DETAIL English 1/2016 - Refurbishment

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English Edition

Review of Architecture and Construction Details · Refurbishment · Vol. 2016 · 1

∂ Review of Architecture Vol. 1, 2016 • Refurbishment Editorial office: E-mail: redaktion@detail.de 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 Elise Feiersinger (pp. 4 – 69); Marc Selway (pp. 72–97) (English translations) Advertising: E-mail: anzeigen@detail.de Tel.: +49 (0) 89-38 16 20-48 Advertisement Sales Representative Cézanne Sales Services Denise Cézanne-Güttich Rotdornstr. 2 D–41352 Korschenbroich T: +49 (0)2182 578 39 73 F: +49 (0)2182 578 39 75 M: +49 (0)172 821 0095 E: dcg_detail@cezannesales.com Distribution and marketing: E-mail: mail@detail.de Tel.: +49 (0) 89-38 16 20-0 Subscription contact and customer service: Vertriebsunion Meynen Grosse Hub 10 65344 Eltville, Germany E-mail: detailabo@vertriebsunion.de 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 www.detail.de/english

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Conversions of Industrial Buildings – Past, Present, Future Christian Schönwetter

Reports 14 Refurbishment and Extension of the National Theatre in London

Haworth Tompkins, London 16 Flowing Spaces Cloaked in Historical Facades: Art Museum in Oviedo

Francisco Mangado, Pamplona 18 Books, Exhibitions

Documentation 20 Holiday Home in Druxberge

Jan Rösler Architekten, Berlin with Sven Rickhoff, Berlin 24 Residence in Melbourne

Sean Godsell Architects, Melbourne 28 Residence in Fredensborg

Leth & Gori, Copenhagen 32 Residence in Olot

RCR Arquitectes, Olot 36 Conversion of a Warehouse in Berlin

AHM Architekten, Berlin 41 Conversion of an Industrial Hall in R ­ eggio Emilia

Andrea Oliva architetto, Reggio Emilia 46 School and Cultural Centre in ­Feldkirchen/Donau

fasch&fuchs.architekten, Vienna 51 Prada Foundation in Milan

OMA, Rotterdam 58 Conversion of a ­Dockyard Shed in Cape Town

Wolff Architects, Kapstadt

Technology 64 Revitalisation of the Office Tower T 11 in Frankfurt, Main

Christian Brensing, Jürgen Engel

Products 72 80 86 92 96

Refurbishment Interior Design Kitchen Wall and Floor Tiles On the Spot

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

Editorial

Conversion, Addition, Refurbishment In light of the need to make optimal use of our spatial resources, building within the existing built fabric – a topic as engaging as it is demanding – continues to gain significance. A wide variety of approaches are available to this end: they range from painstaking preservation with barely discernible interventions, via transformation and reinterpretation of the existing substance, to self-assured coexistence. Just a few adaptations were made to transform a barn in Saxony-Anhalt into a holiday home, while at the Prada Foundation in Milan the existing buildings overlap in different ways with the additions made to them. The conversions of a factory in Reggio Emilia into a research facility and of a warehouse in Berlin into an office building illustrate the potential the building stock holds; they also create an intriguing dialogue between old and new.

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Conversions of Industrial Buildings – Past, Present, Future Christian Schönwetter

Christian Schönwetter studied architecture at the University of Karlsruhe. He founded and headed the journal “Metamorphose – Bauen im Bestand”.

He is presently editor of “db-Metamorphose” and a freelance critic.

“There exists a new spirit. Industry, overwhelming us like a flood which rolls on towards its destined ends, has furnished us with new tools adapted to this new epoch […] Thus we have the American grain elevators and factories, the magnificent first fruits of the new age.”1 When Le Corbusier composed his programmatic text “Towards a New Architecture” (1922), he did not anticipate the impending shift in the western world from a manufacturing society to a service society. What were once the works of a “new spirit” are now relics of a bygone era. What should be done with industrial buildings that are no longer in use and have been abandoned? Which

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strategies and architectural concepts are r­ equired to adapt them for other purposes?

Which functions are they suited to and which not? What is their urbanistic potential? Today we reflect intensely on such questions, and in many locales, historic preservationists are also at work in the struggle to retain these structures. Until the late 1960s, however, it was a matter of course to demolish unused factories because they were considered ugly and intrusive. Conversions were the exception to the rule.

