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ISSN 1614-4600 · JAN · FEB £13 · US$  24.50 · €18.90

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Review of Architecture and Construction Details · Transparent · Translucent · Vol. 2017 · 1

∂ Review of Architecture Vol. 1, 2017 • Transparent • T  ranslucent Editorial office: E-mail: Tel.: +49 (0) 89 38 16 20-57 Dr. Sandra Hofmeister (editor-in-chief, V. i. S. d. P.), Sabine Drey, Andreas Gabriel, Frank ­Kaltenbach, Julia Liese, Michaela Linder, Peter Popp, Maria Remter, Jakob Schoof, Edith Walter, Heide Wessely Christa Schicker (freelance ­assistants) Dejanira Ornelas Bitterer, Marion Griese, Emese M. Köszegi, Simon Kramer ­(drawings) Editorial team DETAIL product ­information: Thomas Jakob, Jenny Clay Tel.: +49 (0)89-38 16 20-0 Elise Feiersinger (pp. 3 –70) Marc Selway (pp. 72–97) (English translations) Advertising: E-mail: 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: 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

Editorial Clear, transparent, and democratic. These axioms had a profound effect on Germany’s postwar architecture – and transparency had a symbolic meaning for the country’s new public buildings, because it was a means to deliberately set apart the buildings of the Bonn Republic from the past. In Egon Eiermann and Sep Ruf’s design for the German pavilion at the 1958 World Expo in Brussels, the country identifies itself with openness, loftiness, and the greatest possible transparency. The pavilion’s architecture shone as a beacon, proclaiming the young republic’s democratic conception of itself. In 1961, for example, Baden-Württemberg’s new state parliament building was the first such institution to be completed after the war; all of its facades were completely glazed. Günter Behnisch’s lofty, daylit plenary assembly hall in the German Bundestag in Bonn also served as an example of an open society. Federal legislators convened there until 1999, at which time the government moved to Berlin. Back then, transparency and democracy were considered synonymous. In this issue we present different contemporary manifestations of transparency. The projects are located in France, Estonia, China, and Germany, and range from chapels and apartment houses to museums and departmental buildings at universities; they have transparent and translucent facades, narrow operable sashes, and carefully orchestrated views to the surroundings. As DETAIL’s new editor-in-chief, I look forward to keeping in touch with you via this Editorial column. Our experienced team will continue to present you timely topics – as in the past, architecture itself will show the way. We’ll explore transparency and a wide variety of other themes. We hope you enjoy reading this issue! Sandra Hofmeister

Reports   3 Editorial Sandra Hofmeister    6

MAAT Lisbon – Bringing the People to the Water Giovanna Dunmall


DETAIL Prize 2016 – Special Prizes structure and inside – Winners Roland Pawlitschko

  12 animago Award Architecture – Visualizations presented by DETAIL

Discussion   14 Vivid History – A Conversation about the Realization of the New Estonian National Museum in Tartu Roland Pawlitschko

Documentation   22 City Hall in Saint-Jacques-de-la-Lande LAN Architecture, Paris   26 Publishing House in Vanves Jacques Ferrier Architectures, Paris   31 Blavatnik School of Government in Oxford Herzog & de Meuron, Basle   38 Departmental Building in Jena archiscape, Berlin; hks architekten, Erfurt   42 Chapel in Nanjing AZL Architects, Nanjing   46 Apartment House in Ljubljana Bevk Perović arhitekti, Ljubljana   50 Estonian National Museum in Tartu DGT.Dorell.Ghotmeh.Tane/Architects, Paris   56 Hospital in Vienna Nickl & Partner Architekten, Munich

Technology   62 Performative Translucence Frank Kaltenbach   69 Transparency in Wood – Glued Wood-Glass Facades Ulrich Sieberath, Karin Lieb, Jürgen Benitz-Wildenburg

Products  72  78  84   92   96

Construction Glass Kitchens 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


© Photo: Frank Kaltenbach




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DETAIL Prize 2016– Special Prizes structure and inside – Winners


