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The shimmering, pixellated form of this new stadium by ARM in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea.
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HOSPITALITY The Pavilions at Britomart, Auckland Described by the design team as an “anti-architecture” project, this inner-city retail and hospitality precinct emphasises softness, fluidity and greenery 10 Kitty bar, Treasury Casino, Brisbane You don’t have to be a high roller to enjoy this new bar at a Brisbane casino, which is in a heritage building that once housed the state treasury department and premier’s office 18 Américas River Oaks, Houston, Texas In this restaurant, custom furniture, furnishings and artworks feature abundant references to Latin American history and culture 24
Altaya Etc Wine Shops, Hong Kong Barrels and crates have given way to a sleek, contemporary look for this boutique wine store chain, which is challenging convention in more ways than one 32 Long Bay Café, Auckland Four containers were linked to create this innovative café and showroom, which will be moved at least twice within the next 10 years 36
OFFICE DESIGN 700 Bourke St, Melbourne With its triangular geometry and multifaceted facade, this new office building responds to the shape and geology of the Docklands site, and the needs of the sole tenant – National Australia Bank 44 Circa CT1, Brisbane This eight-storey building had a two-fold design agenda. It needed to sit comfortably within a low-rise precinct, and it needed to provide an open, collaborative workplace 54
The Light Pavilion is a futuristic lighting installation that appears to burst forth from one of the towers of Sliced Porosity Block – a multi-tower, mixed-use development by Steven Holl Architects. See story page 76-83. Photograph by Shu He.
ANZ Centre, Auckland Reinventing this office tower involved an award-winning new foyer and plaza at street level – but the refit also transformed the appeal of the offices above 62
PROJECT PORTFOLIO Sliced Porosity Block, Chengdu, China Inspired by the writings of an 8th-century Chinese poet, this multi-tower megacomplex wraps around a landscaped plaza to bring a human scale to a mixed-use development 78 Shed 10, Auckland Waterfront A meticulously renovated cargo shed now serves as the gateway to Auckland when cruise ships are in port 84 Rundle Mall, Adelaide At the heart of this new retail centre is a dramatic atrium that gives expansive views in all directions, animating the retail spaces and enhancing the whole shopping experience 90 FMHS, Grafton Campus, University of Auckland An extensive makeover has transformed the former Brutalist architecture of this medical school, creating an inviting, people-focused campus with a new heart 92 NZRU, Wellington New Zealand Rugby Union now has a brand new headquarters befitting its status as the number one sport in the country 102 Wanangkura Stadium, Port Hedland, WA The shimmering, pixellated form of this new stadium in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea 106
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No surprise there, then. The real surprise is that it has taken so long for such an obvious factor to have an effect on modern workplace design. Thankfully, the days of endless rows of compartmentalised work stations are well behind us. But what does the future look like? A good start would be to take a look at the new NAB offices at 700 Bourke St, on page 42. This Grade A office building sets a new benchmark for sustainable workplace design – one that encourages sharing and innovation through formal and informal meeting spaces, and through chance encounters. On the lighter side, we showcase three hospitality projects – a temporary, ‘anti-architecture’ precinct from the heart of Auckland, an Art Deco-inspired bar from Brisbane, and an avantgarde, fine-dining restaurant in Houston that takes its design cues from cowboys, gauchos, and the staple foods of Mexico – corn, beans and maize. Now, if that doesn’t arouse your curiosity, I don’t know what will. We round out this issue of Commercial Design Trends with our Project Portfolio section, and the star of the show here is Sliced Porosity Block, conceived by the multi awardwinning Steven Holl Architects. This mixed-use project in China pushes the boundaries of the public’s acceptance and understanding of contemporary architecture, with the firm living up to its reputation for designing “buildings that satisfy the spirit as well as the eye”, as Time magazine notes. Lastly, our Trends publications are also available as eBooks. This exponentially increases the potential audience for our featured designers and advertisers. Our readers benefit from the enhanced multimedia experience that eBooks provide, and of course, the environmental footprint of our publications is minimised. Visit our website, www.trendsideas.com. Happy reading
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The interior of the Américas River Oaks restaurant is a non-linear architectural narrative designed to convey the surreal New World culture of hybrids, like a dream or a poem that unfolds as you walk through it.
Large firms and multinational corporations have an increasing awareness of their broader responsibilities – not just to their own workforce, but also to the wider community. This precinct is a prime example.
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Sliced Porosity Block features five towers with cantilevers, setbacks and angled facades designed to allow the sun’s rays to penetrate through to a central plaza and neighbouring residential communities.
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SECTION FOCUS HOSPITALITY
ALL THE RIGHT INGREDIENTS Just as a master chef attends to every last detail, so these hospitality projects reflect a desire to provide a truly memorable customer experience
Project The Pavilions at Britomart
Architect: Cheshire Architects
URBAN GARDEN Described by the design team as an “anti-architecture” project, this inner-city retail and hospitality precinct places an emphasis on softness, fluidity and greenery
Somewhere between a pop-up shop and a established retail development lies an innovative precinct with a five-year lifespan. That’s one way to describe The Pavilions at Britomart, Auckland, a semi-permanent retail and hospitality area in the heart of the cool part of town. Because the site is set for redevelopment in a few years, the design team at Cheshire Architects saw an opportunity to do something a little different. Designer Nat Cheshire says the team was commissioned to develop half a city block within the Britomart precinct. But right from the outset they decided the plan was not going to be about creating a pretty row of buildings. “This site is available to us for only five years. This meant we needed to slash the financial and time cost of conventional development, while still delivering an exciting new experience to the precinct. The key was letting the garden be the architecture. We glibly called it anti-architecture: we would turn the buildings into living hedges, and focus all our energy on the shopfront windows that
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pierce them. This was about bringing beauty and delicacy back to urban life: something soft and humane in scale; garden beds with strawberries, orchids and dappled sunlight; the opposite of this town’s big diffuse civic spaces.” Cheshire says it was important to attract lots of stores and cafés, to ensure a critical mass of potential business in the precinct. “Britomart had already become a nightly theatre of activity. We were simply determined to deliver the same to its days. We imagined people stepping out of the train station or dropping their car keys in the hands of a valet, slipping between boutiques, indulging in a makeover or pausing to sip champagne in the sun – it was more about writing a story than designing a building.” The development consequently features eight fashion and specialty boutiques, each housed in its own distinct pavilion structure. These are clustered around a central courtyard restaurant with a high, translucent peaked roof – Ortolana, which means market gardener in Italian, is owned by
Preceding pages and right: Router-cut plywood panels help to disguise mismatched walls in this small patisserie and dessert bar at The Pavilions at Britomart. The café, Milse, is owned by The Hip Group. It was built in a space that was formerly taken by box storage and rubbish rooms. The panels allow light to penetrate from the windows, while concealing several unsightly walls. Below:The screens make a graphic pattern on the windows by day and by night. An awning window enhances the visual connection with the precinct.
Left:The Store, which is also part of the stable of restaurants and cafés belonging to The Hip Group, features an exposed ceiling and router-cut plywood panelling. A collection of corrugated cardboard pendant lights mimic the round forms of the loaves and pastries. Right:Like a pop-out window in an advent calendar, the entry to The Store elicits a sense of excitement and anticipation.
The Hip Group. Tucked in behind, on Tyler Street, is the patisserie and dessert restaurant Milse. The development also houses The Store, a casual diner and takeaway outlet that features a bakery that supplies The Hip Group’s entire stable of cafés and stores with bread, pastries and gelato. “The bakery is highly visible – we wanted the city to understand that here, everything was made especially for you, from scratch,” says Cheshire. Milse, shown on the preceding pages, was perhaps the most challenging design. “Essentially, we took a site down a service lane
and crimped space from three or four storage rooms belonging to other tenancies to make this dessert restaurant. This meant the space had a very awkward geometry. In response, we developed a fluid surface of router-cut plywood panels controlled by mathematical modelling. This let us open up the screen to the light in front of the windows, and close it up again to hide the chaotic wallboard in other areas.” The flooring features reclaimed timber boards laid on the diagonal, which make the space seem a little wider, and help to draw the eye through.
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Left:Ortolana is the pavilion-style garden restaurant within the precinct. Defined by a simple palette of natural materials, the restaurant puts an emphasis on fresh, seasonal foods. Below:The greenery is not just part of the design – it is the whole basis of the architecture, says Nat Cheshire. In time, creepers will cover all the columns and beams. Story by Colleen Hawkes Photography by Jamie Cobel
The Store also features router-cut plywood panels that provide a visual link to the patisserie. Ortolana, shown on these pages, is all about alfresco dining, although there are also tables inside the restaurant. The translucent gabled roof is supported on posts camouflaged by trellis-like timber screens covered in creepers. “We designed this restaurant as a little pavilion, like the caretaker’s cottage in the middle of the garden,” says Cheshire. “It has a focus on gardenbased produce – this is not a steak house. It is all about lightness and freshness. It is also a very simple space where the walls fold
Location:The Pavilions at Britomart, Auckland Developer:Cooper and Company Architect:Cheshire Architects Construction company for base build: Bracewell Construction Interior fit-out company:Greenmount Shopfitters & Interiors Tenant:The Hip Group Mechanical and electrical engineer:Norman Disney & Young (NDY) Quantity surveyor:WT Partnership Fire consultant:Holmes Fire and Safety Landscape design:Damian Wendelborn, Urbanite
back to open up the restaurant to the garden.” Key materials include fine steel-framed windows, recycled brick walls and timber. The main table is a single slab of swamp kauri. “For us, the architecture starts with the city block and ends with the teaspoons,” says Cheshire. “Every aspect of this project, from the built forms to the soft Belgian linen on the tables, was designed or selected to evoke a very specific atmosphere, to provide the best experience possible.” See video and images of this project online at trendsideas.com/nz2909p8
Landscape contractor:Mike Price Landscapes Cladding:Recycled brick veneer; James Hardie Hardiflex sheet on cavity construction Roof:Colorsteel profiled metal roofing by Metro Roofing Glazing:Crittall Arnold steel windows and doors Flooring:Travertine stone from Italian stone; recycled kauri from Kauri Warehouse Wallcoverings and ceilings:Keruning plywood with Osmo oil finish Paints:Porter’s Paint; liquid copper Lighting:Monmouth Glass Studio, KKDC Heating/air conditioning:Fonko NZ Signage:Degree Design; Dimension Shopfitters MORE HOSPITALITY PROJECTS AT trendsideas.com
SPECIAL FEATURE : THE PAVILIONS AT BRITOMART COMPANY : BRACEWELL CONSTRUCTION SPECIALTY : COMMERCIAL AND RESIDENTIAL CONSTRUCTION
QUICK TURNAROUND Building contractors are often asked to achieve the seemingly impossible, and the Pavilions at Britomart project was no exception. Bracewell Construction, the main contractor for the project, had just 12 weeks to complete the build and allow tenancy fitouts to commence. But having worked on other heritage building redevelopments in the precinct, the firm did have a head start, says project manager Glenn Bracewell. “We have had an ongoing involvement with the developer Cooper and Company,” he says. “Key projects we have completed to date include the refurbishment of Excelsior House and Stanbeth House, designed by Cheshire Architects, which won the NZ Architecture Award Heritage category for this project in 2011. “For this project, the time frame was the biggest challenge,
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requiring the full co-operation of the team, which worked together to deliver the entire project on time and to budget. We anticipated potential problems so we could be prepared for possible holdups.” Bracewell says access was another challenge – there were just four weeks to complete the central pavilion after completion of craneage. Sourcing suitable old bricks for the project was also difficult. “These were eventually found in Christchurch, having been part of a building demolished following the 2011 earthquake. For this project, we also worked closely with the landscapers to build a double-wall system to incorporate living plants and irrigation.” View, save or share this story online at trendsideas.com/go/41586
Auckland Wellington Christchurch
Adelaide Brisbane Gold Coast Hobart
Melbourne Perth Sydney United Kingdom
Project The Kitty bar, Treasury Casino
Interior designer: Tonic
HEADS OR TAILS? You don’t have to be a high roller to enjoy this new bar at a Brisbane casino, which is in a heritage building that once housed the state treasury department and premier’s office
Adaptive reuse has seen many innovative uses for existing buildings, but the juxtaposition between current and former use for this historic building is more interesting than most. The building that once housed the Queensland state treasury and premier’s department became a casino in the mid ’90s. The corner believed to be occupied by the premier’s office is now part of a bar that has undergone a major transformation. The new bar, known as The Kitty – designed by
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Matt Riley of Tonic – replaces a lager bar and a second smaller bar that were both past their use-by-date. “The main bar did not have a particularly good connection with the gaming floor, so we needed to address this,” says Riley. “And because the bars comprised a series of linked rooms that were somewhat fragmented, we had to find a way to make the new bar feel as one complete space while not demolishing the heritage character of the building.
