NZ Commercial Design Trends Vol. 31/03

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CONTENTS

Highlights from this issue of Commercial Design Trends

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COMMERCIAL DESIGN TRENDS Great architecture provokes debate, but no matter how compelling it appears in the media, it can only really be judged by experiencing the design as intended.

And for several of the projects featured on these pages, that’s not so difficult – they are open to the public. There are the civic projects, including the Singapore Sports Hub and Brisbane City Hall heritage restoration, and there is the much-talked-about Frank Gehry-designed building at the University of Technology Sydney. Frequently compared to a squashed brown paper bag, the building drapes and folds upon itself, challenging perceived notions of a modern high-rise, just as students are challenged to question convention and seek new solutions and innovations.

This issue also features two other university buildings – the Institute of Environmental Sustainability at Loyola University, Chicago – where a glass eco-dome helps students walk the talk for sustainable design. And the Sustainable Buildings Reseach Centre at the University of Wollongong, NSW, part of the university’s new Innovation Campus, showcases new research that will impact on the design and construction industry.

HIGHLIGHTS Managing Editor John Williams – john.williams@trendsideas.com Sales Adrian Law – adrian.law@trendsideas.com Ben Trethewey – ben.trethewey@trendsideas.com Costas Dedes – costas.dedes@trendsideas.com Leslie Johnson – leslie.johnson@trendsideas.com Shailan Patel – shailan.patel@trendsideas.com Tracy Fairey – tracy.fairey@trendsideas.com

6

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Much of the media focus has concentrated on the exterior form of Frank Gehry’s new UTS building, but like all of his buildings, it was essentially designed from the inside out. Read more about this process.

38

Imagine a modern high-rise building with no steel. Sounds implausible.

Carbon nanotube technology now allows very high strength, ultra-low permeability concrete that requires little or possibly no steel reinforcing.

Two floors, a new facade and an extension were added to the original 1980s building on this gateway site in Auckland. The new 5 Star Green Star building is now home to leading IT company Ricoh.

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SECTION FOCUS PROJECT PORTFOLIO

NEW PERSPECTIVE Modern education and civic buildings are increasingly designed to give something back to the community, in more ways than one

Project Dr Chau Chak Wing Building UTS Business School University of Technology Sydney

Location: Sydney

Architect: Gehry Partners Daryl Jackson Robin Dyke Architects (DJRD)

CHANGING FACE OF EDUCATION Designed to set up a dialogue with heritage and modern buildings in neighbouring precincts, this university building teams unconventional folding brickwork with a multifaceted glass facade

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Preceding pages and below: Angular glass shards contrast organic, curved brickwork on opposing facades of the new Dr Chau Chak Wing Building on the UTS city campus in Sydney, designed by US architect Frank Gehry, with local firm DJRD.

Architecture is all the more exciting for being provocative – there’s nothing wrong with healthy debate. But when renowned architects produce

whereby there is a central trunk, or hub, that forms the key circulation areas. Branches extend out from this to provide myriad teaching spaces, computer

adventurous concepts, you can be sure the architecture is fundamentally a design response to space requirements. In other words, what happens on the inside determines the form of the exterior.

labs and administrative areas. As in nature, the branches are of different sizes – in places they push out further to cater to the activities within.

Brian Moore, UTS executive project manager,

And so it is with the controversial design for the new Dr Chau Chak Wing Building, home to the UTS Business School at the UTS city campus in Sydney, designed by Gehry Partners, with local executive

describes it as a very organic form.

“The original concept introduced stacked cubes of wood around a central spine,” he says. “These were then draped with flowing fabric – in the

architect Daryl Jackson Robin Dyke Architects (DJRD). This is a building designed from the inside out. But it is also a building that addresses its unique location, straddling the divide between the old and new.

Gehry took his cue from both the heritage buildings in the Ultimo-Pyrmont precinct and the modern high-rises in the CBD on the other side. The elevation viewed when looking back at the city from Ultimo-Pyrmont is defined by angular glass shards, while the view of the building from the city side presents an undulating brick facade that addresses the older sandstone and brick warehouses in the surrounding neighbourhood.

“The 19th-century buildings in Sydney are still the most accessible. There is a humanity about them,” Gehry says. “Most modern buildings tend to be cold and off-putting.”

But it is the design of the new facades, and the building itself, that is turning heads. Gehry based the architecture on the idea of a treehouse,

finished building, this is created by the undulating form of the brickwork.”

Gehry says the idea of creating a sense of movement to replace decoration on a building is not new.

“It comes from the fold, which goes back to studies by Michelangelo and many artists over time.

It’s a container; maybe it’s a brown paper bag, but it is flexible on the inside. There’s a lot of room for change and movement, which is essential today.”

DJRD project architect Daniel Beekwilder says the building respects the massing and height of the heritage buildings in the neighbourhood.

“The building steps back at Level 8 to comply with local regulations that preserve parapet heights so they relate to the cornices of the brick buildings constructed around the turn of the last century.

These setbacks provide rooftop terraces.”

Beekwilder says extensive CAD modelling was required to work out the most efficient way to build the facade.

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Preceding pages and left: The multifaceted facade and pop-out windows allow natural light to enter the building from numerous angles. They also frame and reflect different slices of the view. The undulating brick facade was inspired by the architect’s decision to let the materials create a sense of movement to replace decoration.

The rooftop terraces can be accessed from the executive training floor.

“Each level has a different geometry, and is essentially freestanding. Typical facades are

desire to make the building a key component of the $1 billion UTS City Campus Master Plan. The pro-

3600mm high, while the lower facades are slightly

ject was made possible by a $20 million donation

taller at 4600mm. Stainless steel brick ties on

from businessman and philanthropist Dr Chau Chak

the armature behind the brickwork establish the required angle for the bricks.”

Wing, after whom the building is named.

“UTS recognised the significance of the central

Below left and right: Materials were chosen to help the building merge visually with the contemporary high-rises in the CBD on one side, and the 19th-century brick heritage warehouses on the other.

The architect says introducing K bricks, which

location. This is an urban university, not a traditional

protrude from the surface, was a way to accentuate

college with swathes of lawn and trees. But we

the curves.

“They provide a little more shadow definition,

could see there was an opportunity to create a landmark within Sydney’s cultural ribbon, which

so people can read the curves more easily from

runs from the Opera House to the southern end

far away. Similarly, the window boxes popping out

of the city through Darling Harbour. The building’s

from the building help to emphasise the form. They were developed as a way of simplifying window installation on a heavily modelled surface.”

Brian Moore says commissioning a design from Gehry Partners ensured the architecture would be

entrance from The Goods Line – a disused railway line that is currently being redeveloped as a landscaped urban pedestrian zone – will enhance its connections with the city.”

Moore says the unconventional architecture also

a departure from convention, which fitted with the

works on another level – it is symbolic of innovative

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thinking and it encourages interdisciplinary

one platform and look across the building so see

collaboration and the cross-pollination of ideas.

“Because the building was essentially designed

people on another platform,” says Beekwilder.

“The window boxes also allow slices of the view

from the inside out, like all Gehry buildings, it caters

across to other parts of the building, which helps to

to new ways of learning. Modern education is about

humanise the structure.”

teaching in the round, and the spaces reflect this collaborative approach to learning.”

Other elements of the exterior are echoed on the interior, including the visual crumpling of materials.

The treehouse analogy is strongly evident on

In the stairwell, this reappears in the polished

the interior. Organic forms enhance key circula-

stainless steel of the main stair balustrades.

tion areas, and by association, the flow of ideas.

