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OFFICE BUILDINGS Three35, Christchurch This mixed-use development on Lincoln Rd, Christchurch provides visual interest to the street and defines a green social space for citizens 8


ASB North Wharf, Auckland The radical design of the new ASB North Wharf in Auckland has just picked up the New Zealand Architecture Medal and the Supreme Award at the Property Council NZ Rider Levett Bucknall Awards 16 41X, Melbourne With its engaging facade, open floorplates and 5 Star Green Star rating, the new Melbourne office for the Australian Institute of Architects sets an appropriate benchmark for commercial building design 22 15 Green Square Close, Brisbane One of the last buildings to go up in an established precinct outside the CBD, this low-rise commercial tower has a strong identity, with a distinctly urban edge 30 Tasti, Auckland The design of this new head office for a food manufacturer pays respect to the locals – the facility is within an industrial area wedged between residential zones 40


84 Cover

Office Renaissance Property markets were fairly resilient during the GFC, with most rebounding within a short period – Leslie Chua, executive director Asia, IPD 36 Tapered concrete fins and cut-away elements define the facade of 41X, the new Melbourne office of the Australian Institute of Architects. Designed by architecture firm Lyons, the building is an abstract reference to the established solid stone buildings in the precinct. Read the full story on pages 22-28. Photography by John Gollings

Urban Strategy With myriad influences at play, public artworks, microclusters and growth incubators are transforming the built environment – David Grant, Place Associates 64


OFFICE INTERIORS WorkZone, Perth The comprehensive fit-out for the new Perth headquarters of a national construction company reflects interior design values of interaction, engagement and connectivity 50 Envision Control Centre, Shanghai Aerodynamic forms and a large, open floorplate create a free-flowing workplace for a company in the wind turbine business 56


PROJECT PORTFOLIO Tom Bradley International Terminal, LAX With a design that evokes the surf of Californian beaches, this new facility heralds a new era in traveller comfort 70 Carlaw Park Student Village, Auckland A community-inspired project by the University of Auckland has students queuing to live in a new village on the park 78 Panmure Interchange A major transport initiative is unlocking Auckland’s Eastern Suburbs, and this new hub is a key part of the equation 84 Wiri Maintenance and Stabling Depot A new purpose-built facility for Auckland’s new electric train fleet introduces a number of firsts to New Zealand 90


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Managing Editor John Williams – Managing Director Australia Glenn Hyland –

“Price is what you pay. Value is what you get,” says Warren Buffett. It’s a given that commercial buildings cost money – usually, a lot of money. So, in terms of outcomes, what defines their value? @DavidJideas David Johnson

Editorial Editorial Director Paul Taylor Home Series Editor Kathleen Kinney Subeditor Jane McKenzie Senior Writer Colleen Hawkes Staff Writer Charles Moxham Email

For an owner or developer, it has to be a financial success. But that success will only be realised if the building provides a healthy and productive atmosphere for its workforce. Not only that, it has to be seen to to be making a positive contribution to its immediate locale, as well as to the greater environment.

International Business General Manager Trends Media Group Louise Messer Executive Assistant Olya Taburina President Judy Johnson – Director of Strategic Planning Andrew Johnson – Sales Director Asia Hans Geese – Executive Assistant Marinka Simunac

One building that seems to tick all these boxes is ASB North Wharf, by BVN Donovan Hill in association with New Zealand firm Jasmax. The most prominent addition to Auckland’s revitalised waterfront has swept the board when it comes to awards this year, winning the NZIA Architecure Medal, as well as being chosen as the Supreme Winner at the Property Council NZ Rider Levett Bucknall Property Awards.

Sales – All Media Costas Dedes – Adrian Law – Gill Angel – Sales & Marketing Co-ordinators Lana Tropina-Egorova, Anna McLeod Email

Closer to home, the Australian Institute of Architects has just moved into its new Melbourne headquarters. Developed by the Institute itself, this skinny, 22-storey office complex has embraced a total carbon modelling process that measures both the embedded and the operational carbon footprint across material, energy, transport and waste functions for the life cycle of the building. From here, we fly across the Pacific, landing at LAX’s Tom Bradley International Terminal – a brand new airline hub whose design evokes the surf of the nearby ocean. I hope you enjoy reading this edition of Commercial Design Trends as much as we did putting it together.

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And the winner is... ASB North Wharf, the worthy recipient of multiple architectural awards across the ditch. It’s innovative, it’s productive, it’s healthy, it’s a financial success... and it was designed by a Australian firm.

Casual social interaction between workers, and a high level of transparency to clients were important concepts in the design of a national headquarters within the WorkZone office campus in Perth.

The Tom Bradley International Terminal is the largest public works project in the history of Los Angeles. It has a volume of 111,484m2, and its construction kept 9900 workers employed over 6.5 million man-hours.

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SOCIAL AGENDA A new wave of office buildings looks at design in terms of responsibility to workers, visitors – even passers-by

WORDS TO COME WORDS “Im quia veliqui ut lam qui necto te nimusam usciis experestrum rernatiorit prehentis quis madelliam sint estiscieni blam.”

Project Three35

Location: Christchurch

Architect: Jasmax

BEST FOOT FORWARD The new Three35 mixed-use development on Lincoln Rd Christchurch provides visual interest to the street and defines a green, social space for citizens



Preceding pages and below: The Three35 mixed-use precinct by Jasmax presents a dramatic face to the street. The project comprises two near-identical buildings enclosing a green courtyard with a carpark building tucked discreetly behind.

In the three years following one of New Zealand’s most significant natural disasters, Christchurch architects have had to bring fresh focus to their designs. Expansive, versatile floorplates and energy efficiency are ever key drivers, but now resilience, social-mindedness and a quest to reanimate the city streetscape are also part of the agenda. Three35, by Jasmax with architect Richard Hayman at the helm, comprises two, three-storey mixed-use office-and-retail blocks and a discreet, highly automated garage at the rear. “The vision for this job was to create a desirable office-and-mixed use precinct that responds well to, and enhances, its local context,” says Hayman. “Lincoln Road is a main arterial route in and out of Addington, an area of flux both pre and post quake. “The precinct has a central, 100m-long street presence and a commanding corner position in this emerging inner-city suburb. In response to the prime setting, the decision was made to challenge set-back rules to create a higher quality street environment. This move would also free up a quarter of the site for usable outdoor space. “With this approved, we designed the precinct as two similar rectilinear office blocks, and pushed these to the front of the site. This arrangement allows the life of the building occupants – whether offices or retail – to engage with the street. The simple forms also result in large, flexible floorplates.

The carpark building is tucked in behind, with vehicular access from a side street. This contrasts the more traditional model in the area, where the building is set back, presenting the rather utilitarian sight of parked cars to the street.” The greater design picture for Three35 was to contribute to the social fabric of the community. To this end, the area between the buildings was utilised as an internal grassed courtyard, a facility previously lacking in Addington. There are no gates, and passers-by, as well as workers from both buildings, are encouraged to use the open space. To create a strong architectural presence, both buildings have angled front facades, presenting changing aspects when viewed from different directions. Tall windows and doors at ground level offer glimpses into offices or access into retail spaces. Three35’s impressive black facades are made even more dramatic by a brise soleil – a series of vertical and horizontal black powdercoated aluminium fins applied to the curtain wall facade. This functions as an aesthetic link that ties the two buildings together and provides passive shading. The dramatic livery is continued in other ways, too. Central lobbies are clad in black-backed glass. Set beside these, internal social stairs are highly visible from the courtyard, further animating the design. These stairs feature a custom laser-cut balustrading that continues the look of the black SEARCH | SAVE | SHARE AT


Facing page:Reception lobbies on both buildings face the central courtyard. Exposed stairwells alongside these act as wayfinding elements. Below:The building footprints are inverted versions of each other. Together they define the paved courtyard with raised lawn.

expanded aluminium mesh, which is used as a screening device to encase fire egress stairwells. The carpark structure behind is encased in a galvanised steel grating system that will eventually be screened by climbing plants. “Scale was naturally a major consideration in the project,” says Hayman. “The office buildings are in proportion to the size and massing of their neighbours, and both have views over the top of the split-level carpark facility.” The construction of the buildings is as innovative as their aesthetic presence – driven by the need to

protect the structures in the case of future seismic activity. Both have a piled foundation system with diagonally braced steel frames. “The frames feature removable bolted links that dissipate energy in the bracing during a significant seismic event. The linkages can be unbolted and replaced – much like an old-fashioned fuse wire – returning the buildings to sound working order.” “Another key part of the low-damage design was to isolate ceiling systems, which in previous events had rubbed up against other components and caved in, obstructing access to interiors.”



The brief for Three35 required full compliancy with a 4 Star Green Star benchmark, although this accreditation has not yet been pursued. A raft of green elements include passive control over the sun, utilising the brise soleil, and high-efficiency, argon-filled double glazing to retain warmth in winter. The buildings’ adaptable floorplates and emphasis on encouraging the use of stairs are other sustainable factors. Eco-friendly elements, such as low-flow water fittings, LED sensor lighting and VOC-free materials feature throughout. The green walls for the car park and the use of permeable components in the landscaping to enable rainwater recycling are other Green Star pluses.



Jasmax also completed four integrated fit-outs, including two for principal tenants MediaWorks and Moore Stephens Markhams. Part of the prescription for ground-level tenants determined that furniture would not set against external walls – to help make the interiors attractive from outside. Natural timbers feature on the interior, and for MediaWorks, vibrant polycarbonate-enclosed spaces offer visual interest when viewed from the street. Exposed ceilings add a touch of industrial chic. The fit-out for accountancy firm Moore Stephens Markhams, has a refined demeanour. Clean, bright surfaces and frosted glazing create the professional aesthetic the company required.

