Page 1



August 2016 | Issue


World’s largest freestanding timber frame built with modern woodworking technologies White Arkitekter wins design competition for cultural center in Skellefteå with timber framed high-rise Jan Waterston pushes the physical limits of wood with his ‘Velo’ chair Norman Foster’s timber-framed Maggie’s Center opens in his home town of Manchester New FAO report explores how wood products add to forests’ role in carbon storage








Farlin group of companies are vertically integrated with an established presence worldwide in timber logs, sawn timber, plywood, panel products and coal for energy sectors.

T: +971 4 8809889 F: +971 4 8809779

Timber Staircase | Image © Itay Sikolski - Numsix

August 2016 Issue 27 DIRECTOR Andy MacGregor +971 55 849 1574 MARKETING DIRECTOR Eric Hammond +971 4 455 8400 INTERNATIONAL SALES DIRECTOR James Hamilton EDITOR Tony Smith INTERNATIONAL CORRESPONDENT Eamonn Ennis +91 98676 54952 INTERNATIONAL REPRESENTATIVES Rabia Alga AntExpo Org. | Turkey +90 216 541 0390 ELIAS AGGELOPOULOS Med Expo | Greece +30 210 2931011 Timber Design & Technology is published 6 times a year

by Citrus Media Group (powered by WillyMac Associates FZ LLC) Level 14, Boulevard Plaza - Tower One, Emaar Boulevard, Downtown Dubai, PO Box 334155, Dubai, UAE is designed by UC Design and is printed by SUQOON Printing Press & Publishing Great care is taken to ensure the accuracy of the contents of Timber Design & Technology but the publishers accept no responsibility for any errors or omissions. All contents are © 2016 Citrus Media Group and may not be reproduced in any form without prior consent. Letters and readers’ contributions may be edited at our discretion.

EDITOR’S NOTE Dubai is set to further establish its status as a cutting-edge, vibrant global design hub with the return of Dubai Design Week this October. This year’s Design Week will cement Dubai’s status as the design capital of the MENASA region with more than 100 events taking place in Dubai Design District (d3) over six days; with significantly more visitors and internationally renowned exhibitors expected to attend. A key part of DDW, Design Ras Al Khor (DRAK) returns in 2016 and the theme for this year is ‘Celebrating Wood’. As such, we can expect to see design projects spanning interactive design, textile design, film and graphic design, all aimed at celebrating wood. Proof that timber is here to stay, the London Design Festival 2016 will feature four Landmark Projects and two - The Smile and Baboushka Boxes - will be made from CLT. In this issue, we take a look at The Smile - an urban installation that showcases the structural and spatial potential of cross-laminated timber (CLT) using American tulipwood. Designed by Alison Brooks Architects (ABA) and with expertise from top engineering firm Arup, the project is the culmination of an effort by AHEC to show that hardwoods can have a structural use in buildings. As one of the most important developments in a decade of research and development into structural timber innovation with Arup, the project could broaden the use of CLT in the construction industry and we cannot wait to see it at LDF 2016. We also take a closer look at the recently opened Maggie’s Center in Manchester. Located across Britain and abroad, Maggie’s Centers are conceived to provide a welcoming ‘home away from home’ - a place of refuge where people affected by cancer can find emotional and practical support. As such, the project which was designed by Foster + Partners, features a materials palette that combines warm, natural wood and tactile surfaces. Maggie’s Centers place great value upon the power of architecture to lift the spirits and help in the process of therapy. It is fitting then that timber was chosen as the primary building material not just for its warmth and its aesthetic and structural properties, but also its cost and carbon efficiency. Shigeru Ban, a winner of the prestigious Pritzker Prize in 2014, is the latest architect to jump on board the timber revolution. Ban has partnered with the award-winning, real estate developer PortLiving, to unveil the tallest hybrid timber structure in the world. Whilst details are still yet to be announced, we will be following this story in coming issues. As always, I would like to encourage you to log on to the website - - for the latest updates and please get in touch if you have any suggestions for subjects we should consider covering.

Image © Alison Brooks Architects + AHEC




The latest industry news from within the region and around the world

Norman Foster’s timberframed Maggie’s Center opens in his home town of Manchester



TELUS Garden receives official LEED Platinum certification

Malaysian Timbers used in uniquely creative ways



New FAO report explores how wood products add to forests’ role in carbon storage

Jan Waterston pushes the physical limits of wood with his ‘Velo’ chair



Hardwood CLT: The next big innovation in structural timber?

A preview of the top industry exhibitions coming up this season




42 Skellefteå Center

46 Ark Encounter

50 WoodTrader

Tallest wooden building in the world to be built in Amsterdam

White Arkitekter wins design competition for cultural center in Skellefteå

World’s largest freestanding timber frame built with modern woodworking technologies

WoodTrader introduces innovation in lumber trading



the developers have increased the pace of construction and are aiming to have the first buildings ready in the next two months. In addition, a fund of 50 million euros has been approved for the purchase of heavy production furniture machineries for the project, which aims to modernize furniture production in Damietta and increase the export capability in Damietta. According to recent market reports, the economy of Egypt is growing at a rate between 3.3 and 4.3 percent. Indicative of the growth of the Egyptian economy is the fact that exports of Egyptian building materials jumped in May 2016 reaching a value of USD 480.2 million (EGP 4.2 billion). This represents an 86 percent increase compared to the same period in 2015. Also important is the fact that the Damietta region supplies all North-African and Middle-Eastern countries with a growing export volume valued at close to USD 400 million, which again represents high potential for furniture technology and components too. Given all of the positive projections and developments in Damietta, the organizers are positive that both exhibitors and visitors can leverage the massive growth potential and opportunities through the show.

The first edition of ‘Woodtech Forum’, one of the biggest events for the wood and furniture industry, is set to take place from November 26 - 27, 2016 in Damietta, Egypt. Organized by Medexpo and the Damietta Chamber of Commerce, the two-day exhibition and conference will present the latest technologies and trends on furniture design and machinery and of course some of the most important industry stakeholders worldwide. In addition, the exhibition will also feature workshops, presentations and case studies by prominent speakers coming from international institutes and organizations with themes such as: innovation in the wood processing sector and new materials, modern furniture production processes, new sales and marketing methods in accessing new markets, market research on global furniture trends and modern design. Given that Damietta represents 72 percent of the country’s furniture production, the show will enable exhibitors and industry professionals direct access to the Egyptian furniture market, one of the largest industry markets globally. The significant development and investment around the ‘Damietta Furniture City’ is a key driver for growth in the industry. Currently,

Image © Woodtech Forum

Image © Woodtech Forum


It’s been another successful year for CIFM / interzum guangzhou, which concluded on March 31 in China. According to the organizers, a total of 1,243 companies from 38 countries and regions, including the United States, Italy, Spain, Turkey, France, Finland, Malaysia, India, Germany, Canada, Belgium, the United Kingdom, Thailand, Chile and Romania exhibited at the event. Known widely as Asia’s largest and most comprehensive woodworking machinery, furniture production and interior design event, CIFM / interzum guangzhou was once again held as an integral part of the famed China International Furniture Fair (Office Show). The combined events attracted over 73,312 trade visitors including furniture manufacturers, importers, traders, architects, and designers, of which approximately 19.7 percent (14,441 visitors) came from overseas. Adding to the wide array of products on display were exhibits from a total of nine national pavilions featured in the 2016 edition including Germany, U.S./Canada, Spain, Turkey, Taiwan, the American Hardwood Export Council (AHEC), Canada Wood, the Export Promotion Bureau of Chile (ProChile) and French Timber. Following the success of this year’s edition, the next CIFM / interzum guangzhou will take place from March 28 - 31, 2017.

August 2016

Image © CIFM/interzum guangzhou



DOOR FRAMES IN JUST ONE PASS! Scm Group’s Superset Nt series of throughfeed moulders are designed to meet all of the demands and challenges of today’s marketplace. Whether short or long runs, the quick set up features separate the Superset from its competitors: patented SET-UP system, rapid tool lock and universal spindle. Many configurations available and machining capability up to 260 mm width for door frames manufacturing in one single pass.

phone: +971 4 8321674 |



Image © Maria Sundin


Jessica Abou Haider and Christina Abou Haidar were awarded a study trip to Sweden as the winners of the second ‘Swedish Wood Student Design Challenge 2016’, which was initiated by Swedish Wood in partnership with the American University in Dubai (AUD. The challenge was to create an innovative and functional item of furniture for a hotel lobby using Swedish pine and spruce. “The Middle East and North Africa is an important region for Swedish exports of wood products. The design challenge in Dubai is a way to educate tomorrow’s designers in the region about Swedish wood, very much a material for our age due to its eco-friendly and natural profile. The design students also gain practical experience of the material’s high quality,

strength and versatility,” said Charlotte Dedye Apelgren, Director of Interior and Design at Swedish Wood. Since March this year, 13 teams of students have been working intensively on the project, which is part of their design course at AUD. Three teams were selected to manufacture their furniture in Swedish pine and spruce, which was donated by Swedish Wood to the university. A jury then comprising representatives from AUD and Swedish Wood, plus an international design expert, announced the winning entry - a table and seating in Swedish pine inspired by New York and the Brooklyn Bridge. In explaining its decision, the jury described the winning entry as a design that attracts attention by appearing to challenge the laws of gravity, while also demonstrating the strength of wood to great effect. The students have done a great job in creating furniture for a hotel setting, since the large proportions of the design suit large open environments such as entrance halls and hotel lobbies. In addition, the furniture is multi-functional, with places to stand and sit, plus storage. The jury also appreciated the aesthetic values of the furniture. “The winning furniture stylishly illustrates the different impact that pine can make, depending on whether it’s used unpainted or treated with pigment. The contrast between the dark and light surfaces is here used to emphasize the challenging nature of the design,” added Apelgren. Both Jessica and Christina view the win as a great opportunity for the future. Jessica is studying architecture, with a module on furniture design, whilst Christina is studying interior design, with modules on furniture design and hospitality design. The winning entry has been inspired by New York and the Brooklyn Bridge. The design partly symbolizes the sisters’ relationship with each other, as two different people who are woven into each other’s lives. The furniture is made from pine, with part of it stained dark brown. Functionally, it serves as a bookshelf or display stand, as a bar table on one side and as seating on the other. “This competition, organized by Swedish Wood and AUD, is a big thing for us. It’s been an exciting experience that has left us very positive about Swedish wood. We like the strength and the color of the material,” says Jessica Abou Haidar. “This is the first time we’ve designed anything together, but after this project we can see ourselves forming a joint design company in the future.”

EXPORTS OF U.S. HARDWOOD LUMBER AND VENEER TO EGYPT REACH USD 8.74 MILLION IN THE FIRST FIVE MONTHS OF 2016 Total exports of U.S. hardwood lumber and veneer to Egypt reached a value of USD 8.74 million in the first five months of 2016, according to the American Hardwood Export Council (AHEC), the leading international trade association for the American hardwood industry. The statistics, which have been compiled from the latest data released from the United States Department of Agriculture (USDA), reveal that U.S. hardwood lumber shipments to Egypt rose by 16 percent in volume (5,128 cubic meters) and by 4 percent in value (USD 3.944 million), marking a significant comeback in this major furniture producing market. In addition, direct exports of U.S. hardwood veneers to Egypt reached a total value of USD 4.708 million during the January to May period of this year, marginally falling by 2 percent in comparison to the same period in 2015. A closer look at the statistics reveals that around 75 percent of the volume of lumber shipped to Egypt was red oak; with ash, white oak, walnut and maple accounting for the remainder. With an aim to raise the profile of American hardwoods in Egypt, AHEC has announced its participation in the inaugural ‘Woodtech Forum’, which will take place at the Damietta Sports Hall in Ras El Bar, Damietta from November 26 - 27, 2016. Given that Damietta is the main hub for furniture production in Egypt, AHEC’s participation is aimed at educating visitors about the wide availability and variety of American hardwood species as well as their proven environmental credentials.

August 2016

In addition, Dana Spessert, Chief Inspector, National Hardwood Lumber Association (NHLA) will provide an introduction to grading American hardwood lumber and a practical demonstration of the NHLA Rules for grading American hardwood lumber. The presentation will aim to help attendees obtain a better understanding of the physical properties, grades and the potential for applications offered by the different species of American hardwoods, while reflecting AHEC’s renewed commitment to cater to and expand further in Egypt, which has demonstrated a growing appetite for U.S. hardwoods, driven by the growth in both domestic and overseas demand for Egyptian wood products. “The Egyptian wood industry is poised to grow domestically, as the Government of Egypt engages in large-scale infrastructure projects, including the construction of one million affordable housing units in 13 locations with an estimated value of USD 40 billion, and the Mena Holding Group’s Ayaat City project at a cost of USD 24 billion. These projects present ample opportunities for American hardwood species; however, market development activities need to take place to capitalize on these opportunities,” said Roderick Wiles, AHEC Regional Director. “AHEC’s participation will help strategically reinforce the position of U.S. hardwoods as a favored material, mainly for interior joinery, flooring and furniture, and more importantly as key projects near their completion dates.”