And the exposed round structural columns – some

“The architecture maximises the value of the materials – every angle and every reflection is delib-

angled – are reminiscent of trunks.

erate,” says Beekwilder. “Nothing is accidental. The

“As if in a treehouse, students can sit within

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curved stainless steel drum encircling the café, for

Below left:Organic forms provide a visual link to the underlying concept of a treehouse, whereby there is a central trunk, or circulation hub, with branches – work zones – spreading out from this.

Lower left and right:Crumpled polished stainless steel forms the balustrading on the main stairs, distorting reflections and bouncing light back into the void.

Left:Even the seating in the breakout areas takes an organic form. Glass partitions allow good visual connections across the floorplates.

Lower left:The 240-seat auditorium is designed for use by business groups as well as the university.

This page:Interlocking timber blocks, curved work benches and cloud lighting heighten the treehouse analogy. The theatre at top right, provides a view of a tree canopy.

Story by Colleen Hawkes Photography by Andrew Worrsam; drone images by Coptercam

example, reflects one of the oval classrooms, which

Green Building Council of Australia. Key features

features walls inclined by 8°. The reflection makes the classroom appear larger than it is.”

include high-performance glazing to enhance energy efficiency, parking for 160 bicycles, and a

In keeping with the student-focused learning

20,000-litre rainwater tank. All the timber used in

model, the oval classrooms were designed to

the building is from sustainable resources.

operate without a podium.

“Today there is a lot more informal, interactive

Professor Roy Green, Dean UTS Business School, says the building will foster excellence in

learning and group work, and the teacher is a

postgraduate business education and research,

facilitator of the discussion rather than a lecturer.

and become a compelling venue for executive

Flexibility is essential, so most of these spaces can be used in different ways. The 120-seat collab-

education, business events and forums.

“We are at the heart of Sydney’s growing ‘digital

orative theatre is tiered two rows at a time to allow

creative hub’ and in a hot spot of new business

students in the front row of each step to turn around and work with the students behind.”

Embedded technology includes projectors with the capacity to screen images on several walls simultaneously. The 240-seat auditorium is equipped with an advanced audiovisual system and

incubation and innovation,” he says. “We can now collaborate further with cultural, media, commercial, government and educational organisations, fostering and learning from exciting new start-up enterprises.”

video-conferencing facilities.

Sustainability is another major focus. The building has a 5 Star Green Star Design rating from the

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LANDMARK PROJECT A sense of identity and place has been established by this new sports hub, which has transformed both the Singapore skyline and waterfront

Project Singapore Sports Hub

Location: Singapore

Taking an holistic approach to the design of a major new sports facility for Singapore has had a big spin-off for the public, participants and the city

Architect: Arup Associates DP Architects

Teoh Hai Pin, DP Architects director, says the team developed five design guidelines.

“The provision of high-standard facilities to

as a whole.

develop elite sports was just the start. Our vision for

The Singapore Government’s progressive vision for the project, presented by Sport Singapore,

the maximum participation concept extended the sporting codes to include community activities such

required a sports hub that would not only cater to

as beach volleyball, skateboarding, leisure water

elite sports with state-of-the-art facilities, including

parks, lawn bowls and jogging tracks with exercise

a new stadium, aquatic centre and two multi-use indoor arenas, but would also encourage participa-

stations that link to the waterfront. We set about creating a lifestyle destination with a large retail

tion in sporting activities.

mall, a sports museum and office park, all of which

Sport Singapore recognised the significance of

help to ensure the precinct is constantly busy, not

the prime waterfront site, and requested a hub that would make a strong design statement, and be an instantly recognisable landmark, especially when viewed from the city across the water.

Arup, DP Architects and Aecom won the tender

just on the few occasions when a big match is on.”

The team says addressing the unique Singapore tropical lifestyle was another vital aspect of the design. The project needed to take into account the lifestyle, the climate, culture and aspirations of the

to design the project, based on the team’s interpretation of this vision. The highly collaborative project saw Arup responsible for the design of the sports venues – the stadium, Aquatics Centre and two

local people and visitors.

Sustainability was also critical to the team. In addition to energy-saving measures, it was essential to ensure every space had the flexibility to be

OCBC arena buildings – and DP Architects focused on the rest of the buildings within the hub.

Arup director Clive Lewis says the team was not content to work within the set parameters. So

used for a variety of different events.

“It was all about future-proofing the hub to cater to changing activities and spectator numbers, says Teoh. “We wanted to highlight the bigger picture, to showcase the stadium within a magnificent waterfront setting that would establish the building as a landmark”

they expanded the concept to provide something more – a true sports hub that would allow maximum participation in sporting activities at all levels, and provide an animated pedestrian precinct with a wide range of retail, office and lifestyle amenities.

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Lewis says the position of the stadium, its form and massing were all important in terms of both its

Preceding pages:The new Singapore Sports Hub is a dramatic addition to the Singapore skyline. The entire precinct is enlivened by a range of amenities designed to activate the area by day and night. Image courtesy of Arup Below:With its illuminated dome and ribbons of lights, the new sports hub advertises its presence to the city across the water, helping to promote events and facilities. To provide a sustainable energy option, the sports hub is equipped with 40,000 photovoltaic cells. Image courtesy of Arup Facing page:The dome of the main stadium has a retractable roof. A large opening on one side of the stadium maximises the view back towards the city.

In places, the roof wraps down to create a sheltered pedestrian plaza. Images by Darren Soh

Left:The vast size of the stadium is only realised on entering – a deliberate move by the architects to reduce the visual impact of the dome at close quarters. This also helps to engender the wow factor for spectators. Photo courtesy of Arup

accessibility and how it would look when viewed

with mechanical airconditioning, we opted for a

from across the water.”

“The design of the stadium dome was influenced

retractable roof and locally cooled seating. The first option would have used six times as much energy.

by the Beijing Olympic Stadium, or Bird’s Nest as it

With this system, each seat is cooled individually,

is known, which Arup co-designed with Herzog de

and blocks of seats not in use can be turned off.

Meuron in 2003-2004. We chose to keep the form as a simple sphere, and provide richness through

Even though this provides a greatly reduced energy usage, we countered it by installing 4000 PV cells,

Below:The two OCBC arena buildings provide a campusstyle centre that bridges the gap between venues for elite sports fixtures, training facilities and community facilities. Image courtesy of Arup

the detailing.”

so the sports hub has carbon zero status.”

Below right:A semi-transparent roof element, which echoes the form of the dome, shelters a large plaza near the MRT station, creating a sense of welcome.

This area can be used for preevent activities and promotions.

Image courtesy of DP Architects

Lewis says the sheer size of the stadium, which

The design team also took the sustainable route

seats 55,000 spectators, could have been overwhelming. Unlike many stadium projects, it was not

for the structural design. Because the location is not subject to especially high wind loads, snow or

possible to excavate the site to lower the building.

seismic activity, it was possible to use lightweight

“Instead, we elevated the area around the stadium, creating a two-storey plinth or platform.

This curved circulation spine forms a sports promenade right around the building, connecting pedestrian plazas, public rooftop spaces, green areas and key sports venues. It also brings a human

materials. The structure has just one third the amount of steel that would normally be required, and the aluminium cladding is half the weight of conventional aluminium panels.

“This meant we could install the largest freespan steel in the world,” Lewis says.

scale to the edge of the stadium – this is helped by the vast, shallow roof form that wraps right down over the promenade providing a shade canopy and shelter from the rain.”

In addition to the retractable roof, the stadium has a section of glass wall facing back to the city.

