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The Laminam cladding addresses two of thetwo biggest The CS45 Laminam CS45system cladding system addresses of the biggest issues thatissues have faced the local industry inindustry recent times. that have facedconstruction the local construction in recent times. It combines the durability an Italian with atile, locally It combines the of durability ofporcelain an Italian tile, porcelain with a locally designed and testedand cavity facade system that provides designed tested cavity facade system thatexcellent provides excellent weatherability. Yet, it weighs 13kg per metre, which makes weatherability. Yet,just it weighs justsquare 13kg per square metre, which makes it one of the lightest cladding the market, and ideal for it one of the lightestsystems claddingonsystems on the market, and ideal for light weight construction in seismic in regions. light weight construction seismic regions.

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Following the recent earthquakes in Christchurch, structural specifications have been rewritten to help ensure there is no repeat of the recent disasters. Lightweight frame construction is making composite floors the preferred solution for many projects. Metal decking and steel frame buildings that withstood the quakes are a testament to the durability of this flooring system. Composite Floor Decks Ltd is the preferred installer of Comflor, and although the company installs several other decking profiles, this product is proving popular in Christchurch. Comflor metal decking profiles were used on all the projects shown here, and the majority of the rebuild has now specified Comflor as the basis of composite floor construction.

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Back in 2012, managing director Martin Lee made the decision to set up operational teams in Christchurch so they could react quickly to the local demands and discuss methodology and techniques with all the construction companies. “Rebuilding the Garden City very exciting. But it is not a quick fix – the demands will continue for up to 10 years. To accommodate and service the industry competitively and professionally, a local set-up is essential. By the end of 2014 we hope to be fully established in Christchurch,” says Lee.

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“It’s a privilege for Composite Floor Decks Ltd to be part of the Christchurch Rebuild, and we are all looking forward to the regeneration of this wonderful city in years to come.”


“Once the metal decking is installed, we don’t just walk away – we like to see the floor through to final completion. Our valueengineered solutions to contractors and clients mean we get involved with the methodology of concrete placement, endeavouring to oversee the final process to achieve the perfect floor.

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CHRISTCHURCH REBUILD – UPDATE Christchurch City, New Zealand Collaboration and innovation are defining this rebuild, but it is the people who will activate the urban edge who are providing the main driver for the design 12 Transitional Cathedral, Christchurch The completion of the “Cardboard Cathedral” not only marks a milestone for the Christchurch city rebuild – it also showcases a unique architectural triumph that’s attracting attention worldwide 26



PROJECT PORTFOLIO The Crossing, Highbrook, Auckland In the middle of a booming business park, this new town centre sits on a wedge-shaped site, creating intimate outdoor spaces while simultaneously opening up sightlines to the view 40 ASB North Wharf, Auckland The radical design of this new office building is turning heads, but the finished project is also testament to the co-ordination of many specialist firms 54 Adelaide Desalination Plant and Kauwi Interpretive Centre, SA Reflective metals and rammed earth walls reference the contrast between 21st-century technology and the natural landscape in this interpretive centre for a water desalination plant 70 The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church, Chicago Neo-Gothic meets modern in this major addition to an historic church on Chicago’s Michigan Avenue, but strong visual links ensure the new complements the old 78 GWD Motor Group Showroom, Queenstown The design of this contemporary car dealership is naturally all about showcasing the vehicles – slender aluminium joinery provides strength without distraction 86

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Kemsol, Auckland Previously a nondescript building, these refurbished offices achieve a knockout presence with advanced new cladding and window frames 90

The new Christchurch Transitional Cathedral, also known as the Cardboard Cathedral, is one of the first post-earthquake projects to be completed. Read the full story on pages 26-36. Photograph by Jamie Cobel.

Sacred Heart College, Auckland This new performing arts centre is a leading example of multi-use education facilities in the country 94 Massey University Albany, Auckland Previewing a selection of the products and services that went into the construction of new buildings on campus 98


SURFACES Specifying the right surfaces for a project is just as much about safety as it is about durability and aesthetics. Here is a showcase of some of the latest products


OFFICE INTERIORS Clifford Chance, Singapore Contemporary in both form and function, this fit-out for the office of a global law firm has inspired changes to company design guidelines 110 Wood & Grieve Engineers, Perth Bold 3-D graphics, a dynamic breakout space and exposed services project a playful, transparent ethos for these new offices 118 Maersk Line, Sydney Bright and breezy, with several surprises, the fit-out for a global shipping container company gives its staff an exciting and invigorating workspace 124

This edition of Commercial Design Trends is proudly brought to you in association with Laminex

Sime Darby, Malaysia This new staff leadership and training centre offers contemporary facilities and an emphasis on brand harmony – it is also a fun, relaxing place to be 130


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In centuries past, there have been opportunities to rebuild great cities – London following the Great Fire of 1666 is one example. But despite numerous radical proposals, the city was rebuilt using the original street plan, which makes one wonder, what if?

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Paris is a more recent example, with Baron Haussmann charged with modernising the city in the 1850s. Under Haussmann’s direction, much of the old city was demolished and replaced with a network of wide boulevards and radiating circuses. While these were originally designed to make it easier for Napoleon Bonaparte’s army to march through the city, the boulevards and the architecture that followed define the Paris we know and love today.

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Christchurch now has its own unparalleled opportunity to start over following the devastating 2011 earthquake. Much of the inner city has been demolished and there is a new blueprint in place for redevelopment. In this issue we take a look at the key concepts of the Christchurch Central Recovery Plan and the way this will redefine and improve the city. And what can we expect? A much more vibrant, safe, people-focused city that’s more compact and accessible, with green spaces, laneways and an active urban edge – the redevelopment is expected to cost $40 billion and half of this will be spent on housing. The Christchurch blueprint is the result of extensive consultation with the wider community. Several projects within our Project Portfolio section also highlight the superb architecture that can result from intensive consultation with clients and the community. These include the Kauwi Interpretive Centre at the Adelaide Desalination Plant designed by Woodhead, and a dramatic contemporary addition to a Neo-Gothic church in Chicago, designed by Gensler. 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: Happy reading

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Business parks are frequently dominated by big box buildings, with little thought given to the people who work within them. This project changes this model by introducing a “town centre”, containing a range of services.

Reflective metals and rammed earth walls reference the contrast between 21st-century technology and the natural landscape in this interpretive centre for a water desalination plant located in South Australia.

More ideas, information and inspiration plus the full multimedia experience at

Light, bright and colourful – not words usually associated with law offices. But, with its glossy white finishes and bold colours, these offices are a far cry from the sombre, wood-panelled offices of a traditional law firm.

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Get more out of eVerY issue Look out for our web links throughout this edition. Type them into your web browser and you’ll get easy access to additional images, videos, plans and more

Go to TRENDS eBOOK Use this link to go straight to the eBook version of this issue. There you may find a gallery of additional images, plans, video or interviews

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MODEL CITY UNVEILED Rebuilding the Christchurch CBD provides a $40 billion opportunity to improve on what went before. The Garden City also has a chance to establish a new international benchmark for urban design

Project Christchurch Rebuild

Location: Christchurch New Zealand

URBAN BLUEPRINT Collaboration and innovation are defining the Christchurch City rebuild, but it is the people who will activate the urban edge who are providing the main driver for the design



Preceding pages and below: Christchurch parks and the Avon River are at the forefront of the urban blueprint for the city. Cashel Street (below) is an interim container-based retail centre. Its pedestrian focus is indicative of the new direction for retail in the CBD.

Most cities grow in an ad hoc fashion over several centuries, with no cohesive plan in place. For Christchurch, built mostly on flat land, that growth was out rather than up. With limited restrictions, the city simply sprawled outwards as more land was taken as needed for new businesses. It was a sprawl that did little to provide a sense of cohesiveness and vitality to the CBD of New Zealand’s second largest city, says Don Miskell, general manager planning and design for the Christchurch Central Development Unit (CCDU) of the Canterbury Earthquake Recovery Authority (CERA). “There was more office space in the CBD than the market required, so there was a lot of office space to lease,” he says. “And the retail area was not competing well against the bustling, highly managed suburban malls, with their ease of access and good parking. “It was clear, the rebuild following the 2011 earthquake provided a great opportunity to make Christchurch better than it ever was. The land not required for commercial properties could be given over to residential use to enhance and enliven the inner city, in much the same way as has happened in central Melbourne. The Christchurch rebuild is valued at $40 billion, and we expect $20 billion of this to be residential development.” Miskell says CCDU had just 100 days to come up with the first urban plan blueprint. “This was a phenomenally challenging timeframe. And while that is being refined, the key concepts have remained in the Christchurch Central Recovery Plan and we are now starting to see these put into action. Essentially the plan is about creating a greener, more compact, more accessible and safe inner city that is easy to move around and better for living and working.” Miskell says the district plan has been changed to permit residential development in all inner city zones. And the boundaries defining the business zone have been pulled in to consolidate the central MORE PROJECTS AT


city into a smaller area, in line with the aim of giving Christchurch a dynamic commercial, cultural and social heart. The inner core is partially defined by border precincts collectively known as The Frame. Within or adjacent to these boundaries will be 14 anchor projects – the Convention Centre Precinct, Stadium, Metro Sports Facility, Bus Interchange, Avon River Precinct, Te Puna Ahurea Cultural Centre, The Square, Performing Arts Precinct, Justice and Emergency Services Precinct, Health Precinct, Cricket Oval, Central Library, Residential Demonstration Project and the Frame amenities. Miskell says the plan offers some guidelines for all the inner-city developments, but these are aimed at encouraging, rather than stifling architectural innovation.



“We are not dictating design styles – that is still the prerogative of the architects and developers,” he says. “But we are looking closely at what they can bring to the city centre, their innovations, approach and design methodology. We want this city to be distinctive, with an active urban edge. It is ultimately all about people – people choosing to make investments in the city, to open shops, to live and to visit the city. “There are some height restrictions. In the core, buildings can be up to 28m, which is approximately seven storeys, while buildings in the mixed zone around the edges will have a maximum height of 17m or four storeys. There are also limits in respect of office floor areas. Larger offices – with their greater worker population – are concentrated within the core, not around the edges.”

Below:In redesigning the inner city, the planners have pulled in the central core boundaries, which are defined by the area known as the Frame. Right:Anchor projects in the developmental stage include (clockwise from top left) the Stadium, Convention Centre Precinct, Justice and Emergency Services Precinct, Health Precinct, Cricket Oval and Metro Sports Facility.

Top left:The redevelopment of New Regent Street, designed by Fulton Ross Team Architects, has already won recognition for sustainable design in the NZIA awards. The street’s north-south axis will be echoed in the new CBD development. Lower left:Colourful shade canopies enliven the interim Cashel Street retail mall. Below right:A world-class cultural centre is proposed for the central city, as a focal point for cultural celebration and diversity. The Te Puna Ahurea Cultural Centre will reflect and celebrate Ngai Tahu and Maori culture, and acknowledge Christchurch’s place and connections within the Pacific region.

The retail precinct will cover approximately three blocks in the city, with an average size of 225m x 100m. Developers are being asked to come up with plans that will provide a minimum area of 7500m2 covering one-third of the block. “We are also asking for north-south lanes to be incorporated into these blocks to make them more permeable, and buildings more accessible. People won’t have to walk around an entire block to get through to the other side. With a north-south axis, the lanes will get sunlight at lunchtime, and will be sheltered from the prevailing northeasterly winds.” Every development proposal to build within the central core requires approval from the joint management board, which comprises the Christchurch City Council, Ngai Tahu and CERA. And while the plan provides for greater green areas, Miskell says the planners have also been aware that design decisions have to consider the capital cost of intervention in the public realm and ongoing maintenance costs. “We can’t deliver an unreasonable rates burden to the citizens to cover maintaining an increased number of parks and lawns,” he says. “Other factors influencing the public areas include safety. East Frame, for example, will feature residential housing along each side of the central park. The park area needs to be a width that will allow passive surveillance by the people living in the houses, yet wide enough for the wider community to feel they are not intruding on a private space.”

Miskell says the plan has an ambitious aim for 20,000 people to live in the central city, which will require a mixture of townhouses and apartments. “We are encouraging high-quality housing,” he says. “We want to signal to the community that the eastern side of the inner city, which had lower-value housing, is now changing. By the end of this year, we hope to have the first block in East Frame developed ready to go to the market, with the first homes occupied by the end of 2014, early 2015.” Miskell says South Frame will be more built up, and have an urban campus character. Buildings will sit right on the street frontage, but there will be lanes and walkways breaking up the blocks. Miskell says the Justice and Emergency Services Precinct is the most advanced of the anchor projects in terms of design – the project is being jointly designed by New Zealand architects Warren and Mahoney and Opus, and Cox Architecture of Australia. “This project has been eye-opening for several reasons, including the fact that the buildings have been designed around a courtyard. It is an entirely new way of providing these services, but it harks back to a cluster of our heritage buildings, the Christchurch Arts Centre. This was built around quadrangles, and has proved a great typology for Christchurch, as it provides shelter from the prevailing winds. We didn’t dictate the design – it was a creative response to the brief from the Ministry of Justice and consultants.”



Top left:While the blueprint for the Christchurch rebuild has been undergoing refinement, the new Transitional Cathedral has been under construction and is open for worship. Lower left:A city under development – hoardings capture the vision for the future. Lower right:The voice of the people can be seen in this graphic, which puts green spaces, people, cafés and restaurants at the top of the list.

Miskell believes most of the projects will seek to push the architecture boundaries. “In the Melbourne Docklands, many of the new buildings are rated 6-Star Green Star, with developers responding to clients looking to better manage operational costs and provide good work environments for staff. While we are not legislating for this, we do anticipate similar demand for sustainable design in Christchurch in the future.” Developments are also characterised by a high level of collaboration. The new bus interchange, for example, has involved a pilot programme of consultation with a number of different groups, including the Otautahi Youth Council. “At times, the former transport centre was unsafe, and this needed to change,” says Miskell.

“Designers are looking at crime prevention through environmental design. CERA and the design team from Architectus are working with these groups as the preliminary design work is finalised.” Miskell says CERA is also consulting with Barrier Free, a non-profit group that is auditing plans in the preliminary design stage to ensure they will be able to accommodate people of all abilities. “The Avon River Precinct was the pilot programme for consultation, a process that has already proved invaluable.” Miskell says key Christchurch attributes, such as the restored Provincial Chambers and the Avon River, will remain a focus for the plan. “Our heritage buildings are precious and, where practical and feasible, will be protected, as will the



Avon, which is the city’s waterfront. It has a unique English character, and we have already improved the habitat for fish, including whitebait and brown trout, which have spawned successfully. Silt is being removed gradually, and in places the river has been narrowed, so people can enjoy the rush of the water on the cobbles. Safe pedestrian promenades will be a key feature. These will run right down the riverbank, adjacent to the businesses, which in turn will overlook the river.” The restoration of heritage buildings has seen Fulton Ross Team Architects receive a New Zealand Institute of Architects Sustainable Architecture Award for the New Regent Street retail precinct redevelopment. Architect William Fulton says the ground floor sustained most of the earthquake damage with the ground either slumping or moving, and there was some liquefaction. The concrete paving around the tram tracks also lifted and caused damage to the glazed shopfronts.



