Timber Design & Technology Middle East - October 2016

October 2016 | Issue

MIDDLE EAST

28

www.timberdesignandtechnology.com

Second edition of Design Ras Al Khor (DRAK) to ‘Celebrate Wood’ during Dubai Design Week 2016 Brock Commons student residence on track to be the tallest mass wood hybrid building in the world ‘The Smile’ is a huge draw at London Design Festival 2016 Riva 1920 and Renzo Piano come together for symbolic Earth-shaped table for World Trade Center Trade collaboration key to tropical legality

ANALYSIS

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INTERVIEWS

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DESIGN

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October 2016 www.timberdesignandtechnology.com SUSTAINABILITY | TECHNOLOGY

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.

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Earth-shaped table | Image © Riva 1920

October 2016 Issue 28 DIRECTOR Andy MacGregor publisher@citrusmediagroup.net +971 55 849 1574 MARKETING DIRECTOR Eric Hammond marketing@citrusmediagroup.net +971 4 455 8400 INTERNATIONAL SALES DIRECTOR James Hamilton james@timberdesignandtechnology.com EDITOR Tony Smith editor@timberdesignandtechnology.com INTERNATIONAL CORRESPONDENT Eamonn Ennis eamonn@timberdesignandtechnology.com +91 98676 54952 INTERNATIONAL REPRESENTATIVES Rabia Alga AntExpo Org. | Turkey +90 216 541 0390 rabia@antexpo.net ELIAS AGGELOPOULOS Med Expo | Greece +30 210 2931011 info@epipleon.gr 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.

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EDITOR’S NOTE Will timber define our age? That is the question posed by ‘The Smile’, one of the four Landmark Projects currently on display at the London Design Festival 2016. We kick things off in this issue by looking at this unique installation, which has been designed by Alison Brooks Architects (ABA). With expertise from top engineering firm Arup, the project is the culmination of an effort by the American Hardwood Export Council (AHEC) to show that hardwoods can have a structural use in buildings. Life Cycle Assessment (LCA) of ‘The Smile’ has revealed that it is better than carbon neutral at point of delivery to the site at the Chelsea College of Arts. Significantly, it takes less than five minutes for natural forest growth to replace all of the tulipwood used to manufacture ‘The Smile’.

The second edition of Design Ras Al Khor (DRAK16) aims to ‘Celebrate Wood’ and will run as part of Dubai Design Week (DDW), which takes place all across Dubai from October 24 - 29, 2016. Khalid Shafar, Co-founder of DRAK outlines how the initiative strives to become a progressive design movement that encourages research, innovation, and material exploration. Wood has always been perceived typically as a building material for architecture, construction and for making furniture, according to Shafar. DRAK16 then aims to challenge the designers involved to explore wood through the medium of film, graphic design, textile design, and interactive design and we cannot wait to visit Ras Al Khor later this month for what promises to be a very interesting take on the material.

We also take a closer look at the Brock Commons student residence, which is on track to be the tallest mass wood hybrid building in the world. The mass wood structure and façade has been recently completed for the world’s tallest wood building at 18 storeys (53 meters, about 174 feet), four months ahead of schedule, showcasing the advantages of building with wood. When completed in the summer of 2017, the 53m tall high-rise building will provide housing for over 400 students and be the tallest mass wood hybrid building in the world. More importantly, the building will demonstrate that mass wood structures offer an economically viable alternative to concrete and steel while providing a way to lessen the carbon footprint of the built environment.

Looking ahead, the magazine will be distributed at Woodtech Forum in Egypt and The Big 5 Dubai in November as well at Dubai Design Week, taking place later this month. As always, I would like to encourage you to log on to the website - www.timberdesignandtechnology.com - for the latest updates and please get in touch if you have any suggestions for subjects we should consider covering.

Image © Dav Stewart

CONTENTS

06 News

29 SUPPLEMENT

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

Special supplement, looking at the different American softwood species and their applications

14 SUSTAINABILITY

48 TALL TIMBER

‘The Smile’ is a huge draw at London Design Festival 2016

Brock Commons student residence on track to be the tallest mass wood hybrid building in the world

20 ANALYSIS

54 TECHNOLOGY

Second edition of Design Ras Al Khor (DRAK) to ‘Celebrate Wood’ during Dubai Design Week 2016

Studio Andrew Todd build Shakespearean-style wooden theater in France

24 DESIGN & DÉCOR

60 WOOD WORKS

Oded Halaf and Tomer Gelfand collaborate on Organic Staircase from American Tulipwood for Amot Atrium Tower

Riva 1920 and Renzo Piano come together for symbolic Earth-shaped table for World Trade Center

COMMENT

SHOWTIME

41 Canada Wood

44 Danzer

62 Preview

68 Interview

Stunning Wood

Trade collaboration key to tropical legality

A preview of the top industry exhibitions coming up this season

First edition of ‘Woodtech Forum’ to be held in Damietta in November

6

NEWS

Image © The Big 5

ORGANIZERS OF THE BIG 5 2016 ANNOUNCE NEW FLOOR PLAN TO MEET INDUSTRY NEEDS

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October 2016

Presenting The Big 5 2016’s new layout, Heijmans explained: “These main sectors are further broken down into subsectors, so it will be really easy to navigate the exhibition halls and find the right exhibitors and products. In addition, a new App, route planners, a search function on the website and staff onsite will further support visitors attending the show.”

Beyond offering both visitors and exhibitors a better experience, the new floor plan is studied to align with the construction industry’s current trends, as the introduction of the Smart Building & Design Technologies sector shows.

Heijmans also promises a stronger focus on the theme of sustainability at The Big 5 this year. Visitors will be able to cast their vote for the show’s GAIA Awards, which since 2008 has honored companies in the construction sector whose products and services demonstrate a reduction of construction’s impact on the environment. For the first time ever, the GAIA Awards’ judging panel will include these votes in their decision while selecting the final winner of 2016.

The Big 5 has grown in parallel with the impressive urban development of the Emirate. The show has been one of the first in the region to welcome a foreign Prime Minister: in 2007, then Italian leader Romano Prodi visited the exhibition with his Minister for International Trade, followed by British Prime Minister David Cameron in 2012. In 2015, the Big 5, held in conjunction with PMV Live and Middle East Concrete, welcomed a record of over 73,000 visitors across 113,526 square meters of exhibition space.

Image © The Big 5

Image © The Big 5

Originated 37 years ago from the amalgamation of five separate productfocused events in Dubai, The Big 5 today is the largest, most influential and renowned construction industry event in the Middle East. For its 2016 edition, organizers dmg events Middle East, Asia & Africa have announced a brand new floor plan of The Big 5 show clustered in five product sectors.

From November 21 to 24, The Big 5 2016 is expected to attract 75,000 participants, hosting over 3,000 exhibitors across the entire Dubai World Trade Center. Event Director Josine Heijmans is confident the new layout will facilitate business opportunities, while effectively responding to the current needs of all construction industry professionals.

“One of the key reasons for our visitors to attend The Big 5 is to look for specific products, innovations and new technologies as well to network with new or existing business partners and industry peers,”said Heijmans.

Although the event’s old layout already accommodated dedicated product sectors, the majority of the international exhibitors were located in country pavilions. This, coupled with the expansion of The Big 5 over the years, made it more challenging for attendees to find the specific products or the companies they were looking for.

The new floor plan is the result of a meticulous analysis of the industry’s current needs. The five product sectors in which exhibitors will be grouped this year are: Building Interiors & Finishes, MEP Services, Building Envelop & Special Construction, Construction Tools & Building Materials, and Smart Building & Design technologies.

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8

NEWS

Image © DOMOTEX asia/CHINAFLOOR

DOMOTEX ASIA/CHINAFLOOR 2017: FROM STRENGTH TO STRENGTH

The 19th edition of DOMOTEX asia/CHINAFLOOR will take place on March 21-23, 2017, at the Shanghai New International Expo Center. As the leading trade fair for various segments of the flooring industry in the Asia-Pacific area, the event is continuing to expand and its international profile in 2017 will be stronger than ever. With seven months to go before the show, the organizers have announced that 13 percent more display space has been booked in comparison to the last edition.

Manufacturers of international brands have booked approximately 32

percent of the total space booked at DOMOTEX asia/CHINAFLOOR 2017.

Major suppliers of resilient floor coverings such as Armstrong, Gerflor, KCC, KDF, LG Hausys, Nox, US FLOORS and Windmoeller have confirmed their participation. They will be joined by big names in the wood flooring industry such as Amorim, Alsapan, Classen, the French Timber Association, Haro, Swiss Krono Group and Välinge, as well as Balta, Boyteks, Jaipur, Nishaburi, Oriental Weavers and Suminoe from the carpet industry. National pavilions have been reserved by Belgium, India, Pakistan and the USA - the American Floorcovering Alliance (AFA) and the National Wood Flooring Association (NWFA).

The total exhibition space will comprise twelve halls. Five halls are dedicated to carpets, rugs and runners, and four to parquet and laminate flooring, as well as to cork, bamboo and other hard floor products and the FloorTech display. The remaining three halls have been allocated to resilient floor coverings for domestic, commercial and industrial applications. At the heart of the extremely popular wood flooring category, a new special display area will accommodate the exhibits of manufacturers of ceramic tiles and WPC outdoor decking.

DOMOTEX asia/CHINAFLOOR 2016 attracted 1,303 exhibitors from 40 countries, as well as 50,398 trade visitors, including 11,963 foreign visitors from 106 countries. In 2017, the event will build on its past successes and attract more trade professionals by consolidating its position as an outstanding global meeting-place for business leads and contacts across the vast and expanding Asian flooring market.

ACCOYA® CHOSEN FOR FLAGSHIP ECO-BUILD AT LONDON DESIGN FESTIVAL 2016

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October 2016

vision and as a company we are committed to manufacturing products in a socially responsible and eco-friendly way. It was with great delight that Arup chose to use a fully bio-cycle compliant material like Accoya to craft the Circular Economy Building.”

“With C2C Gold and C2C Platinum for Material Health, 100 percent non-toxic Accoya can match and outperform high performance technocycle materials in demanding applications such as cladding, decking, window frames and structural applications. Once the Circular Economy Building is removed from its location on Store Street, it will be upcycled into outdoor quality MDF boards known as Medite® Tricoya® Extreme, fully demonstrating Accoya’s C2C credentials,” added van der Lugt.

Image © Accsys Technologies

Accoya®, the world-leading modified wood, has been used as the principal material in the construction of a ‘Circular Building’ prototype for this year’s London Design Festival. Engineers from Arup teamed up with Frener & Reifer Construction and BAM Construction to create the prototype, which demonstrates the principles of the Circular Economy. All components within the building are designed to be recovered and re-used at the building’s end-of-life.

Best known for helping to shape ambitious buildings, Arup chose to construct the ‘Circular Economy Building’ using 550m2 of Accoya for cladding with support from charity The Built Environment Trust. Accoya was chosen due to its Cradle to Cradle Gold rating and its Platinum C2C Material Health certificate. Carbon negative over its full life cycle, Accoya is also fully reusable and recyclable, supporting the Circular Economy principles the building was designed to support.

Located within The Building Centre on Store Street in London, the Circular Economy Building will be on show during the London Design Festival 2016 between 17 September and 8 October and will be accompanied by an exhibition exploring the impact of the Circular Economy in a range of industries, from fashion to product design. The latest installation from Arup comes at a time when the construction industry produces three times more waste than UK households - half of which is not recycled.

Accoya represents a major development in wood technology and enables the consistent supply of durable, dimensionally stable and non-toxic solid wood. The wood is an ideal material for the manufacture of high performance exterior timber products. Accoya is based on the acetylation of plantation grown softwood and has been considered the gold standard in wood science for over 80 years. Critically, this high performance product is competitively priced to traditional hardwood options and widely available.

Pablo van der Lugt, Head of Sustainability at Accsys Technologies said: “When it comes to the circular economy, a great deal of focus is given to high-tech industries and the techno-cycle materials which they produce.

This is perhaps surprising given the non-renewable nature and carbon intensive processes involved in creating these products, especially when high performance, fast growing bio-cycle alternatives such as Accoya now exist. As a sustainable bio-cycle alternative, Accoya fully realizes the C2C

NEWS

9

Image © CIFM/interzum guangzhou

Slated to take place from March 28 - 31, 2017 at the China Import and Export Fair (Pazhou Complex), CIFM / interzum guangzhou, which has been partnering the prestigious China International Furniture Fair (CIFF) for years, is recognized as the largest and most comprehensive woodworking machinery, furniture production and interior decor industry event in Asia.

With a scale spanning 140,000 square meters, the four-day event is expected to attract more than 1,200 exhibitors.

According to the organizers, more than 91 percent of the booth spaces at the international halls have been booked up and they expect a complete sell-out four months ahead of show opening - a strong indicator of a proven trade fair. As a benchmark for events of the same kind in Asia, CIFM / interzum guangzhou has been serving as a one-stop sourcing platform meeting the demands of each market segment. It is also a major gateway for numerous international brands to open up the Asia and China markets.

Boasting a larger international area for showcase this edition, the number of national pavilions will increase to 10, from the following countries and organizations: Germany, Italy, Turkey, France, Korea, Chile, the United States / Canada, the American Hardwood Export Council (AHEC), Canada Wood and Sweden. In addition to well-known industry giants, numerous innovative small and medium overseas enterprises will also participate in CIFM / interzum guangzhou 2017 - the debut appearance in China for a number of them. With an impressive exhibitor line-up, the industry will have the opportunity to experience the industry’s most

Image © CIFM/interzum guangzhou

RENEWED DEMAND FOR IMPORTED FURNITURE HARDWARE FITTINGS EXPECTED AT CIFM / INTERZUM GUANGZHOU 2017

cutting-edge products and technology.

Custom furniture has been experiencing continuous growth and steady development, even amidst a slowing domestic home decoration market in recent years. Brands focusing on finished furniture have also dipped their feet into the custom furniture market and this is set to become a new trend of the industry. Among them, hardware fittings plays an especially important role in custom furniture. Back in the days of standardized finished furniture products, the premium furniture market and more profitable branded furniture market were mostly dominated by imported hardware companies.

After those furniture manufacturers started shifting their focus to the custom furniture market, all major bespoke furniture makers have turned to furniture hardware accessories imported from Germany and Italy as one of the biggest selling points of their products.

In the era of custom furniture, consumers’ concerns have transitioned from furniture brand, quality and design to focus on the material. The apparent advantages of imported hardware accessories in terms of brand, functionality, style and quality enable renowned overseas hardware accessory brands to rapidly grab a slice of the custom furniture pie. From partial to full house customization, the trend will continue to cause the interest and demand for imported hardware accessories to surge. At CIFM / interzum guangzhou 2017, the industry’s leading furniture hardware brands will gather in Hall 14.1 to showcase the season’s latest innovations and technology.

