COMMERCIAL DESIGN TRENDS New Zealand Vol 30/09 by trendsideas.com

CONTENTS 22

EDUCATION MIT Manukau Campus, Auckland This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange 8 Tyree Energy Technologies Building, UNSW Australia Creating a new technologies building gave this university an ideal opportunity to walk the talk for sustainable design 22

MARKET SECTOR REPORTS Heritage Buildings: Seismic Retrofits Preserving heritage buildings from seismic damage and making them safer is a focus for specialist engineers, says John Hare of Holmes Consulting Group 31 LED Technology: Street Lighting The rapid adoption of LED street lighting technology has underscored the need for new specifications and guidelines, says Andy Collins of Opus International Consultants 62 Urban Design: Housing Clusters Shifting thinking – Aecom structural engineer Isabella Franks puts the case for higher density living 81

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PROJECT PORTFOLIO Grant Thornton House Podium, Wellington Boasting a contemporary profile and transparent, engaging aesthetic, this prominent building has been given a facelift, and now opens up to shoppers at street level 38 Harley Gray Building, Middlemore Hospital, Auckland Designed to integrate seamlessly with existing facilities, this state-of-the-art clinical services building is at the heart of Middlemore Hospital 44 100 Moorhouse Avenue, Christchurch As new buildings take shape and open for business along many of the city’s thoroughfares, this mixed-use commercial development is one of the latest landmarks in the Christchurch rebuild 50 Ceres Organics, Auckland Raw, unfinished materials, a living wall, and a commitment to sustainability reflect the core values of the company behind this new office and warehouse 52

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Interactive classrooms and student breakout hubs line each level of the atrium in the new MIT Manukau Campus. These feature colourful furniture and pods where students can meet and share ideas. See full story on pages 6-20. Photograph by Jamie Cobel.

New Lynn Merchant Quarter, Auckland The stand-out facade of this new residential building benefits from a custom-specified cladding system – chosen for its versatility, affordability and extended life 58

APARTMENTS The Interlace, Singapore With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement 68 Eliza, Sydney While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century 74

WORKPLACE Charter Hall, Sydney An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace 88 DNV GL Technology Centre, Singapore When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round 94 Kimberly-Clark, Chicago This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research 102

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INDEX

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CERTIFIED â&#x20AC;˘ WOODPRODUCTS â&#x20AC;˘ NATURALLY

Southland Beech: A Little History and a Lot of Education The mission of the Rainforest Alliance is to protect

ecosystems and the people and wildlife that dependthe new Manukau The specification of Southland Beech for on them by transforming land-use practices, business practices and consumer behavior. Institute of Technology campus highlights the role of education in changing mindsets.

Architects Warren & Mahoney specified Southland Beech veneers and solid timbers in a decision that fused authentic NZ building materials with the dynamic growth of business, IT and logistics disciplines which are planned for the new building. But for many architects a 2013 survey identified that the influential history of Southland Beech had been a mystery. Southland Beech is a naturally regenerating and flourishing indigenous species. Its availability stems back to the little known 1906 South Island Landless Natives Act and the subsequent Waitutu Block Settlement Act. The Waitutu Act witnessed the gifting of virgin Rimu forest to the Conservation estate, for the enjoyment of all New Zealanders, in exchange for rights to harvest areas of Beech forest in Southland. Lindsay & Dixon have the sole environmental management and marketing authority vested in them by the Waitutu iwi, with the tribe deriving its primary income from the sustainably managed and internationally FSC certified Beech resource base. A history lesson, a unique and beautiful building material and a magnificent outcome. Lindsay & Dixon join with Waitutu in congratulating MIT and Warren & Mahoney for bringing the beauty of Southland Beech and the history of Waitutu back to the fore.

The mark of responsible forestry

Lindsay & Dixon Limited Tel: 021 226 6059, email: bernie@lindix.co.nz www.lindix.co.nz

Learning is a life-long process, and it’s not limited to the four walls of a classroom. Learning is just as likely to happen in peer-to-peer settings, in the wider community, or through interactive technology. This sea change in thinking is reflected in the multifaceted approach to tertiary education, as exemplified by the new MIT Manukau campus. @DavidJideas facebook.com/trendsideas David Johnson

MIT Manukau not only provides a wide range of different learning opportunities for students, it also takes the concept of accessibility more literally than most tertiary institutions – the campus is integrated with a new transport interchange. Trains arrive at the Manukau station beneath the building, and buses pull up directly alongside. Both MIT and Auckland Transport benefit from the high exposure, and the traditional barriers to study are removed as commuters and students animate the mezzanine floors and stairs within the vast atrium. The integration of transport hubs with commercial buildings and even apartments is commonplace overseas, and we can expect to see more exciting developments here in the coming years. In this issue we also profile a new Australian tertiary facility – the Tyree Energy Technologies Building at the University of New South Wales. Here, again, the design reflects changing teaching methodologies, with an emphasis on sustainability, collaboration and opportunities for interaction, much like the modern offices we profile elsewhere in the book. All these new projects are indicative of the growing move towards activity-based working, where one size does not fit all. Workers and students are given every encouragement to be the very best they can be, and the results speak for themselves. All this and so much more – check out the dramatic Interlace and Eliza apartment buildings, which are truly out of the ordinary. Happy reading

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An exposed white diagrid defines the exterior of the new MIT Manukau Campus and Transport Interchange. The diagrid facade references traditional weaving patterns that express the idea of both technology and craft.

The new five-storey Harley Gray Building is literally the new heart of Middlemore Hospital – a primary function is to optimise patient and visitor flow. It also contains a suite of operating theatres and a neo-natal unit.

Auckland’s population is expected to reach 2.3m within 50 years. Aecom’s Isabella Franks looks at how Vancouver, a city of similar size, successfully transformed its city centre into a dense urban community.

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SECTION FOCUS EDUCATION

SENSE OF PLACE Modern campus architecture reinforces the concept of an open education facility, integrating effortlessly with the wider community

Project MIT Manukau Campus and Transport Interchange

Location: Manukau, Auckland

Architect: Warren and Mahoney

RIGHT ON TRACK This tertiary campus straddles a railway line, seamlessly linking a new business school with a transport interchange

Modern tertiary education is a far cry from the ivory towers of the past. Not only has the whole concept of an elitist education been turned on its head in recent years, but tertiary facilities are actively merging with the community to remove barriers and encourage participation. The Manukau Institute of Technology (MIT) takes this one step further with the opening of the new 20,000m2 Manukau Campus to accommodate the Faculty of Business and IT and the School of Distribution and Logistics. The campus is fully integrated with Auckland Transport’s new Manukau railway station and bus interchange.

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Architect Blair Johnston of Warren and Mahoney says the combination of education and transport facilities is unique within New Zealand. “The focus has centred on producing the best possible learning environment while also bringing commuters and the people of Manukau City into the heart of MIT, exposing its programmes to the widest possible audience,” he says. “The project is aimed at improved educational outcomes in Manukau, which statistically has a tertiary education uptake rate that is only about half that of the rest of the country. By identifying and removing barriers and thresholds, we have made

Preceding pages and below: An exposed white diagrid defines the exterior of the new MIT Manukau Campus and Transport Interchange. The diagrid references traditional weaving patterns, while the triangular forms on the canopy present a similar motif in timber that carries through to the interior. Right:Stairs crisscross the atrium linking all six levels and helping to animate the student facilities.

a welcoming, all-embracing facility. Providing the interchange within the building enabled us to go beyond mere co-location towards true integration. It is literally bringing education to the people.” On the exterior, the building boldly addresses the street providing a defining landmark that is a key part of the rejuvenation of adjoining Hayward Park. An exposed white diagrid, with a diamond-shaped grid, reinforces a sense of place. “This needed to be a cultural building that would reflect the community and express its place in the world,” says the architect. “So rather than using an orthogonal grid on the facade, we opted for the duality of a design that is reminiscent of traditional weaving patterns. It expresses the idea of both technology and craft. While this is a highly technical building we have imbued the entire campus with a sense of craft and textural richness.” The facade is further defined by layering. Beyond the diagrid are fixed louvres, angled to deflect the sun and reduce heat loads inside. Horizontal louvres feature on the east and north sides of the building, while the west facade has vertical louvres. Another key determining factor in the design was the existing rail trench. “The building needed to straddle the trench, so much of the structure is hung from the roof trusses – in part it was built from the roof down, rather than

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from the ground up,” says Johnston. “This has given the building a certain lightness that would not have been achieved otherwise.” This need to accommodate the trench led to the soaring six-storey atrium, which was not part of the original brief. “By enclosing this area, rather than having separate wings linked by an open courtyard, we created the opportunity for a major civic space at the heart of the building,” says Johnston. “Every floor has a mezzanine that opens into the atrium, enhancing a sense of connection at all levels, both horizontally and vertically. The learning process is highly visible and the entire building is animated – people are much more likely to use the stairs rather than the lifts because they are such a prominent part of the architecture.” At the west end of the atrium, sky bridges form social student hubs on each level. These are as much a part of the learning environment as the classrooms. “Modern pedagogy is much more focused on peer-to-peer learning. This building follows that trajectory. More than half the learning spaces are open and defined only by furniture and moveable screens. There is a lower proportion of traditional learning spaces,” Johnston says. The various levels on the building are defined by

Below:The triangular pattern reappears on the carpets, with each floor defined by a different colourway. Right:Glazing in the atrium is confined to clerestory windows and the ends of the buildings, rather than overhead. This ensures the interior is not affected by solar heat gain. Much of the atrium is suspended from the roof, due to the need to straddle the rail trench below ground. The building comprises three separate structures designed to move independently in a seismic event.

different colours, which help with wayfinding. The colours reference the baskets of knowledge from traditional Maori mythology. Motifs introduced on the exterior also flow through to the inside. And the design team specified Southland beech timber throughout the interior to add warmth and to bring a residential feel to the building. Dramatic wood panels are a key feature of the atrium ceiling, and the auditorium, with the diamond motif repeated in both areas. Flexible learning environments are created by positioning columns at the perimeter of the building rather than in the centre. Johnston says it is difficult to know what the institute’s needs might be in 20 years, but these floorplates can be adapted easily. The sense of openness also extends to the train station, where the entry, in one corner of the atrium, is angled at 45°.

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“Again we wanted to remove barriers and make the entry as seamless as possible,” says Johnston. Peter Quigg, MIT director of academic operations, says one of MIT’s fundamental operating strategies is to make education accessible. “Having an integrated transport interchange fulfils that need almost to perfection,” he says. “Accessibility has a direct bearing on student numbers, especially in our catchment area, so to have rail and bus services bring people right to the door couldn’t be better.” Quigg says the new building is the first phase of a three-phrase project that will eventually see two further MIT buildings adding another 45,000m2 to the facility. There are also plans to build Te Papa North Museum on the other side of Hayward Park, which will be an additional drawcard.

Below:Learning spaces include an auditorium, which is lined with beech timber, interactive classrooms and breakout student hubs on each level of the atrium. These feature colourful furniture and pods where students can meet and share ideas. Right:The student hubs occupy the sky bridges that link both sides of the atrium.

Left and above:The entry to the train station near one corner of the atrium is angled at 45째. As with the MIT facility, there are few barriers to negotiate. Top and far right:Trains pull up right inside the building. Both MIT and Auckland Transport benefit from the greater exposure to the wider community.

Project:Manukau Institute of Technology (MIT) Manukau Campus and Transport Interchange, Auckland Architect:Warren and Mahoney, Auckland Structural engineer:Holmes Consulting Group Services engineer:Aurecon New Zealand Acoustic engineer:Marshall Day Acoustics Fire engineer:Holmes Fire & Safety Quantity surveyor:WT Partnership Project manager:Beca Carter Hollings & Ferner Main contractor:Hawkins Construction Facade design, engineering and installation: King Facade International Lift services:Otis Elevator Company

Air conditioning, heating and ventilation systems:Aquaheat New Zealand Interactive classroom and theatre technology:Automation Associates Feature timber panels:Southland beech from Lindsay & Dixon Story by Colleen Hawkes Photography by Jamie Cobel save | share | video | images Search 44560 at trendsideas.com

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SEAMLESS TRANSITION Starting over construction of the MIT Manukau campus and Transport Interchange with a new main contractor and rebuilding the supply chain was the greatest challenge for the team at King Facade International

Every project has its challenges but the team responsible for the facade design, engineering and installation at the MIT Manukau campus had an especially difficult start. King Facade International (KFI) not only had to deal with a challenging construction, but also with the collapse of the main contractor Mainzeal. Director Scott Marshall says the supply chain was greatly affected, with some materials already on site, others en route from China and still other materials yet to be manufactured. “We needed to rebuild supply chain relationships and trust, and prove our integrity with the New Zealand stakeholders in the project,” Marshall says. “KFI subsequently contracted to MIT directly for the material supply and to the new main contractor Hawkins Construction for the building works. “An enormous amount of co-ordination was required to ensure all the specific challenges of the facade installation were fully understood and there were no areas left unaddressed.” 16

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KFI undertook a full stocktake, and also audited the work done – and in some cases recommended remedial action – and integrated new processes with existing procedures. Key works included the structurally glazed curtain walls, which incorporated parapets and interface flashings, commercial windows and doors, the horizontal and vertical aluminium shade louvres on the exterior, frameless glass entry lobbies, and plant room louvre screening. The highly experienced team at King Facade has a long track record working on successful facade projects within New Zealand. For further information, contact King Facade International Limited, 159 Marua Rd, Mt Wellington, Auckland 1051, phone (09) 392 0188. Or email: info@kfi.co.nz. Website: www.kfi.co.nz save | share Search 45065 at trendsideas.com

Above:The dramatic facade of the new MIT Manukau campus and Transport Interchange belies a challenging construction period. King Facade International undertook to rebuild supply chain relationships following the collapse of Mainzeal. The company was responsible for the facade design, engineering and installation.

