DETAIL English 3/2015 - Concept: Industrial Building

ISSN 1614-4600 · MAY · JUNE £12.50 · US$ 24.50 · €18

English Edition

Industrial Building · Review of Architecture and Construction Details · Vol. 2015 · 3

Concept

∂ Review of Architecture Vol. 3, 2015 • Industrial Building Editorial office: E-mail: redaktion@detail.de Tel.: +49 (0) 89 38 16 20-57 Christian Schittich (editor-in-chief) Johanna Christiansen, 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 Peter Green (pp. 218–232; 236 –256; 272–284) Elise Feiersinger (pp. 234, 258 –271); Marc Selway (pp. 286 – 394) (English translations) Advertising: E-mail: anzeigen@detail.de Tel.: +49 (0) 89-38 16 20-34 UK Representative Advertising: Peter L. Townsend Email: plt.detail@gmx.de Tel.: +49 (0)157-85 05 95 32 Fax: +48 (0)89-38 16 20-99 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

The French and Italian translations are available for every issue and can be downloaded as PDF files: www.detail.de/translation

Discussion 220 Editorial 222 “We’re not concerned with corporate identity, but with quality”

A discussion with Frank Barkow and Regine Leibinger

Frank Kaltenbach

Reports 230 Ring of Remembrance – Memorial in Ablain Saint Nazaire

Claudia Fuchs 234 Books, Exhibitions

Typology 236 Industrial Building between Smart ­Factory and Future Urban Industries

Frank Kaltenbach 237 Production Plant for Hydraulic ­Components in Kaufbeuren

Barkow Leibinger, Berlin 240 Production Hall and Warehouse for Wooden Goods in ­Böhen

Harald Schädler, Memmingen 242 Building for the Development of Pharmaceutical Appliances in Takatsuki

Takashi Yamaguchi & Associates, Osaka 244 Winegrowing Estate in Saint-Émilion

Christian de Portzamparc, Paris 247 Headquarters of a Manufacturer of Packaging Machines in Mex

Richter Dahl Rocha & Associés, architects, Lausanne 250 Research and Production Building for Monitoring Devices in Bubikon

E2A Architects, Zurich; Wim Eckert, Piet Eckert 252 Production Building for Curtain Systems near Udine

GEZA Gri e Zucchi Architetti Associati, Udine 254 Development and Production Building for Propulsion Systems in Igersheim

Henn, Munich

Process 258 McLaren Production Centre in Woking

Foster + Partners, London 272 Ricola Kräuterzentrum in Laufen

Herzog & de Meuron, Basle

Products 286 Bathrooms and Kitchens 296 Refurbishment 302 Interior Design 308 CAD, Software and BIM 312 Service 318 Persons and organizations involved in the planning • Contractors and suppliers 322 Programme • Photo credits • Editorial and publishing data

Editorial

Industrial Building In the planning of industrial buildings, alongside corporate design and functional aspects, flexibility and the interrelationship between research, development and manufacturing processes are becoming ever more important.

The projects included in this issue range from a hall for manufacturing cars to a works for pharmaceutical technology and a modern vineyard facility. What’s more, the entire range of structural materials is to be found in the examples, from steel, concrete and timber to something that may be regarded as exotic in many parts of the world ­today, namely earth. With the use of this substance, the Ricola herbal centre near Basle seeks to demonstrate its closeness to the site and its environmental awareness.

The McLaren Production Centre near London, on the ­other hand, with a space distinguished by the use of ­ceramic tiles, has more in common with a laboratory than a classical, industrial automobile works, precisely reflecting the elaborate production methods of this sports-car manufacturer.

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“We’re not concerned with corporate identity, but with quality” – a discussion with Frank Barkow and Regine Leibinger

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www.detail.de Barkow Leibinger is one of the few architectural practices that owes its international reputation largely to industrial buildings.

The range of activities in which Frank Barkow and Regine Leibinger are involved – together with a staff of 50 at present – extends from experimental studies in materials for exhibitions like the Venice Biennale of ­Architecture to “soft master planning” in the development of industrial sites and urban districts.

DETAIL: In recent times, your office has gained attention with high-rise buildings: the Estrel Tower, for example, will be the tallest structure in Berlin.

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Are you no longer int­erested in industrial developments?

Frank Barkow (laughing): The impression is deceptive. Over the past two years, we have built our hitherto largest production works for HAWE as well as a number of other interesting industrial halls for Trumpf. But of course, winning a competition to erect the tallest building in Berlin gains much greater attention in the media than a factory opening somewhere on the periphery. Even the small Fellows Pavilion for scholarship holders of the American Academy in Berlin will probably attract greater international interest than the four huge production halls for hydraulic

components in Kaufbeuren, where thousands of cars drive past every day.

DETAIL: Does that mean that industrial building is a rather thankless task for an architect’s career? What other projects do you have in Berlin?

Frank Barkow: In 2013, we completed a garden pavilion on Wannsee and last year, the Aufbau Haus 84, a studio building for creative trades in Moritzplatz.

Two office developments near the main station have reached the carcass-structure stage, and the Estrel complex in Neukölln, with a 175-metre-high hotel tower, is in the course of planning.

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1– 3 Trumpf, Ditzingen 1 Master plan scale 1:10,000 a Existing building b Laser factory, 2000 c Marketing and administrative building, 2003 d Service training centre, 2007 e Gatehouse, 2007 f Company restaurant, 2008 g Development centre, 2009 2 Company restaurant, Ditzingen, 2008 3 Gatehouse, Ditzingen, 2007 4 Trumpf works, Ditzingen, 2003

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Over the years, therefore, his site has become a veritable architectural exhibition, and unlike other places of production, it’s ­also open to visitors.

Frank Barkow: Industrial building has earned this attention, though. It’s a realm of construction that has been unjustly neglected, one in which the greatest innovative leaps have been made and the boldest experiments ­implemented in the history of architecture. Just think of AEG, Fagus, Ford, Johnson Wax, Olivetti...

DETAIL: What is it about high-rise buildings that particularly attracts you?

Frank Barkow: In industrial construction, we’ve been able to implement almost all the concepts and architectural ideas we have developed over the years. It’s therefore quite refreshing to be able to do something completely different for once. What’s more, slender towers are a complementary form to low-rise halls. But to be quite honest, with high-rise construction, the design latitude ­internally is very limited. We therefore try to enter into a dialogue with the urban fabric by using exciting cubic forms and three-­ dimensional, sculpturally planned facades.

We are still confronted with challenges in the form of industrial developments, of course, and it would be foolish to neglect those areas of construction where we have the greatest amount of experience and expertise to offer.

DETAIL: You also undertake the planning of large industrial areas. What is your philosophy in this respect?