AED 32.57 BILLION GCC MARKET FOR INTERIOR CONTRACTING AND FIT OUTS FUELS FURNITURE INDUSTRY With the huge demand of exhibitors during the previous editions of the Dubai WoodShow for a dedicated furniture event, a special show within DWS comes to the fore. The DIFAC Show (Dubai International Furniture Accessories & Components & Semi-Finished Products) is all set to wow the interior contracting and fit outs market from March 7 - 9, 2017 at the Dubai World Trade Center.

Dawood Al Shezawi, CEO, Strategic Marketing & Exhibitions, organizers of the DIFAC Show comments: “Our whole team is on their toes and are optimistic that having a dedicated event for furniture and fit-outs will work well and be a future success. Global suppliers and customers can expect to see the latest innovative technologies, top quality products and brands for the furniture industry under one roof. We aim to turn DIFAC as a key feature of the market-leading reputation of Dubai WoodShow as being the biggest wood exhibition in the Middle East.”

According to a recent report of the GCC Building, Construction and Interiors Market by Retailspace, the GCC market for interior contracting and fit outs in 2015 was estimated at USD 7.06 billion. Growth in this market is set to climb by 25.62 percent to UD 8.87 billion by 2016, from the projects likely to be completed over 2016. Tourism and big events like the World Cup 2022, World Athletics Championships 2019, and Dubai Expo 2020, are also underway across the GCC region. This is expected to create an impact in major construction, renovation and refurbishment projects, which bodes well for exhibitors at DIFAC 2017.

With 300 exhibitors from 100 countries expected to participate, the DIFAC Show aims to bring decision-makers and high level management across the Middle East region and worldwide looking for the latest products in surfaces and fittings, elements and systems, semi-finished products and materials, furniture fabrics and upholstery materials.

October 2016

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10 NEWS

The curtain rose for the first time on August 31, 2016 when one of the world’s most prestigious tenors, Plácido Domingo, performed at the inaugural concert at the Dubai Opera House, an event which sold out the magnificent auditorium in under three hours when tickets were released to the public in April earlier this year. Designed by Atkins Group, the design of the Dubai Opera House is seriously rooted in Dubai’s maritime history, with Arabian inspiration behind the architecture of the building.

The 2,000-seat, multi-format performing arts locale will be the focal point of The Opera District, a new cultural hub being developed in Downtown Dubai, which will feature hotels, retail plaza, design studios, art galleries and other cultural places designed to create a “vibrant cultural scene”. According to the design team, Dubai Opera House as a venue will have the ability to convert into three modes: from a theater to a concert hall and into a flat floor form, becoming a banquet or event hall.

The Dubai Opera offers the ultimate flexibility of a proscenium arch theater, an acoustic concert hall and a 2,000 m2 flat floor event space. The spectacular view from the stage looking out to the stalls gives a glimpse of the architecture and the stunning backdrop. The image also illustrates the uninterrupted view of the stage action that guests will have with all seats

in the house offering unrivalled views and within a heartbeat of the stage.

The design of the theater means that all seats offer uninterrupted views of the stage and give an incredible sense of intimacy throughout.

Speaking ahead of the inaugural concert, Jasper Hope, Chief Executive of Dubai Opera said: “Tomorrow evening is both the culmination of many years of planning, construction and collaboration of thousands of people, as well as the start of a new journey for arts and culture in Dubai. We are thrilled to be delivering an iconic landmark to the city for residents and visitors and can promise world-class entertainment from around the world to excite and inspire.”

With the opening of the Dubai Opera House, the aim is to make a lasting contribution to the performing arts and events’ sector with this project, a 2,000-seat multi-format venue for opera, theatre, concerts, art exhibitions, orchestra, film, sports events and seasonal programmes. As a truly unique venue and the city’s first purpose built multi-format performing arts theater with an iconic dhow shaped design rooted in Emirati heritage, the project aims to become the definitive destination for quality entertainment productions and performances in the MENA region.

Image © Dubai Opera

Image © Dubai Opera

CURTAIN RISES ON HIGHLY ANTICIPATED ‘DUBAI OPERA HOUSE’ PROJECT

HUTONG CHILDREN’S LIBRARY & ART CENTER WINS AGA KHAN AWARD FOR ARCHITECTURE 2016

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October 2016

been strengthened and the Hutong life of local residents enriched.

The Aga Khan Award for Architecture is given every three years to projects that set new standards of excellence in architecture, planning practices, historic preservation and landscape architecture. Through its efforts, the Award seeks to identify and encourage building concepts that successfully address the needs and aspirations of societies across the world, in which Muslims have a significant presence.

Image © ZAO/standardarchitecture

The Hutong Children’s Library & Arts Center, a small-scale project that enriches bonds amongst communities and revives Hutong life, has been selected as one of six winners of the prestigious Aga Khan Award for Architecture 2016. The children’s library has been selected for its embodiment of contemporary life in the traditional courtyard residences of Beijing’s Hutongs.

Cha’er Hutong is a quiet spot one kilometer from Tiananmen Square in the city center. Number 8 in this neighbourhood, located near a major mosque, is a typical da-za-yuan (big-messy-courtyard) once occupied by over a dozen families. The courtyard is about 300-400 years old and once housed a temple that was then turned into residences in the 1950s.

Over the past fifty or sixty years, each family built a small add-on kitchen in the courtyard. Almost all of them have been wiped out with the renovation practices of the past years. In redesigning, renovating and reusing the informal add-on structures instead of eliminating them, it was intended to recognize them as an important historical layer and as a critical embodiment of Beijing’s contemporary civil life in Hutongs that has so often been neglected.

In concert with the families, a 9 m2 children’s library built of plywood was inserted underneath the pitched roof of an existing building. Under a big Chinese scholar tree, one of the former kitchens was redesigned into a 6 m2 miniature art space made from traditional bluish-grey brick. Through this small-scale intervention in the courtyard, bonds between communities have

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12 NEWS

Studio Bruno Guelaff, a boutique design studio which spans an amalgamation of design mediums where creative expression is cultivated, has won the ‘Outstanding use of American Hardwood in the Middle East’ award for Unique Properties’ offices at the Commercial Interior Design (CID) Awards 2016. The award, which was sponsored by the American Hardwood Export Council (AHEC), the leading international trade association for the American hardwood industry for the sixth year running, was presented

by Roderick Wiles, AHEC Regional Director, to Bruno Guelaff, Executive Director, Studio Bruno Guelaff.

Studio Bruno Guelaff was praised by the judges for their ‘committed and inventive use of American white oak that defines the space and sets the material rhythm’. The winner was awarded for ‘a dynamic and playful use of wood demonstrated in all aspects of the project from bottom to top’. The judges were impressed with the fact that the ‘concept is entirely wrapped around the material with wood being used in furniture, lighting and paneling’. Highly commended in the category were MMAC for their work on ‘JBR Guest room’. Other nominations for the award included the Dubai Chamber of Commerce & Industry Renovation (AMBB); House of Handsome (Korus Interiors); Pallavi Dean Interiors Design Studio (Pallavi Dean Interiors); and Sisters Beauty Lounge, The Dubai Mall (Brand Creative).

According to Guelaff, the owners of Unique Properties wanted not only a space that would satisfy their logistical needs but more importantly a space that would make a bold design statement all the while creating a modern urban environment for their employees. A wall of American white oak spanning 7 meters with a 2.5 meter high company logo cutout greets visitors at the entrance of the office. Angled wood cladding in white oak www.timberdesignandtechnology.com

October 2016

Image © Studio Bruno Guelaff

Image © Studio Bruno Guelaff

Image © Studio Bruno Guelaff

STUDIO BRUNO GUELAFF WINS ‘OUTSTANDING USE OF AMERICAN HARDWOOD IN THE MIDDLE EAST’ AWARD

in front of all glass partitions help render a ‘treehouse’ effect whilst also providing privacy in a unique way. In addition, all the work surfaces are made of American ash finished in a matte sealer protecting its light colors.

The ash brings a great natural feel to the work space and the light color goes hand in hand with the sap from the oak.

“Our design exercise always starts with a study of a company brief to understand the requirements for the project. As such, materials selection was the first and main focus on this project as we wanted to approach the wall cladding in a different manner. American white oak was our first choice for the base as we appreciated its creamy color as well as its lines of sap, which we incorporated into every wall panel,” said Bruno Guelaff. “‘This project was truly a work of passion. Every portion of the project was custom designed besides computers and task chairs. The wood in this project is the real star and drives the organic energy in the office; therefore it is only heartwarming to win the AHEC award for the project as so much of our hard work focused on the very thing the award celebrates.”

“The CID Awards have proved, time and again, to be an extremely popular, enjoyable and high profile event, attracting all the leading lights of the UAE’s design industry. For a once-a-year opportunity to get in front of the region’s specifying community, we couldn’t ask for anything better.

Our category received a record number of nominations this year. We’ve seen for a long time that the Middle East has a real commitment to sustainable design in principle and through our partnership with the CID Awards, we aim to throw the spotlight on projects where material selection and design come together to make a true difference to the environmental footprint,” concluded Roderick Wiles.

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14 SUSTAINABILITY

‘The Smile’ is a huge draw at London Design Festival 2016

Image © Dav Stewart

Natural forest growth replaces the tulipwood used to manufacture ‘The Smile’ in under five minutes

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October 2016

SUSTAINABILITY from just 12 huge tulipwood panels, each up to 14m long and 4.5m wide.

Fabricating these panels in a real CLT production plant has been an important step forward, showcasing how the material can be used for commercial projects.

Life Cycle Assessment (LCA) quantifies the environmental impacts of ‘The Smile’ covering all processes from extraction of wood and other raw materials, transport of these materials to processing location, all manufacturing steps, and delivery of all components to the site at Chelsea (including the main structure and additional elements such as displays and handrails) but excluding installation.

The LCA of ‘The Smile’ draws on a two-year study, commissioned

by AHEC and undertaken by PE International (now Thinkstep), to assess environmental impacts linked to delivery of U.S. hardwood into world markets. Information from the U.S. hardwood LCA is combined with the latest U.S. government forest inventory data and information gathered during manufacturing in Europe.

‘The Smile’ is made predominantly in tulipwood, one of the most abundant American hardwoods with forest volume of over 1,000 million m3, which

Image © Dav Stewart

Environmental profile

Fabricating these panels in a real CLT production plant has been an important step forward, showcasing how the material can be used for commercial projects

Image © Dav Stewart

The American Hardwood Export Council (AHEC) collaborated with Alison Brooks Architects, Arup and the London Design Festival to present a cross-laminated tulipwood structure, ‘The Smile’ at the Chelsea College of Art Rootstein Hopkins Parade Ground from September 17 until October 12, 2016.

‘The Smile’ is one of four Landmark projects, which can be inhabited and explored by the public, at the London Design Festival this year.

The spectacular, curved, tubular timber structure measures 3.5m high, 4.5m wide and 34m long and is effectively a beam curving up at both ends. Showcasing the structural and spatial potential of cross-laminated American tulipwood, Alison Brooks’ concept is the first ever ‘mega-tube’ made with construction-sized panels of hardwood cross-laminated timber (CLT).

CLT is usually made of a softwood called spruce, better known as the Christmas tree. Together with Arup, AHEC started a process of experimenting with CLT made from fast-grown North American tulipwood. Testing has shown that tulipwood is considerably stronger than spruce and it also has a superior appearance. ‘The Smile’ is the first project in the world to use large hardwood CLT panels; in fact, the entire structure is made

15

October 2016

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represents 7 percent of the total U.S. hardwood resource. Every year, the volume of tulipwood in U.S. forests grows on average by 32 million m3, of which only 13 million m3 is harvested. This means the volume standing in U.S. hardwood forests expands by 19 million m3 every year. As such, it takes less than five minutes for forest growth to replace the tulipwood used to manufacture ‘The Smile’.

‘The Smile’ is also better than carbon neutral at point of delivery to the site at the Chelsea College of Arts. Emissions of 91.9 MT CO2 eq. are offset by 25.8 MT CO2 eq. due to burning of wood offcuts (which substituted for fossil fuel) at the factories in Germany, Italy and the UK where the various components of ‘The Smile’ were manufactured, and by 71.6 MT CO2 eq. of carbon stored in the wood in the finished design. In addition to Global Warming Potential (or ‘carbon footprint’), the LCA provides data against five other environmental impact categories of particular relevance to wood products and

fabrication it can now be machined to incredibly tight tolerances. This makes it ideal for prefabrication and rapid assembly. Assembling a timber building is like assembling a giant piece of flat pack furniture.

The development of CLT has been a key part of the timber revolution as it gives us a way to create large timber panels which can be used for the walls and floors of entire buildings, without the need for any wet concrete trades.”

According to Lawrence, ‘The Smile’ is the most complex CLT structure that has ever been built.

Not only does it have a double cantilever, but the entrance door is placed right at the center where the stresses are highest. In essence, it’s two 15m cantilevers; if you turned the structure vertically and added the weight of 60 visitors at one end, it’s equivalent to the core stabilizing a five-storey building. Nobody has ever built a core that slender in timber. However, compared to other woods, tulipwood is surprisingly strong for its weight. It’s significantly stronger than spruce,

Image © Guy Bell

16 SUSTAINABILITY

for which there is broad scientific agreement on methodology.

Using Tulipwood CLT was 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.

This is a double win for tulipwood CLT. Firstly, 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.

Tulipwood CLT Commenting on the growing popularity of timber buildings, Andrew Lawrence, Global Timber Specialist, Arup, says: “Timber has many advantages, but I think the biggest is speed. Timber is lightweight and with computer

but still low enough in density to be easy to kiln dry, easy to machine, easy to transport and easy to screw into, making it suitable for the project.

The structure is designed to resist about 10 tonnes of wind loading that tends to want to distort the rectangular cross section of the tube into a lozenge shape.

The obvious solution would have been to install internal crossbracing along the length of ‘The Smile’ but this would have ruined Alison’s concept for a clean interior, so instead Arup installed hidden timber beams above the roof enabling them to rigidly connect the walls to the roof to prevent the lozenging action. Arup also screwed ‘The Smile’ down to a large wooden box, hidden under the ground and filled with 20 tonnes of steel weights. This is what stops it from tipping under the weight of people at one end, or overturning under a strong wind. The need for 20 tonnes of weights and for the 6,000 long

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October 2016

Image © Guy Bell

Not only does it have a double cantilever, but the entrance door is placed right at the center where the stresses are highest

Image © Jon Cardwell

Design inspiration Commenting on the selection of tulipwood, Alison Brooks, said: “It’s a very interesting wood - it has wonderful grain and color variation. Tulipwood also has a kind of sheen, so the grain is tight and smooth. Tulipwood can be selected to be clear and knot-free, offering a really clean-looking alternative to softwoods. I love the way the strips of wood in cross-laminated timber

have a direction that expresses how the structure is working.”