This year’s DETAIL Prize – which honours ­“future-oriented, innovative projects that surpass established standards (...) and exhibit outstanding architectural and technical qualities” – received a total of 337 submissions from 42 nations. Aside from the main prize, this year two special prizes were awarded for the first time: DETAIL inside and DETAIL structure. Thirteen projects advanced to the next round; then jury members Peter Ippolito (Ippolito Fleitz Group), Gilles Retsin (Gilles ­Retsin Architecture), Mike Schlaich (schlaich bergermann partner), Enrique Sobejano (Nieto Sobejano Arquitectos), and Daniel Lischer (alp architektur lischer partner ag) selected the most compelling designs and awarded a total of 5 prizes and 4 honourable mentions.

If we view architecture – as Le Corbusier once put it – as the “play of masses brought together in light”, this project adds a further kinetic, performative dimension to our understanding of what architecture can be; it is the night lighting in its many varieties that brings this to the fore. Despite all of its sculptural qualities, the building is by no means “architecture for ­architecture’s sake”, but rather a catalyst for social interaction, ­inspiration, and free exchange of ideas. The special charm of its spontaneity has to do with the fact that the detailing was kept to a minimum – the architects developed just a few details with which the many different structural nodes

DETAIL Prize 2016, First prize Sean Godsell Architects, Melbourne MPavilion 2014, Melbourne MPavilion 2014 was erected as a temporary structure and cultural meeting place in the Queen Victoria Gardens in Melbourne, Australia, and hosted numerous cultural events that were free of cost. Four months later the ­pavilion was dismantled, donated to the City of Melbourne, and transported to its present location. The remote-control facade not only makes it possible to secure the building at night, but also to control light and shadow as needed during daytime. In addition, it allows different configurations for different events. From the jury protocol: “Fragile and graceful like a butterfly, the delicate structure alights on the lawn. With its transformation from a calm, unobtrusive box to a bright, shimmering ornamental sculpture, the pavilion becomes a tableaux for a great variety of effects, from translucence and transparency to shadow and light. When the facades are tilted up, the airy, ethereal roof allows the landscape to flow unimpeded below it and nonetheless manages to create an unmistakable, clearly defined place where visitors enjoy spending time.”


are resolved in a highly professional fashion.” In their statement, the architects also point to an analogy in nature: “Once we identified the opportunity to make the entire roof operable as well, the screens suddenly became ‘petals’ and the analogy to the pavilion ‘blooming like a flower in the morning light and closing back down again at dusk’ became a daily opening and closing ceremony.” DETAIL structure 2016, Winner Knight Architects, High Wycombe Merchant Square Footbridge, London The folding pedestrian bridge on Merchant Square in London spans 20 metres across


DETAIL Prize 2016 – Special Prizes structure and inside – Winners

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1, 2 DETAIL Prize 2016, First prize MPavilion 2014, Melbourne, Australia architects: Sean Godsell Architects, Melbourne 3, 4 Special Prize DETAIL structure, Winner Merchant Square Footbridge 2014, London architects: Knight Architects, High Wycombe 5, 6 Special Prize – DETAIL inside, Winner K8 2015, Kyoto Wood louvers whose angles vary from storey to storey, horizontal sections of the facade scale 1:50 architects: Florian Busch Architects, Tokyo


the Grand Union Canal and is divided into 5 “fingers”. Hydraulic winches raise it in a gesture that resembles opening a handheld fan. The 5 steel beams that make up the bridge’s 3-metre-wide deck open one after the other – specially designed counterweights support the hydraulic system and reduce the amount of energy needed to operate it. The bridge’s structure is the outcome of a complex process in which a series of independent geometric, structural, mechanical, and electrical parameters were optimised to obtain a slender, efficient, and reasonably priced solution. From the jury protocol: “The pedestrian bridge is a ‘Gesamtkunstwerk’ that unites architectural qualities and the logic of gravity.