This allows spectators to glimpse the city view across the water. It also works in reverse – at night,

Lewis says the promenade is designed to provide sightlines across the entire precinct – the stadium itself is not the centre of attention up close.

“It is therefore a huge shock to enter into the

light from the stadium spills outward, enhancing the visual drama.

In keeping with Singapore’s identity as a garden city, the sports hub integrates extensive greenery

amphitheatre and see just how big it really is. It’s a real wow moment for spectators.”

Lewis says the team undertook extensive research to ensure the stadium would provide a

and landscaping that creates a very natural waterfront environment.

“The whole precinct is unified by a consistent philosophy and design approach to landscaping,

comfortable environment. The ETFE roofing material is highly reflective, which helps to reduce heat build-up. It only lets in 8% of the sun’s energy.

“Rather than having a fully sealed envelope

shade, shelter and lighting,” says Teoh. “It provides a level of comfort and a quality of experience that is appropriate to Singapore’s tropical climate and public expectation.”

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To provide good connectivity, the two OCBC arenas – the multipurpose sports halls – are near a major road entry, and the 3000-seat OCBC Aquatic centre is beside another. The 41,000m2 retail centre, Kallang Wave Mall, is close to the MRT station on site, as are the sport museum and offices. The site also incorporates the refurbished 12,000-seat Singapore Indoor Stadium, which has a pyramid roof form.

There is also good connectivity to the wider city centre waterfront, to Gardens by the Bay and the surrounding residential areas.

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Below left and right:The OCBC Aquatic Centre has the design flexibility to cater to a variety of events. Images by Darren Soh (left) and courtesy of Arup (right)

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Lower image, facing page top Public amenities include swimming pools and plazas.

Images courtesy of DP Architects

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Facing page lower:The retail mall features a climbing wall.

Image courtesy of DP Architects Story by Colleen Hawkes

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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 – Greg Solomon, Eden Energy executive chairman

Imagine a modern high-rise building with no

costs. Because these applications generally do not

steel. Sound implausible? Not any longer, thanks

require much, if any, flexural strength, this is likely to be the initial market for the new concrete. It will

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,

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

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

High-rise applications Stronger concrete suitable for high-rise buildings

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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initial trials are completed.

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.

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

Greater design flexibility

University of Queensland (UQ) a low-cost pyrolysis

Due to the thinner, lighter slabs and columns required, CNT-enriched concrete offers consider-

technology to produce CNT and hydrogen from natural gas. Eden acquired the technology from

able design flexibility. This benefit will become

UQ and Eden’s US subsidiary, and scaled up the

particularly significant if the need for steel can

process to a commercial scale.

be eliminated entirely. This would open the way for far greater design flexibility and new building

Monash University was able to increase the compressive strength of cement paste by up to

techniques, such as 3-D printing of high-strength,

30% by adding only one half of a percent of CNT

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

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.

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 anthro-

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

pogenic 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

creative designers, architects, and engineers have a chance to explore and exploit its full potential.

cement industry.

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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.

Project Brisbane City Hall heritage restoration

Location: Brisbane

Architect: TannerGHD

RETURN TO SPLENDOUR Impeccable restoration underpinned by code-compliant functionality, and with a new museum on top – Brisbane City Hall is again a showpiece for the Queensland capital

Left:Brisbane City Hall has been restored and updated

by TannerGHD. As part of the project, the new Museum of Brisbane has been introduced at the roof level. The modern, lightfilled insertion appears as two slender planes directly to the left of the base of the pediment.

Right:The grand King George Square entry is one of three foyers and public spaces where materials and finishes have been revealed and repaired.

Intumescent paint now protects weak, fire-susceptible concrete.

A discreet misting system robs any fire of oxygen, and avoids the need for unsightly ceiling sprinklers.

Introducing contemporary functionality to an older building is one thing. Doing so seamlessly while retaining a heritage fabric is quite another.

Built in the 1920s in the Classical Revival style, the Brisbane City Hall is a gracious urban landmark and focus of civic pride. Its 10-storey tower was the tallest structure in the inner city until the 1960s.

In 2008, Brisbane City Council recognised that the heritage building needed to be restored to its original grandeur, and at the same time brought up to speed in terms of functionality and code compliance. Subsidence and water ingress had compromised its structural integrity, and fire

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detection and control systems were inadequate.

Adding to the mix, earlier refits, which included faux heritage detailing, mezzanines and services, had detracted from the building’s functionality, with service plant obstructing lightwells, and dropped ceilings obscuring original features.

Tanner Kibble Denton Architects (TKD) and GHD, as architects in association, formed TannerGHD for the restoration, which began in 2009. TKD led the design team, with GHD providing support in relationship and contract management, interior design, architectural drafting, risk management and safety in design.

Project leader for TKD, architect Megan Jones,

which was clogged with service plant from earlier

says there were many aspects to the project, from the restoration and updating of the hall’s facilities

refits, was rescued and reconfigured.”

Upgrading to new code-compliant facilities was

to the seamless insertion of a kitchen and the new

essential. To meet modern fire code requirements,

Museum of Brisbane on the roof.

for example, several sophisticated, near-invisible

“The rejuvenation of the entry foyers, circulation spaces and public amenities was one important

approaches were introduced.

“We used fire-retardant intumescent paint to

focus. Work included cleaning and restoring the

help protect the original, rather weak, structural

white marble floors, mosaic tilework, oak joinery,

concrete, while a misting system provides fire

and bronzed coffered ceilings. Existing stairs, lifts and bathrooms were refurbished and new facili-

protection to significant spaces,” says Jones.

“This robs a fire of oxygen and avoids the need for

ties introduced. The second floor circular corridor,

ceiling-height sprinklers, which would have been

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Below:The new, sympathetic interior design conceals a wealth of facilities for fine-tuning the acoustics. Almost every grid or screen conceals a high-tech component. The centrepiece Father Henry Willis organ was also restored.

Facing page:The grand Oak Table Room and Council Chamber were also sensitively restored.

difficult to install and would have looked at odds

Work here included removing the stage entirely,

with the historic arched ceilings. And in the event of fire, ceiling sprinklers in full flow would cause costly

excavating beneath it, and inserting a commercial kitchen. The stage was then strengthened and

water damage to the protected building.”

restored, making it suitable for a much wider range

Other measures included a sympathetic upgrade

of performances. New acoustic panels and blinds

of the original glazed doors for fire separation, together with new fire-rated glazed timber doors.

were set around the perimeter of the auditorium, integrated into the original geometry with new

“At the centre of the refit was the three-level

architectural elements of bronze mesh and timber

auditorium – the circular heart of the rectilinear

trellis panels. The space can now be tuned to suit

building. This has been reworked to improve its function, comfort and capacity, while respecting

any type of performance. The historic organ, older than the hall itself, has also been refurbished.

the original architecture and fabric.”

The auditorium’s new tensile fabric ceiling is its

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Left:The clock tower’s structure is visible from the reception for the new Museum of Brisbane.

Materials and the colour palette are sympathetic to the heritage tones used in the Brisbane City Hall spaces on the levels below.

Lower left One of the galleries runs the length of the Adelaide Street side of the building.

Below:The good bones of the building’s original passive environmental design were restored, regaining natural light and ventilation for the building and new feature courtyards.

Story by Charles Moxham Photography by Lachlan Rowe (TKD), Bowen Lahdensuo (GHD)

crowning glory in terms of aesthetics and efficiency.

