NZ Commercial Design Vol 30 No 12 by trendsideas.com

CONTENTS

Highlights from this issue of Commercial Design Trends

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Since 1974 the Classique brand of kitchen appliances has been helping shape the way Kiwis use their kitchens. From those first iconic rangehoods nearly 40 years ago through to the complete suite of appliances and accessories available today, Classique has built a reputation for innovation borne from experience. As one of the countryâ&#x20AC;&#x2122;s trusted brands, Classique has positioned itself to offer modern products while remaining highly affordable, and is available nationwide through Mitre 10 Mega. classique.co.nz

COMMERCIAL DESIGN TRENDS Sustainability is taken to new heights in our lead story. One Central Park in Sydney, designed by Ateliers Jean Nouvel and PTW Architects, is notable for two key features – a living wall of 383 plant species, which winds its way up 33 storeys, and a cantilevered heliostat reflector that bounces light down into a park and retail centre. We also profile the Institute of Environmental Sustainability at Loyola University in Chicago, which has built a transparent Ecodome greenhouse. Students can view the underground geothermal system in action – and the water temperature read-outs. Closer to home, we showcase two Christchurch new builds, including the first building to be completed post earthquake in the former red zone. Both commercial buildings are on triangular corner sites, and the designers have maximised this opportunity to create a little architectural tension and drama. One of the projects also gives back to the community, providing a laneway with cafés and bars that is already drawing people into the city.

HIGHLIGHTS Managing Editor John Williams – john.williams@trendsideas.com Media Sales Vanessa Matson – vanessa.matson@trendsideas.com Adrian Law – adrian.law@trendsideas.com Ben Trethewey – ben.trethewey@trendsideas.com Leslie Johnson – leslie.johnson@trendsideas.com Shailan Patel – shailan.patel@trendsideas.com Sonia Fredrick – sonia.fredrick@trendsideas.com

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The choice of cladding for Te Uru Waitakere was long debated. Finally, resource consent was granted for the use of green, pre-patinated copper, which has a lifespan of 200 years.

With the aim of creating a post earthquake city that is more liveable and friendly, Christchurch City Council is encouraging laneways and mixed-use developments, such as the new Strange’s Building.

Imagine a high-rise building with no steel. Sounds implausible? The use of concrete nanotube technology creates very high strength, ultra-low permeability concrete that requires little or no steel reinforcing.

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Email sales@trendsideas.com production@trendsideas.com subscriptions@trendsideas.com Phone 011 649 571 5700 Trends Publishing New Zealand Ltd ISSN 2230-6927 (Digital) All rights reserved. Trends is subject to copyright in its entirety. The contents may not be reproduced in any form, either in whole or in part, without written permission of the Publisher. No responsibility is accepted for unsolicited material,nor for loss of submitted manuscripts, photographs or artwork. Opinions expressed are those of the contributors, not necessarily those of Trends Publishing New Zealand Ltd. While every effort has been made to ensure accuracy of information, the Publisher assumes no responsibility for errors or omissions or for any consequences of reliance on this publication.

Trends proudly promotes great ideas, products and services on every page

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SECTION FOCUS PROJECT PORTFOLIO

Project One Central Park

Location: Sydney

Architect: Ateliers Jean Nouvel PTW

SENSE OF PLACE Defined by its green walls and cantilevered heliostat reflectors, this large-scale mixed-use development creates a new gateway to the Sydney CBD

It’s rare to acquire an entire city block for redevelopment, but when it does happen there’s an unparalleled opportunity for developers and architects to make a significant contribution to the fabric of a city. The former Chippendale United Brewery site on the western fringe of the Sydney CBD has been transformed by a masterplanned joint venture between Frasers Property Australia and Sekisui House Australia. But it wasn’t simply a case of throwing out the old for the new. While the developers of the 5.8ha site were looking to raise the benchmark for innovation and sustainability, they were also wanting to preserve key heritage elements and give something back to the city. One Central Park, designed by Ateliers Jean Nouvel, France and collaborating architectural firm

PTW Architects, consequently reflects an holistic approach to urban design, says PTW architect Mark Giles. “This was an opportunity to reinvigorate an entire precinct in what is essentially a city of small villages. Connectivity was crucial – for so many years the old brewery site had been closed off to the public. We needed to open up the entire space, hence the idea of a park-like development that would provide through links along key axes. The site is close to Central Railway Station and two universities, so pedestrian traffic is high. “In designing the tall east tower, we took into account the height of the existing UTS building on the other side of road, where Broadway becomes Parramatta Road, a key arterial route. We chose to match this height so the two towers together create a gateway to the city from the west. There is also a

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strong urban edge to the development on this side. “In contrast, the residential nature of the Chippendale area to the south is reflected in an undulating facade treatment to the south of the two towers. There is also a liveliness to this elevation, with the balconies stepping in and out – this creates a softer facade.” One Central Park East tower, at 33 storeys, provides 383 apartments, while the 16-storey One Central Park West tower accommodates 240 apartments. Sky at Central Park, the precinct’s premium penthouse and sub-penthouse collection, comprises 38 residences in the top five levels of East tower. The development also boasts a five-level 16,000m2 shopping centre beneath a landscaped podium, a Sky Garden at Level 29, a 6400m2 landscaped public park at ground level – Chippendale Green – plus new public pocket parks. Thirty-three heritage elements have been retained and are

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being restored for adaptive re-use. These include a prominent tiled archway at Carlton Street, terraces and warehouses, three pubs, the Brewery Yard buildings and brick stack, and the original brewery administration building. However, it is the East tower’s striking form, with its cantilevered platforms, that has transformed the skyline. The platforms have a highly functional role in terms of bringing natural light down into the park, and the retail centre below. “The smaller west tower has 40 6.2m2 heliostat panels on top, which track the sun during the day,” says Giles. “Sunlight falling onto these reflector panels is bounced back up to 320 0.8m2 fixed reflector panels cantilevered off the taller east tower. These panels reflect the light back down, with 40% of the light falling onto a large skylight over the retail centre. “This skylight has a shallow pool of water over it, so the light shimmers down into the atrium, giving

Preceding pages:A cantilevered Sky Garden and giant reflector frame are key features of the new One Central Park development in Sydney, designed by Ateliers Jean Nouvel and PTW Architects. Vertical gardens are already transforming the exterior. Below:Central Park, in the lower centre of this aerial image, occupies an entire city block. The precinct is on the CBD fringe, close to Central Railway Station and two universities. Right:Chippendale Green is an open public space within the precinct, with pathways aligned with key through routes. Public artworks include Halo, a wind-powered 13m-tall kinetic sculpture by Jennifer Turpin and Michaelie Crawford.

it an ephemeral look. Plants in the atrium thrive on that reflected light. The remaining 60% of the light from the reflector frame is directed down into the southern plaza.” The heliostat is believed to be the first of its kind to be used in a residential context in Australia, and the largest of its type in the world used in an urban environment. By night, the reflector frame becomes a giant LED-illuminated multicoloured artwork, titled Sea Mirror, by artist Yann Kersalé. The monumental form of the tower is further enhanced by the green walls that feature throughout One Central Park. Designed by French botanist

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Patrick Blanc, the vertical gardens cover more than 1200m2, across 23 panels. “Every side of the building has a different microclimate that needed to be taken into account with the plant selection,” says Giles. “Plants were also chosen to flower at different times of the year, which is why there are 383 species, both indigenous and imported. These all help to create a discernible tiering of green, like a ribbon that winds up the building. The plants are watered by a gravity-feed system that pumps recycled water up to the top of the building, where it is enriched with nutrients, then drip-fed back down the facade.”

Below:The Best Tall Building in the World, as voted by the Council on Tall Buildings and Urban Habitat (CTBUH), One Central Park features walkways on the retail podium. These are illuminated by reflected natural light from the heliostats. Right:The reflector frame is positioned to catch sunlight reflected up from heliostats on the roof of the lower building. The height of the east tower matches the 1960s UTS building on the other side of the road.

Left:The reflector frame shines light down into the retail atrium. Right:An orange-red glass box forms a transition zone that leads to the cantilevered Sky Garden.

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Left:Sub-penthouses in Sky at Central Park at the top of the east tower incorporate balconies that can be closed in if required. As with every apartment in the precinct, the interior features high-quality natural materials. Below:Gardens right outside the apartments enhance the views. The gardens are watered and fed automatically by a gravity-feed system. Below right:Tiled bathrooms, mirrored walls and contemporary sanitaryware feature in the sub-penthouses. Story by Colleen Hawkes Photography by Murray Fredericks; aerial image by John Gollings

The greening of the building continues on the top of the podium, which is a recreational area for residents. This features landscaped gardens, a long swimming pool and a number of Jacuzzis. The Level 29 Sky Garden on the cantilevered deck is another amenity for residents of the Sky penthouses and sub-penthouses. The garden is accessed through a darkened passage that opens into an area washed with bright orange-red glass. “This is a transition zone that heightens the sense of anticipation,” says Giles. “The natural daylight is a burst of colour at the end of the walkway, where you emerge to find yourself out on the cantilevered platform at the top of the building. This area is also beautifully landscaped, with gardens and a Jacuzzi.” A similar attention to detail can be seen on the interiors. Giles says every apartment, from the smallest studio to the penthouses, has a similar design approach and material palette. “The design needed to be of a signature quality that is consistent right through the building. Smart, articulate design has always been a priority for the joint venture developers, and this is a key part of the One Central Park experience.” Sustainable initiatives were another key driver of the design. One Central Park, Central retail and Park Lane have all achieved 5 Star Green Star ratings from the Green Building Council of Australia. While the vertical gardens are one of the most visible expressions of the commitment to sustainable urban living, other eco-friendly features are much in evidence. One Central Park houses its own central thermal plant and tri-generation power station,

using low-emission gas to produce electricity and thermal power for heating and cooling. Rainwater is harvested, and grey water and black water retained for re-use in laundries, toilets and gardens. Other initiatives include a 44-vehicle GoGet car share service, and 94% recycling or re-use of materials removed from the site during demolition. Giles says the developers’ commitment to the community is already paying off, in terms of enlivening the precinct. The retail centre, hospitality venues and Chippendale Green are in constant use. And the apartments themselves have been highly sought after since day one. “The variety of units on sale ensured there was something for everyone, to the extent that Frasers was selling one apartment every minute during the launch,” says Giles. Central Park development director Mick Caddey says the completion of One Central Park is a significant milestone for the joint venture partners. “This is an outstanding achievement with the visually striking design representing the core values of Central Park in delivering an innovative, environmentally sensitive and sustainable design of high standard.”

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Project Te Uru Waitakere Contemporary Gallery

Location: Lopdell House Waitakere, Auckland

Architect: Mitchell & Stout Architects

TRICK OF THE LIGHT The composition of this new contemporary art gallery is reminiscent of a 3-D jigsaw puzzle â&#x20AC;&#x201C; it springs from the need to let in natural light while protecting the artworks

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Below:Te Uru Waitakere is a new art gallery adjoining Lopdell House, a heritage-listed building in Titirangi, Auckland. The front facade of the new gallery is pulled back from the street to lead people into the main entry, and to bring natural light into teaching spaces on the lower levels. The stair bridge on the upper level crosses to the rooftop terrace on the old building.

Planning an extension to a landmark heritage building in the 21st century is all about respect, not replication. But the design of the new contemporary art gallery to be built alongside historic Lopdell House in Titirangi, Auckland also presented other challenges, says architect Julian Mitchell of Mitchell & Stout Architects. “Clearly, the modern building needed to sit comfortably beside the heritage structure, while presenting a new architectural expression,” Mitchell says. “But we also had to work with a very steep site that has a three-storey drop-off from front to back, and a relatively tight footprint. “There was also the challenge of the light.

Modern architecture is all about the way a space responds to natural light – as architects we are always looking for ways to open up an interior to the light. Art curators, however, request closed-box gallery spaces that they can light artificially. This was one of the key reasons that Lopdell House, with its abundant large windows, was unsuited to provide the required gallery spaces.” All these factors helped to determine the design solution. This was aided by the architects’ earlier involvement with the restoration and earthquake strengthening of Lopdell House, which is owned by Auckland Council and administered by the Lopdell House Development Trust.

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Mitchell equates the building to a 3-D jigsaw puzzle of interlocking forms, with deep fissures and skylights designed to bring natural light deep down into the interior. “It’s a fairly square site, and subsequently a square building, but one of the walls on the front elevation is pushed back from the street to allow natural light to penetrate the teaching spaces on the lower levels,” the architect says. “The wall on the opposite side of the entry curves around towards the door, so it feeds visitors into the building. Pulling the facade back from the street, and introducing the curved wall was also a way to give the building a sculptural form.”

