DETAIL English Edition - May - June 2016 PDF

ISSN 1614-4600 MAY JUNE
13 US$24.50 18.90
English Edition
Visitor Centres Review of Architecture and o
ruction Details Vol. 2016 3
Concept

Review of Architecture
Vol. 3, 2016 Visitor and Cultural Centres
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Discussion
220
Editorial
222
Instrumentalised Otherness On the Origins of the Visitor Centre

Hans Wolfgang Hoffmann
Reports
230
Refurbishment of and Addition to the Unterlinden Museum in Colmar

Architects: Herzog & de Meuron, Basel; DeA Architectes, Mulhouse
234
Books, Exhibitions
Typology
236
Community Centre in London

LYN Atelier, London
239
Community Centre in Aalst

De Kort Van Schaik Van Noten, Rotterdam/Antwerpen
242
Visitor Centre in Yushu

Team Minus, Beijing
244
Visitor Centre in Pombal

Comoco Arquitectos, Coimbra
246
Civic Centre in Visegrd

aplusarchitects, Pcs
249
Cultural Centre on the Azores

Menos Mais Arquitectos, Porto
253
Visitor Centre in Middelfart

AART architects, Aarhus
256
Visitor Centre in Cuxhaven

Holzer Kobler Architekturen, Zurich/Berlin
Process
260
Giants Causeway Visitor Centre

Heneghan Peng Architects, Dublin
274
Visitor Centre in Niederstotzingen

Ritter Jockisch, Munich
Products
286
294
300
306
310
Building for the Community

Facades
Bathrooms and Sanitary Ware
Landscaping and Outdoor Living
On the Spot
314 Service
R y yy y y y
Ry R y y yy
Editorial
Visitor Centres
As a classical multi-purpose building, the typical visitor centre must fulfil a variety of functions. It receives
visitors, provides information about the specific place,
serves as point of departure for guided tours and
individual sightseeing, and contains both culinary
offerings and the obligatory souvenir shop. The form it
takes varies as markedly as the accompanying attraction. The gateway to Giants Causeway a spectacular
cliff on the coast of Northern Ireland is sensitively
inserted in the landscape, while the centre at Sahlenberg National Park stands out against the backdrop of
a sublime landscape. Further facilities in this issue welcome visitors to a medieval castle in Portugal and a
Buddhist site in Chinas Qinghai province. As a contemporary reinterpretation of vernacular construction
methods, the latter helps reinstill a sense of local identity following a recent major earthquake.
Discussion
222
2016 3 Concept
Instrumentalised Otherness On the

Origins of the Visitor Centre
Hans Wolfgang Hoffmann
The topic visitor centre could hardly be

more timely! Since last year an incredible
number of people began seeking asylum in
Germany people completely new to the
land. The federal government has welcomed one and all because they are refugees in urgent need of help. But at the same
time it expects them to quickly find ways to
get involved in their respective new communities. In light of this explanation, such a situation calls for visitor centres. As the name
implies, it could be a key building to be explicitly built by an entity for persons who are
in a location that is not (yet) their home.
At the moment, however, this definition is
still grey theory. Gymnasiums, trade fair
buildings, factories and airport hangars are
being converted for the refugees. Private
dwellings and hotels are even being requisitioned, and tent cities are being set up on
fields and parking lots. Some of the new
structures being erected will employ prefabricated modules even though until recently
in Germany the tendency has been to tear
down buildings that employ this quick construction method. But no one has spoken
out publicly in favour of building visitor centres. Looking back in time will help us to
understand why. Their role was established
50 at most 150 years ago and has nothing to do with the present situation. To grasp
what it really means to build for strangers
well have to go back even farther.
The invention of the visit
Foreignness was an everyday affair in ancient Persia. Trade caravans traversed
great distances through hostile territory,
exposed to a harsh climate (ill. 2). Caravansaries awaited the travellers for each daily
segment of the trip. Irans Zein-o-din serves
as an example thereof. For trekkers the
palace is in effect a fortress-like special
economic zone in which all of the necessary
provisions are lined up alongside one another. A network of caravansaries accompanied the Arab expansion which crossed
the Mediterranean and the Indian Ocean,
proving that well-equipped facilities can direct migration flow.

The visit as such is an invention of religious
belief. Religion has long provided a reason
to travel of ones own free will, and hundreds of thousands of pilgrims set out for religious sites each year. To manage the large
number of pilgrims, the churches master
builders separated the lodging for the travellers from the site to be visited. Abu Mena,
on the northern coast of Africa, is a superb
example; until the beginning of the seventh
century it was continually enlarged and was
on the path to becoming a city. This is a
fore-boding of the functional separation that
is dominant to this very day.
The actual destinations pilgrim churches
then enlarged their capacities: they made
the choir accessible to the pilgrims, but the
most sacred space was reserved for the
clergy. This imperfect convergence continues to characterise visitor centres.
The secular visit we are familiar with today
and the spaces accompanying it is a
Concept 2016 3
Discussion
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2
3
4
223
Lookout Studio, Grand Canyon National Park,

1914, architect: Mary Colter
Mahyar Caravansary, route from Isfahan to
Shiraz, Iran, 1840, Eugne Flandin
Old Faithful Inn, Yellowstone National Park, 1904
Crystal Palace, Hyde Park, London 1851
architects: Joseph Paxton, facade details
product of the Industrial Revolution, which

so powerfully rearranged existence that every commune and every individual must accommodate it. It begins with the invention of
the steam engine, which makes it possible
to travel across a continent in a single day.
Travelling salespeople profit before private
travellers do: they need no longer peddle
their wares in person. Instead they can simply contact shops, but this change is attended by much more extensive competition.
The focus shifts from market squares to fairs
with ever-larger scope. The development is
spurred on by the advent of nation states,
which make the events of greater significance, both nationally and internationally.
At the forefront were Great Britain and
France, each seeking to be the most powerful colonial power. In the mid-nineteenth
century both hosted fairs during this
phase they developed into the universal
windows to the future of civilisation known to
us today as world expositions.
The world exhibitions mega-programme
places high demands on architecture from
the start. In 1851 Paxton was still able to fit
the globe into a single building. For the
Great Exhibition in London he erected the
Crystal Palace, which measured 650
150 metres and has fascinated architecture
fans ever since (ill. 4). The structural principle, consisting of prefabricated iron and
glass modules, could have been extended
ad infinitum. But hosting the fair in a single
structure limits the possibilities for image
cultivation because it only allows exhibitors
to design the interiors. And so the second
world exhibition has more than one venue.
The Parisian Exposition Universelle (1855)
arranges the spaces based on themes: this
gives rise, on the one hand, to the Palais
de lIndustrie and, on the other, to the
Palais des Beaux-Arts. Twelve years later,
different nations exhibit in separate buildings lining the Seine. Shortly thereafter private firms follow suit. And with that, all of the
clients are assembled who to this day commission visitor centres.
The first instance of Paris erecting a pavilion
dedicated solely to exhibiting itself occurs in
1878. The municipality chooses a site in the