The museum includes two large galleries and

This further aids the acoustics, provides a dramatic focus through its twinkling LED lighting, and is also

several smaller galleries and theatres linked and integrated with the existing roof pavilions. One long

part of the invisible smoke exhaust system.

gallery runs the length of the building. The reception

A new colour scheme based on the original

and breakout spaces have views of the copper-clad

design overlays and enriches the entire space.

The upgrade to the 80-year-old building has also

dome of the auditorium, while the concrete-andsteel structural support for the clock tower forms

provided a contemporary workplace for the mayor,

part of the museum’s interiors. There are also back-

deputy mayor, councillors and their staff as well

of-house facilities for conservation and preparation

as the staff of the Museum of Brisbane. The civic offices are co-located with function rooms, meeting

of exhibitions, says Jones.

“The Brisbane City Hall restoration shows that

rooms and catering facilities used by the council for

major structural, fire and acoustics and access

conferences, training and public meetings.

Each of the 12 function rooms has been equipped for multipurpose events, complete with pantry areas and audiovisual and information technology facilities. Local, discreet dropped acoustic ceiling panels hide services, while revealing decora-

upgrades can be integrated into a heritage building in a way that balances respect for the quality of the original design with the architectural expectations of contemporary interiors. And that includes the additional amenities, from the commercial kitchen to the new Museum of Brisbane.”

tive plaster cornices. Three function rooms have access through French doors to the new landscaped courtyards set within original light wells.

Together with the total refurbishment and upgrading of the heritage building comes the insertion of the new addition at roof level. The Museum of Brisbane is built in behind the existing parapets and comprises a steel structure with a lightweight floor, walls and roofing.

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Project Ricoh building

Location Auckland

Architect: Warren and Mahoney Architects

FORWARD THINKING Both the building and the office in this major reconstruction on a CBD gateway site have been future-proofed, ensuring the project leads by example

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SECTION FOCUS WORKPLACE

Below:Two floors, a new facade and an extension were added to the original 1980s building on this gateway site at the apex of Wellesley and Victoria Streets in Auckland. The new 5 Star Green Star building is now home to leading IT company Ricoh.

A gateway location is the perfect high-profile position for a business. But the prominence of the site also imposes a certain responsibility on the architectural design team, which has an opportunity to help shape a city.

The Ricoh building, on the apex of Wellesley and Victoria Streets in Auckland, was such a project.

Design architect Shannon Joe of Warren and Mahoney Architects says the 1980s building was initially redesigned for Mainzeal, but completed only to the end of the first stage when that company went into receivership. That stage saw the original building facade removed, the interior gutted, floors levelled, the roof removed and two new floors added. More recently, the second stage was completed for the new owner Russell Property Group, with interiors designed for Ricoh by Hauraki Design, and all construction by Dominion Interiors.

“The original client wanted something quite courageous that would maximise the site’s high exposure,” Joe says. “We envisaged a fully doubleglazed, curved facade, with low-e, low-iron glass that would provide an inviting transparency, and literally reflect the changing atmospheric conditions of the city – the passing clouds, the blue sky. But the site is quite large and the sheer bulk of such a building occupying the entire site was a concern.

We felt it could be too much for an iconic building – the massing would be out of context.

“So we chose to accentuate three-quarters of the site with the multifaceted glass facade, which addresses the two key street frontages and provides a strong corner gesture.”

Joe says the other quarter of the site, completed in Stage 2, is a more textural design response in keeping with the infill building typology along the street. At the boundary points, a precast concrete blade wall appears to slice through the building, providing a bold vertical element.

“The site is located within the Victoria Quarter Plan, and is classed as a gateway building, which must have a strong vertical emphasis. The mullions in the facade were not enough on their own. The wrapping of the curve could have made this a

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rather horizontal building. So we added aluminium

with clerestory windows above flooding the space

fins to reinforce the vertical grain and provide a sense of animation. We echoed this with black fins

with natural light.

Sustainability was a key driver for Ricoh, in terms

on the second stage.

of both the base building and fit-out – the building

“The entire building is highly legible, with this

is in the process of gaining 5 Star Green Star

section having crisp and simple detailing. It also incorporates a new timber terrace that appears to

Design and Built certification. Managing director Mike Pollok says the move had been on the cards

have been punched out of the concrete wall. This

for quite a while, and Ricoh wanted to make sure it

looks back to the CBD and the Sky Tower.”

was done properly.

On the interior, the original building’s rabbit warren of small rooms has been replaced with large

“We’ve future-proofed our business, just as we are doing for our clients. The remodelled building

open-plan floorplates. The centre of the building

has more space, more sunlight, and is less

was opened up and a new timber staircase added,

expensive to run – it uses only one-third of the

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Below:An extension at the rear of the Ricoh building features a precast concrete blade wall that appears to slice through the structure. Part of the wall is punched out to expose an entertaining deck on the upper level. A series of tall fins enhance the verticality of the building and create a sense of movement for passers-by.

energy required by the original building.”

executive floor you can see through the perimeter

The redesign was also about consolidating staff from three different locations and creating a new,

offices to the view beyond. To ensure privacy in the presentation room on the client floor, we added a

vibrant workplace that would be a showpiece for

print of grass to the glass walls.

the company’s innovative business solutions.

“The Ricoh business is also referenced in large

Interior designer David Evans of Hauraki Design says it made sense from a sustainable viewpoint

murals that depict a variety of high-quality photographic images printed by Ricoh. This was a way

to retain items from the original fit-out wherever

for us to introduce colour to the office, which

possible, but it was essential to stamp the Ricoh

formerly had a sterile black and white fit-out. And

identity on the office.

“Ricoh needed a transparent, open office that

the images reflect the company’s green focus.”

Evans says increased opportunities for staff

would reflect the way the business operates, so we

interaction and informal meeting areas were

introduced a lot of frameless glass walls. On the

another key part of the client brief.

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These pages:Natural materials feature extensively throughout the building. The floorplates were punched through to accommodate a central staircase.

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Left:Executive offices are positioned around the perimeter of the top floor. Glass walls maximise the view from all areas and reflect a business philosophy of transparency and openness.

The central staircase, casual seating areas and a

the airflow to keep the environment healthy and

café-breakout area on Level 2 help to address this.

Flexibility is also provided in the layout. The

staff alert.

Other sustainable initiatives include rainwater

presentation room on the client floor – Level 1 – has

harvesting for toilet flushing, perimeter lighting that

large sliding doors that can open up the space to

dims when natural light increases, sensor-con-

Lower left:Windows above the stairwell flood the centre of the building with natural light.

the entire room for large gatherings.

Curved green sofas aid the circulation flow on

trolled lighting, solar panels, and a sophisticated stormwater system that slows the rate of flow into

this floor and the executive floor, which is Level 3.

the public system.

Lower right:The interior offers a variety of meeting spaces and breakout areas designed by Hauraki Design. Ricoh uses the office to demonstrate its own IT solutions in action. The fullheight forest mural is beside the car park entry to the office.

They also add a pop of colour that complements

Story by Colleen Hawkes Photography by Jamie Cobel

the corporate red of the Ricoh signage.

“We introduced a lot of green, just as we have in Ricoh fit-outs throughout the country,” says Evans.

“It provides another link with sustainability.”

In keeping with the eco-friendly requirements, the building has an advanced building management system that allows Ricoh staff to monitor their own impact on the building and environment. CO2 monitors in the meeting rooms automatically adjust

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WALK THE TALK Moving to new corporate headquarters provided an ideal opportunity for Ricoh to showcase its innovative office solutions in its own workplace

Change is inevitable, but when it is embraced and used as a platform for development, it can open a raft of new business opportunities.