Image © AHEC

Image © AHEC

sustainable design in principle and through this project we can demonstrate what that means in reality - an opportunity for us to show, and learn, what works and what design elements make a difference to the environment,” said Roderick Wiles. “In addition, we have also developed a microsite for the project, which is now live at This will be the hub for all information regarding the project and currently includes details regarding the designers.” In response to an open brief for ‘something to sit on’ made from American hardwood lumber, each designer has been asked to create a piece made from American cherry, tulipwood, soft maple or red oak. During the manufacturing process and incorporating data from AHEC’s LCA research for 19 American hardwood species, all materials, energy usage, transport and wastage will be recorded to assess the full environmental impact for each design. Life Cycle Assessment is a scientific tool that helps industry to establish environmental frameworks that have real meaning and assess true sustainability. The result will present the cradle-to-grave impact of creating each product across six categories. The most topical impact category is global warming potential (GWP), or carbon footprint. “We’re extremely happy to be working with AHEC again this year, to be able to support such a worthy initiative and promote sustainable design and development not just in concept, but in practice. Allowing local designers to engage with the material in a very conscious way, is providing exactly the kind of mentorship and guidance that our emerging designers need, and can only help to strengthen our collective commitment to the future environment of the city we live in,” concluded Rue Kothari, Fair Director, Downtown Design.

Image © AHEC

The American Hardwood Export Council (AHEC), the leading international trade association for the American hardwood industry, has announced the launch of ‘Seed to Seat’, a collaboration with five of the most prominent and exciting designers in the UAE, who have been given an open brief and asked to design ‘something to sit on’. The pieces, which will be made from a selection of four American hardwood species, will be unveiled at Downtown Design 2016, which will run from October 25 - 28, at Dubai Design District. With Seed to Seat, AHEC aims to identify the true environmental impact of design and build on its extensive work with Life Cycle Assessment (LCA). This is the second collaboration between AHEC and Downtown Design and builds on prior initiatives in the Middle East and internationally, which have aimed at creatively promoting American hardwoods, and have involved the likes of Zaha Hadid, David Adjaye, Matteo Thun, Sou Fujimoto, Norman Foster and Paul Smith amongst others. According to Roderick Wiles, AHEC Regional Director, the word sustainable has almost become design rhetoric. Whilst many well-intentioned designers claim sustainability in their approach to their work, there is often little solid evidence to support them in making those claims. Fadi Sarieddine (Fadi Sarieddine Design Studio), Anna Szonyi (Studio Anna Szonyi), Tarik Al Zaharna (T.ZED Architects), Bruce Paget (Herriot-Watt University - Dubai Campus), and George Kahler (Kahler Design) are collaborating with AHEC to demonstrate that sustainability can have substance. “We’re very excited, not only by the caliber of the designers involved in this project, but also by the fabulous pieces that we look forward to seeing in these versatile, yet less well-known American hardwood species. We’ve seen for a long time that the Middle East has a real commitment to

August 2016


The 18th edition of DOMOTEX asia/CHINAFLOOR took place from March 22 - 24, 2016 at the Shanghai New International Expo Center, gathering 1,303 exhibitors from 39 countries and attracting 50,398 trade visitors from more than 110 nations. An increase of 9.3 percent in the visitors’ number compared to last year, shows clearly an upward trend on the audience’s preference to the leading international flooring show in Asia Pacific. Both domestic and international exhibitors were highly satisfied both by the professional visitors’ turnout and their high quality, resulting in an outstanding onsite rebooking percentage of 62.8 percent on exhibition space for 2017. “DOMOTEX asia/CHINAFLOOR 2016 was another successful event which reconfirmed the leading position of the show in Asia Pacific. In particular, the increased number of both exhibitors and visitors were a clear indication of the confidence that the flooring industry players have on the show as the best platform to do business in the region,” said Martin Folkerts, Director of Global Fairs at Deutsche Messe, one of the organizers of the show. “We have got very positive feedback from our exhibitors who have especially highlighted the high quality of the visitors and buyers for this edition. The show keeps increasing on both size and quality and we are committed to continue in the same pace for the future editions.” Visitors from all around the globe discovered new trends, technologies and innovations in 12 halls covering a gross area of 140,000 sqm and took part in more than 30 conferences, events and seminars regarding flooring practices, applications and modern day challenges, presented by worldrenowned flooring experts, professionals and designers. The first North American distributor delegation, consisting of 12 of USA’s most prominent names in the industry, visited some of the biggest domestic exhibitors’ manufacturing sites right before the show and met with their Chinese and Asian peers during the show. The delegation was assembled with the co-operation of the Floor Covering Institute LLC, Floor Covering Weekly and The North American Association of Floor Covering Distributors (NAFCD). An international delegation of bamboo flooring buyers was also assembled within the frame of the 2016 Bamboo Flooring Hosted Buyer Program, held in co-operation with the Anji Commercial Bureau. The buyers’ delegation was welcomed by regional officials on the first day of the show while they toured the Anji Bamboo Pavilion, which took up the entire E3 Hall. Right after the show, the delegation spent three days in Anji accompanied by DOMOTEX asia/CHINAFLOOR representatives to visit local manufacturing sites and discuss further business opportunities with local producers.

August 2016

The sector of the Handmade Carpet was highlighted during the show with the Handmade Carpet Hosted Buyer Match-Making Event, a B2B casual networking event, held on the first day of the show at the Design Carpet Salon in Hall W5. Handmade carpet exhibitors participating to this event carried carpets from India, Pakistan, Iran, Nepal and Afghanistan, while the hosted buyers who joined the program were both from China and abroad. Events such as the World Flooring Forum, co-organized by DOMOTEX asia/CHINAFLOOR and the China National Forest Products Association shed a light on the Chinese wood flooring market’s status quo, while the China International WPC Development Forum 2016 gathered domestic and international leaders in the fields of WPC production, raw material supply, engineering, construction and research, setting up a communication platform where the industry’s investments, developments and innovations were extensively discussed. With environmental protection and Innovation being the primary driving themes of the show, programs such as the GreenStep Asia Awards and InnovAction were designed to showcase new products that support these principals. The 4th Green Step Asia Awards in co-operation with Floor Covering Weekly gave flooring exhibitors a chance to showcase their sustainable development at all levels. The competition was open to any manufacturer in the world who has manufacturing facilities in Asia, after a careful selection by an international authoritative and unbiased jury. InnovAction each year attracts a great number of enterprises following these principals who launch their products to the global market. Online and onsite voting for the best InnovAction products was concluded on the 23rd of March with a ceremony that awarded the winners of the competition. 30 companies were awarded for their innovative products while only 3 companies made it to the top of the list winning the ‘Best of the Best’ award: Wuxi Fuxing Carpet for the carpet sector, Hangzhou Dasso Technology for the wood sector and Zhejiang Hailide New Material for the resilient sector. cadex, the exclusive event for architecture and design was launched successfully for the first time at DOMOTEX asia/CHINAFLOOR, with more than 50 innovative materials suppliers and more than 10 dedicated events, conferences and seminars that attracted some of the biggest architects, interior designers and property developers in the industry. In addition, the Materia exhibition, which aims to bring architects and new material producers closer, once again brought the newest material innovations from around the world for a more beautiful, sustainable and high-quality built environment.






Image © Shigeru Ban & PortLiving


The award-winning, real estate developer PortLiving has announced its collaboration with Shigeru Ban, the world-renowned architect recognized for his pioneering use of materials and his dedication to humanitarian efforts. Shigeru Ban and PortLiving will bring their vision, to one of the last available locations to be developed in Vancouver’s exclusive Coal Harbor neighborhood. The building, which will set a new standard for luxury urban development, sustainability, and engineering innovation, marks the first time Shigeru Ban Architects has undertaken a project in Canada. According to the developers, the residential tower will be the tallest hybrid timber structure in the world. Called Terrace House, the apartment tower is slated to rise near the waterfront in central Vancouver. Although information about the Ban-designed structure’s height has not yet been disclosed, a rendering of the building shows a glass-clad tower with a sloped roof. Its upper portion will be formed by a timber frame supported by a concrete and steel core. The tower’s upper portion will feature timber framing supported by a concrete and steel core. The wood will be sourced from British Columbia. The project is the latest example of the timber tower trend, with woodframed high-rise buildings proposed or being built in several American and European cities.

“The project will set the benchmark for the tallest hybrid timber structure in the world, in addition to being Shigeru Ban’s tallest project to date and first-ever project in Canada,” said the developer, PortLiving, which is due to release more details about the project later this year. “This innovative design marks a milestone for the industry and a global benchmark for timber design and liveability.” Ban is renowned for his work with wood-based products like paper and cardboard tubes, which he has used to provide shelters following natural disasters and build a temporary cathedral for earthquake-hit Christchurch. The architect’s humanitarian work and wider contribution to architecture won him the prestigious Pritzker Prize in 2014. His residential projects span the globe, from Villa Vista on the exotic coastline of Sri Lanka to Metal Shutter House in Manhattan, Cast Iron House in Tribeca and Curtain Wall House in the architect’s birthplace of Tokyo. This new residential development in Coal Harbor will be the architect’s tallest structure designed to-date. “Shigeru Ban Architects welcomes this chance to design our first building in Canada. It is an opportunity to embrace the natural beauty of the surroundings and to capture inspiring views,” said Dean Maltz, Partner, Shigeru Ban Architects USA.

TIMBER CITY EXHIBITION AIMS TO RE-DEFINE A CLASSIC BUILDING MATERIAL The National Building Museum will challenge the notion that wood is an antiquated building material when it opens Timber City, a groundbreaking new exhibition that will demonstrate the wide range of benefits offered by cutting-edge methods of timber construction, including surprising strength, fire resistance, sustainability, and beauty. The exhibition will open on September 17, 2016 and run through to May 21, 2017. Timber City will illustrate the proven value of timber as a modern, strong, and versatile building material through featured projects. Curated and designed by Yugon Kim and Tomomi Itakura, founding partners of the Boston-based architectural design firm ikd, the exhibition will examine the recent boom in timber construction worldwide and highlight U.S. based projects, including the two competition winners of the recent Tall Wood Building Prize, sponsored by the U.S. Department of Agriculture (USDA). In addition, an immersive installation will examine recent innovations

of timber technology, especially cross- laminated timber, known as CLT, and explore how U.S. based timber production can help revitalize rural manufacturing communities and benefit urban centers in a wide range of ways. As the only building material that can both reduce carbon emissions and remove carbon from the atmosphere, timber is uniquely positioned to move us towards more sustainable, healthy, and beautiful buildings and cities. As part of the exhibition’s run, two American-manufactured massive timber panels will be installed in the National Building Museum’s historic Great Hall. The vertical panel will stand 64 feet tall, soaring to the Museum’s third floor level, and the horizontal panel will be 40 feet wide. Timber City is funded in part by the USDA Forest Service and the Softwood Lumber Board. Timber City has been adapted from an exhibition organized by ikd for BSAspace at the Boston Society of Architects. August 2016


Image © d3


Dubai is set to further establish its status as a cutting-edge, vibrant global design hub with the return of Dubai Design Week this October. Last year’s inaugural citywide event attracted design aficionados, designers, architects and thought leaders from over 150 of the world’s leading studios, agencies, brands and educational institutions to present work, exchange ideas and showcase innovation in design. This year’s Design Week will cement Dubai’s status as the design capital of the MENASA region with more than 100 events taking place in Dubai Design District (d3) over six days; with significantly more visitors and internationally renowned exhibitors expected to attend. The event is held in under the patronage of Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, in strategic partnership with Dubai Design District (d3), and sponsored by Dubai Culture & Arts Authority, Dubai Design & Fashion Council and Audi. Dubai Design Week aims to support UAE-based multidisciplinary design talent and celebrate the city’s forward-thinking approach to urban enterprise, as well as offering a global stage to ideas and innovations with the potential to improve the

lives of people and society around the world. Mohammad Saeed Al Shehhi, Chief Operating Officer of d3, says: “As strategic sponsors and hosts of Dubai Design Week, d3 is committed to supporting the ongoing sustainable growth and development of Dubai’s design industry by providing a diverse and exciting creative destination that inspires, engages and enables both established and emerging talent. Dubai Design Week represents an important platform for showcasing both regional and international design talent to a global audience and helps place Dubai as an innovative centre for creativity.” Cyril Zammit, Director of Design at Art Dubai Group says: “It was clear that Dubai Design Week 2015 tapped into something that both Dubai and the design industry had been waiting for - a global platform for design in the UAE and the Middle East, and an opportunity to share and explore perspectives and ideas with people from a multitude of countries and cultures. This year, we want to build on that - Dubai Design Week 2016 looks set to be an unmissable addition to the world’s design calendar.”