The crossing, initially unspectacular, unfolds to become an astonishing sculpture visible from afar: an attraction in public space. The bridge gives an otherwise quite anonymous place an unmistakable identity. The careful detailing makes the bridge the epitome of ‘the art of engineering’.” DETAIL Inside 2016, Winner Florian Busch Architects, Tokyo K8, Kyoto, Japan On the edge of Pontocho, a red light district in the centre of Kyoto, stands K8, a small building – with a bar and gallery – with a continuous interior space that extends 8 levels.

From the jury protocol: “The coherence of envelope, space, light, and structure allows the building to occupy the margins between interior design and architecture. The outside and inside realms are mutually dependent, boundaries dissolve. The stair develops into a vertical interaction space that widens at the landings, thus offering a new type of space. The circulation becomes a stage for the bar patrons and gives the tiny site a generous touch. Seen from the exterior, the facade is an eye-catcher, but from the interior it is perceived as a delicate light filter.” The architects took the context into account: “As a ­homogeneous yet continuously changing ­surface, the facade creates an ambiguity often found in Kyoto’s architecture. Several hundred wooden louvers evoke a sense of motion, as if the building itself were engaging with its environment.” FK DETAIL Prize 2016 First prize: Sean Godsell Architects; MPavilion, Melbourne Second prize: Brandlhuber+, Emde, Burlon + Riegler Riewe Architekten; St. Agnes, Berlin Third prize: Morger Partner Architekten; Hilti Art Foundation / Huber Uhren Schmuck, Vaduz DETAIL inside 2016 Winner: Florian Busch Architects; K8, Kyoto Honourable mention: Caramel architekten zt-GmbH; Home Made, Vienna Honourable mention: Deubzer König + Rimmel Architekten; Aula Otto-Friedrich-Universität Bamberg DETAIL structure 2016 Winner: Knight Architects; Merchant Square Footbridge, London Honourable mention: ICD, ITKE, University of Stuttgart, TU Munich; Elytra ­Filament Pavilion, London Honourable mention: Block Research Group, ETH Zurich; The Armadillo Vault, Venedig


DETAIL Readers’ Award 2016, Nominations: Grüntuch Ernst Architekten; Deutsche Schule ­Madrid Barkow Leibinger; Fellows Pavilion – American ­Academy, Berlin Wespi de Meuron Romeo Architekten BSA AG; ­Umbau Steinhaus, Scaiano Davidson Rafailidis; He, She & It, Buffalo, NY



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Estonian National Museum in Tartu Architects: Dorell.Ghotmeh.Tane / Architects, Paris Dan Dorell, Lina Ghotmeh, Tsuyoshi Tane Hayashi – Grossschmidt Arhitektuur, Tallinn Structural engineer: Novarc engineering, Tallinn Others involved in the project: see page 105


glazed facade solid walls

The new Estonian National Museum is located in Tartu on the grounds of what was once the Soviet Union’s largest military airport in Eastern Europe. Since the end of the Russian occupation, the grounds – which cover some fifty hectares – have hardly changed at all: the flora and fauna flourishes every bit as well on the hills and plains between the aprons for the airplanes (the technical term for their parking places) as in the derelict buildings and on the asphalt runways. The Estonian National Museum, which is 355 metres long and 71 metres wide, is situated at the end of one of the two runways, and because it is wedge-shaped, it brings to mind a launching ramp rising continuously

toward the city. At its highest point the ramp reaches a height of about 15 metres. The single-storey building has a double-skin facade that – especially in the bitter-cold Estonian winter – assumes the role of a thermal buffer. The outer layer consists of frameless glazing bearing an irregular, white, star-pattern screen print. The pattern makes reference to a traditional Estonian motif, but also shades the interior from solar radiation. The inner layer consists primarily of solid wall surfaces. The floor-to-ceiling openings positioned within them animate the otherwise monolithic-seeming facade. They also set up a variety of views into and through the interior spaces. Moreover, when the building

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Schematic plans scale 1:4000


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Site plan scale 1:7500 Section Layout plans scale 1:2000