DETAIL: With the high quality of your buildings, you have made industrial construction “respected” again in architectural circles. Is there an increased demand for structures of greater quality?

Regine Leibinger: We register a marked growth of interest among clients in particular. We notice this in the fact that architectural competitions are increasingly being held in this field. That applies especially to medium-size undertakings – inventive leaders on the world market who may often be less well known publicly, yet of whom there are a lot in this country. That means potentially more contracts for us, but also more competition in a field that our colleagues tended to neglect in the past. But we are neither the first nor the only ones to have given industrial building its rightful place in architecture again. The Vitra development in Weil am Rhein, for example, has caused a much greater stir than our projects.

DETAIL: Why is that?

Regine Leibinger: Since the 1980s, Rolf Fehlbaum, the head of Vitra, has been ­clever enough to gain the support of worldfamous architects for his production halls.

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Regine Leibinger: We have formulated a concept of “soft master planning” for this, which means not drawing up a far too rigid set of rules and trying to fix things that will take place in the distant future – things that really can’t be foreseen. Good master planning should be able to respond to the development of a concern. It should be able to react to rapid growth, but it will not be incomplete if the individual steps take longer than foreseen. It should be able to adapt when technologies change or completely new needs arise. To achieve this, you have to work your way very deeply into the production processes and really understand the company. We love this kind of dialogue.

Edition

Acoustics and Sound Insulation Eckard Mommertz, Müller-BBM, 2009.

112 pages, with numerous diagrams and photos. Format 21 × 29.7 cm.

ISBN 978-3-7643-9953-5 Paperback: € 42.95 / £ 35.– / US$ 60.– + postage/packing + VAT, if applicable ∂ Practice series

Ideal interior designs for optimal acoustics Sound installation and acoustics are perhaps not the primary factors that normally influence a building’s design. Nevertheless, if you have ever failed to understand the lecturer in a seminar room, found the noise level in a large office unbearable or lost sleep due to a neighbour’s snoring, it becomes clear how significantly room acoustics contribute to your everyday well being. Every room possesses

Room acoustics More accurate prognosis methods and room acoustics measurements

an acoustic dimension that varies depending on the requirements of its function.

The handbook conveys practical and experienced knowledge of acoustical engineering to all expert planners, architects as well as to interested building contractors. In doing so, the manual raises your awareness of how specific acoustic considerations can contribute to the success of a project.

Room acoustics Sound absorption of architectural surfaces

Detailed, typologically specific measures for acoustic and noise-control engineering

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choice of input parameters, i.e. modelling of the surfaces, absorption and scatter properties. If the modelling contradicts the laws of geometric acoustics, e.g. the surfaces are resolved too finely, unrealistic results are the inevitable outcome.

Used with care and backed up by experience, room acoustics simulations are a valuable aid in modern acoustic design.

With a little more effort it is possible to use the results of the simulation to hear what rooms sound like in advance. The term auralisation was coined for this. In this case the receiving characteristic of the human ear is emulated in the simulation.

It is possible to create a realistic aural impression of a room by processing speech or music recordings (recorded without any reverberation) and played back via headphones or loudspeakers.

This is a very good way of assessing speech or loudspeaker systems, or also individual instruments. However, emulating the sound of a whole orchestra is still a dream owing to the complexity and interaction of the sounds.

Special features of small rooms Describing the sound propagation with the help of geometrical and statistical methods is inadequate for small rooms with a volume less than approx. 100 m3 and low frequencies less than about 160 Hz. The wavelengths are then in the order of magnitude of the room dimensions and the sound pressure level depends on how good the respective wavelength “fits in the room”. Room resonances occur when one dimension of the room coincides with half the wavelength or a multiple of it.

Undamped room resonances make themselves felt during speech or music as unpleasant booming. This is particularly noticeable when there is a whole-number ratio between length, width and height because then the same resonant frequencies are superimposed.

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Favourable proportions for rectangular rooms require room dimensions that are as dissimilar as possible, e.g. ratios of 1:0.83:0.47 or 1:0.79:0.62. Placing one or more room surfaces at an angle, dividing up large areas of the wall surfaces or using absorbent materials are suitable methods for suppressing disturbing room resonances. Such aspects are particularly important for the recording and listening rooms of studios, but also in classrooms for music. These considerations also play a role in small, possibly glazed, offices. The physical effects can be predicted with more accuracy by using finite element or boundary element methods, for example, where the sound is modelled according to its wave nature. For large rooms, such methods are only suitable for low frequencies at best owing to the computing time required.

Measurements of room acoustics are generally carried out with the help of special measuring loudspeakers. Microphones or possibly a dummy head (p. 11) are used as receivers. The number of measuring positions (transmitters and receivers) varies with the size of the room and lies between about six positions in rooms of classroom size up to more than 100 in concert halls and opera houses.

The duration of the measurements varies correspondingly, from 30 minutes to whole days (or nights).

The measurements are mostly carried out in unoccupied rooms and the results converted to the occupied condition.

Measurements in venues are occasionally carried out in the occupied condition, e. g. directly prior to a performance, with fewer measuring points (duration about 5 – 10 min).

Room acoustics measurements An objective room acoustics quality assessment, or a report on the current situation, is necessary to check both design and construction, in advance of planned refurbishment work, or in the event of complaints. Whereas in the past a blank cartridge fired from a gun or bursting balloons were the methods often used, these days synthetic measurement signals that can cover the entire range of audible frequencies are used. In this way, room impulse responses can be determined quickly and accurately, allowing the reflections structure and objective room acoustics criteria to be evaluated. It is also possible to track down acoustic defects with the help of intelligent measuring techniques.

If only the frequency-related reverberation time is required, the decay process of noise signals after switching off can be evaluated.

Measurements on models During the design phase it is possible to measure the room acoustics using models, normally built to a scale of 1:10 or 1:20. The model includes all the surfaces in the room shaped and positioned according to the drawings. Owing to the smaller dimensions, the lengths of the soundwaves are also scaled down, i. e. the measurements are carried out at higher frequencies.

The problems are that absorption increases with the frequency and this affects the measurements for sound propagation in air, and it is not easy to transfer the sound absorption properties of materials to the scale of the model. The audience, or seating, is usually represented by soundabsorbent profiled plastic foam (Fig. 2b).

Compared to computer simulations, measurements on models have the advantage that the sound propagation remains faithful to the wave nature of sound, i.e. focusing and scattering of the

sound is emulated properly in physical terms.

Owing to the different pros and cons of measurements on models and computer simulations, both methods are sometimes used together for particularly demanding room acoustics tasks (concert halls, opera houses).