MOVING TO NEW HEIGHTS Vertical transportation in the MIT Manukau campus is smooth and quiet, with the latest lift and escalator technology from Otis

It is to be expected that a new building will feature the very latest smart technology. At the MIT Manukau campus, this technology extends to the lifts and escalators. Otis Elevator Company supplied and installed two Otis escalators and eight Otis Gen2™ Premier2 elevators. Belt technology, in place of ropes, provides for an especially smooth, quiet ride. Both the lifts and escalators have regenerative drives, which provide power savings. The Otis Remote Elevator Monitoring System (REM) helps to maintain equipment reliability – Otis says it’s like a technician checking your lift 24 hours a day, seven days a week. The REM system allows the company to identify potential problems remotely and in many cases Otis can attend to them prior to any breakdown or before the tenant knows there is an issue. To maintain reliability of lift communications at all times, REM carries out frequent voice tests. The company also provides the Otis Elite™ Service for elevators in the MIT campus. In addition to Otis trained field technicians, remote engineers are on hand 8am to 8pm Monday to Friday. These engineers specialise in remote technology diagnostics, and in many cases can restore a lift back to service more quickly than sending a technician. Where a technician is required, they know exactly where to start, thanks to the REM technology. The Otis escalators are a heavy-duty option, designed to accommodate the large numbers of commuters heading to and from the train platform on the lower level. For more details, contact Otis Elevator Company Limited, PO Box 25, Shortland Street, Auckland 1140, phone (09) 259 6200. Email: info@otis.com. Website: www.otis.com save | share Search 45096 at trendsideas.com

This page:Otis supplied and installed eight Otis Gen2™ Premier2 elevators and two escalators at MIT Manukau. SEARCH | SAVE | SHARE AT trendsideas.com

ENGAGING ON ALL LEVELS Education in the 21st century is all about maximising opportunities for learning, with an interactive technology platform enhancing flexible, collaborative teaching spaces

Right from the outset, it was clear the new MIT Manukau campus would set a new benchmark for tertiary education. Designed to celebrate learning and diversity, the campus provides a flexible, collaborative and multipurpose learning environment where students, tutors and lecturers are fully engaged at all times. Automation Associations, a company that specialises in automation and control systems, was a key part of the solution. Commercial director Frank Bantjes says interactive technology plays an important role in the classroom, but it is always a tool, not a focal point. “Technology helps in providing a platform that allows a seamless transition between delivering and receiving the teaching message,” Bantjes says. “Our mandate required the equipment to be almost invisible, so there is 100% engagement with the tutor and the actual learning process. We like to say to our clients, ‘It’s not about our technology, it’s about your space.’ It’s the space and what happens within it that is important.” Bantjes says the more open, sharing environment reflects a major change in teaching methodology. 18

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“We are seeing a much more holistic approach to education – it is no longer the didactic model that existed for centuries. The technology platform we provide supports this new initiative. It encourages collaboration and the sharing of information, not just between students and teachers but between peers as well. “It is not just the students who take something away from a lesson. The tutors and lecturers also gain valuable insights and knowledge from such a reciprocal approach.” Bantjes says the seamless transition is enhanced by consistency – having the same tactile, userfriendly technology throughout the campus makes it easy for students and tutors alike to touch, feel and engage. For more details, contact Automation Associates Commercial, 7 College Hill, Ponsonby, Auckland 1011, phone (09) 377 3778, fax (09) 377 3788. Website: www.aa.net.nz save | share Search 45061 at trendsideas.com

Above Automation Associates supplied an interactive technology platform to the new MIT Manukau campus. This included equipping the auditorium with a mixing desk and interactive presentation facilities. The theatre rack supports the presentation systems. Top right and right:Ultra shortthrow projectors are integrated with PC screens and overhead projectors at the front of the teaching spaces. Screens can be used as whiteboards, and information from these can be stored and distributed digitally. Far right:Because the projectors in the teaching spaces are so close to the projected images, shadow-casting is not an issue.

BEHIND THE SCENES A variety of air conditioning solutions were provided for the new MIT campus by Aquaheat New Zealand, including an ultra-quiet system for the auditorium

Innovative design solutions were required for the installation of the air conditioning, heating and ventilation systems in the new MIT campus. Aquaheat New Zealand, the company that was responsible for the detailed design, construction, installation and commissioning of these systems, faced several challenges, says Brett Laurent, regional general manager. â&#x20AC;&#x153;For example, the building includes a data room with climate control that needed to be operational more than six months before the rest of the building could be completed. Aquaheat designed a temporary cooling solution and additional temporary filtration to ensure the data room was kept free of construction dust. We later managed a seamless transfer to the permanent systems.â&#x20AC;? Another one-off solution by Aquaheat was the design of a special steel support structure for the central air handling plant on the roof. This was required because the building design included a lightweight insulated wear slab that could not directly support the plant weight. 20

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The majority of teaching spaces and general areas are supplied with air conditioned air through floor-mounted swirl diffusers, which mix the air well and deliver a high level of comfort to the occupants. Return air is transferred to the large central atrium where it rises to the top and is returned to the air handling plant. Because the atrium floor partly sits above the train station, it incorporates hot water heating coils embedded into the concrete slab, which ensure the area is comfortable during the winter. The air conditioning in the auditorium needed to be quiet, so the ductwork is run below the raised seating, with the air pressurised beneath the seats. Contact John Forsyth, business development manager, Aquaheat New Zealand, phone 021 578 352. Email: john.forsyth@aquaheat.co.nz. Website: www.aquaheat.co.nz save | share Search 45064 at trendsideas.com

Above left:Floor-mounted swirl diffusers distribute air conditioned air in the teaching spaces and general areas in the new MIT building. All the air conditioning, heating and ventilation systems were by Aquaheat New Zealand. Above centre:Aquaheat designed a special steel support structure to take the weight of the plant on the roof. Above right:Complex hidden plant equipment maintains a high level of comfort for the building occupants all year round.

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Project Tyree Energy Technologies Building, UNSW Australia (University of New South Wales)

Location: Sydney

Architect: Francis-Jones Morehen Thorp (FJMT)

LEADING BY EXAMPLE Creating a new technologies building gave UNSW Australia an ideal opportunity to walk the talk for sustainable design

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Below:The new Tyree Energy Technologies Building at UNSW weaves in and out of the trees on the edge of a village green. The upper levels are clad in terracotta ceramic panels, while the lower level – the student commons – is fully glazed.

Just as teaching and learning methods have changed with emerging technologies, so do education facilities need to keep pace. The new Tyree Energy Technologies Building at the University of New South Wales (UNSW) not only needed to accommodate new teaching and learning spaces for up to 1240 undergraduate and postgraduate students, it also had to reflect the university’s focus on sustainable energy technology research, education and industry collaboration. Faculty of Engineering development manager Stephen Wooldridge says the school wanted the building to achieve a 6 Star energy rating that would support the university’s research into solar photovoltaic technologies, sustainable clean fuels, smart grids, energy storage, energy economics and policy analysis. “At the same time UNSW wanted a building that would provide a memorable and distinctive address for the campus,” Wooldridge says. “It needed to make a strong design statement.” Architect Matthew Todd of Francis-Jones Morehen Thorp (FJMT), the firm that won the limited entry competition to design the building, says the site was of considerable strategic importance. “The site is the junction of three interconnected urban zones – the retail frontage of Anzac Parade, the tree-lined mall that is the main approach to the university, and the huge oval that forms a village green. This project created an opportunity to create a significant gateway to the university – one that would also be a hub of activity.” Todd says the new building needed to respect the existing Modernist architecture and the ceremonial formality of the mall, which forms a strong entry axis and is integral to the identity of the university. “The significant mature trees also had to be preserved. We needed to integrate the building as much as possible with the landscape. It was also clear that each of the building facades would need to provide a different contextual design response.” SEARCH | SAVE | SHARE AT trendsideas.com

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Below:On the north side, a series of wide steps creates a communal area for students beside the main entry. Viewed from the side, the sawtooth roof has a sculptural presence.

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“The western facade fronting Anzac Parade needed to bridge the area between the retail strip on one side and the leafy trees on the other. We consequently fractured this facade into three distinct modules. The building weaves in and out of the trees, while at the same time it makes a gesture out towards the streetscape. The eastern laboratory module is turned to acknowledge the orientation of the Village Green.” Terracotta-coloured ceramic panels clad the exterior, which incorporates fixed vertical sunscreens. Because these are full-height screens, they allow plenty of natural light to flood the interior, and help to angle views while maintaining a degree of privacy for the offices inside. “The terracotta colour provides visual warmth and gives the building a very earthy, Australian feel,” says Todd. “It also echoes a much older brick building on the campus.” On the western elevation the building is lifted up, so it appears to float above the ground level, thanks to a fully glazed lower level. “This is the student commons area, with a café and informal meeting and study areas,” says Todd. “It’s a very transparent, social space – you can see right through the building, which helps to give the architecture a sense of lightness.” On the north side, the building opens up to the mall, with a series of wide steps creating an easy transition into the building. The platform also functions as a gathering place for students. “In a way this facade harks back to traditional agoras and ceremonial public steps,” says Todd. “We also created a huge portal for the main entry – it resembles an enormous carved-out cube. This was formed from a precast concrete aggregate mix with a custom colour and honed finish.” Louvres along part of the north facade screen the sun from the academic offices behind. The architect says other devices were also introduced to relieve the massing of the building on this side. “We chose to push down the roof at the front to align the building with the tree canopy, and build it up at the back to accommodate the labs and plant. The roof itself is a complex curved sawtooth. We wanted to articulate each of the elevated parts, so these are treated as individual extrusions that give the building a sculptural look when viewed from the side. These elements are also expressed on the inside with curved plaster ceilings.” SEARCH | SAVE | SHARE AT trendsideas.com

Preceding pages and left: Natural light floods the large central atrium, which features glass elevators and sky bridges. The atrium was designed to provide a sense of transparency and opportunities for social interaction. Below:Breakout areas are positioned to maximise views of the village green. Story by Colleen Hawkes Photography by John Gollings

Automated glazed areas on the sawtooth roof bring natural light down into a large central atrium, and enable it to be naturally ventilated. Todd says three key principles drove the interior design – interaction, transparency and flexibility. “Interaction is encouraged by the atrium design, in particular the creation of social hubs, generous circulation paths, meeting rooms, oversized stairs, bridges and interconnecting labs. Functions of the building are open or closed through varying levels of transparency, in the facade and interior design. “Laboratory spaces are conceived as flexible modules that can be either separate or connected. The spaces can be adjusted over time.” Wooldridge says the building is the first at UNSW to implement a rooftop photovoltaic system and a tri-generation plant. Most of the roof is covered by

a 150kW photovoltaic array, and the 800kW tri-generation system produces enough energy each year to supply almost 400 houses. “Other energy-saving features include the highly efficient facade and the underground labyrinth that provides the building’s cooling at no cost. In addition, specific materials were selected to minimise the environmental impact of the build. “The university’s leading-edge research in photovoltaics has also been facilitated by a stateof-the-art Class 10,000 clean room. This ultra-clean lab is used in the research and development of more efficient silicone chips for PV solar panels.”

