More inspiration from Caroma‌ Australian bathroomware brand Caroma continues to inspire with the new Urbane collection. Designed with functionality and form in mind, Urbane combines contemporary Australian style with trusted Caroma quality. Discover more at specify.caroma.com.au - a new website for industry professionals The range currently features toilet suites and will be joined by matching basins and a freestanding bath in July 2014.
38
CONTENTS 6
WORKPLACE Charter Hall, Sydney An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace 8
46
DNV GL Technology Centre, Singapore When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round 14 Kimberly-Clark, Chicago This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research 22
28
education MIT Manukau Campus, Auckland This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange 30 Tyree Energy Technologies Building, UNSW Creating a new technologies building gave this university an ideal opportunity to walk the talk for sustainable design 38
46
54 Cover
APARTMENTS The Interlace, Singapore With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement 48
Interactive classrooms and student breakout hubs line each level of the atrium in the new MIT Manukau Campus. These feature colourful furniture and pods where students can meet and share ideas. See full story on pages 28-37. Photograph by Jamie Cobel.
Eliza, Sydney While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century 54
60
MARKET SECTOR REPORT LED Technology: Street Lighting The rapid adoption of LED street lighting technology has underscored the need for new specifications and guidelines, says Andy Collins of Opus International Consultants 60
64
Project portfolio Grant Thornton House Podium, Wellington Boasting a contemporary profile and transparent, engaging aesthetic, this prominent building has been given a facelift, and now opens up to shoppers at street level 66 Harley Gray Building, Middlemore Hospital, Auckland Designed to integrate seamlessly with existing facilities, this state-of-the-art clinical services building is at the heart of Middlemore Hospital 72 Ceres Organics, Auckland Raw, unfinished materials, a living wall, and a commitment to sustainability reflect the core values of the company behind this new office and warehouse 78
official media partner
Learning is a life-long process, and it’s not limited to the four walls of a classroom. Today, learning happens in peer-to-peer settings, in the wider community, or through interactive technology. This sea change in thinking is reflected in the multifaceted approach to tertiary education, as exemplified by the new Tyree Energy Technologies Building at the University of New South Wales. @DavidJideas facebook.com/trendsideas David Johnson
In this issue we also profile a new tertiary campus in New Zealand. MIT Manukau not only provides a wide range of different learning opportunities for students, it also takes the concept of accessibility more literally than most tertiary institutions – the campus is integrated with a new transport interchange. Trains arrive at the Manukau station beneath the building, and buses pull up directly alongside. Both MIT and Auckland Transport benefit from the high exposure, and the traditional barriers to study are removed as commuters and students animate the mezzanine floors and stairs within the vast atrium. The integration of transport hubs with commercial buildings and even apartments is commonplace overseas, and we can expect to see more exciting developments here in the coming years. Here again, the design reflects changing teaching methodologies, with an emphasis on sustainability, collaboration and opportunities for interaction, much like the offices we profile elsewhere in the book. All these new projects are indicative of the growing move towards activity-based working, where one size does not fit all. Workers and students are given every encouragement to be the very best they can be, and the results speak for themselves. All this and so much more – check out the dramatic Interlace and Eliza apartment buildings, which are truly out of the ordinary. Happy reading
Managing Editor John Williams – john.williams@trendsideas.com Editorial Editorial Director Paul Taylor Home Series Editor Kathleen Kinney Digital Editor James Gilbert Subeditor Jane McKenzie Senior Writer Colleen Hawkes Staff Writer Charles Moxham Email editorial@trendsideas.com International Business President Judy Johnson – judy.johnson@trendsideas.com General Manager Trends Media Group Louise Messer Director of Strategic Planning Andrew Johnson – andrew.johnson@trendsideas.com Sales Director Asia Hans Geese – hans.geese@trendsideas.com Executive Assistant Marinka Simunac Sales – All Media Managing Director Glenn Hyland Costas Dedes – costas.dedes@trendsideas.com Adrian Law – adrian.law@trendsideas.com Shailan Patel – shailan.patel@trendsideas.com Sales & Marketing Co-ordinators Lana Tropina-Egorova, Anna McLeod Email sales@trendsideas.com Production Agency Manager Annette Nortje Operational Account Manager Olya Taburina Project & Client Co-ordinator Terri Patrickson Client Co-ordinator Darcelle Bell Graphic Designers Joan Clarke, Sasha Fowler 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 Production Assistant Anthony Hunt 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 IT & Administration IT Systems Clint Lewis Distribution General Manager Distribution Tina Kapp-Kailea Distribution Network Services (a division of Bauer Media Group) Level 21, Civic Tower, 66-68 Goulburn St, Sydney NSW 2000 Email subscriptions@trendsideas.com
David Johnson Chairman and Publisher
Highlights
28
6
Trends Publishing Australia Pty Ltd ABN 38 052 148 599 ISBN 1-86952-406-3-04 ISSN 2230-6927 (online) Australian Office: 7/7 Sefton Road, Thornleigh, NSW 2120 Tel 1 800 129 162 Fax 1 800 003 918 Email info@trendsideas.com Website Trendsideas.com
54
Selected by Managing Editor John Williams
Trends is published in: Australia, China, Hong Kong, India, Malaysia, New Zealand, Singapore, UAE and the USA. Pre-press Trends Production Services
A glass cube suspended above a void increases the drama of the new Charter Hall offices in Sydney. Beneath is a dedicated focus zone, where employees can choose from a vast array of potential work environments.
An exposed white diagrid defines the exterior of the new MIT Manukau Campus and Transport Interchange. The diagrid facade references traditional weaving patterns that express the idea of both technology and craft.
Parametric modelling was used to design the fluid, undulating facade on the Eliza Apartments building. The top three floors are stepped back to maximise the sun and views from the penthouse.
More ideas, information and inspiration plus the full multimedia experience at trendsideas.com
facebook.com/trendsideas
twitter.com/trendsideas
pinterest.com/trendsideas
blog.trendsideas.com
All rights reserved. Trends is subject to copyright in its entirety. The contents may not be reproduced in any form, either in whole or in part, without written permission of the Publisher. No responsibility is accepted for unsolicited material, including transparencies. Trends also accepts no responsibility for loss of submitted manuscripts, photographs or artwork. Opinions expressed in Trends are those of the contributors, not necessarily those of Trends Publishing International Ltd. While every effort has been made to ensure the accuracy of the information in this publication, the Publisher assumes no responsibility for errors or omissions or for any consequences of reliance on this publication.
NZ’s #1 home design social website
Sign up free today at
trendsideas.com
section focus workplace
shared experience Modern office design ensures employees are engaging on many levels as traditional workplaces give way to transparent, collaborative environments where flexibility is key
Project Charter Hall office
Location: No 1 Martin Place, Sydney
Architect: BVN Donovan Hill Architecture
Sea change An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace
When you are in the commercial property business, you are in a prime position to notice major trends in the workplace. And so it was for Charter Hall, an Australian company with an office, retail and industrial property portfolio in excess of $11 billion. Joint managing director David Southon says the company was well aware of the move towards activity-based working and investigated the potential for its new Sydney office at No 1 Martin Place. “Although our former building had an open-plan workplace, we were operating over a number of levels that were not well connected,” Southon says.
8
search | save | share at trendsideas.com
“There was also no link between workstations and the more public parts of the office. It didn’t help that the building was old and tired and did not suit our long-term aspirations.” The company commissioned activity-based work experts at Veldhoen + Company to consult on possibilities for the Charter Hall workplace, and chose to implement such a model in its new premises, designed by BVN Donovan Hill Architecture. “We had the opportunity to accommodate the office over two connected floors,” Southon says. “But this was not just about creating a much more open and transparent workplace; it was also about
Preceding pages:A glass cube suspended above a void increases the drama of the new Charter Hall offices in Sydney. The soffits along the edges of the void feature mirror panels that help to ensure all parts of the office can be seen. These pages:Timber accents provide a warm, welcoming interior. So, too, does the informal entry, which features a concierge, rather than a traditional reception desk.
introducing a whole new way of working that would be significant cultural change for the company. Employees would have the freedom to work wherever they wanted, depending on their needs at any particular time – this office model recognises that one size doesn’t fit all.” Architect Abbie Galvin of BVN Donovan Hill Architecture says the new building provided a large floorplate over two levels that allowed for flexible planning to accommodate the required elements. There were also large windows to bring in natural light to most areas. “Charter Hall proposed a collaborative floor on the upper level and a focus floor on the lower level, with some crossover,” Galvin says. “We introduced a new generous stairway to physically and visually link the floors and to provide transparency and connection throughout the office. “Essentially, we removed two structural bays and wrapped the soffits at the edges of the void with mirror panels. These reflect the parts of the office you can’t see. We also added mirror panels to the ceiling, almost like a series of frescoes. These reference the company logo and give the entire space a little sparkle, creating an uplifting environment.” Creating a warm, welcoming office was crucial, for employees and visitors. Everyone entering the office arrives at the upper level where there is a concierge, not a reception desk.