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Sound absorption of architectural surfaces Many of the surfaces preferred by architects these days, e.g. glass, fair-face concrete, plaster, reflect sound. It is therefore frequently necessary to incorporate sound-absorbent materials into the interior design. Industrially manufactured products, custom-designed surfaces and multi-layer constructions are all potential options.

All kinds of sound-absorbent systems are available, from mineral-fibre insulating boards, laid, for example, in suspended ceiling systems, to special products such as microperforated foils. The materials differ not only in terms of appearance and price, but also in their acoustic efficiency, i.e. the sound absorption coefficient.

Measuring sound absorption in a reverberation room Sound-absorbent linings and materials are identified by the sound absorption coefficient for omnidirectional sound incidence. Typical values for many architectural surfaces can be found in the relevant publications. For acoustic products, the sound absorption coefficients are listed in their technical specifications.

Most of the data is based on measurements carried out in a testing laboratory to DIN EN ISO 354. According to this international standard, the construction to be tested – an area of 10 –12 m2 – is set up properly in a so-called reverberation room (Fig. 1a). After measuring the frequency-related reverberation times with and without the construction, the Sabine reverberation equation can be used to determine the sound absorption coefficient _S, which is specified in one-third octave bands from 100 to 5000 Hz.

Building acoustics Room acoustics Design and forecasting procedures Noise protection in urban design Samples of completed projects

Examples of wall linings that scatter the sound: a Bruneck Grammar School, Southern Tyrol b Refurbishment of Teatro Reggio, Turin Sala Santa Cecilia, Parco della Musica, Rome, 2002, Renzo Piano Building Workshop a Computer model for acoustic purposes: the room acoustics computer simulations help to provide more accurate forecasts of the acoustic propagation quality that can be expected. b Model built for acoustic tests (scale 1:20), shown here opened; the audience is resented by soft profiled acoustic foam Soundwaves are reflected in various directions from structured surfaces; schematic drawing of a lining with a sawtooth structure. a Low frequencies ignore the structure if the wavelength is large compared to the dimensions of the structure; the sound energy is reflected geometrically with respect to the dotted red line. b Medium frequencies are scattered more or less evenly in different directions. c High frequencies are reflected geometrically from the individual surfaces (dotted blue line) because here the dimensions of the sawtoothstructure are large compared to the wave2b lengths.

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Reports

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Books, Exhibitions

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Latin America in Construction: Architecture 1955–1980

Frei Otto – a Life of Research, Construction and Inspiration Irene Meissner, Eberhard Möller Institut für Internationale ArchitekturDokumentation, Munich May 2015, 128 pp., hardcover, German/English, ISBN 978-3-95553-252-9 €34; £27; US$48 No other architect provided as many ideas and inspiration to construction in the second half of the 20th century as Frei Otto. Lord Norman Foster described this great pioneer of lightweight construction simply as “an inspiration”. Frei Otto explored the foundations of resource and energy-efficient building well before these issues received the attention of the wider public. By including users in construction planning and taking into account local and climatic conditions, he was able to open new avenues for the building industry. The publication provides insights on the key aspects of his work. At its heart was the search for natural designs and an exploration of form-finding and selfdevelopment processes. As such he created a whole universe of ideas using membrane, net and convertible roofs with umbrellas, gridshells, and pneumatic structures. The book introduces his key works and highlights how his ideas were adopted and disseminated throughout the world. It is a depiction of some of his most important works: from the pavilion in Montreal to the Munich Olympic roofscape and the Berlin eco-houses. We learn about new forms of lightweight and natural, adaptable and modifiable construction and gain insight into interdisciplinary research projects. Frei Otto’s work is a source of inspiration for architects and engineers worldwide.

This catalogue was intended to coincide with the German architect’s 90th birthday, but has instead been published shortly after his death. Frei Otto passed away on March 9, 2015. He will receive the Pritzker Architecture Prize, considered the most prestigious international award in architecture, posthumously.

The exhibition offers an overview of the positions, debates, and architectural output of countries as far apart as Mexico and Chile, and for the era spanning from 1955 to the early 1980s. This period of self-questioning, exploration, and complex political shifts also saw the emergence of the notion of Latin America as a landscape of development, one in which all aspects of cultural life were colored by this new attitude toward what emerged as the “Third World.” The show unites a wealth of original materials that have never been shown together and, for the most part, are rarely exhibited. The exhibition features drawings, models, vintage photographs, and film clips alongside newly commissioned models and photos.

Until July 19, 2015 MOMA, New York Provocations: The Architecture and Design of Heatherwick Studio Following his studies at London’s Royal College of Art, Heatherwick established a practice that encompasses projects ranging in scale from very small to monumental, from products to public sculpture to architecture.

It is recognized for its inventive approach to design, often combining novel engineering with new materials and innovative technology to create unusual, often sculptural, building forms. The exhibition examines the astonishing range of the studio’s practice by focusing on the design concepts behind small products, such as the handbag designed for Longchamp, as well as large public and private architectural projects in the U.K., U.S., Abu Dhabi, South Africa, ­Singapore, and China.

Until May 24, 2015 Hammer Museum, Los Angeles 52 Weeks, 52 Cities Photographies by Iwan Baan Iwan Baan is a master of his craft and has photographed the works of everyone who is anyone in architecture – from Rem Koolhaas and Herzog de Meuron to SANAA, from Steven Holl and Toyo Ito to Zaha Hadid. But classical architectural photography is not enough for him. He thinks and photographs in social contexts, and is far more interested in how people relate to architecture, take possession of it, use and thus change it.

“52 weeks, 52 cities” is akin to a visual travel diary and illustrates the cosmopolitan’s view of globalized architecture, focusing to an equal degree on slums and boomtowns.

Until June 13, 2015 Deutsches Architekturmuseum DAM Frankfurt/Main

Expo Mailand 2015 This year more than one hundred forty countries are participating in the Milan World’s Fair. The theme is “Feeding the Planet, ­Energy for Life”. The fairgrounds – the surface area available for exhibitions totals some one million square metres, including 200,000 of green space – are located in the metropolitan area northwest of Milan. The master plan was developed by a team of designers: Stefano Boeri, Richard Burdett, Mark Rylander and Jacques Herzog. They envisioned the site as an island encircled by a channel. Two axes perpendicular to one another – the World Avenue and the Cardo – constitute the organizing principle for the grid which contains the parcels for the respective countries. The latter are grouped according to climate zone. Each of the four cardinal directions is marked by a symbolic key element: a Mediterranean hill, an openair theatre, a lake arena and the Expo Centre. Thematic areas, such as Michele De Lucchi’s “Pavilion Zero” – a call for impartial scientific study of the planet – and Future Food District are further stations. One of the main goals of the Expo 2015 is to create a sustainable, environmentally sound prototype consisting of buildings (including the administrative offices) and exhibition pavilions. The concept varies from country to country: it spans from Norman Foster’s pavilion for the United Arabic Emirates, with building certification in keeping with LEED, to the Czech Republic’s pavilion, which foresees a post-expo conversion to restaurant and swimming pool. The German pavilion’s flowing forms signify inspiration from nature for eco-stewardship. The material wood becomes an overarching metaphor for judicious use of natural resources. For example, the outer skin of the Chilean pavilion showcases an expressive space frame made of wood (see photo below). Japan and China’s pavilions illustrate how traditional constructoin techniques can be combined with stateof-the-art technology to arrive at earthquake resistant structures.

