilise the space beneath to accommodate essential new plant and infrastructure to service the refurbished floors above – including an energy-efficient chilled beam (HVAC) system for the entire ANZ tenancy. “That, and the installation of a destination controlled lift system has seen some massive gains from a sustainability perspective,” says project architect Richard Archbold. Art was also a priority, with the architects advocating for a public art programme from the outset. “Too often art can be an afterthought, the corporate equivalent of throw cushions, added for a splash of colour. Here, however, the artworks respond to the space and in some cases, take on functional, architectural tasks,” says Coop. Landscape architects Boffa Miskell were brought on board at an early stage to help with the redesign

of the plaza at the base of the tower, bordering Swanson and Federal Streets. The firm’s awardwinning work on the adjacent St Patrick’s Square project certainly influenced the outcome, says landscape architect Cathy Challinor. “There was a definite intention to forge a strong connection between the two visually and create the feel of a single space,” she says. Challinor says that the simplicity of the end result belies the complexity of the design and technical challenges on the project – referring to the fact that the plaza is built on top of an existing car park roof, and the design had to work within constraints of the podium roof structure, existing and new building floor levels and entries, and the surrounding public footpath network. “Overall, it was a brilliant team effort,” says Coop. “Not only was the project hugely important for the property sector of the CBD of the largest city in the country, it was also the most sustainable outcome for the environment.”

Location:ANZ Centre, Auckland Owner:Precinct Properties New Zealand Architect:Warren and Mahoney Landscape architect:Boffa Miskell Construction:Fletcher Construction Project management:RCP New Zealand Building services & acoustic engineers: Norman Disney & Young Structural steelwork:Global Engineering Facades:Thermosash Commercial Glazing:Woods Glass Electrical services:Electrix Fire protection (steel beams):Forman Insulation

Suspended Ceilings:Forman Commercial Interiors Wall insulation:Forman Building Systems Metalwork:Lobby ceilings, Metal Concepts Revolving doors:Assa Abloy Entrance Systems NZ Operable walls:Dorma Stonework:Italian Stone, The Tile People Escalators & lifts:Kone Elevators Commercial Kitchen:Wildfire Art consultant:Paul Baragwanath To view extra images and plans online go to trendsideas.com/au2909p34

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CHALK IT UP Staff at this new Microsoft office can take ownership of their own lockers by adding a personal touch – the doors are painted in Resene Blackboard Paint

Hot desking, in its various forms, is a concept that is rapidly gaining acceptance in the workplace. Rather than having allotted desks, staff can work wherever they wish in an office – be it at a table, workstation or outside on a terrace. But the system does require staff to have a place where they can store items overnight. At this new Microsoft office, designed by Stephenson&Turner, there is a bank of bright orange laminate lockers that fulfil this role. To personalise the lockers and allow easy identification, the doors feature Resene Blackboard Paint. As the name suggests, Resene Blackboard Paint turns the wall, or door in this instance, into a blackboard that can be written on with chalk. Staff are encouraged to let loose their creativity and have a little fun decorating their own space. The waterborne paint comes in a range of colours, and is suitable for all types of interior and exterior surfaces where a hard-wearing, easy-care blackboard paint is required. Resene Blackboard Paint is easy to apply – it needs just two coats over a prepared and primed surface. And because it is available in a 500ml can, it is possible to buy a small amount, which can be used to transform a specific area. Resene paints also feature elsewhere in the Microsoft office. The walls and ceilings are painted in Resene Merino, described as a light and versatile off-white with a green oxide undertone. For more information, or to receive a copy of the latest colour fandeck, contact Resene, phone tollfree 1800 738 383 or visit a Resene ColorShop. Website: www.resene.com.au. View, save or share this story online at trendsideas.com/go/41442

Above:Lockers in this new Microsoft office designed by Stephenson&Turner feature Resene Blackboard Paint. VIEW ARTICLE ONLINE AT trendsideas.com/go/41442

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POETRY IN MOTION Forget the wobbly, noisy ceiling fans of the past – Sensorless Drive Technology within the Haiku fan provides a quiet, smooth operation and numerous intelligent control features

Natural ventilation is an increasing priority for designers and their clients as they incorporate sustainable design initiatives into their projects. But this doesn’t mean you have to make compromises in terms of personal comfort. The Haiku ceiling fan has brought natural ventilation into the 21st century, thanks to its Sensorless Drive Technology™, handcrafted construction and patent-pending electronics, which feature four microprocessors for intelligent control. Among Haiku’s ten settings is the Whoosh mode, which is a proprietary algorithm that simulates natural air flow for an enhanced cooling effect. The composition of the fans enhances the seamless fit and finish. Each fan is meticulously handcrafted, with Thin Sheet™ aerofoils built from the highest quality Moso bamboo or glass-infused matrix composite. These are precision balanced by factory technicians to deliver smooth, silent airflow at all seven speeds. Haiku’s patent-pending LED light module offers 16 increments of brightness and exceeds the lifespan of standard bulbs by 316%. For large rooms with high ceilings, there is a new 2.1m Haiku fan that has been re-engineered for commercial spaces. The Haiku fan has already attracted international attention, winning 12 design and technology awards to date, including the prestigious Red Dot design award in 2012. For more information, contact Big Ass Fans Australia, Unit 22, 1029 Manly Rd, Tingalpa, Queensland 4173, phone (07) 3292 0171, fax (07) 3292 0199. Website: www.haikufan.com.au. View, save or share this story online at trendsideas.com/go/41546

Above:Thin sheet aerofoils on the Haiku ceiling fan create a smooth, quiet airflow. The fan has seven speed settings. VIEW ARTICLE ONLINE AT trendsideas.com/go/41546

SECTION FOCUS PROJECT PORTFOLIO

SHAPESHIFTERS The way buildings interface with their immediate surroundings is changing the shape of our cities, as these projects illustrate

Project Sliced Porosity Block Raffles City Chengdu

Location: Chengdu, China

Architect: Steven Holl Architects

BACK TO THE FUTURE Inspired by the writings of an 8th-century Chinese poet, this multi-tower megacomplex wraps around a landscaped plaza to bring a human scale to a mixed-use development

Commercial tower blocks and mixed-use developments are typically clustered to arise from a street-level podium. With built forms abutting the street, such architecture can appear intimidating. A new development in Chengdu, China revisits the whole concept of a multi-tower, mixed-use development to create a sustainable, light-filled urban precinct that enhances the architectural interface with the city. Raffles City Chengdu, commonly referred to as Sliced Porosity Block, was developed by CapitaLand China and designed by Steven Holl Architects. The 310,000m2 development covers an entire city block, providing two office towers, a residential tower, a hotel tower, a high-end serviced residences tower and retail premises around the perimeter and beneath a large plaza. But it is the position of the towers, their design and their relationship to one another, that heralds the key difference. The towers are wrapped around

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three sides of a landscaped precinct, with street level access at all points where there is a break in the built form. Architect Roberto Bannura, the director of Steven Holl Architects’ Beijing office, says there were six main concepts that determined the design. “Porosity was one of these – the idea that the buildings would be designed to allow sunlight to penetrate the architectural mass,” Bannura says. “This explains the setbacks, cantilevers and angled facades. These were calculated after consideration of the site’s precise longitude, latitude and sunlight angles, and the location of neighbouring residential communities. We introduced glazed walls to all these elevations, so you can read where the sun slices through the towers – those are the glazed facades. The buildings are also distinguished by their exoskeletal structure – the architectural geometry and load-bearing diagonals are clearly visible on the exterior of the towers.”