10
search | save | share at trendsideas.com
“The traditional barriers have been removed,” says Galvin. “When you come into the office, you are not confronted with a guard house – instead you immediately feel part of the Charter Hall hub. And the whole office is on view, and activated, so it is a very dynamic environment.” This animation is enhanced by a clear glass box accommodating a meeting room that appears suspended above the void. The team calls this The Lookout. Another active part of the office is an elevated timber platform that runs the length of the building beside the windows. This is a collaborative area known as The Deck, where staff can meet and connect both formally and informally. The tables can be grouped or moved aside to create a large space for social gatherings. Because the platform is stepped up from the main office, it retains a sense of separation without being cut off from the rest of the interior. “This is very much a town hall space,” Southon says. “It is used for our regular big breakfasts and drinks on a Friday, and it can be used for client events. It enhances the transparency of our business for our customers and stakeholders.” The lower floor presents a raft of different work environments, with employees able to sit or stand at workstations, sit at a table, in a lounge chair or in a lab space where the chairs are high and the
Below:A raised timber platform, called The Deck, creates a collaborative zone that can be used for social events and informal meetings. Right:The Deck runs the length of the office beside the windows, ensuring the natural light and views are maximised.
Left:The lower level is a dedicated focus zone, where employees can choose from a vast array of potential work environments. Below:Employees can group together while working on a shared project, or opt for breakout zones.
tables are bench height. There is also a high-focus zone, where people can work uninterrupted, and bunkers where workers can make confidential calls. “For most of the office, there are no partitions blocking the visual connectivity,” says Galvin. “Even when someone is sitting in one of the huge hood chairs, they can still have a sense of engagement with the office – they are not isolated.” The flexibility is supported by the latest office technology. Employees have new laptops and soft phone solutions, while the entire office is wireless and features new LAN connections and high-end audiovisual solutions. The use of paper in the office has been greatly reduced. In keeping with Charter Hall’s philosophy, sustainable alternatives were specified wherever possible. Natural light is maximised, products and timber were sustainably sourced, and the joinery
was modularised for minimum wastage. The design also ensures employees retain a sense of connection with the outside, no matter where they sit. Southon says there has been a noticeable lift in energy, enthusiasm, engagement and collaboration since the team moved into the office, and plans are under way to roll out the model regionally. “Charter Hall has always prided itself on its ability to deliver smart property solutions for clients by knowing the market and being able to take advantage of opportunities as they arise. Our new office supports this business focus by enabling greater collaboration, increased business efficiency and sustainable business growth.”
Project:Charter Hall office, Sydney Architect:BVN Donovan Hill (Sydney) Interior design:BVN Donovan Hill; specialist graphics and signage by Urbanite (part of the Frost collective) Workplace consultant:Veldhoen + Company Construction company:Isis Mechanical and electrical engineer:EMF Services Quantity surveyor:MBM Fire consultant:EMF Services Window and door joinery:X-clusive doors and glass auto sliders Automatic gate:Centaman
Blinds:Silent Gliss Wall and floor tiles:Nash Tiles Paints and varnishes:Mars Lighting:TLE Artarmon Office furniture:Workstations from Living Edge; chairs and coffee tables from Jardan; additional furniture from Unifor, Wilkhahn, Corporate Culture, Stylecraft Security system:Hud Security Signage:Wizardry
save | share | images Search 44557 at trendsideas.com
Story by Colleen Hawkes Photography by Shannon McGrath search | save | share at trendsideas.com
13
Project DNV GL Technology Centre
Location: Singapore
Interior designer Aedas Interiors
common ground When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round
Mergers invariably spark changes that may include relocation along with a close study of work practices and requirements. Such was the case when Norwegian firm Stiftelsen Det Norske Veritas (DNV), a company involved in a wide variety of international risk assessment and advisory roles across a range of industries, merged with German-based Germanischer Lloyd, to become DNV GL. With the need to relocate to a new seven-storey office tower in Singapore, the expanded company’s fit-out had to combine several elements, including a green agenda and a strong sense of coming together. When interior design company Aedas
14
search | save | share at trendsideas.com
Interiors came to the DNV GL Technology Centre project, the client’s goal was to achieve a workplace that would reflect the firm’s proud heritage, its diverse businesses, and its sense of unity as a global company, says project designer Steven Shaw. “Aedas Interiors spent several weeks with the different business groups and the leadership team to understand what this meant and how it could be applied to the new building, which had to bring together several business groups previously spread across a number buildings. “During this period, it became clear to the design team that a key part of the company’s social culture
These pages:The fifth-floor reception lobby of the new head office of global giant DNV GL is intended as a common point of entry for all staff. High-visibility stairways lead to other floors. A 3-D MDF board above the reception picks up on the water and waves of the company’s previous logo, creating an eyecatching feature.
was the morning arrival process,” says Shaw. “However, this communal ‘moment’ could have been lost in the new building as staff would be able to move directly from the internal carparks on levels two and three directly to their own floor – bypassing the fifth-floor reception.” To retain this vital aspect of team bonding – even more important with so many previously unrelated business groups coming together – the arrival and base building lift strategy was reconsidered. “We inserted a void and stairs to link staff socially across the four upper office levels. The
16
search | save | share at trendsideas.com
ground floor is used for external training and levels two and three are for parking. The eventual solution added a second set of lift doors that open directly on to the fifth-floor reception. The lift is programmed so that all staff and visitors arrive here, and then move through the workplace via the stairs in the atrium to capture the sense of community,” Shaw says. “The expanded stair voids also bring a strong sense of visual connection between floors.” The overall design concept reinforces the Norwegian heritage of DNV – mainly through the
Below left:The light colour scheme gives this office floor an appropriately Scandinavian feel. Birch tree graphics vary floor-tofloor, acting as way finders. Lower left:This conference room near the circulation stairs looks out to a collaboration space. Right:The DNV GL corporate colours of green and blue feature throughout the interior. Lower right:Front-of-house breakout areas are airy and open.
use of colour, details and furniture selection. “An emphasis on white and light-toned wood species evokes the Scandinavian feel. This is reinforced through environmental graphics that showcase images of Norway. The columns on each floor are wrapped with graphics of birch trees. These are shown in different seasons on each level and act as wayfinding elements, so visitors know where they are at a glance.” The overall green and blue colour scheme is based on DNV GL’s corporate identity. The layout of the desking also facilitates easy
18
search | save | share at trendsideas.com
staff connection. Low partitioned workstations create an open-plan workplace that allows lines of sight right across each floor. Meeting rooms, quiet rooms and utility areas are located at the core to maximise natural daylight on the desk surfaces. The 120º workstations are used instead of benching to define individual workspaces, while also fostering collaboration and teamwork in groups. Breakout areas are located on each office floor in close proximity to the atrium. A variety of spaces provides for dining and casual coffee breaks as well as working and informal meetings.
Below left:The level seven breakout connects to a rooftop garden and barbecue area. Lower left and below:The level one entrance includes a security counter and waiting area, as well as training and relaxing spaces.
The level seven staff area at the top of the stair void opens to an outdoor terrace and garden, which is used for staff and client functions. While the upper office floors are dedicated as workspaces, the ground level is used for external training programmes that DNV GL runs for clients. This area is supported by breakout spaces for group coffee breaks and lunches. The adaptable training rooms can be converted into one large room to accommodate bigger groups. Graphics on this floor express the company’s four key business groups: Maritime, Oil & Gas, Energy and Business
Assurance. The bold images and a video wall are visible from the outside, acting as a giant billboard. “A primary vision for the client is to have a global impact for a safe and sustainable future,” says the designer. “To communicate this message, the facility was designed to achieve BCA Greenmark Platinum for office interiors. Design strategies that were key to gaining this accreditation include efficiency in planning, use of environmentally friendly materials, the installation of a green wall, and the creation of a central waste management recycling collection area.”
search | save | share at trendsideas.com
19
Left:Function meets feature – this level one training breakout space is highly visible from outside the building. The lower box is a meeting room and the skewed upper box displays graphics and a video wall.
Project:DNV GL Technology Centre, Singapore Architect:DCA Interior designer:Aedas Interiors; design team, Steven Shaw, Eric Magno and Julia Agonoy Construction:Ngai Chin Construction Mechanical and electrical engineer:WSP Ng Pte Ltd Quantity surveyor:WT Partnership Partitioning system:Hufcor from MTM Solutions Blinds:Tachikawa Blinds and Somfy motor from TTS Window Fashions Drapes:Double-pleated, manual by TTS Window Fashions Tiling:Italian silver Beige travertine from Surface Stone; Bisazza from Bisazza Singapore Flooring:Interface carpet from Contrac-Image Trading Wall treatments:Frequency 101 Echo Panel from Woven Image; Instyle Circuit from Infinity Pte Ltd Ceiling:Cirrus 75 and Armstrong Metalworks lay-in System with Peak Form Silhouette Grid 20
search | save | share at trendsideas.com
Veneers:Tubao Oak engineered veneer Paints:ICI Dulux; Akzo Nobel Paints Lighting:Trilux and ALW from LuxSpace Workstations:Mascagni from Ergoworld Office chairs:Hag from BW Furniture Reception furniture:Viccarbe from BW Furniture Additional furniture:About A Chair, white; Bella coffee table, birch wood; Bella Rectangular Desk, white and birch; Bjorn in grey; Mags ottoman; Hee barstool and lounge chair, white; Alcove Highback sofa in green, blue and grey Kitchen equipment:Zip HydroTap Story by Charles Moxham Photography by Owen Raggett resource list | plan | images Search 44703 at trendsideas.com
Ray of sunshine South Seas colours influenced the interior of the historic, restored Sargood Centre in Dunedin, which was once an art gallery and is now a sports education facility
Above:The renovated Sargood Centre, owned by the Dunedin City Council, is now a teaching facility for the Otago Polytechnic School of Sport and Adventure. The refurbishment was designed by architect Ian Butcher and constructed by Steve Mowat Building & Construction. The painting contractor was Murray Turner Decorators. Photography by Michael McQueen.