“I wanted to create something that uses tulipwood CLT in its largest format possible, which

these plates into a four-sided CLT hollow tube. This is a beam profile that works very well in tension and compression to achieve long spans. By making this CLT ‘tube’

Tulipwood can be selected to be clear and knot-free, offering a really clean-looking alternative to softwoods is 4.5m x 20m plates, and to express the additional strength CLT can offer when it’s made of hardwood. The best way to express this strength was to combine

into the shape of an arc at a huge scale, the plates form a dynamic, sensory space to inhabit. The result is a building that cantilevers from a single point in the center. One

of the most amazing qualities of ‘The Smile’ is the thin-ness of the majority of its wall and floor panels - only 100mm thick. It’s an autonomous and self-supporting piece of architecture that touches the ground lightly,” added Brooks.

‘The Smile’s’ form implies that it will rock. So the form itself is an invitation to test whether the pavilion moves, and how it feels to walk in on a curved floor. A single door and ramp from the square invites visitors to enter - something like our archetypal image of Noah’s Ark. Inside the door, light spilling from the ends of the arc will invite

Image © Jon Cardwell

screws that hold the CLT panels together, really gives a feel for the huge forces which ‘The Smile’ has to resist.

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Image © Jon Cardwell

SUSTAINABILITY

October 2016

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Image © Dav Stewart

18 SUSTAINABILITY

you to walk up the slope of the curve to balconies at either end, rather like looking out from the rail of a ship. In addition, the walls are perforated with oval holes, measuring between 12cm and 20cm.

These allow daylight to filter in and track across the interior space throughout the day. The holes are placed in the parts of the CLT walls under the least amount of strain, a kind of structurally expressive ornament. After dark, ‘The Smile’ will emit beams of light from each end, elongating the structure.

Future application For AHEC, The Smile is not an installation at all, but something far more important - it’s effectively the latest stage in a 10-year project that challenges the way hardwood can be used structurally. Three years ago, AHEC worked with architects dRMM (de Rijke Marsh Morgan) and engineers at Arup to design The Endless Stair, the very first tulipwood CLT prototype, for the London Design Festival. As a result, debate about hardwood CLT spread and the learnings enabled

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October 2016

manufacturing of hardwood CLT on an industrial scale. This project not only builds on AHEC’s previous collaborations but represents the most significant advance because it has created the first-ever use of industrial-sized panels of hardwood CLT. “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. 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 to play in the timber construction revolution. 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,” concludes Roderick Wiles, AHEC Regional Director.

20 ANALYSIS

Michael Green Architecture builds North America’s tallest wood building in British Columbia

Second edition of Design Ras Al Khor (DRAK) to ‘Celebrate Wood’ during Dubai Design Week 2016 DRAK16 to present four design projects spanning interactive design, textile design, film and graphic design

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October 2016

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, DRAK16 will present four design projects spanning interactive design, textile design, film and graphic design.

Taking place during Dubai Design Week 2016, which runs between October 24th - 29th, DRAK will be hosted at a new venue this year - at the premises of host venue partners Lever Building Materials &

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Image © DRAK

Image © Damian Arlettz

Image © Tom Ferguson

ANALYSIS

MIRAGE - located within the Ras Al Khor industrial area. In addition to drawing attention to the Ras Al Khor Industrial Area and the creative district’s potential, DRAK strives to become a progressive design movement that encourages research, innovation, and material exploration.

With the exhibition and set-up design provided by the Londonbased Morales Finch Architecture Studio, the week-long exhibition explores the design topic of ‘Celebrating Wood’ and presents four main design projects by upcoming international and locallybased designers in coordination with DRAK’s official partners - Eyes on Talents, a Paris-based, invitation only, digital platform that connects innovative brands with creative talents; the American Hardwood Export Council (AHEC); and 1971

Design Space. This year’s designers include Tulip Hazbar, Hind Bin Demaithan (commissioned by 1971 Design Space), Hala Kaiksow and Lina Younes.

In addition to the four main projects, DRAK16 will also be presenting for the first time ‘International Projects Selection’, which will be a collective showcase of a few international projects selected by its official partners. The award winning project ‘Aleni’ seat

by David Trubridge will be presented by the American Hardwood Export Council (AHEC) and Surfaces Sonores by Pierre Charrie presented

by Eyes on Talents are among the line up.

Khalid Shafar, Co-founder of DRAK and Product Designer, said: “We are very excited to be returning to Ras Al Khor with our second edition of DRAK. We are

dedicated to transforming this part of Dubai into a creative district that will inspire and nurture future generations of creative talent.

We appreciate that this is a slow process, but together with our official partners, we are adamant that we are already on the right track. We are working with four very interesting designers this year and are planning a series of interesting talks and events to support the DRAK initiative.”

New to the 2016 edition will be a conversation and a panel discussion by a group of international speakers and designers arriving in Dubai for the occasion and speaking about industry design topics and trends.

Taking place on October 27th at Intersect by Lexus at the Dubai International Financial Center and in association with Eyes on Talents, the event will welcome global and October 2016

upcoming designer Pierre Charrie who will talk about his Surfaces Sonores project, and discuss how initiatives such as DRAK offer the right kind of platform for one to showcase their work in the region for the first time. In addition, the panel discussion, in association with AHEC, will present a fresh new approach for timber consumption under DRAK’s topic for this year - ‘Celebrating Wood’. Both the conversation and panel discussion will be moderated by Floriane de Saint Pierre, President of Eyes on Talents.

In line with the theme of DRAK, each designer will focus on a specific area and showcase their designs during the exhibition. For Hind’s Interactive Design project, she aims to use the design topic of DRAK16 in a contextual sense by referring to the traditional Arab wood craft www.timberdesignandtechnology.com

Image © DRAK

22 ANALYSIS

- the mashrabya with rather an exploration of its function in a conceptual form to put forth an idea that she has long explored in her previous work and continue doing so which is “existentialism”.

According to Hala, observing a piece of wood is like listening to stories unfold. Every line and ripple tells of a life it has led and a history that has passed. By borrowing from the organic movement of wood, Hala wishes to create a path with the pattern by which she hangs her bespoke textiles. A path that aims to take the observer on a journey, through a story within the warp and the weft, one of handcraft, tradition and times past. More importantly, through a time where the hand was utilized to create textiles that were imperfect but beautiful in their imperfections much like the knots and grains in wood.

Lina believes that the art of storytelling, Hakawati, is a ritual, a culture, and a timeless art form.

Trees tell each other stories, they warn each other about predators

and share nutrients with the smaller trees. Stemming from their core, trees come to resemble people by becoming characters themselves.

Yet, there is a magical combination in the making of a tree. As we are made of 99 percent living cells, trees are made of 99 percent dead cells. In her film installation at DRAK16, Lina

investigation. According to Tulip, there is always beauty in discovering new layers to what usually is an element that is taken for granted in such experiences. For DRAK, she will create some pressing tools and use them to create special posters and will explore what she believes to be sensation experiences.

Wood had been always perceived typically as a building material for architecture/construction and for making products such as furniture will investigate this relationship between the livelihood of trees, and their ‘dead’ nature.

Tulip felt that the sensation of wood textures in the context of pressing the textures of the flooring, columns or any wood surface could become a profound meditative process; one can change the pace and pressure to experience wood textures differently. This instantly multiplied her appreciation for wood and instigated further

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October 2016

DRAK16 is also collaborating with Ghaf Kitchen, their official F&B partner for this year, to offer 6 unique pop-up culinary experiences for a limited number of guests. Each event will offer its own 5-course menu prepared especially by the Chef. Dinners for the first 4 days of the week will be open for a maximum of 24 guests while the weekends (Friday and Saturday) will welcome a maximum of 44 guests. One can enjoy the exquisite

preparations by the Chef for AED 400 per person.

“We believe wood had been always perceived typically as a building material for architecture/ construction and for making products such as furniture; history had several examples confirming this perception. Yet we believe at DRAK we debate various topics through the disciplines we encourage: Design Research, Innovation, & Material Exploration where we ask designers to investigate those topics and create projects related to their fields of practice. Therefore, the selection of the topic and fields of design this year was done in purpose to see how wood as a typical material can be explored through uncommon fields like Film, Graphic Design, Textile Design, & Interactive design.

We are keen to see the results that our designers this year will come up with and to share those extraordinary projects with our audience during Dubai Design Week 2016,” concludes Shafar.

24 DESIGN & DÉCOR

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October 2016

DESIGN & DÉCOR 25

Oded Halaf and Tomer Gelfand collaborate on Organic Staircase from American Tulipwood for Amot Atrium Tower Image © Itay Sikolski - Numsix

Sculptural staircase bends and swoops to create fluidity within the spacious office tower

October 2016

www.timberdesignandtechnology.com

The uniquely geometrical Amot Atrium Tower, designed by prominent architect Moshe Zur, located at the entrance of the Ramat Gan central business district presents a richly detailed and dynamic façade to visitors.

At 158 meters and with 38 floors of retail, the glass skyscraper has been awarded LEED platinum certification. Each floor of the 43-storey tower is comprised of two wings embracing a common elevator core that is visible from outside.

The north-facing atrium volume extends throughout the entire height of the tower, allowing a controlled amount of natural light to filter into the floor lobbies. This

offers building users a viewing experience both while waiting for the elevator and while riding it. Additionally, the visibility of elevator movement from outside creates a dynamic tower façade from the outdoor perspective. The

Image © Itay Sikolski - Numsix

Image © Itay Sikolski - Numsix

Image © Itay Sikolski - Numsix

26 DESIGN & DÉCOR

geometrical formation.

Located in the entrance hall of the tower is an extraordinary sculptural staircase made from American tulipwood. In fact, the building’s name is drawn from its impressive atrium entrance hall,

Located in the entrance hall of the tower is an extraordinary sculptural staircase made from American tulipwood geometrical sequence exposing the atrium on the lower part of the tower continues until the upper floors. The upper floors enclose the atrium, which becomes an internal volume within, creating a unique

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October 2016

designed by architect Oded Halaf, who came up with a radical idea: to construct a tornado-shaped staircase, a sculptural piece that would provide both movement and interest into the orthogonal, glass-

encased, four-storey high lobby.

Halaf also wanted the staircase to be free of all visible support - a complex and seemingly impossible assignment, which had to be contracted out to an expert, who held the right mix of knowledge, experience and immense creativity.

Given the complexity of the project, Halaf commissioned Tomer Gelfand, a master craftsman who specializes in providing architectural solutions to engineering problems. Since inheriting his father’s studio, which was founded in 1976, Gelfand has had extensive experience with intricate design implementations in wood, stainless steel, and glass.

Over the course of an 18-month

period, from the time that Halaf presented his rough sketch of the staircase to Gelfand, he managed to execute, supervise and finalize all stages of construction, turning Halaf’s dream into a reality.

According to Gelfand, the stair structure is composed of two interlocking parts: a skeletal metal staircase and a sculptural wooden envelope. Together, they rise as an expressive tornado from the reception desk - conceived at the ground and rising up to the firstfloor mezzanine, fourteen meters above. The reception desk was envisioned as the starting point for the spiraling wooden sculpture, and is made from the same tulipwood as the stair railings. To make this

happen, Gelfand devised a system of continuous wooden profiles, which look fluid and flexible, but which are extremely stiff and stable.

“The entire structure includes the spiraling stairs and a tornado-

Image © Itay Sikolski - Numsix

Image © Itay Sikolski - Numsix

DESIGN & DÉCOR 27

to the impressive hall below.

Above, it is topped with a similar round element, crowning the project and perfecting the intricate composition,” said Gelfand.

Gelfand began by implementing an MRI-type scan to the skeleton,

Functionally and aesthetically beautiful, the staircase is in fact a viewing balcony to the office lobby below it like element, which seems to emerge from the reflecting walls of the entrance lobby. The stairs and the tornado elements merge at the top of the first floor, and the round top acts as a viewing balcony

cutting vertically through the structure and generating sections in the width of the given wooden profile. The resulting number of cross-sections, each exported with a different radius requirement, October 2016

produced a seemingly-endless amount of arches. In order to deal with this, Gelfand narrowed it down to ‘master-arches’ - devised by calculating the wooden profile’s average bending tolerance, which dictated the radius and angle of the ‘master-arches’.

Next was creating the radial profiles from the material itself: a total of 9,000 linear meters of tulipwood was cut by CNC machine to create the stock for the master-arches, each coded and marked to fit precisely in the grand scheme. As no single piece was interchangeable, every measurement had to be taken in advance to ensure the success of the final installation. For www.timberdesignandtechnology.com

example, each of the connecting points between the modules was completed with a reverse radius; together, they form a sinuous wave, thus creating a seamless transition.

American tulipwood was selected for the project by both Halaf and Gelfand, as it fulfilled the requirements in terms of color.

Additional factors were the cost, performance and workability of the material. Sourced from local suppliers, a total of 120 cubic meters of tulipwood was used in this project. According to Gelfand, freshly cut tulipwood showed a variety of natural colors, which would have hindered the seamless quality of the structure. In order to unify the design, a palette of 12 average shades was selected from the tulipwood pieces and then applied to the modules.

Lastly, the coded profiles were delivered to the site in order for www.timberdesignandtechnology.com

the final puzzle to be put together: a very precise, four-month long, delicate process of assembly, managed and supervised by Gelfand himself. The final result encapsulates the paradox of contemporary creation: what appears as an artistic, handdrawn gesture, is, in fact, a result of algorithmic data processing and the product of countless interchangeable pieces. Seemingly arbitrary yet utterly computerized; nature’s matter harnessed by today’s true artists of technology.

“Functionally and aesthetically beautiful, the staircase is in fact a viewing balcony to the office lobby below it. Though the structure may seem flexible, it is in fact completely unmovable; a combination of algorithmic data processing and masterful craftsmanship, creating an organically-inspired, artistic result,” October 2016

Image © Itay Sikolski - Numsix

Image © Itay Sikolski - Numsix

Image © Itay Sikolski - Numsix

28 DESIGN & DÉCOR

concludes Gelfand. “Navigating it isn’t meant to be as simple as taking a functional set of stairs to get from one level of a building to the next; it’s an experience in itself, taking in the whole structure from a new angle with every step.”

The Amot Atrium Tower that houses the staircase has achieved LEED Platinum certification, which means it reaches the highest possible levels of sustainability and resource efficiency. It’s fitting then that its lobby feature an organic installation. Working with tulipwood, which is relatively light in weight and has a very high strength to weight ratio, Halaf and Gelfand have created a striking structure, which is not just a work of art in its unusual shape but also an example of how high-tech design and traditional woodworking can come together for modern usage.

Project Details Project Name

Staircase at Amot Atrium Tower

Completion date 2016

Architect Oded Halaf

Wood Species

American tulipwood

Construction Engineer Aeronautic Engineer Prof.

Doron Shalev

Timber works Tomer Gelfand

Photography

Itay Sikolski - Numsix

AMERICAN

SOFTWOODS www.americansoftwoods.com

Special Supplement

Kebony’s contemporary beach houses come to Camber Sands Introduction to a variety of American softwood species

Image © Kebony

New possibilities for Southern Yellow Pine

Southern Yellow Pine America’s favourite softwood

SYP has a distinctive colour and grain, its sapwood ranging from white to yellowish and heartwood from yellow to reddish-brown. It combines good looks, strength, and extreme ease of preservative treatment with the highest nail-holding ability.