Preceding pages and below: The fractured form of this new mixed-use development in Chengdu, China enhances its close integration with the city beyond. Raffles City Chengdu, or Sliced Porosity Block as it is also known, features five towers with cantilevers, setbacks and angled facades designed to allow the sun’s rays to penetrate through to a central plaza and neighbouring residential communities. Right:The towers are grouped around three sides of the plaza, creating a sheltered microclimate for the public space. The plaza incorporates three ponds. Large skylights beneath the water allow natural light to penetrate the retail mall beneath.

Another key design concept was the integration of the urban space in terms of both its function and the form. “We designed a large plaza that would integrate the buildings and fulfil all the expectations people have of such an urban precinct, essentially creating a city within a city, not unlike the Rockefeller Center in New York,” says Bannura. “Micro-urbanism was a key concept expanded in the design. Creating a strong sense of community and introducing an intimate scale to the development was vital. There are no intimidating structures at pedestrian level – everything is open and easily accessed, from the double-fronted retail stores around the perimeter to the building entries.” The design of the plaza references the work of the Chinese poet Du Fu, who lived in Chengdu during the 8th century – this was another key concept that influenced the design. “Providing a sense of history and a recognition of the past was important,” says Bannura. “The

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design is an interpretation of a poem that reads ‘This fugitive between earth and sky, from the northeast storm-tossed to the southwest, time has left stranded in three valleys’. We have created three linked plazas that reference the three valleys, each with a water feature inspired by a different concept of time. In the Cascades water feature, for example, every stone block refers to a day of the year and there are 24 special markers that follow the Chinese calendar.” Spatial mall geometry was another defining architectural influence. Bannura says it was vital that shoppers in the mall below the plaza would still feel connected to what was happening above. The design consequently provides three extra-large skylights – one in each of the three lakes. By day natural light floods into the mall, and at night, the light shines in reverse, illuminating the lakes. The architects also introduced three pavilion elements that sit within three towers around the level of the fifth floor. The towers appear to wrap

Below:A series of pavilions are positioned within cutouts in the towers. These include a Corten steel pavilion featuring digital projections of Sichuan artefacts. The landscaping in the plaza was inspired by a poem written in the 8th century by Du Fu, a former resident of Chengdu. Right:The towers are also distinguished by their exoskeletal structure – bracing is exposed on the exterior.

Left:The Light Pavilion is a futuristic lighting installation that appears to burst forth from one of the towers. The sculptural design of the semi-transparent elements mimics the sliced and angled form of the towers. Below:A stairway winds up through the Light Pavilion, enhancing the visitor experience.

around these pavilions giving the impression these elements were already in existence. One pavilion, in rusted Corten steel, will exhibit digital projections of Sichuan historical artefacts – an acknowledgement of the museum that once stood on the site. The Light Pavilion, designed by Lebbeus Woods and Christoph A Kumpusch, is a complex space that explores futuristic architectural lighting forms. An open stairway winds up through the pavilion. Here also, the design acknowledges the historical heritage of the city, with bright light displays celebrating traditional festivals. “Throughout the development, the lighting plays a huge role,” says Bannura. “At night, light leaks from the sliced cuts in the reverse direction of the sun slicing through the buildings. And the plaza itself has an inviting glow – light spills out and activates the streetscape on South Renmin Road, a key axis through the city.” The sustainability initiatives were another key driver for the design of the project. The development has set a new benchmark for the city, being the first complex project in Chengdu to obtain LEED Gold Pre-Certification status, which was

Location:Sliced Porosity Block, Chengdu, China Developer:CapitaLand China Architect:Steven Holl Architects Associate architect and structural engineer: China Academy of Building Research MEP and fire engineer and LEED consultant: Ove Arup & Partners Lighting consultant:L’Observatoire International

awarded by the US Green Building Council. Sliced Porosity Block incorporates advanced green technologies. These include a ground-source heat pump system featuring 468 geothermal wells, and a heat recovery system whereby heat from HVAC condensate is transferred to flushing water. Rainwater is collected via a raised paver system that controls water runoff – the water is used for irrigation. In addition there is greywater recycling. Altogether the water savings result in a 43.4% reduction in potable water usage. The development also has green roofs, LED lighting and occupancy sensors, recycled and locally sourced materials, and a chilled water storage system that reduces electricity demand during the day. Passive design plays a key role as well – the thermal mass of the exposed concrete stores passive heat; the cradle of towers provides a microclimate that enhances the outdoor living environment in summer and winter; and exposure to daylight helps reduce energy use. See video and image gallery of this project at trendsideas.com/au2909p44

Quantity surveyor:Davis Langdon & Seah Traffic consultant:MVA Hong Kong Cladding:Concrete Glazing system:CSG Architectural Glass Story by Colleen Hawkes Photography by Iwan Baan and Shu He

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Project Wanangkura Stadium

Location: Port Hedland, WA, Australia

Architect: ARM Architecture

DESERT STORM The shimmering, pixellated form of this new stadium in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea

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Below:The new Wanangkura Stadium in Port Hedland, Western Australia, designed by ARM Architecture, is unlike any conventional stadium. The exterior, which is modelled on the isobars of a cyclonic weather system, features blue vitreous enamel panels that resemble pixels. From a distance, these panels make the building appear as a shimmering mirage.

Port Hedland is a small city on the Western Australia coast, approximately halfway between Perth and Darwin, which means it’s essentially hundreds of kilometres from anywhere. But it’s not a place so easily overlooked these days, thanks to a bold, new initiative that has brought an international-class stadium to the Pilbara region. The Wanangkura Stadium, named after the local Kariyarra word for whirlwind, was designed to put Port Hedland on the map. Mayor Kelly Howlett says the stadium needed to engender a sense of pride and belonging for the community, which comprises people of more than 70 different nationalities.

“We wanted a stadium that would really set the bar for future city buildings,” Howlett says. “This city of 21,000 people is anticipating massive growth in the next 20-plus years, with the population expected to more than double in this time. We envisage the stadium being the vibrant hub of a highly sustainable city centre.” ARM Architecture was commissioned to design the building, which is part of a masterplan aimed at improving sports facilities in the region. Architect Sophie Cleland says it was clear the stadium design needed to make a strong statement. “It needed to simultaneously encapsulate and galvanise the community,” she says. “The building

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Left:In places, the blue pixels protrude from the building, while in other areas, they are pushed in to highlight entry points.