Below left The high-visibility staircases provide continuity between buildings and encourage the use of stairs, rather than elevators. Facing page:Exposed ceilings and natural woods feature in the MediaWorks fit-out. Contemporary polycarbonate screen walls offer notes of vibrancy, appreciated by staff and passers-by alike. The steel structure, with its removable steel fusible links, is on show in the reception – a reminder of the building’s high-tech makeup.



This page:Cool and restrained, the fit-out for accountancy firm Moore Stephens Markhams on the top floor of one building was also undertaken by Jasmax. Story by Charles Moxham Photography by Jamie Cobel

Project:Three35, Christchurch Architect:Richard Hayman NZIA, Jasmax Interior designer:Alasdair Hood NZIA, DINZ, Jasmax Courtyard design Mike Thomas and Rob Lawry, Jasmax Landscape Architects Developer:Cadaques Investments Ltd Construction company:Armitage Williams Construction Civil engineer:Ruamoko Solutions Mechanical and electrical engineer:Cosgroves Quantity surveyor:Rawlinsons Earthworks:Taggarts Excavation; Texco Landscaping:Morgan and Pollard Cladding:Glass from Metro GlassTech, Alpolic panels from Mitsubishi Roof:Metal profile Veedek from Dimond Facade design and construction:Aluminium by Alutech Glazing system:Structural flush curtain wall by Alutech 14


Security:ProtĂŠgĂŠ from Cactus Signage:Horton Signs Balustrades:Custom perforated metal with timber handrail by Canterbury Balustrades Flooring:Interface carpet tiles from Dominion Flooring Wallcoverings:Back-painted glass in lobbies Ceiling:USG suspended ceiling Lighting:Philips, Arnold Jensen Electrical Air conditioning:Beattie Air Conditioning, Mitsubishi Furniture:Lobby furniture by Unison Workspaces Exterior exposed aggregate concrete:Firth pavers by Allways Paving save | share | video | images Search 43886 at



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Trends 30/06

Project ASB North Wharf

Location: Auckland, New Zealand

Architect: BVN Donovan Hill with Jasmax

AND THE WINNER IS... The radical design of the new ASB North Wharf in Auckland is not only turning heads, it’s also winning awards, having just picked up the New Zealand Architecture Medal and the Supreme Award at the Property Council NZ Rider Levett Bucknall Awards

Below:ASB’s new headquarters dominates the rejuvenated Auckland waterfront. Following pages:Looking across the central atrium, there are more than 15 themed ‘neighbourhoods’ with no offices or cubicles.

ASB North Wharf was never going to be a one-dimensional project. Right from the outset all parties involved had a shared vision to make this building transformational, and in doing so, raise the stakes for future commercial office developments. Providing innovative facilities that create a healthier and more productive work environment was essential. There was also a need to have a building fabric that would seamlessly integrate with advanced operational systems technology. And the building needed to reflect a long-term commitment to nurturing a sustainable community within Wynyard Quarter – the team in fact set out to create an international benchmark for sustainability. All these factors have been recognised by judges in two major awards – ASB North Wharf has picked up the New Zealand Architecture Medal and took out the Supreme Award at the Property Council New Zealand Rider Levett Bucknall Awards. And the judges are quick to point out that the benchmark facilities and sustainable design initiatives have not been at the expense of good architecture. ASB North Wharf celebrates both the maritime history of the location, and the textural nuances of the Hauraki Gulf’s pohutukawa-wreathed coastline. The building capitalises on the spectacular waterfront views and north-facing aspect. The vibrant interior landscape follows an informal campus format, and is furnished to create synergy between the many task-based work environments and the occupants’ daily routines. Designed from the inside out, the fit-out is based on a village concept with themed “neighbourhoods”, and a range of communal spaces. These provide a choice of work settings and inspire a sense of identity, community and transparency, in line with the work aspirations of ASB. Key environmental strategies include the atrium, which functions as the building’s lungs – fresh air is drawn through the building via a unique funnel. Both the funnel and a light reflector on the roof capture and reflect natural light deep into the building. A distinctive sunscreen, referencing the native pohutukawa tree, shades the north facade. SEARCH | SAVE | SHARE AT


Below left:A giant roof funnel is an integral part of the building’s fresh-air displacement system. It also acts as a light well.



Below:Innovative use of material is a hallmark of this project. Here, fibreglass ‘Aquapods’ act as break-out meeting rooms.



LEADING BY EXAMPLE With its engaging facade, open floorplates and 5 Star Green Star rating, the new Melbourne office for the Australian Institute of Architects sets an appropriate benchmark for commercial building design



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Project 41X – Australian Institute of Architects office

Preceding pages and left: Tapered concrete fins and cutaway elements define the facade of 41X, the new Melbourne office of the Australian Institute of Architects. Designed by architecture firm Lyons, the building is an abstract reference to the established solid stone buildings in the precinct. The green anodised aluminium panels acknowledge the sustainability focus – the building has a 5 Star Green Star rating and a 5 Star NABERS rating. Below:An open staircase that can be seen from outside the building links the different levels of the institute’s tenancy. It also helps to animate the exterior and enhances the connection with the street.

Location: Melbourne, Victoria

There was a lot of interest in what was proposed for this prime corner building site in the heart of Melbourne. And it’s scarcely surprising – the site at 41 Exhibition Street was owned by the Australian Institute of Architects, which was looking to develop a new commercial building. Architect Adrian Stanic of Lyons, the firm that won a competition to design 41X, as it is known, says the word “exemplar” was used a lot during the design phase. “The institute was looking to create a benchmark office building that would achieve architectural excellence with a commercial performance to match,” Stanic says. “In addition, it became increasingly clear as the design evolved, that the building could set a precedent for sustainability.” Institute president Paul Berkemeier says that not only was the institute wanting to set serious design benchmarks, but the development also needed to be a prudent investment that would stand the institute in good financial stead for many years to come. However, at 330m2, the size of the site was a challenge for the design team. Stanic says compared to other city blocks, it is a postage stamp. “But it is a premium location amid a lot of solid

Architect: Lyons

stone and concrete commercial buildings, and in a precinct close to prominent public heritage buildings, such as Parliament House. We chose to reference this typology in the materials and form, but in an abstract way. Cost considerations meant we couldn’t build in stone, so we chose concrete.” The architect says the design of the building was subsequently conceptualised as a large, solid block, with large pieces carved away to reveal the programme behind. “The glass and concrete create a simultaneous sense of heaviness and transparency. The institute wanted the building to engage with the public – it was important that this wasn’t seen as a purely commercial building. It needed to have a human scale that would reflect the institute’s desire to be connected both to its members and the public. The carved, sculpted form of the building facilitates this openness with the street – on the corner of the building, for example, there is a clear view of the open stairway within the institute tenancy.” Stanic says the design strategy was to ensure openness of the entry lobby to the corner, so it would become contiguous with the street. “Institute members and the public can walk



directly off the bluestone pavement, into the bluestone lobby and up the bluestone stairs.” The tower itself features a series of precast concrete fins that relate to the performance of the building. The fins provide passive sun control, screening the sun in the early morning and evening. Yet their tapered profiles ensure the expansive views can still be enjoyed from inside. “The concrete blades recreate a chiselled face to the exhibition street frontage, like a sculptor’s block that’s ready to be carved,” says the architect. “When they are viewed obliquely, they appear



to join up as a solid masonry face, with a rough, textural surface.” Stanic says the ribbon-like green anodised aluminium on the faceted carved areas references the sustainability initiatives – the building has a 5 Star Green Star rating and a 5 Star NABERS energy base building rating. To maximise the floorplates, the building core is off to one side, and heavily engineered to compress the space required. For example, two stairs occupy one shaft in a scissor-stair arrangement, and the need for a pressurisation shaft was avoided by

Below left:Bluestone features on the stairs and in the lobby, as well as on the footpath outside. Below:Natural light is maximised on the interior. So, too, are the floorplates. To provide an uninterrupted floor area, core services are to one side of the building.

having a fan intake system on the facade that supplies fresh air directly to the stairwell. Stanic says the size of the floorplates makes the building unique in the Melbourne city market. “It enables owners or occupiers to create their own identity on an entire floor that has a relatively small footprint. This creates a distinctive vertical business community on this city corner.” The building is designed to be carbon neutral within 30 years – the savings made in that time will offset the energy used to construct the building, taking all elements into account.

Berkemeier says the institute embraced this approach, developing a sustainability charter for the building which is believed to be the first of its kind in the office market. “The charter binds owners and tenants to the sustainability agenda for the building to monitor and, where needed, change behaviours. On an annual basis, the measured operational carbon footprint of the building’s tenants will be independently assessed. Combined with the quantified embodied carbon of the physical building, the operational carbon will be offset annually.”



Left:Tapered fins provide solar protection from the direct sun, while still allowing views back to the city. The south side of the building is fully glazed to gain the most natural light. The building is designed to be carbon neutral within 30 years, and the operational carbon footprint will be assessed annually.

Project:41 Exhibition Street (41X), Melbourne Developer:Australian Institute of Architects Building architect:Lyons Interior architect, institute levels:Hassell Structural and civil engineer:Winward Structures Building services engineer:Aecom Project manager:DPPS Construction company:Hickory Group 28


Story by Colleen Hawkes Photography by John Gollings

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Project 15 Green Square Close

Location: Fortitude Valley, Queensland

Architect: Cottee Parker Architects

NEW KID ON THE BLOCK One of the last buildings to go up in an established precinct outside the CBD, this low-rise commercial tower has a strong identity, with a distinctly urban edge

A lack of building sites in the CBD has given rise to many new developments on the fringe of our larger cities. These locations are often more cost effective, but there is another spin-off – a new urban architecture has evolved, whereby buildings are more hard-edged and a lot less conventional. This new commercial building in Green Square Close, on the fringe of Fortitude Valley in Brisbane, is a good example. Cottee Parker Architects won a design competition for the building, which was



intended as a flagship project for the developer, the City of Brisbane Investment Corporation. Architect Adam Pope says for this reason, the building needed a strong identity. “While the design needed to have a commercial CBD feel, this building was never going to be a big glass box,” Pope says. “It had to be more detailed, and it needed to have more of an urban edge that would reflect the fringe location, next to a major railway corridor.”