Request your copy of our Guide to American Softwood Species by e-mailing your address to: info@americansoftwoods.com Left-hand image shows high grade vertical grain SYP flooring.

Main uses Appearance and impact resistance make it suitable for a wide range of decorative uses, such as windows, doors, floors and mouldings. Ease of preservative treatment makes it good for decking and outdoor use.

Physical and mechanical properties Weight ranges from 537 to 626 kg per cubic metre. High density gives it natural strength, weight, and impact and wearing resistance.

It has a higher specific gravity than Scots pine and, although easy to work with, stands up well to rough treatment.

People you can do business with www.AmericanSoftwoods.com

AMERICAN SOFTWOODS

31

American Softwoods American softwoods are grown in the western, southeastern and northeastern states of the United States. Renowned for their strength, flexibility, versatility and beauty, they have been exported for almost 200 years. Harvested from sustainably managed forests in the U.S.A., the success of forest management and conservation in the U.S.A. means that the area of forested land is now greater than it was 75 years ago. Today, the forests occupy an area equal in size to Germany and France combined and more than 4.5 million trees are planted or seeded naturally every day.

America is recognized worldwide as a sustainable source of top quality timber. This popularity is based on: • Standardization of sizes and stress ratings • Quality control through the enforcement of a single unified grading system • Strength and durability • Suitability for preservative and fire-retardant treatments • Construction standardization and systemization.

Image © AMSO

The simple cell structure of softwood’s long, uniformly packed fibres gives them a high strength-to-weight ratio, making them flexible and capable of bearing heavy loads. American softwoods have the strength to sustain longer spans for trusses and joists, as well as the clear, fine-grained timber that is in demand for joinery applications, such as panelling, door frames, windows, flooring and furniture.

Application The diverse and wide-ranging applications of American softwoods fall into three main categories: Joinery, Structural and Outdoors.

Image © AMSO

• Retail developments • Schools • Sports venues • Swimming pools • Theaters

Joinery The quality, grains and textures of American softwoods have long proved popular for many internal uses. Finished naturally, stained or painted, they will enhance the interior of both traditional and modern homes. American softwoods are also growing in demand for furniture manufacture but are ideal for: • Bed frames • Cabinetry • Fenestration • Flooring • Moulding • Panelling • Staircases

Outdoors When pressure preservative treated, timber can provide decades of reliable service exposed to the harshest of climates. Southern Yellow Pine is the preferred species when pressure treatment with wood preservatives is required. The unique cellular structure of Southern Yellow Pine permits deep and uniform penetration of preservatives, rendering the wood useless as a food source for fungi, termites and micro-organisms. Common outdoor applications for preservative treated timber include: • Boardwalks • Bridges • Cladding • Decks • Marinas and piers • Playground equipment

Image © Manchester Deck Co.

Structural Structural timber is graded for its load-bearing and load-carrying capacity in framing systems and in heavy construction, light commercial and residential applications. The dominant American structural framing species are Douglas fir and Southern Yellow Pine. Typical structural construction applications include: • Churches October 2016

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32 AMERICAN SOFTWOODS

New possibilities for Southern Yellow Pine Southern Yellow Pine from the United States have long held a reputation for exceptional strength and durability. When pressure treated with preservatives, Southern Yellow Pine adds versatility and outstanding performance in a wide variety of outdoor applications. Beyond the standard backyard deck, waterfront boardwalk or outdoor furniture for parks and recreational facilities, treated Southern Yellow Pine is finding innovative uses in many other kinds of structures. Engineers and designers are discovering the merits of using abundant, sustainable Southern Yellow Pine materials from America in demanding projects around the globe.

Giant Roller Coasters

and shipped in sections to the park during its original construction. A few years later, another wooden roller coaster project became the main attraction at the Yomiuriland theme park, calling for the use of some 500,000 board feet (1,180 cubic meters) of pressure-treated Southern Yellow Pine.

More recently, the White Cyclone roller coaster opened near Nagashima. This coaster towers to 150 feet (46 meters) and called for 2 million board feet (4,720 cubic

meters) of pressure-treated Southern Yellow Pine lumber to build. This giant roller coaster can carry up to 120 thrill-seeking passengers at one time. Japanese park developers and the builders chose Southern Yellow Pine for its strength and treatability.

A roller coaster presents quite a range of demanding capabilities and Southern Yellow Pine is the U.S. softwood species of choice.

Large quantities of No.1 and No.1 Dense grades, in thicknesses of three and four inches (75mm and

100mm) are typically required for these projects. All materials are pressure treated to a preservative retention level specified by industry standards to withstand ‘ground contact’ exposure. Pressure-treated Southern Yellow Pine has been discovered as an ideal material for roller coasters and highly engineered structures around the world. Today, wooden roller coasters are a common attraction at amusement parks in Japan, China and across Europe, especially in Germany and France.

Image © AMSO

More than 20 years ago, Japan built its first wooden roller coaster, the Jupiter, constructed at the scenic resort of Kijima on the island of Kyushu. A few years later, another wooden roller coaster project became the main attraction at the Yomiuriland theme park. This project called for 1.5 million board feet (3,540 cubic meters) of pressuretreated Southern Yellow Pine lumber. Sections of the coaster were prefabricated in the United States

www.timberdesignandtechnology.com

October 2016

Image Š AMSO

AMERICAN SOFTWOODS 33

New Designs for Bridges For more than 60 years, architects, engineers, designers and contractors have been specifying pressuretreated Southern Yellow Pine glued-laminated beams and other items for their high strength, natural beauty, dimensional stability and availability from America in a wide range of sizes and shapes.

The Great Atlantic City Boardwalk in America was built using preservatively treated Southern Yellow Pine lumber in 1867.

Structural glued-laminated (glulam) timber is a very popular choice for building waterfront boardwalks, pedestrian bridges and walkways. When traversing roads and waterways, wooden bridges blend naturally with the landscape

and use sustainable, renewable materials in the process. Further, industry guidelines have been developed to assure the longterm performance of pressuretreated products. New advances in preservative treatments, design and construction techniques have made timber from the United States a cost-effective construction material.

Golf courses around the globe are experiencing genuine success by expanding and incorporating elevated cart paths and bridges made of pressure-treated Southern Yellow Pine lumber. Course developers prefer timber cart paths because their natural look blends in with the environment, eliminates or greatly reduces the need for fill and often makes environmental

permitting an easier process.

Elevated walkways can also provide an environmentally pleasing alternative to visitor paths paved with asphalt or concrete at nature centers and zoos, blending with the landscape and protecting natural terrain. The added elevation of timber-built walkways often provides visitors with more impressive views of the surrounding areas, as well. Meandering elevated walkways through forests, wildlife sanctuaries and nature preserves offer pedestrians and cyclists with opportunities to view environmentally sensitive areas from a new perspective.

The use of sustainable timber from the United States can produce a walkway with versatility, design October 2016

flexibility and ease of construction.

In urban developments, timber walkways and bridges provide excellent pathways for sightseeing and walking through historic areas, especially when situated near the waterfront.

The design possibilities are endless when using a versatile, durable product like pressuretreated Southern Yellow Pine timber from America. Manufacturers are standing by to satisfy orders that may include custom sizes, as well as specialized packaging and shipping requirements. *This article is written by Richard Wallace, Vice President, Communications, Southern Forest Products Association (SFPA). www.timberdesignandtechnology.com

34 AMERICAN SOFTWOODS

Kebony’s contemporary beach houses come to Camber Sands www.timberdesignandtechnology.com

October 2016

Kebony’s contemporary beach houses were awarded the prestigious Surface Design Awards for the Sustainable Exterior Surface category. The prize was given for the wooden cladding of two contemporary beach houses, located at Camber Sands, East Sussex.

Designed by Walker & Martin Architects, the two beach houses, with floating foundations, stainless steel frames and Kebony Southern Yellow Pine cladding, are situated next to the county’s only sand dunes, the four-bedroom abodes are the ideal summer bolthole with spectacular views of the sea and unparalleled access to the beach.

Architects Walker and Martin were commissioned by a private client to build two beach houses right on the seafront on the site of an old bungalow positioned in front of the sand dunes. Just meters from the beach, the houses are in fact almost embedded into the dunes. The material selected for this ambitious project had to be durable and visually complementary to its seaside location. The architects wanted to create a seamless continuity in the building’s structure, to echo the natural smoothness of the dunes, and the interior’s wooden beams accordingly have an uninterrupted

Image © Urban Front

AMERICAN SOFTWOODS 35

appearance, regardless of vantage point. The building was designed to have minimum impact on the environment and recycled and sustainable materials were used throughout.

The beach houses at Camber Sands draw aesthetic inspiration from their beautiful surroundings on the sand dunes. The silvergrey patina of Kebony Southern Yellow Pine cladding echoes the natural colors of the dunes and the smooth wooden panelling mean the buildings blend into the seafront. Kebony was chosen for its environmental credentials and for its proven performance in harsh

climates. The architects specified Kebony clear Southern Yellow Pine, which has a traditional, clean finish and is non-toxic, maintenance-free, durable and aesthetically pleasing.

Architects Walker & Martin commented: “We have been thoroughly impressed with the quality and durability of the Kebony wood and are absolutely thrilled with the end result. It has been a long, cold and windy process to get this project to completion and we are very proud of the achievement by all!”

The Kebony technology is a patented process which enhances the properties of non-durable

wood species to give them similar characteristics to the best performing woods. Through an environmentally friendly process, wood species such as Southern Yellow Pine for example, are impregnated with a bio waste liquid (furfuryl alcohol) derived from agricultural crop waste. With the addition of heat, the furfuryl polymer is permanently grafted into the wood cell wall resulting in greatly improved durability and dimensional stability.

Kebony is suitable for both internal and external applications that demand high performance and great aesthetics including: decking, October 2016

flooring, cladding, roofing, windows, indoor and outdoor furniture.

Over time Kebony acquires its characteristic silver-gray patina whilst not losing its performance characteristics. With improved durability and dimensional stability Kebony is becoming increasingly the choice of leading architects and developers enabling them to use wood in projects without causing environmental degradation. Kebony has been used internationally in projects from commercial, public, residential and marine, for example Hunter’s Point in New York, the Miami Science Barge, Tommy Bahama Restaurant and Bar, www.timberdesignandtechnology.com

36 AMERICAN SOFTWOODS providing ample protection for their owners to enjoy the calm, warm summer days.

“Kebony is a truly deserving winner, providing a high quality, environmentally beneficial product for Camber Sands beach houses.

It is an ideal material to work with that has to be commended. It is great Kebony has received the recognition it deserves,” concludes Stuart Martin on behalf of Walker & Martin Architects.

Image © Urban Front

constructors had to make makeshift pathways through the sand to transport the materials. The site was battered by the severe storms and tidal surges that hit the country during the winter of 2013/14 and gales swept up the beach, blasting the building with sand as it began to take form. Consequently, the huts have been built with the requisite resilience and ability to fend off the elements in their exposed position on the coast,

Image © Kebony

Design Awards – Kebony has been able to contribute to a project that is perfectly in keeping with its surroundings and we are grateful to Walker & Martin Architects for choosing Kebony Southern Yellow Pine for such a unique design.”

The structural challenges of the location became apparent during the construction phase and were a good indicator of the forces that the buildings will be exposed to in the future. Without roads, the

Image © Urban Front

Waikiki.

“The beach houses look fantastic and are perfectly in keeping with their surroundings, the Kebony wood has over time evolved to become a beautiful silver patina that will not only stand the test of time due to the material’s durability but will also blend naturally into its surroundings,” said Adrian Pye, International Sales Director, Kebony.

“We are thrilled to have been announced winners of the Surface

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October 2016

AMERICAN SOFTWOODS 37

A Guide to American Softwood Species

Image Š AMSO

American softwoods represent a wide variety of U.S.-grown tree species, each one of which offers its own unique blend of physical and mechanical properties. Here we focus on the species and species groupings that are most commonly used in the Middle East market in recent years. For additional information about these or any other American softwood species, contact the AMSO European office at info@americansoftwoods.com or visit www.americansoftwoods.com.

October 2016

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38 AMERICAN SOFTWOODS

Southern Yellow Pine

Ponderosa Pine

Pinus palustris, Pinus elliottii, Pinus echinata and Pinus taeda

Pinus ponderosa

General description The four main species of Southern Yellow Pine are Longleaf (Pinus palustris), Slash (Pinus elliottii), Shortleaf (Pinus echinata) and Loblolly pine (Pinus taeda). The wood has a distinctive color and grain, its sapwood ranging from white to yellowish and heartwood from yellow to reddish-brown.

It combines looks, strength, and extreme ease of treatment with the highest nail-holding ability.

General description Ponderosa pine (Pinus ponderosa) is light in color, with large amounts of creamy white to straw-colored sapwood and minimal amounts of light reddish-brown heartwood.

Along with Sugar, Idaho White and Lodgepole pine, it forms a commercially important group called the Western pines (Pinus spp.)

Main uses Mainly used structurally for floor and roof trusses, joists, rafters and carcassing. Ease of treatment makes it particularly

good for decking and outdoor use. Character and impact resistance make it suitable for flooring, panelling and joinery.

Physical & mechanical properties Medium texture. Weight ranges from 537 to 626 kg per cubic meter. High density gives it natural strength, weight, and impact and wearing resistance. It has a higher specific gravity than European Redwood and, although easy to work with, stands up well to rough treatment.

Working properties

Main uses Ponderosa pine is valued primarily for its appearance and is suitable for any application that requires a light to moderately strong, splinter-free, stable wood, such as jointed drawers, windows,

Eastern White Pine

Thuja plicata

Main uses Cladding, shingles and other exterior applications, such as greenhouses. Boatbuilding

Physical & mechanical properties Ponderosa is light and softtextured, with a uniform, close, straight grain that is delicately figured after dressing. It seasons well, with a minimum of warping and cupping.

Working properties

Western Red Cedar

General description Western Red Cedar is a slowgrowing, long-lived tree, whose aromatic wood is highly decayresistant. The sapwood, usually less than 2.5 centimeters wide, is almost pure white, while the heartwood varies from a dark reddish brown to light yellow.

shutters and stairs.

Pinus strobus and marine structures. Interior panelling, window sashes and built-in furniture.

Physical & mechanical properties A coarse-textured softwood, weighing 376 kg per cubic meter, with a close, uniform, straight grain and an extreme resistance to decay. Dimensionally stable, it takes paint, stains or varnishes easily. Untreated, it weathers to a silvery-grey.

Main uses A mainstay of quality construction and fine woodworking, Eastern white pine is a favourite for cladding, panelling, mouldings and furniture.

Working properties

Working properties

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General description A creamy straw-color that will darken with age to a deep rich tan. Available in a wide range of grades and sizes.

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Physical & mechanical properties Medium texture. Weight ranges from 390-415 kg/cubic meter. With its fine grain and uniform texture, it has good manufacturing qualities and holds finishes well.