Sunny colours for a cold climate – it’s a model that works every time, and the remodelled Sargood Centre in Dunedin is no exception. The heritage-listed building, which was the original art gallery for the 1925-26 NZ South Seas Exhibition and later the Dunedin Public Art Gallery, has undergone an extensive makeover to become a modern sports education facility for the Otago Polytechnic School of Sport and Adventure. The project, designed by architect Ian Butcher, included extensive renovations to adapt and earthquake-proof the closed, gloomy compound of gallery buildings. Butcher specified an interior inspired by a South Seas sunrise, sunset colours and clear blues and greens. The administration offices feature Resene Ayers Rock, a sunset orange, Resene Limerick, an
Irish green, Resene Free Spirit, a deep blue green and Resene True Blue, a violet blue. These lively colours are in the former small galleries that at one time would have displayed old masters. Elsewhere Resene Half Spanish White walls and ceilings, coupled with restored rimu floorboards and charcoal upholstery, retain the dignified feel of a heritage gallery. Large teaching spaces feature Resene Cocktail, a blackberry grape shade, while the gym is painted in Resene X Factor, a blue red. For details, or for the latest colour fandeck, visit a Resene ColorShop, or phone tollfree 1800 738 383 Website: www.resene.com.au save | share Search 45184 at trendsideas.com
search | save | share at trendsideas.com
21
Project Kimberly-Clark office
Location: Chicago, IL
Architect: Eastlake Studio
PAst meets present This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research
22
search | save | share at trendsideas.com
Below:Reclaimed maple wood floors from an old factory bring visual warmth to the interior of the new Kimberly-Clark offices in the refurbished Civic Opera House building in Chicago. The reception area features Eames chairs on a green carpet.
Modern business isn’t necessarily best suited to a state-of-the-art contemporary building. Sometimes, the most inspiring workplace is one imbued with character that has developed over many decades. When global manufacturer Kimberly-Clark went looking for a new Chicago office for its social media research team, it was the 85-year-old Civic Opera House building that came up trumps. Architect Tom Zurowski of Eastlake Studio, who has been involved in the building redevelopment, says the Civic Opera House had long been hailed as an iconic Art Deco building. “The interior, however, was not somewhere a young workforce would aspire to – it was regarded as a somewhat stodgy old building with lots of small, enclosed offices. “On the plus side, the building is right on the Chicago River, so it has extensive views. And the penthouse floors where this office is located had the advantage of large windows on three sides.” Eastlake says the new building owner had already gutted the floors, leaving just a bare shell with exposed services. “Our job was to make the spaces habitable, by ensuring they met local building codes, which was challenging. This included creating a second egress on the upper level of this office.” The architect says the building was redeveloped to meet the needs of young professionals, who are commonly looking for older character buildings that cater to modern technology requirements, and have additional amenities – this building features a fitness centre, entertainment deck and bar. “This office also reflects a growing trend in office design, whereby personal space is shrinking and shared space is growing.” Interior designer Cindy Howery of Potter Lawson, who was commissioned to design the interior for Kimberly Clark, says the office epitomises this new workplace model. “This is social media research in action,” Howery says. “It is more about working in cafés than cubicles, and using laptops, tablets and phones. search | save | share at trendsideas.com
23
“The team wanted to walk the talk with an office that reflected the way they worked. This was never going to be a typical corporate workplace.” In keeping with this design brief, the entire office is open and transparent. Demountable Muraflex glass walls provide acoustic privacy for meeting areas but ensure visual connections remain. Staff are encouraged to use the entire office, not just the workstations. No-one is assigned a particular desk; workers log in each morning and work wherever they need to be. This may be at a collaborative table, workstation or in one of the many breakout areas, which include an area with a green carpet and picnic table. Sun loungers and a kitchen island with bar stools are other options. Howery says the head of the department loved the raw, exposed loft-style aesthetic of the original, gutted interior. “He would have liked us to do nothing,” she says. “But we needed to ensure the materials were durable and that it would be fit for purpose. The floor, for example, looked like raw concrete, but was actually a softer subcrete that had to be
24
search | save | share at trendsideas.com
covered. We didn’t want carpet, vinyl or tiles, so opted for reclaimed maple wood from an old factory. This not only works with the look, but also references the company’s Midwest origins. The wood helps to warm the space visually, but doesn’t detract from the very clean, crisp feel.” Reclaimed barn wood from the Midwest is another key feature. The wood wraps a large structural column in the centre of the office, and also clads the stair core. A new HVAC system was left exposed in the ceiling, along with the existing pipes and cables, which were painted white to match the ceiling. Stairs that lead up to meeting and training rooms were also painted white, and much of the furniture is white. Large 80in televisions are suspended from the ceiling in many areas. These can be used to share information from individual computers. The office also has a dedicated lab with a bank of screens. The natural lighting that illuminates most of the interior is supplemented by unobtrusive strip lighting, cylinder cans and pairs of pendant lights.
Below:Large circular windows on the top floor are among the original Art Deco features that captured the attention of the Kimberly-Clark team. This area is used for meetings, corporate training and webinars. Top right:The office presents several breakout areas that workers are encouraged to use. This front-of-house kitchen features a sink and small refrigerator and can be used for entertainment purposes. There is also a more functional kitchen area for workers. Lower right:White furniture enhances the crisp, clean aesthetic.
Left:Mobile cabinets at each workstation can be moved easily. The room at the rear is a research lab. Right:Ceilings and exposed mechanical services were painted white to enhance the light, airy interior. Lower right:The Kimberly-Clark offices occupy much of the floor space on the upper two penthouse levels.
Project:Kimberly-Clark offices, Chicago, IL Architect:Tom Zurowski, Eastlake Studio, Chicago, IL Interior designer:Cindy Howery, Potter Lawson, Madison, WI Construction company:Reed Construction Mechanical and electrical engineer:Kent Consulting Partitioning system:Muraflex Blinds:MechoShade Wood flooring:Reclaimed white barn wood from Stone Source Ceiling:Optima by Armstrong Paints:Benjamin Moore Workstations:Herman Miller Canvas Office chairs:Steelcase Gesture
Reception furniture:Herman Miller Eames molded plywood lounge chairs Additional furniture:Herman Miller Swoop chair, Coalesse SW 1 chairs, Bertoia bar stools, HBF Nest and Dialogue chairs, Davis Join chair Story by Colleen Hawkes Photography by Steve Hall, Hedrich Blessing save | share Search 44646 at trendsideas.com
search | save | share at trendsideas.com
27
section focus Education
SEnse of place Modern campus architecture reinforces the concept of an open education facility, integrating effortlessly with the wider community
Project MIT Manukau Campus and Transport Interchange
Location: Manukau, Auckland
Architect: Warren and Mahoney
Right on track This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange
Modern tertiary education is a far cry from the ivory towers of the past. Not only has the whole concept of an elitist education been turned on its head in recent years, but tertiary facilities are actively merging with the community to remove barriers and encourage participation. The Manukau Institute of Technology (MIT) takes this one step further with the opening of the new 20,000m2 Manukau Campus to accommodate the Faculty of Business and IT and the School of Distribution and Logistics. The campus is fully integrated with Auckland Transport’s new Manukau railway station and bus interchange.
30
search | save | share at trendsideas.com
Architect Blair Johnston of Warren and Mahoney says the combination of education and transport facilities is unique within New Zealand. “The focus has centred on producing the best possible learning environment while also bringing commuters and the people of Manukau City into the heart of MIT, exposing its programmes to the widest possible audience,” he says. “The project is aimed at improved educational outcomes in Manukau, which statistically has a tertiary education uptake rate that is only about half that of the rest of the country. By identifying and removing barriers and thresholds, we have made
Preceding pages and below: An exposed white diagrid defines the exterior of the new MIT Manukau Campus and Transport Interchange. The diagrid references traditional weaving patterns, while the triangular forms on the canopy present a similar motif in timber that carries through to the interior. Right:Stairs crisscross the atrium linking all six levels and helping to animate the student facilities.
a welcoming, all-embracing facility. Providing the interchange within the building enabled us to go beyond mere co-location towards true integration. It is literally bringing education to the people.” On the exterior, the building boldly addresses the street providing a defining landmark that is a key part of the rejuvenation of adjoining Hayward Park. An exposed white diagrid, with a diamond-shaped grid, reinforces a sense of place. “This needed to be a cultural building that would reflect the community and express its place in the world,” says the architect. “So rather than using an orthogonal grid on the facade, we opted for the duality of a design that is reminiscent of traditional weaving patterns. It expresses the idea of both technology and craft. While this is a highly technical building we have imbued the entire campus with a sense of craft and textural richness.” The facade is further defined by layering. Beyond the diagrid are fixed louvres, angled to deflect the sun and reduce heat loads inside. Horizontal louvres feature on the east and north sides of the building, while the west facade has vertical louvres. Another key determining factor in the design was the existing rail trench. “The building needed to straddle the trench, so much of the structure is hung from the roof trusses – in part it was built from the roof down, rather than
32
search | save | share at trendsideas.com
from the ground up,” says Johnston. “This has given the building a certain lightness that would not have been achieved otherwise.” This need to accommodate the trench led to the soaring six-storey atrium, which was not part of the original brief. “By enclosing this area, rather than having separate wings linked by an open courtyard, we created the opportunity for a major civic space at the heart of the building,” says Johnston. “Every floor has a mezzanine that opens into the atrium, enhancing a sense of connection at all levels, both horizontally and vertically. The learning process is highly visible and the entire building is animated – people are much more likely to use the stairs rather than the lifts because they are such a prominent part of the architecture.” At the west end of the atrium, sky bridges form social student hubs on each level. These are as much a part of the learning environment as the classrooms. “Modern pedagogy is much more focused on peer-to-peer learning. This building follows that trajectory. More than half the learning spaces are open and defined only by furniture and moveable screens. There is a lower proportion of traditional learning spaces,” Johnston says. The various levels on the building are defined by
Below:The triangular pattern reappears on the carpets, with each floor defined by a different colourway. Right:Glazing in the atrium is confined to clerestory windows and the ends of the buildings, rather than overhead. This ensures the interior is not affected by solar heat gain. Much of the atrium is suspended from the roof, due to the need to straddle the rail trench below ground. The building comprises three separate structures designed to move independently in a seismic event.
different colours, which help with wayfinding. The colours reference the baskets of knowledge from traditional Maori mythology. Motifs introduced on the exterior also flow through to the inside. And the design team specified Southland beech timber throughout the interior to add warmth and to bring a residential feel to the building. Dramatic wood panels are a key feature of the atrium ceiling, and the auditorium, with the diamond motif repeated in both areas. Flexible learning environments are created by positioning columns at the perimeter of the building rather than in the centre. Johnston says it is difficult to know what the institute’s needs might be in 20 years, but these floorplates can be adapted easily. The sense of openness also extends to the train station, where the entry, in one corner of the atrium, is angled at 45°.
