AU Commercial Design Trends Vol 31 No 07

PROPERTY COUNCIL NZ, RIDER LEVETT BUCKNALL AWARDS 2015

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CONTENTS

Highlights from this issue of Commercial Design Trends

COMMERCIAL DESIGN TRENDS All around the world libraries are undergoing a resurgence in popularity. Much of this can be attributed to seriously cool architecture that acknowledges the role of the library in the wider community. In this issue we profile three libraries that reflect the new thinking. These are not inward-looking spaces. Rather, they have an outward focus – they address their respective neighbourhoods, providing a strong sense of connection.

We also take a look at two retail stores in this issue, including the T2 chain, which has headquarters in Melbourne.

These stores challenge the traditional notion of a tea house, and are defined by dark, dramatic interiors where the packaging provides the colour.

And we profile two historic buildings in Christchurch that have been immaculately restored following the Christchurch earthquake, and two sculptural projects turning heads in Southeast Asia.

HIGHLIGHTS Managing editor John Williams Sales Adrian Law – adrian.law@trendsideas.com Costas Dedes – costas.dedes@trendsideas.com Judy Johnson – judy.johnson@trendsideas.com Leslie Johnson – leslie.johnson@trendsideas.com

Natural timbers feature extensively in this new community library on an island in Auckland’s Hauraki Gulf.

The design references the local pohutukawa trees. See also libraries on trendsideas.com

Restoring the historic Isaac Theatre Royal in Christchurch to its full Edwardian splendour took on a whole new direction when one large aftershock was one earthquake too many.

The changing face of civic facilities in 2015 – this new convention and exhibition centre in Zhuhai, southern China has a strong and dynamic organic form inspired by the sculpted shoreline.

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SENSE OF PLACE Modern libraries recognise their pivotal role in the community, with architecture that responds to the present, past and future

SECTION FOCUS LIBRARIES

Project – – Te Pataka Korero O Te Hau Kapua Devonport Library

Main contractor: Naylor Love

Architect: Athfield Architects

PAVILION IN THE PARK With a nod to local heritage buildings, this new community library establishes its own dialogue with the streetscape, the park setting and the harbour views beyond

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Preceding pages and below: The new Devonport Library reflects a crafted, semiresidential design response from Athfield Architects. Key features include a large veranda-style canopy addressing the main street, and multiple entry points.

For those who have predicted the digital age means the end of libraries, there’s ample proof this is not the case.

But it is fair to say libraries have changed – they have become much more outward-looking as they continue to take an active role within the community. At the same time, however, there is a domestic scale to the modern library, which is more of a home away from home than a conventional formal civic building.

– – The new Devonport Library – Te Pataka Korero O Te Hau Kapua – designed by Athfield Architects, needed to be approachable and accessible, and it needed to ensure Auckland Libraries could deliver their new 21st-century service model.

Architect Nick Strachan says the design team looked to create a new model for a library.

“The historic library is invariably a sanctuary with a formal entry below a parapet, and a reception greeting point. We wanted to change this, to provide a much more open, inviting building with multiple access points and a long veranda on the western side that addresses the main street.”

The library, which occupies a prime site in Windsor Park, close to the harbour, also reaches out towards the park and the views.

“The building needed to encourage community interaction. There are places where people can sit on the outside of the building, and large windows that highlight the activity within.”

Strachan says the concept of a pavilion in the park that could be approached from all sides was first proposed during early consultations with the local community.

“We extended this concept to create a building with a highly crafted look and an emphasis on natural timbers – the exterior is cedar. This is a design response to the site, its context and the historical vernacular. Many of the older buildings in this area feature verandas and timber fretwork. The fretwork is referenced in the timber batten sunscreen that wraps around the clerestory windows.”

Vertical cedar blades around the perimeter of the building continue the fretwork reference.

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These pages:Timber, including ply panels and glue-laminated beams, features on both the exterior and interior. The pare – (carved lintel) is by Nga Whaotapu – o Tamaki Makaurau collective.

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Left and below:The children’s area in the library is of a more intimate scale, with a lowered ceiling. A black-and-white colour palette reappears throughout the interior, and is reflected in the carpet design and decorative beams in this space.

Lower left:Comfortable seating and a gas fireplace near the entry create a space that’s reminiscent of a living room.

A terracotta artwork by Barry Brickell is mounted on the wall, where its tactile qualities can be appreciated.

Below centre and right:The young adults section of the library features tiered seating and a large porthole window where people can curl up with a book. This part of the library opens to a courtyard facing the park, and visitors are encouraged to take beanbags outdoors on fine days.

Story by Colleen Hawkes Photography by Jamie Cobel

Strachan says the building is closely aligned with the footprint of the former library building that stood on the site. A rounded corner facing the harbour establishes the building’s presence in relation to the ferry terminal beyond.

The concept of a new model for a library is equally evident on the interior, which presents a welcoming, domestic scale.

“Parts of the library resemble a living room space, with armchairs and fireplaces,” the architect says. “There is no dominant front-of-house service area. The setting is more comfortable and relaxed than in a traditional library. But there is a hierarchy of spaces – some are lively and active, while other areas, such as the mezzanine level, are quieter, more intimate zones.”

The main collections area is a soaring volume with a plywood ceiling and exposed glue-laminated timber posts, beams and portal frames.

“This was fundamental to the crafted timber design response,” says Strachan.

The children’s area has a lowered ceiling and furniture of a smaller scale. Curved, organic-shaped plywood elements wrap the walls and ceiling, providing a visual connection with the natural world, and helping provide acoustic insulation.

Key collected artworks, including a collection of terracotta relief tiles by artist Barry Brickell, have

been integrated into the building design, so they can be appreciated more fully.

Not surprisingly, sustainability was another key driver for the design. In addition to passive design features, including ample natural light and shade canopies, the library has an energy-efficient water-based slab heating system. The system is laid within a floating screed on top of the slab, so it heats faster and more efficiently.

Allison Dobbie, Auckland Council’s general manager libraries and information, says the new library is attracting nearly twice the average number of visitors each month.

“This building responds to changes in customer expectations of self service, digital and e-book delivery, and provides spaces for people to meet, relax and think.

“We cannot underestimate the impact of good design and physical spaces on the customer experience. Great architecture inspires great human endeavour as does great art, and there are fine examples of both in this building.”

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Project – – Waiheke Pataka Korero – Waiheke library

Location: Waiheke Island, Auckland

Architect: Pacific Environments NZ

EVERY PICTURE TELLS A STORY Both the architecture and the materials featured in this new library on Waiheke Island reference the relaxed island lifestyle, the indigenous culture and the natural surroundings

For many people, lying beneath a spreading pohutukawa tree with a good book is one of the delights of a summer holiday at the beach.

Or, for those living on Waiheke Island in the Hauraki Gulf, it’s something that can be enjoyed on any fine day. And it’s this relaxed lifestyle that has been captured, quite literally, in the design of the – – new Waiheke library – Waiheke Pataka Korero – by architects Phillip Howard and Anthony Gibbs of Pacific Environments NZ. “Both the exterior and interior convey the idea of a collection of books arranged beneath a canopy of pohutukawa trees,” the architect says. “Angled columns reference the trunks, and perforated ceilings mimic the canopy. There are also screens of timber battens wrapping the building that resemble the spines of a row of books.