Project:Tyree Energy Technologies Building, UNSW Architect, interior designer and landscape architect:Francis-Jones Morehen Thorp (FJMT), Sydney Construction company:Brookfield Multiplex Project manager:Capital Insight Structural and civil engineer:Taylor Thomson Whitting Mechanical and specialty gas:Steensen Varming Electrical engineer, specialist lighting, fire engineering and vertical transport:Arup Hydraulic and fire services engineer:Warren Smith & Partners Acoustic engineer:Acoustic Studio Sustainability consultant:Aecom Informatics and audiovisual:Wizard; Spinifex Group Accessibility consultant:Morris Goding Clean room consultant:AB Mandal Quantity surveyor:Davis Langdon Cladding:Yuanda; Ceramica Mayor Tempio by Precast Concrete Group (Qld); Alubond Roof:Fielders KingKlip Glazing system:Yuanda; Viracon (performance glazing)

Hardware:Sliding doors and operable walls by Dorma; Keeler hardware by Ikon Doors Balconies/balustrades:Hoop pine FSC timber by Cubic with Briggs Veneers; stainless steel and perforated mesh by Active Metal Flooring:InterfaceFlor, EcoSoft carpet tiles, Forbo Surestep, Bolon distributed by The Andrews Group Paints:Wattyl; Dulux Custom perforated ceiling and timber laminated battens Cubic Veneers:Briggs Veneers Lighting:Star Electrical HVAC:Allstaff Public area furniture:Interstudio, ChairBiz, Maxton Fox, Inline tables, Chairman’s Rest, Stylecraft, Dexion Compactus, Gregory task chairs Security system:Designed by Star Electrical, installed by Prosys Integrated Security Systems Signage:Integrated Signage & Design Lift services:Elevator Services Group; Kleemann

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Dynamic emotional lighting Restaurant Video QR Code For more videos go to http://www.leds-c4.com/en/catalogos/lamparas/emotional_lighting.html

MARKET REPORT HERITAGE BUILDINGS

SEISMIC RETROFITS Preserving heritage buildings from seismic damage and making them safer is a focus for specialist engineers, says John Hare of Holmes Consulting Group

Above:John Hare of Holmes Consulting Group discusses the case for preserving heritage buildings, and looks at areas where conventional analysis fails. Below:The Auckland Art Gallery, Toi o Tamaki, which opened in 1888, is a prominent heritage building in the city that has undergone extensive structural renovations and an interior refit. It was voted World Building of the Year 2013-14.

Nobody knows exactly how many buildings in New Zealand can be classed as earthquake risks, but there’s little doubt it’s a frightening number. Recent earthquakes have put the spotlight firmly on the safety of the country’s buildings, with owners and users alike concerned to understand how well they might perform in an earthquake, and what they can do to improve them. In the case of New Zealand’s precious heritage buildings, it’s an exceptionally fine balance between preserving the heritage quality and delivering the appropriate levels of safety for the people who use

them. Across the country, specialist engineers are finding ways to do exactly that. Earthquake risk buildings Earthquake risk building is a general term to describe all buildings either not designed to withstand earthquakes, or those designed to a significantly lower level of seismic resistance than a new building would be designed to deliver. In simple terms, that lower level is less than 67% of the equivalent new building design load. Of these buildings, some will prove to be ‘earthquake prone’,

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meaning they demonstrate less than the 33% minimum level of resistance required by the Building Act 2004 for existing buildings. Those that are deemed to be earthquake prone are required by proposed law changes to be demolished or seismically strengthened over a period of time. Strengthen to protect life, or the building? The Building Act and its earthquake prone provisions are primarily – and appropriately – aimed at protecting human life, not buildings. Provided all of the occupants survive a moderate earthquake, the objective of the legislation is satisfied. However,

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satisfying the legislation might not be enough for the building to survive, even if its occupants do. For example, a brittle brick heritage building that is strengthened with a tough, ductile steel frame, without reducing damaging movement, may simply shed the brickwork. That would leave the frame relatively undamaged, but the heritage aspect of the building would have been lost. A different approach needs to be considered for strengthening of heritage buildings, focusing on reducing damage in addition to making the building safe for the people using it. The challenge is that it’s not easy, and it often isn’t cheap.

Below:The Auckland War Memorial Museum, inaugurated in 1929, has also been extensively upgraded in recent years.

Where conventional analysis fails New buildings are designed to the Building Code to ensure they behave – and even fail – in a predictable fashion. But existing buildings may behave unpredictably according to both stiffness and the strength of their elements, many of which were never designed to resist seismic loads. Building analysis tools used on new structures are seldom sophisticated enough to be able to predict what happens when parts of the building are overloaded. But stopping the analysis at that point will often not detect issues which may be more critical to the survival of the building and

its occupants. That can lead to very conservative strengthening solutions, or even unsafe systems if the resulting strengthening isn’t compatible with the building’s natural behaviour. Interim securing – a short-term solution Typically, one of the main vulnerabilities of heritage buildings is their lack of structural connectivity – all that holds them together is often just gravity and friction between the elements. Earthquakes have a way of finding these weaknesses and shaking the building apart. In cases where a suitable strengthening solution cannot be

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found, it’s sometimes best to design and install interim securing measures. Interim securing ties the building together so that it can at least develop its potential until a strengthening solution can be found. The Christchurch earthquakes demonstrated that good interim securing can be very effective in reducing the potential for catastrophic collapse of heritage buildings. One of the best examples in the city is the Arts Centre, where most of the old stone buildings had undergone interim securing, but were yet to be strengthened. Although the buildings were damaged, they stayed standing, and their occupants lived to tell the tale. Is earthquake risk real? In spite of recent, major seismic events in New Zealand, many people still hold the dangerous misconception that there are some areas of the country free of earthquake risk. Unfortunately, although some areas appear further away from fault lines, there’s nowhere in New Zealand that’s safe from the threat. As the Christchurch earthquakes proved, there could be unknown faults almost anywhere. New Zealand’s seismic design code already

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makes allowance for the lower risk of earthquake in the regions away from the main fault lines, by reducing the required design loads in those areas. Even for Auckland, a city with a relatively low risk of damaging earthquakes, the question of what happens when there IS an earthquake is what we need to consider, if we are to preserve our heritage. At the very least, we should identify the most at risk buildings and determine a sensible way to deal with them. Heritage buildings will certainly figure prominently in that discussion. The final word: act now, not later It’s far easier and less expensive to strengthen buildings before the earthquake than it is to fix them afterwards. There are some very encouraging stories of Christchurch heritage buildings where the strengthening time, money and effort was spent before the earthquakes. Those buildings are still with us today. It’s a compelling reason to act now, rather than scrambling to pick up the pieces after an earthquake hits. save | share Search 44559 at trendsideas.com

Below:As part of the new Supreme Court building project in Wellington, the historic High Court building was extensively restored and rebuilt to meet seismic requirements. This included base isolation work and significant strengthening.

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SECTION FOCUS PROJECT PORTFOLIO

OPEN FOR BUSINESS Wellington rivals other great cities of the world with its exciting, vibrant feel â&#x20AC;&#x201C; this redevelopment further animates the heart of the capital

Project Grant Thornton House podium

Location: Wellington

Architect: Athfield Architects

LIFE BLOOD Boasting a contemporary profile and transparent, engaging aesthetic, the reinvented Grant Thornton House opens up to shoppers at street level

Historically, Wellington grew up as a city of public servants, not shoppers, and impersonal streets were home to grey suits and little else. Decades on, the capital has a pedestrian life to rival New York – bustling, vivacious, and ready to spend. To further this trend, the Wellington City Council (WCC) has designated some thoroughfares in the capital as premier, as noted in the WCC Public Space Design Manual: “Premier streets are the spine of the central city network. They carry a high pedestrian volume, with comparatively low traffic movement. The interface on these streets tends to be characterised by small unit, ground-floor shops.” Lambton Quay, the golden mile of Wellington retail, is one such premier street named in the document. Taking a key position on the corner of Lambton Quay and Featherston St, the existing ANZ Podium and Tower was a purpose-built banking head office designed in the ’80s. However, despite its location, the building added little but mirrored glass and a toilet hub to the heart of the CBD.

A transformation of this landmark building, renamed Grant Thornton House, has made the tower’s 13 floors of office space more accessible, and so more attractive, to tenants. It has also brought the podium to life from the ground up. The podium redevelopment was undertaken by Athfield Architects. Project architect Neil Drummond says several elements were addressed. “We created a new office entry from Featherston St, replacing the old corner entrance with one halfway along the building. The relocation made this access more prominent, which was part of the brief from the building owner, Willis Bond & Co. “The new doorway connects through to the Lambton Quay entrance, establishing a spacious, light pedestrian cross-link between the two. This facilitates movement through the building, and provides improved access into the tower lobby, also upgraded, and the tower itself.” The open lobby, at the heart of the cross-link, features a panelised system of full height, stainless

Before

Preceding pages, below left, and right:The curving glass nose of the podium of Grant Thornton House – previously the ANZ Podium and Tower – fills out a premium retail corner that once accommodated a block of public toilets (below left). This was one of several changes to the building to utilise this key shopping area in the capital. A new horizontal canopy turns upwards to signal the entrances. This carries the naming tenant’s signage. Below:Before-and-after floor plans show how the foyer now snakes through from one side of the triangular block to the other, with the lobby of the refurbished tower in the middle.

After

Before

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steel, American oak timber and frosted backlit glass walls, with slender angled lines of niche lighting. These play across the ceiling and down the walls, echoing the dog-leg shape of the foyer, and the newly introduced ‘folded’ exterior signage. Reconfiguring the former single ground-floor tenancy into multiple tenancies was central to the project. Cold, impersonal reflective glass was replaced with vibrant retail opportunities. New frameless clear glazed shopfronts at street level are the maximum height possible, and the removal of the out-of-date mirror glass allows effective daylight penetration to the majority of the floorplate. There are nine tenancies in all, spread around all three sides of the block at ground level, with the existing renovated offices above. “The podium’s upper-level facade, composed of steel transoms and mirror glass, was retained in the redesign,” says Drummond. “However, we sought to create a distinction between this heavy aesthetic and the inviting new boutique shop frontages introduced below. To achieve this, a new horizontal canopy draws a line between the two different treatments – as if between two time frames – and this runs right around the building.” Providing high visibility to the tower’s entry points on both Lambton Quay and Featherston St, the canopy turns up 90° at these junctures. These upright canopy elements also help break up the

horizontality of the streetscape, says Drummond. These folded elements sit just clear of the level one facade. At the same time, the canopy maintains pedestrian weather protection with a continuous cantilevered glass lid that connects to the existing facade. “Perhaps the most dramatic structural work undertaken was the twin two-storey corner frameless glass extensions, one at the corner of Grey and Featherston Streets and the other at the Lambton Quay bullnose, previously home to the toilet hub,” says the architect. Designed to meet the current code loading and extend the transparent vernacular of the reworked ground-floor facade, these elements are underpinned by new lightweight steel support structures. “In another liberating move, the rounded public toilet block on the prominent Lambton Quay corner was relocated to the corner of Grey St, on the shortest side of the triangular block, downplaying its presence,” says Drummond. The quieter Grey St is classed by the WCC manual as a ‘Special Street and Shared Space’, so this amenity was appropriate here. The demolition and relocation of the existing block, in a highly populated retail precinct and bus route with myriad trolley wires, required careful consideration of noise, dust and health and safety issues, including heavy machinery access to the site.

Before

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These pages:The corner of Featherston and Grey Streets was given a two-level addition in keeping with the new street frontages. White tiles signal the new public toilet amenity.

Built over the existing basement entry ramp, the new public facility is clad in high-quality large format white clay tiles. This finish references the previous mosaic tile cladding. “The new pedestrian cross-link through the building, the full-height, clear-glass frontages and the banishment of an unsightly amenity together

give this key building a presence that, rather than reflecting back at you, invites you in,” says Drummond.

Project:Grant Thornton House, Wellington Architect:Athfield Architects Owner:Willis Bond & Co Construction company:LT McGuinness Structural engineer:Dunning Thornton Mechanical and electrical engineer:NDY Quantity surveyor:Rider Levett Bucknall Earthworks:Multi Civil Contractors Landscaping:Horokiwi Paving Fire consultant:Holmes Fire Cladding:APL Roofing:Equus

Facade design:Athfield and Wight Aluminium Window and door joinery:Wight Aluminium, Ultra Glass Hardware:Sopers Macindoe Handrails:Fabricon Metal Solutions Blinds:Window Treatments Wall and floor tiles:Hurricane Tiling Wallcoverings:Prime Interiors Ceiling:Metro Ceilings Signage:Watermark Signs

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Story by Charles Moxham Photography by Grant Sheehan

Below:Rays of light – custom inset wall and ceiling light fixtures reflect the shape of the walkway and the perpendicular nature of the signage outside.

RAY OF SUNSHINE South Seas colours influenced the interior of the historic, restored Sargood Centre in Dunedin, which was once an art gallery and is now a sports education facility

Above:The renovated Sargood Centre, owned by the Dunedin City Council, is now a teaching facility for the Otago Polytechnic School of Sport and Adventure. The refurbishment was designed by architect Ian Butcher and constructed by Steve Mowat Building & Construction. The painting contractor was Murray Turner Decorators. Photography by Michael McQueen.