Rossella Mombelli 1.5. – 31.10.2015, www.expo2015.org

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Winegrowing Estate in Saint-Émilion Architects: Christian de Portzamparc, Paris Team: Olivier Chadebost, Etienne Pierres, Daniel Romeo Structural engineers: Scyna4, Ivry-sur-Seine Others involved in the project: see page 319

www.detail.de The history of the Château Cheval Blanc vineyard in Saint-Émilion near Bordeaux dates back almost 200 years to the 1830s.

Distinguished as “Premier Grand Cru Classe A”, the Bordeaux wine produced here is internationally renowned. Since 1998, the concern, which has a long-standing tradition, has been run by the businessmen Bernard Arnault and Baron Albert Frère. In the Bordelais, prestigious new buildings housing wine cellars have been in vogue for some years now, and the Château Cheval Blanc followed this strategy by commissioning the present structure from Christian de Portzamparc. The former cellars, dating from the 19th century, are used today as a dwelling house and ac-

commodation for guests, while wine production has been transferred to the new building with a floor area of approximately 700 m2.

With its dynamic curves – meant to suggest the form of a wine glass – the white, sail-like structure is draped seemingly weightlessly over the development. While the building ­rises gently upwards in the longitudinal view, seen from the front, it almost merges with the ground. In addition to its formal concept, though, the structure is based on a functional one: the separate processing of the various varieties of wine according to location.

Each of the 52 fermentation tanks is reserved for a specific wine-growing area. The overall layout is strictly symmetrical, with the

individual functions lined up next to each other. From the foyer, one proceeds through the hall with the fermentation tanks into the area for technical processing and finally, via an atrium, to a seminar space. The lower storey, articulated by rows of columns, contains the storage areas for the barriques and the wine bottles. Walls consisting of unplastered brickwork, inspired by Arabian mashrabiyas, ensure a natural ventilation of the barrels. In contrast, the ground floor is free of columns.

The load of the roof is borne by six vertical concrete slabs. The use of oak and exposed concrete is also a reminiscence of the wine barrels and the concrete tanks in the Cheval Blanc cellars.

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Products manufactured: Bordeaux wine Production area: n/a Overall area: ca 700 m2 Gross volume: n/a Storey height (production): 6.50 m External dimensions: 80 ≈ 35 m Structural span: 16 m Construction grid, storage of bottles / barrels: 5.90 ≈ 5.50 m / 5.40 ≈ 3.70 m Staff: 45 Overall construction costs: €12 million Site plan scale 1:3500 Section • Floor plans scale 1:750 1 Reception area 2 Fermentation tanks 3 Mechanical services 4 Atrium 5 Seminar space 6 Storage of barrels 7 Storage of bottles

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McLaren Production Centre in Woking Foster + Partners, London

This production building in Woking, a city within commuting distance to London, is characterized neither by roaring machines, frantically ­rotating high-tech robots, nor an unsightly industrial atmosphere, but by serenity and a deliberate quest for unified design. Each year the employees of the race car manufacturer McLaren Automotive assemble up to 4000 vehicles here by hand – in a setting that more closely resembles a laboratory than a car factory.

Built-ins extend no more than 1.60 m above the floor, white surfaces and open or generously glazed work areas (even in the paint shop) provide working conditions in which the employees are continually in contact with each other. Concealed pipes, cables and ducts with a variety of connection options for the required equipment make it possible to flexibly arrange the production area.

The focus is directed to an equal degree to the individual, the product, and the building: this has to do with the fact that McLaren Production Centre serves not only as production site, but also as marketing instrument with which the company’s high art of engineering and craftsmanship is to be communicated to visitors. That this occurs in a matter-of-fact and – true to England – discreet manner is illustrated by the building’s immediate surroundings: the expansive, unspoilt landscape is free of fences and “no entry” signs.

Others involved in the project: see page 321

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Choreography of Continuity – A Sensi­ tive Addition to the McLaren Campus

The Formula One team established by Bruce McLaren in 1963 is one of the most successful motor sport team of all times, but until ten years ago it was still distributed among several sites in Woking, a small city southwest of London. On the grounds of a former ostrich farm on the edge of Woking, the McLaren Technology Centre (MTC, 1998–2004) was erected to bring all of the different divisions and infrastructur together under one roof: these include design studios, workshops, offices, and testing and production equipment. The new kidneyshaped headquarters is situated amid an unspoilt landscape consisting of woods and meadows in the Green Belt surround-

ing London, and for this reason permission for construction was contingent upon compliance with a number of constraints – for example, the building was not allowed to exceed the height of its neighbours.

Located next to an artificial lake that cools the building energy-efficiently, the steel and glass MTC, designed by Foster + Partners, serves as a functional unit that typifies terminology associated with the brand McLaren: state-of-the-art technology, precision, and the arts of engineering and craftsmanship. Guests experience this, for example, in the generously dimensioned circulation and exhibition areas, the outdoor areas situated around the orthogonal research

and office wings, and along the building’s curved lake facade.

At the time McLaren’s stated goal was to be able to produce small runs of street-model sports cars that would exceed its recent typical annual figures of only 350 autos. In 2010 the company began construction of an autonomous production building. In ­contrast to the neighbouring MTC, the brief for the McLaren Production Centre (MPC) clearly defined what was required, and this is ultimately reflected in the building’s unspectacular right-angled form.

To keep the footprint of the MPC as small as possible, a large part of the 34,500 m2 surface area is situated below ground. The material that was excavated was used to raise the ground level and build earth berms as transitions between the building and the gently rolling landscape: at only seven metres high, this newest addition ­remains almost hidden as one enters the campus, part of a choreography aimed especially at customers and business partners. The tour of the campus usually leads from the MTC through a tunnel directly to the MPC, whose unexpectedly large, clinically white space could in some measure be considered a birthplace of sports cars.

Regardless of how one enters the building – whether through the tunnel, the glazed entrance rotunda in the north, or the incoming goods area to the south – the spatial impression is always characterized by a pleasant openness that immediately makes clear where the respective steps in the work process occur.