“The textured battens were designed by local artist Kazu Nakagawa, with mirrored pairs cut from a single piece of timber. They were arranged by the design team, to create beautiful curved forms inspired by nature.”

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Howard says the battens serve other purposes as well – they are low maintenance and the textured surface helps to discourage graffiti. They also reinforce visually the extensive sustainable design initiatives incorporated into the building, which is owned and operated by Auckland Libraries, a division of Auckland Council.

Corrina Meikle, a service delivery manager at Auckland Libraries, says the new library was commissioned to replace a much smaller library within a former builders’ yard.

“The local community made it clear they did not want iconic architecture that would make a strong statement,” she says. “They wanted something appropriate to Waiheke. The library needed to relate to the island culture and community. It had to be functional, relevant, and every aspect needed to be in harmony.”

Meikle says the library also needed to provide a meeting place.

“The Waiheke Local Board envisaged the library being an anchor in the community – a place where

Above:Carved timber battens wrap around the exterior of – – Waiheke Pataka Korero, the new Waiheke Library, which forms part of the Waiheke Artworks precinct in Oneroa.

The library’s significance as a gateway building for the island is reinforced by three totara pou, designed by Lucas Thompson, Pita Mahaki and Chris Bailey.

Top right:Landscaping includes a garden – parts of it are edible.

The curved battens, which are mirrored pairs cut from a single piece of wood, create an undulating, organic pattern around the building. These were designed by local artist Kazu Nakagawa.

Right:A north-facing courtyard with tiered banks creates a natural outdoor arena that can be used for performances and functions.

Left:Tall timber columns reminiscent of tree trunks reach up to a leaf canopy formed from laser-cut plywood in front of a skylight. The leaf pattern was taken from a photograph of the canopy of a pohutukawa tree.

Below:The organic forms are repeated in curved timber posts, and in the undulating ceiling that is painted to resemble the underside of pohutukawa leaves.

people would feel comfortable to come in to read books, study or to simply sit around. We also wanted to be able to use it as a venue for hosting local events.”

To this end, the design team provided a strong connection between inside and out, with three sides of the library opening up to the outdoors.

“To help blur the line between indoors and outdoors we pulled the idea of the timber trunks and battens to the inside of the library as well,” says Howard. “Plywood leaf canopies beneath skylights at the top of each trunk were replicated from photos of pohutukawa tree canopies. The same pattern appears on the exterior canopies.”

Timber battens screen a behind-the-scenes work area, while still providing a sense of transparency.

They also form the balustrading on stairs leading to a pirate’s crows nest, which is a balcony where children can read or enact stories.

Another feature of the children’s area is a white painted leafy screen that semi conceals a bench seat where children can hide away.

“There is a limited amount of built-in furniture in

the library,” says Howard. “It made more sense to keep shelving systems and desks loose and flexible so they can be moved easily in the future.”

The undulating ceiling, in a colour inspired by the underside of a pohutukawa leaf, reinforces the natural look of the timber. The folds also help with the acoustics, dampening echoes.

Polished concrete flooring defines key circulation areas, and reinforces another visual theme from artist Kazu Nakagawa. His artwork, titled fortynine letters, pays tribute to Waiheke’s climate. The phrase Lots of rain, lots of sun, lots of wind, lots of day, lots of night is literally embedded into the fabric of the building – it is written across the building with overlapping calligraphic script that forms a lyrical pattern of repeating text.

Other significant visual references include three carved totara pou in the outdoor courtyard. These are oriented to three traditional sightlines of the Ngati Paoa people – one towards Gannet Rock in the Hauraki Gulf, where waka landed on first arrival in Aotearoa. This references the past. Another pou is oriented towards the high school and the rising

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Left and lower right:The library provides a variety of seating areas, for adults and children.

Timber balustrades line the stairs to a crows nest balcony.

Below right:This room can be closed off from the main library when used by community groups. The windows on the right have automated louvres that help to control the natural ventilation.

sun, symbolising youth and the future; and a third pou is oriented towards Piritahi Marae and its hill (maunga), which references the present.

An installation of photovoltaic panels, which is awaiting imminent approval, is set to generate enough electricity to meet all the energy requirements over the summer months. The library relies on natural ventilation and cooling, with heat pumps assisting cooling in the smaller enclosed rooms during peak occupancy.

Passive design features include ample natural light through high-level glazing and skylights. The thermal mass of the concrete floor supplements the solar energy during the winter, while conversely the low thermal mass of the timber decking on the

north-facing elevation mitigates heat being radiated back into the building in summer. Similarly, large eaves shade the library in summer.

The building also features underground rainwater collection tanks, and there is a filter system for stormwater treatment and disposal.

Meikle says the completed building has far exceeded expectations.

“The community is enjoying the facilities, and there is a clear indication the local people are proud of it – they regard this as ‘their space’, which is exactly what we hoped to achieve.”

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Project North Beach Branch Library

Location: San Francisco, CA

Architect: Leddy Maytum Stacy Architects

POINT OF DIFFERENCE Positioned on a busy city crossroads, this new community library presents a sharp-edged triangular form that addresses the urban landscape, key landmarks and an adjoining park

Design by community – it sounds challenging and it is, but the consultation that went into the development of the master plan for the new North Beach Branch Library in San Francisco was key to its success.

The new library, designed by Leddy Maytum Stacy Architects, replaces a 1950s building that was overcrowded, seismically unsafe and separated on four levels, which meant it was not fully accessible to the public.

Architect Marsha Maytum says the resulting design for the new library followed the input of hundreds of residents at 35 meetings.

“The modern library is essentially a community living room,” she says. “It’s a place for interaction

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and exchange, and a whole range of community activities, as well as a place for reading and learning through different media experiences. The new library needed to provide such facilities, and it needed to address the immediate neighbourhood.”

Rather than position the library exactly where the original building was, within a park, it was decided to place it in a far more strategic position – a triangular site at one end of the park, at the crossroads of two leading city thoroughfares, Columbus Avenue and Lombard Street.

“This is a significant crossroads in the city, in an interesting and diverse neighbourhood,” says Maytum. “The surrounding buildings are a mix of Victorian row houses and low commercial buildings,

These pages:Cable cars travel up Columbus Avenue in San Francisco, passing right alongside the new North Beach Branch Library positioned on the apex of the crossroads.

The library, designed by Leddy Maytum Stacy Architects, mimics the rhythm and patterning of the older commercial buildings and Victorian row houses in the neighbourhood.

so we chose to provide an urban edge on the two sides that address the streets.

“The library’s massing and articulation responds to the rhythm, proportion and patterns of these buildings, offering a modern interpretation of the local architectural vernacular. Tall, narrow windows and large-format tiles on the exterior reinforce the rhythm of the heritage buildings, yet there is a sense of connection and transparency, which was a key focus for the design.”

The building also addresses the park – a narrow lane was closed off behind the library to create a pedestrian precinct, which is where the main entry was positioned. This creates a direct link with the

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rest of the park and the Joe DiMaggio Playground.

Maytum says the library was also designed to maximise view corridors to notable San Francisco landmarks, including Coit Tower, the spires of two churches – Saint Peter’s and Saint Paul’s – and the Transamerica Pyramid Tower.