AMERICAN SOFTWOODS 39

Hem Fir

Douglas Fir Pseudotsuga menziesii General description Straight-grained and moderately heavy, with limited resin, this is one of the most attractive and strongest of the Western softwood species. The wood has a slight rosy cast; the sapwood generally a light straw color and the heartwood a deep russet brown.

Main uses Its appearance is prized for joinery, panelling, cabinets, flooring, windows and cladding.

Its strength, straightness and ease of fabrication make it the perfect high-performance timber for structural uses, such as metal plate-connected trusses, framing,

Pinus strobus bridges and large heavy members.

Physical & mechanical properties Medium texture, with a weight of 540 kg per cubic meter, and a high density, specific gravity and strength-to-weight ratio. Very stiff, with high strength values in bending, tension, horizontal sheer and compression. High shrinkage when seasoned from a green state, but minimal shrinkage and swelling once seasoned.

Working properties

Physical & mechanical properties Straight grain and fine texture.

Sands to a silky smoothness with virtually no tendency to split. Weight ranges from 537 to 626 kg per cubic meter. Knotty appearance grades for joinery; lower knotty grades for general construction. Good strength.

Western Larch

Tsuga heterophylla

Working properties

Main uses Joinery that requires precision machining, a pale colour and excellent gluing, such as mouldings, exposed ceilings, doors, louvres, windows, furniture, flooring and laminated structural and non-structural products. Structural products, such as framing and engineered systems.

Working properties

Western Hemlock

General description Among the harder, stronger Western softwoods, it is marketed and sold separately as well as in the Hem-fir species combination. Springwood is whitish to light yellow-brown; summerwood frequently has a purplish or reddish-brown tinge; heartwood not distinct. Small black streaks often appear in the wood.

General description A species combination of the five true firs - California Red fir (Abies magnifica), Grand fir (Abies grandis), White fir (Abies concolor), Noble fir (Abies procera) and Pacific Silver fir (Abies amabilis) with Western hemlock (Tsuga heterophylla). Finegrained and with interchangeable structural performance, these trees are marketed together as an elegant softwood, classified as a white wood, combining beauty and strength. A very light color, from creamy white spring wood to a light straw-brown (hemlock) or reddish-brown (firs).

Larix occidentalis Main uses It is used for framing and architectural members and is a prime species for mouldings, millwork and panelling.

Physical & mechanical properties Weight 465 kg per cubic meter.

Straight grain and fine texture.

General description Distinct among commercial softwoods for its fine, uniform, straight grain, Western larch is one of the harder, stronger and heavier softwoods. Heartwood is russet or reddish brown; sapwood is straw brown. Usually marketed and sold as Douglas fir-Larch.

Main uses Used principally as structural framing timber; when rotary cut, for veneer and plywood

sheathing.

Physical & mechanical properties Tough fibred and somewhat oily in appearance, the wood weighs 577 kg per cubic meter and is stiff, moderately strong and hard, with moderately large shrinkage. The wood is usually straight grained, splits easily, and is subject to ring shake. Knots are common but generally small and tight.

Working properties

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Hemlock Hard and strong

Among the harder, stronger Western softwoods, Hemlock is marketed and sold separately as well as in the Hem-fir species combination. Springwood is whitish to light yellow-brown; summerwood frequently has a purplish or reddish-brown tinge; heartwood is not distinct.

Request your copy of our Guide to American Softwood Species by e-mailing your address to: info@americansoftwoods.com

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Main uses It is used for framing and architectural members and is a prime species for mouldings, joinery and paneling.

Physical & mechanical properties With a weight 465 kg per cubic metre, it has a straight grain and fine texture.

COMMENT 41

Stunning Wood spruce, a species frequently used for engineered wood products in Canada due to its extensive structural properties. This species grows abundantly in Québec and is harvested with a concern for the environment. In addition, the wood

construction were the brainchild of a Canadian company in the Province of Quebec and its team of woodworking magicians. To reflect their client’s passion for this mythical animal, the designer suggested that the architect

The building is a masterpiece, which has helped the company forge its place in the heart of riding enthusiasts is pale, allowing clients to apply a wide range of colors, such as deep orange, ebony, charcoal or washed white, as they may wish.

Magicians at work

Image © Art Massif

Image © Art Massif

The stable’s design and

erect a temple-like building. Its unobstructed height, its flood of light, its flying buttresses and semi-circular archways, borrowed from religious architecture, all contribute to an overall ceremonial effect. The building is a

masterpiece, which has helped the company forge its place in the heart of riding enthusiasts.

The stable section of the building, 15 meters by 46 meters in dimension, includes 15 stalls to accommodate the horses, almost all Austrian Haflingers. This section also houses an office space, with a fenestrated wall giving onto the stable. On the opposite side of the stable, there is an indoor arena of 21 meters by 43 meters, where the horses can develop their skills, or simply stretch their legs when outside temperatures drop below minus 20 degrees during the winter months.

It is important to note that the highly efficient building system ensures that horses stay warm

Image © Art Massif

Stunning! That’s what visitors exclaim when they walk into the horse stable La petite fleur des Alpes. Less than an hour’s drive from Montréal, in Québec, Canada, the stable is a true gem: built entirely of wood, its architectural beauty is outstanding. From the structural frame to the very door handles, utmost care was taken to produce a rich, classic finish.

It was their love of horses that led the owners to put so much care into every detail. They were intent on creating a healthy, pleasant and natural environment for their horses, making wood a logical choice, not only for the frame of the building but also for the siding.

The frame was made of glued-laminated timber from

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in winter and cool in summer.

The client also opted to have a geothermal system installed, with air vents in every stall for heating and air conditioning.

Wood: the number one choice The use of glued-laminated timber can also be tailored to nonconventional architectural needs. A Québec restaurant, the Ras L’Bock, with a second storey dominating the St. Lawrence River, offers a perfect example. This time, the clients were seeking to expand their restaurant by adding another floor and a patio. The challenge was the construction period: they wanted to take advantage of the off season

to close down their business for the work. That left just five weeks to do the job!

It quickly became apparent that wood was the number one choice, even more since the construction

Image © Art Massif

Image © Art Massif

Image © Art Massif

42 COMMENT

glued-laminated beams, columns and decking. To harmonize with the immediate environment, the client wanted to avoid the contemporary cubic trend in buildings. The designer drew inspiration from the

The team worked relentlessly to design, build and install the building frame made of spruce glued-laminated beams, columns and decking period was in winter, complicating the curing process of concrete, when drying is even longer due to the cold.

The team worked relentlessly to design, build and install the building frame made of spruce

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October 2016

river and created a second storey with curves reminiscent of the waves and with columns extending along the outside and descending to the ground.

The frame went up in under one week and the entire building

was completed in five weeks. The deadline was met and the clients were more than satisfied - there was a marked increase in clientele - a percentage hike considerably higher than that associated with the incorporation of the additional seating. They hold the warm and inviting architecture of the all-wood building responsible! * These projects were designed and built by Art Massif, located in Saint-Jean-Port-Joli, Québec, Canada. The company specializes in the design and production of glued-laminated wood architectural elements and structures for residential, commercial and institutional sectors.

CANADA

A LEADER IN SUSTAINABLE FOREST MANAGEMENT

Image © Danzer

44 COMMENT

potential out to the marketplace.

The chief executive of Austria-based Danzer, one of the leading global hardwood players, enthuses about the material’s diversity, ability to substitute less environmentally sound man-made material and capacity for reinvention.

Danzer’s timber mix today is around one third tropical and two thirds temperate with the former managed by subsidiary Interholco.

It sells worldwide and makes everything from engineered timber components, to hi-tech mouldable and even metal-striated veneers for car dashboards. It also recently

Image © Danzer

Trade collaboration key to tropical legality

Global hardwood specialist Danzer does not see the EU Timber Regulation or FLEGT Voluntary Partnership Agreements initiative as missions accomplished yet. But it recognizes them as key additions to timber’s legality assurance armoury and, with further fine-tuning and trade input, believes they can become more significant still. Timber sector journalist and commentator Mike Jeffree reports.

Hans-Joachim Danzer is an ardent advocate for tropical timber, the tropical timber trade and, crucially, getting a true picture of the business, its ethos and

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October 2016

COMMENT 45 developed advanced cutting technology to make the valuable hardwood resource go further.

Against that background, it’s understandable the company is equally impassioned by the tropical timber trade, in Mr. Danzer’s words, “too often being criminalized in the public eye”. By committing to responsible sourcing, Danzer and the Interholco management see the trade as a driver for supplier uptake of sustainable forest management. But thanks, they believe, to “misunderstanding, poor communication and law-abiding companies’ being tarnished by the

reputation. So legality verification and sustainability certification are central to operations.

“Interholco’s Republic of Congo concession achieved FSC certification in 2009 and, at 1.2 million hectares, it’s the region’s biggest certified forest,” said Mr. Danzer. “Supplier concessions are partly certified and in high risk countries where certificates aren’t available, Interholco conducts on-site legality and sustainability audits itself.”

Danzer also supports the antiillegal trade goals of the EU Timber Regulation (EUTR) and EU Forest Law Enforcement Governance and

Danzer’s timber mix today is around one third tropical and two thirds temperate with the former managed by subsidiary Interholco

Image © Danzer

Trade initiative (FLEGT), with the latter’s ultimate aim of supplier countries signed to its Voluntary Partnership Agreements (VPAs) exporting legally assured, EUTRexempt FLEGT-licensed timber.

The company’s EUTR support is also down to its ambition, not just to bar illegal wood from the EU, but ensure all member states impose consistent timber legality requirements. By underlining its stance against illegal wood, it feels, the EUTR can enhance the trade’s image too.

“If it promotes wood in a small way, it’s contributed,” said Mr.

Image © Danzer

remaining illegal trade”, it’s still commonly perceived as a driver of deforestation. That has market consequences.

“Wood is the most modern, versatile product, yet it’s been bad mouthed for decades,” said Mr. Danzer. “So today we stuff houses and offices with artificial non-recyclable products, because consumers are too afraid of buying timber.”

Danzer’s proactive response is to embrace any credible tool that helps eradicate remaining illegal elements and enhances the legitimate trade’s environmental performance and

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Danzer.

Critically, he maintained, the EUTR also focused industry minds more on due diligence and ‘instilled greater caution’, including at Danzer.

It was confident its existing legality assurance measures satisfied EUTR criteria - introducing its ISO 14001-based procurement policy in 2004 and third party auditing in 2005 - but it still had to prove compliance to the authorities’ and its own satisfaction.

“The EUTR process is different from FSC or PEFC audits, so our systems were further independently audited.”

EUTR due diligence has also impacted on supplier selection.

“In meeting our legality standards, existing suppliers had done their homework so we lost very few due to the EUTR,” said Mr. Danzer. “It’s been a more a case of not starting relationships with new suppliers which can’t satisfy the criteria.”

But while backing the EUTR and wider FLEGT objectives, Danzer is not uncritical. One thing it feels the former still has to deliver is that EUwide level playing field in terms of timber legality requirements.

“The EUTR is only as good as its enforcement, and deficient implementation in some member states, after it raised market expectations on legality, could de facto facilitate continued trade in material from questionable sources,” said Mr. Danzer. “We’ve seen authorities in three countries coming to three conclusions on legality of the same product with identical

Image © Danzer

Image © Danzer

46 COMMENT

Without communication to consumers, retailers and manufacturers, FSC wouldn’t have the recognition it enjoys paperwork. This needs resolution, especially for tropical timber.”

Mr. Danzer also urges greater synergy between EUTR and FSC and PEFC certification, with these “established, credible schemes given greater weight as evidence of compliance”.

“It could benefit from their experience and proven systems,” he said.

His views on FLEGT VPAs and FLEGT licensing overall echo those on EUTR. He described as ‘great’ VPAs’ intention to improve forest governance and establish approved timber legality assurance systems in supplier countries, enabling them to export ready-assured products.

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But, from its perspective as producer as well as a trader and processor, Danzer sees scope to strengthen FLEGT-licensing’s impact and value further.

Initially the company itself is taking a cautious approach on how it integrates FLEGT licensed products into its operations when the first become available to the EU, with that now set to be from Indonesia later this year. But its position could develop.

“A FLEGT license signals automatic EUTR compliance, but initially we’d still check suppliers,” said Mr. Danzer. “However, once its proven the system works across a country, we could amend policy to

reflect FLEGT-licensed timber is OK under our legality criteria.”

NGO responses to first FLEGTlicensed deliveries will also be scrutinized. “We’ll see whether they accept tropical timber at the level of legality, rather than sustainability,” said Mr. Danzer. “If there is NGO criticism, there’s also the question of how effectively authorities respond.”

Danzer additionally raises the need to increase awareness of FLEGT licensing along the supply chain.

“Without communication to consumers, retailers and manufacturers, FSC wouldn’t have the recognition it enjoys,” said Mr. Danzer. “It’s easier to promote a success than a promise, so we need to see its progress on the ground first. But then I’d urge strong marketing for FLEGT licensing.”

Another positive for suppliers would be coordination of FLEGT licensing with the due care/due diligence demands not just of the EUTR, but the U.S. Lacey Act and Australia’s Illegal Logging Prohibition Regulation (AILPR) too.

“Lacey and EUTR requirements are compatible and we’ve already developed a due diligence approach at Danzer satisfying both,” said Mr. Danzer. “We’d need political support, but if we put a wider core system in place, the same procurement criteria could be used to prove legality in different countries and regions.”

Another potential trade benefit of the FLEGT initiative, he added, should be VPA suppliers’ application of its legality assurance requirements to non-EU as well as

COMMENT 47 given that FLEGT-licensing offers EUTR exemption. And critically, he stressed, both EUTR and the wider FLEGT initiative could be further strengthened by the trade being even more involved and proactive in their development.

constructive trade dialogue would be beneficial.”

Ultimately Danzer sees all timber legality measures as steps, albeit vital ones, to the ultimate objective of compulsory proof of sustainability. But despite this

Conversion is a key factor in deforestation and if this can be integrated into the FLEGT agenda, it will be transformative “If there isn’t sufficient engagement with those on the ground, standards and guidelines developed thousands of miles away can prove impractical and more difficult to implement, especially in high risk countries. So more

and his recommendations for improvement, Mr. Danzer believes the EUTR and FLEGT VPA initiative have already had “very positive impacts on trade”; improving forest governance, increasing legality and risk awareness and compelling

application of due diligence.

There’s also confidence outstanding issues can be tackled through still deeper cooperation between industry, government, NGOs and certification schemes, and that the tropical trade can continue to prosper and develop as a result.

That confidence is underlined by Danzer’s continuing investment, including in its new, ultra-precise flooring lamella slicing technology.

“This substantially increases yield, with output achieved by the system at our Czech Republic plant last year requiring 600 fewer trucks of logs than conventional technology,” said Mr. Danzer. Now, he added, the company is spending another EUR 20 million to roll the technology out to France and the U.S.

