DETAIL English 1/2015 - Roofs

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ISSN 1614-4600 · JAN · FEB £12.50 · US$  24.50 · €18

English Edition

Review of Architecture and Construction Details · Roofs · Vol. 2015 · 1

∂ Review of Architecture Vol. 1, 2015 • Roofs Editorial office: E-mail: Tel.: +49 (0) 89 38 16 20-57 Christian Schittich (editor-in-chief) Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Julia Liese, Thomas Madlener, Emilia Margaretha, Peter Popp, Maria Remter, Edith Walter; Sophie Karst, Christa Schicker (freelance assistants) Dejanira Ornelas Bitterer, Marion Griese, Emese M. Köszegi, Simon Kramer (drawings) Product editors: Meike Regina Weber (editor-in-chief) Katja Reich, Hildegard Wänger, Tim Westphal, Jenny Clay Kathrin Enke (p. 18) Elise Feiersinger (pp. 4–17, 20 –72); Marc Selway (pp. 74 –97) (English translations) Advertising: E-mail: Tel.: +49 (0) 89-38 16 20-48 UK Representative Advertising: Peter L. Townsend Email: Tel.: +49 (0)157-85 05 95 32 Fax: +48 (0)89-38 16 20-99 Distribution and marketing: E-mail: Tel.: +49 (0) 89-38 16 20-0 Subscription contact and customer service: Vertriebsunion Meynen Grosse Hub 10 65344 Eltville, Germany E-mail: Tel.: +49 (0) 61-23 92 38-211 Fax: +49 (0) 61-23 92 38-212 Publisher and editorial office: Institut für internationale ArchitekturDokumentation GmbH & Co. KG Hackerbrücke 6 80335 Munich Germany Tel.: +49 (0) 89-38 16 20-0 Fax: +49 (0) 89-39 86 70

The French and Italian translations are available for every issue and can be downloaded as PDF files:

Discussion   4 Editorial    6

Roof and Space Christian Schittich

Reports   16 The Cutting Edge of Research – EPFL’s SwissTech Convention Center Frank Kaltenbach   18 Exhibitions, Books

Documentation   20 The Vieux Port Pavilion in Marseille Foster + Partners, London   24 Holiday Home on Lagnö Tham & Videgård Arkitekter, Stockholm   28 Swimming Pool for a School in ­Beaconsfield Duggan Morris Architects, London   34 Art Museum in Ahrenshoop Staab Architekten, Berlin   39 Terraced Housing in Brugg Ken Architekten, Zurich   44 Education Centre in Vrchlabí Petr Hájek Architekti, Prague   48 Forum for a Secondary School in Adelsheim Ecker Architekten, Heidelberg/Buchen   55 Fondation Pathé in Paris Renzo Piano Building Workshop, Paris

Technology   64 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris Matt King, Jaques Raynaud

Products   74   82   88   94   96

Roofs and Drainage Interior Walls, Ceilings & Acoustics Wall and Floor Tiles Textile Architecture On the Spot

98 Service 104 Persons and organizations involved in the planning • Contractors and suppliers 106 Programme • Photo credits • Editorial and publishing data


Roofs Only seldom is the roof an essential component of a building’s design – its decisive architectural element. This edition of DETAIL presents buildings in which the roof defines both the building’s form as perceived from the exterior and the space below it. Examples include: the folded, load-bearing wood structure creating a complex space above a swimming pool near London; a series of pitched concrete roofs serving as the playful culmination of a vacation home near Stockholm; and the shimmering-gold hip roofs crowning a museum in Ahrenshoop and making subtle reference to the region’s reed roofs through the use of irregularly bent-to-shape brass. Moreover, a polygonal green roof atop an education centre in Vrchlabí in the Czech Republic absorbs the contours of the surrounding landscape, and an apartment complex on a sloping site in Brugg reinterprets terraced housing – in both senses of the term.



Exhibitions, Books

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Uneven Growth: Tactical Urbanisms for Expanding Megacities

Lina Bo Bardi 100: Brazil’s Alternative Path to Modernism Journalist, illustrator, designer and architect Lina Bo Bardi lived a life of many facets. To mark the 100th anniversary of her birth, the Architecture Museum at TU Munich is celebrating the life’s work of the Italo-Brazilian architect with an original, detailed and sensitive exhibition curated by Vera Simone Bader in collaboration with Brazilian architect Marina Correia. A high wall of bare Ytong blocks is the first thing to catch the visitor’s eye. It divides the room into zones and serves as a backdrop for sketches and plans. Its rough surface references Bo Bardi’s passion for exposed concrete. Even during her lifetime, her simple and immediate language of form found great public acceptance, even though Bo Bardi never had a fixed formal repertoire. For her, design meant an intensive engagement with the culture. She put the social significance and relevance of her buildings front and centre, a fact nowhere more evident than in her SESC Pompeia project. The sports and culture centre, a complex of buildings linked by bridges, is still a vibrant meeting place for all strata of society. With her architettura povera, Lina Bo Bardi blazed new trails that are once more regaining relevance. Long in the shadow of her Brazilian colleagues Oscar Niemeyer and Lucio Costa, Bo Bardi chose an alternative path, one that has now been translated into a lively exhibition concept. Handwritten texts on the bare walls recall her daily conversations with the workers on site, lending the exhibition a personal note. Photographs, plans, models, video and audio recordings and 100 original hand drawings bring Bo Bardi and her architecture to life. Her formal language is conveyed via lovingly chosen details and materials. It is rare to be able to experience the life and work of an architect in such an immediate and authentic way. Annika Schröck Until 22 February 2015, Architecture Museum of TU Munich,