The history of conversion An early, and, at the time, rare example of re-use: in 1932, when the Bauhaus moved

from Dessau to Berlin, it took up residence in a former telephone factory. In the 1960s, artists in Manhattan became forerunners when they converted former textile factories into ateliers. But it wasn’t until the 1970s that the momentum built up: the perception of these sites changed, and they came to be understood as important components of the urban expansion of “Gründerzeit” districts.

In addition to their undeniable physical presence in cities, the potential was recognised for them to become places the citizenry will identify with.

City streets, for example, are often named after entrepreneurs, who were often the community‘s most important employers.

Gradually, widespread resistance to demolition grew, often in combination with the rejection of the large building foreseen as a replacement. The resistance was often accompanied by the demand that the building be public, as it was considered a fitting status for buildings that had been of such importance. Private clients were seldom willing to take the risks associated with the conversion of industrial buildings because back then, not much experience had yet been gained in this area. Therefore, the public sector had to step in.

In this context the pioneering character of a project realised in Barcelona beginning in 1973 is all the more striking: in this case it wasn’t the city, but an architect – Ricardo Bofill – who renovated an entire industrial compound to create living and working space. The architect set up his architecture practice in the expansive former cement factory, and he and his team – which numbers as many as 60 architects – work there to this very day in a bizarre setting marked by the old silos and spaces with ceiling heights of up to 13 metres (ill. 1).

To bring daylight into the spaces, vertical slits were incised in the concrete. As time has passed the roof garden, consisting of ivy and cypresses, has become a lush landscape.

The international building exhibition IBA Emscher Park (1989 – 99) was another milestone: it was a large-scale effort addressing

Reports

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Flowing Spaces Cloaked in Historical Facades: Art Museum in Oviedo

Architect: Francisco Mangado, Pamplona

The extension to the Museo de Bellas Artes of Asturias is an unobtrusive addition to the historic centre of the city of Oviedo in northern Spain. Not until one takes a closer look at what lies behind the historical stone facades does one notice the new structure with glazed envelope and steep roofs that has been inserted into it. Prior to this intervention, the spaces were limited to two historical buildings in a perimeter devlopment characterised by relatively small parcels of land. Now the museum also makes use of the former courtyard and additional buildings on the Calle Rúa.

It quickly became clear that the cramped, dark spaces of the existing buildings could hardly provide the conditions necessary for the appropriate presentation of the museum’s own art collection. Nevertheless, to preserve the cohesiveness of the historic centre, the architect decided to create an amalgamation of old and new: the existing historical facades stemming from diverse epochs were retained and now form a stage set of sorts in front of the new building; a joint between existing and new clearly separates them. Abstract reflections on the glazed facades establish an intense dialogue between old and present-day.

Inside the museum, three levels of generously scaled exhibition spaces surround a bright atrium. The numerous openings in the walls not only allow daylight to enter the spaces, but also offer a variety of lines of sight, both out beyond and through the buildings.

JL

www.detail.de

Please visit our website for additional photos and drawings.

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Residence in Fredensborg Architects: Leth & Gori, Copenhagen Karsten Gori, Uffe Leth Team: Claus Nebelin Structural engineer: Jørgen Nielsen Rådgivende Ingeniører, Kopenhagen Others involved in the project: see page 104

House. A new thicker layer of insulation was installed in the load-bearing outer wall; the original red brick veneer was replaced by dark-grey bricks.

The courtyard facades are completely glazed and allow ample daylight to enter the interiors, creating an interplay of light and shadow on the white walls and on the ash parquet. This adds up to a bright, buoyant Scandinavian atmosphere. The clients, working in close cooperation with their architects, were responsible for certain aspects of the planning and execution; that made it possible, despite the tight budget, to attain a high standard, both spatially and tectonically.

This low-slung home dating to the 1960s is located on a large piece of land with a mature stock of trees. The strict zoning regulations ruled out both adding a storey and ­extending at ground level, so the architects developed rooftop extensions topped by skylights with horizontal glass surfaces.

