AU Commercial Design Trends Vol. 31/09

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CONTENTS

Highlights from this issue of Commercial Design Trends transport

Spark Architects, Beijing

Corbel Construction, Christchurch

Artic Transportation Center, Anaheim

Butler Railway Station, Perth

Saatchi & Saatchi Building, Auckland

RAW restaurant, Taipei

The Crew Club, Auckland

T2, Melbourne, London, New York

Paspaley, Brisbane

COMMERCIAL DESIGN TRENDS Public transport is not just changing the way we commute, it’s also changing the face of our cities as local governments embrace new technology and the concept of integrated transport hubs. These are not the bus and rail stations of old – they are innovative, architectural buildings that welcome travellers with intuitive wayfinding and seamless connections. In this issue we feature a benchmark transport hub in Perth (above), and a contemporary take on Grand Central in Southern California.

We also feature two innovative restaurant interiors that capture the imagination, and the T2 retail chain of stores that illustrate the power of strong branding – tea drinking has never been more hip. Office design comes under the microscope as well, with a look at three different interiors for companies involved in architecture, commercial interiors and construction. Each design solution highlights a refreshing, creative response to the nature of the work within.

HIGHLIGHTS Editor Paul Taylor – paul.taylor@trendsideas.com Sales Costas Dedes – costas.dedes@trendsideas.com Judy Johnson – judy.johnson@trendsideas.com

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Separating public and private areas in an office need not compromise transparency. Interior design consultancy Gaze found a novel solution for its own offices. See also BP head office at trendsideas.com

Integrated transport hubs, such as ARTIC in Southern California, have become increasingly more sophisticated in design and scope.

See also MIT Manukau interchange on trendsideas.com

This heritage building has undergone a major makeover – the soaring atrium is now a social hub for the entire precinct. View a University of Western Sydney adaptive re-use project at trendsideas.com

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

ABN 38 052 148 599 ISSN 2230-6927 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,nor for loss of submitted manuscripts, photographs or artwork. Opinions expressed are those of the contributors, not necessarily those of Trends Publishing Australia Pty Ltd. While every effort has been made to ensure accuracy of information, the Publisher assumes no responsibility for errors or omissions or for any consequences of reliance on this publication.

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SECTION FOCUS WORKPLACE

WELL CONNECTED The modern workplace is all about collaboration and transparency, with view corridors and sightlines reinforcing a sense of unity

Project Spark Architects Beijing office

Location: Dongsishitiao, Dongcheng, China

Architect: Spark Architects

WALKING THE TALK Expanding business gave this architectural firm the perfect opportunity to undertake an adaptive reuse project where it could finetune facilities to suit its own work philosophies

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Preceding pages and below: Exposed brick walls and service ducts provide an inspiring backdrop for the design team in the new Spark Beijing office. The upstands of the existing windows opening onto a glass box annex were replaced with doors to open up the studio space.

Just like households, businesses can upsize and downsize, and require different facilities at varying stages of growth.

Spark Architects originally had its Beijing office sorted – the company was based in the Grade A Raffles City Beijing office tower, which was a fine address by any standard.

Director Christian Taeubert says that building was designed by Spark for Capitaland and functioned as a showpiece for the company’s work.

“However, we were outgrowing the office space,” Taeubert says. “We were also looking to add proper model-making facilities, and we wanted a space that would encourage informal social interaction.”

When space became available in the Liang DIan Design Centre, which is home to several firms in the creative industry, Spark became interested.

“This was a 1980s building with a space that came very close to what we imagined as the ideal office for Spark,” he says. “There was even a large public outdoor terrace.”

The new 500m2 space included a glass box annex that had been added to the second floor, allowing the exterior brick facade to be experienced as an interior space. The glass box also benefitted from a light well that penetrated the three floors of the building.

“There was a problem in that the main work space and the glass box annex were rather disconnected,” says Taeubert. “To improve the link between the two areas, we demolished the window upstands facing the glass annex, which created a much-desired permeability of the space.”

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Left and lower left:Full-height metal-wrapped pivoting doors allow sightlines through the office. They also offer flexibility – sections of the space can be closed up if required.

Legend to plan:1 reception, 2 meeting room, 3 kitchen, 4 main studio, 5 model material library, 6 video-conferencing meeting room, 7 storage and server room.

Right:The model-making room, seen in the background of this image, occupies an area that was once a stairwell.

Lower right: The glass box annex houses the reception area, meeting room and a large staff kitchen.

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Left:Collaboration is easy when staff are situated near each other, and there are meeting tables close by.

Spark Beijing director Jan Felix Clostermann says the company looked at the existing configuration of the office interior and decided to keep it uninterrupted while inserting its ownprogramme.

“The office is loosely zoned into a main work area, kitchen and gathering space, a large meeting room, small meeting room and a model-making room, also known as the ply room. Originally this was a vertical stairwell core. It can be accessed via multiple entries.”

The concept of multiple access points also defines the main studio area.

“There is a continuous wall of metal-clad pivoting doors alongside the main work space,” Clostermann says. “The wall allows for a playful and flexible configuration of ‘open and close’.

When the doors are closed, the metal panels catch subtle reflections of the surrounding environment.

They are also used to create a 20m-long wall of the imagination – project teams regularly pin up their work for discussion.”

“When open, the doors provide clear views out through the glass box annex, so people feel connected,” says Taeubert. “The architecture profession is fuelled on the exchange of ideas, so we sought to provide open, collaborative spaces that are fun, and where people want to be.”

Exposed service ducts and beams reinforce the sense of openness, in terms of both the space and the attitude of the team within.

“After a couple of months of working in our new space we have observed that the informal gathering spaces and the communal kitchen have become the favoured hang-out places. Using the doors as pin-up boards has also fostered interaction between the project teams.”

resources & images 47053 at trendsideas.com another sparkr project 30210 at trendsideas.com Project:Spark Architects Beijing office, Dongsishitiao, Dongcheng, China Architect:Spark Architects Story by Colleen Hawkes Photography by Shu He

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Project Gaze Commercial office

Location: Auckland

Interior designer: Gaze Commercial

WORK AND PLAY A creative interior for creatives – a former bar in a 1930s building is transformed into a hip design studio that’s a little bit retro and a lot of fun

Just one look – that’s all it took to convince the new tenant of this office space that it was the right choice for a design studio.

Interior architect Siavash Momeny of Gaze says the 1930s building had good bones, with solid concrete beams and columns, steel windows and an Art Deco influence. The location, in High Street, Auckland, was also a plus – it was central and the tenancy provided an attractive view of a park from an existing balcony.

“The space was familiar to many Aucklanders,

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being a former bar, plus there was a collection of small offices,” Momeny says. “While we needed to gut the entire interior, we wanted to keep the integrity of the concrete slabs and walls intact. These were stripped back to expose the raw concrete.

The floors were then polished and sealed, and because we wanted to respect what went before, even old paint marks were left in place.”

The designer says it was important to create a warm, welcoming interior where people could feel connected and part of a team.