In 2030, the world’s population will comprise a staggering eight billion people. Of these, two thirds will live in cities. Most will be poor. In the face of limited resources, this uneven growth will be one of the greatest challenges confronting societies across the globe. Over the coming years, city authorities, urban planners and designers, economists, and many others will have to join forces to avert social and economic catastrophes and to ensure that these expanding mega­cities remain habitable. Uneven Growth: Tactical Urbanisms for Expanding Megacities, a 14-month initiative to examine new architectural approaches to addressing the rapid and uneven growth of six global metropolises – Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro – has culminated in an exhibition at the Museum of Modern Art. In recent years, tactical modes of urbanism have arisen in the form of everyday, bottomup approaches to local problems as a counterpart to the classic notion of top-down planning. Uneven Growth asks how current practices of architecture and urban design can learn from such developments by presenting design scenarios based on this type of urbanism, while also mapping emergent modes of tactical urbanism around the world. The exhibition features design visions in the form of drawings, renderings, animations and videos produced by six interdisciplinary teams of local practitioners and international architecture and urbanism experts, each focusing on a specific city. Tactical urbanism is a highly pragmatic movement that involves a spectrum of designers, from those who perform guerrilla interventions of short-term change to those who seek to prod, provoke or stimulate the political process towards an incremental realization of fragments of what might be larger networks. Until 10 May 2015, The Museum of Modern Art, New York, EMPOWERMENT – Social change through building “Architecture is for everybody” is a mantra that most architects would probably support, but in fact the profession serves only a tiny fraction of the global population. The exhibition at the Lighthouse explores how architecture and architects can engage a wider population and play a part in effecting long-term social change in the developing world, where architecture is a process rather than a product. Until 1 March 2015, The Lighthouse, Glasgow,

Best of DETAIL Wood Institut für Internationale ArchitekturDokumentation, Munich 2014, 200 pp., paperback, German/English, ISBN 978-3-95553-214-7, €49; £40; US$69 With its positive qualities and wide range of applications, wood excels in several areas: it meets the holistic evaluation criteria of sustainable construction, it is perfect for outdoor use in sophisticated designs and facades, and it lends itself equally well to being used in interiors. It allows rapid construction and is relatively inexpensive, and builders and architects alike appreciate its sensuous charm and familiar nature. These attributes are turning this traditional construction material into one of the most sought-after materials for innovative projects. The publication offers a theory section and a comprehensive section on projects. Function Follows Strategy Eduard Sancho Pou, Institut für Inter­ nationale Architektur-Dokumentation, Munich 2015,192 pp., hardcover, ISBN 978-3-95553-196-6, € 39, £32; US$55 For the past several years, architects have been confronted with a changed market, new tasks and unfamiliar requirements. In this new environment, what strategies can they adopt to get commissions or spark interest in their projects? The author analyses some key approaches taken by individual architects since the 1950s. Transformations in society and politics, changed client requirements and the state of the economy all influence the work of architects. While the focus of the profession used to be purely on physical construction, today’s architects must adopt a wide variety of roles in relation to clients – ranging from consultant to mediator to brand designer. The book is intended to inspire architects to consider new options and unusual paths.



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The Vieux Port Pavilion in Marseille Architects: Foster + Partners, London Team: Norman Foster, Spencer de Grey, Grant Brooker, Andy Bow, Roger Ridsdill Smith, Jurgen Kuppers, Max Neal, Merino Ranallo, Adeline Morin, Caroline Tarling, Andy Coward Structural engineers: Foster + Partners, London Ingerop Mediterannee, Marseille Others involved in the project: see page 104

The old port, in an elongated bay, is the historic heart of Marseille and was for centuries an important centre of trade. Today countless yachts and excursion boats are anchored in the Vieux Port, surrounded by the apartment buildings and restaurants of the historic centre that were long separated from the port basin by a multi-lane street. One of the most prominent public works projects featured within the framework of the European Capital of Culture 2013 involved making the district better accessible to the public and redesigning the esplanade for pedestrians. The design is the work of Foster + Partners and the landscape architect Michel Desvigne; they have created a


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generously scaled esplanade which is now also the site of performances and events. To keep the quay walls free of technical installations, the team situated them in platforms in the water. The flow of traffic was also reworked: the multi-lane street was reduced to two lanes. The unobtrusive and subtly differentiated new space in the port zone covers an area of 100,0000 m2; it has quickly become a beloved, vibrant piazza. The lightweight roof, situated on the eastern edge of the port basin, seems to float above the ground plane. The 46 ≈ 22 m pavilion shields visitors from the sun and rain. But the structure is also a fascinating architectural folly. Clad in stainless steel with a su-

per-mirror polish, the underside reflects the activity beneath it and intensifies the everchanging quality of light. The steel structure must withstand the north-esterly wind known as the Mistral Eight. Despite that fact, its dimensions are exceedingly slender: hollow steel-section columns support a framework of primary beams; set within that framework are secondary beams reminiscent of the frames used in boat construction. The bases of the columns – which, with a diameter of only 27 cm at a height of 6 metres, are truly of slight build – are restrained and their tops are welded to the roof frame in a flexurally rigid connection columns. To increase their stability they were filled – with the exception

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Vertical section  scale 1:20 Section through fastening of sandwich panels  scale 1:5 1


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s andwich panel at edge of roof (2000/5000 mm): 1.5 mm stainless-steel sheet, super-mirror polish XPS rigid foam 1.5 mm stainless steel sheet, super-mirror polish sandwich panel on ­upper roof surface (2000/6000 mm): 1.5 mm stainless steel sheet, shot peened 20 mm XPS rigid foam 1.5 mm stainless steel sheet steel profile beam, welded of 180/10 mm steel flats, 8 mm steel flats, and 180 mm steel channel (UPE 180) edge beam: 120 mm steel channel (UPE 120) 2