These extensions of varying size create ad9 ditional living space amounting to 35 m2: sleeping galleries, a study, and a child’s bedroom. The two funnel-shaped volumes 6 above the living area serve solely as light canons. All surfaces are covered in black bituminous sheeting; in this manner a unified roofscape is brought about – and this explains the home’s moniker: The Roof

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skylight: double glazing in aluminium profile on wood frame, insulated bituminous sheeting, two layers 21 mm tongue-and-groove boarding 245 mm squared timber/ 200 mm mineral wool thermal ­insulation 22 mm plywood board vapour barrier 45 mm mineral wool thermal ­insulation 2≈ 12.5 mm plasterboard zinc flashing, dark grey 140/200 mm glue-laminated ­timber beam roof beam (removed) 228/108/54 mm water-struck brick veneer, dark grey 24 mm air space house wrap 120 mm mineral wool thermal ­insulation vapour barrier 70 mm aerated autoclaved concrete (existing) 2≈ 12.5 mm plasterboard flooring: 21 mm ash planks 70 mm screed vapour barrier 80 mm thermal insulation sealing sheeting 200 mm reinforced concrete slab

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Documentation

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Conversion of an Industrial Hall in ­Reggio Emilia

1 Entrance 2 Foyer 3 Conference room 4 Office 5 Laboratory 6 Building services 7 Storage 8 Terrace 9 Void above conference room 10 Exhibition space

Architects: Andrea Oliva architetto, Reggio Emilia Team: Giacomo Fabbi, Luca Paroli, Marinella Soliani Structural engineer: Leonardo Berni, Reggio Emilia Marco Pio Lauriola, Florenz Others involved in the project: see page 104

www.detail.de Initially airplanes were manufactured in “Officine Reggiane”, an industrial complex erected in 1901 near Reggio Emilia’s historic centre. Then came locomotives, which were built here until the late 1990s. At its peak in the 1970s there were 11 000 men and women employed here. The district is presently being revitalised in phases.

The client’s brief stipulated that this existing structure be painstakingly maintained and transformed. Shed 19 is the first of three buildings in a technology centre that is breathing new life into the buildings. The tripartite hall, with a surface area of 2250 m2 and clerestory glazing on all four sides, has to a great extent been retained. The solid exterior walls and the load-bearing structure consisting of trussed columns and beams bring to mind the building’s former use. Thirty-two wooden modules were inserted in the envelope, providing the spaces necessary for research. The modules are stacked atop one another in three levels. Situated between the steel columns, they are freestanding and self-supporting. Consequently, it is still possible to experience the original spatial impression and the characteristic loadbearing steel structure.

The positioning and dimensioning of the variously dimensioned boxes – all constructed in cross-laminated timber (CLT) – creates interior terraces and balconies. The module concept allows the occupant of each box to control the temperature individually: each lab can have ideal conditions for the respective research. For this reason an energetic refurbishment of the existing building envelope was not necessary, nor must the entire hall be heated.

Located across from the laboratories – along the former factory’s western wall – are a new main entrance, a conference hall, offices, and, on the first floor, an exhibition space. New wings situated apart from the original structure pick up on the geometry of the roof and accommodate the building technology and the restrooms. The roof was refurbished, and the new skylights provide the majority of the boxes with direct daylight.

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roof construction: standing-seam roofing, aluminium, pre-painted, mounted using aluminium clamps battens; counter-battens 60 mm EPS insulated sandwich panel 80 mm steel Å-section IPE 80 (existing) 100 mm steel Å-section IPE 100 (existing) gutter, aluminium sheet, coated double glazing in aluminium frame double glazing in larch frame wall construction of wood box: 117 mm CLT, 5-ply 60 mm rockwool thermal ­insulation 2≈ 12.5 mm plasterboard epoxy resin coating 162 mm CLT, 5-ply 140 mm CLT, 5-ply air space 80 mm rockwool thermal ­insulation 12.5 mm plasterboard steel grating, galvanised skylight: double glazing in alum. frame 270 mm steel Å-section IPE 280 (existing)

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Products

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Refurbishment

Riverside roof project

Fresh facades with improved thermal performance

A roof overlay project has been completed on a group of five Brutalist houses known as Salmon’s Leap built in the late 1960s on the banks of the River Dee in Chester. The scheme involved the installation of a new waterproofing system using Firestone RubberGard 1.5 mm Fire Retardant EPDM roofing membrane over the existing asphalt roof. The PIR insulation board was bonded directly to the roof with the use of ISO TwinPack high-performance polyurethane adhesive. The membrane was then cut to size on site and bonded to the insulation using BA2012 adhesive.

