NZ Commercial Design Trends Vol. 35/02C

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The world of hotel design is changing, with a move away from bland repetition of a chain’s design template to giving guests a unique experience that reflects the location they’re visiting. In this issue of Commercial Design Trends, we look at how that’s been implemented in three quite different hotels – the TWA Hotel in the iconic 1960s TWA terminal at JFK Airport, the Sudima Christchurch City and Montreal’s new Hotel Monville.

We also look at how architects and developers are seeing the value in breathing new life into dated CBD buildings – from transforming a lobby to a large scale re-imagining of how a building functions. Plus there’s our round-up of latest examples of open, connected and decidedly people-centric office environments.

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HIGHLIGHTS Editorial Director Paul Taylor – paul.taylor@trendsideas.com Sales Judy Johnson – judy.johnson@trendsideas.com Leslie Johnson – leslie.johnson@trendsideas.com Akansha Bhatnagar – akansha.bhatnagar@trendsideas.com

Interiors of Sudima Christchurch City hotel connect with the Canterbury environment through texture and tone – the painted wall surfaces are Resene. Go to trendsideas.com for more projects featuring Resene.

Long a highly respected home design and build company in New Zealand, Fowler Homes continues to extend its expertise in stand-out commercial designs. See more from Fowler at trendsideas.com

Establishing pathways for interaction is central to Boffa Miskell’s approach to masterplanning and landscape design in today’s senior living communities. Save and share this market report at trendsideas.com

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CONTENTS

Highlights from this issue of Commercial Design Trends

Mercury Head Office, Auckland

Arup, Sydney

Treasury offices, Wellington

TWA Hotel, New York

Sudima Christchurch City

Hotel Monville, Montreal

CME Center, Chicago

U60, Sydney

Shimao Festival City, Shanghai

Proudly associated with The Treasury and Workspace Architects

Photography by Chris Burks Photography Fit-out Designed by Workspace Architects Limited

SECTION FOCUS WORKPLACE

ENERGY, CONNECTIONS AND PRIDE OF PLACE Open, connected and decidedly people-centric, these fit-outs show the way forward for effective office environments

Project Mercury Head Office

Location: Newmarket, Auckland

Interior architect/designer Warren and Mahoney

Base build architect Formis

POWER TO THE PEOPLE Six floor plates over three floors in a high-profile building in a high-profile part of the city, the new Mercury office fit-out is all about collective energy, sustainability and wellness

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Previous pages:A scissor stair reaches across the atrium divide at Mercury's new offices designed by Warren and Mahoney.

Below:Light-catching dichroic film features on the the fifthlevel, pop-out boardroom.

When your firm's a trusted national renewable

"Our scissor stair enhances the possibility of

energy generator, total reliability and care for people is an unwritten part of your company agenda. It

'bump' meetings with colleagues, and integrates the contact centre on levels three and four with the

makes good sense, then, that these fundamental

social hub, which is also on the fourth level."

However, dramatic as this element is, the real

attributes are written into the very design and fabric of the workspace that you experience each day.

Mercury is a New Zealand energy provider generating 100% renewable energy. Undertaken by architectural firm Warren and Mahoney with senior associate and senior designer Holly Campbell at the helm, this project relocated and consolidated the company's 600 Auckland employees under one roof using an agile workstyle business model.

The key design principle for the workplace was Nature Mirrored – evoking the sense of a sustainable work environment, with wellbeing at its heart.

"The challenge was to connect all Mercury staff over levels three to five in the new Mercury Building," says Campbell. "In all, there are six floor plates situated over the three levels, which is divided by a central atrium."

The majority of staff workspaces could have activity-based principles applied, but the customer contact centre required dedicated technology within a homebase environment.

"Our focus was on ensuring the largest unit – the contact centre – was given an efficient and liberating experience. Contact centre employees have rostered breaks daily, which are at fixed times and staggered throughout the day. So, the contact centre's proximity to kitchen and staff amenities on the fourth floor social hub was crucial."

In terms of the bigger picture for the interior architecture and fit-out, Warren and Mahoney modified the base building by consolidating stair and offset bridge connections across the atrium. While this meant less stairways, those introduced by the architects are as dramatic as they are functional.

One is a complex scissor stair that provides vertical and horizontal links to support circulation and connect people over the upper level hubs.

In terms of aesthetic impact, think an MC Escher drawing with stairs appearing to go nowhere – although here, they take you almost everywhere.

showpiece is the large grandstand stair at the centre of the atrium that rises from the social hub to level five. The broad stair is as much auditorium seating as it is a thoroughfare. Staff can sit on the padded stairs to take in presentations on a large screen opposite the base of the stairs and above the main kitchen, which is the heart of the social hub.

"The grandstand stair was designed to bring everyone from Mercury’s Auckland teams together by creating a large AV-enabled, versatile and open space," says Campbell.

"In addition, staff at sites outside of Auckland can connect in to the space across their AV network.

"We wanted this central space to feel alive. The atrium showcases lively and dynamic activities, shared work zones, social areas and informal meeting spaces. These include digitally enabled booths, a variety of team and project spaces, drop-in work points and AV/VC meeting rooms – all of which further enable positive collaboration."

Mercury also has a project space that can be transformed into an emergency response area in the event of a civil defence or national emergency.

Following through on the Nature Mirrored theme, shared spaces on every floorplate are referred to as garden hubs, where plants are central to the ambience. Adding to the aesthetic impact, dichroic film cladding adorns the grandstand stair balustrading and pop-out boardroom on the top floor as a physical representation of energy. The light-catching film constantly changes colour through the day, mirroring the surrounding cityscape of Newmarket.

A light, natural palette of finishes contrasts with the pops of coloured film and complements the natural plantings. The flow of the floorplates is outlined by the floor finishes and enhanced by the organic forms of the meeting rooms and garden hubs.

Meeting rooms are clad in lightly stained timber or painted dowel rod, appearing like huts in the

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landscape. Wood fibre ceilings accent key shared areas – places to meet, focus and socialise. Plus

The flow of each space is designed to enable staff exploration and integration beyond just teams.

comfortable booths and alternate work settings are dressed in soft tones and bright finishes, evoking a

With plenty of connected and open-plan spaces, clever balance of acoustic treatments throughout

sense of spaciousness, calmness and energy.

was a must – both to enable privacy when required

Branding overlay is subtly integrated into the fitout with bold internal messaging and graphics.

and also to retain an overall energetic ambience.

The eye-catching bespoke ceiling feature above

Wellbeing is also at the heart of the Mercury work fit-out strategy, ensuring the health of all staff

the grandstand staircase plays a part in this. As well as protecting from solar gain and concealing

is supported by the environment. Plantings and

lighting and fire protection requirements, it also

greenery integrated throughout the modern work and social spaces contribute both physically and

provides valuable strategic acoustic absorption.

Mercury's fourth-level social hub can cater for

symbolically in promoting a healthy environment.

In fact, many aspects of the interior design

up to 300 at one time and has a mix of kitchen and cafĂŠ style seating areas.

address wellness directly.

Workstations and focus pods positioned around

The main kitchen is at the heart of the atrium adjacent to the grandstand seating; it is central,

the perimeter maximise natural light and external views, while sit-to-stand work points and alternative work settings located around the open building core offer choice and the ability to move freely.

open and visible to everyone. The nearby cafe-style Museum kitchen has panoramic views of Auckland Domain and Museum, and offers a quieter, more reflective social space.

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Below:The grandstand staircase balustrading's dichroic film turns the sky above the adjacent Museum red and gold. For safety, the balustrades have sloping tops to prevent things being placed on them and falling from height.

Facing page:The grandstand stair provides auditorium seating for the large-screen digital monitor below. The sculptural ceiling element directly overhead provides lighting and protection from solar gain from the atrium's glass ceiling, while also addressing acoustic dampening.

Facing page:The central grand staircase and scissor stair offer dramatic visual features and are actually a consolidation of a larger number of stairs originally designed for the base build.

Above:There are a number of formal and informal meeting spaces on the top floor, this one adjacent to the main boardroom directly across the atrium.

Reception for visitors operates on the ground floor within an interactive brand experience space.

Upon arrival to the level five external visitors area, guests and visitors can access meeting rooms and circulate freely within this space.

"The project is finished to the highest quality and has resulted in a premium feel that exceeded all expectations, despite an accelerated construction programme," says Campbell.

"The space reflects the curated design, bespoke

The atrium edge, stairs and link bridges have balustrades in lieu of full height glazing. To reduce safety concerns, solid balustrades were used for the stairs at heights above the minimum NZBC code requirement. Also in the name of safety, the balustrades have angled surfaces to avoid objects being placed on them.

The base building is Green Star rated and Mercury's fit-out is also aligned to these principles.

This was achieved by sourcing sustainable materials at every turn – timber cladding and flooring feature throughout, as do recyclable woven vinyl flooring and carpets, and reconstituted wood fibre ceiling battens. Benchtop drinking water and water heating units, along with sensor-driven, energy efficient lighting were also specified in the design. The scattered planting and gardens throughout naturally enhance wellbeing while other healthy/green design initiatives are charging stations for electric cars and bikes and a high standard of end of trip facilities.

detailing and craftsmanship that was encouraged by a thorough sampling process with suppliers and contractors, getting buy-in from all involved to produce their very best work.

"Plus, the investment in a raised access floor will allow for flexibility of technology or company growth in the years to come."

A core deliverable for the project was to create ‘brand buzz’, both within the workplace and brand showcase area and outwards to the surrounding area of Newmarket.

"The building itself is striking and the visibility into the dynamic atrium space gives a sense of the activity and energy within. The ‘lightning bolt’ of dichroic film across the grandstand stairs and boardroom pop-out is an affordable way to create a bold statement, widely visible across Newmarket."

The space provides an exciting environment for Mercury staff to work in as reflected in the energy provider's post-move, staff satisfaction survey.