Below left:Gaze Commercial chose to locate its new Auckland office in a 1930s building on High Street, opposite Albert Park. The office, on the first floor, opens to a covered balcony.

Below and right:A rough-sawn timber spine runs the length of the office, separating the public and private spaces. A raised timber counter provides a collaborative area for staff.

“Staff needed to be screened off from reception, yet still visible. And the reception desk itself had to be integrated with the work area, rather than a separate area. At 300m2, the office is not huge, and we wanted to maximise the space.”

To organise the office, the design team created a dark-stained, rough-sawn timber spine that separates the work area from the public spaces and also has a practical role.

“The spine is the first point of contact for visitors, so it doubles as a reception counter,” Momeny says. “It extends to enclose an alcove that can be used for a meeting area, then changes height to create a leaner for casual meetings and brainstorming, and finally forms a backdrop to the client lounge. But while the spine is a barrier, it’s also highly functional – you can work on it, lean on it, or drop things on it.

“The spine gives privacy for the studio, yet still provides transparency and allows access between the two spaces. And the open nature of the office encourages informal discussions and social interaction, which is invaluable.”

Exposed nuts and bolts and vintage solid steel adjustable supports are other key features of the

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spine that enhance the distinctive retro feel of the office.

“Right from the outset we wanted the interior to read as a very different space from the outside,” says the designer. “We wanted to give it a themed, almost theatrical presence.”

Bold graphics and artworks feature throughout the office and include a colourful mural that wraps around a corner of the office disguising a door to the staff kitchen. Two vintage Daytona arcade machines add further colour and provide a fun time-out activity for workers.

“We also introduced a small meeting area to a spare corner. This was designed to resemble a classic train cabin, complete with a video playing in the ‘window’ showing the passing scenery. It enhances the temporary nature of the space – when you sit there, it feels as though you are just passing through. It’s another little bit of nostalgia.”

The boardroom is positioned at the front end of the office, near the balcony. A plastered wall within the room was stripped back to expose existing brickwork, giving the space a strong textural backdrop. An antique dyed Persian carpet adds further texture, and helps with acoustic insulation. Vintage

Below left and right:A colourful wall mural provides a talking point in the hub of the office, as do two retro Daytona arcade machines.

Below:Vintage furniture complements the form of the recycled steel base of the timber spine.

Facing page lower:Other distinctive features of the Gaze interior include an antique chaise longue and a small meeting area that resembles a classic train cabin. The window plays a video of the passing scenery.

Left:The boardroom has an exposed brick wall and a fire station rolling door. This can be raised to create one large open space for entertaining.

Below:Steel doors open up to the covered balcony, effectively extending the floorplate.

furniture pieces reinforce the retro feel of the office.

“We had a little fun with this space also, adding a large fire station rolling door,” says Momeny. “This gives us flexibility in terms of the way we use the room. The door can be closed for private meetings and pulled up on a Friday night to create one large open space for social gatherings.

“The balcony forms part of this social space. It has a glazed roof so it is sheltered and sunny in the mornings, and of course the outlook is very pleasant. The large steel-framed doors to the balcony were existing, and work well with the other raw materials.”

Momeny says the building is ventilated by fresh

air through open windows, and because of the solid structure, no heating is required in the winter.

Owner David Gaze says the office more than meets the company’s own brief.

“We wanted to ensure the office interior didn’t offend propective clients, who range from barristers to advertising executives, and from developers to real estate agents. I believe we have well and truly met our goal – the office emphasises a fun staff culture of work hard, play hard, while also being low maintenance and economical.”

Project:Gaze Commercial office Interior architect:Siavash Momeny – with Sharyn Donn, Nicholas Colby, Han Qing, Steve Bond, Gaze, Auckland Construction company:EBL Fire consultant:Aurecon Hardware:Sopers Blinds:Venetian by Bright Shine Flooring:Polished concrete; Irvine Flooring Lighting:Caldwell Levesque Paints and varnishes:Resene

Office furniture:Crestline Reception furniture:Koko Classic; Homage; vintage Office chairs:Crestline; Homage Additional furniture:Custom in stained walnut by Greenmount Signage:Forging Ahead Fabrication Graphic design:Frosted Glass By Design

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Story by Colleen Hawkes Photography by Jamie Cobel

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Project Corbel Construction head office 213 Lichfield Street Christchurch

Construction company: Corbel Construction

Architect: Beca

MAPPING THE FUTURE To establish context on a barren, post-earthquake streetscape, this new build in Christchurch incorporates a perforated aluminium facade that references an 1870s street map of the city

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Below:New buildings are changing the face of Christchurch as the post-earthquake rebuild progresses. The new offices of Corbel Construction, designed

by Beca, feature a decorative perforated aluminium facade that alludes to the past.

In a city centre laid bare by earthquakes, it’s not surprising to see a new architectural language emerging – and it’s a voice that speaks to the past as well as the future.

This Christchurch office building, which is the new home for Corbel Construction, is one of the first post-earthquake buildings to go up on a brownfields site in Lichfield Street.

Architect Graham Crust of Beca says the barren landscape made it challenging to find a context for the architecture.

“The main concern was working out what to do with the exterior envelope,” he says. “There was no way of knowing exactly what the future context could be. But we knew we needed to future proof the design and allow for the possibility there could be high precast concrete panels going up on a building next door.”

The solution was influenced by several factors, including the nature of Corbel Construction’s own business. Co-director Mark Wells says the company wanted a building that would showcase its skills.

“We wanted the building to make a statement – it needed to be a conversation piece. And we liked the idea that it would reference our work.”

Crust says the design team looked to provide visual keys that would reference this, and came up with the idea of a 1200mm by 2400mm panellised exterior.

“Then we considered CNC routing, which in turn led to the idea of a perforated aluminium facade that sits out from the building. This gave us an opportunity to enliven the building be a little whimsical in a relatively hard environment.”

Coming up with a suitable pattern for the facade was more serendipitous. Crust says the design was inspired by an 1874 map of Christchurch located by senior designer James Pearse.

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“This gave us an historical overlay, which we could wrap around the front and the sides of the building. It also provides topographical references to key features in the region, such as the braided rivers, and references the Port Hills.”

Spacers set the aluminium facade 50mm off the wall behind, which is clad in ironsand-coloured Titan Rainscreen panels.

“We framed large cedar balconies on both sides of the building to add visual softness,” says the architect. “Christchurch at present is a bit rugged and hard edged, so this provides a little balance.”

The cedar is angled upwards at the top of the window, like a picture frame, to lift the eye up to the sky – and it allows more light to flood the interior.

“This was also a way to exemplify Corbel

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Construction’s strong craftsmanship ability – a theme that continues on the interior,” says Crust.

Mark Wells says the office, which brings together staff from two separate buildings, needed to be an open-plan, collaborative space.

“We originally envisioned a converted warehouse look with old trusses and exposed steel girders, but the roof height was too low. That concept was a strong influence, however.”

In addition to exposed steel I-beams, cable trays and trusses, structural bracing around a void is exposed.