Launched in 2015, the Design Ras Al Khor (DRAK) initiative aimed to draw attention to the potential of the Ras Al Khor Industrial Area - one of the oldest in the city - to become a creative district and hub in Dubai. The collective design initiative, which was founded by four UAE based designers - Khalid Shafar, Khulood Thani, Nadine Kanso, and Tarik Al Zaharna - returns in 2016 and the theme for this year is ‘Celebrating Wood.’ Following a highly successful first edition, DRAK 2016 will present four design projects spanning interactive design, textile design, film and graphic design. DRAK 2016 will also host projects from its support partners - Eyes on Talents and the American Hardwood Export Council (AHEC). In addition, a panel discussion will be held on October 27, 2016. Running alongside DRAK will also be a series of pop up dinners (6 dinners / 6 evenings/ 25 - 35 guests / different 3-course menus every night), organized by Ghaf Kitchen.

August 2016

Image © Sandra Tinari


Sustainable Softwoods America’s forests produce over 80 million cubic metres of sawn timber a year, making America the largest timber producer in the world.

Modern forest management ensures that felled trees are replaced and that every year more wood is grown in US forests than is harvested. 1.6 billion seedlings are planted in the US every year, equal to 4.4 million trees every single day of the year. As a result, the US has more trees today than 70 years ago.

People you can do business with


August 2016



TELUS Garden receives official LEED Platinum certification

Image Š Ema Peter

omb imbues the complex with local materials, particularly natural toned wood, interior gardens and art

August 2016

16 SUSTAINABILITY Following an extensive review, the Canada Green Building Council awarded TELUS Garden Leadership in Energy and Environmental Design (LEED) Platinum certification. This is the highest rating a building development can receive. This honor was presented in March this year at the launch of the Smart Prosperity initiative at TELUS Garden, attended by Prime Minister Justin Trudeau. TELUS President and CEO Darren

said Andrea Goertz, Chief Communications and Sustainability Officer, TELUS. “With great pride, we opened our doors last fall and welcomed our community to experience this innovative space and become inspired by the promise it holds for future generations. Indeed, as one of the most environmentallyfriendly developments in North America, TELUS Garden stands as an architectural icon that

The one million square foot TELUS Garden development includes a 22-storey signature office tower and a 47-storey residential tower exemplifies our brand, reflects our values and symbolizes our deep appreciation of our team members for their dedication to connecting people and communities across Canada.” The result of a partnership between TELUS and Westbank, the one million square foot TELUS Garden development includes a 22-storey signature office tower

August 2016

Image © Ema Peter

Image © Andrew Latreille

Image © Ema Peter

Entwistle is a founding member of the Smart Prosperity initiative, a new group of Canadian leaders committed to advancing innovation and accelerating Canada’s transition to a stronger, cleaner economy. “Today, we celebrate TELUS Garden, the transformative centerpiece of a revitalized city block and our team’s new home in the heart of Downtown Vancouver,”

SUSTAINABILITY and a 47-storey residential tower currently under construction and targeting LEED Gold standards with 424 green homes and retail space along Robson and Richards Streets. “TELUS continues to push the boundaries on sustainability through its focus on innovation, and that is even more evident today as we present LEED Platinum certification for the TELUS Garden


Environmental credentials The building has a district energy system that will reduce demand from conventional energy sources by 80 percent and reduce carbon dioxide emissions by more than one million kilograms a year. The system recovers energy from the neighboring telecommunications building that would normally be wasted and uses it to heat and

development,” said Thomas Mueller, President and CEO of Canada Green Building Council. “This certification represents much more than an environmental accomplishment; it is a compelling example of the leadership in the corporate sector and of the opportunity that exists for business to contribute to the global movement towards sustainable buildings and green cities, health and well-being for all.”

cool air and water throughout the development. It also has Vancouver’s largest solar panel array on the office tower’s rooftop, reducing reliance on conventional commercial electricity; rainwater capture systems to irrigate gardens throughout the development; 10,000 square feet of outdoor meeting space and garden terraces on six levels planted with a community food garden that will be

Image © Andrew Latreille

Image © Andrew Latreille

Image © Andrew Latreille

Image © Andrew Latreille

It also has Vancouver’s largest solar panel array on the office tower’s rooftop, reducing reliance on conventional commercial electricity

August 2016

Image © Ema Peter


tended by TELUS team members, indigenous trees and hundreds of plants species. Other unique features include an iconic architectural canopy along Georgia Street that provides coverage to the new public plaza, which also features seating, music and a free Wi-Fi zone; Vancouver’s first cantilevered office spaces above city sidewalks, which enhance the office building’s design while maximizing the use of vertical space; a media façade that displays community programing including visual arts created by local students and arts organizations; advanced building systems, which include a ventilation system providing fresh air to residents and workers, rather than the recycled air typical of towers; high-efficiency motion sensor lighting to significantly reduce energy consumption; and charging stations for electric vehicles and bike storage, with showers for team members. The building encompasses 450,000 square feet of new office space and 65,000 square feet of new retail space, including TELUS’ flagship 2,300 square foot retail store. More than 1,000 TELUS team members as well as tenants including Amazon, Accenture,

Capstone Mining and law firm Bull Housser & Tupper are now working from the office tower, which is part of the $750 million development that has transformed an underutilized prime block of downtown real estate between Georgia, Robson, Seymour and Richards Streets into a showcase of architecture, design, environmental stewardship and advanced technology. “The LEED Platinum certification

few months.” TELUS has long called British Columbia home. The company’s new LEED Platinum workplace reinforces its commitment to the City of Vancouver, including supporting the city’s goal of becoming the greenest city in the world. TELUS and Westbank registered TELUS Garden with the Canada Green Building Council (CaGBC) as a Leadership in Energy and Environmental Design (LEED) certification candidate under

The company’s new LEED Platinum workplace reinforces its commitment to the City of Vancouver, including supporting the city’s goal of becoming the greenest city in the world

embodies our commitment and dedication to create a world class development where the sustainable design not only mirrors the culture and values of TELUS team members but also the tenants and businesses who have now become a welcomed part of this environmentally conscious community,” said Ian Gillespie, President of Westbank. “We’re eager to extend that culture to the future residents who will call TELUS Garden home as we complete the residential tower over the next August 2016

the LEED Canada for Core and Shell Development 2009 Rating System in May 2015. The companies aimed to achieve LEED Platinum certification, the highest possible level, and were formally granted the distinction in February 2016.

Sustainable interiors Office of mcfarlane biggar architects + designers (omb) were hired to create a thoroughly modern interior fit-out for the company’s 1,000 employee office that would reflect

its brand through an environment that would be understated and functional, warm and inviting and celebrating of its locale - Canada’s West Coast landscape. They wanted the interiors to underscore TELUS’ company values (innovation, teamwork, growth, change and opportunity); and also demonstrate the brand’s stature through the most state-of the-art workplace technologies. Creating a distinct sense of place, omb imbued the complex with local materials, particularly natural toned wood, interior gardens and art. Setting the overall tone for the complex, the welcoming, wood-clad lobby/reception area was framed with an omb-designed screen of abstracted leaf petals derived from TELUS branding, compressing the space and creating a sense of release in the multi-storey sky lobby garden. Inserted into this double height four storey space are floating “skybox meeting rooms,” an architectural first in Vancouver, which increase programming capacity, link and animate every floor, merge the public and private realms and give users a memorable connection to the city. These float over raised gardens planted with live trees and shrubs - recalling many

SUSTAINABILITY conference facilities and various lounges, designed to promote impromptu collaborations and teamwork. Interior gardens and planted roof decks also function as meeting places and provide a unique connection of workspace to the exterior landscape with dramatic views of the city and its natural mountain and ocean context. Special amenities, such as Café

production teams develop branded documentary shorts in house. With great attention to quality of space, light, views, art, furnishings and finishes, from the urban scale to the individual elements, omb have crafted interiors that combine a sense of importance and modesty, timelessness and flexibility, capturing the essence of TELUS’ brand and leadership

omb chose to utilize wood that was regionally relevant to the project as a dominant interior material in Canadian and international telecommunications. omb chose to utilize wood that was regionally relevant to the project as a dominant interior material. From a number of possible species, Red Alder was chosen for its inherent environmental and aesthetic qualities; a prolific, fast growing species that is medium in strength, and light in weight

Image © Andrew Latreille

Image © Ema Peter

Fresh for staff and an extensive kitchen/lounge foster an office environment that values team building. Various spaces illustrate TELUS’ dynamic and multifaceted approach to telecommunications, including The Innovation Center, where development teams test and showcase nascent technologies, ideas and concepts, as well as the TELUS Studios, where

- offering a warm honey brown tonality to the project. Alder was used throughout, including the interior wall paneling of the building core, the suspended petal feature ceiling in the reception, suspended ceilings in the innovation center and on the hosting floor, the outer cladding of the suspended “skyboxes” and the “skygarden” planters, and in feature millwork throughout. Alder was also designed as a cascading runner down the white feature spiral stair - connecting the executive floor with the hosting venue. The feature wood is balanced with the use of stone and bronze - a material concept that is warm, and rooted in the nature and garden themes of the project. “The goal was to design an office building to inspire its occupants, animate Georgia Street, and set a new standard for sustainable workplace design in North America.” concludes Gregory Henriquez, Design Architect, Henriquez Partners Architects.

Image © Ema Peter

offices of the post-modern period, but not in vogue for many years. The design team initiated and curated a comprehensive, customized art program to ensure the integration of art, interior design and client vision from the earliest stages. Founded on a nature-based theme - ‘Materials of Meaning’, the artworks, all by Canadian artists, express at different levels of abstraction the role of copper, wood and textiles as means to transfer knowledge, celebrate history and connect people. Embracing TELUS’ combination of resident and mobile workers, omb fitted the headquarters with varied meeting spaces to foster different work styles, all fully yet discreetly wired. Offering differing levels of interaction along with acoustic and visual privacy, a variety of collaborative areas were constructed. The varied workspaces include standing touchdown (mobile) workstations along with formal meeting rooms, telepresence


August 2016


New FAO report explores how wood products add to forests’ role in carbon storage Recruiting lumberjacks, architects and carpenters to combat climate change A new FAO publication, Forestry for a low-carbon future: Integrating forests and wood products in climate change strategies, offers insights in how to catalyze a “virtuous cycle” that exploits the life cycle of wood products ranging from home furniture to wood pellets burned for fuel - to enhance and even multiply the well-known ability of forests to remove and store carbon from the atmosphere. According to the report, forests have an acclaimed

role as a carbon sink needed to tackle climate change. Less known is how their contribution can be scaled up even after a tree has been logged. “Forests are at the heart of the transition to low-carbon economies, not only because of their double role as sink and source of emissions, but also through the wider use of wood products to displace more fossil fuel intense products,” says René CastroSalazar, FAO’s Assistant Director-

August 2016

General for Forestry. Forests do herculean work in locking carbon dioxide into leaves, branches and soils, while deforestation and forest degradation account for up to 12 percent of worldwide greenhouse gas emissions. The relative speed and cost-effectiveness with which forests make their presence - or absence - felt is one key reason they figure prominently in the plans countries are crafting to meet commitments made in the Paris

Agreement on climate change. Designed primarily for policy makers and experts but of interest to architects and the energy industry, the report - the fruit of innovative collaboration involving more than 100 experts - looks at how forests can be harnessed to the global climate change challenge. Its guiding message is that optimal engineering of the carbon lifecycle of trees and wood products allows, over the long term, for sustainably harvested forests


to complement and even enhance the climate mitigation benefits provided by conserved forests.

Using trees to shrink carbon footprints Thanks to technological advances and cleaner, greener methods of processing, the industrial use of wood can contribute to shrinking carbon footprints compared to the use of fossil fuels. Wood is the main solid biofuel, accounting for 69 percent of the world’s renewable energy supply. It is the

FAO calculates that carbon storage by such wood products in fact offset nearly all of the GHG emissions related to their manufacture main household fuel for around 2.4 billion people around the world - more efficient cookstoves could lower the almost two billion tonnes of annual global carbon dioxide emissions they use to prepare food and drinking water. Meanwhile, where forests are sustainably managed and relatively

abundant, woody biomass - usually in the form of pellets, often made from recycled or waste products can serve as a large-scale energy source. Promoting wood as a renewable energy source may seem counterintuitive, but 1.86 billion cubic meters of wood more than half the world’s wood

August 2016


output - is already used for that purpose, highlighting the potential gains from more sustainable management. More directly, when wood is transformed into furniture, floors, doorways or beams to be used in construction, it does not instantly oxidize but continues to store carbon. FAO calculates that carbon storage by such wood products in fact offset nearly all of the GHG emissions related to their manufacture. The net emission footprint of a wooden

22 MARKET REPORT desk - especially an antique! - is lower than that of modern office furniture made of steel and plastic derivatives with fewer end-oflife disposal options. The same is generally true of many woodbased construction materials when subject to life-cycle assessments. Fostering access to and adoption of “cascading biomass” options for example, recycling wood used in construction for furniture or packaging and then again used as an energy source - could lead to reducing carbon emissions by up to 135 million tonnes as well as easing the need for landfills. Today there is growing evidence that wood-based products are highly competitive with alternative construction materials. The carbon balance of a timber-frame building is only half that of a concrete-frame structure. While wood has a long history as a green building material in countries with boreal forests - more than 80 percent of houses in the United States and Scandinavia are wood-framed, compared to only four percent in France - its acceptance could grow more quickly with the right policy nudges. Carbon pricing mechanisms, university curricula, public procurement policies and even insurance rules are crucial to loosen the “technological lock-in” exercised by traditional systems based on bricks, cement and steel,

The carbon balance of a timber-frame building is only half that of a concrete-frame structure the report says.

