TimberDesign - Sample

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EDITOR & PUBLISHER Tony Neilson – tony@timberdesignmag.com EDITORIAL ADVISORY BOARD Ric Sinclair, Greg Nolan, Andrew Dunn, Colin MacKenzie ADVERTISING ENQUIRIES Australia Tony Neilson tony@neilsonpromotions.com Tel: +61 7 3891 7221

PROJECTS 2

The Art Gallery of Ontario is a landmark public project that showcases Canadian heritage through the extensive use of wood in glulam structures, wood panel finishes and wood flooring.

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New Zealand Don Wilson don_wilson@xtra.co.nz Tel: +64 9 535 7275 PRODUCTION COORDINATOR Penelope Lawry penelope@neilsonpromotions.com DESIGN Effigy Creative SUB-EDITOR Michael Smith

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WOOD WITHOUT TREES

SUBSCRIPTIONS info@timberdesignmag.com timberDESIGN is an independent magazine published quarterly by Neilson Promotions Pty Ltd, targeting design and build professionals throughout Australia and New Zealand. Available on subscription or by special delivery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, internet or otherwise without the prior written permission of the publishers.

While every effort has been made to ensure the accuracy of the information contained in this publication, the publishers accept no responsibility or liability for any errors, omissions or resultant consequences, including any loss or damage, from reliance on information in this publication. Opinions expressed in timberDESIGN are those of the contributors and not necessarily those of Neilson Promotions Pty Ltd. All letters or other material forwarded to the magazine are assumed to be intended for publication unless clearly marked ‘not for publication’.

ISSN-1178-881X

Neilson Promotions Pty Ltd Australia address: PO Box 7611 East Brisbane, Qld 4169 New Zealand address: PO Box 17124 Greenlane, Auckland 1546 New Zealand Ph: +64 9 269 4531 Fax: +64 9 520 3487 Email: info@timberdesignmag.com

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The traditional Japanese lunchbox (bento) encapsulates the elegant simplicity and inherent ‘everydayness’ of materials and necessity.

42 MYRA-CANYON RANCH A caretaker’s home in British Columbia fuses European style and Canadian building techniques in a cross-cultural home with impressive characteristics.

Trees are notably absent from the Shetland Islands yet timber is regarded as an ‘indigenous’ construction material.

FEATURES & INTERVIEWS

SURFSIDE CEDAR

18 MILLION FOR ‘WORLD FIRST’

It is no surprise that the architect and builder of this ‘wriggly walled’ surfside home at Clovelly in the heart of Sydney’s eastern suburbs beaches – are also passionate about timber boats.

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PRINTER Sentra Print

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THE POSSIBLE

38 THE BENTO BOX

The American clients are second-generation owners of an 80-year-old ranch and wanted a base for regular trips to the property.

16 THE IRONBARK CONNECTION Ironbark flooring is the thread that weaves together the elements of a socially and historically significant Victorian icon.

20 FISHBONES IN THE MANGROVES Thousands of cars pass within shouting distance of it every day, but only ‘locals’ will generally be aware of Auckland’s most intriguing pedestrian bridge nestling among the mangroves.

24 THE SOFT FORTRESS This house on the shores of New Zealand’s Lake Taupo was designed to cope with an often-extreme environment.

32 MULTIFUNCTION FLEXIBILITY A do-it-yourself refurbishment of a circa 1900 Victorian open-plan boot factory connects the building’s original use and its modern role.

36 FULFILLING A SPECIAL NEED A 10-unit development for people with disabilities costing just one fifth the price of similar government-provisioned housing took two top rankings in the Australian Timber Design Awards.

It is not yet built, but is already being described as a flag-bearer for the return of wood to multi-storey commercial design.

23 REGULATION Reducing the risk in fire prone areas.

27 USING TIMBER EXTERNALLY Every discipline is comprised of its science and its art. When it comes to external weather-exposed timber structures, the art is apparently more important than the science.

28 THE SLEEPING DRAGON A sinuously sculptured garden seat inspired by its private setting and the sentiments of a 30th wedding anniversary was judged best furniture piece in the 2008 UK Wood Awards.

30 THE REAL ‘WHITE OAK’ New series profiling important commercial timber species and providing useful guidelines for specifiers – starting with white oak, which features strongly in architectural interiors and furniture, 40 KEEPING UP APPEARANCES Another new series, this time on timber flooring prepared jointly by the Australian Timber Flooring Association (ATFA) and Timber Queensland Ltd, beginning with appearance of the finished product.

44 WOOD GUIDE Our new wood products and services reference for specifiers 48 LETTERS IBC SUBSCRIPTIONS

ADVERTISERS’ INDEX American Hardwood Export Council obc, Douglas Fir Association 15, Hyne 11, Pacific Wood Products 35, Wespine 35 WOOD GUIDE: AHEC, Craftbuilt, Douglas Fir Assn, FWPA, Hyne, Juken NZ, Kennedys, Lindsay & Dixon, Malaysian Timber Council, Nelson Pine, Outdoor Structures Australia, Resene, Rosenfeld Kidson, Southern Lumber Co., Timberbond.

SUSTAINABLE BUILDING SOLUTIONS

COVER: Surfside House at Clovelly in Sydney, designed by Paul Connor of Connor + Solomon Architects PHOTOGRAPH: Kraig Carlstrom Photography

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DISTRIBUTION PARTNERS

NO SUCCESS WITHOUT CRITICS

We gratefully acknowledge the following organisations for assistance with the distribution of timberDESIGN to leading design and build professionals throughout Australia and New Zealand.

Winston Churchill may not have resented criticism, “even when, for the sake of emphasis, it parts for the time with reality”. But I do.

Forest and Wood Products Australia is an industry services body investing in research and development and wood promotion advancing an internationally competitive, sustainable and environmentally responsible forest and wood products industry in Australia: www.fwpa.com.au

The American Hardwood Export Council – representing producers of lumber species from sustainable American hardwood forests.

Timber Queensland is a commercially minded not-for-profit industry association, working with government, employer and environmental groups to improve awareness and understanding of Queensland’s forest and timber industries: www.timberqueensland.com.au.

Also assisting:

Since timberDESIGN first appeared in October 2006, we have received many messages and letters from readers throughout Australasia, and well beyond.

With rare exceptions, they have been encouraging and complimentary. And where advice or criticism was offered it was constructive and helpful.

So when I was told recently by a reasonably influential wood industry person that our coverage of the Australian timber design awards was disappointing and fell well short of expectations (his), I confess to not taking the criticism well.

But maybe he was right. Well, you be the judge: over the 11 issues since we started, we have written at least 50 case studies on Aussie projects that were also entered in the timber design awards. Not a bad batting average, I would have thought.

Almost all were researched beyond the material supplied with the competition entry – often involving lengthy negotiations with architects and designers to secure the information, drawings and images that we believe our readers want. We talk to the people who are responsible for these wonderful designs and structures because we want to know everything they will tell us about why and how they use wood.

However, while awards are an excellent starting point in the quest for good timber design and sustainable building solutions, we make no apology for casting our net well beyond Australia and its awards programmes. Indeed, in this edition there are also critically recognised projects from New Zealand, Canada, Britain and the United States.

We also publish submitted projects if we think there is a significant point of difference in the way wood products have been used. And every now and then, I get out of the office to photograph some truly outstanding homes that will never be entered in a design competition; meeting people along the way who love wood — to the extent that they will often spend very large sums to have about them the natural warmth and uniqueness of timber.

This issue also marks the beginning of a couple of other interesting additions: a series on the many facets of wood flooring, and the appearance of our Wood Guide – intended to help advertisers and specifiers connect more directly. Initial demand has been very pleasing and we believe this section will grow quickly – particularly as the Wood Guide will soon also be available on the new-look timberDESIGN website, due for completion in early June.

Thanks to the person who took us to task – the pain of a little censure is worth enduring.

“If you have no critics, you’ll likely have no success.” — Malcolm X.

www.timberdesign.org.nz

www.tastimber.tas.gov.au

www.vicforests.com.au

For comment or information about any aspect of this magazine, please email us at: info@timberdesignmag.com

CANADA

THE POSSIBLE Transformation of a great gallery

The Art Gallery of Ontario is a landmark public project that showcases Canada’s heritage through the extensive use of wood in glulam structures, panelling and wood flooring.

It stands on the world stage as an example of what is possible.

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CANADA

The newly expanded and upgraded Art Gallery combines stringent architectural requirements and a complex geometry with advanced glulam CNC technology and sophisticated and creative connection design.

It is an outstanding example of erection engineering and timber connections, justifiably winning the engineering category of this year’s Canadian Wood Council/Wood WORKS! BC Wood Design Awards.

The gallery was reopened in 2008 after a significant expansion and renovation by architect Frank Gehry – making extensive use of glass curtain walls supported by glue-laminated

timber. At the time of its design, it was the largest public project in Canada to use wood both aesthetically and structurally.

A five-storey tower and an extensive 334 m2 central skylight use rectilinear glulam mullion grids to support glazing, while the feature Galleria, which runs 90 m, is entirely curvilinear.

Concealed connections, complex geometry (where no two pieces are alike), slender cross sections and significant axial and flexural forces acting simultaneously about multiple axes made for unparalleled technical challenges.

Creating this structure required advanced timber engineering design, CNC machines and the

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Forty-seven glulam arches spanning up to 20 m radiate from near vertical TOP RIGHT

Glass curtain walls supported by new-technology glulam timber systems BOTTOM RIGHT

Concealed glulam connections support glazed curtain walls

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CANADA

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The challenging fabrication procedure, construction sequence and hidden connection design were the result of advances in engineering and technology in British Columbia over the past decade.

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CANADA

3D CAD systems to feed them. The challenging fabrication procedure, construction sequence and hidden connection design were all the result of advances in engineering and technology in British Columbia over the past decade.