Image © Danzer

Image © Danzer

About the Author

Image © Danzer

EU exports. “By implementing a VPA, countries agree to apply same standards to all exports,” said Mr. Danzer. “That’s a big demand, but must be supported wholeheartedly.”

Where the FLEGT initiative and EUTR could prove more valuable still is by further addressing forest conversion, blocking timber resulting from land clearance for such uses as development and agriculture, from EU supply chains. “Conversion is a key factor in deforestation and if this can be integrated into the FLEGT agenda, it will be transformative,” said Mr. Danzer.

He also returned to the issue of uniform EUTR enforcement, which he additionally sees as essential for incentivizing more producers to join the FLEGT VPA initiative,

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Mike Jeffree graduated in history and economics from Cambridge University and holds a post-graduate diploma in journalism studies from City University in London. He has been a journalist for over 25 years, working for newspapers, magazines, broadcast and online media. He started to report on the timber and forestry industries in 1997 and was appointed editor of the world’s longest established publication in the sector, the UK’s Timber Trades Journal (TTJ) in 2001, a post he still holds today. He launched the magazine’s website, www.ttjonline.com, and its specialist construction title Timber & Sustainable Building. He is also Communications Consultant to the European Timber Trade Federation, works with the European Forest Institute and Global Timber Forum and reports on sustainable construction for the Danish digital title Dagens Byggeri. He has written for the Germanbased international timber title Euwid and has travelled widely in the industry, reporting on business and market developments worldwide, from the Americas to South East Asia.

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48 TALL TIMBER

Brock Commons student residence on track to be the tallest mass wood hybrid building in the world Structure of UBC’s tall wood building completed four months ahead of schedule www.timberdesignandtechnology.com

October 2016

The mass wood structure and façade has been completed for UBC’s Brock Commons student residence - the world’s tallest wood building at 18 storeys (53 meters, about 174 feet) - four months ahead of schedule, showcasing the advantages of building with wood.

When completed in the summer of 2017, the 53m tall high-rise building will provide housing for over 400 students and be the tallest mass wood hybrid building in the world.

The structure was completed less than 70 days after the prefabricated components were first delivered to the site. Initial construction

Image © KK Law

Image © naturally:wood

Image © KK Law

TALL TIMBER 49

of the building got underway in November 2015. Construction will now focus on interior elements, with completion expected in early May 2017 - approximately 18 percent (or four months) faster than a typical project. The building is expected to welcome more than 400 students in September 2017.

“This remarkable building, the first of its kind in the world, is another shining example of Canadian ingenuity and innovation, an apt demonstration of how Canada’s forest industry is finding new opportunities through technology and innovation - opening

up a world of possibilities for our forest and construction industries,” said Jim Carr, Canada’s Minister of Natural Resources.

Brock Commons is the first mass wood, steel and concrete hybrid project taller than 14 storeys in the world. The building has a concrete podium and two concrete cores, with 17 storeys of cross-laminated timber floors supported on glue-laminated wood columns. The cladding for the façade is made with 70 percent wood fiber.

“Brock Commons is living proof that advanced wood products are a terrific material to build with October 2016

and support efficient assembly. It also showcases new applications for B.C. lumber, leading to new job opportunities in B.C.’s forest industry,” said Steve Thomson, Minister of Forests, Lands and Natural Resource Operations.

As a “living laboratory,” Brock Commons will also be a source of learning through interdisciplinary research and educational projects undertaken by UBC faculty, staff and students. Other wood structure buildings on UBC’s Vancouver campus include the AMS Student Nest, the Engineering Student Center, the Center for Interactive www.timberdesignandtechnology.com

50 TALL TIMBER Research on Sustainability, the Bioenergy Research and Demonstration Facility, and the Earth Sciences building.

“Wood is increasingly recognized as an important, innovative and safe building material choice. This new tall wood building reflects UBC’s leadership in sustainable construction and our commitment to providing our students with more on-campus housing,” said Santa J. Ono, UBC President.

The project is expected to cost approximately $51.5 million, with $47.07 million financed by UBC. Being the first of its kind, it

Council.

Vancouver’s Acton Ostry Architects designed the building in collaboration with structural engineer Fast + Epp, tall wood advisor Architekten Hermann Kaufmann of Austria, and Structurlam in Penticton, B.C., which provided the prefabricated wood components. GHL Consultants Ltd. served as the fire science and building code consultants whilst UBC Properties Trust is managing the project.

A key mandate for the innovative project is to demonstrate the viability of mass wood structures

Wood is increasingly recognized as an important, innovative and safe building material choice

Image © KK Law

for BC’s development and construction industries. This has been achieved with a hybrid design that combines the benefits of mass wood and concrete to achieve an economical structural system that is comparable in cost to that of traditional all concrete and steel structures.

“Brock Commons will demonstrate that mass wood structures offer an economically viable alternative to concrete and steel while providing a way to lessen the carbon footprint of the built environment,” added Russell Acton, Principal Acton Ostry

Image © Steven Errico

entailed an initial innovation cost and received funding from Natural Resources Canada ($2.34 million), the Province of B.C. ($1.65 million), and the Binational Softwood Lumber Council ($467,000).

“Taller wood buildings offer tremendous economic and environmental benefits. The lessons learned at Brock Commons will help transform the built environment in Canada and around the world. In fact, we are already seeing interest in the systems used here for projects in the U.S., Japan and China,” said Cees de Jager, General Manager of the Binational Softwood Lumber

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TALL TIMBER

Structural System The hybrid structural system is comprised of a one storey concrete podium, two concrete cores and 17 storeys of mass timber topped with a prefabricated steel beam and metal deck roof. Vertical loads are carried by the timber structure while the two concrete cores provide lateral stability. Glulam columns with steel connectors provide a direct load transfer between the columns and support 5-ply crosslaminated timber (CLT) panels on a 2.85m x 4.0m grid that acts as a

vertical striations. Glazing wraps the corners to dematerialize the edges and a metal cornice crowns the building. An extensive 58m long CLT canopy runs the length of the building base, which is wrapped with curtain wall glazing and translucent blue glass spandrel panels.

Construction Strategy A key design and construction strategy was the recognition that the level of prefabrication available in British Columbia is not as extensive as that which is available in Europe. However, the speed

Image © Steven Errico

Architects Inc.

Wood is increasingly recognized as an important, innovative and safe building material choice

Image © Steven Errico

The prefabricated facade is made up of 8m long steel stud frame sections with pre-installed windows.

The cladding is high-pressure laminate panels consisting of 70 percent wood-based fibers that are arranged to create a pattern of blonde wood and charcoal-colored

Image © naturally:wood

Prefabricated Facade

and skill of high-rise residential trade contractors in Vancouver is considerable. In response, the design and construction approach took best advantage of local prefabrication and subtrade capabilities. Primary prefabricated components include the CLT slab panels, glulam columns, steel connectors and the facade.

To test the speed and efficiency of the erection of the mass wood hybrid structural system, a fullscale two-storey proof of concept mock-up was constructed in July 2015. Erection of the structure went smoothly and assembly proved to

Image © Steven Errico

two-way slab diaphragm, similar to a concrete flat-plate slab. The robust structure will be the first in British Columbia to be built to meet new seismic design requirements for the 2015 National Building Code of Canada.

51

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52 TALL TIMBER be faster than was initially projected.

After the first few floors of the mass wood structure and the facade were erected, work began on the building systems and components housed inside the superstructure. The mechanical, electrical and sprinkler systems will be similar to those used for other student resident buildings on the UBC campus.

Sustainability Brock Commons has been designed to target LEED Gold certification and to conform to ASHRAE 90.1-2010.

As such, the building will connect to the UBC district energy system and is projected to achieve up to 25 percent energy savings over a typical building of the same use.

Advances in wood technology and manufacturing make tall wood buildings not only possible but also safe and cost effective, while providing a way to lessen the carbon footprint of the built environment.

For Brock Commons, the carbon stored in the mass timber structure, plus avoided greenhouse gas emissions, results in a total estimated carbon benefit of 2,563 tonnes of CO2, which is equivalent to taking 490 cars off the road for a year.

“This beautiful, new tall wood

building will serve as a living laboratory for the UBC community.

It will advance the university’s reputation as a hub of sustainable and innovative design, and provide our students with much-needed on-campus housing,” added Martha Piper, Interim President University of British Columbia.

Approvals Process and Fire Safety To facilitate the approvals process, strict fire protection methods were

safety design utilized a conservative approach to facilitate the approval process to align with the project schedule. The SSR process included peer reviews involving panels of leading structural engineers, fire safety experts, scientists, authorities and fire fighters.

Although construction of the first floor and cores could technically be constructed utilizing mass timber, concrete was used in the interest of familiarity regarding life safety, fire fighting and approvals processes.

The majority of wood columns are located within demising walls with a few standalone columns located at each end of the floorplate put in place for the project, arguably making it safer in terms of life safety than a comparable building with a traditional concrete or steel structure. Since the mass wood structure is significantly higher than the six storeys currently permitted by the building code for wood buildings, the project required a Site Specific Regulation (SSR) from the British Columbia Building Safety & Standards Branch.

With the project being the first of its kind, the structural and fire

The mass wood hybrid structure is encapsulated with multiple layers of gypsum board to achieve the required fire resistance ratings and to facilitate the approvals process.

The majority of wood columns are located within demising walls with a few standalone columns located at each end of the floorplate. For demonstration purposes, wood columns have been left exposed in a student amenity space located on the 18th floor.

Since the building is comprised

of a series of repetitive, highly compartmentalized units, it is extremely likely that a fire event would be contained in the compartment in which it originated.

To facilitate the approvals process, the typical one hour fire separation between suites was increased to two hours. An automatic sprinkler system with a back-up water supply offers additional protection for occupants and fire fighters for events that might originate during an earthquake.

Looking forward, once projects such as Brock Commons are completed, more testing of mass wood assemblies is available, and information from monitoring research programs is analyzed, it is anticipated that building codes for tall wood buildings will be revised and mass wood structures will become commonplace in British Columbia’s development and construction industries.

“As the tallest wood building in Canada, this project will serve as a great example of the research and technology that is involved in taking wood construction to new heights resulting in innovative solutions that are safe, sustainable and viable,” concluded Michael Giroux, President Canadian Wood Council.

Project Details Project Name

Brock Commons Student Residence

Client

University of British Columbia

Location

Vancouver, British Columbia, Canada

Architects

Acton Ostry Architects Inc.

Tall Wood Advisor Architekten Hermann Kaufmann ZT GmbH

Structural Image © naturally:wood

Fast+Epp

Fire Science | Building Code GHL Consultants Ltd.

Building Science RDH Building Science

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54 TECHNOLOGY

388-seat auditorium is the world’s first building made entirely of unfinished curved cross-laminated timber panels

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Image Š Martin Argyroglo

Studio Andrew Todd build Shakespearean-style wooden theater in France

TECHNOLOGY 55 playhouse associated with William Shakespeare that features tiered seating and a standing pit. The building will not only be France’s first permanent Elizabethan-style theater, but the only one in the country with a full thrust stage - a form which is widespread in Britain and North America. It can also be converted (using an orchestra pit lift) into a small, Baroque-scale

Chateau d’Hardelot - on the Côte d’Opale between Le Touquet and Boulogne - dates from the 13th century and was transformed into a Tudor style manor in the mid-19th century by Sir John Hare, a friend of Charles Dickens, who was a frequent visitor to the house. In 2007, the chateau and its 880-hectare park became the home of the Center Culturel de l’Entente

The building will not only be France’s first permanent Elizabethan-style theater, but the only one in the country with a full thrust stage opera house with a proscenium stage. Studio Andrew Todd had to not only come up with a warm and magical space, but one that worked with the chateau and the beautiful coastal parkland in which it is set. Their solution was a pure cylinder of wood surrounded by a shimmering cage of 12 meter bamboo poles.

Cordial, dedicated to strengthening cultural ties between France and Britain through exhibitions, conferences, theater and music.

The center’s Midsummer Festival has taken place in a demountable Elizabethan-style theater for several years. With growing success, and the ambition to provide year-round programming,

the Département du Pas de Calais launched a restricted architectural competition in March to design a permanent, 400-seat building.

Studio Andrew Todd won the competition against Alain-Charles Perrot and K-Architectures.

The project has attracted the interest of directors such as Thomas Ostermeier, Ariane Mnouchkine and Peter Brook. It was presented to Her Majesty Queen Elizabeth II on the occasion of her State Visit to France in June 2014, eliciting her approval and enthusiasm. Interestingly, the project is surrounded by a curious cluster of Shakespearean associations: the site of the Battle of Azincourt (42 km from site, Agincourt in Shakespeare’s Henry V); the Field of the Cloth of Gold of 1520 - for which Henry VIII built the original proto-Shakespearean theater (35 km away); and the chance discovery in 2014 of a copy of Shakespeare’s First Folio misfiled for over 300 years in the

Image © Martin Argyroglo

British architects Studio Andrew Todd have completed France’s first permanent Elizabethan theater and the world’s first building made entirely of unfinished curved crosslaminated timber (CLT) panels. The 388-seat auditorium is built in the grounds of the spectacular Chateau d’Hardelot near Calais, once the haunt of Charles Dickens and now home to the Center Culturel de l’Entente Cordial, which hosts a major annual summer festival celebrating cultural ties with Britain. Built (above ground) almost entirely of wood and bamboo, and naturally ventilated - a first in France for a complex cultural building - it is also revolutionary in its exceptionally low energy consumption, using less power than one average French person per year.

Described by the architects as an “incarnation of FrancoBritish understanding”, the building mimics the design of the Globe Theater - a round

October 2016

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Municipal Library of Saint Omer (44 km).

cladding - gives the building a universal character, relevant today or hundreds of years in the past or the future. The 12-meter-high bamboo stalks surrounding the building - imported specially from Bali - introduce for the first time in France this magical material in a major building. They also serve to

A Globe for our times “It’s designed to vibrate with its natural surroundings rather than be a stand-alone, attentionseeking, alien object,” said Andrew Todd. “And we have carried this through to the interior: the circular wooden auditorium is naturally lit and ventilated, the building’s crown acting as a giant chimney to create a gentle current of air for the audience. It is appropriate to consider the original metaphor of Shakespeare’s Globe - thought of as a society and a universe in miniature - in the light of our current global environmental crisis: what better than to make a building of healthy, sustainable materials, and needing minimal energy to function?”

“The presence of familiar, timeless materials - like the spruce structural panels and larch

Image © Martin Argyroglo

Image © Martin Argyroglo

Image © Martin Argyroglo

56 TECHNOLOGY

a cage-like exterior, with a pathway slotted in behind. At the center, a cylinder clad in larch houses a two-storey auditorium that seats 388 people, while shorter, curved sections are staggered around it. In the spaces between the two walls, the architects located the entrance hall - topped by glazed roofing

12-meter-high bamboo poles encase the main structure to create a cage-like exterior, with a pathway slotted in behind

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remind us that ecology is a global question, and perhaps remind us that Shakespeare’s universality should not comfort us in our local identities: he explored far afield geographically and opened up new depths to the human psyche. I hope this building is both familiar and challenging,” added Todd.