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Project Mercury Head Office, Newmarket Interior design Warren and Mahoney Architects Fit-out Alaska Interiors Mechanical and electrical engineers Agile Engineering Consultants Quantity surveyor Barnes Beagley Doherr Fire consultant Crossfire Window/door hardware Dormakaba Madinoz in Dulux Electro Dark Bronze Partitioning system Potters Interior Systems in Dulux Electro Dark Bronze Blinds SP Blinds Flooring Tate Raised Access Floor, from Cemac; Bolon Artisan & Botanic Woven Vinyl, from Andrews Group; Modulyss Millenium Nxtgen Carpet Tiles, from Heritage Carpets; Ultra Oak Engineered Plank Flooring, from Forte Flooring Wallcoverings/treatments: 3M Dichroic Film, from Colourworx; Abodo Wood Rhombus Timber Cladding, from Retail Dimension; Cube Autex panels and Composition Acoustic Panels, from SCE Stone Ceiling panels Heradesign Baffle Basic in custom suspension system by Apex Interiors, from Potters Interiors; Heradesign Superfine Tiles, from Potters Interior Systems Veneers Prime Melamine Premium Oak, from Prime Panels; Paints Resene Rice Cake, Resene Powder Blue, Resene Whirlwind, Resene Wild Thing Lighting Simon James; JSB Lighting; CGI Electrical Atrium Decortech Multigroove Panels, Custom Autex Cube wrapped rods in custom suspension system by Apex Interiors, lights by JSB Lighting Workstations Rubix Electric Sit-to-Stand Workstations and Okidoki Workstations, both from Smartspace

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Chairs Herman Miller, from Unison Workspaces; Vitra Softshell, from Cite Collaboration booths Prime Melamine Premium Oak and Kvadrat Maharam Fabric, by Retail Dimension Boardroom/main meeting room tables Smartspace, with Lamitak Laminate Cafe furniture Vidak Bolero Chairs and Stools; Vitra Bistro Tables, from Cite; Ton Diner Booth seating, from Statement ID; Stork Leaners, from Aspect Interiors Additional furniture Baker Stools; IMO A2 Stools; Smartspace Focus Pods; Realm Pods and Field Seating, from Fletcher Systems Outdoor furniture Custom outdoor booths, from Statement ID; Vitra Bistro Tables and Actiu Wing Chairs, from Cite Kitchen benchtops Caesarstone Fresh Concrete and Solid Surface Real White teapoint benchtops by Laminex Kitchen equipment Billi Quadra Sparkling Plus, by Merquip; Noel Leeming Commercial Lockers Smartalock in Prime Melamine Premium Oak Prime Panels, or Prime Laminate Soft-Matt Surrender Prime Panels, from Smartspace Planting and frames Greenair Garden hubs and planter boxes Aged Bronze Finish, from Retail Dimension Story by Charles Moxham Photography by Sam Hartnett

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Above:Plantings are an integral and appropriate part of the design of the social hub and feature throughout the entire Mercury fit-out, reflecting a theme of Nature Mirrored.

Mercury offices

www.heritagecarpets.co.nz office@heritagecarpets.co.nz Ph+64 9 3620425

Project Arup

Location: Sydney

Architect: Architectus

LEADING BY EXAMPLE New offices for engineering giant Arup lead the way in terms of showcasing a firm’s skills in its own domain – its green credentials are leading edge, too

Interior design: Hassell

Below:Engineering giant Arup teamed with architects Hassell to create a new workspace for Arup’s 800+ Sydney workers.

The ethos for the engineering firm includes honesty of design and strong green values – both exhibited from the ground up in the five-level Clarence Street building fit-out.

Along with employees, the workplace itself has to work pretty hard these days – roles include

and engineering, Arup partnered with architects Hassell to create a workplace where the exchange

being a calling card for the business, facilitating

of knowledge and skills through learning and experimentation – central tenets of Arup’s work

efficient processes, and looking after staff wellness.

Plus, the ideal premises will also deliver on green

culture – are not only facilitated, but lived by all.

credentials and environmental awareness generally.

Luckily – or, rather, by informed hard work – the

Hassell was engaged early in the construction planning of Barrack Place, on the western corridor

interior architecture and design for engineering firm

of Sydney’s CBD, where Arup was both building engineer and future tenant. This allowed the two

Arup’s new Sydney head office has all this covered.

And, being a respected name in engineering, Arup

firms to influence the building’s architecture and

pursued technical excellence, and committed to pushing boundaries to create a great workspace for

engineering to align with their shared vision of the workplace interior.

its staff and a skite project all at the same time.

Hassell principal Emily Moss says Arup wanted a space that would showcase Arup’s culture and

In a long-standing collaboration between design

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Below:I made this! A dramatic floating precast concrete stair offers a connector and a calling card for engineering firm Arup.

expertise – a place where both staff and visitors are free to engage and interact without boundaries.

“To achieve this, we designed a workplace that is open and transparent, with a focus on physical and visual connection.”

The heart of the new workplace is a four-storey void connecting all five floors of the tenancy. With striking horizontal and vertical views across and between floors, the centrepiece presents a clear view into Arup’s day-to-day operations, at the same time achieving a sense of broad staff connection.

Arup’s desire to be open and visually honest led to a planning model where idea-exchange spaces are interspersed throughout the tenancy. These meeting spaces sit adjacent to the void on all floors, each with a different focus. In this way, lab spaces, workshops, meeting and collaboration zones become visual destinations, encouraging connection and collaboration between staff and clients.

The staircase connecting these exchange areas vertically is a design and engineering feat in its own right – a cast concrete structure floating between floors. Providing a fast connector between floors and teams, it’s a visual manifestation of Arup’s heritage in engineering ingenuity and honesty in design.

Spanning the void on two levels are bridges linking work zones via intermediary collaboration spaces. The bridges not only connect Arup’s multidisciplinary team, but also reflect on founder Ove Arup’s ‘total design’ approach to engineering.

Principal and NSW region leader Andrew Pettifer says the new workplace is a great example of the power of integrating technical engineering and creative design, and sets the benchmark for Arup in the future.

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“The new Sydney office is the embodiment of a collaborative exchange of ideas, knowledge and

The fit-out scored highly across all sustainability categories, including management, indoor envi-

skills between Arup and Hassell – a workplace that shows what’s achievable by pushing the boundaries

ronmental quality, energy, transport, water, land use and ecology, emissions and innovation, with a

of building capabilities and emerging technologies.”

perfect score awarded in the materials category.

And the Hassell-Arup fit-out leads the way in other key disciplines, too. The Green Building

“The 6 Star Green Star rating is a clear indication of our commitment to sustainability,” Pettifer says.

Council of Australia has awarded the fit-out the highest star rating for innovative and sustainable

The building has also achieved Australia’s first ever WELL Core & Shell Precertification at the Gold

design. The tenancy demonstrated world leadership

level by the International WELL Building Institute

in sustainable design and received a 6 Star Green Star Interiors v1.1 Design Review Certified rating.

and will also achieve a 5 Star NABERS Energy and 4 star NABERS Water rating.

Facing page:Positioning the circulation staircase as a visual feature helps animate the openplan office floors.

Right:Break-out space with a view – most meeting and quiet spaces have a connection to the atrium and sculptural staircase.

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Left:In concert – the Arup offices are equipped for both large and more intimate meetings.

The early collaboration between the engineer/ tenant and the architect played a significant part in the fit-out’s green credentials. Arup committed to the office space early in the tower’s design process, allowing the fit-out to be integrated into the base build construction, reducing waste and use of materials. The office will use 100% green power.

“Championing Biophilic Design principles, our offices are full of specially chosen plants that create a healthy environment for our 800-plus Sydney employees,” says Pettifer. “At the base of the tenancy void, our knowledge centre, Arup University, we planted a tree to increase the quality of indoor air and give staff and visitors alike an immediate connection to nature.

Air quality was also a consideration in regard to furniture selection, with only low VOC pieces chosen.

Lastly, fresh outdoor air is supplied through an Arup-designed underfloor displacement ventilation system, providing extremely high indoor air quality.

Staff can even control the airflow in their immediate environments through in-floor swirl diffusers.

Hassell also designed Arup’s Melbourne office – along similar lines to the Sydney office fit-out.

Project:Arup offices, Sydney Interior architecture and interior design:Hassell in partnership with Arup Building architect:Architectus Building owner, manager and developer:Investa Project manager:Montlaur Construction:Built Structural engineer:Arup Services engineer – fire, mechanical, hydraulic, electrical, acoustic, lighting Arup Landscaping:Hassell Furniture Hay Revolver Stool, Fritz Hansen Series 7 office chair, Magis Oficina chair, Hay Palissade chair – all from Cult; Alcove sofa and Exchange tables, both from Vitra Australia; Quadrant sofa, from Koskela; Aline meeting chair and Confair folding table, both from Wilkhahn; customised Kase storage, from Schiavello; custom workstations, from Zenith; custom timber tables, by Elan Outdoor furniture Eileen table, from Space Furniture Flooring ASP access floor; Gibbon Group; Forbo Lighting Zumtobel Tecton C, Zumtobel Light Fields, Zumtobel Vivo – all by Zumtobel Group; Philips Selecon Display Profile LED; Erco Parscan, Erco Oseris; Erco Pantrac ceiling washlight – all from Jade Cross; Lampe De Marseille, from Cult Fabrics Kvadrat Maharam, Instyle Story by Charles Moxham Photography by Earl Carter

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Project Treasury offices

Location: No 1 The Terrace, Wellington

Architect: Workspace Architects

INCLUSIVE THINKING With a strong emphasis on cultural elements and all-inclusive facilities, Treasury’s new offices come alive with dramatic elements that celebrate a welcoming atmosphere for all

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Below:The fit-out of Treasury’s new offices in the reinvented podium floors of No 1 The Terrace had to contend with some existing elements. An immovable post in reception is downplayed by a dramatic wayfinding koru ceiling feature.

When your address is No 1 The Terrace, just around the corner from The Beehive, you’re not likely to let that go in a hurry – particularly when you’re lead advisor to the Government on economic and financial policy. Cue the Treasury’s cost-saving and work process-invigorating consolidation of its staff from the tower of No 1 The Terrace to the building’s sprawling four-level podium.

The customised, fully reconsidered interiors for the podium were undertaken by Workspace Architects, with Claire Deacon as project architect.