These pages:This new commercial building outside the Brisbane CBD, on the fringe of Fortitude Valley, sets a new benchmark for the City of Brisbane Investment Corporation. Designed to achieve a 5 Star Green Star rating, 15 Green Square Close features a mix of horizontal, vertical and wraparound solar screens.

The architect says it was also essential to make other aspects of the building appealing to future tenants. The gross lettable floor area had to be maximised; the floorplates needed to be unobstructed, and have the potential to be linked with open internal stairs; and the building needed to achieve a 5 Star Green Star rating. To this end, solar screens and blades articulate the exterior, responding appropriately to their respective orientations. The design avoids monotony by mixing vertical blades with horizontal precast concrete shades and smaller bright orange



screens that wrap the windows in an r shape. This wraparound motif reappears in various forms throughout the building – even the roof canopy wraps down the side of the building on the southfacing facade. This elevation features bands of textural precast concrete, chosen to present a suitably robust face to the rail corridor. The concrete also provides acoustic insulation. “On the other side, we ensured that the screens are positioned to block the direct sun, but not to obstruct the views back to the city,” says Pope. “We were also mindful that the southwest side of

Below and right:Horizontal bands of textural precast concrete feature on the south side of the building, which faces a rail corridor. The roof also wraps down the building on this side, echoing the form of the orange sunscreens. Lower right:Alpolic aluminium panels wrap the lower three levels, effectively creating a podium, which brings a human scale to the building. The green wall faces a residential block.

Left:Horizontal precast concrete bands on the front facade feature an imprinted design and have a downturn that screens the interior from the direct sun. The entry is enlivened by warm-toned wood panels and a canopy that echoes the design motif and colour of the smaller sun shades. The opening at the right leads to a walkway past retail tenancies at the front of the building. Below right:There is also a living wall on the inside. The entry and lift lobby are aligned with the Green Square pedestrian plaza.

the building is overlooked by a residential block. So we added vertical blades for privacy, and planted a green wall – plants climbing up a trellis help to soften the view for the neighbours.” The design team also introduced a human scale to the lower three levels, which are wrapped in Alpolic aluminium panels so they resemble a podium. Maintaining a strong connection with the adjoining public plaza was another key consideration – the main entry is aligned with an axis leading directly to the plaza. And provision has been made for hospitality and retail tenancies to activate the street frontage. The entry canopy repeats the asymmetrical wraparound motif, with the soffits lined with Prodema wood veneer panels. Within the lobby there is another living wall, and timber fins on the ceiling pick up on the exterior aesthetic, albeit in an abstract way. To meet the 5 Star Green Star requirements,

15 Green Square Close has double glazing, rainwater harvesting, and energy-efficient lighting. Natural light is maximised by a central core and unobstructed floorplates. “The building also provides end-of-trip facilities for cyclists,” says Pope. “In most buildings, these are in the basement, but we have placed the showers and bicycle racks on the ground level, providing access directly off the street. This means cyclists are not mixing with the cars, and it creates a better amenity, with plenty of natural light.” The architect says the building, which has now been sold to The GPT Group, is nearly fully tenanted. Some of the larger companies have opened up the floors with stairs to connect the different levels as anticipated.

Project:15 Green Square Close, Fortitude Valley, Qld Developer:City of Brisbane Investment Corporation Architect:Cottee Parker Architects, Brisbane Construction company:Adco Construction & Building Australia Civil engineer:Robert Bird Group Mechanical and electrical engineer; fire consultant:Norman Disney & Young Quantity surveyor:Gray Robinson & Cottrell Landscape design:Jones Flint & Pike

Cladding:Precast concrete panels; Kingspan trapezoidal wall panel Roof:Stramit Longspan Curtain wall and window systems:Permasteelisa Lift services:Kone Heating and air conditioning:CoolMaster

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Story by Colleen Hawkes Photography by Scott Burrows



Market sector Office renaissance post GFC

ASIA PERFORMS WELL Asian office property markets were fairly resilient during the GFC, with most markets rebounding within a short period – Leslie Chua, executive director Asia, IPD



Below:Distinctive new Grade A office developments in Singapore include South Beach Tower, due for completion in the fourth quarter of 2014. More than half the space in the building is under negotiation and RaboBank has already secured approximately 2800m2.

With the onset of the global financial crisis (GFC) in late 2007, financial markets were faced with an unprecedented shock. While the crisis had its roots in the US mortgage market, the flow-on effects through the rest of the financial system were substantial, and commercial property was not exempt. Commercial property was impacted on two fronts. Within capital markets, at the onset of the crisis in 2008 and 2009, liquidity dried up, borrowing costs skyrocketed, and many investors were forced to deleverage. At the same time, the underlying tenant demand for commercial property was hit as businesses and consumers tightened their belts. The combined effect was a sharp fall in the value of many commercial property assets. Income returns offered some protection, but in many cases the fall in capital values was large enough to push total returns into the red. After 2009, the dynamic shifted as the initial effects of the crisis wore off and liquidity started to return to the market. In response to the financial crisis, policy makers globally cut interest rates and encouraged liquidity with schemes such as the Troubled Asset Relief Program (TARP) and Quantitative Easing, while at the same time cutting interest rates to historically low levels in an effort to spur growth. The resulting excess liquidity and low interest rate environment has seen investors become increasingly focused on income yield, a fact which has benefited Asian office markets. From 2010, the relatively attractive yields on offer for Asian office property, together with relatively stronger underlying economic growth, have caused an inflow of international capital, which has helped support returns. Since 2010, this capital inflow has been the primary driver of office property returns with yields firming over most markets. The impact of the crisis was most pronounced in the office markets of North America and Europe where a long run-up in commercial property values had encouraged borrowing and speculation. Asian markets were shielded to some degree by more

resilient domestic demand, lower borrowing, less institutionalised commercial property markets and less speculative development. Figure 1 below demonstrates how the office property investment market cycle in Asia differed from that in the United States and the United Kingdom.

Figure 1: In both the American and Asian markets, returns fell from 2007 and bottomed out in 2009. However, whereas returns in the United States fell sharply for two years before recovering, returns in Asia softened in 2008 and were only marginally negative in 2009. The UK downturn was also quite pronounced but it preceded the other two markets by about a year. Within Asia, the experience was different across national markets. In Korea and Taiwan, total returns were never negative. Returns in Korea fell sharply from almost 27% in 2007 to just over 5% in 2008, but stabilised in subsequent years. Taiwan’s returns fell in 2009, but bounced back strongly in 2011 to double their pre-crisis level. These markets benefited from close links to the Chinese economy and strong domestic growth. Both these factors kept the underlying demand for office space high, which in turn supported returns. In the remaining markets, returns did dip into negative territory at some point following the collapse. Hong Kong was somewhat exceptional in that a trough was reached in 2008, but a sharp SEARCH | SAVE | SHARE AT


rebound has seen returns outpace almost all other Asian economies in the ensuing years. Like Korea and Taiwan, Hong Kong’s close ties to mainland China helped drive stronger domestic growth, which again supported office returns. Unlike Hong Kong, returns in the remaining Asian markets bottomed out in 2009, or 2010. The return profile of the Australian, New Zealand and Singapore markets followed a similar trend during the crisis, while Japan suffered the largest falls of any Asian market, and also posted the weakest recovery. These markets were generally more exposed to western capital markets and thus were more vulnerable to the downturn. In Japan’s case, an aging population has been a long-standing problem that drags its economic growth. Figure 2 examines the relationship between property returns and the macroeconomy and how this varies across regional markets. Over the period 2006 to 2012, office markets in Asia generally outperformed the local economy, but those markets with the strongest underlying domestic growth witnessed the best performance. Overall, Asian office property markets were fairly resilient during the financial crisis. Returns in most markets were impacted, but not to the same extent as markets in North America and Europe. Where returns in Asian office markets did enter negative territory, the contraction generally lasted less than a year, with most markets rebounding to some extent due to an inflow of capital seeking the high returns



Below left:The Hong Kong skyline will continue to change over the next six years, but many office towers will be in new hotspots. Shown here is Gateway Towers in Kowloon. Below:Shanghai Tower will deliver much needed supply to the Pudong office market in China, when it reaches completion in 2015. Right:Platinum Park is a distinctive new integrated development in Kuala Lumpur designed by leading UK firm Foster + Partners.

Figure 2: on offer from Asian office property. The data used in this article comes from IPD’s Pan-Asia Return Indicator (PARI), which contains data for more than 4000 assets in nine countries worth over US$270 billion. These assets cover a broad range of commercial property types from 2006 to present. For more information, visit save | share Search 44083 at

Project Tasti head office

Location: Te Atatu, Auckland

Architect: Leuschke Group

WITH A SUBURBAN EDGE The design of this new head office for a food manufacturer pays respect to the locals – the facility is within an industrial area wedged between residential zones



Below:With its long, low profile and landscaped entry, the new head office for food manufacturer Tasti looks right at home in a residential neighbourhood. The textural urethane art wall at the entry tells a story about the history of the company.

Success in manufacturing invariably leads to expansion. But it’s not just space issues that can be addressed with new premises – buildings can also be designed to reflect changing work practices and company values. Tasti, a confectionary manufacturing business founded in the 1930s, commissioned a new head office to replace the two small Lockwood houses it had been using for many decades. Architect Colin Leuschke of Leuschke Group says the company had outgrown its office premises, but there was ample land available on the site to create a new building that would link to the manufacturing facilities.