Palais du Champ-de-Mar, where, as might
be expected, Joseph-Antoine Bouvards
house-within-a-house struggles to attract attention. And so for the next world exhibition,
Frances capital gives itself the 320-metrehigh Eiffel Tower, the worlds tallest structure
at the time. With his design for it, Gustav Eiffel succeeds in creating the most memorable exposition icons of all time. Its 250 m2
visitor platform situated just below the summit introduces a new theme to exhibition design: being able to survey what the expo is
about. Exhibitionism attracts the masses.
The early expos were held for periods of six
months, and even back then they drew
nearly ten million visitors. Some fifty years
later the number has increased five-fold.
Invention of the visitor centre
But apart from the expositions, companies
begin to mount permanent displays. Soon
thereafter the English bourgeoisie introduces its own structures: these are known as
Gentlemens Clubs, and they can be characterised as a bookish take on the caf.
Examples include the Athenaeum in Liverpool, which was established in 1797, and its
London counterpart, completed in 1823 by
Decimus Burton. As the Industrial Revolution
progresses, the focus expands to include
the common man. For the first time, buildings are erected for the working class; the
Mechanics Institute in Leeds, for example,
combines library, classrooms and club
rooms with the most popular leisure time
activity of the day: the theatre.
Shortly before the twentieth century begins,
following this model, Edward Robertss project in New Swindon and, in Germany, dozens of new Volkshuser crown the cities.
The moment of glory comes in the 1920s,
after the proletariat had come to power in
Russia and were transformed, above all by
means of workers clubs, into the vanguards
of Soviet citizenry. One such club, with reduced programme (lecture theatre and
reading lounge), designed by a team including Melnikov, sports a purist design; the
4
icons of Constructivism were Modernisms
first venture into building for society at large.

After World War II, the occupying forces in
Europe install hundreds of ideological cultural facilities whose roots lie in the Volkshuser and workers clubs in foreign
communities. In this matter the Soviet Union
remains bi-lateral. It sets up hundreds of
palaces of culture national in form, socialist in content that provide the Society for
GermanSoviet Friendship a venue in which
to host events. The Soviet Union waits until
the early 1980s to install the only centre that
was expressly dedicated to Soviet science
and culture. The USA, in contrast, begins
right away to install venues of its own and
these are carried out in International Style.
One prime example of an Amerika Haus is
the one erected in 1952 in Essen by Hermann Gehring. This structure is equipped
with a loaning library, lecture halls and exhibition spaces; it takes the form of a two-storey courtyard pavilion. Later, to make more
room for it, the authorities went so far as to
clear off Kennedy Platz. Similar structures
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2016 3 Concept
were erected through the late 1950s in,

among other cities, Cologne, Berlin (West),
Frankfurt am Main, and Munich. In the
meantime, nearly every new embassy project avails itself of the type of public diplomacy edified and celebrated in these examples. Of course, their efficacy is limited
from the start by their exterritorial status.
Placement of the visitor centre
Countries that are migrants destinations
are initially the most active in constructing
visitor centres for themselves. Because their
citizens lack a shared cultural heritage,
these structures can contribute to inwardfocussed nation-building. Here again the
USA is the forerunner: in the late 1860s,

John Muir, naturalist and conservationist,
wrote compellingly about the vast wilderness and convinced the federal government
to protect Yosemite Valley and the Yellowstone River. They become the first national
parks worldwide. Great swaths of this land
belong to the railways, and they develop it
accordingly. It begins with laying the rails
and building train stations, as well as inns
and lodgings for the workers laying the rails.
These accommodations gradually evolve into luxurious hotels; the latter, in turn, lay out
paths to viewing locations. Next to lobbies
trying to lay claim to folksy museum status, the architecture itself advertises the
sights to be seen. The designers, who are

often employees of the railway, often pragmatically make use of the materials to be
had in the area and take cues from vernacular buildings. For example, in the early
nineteenth century Mary Colter built an inn
called the Hopi House (1905) and the Lookout Studio (1914), a belvedere (ill. 1), for the
Santa Fe Railrway Company. She created a
picturesque melange incorporating local
building traditions using square bricks
and found objects. Wood turns out to be an
even more readily available resource. After
Andrew Jackson Downings mid-eighteenth
century interpolation of European building
traditions in which he introduces porticoes
Concept 2016 3
Discussion
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6
7
8
225
Monument to Freedom and Unity, Berlin, 2011

architects: Milla & Partner with Sasha Waltz
Fogo Natural Park Venue, 2014
architects: OTO Arquitectos
Visitor Centre/Museum in Kalkriese
architects: Annette Gigon, Mike Guyer
Visitor Centre on the Trollstigen Plateau
architects: Reiulf Ramstad Arkitekter
and terraces, his students William West Durant and Robert Henderson Robertson go a
step farther. By experimenting with logs as
framing elements they reinterpret the log
cabins of the northern Appalachians.
Thanks to these rugged verandas, camping
guests can sleep right in the middle of the
landscape. The three components Adirondack Style, the mountains and the railway
are closely interlinked. By 1916, natural heritage has become so important to the United
States that President Wilson creates the National Park Service, a federal agency whose
sole responsibility is preservation of nature.
Thomas Chalmers Vint dubs the abovementioned approaches parkitecture; as
head architect of the National Park Service

he stipulates that the structures be horizontal and rustic, and that they use natural materials. These principles are evident in the
first independent in-situ visitor centres. In
1926, Vint commissions Herbert Maier to realize prototypes at Yosemite and at Bear
Mountain Park. These low-slung shelters
with log roofs atop rough stone bases are
repositories of bear traps, tree slices, and
trapper paraphernalia, but the most important item on display cannot be contained
within a building. During the 1930s about a
dozen such trailside museums were built
in painstaking handcraftsmanship. The National Park Service is now part of the New
Deal, the programme with which President

Roosevelt confronts the Great Depression.
In addition to the National Parks Service infrastructure, the programme creates tens of
thousands of parkways, and as a result of
the increased mobility in the United States,
the number of visitors skyrockets.
But something is amiss: the two do not converge. Worse still, the exponential increase
in the use of the automobile is not a boon to
national parks. By the mid-1950s, however,
one in three Americans visits one of the
parks annually, despite mainstream media
claims that they will be met with Discomfort,
disappointment, even danger! That was,
inany case, how it was portrayed in the
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2016 3 Concept
9 Cyclorama Building, Gettysburg, 1962

architects: Richard Neutra, Robert Alexander
10 Clingmans Dome Tower,
Great Smoky Mountains, 1959,
architects: Bebb and Olson
11 Tjibaou Cultural Centre, Nouma, New
Caledonia, 1998,
architects: RPBW
12 Metropol Parasol, Seville, 2011
architect: Jrgen Mayer H.
Shocking Truth about our National Parks,

