COMMERCIAL DESIGN TRENDS Australia Vol 29/12 by trendsideas.com

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PROJECT PORTFOLIO The Crossing, Highbrook, Auckland In the middle of a booming business park, this new town centre sits on a wedge-shaped site, creating intimate outdoor spaces while simultaneously opening up sightlines to the view 8 Adelaide Desalination Plant and Kauwi Interpretive Centre, SA Reflective metals and rammed earth walls reference the contrast between 21st-century technology and the natural landscape in this interpretive centre for a water desalination plant 16 The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church, Chicago Neo-Gothic meets modern in this major addition to an historic church on Chicago’s Michigan Avenue, but strong visual links ensure the new complements the old 24 Duke of Wellington, Melbourne Heritage features have been restored in this renovation, but this bar also features the latest contemporary bathroomware 32 Highpoint Shopping Centre, Melbourne This project features a Rheinzink titanium zinc roof, chosen in part for its durability, non-rusting makeup and excellent formability 34

88 Cover

OFFICE INTERIORS Clifford Chance, Singapore Contemporary in both form and function, this fit-out for the Singapore office of a global law firm has inspired changes to company design guidelines 42

The soaring roof of the Kauwi Interpretive Centre at the Adelaide Desalination Plant appears to defy gravity to float above the building. The aluminium panels reflect the landscape and a rippling water feature, and contrast the building’s rammed earth walls. See story page 16-23. Photograph by Mark Zed.

Wood & Grieve Engineers, Perth Bold 3-D graphics, a dynamic breakout space and exposed services project a playful, transparent ethos for these new offices 50 Maersk Line, Sydney Bright and breezy with several surprise elements, the fit-out for a global shipping container company gives its staff an exciting and invigorating workspace 56 Sime Darby, Malaysia This new staff leadership and training centre offers contemporary facilities and an emphasis on brand harmony – it is also a fun, relaxing place to be 62 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 70

CHRISTCHURCH REBUILD – UPDATE Christchurch City, New Zealand Collaboration and innovation are defining this rebuild, but it is the people who will activate the urban edge who are providing the main driver for the design 78 Transitional Cathedral, Christchurch The completion of the “Cardboard Cathedral” not only marks a milestone for the Christchurch city rebuild – it also showcases a unique architectural triumph that’s attracting attention worldwide 88

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INDEX

Managing Editor John Williams – john.williams@trendsideas.com

In centuries past, there have been opportunities to rebuild great cities – London following the Great Fire of 1666 is one example. But despite numerous radical proposals, the city was rebuilt using the original street plan, which makes one wonder, what if? @DavidJideas facebook.com/trendsideas

Paris is a more recent example, with Baron Haussmann charged with modernising the city in the 1850s. Under Haussmann’s direction, much of the old city was demolished and replaced with a network of wide boulevards and radiating circuses. While these were originally designed to make it easier for Napoleon Bonaparte’s army to march through the city, the boulevards and the architecture that followed define the Paris we know and love today. Christchurch now has its own unparalleled opportunity to start over following the devastating 2011 earthquake. Much of the inner city has been demolished and there is a new blueprint in place for redevelopment. In this issue we take a look at the key concepts of the Christchurch Central Recovery Plan and the way this will redefine and improve the city. And what can we expect? A much more vibrant, safe, people-focused city that’s more compact and accessible, with green spaces, laneways and an active urban edge – the redevelopment is expected to cost $40 billion and half of this will be spent on housing. The Christchurch blueprint is the result of extensive consultation with the wider community. Several projects within our Project Portfolio section also highlight the superb architecture that can result from intensive consultation with clients and the community. These include the Kauwi Interpretive Centre at the Adelaide Desalination Plant designed by Woodhead, and a dramatic contemporary addition to a Neo-Gothic church in Chicago, designed by Gensler. 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. Happy reading

Managing Director Australia Glenn Hyland – glenn.hyland@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 Executive Assistant Olya Taburina 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 Executive Assistant Marinka Simunac Sales General Manager Sales Ben Trethewey Regional Manager Costas Dedes Senior Business Manager Adrian Law Business Managers Gill Angel, Matt Roxburgh PA to Managing Director Annette Hyland Production Custom Printing Brent Carville International Print & Packaging Sales Kim Olliver Agency Manager Annette Nortje Account Manager Chris Maxwell Account Co-ordinator, Agency Jenny Leitheiser Project & Client Co-ordinator Terri Patrickson 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 Marketing Co-ordinator Miha Matelic Digital Writer James Gilbert Web, Production & TV Assistant Clint Lewis Digital Production Assistant Antony Vlatkovich Email production@trendsideas.com Finance Financial Controller Simon Groves – simon.groves@trendsideas.com Finance Manager Naresh Unka Accounts Manager Nina Adam Accounts Assistant Kirstie Paton

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Business parks are frequently dominated by big box buildings and warehouses, with little thought given to the needs of the people who work and visit them. This project changes this model by introducing a “town centre”, containing a range of services.

The metal alloy used on the roof of this project presents several advantages for architects – it forms a natural, protective patina, it is 100% recyclable and promises a low energy consumption for production over its lifetime.

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

Light, bright, colourful – these are not words usually associated with law offices. But, with its glossy white finishes and bold colour accents, the interior of these offices is a far cry from the sombre, wood-panelled offices of a traditional law firm.

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SECTION FOCUS PROJECT PORTFOLIO

GOOD NEIGHBOURS All the projects on these pages reflect a strong sense of place â&#x20AC;&#x201C; an acknowledgement of their role in both the immediate neighbourhood and the wider landscape

Project The Crossing Highbrook

Location: Highbrook, Auckland

Architect: Jasmax

LOOK BOTH WAYS At the centre of a booming business park, this new town centre sits on a wedge-shaped site, creating intimate outdoor spaces while simultaneously opening up sightlines to the view

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Preceding pages Expansive hedgerow landscaping signals the corner of the new Highbrook town centre project. Below:Completed buildings include the curved glass building that accommodates the Goodman management offices.

Business parks are frequently dominated by big box buildings that accommodate manufacturing operations and warehouse facilities, with not a lot of thought given to the needs of the people who work, visit and travel through these precincts on a regular basis. With the Highbrook Business Park development in Auckland, Goodman has changed all this. Because the company is the sole developer, it has been able to put into practice its original vision of a town centre that would provide a range of services for people working in the area – from bars, cafés and supermarkets to banks, hotel accommodation and conference facilities. Architect Andy Anderson of Jasmax, the firm contracted to create the town centre for Highbrook, says Goodman could also see a demand for corporate office facilities. “There are a lot of head offices at Highbrook, so it makes sense to provide for these,” he says. “And with serviced apartment and conference facilities on hand, there is no need for out-of-town visitors to have to head into town at the end of the day. “The town centre was always intended to be the heart of Highbrook, a place that would bring people together, not just for business, but also socially – at lunchtime and after work. For this reason, a central, open-air plaza with retail facilities was essential.” The Jasmax plan groups five buildings around a plaza on the wedge-shaped site. At this stage, three of the buildings are completed – the curved MORE PROJECTS AT trendsideas.com

Light Horse building that’s also home to Goodman, the Wynyard Wood-LG office building, and the Quest serviced apartments hotel. “The town centre sits at the intersection of a number of different roads, or axes,” says Anderson. “This puts it in a highly accessible location – more so than the original site that was planned, which was closer to the water. However, the views to the water and Mt Wellington in the distance are important, so we have created axes within the centre to maintain these key sightlines. “At the same time, however, the proximity of the buildings and the relatively narrow width of the plaza ensure the centre has an inviting intimacy. Restricting the width of the outdoor areas helps to activate the area as well, adding a level of intensity. The spaces between the buildings are just as important as the buildings themselves.” Jasmax also used the topography of the site to create a pedestrian-friendly environment. Because the site has a 4m drop from one side to the other, it was relatively easy to introduce undercroft parking, and conceal essential services.

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“Highbrook itself has a rolling topography, so we have echoed this in the undulating contours of the plaza landscape – curved forms in the wood bench seats and the paving add visual interest.” Other key features of the plaza include large ETFE shade canopies that have a distinctive, sculptural form. The canopies were designed to provide shelter and shade without blocking too much of the natural light. “The Light Horse bar is open to the outdoors, and patrons always like to sit outside,” says Anderson. “There is even an outdoor fireplace.” The plaza is also sheltered by the position of the Quest Hotel, which blocks the cooler southwesterly winds. And the buildings have been sited so they don’t block the direct sun in the plaza at lunchtime. Each of the three buildings has its own defining aesthetic. The Light Horse building, with the Goodman management offices on the upper levels, is wrapped in a mix of graduated fritted and transparent glass, with curved ends. “With its expansive, illuminated gazing, this building is a beacon that captures the attention

Below:Aggregate concrete panels in two tones of grey feature on the front of the Quest hotel and podium. They reference basalt boulders excavated on site, and are arranged in a pattern designed to convey a sense of movement. Right:ETFE shade canopies bring a sculptural look to the plaza. The undulating level and curved landscaping elements mimic the rolling topography of the Highbrook estate.

of people travelling along Highbrook Drive,” says Anderson. “It’s also the anchor building with the Light Horse Bar, the largest F&B tenancy.” The Quest Hotel building, which incorporates a podium with conference facilities, is the first stage of a two-part hotel development. Jasmax referenced the basalt rock within the local landscape in the facade treatment. “Each face of the building features patterned precast concrete panels composed of exposed aggregate, in two tones of grey,” says Anderson. “This was a very simple, yet effective way to get a sense of movement into the panels. It helps to break down the perceived scale of the building. Similar panels wrap the entire podium.” The third structure is the Wynyard Wood-LG office building. White precast concrete cladding is reminiscent of clouds – the edges of the panels appear to break away in places to form hexagonal shapes on the exterior.

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“The hexagonal forms are actually 3-D solar screens made from aluminium,” says Anderson. “The shades screen the sun, but from inside the building, the hexagonal shapes don’t obstruct the view. The arrangement of the hexagons is determined by the orientation of each facade and the subsequent need for shade, but we have kept the corners of the building more open. In other words, the panels are clustered more towards the centre of each facade.” Passive design is just one of the sustainable features of the project. Anderson says all the buildings incorporate environmentally friendly design principles, as does every project by Jasmax. “Sustainable design helps to determine every decision as a matter of course,” he says. “This project also reflects a very holistic approach to design. It responds to the bigger masterplan for Highbrook, which is all about improved connections for both businesses and people.”

Below:Both the buildings and the landscaping are designed to maximise sightlines out to distant landmarks, including Mt Wellington. Right:The width of the pedestrian precinct helps to provide a more welcoming, intimate visitor experience.