The design process started with 3D solid models from Gehry’s office, using Digital Project software. The design team and fabricators used this model to develop details, look for interferences between trades, produce shop drawings and to start the information flow to CNC machines.

Galleria facade The glazed galleria facade, which rises some 21 m above the street, acts as a link between gallery spaces, the Art Gallery itself and the city. The central 137 m of facade is an enclosed sculpture gallery that provides access to the main gallery spaces. Two exterior tear-away sections flank the ends.

The facade is a system of structural layers used primarily to resist rain, snow, wind and earthquakes. The innermost layer consists of 47 glulam arches, spanning up to 20 m, and radiating out from near vertical at the centre of the facade up to about 45° at the extreme ends.

These arches are supported at floor level and near the roof level. A series of horizontal glulam beams tie the arches to prevent them from twisting about their axes.

In front of the arch layer lies the rectilinear glulam mullion grid, which is linked back to the glulam arches using stainless steel connecting rods with pivoting ball joint connections.

The mullion grid curves over and around the arches and is allowed to move within its own plane relative to the arches. The glazing system is mounted to the face of the glulam mullion grid.

Engineering challenge Connections are designed to be concealed; but where expression is necessary, the member profile is carried through the connections.

Equilibrium Consulting used CNC technology to carve out glulam members to precise angles to achieve the result, with more than 5000 hours involved in the connection process.

Each unique connection type evolved over numerous iterations - many required to resist forces in all six degrees of freedom. Rather than using size to conceal connections, slender members are loaded near capacity while the connections remain concealed, adding tremendous complexity to the challenge.

Most connection locations have four intersecting members, but some have eight.

The engineers worked closely with the fabricator to optimise the connection designs to meet aesthetic, technical and budgetary goals, as well as requirements for construction tolerances.

For the curvilinear geometry, individual members were facetted and shaped using CNC machines. There are more than 1000 glulam members and 2500-plus connections on the facade, each with its own geometry.

Interestingly, so-called ‘interior’ Douglas fir from the Southeast corner of British Columbia was chosen because of its tighter growth rings and attractiveness.

Wood panelling is vertical grain, knot-free Douglas fir veneer and the timber floor is ‘rift and quarter’ sawn ‘better-than-clear’ engineered white oak.

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Rectilinear glulam mullion grids support 5-storey skylight glazing ABOVE

Horizontal beams tie the arches to prevent axes twisting PROJECT Art Gallery of Ontario, Canada ARCHITECT/DESIGNER Gehry International Inc GLULAM CONNECTION CONCEPT & DESIGN

Equilibrium Consulting GLULAM SUPPLIER Structurlam Products WOOD PRODUCTS Panelling - vertical grain Douglas fir, flooring - rift and quarter sawn engineered white oak, glulam beams Douglas fir PHOTOGRAPHY Thomas Mayer

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BRITAIN

WOOD WITHOUT TREES Shetland museum revives Viking tradition The constant onslaught of saltwater spray and a wind-lashed landscape mean that trees are notably absent from the Shetland Islands about 650 km off the north-east coast of Scotland. So it is somewhat surprising that timber is regarded as an ‘indigenous’ construction material.

The explanation lies deep within Shetland’s ancient maritime trade links with the Vikings and eventual colonisation by the Norwegians around the 9th century.

Visitors are confronted with this maritime connection and the timber tradition in the New Shetland Museum and Archives at Lerwick where a sixareen (descendant of the Viking longship) is suspended within the towering new Boat Hall at historic Hay’s Dock.

The widely acclaimed structure, with its ‘leaning’ timber-clad walls, was designed by leading British firm BDP and won the Gold Award in the recently announced 2008 UK Wood Awards.

Project architect Angus Kerr says BDP “champions the use of wood as a sustainable alternative to many modern materials and Shetland Museum is a fine example of its use in an innovative and successful way”.

The museum represents an important new cultural hub as well as a major new visitor attraction and landmark for these fascinating islands. The new 3,500 m2 building, which utilises old boatsheds, has five times the previous museum display space and three times the previous archive storage area. Facilities include the cafe restaurant, an Archives repository and search room, gift shop, boat restoration sheds, an auditorium seating 120, a learning room and a temporary exhibition space and administration, curatorial and conservation spaces.

Externally, the building form is largely derived from traditional early Shetland buildings – Lodberries, whose gable ends rise from the sea — and is constructed of traditional materials of harled masonry walls, timber windows and slate pitched roofs.

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Contrasting with the traditional forms, the building’s presence is punctuated by the iconic timber-clad Boat Hall with its full-height slit windows. Conceived as four large inclined polygonal shapes, separated by narrow vertical glazed strips, their colour and form echo the sails of the herring drifters, which wintered in and around the Hay’s Dock in the last century.

The steel-framed structure is clad in prefabricated cassettes of Siberian larch, given a sawn finish externally to assist absorption of the timber stain that produced a distinctive match with the tarred sails of the herring drifters. Inside, the timber is sanded and finished in clear varnish. Flooring is reclaimed English oak boarding, the windows are timber and the restaurant furniture was locally crafted from reclaimed oak. The museum reception desk was sculpted from the salvaged keel of an 18th century sailing ship.

With the opening, some 3000 priceless artefacts from Shetland’s Viking past will be returned from the Museum of Scotland in Edinburgh.

CLIENT Shetland Amenity Trust LOCATION Lerwick, Shetland Islands ARCHITECT/DESIGNER BDP, Glasgow ENGINEER Faber Maunsell (building

services), Woolgar Hunter (structural) MAIN CONTRACTOR DITT WOOD PRODUCTS Siberian larch (stained & prefabricated), recycled English Oak flooring PHOTOGRAPHY Mark Sinclair

BRITAIN

LEFT

Historic boats suspended 14 m up in the three-storey larch-clad Boat Hall BELOW

Contrasting with the traditional forms, the building’s presence is punctuated by the iconic timber-clad four-storey volume Boat Hall with its full-height slit windows

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AUSTRALIA

SURFSIDE CEDAR Catching a wave at Clovelly

It is no surprise that the architect and builder of this ‘wriggly walled’ surfside home at Clovelly in the heart of Sydney’s eastern suburbs beaches – are also passionate about timber boats.

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The detailing reflects the delicacy, longevity and robustness of timber boat design – combining a joint understanding of Australian hardwoods, recycled timber, plantation western red cedar and plywood.

From the roof of the previous building there were two contrasting vista possibilities: whales on their annual migration or the backyards of seven neighbouring properties.

Sun rarely penetrated the old house. Sloping down, away from the street and towards the view, previous generations had tacked on

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sunless decks in the hope of providing spots to enjoy the Sydney climate.

In the new house (winner best use of western red cedar residential and highly commended, residential class 1 in the 2008 Australian Timber Design Awards), the roof terrace and the terrace leading from the upper main bedroom level have views out to the ocean, but not down on to the neighbours. An unwanted view back to the street from the roof is shielded by a zinc-clad screen and store. (continues over page)

AUSTRALIA

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The upper level is sheltered from the severe western summer sun by a self-shading, undulating wall; the curvature of its undulations intensifying as it encloses interior space.

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OPPOSITE

Curvature of the undulations intensify as they enclose interior space OVER PAGE LEFT

Undulations provide shelter from harsh summer sun OVER PAGE RIGHT

Walls lead the eye out and into the landscape

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AUSTRALIA

Wriggly wall The upper level is sheltered from the severe western summer sun by a self-shading, undulating wall; the curvature of its undulations intensifying as it encloses interior space.

The undulations appear more pronounced as the individual, untreated, rough-sawn western red cedar boards weather differently, their greying off dependent on the intensity of the sun throughout the day.

The walls lead the eye out and beyond into the landscape, with deeply recessed penetrations located to catch the best views. Marine plywood components were epoxy glued and filleted together, then epoxy saturated and painted.

Pre-primed plywood cladding was selected for the other external walls.

A timber platform extends across two-thirds of the site, sheltered to the west by a threestorey stair spine, and to the east by a dense charcoal concrete block wall. The platform is lower than the street to the north; while to the south, filtered views to the bush cove are provided through the library.

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Dividing the north-facing exterior deck and 12.5 m lap pool from the interior are sliding and folding glazed doors, shaded in the summer by the large eaves of the undulating wall and library.

This living level separates the upper (parent) and lower (children) domains, and is linked to both via the stair spine. The spine provides a logical and legible passage and connection between all levels.

‘Quietening’ of the interior environment is achieved with the judicial placement of window openings and selection of finer materials such as natural timber veneers and fabric. This also occurs on the upper and lower sleeping levels, with the upper main bedroom opening up on to its own skyline terrace and the lower children's bedrooms opening out to lawn and garden.

Conscious of the environmental and cost implications of using structural steel, engineered timber products were employed where practical.

The site, on the side of a hill next to the beach, necessitated the use of torsion piers and as a result the building is essentially a

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lightweight structure with masonry blades to provide bracing and stiffen the structure at its critical midpoint.

The house has a sophisticated and sustainable water usage and recycling strategy.

Rainwater is harvested and stored in tanks below the house, and is then used to flush all toilets, provide cold water to the washing machine and for irrigation.

Double-glazed windows and doors are used throughout to reduce direct solar gain and to insulate against heat loss. All walls, floors and ceilings are highly insulated, and no airconditioning is required.

PROJECT Surfside House LOCATION Clovelly, Sydney ARCHITECT Paul Connor, Connor + Solomon

Architects WOOD PRODUCTS Untreated rough-sawn

western red cedar cladding, marine plywood cladding PHOTOGRAPHY Kraig Carlstrom Photography

Comes with built in climate control Hyne is leading the way in the Australian timber industry with environmentally friendly timber products that support Australia’s targets for a lower carbon future. The greenhouse footprint of Hyne products shows that they continue to store carbon long after the timber is felled.

organic based preservatives. This can also eliminate the need for other chemicals in the form of ground barrier treatments.