“Although the two-storey units are joined, they are four separate buildings, built as a concrete frame with brick infill walls. The buildings had to be strengthened and the ground floors completely rebuilt, apart from the party walls. A continuous concrete raft floor now connects all the units, and this has an overlay timber floor so it looks as it did before. Shopfronts have new tiled upstands and glazing, with new steel columns behind the front facades helping to support the mass of the buildings above. Rear walls were also rebuilt to meet fire engineering requirements.” For the people of Christchurch, the inner-city transformation is only just beginning, however, but the pace is set to accelerate, says Miskell. “Within five years, Christchurch will be a vastly different city – it will set an international benchmark for urban design, and that is just the start.” See video and image gallery online at

Below:Live, work, play – the urban blueprint for Christchurch creates a dynamic, peoplefocused environment. There is provision for more than 20,000 residents to live within the CBD. Right:The Canterbury Earthquake Recovery Authority (CERA) is housed in the HSBC building (top), which sits immediately in front of the 6-Star Green Star restored Christchurch Civic Building – formerly home to New Zealand Post. The pedestrian promenade leading to the council building runs alongside the HSBC building. Story by Colleen Hawkes Photography by Jamie Cobel

Project 2 Hazeldean Road

Location: Hazeldean Business Park Christchurch

Architect: Sumich Chaplin Architects

LASTING IMPRESSION Innovative buckling restraint brace (BRB) technology enhances the robust construction of this new Christchurch office building by Calder Stewart Industries

Everyone in the construction industry has taken a close look at building methodologies following the devastating Christchurch earthquakes. For this new building in the Hazeldean Business Park, developer Calder Stewart Industries investigated several bracing technologies with structural engineering firm Structure Design. Calder Stewart development manager Kevin Arthur says the team settled on buckling restraint bracing (BRB) technology, using a system pioneered by Star Seismic in the United States. “This system provides a yielding steel core that is encased in a concrete tube, which in turn is encased in a steel sleeve. When the building moves, the brace uses the ductility of steel to absorb the energy, while the sleeve stops the brace from buckling. The braces allow sustained, repeatable performance.” Arthur says a key benefit of the system is the way it can be disconnected and replaced following a major incident. “We also like the way the BRB technology 22


spreads the gravity load evenly across the entire building more effectively than the other systems we studied. This lightens the load on the foundations and makes the system more cost efficient.” The building, known as 2 Hazeldean Road, is steel framed, as are many of the new buildings under construction in Christchurch. The building sits on 12-14m-deep piles. Arthur says the building is already fully tenanted, with demand outstripping supply in the Hazeldean Business Park. Calder Stewart Industries is also working on many other commercial and industrial buildings in the Canterbury district, and recently completed major projects for Fonterra, Synlait, Sleepyhead and Tegel. The company is also building a major new retail centre in Timaru. For more information, contact Calder Stewart Industries, PO Box 8356, Christchurch 8041, phone (03) 338 0013. Website: View, save or share this story online at

Above:Calder Stewart Industries recently completed this new office building in the Hazeldean Business Park. Known as 2 Hazeldean Road, the building features buckling restraint bracing (BRB) technology, which helps protect the structure in the event of seismic activity. Right:Fixed louvre sunshades are a feature of the exterior.

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FROM THE GROUND UP With the Christchurch CBD in a phase of transition and attention turned to surrounding areas, Boffa Miskell’s work on the Hazeldean Business Park is now paying dividends

Above:Boffa Miskell, a leading environmental consultancy specialising in planning, landscape architecture and urban design, was responsible for the landscape design of the Hazeldean Business Park in Christchurch. The company, which has become an anchor tenant, continues to work on the project. When complete, the park will boast six office buildings in addition to the café and car park building.

Hazeldean Business Park has become one of the most sought-after business premises in Christchurch post earthquake. Its proximity to the bustling centre of Addington, links to Hagley Park and an inviting central green space are key attractions for tenants. Boffa Miskell was responsible for the overall landscape design and assisted through the consenting process, which involved working closely with the client Calder Stewart, architect Sumich Chaplin Architects and the broader design team. Landscape architect Mark Brown says a sunken central courtyard incorporating swathes of lawn, ample seating and a north-facing café is the heart of the business park. “It was all about providing a place for workers to meet, socialise and communicate, while bringing a little softness into the workplace environment,”

he says. “We also created a slow road, which is another calming influence.” Brown says the geometry of the landscape is driven by that of the buildings, and by the park’s relationship to the street. Boffa Miskell also referenced the former PDL factory that once stood on site – visual references feature in a long stone wall that passes through the sun-drenched courtyard. Boffa Miskell has moved into the park as an anchor tenant and is currently helping with earthquake repair strategies and managing ongoing landscape construction. For more details, contact Boffa Miskell, Ground Floor, 4 Hazeldean Rd, Christchurch 8024, phone (03) 366 8891. Website: View, save or share this story online at



Project Christchurch Transitional Cathedral

Location: Christchurch, New Zealand

Architect: Shigeru Ban Architects Warren and Mahoney

SYMBOLIC – ON MANY LEVELS The completion of the “Cardboard Cathedral” not only marks a milestone for the Christchurch city rebuild – it also showcases a unique architectural triumph that’s attracting attention worldwide



Below:The new Christchurch Transitional Cathedral, also known as the Cardboard Cathedral, is one of the first post-earthquake projects to be completed. The sides of the church are raked and twisted, with the pitch changing by 20° over the length of the building.

Rebuilding an earthquake-damaged city is probably a 20-year project, but the completion of the Christchurch Transitional Cathedral sends a clear message that the city is back in business. And it’s not just the speed of the design and construction that’s attracting attention – the architecture also breaks new ground. While the concept of a cardboard structure is not new – Japanese architect Shigeru Ban has created such buildings elsewhere in the world, including in Kobe after the 1995 earthquake – the installation of cardboard tubes on a sloping angle is a first. Architect Peter Marshall of Warren and Mahoney, the architects for the Anglican Diocese who were charged with realising Shigeru Ban’s concept, says the project was one of the most intriguing and complex projects the firm has been involved in. “Geometrically, the structure is unique,” Marshall says. “The cathedral is trapezoidal in plan with a raking ridge that soars to the height of a six-storey building. With the sides of the building also on a rake, and a twist, the 3-D geometry posed challenges for the documentation and construction.” Marshall says computer modelling and extensive testing of the cardboard tubes and polycarbonate cladding resulted in several changes to the conceptual design. “It was originally intended that the cardboard tubes would be held in place by their own weight and fixed to the underside of timber trusses. It became clear that this would not work, so LVL beams, some of which are more than 20m long, were inserted into the tubes to strengthen the structure. The detailing of the various junctions and flashings was also refined to ensure they could withstand the wind loading and be watertight.” Shipping containers – a relocatable building option used for retail facilities elsewhere in the city – are positioned at the base of the building where they house chapels and administrative facilities. Marshall says despite the technical challenges, the concept for the cathedral was essentially simple and innovative. MORE PROJECTS AT


“The structure is very expressive and conveys the sense of something special,” he says. “Because the polycarbonate cladding is almost transparent, light shines through, illuminating the entire building. The stained glass trinity window facing north is also a clear church symbol, and a visual link to the celebrated rose window in the former cathedral. “On the inside, the sheer volume of the interior and the soaring height reference traditional cathedrals and the way these are designed to raise the eyes upwards. Shigeru took height and width measurements of the original cathedral so that the dimensions of the new structure would be similar.” Marshall says the building’s powerful presence can also be attributed to the materials and the way these define the structure.



“The reinforced cardboard tubing expresses both the architectural form and the structural support, which is a particularly pleasing result.” The gradual change in the pitch of the roof – from 70° at one end to 50° at the other – is another significant feature. “The twist creates a sense of movement and drama, which gives the building a much more interesting architectural form. There are just two narrow polycarbonate panels from top to bottom, and each section twists slightly. There was enough play in the interlocking detail to allow the twist to occur.” Because the polycarbonate is a twin-walled material, it has insulating benefits. The architect says the cardboard also helps with insulation, noticeably mitigating traffic noise, even though

Below:Transparent polycarbonate panels form the cladding, so the entire cathedral is illuminated by night. Right:Soaring to the height of a six-storey building, the towering A-frame nave mimics the dimensions of the original cathedral in the square. Warren and Mahoney architect Peter Marshall says the lighting was designed to create a powerful sense of place. The building can seat 700 people.

These pages:The unique structure comprises 98 mammoth cardboard tubes, each 600mm in diameter, with the longest tubes measuring more than 20m. The tubes are reinforced by laminated veneer lumber (LVL) beams and hightensile steel cross braces. Story by Colleen Hawkes Photography by Jamie Cobel

there are 150mm gaps between the tubes. And heating cables within the concrete floor slab help to keep the interior warm in winter. Automated vents at the top and bottom of the opposing ends of the building provide cross ventilation when required during the hot summer months. Initially, it was expected that the Transitional Cathedral would have a life span of around 10 years, and would be in use while the replacement cathedral was constructed in the square. However, Marshall says even a temporary structure has to

meet required building codes, which means it can endure for 50 years. “At the end of its time here, it can be repurposed, or dismantled and rebuilt somewhere else. For now, however, the completion of the building, albeit a transitional building, sends a strong signal that the city is on its way back. With the international benchmarking through the involvement of Shigeru Ban Architects, the interest from overseas has already been immense and this can only be good for Christchurch.”

Project:Christchuch Transitional Cathedral Architect:Warren and Mahoney Architects (Christchurch); project team – Peter Marshall, Eugene Coleman, Andrew Wade, Michael Spahn and Eoin Hudson; in association with Shigeru Ban Architects (Japan); project team – Shigeru Ban and Yoshie Narimatsu Project manager:Beca Structural engineer:Holmes Consulting Group Mechanical and electrical engineer:Powell Fenwick Consultants Fire engineer:Holmes Fire Geotech engineer:Aurecon Civil consultant:Site Solutions Landscape architect:Boffa Miskell Construction company:Naylor Love Polycarbonate cladding:Politec Modulit 338 from Multiwall Polycarbonate Cladding Composite, installed by Graham Hill Roofing Cardboard tubes:Sonoco NZ Structural timber:LVL engineered wood products from CHH Woodproducts Shipping containers:Supplied by Spacewise Structural steel:East Coast Steelwork

Roofing/cladding:Butyl membrane from Dimond Roofing, installed by Graham Hill Roofing Window and door joinery:Raylight Aluminium Composite cladding:Alucobond Glazing:Trinity Window printed graphic coloured glass and general glazing by Metro GlassTech Skylights:Adulux Hardware:Ingersoll-Rand; Sopers Macindoe Concrete flooring:Aquron Clear sealed Drapes:Russell Curtains and Blinds Paints and surface finishes:Resene Lighting:Cardboard tube LED uplighters from Toshiba Japan; LED lights and general lighting from Philips NZ Heating and cooling:Underfloor with heatpump, supplied and installed by David Browne Contractors Furniture:Custom designed by Shigeru Ban Architects, fabricated and supplied by Miller Studios Christchurch Signage:Miller Studios Graphic design:Warren and Mahoney/Miller Studios Fire services:Wormald See video and images of this story online at




FOR THE GREATER GOOD Rebuilding the city of Christchurch is a monumental task and the Transitional Cathedral is the defining, signature project. With its iconic, complex and distinctive architecture, the project typifies the critical role of project management in delivering unique and spectacular buildings. For the team at Beca, working on the new Christchurch Transitional Cathedral was all about achieving a vision through leadership, technical rigour, collaboration and the establishment of performance standards. Beca Project Management led a global team of international architects, local designers, contractors, suppliers and more than 70 volunteers through the challenging design and construction. Project manager Johnny McFarlane says the project delivery approach was focused on the transitional use of the space, delivering the

BECA PO Box 6345, Wellesley St, Auckland 1141 Phone (09) 300 9000 Fax (09) 309 9300

architectural vision, and involving the community in the rebuild process. “A large part of our role was also to restore faith in the central city recovery. Careful planning and agility were crucial in managing the complex, bespoke nature of the construction, and the world’s first use of cardboard in this manner.” Beca led the project from the inception to completion, including contractor selection, fabrication of the cardboard cores, driving volunteer involvement, and managing ‘in kind’ donations. Project director Bob Blyth says everything about the building is extraordinary, from its genesis and heritage to the design, materials and workforce. View, save or share this story online at


WITH A TWIST As the first cardboard structure to be built in New Zealand, the Christchurch Transitional Cathedral posed its own construction challenges for the main contractor Naylor Love. But, as project manager Stephen Lynch says, it wasn’t the cardboard tubes that needed the most attention, but rather the twist on the raked roof. “Because of the twisting nature of the roof, every angle and detail was different,” he says. “Not one junction was the same as another. We were helped by 3-D modelling company Steel Pencil, and steel fabricator East Coast Steelwork, so every connection was worked out on computer before we came to put it in practice.” Lynch says much of the structure was prefabricated and bolted together on site, rather like a giant jigsaw puzzle. “The project was also characterised by a very early involvement by Naylor Love, so the design was developed simultaneously with the construction methodologies. Another significant factor in the build was the six-month delay created by the need to change the cathedral from a temporary to a permanent structure. This meant we were building into the winter and the weather became an issue – we were constantly working with one eye on the weather forecast.” Lynch says the attention created by the completed cathedral – more than 30,000 people visited in the first month – is a matter of pride for both the city and the people who worked on it. View, save or share this story online at

NAYLOR LOVE CONSTRUCTION PO Box 31006, Ilam, Christchurch 8444 Phone (03) 374 6285 Fax (03) 374 6286

Toitu Display, Otago Settlers Museum, Dunedin

Transitional Cardboard Cathedral, Christchurch

Transitional Cardboard Cathedral, Christchurch

For 100 years, Miller Studios have been proudly creating exciting interiors for retail, offices, museums, visitors centres... even Cathedrals We offer a total design, project management and manufacturing service throughout New Zealand

Phone: (03) 365 5414 Email:


FULL PROTECTION It may be called the Transitional Cathedral, but the new building has been built to the codes required for a permanent structure, and this extends to the finishing detail. Resene paints were specified throughout the building. These include the use of Aquaclear waterborne urethane varnish, which enhances and protects the exposed LVL timbers in the Trinity window at the front of the cathedral. The cardboard tubes were finished with Resene Sun Defier. As the name suggests, this waterborne paint provides a protective glaze that filters out harmful UV light. This helps to protect the cardboard and minimises fading. Resene Uracryl 402, a high-performance, semi-gloss paint, was used on the interior and exterior of the steel shipping containers that form the chapels and administration offices. This highly durable paint is specially formulated to resist abrasion, moisture, petroleum solvents and oils. The paint was tinted to Resene Eighth Ash, a limed stone-grey shade. Plasterboard walls in the cathedral feature Resene Zylone Sheen, a durable, waterborne paint also tinted to Resene Eighth Ash. Trim and doors are painted in Resene Lustacryl, a waterborne enamel, tinted to the same shade. Both these paints are low-odour, low-VOC and Environmental Choice approved. View, save or share this story online at

RESENE Phone 0800 RESENE (737 363)


STRENGTH OF CHARACTER Early on in the design process for the Christchurch Transitional Cathedral, it was evident the giant cardboard tubes that form the sloping underside of the roof would need to be reinforced. HySpan LVL beams, from the Carter Holt Harvey® Futurebuild® range, were consequently specified by the design team to provide the required structural strengthening for the cardboard tubes and architectural finish for the Trinity window. Cameron Rodger, CHH Woodproducts technical director, says the product offers many advantages. “It’s an engineered material with the intrinsic benefits of timber – it is straight, strong, lightweight, dimensionally stable and structurally reliable, making it well suited to areas prone to seismic activity.” Futurebuild LVL is manufactured from renewable plantation pine that is rotary peeled, dried and laminated together in continuous long lengths. The peeling eliminates the naturally occurring defects in the wood, such as knots, and provides significantly enhanced strength, rigidity and structural uniformity. The lamination process uses a Type A marine bond that has a proven performance in excess of 50 years. The Futurebuild range of LVL is available in a diverse range of products, many of which are available off the shelf. All the products are supported by computeIT and designIT software solutions. View, save or share this story online at

CHH WOODPRODUCTS PO Box 173 Captain Springs Rd, Onehunga, Auckland 1061 Phone 0800 LVL CHH (585 244) Fax 0800 808 132

Lighting Urban Spaces

Light for Impact. Architectural Façade Lighting means a lot of things to a lot of people. Stand on the corner of Hunter and Phillip in downtown Sydney after dark and be prepared to have your ideas challenged.