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Main entrance Foyer Museum shop Seminar area Cinema / Lecture hall Library Restaurant Multi-purpose area Temporary exhibition Permanent exhibition Office /  Restoration Black-box theatre Café Side entrance Archive

is lit from within at night, their blurred outlines are discernible. The Estonian National Museum’s triangular forecourt is cut out of the west facade – it brings to mind a funnel. This form directs the museum visitors to the main entrance. The monumental gesture – in particular, the roof’s large cantilever – is reminiscent of an airplane hangar, while the light-gauge steel trusses, which are visible behind the dark metal-mesh ceilings, contribute to a differentiation in scale: the architects are also adept at working at the small scale that recurs throughout the building. Upon entering the foyer – which is equally as lofty and generously dimensioned as the

forecourt – it quickly becomes apparent that the building holds not only the Estonian National Museum and its two permanent exhibitions on the country’s cultural history, but also accommodates several other functions: a library with adjoining meeting rooms, an area for temporary exhibitions, an art gallery, a black-box theatre, a restaurant, a café, and a cinema that doubles as a large conference hall. The cinema is equipped with the auxiliary rooms that make it possible to host film festivals and other such large-scale events. On their way to the main exhibition in the eastern part of the building the visitors encounter several extensively glazed courtyards. These courtyards pro-

vide a rich variety of sight lines through the building. By interrupting the linearity of the building massing, they almost make you forget just how long it is. The courtyard adjoining the bridge-like restaurant spanning the lake furnishes extravagant perspectives of the landscape, while the ones bordering the workshops and offices bring in light and serve as introverted break spaces. At night, the LED lamps in the facade make the wedge-shaped construct gleam in different shades of white. With a former military airport as backdrop, this setting allows the building to take on the role of a glowing landmark that symbolically proclaims the start of a new era.


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Estonian National Museum in Tartu

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Vertical section scale 1:20 1


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granite gravel filter mat membrane, watertight 300 mm thermal insulation bituminous sealing layer 50 mm concrete topping 300 mm reinforced concrete 50 mm acoustic insulation suspended ceiling: steel grating, painted black granite gravel; filter mat membrane, watertight 10 mm cement board steel frame 18 mm laminated safety glass, toughened, screen-printed star pattern 120 mm precast concrete unit 40 mm cavity 250 mm thermal insulation 720 mm reinforced concrete 50 mm acoustic insulation 63 mm triple glazing with low-e coating, aluminium frame; Ug = 0.6 W/m2K 100 mm reinforced concrete slab to falls separating layer: building paper membrane, watertight 18 mm plywood, watertight steel supporting structure suspended ceiling: 10 mm cement board concealed mounting 100 mm fibrated concrete slab with ­underfloor heating, waterproofed and waxed separating layer: building paper 50 mm impact-sound insulation 300 mm reinforced concrete 200 mm thermal insulation suspended ceiling: 10 mm cement board, concealed mounting

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Another dimension for shopping and leisure

Contemporary cladding

Victoria Gate is the latest addition to Leeds’ shopping scene, the first phase comprising three main developments: a flagship John Lewis store, which links the Victoria Quarter to an elegant new two-street arcade with stores, restaurants, cafes and leisure space, and a multi-storey 800-space car park. As well as providing 42,000 m2 of retail and leisure facilities, phase one also delivers up to 1,000 retail and hospitality jobs.

Cupa Pizarras has launched the Cupaclad Design concept of slate rainscreen cladding in contemporary shapes and configurations. By combining alternative fastening methods and slate formats the ventilated facade systems will adapt to all types of project and are said to offer a competitive and sustainable cladding option. Lightweight and designed to be easy to install and cut to shape, a variety of finishes can be created with the use of different profiles and sizes, influenced by current architectural trends, says the company.