34
search | save | share at trendsideas.com
“Again we wanted to remove barriers and make the entry as seamless as possible,” says Johnston. Peter Quigg, MIT director of academic operations, says one of MIT’s fundamental operating strategies is to make education accessible. “Having an integrated transport interchange fulfils that need almost to perfection,” he says. “Accessibility has a direct bearing on student numbers, especially in our catchment area, so to have rail and bus services bring people right to the door couldn’t be better.” Quigg says the new building is the first phase of a three-phrase project that will eventually see two further MIT buildings adding another 45,000m2 to the facility. There are also plans to build Te Papa North Museum on the other side of Hayward Park, which will be an additional drawcard.
Below:Learning spaces include an auditorium, which is lined with beech timber, interactive classrooms and breakout student hubs on each level of the atrium. These feature colourful furniture and pods where students can meet and share ideas. Right:The student hubs occupy the sky bridges that link both sides of the atrium.
Left and above:The entry to the train station near one corner of the atrium is angled at 45째. As with the MIT facility, there are few barriers to negotiate. Top and far right:Trains pull up right inside the building. Both MIT and Auckland Transport benefit from the greater exposure to the wider community.
Project:Manukau Institute of Technology (MIT) Manukau Campus and Transport Interchange, Auckland Architect:Warren and Mahoney, Auckland Structural engineer:Holmes Consulting Group Services engineer:Aurecon New Zealand Acoustic engineer:Marshall Day Acoustics Fire engineer:Holmes Fire & Safety Quantity surveyor:WT Partnership Project manager:Beca Carter Hollings & Ferner Main contractor:Hawkins Construction Facade design, engineering and installation: King Facade International Lift services:Otis Elevator Company
Air conditioning, heating and ventilation systems:Aquaheat New Zealand Interactive classroom and theatre technology:Automation Associates Feature timber panels:Southland beech from Lindsay & Dixon Story by Colleen Hawkes Photography by Jamie Cobel save | share | video | images Search 44560 at trendsideas.com
search | save | share at trendsideas.com
37
Project Tyree Energy Technologies Building, UNSW Australia (University of New South Wales)
Location: Sydney
Architect: Francis-Jones Morehen Thorp (FJMT)
Leading by example Creating a new technologies building gave UNSW Australia an ideal opportunity to walk the talk for sustainable design
38
search | save | share at trendsideas.com
Below:The new Tyree Energy Technologies Building at UNSW weaves in and out of the trees on the edge of a village green. The upper levels are clad in terracotta ceramic panels, while the lower level – the student commons – is fully glazed.
Just as teaching and learning methods have changed with emerging technologies, so do education facilities need to keep pace. The new Tyree Energy Technologies Building at the University of New South Wales (UNSW) not only needed to accommodate new teaching and learning spaces for up to 1240 undergraduate and postgraduate students, it also had to reflect the university’s focus on sustainable energy technology research, education and industry collaboration. Faculty of Engineering development manager Stephen Wooldridge says the school wanted the building to achieve a 6 Star energy rating that would support the university’s research into solar photovoltaic technologies, sustainable clean fuels, smart grids, energy storage, energy economics and policy analysis. “At the same time UNSW wanted a building that would provide a memorable and distinctive address for the campus,” Wooldridge says. “It needed to make a strong design statement.” Architect Matthew Todd of Francis-Jones Morehen Thorp (FJMT), the firm that won the limited entry competition to design the building, says the site was of considerable strategic importance. “The site is the junction of three interconnected urban zones – the retail frontage of Anzac Parade, the tree-lined mall that is the main approach to the university, and the huge oval that forms a village green. This project created an opportunity to create a significant gateway to the university – one that would also be a hub of activity.” Todd says the new building needed to respect the existing Modernist architecture and the ceremonial formality of the mall, which forms a strong entry axis and is integral to the identity of the university. “The significant mature trees also had to be preserved. We needed to integrate the building as much as possible with the landscape. It was also clear that each of the building facades would need to provide a different contextual design response.” search | save | share at trendsideas.com
39
40
search | save | share at trendsideas.com
Below:On the north side, a series of wide steps creates a communal area for students beside the main entry. Viewed from the side, the sawtooth roof has a sculptural presence.
search | save | share at trendsideas.com
41
“The western facade fronting Anzac Parade needed to bridge the area between the retail strip on one side and the leafy trees on the other. We consequently fractured this facade into three distinct modules. The building weaves in and out of the trees, while at the same time it makes a gesture out towards the streetscape. The eastern laboratory module is turned to acknowledge the orientation of the Village Green.” Terracotta-coloured ceramic panels clad the exterior, which incorporates fixed vertical sunscreens. Because these are full-height screens, they allow plenty of natural light to flood the interior, and help to angle views while maintaining a degree of privacy for the offices inside. “The terracotta colour provides visual warmth and gives the building a very earthy, Australian feel,” says Todd. “It also echoes a much older brick building on the campus.” On the western elevation the building is lifted up, so it appears to float above the ground level, thanks to a fully glazed lower level. “This is the student commons area, with a café and informal meeting and study areas,” says Todd. “It’s a very transparent, social space – you can see right through the building, which helps to give the architecture a sense of lightness.” On the north side, the building opens up to the mall, with a series of wide steps creating an easy transition into the building. The platform also functions as a gathering place for students. “In a way this facade harks back to traditional agoras and ceremonial public steps,” says Todd. “We also created a huge portal for the main entry – it resembles an enormous carved-out cube. This was formed from a precast concrete aggregate mix with a custom colour and honed finish.” Louvres along part of the north facade screen the sun from the academic offices behind. The architect says other devices were also introduced to relieve the massing of the building on this side. “We chose to push down the roof at the front to align the building with the tree canopy, and build it up at the back to accommodate the labs and plant. The roof itself is a complex curved sawtooth. We wanted to articulate each of the elevated parts, so these are treated as individual extrusions that give the building a sculptural look when viewed from the side. These elements are also expressed on the inside with curved plaster ceilings.” search | save | share at trendsideas.com
43
Preceding pages and left: Natural light floods the large central atrium, which features glass elevators and sky bridges. The atrium was designed to provide a sense of transparency and opportunities for social interaction. Below:Breakout areas are positioned to maximise views of the village green. Story by Colleen Hawkes Photography by John Gollings
Automated glazed areas on the sawtooth roof bring natural light down into a large central atrium, and enable it to be naturally ventilated. Todd says three key principles drove the interior design – interaction, transparency and flexibility. “Interaction is encouraged by the atrium design, in particular the creation of social hubs, generous circulation paths, meeting rooms, oversized stairs, bridges and interconnecting labs. Functions of the building are open or closed through varying levels of transparency, in the facade and interior design. “Laboratory spaces are conceived as flexible modules that can be either separate or connected. The spaces can be adjusted over time.” Wooldridge says the building is the first at UNSW to implement a rooftop photovoltaic system and a tri-generation plant. Most of the roof is covered by
a 150kW photovoltaic array, and the 800kW tri-generation system produces enough energy each year to supply almost 400 houses. “Other energy-saving features include the highly efficient facade and the underground labyrinth that provides the building’s cooling at no cost. In addition, specific materials were selected to minimise the environmental impact of the build. “The university’s leading-edge research in photovoltaics has also been facilitated by a stateof-the-art Class 10,000 clean room. This ultra-clean lab is used in the research and development of more efficient silicone chips for PV solar panels.”