FLC131 projector fitted with 24W XPERED LED, IOS® Innovative Optical System featuring very narrow beam ‘cut off’ lens with custom snoot and linear spread lens

8 Chifley Square, Sydney, Australia Lighting Design: ARUP Architect: Rogers Stirk Harbour + Partners, and Lippmann Associates Client: Mirvac Design

WE-EF LIGHTING Tel +61 3 8587 0444 Fax +61 3 8587 0499


GOOD NEIGHBOURS All the projects on these pages reflect a strong sense of place – an acknowledgement of their role in both the immediate neighbourhood and the wider landscape

Project The Crossing

Location: Highbrook, Auckland

Architect: Jasmax

LOOK BOTH WAYS At the centre of a booming business park, this new town centre sits on a wedge-shaped site, creating intimate outdoor spaces while simultaneously opening up sightlines to the view



Preceding pages Expansive hedgerow landscaping signals the corner of the new Highbrook town centre project. Below:Completed buildings include the curved glass building that accommodates the Goodman management offices.

Business parks are frequently dominated by big box buildings that accommodate manufacturing operations and warehouse facilities, with not a lot of thought given to the needs of the people who work, visit and travel through these precincts on a regular basis. With the Highbrook Business Park development in Auckland, Goodman has changed all this. Because the company is the sole developer, it has been able to put into practice its original vision of a town centre that would provide a range of services for people working in the area – from bars, cafés and supermarkets to banks, hotel accommodation and conference facilities. Architect Andy Anderson of Jasmax, the firm contracted to create the town centre for Highbrook, says Goodman could also see a demand for corporate office facilities. “There are a lot of head offices at Highbrook, so it makes sense to provide for these,” he says. “And with serviced apartment and conference facilities on hand, there is no need for out-of-town visitors to have to head into town at the end of the day. “The town centre was always intended to be the heart of Highbrook, a place that would bring people together, not just for business, but also socially – at lunchtime and after work. For this reason, a central, open-air plaza with retail facilities was essential.” The Jasmax plan groups five buildings around a plaza on the wedge-shaped site. At this stage, three of the buildings are completed – the curved MORE PROJECTS AT


Light Horse building that’s also home to Goodman, the Wynyard Wood-LG office building, and the Quest serviced apartments hotel. “The town centre sits at the intersection of a number of different roads, or axes,” says Anderson. “This puts it in a highly accessible location – more so than the original site that was planned, which was closer to the water. However, the views to the water and Mt Wellington in the distance are important, so we have created axes within the centre to maintain these key sightlines. “At the same time, however, the proximity of the buildings and the relatively narrow width of the plaza ensure the centre has an inviting intimacy. Restricting the width of the outdoor areas helps to activate the area as well, adding a level of intensity. The spaces between the buildings are just as important as the buildings themselves.” Jasmax also used the topography of the site to create a pedestrian-friendly environment. Because the site has a 4m drop from one side to the other, it was relatively easy to introduce undercroft parking, and conceal essential services.



“Highbrook itself has a rolling topography, so we have echoed this in the undulating contours of the plaza landscape – curved forms in the wood bench seats and the paving add visual interest.” Other key features of the plaza include large ETFE shade canopies that have a distinctive, sculptural form. The canopies were designed to provide shelter and shade without blocking too much of the natural light. “The Light Horse bar is open to the outdoors, and patrons always like to sit outside,” says Anderson. “There is even an outdoor fireplace.” The plaza is also sheltered by the position of the Quest Hotel, which blocks the cooler southwesterly winds. And the buildings have been sited so they don’t block the direct sun in the plaza at lunchtime. Each of the three buildings has its own defining aesthetic. The Light Horse building, with the Goodman management offices on the upper levels, is wrapped in a mix of graduated fritted and transparent glass, with curved ends. “With its expansive, illuminated gazing, this building is a beacon that captures the attention

Below:Aggregate concrete panels in two tones of grey feature on the front of the Quest hotel and podium. They reference basalt boulders excavated on site, and are arranged in a pattern designed to convey a sense of movement. Right:ETFE shade canopies bring a sculptural look to the plaza. The undulating level and curved landscaping elements mimic the rolling topography of the Highbrook estate.

of people travelling along Highbrook Drive,” says Anderson. “It’s also the anchor building with the Light Horse Bar, the largest F&B tenancy.” The Quest Hotel building, which incorporates a podium with conference facilities, is the first stage of a two-part hotel development. Jasmax referenced the basalt rock within the local landscape in the facade treatment. “Each face of the building features patterned precast concrete panels composed of exposed aggregate, in two tones of grey,” says Anderson. “This was a very simple, yet effective way to get a sense of movement into the panels. It helps to break down the perceived scale of the building. Similar panels wrap the entire podium.” The third structure is the Wynyard Wood-LG office building. White precast concrete cladding is reminiscent of clouds – the edges of the panels appear to break away in places to form hexagonal shapes on the exterior.



“The hexagonal forms are actually 3-D solar screens made from aluminium,” says Anderson. “The shades screen the sun, but from inside the building, the hexagonal shapes don’t obstruct the view. The arrangement of the hexagons is determined by the orientation of each facade and the subsequent need for shade, but we have kept the corners of the building more open. In other words, the panels are clustered more towards the centre of each facade.” Passive design is just one of the sustainable features of the project. Anderson says all the buildings incorporate environmentally friendly design principles, as does every project by Jasmax. “Sustainable design helps to determine every decision as a matter of course,” he says. “This project also reflects a very holistic approach to design. It responds to the bigger masterplan for Highbrook, which is all about improved connections for both businesses and people.”

Below:Both the buildings and the landscaping are designed to maximise sightlines out to distant landmarks, including Mt Wellington. Right:The width of the pedestrian precinct helps to provide a more welcoming, intimate visitor experience.

Top left:Different facades enliven the built form of the town centre. The LG building incorporates white hexagonal aluminium sun shades.

Wynyard Wood-LG building Goodman/The Light Horse

Lower left:The white panels on the facade appear to break up at the edges, much like the formation of clouds. They also disperse on the corners of the building.

Quest hotel

Story by Colleen Hawkes Photography by Jamie Cobel

Project:The Crossing, Highbrook, Auckland Client:Highbrook Development Limited Architect:Jasmax, Auckland – principal Andy Anderson; with architects Neil Martin, James Whetter, Adele King and Mark Graham Hotel fit-out interior design:CDA Architecture Structural engineer:Holmes Consulting Mechanical engineer Thurston Consulting Electrical engineer:ECS Hydraulic engineer:Hydraulic Services Consultants Quantity surveyor:BQH Project manager:RCP Construction company:Dominion Constructors Glazing and glass balustrades:Glass Projects

Aluminium cladding, joinery and automatic doors:Thermosash Roofing:Steel Roofing Roller doors:Metalbilt Reinforcing steel:Millier Reinforcing Precast concrete:Nauhria; Stresscrete ETFE canopy:Structurflex Signage:Design Signwriters Landscaping:Mace Contractors Fire protection:Fire Security Services Air conditioning:Chillex Services See image gallery of this story online at




STAND AND DELIVER Building a business park that incorporates a variety of different architectural styles is not just about the big picture – it’s also about attention to detail. For Dominion Constructors, the main contractor on The Crossing project at Highbrook Business Park, working with tight tolerances was the most challenging aspect of the project. Project manager Graeme Harvey says each of the three buildings in the first stage of the project is very different, and each has its own unique facade. “For Building 2 with the hexagonal precast concrete elements, every concrete panel needed to be perfectly aligned with the window modules. The facade was installed in an anticlockwise direction, and if the panels were even just a few millimetres out of alignment, it would have shown in the finished product.” Harvey says the curved, glass-wrapped Icon building also had tight

DOMINION CONSTRUCTORS PO Box 17254, Greenlane, Auckland 1546 Phone (09) 526 5808 Fax (09) 526 5809

tolerances. “The curve created the challenge, with the team needing to ensure the deflection in the steel frame was accommodated so it did not affect the vertical alignment of the windows.” Low tolerances were another key consideration with the installation of the ETFE canopies on the structural steel supports. “There is no stretch in the fixed canopies, so we worked closely with the manufacturer Structurflex to ensure the steel was perfectly aligned.” Other labour-intensive work included the construction of the hard landscaping, in particular the off-form concrete planters, which have a distinctive, bandsawn finish. View, save or share this story online at


POINT OF DIFFERENCE Distinctive landscaping is one of the key features of the Highbrook Business Park that sets it apart from other developments. Mace Contractors has been responsible for extensive landscaping projects throughout the park, most recently including the town centre development at The Crossing. The firm had previously been engaged for the revamp of the original Crossing planting – formal hedges of trachelospermum interspersed with white shell pathways, which occupy the four corners of the main Highbrook intersection. These are now offset by the more organic style of planting Mace Contractors has installed around the new buildings. Manager Michelle Mace says that as the flagship development of the business park, The Crossing was an important project for Mace Contractors, and was the culmination of numerous landscaping and

maintenance works undertaken around the site over the past five years. “We were excited to have the opportunity to work with other parties to help bring the vision of the architects and client to fruition,” she says. “The build phase of this project was undertaken over several months, as the construction works were completed, which entailed the co-ordination of resources and materials over several stages to ensure continuity of quality.” Established for more than 35 years, Mace Contractors specialises in high-profile and large-scale projects, creating and maintaining landscapes for year-round visual appeal. View, save or share this story online at

MACE CONTRACTORS Pitt Rd, RD2, Drury 2578 Phone (09) 294 8332 Fax (09) 294 8391


FEEL-GOOD FACTOR Made in New Zealand – it’s a claim not many suppliers can make about their products. Temperzone can, however. The firm has been producing locally designed and manufactured chilled water fan coil units for more than 45 years. Numerous buildings throughout New Zealand benefit from these products and The Crossing is no exception. The Quest Highbrook Serviced Apartments building features a chilled water system to keep guests and staff comfortable. The air conditioning system incorporates 88 Temperzone fan coil units, installed by Chillex Services, for cooling and heating. All units are fitted with run-on timers to dissipate any residual heat. Two Temperzone IMDL 130 fan coil units serve the hotel lobby. These are controlled by the building management system (BMS). All the guest rooms on Levels 1-6 are served by one or more Temperzone IMDL 40 fan coil units, with the exception of Room 11, which is served by a Temperzone IMDL 90. Each unit has an individual Schneider room temperature controller. The power is activated via the room key card, which in turn activates the fan coil unit controller. Recent developments to Temperzone’s fan coil range include the addition of high-efficiency EC motors that can be independently controlled via a BMS; and the new low-profile (260mm) IXDL-Y Series of multi-zone units that eliminate the need for VAV terminals. View, save or share this story online at

TEMPERZONE Private Bag 93303, Otahuhu, Auckland 1640 Phone (09) 279 5250 Fax (09) 275 5637


BEHIND THE SCENES Whether a new building is catering to hotel guests or looking to attract long-term tenants, there is an expectation that the HVAC systems will be state of the art. Chillex Group was contracted to supply and install a variety of different HVAC systems for each building at The Crossing to ensure this would be achieved. The commercial offices in the Wynyard Wood-LG building feature ducted Mitsubishi Electric City Multi VRF air conditioning systems that incorporate an energy-efficient heat recovery mode. The VRF units on the roof deck are concealed by architectural louvres. For the Quest hotel, Chillex Group installed a chilled water system incorporating a highly efficient York water chiller, Grundfos pumps and Temperzone chilled water fan coil units. Additionally, the chilled water system has been future proofed for possible expansion. The curved glass office building is air conditioned using a combination of Panasonic ducted and high wall split systems. Other HVAC systems at The Crossing include jet fan ventilation of the underground carpark and utility building, fresh air ventilation to the hotel lift lobbies, and kitchen extraction systems to each of the retail tenancies on the ground floor of the commercial building. Each of the individual HVAC systems are integrated with the Schneider Electric building management system to provide sitewide automatic control and energy monitoring with remote access. View, save or share this story online at

CHILLEX GROUP PO Box 13648, Onehunga, Auckland 1643 Phone (09) 633 4072 Fax (09) 622 1164


HIGH PROFILE Soaring tensile membrane canopies introduce a sculptural quality to the pedestrian precinct at The Crossing. They also provide shelter from weather extremes. The ETFE (ethylene tetrafluoroethylene) canopies were manufactured by Structurflex, an international specialist in fabric architecture. Business development manager Simon Higgs says ETFE provides a creative, lightweight alternative to glass. “ETFE is a transparent extruded film, or foil, with a similar light transmission to glass, but is just 1% of the weight. As well as providing significant visual impact, the foil allows a design flexibility and light-transmitting qualities that can’t be matched by traditional building materials. And although the membrane structures are lightweight, they are strong enough to withstand the most extreme weather conditions.” ETFE has a lifespan of more than 25 years, and has been used on many high-profile projects and stadiums around the globe. “Structurflex has long been at the forefront of mechanically prestressed systems using ETFE, and pneumatically prestressed systems, known as ETFE cushions,” says Higgs. “Our projects are always a collaboration – we work closely with architects, engineers, construction professionals and clients to create inspiring, successful solutions that meet every design brief.” View, save or share this story online at

STRUCTURFLEX 101 Central Park Dr, Henderson, Auckland 0610 Phone (09) 837 2350

Polyester Insulation

creating better environments

with tailored thermal, acoustic & ducting insulation solutions

The Crossing, Highbrook, Auckland

0800 100 007

MULTIFACETED The radical design of the new ASB North Wharf building in Auckand is turning heads, but the finished project is also testament to the co-ordination of many specialist firms


ROBUST CONSTRUCTION Exposed steel trees and walkways soar and crisscross the vast atrium in the newly completed ASB North Wharf building, signalling the architectural innovation by BVN/Jasmax that has created a highly sustainable, people-focused workplace. All the steelwork in the building is by Grayson Engineering, a specialist in the supply and installation of structural steel for commercial and industrial projects. Commercial manager Colin Berger says the ASB North Wharf project posed a unique set of challenges for the company. “The steel trees are positioned in the middle of the atrium, with large branches supporting the floors on either side. Much of the steel was fabricated in our workshop and transported to the site. Because all the structural elements are exposed, extra care needed to be taken

with the finishing detail. All the welds needed to be ground back and polished, which created a lot of extra work. The finished steel was then given several coats of paint. And because the structural steel is such a key visual feature, the team also had to ensure it was perfectly aligned, with minimal tolerance.” Grayson Engineering also fabricated the steel for the sky bridge walkways, and the steel lattice structure that supports the glass lift shaft, another distinctive feature of the interior. In other areas, the structural steel is hidden – the steel roof supports, for example, are concealed behind the ceiling. View, save or share this story online at