Top left:Different facades enliven the built form of the town centre. The LG building incorporates white hexagonal aluminium sun shades.

Wynyard Wood-LG building Goodman/The Light Horse

Lower left:The white panels on the facade appear to break up at the edges, much like the formation of clouds. They also disperse on the corners of the building.

Quest hotel

Story by Colleen Hawkes Photography by Jamie Cobel

Project:The Crossing, Highbrook, Auckland Client:Highbrook Development Limited Architect:Jasmax, Auckland â&#x20AC;&#x201C; principal Andy Anderson; with architects Neil Martin, James Whetter, Adele King and Mark Graham Hotel fit-out interior design:CDA Architecture Structural engineer:Holmes Consulting Mechanical engineer Thurston Consulting Electrical engineer:ECS Hydraulic engineer:Hydraulic Services Consultants Quantity surveyor:BQH Project manager:RCP Construction company:Dominion Constructors Glazing and glass balustrades:Glass Projects

Aluminium cladding, joinery and automatic doors:Thermosash Roofing:Steel Roofing Roller doors:Metalbilt Reinforcing steel:Millier Reinforcing Precast concrete:Nauhria; Stresscrete ETFE canopy:Structurflex Signage:Design Signwriters Landscaping:Mace Contractors Fire protection:Fire Security Services Air conditioning:Chillex Services See image gallery of this story online at trendsideas.com/au2912p6

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Project Adelaide Desalination Plant and Kauwi Interpretive Centre

Location: Lonsdale, South Australia

Architect: Woodhead

NATURAL RESOURCE Reflective metals and rammed earth walls reference the contrast between 21st-century technology and the natural landscape in this interpretive centre for a water desalination plant

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Below:The soaring roof of the Kauwi Interpretive Centre at the Adelaide Desalination Plant appears to defy gravity to float above the building. The aluminium panels reflect the landscape and a rippling water feature, and contrast the building’s rammed earth walls.

Sites of cultural, historical and geological significance provide a special challenge for both architects and their clients. While a project may have a raft of functional requirements, it is essential not to disrupt the intrinsic sense of place. The Adelaide Desalination Plant and Kauwi Interpretive Centre, owned by South Australian Water Corporation and managed by Adelaide Aqua Alliance, occupies such a site at Port Stanvac. The area is noted for its 70m-high striated cliffs and spectacular ocean views, and for its cultural and historical significance to the local Kaurna Aboriginal community. These factors strongly influenced the design brief given to Woodhead, says South Australian Water Corporation project and operations director Milind Kumar. “The corporation made a commitment to consult with the local community, including Aboriginal elders, on the development. This feedback helped to determine the framework and guiding principles of the project. “It was clear that the interpretive centre needed to embrace the natural landscape and complement the function of the plant. And the building needed to have a low profile, so views would not be obstructed. The centre also had to provide appropriate educational facilities, and archival storage for local artefacts.” Woodhead architects Ben Mountford and Jim Williams say there was an additional consideration. “The client wanted a high-quality design and encouraged the team to provide a significant work of public architecture, rather than yet another industrial development.” The architects consequently took an integrated approach to the design, developing a consistent architectural language across the site, with strong links with the surrounding landscape. The walls of the plant, for example, feature precast concrete panels in varying textures, colours and patterns. “The textured facades help to break down the massive scale of the walls,” says Mountford. “The patterning relates to the slope of the hills – the panels graduate so they are darker at one end.” MORE PROJECTS AT trendsideas.com

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Below:Fully glazed walls and a viewing deck provide expansive views of the desalination plant and the ocean beyond. The long paths link to Aboriginal trails.

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Left:Inside, the centre evokes the sense of a watery environment. As well as the shimmering light reflected from the aluminium roof panels, there is an abstract water mural within the epoxy floor. Lower left:Alucobond Spectra panels clad a sculptural pod that protrudes through the walls of the centre to sit both inside and out. The aluminium has an iridescent quality, with the colour changing depending on the angle of viewing. This pod houses an auditorium. Other pods provide interactive displays. Lower right:The interpretive centre has a long, low profile to minimise its visual impact on the landscape. The extended wings and walls also help to convey a connection with the land and community beyond.

Two facades facing the interpretive centre are clad in glass panels in varying shades of blue and green. “These facades also break up the scale of the long camouflaged walls,” says Williams. “They define the entries for workers and serve as a metaphor for water and the overall function of the plant.” The design of the Kauwi Interpretive Centre also takes its cue from the landscape. Rammed earth walls mimic the layered strata of the cliffs and help convey a sense that the building has emerged from the ground. Williams says the handcrafted construction of the walls creates uneven, slightly wobbly bands enhancing the visual connection. The walls extend out in two directions, forging yet another link with the landscape. They also appear to move right through the glass walls, blurring the line between inside and out. And in places the walls overlap and define smaller spaces within larger spaces, encouraging exploration. “These strong natural references are offset and punctuated with reflective metals that reference the high-tech processes of the desalination plant,” says Mountford. “The huge roof, which appears to defy gravity to float above the building, is clad in aluminium that reflects a rippling water feature at the entry, the interior and the landscape beyond. The roof soars up above the viewing deck to lead the eye out towards the plant and the ocean.” Iridescent aluminium wraps a pod enclosing a small auditorium that extends out through the glass walls. The organic form of the pod is echoed by the interior design, which is also by Woodhead. “The epoxy floor is an obvious water reference,”

says Mountford. “It was created by layering two coats of epoxy – white followed by blue. Scooping out sections of the first coat ensured the final effect is three-dimensional, with a real sense of depth.” Williams says the built form is designed to allow people to find their own way through the centre and the displays. “It aims to provide a journey of exploration that allows people to discover and learn at their own pace, and experience the building and landscape in their own way. The architecture reinforces this approach by providing multiple pathways through and around the interactive displays and earth walls. At the same time, the user has an unfolding spatial experience – views are gradually revealed as one moves through the space, ending with the dramatic views out to the plant and the coast.” Mountford says the pathways provide a direct link to the Tjilbruke Dreaming Trail, a cultural trail of the Kaurna people that runs past the site. Displays within the centre reference the trail and the importance of water to the community. Artefacts found on site are also displayed near the entry. “We worked closely with the Kaurna people on many aspects of the design. The community has even helped develop a bush-tucker garden that showcases indigenous plants.” Milind Kumar says that in the short time it has been open the centre has proved highly successful, with a huge number of bookings for school groups. “The feedback has been fantastic,” he says. “The centre has helped dispel any negative ideas people may have had about the impact of the plant on the site and community.”

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Left:The architects at Woodhead used an integrated industrial design approach for the Adelaide Desalination Plant, providing a consistent architectural language across the site. Cladding includes textural, earth-toned precast concrete panels, and glass panels in varying shades of blue and green, which echo the changing colours of the ocean. Right:Facilities at the plant include a transfer pumping station and transfer pipeline, which pumps drinking water to the city. The project can deliver up to 100 billion litres of water each year, which is approximately half of the water supply for the city of Adelaide. Story by Colleen Hawkes Main photography by Mark Zed; other photography courtesy of South Australian Water Corporation

Project:Adelaide Desalination Plant and Kauwi Interpretive Centre, Lonsdale, SA Architect:Jim Williams, Ben Mountford, Martin Williamson, Doug Gardner, Woodhead (Adelaide, SA) Interior designer:Marlew Cook, Woodhead Civic engineer, earthworks, landscaping:SMEC M&E engineer, fire consultant:Bestec Construction company:Built Environs Cladding:Precast concrete; rammed earth; Alucobond Spectra on pod in interpretive centre Roofing:Ziplok aluminium Colorbond Skylights:Ampelite Webglas GC: Blinds:Verosol Epoxy flooring:Sikafloor Vinyl:Effect Volta from Forbo Woven vinyl:Bolon (The Andrews Group), BKB trend

metallic and Now Sapphire Veneers:Laminex; timber veneer; American white oak Paints:Solver Designer White Reception furniture:Smartstone from Italia Ceramics; upholstery by Instyle, Maharam Kvadrat, Woven Image Awards include International Project Management Association IMPA Project Excellence Award â&#x20AC;&#x201C; Mega-sized Project Gold Winner; South Australian Infrastructure Innovation Award 2012; Project Management Institute (Australia) Australian Project of the Year, finalist for Global Project of the Year (results pending); shortlisted for World Architecture Festival 2012 See image gallery of this project online at trendsideas.com/au2912p16

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Project The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church

Location: Chicago

Architect: Gensler

WELL CONNECTED Neo-Gothic meets modern in this major addition to an historic church on Chicago’s Michigan Avenue, but strong visual links ensure the new complements the old

Below:Two glazed entries – one at either end of a long circulation space – welcome visitors to Fourth Presbyterian Church on Michigan Avenue, Chicago. A contemporary addition, The Genevieve and Wayne Gratz Center, runs the length of the site. The building is cantilevered at the front. Right:The pre-patinated copper facade references a material traditionally seen on steeples and cupolas. Prominent neighbours include the John Hancock Center.

Change is one of life’s certainties, but it’s not always easy to accept. This can be especially true of architecture, when contemporary additions to historic buildings may be required. For the design team at Gensler, commissioned to design a major addition to the neo-Gothic Fourth Presbyterian Church in Chicago, it was clear that a sensitive architectural approach was required. This included extensive consultation with everyone affected – architect Brian Vitale says not one line was drawn until this process was complete. “Right at the start we discussed with church members the way buildings can tell stories. And we

posed the question, what did they want the new building to say about them? They came back to us saying they wanted a contemporary building that would look forward to the next 100 years, rather than back to the past. There was a recognition that the existing neo-Gothic architecture sends a very formal message to people. The new building needed to be more relaxed – it needed to be warm and inviting to young people.” But there was little doubt that a modern design would be a dramatic contrast to the original church, which is the oldest building north of the Chicago River – except for the Old Chicago Water Tower.

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Left:A recessed window on the front of the new building mimics the proportions of the steeple on the church. It also allows a view from the street directly into the chapel on the second floor. Below left:The cantilever is a reference to the way the church reaches out to the community. It also maximises space on the upper levels, while providing room for landscaped areas at the front of the building. Below right:A preschool on the ground floor opens out to a secure play area. The design team from Gensler says the highly consultative design process meant even the children were consulted about their playground preferences.

The architect says the new building, known as The Genevieve and Wayne Gratz Center, needed to complement, rather than mimic the original church buildings. “We did not want to take away from the beauty of the traditional architecture – there was no way the new was going to gobble up the old.” Martin Sherrod, chief operating officer of Fourth Presbyterian Church, says acceptance of the proposed changes was helped by the fact that there was a desperate need for more high-quality space to accommodate the church’s extensive outreach and social services programmes, and its cultural requirements. The church provides dinners and vocational training for the city’s homeless, and one-to-one after-school tutoring for hundreds of children from under-served neighbourhoods. “This is a city that really values its iconic architecture,” Sherrod says. “But while the neoGothic architecture is charming and dazzling in its architectural distinction, it was not well suited to the needs of our programmes. “Acceptance of the changes was helped by the community being able to see other contemporary additions to historic buildings in the neighbourhood.