“While this has been an industrial zone for many years, the site is a little unusual in that it has residential neighbours across the road and behind,” says Leuschke. “Consequently, the building needed to blend in as much as possible. It needed to have a low profile and not announce its presence as a large industrial concern. We wanted to break down the building visually, and give it a human scale so it would not be too imposing.” To this end, the design team created a long, low building with large white V-angle structural supports. “These elements provide a degree of separation between the people on the inside and those on the outside. We also terraced and landscaped the entry



so it is very understated and almost domestic in scale. In a sense, this could almost be a very large family home.” Textural elements feature strongly – a urethane art wall created by Unique Ltd forms a backdrop to the landscaping. The wall, which references the history of the company and its people, extends through to the interior where it incorporates irregular cutouts backlit by LED lighting. “The visuals were a key part of the brief from the company, which values its staff highly,” says Leuschke. “It was essential to make this a pleasant, inviting workspace that would help the firm attract and retain good workers.” The architect says the visuals were also a way to inject a little humour into the design. The reception desk, for example, resembles a giant muesli bar, with nuts and seeds embedded into the front panel. A black backdrop, which relates to the Tasti corporate colours, enhances the visual drama. In terms of the interior layout, the main organising element is a wide corridor that forms the spine of the building, connecting all the offices with the cafeteria, staff facilities and the factory beyond.



“This circulation zone, which is defined by a long timber wall made from recycled rimu and matai, functions as an architectural street,” says Leuschke. “It links every aspect of the Tasti business and encourages interaction between employees. All the offices open to the street.” Natural light pours into the street, through a band of clerestory windows. Small V-shaped structural steel supports beside these windows echo those on the other side of the building. But the interior supports are black so they stand out against the windows and the white ceiling. “We brought the garden inside at the far end of the street,” says Leuschke. “Workers walking to and from the cafeteria are exposed to greenery and natural light –– it offers an escape from the inside of the factory.” Screens and contemporary furniture in the cafeteria also enliven the work space, with a large orange screen helping to organise any queues that may form. Leuschke says the office is a very dignified, egalitarian working environment, one that is both grounded and engaging for the workforce.

Below:Black and white – the Tasti corporate colours – make a dramatic backdrop to the reception desk, which is modelled on a giant muesli bar. Right:The textural urethane art wall extends through to the reception area, where it is enlivened with illuminated cutouts and a large video screen. The wall was created from large moulds made at a tidal beach north of Auckland. Lower right:A long architectural street forms the spine of the building, linking all the offices and meeting rooms to the cafeteria and factory. The 90m2 wall features matai and recycled rimu timber salvaged from an 1890s villa.

Preceding pages:A large orange screen with round cutouts is a distinctive feature of the cafeteria. To enhance the light, bright ambience, a garden wraps around three sides of the space. The gardens can also be viewed from the internal street, which is glazed between the new building and the factory behind. The ceiling features sculptural wood veneer panels that provide acoustic insulation. Left:The new building incorporates meeting rooms and a training room (lower). The wall of graphics bookmarks the end of the internal street. Top right:Other whimsical graphic elements include Tasti food recipes reproduced on walls. Lower right:Because the firm employs many shift workers, considerable attention was given to bathroom facilities. Contemporary fixtures and fittings reinforce the emphasis on cleanliness and good hygiene.

Project:Tasti head office, Auckland Architect:Colin Leuschke, Leuschke Group, Auckland Civil engineer:Brown and Thomson Mechanical and electrical engineer:Electrical Consulting Services (ECS) Quantity surveyor and project manager:MPM Projects Fire consultant:MacDonald Barnett Partners Construction company:Macrennie Commercial Construction Earthworks:AHS Construction Services Landscaping:Natural Habitats Cladding:PBS Eterpan; Express Clad Roof:Prefinished Dimond Styleline Door and window joinery:Bradnams Nalco Hardware:Sopers McIndoe Signage:Brave Design Security system:Integrated Security services

Art wall, timber feature walls and reception desk:Unique Ltd Partitioning system:Alpha Interiors Carpets and vinyl contractor:Master Kelwin Paints:Resene Ceiling:Armstrong Dune ceiling tiles by Alpha Auckland Veneers:Decotech panels by Alpha Auckland Lighting electrician:Caldwell Levesque Heating and air conditioning:Chillex Services Story by Colleen Hawkes Photography by Jamie Cobel save | share | images Search 43879 at




LOOKING LIVELY Increasingly, modern office interiors are defined by floorplans that encourage social interaction

Project WorkZone

Location: Perth, WA

Interior designer: Hassell

OPEN EXPRESSION The comprehensive fit-out for the new Perth headquarters of a national construction company reflects interior design values of interaction, engagement and connectivity



Preceding pages The large stairway void, centrally located hubs and impromptu meeting spaces encourage staff movement vertically through this company headquarters. Vibrant furnishings bring splashes of colour to otherwise neutral tones. Hassell undertook the comprehensive fit-out. Below:The reception has an open feel. Below right:Plans show the dynamic of the central stair core and the mainly open-plan layout.

Casual social interaction between workers, and a high level of transparency to clients are important concepts in contemporary office design. A central circulation element is one way forward. When national property group Charter Hall first began the development of WorkZone, on the fringe of the Perth CBD, Hassell was asked to undertake the interiors. Interior designer David Rey says relocating any multifaceted company to a single address brings the opportunity to use the building form and interior design to actively promote teamwork. “A key objective of this project was to celebrate the potential of enhancing people and client

engagement,” he says. “In addition, we wanted the interiors to have a high level of transparency. It was also important to achieve a 5 Star Green Star rating for the interior.” Rey says the project was an integrated fit-out – Hassell worked with the building architect Fitzpatrick+Partners to tweak the plans before construction got under way. This was carried out by Broad Construction Services. Changes included removing internal walls at ground level so visitors at reception could look across and through adjacent hubs and informal spaces. This sets up a feeling of openness that continues on the floors above.

Sixth floor

Third floor

Ground floor



Another change was the introduction of a wide staircase void to connect all levels of the building. This central element provides vertical vistas from one level through to the next, encouraging staff movement between floors. The resulting connectivity promotes the office as one facility, rather than as a set of separate floors. Glass elevators add to the open aesthetic, while setting services towards the core, and the choice of low desking ensure views right across each floor. Building on the idea of connection, social hubs, serving casual drinks and cold food, are located



beside the stairwell on each floor and there are also informal meeting zones in the same proximity. The hubs have their own individual aesthetic and also act as wayfinders in a building where the interiors floor-to-floor look quite similar. With the reception and building services at ground level, floors one to five are a combination of open-plan desking, executive and managerial offices, and meeting rooms. The sixth floor is intended for client engagement, with meeting rooms, executive spaces and training facilities. All three training rooms have operable walls that

Below:This high-tech meeting room features formwork that suggests the coming together of building forms to create enhanced connectivity. Facing page:The generous use of eucalyptus veneer and plantings brings warmth to the interiors and is a visual reminder of an eco-friendly focus.

pull back to create one large event space. The other side of this level is for staff socialisation and dining facilities. All hot food and dining options for staff are on this top level, encouraging staff to gravitate towards this space, says the designer. “The decor also facilitates individual disciplines coming together. A motif of joining and interlocking elements runs through the offices. It can be seen, for example, in the geometric forms on the conference rooms, which are much like a 3-D puzzle, and in the plank composition of the joinery on all levels.” Repeating the blade ceilings and a consistent

use of eco-friendly eucalyptus veneer add to the sense of connection between floors. To achieve the coveted 5 Star Green Star rating, Hassell addressed everything from indoor light quality, including setting workspaces to the perimeter, to specifying low-VOC surfaces. In addition, a high material efficiency was achieved, in part by constructing most joinery off site. Other green aspects are super-efficient chilled beam air conditioning, energy-efficient whitegoods, low-flow tapware and the designer’s choice of Geca-accredited furniture.



Below:Each staff hub has an individual feel. The glass elevators admit natural light and offer views to the courtyard.

Project:WorkZone, Perth Developer:Charter Hall Architects:Fitzpatrick+Partners Interior designer:Hassell, Perth Construction company:Broad Construction Services Mechanical and electrical engineer: Aecom and Norman, Disney & Young Quantity surveyor:Turner & Townsend Fire consultant:Wood & Grieve Engineers Window and door joinery:Sapphire Aluminium Wideline System Hardware:Madinoz door handles, Raven door seals Blinds:Originals 982 by Verosol, Mikor blind pelmet Tiling:Classic Roman Vein cut travertine from Attica Stone Flooring:Striation and Monochrome carpet tile from Interface Flor Ceiling:Slot decorative acoustic ceiling panels and timber 54


slatted ceiling, both by Ultraflex Veneers:Eucalyptus veneer on all joinery, from George Fethers & Co Paints:Dulux Lighting:Thorn, Tom Dixon, Halo, Zumtobel, Luma Lighting Workstations:Custom desks by Zenith Interiors; storage by Castledex Office chairs:Scope task chair by Burgtec Furniture:Style Craft, Table & Chair, Living Edge, Design Farm, Zenith Kitchen equipment:Fisher & Paykel, Smeg, Clark, Simply Stainless save | share | images Search 43895 at

FULL PROTECTION Exposed LVL timbers, cardboard tubes and steel shipping containers that form part of the Transitional Cathedral have been treated with a variety of Resene paints

It may be called the Transitional Cathedral, but the new cathedral for Christchurch has been built to the codes required for a permanent structure, and this extends to the finishing detail. Resene paints were specified throughout the building. These include the use of Aquaclear waterborne urethane varnish, which enhances and protects the exposed LVL timbers in the Trinity window at the front of the cathedral. The cardboard tubes were finished with a Resene waterborne glaze. As the name suggests, Resene Clearcoat UVS provides a protective glaze that filters out harmful UV light. This helps to protect the cardboard and minimises fading. Resene Uracryl 402, a high-performance, semigloss paint, was used on the interior and exterior of the steel shipping containers that form the chapels and administration offices. This highly durable paint is specially formulated to resist abrasion, moisture, petroleum solvents and oils. The paint was tinted to Resene Eighth Ash, a limed stone-grey shade. Plasterboard walls in the cathedral feature Resene Zylone Sheen, a durable, waterborne paint also tinted to Resene Eighth Ash. Trim and doors are painted in Resene Lustacryl, a waterborne enamel, tinted to the same shade. Both these paints are low-odour, low-VOC and Environmental Choice approved. For more information, or to receive a copy of the latest colour fandeck, contact Resene, phone tollfree 1800 738 383 or visit a Resene ColorShop. Website: save | share Search 43901 at

Above:Cardboard tubes were finished with Resene Clearcoat UVS, a waterborne paint with a UV-protective glaze. SEARCH | SAVE | SHARE AT


Project Envision Control Centre

Location: Shanghai, China

Interior designer: M Moser Associates

SYNERGY AT WORK Sleek, aerodynamic forms and a large, open floorplate create a free-flowing workplace for a company in the smart wind turbine business



Below:Symmetry defines the design of the new control centre for Envision, a global company specialising in wind turbine technology. The office, designed by M Moser Associates, brings together engineers, sales people and administration staff from several different locations. The entire wall at the end of the office can be transformed into a trio of giant projection screens.