The John Lewis store, the first in Leeds, is inspired by the city’s textile and cloth heritage with strong three-dimensional facades and textural finishes complementing the white terracotta materials used in adjacent landmark buildings. Precast concrete specialist Techrete worked with architects ACME from initial design development and full-scale mock-ups were created at the company’s Brigg, Lincolnshire factory to explore the use of different precast finishes. Seeing the considerable variation in relief that can be achieved with polished and acid-etched precast panels helped the architects finalise the design intent. Owing to the complex nature of the project the design was carried out in BIM, maximising the advantages of 3D modelling. Techrete used Revit to develop its model and every month

a federated project model was produced for design review; any changes could then be handled in model space before manufacture, streamlining the process for cladding, steel and window packages. The panels feature deep relief and two finishes. Base panels have a white, finely finished acid etch, punctuated with polished concrete elements that highlight the diagrid pattern across the facade. The large panel sizes, 4 m on the shortest edge, pushed the boundaries of what can be transported, with some weighing up to 14 tonnes. Most were moved on their side and then lifted by crane and rotated to the correct installation angle before being placed on the building. The complexity of the diagrid panels meant that a typical steel column-and-beam structure was unsuitable, so the structure was designed as a series of diagonals to suit the facade pattern. The panels are supported off this grid with corbel supports and restraints coordinated as part of the Techrete BIM model.

New housing developments, building renovations and commercial buildings are among the applications envisaged for the cladding. Commented Product Manager Natalia Núñez, “Cupaclad Design emerges as a challenge to avant-garde architects, and tries to surprise them with endless possibilities of facade designs in natural slate. The collection seeks to take the natural properties of slate and further enhance its beauty, with contemporary design configurations designed to inspire.”

¥ Techrete (UK) Ltd United Kingdom � +44 (0)1162 865965

¥ Cupa Pizarras United Kingdom � +44 (0)131 225 3111



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Glulam structures designed for curve appeal

Central position

Fordingbridge formed part of the project team delivering the first ‘zero energy’ retail building for Costa Coffee, in Telford, Shropshire, as part of the chain’s ‘Good Together’ campaign to reduce energy usage in new stores and its impact on the environment as a whole. The glued laminated timber-frame (glulam) structure, top, has a curved roof covered by an extensive photovoltaic array. The scalloped canopy on the north elevation protects the building from solar gain, as well as providing al fresco dining space. Underfloor heating and passive ventilation technologies ensure a comfortable internal environment throughout the year. All design elements are balanced to contribute to the building reaching an Energy Performance Asset Rating of A+.

A building at the heart of the Cardiff city centre regeneration features architectural aluminium curtain walling from Kawneer. The speculative scheme set over eight floors, some of which are cantilevered, was the first phase in a five-year development comprising commercial, retail and residential space in an area of almost an acre that lies between the central railway station and the Principality Stadium.

Another recent project is the new visitor centre for ZSL Whipsnade Zoo in Dunstable, Bedfordshire. The building design focuses on creating a light, open and permeable space, creating transparency to the zoo beyond, both increasing the excitement and providing seamless entry for the zoo’s visitors. A single large area accommodates ticketing, retail and cafe functions and ensures the zoo is better equipped to welcome the anticipated increased volume of visitor traffic. A large, triple-span glulam canopy

provides extra undercover queuing in addition to retail opportunities and this again focuses on providing a welcoming experience regardless of weather conditions. “The building has been designed to be ultra-sustainable, gaining an A-rating for energy efficiency and becoming a hub for its own recycling projects such as turning plastic drinks bottles into benches,”said Owen Craft, general manager of ZSL Whipsnade Zoo. “I think the visitor centre will bookend a day at the zoo in a lovely way and make the experience absolutely first rate.” Working directly with architects, building contractors, local authorities and other clients across many sectors within the UK nondomestic markets, Fordingbridge designs and manufactures bespoke and standard structures for large and small projects: they include canopies, walkways, tensile fabric structures and sustainable curved roofed buildings. Its contemporary designs are described as an ideal alternative to ‘temporary’ and traditionally constructed buildings. ¥ Fordingbridge plc United Kingdom � +44 (0)1243 554455