Saint-Gobain Weber’s External Wall Insulation (EWI) has been specified in Camden Council’s refurbishment of the Denton Estate in north London. Formed of 19 four-storey apartment blocks together providing 127 homes, it was constructed in 1965 using a cast concrete frame with brick infills. The application of weber.therm XM, a lightweight render-protected EWI system, has created a fresh, modern facade replacing the discoloured original brickwork.

It was supplied in 3.05-m widths and the roofers created fully bonded seams where joins were required using QuickSeam splice tape, with a 10 cm overlap to ensure excellent seam integrity. For roof details, including the rooflight on each property and areas of the membrane where a join was required at an angle change, QuickSeam FormFlash was bonded to the membrane. This uncured EPDM product can be moulded on site to fit the contours of the roof details. ¥ Firestone Belgium � +32 (0)2 711 44 50 www.firestonebpe.com

The thermal performance has improved from a U-value of 1.40 to 0.28 W/m²K with the application of 12,000 m² of the system, incorporating the use of 90-mm-thick grey expanded polystyrene applied to the substrate with mechanical fixings and adhesive.

The multi-coat system was installed on to the high-performance insulation, applying a 6 mm meshcloth-reinforced coat of weber. rend LAC. This polymer-modified, cementbased mortar is applied in two passes. The surface was then primed with weber PR310 before the finish coat of weber.sil TF, a silicone-based, textured, through-coloured decorative finish, in Vanilla.

External wall insulation has also completed the upgrades carried out to a two-storey end terrace in the Brislington area of Bristol,

where the homeowner has added a large extension to the side of the property and a garden room to the rear, as well as a loft conversion and new windows and doors throughout. The XM EWI system was used on this property (below) in a similar method, but here the walls were finished with a 1.5 mm thin-coat decorative finish of weber. plast TF, an acrylic-based, pre-mixed textured finish, in Winter White. The porch was finished in weber.pral M one-coat, throughcoloured monocouche render in Chalk.

Georgian Red has been added to the brickeffect finish for the EWI system, allowing a close match for the refurbishment of Victorian and Georgian brick-built properties in the north of England. A pilot project involving the thermal and aesthetic upgrade of over 70 properties in Rotherham is said to have been very successful: red brick is synonymous with the original construction style in this area. Seven colours of weber.rend RBF and four colours of weber.rend RBB are now available, said to replicate almost any brick and mortar combination. ¥ Saint-Gobain Weber United Kingdom � +44 (0)8703 330070 www.netweber.co.uk

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Interior Design

Cool light fitting

Texture and shimmer

Artistic flames

From Viabizzuno, the n55 light bulb and light fitting is designed to attain the highest levels of technical performance, environmental sustainability and design. The light fitting was conceived as a modular system and is equipped with a patented cylindrical dissipator with a diameter of 55, 65 or 82 mm that contains an electronic light source. This dissipator is designed to increase the speed of the heat flow generated by the light source to make the air inside the double chamber move at high speed, thereby instantly cooling the system.

A sophisticated collection of prints, weaves and wallcoverings, Palmetto from Harlequin is designed to capture elements of jazz age glamour, 1920s luxe and the botanical fervour of 19th century orchid hunters, all offset against sultry backgrounds for maximum impact. The printed fabrics are a mix of silks and linens, many embellished with textured threads, foiling and metallics. They depict etched blooms such as proteas, as well as delicately drawn butterflies, dragonflies and ostrich feathers.

Springs is the latest insert fire sculpture by Cathy Azria of B&D Designs, and was inspired by the kinaesthetic energy of the coiled spring. There is an innate tension in each of the carefully placed springs creating a feeling of energy even in the stillness, and as the flames flicker through the steel spirals the sense of dynamic movement is enhanced. It can be ordered in either a vertical or lateral version.

Viabizzuno makes three types of diffuser: the standard n55 light bulb, direct descendant of the e27, and retaining the same types of glass – transparent, milk white or satin; the decorative light bulb, with designs by ­renowned architects and designers; and the technical light bulb, which is engineered to provide a highly controlled light beam. The power supply unit is suitable for different types of bulbs and wattages, which are fitted and removed just as a conventional, screw-in bulb.