PO Box 97550, Manukau 2241 Phone (09) 278 3366


SHINE ON The lighting in the ASB North Wharf building needed to be high performance and sustainable, and it had to impart the wow factor. Aesthetics Lighting Solutions worked closely with the architects and Bishman Electrical to provide products that would fit with the budget while delivering on the look and performance. General manager Mike Bernard says the firm custom manufactured a cost-efficient, streamlined wayfinding LED fixture. “Our engineering resources made it easy for Bishman Electrical to install the lighting, and we provided the drama the architects were looking for. We also assisted Lightworks to create a zig-zag LED fixture from clean-cut aluminium extrusion. This features in the security entry.� New Zealand manufacturer Dot Downlights custom designed and built the surface-mounted downlights, which match the industrialstyle fit-out. Among the fittings is a rod suspension variation that accommodates a five-core cable for power and DALI control. The design of the Dot downlights utilises a central component bank, which allows cost-efficient customised variations for clients. Inlite supplied Deltalight Supernova fittings to meeting rooms and breakout areas. This architectural range offers multiple application options in various diameters, and delivers a powerful diffuse light. Even though fluorescents were the light source of choice for this project, LED technology is also available in this range. View, save or share this story online at




8 Nugent St, Grafton, Auckland 1023 Phone 0508 743 757

8 Nugent St, Grafton, Phone (09) 623 0429

180 Station Rd, Penrose, Auckland 1061 Phone (09) 579 2162


MADE TO FIT There are many stand-out interior features of the ASB North Wharf development – from the decorative wall panelling to the expansive kitchens and custom banquette seating that can be seen on almost every level. Sage Manufacturing, a custom joinery specialist, was contracted to manufacture a large amount of joinery, including café counters, 13 kitchens, numerous feature wall panels and all the fixed seating. This is manufactured from environmentally friendly MDF board covered with high-pressure laminate and upholstered seats. Project manager Trevor Antunovic says the work included collaborative seating areas. “There was not much about this job that was simple or straightforward, and everything needed to be of a very high standard,” he says. “Sage Manufacturing was involved early

on the design process, working with the design team to develop the working drawings. This was particularly helpful, especially in light of the sheer volume of work and the need for close co-ordination. During the six months of installation we had 2-3 truckloads of joinery arriving on site each week, as well as van loads.” Other special features by Sage Joinery included curved pine ply panelling in the executive areas, timber posts in the entry lobby, and more than 1000 lockers with Trespa doors that can be personalised by each worker. Sage Manufacturing also fabricated the air attenuator panels, which required more than two million drilled holes. View, save or share this story online at

SAGE MANUFACTURING 2 Tait Pl, Albany, Auckland 0632 Phone (09) 415 6322 Fax (09) 415 6329


BEST FOOT FORWARD Spotted gum pre-finished flooring enlivens the interior of the ASB North Wharf building. This was supplied and installed by Hardwood Technology, a company that provides a full turnkey operation for commercial and residential flooring. Director Mark Slane says the spotted gum is a new species for the company, which sources its products direct from international suppliers. “We were able to incorporate our existing methodologies for the flooring system, which helped with the installation. Our supplier graded the timber to minimise knots and shakes.” Slane says there were several advantages to laying pre-finished timber. “It removes the time and difficulty associated with applying polyurethane coats on a busy construction site, and it also means what you see is what you get in terms of colour.”

In the Boathouse café on Level 3, the flooring is laid to resemble ship decking, with black rubber strips between the boards. More than 4km of rubber caulking was applied to this part of the project. Slane says the main challenge involved the preparation – the floors and stairs had to be levelled and plywood underlay installed and evened out to ensure the surface would be completely flat. To minimise noise in the open-plan offices and breakout areas, Hardwood Technology used an acoustic glue for the stairways. This helps reduce step sound and vibrations. The steps also incorporated aluminium tread inserts for additional slip resistance. View, save or share this story online at

HARDWOOD TECHNOLOGY PO Box 58771, Manukau 2141 Phone (09) 274 9712 Fax (09) 274 9217


RED ALERT There’s no mistaking the fire sprinkler system in the ASB North Wharf building – the pipes are lacquered in several coats of bright red paint. AFS Total Fire Protection, the firm contracted to supply and install the system and the fire alarms, designed and built a fully customised solution for the project. Director David Gower says because there are two buildings joined by a glass bridge, the company created two independent but symbiotic sprinkler and alarm systems. A third system was then incorporated to drench the southern wall, providing protection to the future neighbouring buildings. “The exposed nature of the system posed challenges. Normally all the pipework and welding is hidden, but here it is a feature, so the finish had to be impeccable and the alignment with other services was critical. Pipes needed to be painted in high-gloss red after installation, which added to the challenge. Some of the sprinkler units were colour matched to the ASB corporate yellow.” Gower says the fire alarm cabling is also exposed – in cable trays rather than hidden. To avoid interference from other electrical cabling, the cables are bundled inside a metal conduit. Another point of difference for this project was the need to incorporate sprinklers within some of the unique furniture pieces – a first for AFS Total Fire Protection. View, save or share this story online at

AFS TOTAL FIRE PROTECTION PO Box 4224, Shortland Street, Auckland 1140 Phone (09) 414 4077


TECHNOLOGY ON THE RISE It’s not just the sky bridges and open floor plates that help to animate the interior of the ASB North Wharf building – glass lift shafts are also a dynamic feature of the atrium. The lifts were supplied and installed by Schindler Lifts NZ. Three Schindler 5400 MRL passenger lifts with glass walls and doors operate within a glass-walled shaft, providing the main vertical transportation. National sales business manager John McGinley says because all the lift technology is visible, an especially high standard of workmanship was vital. “Everything is on show with these lifts. They have an aesthetic as well as a functional role to play, and this determined the high-level finishes. The glass doors and walls of the lifts are framed with high-quality stainless steel.” The lift system incorporates a passenger occupant requirement

terminal (PORT), with a touch-screen interface. “Passengers simply input their destination and the PORT directs them to a lift,” says McGinley. “The only interface inside the lifts are door open and close buttons. The PORT system can adapt to individual users, through the in-built security interface. For example, a wheelchair user can be assigned a lift with more space or fewer people, and a VIP user can be assigned an express lift with no other passengers.” Other Schindler products in the building include a large-capacity 2600 passenger-goods lift, a 3300 AP passenger lift and two Schindler 9300 escalators. View, save or share this story online at

SCHINDLER LIFTS NZ PO Box 724, Shortland Street, Auckland 1140 Phone (09) 353 7500 Fax (09) 753 7503


WALK THIS WAY Innovative uses for traditional materials are a hallmark of the ASB North Wharf building fit-out, and carpet is no exception. The building features eight different carpets supplied by leading carpet manufacturer Godfrey Hirst New Zealand. One of these collections, Sunrise in the colour Billabong, wraps an entire curved wall to create an aqua pod that semi-encloses a meeting room. A blue carpet tile was selected for the floor to match the curved walls. The area resembles an upturned boat hull, with the blue carpet providing special visual appeal while also offering acoustic advantages. The bulk of the carpet tiles in the office areas are from the softly flecked Illuminate range of solution-dyed nylon tiles. These are complemented with Brilliant solution-dyed nylon tiles in the colour black with silver patterning. In other areas, brightly coloured Rainbow Designer Jet carpet tiles define different breakout pods and meeting rooms. Godfrey Hirst carpet tiles were specified not only for their visual appeal – the other key considerations were durability and environmental impact. The tiles are 100% PVC free, contain a minimum of 60% recycled content in the backing structure, and earn 100% of the carpet points available under the Green Star NZ rating tool. View, save or share this story online at

GODFREY HIRST NEW ZEALAND PO Box 97145, Manukau, Auckland 2241 Phone (09) 268 3300 Fax (09) 268 3311


ALFRESCO CATERING Opportunities for staff interaction and collaboration abound in the ASB North Wharf building, and they even extend outdoors – the roof terrace is fully equipped for entertaining workers and clients. Catering facilities on the terrace include the Saber® SS6670 four-burner barbecue with built-in infrared grill from BBQs & More. This barbecue is made from commercial kitchen-grade 304 stainless steel, and has a strong, stable and durable construction – even the burners, grate system and emitters are made from 304 stainless steel. Managing director Mitchell Stronge says the Saber patented infrared cooking system offers many advantages over traditional gas barbecues. “Unlike the convection heat produced by those barbecues, the infrared grill has a radiant heat that does not dry out the food. This ensures the natural juices are retained, which keeps

food moist and tasty. Infrared cooking also uses 30% less fuel, and is speedy – the grill can reach 370°C in 10 minutes or less. And the Saber provides even temperatures across the entire cooking surface, so there are no hot or cold spots.” Other key features of the Saber include temperature gauges for precision control, and interior halogen lights for cooking at night. As a lifestyle specialist, BBQs & More supplies an extensive range of barbecues, outdoor furniture, heating systems, fires, storage systems and wine refrigerators. In addition, the company designs outdoor kitchens to suit every budget – from simple to high-end. View, save or share this story online at

BBQS & MORE 616 Great South Rd, Greenlane, Auckland 1051 Phone (09) 579 6699 Fax (09) 579 6694

From one generation to the next

Since 1974 the Classique brand of kitchen appliances has been helping shape the way Kiwis use their kitchens. From those first iconic rangehoods nearly 40 years ago through to the complete suite of appliances and accessories available today, Classique has built a reputation for innovation borne from experience. As one of the country’s trusted brands, Classique has positioned itself to offer modern products while remaining highly affordable, and is available nationwide through Mega Mitre 10.

imPortAnt dAtes! formAl suBmissions due Friday 7 March 2014 AwArds gAlA dinner Friday 6 June 2014 AwArd CAtegories - Arrow Interntional, Multi-unit Residential Property Award - Coffey, Education and Arts Property Award - Hawkins Construction, Heritage and Adaptive reuses Property Award - Hays, Commercial Office Property Award - Holmes Consulting Group, Tourism and Leisure Property Award - Natural Habitats, Urban Land Developments Property Award - RCG, Retail Property Award - Resene, Green Building Property Award - Trends Publishing, Industrial Property Award - Warren and Mahoney, Special Purpose Property Award

ProPerty CounCil new ZeAlAnd rider levett BuCknAll ProPerty industry AwArds 2014 Property Council New Zealand, Rider Levett Bucknall Property Industry Awards 2014, showcases New Zealand projects with a practical completion date on or before 28 February 2014. Submitted properties are entered into the appropriate category with the assistance of our judging panel. Submissions are required to be completed by Monday 3 March 2014. Finalists in all categories will be announced at the gala dinner held in Auckland on Friday 6 June 2014. To find out more, enquire today! See contact details below. CAtegory sPonsors

ProPerty CounCil new ZeAlAnd nAtionAl offiCe Level 4, WHK Tower, 51-53 Shortland Street, Auckland | P O Box 1033, Auckland 1140 t +64 9 373 3086 | |

NEW DOORS OPEN Client feedback has prompted an improved online resource tool for an established business with a new name – Fletcher Window and Door Systems

Top left:Revised Design Resource from Fletcher Window and Door Systems is now more informative and easier to use – it details commercial and residential products and there’s no need for log-ins. Lower left:Anvil in Auckland, designed by Patterson Associates, features Fletcher Window and Door Systems joinery. Below right:The website provides CAD details for products, which are broken down into eight identifiable categories.

In these days of instant communication and innovative computer technology we expect to have information right at our fingertips. Design specifications for building products are no exception. And it is this requirement that has resulted in the updated Design Resource online tool from Fletcher Window and Door Systems of Fletcher Aluminium, a company that has been serving the industry for more than 60 years. Marketing manager Ronnie Pocock says the improvements to the website are the result of insightful feedback. “The Design Resource is now much easier to use – there is no need to log in and the navigation has been simplified. And it is much more informative, with a wealth of additional product information. Products are broken down into eight identifiable categories, which makes it easier and quicker to filter more than 6500 CAD details, and any other information you may require.” New features and benefits provided by the upgrade include the addition of Revit® and Building Information Modelling (BIM) details for commercial applications. These include practical Revit details,

not commonly seen on other websites. The Design Resource also provides CAD details to support traditional documentation processes, BIM methodologies and 3-D applications. “This results in increased accuracy, which saves both time and money,” says Pocock. An Add-to-Cart function can be used to collect and save relevant files for a convenient single zipped download. This is designed to make files easy to access and forward. Alternatively, details can be dragged and dropped directly from the site. Other changes include product summaries of the Fletcher commercial and residential suites, with cutaway sections and listed features. The Design Resource has also been expanded to include Oakley Commercial systems, which have been upgraded for improved seismic performance and cross platform integration. These include curtain wall, flush glaze and shopfront applications. For more details and to check out the changes, visit the website: View, save or share this story online at



Project Adelaide Desalination Plant and Kauwi Interpretive Centre

Location: Lonsdale, South Australia

Architect: Woodhead

NATURAL RESOURCE Reflective metals and rammed earth walls reference the contrast between 21st-century technology and the natural landscape in this interpretive centre for a water desalination plant



Below:The soaring roof of the Kauwi Interpretive Centre at the Adelaide Desalination Plant appears to defy gravity to float above the building. The aluminium panels reflect the landscape and a rippling water feature, and contrast the building’s rammed earth walls.

Sites of cultural, historical and geological significance provide a special challenge for both architects and their clients. While a project may have a raft of functional requirements, it is essential not to disrupt the intrinsic sense of place. The Adelaide Desalination Plant and Kauwi Interpretive Centre, owned by South Australian Water Corporation and managed by Adelaide Aqua Alliance, occupies such a site at Port Stanvac. The area is noted for its 70m-high striated cliffs and spectacular ocean views, and for its cultural and historical significance to the local Kaurna Aboriginal community. These factors strongly influenced the design brief given to Woodhead, says South Australian Water Corporation project and operations director Milind Kumar. “The corporation made a commitment to consult with the local community, including Aboriginal elders, on the development. This feedback helped to determine the framework and guiding principles of the project. “It was clear that the interpretive centre needed to embrace the natural landscape and complement the function of the plant. And the building needed to have a low profile, so views would not be obstructed. The centre also had to provide appropriate educational facilities, and archival storage for local artefacts.” Woodhead architects Ben Mountford and Jim Williams say there was an additional consideration. “The client wanted a high-quality design and encouraged the team to provide a significant work of public architecture, rather than yet another industrial development.” The architects consequently took an integrated approach to the design, developing a consistent architectural language across the site, with strong links with the surrounding landscape. The walls of the plant, for example, feature precast concrete panels in varying textures, colours and patterns. “The textured facades help to break down the massive scale of the walls,” says Mountford. “The patterning relates to the slope of the hills – the panels graduate so they are darker at one end.” MORE PROJECTS AT




Below:Fully glazed walls and a viewing deck provide expansive views of the desalination plant and the ocean beyond. The long paths link to Aboriginal trails.



Left:Inside, the centre evokes the sense of a watery environment. As well as the shimmering light reflected from the aluminium roof panels, there is an abstract water mural within the epoxy floor. Lower left:Alucobond Spectra panels clad a sculptural pod that protrudes through the walls of the centre to sit both inside and out. The aluminium has an iridescent quality, with the colour changing depending on the angle of viewing. This pod houses an auditorium. Other pods provide interactive displays. Lower right:The interpretive centre has a long, low profile to minimise its visual impact on the landscape. The extended wings and walls also help to convey a connection with the land and community beyond.