We also recognised the financial implications. A contemporary building was the most cost-efficient way to accommodate the existing footprint and the constraints of the site. And the consultative process was particularly helpful in giving our people a sense of ownership of the design.” Vitale says the location was a key consideration in the design. The church fronts Michigan Avenue, which is the most expensive real estate in the city – neighbouring buildings include the John Hancock Center and Palmolive Building. Extensive photographs were taken of the existing church, including views from the 100-storey John Hancock Center. “Green patinated copper was everywhere – we could see it on the roof, dormers and gutters. Then we discovered it on the downpipes, flashings and even on lanterns and handles. This determined the pre-patinated copper cladding on the new building.” The scale of the old church is also referenced in the new build. The height of the building is deliberately below the roofline of the church, and a recessed window on the front facade replicates the dimensions of the steeple.

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Left:The commons is the key circulation area linking the new with the old. The new building is on the right, while the limestone walls of the existing buildings can be seen on the left. Below right:Graphics illustrate the connection between the contemporary addition and the existing buildings.

“This window, which provides a view right into the chapel on the second floor, is of the same proportions – it is effectively the chapel’s steeple, says Vitale. “The cantilevered design of the building is another reference to the work of the church and the way it reaches out to the community. The floating form also conveys a sense of the spiritual.” The architect says outdoor spaces create a buffer in front of the two opposing entries, one off Delaware Place and the other off Chestnut Street. “This was another way the church could give something back to the community – we didn’t build right up to the street. These are inviting, landscaped areas where people can gather.” The glazed entries lead into a double-height

transition space, named the commons. This is an area formerly taken by two earlier additions that were removed. Removing these structures opened up new views of the old church, which have been maximised through large clerestory windows. Gensler interior design director Todd Heiser says people can now see the patinated copper roofing, for example. “It also meant some of the old limestone walls are now part of the inside of the building. The original scars and marks on the limestone are still there – you can even see the remains of ivy embedded in the walls.” The connection between inside and out is further enhanced by a copper wall on the inside of the new

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Left:Visitors take a meditative stroll around the labyrinth on the floor of the chapel. The pattern is formed by two contrasting shades of limestone. Copper panels on the front wall provide a clear visual connection with the exterior. Lower left:Strips of light pour through slot windows on the west side of the chapel. The pattern of the windows references significant days on the Christian calendar. The chairs were custom designed by the team at Gensler. Below right:The neo-Gothic architecture of the existing buildings can be seen through large clerestory windows.

chapel. The copper panels echo the size and shape of the patinated panels on the exterior, but have a worn, rather than weathered appearance. “This space needed to be flexible in terms of use,” says Heiser. “The chapel is used for a variety of events in addition to services. And the church has a very robust music programme, so the acoustics were a key consideration. This is the reason why none of the walls are parallel. Even the ceiling has a folded, multifaceted plane.” For this reason also, the west wall could not be completely glazed. Instead, there is a solid wall on the inside of the glazed facade, with narrow slot windows in the wall creating a distinctive patterning. The slots are grouped according to significant days in the Christian calendar. There is also a subtle trefoil pattern in the Venetian plaster that is continuously revealed and hidden as the visitor moves through the space. A limestone labyrinth pattern on the floor is another key feature. The lower level of the centre accommodates a

Location:The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church, Chicago Architect:Gensler Structural engineer:Halvorson and Partners Civil engineer:V3 Mechanical and electrical engineer: Affiliated Engineers, Inc Construction company:Turner Construction Company Landscaping:Hoerr Schaudt Exterior facade:Custom pre-patinated copper by Tuschall Engineering and DLSS Manufacturing Roof:PVC; Johns Manville Roofing Systems membrane Green roofs:LiveRoof Glazing system:EFCO

lounge, dining facilities and a preschool that opens out to a new playground. This is elevated above the street, providing a safe, secure environment for the children. Administration offices and a choir loft are on the third floor, while the upper two levels accommodate lounges and meeting rooms, where tutoring takes place. In keeping with the need for LEED certification, the centre incorporates many sustainable design initiatives, including a green roof, high-performance glass, maximum natural light and a variety of water conservation measures. “The changes have been transformative,” says Sherrod. “The centre meets the needs of our very ambitious social services programme, and is enabling us to deliver on our cultural commitments to the arts and music. There is so much more we are able to do for the community.” View image gallery of this project online at trendsideas.com/au2912p24

Flooring:Tandus custom carpet; Nublado marble from Stone Source Wall treatments:Knoll Maharam wallcovering; NAS plaster in chapel Paints:Benjamin Moore Veneers:Rift-cut walnut Lighting:Entry vestibules by Lindsey Adelman; chapel pendants by Niche Modern Furniture in public area:Bernhardt Design, Tru Furniture, Wilkhahn, Stylex, Coalesse and Knoll Lift services:Otis Elevators Story by Colleen Hawkes Photography by Richard Barnes MORE PROJECTS AT trendsideas.com

Project Open Door Pub Co Duke of Wellington Hotel

Location: Melbourne

Designer: DC Group & Newline Design

FIT FOR A DUCHESS Heritage features have been restored in the renovation of the Duke of Wellington Hotel in Melbourne, but this bar also features the latest contemporary bathroomware

Restored heritage buildings have an enviable character that is ideally suited to hospitality venues, including bars and restaurants. But such venues do need to be equipped with modern conveniences, in every sense of the word. The Open Door Pub Co in the renovated Duke of Wellington Hotel in Melbourne is a good example. The extensive, three-level hotel renovation, designed by DC Group & Newline Design and built by Ramvek, incorporates recycled timbers, exposed brick feature walls and polished render. Key features have been highlighted, including internal archways, windows and doors. In the bathrooms, however, the old is teamed with the new. The design team specified highly contemporary fittings from leading bathroomware specialist GWA Bathrooms and Kitchens. Caroma Carboni II vitreous china inset vanity basins are teamed with Caroma Saracom tapware

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in polished chrome. The Seido toilet suite from Fowler, with concealed cistern, was also specified. The sleek, minimalist lines of the toilet enhance the designer fit-out of the bathrooms. GWA Bathrooms and Kitchens designs and manufactures its own range of bathroomware, and also imports and distributes products for both commercial and residential applications. The company is at the forefront of product innovation, with sustainability a key design driver. GWA has fine-tuned water-saving technology, and has supplied eco-friendly bathroomware for numerous Green Star-rated buildings. For more information on the bathroomware products, phone 13 1416 or visit the website: www.gwabathroomsandkitchens.com.au. View, save or share this story online at trendsideas.com/go/42144

Below and facing page lower right:The Caroma Carboni II inset basin with overflow outlet is matched with the Caroma Saracom basin mixer in the bathrooms of the Open Door Pub Co in the remodelled Duke of Wellington Hotel. Facing page, top:The bar has undergone a complete transformation, with heritage features highlighted. Facing page, lower left:Fowler Seido Wall Faced Invisi II toilet suites with concealed cisterns provide a sleek, minimalist finish.

Project Highpoint Shopping Centre

Location: Melbourne

Feature roof: Craft Metals

GO WITH THE FLOW Versatile, 100% recyclable and with a graceful pre-weathered patina, the curvaceous roof of this retail centre is in Rheinzink titanium zinc supplied by Craft Metals

Much is expected of a commercial roof today. Besides conforming to dramatic architectural forms it has to offer sustainability, aesthetic presence and weathertightness. Now an eye-catching range of designer metals meets these material criteria. Craft Metals supplies non-ferrous, non-rusting metals for roof and facade cladding, specialising in Rheinzink zinc, Novelis Falzonal aluminium and KME Tecu copper materials, says national technical manager Dirk Janssen. “Rheinzink titanium zinc cladding was used for

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this project, the feature roof for the new Highpoint Shopping Centre in Melbourne,” says Janssen. “This metal alloy presents several advantages for architects – it forms a natural, protective patina, is 100% recyclable and boasts a low energy consumption for production over its lifetime. The Rheinzink pre-weathered finish reduces reflectivity and emphasises the organic look of this feature. “Rheinzink pre-weathered material was chosen at Highpoint for its classical appearance and for its capacity to follow the complex double curved

These pages:The new Highpoint Shopping Centre in Melbourne, designed by Grimshaw Architects and The Buchan Group, features a Rheinzink titanium zinc roof, chosen in part for its durability, non-rusting makeup and excellent formability. The advanced roofing material was supplied by Craft Metal.

structure with different radiuses. It also met the requirements for tapered sheets to form the indirectly fixed, double standing seam cladding.” Janssen says the zinc edges of the eaves had to match the roof shape, which resembles a rollercoaster track with steep and low pitched sections. “To achieve this twisted form, the substructure elements had to be shaped from irregular, tapered segments. The zinc cladding followed, with individually roll-formed roof trays that fit like a glove. “The transition upstand to the air-raised skylight

membrane was also formed from Rheinzink zinc. Rainwater from all roof areas is drained via recessed box gutters into large funnel-shaped zinc rainwater-heads. The latter represent facade focus points on the raised shopping centre roof crown.” For more details on Craft Metals nationwide, phone 1300 400 610. Email: info@craftmetals.com.au or visit the website: www.craftmetals.com.au. View, save or share this story online at trendsideas.com/go/42135

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The very best home successfully blends creative design, expert craftsmanship and impeccable products. Weâ&#x20AC;&#x2122;ve selected these outstanding projects from across the country as the Trends Top 30 Australian Homes. See them at http://top.trendsideas.com/Homes.aspx?region=3

Project The Kitty Bar Treasury Casino

Location: Brisbane

Interior designer: Tonic

IN THE MOOD The lighting, materials and dark walls in the Kitty Bar in Brisbane all help to evoke a glamorous 1920s Art Deco look. The walls are painted in Resene Nero

Above and above right:Resene Zylone Sheen tinted to Resene Nero was specified for walls and ceilings in the Kitty Bar in the Treasury Casino.