Key findings The report has demonstrated the potential to scale up forests’ contribution to climate change mitigation, not only through forest activities - reforestation, afforestation, reduction of deforestation and forest

management - but also through forest products. The mitigation benefits of forest- and wood-based mitigation options can generally be assessed by evaluating data on the contribution of forests and wood products as a carbon sink or source, including carbon storage in postharvest products, net GHG emissions from forestry operations and wood

processing, and carbon flux in the forest ecosystem. In order for the assessment to be meaningful, realistic and credible baselines must be established for each of these components. The market-mediated indirect effects of any particular use of forests or wood products may extend far beyond the boundaries of the primary activity. For example, when wood products substitute for concrete or steel in construction, or when conventional fossilbased materials such as plastics are substituted by forest-based resources, these substitutions may lead to reductions in emissions from concrete or steel production, but the reductions may be offset to some extent by changes in land use elsewhere in response to the increased demand for wood. A virtuous cycle can be enabled if at the global level reforestation, afforestation and reduced deforestation and sustainable forest management provide for increased carbon sequestration while augmenting the supply of sustainable wood products that can replace more carbon-intense products in the different supply chains. * This article contains text from Forestry for a low-carbon future: Integrating forests and wood products in climate change strategies. For more information or to download the report, please visit:

August 2016




AHEC, Alison Brooks Architects and Arup to collaborate on ‘The Smile’ for the London Design Festival 2016

August 2016

Image © Alison Brooks Architects + AHEC

Hardwood CLT: The next big innovation in structural timber?

ANALYSIS 25 enclosed space. The forces of tension and compression working in the CLT walls will be expressed by perforations in its elevations. ABA has used these to generate patterns of light across The Smile’s interior spaces during the day, it will become an urban lantern at night. “The Smile is a huge curved hollow tube made of crosslaminated tulipwood. It touches the ground at one point, like a

space and act as balconies to the city,” said Alison Brooks. “Along the walls, perforations will allow sunlight to draw changing patterns on the floor throughout the day. The perforations will also give the visitor an understanding of how the structure performs as they’re located in positions where there are fewer structural stresses. At night the interior will be illuminated by linear light strips that trace

The Smile not only showcases the use of hardwood CLT, but it makes the elements work as hard as they possibly can wheel. Entering The Smile through an opening where the curved form meets the ground, the visitor can walk from end to end of the 34-meter-long tube to discover a new kind of space that gradually rises toward light. All four sides of The Smile’s interior will be made of the same beautiful hardwood panels as the structure. It will offer a complete sensory experience of color, texture, scent and sound. The Smile’s two open ends will illuminate the funnel-like interior

its dynamic curving floor. This is the happy face of the timber revolution,” says Brooks, “a small building that performs big miracles by demonstrating how hardwood CLT can perform as a structural material.” Brooks has designed the 34m pavilion to be entirely motionless, despite two swooping 12m cantilevered sections that appear hell-bent on teetering. The 12 industrial-sized tulipwood CLT panels, three of which are curved -

supplied by German CLT pioneers, Züblin - run up to 14m long and 4.5m wide, some of the largest ever to make it into production. Even less plausible, they form an entirely self-balancing structure: no steel beams lie underground to support it. By fixing the CLT panels into a four-sided tube with 2,000 self-tapping screws, Brooks and engineers Arup, have effectively quadrupled its strength, enabling her to lift up the ends so they appear to defy gravity. To anchor it, the arc is bolted into a wood cradle loaded with concrete crane counterweights and buried a meter beneath the lawn. The Smile not only showcases the use of hardwood CLT, but it makes the elements work as hard as they possibly can. It is a massive challenge in terms of scale and engineering as well as a demonstration of just how exciting and beautiful a building using CLT can be. For AHEC, The Smile is one of the most important developments in a decade of research and development into structural timber innovation with Arup, and one that could broaden the use of CLT in the construction industry. Andrew Lawrence,

Image © Alison Brooks Architects + AHEC

The American Hardwood Export Council (AHEC), the leading international trade association for the American hardwood industry, has announced its participation at the London Design Festival (LDF) 2016 in collaboration with Alison Brooks Architects (ABA) and Arup. Brooks has designed ‘The Smile’, an urban installation that showcases the structural and spatial potential of cross-laminated timber (CLT) using American tulipwood. The Smile, which will be on display at the Rootstein Hopkins Parade Ground of the Chelsea College of Arts from September 17 until October 12, is one of the Festival’s Landmark Projects; a timber structure that can be inhabited and explored by the public. With expertise from top engineering firm Arup, and using construction sized panels of hardwood CLT for the first time, Alison Brooks’ concept is a spectacular 3.5m high, 4.5m wide and 34m long curved rectangular tube - the first ever hardwood ‘mega-tube’. Arup’s engineering team is working to derive the most efficient structural form, using only 60 cubic meters of wood to create a 150 square meter

August 2016

26 ANALYSIS to play in the timber construction revolution. The project builds on AHEC’s previous collaborations at LDF including the Timber Wave, Out of the Woods, Endless Stair and The Wish List, all of which have been significant projects. However, The Smile is the most significant advance because it will create the first-ever use of industrial-sized panels of hardwood CLT. These panels will be produced by Züblin Timber, who believe in the potential of tulipwood CLT

as bringing a revolutionary new element to wood construction. Tulipwood is an abundant, lightweight but strong hardwood, and The Smile is the culmination of an effort by AHEC to show that it can have a structural use in buildings. While CLT is becoming a widely accepted means of building around the world, it has been done exclusively in softwood so far. AHEC has been experimenting with tulipwood, most particularly in the design and making of the

Image © Alison Brooks Architects

The decision to use tulipwood CLT is vital because it is good both for the American hardwood producers and for the environment

Endless Stair, a project for the London Design Festival two years ago, designed by architect dRMM with Arup as engineer. Whereas the Endless Stair used tulipwood CLT that had been prototyped for the occasion in a kind of hand-crafting approach, The Smile is being made by German company Züblin using a real manufacturing process that is an adaptation of the way that it makes softwood CLT commercially. “The decision to use tulipwood CLT is vital because it is good both for the American hardwood producers and for the environment. In order to use timber in the most environmentally friendly way, it is vital to use as much as possible of what is grown and harvested and to throw away as little as possible. There is a double win for tulipwood CLT. First the timber is abundant, naturally representing a large proportion of hardwood forests. And secondly, CLT uses the lowest grades of the timber - grades that are no longer exported for furniture production and so would otherwise have a very restricted market. While using these previously unloved grades is evidently good for the environment, it is also good for the producers, who are seeing a potential new market,” concludes Roderick Wiles, AHEC Regional Director.

Image © Alison Brooks Architects + AHEC

Associate Director, Arup says, “The Smile is the most challenging structure ever constructed in CLT. Every aspect is pushed to the absolute limit. It really shows the potential for hardwoods in construction.” Running across the capital from September 17 - 25, this year’s London Design Festival brings together architects, designers and artists for over 400 events spread across the capital. The Smile is one of only four Landmark Projects, which are site specific and appear in some of London’s most prominent and covetable spaces. Ben Evans, Director of LDF comments: “The Landmark Projects are a key part of the Festival’s commissioning programme. They are at a scale that gets noticed and are always in major public places reaching a very wide audience. The choice of architect is key and Alison Brooks Architects are known for their innovative use of materials. Alongside a strong commitment to ambitious ideas they made an ideal choice for this year’s Landmark project with AHEC.” This creation of a brand-new product and a new use of hardwood will transform the way architects and engineers approach timber construction. The structure aims to prove that hardwoods have a role

August 2016

26-27 NOV 2016





Ilias Angelopoulos General Manager, +30 210 2931011


August 2016


Norman Foster’s timberframed Maggie’s Center opens in his home town of Manchester

Image © Nigel Young / Foster + Partners

Materials palette combines warm, natural wood and tactile surfaces to help create a therapeutic sanctuary

August 2016

Keswick Jencks, they place great value upon the power of architecture to lift the spirits and help in the process of therapy. Like the 18 Maggie’s Centers already established in the UK designed by architects including Snøhetta, OMA and Richard Rogers - it offers a non-clinical environment where anyone affected by cancer can stop by for advice or support.

The new Maggie’s Cancer Center in the grounds of The Christie Hospital in Manchester was opened earlier this year by HRH The Duchess of Cornwall - the president of Maggie’s. During her tour of the building, Her Royal Highness was introduced to the rationale behind the design by Lord Foster, who was born and raised in Manchester and is a cancer survivor. The new center will further

The new center will further the charity’s aim to provide free practical, emotional and social support to cancer patients across the UK the charity’s aim to provide free practical, emotional and social support to cancer patients across the UK. Located across Britain and abroad, Maggie’s Centers are conceived to provide a welcoming ‘home away from home’ - a place of refuge where people affected by cancer can find emotional and practical support. Inspired by the blueprint for a new type of care set out by Maggie

The design of the Manchester center aims to establish a domestic atmosphere in a garden setting and, appropriately, is first glimpsed at the end of a tree-lined street, a short walk from The Christie Hospital and its leading oncology unit. The building occupies a sunny site and is arranged over a single storey, keeping its profile low and reflecting the residential scale of the surrounding streets. The roof rises

August 2016

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners



Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners


in the center to create a mezzanine level, naturally illuminated by triangular roof lights and it is supported by lightweight timber lattice beams. The beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens. The center combines a variety of spaces, from intimate private

Founder of Foster + Partners, said: “I have first-hand experience of the distress of a cancer diagnosis and understand how important Maggie’s Centers are as a retreat offering information, sanctuary and support. Our aim in Manchester, the city of my youth, was to create a building that is welcoming, friendly and without any of the institutional references of a hospital or health

Image © Nigel Young / Foster + Partners

The center combines a variety of spaces, from intimate private niches to a library, exercise rooms and places to gather and share a cup of tea niches to a library, exercise rooms and places to gather and share a cup of tea. The heart of the building is the kitchen, which is centered on a large, communal table. Institutional references, such as corridors and hospital signs have been banished in favour of home-like spaces. To that end the materials palette combines warm, natural wood and tactile surfaces. Lord Foster, Chairman and August 2016

center - a light-filled, homely space where people can gather, talk or simply reflect.” Throughout the center, there is a focus on natural light, greenery and garden views. The rectilinear plan is punctuated by landscaped courtyards and the entire western elevation extends into a wide veranda, which is sheltered from the rain by the deep overhang of the roof. Sliding glass doors open

the building up to a garden setting created by Dan Pearson Studio. Each treatment and counselling room on the eastern façade faces its own private garden. The south end of the building, extends to embrace a greenhouse - a celebration of light & nature which provides a garden retreat, a space for people to gather, to work with their hands and enjoy the therapeutic qualities of nature and the outdoors. It will be a space to grow flowers and other produce that can be used at the center giving the patients a sense of purpose at a time when they may feel at their most vulnerable. “That is why throughout the building there is a focus on natural

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners

Image © Nigel Young / Foster + Partners


Timber was chosen as the primary building material for its aesthetic and structural properties, as well as cost and carbon efficiency

light, greenery and views; with a greenhouse to provide fresh flowers, and an emphasis on the therapeutic qualities of nature and the outdoors. The timber frame, helps to connect the building with the surrounding greenery externally, this structure will be partially planted with vines, making the architecture appear to dissolve into the gardens,” adds Foster. The center, designed and engineered by Foster + Partners, also features bespoke furniture August 2016

designed by Norman Foster and Mike Holland who heads out the industrial design team in the practice. These include kitchen units and table, sideboards and other shelving units. Other details also reinforce the homely aesthetic. Walls are painted white and decorated with framed artworks, and one of the seating areas is arranged around a wood-burning stove. In addition, tiles cover the floors inside the building, and also extend out to a generous west-

facing veranda, sheltered from the rain by the overhang of the roof. The newly built structure to house the largest Maggie’s Centre in the United Kingdom to date is a singlestorey structure covering an area of around 500m2 over the site. The architectural expression is defined by the structure, making the close collaboration between the architects and the structural engineers a critical part of the design process. The building comprises 17 symmetrical frames on a 3-meter grid, with a central ‘spine’ defining the line of symmetry. The building’s services and a small office zone are housed in this centralized horizontal core on the mezzanine deck. The remainder of the building is a

DESIGN & DÉCOR 33 the magnitude and orientation of the loads acting on them - any portion that is superfluous to the structural support has been removed. The chosen structural material was Laminated Veneer Lumber, specifically Kerto®, due to its enhanced strength and stiffness when compared with ordinary timber. The truss construction is

An analysis of the stresses due to wind load (sideways) and snow and dead load (vertically) indicated where the timber could be optimized. The beams thus have a top and bottom flange, and diagonals through the web that densify as the shear force increases along the section. The trusses taper as the bending forces reduce, towards to the cantilever

Natural light pervades the whole building and warms the interior palette of natural wood, stone floors and woven rugs composed of two sheets of Kerto-Q® with the main grain orientation aligned in the direction of the most severely loaded elements. These were milled using a CNC machine directly from a 3D model generated in Rhino during the design process. The two glued sheets were then complemented by two sections of Kerto-S® solid sections glued on either side to form the flanges.

tip, through the column to the pin connection at the ground, and at the central node above the spine. The diagonal arrangement of the trusses in plan across the spine enable the structure to provide stability to the roof without the need for any additional bracing elements or stiffeners. The roof acts as a single diaphragm transferring the wind loads into the trusses,

which provide rigidity as a portal frame across the building. Along the length of the building, the diagonal trusses deliver load into the spine. In this way, the structure of the building directly reflects the forces that it resists. “The design development that went into the creation of the beautiful structure with timber specialist Blumer-Lehmann was quite incredible. This light and airy pavilion building will be nothing if not welcoming. The interior and exterior come together in a glass house in which numerous scented plants surround a central table at which our center users can gather to experience and enjoy this natural environment. Natural light pervades the whole building and warms the interior palette of natural wood, stone floors and woven rugs. Foster + Partners has created for us a truly remarkable building that perfectly complements our many programmes of support for all those who are affected by cancer,” concludes Chris Watson, Property Director, Maggie’s.