Because aside from small electrical tools no machines, robots or conveyor belts are used in the automobile assembly, a contemplative calm predominates: all building components, but also the semi-assembled vehicles, are operated or positioned manually by means of low-friction trolleys; noisy motor tests or high-pressure test washes take place in screened-off glass boxes. The fact that one sees no cables or technical gear also has considerable bearing on the perception of the space.

To this end the architects developed a sim-

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ple steel structural system consisting of clad twin columns and trusses, and the resultant cavities contain ducts and profiles for media, water pipes, sprinkler pipes, ventilation, and single- and three-phaseelectricity cables. Light fixtures, ventilation nozzles, electric sockets and electricity connections are flush with the ceiling members or integrated in the columns. In addition there are trenches under the floor and ducts in the exterior walls for installation cores, so that a large variety of installation scenarios are conceivable. At the same time, the pared-down aesthetics of the production sites remains intact.

There are two main reasons that it was pos-

Process

sible to design and – relatively cost-efficiently – build the McLaren Production ­Centre in only twenty months. First of all, the Foster + Partners were guided by the architectural vocabulary, as well as the standard details, of the MTC: for example, the glazed railings, the wall cladding, and the circumferential cantilevering roof. Second, not only were to a great degree the same designers involved in both projects, but also the same firms.

Last but not least, it was the unwavering quest of both the architecture firm and client for clear, simple, efficient solutions that made it possible to realize such a highly functional building.

Products manufactured: Small runs of street-model sports cars Production area, store: 19,700 m2,13,500 m2 Overall area: 34,500 m2 Gross volume: 152,400 m3 Storey height (Production): 5 m Storey height (Storage): 4 m External dimensions: 100 ≈ 200 m Structural span: max. 21 m Construction grid: 9 ≈ 9 m (Storage), 18 ≈ 18 m (Production) No. of production staff: 250 Overall construction costs: £40 million

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Section scale 1:20 1 roof construction: standing seam roof profile, aluminium 120 mm thermal insulation vapour barrier steel supporting structure to falls void 60 mm acoustic panel, underside perforated sheet steel 2 syphonic roof drain system: waterproof membrane aluminium gutter 60 mm rigid thermal insulation 3 services profile with integrated light fixture 4 air distribution duct 5 sprinkler pipe 6 roof construction at cantilever: standing seam roof profile, aluminium steel supporting structure 60 mm structural metal deck 1.5 mm aluminium ceiling panel, powder-coated 7 facade (interior): 60 mm aluminium sandwich panel with integrated thermal insulation steel supporting structure 8 void for services distribution 9 facade (exterior): 150 mm aluminium sandwich panel with integrated thermal insulation and vapour barrier steel supporting structure 10 Ø 102 mm aluminium CHS on steel supporting structure 11 floor construction: 13 mm ceramic tiles 100 mm cement screed waterproof membrane 425 mm reinforced concrete deck

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McLaren Production Centre in Woking

2015 ¥ 3 Concept ∂

“Every Detail Counts” – A Conversation with McLaren Production Director Alan Foster

DETAIL: How does McLaren’s automobile production differ from that of other manufacturers?

Alan Foster: If we were to list all of the components used in automobile production it would be difficult to tell the different manufacturers apart. In the end all cars have four tires and a motor. Be that as it may, there are enormous differences in how automobiles are built. Our approach, which involves developing and producing sports cars in an atmosphere that is free of dirt and noise, reflects how exquisite and special these cars are. I like to compare it to a gourmet restaurant. The ingredients the top chefs use – like those of the different auto-

mobile manufacturers – are all quite similar.

Nevertheless, our goal is to create special emotions here, extraordinary aesthetics, and a special “taste”.

Regardless of whether the tours of the McLaren Production Centre are given to (potential) customers, politicians, or sponsors, afterwards they will all tell other people about the experience. If we are able to reach and inspire people, it will also become possible to influence how they feel and think about the brand. McLaren Automotive’s aim is to become the most important race car brand; we are aware that it will take more than just fast, beautiful cars to achieve that goal.

Base coat

DETAIL: What path do guests visiting the McLaren Campus and the McLaren Production Centre take?

Alan Foster: The classic path usually begins in the north, in the entrance rotunda situated in the MTC. Following presentations in the sales centre and a walk past historic McLaren automobiles, Formula One race cars, and the collection of trophies, the visitors pass through an underground corridor.

Clad completely in white high-gloss panels it leads to the MPC and gives visitors a break in the thinking process – allowing them, so to speak, to clean their palettes – before they enter the VIP-zone on the mezzanine. From a balcony they overlook the

Primer (colour)

Parts to be painted

Top coat

Parts to be painted

Laquer

Goods in

Lift to storage

Body assembly

Goods out General assembly

Re-work area

Quality sign off

Final wash

Monsoon wash

Test drive

Production line scale 1:1250

Access from MTC

∂ Concept 2015 ¥ 3

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Roland Pawlitschko conducted the interview with Alan Foster, operations director at McLaren Automotive since 2008, at the MPC in Woking.

production hall, where on average a sports car is completed every 45 minutes.

The surprise at the sheer scale of the 20,000 m2 hall is palpable and is reinforced by the fact that upon entering the campus, most visitors have no sense of how large the MPC is.

At the MPC we give our customers the opportunity to watch their own cars being assembled or painted. The air pressure in the completely glazed paint boxes is raised slightly (a measure to keep out potentially impure air). Thanks to this measure, the customers may watch the paintwork in their normal clothing – as opposed to being required to wear special dust-free protective suits.

DETAIL: Why is it that white surfaces are predominant in the MPC’s appearance?

Alan Foster: We realize that from a distance or in photos the MPC may at first seem a bit cool. But as a rule, anyone who has physically experienced the space finds it pleasantly bright, friendly, and warm. The collegial atmosphere among the 250 persons presently employed here also contributes to this mood. At the same time, the white surfaces reflect so much light that about 25 % of the lights initially foreseen were deemed unnecessary and not installed. That adds up to a significant energy savings and furnishes ideal lighting conditions for assembling vehicles. More light

would cause fatigue among employees, and less would hamper them in their work.

DETAIL: What factors led to the decision to do without daylight in the hall? Were skylights considered?

Alan Foster: Yes, we seriously considered the use of skylights. For a number of reasons we decided against them. First, even if we had in the end incorporated skylights in the roof, it wouldn’t have allowed us to completely do without artificial light. And second, installing skylights would have required increasing both the roof assembly and the cross-sections of the steel.