Project:Tyree Energy Technologies Building, UNSW Architect, interior designer and landscape architect:Francis-Jones Morehen Thorp (FJMT), Sydney Construction company:Brookfield Multiplex Project manager:Capital Insight Structural and civil engineer:Taylor Thomson Whitting Mechanical and specialty gas:Steensen Varming Electrical engineer, specialist lighting, fire engineering and vertical transport:Arup Hydraulic and fire services engineer:Warren Smith & Partners Acoustic engineer:Acoustic Studio Sustainability consultant:Aecom Informatics and audiovisual:Wizard; Spinifex Group Accessibility consultant:Morris Goding Clean room consultant:AB Mandal Quantity surveyor:Davis Langdon Cladding:Yuanda; Ceramica Mayor Tempio by Precast Concrete Group (Qld); Alubond Roof:Fielders KingKlip Glazing system:Yuanda; Viracon (performance glazing)
Hardware:Sliding doors and operable walls by Dorma; Keeler hardware by Ikon Doors Balconies/balustrades:Hoop pine FSC timber by Cubic with Briggs Veneers; stainless steel and perforated mesh by Active Metal Flooring:InterfaceFlor, EcoSoft carpet tiles, Forbo Surestep, Bolon distributed by The Andrews Group Paints:Wattyl; Dulux Custom perforated ceiling and timber laminated battens Cubic Veneers:Briggs Veneers Lighting:Star Electrical HVAC:Allstaff Public area furniture:Interstudio, ChairBiz, Maxton Fox, Inline tables, Chairman’s Rest, Stylecraft, Dexion Compactus, Gregory task chairs Security system:Designed by Star Electrical, installed by Prosys Integrated Security Systems Signage:Integrated Signage & Design Lift services:Elevator Services Group; Kleemann
resource list | video | images | plan Search 44514 at trendsideas.com
search | save | share at trendsideas.com
45
section focus apartments
Outside the square Architects and developers are finding new solutions to challenge the design of the traditional apartment high-rise
Project The Interlace
Location: Singapore
Architect: OMA/Ole Scheeren
Community spirit With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement
48
search | save | share at trendsideas.com
Preceding pages:With its 31 stacked blocks arranged in a hexagonal pattern, The Interlace creates a new form of vertical village. The buildings enclose large courtyards that provide a wealth of recreational facilities. Below:Each block is six storeys high, but at no point does the development exceed the stipulated 24 storeys. The openings between the buildings create physical and visual permeability, providing cross ventilation and maximising views.
Distinguished architectural firms are most often commissioned to design prestigious projects for the high end of the market. But the experience and skills they can bring to a more populist market niche can have far greater ramifications. This Singapore project proves that innovative architecture is not the sole prerogative of an elite few. Rather, it can be accessible to a much wider market – in this case more than 1000 households. The Interlace, developed by CapitaLand Singapore, was designed by architect Ole Scheeren working for OMA. The design brief was straightforward – the development needed to create an iconic urban habitat of the future, says Wong Heang Fine,
chief executive officer of CapitaLand Singapore (Residential). “This was always going to be an exemplary development that would promote a sustainable, highly accessible and eco-friendly living environment, with a strong sense of community,” he says. “We set out to create an outstanding design for a development that is not only within reach of those who aspire to own a private residential unit, but also those who aspire to a unique lifestyle.” The design was driven by many factors, including the shape of the 8ha site, which completes a 9km green belt. It was also determined by the need to maximise opportunities for social interaction.
search | save | share at trendsideas.com
49
“In Singapore, the standard typology for residential developments is a cluster of isolated, towers, which do little to enhance a sense of community,” the architect says. “This design, in contrast, explores a dramatically different approach to tropical living, providing an expansive and interconnected network of communal spaces within a natural environment.” Thirty-one apartment blocks, each six storeys high, are stacked in a hexagonal arrangement to create eight large-scale courtyards. The interlocking blocks resemble a vertical village, complete with cascading sky gardens and both public and private roof terraces. Extensive residential amenities and facilities are interwoven with the landscape, amid lush vegetation, providing opportunities for social interaction, leisure and recreation. “The architecture is more about the spaces between the buildings than the built-up areas themselves,” says Scheeren. “While the buildings provide the residences, they are more importantly a tool to generate the open spaces.” The architect says the company experimented with many different configurations to maximise the design of the courtyards and natural light. “In the end, it was the hexagon that won out over a square or rectangular form. The angles at which the buildings meet are 120°, not 90°. This means the buildings are slightly turned away from each other, which helps to open up the views and provides more privacy. It also creates well-articulated outdoor areas.” Scheeren says the stacking principle ensured
50
search | save | share at trendsideas.com
there would always be openings in the blocks. “There are no sealed envelopes – the buildings are completely permeable,” he says. “This allows the light, wind and cooling breezes to penetrate. It also creates visual openings, so residents don’t feel cut off from the wider landscape. The development has a very different feel to a tower block – it is all about lightness, openness and transparency.” The architect says the exterior of the building is layered to create a stratification of outdoor living areas. These range from highly communal sky gardens to slightly more private terraces and very private spaces. All apartments have balconies, and many have protruding terraces that can become an extension of the living room. “It looks deceptively simple, but there is a richness and complexity to the architecture that helps to generate a sense of excitement and freedom,” says Scheeren. “The development never feels crowded. “The accommodation itself is also varied within each block. While the overall building form is highly dynamic, each individual block is an entirely pragmatic rectangle that allows a very efficient layout. Spaces are also generously sized and light filled, and the quality of the fit-out is high.” As with all OMA buildings, sustainable design determined every aspect of the architecture. “We incorporated passive design strategies throughout the project,” says the architect. “Daylight is optimised, and there is shading in the courtyards. Apartments are positioned to minimise solar gain, while taking advantage of the breezes
Below:The hexagonal form can be seen from above, in both the plan and finished development. Right:Because the buildings are stacked on a 120° angle, views and privacy are maximised. The hexagon motif can be seen on the underside of the concrete slabs.
permeating through the building. The apartments also benefit from evaporative cooling over the various bodies of water, which remove humidity.” Communal facilities include an environmental deck, which is integrated into the green belt. This incorporates the eight themed courtyards created by the built forms, which in turn are linked by a 4m-wide jogging track. One of the courtyards is designated as a community garden for use by residents. Art works, including sculptures by renowned artists, have been integrated into the landscape. Multi-generational interaction is encouraged, with children’s playgrounds as well as exercising equipment for adults and the elderly. Approximately 130 apartments are designed with ageing-in-place provisions, such as step-free bathrooms. There are also 16 dual-key units, which provide separate but adjoining apartments that will serve the needs of multi-generational families. Wong Heang Fine says that at the end of May 860 units out of 1040 had been sold. “The feedback from residents confirms The Interlace is like a self-sufficient community within a well-established development, with all the facilities they need available on site.” Wong says the development has already received several notable awards and has cemented its position as a new Singapore landmark.
Project:The Interlace, Singapore Developers:CapitaLand Singapore; Hotel Properties Ltd Design architect:OMA – designer and partner-in-charge Ole Scheeren (now at Buro Ole Scheeren) Architect of record:RSP Architects Planners & Engineers Main contractor:Woh Hup (Private) Limited Civil and structural engineering consultant: TY Lin International Mechanical and electrical engineering consultant:Squire Mech Landscape architect:ICN Design International Quantity surveyor:Langdon & Seah Singapore Awards:Urban Habitat Award 2014; CNBC Asia Pacific Property Award 2010 Best Architecture (Multiple Units) Singapore; BCA Universal Design Mark Platinum Award; BCA Green Mark GoldPLUS Award Story by Colleen Hawkes Photography courtesy of CapitaLand Singapore and Woh Hup (Private) Limited save | share | video | images Search 44675 at trendsideas.com
52
search | save | share at trendsideas.com
Below:Each of the eight large courtyards is themed and lushly landscaped. In time there will be cascading sky gardens as well.
search | save | share at trendsideas.com
53
Project Eliza Apartments
Location: Sydney
Architect: Tony Owen Partners Architects
Back to the future While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century
It’s rare for architects to get the opportunity to design a new benchmark building in the inner city, so when a prime park-side site became available in Sydney’s Elizabeth Street, there was intense interest in the development. And architect Tony Owen did not disappoint. With a design he describes as challenging, Owen set out to push the boundaries using parametric design tools to create a sustainable, new landmark for the CBD. “While this was always going to be a very contemporary apartment building, it still needed to sit within the historic context of the location,” Owen says. “The site is opposite St Andrews Cathedral and close to the Great Synagogue and
54
search | save | share at trendsideas.com
the Sheraton Hotel, all fine examples of Sydney’s beautiful heritage architecture.” The building – Eliza Apartments – consequently presents a contemporary expression of the principles embodied in the surrounding buildings, including the traditional bay window common to buildings in Elizabeth and Macquarie Streets. “Traditional contextual materials, such as sandstone and steel, are also used in a modern and challenging way,” the architect says. “We utilised parametric 3-D computer modelling to mould the facade to the changing environmental conditions on the skin. The profile of every level is different, as the design responds to the differing unit plans, views and sun on each level.”
Below:Eliza Apartments in the Sydney CBD was designed using parametric modelling to create a fluid, undulating facade where every floor is different. Right:The tessellated facade features sandstone and metal, which is in keeping with the heritage architecture of the surrounding buildings.
Owen says digital technology made it cost effective to create different plans and specifications for each of the 17 levels. “We now have the tools to create complex geometric forms that are as affordable as traditional designs. The technology is there to push the limits. “For this project we used Meyer software and Rhino scripting to determine the design, with the Frank Gehry Digital studio assisting in the fabrication geometry. The computer drawings were sent straight to the builder who used routing robots to laser cut the hundreds of tessellated, individually shaped metal and sandstone panels.” Owen says the technology enabled the design
56
search | save | share at trendsideas.com
team to create a highly sculptural, fluid facade, with a design he calls “liquid architecture.” It is a bold, curvaceous contrast to the egg-crate box style of architecture that has typified Sydney’s apartment buildings in recent years. The geometry of the curving bays of the front facade gradually changes as the building rises, with the three-level penthouse stepped back to maximise the sun and views. “We took the geometry right down to the ground, with a protruding metal canopy over the entry,” says the architect. “The neighbouring buildings tend to have a decorative solid sandstone podium, so we created a similarly detailed podium.”
Below:The ripple of the balustrades brings a fluid look to the exterior. The penthouse occupies the top three floors, which are stepped back to maximise the sun and views. Right:Every apartment opens out to a large balcony, where views are framed by the curve of the balustrading.