Plus you get a 25 year guarantee against termite attack and the peace of mind knowing that Hyne Trueframe delivers the strength and stability you need.

Even better, all of Hyne’s framing comes from plantation timber which means that we use, and continually regenerate, a renewable resource.

To nd out more about the Hyne Trueframe Package and our other products, visit hyne.com.au/trueframe.html or call Hyne Product Information on 1300 304 963.

Even the treatments used on our T2 framing to control termites are safe, T R A D I T I O N

S T R E N G T H

I N N O V A T I O N

UNITED STATES

CAMPBELL ORCHARD New home for old packing shed Douglas fir

The site for this home is a 73 ha ranch at the base of the Cascade Mountains in the US Pacific Northwest near the town of Tieton. At 550 m, the ranch sits on a plateau with dramatic views of the mountains to the west and the Naches River valley to the east.

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UNITED STATES

OPPOSITE

Oversize washers add character to the recycled Douglas fir and western red cedar cladding LEFT

Raw materials are left unfinished and concrete block walls, used to hold back the hillside, are exposed inside and out BELOW

Ash features in the stairwell, ceiling pattern, shelving and some walls

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AUSTRALIA

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Exterior stains were custom mixed by the owner to match natural colours found on site: fall poplar leaves (yellow), lichen (green) and sumac leaves (reddish brown).

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The clients –an interior designer and an international fruit broker – are secondgeneration owners of the 80-year-old ranch who wanted a home as a base for regular trips to the property, and eventually to serve as a second home for extended stays.

The Campbell Orchard residence is appropriately sited at the edge of the orchard, accessed by a long drive through the array of fruit trees and massive poplars. Prevalent wind was a primary factor, influencing the decision to tuck the house into a hillside for shelter.

Further wind protection is achieved by the construction of a wall at one end of a carport, with a large sliding door to access the house and shut out wind. The wall also provides security as the owners are absent for much of the time.

The building fits well in its landscape: raw materials left unfinished and concrete block walls - used to hold back the hillside - exposed inside and out. Recycled Douglas fir purlins are set on exposed steel beams and columns, which are canted to mimic the old orchard props used to support fruit-laden branches.

The distinction between indoor and outdoor space is blurred by the use of a stained

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concrete floor, which extends to the outdoor room, and oversized windows, including a 3 m x 2.7 m custom slider.

One of the major decisions facing Seattle architect Craig Curtis of Miller/Hull was where to site the house. “We had dozens of [hectares] to choose from and the final decision was made after extensive walking of the property with the owners,” he told timberDESIGN. “The location includes a beautiful ponderosa pine, basalt outcropping, dramatic views and an approach drive that hugs a poplar row windbreak.

Prevailing afternoon winds were another major design challenge and the large sliding door at the entry allows the wind to be moderated, using the door as a variable aperture.”

The Douglas fir used for the main structure and featured exterior siding was, fittingly, recycled from old fruit-packing warehouses.

Stained exterior siding is western red cedar, chosen for its weathering ability.

For added character, oversize malleable iron washers were specified for the structural connections. Exterior stains were custom mixed by the owner to match natural colours found

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on site: fall poplar leaves (yellow), lichen (green) and sumac leaves (reddish brown).

Although not fully evident in our feature photography, ash is prominent throughout the interior design. “One of the owners is also an art collector and she exercised a lot of influence over the final presentation. She really likes ash in her work because of the grain and the way it takes stain when rip-cut, so she commissioned pieces of furniture that are ash-dominant, but with a wide variety of finishes,” says Curtis.

Ash features in the stairwell, ceiling pattern and some of the walls, and the shelving is all black-stained ash.

LOCATION Tieton, Washington, United States ARCHITECT/DESIGNER The Miller|Hull Partnership - Craig Curtis design partner STRUCTURAL ENGINEER Dayle B. Houk & Co. GENERAL CONTRACTOR VK Powell WOOD PRODUCTS Reclaimed Douglas fir, western red cedar, ash PHOTOGRAPHY Ernie Duncan & James F. Housel

DURABILITY YOU CAN TRUST. Douglas-fir is highly respected in the building trade for its ability to withstand the elements.

What makes it so durable? Because Douglas-fir is a refractory species, the wood resists wetting and has a natural ability to withstand decay for longer.

This lowers the risk of wood becoming wet and suffering damage during

Visit www.douglasfir.co.nz

construction, ultimately resulting in much higher stability.

Furthermore, it reduces the risk of movement due to expansion/shrinkage caused by wetting and drying, making it an ideal choice for frames and trusses.

Plus, Douglas-fir is stiff and strong and because it has high natural resistance to moisture and decay, it can be left

untreated in many low risk building situations. And that provides an ideal choice for people seeking the natural benefits of a wood solution.

For your next build choose Douglas-fir, the naturally strong wood.

Available in MSG8 and MSG10 untreated and H1.2.

AUSTRALIA

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Floorboards are spaced and caulked like the deck of a yacht to provide slip resistance and protection from pool water.

ABOVE

The sunken lounge references an area once occupied by the pool RIGHT

The ironbark connecting bridge with canted glazing on each side OPPOSITE

Externally, the box is clad with ironbark shiplap boards

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AUSTRALIA

THE IRONBARK CONNECTION Ironbark flooring is the thread that weaves together the elements of a socially and historically significant Victorian icon – the Hepburn Mineral Springs Bathhouse near Daylesford.

Plantation-grown ironbark was selected for its resilience and unique, rich colouration to define spaces in three key areas of this 114-year-old establishment.

The facility is approached across an ironbarkdecked bridge, which connects the reserve car park to the reception – a linear space with canted glazing on each side; transparent on the east and translucent on the west, with clear viewing slots to the pool hall below.

The flooring is laid to accentuate the direction of travel and is punctuated by the reception counters where it folds up the face of the joinery, creating a seamless three-dimensional form.

The northern elevation of the bathing hall is an ironbark-clad sunroom – taking the form of an extruded timber box, oriented to capture the low northern sun and with the floor wrapping up the walls and ceiling. Externally, the box is clad with ironbark shiplap boards.

Floorboards are spaced and caulked like the deck of a yacht to provide slip resistance and protection from pool water.

The double-glazed northern wall of the space is vertically operable and can be lowered through the floor when conditions are appropriate. In the lowered position the operable wall functions as a glazed handrail.

The central space of the southern wing is a resting room where patrons lounge between or before treatments. In its previous incarnation this space was filled with a mezzanine and reception, and stripping those functions out has revealed the grandeur of the original volume.

Historically, the centre of the space housed a pool, which is referenced in the new arrangement with a sunken lounge area. The lowered lounge is shaped by wrapping the spaces in a threedimensional weave of ironbark boards, creating backrests, seats, stairs and tables.

The timber boards continue an uninterrupted path to further engage with therapy and special mineral bath areas and provide a unifying link between the many spaces of the bathhouse.

This project won the best timber flooring category in the 2008 Australian Timber Design Awards.

PROJECT Hepburn Mineral Springs Bathhouse redevelopment ARCHITECT Cox Architects & Planners WOOD PRODUCTS Ironbark-decked bridge, flooring, joinery, shiplap cladding PHOTOGRAPHY Derek Swalwell

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INNOVATION

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One of our key guiding concepts was to create a building to be in, and to look into - showing its ‘bones’ and celebrating innovation of [the] structure in wood.

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INNOVATION

MILLION FOR ‘WORLD FIRST’ Multi-storey winner in engineered wood It is not yet built, but is already being described as “landmark” in the New Zealand context – a flag-bearer for the return of wood to multi-storey commercial design, and featuring revolutionary wooden construction.

A design by Irving Smith Jack Architects for the new Nelson Marlborough Institute of Technology (NMIT) Arts and Media Building has won a $1 million nationwide competition and towards construction costs from the Ministry of Agriculture and Forestry (MAF).

Through its Wood Building Demonstration Project, MAF encourages the use of wood in multi-storey commercial buildings, awarding government or government-funded organisations part funding for design and construction. The ministry’s design criteria include being commercial, made with wood, multi-storey, innovative and having features easily translatable to other buildings.

Four leading architectural firms were invited to enter the MAF/NMIT competition, with the primary requirement being a commercial building using wood as the key structural component, instead of concrete and steel.

Andrew Irving of Irving Smith Jack says the leading-edge engineering features of its winning concept, coupled with the use of locally produced materials and a design that shows off all the internal structural components make it unique in wooden building design.

Project team structural engineer Carl Devereux of Aurecon says the design is based on the latest research from the University of Canterbury and will be a world first, with the earthquake design combining laminated timber shear walls with a unique energy-dissipating system.

"The design is truly inspirational,” says NMIT chief executive Tony Gray. “It will create spaces for students and teaching staff unlike anything seen before in New Zealand. The building will show off the internal timber structure and components.

“Extensive glazing also lends the building a sense of transparency. It is an important aspect for us that there will be lots of natural light."

The new buildings are part of NMIT’s longer-term vision of modernising the Nelson campus. "If we want our community to invest in learning then we want to be able to make that as motivational, inspiring and enjoyable as possible,” says Gray. “Having a building that is state-of-the-art for New Zealand is going to be an integral and memorable part of gaining their qualifications for our arts and media students.”

Due for completion for the 2011 academic year, architect Andrew Irving hopes the block will be the first of a new generation of creative, sustainable, wooden-structured, multi-storeyed buildings. “One of our key guiding concepts was to create a building to be in, and look into - showing its ‘bones’ and celebrating innovation of [the] structure in wood.”

The competition-winning team was: Irving Smith Jack, Aurecon (formerly Connell Wagner), Designgroup New Zealand and Rider Levett Bucknall.