5 steel point supports   6 sandwich panel on roof underside (2000/6000 mm): 1.5 mm stainless-steel sheet 40 mm XPS rigid foam 1.5 mm stainless steel sheet, super-mirror polish   7 gutter: 2 mm stainless steel sheet, perforated, as cover 1 mm EPDM membrane as lining of drain 2 mm stainless steel sheet   8 column head, steel, welded   9 360/30 mm steel profile primary beam 10 column: Ø 273/25 mm stainless steel CHS 50 mm concrete downpipe 11 120 mm granite paving in 40 mm sand bed 12 400 mm steel profile; frame (HEB 400) 13 foot plate, steel 14 silicone joint 15 butt joint, gap < 1 mm




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Swimming Pool for a School in ­Beaconsfield Architects: Duggan Morris Architects, London Mary Duggan, Joe Morris Project architect: David Storring Structural engineers: Elliott Wood Partnership, London Others involved in the project: see page 104

Alfriston School, a special-needs secondary school, is located outside London, on the edge of a residential neighbourhood. The existing school building is organised as linear cluster, running from the street to the vegetation in the rear, with small-scale gabled roofs of varying orientation. To its north a new swimming pool structure with expressive crown docks onto a sports hall with steep pitched roofs. Dark-grey rendered wall and plinth surfaces, and, in the longitudinal elevation, corresponding sloping roofs tie this new sports complex together. Mature trees provide a screen to the schoolyard. The roof geometry, which consists of serial and interlocking pitched-roof elements, is a reinterpretation of the roofs present nearby. Inside, the sculptural form creates a ceiling with an undulating roofscape. The ceiling also serves an acoustic purpose: it reduces the noise level – thereby fulfilling an important requirement from the client’s brief. A band of glass just one metre in height accentuates the roof. This type of connection to the outdoors also provides the children a measure of privacy. Moreover, the glazed ribbon affords them a panoramic view of the surroundings as they jump in the pool. The roof is made up of 26 triangular wood panels, which, once they have been mounted, constitute a stiff roof structure. The fabrication, construction sequence, and transport, however, all posed challenges. To guarantee precise execution and high-quality surfaces, the architects decided to have the panels produced off site. There was only one exception: due to its size, it was necessary to construct one gable element on site. Through the use of 3D modelling, in combination with 5-axis CNC milling, it was possible to secure a high degree of fitting accuracy with small dimensional tolerances; mockups were employed to test individual joints. The load-bearing elements were equipped with a weathertight membrane so that the roofing could be installed right after mounting was completed. The coatings on the inner surfaces were applied at the woodworking shop. Thus, assembly took just four weeks, and no scaffolding was required.






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Site plan scale 1:5000 Sections • Layout plan scale 1:400   1 School building (existing)  2 Natatorium   3 Sports hall (existing)   4 Fitness room (addition)   5 Building services   6 Access ramp   7 Main entrance  8 Shower   9 Dressing / Lockers 10 Office 11 Storage / Closet 12 Pool

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Swimming Pool for a School in Beaconsfield

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Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris Matt King, Jaques Raynaud

Others involved in the project: see page 105 The Fondation Louis Vuitton, designed by Frank O. Gehry, is a museum for contemporary art, located next to the Jardin d’Acclimatation in the Bois de Boulogne. It houses around 3500 m2 of exhibition space in eleven galleries of varying size and volume, a 350-seat auditorium, a bookstore, a restaurant, and administrative areas. Its mission is to “enable a broad public to ­enjoy a multitude of artistic creations, deepening LVMH’s ongoing commitment to promoting culture”. The building is organised on three main levels; basement, ground floor and first floor. Its principal interior galleries are relatively simple, box-like volumes constructed in concrete. Around these are


situated smaller-scale side galleries whose forms are more playful and sculpted. These spaces are connected by a circulation zone that acts as a central element of the experience, offering multiple opportunities to pause, with views out to the surrounding woods. The journey through the museum is completed by an external circulation route leading to a series of terraces on three levels, stepping up from east to west. The entire building is wrapped in a series of glass sails, or “verrieres”, which serve as a permeable enclosure for the terraces and exterior circulation zones, defining their volumes and sheltering users from the elements. The resulting spaces are unique, while the na-

ture of the glazed surfaces themselves are ethereal, blurring the sense of enclosure and breaking down the distinction between the building and the sky. Verrieres There are twelve verrieres – each one an independent structure – supporting a total of around 13,400 m2 of glazing. They vary in size from the largest, at over 3,000 m2 and nearly 500 tonnes, to the smallest at 500 m2 and 60 tonnes, and range in orientation from horizontal to vertical. They are a central element in the external form and identity of the building, taking their inspiration from the sails of racing yachts. A photo of the America’s Cup J class yacht Susanne served as a focal image for the project (ill. 4). The form of each verriere is part of a global composition, developed by the architect largely through the medium of scale models. The project took shape through multiple iterations, spanning a number of years; studies progressed from simple massing models to models of the whole building at the scale 1:50, and eventually to larger-scale detail models. While each verriere is unique, ten of the twelve have a very particular form, generated by two intersecting, broadly developable surfaces. At the head of the vertical verrieres the intersection is marked by a sharp fold that flattens out, moving down the verriere, to a central point. Beyond that the intersection changes direction and approaches a perfect continuity or tangency between the two surfaces. Each component of the system plays its part in the composition of the verrieres. Structure is laid out to enhance the perception of movement and tension in the surfaces, and create the sense of space and volume below. Surfaces are given a strong directionality by emphasizing the principal tertiary support elements, or mullions, evoking the seams of traditional sails. A distinct hierarchy is maintained between systems (glazing, tertiary supports, and principal structure), with each one clearly identifiable and differentiated in terms of its scale and materials.