“We wanted the building to impart a certain construction honesty, without being brutal,” says Crust.

“There are clear references to the nature of Corbel’s work on the interior as well as the exterior.”

Below:Large cedar-wrapped balconies on either side of the building capture the sun in the morning and afternoon. They also help to soften the overall look.

To maximise space, the design team positioned the building in the centre of the site, which means the loading bay for the warehouse can double as a turning space for other vehicles.

Right:An open-plan work environment reflects Corbel Construction’s collaborative team approach. Exposed beams and services and a floating central staircase highlight the nature of the company’s business.

These include a floating sculptural timber staircase that twists its way down the centre of the office, making a grand design statement and providing the desired wow factor. It also highlights a more challenging aspect of the design from an engineering and construction viewpoint.

“Several walls are lined with American oak, which reinforces the sense of craftsmanship” says Crust.

“Some of these walls incorporate hidden doors, highlighting the company’s expertise in shopfitting.”

The glass-walled boardroom is framed in American oak, so it resembles a container-like box suspended above the void.

“There is a strong sense of transparency and

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a team culture in the office,” says the architect.

“When we started working on the plan, we allowed for several offices, but these were deleted, with the executive staff preferring to be part of the team.”

The attention to detail that characterises the company’s work is also evident in the interior, which was a collaboration with interior designer John Gaynor at Indesign Architecture.

For example, the formwork pattern left exposed on the concrete wall panels is perfectly aligned with the grain of the American oak.

“All these elements help to reinforce Corbel’s philosophy – it is proud of this city and proud to be part of the rebuild.”

Below:Exposed structural bracing also references the construction business. To bring natural light into the centre of the building there are large skylights above the staircase.

Right:American oak lines several walls in the office and frames the boardroom, which appears as a large container-like box suspended above the void.

Project:213 Lichfield St, Christchurch Architect:Beca – design team Graham Crust, James Pearse, Tim Graham, Lachlan Munroe Interior designer:John Gaynor, Indesign Architecture Structural engineer:Andy Lind, Engco Civil engineer:Keith McGregor M&E engineer:Design & Build Project Fire consultant:Beca Construction company:Corbel Construction Landscaping:Texture Plants Cladding:Perforated marine-grade aluminium over Titan Rainscreen cement sheet; rain-shield cedar shiplap Perforated aluminium facade manufacture: Jericho Walker Sheetmetal Engineering Window and door joinery; skylights:Nebulite Glazing system:Euroglass Hardware:PlaceMakers

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Blinds:Admire Commercial Carpet tiles:Sumi Leaf by Robert Malcolm Vinyl flooring:Karndean Carbo; Tarkett Optima Paints and varnishes:Resene; Dulux Desks, office and boardroom chairs:Fuze Interiors Stools and reception seating:McKenzie & Willis Oak veneer in reception:Corbel Joinery

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Above:The interior is also characterised by attention to detail. For example, the formwork patterns on the exposed concrete panels are aligned with the American oak panelling. Hidden doors in the walls also showcase the high level of craftsmanship.

Story by Colleen Hawkes Photography by Jamie Cobel

ROUND AND ROUND It’s easy to spot the dynamic sculptural centrepiece in this Perth office – the spiral staircase is wrapped around a giant aquarium. The toughened curved glass balustrade is by Glasshape

Architects and designers love to think outside the square, and this Perth project is a perfect example – in more ways than one.

Zorzi Builders, a leading builder of luxury new homes, has a head office that provides plenty of the wow factor. To enliven the space, the design team introduced a giant vertical aquarium and wrapped this with a dramatic spiral staircase.

Frameless, 12mm curved toughened TemperShield® glass from Glasshape was specified for the balustrading, to enhance the architectural feature by allowing a clear view of the aquarium.

The glass was mounted into a channel system to create a clean look with no visible fixings.

Glasshape says the glass was curved to very precise measurements, which were taken from CAD drawings. This ensured the radius was a perfect fit for the staircase.

The glass was installed by Perth-based company Glasscapes, which specialises in the installation of specialist glass products.

Glasshape can manufacture TemperShield® curved toughened glass in extra-large panels – up to 3.9m high x 2.44m wide, which is the largest dimension available in Australasia. The glass is well suited to commercial and residential architectural applications.

Glasshape glass is manufactured in an ISO 9001 accredited facility, to Australian Safety Standard AS/NZS 2208.

For more details, contact Glasshape Australia, 1/300 Vahland Ave, Willetton, Perth, WA 6155, phone 1800 042 716, fax 1800 040 934. Email: info@glasshape.com.au. Alternatively, visit the website: www.glasshape.com.au

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Above:A curved toughened glass balustrade from Glasshape allows a clear view of the large aquarium in this new office.

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SECTION FOCUS TRANSPORT HUBS

MOVING RIGHT ALONG There’s a visual and functional clarity to the transit hubs shown on these pages – circulation areas have an easy, intuitive flow that’s not diminished by the grandeur of the architecture

Project Artic (Anaheim Regional Transportation Intermodal Center)

Location: Anaheim, CA

Architect: HOK

MAKE THE CONNECTION There’s a new landmark on the Anaheim skyline – Orange County’s own version of Grand Central Station acknowledges natural light and modern transport needs

In a country where the automobile dominates, local authorities have long recognised that the best way to encourage people to leave the car at home is to provide great public transport alternatives.

But such alternatives require extensive planning, and for Orange County, it is only now that a key initiative has finally come to fruition.

The Anaheim Regional Transportation Intermodal Center (ARTIC) is the new heart of the county’s transportation system, providing easy transfer and connectivity between numerous large venues and destinations, including the Angel’s Stadium, Disneyland, The Honda Center and the Anaheim Convention Center.

For the team commissioned to design the transit station – a collaboration between Parsons Brinkerhoff and HOK – the project provided an opportunity to create a new landmark that would

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announce its presence with a strong architectural statement. HOK design principal Ernest Cirangle says this was precisely what the City of Anaheim required.

“There was an existing station 1000m down the line, but it was very modest, and essentially just two platforms at the side of the tracks,” he says.

“The city wanted to replace this with an iconic building that would make a statement about the future of rail and public transport, not just for the city, but for the whole of Southern California and in a way for the entire nation,” he says. “The city wanted to be at the forefront of this change, and the new centre needed to energise the move towards a 21st-century rail network.”

Cirangle says there were two key historical influences that helped to inspire the design.

“The grand old rail stations in the United States

and Europe, including Grand Central and Penn Station in New York were definite influences. So too were the great hangars that were used to house blimps in the post-World War II era. These were simple, long-span structures with great interior spaces. Their appeal lay in their simplicity and their clarity. We envisaged a contemporary version of this form that would not only reference traditional rail stations, but also take advantage of the great natural light in Southern California.”

To maximise the light ETFE pillows were specified. These cover more than 18,580m2 and are supported by a diagrid of steel arches reaching up to 33.5m.