an article published in Readers Digest in
January 1955. Just prior to it, the Pulitzerprize-winning journalist Bernard de Voto had
even called for their closure. But in the runup to the National Park Services fiftieth anniversary Conrad Louis Wirth invests the
generous birthday check from the federal
government in Mission 66; Head Architect
Vint elevates the visitor centre to the status
of an attraction: in many cases it becomes
the point of arrival as well as the most important place from which to survey the surrounding landscape. Because capacity is
one of the main problems, the building type
is reworked and made much larger: a cross
between the out-of-date trailside museum
and the brand-new Amerika Haus.
The schedule of rooms explains how visitor
centres function: The entre with information
counter is flanked by large cloakrooms and
restrooms. The largest space is the exhibition hall, which informs visitors about the
history and significance of the site. Then
10
come assembly rooms, in which groups are

received and special events take place;
they are also utilised to host lectures or
show films. In many cases there is a small
library area. In addition there are offices,
access to refreshments, and the ubiquitous
souvenir shop in commercial visitor centres the souvenir shop is often situated such
that it is the last space the visitors pass
through before exiting the building. This
sums up the spaces contained in a contemporary visitor centre.
In just 10 years, Mission 66 brings forth
nearly as many visitor centres as had previously been brought forth in the entire USA.
The designs of the 115 centres are tailored
to the different circumstances: in many cases by holding competitions, a process that
fosters the creation of architectural icons
(ill. 13). With their design for the Cyclorama
Building near Gettysburg (1962), Richard
Neutra and Robert Alexander produced a
functionalist masterpiece (ill. 9). It combines
a long terrace facing the Civil War Battlefield
with a closed rotunda surrounding a tinsoldier re-enactment of the Battle of 1863. In

1966 Ehrman Mitchell, Warren Cunningham
and Romaldo Giurgola make use of concrete in their International Style design of the
Wright Brothers National Memorial. The
buildings crisp orthogonal dome crowns the
daring virgin flight on Kill Devil Hills, North
Dakota. At Far View Visitor Center in Mesa
Verde National Park, Joseph and Louise
Marlowe were content with a simple cylinder; their design employs that form and
clads it in the same limestone as had been
used thousands of years earlier by Native
Americans in their sun temples. In 1965 the
programme culminates in the Gateway Arch
in St. Louis, a stainless-steel arch by Eero
Saarinen at the confluence of the Mississippi and Missouri rivers. Many National Park
Service buildings are now considered landmarks in their own right these listings are
proof that the visitor centre has to a great
extent become emancipated.
The identity of the visitor centre
In fact, the achievement of the National Park
Service goes further still: it moves the visitor
centre away from highly frequented locations to sights in the margins and in the process narrows down the potential audience
to tourists. Moreover, at the initiative of
Freeman Tilden the National Park Service
establishes the Division of Interpretation and
Visitor Services, thereby institutionalising
Mission 66. Originally intended as an education programme for rangers and nature
guides, it blossoms into a new science:
interpretive planning.
Particularly in Anglo-Saxon and Romance
countries, hardly a visitor centre is erected
that doesnt employ this planning method.
The idea of interpretive planning is to resourcefully incorporate visitor centres in
overall concepts and to enhance the theme.
It has been proven that this creates more
multiplier effects than investments in individual sights. This involves choosing foci, selecting the corresponding educational techniques, schedules of rooms, and locations.
Experts and journalists are brought in; net-
Concept 2016 3
Discussion
227
11
working with investors is initiated; and target

groups and results are analysed. In a word:
in interpretive planning, identity is point of
departure and everything else is subordinate to it. This approach fits well with the
frame story. Around 1968 the student movement advocates individualisation. The individualists seeking self-fulfilment are detrimental to the common good. At the same
time, they combat globalisation. In architecture, Robert Venturi speaks out in favour of
an attaque decorative against the uniformity of the International Style. Modernism is
dislodged by post-modernism. Theoreticians such as Charles Jencks, Kenneth
Frampton or Christian Norberg-Schulz proclaim the advent of critical regionalism,
contextualism and the genius loci.
The visitor centre is the ideal assignment
for all of these movements. They are dedicated to ever more specific themes and are
sprouting worldwide by the thousands. But
now theyre being built in locations that are,
for all intents and purposes, empty. One
12
such example is the Infobox on Berlins

Potsdamerplatz, which generated so much
publicity that the reconstruction of the warravaged square was a success from the first
day the centre opened. From 1995 to 2007
the fire-truck red, construction-site aesthetic
which Schneider + Schumacher select to
represent the mission attracts nearly ten million visitors.
The themes must be localised and authentic; local materials are the basis. An extreme
example is the visitor centre on Fogo, Cape
Verde, designed by OTO Arquitectos in
2014. It is situated so close to the Pico do
Fogo that the building (which consisted in
part of ash) is reclaimed by its eruption just
seven months after completion (ill. 6). Another recurring theme: local materials and
construction methods, such as at the
Tjibaou Cultural Centre in New Caledonia:
with the participation of the islands Kanak
community, Renzo Piano builds a woven
structure there. That same year he receives
the Pritzker Prize (ill. 11).
Even patterns of settlement have an influence on visitor centres, for example at

Wolfsburg, Germany, a centre of automobile
production. In celebration of the new millennium, Gunter Henn distributes pavilions associated with all of the different Volkswagen
brands throughout the citys 26 hectares
because about fifty years earlier this was
the birthplace of the German brand. The
visitor centre develops momentum of its
own, particularly with regard to the automotive industry. Volkswagen took the lead, and
the other corporations followed: for example, in 2007 BMW Welt, designed by Coop
Himmelb(l)au, opened in Munich (ill. 14).
But the risk of overwrought image building
extends even to Germanys federal government: in the 1980s for the first time for the
design of the Holocaust memorials in Berlin
at a time when most of the witnesses had
already passed away it employed interpretive planning. In his dissertation, completed
in 2009, the philosopher Thomas Lutz elaborated upon the repercussions: there is a
228
13 Wright Brothers Memorial Visitor Center,

Kill Devil Hills, 1966,
architects: Ehrman Mitchell, Warren
Cunningham, Romaldo Giurgola
14 BMW Welt (BMW World) Munich, 2007
architects: Coop Himmelb(l)au
2016 3 Concept
Hans Wolfgang Hoffmann studied architecture at TU