“We provided large areas of glazing at the nodes of the triangle, like urban lanterns, which respond to the views and also to the program inside. The sharp end of the building at the crossroads accommodates the children’s area, while the other two corners are the adult and teen reading rooms respectively. Children can look out and see cable cars and busses passing by – there’s a lot

Below:Soaring double-height ceilings in the children’s reading room provide a lofty, inspiring space. Narrow windows moderate the amount of sunlight coming into the building, which is naturally ventilated with a mechanical system that provides fresh air at floor level.

Right:The fully glazed end of the building maximises the view in the children’s area. At night, the light coming from the library resembles an urban lantern.

Left and below right:Exposed structural elements and services help to keep the interior light and airy. Similarly, central skylights and clerestory windows maximise the natural light, minimising the need for artificial lighting. A highly efficient mechanical HVAC system is employed to supply fresh air to the reading rooms. The building, which is scheduled to achieve LEED Gold Certification, also has photovoltaic solar panels on the roof, and recycled cotton batt thermal and acoustical insulation.

Below:The adult reading area is positioned at another node of the triangle, with views out to Columbus Avenue.

Story by Colleen Hawkes Photography by Bruce Damonte

happening right outside the windows. Windows in the teen area look out to Telegraph Hill, the Coit Tower and down to the Bay.” The interior also reflects the desire for connection and transparency. There are sightlines through the building, as well as to the outside. And the reading rooms are soaring, double-height spaces with exposed trusses and services.

“I myself carry memories of the great reading rooms in libraries I visited as a child,” says Maytum.

“These were very uplifting and inspiring spaces, and this was the idea behind creating such a volume in this library.”

The extra height helps to maximise the natural light, in line with the client’s desire for a sustainable design. With sustainability also embedded in the architect’s own practice, it was a natural part of the design process. The building is on track to receive LEED Gold Certification.

Other key features include photovoltaic solar arrays on the sloping roof, high-performance and acoustic glazing and natural ventilation. Sunlight on

the western side has been minimised to prevent heat build-up in the afternoons. The library also features low-VOC and rapidly renewable materials, such as bamboo for casework, panelling and tables. Reclaimed walnut features on the stairs and benches and lineoleum floors were specified.

In line with the more community-oriented nature of the modern library, there is a public meeting room on the second floor. This is used for a variety of events, including children’s story times and cooking classes, teen tutoring, after-school sessions, book groups, poetry reading, language classes and computer literacy for seniors.

Maytum says raising the profile of a public library has had enormous spin-offs for the library operation and the wider community. Since the library opened, circulation is up 33% on the preceding year and registration for new library cards is up a massive 69%.

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SECTION FOCUS CHRISTCHURCH UPDATE

PAST IS PRESENT There’s a lot of new builds under way in Christchurch, but two newly completed heritage projects reinforce the city’s commitment to preserving its architectural history

Project Isaac Theatre Royal Christchurch

Main contractor: Naylor Love

Architect: Warren and Mahoney

BEHIND THE SCENES Restoring the historic Isaac Theatre Royal in Christchurch to its full Edwardian splendour took on a whole new direction when one large aftershock was one earthquake too many

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Preceding pages and below: The Isaac Theatre Royal in Christchurch has undergone an extensive restoration and rebuilding programme. The facade has been earthquake strengthened and decorative plasterwork repaired, reinstated or replicated as required.

Piece by piece, the Christchurch earthquakes and aftershocks took their toll on one of the city’s most esteemed heritage buildings. But it was the last major aftershock after the devastating February 2011 earthquake that determined the final outcome for the Isaac Theatre Royal.

Before that December 2011 aftershock, work was already under way to tidy and strengthen the building, with Warren and Mahoney and Naylor Love commissioned to undertake the design and construction work respectively.

Ed Leeson, Naylor Love project manager, says he returned to the building the day following the aftershock to find the main walls holding up the roof had disappeared, and the remaining walls were bulging out by more than half a metre.

“At this point it became clear that the auditorium would need to be rebuilt from the ground up. It was no longer safe to even be inside the building.”

Project architect Vanessa Carswell says attention was immediately focused on the salvage and preservation of the most significant heritage features.

“The decorative plasterwork and the main dome in the auditorium were key elements. Preserving the marble staircase in the foyer was also critical, along with the leadlight windows. And of course the entire facade needed to be restored and earthquake strengthened.”

A second concrete wall was subsequently erected behind the front facade and all the decorative elements, including the Oamaru stone columns, plasterwork and brickwork, were pinned into place.

Leeson says the restoration team went through an extensive process of removing and storing the heritage features, and taking moulds of all the decorative plasterwork so missing pieces could be replicated. But it was the dome in the auditorium that created the biggest challenge.

“At nearly 11m, the dome is the size of a small house. We needed to find a place to rest this while the auditorium was demolished and rebuilt. In the end the only viable solution was to suspend the dome from the fly tower on the stage, where it hung like a UFO throughout the rebuild.”

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Below and right:Key features of the auditorium that were preserved include the spectacular gilded dome and two royal boxes named after Sir Ian McKellen and Sir Miles Warren.

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Left:The new Grand Circle foyer (previously attic space) on the top floor of the Isaac Theatre Royal features a glamorous Swinsons wallpaper and an upholstered bar counter.

Lower left:The stage fly tower was one of the few areas left intact following the earthquakes, while the stage floor was completely rebuilt. In addition to conventional uses, it is often hired out as a venue for functions, including weddings.

Lower right:Bathrooms on the Dress Circle and Grand Circle floors have been transformed to match the Edwardian splendour of the theatre.

Restoring the frescoes painted on canvas panels that were glued to the dome was particularly difficult. Incandescent lighting around the lower perimeter had burned the canvas. There was also damage caused by the original glue and moisture over many years.

The frescoes were carefully removed from the dome and the old glue painstakingly scraped from the back of each canvas by scalpel. Once both the front and back surfaces had been meticulously cleaned and restored, the original canvas was given a new carbon fibre shell backing, and then reattached to the restored plaster dome.

Carswell says rebuilding the auditorium meant the interior could be made code compliant without retro-fitted accretions or compromise.

“This ensures the full Edwardian splendour of the theatre can be appreciated. We even remodelled the seating, removing the centre aisles and testing the sightlines from every seat. We adjusted the pitch of the new floor to provide the best views.”

The team also took the opportunity to improve the front-of-house facilities. The stalls foyer was enlarged by acquiring space formerly taken by a tenant. Lesson says one of the most challenging aspects of this part of the project was manoeuvring a 300-tonne crane around the marble staircase, which could not be moved.

Carswell says the stalls foyer had featured a mix of inappropriate finishes and surfaces, with office ceiling tiles right next to ornate plasterwork, and walls that looked like painted blockwork. These were removed, plasterwork ceilings reinstated and a decorative wallpaper applied to the walls.

A new custom Axminster carpet was specified, in the blue and gold of the original decor, and a custom chandelier was manufactured in Spain.

“We also reintroduced glamour to the Dress Circle foyer on the first floor and nearly doubled its size, while the second floor now has its own foyer with a bar and toilets. This occupies what was previously unused attic space,” Carswell says.

To improve the commercial viability of the building, the new second-floor Grand Circle foyer can be used independently for functions or presentations. In addition, a multifunction room seating more than 100 people and a commercial kitchen were introduced to the first floor. Operable doors can open up the large room to the Dress Circle foyer. A sprung timber floor and rigging for light and sound means the multifunction room can be used for dance rehearsals and performances.

Carswell says the significance of the theatre to the city of Christchurch cannot be underestimated.