“The translucent pillows let the natural light flood into the interior,” the architect says. “The ETFE is also extremely efficient and lightweight, being 1/100 the weight of glass. The roofing comprises three layers, with each pillow fastened at the edges and inflated by pressurisation in the inner chamber.

The shape and form of the pillows provides added stability. It also gives them a quilted pattern that is quite unique.”

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Cirangle says that during the day the roofing appears quite solid from the exterior, but from the inside it resembles a veil. At night, that reverses and the station appears as a beacon. Computerised LED lighting on the pillows allows the colours to be changed as desired.

The north side of the station is fully glazed, providing transparency for travellers moving between buses and trains.

“Passengers entering from this end arrive at the base of the grand hall, which is almost like being outside. They then ascend to the mezzanine level where there are restaurants and cafés. From there they can move through to a waiting area, on to a bridge over the tracks, and down to the respective platforms. There are multiple tracks and platforms and we chose to have the entry from above, rather than below, so passengers have a clear view of their destination.”

Cirangle says that clarity of orientation was a critical factor in the design.

“There is scarcely a need for signage. The flow is intuitive, which was one of the key functional

Preceding pages:The new ARTIC transit hub in Anaheim is a contemporary interpretation of the grand rail stations of yesteryear. Designed by HOK, the station is a hangar-shaped building clad in translucent ETFE pillows.

Below:A steel diagrid supports the diamond-shaped panels, which are comprised of three layers. The inner chamber is pressurised, which creates the pillow effect, noticeable on the outside of the building.

Right:Entry to the building from the north is via a large public plaza that blurs the line between inside and out. Travellers ascend to the mezzanine level where there are food and beverage outlets, with entry to the rail platforms beyond.

Left:Travellers ascend to the mezzanine level where there are food and beverage outlets, with entry to the rail platforms beyond.

requirements in terms of making the building work.

At the same time, we wanted to make it a very enriching, enjoyable experience for travellers.”

Not surprisingly, sustainability was also high on the design agenda – the project has been designed to meet LEEDS Platinum criteria.

“The entire project comes from a sustainable base, in that it encourages the use of public transportation,” says Cirangle. “The efficiency of travelling between cities and venues using rail, buses and shuttles linking at one central depot is a major improvement on previous public transit systems – it puts every venue on the doorstep.”

The building itself features a mixed-mode natural ventilation system, with a radiant water-cooled floor in all the public spaces.

“Both the shape and height of the building help with the ventilation strategies,” says the architect.

“Air is drawn into the building at a low level, then rises with the heat to the roof, where it is exhausted through high louvres in the end walls. Because

there is cooling at the floor level, the interior maintains a very even temperature.”

Solar gain is minimised by the ETFE roofing, which acts as an insulating device. The panels also filter the light so it is not glaring. And the need for artificial lighting is minimised by the amount of natural light entering the building.

Other eco-friendly features include an energy generating photovoltaic array, which is positioned in the south parking lot. Grey water is used for irrigation, toilet flushing and the cooling towers.

Cirangle says the design is the first phase of a major redevelopment of the county’s rail system.

“Anaheim is the first station to be built to cater to the proposed California high-speed rail link between Sacramento and Los Angeles. It is essentially a prototype that sets a benchmark for future development.”

Project:Anaheim Regional Transportation Intermodal Center (ARTIC), Anaheim, CA Client:City of Anaheim Architect:Ernest Cirangle FAIA, Albert Kaneshiro AIA, Kazem Toossi AIA, HOK, Culver City, CA; with Hector Ayala, Edith Bailon, Erika Casillas, Ed Diamante, Jessica Ginther, Carl Johnson, Erik Jones, Stephanie Kotowski, Terry Mattison, Pearl McLin, Barbara Ostroff, Aneirin Owens, Dave Salela, KwangHyun Song, Aida Staugaard, Suren Sumian, Silvia Trigueros, Jamila Valero Rail and civil engineer:Parsons Brinckerhoff Structural engineer:Thornton Tomasetti Enclosure and MEP engineer:BuroHappold Engineering Landscape consultant:SWA Lighting consultant:HLB Acoustics consultant:Newson Brown Construction manager:STV General contractor:Clark Construction Group Structural steel:Beck Steel

Cladding:Metal panels from Woodbridge Glass; Werner Systems; Centria; metal and glass curtain wall by Wausau; Viracon; precast concrete by Structure Cast; other cladding

by Kalzip Roofing:Sarnafil; Kalzip; ETFE manufactured and installed

by Vector Foiltec Windows:Western Integrated Materials, Inc; glass

by Viracon Doors:Stanley; Security Metal Products Corp; VT Industries; Hufcor; The Cookson Co; Raynor Paints and stains:Sherwin Williams, Scuffmaster, Tnemec steel coating Flooring:Terroxy epoxy terrazzo Elevators and escalators:Tompkins/Mid-American Elevator Co

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Story by Colleen Hawkes Photography by John Linden

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Project Butler Railway Station

Location: Perth, WA

Architect: Coniglio Ainsworth Architects

RIGHT ON TRACK The latest station on a new extension to a line north of Perth, this project heralds the integrated transport hub of the future

Connectivity is the very essence of a transport interchange, but this project isn’t just about rail, bus and shuttle links. It’s also about connections between concourse and platforms, and in a broader sense, links to a town centre yet to be built.

Butler Railway Station in Perth was designed by Coniglio Ainsworth Architects – the company won a public tender to design a new integrated transport hub for the Public Transport Authority of Western Australia (PTA).

Architect Andrew Ainsworth says the authority wanted an innovative design that would establish a benchmark for future hubs.

“They made it clear they wanted a very different

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transport interchange to what existed, but it also needed to be highly functional, robust, low maintenance and vandal resistant.”

Ainsworth says the idea of a fluid connectivity inspired the design response.

“Rail stations can lack a strong and clear relationship between the platform and concourse. The architecture for this project strives to improve on that. We wanted to make that relationship far more legible and simple to understand, so that people can read the space easily.

“And it was important to ensure the station entry would be welcoming, rather than defensive or intimidating.”

Below:A soaring entry canopy extends out over the pedestrian plaza at the new Butler Railway Station in Perth, designed by Coniglio Ainsworth Architects.

The canopy is aligned with the central axis of a future town centre to be built next to the transport interchange.

Right:The canopy forms two overlapping wings that flow down to shelter the rail platforms within a cutting.

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Below:A curved, bright red interior canopy frames the ticket booths and fare gates, defining the entry to the platforms.

The design team consequently created two large, soaring entry canopies – one on either side – that are directly aligned with the central axis of the future town centre plaza. The canopies flow down over the station to form two long, overlapping wings that shelter the platforms.

“On one side the entry canopy extends over the bus station pedestrian crossing so that it appears to reach out towards the town centre,” says Ainsworth. “This helps to provide a strong sense of arrival.

“The external form of the building also provides a sense of connection between the upper concourse and the platforms below, which are set within a rail cutting. This creates a strong sense of movement that helps visitors to the station understand the way it is organised.”