“When we first addressed this project, the podium floors were a jumble of corridors and rooms, which we stripped out completely. This revealed the full advantage of the under-utilised, light-bringing central atrium which divides the 2200m2 plates in two,” says Deacon.

“Making the most of the open space and the natural light, we organised staff areas around the atrium, and optimised any long lines of sight made possible by the open volume.”

Workspace Architects created a modern design solution with a look that embraces all the people that Treasury serves. The architects also developed a specialised flexible workplace solution that took on board the principles of activity-based working to create a bespoke solution for Treasury.

“Treasury undertook space-measuring exercises and utilisation studies to ensure that the appropriate amount of space was allocated to work space and collaborative spaces,” says Deacon. “And, importantly, we spent the time with key Treasury staff developing touchstone principles into a visual design brief.

This brief underpinned all design decisions, and Workspace Architects worked closely with cultural advisors to ensure that the design embraces Tikanga Māori, the right way of doing things. As part of this, the wharenui or meeting house – Ngā Mokopuna a Tāne – which has been part of the Treasury since the early 1990s, is the centrepiece of the design, from which other areas flow.

Essentially, all stakeholders’ ideas were woven together into an environment that’s recognised

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as an appropriate aesthetic for the new Treasury offices. One key aspect of this – along with agile

wellness room in the reception area.”

The Treasury wharenui dictated the wider design

workspaces – was to ensure a relaxed inclusivity to all who walk through the Treasury’s doors.

for the fit-out, including the level three meeting spaces. Choices about its position were based

Boxes ticked by the culturally respectful, human-

around tikanga and consideration of the gathering

centric design include: family-friendly spaces that make feeding a baby or looking after a small child

of manuhiri, or visitors, and tangata whenua, or Treasury people.

easy; gender neutral bathroom and shower areas; neighbourhood kitchens that facilitate independent

“This space is for staff use as much as for formal meetings and it was a big call to let its position

coffee or meal making for a person in a wheelchair.

drive the position of all the meeting rooms on

“Reception was developed to flow between a range of `welcoming activities’ – from the typical

the floor. We worked with master carvers and kaumātua to ensure that old and new elements are

standing interactions, to lowered counters and check-in areas, to more informal coffee table and

blended seamlessly together and to use technology to make it a truly multi-purpose space.”

soft seat relaxation and chatting spaces,” says Deacon. “In addition, the gender neutral bath-

“One challenge was the column in the middle of the reception,” says Deacon. “To address this, we

rooms are located alongside a family room and

created a koru ceiling feature that emanates from

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Below:Informal, comfortable meeting and relaxation spaces near reception.

Facing page:Pride of place – the wharenui enjoys views across to New Zealand’s most iconic government building. The central pou connects to all floors.

Following pages:Traditional Māori carvings and advanced AV systems coexist in the light-filled meeting house.

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Facing page upper:The existing glass lifts and stairs pass through the atrium, connecting people from the various levels together.

Facing page lower:Each floor is colour themed, following a journey from earth to land and sea, sky and stars. A carved pou, or pillar, comes from the ground level and continues up through the floors, linking them together and to the central pou in the wharenui.

This page:Social areas are set around the central atrium on all four floors of the Treasury fit-out.

the centre of the space and guides visitors past a feature wall, through the lounge space and towards

2200m² floors each taking their design from the earth to the land and sea, sky, and stars.

the wharenui.

“We designed the dramatic ceiling using light-

“As Tāne has his roots in the earth and his head in the heavens, the four colours used throughout

weight felt fins held inside a curve, all based on a

the fit-out follow the journey from the earth to land

set of 3D digital templates.”

One idea from a workshop participant was to

and sea, sky and stars,” says the project architect.

“All elements of the fit-out, from floor tiles, lighting,

connect the four levels of the space with a pou that came from the ground and continued up through

kitchen splashbacks, to meeting rooms and soft furnishings are colour-themed across each floor.”

the colour-themed floors. Treasury engaged with Māori artists to commission contemporary carvings to realise this concept.

In fact, the design went further, with the large

Project:Treasury offices, Wellington Building owner:Precinct Properties New Zealand Architect:Workspace Architects Construction:LT McGuinness Civil Engineer:Holmes Consulting Mechanical and electrical engineer: Norman Disney & Young Quantity surveyor:Rawlinsons Fire consulting:Holmes Fire Master carver Fayne Robinson (Ngāi Tahu; Ngāti Apa ki te Ra To), Brent Brownlee (Art Fétiche) Partitioning systems:Potters Window door joinery:Potters; Hufcor Hardware:Assa Abloy Ceiling treatments:Acoustic ceiling tiles from T&R, acoustic fins from Autex Carpet tiles:Combinations of Milliken-Ontera Karona 2 Eclipse in various colours and feature carpet tiles from Naturally Drawn Collection Water Colour range, custom colours Vinyl flooring:Vinyl Karndean – Madison loose lay on Regupol direct stick acoustic system Veneers:Australian Oak by Bestwood

Contemporary, flexible workspace dynamics and the prioritisation of human-centric and culturally inclusive thinking have together created a friendly and highly efficient Government destination.

Wall treatments:Decorative panels in Antelope, Pine Needle and Metropolis; wallpaper, all from Swinsons Paints:Resene Lighting:Light Plan, Light Studio, David Trubridge Lights, Simon James Lights Workstations:Breakout furniture from Aspect Furniture Lockers:ABW lockers from Aspect Furniture Reception furniture:Kadima Custom Furniture Joinery and reception:Ferndale Furniture Frosting and graphics Deneefe+Corada Under-bench boilers Zenith Bins Method Story by Charles Moxham Photography by Chris Burks Photography

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Simply beautiful floors.

That bring your vision to life

We seek out expressive and intriguing forms in the natural world to bring you simply beautiful floors that bring your vision to life.

Introducing Korlok by Karndean Designflooring, now available in 20 beautiful designs inspired by nature to suit any environment.

For more inspiration go to karndean.com or contact us on 1800 331 170 Featured floor:

Silver Barnwood RKP8208

PROUDLY PLANET FRIENDLY Green thinking is a major asset for any company both in terms of the planet and its own public persona – a pioneer in the field, Method Recycling goes further, making recycling an aesthetic pleasure

With the general move from cubicle farms to open-plan, progressive office spaces everything is on display. So whereas recycling was once a messy, tucked-away afterthought, now – thanks to Method Recycling – it’s colourful, bold, out in the open and a great advertisement regarding your care for our crowded planet’s future.

After three years’ research, New Zealand company Method launched its colour-coded, high visibility, behaviour-changing recycling bins to the market in 2016, with the first run sold out preproduction. The durable bins are injection moulded from fully recyclable polypropylene and include 50% recycled materials.

And further tribute to the green-focus product’s compelling advantages, Method now has offices in New Zealand, Australia and the United Kingdom.

Plus the bins can be found in diverse leading-edge organisations, from renowned London architecture firm Foster + Partners to Melbourne University.

Essentially, Method’s attractive bins change recycling behaviours through Open Plan Recycling.

The 60L recycling and waste bins are placed together to form flexible recycling stations located throughout a facility – bringing increased awareness and accountability for staff and visitors alike.

Method recommends one station per 30 - 50 staff, which should be around a 10-second walk. You can also place single bins where recyclables are produced such as a paper bin next to the photocopier.

The bins have a built-in, patented Bag Retainer System that makes them easy and hygienic to service, while retaining their sleek lines. There are also specialised accessories such as desktop precyclers, compostable liners, and Heavy Duty Connectors, to lock the bins into place.

For further details on Method Recycling, head online: www.methodrecycling.com

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Above:How does your company feel about our planet’s furniture?

Method Recycling offers one way to show you care profoundly.

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Top, middle, and lower These modern commercial style projects are all built by Fowler Homes: North Canterbury Fish & Game facilities; The Resort; and the John McGlashan College rumpus room.

DIVERSE APPROACH Long a highly respected home design and build company in New Zealand, Fowler Homes continues to extend its expertise in stand-out commercial designs

The design and build knowledge acquired from decades of creating homes that New Zealanders

– was designed and built for a private owner but has all the functionality of a resort destination.

love has enabled Fowler Homes to cross over into the world of commercial design. Over the years, the company has built vet clinics, a ski lodge, a Japanese bath house and is currently building St Albans medical centre in Christchurch. Here is a snapshot of three recent commercial projects that Fowler Homes is rightly extremely proud of.

For the first project featured, Fowler Homes Otago was asked to tender for the John McGlashan College rumpus room and BBQ area plus landscaping.

On winning the job, the branch created an attractive cedar-clad, mono-pitch building ideal for boarders to have as a noisy space to hang out in.

The attached BBQ area is in Khol-toned ViBlock and offers another great social gathering area.

As this was a school environment, Fowler Homes had to minimise disruption to school pupils and staff by working to a very tight timeframe over the Christmas school holidays. This was achieved by ensuring all product and materials were on site early on in the scheme, along with the relevant contractors, despite the holiday period. The project was delivered on time and strictly to budget.

The second project shown here – The Resort

The Fowler Homes Cambridge design is all about indoor-outdoor flow, while the contemporary Corten steel cladding will weather to elegant effect.

Lastly, North Canterbury Fish & Game needed new facilities to replace those lost in the Christchurch earthquakes. Created by Fowler Homes Christchurch, the modern new building highlights Fish & Game’s relationship with nature. It has a steep roof pitch, western red cedar weatherboards, a natural riverstone wall, and gabion baskets. Custom macrocarpa work stations, a file storage room and meeting tables were all built by Fowler Homes on site.

Whatever your commercial or design and build project, it will benefit from highly experienced designers and constructors, backed by a wealth of industry knowledge. Fowler Homes has a long history of completing complex builds on time and to a budget that doesn’t shift over time.