Two facades facing the interpretive centre are clad in glass panels in varying shades of blue and green. “These facades also break up the scale of the long camouflaged walls,” says Williams. “They define the entries for workers and serve as a metaphor for water and the overall function of the plant.” The design of the Kauwi Interpretive Centre also takes its cue from the landscape. Rammed earth walls mimic the layered strata of the cliffs and help convey a sense that the building has emerged from the ground. Williams says the handcrafted construction of the walls creates uneven, slightly wobbly bands enhancing the visual connection. The walls extend out in two directions, forging yet another link with the landscape. They also appear to move right through the glass walls, blurring the line between inside and out. And in places the walls overlap and define smaller spaces within larger spaces, encouraging exploration. “These strong natural references are offset and punctuated with reflective metals that reference the high-tech processes of the desalination plant,” says Mountford. “The huge roof, which appears to defy gravity to float above the building, is clad in aluminium that reflects a rippling water feature at the entry, the interior and the landscape beyond. The roof soars up above the viewing deck to lead the eye out towards the plant and the ocean.” Iridescent aluminium wraps a pod enclosing a small auditorium that extends out through the glass walls. The organic form of the pod is echoed by the interior design, which is also by Woodhead. “The epoxy floor is an obvious water reference,”

says Mountford. “It was created by layering two coats of epoxy – white followed by blue. Scooping out sections of the first coat ensured the final effect is three-dimensional, with a real sense of depth.” Williams says the built form is designed to allow people to find their own way through the centre and the displays. “It aims to provide a journey of exploration that allows people to discover and learn at their own pace, and experience the building and landscape in their own way. The architecture reinforces this approach by providing multiple pathways through and around the interactive displays and earth walls. At the same time, the user has an unfolding spatial experience – views are gradually revealed as one moves through the space, ending with the dramatic views out to the plant and the coast.” Mountford says the pathways provide a direct link to the Tjilbruke Dreaming Trail, a cultural trail of the Kaurna people that runs past the site. Displays within the centre reference the trail and the importance of water to the community. Artefacts found on site are also displayed near the entry. “We worked closely with the Kaurna people on many aspects of the design. The community has even helped develop a bush-tucker garden that showcases indigenous plants.” Milind Kumar says that in the short time it has been open the centre has proved highly successful, with a huge number of bookings for school groups. “The feedback has been fantastic,” he says. “The centre has helped dispel any negative ideas people may have had about the impact of the plant on the site and community.”



Left:The architects at Woodhead used an integrated industrial design approach for the Adelaide Desalination Plant, providing a consistent architectural language across the site. Cladding includes textural, earth-toned precast concrete panels, and glass panels in varying shades of blue and green, which echo the changing colours of the ocean. Right:Facilities at the plant include a transfer pumping station and transfer pipeline, which pumps drinking water to the city. The project can deliver up to 100 billion litres of water each year, which is approximately half of the water supply for the city of Adelaide. Story by Colleen Hawkes Main photography by Mark Zed; other photography courtesy of South Australian Water Corporation

Project:Adelaide Desalination Plant and Kauwi Interpretive Centre, Lonsdale, SA Architect:Jim Williams, Ben Mountford, Martin Williamson, Doug Gardner, Woodhead (Adelaide, SA) Interior designer:Marlew Cook, Woodhead Civic engineer, earthworks, landscaping:SMEC M&E engineer, fire consultant:Bestec Construction company:Built Environs Cladding:Precast concrete; rammed earth; Alucobond Spectra on pod in interpretive centre Roofing:Ziplok aluminium Colorbond Skylights:Ampelite Webglas GC: Blinds:Verosol Epoxy flooring:Sikafloor Vinyl:Effect Volta from Forbo Woven vinyl:Bolon (The Andrews Group), BKB trend

metallic and Now Sapphire Veneers:Laminex; timber veneer; American white oak Paints:Solver Designer White Reception furniture:Smartstone from Italia Ceramics; upholstery by Instyle, Maharam Kvadrat, Woven Image Awards include International Project Management Association IMPA Project Excellence Award – Mega-sized Project Gold Winner; South Australian Infrastructure Innovation Award 2012; Project Management Institute (Australia) Australian Project of the Year, finalist for Global Project of the Year (results pending); shortlisted for World Architecture Festival 2012 See image gallery of this project online at



Project The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church

Location: Chicago

Architect: Gensler

WELL CONNECTED Neo-Gothic meets modern in this major addition to an historic church on Chicago’s Michigan Avenue, but strong visual links ensure the new complements the old

Below:Two glazed entries – one at either end of a long circulation space – welcome visitors to Fourth Presbyterian Church on Michigan Avenue, Chicago. A contemporary addition, The Genevieve and Wayne Gratz Center, runs the length of the site. The building is cantilevered at the front. Right:The pre-patinated copper facade references a material traditionally seen on steeples and cupolas. Prominent neighbours include the John Hancock Center.

Change is one of life’s certainties, but it’s not always easy to accept. This can be especially true of architecture, when contemporary additions to historic buildings may be required. For the design team at Gensler, commissioned to design a major addition to the neo-Gothic Fourth Presbyterian Church in Chicago, it was clear that a sensitive architectural approach was required. This included extensive consultation with everyone affected – architect Brian Vitale says not one line was drawn until this process was complete. “Right at the start we discussed with church members the way buildings can tell stories. And we

posed the question, what did they want the new building to say about them? They came back to us saying they wanted a contemporary building that would look forward to the next 100 years, rather than back to the past. There was a recognition that the existing neo-Gothic architecture sends a very formal message to people. The new building needed to be more relaxed – it needed to be warm and inviting to young people.” But there was little doubt that a modern design would be a dramatic contrast to the original church, which is the oldest building north of the Chicago River – except for the Old Chicago Water Tower.



Left:A recessed window on the front of the new building mimics the proportions of the steeple on the church. It also allows a view from the street directly into the chapel on the second floor. Below left:The cantilever is a reference to the way the church reaches out to the community. It also maximises space on the upper levels, while providing room for landscaped areas at the front of the building. Below right:A preschool on the ground floor opens out to a secure play area. The design team from Gensler says the highly consultative design process meant even the children were consulted about their playground preferences.

The architect says the new building, known as The Genevieve and Wayne Gratz Center, needed to complement, rather than mimic the original church buildings. “We did not want to take away from the beauty of the traditional architecture – there was no way the new was going to gobble up the old.” Martin Sherrod, chief operating officer of Fourth Presbyterian Church, says acceptance of the proposed changes was helped by the fact that there was a desperate need for more high-quality space to accommodate the church’s extensive outreach and social services programmes, and its cultural requirements. The church provides dinners and vocational training for the city’s homeless, and one-to-one after-school tutoring for hundreds of children from under-served neighbourhoods. “This is a city that really values its iconic architecture,” Sherrod says. “But while the neoGothic architecture is charming and dazzling in its architectural distinction, it was not well suited to the needs of our programmes. “Acceptance of the changes was helped by the community being able to see other contemporary additions to historic buildings in the neighbourhood.

We also recognised the financial implications. A contemporary building was the most cost-efficient way to accommodate the existing footprint and the constraints of the site. And the consultative process was particularly helpful in giving our people a sense of ownership of the design.” Vitale says the location was a key consideration in the design. The church fronts Michigan Avenue, which is the most expensive real estate in the city – neighbouring buildings include the John Hancock Center and Palmolive Building. Extensive photographs were taken of the existing church, including views from the 100-storey John Hancock Center. “Green patinated copper was everywhere – we could see it on the roof, dormers and gutters. Then we discovered it on the downpipes, flashings and even on lanterns and handles. This determined the pre-patinated copper cladding on the new building.” The scale of the old church is also referenced in the new build. The height of the building is deliberately below the roofline of the church, and a recessed window on the front facade replicates the dimensions of the steeple.



Left:The commons is the key circulation area linking the new with the old. The new building is on the right, while the limestone walls of the existing buildings can be seen on the left. Below right:Graphics illustrate the connection between the contemporary addition and the existing buildings.

“This window, which provides a view right into the chapel on the second floor, is of the same proportions – it is effectively the chapel’s steeple, says Vitale. “The cantilevered design of the building is another reference to the work of the church and the way it reaches out to the community. The floating form also conveys a sense of the spiritual.” The architect says outdoor spaces create a buffer in front of the two opposing entries, one off Delaware Place and the other off Chestnut Street. “This was another way the church could give something back to the community – we didn’t build right up to the street. These are inviting, landscaped areas where people can gather.” The glazed entries lead into a double-height

transition space, named the commons. This is an area formerly taken by two earlier additions that were removed. Removing these structures opened up new views of the old church, which have been maximised through large clerestory windows. Gensler interior design director Todd Heiser says people can now see the patinated copper roofing, for example. “It also meant some of the old limestone walls are now part of the inside of the building. The original scars and marks on the limestone are still there – you can even see the remains of ivy embedded in the walls.” The connection between inside and out is further enhanced by a copper wall on the inside of the new



Left:Visitors take a meditative stroll around the labyrinth on the floor of the chapel. The pattern is formed by two contrasting shades of limestone. Copper panels on the front wall provide a clear visual connection with the exterior. Lower left:Strips of light pour through slot windows on the west side of the chapel. The pattern of the windows references significant days on the Christian calendar. The chairs were custom designed by the team at Gensler. Below right:The neo-Gothic architecture of the existing buildings can be seen through large clerestory windows.

chapel. The copper panels echo the size and shape of the patinated panels on the exterior, but have a worn, rather than weathered appearance. “This space needed to be flexible in terms of use,” says Heiser. “The chapel is used for a variety of events in addition to services. And the church has a very robust music programme, so the acoustics were a key consideration. This is the reason why none of the walls are parallel. Even the ceiling has a folded, multifaceted plane.” For this reason also, the west wall could not be completely glazed. Instead, there is a solid wall on the inside of the glazed facade, with narrow slot windows in the wall creating a distinctive patterning. The slots are grouped according to significant days in the Christian calendar. There is also a subtle trefoil pattern in the Venetian plaster that is continuously revealed and hidden as the visitor moves through the space. A limestone labyrinth pattern on the floor is another key feature. The lower level of the centre accommodates a

Location:The Genevieve and Wayne Gratz Center, Fourth Presbyterian Church, Chicago Architect:Gensler Structural engineer:Halvorson and Partners Civil engineer:V3 Mechanical and electrical engineer: Affiliated Engineers, Inc Construction company:Turner Construction Company Landscaping:Hoerr Schaudt Exterior facade:Custom pre-patinated copper by Tuschall Engineering and DLSS Manufacturing Roof:PVC; Johns Manville Roofing Systems membrane Green roofs:LiveRoof Glazing system:EFCO

lounge, dining facilities and a preschool that opens out to a new playground. This is elevated above the street, providing a safe, secure environment for the children. Administration offices and a choir loft are on the third floor, while the upper two levels accommodate lounges and meeting rooms, where tutoring takes place. In keeping with the need for LEED certification, the centre incorporates many sustainable design initiatives, including a green roof, high-performance glass, maximum natural light and a variety of water conservation measures. “The changes have been transformative,” says Sherrod. “The centre meets the needs of our very ambitious social services programme, and is enabling us to deliver on our cultural commitments to the arts and music. There is so much more we are able to do for the community.” View image gallery of this project online at

Flooring:Tandus custom carpet; Nublado marble from Stone Source Wall treatments:Knoll Maharam wallcovering; NAS plaster in chapel Paints:Benjamin Moore Veneers:Rift-cut walnut Lighting:Entry vestibules by Lindsey Adelman; chapel pendants by Niche Modern Furniture in public area:Bernhardt Design, Tru Furniture, Wilkhahn, Stylex, Coalesse and Knoll Lift services:Otis Elevators Story by Colleen Hawkes Photography by Richard Barnes MORE PROJECTS AT


Project GWD Motor Group Showroom

Location: Queenstown

Architect: Crosson Clarke Carnachan

INVISIBLE SUPPORT The design of this contemporary car dealership is naturally all about showcasing the vehicles – slender aluminium joinery provides strength without distraction

Queenstown offers spectacular mountain scenery and changeable alpine weather comes with the setting. Building a glass-fronted showroom in this location brings its own design imperatives, among which are aluminium systems that combine versatility with strong, discreet support. When GWD Motor Group decided to build a new dealership in Queenstown, Crosson Clarke Carnachan Architects asked Ellison’s Aluminium to fabricate, fine-tune and install the external and internal joinery, says fabricator Mark Newall. “Our company used a mix of architectural and



commercial products from Aluminium Systems (ASL) to provide a custom joinery solution. Given the location and the use of the building there were a number of technical aspects to address. “The Queenstown environment is prone to high wind gusts. To cope with this, Ellison’s selected the ASL Commercial 150mm profiles rather than 100mm, providing extra strength but maintaining a presence that doesn’t detract from the cars. “In addition, the large Commercial sections fronting the dealership were created with a seismic channel, much like a frame within a frame, lined

Below:Fabricators Ellison’s Aluminium combined products from Aluminium Systems Architectural and Commercial ranges to create strong yet understated joinery for the new GWD Motor Group showroom in Queenstown.

with rubber. This provides movement, or give, for the massive panes of glass in the event of any seismic activity. Another consideration was that the extended stretches of glazing are susceptible to contraction and expansion under the often extreme temperatures. The seismic channel provides leeway to prevent the glass from cracking. “ASL’s low-profile, free-running door frames allow

a nationwide fabricator network that operates in residential, architectural and commercial markets. For more information on Aluminium Systems, phone (09) 574 2900. Web: To contact Ellison’s Aluminium, Dunedin, phone (03) 474 0011. Email:; Ellison’s Aluminium, Cromwell, 0800 355 476 or (03) 445 0180. Email:

easy movement of cars in and out of the building.” ASL is one of the largest aluminium joinery system suppliers to the Australasian construction industry. The company also supplies and supports

Website: To view and share this article online go to





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MATERIAL ATTRACTION Chic, contemporary patterns in durable, soft-to-the-touch fabrics make a winning combination in any commercial interior – Warwick has a colourful range of options

To look fresh and modern over many years of daily use is the requirement for all fabrics used in commercial fit-outs. Working with a company that specialises in smart, hard-wearing interior fabrics is an attractive option for specifiers in many fields. Warwick Commercial offers a full range of soft furnishing products, from linings and drapery fabric to upholstery products. The company also offers furniture hardware such as legs, Black Cat webbing and studs, says managing director Martin Irvine. “Warwick works continuously and closely with all the leading furniture and drape manufacturers in New Zealand to ensure we keep our finger on the pulse in terms of commercial design fashion trends. “Our fabrics can be found in hospitality, health and aged care; transport, aviation, and outdoor applications, as well as marine, corporate and office environments. Warwick has established a strong reputation for meeting individual fabric needs across all these industries. “Our Crypton and fluid-barrier Tritan upholstery collections are popular in many hospitality and aged care environments, for example, as are our draperies, vinyls and outdoor materials.” Warwick fabrics are tested to strict Australian and New Zealand standards. Most ranges are also stock-supported to ensure rapid delivery, and all commercial fabrics are quality guaranteed. “Warwick Commercial’s design team creates custom designs to meet every commercial need,” says Irvine. “Our professional, informed sales staff are available at both the Parnell and Mairangi Bay showrooms to discuss your requirements.” For further information on Warwick Commercial, phone 0800 922 000 or (09) 477 3080. Or visit the website : To view, share and save this article online go to

This page:Bupa Parklands in Papanui Village features a wide range of drapery and upholstery fabrics from Warwick Fabrics. VIEW ARTICLE ONLINE AT


FACE OF CHANGE Previously a nondescript building, the Kemsol offices achieve a knockout presence with advanced new cladding and window frames


DRESSED TO IMPRESS What’s in a face? In architectural terms, a fresh facade can bring total transformation to a building in terms of both aesthetics and visual prominence, as this eye-catching reclad of the Kemsol offices by Metal Design Solutions attests. Metal Design Solutions (MDS) provides architectural sheetmetal product across the commercial sector, says director Jan Alberts. “At Kemsol, we were responsible for providing the new Random Multi-rib (RMR) cladding to an existing building that had been completed using finishes common in the ’90s. The owners were wanting to inject new life into the tired exterior by adopting the same profile as an earlier MDS project. “The results went beyond expectations – the customised RMR cladding helped change the building’s entire presence.