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NEW ZEALAND

FISHBONES

IN THE MANGROVES

Cascading glulam ribs capture time and place

Several hundred thousand cars pass within shouting distance of it every day, but only ‘locals’ will generally be aware of Auckland’s most intriguing pedestrian bridge nestling among the mangroves.

A minute or two along the Onewa Rd exit from Auckland’s Northern Motorway is the Onepoto Basin – an eroded volcanic crater and now home to a much-discussed marine-influenced footbridge. It was designed as a fishbone metaphor and is now tagged the ‘wave bridge’ – perhaps inappropriately, given there is no real surf within cooee.

Regardless, it is a wonderful flowing structure spanning 46 m, with its laminated timber ribs unfolding and providing pedestrians with a sense of motion and of the changing landscape as they pass by.

The North Shore City Council wanted a functional structure for pedestrians to cross a tidal stream and mangroves, which also offered a unique experience by incorporating architectural elements to create interest while blending into the surrounding landscape.

The end result is a bridged walkway whose main features are curved timber glue-laminated ribs, geometrically arranged to create an undulating and unfolding sinuous form. As Beca Architects told timberDESIGN: “There are associations of boat, fish or skeleton, and the architecture creates a kinetic experience varying with the movement of the observer.

“It is part of a passage that visually connects the viewer to the surrounding environment. And as the site was a historic fishing area for Maori, so the fishbone metaphor of the bridge is sympathetic to the past and the focal point of that passage.”

The complex organic form was derived through a succession of manipulations of geometry, beginning as a cylinder. Beca says the wave shape of the original concept was achieved by controlling the surface tension through a multiplicity of ordered nodes. Construction materials and techniques were then considered and introduced into the virtual model.

The complexity of the undulating form of the bridge cladding was solved in a simple geometrical progression – by varying the lengths of the glulam ribs and only using two types.

Wood supplier McIntosh Timber Laminates was involved early enough to advise on optimum section sizes and radius options. With individual panels being 400 mm wide and 90 mm thick, straight members were manufactured first, then sliced into thinner layers and pressed into their curved shapes.

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NEW ZEALAND

“

There are associations of boat, fish or skeleton, and the architecture creates a kinetic experience varying with the movement of the observer.

”

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NEW ZEALAND

“

There was an important role in informing the contractors of design intentions and raising awareness of the need to understand the vagaries inherent in the use of a live material…

“A complex series of gradients meant that each curved panel [about 150 in all] had to be made to precise dimensions,” the company told timberDESIGN. “Each panel was required to match the adjoining, which demanded consistency and accuracy. Double-curved members were made for the central panels on the side facing the reserve, which were designed to have a folding curve, reversed to form a cascading lip.”

With the predetermined requirements for a shared-use footpath, and the need to mitigate potential negative visual effects in the sensitive marine environment, the glulam ribs are more than just aesthetic additions.

They also shield pedestrians from the busy traffic on Onewa Road.

Cut-outs, or ‘windows’, were incorporated into the ribs to create a cinematic slideshow effect of the Auckland skyline and an overall feeling of momentum for bridge users. “To maintain structural integrity, a maximum cut intervention in the glulam members of 50 mm was permitted. The resulting subtle and distinctive single skewed cut-out in the edge of the members was the creative response to that constraint,” Beca says.

The ribs also nicely conceal the concrete beam of the underlying structure and allow for the bridge to be completely camouflaged within the natural mangrove environment.

Another challenge for the construction team was the potential ‘exuberance’ of the bridge users. Considerable thought went into the final width and thickness of the laminated beams, to reduce the potential for unsafe behaviour.

The wood choice Key factors that influenced the choice of wood for the superstructure included: its technical simplicity, allowing the architects to keep within the prescribed budget; minimal extra weight considerations, and its colour, visual warmth, flexibility and environmental fit. “A bonus is the fact that timber is a low-carbon-emitting material compared with concrete or steel.”

To combat potential long-term deterioration, the ribs were designed as laminated strips, each lamination having its own preservative layer to increase decay resistance. Any holes drilled in the wood were heavily protected with preservative.

In this coastal situation, the designers also had to eliminate the risk of chemical reaction between the timber and the individual galvanised

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”

steel brackets attaching the wood panels to the super tee. The best technical and cost-effective solution was to use synthetic rubber as the separation membrane.

Another challenge was dealing with the differential movement and tolerances between the various components. “This was important because the glulam beams — being of multiple different lengths and mass — would be subject to differential movement and misalignment due to their varying weight and solar absorption. The use of dry-packed steel shims, washers and adjustable bolts served to minimise this problem.

Bolt penetrations were carefully engineered and executed to minimise the potential for failure at weak points.”

Beca says civil engineering projects rarely work to such tight tolerances. ”There was an important role in informing the contractors of design intentions and raising awareness of the need to understand the vagaries inherent in the use of a live material [radiata pine], whose behavior - once released from the jig - could be less predictable than other materials. This was undertaken on a daily basis through project control group meetings and presence on site.”

The result is a unique structure that not only serves its functional purpose, but integrates well with its natural environment and the area’s history. The use of wood was critical to the structure’s warmth, visual impact and the enjoyment of its users.

The Onepoto Footbridge won the ‘outdoor infrastructure’ category of the 2008 NZ Timber Design Awards and was an ‘urban design’ winner in the NZIA Auckland Architecture Awards.

PREVIOUS PAGE TOP Cut-outs create a cinematic slideshow of the skyline PREVIOUS BOTTOM LEFT Glulam ribs nicely conceal the concrete substructure PREVIOUS BOTTOM RIGHT Glulam ribs are more than aesthetic - also a traffic shield ABOVE The curved radiata pine ribs are geometrically arranged to ‘unfold’

PROJECT

Onepoto Footbridge, Auckland, New Zealand

CONCEPT, DESIGN, ARCHITECTURE Beca Architects STRUCTURAL ENGINEERING Beca WOOD PRODUCTS

Radiata pine glulam rib beams

PHOTOGRAPHY Tony Neilson

REGULATION

REDUCING THE RISK Efforts to better equip Australian buildings to withstand the effects of bushfires have produced revised Standard AS3959, implemented in Victoria in March and applicable to all new houses.

“

The latest regulations will undoubtedly hasten the arrival of new and improved fire-resistant timber cladding products – including a pine-based exterior system soon be released.

The revision, according to Standards Australia CEO John Tucker, is a significant improvement on previous requirements – covering assessment of bushfire attack and construction requirements for buildings in designated bushfire-prone areas.

Improvements include: • six construction levels (up from three) • two options for determining the level of bushfire attack • refinement of test methods for construction materials • better ember protection measures, including optional window shutters • provisions for non-exposed facades and attached structures.

AS3959 covers flooring systems, supports, external walls, windows, doors, vents, roofs, eaves, fascias, guttering, verandas, decks and service pipes.

”

Construction methods will be heavily influenced by the required Bushfire Attack Level (BAL), which takes into consideration factors including the Fire Danger Index, slope of the land, surrounding vegetation and its proximity to any building.

The latest regulations will undoubtedly hasten the arrival of new and improved fireresistant timber cladding products – including a pine-based exterior system that timberDESIGN understands will soon be released in Australia and New Zealand.

In a related but somewhat puzzling development, the Timber & Building Merchants Association (TABMA) says the use of western red cedar (WRC) in fire-prone areas could be “greatly extended”, with research confirming that fire retardant-treated WRC can be machined after treatment and still comply with Australian Standards.

“This crucial research provides both importers and processors of western red cedar products immediate commercial opportunities,” says TABMA chief executive Colin Fitzpatrick.

But there is just one problem: nobody in Australia seems to stock retardant-treated WRC. When timberDESIGN contacted the public relations agency handling the research release, it confirmed there were no WRC suppliers in the country offering fire retardant treated product, and that any plans to do so would be “something for the industry to decide”.

If you would like more information about this apparently unavailable product, the full research report is at: www.fwpa.com.au For more on timber framed housing in bushfire-prone areas, try: www.timber.org.au

PHOTO Inwood/Images

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THE SOFT FORTRESS In a beautiful and challenging landscape This house in the stylish suburb of Wharewaka on the shores of New Zealand’s Lake Taupo was designed for a family scattered across the country’s North Island, and built to cope with an often-extreme environment.

NEW ZEALAND

ABOVE

The ‘unremitting slot’ in the thick coat through which the panorama is viewed TOP AND BOTTOM RIGHT

Meticulously crafted – stunning architectural response as a rain screen facade

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NEW ZEALAND

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0. MAIN ENTRANCE 1. MASTER BEDROOM 2. ENSUITE 3. WARDROBE 4. KITCHEN LEGEND 5. DINING ROOM 6. LIVING ROOM 0. MAIN ENTRANCE 7. COURTYARD 1. MASTER BEDROOM 8. EXTERIOR COVERED PORCH 2. ENSUITE 9. STORE 3. WARDROBE 10. BEDROOM 1 4. KITCHEN 11. BEDROOM 2 5. DINING ROOM 3 12. BEDROOM 6. LIVING ROOM 13. BUNK ROOM 7. COURTYARD 14. WET ROOM 8. EXTERIOR COVERED PORCH 15. DRY ROOM 9. STORE 16. SHOWER 10. 17.

BEDROOM LINEN 1 11. 18.

BEDROOM 2 WC 12. 19.

BEDROOM 3 WALKWAY 13. 20.

BUNK ROOM GARAGE 14. 21.

WETWASHING ROOM LINE AREA 15. 22.

DRYWATER ROOMFEATURE 16. 23.

SHOWER SPA POOL 17. 24.