12-meter-high bamboo poles encase the main structure to create October 2016

- as well as the main staircase, which wraps the central core and provides access to the seating.

Inside, the wooden structure is revealed, and complemented by the supporting oak columns and flooring. Seating is located on three levels surrounding the edge of the drum, and is fronted by a wooden balustrade and a steel handrail.

Like the Globe, an open stage

extends into the audience on three sides, aiming to create greater intimacy between the performers and the audience.

The theater is the first building in the world made entirely of unfinished curved CLT panels.

Working with CLT meant that the assembly of this structure took only 7 weeks; building started in September 2014 and concluded in May 2016. A total of 200 tonnes of wood was used (including cladding), meaning 100 tonnes of carbon captured, the equivalent of driving around the earth’s circumference 20 times in a diesel car. The theater is also the first major cultural facility in France, which will be entirely naturally ventilated, with exceptionally low energy consumption (28 KW/ sqm/year). The project’s form was calculated in Gustave Eiffel’s wind tunnel in Paris. The theater’s low-energy LED lighting is powered by turbines in the river, which also

TECHNOLOGY 57 special experiences, even when it is empty.

“Cross-laminated timber offers unique benefits of precise fabrication, carbon sequestration and fast assembly, similar to Shakespeare’s system-build frames. However, it is generally used as a replacement for concrete in typical construction build-ups: insulated outside and finished inside with other materials for reasons of assembly and

technical contrivance - is natural.

Unlike many palaces of culture, it is possible to put on a show in this building literally with nothing, using only natural light from the sun and natural ventilation, the breath of the surrounding forest,” adds Todd.

Curved cross-laminated timber In order to realize the building’s tightly-wrapped form it was

The auditorium acts as a chimney for warm air, cool supplied neatly under the seats, warm vented at the center and sides of the roof necessary to determine from the outset that the wood industry could respond successfully to the studio’s request for curved formed CLT panels. Metsawood responded affirmatively even at competition stage, and KLH decided to respond also at a later stage. The process of fabrication involved forming the

Image © Studio Andrew Todd

Image © Studio Andrew Todd

fire-rating. From an objective standpoint, making this building of wood has served to capture 100 tonnes of carbon; this easily offsets the 200 kilograms needed to bring the bamboo across the world. The auditorium is roofed, but daylight is allowed in and the movement of air - with the help of some

panels from spruce planks over a positive form. The minimum radius - 9 meters - was at about the limit of what was possible using 27mm and 17mm planks. Having been formed and glued in crossing layers on the positive form, the panels were vacuum compressed for 24 hours to cure the glue. Once unfolded, they had an extraordinary capacity to return precisely to their original dimensions from elastic movement.

Whilst it was relatively easy to feed flat sheets onto a CNCcontrolled cutting bed, the curved panels had to be very carefully manually aligned on made to measure horses. An 8-axis milling robot cut the panels to size and cut out major openings such as doorways. Smaller openings were cut by hand, and the panels were sanded by hand to achieve the desired ‘semi-industrial’ finish on the visible faces. The fabrication was a major challenge for Merk (fabricants of LENO panels), which mobilized their factory during

Image © Studio Andrew Todd

provides geothermal heat and natural cooling to complement the structure’s natural ventilation.

The minimalist design affords a versatile backdrop for the theatrical productions and operates with nearly zero running cost.

For Todd, there was the important technical challenge of making this sustainable. He worked closely with a young engineer from LM Ingénieur, who took on the challenge of a naturally ventilated theater with enthusiasm. The supply of cold air itself from the plenum took a study in itself, concrete being constructed as part of the basement to ensure there is cool air to draw in, even on the warmest of days. The auditorium acts as a chimney for warm air, cool supplied neatly under the seats, warm vented at the center and sides of the roof. The roof itself is beautiful, panels radiating out from the center and light filtering in around the sides. Despite a roughness to the edges this is a building in which one would expect

October 2016

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Image Š Martin Argyroglo

Image Š Martin Argyroglo

58 TECHNOLOGY

several weeks. There were 5 individual curved positive moulds and finished panels were up to 9 meters long.

Assembly Once transported to site the panels were mounted and assembled with extraordinary ease, using one truck-bed crane and one or two cherrypicker lifts. One person operated the crane, two steered the panels into position and one fixed them from above. It was occasionally necessary to use slight force (a sledgehammer) to slot the panels at lower levels onto galvanized steel shoes, and - very occasionally - it was necessary to cut back the footing holes. Panels were generally butt-jointed with a recessed slot for a flush covering panel on the hidden side. In the case of double-sided exposure (for example, between the auditorium interior and corridors), lap joints were used.

The panels were screwed into baseplates at ground level from the hidden side and invisibly joined in

exposed conditions. There are no plinths or mouldings in the building, doors are framed directly into the LENO panels, floor finishes (mostly end grain and board oak) slide under the panel feet into a small recessed zone (the baseplate is recessed slightly). Floors and roof panels are flat, as well as some perpendicular walls; there is local steel reinforcing (for example, for the cantilevered

competition stage, as the space had to be maintained throughout all the vicissitudes of the design process.

The height difference between stage and stalls floor (80cm overall) was exploited to form this zone, continuing around the stage in the stalls balcony. During design development the area under the control room was also reserved for air intake.

Sensors throughout the auditorium measure temperature, speed and C02 levels, which condition the opening of the exterior vents exterior balcony). Balcony slabs are picked up on curved C channel beams at the front, and the roof is tied together with steel tensions rods like a bicycle wheel.

Natural ventilation The building is the first complex facility in France to be naturally ventilated. It was necessary to develop the necessary plenum volumes for air intake at

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October 2016

The general principle consists of using the intake volume to temper or heat the exterior air. A serpentine path through acoustically absorbent cells served to perform the paradoxical task of allowing as much air in as possible without allowing noise in or out.

The exterior envelope of the cells is sealed with insulated aluminum motorized louvres, whose degree of opening is controlled by a computer

according to exterior wind speed and direction and interior need.

Sensors throughout the auditorium measure temperature, speed and C02 levels, which condition the opening of the exterior vents. In the auditorium ceiling six extract volumes (effectively chimneys laying on their sides with acoustic baffles at the entrance and on their sides) serve to allow a generalized exit flow from all around the auditorium.

It was particularly important to distribute the air evenly: large holes cut in the CLT balcony floors allow the air to move past the second rows of spectators, rather than rising in a single stack in front of the audience. The roof vent exits have the same motorized louvres as the entrance vents; an exterior screen serves to keep air pressure negative at the exits, meaning that there is steady extraction powered by the wind. The form of the roof chimney ring was developed through iterative testing of various forms in Aerodymanique Eiffel’s wind tunnel facility in Paris. A

Image © Martin Argyroglo

TECHNOLOGY 59

subsequent, large-scale model was used to test the configuration of entrance cells and air movement throughout the auditorium.

Ecological profile The building does not seek any particular ecological rating. A theater is a very specific facility whose consumption loads depend on many factors, such as the type of show presented and the frequency of occupancy, all of which can vary greatly; for this reason, it is difficult to quantify energy use.

However - in general principle - it is a deeply ecological building, largely due to the choice to use responsibly managed and harvested wood for the principal structure and cladding.

The building - although small at 1,200 square meters of floor area - captures 200 tonnes of carbon because of this choice.

The use of natural ventilation and natural lighting in the auditorium means that - in principle - it is possible to work and perform in here most of the year with little or no energy consumption. In this

sense, the theater takes inspiration from Shakespeare’s Globe: an openair, zero-energy paradigm which took the world as a metaphor for the reduced stage world. According to Todd, given the world is constrained and under threat from our overexploitation of resources, they felt it was both appropriate and necessary in this case to make this eco-Globe an example of a new paradigm of ecological building.

Paris-based Todd - who was named Chevalier des Arts et Lettres by the French government in 2011 - said: “I’m a sort of oneman Entente Cordial, and this project feels like a homecoming, condensing so many areas of passionate interest to me: the productive tensions between France and Britain, radical ecology and the abundant possibility for theatrical creation. I hope this project will demonstrate that we can live fully, joyously and also lightly: theatre is a concentration of life and a worthy analogy for living more closely together, more economically, in mutual awareness and respect.”

Todd has a particular interest and expertise in circular spaces, having worked with the legendary director Peter Brook on the book The Open Circle: Peter Brook’s Theatre Environments (Faber, 2003).

“Circles have been largely banished from French theater because of their association with bourgeois, hierarchical spaces where the poor were further away and couldn’t see the stage,” he said. “I hope this project will show - like Peter Brook’s Bouffes du Nord theater in Paris - the great social and dramatic potential of more convivial spaces. As France’s first permanent Elizabethan theater it will certainly stimulate creative cross-pollination over the Channel.”

“If you tell a story, people will tend to form a circle around you. This is one reason that the Shakespearean theater, the wooden O of the Globe or the Rose, is not a moment in history but a paradigm that keeps coming back into existence. The history of theater, is that of going in and out of the circle,” concludes Todd.

October 2016

Project Details Name

Elizabethan Theater, Chateau d’Hardelot

Client

Conseil Départemental du Pas de Calais

Architects

Studio Andrew Todd

Theater Consultants Charcoalblue

Engineers (Structure and Natural Ventilation) LM Ingénieur

Fire Engineering and Accessibility Consultant Cabinet Casso

Cost Consultant

Bureau Michel Forgue

Landscape Architect L+A

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60 WOOD WORKS

Riva 1920 and Renzo Piano come together for symbolic Earth-shaped table for World Trade Center wooden parts metaphorically representing the continents and the resin sections the oceans. The circular top is formed from pieces of Kauri wood, which is sourced

interplay of light and shadow.

Destined for the World Trade Center site, the table has iron legs that are intended to reference the tangle of reinforcing bars

The circular top is formed from pieces of Kauri wood, which is sourced from ancient trees preserved in New Zealand swamps from ancient trees preserved in New Zealand swamps. The pieces are suspended in clear resin and designed to resemble a world map. The texture of wood and the transparency of the resin are capable of creating a fascinating

left behind in the rubble of the collapsed Twin Towers. The special iron base by Renzo Piano was originally designed for Riva 1920’s ‘Ground Zero...Ground Heroes’ collection of five tables. The furniture collection was auctioned

to raise money for the children of Italian-American firemen who lost their lives during the attack.

The table is quintessentially a symbol of conviviality, sharing, exchange, aggregation, meeting around a central theme that is the food, which is a universal need. The concept behind the design idea is inspired by the theme of peace and the unity of people, where there are no prejudices, differences of class or race. The table becomes a silent witness so that the horror is not forgotten and an exemplary manifestation of the ability to express emotions through symbolic details. A mute object, that will speak to thousands of people.

Image © Riva 1920

After Milan, São Paulo, Seoul, Monaco, Doha, Riyadh, Moscow and Copenhagen, Riva 1920’s collaboration with Eataly continues with the opening of Eataly Downtown New York in the Westfield World Trade Center built on the rubble of Ground Zero. To commemorate the opening and significance of the venue, Riva 1920 and Renzo Piano have collaborated on the ‘Earth’ table, which will be placed at the entrance of the space as a welcome sign for all the visitors.

Featuring by a top made of resin and millenary Kauri wood from New Zealand, the table is a stylized representation of the earth, the

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Image © Riva 1920

Image © Riva 1920

Image © Riva 1920

WOOD WORKS

October 2016

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62 SHOWTIME

Top Industry Exhibitions Coming Up This Season HOLZ

Image © HOLZ

Image © Timber Expo

network with fellow professionals and develop new business, given that almost 60 percent of the UK’s top 100 architectural firms were represented at the last edition.

HOLZ in Basel takes place every three years and is the most important fair for the wood and furniture industry in Switzerland. As the leading trade show for the wood and furniture sector, the show features companies that supply machinery for forestry, woodworking machines, woodcutting tools, wood drying equipment, furniture accessories, varnishes, glues, paints etc.

As such, the visitor profile includes manufacturers, importers & exporters of woodworking machines, kitchenware, furniture & other related products and the general public.

The show is traditionally the largest professional event in Switzerland for more than 35,000 carpenters, wood manufacturers and representatives of trade and industry. With over 97 percent of exhibition space sold out months before its opening, the organizers of HOLZ 2016 are confident of its success. According to the organizer, this year’s edition of the fair will greet visitors with an expanded exhibition program and a multifaceted supporting program of premieres and highlights.

October 18 - 20 The NEC | Birmingham, United Kingdom www.timber-expo.co.uk

SICAM

October 11 - 15 Basel Exhibition Center | Basel, Switzerland

Image © SICAM

www.holz.ch

TIMBER EXPO Timber Expo is the most important event on the UK construction calendar dedicated exclusively to timber. It is three days brimming with the latest products, innovations and developments across the timber sector - not just from the UK but from an increasingly exciting and diverse international market. The show will be held from October 18 - 20, 2016 at the NEC in Birmingham, Timber Expo, as part of UK Construction Week, and will provide the most powerful opportunity available for suppliers and contractors to connect face-to-face, under one roof in just three days. Over 200 exhibitors occupying 2,000 sqm of exhibition space will be joined by an estimated 11,000 industry professionals.

Exhibitors will cover the breadth of timber applications from timber frame, sawmills, merchants, glulam, SIPs, CLT, fixings and fastenings, timber cladding, doors/windows, moldings, skirtings and flooring. The show will provide the perfect opportunity for individuals in the industry to www.timberdesignandtechnology.com

October 2016

SICAM, the International Exhibition of Components and Accessories for the Furniture Industry, is scheduled to take place from October 18 - 21, 2016 in Pordenone. Strategically located at the heart of the furniture industry in Pordenone, where 40 percent of Italian furniture is produced, the show’s success is proof of the importance of offering a showcase as complete and comprehensive as possible. Along with all the world leaders in hardware, the event will host decor papers, door fronts, wood, panels, components, equipment, household appliances, veneers, upholstery tools and materials, adhesives, glues, paints, fabrics and leathers. The unparalleled strength of the event is its specialized slant and the top quality of the enterprises represented.

SICAM has established itself over the years as an event focused exclusively on components, accessories and semi-finished products for

64 SHOWTIME the furniture industry; a trade fair that bases a large part of its success on a format characterized by its extreme specialization. This guarantees that visitors can manage their time to the maximum and also provides the best possible participation conditions for exhibitors. As such, SICAM has grown year by year because it has succeeded in meeting the demands of its exhibitors and visitors, putting them in the most suitable conditions to be able to focus solely on their business, seize opportunities and grasp new trends.

October 18 - 21 Pordenone Exhibition Center (Fiera di Pordenone) | Pordenone, Italy

take place from October 24 - 27, 2016 at the ExpoCenter Fairgrounds in Moscow, Russia. As the largest trade show of its kind in Russia, Eastern Europe and the CIS, the last edition attracted over 454 exhibitors from 27 countries. In total, over 17,000 professional visitors attended the show, which was held in over 45,000 sqm of exhibition space.