But because the overall height was speci-

Ricola Kräuterzentrum in Laufen Herzog & de Meuron, Basle

Herzog & de Meuron and Ricola are a team that has enriched Swiss industrial culture with many a model structure. After an interval of 15 years, the two undertakings have now added a further chapter to their collaboration. The new Kräuterzentrum (herbal centre) on the ­outskirts of Laufen near Basle is probably the largest rammed-earth building in Europe to date. It is also an appropriate symbol of the ­entrepreneurial values of the clients: reliability, identity with native ­values and a consciousness of their responsibility towards the environment. At the same time, the structure, which the architects developed jointly with Martin Rauch, the Vorarlberg earth construction ­expert, is in one of the oldest forms of building in the world, here ­applied in an age of system construction and prefabrication. The outer walls consist of a total of 666 rammed-earth units, each weighing up to five tonnes. Their massive character may be surprising for an ­industrial development, but it ensures a relatively constant indoor ­climate throughout the year for the storage of the ingredients that the client, Ricola, traditionally uses to manufacture its famous “Swiss Kräuterzucker” herbal confectionery.

Numerous details of the building skin are related to the physical properties of the construction material, from the unconventional circular form of the windows to the minimal roof projection, which is designed to protect the earth walls from erosion. Within the cubic volume, of course, the logic of linear operating sequences dominates, namely short routes and maximum flexibility. All this begins only a few milli­ metres behind the external walls, where the building is stabilized by a powerful reinforced concrete skeleton frame against wind loads and earth tremors.

Others involved in the project: see page 321

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Ricola Kräuterzentrum in Laufen

2015 ¥ 3 Concept ∂

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Horizontal and vertical sections scale 1:20 1

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2/120 mm corrugated aluminium sheeting 4 separating layer precast concrete element bituminous layer roof construction: 30 mm bed of gravel 15 mm drainage mat two-layer bituminous seal 170 –270 mm polyurethane insulation vapour-­retarding layer 250 mm filigree reinforced concrete roof with ­thermal activation copper overflow pipe

4 550/600 mm precast concrete downstand beam 5 joint between elements / levelling layer: reinforced trass-lime strip tied to skeleton frame at rear 6 450 mm prefabricated rammed earth external wall elements; 15 mm loam-mortar bedding joints 80 mm mineral-wool thermal insulation 7 trass-lime-cement erosion-resistant layer 8 stainless-steel section with sealing layer 9 550/550 mm precast concrete column 10 circular window with double glazing (Ug = 1.0 W/m2K):

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2≈ 10 mm + 16 mm cavity + 2≈ 8 mm laminated ­safety glass + on 80/60 mm RHS steel frame Ø 35 mm stainless-steel tension/compression rod 3 mm sheet chrome-nickel-steel reveal 180/5 mm steel flat; 90/90 mm steel angle 160/250/160 mm oak members with 160 mm extruded polystyrene between 450 mm insulating concrete plinth floor construction: 20 mm synthetic resin cement mortar 350 mm reinforced concrete floor; polythene foil 200 mm thermal insulation; 50 mm blinding layer

∂ Concept 2015 ¥ 3

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Ricola Kräuterzentrum in Laufen

2015 ¥ 3 Concept ∂

“Suddenly, with earth, everything fell ­into place.”

An interview mit Pierre de Meuron

Pierre de Meuron was interviewed by Emilia Margaretha.

DETAIL: The “Kräuterzentrum”, or herbal centre, in Laufen is the latest in a series of projects that Herzog & de Meuron have planned for Ricola. What is the underlying concept?

Pierre de Meuron: On the one hand, the long-standing collaboration between Ricola and Herzog & de Meuron plays a major role in this project – the dialogue with the client, his requirements, the technical and functional expectations set in such a scheme, as well as the location where the building was to be erected. On the other hand, there’s the theme of herbs and the construction material, rammed earth – another two important cornerstones of the project.

DETAIL: What requirements were formulated by the client for the new structure? de Meuron: First of all, various processes were laid down: harvesting, drying, mixing, cutting and storing the herbs, which suggested a linear form. As an architect, though, the programme is not the only element of the brief. The location has to be ­taken into account as well. We had the same concepts as the client from the very beginning. It was also clear that it had to be an imposing structure in order to respond to the neighbouring high-tech building. The new herbal centre was to demonstrate the importance of herbs for Ricola and for the process of manufacturing its confectionery.

DETAIL: In other words, it was to be a striking building, but not necessarily spectacular? de Meuron: Precisely – not too conspicuous, or expressive. On the one hand, the site lies in the middle of open fields; on the other hand, the task had a lot in common with that of an agricultural building. The first idea, therefore, was a timber barn, and this led to a clear form with a rectangular plan – initially with a double- or single-pitched roof. But a timber outer skin would have had a smaller mass, which would have made additional ventilation and air-conditioning plant necessary internally. What’s more, timber as a ­material would have resulted in legislative problems in the context of food-processing hygiene. Then we had the idea of construct-

ing the buildng with earth, and suddenly everything fell into place. The typical moisture regulation of earth works positively in relation to the processing and storage of herbs; and in terms of energy, it has a sustainable effect on the entire indoor climate.

The density of the walls lessens temperature extremes, so that the energy consumed by mechanical services is reduced. What’s more, earth has been excavated in Laufental for centuries, so that the building was created from the location, so to speak, from the ground. It was a kind of “aha” effect – the only proper solution.

DETAIL: The development of the project took a long time, while the process of implementation was extremely brief. Did you have to acquaint yourselves first with the material and the form of construction? de Meuron: It was a completely new form of production and construction. At first, we didn’t know how and whether it would work.

A lot of things had to be clarified – not least the costs. We could have opted for a very simple building envelope of corrugated sheet metal. From the outset, though, the clients were prepared to invest a greater sum and, as with their wooden high-bay warehouse in the early 1980s, they were aware that additional costs for the design of the building skin represented a greater value for the company.

DETAIL: How did that work: on the one hand, the wish to experiment, and on the other hand, having to keep a close eye on costs? de Meuron: Martin Rauch was a great help in that respect. Without him, it wouldn’t have been possible. From the outset, we needed a specialist, and fortunately Martin Rauch is only a short distance away from us – in Vorarlberg.

DETAIL: What influence did Martin Rauch have on the development of the project? de Meuron: We developed the building jointly. Martin Rauch is one of the leading earth construction specialists in the world. To clarify crucial questions, such as what the com-

position of the earth should be or how large the elements could be, we worked on a fullsize mock up. The danger with earth construction is that water can erode the material. A key question, therefore, was how to prevent the building being washed away by rain. For a structure with the dimensions of the herbal centre that was a fundamental ­issue, of course.

DETAIL: How did you resolve this? de Meuron: Strips of trass-lime mortar were tamped into the wall elements to retard erosion. In this way, the water can be made to flow along the wall more slowly or to drip off.