LINEN TV ROOM (BELOW) 18. WC 19. WALKWAY 20. GARAGE 21. WASHING LINE AREA 22. WATER FEATURE 23. SPA POOL 24. TV ROOM (BELOW)

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The form of the building on its escarpment is deliberately singular Sited on a south-facing escarpment, the holiday house has views over Lake Taupo towards Mt Ruapehu and Tongariro National Park. On the other side the house is embedded in the familiar pattern of a suburban subdivision.

As well as providing the necessary accommodation, the designers had to deal with two environmental contradictions: the holiday 'escape' located in a conventional suburban environment, and the need for an ‘outwardness’ of living and view set against wildly contrasting climatic conditions, including radical western sun penetration from the direction of the principal views.

The plan provided the primary social response by closing the building form to the adjacent suburb and, only opening the internal courtyard to free space – the lake or appropriated space.

These dual strategies are mediated via the external skin of the building, made of a grillage of ex 70 x 40 mm bandsawn vertical western red cedar battens. Bracketed off the building skin on stainless steel frames (like a pelt),

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they provide a hermetic coat against the surrounding social and climatic environment.

Like a soft fortress the house presents a quiet closed form to its neighbours, defying interpretation or recognition, and hiding the building in plain view.

The cedar grillage moderates between the lake panorama and the south-western sun via four massive screens — closing the view but for an unremitting slot in the thick coat.

The coarse imagery of this moderation is a deliberate response to the sub-alpine conditions. The machined cedar boards are directly inspired by the texture and tones of the vigorous local flora, which at this altitude colours to deep textured reds.

Unbounded planting of indigenous plants and shrubs, further enhanced the imagery of remoteness.

Cedar is also used in the large glazed doors where its lightness and stability are an advantage, and treatment with a penetrating wood oil allows the continuity of material to reduce visual clutter.

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Door sills are jarrah, chosen for its durability and colour. The bulk of the house is timberframed construction, with steel used where extra large spans are required.

Interiors are plain and light, a deliberate ‘feminising’ that contrasts with the strong exterior treatment. ESD is emphasised with extra insulation, double glazing and solar heating.

The Wharewaka House was joint supreme award winner in the 2008 New Zealand Timber Design Awards, where the judges noted the extensive attention to detail in the timber grillage: “A meticulously crafted and stunning architectural response as a rain screen facade.”

PROJECT Wharewaka House ARCHITECT Richard Goldie, Peddle Thorp Architects WOOD PRODUCTS 70 x 40 mm bandsawn western red cedar cladding, jarrah, timber frame PHOTOGRAPHY Patrick Reynolds

CONTRIBUTED

“

When it comes to external weather-exposed timber structures, the art is definitely more important than the science.

”

THE ‘ART’ OF USING TIMBER EXTERNALLY Eastern Australia, with its spotted gum and ironbark, is blessed with some of the most durable hardwoods on the planet, yet increasingly there is resistance to the use of timber, particularly in New South Wales and Victoria. Outdoor construction expert Ted Stubbersfield offers some explanations and solutions.

Every discipline is comprised of its science and its art. When it comes to external weatherexposed timber structures, the art is definitely more important than the science.

If an engineer miscalculates the size of a joist and uses 125 mm x 75 mm instead of 150 mm x 75 mm, should the structure ever reach the design load, it will simply deflect more than was intended.

But if the engineer nominates a 50 mm member with the same properties as a 75 mm joist of the correct size, the structure will fail prematurely.

This is because equally, screws inserted in a straight line will invariably split the joist and allow water to enter, so promoting decay.

While it is unreasonable to expect a natural product like wood to perform precisely the same way every time, the market should expect certain minimum standards.

The introduction of ‘F’ rated timber to Australia emphasises strength rather than durability – even in weather-exposed situations. Critical properties such as durability, stability, shrinkage and appearance are ignored in favour of a single F rating, which designates no more than the strength on the day of milling, often referring to a lower grade of timber.

Solution: Go for proven and readily available species (my choice would be a mix of spotted gum and ironbark). For maximum life decking, the face you need is that means something like AS2082 Structural Grade 1, which in spotted gum is F22. By designing for durability, you automatically take care of strength and may also be able to specify smaller sizes.

Timber treatment Treatment is not the total answer to ensuring durable external structures. And not everything is as it seems. A piece of timber with no sapwood and in a low durability 2 in-ground species can have the outside coloured with preservative chemical and be stamped H5. It is misleading to say that such timber is ‘treated’, and that it will give performance similar to a piece of untreated ironbark with little sapwood. Treatment is not going to stop the elements further deteriorating natural features such as unsound knots.

Solution: Treatment should not be instead of, but parallel with careful species and grade selection. Do not over-treat by introducing CCA where it is not needed, use natural rounds for in-ground contact [they have an envelope treatment] and please don’t set treated hardwood in concrete.

Non-structural A number of mills are now producing landscaping timbers – often a mix of species meeting no structural grade and the total specification being something like “one good face, one good edge”. Because it is available in the same dimensions as structural timber, landscaping contractors buying on price rather than specification cannot be sure that the wood is fit for purpose. And when failure occurs, timber is the loser.

Solution: Beware of generic terms such as ‘sleepers’. It is important to be able to recognise conforming and non-conforming product, and those who substitute non-conforming product should be called to make good.

When in doubt on anything to do with the outdoor application of timber, the best advice of all is: asking questions of specialists. You will be surprised how easy it is to avoid known problems and to obtain good information.

(Article contributed by Ted Stubbersfield, director of Outdoor Structures Australia, www.outdoorstructures.com.au) ABOVE Treatment goes parallel with careful species and

grade selection (Photography: Inwood Images)

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FURNITURE

THE SLEEPING DRAGON A moment of contemplation in Bedfordshire

A sinuously sculptured garden seat inspired by its private setting and the sentiments of a 30th wedding anniversary was judged best furniture piece in the 2008 UK Wood Awards.

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FURNITURE

The ‘sleeping dragon’ was crafted by specialist chair designer and maker Alun Heslop of Chaircreative from solid European oak – creating a feeling of fluid solidity along its 8.5 m to fit the watery ripple element of a pond setting and fill the landscape of a private home in Bedfordshire.

Heslop told timberDESIGN that oak is his wood of choice for exterior projects. “The simple reason is the natural weather resistance and durability of the timber in our temperate climate.

Oak has a very high tannin content, which preserves the structure of the wood. Of course all timber left outside to its own devices will also weather to a beautiful silvery grey, and oak is no exception.”

The only protective treatment was an initial air-drying to stabilise the wood’s surface during its first year outside. “Essentially, this treatment acts to dissipate the initial effect of the UV and moisture to limit the amount of micro surface checking that can occur in new wood when first placed out in the elements.”

The use of prime quarter sawn 68 mm oak boards add to the character and look of the piece – allowing the faces to show the ribbons of medullary rays and Heslop believes quartersawn boards are also far more stable within seasonal humidity fluctuations.

Such prime oak cuts (no knots), in

“

combination with stainless steel fixings and a

We move through space and time, dynamic and fluid. Occasionally, we may rest or pause, and perhaps sit down for a while …

”

4 mm gap between boards to prevent pooling, should result in a 35-year-plus lifespan for the ‘dragon’ according to Heslop.

The dragon’s accompanying block-laminated spheres were created from turned hemispheres.

“The base element blocks of the seating are set on York stone slab footings. Although oak is extremely hardy and naturally weather resistant, it lasts far longer when not earthed.”

Heslop captures the essence of the work, thus: “We move through space and time, dynamic and fluid. Occasionally, we may rest or pause, and perhaps sit down for a while.

And there is the moment of contemplation.

A moment to deliver a truly unique experience, to sit and feel welcomed, comfortable, elevated and perhaps even astounded.”

OPPOSITE TOP A mythical beast in oak lurks in a

peaceful English garden OPPOSITE BOTTOM Segmented board design allows for

a small amount of give and flex LEFT For the 3-m-long backrest, 50-mm-thick oak

was steam-bent LOCATION Bedfordshire, UK DESIGNER/MAKER Alun Heslop,

Chaircreative, UK WOOD European oak PHOTOGRAPHY Anja Ropt

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SPECIES PROFILE

THE REAL ‘WHITE OAK’ One of the world’s preferred hardwoods Beginning a new series profiling important commercial timber species and providing useful guidelines for specifiers.

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SPECIES PROFILE

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The wood is hard and heavy with medium bending and crushing strength, low in stiffness, but very good in steam bending.

”

There is a lot of oak around: it dominates architectural interiors and furniture, is popular for some exteriors and accounts for more than half the European and US hardwood flooring sector.

It grows throughout the northern hemisphere and comes in many guises – but there is only one commercial source of white oak. The United States contains almost all the available white oak, so any other oak calling itself ‘white oak’ is effectively an impostor.

American white oak — defined by Lincoln (ISBN 0854420282) as native only to Eastern USA and SE Canada — is a group of about eight Quercus species, mainly Q. alba which are sold together either as Northern white oak or Southern white oak.

Furniture and joinery markets around the world still show a preference for oak above any other single temperate hardwood species and American white oak (14% of the national hardwood resource) is one of the most sought after and readily available. Thus there has been a recent tendency by oak producers from other regions to cash in and re-name their own as ‘white’ oak.

Oaks vary in grain characteristic and colours due to many factors, including site growing conditions, sawing methods and the great variety of sub-species. So it is always a question of “know your oaks” and “understand what is truly white oak”.

Characteristics The colour of American white oak may also vary from north to south. The sapwood is light or almost white, and the heartwood is light to brown colour. The heartwood is durable and naturally resists insect attack and rot in humid conditions. Under National Hardwood Lumber Association (NHLA) grading rules, sapwood is not a defect, and in many interior applications can be used as a feature. Being hard, white oak is particularly suitable for flooring in high traffic areas. The wood is mostly straight grained with a medium to coarse texture.