The tessellated motif continues in the lobby, which features a long, sculpted sandstone wall that curves to form the ceiling. The motif also appears in mirrored timber screens in lift lobbies, and at the rear of the building, in a 10-storey green wall. “This glazed living wall, on the north side of the building, creates a pleasant outlook for bedrooms at the rear,” says Owen. “It also lets plenty of natural light and sun.” The living areas and master bedrooms all have panoramic park or harbour views – or both. These are accentuated by the curve of the large balconies and balustrading. The balconies act as a climate buffer zone for each apartment. The doors can be opened partially to capture the breeze, or opened fully to extend the size of the living area. In keeping with the brief from developer Ceerose, no expense was spared on the interior. Fixtures and fittings are of a particularly high standard,
and include C-Bus lighting, limestone floors, dark-stained wood panelling and cabinetry, and a fireplace set within a bronzed mirror wall. Some kitchens have a butler’s pantry and a separate preparation area for catering purposes. Special features of the penthouse include a marble staircase, pool and roof terrace. Edward Doueihi of Ceerose says the building is destined to become a contemporary classic that will shake up design standards in the city. “We wanted Eliza to stand out and it does,” he says. “Nothing in this building is off-the-shelf. It has all been custom built. It has been a labour of love for us, but is the best endorsement for quality and attention to detail that our company could have.”
Project:Eliza Apartments, Sydney Architect:Tony Owen with Esan Rahmani, Gerardo Oiz, Claudio Porly, Michael Civovic, Benny Ng, Wendy Tong, Raymond Ng, Diana Quintero Saul, Tony Owen Partners Architects, Sydney Developer:Ceerose Structural engineer:M+G Consulting Mechanical and electrical engineer:Cardno ITC Landscaping:Site Landscape Facade panels:Advanced Precast (Aust)
Facade structure:Micos Glass; Aluminium Facade Solutions Facade sandstone:Stoneplus NSW Lobby and balcony floor tiles:Marble Lobby walls:Sandstone Apartment floor tiles:Limestone
58
search | save | share at trendsideas.com
save | share | images Search 44748 at trendsideas.com
Story by Colleen Hawkes Photography by John Gollings
Below:At ground level, the metal canopy flares out to highlight the entry. The ground floor of the building has retail tenancies. Top right:While the lower levels of the building have two two-bedroom units per floor, the upper levels have single fourbedroom units. Apartments on the upper levels look across Hyde Park to the historic Gothic Revival architecture of St Andrews Cathedral. Lower right:The tessellated motif on the facade can be seen in the sandstone lobby and on a green wall at the rear.
market report LED Technology
Street lighting The rapid adoption of LED street lighting technology has underscored the need for new specifications and guidelines, says Andy Collins of Opus International Consultants
60
search | save | share at trendsideas.com
These pages:Andy Collins, technical principal, lighting design of Opus International, discusses LED street lighting technology, and asks the question: is New Zealand keeping up with the pace of change?
The recent Road Lighting Conference in Auckland included a selection of high-calibre speakers from across Europe and the United States. They outlined the degree to which LED road lighting has been adopted overseas, which raised interesting questions for New Zealand. The City of Los Angeles, for example, has nearly completed a programme to replace 140,000 predominately 100w, high-pressure sodium lights with LED luminaires. These produce an equivalent light but offer energy savings approaching 60%. New York City is about to start an even bigger programme, with 240,000 luminaires. During the post-presentation Q&A sessions at the conference, it was implied that New Zealand was “backward”, and slow to take up these new technologies. But is this true? LED lighting is a proven, low-risk alternative to traditional forms of street lighting. It has been widely adopted in both Europe and America, as mentioned above, as well as here in New Zealand, with both Auckland Transport (AT) and Christchurch City Council (CCC) becoming converts. By incorporating the new technology into their respective design standards and specifications these two organisations, collectively representing more than 50% of New Zealand’s street lighting infrastructure, have led the way for an ever-growing list of councils to adopt the technology. LED technology benefits Dramatic reductions in energy costs, combined with the inherently greater reliability of LED technology, mean fewer maintenance visits and fewer costs incurred over the life of an LED installation, compared to a traditional HPS installation. LED lighting also reduces reliance on fossil fuels. In addition, LED street lighting offers ways to
deal with light pollution. Excessive artificial light can disrupt ecosystems and interfere with the circadian rhythm that governs human and animal sleep patterns. LED light is highly directional and can be concentrated where it’s needed. This minimises wasted upward light, significantly reducing light pollution. Dimming allows lighting levels to be reduced in areas where traffic volumes drop below a pre-determined level. For instance, dim lighting is ideal on suburban streets at night, without compromising safety and security. LED and dimming-based solutions dramatically reduce capital and operating costs over the life of a luminaire while delivering real sustainability benefits to New Zealand communities in conformance with legislative requirements. However, in New Zealand there is currently no means of capitalising on the reduced energy consumption brought about by dimming because of the way energy tariffs are calculated. This needs to be explored further by the electricity authority, to endorse, for example, charging regimes that allow dimming to be taken into account. Intelligent design Adoption of LED is not itself the solution to sustainable, cost-effective street lighting. The technology must be coupled with intelligent design to maximise economic and sustainability benefits. Intelligent design is also necessary to address compliance with applicable standards, and to ensure that street lighting investment is driven by a whole-of-life, total cost-of-ownership perspective. Evaluation procedures AT and CCC have devised stringent evaluation processes for selection of LED luminaires. This has been made necessary by the high amount of search | save | share at trendsideas.com
61
interest in LED road lighting luminaires. Many suppliers see it as a business opportunity, but don’t really understand the primary purpose of the luminaire, and how it puts light onto the road – right light, in the right place, at the right time. Luminaires are continually being submitted for consideration. Both AT and CCC have broadly similar approved luminaire lists, ensuring that New Zealand’s roading infrastructure network will utilise the right level of quality and high-performance luminaires equipped with the latest LED technology. Comprehensive review The current NZ Transport Authority (NZTA) road lighting specifications do not reflect the significant technological advances in street lighting. It takes time for Standards (AS/NZS1158) to catch up with advances in technology, and thanks to the introduction of LED technology over the past five years, this change has been particularly rapid. With the long-term whole-of-life benefits achieved by the application of this new technology, demonstrated recently by LED street lighting designs undertaken by the Auckland Motorway Alliance (and subsequently approved by NZTA), there is an extremely strong argument for a comprehensive review of the current NZTA road lighting specifications. NZTA has risen to that challenge. The soon-tobe published NZTA Infrastructure Design Standard
63
search | save | share at trendsideas.com
IDS M30 – Specification and Guidelines for Road Lighting Design combines the respective work commissioned by both Auckland Transport and Christchurch City Council, and encompasses it in one document. The approved list should form the foundation for councils across New Zealand to adopt with a high degree of confidence that they are utilising the best available technology. M30 doesn’t just consider LED technology, it addresses road lighting design in general and provides guidance in support of AS/NZS1158 set of standards. In effect it is an all-encompassing document that is up to speed with the latest technological developments. Summary So, back to the question – is New Zealand backward in terms of LED Road Lighting technology take-up? The answer is an emphatic no. The missing piece of the puzzle is funding. Initial capital cost is the challenge but it is the long-term savings that need to be the focus. Councils across the country are eager to embrace the technology revolution and to push the “Green for Go” button and implement wholesale change to the benefit of communities across New Zealand. save | share Search 44558 at trendsideas.com
Below left:This image shows a typical New Zealand street with high-pressure sodium lighting. Top right:LED lighting offers substantial environmental benefits and long-term cost savings for councils. But the recent proliferation of businesses looking to supply LED lighting means new standards are required so councils can adopt the best available technology. The NZTA is about to publish the NZTA Infrastructure Design Standard IDS M30 – Specification for Road Lighting. Lower right:Light pollution has become a concern for councils. LED lighting offers dimming solutions, whereby lights can be dimmed at pre-set times without compromising safety and security.
section focus Project portfolio
Open for business Wellington rivals other great cities of the world with its exciting, vibrant feel – this redevelopment further animates the heart of the capital
Project Grant Thornton House podium
Location: Wellington
Architect: Athfield Architects
Life blood Boasting a contemporary profile and transparent, engaging aesthetic, the reinvented Grant Thornton House opens up to shoppers at street level
Historically, Wellington grew up as a city of public servants, not shoppers, and impersonal streets were home to grey suits and little else. Decades on, the capital has a pedestrian life to rival New York – bustling, vivacious, and ready to spend. To further this trend, the Wellington City Council (WCC) has designated some thoroughfares in the capital as premier, as noted in the WCC Public Space Design Manual: “Premier streets are the spine of the central city network. They carry a high pedestrian volume, with comparatively low traffic movement. The interface on these streets tends to be characterised by small unit, ground-floor shops.” Lambton Quay, the golden mile of Wellington retail, is one such premier street named in the document. Taking a key position on the corner of Lambton Quay and Featherston St, the existing ANZ Podium and Tower was a purpose-built banking head office designed in the ’80s. However, despite its location, the building added little but mirrored glass and a toilet hub to the heart of the CBD.