A problem shared is a problem halved – it’s a saying that resonates with the staff who get to enjoy the workplace featured on these pages. Interior design specialist M Moser Associates designed the Envision Control Centre to enable a high level of collaboration and problem solving, says director Cynthia Chan. “Envision, a world leader in the smart wind turbine business, required a new control centre for engineers, sales people and administration personnel,” she says. “Because the company is global, the centre was to be staffed 24/7, with the company requesting a specific control room within the office, for engineers dealing with problems in the field.

“However, the idea of engineers being locked away in the dark by themselves didn’t seem to be the best way to meet their needs. They required better access to their support teams, and we felt they needed a light, bright workplace they would be happy to come to and proud to show off.” Chan says the design team expanded the notion so the entire room became the control centre. Information on computer screens can be projected on a large display wall at the end of the office, which everyone can access, and everyone can see. “When an engineer has a problem, they can throw it open to the entire office, so everyone can help resolve it.”



Douglas Newkirk of M Moser Shanghai says the concept of collaboration also influenced the way the office was organised. “We were inspired by the physics behind air movement – something that relates directly to Envision’s business. We wanted to create a connective flow, just like different airstreams can smoothly come together into a single flow, and then disperse again. The idea was to design a space that offered freedom of movement, and would accommodate the way people move around and collaborate, both as individuals and as teams.”



The 75 staff members within the office, which is part of a much larger workplace, are seated at curved, custom-made workstations with integrated CPUs and monitors. Design associate Manuel Garcia says the glow of blue LED lighting and touches of light maple veneer are the only touches of colour on the pristine white furniture. “Integrating the equipment into the desks enhances the evocative, aerodynamic form of the workstations,” he says. “A long meeting table on the centre of the office, directly in front of the giant wall screens, also has an aerodynamic form.”

Below left:Workstations, custom designed and manufactured by M Moser Associates, are white, with integrated screens. Their sleek, aerodynamic design references the form of a wind turbine. The layout of the office itself also creates a free-flowing space that encourages movement and collaboration. Right:A large conference table defines the key axis of the office. Workstations have sightlines in all directions.

Top left:The laboratory within the office features a curved glass wall that distorts reflections from the LED cove lighting. Lower left:A high table with green bar stools forms a breakout area for workers. Below:Exposed portions of the ceiling mimic the shape of the workstations below. The fins in the ceiling are reminiscent of air intake grilles. Below right:Each team has a central meeting table with a large integrated screen. Story by Colleen Hawkes Photography by Vitus Lau

This area has a commanding presence, and forms an ideal backdrop for the CEO to speak to all the workers via an online link, says Chan. Teams are clustered, symmetrically, either side of the central table, and all workers enjoy sightlines that extend across the space in every direction. In addition to the workstations, each team has a central pod – a small meeting table with a large integrated screen. These tables are primarily used for instant, real-time collaboration with field technicians. Numerous additional digital projection and LED screens mounted on the office walls ensure each worker has continuous access to the data streaming in from Envision’s wind turbines around the world. The low ceiling height and the position of existing sprinklers presented a challenge for the design team. Newkirk says they chose to make a feature of the ceiling, so it would further accentuate the idea of a fluid, flowing space. “We wanted a ceiling that would create an impression of light penetrating through clouds,” he says. “The design uses softly curving white drywall

that envelopes an array of coves that provide indirect LED lighting. Other areas of the ceiling were left exposed, but are adorned with linear fins that correspond to key elements of the floorplan. These mimic the look of air intake grilles, and help to conceal the sprinkler system.” Chan says the design team took care to minimise reflections, with a lighting consultant contracted to oversee the project. In other areas, such as the glazed laboratory, there was a deliberate move to play with the reflective quality of the strip lighting. “The laboratory, which frequently serves as a wind tunnel, features a curved glass wall that bends the reflections in a playful way,” she says. “This environment is also saturated with integrated technologies. Ensuring that all this technology complemented the design, and it all worked together seamlessly and intuitively, was probably the biggest challenge of the project.”

Project:Envision Control Centre, Shanghai, China Interior designer:M Moser Associates – Cynthia Chan, Manuel Garcia, Douglas Newkirk Fit-out company, mechanical and electrical engineering, fire consultant:M Moser Associates Lighting consultant:Studio Illumine Audiovisual and IT team:M Moser Associates – Hong Jiang, Peter Zhang

Hardware:GMT Flooring:Vinyl tile from Shanghai Chu Rong Industrial Co Wallcoverings:Fabric by Titch Ceiling:Metal louvres by Armstrong Workstations:White plastic laminate with Corian edging on MDF, by M Moser Associates Office chairs:Haworth Zody Additional furniture:Posh

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Project MainPoint Apartments

Location: Melbourne, Vic

Architect: Doig Architecture

WELL APPOINTED MainPoint Apartments in Melbourne benefits from practical, sustainable bathroomware fittings from specialist GWA Bathrooms & Kitchens

These pages:MainPoint Apartments has 350 apartments in one bed-plus-study, two-, and three-bedroom configurations. GWA Bathrooms & Kitchens supplied a full schedule of fittings for the project, including tapware, sinks, toilet suites and a range of bathroom accessories.

MainPoint Apartments by Doig Architecture comprises 350 units in a variety of configurations. The tower’s developer, Central Equity, wanted one supplier to provide all the bathroom and kitchen fixtures for the entire project. The company brought GWA Bathrooms & Kitchens on board to provide a full range of tapware, sinks, toilet suites and bathroom accessories. Central Equity needed a supplier who could provide product solutions that met the development’s high standards of design, practicality and sustainability, says general manager Ian Carkeek. “Our past experience with GWA Bathrooms & Kitchens meant we were assured the specialist company had the industry know-how and advanced product ranges required for this project.” A variety of product solutions were combined to create the desired look and feel. The Hansa Prado Neu mixer was installed in all kitchens and bathrooms. This combines the function and durability required, with a sleek, understated style. A 4-star 62


WELS rating ensures the contemporary mixer also meets the building’s stringent green criteria. The Caroma Liano semi-recessed vanity basin was installed in all the bathrooms. This is coupled with the wall-faced Stylus Venecia toilet suite and the Hansa Ecojet Neu 3 rail shower. The Venecia toilet is also WELS 4-star rated, while the Ecojet shower features three stream patterns, has a handy integrated soap dish, and is height adjustable. The MainPoint Apartments fit-out shows that GWA Bathrooms & Kitchens can provide total solutions for any commercial or residential project. Comprehensive warranties and dedicated after-sales service are offered on all products supplied by GWA Bathrooms & Kitchens. For more detailed information, visit the website: save | share Search 43872 at

Market sector Urban strategy

URBAN TRENDS With myriad influences at play, public artworks, microclusters and growth incubators are transforming the built environment – David Grant, Place Associates

It is a time of enormous change for the built environment. New sustainability benchmarks, improved technologies, the rise of online shopping and the impact of recessions and natural disasters – just to name a few influences – are forcing dynamic changes to the property industry globally. The Place Report explores the most progressive responses to these influences over a period of 12 months, distilling the most enlightened macro ideas that define how we live, work, eat, shop and play. Here, we highlight four trends from the 2014 report. Culture quarters Art is in more demand than ever across the western world, and it is becoming a symbol of status and power in emerging BRIC countries (Brazil, Russia, India and China). We are constantly seeing more examples of governments, citizens and developers using culture to create memorable experiences, make unused laneways safe and



attractive, and revitalise run-down precincts. It has also successfully been introduced to counteract underuse wrought by natural disaster, economic decline and the impact of suburbanisation. The famous Louvre Museum has created a satellite site in the industrial town of Lens, in northern France. The town, with a population of fewer than 40,000 residents and an unemployment rate three times the national average, has seen 750,000 visitors in the first year of the satellite opening. Closer to home, Gap Filler, a creative urban regeneration initiative that was started in response to the devastating Christchurch earthquakes, has brought vibrancy back to the downtown area. It has also helped to bring people back to local shops. Incubating growth Incubators use a range of strategies, such as lowered rent, mentorship, shared expertise and networking, to increase the amount of dynamic