Properties The species machines, nails and screws well, although pre-boring is advised. Its adhesive properties are variable, but it stains

and polishes to a good finish. The wood dries slowly and care is needed to avoid splitting and checking. Due to its high shrinkage it can be susceptible to movement in performance.

The wood is hard and heavy, with medium bending and crushing strength, low in stiffness, but very good for steam bending. White oak can vary according to the growing region.

Average weight (12% M.C.)

769 kg/m3

Average volumetric shrinkage:

12.6% (Green to 6% M.C.)

Modulus of elasticity:

12,273 MPa

Hardness:

6,049 N

Whiskey and wine drinkers all over the world experience the flavour of American white oak, as it is used widely for barrel-making, the heartwood being completely impervious to moisture.

There are many fine examples of white oak used as a modern material in both contemporary and traditional contexts. In the new parliamentary building Portcullis House at Westminster in London, Michael Hopkins and Partners with engineers Arup solved a technical problem in a spectacular way by exploiting the excellent strength to weight ratio of American white oak.

Similarly the new Hopkins-designed Haberdashers’ Hall in London’s West Smithfield used white oak extensively throughout – combining modern architecture with traditional materials and building skills.

The species is also used widely throughout the Asia Pacific region.

Suitability:

Furniture, flooring, architectural joinery, exterior joinery, mouldings, doors, kitchen cabinets, panelling, railway sleepers (ties) bridges, barrel staves, caskets.

(This Species Profile was complied with the expert assistance of the American Hardwood Export Council. For information about the full range of sustainable American hardwood lumber and veneer species, go to www.ahec-seasia.org)

OPPOSITE White oak – part of a contemporary solution for the traditional Haberdashers’ Livery dininghall in London (Photograph: AHEC) THIS PAGE

New York furniture designer John Kelly chose white oak for his distinctively ‘latticed’ Zeta range

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AUSTRALIA

MULTIFUNCTION FLEXIBILITY From boot factory to architects’ studio

The inspiration for this award-winning, do-it-yourself refurbishment of a circa 1900 Victorian-era open-plan boot factory as the workplace for a firm of young architects was the connection between the building’s original use and its modern functional role.

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AUSTRALIA

OPPOSITE

The concept is built around a series of ‘floating containers’ – all clad with recycled floorboards ABOVE

In the meeting room there are reminders of the old toilet and bathroom LEFT

Not just an office – a showroom, display area and an example of how materials can be juxtaposed OVER PAGE

The rugged surfaces of the exterior are a stark contrast to the smoothness of the interior

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AUSTRALIA

“

We arranged the boxes to act like walls, separating the functional spaces of the office, whilst becoming more than a wall – a container for services within themselves.

The clear-span nature of the structure at first floor level provided an uninterrupted 11 x 12 m floor plate. In early times this was an open layout area for workbenches. Contemporary planning for commercial office space is similar – particularly the open studio style favoured by architects.

“We must be able to shrink or expand easily and quickly. This provided an integrated response in connection to contemporary thinking and regulated how each floor may be resolved,” say Wolveridge Architects.

Over both floors, the open plan spaces were partitioned by the insertion of timber-clad volumes: free-standing cubic forms within the space, clad in recycled hardwood flooring.

“We arranged the boxes to act like walls, separating the functional spaces of the office, whilst becoming more than a wall – a container for services [wc/kitchen/storage/conference] within themselves. The manner in which these forms touch the existing building is significant to this idea and suggests of contemporary design practice as opposed to a traditional method of carving the entire space into a series of smaller rooms.

“The use of the space is broad. Not just an office – a showroom and display area for our furniture and an example of how materials can be

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”

juxtaposed. The office was a place to test ideas; where clients can touch, feel, experience and evaluate. This could also be a place for artists to show work, a gallery, a cultural venue. We consider that the ideas of multifunction, flexibility, adaptation and open-space planning to be fundamental to contemporary design practice.”

In dealing with the existing structure, nonoriginal features were removed. It was also felt that any new work should be considered ‘temporary’ – enabling minimal disruption of the core structure if required for another purpose.

The ‘container’ concept relates to the building’s origin as a tannery and boot-making factory. The first floor service box is partly clad in an open-sided material, providing a spatial barrier not unlike a crate that may have been found in the original building: an open-sided box used to store things.

Although the base structure was sound, it was full of holes and leftovers from an earlier era. But rather than patch it up to look new, the occupants decided just to seal it from the elements. “In passing through the completed spaces, we have various links with past — such as in our meeting room where a floor slab and remnants of wall framing are reminders that the space was once used as a toilet and bathroom.”

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The two service volumes, both at ground and first floor, are clad inside with recycled hardwood flooring from similar-era light industrial buildings – incorporated in a contemporary context. The richness of the texture brings warmth to the space that is calming and comforting to the user and visitor.

Floating above the floor with recessed kickboards and wherever it connects with an existing surface painted black suggests the insertion is of a temporary nature. Where timber cladding follows a corner, the joints have been mitred and each board has been installed continuously around each corner – indicating of a more encompassing form than a mere surface.

All of which is in stark contrast to the rugged surfaces of the exterior materials.

The United Tannery & Boot Factory project was judged Best Interior Fitout in the 2008 Australian Timber Design Awards.

United Tannery & Boot Factory, Collingwood Victoria ARCHITECT Wolveridge Architects WOOD PRODUCTS Recycled hardwood flooring PHOTOGRAPHY Derek Swalwell Photography PROJECT

GALLERY

MAKEOVER FOR AUSSIE AWARDS

Wespine plantation house frames.

The renewable resource.

The annual Australian Timber Design Awards are getting a major makeover, including the addition of regional awards and more scope for architects, building designers and engineers.

The revised competition, now backed by the Wood. Naturally Better campaign, includes four building-related primary entry categories, plus interior fit-out, outdoor timber and sustainable design, plus eight ‘best use’ categories and the young designer section.

Other revisions include fully electronic entry, and ‘blind’ judging where entrants’ names are not linked with their work until after evaluation.

For more details go to: www.timberawards.com.au

MF WPN1055

Regional award functions in October will be held in Melbourne, Sydney, Brisbane and Perth, followed by national finals.

London architect Andrew Waugh (Waugh Thistleton) – project leader of the world’s tallest timber residential building, the nine-storey Murray Grove Tower (featured in timberDESIGN, Spring 2008) – will speak at each event.

Tough timber frames. Gentle on the earth.

The 100% factory finished timber weatherboard system

From our Forests to your Home We grow the trees in our own forests, mill the timber, manufacture the end product and install it. Providing you with a single point of trust.

PHONE 0800 CORTEX OR (06) 834 34 35 EMAIL sales@cortexcladding.co.nz WEB www.cortexcladding.co.nz

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The mark of responsible forestry SGS-COC-0889 © 1996 Forest Stewardship Council A.C.

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AUSTRALIA

FULFILLING A SPECIAL NEED Low-cost units tackle big social concern A 10-unit development for people with disabilities costing just one fifth the price of similar government-provisioned housing won the ‘best use of timber as a structural element’ and ‘best use of plywood and LVL’ sections of the 2008 Australian Timber Design Awards.

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AUSTRALIA

OPPOSITE

The St Michael’s units in Launceston – provided at a fraction of government job cost THIS PAGE TOP

Plantation timber framing – all prefabricated, with high quality finishes and detailing THIS PAGE BOTTOM

Hoop pine ply walls and ceiling, and brush-box ply floors

The independent living units at St Michael’s in Launceston, Tasmania, are part of a model that incorporates a spectrum of care with some group accommodation for those with greater needs, through to the new independent structures.

Clustered in groups, the units form an intimate community where individuals have opportunities to learn independent living skills.

They can move from group care living to their own independent unit where ownership and a personal sense of achievement are encouraged.

The list of deliverables required of these 50 m2 dwellings included: clients being able to ‘age in place’; access and inclusion; low cost and affordable; cost-effective construction and low maintenance; high quality finishes and details; prefabrication; environmentally sustainable design using plantation timbers, 5-star lightweight insulated construction,

solar water heating, low and zero VOCs and passive solar design.

Fund-raising initiatives and a small state government housing grant covered the cost, which for the 10 units was less than that for two typical government-provisioned houses for persons with disabilities.

Wood products The units have a 5-star insulated timber floor and what is believed to be the first 5-star insulated lightweight timber construction system of its type in Tasmania.

The walls are made from 9-mm-thick hoop pine ply for impact resistance and future ease of fitting grab rails. The 20 mm brush-box ply flooring increases the R-value of a 5-star multilayered system incorporating plywood soffit, two air spaces, concertina double-sided

reflective foil and ply floor. The roof framing is sized for future track assemblies to lift clients.

Designers Birelli Architects say the St Michael’s units tackle big social and environmental concerns without the big budget – providing affordable, access-friendly, quality housing that previously did not exist in Tasmania for this market or level.

PROJECT St Michael’s, Launceston,

Tasmania ARCHITECT Birelli Architects WOOD PRODUCTS Eco-ply wall cladding, Norclad 9 mm hoop pine plywood walls and ceiling, 15 mm brush-box Armour ply flooring, treated pine footings, plantation timber framing.

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37

AUSTRALIA

THE BENTO BOX A bento box can be crafted from the finest timber and gold leaf lacquer, or extruded from cheap plastic polymer. Either way, the traditional Japanese lunchbox encapsulates the elegant simplicity and inherent 'everydayness' of materials and necessity.

38

www.timberdesignmag.com timberDesign AUSTRALASIA WINTER 2009

AUSTRALIA

“

From the entrance, illuminated kanji characters (bento), routed into clear finished plywood, glow from the rear of the space, drawing customers in.

”

The Bento - Japanese Food in a Box is a fast-paced Launceston (Tasmania) eatery, with a modified contemporary Japanese aesthetic that its young designers say “extrapolates and experiments with traditional notions and reinterprets them in a playful acknowledgement of its surrounding context”.