Ainsworth says the use of a single, sandwichpanel roofing system that combines the roofing, insulation and ceiling in one, allowed the spans to measure 9m, rather than the conventional 6m span adopted on previous station projects in Perth.

“This helps to create a light, airy interior. And because the spacing between the beams is greater, it significantly reduces the steel tonnage for the project.”

The split-roof arrangement allows for plenty of natural light to flood the interior, through blue Danpalon semi-transparent polycarbonate panels.

Another key feature of the interior is a large, curved, bright red canopy above the ticketing booth that wraps down around the underside of the concourse, visually linking the upper and lower levels.

“The overarching roof form creates a dramatic, welcoming, customer-focused entry that gives

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more prominence to the entry booth and fare gates than on typical stations,” says the architect.

“The complex geometry was made possible by using Ceratec vitreous enamel metal panels, which are low maintenance and vandal resistant.”

Large voids enhance the light, spacious feel of the interior – they also help with wayfinding and passive surveillance.

“We adopted the principles of crime prevention through environmental design. The openness of the building means every area can be seen at all times from multiple vantage points, which decreases the

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likelihood of anti-social behaviour and vandalism.”

Although there was no rating tool for a train station at the time, the interchange was designed to achieve a 4 Star Green Star rating, and employs a raft of sustainable design components. These include large eaves for summer shading and controlled winter sun penetration, extensive natural lighting, the use of low-maintenance materials, light sensors, bicycle parks and staff shower facilities.

The interchange also features energy-efficient rope traction lifts, water-efficient fixtures and rainwater harvesting.

Below left:The plans show the butterfly-shaped roof form of the station. The lower diagram highlights the steelwork.

Right:Blue Danpalon skylights link the two roofs, casting a blue glow by night, and bringing in plenty of natural light by day.

The large voids create sightlines throughout the interchange, helping to provide crime prevention through passive surveillance.

Project:Butler Railway Station, Perth Client:Public Transport Authority of Western Australia Architect:Coniglio Ainsworth Architects, West Perth, WA Construction company:Cooper & Oxley Civil engineer:BG&E Structural engineer:Arup Electrical and communications engineer:MHM Engineering Mechanical engineer:Tenancy Consulting Quantity surveyor:Turner & Townsend Environmental engineer:Herring Storer and Gabriels Environmental Lift and escalator engineer:Trevor Stevenson Programming consultant:JCA Project Planning Public artist:Geoffrey Drake Brockman Cladding:Vitreous enamel by Ceratec; Vitrapanel prefinished fibre cement sheet by Vitragroup Roof:Ritek Ecotek insulated panels; Kliplok by Lysaght Glazing:Comal Flushline Suite by Com-Al Windows Facade design and construction:Allclad Systems; Statewide Ceilings & Interiors

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Flooring:Midland Brick pavers; Anthracite Mix Sicodur tiles

by Muldoon Tiles Paints:Dulux Lighting:Mondoluce Lifts and escalators:Schindler Lifts Australia Skylights:Danpalon metal framed by Advanced Architectural Products Louvres:Arcadia Limestone retaining walls:Paving Solutions (WA) Signage:Jason Signmakers Awards:Commendation for Public Architecture, AIA Western Australian Architecture Awards 2015

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These pages:The curved red canopy wraps right around the concourse floor to form a dramatic, reflective ceiling above the platforms. The canopy is clad in Ceratec vitreous enamel panels.

Story by Colleen Hawkes Photography by John Gollings

SECTION FOCUS HERITAGE PRESERVATION & ADAPTIVE RE-USE

WITH RESPECT Modern insertions within an historic framework help to preserve heritage features and make it easy to read both the old and the new

Project Saatchi & Saatchi Building

Main contractor: Hadyn and Rollett Construction

Architect: Kay and Keys Architects

HIGH EXPOSURE Twenty-five years after its last upgrade, the historic Saatchi & Saatchi building in Parnell, Auckland gets a seismic refit and a lively new social hub

The adaptive re-use of heritage buildings has been a global trend for the past two to three decades, along with the increasing recognition of the need to preserve our architectural history.

With the right approach, such character buildings can provide unique work and living spaces. But they also need to be commercially viable, and today that can mean a seismic upgrade is inevitable.

The Saatchi & Saatchi building in Parnell is a case in point. Built in 1911, the large brick warehouse sat on the Auckland waterfront, long before reclamation works altered the shoreline. Fast forward to the early 1990s, and the derelict building was given a new lease of life when architects Noel Lane and Richard Priest came up with a redesign that transformed the building, creating commercial

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tenancies surrounded by a large central atrium.

Robert Mihaljevich of Strand Holdings, the company that owns the building, says the heritage appeal of the property is undisputed. But following the Christchurch earthquakes, Auckland Council set new standards for older buildings that required earthquake proofing to be 34% of the new building standard.

“It became clear that the corporate market would require a much higher percentage, however,” Mihaljevich says. “We felt the building needed to perform up to 67% of the standard to maintain credibility, and to attract and retain professional tenants. Since the Christchurch earthquakes there is a much greater awareness of the potential risks.

We needed to future-proof the building.”

Preceding pages and right: The Saatchi & Saatchi building in Auckland has undergone an extensive seismic upgrade. The refit of the former warehouse included positioning a new social hub within the central atrium.

The existing café was moved to the ground floor, creating a much more animated interior.

Below:Heritage considerations ensured the distinctive brickwork, parapets and arched windows were preserved. The building has been isolated from an adjoining concrete building, so the structures will move independently in the event of an earthquake.

Strand Holdings took the opportunity to refresh the interior at the same time. While Mott MacDonald was responsible for the structural engineering of the seismic refit, Kay and Keys Architects was commissioned to redesign parts of the atrium, with Haydn & Rollett Construction contracted to undertake the rebuild.

Architect Peter Keys says Strand Holdings had the vision to see how an upgrade could create a better amenity for the entire precinct.

“One of the key ways to do this was to redesign parts of the atrium, opening up the core of the building to create a social hub. Previously this space was not highly activated.

“Repositioning the existing café onto the ground floor of the atrium was critical. This now resembles a little pop-up café, but there’s a fully equipped commercial kitchen in the background, which is used to cater for large functions.”

Keys says the architects became more involved as the project developed, and were responsible for the design of other facilities that were upgraded to meet health and safety regulations, including the balustrading. The team also redocumented the tenancy spaces.

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“As with the first refit, it was important to ensure the new elements would be read as a modern insertion in a heritage structure – another layer added to the fabric of the building,” the architect says.

The new materials are clearly distinguishable from the original brickwork and timber flooring.

At the same time, however, the new elements complement earlier additions. All the exposed steel is painted black or white to fit with the existing services, including the exposed lift and staircase.

Using adaptable strengthening techniques has also ensured the large floorplates have been maintained.

Matthew Bird, project manager for Haydn & Rollett Construction, says the company worked to a tight construction programme, with the building remaining fully tenanted throughout the project.

“The most intrusive works to the tenancies involved the construction of the floor strengthening at ceiling level above the work spaces.”