The gallery is the same height as the heritage building, and features a similar band across the top of the flat-roofed street elevation. Mitchell says the choice of cladding was long debated, and resource consent was gained for the use of green, pre-patinated copper, which has a lifespan of 200 years. “However, cost considerations, and a potential problem with guarantees for the aluminium joinery that would have abutted the copper meant we needed to look for a different, but similar alternative. We chose pre-painted aluminium folded in the traditional European manner. It has a tile-like look with a stippled, textural finish. This was never

Below left and right:A glazed curtainwall on the southern elevation is angled to provide a sense of drama. The wall encloses a staff staircase. Below:Floorplans of the upper three levels highlight the varying sizes of the gallery spaces.

Stairs to Lopdell House roof terrace

GALLERY 4

GALLERY 2

GALLERY 5

below

GALLERY 3

GALLERY 2

SHOP

COATS

ENTRY

RECEPTION

LIFT

GALLERY 1

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intended to resemble faux copper – it is a totally different material with its own character. But with the resource consent already provided, it made sense to retain the soft green palette.” The south facade of the building features a large, fully glazed commercial curtainwall positioned on a 45° angle. The curtainwall encloses a secondary stairwell, and is separated from the gallery spaces by an internal wall. “Putting this diagrid element on an angle gives it visual energy,” says Mitchell. “The glazing also allows people using the stairs inside to appreciate the magnificent bush and harbour views, and the people travelling through this circulation area help to animate the exterior.” Similarly, the long slot windows in the building, which bring light into the main spiral staircase and landings, are enlivened by the foot traffic inside. The architect says the form of the building was also influenced by the need to provide a variety of gallery spaces of different sizes. “This modulation meant we could utilise the

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idea of tension and release – visitors move from the bright, light and airy circulation areas with their expansive views, to the compressed, internal gallery spaces. A dramatic spiral staircase links all the main floors, with LED cove lighting accentuating its sculptural form. On the top level the stairs open to a stair bridge across to the rooftop terrace on the old building. Another bridge, used by staff, links the two buildings at a lower level. Openings between the gallery spaces and circulation areas bring indirect natural light into the galleries while avoiding damaging UV rays. “They also provide a peep into the exhibition spaces beyond, so they have a curiosity value,” says Mitchell. “People can look across voids to another gallery, and they can see a little of the artwork on show.” The large gallery on the top level reflects a more unusual approach to light control – the design team created a large, lantern-like light diffuser that sits directly beneath a central skylight.

Below:The gallery entry takes the form of a solid portal that opens into a light-filled reception area and gift shop. Right:The building provides a variety of different-sized gallery spaces with openings that overlook voids and provide glimpses of other exhibition spaces. Following pages:A sculptural staircase winds up one side of the building. Windows in this key circulation area provide expansive views of the surrounding bush and sea. These bright, open spaces contrast the darker, more compressed nature of the galleries.

Left:A large light diffuser beneath a central skylight in the largest gallery brings natural light into the space while cutting back UV rays. The diffuser features a Barrisol fabric stretched between two concentric rings. It can be lowered for maintenance purposes. Below right:This cross section of the gallery highlights gallery spaces on the upper floors, with teaching and storage and work areas on the lower levels. Story by Colleen Hawkes Photography by Jamie Cobel

“When light is reflected off a surface, the UV rays are reduced by 50%,” the architect says. “If they then bounce off another surface they are reduced by an additional 50%. We applied this principle here. The direct light is initially mitigated by a series of fixed louvres on the skylight, which are set at different angles to avoid direct sunlight. The light reflects off these louvres first, then it bounces off the diffuser, back up to the curved walls that form the ceiling, before being reflected back down. The UV levels are reduced with each reflection. “It is a simple construction – essentially it is a large piece of fabric stretched between two concentric steel rings, one large and one small. But it does have a quality that is a little reminiscent of the work of sculptor Anish Kapoor.”

Mitchell says the design team was aware of the need to ensure the architecture would speak for itself and not detract from the art. “In designing a gallery there is always a fine balance between architectural expression and providing a great exhibition space. A successful gallery will always do both.”

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Project Harry Perkins Institute for Medical Research (North)

Location: Nedlands, Western Australia

Architect: Hames Sharley

UNDER THE MICROSCOPE Close analysis of the needs of scientific researchers has questioned longstanding workplace conventions in the design of this award-winning research institute

Medical research in Australia has never had a prominent public face, despite its enormous value and the breakthrough discoveries that have made the country a leader in the field. All that is changing, however, thanks to a new facility in Perth. The Harry Perkins Institute for Medical Research (North), designed by Hames Sharley, has taken scientific research out of the back room and brought it into the spotlight. Hames Sharley director James Edwards says every aspect of the building design was influenced by the nature of the creative research activities and investigations within. “Medical research is given visual expression at many different levels, both in the fabric of the building and in the visual display of ideas,” Edwards says. “The exterior palette of materials is comparable to the skin of the human body – the eyes, skin

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and hair colours all come from a subtle warm palette, which is what we have created on the exterior of the building. The west elevation, for example, features brown anodised aluminium with a custom profile that gives the facade a craft-like feel. This elevation has no windows to avoid heat gain from the sun.” While double-skinned glass features on other elevations, some areas are clad in precast concrete with slot windows, which define the nature of the light-controlled laboratories within. The 10-storey building was also designed to reference the 1950s post-war international style of the adjacent Perth Chest Hospital and Nurses’ Quarters. Principal access routes and visual links through the site are maintained, and there are attractive landscaped areas with seating and shade trees.

Preceding pages and left: The new Harry Perkins Institute for Medical Research in Perth, designed by Hames Sharley, features a double skin facade and external blinds that help to reduce solar gain. The precast concrete facade with slot windows encloses lightcontrolled laboratories. Below left:A black ceiling creates an intimate entry for workers on the other side of the main foyer. Below:Large animated displays in the foyer re-create the work of the medical researchers. The artwork at right is a stylised MRI scan with a moving display that highlights various parts of the body in turn.

Edwards says the concept of accessibility and openness was a key driver for the design, helping to determine the ground-level entry to the building. “In the past, august institutions such as this would have had processional steps leading up to a formal entry. We wanted to create an entry that would not be intimidating. This was part of our brief – to provide a facility that would have strong links to the local community.” To this end, the ground-floor foyer has been designed as a public display and function space. An electronic artwork covering almost 100m2 displays colourful images of microscopic research across three double-sided digital banners, which are visible from inside and outside the building. A second installation portrays oversized MRI images of the human body, and presents a vertical beam of light that travels the length of the installation, simulating an MRI scan. Moving digital screens stop at points to run videos of Perkins research relating to each part of the body. “Furthering the human body analogy with the building, an exploration of human anatomy reveals an intensity of colour, pattern and activity internally, and this is reflected in the use of colour and pattern right through the building – not just in the displays,”

says Edwards. “Both the colour palette and the patterns have been abstracted from magnified microscopic images provided by the researchers, with warm colours giving way to cooler shades moving up the building. “Concentrations of colour are provided where there are the most intense concentrations of people, notably the highly activated core of the building, which houses meeting rooms, lunchrooms, lifts, toilets and the stairway.” Edwards says the dramatic sculptural form of the stairway was designed to encourage staff to use the stairs rather than lifts. “We needed to provide opportunities for people to connect and interact informally. Initially, the client thought this might have been a waste of space that could otherwise be used for laboratories, but we recognised that it would help to break down territorial boundaries, which was extremely important. An open stair avoids barricades – it opens up each floor rather than closing it off.” The extensive use of natural timber, which can be seen in the stair balustrading, ceiling panels and in other circulation areas, was designed to help humanise the very sterile, controlled environment of the laboratories.

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“Here again the patterns were extracted from research images. The repeating hexagonal pattern references cellular images– a pattern we kept seeing over and over,” the architect says. “The researchers were strongly engaged in this entire process, which has helped them accept and feel part of the project.” Edwards says this was particularly crucial in view of the substantial changes introduced to the work environment. “This building represents a radical departure from the established orthodoxy for laboratory buildings,”

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he says. “The whole design is aimed at encouraging collaboration, interaction and flexibility. Research scientists are no longer isolated, and we have rearranged the conventional layout of a research facility, whereby laboratories and office desks are in close proximity. Surveys show that researchers today spend more time in their offices analysing data from experiments carried out remotely. They are better served in an environment where they can talk to colleagues and exchange ideas.” To this end, Hames Sharley placed communal areas between the laboratories and offices, and

Below:The large artworks are digital panels, with the images showing on both sides. The foyer doubles as a function centre for special events for the wider community. Below right:Timber veneer panels also reference microscopic images, in particular hexagonal cellular formations.

provided views through glass back into the labs. “We also placed meeting rooms in the central core, which avoids them being colonised by any one group. Everything is shared, and this in itself, required an entirely new management procedure, and trust on the part of the researchers. Laboratory consumables are not kept on individual benches; they are dispensed from a central store. This has meant the labs are much less cluttered, because nothing is hoarded.” Edwards says laboratories, by their very nature, can be visually chaotic. The new operating system

helps to avoid this. So, too, does the white colour of the walls and ceilings. In contrast, the main circulation route alongside each laboratory is defined by a black ceiling. “We gave each neighbourhood an identity, however. Each floor is colour coded – filing cabinets and glass panels at the end of each row of workstations are brightly coloured. “We also ensured every room, aside from the light-controlled areas, is flooded with natural light from large windows. We were fortunate that the floor levels needed to align with floors in the

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adjacent hospital, so the ceiling heights are much higher than other research facilities. Near the perimeter, the ceilings slope upwards, which helps to maximise the natural light.” Other significant facilities provided in the institute include a 250-seat auditorium, hot desks, seminar and video conferencing facilities, end-of-trip facilities, a café, community outreach biodiscovery lab and community resource facility. “The engagement with the community has already started,” says Edwards. “The demonstration laboratory is fully booked a long time in advance, with many high schools taking advantage of the facilities. The institute also hosts corporate team-building events and quiz nights, which are all highly successful.” In keeping with the holistic nature of the project,

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numerous sustainable initiatives help to reduce energy costs. The building is oriented on an east-west axis to maximise daylight penetration and optimise passive design. As well as avoiding glazing on the east and west facades, the thermal mass properties of the exposed concrete slab reduce the need for constant heating and cooling. Excessive heat is also avoided by the double glass skin on the north facade, which creates a chimney effect. Heat is taken away from the outside of the laboratories and naturally exhausted at roof level. There is also external shading to all facades. External motorised blinds between the two glass skins eliminate solar penetration while still allowing the natural light to flow through. The air conditioning system has an economy cycle operation that allows outside air to provide

Below:A dramatic sculptural staircase links all the floors, and is designed to encourage social interaction. Right:Large artworks taken from microscopic images also enliven the stairwell.

Left, below and below right:Communal areas are positioned between the offices and laboratories on each floor. Facing page, lower:A 250-seat auditorium is also a feature. Lower left and right:Each floor is colour coded. Clutter is minimised by keeping most equipment in a central store. Full-height windows provide plenty of natural light. Story by Colleen Hawkes Photography by Robert Frith

some or all of a zoneâ&#x20AC;&#x2122;s cooling needs without mechanical cooling from chillers. Variable speed drives allow equipment to be accurately controlled, which results in greatly reduced energy use. Air-to-air heat exchangers precondition the outside air, and variable volume air conditioning allows different areas to be supplied with conditioned air from one item of plant, while maintaining accurate temperature control in each space. Water-cooled high-efficiency chillers also provide increased efficiencies over conventional chillers, particularly during part-load operation. This results in significant reductions in energy usage.

The success of the building is not only evident in the community involvement, but also in the industry awards it has received to date. These include the Jeffrey Howlett Award for Public Architecture, 2014 in the Western Australia Architecture Awards; the Best Education Building in the Master Builders-Bankwest Excellence in Construction Awards 2014; and the Interior Architecture Award 2014 from the Architects Institute of Australia.

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Project Harbour City Funeral Home

Location: Upper Hutt, Wellington

Architect: TSE Architects

PAYING RESPECT Designed as a series of small, linked volumes, this new funeral home is defined by its composition, material palette and a resident vintage hearse

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Below and lower right:To reduce the scale of this commercial building in a residential neighbourhood, Tse Architects created a series of connected box-like volumes clad in different materials. The cedar screen helps to soften the raw, monolithic look of the boxes. Below right:One glass-walled box serves as a garage for the funeral home’s classic 1936 Packard hearse. The main car park for visitors is hidden from sight at the rear of the building.

High profile is not a phrase normally used in association with a funeral home, but there’s no doubt that both the prominent location and design of this new home raise the profile of the business. Director Phill Jones of Tse Architects, the firm commissioned to design the new Harbour City Funeral Home in Upper Hutt, says the site is right beside a roundabout on an arterial road. “This is a very high-profile location – it was formerly the site of a post office that the company had converted for use as a funeral home. But it is also is a mainly residential neighbourhood, so it was important that the new building blend in and not look out of place in the low-rise environment.