A transformation of this landmark building, renamed Grant Thornton House, has made the tower’s 13 floors of office space more accessible, and so more attractive, to tenants. It has also brought the podium to life from the ground up. The podium redevelopment was undertaken by Athfield Architects. Project architect Neil Drummond says several elements were addressed. “We created a new office entry from Featherston St, replacing the old corner entrance with one halfway along the building. The relocation made this access more prominent, which was part of the brief from the building owner, Willis Bond & Co. “The new doorway connects through to the Lambton Quay entrance, establishing a spacious, light pedestrian cross-link between the two. This facilitates movement through the building, and provides improved access into the tower lobby, also upgraded, and the tower itself.” The open lobby, at the heart of the cross-link, features a panelised system of full height, stainless
Before
Preceding pages, below left, and right:The curving glass nose of the podium of Grant Thornton House – previously the ANZ Podium and Tower – fills out a premium retail corner that once accommodated a block of public toilets (below left). This was one of several changes to the building to utilise this key shopping area in the capital. A new horizontal canopy turns upwards to signal the entrances. This carries the naming tenant’s signage. Below:Before-and-after floor plans show how the foyer now snakes through from one side of the triangular block to the other, with the lobby of the refurbished tower in the middle.
After
Before
66
search | save | share at trendsideas.com
steel, American oak timber and frosted backlit glass walls, with slender angled lines of niche lighting. These play across the ceiling and down the walls, echoing the dog-leg shape of the foyer, and the newly introduced ‘folded’ exterior signage. Reconfiguring the former single ground-floor tenancy into multiple tenancies was central to the project. Cold, impersonal reflective glass was replaced with vibrant retail opportunities. New frameless clear glazed shopfronts at street level are the maximum height possible, and the removal of the out-of-date mirror glass allows effective daylight penetration to the majority of the floorplate. There are nine tenancies in all, spread around all three sides of the block at ground level, with the existing renovated offices above. “The podium’s upper-level facade, composed of steel transoms and mirror glass, was retained in the redesign,” says Drummond. “However, we sought to create a distinction between this heavy aesthetic and the inviting new boutique shop frontages introduced below. To achieve this, a new horizontal canopy draws a line between the two different treatments – as if between two time frames – and this runs right around the building.” Providing high visibility to the tower’s entry points on both Lambton Quay and Featherston St, the canopy turns up 90° at these junctures. These upright canopy elements also help break up the
horizontality of the streetscape, says Drummond. These folded elements sit just clear of the level one facade. At the same time, the canopy maintains pedestrian weather protection with a continuous cantilevered glass lid that connects to the existing facade. “Perhaps the most dramatic structural work undertaken was the twin two-storey corner frameless glass extensions, one at the corner of Grey and Featherston Streets and the other at the Lambton Quay bullnose, previously home to the toilet hub,” says the architect. Designed to meet the current code loading and extend the transparent vernacular of the reworked ground-floor facade, these elements are underpinned by new lightweight steel support structures. “In another liberating move, the rounded public toilet block on the prominent Lambton Quay corner was relocated to the corner of Grey St, on the shortest side of the triangular block, downplaying its presence,” says Drummond. The quieter Grey St is classed by the WCC manual as a ‘Special Street and Shared Space’, so this amenity was appropriate here. The demolition and relocation of the existing block, in a highly populated retail precinct and bus route with myriad trolley wires, required careful consideration of noise, dust and health and safety issues, including heavy machinery access to the site.
Before
68
search | save | share at trendsideas.com
These pages:The corner of Featherston and Grey Streets was given a two-level addition in keeping with the new street frontages. White tiles signal the new public toilet amenity.
Built over the existing basement entry ramp, the new public facility is clad in high-quality large format white clay tiles. This finish references the previous mosaic tile cladding. “The new pedestrian cross-link through the building, the full-height, clear-glass frontages and the banishment of an unsightly amenity together
give this key building a presence that, rather than reflecting back at you, invites you in,” says Drummond.
Project:Grant Thornton House, Wellington Architect:Athfield Architects Owner:Willis Bond & Co Construction company:LT McGuinness Structural engineer:Dunning Thornton Mechanical and electrical engineer:NDY Quantity surveyor:Rider Levett Bucknall Earthworks:Multi Civil Contractors Landscaping:Horokiwi Paving Fire consultant:Holmes Fire Cladding:APL Roofing:Equus
Facade design:Athfield and Wight Aluminium Window and door joinery:Wight Aluminium, Ultra Glass Hardware:Sopers Macindoe Handrails:Fabricon Metal Solutions Blinds:Window Treatments Wall and floor tiles:Hurricane Tiling Wallcoverings:Prime Interiors Ceiling:Metro Ceilings Signage:Watermark Signs
70
search | save | share at trendsideas.com
resource list | plan | images Search 44561 at trendsideas.com
Story by Charles Moxham Photography by Grant Sheehan
Below:Rays of light – custom inset wall and ceiling light fixtures reflect the shape of the walkway and the perpendicular nature of the signage outside.
Bring your ideas to life
HOME TRENDS DOWNLOAD THE APP NOW trendsideas.com/hometrends Available on
iOS and
Android
Project Harley Gray Building, Middlemore Hospital
Location: Auckland
Architect: Klein
Centre of attention Designed to integrate seamlessly with existing facilities, the new Harley Gray Building provides state-of-the-art clinical services at the heart of Middlemore Hospital
In today’s hospital environments, emphasis is increasingly placed on the dignity and privacy of patients – no-one wants to be wheeled through a public area on the way to a major operation, for example. Perhaps the most logical way to ensure these benefits is to build the zoning process directly into the architecture. Designed by specialised environments architects Klein, the new Harley Gray Building, previously known as the Clinical Services Building (CSB), provides 34,000m2 of new space for Middlemore Hospital in Auckland. This includes an operating suite, an assessment unit, a post-anaesthetic care
72
search | save | share at trendsideas.com
unit and non-clinical support, such as the hospital kitchen and spiritual centre. There is also provision for two further clinical departments in the future. The new five-storey building reconciles levels, and optimises patient and visitor flow right across the campus. Corridors connect it to wards, such as the Edmund Hillary Building, an earlier Klein project, and other clinical buildings, such as Galbraith, says senior associate Nicholas Wedde. “This supports the hospital’s goal of transferring patients or equipment on levels one and two, and meals or supplies on the lower ground level, leaving the ground floor free for movement of family and
These pages:The Harley Gray Building (previously called the Clinical Services Building) at Middlemore Hospital stands at the heart of the medical campus. Three fins break up the large rectangular form. These carry exterior service ducting that is easy to access without disrupting clinical services. The lower section, containing the hospital kitchen, was built as stage one, with the five-level main building following as stage two.
visitors. The top level has the plant required to run the clinical services,� says Wedde. Surgery suites are on the second floor, neonatal units on the first floor and the medical assessment unit, public circulation and spiritual centre are on the ground floor. Lower ground contains back-ofhouse functions previously spread across the site. Importantly, the corridors and passages of the Clinical Services Building link to re-adjusted floors set out similarly in the adjacent buildings. This allows for the separation of clinical, visitor and nonclinical support right across the wider hospital.
74
search | save | share at trendsideas.com
The setting ensures the new structure also connects with part of the Rainbow Corridor, a pedestrian link to most other buildings that is almost as old as the hospital itself. The corridor was also refurbished in the area where it runs close alongside the new structure. Constructing a large clinical services building in the middle of a hospital in full operation had its issues. To maintain medical services and mitigate costs, the ground-floor east wing housing the kitchen was built as phase one. With this service up and running, the main building was then addressed.
Below:All non-clinical services are now grouped on the lower ground level of the Harley Gray Building. The yellow window elements are aesthetic detailing. Right and lower right:Plantings with LED lighting sit between the Rainbow Corridor and the new building. Bottom right:Durable wall surfaces cope with the constant movement of food trolleys on the lower ground level.
The massing of the building, essentially a large rectangular form, is broken up by three fins accommodating ducting. The project brief included large areas of shell space for the future radiology and laboratory units, two services-intensive departments. Making provision for these later fit-outs led to the relocation of the main service ducts to the outside of the building. This strategy will enable duct work for future units to be installed with less disruption to the clinical environments. Designed to meet the post-disaster operational aspects associated with an Importance Level 4 facility, the Harley Gray Building is a two-way reinforced concrete structure with precast double tee flooring. Cladding is mainly precast concrete panel, chosen for its durability, ease of maintenance and cost effectiveness. Lightweight Alucobond on the three service ducts will be easy to remove as needed to meet future requirements.
“This finish also provides a high quality, attractive architectural solution to what could have read as an awkward series of add-ons,” says the architect. The south facade has a bay of floor-to-ceiling glazing. This is easily removed and reinstated to enable installation of large equipment. It has the second benefit of providing construction access for the radiology and laboratory fit-outs. Similarly, the east facade has a lightweight profile cladding, again for flexibility. This will be removed when stage two, above the kitchen, is built. “Klein has completed several buildings at Middlemore Hospital,” says Wedde. “Over recent years, we have moved through the site, levelling, reconciling and connecting the buildings for a more integrated, free-flowing operation.”
Project:Harley Gray Building, Middlemore Hospital, Auckland Architect:Klein Architects in association with Silver Thomas Hanley and Chow:Hill Owner:Counties Manukau District Health Board Construction:Hawkins Construction Services and mechanical engineer:Beca Structural engineer:Holmes Consulting Group
Quantity surveyor:Rider Levett Bucknall Project manager:RCP Roofing:Dimond 630 Cladding:Concrete panel, Alucobond, Dimond BB900
76
search | save | share at trendsideas.com
resource list | plan | images Search 44563 at trendsideas.com
Story by Charles Moxham Photography by Jamie Cobel
Below:The ground floor of the new facility is for the use of visitors. A wood wall with vertical LED lighting fronts the spiritual centre, while angled lines on the ceiling refer to the site’s history. Right, above The Neonatal Unit on level one links to Intensive Care in the adjacent Acute Hub. Right, lower A neonatal care cot space on level one (left) and one of 14 operating theatres on level two (right) reflect the specialist nature of the project.