Above:David Grant, strategy director, Place Associates, reports on leading urban trends that are changing our cities. Below:New Museum in New York City has created the first museum-led incubator, New Inc, for innovative businesses operating the fields of architecture, design, technology and art. Images by Dean Kaufman Right:The town of Lens in northern France has a Louvre satellite gallery that is drawing 750,000 visitors annually. Top and lower images by Iwan Baan; centre image by Hisao Suzuki

work within a single defined area. Incubator facilities, once predominantly found in the tech industry, are now being used by private businesses and individuals within a range of industries. The growth of these new incubators has created hotbeds of innovation in cities around the globe. Tech City in London, UK is a defined area of the city that has actively cultivated a technology focus and attracted investors such as Google, Facebook, Cisco and Intel, as well as a community of entrepreneurial companies. Tech City has grown from 200 businesses at the time of launching (approximately 2008) to 1300 digital companies. More recently, the New Museum in New York City has applied this approach to foster local cross-industry innovation, by creating the first museum-led incubator, New Inc. Invite-only desks are made available to innovative businesses in the fields of architecture, design, technology and art. Urban microclusters Like-minded small businesses and retailers are decreasing risk by sharing low-cost locations and increasing demand through association. While businesses can gain a financial advantage from co-locating with similar niche operators, they are also, en masse, transforming the economic vitality of the surrounding area. A row of former horse stables just off Oakland’s 49th Avenue has become a destination micro community for the Bay Area’s artists and designers. The area lures families and hipsters alike to take in wares from the artists’ open studios. Melrose Market, in Seattle, USA, used the name of an anchor tenant – chef Matt Dillon’s popular



restaurant, Sitka & Spruce – to curate a collection of complementary businesses to strengthen the overall offering. Dillon actually helped curate the other businesses within the building. Mainstream urbanism Consumer expectations are changing as people become more interested, better informed and consequently more opinionated about how public and private spaces are designed, maintained and changed. With more widespread interest, mainstream media have started to embrace the topic. In her eponymous magazine TV host Oprah Winfrey profiled Candy Chang, an artist with an urban design background who is making large transformative public artworks. Candy shared her insights on how to revitalise cities. There has also been an increase in the amount of civic activism in built environment projects, and this can be seen in the emergence of groups such as 202020, which lobbies landowners to increase green space by 20 per cent in 2020. Interestingly local governments across the globe are hoping to channel this interest by opening up two-way dialogue between citizens and developers through websites such as Give a Minute. For more details, contact Place Associates, a property consultancy that creates strategies to position, market and activate places. Website: save | share Search 44084 at

Below:Faux Arcadia by Michaela Cox, supported by Gap Filler, is an art installation in Christchurch. Gap Filler is a creative urban regeneration initiative established following the destructive Christchurch earthquakes. It is administered by the Gap Filler Charitable Trust and aims to temporarily activate vacant sites to make for an interesting, dynamic and vibrant city. Right:Ash Keating, Concrete Propositions is another Gap Filler project created in collaboration with Christchurch City Art Gallery. Image by John Collie, courtesy of the artist and Fehily Contemporary, Melbourne, Australia. Far right and lower:The Arcades (far right), a collaboration between Ryan Reynolds, Andrew Just and FESTA 2012, and Summer Pallet Pavilion (lower) are two other Gap Filler initiatives. The Arcades image is by Jamie Cobel and the Pallet Pavilion image is by Guy Jansen.


NOW TAKING OFF Public works come with responsibilities to the society they serve, including generating revenue

Project Tom Bradley International Terminal

Location: Los Angeles

Architect: Fentress Architects

MAKING WAVES With a design that evokes the world-famous surf of Californian beaches, the Tom Bradley International Terminal heralds a new era in traveller comfort

As the transit point for 8 million-plus people every year, the new international terminal at Los Angeles airport had to offer a strong impact – both aesthetically and in terms of a new revenue stream. Statistics alone evoke the significance and scale of the new Tom Bradley International Terminal. Designed by Curtis Fentress of Fentress Architects, the building is the largest public works project in the history of Los Angeles. It has 111,484m2 of usable floorspace – double the size of the existing international terminal – and its construction involved

15,500 tonnes of steel and kept 9900 workers employed over 6.5 million man-hours. Curtis Fentress says the terminal presents a new gateway for Los Angeles, and the architecture was inspired by the people and geography of the city. “Several public forums were held, with the preference emerging for a wave design that evoked LA’s famous white-sand beaches. In response, we created the distinctive arching sectional roofline, which also references the parabolic arches of the nearby LAX theme building and control tower.”

Preceding pages and below:The Tom Bradley International Terminal is a new gateway for Los Angeles. Increased capacity, branding, an Integrated Environmental Media System (IEMAS) and myriad dining and retail options will help fund the terminal. Following pages:The columnfree interior reaches 31m at The Great Hall, its highest point.

The progressive building is slated for Silver LEED certification, and sustainability is built into the architecture. Clerestory windows under the roof forms flood the interiors with diffused natural light – another evocation of the area’s sunny disposition. Also factored into the design was the region’s propensity for earthquakes. Every connection on the moment frame was tested off site to beyond

The roof and ceilings are faced in aluminium, for an harmonious look inside and out. These metal ceilings also help bounce light through the interior. The new terminal has double the capacity of the old one, handling 4000 people an hour through Federal Inspection Services. State-of-the-art gates allow three jet bridges to fill or empty doubledecker airbuses speedily and efficiently.

breaking point. The steel structure allowed for a column-free interior, rising to 31m at the central Great Hall.

Giant media columns and billboards animate the volume, as do eateries and lounges overlooking the central concourse and Great Hall.

Left:Natural indoor light quality is so plentiful that no artificial lighting is required to illuminate the terminal during the day. Below:The new facility can process 4000 passengers per hour, decreasing wait times from 2.5 hours to 30 minutes. Below, lower:The curvaceous terminal connects to the ticketing hall of the old terminal at right. Story by Charles Moxham Photography by Lawrence Anderson and Jason Knowles

Inasmuch as the Tom Bradley International Terminal greatly increases the volume of passenger movement and capacity, it improves the airport’s revenue stream in other ways too. The enormous electronic hoardings alone attract a handsome fiscal return. At the heart of the Great Hall, the Villaraigosa Pavilion houses a wide variety of luxury retail and dining options, and will have an annual international capacity of 8.6 million passengers. Founding principal of Montalba Architects, David Montalba says the 1300m² pavilion was also inspired by the California coastline. The architects employed the concepts of ‘island’ and ‘edge’ to

organise the pavilion’s design as a unified concept. “On the same axis as the passenger corridor, the ‘edge’ is delineated by a continuous soffit, with detailing that evokes tidemarks on a sandy beach.” Montalba also created the facade for the vast duty-free shopping area, which suggests a series of jewel boxes framed by bronzed stainless steel. Another major revenue source, these shops offer beauty, luxury, fashion, and liquor brands.

Project:Tom Bradley Terminal, Los Angeles International Airport, Los Angeles Architect and interior design:Curtis W Fentress FAIA, RIBA, Fentress Architects, Denver, CO Civil engineer:Hatch Mott MacDonald Mechanical and electrical engineer:TTG Quantity surveyor:Psomas Construction company:Walsh Austin Landscaping:Mia Lehrer & Associates Integrated Media System design and implementation MRA International, Sardi Design, Digital Kitchen, Smart Monkeys, Electrosonic inc, and Daktronics

Lighting:Horton Lees Brogden Lighting Design Signage:Selbert Perkins Design Escalator services:Syska Hennessy Design Villaraigosa Pavilion and duty-free shops:Montalba Architects, project architect Ben McDonald Concessions contractor:PCL Construction Services Structural engineer:John A Martin and Associates Mechanical plumbing, building management and vertical transportation:Syska Hennessy Group

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Star Alliance and One World Lounges Gensler



Of the several airline lounges and luxury dining options that bring life to the upper reaches of the concourse building, the new Star Alliance Lounge is one of the largest and most welcoming. Designed by global architectural firm Gensler, the lounge accommodates 400 passengers and features an open-air rooftop terrace with views over the northern runway to the Hollywood Hills. Gensler’s design is a contemporary interpretation of Modernist Los Angeles architecture of the 1950s



and 1960s. The concept is in line with the new guidelines for all Star Alliance-branded lounges, which include bringing a unique local flavour to each Star Alliance location. To this end, the terrace provides travellers with an immersive sensory experience, complete with fire pits and a water wall. Indoors, black and white photographs, inspired by LA, and shot by renowned photographer Peter Lik, complement the understated Star Alliance corporate colours. Featured

These pages:The new Star Alliance Lounge at Tom Bradley International Airport combines use of corporate colours with locally sourced artworks and furniture. The facility includes several areas suitable for business and freshening up between flights. Photography courtesy of Star Alliance

materials include American walnut wood floors, and raked limestone and ceramic tile walls. Star Alliance selected locally sourced products and furniture wherever possible. For example, the glazed tile walls were created by local artisans. Several elements are included to meet the needs of the modern business traveller. Zones range from a lounge bar for socialising, to a library space, a den, a study and a media room. These various amenities are equipped with high-speed Wi-Fi and

USB power ports to recharge mobile devices as a supplement to traditional power outlets. Star Alliance worked closely with Gensler and the Green Building Council of America to ensure sustainability, and sourcing materials and furniture locally was part of this. These measures, together with an emphasis on natural light penetration and a number of energy-saving initiatives, have meant the progressive 1672m2 lounge has attracted LEED Commercial Interiors Gold certification.



Project Carlaw Park Student Village

Location: Auckland

Architect: Warren and Mahoney

STUDY BREAK Student flatting was never like this – a community-inspired project by the University of Auckland has students queuing to live in a new village on the park



Below:Carlaw Park Student Village in Auckland accommodates students in separate apartments within four connected buildings. The village, which is next to the Auckland Domain, is the catalyst for creating a new link from Grafton Gully through to Parnell.