“Consequently, we chose to break down the scale of the building by creating a series of small, linked volumes. Using a mix of cladding materials, including solid plaster, cedar weatherboards and full-height glazing helps to further break down the form of the building.” Associate architect Andrew Bluck says cedar slats across the facade facing the main road introduce a horizontality that also helps to soften the raw, monolithic look of the box-like forms. “It provides privacy as well – the screen blocks much of the direct vision into the chapel while still allowing plenty of natural light to flow through. This creates a wonderful play of shadows on the inside

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of the building, as the position of the sun changes throughout the day.” Another key feature of the exterior is a glass-box garage, which serves to display the company’s vintage 1936 Packard hearse. “This is a recognisable showpiece for the funeral home, and a great advertisement for the business.” Jones says Tse Architects has worked on other projects for Harbour City Funeral Home and had already established an identifiable branding for the company. “It’s a simple, contemporary styling with similar materials – although we don’t prescribe a cookiecutter design, there is a unity to the look.” On the interior, this can be seen in the sleek timber veneers and the design of the reception desk, which features a mix of dark and light veneer. Bluck says the small size of the original premises

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on the site was a key reason for the new building, which needed a much more flexible design that acknowledged the sensitive nature of the business. Large operable doors can be used to close off different areas, creating intimate spaces or opening them right up to cater to large groups. The reception area and client rooms can also be used while a service is under way, with no disruption to either group. The chapel can seat 130 people, but glass sliding doors can be opened up to accommodate another 70 people in an adjoining area. There is also an adjoining refreshments lounge. Other facilities on site include private viewing rooms and administration offices.

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Below left:Large timber veneer sliding doors in the Harbour City Funeral Home can be used to close off specific areas. The reception desk incorporates a mix of timber veneers. Lower left:The chapel, which can seat 130 people, features comfortable, locally manufactured pews made from macrocarpa wood. The coffered ceiling is accentuated by feature lighting. Story by Colleen Hawkes Photography by Jason Mann

Web www.tse.co.nz

Auckland 09 525 2214

Wellington 04 384 2020

SECTOR REPORT MASTERPLANNING

TACTICAL URBANISM Trialling designs for public feedback may enhance our urban spaces. Jasmax senior landscape architect Gary Marshall puts the case for tactical urbanism

While Henry Ford and creativity aren’t words often used in the same sentence, there might be something to be learned about the creative process from his response when asked about the invention of the motor vehicle. On the subject Ford said, “If I’d stopped to ask people, they would’ve told me they wanted a faster horse”. As designers, our role is to create something new, but new is different, and difficult for many of us to imagine, particularly for those who don’t understand what is and isn’t possible. To combat this problem, historically we’ve used sketches, models and renders to help us communicate our ideas. But while these can be visually strong, they don’t account for all the things that make a place real; there’s no sound, no smell, nothing to touch and no atmosphere to feel. In this sense, clients and users of a space are asked to make vital decisions that will impact the design without all the information they actually need. Tactical Urbanism, while sounding a bit like a branch of a SWAT team, is a new design methodology that might be able to help. In its purest form, tactical urbanism involves a number of temporary ‘design experiments’ replicating, in a low-cost, low commitment way, the future change an urban environment could take. These experiments are measured for effectiveness, and those that work are either left in place, or implemented in a more permanent manner – it’s a bit like a ‘try before you buy’ approach to design. As an example, we recently put a proposal to Waterfront Auckland for the redesign of Waitemata Plaza. We suggested six themes for temporary installations, including picnic areas, sports fields, gardens and pools. The intention was that structured research would be undertaken to review each theme, which would then inform the final design, giving the design team confidence that they were truly designing for the public. While our proposal was not the successful one, Waterfront Auckland embraced tactical urbanism. During the summer months of 2013/14 they ran a series of trials to see how visitors engaged with

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each space. They trialled an urban beach, different kinds of seating, and an ice cream vendor. The feedback from these trials is currently being used to inform the permanent design of the plaza. Tactical Urbanism works particularly well with projects where there is a large and diverse group of stakeholders. The high energy and ever-changing nature of the trials helps to build momentum that will ultimately realise a site’s larger potential. Evaluation and measurement of each trial is important. Utilising social media can be a powerful way of gaining this public feedback. Globally we’re seeing this become a key part of public design. By giving the public something to trial, we not only gain richer feedback, but foster a sense of community, of collective ownership of a project. Temporary installations need to provide a realistic representation of what the space might become. For the Waitemata Plaza proposal, we utilised a young and energetic team; as recent grads, we figured they were best qualified in the art of creating something out of nothing. At Jasmax, we have a team increasingly focused on tactical urbanism projects. Landscape architecture grad John Allan has been heavily involved in the global ‘Park(ing) Day’ event, which transforms parking spaces to a public space, drawing attention to how public space is created and allocated. Architectural graduate Patrick Loo and Oh.no.sumo are building a reputation for innovative temporary architectural installations, while as senior landscape architect, I am currently teaching a paper at Unitec on the topic. More than just improving the design process, we see tactical urbanism as an opportunity to create change for the better. It gives us the power to start experimenting and utilise real feedback from the public, based not on perceptions but on experience. Because as Henry Ford discovered, the difference between what we think we want and what we actually want can be world-changing.

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Above:Jasmax senior landscape architect Gary Marshall discusses the concept of tactical urbanism – a try-before-you-buy approach to urban design. Right:Jasmax produced several different ideas for the redesign of the Waitemata Plaza. Marshall suggests trialling aspects of such designs to gain public feedback before committing to a project may be the best approach.

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SECTION FOCUS HOSPITALITY

FRESH SERVING The hospitality industry is catering to a new urban experience, as laneways, courtyards, cafĂŠs and restaurants enliven developments in the CBD

Project Strange’s and Glendenning Hill buildings

Location: Christchurch

Architect: Sheppard and Rout Architects

BEFORE AND AFTER Sharp-edged glass and steel meets solid brick and stone – a contemporary commercial building abuts a traditional structure, creating a synergy that works on several levels

As the first permanent buildings to be completed in the former Christchurch CBD Red Zone, the Strange’s and Glendenning Hill buildings have caught the eye of designers, developers and locals alike. Architect Jasper van der Lingen of Sheppard and Rout Architects says this is not surprising, as everyone has been waiting with interest to see what forms new CBD buildings will take in the postearthquake reconstruction. “We were the first cab off the rank, so to speak, so we spent considerable time discussing this very issue with the owner, KPI Rothschild Property Group,” van der Lingen says. “The city was still experiencing large aftershocks, but the owner was adamant the damaged heritage building should be replaced as soon as possible. We had considerable debate and discussion about the design, and it became clear that the buildings needed to look strong. Being able to see the structure of a building is a visual reassurance that it will withstand future earthquakes.”

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Van der Lingen says the same owner had only recently strengthened the historic 1882 Bonnington brick and stone building that adjoined the original Strange’s building, so it survived the quake. The team realised it could play a crucial role in the design, creating a raw, textural backdrop to a new laneway and courtyard that would be home to a number of cafés and bars. “The Christchurch City Council is encouraging such mixed-use developments and laneways as part of the urban blueprint for the city. It is all about revitalising the city and making it a lot more liveable and friendly.” “For the new Strange’s and Glendenning buildings, we chose to express the steel framework on the outside of the building, so the bones and structure are clearly visible – the strength can be seen at a glance. The two buildings are seismically separate, however, and the Glendenning building has a Lichfield Street address.” Sheppard and Rout Architects also created a large egg-shaped cylindrical concrete core,

Preceding pages:Mixed-use commercial developments are once again enlivening the Christchurch CBD. The Strange’s and Glendenning Hill buildings incorporate a laneway and a collection of bars and restaurants. Below left:The steel structure is exposed to highlight the strength of the building in the post-earthquake environment. Curved steel forms the entry to the laneway. Right and below:Positioned at the junction of two main streets, the building forms a sharp apex on the upper levels, creating an urban gesture to the city. At ground level, the facade is curved to create a more friendly exterior beside the footpath.

which provides the main structural support for the Strange’s building. The form of the cylinder, which features concrete half a metre thick, is exposed on all levels, and pops out the top, so it can be glimpsed from many areas. “The oval shape is one of the strongest forms in nature,” says van der Lingen. “The client wanted a building that would last forever. It wasn’t enough to just meet earthquake codes – we needed to surpass them, so this building is built to IL4 level, which is usually restricted to emergency facilities. This means the building is built to a standard that is 188% of the earthquake code for Christchurch.” Various services are contained in the core – it accommodates the stairs, lifts, and a number of utilities, including bathrooms, ducts and switchboards. The prominence and consequent significance of the corner site was also recognised. Van der Lingen says the building needed to make a strong statement, but the team wanted to reference the historic predecessor at the same time. “The glass facade is an abstract representation of the old heritage buildings that lined Lichfield St,” he says. “The windows are all vertical, with deep recesses that create shadows and stringlines – they

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define the position of the floors inside. The vertical panels are set in and out, which repeats the rhythm of the fenestration on the Bonnington building next door. To achieve a real depth of shadow we added coloured fins to the panels. These also help with sun shading at certain times of the day, and they cast interesting coloured patterns on the interior.” The pointed end of the building, at the junction of the roads, is a key focus. “The original building had a curved end that went right the way up,” says the architect. “We felt the end should be rounded at the lower section, where people circulate around the building, and can see and touch the glass. But on the upper storeys we went for a sharp edge to the acute angle, which is an urban gesture to the city – it clearly signals the prominence of this corner site.” While offices occupy the upper levels – the top floor is tenanted by the builder Leighs Construction – the lower level is given over to five café-style bars, namely Lower 9th Diner, Nucleus, Orleans, Strange & Co and Vespa. All the venues open into the new laneway and courtyard, which is entered from both High and Lichfield Streets. There is a new gateway between the old and new buildings on High Street. “Here, the dark steel framing curves down to the

Below left:No longer derelict spaces, the laneways between buildings have created shared outdoor dining areas for bars and restaurants. The oval-shaped concrete cylinder forms a key part of the structure of the Strange’s building. Below:Sunlight filters into the laneway by day. At night, the area becomes a vibrant entertaining destination. Right:Stepped balconies cantilevered off the Glendenning building enhance the industrial feel of the precinct.

Left:A large opening in the mezzanine floor of the Strange & Co bar is lined with blackened steel. Below left:Materials recycled from demolished Christchurch houses feature in the Orleans restaurant. Below:The oval concrete cylinder forming the main structural support for the Strange’s building creates a raw, industrial backdrop for the Nucleus bar. Below right:On the upper levels the same concrete core accommodates service facilities for the office tenancies. Story by Colleen Hawkes Photography by Jamie Cobel

ground, referencing the old brick arch that was the entry to the original building,” says the architect. “It creates a portal between the street environment and the laneway. It also adds a little drama and a sense of theatre, and it is lined with timber, just like the interior of the bars that follow.” Two of the bars have mezzanine levels, including one with two large oval openings edged with blackened raw steel. “There are four of these large oval holes in two mezzanine floors,” says van der Lingen. “They were a novel way to ensure the floor area of the mezzanine levels remained under the maximum coverage allowed. The blackened steel imparts the semi-industrial look we wanted, and the oval shape echoes the form of the oval support column.” Tom Newfield, operations manager for Britomart Hospitality Group, the owner of the Orleans, Lower 9th Diner and Strange & Co venues in the Strange’s building says his business benefits from the synergy created by the laneway courtyard. “We have been open for just two months and although the CBD is still a barren wasteland, the venue is drawing people back into the city. There is a gathering of momentum and energy, with the venue filling the void as a late-night destination.”

Newfield says the design of the restaurants and bars reflects the international trend towards more casual, informal dining. “The way people socialise is changing,” he says. “So we have created a very relaxed vibe, with interiors that pay homage to the heritage aspects of the site. The Strange & Co bar, for example, has an industrial workshop aesthetic, with raw exposed concrete and polished timber floorboards. The restaurants also reflect an international influence, and were inspired by Southern American cuisine.” The Orleans restaurant, which is reminiscent of an old rustic saloon, uses recycled materials from demolished Christchurch houses, such as jarrah wood and pressed tin ceilings. The Lower 9th Diner recalls an abandoned overgrown theme park.