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Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris

17, 18 A xonometry of a joint of the glulam truss and the steel connecting elements 19 Actual joint 20 Details of the verriere and its wood secondary structure 21 Air space between verrieres and the building massing

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Matt King is partner in the engineering firm T/E/S/S. From the very first sketches, King was involved in the technological development of the Fondation Louis Vuitton; he prompted the team to develop the large glass sails that envelop the building. In 2012 he received the “Grand Prix National de l’Ingénierie”. Jaques Raynaud is an architect and engineer and was responsible for the geometry and technical configuration of the glass sails. After accruing more than 20 years’ experience in the development of complex structures and facades at the RFR Group, an engineering firm, he established its Department of Structural Design, which develops optimised solutions for extraordinary architecture.


The majority of the elements are only curved in one plane, but at the intersection between surfaces, a more complex twisting, doubly curved geometry is generated. These sections are fabricated by producing a curved planar beam, then cutting it into 25 mm thick slices and re-gluing these together on a jig with the required curvature in the other axis. The section is then finished using a computer-controlled five-axis milling machine. The glulam approach can also generate higher-strength sections, as each individual plank can be graded and specifically chosen, creating a more uniform section less prone to natural defects in the wood. Relatively high-strength GL28



timber was produced in this way, sourcing the planks from high-altitude forests in Austria, and only employing planks with a high density ranging from 500 to 700 kg/m3, and an average density of 585 kg/m3. To reduce the risk of fissuring and splitting of the timber over time the moisture content of the timber was also carefully controlled. Over a period of years the ­moisture content of external, sheltered ­timber in the Paris climate will settle down to around 14 %. For the project, all of the planks were pre-dried to a controlled ­moisture content of 9 % to 14 %. This ensures that the timber’s moisture content will tend to increase over its lifespan, reducing the risk of fissuring due to drying. The fabrication process adopted for the double-curved beams also has the advantage of introducing glue planes close to the surface in both directions. This tends to slow down changes in moisture content of the section, making it less sensitive to cyclical changes in the external environment, both reducing the risk of fissuring, and limiting crack depth to the outer layer of timber. In the end, this form of double lamination was adopted even for the planar curved elements to enhance their durability and resistance to fissuring. In timber design the connections are typically the system’s most critical elements, 20 and this was certainly true of this project. The nature of the structure meant that connections had to be continuous, transferring principal loads in the strong direction for timber (axial and bending forces in the direction of the grain). However, due to the structure’s geometrical complexity, eccentricities were inevitable, and these tended to introduce additional secondary torsional and bending forces. The classic connection detail involves slotting a vertical steel plate into the timber section and linking the two with a grid of 16 mm diameter transversal pins. This approach had to be adapted to incorporate two plates in order to generate the push-pull necessary to transfer the secondary torsion and bending forces. This technique required high-precision fabrica- 21

tion so that the pre-drilled holes for the pins in the timber aligned perfectly with those in the twin plates. Stainless steel was used in all of the pins and plates to ensure maximum durability of the assembly. The theoretical strength of the connections was then justified by full-scale testing. Both the construction system selected and the detailing and execution of the verrieres for the Fondation Louis Vuitton support the architect’s intention to create a rich and varied experience combining contemporary art display with a strong connection to the surrounding woods and the Jardin d’Acclimatation.



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Roofs and Drainage

Tough and lightweight

Conservation considerations make slate top choice

Translucent polycarbonate panels were used to replace the glass rooflights in an aircraft hangar at Heathrow, in the largest UK roofing project to date for Rodeca. Around 1,300 m2 of PC 2630 panels were installed by specialist sub-contractor Roofglaze for main contractor Morgan Sindall at BA TBK Bay 3 – a hangar originally built in the early 1970s, half of which was later converted to allow the respraying of British Airways’ fleet of aircraft. The 16 mm-thick panels in Kristall finish replaced the single patent glazed Georgian-wired glass rooflights set in an insulated profiled metal roof.

Del Carmen roofing slates from SSQ have recently been specified for a range of projects where heritage requirements were a major factor. Linden Homes’ developments at Kilmersdon Hill, Somerset and Hereford Road, Abergavenny demanded the use of sympathetic materials to meet these requirements. Aesthetic considerations were also important and the blue/black slate with its faintly rippled riven texture provides a rustic look that works well with the houses and the surrounding landscape.

Polycarbonate panels are said to be typically 200 times tougher than glass and allow light transmittance of up to 80 %. The lightweight panels are 630 mm wide and require much less aluminium framing in comparison to other constructions, it is claimed. For additional resilience, a specialist matt clear fluoropolymer film from Lintec Graphic Films was used to protect the polycarbonate from corrosive elements such as chemicals and solvents released from paint. ¥ Rodeca United Kingdom � +44 (0)1268 531466

Some 13,500 slates were installed using a hook and spike fixing method on houses and garages at Kilmersdon Hill (above, left), and 60,000 at Hereford Road (below, centre) with a copper nail fixing. This traditional slate doesn’t vary too much in thickness, so less time is spent grading prior to installing, and it offers a flat, uniform appearance. The Del Carmen Ultra slate has been installed across the pitched roofs of two new apartment buildings in Castle Lane, Swansea, seen bottom, right. Said Julian Morgan of Holder Mathias Architects, “SSQ proactively supplied samples and photographs from previous installations to help assist us in discussions with the local planning authority. Castle Lane is located within a con-

servation area immediately adjacent to Swansea Castle, which is Grade I listed and a Scheduled Ancient Monument. Whilst heritage acceptance was obviously very important, we needed to be sure the chosen materials would not look out of place with the surrounding architecture. SSQ’s Del Carmen blends in beautifully with the look of the landscape.” Ultra slate is tested to NF228 standards in France, which ensures that NF certified slates will not rust or leach and will not fade over time. Whilst this standard is not obligatory in the UK, the certified slates offer greater quality and provide a much better level of traceability, says the company. The roof of Hope House at the Royal High School, Bath (top, right) also features Ultra slates to minimise the visual impact of the new building, particularly as it is close to a listed Victorian building. Durability and cost were other key factors on all these projects, and the slates are said to be a cost-effective choice and carry a 100-year guarantee. ¥ SSQ Group United Kingdom � +44 (0)20 8961 7725