Talk with Fowler Homes’ experienced regional owners for a builder’s perspective to give a practical direction to your next project: www.fowlerhomes.co.nz

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SECTION FOCUS HOSPITALITY

WITH QUITE A DIFFERENCE The world of hospitality is changing and, along with this, the term luxury is taking on a more diverse meaning

Project TWA Hotel

Location: JFK Airport, New York

Design architect: Lubrano Ciavarra Architects

Project architect: Beyer Blinder Belle

BACK TO THE FUTURE Half a century ago, JFK’s eye-popping TWA Terminal by master architect Eero Saarinen was a sculptural embodiment of the thrill of the jet age – now it’s been restored and re-celebrated as part of a luxury retro airport hotel

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Previous pages:Return to the golden age of travel – the adaptive reuse of architect Eero Saarinen’s TWA Flight Center as lobby and dining facilities of a luxury retro hotel evokes the golden age of travel.

Facing page:The fluid lines of the existing building are intended to stand out crisply against the clean, uncluttered, glass-fronted, curving guest room wings.

Below:A refitted, and permanently grounded, Lockheed Constellation serves as a retro cocktail bar.

Back in 1962, when architect Eero Saarinen’s fabulously futuristic TWA Flight Center was opened

structure – a popular construction form at the time.

That aside, other architectural references pale as

at JFK International Airport, the world was getting pretty darn excited about the golden age of travel. It

Saarinen designed the iconic terminal very much on its own terms. Unfortunately, the visionary architect

was true, the times were a-changin’ – in three years

died a year before the terminal actually opened.

a jet would be winging the Fab Four over to the United States from Britain and there was even talk of

The TWA Flight Center served as TWA’s terminal at JFK until 2001, when it was no longer able to

landing some lucky character on the moon.

In essence, the TWA Flight Center with its fluid,

support modern aircraft. In 1994 it was designated as a historic landmark and in 2005 it was listed on

impossible-looking architecture was something of

the New York State Register of Historic Places.

a Mid-century-Modern cathedral to aviation. And the centre had another claim to fame, it was owned

And thus the scene is set for one of the most amazing examples of adaptive reuse in modern

briefly by billionaire eccentric Howard Hughes.

The building was designed with a thin four-shell

times. MCR – the seventh largest US hotel owneroperator – together with Morse Development had

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the vision to reinvent the terminal as a world-class hotel with 512 guestrooms, a 4650m2 state-of-the-

“Our primary understanding of the Flight Center had to be as a sculptural object.”

art meeting and event space, and a variety of high quality food, beverage and retail options.

Saarinen’s sinuous forms – there are no straight lines in the building – obscure the distinction

Lubrano Ciavarra Architects (LCA) undertook the

between floor, wall and ceiling, and blur the line

role of design consultant and design architect, with Beyer Blinder Belle as project architect and preser-

between sculpture and architecture. And as with any great artwork, its context or setting is critical.

vation architect Stonehill Taylor as interior designer.

The events centre was by INC Architecture & Design.

When the terminal first opened, the Flight Center was surrounded by extensive tarmac and open sky.

The guest rooms are in two low-rise curved hotel

However, over time, the scene became encum-

structures set back on either side of the terminal, designed to defer to the historic landmark.

bered by the necessities of a contemporary airport – wrapped by elevated and sunken road-

Saarinen’s TWA Flight Center terminal building serves as the hotel lobby, which at 18,500m2 is

ways, pedestrian skywalks, air trains, terminal expansions, parking structures and jet fences.

thought to be the largest hotel lobby in the world.

Hotel guests and passengers from every terminal

“To restore an uncluttered backdrop, the new hotel facades are considered as continuous vertical

have easy access to the TWA Hotel via the AirTrain as well as through the famous Saarinen passenger tubes that connect directly to JFK’s Terminal 5.

These tubes look straight out of James Bond and feature in the DiCaprio movie Catch Me if You Can.

glazed surfaces acting as an extension of the sky.

And the iconic Flight Centre once again stands out against this constant background.”

In fact, glazing is something of an understatement.

The guest rooms in both wings take in the action of

The TWA Hotel also houses a Jet Age and Midcentury-Modern museum that chronicles the design era and the rise of the Jet Age – exhibiting midcentury furniture, TWA uniforms, flight posters and other memorabilia.

one of the busiest airports in the world from behind 18cm-thick, triple glazed, floor-to-ceiling glass. In these spaces a roaring jet engine is just a murmur.

On the roof of one wing there’s an infinity-edge pool and the facility also has a 929m2 observation

Principal at LCA Anne Marie Lubrano says her firm understood the primary goal for the adaptive reuse of the Flight Center to a full-service hotel was the restoration of Saarinen’s masterpiece itself.

“As such, we approached the design of the new

deck and a fitness centre the same size. Eight bars and six restaurants add to the entertainment mix.

The location of the event space was a challenge for LCA – its sheer scale threatened to overwhelm the light touch the firm was trying to maintain.

hotel components as an opportunity to restore the composition of the overall site,” says Lubrano.

“It’s as if you want to just shove it underground!

And in fact that’s exactly what we did. We created

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Previous pages, clockwise from top left:Looking down on the terminal from the London Club area; the Sunken Lounge at the TWA Hotel features its original Chili Pepper Red carpet and authentic penny tile; the 1962 Room offers 390m2 of ballroom space and 4.5m-high ceilings; Eero Saarinen’s original soaring terminal design serves as the heart of the TWA Hotel.

Below:Flight tubes made famous in the movie Catch Me If You Can still bring passengers and visitors to and from the hotel.

Facing page 1962 is alive and kicking in the chic retro guest rooms. Furniture pieces designed

by Saarinen and created by Knoll are included in the design. The bathroom even has a Hollywood mirror in lights.

a fabulous events space and reconstructed the tarmac over the top of it,” says Lubrano.

And in turn, another of the hotel’s out-there surprises is parked on that same stretch of tarmac – a gleaming Lockheed Constellation. This is now grounded in its role as a hotel cocktail lounge.

With the original flight centre lovingly restored – with a retro split-flap arrival screen commissioned and touches like the terminal clock retained in their original glory – the new underground conference space and the hotel rooms themselves all take on the same almost flamboyant 1960s design flavour.

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The conference room is furnished in the same Chili Pepper Red seen in the original terminal while the feature ceiling is also very much of that time.

The hotel’s ultra-quiet, Sixties-inspired guest rooms feature Saarinen-designed Mid-century Modern Knoll furnishings (the architect had been involved with furniture design early in his career, including pieces made by Knoll), martini bars, vintage rotary phones and gleaming terrazzo-tiled bathrooms with Hollywood-style vanities.

One decidedly modern feature of the hotel is that it is self-powered via an off-grid cogeneration plant.

Above:Bon appétit! The Paris Café by Jean-Georges serves up breakfast, lunch and dinner — as well as amazing views.

Tyler Morse, CEO of MCR and Morse Development, says that from the moment guests and visitors arrive at the TWA Hotel, they find themselves immersed in the ethos of 1962’s rich culture, architecture, sights, sounds and ambiance.

“The attention to the smallest details permeates the guest room experience, paying homage to the magnificent landmark and special time in US history.”

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Project:TWA Hotel. JFK Airport, New York Developer:MCR and Morse Development Project and preservation architect: Beyer Blinder Belle Architects & Planners Design consultant and design architect Lubrano Ciavarra Architects Conference and event space interior design: INC Architecture & Design Hotel rooms; select public area design:Stonehill Taylor Landscape architect:Mathews Nielsen Hotel cladding:Concrete panel, triple glazing Story by Charles Moxham Photography by David Mitchell, Christopher Payne

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Project Sudima Christchurch City, part of Sudima Laneway

Architect: Ignite Architects

Interior design: Ignite Architects and Luchetti Krelle

NATURAL CONNECTION Sudima Christchurch City hotel offers boutique hospitality and connects guests to the Canterbury experience with everything from the architecture to the artworks

In a country as beautiful as New Zealand, it would be easy for a hospitality firm to simply pay lip service to its charms – whether with a few glossy tourist photos or even an over-use of Kiwiana.

Luckily, there’s another way. When a boutique hotel introduces New Zealand artworks to evoke the land, over glossy snap shots, and makes sure the fish in its restaurant is sustainably caught, you know it’s about sharing an authentic connection and love

Facing page:One building, two distinct uses – office floors are to the left, behind a glass curtain wall, while the boutique Sudima Christchurch City hotel to the right is clad in gold aluminium sheet, rounded at the corners, in empathy with the surrounding city architecture. The combined office, hotel, spa and restaurant building is called Sudima Laneway.

Right The atrium’s two-canopy system keeps the rain out but lets fresh air and natural light penetrate deep into the building.

of our land with business and tourist visitors alike.

This is the story at the new Sudima Christchurch City. In fact, Sudima Hotels already has a long string of hospitality and green accolades to its name, courtesy of its current hotels at Auckland Airport, Rotorua and Christchurch Airport. For example, Sudima was the first hotel group in New Zealand to be awarded a carboNZero certification.

However, this new hotel takes things even further,

providing a unique boutique experience for guests that connects them to the city, and the countryside.

panelling,” says Wyatt. “The hotel facade has a classic air with pleasing proportions and a touch of

To be fair, the hotel already has a great head start in terms of location, being ideally situated

Modernism and even Art Deco about it – in keeping with the surrounding city environment.”

on Christchurch’s bustling Victoria Street, amidst

The glass-clad central atrium plays an important

an array of cafes, restaurants and bars. It’s also a stone’s throw from beautiful Hagley Park and just a

part in the design both physically and symbolically.

“The two-canopy system keeps the rain out,

short stroll from the city centre.

Even the hotel’s architecture reflects a strong

while allowing light and fresh air to penetrate deep into the building,” says the architect.

sense of connection to the country’s tragically

“It helps animate the design, too, with office

decimated and now rejuvenated South Island city.

Ignite Architects undertook the design of the

workers accessing their workplace via the atrium.

The hotel ground-floor restaurant and bar – Vices &

hotel as well as addressing the bespoke interiors.

Building project architect Neil Wyatt says the build

Virtues – also benefits from the pedestrian movement and natural light from the adjacent atrium.”

comprises three elements, an office building, the hotel, and an airy atrium that divides the two.

Plus symbolically, it’s as if the upmarket hotel is literally opening up to embrace the city vibe.