Left:Highly reflective gold laminate fins enhance the glittering Art Deco ambience of The Kitty bar at Treasury Casino, a new bar in a heritage building that was formerly the treasury department for the state of Queensland. Right:The bar continues the Art Deco theme, with gold fins and lights, and smoky glass mirrors.
We also needed strategies to entice people into the bar directly from the street – it was not just about catering to people who wish to gamble.” A decision was made to open up one corner of the bar to the street, which was the former entry to the premier’s office. And wherever possible, vistas through the interior were opened up. “Over time, several doors had been closed and boarded up,” says Riley. “We reopened all of these to provide visual connections through the rooms and also through to the gaming floor. Being able to glimpse people in different areas of the building adds a real buzz to the bar.” Another challenge for the design team was the need to make the spaces intimate, especially with
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the 4.5m-high ceilings. The interior also needed to work by day and by night, and cater to the different patrons at these varying times of the day. “We chose two key connecting devices – the lighting and the material palette, which are both designed to evoke a glamorous 1920s Art Deco feel,” says Riley. “Suspending approximately 260 light fittings below the ceiling created a wayfinding device – it encourages people to follow the light, literally. We want them to explore and be enticed by what lies beyond. “Essentially it is a dark palette with a lot of reflective surfaces in black and gold. Sculptural fin elements in high-gloss gold laminate or gold paint offer a modern take on the neo-renaissance
Below:Daylight is welcomed into the bar, which is open 24 hours. A new floating timber floor in carbonised oak echoes the warm look and wide planks of the original floor. Right:Coloured lighting transforms the space by night. The central area accommodates a dance floor and provides facilities for DJs.
Left:This room, known as the evening lounge, features an accent wall in purple crushed velvet, studded with LED pin lights. A custom carpet was designed to match the ottomans. This room also features draping curtains that can be pulled to screen off booths. Below:Soft green furniture defines the day salon, which benefits from plenty of natural light flooding through the windows. Story by Colleen Hawkes Photography by Scott Burrows
language – they reference the rolled tops and linear proportions of the Corinthian columns, and the symmetry of the arches and cornices. The fins also visually soften the more rigid lines of the building, and create opportunities for special lighting effects. But we kept the ceiling intact, so you can still read the original heritage features.” The pièce de résistance is the entry and the bar itself. Curved gold fins define a central padded seating rotunda that is readily seen from the wide corridor leading to the gaming room. The bar echoes this form, and has the added sparkle of a smoked mirror glass backdrop. The space given over to the dance floor features a wall lined with antique brass mirrors with gold trim. By day, tables and chairs are laid out in this
multifunctional space creating a different ambience. In other areas, colour is used to define separate spaces, and lounging furniture is grouped in bays that create intimate, VIP spaces. One room, known as the evening lounge, features a padded crushed velvet accent wall in purple, which is studded with LED pins that resemble crystal stars. Wing chairs and ottomans in pink and purple enhance the glamorous look, and there are also soft curtains that can be pulled by diners looking for privacy. In another area of the bar, known as the day salon, fresh green chairs add a lively touch. “The Kitty bar has a completely new ambience,” says Riley. “Yet, we have not invaded the space too much. The beautiful heritage elements are still intact, and that’s a key part of its charm.”
Location:The Kitty bar, Treasury Casino, Brisbane Interior designer:Matt Riley AIA, Tonic, Brisbane Building contractor:Buildcorp Cabinetry construction:Ingrahms Masterplanning architect:The Buchan Group Heritage architect:Andrew Ladlay Architect Project manager and quantity surveyor:Rider Levett Bucknall Structural engineer:Hyder Consulting Electrical, mechanical, fire and hydraulic engineer: WSP Group Private certification:McCarthy Consulting Group Food and bar equipment designer:Food Service Design Australia Floating timber floor:Venture plank 21mm engineered flooring in carbonised oak from Havwoods Carpet:Custom designed rugs from Brintons
Paints:Resene; Dulux in day salon Mirror walls:Viridian Decor Wallcovering in day salon:Embossed vinyl from Phillip & Jefferies Other wallcoverings:Quilted from Platinum Pendant lights:Custom, imported by HK AUCI Industry Wall light bar:Metalarte Josephine Mini A in Gold Furniture:Bar stools and Goya bar chair from BCI Furniture; low lounge stools and Crystal stool in purple and pink from Zenith; Day Salon Follies tub chairs from Hughes Commercial Furniture; custom wing chair, two-seater sofas, turned-leg tables in black and white, and custom bar leaner for terrace from Prototype Furniture See image gallery of this project online at trendsideas.com/nz2909p18
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Project Américas River Oaks
Location: Houston, Texas
Design architect: Jordan Mozer and Associates
FEAST FOR THE EYES In this restaurant, custom furniture, furnishings and artworks feature abundant references to Latin American history and culture
Left:The facade of the Américas River Oaks restaurant designed by Jordan Mozer reflects the eclectic nature of the interior. Bronze-relief images depict the Andes, a two-headed llama from early Inca ceremonial wedding vessels; graffiti as seen in modern-day Rio de Janeiro; and the chinchilla. Right:The bar near the entry looks through to the upper dining room. Leather cladding on the wall columns and a curtain in wool felt are material references to Texan cowboys and the gauchos of South America.
From gauchos roaming the pampas to the corn, beans and maize that were staple foods for 3000 years, the symbols of Latin American history and culture are many and diverse. One way to draw these elements together under a single roof is with a decor that evokes the region’s most famous literary style – magical realism. Américas River Oaks restaurant, created by design architect Jordan Mozer and run by Nicaraguan chef Michael Cordua, reflects this imaginative approach. Both men are aficionados of the work of the great South American writer Gabriel García Márquez and his favoured genre, magical realism, led the design. The surprising, hybrid decor is appropriate for the avant-garde restaurateur. Cordua is noted for creating South American dishes made exclusively from foodstuffs indigenous to the Americas, but using culinary techniques from Europe, resulting in radical, contemporary North American dishes. If the menu sets up a dialogue of unexpected tastes, then
the same can be said for the decor, says Mozer. “The restaurant is designed to convey the surreal New World culture of hybrids, a non-linear architectural narrative, like a dream or a poem, that unfolds from the first glimpse of the pre-Columbian graffiti on the facade and meanders through every corner of the interior, even into the smallest powder room.” The fine-dining restaurant is on the upper level of a 1930s shopping centre in Houston. Interiors comprise a bar, terrace and lounge, together with a raised, reconfigurable dining room. The furnishings are loose and many partitions are operable to allow flexibility and to increase density in the main dining room on quiet nights. And almost every element in Américas River Oaks confounds expectation. “The doodles on the bronze-relief facade were inspired by the Nazca geoglyphs of ancient Peru, Incan gold figures and the modern-day graffiti of Rio de Janeiro,” says Mozer. “At the bar, there’s another contemporary cultural reference – ‘hoodie’ bar stools with ‘skinny jean’ legs.” MORE HOSPITALITY PROJECTS AT trendsideas.com
“A raised private dining room overlooks the bar and this can be separated by a moveable felt partition – the same material that is used to make cowboy hats,” says Mozer. “It also references the Incas’ use of llama wool and cotton fibres to create textiles, weapons, boats and bridges. Advantages of using a wool material to create partitions include its sculptural and sound attenuating qualities.” On the walls, sculptures of maize, beans and popped corn are also made from felt. “Between the bar and the terrace dining area, four steel-framed, leather-covered sculptures
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demarcate the lounge – the leather is another nod to gauchos and cowboys,” says Mozer. “For the dining room I designed feature ‘hugging’ love seats in the colour of chocolate or coffee, both signature commodities in Latin America.” A boardroom and another private room overlook the dining room – every space has myriad features that help conjure the spirit of the Americas. Exotic cast bronze pitcher plant lamps evoke their living, insect-devouring counterparts. Powder rooms are fitted with sculptural illuminated Soul Window mirrors and cast bronze vanity basins.
Preceding pages:In the dining room, wool felt lampshades suggest jungle vegetation. The mural, also in felt, echoes icons on the facade, while bowls evoke popcorn, a staple of American celebrations. These pages:The lounge and dining areas feature sculptural chairs and partitions by Jordan Mozer. The backs and legs of the bar stools were inspired by modern streetwear – hoodies and skinny jeans.
As with Chef Cordua’s dishes, each component of the restaurant’s design has been hand-made from scratch and produced in America. “Many couture studio furnishings and furniture were created for the project,” says Mozer. “These were produced in Chicago and Houston by artists, craftspeople and factories in just 11 weeks, the entire process streamlined by rapid prototyping and manufacturing techniques.” Materials for the restaurant were chosen for durability and sustainability – to develop patinas, not maintenance issues. Elements were sourced
Location:Américas River Oaks restaurant, Houston, Texas Design architect:Jordan Mozer, Jordan Mozer and Associates, design team: Jeffrey W Carloss, Scott Genke, Peter Ogbac, Manuel Hernandez Architect of record:Jeffrey W Carloss Construction company:JE Dunn Construction Graphics:Jordan Mozer and Associates Structural engineer:Haynes Whaley Associates Mechanical engineer:JEK Engineering Code consultant:All Texas Permits Flooring:Teka engineered wood flooring in White Oak (entry), Daltile quarry tile in Sahara Sand (bar), Masland Contract carpet in Surge 7224, Columns:Finished in custom-stained leather Wall treatments:Sherwin-Williams paint, leather partitions 30
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and produced near the site, or were recycled. Nothing was imported or chosen from a catalogue. The earthy palette includes regional mahogany, American ebony and bronze, as well as Chicago glass, wool felt burlap, saddle leather and raw cotton denim, to name only a few finishes. Américas River Oaks is more than the sum of its diverse custom-designed parts – together, they evoke a cultural cornucopia for the diner’s pleasure. To view more images, plans and a video go to trendsideas.com/nz2909p24
by Jordan Mozer Studios (lounge), burlap (dining), mosaic glass tile by Architectural Systems (powder rooms) Furniture:All designed by Jordan Mozer Associates with fabrication by Wood Goods Industries or Delta Furniture, including cast resin bar stools and wing-back chairs, both upholstered in leather Lighting:All custom designed by Jordan Mozer Associates, including hand-blown glass pendants with hand-sculpted wool felt light fixtures, hand-polished, cast bronze Swamp Flower table lamps, felt chandeliers, Rasta lamps Powder room:Bronze sink, resin mirror by Jordan Mozer Story by Charles Moxham Photography by Doug Snower
This page:In the dining areas felt wall sculptures depict popped corn while wall lamps imitate South American pitcher plants. The large red Rasta chandelier is in felt and hand-blown glass. Facing page:Soul Window mirrors and cast bronze vanity basins await patrons in the powder rooms.
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Project Altaya etc Wine Shops
Location: Hong Kong
Interior designer: Kokaistudios
FOR THE CONNOISSEUR Barrels and crates have given way to a sleek, contemporary look for this boutique wine store chain, which is challenging convention in more ways than one
Left:A boutique chain of wine stores in Hong Kong is showcasing wine in a whole new light. The etc stores each market just one variety of wine, but they all have similar window displays and signage. Shown here is the Champagne etc store. Below:Just one bottle of each type of wine is on show, to ensure there is enough space to display a wide selection. Below right:The countertop in the Champagne etc store incorporates a touchscreen computer and a long trough used for wine tasting.
Traditional European wine cellars have influenced the design of wine stores for decades. So much so, in fact, that the rustic look exemplified by wine barrels, crates and bandsawn wood floors has become something of a visual cliché. It’s a look that had no place in the design of the wine stores featured on these pages. Here, the wine bottles are mounted and illuminated like sparkling jewels in a fashion boutique. The Altaya etc wine store chain in Hong Kong has another key point of difference, says interior designer Filippo Gabbiani of Kokaistudios. “Traditionally, all wine varieties are sold together, reds alongside champagnes. But with this chain there is a separate store for each type of wine – Champagne etc, Bordeaux etc and Burgundy etc. Our main challenge was to customise a range of different retail spaces, some with small, awkwardly shaped spaces, while still creating a recognisable etc branding.”
Gabbiani says although the wine market in Asia is relatively new, compared to western countries, the Hong Kong market is the most sophisticated in the region. “In Hong Kong wine is traditionally sold in one of two ways – through large supermarkets that have very eye-catching wine displays, or in conventional wine stores that aim to reconnect people with the essence of the wine. But few of these stores actually convey information – the people working in the stores have no experience of what they are selling. The etc stores are designed to fill this gap, and this point of difference is evident from the exterior.” Gabbiani says the window display is one of the defining features of each etc store. This incorporates a wood and stainless steel lattice for glass bottles that are empty, rather than full, and a single stainless steel display shelf. This is more commonly used for wine-related paraphernalia, rather than the wine itself.