It presents a stylistic modern interpretation of the Japanese way of eating fast food and its designers Alisa Ward and Andrias McMahon won the highly commended students and under-30s encouragement category in the 2008 Australian Timber Design Awards.

From the entrance, illuminated kanji characters (bento), routed into clear finished plywood, glow from the rear of the space, drawing customers in. The plywood and translucent perspex light box is framed by 'Japan black' stained timber and provides a material primer throughout the design.

The kitchen is framed by a box of solid Tasmanian oak. Serving counters and storage units are simply crafted, with hidden fixtures and access points. Their length is exaggerated by the continuous and careful alignment of grain, and the intensity of the black finish.

Suspended from the existing ceiling panel system and two-way grid is a landscape of hardwood veneered plywood boxes, with the red and black finish a direct reference to the tradition of Japanese lacquerware (Shikii).

This modular system is repeated in systematic interpretations across the 3D ceiling plane, hiding and revealing lighting and air registers, and creating delightful spatial plays.

Long bench seating accommodates fluctuating numbers of diners. Suspended from the stud frame walls, they appear to cantilever and float within the space and were designed to minimise wastage from 19 mm exterior hoop

pine plywood. A carcass of structural ply was fixed directly to studwork, allowing the benches to hover off the floor and the walls. The sheets facing the benches were routed to accept strips of stained macrocarpa.

OPPOSITE Red and black hardwood boxes in the ceiling reference lacquerware

Kanji characters routed into clear finished ply

ABOVE LEFT

Floating bench seating features hoop pine and macrocarpa

ABOVE RIGHT

PROJECT Bento - Japanese Food in a Box,

Launceston, Tasmania ARCHITECT Alisa Ward and Andrias McMahon WOOD PRODUCTS 9 mm hardwood veneer plywood finishes, 19 mm exterior hoop pine veneer plywood sheets, macrocarpa PHOTOGRAPHY Jonathan Wherrett

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39

FLOORING

KEEPING UP APPEARANCES What should be expected from a timber floor

A new series on timber flooring prepared jointly by the Australian Timber Flooring Association (ATFA) and Timber Queensland Ltd begins at the end, by considering the appearance of the ‘finished product’. Next issue, we show readers how to achieve an acceptable result.

There are no standards that outline what is an ‘acceptable’ appearance for a timber floor, but there are standards that relate to the manufacture of timber flooring. And when recommended sanding and finishing practices are undertaken, there is a general level of acceptance of the finished product in the marketplace.

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Floors of the same species can differ markedly in their appearance, depending on timber source, tree age, board cover width, the finish system used and the lighting in which the floor is viewed.

Also, timber is a natural product that will shrink and swell in response to changes in atmospheric humidity, no two building

www.timberdesignmag.com timberDesign AUSTRALASIA WINTER 2009

environments are the same, sanding and finishing are not undertaken in a dust-free environment, and finishes may darken with time.

Even with those variables, a high standard of finishing is achievable. This article outlines what is generally considered an acceptable appearance for a timber floor that has been recently laid and finished.

ABOVE Gwinganna Spa relaxation area Design Poune Parsanejad Photography Brett Broadman

FLOORING

Colour, species and grade The overall colour or blend of colour in a floor depends on the species or species mix chosen and the character of the floor. Characteristics such as gum veins are determined by the grade.

Within single-species floors, it is also possible that a limited number of boards of a different species may be present because of a similarity in appearance. It is important to realise that grading rules do not cover colour or colour variation. Grade names that do not align with the Australian Standards are likely to be similar to those standards, but clarification should be sought regarding differences.

The grading process is rapid and relies on quick visual assessment by graders who must assess the size and extent of a feature without relying on measurement. Some grading inaccuracy can thus occur, which may result in a limited number of boards outside grade limits.

Sanding a floor can also increase the size of some features or cause new features to appear.

Consequently, some boards in a finished floor may not meet the specified grade description.

The presence and development of such features needs to be acknowledged by those purchasing timber floors. When viewing a floor there is generally a clear difference between one of the incorrect grade and one where grade limits have been exceeded in some boards.

Where there are relatively few boards with features that exceed grade limits (less than 5% in terms of size and number) and the overall appearance aligns with the chosen grade, no remedial work is considered necessary.

Grading also does not account for the distribution of features in boards, between those within a pack of flooring or within a finished floor. However, it is a reasonable to expect that the installer will provide a relatively even distribution of colour and feature when laying the floor.

Coating a floor highlights colour differences and the extent of the change is, at times, not easy to discern. Similarly it can be expected that board lengths will be relatively evenly distributed and that groups of short boards or board ends will not be in a cluster.

likely to occur in overlay flooring and standard thickness boards that are wider than 100 mm.

A small amount of cupping is possible in some locations within a dwelling (e.g. sun-exposed floor) where these types of flooring are used.

Peaking may also occur and with this, boards also take on a concave cupped appearance, but this is the result of pressure at board edges when a floor expands.

Tenting: Two adjacent boards, where the adjoining edge has lifted sharply above the level of the adjacent flooring. This is often associated with high moisture beneath the floor.

Buckling: A section of flooring containing a number of boards raised above an adjacent section of flooring.

Crowning: Floorboards that are flat on their lower surfaces but where the upper surface has its edges lower than the centre of the board. This may occur if a floor is cupped (board edges up) at the time of sanding. Crowning does not become apparent until some months after finishing.

(Note: Floors exposed to heat sources after occupancy (e.g. no curtains, fireplaces and heating vents, vents from appliances, houses closed up for extended periods) may cause boards to cup. Cupping and shrinkage from such sources may be the owner’s responsibility.)

See figure 1: The process of crowning

Even gapping In drier times of the year, shrinkage gapping between 80 mm-wide boards may average 0.75 mm. For wider boards, proportionally wider average gapping is likely. Some gaps may be larger and others smaller, but the appearance generally indicates gapping between most boards. An appearance can be expected that is free from split boards and wide gaps between boards that may be irregularly spaced across the floor. Irregularly spaced wide gapping may occur from either the edges of boards being bonded together or from a proportion of boards being high in moisture content at the time of laying.

Movement at T & G joints Flooring is manufactured with the board tongue narrower than the groove. This is necessary so that boards fit together during installation. When floorboards are laid over joists in particular, some differential vertical movement may occur between adjacent boards, when a load is applied to an individual board. This is due to the clearance between the tongue and the groove, which should not exceed 0.6 mm.

Minimal squeaking A small amount of noise will occur when walking on most timber floors. Noises can occur from movement of one board edge against another or from boards moving on nails.

A floor is often noisier during drier weather because of loosening at the joints.

Indentations Timber strip floors can show some indentations, depending on the hardness of the species used, volume of traffic and footwear worn.

Minimising finishing marks A finish similar to that of fine furniture should not be expected. Timber strip floors are not finished in a factory environment and different pieces of flooring will sand differently. Also, the home environment is not dust free. However, the finished floor can be expected to have an even appearance, free from heavy sanding marks, blooming or frequent air bubbles in the surface.

A minimal level of contaminants, minor sanding marks and small depressions of the finish at board edges and in nail holes, etc., may be visible – particularly on the perimeter and other hard-to-get-at places. Some finishes will also yellow with time, and if rugs are moved, a contrast in the depth of colour is likely.

Inspect floors for imperfections during daylight hours with lighting on and from a standing position, with the floor viewed from positions usually occupied by people. Internal and external reflections in areas not usually covered by furniture should be assessed.

Figure 1: The process of crowning

Acceptable appearance Although these problems should not generally occur, heat from appliances or sun exposure through large, uncovered windows may induce some cupping of boards. Similarly, wide boards or thinner overlay boards may show slight cupping in certain house environments.

The actions or inactions of building occupiers and owners can also contribute or even cause these problems to occur.

Cupping: Boards with their edges either higher or lower than the centre of the board.

Heat in a specific location or a very dry environment above the floor may cause this, as can moist sub-floor spaces. Cupping is more

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41

CANADA

MYRA-CANYON RANCH A ‘caretaker’ solution in cedar A caretaker’s home on Myra-Canyon Ranch in British Columbia - which fuses European style and Canadian building techniques in a cross-cultural home with impressive characteristics - was judged the best western red cedar residential entry in the 2008 WOOD WORKS! BC awards.

Western red cedar (WRC) was used as exterior cladding and for the distinct and predominant exterior deck area – creating an outdoor house within a house, sheltering visitors from the heat of the hot summer days and the rain of the spring and fall, while allowing them to enjoy the mountain vista.

The judges noted the house’s double rain screening, which extends the longevity of the cedar and offers additional protection, ventilation and cooling.

Cedar continues into the house, with the windows and door casing spreading the warmth of wood through the home – now used as a guesthouse for the Bed, Bale and Breakfast on Myra-Canyon Ranch.

Recently emigrated from Switzerland, the owners came to the Okanagan Valley where they bought a 5 ha property with an unfinished log barn and basement. The property’s zoning allows two houses: an unlimited primary dwelling and a caretaker home as a secondary residence, which has space restrictions.

42

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Building the secondary residence included the challenge of integrating the existing concrete slabs and carport, working within the permitted 140 m2 and building a multifunctional home that could also serve as a wheelchair-accessible bed, bale and breakfast. The owners designed and built most of the home, using the contractor as professional consultant.

Wooden construction materials and craftsmanship were combined to create a home sympathetic to its natural environment. A curved wooden bridge – made of Rocky Mountain Douglas fir – makes an elegant connection between house and surrounding ground and provides wheelchair accessibility. The front area of the covered Douglas fir patio extends to a wraparound 148 m2 feature, with safety glass railings allowing for uninterrupted views. The sweeping lines of the sundeck further enhance the generosity of the outside living area.