Berlin with a focus on urban sociology. From 1997 to
2004 he was editor at the publishing house elypsis /
Knemann and of the journal Stadtforum. Numerous publications in journals and in the daily press, for
example in taz, Berliner Zeitung and Frankfurter
Rundschau. Author of handbooks on schools, museums and single-family homes, as well as of architectural guides to the Berlin Wall and Warsaw (DOM
publishers).
13
blurring of responsibility. The perspective of

the victim is cultivated all about. This is evident even where there is no immediate connection to a crime, for example, at Daniel
Libeskinds Jewish Museum in Berlin. And
the architecture itself has its downsides. For
security reasons, parliamentary visitor centres are often situated below grade; this is
the case in Washington, Canberra, Budapest, and, currently, in Berlin.
A concept for the comuse developed by
Hugues de Varine and Georges Henri Rivire is particularly consistent. These territorial museums merely reconstruct: the original
is designated as visitor centre. One such
example is Santo Stefano di Sessanio, a medieval village in Abruzzo that, with the assistance of Sextantio Restauri Italiani, metamorphosed around 2010 into a paragon of
eco-tourism. About half of its centre is now
given over to Alberghi Diffusi, and local
craftspeople occupy nearly all of the shop
space at street level. During the last century
the population decreased by ten per cent,
14
but since these measures have been enacted, the number of residents has stabilised.
The extreme example of Santo Stefano can
also be interpreted on a more general level.
The visitor centre per se no longer exists:
the building typology has been replaced by
designs on a case-by-case basis. Because
the visitor as such is not the protagonist, the
German term constitutes misleading packaging. In English one speaks more frankly
of interpretation centres or of heritage centres. Due to the great number of such buildings and their increasingly specific design,
identities that are increasingly insular have
become cemented in visitor centres, whereby foreignness becomes more foreign still.
For Germanys present situation, the contemporary visitor centre is truly no help all.
What might the trajectory for the future be?
Jrgen Mayer H.s Metropol Parasol in Seville (ill. 12) might be liberating. It consists of
a grid measuring 150 70 metres that is akin to the crowns of trees extending beyond
the roofline. Whether it was inspired by a fig
tree or the local cathedrals numerous columns is beside the point. Rather, the construct transforms the historic centre of the
Andalusian city into a sentimental destination of the avant-garde. With its panorama
terrace, archaeological museum and farmers market, its more than a modern-day
incarnation of the Eiffel Tower. But it also
provides shade to the square below. Such
commissions allowing for such shows of
strength are of course out of the ordinary.
The key to the future of visitor centres might
just lie in banking on the visitors themselves.
This succeeds most readily in community
centres that give visitors and locals the opportunity to come in contact with each other.
The fact that a clash of cultures need not
mean doing without design is evident in
HUB 67 (see pages 236ff), which Andrew
Lock, Mirei Yoshida and Daniel Beardsley
cobbled together out of the remnants of
Londons Olympic spectacles. The Monument to Freedom and Unity that is under
discussion for Berlins Spree Island (ill. 5)
takes a similar political tack. In 2011 the
choreographer Sasha Waltz and the communications agency Milla & Partner were
selected. Her design envisions a 50-metrewide concrete shell reminiscent of a seesaw. When people come together and
decide how to put their weight to use, the
monument will be set in motion, promises
Sebastian Lenz, an architect at Milla &
Partner. What a parable for Germany!
Literature:
Allaback, Sarah: Mission 66 Visitor Centers
The History of a Building Type (2000), Washington,
DC: National Park Service
Danilov, Victor J.: A Planning Guide for Corporate
Museums, Galleries, and Visitor Centers (1992),
New York: Greenwood Press
Gross, Michael & Zimmerman, Ronald: Interpretive
Centers: The History, Design, and Development of
Nature and Visitor Centers (2002), Stevens Point,
WI: UW-SP Foundation Press
Veverka, John: Interpretive Master Planning The
Essential Planning Guide for Interpretive Centers,
Parks, Self-guided Trails, Historic Sites, Zoos, Exhibits
and Programs (1998), Tustin, Calif.: Acorn Naturalists
Pierssene, Andrew: Explaining Our World: An Approach to the Art of Environmental Interpretation
(2003), Hoboken: Taylor and Francis
Freeman Tilden: Interpreting Our Heritage (1957),
Chapel Hill: University of North Carolina Press
Reports
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2016 3 Concept
Refurbishment of and Addition to the

Unterlinden Museum in Colmar
Architects:
Herzog & de Meuron, Basle
DeA Architectes, Mulhouse
Richard Duplat, Fontenay-le-Fleury
With a population of nearly 70,000, Colmar

is the third largest city in Alsace. It is home
not only to picturesque taverns and timberframed structures, but also to one of the
greatest treasures of the late middle ages.
The Isenheim Altarpiece, which Matthias
Grnewald painted exactly five hundred
years ago for a monastery of the Order of
St. Anthony just south of Colmar, has been
on view since 1853 at the Unterlinden
Museum. The three-year-long refurbishment
of and addition to the museum which is
situated on the edge of the historic centre
was completed in time for the jubilee. Herzog & de Meuron and their French partner
architects DeA and Richard Duplat have
www.detail.de
carefully brought the former Dominican
convent up to contemporary standards
part of their approach was to reveal layers
of earlier periods wherever possible. The
plasterboard covering the dark beams has
been removed; the church windows were
refurbished; and a new wood floor was laid
in the former convent church. The latter
contains the Isenheim Altarpiece. New wood
doors with a restrained design grace the
entrances, and there is new beaver-tail tiling
on the roof.
In addition to the refurbishment of the convent, the scope of the 44 million euro project
(net costs) included the construction of two
new buildings and the refurbishment of a
former art nouveau municipal bath house

with swimming indoor pool. These measures have nearly doubled the floor area
accessible to the public: it is now 8000 m2.
Above all, the museums collection of paintings which includes works by Schongauer,
Monet, Dubuffet and Picasso now has
significantly more space. And two new halls
were erected for temporary exhibitions and
events.
Moreover, the citizens of Colmar have had
a public space returned to them that had
served as bus stop and parking lot. The
Canal de la Sinn once again flows in an
open channel, flanked by broad seating
steps of variegated sandstone. The Place
dUnterlinden is now the heart of the museum complex; from here one also has access
to the adjacent convent and the museum
addition to the north.
The architects concept reinterprets the convent complex, reawakening it for a new use;
this is in keeping with their overarching goal
to instil a sense of tranquillity. The idiosyncratic brick pavilion with sweeping hip roof
situated on the channels northern edge
symbolises this quest. Its form and volume
make reference to a mill that stood here
centuries ago. Like a lantern hung from the
eaves but, in this case, positioned on the
ground it supplies daylight to the underground passage connecting the museum
and one of the additions. It has two windows, which are set back deep in the wall,
but no door. The pavilions role is primarily
to act as a placeholder: the otherwise mostly hidden museum makes its presence
known in the public realm.
Herzog & de Meuron used a similar symbol
in 2003 at the entrance of another museum:
the Schaulager in Basel. In both cases, a
small structure draws attention to larger
halls nearby that sport the same palette of
materials. In Colmar the so-called Ackerhof, a three-storey structure, makes up the
larger part of the newly built massing. The
lower two levels accommodate the museums department of modern art. The top
floor, situated in a space with a height of
11.5 metres below the gable roof, hosts
Concept 2016 3
Reports
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2
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6
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2
3
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6
Former convent
Place dUnterlinden
Ackerhof
Former art nouveau
swimming pool
Administration wing
Pomarium
231
232
Refurbishment of and Addition to the Unterlinden Museum in Colmar
temporary exhibitions. Its volume corresponds to that of the existing convent