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Top left and below right:The Bordeaux etc store incorporates intimate areas for wine tasting – there is even a gas fireplace. Exposed beams crisscrossing the ceiling were wrapped within soffits and both downlights and uplights incorporated to create a distinctive feature. Facing page, lower:The counter in the same store appears to float above the base, adding a sense of lightness. Below:An Aromaster installation in the Bordeaux etc store entices customers with a scent of wine at the entry. The store owners say the etc name stands for endear, tease and cultivate.
“The shop windows are all about evoking the curiosity of passers-by,” says Gabbiani. “The window displays are silhouetted against a bright background, with spot lighting on the etc signage. Even from the outside, it is evident these stores share nothing with tradition. “On the interior each store is a sleek, glamorous space with gleaming Marmorino plastered walls in white and grey. The look has more in common with a fashion boutique than a conventional wine cellar.” But the designer says the look is not cold, thanks to the material palette. For example, wood still appears – notably in the window display units – but it has a sleek grey finish, which keeps the look contemporary, not rustic. “We also specified hand-hammered stone for the floors, because this conveys a very soft look.” In addition, some of the furniture in the stores features light-coloured natural wood, teamed with glass and steel.
To keep the look uncluttered, there are stone benchtops for wine tasting with built-in sinks. These avoid the need for spitting bowls on the countertop. One table in a private room in the Bordeaux etc store has a built-in sink beside each placesetting. Other innovations include touchscreens that provide information about the wines in each store. And there is an Aromaster installation in the Bordeaux etc store that offers scents of seven different wines. This display creates a welcoming, aromatic entry to the main shop floor, which is elevated above street level. In the Champagne etc store, empty bottles jutting out from the wall create a fun display that replicates the traditional top-down storage of champagne. The stores are used for regular wine tastings and special events, and Gabbiani says they have already become widely recognised by clients – both wine connoisseurs and novices.
Location:Altaya etc Wine Shops, Hong Kong Interior designer:Filippo Gabbiani, Zoe Lee, Mark Shen, David Liu, Anouk de Lasparda, Jerry Zhang, Lea Lee, Kokaistudios, Shanghai Project management:Questor Consultants Timber flooring:Imodi Wall coverings:Marmorino by Danilo Ceiling treatment:Natural photo catalyst paint by Auro Lighting:Philips Wine chillers:Miele
Multi-touch screen monitor:Samsung Wine testing table:Filippo Gabbiani Security:ADT Hong Kong Story by Colleen Hawkes Photography by New & Old Studio View, save or share this story online at trendsideas.com/nz2909p32
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Project Long Bay Café
Location: Long Bay, Auckland
Designer: Construkt Architects Veneer Design Cubular Container Buildings
OUTSIDE THE BOX Four containers were linked to create this innovative café and showroom, which will be moved at least twice within the next 10 years
Left:Perched on the brow of a hill, the Long Bay Café comprises four linked containers painted in matt black. The building also houses the sales office for the Todd Property Group residential development at Long Bay, and is therefore a temporary structure that will be moved as each new stage of the development is launched. Below:The café opens up to a long deck sheltered by shade sails. Black steel joinery frames the spectacular sea views from the building.
Sales offices for residential developments are often small prefabricated buildings, hastily erected to fulfil a rather basic function. For this sales office at Long Bay, Todd Property Group took a very different approach. The company commissioned a mixed-used building that would accommodate a café and a sales office, yet still be easily moved to a new site when required. The key component for the design? Four new shipping containers from Cubular Container Buildings. Initial concept plans were drawn up by Madeline Sharpe of Construkt Architects, with the company also handling the resource and building consents. The initial interior design concepts were provided by Kirsty Mitchell of Veneer. Cameron and Ingrid Cotton of Cubular then developed the original drawing and design for both the architecture and interior design, established key technical points that impacted on the design, carried out documentation, and built and project managed the build. “Todd Property Group wanted something quite different from a stock-standard sales office,” says Ingrid Cotton. “It needed to be exciting, and it
needed to draw people in, but the design also had to reflect the temporary nature of the project.” Because the Long Bay development is in three stages, the building will be moved twice within the next 10 years, and then again on completion. “For this reason, the entire structure is built to be easily transportable – even the foundations can be moved with the building,” says Cameron Cotton. Two parallel 40ft containers were opened up to create the café, with one container housing the seating area and the other accommodating the front of house facilities and commercial kitchen. Perpendicular to the café is the showroom, comprising one 40ft and one 20ft container. These buildings are linked by a raised glazed atrium roof that brings natural light into the display area and adds visual interest to the roofline. “Because each module was built in the Cubular warehouse and shipped to the site, there was no margin for error,” says Cameron Cotton. “Even the negative detailing had to perfectly align when the two halves were put together.” To provide a distinctive landmark on the greenfields site, the Corten steel sheathing of the
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Top left:In addition to the shade sails and a fixed awning, the building has extensive insulation to ensure the interior remains at a comfortable temperature all year round. Lower left and right:Light birch plywood lines the ceilings and many of the walls, contrasting the black walls and counter. The commercial-grade rubber flooring is also black. Far right:A raised, glazed atrium roof connects the 40ft and 20ft containers that form the showroom.
containers was painted in Hempel container paint in matt black. Steel members framing the windows are also black. The colour and material palettes continue on the interior, with the side of one container forming a textural wall in the café. And black-painted architraves and jambs frame the expansive views to the sea. “The imported light fixtures, both inside and out, were also powdercoated in black to keep the look very contemporary,” says Ingrid Cotton, who was responsible for the interior design and lighting. “In contrast, all the ceiling and wall linings are a European birch plywood that has been given a matt polyurethane finish. We didn’t want a cold, industrial look – the interior had to be modern and
Location:Long Bay Café, Long Bay, Auckland Developer:Todd Property Group Architectural concept:Madeline Sharpe, Construkt Architects Additional architectural design:Cameron Cotton, Cubular Container Buildings Interior concept:Kirsty Mitchell, Veneer Additional interior and lighting design:Ingrid Cotton, Cubular Container Buildings Fire consultant:Construkt Architects Construction company:Cubular Container Buildings Landscaping:The Plant People Cladding:Shipping containers, Corten steel Waterproofing:Ardex Glazing system:NZ Windows, Vantage Aluminium, Metro GlassTech
streamlined, but it also needed to be warm and inviting. It was important to encourage people to linger and return, and enjoy the unique aspect.” Not surprisingly, effective insulation was a key consideration – being smallish spaces with a black exterior, overheating could have been an issue in summer. Consequently, the containers are lined with a silver foil material developed by the NASA space programme. Pink Batts were also installed, and Expol insulation added beneath the floor. LED lighting was chosen to minimise heat emission, ensuring the interior is comfortable in all seasons. See an image gallery of this project online at trendsideas.com/nz2909p36
Door and window hardware:Legge Balustrades:Glass with handrail by Architectural Aluminium Installations Kitchen manufacturer:Proform Commercial kitchen equipment:Southern Hospitality Front of counter:Powdercoated steel in Black Audiovisual systems:AV Logic Awards:Commercial/Industrial Architectural Design Award and Commercial Interior Architectural Design Award, ADNZ Resene Architectural Design Awards 2013 – Auckland/ Northland Regional Awards Story by Colleen Hawkes Photography by Jamie Cobel
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SHARED EXPERIENCE Innovation and collaboration define the modern office, with sustainability another key design driver
Project National Australia Bank (NAB) 700 Bourke Street
Location: Docklands, Melbourne
Architect: Woods Bagot
TO THE POINT With its triangular geometry and multifaceted facade, this new office building responds to the shape and geology of the Docklands site, and the needs of the sole tenant – National Australia Bank
Large firms and multinational corporations have an increasing awareness of their broader responsibilities – not just to their own workforce, but also to the wider community. And it’s an outlook that is reflected in the design of many new corporate premises. The NAB office at 700 Bourke St in Melbourne’s vibrant Docklands precinct is a prime example. Developed, owned and managed by Cbus Property, the 16-storey Grade A office building needed to set a new global benchmark for sustainable workplace design – that was the brief given to the architectural team at Woods Bagot. It was a benchmark that had to be reinforced by the architecture, says Monica Klyscz, head of commercial property for NAB.
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“We wanted the building to make a strong visual statement,” Klyscz says. “Because the site is next to the Southern Cross train station, there was an opportunity for the development to establish both a landmark and a gateway to the Docklands precinct. We envisaged an all-access area for the public, with cafés, retail outlets and an NAB store.” Authenticity was also critical – the building needed to be true to the site in terms of its context and the materials used. To this end, Woods Bagot referenced the site’s geology and proximity to the water. The architecture responds to the triangular shape of the land and the fact that the site straddles the basalt shelf under Melbourne, and the silty base of the Docklands area. This natural tension is reflected in
Preceding pages:A new gateway to the Docklands precinct in Melbourne – this 16-storey, Grade A office building was designed by Woods Bagot for NAB. The building, which is close to the Southern Cross train station, provides commanding views back to the city centre. These pages:The exterior references the geology of the site and its triangular shape. Giant fractured fissures break up the horizontal mass of the building. These are clad in triangular panels in colours that mimic the earth and the landscape.
the external fissures that draw energy up through enclosed atria, and break up the monumental horizontal mass of the building. The triangular panels that clad the fissures echo the colours of the earth and landscape. Other triangular glazed panels on the front facade have a reflective luminosity that mimics the rippling waters of the bay beyond. The triangular motif extends up to a canopy on the rooftop terrace, and to the inside, where the geometry informs the interior design, starting with the concourse and sky lobby. In line with the desire for an open, transparent workplace, there are multiple entry points. “Just as we chose to activate the concourse level 46
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with retail tenancies, restaurants and cafés, so we wanted to encourage people to come into the NAB environment,” says Klyscz. “This was part of the overriding concept of openness and transparency. We have incorporated an auditorium, exhibition spaces, seminar rooms and a childcare facility that can be shared with the wider community.” A spectacular, full-height atrium reinforces the sense of connection, providing views both vertically and horizontally across all levels. Open staircases and bridges link the various levels, with the bridges crisscrossing the atrium at an angle, reinforcing the triangle geometry. Informal meeting areas are positioned at the pivotal point on each level.
Above left:The geological references continue on the interior, where front-of-house desks and enclosed meeting rooms on the sky lobby level appear to be formed from faceted rock crystals. Right:A stairway winds like a ribbon up through the large, central atrium (above right). Timber features extensively, in keeping with the need for an inviting,sustainably designed workplace.
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Preceding pages and left: To enhance a culture of openness and transparency, the levels are all open to each other. Sky bridges cross the atrium, with the structural elements reinforcing the triangular motif. Below:Staff are encouraged to work wherever they feel is most suited to the task at hand, which may be in the café or rooftop garden.
The 63,000m2 building, one of three NAB offices in Bourke St, brings together approximately 6000 staff from five different properties. Klyscz says many of the workers came from campus-style workplaces, while others had worked in more traditional offices. “The modern workplace is all about interaction and collaboration,” says Klyscz. “We want to encourage knowledge sharing and innovation through formal and informal meetings, and through chance encounters. “We have incorporated flexible, real-time working principles, with around 95% of employees working in a diverse range of spaces or micro climates. People work in teams and can choose to work in the environment best suited to the task in hand.” Work spaces include meeting rooms, quiet rooms, video conferencing rooms, work booths, collaboration tables, team huddle spaces and informal meeting spaces, including the café and rooftop garden. “Interestingly, the triangular-shaped workplace provided by the architects has been proven to be
an environment that encourages collaboration.” The building, which was constructed by Brookfield Multiplex, has achieved a 6 Star Green Star Office Design v3 rating, in keeping with the NAB focus on a sustainable workplace. “Sustainability has been a priority for the NAB property portfolio for many years,” says Klyscz. “We were one of the first corporations to achieve carbon neutral status in 2010.” Environmentally sustainable design features include the energy-efficient facade, which incorporates high-performance solar glazing and fritted glass technology. Brookfield Multiplex says the building also boasts the largest chilled beam installation to be built in Melbourne, blackwater recycling, rainwater harvesting, a co-generation plant and rooftop-mounted solar panels. Other eco-friendly initiatives include reduced waste during construction, sustainable furniture and furnishings, extensive daylight penetration provided by the atrium, energy-efficient sensor lighting, and the provision of 600 bicycle racks. More than 6000 indoor plants help to improve the air quality.
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Below:Shade canopies enliven the rooftop garden of the NAB building. The roof incorporates solar panels.