Ambience is everything in the hospitality business, and it always comes down to the lighting, music, colours, finishes and materials. All these elements come together in the new Kitty Bar in the Treasury Casino in Brisbane. The bar, which is believed to have once housed the premierâ&#x20AC;&#x2122;s office in the historic building, has undergone a major transformation designed by Matt Riley of Tonic. Riley says a major challenge for the design team was the need to make the spaces more intimate, especially in view of the 4.5m-high ceilings. The interior also needed to work by day and by night, and cater to the different patrons at these times. To achieve the right mood, feature walls and ceilings are painted in Resene Nero, a deep black with inky blue undertones. The black forms a

backdrop for a series of sculptural gold fins that reference the Neo-Renaissance language of the architecture. Resene Zylone Sheen waterborne paint was used for these areas. This paint produces a very smooth, extra-tough surface that is easy to keep clean and is well suited to public areas. Trims, doors and several other walls are painted in Resene Bokara Grey, in Resene Lustacryl, a waterborne semi-gloss enamel. For more information, or to obtain 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/42225

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CATCH THE BREEZE Engineering innovation, energy efficiency and designer aesthetics define every Big Ass Fans ceiling fan

Advances in technology have impacted every aspect of our lives, so it’s not surprising to see that even the simple fan has turned into something far more sophisticated and efficient. Global manufacturer Big Ass Fans has pioneered research in fan technology to develop highly energy-efficient fans that can provide considerable savings in energy costs. Josh Eddy, director for Big Ass Fans Asia Pacific, says Big Ass Fans ceiling fans are engineered to move high volumes of air at low speed to provide thermal comfort in any space. “Big Ass Fans is constantly researching and engineering innovative air movement solutions – we test, re-test and then test again. Operating margins are vital for success in any business, and energy costs can be significant, especially coming into summer. So we have engineered cost-saving air movement solutions for a myriad of applications, including warehousing, dairy, commercial, restaurants and homes – both indoors and outdoors. “Through summer, many facilities are open long hours, but the conditioned air pumped into a space does not fluctuate with the occupancy level, which results in a tremendous amount of wasted energy. Big fans circulate the air, and are designed to increase the comfort level of occupants.” Eddy says just one Big Ass Fans ceiling fan can replace dozens of conventional small ceiling fans or pedestal fans, providing a smooth, quiet breeze at a fraction of the energy costs. For more information, contact Big Ass Fans Australia, Unit 22, 1029 Manly Rd, Tingalpa, Queensland 4173, phone (07) 3292 0171. Email: gday@bigassfans.com.au. Alternatively, visit the website: www.bigassfans.com.au View, save or share this story online at trendsideas.com/go/42133

Above:Big Ass fans provide energy-efficient cooling. They include the Isis (top and above left) and the Haiku (above). VIEW ARTICLE ONLINE AT trendsideas.com/go/42133

THE BIG PICTURE Modern office design goes way beyond the front desk – it’s also about creating an inviting, social workplace

SECTION FOCUS OFFICE INTERIORS

Project Clifford Chance offices

Location: Marina Bay Financial Centre, Singapore

Interior designer: Space Matrix Design Consultants

RAISING THE BAR Contemporary in both form and function, this fit-out for the Singapore office of a global law firm has inspired changes to company design guidelines

Light, bright, colourful – these are not words usually associated with law offices, but they do reflect the rationale behind this fit-out, which signals a change in culture. When the Singapore office of Clifford Chance moved to new premises in the Marina Bay Financial Centre, the firm commissioned Space Matrix Design Consultants to design an office that would reinforce the firm’s progressive, modern outlook. Justin Young, Clifford Chance general manager, says the company had formerly worked over three nonconsecutive floors in a different building. Bringing staff together was a crucial part of the design brief. “We wanted a more open, collaborative and flexible workplace,” he says. “While we have corporate design guidelines, we were happy to push the boundaries on these – the brief was very open.”

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Shagufta Anurag, Space Matrix founder and managing director, says the concept was all about connection – connecting people, spaces and thought processes. The overall design of the office, on a single floor, was consequently based on a plus sign, with the services core at the centre. “This provides four entry points to the office, including the main reception area,” Anurag says. “Each of these four linked areas also takes the form of a plus sign, with collaborative, breakout areas situated at the intersection point, rather than on the outer edges of the office. This means staff enter directly into a café-style social space, where they can stop and say hello to fellow workers and get a coffee first thing in the morning.” To enhance the concept of connection, the design team created a much more transparent office, with glass rather than solid partitions.

Preceding pages and below: With its glossy white finishes and bold colour accents, the interior of the Clifford Chance office in Singapore is a far cry from the sombre, wood-panelled offices of a traditional law firm. Right:Meeting room walls are double glazed for acoustic privacy, and coated in a blue film. With recessed framing, the walls appear to emerge directly from the floor and disappear into the ceiling. The office, designed by Space Matrix, also features parallel walnut veneer “runways” on the ceiling, which are echoed by the flooring treatment.

Left:Walnut panelling is a feature of the meeting rooms that occupy one corner of the office. The panelling is backed by an acoustic cushion product custom designed by Space Matrix. Operable walls can be opened or closed to alter the size of the rooms. Below right: The Clifford Chance offices occupy an entire floor. There are four entries into the office, including the main reception area. Three of the entries lead directly into a café-style social space with tables and chairs. The layout of each division is based on a plus sign, with the social areas concentrated at the centre.

“It’s a very clean-lined, transparent interior that reflects the vision of the firm,” says Anurag. “There is a real sense of what lies beyond – the unlimited capabilities of Clifford Chance.” Blue film on glass walls helps to define the meeting rooms, which are essentially glass boxes that sit within the office. “The double-glazed frames are concealed, so the glass walls appear to emerge from the floor and disappear into the ceiling,” says Anurag. “Attention to detail is a defining characteristic of a law firm, and so it is with the design of this office.” Two parallel walnut veneer “runways” define the ceiling in the reception area and lead the eye towards the view. This ceiling detail reappears as a seemingly continuous connection on the other side of the services core. “These ceiling runways are repeated on the floor, with the central floor and ceiling areas finished in white, so the perimeter treatment stands out,” says the designer. The walnut is a darker veneer than that specified in the Clifford Chance global design guidelines,

but it is a popular look in Southeast Asia. It also clads walls in meeting rooms, breakout areas and a library, where it helps to create a sense of warmth and intimacy. Anurag says the panelling is perforated and incorporates a special acoustic cushion – a product custom designed by Space Matrix. Colour also defines the office, with bright yellow furniture enlivening the reception area. “The colours were chosen for the feeling they evoke and the emotion they inspire, rather than the need to brand the office with a particular corporate look,” says Anurag. “In the staff pantry, or kitchen, we chose soothing green and orange tones, which complement the bamboo panelling that wraps the walls and ceiling. This space has a completely different feel from the rest of the office, but the ceiling reflects a common design language.” Flexibility is another key feature of the Clifford Chance office. Operable walls around the boardroom can be closed to create three separate meeting rooms. When the walls are opened up the space creates an auditorium that can seat 120 people for seminars.

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Below:Blue glass walls also enclose this room designed for in-house group work. The walls visually reinforce the transparency of the practice.

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These pages:With its bamboo walls and ceiling, and natural colour palette, the staff pantry or kitchen has a relaxing ambience.

“Providing such flexibility with the meeting rooms is a much more economic use of space,” says Young. “With mobile furniture that hides away when not in use, we can even turn two other meeting rooms into a training room with 12 desks and PCs.” Work areas also offer flexibility, with workers able to group together for specific tasks, or work in quiet areas. While part of the office is open plan, there are also offices positioned around the perimeter of the building. The glass walls ensure there is plenty of natural light flooding into the building. Young says sustainability is a priority for Clifford Chance. Consequently, the interior was designed to Green Mark Gold Standard – every fixture and fitting, from the lighting and air conditioning to the choice of carpet, was chosen for its environmental credentials. “Creating an interior that won’t date was also a way to ensure sustainability,” says Anurag. “Similarly, designing a fit-out that caters directly to the workers and that can evolve and adapt to changing needs is a sustainable solution.” Young says the success of the fit-out is reflected in the increased social interaction, and in the company’s decision to use some of these concepts in the revised global design guide.

Project:Clifford Chance offices, Marina Bay Financial Centre, Singapore Interior designer:Space Matrix Design Consultants, Singapore Mechanical and electrical engineer:Space Matrix Design Consultants Quantity surveyor:Merx Fire consultant:Space Design Architects Partitioning system, door and window joinery:Clestra Flooring:Shaw Carpet, Milliken & Company Wallcoverings:Formica; Lamitak Ceiling:Barrisol; Boral plasterboard Paints:Dulux Lighting:Philips Reception furniture:Stylecraft, Abitex Workstations:Herman Miller, Wilkhahn, Tek and Stylecraft Office chairs:Vitra, Wilkhahn Story by Colleen Hawkes Photography by Owen Raggett See video and image gallery online at trendsideas.com/au2912p40

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Project Wood & Grieve Engineers

Location: Perth, WA

Interior architecture Woodhead

EXPRESS PURPOSE Bold 3-D graphics, a dynamic breakout space and exposed services project a playful, transparent ethos for the new offices Wood & Grieve Engineers

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Below:A multifaceted facade behind the reception desk of Wood & Grieve Engineers evokes the complex thought processes required of the discipline. The prominent breakout area shows a lighter side of the company to visitors.

A contemporary commercial fit-out will go beyond creating a healthy, ergonomic workplace. New interiors can play a powerful role in public relations as well, displaying everything from wayfinding to the firm’s stock-in-trade and staff practices at a glance. When Wood & Grieve Engineers relocated to two floors of a new building, the brief to Woodhead was to unite all 230 engineering, administrative and support staff in a visually exciting and connected environment. The company wanted the new interior to have a strong sense of playfulness and fun that could be appreciated by clients, visitors and staff alike, says designer Jacqui Preshaw. It was also important to provide clear wayfinding, starting with the entry, which is at a distance from the reception desk. The team consequently created a white 3-D multifaceted facade that starts near the entrance doors and continues behind reception. Representing the myriad facets that comprise the engineering discipline, this geometric feature translates into black frames on glass and 2-D patterns on dividing walls. The motif is also used upstairs, for continuity. “We set a large breakout space next to the reception so that it can be seen on arrival,” says Preshaw. “This area is the heart of connectivity for the company and shows a lighter, playful side not usually associated with engineering practices. “Management took a progressive stance on this project, inviting staff suggestions for what would appear in the finished spaces. As a result, the breakout room features a column and floor area in artificial grass, a blackboard wall, dartboards, and 1960s-style suspended acrylic ball chairs. Overhead, the gleaming exposed services are an example of Wood & Grieve’s own handiwork.” Preshaw says the ground floor, which was originally configured for a restaurant, had differing floor levels. “We introduced two ramps to reconcile these and to help with wayfinding through the space.” MORE OFFICES AT trendsideas.com

Upstairs, near the lifts, frosted screens balance openness with a sense of privacy. Another breakout space provides a subtle buffer from the office desks beyond and serves as a meeting area for clients and engineers. Four private meeting rooms are nearby. To facilitate interdisciplinary communication, all workstations are designed with low backs and without partitions, ensuring uninterrupted sightlines across the expansive office space. Spokesperson for Wood & Grieve, Brett Davis, says staff appreciate the group layout tables and the increased number of meeting rooms compared to the company’s previous offices. “The layout tables enable staff to rotate their chair through 180º degrees, open up drawings and converse with colleagues, while reviewing full-size plans at a glance. Due to the significant numbers of people we can fit in our downstairs training rooms

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and our upstairs boardrooms, we now host a far higher number of project meetings with architects, clients and other consultants in our offices. This is advantageous because it saves staff travel time and enables us to show off our office space to all clients who visit us.” An important aspect of the design was the drive to achieve a 5-Star Green Star Office Interiors V1.1 certified rating. Several environmentally sustainable initiatives throughout the project helped achieve this, says Jacqui Preshaw. “We specified low-VOC materials and products, integrated low-energy services, reused existing base-build finishes and provided shared recycling facilities. These green strategies were combined with space planning that ensured ample natural light, convenient, easily accessed facilities and external views for one and all.”