This is precisely the way leading IT company Ricoh has transformed its operation for the digital age. And the move to new Auckland premises has been instrumental in showcasing the company’s new office solutions.

Managing director Mike Pollok says Ricoh is no longer simply “the photocopier company”.

“As part of the eighth-largest IT company in the world, we have developed a whole new range of products utilising the latest digital, GPS and cloud technology to streamline office operations in the digital world.

“To best illustrate these solutions, we have created a ‘live’ office environment. The entire office is essentially a showroom that demonstrates how much better and how much more efficiently and simply an office can be run with smart solutions that can future-proof a business. Whether it’s an accounts payable system, a tracking system, or a way to electronically archive and retrieve documents, clients can see it in action right here.”

Pollok says the office, designed by David Evans of Hauraki Design, also reinforces Ricoh’s commitment to staff wellbeing and sustainable design solutions.

“We have created a fantastic environment for staff, and are working hard to eliminate the roadblocks that traditional businesses have so that the whole office is working smarter and is more energy and cost efficient.”

For more information, contact Ricoh, phone (09) 374 0701. Email: ricohnz@ricoh.co.nz. Or visit the website: www.ricoh.co.nz

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This page:The new Ricoh office in Auckland – in a green building – incorporates a wealth of sustainable design initiatives and innovative office solutions that can be used to demonstrate the company’s products to clients.

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HIGH EXPOSURE An engaging workplace is just the start – every Ricoh office interior designed by Hauraki Design also reflects a commitment to sustainability and technology

Above and above right:The new office interior for Ricoh in Auckland was designed by Hauraki Design, a company that has worked on Ricoh projects for more than 15 years.

Custom-designed seating pods feature throughout the office, in executive and client areas.

Top right:The presentation room on the client floor has a grass pattern imprinted on the glass to provide a degree of privacy.

Corporate branding is all about creating a high profile and visual continuity. It is also about reinforcing a company’s key philosophies.

For more than 15 years, the design team at Hauraki Design has been translating this message into office interiors for leading IT company Ricoh.

Hauraki Design has designed Ricoh offices in Wellington, Dunedin, Christchurch, Hamilton and Auckland, with the latest project being the new Auckland headquarters in the gateway building on the corner of Wellesley and Victoria Streets.

Director David Evans says the new Auckland premises reflects the move towards the digital office, but this has not involved any compromise in the work environment.

“Sustainability is also a key platform for Ricoh, and this encompasses the workplace and the wellbeing of employees. The colour green appears

throughout the interior, reinforcing the green message. The provision of informal seating pods and breakout areas also reflects the move towards a more flexible, free-flowing office that encourages staff interaction and collaboration.”

Hauraki Design, established 20 years ago, specialises in all aspects of interior and architectural design, project management and property consulting. The company has forged many stable, long-term relationships, designing and managing future change for key clients.

For more details, contact Hauraki Design, PO Box 56488, Dominion Rd, Auckland 1446, phone (09) 623 0343. Email: david@haurakidesign.co.nz.

Website: www.haurakidesign.co.nz

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FOR A BETTER RETURN Improving this gateway building was a priority for new owner and developer Russell Property Group – Dominion Interiors built and project managed the addition and the Ricoh fit-out

Top left:Russell Property Group, new owner and developer of the Ricoh building, undertook an extensive rebuilding programme to better suit the needs of tenants. Dominion Interiors was the main contractor and project management company for the project.

Far left and above:The Ricoh office fit-out includes a client floor, which accommodates the reception area, a presentation room and client meeting room.

Left:A new central staircase links the three floors of the Ricoh office.

Developing a building for commercial tenants in the digital age involves a new set of priorities.

And it’s not just about the technology requirements.

Most companies today take a holistic approach to the work environment – they are looking for a green office that also caters to new ways of working. Collaborative and breakout areas, transparency and openness are vital.

Russell Property Group, the new owner and developer of the gateway building on the apex of Victoria and Wellesley Streets in Auckland, chose to meet these needs head on. Sister company Dominion Interiors was contracted to complete the property to 5 Star Green Star standard. In addition to constructing the extension at the rear, which adds an extra 897.09m2 to the NLFA, Dominion Interiors was contracted to build the fit-out for Ricoh.

A company spokesperson says access was one of the major challenges for the structural work.

“Multiple crane lifts were required daily on one of Auckland’s busiest intersections. With roads on the north and south elevations, and a public car

park on the east elevation, the project required meticulous planning, with road closures limited to non-peak hour traffic times.”

Dominion Interiors project managed all the trades, including the companies working on the piles and foundations for the new steel structure, the precast facade panels, and the curtain walls with external louvres. Fit-out trades were also managed, with Dominion Interiors simultaneously liaising with Ricoh and other tenants to ascertain their specific IT and AV requirements.

“The installation of all the client furniture, fixtures and equipment, including soft furnishings and fully reticulated workstations, was the last piece of the puzzle. Once completed, we were able to deliver the full turn-key solution on the agreed date.”

For details, contact Dominion Interiors, phone (09) 526 5808. Website: www.constructors.co.nz

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SECTOR REPORT WORKPLACE DESIGN

HUB OF THE MATTER People can work almost anywhere, but social interaction is vital. Leading workplace researcher Dr Donna Wheatley discusses the value of the collaborative hub

Technology has changed the way we work,

choice and independence is essential.

and where we can work, with more and more

The design of the space is especially important in optimising all the different ways people work.

people choosing to work remotely. But is the idea of the office becoming obsolete?

Research suggests otherwise. We know humans are social animals. People want to work in close proximity to other people, to brainstorm and share ideas, to form friendships, and create a sense of group identity. And for most businesses, the knowledge-sharing and new ideas that result from these interactions are hugely important.

Workplace design has changed immensely over the past few years, and will continue to do so. The biggest change will be the focus on people, on their behaviours and preferences. We are learning how to value a person’s experience and how to make their work environment better. We’re questioning what the traditional notion of the workplace is, and we’re on the cusp of what it might be.

For me, the future of the workplace will be socially driven. I predict work hubs are the way forward. By hubs, I mean collaborative spaces where people can connect in a social and creative way. These spaces have the flexibility to adapt to different needs and activities.

A hub can also exude a sense of brand identity for an organisation – a concept that was seeded in my PhD ‘Branded Spaces’. The idea is compelling – it is still somewhat abstract but it’s where we could be in the near future.

Design driven by freedom of choice A hub may resemble one big café, airport lounge, modern library, or a student space at a university.

And that’s a good analogy. Students today could easily study at home, but increasingly they come onto the campus every day to work in a variety of different spaces where they can complete group work and be near other people, or work by themselves away from distractions. This is how young people are already working, so we need to prepare for the time when they enter the workplace. How long are we going to be able to chain them down to one desk five days a week? Allowing freedom,

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At the moment many workplaces simply provide opportunities to sit at computers. But with the rise of flexible working, workplaces need to be ‘sticky’; they need to help people to work to their best potential by offering better opportunities for collaborating and concentrating than anywhere else.

Activity-based workplace To tailor a workplace that will let people reach their full potential, first we need to recognise that every employee undertakes different activities. In any single day people may write emails, attend meetings, write reports, work in teams and brainstorm with colleagues. Creating an ideal workplace design is about understanding all those activities and shaping spaces to meet those different needs.

This is the activity-based workplace. It gives people the freedom to move to spaces optimised to suit different tasks. People no longer need to remain in the same set place.

With an activity-based workplace, an employee can come in and choose the space where they feel they would work best on that particular day.