had to address the street as well as the existing grass oval behind. And it needed to be an international-class facility that would attract visiting sports teams and could be used for shows and concerts. At the same time it had to withstand the extreme climate, not only the heat from the desert, but also the tropical cyclones that regularly hit the region.” Cleland says it was important for the architecture to have a local context, so the design team looked to the geographical environment and local industry to determine the design. “The building needed to respond to the location and the community, and vice versa – we wanted the people of Port Hedland to identify with the building. The mining industry is a huge part of life here. Visually, there are many very big objects in the landscape that are directly related to this, including an enormous salt pyramid and various towers and buildings. Everything, including the trucks, is on an enormous scale, so we envisaged the stadium as another large object rising from the flat, red landscape. And there was already a requirement for tall ceiling heights for the indoor basketball courts, so it was always going to be a large volume.” Cleland says the curved front of the building echoes the curve of the oval while the straight facade at the rear was designed to incorporate spectator seating and enclosed corporate boxes that overlook both the oval and the internal arena. Blue vitreous enamel panels were specified for the cladding, to provide a distinctive, highly durable exterior that would not be adversely affected by the red dust that cloaks the area. The panels are mounted onto a galvanised steel sheet, with gaps between the two surfaces allowing heat to escape, much like a thermal chimney. “The building envelope itself provides the most significant sustainability feature, helping to insulate the stadium from the extreme heat,” says Cleland. “To come up with a responsive design for the panels, we created a 3-D model of a weather system, and sliced through this to show the isobars of a cyclone. This became the pixellated pattern for the exterior. From a distance it has the shimmering, rippling look of a mirage. When you get close the pixels become more distorted.” MORE PROJECTS AT trendsideas.com

“The appearance of the building changes during the course of a day. At times the blue exterior seems to merge with the sky so the building is almost invisible, while at other times it stands out strongly against the red of the landscape and the green of the eucalyptus trees. And at night it sinks into the inky blackness and the lighting becomes a showcase in its own right.” The 3500m2 metal deck roof is also a significant feature of the stadium, says the architect. “This is a town where people fly in and fly out again, so the view from the air was important – the roof is essentially the fifth facade of the building. To this end, we introduced bold black and white stripes to the roof, which are the colours of the local South Hedland Swans football team.” Additional colour accents enliven the entry, which appears to have been punched out of the pixellated exterior, exposing a bright orange interior, with blocks protruding at irregular intervals. Several large pixels appear to have fallen to the 56

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ground where they form outdoor seats. “The orange is a very warm colour, and with its ziggurat form, the entire entry stands out from the road,” says Cleland. “There is almost a suggestion of a sacred place – and it is, after all, a very important community resource. In essence, local industry is giving something back to the local people.” The entry leads to an internal street that runs through to the oval behind. Glazed doors allow a view right through the building, enhancing the connection with the oval. They also provide views into the internal arena and squash courts. “We have repeated the pixel pattern on the inside, but in a softer way, with plywood panels,” says Cleland. The pattern helps to break up the space visually, so it doesn’t look like a huge shed.” Howlett says the stadium is already fulfilling its role, both in terms of its unique architecture and attracting a diverse range of sporting codes. “The use has far exceeded our expectations. The whole community is benefitting, just as planned.”

Above:To provide a thermal envelope, the blue panels are mounted onto a galvanised metal sheet, with a gap between the two. This helps to remove hot air, insulating the building from temperature extremes. The top edge of the building is also pixellated, which gives it an undefined edge from a distance. Right:The entry features contrasting bright orange panels, or pixels.

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Left:On the oval side of the stadium there are fixed bleachers. A large corporate entertaining facility is positioned behind the glass on this elevation. It provides a view of both the oval and the internal arena in the other direction. Below left:On the inside, the pixel pattern reappears, with a softer, less distracting aesthetic. The arena has the flexibility to be used by a variety of sporting codes, and for concerts and theatre productions. Right:The roof of the stadium is considered the fifth facade, as it is the first part of the building to be seen by people flying into the city. It is painted in the colours of the local football team. Lower right:The stadium occupies one corner of the large sports arena. The development includes outdoor courts.

Location:Wanangkura Stadium, Port Hedland, WA Architect:ARM Architecture, Melbourne Landscape architecture:Oculus Structural and services engineer:Aurecon Quantity surveyor:Davis Langdon/ Rider Levett Bucknall Building surveyor:John Massey Group Main contractor:Doric Group Facade:Low carbon steel vitreous and enamel panels Roofing:Fielders KingKlip 700 in Night Sky and Windspray

Wall lining:Fielders Tl-5 Colour Night Sky Story by Colleen Hawkes Main photography by Peter Bennetts; aerial image above by Doric Group See image gallery of this project online at trendsideas.com/au2909p52

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Project Grafton Campus, Faculty of Medical and Health Sciences, University of Auckland

Location: Auckland

Architect: Jasmax

IN GOOD HEALTH An extensive makeover has transformed the former Brutalist architecture of this medical school, creating an inviting, people-focused campus with a new heart

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Below:The Faculty of Medical and Health Sciences at the University of Auckland has undergone a major upgrade designed by Jasmax and Jackson Architecture. The new Boyle Building, left, is joined to the refurbished existing buildings by a new atrium.

Much has changed in 30 years in terms of both education and architecture, so it’s scarcely surprising that a university campus that has seen no new building or infrastructure work in that time would be due for an upgrade. When the Faculty of Medical and Health Sciences at the University of Auckland found itself in this situation, it commissioned Jasmax and Jackson Architecture to come up with a masterplan for the Grafton campus. Jasmax architect Stephen Middleton says the university had outgrown the existing space. It was also wanting to enhance its research department, which is seen as a vital growth stream contributing to university funding. And there was a need for an improved flow through the campus, which had no social focus. Shared circulation areas for students and researchers also needed to be addressed. “Research facilities have to meet a whole raft of international standards, so there was a clear need for separation,” Middleton says. “But just as importantly, the campus had no sense of identity. The Brutalist architecture of the existing buildings was not welcoming and the campus seemed cold and unfriendly. The only social space for the students was the café.” The architects consequently came up with a plan that included a new building – the Boyle Building – to house academic offices, student facilities, lecture theatres, the Liggins Institute and an optometry clinic. A large, light-filled atrium links this structure to an existing building, which has a new extension. All the existing buildings were extensively refurbished and new infrastructure services installed. “The new building and the extension gave us an opportunity to soften the harsh exterior of the campus and give it a more humane aspect,” says the architect. “We picked up on the existing material palette, which is mainly concrete and glass, and introduced zinc as a visually soft alternative for two of the elevations. “Fixed aluminium louvre sunscreens help to give the new structure a sense of scale. The design of the screens references the pattern of marching MORE PROJECTS AT trendsideas.com

columns on the north face of the adjacent building. Coloured LEDs within the screens create a random pattern by night, reminiscent of DNA strands.” The campus was also completely reorganised on the interior, says the architect. “We moved the students down to the lower levels of the buildings, and positioned the research facilities at the top. The atrium has effectively become the heart of the campus, a focal point that resolves the issues of identity.” A stairway winds up the atrium and sky bridges crisscross the space linking the new with the old, and providing opportunities for social interaction.

The balustrade is a fluorescent yellow green, a colour accent repeated in the portals to the new lecture theatres on the ground floor, and elsewhere throughout the building. “We wanted to promote the use of the stairs,” says the architect. “It provides a way for people to engage with and activate the entire space, which is exactly what is happening. Staff meeting and social spaces also spill onto the atrium bridges, further encouraging collaboration and transparency.” The upper levels of the new building provide adaptable spaces for academic offices, with open spaces around the perimeter maximising daylight.