Commuters heading into Auckland have sped past an undeveloped, unremarkable area of Parnell for years – with no pedestrian links and no railway station, there has never been a need to stop. But the potential of the city fringe location – the site of the former Carlaw Park stadium facilities, is undisputed. The site borders the leafy green Auckland Domain, is close to the Parnell retail centre, the University of Auckland and key arterial routes, including motorways and rail links. Joint venture developers McDougall Reidy and Haydn & Rollett Construction, who had already developed other parts of the site, commissioned Warren and Mahoney to design new communityoriented student accommodation for the University of Auckland. Design architect Shannon Joe says the vision for the Carlaw Park Student Village was not just about meeting the immediate needs of the students. It was also about a wider vision for the city. “For so long this part of Grafton-Parnell has been disconnected from the city centre, with pedestrian links severed by the Grafton Gully motorway. We envisaged this development opening up a new corridor leading to Parnell Road, the future railway station and the Domain in one direction, and the university in the other.” The four buildings in the village are consequently arranged along this axis, providing passive surveillance for the pedestrian route, which is open, by day, to the public as well as residents. The key circulation routes also form courtyard-style gathering spaces for the students. “The University of Auckland wanted a studentcentric project. The village provides apartments rather than traditional hostel-like accommodation, which is a nice transition from University Hall, located at the city campus.” Joe says the site did pose a dichotomy in terms of the architectural aesthetics. “On the one hand we had the natural, leafy aspect of the Domain, and on the other the gritty, hard-edged urban nature of the rail corridor. We felt a need for natural materials that would SEARCH | SAVE | SHARE AT


Left:The pixellated facade is sympathetic to both the adjoining parkland and the hard-edged urban nature of the rail corridor. Interspersed with the more monolithic towers in plain fairfaced concrete, the coloured concrete elements separate the four buildings visually, relieving the overall mass. The concrete will be left to weather naturally, which will enhance its textures and tones. Right:The open spaces between the buildings are gathering places for students. Glazed stairwells help to animate the facade.

reference the park. But there was also an obligation to create a gateway to Parnell and the rail station, so the buildings needed to be extremely robust, low maintenance and of a highly durable design. The pixellated facade, consisting of honed concrete, exposed aggregate and fair-faced concrete panels, evolved from these references.” Joe says the gradient of the textures on the panels provides visual depth and variety, and mimics elements of the natural landscape. The colours will deepen and the stone chip textures become more pronounced as the panels weather. “The colours bring a warmth to the development.

But we contrasted this visual warmth with more urban and bold monolithic boxes.” The exterior is also animated by glazed circulation areas and stairwells. And, although the internal planning of the apartments is regular and efficient, the pop-out windows are manipulated to provide variation and movement across the facades. This ensures each building has a high degree of articulation, with depth and shadow, and a sense of human scale and proportion. The architect says the development needed to be intensive to be cost efficient. But this didn’t mean good design was compromised. SEARCH | SAVE | SHARE AT


“Intensification has a negative stigma in the city, due to many high-density buildings going up without much thought to design principles,” says Joe. “We set out to create a benchmark that would show high-density living can work when it is done well. The buildings have been capped at eight storeys, and all the apartments have plenty of natural light and views of the park and city are maximised through full-height glazing.” Warren and Mahoney recognises that pedagogy learning principles are not limited to lecture theatres, classrooms and libraries – it also takes place in social and living environments. Consequently, there are myriad places for students to group,

both indoors and out. The common room has a kitchenette that can be used for MasterChef-style cooking demonstrations, providing another learning opportunity. Communal lounges and study spaces have also been provided. “The sense of community is very strong, and is precisely what we set out to achieve by creating a campus-style living environment,” says Joe. “Students can be safe, comfortable and secure and know this place is home.”

Project:Carlaw Park Student Village, Auckland Developer:McDougall Reidy and Haydn & Rollett Construction joint venture Architect:Warren and Mahoney Builder:Haydn & Rollett Construction Structural engineer:Mott MacDonald Building services engineers:ESC, TCL and HSC Mechanical services:McAlpine Hussmann University of Auckland project manager: Wareham Cameron Quantity surveyor:Davis Langdon Fire services:AFS Total Fire Protection Electrical services:Dickson Gray Electrical Signage:Smudge Signs Precast concrete panels:Nauhria Precast; McCallum aggregate mix

Structural steel:Grayson Engineering Aluminium joinery:Fairview Aluminium Louvres:Ullrich Aluminium Roofing:Steel Roofing; membrane roofing by Terracon Industries Paving:Why-not Tiling Soft landscaping:Natural Habitats Fencing:Town and Around Fence and Gate Outdoor seating:Haydn & Rollett Construction Floor coverings:Lovich Flooring Window treatments:NZ Window Shades Paints:Target Painters Interior doors:Doors N More Hardware:Deadlock Dave Furniture:BSG Furniture Appliances:Euro Design

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Left:Outdoor spaces have been given just as much attention as the indoor areas. Landscaped corridors provide links to the park and public transport amenities. Lower left:Although all apartments are self contained with kitchens, there is also a communal dining area with kitchen facilities. Bright citrus colours and fully glazed walls ensure the space is lively and inviting. Right:Full-height glazing ensures all rooms receive plenty of natural light and views of the park are maximised. All the windows are double glazed, and the apartments are ventilated naturally. Story by Colleen Hawkes Photography by Simon Devitt



Project Panmure Interchange

Location: Panmure, Auckland

Architect: Opus NZ

VITAL LINK A major transport initiative is unlocking Auckland’s Eastern Suburbs, and the new Panmure Interchange is a key part of the equation

Left and below:A substantial, timber-clad gullwing roof appears to float above the transparent walls of the new Panmure Station, part of the upgraded Panmure Interchange in Auckland. The interchange is a key element in the first stage of the Auckland Manukau Eastern Transport Initiative (AMETI) by Auckland Transport. Below left:Natural light pours into the station through a circular glass canopy that resembles a compass. Radiating lines from the compass reference historic travel routes, the direction of key landmarks, and the flight path of the sparrowhawk.

There’s a new building turning heads on the main arterial route through Panmure in Auckland. And it is anticipated that many of those same commuters will find the new Panmure Interchange offers a convenient alternative to driving to work. The bus-train interchange is a crucial part of the first stage of Auckland Transport’s Auckland Manukau Eastern Transport Initiative (AMETI), which is a group of projects designed to give Eastern Suburbs residents better transport choices by improving public transport and walking and cycling facilities, and reducing traffic congestion. The NZ Transport Agency and Auckland Council are the major funding partners for the project. Designed by Opus NZ, with Chilean architect Victor Hugo Rojas, the interchange incorporates the Panmure Station – a contemporary building with a timber-clad gullwing roof that floats out above a transparent glass base. The design and the materials include many

historical, geological and geographical references to the Auckland isthmus. For example, the basalt that frames the entry, clads structural columns and wraps around the lift shaft references the ancient lava flows in the region. Lozenge-shaped basalt pavers have also been introduced – these recall the marks made when waka (Maori canoes) were dragged across the isthmus between the Manukau and Waitemata Harbours. The ceiling within the station incorporates a large circular skylight that resembles a compass. Lines radiating out from the compass reference historic pathways and the direction of key landmarks, helping to integrate the past with the present. Consideration has also been given to the exterior environment. With rail corridors typically attracting graffiti, this project provides a green solution. Walls beside the rail platform will be laced with climbing plants. Because the walls are beneath canopies, the plants are irrigated by piped rainwater.





These pages:The colour of the aqua-tinted glass ticket office was influenced by local springs. Lozenge-shaped basalt pavers reference the Maori pathways created by dragging canoes between the two harbours.



Left:Covered walkways lead up from the rail platform to the road and busways. Lower left and below right:In time, the concrete wall beside the platform will be covered in greenery trained over a wire grid. The greenery, which is under cover, will be watered via an irrigation system that diverts rainwater to the garden.

In addition to the interchange, new busway lanes are being created, along Lagoon Drive and Pakuranga Road to link to a new bus station at the Pakuranga town centre. Stage One of the AMETI project also comprises a new road linking Mt Wellington Highway and Morrin Road, improvements to Van Damme’s Lagoon, the construction of a busway bridge and two bridge replacements. AMETI director Peter King says Auckland’s population in the east is expected to grow by 20,000 to 25,000 during the next 25 years, further increasing pressure on the transport system. “Congestion is a serious problem for the suburbs in East Auckland,” King says. “It is estimated that the two bridges that cross the Tamaki River carry a similar number of vehicles each day to that of State Highway One through Victoria Park in Central Auckland. They also have more freight traffic than any other corridor in the country. The AMETI projects are designed to ease congestion and make public transport more accessible. “The Panmure interchange makes commuting

Project:Panmure Interchange, Auckland Architect and structural engineer:Opus NZ Project manager:Fletcher Construction Construction company:NZ Strong Construction Traffic flow consultant:Action Traffic Control Precast concrete:Concretec New Zealand; Wilson Precast Glazing:Glass Projects Stainless steel:Ashworth & Taylor

a more seamless experience, with walking time between buses and trains taking less than a minute. This benefits people living and working in the area, as well as those who travel through Panmure as part of their daily commute.” Future developments will include a bus interchange and route improvements for Sylvia Park, an extension of the busway to Botany along the centre of Ti Rakau Drive, East-West link improvements, and an extension of a new AMETI road to Merton Road. King says that right from the outset, AMETI has ensured the local community and iwi have plenty of opportunity to contribute to the plans. More than 19,000 people viewed information boards at the various town centres. “Consultation with iwi is focused on lessening the effects of works on cultural values, how stormwater will be managed, and archaeological investigation.” save | share Search 44066 at

Stone paving:SCE Stone & Design Asphalt paving:Higgins Security systems:Armitage Group Planting:Groundcover NZ Story by Colleen Hawkes Photography by Vaughan Scott



Project Wiri Depot

Location: Wiri, Auckland

Architect: Opus NZ

RIGHT ON TRACK A new purpose-built facility for Auckland’s new electric train fleet introduces a number of firsts to New Zealand, which are providing significant operational and cost efficiencies