Location:National Australia Bank (NAB), 700 Bourke St, Docklands, Melbourne Architect:Woods Bagot; principals – Nik Karalis, Rodger Dalling; architecture – Nick Deans, Frank Rog, Marija Cakarun; interiors – Amanda Stanaway, Anna Arkell, Kylie Holton, Kathryn Ellis, Simon Pole, Tarryn Manskie, Rosalind Poerwantoro, Tom Withers Workplace consultant:James Calder, Calder Consultants Structural engineer:Winward Structures; 4D Workshop Structural engineer for interior fit-out:Irwin Consult Mechanical, electrical, fire, ESD and hydraulics consultant:Norman Disney & Young Quantity surveyor:WT Partnership Construction company:Brookfield Multiplex Information technology consultant:IPP Consulting Acoustic consultant:Audio Systems Logic Signage and wayfinding designer:Pidgeon/Tilt Design Catering and kitchen consultant:SDG Audiovisual and information technology consultant:NAB Project manager:APP/Montlaur Project Services Facade manufacture:G James Glass & Aluminium; Yuanda External glazing:China Southern Glass Revolving doors, automatic sliders and door locking systems:Dorma Lifts and escalators:Kone Stone flooring:Supplied and installed by Apex Stone Internal glazing:Seelite Wall joinery:VOS (Melbourne) Feature ceilings:Jacaranda Industries Bathroom fixtures:Caroma Teapoint tiles:Signorino Tile Gallery Theatrette ceiling:Sapphire Timber battening:Woodform Architectural Writable glass panels:Envoy, Chatboard Carpet tile:Interface Flor Broadloom carpet and rugs:Tretford from The Gibbon Group Paints:Dulux Storage and furniture joinery:Schiavello Blinds:Hunter Douglas Story by Colleen Hawkes Photography by Andrew Ashton See image gallery of this project online at trendsideas.com/nz2909p42
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Project Energex Northern Metro Office Circa CT1 office tower
SENSE OF COMMUNITY This eight-storey building had a two-fold design agenda. It needed to sit comfortably within a low-rise precinct, and it needed to provide an open, collaborative workplace
Architecture has always been about people, but in earlier decades it often seemed as though the human factor was relegated to a low priority when it came to the development of commercial buildings and tower blocks. All that is changing rapidly, as architects, local councils and developers take a more holistic approach to new developments. The physical, visual and emotional impact of a new building is now influencing the design to a much greater level than ever before. The new Circa CT1 office building in Nundah, Queensland, reflects this changing focus. Brisbane architecture and interior design firm Arkhefield was contracted to design the masterplan for an entire precinct, and consequently commissioned to design the office building and Energex NMO interior, as well as a mixed-use development.
Architect Juergen Weigl says the development needed to work with the scale of the existing lowrise buildings in the suburb. It also needed to play a role in activating the centre of Nundah, which had a number of vacant retail tenancies. “Altogether there are 300 residential units in the plan, along with retail premises and this office building,” Weigl says. “Already, Nundah is gaining a new dynamic as people come back to work and live in the centre of the suburb. The precinct is close to a train station, which is also helping to energise the area.” To ensure the eight-storey CT1 building would sit comfortably with the existing low-rise buildings, there is a strong horizontality to the facade. “We chose a horizontal design language, with concrete elements expressed on the exterior,” says Weigl. “Each elevation has a different treatment
These pages:The design of the new Circa CT1 building in Nundah, Queensland acknowledges the existing low-rise buildings in the suburb. Rather than create a monolithic tower, the team at Arkhefield introduced a strong horizontal design language to reduce the apparent height of the eight-storey building. Different sunshade treatments feature on each facade.
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to reflect varying requirements for sun shading. Angled structural columns on the corners signal the point at which one facade terminates and another begins. These columns, or blades, were also designed to allow unobstructed views back to the city and mountains to the south, and the sea towards the east.” The architect says being able to design both the exterior and the interior fit-outs for Energex NMO and Powerlink meant the exterior could help shape the interior, and vice versa. “To express the material palette of the exterior, we have used the same language on the inside, for both fit-outs. For example, we have pulled the concrete blade walls into the building to celebrate its form. Two meeting rooms with exposed structural concrete walls also protrude into the central atrium in the middle of the building.” Weigl says the atrium was a crucial element, but it needed to be warm and welcoming, rather than a cavernous, cold, intimidating space, which is often the case with larger buildings. “Ensuring the proportions and acoustics made for a comfortable environment was critical. Timber flooring and timber blades along the walls help to
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introduce a visual softness. We added an acoustic treatment to the walls to control the sound levels in the atrium. A sculptural light installation is another visual device enhancing the key circulation area – the lights appear to dance up the atrium.” The architect says Energex wanted the focus of the workplace to be on collaboration and communication, which determined the idea of open floor plates and the central staircase. “This increases the opportunities for social interaction and provides a strong visual connection both vertically and horizontally. To allow for this, we pushed the building core out to one side.” Weigl describes it as a non-hierarchical workplace – there are no enclosed offices in the building. Private spaces have been incorporated, but these are defined by full-height glass partitions rather than solid walls, maintaining the sense of transparency. “We also pulled the work areas away from the building perimeter – this is a circulation area that can be used and enjoyed by all staff, not a select few. And we created zones to introduce a human scale to the fit-out. It is still a large, open space, but there are clearly defined areas with support
Below:The major tenant in the building is Energex NMO, which occupies the top five floors. The first Energex floor – Level 3 – is lined with timber blade walls. An open staircase winds up a central atrium, which is of a scale designed to keep the space warm and inviting. Right:A light installation by Luxxbox enlivens the atrium and draws the eye up towards the transparent roof.
These pages:Exposed concrete blade walls echo the design language and material palette of the exterior. The walls frame two meeting rooms that appear suspended within the space. Different zones help define areas. Story by Colleen Hawkes Photography by Scott Burrows
services in close proximity. Staff feel comfortable in these spaces, but they never lose the context of the whole building.” Energex specified a number of different work options for staff, including fixed desks, hot desking and informal meeting tables. Staff can choose where they wish to work on any given day. Sustainability was another driver for the design, with the base building achieving a 5 Star Green Star
rating, and the interior built to Green Star principles. Key features include a high-efficiency floor plate that maximises natural light and external views, light sensors and rainwater collection and use. “We also used high-performance glazing, but with a low tint to the glass,” says Weigl. “This ensures people outside can see into the building, which fits with the community-oriented principles that determined other aspects of the design.”
Location:Energex NMO fit-out, Circa CT1 office tower, Nundah, Queensland Architect and interior designer:Arkhefield (Brisbane); architecture team – Andrew Gutteridge, Juergen Weigl, Matthew Smith, Michael Carlotto and Erin Wheatley; interior design team – Emma Cecchin, Corinne Trang and Belinda McGrath Developer:Property Solutions Construction company:Hutchinson Builders Civil engineer:Bornhorst & Ward Electrical, lighting and communications consultant:WSP/SDF Environmental consultant and fire engineer:WSP Hydraulic engineer:BRW/Woods & Grieve Engineers Mechanical engineer:WSP/HVAC
Facade system:G James Cladding:Alpolic aluminium; Vitrapanel fibre cement Sunshade screens:McLay Industries Timber handrails and feature wood wall linings: Finecraft Furniture Automated sliding doors and door hardware:Dorma Black precast concrete stairs:Precast Concrete Products Awards:AIA Queensland State Award, Commercial Architecture; AIA Brisbane Regional Commendation Interior Architecture and Commercial Architecture View, save or share this story online at trendsideas.com/nz2909p54
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PROPERTy COuNCIL NEw ZEALAND RIDER LEvETT BuCkNALL PROPERTy INDusTRy AwARDs 2014
IMpORTaNT DaTeS Nominations now open!
Register your interest for property nominations for entry into the Property Council New Zealand, Rider Levett Bucknall Property Industry Awards 2014.
Formal Submissions Due: 7 March 2014 Awards Gala Dinner: 6 June 2014
Entry is valid for projects with a practical completion date on or before 28 February 2014. Nomination forms will be available from October 2013 and are the first phase of entry to assist the judging team and to ensure submitted properties are entered into the appropriate category. Detailed submission kits will follow and are required to be completed by 3 March 2014. Finalists in all categories will be announced at the preeminent gala dinner held in Auckland on Friday 6 June 2014. To find out, more enquire today!
pROpeRTy COuNCIl New ZealaND NaTIONal OFFICe Images above: ANZ Centre, Auckland - 2013 Supreme Award Winner
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Project ANZ Centre
Location: Auckland Central
Architect: Warren and Mahoney
UP WITH THE TIMES Reinventing the ANZ Centre involved an award-winning new foyer and plaza at street level â€“ the refit also transformed the offices above
Optimising floor plates and minimising power bills are important aims for any sustainability driven commercial fit-out, but to attract tenants in the modern world the vision has to go beyond issues of desk space and energy savings. From welcoming street appeal to short elevator rides and intuitive wayfinding, every aspect of the design needs to be as user-friendly as possible. This pragmatic approach was a key driver when architecture firm Warren & Mahoney, with principal
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and Auckland executive director John Coop at the helm, undertook refurbishment of the ANZ Centre for developer Precinct Properties. The project brought the 32-storey 1980s tower into the 21st century with a new atrium and cafĂŠ, an expanded plaza, improved base build services and revamped floors for anchor tenant ANZ. While the award-winning atrium and upgraded plaza have been covered in a previous issue of this publication, there are several aspects of the
Below:The meeting suite is one of a raft of updates that make the ANZ Centre an ongoing perfect fit for its name tenant. Glass partitions can compartmentalise the space. Right:The introduction of a wide staircase contributes to the newly expansive, light-filled, work environment.
Left:Internal glass partitions admit light and bring acoustic privacy without blocking sightlines. New lighting controls incorporate automated dimming based on daylight levels. Passive infrared sensors control lights outside of work hours. Left lower:The revamped executive floor has a refined ambience. Floor-to-ceiling operable partitioning allows for meeting-size flexibility. Below:The new chilled-beam air conditioning system introduced to all ANZ floors removed the need for ducting and bulkheads, resulting in a more generous feel.
integration with the elevators, security, metering and standby generation systems. Although Green Star rating was not sought, these are all key green features.” The list of high-tech upgrades goes a giant step further with the anchor tenancy fit-out. “As part of its 22-level tenancy upgrade, ANZ required central server rooms with UPS backup and close-control air conditioning, to serve its stringent IT and financial trading functionality. “However, the most dramatic new services feature was the change from a VAV system to four-pipe chilled beam air conditioning. This included replacement of the on-floor air handling units with decentralised units, providing increased fresh air rates with thermal recovery wheels for improved energy efficiency,” says Coop. The advanced chilled beam system requires less ducting, enabling Warren and Mahoney to raise the lowest ceiling points, improving solar penetration and views. The hushed performance of the new system also brought first-rate on-floor conditions.”
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These features are of course as much about bettering the lives of the people who use the offices as energy efficiency or a fiscal bottom line. Keeping staff happy and productive is perhaps the most vital green consideration of all and several structural changes to the ANZ floors follow through on this. “Working in a tower can be limiting in terms of a cross-pollination of ideas, or even getting from one area to another, if they’re on different floors,” says Coop. “To address this we introduced broad stairs between all ANZ floors and situated breakout 66
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spaces on each landing. Another improvement was the refurbishment of the toilets, including moving access points from the fire stairs to the main floors.” It was perceived that changes to the ANZ Centre’s base build would encourage the star tenant to stay, and invest heavily in its own fit-out. Seen in overview, the ANZ Centre is now more efficient and inviting for all who work there. To view more images of this project online go to trendsideas.com/nz2909p62
Above:Casual breakout areas and social spaces are situated near the stairs. Everything is designed to encourage spontaneous, creative interaction, much like a university campus environment. Materials, finishes and paints are low VOC in a fit-out that reflects sustainability throughout.
Location:ANZ Centre (Auckland) Architect and interior designer Warren and Mahoney in association with Hassell Construction:Fletcher Construction Civil engineer:Holmes Consulting Group Mechanical and electrical engineers:Norman Disney & Young, Beca Quantity surveyors:Rider Levett Bucknall, Davis Langdon Fire consultant:Stephenson & Turner Partitioning system:Potter Interior Systems Hardware:Hardware Direct Blinds:Venluree Tiling:The Tile People
Flooring:Bolon Vinyl Ceiling:Specialist ceilings by Metal Concepts & Forman Building Systems; Armstrong suspended ceiling systems Veneers:George Fethers, Australia Paints:Dulux Workstations and office chairs:Zenith Interiors; Kada Furniture:Matisse, Simon James, Cite, Jardan, ECC Kitchen equipment:Wildfire Commercial Kitchens and Bars Lift services:Kone Story by Charles Moxham Photography by Jamie Cobel
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SPECIAL FEATURE : ANZ CENTRE COMPANY : METAL CONCEPTS SPECIALTY : CUSTOM CEILINGS
COVER STORY When the executive floor within the ANZ tenancy was reinvented, it was given an appropriately upmarket presence. Part of the update was a sculptural metal ceiling that includes concealed lighting. Metal Concepts undertook the design and installation of the ceilings right through the tower. Work included the feature ceiling in the foyer, covered in a previous issue, as well as the extruded aluminium fin ceiling that features on most floors, says Metal Concepts director Tony Savage. “In addition, and of particular interest, was the fully custom perforated basketweave aluminium ceiling that provides a refined, eye-catching surface on the executive floor. The architects came to us with an artist’s impression of how the ceiling was to look, and we took this concept and turned it into a practical reality.”