METAL DESIGN SOLUTIONS PO Box 33, Drury, Auckland 2247 Phone (09) 640 0009 (09) 268 6968

The colour choice juxtaposed with the bold window projections has created a skin that, although it seems random, complements everything around it. The light play across the variegated projections adds visual interest not seen on traditional facades. “Further to the eye-catching product differences is the high standard of finishing we bring to all our work,” says Alberts. Metal Design Solutions Ltd has pioneered advances in the architectural sheet metal trade, installing zinc, copper, stainless steel and aluminium roofing and cladding in a variety of applications. The company’s work is now seen on structures across New Zealand. To view and share this article online go to


IN THE FRAME Window framing can be the architectural jewellery that brings a building to life, particularly when it creates a dramatic contrast to the facade itself. Kaneba supplied, fabricated and installed the Alucobond composite frames for the renovation of the Kemsol offices – there are nine frames in all, including the wraparound corner window, says director Jan Gouws. “Alucobond was used for the project, in part for its versatility. This product works in seamlessly with other construction components and minimises the need for structural building elements when applied correctly,” says Gouws. “For Kemsol, we were able to take the architect’s design concept and precisely materialise this vision through the flexibility of Alucobond.”

To achieve the stand-out look required, Alucobond in the colour White 16 was fixed to underlying timber framing in line with the wall cladding. The protruding framework is self-supporting and rebates back into the wall frame to create the sense of greater depth. “Alucobond is a leading choice for architects and specifiers due to its robust performance. The product and Kaneba’s services are CodeMarkTM certified, simplifying building consent application and assuring New Zealand Building Code compliance,” says Gouws. Durable and low maintenance, Alucobond is available in a wide range of colours. To view and share this article online go to

KANEBA LTD PO Box 303 388, North Harbour, Auckland 0751 Phone (09) 926 2297 Fax (09) 926 1444

STANDING OVATION The new performing arts centre at Sacred Heart College brings all the students and staff together


GATHERED TOGETHER The design for the new performance centre at Sacred Heart College had to work hard in terms of cost effectiveness, functionality and future-proofing. And the efficiency of the concept had to be matched by the skills of the constructor of the building. Ebert Construction provides build solutions for the industrial, commercial and community sectors, says director Ron MacDonald. “The new Sacred Heart College performing arts centre was an exciting project for us and an empowering for the school. The facility enables the whole school to celebrate as one. The older boys can be seen as role models for the juniors, strengthening the overall sense of community – a core Sacred Heart value.” The 1500-seat auditorium has steel framing with precast concrete panels and brick veneer, decorative ceiling panels and polished floors.

EBERT CONSTRUCTION PO Box 37840, Parnell, Auckland 1151 Phone (09) 309 8095 Fax (09) 309 8095 Web: Email:

Its refined architectural exterior is composed of a combination of brick, stone and glazed windows. The auditorium’s performance space will include a thrust stage in the future, an expansive entrance hall and multi-use courtyards. For safety reasons, the main access to the college was repositioned and a circular driveway introduced. “As one of New Zealand’s leading design-and-build contractors, Ebert Construction provides whole-of-life project resolution for all our clients – optimising design efficiency through smart building solutions,” says MacDonald. To view and share this article online go to


STRONG PERFORMANCE Much as the new multi-use performing arts centre underpins community spirit at Sacred Heart College, the steel framing for the building provides strength and support for the building itself. Given the diverse use of the building, the steel structure had to respond to specific needs. George Grant Engineering (GGE) supplied and built the steel skeleton, says general manager Scott Delacey. “While the main framing was quite straightforward, there were some tricky aspects to this project. Once the precast concrete panels were set in place and propped up, our team craned in the steel frame elements and fixed them into place. The blade walls create an attractive feature, but they have a challenging structural configuration – the fins are embedded in the foundation from beneath, and supported across the top by framing.

“We also worked closely with subcontractor Alfa Ceilings to create structural variations that would respond precisely to the acoustically angled ceiling planes in the auditorium. “With limited room to manoeuvre, sequencing was important on this project. We waited until the main auditorium was covered before we introduced the separate steel structure for the protruding stage.” The company also created the attractive canopy framework that connects the new building to an existing school structure. George Grant Engineering specialises in the fabrication and erection of structural steel for commercial, industrial and civil projects. To view and share this article online go to

GEORGE GRANT ENGINEERING PO Box 142, Takanini, South Auckland 2245 Phone (09) 295 0550 Fax (09) 298 9909

Project Massey University Albany Students Amenities Centre

Location: Albany, Auckland

Architect: Warren and Mahoney

IT’S A WRAP Terracotta louvres and wall tiles are a key feature of the exterior of this new building at the Massey University Albany Campus – the facade is by Miller Design

Architects and designers are constantly finding innovative uses for traditional materials, but the success of any design is dependent on the fabrication and installation. The exterior of the new sciences building at the Massey University Albany Campus, constructed by facade specialist Miller Design, features terracotta tile cladding and matching fixed horizontal louvres. Terracotta also appears on the flashings and the deep reveals that frame the windows. Miller Design business development manager Stijn Van den Eeden says the building envelope highlights a novel use for terracotta, which is one of the most durable materials. “Terracotta is also a naturally sourced product, so the tiles and louvres are not 100% the same colour. The slight differences in shading give it a very natural look. The rectangular tiles, which are often called baguettes, also have an attractive matt finish. On this project they complement the roofing of the existing campus buildings.” In addition to the terracotta, the facade features extensive glazing with aluminium joinery, and adjustable aluminium louvres. Miller Design was also responsible for the fabrication and installation of the skylights. “Due to the high number of interfaces between the different cladding products, this was a highly complex project,” says Van den Eeden. “But the result is a very distinctive building.” Other projects undertaken by Miller Design include Mt Eden Prison and the Anvil in Mt Eden. For more information, contact Miller Design, 128 Hugo Johnston Dr, Penrose, Auckland 1642, phone (09) 525 5788, fax (09) 525 6882. Or visit the website: View, save or share this story online at

Above:Miller Design was responsible for the fabrication and installation of the entire facade of this university building. 98


FRESH THINKING Massey University Albany is a leading contemporary education provider, with building services to match – including the customised HVAC solution from Air Mark Services

In the competitive world of higher education, a facility has to offer the best of everything – from teaching, to amenities, to a physical environment that is a pleasure to attend each day. An important part of this is the HVAC system delivering clean, fresh air throughout, helping staff and students function at their optimum. Air Mark Services specialises in the design, installation and maintenance of sophisticated commercial and industrial HVAC solutions, says company director Mark Jacobs. “Massey Albany is a successful and growing academic campus reliant on its appeal to both local and international students,” says Jacobs. “Advanced air conditioning, with its direct effect on student comfort and alertness, naturally plays a vital role and Air Mark Services has been heavily involved in achieving a suitable environment.” The HVAC system put together and installed for the university is a mix of variable refrigerant flow (VRF) air conditioning and mechanically operated natural ventilation, providing the flexibility, comfort and energy efficiency required. The HVAC is controlled by an advanced building management system (BMS) which also provides remote access and control, and is linked to energy metering, hydraulics, electrical and security systems. Jacobs says the system design was simple yet functional, resulting in excellent energy solutions. “Co-ordination between trades was essential in achieving this highly successful outcome.” Air Mark Services has worked on many large projects including, hotels, universities, multi-unit apartments, offices, warehouses and restaurants. Contact Air Mark Services, phone (09) 442 5959, mobile 021 836 595. Web: To view and share this article online go to

Above:The crisp, contemporary architecure of Massey University Albany is matched by its HVAC solution from Air Mark Services.

SOLID FOOTING New or recycled concrete floors can be transformed into a contemporary feature surface – NZ Grinders offers a range of durable designer finishes

In today’s design world where flair, economy and sustainability are all buzzwords, it is no surprise that polished concrete floors are an increasingly popular option. However, exposing an aggregate for the right effect, or achieving the precise finish required requires a high level of expertise – and the advanced grinding machinery to match. NZ Grinders works with polished concrete, epoxy and other durable floor coatings for the commercial environment, says manager John Enticott. “Polished concrete flooring is increasingly in vogue for retail establishments, warehouses and public facilities. The surface is attractive to architects, designers, and specifiers for its durability, sustainability and low upkeep. Companies don’t need to worry about delaminating or product wear – true polished floors won’t chip, peel or fade as there’s no coating to be compromised. “For new floors, stones or coloured glass can be embedded in the concrete mix and then exposed when the surface is ground and polished. With this process, a worn concrete factory floor can be reinvented as a smart, modern surface. The design possibilities are endless.” The Tauranga-based firm’s grinding machine, the HTC 1500, is the only one of its kind in the country. “NewLook Concrete and Kalmar Construction enlisted our services for the new Students Amenities Centre at Massey University. Architects Warren and Mahoney wanted a low-sheen polished floor with decorative joints cut to a grid pattern. Ground to expose the natural stone, the concrete floor features on over 1100m2 of hallways, retail and café areas. Nano polish provides stain protection.” For more on the floor polishing options from NZ Grinders, visit See, save and share this story online at

Above:For the matt-look floor required at Massey University Albany, NZ Grinders took the polish to a low 400-grit finish. 100


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FIRE RISK MINIMISED Specifying the right surfaces for a project is just as much about safety as it is about durability and aesthetics. Laminex and Melteca fire-retardant surfaces achieve the highest possible fire rating

Many commercial projects have stringent requirements when it comes to fire safety, and this extends to the use of fire-retardant surfaces. But this doesn’t mean aesthetics need to be compromised, as these fit-outs illustrate. Laminex New Zealand manufactures a range of decorative surface products that have achieved the highest possible fire rating, a Group 1S, as tested in accordance with ISO5660 and New Zealand Building Code Verification Method C/VM2 Appendix A. Laminex Fire Retardant HPL applied to Lakepine FR MDF, for example, is well suited to high-wear applications, such as countertops, store fixtures, bars, benchtops and wall linings – areas where 104


durability is important. This laminate is available in all Laminex colours. Melteca Fire Retardant is particularly suited to shelving, furniture, cabinetry and most vertical applications. This laminate is also available in all Melteca colours. Both fire-retardant laminates are appropriate for commercial applications where fireretardant materials are required. For more details, contact Laminex New Zealand, phone 0800 303 606. Email: Website: View, save or share this story online at

Above:Laminex Fire Retardant HPL and Melteca Fire Retardant laminate are well suited to commercial applications that require a high degree of fire retardancy. The laminates can feature on doors, walls, counters, furniture and desktops.

TICKS ALL THE BOXES Lightweight, durable, scratch resistant, graffiti proof – and that’s just the start. The Laminam CS45 Cavity System is well suited to commercial applications

Above:The Laminam CS45 Cavity System from Laminex New Zealand comprises large Laminam porcelain panels set within an aluminium cassette system. The porcelain panels are just 3.5mm thick, making the cladding a cost-effective lightweight option particularly suited to seismic-risk areas.

Two of the biggest issues to have faced the New Zealand construction industry in recent times have concerned leaky buildings and earthquake resilience. So it’s not surprising that specifiers are seeking out high-performance products and materials that will go the distance. The Laminam CS45 Cavity System is such a product. The system combines 3.5mm thick Laminam porcelain panels with an aluminium cassette system to provide a highly durable, lightweight cladding. Because the system weighs just 13kg/m2, it reduces loadings on superstructure and foundations, which can lead to significant savings. Lightweight facades are also well suited to areas of seismic risk, as they do not create much momentum in a seismic event. This system has been tested with up to +/- 80mm of inter-floor movement without loss of performance. The Laminam porcelain panels each measure

3000 x 1000mm, and are available in more than 80 colours and finishes, including solid colours, patterns, woodgrains, stone, gloss and metallic finishes. Twenty-four of these colours are held in stock in New Zealand – the rest can be imported to order from Italy. Laminex New Zealand says Laminam panels can handle extreme hot and cold, won’t rot, and are certified non combustible. As they don’t contain organic pigments, they are resistant to UV rays and won’t fade. In addition, they are scratch resistant, virtually graffiti proof and easy to clean. There is a 15-year warranty on the Laminam panel. For more details, contact Laminex New Zealand, phone 0800 303 606. Email: Website: View, save or share this story online at



UNLIMITED POSSIBILITIES An acrylic composition that allows full 3-D thermoforming and seamless joins ensures the new Laminex Solid Surface range is well suited to any design application

Technological advances in solid surfacing materials have opened up a whole new raft of design possibilities for architects and designers. The new Laminex Solid Surface range is a case in point. Manufactured from 100% acrylic, it can be fully 3-D thermoformed to create extra-long, seamless surfaces and curves. Because the surfaces are seamless, they provide a very sleek, streamlined look and are easy to clean, which makes them a hygienic option. Laminex Solid Surface meets stringent American Greenguard standards ensuring safe and clean indoor air quality. Laminex Solid Surface is also accredited by the National Sanitation Foundation – it’s qualified for unrestricted use in healthcare 106


facilities, labs and food preparation areas. Laminex Solid Surface comes in 20 colours and a range of thicknesses to give ultimate design flexibility. The collection provides a mix of classic colour designs, combined with more contemporary colours for modern interiors. As well as the standard 12mm thickness, Laminex Solid Surface is available in white in 6mm for vertical applications, and 19mm for solid horizontal surfaces. For more details, contact Laminex New Zealand, phone 0800 303 606. Email: Website: View, save or share this story online at

Above:Laminex Solid Surfaces are a cost-effective option for designers and homeowners. The surfaces, which have been fully tested by the Laminex New Zealand in-house technical team, come with full technical support and a 10-year warranty.