Project Details Project Name Maggie’s Center


The Maggie Keswick Jencks Cancer Caring Centres Trust


Manchester, United Kingdom

Completion 2016

Site Area 1,922m²

Structural Engineer Foster + Partners

Quantity Surveyor Gardiner & Theobald

M+E Engineer Image © Nigel Young / Foster + Partners

combination of open, public spaces on the west side and more private cellular spaces on the east, created by non-loadbearing partition walls. Functionally, the building is laid out to provide accessible open spaces along either side of a central zone which contains administrative and service spaces. This spatial arrangement naturally led to a structural system where the primary support springs from a central spine, with a cantilevered roof over the spaces on either side. Further support is provided by slender columns just beyond each façade, making the entire structural system more efficient. These elements significantly reduce the bending moment in the overhead span, and remove the need for a deflection head at the top of the glass in the roof lights. Timber was chosen as the primary building material for its aesthetic and structural properties, as well as cost and carbon efficiency. The timber beams are designed as trusses that reflect

Foster + Partners

Landscape Consultant Dan Pearson Studio


Nigel Young / Foster + Partners


Image Š MTC

Malaysian Timbers used in uniquely creative ways

August 2016

COMMENT 35 intermediate supports at 24-meter intervals with a central span of 57 meters. The bridge effortlessly harmonies itself with the natural landscape, connecting existing pathways and parks to provide natural and continuous access from both hills. This engineering feat of a bridge comprises four distinct sections, i.e., seven undulating curved steel ribs; supporting hollow sectioned vibration-dampening steel frames; Balau timber deck

modular panels to form the complex dimensions. Five thousand pieces of 70mm x 32mm Balau modular boards were used to clad the bridge in areas meant for interaction between man and material, such as the walkway, alcove seating and sidewalls. The boards were fabricated with numerical precision using proprietary software, which provided exact dimensions of the surface at regular 500mm intervals, thus reducing material wastage.

Whatever the design script is, Malaysian timbers such as Chengal, Balau, Merbau, Kapur and Meranti help dramatize and liven the construction stage with curved balustrades, wooden seats and alcoves. The undulating curved steel ribs form a ‘wave’ that alternately rise over and under its decks. The curved ribs form alcoves that function as shelters hugging seats within. The bridge’s sinuous curves, designed to look like threedimensional waves, and its 1,500-square-meter timber deck required a great variety of different

Timber specialist Venturer Pte. Ltd. of Singapore supplied the Balau strips, which were certified as originating from sustainable sources by Certisource, a UK-based timber legality verification standard. Docked at Raffles Marina, Singapore, an unusual looking structure with portholes and a huge timber drum is actually a boathouse named Nautique - the home of Kevin Hill and his wife Kelly

Chan. Kevin is in the third of three generations of English professionals and craftsmen involved in the construction industry, specializing in timber. Having lived in Singapore since 1992, he understands tropical timbers very well and often specifies Malaysian timbers due to their legal credentials. As a specialist timber contractor, he conceived the idea of a boathouse that meets all the requirements of a boat with the comfort of an apartment. It is effectively a floating water villa, the construction of which did no harm to the seabed. The 2,000-square-foot Nautique consists of three levels; the lowest level is equipped with a kitchenette, bathroom and a lounge that opens out to a patio. A master bedroom with an en suite bathroom occupies the middle floor while the top level is an open-air entertainment deck complete with a jacuzzi. The eyecatching timber drum is actually the stair tower, which is framed in Balau and clad in Merbau. The decking is made of Teak while the floors are Balau joists with tongue-andgrooved Merbau strips. The interiors are furnished with Merbau floors, solid Teak furniture and cozy sofas.

Image © MTC

Malaysian timber has come a long way since those days where the mention of wooden structure would conjure up imageries of traditional, vernacular built forms in rural villages such as the ubiquitous village houses or native longhouses on stilts with thatched roofs. This article showcases the application of timber in extraordinarily imaginative and creative ways. It features some of the most uniquely daring and different uses of Malaysian timber, which sees perfectly eye to eye with beauty and functionality, and more. The Henderson Waves and Nautique in Singapore, Four Seasons Resort Langkawi and the Shangri-La’s Villingili Resort as well as Viceroy Resort in the Maldives, whose distinctive time-transcending designs are testaments to the versatility and flexibility of Malaysian timber for innovative and experimental uses. Named after the road it crosses at an elevation of 36 meters, the Henderson Waves connects Mount Faber Park and Telok Blangah Hill Park in Singapore in a rather dramatic fashion. This 274-meter bridge, the highest pedestrian walkway in Singapore, has

August 2016


August 2016

Meranti slats. All the timberworks were finished to a consistent lime-washed look and feel, which binds all the disparate materials to provide a harmonious and relaxed spatial experience. Over at the 61-villa Viceroy Maldives located in the isolated northern edge of Maldives, on Shaviyani Atoll, the 17-acre private island of Vagaru is a haven of unspoiled nature dotted with palm trees and pristine sand encircling a blue lagoon. The design of the villas is an interpretation of the hull of an inverted Maldivian dhoni - a traditional fishing boat. A deliberate move away from a stiff square or rectangular design, the villas have irregular shapes with curved walls, lending a sensuous feel to the spatial experience. Every villa comes with a private pool and a private sun deck. The villas are well spaced around the island for maximum privacy with 32 villas over the water and 29 on the beach. Some of the villas are single-storeyed while others are double-storeyed with either a room or an open deck on the upper floor. Those with a room on the

upper floor have a dormer window for stargazing. An interesting mix of Balau, Kapur and Meranti were used for different parts of the resort’s structure and interiors ranging from roof trusses, ceilings, flooring, doors and windows. A giant chill-out swing suspended over the Balau deck from the ridge beam of the villas’ roof heightens the enjoyment of the Maldivian sea breeze and the boundless sky. These projects are just a few of the many found within the region as well as other parts of the world that prove that a discerning eye for aesthetics and a deep understanding of timber’s technical qualities as a building material could result in breathtaking functional structures that become icons in themselves. And whatever the design script is, Malaysian timbers such as Chengal, Balau, Merbau, Kapur and Meranti help dramatize and liven the construction stage. *This article was provided by the Malaysian Timber Council. For more information on these and other popular Malaysian timber species, please visit:

Image © MTC

columns on masonry piers on the other. The roofing structure frame the pastel-colored walls to provide an uplifting yet calming space for consultation and preparation before any spa treatments. These are complemented by the judicious use of timber in slats as simple screens and the polished Balau flooring. As part of the Addu Atoll, Villingili Island is a five-minute boat ride from Gan International Airport. Shangri-La’s Villingili Resort and Spa is located on the northern tip of the island with 6km of coastline and 2km of white sandy beaches. The 132-villa resort’s structural works were all constructed with a mix of Balau and Kapur whereas Meranti was used for interior timberworks. There are seven distinctively designed villas, two bars and three specialty restaurants in the resort. The Fashala Restaurant, which offers seafood cuisine, features the most dramatic design of the three restaurants and affords spectacular views of the ocean. The slightly tilted giant central columns in the restaurant are clad with strips of Meranti. The floors are in Balau and the screen walls are of

Image © MTC

The boathouse, apart from being the owner’s ideal retreat, is meant to be a prototype for floating luxury villas that could be tugged to exotic locations and quiet islands for a truly private escapade, without feeling that one is on a boat. Inspired by the Alhambra Palace in Spain, the design of the Four Seasons on the Malaysian resort island of Langkawi is a combination of Moorish, Arabic and Indian influences in a Malay kampong setting. Latticed timber screens and Moorish architectural features are recurring themes in this resort. High walls with plenty of indoor courtyards to provide privacy are typical characteristics of built forms adopting Moorish architecture. Located between its reception and outdoor floating pavilions, the consultation area sports a lattice of Chengal rafters and battens beneath a fiberglass roof. This roofing installation is not only structural but also serves as a filter for the otherwise too intense sunlight streaming into the double-volumed space. The roof is asymmetrically held up by painted masonry wall on one side, and square timber



Tallest wooden building in the world to be built in Amsterdam Construction on ‘HAUT’ expected to commence in the second half of 2017

August 2016

Image © Zwartlicht


August 2016


HAUT, a 21-storey wooden residential building by the Dutch River Amstel, is a serious contender to become the tallest timber tower in the world. The municipality of Amsterdam has selected Team V Architecture with Lingotto, Nicole Maarsen, Arup and brand partner NLE to develop this remarkable high-rise structure. With construction work expected to start in the second half of 2017, HAUT promises to be a prototype of building in an innovative, sustainable and environmentally-friendly manner. Standing over 73 meters tall, the residential tower is located in the Amstelkwartier and will include 55 apartments of different sizes. With a total gross floor area of approximately 14,500 m2, the tower will include a public plinth with an urban winter garden (about 1,100 m2 gross floor area), cycle storage space

and underground car park (about 2,800 m2). Building with timber, the design is targeting a BREEAM Outstanding rating, the highest possible sustainability grade. According to the designers, the use of timber in high-rise buildings is one of the most keenly discussed

neutrality. The design includes 1,250 m2 of PV (solar) panels, which will help the building produce renewable energy, while waste water will be purified through a constructed wetland on the roof. The parking garage in the building has space

The use of timber in high-rise buildings is one of the most keenly discussed innovations in the construction industry worldwide

innovations in the construction industry worldwide. It represents an important step towards the carbonneutral city: more than three million kilos of CO2 will be stored in the cross laminated timber used to build HAUT. Using wood also provides an answer to the Municipality of Amsterdam’s quest for CO2 August 2016

for electric (shareable) cars. Arup will be providing multi-disciplinary engineering services, including building services engineering, fire, acoustics and building physics consulting. The municipality of Amsterdam selected this team for their vision of the city of the future in which

nature and architecture are balanced. HAUT also stands for ‘haute couture’: tailor-made architecture. The design offers the first buyers extensive freedom of choice in the size of their apartment, the number of floors, the lay-out and the positioning of double height spaces, outdoor loggia’s and balconies. The façade is characterized by strong, clear lines of light grey floor bands and tall windows, with an apparently random pattern of cantilevering balconies. The wooden ceilings underneath the balconies and the pronounced projections at the sharp building corner facing the River Amstel make HAUT’s architecture strikingly distinctive. The triangular base of the building also includes a spectacular public urban winter garden, HAUT’s Hortus. Residents of the neighborhood can grow their own vegetables, relax

and meet each other. The Hortus forms an extension of the adjoining Somerlust Park and includes the Innovation Lab, a demonstration center where the latest innovations in the fields of nutrition, energy and construction are presented. The lab will be arranged by brand partner

Image © Zwartlicht

Image © Zwartlicht


approximately 12 hectares of forests, which would take 10 years on average to grow. Significantly, if HAUT were to be made from concrete, it would cost approximately 650,000 kg extra in CO2 emissions. For the main structure, CLT will be used for the load bearing wall

If HAUT were to be made from concrete, it would cost approximately 650,000 kg extra in CO2 emissions NLE (Netherlands Energy Company). HAUT will be constructed using cross laminated timber (CLT) prefabricated panels made of European softwoods from sustainably managed forests. In total, the wood used to construct the building can store over 3 million kg of CO2 and will come from

construction including all walls and floors. Only the basement (with underground parking) will be made from concrete to bear Amsterdam’s high ground water pressure. To create a transfer zone between the concrete basement and the timber high-rise structure, parts of the ground floor and first floor structure

will also be made of concrete. HAUT will be built in Amstelkwartier, a new residential neighbourhood in Amsterdam, situated on the River Amstel between Oud-Zuid (Old South) and Watergraafsmeer. The area will contain some 4,000 residential units, together with shopping facilities and small business premises. Approximately 1,000 dwelling units have already been completed, and the first primary school has been opened. Somerlust, the new park on the Amstel, is also already open to the public. “The project will be a prototype for timber high-rise,” says Janne Do Vermeulen, Partner and Architect of Team V Architecture. “Wood is not only a warm, natural material, but also very flexible. This allows the apartments to be tailor-made: HautArchitecture.” August 2016