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“As well as achieving the 3-D, sculpted aesthetic required, we had to address the pragmatic aspects of the design – how the myriad services would tie in behind the ceiling, how it would look with lighting installed, and the logistical aspects, such as how the ceiling could be best configured to save on installation times and costs to the client.” This ceiling was a small project for Metal Concepts, compared to the installation of the fin ceilings on other floors; however, it reflects the company’s diverse design skills and ingenuity. “The basketweave ceiling is a one-off – it is for the enjoyment of ANZ executive floor staff and visitors alone,” says Tony Savage. To view, share and save this article online go to trendsideas.com/go/41580
SPECIAL FEATURE : ANZ CENTRE COMPANY : POTTER INTERIOR SYSTEMS SPECIALTY : ALUMINIUM PARTITIONS
QUIET SEPARATION In design terms, it would be counterproductive to insert solid-walled elements into an open-plan volume. To maintain sightlines and an airy aesthetic, the architects instead specified large glass-walled meeting rooms for the ANZ tenancy. Potter Interior Systems designed, fabricated and supplied new aluminium profiles, including customised A Series 105 and C Series 45 partitions, that would meet the architectural look desired, says national sales manager Andrew Clemmet. “The aluminium framing had to carry twin glazing for a high sound rating, while the finish is in bright French Blue to match the ANZ corporate colours. The frames were anodised on the executive floor and powdercoated on other levels of the tenancy.” Potter Interior Systems also supplied the steel stud for partition walls and insulation product for all 22 of the lead tenant’s floors. “The ANZ Centre project was complex – everything was delivered across ‘live’ floors, navigating through other construction works,” says Clemmet. Potter Interior Systems is a leading supplier of ceiling tiles and aluminium partitioning for the commercial wall and ceiling industries. The company also supplies thermal and acoustic insulation to industrial and commercial construction projects, as well as whiteboards, chalkboards and fabric boards to the education sector. To view, save and share this story online go to trendsideas.com/go/41434
POTTER INTERIOR SYSTEMS PO Box 13451, Onehunga Phone 0800 POTTERS Fax (09) 579 5661 www.potters.co.nz email@example.com
SPECIAL FEATURE : ANZ CENTRE COMPANY : TRAY-DEC NZ SPECIALTY : COMPOSITE STEEL FLOORING PROFILES
WHAT LIES BENEATH Part of the major refurbishment of the ANZ Centre, the street-level ANZ meeting suite incorporates attractive stone flooring. Providing a stable, solid subsurface is a contemporary composite floor system specified by architects Warren and Mahoney. Tray-dec provided the steel floor profiles for the metal and concrete floor. General manager Mike Smart says the system offers a highly stable and economical alternative to other types of suspended floors. “As a flooring option, Tray-dec is particularly well suited to steel beam structures, such as the ANZ Centre. The product, which looks somewhat like corrugated iron sheeting, was used for the floor of the meeting suite and on another section of flooring two levels higher up in the tower. “After the steel profiles were tied to the structural supports, Nelson
TRAY-DEC NZ 46 Patiki Rd, Avondale, Auckland 1026 Phone (09) 302 3005 Mobile 0274 764 287 www.traydec.co.nz firstname.lastname@example.org
shear studs were welded to the steel beams by our sister company, Nelson Stud Welding. The concrete was poured into the Tray-dec to cover the Nelson shear studs, which resemble threadless, oversized bolts, anchoring the concrete to the steel beams,” says Smart. “All steel sections were designed to interlock with adjacent trays, both as tensile reinforcement and permanent formwork for the concrete floor poured on top. The composite action of the steel and concrete creates a floor which is very strong but also light in weight. The system is simple and fast to install, and because the metal sheets are easier to handle, craneage time is reduced.” To view, save and share this story online go to trendsideas.com/go/41538
SPECIAL FEATURE : ANZ CENTRE COMPANY : THE TILE PEOPLE SPECIALTY : SPECIALTY STONE SURFACES
CHARACTER STRENGTHS The anchor tenant’s executive floors have the sense of luxury you might find in a well-appointed hotel. Honed marble walls and floors make a major contribution to this aesthetic. The Tile People supplied and installed the rich stone surfaces on three ANZ tenancy floors, says commercial manager Glenn Obery. “On these levels, the architects had wanted a dramatic statement. They requested marble tiles and panels for the common-area floors, the lift core walls and for the walls and floors of the toilets. From several samples, they selected a Sapphire Silver grey marble sourced from Turkey, chosen for its warm, opulent appeal.” The commercial stone and tile specialist then ordered the stone direct from the quarry and had it processed before shipping to New Zealand. “Wall panels were specified in unusually large formats, which adds to the impact,” says Obery. “The giant 2.6m x 1.2m slabs were brought into the tower on specially built frames to protect them in transit. Once on the floor they were adjusted for a seamless fit and raised into place using a vacuum lifter. We also introduced hardwearing porcelain and ceramic tiles on most other floors of the tower, including 19 of the 22 levels of the ANZ tenancy.” The Tile People offers a full service from design and selection through to specification and installation. Recent projects include the Audi showroom, Lexus showroom, Saltus Apartments and The Base. To view, save and share this story online go to trendsideas.com/go/41583
THE TILE PEOPLE PO Box 151 045 Phone (09) 813 6082 Fax (09) 813 6082 www.tilepeople.co.nz email@example.com
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INTELLIGENT FACE Contemporary facade glazing systems for Albany Junior High School combine a clean look with durability and flexibility – Express Aluminium Ltd designed, fabricated and delivered
Aluminium window and door systems form an integral part of the modern architecture at Albany Junior High School. When the school expanded, new facades were requested to match the look and functionality of those on existing buildings. Working with products from Aluminium Systems, Express Aluminium designed, created and installed two types of aluminium window systems at the school to create the warm aesthetic and functionality required. Together the two systems fulfilled the design parameters of wide spans, tall facades and the need for sensor-controlled operable windows, saving on school power bills and ensuring the day-to-day comfort of the students, says director of 74
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Express Aluminium David Wilkinson. “The Commercial Series and Architectural Series were introduced in Albany Junior High School’s Tui classroom block, the music block, and tuck shop.” Express Aluminium specialises in manufacture of joinery for residential and light commercial projects, working closely with architects and specifiers. For more details, contact Express Aluminium Ltd, 9 Wainui Rd, Silverdale, Whangaparaoa, phone (09) 427 4540. Email: email@example.com, or visit the website: www.expressaluminium.co.nz. To view, share or save this article online go to trendsideas.com/go/40371
This page:The clean-lined, contemporary Commercial Series and Architectural Series comprise the modern architectural fronts of a new classroom and music blocks at Albany Junior High School. The systems were custom designed, manufactured and installed by Express Aluminium.
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SECTION FOCUS PROJECT PORTFOLIO
SHAPESHIFTERS The way buildings interface with their immediate surroundings is changing the shape of our cities, as these projects illustrate
Project Sliced Porosity Block Raffles City Chengdu
Location: Chengdu, China
Architect: Steven Holl Architects
BACK TO THE FUTURE Inspired by the writings of an 8th-century Chinese poet, this multi-tower megacomplex wraps around a landscaped plaza to bring a human scale to a mixed-use development
Commercial tower blocks and mixed-use developments are typically clustered to arise from a street-level podium. With built forms abutting the street, such architecture can appear intimidating. A new development in Chengdu, China revisits the whole concept of a multi-tower, mixed-use development to create a sustainable, light-filled urban precinct that enhances the architectural interface with the city. Raffles City Chengdu, commonly referred to as Sliced Porosity Block, was developed by CapitaLand China and designed by Steven Holl Architects. The 310,000m2 development covers an entire city block, providing two office towers, a residential tower, a hotel tower, a high-end serviced residences tower and retail premises around the perimeter and beneath a large plaza. But it is the position of the towers, their design and their relationship to one another, that heralds the key difference. The towers are wrapped around
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three sides of a landscaped precinct, with street level access at all points where there is a break in the built form. Architect Roberto Bannura, the director of Steven Holl Architects’ Beijing office, says there were six main concepts that determined the design. “Porosity was one of these – the idea that the buildings would be designed to allow sunlight to penetrate the architectural mass,” Bannura says. “This explains the setbacks, cantilevers and angled facades. These were calculated after consideration of the site’s precise longitude, latitude and sunlight angles, and the location of neighbouring residential communities. We introduced glazed walls to all these elevations, so you can read where the sun slices through the towers – those are the glazed facades. The buildings are also distinguished by their exoskeletal structure – the architectural geometry and load-bearing diagonals are clearly visible on the exterior of the towers.”
Preceding pages and below: The fractured form of this new mixed-use development in Chengdu, China enhances its close integration with the city beyond. Raffles City Chengdu, or Sliced Porosity Block as it is also known, features five towers with cantilevers, setbacks and angled facades designed to allow the sun’s rays to penetrate through to a central plaza and neighbouring residential communities. Right:The towers are grouped around three sides of the plaza, creating a sheltered microclimate for the public space. The plaza incorporates three ponds. Large skylights beneath the water allow natural light to penetrate the retail mall beneath.
Another key design concept was the integration of the urban space in terms of both its function and the form. “We designed a large plaza that would integrate the buildings and fulfil all the expectations people have of such an urban precinct, essentially creating a city within a city, not unlike the Rockefeller Center in New York,” says Bannura. “Micro-urbanism was a key concept expanded in the design. Creating a strong sense of community and introducing an intimate scale to the development was vital. There are no intimidating structures at pedestrian level – everything is open and easily accessed, from the double-fronted retail stores around the perimeter to the building entries.” The design of the plaza references the work of the Chinese poet Du Fu, who lived in Chengdu during the 8th century – this was another key concept that influenced the design. “Providing a sense of history and a recognition of the past was important,” says Bannura. “The
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design is an interpretation of a poem that reads ‘This fugitive between earth and sky, from the northeast storm-tossed to the southwest, time has left stranded in three valleys’. We have created three linked plazas that reference the three valleys, each with a water feature inspired by a different concept of time. In the Cascades water feature, for example, every stone block refers to a day of the year and there are 24 special markers that follow the Chinese calendar.” Spatial mall geometry was another defining architectural influence. Bannura says it was vital that shoppers in the mall below the plaza would still feel connected to what was happening above. The design consequently provides three extra-large skylights – one in each of the three lakes. By day natural light floods into the mall, and at night, the light shines in reverse, illuminating the lakes. The architects also introduced three pavilion elements that sit within three towers around the level of the fifth floor. The towers appear to wrap
Below:A series of pavilions are positioned within cutouts in the towers. These include a Corten steel pavilion featuring digital projections of Sichuan artefacts. The landscaping in the plaza was inspired by a poem written in the 8th century by Du Fu, a former resident of Chengdu. Right:The towers are also distinguished by their exoskeletal structure – bracing is exposed on the exterior.