The adoption of a steel truss system around the perimeter of the building and internal atrium reduced the extent of the floor area to be affected by health and safety requirements.

Seismic strengthening included the construction of two reinforced concrete shear walls and

Below and lower right: Structural elements, including the new black-painted steel trusses on the perimeter of the building, remain exposed. The large arched windows provide light-filled work spaces.

Right:The balustrading throughout the building was upgraded to meet the existing building code, while remaining in keeping with the warehouse aesthetic.

associated pile foundations to the western facade, and strengthening of the southern brick wall with the addition of steel plates.

The brick parapets on the north facade were drilled and reinforcing bars placed through the parapet into the wall below. The entire brickwork on the front of the building was also regrouted.

Existing foundations beneath the perimeter walls were upgraded – the width of the foundations was increased and existing brick arches were infilled below ground level.

“We also undertook work to isolate the concrete car park building from the main building, so they will move independently of each other in the event

Project:Saatchi & Saatchi Building, Auckland Developer:Strand Management Limited Architect:Peter Keys, Kay and Keys Architects Construction company:Haydn & Rollett Construction Structural, mechanical and electrical engineer: Mott MacDonald Balustrade construction and installation: East Coast Bays Engineering Quantity surveyor:National Contract Services

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of an earthquake,” says Bird. “Seismic joints between the two buildings were created with new corbels and steel columns.”

A brick veneer wall to the southern facade of the car park building was secured, and new walls were built to provide protection from falling brickwork where the brick veneers were unable to be secured.

Mihaljevich says the extensive upgrade has future-proofed the building, and the new central social hub of the atrium has helped to make the building both a destination and a meeting place.

“Many people have business meetings in the café, which helps to enhance the profile of the building as a whole.”

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Below:On the upper levels, the sawtooth roof windows flood the interior with plenty of natural light. Large open floorplates are another key feature.

Story by Colleen Hawkes Photography by Simon Devitt

IN THE LIMELIGHT Make it uplifting – that was the design brief for this rest home interior.

Lively Resene colours and matching carpet tiles help to spread good cheer Heritage buildings have plenty of character, but it is not always easy working out the best design solution for an extension.

For the O’Conor Home in Westport, which is an Historic Place Category II listed building operating as a rest home, a modern 20-bedroom addition was required.

Hopkinson Kelsall Team Architects, the firm commissioned to design the extension, ensured that while the form, scale and materials are contemporary, they are also sensitive to the original home.

The brief for the interior design was to provide an attractive space that would be uplifting for both staff and residents. The colour scheme needed to suit the next stage of the building programme, which will be the seismic and interior upgrade of the existing home. And the needs of dementia patients also had to be taken into account.

The design team specified bright Resene colours for key areas. Different colour schemes were assigned to each pair of rooms that share an

ensuite bathroom. These schemes were selected for their clarity and boldness, and the Resene paint shades were teamed with carpets, floor and wall vinyls to give the bedrooms a sense of individuality.

They also serve as signposts for residents and for staff giving directions to visitors.

Colours grouped together include Resene Aviator and Float, Resene Lush and Quarter Lignite, Resene Bullseye and Half Rakaia, Resene Phoenix and New Orleans, and Resene Upstage and Grapevine. The interior walls are Resene Quarter Blanc and hallway doors are in Resene Impromptu (a lively green) and Resene Troubadour (a rich purple). All these colours will eventually tie together the new build with the old.

For further information, or for the latest colour fandeck, visit a Resene ColorShop, or tollfree 1800 738 383. Website: www.resene.com.au

Above:Bright Resene paints signpost different bedroom suites in the new addition to the O’Conor Home – a rest home in Westport that has been operating for nearly 100 years. The addition was built by Evan Jones construction for the O’Conor Home Institute Trust Board. The painting contractor was David Spark Painters.

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SECTOR REPORT HERITAGE PRESERVATION

A SENSE OF PLACE Our communities are shaped, not just by people, but also by the buildings that define our neighbourhoods. Preservation expert John Brown discusses the implications

In his science-fiction classic Stand on Zanzibar author John Brunner explores urban themes of decay and renewal that are relevant to people in cities today – the tension between higher authority, conformity and controls, the individual, sense of place, and ownership of one’s own personal space.

The book offers a clear sense of the impact of gentrification, but also that of de-gentrification.

The protagonist Donald displays many of the fear symptoms (phobias) we might exhibit when confronted with a landscape we are not familiar with, and that we do not feel we have ownership of. However, once Donald understands the context of the place, the way in which the community has adapted it to their needs, and the way their own behaviour has been influenced by previous development and events, he becomes more at ease with his surroundings.

Importantly, he addresses his fears though nostalgia and memory, basing his wayfinding on identifying the familiar and comforting elements of the new landscape.

Some issues are raised here: 1. Does a place have an inherent value and identity (tangible), or is this embodied in the community (intangible)?

2. How is this value realised in a commercial development context?

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3. What challenges must be overcome so that it is possible to maintain and build on the value and identity of a place for the future?

4. In order to achieve the above, do we need external control, or can we be self-governing?

The role of historic buildings in shaping identity When considering a commercial redevelopment, it is important to understand the role and value historic places and features have in shaping identity, and generating a commercial interest. Groups who have a long history with a place, understand, and often take for granted at a local level, the role certain buildings, places and services play in their concept of local identity. They may not always use them, but the option to do so is very important.

Translating this sense of heritage to people who are external to the local community, who are migrants or business workers from another country, or even from another part of this country, has always been more difficult.

In undertaking retrofit or commercial adaptation, we need to be able to account for the presence of both established groups, and future users, and be prepared to communicate with them to define the values that represent their stories.

We should bear in mind that established communities, who may attach the greatest value to a place,

Above:John Brown, team leader, Built Heritage Implementation at the Auckland Council, discusses the opportunities that exist to build on the sense of place engendered by historic buildings.

Below and right:The upgrade of the Hotel DeBrett in Auckland ensured many of the original features were retained, including the original floors – and the bar, which was a favourite for locals.

Brickwork was exposed and is a feature of the new atrium.

may not in fact be those most vocal, most willing to enact change. Instead, and most developers would probably attest to this, change can be viewed with deep suspicion, even when a community can see it is necessary for their environment to thrive. The role of planning policy is therefore very important in providing the agreed community benchmark against which commercial development projects will need to achieve inclusivity at the local level.

The value of adaptive reuse of historic buildings A starting point for any proposed adaptation of a historic building when such change is controlled should be the parameters set out in the Local Authority District Plan. Any project brief should also consider non-statutory style guidance documents, a number of which are available online from the Auckland Council website, and contain specific history and context relevant to earlier town centres.

The value of historic buildings is often seen to be: 1. Close to town centres, walkable, with a good public transport network 2. Human scale, quality detailing and traditional construction that has texture 3. Longevity of tenure which may be good for branding 4. Affordable for small-medium enterprises, which are the mainstay of the New Zealand economy 5. Sustainable from a carbon/ materials perspective, and often mechanically simpler to maintain.