The time of utopias, urban visions and futuristic scenarios is over. Architectural, urban planning and building research will meet future challenges with concrete recommendations for action and solution-oriented approaches. DETAIL research’s „Building the Future“ forum will during BAU 2015, the world’s leading trade fair for architecture, materials and systems, provide an insight into practical international research projects focusing on future construction.

Forum – Building the Future

19 to 24 January 2015 | BAU 2015, Munich Monday, January 19, 2015, 2:30 pm

Urban Sustainability

Thursday, January 22, 2015, 2:30 pm

Climatic Strategies

Utopias and Urban Development

Buildings and Climate Change: The Plus Energy House

Morgenstadt – Co-Evolution of Urban Systems

building CULTURE vs. climate/energy CHANGE – the durability of our acting

Prof. Dr. Gerald Wood, University of Münster

Dr. Alexander Rieck, Head of Corporate Projects, Fraunhofer IAO, Stuttgart

Hans-Dieter Hegner, BMUB, Berlin


Prof. Dr.-Ing. Lamia Messari-Becker, University of Siegen

Activating Urban Wastelands

Signe Kongebro, Henning Larsen Architects, Copenhagen

New Mobility

Eric Höweler, Höweler + Yoon Architecture, Boston

Justus Pysall, Pysall Architekten, Berlin Jana Reichenbach-Behnisch, rb Architekten, Leipzig Selva Gürdoğan, Gregers Tang Thomsen, Superpool, Istanbul

Tuesday, January 20, 2015, 2:30 pm

Beyond Globalization The City and the Region

Design with Knowledge

A Clear Vision – Liquid Crystal Window Technology Day programme supported by content partner Stylepark.

Friday, January 23, 2015, 2:30 pm

Digital Architecture Production Computational Design and Fabrication

Prof. Dr. Frank Eckardt, Bauhaus University Weimar

Prof. Achim Menges, University of Stuttgart

Disconnected? Peripheralization of Cities and Regions

Digital Planning in Architecture

Dr. Manfred Kühn, IRS Leibniz-Institute, Erkner

Spatial Pioneer in Rural Regions

Kerstin Faber, Projektbüro Franz Faber, Leipzig

Smart Communities in Times of Demographic Change


Wednesday, January 21, 2015, 2:30 pm

Lasting Building Quality Lasting Building Quality

Dr. Robert Kaltenbrunner, BBSR, Bonn

Resource Architecture

Arnold Walz, designtoproduction, Stuttgart

What You Know Is What You Get Marc Hoppermann, UNStudio, Amsterdam

Digital Building Site

Prof. Dr.-Ing. André Borrmann, Technical University of Munich

Saturday, January 24, 2015, 2:30 pm

Open Source Architecture Social Architecture

Anh-Linh Ngo, Arch+, Berlin

Top Down versus Bottom up? New Planning Paradigms

Prof. Arno Brandlhuber, Academy of Fine Arts in Nuremberg, brandlhuber +architekten und stadtplaner, Berlin

Prof. Dr.-Ing. Philipp Misselwitz, Technical University of Berlin

Quality of Life through Refurbishment

Prof. Dr.-Ing. Susanne Hofmann, TU Berlin, Die Baupiloten BDA, Berlin

Ralf Werry, Luwoge GmbH, Ludwigshafen Lutz Schäfer, BASF SE, Ludwigshafen

Active Building – Reconstruction as a Plus Energy House

Prof. Joost Hartwig, Frankfurt UAS, ina Planungsgesellschaft mbH Ruben Lang, o5 Architekten bda raab hafke lang, Frankfurt am Main

Participative Architecture

Do-it-Yourself Architecture

Prof. Anne-Julchen Bernhardt, RWTH Aachen University, BeL Sozietät für Architektur, Cologne

Day programme supported by content partner Arch+.

Venue: Messe München, Hall A4 / 338. The event is free of charge. For more information visit Strategic partners:

Research partners:


Roofs and Drainage

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Setting a benchmark

Blue range cuts noise

From the ground up

ACO’s StormBrixx stormwater management system has been awarded British Board of Agrément (BBA) certification, which the company states will provide reassurance to industry that the product is ‘fit for purpose’ and a credible choice for surface water ­infiltration and storage. Brickbonding and crossbonding techniques are employed to give the product its stability and strength for fast construction and installation times. Such strength is critical for the high static and dynamic loads the systems are subjected to and ensures long-term, reliable and efficient stormwater management.

Marley Plumbing and Drainage solutions were chosen for the University of Northampton’s new student accommodation, which consists of 462 en suite bedrooms and communal kitchen and living areas. Said Bob DeGennaro from mechanical contractors Integral: “This project was constructed from pods built off site, which were then lifted and lowered into place. All pipes were then connected in situ, before a wall was built up around them. This created a compact working environment and therefore we needed products that would be easy to handle in constrained spaces.

Plastic media company Hewitech UK has announced that with ever-increasing numbers of stormwater projects it is taking control of the installation of its stormwater attenuation tanks in-house. Managing director Dave Fozzard explained, “This is very much part of our continuing growth plan for the company. Installing our own products on site means that we have better control over quality and health and safety, and at the same time we can be even more competitive on complete project costs.”