One Central Square was designed by Rio Architects in response to a brief that asked for 180,000 ft² of Grade A office space to act as a catalyst for the regeneration of this part of Cardiff and which would achieve a BREEAM ‘Excellent’ rating. Said associate Lee Protheroe: “We met the brief with the sensible use of building orientation, detailing and exciting materials. The Kawneer elements were significant, forming a large percentage of the contemporary facade treatment, and were specified for their quality.” Two curtain-walling types – AA®100 capped and zone-drained and AA®100 Structurally Silicone Glazed mullion-drained as rainscreen cladding – were used, as well as two types of doors: AA®545 low/medium-duty swing and series 190 heavy-duty commercial entrance doors. The £20 million building offers basement car parking and a groundfloor cafe. Built on the site of former office buildings, a major challenge was to demonstrate how the new square and streets around it would handle a big event such as a rugby international; to this end, a new direct pedestrian route from the square to the stadium, the Millennium Walkway, was designed to handle 35,000 people exiting the southern gates of the stadium in under 20 minutes. ¥ Kawneer UK United Kingdom � +44 (0)1928 502500


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On the spot

10 years of the DETAIL Prize – a feast for architecture (and its protagonists) 10 years after founding the DETAIL Prize, this year, the organizers took the decision to go back to the competition’s roots and to revive the aspect of knowledge transfer in the form of a public symposium. This was how the DETAIL Prize was launched ten years ago at the BAU trade fair in Munich, before the focus was shifted in recent years to the award ceremony. This year, the event successfully combined both formats, thereby living up to the aims of the DETAIL Prize in every respect. The event in Berlin got off to a great start in the morning with a talk by Philippe Block from the Block Research Group, together with Ochsendorf DeJong & Block Engineering and The Escobedo Group winners of the Readers’ Prize for their project »Armadillo Vault«, exhibited at this year’s Venice Biennale. The organizers are especially delighted that this year’s award went to a young research team, highlighting the high value that research projects have for the further development of architecture today and in the future. Afterwards, Bartlomiej Halaczek of Knight Architects gave an insight into the complex development of the »Merchant Square Footbridge«, which won the structure special prize, and Florian Busch presented his project K8 – gallery and bar in

Kyoto. The spatially fascinating building was awarded the inside special prize and particularly impressed the judges with its highly successful interior design on the tiny plot. After a short lunch break, Meinrad Morger not only presented his project, »Hilti Art Foundation/Huber Uhren Schmuck«, awarded third place in the DETAIL Prize competition, he also gave an impressive insight into the exact work carried out by the Swiss office. Second place was awarded to the »St. Agnes« project by Brandlhuber + Emde, Burlon and Riegler Riewe Architekten. Thomas Burlon presented the transformation of a former church into a gallery, situated not far away from the event location in Kreuzberg. Finally, architect Sean Godell, who had travelled all the way from Australia for the event, discussed the winning project of the DETAIL Prize 2016, the »MPavilion« in Melbourne, which has proved so popular in recent months that the originally temporary installation will now be permanently sited at another location. In the afternoon, an excursion was organized to DZ Bank on Potsdamer Platz, paid for by the main sponsor Josef Gartner. As part of the event, participants were given an exclusive tour of the building, which is nor-

mally closed to the public and which therefore represented a special highlight. In the evening, the Magazin in der Heeresbäckerei event-venue was transformed into an impressive backdrop for the award ceremony. The guests from the fields of architecture, culture, research and politics were representatively sat at two long reflective tables. The first highlight was jury chairman Enrique Sobejano’s passionate presentation, which gave an insight into his architectural world. The menu courses were interspersed with a speech by Lothar Fehn Krestas – Deputy Director Architecture, Construction of the Federal Ministry for Environment, Nature Conservation, Building and Nuclear Safety (BMUB), which is once again acting as the patron of the DETAIL Prize – and by the handover of the individual prizes. Both the tributes by the jury members Gilles Retsin, Mike Schlaich, Daniel Lischer and DETAIL editor Peter Popp, who gave the laudation for the inside special prize on behalf of Peter Ippolito, and the short acceptance speeches by the winners were characterised by personal feelings and memories, in which they expressed their appreciation for the prize and all those involved with it. Special thanks go again in this connection to BAU 2017, Josef Gartner GmbH, Orca Software GmbH, the Bavarian Chamber of Architects, the BMUB and NAX, as well as NEC Display Solutions Europe GmbH, which supplied the projectors and monitors that ensured optimal presentation of the works, and Skoda, which provided an exclusive shuttle service to guests. Those unable to be present in Berlin will have the opportunity to view the nominated and awarded works again at the BAU trade fair in Munich in January. Like last time, the exhibition will be held with the support of System 180 GmbH. ¥