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Project 76-78 Victoria Street Spice Paragon Bar & Restaurant

Location: Christchurch

Architect: MAP Architects 2010 Ltd

LOOKING SHARP Contemporary commercial buildings find a new expression in the Christchurch rebuild, while catering to the needs of the people – in more ways than one

Traditionally, High Street buildings have provided retail facilities at street level, with commercial tenancies on the upper floors. It’s a formula that hasn’t changed in centuries, but the Christchurch rebuild is providing opportunities for developers and designers to literally think outside the square, as this project shows. The building, at 76-78 Victoria Street, replaces a 1950s block that was abandoned following the first Christchurch earthquake in September 2010. The

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owners, Andy and Trish MacFarlane, commissioned MAP Architects to design the new building almost immediately, says architect Simon Elvidge. “This is a very high visibility triangular site, at the junction of two main streets, and the owners were keen to maximise this exposure,” he says. “We designed the building to have a transparent ground floor to promote an engaging retail frontage – the Spice Paragon restaurant has subsequently taken the tenancy.”

These pages:Corten steel fins define the northwest exterior of this new Christchurch building, designed by MAP Architects. The building, at 76-78 Victoria Street, accommodates offices on the upper level and the Spice Paragon restaurant on the ground floor.

Elvidge says the site boundaries excluded the very tip of the triangle. “We wanted to avoid a stubby end to the building, which would have been the result if we had built right up to the boundary. So we sculpted the end of the building, putting a slight kink in the structure to provide a pointed end. Horizontal louvres enhance this sharp leading edge. At street level, however, we left enough space for a small area of outdoor seating at the apex.” The architect says the owners have a farming background and expressed a desire for the building to feature natural materials. “The clients requested a town-meets-country approach. We chose a rich material palette that speaks of rural and urban imagery. The northwest elevation features Corten steel fins – we call them billowing fins as they have a slight curve. The rusted, weathered patina complements the oiled timber that lines the recessed areas at ground level. The fins also provide essential sun shading to the office floors, which means office workers rarely need to pull the blinds. This in turn helps to activate the exterior of the building, which adds to the vibrancy.” A local Mt Somers limestone features at ground level, while Timaru bluestone clads columns and a long feature wall in the entry foyer. This is a highly

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textural volcanic stone with air bubble fissures. Elvidge says the stretched glass facade on the other side of the building creates a simple, calm backdrop to the historic clock tower that was restored following the earthquakes. “Overall, the finely detailed language of this building provides a contemporary response to the highly detailed, yet traditional nature of the clock tower.” The Spice Paragon restaurant and Khao-San Road bar on the ground floor reflect a similar attention to detail. Designed by Crafted, the bar and restaurant echo a theme established by the company when they undertook an earlier commission for the restaurant in another part of the city. Designer Callum Pankhurst says for this project, key motifs and colours are similar to the first restaurant, but the client wanted something a little different in terms of the material palette. “The client specifically requested a very raw, semi-industrial aesthetic. Consequently the restaurant features a lot of hot-rolled steel and distressed-grade red beech that has a warm, recycled look. This timber is milled from trees that have been attacked by borer, so the holes and knots create added visual interest. We have also oiled the timber and it is maintained by waxing, so it will develop a rich, weathered patina over time.”

Below left:The contemporary detailing on the building, in the form of fins and louvres, is a modern nod to the highly detailed design of the restored clock tower. Below:A slight kink in the building design allows the two angled sides to meet at a sharp edge, seen here from inside one of the office tenancies. Right:Office interiors are also contemporary, with natural materials featuring prominently. Following pages:The Spice Paragon Thai fusion restaurant and Khao-San Road bar occupy the ground floor. The restaurant and bar interior, designed by Callum Pankhurst of Crafted, is a largely monochromatic palette with distressed red beech teamed with black steel.

Hot-rolled steel was specified for the cashier desk, wall panels and laser-cut screens. “Because some parts of the hot-rolled steel cool faster than others, it has interesting tonal variations,” says the designer. “The hexagonal laser-cut motifs on the wall screens repeat a branding theme that appears in a lot of the Spice Paragon marketing – the shapes reference spices, in particular star anise. These are illuminated by LED lighting, so the hexagons glow out from the dark steel.” Other lattice-work screens divide key areas of the restaurant, and also feature on the front of the bar. These are made from interlocking flat steel, with minimal welding. “These screens create privacy and intimacy, but with a degree of transparency,” says Pankhurst. “They provide a theatre of movement, and also convey a slightly Oriental lantern effect that is appropriate. Although the food in the restaurant has a Thai base, it also has a strong Western influence, so there was never any intention of providing an especially authentic Thai decor.” Another key element in the interior is a long black wall made from a Muros fibreglass product. Pankhurst says this conveys the texture of shuttered concrete, but was a much more cost-effective way to achieve a similar look.

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Not surprisingly, lighting plays a key role in setting the ambience. Crafted specified custom hand-blown pendants from Denmark, which create a talking point in the bar. There are also suspended black tube lights that provide ambient light and help to enhance the intimacy of the space. Baffles in the ceiling, which reduce noise levels, are additional features. In keeping with the theme, much of the furniture is steel, including the chairs and bar stools. Bench seats are in timber and black leather. Pankhurst says the success of the project can be

attributed to the close collaboration with the building owners and the other consultants. “There were a lot of challenges to work through, especially in terms of the fire code, but now the project is finished, it has achieved everything we – and the restaurant owners – wanted.”

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Left:In the Spice Paragon restaurant, Muros fibreglass walls in black create a textural look reminiscent of raw, shuttered concrete. The cashier’s desk is built from hot-rolled steel, which also features on wall panels. The flooring is a mix of stone tiles and oiled red beech timber. The hexagonal spice-related motif on the wall panels is repeated in places on the floors. Right:Steel lattice screens help to make the dining spaces more intimate, yet allow some transparency, enhancing a sense of theatre. The bamboo light pendants are a nod to the Oriental influences in the menu.

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SURFACE ATTRACTION To enhance the character of the new commercial building at 76-78 Victoria St, Christchurch, the architect specified two different local stone facades from Stoneface

New commercial buildings in Canterbury have an architectural expression that reflects a unique, regional design response. And the use of natural local materials is a key factor for many of these projects. To add a local flavour to the new building at 76-78 Victoria St, Christchurch, the design team at MAP Architects specified natural stone facings that were designed, processed, supplied and installed by Stoneface. Mt Somers limestone clads the base of the exterior of the building, while Timaru bluestone clads a feature wall in the entry. Stoneface selects each piece of stone for its intrinsic character. The stone is then calibrated, shaped to suit the dimensions required, and processed to allow accurate positioning using adjustable stone supports (Stonemec). This support system, which has been engineered to meet New Zealand building standards, allows each stone plate to carry its own weight back to the substrate without load transfer to the adjoining stones. Stone facings from Stoneface are particularly well suited to applications where weight concerns may limit the use of solid stone. The lighter weight of the stone facing means the stone can be suspended to create a cavity behind. It can also be installed easily around service ducts or overhead, on bulkheads. Stoneface natural stone facings are well suited to both commercial and residential projects. For further information, contact Stoneface, 407b Selwyn St, Addington, Christchurch, phone 027 919 2840. Email: enquire@stoneface.co.nz. Website: www.stoneface.co.nz

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Above:Stoneface installed Mt Somers limestone (top) and Timaru bluestone (above) to this new Christchurch building.

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IN THE MOOD To enhance the intimate, semi-industrial look of the new Spice Paragon restaurant and Khao-San Road bar, surfaces were painted in Resene Black

In the hospitality industry, atmosphere is everything â&#x20AC;&#x201C; it sets the mood, creates the right vibe, and reinforces branding. Callum Pankhurst of Crafted, the designer of the Spice Paragon restaurant and Khao-San Road bar in the new building at 76-78 Victoria St, Christchurch, specified walls and ceilings painted in Resene Black to reinforce a raw, semi-industrial aesthetic. Resene Black, described as an ebonised lamp black, creates a dramatic backdrop to the bar, and is a bold contrast to the distressed grade red beech furniture and floorboards. It also works well with the dark grey of the stone floor tiles and the steel furniture and screens. Resene SpaceCote Low Sheen was the paint used for the project. This paint and Resene Zylone Sheen are both recommended for broadwall areas in both commercial and residential interiors. The paints can be complemented by trims and joinery in Resene Lustacryl semi-gloss waterborne enamel, and coloured ceilings in Resene SpaceCote Flat. These are all waterborne paints that are low-odour, low-VOC and Environmental Choice-approved. Available in thousands of colours from the Resene Total Colour System, the paints are tinted using Resene non-VOC tinters. For further information, or for the latest colour fandeck, visit a Resene ColorShop, or freephone 0800 Resene (737 363). Website: www.resene.co.nz

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Above:Resene Black features on walls and ceilings in the Spice Paragon restaurant and KhaoSan Road bar in Christchurch.

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Project 351 Lincoln Rd

Location: Christchurch

Builder: Calder Stewart Construction

CHARACTER BUILDING This commercial office and retail development combines an articulated facade with earthquake resilience â&#x20AC;&#x201C; Calder Stewart undertook the construction

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Below:The 351 Lincoln Rd office and retail complex built by Calder Stewart Construction meets strict IL3 building standards.

The rebuild of inner-city Christchurch comes with the imperative for a new breed of architecture. Seismic resistance is integral to all new post-2011 buildings, but it doesn’t come at the expense of eye-catching design – it takes a skilled construction company to seamlessly marry the two. Calder Stewart Construction was the main contractor for the clean-lined 351 Lincoln Rd complex. The private development offers 3600m2 of commercial and retail space over five levels, together with a two-level carpark. Completed in late 2013, this project was a team effort from the word go, says Calder Stewart’s regional manager Adrian Mathieson. “We were a natural choice as a construction partner, since our team has worked well with developer David Sloan and his meticulous approach to design and construction on previous projects.” Clad in aluminium composite and semi-reflective glass, the complex features distinctive cantilevered floor space and localised sun louvres. The articulated facade makes a strong architectural statement along Lincoln Road. And then there’s what lies beneath. Concrete reinforced shear walls and steel framing provide a solid shell for 351, at the same time, bringing lightness and strength to the entire structure – making it a robustly earthquake-resistant IL3-rated building. “The project’s scope and design called on all our technical abilities,” says Mathieson. “The 14m-deep pile foundation, insitu shear walls and extensively detailed exterior really kept us on our toes.” Calder Stewart is currently working on other commercial projects in the inner city, at 299 Durham St and the new Vodafone headquarters in Tuam St. For details, contact Calder Stewart Industries Ltd, Aon House, 388 Blenheim St, Christchurch, phone (03) 338 0013. Website: www.calderstewart.co.nz

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Project DKW Personnel office

Location: Christchurch

Designer: Interiors @ OfficeMax

BEST DRESSED This crisp new workplace for a recruitment specialist was so successful it resulted in a complete rebranding exercise for the company, says the design team from Interiors @ OfficeMax

Modern workplaces need to be innovative, flexible and future-proof, but it takes a lot of design expertise and experience to bring these diverse elements together. When leading recruitment firm DKW Personnel relocated to a new building following the Christchurch earthquake, the company commissioned Interiors @ OfficeMax to create an entirely new look for the business. DKW Personnel director Rani Rangimoekau says the company recognised the move was a great opportunity to fully customise its workplace. Initial

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discussions with OfficeMax were also focused on the need to create the wow factor. “The interior needed to be sleek, corporate and professional,” she says. “We particularly liked the idea of introducing bright red, which conveys the passion and energy of our business.” OfficeMax project manager Dean Godfrey says the design team challenged DKW to look at its entire operation with a view to a total rebranding exercise, which is precisely what evolved. “OfficeMax provided a full product solution for DKW, customising most of the furniture, window

Below:The new Christchurch office of DKW Personnel by Interiors @ OfficeMax includes a 4500mm one-piece reception counter with a high-gloss twopaint finish, LED lighting and chrome kick panels that create a floating impression. Right:Interiors @ OfficeMax supplied a bespoke one-piece boardroom table. The latest technology was also integrated via a projector and an interactive touch-screen whiteboard.

treatments, technology and flooring,” Godfrey says. “To enhance the visual drama, we kept to a strict red, white and silver theme, with accents of black.” The custom furniture includes the reception counter and desk, meeting and boardroom tables, and workstations. The boardroom table features specially manufactured legs that mirror the chrome accents throughout. Meeting tables in the interview rooms are teamed with chairs in white, black and red to co-ordinate with the painted walls. OfficeMax also supplied new monitor arms and computer accessories. “As with most projects, some of the products and layout requirements changed as we progressed, but we were able to amend the solution accordingly,” Godfrey says. “We also helped DKW provide a smooth transition for staff.” Rani Rangimoekau says the new office has transformed the workplace. “The office has a whole new feel – it’s a very happy, energetic work environment. It has been so successful we have taken the new look right through all our branding.” Godfrey says Interiors @ OfficeMax prides itself on the quality of its service. “We were not the lowest tender for the DKW project, but we were successful because our solution met their brief, and because we provide a high level of service, as well as a functional, high-quality product that is fit for purpose. Every

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aspect of the design and furniture supply is taken care of, so clients have a single point of contact.” Interiors @ OfficeMax works with leading New Zealand and international manufacturers and importers. The company has more than 60 suppliers in New Zealand alone, and over 60,000 coded products. “We have the ability to redirect orders between our different distribution centres to meet strict deadlines,” says Godfrey. “For example, we were able to move orders to be manufactured from a different supplier, outside of Christchurch, after the earthquake to help set up the Civil Defense facilities, and for temporary offices for other customers in the city.” OfficeMax has specialist consultants in furniture, technology, café and hygiene fit-outs, and more than 180 local service representatives throughout the country. Clients range from local government and major healthcare providers to corporate firms and small businesses. OfficeMax has ISO 14001 certification and Enviro-Mark® Diamond certification for its New Zealand operations. For more details, contact OfficeMax, freephone 0800 426 273. Web: www.officemax.co.nz/interiors

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Below:Meeting tables in the interview rooms at DKW Personnel were custom manufactured. The chairs were chosen to colour co-ordinate with the walls. Right:Interiors @ OfficeMax also custom designed workstations and supplied computer monitor stands and accessories, window blinds and the staff kitchen.