Project Details Project Name HAUT


Lingotto and Nicole Maarsen


Spaklerweg, Amsterdam (NL)


Team V Architecture

Total Area 14,500 m2


73 meters



White Arkitekter wins design competition for cultural center in Skellefteå with timber framed high-rise ‘Kulturhus i Skellefteå’ is planned to be a 19-storey structure reaching a height of 76 meters

August 2016

Image © White Arkitekter


White Arkitekter has won an international design competition for Skellefteå’s cultural center and hotel, which will be completed in 2019. Located just below the Arctic Circle in northern Sweden, the city of Skellefteå has a long tradition of timber architecture which inspired the winning proposal ‘Sida vid sida’ (Side-by-side). The design was selected from over 55 entries from 10 countries. ‘Kulturhus i Skellefteå’ is planned to be a 19-storey structure reaching a height of 76 meters. It will house the ‘Västerbottensteatern’ (the county theatre of Västerbotten), the Anna Nordlander Museum, Skellefteå’s Konsthall (art gallery), the city library and a new 16-floor four-star hotel. The 24,940 sqm

BTA building will be timber framed with a glass envelope and has been designed to allow flexibility of use with retractable walls for rooms to be expanded or divided to serve a range of functions from a smaller exhibition to expansive conference

Architect, White Arkitekter. “We want to engage the wider public, not only arts lovers and the building’s transparency offers passersby the opportunity to witness behind-the-scenes work, such as an exhibition or new stage

The glass façade will reflect the sky and, at the same time reveal the interior’s spectacular exposed wood-framed ceiling facilities. “We’re very proud to have the opportunity to create a new home for the visual arts, theatre and literature. It’s when these different disciplines meet that the magic happens,” said Oskar Norelius, Lead

set coming together,” said Robert Schmitz, Lead Architect at White Arkitekter. Skellefteå is surrounded by dense forests and has an acclaimed timberbuilt architecture and construction know-how, which ranges from ageAugust 2016

old methods to the new technologyintensive, innovative techniques of the future. In their winning design, White Arkitekter felt it was important to harness this local knowledge and technical expertise. “A cultural center in Skellefteå just has to be built with wood! We’re paying homage to the region’s rich tradition and we’re hoping to collaborate with the local timber industry. Together we will create a beautiful venue, open for everyone, which will both have a contemporary expression and timeless quality,” adds Norelius. The glass façade will reflect the sky and, at the same time reveal the interior’s spectacular exposed woodframed ceiling, which is an important detail guiding visitors throughout

Image Š White Arkitekter

Image Š White Arkitekter


August 2016

Image © White Arkitekter


the venue. The structural framing is a hybrid of glue-laminated timber strengthened with steel trusses, which is to be sourced locally. For the timber construction detailing and specifications, White Arkitekter will collaborate with structural engineering firm Dipl.Ing. Florian Kosche AS (DIFK). The center is designed to endure all weathers with an efficient energy consumption record. In addition, the building will have a green roof, providing thermal insulation, sound insulation, biodiversity and rain water absorption. White Arkitekter plans to realize the building using two types of hybrid construction systems, rather than a single timber frame. The first brings together wood and steel, while the other pairs wooden modules with concrete slabs. The architects have worked with Norwegian engineering firm Florian Kosche to develop the hybrid construction systems - one for the

cultural center and the other for the hotel tower above. The hotel tower will comprise a stack of prefabricated timber modules reinforced by concrete slabs. Structural glazing will wrap the building to reveal the wooden interior. For the cultural center, a hybrid wood and steel construction will allow for a flexible, openplan space, able to host all of the different facilities. The project will make use of glue-laminated timber - a strong engineered wood formed by glueing together layers of lumber. Given that it is not quite as strong as crosslaminated timber, there is a need for supporting steel and concrete structures. In the foyer, 21-meterlong beams will span the full length of the space without the need for supporting columns. Wooden struts placed perpendicular to the beams will be strengthened by a network of steel trusses. The venue will be the tallest

building using wood frame construction techniques in the Nordic countries, allowing for views from the hotel rooms which stretch for miles. With a stage located in the middle of the venue and with different functions visible from the outside, the center will breathe new life into the city. The ground floor will have multiple entrances to create a dynamic lobby and contribute to life of the city center. The project is the latest in a series of wooden skyscrapers being proposed in Sweden, thanks to recent developments in engineered timber technology, which are making these types of structures possible for the first time. The winning proposal foresees bicycle and pedestrian routes connecting different areas of Skellefteå to a new planned travel center. On the waters of the Skellefte River (which passes through the city), a stage is proposed as a satellite venue to the cultural center. August 2016

Project Details Project Name

Kulturhus i Skellefteå


Skellefteå Municipality


Skellefteå, Sweden


White Arkitekter

Lead Architects

Oskar Norelius, Robert Schmitz


Dipl.-Ing. Florian Kosche AS (DIFK)

Structural engineers Florian Kosche, Sandra Heese Elbe


World’s largest freestanding timber frame built with modern woodworking technologies 7,300 cubic meters of timber required to build the 510-foot-long, 80-foot high wooden Ark

The green rolling hills of northern Kentucky is the location of America’s newest major theme park - the Ark Encounter. On 800 beautiful acres off I-75 in Williamstown (south of Cincinnati), the builders of have constructed a one-of-a-kind historically themed attraction, with a huge full-size Noah’s Ark as the centerpiece. Opened on July 7, 2016, the USD 100 million first phase of the park presents, in an entertaining, educational, and immersive way, a number of historical events surrounding an immense 510-foot-long, 80-foot high wooden Ark, which is now the largest freestanding timber-frame structure in the world. Spanning 155 meters long, 26

The mammoth Ark Encounter project is being recognized as the world’s largest freestanding timber frame structure meters wide, and 28 meters high, the mammoth Ark Encounter project is being recognized as the world’s largest freestanding timber frame structure, with a total of 7,300 cubic meters of timber used in its construction. A football field and a half long, the volume of the Ark is the equivalent of 500 standard semi-truck trailers, and features three levels of exhibits, with a 1,600-seat restaurant being prepped on the top deck. The Ark’s maximum capacity is 10,000 people; however organizers plan to August 2016

limit it to 3,000 inside at any one time. The Ark Encounter is designed to be family oriented, historically authentic, and environmentally friendly. Included in the experience are the Ararat Ridge Zoo, daily animal shows, zip lines, an extensive interactive children’s area, live entertainment, a themed restaurant, and shopping, including many fair-trade items. The attraction will also feature museum-like exhibits, displays of Noah’s family, and lifelike models of

animals - existing in pairs. Guests will be able to tour the ship for USD 40. In an effort to employ techniques used in the ancient time the Ark was said to have been constructed, one hundred Amish craftsmen built the replica using ancient timber framing techniques, such as manually bending the wood for the rudder rather than steaming it to make it more pliable. Most of these techniques were utilized, but some had to be altered to adhere to modern building codes (builders originally planned to hold the ark together with wooden pegs, but had to change to steel fasteners). Colorado Timberframe was chosen to mill the logs because they are said to be the only U.S.

Image © Wood Mizer

Image © Answers in Genesis

Image © Wood Mizer


Image © Wood Mizer

group capable of milling logs as large as 50 feet long and 36 inches in diameter. The company was uniquely able to create the complex timber frame for the project due to their recently upgraded specialized sawmilling and CNC equipment. The USD 100 million project took just over one year and a half to build with the timber frame construction designed and supplied by Colorado Timberframe in Lafayette, Colorado. Just over 2,800 cubic meters of square timbers were required for the timber frame itself. “For our massive project, we needed a special partner,” said Mark Looy of the Ark Encounter. “Colorado Timberframe was the only company that had a CNC machine large enough to handle our August 2016

Image © Answers in Genesis

Image © Answers in Genesis


design specs for our timbers. And it was a large enough company to handle our volume.” A length of 20.1 inches was chosen for the cubit. This produced plans for an ark measuring 510 feet (160m) long, 85 feet (26m) wide, and 51 feet (16m) high. The 3.3 million board feet of wood was harvested from as far away as Oregon and British Columbia. The Ark’s framing consists of Englemann spruce, and the exterior is made mostly of pine. The ark contains 132 bays for animals, each standing about 18 feet high. The structure is held off the ground by three 80-foot masonry towers, which contain stairwells, elevators, and bathrooms. Each features electric lighting designed to resemble oil lamps. Below the ark is a theater and gift shop, and a

restaurant sits on its roof. To meet the construction deadlines, Colorado Timberframe hired additional help, and transitioned to a three-shift work schedule for 6 days a week for an entire year. A number of 25 employees worked in the workshop

recently upgraded our equipment,” said Keenan Tompkins, owner of Colorado Timberframe. “We were the only company that can do the sizes of the timbers that they had, and actually fabricate all the timbers on the machines.” In addition to more staff, Tompkins

One of the most impressive timber aspects of the ark are the 15 meter logs that line the center, many of which are 1 meter in diameter at the base just outside of Denver while 10 more were onsite to install the timber frame project in Kentucky, along with 75 Amish craftsmen employed by the main construction contractor. “We had the capability of doing this entire project, as we have August 2016

said that several machines were vital to fulfilling the unique orders and meeting the tight construction deadlines. An extended personal sawmill manufactured by Indiana-based Wood-Mizer Sawmills was used to resize rough-sawn 610mm X

610mm beams of up to 12 meters long to the exact dimensions required for the complex structure. The LT15 model sawmill used for the project is among the smallest bandmills Wood-Mizer offers - the standard model fitting neatly into the bed of a pickup truck. “50 percent of the timber had to be resized,” said Tompkins. “So that’s where we really worked the Wood-Mizer for a year. We had one full-time guy resizing timbers for the Ark project.” “Then the timber went through the K2I Hundegger CNC machine,” said Tompkins. “We have a four foot wide track (1.2m), and it can do four foot wide (1.2m) to up to 20 inches tall (500mm), and 60 feet long (18m). It does all the mortise and tenon joints, as well as drillings and slot cuts, and any kind of recesses

or notches that the timbers need to accommodate either the wood connections or the steel plates.” The German-based Hundegger company supplies a wide range of industrial woodworking equipment. One of the most impressive timber aspects of the ark are the 15 meter logs that line the center, many of which are 1 meter in diameter at the base. 30 percent of these logs are reclaimed Engelmann spruce that had been killed by invasive beetles, and were standing dead. “We tried to use as much reclaimed timber as possible,” said Tompkins. “We made a deliberate and concentrated effort to incorporate as many as those reclaimed logs as possible.” The Ark Encounter is one of the largest ‘green’ construction projects in the U.S. The architects,

engineers, and construction managers work for Troyer Group - One Source, a firm charged with the management of sustainable building projects in the US. For the project, the Troyer Group specified 300 - 400 m3 of Accoya to act as the ark’s timber frame. Accoya

Image © Wood Mizer

Image © Answers in Genesis

Image © Wood Mizer


ambitious project. Todd Geer, Vice President at Troyer Group - One Source, commented: “We were impressed with Accoya’s credentials - the product is fully carbon neutral, extremely durable in exterior applications and both reusable

The product is sourced from FSC® certified and sustainable forests making it the ideal wood product for the ambitious project was selected both for its ‘green’ credentials as well as its highquality and aesthetic attributes, which far exceed unsustainable tropical hardwoods. The product is sourced from FSC® certified and sustainable forests making it the ideal wood product for the

and recyclable. Accoya has been recognized for its environmental standards worldwide, so we were very interested in using Accoya to build the country’s very own Noah’s Ark.” Laura Ladd, Head of Marketing at Accsys Technologies added: “The August 2016

Ark Encounter project is an exciting and creative building project. I am thrilled that the Troyer Group chose Accoya to turn the project vision into a reality. Accoya has been widely used for innovative construction projects throughout the world. This project represents project the largest order of Accoya wood in the U.S., and demonstrates why Accoya outshines its competitor wood products.” “Wood is such a versatile product,” said Tompkins. “If you look back through history, there are plenty of examples of extremely large structures, some of which are even still standing today. So it’s kind of going back to incorporating and using that, but applying it in a modern context and having it meet the modern engineering standards that we have today.”


WoodTrader introduces innovation in lumber trading

Image © Coast Fraser

Online purchasing platform allows buyers from around the world the opportunity to bid and purchase lumber

When we hear about innovation in the wood industry, we generally hear about new building techniques and new wood products. Rarely, if ever, do we hear of innovation in lumber trading. A Canadian company is changing that with the introduction of their purchasing platform to buyers around the world. As traditional industries start to involve more technologies, it’s important to integrate them throughout the entire supply chain. Where purchasers are concerned, there has been a large oversight in recent years - leading to a breakdown in communication and efficiency. That is where WoodTrader comes into the picture.