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Product Information Index


Construction Waterside dwelling (Mumford & Wood)  Speeding up delivery of new school buildings (Yorkon) Another dimension for shopping and leisure (Techrete) Contemporary cladding (Cupa Pizarras)  Design bears fruit (Armstrong World Industries) Aluminium specified to meet sustainable criteria (Novelis) Glulam structures designed for curve appeal (Fordingbridge) Central position (Kawneer)

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Product Information Index

Redefining Sustainability Although more than two thirds of professionals in the built environment identify sustainability as the industry topic of greatest interest to them, the actual meaning of the term is constantly developing. Ecobuild’s Redefining sustainability campaign has been developed to drive discussions about and ultimately create a universally accepted understanding of sustainability that is appealing, engaging and most importantly, accessible to all. From active social media conversations, blogs, roundtables and ballot boxes at events, the campaign has already seen an extraordinary level of passionate response from the industry. These responses have not only highlighted the need to bring shared goals and objectives into focus, but also the huge gap that needs to be closed through greater collaboration, increased communication and transparency across the supply chain when discussing the topic. The outcomes of the activity are set to come to life at Ecobuild 2017 (7-9 March, ExCel London) and compliment the event’s overarching Regeneration theme. Alongside collaborators including Turner Prize winner, Assemble, UK-GBC, Construction Products Association, the Institution of Civil Engineers (ICE) and the Chartered Institution of Building Services Engineers (CIBSE), the threeday conference and exhibition will see architects, politicians and other industry leaders converge to discuss the future of housing, architecture and sustainability through the lens of regeneration. To be part of this industry changing discussion, share your views, case studies, learning, challenges or successes, join the debate on social media using #Sustain­ abilityIs. ¥

Glass Light, bright and sophisticated styling (Day True) A clear advantage (C.R. Laurence) Custom colours and surfaces for interior design (Gx Glass)  Opening moves (Schueco) High-spec glazing for university training school (Sapa Building System) Shattered illusions (Yorgos Papadopoulos)  Kitchens Making the connections leads to core concepts (Del Tongo Industrie)  Ancient and modern (Toncelli Cucine)  New-generation porcelain surfaces to cook on (SapienStone) Flowing looks (LG Hausys) Contemporary styling suits open-plan living areas (Schmidt Kitchens) Extended lines (Pronorm) Stainless steel professional kitchen fit-outs (Abimis Kitchens) Push to open (Blum) Wall and Floor Tiles Mountain ranges (La Fabbrica) Classic and contemporary styling by hand (Waterworks) Material properties (Lithos Design) Fashionable choices lead new collections (Tile of Spain) Character paving (Natural Paving Products) Architectural ceramics for the public and private sectors (Lubna Chowdhary) On the Spot 10 years of the DETAIL Prize – a feast for architecture (and its protagonists) Redefining sustainability

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Cover 1_2017: Chapel in Nanjing Architects: AZL Architects, Nanjing (CHN) Black-and-white photos introducing main sections: page 5: K8 in Kyoto Architects: Florian Busch Architects Tokyo (J) page 13: Estonian National Museum in Tartu Architects: DGT. Dorell.Ghotmeh. Tane / Architects, Paris (F) page 21: Chapel in Nanjing Architects: AZL Architects Nanjing (CHN) page 61: Crystal Houses in Amsterdam Architects: MVRDV, Rotterdam (NL) page 71: Trade fair stand at Glasstec 2016 in Dusseldorf 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.