WELCOMING AIR This restaurant and adjacent kitchen achieves a balanced fresh air environment with fabric-duct technology offered in New Zealand by Smooth-Air Products

In the complex world of commercial ducting and HVAC systems, an issue can be easy to notice but hard to pinpoint. A professional team will spot the problem and supply the appropriate response. Commercial kitchens produce smoke, steam or airborne grease that needs to be captured and removed, says Smooth-Air HVAC product manager Paul Shaw. “However, restaurants often add more cooking hoods or heat-producing appliances that skew the ability of the HVAC to perform to specifications. “In this restaurant, smoke and food odours from the kitchen were wafting into the dining room because turbulence from a high-velocity HVAC supply diffuser prevented the cooking draft hood from operating effectively. The problem was solved when traditional ducting was switched for two D-shaped fabric diffusers. The resulting even output changed the kitchen air pressure from positive to negative, resulting in cleaner air for the dining area.” With DuctSox Fabric Air Dispersion Systems, the air is discharged more evenly along the entire length of the duct, providing consistent and uniform air dispersion in the occupied space, says Shaw. Lightweight and custom engineered to specific requirements, fabric damper systems come with a 10-year warranty. They are easy to maintain and can be washed in a commercial washing machine. The DuctSox System can be coloured and silk screened to precise customer requirements. This is just one of the many advanced ducting and HVAC solutions offered by Smooth-Air. For more information, contact Smooth-Air, phone 0800 SMOOTH (0800 766 684). Or visit the website: www.smooth-air.co.nz

save & share 45776 at trendsideas.com Above:D-shaped fabric diffusers contributed to an efficient HVAC balance between the kitchen and dining area for this restaurant.

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SECTOR REPORT WORKPLACE PERFORMANCE

SHOW ME THE STARS The tool that rates a building’s energy use, NABERSNZ, can benefit both tenants and landlords, says Kane Tarrant of Colliers

Energy rating labels on products are designed to give consumers power. When we’re buying a new car or washing machine, most of us pay at least some attention to the number of stars on the label denoting how much our shiny new purchase will cost us to run over time. Now a similar scheme applies to office buildings in New Zealand – and it’s starting to change the way both tenants and landlords think about a building’s performance. NABERSNZ, the energy benchmark for commercial buildings, has been in the market for approximately 18 months. Based on Australia’s long-running NABERS scheme, our tailor-made Kiwi version gives owners a clear way to communicate to the market how efficiently their building performs – and it gives tenants the power to demand, “Show me the stars.” NABERSNZ is a clear, independent benchmark that shows tenants exactly what they’re getting.

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And as the Australian experience shows, it’s an effective way to improve energy use across our commercial building sector. To date, approximately 20 NABERSNZ ratings have been certified, with many more owners investing in preparing their buildings for ratings, through metering and energy-efficiency upgrades. We’re expecting to see more buildings certify their ratings this year, as this preparatory stage ends. Long-term impact What long-term impact can we expect NABERSNZ to have? It’s worth looking to the Australian market, where NABERS has brought demonstrable changes, both in energy performance and asset value. After three NABERS ratings, Australian buildings have typically improved energy efficiency by 11%, rising to 20% by the fifth rating. Investment Property Databank (IPD) figures show

Above:Kane Tarrant, Colliers International national facilities manager real estate management, says buildings with a NABERSNZ rating provide transparency to tenants, and give landlords an opportunity to improve returns. Below and right:The Asteron Centre in Wellington, designed by Warren and Mahoney Architects, with an integrated 13th-floor fit-out by Geyer, has a marketleading 5.5-Star NABERSNZ rating.

Left:The NZI Centre in Auckland, designed by Jasmax, has a market-leading 5 Star NABERSNZ rating. Below:Sustainability was also a key design driver for the Kapiti Coast District Council building, designed by Designgroup Stapleton Elliott and project managed by The Building Intelligence Group. The building has an “excellent” 4.5 Star rating from NABERSNZ.

that higher-rated buildings have lower operating costs and higher net operating income. They are also more popular with tenants, showing lower vacancy rates and longer average leases. Tenants are more likely to consider the total cost of occupancy. Here in New Zealand, NABERSNZ is still in its infancy, and there’s been debate about whether a voluntary scheme has the necessary ‘grunt’ to make an impact in our property sector. The premium end of the market has been quickest to adopt it, which is not surprising. In Australia it’s mandatory. Without regulation, is it reasonable to expect local owners and tenants to care about how many kWh of energy their building uses per square metre? I think the answer is yes. NABERSNZ gives tenants new transparency and new power. When tenants negotiate an office lease, knowing the rating helps give certainty about ongoing operating costs. If the information exists, which tenant wouldn’t want a clear benchmark that shows long-term running costs – not to mention how well the building is commissioned and maintained for staff comfort? From the other side of the fence, NABERSNZ also contributes to the landlord’s asset value. It’s your classic ‘win-win’. Commercial property experts have been taking a close interest, and training staff to advise on

NABERSNZ. We’re already starting to see lease agreements specifying minimum NABERSNZ ratings. Public sector uptake We expected government agencies and councils to be early adopters, due to the onus on the public sector to demonstrate value for money. This was borne out, with many of the early NABERSNZ ratings from the public sector. NABERSNZ has been stipulated in government leases in Christchurch. Widespread uptake of NABERSNZ will be driven by tenant demand, and when a NABERSNZ-rated building becomes de rigueur across government, I’m sure every landlord will be taking notice. For owners and tenants in Green Star-rated properties, this is the way to prove your building performs the way it’s supposed to. While a Green Star building has the potential to be very efficient, its actual performance will come down to the way it’s commissioned, run and maintained. Long term, if NABERSNZ works as intended we’ll have both better-informed tenants, and higherperforming buildings.

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SECTION FOCUS WORKPLACE

OPEN FOR BUSINESS Your premises may be open plan, but does that mean a job well done? The offices featured here are also designed to promote a whole new way of working

Project Procter & Gamble Innovation Centre

Location: Singapore

Interior design: Orbit Design Studio

WELL CONNECTED Collaboration, connectivity and an acknowledgement of its Asian context sum up the interior design strategy for Procter & Gamble’s Singapore Innovation Centre

Business success today relies heavily on encouraging innovation and having the flexibility to implement changes quickly. And a major factor in achieving those outcomes is the workplace environment. When Procter & Gamble decided to build an innovation centre in Singapore, the goal was to come up with a radical design that reflected the company’s innovative spirit. The company says the new building needed to address the challenge of a tropical climate and be sympathetic to Singapore’s cultural heritage, but in a contemporary way. “While this is a highly sophisticated building from a technological point of view, we also wanted to create an inspiring and stimulating work environment

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to help drive creativity and innovation.” The 32,000m2 facility is Phase 4 in the Biopolis biomedical research hub, masterplanned by architect Zaha Hadid. It is Singapore’s largest private research centre, and is the first P&G centre to be built in a tropical and urban environment. One of the results of that is the intelligent facade design which uses clear glazing and louvres to give maximum access to daylight while controlling glare and heat. While P&G’s own architecture team worked with IDC Architects on the building itself, Orbit Design was commissioned to design the interiors and integrate corporate graphics and branding. Orbit design director Simon Drogemuller says this involved providing a host of functions – from

Previous pages, below and right:The arrival process at the Procter & Gamble Singapore Innovation Centre sets the stage for design principles used throughout the interiors – transparency, connection and reflecting Asian culture. The impressive staircase cantilevers above the reception area and provides the main circulation path through the atrium.

Top left:Areas adjacent to the atrium and staircase act as breakout spaces and include pantry facilities. Lower left:The abundance of open collaboration spaces throughout the building encourages staff to work together across organisational boundaries. Below:Circular meeting rooms mark the transition between office and breakout areas. Curved sliding doors open up the room or close it down for privacy.

research laboratories to training rooms and offices. “These were to house an army of engineers, researchers and scientists who develop beauty, hair and skin products,” he says. But instead of splitting these functions into separate wings, lab and office space was allocated to each floor. The lab areas were internalised in the building core, while the open-plan work areas were placed around the perimeter. “This open and flexible plan contributed to the innovative thrust by encouraging creative collaboration among P&G staff,” says Drogemuller. The biggest challenge in creating this open workspace was taking standard workstations and customising them to meet specific requirements. For example, much time was spent designing the partitioning between the labs and workspaces. These needed to provide storage for products and

be very durable, yet still allow maximum connection and visibility between the areas. For P&G, the centre presented an opportunity to demonstrate that the company is at the leading edge of modern office workplace strategy. “As well as having open workspaces, the desks are not assigned,” says Drogemuller. “Staff have lockers where they can store personal items, but they don’t have a fixed workstation. When they arrive, they log in, choose a desk and the phone system automatically connects them to that workspace.” This gives workers the flexibility to work in positions most suited to their roles on a daily basis, or to form new teams for collaborative work, without having to make changes to the desking. Probably the building’s most impressive feature is its main staircase, located in the heart of the

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facility and linking all floors. It’s a dominant feature of the entry atrium, and its base overhangs the reception area. “The staircase is clad in a vertical wooden louvre carapace, which references Asian design,” says Drogemuller. “This created a design motif that recurs throughout the innovation centre.” The wooden slats on the staircase add another layer of connectivity and transparency to the design, highlighting the movement of staff as they walk up and down the stairs. The design encourages regular interaction in the multiple group meeting spaces that are arranged

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around the staircase and atrium. With a 6m floorto-floor height, some of these spaces have been located on mezzanine floors in the atrium. For Simon Drogemuller, the success of the design is in how it encourages new ways to work. “Removing the barriers between offices and labs, and having an abundance of collaboration spaces encourages staff to work together right across organisational boundaries,” he says.

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Below:The lower level accommodates training facilities, as well as media rooms for press releases and product launches. Orbit Design Studio selected materials and a colour palette to provide a well-balanced interior that won’t date. Right:Natural materials, colours and the use of patterns in wall fabrics reflect Asia in a contemporary and subtle way. Story by Paul Taylor Photography by Owen Raggett

OFFICE HELPER Keeping workstations clean and clutter-free is easy, with the hygienic, smooth-gliding undercounter rubbish solutions from Hideaway Bins

No matter what the size of an office fit-out, the most effective rubbish or storage solution is the one that’s easiest to implement. As habits in the workplace change and offices edge towards a paperless environment, there is less requirement for the individual desk filing drawer. Installing a Hideaway Bin in this redundant space offers a practical advantage and eliminates the need for a bin taking up valuable leg space under the desk, says general manager Jamie Bertelsen. “Hideaway Bins are designed with strong, durable materials that are robust enough to meet the demands of commercial use but also remain very easy to clean. The zinc-treated steel framework is powdercoated for durability and the quality ball bearing runners hold up to 40kg. These over extend, allowing for easy removal of the bucket.” The buckets are made from a recyclable, foodgrade polypropylene plastic. The 15-litre bucket is sized to take a standard supermarket shopping bag comfortably as a liner and includes a liner holder that is designed to hold the bag neatly in place. “The Compact Hideaway Bin is particularly well suited to the office environment,” says Bertelsen. “As the name suggests, this range is compact in design, making it ideal for areas with limited space. The unit top mounts to a shelf in the desk drawer and extends out towards the user, making the bin ergonomic and highly practical for day-to-day use. “The versatile bin remains discreetly hidden from sight when the unit closes, so it complements the minimalistic design of the office environment.” For further details, contact Hideaway Bins, phone (09) 426 7456. Website: www.hideawaybins.co.nz

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Above:A sturdy 15L Hideaway Bin with over-extending steel runners and a sanitised lid makes light work of clutter.