The 40 cm roof projection acts as an additional form of protection.

DETAIL: How was your collaboration with the others who were involved in the project, especially in view of the initial situation: the fact that a structure of this kind had never been built here before? de Meuron: The task was a demanding one and challenging. It could only work, of course, if mutual respect existed between all the parties involved and the main goals were made clear. Only when all these aspects have been resolved can an object like the herbal centre in Laufen be created.

Time and money both played a major role, too. Initially, the earth elements were to be fabricated in Vorarlberg, but then we rented an empty hall not far away and implemented the newly developed technology for the very first time – close to the site.

DETAIL: Couldn’t the load-bearing construction have been made of earth, too? de Meuron: The dimensions of this building are enormous. Traditional earth structures in Africa or the American South-West are much smaller, and the roof is usually executed in a vaulted form. Like stone buildings, earth structures can bear only compression loads, not tensile ones. In the case of the herbal centre, we can define the facade as an outer skin, an enclosing wall in earth. And within it stands the production and storage building.

Products

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Bathrooms and Kitchens

2015 ¥ 3 ∂

Heating as furniture

Slim shower trays

Flexible storage

BIT is the first designer radiator launched by Italian bathroom manufacturer Antoniolupi.

Made of 100 % recycled aluminium, the monobloc radiator offers a high degree of flexibility in layout – the width of the element is always 45 cm but radiators can be placed side by side and there is a choice of six heights: 45, 60, 90, 120, 150 and 180 cm. In addition to its primary function of heating, it is intended to be looked upon as a furnishing element in its own right and is available in all the colours of the company’s product catalogue to tone or contrast with a scheme, whilst the slight rhythmic protrusions create a sculptural effect.

The Opale range of slim, low-profile shower trays from Keramag Design, with a total installation height of just 130 mm, is available in eight sizes, and is designed to take advantage of the move towards larger trays, particularly as replacements for traditional bathtubs. With the flexibility of lay-on or inline floor installation, the trays meet EN 274 and suit a range of applications from hotel bathrooms to showering areas for wheelchair and less-able users.

Duravit’s Vero range of bathroom ceramics has been complemented by a Red Dot Award-winning furniture collection, featuring balanced proportions with a strong design identity. Recurring material thicknesses and dimensions define the cubic look that characterises the range, whilst vertical handles inset into the fronts create a contrast. Finishes include the Ticino cherry wood decor shown here, as well as real wood veneers.

Interiors are in diamond black, and the softclose drawers are available with a maple or walnut interior organiser system. Optional LED ambient lighting below the consoles accentuates the relaxed atmosphere that the wood surfaces bring to the bathroom.

Designed to meet all heating requirements, the radiator comes in three types: water, electric and combined water/electric versions. It can be placed in a vertical or horizontal position � in the vertical option it can be supplied with the Bitbarra towel holder as seen below, in satin stainless steel or lacquered embossed in all the furniture colours. Alternatively, the radiator can be supplied with cut-outs for towels.

Patented Waterbox technology drains up to 36 litres/min and the smooth Varicor® solid surface is anti-bacterial, anti-slip and warm to the touch, with an integrated level drying area. Said national sales manager, Lynn Dale: “Keramag Design is a relative newcomer to the British market and is already becoming established in the upper end, with designers interested in working with a new luxury brand offering something different to the more established players. The addition of Opale to our range shows that we continue to move forward with our progressive approach to design and innovation.”

¥ Antoniolupi Design SpA Italy � +39 (0)571 586881 www.antoniolupi.it

¥ Keramag Design United Kingdom � +44 (0)1270 871756 www.keramagdesign.com

Versatile possibilities for combining vanity units with an open compartment or closed drawers, console applications and cabinets, some with integrated towel holders, as well as mirrors and cabinets with double mirror doors and shelf elements, offer flexible storage. The mirrors and mirror cabinets can be fitted with both a sound system and LED dimmer function. ¥ Duravit UK Ltd United Kingdom � +44 (0)845 500 7787 www.duravit.co.uk

∂ 2015 ¥ 3

Bathrooms and Kitchens

Surface attraction

Showering made simpler for less-able users

Granite Transformations recently undertook the upgrading of the bathrooms and cloakroom in a four-bedroom property using its non-porous agglomerate finishes and Italian glass mosaics from Trend, for which the company is an approved stockist. The cloakroom, above, features White Star flooring and matching matt wall cladding, and Trend’s Liberty Onyx mosaic, with highlights of silver and steel, is applied up to waist height, complemented by a modern matt grey towel radiator.

The Advance electric shower range from Mira has recently been enhanced with the addition of what is claimed to be the only shower on the market to offer wireless pairing to a waste water pump. The Advance Flex Extra Wireless is designed to simplify installing or retro-fitting a wet room in situations where a conventional gravity-fed drainage system would not be feasible, such as where level access is required.

The master en suite, below, was converted into a virtual wetroom. Dark glass mosaic field tiles and white platinum accent pieces adorn the walk-in shower with 300 x 600 mm agglomerate tiles in Nero Corallo extending from the shower across the floor to create a fully water-resistant finish. The same surface material is used to clad the vanity unit, featuring twin basins, whilst a light grey matt agglomerate is applied to the walls to ceiling height. A wall-hung WC with concealed cistern, twin shower heads and single-lever basin mixers complete the redesign. ¥ Granite Transformations United Kingdom � +44 (0)800 044 5393 www.granitetransformations.co.uk

Developed especially for use by the visually impaired and endorsed by the RNIB, the standard Advance Flex has a large, colourcontrasted rotary lever, tactile raised areas, a large on/off button, backlit buttons and an audible click on the temperature lever. The push-button on/off switch also allows the user to leave the power and temperature controls at the preferred settings.

The new Extra Wireless version offers additional benefits to both user and installer.

Showering is quieter, with the suction noise from the gulley kept to a minimum � this is due to the fact the shower is designed to work with the Whale Instant Match Wireless Pump, so that integral sensors ensure the pump speed matches the shower flow rate, for more efficient drainage and reduced noise. Also, the shower shuts down automatically to prevent any risk of flooding should the pump stop.

Pump and shower are linked by their own unique digital serial number so there is no interference with other wireless devices and, in the event of a power cut, the pump and shower remain registered once power is restored, thanks to a built-in memory.

When the shower is turned off, the pump ­ utomatically slows down but it continues to a clear any remaining water from the tray, whilst a purge function is activated after 15 minutes to drain any pooled water. Installation is simplified as there is no physical link between the shower unit and the pump,

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which can be fitted up to 5 m away with no trunking or conduits to consider, and set-up is said to be straightforward. The Advance will emit an audible bleep and a green light flashes from the transformer to show that it has been successfully paired.