“The office facade is predominantly clean-lined and glass, while the contrasting but complementary hotel has rounded corners and gold-hued aluminium

The hotel interiors are largely by Ignite as well, with the spa and restaurant and bar by interiors experts Luchetti Krelle. Lead designer on Ignite’s

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Below:Natural materials and tones are emphasised in the hotel lobby, with the custom reception desk comprised of strip wood batons, evoking the layering of a grove of trees.

Right:Wool carpets, natural furnishings and bedheads adorned with a print/painting

by New Zealand artist Aroha Gossage feature in guest suites.

Lower right:In this luxury suite, the wallpaper and even the wood furniture reference trees and New Zealand’s natural world.

These pages:The restaurant and bar – Vices & Virtues – features a strong use of local stone and distinctive Blackbutt timber. The exposed ceiling embraces the architectural elements of the new building. The atrium offers a bustling outlook for restaurant goers and hotel patrons.

interior fit-out Phaedra Applin says the focus on New Zealand and our pristine natural world is

New Zealand artist Aroha Gossage.

Plus, colours drawing on the natural environment

evidenced right from reception.

“This fit-out is very much about connecting to the

that surrounds Christchurch – natural toned timber, terracotta and green – are to the fore in the Vices &

New Zealand environment in an authentic way, and

Virtues restaurant-bar that looks to the atrium one

part of this is a lively, naturalistic use of wood. The reception desk isn’t a slick piece of polished timber,

way and to Victoria Street another.

Besides a generous use of wood, the facility

but rather it’s made of individual strip batons, that evoke the sense of a stand of layered trees.”

features New Zealand handmade tiles on the bar and earthy custom terracotta flooring, says interior

The privacy screens in reception have a similar

designer Jahnsen Razon of Luchetti Krelle.

layered wood aesthetic, while pure wool New Zealand carpet provides luxury underfoot.

And it’s not only the restaurant decor that reflects our pristine environment – the menu does too.

Throughout the hotel, reception included, cushions, casual throws, and furnishings are all

With things like sustainable line-caught fish, New Zealand-bred sous vide Angus eye fillet steak, and

textural and natural – letting guest get in touch with New Zealand in literal terms, whether in the hotel’s

locally made Wairiri buffalo cheese on offer, the eatery really does give a taste of our land and sea.

public spaces or in their own luxury suite.

One key feature of the bedrooms that illustrates Sudima Christchurch City’s authentic New Zealand experience is the bedhead in guest rooms. These feature evocative tonal paintings by up-and-coming

“The distinctive Moss Spa is finished in natural Blackbutt timber, white painted brick and pastel colours to gives a minimal yet warm and relaxing environment for guests,” says Razon.

“Natural light drenches the Moss Spa lobby and

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nail salon, while the lighting in the private treatment rooms can be dimmed to create a serene setting.”

Sudesh Jhunjhnuwala, CEO, Sudima Hotels.

“We go to great lengths to ensure all guests can

Sudima Christchurch City is about a real and enjoyable experience for all its guests.

enjoy their stay and have designed accessibility features into all our hotels – Sudima Christchurch

Sudima Hotels is also proud to be one of the

City included.”

most accessible hotel groups in New Zealand, says

Project:Sudima Christchurch City, Christchurch Architect:Ignite Architects; Neil Wyatt Interior design:Ignite Architects; Luchetti Krelle Construction:ABL Construction Structural design:WSP-Opus and New Zealand Consulting Engineers Quantity surveyor:Rawlinsons Fire, hydraulic and electrical design WSP-Opus Geotechnical design KGA Geotechnical Project management Savills Mechanical design & build Airtech NZ Passive fire protection Advanced Applicators Cladding:Gold-colour aluminium panels, off-white fibre cement, dark glass Roof:Kingspan K100, Viking TPO membrane Glazing:Curtain wall, shopfronts, by Hagley Aluminium

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Cladding Alucoil and HD Clad, from Prime Design Flooring:Guest rooms – Huka Falls 11 carpet with Eco backing, Parquet PQ1265 in Aged Oak; reception – Porcelanosa Reverso Grigio Patino floor tiles; Salisbury Street custom carpet tile with eco backing, Queen Street plank 975 with eco backing Guest suite wallcoverings Cole & Son Woods wallpaper Paints Resene Story by Charles Moxham Photography courtesy of Sudima Hotels

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Below:The Moss Spa is a popular feature at the hotel and continues the natural theme seen throughout the hotel interior.

EVOCATIVE TONES The interiors of Sudima Christchurch City hotel connect with the Canterbury environment through texture and tone – the painted wall surfaces are Resene

Above Sudima Christchurch City features two Resene neutrals in its guest suites – Resene Napa and Resene Thorndon Cream. These are from Resene’s The Range Whites & Neutrals collection in a Resene SpaceCote Low Sheen waterborne enamel – a durable, low-sheen finish ideal for high-wear locations.

Increasingly, luxury hotels go well beyond the sumptuous and best-of-everything to include a more personal experience for guests. The Sudima Christchurch City is a leading case in point.

The new hotel seeks a more boutique experience for business travellers and tourists alike with an interior that connects to the wider Canterbury area in an authentic way.

This is achieved through the inclusion of New Zealand artworks on bedheads, textural elements in New Zealand materials, such as wool carpets and throws, and also through the tones of the fit-out.

The bedrooms feature Resene Thorndon Cream as a slightly moody neutral, while Resene Napa, a smoky grey beige neutral, provides subtle contrast.

The natural tones are in keeping with the wider decor and provide an ideal backdrop to the Aroha Gossage paintings/prints on the bedheads.

For further details, visit a Resene ColorShop, freephone 0800 RESENE (737 363), or alternatively head online: www.resene.co.nz

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Project Hotel Monville

Location: Montreal, Canada

Architect: ACDF Architecture

HOTEL AS DESTINATION Montreal is a beautiful city but it can be less hospitable in winter – luckily this chic hotel with soaring public spaces is an ideal place to come in to from the cold

Left:See and be seen – Montreal’s new Hotel Monville

by ACDF Architecture rises head-and-shoulders above its neighbours. The facade’s precast concrete panels feature a trompe-l’oeil design technique that gives them a 3D quality.

Right:The hotel entry continues into a low vestibule which in turn opens to the dramatic lobby.

The hotel industry is changing with luxury, wow factors, modern technology, and even an inner-city ‘destination-in-its-own-right’ vibe all in the mix. After all, it’s easy to check off the tourist sites when you’re already staying in one of them.

Upmarket yet cosy, Hotel Monville reflects the city’s rich history and contemporary flavour. It has inviting public spaces and carefully designed guest suites, giving guests a distinct taste of Montreal.

ACDF Architecture designed the 269-room hotel

located in the city’s downtown. This is the first in a collection of future properties envisioned by Nathaniel Fraiberger, whose intimate Hotel Gault introduced boutique hospitality to Old Montreal 17 years ago within the classic shell of a 1861 cotton warehouse building.

For new-built Hotel Monville, ACDF set out to create a destination that captures the local character and high-end experience of Hotel Gault, but with modern design elements developed for the Monville

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Below:The three-storey curtain wall podium gives passers-by glimpses into the hotel lobby.

concept, says Maxime-Alexis Frappier, ACDF partner and lead designer.

“We have delivered that vision, providing Hotel Monville visitors and guests with individualistic experiences throughout the hotel,” he says.

The tall, slender hotel is distinguished from surrounding buildings by its height and the facade’s Modernist black and white trompe-l’oeil design, which gives it a 3D look. The façade is constructed in prefabricated concrete panels – with each window demarcating a single suite. From the street, a three-storey curtain wall podium gives passers-by views into the lobby.

And the elegant two-tone exterior matches the clean aesthetic of the interior public spaces. These include a lobby bar, a cafe, and various meeting areas, as well as a library and two rooftop rooms with a spacious outdoor terrace.

Guests enter Hotel Monville through a low-ceiling glass vestibule before arriving in the dramatic, soaring triple-height lobby. There, the oversized columns impart monumentality and drama, while also establishing distinct zones and areas of

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Previous pages:Three levels high with giant columns and an equally large black-and-white photo mural, the lobby offers a destination in its own right.

Left:Slender suspended rods provide a transparent divider within the multi-use hotel lobby.

Lower left:Giant formwork lends drama to the expansive lobby, while the lozenge-shaped white terrazzo bar is one of the focuses of the space.

Right:Highly contemporary, the bedrooms include floor-to-ceiling windows that take in sweeping views of Montreal City.

privacy. Their white bases also help to provide the lobby with more human-scaled proportions. Along

enhance the guest experience. These include online and electronic kiosk check-in options and Smart

the windows, oak-clad fins both channel and shield views inside from the street, further contributing the

televisions that sync with personal devices.

Plus, Hotel Monville is Canada’s first hotel to offer

lobby’s play between openness and intimacy.

autonomous room service delivery courtesy of a robot

The triple-height public area encourages guests to linger and socialise, with varied seating options,

designed by California firm Savioke. The robot takes food orders direct to guest rooms in record time.

including tartan sofas and leather banquettes.

Local artist Valerie Jodoin Keaton created a

A monochromatic palette sets a tone of simplicity in the guest suites – keeping attention on the

custom mural for the space featuring vintage black

floor-to-ceiling windows, which enlarge the feeling

and white photographs of urban life to amuse guests with glimpses of Montreal’s history. At the

of space with expansive city views.

“Hotel Monville was designed to be a destination

rear of the space, there’s a lozenge-shaped white terrazzo bar with brass detailing.

in its own right, with plenty of functional spaces away from the guest suites,” says Maxime-Alexis

Hotel Monville is designed for 21st century connectivity, incorporating state-of-the-art compat-

Frappier. “We have created an ambience where people can gather together to meet, have a drink or

ibilities and advanced technology offerings that

enjoy a meal in the heart of vibrant local activity.”