Left:The Light Pavilion is a futuristic lighting installation that appears to burst forth from one of the towers. The sculptural design of the semi-transparent elements mimics the sliced and angled form of the towers. Below:A stairway winds up through the Light Pavilion, enhancing the visitor experience.
around these pavilions giving the impression these elements were already in existence. One pavilion, in rusted Corten steel, will exhibit digital projections of Sichuan historical artefacts – an acknowledgement of the museum that once stood on the site. The Light Pavilion, designed by Lebbeus Woods and Christoph A Kumpusch, is a complex space that explores futuristic architectural lighting forms. An open stairway winds up through the pavilion. Here also, the design acknowledges the historical heritage of the city, with bright light displays celebrating traditional festivals. “Throughout the development, the lighting plays a huge role,” says Bannura. “At night, light leaks from the sliced cuts in the reverse direction of the sun slicing through the buildings. And the plaza itself has an inviting glow – light spills out and activates the streetscape on South Renmin Road, a key axis through the city.” The sustainability initiatives were another key driver for the design of the project. The development has set a new benchmark for the city, being the first complex project in Chengdu to obtain LEED Gold Pre-Certification status, which was
Location:Sliced Porosity Block, Chengdu, China Developer:CapitaLand China Architect:Steven Holl Architects Associate architect and structural engineer: China Academy of Building Research MEP and fire engineer and LEED consultant: Ove Arup & Partners Lighting consultant:L’Observatoire International
awarded by the US Green Building Council. Sliced Porosity Block incorporates advanced green technologies. These include a ground-source heat pump system featuring 468 geothermal wells, and a heat recovery system whereby heat from HVAC condensate is transferred to flushing water. Rainwater is collected via a raised paver system that controls water runoff – the water is used for irrigation. In addition there is greywater recycling. Altogether the water savings result in a 43.4% reduction in potable water usage. The development also has green roofs, LED lighting and occupancy sensors, recycled and locally sourced materials, and a chilled water storage system that reduces electricity demand during the day. Passive design plays a key role as well – the thermal mass of the exposed concrete stores passive heat; the cradle of towers provides a microclimate that enhances the outdoor living environment in summer and winter; and exposure to daylight helps reduce energy use. See video and image gallery of this project at trendsideas.com/nz2909p76
Quantity surveyor:Davis Langdon & Seah Traffic consultant:MVA Hong Kong Cladding:Concrete Glazing system:CSG Architectural Glass Story by Colleen Hawkes Photography by Iwan Baan and Shu He
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Project Shed 10
HISTORY IN THE MAKING Preserving the heritage elements of Shed 10 on the Auckland waterfront was just one of the challenges for Macrennie Commercial Construction Most Aucklanders are probably familiar with the exterior of Shed 10, the historic cargo shed on Queen’s Wharf. But few would be aware of the original features that have led to the building being listed a Category 1 Historic Place. Preserving the existing sarking, flooring and steel trusses was a critical element of a major renovation of Shed 10, designed by Jasmax and constructed by Macrennie Commercial Construction. But it wasn’t the only construction challenge, says Macrennie manager Steve Fowler. “We were awarded the contract following the Mainzeal collapse and very quickly had to come to terms with the demands of the project and the brief from Waterfront Auckland and Jasmax. This was not like walking into a normal office building or warehouse project where everything is sharp and 84
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streamlined. Here, we had to work with existing irregularities and tolerances that were off the scale – nothing was straight or true.” Fowler says the complexity was compounded by the fact that the shed was being used for immigration services, so whenever a cruise ship arrived in port, all work stopped and the site was cleared. “With the assistance of Waterfront Auckland and Beca, we were able to retain subcontractors hired by Mainzeal, and deliver the project on time and to budget.” For more details, contact Macrennie Commercial Construction, phone (09) 525 3330. Or email: firstname.lastname@example.org. Web: www.macrennie.com. View, save or share this story online at trendsideas.com/go/41444
Above:Macrennie Commercial Construction took over the renovation of Shed 10 on the Auckland waterfront, following the collapse of Mainzeal Property and Construction. Key features of the two-storey building include the original sarking and steel beams, which have been left exposed to highlight brand marks and rust. Large sliders now open up the former cargo shed to the wharf. The building serves as the Gateway to Auckland when cruise ships are in port, and is used for special events.
BEHIND THE SCENES Planning for hidden costs in the redevelopment of an historic building is essential. But structural challenges were just part of the story for quantity surveyor Maltbys
Below:Maltbys was the quantity surveyor for the Shed 10 project, which is defined by its distinctive exposed rafters and sarking. All the original painted markings on the floors were also retained.
There are always unforeseen costs involved in redevelopment projects, and Shed 10 on Queen’s Wharf was no exception. Gary Townsend, director of quantity surveyor firm Maltbys, says the company had provided cost estimates for the project that were proven to be highly accurate when tenders were received. “What we had not foreseen, however, was the need to renegotiate all of the subcontractor contracts when the lead builder Mainzeal went into receivership. Waterfront Auckland, the owner of Shed 10, wanted to proceed with the project as fast as possible, so it made sense to continue with the existing subcontractors. However, there were many issues to be sorted relating to their payment – we worked closely with the new builder, Macrennie Commercial Construction, to resolve this.” Townsend says the company had a contingency budget to cover hidden costs. “In any project involving a heritage building, there
will be things that crop up, and you cannot identify all of these in advance. The major unforeseen costs in this project related to the age of the building, and the fact that nothing was square.” Townsend says Maltbys has a long history, quantity surveying many different types of commercial projects, from hotels and highrises to stadiums and town centres. The firm’s list includes unusual projects, such as an intercontinental ballistic missile station on Christmas Island and the Motonui gasto-gasoline plant. “We have always focused on versatility, and have ensured we have the expertise for developments that are out of the ordinary.” To contact Maltbys, PO Box 2176, Shortland Street, Auckland 1140, phone (09) 303 4394, fax (09) 307 1034. Email: email@example.com. Website: www.maltbys.co.nz. View, save or share this story online at trendsideas.com/go/41539
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WELL FRAMED To provide strong, high-performance joinery for the Shed 10 project, handcrafted steel doors and windows from Southern Steel Windows were specified
Over the course of the past century, Shed 10 on Queen’s Wharf has weathered a fair number of storms and rough handling. So it’s probably not surprising that time had taken a toll on the building. Chris McGregor, an estimator with Southern Steel Windows – the company contracted to manufacture, supply and install all the steel doors and windows – says dealing with all the structural irregularities was a major challenge. “Because the building has been sitting on a wharf, things have shifted over time and the lines and angles are not true. The contractors on site undertook a continuous stream of surveys, which were sent through to us. Every window was then 86
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custom built by hand to ensure a perfect fit.” A mix of Wrightstyle and non-proprietary joinery was manufactured from galvanised steel. The joinery was then painted in an epoxy, two-pack Caprithane paint in the colour Titania. McGregor says the joinery comes with a 10-year warranty and will require little maintenance. For details, contact Southern Steel Windows, PO Box 659, Invercargill 9810, phone (03) 218 9278. Email: firstname.lastname@example.org. Website: www.southernsteelwindows.co.nz. View, save or share this story online at trendsideas.com/go/41581
Above:Southern Steel Windows manufactured, supplied and installed handcrafted steel doors and windows for the Shed 10 project. The Invercargill-based firm has an experienced team of professional fabricators and glaziers, and provides steel joinery for a wide range of commercial, industrial and architectural projects throughout New Zealand.
Enduring perfection. The Classic control knob by Guido Canali
CLASSIC SERIES designed in Italy
LIVELY PRECINCTS People-friendly streetscapes are revitalising our cities, as the Fort Street, Auckland upgrade by Boffa Miskell illustrates
Urban renewal is not just about repurposing buildings – it’s also about transforming streets, paths and laneways to create pedestrian-friendly precincts that support a variety of activities. In Auckland, this revitalisation is a key part of a multimillion-dollar CBD upgrade undertaken by Auckland Council. Boffa Miskell, a leading environmental consultancy specialising in planning, landscape architecture and urban design, has been working closely with the council to upgrade key streets and open spaces to international standards. The Fort Street upgrade, shown here, features both conventional and shared space streetscapes. Boffa Miskell project manager Michael Hawes says the upgrade removed kerbs and installed level paving across the full width of the street. Conventional traffic control devices, such as signs, barriers, bollards and road markings are kept to a minimum. “In the absence of these conventional street cues, motorists and pedestrians are encouraged to engage more carefully with their surroundings and with each other.” Hawes says the shared space better integrates the area into the surrounding street network and gives greater priority to pedestrians. “It also creates a distinctive, durable public space, providing opportunities for the area to be a popular destination in the CBD – a space that supports both businesses and residents. “Boffa Miskell took a very open, holistic approach to the design, engaging all parties in dialogue, testing and review. The subsequent feedback has been highly positive in all respects.” For more details, contact Boffa Miskell, phone (09) 358 2526. Website: www.boffamiskell.co.nz. View, save or share this story online at trendsideas.com/go/40788
Above:Shared streetscapes, such as Elliott and Fort Street designed by Boffa Miskell, are transforming the CBD. 88
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Lighting Urban Spaces
Light for inspiration. E pressi e lighting is a school o
thought which demands
attention. WE-EF inground uplights fitted with metal halide lamps and colour filters illuminate the open spaces at olmesglen College in
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WE-EF LIGHTING Tel 1 0444 Fa 1 04 in o.australia we-e .com www.we-e .com
Project Rundle Place Rundle Mall
Architect: The Buchan Group
PIVOTAL ROLE At the heart of the new Rundle Place retail centre in Adelaide is a dramatic atrium that features TemperShield curved toughened glass balustrading from Glasshape
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Below:The new Rundle Place retail centre in Adelaide features a large atrium with retail floors linked by escalators. The balustrading is 19mm TemperShield™ curved toughened glass from Glasshape.
Expansive views in all directions are vital for a large retail centre – they generate anticipation and excitement. And it’s not just about the architecture and fit-outs – people checking out the merchandise and riding the escalators help to animate the spaces, enhancing the whole experience. Clear glass balustrading helps ensure such views are maximised, which is exactly what the design team specified for the new Rundle Place premium retail centre in the Rundle Mall precinct in Adelaide. TemperShield® 19mm curved toughened, heatsoaked glass from Glasshape was chosen for the balustrades in the central atrium. As well as complying with the regulations for frameless glass balustrades in shopping centres, the curved glass provides a distinctive architectural feature. It also enhances the sense of openness and space, and ensures the circulation areas flow seamlessly. Glasshape, which has ISO9001 accreditation, can manufacture TemperShield® curved toughened glass in extra-large sizes – up to 3.9m high x 2.44m wide, which is the largest dimension available in Australasia. The glass is well suited to commercial and residential architectural applications. The company also has a digital onsite measuring system that can be utilised to take measurements early in the construction process, before standard templates would normally be made. Specialist technicians use the latest digital scanning software to produce electronic templates. The glass can then be manufactured and delivered on site before it is required, so builders don’t have to wait for it. For further information, contact Glasshape 65-67 Woodcocks Rd, Warkworth 0910, phone (09) 422 2565, fax (09) 422 2566. Alternatively email: email@example.com. Or visit the website: www.glasshape.co.nz See other Glasshape projects online at trendsideas.com/go/41164
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Project Grafton Campus, Faculty of Medical and Health Sciences, University of Auckland
IN GOOD HEALTH An extensive makeover has transformed the former Brutalist architecture of this medical school, creating an inviting, people-focused campus with a new heart
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Below:The Faculty of Medical and Health Sciences at the University of Auckland has undergone a major upgrade designed by Jasmax and Jackson Architecture. The new Boyle Building, left, is joined to the refurbished existing buildings by a new atrium.
Much has changed in 30 years in terms of both education and architecture, so it’s scarcely surprising that a university campus that has seen no new building or infrastructure work in that time would be due for an upgrade. When the Faculty of Medical and Health Sciences at the University of Auckland found itself in this situation, it commissioned Jasmax and Jackson Architecture to come up with a masterplan for the Grafton campus. Jasmax architect Stephen Middleton says the university had outgrown the existing space. It was also wanting to enhance its research department, which is seen as a vital growth stream contributing to university funding. And there was a need for an improved flow through the campus, which had no social focus. Shared circulation areas for students and researchers also needed to be addressed. “Research facilities have to meet a whole raft of international standards, so there was a clear need for separation,” Middleton says. “But just as importantly, the campus had no sense of identity. The Brutalist architecture of the existing buildings was not welcoming and the campus seemed cold and unfriendly. The only social space for the students was the café.” The architects consequently came up with a plan that included a new building – the Boyle Building – to house academic offices, student facilities, lecture theatres, the Liggins Institute and an optometry clinic. A large, light-filled atrium links this structure to an existing building, which has a new extension. All the existing buildings were extensively refurbished and new infrastructure services installed. “The new building and the extension gave us an opportunity to soften the harsh exterior of the campus and give it a more humane aspect,” says the architect. “We picked up on the existing material palette, which is mainly concrete and glass, and introduced zinc as a visually soft alternative for two of the elevations. “Fixed aluminium louvre sunscreens help to give the new structure a sense of scale. The design of the screens references the pattern of marching MORE PROJECTS AT trendsideas.com
columns on the north face of the adjacent building. Coloured LEDs within the screens create a random pattern by night, reminiscent of DNA strands.” The campus was also completely reorganised on the interior, says the architect. “We moved the students down to the lower levels of the buildings, and positioned the research facilities at the top. The atrium has effectively become the heart of the campus, a focal point that resolves the issues of identity.” A stairway winds up the atrium and sky bridges crisscross the space linking the new with the old, and providing opportunities for social interaction.
The balustrade is a fluorescent yellow green, a colour accent repeated in the portals to the new lecture theatres on the ground floor, and elsewhere throughout the building. “We wanted to promote the use of the stairs,” says the architect. “It provides a way for people to engage with and activate the entire space, which is exactly what is happening. Staff meeting and social spaces also spill onto the atrium bridges, further encouraging collaboration and transparency.” The upper levels of the new building provide adaptable spaces for academic offices, with open spaces around the perimeter maximising daylight.
Key: Teaching areas Offices Café
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Below:The plan shows the ground level of the redesigned campus. New lecture theatres are positioned in the new Boyle Building, with entries off the atrium. Right:With its open stairs and balconies on upper levels, the atrium has a welcome transparency that contrasts the original Brutalist architecture of the buildings on campus.