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CLEAN ROUTINE Training and exercising in an immaculate environment is a given for the members of Snap Fitness – Cleancorp delivers a spotless performance on a daily basis

Above:Cleancorp cleans 15 of the 18 Snap Fitness centres in greater Auckland to an impeccable standard. Pristine floors, mirrors, equipment and bathrooms now greet the patrons of these heavy-use environments every day.

Someone who cares about fitness will also care about having a clean gymnasium to work out in. From equipment and floors to showers and toilets, a gym has to be a paragon of cleanliness. Snap Fitness, a rapidly expanding international fitness franchise, already has 18 compact 24/7 centres with state-of-the-art equipment located throughout the city, from Mt Albert to Albany. Regional manager Brendan Hurrell says spotless environments are central to the club’s brand appeal, and Snap Fitness had already trialled six other companies before trying out Cleancorp. “Cleancorp demonstrates a level of cleaning that accurately reflects our brand – that is all floors,

surfaces, equipment, and bathrooms are delivered to the highest possible standard.” Building on this proven success, Cleancorp now cleans 15 of the 18 Auckland franchises, six days a week, to tight time requirements. It hopes to add the other three gyms to its rounds soon. The company follows best cleaning practices and uses only non-toxic, biodegradable products for a greener, healthier indoor environment. For details, contact Cleancorp, phone 0800 422 677. Or visit the website www.cleancorp.co.nz

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Project BP Head Office

Location: Auckland

Interior designer: Unispace

ENERGISED WORKPLACE New office, new outlook â&#x20AC;&#x201C; the BP New Zealand head office merges two teams in an open work environment that challenges tradition at every turn

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Below:Green graphics on the glass walls of the new BP head office in Auckland introduce the corporate branding in an abstracted, whimsical form. The office interior was designed by Unispace. Below right:The reception area has a fresh look, with green and white furniture. Creepers in planter boxes between the bench seats serve as a screening device.

Keeping one step ahead of the competition is a hallmark of every successful company. But being progressive isn’t just about business acumen; it’s also about an effective, highly efficient workplace. BP has long recognised the importance of the work environment in terms of productivity and attracting and retaining talent. The company also recognises the nature of the modern-day workplace is changing – there is a much greater need for worker interaction, collaboration and the cross pollination of ideas and resources. Frank van Hattum, New Zealand general manager convenience retail and asset management for BP, says merging the company’s two offices was

an ideal opportunity to explore such a workplace design. BP commissioned Unispace to come up with an appropriate interior for a new head office in the Watercare building in Remuera, Auckland. Design director Sarah Langford says BP’s former offices were traditional and compartmentalised, with high partitions between work spaces. “Even so-called open-plan offices designed just 10-12 years ago don’t suit modern work practices,” she says. “This new office was a chance to further break down barriers. But the design also needed to fit with BP’s corporate workplace and global standards, so we had many strategy meetings to discuss the overall vision with company representatives.”

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Langford says linking the two separate floors of the new office was the first priority. “We opened up a 6m-diameter circular hole in the upper floor to create a void, and designed a wide spiral staircase. This forms the central node of the office, around which everything revolves. It also provides opportunities for staff interaction as they move through the office.” The staircase features sustainably sourced black beech timber treads, and forms a sculptural centrepiece in the reception area. Bands of black beech timber also curve around the spiralling glass balustrading. “We deliberately chose B-grade timber for its textural look,” says Langford. “The holes and knots in the wood add visual appeal. The same timber clads the curved wall accommodating the reception desk. For added interest we created arrow-shaped

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joins where the planks butt up against each other. “On an abstract level, the raw, organic materials reference BP’s involvement in the harnessing of natural energy. Similarly, the round motif recalls the sun, which BP incorporates into its branding, as the ultimate source of all energy.” The motif is repeated in an extra-large timberlined circular light fitting above the stairwell. Green, a BP corporate colour, is also referenced, in a band around the balustrading. Green appears in the reception area furniture as well, where it is teamed with white for a fresh, crisp look. Langford says workers have swipe cards to pass through Gunnebo Speedstiles beside the stairs. The rest of the lower level is designed to provide clear access for visitors to meeting rooms, a client lounge and a Wildbean Café test kitchen. “Coffee is a big part of the BP culture,” says

Below:A large void was opened up between the two floors in the office, which are now linked by a sculptural spiral staircase that encourages staff interaction. Right:The stair features B-grade black beech timber, chosen for its raw, textural look. Bands of timber and a green strip also wrap around the circular glass balustrade.

the designer. “Every employee is trained to make a perfect barista coffee when they start with the company. So the coffee machine is a vital part of the service provided at reception.” Changes to the workstation environment can be seen readily on the upper level. Opting for a true open-plan environment, BP has placed all workers on the same footing. The executive team sits on the main floor alongside other staff. “There is a concession, in that each manager is seated close to one of the non-bookable, nonallocated quiet rooms,” says Langford. “These can be used by all staff at any time, for private calls and concentrated work.” The designer says surveys have shown that while collaborative work is on the increase, approximately 70% of the work that most people do in an office is some form of focus work. So there is a need to minimise visual and noise disturbance. “We have provided for activity-based working, but recognise that collaborative areas will involve

First floor

Ground floor

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more noise. So we created concentric zones where the noise levels diminish the further away one gets from the central stairwell. Collaborative meeting tables are positioned closest to the central stair, while the quiet rooms are right out on the perimeter of the space. “The meeting tables at the front of the office are splayed to echo the curve of the balustrade. Desks behind this follow the same layout, which also avoids any suggestion of a row upon row of chicken-coop workstations.” Workstations can be raised or lowered by workers so they can be used sitting or standing – the mobile cabinets are higher than conventional units, which makes them more accessible. Langford says the “busy-ness” of the office is reflected in the carpet tiles, with colourful green and yellow tiles clustered around the main circulation area at the top of the stairwell. The coloured squares gradually drop off the further one goes back into the office.

Below:On the upper level, workstations are splayed out around the central node of the stairwell. Right:Collaborative areas, which are the noisier parts of the office, are positioned near the stairwell. Zones were created to ensure the noise levels gradually reduce as you move further back into the office. Quiet rooms are placed right on the perimeter of the building. Below right:Workstation heights can be adjusted so staff can work standing or sitting. Large windows bring plenty of natural light into the office.

Left:Colourful carpet tiles in BP corporate colours accentuate the busy circulation areas. The staff lunchroom lies beyond the stairwell on one side of the office. Below right:Full-height windows provide an attractive outlook from the lunchroom, which doubles as a function venue. Story by Colleen Hawkes Photography by Jamie Cobel

The staff kitchen-lunchroom on the upper level is positioned so the staff can enjoy a green outlook onto a tree canopy. The area was designed to double as a function space. “We had a limited amount of space to work with in the office, so it made sense to combine these two functions,” says the designer. “The space is also well suited to entertaining. Sunlight streams through the trees creating changing light patterns throughout the day.” The design team added a baffle ceiling to the lunchroom, which provides acoustic insulation and helps to define the area within the overall office. “The dark fins also make the space a lot more interesting visually,” says Langford. The designer says Unispace was also involved in helping manage BP’s move to the new office – Unispace change management strategist Stella Green worked closely with the company. With the head office being relocated from Wellington, the

move was a significant one for many of the staff. Frank van Hattum says everyone is enjoying the new space, and appreciating the different options. “The changes were huge for many of the staff, but the response has been extremely positive from all three groups – the Auckland and Wellington employees, and the new staff. Every aspect of the fit-out is working as planned. People appreciate being able to get away from their desks to spend time in other areas, including the lunchroom.”

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IT’S A WRAP The curved toughened glass balustrade that wraps around the large spiral staircase in the BP Head Office was built by Glasshape – to a tight timeframe The dramatic sculptural staircase in the centre of the new BP Head Office in Auckland is a key feature of the fit-out by Unispace. But it’s not just about aesthetics – the steel, glass and timber staircase is the central connecting element in the office, linking different business units and providing opportunities for staff interaction. Glasshape worked with Unispace and Woods Glass to realise the challenging concept within an extremely short timeframe. Ken Ware of Glasshape says this meant precision work and painstaking co-ordination were essential. “The team had just 40 days from acceptance to completion of the project,” Ware says. “This timeframe included CAD modelling of the staircase, manufacture and installation.” Glasshape manufactured the irregular-shaped 15mm toughened curved glass balustrade, which is

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wrapped by decorative bent and shaped timber and acrylic elements. “Highly accurate 3-D computer models and shop drawings were created, which enabled suppliers to work closely,” says Ware. “This ensured all the elements could be assembled seamlessly on site.” Glasshape, which operates an ISO 9001 accredited facility, manufactured the glass to Australian Safety Standard AS/NZS 2208. For further information, contact Glasshape, 65-67 Woodcocks Rd, PO Box 358, Warkworth 0910, phone (09) 422 2565, fax (09) 422 2566. Email: info@glasshape.co.nz. Or visit the website: www.glasshape.co.nz

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Above:Glasshape manufactured the irregular-shaped 15mm curved glass balustrading for the staircase in the BP offices.

TAKE A BREAK From breakout areas to staff kitchens and cafés, an innovative furniture solution from Harrows Contract Furniture can transform the workplace

Modern workplaces place a great emphasis on employee wellbeing. Breakout areas and staff cafés encourage social interaction and give workers a chance to relax away from their workstations. Breakout seating in the new BP Head Office in Auckland, designed by Unispace, was supplied by Harrows Contract Furniture, a company that specialises in the manufacture and supply of furniture for hospitality and public spaces. Unispace also specified furniture from Harrows Contract Furniture for the offices of health insurer Nib, in the Vero Centre, Auckland – as shown on this page. Harrows director Mark Suckling says the company has a collection of one-off designs, which are manufactured both in Harrow’s own factory and overseas. The collection includes New Zealandmade solid timber furniture, and upholstered products. Harrows is also able to meet individual project specifications and custom demands. “We work with our clients to create bespoke furniture using our design and manufacturing experience to meet their specific needs,” Suckling says. “To complement this, we hold stock of conventional hospitality furniture, so we can offer complete furniture packages for hospitality venues and public spaces.” Suckling says architects and designers are always looking for furniture with a design edge. “Choosing New Zealand-made products is also a priority for many companies. And with Harrows able to customise hospitality furniture to fit in with corporate themes, we have all bases covered.” For more information, contact Harrows Contract Furniture, phone 0800 142 233. Alternatively, email: sales@harrows.co.nz. Website: www.harrows.co.nz

save & share 46087 at trendsideas.com Above:The Nib office in the Vero Centre, Auckland, features solid timber furniture and chairs from Harrows Contract Furniture.

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Project EightyOne

Location: Wellington

Interior designer: Inside Design

YOUNG AND HONEST Raw materials, exposed services, and a touch of shabby chic living room panache ensure staff and clients at this design and production company feel relaxed and at home

The location is ideal and the space perfect, but sometimes the fit-out leaves a lot to be desired. Turning a bland decor into a positive expression of company culture can be as much about time and forethought as it is about money. When design and production company EightyOne secured its heart-of-the-city premises, the creative team loved the setting but not the decor. Interiors team Inside Design was asked to strip out the white ceilings, neutral carpet and compartmentalised interiors and create something open, honest, and approachable in their place. Lead designer on the project Seb Bernhardt says inspiration for the new look grew in part from EightyOne’s own concept of introducing a central, freestanding feature wall in recycled timber. “Together, the newly exposed ceiling plant and levelled and honed concrete floor set the scene

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for a semi-industrial aesthetic, and a rustic timber wall in the centre of the office was a good fit with this approach,” says Bernhardt. “The idea was for the wall to capture peoples’ attention instantly, upon arrival. Sourced by EightyOne, the distressed Canadian Oregon timber was recycled from Christchurch, post-earthquake.” Complete with small side wings, one of which houses reference libraries, the wall conceals office utilities from the entry and reception area. It also offers a degree of privacy for the in-house photo studio in the open-plan space. The use of raw timber here inspired a similar material emphasis in other areas. A meeting space to the left of the entry is clad in macrocarpa. With three sides of this room finished in the same wood, it takes on a playful box-like quality, almost like a packing case, when viewed from outside.

Below left:A glass entry door, untreated wood surfaces and exposed services are all part of the bold, honest fit-out for the design team at EightyOne. Right:The meeting room, beside the entry, is finished in macrocarpa for a light, industrial feel. Touches of whimsy, such as a lamb and a bus stop sign, appear throughout the premises. Below right:The informal visitor reception area is presided over by a wooden moose head. The kitchen, finished in the same wood as the meeting room, is beyond.

Below:Comfortable sofas, a guitar and a rocking horse create a relaxing home-like feel for the EightyOne meeting room.