Sunny colours for a cold climate â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s a model that works every time, and the remodelled Sargood Centre in Dunedin is no exception. The heritage-listed building, which was the original art gallery for the 1925-26 NZ South Seas Exhibition and later the Dunedin Public Art Gallery, has undergone an extensive makeover to become a modern sports education facility for the Otago Polytechnic School of Sport and Adventure. The project, designed by architect Ian Butcher, included extensive renovations to adapt and earthquake-proof the closed, gloomy compound of gallery buildings. Butcher specified an interior inspired by a South Seas sunrise, sunset colours and clear blues and greens. The administration offices feature Resene Ayers Rock, a sunset orange, Resene Limerick, an

Irish green, Resene Free Spirit, a deep blue green and Resene True Blue, a violet blue. These lively colours are in the former small galleries that at one time would have displayed old masters. Elsewhere Resene Half Spanish White walls and ceilings, coupled with restored rimu floorboards and charcoal upholstery, retain the dignified feel of a heritage gallery. Large teaching spaces feature Resene Cocktail, a blackberry grape shade, while the gym is painted in Resene X Factor, a blue red. For details, or for the latest colour fandeck, visit a Resene ColorShop, or freephone 0800 RESENE (737 363). Website: www.resene.co.nz save | share Search 44700 at trendsideas.com

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Project Harley Gray Building, Middlemore Hospital

Location: Auckland

Architect: Klein

CENTRE OF ATTENTION Designed to integrate seamlessly with existing facilities, the new Harley Gray Building provides state-of-the-art clinical services at the heart of Middlemore Hospital

In today’s hospital environments, emphasis is increasingly placed on the dignity and privacy of patients – no-one wants to be wheeled through a public area on the way to a major operation, for example. Perhaps the most logical way to ensure these benefits is to build the zoning process directly into the architecture. Designed by specialised environments architects Klein, the new Harley Gray Building, previously known as the Clinical Services Building (CSB), provides 34,000m2 of new space for Middlemore Hospital in Auckland. This includes an operating suite, an assessment unit, a post-anaesthetic care

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unit and non-clinical support, such as the hospital kitchen and spiritual centre. There is also provision for two further clinical departments in the future. The new five-storey building reconciles levels, and optimises patient and visitor flow right across the campus. Corridors connect it to wards, such as the Edmund Hillary Building, an earlier Klein project, and other clinical buildings, such as Galbraith, says senior associate Nicholas Wedde. “This supports the hospital’s goal of transferring patients or equipment on levels one and two, and meals or supplies on the lower ground level, leaving the ground floor free for movement of family and

These pages:The Harley Gray Building (previously called the Clinical Services Building) at Middlemore Hospital stands at the heart of the medical campus. Three fins break up the large rectangular form. These carry exterior service ducting that is easy to access without disrupting clinical services. The lower section, containing the hospital kitchen, was built as stage one, with the five-level main building following as stage two.

visitors. The top level has the plant required to run the clinical services,â&#x20AC;? says Wedde. Surgery suites are on the second floor, neonatal units on the first floor and the medical assessment unit, public circulation and spiritual centre are on the ground floor. Lower ground contains back-ofhouse functions previously spread across the site. Importantly, the corridors and passages of the Clinical Services Building link to re-adjusted floors set out similarly in the adjacent buildings. This allows for the separation of clinical, visitor and nonclinical support right across the wider hospital.

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The setting ensures the new structure also connects with part of the Rainbow Corridor, a pedestrian link to most other buildings that is almost as old as the hospital itself. The corridor was also refurbished in the area where it runs close alongside the new structure. Constructing a large clinical services building in the middle of a hospital in full operation had its issues. To maintain medical services and mitigate costs, the ground-floor east wing housing the kitchen was built as phase one. With this service up and running, the main building was then addressed.

Below:All non-clinical services are now grouped on the lower ground level of the Harley Gray Building. The yellow window elements are aesthetic detailing. Right and lower right:Plantings with LED lighting sit between the Rainbow Corridor and the new building. Bottom right:Durable wall surfaces cope with the constant movement of food trolleys on the lower ground level.

The massing of the building, essentially a large rectangular form, is broken up by three fins accommodating ducting. The project brief included large areas of shell space for the future radiology and laboratory units, two services-intensive departments. Making provision for these later fit-outs led to the relocation of the main service ducts to the outside of the building. This strategy will enable duct work for future units to be installed with less disruption to the clinical environments. Designed to meet the post-disaster operational aspects associated with an Importance Level 4 facility, the Harley Gray Building is a two-way reinforced concrete structure with precast double tee flooring. Cladding is mainly precast concrete panel, chosen for its durability, ease of maintenance and cost effectiveness. Lightweight Alucobond on the three service ducts will be easy to remove as needed to meet future requirements.

“This finish also provides a high quality, attractive architectural solution to what could have read as an awkward series of add-ons,” says the architect. The south facade has a bay of floor-to-ceiling glazing. This is easily removed and reinstated to enable installation of large equipment. It has the second benefit of providing construction access for the radiology and laboratory fit-outs. Similarly, the east facade has a lightweight profile cladding, again for flexibility. This will be removed when stage two, above the kitchen, is built. “Klein has completed several buildings at Middlemore Hospital,” says Wedde. “Over recent years, we have moved through the site, levelling, reconciling and connecting the buildings for a more integrated, free-flowing operation.”

Project:Harley Gray Building, Middlemore Hospital, Auckland Architect:Klein Architects in association with Silver Thomas Hanley and Chow:Hill Owner:Counties Manukau District Health Board Construction:Hawkins Construction Services and mechanical engineer:Beca Structural engineer:Holmes Consulting Group

Quantity surveyor:Rider Levett Bucknall Project manager:RCP Roofing:Dimond 630 Cladding:Concrete panel, Alucobond, Dimond BB900

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Story by Charles Moxham Photography by Jamie Cobel

Below:The ground floor of the new facility is for the use of visitors. A wood wall with vertical LED lighting fronts the spiritual centre, while angled lines on the ceiling refer to the site’s history. Right, above The Neonatal Unit on level one links to Intensive Care in the adjacent Acute Hub. Right, lower A neonatal care cot space on level one (left) and one of 14 operating theatres on level two (right) reflect the specialist nature of the project.

Project 100 Moorhouse Ave

Location: Christchurch

Main contractor: Calder Stewart Industries

SHAPING CHRISTCHURCH With the completion of this mixed-use commercial development on Moorhouse Ave, Calder Stewart continues to be a construction leader in the Christchurch rebuild

Christchurch has become a city defined by progress, as new buildings take shape and open for business along many of the city’s thoroughfares. The latest development in a raft of new building projects constructed by Calder Stewart is 100 Moorhouse Ave, which was developed by owner Peter Kelly and designed by Tim Dagg of Sheppard & Rout Architects. Adrian Mathieson, Calder Stewart regional manager, says the company has already completed four buildings at 70-76 Moorhouse Ave for the same developer.

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“Building in the post-earthquake environment is always challenging,” he says. “The ground conditions, in particular, pose potential hazards. For this mixed-use commercial building, the foundation was based on a concrete beam grid system, rather than the traditional raft slab, to provide more stability.” The building itself was constructed using a combination of precast concrete shear walls, concrete gravity frames for the lower level and structural steel portal framing for the upper level. Key design features include a central café courtyard

Below:Calder Stewart was the main contractor for this new Christchurch commercial building, 100 Moorhouse Ave. The building features retail outlets, including a cafĂŠ and courtyard at street level, with offices above. Below right:There are adjustable louvres over the central courtyard. The rear of the building, facing an industrial zone, features Corten steel.

between the two wings. This has adjustable overhead louvres that shelter the outdoor seating area. There is also a canopy of louvres along the entire north-facing glazed front facade. These are fixed at an angle that provides shade to the offices, while still allowing plenty of natural light inside, thus reducing the load on the air conditioning systems. The building features Corten steel on the rear walls, which present a more robust face to the rail corridor. A quality interior fit-out reflects the developerâ&#x20AC;&#x2122;s

commitment to good design. Mathieson says Calder Stewart co-ordinated the integration of all the tenancy fit-outs with the base build. For details, contact Calder Stewart Industries, PO Box 8356, Christchurch 8041, phone (03) 338 0013. Email: contactus@calderstewart.co.nz. Website: www.calderstewart.co.nz. save | share Search 44924 at trendsideas.com

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Project Ceres Organics office and warehouse

Location: Auckland

Architect: Williams Architects

NATURAL SELECTION Organic materials, a living wall, and a commitment to sustainability reflect the core values of the company behind this new office and warehouse

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Below: A long suspended zinc wall defines the entry to the new Ceres Organics office and warehouse in Mt Wellington, Auckland. Other textural elements include fixed louvre sunscreens and a stone wall set within a galvanised steel cage.

Expansion is a common by-product of success for any business. But with expansion comes the need to future-proof a company’s premises to allow room for continued growth. This was a key factor in the design of the new office and warehouse for Ceres Organics, an Auckland-based food distributor with a strong sustainability focus. Architect Simon Williams of Williams Architects says it wasn’t the only driver, however. The new building also needed to make a statement about the company’s values and its holistic approach to business management. “Ceres operates as one big family – it’s a very open and collegial workplace,” Williams says. “Consequently, the new premises needed to provide an interactive, comfortable and healthy work environment.” To maximise the high-profile site and to provide a buffer for the offices from the harsh sun in the west, the architect created a long suspended zinc wall at the front of the building. “The wall also provides acoustic insulation, and directly addresses the road,” says Williams. “The zinc has a custom profile and is a coppery shade that will weather over time.” On the inside, the wall forms one side of the double-height void at the entry. And because the wall is suspended, light passes through at ground level – people using the stairs can enjoy glimpses of the green landscaping on one side, and a large living wall of greenery on the other. The void also features extensive sustainable timber on the walls and ceiling. The sense of outdoor materials coming indoors is reinforced by a zinc-wrapped cube that appears SEARCH | SAVE | SHARE AT trendsideas.com

to push through the glazing into the offices on the upper level. The north-facing front facade is further defined by an extra-large shade canopy and fixed horizontal aluminium louvres that provide a sunscreen for a meeting room on the top floor. “With windows open to the north and south, the offices are ventilated naturally, and the air conditioning system is hardly ever used,” says Williams. “The glazing also provides plenty of natural light, which helps to keep energy costs down.” A large open floorplate creates a transparent office that’s in keeping with the company philosophy. This allows for easy communication and increased opportunities for staff interaction. The design also provides a number of informal meeting spaces in addition to more formal meeting rooms. And because the layout is flexible, it can cater to changing requirements and an increase in the number of workers. Other areas for workers to gather include a café with a fully equipped demonstration and test kitchen. The design also provides decks and courtyards that can be used for social gatherings or simply as breakout zones.

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“The warehouse is also a naturally ventilated space,” says Williams. “There are 17 large adjustable louvre panels that can be opened to provide cross ventilation. In addition we added rotating ventilators on the roof, to remove the hot air out through the top of the building.” The architect says future expansion can be accommodated within the overall volume, and by closing up the racking aisles. “We provided plenty of height, so more goods can be stored vertically.” Williams says that while the building was designed to embody the Ceres ethos and functionality, it could be adapted to the different needs of future tenants if required. “The warehouse, yard and canopies are industry standard, and the office can be divided horizontally. The mezzanine could also be adapted for a number of purposes. However, Ceres is set for the long term. Although this site was developed to its maximum potential, there is an additional site to the east that has been set aside for the company’s expansion, and is likely to be utilised within two years.” Environmentally friendly features have been incorporated throughout the project, which is

Below:The boardroom (left) features an exposed ceiling. Other meeting rooms have transparent glass walls, but still provide acoustic privacy. Right:Skylights in the entry bring extra light into the double-height void. This is lined with zinc walls near the door and cedar wood beside the stairs. The ceiling is also cedar. A lush living wall of greenery was a request from Ceres Organics.

Left:Office staff have an openplan workplace that is naturally ventilated. Other amenities include a staff café with a test and demonstration kitchen. Below:Skylights in the warehouse and large canopy minimise the need for artificial lighting, and help to keep energy costs down. The warehouse is also naturally ventilated.

designed to target a Green Star NZ rating. “All the materials are low maintenance and sustainable,” says Williams. “There is virtually nothing that needs painting on the exterior, and there are numerous exposed materials on the inside that reduced the number of finishes required. The design is also all about efficiency – from the cross ventilation and natural lighting to the reduced water use through eco-friendly fixtures and fittings.” Ceres director David King says the building has

reinforced the company’s brand and core values. “It has also harnessed a strong sense of pride in the company among the staff. They associate with the building and they feel part of the company and understand where we are heading. This signals a completely new phase for Ceres growth.”