The concept was developed shortly after Coast Fraser Enterprises was founded in 2009. The company specializes in exporting British Columbian dimensional softwood products

they noticed that other industries in Asia have been increasingly switching from traditional commerce to “online to offline” commerce. Their purchasers were looking for a simpler buying method that allowed

The WoodTrader International Wood Purchasing Platform is designed for purchasers to easily connect with their supply chain to Asia. As a key export partner of Weyerhaeuser, they quickly gained market share and expanded throughout the region. Coast Fraser first saw the opportunity to move the wood industry forward when August 2016

them the same level of control over the products and process. With their supply chain already in place, it was a natural process for Coast Fraser to develop the WoodTrader International Wood

Purchasing Platform. The company’s IT team had already designed an internal Electronic Cooperation System that was adopted by the company and their service providers. Based on their existing systems, Coast Fraser created a platform geared towards their purchasers. After many setbacks and challenges, the WoodTrader International Wood Purchasing Platform was finally ready to be beta tested in the fall of 2015. The WoodTrader International Wood Purchasing Platform is designed for purchasers to easily connect with their supply chain. It integrates trading, IT and logistics so that customers are able to track


Image © Coast Fraser

Image © Coast Fraser


their shipments and contracts using the platform. The system is also designed to work closely with financial institutions, forwarders, warehouses, re-loaders and transportation companies. Rather than cold calling for price lists, purchasers browse for wood products through the platform. Market based prices are displayed for each product, which the purchaser can either counter-bid, or accept by placing an order. The process is over after a few bidding cycles rather than days (or even weeks) of negotiations. WoodTrader promises a level of quality that is not always guaranteed when sourcing new

suppliers. And since WoodTrader uses a variety of suppliers for their products, purchasers are given a lot more options. Thousands of containers have been shipped through WoodTrader

there should be more transparency and purchasers should have more control over the products they are buying. The idea has definitely caught on. Despite only launching in April

By using Coast Fraser’s existing logistical systems, the purchasers have access to lower costs associated with international shipping since it first began testing. By using Coast Fraser’s existing logistical systems, the purchasers have access to lower costs associated with international shipping. In the end, it all comes down to the idea that

at the Dubai WoodShow 2016, WoodTrader already has hundreds of businesses registered with them. While most of their regular purchasers are currently in Asia, the concept is spreading quickly August 2016

to other markets. A large minority of WoodTrader’s purchasers are now registered in the United Arab Emirates. Each country’s and region’s interface is tailored specifically to their local wood market. When a business registers with the platform, they must submit documentation stating where they operate and that they are a registered company. The platform is continually updated, something the company says is vital to operating in any country. Looking forward, the company still has many big ideas in store. A big announcement is planned for this fall which is expected to work with the WoodTrader platform.

Image © Lourival Junior


August 2016


Jan Waterston pushes the physical limits of wood with his ‘Velo’ chair in how these could inspire a design. Carbon road bike design is interesting to me as the tubes each other, uninterrupted by lugs or welds. On closer inspection of these joints there are many soft details, spines or ridges if you like, that

Waterston. Waterston believes the bicycle to be an amazing object as when you use it you become part of it, you complete the object. This relationship to the bicycle is a seamless one and when cycling, one gets feedback from the road.

using a single bent piece of wood to form the entire backrest, testing the material’s physical limits

the shapes of the tubes from oval to round to almost rectangular in some cases. These forms are born out of function increasing strength in high stress areas, I felt these forms could inspire joints in furniture design, aesthetically but functionally also,” says Jan

The chair is also an object which the user completes; an object in which we get inside. Waterston wanted the relationship a cyclist has to their bicycle. A chair where the components wrapped around the user so they felt part of the chair, with its components changing form

for comfort, strength and aesthetic beauty. inspiration by using a single bent piece of wood to form the entire backrest, testing the material’s physical limits. With each surface being hand sculpted and constantly changing, a real tactile nature lends itself to the design, begging to be explored. Made from Ash, the unique and modern take on bent plywood has unsurprisingly earned Waterston some much-deserved attention, including being one of only a handful of international product designs shortlisted for the 2016 Wood Awards, which recognizes outstanding design and craftsmanship. The laminated backrest pushes the boundaries of what can be achieved with timber and its seamless junction with other

Image © Lourival Junior

Nominated for the 2016 Wood Awards, the ‘Velo Chair’ by Jan Waterston is a response to modern bicycle design with its components seamlessly wrapping around the user, constantly changing form for comfort and then blending into the next component, leaving the user feeling at one with the chair. When designers are thinking about creating furniture pieces or other objects, they often look around them for inspiration, and they never know when something will truly inspire them to make a design. In the case of the Velo Chair, British designer Jan Waterston’s inspiration came from cycling. And the end result is a dynamic piece of furniture inspired by the shape of modern bicycles. “Having been a fan of modern bicycle design, carbon road bikes to be more concise, I was interested

August 2016

components lock them all together giving strength and making the piece irresistible to touch. According to Waterston, timber is fairly unforgiving in a lot of ways - if you cut it too short, there’s no going back. If you slip with the wrong tool and ruin something, there’s certain mistakes you just can’t cover. But sometimes mistakes lead to more interesting designs though, and you can make them work in your favour. “Much of the chair was designed at the workbench, as although I had made sketches of the basic form of the chair I didn’t know how capable the material was of achieving these forms. The seat and armrest of the chair are all laminated constructional veneers. Laminations are used in the chair as the glue lines create incredibly strong

components and the flexibility of the thin veneers allowed me to free form the ergonomic shapes. Free forming the backrest of the chair is particularly difficult as manipulating the timber into the correct ergonomic positions is challenging,” adds Waterston. Quarter sawn Ash is used for the backrest as Ash is naturally very flexible and strong and the straight grain retains strength around the tight curves. The seat is crown cut veneer as the wide leaves allow the seat to be built up in the least wasteful way. The laminated armrest and seat are joined together and further veneers are laminated onto them locking the backrest in as part of the seat. These veneers are built up so a long tenon can be used joining the

August 2016

Image © Lourival Junior

Image © Lourival Junior

Image © Lourival Junior

Image © Lourival Juniorn


legs into the seat. This long tenon means no under frame has to be used, allowing for a more refined design. The shaping of the components is an attempt to create a real tactile design, in which the junctions between components are seamless as found in carbon bike design. Waterston wanted the user to constantly explore the evolving surfaces as to enhance the feeling of being a part of the chair. This shaping is done by hand with traditional tools and methods. The free formed backrest wraps around the user, housing the body and flexing when committed to. The curved laminated seat is an attempt to push the user to sit right back in the seat where there is the most support for the back and posture is

correct. Sitting on the downwards slope of the seat amplifies slouching and places to much pressure on the backrest, making the experience uncomfortable. “The interaction between body and chair should be a seamless one, so that the user feels as though they and the chair are one. I felt this ideal should be reflected in my design aesthetic. I began researching modern bicycle design as I felt the bicycle is an object which the user can feel a seamless relationship to and subsequently the road. This relationship between body and object is echoed in bicycle design with tubes flowing seamlessly into one another, constantly changing shape to improve function and aesthetic,” concludes Waterston.

n, go to: informatio For more achines /m m www.hom

When expectations are as high as your heels. Making dreams a reality with HOMAG. Customers today have ever more individual expectations. Therefore it is good to be prepared to meet any kind of need – with a HOMAG machine. Venture 316: 5-axis technology for all • DRIVE5C 5-axis trimming spindle for unlimited possibilities • Graphical programming incl. 3D-simulation of the processing steps • Precision and processing quality through heavy-duty machine frame and stable moving gantry Ambition series: also suitable for shift operation • More output through high level of availability due to durable construction and easy-maintenance machine structure • High quality through belt top pressure in standard execution • Optical zero-joint with airTec • Return conveyor system for automatic workpiece handling

Office 1308 Grosvenor Business Tower Tecom, Dubai – UAE PO Box 391477 Tel: +971 4 551 9788 Fax: +971 4 551 9799


Top Industry Exhibitions Coming Up This Season TECNO MUEBLE INTERNACIONAL (TMI)

Africa will offer visitors the opportunity to to get insights from industryspecific workshops and conferences run by key associations; network with thousands of like-minded industry professionals; and witness live demonstrations of the latest products in the woodworking industry.

August 17 - 20 Expo Center | Johannesburg, South Africa

Image ©TMI

Mexico’s most important trade exhibition for the furniture and wood industry, Tecno Mueble Internacional (TMI) will take place from August 17 - 20, 2016 at the Expo Guadalajara. Expected to host over 200 local and international exhibitors and over 5,000 trade buyers, the show is the brainchild of the Association of Furniture Manufacturers of Jalisco (Afamjal), which is the leading association for the furniture industry in Mexico. It is also fitting that the event is taking place in Guadalajara, which is a leading economic hub in the country. The exhibition will throw the spotlight on a wide variety of machinery and supplies for the furniture industry. In essence, the show is two exhibitions in one as it includes finished products (furniture) and suppliers who provide the components and materials for the furniture. The exhibit profile will include abrasives, accessories, hardware, tools and equipment, timber and plywood, machinery, glue and adhesives, paints and coatings, polymers, services, software, and textiles, leather and vinyls.

August 17 - 20 Expo Guadalajara | Guadalajara, Jalisco, Mexico WOOD WORLD SOUTH AFRICA 2016 Showcasing the latest trends, developments, products and services for a broad cross-section of the woodworking industry, Wood World South Africa is a leading trade show for the woodworking and forestry industry in Africa. Wood World South Africa provides companies in the woodworking, forestry, furniture, and other related industries the platform to take advantage of the significant growth the industry has experienced in the past few years. At the show visitors can interact with key decision makers from across Africa and exhibitors can showcase the latest products and services. With South Africa and North Africa boasting the highest per capita furniture consumption and significant industry growth, Wood World South Africa is the perfect platform to generate new business opportunities and sales leads across a wide variety of industries. Co-located with Interbuild Africa and five other specialized shows, Wood World South

August 2016


More than 500 exhibitors from 22 nations make the dual exhibitions ‘International Wood Fair’ and ‘Holz&Bau’ the most important marketplace in Central and Southeast Europe given that all the market leaders and the latest trends are represented on an exhibition space of 48,000 sqm. According to the organizers, the philosophy behind the two events is to present an overview of the entire value creation chain - from the forest to solid wood. As such, the trade shows play a vital role in networking the individual lines of the industry and preparing the ground for successful co-operation. Held every two years in Klagenfurt, Austria, the shows are structured into the areas of forestry, sawing, timber construction, timber logistics and biomass, and enjoy a unique profile given that they offer an overview of the entire value generation chain. Primarily the shows offer an opportunity to network and benefit from the multi-faceted side events and knowledge shared by international experts in the field. More than 22,000 trade visitors came from Central and Southeast Europe to attend the last edition of the shows and the organizers are positive of increased numbers this year.

September 1 - 4 Klagenfurt Exhibition Center | Klagenfurt, Austria


EKO-LAS The next edition of EKO-LAS will take place from September 1 - 3, 2016 in Janów Lubelski. Once again, thousands of forestry and lumber business professionals will meet at the largest event dedicated to the industry in this part of Europe. The formula of the fair, including demonstrations of machines working in the real field, attracts vast numbers of industry professionals and makes the event a great place for the presentation of products and services. The last edition of EKO-LAS, which took place in 2014, was very well received by both visitors and exhibitors. In a space of 50,000 sqm, over 150 exhibitors from 9 countries showcased their products. The three-day exhibition fair was visited by 7,500 local and international visitors. The groups of professionals included representatives of forest enterprises, energy companies, forest services companies, forest districts authorities, officials from municipal offices of cities and municipalities and the public roads administration.

discussions and specialized seminars. Among the topics of discussion will be the issues of forest exploitation, restoration and cultivation; environmental issues; and bioenergy development issues. The event aims to showcase the newest equipment for timber procurement, woodworking and furniture industries; create a business platform for equipment manufacturers and suppliers, specialists and investors; extend the inter-sectorial and inter-regional relations; and promote advanced timber industry technologies, equipment and tools in Russia and beyond.

September 6 - 9 Siberia ExpoCenter | Krasnoyarsk, Russia

Image © Wood Products & Technology (Tra & Teknik)


September 1 - 3 Janów Lubelski | Poland



The 18th edition of EXPODREV takes place this year from September 6 9, and will showcase technologies, machinery and equipment for timber logging; sawmill equipment, technologies and equipment for woodworking industry; technologies and equipment for furniture production; component parts; and tooling for furniture and woodworking production. According to the organizers, the show will also include sections of large-sized special equipment, machinery, wrapping and shipping equipment. In addition, the show will also feature a plenary session, panel

From being a traditional trade fair since 1982, Wood Products & Technology has now developed into a complete venue for ideas, business and meetings. With a strong focal theme - carpentry, tools and machines - the show covers everything from logs to finished components - sawmill machinery, carpentry, wood processing, woodworking, tools, materials handling, materials and components, fittings, and surface finishing, amongst others. The highly successful Wood Fusion once again returns to the show this year. Wood Fusion provides a forum where manufacturing companies can talk directly to creative decision-makers. Young innovative designers can source new materials and processing techniques to help realize their ideas. In principle, the event is a fruitful fusion between the wood industry and creative minds, between material and creativity, or between wood and other materials. Other activities taking place alongside the exhibition include Lunchtime Conversations where industry decision makers will explore the impact of Industry 4.0, the digital revolution that is currently transforming industry; Technology walks highlighting the latest technology developments throughout the fair; and Matchmaking, which will see representatives from successful companies give advice and the benefit of their experience to small and medium-sized companies.