When asked how applications for development proposals might be successful in a historic environment, I usually describe a ‘triangle’ to developers, each point creating a development opportunity within which planning criteria are likely to be met.

The points of the triangle are: Mass and form

Environment

Materiality

Aesthetic

Experience has demonstrated that innovative development can push one of these points, but if two directions are pushed, sympathy with the historic context, and the existing building, can be lost. Essentially when considering the opportunity

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to build on and develop the potential of historic buildings in a commercial context, I would recommend any brief asks the following questions: 1. What is the story of the place? Why was it built?

2. Who identifies with the building, and how do I attract this interest?

3. What is the language of the building? How do I use that to advantage in attracting custom?

4. Does the building work now? And what don’t I need (or want) to change?

5. If there are planning controls, what envelope does that put around my development proposal?

6. Is there a legacy I want to attach to? How lightly am I touching on this?

As with all projects, selecting a good project team can be worth a great deal!

St James Theatre case study Two case studies worth looking at are the St James Theatre, which is under new ownership, having been bought by the Auckland Notable Properties Trust. The refurbishment project incorporates pop-up café activities in the public foyer to generate interest and revenue. The consented St James Tower development by Relianz holdings takes a partnership role through development of the adjacent site, and advantage of the site legacy in its promotional marketing, including the name.

The development, according to the NZ Herald, is estimated to cost about $175 million and is due for completion by 2018.

Lysaght building case study The Lysaght building on the corner of Pakenham St West and Halsey St is another Auckland example. Built in the 1920s with a classical facade the building was one of five properties deemed to have character value in the Wynyard Quarter provisions of the Auckland District Plan. Early last year work began on its transformation into a new working space as part of an innovation precinct.

The sensitive refurbishment at a cost of $6 million, has allowed the retention of much of the structure and many of the defining features of the building, while simultaneously upgrading it to fully comply with earthquake standards.

Designed by Warren and Mahoney, and project managed by Waterfront Auckland, the building’s transformation includes the addition of a new mezzanine floor, a new moveable façade on the northern face and the liberal use of glass to ensure visibility of the character details.

Right:Historic buildings have a value to the community in a way that is not necessarily defined by economics. Recent refurbishments of key properties in Auckland include (clockwise from top left) Victoria Park Market, St James Theatre in Queen St (two images), Greenkeeper’s Café at Victoria Park, and the Lysaght Building in the Wynyard Quarter.

SECTION FOCUS HOSPITALITY

DISCERNING PALETTE Modern dining is all about the experience – great food in a great setting. These projects highlight a fresh approach to restaurant design

Project Raw restaurant

Location: Taipei, Taiwan

Architect: Weijenberg

WHERE FOOD MEETS ART Dutch architect Camiel Weijenberg previously trained as a carpenter. His resulting affinity for wood is apparent in his design for Raw restaurant in Taipei

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Preceding pages and below: The centrepiece of Raw restaurant in Taipei is a 65m-long, sculptural wood centrepiece that wraps around the interior, forming a bar and semi-enclosing the dining spaces. The top of the sculpture appears to be suspended.

Step inside any restaurant and you’ll get a good feel for what’s happening in the kitchen – more often than not the interior tells the story.

So it’s not surprising to see a chef intimately involved in the design of a new restaurant, as was the case with this project. Raw restaurant in Taipei was designed by Dutch architect Camiel Weijenberg, in collaboration with owner-chef Andre.

“There was no single inspiration for Raw – it was more a case of two creatives meeting on equal terms, challenging one another and evolving an idea,” says Weijenberg. “While André had specific ideas about the interior design, he also gave Weijenberg the creative freedom to explore the notion of a place where gastronomy is fused with design – where food meets art.”

Weijenberg says the restaurant needed to create a sanctuary for diners, away from the bustling streets of Taipei. And while it needed to be intimate, it was also important to organise the space and function without the distinctive divisions found in a typical restaurant.

“We needed to create a space without obvious segregations,” the architect says. “We felt the boxy approach would be restrictive for a highly creative chef. We wanted to make Raw border-free, yet we still needed to intertwine restaurant operations and functionality. At the same time we wanted to explore our practice preference for ‘crafting the traditional’, which aligned with André’s own philosophy.”

The result is a design that takes diners on a journey that begins when they step across a wooden path and enter a tranquil lounge. Here, they are greeted by a sofly angled, organic centrepiece in Taiwanese soft wood. This 65m-long sculptural element forms a bar at the front of the restaurant, then curves around the rest of the interior, to semi-enclose a number of dining areas.

“There are no straight lines, which created a potential construction challenge,” says Weijenberg.

“Fortunately, we were able to have the structure built in the south of Taiwan by a boat building company familiar with complex geometries.

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Below:Each table has a different organic form, which avoids a clustered look. The long wall provides 18m of wine storage.

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However, the materials and finish were new to the contractor.

“The wood blocks – each about 4m to 5m long – were pre-cut using computer technology, which added to the complexity. We also wanted the path of the machining to be visible, like a digital fingerprint. Using local techniques, experience and knowledge, the team was able to create a perfect interface between modernity and tradition.”

Weijenberg also introduced a decorative wall of wine storage units 4.5m high and 18m long, made entirely from traditional Taiwanese louvres.

“We chose a simple, toned-down frame for the louvres, so they don’t compete with the sculptural centrepiece,” the architect says.

Other features include different-shaped tables with a complementary, organic form.

“The different shapes help to break up the space and avoid monotony,” says the architect. “They also create a sense of variety.”

The success of the collaborative design approach is reflected in the number of awards Weijenberg has already received for the project. These include the Red Dot Award 2015, Product Design.

Project:Raw Restaurant, Taipei Architect:Carmiel Weijenberg, Weijenberg, Singapore; with Sharon Guzman, Syahirah Saripin Sketch, Siti Zubaidah Main contractor:Hasmore Main wood structure:Taiwanese soft wood from William She, CYPD Taiwan Furniture:Weijenberg Lighting:Modulex; Bert Frank

Exhibition Design; Asia’s Top Designer 2015, Singapore Design Awards; shortlisted for Restaurant & Bar Design Awards 2015

Awards:Red Dot Award 2015, Product Design; International Design Awards 2015, Interior Design – Commercial Silver Award; Platinum A’Design Award 2015, Interior Space and

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Above left and top right:Each section of the wood structure has several joins. But the pieces were aligned so the textured machine lines flow in the same direction.

Suspended ceiling panels conceal acoustic insulation and mechanical services.

Right:The sculptural elements are supported by double anchor points on each node. They are also reinforced with steel on the inside, and braced diagonally to prevent lateral swing in the event of an earthquake.

Story by Colleen Hawkes Photography by MW Photo Inc; Raw Restaurant

Project The Crew Club

Location: Auckland

Architect/interior designer: Jasmax

SHIP TO SHORE Maritime history is celebrated in the design of this new waterfront restaurant and bar, where nautical references reinforce the heritage character

There are some locations where it may seem nigh on impossible to improve on the outlook, but even a magnificent setting with its own sense of history can pose a challenge for designers.