Aiming to provide a comprehensive overview of the industry, the show is supported by EUMABOIS and will feature companies under the following categories: Timber and logging industry; Primary processing of wood and wood based materials (production of semi-finished products); Secondary processing of wood and wood based materials (laminating, machining, gluing of solid timber); Surface finishing; Furniture production; Pulp and paper production; Special product groups; Tools; Forest products; Bioenergy, energy saving, ecology; Computer-aided management; Forest reproduction; and Research and vocational education.

www.exposicam.it/english/index.asp

The 29th International Wood Processing Machines, Cutting Tools and Hand Tools Fair and the 19th International Furniture Components, Accessories, Forestry Products and Wood Technologies Fair (INTERMOB) will host the wood products, machinery and technologies industries at the Tüyap Fair and Convention Center, Büyükçekmece from October 22 - 26, 2016. As the biggest trade platform for the wood and furniture industries in Turkey, the organizers expect over 900 exhibitors, company representatives from over 30 countries, and over 65,000 trade visitors from more than 100 countries.

The two fairs will showcase a great variety of sustainable, worldclass wood products to a wide base of trade visitors including furniture manufacturers, forestry products, construction, machine and chemistry industrialists, architects, interior designers, industrial designers, purchasing agents and other related professionals. In essence, the fairs display the full potential of the industry while providing a point of entry to the market, making Istanbul the hub of industry and trade for the wood industry.

Image © LESDREVMASH

INTERMOB ISTANBUL

October 24 - 27 Expocenter Fairgrounds | Moscow, Russia www.lesdrevmash-expo.ru/en

Image © INTERMOB

DOWNTOWN DESIGN

Tuyap Fair Convention and Congress Center | Istanbul, Turkey www.intermobistanbul.com

LESDREVMASH The 16th edition of LESDREVMASH, the International specialized exhibition for the Forest, Timber, Pulp and Paper and Woodworking Industries, will www.timberdesignandtechnology.com

October 2016

Image © AHEC

October 22 - 26

The fourth edition of Downtown Design promises to be the best yet, with a breadth of emerging and established design brands from around the world, curated with the regional buyer in mind. The fair is an essential platform for industry professionals to discover high quality products and to meet the

SHOWTIME 65 people behind the brand. The commercial centerpiece of the Dubai Design Week also gives design professionals a chance to network with like-minded individuals, gain insight from the talks programme and find opportunities to work together.

With 43 new brands, 5 Destinations presenting Design Weeks from Addis Ababa, Barcelona, Beirut, Reykjavik and Taiwan and 10 regional exhibitors presenting new work; the fair will be the ultimate design destination of the year. With opportunities to visit the fair during lunch hour, after work, during the weekend and to interact with brands and buyers at a full schedule of social events, Downtown Design offers multiple opportunities to get involved and support our growing design scene.

In its fourth edition, the Fair will take place at the Dubai Design District and present a carefully edited roster of established and emerging brands across a range of product categories; including furniture, lighting, bathrooms, kitchens, textiles and accessories. Fostering greater interaction, connectivity and commercial opportunity, the fair is dedicated to providing a dynamic environment for buyers and brands to do business easily and efficiently. Downtown Design will run from October 25th to 28th as a key element of Dubai Design Week.

and international industry professionals expected to attend the show, EUROBOIS offers both trade professionals, companies and associations a platform to network and share knowledge.

The exhibitor profile includes leading suppliers involved with forestry exploitation / wood energy; first and second stage timber conversion machinery and equipment; lumber; and suppliers to the furniture industry, fixtures & fittings. Strategically held in Lyon, EUROBOIS enjoys the full benefits of the dynamic Auvergne Rhône-Alpes region, one of France’s foremost wood processing areas. In addition to the exhibition, the show will also include technical trainings, workshops, demonstrations, seminars, business matchmaking meetings, and the Innovation Awards amongst others.

October 25 - 28

Image © EURBOIS

Dubai Design District (d3) | Dubai, UAE www.downtowndesign.com

BELGRADE FAIR The Belgrade Fair comprises the 54th International Fair of Furniture, Equipment and Interior Decoration, as well as the 54th International Fair of Woodworking Machines, Tools and Production Materials, which are ranked among the highest profile events of its kind in the field of furniture, interior decoration and accompanying industry of production materials and woodworking machines for the furniture industry in Serbia and Southeast Europe. For decades the show, which has been the meeting place for renowned manufacturers from the region, has offered an opportunity for exhibitors to present their latest products whilst keeping pace with current furniture design trends.

Products on display includes everything for the furniture industry from primary wood processing to the final product. All types of furniture are on display including home and office furniture, interior decoration, as well as woodworking machines, tools and production materials. According to the organizers, the show has been redesigned to focus on creativity and design promotion as artistic discipline; and to strengthen the business side of the show, supporting economic development and increase in exports.

November 15 - 18 Eurexpo | Lyon, France http://eurobois.net/en

FIMAP / FERRALIA / EMAF

November 8 - 13 Image © EXPONOR

Belgrade Fair | Belgrade, Serbia http://sajamnamestaja.rs

EUROBOIS EUROBOIS is the leading event for the wood industry in France for over 30 years. Formerly known as the exhibition of wood in construction, woodworking machinery and components, the exhibition is the leading showcase for equipment and techniques of woodworking and wood materials. With 300 exhibitors from over 15 countries and 20,000 national

EXPONOR will simultaneously host three exhibitions - FIMAP, FERRALIA and EMAF. The International Fair of Woodworking Machinery (FIMAP), the Exhibition of Accessories and Equipment for the Wood Industry (FERRALIA) and the International Fair on Industrial Machinery, Equipment and Services for Industry (EMAF) will offer a series of highly specialized events and a platform for leading players from the wood and woodworking machinery sectors. In addition, visitors are encouraged to make the most of October 2016

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66 SHOWTIME the synergies offered by the three fairs and the business opportunities they offer to exchange ideas and experiences.

The profile of exhibitors will include companies supplying cutting machines; sawing machines; planning machines; molding machines; boring machines; sanding and polishing machines; combination machines; deforming machines; jointing and coating machines; bonding machines; presses; wood treatment machines; portable hand machines; and tools and other auxiliary equipment for the timber industry. In addition, leading suppliers of timber and its by-products, paints, varnishes, glues, iron tools and utensils, furniture fittings, and chemical products for timber treatment will also feature at the show.

from around the world to source an astounding array of the very latest technologies, innovations and techniques.

November 19 - 22

Image © The Big 5

EXPONOR - Porto International Fair | Leça da Palmeira, Portugal www.fimap.exponor.pt/homepage.aspx

MEBEL

November 21 - 24

MEBEL is the largest annual furniture show and the main industry event in Russia and Eastern Europe. Every autumn the show brings together leading global brands and manufacturers, designers and interior decorators to showcase new collections and the best items of the furniture fashion.

Participating in the exhibition everyone gets a great chance to enjoy business communication and find new opportunities for development. The exhibition presents the latest trends of the furniture market and brings together manufacturers and distributors with customers. The exposition includes a great variety of elite and budget furniture for bedrooms, dining rooms, living rooms, nurseries and kitchens, as well as couches and armchairs, fittings, finishing materials and various decor items.

November 21 - 25 Expocenter Fairgrounds | Moscow, Russia www.meb-expo.ru/en

BIG 5 DUBAI For more than three decades, The Big 5 has gone from strength to strength, to evolve into the largest, most influential and renowned portfolio of construction industry events spanning the Middle East, India and South East Asia. The Big 5 network now includes more than 300,000 suppliers and buyers of construction products from 120 countries worldwide. The Big 5 Dubai is the largest construction exhibition in the Middle East, serving as a networking platform for construction product suppliers and buyers since 1979. The show this year will host 3,000 exhibitors and also include over 75 free-to-attend CPD certified workshops, live product demonstrations, a dedicated one day conference, and the Gaia Awards.

Continuing to evolve and expand into new territories from its UAE origins to Saudi Arabia, Kuwait, India, Indonesia and East Africa, the portfolio has also hosted specialized events for the concrete, PMV, stone, HVAC, solar, glass and facilities management sectors. Not merely large-scale exhibitions, each individual showcase includes a series of free-to-attend educational events plus certified training workshops for the vital exchange of country-specific knowledge and industry best practice. The Big 5 provides a business and networking platform for the construction industry and is an opportunity for buyers and sellers of construction products and services www.timberdesignandtechnology.com

October 2016

Dubai International Convention & Exhibition Center | Dubai, UAE www.thebig5.ae

INTERNATIONAL TRADE FAIR FOR WOODWORKING MACHINERY AND TOOLS The International Trade Fair for Woodworking Machinery and Tools (Woodworking. Machinery. Technology. Tools 2016) will take place from December 1 - 3, 2016 at the Kipsala International Exhibition Center. The fair attracts both Latvian and international companies who participate with the objective to demonstrate woodworking and furniture making equipment, log sawing machines, door and window production equipment, professional power tools for woodworking and construction specialists, carpentry equipment, finishing equipment as well as a variety of materials and technologies. The exhibition will also showcase the latest products from European and global equipment manufacturers and Latvian-made equipment and tools.

The show provides an important platform for the timber industry, especially since it is one of the largest manufacturing sectors in Latvia with an average growth of 15 percent over the past decade and with total turnover exceeding one billion in the past year. Given that the Latvian timber industry aims to increase export volumes and improve its domestic market, the show offers companies related to this sector - processing enterprises, window, door and furniture, wood-frame building and log-house manufacturers, carpenters, loggers, construction companies, timber distributors and other businesses - the opportunity to increase their competitiveness. As a result, the industry is able to learn how to modernize and improve production efficiency, implement new technologies, manufacture innovative products and target new markets.

December 1 - 3 Ķīpsala International Exhibition Center | Riga, Latvia www.bt1.lv/kokapstrade/?lang=eng&menu=1

68 SHOWTIME INTERVIEW

First edition of ‘Woodtech Forum’ to be held in Damietta in November 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.

According to recent market reports, the economy of Egypt is growing again 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.

Given all of the positive projections and developments in Damietta, the organizers are positive that both exhibitors and visitors can leverage opportunities through the show. We talk to Ilias Angelopoulos (pictured), General Manager, MedExpo, ahead of the show.

01. Please provide us with an overview of the show including the main focus areas, exhibitor profile, visitor profile, and confirmed exhibitors to date?

WoodTech Forum is the first professional event that will be held for the wood and furniture industry in Damietta. 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. 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. Currently, we have over 20 confirmed participants and the support of leading organizations such as the American Hardwood Export Council (AHEC), EPF and EPLF.

02. Why have you decided to hold the show in Egypt? And why in Damietta?

This is a frequently asked question from many professionals of the timber industry. Why Damietta? The reason is because it is the very heart of Egypt’s furniture and wood industry, accounting for more than 72 percent of the country’s furniture production. In addition, the upcoming 1.4 million sqm ‘Damietta Furniture City’ project, funded by the government and local authorities, will upgrade the city of Damietta into one of the major specialized industrial zones for furniture production in the Middle East region.

03. Are there any supporting events such as awards, seminars and workshops at the show?

In addition to the exhibition, the event will also feature workshops, presentations and case studies by prominent speakers coming from international institutes and organizations including AHEC and EPF amongst others. The themes for these presentations will include topics 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.

04. How does Woodtech Forum aim to be different from other industry trade fairs?

I’d like to reiterate that it is not a fair, but rather a big forum, which will include the participation of key

Event details Dates

November 26 - 27, 2016

Venue

Damietta Sports Hall in Ras El Bar

Location

Damietta, Egypt

Organizer

Image © Woodtech Forum

Medexpo and the Damietta Chamber of Commerce

Website

www.woodtech-forum.com

www.timberdesignandtechnology.com

October 2016

Image © Woodtech Forum

SHOWTIME INTERVIEW 69

players from the timber and woodworking machinery industry and fittings from all over the world. WoodTech Forum will be the meeting point for global professionals in the heart of the Damietta Furniture City. It is the perfect opportunity for industry professionals to meet qualified buyers, highly interested in wood, furniture technology and design. In addition, WoodTech Forum will enable direct access to industry professionals from all over Egypt.

world. Not only does Damietta represent more than 72 percent of the country’s furniture production, but the show being held in Damietta will allow international exhibitors access to a huge number of qualified local industry professionals who would otherwise be hard to access under normal circumstances.

05. What does Woodtech Forum specifically offer to the timber and related industries?

At this point, I would not really want to reveal the names of our exhibitors.

However, I’d like to share a small sample of our global exhibitor base - there will be big companies from West and Central Europe, including companies such as Fantoni, SCM, Hafele and Alfa Wood from Greece.

Image © Woodtech Forum

The show will enable the timber and related industries from Europe direct access to the Egyptian furniture sector, which is one of the largest in the

06. Who are some of the key exhibitors that have confirmed their participation?

October 2016

www.timberdesignandtechnology.com

70 SHOWTIME CALENDAR

HOLZ

Downtown Design

October 11 - 15 Basel Exhibition Center Basel, Switzerland www.holz.ch

October 25 - 28 Dubai Design District (d3) Dubai, UAE www.downtowndesign.com

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Expo Forestal 2016

Belgrade Fair

October 12 - 14

www.expoforestal.gob.mx/portal/ed2016/home-2016eng.html

November 8 - 13 Belgrade Fair Belgrade, Serbia http://sajamnamestaja.rs

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Timber Expo

Helsinki Forest Fair

October 18 - 20 The NEC Birmingham, United Kingdom www.timber-expo.co.uk

November 11 - 13

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SICAM

EUROBOIS

October 18 - 21 Pordenone Exhibition Center (Fiera di Pordenone) Pordenone, Italy www.exposicam.it/english/index.asp

November 15 - 18 Eurexpo Lyon, France http://eurobois.net/en

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Holzhaus

FIMAP / FERRALIA / EMAF

October 20 - 23

www.holzhaus.ru/en-GB

November 19 - 22 EXPONOR - Porto International Fair Leรงa da Palmeira, Portugal www.fimap.exponor.pt/homepage.aspx

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Intermob Istanbul

Big 5 Dubai

October 22 - 26 Tuyap Fair Convention and Congress Center Istanbul, Turkey www.intermobistanbul.com

November 21 - 24 Dubai International Convention & Exhibition Center Dubai, UAE www.thebig5.ae

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LESDREVMASH

MEBEL

October 24 - 27 Expocenter Fairgrounds Moscow, Russia www.lesdrevmash-expo.ru/en

November 21 - 25 Expocenter Fairgrounds Moscow, Russia www.meb-expo.ru/en

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Expo Guadalajara Guadalajara, Mexico

Helsinki Exhibition and Convention Center Helsinki, Finland http://meidanviikonloppu.messukeskushelsinki.fi/?lang=en

Moscow ExpoCenter Moscow, Russia

www.timberdesignandtechnology.com

October 2016

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