“This project evolved to become much bigger than was originally envisioned. The public interest has been, and continues to be immense. A vital part of the city’s heritage has been recognised and future-proofed, so it can be enjoyed by all.”

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Project Knox Presbyterian Church

Main contractor: Higgs Construction

Architect: Wilkie + Bruce Architects

STRONG HEART When the 2011 Christchurch earthquake all but demolished the brick exterior of Knox Church, the Gothic Revival interior became the starting point for the rebuild

These pages:Copper clads the gables of Knox Church in Christchurch, which has been fully restored following the February 2011 earthquake.

Although the original brick walls of the church fell outwards during the earthquake, the heritage interior was left intact.

The restoration project included the construction of new walls and earthquake strengthening.

While the Christchurch earthquakes and aftershocks laid waste to so much of the region, they also opened up glimpses of the city that many residents had never before encountered.

The inside of Knox Church, built in 1902, is one example. The magnificent Gothic Revival timber interior of the church was exposed when the exterior brick walls came down. In fact, the interior was virtually the only part of the church left standing.

Architect Alun Wilkie says it was possible to stand inside the building after the earthquake and

look up to see everything intact, with the beautiful vaulted ceiling with its heart rimu sarking still supported on matai timber posts. The brick exterior, on the other hand, was little more than a pile of rubble, and the walls still standing were highly unstable. “For many people, this was the first time they had seen the magnificence of the interior, which was lit up during the rebuilding. Previously the windows were too high for people to see inside.�

The architect says the rebuilding project, carried out by Higgs Construction, was unique in that it

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involved building a brand new exoskeleton around, under and over the remnant timber structure.

“We were acutely aware that this is a prominent site, on the main road leading into Christchurch,” he says. “Prior to the rebuild, the exterior presented a pleasant, but unremarkable heritage building.

Choosing how we would replace this part of the building was a significant challenge, but very early on it was decided that the materials had to be dignified. And the cladding of the high gables needed to be a lightweight, durable material.”

These considerations led to the choice of copper that is low maintenance and will last for the next several hundred years.

“The copper drapes the church like a cloak. It is also reminiscent of hanging banners. We used this material to bring a distinctive asymmetry to the exterior, which is in contrast to the conventional triptych approach to church gables. We wanted to break with the orthodoxy of a traditional Neo Gothic facade. This building was never meant to be a replica of what went before. It needed to read as an entirely new, contemporary building, albeit with a heritage structure inside.”

Wilkie says the new windows are now much lower than the originals, so people passing in the street can enjoy glimpses of the heritage interior.

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This, in turn, helps to raise the profile of the church.

The base of the building features asymmetrical acid-washed precast concrete panels in charcoal.

The panels have a slightly textural surface that absorbs the light a little more than bare concrete.

The new concrete buttresses mimic the design of the original red brick versions, with copper downpipes and rainwater heads detailed to resemble filigree elements.

However, the key point of difference lies in the earthquake proofing. Structural engineer Aurecon was keen to adopt a resilient new structure. Each concrete buttress has an inner core of posttensioned, high-tensile steel that turns the concrete into a rocking frame so that the building sustains minimal damage in an earthquake.

“The entire building is also tied together with a steel ring beam,” says Wilkie. “Where the beam crosses behind the windows, the glazing is a mustard colour that helps to conceal the steel.”

There are also four pairs of dissipator bolts at the base of each concrete column, to reduce rocking movements. These are covered by a steel panel that can be removed to access the bolts, which can be adjusted following a severe earthquake.

To further strengthen the building, the original floor was removed, and all the rimu floor boards

Below left and centre:The entry to the church was redesigned and new bronze doors added. On the inside, a new draught lobby is glazed to preserve sightlines through the church.

Below right:Steel plates cover sets of dissipators at the bottom of each concrete column. The plates can be removed following a severe earthquake to access the dissipators, which would be replaced.

Right:Heart rimu timber features on the vaulted ceiling.

The wainscoting and floors are also rimu, while the timber columns are matai (black pine).

The restoration included the removal of the floor to build new foundations. The rimu boards were then put back into their original positions.

removed. A new raft foundation was laid, and the rimu boards returned to their original positions.

Paul Harris, Higgs Construction director, says the main challenge was combining modern construction techniques and tolerances with the techniques used more than 100 years ago.

“The new structure was constructed to support and protect the existing timber structure, particularly in the event of a severe earthquake,” he says.

“Merging these two different structures was a challenge, but the construction team found solutions.

We recognise it is not always possible to save

pieces of our heritage, so this was a tremendous outcome.”

The design team also took the opportunity to create a new western entry, adding new bronze front doors and a glazed draught lobby.

“The doors are the only semi-traditional new element to be added,” says Wilkie. “They add a sense of gravitas and permanence to the portal.

We provided glazing on either side of the doors to enhance the connection between inside and out.”

A large limestone cross that was originally on the outside of the church is now mounted in the

Below:The full glory of the Gothic Revival interior of Knox Church is once again revealed.

New angled steel sidescreens either side of the altar improve the acoustics – this was a key requirement for music performances.

Story by Colleen Hawkes Photography by Jamie Cobel

vestibule. The organ was also fully restored and now has an electronic console. Supported by a new steel frame, it forms a dramatic centrepiece above rimu wainscoting at the back of the altar. Angled textural rimu side screens were introduced either side of the altar to improve the acoustics.

The church has new plywood roof bracing, a new Colorsteel roof, and has been equipped with sprinklers to meet current building codes.

“The church is like a new building, and it should be good for the next 500 years,” says Wilkie. “It is already being used for a much wider range of

events, including music performances.

“The success of the project can be measured in the way the church has captivated the city of Christchurch. People have taken ownership of the project and are promoting it as an example of what good church restoration can do for the city.”

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Project Copper Retail Outlets

Main contractor: Buchnell Builders

Architect: Thom Craig Architects

DRESSED TO IMPRESS Like a pleated garment, copper cladding drapes and folds down this new retail building, articulating the separate identities of the stores within

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Below:This new retail building in a high-end Christchurch suburb has replaced an older-style block that was demolished following the 2011 earthquakes. Architect Thom Craig chose to express the three stores through clearly articulated roof forms and a monolithic copper skin.

The Christchurch city centre may be the focus of the post-earthquake rebuild, but the suburbs are also getting their share of attention.

This new retail building in Merivale, designed by architect Thom Craig, replaces an old-style building that was demolished following the quakes.

Craig says the owner Paddy Cotter wanted a quality building for the high-end suburb. The design needed to maximise the exposure of the prime corner site, and it needed to provide an innovative architectural response.

“The owner wanted to give something back to the precinct, and was prepared to invest time and money to create a building that was a little bit special and different from what went before.

“Traditionally a suburban shopping centre is a simple rectangular block with a glazed front – the stores within don’t have a strong individual identity.

This design is a departure from that model, in terms of its form and materiality.”

Craig says the design team chose to express the three stores within the building as stand-alone elements that would orientate towards the views and sightlines from the junction.

“The architecture is far more articulated than the original building, with three high roof volumes defining the separate stores. Each roof has a skylight at the top that allows plenty of natural light inside.

The high roofs also add volume and drama to the

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interior, providing soaring ceilings, rather than the traditional flat tiled ceilings of older retail premises.”