Providing this choice will likely increase their productivity – when they can work where and with whom they need to, they will feel more satisfied, having had valuable interactions and a more productive day.

In a nutshell, the activity-based workplace is a significant change in how we think, how we understand requirements, and how we design the workplace. It is exciting to see that New Zealand and Australian businesses are leading this global change – the rest of the world is looking to see how this model is working.

How will business change?

By moving around the workplace, people get to know each other better. I have undertaken post-occupancy evaluations for these types of environments, and this has been the most significant

Above:Activity-based working will likely be the way of the future, says Dr Donna Wheatley, leading international workplace researcher and head of the workplace design team at Warren and Mahoney.

Right:Collaborative spaces may include casual seating areas and informal meeting tables. Shown here are the Telecom building in Auckland (top) and the Southern Cross Health Society premises, Auckland (lower), both designed

by Warren and Mahoney.

outcome. There is a better connection across

this the hybrid model. People still have a home

different departments and teams. People are interacting with a much wider group of colleagues,

base, a place to put a bag, but rather than a large, L-shaped workstation, it would be a smaller desk.

not just those at surrounding desks. This is hugely

But there would also be other places to work. A

important for business, not just for employee well-

business could provide quiet rooms, where people

being, but also to generate new ideas.

It is also good for businesses during economic

can close the doors and write a report, or have a private phone conversation with a client without

fluctuations. Activity-based workplaces can flex

interruption or being overheard. And there might

with changing employee numbers, because it’s

also be collaborative tables and video conferencing

possible to fit more or fewer people within the same space without any or very little cost. Commercial

areas. Many businesses are attracted to this model.

The reality is that every business is different.

real estate is expensive and long term, so the less

So there is no one right model for everyone – it’s

impact staffing fluctuations have on real estate needs, the better.

about tailoring the workplace for each organisation. In doing so, the final workplace will be a lot more responsive. It will help support corporate objectives, and lead to increased job satisfaction, productivity and creativity. That’s the difference a great workplace design can make.

Will such flexibility work for everybody?

Some people like to take ownership of their space, so some companies could provide a middle ground. A business might create a workplace that offers a great deal of choice, but also allows people to work in one space at any time. We call

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Below left:Various formal and informal collaborative areas are provided in the KiwiRail offices in Auckland, designed by Warren and Mahoney.

Richmond Wool Collection

Auckland Wellington Christchurch

Adelaide Brisbane Gold Coast Hobart

Melbourne Perth Sydney United Kingdom

www.warwick.co.nz

GATHERED TOGETHER Several design approaches ensure staff in the new CIMB headquarters feel part of a unified whole

Project CIMB Investment Bank

Location: Kuala Lumpur, Malaysia

When bringing together teams from disparate parts of a city in one masthead building, it makes sense to created a unified theme on at least two

Interior designer: SL&A

firm SL&A won the pitch, based on its strong regional banking credentials, capabilities and proposed strategies. Studio director Dylan

counts – to give the newly gathered staff a sense of

Tham says the role went beyond interior design.

togetherness; and to create an office system that

“With strategic work space study integral to our consultancy, we devised a comprehensive roadmap

can be rolled out across all floors. The result is a solid company ethos and a cost-effective fit-out.

CIMB is the fifth largest universal banking group in ASEAN by asset size. When growth required relocation of four departments into a central headquarters in the heart of Kuala Lumpur, the banking group required responsive interiors. Noted design

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of the bank’s entire relocation project. This was led by our managing director Martin Axe.” Benefits of the study included a clear plan for CIMB’s development in the new environment.

Factors addressed included standardisation of work space modules to cater for the investment

Preceding pages and these pages:From the sculptural teak Tree of Life in the concourse to the bookmatched marble lobby walls, the entry to Menara CIMB office tower in Kuala Lumpur evokes strength, permanence and an affinity with nature.

bank’s organisational growth, to make savings on

templated right down to the workstations. This

capital and operating expenditure, and for overall increased effectiveness of workforce productivity.

provided a work-efficient and economically efficient model to be rolled out across all the CIMB floors.

Designed and built specifically for the ASEAN

Strategies were employed to retain individuality for

bank, Menara CIMB tower comprises 35 levels of

each level but also encourage interconnectivity.”

offices and underground parking. Floorplates are a spacious 3042m². SL&A undertook the interiors

Staff, clients, and guests enter the ground floor atrium under the spreading branches of the Tree of

for 10 levels in the high zone (above level 17) and

Life sculpture, then move on past water fountains,

five in the low zone, as well as the ground floor

under a timber veneer entry arch into the marble-

entrance and reception, and basement VIP Parking.

“Our concept was to create a dramatic entry

lined reception. This arrival path reflects a strong connection to nature, and a sense of solidity and

at ground level, with the office fit-outs above

opulence well suited to a high-end financial firm.

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The lavish reception also engenders a sense of

thetic and provided a way to hide services, such

pride for tower occupants.

“The Tree of Life is constructed in teak with

as the sprinklers. The matt green granite floor of the vehicular concourse is repeated in a polished,

connecting elements in stainless steel,” says Tham.

slightly browner colour inside the atrium.

“This sculpture is under lit, creating the illusion of

External columns and the interior walls of the

light shining down through the branches.”

The tree spreads into the wood-batten ceiling.

atrium are in bookmatched travertine, another rich, natural surface. The reception desk is in the same

Tham says this acoustic ceiling adds a cosy aes-

wood veneer as the linear front door entry surround.

Facing page:Freestanding baffle walls by the lifts display different traditional Asian objects on each floor. The Malaysian kite and abacus are just two of several wayfinding panels that let staff know where they are.

This page:The core of each floor has refreshment facilities and meeting spaces. Granite strips in the floor highlight view corridors to the scenic outlooks. Breakout spaces and work desks are positioned by the windows.

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From the reception area, high-speed zoned lifts

such as restaurants, a gymnasium and crèches are

whisk CIMB employees up to their workplaces. At each level, the lift opens to a communal zone near

set at the second floor, another way of encouraging movement through the building.

the core. This zone, called a padang – Malay for

However, some differentiation was required on

‘field’ – makes up 25% of each floor. Comprising

CIMB’s otherwise standardised floors. Freestanding

breakout areas, adaptable meeting rooms and cafeterias, these spaces encourage casual con-

baffle walls are positioned by the lift doors, with different displays on each level. These wayfinders

nection between staff. The meeting and conference

feature a variety of cultural pieces intended to

rooms are designed and positioned to encourage

symbolise the essence of the ASEAN community.

workers from other floors to utilise them as needed – just one way of encouraging interfloor connectivity in a bank that is home to 2200 people. Facilities

The understated interiors incorporate frequent touches of red, the bank’s signature colour.

Inspired by the tag-line ‘Feel at Home Anywhere in

Below and upper right:Glass meeting room panels carry the birdcage motif on all CIMB floors.

Work spaces are pushed to the light-filled outer floorplate.

Lower right:Breakout areas and meeting rooms sport touches of the bank’s signature red.

Story by Charles Moxham Photography by Shea Studio

ASEAN’, each floor extends the ASEAN theme, with

“From the outset we held several meetings with

a birdhouse motif also recurring throughout.

While the contemporary design places the core

staff from all levels of the bank to see what would work and what wouldn’t,” says Tham. “This early

services and lifts at the centre of the floor plate

canvassing and preplanning was amply rewarded.

with meeting rooms and breakout spaces beyond, there is usually a view corridor out to the cityscape.

The outer floorplate is given over to workstations, ensuring optimum natural light on work surfaces.