Project:Hotel Monville Architect:ACDF Architecture; project team: Maxime-Alexis Frappier, Joan Renaud, Etienne Laplante Courchesne, Christelle Montreuil Jean-Pois, Martin Champagne, Neil Melendez, Laurence Le Beux, Josiane Crampé, Joé Dery, Guillaume de Lorimier, Agathe Gravel, Laurent Belisle, André Faesler, Jérome Descheneaux Structural engineer:DPHV Mechanical and electrical engineers:BPA

General contractor:Pomerleau Artist:Valérie Jodoin Keaton Story by Charles Moxham Photography by Adrien Williams

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PRIDE, PASSION, PERFORMANCE. Completing quality hotels since 1997. enquiries@constructors.co.nz

www.constructors.co.nz

NEW BEGINNINGS Previously a 19-storey office block, the 4½-star Four Points by Sheraton on Queen St capitalises on its prime CBD location and panoramic cityscape and harbour views

Right:Russell Property Group’s re-development of 396 Queen St has transformed the previous 19-storey office block into the 4½-star Four Points by Sheraton Auckland. The reconfiguration of the building included the creation of a porte cochere off Mayoral Drive, giving easy access to the welcoming reception lobby.

With the current high demand for hotel rooms in Auckland projected to continue, developers are looking at different ways to address the challenges of bringing new properties onto the market.

One issue is the scarcity of suitable sites in prime locations, plus there's the high cost of building new.

Russell Property Group (RPG) has tackled those issues in its development of 396 Queen Street, converting the former office block into the Four Points

by Sheraton Auckland at the prime CBD location.

RPG managing director Brett Russell says that while taking the project through nine staged consents was a challenge for the design and construction teams, it allowed the project quicker delivery to market, through staged hand-overs.

Level 16 down was delivered 18 months after purchase with a soft opening of 170 rooms, whilst construction continued on the top four floors, with Level 17 used as a buffer zone.

"The sumptuous design and unique offering has both enhanced the in-house facilities and created a destination venue – including the Churchill rooftop bar, which capitalises on the unrivalled views," says Russell.

The remaining four floors and 85 rooms, were delivered 10 months after the soft opening.

“Partnering with Sheraton – now owned by Marriot – enabled the hotel brand’s re-introduction into the Auckland market, and our design partners ensured we created a project worthy of this new start.”

To design the comprehensive re-development, RPG called on the expertise of Dalman Architects, specialist hotel architects who have worked throughout Australasia and the South Pacific.

Project director Richard Dalman says his firm's role was to interpret RPG's vision for conversion of the existing office building into a new 4½-star hotel.

"We commenced after winning the architectural

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competition for the project, and were involved as project architect in developing the design, preparing construction and consenting documentation and in the observation of the construction works," says Dalman.

"We needed to solve key challenges associated with the project including integrating the hotel functions, servicing and access within the constraints imposed by the existing tower and podium, a steeply sloping site and having other occupied tenancies in the building."

Along with full refurbishment of all the tower floors into guestrooms and hotel front and back of

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house spaces, a new level of guestrooms and bar had to be constructed on the top of the building.

The new roof form, along with new balconies at the top floor levels, work to complement the existing faรงade and strengthen the visual appearance of the top of the existing tower, while also allowing for spectacular views over the city and harbour.

"We are proud to have played our part in this project and enjoyed working with Russell Property Group again, after having worked successfully together on the Breakfree on Cashel Hotel in Christchurch," says Dalman.

Dominion Constructors undertook the conversion

Far left and left:While the original office block’s facade was left substantially intact, the building has been extended by another floor to add additional guest rooms and a new rooftop bar. Dominion Constructors undertook the conversion of the building, which also included considerable demolition at ground level, and stripping out the original office floor fit-outs.

Left, lower:The new Queen’s Head terrace enjoys sweeping views of the Auckland skyline.

Right, top:As project architects, Dalman Architects role included resolving the challenges of integrating the required hotel functions within the constraints of the existing building.

Right, lower:The Queen’s Head Bar and Eatery sits behind the preserved façade of one of Auckland’s oldest pubs – the Queen’s Head, built in 1884.

of the building. Considerable demolition work took place at ground floor and basement level to create hotel back of house, the stylish porte cochere and two-level lobby, with conference rooms and gym located at basement level.

While the tower’s external façade predominantly remained, the office floors were stripped back to basic structure, with seismic strengthening undertaken and new services throughout, including lift replacement.

The heritage façade of the former Queen’s Head Hotel built in 1884 was enhanced internally to feature the arched windows, returning the area to an

eatery and adding an external dining deck.

The roof top plant room was removed and an additional storey added along with structure extensions to the top 3 levels, to provide eleven executive suites and the rooftop bar. Plant rooms were then re-instated above the new roof.

When it came to the interiors, Statement iD supplied a full FF&E turnkey package for Four Points by Sheraton and the rooftop bar, Churchill.

Much of the furniture was sourced locally to create a uniquely Kiwi experience for guests, though some furniture was sourced from Statement iD’s commercial brand agencies and offshore suppliers.

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Statement iD director Tracy Cook-Kelland says the company has over 40 years of combined experience in managing the planning, purchasing and handover of FF&E, giving clients complete confidence in procurement processes and quality control inspections.

“Our involvement included developing budget schedules of all FF+E and HOE items by working closely with the client and the interior designer, including for the public space,” says Cook-Kelland.

“Plus we worked with the client to specify all furnishings and finishes for the rooms in line with Dalman Architects’ design and layout.”

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Statement iD also ensured all items adhered to the hotel’s strict brand guidelines and assembled a number of mock-up rooms prior to ordering.

“As part of the HOE package, we worked through the design and development of uniforms for all staff, including an embroidered motif and a pocket square which drew from local artwork we sourced for the hotel – some of which has traditional Maori motifs running throughout - and speaks back to the local story the hotel embodies.”

One of the star attractions at the hotel is its rooftop bar, The Churchill, with interiors by Izzard Design. Design director Paul Izzard says the design

Left, top:Conference facilities at Four Points by Sheraton Auckland include the 150-seat ballroom.

Left, lower:Floor-to-ceiling windows ensure spectacular views from the hotel’s 255 rooms. Statement iD provided FF+E procurement and a full turnkey service for the hotel interiors, and assembled mock-up rooms prior to ordering to ensure all client requirements were met.

Above:Pride of place – The Churchill occupies part of the hotel’s new top floor. Designed

by Izzard Design, the opulent interiors of The Churchill have proved to be a popular destination venue for guests and locals. Star attractions are the unique clover-leaf shaped bar and the guarantee of a spectacular city view no matter where you are in the space.

was developed as an opulent space worthy of the coveted rooftop location.

“The curation of patron experience while enjoying a tipple in the bar drives the floor plan of the space,” says Izzard “We deliberately segregated the space into a series of intimate settings – from the clover shape of the bar to the cleverly located private spaces.

This venue feels exclusive and luxurious, from the moment you enter under the low ceiling of the corridor and into the bar’s impressive 5m-high stud.”

Seating is organised to prioritise the view, with high leaners in the centre and low style booth seats

snug against the glazing, ensuring no matter where you are in the space – including the bathrooms – the cityscape can be enjoyed and experienced.

“We worked closely with our suppliers to ensure, customised and bespoke solutions,” says Izzard.

The quartzite top from SCE inspired the colour palette for the space, while the variety of intricate tiling is sourced from Tile Space and European Ceramics. The finishes palette comprises of lush velvets, impressive drapery and woven wallcoverings, which were supplied by James Dunlop.

“Dark stained oak timbers are inlaid with brass detailing and mosaic marbles which adorn the

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bespoke furniture and joinery elements designed in house and procured by Statement iD. “Specialist lighting was integral to accentuating the dramatic volume of the space and providing an intimate and exclusive setting, with the team at Inlite creating the ambient vibe.”

Meanwhile, Izzard also selected paints from the moody Aalto palette to colour this project.

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Project:Four Points by Sheraton, 396 Queen Street, Main Reception Entrance – 110 Mayoral Dr, Auckland, 1010; phone (09) 393 8240 or online at www.fourpointsauckland.com Developer:Russell Property Group, www.russellpropertygroup.co.nz Project architects:Dalman Architects, (03) 377 5445, www.dalman.co.nz Construction:Dominion Constructors, (09) 526 5808, www.constructors.co.nz Fitout procurement/FF+E:Statement iD, (09) 309 7828, www.statementid.co.nz Interior design Churchill rooftop bar:Izzard Design, (09) 379 8884, www.izzard.co.nz

Above:The façade of the original Queen’s Head pub still adorns the Queen St frontage at the new Four Points by Sheraton.

However, the interiors behind the arched façade have been reworked to create the hotel’s ground floor bar and eatery.

TRAVEL. REINVENTED. Enjoy an uncomplicated stay at the new Four Points by Sheraton Auckland Classic design and modern details ensure New Zealand’s first Four Points by Sheraton delivers everything you need to unwind on the road. Located in the heart of Auckland, each of the 255 superbly appointed guest rooms offer the signature Four Points by Sheraton bed.

Highlights include free Wi-Fi, complimentary in-room movies, an energising breakfast, productive workspaces and delicious food. Kick back and relax at Queen’s Head Bar & Eatery or unwind at The Churchill, the hotel’s rooftop bar featuring stunning city views.

Four Points by Sheraton Auckland 396 Queen Street Auckland 1010, New Zealand VISIT FOURPOINTSAUCKLAND.COM

SIMPLE PLEASURES © 2019 Marriott International, Inc. All rights reserved.

SECTION FOCUS COMMERCIAL RENOVATION

SOMETHING OLD, SOMETHING NEW Architects and developers are seeing the value in breathing new life into dated CBD buildings – from transforming a lobby to a large scale re-imagining of how a building functions

Project CME Center

Location: Chicago

Architect: Krueck + Sexton Architects

OPEN TO VIEW The revamp of a tired, restrictive and utilitarian lobby in a prominent 30-year-old building has created a vibrant, free-flowing and transparent space that’s proved attractive to both tenants and a younger generation of workers

Previous pages:Designed by Krueck + Sexton Architects, the renovated lobby at Chicago’s CME Center is now encased in a sinuous glass storefront made of a series of curved glass panels, all supported by glass fins.

Left:The new lobby creates a much stronger connection to busy Wacker Drive, opening the building up to the streetscape and the hundreds of thousands of pedestrians that pass by each day on the way to and from nearby commuter rail stations.

Facing page:Architect Mark Sexton says that instead of considering the reception/security desk as a purely utilitarian structure, it was designed as a major art piece. Referred to as ‘The Ribbon’, it was inspired by the shavings obtained when a piece of wood is planed.