The architect cloaked the building in copper, effectively creating a monolithic skin that wraps the entire building. Window frames are recessed behind the copper folds and hidden from sight, so the glazing appears to merge seamlessly.

“The copper skin is like a pleated garment that has been tailor made to cloak the building,” Craig says. “The crafted form and materiality provide a subtle, yet visually engaging urban response.

The rich patina of the copper is highlighted by

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dark vertical folds between the store fronts, and by extruded entry canopies, which look as though they have been moulded, or pushed and pulled from the same skin.

“This ensures the canopies don’t interfere with the overall perception of the shapes and forms. The detailing continues around the two street fronts, so the building presents itself to pedestrians and passing traffic as a strategic node on the corner.”

Craig says the copper is a low-maintenance material that will weather naturally.

“No matter what happens to the cladding, in

Below left and lower right: Canopies above the entry to each store appear as extrusions in the copper cloak that wraps the building. There are also folded copper panels between each store that help to define the entries.

Right:The building addresses the corner, engaging passers-by.

Left and top right:Taylor, the store on the corner, has raw steel fixtures that complement the sleek, minimalist interior.

Above:The soaring ceilings create light, airy store interiors, as seen in the Briarwood store.

Above right:JNBY boutique occupies the third tenancy.

Story by Colleen Hawkes Photography by Jamie Cobel

terms of marks and scratches, it will develop its own patina.”

On the interior, the spaces are spare, white and contemporary, verging on minimalist.

“This fits with the trend towards minimal, almost gallery-like store fit-outs,” says the architect. “The interiors are not detailed or prescriptive, so they will suit a variety of different shops and fit-outs.

The new boutique tenants – Taylor, Briarwood and JNBY – have capitalised on this.”

Each store is equipped with a small kitchen area and a bathroom, which is another departure from the communal facilities provided by the traditional mall-style store.

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REVITALISED WATERFRONT A historic landmark on Sydney Harbour, the Waterview Wharf Workshops are redefined by their distinctive new paintwork in complementary Resene shades

Before

Heritage maritime buildings on the Sydney waterfront have been given a new lease of life.

The Waterview Wharf Workshops, originally a ship repair yard that operated from 1905 to 1970, have been given a new coat of paint that better reflects their new role as a venue for creative industry.

Gone is the faded green and cream exterior. The iconic buildings, which have been conserved and adapted for a variety of creative uses, have been painted in bright Resene shades.

The design team researched similar waterfront warehouse structures in Scandinavia, Italy and South America, and chose a similar design response for the wharf workshops.

But the process of selection was slow. More than

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100 different Resene testpots were supplied and applied to various buildings, with many tenants invited to voice their opinions. As a result the final colour scheme features Resene Biscay (stormy blue), Resene Clockwork Orange (bold orange), Resene Awol (willow green), Resene Silver Aluminium (silver metallic) and Resene Galliano (sweet yellow) with Resene White trim.

For more information, or to obtain a copy of the latest colour fandeck, contact Resene, phone tollfree 1800 738 383 or visit a Resene ColorShop.

Website: www.resene.com.au.

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Above:A change of colour – a world of difference. The historic Waterview Wharf buildings on the Sydney Harbour waterfront were repainted in Resene Hi-Glo to better reflect the nature of the creative industries that now occupy the site.

SECTOR REPORT HEATING & COOLING SYSTEMS

HIDDEN DEPTHS A smart, award-winning, artesian-based heating and cooling system has wide-reaching applications for the Canterbury rebuild – Keith Paterson, Beca

A Christchurch innovation is establishing a new benchmark for artesian-based heating and cooling systems.

Christchurch International Airport and Beca are making smart use of the artesian water that flows beneath Christchurch and the Canterbury Plains to provide energy efficiencies, reduced carbon emissions and lower operating costs.

The innovation has attracted both national and international industry recognition, having won International Project of the Year at the 2015 CIBSE

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Building Performance Awards in London. The project also received recognition in the Building and Construction category at the 2014 IPENZ (Institution of Professional Engineers New Zealand) Engineering Excellence Awards, and a Gold Award of Excellence at the 2014 ACENZ (Association of Consulting Engineers) Innovate NZ Awards.

In 2004, Christchurch Airport embarked on a $237 million Integrated Terminal Project (ITP) to replace the original 1960s building and cater for future growth. The ethos – sustainable,

Above:Keith Paterson, Beca business director for the Canterbury rebuild, says a new artesian-based heating and cooling system is a cost-effective use of a sustainable resource.

Below:The system has been introduced to the new international terminal at Christchurch International Airport, resulting in energy savings of 40%.

energy-efficient operations – underpinned the development of a new 30,000m2, three-storey, diamond-shaped, integrated terminal building.

A key feature of the development is the awardwinning artesian heating and cooling system designed and delivered by engineering consultant Beca. The system regulates the terminal building’s temperature, improving the experience of the millions of passengers who pass through the airport each year.

The existing international terminal building used

artesian water in a pre-cooling application, pumping water directly through pre-cooling coils and, at the start of the project, it was envisaged that the new terminal building would use a similar system.

Beca believed the artesian water had more to offer and more could be done to make better use of this sustainable resource. Thinking further, we found the artesian water, which has a fairly constant year-round temperature of 12°C, would lend itself well to a heat pump-type system. With such a system we could not only reject heat energy to the

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aquifer, but also take heat energy for heating.

Once extracted, the artesian water passes through heat exchangers that increase or decrease the water’s temperature to extract or reject heat energy. Cooling the water provides heating to the building (by extracting heat energy), while heating the water provides cooling to the building (by rejecting heat energy). The work is done by relatively standard air-conditioning equipment. When conditions suit, this equipment can be bypassed to further enhance performance.

The heat exchangers create a physical separation between the artesian water and the building’s water supply to eliminate the risk of contamination of the artesian water. Afterwards, the water is returned in the same condition it was taken (with only the temperature altered).

commissioned, it has not missed a beat. It has exceeded energy performance expectations – the thermal comfort through the new terminal is fantastic, even on the coldest and hottest days.

Beca engineers also had to overcome the challenge of maintaining continuous airport operations throughout the entire project, as the new building sat largely across the old building footprint.

Beca technical director and Christchurch building services manager Justin Hill says the staging of demolition and construction was continuously rethought, tested and questioned to provide the best outcome.

The artesian heating and cooling system is scalable and can be adapted to other buildings or applications. Various Christchurch projects are now incorporating artesian-based heating and cooling

Every aspect of the system’s design was analysed, challenged and developed to maximise energy efficiency and sustainability, with the end result dramatically reducing Christchurch Airport’s energy consumption, carbon emissions, operational costs and dependency on fossil fuels.

An early independent review predicted that while the new terminal occupies 55% more space than its predecessor, the heating and cooling system reduced energy use per square metre by 40% and is expected to reduce total overall energy consumption of the combined international and domestic terminal buildings by 2%.

Christchurch Airport’s terminal facilities manager Mike Parker says the system’s refinement is undeniable. He says that since the system was

systems, including the new Terrace development, Environment Canterbury office building, the Arts Centre, Bus Exchange and Justice Precinct. It is also the recommended solution for the Metro Sports Facility and the Christchurch Convention Centre, as well as being at the core of the proposed District Energy System.

The Energy Efficiency and Conservation Authority and the Christchurch City Council are both providing grants to promote the use of this type of system. Christchurch Airport is also working to install a new artesian heating and cooling system within the existing international terminal building.