Whilst geocellular systems are not yet required to meet a specific European or British standard, BBA certification does offer a performance benchmark when looking for a Sustainable Drainage Systems (SuDS) solution. The certificate was presented at Llanmoor Homes’ Rogerstone site in Newport, Monmouthshire, where the StormBrixx man access system has been installed. The development of 22 three and four-bedroomed properties is one of the first installations of this access solution, which addresses the access and maintenance requirements of the Flood and Water Management Act.

“We chose Marley’s competitively priced dBlue, HDPE and PVC soil and waste products for this project because of their durable yet lightweight constructions, which ultimately led to easier handling on site and, going forward, the ability to withstand high daily usage.” The products were particularly suitable for this multi-occupancy project � for example, the dBlue triple-layered acoustic pipe is designed to dramatically reduce noise generated by the flow of water.

It is claimed to be one of the few systems available that is designed and manufactured in accordance with the CIRIA C680 guidance document issued by the Construction Industry Research and Information Association. This gives best practice for the structural design of modular geocellular drainage tanks. StormBrixx also addresses fundamental issues of access and maintenance required by the forthcoming National Standards for SuDS, which the company says cannot currently be met by most geocellular drainage systems. ¥ ACO Technologies plc United Kingdom � +44 (0)1462 816666

¥ Marley Plumbing and Drainage United Kingdom � +44 (0)1622 858888

Its Variobox product, used in making stormwater attenuation tanks, has a compressive strength of 700 kN/m² vertically and 200 kN/m² laterally, tested to RAL standards. To carry out installation work, Hewitech has invested in both people and equipment: state-of-the-art Demtech welders will be used for welding the LLPE membranes around the assembled modules before covering with 300 gm protective fleece. The company also uses air testing equipment to test the tanks for water tightness, and will thereafter be able to warrant all installations. Control boxes are also included in the Variobox tanks by the installation team to ensure ease of future access and maintenance. Hewitech installs other Sustainable Drainage Systems (SuDS) applications such as membranes under permeable pavements and open-pond lagoons. Recent stormwater management projects include those for Brookfield Multiplex, Rydon, Carillion, Keir and GB Building Solutions. With its expansion into installation work, the company says it is well placed to take advantage of business under AMP6 from the utilities market, in addition to servicing specifiers and customers in the construction, retail, office, defence, housing and school markets. ¥ Hewitech UK United Kingdom � +44 (0)1242 821678


2015 ¥ 1   ∂

Interior Walls, Ceilings and Acoustics

Decorative laminate

Focus on the linear option in acoustic ceilings

The Nuance range of waterproof laminate wall panels from Bushboard offers an alternative to tiling, with large expanses of decorative surfacing that can be used to create wetrooms and level-access showering, as well as for conventional shower enclosures and around baths. This collection comprises 25 designs, which includes eight True Scale effects that mirror the large-scale luxury veining found in natural stone, granite and marble. Shown here is the Silver Travertine True Scale effect.

Ecophon’s Focus Lp, an acoustic ceiling that is described as encapsulating the beauty of linear design, is now available in both standard and premium options, and the system additionally features a new ­Connect Wall spring and Connect Space bar connector, to further sharpen its accuracy and stability. In its Standard option, the product is available in various panel sizes; most recently, a 300 mm panel has been added to the range.

They are fitted without any extrusions, which is claimed to be a unique benefit over other panel types. The panels are 2,420 mm high, and come in a range of widths offering greater flexibility for design and installation, and can be fitted from floor to ceiling. They are bonded and sealed using the specially developed BB Complete adhesive, which validates the 15-year guarantee. The patented polyurethane core board is said to be totally water-impervious. With no grout lines to clean, the products combine high performance with ease of installation. ¥ Bushboard United Kingdom � +44 (0)1933 232200

By utilising the additional options offered by the Premium ceiling, designers can integrate all technical ceiling components such as lighting, ventilation, sprinklers and smoke detectors. There is also the option to integrate its own Line LED recessed luminaire suitable for applications including open-plan work spaces and walkways, lunch areas and restrooms, and conference and meeting rooms. In office environments reducing sound propagation is often key and this system is designed to help reduce sound levels and shorten the distance speech travels; with an Articulation Class (AC) value of 180 it is said to be ideal for open-plan offices. Seen below, centre is the new Advantage ceiling tile, which features an improved core material using Ecophon’s 3RD technology

made from high-density glasswool combining more than 70 % recycled glass with a plant-based binder. Advantage Generation II also has an improved surface finish, bringing a smoother, whiter look to the tile for an enhanced aesthetic appearance and offering 83 % light reflectance. Said to be highly durable and easy to cut, the tile retains its Class A acoustic performance, meeting the EN ISO 354 acoustic classification. Available in two sizes, 600 ≈ 600 mm and 1,200 ≈ 600 mm, it aims to provide effortless handling and straightforward installation with easily demountable tiles, offering a flexible product for suspended ceiling applications. The marketing manager, Will Jones, commented: “The Ecophon Advantage ceiling tile utilises the latest technology to achieve best-in-class environmental performance, and guarantees a combination of quality and outstanding value for money regarding acoustic performance, moisture resistance and mechanical strength.” ¥ Saint-Gobain Ecophon United Kingdom � +44 (0)1256 850977


2015 ¥ 1   ∂

On the Spot


DETAIL Prize 2014 – Impressive award ceremony at the Museum for Communication Berlin and systems. Alongside the opportunity to participate in a brief tour of the Museum, guests could also examine the award-winning and nominated projects more closely at an exhibition. The casual get-together at the end of the evening also gave everyone a chance to interact personally with the winners and nominees.