It’s often said that an office reception area, and the receptionist, are key to creating a visitor’s first impression of a business. But there’s another touchpoint before a visitor even reaches reception – whether the building itself is open and inviting, with clear entrances and circulation pathways.

At the CME Center in Chicago’s bustling West Loop, the building’s lobbies were starting to show their age after 30 years of use. Architect Mark Sexton of Krueck + Sexton Architects says they were functional but tired looking, while the lack of daylight created a dark, uninspiring experience.

They were also out of step with what tenants and their staff expected of a lobby these days.

“The days of staff being chained to their desks are gone,” says Sexton. “Buildings these days need a lot of community spaces – especially to attract and retain younger staff. So tenants want a building with more than just an empty lobby.”

What’s also changed is the requirement for higher levels of security after 9/11. At the CME Centre, as with most office buildings, this had

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meant implementing security checks and installing controlled turnstile access to elevators.

“This had actually sabotaged the whole circulation flow of the building – especially if you wanted to go between the building’s two office towers.”

Some movements even required exiting the building and then re-entering to complete a journey.

The initial impetus was to make the building continuously accessible on the inside for the 10,000 people who entered and exited it every work day.

“That led to our design for a sinuous curving storefront on the street side, made from 7.6m x 1.22m glass panels, all supported by glass fins.

This pushes out beyond the original lobby footprint adding about 280m2 of new space.

“The expanse of glass also improves the interiorexterior connectivity, and reduces the separation between commuters and the building’s services.”

To retain the solid, sturdy essence of the building, the original concrete columns were left exposed and complemented with a terrazzo floor.

“Countering that, we designed a wall system that

Before

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Facing page, top and above:The lobby wall panels fold over to also form the ceiling.

Lighting, sprinkler systems, security and other services are all concealed within the slots between the panels.

Facing page, lower:Circulation through the original building had been disrupted with the need to install secure turnstile entry after 9/11. The new configuration retains that secure inner access to the office towers, while providing free-flowing, continuous movement through the lobbies

folded into the ceiling. The 9300m2 of tough Krion panels were prefabricated in Spain – accurate to 1.6mm – then shipped and assembled on site.”

Slots between the panels contain the concealed sprinkler system, lighting, security and other services.

With the addition of seating and a reception/ security desk designed like a major artpiece, the revamped lobby not only provides the building with a highly attractive and light-filled community space, it also visually and physically engages with the 100,000’s of pedestrians that pass by on the way to and from nearby commuter railway stations.

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Project:CME Center, Chicago Architects:Krueck + Sexton Architects Construction:Lend Lease Construction Civil engineer:V3 Mechanical and electrical engineer:ESD Global Landscaping:Hoerr Schaudt Landscape Architects Fire consultant:Jensen Hughes Wall and ceiling panels:Krion from Porcelanosa Glazing system:TNG from Roschmann Group Security system:Sentinel Consulting Lift services:Otis and Schindler Escalator services:Otis Flooring:Epoxy Terrazzo and Terroxy by John Caretti & Co, Krez Group Lighting:George Sexton Associates, Titan, Litelab, Tempo Story by Paul Taylor Photography by Kendall McCaugherty @ Hall+Merrick

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Project U60

Location: Pyrmont, Sydney

Architect & interior designer: Custance Associates Australia

FRESH PERSPECTIVE By completely reinvigorating internal facilities and external features, Custance Associates has transformed U60 into an attractive and highly functional commercial space that’s attuned to the new generation of office tenants

Some existing buildings seem to function so poorly, it’s hard to imagine what the original design rationale could have been. But it’s also heartening to see what a huge difference can be made by a thoughtful intervention to such a building.

Sitting on the busy East-West bypass between Sydney’s CBD and the inner western suburbs, the 15-year-old Amex building at 60 Union St had some decidedly puzzling design features.

The development consisted of a three-storey terrace building and a seven-storey office tower, connected by a glass atrium roof. Open at both ends, the atrium was essentially a windswept tunnel.

It was also open to the basement level retail below, with a ramp across the void providing only

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constrained flow between the two buildings.

On top of that, the main entry to the building was almost concealed and opened into an under-sized lobby, while exterior finishes were hard, cold and unfriendly, resulting in little street appeal.

When Amex vacated the premises in 2016, building owners AFIAA tasked Custance Associates Australia with reinvigorating the building to align it with current market needs and demands.

Custance director Greg Prerau says AFIAA wanted an A Grade building that would compete with nearby CBD buildings, while also having its own character.

“We enclosed the atrium with a glazed facade at each end, and included operable louvres so the

Below:Renovation of U60 in Pyrmont, Sydney by Custance Associates Australia has greatly improved the building’s street appeal, entrance and lobby. It’s also transformed the atrium between the seven-storey tower and three-storey terrace building, from a windswept tunnel to an attractive and functional shared space for tenants.

Right:An array of aluminium tiles screening the new glazed lobby of the terrace building were arranged to give a dynamic presence to the prominent corner of the development.

Facing page:Custance Associates worked with landscapers Junglefy to create the three-storey high green wall in the revamped atrium – one of the health and wellness features now found in the building.

Right, top:Access between the two buildings had previously been across a bridge spanning a void open to the basement retail level. Covering over the basement converted the atrium into an indoor courtyard, making it a much more practical and attractive area for tenants Right, lower:Casual seating and desking areas in the new atrium courtyard were designed for tenants to use as an extension to their offices, for casual meetings.

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space was naturally ventilated,” says Prerau.

“The basement level retail was rejigged, and the

hospitality style changing rooms and showers.

“To increase the street presence and sense of

void covered over with an atrium floor, creating an internal courtyard shared between the buildings.”

entry, the main corner of the three-storey building was demolished and rebuilt with a grand two-storey

This gave space for a cafe at the front of the

entrance opening into a new, much larger lobby,”

atrium, while further in is an arrangement of seats and desking for informal tenant or client meetings.

Encasing this glazed structure in a customdesigned screen of aluminium tiles adds to its

A feature of the atrium is a 9m-high green wall, which promotes a sense of calm and assists with

prominence, with the pattern and angles of the tiles carefully considered so as to create a sense of

cleaning the air of VOCs for a healthy environment.

movement without the need for mechanics.

More health considerations came with the creation of a state-of-the-art end-of-trip facility in

The end result of the changes inside and out is a transformation of the building into a highly attrac-

the basement level 2. This provides a large bike storage, 102 lockers and drying cupboards, plus

tive, integrated commercial and retail facility that now provides an A Grade experience for occupants.

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Below:The revitalised atrium provides an ideal location for the new cafe, with easy access from the lobbies of the terrace building on the right and tower building on the left, as well as from the laneway at the end of the space.

Below, right:End-of-trip facilities in the lower basement level have features and finishes more in tune with a hospitality project than those found in a typical office development.

Project:U60, Pyrmont, Sydney Developer:AFIAA Architect and interior designer:Custance Associates Australia Construction company:Buildcorp Mechanical engineer:GWA Consultants Australia Electrical engineer:BSE Quantity surveyor:Napier Blakely Landscaping:Junglefy Fire consultant:Holmes Cladding:Equitone on core; custom external metal screen

by Ausrise Aluminium Glazing:Facade system by Ausrise Aluminium Flooring:Artedomus, Interface, Metz Paint:Dulux Natural White, Black, Grey Pebble Wallcovering:Rimex Metals, Earp Bros, Equitone

Ceiling panels:Havwoods General lighting::Euroluce Reggiani, Feature lighting:Euroluce Reggiani, Erco, DesignNation Miniforms, Zumtobel Public area furniture:Stua, Ross Gardam from Stylecraft; Vuue, Lapalma from Zenith; Lacividina from Ownworld Surfaces:Polytec laminates, Caesarstone, Quantum Quartz Blinds:Verilux Lift services:Schindler Story by Paul Taylor Photography by Marcus Clinton; Mark Syke

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Project Shimao Festival City

Location: Shanghai, China

Architect: Kokaistudios

FACE OF CHANGE A mega mall, fallen from grace due to changing retail trends, is reworked with fresh circulation and entrances – the result is a dramatically reinvigorated thriving retail and dining hub

These pages:Large, central and yet increasingly out of step with modern lifestyle retailing, the Shimao Festival City mall in Shanghai has now been transformed by Kokaistudios. The re-invented venue has differentlook entrances catering to different users and a high-profile external escalator system which has the added advantage of also turning the mall into a tourist attraction.

The greenest building is one already built – a truism often touted in regard to renovation projects.

And greenest also often means ‘most economical’ – particularly when considering a mega mall with falling attendance and yet great forward potential.

After success in other China mall projects, architectural company Kokaistudios has now brought its expertise in shopping mall renovation to China’s increasingly lifestyle-driven retail scene.

Kokaistudios principal architect Andrea Destefanis says the firm has dramatically – even theatrically – reinvented Shimao Festival City in Shanghai.

“This project demonstrates how by expanding a dated mall’s functionality and reconsidering its circulation, such a sizeable, valuable structure can be reabsorbed by the city as a useful, even thriving public space for retail, dining and entertainment.”

Built in 2006, Shimao Festival City is a modern monument of Shanghai. Comprising retail, hotel and office space, it is located at the top of Shanghai’s renowned East Nanjing Road shopping

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street, with views across nearby People’s Square.

But despite its prime location, the mall had become overlooked by residents in favour of venues more clearly aligned with a contemporary city lifestyle.

“Kokaistudios was tasked with upgrading the pre-existing retail component of Shimao Festival City,” says Destefanis. “By reconfiguring circulation inside and outside the facility, identifying clear pathways according to visitor type, and creating openness and space, the reworked mall has helped reinvigorate a prime corner of Shanghai real estate.

“In addition, this comprehensive makeover has placed the mall firmly on the radar of both residents and tourists – reconnecting it to the city.”

Kokaistudios’ design concept is a theatre, and the renovation centres on the pedestrian flow of three distinct identified user groups – tourists, audience (think local residents) and actors (or office workers), with areas of the mall imagined as the foyer, auditorium, and backstage of a theatre.