2017 ¥ 1   ∂

p. 72 bottom right Spencer Griffiths p. 76 top left and centre Sam Bagnall p. 82 top right, bottom right Jake Fitzjones Photography Ltd p. 86 top right, bottom right Tiziana Arici p. 92 top left and right, bottom centre and right Waterworks p. 95 top centre and right Angela Moore bottom, left and right Paul Highnam p. 96 top , bottom PIXEL AND DOT Photography pp. 33, 34/35, 36: Iwan Baan, Amsterdam (NL) pp. 38 – 41: Jörg Hempel, Aachen (D) p. 42 right bottom: AZL Architects, Nanjing (CHN) p. 56 – 60: Werner Huthmacher, Berlin (D) pp. 61, 63: Daria Scagliola & Stijn Brakkee, Rotterdam (NL) pp. 62 top, 67, 68, 71: Frank Kaltenbach, Munich (D) p. 64 top: Adrien Barakat, Lausanne (CH) p. 66: Belectric OPV GmbH, Kitzingen (D) p. 69: Otto-Chemie, Fridolfing (D)

p. 5, 10 bottom: Sohei Oya, Tokyo (J) pp. 5, 6 bottom, 7, 8 top: Iñigo Bujedo-Aguirre, Barcelona (E) p. 6 top: Yves Callewaert, Lissabon (P) p. 8 bottom: ©Hufton+Crow/courtesy AL_A p. 9: Earl Carter, St Kilda (AUS) p. 10 top: Peter Cook, London (GB) p. 10 bottom: Edmund Sumner, London (GB) pp. 12 top, middle: Stefan Larson/AUJIK p. 12 bottom: Bahadir Özbek/nookta pp. 13, pp. 14 bottom, 15, 16/17, 18 bottom, 50 – 55: Takuji Shimmura, Paris (F) p. 14 top: Johannes Pääsuke/Estnisches Nationalmuseum Tartu, Tartu (EST) p. 16 top: Estnisches Nationalmuseum Tartu, Tartu (EST) pp. 16 middle, bottom: Arp Karm/ Estnisches Nationalmuseum Tartu p. 19: Tiit Sild, Tartu (EST) pp. 21, 42 left, 43 – 45: Yao Li, Jiangsu (CHN) pp. 22 – 25: Julien Lanoo, Comines-Warneton (B) pp. 26 – 27, 29, 30: Luc Boegly, Paris (F) p. 28: Claudia Fuchs, Munich (D) p. 31, 33, 37: Christian Schittich, Munich (D)

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 2017 on 13 January, 1 March, 2 May, 3 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

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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. Managing director: Karin Lang Publishing director: Claudia Langert Editorial team: (address as above) Tel.: +49 (0)89-38 16 20-57 E-mail: Dr. Sandra Hofmeister (editor-in-chief, (V. i. S. d. P.)), Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Julia Liese, Thomas ­Madlener, Emilia Margaretha, Peter Popp, Maria Remter, Jakob Schoof, Edith Walter, Heide Wessely Dejanira Ornelas Bitterer, Marion ­Griese, ­Emese M. Köszegi, Simon Kramer ­(drawings) Editorial team DETAIL product ­information: Thomas Jakob, Jenny Clay Tel.: +49 (0)89-38 16 20-0 English translations: Elise Feiersinger (pp. 3 –70); Marc Selway (pp. 72– 97) Production /DTP: Peter Gensmantel (manager), Michael Georgi, Cornelia Kohn, Andrea Linke, Roswitha Siegler, Simone Soesters Distribution & Marketing: Kristina Weiss (manager). Irene Schweiger (sales) Tel.: +49 (0)89-38 16 20-25 Advertising: Annett Köberlein (manager), Claudia Wach (sales administrator) Tel.: +49 (0)89-38 16 20-24 Advertisement Sales Representative Cézanne Sales Services Denise Cézanne-Güttich Rotdornstr. 2 41352 Korschenbroich Germany T: +49 (0)2182 578 39 73 F: +49 (0)2182 578 39 75 M: +49 (0)172 821 0095 E:

Subscription: 8 issues per year (incl. 2 DETAIL green issues in April and November) € 131.– for students € 82,– £ 92.–, for students £ 58.50 US$ 179.–, for students US$ 109.50 (Proof of student status must be ­provided to obtain student rates.) All prices include postage/packing ­(surface mail). Single issues: DETAIL English: € 18.90, £ 13.–, US$ 24.50 DETAIL green: € 18.90, £ 13.60, US$ 24.50 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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