Right:Backlit panels at both ends of the two ground floor ramps offer company information and lead visitors forward. Below and below right:Ottomans in colourful Paul Smith fabric and the fractal motif create links between the ground-level reception area and the offices on the third floor.

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Below:Quirky features in the breakout space include artificial grass surfaces, a blackboard wall and â&#x20AC;&#x2122;60s-style hanging chairs.

Location:Wood & Grieve Engineers, Perth, WA Interior designer:Woodhead, Perth, WA Construction company:ISIS Group Australia Mechanical and electrical engineer, fire consultant: Wood and Grieve Engineers Quantity surveyor:Rider Levett Bucknall Tiling, reception area:Attica Apollo honed basalt Flooring Swing Stroke carpet tile by Interface Flor; Tundra Midnight carpet tile by Signature Floorcoverings; steel vinyl flooring by Amtico Ceiling:Existing tiles; plasterboard in built zones Veneers:Even Umber feature wall pattern by Elton Group Paints:Wattyl Lighting:Moooi Cluster Lights from Space; Established and Son Torch Lights and Fold Lamp, both from Living Edge Workstations:Centric workstation bench system, laminate top in Parchment with Woven Image echo panel in Charcoal, from Schiavello Office chairs:Herman Miller Sayl chair from Living Edge; Graphite and Spice seats from Alternate Cosmos Reception furniture:Tait Jil coffee/side table in Yellow Gold from Design Farm; Cork Family by Vitra from Table and Chair Company; Pablo Chair from Living Edge; custom ottoman in Epingle Stripe 4660007 by Paul Smith Additional furniture:Arper Catifa 46 Chair, two-tone, by Stylecraft; Herman Miller Plastic Side Chair with Eiffel Base, from Living Edge; Thinking Ergonomix tables from Living Edge; Magis Stool One Black from Table and Chair Company Kitchen cabinetry:Formica Warm White joinery by Laminex; White Jasmine Corian countertops; Bosch stainless steel dishwasher; Fisher & Paykel stainless steel refrigerator and compact oven; Omega integrated microwaves Story by Charles Moxham Photography by Martin Farquharson To view plans and more images online go to trendsideas.com/au2912p50

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Project Maersk Line Australian Head Office

Location: Sydney

Interior designer: Siren Design Group

TRANSPORTED Bold, bright and with several surprise elements, the fit-out for global shipping container company Maersk Line gives Sydney staff an exciting and invigorating workspace

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Below:A metal wall resembling the side of a shipping container backs the front-of-office space for the new Sydney office of international transportation company Maersk Line.

A company’s public profile can be somewhat unexpected. Consider a Danish conglomerate that is over 100 years old. While you might anticipate rather staid interiors, in the new Australian head office of Maersk Line – one of the world’s largest shipping and container operators and suppliers – nothing could be further from the truth. When relocating its staff from two tired Sydney offices into one larger, open environment, Maersk Line gave Siren Design almost free rein with the fit-out, says design team Charlene Cong and Matthew Morelli. “They wanted a complete departure from what they had previously. In response, we created a

dynamic new setting that would facilitate interaction, reflect the company’s personality and showcase the company’s business in a bold manner.” The front entry space to the large office is the first clue to this approach. Behind the reception counter, the wall calls to mind the ribbed facade of a shipping container, painted in the rich blue of the Maersk Line brand. Cutouts in the metal reveal backlit shelves displaying models of some of the firm’s container ships. Maersk Line has links to Danish toy company Lego, and a ship made from Lego blocks is included amongst the miniature fleet.

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“Beyond the reception desk, a door to the boardroom looks as if it has come off a shipping container. This is actually one of two photographs of a Maersk container door, treated and vinylwrapped to resemble the real thing,” says Morelli. Taking the concept a step further, perhaps the most dramatic inclusions by Siren Design are two authentic shipping containers, deconstructed for the journey by lift up to the eighth-floor space. Open on two sides, the containers have writable surfaces on the interior. “These are casual meeting spaces, which were designed to allow for collaboration away from

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individual desks,” says Cong. “They’re intended to appear as inserted objects within an office that was built around them. We opted for green in the workspace to delineate the heavily branded front-of-house from the back-of-house areas. It also helps to create a fresh and welcoming work environment.” Over the years the shipping giant has amassed an extensive library of shipping and freight images, and the designers made good use of this resource. “We selected images that show Maersk Line ships and staff, and the firm’s presence in Australia,” says Morelli. “These include an image of

Below and top right:Casual meeting spaces made from two real freight containers have walls finished in writable green paint. Green floor tiles spill out and connect with the surroundings. Lower right:Graphics from Maersk Line’s extensive photo library bring energy and a sense of purpose to the contemporary interior design.

one of the trucks on the iconic harbour bridge. The images were enlarged and set on adhesive vinyl to form colourful backdrops to many offices. “You know the concept works when the general manager doesn’t want wall cabinetry in his office, as it would obstruct part of his ship mural.” With a large, internationally successful company that has such a strong brand identity, perhaps it is not so surprising that Maersk Line has a significant presence in social media, with over half a million followers on Facebook. “In response, we introduced an Instagram wall in

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the boardroom. Pictures snapped from all over the world and posted on Maersk social media streams have been fixed onto the magnetic wall and can be changed any time,” Cong says. Spokesperson for Maersk Line Australia, Sarah White, says all 150 staff love the new environment. “The open format and low desking units allow staff from the two original offices to come together here in a spirit of fun and easy communication.” To view a gallery of additional images online go to trendsideas.com/au2912p56

Below:The boardroom features a vinyl decal of a container door and a magnetised photo wall for Instagram pictures of ships, people and events. Top right:A photo of a Maersk shipping container on the Sydney Harbour Bridge provides an office backdrop. Lower right:The new staff café can open up to an adjacent boardroom, creating one large event space.

Location:Maersk Line, Sydney Interior designer:Siren Design Group, design team Mia Feasey, CEO; Charlene Cong, senior designer; Matthew Morelli, interior designer Project manager:Facilitate Corporation Construction company:Executive Interiors Services Drapes:Spacemaile screen by Kaynemaile Tiling:Rocks On Flooring:Signature Flooring; Amtico; Desso from Gibbon Group Wallcoverings: Portugal Cork, EchoPanel from Woven Image Veneers:Navlam Snow Birch by New Age Veneers Paints:Dulux

Workstations:Bevisco Wall graphic:Maersk Additional furniture:CafĂŠ Culture Link table; Akistool, Gher table, T2 table by Stylecraft; reuse of existing Maersk furniture Kitchen equipment:Zip HydroTap Lockers:Interloc; Laminex; Polytec Story by Charles Moxham Photography by Matthew Morelli, Siren Design

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Project Sime Darby Leadership Centre

Location: Petaling Jaya, Malaysia

Interior designer: SL&A Sdn Bhd

WARM WELCOME This new staff leadership and training centre offers contemporary facilities and an emphasis on brand harmony â&#x20AC;&#x201C; it is also a fun, relaxing place to be

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Below:A curved reception counter and wall niches sprouting decorative plants catch the eye in the entrance to the new Sime Darby Leadership Centre. Glass screens echo the external facade and carry a pixel motif that recurs throughout the fit-out.

An advanced, multidisciplinary staff training centre for a large conglomerate will ideally reflect pride across all areas of the facility, without overly accentuating any one unit over another. The decor will also likely have a simple goal – to put everyone who comes to learn there completely at ease. The Sime Darby Group is a Malaysia-based multinational conglomerate involved in six core sectors: plantations, property, industrial, motors, energy and utilities, and healthcare. The group’s new four-level Sime Darby Leadership Centre, by design firm SL&A, was envisioned as a welcoming common-ground facility to nurture the talents of all trainees from the various sectors. SL&A designers Dylan Tham and Sara Shaib led the forward-looking project, with a focus on sustainability. Empowering ideas are best assimilated when the student is in a happy, relaxed frame of mind, no matter what the discipline, says Tham. “Here we have created an environment removed from the look and feel of traditional offices – spaces that instead offer a stimulating, creative playground. Using vibrant tones and textures, particularly in common spaces, created the aesthetic required.” With several business streams coming together to learn, it was important to emphasise the group brand through a strong use of corporate colours. However, a general design concept was required to draw the various learning units together. “A dot, or micro detail, is the starting point for any design concept drawn on an architect’s or designer’s pad,” says Tham. “The digital version, the pixel, was chosen as a general motif for this fit-out, and can be seen on glass dividers, walls and carpets, and even on some ceilings.” The sense of a welcoming, enriched experience for all users is evident right from the reception area and the adjacent café, which takes up most of the ground floor. “A curved wood reception desk and ceiling feature create a dramatic arrival point. On a nearby column, a television displays course sessions and times. This allows students to orient themselves without speaking with a receptionist,” says Tham. MORE OFFICES AT trendsideas.com

“Passing through security turnstiles, students then enter the expansive café. Here, we took advantage of the high ceiling volume to introduce floating ceiling elements, in Sime corporate colours. These circular forms are also repeated on the floor. “The layout of the café is intended to create a sense of spaciousness similar to an outdoor setting, enhanced by proximity to the external courtyard,” says Tham. “Finishes are raw and edgy, and a touch of greenery was achieved with a wall of artificial plants, selected for easy maintenance.” A central feature of the room is the centre’s motto, ‘Learn Live Lead’, and several tabletops also carry motivational slogans. “In addition, irregular shapes were introduced to break the monotony of the single volume and enhance the design dynamic. The multitude of bright colours in contrasting yet complementary hues boost the excitement level, while the overall look and feel is based on earth tones, to further the natural-outdoor concept.” Sustainability forms an integral part of the design, in line with the goal of developing a sustainable future. This ethos is reflected in the selection

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of untreated, natural finishes, the use of recycled materials such as old railway sleepers, and the specification of odourless paint and low-energy consumption fittings. Despite the visual energy, innovation from SL&A has ensured an uncluttered feel. For example, slots in the ceiling contain recessed lighting, sprinklers and air-conditioning returns. Reminiscent of a university campus, the café is animated and stimulating. Screens around the room signal upcoming lectures, and there is also a stage for informal seating or general presentations. Offices and meetings suites are on the floor above, with the two floors above that dedicated to meeting and training spaces, and breakout areas. Sime Darby corporate accents are in evidence throughout the office areas, where 120 degreeshaped workstations foster collaboration. Enclosed rooms are located along window parameters so that full glass partitions can admit natural sunlight deep into the heart of the offices. These also create a sense of transparency and build on the focus of sustainability by significantly reducing artificial space cooling and lighting loads.