Project:Ceres Organics office and warehouse, Auckland Architect:Williams Architects Developer:Norak Properties Construction company:Watts & Hughes Construction Company Structural engineer:HKL Jacob Services engineer:PCS Mechanical engineer:22 Degrees Cladding:Aluminium from Symonite NZ; metal cladding from Metal Design Solutions Roofing:Kiwi Roofing Structural steel:Grayson Engineering Metal doors:Exal Doors Metal windows:Framerite Installations Steel windows:Adams Steelguard

Roller doors:Duffett Doors Precast panels:Wilco Precast Precast floor:HEB Construction Glazing:Metro GlassTech Hardware:Sopers Macindoe Insulation:Potter Interior Systems Doors:NZ Fire Doors Lift:NZ Engineering Services Louvre controls:Window Control Systems Partitions:Cobalt Interiors Suspended ceilings:Accurate Ceilings

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Story by Colleen Hawkes Photography by Jamie Cobel

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Project New Lynn Merchant Quarter

Location: Auckland

Architect: Jasmax

FACE TO REMEMBER The stand-out facade of this new residential building benefits from a custom-specified Alucobond cladding system – chosen for its versatility, affordability and extended life

A distinctive face has many advantages for a new building. Achieving just the right look in an enduring, versatile material is a major plus to the architect, construction team and owner. For the New Lynn Merchant Quarter building, by Jasmax, the concept was to give the facade a ‘random look’, and the architects explored various options in line with this idea. One of these was already on the table when Jasmax met with the Kaneba team, which represents Alucobond in New Zealand, and offers a full design, fabrication and installation service. Director Jan Gouws says the team posed the ‘Alucobond Design’ solution. “Alucobond Design involves developing a custom print, having it manufactured by Alucobond and then fabricated into panels and installed by Kaneba. Jasmax accepted this cost-effective solution.”

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To achieve the required look, six custom colours were printed in six varied patterns, each with black lines to simulate joints. This resulted in a distinctive facade that turns the building into a landmark. “The Alucobond Design reduced the number of panels required, cutting installation time and expense. Jasmax loved the combination of excellent formability with precise tonal variation, which gave the crisp, clean aesthetic they wanted. “And unlike traditional facade film options, this colourful cladding solution lasts for decades.” For details, contact Kaneba, phone (09) 926 2297, or visit the website: www.kaneba.co.nz save | share Search 44698 at trendsideas.com

These pages:A fully customised Alucobond cladding system gives the New Lynn Merchant Quarter apartment building an individual appeal. The facade design also downplays the structure’s scale.

RE-ROOFING A TREASURE Preserving and refurbishing this Category 2 listed building unearthed an intriguing brief for the original roofer using the same high-grade Neuchatel waterproofing back in 1925 The high quality of workmanship demanded by developers in 1925 has been brought to light during an extensive refurbishment and seismic strengthening programme in Wellington. The restoration work has been carried out on the Kate Sheppard apartment building, which is listed with the Historic Places Trust (Category 2) and in the Wellington City Council plan. Neuchatel Construction Waterproofing, the firm contracted to replace and match the original Neuchatel mastic asphalt roof, has a copy of the 1925 contract. Principal Brian Mohan says it is intriguing to read the document, which specifies Neuchatel for the roof of the two-storey portion and the upper yard. “The asphalt is to be turned up parapets, walls, chimneys etc at least 4 inches and let into ¾-inch groove in concrete,” the contract says. “The whole of the work is to be carried out in a workmanlike manner and to the entire satisfaction of the City Engineer. All to be left thoroughly watertight.” 60

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This time round, Neuchatel replaced all the old roofing with new Neuchatel mastic asphalt roofing, installed by Mohan Roofing Services, Auckland, the licensed installer for the product in New Zealand. “In all these years, the product and method of application has not changed greatly – it is still a tried-and-true waterproofing material ideally suited to this application,” says Mohan. The current building owners say they are thrilled the team was able to match the original roofing material and restore the roof’s look and function. For more details, contact Neuchatel Construction Waterproofing or Mohan Roofing Services, PO Box 303101, North Harbour, Auckland 0751, phone (09) 414 4343. Email: enquiries@neuchatel.co.nz. Web: www.neuchatel.co.nz and www.mohan.co.nz save | share Search 44937 at trendsideas.com

Above:Before and after – Mohan Roofing Services reinstalled Neuchatel mastic asphalt roofing to the Category 2-listed Kate Sheppard apartment building in Wellington. A similar material was installed when the building first went up in 1925. Back then, the entire cost of the build was £3904.

CLEAN AIR ADVANTAGE A contemporary fabric ducting system that fits all open ceiling environments is the latest in a line of commercial ventilation solutions from Smooth-Air

Today’s advanced commercial ventilation systems need to fit with the buildings they service like a glove – energy savings, responsiveness and comfort are all measurable factors. Smooth-Air is a leading manufacturer, importer and wholesaler of high-tech ducting, ventilation and air-conditioning plant, says national sales and marketing manager Vince Atkinson. “We are constantly on the lookout for product innovations that will benefit our clients, whether it be in terms of efficiency, cost, or both. “DuctSox Fabric Air Dispersion Systems are the latest addition to our extensive range. With the DuctSox, air is discharged along the whole length of the duct, providing consistent and uniform air dispersion in the occupied space.” The DuctSox product is lightweight, easy to install and can be project-engineered to suit the requirements of the building and occupants. The fabric damper system allows consistent static regain along the duct as well as at tricky T junctions and bends. “A static regain system offers the advantage of a potential reduction in air balancing requirements,” says Atkinson. “The result is a quiet, smooth air delivery, in a range that suits all open ceilings.” The system is easy to maintain, with all lengths guaranteed to fit into a commercial washing machine. As well as offering a 10-year warranty, DuctSox also guarantees performance. Smooth-Air represents many international brands such as Air-Change, Vents and Polyaire. For more information, contact Smooth-Air Products, phone 0800 SMOOTH (0800 766 684). Website: www.smooth-air.co.nz save | share Search 44697 at trendsideas.com

Above:The DuctSox System can be coloured and silk screened to precise customer requirements. SEARCH | SAVE | SHARE AT trendsideas.com

MARKET REPORT LED TECHNOLOGY

STREET LIGHTING The rapid adoption of LED street lighting technology has underscored the need for new specifications and guidelines, says Andy Collins of Opus International Consultants

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These pages:Andy Collins, technical principal, lighting design of Opus International, discusses LED street lighting technology, and asks the question: is New Zealand keeping up with the pace of change?

The recent Road Lighting Conference in Auckland included a selection of high-calibre speakers from across Europe and the United States. They outlined the degree to which LED road lighting has been adopted overseas, which raised interesting questions for New Zealand. The City of Los Angeles, for example, has nearly completed a programme to replace 140,000 predominately 100w, high-pressure sodium lights with LED luminaires. These produce an equivalent light but offer energy savings approaching 60%. New York City is about to start an even bigger programme, with 240,000 luminaires. During the post-presentation Q&A sessions at the conference, it was implied that New Zealand was “backward”, and slow to take up these new technologies. But is this true? LED lighting is a proven, low-risk alternative to traditional forms of street lighting. It has been widely adopted in both Europe and America, as mentioned above, as well as here in New Zealand, with both Auckland Transport (AT) and Christchurch City Council (CCC) becoming converts. By incorporating the new technology into their respective design standards and specifications these two organisations, collectively representing more than 50% of New Zealand’s street lighting infrastructure, have led the way for an ever-growing list of councils to adopt the technology. LED technology benefits Dramatic reductions in energy costs, combined with the inherently greater reliability of LED technology, mean fewer maintenance visits and fewer costs incurred over the life of an LED installation, compared to a traditional HPS installation. LED lighting also reduces reliance on fossil fuels. In addition, LED street lighting offers ways to

deal with light pollution. Excessive artificial light can disrupt ecosystems and interfere with the circadian rhythm that governs human and animal sleep patterns. LED light is highly directional and can be concentrated where it’s needed. This minimises wasted upward light, significantly reducing light pollution. Dimming allows lighting levels to be reduced in areas where traffic volumes drop below a pre-determined level. For instance, dim lighting is ideal on suburban streets at night, without compromising safety and security. LED and dimming-based solutions dramatically reduce capital and operating costs over the life of a luminaire while delivering real sustainability benefits to New Zealand communities in conformance with legislative requirements. However, in New Zealand there is currently no means of capitalising on the reduced energy consumption brought about by dimming because of the way energy tariffs are calculated. This needs to be explored further by the electricity authority, to endorse, for example, charging regimes that allow dimming to be taken into account. Intelligent design Adoption of LED is not itself the solution to sustainable, cost-effective street lighting. The technology must be coupled with intelligent design to maximise economic and sustainability benefits. Intelligent design is also necessary to address compliance with applicable standards, and to ensure that street lighting investment is driven by a whole-of-life, total cost-of-ownership perspective. Evaluation procedures AT and CCC have devised stringent evaluation processes for selection of LED luminaires. This has been made necessary by the high amount of SEARCH | SAVE | SHARE AT trendsideas.com

interest in LED road lighting luminaires. Many suppliers see it as a business opportunity, but don’t really understand the primary purpose of the luminaire, and how it puts light onto the road – right light, in the right place, at the right time. Luminaires are continually being submitted for consideration. Both AT and CCC have broadly similar approved luminaire lists, ensuring that New Zealand’s roading infrastructure network will utilise the right level of quality and high-performance luminaires equipped with the latest LED technology. Comprehensive review The current NZ Transport Authority (NZTA) road lighting specifications do not reflect the significant technological advances in street lighting. It takes time for Standards (AS/NZS1158) to catch up with advances in technology, and thanks to the introduction of LED technology over the past five years, this change has been particularly rapid. With the long-term whole-of-life benefits achieved by the application of this new technology, demonstrated recently by LED street lighting designs undertaken by the Auckland Motorway Alliance (and subsequently approved by NZTA), there is an extremely strong argument for a comprehensive review of the current NZTA road lighting specifications. NZTA has risen to that challenge. The soon-tobe published NZTA Infrastructure Design Standard

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IDS M30 – Specification and Guidelines for Road Lighting Design combines the respective work commissioned by both Auckland Transport and Christchurch City Council, and encompasses it in one document. The approved list should form the foundation for councils across New Zealand to adopt with a high degree of confidence that they are utilising the best available technology. M30 doesn’t just consider LED technology, it addresses road lighting design in general and provides guidance in support of AS/NZS1158 set of standards. In effect it is an all-encompassing document that is up to speed with the latest technological developments. Summary So, back to the question – is New Zealand backward in terms of LED Road Lighting technology take-up? The answer is an emphatic no. The missing piece of the puzzle is funding. Initial capital cost is the challenge but it is the long-term savings that need to be the focus. Councils across the country are eager to embrace the technology revolution and to push the “Green for Go” button and implement wholesale change to the benefit of communities across New Zealand. save | share Search 44558 at trendsideas.com

Below left:This image shows a typical New Zealand street with high-pressure sodium lighting. Top right:LED lighting offers substantial environmental benefits and long-term cost savings for councils. But the recent proliferation of businesses looking to supply LED lighting means new standards are required so councils can adopt the best available technology. The NZTA is about to publish the NZTA Infrastructure Design Standard IDS M30 – Specification for Road Lighting. Lower right:Light pollution has become a concern for councils. LED lighting offers dimming solutions, whereby lights can be dimmed at pre-set times without compromising safety and security.

SECTION FOCUS APARTMENTS

OUTSIDE THE SQUARE Architects and developers are finding new solutions to challenge the design of the traditional apartment high-rise

Project The Interlace

Location: Singapore

Architect: OMA/Ole Scheeren

COMMUNITY SPIRIT With its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement

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Preceding pages:With its 31 stacked blocks arranged in a hexagonal pattern, The Interlace creates a new form of vertical village. The buildings enclose large courtyards that provide a wealth of recreational facilities. Below:Each block is six storeys high, but at no point does the development exceed the stipulated 24 storeys. The openings between the buildings create physical and visual permeability, providing cross ventilation and maximising views.

Distinguished architectural firms are most often commissioned to design prestigious projects for the high end of the market. But the experience and skills they can bring to a more populist market niche can have far greater ramifications. This Singapore project proves that innovative architecture is not the sole prerogative of an elite few. Rather, it can be accessible to a much wider market – in this case more than 1000 households. The Interlace, developed by CapitaLand Singapore, was designed by architect Ole Scheeren working for OMA. The design brief was straightforward – the development needed to create an iconic urban habitat of the future, says Wong Heang Fine,

chief executive officer of CapitaLand Singapore (Residential). “This was always going to be an exemplary development that would promote a sustainable, highly accessible and eco-friendly living environment, with a strong sense of community,” he says. “We set out to create an outstanding design for a development that is not only within reach of those who aspire to own a private residential unit, but also those who aspire to a unique lifestyle.” The design was driven by many factors, including the shape of the 8ha site, which completes a 9km green belt. It was also determined by the need to maximise opportunities for social interaction.