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Left:The wood and stainless steel kitchen and adjacent bar area continue the relaxed, informal ambience. Lower left:One end of the recycled timber wall includes space for a reference library. Pine benches serve as workstations, and metal floor plates conceal computer cabling. Legend to plan:1 entry, 2 informal reception, 3 kitchen and recreation, 4 casual desk space, 5 timber feature wall and photo studio, 6 office desks, 7 enclosed meeting room Story by Charles Moxham Photography by Jason Mann

One wall of the ‘box’ extends back out into the entry corridor, offering an early glimpse of this rather unexpected rough-and-ready material. This helps to draw people forward. The meeting room doors extend the look. These are made from vertical wood planks. Set on sliders, the barn-style doors feature an antique operable latch with cogs, sourced by Inside Design. The rotated cogs indicate whether the room is vacant or in use. Exposed metal bracing on the doors is visible from within the space. An informal reception area beside the entry overlooks a kitchen unit with a similar box-like, timber treatment. The wood theme continues in this area, with a casual leaner table comprised of chunky industrial-look Kee Klamp components and a macrocarpa top. “To match these treatments we commissioned simple pine benches as workstations,” Bernhardt says. “These pared-back desks were produced by Kerry Hart. However, this desking solution left nowhere to conceal computer cabling, so we introduced metal floor tread plates at the side of each desk – again, in line with the semi-industrial look.” Another informal desk area housing data analytics company Dot Loves Data and photographer Richard Bran has a similar aesthetic.

However, if much of the fit-out has a raw, untreated appearance, a contrast awaits clients inside the meeting room. This was another area where the EightyOne staff had a significant input. They wanted to create a refined, but homely, contrasting environment in this room, the only enclosable space in the design. Co-owners and directors of EightyOne, Carlos Constable and Matt West, say their team sourced the pre-loved furniture pieces for the shabby chic environment that resembles a lounge in a home. Besides being cosy, the wickerwork settee, rolledarm sofa, classic coffee table and traditional open fireplace are in juxtaposition with the exposed timber on one wall and the braced barn doors. From the reception space, complete with pinball machine, moose head, large wall blackboard and well-stocked bar, to the comfortable and casual feel of the meeting room, EightyOne’s interior is designed to exude a youthful dynamic, and to put clients immediately at ease.

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SECTOR REPORT BUILDING & CONSTRUCTION

CONCRETE REVOLUTION Carbon nanotube-enriched concrete can be used to explore a whole new range of design possibilities â&#x20AC;&#x201C; Greg Solomon, Eden Energy executive chairman

Imagine a modern high-rise building with no steel. Sound implausible? Not any longer, thanks to carbon nanotube technology (CNT). While cost is still a major factor, the technology now exists to develop very high strength, ultra-low permeability concrete that requires little or possibly no steel reinforcing. Eden Energy, an Australian listed company, has worked with Monash University to develop a suitable CNT-enriched liquid mixture that Eden will manufacture, which can be added to concrete to make it tougher and stronger. Eden will commence its first US commercial trial of CNT-enriched concrete during late 2014, and start Australian trials in 2015 with a major global concrete company to test a range of applications. Some anticipated benefits of CNT-enriched concrete include tougher, more abrasion-resistant concrete for roading, bridges, airport runways, warehouse floors, car parks and other heavy usage areas. It would be especially suited to areas where the concrete surface is exposed to abrasive cleaning, such as the use of snow ploughs, which produces excessive wear and high maintenance

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costs. Because these applications generally do not require much, if any, flexural strength, this is likely to be the initial market for the new concrete. It will require testing only of the compressive strength, and it is hoped that a commercial product could be available late in 2015 or early in 2016 when the initial trials are completed. High-rise applications Stronger concrete suitable for high-rise buildings that requires less concrete and steel reinforcing (or perhaps even none) could produce lighter, stronger structures with smaller footings, thinner slabs and narrower columns. Significantly denser, far less permeable concrete, due to the increased density of the cement gel, would greatly reduce the gradual absorption of saline water, making it highly suited to a wide range of harsh marine and coastal applications, especially if steel reinforcing is not required. The stronger, lighter and less permeable concrete would also be well suited for use in dam walls and spillways, and water and sewer pipes for large-scale infrastructure projects.

Above:The technology now exists to manufacture concrete that is 200-300 times stronger than steel, says Eden Energy executive chairman Greg Solomon. Below and right:A dramatic spiral concrete staircase is a feature of spectacular Dali Museum in Florida. In future such constructions may be able to be built entirely from concrete without the need for reinforcing steel, which will enhance design flexibility and speed up the construction process.

An overall shorter building time and lower costs as a result of less cement, concrete and possibly steel are further benefits. Greater design flexibility Due to the thinner, lighter slabs and columns required, CNT-enriched concrete offers considerable design flexibility. This benefit will become particularly significant if the need for steel can be eliminated entirely. This would open the way for far greater design flexibility and new building techniques, such as 3-D printing of high-strength, lightweight concrete structures that could revolutionise structural design. Greatly reduced carbon footprint Concrete is the most widely used man-made product in the world. Approximately a tonne of concrete is produced every year for every person on Earth – the US uses in excess of 700 million tonnes annually. However, cement production accounts for an estimated 5% of annual anthropogenic greenhouse gas emissions (GHG). By reducing the amount of cement and concrete required for any given structure, this could significantly reduce the overall GHG footprint of the cement industry.

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The development follows more than 20 years of research into carbon nanotubes, and the possible applications that might benefit from such technology. Eden has already developed with the University of Queensland (UQ) a low-cost pyrolysis technology to produce CNT and hydrogen from natural gas. Eden acquired the technology from UQ and Eden’s US subsidiary, and scaled up the process to a commercial scale. Monash University was able to increase the compressive strength of cement paste by up to 30% by adding only one half of a percent of CNT to cement. Eden, in US trials, achieved a similar increase, plus an increase in flexural strength of nearly 14%. Analysis by Monash showed that CNT created nucleation points for cement hydration, producing denser, stronger cement with the CNT firmly bonded into the hardened cement paste. Eden’s research with Monash is ongoing. The company believes CNT-enriched concrete has enormous potential, and it will be very interesting to watch its emergence over the coming years when creative designers, architects, and engineers have a chance to explore and exploit its full potential.

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Below:The Kauffman Center for the Performing Arts in Kansas City, Missouri is another example of an architectural concrete application where the concrete creates a significant form. CNTenriched technology could make the design and construction of such buildings simpler and more cost effective, says Eden Energy executive chairman Greg Solomon. Right:Concrete also features prominently in the design of the Marina Bay Sands mixed-use development, which is often described as the visual gateway to Singapore.

SECTION FOCUS SUSTAINABLE DESIGN

FAST-FORWARD THE FUTURE The Earth’s resources are shrinking – these dynamic facilities are spearheading a more planet-friendly approach

Project Institute of Environmental Sustainability, Loyola University

Location: Chicago

Architect: Solomon Cordwell Buenz

LIVING AND LEARNING An integrated dormitory, academic facility and giant urban garden come together to create an environment where students walk the sustainability talk every day

As the need for sustainable thinking ramps up, so too does the need to inspire engineering, agricultural, and science students to look hard to the future. And what better way to help them envisage a viable green world than by offering a living, operable example just outside the dormitory window or through a glass cutaway in the floor? The Institute of Environmental Sustainability (IES) on the south side of Loyola University Chicago campus is all about real-life lessons. Designed by architect firm Solomon Cordwell Buenz with Devon Patterson and Jim Curtin as design principals, the integrated learning facility is a coming-together of

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green building strategies, planet-friendly energy use, eco-farming, indepth research and teaching laboratories, student housing and a social hub. The 65,532m2 complex integrates three building forms. There is an existing brick structure, BVM Hall, reworked as office, teaching and research facilities, and a central urban farm and laboratory under glass, known as the Ecodome. Bookending this is a new brick building â&#x20AC;&#x201C; San Francisco Residence Hall. Designed in harmony with nearby campus architecture, this building also runs along behind the dome, with some students having windows that open directly into it.

Preceding pages:The Institute of Environmental Sustainability at Loyola University Chicago includes an academic wing and a dormitory wing in red brick. The glass Ecodome is between these buildings. Below:San Francisco Residence Hall, with rounded corners, houses 406 students. Right:Locating the IES atrium partly inside the Ecodome helps keep students and visitors warm.

Preceding pages:Work in the Ecodome includes research on urban aquaponics and indoor crop plants as well as a clean energy lab. A wing of the residence hall runs behind the greenhouse with some lucky students having dormitory windows opening into the dome. Left:Running the numbers – glass floorplates allow students to see the underground geothermal system in operation. Changes in water temperature are on constant display.

In terms of green building alone the LEED Gold-rated design is an object lesson for students. Before the facility went up, a geothermal system was laid down. Ninety-one wells plunge water to a depth of 152m to be heated or cooled by the earth’s ambient temperature and sent back to the surface for energy reuse within the institute. This is not only the largest geothermal field of its kind in Chicago, it is also unusual for being directly under the floors of the academic structure – a placement made necessary by the tight urban location. Glass floor panels allow students to see this eco-friendly

strategy in operation first hand. Running LCD displays show the water’s temperature as it descends and surfaces. The Ecodome, looking a little like a giant’s glass roll-top desk, is shaped to optimise passive ventilation – rising hot air is drawn out of the top of the greenhouse, while computer-controlled vents allow cooler air to enter from below. This helps air flow through the space without mechanical assistance. The otherwise inoperable curving facade is also designed to maximise solar gain and collect and channel rainwater, as do the green roofs on the

Right:The institute café will serve produce grown in the wintergarden, or Ecodome, next door. Lower right:The student commons and café are partly within the Ecodome to offset heating costs and provide an immersive experience.

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adjacent structures. The grey water is stored in an 11,356-litre underground cistern for irrigation of the aquaponic plants and fish tanks alongside. It also irrigates a living wall, one of two in the facility, that grows up the dormitory wall at the rear of the Ecodome. Students can not only open a window into the greenhouse from their room, taking in its warmth, they can also reach round and pluck a hop or flower, depending on the particular crop growing up the brickwork. “The Ecodome is the iconic focal point of IES,” says Patterson. “As well as a flexible learning lab,

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the space acts as a link between the residential, academic and social aspects of the institute.” Besides its prominent green strategies of passive ventilation, geothermal heating and rainwater harvesting, the integrated facility is a living example of cyclic green thinking in other ways, too. “Add to these large-scale sustainable strategies such novelties as students living in the same building as the crop space they tend and a café with a menu that will incorporate some of what’s grown in the building, and you have this closed-loop mentality,” says Patterson.

Above:Central divide – a pedestrian route separates the existing Loyola University Chicago campus on the left from the Institute of Environmental Sustainability on the right. This area can be planted for outdoor crop research in the future. Story by Charles Moxham Photography by David Burke

Another sustainability exercise dovetails with the instituteâ&#x20AC;&#x2122;s eco-friendly operation. The Clean Energy Program and Biodiesel Lab utilises waste products from campus dining facilities, creating 380 litres of biodiesel every three hours. In winter this is used to recharge the geothermal field. It is also used to fuel the campus shuttles, and extra fuel is sold off, as part of a certified green business. The director of the Institute, Nancy Tuchman, says the university wanted a learning facility where students could learn many different skills, but also wanted the building itself to walk the talk.

â&#x20AC;&#x153;In other words, we wanted this to be the most environmentally and energy-efficient building that we could possibly achieve.â&#x20AC;? The IES figurehead for sustainable learning has more than fulfilled that goal and created a bold icon for the south side of the university at the same time.

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Project Sustainable Buildings Research Centre

Location: University of Wollongong New South Wales

Architect: Cox Richardson

MEETING THE CHALLENGE The design of this research centre aimed to meet the most stringent of sustainability standards. It achieved those â&#x20AC;&#x201C; and more

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Below:The Sustainable Buildings Research Centre at the University of Wollongong’s new innovation campus had strict criteria to meet in its own sustainable design. As well as qualifying as a 6 Star Green Star building, it also set out to meet the demands of the Living Building Challenge.

The push to design buildings to meet higher sustainability standards has gained momentum in recent years, and it’s now become much more common for new commercial buildings to promote their Green Star certification. For the new Sustainable Building Research Centre at the University of Wollongong, gaining a 6 Green Star rating was an obvious goal. But the centre’s director, Professor Paul Cooper, wanted to go above and beyond current benchmarks. “We wanted to be able to look back in ten years’ time and know that we’d pushed the envelope on sustainability with this building,” he says. As a result, it was decided to make the project part of the Living Building Challenge. This brought an additional level of complexity to the design, with its key concept of creating restorative buildings. “Buildings that meet the challenge need to actively contribute to repairing the damage humanity has done to the environment, and not just maintain the status quo,” says Professor Cooper. To achieve the goals and futureproof the facility, the university worked closely with lead architects, Cox Richardson. The 2600m2 building is part of the university’s new Innovation Campus. It’s on a prominent site that’s highly visible to thousands of commuters, and adjacent to the Wollongong Science Centre. Cox Richardson associate Michael Bradburn says the design is based on two linked buildings to accommodate the two distinct functions it needed to fulfil. “The north building is a high-bay laboratory with a wide span that houses a 5-tonne gantry crane,” says Bradburn. This Building Elements Laboratory provides enough space to build a small house – or sections of a home – inside, or to perform research projects such as testing the damage hail can cause to roofs. The south building has office space for 50 people, three specialist labs, training space and a large exhibition area on the ground floor.