“Starting from outside, an external ‘red carpet’

Left:View from the fourth floor balcony looking to East Nanjing Road and the People’s Square.

Facing page:Long escalators lead directly up to the higher floors, which have been given a stronger emphasis in the reworked mall.

guides visitors along a sky escalator extending from Nanjing Dong Lu to a third-floor balcony and podium entrance space. From here, visitors may access a second external escalator, taking them to another covered balcony on the fifth floor.”

Created primarily with tourists in mind, the red carpet guides visitors on an experiential journey. All but circumnavigating the mall, it offers impressive views across adjacent landmarks. The high-profile

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escalators reinstate the original circulatory intention of the building, particularly with regard to its diagonal axis.

The eye-catching red escalators also see the mall’s role expand to that of tourist attraction, re-establishing it as a public space for enjoying all facets of Shanghai life - not just shopping.

In addition to softening the perimeter of the formerly enclosed mall, and physically reconnecting

These pages:Local attraction – this new-addition atrium is designed to whisk local residents by elevator straight up to the fifth and sixth floor eateries, bypassing the mall’s opulent shopping options. Finished with vertical wooden boards and LED columns, the atrium lends light, openness, and drama to the reinvented space.

the architecture to its environs, the intervention repositions the mall’s focal point to its upper levels.

the F&B outlets, without need to navigate escalators.

Another entrance on East Nanjing Road caters

Where previously access to the mall’s core was exclusively via its ground floor flagship stores,

to a third demographic, defined by Kokaistudios as actors and imagined as those working in nearby

Kokaistudios’ solution transports visitors directly

offices. In order to facilitate frequent, more con-

to its re-centred and newly opened-up third-floor foyer, bringing both energy and movement to the

venient use of Shimao Festival City, an escalator conveys this group direct to the heart of the mall.

facility’s formerly under-visited upper levels.

Positioning the mall as a lifestyle destination that

“Envisaged almost as a ‘backstage’ space, this second plaza sets an industrial tone through grey

extends beyond retail was also key to attracting a

louvre walls, polished black glass.

second target demographic: Shanghai residents – imagined here as ‘audience’. As part of this, the

“These elements combine to reinforce the space’s efficiency and purpose, and contrast with

renovated mall now features several high-end restaurants and bars on its fifth and sixth floors.

the mall’s more tourist-oriented outer areas.”

Kokaistudios’ project demonstrates how archi-

“With these destinations in mind, we created a new street-level entrance that opens onto an

tectural renovation can serve cities by retrofitting outdated shopping malls with the lifestyle elements

attractive atrium,” Destefanis says. “Flanked with vertical wooden boards, seemingly extending the entirety of the mall’s height, and interspersed with LED columns, it lends light, openness, and drama to what was previously an under-optimised space.”

of now, and flexibility for the future. In this way, these large-scale structures can be absorbed back into the useful fabric of urban centres.

With Shimao Festival City, this translates to opening-up a formerly overlooked space in the heart

From here, banks of elevators take diners directly to

of Shanghai for the benefit and enjoyment of all.

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These pages:The second plaza has an industrial feel, and is intended to cater as much to office workers as to shoppers.

Project:Shimao Festival City Architect:Kokaistudios.

Project team Lead architects – Andrea Destefanis, Filippo Gabbiani; architecture design director – Li Wei; architecture design team – Li Dongyin, Anna Maria Austerveil, Paz Taibo Eva Maria, Zheng Yong, Qin Zhantao, Guan Bohua, He Wenbin, Daniele Pepe Interior designer Kokaistudios Project team Lead designer – Rake Wang; interior design team – Kasia, Huang Wanqian, Xu Xinjie Developer:Shi Mao Group Construction:SCG Civil, mechanical and electrical engineer:ECADI Cladding:Anodized aluminium, PVDF aluminium Glazing system:Low-E double glazed units – extra white General flooring:Terrazzo floor tile Wallcoverings:Anodised aluminium, aluminium louvres with flame retardant film, brick-look wall covering Paints:Nippon, Dark Grey General area ceiling panels:Gypsum board, metal net panel Lift and escalator services:Schindler Story by Charles Moxham Photography by Wu Qingshan

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MARKET SECTOR REPORT SENIOR LIVING

CREATING CONNECTIONS Senior principal Emma Todd and associate partner Morné Hugo discuss how establishing pathways for interaction is central to Boffa Miskell’s approach to masterplanning and landscape design in today’s senior living communities

With life expectancy continuing to rise, and

master-planned senior living communities and

evolving views on what life after retirement looks like, it’s no wonder that today’s aged-care residences are

large-scale residential developments throughout the country. These days, developers are embracing

a far cry from those of twenty, or even ten, years ago.

In fact, terms like ‘aged-care residence’ and

a more holistic way of thinking around what senior living looks like.

‘retirement village’ are eschewed by residents and master-planners alike. The preferred phrase is

The three key drivers for masterplanning a residential development are: creating a community,

‘senior living’ – reflecting that, while these residential enclaves may be designed for the over-65 set, they’re no longer a place for them to sit quietly out of the way and wait for the inevitable.

Over the past three decades, urban designers

establishing a place, and designing for use. Those factors are always there – although how they are implemented varies from project to project.

Our design team is particularly inspired by the Māori philosophies of Hauora (well-being, complete

and landscape architects at Boffa Miskell have

health), Hononga (establishing connections and

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These pages Boffa Miskell senior principal Emma Todd and associate partner Morné Hugo provide an informed perspective on the key drivers for masterplanning senior living residential developments – as seen in The Poynton on Auckland’s North Shore (left) and Rawhiti Estates, Remuera (right).

relationships), and Whakapapa (place and heritage); and how we can translate these ideas into the

playgrounds are among the most sought-after

design of senior living communities.

Creating a community is more than simply build-

positive impact in retaining inter-generational connections, while also providing a legible ‘village

ing houses; it’s about building connections and

green’ social centre that encourages residents to get out and about and enjoy nature-led activities

encouraging engagement. To provide a physical framework in which a senior living community can

amenities. These features are seen to have a

and outdoor fitness opportunities.

thrive, there should be a recognisable centre and multiple spaces for residents to interact through a

Interaction is increasingly recognised as essential to older peoples’ well-being. In the past, even the

range of activities.

most sought-after senior living facilities often forgot the human need for socialisation in their design.

Careful consideration will put in place a hierarchy of streets – from main through-routes to cul-de-sacs

With a focus on preserving independence,

or lanes – that are legible and walkable, and create a chain of connected spaces with a social heart.

opportunities for communal experiences and encounters were seen as a secondary considera-

How we design these connected spaces – though planting, seating, lighting, and the public

tion and unintentionally reduced.

In the late 1980s and ’90s, the emphasis was on individual units for independent living. These facilities were much more internally focussed and tended to have a rather formal entrance and quite

frontages of the buildings – is what provides a distinctive and recognisable identity to the village that encourages residents to take ownership of their living environment and surroundings.

Shared gardens, a café, open spaces for special events like a farmers’ market, and on-site

structured flower beds that were for looking at, rather than a community asset that residents are encouraged to be involved with.

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More recently, there has been a transition from this lower density development to apartment-style

morning, beautiful day’ conversations can happen?

Does an adjacent reserve provide the opportunity

living, and there is a concurrent change to a communal landscape for activity.

for residents to watch children’s sport or families having fun on a playground? Is it appropriate to

For seniors, particularly those living with physical

make a direct link into that reserve space, or to

limitations, ‘active’ is a relative description and may be better expressed as having access to, and moving

other public spaces?

The idea of integration with the neighbourhood

within, the outdoor environment. So, we provide opportunity for independent walking, being pushed in

reflects the fact that most residents of senior living communities come from the local area and wish to

a wheelchair, or using an electric wheelchair.

retain independent access to these familiar places.

Paths and sidewalks encourage and enable residents to move around outdoors. The planting

The model of retirement villages that are fully fenced and isolated from the surrounding residen-

associated with these paths should be colourful, perfumed and hold interest for the residents; and

tial community is slowly changing.

Some aged-care providers still insist on facilities

by providing seating with backs and arm rests, residents can enjoy sitting out in the sun.

with walls and gates, believing this provides a sense of security that residents want. However, working

An important factor is the opportunity to interact with neighbours. Can a walking path run in to a nearby street pavement, where incidental ‘Good

towards a mixed model where openness and security concerns are balanced, and addressed through intuitive design and CPTED (crime prevention through

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Facing page: Landscape design for senior living communities shouldn’t be restricted to structured flower beds at the entrance, but should provide opportunities for residents to actively engage with their surroundings.

environmental design) analysis during the concept and developed design process, is gaining traction.

change your way of living entirely – older people are choosing to stay in the workforce and a more active

CTPED strategies include careful consideration of planting design to provide privacy without

aging model is being adopted.

The positive outcomes go both ways – seniors

causing visual obstructions and unsafe spaces,

have a lot to offer; and there are opportunities to

the correct use of street lighting and careful use of CCTV monitoring, and encouraging pedestrian traf-

benefit from their knowledge and experience if they are kept involved with family and community, rather

Below:The masterplan for Gulf Rise by MetLifeCare shows how Boffa Miskell aims to give senior living communities a variety of outdoor social spaces for both residents and visitors – 1 Entrance gate, 2 The social garden, 3 Pavilion and cut flower garden, 4 Overland flow path, 5 Fitness trail and bee garden, 6 The butterfly walk.

fic and social interaction.

The desired outcome is to create an environment

than going to live in an isolated retirement village.

We see this trend toward openness and con-

that is well-cared for and occupied by residents

nectivity gaining momentum as the youngest

throughout the day. Studies have shown that the application of CPTED measures overwhelmingly

Babyboomers, followed by GenX, become seniors.

Plus, the current retirement generation didn’t

reduces criminal activity by encouraging shared ownership and natural surveillance by residents.

grow up with smart phones and social media as an integral part of life. GenX generation has, and that’s

As expectations continue to evolve, we anticipate demand for more flexible living options. So,

another form of connection that needs to be considered in senior living communities of the future.

although people may choose to downsize or simplify, it’s not the retirement of years ago.

The model is no longer to retire at 65 and to

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