The DETAIL Prize 2014 has been awarded at a gala event held at the Museum for Communication Berlin. The distinguished guests present included not only internationally-recognized architects and the other nominees for the DETAIL Prize 2014, but also representatives from the fields of research, politics, culture and ­industry.

Karin Lang, Managing Director of DETAIL, opened the evening by warmly thanking all the partners and sponsors. DETAIL Editorin-Chief, Christian Schittich, then explained the procedure for the two-stage competition and the main selection criteria for the nominations. He drew attention to the surprisingly wide range of submissions, which is also reflected in the two winning entries.

For the second time, the DETAIL Prize award ceremony has been held in Berlin, under the patronage of the Federal Ministry for the Environment, Nature Conservation, and Nuclear Safety Construction (BMUB). In 2014, the chosen event location was the architecturally-impressive Museum for Communication Berlin. Around 100 guests were invited by DETAIL and the co-sponsor of the DETAIL Prize 2014, BAU 2015, the world’s leading trade fair for architecture, materials

Afterwards, there followed the first highlight of the evening – an entertaining yet thoughtprovoking presentation by the architecture critic, Hanno Rauterberg. He described architecture as a special form of happiness, referring to the enrichment that occurs when buildings are constructed that are convincing not only from an aesthetic and technical, but also from a social point of view - buildings that manage to reconcile our daily behaviour with the often differentiating notions of aesthetics: »Our consumer selves live

1 The delighted winners of the DETAIL Prize 2014 (from left to right): Jan Glasmeier, David Zahle, Lucia Rocchelli, Bjarke Ingels and Albert Company Olmo. 2 Werner Frosch from Henning Larsen Architects, as the representative of the entire jury, gave the speech in honour of BIG - Bjarke Ingels Group. 3 The prize was presented by DETAIL Publishing Director Meike Weber and Editor-in-Chief Christian Schittich. Bjarke Ingels and David Zahle were delighted to accept the award.

modern, mobile, globalized lives. Our aesthetic selves require our homes to be antimodern, immobile and regionalist«, explained Rauterberg succinctly. For this balance to be more successful both today and in the future, Rauterberg called for greater political will beyond design statutes, and also for more opportunities for participation by alleged lay people. The two winning projects both showed this in a special way. After a few words of greeting by Dr. Reinhard Pfeiffer, Vice-Chairman of the Management Board of Messe München GmbH, Frank Küsters, as the representative of Josef Gartner GmbH, and Gunther Adler, Secretary of State in the BMUB, there followed the actual award ceremony, overseen by Christian Schittich and Meike Weber, DETAIL Publishing Director. First, Christian Schittich handed over this year’s Readers’ Prize to Jan Glasmeier, Albert Company Olmo, and Lucia Rocchelli from a.gor.a architects, for the Kwel Kah Baung Migrant Learning Center project in Thailand. In his brief eulogy, Schittich emphasized the simplicity, regional materiality and particular sustainability of the project, brought about through the revival of old craft techniques and the training of local craftsmen. On behalf of the entire jury, Werner Frosch from Henning Larsen Architects in Munich, handed the DETAIL Prize 2014 and the prize money of €5,000 to Bjarke Ingels and David Zahle from BIG-Bjarke Ingels Group, for their project, Danish Maritime Museum, Hesingør, Denmark. Frosch said in his brief introduction that he was especially impressed by the successful combination of old and new and the way in which the historical context had been dealt with. Bjarke Ingels was delighted to accept the award, and emphasized the indispensable interplay of idea and detail in the design and implementation of his architecture.





© Frank Kaltenbach


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2015 ¥ 1   ∂

Programme for 2015 • Photos ∂ 2015   1 Roofs ∂ 2015   2

Glass Construction

∂ 2015   3

Concept: Industrial Building

∂ Green 2015 1 ∂ 2015   4

Material and Finishes

∂ 2015   5

Solid Forms of Construction

∂ 2015   6

Steel Construction

∂ Green 2015 2

Photo credits: Photos for which no credit is given were either provided by the respective architects or they are product photos from the DETAIL archives. pp. 4, 34 – 38: Stefan Müller, Berlin pp. 5, 6 top, 7 top right, 7 bottom, 8 top left, 8 top centre, 8 bottom, 11 centre, 11 bottom, 12 top, 14 top, 19, 22, 63, 66 bottom, 67– 69, 72 centre, 72 bottom: Christian Schittich, Munich pp. 6 top, 8 top centre: © FLC/VG Bild-Kunst, Bonn 2014 p. 6 bottom: Michael Mayer Archive, Neuss p. 7 top left: Andreas Prott/iStockphoto p. 8 top right: a+u, 14:06, p. 50 p. 9 top: Jörg C. Kirschenmann, E. Syring: Hans Scharoun, Die Forderung des Unvollendeten. DVA, Stuttgart 1993, p. 17 p. 9 bottom: © Archive Berliner Philharmoniker p. 9: © VG Bild-Kunst, Bonn 2014 p. 10: Mikiko Kikuyama, New York p. 11 top left: NigelSpiers / p. 11 top right: Philip Thalis and Peter John Cantrill: ­Public Sydney: drawing the city. Historic Houses Trust of New South Wales and ­Faculty of Built Environment, University of New South Wales, 2013 p. 12 bottom: BMW AG, Munich p.13: Christian Richters, Berlin p. 14 bottom: Marcus Ebner, Berlin p. 15,18 top right: Frank Kaltenbach, Munich p. 16,17: FG+SG fotografia de arquitectura

p. 18 top left: Markus Lanz pp. 20/21, 23 Nigel Young/Foster + Partners p. 21 top: Edmund Sumner, London pp. 24 – 27: �ke E:son Lindman, Stockholm pp. 28 – 33: Jack Hobhouse, London pp. 39 – 43: Hannes Henz, Zurich pp. 44 – 47: Benedikt Markel, Prague pp. 48/49, 50/51, 53, 54, 73: Brigida González, Stuttgart pp. 55, 56 bottom, 57– 62: Michel Denancé, Paris p. 56 top: Andreas Gabriel, Munich pp. 64, 65, 70: © Fondation Louis Vuitton, Louis-Marie Dauzat p. 66 top: © Beken of Cowes, Cowes p. 74 bottom left: Roofglaze p. 78 top centre: Shutterstock p. 86 top left, bottom left, bottom centre: GKD/Holtkötter p. 96 bottom left: ZAE Bayern p. 94 top left, top right, bottom centre: Niklaus Spoerri, Zurich p. 94 bottom right: FormTL p. 95 top left: RIA Novost p. 95 bottom left: Vector Foiltec p. 96: Lucas Kromm, Berlin