Preceding pages:The lively campus-style café on the ground floor features floating ceiling panels that are an abstract reference to the pixel theme. A stage and brand pillar are features of the large space. Below:Feature walls comprised of old railway sleepers add interest and build the theme of sustainability and reuse. Right:The pixel motif is carried through on corridor walls, along with glass blocks that allow light penetration while maintaining acoustic and visual isolation. Lower right:The garden concept in the café continues to the breakout spaces on the upper levels through a mix of green carpet and artificial grass. A textured concrete ceiling finish adds to the overall outdoor feel.

Left Teaching spaces and meeting rooms have low-glare surfaces and comfortable seating. Sime Darby brand colours are represented on some walls. The pixel theme is seen in abstract form on the training room ceiling, and on the walls of the meeting rooms. Below This plan shows the variety of seating options in the café and the adjacent open-air courtyard.

The learning spaces are equally well considered. In the meeting rooms, the various business units are represented through brand colours and graphic walls. The unifying pixel theme continues through these spaces, and throughout the vibrant breakout areas. Meeting, training, focus and conference rooms feature sound-rated partitions, and all the training desks are in muted tones to avoid eye fatigue from glare. Similarly the furniture and chairs were chosen to provide comfort during long hours of use.

“Whether playful or ergonomic, every aspect of the Sime Darby fit-out is conducive to an enjoyable, productive learning experience,” says the designer. The firm’s top management commented that the centre is like a five-star hotel, saying the design was very well thought of, modern yet functional. “Participants feel the fit-out stimulates learning and that the colours are energetic and lively.”

Location: Sime Darby Leadership Centre, Petaling Jaya, Malaysia Interior designe: SL&A Construction company: Jalex Mechanical, electrical engineer and fire consultancy: GH Tag Consultancy Quantity surveyor: SL&A Partitioning system:Boral Hardware: Dorma Resilient Marketing Blinds: Suria Sunshade Tiling:Ceramic tiles from Feruni Ceramiche and Niro Ceramic Sales & Services, marble tile from Agrostone Flooring: Tandus carpet from Kitaran Cahaya; synthetic grass flooring from Funderland; Marmoleum vinyl insert pattern floor from Tia Cern Trading:

Wallcoverings: Moroccan Firenze from Lamex New ceilings:Boral plaster board. Infinity acoustic board Veneers:Lamitak, Formwell, textured and special grains laminates from EDL Laminates Paint:ICI Eco, low-odour from ICI Paints, Stone Textured Special Paint from Decovision Workstations and office chairs:Technigroup Office Furniture, Zenith Projects Reception furniture:Custom by Jalex Additional furniture:Designer’s Collection Furniture from Quel International Kitchen equipment:Hitachi; Sharp, Hospitality Kitchen

See a video and image gallery of this project at trendsideas.com/au2912p62

Story by Charles Moxham Photography by Shea Studio MORE OFFICES AT trendsideas.com

Project ANZ Centre

Location: Auckland Central

Architect: Warren and Mahoney

UP WITH THE TIMES Reinventing the ANZ Centre involved an award-winning new foyer and plaza at street level â&#x20AC;&#x201C; the refit also transformed the offices above

Optimising floor plates and minimising power bills are important aims for any sustainability driven commercial fit-out, but to attract tenants in the modern world the vision has to go beyond issues of desk space and energy savings. From welcoming street appeal to short elevator rides and intuitive wayfinding, every aspect of the design needs to be as user-friendly as possible. This pragmatic approach was a key driver when architecture firm Warren & Mahoney, with principal

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and Auckland executive director John Coop at the helm, undertook refurbishment of the ANZ Centre for developer Precinct Properties. The project brought the 32-storey 1980s tower into the 21st century with a new atrium and cafĂŠ, an expanded plaza, improved base build services and revamped floors for anchor tenant ANZ. While the award-winning atrium and upgraded plaza have been covered in a previous issue of this publication, there are several aspects of the

Below:The meeting suite is one of a raft of updates that make the ANZ Centre an ongoing perfect fit for its name tenant. Glass partitions can compartmentalise the space. Right:The introduction of a wide staircase contributes to the newly expansive, light-filled, work environment.

Left:Internal glass partitions admit light and bring acoustic privacy without blocking sightlines. New lighting controls incorporate automated dimming based on daylight levels. Passive infrared sensors control lights outside of work hours. Left lower:The revamped executive floor has a refined ambience. Floor-to-ceiling operable partitioning allows for meeting-size flexibility. Below:The new chilled-beam air conditioning system introduced to all ANZ floors removed the need for ducting and bulkheads, resulting in a more generous feel.

upgrade that further set the building apart in terms of user-friendly design. These include six basement levels of staff facilities, including showers and lockers, and a reconfigured elevator to access these floors. At ground level, a new commercial meeting suite has been introduced. This is in line with the bank’s global template of providing a dedicated, flexible meeting space at street level so that clients do not need to access business floors. High-tech improvements include security upgrades and a state-of-the-art elevator control destination system. This has greatly reduced waiting times and enabled one lift car to be removed completely, increasing the tower’s net lettable area. The overall efficiency of the building has been taken to the next generation, says Coop. “Advanced services include a gas-fired hot water plant, instead of electric heating; introduction of high-performance centrifugal water-cooled chillers with magnetic compressor bearings; and a sophisticated building management system that provides for automated control of HVAC plant and seamless

integration with the elevators, security, metering and standby generation systems. Although Green Star rating was not sought, these are all key green features.” The list of high-tech upgrades goes a giant step further with the anchor tenancy fit-out. “As part of its 22-level tenancy upgrade, ANZ required central server rooms with UPS backup and close-control air conditioning, to serve its stringent IT and financial trading functionality. “However, the most dramatic new services feature was the change from a VAV system to four-pipe chilled beam air conditioning. This included replacement of the on-floor air handling units with decentralised units, providing increased fresh air rates with thermal recovery wheels for improved energy efficiency,” says Coop. The advanced chilled beam system requires less ducting, enabling Warren and Mahoney to raise the lowest ceiling points, improving solar penetration and views. The hushed performance of the new system also brought first-rate on-floor conditions.”

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These features are of course as much about bettering the lives of the people who use the offices as energy efficiency or a fiscal bottom line. Keeping staff happy and productive is perhaps the most vital green consideration of all and several structural changes to the ANZ floors follow through on this. “Working in a tower can be limiting in terms of a cross-pollination of ideas, or even getting from one area to another, if they’re on different floors,” says Coop. “To address this we introduced broad stairs between all ANZ floors and situated breakout 74

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spaces on each landing. Another improvement was the refurbishment of the toilets, including moving access points from the fire stairs to the main floors.” It was perceived that changes to the ANZ Centre’s base build would encourage the star tenant to stay, and invest heavily in its own fit-out. Seen in overview, the ANZ Centre is now more efficient and inviting for all who work there. To view more images of this project online go to trendsideas.com/au2912p70

Above:Casual breakout areas and social spaces are situated near the stairs. Everything is designed to encourage spontaneous, creative interaction, much like a university campus environment. Materials, finishes and paints are low VOC in a fit-out that reflects sustainability throughout.

Location:ANZ Centre (Auckland) Architect and interior designer Warren and Mahoney in association with Hassell Construction:Fletcher Construction Civil engineer:Holmes Consulting Group Mechanical and electrical engineers:Norman Disney & Young, Beca Quantity surveyors:Rider Levett Bucknall, Davis Langdon Fire consultant:Stephenson & Turner Partitioning system:Potter Interior Systems Hardware:Hardware Direct Blinds:Venluree Tiling:The Tile People

Flooring:Bolon Vinyl Ceiling:Specialist ceilings by Metal Concepts & Forman Building Systems; Armstrong suspended ceiling systems Veneers:George Fethers, Australia Paints:Dulux Workstations and office chairs:Zenith Interiors; Kada Furniture:Matisse, Simon James, Cite, Jardan, ECC Kitchen equipment:Wildfire Commercial Kitchens and Bars Lift services:Kone Story by Charles Moxham Photography by Jamie Cobel

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SECTION FOCUS CHRISTCHURCH REBUILD – UPDATE

MODEL CITY UNVEILED Rebuilding the Christchurch CBD provides a $40 billion opportunity to improve on what went before. The Garden City also has a chance to establish a new international benchmark for urban design

Project Christchurch Rebuild

Location: Christchurch New Zealand

URBAN BLUEPRINT Collaboration and innovation are defining the Christchurch City rebuild, but it is the people who will activate the urban edge who are providing the main driver for the design

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Preceding pages and below: Christchurch parks and the Avon River are at the forefront of the urban blueprint for the city. Cashel Street (below) is an interim container-based retail centre. Its pedestrian focus is indicative of the new direction for retail in the CBD.

Most cities grow in an ad hoc fashion over several centuries, with no cohesive plan in place. For Christchurch, built mostly on flat land, that growth was out rather than up. With limited restrictions, the city simply sprawled outwards as more land was taken as needed for new businesses. It was a sprawl that did little to provide a sense of cohesiveness and vitality to the CBD of New Zealand’s second largest city, says Don Miskell, general manager planning and design for the Christchurch Central Development Unit (CCDU) of the Canterbury Earthquake Recovery Authority (CERA). “There was more office space in the CBD than the market required, so there was a lot of office space to lease,” he says. “And the retail area was not competing well against the bustling, highly managed suburban malls, with their ease of access and good parking. “It was clear, the rebuild following the 2011 earthquake provided a great opportunity to make Christchurch better than it ever was. The land not required for commercial properties could be given over to residential use to enhance and enliven the inner city, in much the same way as has happened in central Melbourne. The Christchurch rebuild is valued at $40 billion, and we expect $20 billion of this to be residential development.” Miskell says CCDU had just 100 days to come up with the first urban plan blueprint. “This was a phenomenally challenging timeframe. And while that is being refined, the key concepts have remained in the Christchurch Central Recovery Plan and we are now starting to see these put into action. Essentially the plan is about creating a greener, more compact, more accessible and safe inner city that is easy to move around and better for living and working.” Miskell says the district plan has been changed to permit residential development in all inner city zones. And the boundaries defining the business zone have been pulled in to consolidate the central MORE PROJECTS AT trendsideas.com

city into a smaller area, in line with the aim of giving Christchurch a dynamic commercial, cultural and social heart. The inner core is partially defined by border precincts collectively known as The Frame. Within or adjacent to these boundaries will be 14 anchor projects – the Convention Centre Precinct, Stadium, Metro Sports Facility, Bus Interchange, Avon River Precinct, Te Puna Ahurea Cultural Centre, The Square, Performing Arts Precinct, Justice and Emergency Services Precinct, Health Precinct, Cricket Oval, Central Library, Residential Demonstration Project and the Frame amenities. Miskell says the plan offers some guidelines for all the inner-city developments, but these are aimed at encouraging, rather than stifling architectural innovation.