Key: Teaching areas Offices Café

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Below:The plan shows the ground level of the redesigned campus. New lecture theatres are positioned in the new Boyle Building, with entries off the atrium. Right:With its open stairs and balconies on upper levels, the atrium has a welcome transparency that contrasts the original Brutalist architecture of the buildings on campus.

Left and below:Fluorescent yellow green balustrading promotes the use of the stairs, which in turn helps to activate the atrium. The totara fins on the walls are backed by acoustic insulation. Below right:Bright colours also define other areas of the campus – red features in the student café within the new extension. Exposed services enhance the lively ambience. Story by Colleen Hawkes Photography by Jamie Cobel

Student facilities include a new café on the ground floor of the extension that opens to both the atrium and the outdoors. A student commons and information commons are positioned on the first floor of the Boyle Building, directly opposite the library across the atrium. In areas that are not open, the partitioning is glazed to enhance visual connections. “Modern learning is a lot more informal and group focused than in the past,” says Middleton. “So we have provided plenty of places for students to sit together, with LCD screens that they can connect to their computers to share information.” Strong primary colours define various areas

within the campus. These were taken from two key artworks, by Pat Hanly and Gretchen Albrecht. Salvaged totara wood also features extensively on walls fronting the atrium, in keeping with the need for sustainability. Middleton says the irregular patterning of the totara fins responds to the existing facade’s angled spandrel panels and the shadows they cast. Other sustainable design initiatives include the use of natural ventilation in the atrium, chilled beam air conditioning, high-performance glass, extensive insulation and the use of recyclable materials. The campus is also built on a brownfields site, is close to public transport and has ample bicycle parks.

Location:Grafton Campus, Faculty of Medical and Health Sciences, University of Auckland Architect:Jasmax, in association with Jackson Architecture Structural engineer:Holmes Consulting Mechanical and electrical services engineer:Beca Quantity surveyor:Rider Levett Bucknall Construction company:Fletcher Construction Project manager:RCP Facade:Thermosash Commercial Metal cladding:Metal Design Solutions ETFE roof:Vector Foiltec (New Zealand) Waterproofing:Mohan Roofing Services; MPM Waterproofing Services Structural steel:D&H Steel Construction; George Grant Engineering

Joinery:Sage Manufacturing Specialist doors:Pacific Door Systems Door locks, closers and security hardware: Ingersoll Rand Security Technologies Lifts:Kone Elevators; New Zealand Engineering Services Suspended ceilings:Forman Commercial Interiors Carpentry:Melco Construction Blinds and curtains:Decor People Audiovisual systems:Connect NZ Soft landscaping:Natural Habitats See image gallery of this project online at trendsideas.com/au2909p60

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Project Rundle Place Rundle Mall

Location: Adelaide

Architect: The Buchan Group

PIVOTAL ROLE At the heart of the new Rundle Place retail centre in Adelaide is a dramatic atrium that features TemperShield curved toughened glass balustrading from Glasshape Australia

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Below:The new Rundle Place retail centre in Adelaide features a large atrium with retail floors linked by escalators. The balustrading is 19mm TemperShield™ curved toughened glass from Glasshape.

Expansive views in all directions are vital for a large retail centre – they generate anticipation and excitement. And it’s not just about the architecture and fit-outs – people checking out the merchandise and riding the escalators help to animate the spaces, enhancing the whole experience. Clear glass balustrading helps ensure such views are maximised, which is exactly what the design team specified for the new Rundle Place premium retail centre in the Rundle Mall precinct in Adelaide. TemperShield® 19mm curved toughened, heatsoaked glass from Glasshape Australia was chosen for the balustrades in the central atrium. As well as complying with the regulations for frameless glass balustrades in shopping centres, the curved glass provides a distinctive architectural feature. It also enhances the sense of openness and space, and ensures the circulation areas flow seamlessly. Glasshape, which has ISO9001 accreditation, can manufacture TemperShield® curved toughened glass in extra-large sizes – up to 3.9m high x 2.44m wide, which is the largest dimension available in Australasia. The glass is well suited to commercial and residential architectural applications. The company also has a digital onsite measuring system that can be utilised to take measurements early in the construction process, before standard templates would normally be made. Specialist technicians use the latest digital scanning software to produce electronic templates. The glass can then be manufactured and delivered on site before it is required, so builders don’t have to wait for it. For further information, contact Glasshape Australia, 24 Kembla Way, Willetton, Perth, WA, phone 1800 042 716, fax 1800 040 934. Email: info@glasshape.com.au. Alternatively, visit the website: www.glasshape.com.au. See other Glasshape projects online at trendsideas.com/go/41164

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SECTION FOCUS WOMEN IN CONSTRUCTION

A FRESH PERSPECTIVE Encouraging diversity in the workplace is a strategic priority for professional services and investment management firm Jones Lang LaSalle. We profile three women in key roles

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Below:Leading real estate services firm Jones Lang LaSalle walks the talk when it comes to valuing diversity in the workforce. The Project and Development Services (PDS) Diversity program aims to encourage women taking on roles within the construction industry.

Women have been succeeding in business in ways that would have unprecedented even three decades ago, but the construction industry has long remained a male bastion. However that, too, is changing in Australia, thanks to a key initiative introduced by Jones Lang LaSalle (JLL). The Australian operation of the global professional services and investment management firm, which specialises in real estate services, actively promotes changing demographics in the workforce. The firm established the Project and Development Services (PDS) Diversity Program two years ago. Kevin Hastings, Australian head of PDS, says the

firm had a vision of creating a nationwide network that would reflect changing demographics, not only in the workplace, but also in the marketplace and wider community. “The PDS Diversity Program is about inclusion and recognising the value our differences bring to our people, our organisation and our clients,” Hastings says. “Diversity makes us more creative, since diverse teams solve problems and innovate more effectively than homogenous groups. The program supports our culture of teamwork and collaboration, and allows us to attract the best talent in the marketplace.” “Within the PDS Diversity Program, we wanted to

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create a workplace environment and organisational culture that encourages learning from other women in the organisation, and captures the advantages of diverse perspectives.” Hastings says the PDS Diversity Program was developed at a grass roots level, with two women in the PDS business starting a conversation around diversity, with a specific focus on women in the project and construction management business. “The initial PDS Diversity Program has expanded to include a truly national diverse program. The founders, Diana Jones and Cindy Sfeir, are incredibly passionate about creating networking opportunities for women in the PDS business, and sharing valuable experiences and expertise. JLL was quick to recognise the value in this program and has since assisted in its development to provide a more formal organisational structure, including a Chair in each state and the allocation of a diversity budget.” Hastings says there has been a 68% increase in the number of women employees in the PDS business between 2010 and 2013. And 31% of all 70

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PDS promotions in 2012 were female, compared to 11% in 2011. “Due to the huge success of the PDS Diversity Program in Australia, a decision has been made to replicate the program right across the Asia Pacific region. It will involve 800 employees in 14 countries, with Cindy Sfeir, who is based in Victoria, acting as a consultant on the project.” JLL has established a dedicated intranet page for PDS Diversity, which highlights the program’s mission and objectives, upcoming internal and industry events, and opportunities for people to become involved in the program. JLL has also been active in supporting industry associations, helping to broadcast the message of diversity and inclusion in the industry by attending or sponsoring more than 50 events. For further information, visit the Jones Lang LaSalle website: www.joneslanglasalle.com.au/ projectdevelopmentservices View, save or share this story online at trendsideas.com/go/41469

Above:Changing the Sydney skyline – members of the Sydney team of Jones Lang LaSalle are pictured in the office at 420 George Street. The PDS team managed the JLL fit-out for the company.