FASHION FORWARD Statement dressing for commercial fit-outs just became a lot easier, thanks to Formica AR Plus gloss laminate and Formica ColorCore technology

Every so often there’s a commercial fit-out that demands the wow treatment – a design that makes its presence known for all the right reasons. Formica AR Plus high-gloss laminate from Laminex New Zealand is proving an ideal solution for such projects. Part of the appeal is the vibrant colour range and glossy finish, but it is also the AR Plus technology. This delivers a gloss surface that’s highly resistant to scuffs and disfiguring abrasions. Available as a 1.2mm laminate or 18.4mm panel – using moisture-resistant, low-formaldehyde MDF as the substrate – AR Plus comes in 25 bold colours. It is particularly well suited to the retail and hospitality sectors, which are often dictated by fashion and trends. But it also works well in education and leisure applications where separate zones may need to be highlighted within a larger area. Formica ColorCore is another product from Laminex New Zealand that is transforming commercial interiors. This surface has the high-performance characteristics of Formica decorative laminates, while eliminating the dark line that is sometimes associated with laminate edges. ColorCore in Matt finish also increases wearability, as it reduces the visual impact of chips and scratches. Laminex New Zealand says ColorCore offers designers creative opportunities that may be beyond the scope of a traditional laminate. The quality and look of ColorCore make it particularly well suited to countertops, point-of-sale units, doors and work surfaces. ColorCore can be used vertically and horizontally, and can be decorated by engraving or sandblasting. For more details, contact Laminex New Zealand, phone 0800 303 606. Email: Website: View, save or share this story online at

Above:Two surfacing products transforming interiors are the AR Plus high-gloss surface (top left and right) and Formica ColorCore. VIEW ARTICLE ONLINE AT


THE BIG PICTURE Modern office design goes way beyond the front desk – it’s also about creating an inviting, social workplace


Project Clifford Chance offices

Location: Marina Bay Financial Centre, Singapore

Interior designer: Space Matrix Design Consultants

RAISING THE BAR Contemporary in both form and function, this fit-out for the Singapore office of a global law firm has inspired changes to company design guidelines

Light, bright, colourful – these are not words usually associated with law offices, but they do reflect the rationale behind this fit-out, which signals a change in culture. When the Singapore office of Clifford Chance moved to new premises in the Marina Bay Financial Centre, the firm commissioned Space Matrix Design Consultants to design an office that would reinforce the firm’s progressive, modern outlook. Justin Young, Clifford Chance general manager, says the company had formerly worked over three nonconsecutive floors in a different building. Bringing staff together was a crucial part of the design brief. “We wanted a more open, collaborative and flexible workplace,” he says. “While we have corporate design guidelines, we were happy to push the boundaries on these – the brief was very open.”



Shagufta Anurag, Space Matrix founder and managing director, says the concept was all about connection – connecting people, spaces and thought processes. The overall design of the office, on a single floor, was consequently based on a plus sign, with the services core at the centre. “This provides four entry points to the office, including the main reception area,” Anurag says. “Each of these four linked areas also takes the form of a plus sign, with collaborative, breakout areas situated at the intersection point, rather than on the outer edges of the office. This means staff enter directly into a café-style social space, where they can stop and say hello to fellow workers and get a coffee first thing in the morning.” To enhance the concept of connection, the design team created a much more transparent office, with glass rather than solid partitions.

Preceding pages and below: With its glossy white finishes and bold colour accents, the interior of the Clifford Chance office in Singapore is a far cry from the sombre, wood-panelled offices of a traditional law firm. Right:Meeting room walls are double glazed for acoustic privacy, and coated in a blue film. With recessed framing, the walls appear to emerge directly from the floor and disappear into the ceiling. The office, designed by Space Matrix, also features parallel walnut veneer “runways” on the ceiling, which are echoed by the flooring treatment.

Left:Walnut panelling is a feature of the meeting rooms that occupy one corner of the office. The panelling is backed by an acoustic cushion product custom designed by Space Matrix. Operable walls can be opened or closed to alter the size of the rooms. Below right: The Clifford Chance offices occupy an entire floor. There are four entries into the office, including the main reception area. Three of the entries lead directly into a café-style social space with tables and chairs. The layout of each division is based on a plus sign, with the social areas concentrated at the centre.

“It’s a very clean-lined, transparent interior that reflects the vision of the firm,” says Anurag. “There is a real sense of what lies beyond – the unlimited capabilities of Clifford Chance.” Blue film on glass walls helps to define the meeting rooms, which are essentially glass boxes that sit within the office. “The double-glazed frames are concealed, so the glass walls appear to emerge from the floor and disappear into the ceiling,” says Anurag. “Attention to detail is a defining characteristic of a law firm, and so it is with the design of this office.” Two parallel walnut veneer “runways” define the ceiling in the reception area and lead the eye towards the view. This ceiling detail reappears as a seemingly continuous connection on the other side of the services core. “These ceiling runways are repeated on the floor, with the central floor and ceiling areas finished in white, so the perimeter treatment stands out,” says the designer. The walnut is a darker veneer than that specified in the Clifford Chance global design guidelines,

but it is a popular look in Southeast Asia. It also clads walls in meeting rooms, breakout areas and a library, where it helps to create a sense of warmth and intimacy. Anurag says the panelling is perforated and incorporates a special acoustic cushion – a product custom designed by Space Matrix. Colour also defines the office, with bright yellow furniture enlivening the reception area. “The colours were chosen for the feeling they evoke and the emotion they inspire, rather than the need to brand the office with a particular corporate look,” says Anurag. “In the staff pantry, or kitchen, we chose soothing green and orange tones, which complement the bamboo panelling that wraps the walls and ceiling. This space has a completely different feel from the rest of the office, but the ceiling reflects a common design language.” Flexibility is another key feature of the Clifford Chance office. Operable walls around the boardroom can be closed to create three separate meeting rooms. When the walls are opened up the space creates an auditorium that can seat 120 people for seminars.





Below:Blue glass walls also enclose this room designed for in-house group work. The walls visually reinforce the transparency of the practice.



These pages:With its bamboo walls and ceiling, and natural colour palette, the staff pantry or kitchen has a relaxing ambience.

“Providing such flexibility with the meeting rooms is a much more economic use of space,” says Young. “With mobile furniture that hides away when not in use, we can even turn two other meeting rooms into a training room with 12 desks and PCs.” Work areas also offer flexibility, with workers able to group together for specific tasks, or work in quiet areas. While part of the office is open plan, there are also offices positioned around the perimeter of the building. The glass walls ensure there is plenty of natural light flooding into the building. Young says sustainability is a priority for Clifford Chance. Consequently, the interior was designed to Green Mark Gold Standard – every fixture and fitting, from the lighting and air conditioning to the choice of carpet, was chosen for its environmental credentials. “Creating an interior that won’t date was also a way to ensure sustainability,” says Anurag. “Similarly, designing a fit-out that caters directly to the workers and that can evolve and adapt to changing needs is a sustainable solution.” Young says the success of the fit-out is reflected in the increased social interaction, and in the company’s decision to use some of these concepts in the revised global design guide.

Project:Clifford Chance offices, Marina Bay Financial Centre, Singapore Interior designer:Space Matrix Design Consultants, Singapore Mechanical and electrical engineer:Space Matrix Design Consultants Quantity surveyor:Merx Fire consultant:Space Design Architects Partitioning system, door and window joinery:Clestra Flooring:Shaw Carpet, Milliken & Company Wallcoverings:Formica; Lamitak Ceiling:Barrisol; Boral plasterboard Paints:Dulux Lighting:Philips Reception furniture:Stylecraft, Abitex Workstations:Herman Miller, Wilkhahn, Tek and Stylecraft Office chairs:Vitra, Wilkhahn Story by Colleen Hawkes Photography by Owen Raggett See video and image gallery online at



Project Wood & Grieve Engineers

Location: Perth, WA

Interior architecture Woodhead

EXPRESS PURPOSE Bold 3-D graphics, a dynamic breakout space and exposed services project a playful, transparent ethos for the new offices Wood & Grieve Engineers



Below:A multifaceted facade behind the reception desk of Wood & Grieve Engineers evokes the complex thought processes required of the discipline. The prominent breakout area shows a lighter side of the company to visitors.

A contemporary commercial fit-out will go beyond creating a healthy, ergonomic workplace. New interiors can play a powerful role in public relations as well, displaying everything from wayfinding to the firm’s stock-in-trade and staff practices at a glance. When Wood & Grieve Engineers relocated to two floors of a new building, the brief to Woodhead was to unite all 230 engineering, administrative and support staff in a visually exciting and connected environment. The company wanted the new interior to have a strong sense of playfulness and fun that could be appreciated by clients, visitors and staff alike, says designer Jacqui Preshaw. It was also important to provide clear wayfinding, starting with the entry, which is at a distance from the reception desk. The team consequently created a white 3-D multifaceted facade that starts near the entrance doors and continues behind reception. Representing the myriad facets that comprise the engineering discipline, this geometric feature translates into black frames on glass and 2-D patterns on dividing walls. The motif is also used upstairs, for continuity. “We set a large breakout space next to the reception so that it can be seen on arrival,” says Preshaw. “This area is the heart of connectivity for the company and shows a lighter, playful side not usually associated with engineering practices. “Management took a progressive stance on this project, inviting staff suggestions for what would appear in the finished spaces. As a result, the breakout room features a column and floor area in artificial grass, a blackboard wall, dartboards, and 1960s-style suspended acrylic ball chairs. Overhead, the gleaming exposed services are an example of Wood & Grieve’s own handiwork.” Preshaw says the ground floor, which was originally configured for a restaurant, had differing floor levels. “We introduced two ramps to reconcile these and to help with wayfinding through the space.” MORE OFFICES AT


Upstairs, near the lifts, frosted screens balance openness with a sense of privacy. Another breakout space provides a subtle buffer from the office desks beyond and serves as a meeting area for clients and engineers. Four private meeting rooms are nearby. To facilitate interdisciplinary communication, all workstations are designed with low backs and without partitions, ensuring uninterrupted sightlines across the expansive office space. Spokesperson for Wood & Grieve, Brett Davis, says staff appreciate the group layout tables and the increased number of meeting rooms compared to the company’s previous offices. “The layout tables enable staff to rotate their chair through 180º degrees, open up drawings and converse with colleagues, while reviewing full-size plans at a glance. Due to the significant numbers of people we can fit in our downstairs training rooms



and our upstairs boardrooms, we now host a far higher number of project meetings with architects, clients and other consultants in our offices. This is advantageous because it saves staff travel time and enables us to show off our office space to all clients who visit us.” An important aspect of the design was the drive to achieve a 5-Star Green Star Office Interiors V1.1 certified rating. Several environmentally sustainable initiatives throughout the project helped achieve this, says Jacqui Preshaw. “We specified low-VOC materials and products, integrated low-energy services, reused existing base-build finishes and provided shared recycling facilities. These green strategies were combined with space planning that ensured ample natural light, convenient, easily accessed facilities and external views for one and all.”

Right:Backlit panels at both ends of the two ground floor ramps offer company information and lead visitors forward. Below and below right:Ottomans in colourful Paul Smith fabric and the fractal motif create links between the ground-level reception area and the offices on the third floor.



Below:Quirky features in the breakout space include artificial grass surfaces, a blackboard wall and ’60s-style hanging chairs.

Location:Wood & Grieve Engineers, Perth, WA Interior designer:Woodhead, Perth, WA Construction company:ISIS Group Australia Mechanical and electrical engineer, fire consultant: Wood and Grieve Engineers Quantity surveyor:Rider Levett Bucknall Tiling, reception area:Attica Apollo honed basalt Flooring Swing Stroke carpet tile by Interface Flor; Tundra Midnight carpet tile by Signature Floorcoverings; steel vinyl flooring by Amtico Ceiling:Existing tiles; plasterboard in built zones Veneers:Even Umber feature wall pattern by Elton Group Paints:Wattyl Lighting:Moooi Cluster Lights from Space; Established and Son Torch Lights and Fold Lamp, both from Living Edge Workstations:Centric workstation bench system, laminate top in Parchment with Woven Image echo panel in Charcoal, from Schiavello Office chairs:Herman Miller Sayl chair from Living Edge; Graphite and Spice seats from Alternate Cosmos Reception furniture:Tait Jil coffee/side table in Yellow Gold from Design Farm; Cork Family by Vitra from Table and Chair Company; Pablo Chair from Living Edge; custom ottoman in Epingle Stripe 4660007 by Paul Smith Additional furniture:Arper Catifa 46 Chair, two-tone, by Stylecraft; Herman Miller Plastic Side Chair with Eiffel Base, from Living Edge; Thinking Ergonomix tables from Living Edge; Magis Stool One Black from Table and Chair Company Kitchen cabinetry:Formica Warm White joinery by Laminex; White Jasmine Corian countertops; Bosch stainless steel dishwasher; Fisher & Paykel stainless steel refrigerator and compact oven; Omega integrated microwaves Story by Charles Moxham Photography by Martin Farquharson To view plans and more images online go to



Project Maersk Line Australian Head Office

Location: Sydney

Interior designer: Siren Design Group

TRANSPORTED Bold, bright and with several surprise elements, the fit-out for global shipping container company Maersk Line gives Sydney staff an exciting and invigorating workspace



Below:A metal wall resembling the side of a shipping container backs the front-of-office space for the new Sydney office of international transportation company Maersk Line.

A company’s public profile can be somewhat unexpected. Consider a Danish conglomerate that is over 100 years old. While you might anticipate rather staid interiors, in the new Australian head office of Maersk Line – one of the world’s largest shipping and container operators and suppliers – nothing could be further from the truth. When relocating its staff from two tired Sydney offices into one larger, open environment, Maersk Line gave Siren Design almost free rein with the fit-out, says design team Charlene Cong and Matthew Morelli. “They wanted a complete departure from what they had previously. In response, we created a

dynamic new setting that would facilitate interaction, reflect the company’s personality and showcase the company’s business in a bold manner.” The front entry space to the large office is the first clue to this approach. Behind the reception counter, the wall calls to mind the ribbed facade of a shipping container, painted in the rich blue of the Maersk Line brand. Cutouts in the metal reveal backlit shelves displaying models of some of the firm’s container ships. Maersk Line has links to Danish toy company Lego, and a ship made from Lego blocks is included amongst the miniature fleet.



“Beyond the reception desk, a door to the boardroom looks as if it has come off a shipping container. This is actually one of two photographs of a Maersk container door, treated and vinylwrapped to resemble the real thing,” says Morelli. Taking the concept a step further, perhaps the most dramatic inclusions by Siren Design are two authentic shipping containers, deconstructed for the journey by lift up to the eighth-floor space. Open on two sides, the containers have writable surfaces on the interior. “These are casual meeting spaces, which were designed to allow for collaboration away from



individual desks,” says Cong. “They’re intended to appear as inserted objects within an office that was built around them. We opted for green in the workspace to delineate the heavily branded front-of-house from the back-of-house areas. It also helps to create a fresh and welcoming work environment.” Over the years the shipping giant has amassed an extensive library of shipping and freight images, and the designers made good use of this resource. “We selected images that show Maersk Line ships and staff, and the firm’s presence in Australia,” says Morelli. “These include an image of

Below and top right:Casual meeting spaces made from two real freight containers have walls finished in writable green paint. Green floor tiles spill out and connect with the surroundings. Lower right:Graphics from Maersk Line’s extensive photo library bring energy and a sense of purpose to the contemporary interior design.

one of the trucks on the iconic harbour bridge. The images were enlarged and set on adhesive vinyl to form colourful backdrops to many offices. “You know the concept works when the general manager doesn’t want wall cabinetry in his office, as it would obstruct part of his ship mural.” With a large, internationally successful company that has such a strong brand identity, perhaps it is not so surprising that Maersk Line has a significant presence in social media, with over half a million followers on Facebook. “In response, we introduced an Instagram wall in



the boardroom. Pictures snapped from all over the world and posted on Maersk social media streams have been fixed onto the magnetic wall and can be changed any time,” Cong says. Spokesperson for Maersk Line Australia, Sarah White, says all 150 staff love the new environment. “The open format and low desking units allow staff from the two original offices to come together here in a spirit of fun and easy communication.” To view a gallery of additional images online go to

Below:The boardroom features a vinyl decal of a container door and a magnetised photo wall for Instagram pictures of ships, people and events. Top right:A photo of a Maersk shipping container on the Sydney Harbour Bridge provides an office backdrop. Lower right:The new staff café can open up to an adjacent boardroom, creating one large event space.