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“We are not dictating design styles – that is still the prerogative of the architects and developers,” he says. “But we are looking closely at what they can bring to the city centre, their innovations, approach and design methodology. We want this city to be distinctive, with an active urban edge. It is ultimately all about people – people choosing to make investments in the city, to open shops, to live and to visit the city. “There are some height restrictions. In the core, buildings can be up to 28m, which is approximately seven storeys, while buildings in the mixed zone around the edges will have a maximum height of 17m or four storeys. There are also limits in respect of office floor areas. Larger offices – with their greater worker population – are concentrated within the core, not around the edges.”

Below:In redesigning the inner city, the planners have pulled in the central core boundaries, which are defined by the area known as the Frame. Right:Anchor projects in the developmental stage include (clockwise from top left) the Stadium, Convention Centre Precinct, Justice and Emergency Services Precinct, Health Precinct, Cricket Oval and Metro Sports Facility.

Top left:The redevelopment of New Regent Street, designed by Fulton Ross Team Architects, has already won recognition for sustainable design in the NZIA awards. The street’s north-south axis will be echoed in the new CBD development. Lower left:Colourful shade canopies enliven the interim Cashel Street retail mall. Below right:A world-class cultural centre is proposed for the central city, as a focal point for cultural celebration and diversity. The Te Puna Ahurea Cultural Centre will reflect and celebrate Ngai Tahu and Maori culture, and acknowledge Christchurch’s place and connections within the Pacific region.

The retail precinct will cover approximately three blocks in the city, with an average size of 225m x 100m. Developers are being asked to come up with plans that will provide a minimum area of 7500m2 covering one-third of the block. “We are also asking for north-south lanes to be incorporated into these blocks to make them more permeable, and buildings more accessible. People won’t have to walk around an entire block to get through to the other side. With a north-south axis, the lanes will get sunlight at lunchtime, and will be sheltered from the prevailing northeasterly winds.” Every development proposal to build within the central core requires approval from the joint management board, which comprises the Christchurch City Council, Ngai Tahu and CERA. And while the plan provides for greater green areas, Miskell says the planners have also been aware that design decisions have to consider the capital cost of intervention in the public realm and ongoing maintenance costs. “We can’t deliver an unreasonable rates burden to the citizens to cover maintaining an increased number of parks and lawns,” he says. “Other factors influencing the public areas include safety. East Frame, for example, will feature residential housing along each side of the central park. The park area needs to be a width that will allow passive surveillance by the people living in the houses, yet wide enough for the wider community to feel they are not intruding on a private space.”

Miskell says the plan has an ambitious aim for 20,000 people to live in the central city, which will require a mixture of townhouses and apartments. “We are encouraging high-quality housing,” he says. “We want to signal to the community that the eastern side of the inner city, which had lower-value housing, is now changing. By the end of this year, we hope to have the first block in East Frame developed ready to go to the market, with the first homes occupied by the end of 2014, early 2015.” Miskell says South Frame will be more built up, and have an urban campus character. Buildings will sit right on the street frontage, but there will be lanes and walkways breaking up the blocks. Miskell says the Justice and Emergency Services Precinct is the most advanced of the anchor projects in terms of design – the project is being jointly designed by New Zealand architects Warren and Mahoney and Opus, and Cox Architecture of Australia. “This project has been eye-opening for several reasons, including the fact that the buildings have been designed around a courtyard. It is an entirely new way of providing these services, but it harks back to a cluster of our heritage buildings, the Christchurch Arts Centre. This was built around quadrangles, and has proved a great typology for Christchurch, as it provides shelter from the prevailing winds. We didn’t dictate the design – it was a creative response to the brief from the Ministry of Justice and consultants.”

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Top left:While the blueprint for the Christchurch rebuild has been undergoing refinement, the new Transitional Cathedral has been under construction and is open for worship. Lower left:A city under development – hoardings capture the vision for the future. Lower right:The voice of the people can be seen in this graphic, which puts green spaces, people, cafés and restaurants at the top of the list.

Miskell believes most of the projects will seek to push the architecture boundaries. “In the Melbourne Docklands, many of the new buildings are rated 6-Star Green Star, with developers responding to clients looking to better manage operational costs and provide good work environments for staff. While we are not legislating for this, we do anticipate similar demand for sustainable design in Christchurch in the future.” Developments are also characterised by a high level of collaboration. The new bus interchange, for example, has involved a pilot programme of consultation with a number of different groups, including the Otautahi Youth Council. “At times, the former transport centre was unsafe, and this needed to change,” says Miskell.

“Designers are looking at crime prevention through environmental design. CERA and the design team from Architectus are working with these groups as the preliminary design work is finalised.” Miskell says CERA is also consulting with Barrier Free, a non-profit group that is auditing plans in the preliminary design stage to ensure they will be able to accommodate people of all abilities. “The Avon River Precinct was the pilot programme for consultation, a process that has already proved invaluable.” Miskell says key Christchurch attributes, such as the restored Provincial Chambers and the Avon River, will remain a focus for the plan. “Our heritage buildings are precious and, where practical and feasible, will be protected, as will the

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Avon, which is the city’s waterfront. It has a unique English character, and we have already improved the habitat for fish, including whitebait and brown trout, which have spawned successfully. Silt is being removed gradually, and in places the river has been narrowed, so people can enjoy the rush of the water on the cobbles. Safe pedestrian promenades will be a key feature. These will run right down the riverbank, adjacent to the businesses, which in turn will overlook the river.” The restoration of heritage buildings has seen Fulton Ross Team Architects receive a New Zealand Institute of Architects Sustainable Architecture Award for the New Regent Street retail precinct redevelopment. Architect William Fulton says the ground floor sustained most of the earthquake damage with the ground either slumping or moving, and there was some liquefaction. The concrete paving around the tram tracks also lifted and caused damage to the glazed shopfronts.

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“Although the two-storey units are joined, they are four separate buildings, built as a concrete frame with brick infill walls. The buildings had to be strengthened and the ground floors completely rebuilt, apart from the party walls. A continuous concrete raft floor now connects all the units, and this has an overlay timber floor so it looks as it did before. Shopfronts have new tiled upstands and glazing, with new steel columns behind the front facades helping to support the mass of the buildings above. Rear walls were also rebuilt to meet fire engineering requirements.” For the people of Christchurch, the inner-city transformation is only just beginning, however, but the pace is set to accelerate, says Miskell. “Within five years, Christchurch will be a vastly different city – it will set an international benchmark for urban design, and that is just the start.” See video and image gallery online at trendsideas.com/au2912p76

Below:Live, work, play – the urban blueprint for Christchurch creates a dynamic, peoplefocused environment. There is provision for more than 20,000 residents to live within the CBD. Right:The Canterbury Earthquake Recovery Authority (CERA) is housed in the HSBC building (top), which sits immediately in front of the 6-Star Green Star restored Christchurch Civic Building – formerly home to New Zealand Post. The pedestrian promenade leading to the council building runs alongside the HSBC building. Story by Colleen Hawkes Photography by Jamie Cobel

Project Christchurch Transitional Cathedral

Location: Christchurch, New Zealand

Architect: Shigeru Ban Architects Warren and Mahoney

SYMBOLIC – ON MANY LEVELS The completion of the “Cardboard Cathedral” not only marks a milestone for the Christchurch city rebuild – it also showcases a unique architectural triumph that’s attracting attention worldwide

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Below:The new Christchurch Transitional Cathedral, also known as the Cardboard Cathedral, is one of the first post-earthquake projects to be completed. The sides of the church are raked and twisted, with the pitch changing by 20° over the length of the building.

Rebuilding an earthquake-damaged city is probably a 20-year project, but the completion of the Christchurch Transitional Cathedral sends a clear message that the city is back in business. And it’s not just the speed of the design and construction that’s attracting attention – the architecture also breaks new ground. While the concept of a cardboard structure is not new – Japanese architect Shigeru Ban has created such buildings elsewhere in the world, including in Kobe after the 1995 earthquake – the installation of cardboard tubes on a sloping angle is a first. Architect Peter Marshall of Warren and Mahoney, the architects for the Anglican Diocese who were charged with realising Shigeru Ban’s concept, says the project was one of the most intriguing and complex projects the firm has been involved in. “Geometrically, the structure is unique,” Marshall says. “The cathedral is trapezoidal in plan with a raking ridge that soars to the height of a six-storey building. With the sides of the building also on a rake, and a twist, the 3-D geometry posed challenges for the documentation and construction.” Marshall says computer modelling and extensive testing of the cardboard tubes and polycarbonate cladding resulted in several changes to the conceptual design. “It was originally intended that the cardboard tubes would be held in place by their own weight and fixed to the underside of timber trusses. It became clear that this would not work, so LVL beams, some of which are more than 20m long, were inserted into the tubes to strengthen the structure. The detailing of the various junctions and flashings was also refined to ensure they could withstand the wind loading and be watertight.” Shipping containers – a relocatable building option used for retail facilities elsewhere in the city – are positioned at the base of the building where they house chapels and administrative facilities. Marshall says despite the technical challenges, the concept for the cathedral was essentially simple and innovative. MORE PROJECTS AT trendsideas.com

“The structure is very expressive and conveys the sense of something special,” he says. “Because the polycarbonate cladding is almost transparent, light shines through, illuminating the entire building. The stained glass trinity window facing north is also a clear church symbol, and a visual link to the celebrated rose window in the former cathedral. “On the inside, the sheer volume of the interior and the soaring height reference traditional cathedrals and the way these are designed to raise the eyes upwards. Shigeru took height and width measurements of the original cathedral so that the dimensions of the new structure would be similar.” Marshall says the building’s powerful presence can also be attributed to the materials and the way these define the structure.