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“In Singapore, the standard typology for residential developments is a cluster of isolated, towers, which do little to enhance a sense of community,” the architect says. “This design, in contrast, explores a dramatically different approach to tropical living, providing an expansive and interconnected network of communal spaces within a natural environment.” Thirty-one apartment blocks, each six storeys high, are stacked in a hexagonal arrangement to create eight large-scale courtyards. The interlocking blocks resemble a vertical village, complete with cascading sky gardens and both public and private roof terraces. Extensive residential amenities and facilities are interwoven with the landscape, amid lush vegetation, providing opportunities for social interaction, leisure and recreation. “The architecture is more about the spaces between the buildings than the built-up areas themselves,” says Scheeren. “While the buildings provide the residences, they are more importantly a tool to generate the open spaces.” The architect says the company experimented with many different configurations to maximise the design of the courtyards and natural light. “In the end, it was the hexagon that won out over a square or rectangular form. The angles at which the buildings meet are 120°, not 90°. This means the buildings are slightly turned away from each other, which helps to open up the views and provides more privacy. It also creates well-articulated outdoor areas.” Scheeren says the stacking principle ensured

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there would always be openings in the blocks. “There are no sealed envelopes – the buildings are completely permeable,” he says. “This allows the light, wind and cooling breezes to penetrate. It also creates visual openings, so residents don’t feel cut off from the wider landscape. The development has a very different feel to a tower block – it is all about lightness, openness and transparency.” The architect says the exterior of the building is layered to create a stratification of outdoor living areas. These range from highly communal sky gardens to slightly more private terraces and very private spaces. All apartments have balconies, and many have protruding terraces that can become an extension of the living room. “It looks deceptively simple, but there is a richness and complexity to the architecture that helps to generate a sense of excitement and freedom,” says Scheeren. “The development never feels crowded. “The accommodation itself is also varied within each block. While the overall building form is highly dynamic, each individual block is an entirely pragmatic rectangle that allows a very efficient layout. Spaces are also generously sized and light filled, and the quality of the fit-out is high.” As with all OMA buildings, sustainable design determined every aspect of the architecture. “We incorporated passive design strategies throughout the project,” says the architect. “Daylight is optimised, and there is shading in the courtyards. Apartments are positioned to minimise solar gain, while taking advantage of the breezes

Below:The hexagonal form can be seen from above, in both the plan and finished development. Right:Because the buildings are stacked on a 120° angle, views and privacy are maximised. The hexagon motif can be seen on the underside of the concrete slabs.

permeating through the building. The apartments also benefit from evaporative cooling over the various bodies of water, which remove humidity.” Communal facilities include an environmental deck, which is integrated into the green belt. This incorporates the eight themed courtyards created by the built forms, which in turn are linked by a 4m-wide jogging track. One of the courtyards is designated as a community garden for use by residents. Art works, including sculptures by renowned artists, have been integrated into the landscape. Multi-generational interaction is encouraged, with children’s playgrounds as well as exercising equipment for adults and the elderly. Approximately 130 apartments are designed with ageing-in-place provisions, such as step-free bathrooms. There are also 16 dual-key units, which provide separate but adjoining apartments that will serve the needs of multi-generational families. Wong Heang Fine says that at the end of May 860 units out of 1040 had been sold. “The feedback from residents confirms The Interlace is like a self-sufficient community within a well-established development, with all the facilities they need available on site.” Wong says the development has already received several notable awards and has cemented its position as a new Singapore landmark.

Project:The Interlace, Singapore Developers:CapitaLand Singapore; Hotel Properties Ltd Design architect:OMA – designer and partner-in-charge Ole Scheeren (now at Buro Ole Scheeren) Architect of record:RSP Architects Planners & Engineers Main contractor:Woh Hup (Private) Limited Civil and structural engineering consultant: TY Lin International Mechanical and electrical engineering consultant:Squire Mech Landscape architect:ICN Design International Quantity surveyor:Langdon & Seah Singapore Awards:Urban Habitat Award 2014; CNBC Asia Pacific Property Award 2010 Best Architecture (Multiple Units) Singapore; BCA Universal Design Mark Platinum Award; BCA Green Mark GoldPLUS Award Story by Colleen Hawkes Photography courtesy of CapitaLand Singapore and Woh Hup (Private) Limited save | share | video | images Search 44675 at trendsideas.com

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Below:Each of the eight large courtyards is themed and lushly landscaped. In time there will be cascading sky gardens as well.

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Project Eliza Apartments

Location: Sydney

Architect: Tony Owen Partners Architects

BACK TO THE FUTURE While the sandstone exterior of this new apartment building fits within the historical context of the inner-city streetscape, the building methodology and architecture is pure 21st century

It’s rare for architects to get the opportunity to design a new benchmark building in the inner city, so when a prime park-side site became available in Sydney’s Elizabeth Street, there was intense interest in the development. And architect Tony Owen did not disappoint. With a design he describes as challenging, Owen set out to push the boundaries using parametric design tools to create a sustainable, new landmark for the CBD. “While this was always going to be a very contemporary apartment building, it still needed to sit within the historic context of the location,” Owen says. “The site is opposite St Andrews Cathedral and close to the Great Synagogue and

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the Sheraton Hotel, all fine examples of Sydney’s beautiful heritage architecture.” The building – Eliza Apartments – consequently presents a contemporary expression of the principles embodied in the surrounding buildings, including the traditional bay window common to buildings in Elizabeth and Macquarie Streets. “Traditional contextual materials, such as sandstone and steel, are also used in a modern and challenging way,” the architect says. “We utilised parametric 3-D computer modelling to mould the facade to the changing environmental conditions on the skin. The profile of every level is different, as the design responds to the differing unit plans, views and sun on each level.”

Below:Eliza Apartments in the Sydney CBD was designed using parametric modelling to create a fluid, undulating facade where every floor is different. Right:The tessellated facade features sandstone and metal, which is in keeping with the heritage architecture of the surrounding buildings.

Owen says digital technology made it cost effective to create different plans and specifications for each of the 17 levels. “We now have the tools to create complex geometric forms that are as affordable as traditional designs. The technology is there to push the limits. “For this project we used Meyer software and Rhino scripting to determine the design, with the Frank Gehry Digital studio assisting in the fabrication geometry. The computer drawings were sent straight to the builder who used routing robots to laser cut the hundreds of tessellated, individually shaped metal and sandstone panels.” Owen says the technology enabled the design

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team to create a highly sculptural, fluid facade, with a design he calls “liquid architecture.” It is a bold, curvaceous contrast to the egg-crate box style of architecture that has typified Sydney’s apartment buildings in recent years. The geometry of the curving bays of the front facade gradually changes as the building rises, with the three-level penthouse stepped back to maximise the sun and views. “We took the geometry right down to the ground, with a protruding metal canopy over the entry,” says the architect. “The neighbouring buildings tend to have a decorative solid sandstone podium, so we created a similarly detailed podium.”

Below:The ripple of the balustrades brings a fluid look to the exterior. The penthouse occupies the top three floors, which are stepped back to maximise the sun and views. Right:Every apartment opens out to a large balcony, where views are framed by the curve of the balustrading.

The tessellated motif continues in the lobby, which features a long, sculpted sandstone wall that curves to form the ceiling. The motif also appears in mirrored timber screens in lift lobbies, and at the rear of the building, in a 10-storey green wall. “This glazed living wall, on the north side of the building, creates a pleasant outlook for bedrooms at the rear,” says Owen. “It also lets plenty of natural light and sun.” The living areas and master bedrooms all have panoramic park or harbour views – or both. These are accentuated by the curve of the large balconies and balustrading. The balconies act as a climate buffer zone for each apartment. The doors can be opened partially to capture the breeze, or opened fully to extend the size of the living area. In keeping with the brief from developer Ceerose, no expense was spared on the interior. Fixtures and fittings are of a particularly high standard,

and include C-Bus lighting, limestone floors, dark-stained wood panelling and cabinetry, and a fireplace set within a bronzed mirror wall. Some kitchens have a butler’s pantry and a separate preparation area for catering purposes. Special features of the penthouse include a marble staircase, pool and roof terrace. Edward Doueihi of Ceerose says the building is destined to become a contemporary classic that will shake up design standards in the city. “We wanted Eliza to stand out and it does,” he says. “Nothing in this building is off-the-shelf. It has all been custom built. It has been a labour of love for us, but is the best endorsement for quality and attention to detail that our company could have.”

Project:Eliza Apartments, Sydney Architect:Tony Owen with Esan Rahmani, Gerardo Oiz, Claudio Porly, Michael Civovic, Benny Ng, Wendy Tong, Raymond Ng, Diana Quintero Saul, Tony Owen Partners Architects, Sydney Developer:Ceerose Structural engineer:M+G Consulting Mechanical and electrical engineer:Cardno ITC Landscaping:Site Landscape Facade panels:Advanced Precast (Aust)

Facade structure:Micos Glass; Aluminium Facade Solutions Facade sandstone:Stoneplus NSW Lobby and balcony floor tiles:Marble Lobby walls:Sandstone Apartment floor tiles:Limestone

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Story by Colleen Hawkes Photography by John Gollings

Below:At ground level, the metal canopy flares out to highlight the entry. The ground floor of the building has retail tenancies. Top right:While the lower levels of the building have two two-bedroom units per floor, the upper levels have single fourbedroom units. Apartments on the upper levels look across Hyde Park to the historic Gothic Revival architecture of St Andrews Cathedral. Lower right:The tessellated motif on the facade can be seen in the sandstone lobby and on a green wall at the rear.

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MARKET REPORT URBAN DESIGN

HOUSING DENSITY Shifting thinking – Aecom structural engineer Isabella Franks puts the case for higher density living

Above:Well-designed higher density living is the solution to Auckland’s housing crisis – Aecom structural engineer Isabella Franks says our cities have much to gain from the practice.

New Zealand is one of the most urban nations in the world, with 86% of us living in towns and cities. Over the coming decades our cities, in particular Auckland, will become increasingly urbanised as the population grows and changes. Not surprisingly, the design and management of housing will play an important role in the creation of thriving, connected and liveable cities. But right now our cities are struggling to provide a choice of quality, affordable housing where people want it. The problems of affordability in Auckland and Christchurch are impossible to ignore. Both cities contain suburbs defined by one typology, restricting the options for people to buy in an area if their financial means do not match that particular housing profile. This is especially limiting for young people looking for a first home, or older generations looking to downsize. Even with our exorbitant house prices and limited choices, Auckland is considered one of the most liveable cities in the world. Its beautiful landscape, regional parks and climate are obvious lures, but it also benefits from the metropolitan ability to stimulate human creativity, which makes cities enjoyable as well as productive. The main function of a city is to improve the life of its citizens by bringing together ideas. The success of being directly inspired by those in close proximity is evident in Wellington’s growing tech start-up scene and Auckland’s recent boom in superb cuisine. Access to human capital in larger cities means the flow of information and ideas is amplified. As our small population grows, we must plan and build our cities in a way to best capture the creativity of New Zealanders. This can be achieved by strategic densification.

as long as it is not on my street!’ Such short-term thinking needs to change. The Auckland Plan and The Unitary Plan are a great start. If we want a choice of affordable housing in 50 years, Auckland needs to limit urban sprawl and densify. More importantly, it needs to densify well. A common misconception is that high density means high-rise. Unfortunately high-rise failures exist throughout our main cities. Many of them deserve their poor reputation, such is their often dreary, monotonous physical form characterised by inadequate internal space, ineffective shared areas, poor natural light and watertightness issues. However, these examples are more often the product of poor planning, bad design, careless construction and/or inadequate management and maintenance, rather than the number of apartments or people within.

Misconceptions When it comes to discussions about the growth of our cities, New Zealanders are often suspicious of the idea of higher density housing. I don’t blame us; the benefits are not well articulated. Nimby-ism is rampant in our neighbourhoods ‘It’s fine to intensify around Auckland, I am all for it,

Higher density can be achieved in many different layouts and forms. It is a matter of choosing the right urban form for the neighbourhood and surrounding community. By linking in quality private and communal space with attractive and functional housing, we can create areas where people love to be. SEARCH | SAVE | SHARE AT trendsideas.com

Left:The idea that high-density living is somehow to be avoided has been turned on its ear by many studies. This graphic highlights key benefits to the city and its residents. Right:With the right design, mixed-use urban precincts can capture many of the benefits of higher density living, such as these Sydney developments – East Village (top) and Gateway South, Parramatta (lower).