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Below left:The artesian water passes through heat exchangers that decrease or increase the temperature of the water to extract heat energy for heating the building, or to reject heat energy for cooling purposes.

SECTION FOCUS RETAIL

WHAT’S IN STORE? Modern retail design reinforces branding with innovative interiors that emphasise key points of difference

Project: T2 Headquarters T2B and T2 stores

Location: Melbourne, London, New York

Designer: Landini Associates

FRESH BREW Dark interiors, raw materials and colourful packaging define T2 stores worldwide, challenging any preconceived notions of a traditional tea house

Baristas move over – tea has become the hip drink of the western world. And one store can take a lot of the credit for renewed interest in a drink that can trace its roots right back to the Tang dynasty in China in 206 BC. The T2 brand, launched nearly 20 years ago, has recently undergone a major overhaul by Sydneybased Landini Associates. Designer Mark Landini says the first project to be completed was the new T2 headquarters in a former industrial warehouse in Collingwood, Melbourne.

“The aim was to respect and celebrate the original building, while providing a dramatic statement that would represent T2’s company ethos,” he says. “This ethos is the antithesis of what you would expect – in other words the polar opposite of a traditional tea house. It’s all about making tea cool and hip, and attracting a whole new audience.”

Landini says perceived constraints, including a street frontage that was lower than the main entry, were turned into an advantage.

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“The public is ushered into the space through an oversized steel-framed pivot door in a doubleheight space. Instead of a conventional reception area, there is a Tea Bar, which is an informal place to stop and sample tea.

“The Tea Bar personifies the T2 identity, and also acts as a trial concept for T2’s latest tea retailing concept, T2B. The dark shelving and raw materials, including the large concrete bar, are similar to those used in the T2B project.”

In contrast to the public entry, the staff entry is from the upper level car park at the rear, with a wide catwalk leading into the centre of the office.

The catwalk and a sleek black steel panel alongside form the visual spine of the building, dividing the office in two. The warehouse origins are recalled in the warm, raw industrial interior of this space, which features exposed steel brick walls and timber rafters, and a mesh frame balustrade.”

A similar look continues on the upper level, where there is a tea-making and tasting

Preceding pages:The theatre of tea making – the new Shoreditch T2 store in London, designed by Landini Associates, epitomises the new-look stores that are challenging the traditional concept of a tea house.

Above:A former industrial warehouse in Melbourne is home to the new T2 headquarters.

Right:In place of a traditional reception area, the headquarters features a Tea Bar (top), where visitors can stop and sample teas. The office also has a tasting workshop (centre). Exposed services retain a sense of the building’s industrial origins.

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Left:T2B is another new concept – a store that sells brewed tea to take away or drink on the premises. The black oxidised steel railing, which echoes the shelving, creates a dry bar where people can stand to chat and drink.

Lower left and below:A large angled mirror reflects the counter and the tea-making process.

Customers are invited to blend and sample their own brews.

workshop, and the CEO’s office. Here, however, a lighter colour palette was introduced to create a white, clean space that is flooded with natural light.

Landini describes the change to the T2 stores as more of an evolution than a revolution.

“The look has evolved with each store,” the designer says. “The original DNA – the dark interiors and Chinese wallpaper – was already in place in the 20 existing stores. But we have expanded on this base, limiting the use of bright colour to the packaging rather than the decor.

“The T2 HQ trialled the tea-making service offered in the second project – the first T2B store in Sydney. This in turn was followed by the first Shoreditch T2 store in London, which introduced the new trading format. And this was not just about the design but also about location. Shoreditch was a somewhat unexpected choice, which was deliberate. Once T2 established its credentials in

this cutting-edge location, we felt we could then go mainstream.”

The T2B store, shown on these pages, is primarily in the business of selling brewed tea to take away or be consumed on the premises.

Landini consequently exemplified the team’s expertise and love of tea by introducing a sense of theatre. A large cast-concrete bar showcases the art of making tea, and the store encourages customers to experiment in designing and blending their own brews.

“We added further drama with an angled ceiling mirror installed over the bar,” the designer says.

“Other features include the Tea Library at the rear of the store, made from black oxidised steel shelving and canisters. This dark palette allows T2’s trademark orange packaging to stand out under the intense lighting.”

A narrow steel ledge provides a dry bar – a place

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to stop, drink and chat. It also serves as a safety rail, protecting customers from a dramatic change in the floor level.

Two back-of-house areas are hidden behind a vertical bank of screens that display film of rushing seas and swaying forests. There is also a massive pivoting door concealed behind the tea packaging.

Landini says in all the stores, the little cube boxes with four tea packets in each are a strong

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graphic component and part of the interior design.

“They celebrate the ordinary,” he says. “In all the locations we have tried to introduce a neutral personality with the decor. It is important that the store does not dominate the product, which is the most important element.”

The Shoreditch store, shown on these pages, incorporates promotional graffiti signwriting that reinforces the new hip image of tea. The black

Below and lower right:The new T2 store in Shoreditch London highlights the bold, graphic displays.

Right:Although the ceiling in the store is just 2.7m high, a large mirror above the main counter creates an illusion of height, and provides sparkling reflections.

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oxidised metal of the shelving reappears on the exterior, where it envelopes the front of the store.

“As with all the new stores, Shoreditch has a raw, stripped-back interior that serves as an antidote to the polished slickness of traditional British tea houses,” says Landini.

“A 30m-long tea library, housing more than 250 different varieties of tea, immerses customers in a knowledge bank of blends from around the globe.

At the heart of the store tea-tasting stations and aroma tables invite customers to stimulate their senses of taste, touch, smell and compare the different ingredients and fragrances.”

Transparent display counters made from layers of interwoven welded steel expose the inner workings of the drawers – from pulls to brass pipes, fittings and sinks. In addition, the store showcases teaware from around the world.

T2’s presence in the United States is also creating a stir. Landini says Americans may love their coffee, but there’s a quiet, lightly caffeinated trend brewing.

“The global rivalry of bean versus leaf has finally

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reached its boiling point, with the opening of T2 in Soho, New York. The store demonstrates that tea is a vastly richer, broader, more colourful drink than coffee ever can be. The sheer visual contrast of the industrial metal interior with the brightly coloured cubic boxes that cascade from ceiling to floor grabs the attention of passers-by on the busy street. As customers enter, they are met with myriad aromas and tastes, as diverse as the population base.”

Landini says the New York store features the largest T2 tea library to date. The double-height oxidised steel shelving houses a similar variety of teas to the Shoreditch store, gathered from around the globe.

Not surprisingly, the T2 store concept will be expanded gradually to other cities, further extending the global reach of the brand.

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These pages:Hip to be cool – the new T2 store in Soho, New York is repositioning tea as the more interesting, colourful alternative to coffee. The store includes a double-height tea library, with upper shelving reached by a ladder.

Story by Colleen Hawkes Photography by Trevor Mein (T2HQ), Sharrin Rees (T2B), Andrew Meredith (T2 Shoreditch) and Paul Barbera (T2 Soho New York)

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Project Paspaley

Location: Brisbane

Architect: Carbondale

JEWEL BOX Cascading strings of pearls illuminate both the exterior and interior of this boutique jewellery store in Brisbane, capturing the seductive charm of the pearls within

Left:Boutique retail stores are taking a cue from high-end residential architecture, offering smaller, more intimate viewing spaces, says architect Eric Carlson, a specialist in luxury retail design. His design for the new Paspaley boutique jewellery store in Brisbane is a prime example.