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“The reinforced cardboard tubing expresses both the architectural form and the structural support, which is a particularly pleasing result.” The gradual change in the pitch of the roof – from 70° at one end to 50° at the other – is another significant feature. “The twist creates a sense of movement and drama, which gives the building a much more interesting architectural form. There are just two narrow polycarbonate panels from top to bottom, and each section twists slightly. There was enough play in the interlocking detail to allow the twist to occur.” Because the polycarbonate is a twin-walled material, it has insulating benefits. The architect says the cardboard also helps with insulation, noticeably mitigating traffic noise, even though

Below:Transparent polycarbonate panels form the cladding, so the entire cathedral is illuminated by night. Right:Soaring to the height of a six-storey building, the towering A-frame nave mimics the dimensions of the original cathedral in the square. Warren and Mahoney architect Peter Marshall says the lighting was designed to create a powerful sense of place. The building can seat 700 people.

These pages:The unique structure comprises 98 mammoth cardboard tubes, each 600mm in diameter, with the longest tubes measuring more than 20m. The tubes are reinforced by laminated veneer lumber (LVL) beams and hightensile steel cross braces. Story by Colleen Hawkes Photography by Jamie Cobel

there are 150mm gaps between the tubes. And heating cables within the concrete floor slab help to keep the interior warm in winter. Automated vents at the top and bottom of the opposing ends of the building provide cross ventilation when required during the hot summer months. Initially, it was expected that the Transitional Cathedral would have a life span of around 10 years, and would be in use while the replacement cathedral was constructed in the square. However, Marshall says even a temporary structure has to

meet required building codes, which means it can endure for 50 years. “At the end of its time here, it can be repurposed, or dismantled and rebuilt somewhere else. For now, however, the completion of the building, albeit a transitional building, sends a strong signal that the city is on its way back. With the international benchmarking through the involvement of Shigeru Ban Architects, the interest from overseas has already been immense and this can only be good for Christchurch.”

Project:Christchuch Transitional Cathedral Architect:Warren and Mahoney Architects (Christchurch); project team – Peter Marshall, Eugene Coleman, Andrew Wade, Michael Spahn and Eoin Hudson; in association with Shigeru Ban Architects (Japan); project team – Shigeru Ban and Yoshie Narimatsu Project manager:Beca Structural engineer:Holmes Consulting Group Mechanical and electrical engineer:Powell Fenwick Consultants Fire engineer:Holmes Fire Geotech engineer:Aurecon Civil consultant:Site Solutions Landscape architect:Boffa Miskell Construction company:Naylor Love Polycarbonate cladding:Politec Modulit 338 from Multiwall Polycarbonate Cladding Composite, installed by Graham Hill Roofing Cardboard tubes:Sonoco NZ Structural timber:LVL engineered wood products from CHH Woodproducts Shipping containers:Supplied by Spacewise Structural steel:East Coast Steelwork

Roofing/cladding:Butyl membrane from Dimond Roofing, installed by Graham Hill Roofing Window and door joinery:Raylight Aluminium Composite cladding:Alucobond Glazing:Trinity Window printed graphic coloured glass and general glazing by Metro GlassTech Skylights:Adulux Hardware:Ingersoll-Rand; Sopers Macindoe Concrete flooring:Aquron Clear sealed Drapes:Russell Curtains and Blinds Paints and surface finishes:Resene Lighting:Cardboard tube LED uplighters from Toshiba Japan; LED lights and general lighting from Philips NZ Heating and cooling:Underfloor with heatpump, supplied and installed by David Browne Contractors Furniture:Custom designed by Shigeru Ban Architects, fabricated and supplied by Miller Studios Christchurch Signage:Miller Studios Graphic design:Warren and Mahoney/Miller Studios Fire services:Wormald See video and images of this story online at trendsideas.com/au2912p88

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index Abitext 49 Adelaide Desalination Plant and Kauwi Interpretive Centre 16-23 Adulux 93 Affiliated Engineers, Inc 31 Agrostone 69 Alternate Cosmos 55 Alucobond 23, 93 Ampelite 23 Amtico 55, 61 Anderson, Andy 6-15 ANZ Centre 70-75 Aquron 93 ARChitectural 2, IBC Armstrong 75 Attica 55 Aurecon 93 Ban, Shigeru 88-93 Barrisol 49 Beca 75, 93 Benjamin Moore 31 Bernhardt Design 31 Bestec 23 Bevisco 61 Big Ass Fans 39 Boffa Miskell 93 Bolon 23, 75 Boral 49, 69 Bosch 55 BQH 15 Brivis OBC Built Environs 23 CafĂŠ Culture 61 Canterbury Earthquake Recovery Authority 76-87 Caroma 32-33 Caroma Marc Newson IFC-1, 5 Carter Holt Harvey 93 CDA Architecture 6-15 Centric 55 Chillex Services 15 Christchurch Transitional Cathedral 88-93 Cite 75 Clestra 49 Clifford Chance 40-49 Coalesse 31 Coleman, Eugene 88-93 Cong, Charlene 56-61

Cook, Marlew 16-23 Corian 55 Craft Metals 34-35 David Browne Contractors 93 Davis Langdon 75 Decovision 69 Design Farm 55 Design Signwriters 15 Dimond Roofing 93 DLSS Manufacturing 31 Dominion Constructors 15 Dorma Resilient Marketing 69 Duke of Wellington Hotel 32-33 Dulux 49, 61, 75 East Coast Steelwork 93 ECC 75 ECS 15 EDL Laminates 69 EFCO 31 Elton Group 55 Eoin Hudson 88-93 Established and Son 55 Executive Interiors Services 56-61 Facilitate Corporation 61 Feasey, Mia 56-61 Feruni Ceramiche 69 Fire Security Services 15 Fisher & Paykel 55 Fletcher Construction 70-75 Forbo 23 Forman Building Systems 75 Formica 49, 55 Formwell 69 Fulton Ross Team Architects 86 Fulton, William 86 Funderland 69 Gardner, Doug 16-23 Gensler 24-31 George Fethers & Co 75 GH Tag Consultancy 69 Gibbon Group 61 Glass Projects 15 Graham Hill Roofing 93 Graham, Mark 6-15 GWA Bathrooms and Kitchens IFC-1, 5, 32-33 Halvorson and Partners 31 Hardware Direct 75 Hassell 70-75

Herman Miller

49, 55

Highpoint Shopping Centre

Milliken & Company Miskell, Don

34-35

49 76-87

Moooi

Hitachi

Morelli, Matthew

56-61

Hoerr Schaudt

Mountford, Ben

16-23

Narimatsu, Yoshie

88-93

Holmes Consulting Group 15, 70-75, 93

Nauhria

Holmes Fire

Naylor Love

Hospitality Kitchen

New Age Veneers

Hydraulic Services Consultants 15

Niche Modern

ICI Paints

Niro Ceramic Sales & Services 69

Ingersoll-Rand

Norman Disney & Young

Instyle

Omega

Interface Flor

Otis Elevators

Interloc

Paul Smith

Invibe Panel

2, IBC

Philips

49, 93

ISIS Group Australia

50-55

Polytec

Potter Interior Systems

Italia Ceramics

Jalex

62-69

Powell Fenwick Consultants

James Hardie

2, IBC

Quel International

Raylight Aluminium

Jardan

Jasmax

6-15

RCP

Johns Manville Roofing Systems 31

Resene

37, 93

Kada

Rheinzink

34-35

Kaynemaile

Rider Levett Bucknall

55, 75

King, Adele

6-15

Rocks On

Kitaran Cahaya

Russell Curtains and Blinds

Knoll

Schiavello

KnollTextiles

Sharp

Kone

Shaw Carpet

Shigeru Ban Architects Signature Floorcoverings

Lamex Lamitak

49, 69

88-93

Wade, Andrew

88-93

Warren and Mahoney

Sikafloor

Sime Darby Leadership Centre

Living Edge

Maharam Kvadrat Marmoleum Marshall, Peter

Siren Design Group

70-75, 88-93 Wattyl

62-69 Simon James

55, 61

56-61

Verosol

49, 55

LiveRoof

Maersk Line

Venluree Vitra

Lindsey Adelman

Mace Contractors

Steel Roofing 15 Stephenson & Turner 75 Stone Source 31 Stresscrete 15 Structurflex 15 Stylecraft 49, 55, 61 Stylex 31 Suria Sunshade 69 Table and Chair Company 55 Tandus 31, 69 Technigroup Office Furniture 69 Tek 49 The Crossing, Highbrook 6-15 The Genevieve and Wayne Gratz Center 24-31 The Kitty Bar 37 The Laminex Group 23, 55, 61 The Tile People 75 Thermosash 15 Thurston Consulting 15 Tia Cern Trading 69 Toshiba Japan 93 Trends Publishing International 36, 38, 94, 95 Tru Furniture 31 Turner Construction Company 31 Tuschall Engineering 31 V3 31

75 56-61 93

Whetter, James

6-15

Wildfire Commercial Kitchens and Bars

Site Solutions

SL&A

62-69

Williams, Jim

16-23

88-93

SMEC

Williamson, Martin

16-23

Wilkhahn

31, 49

Solver Paints

Wood & Grieve Engineers

Matisse

Sonoco NZ

Woodhead

Merx

Sopers Macindoe

Wormald

Metal Concepts

Space Design Architects

Woven Image

Metalbilt

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Metro GlassTech

Miller Reinforcing

Spacewise

Miller Studios

Spahn, Michael

Martin, Neil

6-15

40-49 93 88-93

50-55

16-23, 50-55 93 23, 55, 61

Zenith Interiors

Zenith Projects

Zip HydroTap

Ziplok

tim ate

208

Coco

Ask James Hardie™

13 11 03

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INK2062-15E

BUILDING OR RENOVATING THIS SUMMER? CONSIDER BRIVIS Climate System experts for over 50 years

The long hot days, the barbecues and the beach – it’s what our country is famous for. However, an inefficient air conditioning system can turn what should be months of bliss into months of hot, dry discomfort. During the hottest days, it’s tough to remain cool next to fans and old ineffective air conditioners. As you struggle with the heat through the day, the oppressive feeling intensifies making the simplest tasks around the home seem like laborious chores. After 50 years in climate systems, Brivis has fine-tuned our range of cooling solutions to a level of unrivalled performance. So whether you’re building, renovating or looking to replace your current system, consider Brivis.

Brivis Climate Systems Pty Ltd Head Office, 61 Malcolm Road Braeside, Victoria 3195 Telephone (03) 9264 9555 Facsimile (03) 9264 9400 National Sales & Service Telephone 1300 BRIVIS (1300 274 847) National Service Facsimile 1800 655 465 Sales Email sales@brivis.com.au Website brivis.com.au