Several of these motifs follow through into the range of wallcoverings, augmented by an evocative metallic texture, leaf designs (seen below is Lover’s Knot) and the elegant Cranes in Flight against stylised clouds. The prints are complemented by three weaves, accented with shine and shimmer, and rich Belvedere Velvets – deep-pile plains, distressed metallics and sophisticated striped damasks, some further embellished with foiling. Striking colour combinations such as graphite and almond, ink and chartreuse and coral and mint enhance the effects.

Working for private clients, architects and designers, Cathy Azria designs sculptural installations for interiors, drawing inspiration from natural materials, organic forms and the interplay of light. She began to design fire installations when searching for a contemporary fireplace for her own home and since then has been exploring the whole concept of fire and light, using metal both for its sculptural potential and for the way it transforms as it responds to heat. The fire sculptures are designed to be significant works of art, whether lit or unlit, and each is a bespoke piece, developed and refined in response to the client’s requirements.

¥ Viabizzuno srl Italy � +39 051 890 8011 www.viabizzuno.com

¥ Harlequin United Kingdom � +44 (0)845 123 6815 www.harlequin.uk.com

¥ B&D Designs United Kingdom � +44 (0)20 8964 5355 www.bd-designs.co.uk

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Kitchens

Surface attraction

Updated range

Curved concept

Surface Styling is an online specification platform designed with the requirements of buyers and architects in mind. Its tile format and readily navigable display is intended to provide a user-friendly interface when searching for materials, with a fast, efficient sample ordering system. The Surface Styling concept was created by International Decorative Surfaces, and was officially launched last autumn. It claims to offer the UK’s largest range of decorative surface materials, with a product portfolio spanning work surfaces, laminates, decorative panel products, solid surfacing and flooring and wall panelling.

Described as stylish and affordable, the Residence kitchen from Gamadecor, part of the Porcelanosa Group, benefits from regular range improvements. Recent advances include new finishes, laser edging, a wide variety of drawer and cabinet organisers and new handles. The kitchens come with 16 mm carcasses, 19 mm laminate doors and 20 mm gloss laminate doors, as well as different height options for base, wall and tower units. The doors are in a streamlined, contemporary style available with optional integrated handles.

Italian brand Rastelli aims to bring together top designers and high-quality products to create modern luxury kitchens, and the latest introduction is the Karan kitchen, by designer Karim Rashid. The concept revolves around an open pedestal island with a tapered curve, inviting family and guests to gather around. The tap and an LED light retract into the counter creating a flush surface, whilst the addition of a multi-purpose chopping board that fits over the sink turns the island into a solid dining space.

A recent introduction, seen below, is Fenix NTM (NanoTech Matt), a supermatt acrylic surfacing material in a range of 15 colours, which harnesses nanotechnology to enable micro-scratches from wear and tear to be thermally healed. With low light reflectivity, soft touch, anti-fingerprint and anti-bacterial properties, the hard-wearing material is suitable for a wide range of vertical and horizontal applications.

The array of door fronts comprises plain or wood laminate in a vertical grain and gloss finishes, including a number of bold and muted colours and the Blanco Artico shown here. A key feature is the bespoke element: units can be reduced by depth and width in the factory to custom-fit a space, for ease of installation. For example, if a kitchen has a 200 mm gap, a standard 300 mm base unit and door can be resized for a small surcharge (option not available on doors with integrated handles).

The soft curves continue on the wall unit, and a rounded cut-out creates a cooking and preparation area. Channel-opening cabinets hide the refrigerator, oven and pantry storage, and the inset backlit mirror is edged by ambient lighting LEDs. The use of glass in a matt or glossy finish for the doors, as well as the ceramic option, together with a comprehensive colour range, allow the creation of a sleek, minimalist design which offers a mood of soft relaxation or one that is enhanced by warm and tactile textures, as desired.