church, as well as to the handful of pointedarch windows in the load-bearing exterior
walls that remind visitors that this was once
a convent.
The facades are clad in hand-broken, smallformat coring bricks: the raw edges are
turned outward. The roof and the short end
of the building are sheathed in standingseam copper. These materials are new to
the site but harmonise well with the convents yellow and rust-red variegated sandstone.
On the west end, however, the Ackerhof
meets up somewhat abruptly with the ad-
joining convent buildings pointing out a

weakness in the notion of quoting the convent. The building massing of the brick
building contrasts too strongly with that of
the art nouveau municipal bath erected in
1906. It was this very building that sparked
the museum extension. Because a new
swimming hall was built, it had become
obsolete. Now the former bath, with its
partially glazed barrel vault, serves as a
hall for temporary exhibitions and special
events. The museum administration has occupied the office wing adjacent to it; the
same structure also houses a branch of the
citys tourist information service.
The open space between the additions to
2016 3 Concept
the museum ultimately reminds us that

monasteries and convents are not only
places of contemplation, but are also dedicated to self-sufficient existence. With this
in mind, the architects introduced an element inspired by the cloister in the existing
building: the pomarium, a courtyard enclosed by brick walls and containing an
apple orchard. Passers-by can catch a
glimpse of the pomarium through a latticed opening in the brick wall. Nonetheless,
because it is introverted, the space within it
is a serene antithesis to the historic centre of
Colmar, which, especially during the summer months and just prior to Christmas, is
overrun by tourists.
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Z Z Z J U H V S D Q L D F R P
234
Books, Exhibitions
2016 3 Concept
Engineering the World: Ove Arup and

the Philosophy of Total Design
Reciprocal Frameworks
Tradition and Innovation
Udo Thnnissen, gta, ETH Zrich
2015, 232 pages, German / English
ISBN 978-3-85676-344-2, 46.00
The fascination for reciprocal frameworks
is by no means new. Centuries ago Leonardo da Vinci delved into it. If we look back
even farther we find 12th century depictions
of reciprocal framework bridges in Chinese
painting. And the technique is used in every
tipi known to man. Andrea Palladio even reconstructed a bridge from Caesars De Bello Gallico on the basis of this principle.
It is a simple principle: several short rods
are arranged in such a fashion that they are
mutually supportive and can therefore span
distances that are far longer than their own
length. But the fascination for reciprocal
frameworks is not solely a function of their
pragmatic properties (for example, when
longer timbers are not available): their geometric and graphic variety is what makes
them so attractive. To this day the fascination is unabated, because the digital production methods yield new possibilities for
structures that are based on the principle of
reciprocal frameworks and translate them
into new construction methods.
In 2015, Udo Thnnissen architect and
lecturer at the ETH Zrich department headed by Annette Spiro published this book,
which not only provides an introduction to
the history of the characteristics and built
form and clearly conveys the structural
behaviour, it also recapitulates the state of
the art in research. One chapter is dedicated to a digital form-finding element that was
developed and tested at the ETH to investigate the cell-like make-up of these structures and their possibilities with regard to
design and engineering. Nearly all of the
model studies and experimental wood
pavilions that were presented in recent
years are gathered here.
The publication, which was nominated in
2015 for the DAM Book Award, concludes
with a conversation between the author and
the Japanese engineer Tadashi Hamauzu.
Rarely does a book so vividly transport the
joy of constructing.
Cordula Vielhauer
As part of the V&A Engineering Season, the

museum is showing a major retrospective
on Ove Arup (1895 1988), the influential engineer who played an important role in many
world-famous buildings, e.g., the Sydney
Opera House and the Centre Pompidou in
Paris. The exhibitions was prepared in cooperation with the global engineering and
design consultancy Arup himself founded;
with its prototypes, models, archival material, drawings, films, photographs, and digital
features some of which have never been
exhibited before it sheds light on the man
and his oeuvre. The theoreticians notion of
Total Design seeks to bring all of the
professions together from the beginning of
the design process. As an engineer, he
collaborated as an equal in teams with
world-renowned architects such as Berthold
Lubetkin, Renzo Piano, Richard Rogers, and
Norman Foster. In addition to its work on
buildings, the firm presently directs its attention to infrastructure projects such as the
Crossrail (currently Europes largest underground railway), acoustic studies, and an
experimental bio-reactive facade system.
The retrospective, which is arranged chronologically, begins with a portrait of Ove Arup
himself, who studied philosophy in Copenhagen and before earning a degree in structural engineering. After moving to London,
Ove Arup was influenced primarily by leading modernist architectural theorists such as
Walter Gropius and Le Corbusier. Technical
studies and models of the early projects, as
well as a collection of drawings by Ove Arup
which reveal a marked sense of humour
(evident, for example, in doodles and doggerel hand sketches, often embellished
with poems and notes) offer a glimpse at his
personality. The following chapters thoroughly document how the works came into
being: Ove and His Firm (1938 1988) and
Arup after Ove (1988 2016).
From 18 June to 06 November 2016
V&A, Victoria and Albert Museum, London,
www.vam.ac.uk
Pier Luigi Nervi. Architecture for Sport

This year MAXXI is showing an exhibition on
Pier Luigi Nervi, who was born in 1891 in
Lombardy, the son of a mailman. The focus
of the exhibition is on the structural engineers work on buildings for sports, for
which he developed the characteristic loadbearing, exposed-concrete structures that
were based on engineering principles, and,
at the same time, strikingly aesthetic. The
exhibition presents twenty-two projects and
tells their narratives: from his first stadium
in Florence (1929) to the Sports Centre in
Kuwait (1968). With more than 100 photographs, original drawings and documents it
describes the processes that led to the innovative construction methods; these are
complemented by models of the stadiums in
Florence, Rome, Swindon and Kuwait. The
models were provided by the University of
Bologna. The projects, which were built on
all corners of the globe, are organised
chronologically and according to 4 themes:
Experimentation and Innovation (1929/49),
Concrete Champion (1950/60), From Italy to
the World (1961/79). Nervi got around: he
built in Europe, the USA, South America,
South Africa, India and the Near East.
From 05 February to 02 October 2016
MAXXI National Museum of XXI Century
Arts, Rome, www.fondazionemaxxi.it
Stay. Now. Then: Housing Questions
and Answers
What does it take to achieve high-quality
dwellings for all of mankind? What were the
problems of the last 99 years and what were
the answers to them? The exhibition looks at
these themes, as well as political, societal
and architectural responses: take a journey
through the history of housing and find out
about built examples in Sweden.
From 16 April to 31 December 2016
Swedish Centre for Architecture and Design
Stockholm, www.arkdes.se
Typology
236
2016 3 Concept