SPECIAL FEATURE : WOMEN IN CONSTRUCTION PROFILE : DIANA JONES

HIGH EXPOSURE Support for women in construction has never been greater, but women are still notably missing around the board table and in senior positions. Diana Jones, project manager PDS for JLL and one of the founding members of the PDS Diversity Program, says the issue can be addressed by firms making sure that they are set up to provide equal opportunities for everyone. “JLL has shown, for example, the value of celebrating diversity. Programs such as the PDS Diversity Program provide networking and support for women to leverage. I appreciate the fact that PDS has raised my profile in Australia and also given me more exposure in other countries. And I like the fantastic culture at JLL – there are many opportunities here, and the company is very open to the idea of creating even more opportunities, both professionally and socially.”

Jones says her career started at Lend Lease, where she worked as an executive assistant, studying for a Business Studies Diploma part time. At JLL she moved up the ranks to project engineer, senior project engineer and project manager. “There is stress in juggling the pressures of delivering to tight deadlines on a daily basis with the goal posts constantly moving. You need to be flexible and you need to listen to your clients as their requirements change – you need to change with them. “Job satisfaction comes from being on site and seeing the building process; being involved with the day-to-day challenges; and finally walking through a completed building thinking, ‘I helped build that’.” Some of the projects Jones has worked on include AXA (above) and a 2500m2 rebuild for Glaxo Smith Kline – her largest job to date.

JONES LANG LASALLE Kevin Hastings, Project and Development Services Level 25, 420 George St, Sydney, 2000 Phone (02) 9220 8500 Fax (02) 9220 8555 www.joneslanglasalle.com.au

SPECIAL FEATURE : WOMEN IN CONSTRUCTION PROFILE : AIMEE CUBITT

GLOBAL CONNECTION Gaining trust and respect on a building site is all part of a day in the life of Aimee Cubitt, JLL’s WA state operations manager, Project and Development Services, who hails from the UK. “I came into the construction industry because I wanted to do something that had a tangible outcome, rather than opting for a career in the finance industry or something similar,” Cubitt says. “This was a job where I could see the results of my efforts and know that I would be leaving something on the planet. That’s a major part of the reason why I joined the Project and Development Services team. And I liked the fact that I could travel with the role – I wouldn’t necessarily have to be in based in London all the time.” Cubitt graduated from university with a Masters degree in mechanical engineering and worked for the rail industry in the UK.

JONES LANG LASALLE Kevin Hastings, Project and Development Services Level 25, 420 George Street, Sydney 2000 Phone (02) 9220 8500 Fax (02) 9220 8555 www.joneslanglasalle.com.au

Her move into project management came from a desire to work more closely with people. Key projects Cubitt has managed include the construction of a large aquarium at Ocean Parks in Hong Kong. “Communicating across a lot of different countries can also be a challenge in terms of language and culture. And expectations differ in each country. But I love the variety in my job, and working to a deadline, when there’s a bit of pressure and everyone is working together to produce a good result. Being part of such a large organisation with a lot of credibility means I get to work with many great clients and have exposure to best practice. “I believe it’s important to never stop questioning, learning and adapting. The learning and networking through the PDS Diversity Program has been particularly valuable.”

SPECIAL FEATURE : WOMEN IN CONSTRUCTION PROFILE : CINDY SFEIR

SPREADING THE WORD The importance of women being able to make connections in the construction industry has inspired a founding member of the PDS Diversity Program to continue her work promoting the initiative. Cindy Sfeir, JLL project manager for Project and Development Services, has just been appointed to the National Association of Women In Construction council. “Belonging to networks such as these gives women a better perspective on what’s happening in different areas of the industry,” she says. “It’s also a great way to be educated and to make friends with whom you have a lot in common.” Sfeir is responsible for organising networking events in Victoria, including seminars and functions. “I feel as though I am giving back to the community in this role, especially for the students on the

committee,” she says. “There is a sense that we are leading the way for women in the industry. “One of the key challenges for women lies in the way we market ourselves, making sure we really are on equal terms with men and that we have a voice. We need to encourage women to speak out without feeling the need to be modest – women need recognition for their achievements. But when you are in an industry that is predominantly male, that can be challenging.” Sfeir’s career began with a degree in property economics and a job in real estate, followed by a period at Medicare. “I enjoyed working on Medicare’s capital works program. This led to the position at JLL, where I have been for almost seven years – the PDS Diversity Program involvement has been an added bonus, increasing my profile greatly.”

JONES LANG LASALLE Kevin Hastings, Project and Development Services Level 25, 420 George St, Sydney, 2000 Phone (02) 9220 8500 Fax (02) 9220 8555 www.joneslanglasalle.com.au

SECTION FOCUS HOSPITALITY

ALL THE RIGHT INGREDIENTS Just as a master chef attends to every last detail, so these hospitality projects reflect a desire to provide a truly memorable customer experience

Project The Pavilions at Britomart

Location: Auckland

Architect: Cheshire Architects

URBAN GARDEN Described by the design team as an “anti-architecture” project, this inner-city retail and hospitality precinct places an emphasis on softness, fluidity and greenery

Somewhere between a pop-up shop and a established retail development lies an innovative precinct with a five-year lifespan. That’s one way to describe The Pavilions at Britomart, Auckland, a semi-permanent retail and hospitality area in the heart of the cool part of town. Because the site is set for redevelopment in a few years, the design team at Cheshire Architects saw an opportunity to do something a little different. Designer Nat Cheshire says the team was commissioned to develop half a city block within the Britomart precinct. But right from the outset they decided the plan was not going to be about creating a pretty row of buildings. “This site is available to us for only five years. This meant we needed to slash the financial and time cost of conventional development, while still delivering an exciting new experience to the precinct. The key was letting the garden be the architecture. We glibly called it anti-architecture: we would turn the buildings into living hedges, and focus all our energy on the shopfront windows that

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pierce them. This was about bringing beauty and delicacy back to urban life: something soft and humane in scale; garden beds with strawberries, orchids and dappled sunlight; the opposite of this town’s big diffuse civic spaces.” Cheshire says it was important to attract lots of stores and cafés, to ensure a critical mass of potential business in the precinct. “Britomart had already become a nightly theatre of activity. We were simply determined to deliver the same to its days. We imagined people stepping out of the train station or dropping their car keys in the hands of a valet, slipping between boutiques, indulging in a makeover or pausing to sip champagne in the sun – it was more about writing a story than designing a building.” The development consequently features eight fashion and specialty boutiques, each housed in its own distinct pavilion structure. These are clustered around a central courtyard restaurant with a high, translucent peaked roof – Ortolana, which means market gardener in Italian, is owned by

Preceding pages and right: Router-cut plywood panels help to disguise mismatched walls in this small patisserie and dessert bar at The Pavilions at Britomart. The café, Milse, is owned by The Hip Group. It was built in a space that was formerly taken by box storage and rubbish rooms. The panels allow light to penetrate from the windows, while concealing several unsightly walls. Below:The screens make a graphic pattern on the windows by day and by night. An awning window enhances the visual connection with the precinct.