¥ Surface Styling United Kingdom � +44 (0)845 603 7811 www.surfacestyling.co.uk

¥ Porcelanosa United Kingdom � +44 (0)8444 818952 www.porcelanosa.co.uk

¥ Rastelli Italy � +39 (0)85 8711 5487 www.rastellicucine.it

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Product Information Index

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Product Information Index Refurbishment Riverside roof project (Firestone) Fresh facades with improved thermal performance (Saint-Gobain Weber) Keeping in character (Gerflor) Marble makes the most of luxury shopping venue (Margraf) Shoppers benefit from redeveloped retail venue (Kawaneer) Restored to former glory (Dorma) Retrofit insulation (Kinspan Insulation) Complex fire alarm project for heritage buildings (ADT Fire & Security) Military manoeuvre (SSQ) Curtain walling helps transform existing buildings (Technal)

Ecobuild preview The architect behind the 2015 RIBA Stirling Prize winner is to be one of the guest speakers at this year’s Ecobuild, taking place at the ExCel Centre in London from 8th to 10th March. Simon Allford is a director of AHMM, which won the award for its striking work at Burntwood School, London, and the subject of his presentation will be ‘Timeless design’: the role of the architect in successfully master-planning residential developments and therefore communities’.

Other speakers at Ecobuild’s Architecture day on 9th March include Sadie Morgan, a founding director of dRMM, and Charles Holland, director and co-founder of Ordinary Architecture. Following the programme of discussions, the BD Architect of the Year Awards winners will be announced in the evening. All the shortlisted entries across 13 categories will be on display in Discover, a central pavilion which is expected to be one of the most popular destinations during the event.

In response to a fast-changing construction landscape that has seen broad and ongoing change in issues such as energy efficiency, building performance and wellbeing, an evidence-based seminar programme has been created for Ecobuild 2016. The CPD-accredited seminars have been grouped into six themes, and each learning hub will hold a number of sessions that deliver practical and applied information focusing on the built environment.

With the global market for smart building technologies set to triple in size to £14 billion by 2019, a new feature of the event will focus on this growing industry trend. SMART will be a centrepiece of the exhibition, featuring live room sets and hard landscaping, demonstrating how smart technology can provide an enhanced user experience in real world settings. ¥ www.ecobuild.co.uk

Interior Design Cool light fitting (Viabizzuno) Texture and shimmer (Harlequin) Artistic flames (B&D Designs) Artwork changes appearance throughout the day (Ghizlan El Glaoui) Modern techniques used to decorative effect (IDEA) Relaxing in two ways (Keir Townsend) Features make for a familiar landscape (DuPont Corian) Social spaces (Design & Contract Furniture) Flexible arrangement (Eurostove) Collective displays its work to advantage (Redloh House Frabrics)

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Kitchen Surface attraction (Surface Styling) Updated range (Porcelanosa) Curved concept (Rastelli) Character flooring (Kersaint Cobb) Mini-kitchen caters for small-space living (Elfin Kitchens) Boiling water on tap (Franke) Custom design aims to solve kitchen dilemmas (Schmidt) Comprehensive luxury range introduced to UK (Waterworks) Thinking out of the box (Blum)

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Wall and Floor Tiles New angle on design (Refin) Large formats and natural materials are key themes (Florim) Timeworn patterns (Agbrob Buchtal) Going with the flow (Jasba) Concrete collection (Marazzi) Designer ranges (Bisazza) Beige can be interesting (Italgraniti) Plain and fancy (Iris) Gold and silver tones (Lithos Design) Comprehensive new ranges of styles and sizes (FAP)

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On the Spot SeSa Build 2016 – Building and Engineering a Safer World Light + Building 2016 Ecobuild preview

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∂ Subscription information The subscription prices from 01 January 2016 will be: Annual subscription (8 issues) including 2 issues DETAIL green: € 122.43 / £ 85.98 / US$ 179.– incl. postage/packing (and VAT, if applicable) Student subscription (8 issues) including 2 issues DETAIL green: € 76.64 / £ 54.67 / US$ 109.50 incl. postage/packing (and VAT, if applicable)

Edition

NEW

Asian Flavours Creating Architecture for Culinary Culture NEW September 2015.

Christian Schittich (Ed.), 144 pages. Format 25 × 23.5 cm.

ISBN 978-3-95553-267-3 Hardcover: € 39.– / £ 31.– / US$ 55.– + postage/packing + VAT, if applicable

A restaurant and travel guide for Asian food enthusiasts Ceremonies, rituals und traditions – as well as the fascinating combinations of flavours and unusual ingredients, the culinary customs of Asian countries also arouse great interest in Western cultures. But how are spaces for Asian eating and cooking traditions and processes designed? What kind of surroundings are these kinds of food and drinks consumed in?