Architects:
LYN Atelier, London
Project architect:
Andrew Lock
Structural engineers:
Price & Myers, London
Others involved in the project: see page 320
With the spartan recycling aesthetic underlying this new structure in the artists district of
Hackney Wick in London the architects have
highlighted the genesis of the project, both
internally and externally. The Hub 67 community centre, as it is known, was conceived
as a temporary development, meant to serve
for a period of three to five years. Eighty per
cent of the materials used in its construction
were derived from structures originally created for the Olympic Games in 2012. The
project was financed by Big Local, an institution that already supports the participation of
citizens in community schemes in 150 locations around England. The present development was designed for local residents of all
ages and is used for community activities of

many different kinds, ranging from drumming lessons for preschoolers and workshops for schoolchildren to readings for senior citizens and even jumble sales. The
building consists of nine former changing
rooms. These elements, comprising steel
frames clad with plywood, were laid out anew and linked with an additional steel construction. The double-height main space
consists of two units set on top of each other.
In addition, the containers, which were originally built only for the summer months, have
been fitted out with insulation and ventilation
to comply with the energy standards laid
down by regulations for new buildings. Local
residents were involved in the design of the

facade, which was constructed partly from
the fence of the Olympic site, to which recycled aluminium sheeting has been fixed.
Measures were implemented to ensure that
the existing materials were used as systematically as possible. For example, doors were
simply built in as windows. Internally, too, it
was part of the concept to show the origins
and purpose of building components. All service runs are exposed, therefore. Other internal elements demonstrate the enthusiasm
and support shown by residents. The colourful chandelier in the main space was designed and fabricated by a school group,
and the lamps are the work of local artists.
Concept 2016 3
Typology
Site area: 249 m2

External area /Skating park: ca 600 m2
Gross floor area: 129 m2
Multipurpose space: 54 m2, for 35 to
40 persons
No. of workplaces: 1
Construction costs: 350,000
Site plan
scale 1:2500
X # y
scale 1:200
1
2
3
4
5
6
7
8
aa
Entrance
Lounge
Reception
Discussion space
Kitchen
Multipurpose space
Skating park
Void
237
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2016 3 Concept
Modular composition utilising the former

changing rooms
Concept 2016 3

Architects:
De Kort Van Schaik Van Noten,
Rotterdam/Antwerp
Team:
Robert-Jan de Kort, Sander van Schaik,
Sophie Van Noten
Close to Bone, Aarschot
For many years, the presbytery garden in

the community of Moorsel, which belongs
to the municipality of Aalst, was a hortus
conclusus reserved for the village priest
alone. All that has changed since the Rotterdam architects De Kort Van Schaik together with Sophie Van Noten from Antwerp
created a new community centre here with
a multipurpose hall and a youth club. The
two-part new development, financed partly
from public funds and partly by crowdfunding from the local community, extends along
the southern edge of the park-like site. The
layout of the buildings reflects the topography, which falls away by about seven metres towards the east.
At the highest point of the grounds, next
to the former presbytery, which is a listed
building, the architects located the large
multipurpose hall. As the most public element of the development, this is accessible
both from the street, via a forecourt, and
from the garden, via a storey-height glazed
front. In contrast, the youth club at the
south-eastern end of the site is of a more
private character, although it also has two
entrances: on the upper level, there is
direct access to the group rooms from
the park, while a side entrance from the
street on the eastern side leads to the
lower floor level.
Between the hall and the youth club, the architects created a terraced open area with
seating facilities and a small stage. This
space they refer to as the tree room.
In a style reminiscent of Mies van der Rohe,
they linked internal and external spaces by
means of storey-height exposed-concrete
walls and anthracite-coloured steel framing that, on the one hand, form the loadbearing structure of the new buildings
while at the same time creating a kind of
pergola. In addition, the concrete walls
separate the geometric tree room from
the historical park.
A third dominant design element with a
unifying function can be seen in the deep,
closely spaced timber beams, between
which, scarcely visible, the lighting and
ventilation runs have been integrated.
Typology
Site plan
scale 1:5000
239
240
2016 3 Concept
aa
1
3
Concept 2016 3
Typology
5
A
2
5
C
E
D
Site area: 6,200 m2

Multipurpose hall: 156 m2
Four group rooms: 21, 22 and 2 28 m2
Net construction costs: 850,000
External works: 65,000
Layout plan scale 1:1000
A Former presbytery
B Park
C Multipurpose hall
D Tree space
E Youth club
X ;y y
Ground floor and lower floor level
scale 1:400
1 Entrance
2 Kitchen
3 Multipurpose hall
4 Tree space
5 Group room
241
242
2016 3 Concept

Architects:
Team Minus, Peking
Brian Zhang Li
Team:
Rui Pan, Guanglu Dou, Naizhen Li, Rongqin
Chen, Yunan Duan, Zihan Yan, Hao Wang
Mingqi Zhang, Peking
The city of Yushu, in the southwest of Chinas Qinghai province, is an important centre of Tibetan Buddhism, renowned in part
for the Jianamani Memorial. Stones bearing
prayer mantras have accrued here for
some 300 years, and it is estimated that
there are in the meantime some 250 million
of them. Because an ever greater number
of pilgrims visit this site, nearly half the
population now earns its living by processing and engraving the Mani stones.
The new visitor centre was created to serve
two separate groups of people. First, tourists and pilgrims can meet and gather information about Jianamani and its history here.
And second, the members of the local com-
munity will frequent the buildings everyday

amenities. These include a post office, clinic, and public restrooms. The buildings
square floor plan and accompanying central
courtyard correspond formally to the regions vernacular construction methods.
Thanks to the eleven linked viewing platforms crowning the visitor centre, everyone
who comes here may enjoy the views of the
surrounding holy sites. The wood used was
reclaimed from buildings that were almost
completely destroyed by the earthquake
that struck the region in 2010. The rubble
masonry, laid by local craftsmen, is from a
quarry in the vicinity; the Mani stones also
originate in this quarry.
Site area: 3,510 m2

Gross floor area: 1,100 m2
Building area: 1,478 m2
Construction costs: 60,000 US$
Site plan
scale 1:1500
X ;yy
scale 1:750
1
2
3
4
5
6
7
Main entrance
Security
Corridor
Post office
Public WC
Interior
courtyard
Souvenir shop
8 Clinic
9 Stairs up to viewing
platform
10 Workshop
11 Exhibition
space
12 Office
13 Police
Concept 2016 3
Typology
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10
12
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1
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244
2016 3 Concept

Architects:
Comoco Architects, Coimbra
Lus Miguel Correia, Nelson Mota,
Susana Constantino
ABL Gabinete de Projectos, Coimbra
www.detail.de
When the architects were commissioned to
design the new visitor centre for Pombal
Castle, a medieval fortification in this small
Portuguese town, they were already intimately acquainted with the site. From 2010
onwards, namely, they had been involved in
the reorganization of the entire hill on which
the castle ruins stand.
In order to regenerate this tourist attraction
and, at the same time, to focus the attention
of the local population on its cultural heritage, a new link was created between the
urban area at the foot of the hill and the
ruins of the fortification. The latter stand enthroned above the town and the surrounding
countryside, visible for miles around.
Freshly created paths, ramps and staircases lead visitors up the hillside past a
newly erected restaurant to the entrance to
the ruins, which has also been restored.
Integrating the visitor centre into the courtyard of the castle, however, presented a
much bigger challenge. With great finesse,
the architects have set this compact new
steel structure completely clad in sandlime
slabs immediately next to the historical
outer wall of the castle. The spatial programme was reduced to a minimum. It consists simply of a reception area, an exhibition space and a store. The height of the
observation deck, which occupies the entire
area of the roof, was determined so as to
afford visitors a view through a late Gothic

window opening to the valley and the River
Arunca below. The staircase leading up to
the roof was incised in the volume of the
building, as was the entrance, which forms
an unassuming opening in the facade.
The concept for the visitor centre is complemented by elements in Corten steel added
to the main tower opposite. An exhibition
space and what looks like a showcase are
accessible via a new steel staircase. A carpet of pale gravel and the individually laid
sandlime steps echo the light-coloured surfaces of the new structure, which stands like
a splendid accoutrement within the castle
walls, harmoniously uniting new and old.
aa
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5
2
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Concept 2016 3
Typology
Site area: 1,200 m2