With the introduction of electric trains to the suburban network, Auckland’s rail service is undergoing the largest transformation since its inception. And along with the updated rail fleet, Auckland Transport has built a new home for the trains at Wiri. The Wiri Depot is a state-of-the-art facility, built to maintain the 57 electric trains, which will all be delivered by mid 2015. The 6.4ha site, which comes complete with a fruit orchard and mature pohutukawa trees, straddles the old Winstone’s quarry and land next to the North Island Main Trunk railway line. It comprises 6km of rail sidings, a 7163m2 main building, a cleaners’ platform and four ancillary structures. Owned by Auckland Transport, the facility is jointly managed by transport operator Transdev (formerly Veolia), and Spanish train manufacturer Construcciones y Auxiliar de Ferrocarriles (CAF),



which is supplying and maintaining the trains. Project director Steve Hawkins says the facility is a key part of the $600m upgrade to Auckland’s suburban rail network. “Revitalising the region’s rail assets to provide a high-quality, high-frequency rail service is fundamental to meet the needs of the rapidly increasing number of Aucklanders using the rail network,” he says. “Rail patronage recently hit a high of 11 million passengers annually.” Hawkins says a key strategy from the outset was to procure sound expertise and experience for the design phase. Stage 1, the Master Plan, was awarded to a consultant consortia that included Opus International Consultants, Arup Group, RLB International and Peters and Cheung. The second stage was awarded to Opus, who with subcontractor Arup, continued to refine the overall design. Revit building information modelling software was

Below:Auckland Transport’s new Wiri Depot was built to maintain the 57 new electric trains that will all be delivered by the end of 2015. Right:The depot features a number of firsts for New Zealand, including permanent in-ground jacks that can manoeuvre and lift three train sets in a single movement.

Below:The latest plant and equipment ensure train maintenance is simplified.



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used to design and draw everything in 3-D format for later use in Auckland Transport’s building information modelling (BIM). This enabled Opus to co-ordinate all disciplines electronically in real space, to provide a database model for Auckland Transport to use for operating and maintaining the assets in the future. Downer New Zealand, with building partner Dominion Constructors, was awarded the contract for construction. Hawkins says in recent years there have been significant improvements around the world to the design and specifications for electric train maintenance facilities. These were incorporated into the new Wiri Depot. “This project is a game changer in terms of its offering, compared to other similar facilities in New Zealand,” he says. “It features a number of firsts that will provide significant operational and cost efficiencies that will translate into better service and reliability for those using the new electric trains.” One of the firsts is a locally controlled points system. This enables the safe and efficient movement of the points that change the track direction for trains. These are operated by a depot controller based in the depot building offices, much like an air traffic controller moves aircraft in and out of an airport. In other yards across New Zealand points are changed manually. Another change in operation involves the jacks that are used to lift the trains for maintenance and work, such as changing out the bogeys (wheel chassis). Instead of the traditional mobile jacks, the Wiri Depot provides permanent in-ground jacks that make it possible for a three-car train set to be manoeuvred and lifted in a single movement. “This method is a faster and more reliable way to maintain the trains,” says Hawkins. “It provides significant time savings during maintenance.” SEARCH | SAVE | SHARE AT


The Depot Personnel Protection System is another critical design feature, which ensures the earthing and bonding system minimises the risk of electric shock hazards and other incidents. “As all structures and electrical systems are effectively referenced together to the same potential, the site can be seen as a Faraday’s Cage, that reduces touch-potential hazards, and creates an electrically isolated earthed island.” Other key features include a wheel lathe, cranes, turntable, simulator training room and cafeteria.

Hawkins says a key part of the success of the project has been the solid relationship with the union and other stakeholders, such as Transdev, CAF and iwi who all contributed to the design. “Every stakeholder was able to participate and provide constructive input – this made a positive and significant difference to the end result.”

Project:Wiri Depot, Auckland Developer:Auckland Transport Architect:Opus Consulting engineer:Opus/Arup Geotechnical engineer:Peters and Cheung Construction company:Downer; Dominion Constructors Trackwork:KiwiRail

Electrification works:Hilor (Hawkins Infrastructure and Laing O’Rourke) Quantity surveyor:Rider Levett Bucknall Project manager:Auckland Transport



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Story by Colleen Hawkes Photography by Patrick Reynolds

These pages:Other facilities include a cleaning platform for cleaning interiors, a graffiti wash (right) and train wash (left), and a remotely controlled points system that is operated from within the building.

index 15 Green Square Close 30-35 41 Exhibition Street (41X) 22-28 Action Traffic Control 89 Adco Construction & Building Australia 30-35 Aecom 28, 54 AFS Total Fire Protection 83 AHS Construction Services 47 Allways Paving 14 Alpha Auckland 47 Alpha Interiors 47 Alpolic 14 Alutech 14 Armitage Group 89 Armitage Williams Construction 14 Armstrong 47, 61 Arnold Jensen Electrical 14 Arup 95 ASB North Wharf 16-21 Ashworth & Taylor 89 Attica Stone 54 Auckland Transport 90-95 Australian Institute of Architects 22-28 Beattie Air Conditioning 14 Bradnams Nalco 47 Brave Design 47 Broad Construction Services 48-54 Brown and Thomson 47 BSG Furniture 83 Burgtec 54 BVN Donovan Hill 16-21 Cactus Security 14 Cadaques Investments Ltd 14 Caldwell Levesque 47 Canterbury Balustrades 14 Carlaw Park Student Village 78-83 Castledex 54 Chan, Cynthia 56-61 Charter Hall 48-54 Chillex Services 47 City of Brisbane Investment Corporation 30-35 Clark 54 Concretec New Zealand 89 CoolMaster 35 Corian 61 Cosgroves 14 Cottee Parker Architects 30-35 Daktronics 75 Davis Langdon 83 Deadlock Dave 83 Decotech 47 Design Farm 54

Dickson Gray Electrical 83 Digital Kitchen 75 Dimond 14, 47 Dominion Constructors 130-135 Dominion Flooring 14 Doors N More 83 Downer 130-135 DPPS 28 Dulux 54 Electrical Consulting Services 47 Electrosonic Inc 75 Envision Control Centre 56-61 ESC 83 Euro Design 83 Express Clad 47 Fairview Aluminium 83 Fentress Architects 68-77 Fentress, Curtis W FAIA 68-77 Firth 14 Fisher & Paykel 54 Fitzpatrick + Partners 48-54 Fletcher Construction 89 Garcia, Manuel 56-61 Gensler 75, 76-77 George Fethers & Co 54 Glass Projects 89 GMT 61 Gray Robinson & Cottrell 35 Grayson Engineering 83 Groundcover NZ 89 GWA Bathrooms & Kitchens 2-3, 62-63, 97 Halo 54 Hassell 22-28, 48-54 Hatch Mott MacDonald 75 Haworth 61 Haydn & Rollett Construction 78-83 Hayman, Richard NZIA 6-14 Hickory Group 28 Higgins 89 Hilor 95 Hood, Alasdair NZIA, DINZ 6-14 Horton Lees Brogden 75 Horton Signs 14 HSC 83 Integrated Security Services 47 Interface Flor 54 IPD 36-39 Jasmax 6-14, 16-21 Jasmax Landscape Architects 14 Jiang, Hong 61 John A Martin & Associates 75 Jones Flint & Pike 35 Kingspan 35

Kone 35 Lawry, Rob 14 Leuschke Group 40-47 Leuschke, Colin 40-47 Living Edge 54 Lovich Flooring 83 Luma Lighting 54 Lyons 22-28 M Moser Associates 56-61 MacDonald Barnett Partners 47 Macrennie Commercial Construction 32-47 Madinoz 54 Master Kelwin 47 McAlpine Hussmann 83 McCallum 83 McDonald, Ben 75 McDougall Reidy 78-83 Metro GlassTech 14 Mia Lehrer & Associates 75 Mikor 54 Mitsubishi 14 Montalba Architects 75 Morgan and Pollard 14 MPM Projects 47 MRA International 75 Natural Habitats 47, 83 Nauhria Precast 83 Newkirk, Douglas 56-61 Norman Disney & Young 35, 54 NZ Strong Construction 120-89 NZ Window Shades 83 Opus 84-89, 90-95 Panmure Interchange 84-89 PBS Eterpan 47 PCL Construction Services 75 Permasteelisa 35 Peters and Cheung 95 Philips 14 Place Associates 64-67 Posh 61 Property Council New Zealand Rider Levett Bucknall Awards 16-21 Psomas 75 Raven 54 Rawlinsons 14 Resene 47, 55 Rider Levett Bucknall 95 Robert Bird Group 35 Ruamoko Solutions 14 Sapphire Aluminium 54 Sardi Design 75 SCE Stone & Design 89

Selbert Perkins Design 75 Shanghai Chu Rong Industrial Co 61 Simply Stainless 54 Smart Monkeys 75 Smeg 54 Smudge Signs 83 Sopers McIndoe 47 Star Alliance 75, 76-77 Stramit 35 Studio Illumine 61 Style Craft 54 Syska Hennessy Design 75 Syska Hennessy Group 75 Table & Chair 54 Taggarts Excavation 14 Target Painters 83 Tasti head office 40-47 TCL 83 Terracon Industries 83 Texco 14 Thomas, Mike 14 Thorn 54 Three35 6-14 Titch 61 Tom Bradley International Terminal 68-77 Tom Dixon 54 Town and Around Fence and Gate 83 Trends Publishing International 5, 15, 29 TTG 75 Turner & Townsend 54 Ullrich Aluminium 83 Ultraflex 54 Unique Creative 47 Unison Workspaces 14 USG 14 Verosol 54 Walsh Austin 75 Wareham Cameron 83 Why-not Tiling 83 Wilson Precast 89 Winward Structures 28 Wiri Depot 90-95 Wood & Grieve Engineers 54 WorkZone 48-54 Zenith Interiors 54 Zhang, Peter 61 Zip Heaters OBC Zumtobel 54

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