Project Ceres Organics office and warehouse
Location: Auckland
Architect: Williams Architects
Natural selection Organic materials, a living wall, and a commitment to sustainability reflect the core values of the company behind this new office and warehouse
78
search | save | share at trendsideas.com
Below: A long suspended zinc wall defines the entry to the new Ceres Organics office and warehouse in Mt Wellington, Auckland. Other textural elements include fixed louvre sunscreens and a stone wall set within a galvanised steel cage.
Expansion is a common by-product of success for any business. But with expansion comes the need to future-proof a company’s premises to allow room for continued growth. This was a key factor in the design of the new office and warehouse for Ceres Organics, an Auckland-based food distributor with a strong sustainability focus. Architect Simon Williams of Williams Architects says it wasn’t the only driver, however. The new building also needed to make a statement about the company’s values and its holistic approach to business management. “Ceres operates as one big family – it’s a very open and collegial workplace,” Williams says. “Consequently, the new premises needed to provide an interactive, comfortable and healthy work environment.” To maximise the high-profile site and to provide a buffer for the offices from the harsh sun in the west, the architect created a long suspended zinc wall at the front of the building. “The wall also provides acoustic insulation, and directly addresses the road,” says Williams. “The zinc has a custom profile and is a coppery shade that will weather over time.” On the inside, the wall forms one side of the double-height void at the entry. And because the wall is suspended, light passes through at ground level – people using the stairs can enjoy glimpses of the green landscaping on one side, and a large living wall of greenery on the other. The void also features extensive sustainable timber on the walls and ceiling. The sense of outdoor materials coming indoors is reinforced by a zinc-wrapped cube that appears search | save | share at trendsideas.com
79
to push through the glazing into the offices on the upper level. The north-facing front facade is further defined by an extra-large shade canopy and fixed horizontal aluminium louvres that provide a sunscreen for a meeting room on the top floor. “With windows open to the north and south, the offices are ventilated naturally, and the air conditioning system is hardly ever used,” says Williams. “The glazing also provides plenty of natural light, which helps to keep energy costs down.” A large open floorplate creates a transparent office that’s in keeping with the company philosophy. This allows for easy communication and increased opportunities for staff interaction. The design also provides a number of informal meeting spaces in addition to more formal meeting rooms. And because the layout is flexible, it can cater to changing requirements and an increase in the number of workers. Other areas for workers to gather include a café with a fully equipped demonstration and test kitchen. The design also provides decks and courtyards that can be used for social gatherings or simply as breakout zones.
80
search | save | share at trendsideas.com
“The warehouse is also a naturally ventilated space,” says Williams. “There are 17 large adjustable louvre panels that can be opened to provide cross ventilation. In addition we added rotating ventilators on the roof, to remove the hot air out through the top of the building.” The architect says future expansion can be accommodated within the overall volume, and by closing up the racking aisles. “We provided plenty of height, so more goods can be stored vertically.” Williams says that while the building was designed to embody the Ceres ethos and functionality, it could be adapted to the different needs of future tenants if required. “The warehouse, yard and canopies are industry standard, and the office can be divided horizontally. The mezzanine could also be adapted for a number of purposes. However, Ceres is set for the long term. Although this site was developed to its maximum potential, there is an additional site to the east that has been set aside for the company’s expansion, and is likely to be utilised within two years.” Environmentally friendly features have been incorporated throughout the project, which is
Below:The boardroom (left) features an exposed ceiling. Other meeting rooms have transparent glass walls, but still provide acoustic privacy. Right:Skylights in the entry bring extra light into the double-height void. This is lined with zinc walls near the door and cedar wood beside the stairs. The ceiling is also cedar. A lush living wall of greenery was a request from Ceres Organics.
Left:Office staff have an openplan workplace that is naturally ventilated. Other amenities include a staff café with a test and demonstration kitchen. Below:Skylights in the warehouse and large canopy minimise the need for artificial lighting, and help to keep energy costs down. The warehouse is also naturally ventilated.
designed to target a Green Star NZ rating. “All the materials are low maintenance and sustainable,” says Williams. “There is virtually nothing that needs painting on the exterior, and there are numerous exposed materials on the inside that reduced the number of finishes required. The design is also all about efficiency – from the cross ventilation and natural lighting to the reduced water use through eco-friendly fixtures and fittings.” Ceres director David King says the building has
reinforced the company’s brand and core values. “It has also harnessed a strong sense of pride in the company among the staff. They associate with the building and they feel part of the company and understand where we are heading. This signals a completely new phase for Ceres growth.”
Project:Ceres Organics office and warehouse, Auckland Architect:Williams Architects Developer:Norak Properties Construction company:Watts & Hughes Construction Company Structural engineer:HKL Jacob Services engineer:PCS Mechanical engineer:22 Degrees Cladding:Aluminium from Symonite NZ; metal cladding from Metal Design Solutions Roofing:Kiwi Roofing Structural steel:Grayson Engineering Metal doors:Exal Doors Metal windows:Framerite Installations Steel windows:Adams Steelguard
Roller doors:Duffett Doors Precast panels:Wilco Precast Precast floor:HEB Construction Glazing:Metro GlassTech Hardware:Sopers Macindoe Insulation:Potter Interior Systems Doors:NZ Fire Doors Lift:NZ Engineering Services Louvre controls:Window Control Systems Partitions:Cobalt Interiors Suspended ceilings:Accurate Ceilings
save | share | images Search 44565 at trendsideas.com
Story by Colleen Hawkes Photography by Jamie Cobel
search | save | share at trendsideas.com
83
Tell us whaT
you Think
and get your next
issue FREE*
9. How many projects do you complete annually? 1-5
6-10
11-20
21+
10. Within the next two years, will you be involved in any of the following? Building commercial premises Fitting out new business premises Renovating existing business premises Building/Designing a new home Building/Designing an apartment Major additions or renovations to a home Specifying new office furniture or equipment
1. What is your occupation?
11. Please tick as appropriate – Trends books:
Developer
Architect
Company owner
Interior designer
Company director
Engineer
Manager sales/marketing
Builder
Manager technical
Architectural draughtsperson
Provide design ideas Help me visualise what I can achieve Show me available products in real locations Give information about products Give information about services
Building owner or manager
Enable me to improve communications with clients
Supplier to the construction/building industry
Provide a forum for discussion with my clients
(please specify your product or service)
............................................................................................................................
Other (please specify) .................................................................................................................................................
Other (please specify) ............................................................................................................................
2. Why do you read Trends?
12. How did you obtain this copy of Trends? Sent a copy by Trends
For professional information
Referred by a business partner
Design ideas for use in my business
Sent a copy by a supplier Bought a copy at a retail outlet
Design ideas for use in my home
Subscription
I enjoy design publications
Online
3. How many issues of Commercial Design Trends do you read in a year? 1
2
3
4
7+
This is the first copy I have read
5
13. How would you prefer to get your copy of Commercial Design Trends? 6
2-4
5-7
8-10
11-15
16+
5. Which other Trends titles do you read? Every title Renovation Ideas Trends Kitchen & Bathroom Trends
New Home & Apartment Trends New Home Trends
eBook
..................................................................................................................................................
15. Are there subjects you want to see more of? .................................................................................................................................................
16. Do you have any of the following? iPad
6. Are you interested in seeing articles on projects from other countries in the Pacific Rim? Yes
Subscription
14. Is there anything else you would like to see in Commercial Design Trends?
4. How many people on average read your copy of Commercial Design Trends? 1
Retail
iPhone
Android Phone
iPod Touch Tablet Computer
No
7. What other publications dealing with the construction/building/design field do you read regularly? ............................................................................................................................ .............................................................................................................................
8. In the past two years, have you been involved in any of the following? Building commercial premises Fitting out new business premises Renovating existing business premises Building a new home
Name ............................................................................................................................................ Address ........................................................................................................................................ ......................................................................................................................................................
Major additions or renovations to a home Specifying new office furniture or equipment Construction
YoUR DetAILs
................................................................. Postcode................................................................... Email ........................................................... Phone ......................................................................
post: Trends Publishing Australia Pty Ltd, PO Box 78, Thornleigh, NSW 2120, Australia ph: 1 800 129 162 fAx: 1 800 003 918
eMAIL: subscriptions@trendsideas.com
* The first 100 people to fill out and return this survey. If you are a subscriber we will extend your subscription by one book. Please tick here.
Trends 30/09
Zip HydroTap
®
Choose the best there is to upgrade your kitchen. When you upgrade your workplace kitchen with a Zip HydroTap G4 it not only saves time, energy and money each day but also does that with greater style, safety and efficiency than anything else. Installed at your kitchen sink, or on its own ‘font’, your Zip HydroTap delivers boiling, chilled or sparkling water instantly, and each drop is 0.2-micron filtered so everything you drink is crystal clear, tastes better and is better for you. Ask for a free Zip HydroTap G4 brochure now and discover for yourself how Zip G4 technology out-performs and out-dates anything else in terms of convenience, easeof-use, user-safety, energy-efficiency and water conservation.
Zip HydroTap G4 ®
Boiling | Chilled | Sparkling | Filtered | Instantly The world’s most advanced drinking water appliance.
G4
T
EC
*5 Year Warranty on Commercial Models. See website for details.
Y
www.zipindustries.com | 1800 42 43 44
HNOLOG
5
Year Warranty
Australian Made
C O N S T R U C T I O N 路 R E F U R B I S H M E N T 路 F I T- O U T
Visit our website at www.LTMcGuinness.co.nz email lt@mcguinness.co.nz phone (04) 384 8455