And this was just one of several green measures employed by SL&A. Many pieces of furniture and lighting elements have been repurposed from the vacated buildings and all surfaces are VOC-free.

“Menara CIMB tower now represents a stand-out symbol of togetherness and operating efficiency.”

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Project Arup satellite office

Location: Downtown, Los Angeles

Architect: Zago Architecture

INSIDE THE BOX Take one bare loft-style space in the city, introduce a satellite office with an adventurous, deconstructed fit-out, and you have a whole new take on activity-based working

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Below:Applied geometry – this satellite office for global engineering design firm Arup is in downtown Los Angeles. The company chose an activity-based working model, with a bold, sculptural fit-out designed by Zago Architecture.

Change in the workplace is not always readily accepted, especially if it’s perceived as radical.

Sometimes, the best plan is to introduce new concepts gradually, which is exactly what global engineering design consultancy Arup has done in Los Angeles.

The company recently established a satellite office in the downtown area, to be closer to key clients, and to limit travelling time for workers.

Planned as a touch-down space where people could work for several hours or days at a time, the office presented a unique design opportunity, says Arup principal Jon Phillips.

“For several years, we have talked in the main LA office about the idea of activity-based working, whereby people are not hampered by a fixed desk structure. In the current arrangement, no single seating solution is ideal; people need to be able to collaborate at times, and work on a set of drawings which requires space. So we explored the activitybased working concept for the satellite office – it is already in use in Arup offices in Australia.”

Arup collaborated closely with Zago Architecture throughout the entire design process, giving the architects a very open brief in terms of aesthetics.

“We wanted the space to be very different from our corporate office,” says Phillips. “We required more of a studio feel, and we wanted to challenge people to think differently. It needed to be invigorating and creative, and it needed to reflect our innovative approach to engineering design.”

Architect Andrew Zago says the existing building and the space itself were spare and box-like.

“This prompted the idea of introducing very bold, oversized elements into the building, so it would look as though they had just arrived there and were a little too big for the space.

“This in turn led to the theme of an enclosed capsule element that transforms into the office furniture. If you begin to unpeel the capsule, long arms branch out to become tables, storage and seating areas. That is how we developed the more unusual forms. They are not haphazard – they all come from the same sculptural base.”

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Left and right:The sculptural furniture appears to peel open from a series of enclosed capsules. Desking and seating elements are positioned at different angles to allow a degree of privacy. Some desk areas are also arranged to provide sightlines to the walls that serve as projector screens.

Lower left:A rectangular suspended ceiling houses an LED lighting strip and sound attenuators. Its shape is echoed by the coloured linoleum on the floor. This sustainable material is in keeping with the desire to meet LEED certification. The Richlite desk surfaces, made from recycled papers and a phenolic resin, have a handrubbed oil finish that gives an inconsistent, weathered look.

Below right:Cubbies and concealed storage cabinets are provided within the furniture.

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Left:Glass walls separate the meeting rooms from the main office, providing sound insulation, but allowing transparency and a sense of connection.

Lower left:A trapezoidal table in the video-conferencing room continues the geometric theme. The existing concrete floor throughout the office was exposed and sealed.

Story by Colleen Hawkes Photography by Joshua White

In keeping with the need to provide a variety of work areas, the tables are of different heights, and include a work surface at standing height. There is also a long, upholstered bench seat, and three meeting rooms of varying sizes, with glass walls for sound privacy.

The desk surfaces are made from Richlite, which comprises layers of recycled paper cast into a phenolic resin and coated with hand-rubbed oils.

The furniture in the main office is mainly, but not completely, contained within a large rectangle – the geometry is echoed on the floor in bright orange, yellow and grey linoleum, and in a suspended ceiling element made from perforated aluminium. This sits below the exposed services, enhancing the semi-industrial studio feel of the space.

“The suspended metal ceiling is not just an architectural element,” says Zago. “It also accommodates the LED lighting strip and features sound attenuators, so the hard surfaces don’t echo.”

Not surprisingly, for an engineering design firm,

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embedded technology is a given. There are video conferencing facilities and two areas where a shortrange projector can throw images onto the walls.

Writable walls are another feature.

Phillips says staff feedback shows the fit-out is somewhat polarising.

“People either love it or hate it – there’s no grey area. But more and more people are choosing to spend time in the office because it works for them and they really enjoy the space. We anticipate a gradual roll-out of the activity-based working model to other offices.”

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FRENCH FLAVOUR Colour plays a fundamental role in the design of this restaurant in a seaside location, evoking both the sea and French culture

Integrity was a key part of the design brief for La Fourchette Restaurant in St Heliers, Auckland.

The owners told Markham Architecture + Urban Design (MAUD) – the company commissioned to design the restaurant – that they did not want a pastiche of ideas about French food and culture.

They preferred a more subtle approach with a design that would also recognise the significance of the seaside location.

MAUD subsequently specified Carrara marble counters that draw on customary French brasserie fit-outs, sandstone oak floors and whitewashed tabletops that pick up on the tones of the beach.

These are contrasted by a strong blue shade on the walls. Resene San Juan is the feature colour, with Resene Eighth Friar Grey above the picture rail to lower the apparent height of the wall and to make the space feel more intimate. This shade tones in with the exposed concrete ceilings and the blue, yet does not compete with either shade.

Contrasting timber panelling and trims are painted in the colour Resene Double Alabaster, which helps to keep the look crisp and modern.

This shade was also painted over old brass fittings in the restaurant.

The design team says the colour palette works by day and by night, allowing La Fourchette to seamlessly transition from a daytime café to a nighttime restaurant.

All the broadwall areas were painted in Resene SpaceCote Low Sheen, an Environmental Choiceapproved waterborne enamel that provides a tough, durable finish.

For further information, or for the latest colour fandeck, visit a Resene ColorShop, or freephone 0800 Resene (737 363). Website: www.resene.co.nz

save & share 46686 at trendsideas.com Above:La Fourchette Restaurant in St Heliers features Resene paints. The painting contractor was New and Old.

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Project Bayleys Real Estate

Location: Waiheke

Designer: Yellowfox

ON A CLEAR DAY When a leading Waiheke real estate agent relocated to upper-level premises, the rebuild

by Sheffield Construction and interior design by Yellowfox did justice to the setting

If a visit to the real estate office is just more

design presence appropriate for its new role.

encouragement to move to the area, then designer

Realising a major rethink was needed, the company engaged Sheffield Construction for the physical

and builder have done their work well.

Faced with a poor street presence, limited usable space and growing staff numbers, Bayleys Waiheke decided to move offices. The new location was close by – the upper level of the hillside Poppelwell building, where Bayleys already occupied the second floor below. The realtor would be swapping spaces with the existing art gallery.

The new top-floor location offered views to the street and the ocean. However, while the simple white cubist volume had been ideally suited to displaying artworks, it lacked the personality and

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refit, and interior designers from Yellowfox, who specialise in residential and commercial design.

Dale Sheffield says that as the builder on site, his company is always happy to find ways to improve a design – and that’s exactly what happened here.

“While stripping out the wall linings and ceiling to make everything true and to lay new services, we also exposed attractive steel support beams in the foyer. Yellowfox wanted to retain these as a feature so together we decided to paint them black and add a false wood beam, also in black, for balance.”

Below:Exposed ceiling beams, painted black, and a new cedar ceiling with concealed lighting, are just two features of the new Bayleys Waiheke reception area.

Copper-hued pendants pick up on these tones and the colours in the flooring.