This book presents the projects of Asian and European architects on both continents,

ranging from tea houses and sake bars through to entire restaurants. How are architects adapting and interpreting this cuisine in »our« latitudes? How do they respond to the conditions and cultures in these spaces without simply simulating an »Asian decor«?

Enhanced with selected recipes from individual restaurants and essays on various Asian cuisines and culinary cultures, the book is also a travel guide to Europe’s many special Asiatic spaces.

30 projects in Asian and European cities Background information and history behind the restaurant concepts Things worth knowing about Asian dishes and traditions

www.detail.de/asianflavours

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Programme for 2016 • Photos ∂ 2016 1 Refurbishment ∂ 2016 2

Timber Construction

∂ 2016 3 Concept: Visitor- and Cultural Centres ∂ Green 2016 1 ∂ 2016 4

Lighting and Interiors

Simple Forms of Construction/Cost ∂ 2016 5 Effective Building ∂ 2016 6 Roofs

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, 16: Pedro Pegenaute, E – Pamplona p. 5: Jörg Hempel, D – Aachen p. 6: Lluis Carbonell, E – Barcelona p. 7: Philipp Ruault, F – Nantes p. 8 top: Ursula Böhmer, D – Berlin p. 8 bottom: Brigida González/Ruhr Museum Essen p. 9: Werner Huthmacher, D – Berlin p. 10 top: ©Zürcher Hochschule der Künste 2014 p. 10 bottom: Roger Frei, CH – Zürich p. 11: Conné van d`Grachten, D – Ulm p. 12: Hannes Henz, CH – Zürich pp. 13, 14, 15: Philipp Vile, GB – London p. 18 top: Michel Denancé, F – Paris pp. 19, 51 top, 52 bottom, 54, 55, 57 top: Frank Kaltenbach, D – Munich pp. 20 – 23: Simon Menges, D – Berlin pp. 24 – 27: Earl Carter, AUS – St Kilda pp. 29, 30: Stamers Kontor, DK – Kopenhagen pp. 32 – 35: Hisao Suzuki, E – Barcelona pp. 36, 38 – 40: Christian Richters, D – Munich

p. 37: Peter Neusser, D – Munich pp. 41 – 45: Kai – Uwe Schulte – Bunert, D – Berlin pp. 46 – 50: Hertha Hurnaus, A – Vienna p. 51 bottom: Bas Princen/Fondazione Prada pp. 52 top, 53, 58, 62: Christian Schittich, D – Munich pp. 56, 57: Roland Halbe, D – Stuttgart pp. 59 top, 60, 61: Dave Southwood, ZA – Cape Town pp. 63 – 65, 66 bottom, 67, 69: Jean – Luc Valentin, D – Frankfurt am Main p. 68 top: Robert Göllner, D – Frankfurt am Main p. 68 bottom, 66 top: Uwe Brodmann, D – Braunschweig p. 76 top left: Bennett Architectural Aluminium ­Solutions p. 78 top right, bottom centre: Morley von Sternberg p. 79 top left: Interserve p. 80 top centre, bottom centre: Harlequin p. 84 top left, top centre, bottom left, bottom centre: Andrew Lee for Graphical House p. 93 top left, bottom left: Agrob Buchtal GmbH p. 93 top centre, bottom centre: Jasba Mosaik GmbH

Black-and-white photos introducing main sections: page 5: R ed Dot Design Museum in Essen, Former Kesselhaus of the Zeche Zollverein Architects: Fritz Schupp, Martin Kremmer (1928 –29) Conversion: Norman Foster (1992 – 97), UK– London page 13: Refurbishment and Extension of the National Theatre in London

Architects: Haworth Tompkins, UK– London page 19: Prada Foundation in Milan

Architects: OMA, NL– Rotterdam page 63: Revitalisation of the Office Tower T 11 in Frankfurt, Main

Architects: KSP Jürgen Engel Architekten GmbH,

D–Frankfurt, Main page 71 F oam-aluminium Cladding, Prada Foundation in Milan Architects: OMA, NL– Rotterdam

CAD drawings All CAD drawings contained in the “Documentation” section of the journal were ­produced with VectorWorks®.

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