Left and below:Fluorescent yellow green balustrading promotes the use of the stairs, which in turn helps to activate the atrium. The totara fins on the walls are backed by acoustic insulation. Below right:Bright colours also define other areas of the campus – red features in the student café within the new extension. Exposed services enhance the lively ambience. Story by Colleen Hawkes Photography by Jamie Cobel
Student facilities include a new café on the ground floor of the extension that opens to both the atrium and the outdoors. A student commons and information commons are positioned on the first floor of the Boyle Building, directly opposite the library across the atrium. In areas that are not open, the partitioning is glazed to enhance visual connections. “Modern learning is a lot more informal and group focused than in the past,” says Middleton. “So we have provided plenty of places for students to sit together, with LCD screens that they can connect to their computers to share information.” Strong primary colours define various areas
within the campus. These were taken from two key artworks, by Pat Hanly and Gretchen Albrecht. Salvaged totara wood also features extensively on walls fronting the atrium, in keeping with the need for sustainability. Middleton says the irregular patterning of the totara fins responds to the existing facade’s angled spandrel panels and the shadows they cast. Other sustainable design initiatives include the use of natural ventilation in the atrium, chilled beam air conditioning, high-performance glass, extensive insulation and the use of recyclable materials. The campus is also built on a brownfields site, is close to public transport and has ample bicycle parks.
Location:Grafton Campus, Faculty of Medical and Health Sciences, University of Auckland Architect:Jasmax, in association with Jackson Architecture Structural engineer:Holmes Consulting Mechanical and electrical services engineer:Beca Quantity surveyor:Rider Levett Bucknall Construction company:Fletcher Construction Project manager:RCP Facade:Thermosash Commercial Metal cladding:Metal Design Solutions ETFE roof:Vector Foiltec (New Zealand) Waterproofing:Mohan Roofing Services; MPM Waterproofing Services Structural steel:D&H Steel Construction; George Grant Engineering
Joinery:Sage Manufacturing Specialist doors:Pacific Door Systems Door locks, closers and security hardware: Ingersoll Rand Security Technologies Lifts:Kone Elevators; New Zealand Engineering Services Suspended ceilings:Forman Commercial Interiors Carpentry:Melco Construction Blinds and curtains:Decor People Audiovisual systems:Connect NZ Soft landscaping:Natural Habitats See image gallery of this project online at trendsideas.com/nz2909p92
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SPECIAL FEATURE : FACULTY OF MEDICAL AND HEALTH SCIENCES COMPANY : METAL DESIGN SOLUTIONS LTD SPECIALTY : ARCHITECTURAL SHEETMETAL CLADDING
KEEPING UP APPEARANCES In designing the extensive changes to the Faculty of Medical and Health Sciences campus at the University of Auckland, Jasmax chose to soften, rather than ignore, the existing Brutalist architecture. Cladding materials were consequently chosen to be in keeping with this design approach. One end of the renovated building adjacent to the new Boyle Building was remodelled and clad in pre-weathered titanium zinc from Metal Design Solutions (MDS). Standing seam zinc was used vertically, with contrasting flat horizontal bands defining the floor levels within. Jan Alberts, co-director of MDS says pre-aged zinc is used to provide uniformity of finish. â€œIf the zinc was not weathered, there would gradually be a difference in the appearance of areas exposed to the weather and the more sheltered panels. With the pre-weathered
METAL DESIGN SOLUTIONS LTD PO Box 33, Drury 2247 Phone (09) 640 0009 Fax (09) 268 6968 www.metaldesignsolutions.co.nz firstname.lastname@example.org
cladding, the building will remain looking as it does for years to come. As well as being aesthetically pleasing, titanium zinc is renowned for its performance and durability.â€? Alberts says MDS provides bespoke products for clients, working closely with architects to design, supply and install materials that are an appropriate solution for each project. Metal Design Solutions has been in operation for more than 13 years, fabricating zinc, copper, stainless steel and aluminium cladding, flashing and roofs. Branded products available from MDS include Euroroof, Eurowall, Rheinzink, Eurotray and Euroline. See other Metal Design Solutions projects online at trendsideas.com/go/41584a
SPECIAL FEATURE : FACULTY OF MEDICAL AND HEALTH SCIENCES COMPANY : INGERSOLL RAND SECURITY TECHNOLOGIES SPECIALTY : DOOR CLOSERS, LOCK AND SECURITY HARDWARE
LOCK, STOCK AND BARREL In every project it’s the hardware that spells the difference between a high-quality job or a quick fix. For the Faculty of Medical and Health Sciences project at the University of Auckland, premium, hardwearing products that would go the distance were essential. Ingersoll Rand Security Technologies was consequently engaged to advise on and supply all the door controls and mechanical locking systems. Casey Cox, commercial sales manager, says it is a technical niche market where architects and designers often rely on the expertise and experience of the consultants at Ingersoll Rand to ensure the specification is fit for purpose and accurate. “Because this was also a very large project, with many different types of doors and applications, we needed to put together a comprehensive schedule that would meet the client’s list of
requirements, which included compliance, durability and aesthetics. This involved working closely with the architects, contractors and project team, with ongoing support provided to the client’s maintenance department.” Cox says every product sold by the company has undergone extensive testing to ensure it is robust and will be long lasting, with the aim of reducing maintenance costs. Key products supplied by Ingersoll Rand Security Technologies include New Zealand-designed, engineered and assembled Legge locks and furniture, LCN door closers, and the renowned Schlage door hardware. View, save or share this story online at trendsideas.com/go/41390
INGERSOLL RAND SECURITY TECHNOLOGIES 437 Rosebank Rd, Avondale, Auckland 1026 Phone 0800 477 869 Fax 0800 499 868 www.ingersollrand.co.nz and www.legge.co.nz email@example.com
SPECIAL FEATURE : FACULTY OF MEDICAL AND HEALTH SCIENCES COMPANY : SAGE MANUFACTURING SPECIALTY : JOINERY
RISING TO THE CHALLENGE With its vibrant fluoro green balustrading, the central staircase in the atrium is a standout feature of the remodelled Grafton campus at the University of Auckland’s Faculty of Medical and Health Sciences. It was also a standout project for Sage Manufacturing, the company contracted to build the stairs, most of the cabinetry, and the backpainted glass reception windows in the new Boyle Building. General manager John Posthuma says the first challenge was to accurately measure the staircase. “The measurements had to be accurate within a few millimetres otherwise the panels would not line up when we came to fit them,” he says. “The panels are faceted on the front, with the profiles meeting at a point on the corners, which meant we couldn’t trim them on site. We used a proliner electronic plotting device to plot the steel structure in 3-D CAD, but it was particularly awkward due to the fact that the stairs were covered in scaffolding, and the building was regularly shaken with other works in progress.” Posthuma says the subframes were also difficult to draw in CAD due to the multifaceted planes and changing angles. “We also faced challenges installing the panels, as part of the staircase is 12m above ground, and the design meant there were no square edges on which to gauge levels. The finished project, however, is testament to the experience and skills of our team.” View, save or share this story online at trendsideas.com/go/41554
. SAGE MANUFACTURING 2 Tait Place, Albany Phone/fax (09) 415 6322 www.sagemfg.co.nz firstname.lastname@example.org
Quite simply the eDLT is one of New Zealand’s most advanced wall switches. The latest release in our Sympholux lighting and control system is the C-Bus eDLT’s award winning* design. It provides complete customisable control for your installation. eDLT features: • Customisable colour options – plates, screen and buttons • High resolution colour screen • Enhanced labelling options • Scene control – integrate multiple technologies and set with a touch of the button • Proximity sensing for convenience and energy saving • Dual action buttons simplify up/down commands for lighting and audio. Perfect for: • Board rooms • Meeting rooms • Retail showrooms • Hotel suites and apartments • Hospitality establishments • ... and more * The Clipsal C-Bus eDLT wall switch has won a highly acclaimed “Design Award” as part of the 2013 Australian International Design Awards in the category of Hardware and Building. The Design Award recognises products or services that exceed the five criteria for good design and meet the criterion for design excellence and innovation.
For more information about the C-Bus eDLT email email@example.com for your free product brochure.
Project NZRU headquarters
Designer: Inside Design
ALL BLACK COVERAGE When the preplanned carpet fit-out of an entire building was influenced by an important new tenant – the NZRU – Floorspace adapted and ran with the ball
Our most celebrated sporting team is famous for adapting quickly to unexpected test situations, traits also vital in the world of commercial business. When the New Zealand Rugby Union relocated to the top two floors of the former State Services building on Molesworth St – now New Zealand Rugby House – Floorspace had already ordered an eco-friendly, patterned-loop carpet with a high recycled material content for all levels. “The Currents carpet, part of the Flux series by international brand Tandus, was originally selected in a grey and blue wave-like pattern. However, when the NZRU came into the building mid-project, it requested a change in the carpet colour to more 102
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accurately reflect the All Black branding. This was to be the same product but in a black and grey. “We are the sole distributors of Tandus products here and we quickly contacted the manufacturing centre in China to request a change. Several swatches of the custom carpet were airfreighted to us and as soon the NZRU fit-out designer was happy, we ordered the carpet. It arrived by sea and was fully installed a short six weeks later.” For further details, contact Floorspace, phone (09) 582 0070. Website: www.floorspace.co.nz To view and share this article online go to trendsideas.com/go/41141
This page:The new home of the NZRU headquarters in Wellington benefits from an eco-friendly carpet – Flux, by international carpet manufacturer Tandus. Sole agent Floorspace organised the new carpet in the custom black and grey, working within an extremely short timeframe.
FRONT-LINE CONTROL Fluid communication is vital for any world-beating rugby team and the NZRU wanted the same from its advanced technology fit-out from Futureworks
Above:Vision and sound on – the entire NZRU head office has been fitted out with a bespoke system developed and installed by Futureworks.
The new home for New Zealand rugby offers a user-friendly experience for all who work and visit there. A high-tech communications system means data – anything from a company-wide announcement to a video of a winning try – can be sent at the press of a button to any or all of the various devices in the boardroom, meeting rooms and breakout spaces. Futureworks designs systems based not around one brand or another, but for optimum functionality, says sales and marketing manager James Bailey. “We provided an advanced AV solution for the NZRU spaces. A central AMX integrated controller is the brains behind the system, which operates via push-button pads and a clever iPad mini control
interface. It’s used here together with AMX Enova DGX for digital video and a Tesira from Biamp for digital audio. The system is incredibly user friendly. “Anyone can walk in and operate it in a moment – whether to bring up Sky on the wall-size projector in the meeting room, or to plug in and share their data from one of the smaller breakout areas.” High-spec AV systems by Futureworks feature widely in the NZ education and commercial sectors. Contact Futureworks, phone (04) 801 9797, or visit the website: www.futureworks.co.nz. To view and share this story online go to trendsideas.com/go/41585
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SLICE OF GODZONE Theatrical vignettes and abstract associations are behind the design of this fireplace showroom – a theme enhanced by colour-block walls in bold Resene shades
There’s nothing predictable about the design of this fireplace showroom in Wellington. Architect John Mills chose not to place the Wellington Fireplace product in static displays, but to take a light-hearted approach by creating settings that highlight slices of New Zealand life. To this end, the interior evokes a classic Kiwi bach – both inside and out. The look is reinforced by walls painted in bold Resene shades, including Resene Wicked, a purple Resene describes as a little sinful and roguish, with a flush of deep indigo. The lighter blue is Resene Optimist, a bright Pucci-inspired turquoise blue that sits well with other bold colours. This is teamed with the darker Resene Indian Ink, a blackened blue, reminiscent of a night without moonlight. Other shades include Resene Panzano, described as a Tuscan sage bush green that suggests a melliferous and aromatic plant; and Resene Fish and Chips – as the name suggests, a hot, crispy ochre gold. Resene SpaceCote Low Sheen and Resene Zylone Sheen are recommended for broadwall areas in both commercial and residential interiors. These can be complemented by trims and joinery in Resene Lustacryl semi-gloss waterborne enamel, and coloured ceilings in Resene SpaceCote Flat. These are all waterborne paints that are low-odour, low-VOC and Environmental Choice-approved. Available in thousands of colours from the Resene Total Colour System, the paints are tinted using Resene non-VOC tinters. For more information, or to receive a copy of the latest colour fandeck, visit a Resene ColorShop, or freephone 0800 RESENE (737 363). Alternatively, visit the website: www.resene.co.nz. View, save or share this story online at trendsideas.com/go/40957
Above:The Wellington Fireplace showroom, designed by architect John Mills, features walls painted in bold Resene shades. 104
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ASB North Wha located in Wynyard Quarte
Project Wanangkura Stadium
Location: Port Hedland, WA, Australia
Architect: ARM Architecture
DESERT STORM The shimmering, pixellated form of this new stadium in Western Australia references the desert, the mining industry and the isobars of the cyclones that regularly roll in from the sea
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Below:The new Wanangkura Stadium in Port Hedland, Western Australia, designed by ARM Architecture, is unlike any conventional stadium. The exterior, which is modelled on the isobars of a cyclonic weather system, features blue vitreous enamel panels that resemble pixels. From a distance, these panels make the building appear as a shimmering mirage.