Right:Formerly a wall with a small window, this area of the real estate company’s premises has been pushed outwards to gain additional space. New bifold doors open up the white meeting room to the deck and views.

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Facing page:At the suggestion of the Waiheke-based builder Sheffield Construction, and with Yellowfox’s agreement, a planter box was created at the new large front window beside the stairs.

This offers a degree of privacy and adds to the overall natural aesthetic.

This page Yellowfox selected Shadowclad wall finishes appropriate to the coastal setting.

Accent colours in the sofa and cushions were inspired by the surrounding land and seascapes.

At the other end of the premises, a small window

steel beams. The eye-catching cedar ceiling was

looked to the sea. Dale saw a way to build out and extend the volume here, propping up what was to

Dale’s idea and he asked us to approve this before construction went ahead. This adds drama and

become the spacious, airy meeting room area on

continues out to the front veranda, bringing the

external steel supports. Double bifold doors were

outside in.”

added to open out to a new deck, so that the once claustrophobic space now opens up completely

The new addition with bifold doors out to the view is undisturbed by the clean white interiors

to Waiheke’s charms. The builder also introduced

Yellowfox chose for the meeting space.

a steel framing system at the front of the building, to support new sliding doors that optimise street presence.

While the structural work expanded the space

“We specified soft-furnishing accent colours that reflect the sea and surroundings. Lastly, an eclectic mix of designer light fittings were especially selected to bring the scheme together.”

and helped the offices embrace the scenery and the street, Yellowfox’s expert design team created an interior ambience to match.

Vikki Gorton explains some of the features that help the real estate agent’s offices come to life.

“We used a commercial-grade vinyl timber plank

every project has an affordable, winning outcome.

Here, the supplier was Sheffield Construction.

For more details, contact Yellowfox Waiheke or Yellowfox Auckland, PO Box 11282, Ellerslie, phone (09) 525 3450. Email: design@yellowfox.co.nz.

with a rustic beach look for the flooring – this supplied the durable finish required. There are copper highlights in the floors and the stone countertop of the reception desk, and we accentuated these by

Or visit the website: www.yellowfox.co.nz Contact Sheffield Construction: phone 027 459 69 69. Email: sheffield.construction@yahoo.co.nz.

Website: www.sheffieldconstruction.net

introducing three copper pendant lights overhead.

“For the walls, we selected stained Shadowclad to further the seaside aesthetic. This has a darker framing edge to tie in with the ceiling and painted

Yellowfox works with trusted suppliers to ensure

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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

green building strategies, planet-friendly energy

up, so too does the need to inspire engineering,

use, eco-farming, indepth research and teaching laboratories, student housing and a social hub.

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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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 – 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

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

a depth of 152m to be heated or cooled by the

roll-top desk, is shaped to optimise passive ventila-

earth’s ambient temperature and sent back to the surface for energy reuse within the institute. This is

tion – rising hot air is drawn out of the top of the greenhouse, while computer-controlled vents allow

not only the largest geothermal field of its kind in

cooler air to enter from below. This helps air flow

Chicago, it is also unusual for being directly under

through the space without mechanical assistance.

the floors of the academic structure – a placement made necessary by the tight urban location. Glass

The otherwise inoperable curving facade is also designed to maximise solar gain and collect and

floor panels allow students to see this eco-friendly

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 institute’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.

“In other words, we wanted this to be the most environmentally and energy-efficient building that we could possibly achieve.�

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 – 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

showed some active systems would be needed to

be used for outdoor learning and social interaction.

Bradburn says the south building’s roof form is a

manage peaks in conditioning. Results are impressive, with a target of natural ventilation for 70% of

response to its context.

the time, heating for 20% and cooling for 10%.

“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

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

also be used to demonstrate some of the work that

needs to be net zero energy and water. This is

happens inside.”

Key to meeting the design challenge was an

partially met by designing the building and its systems for minimum energy use. It’s anticipated

orientation that ensured effective use of sunlight

that the centre will be one of the lowest energy

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

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.

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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

supplied in a socially responsible manner. This

on the Innovation Campus, with further surplus supplied to the grid.

highlighted a current difficulty in getting precise information from suppliers about what is in their

The centre also captures and stores rainwater

products and where they actually come from.

in a 65,000 litre tank, and the water is then used

For Professor Paul Cooper, the Sustainable

throughout the building, including for flushing toilets, cleaning and garden irrigation.

Buildings Research Centre is a true living laboratory – a place to work together with industry and

The building has water-efficient fixtures and fittings and does not use water-hungry evaporative

academic collaborators from around the world.

“We’re developing new products and systems

cooling towers in its air-conditioning system. As a result, its water consumption and supply are

that will not only improve energy efficiency and sustainability for today’s buildings, but which will

completely self-sustaining, except for the legal

improve the resilience of our built environment to

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

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.

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Story by Paul Taylor Photography by Richard Glover

PROPERTY COUNCIL NEW ZEALAND RIDER LEVETT BUCKNALL PROPERTY INDUSTRY AWARDS 2015

Awarding Excellence Friday 12 June 2015 | Vector Arena - Mahuhu Crescent, Auckland | 6:30pm - late | Black Tie

AwArds sPonsors

Tickets to the Awards Gala Dinner are available from Property Council New Zealand National Office P: +64 9 373 3086 | E: enquiries@propertynz.co.nz | www.propertynz.co.nz

index Abigroup

30-35

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Adams Steelguard

38-45

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6-17, 18-25, 30-35

Davis Langdon

26-27

Halvorson and Partners

6-17

Hampton Jones Property

30-35

74-83

Consultancy

38-45

Mr David’s

74-83

Stuart Bywater Design

30-35

MT Deason Company

74-83

Super Sky

74-83

30-35

Suria Sunshade

54-61

Murobond

Akzo Nobel Paints (Malaysia) 54-61

DDS Contracts & Interior Solutions

Hauraki Design

Apex Ceilings

54-61

ICI Dulux

54-61

NDY (Malaysia)

54-61

Centre, University of Wollongong

Dennis Cairns and Associates

Innovasia Fabrics

54-61

Norman Disney & Young

30-35

84-92

38-45

Applico

IFC-1, OBC

Architectural Lighting Works 62-66 Armstrong Arup

62-66, 74-83 6-17, 18-25, 62-66

Aurecon

30-35

Austral Bricks

6-17

Australian Museum Business Services

6-17

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6-17

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74-83

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38-45

Blomfield Signs

38-45

Boral Plasterboard

54-61

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38-45

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62-66

30-35 Derbigum

74-83

Design Stage

30-35

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6-17

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74-83

Dorma

74-83

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18-25

38-45, 47

Institute of Environmental 74-83

Interface

74-83

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54-61

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Intren

74-83

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30-35

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84-92

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74-83

Property Council New Zealand

TransCeramica

74-83

30-35

93

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74-83

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38-45

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30-35

62-66

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54-61

62-66

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74-83 84-92 38-45

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18-25

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Tech Lighting

74-83

CAP Coatings

62-66

84-92

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BYME

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Architects

30-35

Kitchen Things

54-61

54-61

Jones, Megan

30-35

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Perunding Kos T&K

UTS Business School, University

74-83

CIMB Investment Bank,

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74-83

62-66

30-35

54-61

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74-83

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Brisbane City Hall

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26-29

6-17

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30-35

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30-35

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Casey & Lowe

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38-45

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30-35

26-29

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Symonite Panels

Peter Favetti

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Oakstone Glass Corporation 62-66

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Sustainable Buildings Research

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74-83

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3

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67

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50-52

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Yellowfox

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84-92

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