Location:Maersk Line, Sydney Interior designer:Siren Design Group, design team Mia Feasey, CEO; Charlene Cong, senior designer; Matthew Morelli, interior designer Project manager:Facilitate Corporation Construction company:Executive Interiors Services Drapes:Spacemaile screen by Kaynemaile Tiling:Rocks On Flooring:Signature Flooring; Amtico; Desso from Gibbon Group Wallcoverings: Portugal Cork, EchoPanel from Woven Image Veneers:Navlam Snow Birch by New Age Veneers Paints:Dulux

Workstations:Bevisco Wall graphic:Maersk Additional furniture:CafĂŠ Culture Link table; Akistool, Gher table, T2 table by Stylecraft; reuse of existing Maersk furniture Kitchen equipment:Zip HydroTap Lockers:Interloc; Laminex; Polytec Story by Charles Moxham Photography by Matthew Morelli, Siren Design



Project Sime Darby Leadership Centre

Location: Petaling Jaya, Malaysia

Interior designer: SL&A Sdn Bhd

WARM WELCOME This new staff leadership and training centre offers contemporary facilities and an emphasis on brand harmony – it is also a fun, relaxing place to be



Below:A curved reception counter and wall niches sprouting decorative plants catch the eye in the entrance to the new Sime Darby Leadership Centre. Glass screens echo the external facade and carry a pixel motif that recurs throughout the fit-out.

An advanced, multidisciplinary staff training centre for a large conglomerate will ideally reflect pride across all areas of the facility, without overly accentuating any one unit over another. The decor will also likely have a simple goal – to put everyone who comes to learn there completely at ease. The Sime Darby Group is a Malaysia-based multinational conglomerate involved in six core sectors: plantations, property, industrial, motors, energy and utilities, and healthcare. The group’s new four-level Sime Darby Leadership Centre, by design firm SL&A, was envisioned as a welcoming common-ground facility to nurture the talents of all trainees from the various sectors. SL&A designers Dylan Tham and Sara Shaib led the forward-looking project, with a focus on sustainability. Empowering ideas are best assimilated when the student is in a happy, relaxed frame of mind, no matter what the discipline, says Tham. “Here we have created an environment removed from the look and feel of traditional offices – spaces that instead offer a stimulating, creative playground. Using vibrant tones and textures, particularly in common spaces, created the aesthetic required.” With several business streams coming together to learn, it was important to emphasise the group brand through a strong use of corporate colours. However, a general design concept was required to draw the various learning units together. “A dot, or micro detail, is the starting point for any design concept drawn on an architect’s or designer’s pad,” says Tham. “The digital version, the pixel, was chosen as a general motif for this fit-out, and can be seen on glass dividers, walls and carpets, and even on some ceilings.” The sense of a welcoming, enriched experience for all users is evident right from the reception area and the adjacent café, which takes up most of the ground floor. “A curved wood reception desk and ceiling feature create a dramatic arrival point. On a nearby column, a television displays course sessions and times. This allows students to orient themselves without speaking with a receptionist,” says Tham. MORE OFFICES AT


“Passing through security turnstiles, students then enter the expansive café. Here, we took advantage of the high ceiling volume to introduce floating ceiling elements, in Sime corporate colours. These circular forms are also repeated on the floor. “The layout of the café is intended to create a sense of spaciousness similar to an outdoor setting, enhanced by proximity to the external courtyard,” says Tham. “Finishes are raw and edgy, and a touch of greenery was achieved with a wall of artificial plants, selected for easy maintenance.” A central feature of the room is the centre’s motto, ‘Learn Live Lead’, and several tabletops also carry motivational slogans. “In addition, irregular shapes were introduced to break the monotony of the single volume and enhance the design dynamic. The multitude of bright colours in contrasting yet complementary hues boost the excitement level, while the overall look and feel is based on earth tones, to further the natural-outdoor concept.” Sustainability forms an integral part of the design, in line with the goal of developing a sustainable future. This ethos is reflected in the selection



of untreated, natural finishes, the use of recycled materials such as old railway sleepers, and the specification of odourless paint and low-energy consumption fittings. Despite the visual energy, innovation from SL&A has ensured an uncluttered feel. For example, slots in the ceiling contain recessed lighting, sprinklers and air-conditioning returns. Reminiscent of a university campus, the café is animated and stimulating. Screens around the room signal upcoming lectures, and there is also a stage for informal seating or general presentations. Offices and meetings suites are on the floor above, with the two floors above that dedicated to meeting and training spaces, and breakout areas. Sime Darby corporate accents are in evidence throughout the office areas, where 120 degreeshaped workstations foster collaboration. Enclosed rooms are located along window parameters so that full glass partitions can admit natural sunlight deep into the heart of the offices. These also create a sense of transparency and build on the focus of sustainability by significantly reducing artificial space cooling and lighting loads.

Preceding pages:The lively campus-style café on the ground floor features floating ceiling panels that are an abstract reference to the pixel theme. A stage and brand pillar are features of the large space. Below:Feature walls comprised of old railway sleepers add interest and build the theme of sustainability and reuse. Right:The pixel motif is carried through on corridor walls, along with glass blocks that allow light penetration while maintaining acoustic and visual isolation. Lower right:The garden concept in the café continues to the breakout spaces on the upper levels through a mix of green carpet and artificial grass. A textured concrete ceiling finish adds to the overall outdoor feel.

Left Teaching spaces and meeting rooms have low-glare surfaces and comfortable seating. Sime Darby brand colours are represented on some walls. The pixel theme is seen in abstract form on the training room ceiling, and on the walls of the meeting rooms. Below This plan shows the variety of seating options in the café and the adjacent open-air courtyard.

The learning spaces are equally well considered. In the meeting rooms, the various business units are represented through brand colours and graphic walls. The unifying pixel theme continues through these spaces, and throughout the vibrant breakout areas. Meeting, training, focus and conference rooms feature sound-rated partitions, and all the training desks are in muted tones to avoid eye fatigue from glare. Similarly the furniture and chairs were chosen to provide comfort during long hours of use.

“Whether playful or ergonomic, every aspect of the Sime Darby fit-out is conducive to an enjoyable, productive learning experience,” says the designer. The firm’s top management commented that the centre is like a five-star hotel, saying the design was very well thought of, modern yet functional. “Participants feel the fit-out stimulates learning and that the colours are energetic and lively.”

Location: Sime Darby Leadership Centre, Petaling Jaya, Malaysia Interior designe: SL&A Construction company: Jalex Mechanical, electrical engineer and fire consultancy: GH Tag Consultancy Quantity surveyor: SL&A Partitioning system:Boral Hardware: Dorma Resilient Marketing Blinds: Suria Sunshade Tiling:Ceramic tiles from Feruni Ceramiche and Niro Ceramic Sales & Services, marble tile from Agrostone Flooring: Tandus carpet from Kitaran Cahaya; synthetic grass flooring from Funderland; Marmoleum vinyl insert pattern floor from Tia Cern Trading:

Wallcoverings: Moroccan Firenze from Lamex New ceilings:Boral plaster board. Infinity acoustic board Veneers:Lamitak, Formwell, textured and special grains laminates from EDL Laminates Paint:ICI Eco, low-odour from ICI Paints, Stone Textured Special Paint from Decovision Workstations and office chairs:Technigroup Office Furniture, Zenith Projects Reception furniture:Custom by Jalex Additional furniture:Designer’s Collection Furniture from Quel International Kitchen equipment:Hitachi; Sharp, Hospitality Kitchen

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DRESSED FOR THE OCCASION A company in the fashion business needs to walk the talk when it comes to design. For its own office fit-out Atlantic Apparel went for bold accents, with Tandus carpet tiles from Floorspace Above:Fashion design and marketing specialist Atlantic Apparel commissioned Floorspace to provide the flooring for the company’s new Auckland premises. The company specified a colourful mix of Tandus solution-dyed carpet tiles from the Wild Flower collection. These are laid in vibrant stripes.

First impressions count, and no-one knows this better than a company working in the fashion industry. Such firms recognise that their own premises need to make a strong, fashion-forward statement about the nature of their business. When Atlantic Apparel moved into new premises, the company approached Floorspace to discuss flooring options. Northern regional manager Teresa Carter worked closely with the client, who was instrumental in the design process. “The company wanted an interior with plenty of punch, and we recommended colourful solutiondyed nylon carpet tiles from Tandus,” Carter says. “The flooring features a mix of brightly coloured tiles from the Wild Flower Accents collection and grey tiles from the Wild Flower Tones range. These

are arranged in a vibrant striped pattern, and contrasted by white walls and furniture.” But the aesthetics are not the only benefit of the Tandus tiles. Durability is also assured – the tiles have a long life and are easy to maintain. They are also easily replaced if need be. And Tandus tiles are an environmental choice – they are manufactured from eco-friendly materials. Floorspace is the sole New Zealand distributor of Tandus products. For more information, contact Floorspace Ltd, 31 Olive Rd, Penrose, Auckland, phone (09) 582 0070. Email: Website: View, save or share this story online at










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index Abitext 117 Adelaide Desalination Plant and Kauwi Interpretive Centre 70-77 Adulux 31 Aesthetics Lighting Solutions 58 Affiliated Engineers, Inc 85 AFS Total Fire Protection 62 Agrostone 137 Air Mark Services 99 Alternate Cosmos 123 Alucobond 31, 77 Aluminium Systems 86-87 Ampelite 77 Amtico 123, 129 Anderson, Andy 38-47 Applico 66 Aquron 31 ASB North Wharf 54-65 Attica 123 Aurecon 31 Ban, Shigeru 26-31 Barrisol 117 BBQs & More 65 Beca 31, 32 Benjamin Moore 85 Bernhardt Design 85 Bestec 77 Bevisco 129 Billi 9 Boffa Miskell 25, 31 Bolon 77 Boral 117, 137 Bosch 123 BQH 47 Built Environs 77 Caesarstone 7 CafĂŠ Culture 129 Calder Stewart 22-23 Canterbury Earthquake Recovery Authority 10-21 Carter Holt Harvey 31, 36 CDA Architecture 38-47 Centric 123 CHH Woodproducts 31, 36 Chillex Group 47, 51 Christchurch Transitional Cathedral 26-31 Classique 66 Clestra 117 Clifford Chance 108-117 Coalesse 85

Coleman, Eugene 26-31 Composite Floor Decks Ltd 2-3 Cong, Charlene 124-129 Cook, Marlew 70-77 Corian 123 David Browne Contractors 31 Decovision 137 Design Farm 123 Design Signwriters 47 Dimond Roofing 31 DLSS Manufacturing 85 Dominion Constructors 47, 48 Dorma Resilient Marketing 137 Dot Downlights 58 Dulux 117, 129 East Coast Steelwork 31 Ebert Construction 96 ECS 47 EDL Laminates 137 EFCO 85 Ellison’s Aluminium 86-87 Elton Group 123 Eoin Hudson 26-31 Established and Son 123 Executive Interiors Services 124-129 Facilitate Corporation 129 Feasey, Mia 124-129 Feruni Ceramiche 137 Fire Security Services 47 Fisher & Paykel 123 Fletcher Construction Company 4 Fletcher Window and Door Systems 68-69 Floorspace 139 Forbo 77 Formica 107, 117, 123, 143 Formwell 137 Fulton Ross Team Architects 21 Fulton, William 21 Funderland 137 Gardner, Doug 70-77 Gensler 78-85 George Grant Engineering 97 GH Tag Consultancy 137 Gibbon Group 129 Glass Projects 47 Godfrey Hirst New Zealand 64 Graham Hill Roofing 31 Graham, Mark 38-47

Grayson Engineering 56-57 Halvorson and Partners 85 Hardwood Technology 60-61 Herman Miller 117, 123 Hitachi 137 Hoerr Schaudt 85 Holmes Consulting Group 31, 47 Holmes Fire 31 Hospitality Kitchen 137 Hydraulic Services Consultants 47 ICI Paints 137 Ingersoll-Rand 31 Inlite 58 Instyle 77 InsulPro 53, 101 Interface Flor 123 Interloc 129 InZone Industries 53, 101 ISIS Group Australia 118-123 Italia Ceramics 77 Jalex 130-137 Jasmax 38-47 Johns Manville Roofing Systems 85 Kaneba Ltd 92-93 Kaynemaile 129 Kemsol 90-93 King, Adele 38-47 Kitaran Cahaya 137 Kitchen Things 144-IBC Knoll 85 KnollTextiles 85 Lamex 137 Laminam IFC-1, 105 Laminex 77, 123, 129 Laminex New Zealand IFC-1, 7, 102-107, 143 Lamitak 117, 137 Lindsey Adelman 85 LiveRoof 85 Living Edge 123 Mace Contractors 47, 49 Maersk Line 124-129 Maharam Kvadrat 77 Marmoleum 137 Marshall, Peter 26-31 Martin, Neil 38-47 Massey University Albany 98-100 McGreals Office Furniture 141 Melteca 106 Merquip 9 Merx 117

Metal Design Solutions 92-93 Metalbilt 47 Metro GlassTech 31 Miller Design 98 Miller Reinforcing 47 Miller Studios 31, 34 Milliken & Company 117 Miskell, Don 10-21 Moooi 123 Morelli, Matthew 124-129 Mountford, Ben 70-77 Narimatsu, Yoshie 26-31 Nauhria 47 Naylor Love Construction 31, 33 New Age Veneers 129 Niche Modern 85 Niro Ceramic Sales & Services 137 NZ Grinders 100 Omega 123 Otis Elevators 85 Paul Smith 123 Philips 31, 117 Polytec 129 Powell Fenwick Consultants 31 Property Council New Zealand 67 Quel International 137 Raylight Aluminium 31 RCP 47 Resene 31, 35 Rider Levett Bucknall 67, 123 Rocks On 129 Russell Curtains and Blinds 31 Sacred Heart College Performing Arts Centre 94-97 Sage Manufacturing 59 Schiavello 123 Schindler Lifts NZ 63 Sharp 137 Shaw Carpet 117 Shigeru Ban Architects 26-31 Signature Floorcoverings 123, 129 Sikafloor 77 Sime Darby Leadership Centre 130-137 Siren Design Group 124-129 Site Solutions 31 SL&A 130-137 SMEC 77 Solver Paints 77 Sonoco NZ 31

Sopers Macindoe 31 Space Design Architects 117 Space Matrix Design Consultants 108-117 Spacewise 31 Spahn, Michael 26-31 Steel Roofing 47 Stoanz OBC Stone Source 85 Stresscrete 47 Structurflex 47, 52 Stylecraft 117, 123, 129 Stylex 85 Suria Sunshade 137 Table and Chair Company 123 Tandus 85, 137, 139 Technigroup Office Furniture 137 Tek 117 Temperzone 50 The Crossing, Highbrook 38-47 The Genevieve and Wayne Gratz Center 78-85 Thermosash 47 Thurston Consulting 47 Tia Cern Trading 137 Toshiba Japan 31 Trends Publishing International 8, 88, 138, 140 Tru Furniture 85 Turner Construction Company 85 Tuschall Engineering 85 V3 85 Verosol 77 Vitra 117, 123 Wade, Andrew 26-31 Warren and Mahoney 26-31 Warwick 24, 89 Wattyl 123 We-ef Lighting 37 Whetter, James 38-47 Wilkhahn 85, 117 Williams, Jim 70-77 Williamson, Martin 70-77 Wood & Grieve Engineers 118-123 Woodhead 70-77, 118-123 Wormald 31 Woven Image 77, 123, 129 Zenith Projects 137 Zip 129 Ziplok 77



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