Construction costs: 260,000,
including landscape planning
Site plan
scale 1:8000
X # y
scale 1:200
1
2
3
4
5
Entrance
Exhibition space
Reception
Store
Stairs to roof terrace
245
246
2016 3 Concept

Architects:
aplusarchitects, Pcs
Team:
Anna Mria Tams, Krisztin Kovcs-Andor
Eszter H. Temesi, Pcs
Landscape architects:
s73 stdio, Budapest
Situated on the River Danube 40 kilometres

north of Budapest, Visegrd is a border
town that was formerly a royal frontier fortification. With a population of only 1,800, it is
probably the smallest town in Hungary. Today, the annual palace festival, with knightly
jousting in the medieval tradition, recalls the
historical significance of Visegrd.
With the beginning of the new millennium,
the town fathers forged bold new plans for
the redevelopment of the civic centre in the
meadows along the Danube, which form the
setting for the festival. In 2008, an architectural competition was held, which was won
by aplusarchitects. Within a short time, however, the international financial crisis caused
A
B
the budget and the construction programme

to be drastically cut. Ultimately, all that was
implemented was a new pavilion for various
events and an extension of the local health
centre in the form of an open staircase oriented to what was once the village square.
The new structure and the extended health
centre match each other in their form and
use of materials. Both are elongated, barnlike buildings with double-pitched roofs and
larch-clad facades. The staircase cladding
consists of open louvres screwed to the
supporting structure, while the outer skin of
the pavilion varies according to the internal
function. The extremities of the latter building, which have a closed, thermally insulat-
ed finish, accommodate changing rooms

and showers at one end and public toilets at
the other. Four of the ten bays in the middle
form an open hall a kind of gateway that
mediates between the river and the urban
centre. The other six bays, finished with flat
soffits and lighting, serve as a space for various events and can be opened on one or
both sides by means of large gates that resemble barn doors. When they are open,
the gates stand between pairs of columns
that support the roof of the timber frame
structure. In the hall, the architects have
connected the columns with boarding to
form wall slabs that have virtually the same
appearance as the open gates.
Concept 2016 3
Typology
247
Site plan
scale 1:2000
A Event
pavilion
B Health centre
# y X
scale 1:200
1 Changing rooms /
Showers
2 Event space
3 Open hall
4 WCs
1
2
3
c
c
4
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248
Ciciv Centre in Visegrd
Site area: 7,341 m

Gross floor area: 370 m
Event space: 52 m
Open hall: 52 m
Net construction costs: 130,000
Section
scale 1:200
cc
2016 3 Concept
Concept 2016 3
Typology
249

Architects:
Menos Mais Arquitectos, Porto
Joo Mendes Ribeiro Arquitecto, Coimbra
Sopsec, Porto
The exteriors of the new cultural centre in

Ribeira Grande on So Miguel, one of the
Azorean islands are characterised by
solid-masonry gable walls of volcanic rock
and coarse concrete surfaces. On the
grounds of a former tobacco and alcohol
factory, a new campus has been created
that interweaves the new structures with the
existing buildings dating to the late nineteenth century. The project was initiated by
the minister of culture, whose goal is to foster
contemporary art and architecture and furnish a new space for it on an island with an
area of only 700 km2. In addition to exhibitions of, among other things, its own collection of modern art, there are now spaces
for workshops, conferences, concerts and

special events. The new Arquiplago Contemporary Arts Centre is a city within the city:
it has its own network of paths, including
squares and points of access, and also uses
the 3000 m2 outdoor space to present art.
The former manufacturing facilities were
gutted; then the buildings were comprehensively refurbished. They now provide the
generously scaled framework for exhibitions.
The rooms requiring a higher technical
standard e.g. event spaces, workshops
and ateliers are situated in the new buildings. The desire to keep the wall surfaces
free of technical installations led to the decision to employ double walls, which necessi-
tated high-precision planning of all components and built-in units. The solid concrete
walls are part of the passive energy concept:
the considerable thermal mass, combined
with the thermal inertia of the material, ensures that the temperatures inside is comfortable. In order to bring together old and
new, the architects took cues from the existing structures and carefully fine-tuned size,
form and materiality. The two monolithicseeming buildings of dark exposed concrete
the dark tone was obtained by mixing local
basalt in the concrete now stand across
from the existing solid-masonry buildings.
This produces a forceful dialogue and preserves the compounds industrial flair.
250
2016 3 Concept
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10
5
9
11
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First floor
a
X ;yy
scale 1:1000
c
8
c
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1
2
3
4
b
Ground floor
Entrance
Foyer and reception
Exhibition space
Assembly /Disassembly of
exhibitions
5 Workshop/Carpentry
6 Storage
7 Auditorium/Multipurpose
space
8 Museum shop/Bookstore
9 Void
;y
;y
Concept 2016 3
Typology
251
252
2016 3 Concept
Diagrams of functions
Publicly accessible areas

Ateliers
Building services and administration
Site plan
scale 1:2000
Effective floor area: 9,736 m2
External area: 3,178 m2
Multipurpose space: 263 m,
for about 260 persons
First floor
Second floor
Basement
Ground floor
First floor
Second floor
Basement
Ground floor
Basement
Ground floor
Concept 2016 3
Typology
253

Architects:
AART architects, Aarhus
Rnslev Andersen, Horsens
Situated in the west of the island of Funen,

the Hindsgavl Nature Reserve is a verdant
oasis in one of the most densely populated
areas of Denmark. The nearby municipality
of Middelfart commissioned this new visitor
centre for the many mountain bikers, hikers,
scouts and other groups who come here.
The new structure, with its radial layout, was
designed by AART architects in close cooperation with future users. It has a gross floor
area of 420 m2 and cost 1.53 million.
While the southern wing terminates in a tall
glazed facade with shading provided by
wooden louvres, the northern tract is distinguished by a grassy ramp that forms a continuation of the gently rising terrain. The
heated internal areas, including offices,

group rooms and spaces for ancillary functions, are located at the western end of the
complex. The eastern wing, on the other
hand, contains unheated WCs, showers and
locker areas as well as a picnic space that
can be opened to the external realm by
means of large wooden sliding doors.
The load-bearing structure consists almost
entirely of timber. The only exceptions are
the concrete retaining wall in the sloping
ground and the floor slab. While the internal
spaces are distinguished by pale wooden
walls and lightweight wood-wool slabs, the
outer skin is painted black. The softwood
cladding, laid horizontally up to the tops of
the doors and vertically above this, suggests a two-level arrangement internally, but
this is not the case. The multipurpose space
in the southern wing has impressive dimensions and can be divided into two halves by
means of folding doors six metres high. The
outer walls consist of laminated boarding
15 cm thick to which 30 cm mineral-wool
insulation was fixed in the heated areas. In
the roof, the insulation is 60 cm thick. As a
result, the building complies with passive
house standards, despite its lack of compactness. A photovoltaic installation on the
partly accessible and partly planted roof
helps to achieve a structure that can be operated over the year on a CO2-neutral basis.
254
2016 3 Concept
Concept 2016 3
Typology
Gross floor area: 420 m