First do no harm may well be key. And that was the approach taken for The Crew Club, a hospitality venue in Auckland owned by Barworks and designed by Jasmax.

The Crew Club’s location, right on the water’s edge in a high pedestrian zone between Princes Wharf and Hobson Wharf and alongside the Voyager New Zealand Maritime Museum, is unique.

So, too, is the historic, relocatable launchmaster’s building, which dates back to the 1920s and was formerly part of the Maritime Museum.

The double aspect was another key feature to take into consideration, says Barworks commercial development manager Andy Roberts.

“Aside from the ferry terminals, this is the only building on the city waterfront with a strong, direct connection between the street and the harbour.

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We wanted to maintain that perspective, with clear sightlines right through the building to the harbour beyond.”

Roberts says it was also important to celebrate the maritime heritage of the building and location.

“We are proud of the history, which is a key point of difference for this venue. We wanted to create a space with a lot of energy, which could be applied to the interior design as well as the staff and the diners’ experience.”

Generating that buzz through design was a key part of the brief given to the team at Jasmax, headed by interior designer Jonathan Goss.

“We wanted to play up the romantic notion of the building’s past life as the place where charter boats would leave and salty old fishermen would cast a line off the wharf,” Goss says. “The design needed to be industrial as well as nautical.”

The team consequently worked with the existing fabric of the building, much of which was already exposed, including the steel structure. The original

Below left:The Crew Club bar and eatery occupies a prime position on the Auckland waterfront, next to the Voyager New Zealand Maritime Museum.

The club occupies the historic launchmaster’s building, which dates back to the 1920s.

Below and right:There is seating out the front (below) and rear of the club (right), which opens up to the harbour. Jasmax designed the fit-out.

beam and board ceiling – the floor of the upper level – was retained and painted, and wherever possible the weathered timber floor was exposed.

“In terms of the palette, we wanted something fresh and bright, but warm,” says the designer.

“We made a conscious effort to keep the interior of the building as light as possible. While there is plenty of natural light entering through the front and the harbour side of the building, the centre could have been very dark.”

A series of raked skylights near the front of the

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building help to bring light into the central bar area.

The bar is also defined by a lowered bulkhead that supports hanging shelves for bottles and glasses.

The bulkhead is painted in a soft teal blue – a lighter version of a colour that appears in different strengths throughout the restaurant.

“The overall look is more ship based than yacht based,” Goss says. “There are references to cruise ships in the curved bar and kitchen servery, which have radiused corners and rivets. And the fireplace, encased in steel plate, resembles a furnace.”

These pages:Terraced seating mitigates a drop in the level of the deck. The lighting, both inside and out, has a strong nautical influence, with looped strings of lights defining the outdoor seating areas.

The cruise ship analogy is also evident on the harbour deck, which steps down from the interior.

“There is a big change in level between inside and out – more than a metre,” says the designer.

“We needed to mitigate this to ensure the spaces would flow. Even though the deck is not very wide, there was enough space to create terraced seating with squabs and cushions, plus a row of smaller tables right along the edge.

“Because the deck is so much lower, we find people sitting outside are almost hidden from view,

so they don’t block the sightlines out to the water.”

Goss says it was essential to break up the eatery into zones, to provide a mix of intimate and open spaces. Different areas cater to different needs.

There are colourful low stools on the deck, bar stools and leaners inside and out, small and large tables, and the American-style kitchen servery where diners can eat on the run.

“There is literally something for everyone, and with so many seating areas, it’s possible to follow the sun throughout the day.”

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Below:Lowered bulkheads with painted tongue-and-groove boards define the bar and servery, and support overhead shelving.

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Project:The Crew Club bar and eatery, Auckland Architect:Jasmax Interior designer:Jonathan Goss, Judy Court, Jasmax Mechanical engineer:Thermal Solutions Fire consultant:Holmes Consulting Glazing:Fairview Commercial suite Flooring:Ragno Milestone tiles in Frigio from European Ceramics; existing timber boards Wall tiles to open kitchen:Silk Tavella Gesso in white gloss from European Ceramics Wall tiles in bathroom:Gloss in Marino Brillo from Heritage Tiles Paints:Resene Lighting:Various, including Vintage Lighting, Mr Ralph, Kiwi Living, Bauhaus, ECC Lighting Furniture:Wardley side chair from Furniture Lab; replica Pouvre chair and stools from Kiwi Living; Frank metal chair and dining tables from Cintesi; Smooth sofa and ottomans from Icon/Designers Guild; Duffel stools and

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T stools from Tim Webber; timber bar stools from Douglas & Bec;exterior bar stools and Emu and Bistrot tables and leaners from ECC Lighting & Furniture; About A Chair from Cult; Picnic tables from Breswa Story by Colleen Hawkes Photography by Jamie Cobel

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Above:Upholstered banquette seating reinforces the cruise ship analogy evident throughout the interior. New areas of flooring feature tiles with a whitewashed look.

GREEN AGENDA Testament to your business integrity and good for the planet, recycling in the workplace is now a whole lot easier – Hideaway Bins ring the changes

The drive to protect our planet from excess waste in the commercial sector has never been stronger. Part of this is establishing efficient and workable recycling practices that company staff can follow easily.

The installation of 50L Hideaway Bins side by side is an innovative solution for separating waste and recycling – and better yet, the bins slide away out of sight, keeping the room clear of clutter.

Hideaway Bins are made from quality materials to ensure the units withstand the challenges posed in a commercial environment. For strength, the framework is made from high-grade steel that has been powdercoated for durability. High-quality runners are designed to hold upwards of 40kg and they over extend so the bucket can be removed easily from beneath the benchtop.

The buckets are made from a food-grade polypropylene and come complete with a liner holder designed to keep the bin liner in place. All buckets fit standard bin liners available from local supermarket chains. The friction-fitted lid that features in the Soft Close and Deluxe ranges has a Clinikill powdercoat to fight harmful bacteria, yeast and fungi, which keeps the bins hygienic.

If space is limited, large twin-bin solutions are also available with double-bin options to choose from, including twin 15, 20 and 40L buckets.

Hideaway Bins are designed to be mounted at bench height and pull out towards the user, making the units both ergonomic and functional.

With many distinctive features to select from, there is a Hideaway Bin to suit every company’s commercial needs.

For further details, contact Hideaway Bins, phone 1800 042 642. Web: www.hideawaybins.com.au

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Above:Achieving good recycling practices in the workplace is easy with Hideaway Bins.

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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

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.

Project:T2 headquarters, Melbourne; T2B store Melbourne; T2 stores Shoreditch, London and New York Designer:Landini Associates, Sydney www.landiniassociates.com

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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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.

Location:Paspaley, Brisbane Executive architect:F2 Architecture Architect:Eric Carlson, Carbondale (Paris) Lighting specialist:Mindseye Contractor:Stag Shopfitting

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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