Left:The Store, which is also part of the stable of restaurants and cafés belonging to The Hip Group, features an exposed ceiling and router-cut plywood panelling. A collection of corrugated cardboard pendant lights mimic the round forms of the loaves and pastries. Right:Like a pop-out window in an advent calendar, the entry to The Store elicits a sense of excitement and anticipation.

The Hip Group. Tucked in behind, on Tyler Street, is the patisserie and dessert restaurant Milse. The development also houses The Store, a casual diner and takeaway outlet that features a bakery that supplies The Hip Group’s entire stable of cafés and stores with bread, pastries and gelato. “The bakery is highly visible – we wanted the city to understand that here, everything was made especially for you, from scratch,” says Cheshire. Milse, shown on the preceding pages, was perhaps the most challenging design. “Essentially, we took a site down a service lane

and crimped space from three or four storage rooms belonging to other tenancies to make this dessert restaurant. This meant the space had a very awkward geometry. In response, we developed a fluid surface of router-cut plywood panels controlled by mathematical modelling. This let us open up the screen to the light in front of the windows, and close it up again to hide the chaotic wallboard in other areas.” The flooring features reclaimed timber boards laid on the diagonal, which make the space seem a little wider, and help to draw the eye through.

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Left:Ortolana is the pavilion-style garden restaurant within the precinct. Defined by a simple palette of natural materials, the restaurant puts an emphasis on fresh, seasonal foods. Below:The greenery is not just part of the design – it is the whole basis of the architecture, says Nat Cheshire. In time, creepers will cover all the columns and beams. Story by Colleen Hawkes Photography by Jamie Cobel

The Store also features router-cut plywood panels that provide a visual link to the patisserie. Ortolana, shown on these pages, is all about alfresco dining, although there are also tables inside the restaurant. The translucent gabled roof is supported on posts camouflaged by trellis-like timber screens covered in creepers. “We designed this restaurant as a little pavilion, like the caretaker’s cottage in the middle of the garden,” says Cheshire. “It has a focus on gardenbased produce – this is not a steak house. It is all about lightness and freshness. It is also a very simple space where the walls fold

Location:The Pavilions at Britomart, Auckland Developer:Cooper and Company Architect:Cheshire Architects Construction company for base build: Bracewell Construction Interior fit-out company:Greenmount Shopfitters & Interiors Tenant:The Hip Group Mechanical and electrical engineer:Norman Disney & Young (NDY) Quantity surveyor:WT Partnership Fire consultant:Holmes Fire and Safety Landscape design:Damian Wendelborn, Urbanite

back to open up the restaurant to the garden.” Key materials include fine steel-framed windows, recycled brick walls and timber. The main table is a single slab of swamp kauri. “For us, the architecture starts with the city block and ends with the teaspoons,” says Cheshire. “Every aspect of this project, from the built forms to the soft Belgian linen on the tables, was designed or selected to evoke a very specific atmosphere, to provide the best experience possible.” See video and images of this project online at trendsideas.com/au2909p74

Landscape contractor:Mike Price Landscapes Cladding:Recycled brick veneer; James Hardie Hardiflex sheet on cavity construction Roof:Colorsteel profiled metal roofing by Metro Roofing Glazing:Crittall Arnold steel windows and doors Flooring:Travertine stone from Italian stone; recycled kauri from Kauri Warehouse Wallcoverings and ceilings:Keruning plywood with Osmo oil finish Paints:Porter’s Paint; liquid copper Lighting:Monmouth Glass Studio, KKDC Heating/air conditioning:Fonko NZ Signage:Degree Design; Dimension Shopfitters MORE HOSPITALITY PROJECTS AT trendsideas.com

Project The Kitty bar, Treasury Casino

Location: Brisbane

Interior designer: Tonic

HEADS OR TAILS? You don’t have to be a high roller to enjoy this new bar at a Brisbane casino, which is in a heritage building that once housed the state treasury department and premier’s office

Adaptive reuse has seen many innovative uses for existing buildings, but the juxtaposition between current and former use for this historic building is more interesting than most. The building that once housed the Queensland state treasury and premier’s department became a casino in the mid ’90s. The corner believed to be occupied by the premier’s office is now part of a bar that has undergone a major transformation. The new bar, known as The Kitty – designed by

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Matt Riley of Tonic – replaces a lager bar and a second smaller bar that were both past their use-by-date. “The main bar did not have a particularly good connection with the gaming floor, so we needed to address this,” says Riley. “And because the bars comprised a series of linked rooms that were somewhat fragmented, we had to find a way to make the new bar feel as one complete space while not demolishing the heritage character of the building.

Left:Highly reflective gold laminate fins enhance the glittering Art Deco ambience of The Kitty bar at Treasury Casino, a new bar in a heritage building that was formerly the treasury department for the state of Queensland. Right:The bar continues the Art Deco theme, with gold fins and lights, and smoky glass mirrors.

We also needed strategies to entice people into the bar directly from the street – it was not just about catering to people who wish to gamble.” A decision was made to open up one corner of the bar to the street, which was the former entry to the premier’s office. And wherever possible, vistas through the interior were opened up. “Over time, several doors had been closed and boarded up,” says Riley. “We reopened all of these to provide visual connections through the rooms and also through to the gaming floor. Being able to glimpse people in different areas of the building adds a real buzz to the bar.” Another challenge for the design team was the need to make the spaces intimate, especially with

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the 4.5m-high ceilings. The interior also needed to work by day and by night, and cater to the different patrons at these varying times of the day. “We chose two key connecting devices – the lighting and the material palette, which are both designed to evoke a glamorous 1920s Art Deco feel,” says Riley. “Suspending approximately 260 light fittings below the ceiling created a wayfinding device – it encourages people to follow the light, literally. We want them to explore and be enticed by what lies beyond. “Essentially it is a dark palette with a lot of reflective surfaces in black and gold. Sculptural fin elements in high-gloss gold laminate or gold paint offer a modern take on the neo-renaissance

Below:Daylight is welcomed into the bar, which is open 24 hours. A new floating timber floor in carbonised oak echoes the warm look and wide planks of the original floor. Right:Coloured lighting transforms the space by night. The central area accommodates a dance floor and provides facilities for DJs.