Extensive use of more than a dozen skylights creates a bright, airy feel, showcasing the 19 ft tall structure. The skylights line up with glass panes to maximise the natural light throughout the day.

CANADA

“

The roof was designed with an open beam construction, which is unique for Canadian buildings. There are no joists every metre, and in the bedrooms the additional space is used to create interior lofts

The caretaker home is built with 50 x 200 mm exterior and 50 x 150 mm interior walls – allowing full insulation behind the electrical wiring and piping.

Its Douglas fir post and beam structure is visually appealing and provides natural cooling through high ceilings. The roof was designed with an open beam construction, which is unique for Canadian buildings.

There are no joists every metre, and in the bedrooms the additional space is used to create interior lofts. The master bedroom on top of the carport has its own cedar sundeck and reminds one of a tree house.

The line between indoors and outdoors is blurred by 3.6-m-high sliding windows. Low E366, argon gas-filled windows and geothermal energy minimise the environmental impact.

A thoughtfully designed floor plan defines areas for privacy and common activities. Cool, sleek lines combine with an open concept to make the kitchen a focal point of the home. The kitchen is filled with natural light from the wall of glass over the counter and the skylights in the vaulted ceiling. VOC-free wall paint and oil have been used to create a healthy interior and bamboo is used throughout.

”

OPPOSITE In keeping with its impressive setting, the Myra-Canyon Ranch

caretaker’s house features cedar cladding and a vast area of timber decking THIS PAGE LEFT Vaulted ceilings accommodate lofts and skylights, with bamboo

flooring throughout ABOVE TOP The line between indoors and outdoors is blurred by 3.6-m-high sliding windows ABOVE BOTTOM The front area of the covered Douglas fir patio extends to

|a wraparound 148 m2 feature, with safety glass railings allowing for uninterrupted views PROJECT Myra Canyon, Kelowna, BC Canada ARCHITECTURE AND DESIGN Yvonne Bürgin & Jörg Eichhorn

Bernard Morel, Morvil Contractors Inc Chris Friedlos, Swiss Carpentry Inc STRUCTURAL ENGINEERING Gabe Le Bihan WOOD PRODUCTS Western red cedar, Douglas fir and pine PHOTOGRAPHY Michael Heroux, Free Spirit Photography Studio CONTRACTOR

POST AND BEAM CONSTRUCTION

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43

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outside • Cladding • Decking & Boardwalks • Landscaping • Bridging & Piling • Joinery • Furniture • Roofing

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STRUCTURAL • Framing • Trusses • Glulam • Laminated Veneer Lumber

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IN

INSIDE

• Flooring • Joinery • Veneers • Wood Panels • Furniture

CERTIFIED

BUILD WELL. BUILD STRONG. For superior strength in construction, builders choose Douglas-fir. The timber’s tough fibre and dense grain, makes Douglas-fir the first choice for strong structural beams.

Plus, because it has high natural resistance to moisture and decay, it can be left untreated in many low risk building situations. And that provides an ideal choice for people seeking the natural benefits of a wood solution.

For your next build choose Douglas-fir, the naturally strong wood. Available in MSG8 and MSG10 untreated and H1.2.

Visit www.douglasfir.co.nz

RECYCLED

• Standards • Forests • Wood Producers

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• Flooring • Decking • Furniture grades • Beams & Columns

WP WOOD PROTECTION • Timber Treatments • Fire Retardants • Primers & Paints • Stains & Oils • Lacquers & Sealants

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WP

Manufacturers of a wide range of quality wood priming, sealing, finishing and protection systems from wood stains, clears, oils, gels through to specialist priming systems and topcoat paint systems for interior and exterior wood projects.

Email: advice@resene.co.nz (NZ) or advice@resene.com.au (AUST) Ph: 0800 RESENE (737 363) (NZ) or 1800 738 383 (AUST) Web (NZ): www.resene.co.nz (NZ) or www.resene.com.au (AUST)

Recycled timbers in flooring, decking, cladding, joinery timbers, large structural posts and beams, commercial decking.

Rainforest Safe Certified timbers in the same product range.

For further information, please contact: sales@kennedysagedtimbers.com.au ph +61 7 3293 0528 fax: +61 7 3293 2402 Rod or Michael: Head Office 228 Potassium Street, Narangba, Qld www.kennedysagedtimbers.com.au

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Tanacoat Decking Oil Developed for Tanalith E treated timber Manufactured for Outdoor Structures Australia by Email: ted@outdoorstructures.com.au Website: www.outdoorstructures.com.au

Specify wood and save tonnes of CO2 Wood not only stores carbon in its structure, it uses far less energy (and causes less CO2 emissions) than alternative materials.

Visit www.naturallybetter.com.au and help fight climate change.

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Hyne is a leading Australian manufacturer and distributor of engineered, structural and decorative softwood products to the building industry, including our T2 and T3 range of termite resistant framing and Hyne Design Structural Software.

For more information please contact: info@hyne.com.au or call 1300 304 963 www.hyne.com.au

The Malaysian Timber Council (MTC) is a non profit organisation spearheading the promotion and development of the Malaysian timber industry. MTC represents manufacturers of sawntimber, panel products, joinery, mouldings, garden furniture and furniture components.

RE

Recycled timbers in flooring, decking, cladding, joinery timbers, large structural posts and beams, commercial decking.

Rainforest Safe Certified timbers in the same product range.

For further information, please contact: sales@kennedysagedtimbers.com.au ph +61 7 3293 0528 fax: +61 7 3293 2402 Rod or Michael: Head Office 228 Potassium Street, Narangba, Qld www.kennedysagedtimbers.com.au

For further information, please contact: E-mail: council@mtc.com.my Website: www.mtc.com.my

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“The Timber Source” stocks the largest range of specialist timbers available in New Zealand. Durable and stable softwoods such as Cedar suitable for exterior joinery, cladding and mouldings. Durable hardwoods for decking, boardwalks, landscaping and heavy construction.

For further information please contact: Rosenfeld Kidson & Co. Ltd. Phone: +64-9-5730503 Fax: +64-9-5730504 Email: rk@thetimbersource.co.nz Visit: www.thetimbersource.co.nz

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The weather exposed timber experts.

Download our new commercial barrier guide

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Recycled timbers in flooring, decking, cladding, joinery timbers, large structural posts and beams, commercial decking.

Rainforest Safe Certified timbers in the same product range.

For further information, please contact: sales@kennedysagedtimbers.com.au ph +61 7 3293 0528 fax: +61 7 3293 2402 Rod or Michael: Head Office 228 Potassium Street, Narangba, Qld www.kennedysagedtimbers.com.au

Suppliers of interior and exterior finishing timbers for commercial and high-end residential building projects.

Southern Lumber Company works with property owners, architects, builders and merchants to provide quality, service, and solutions in solid wood.

For further information, please contact: Ph: +64 3 215 8818 Callfree: 0800 LUMBER sales@southernlumber.co.nz www.southernlumber.co.nz

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15003

LETTERS

TIMBER INSPIRATIONS FROM THE PAST Thank you for the latest issue of you magazine. I find timber an exciting material to work with, especially when its true values are allowed to be seen.

I am a building designer involved mainly in small-scale residential work, but with dreams for a chance of doing a ‘special project’ one day.

The Melbourne of old, had everything from cathedrals to multistory factories, with extraordinary timberwork. Even the wharves were completely of timber: Piles, beams and decking with a thin concrete wearing surface. Huge ships would unload their cargo on to waiting trains, all sitting on a row of timber beams.

One of the very ordinary, yet one could say extraordinary, buildings I now kick myself for not photographing, was erected in Albert Park, South Melbourne, for the 1956 Olympic Games – later demolished to make room for another Commonwealth Games event.

From memory, it was a big area with very tall columns made up of 3 x 150 x 38 OBHW with a sawn finish, nailed together in a "H" pattern. The columns supporting OBHW trusses with ‘burneyboard’ bracing. The corrugated roofing was exposed from underneath.

By today’s standards it was very ordinary, but its sophisticated use of basic and cheap timber to enclose a large area was very appealing. The building demonstrated techniques more to do with a chicken shed, but the understanding of the properties and strength of timber was plain to see.

It would be good to feature an old project, as inspiration to the structural use of timber.

One of the good things about timber is the fact that every piece has a use. I occasionally will get involved in building something with my own hands, and I find that the smallest off-cut can be reused somewhere; even if only to double up on the strength of a connection. After building a tiny new house, all I had left over were three pieces less than 100mm long.

I find it sad that all demolition these days is done with huge machines that crush and pulp the timber for landfill. Timber worth thousands of dollars on a truck is [apparently] merely rubbish on the ground.

Charles Litho Building Designer Australia

(Editor: Every other issue for some time now, we have been running a ‘retro’ feature by Greg Nolan and Stuart King from the University of Tasmania’s School of Architecture, and its popularity suggested we should dig deeper into the architectural archives.

Readers – please feel free to contribute.)

Editorial Board The following acknowledged specialists assist us from time to time with regulatory, technical and other content aspects of timberDESIGN magazine.

Colin MacKenzie Manager timber applications and use, Timber Queensland Ltd. Active in all aspects of timber engineering and design for more than 30 years, and a widely respected technical expert, researcher and author.

48

Andrew Dunn CEO of the Australian Timber Development Association (TDA) since 1990. Academic background in engineering and timber technology, closely involved in numerous product innovations, standards, technical and regulatory organisations.

www.timberdesignmag.com timberDesign AUSTRALASIA WINTER 2009

Ric Sinclair Managing director Forest & Wood Products Australia (FWPA) Ltd – a public company investing in R&D and generic promotion to improve the competitiveness of the Australian forest products industry.

Greg Nolan Associate professor Centre for Sustainable Architecture with Wood, School of Architecture & Design, University of Tasmania.

Widely published on timber in architectural and sustainable design and environmental aspects of timber construction.

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