Advantages of higher density The advantages of higher density living are acknowledged by leading city planners, urban designers, economists and environmentalists around the world. They can be summarised into three themes: benefits to people, infrastructure and the environment. Planning and designing well are critical to harness these benefits and build stronger communities. The market must deliver a choice of high-quality, compact residential housing. Higher density is not only desirable for sustainable urban living; it is increasingly necessary for our cities. The population and economies of our main cities are growing, but the land supply is not. So what if we don’t densify? The average number of people per dwelling in Auckland is 2.8, a figure that is decreasing. The average floor area of new-builds in 2012 was 203m2 . We are building the largest houses of any developed country in the world but are in the middle of a housing crisis. How is this sustainable? 82

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If we let Auckland sprawl, we create isolated communities buried in suburbia. Fewer interactions will occur, and we will limit the benefits of urban living. More time will be spent alone in the car and less bumping into someone new or an old friend on your walk to work. But, if the density is raised in certain areas close to public transport and social amenities – our hubs for the sharing of ideas and creativity – the pressure on Auckland’s boiling housing market can be reduced. International learnings There are numerous examples of brilliant mixeduse precincts around the world. Cities such as Paris, London, Vancouver and Copenhagen have been developing thriving communities in this form for decades. Not only have these dense areas provided the reason to build outstanding public transport networks and spurred economic growth, but they have also removed the need for most modes of travel other than walking and cycling. Citizens of these cities are living in comfortable

homes, in communities they love, close to where they work. New Zealand has the opportunity to learn from these successful densely populated mixed-use housing areas, and do it even better. Cities are in part defined by their infrastructure but ultimately they are judged by the contentment of their citizens. Our cities need to be planned, designed and built for people. Vancouver model Auckland often looks to Vancouver for inspiration in transforming its downtown core. In the past few decades, Vancouver transformed its city centre into a dense urban community, attracting a range of ages and income levels with great success. Larry Beasley, who was the City of Vancouver’s co-director of planning during the main transforma-

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tion years, says that while other North American cities were struggling with the failed auto-centric development model, Vancouver showed how density and mixed use in a walkable community can be “a joyful, fulfilling experience”. There is a dramatic difference in the density per residential hectare of the two cities. The dense urban form that Vancouver has achieved follows the main transport routes, linking the greater city to the central core. In contrast, Auckland’s sparse density is scattered. In 50 years when Auckland surpasses the current population of Vancouver, will we still be one of the most liveable cities in the world? save | share Search 44603 at trendsideas.com

Left:Aecom structural engineer Isabella Franks compares the dense areas of Auckland with Vancouver – Auckland is expected to reach a similar size within 50 years.

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SECTION FOCUS WORKPLACE

SHARED EXPERIENCE Modern office design ensures employees are engaging on many levels as traditional workplaces give way to transparent, collaborative environments where flexibility is key

Project Charter Hall office

Location: No 1 Martin Place, Sydney

Architect: BVN Donovan Hill Architecture

SEA CHANGE An open, transparent office with a floating glass box meeting room and elevated deck reinforces the huge cultural change that has transformed this workplace

When you are in the commercial property business, you are in a prime position to notice major trends in the workplace. And so it was for Charter Hall, an Australian company with an office, retail and industrial property portfolio in excess of $11 billion. Joint managing director David Southon says the company was well aware of the move towards activity-based working and investigated the potential for its new Sydney office at No 1 Martin Place. “Although our former building had an open-plan workplace, we were operating over a number of levels that were not well connected,” Southon says.

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“There was also no link between workstations and the more public parts of the office. It didn’t help that the building was old and tired and did not suit our long-term aspirations.” The company commissioned activity-based work experts at Veldhoen + Company to consult on possibilities for the Charter Hall workplace, and chose to implement such a model in its new premises, designed by BVN Donovan Hill Architecture. “We had the opportunity to accommodate the office over two connected floors,” Southon says. “But this was not just about creating a much more open and transparent workplace; it was also about

Preceding pages:A glass cube suspended above a void increases the drama of the new Charter Hall offices in Sydney. The soffits along the edges of the void feature mirror panels that help to ensure all parts of the office can be seen. These pages:Timber accents provide a warm, welcoming interior. So, too, does the informal entry, which features a concierge, rather than a traditional reception desk.

introducing a whole new way of working that would be significant cultural change for the company. Employees would have the freedom to work wherever they wanted, depending on their needs at any particular time – this office model recognises that one size doesn’t fit all.” Architect Abbie Galvin of BVN Donovan Hill Architecture says the new building provided a large floorplate over two levels that allowed for flexible planning to accommodate the required elements. There were also large windows to bring in natural light to most areas. “Charter Hall proposed a collaborative floor on the upper level and a focus floor on the lower level, with some crossover,” Galvin says. “We introduced a new generous stairway to physically and visually link the floors and to provide transparency and connection throughout the office. “Essentially, we removed two structural bays and wrapped the soffits at the edges of the void with mirror panels. These reflect the parts of the office you can’t see. We also added mirror panels to the ceiling, almost like a series of frescoes. These reference the company logo and give the entire space a little sparkle, creating an uplifting environment.” Creating a warm, welcoming office was crucial, for employees and visitors. Everyone entering the office arrives at the upper level where there is a concierge, not a reception desk.

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“The traditional barriers have been removed,” says Galvin. “When you come into the office, you are not confronted with a guard house – instead you immediately feel part of the Charter Hall hub. And the whole office is on view, and activated, so it is a very dynamic environment.” This animation is enhanced by a clear glass box accommodating a meeting room that appears suspended above the void. The team calls this The Lookout. Another active part of the office is an elevated timber platform that runs the length of the building beside the windows. This is a collaborative area known as The Deck, where staff can meet and connect both formally and informally. The tables can be grouped or moved aside to create a large space for social gatherings. Because the platform is stepped up from the main office, it retains a sense of separation without being cut off from the rest of the interior. “This is very much a town hall space,” Southon says. “It is used for our regular big breakfasts and drinks on a Friday, and it can be used for client events. It enhances the transparency of our business for our customers and stakeholders.” The lower floor presents a raft of different work environments, with employees able to sit or stand at workstations, sit at a table, in a lounge chair or in a lab space where the chairs are high and the

Below:A raised timber platform, called The Deck, creates a collaborative zone that can be used for social events and informal meetings. Right:The Deck runs the length of the office beside the windows, ensuring the natural light and views are maximised.

Left:The lower level is a dedicated focus zone, where employees can choose from a vast array of potential work environments. Below:Employees can group together while working on a shared project, or opt for breakout zones.

tables are bench height. There is also a high-focus zone, where people can work uninterrupted, and bunkers where workers can make confidential calls. “For most of the office, there are no partitions blocking the visual connectivity,” says Galvin. “Even when someone is sitting in one of the huge hood chairs, they can still have a sense of engagement with the office – they are not isolated.” The flexibility is supported by the latest office technology. Employees have new laptops and soft phone solutions, while the entire office is wireless and features new LAN connections and high-end audiovisual solutions. The use of paper in the office has been greatly reduced. In keeping with Charter Hall’s philosophy, sustainable alternatives were specified wherever possible. Natural light is maximised, products and timber were sustainably sourced, and the joinery

was modularised for minimum wastage. The design also ensures employees retain a sense of connection with the outside, no matter where they sit. Southon says there has been a noticeable lift in energy, enthusiasm, engagement and collaboration since the team moved into the office, and plans are under way to roll out the model regionally. “Charter Hall has always prided itself on its ability to deliver smart property solutions for clients by knowing the market and being able to take advantage of opportunities as they arise. Our new office supports this business focus by enabling greater collaboration, increased business efficiency and sustainable business growth.”

Project:Charter Hall office, Sydney Architect:BVN Donovan Hill (Sydney) Interior design:BVN Donovan Hill; specialist graphics and signage by Urbanite (part of the Frost collective) Workplace consultant:Veldhoen + Company Construction company:Isis Mechanical and electrical engineer:EMF Services Quantity surveyor:MBM Fire consultant:EMF Services Window and door joinery:X-clusive doors and glass auto sliders Automatic gate:Centaman

Blinds:Silent Gliss Wall and floor tiles:Nash Tiles Paints and varnishes:Mars Lighting:TLE Artarmon Office furniture:Workstations from Living Edge; chairs and coffee tables from Jardan; additional furniture from Unifor, Wilkhahn, Corporate Culture, Stylecraft Security system:Hud Security Signage:Wizardry

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Story by Colleen Hawkes Photography by Shannon McGrath SEARCH | SAVE | SHARE AT trendsideas.com

Project DNV GL Technology Centre

Location: Singapore

Interior designer Aedas Interiors

COMMON GROUND When a global giant in risk management brings together various business arms at one address, the interiors are likely to foster engagement all round

Mergers invariably spark changes that may include relocation along with a close study of work practices and requirements. Such was the case when Norwegian firm Stiftelsen Det Norske Veritas (DNV), a company involved in a wide variety of international risk assessment and advisory roles across a range of industries, merged with German-based Germanischer Lloyd, to become DNV GL. With the need to relocate to a new seven-storey office tower in Singapore, the expanded company’s fit-out had to combine several elements, including a green agenda and a strong sense of coming together. When interior design company Aedas

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Interiors came to the DNV GL Technology Centre project, the client’s goal was to achieve a workplace that would reflect the firm’s proud heritage, its diverse businesses, and its sense of unity as a global company, says project designer Steven Shaw. “Aedas Interiors spent several weeks with the different business groups and the leadership team to understand what this meant and how it could be applied to the new building, which had to bring together several business groups previously spread across a number buildings. “During this period, it became clear to the design team that a key part of the company’s social culture

These pages:The fifth-floor reception lobby of the new head office of global giant DNV GL is intended as a common point of entry for all staff. High-visibility stairways lead to other floors. A 3-D MDF board above the reception picks up on the water and waves of the company’s previous logo, creating an eyecatching feature.

was the morning arrival process,” says Shaw. “However, this communal ‘moment’ could have been lost in the new building as staff would be able to move directly from the internal carparks on levels two and three directly to their own floor – bypassing the fifth-floor reception.” To retain this vital aspect of team bonding – even more important with so many previously unrelated business groups coming together – the arrival and base building lift strategy was reconsidered. “We inserted a void and stairs to link staff socially across the four upper office levels. The

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ground floor is used for external training and levels two and three are for parking. The eventual solution added a second set of lift doors that open directly on to the fifth-floor reception. The lift is programmed so that all staff and visitors arrive here, and then move through the workplace via the stairs in the atrium to capture the sense of community,” Shaw says. “The expanded stair voids also bring a strong sense of visual connection between floors.” The overall design concept reinforces the Norwegian heritage of DNV – mainly through the

Below left:The light colour scheme gives this office floor an appropriately Scandinavian feel. Birch tree graphics vary floor-tofloor, acting as way finders. Lower left:This conference room near the circulation stairs looks out to a collaboration space. Right:The DNV GL corporate colours of green and blue feature throughout the interior. Lower right:Front-of-house breakout areas are airy and open.

use of colour, details and furniture selection. “An emphasis on white and light-toned wood species evokes the Scandinavian feel. This is reinforced through environmental graphics that showcase images of Norway. The columns on each floor are wrapped with graphics of birch trees. These are shown in different seasons on each level and act as wayfinding elements, so visitors know where they are at a glance.” The overall green and blue colour scheme is based on DNV GL’s corporate identity. The layout of the desking also facilitates easy

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staff connection. Low partitioned workstations create an open-plan workplace that allows lines of sight right across each floor. Meeting rooms, quiet rooms and utility areas are located at the core to maximise natural daylight on the desk surfaces. The 120º workstations are used instead of benching to define individual workspaces, while also fostering collaboration and teamwork in groups. Breakout areas are located on each office floor in close proximity to the atrium. A variety of spaces provides for dining and casual coffee breaks as well as working and informal meetings.

Below left:The level seven breakout connects to a rooftop garden and barbecue area. Lower left and below:The level one entrance includes a security counter and waiting area, as well as training and relaxing spaces.

The level seven staff area at the top of the stair void opens to an outdoor terrace and garden, which is used for staff and client functions. While the upper office floors are dedicated as workspaces, the ground level is used for external training programmes that DNV GL runs for clients. This area is supported by breakout spaces for group coffee breaks and lunches. The adaptable training rooms can be converted into one large room to accommodate bigger groups. Graphics on this floor express the company’s four key business groups: Maritime, Oil & Gas, Energy and Business

Assurance. The bold images and a video wall are visible from the outside, acting as a giant billboard. “A primary vision for the client is to have a global impact for a safe and sustainable future,” says the designer. “To communicate this message, the facility was designed to achieve BCA Greenmark Platinum for office interiors. Design strategies that were key to gaining this accreditation include efficiency in planning, use of environmentally friendly materials, the installation of a green wall, and the creation of a central waste management recycling collection area.”

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Left:Function meets feature â&#x20AC;&#x201C; this level one training breakout space is highly visible from outside the building. The lower box is a meeting room and the skewed upper box displays graphics and a video wall.