Left:This room, known as the evening lounge, features an accent wall in purple crushed velvet, studded with LED pin lights. A custom carpet was designed to match the ottomans. This room also features draping curtains that can be pulled to screen off booths. Below:Soft green furniture defines the day salon, which benefits from plenty of natural light flooding through the windows. Story by Colleen Hawkes Photography by Scott Burrows

language – they reference the rolled tops and linear proportions of the Corinthian columns, and the symmetry of the arches and cornices. The fins also visually soften the more rigid lines of the building, and create opportunities for special lighting effects. But we kept the ceiling intact, so you can still read the original heritage features.” The pièce de résistance is the entry and the bar itself. Curved gold fins define a central padded seating rotunda that is readily seen from the wide corridor leading to the gaming room. The bar echoes this form, and has the added sparkle of a smoked mirror glass backdrop. The space given over to the dance floor features a wall lined with antique brass mirrors with gold trim. By day, tables and chairs are laid out in this

multifunctional space creating a different ambience. In other areas, colour is used to define separate spaces, and lounging furniture is grouped in bays that create intimate, VIP spaces. One room, known as the evening lounge, features a padded crushed velvet accent wall in purple, which is studded with LED pins that resemble crystal stars. Wing chairs and ottomans in pink and purple enhance the glamorous look, and there are also soft curtains that can be pulled by diners looking for privacy. In another area of the bar, known as the day salon, fresh green chairs add a lively touch. “The Kitty bar has a completely new ambience,” says Riley. “Yet, we have not invaded the space too much. The beautiful heritage elements are still intact, and that’s a key part of its charm.”

Location:The Kitty bar, Treasury Casino, Brisbane Interior designer:Matt Riley AIA, Tonic, Brisbane Building contractor:Buildcorp Cabinetry construction:Ingrahms Masterplanning architect:The Buchan Group Heritage architect:Andrew Ladlay Architect Project manager and quantity surveyor:Rider Levett Bucknall Structural engineer:Hyder Consulting Electrical, mechanical, fire and hydraulic engineer: WSP Group Private certification:McCarthy Consulting Group Food and bar equipment designer:Food Service Design Australia Floating timber floor:Venture plank 21mm engineered flooring in carbonised oak from Havwoods Carpet:Custom designed rugs from Brintons

Paints:Resene; Dulux in day salon Mirror walls:Viridian Decor Wallcovering in day salon:Embossed vinyl from Phillip & Jefferies Other wallcoverings:Quilted from Platinum Pendant lights:Custom, imported by HK AUCI Industry Wall light bar:Metalarte Josephine Mini A in Gold Furniture:Bar stools and Goya bar chair from BCI Furniture; low lounge stools and Crystal stool in purple and pink from Zenith; Day Salon Follies tub chairs from Hughes Commercial Furniture; custom wing chair, two-seater sofas, turned-leg tables in black and white, and custom bar leaner for terrace from Prototype Furniture See image gallery of this project online at trendsideas.com/au2909p82

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Project Américas River Oaks

Location: Houston, Texas

Design architect: Jordan Mozer and Associates

FEAST FOR THE EYES In this restaurant, custom furniture, furnishings and artworks feature abundant references to Latin American history and culture

Left:The facade of the Américas River Oaks restaurant designed by Jordan Mozer reflects the eclectic nature of the interior. Bronze-relief images depict the Andes, a two-headed llama from early Inca ceremonial wedding vessels; graffiti as seen in modern-day Rio de Janeiro; and the chinchilla. Right:The bar near the entry looks through to the upper dining room. Leather cladding on the wall columns and a curtain in wool felt are material references to Texan cowboys and the gauchos of South America.

From gauchos roaming the pampas to the corn, beans and maize that were staple foods for 3000 years, the symbols of Latin American history and culture are many and diverse. One way to draw these elements together under a single roof is with a decor that evokes the region’s most famous literary style – magical realism. Américas River Oaks restaurant, created by design architect Jordan Mozer and run by Nicaraguan chef Michael Cordua, reflects this imaginative approach. Both men are aficionados of the work of the great South American writer Gabriel García Márquez and his favoured genre, magical realism, led the design. The surprising, hybrid decor is appropriate for the avant-garde restaurateur. Cordua is noted for creating South American dishes made exclusively from foodstuffs indigenous to the Americas, but using culinary techniques from Europe, resulting in radical, contemporary North American dishes. If the menu sets up a dialogue of unexpected tastes, then

the same can be said for the decor, says Mozer. “The restaurant is designed to convey the surreal New World culture of hybrids, a non-linear architectural narrative, like a dream or a poem, that unfolds from the first glimpse of the pre-Columbian graffiti on the facade and meanders through every corner of the interior, even into the smallest powder room.” The fine-dining restaurant is on the upper level of a 1930s shopping centre in Houston. Interiors comprise a bar, terrace and lounge, together with a raised, reconfigurable dining room. The furnishings are loose and many partitions are operable to allow flexibility and to increase density in the main dining room on quiet nights. And almost every element in Américas River Oaks confounds expectation. “The doodles on the bronze-relief facade were inspired by the Nazca geoglyphs of ancient Peru, Incan gold figures and the modern-day graffiti of Rio de Janeiro,” says Mozer. “At the bar, there’s another contemporary cultural reference – ‘hoodie’ bar stools with ‘skinny jean’ legs.” MORE HOSPITALITY PROJECTS AT trendsideas.com

“A raised private dining room overlooks the bar and this can be separated by a moveable felt partition – the same material that is used to make cowboy hats,” says Mozer. “It also references the Incas’ use of llama wool and cotton fibres to create textiles, weapons, boats and bridges. Advantages of using a wool material to create partitions include its sculptural and sound attenuating qualities.” On the walls, sculptures of maize, beans and popped corn are also made from felt. “Between the bar and the terrace dining area, four steel-framed, leather-covered sculptures

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demarcate the lounge – the leather is another nod to gauchos and cowboys,” says Mozer. “For the dining room I designed feature ‘hugging’ love seats in the colour of chocolate or coffee, both signature commodities in Latin America.” A boardroom and another private room overlook the dining room – every space has myriad features that help conjure the spirit of the Americas. Exotic cast bronze pitcher plant lamps evoke their living, insect-devouring counterparts. Powder rooms are fitted with sculptural illuminated Soul Window mirrors and cast bronze vanity basins.

Preceding pages:In the dining room, wool felt lampshades suggest jungle vegetation. The mural, also in felt, echoes icons on the facade, while bowls evoke popcorn, a staple of American celebrations. These pages:The lounge and dining areas feature sculptural chairs and partitions by Jordan Mozer. The backs and legs of the bar stools were inspired by modern streetwear – hoodies and skinny jeans.

As with Chef Cordua’s dishes, each component of the restaurant’s design has been hand-made from scratch and produced in America. “Many couture studio furnishings and furniture were created for the project,” says Mozer. “These were produced in Chicago and Houston by artists, craftspeople and factories in just 11 weeks, the entire process streamlined by rapid prototyping and manufacturing techniques.” Materials for the restaurant were chosen for durability and sustainability – to develop patinas, not maintenance issues. Elements were sourced

Location:Américas River Oaks restaurant, Houston, Texas Design architect:Jordan Mozer, Jordan Mozer and Associates, design team: Jeffrey W Carloss, Scott Genke, Peter Ogbac, Manuel Hernandez Architect of record:Jeffrey W Carloss Construction company:JE Dunn Construction Graphics:Jordan Mozer and Associates Structural engineer:Haynes Whaley Associates Mechanical engineer:JEK Engineering Code consultant:All Texas Permits Flooring:Teka engineered wood flooring in White Oak (entry), Daltile quarry tile in Sahara Sand (bar), Masland Contract carpet in Surge 7224, Columns:Finished in custom-stained leather Wall treatments:Sherwin-Williams paint, leather partitions 94