The shower features an extra-long slide bar, and the friction clamp bracket can be operated with just one hand to adjust the height.

Also, the rotary lever that controls the temperature is fitted with a loop so it can be easily altered by those with limited dexterity.

An important feature is the 2 m-long shower hose that enables carers to provide assisted showering.

Safety features include phased shut-down, which not only protects the next user by flushing out hot water from the tank but also reduces limescale, and Mira’s own Advanced Temperature Limit (ATL) technology, offering eight different maximum temperature settings including a BEAB Care setting. The four-spray showerhead has rubclean rubber nozzles. ¥ Mira Showers United Kingdom � +44 (0)1242 221221 www.mirashowers.co.uk

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Bathrooms and Kitchens

2015 ¥ 3 ∂

Cast-iron cooking

Streamlined storage with individual styling

The Hergom Cares wood-burning oven from Eurostove, top, makes a stylish statement piece in the kitchen. As well as being highly efficient (80 % with an 11 kW output), this new oven features a porcelain enamel castiron front supported by a steel structure with a stainless-steel top frame and modern chrome bar handles. A ceramic-glass top plate provides medium heat, but when lifted gives access to a hotter cast-iron hotplate.

There is also an optional warming drawer.

Internally it is stainless steel with a removable chrome grid. Standard finish is black enamel with brown majolica as an option, and either would work well in a traditional kitchen or in a contemporary context.

Mowlem & Co works closely with architects and designers to create bespoke kitchens tailored to individual briefs, some examples of which are seen here. Purity (top, centre and right) is a combination of white Parapan and light grey oak. The company says the key to a successful open-plan yet minimalist design is ample, clearly defined storage: from tall shelving for wine glasses to larder cupboards for dry goods, and customised solutions for pots, pans and crockery.

Also from Eurostove are Mendip woodburning heaters and stoves, amongst them the Mendip 8, below in Claret, with stainless steel handle and central air control, which would be at home in a kitchen or breakfast room. A vitreous enamel three-stage process gives a lustrous deep shine and an easy-clean, durable finish. Other colours are Ivory, Powder Blue and Black. ¥ Eurostove Ltd United Kingdom � +44 (0)1934 750500 www.eurostove.co.uk

Here the capacious, organised storage, handle-less cabinetry and banks of appliances all create a streamlined appearance.

Twin wine storage units flank the back wall, whilst the central island works equally well for family use and informal entertaining.

Below is the classical English hand-painted Charm kitchen, a fully framed scheme with panelled doors, chamfered columns, cornices and dentil moulding. A key feature is the hearth-like hood with a distressed painteffect finish, which conceals the extraction unit. Contemporary performance is not forgotten, however; the 1,800 mm traditionally styled range cooker is a high-powered commercial model and there is a large built-in fridge freezer with steel doors (just seen).

The island features an 80 mm-thick maple

end-grain chopping block integrated to a 30 mm-thick African Black granite worktop.

The brief for a renovated period property in London was for a ‘very grand’ kitchen that was not too fussy or old-fashioned. The result is the ultra-functional yet subtle solution seen below. Appropriately named Grace, the hand-painted, solid-framed kitchen lends a serenity to the classic architecture, without being overpowering in either colour or design. Solid walnut drawer boxes and cabinet interiors create a contrast to the pale colour choice for the overall space and the furniture is completed with steel squaregrip handles and quartz worktops.

As classic as this design appears, it is highly functional. An induction hob is flushfitted into the countertop of the island unit, along with a pop-up extractor and electrical socket, whilst the oven and combi micro are wall-mounted within easy reach of the large, stainless-steel sink. The fridge, freezer and dishwasher are built in behind the vanilla cream units. ¥ Mowlem & Co United Kingdom � +44 (0)20 7610 6626 www.mowlemandco.com

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2015 ¥ 3 Concept ∂

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

Glass Construction

∂ 2015 3

Concept: Industrial Building

∂ Green 2015 1 ∂ 2015 4

Materials 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. 220, 221, 223 top, 238, 239: David Franck, D–Ostfildern

pp. 257, 260, 261, 266, 268: McLaren Marketing Ltd., GB–Woking

p. 222: Christian Richters, D–Berlin

pp. 259, 262, 264/265, 269 –271: Nigel Young/Foster + Partners

pp. 225 bottom, 227 top right, 236 left, 237: Frank Kaltenbach, D–Munich

pp. 273, 274, 277: Iwan Baan, NL–Amsterdam

pp. 224 bottom, 224 top, 225 middle, 226 top: Ina Reinecke/Barkow Leibinger p. 223 bottom: Roland Halbe, D–Stuttgart pp. 226 bottom, 227 bottom: Stefan Müller, D–Berlin

pp. 275, 276 top left, 276 bottom, 278 –281, 284 top right: Markus Bühler-Rasom/Ricola AG pp. 276 top right, 284 bottom, 285: Christian Schittich, D–Munich pp. 282 top, 283 top left: David Aebi

pp. 229, 231 top: Claudia Fuchs, D–Munich

pp. 282 bottom, 283 top right, 283 bottom, 284 top left: Margherita Spiluttini, A–Vienna

pp. 230 top, 230/231, 232: Aitor Ortiz, E–Bilbao

p. 296 top centre, bottom left: Ulrich Beuttenmüller/Armstrong

pp. 235, 248 bottom: Adrien Barakat, CH–Lausanne

p. 304: top left and centre, bottom left: Little Greene 2014

pp. 242, 243: Takashi Yamaguchi & Associates, J–Osaka

p. 307 top left, bottom left: Eric Laignel

pp. 244/245, 246 top: Erick Saillet, F– Lyon p. 246 bottom: Max Bottom, F–Ascain

p. 318 left: Foster + Partners, GB–London p. 318 right: Tobias Madörin, CH–Zurich

pp. 247, 248 top, 249: Yves André, CH–Vaumarcus pp. 250, 251: Rasmus Norlander, CH–Zurich pp. 252, 253: FG+SG fotografia de arquitectura, P–Lissabon pp. 254–256: Joachim Schmeisser, D–Höchberg

Black-and-white photos introducing main sections: page 221

HAWE Production Centre in Kaufbeuren Architects: Barkow Leibinger, D–Berlin

page 229

Ring of Remembrance in Ablain-Saint-Nazaire Architects: AAPP – Agence d’Architecture Philippe Prost, F–Paris

page 235

Bobst Headquarter in Mex Architects: Richter Dahl Rocha & Associés, CH–Lausanne

page 257

McLaren Production Centre in Woking Architects: Foster + Partners, GB–London

page 285

Ricola Kräuterzentrum in Laufen Architects: Herzog & de Meuron, CH–Basel

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

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