Lower left and below:Animated LED lighting on both the exterior and interior of the Brisbane store references glittering strings of pearls. A similar store is set to open in Melbourne.

There is often a sense of theatre about a high-end jewellery store. Unobtrusive spotlights and glittering display cases set the scene, allowing the jewellery itself to be the showpiece.

For the owner of the Paspaley business, this wasn’t enough, however. His brief for the new Brisbane and Melbourne stores required “the most beautiful store in the world to display the most beautiful pearls in the world”.

The owner commissioned Paris-based architect Eric Carlson of Carbondale, a specialist in luxury retail fit-outs, to develop a design concept. It was a brief that fitted the architect’s business profile perfectly – projects designed by Carlson include

the Louis Vuitton Maison on the Champs Elysees.

Carlson says the architectural concept is focused on lighting, which reinforces the brand identity. On the exterior “bespoke pearl strings” of LED lights run on an animated sequence to create a sparkling facade that heightens the visual drama.

Niches in the store windows, which resemble transparent jewellery boxes, showcase selected pearls, offering a glimpse of what lies beyond.

The interior of the boutique expands on the lighting analogy, and adds a seductive, pearllike luminosity through the choice of materials and finishes. The rich, muted palette of a pearl is transposed into soft beige, dove grey and brushed

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Left:From the surface finishes to the shape of the furniture and the curved wall, every aspect of the Paspaley boutique interior has been designed to reference the concept of a pearl.

Below:Finishes include gold leaf wall panels between the display cases, and luminous paint.

Story by Colleen Hawkes Photography by F Marioli and Stefan Jannides

aluminium, with splashes of Paspaley signature yellow captured in gold leaf wall panels that frame the display cases. Light refractions off these surfaces enhance the luminosity.

Carlson expanded on the pearl theme with the furniture – the seating is sensuously shaped like an oyster. Small tables have organic curves, and a full-height, semicircular screen wraps around an intimate seating area. An illuminated, oval-shaped ceiling element above the screen is echoed by the shape of the carpet below.

There are also custom carpets with a design that references strings of pearls – the same pattern appears on the glass doors at the boutique entry.

Carlson says the recent emergence of boutique “La Maison” stores, such as Paspaley, reflects a backlash to large-scale retail spaces.

“Often these maison stores are as large, or larger, in surface area than their predecessors, but they are made up of many smaller ‘rooms’ and are therefore more cosy and intimate, re-instilling luxury and service at a personal scale.

“Store design is taking spatial and formal cues directly from residential works to bring a new direction of architectural domesticity to luxury retail fit-outs. Luxury stores are no longer just a place to go and shop – they have become a home away from home.”

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SECTION FOCUS INTERNATIONAL PROJECT PORTFOLIO

NEW DIRECTIONS Defined by their curved organic forms, the projects on these pages reflect an innovative design response to masterplanning restrictions and sustainability

Project Sandcrawler

Location: Singapore

Architect: Andrew Bromberg of Aedas

FORCE FIELD Home to tenants from the movie, animation and production industries, this award-winning office building curves like a horseshoe around a lushly landscaped courtyard

Planning restrictions can create enormous challenges for architects, but they can also spark some of the most innovative design responses.

Sandcrawler, designed by Andrew Bromberg of Aedas, is a new office building in Singapore that addresses a raft of masterplanning restrictions. It also responds to a number of special requirements for client Lucas Real Estate Singapore, and tenants from the film, animation and production industries.

“Due to the nature of the sensitive work being performed inside, the design needed to provide a high level of privacy,” the architect says. “At the same time, however, it was important to have an attractive outlook.”

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The building also needed to provide a strong civic quality for Lucasfilm Singapore’s regional headquarters, be sustainably designed, and offer spaces that would encourage social interaction.

Bromberg’s solution is an elevated, horseshoeshaped building, with a sleek, polished curved facade that wraps around a landscaped courtyard.

“A standard office plan would not have met the required mass-to-building line percentages,” he says. “The horseshoe form was a logical outcome of the masterplanning restrictions, which dictated the roof height and slope, as well as the maximum elevation of each face.”

The building was lifted up to 13m off the ground

Preceding pages and below: A stepped floorplate on this new Singapore office building provides shade to the lower levels. With its horseshoe shape, the building semi-encloses a landscaped public space that forms a link with a green belt traversing this part of the city.

Right:At the front, the building presents a sleek organic facade to the street, punched through to define the entry. The building is also elevated to enhance privacy for the offices, and to give it a civic dimension.

to afford privacy and security for the client and tenants. The elevation makes the building appear to float above the ground. It also creates a generous, sheltered public space at ground level, adding a strong civic dimension not normally associated with corporate offices.

“The horseshoe configuration improves the quality of the spaces within as well,” says Bromberg. “It offers a narrower floorplate with a double light aperture so there is plenty of natural light flooding the interior.”

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The sleek, semi-opaque nature of the facade on the outer curve of the building reinforces the floating concept. It also enhances the high level of privacy provided by the design. But on the inside, the frit pattern on the glass allows a transparency so that views are maintained and there is a sense of connectivity with the surroundings.

Bromberg says that while the high-performance low-iron glass and frit dot layer allow daylight to penetrate, solar heat gain is avoided.

“On the inside curve of the horseshoe facing the

Below left:The plan of the ground level of the building (top) highlights the public lobby areas and a theatre that appears suspended within a double-height space. The lower plan illustrates the layout and circulation paths through the landscaped courtyard.

Right:A roof canopy echoes the shape of the tight angle at the centre of the building.

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Left:LED lighting defines the sleek, organic form of the 100seat theatre. The shape of the structure mimics the design of the exterior of the building.

Below:Aluminium panels clad the central pod housing the reception desk and services.

Story by Colleen Hawkes Photography by Paul Warchol

landscaped courtyard, the facade is more open, and the glass is highly transparent.”

Another contrast is provided by the juxtaposition of the curved organic form of the building with the jarring sharp angles on the ends that taper towards the courtyard.

“The floor slabs off the wing walls slowly step out from the lower floors to the upper levels. This maximises the perceived volume within the landscaped roof deck, and improves the shading to each floor.

Luxuriant planting and green terraces will eventually provide greenery that cascades down the facade, further sheltering the offices from the sun, while tying the building into the landscape below.”

The architect designed a number of spaces that allow for easy social interaction.

“The courtyard, which is landscaped in a natural, overgrown manner, creates a great outdoor space.

It’s also a link to the adjacent one-North green belt within the masterplan for the area. In addition, the building has both semi-public and semi-private roof terraces to encourage further social interaction.”

A key feature of the interior is a 100-seat theatre, which replicates the organic form of the building.

“The theatre is the heart of the building,” says Bromberg. “As such, it is expressed independently within a vast double-volume space, so it

is perceived to be floating free of the ceiling. The geometry recalls the smooth, streamlined language set up by the building exterior. The theatre is both a functional component of the client’s work, and a symbol of the end result of this work.”

Key sustainability features include the passive design elements of the building itself, and covered walkways that also help to reduce solar heat gain.

Other initiatives include lighting systems that minimise the need for artificial lighting, and highfrequency ballasts for all fluorescent light fittings to prevent flickering.