Port Hedland is a small city on the Western Australia coast, approximately halfway between Perth and Darwin, which means it’s essentially hundreds of kilometres from anywhere. But it’s not a place so easily overlooked these days, thanks to a bold, new initiative that has brought an international-class stadium to the Pilbara region. The Wanangkura Stadium, named after the local Kariyarra word for whirlwind, was designed to put Port Hedland on the map. Mayor Kelly Howlett says the stadium needed to engender a sense of pride and belonging for the community, which comprises people of more than 70 different nationalities.
“We wanted a stadium that would really set the bar for future city buildings,” Howlett says. “This city of 21,000 people is anticipating massive growth in the next 20-plus years, with the population expected to more than double in this time. We envisage the stadium being the vibrant hub of a highly sustainable city centre.” ARM Architecture was commissioned to design the building, which is part of a masterplan aimed at improving sports facilities in the region. Architect Sophie Cleland says it was clear the stadium design needed to make a strong statement. “It needed to simultaneously encapsulate and galvanise the community,” she says. “The building
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Left:In places, the blue pixels protrude from the building, while in other areas, they are pushed in to highlight entry points.
had to address the street as well as the existing grass oval behind. And it needed to be an international-class facility that would attract visiting sports teams and could be used for shows and concerts. At the same time it had to withstand the extreme climate, not only the heat from the desert, but also the tropical cyclones that regularly hit the region.” Cleland says it was important for the architecture to have a local context, so the design team looked to the geographical environment and local industry to determine the design. “The building needed to respond to the location and the community, and vice versa – we wanted the people of Port Hedland to identify with the building. The mining industry is a huge part of life here. Visually, there are many very big objects in the landscape that are directly related to this, including an enormous salt pyramid and various towers and buildings. Everything, including the trucks, is on an enormous scale, so we envisaged the stadium as another large object rising from the flat, red landscape. And there was already a requirement for tall ceiling heights for the indoor basketball courts, so it was always going to be a large volume.” Cleland says the curved front of the building echoes the curve of the oval while the straight facade at the rear was designed to incorporate spectator seating and enclosed corporate boxes that overlook both the oval and the internal arena. Blue vitreous enamel panels were specified for the cladding, to provide a distinctive, highly durable exterior that would not be adversely affected by the red dust that cloaks the area. The panels are mounted onto a galvanised steel sheet, with gaps between the two surfaces allowing heat to escape, much like a thermal chimney. “The building envelope itself provides the most significant sustainability feature, helping to insulate the stadium from the extreme heat,” says Cleland. “To come up with a responsive design for the panels, we created a 3-D model of a weather system, and sliced through this to show the isobars of a cyclone. This became the pixellated pattern for the exterior. From a distance it has the shimmering, rippling look of a mirage. When you get close the pixels become more distorted.” MORE PROJECTS AT trendsideas.com
“The appearance of the building changes during the course of a day. At times the blue exterior seems to merge with the sky so the building is almost invisible, while at other times it stands out strongly against the red of the landscape and the green of the eucalyptus trees. And at night it sinks into the inky blackness and the lighting becomes a showcase in its own right.” The 3500m2 metal deck roof is also a significant feature of the stadium, says the architect. “This is a town where people fly in and fly out again, so the view from the air was important – the roof is essentially the fifth facade of the building. To this end, we introduced bold black and white stripes to the roof, which are the colours of the local South Hedland Swans football team.” Additional colour accents enliven the entry, which appears to have been punched out of the pixellated exterior, exposing a bright orange interior, with blocks protruding at irregular intervals. Several large pixels appear to have fallen to the 110
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ground where they form outdoor seats. “The orange is a very warm colour, and with its ziggurat form, the entire entry stands out from the road,” says Cleland. “There is almost a suggestion of a sacred place – and it is, after all, a very important community resource. In essence, local industry is giving something back to the local people.” The entry leads to an internal street that runs through to the oval behind. Glazed doors allow a view right through the building, enhancing the connection with the oval. They also provide views into the internal arena and squash courts. “We have repeated the pixel pattern on the inside, but in a softer way, with plywood panels,” says Cleland. The pattern helps to break up the space visually, so it doesn’t look like a huge shed.” Howlett says the stadium is already fulfilling its role, both in terms of its unique architecture and attracting a diverse range of sporting codes. “The use has far exceeded our expectations. The whole community is benefitting, just as planned.”
Above:To provide a thermal envelope, the blue panels are mounted onto a galvanised metal sheet, with a gap between the two. This helps to remove hot air, insulating the building from temperature extremes. The top edge of the building is also pixellated, which gives it an undefined edge from a distance. Right:The entry features contrasting bright orange panels, or pixels.
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Left:On the oval side of the stadium there are fixed bleachers. A large corporate entertaining facility is positioned behind the glass on this elevation. It provides a view of both the oval and the internal arena in the other direction. Below left:On the inside, the pixel pattern reappears, with a softer, less distracting aesthetic. The arena has the flexibility to be used by a variety of sporting codes, and for concerts and theatre productions. Right:The roof of the stadium is considered the fifth facade, as it is the first part of the building to be seen by people flying into the city. It is painted in the colours of the local football team. Lower right:The stadium occupies one corner of the large sports arena. The development includes outdoor courts.
Location:Wanangkura Stadium, Port Hedland, WA Architect:ARM Architecture, Melbourne Landscape architecture:Oculus Structural and services engineer:Aurecon Quantity surveyor:Davis Langdon/ Rider Levett Bucknall Building surveyor:John Massey Group Main contractor:Doric Group Facade:Low carbon steel vitreous and enamel panels Roofing:Fielders KingKlip 700 in Night Sky and Windspray
Wall lining:Fielders Tl-5 Colour Night Sky Story by Colleen Hawkes Main photography by Peter Bennetts; aerial image above by Doric Group See image gallery of this project online at trendsideas.com/nz2909p106
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index 4D Workshop 53 ADT Hong Kong 35 All Texas Permits 30 Alpolic 59 Altaya etc 32-35 Aluminium Systems 74-75 Américas River Oaks 24-31 Andrew Ladlay Architect 18-23 ANZ Centre 62-67 Apex Stone 53 APP 53 Applico 41, 73, 87 Architectural Aluminium Installations 39 Architectural Systems 30 Ardex 39 Arkell, Anna 53 Arkhefield 54-59 ARM Architecture IFC-1, 106-113 Armstrong 67 Audio Systems Logic 53 Aurecon 113 Auro 35 AV Logic 39 Baumatic 73 BCI Furniture 23 Beca 67, 97 Billi 7 Boffa Miskell 88 Bolon 67 Bornhorst & Ward 59 Bracewell Construction 8-15, 16 Brintons 23 Brookfield Multiplex 42-53 BRW 59 Buildcorp 18-23 Cakarun, Marija 53 Calder Consultants 53 Calder, James 53 CapitaLand China 76-83 Carloss, Jeffrey W 24-31 Carlotto, Michael 59 Caroma 53 Cecchin, Emma 54-59 Chatboard 53 Cheshire Architects 8-15 China Academy of Building Research 76-83 China Southern Glass 53 Cite 67 Classique 41 Connect NZ 97 Construkt Architects 36-39
Cooper and Company 8-15 Cotton, Cameron 36-39 Cotton, Ingrid 36-39 Crittall Arnold 15 CSG Architectural Glass 83 Cubular Container Buildings 36-39 D&H Steel Construction 97 Dalling, Rodger 42-53 Daltile 30 Danilo 35 Davis Langdon & Seah 83 Davis Langdon 67, 113 de Lasparda, Anouk 32-35 Deans, Nick 53 Decor People 97 Degree Design 81 Delta Furniture 30 Dimension Shopfitters 15 Doric Group 106-113 Dorma 53, 59 Dulux 23, 53, 67 ECC 67 Ellis, Kathryn 53 Energex Northern Metro 54-59 Envoy 53 Euroglass 59 Express Aluminium Ltd 74-75 Faculty of Medical and Health Sciences, University of Auckland 92-97 Fielders 113 Finecraft Furniture 59 Fletcher Aluminium 5 Fletcher Construction 62-67, 92-97, OBC Floorspace 102 Fonko NZ 15 Food Service Design Australia 23 Forman Building Systems 2, 67 Forman Commercial Interiors 97 Futureworks 103 G James Glass & Aluminium 53, 59 Gabbiani, Filippo 32-35 Genke, Scott 30 George Fethers 67 George Grant Engineering 97 Glasshape 90-91 Greenmount Shopfitters & Interiors 8-15 Hardware Direct 67 Hassell 62-67 Havwoods 23 Haynes Whaley Associates 30
Hernandez, Manuel 30 Holmes Consulting Group 67, 97 Holmes Fire & Safety 15 Holton, Kylie 53 Hughes Commercial Furniture 23 Hunter Douglas 53 Hutchinson Builders 54-59 Hyder Consulting 23 Imodi 35 Ingersoll Rand Security Technologies 97, 99 Ingrams Fine Joinery & Cabinetry 23 InsulPro 105 Interface Flor 53 InZone Industries 105 IPP Consulting 53 Irwin Consult 53 Italian Stone 15 Jacaranda Industries 53 Jackson Architecture 92-97 James Hardie 15 Jardan 67 Jasmax 92-97 JE Dunn Construction 24-31 JEK Engineering 30 John Massey Group 113 Jordan Mozer and Associates 24-31 Kada 67 Karalis, Nik 42-53 Kauri Warehouse 15 Kitchen Things 116-IBC KKDC 15 Kokaistudios 32-35 Kone 53, 67, 97 L’Observatoire International 83 Lee, Lea 32-35 Lee, Zoe 32-35 Legge 39 Liu, David 32-35 Long Bay Café 36-39 Macrennie Commercial Construction 84 Maltbys 85 Manskie, Tarryn 53 Masland Carpets 30 Matisse 67 McCarthy Consulting Group 23 McGrath, Belinda 59 McGreals Office Furniture 60 McLay Industries 59 Melco Construction 97 Merquip 7
Metal Concepts 67, 68 Metal Design Solutions 97, 98 Metro GlassTech 39 Metro Roofing 15 Miele 35 Mike Price Landscapes 15 Mitchell, Kirsty 36-39 Mohan Roofing Services 97 Monmouth Glass Studio 15 Montlaur Project Services 53 Mozer, Jordan 24-31 MPM Waterproofing Services 97 MVA Hong Kong 83 National Australia Bank 42-53 Natural Habitats 97 Nelson Stud Welding 70 New Zealand Engineering Services 97 Norman Disney & Young 15, 53, 67 NZ Windows 39 Oakley Architectural Solutions 5 Oculus 113 Ogbac, Peter 30 Ove Arup & Partners 83 Pacific Door Systems 97 Philips 35 Phillip & Jefferies 23 Pidgeon 53 Poerwantoro, Rosalind 53 Pole, Simon 53 Porter’s Paint 15 Potter Interior Systems 67, 69 Precast Concrete Products 59 Proform 39 Property Council New Zealand 61 Property Solutions 59 Prototype Furniture 23 Questor Consultants 35 RCP 97 Resene 23, 104 Rider Levett Bucknall 23, 67, 97, 113 Riley, Matt AIA 18-23 Rog, Frank 53 Sage Manufacturing 97, 100 Samsung 35 Sapphire 49 Schiavello 53 Schneider Electric 101 SDG 53 Seelite 53 Sharpe, Madeline 36-39 Shen, Mark 32-35
Sherwin-Williams 30 Signorino Tile Gallery 53 Simon James 67 Sliced Porosity Block 76-83 Smeg 37, 87 Smith, Matthew 54-59 Southern Hospitality 39 Southern Steel Windows 86 Stanaway, Amanda 53 Stephenson & Turner 67 Steven Holl Architects 76-83 Teka 30 The Buchan Group 18-23 The Gibbon Group 53 The Kitty 18-23 The Pavilions at Britomart 8-15 The Plant People 39 The Tile People 67, 71 Thermosash Commercial 97 Tilt Design 53 Todd Property Group 39 Tonic 18-23 Trang, Corinne 59 Tray-dec NZ 70 Trends Publishing International IFC-1, 6, 40, 72, 115 Urbanite 15 Vantage Aluminium 39 Vector Foiltec 97 Veneer 36-39 Venluree 67 Viridian 23 Vitrapanel 59 VOS (Melbourne) 53 Wanangkura Stadium 106-113 Warren and Mahoney 62-67 Warwick 17 We-ef Lighting 89 Weigl, Juergen AIA 54-59 Wendelborn, Damian 15 Wheatley, Erin 59 Wildfire Commercial Kitchens and Bars 67 Winward Structures 53 Withers, Tom 53 Wood Goods Industries 30 Woodform Architectural 49 Woods & Grieve Engineers 59 Woods Bagot 42-53 WSP Group 23, 59 WT Partnership 15, 53 Yuanda 53 Zenith Interiors 23, 67 Zhang, Jerry 32-35
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