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and produced near the site, or were recycled. Nothing was imported or chosen from a catalogue. The earthy palette includes regional mahogany, American ebony and bronze, as well as Chicago glass, wool felt burlap, saddle leather and raw cotton denim, to name only a few finishes. Américas River Oaks is more than the sum of its diverse custom-designed parts – together, they evoke a cultural cornucopia for the diner’s pleasure. To view more images, plans and a video go to trendsideas.com/au2909p88

by Jordan Mozer Studios (lounge), burlap (dining), mosaic glass tile by Architectural Systems (powder rooms) Furniture:All designed by Jordan Mozer Associates with fabrication by Wood Goods Industries or Delta Furniture, including cast resin bar stools and wing-back chairs, both upholstered in leather Lighting:All custom designed by Jordan Mozer Associates, including hand-blown glass pendants with hand-sculpted wool felt light fixtures, hand-polished, cast bronze Swamp Flower table lamps, felt chandeliers, Rasta lamps Powder room:Bronze sink, resin mirror by Jordan Mozer Story by Charles Moxham Photography by Doug Snower

This page:In the dining areas felt wall sculptures depict popped corn while wall lamps imitate South American pitcher plants. The large red Rasta chandelier is in felt and hand-blown glass. Facing page:Soul Window mirrors and cast bronze vanity basins await patrons in the powder rooms.

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index 4D Workshop All Texas Permits Alpolic Américas River Oaks Andrew Ladlay Architect ANZ Centre Apex Stone APP Architectural Systems Arkell, Anna Arkhefield ARM Architecture Armstrong Arup Australia Audio Systems Logic Aurecon BCI Furniture Beca Big Ass Fans Bolon Bornhorst & Ward Boss Bracewell Construction Brintons Brookfield Multiplex BRW Buildcorp Cakarun, Marija Calder Consultants Calder, James CapitaLand China Carloss, Jeffrey W Carlotto, Michael Caroma CD Construction Group Cecchin, Emma Chatboard Cheshire Architects Chester Consulting China Academy of Building Research China Southern Glass Cite Concept Lighting Connect NZ Cooper and Company Crittall Arnold CSG Architectural Glass D&H Steel Construction Dalling, Rodger Daltile Davis Langdon & Seah Davis Langdon Deans, Nick Decor People Degree Design Delta Furniture Dimension Shopfitters

19 94 25 88-95 82-87 34-39 19 19 94 19 20-25 52-59 39 32 19 59 87 39, 65 43 39 25 32 74-81 87 8-19 25 82-87 19 19 19 44-51 88-95 25 19 IFC-1 20-25 19 74-81 32 44-51 19 39 32 65 74-81 81 51 65 8-19 94 51 39, 59 19 65 81 94 81

Doric Group 52-59 Dorma 19, 25 Dulux 19, 32, 39, 87 ECC 39 eCubed Building Workshop 32 Ellis, Kathryn 19 Energex Northern Metro 20-25 Envoy 19 Euroglass 25 Faculty of Medical and Health Sciences, University of Auckland 60-65 Fielders 59 Finecraft Furniture 25 Fletcher Construction 34-39, 60-65 Fonko NZ 81 Food Service Design Australia 87 Forman Building Systems 39 Forman Commercial Interiors 65 G James 19, 25 Genke, Scott 94 George Fethers 39 George Grant Engineering 65 Geyser 26-32 Glasshape 66-67 Greenmount Shopfitters & Interiors 74-81 Hardware Direct 39 Hassell 34-39 Havwoods 87 Haynes Whaley Associates 94 Hernandez, Manuel 94 Holcim 32 Holmes Consulting Group 39, 65 Holmes Fire & Safety 81 Holton, Kylie 19 Hughes Commercial Furniture 87 Hunter Douglas 19 Hutchinson Builders 20-25 Hyder Consulting 87 Ingersoll Rand Security Technologies 65 Ingrams Fine Joinery & Cabinetry 87 Interface Flor 19 International Parking Systems 32 IPP Consulting 19 Irwin Consult 19 Italian Stone 81 Jacaranda Industries 19 Jackson Architecture 60-65 James Hardie 4, 7, 81 Jardan 39 Jasmax 60-65 JE Dunn Construction 88-95 JEK Engineering 94 John Massey Group 59 Jones Lang LaSalle 68-73

Jordan Mozer and Associates 88-95 Joyce Consultants 32 Kada 39 Karalis, Nik 8-19 Kauri Warehouse 81 Kaynemaile OBC King Facade NZ 32 KKDC 81 Kone 19, 32, 39, 65 L’Observatoire International 51 Mainzeal Property and Construction 26-32 Manskie, Tarryn 19 Masland Carpets 94 Matisse 39 McCarthy Consulting Group 87 McGrath, Belinda 25 McLay Industries 25 Melco Construction 65 Metal Concepts 39 Metal Design Solutions 65 Metro Roofing 81 Mike Price Landscapes 81 Milk 32 Mohan Roofing Services 65 Monmouth Glass Studio 81 Montlaur Project Services 19 Mozer, Jordan 88-95 MPM Waterproofing Services 65 MVA Hong Kong 51 National Australia Bank 8-19 Natural Habitats 32, 65 New Zealand Engineering Services 65 Norman Disney & Young 19, 39, 81 Oculus 59 Ogbac, Peter 94 Ove Arup & Partners 51 Pacific Door Systems 65 Patterson Associates Ltd 26-32 Phillip & Jefferies 87 Pidgeon 19 Poerwantoro, Rosalind 19 Pole, Simon 19 Polished Concrete 32 Porter’s Paint 81 Potter Interior Systems 39 Precast Concrete Products 25 Property Solutions 25 Prototype Furniture 87 RCP 65 Resene 41, 87 Rider Levett Bucknall 32, 39, 59, 65, 87 Riley, Matt AIA 82-87 Rog, Frank 19 Sage Manufacturing 65

Samson Corporation 26-32 Sapphire 19 Schiavello 19 SDG 19 Seelite 19 Sherwin-Williams 94 Signorino Tile Gallery 19 Signs Advertising 32 Simon James 39 Sliced Porosity Block 44-51 Smith, Matthew 25 Stanaway, Amanda 19 Stephenson & Turner 39 Steven Holl Architects 44-51 Structure Design 32 Teka 94 The Buchan Group 82-87 The Gibbon Group 19 The Kitty 82-87 The Pavilions at Britomart 74-81 The Tile People 39 Thermosash Commercial 65 Thurston Consulting 32 Tilt Design 19 Tonic 82-87 Trang, Corinne 25 Trends Publishing International 2-3, 33, 40, 42, IBC Tricia Love Consultants 32 Unicast Cladding Systems 32 Urbanite 81 Vector Foiltec 65 Venluree 39 Viridian 87 Vitrapanel 25 VOS (Melbourne) 19 Wanangkura Stadium 52-59 Warren and Mahoney 34-39 Weigl, Juergen AIA 20-25 Wendelborn, Damian 81 Wheatley, Erin 25 Wildfire Commercial Kitchens and Bars 39 Wilson & Macindoe 32 Winward Structures 19 Withers, Tom 19 Wood Goods Industries 94 Woodform Architectural 19 Woods & Grieve Engineers 25 Woods Bagot 8-19 WSP Group 25, 87 WT Partnership 19, 81 Yuanda 19 Zenith Interiors 39, 87

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