Mechanical services are designed to maximise energy efficiency, and there are WELS-rated water fittings used throughout the building.

Sandcrawler has already received a major design award. It was named Design of the Year in the President’s Design Award 2014 conferred by the President of the Republic of Singapore and jointly administered by DesignSingapore Council and Urban Redevelopment Authority.

The building also received an Honor Award at the 2014 American Institute of Architects Northwest and Pacific Region Design Awards.

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Project Zhuhai International Convention and Exhibition Centre, Shizimen Central Business District

Location: Zhuhai, Guangdong Province, China

Architect: RMJM 10 Design

SHAPE OF THINGS TO COME Part of a masterplanned CBD designated to be the gateway financial hub for southern China, this new convention and exhibition centre has an organic form inspired by the sculpted shoreline

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Below:An architectural ribbon winds its way around the new Zhuhai International Convention and Exhibition Centre in Shizimen, Zhuhai, a port city close to Macau, Hong Kong and Guangdong. The project is the first stage of a new CBD masterplan designed to position the city as the financial gateway to southern China. The tower, still under construction, will be topped off at 62 storeys.

Rapid economic growth in China over the past decade has prompted a major shift in focus for trade and industry operations as closer ties are forged with western countries.

With many of China’s exports heading offshore from the southern provinces, the country has responded to a need for a new financial gateway to the south – just as Shenzhen, near Hong Kong, was developed as a new industrial centre to service the growing export market.

The Shizimen Central Business District in Zhuhai has been earmarked for this role, and the recent soft opening of the Zhuhai International Convention and Exhibition Centre is the first stage of the masterplan.

The development, strategically located on the Zhuhai waterfront, is designed to maximise Shizimen’s close proximity to Guangdong, Hong Kong and Macau – it is envisaged the development will be a catalyst for economic development of the entire Hengqin Region.

Establishing a new CBD from the ground up has also given the Zhuhai Municipal Government an unprecedented opportunity to create purposebuilt facilities and distinctive architecture. Architect Gordon Affleck, formerly of RMJM and now with 10 Design, was commissioned to design the concept plan and lead the design team right through to the detail design phase.

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“Commercial sustainability was critical,” Affleck says. “Many centres are admired for their civic grandeur, but they do little to activate a site outside of the days when conventions, conferences and exhibitions are being staged. They are often empty for long periods, or used for private functions. This facility needed to provide a public amenity as well as a civic one, and this principle has been adhered to throughout the whole design process.”

In keeping with this aim, the team designed a lively pedestrian plaza linking the main road in front of the centre with a waterfront plaza behind. This in turn is activated by retail, food and beverage and garden areas.

“A commercially successful development also requires a complementary mix of uses to make it work as a stand-alone destination, with continual occupation beyond the limited convention and exhibition centre operations,” the architect says.

“So we set out to create an urban waterfront destination. In addition to the conference and exhibition centre, the first phase incorporates low-rise offices, serviced apartments, an international 5-star hotel and a Super 5-star hotel on top of a 62-level office tower, which is still under construction.

“All these facilities will be used on a permanent, ongoing basis, so the retail and food-and-beverage outlets will be sustainable, with constant revenue.

And they will in turn attract more business.”

But it’s the innovative architecture that is turning heads in Zhuhai. Affleck took his design cue from the natural landscape.

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“Zhuhai is a place of great natural beauty – it is regarded as China’s ‘Garden City’, due to its rich natural resources and its famous coastline, which is characterised by unique rock forms,” he says.

“The organic architectural elements emulate this sculpted shoreline, so they sit at ease with the waterfront setting.”

The convention and exhibition centre has a vast, curving roof that swoops low on two sides, providing cover and shade for the entrances.

“It is almost as though the entire building has been shrink-wrapped,” says Affleck. “It’s a very large volume, but we wanted to retain as much of the wider landscape as possible, and the shape helps to achieve this – you can still glimpse the natural landscape that lies beyond.”

The sense of connection is enhanced by an elevated architectural ribbon of offices and retail outlets that winds around the site, helping to link and define the public and civic spaces.

“The urban ribbon houses a variety of purely public functions, with offices on the upper levels,” the architect says. “It physically connects the main road with the waterfront. But it also acts as a screen, separating the public from the semi-public functions, while at the same time framing key views, both internally and externally.”

The ribbon wraps around specific civic spaces, such as the theatre and convention centre.

“It lifts and opens to create a number of special entry points to varying zones,” says the architect.

“For example, facing Nanwan Road, the ribbon

Preceding pages and right:In places the ribbon lifts and opens to frame views and entrances, such as the formal entry to the convention and exhibition centre. The organic form of the ribbon references the unique rock formations of the Zhuhai shoreline.

Below:A concept sketch of the next stage of the development shows how the ribbon will further link the boulevard at the front of the centre to the waterfront, and provide a series of informal food and beverage terraces.

creates a formal entrance to the exhibition centre by day, and a vibrant arch by night. It also frames the entry to the music hall and theatre on the elevated plaza, which provides views to Macau.”

In addition, the ribbon helps to define a series of intimate garden spaces, which are key circulation areas. These sunken gardens also provide daylight wells to the car park below. Again, both the hard landscaping and planting reference the sculptural forms of the Zhuhai coastline.

The ribbon is articulated by sun louvres, and shiplapped aluminium panels on the sections that touch down on the ground.

“We spent a lot of time rationalising the geometry of the ribbon, and the fenestration,” says the architect. “But it is a fairly simple construction.

The deeper sections, where there are no windows, accommodate mechanical plant. Energy efficiency is aided by the sun louvres, and also by the narrow width of the ribbon, which allows natural light to penetrate easily from both sides.”

Flexibility was another key driver for the design.

In order to cater to a wide audience, it was critical that the convention and exhibition centre could hold a multitude of diverse events, and have the ability to segregate or mix delegates.

“While the exterior of the building that incorporates the offices, retail, food and beverage facilities is sculpted in form, the internal planning is

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rational and flexible,” says Affleck.

Altogether the development provides 360,000m2 of floor space, including the towers, hotel and convention centre. The centre itself incorporates large banquet rooms that can host 4000 people, a music hall that can seat 800 and a full orchestra, and a 2000-seat theatre.

The first phase of the CBD development includes a 548-room Sheraton Hotel that had a soft opening at the end of 2014 – this wide building tapers symmetrically towards the upper levels. It sits near to a tower block featuring 450 serviced apartments.

The 320m-high, 62-storey tower is designed to act as a visual beacon. It addresses the Macau Tower across the water, and the future super highrise buildings of the Henqin region on the opposite shores.

“The tower has a dynamic form, but it is not twisted,” says Affleck. “The larger floorplates that service the Grade A offices are at the bottom, with smaller floorplates for the 250-room St Regis Hotel on top. It’s a simple sculptural transition that also acknowledges the view.”

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Below:Offices are provided in the upper levels of the ribbon, with retail and foodand-beverage facilities on the lower levels. The provision of permanent facilities and large pedestrian plazas ensures the entire site is activated throughout the year, irrespective of whether a convention or exhibition is under way.

Right:The height of the ribbon at this point ensures key view corridors are maintained.

Below right:The sweeping, organic design of the ribbon helps to soften the architecture visually. It also ensures the building appears to wrap around the curving roof form of the convention and exhibition centre.

Story by Colleen Hawkes Main photography by Kerun Ip; first image courtesy of Huafa Group

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