Project:DNV GL Technology Centre, Singapore Architect:DCA Interior designer:Aedas Interiors; design team, Steven Shaw, Eric Magno and Julia Agonoy Construction:Ngai Chin Construction Mechanical and electrical engineer:WSP Ng Pte Ltd Quantity surveyor:WT Partnership Partitioning system:Hufcor from MTM Solutions Blinds:Tachikawa Blinds and Somfy motor from TTS Window Fashions Drapes:Double-pleated, manual by TTS Window Fashions Tiling:Italian silver Beige travertine from Surface Stone; Bisazza from Bisazza Singapore Flooring:Interface carpet from Contrac-Image Trading Wall treatments:Frequency 101 Echo Panel from Woven Image; Instyle Circuit from Infinity Pte Ltd Ceiling:Cirrus 75 and Armstrong Metalworks lay-in System with Peak Form Silhouette Grid 100

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Veneers:Tubao Oak engineered veneer Paints:ICI Dulux; Akzo Nobel Paints Lighting:Trilux and ALW from LuxSpace Workstations:Mascagni from Ergoworld Office chairs:Hag from BW Furniture Reception furniture:Viccarbe from BW Furniture Additional furniture:About A Chair, white; Bella coffee table, birch wood; Bella Rectangular Desk, white and birch; Bjorn in grey; Mags ottoman; Hee barstool and lounge chair, white; Alcove Highback sofa in green, blue and grey Kitchen equipment:Zip HydroTap Story by Charles Moxham Photography by Owen Raggett resource list | plan | images Search 44703 at trendsideas.com

BOLD CHARACTER The latest European wool blends in a winning combination of geometric lines, vibrant colour and texture – this is the Richmond Collection from Warwick Above:A durable wool blend and hard-wearing brushed surface ensure the new Richmond Collection from Warwick is suited to a commercial environment. The modern mid-scale designs, while strong in their own right, let the vibrant palette make the statement.

Furnishings can be the crowning touch of a design project, setting off the interiors and reflecting a company’s attitude at the same time. Richmond is the latest European wool blend fabric from fabric innovator Warwick. Its crisp geometric triangles co-ordinate well with other recent Warwick designs – Brixton, a contemporary interpretation of a windowpane check, the Vauxhall Stripe, and Fulham, a smart textural design. All four geometric patterns offer a bright complement to Warwick’s highly successful plain wool Augustus fabrics, says managing director Martin Irvine.

“Other eye-catching colour options include vibrant Citrus, Reef, Flame and Fuchsia. “Developed with the commercial market in mind, Richmond utilises the natural abrasion rating of wool, and adds polyamide and acrylic for stability to achieve the coveted Heavy Commercial rating.” Contact Warwick Commercial, phone (09) 477 3080 or 0800 922 000. Web: www.warwick.co.nz save | share Search 44758 at trendsideas.com

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Project Kimberly-Clark office

Location: Chicago, IL

Architect: Eastlake Studio

PAST MEETS PRESENT This contemporary fit-out of the penthouse floors of an iconic Art Deco building has created the perfect home for a corporate team specialising in social media research

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Below:Reclaimed maple wood floors from an old factory bring visual warmth to the interior of the new Kimberly-Clark offices in the refurbished Civic Opera House building in Chicago. The reception area features Eames chairs on a green carpet.

Modern business isn’t necessarily best suited to a state-of-the-art contemporary building. Sometimes, the most inspiring workplace is one imbued with character that has developed over many decades. When global manufacturer Kimberly-Clark went looking for a new Chicago office for its social media research team, it was the 85-year-old Civic Opera House building that came up trumps. Architect Tom Zurowski of Eastlake Studio, who has been involved in the building redevelopment, says the Civic Opera House had long been hailed as an iconic Art Deco building. “The interior, however, was not somewhere a young workforce would aspire to – it was regarded as a somewhat stodgy old building with lots of small, enclosed offices. “On the plus side, the building is right on the Chicago River, so it has extensive views. And the penthouse floors where this office is located had the advantage of large windows on three sides.” Eastlake says the new building owner had already gutted the floors, leaving just a bare shell with exposed services. “Our job was to make the spaces habitable, by ensuring they met local building codes, which was challenging. This included creating a second egress on the upper level of this office.” The architect says the building was redeveloped to meet the needs of young professionals, who are commonly looking for older character buildings that cater to modern technology requirements, and have additional amenities – this building features a fitness centre, entertainment deck and bar. “This office also reflects a growing trend in office design, whereby personal space is shrinking and shared space is growing.” Interior designer Cindy Howery of Potter Lawson, who was commissioned to design the interior for Kimberly Clark, says the office epitomises this new workplace model. “This is social media research in action,” Howery says. “It is more about working in cafés than cubicles, and using laptops, tablets and phones. SEARCH | SAVE | SHARE AT trendsideas.com

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“The team wanted to walk the talk with an office that reflected the way they worked. This was never going to be a typical corporate workplace.” In keeping with this design brief, the entire office is open and transparent. Demountable Muraflex glass walls provide acoustic privacy for meeting areas but ensure visual connections remain. Staff are encouraged to use the entire office, not just the workstations. No-one is assigned a particular desk; workers log in each morning and work wherever they need to be. This may be at a collaborative table, workstation or in one of the many breakout areas, which include an area with a green carpet and picnic table. Sun loungers and a kitchen island with bar stools are other options. Howery says the head of the department loved the raw, exposed loft-style aesthetic of the original, gutted interior. “He would have liked us to do nothing,” she says. “But we needed to ensure the materials were durable and that it would be fit for purpose. The floor, for example, looked like raw concrete, but was actually a softer subcrete that had to be

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covered. We didn’t want carpet, vinyl or tiles, so opted for reclaimed maple wood from an old factory. This not only works with the look, but also references the company’s Midwest origins. The wood helps to warm the space visually, but doesn’t detract from the very clean, crisp feel.” Reclaimed barn wood from the Midwest is another key feature. The wood wraps a large structural column in the centre of the office, and also clads the stair core. A new HVAC system was left exposed in the ceiling, along with the existing pipes and cables, which were painted white to match the ceiling. Stairs that lead up to meeting and training rooms were also painted white, and much of the furniture is white. Large 80in televisions are suspended from the ceiling in many areas. These can be used to share information from individual computers. The office also has a dedicated lab with a bank of screens. The natural lighting that illuminates most of the interior is supplemented by unobtrusive strip lighting, cylinder cans and pairs of pendant lights.

Below:Large circular windows on the top floor are among the original Art Deco features that captured the attention of the Kimberly-Clark team. This area is used for meetings, corporate training and webinars. Top right:The office presents several breakout areas that workers are encouraged to use. This front-of-house kitchen features a sink and small refrigerator and can be used for entertainment purposes. There is also a more functional kitchen area for workers. Lower right:White furniture enhances the crisp, clean aesthetic.

Left:Mobile cabinets at each workstation can be moved easily. The room at the rear is a research lab. Right:Ceilings and exposed mechanical services were painted white to enhance the light, airy interior. Lower right:The Kimberly-Clark offices occupy much of the floor space on the upper two penthouse levels.

Project:Kimberly-Clark offices, Chicago, IL Architect:Tom Zurowski, Eastlake Studio, Chicago, IL Interior designer:Cindy Howery, Potter Lawson, Madison, WI Construction company:Reed Construction Mechanical and electrical engineer:Kent Consulting Partitioning system:Muraflex Blinds:MechoShade Wood flooring:Reclaimed white barn wood from Stone Source Ceiling:Optima by Armstrong Paints:Benjamin Moore Workstations:Herman Miller Canvas Office chairs:Steelcase Gesture

Reception furniture:Herman Miller Eames molded plywood lounge chairs Additional furniture:Herman Miller Swoop chair, Coalesse SW 1 chairs, Bertoia bar stools, HBF Nest and Dialogue chairs, Davis Join chair Story by Colleen Hawkes Photography by Steve Hall, Hedrich Blessing save | share Search 44646 at trendsideas.com

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107

index 22 Degrees

CHH Woodproducts NZ

AB Mandal

Chow Hill

Accurate Ceilings

Civovic, Michael

Acoustic Studio

Active Metal

Adams Steelguard

Cobalt Interiors

Advanced Precast

Aecom

29, 81-84

Aedas Interiors

94-100

Agonoy, Julia

100

Akzo Nobel Paints

100

21 44-49

107

HKL Jacob

Classique

Holmes Consulting Group

Coalesse

107 57

Collins, Andy

62-65

Contrac-Image Trading

100

Corporate Culture

Counties Manukau District Health Board

44-49

Davis Furniture

107

Davis Langdon

DCA

Holmes Fire

15, 42

Horokiwi Paving

Hotel Properties Ltd

66-73

Howery, Cindy

94-100

102-107

Hufcor Hurricane Tiling

ICI Dulux

100 72 29

APL

Dimond

Infinity Pte Ltd

Arup Athfield Architects

29 36-42

Aurecon New Zealand

100

DNV GL Technology Centre 94-100

Inline

Dorma

Integrated Signage and Design 29

Duffett Doors

InterfaceFlor

Dulux

Interstudio

Dunning Thornton

Isis

Eastlake Studio

102-107

86-93

Jardan

Automation Associates 15, 18-19

Elevator Services Group

Baumatic

Eliza Apartments

Beca

EMF Services

Kimberly-Clark

Beca Carter Hollings & Ferner

Equus

King Facade International 15, 16

29 74-79

Kaneba

58-59

Kent Consulting

107 102-107

Kitchen Things

IFC-1

Benjamin Moore

107

Ergoworld

100

Bertoia

107

Exal Doors

Kiwi Roofing

Fabricon Metal Solutions

Kleemann

Fielders

Klein Architects

Billi Bisazza Singapore

5 100

Bolon

Briggs Veneers

Fletcher Window & Door Systems

Lighthouse

30 30

22-29

Forbo

Lighting Network

BVN Donovan Hill

86-93

Framerite Installations

Lindsay & Dixon

BW Furniture

100

Calder Stewart Industries 50-51 Capital Insight CapitaLand Singapore Cardno ITC Ceerose

Franks, Isabella

66-73

Frost Collective

78 74-79

Grant Thornton House Grayson Engineering

Centaman

Gregory

Ceramica Mayor

Hare, John

Ceres Organics

52-57

ChairBiz

Chairmanâ&#x20AC;&#x2122;s Rest

Charter Hall

86-93

Living Edge

Francis-Jones Morehen Thorp (FJMT)

22-29

LT McGuinness

81-84

LuxSpace

93 36-42

Hospital HBF

M + G Consulting Magno, Eric

3, 15 93 36-42, OBC

Morris Goding

MTM Solutions

100

Surface Stone

100

Symonite NZ

Taylor Thomson Whitting

Multi Civil Contractors

Neuchatel Construction Waterproofing Ngai Chin Construction Norak Properties NZ Engineering Services

NZ Fire Doors

Oiz, Gerardo

OMA

66-73

Opus International

62-65

Otis Elevator Company

15, 17

Owen, Tony

74-79

PCS

Porly, Claudio

Potter Interior Systems

Potter Lawson

Prime Interiors

Prosys Integrated Security Systems 29 Rahmani, Esan

RCP

Reed Construction Resene Rider Levett Bucknall

102-107

Smooth-Air Products Sopers Macindoe Spinifex Group

Tyree Energy Technologies Building, UNSW

22-29

Ultra Glass

Unifor

Urbanite

Veldhoen + Company

Viracon

Warren and Mahoney

6-15

Warren Smith & Partners

Warwick

101

Watermark Signs

Watts & Hughes Construction Company

52-57

Wattyl

Wight Aluminium

Wilco Precast

Wilkhahn

42 57

66-73

Window Treatments

Wizard Projects

66-73

100

TY Lin International

Window Control Systems

94-100

107

74-79 TTS Window Fashions

52-57

Shaw, Steven

Smeg

Tony Owen Partners Architects

Willis Bond & Co

Scheeren, Ole

TLE Artarmon

Williams, Simon

MBM

66-73

100

Site Landscape

The Interlace

42, 48

& Engineers

Silver Thomas Hanley

The Andrews Group

52-57

100

78 29, 93

Williams Architects

RSP Architects Planners

Metal Design Solutions

102-107

Precast Concrete Group

Maxton Fox

107

52-57 42

Marshall Day Acoustics

Merquip

60 100

Norman Disney & Young

MechoShade

107

Stylecraft

Silent Gliss

44-49

Stone Source Stoneplus NSW

15, 44-49

29 107

Mohan Roofing Services

Mars

31-34

Steensen Varming

and Transport Interchange 6-15

Harley Gray Building, Middlemore Hawkins Construction

44-49

Langdon & Seah Singapore

Brookfield Multiplex

Steelcase

100

Ikon Doors

107

ICN Design International

Armstrong

Micos Glass

Nash Tiles

15, 20

Star Electrical

Dexion

Aquaheat New Zealand

Squire Mech

107

80, 85, IBC

Metro GlassTech

Muraflex

Aluminium Facade Solutions Applico

Metro Ceilings

MIT Manukau Campus

6-15, 31-34, 48

Hud Security

Alubond

48, 58-59

Herman Miller

Allstaff Alucobond

HEB Construction

93 44-49

Wizardry Woh Hup (Private) Limited Woven Image

93 66-73 100

WSP Ng Pte Ltd

100

IBC

WT Partnership

15, 100

61 42, 57 29

Yuanda Zip HydroTap Zurowski, Tom

29 100 102-107

VICTORIA SERIES designed in Italy

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