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Below:The imposing canopy straddles the main pedestrian spine of the campus. It was designed to be a social hub.

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The two buildings enclose a courtyard which can be used for outdoor learning and social interaction. Bradburn says the south building’s roof form is a response to its context. “It sits at the heart of the campus and straddles the main pedestrian spine,” he says. “The extensive overhang creates a covered public space that acts as a social place for the wider campus, and can also be used to demonstrate some of the work that happens inside.” Key to meeting the design challenge was an orientation that ensured effective use of sunlight and natural ventilation. The building forms capture southwesterly afternoon and northeasterly sea breezes, while large overhanging eaves result in minimal solar gain, even without the use of blinds. One of the original aims was for the building to be 100% naturally ventilated. However, research

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showed some active systems would be needed to manage peaks in conditioning. Results are impressive, with a target of natural ventilation for 70% of the time, heating for 20% and cooling for 10%. A high-efficiency ground source heat exchanger coupled with an in-slab hydronic system supports the passive system. To meet the Living Building Challenge, a building needs to be net zero energy and water. This is partially met by designing the building and its systems for minimum energy use. It’s anticipated that the centre will be one of the lowest energy buildings of its type in Australia, with a projected consumption of just 60kWh/m2. An array of photovoltaic panels on the high-bay building, together with a photovoltaic thermal testing site in the roof of the other building, generates 40% more electricity than the building needs.

Below:A living wall in the centre of the building extends through the atrium. On the other side of the glass panels are flexilab spaces. Right:The large open area immediately inside the main entrance can be used as exhibition space.

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Top left:The two arms of the building are visible in this sectional drawing. On the left is the high-bay laboratory, while the building on the right houses three traditional labs and offices. Centre left:This drawing shows the northern elevation of the office and research building. Lower left:The two linked buildings enclose a courtyard for outdoor learning and social interaction. Right:The cellular academic offices are open-topped to increase ventilation and natural lighting. Lower right:The north-facing photovoltaic array on the highbay laboratory building is angled for maximum exposure to the sun. The use of old steel railway tracks in the framework is one example of the way recycled materials are used throughout the building.

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Excess energy is used by neighbouring buildings on the Innovation Campus, with further surplus supplied to the grid. The centre also captures and stores rainwater in a 65,000 litre tank, and the water is then used throughout the building, including for flushing toilets, cleaning and garden irrigation. The building has water-efficient fixtures and fittings and does not use water-hungry evaporative cooling towers in its air-conditioning system. As a result, its water consumption and supply are completely self-sustaining, except for the legal requirement to provide town water for drinking. One other requirement of the Living Building Challenge was the selection of materials that do not harm human health or the environment in any fundamental way, and that are produced and

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supplied in a socially responsible manner. This highlighted a current difficulty in getting precise information from suppliers about what is in their products and where they actually come from. For Professor Paul Cooper, the Sustainable Buildings Research Centre is a true living laboratory – a place to work together with industry and academic collaborators from around the world. “We’re developing new products and systems that will not only improve energy efficiency and sustainability for today’s buildings, but which will improve the resilience of our built environment to climate, economic and social change in the future.”

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Below:The overhang on the office wing gives maximum shading to the inside. Rather than extend the glazing to floor level, the design team specified timber panels that give increased shading and provide wall space for the offices inside. Story by Paul Taylor Photography by Richard Glover

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index 76-78 Victoria St, Christchurch 52-59 A&H Tiling 44-51 Accoya 76-83 76-83 Accsys Acromec Engineers 76-83 86-93 Admark Advance Flooring 86-93 16-25 Aecom Allserve Air Conditioning 52-59 Alpha Interiors 44-51 16-25 Alt Group Alutech 52-59 Angell, Penny 36-38 Application Specialists 44-51 Applico 3 Arcon Construction 96-101 Armourcoat 76-83 Armstrong 108-117 Armstrong Downes Commercial 36-38 Armstrong Security and Locksmiths 44-51 Arup 6-15, 26-35 Asona NZ 52-59 Asteron Centre 72-73 Ateliers Jean Nouvel 6-15 Auckland Council 16-25 Aurecon 26-35 Barrisol 16-25 Bates Joinery 44-51 BB Joinery 44-51 Benjamin Moore 108-117 Bernhardt, Seb 96-101 BGE 26-35 Bluck, Andrew 36-38 BP Head Office, Auckland 86-93 Brymac 44-51 Burnett Interiors 52-59 BW Furniture 76-83 Calder Interiors 86-93 Calder Stewart Industries 62-63 Caldwell Levesque 86-93 52-59 Carpet Now Centennial Plastics 108-117 Centor 96-101 Centria 108-117 52-59 Cequent CH2M Hill Singapore 76-83 16-25 Chia Lin, Sara Lee CHW Consulting 26-35 Clauss Brothers 108-117 Cleancorp 85 Coalesse 76-83 Colorbond 118-126 Colorsteel 16-25 Conforte, Sheyla 108-117 Cora 96-101 Corian 16-25 Cosgroves 44-51, 52-59 Cox Richardson 118-126 Crafted Construction 52-59 Cundall 118-126

Curtin, Jim AIA 108-117 Dadanco 108-117 Dali Museum, Florida 104-105 David Trubridge 86-93 Decortech 44-51 Derbigum 108-117 Designgroup Stapleton Elliott 74-75 44-51, 52-59 Dimond Dooge Veneers 108-117 26-35 Doric Group Dorma 108-117 96-101 Dunning Thornton Eden Energy 104-107 96-101 EightyOne Elara Engineering 108-117 Elvidge, Simon 52-59 Environmental Context 16-25 EOS 86-93 Erco 16-25 FE Moran 108-117 Fenwick, Evan 16-25 36-38 Ferndale Furniture Fire Consultants Ltd 16-25 52-59 Flaxton Iron Fletcher Aluminium 127 86-93 Floorspace Forbo 16-25 Forman Building Systems 52-59 Forman Commercial Interiors 52-59 Formica 108-117 Frasers Property Australia 6-15 Freeman Ryan Design 26-35 Furniture Lab 86-93 Glasshape 86-93, 94 Glaziers Inc 44-51 Glendenning Hill 44-51 Glidden 108-117 Glo Design International 76-83 Graham Hill Roofing 44-51 Green Screen 108-117 Gutsell, Matt 44-51 Halvorson and Partners 108-117 Hames Sharley 26-35 Harbour City Funeral Home 36-38 Hardie & Thompson 52-59 Hardware Direct 86-93 Harrows Contract Furniture 52-59, 86-93, 95 Harry Perkins Institute for Medical Research 26-35 Hart, Kerry 96-101 HCCH Consulting 76-83 Heritage Tiles 86-93 Herring Storer Acoustics 26-35 Hewshott International 76-8 Hideaway Bins 84 Holmes Consulting Group 44-51 IBMS 26-35 Ico Traders 52-59 IDC Architects 76-83 Inlite 52-59 Inside Design 96-101

Institute of Environmental Sustainability, Loyola University of Chicago 108-117 108-117 Interface Interstate Brick 108-117 Intren 108-117 86-93 IQ Security Issa Furniture 86-93 26-35 Jacobs James Hardie 52-59 Jasmax 40-41, 74-75 6-15 JK Geotechnics JMG Building Services 26-35 Jones, Phill 36-38 Junglefy 6-15 K&K Ironworks 108-117 Kapiti Coast District Council 74-75 Karndean 44-51 Kauffmann Center for the Performing Arts 106 Kee Klamp 96-101 Kennovations 6-15 Kenyon 76-83 Khao-San Road Bar 52-59 Kitchen Things IFC-1 Koichi Takada Architects 6-15 KPI Rothschild Property Group 44-51 LaForce Inc 108-117 Langford, Sarah 86-93 Leighs Construction 44-51 Lend Lease 118-126 LG Solid Surfaces 108-117 Lopdell House Development Trust 16-25 Manessis Engineering Consultants 26-35 MAP Architects NZIA 52-59 Marina Bay Sands 107 Marshall, Gary 40-41 Mason, Kerry 52-59 McAlpine Hussmann 86-93 Medland Metropolis 118-126 52-59 Metallix Metro GlassTech 44-51 Miller Design 16-25 Mitchell & Stout Architects 16-25 Mitchell, David 16-25 Mitchell, Julian 16-25 MMF Timber Hub 76-83 Monash University 104-107 Moorhead and Newdick Landscape Architects 36-38 Mott MacDonald 6-15 Mr David’s 108-117 MSC Consulting Group 86-93 MT Deason Company 108-117 MTM Solutions 76-83 MWF Manufacturing 52-59 myTrends 42-43, 69, 70-71, 102-103 NABERSNZ 72-75 Natural House 52-59

Natusch, Claire 16-25 Norman Disney & Young 26-35, 86-93 NSK Baustoffe 76-83 Nuraply 16-25 NZ Strong Construction 16-25 NZI Centre 74-75 64-67 OfficeMax One Central Park 6-15 76-83 Orbit Design Singapore Orbit Design Studio 76-83 Palamountain, Dion 36-38 Pankhurst, Callum 52-59 Parker, Neville 96-101 Patrick Blanc 6-15 Patterson, Devon AIA 108-117 Pedlow, Ginny 16-25 Pegasus Engineering 44-51 Peridian Asia 76-83 Philips 76-83 Powell Fenwick 52-59 Power Construction 108-117 Prairie Concrete 108-117 Prefa 16-25 Prince’s Landscape and Construction 76-83 Procter & Gamble Singapore Innovation Centre 76-83 Professional Project Management 26-35 Provenza 108-117 PTW Architects 6-15 Rae, Nick 16-25 Rawlinsons 26-35 Reriti, Huia 52-59 Resene 44-51, 52-59, 61, 86-93 Rider Levett Bucknall 16-25, 52-59 Robert Bird Group 6-15 Rogers, Melissa 44-51 SCE Stone and Design 52-59 Schiavello Singapore 76-83 Schindler 16-25, 44-51 Sekisui House Australia 6-15 Shamrock Electric 108-117 Shaw Contract Group 44-51, 76-83 Sheppard and Rout Architects 44-51 Sherwin-Williams 108-117 44-51 Signtech Sintal Enterprise 76-83 Slattery Australia 118-126 Smart Design Studio 6-15 SmithGroupJJR 108-117 SMJ Furnishings 76-83 Smooth-Air Products 68 Solomon Cordwell Buenz 108-117 Solomon, Greg 104-107 Sopers Macindoe 16-25, 44-51, 52-59 South Pacific Fire Protection 44-51 Spice Paragon 52-59 Spiire 36-38 Steelcase 76-83, 86-93

Stone Source 108-117 52-59, 60 Stoneface Stout, Julie 16-25 Strange’s 44-51 44-51 Strawbridge, Pip Structex 52-59 108-117 Super Sky Surface Design Consulting Group 6-15 Sustainable Buildings Research Centre, University of Wollongong 118-126 SVR-Architects NV 76-83 Tarrant, Kane 72-75 Taylor Brammer Landscape Architects 118-126 Te Uru Waitakere Contemporary Gallery 16-25 Telco Asset Management 16-25 The Architectural Roofing Company 44-51 The Building Intelligence Group 74-75 The Fletcher Construction Company 52-59 The Flooring Centre 44-51 The Laminex Group 5 Thermosash Commercial 44-51 Thorne Dwyer Structures 16-25 Thurston Consulting 16-25 Tileworks 16-25 Tim Webber 86-93 Tindall, Phil 52-59 Titan ICT Consultants 26-35 Titan Wood BV 76-83 TLB Engineers 118-126 Tom Dixon 76-83 Trans Equatorial Engineering 76-83 TransCeramica 108-117 Transsolar 108-117 Transurban 16-25 Trend Glass 76-83 Triangle Fire Protection 86-93 Tse Architects 36-38, 39 UFL Group 86-93 Unifor Singapore 76-83 Unispace 86-93 V3 Companies 108-117 van der Lingen, Jasper 44-51 Venluree 86-93 Von Duprin 108-117 Waitemata Plaza 40-41 Warren and Mahoney 72-73 Watpac Construction 6-15 Wausau Window 108-117 Willemsen, Monica 108-117 Window Treatments 44-51 Woods Glass 86-93 WSP Group 6-15 Yann Kersalé 6-15 Yellowfox IBC Zenith Interiors 96-101