September 6 - 9 The Swedish Exhibition & Congress Center | Gothenburg, Sweden

August 2016


LISDEREVMASH The 15th International Specialized Trade Fair for Machinery and Equipment for the forestry, woodworking and furniture industry will take place on September 27 - 30, 2016 at the International Exhibition Center in Kiev, Ukraine. As the most important trade expo for the industry in the country, the exhibition is supported by the State Forestry Agency of Ukraine, the Ukrainian Woodworking Machinery Association and by the European Federation of Woodworking Machinery Manufacturers (EUMABOIS). In addition, regional associations including ACIMALL (Italy) and AFEMMA (Spain) also support the show. Exhibitors are set to display their products and solutions under four broad categories including: Wood Machinery; FurniTech; Wood Energy; and Wood Products. As such, the show will provide a platform to demonstrate machinery, equipment, technologies, components and tools for the forestry and wood processing and an informative forum for furniture manufacturers. In addition, it will also focus on wood products including timber, panels, and other finished and semi-finished products. According to the organizers, over 7,000 experts, who work in the domain of furniture manufacturing, woodworking, building and timber industry, are expected to attend the show.

Innovation Awards; the China Water-Borne Furniture Paint and Coating Seminar; Shanghai Home Design Week; China Home Design Conference; and Designers’ Night amongst others.

September 8 - 11 Shanghai New International Expo Center (SNIEC) and Shanghai World Expo Exhibition & Convention Center (SWEECC) | Shanghai, China BIFE-SIM

September 27 - 30 International Exhibition Center | Kiev, Ukraine

Image © BIFE-SIM

Image © Furniture China


Shanghai will become a focus point for the global furniture industry in September with the annual Furniture China show being held simultaneously at the Shanghai New International Expo Center (SNIEC) and Shanghai World Expo Exhibition & Convention Center (SWEECC) in Pudong, Shanghai. Held successfully for more than 20 years, Furniture China 2016 will position Shanghai on the grand stage for global furniture industry. New this year are the Industrial Clusters Exhibition Area; a new theme featuring steel furniture, solid wood furniture and traditional Chinese styled furniture; and the O2O Experience Zone. In 2016, the organizers are striving to expand the scope of accessories and design works to create a completely new modern exhibition experience by launching ‘Maison Shanghai’ at the SWEECC to be held concurrently with Furniture China. With an exhibition area of around 350,000 sqm, the show will host approximately 3,000 companies from 25 countries. In addition, the organizers have confirmed a host of linked events including the Sofa of China; the second Chinese Furniture Standardization International Forum; the Gold Idea Furniture Design Award; the China Furniture Product

August 2016

The 25th edition of the Bucharest International Furniture Exhibition (BIFESIM) will be held from September 14 - 18, 2016 at the ROMEXPO Exhibition Center offering trade visitors the opportunity to view the latest products and services from over 300 companies, who will occupy more than 30,000 sqm of exhibition area. The exhibition will present the latest trends in the furniture, decorations, equipment and wood accessories industry. According to the organizers, about 90 percent of the exhibitors will be Romanian companies, who will make every effort to confirm the high quality of Romanian design, and present a large range of styles that showcases their commitment to sustainability. As such, visitors will have the opportunity to meet a large number of Romanian furniture and furniture-related producers and source a variety of quality products. In addition, the show will feature the creations of young Romanian designers who have been shortlisted as part of the National Furniture Design Contest. The show encompasses the entire range of equipment and utility vehicles for the wood industry, designed to increase the effectiveness of the production flow and to implement new technologies. The 2016 edition will also bring practical demonstrations that will show the visitors the technological processes through which raw wood is transformed into furniture pieces suited for the ambience of every home. BIFE-SIM has surpassed, year after year, the expectations of both the visitors and of the exhibiting companies, and the organizers are positive of exceeding expectations with this year’s edition.

September 14 - 18 ROMEXPO Exhibition Center | Bucharest, Romania


Furniture Manufacturing & Supply China 2016 (FMC China 2016) will be moved back to the Shanghai New International Expo Center (SNIEC) and run from September 8 - 11, 2016. After several years of separation from Furniture China, the reunion of the shows will mean that they now cover the entire upstream and downstream industry of furniture. As the top platform of domestic furniture industry, all the areas will be innovated and upgraded. FMC China 2016 and Furniture China 2016 will be held at the same place and the same time not only to integrate resources, but also provide a wonderful show for exhibitors and visitors. According to the organizers, this year, the material area will be moved back to the SNIEC so as to realize their vision of ‘one venue, one industry’. The show will contain the following areas: Woodworking Machinery, CNC Machinery, Upholstered Furniture Machinery, Coating Machinery, Furniture Adhesives and Coating Machinery, Office Furniture Accessories and Components, Furniture Hardware and Fittings, Wood and Surface Décor, Furniture Fabric and Upholstery Components, covering 2 indoor halls and 6 outdoor halls. In addition, FMC Premium will optimize the layout of booths comprehensively so as to provide an open, unified and standard display platform and lighting system. The famous brands and products in furniture material and accessories industry, overseas groups from several countries will all get together at FMC Premium. The aim is to create a healthy, free and comfortable purchasing atmosphere for exhibitors and visitors to highlight the idea of innovation, design and trend. Nearly 36,590 visitors from home and abroad attended FMC last year, which represented a 3 percent increase compared to the previous edition. There were 31,159 visitors from domestic area while 5,431 from overseas region. In the case of FMC Premium, the number of visitors went up to 18,419. In 2016, FMC & FMP will run concurrently with Furniture 2016, hosting a total of 3,000 furniture companies, 890 designer brands and along with Maison Shanghai, the events will occupy almost 300,000 sqm of exhibition space. With this in mind, the organizers expect to host more than 100,000 visitors in total. This year FMC China will host the first ever ‘China Water-Borne Furniture Technical Application Forum’, which will provide the most recent legislation information such as VOC emission charge and WB subsidy policies. In addition, furniture manufacturers, equipment and coating suppliers will share their experience and technical solutions for waterborne conversion

August 2016

Image © FMC China

Image © FMC China


from different perspectives, to help the industry achieve a smooth upgrade towards greener solutions. The China International Timber Order & Exchange Conference has been running for over three years and eight overseas country pavilions are long-term exhibitors. Through FMC, the most important platform in China, the overseas timber companies transport foreign outstanding high-end wood to China. The association with Furniture China will promote the interaction of upstream and downstream industrial chains. Furniture China will host around 3,000 furniture manufacturers including modern furniture, branded furniture, sofas, original designs, office furniture, classical furniture, outdoor, and dining table and chair. This covers the upstream areas of FMC China, such as woodworking machinery, upholstered machinery, knife saws, hardware and office accessories, thereby enabling collaboration between upstream and downstream suppliers and buyers.

September 8 - 11 Shanghai New International Expo Center (SNIEC) | Shanghai, China




WOODMAC 2016 will be held with the support of over 10 international and local industry partners and associations including AMKRI (Indonesia Furniture and Craft Association), ISWA (Indonesian Sawmill and Woodworking Association), TAPEC (Taiwan Association for participation in International Exhibitions & Conventions) and others, the organizers are positive of attracting over 15,000 international trade buyers and domestic visitors. The exhibitions will be augmented by various concurrent seminars focusing on market trends, business opportunities and technological updates.

September 28 - 30 Jakarta International Expo Kemayoran | Jakarta, Indonesia

September 27 - 29 Manege, 20/2 Pobediteley Ave. | Minsk, Belarus IFMAC & WOODMAC Strategically put together to further uplift Indonesia’s position as a strong furniture and woodwork producer for global markets, IFMAC & WOODMAC will feature the end-to-end manufacturing and supply chain derived from Indonesia’s unique capabilities, quality raw materials as well as its skilled workforce. Scheduled to be held from September 28 - 30, 2016 at the Jakarta International Expo Kemayoran, the fifth editions of IFMAC & WOODMAC will be expanded further following the vast growth of Indonesia’s furniture manufacturing and woodworking industries. IFMAC is positioned as Indonesia’s premium trade exhibition that presents high-technology machinery, unique products and creative manufacturing methods for the furniture production market. WOODMAC stands as Indonesia’s prime exhibition that introduces modern technology and equipment as well as top-grade tooling needs with focus on higher automation in woodworking processes. For the 2016 edition, the organizers are aiming to host over 250 world class exhibitors in an exhibition space covering 11,000 sqm. Given that IFMAC &


Image © W16

The 23rd edition of Woodworking, one of the most prominent exhibitions for the forestry, woodworking and furniture industries in Belarus, takes place this year from September 27 - 29. This year the show is being supported by the Ministry of Forestry of Belarus, the European Federation of Woodworking Machinery Manufactures (EUMABOIS), the German association of woodworking equipment together with German Engineering Federation (VDMA), and the Italian woodworking machinery and tools manufacturers association (ACIMALL). According to the organizers, the show is set to host more than 120 companies including the leading equipment manufacturers and suppliers from Belarus, Germany, Italy, Latvia, Lithuania, Poland, Portugal, Russia, Slovenia, Ukraine, France and Estonia. The organizers aim to expand the profile of the show every year with a view towards attracting more participants and hosting the best representatives from the woodworking and furniture industry in one place. As such, the show plays a key role in helping to increase the competitiveness of domestic products and strengthening business relations between market participants. In addition, it is also a platform to discuss different issues of forest industry. Further, visitors will have the opportunity to view not only woodworking equipment but a range of related products including primary wood cutting and drying, automated processing centers, industrial lines for furniture production etc.

The W16 exhibition has over 40 years heritage beneath it, and continues to grow and follow the success of Woodmex and Asfi. As the exhibition expands, more components suppliers and materials join the show, consolidating the furniture and joinery industries and inviting everyone in this field to embrace the opportunity to see all products and machinery under one roof. The event is the ‘must see’ show for manufacturers of all sizes working across a huge range of product sizes. Every two years the UK industry meets at this show to experience the latest in machinery, components and materials with the emphasis on live demonstration of product and process. As the UK economy continues to grow, the manufacturing industry goes from strength to strength, with accelerated house building programmes and the use of wood rising as a sustainable and economical material. Much of W16 deals with the working of wood and use of timber in building. W16 embraces the growth of this industry, not just through an increase of exhibitors coming to the show but also by recognizing and showcasing new talent and training within the industry and promoting the next generation who will take the industry forward, through its educational focus. Taking place over four days in three halls, it’s an opportunity for joinery and furniture manufacturers, large and small, to meet and buy from machinery and components suppliers. New attractions for 2016 will include Elements of Innovation, The Best Practice Zone and The W Challenge, a competition embracing apprenticeships and training within the industry.

October 2 - 5 The NEC | Birmingham, UK

August 2016


Tecno Mueble Internacional (TMI)

SoFab / Furnica / Drema

August 17 - 20 Expo Guadalajara Guadalajara, Jalisco, Mexico

September 13 - 16 Poznan Congress Center Poznan, Poland | |



Wood World South Africa 2016

Forestry Management & Wood Processing Industry Of Siberia

August 17 - 20 Expo Center Johannesburg, South Africa ....................................................................................................

September 13 - 16 SibExpoCenter Irkutsk, Russia ....................................................................................................



September 1 - 3 Janรณw Lubelski, Poland ....................................................................................................

International Wood Fair and Holz&Bau September 1 - 4 Klagenfurt Exhibition Center Klagenfurt, Austria ....................................................................................................


September 13 - 16 Kazan Expo Center Kazan, Russia ....................................................................................................

BIFE-SIM September 14 - 18 ROMEXPO Exhibition Center Bucharest, Romania ....................................................................................................

September 6 - 9 Siberia ExpoCenter Krasnoyarsk, Russia ....................................................................................................

Wood Products & Technology (Tra & Teknik) September 6 - 9 The Swedish Exhibition & Congress Center Gothenburg, Sweden ....................................................................................................

Salon Maison Bois September 23 - 26 Parc des Expositions Angers, France ....................................................................................................

LISDEREVMASH September 27 - 30 International Exhibition Center Kiev, Ukraine ....................................................................................................

Furniture China 2016 September 8 - 11 Shanghai New International Expo Center (SNIEC) and Shanghai World Expo Exhibition & Convention Center (SWEECC) Shanghai, China

Woodworking 2016



FMC China


September 8 - 11 Shanghai New International Expo Center (SNIEC) Shanghai, China

September 28 - 30 Jakarta International Expo Kemayoran Jakarta, Indonesia



August 2016

September 27 - 30 Manege, 20/2 Pobediteley Ave. Minsk, Belarus

Timber Design & Technology Middle East - August 2016  

The only magazine for timber industry professionals published in the Gulf region