Black-and-white photos introducing main sections: page 5: Entrance Hall of the Royal Museum of Edinburgh Architect: Francis Fowke page 15: SwissTech Convention Center in Lausanne Architects: Richter Dahl Rocha & Associés, CH – Lausanne page 19: The Vieux Port Pavilion in Marseille Architects: Foster + Partners, London page 63: Fondation Louis Vuitton in Paris Architects: Gehry Partners, Los Angeles page 73: Forum of a Secondary School in Adelsheim Architects: Ecker Architekten, Heidelberg CAD drawings All CAD drawings contained in the “Documentation” section of the journal were ­produced with VectorWorks®.

∂ Review of Architecture + Construction Detail

DETAIL English appears in 2015 on 15 January, 2 March, 4 May, 1 July, 1 September, 2 November.

Published by: Institut für internationale ArchitekturDokumentation GmbH & Co. KG, Hackerbrücke 6, 80335 Munich, Germany Tel.: +49 (0)89-38 16 20-0 Fax: +49 (0)89-33 87 61

Prices for DETAIL English (incl. 7 % VAT (EU)):

PO Box: Postfach 20 10 54, 80010 Munich, Germany Limited partner: ATEC Business Information GmbH General partner: Institut für interna­tionale ArchitekturDokumentation Verwaltungs-GmbH, a 100 per cent subsidiary of ATEC Business Information GmbH. Publishing director: Meike Weber Editorial team: (address as above) Tel.: +49 (0)89-38 16 20-57 E-mail: Christian Schittich (editor-in-chief, (V. i. S. d. P.), Sabine Drey (SD), Andreas Gabriel (GA), Frank Kaltenbach (FK), Julia Liese (JL), Thomas Madlener (TM), Emilia Margaretha (EM), Peter Popp ­(PP), Maria Remter (MR), Jakob Schoof (JS), Edith Walter (EW) Dejanira Ornelas Bitterer, Marion ­Griese, ­Emese M. Köszegi, Simon Kramer ­(drawings) Editorial team DETAIL product ­information: Meike Weber (V. i. S. d. P.), Tim Westphal (manager), Hildegard Wänger, Jenny Clay Tel.: +49 (0)89-38 16 20-0 English translations: Kathrin Enke (p. 18); Elise Feiersinger (pp. 4–17, 20 –72); Marc Selway (pp. 74 –97) Production /DTP: Peter Gensmantel (manager), Cornelia Kohn, Andrea Linke, Roswitha Siegler, Simone Soesters Distribution & Marketing: Claudia Langert (distribution manager). Irene Schweiger, Kristina Weiss (address as above) Tel.: +49 (0)89-38 16 20-25 Advertising: Martina Langnickel (V. i. S. d. P.), Claudia Wach (sales administrator) Tel.: +49 (0)89-38 16 20-24 Representative for Advertising UK and Ireland: Peter Townsend Consulting Mr. Peter Townsend Gollierplatz 10 80339 Munich, Germany Tel.: +49 (0)157-85 05 95 32 Fax: +49 (0)89-38 16 20-99 Email:

Subscription: 8 issues per year (incl. 2 DETAIL Green issues in April and November) € 129.– for students € 80.90 £ 90.50, for students £ 57.50 US$ 176.–, for students US$ 107.80 (Proof of student status must be ­provided to obtain student rates.) All prices include postage/packing (surface mail). Prices for DETAIL Combined: Subscription: 12 issues per year. (8≈ DETAIL English, incl. 2 issues DETAIL Green, 4≈ DETAIL German/ English) € 222.–, for students € 138.– £ 148.40, for students £ 97.40 US$ 304.–, for students US$ 194.– Single issues: DETAIL English: € 18.50, £ 12.80, US$ 25.– DETAIL Green: € 14.50, £ 10.–, US$ 19.50 plus postage /packing All rights reserved. Distributed by IMX. Subscription contact: Subscription service (subscriptions and changes of address): Vertriebsunion Meynen, Grosse Hub 10, 65344 Eltville, Germany Tel.: +49 (0)61 23-92 38-211, Fax: -212 E-mail: The publishers bear no responsibility for unsolicited manuscripts and ­photos. No part of DETAIL may be reprinted without permission from the publishers. No guarantee can be given for the ­completeness or correctness of the ­published contributions. Reprographics: Martin Härtl OHG Kistlerhofstrasse 70 81379 Munich, Germany Printers: W. Kohlhammer Druckerei GmbH + Co.KG Augsburger Straße 722, 70329 Stuttgart, Germany No claims can be accepted for non-­delivery resulting from industrial disputes or where not caused by an omission on the part of the publishers. This journal is printed on chlorine-free bleached paper. The entire contents of DETAIL are ­protected by copyright. Any use of contributions in whole or in part (including drawings) is per­mitted solely within the terms of relevant copyright law and is subject to fee payment. Any contravention of these conditions will be subject to penalty as defined by copyright law.

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