Multipurpose space (divisible): 51 + 55 m
Group room: 19 m
Picnic space: 45 m
Construction costs: 1.53 million
Site plan
scale 1:3000
X # y
scale 1:400
1
2
3
4
5
6
7
8
9
10
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b
7
5
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4
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Group room
Office
Kitchen
Multipurpose space
Store/Services
WC
WC with shower
Lockers
Workshop
Picnic space
255
256
2016 3 Concept

Architects:
Holzer Kobler Architekturen, Zurich/Berlin
Barbara Holzer, Tristan Kobler
Team:
Philip Norman Peterson, Simone Haar,
Julia Kull, Jrg Emes, Samantha Bruegger
Tragwerkeplus Ingenieurgesellschaft,
Reutlingen
The Wadden Sea, an intertidal sea on the

southeast edge of the North Sea, is a
unique, ever-changing habitat. In 2009, it
became a UNESCO Natural World Heritage
site. The interest in this region continues to
spur the development of tourism. Because
the existing centre had become too small for
the 90,000 visitors who come each year, the
time had come to build a state-of-the-art information facility. This new building on the
site of a former wastewater treatment plant
in Sahlenburg National Park lies just a few
metres from the sea. There were considerable challenges to be met: extensive requirements in nature conservancy and flood protection, zoning restrictions, as well as a tight
budget. The materiality of the block-like

building with vertically structured wood facade creates a connection to the traditional
pile dwellings along the coast of the North
Sea. Visible from afar, the centre also serves
as a point of orientation for the many hikers.
Inside a main stair links the entrance hall to
the permanent exhibition, which has a total
floor area of 450 m2. The displays including saltwater aquariums, an installation of a
cross-section of the seabed, and a floodable tides model provide information on
Natural World Heritage. Panorama windows
set the stage for the main item on display:
the coastline and the Wadden Sea itself. A
library, seminar rooms and administrative of-
fices round out the spatial programme. The

primary load-bearing system consists of columns and downstand beams of softwood;
the load-bearing layer of the ceilings is
made of edge-fixed timber elements. The
exterior larch walls are of non-load-bearing,
insulated sandwich elements. The entire
roof surface is equipped with photovoltaic
modules: these provide electricity for the
centres own use. Heating and cooling is
supplied by an air-to-water heat pump. In
the basement the ductwork is mounted to
the ceiling, because the site is in a zone
prone to flooding: the occasional torrential
rains must be taken into consideration when
building in the North Seas harsh climate.
Concept 2016 3
Typology
Site plan
scale 1:2500
X ;yy
scale 1:400
1
2
3
4
5
6
7
Electrical-bike station
Main entrance
Shop
Office
Storage
8
9
Cloak room
Preparation for
hikes in the mud flats
Permanent exhibition
Temporary exhibition
10 Seminar room
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12 Kitchenette
13 Discussion space
;y
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Second floor
First floor
2
a
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3
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Ground floor
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2016 3 Concept
Section
scale 1:400
Effective floor area: 970 m2
External area: 817 m2
Exhibition space: 450 m2
Construction costs: 2,133,500
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Process

Heneghan Peng Architects, Dublin
The giant Finn MacCool, a hunter and warrior, wanted to walk from
Northern Ireland to Scotland without getting his feet wet to battle his
enemy Benandonner. And so he threw gigantic boulders from the
cliffs into the sea and created a paved path Giants Causeway.
The Irish love legends, so it comes as no surprise that they came up
with a myth to explain the astounding geometrical rock formations of
mostly hexagonal basalt stones arranged nearly without seams on
Northern Irelands Antrim Coast. For many years scientists sought an
explanation and eventually came to the conclusion that there had
been involvement neither from humans, nor from giants. Instead, temperature shifts some 60 million years ago caused the lava flow to solidify in this eccentric form. In keeping with the giants valiant gesture
the architects Risn Heneghan and Shih-Fu Peng made an intervention in the UNESCO World Heritage site and cut two folds into the
ground nearby; they lifted one corner and inserted the visitor centre
underneath it, and lowered the other one to make room for cars to
park. Between them a grass ramp leads straight to the ridgeline. The
structure is carefully nestled in the landscape, leaves the view to the
coast a certified Area of Outstanding Natural Beauty (AONB) intact and, with the help of the grass roof and basalt stone facade, becomes an integral yet barely visible part of the site. In cooperation
with the client (the National Trust) and the specialists of the different
firms, they developed the architectural entre to World Heritage, in
the literal sense, stone by stone.
262
2016 3 Concept
On Politics and Lava Stone

In Conversation with Heneghan Peng
DETAIL: Giants Causeway is a United Nations Education, Scientific and Cultural Organization (UNESCO) World Heritage site. How
did you approach the design of a site of such
significance?
Heneghan Peng: The point of departure was
the idea that the visitor centre would not only mark the gateway to Giants Causeway,
but also to the entire coast. We wanted an
open transition and didnt want a building
that would block the view of the silhouette of
the cliff. In summer a large number of visitors come to Giants Causeway by car, so it
was essential that not just the building, but
also the parking be integrated in the design.
We used the ten metre difference in level
between the edge of the cliff and the site to
unobtrusively insert the parking lot in the
landscape. Two right angles are inscribed in
the landscape. One of them is the edge of
the square. The other, offset from the first, is
lifted at the corner, allowing the building
massing to be situated below it. Between
them a grass ramp leads directly to the
coast. The two linear folds in the ground are
the essence of the concept, and there are
several other subordinate ideas.
2
1
DETAIL: What is the origin of the buildings

layout and functionality?
Heneghan Peng: First we had to think about
how to handle the great fluctuation, depending on the season, in the number of visitors
to the centre. In August they come in
droves, while in winter very few visitors
come. On the one hand, it was a matter of
guiding and distributing the masses. On the
other hand, it was important that the building not appear empty in winter. Thats why
we designed the interior as a very generously scaled, flexible space that we zoned
in a way that makes it possible to freely arrange the items on display. The visitors arrive at the parking lot and enter the rampshaped building where the fold reaches its
highest point. From there they may take the
shortest path to the stones, passing by the
ticket counters and toilets. If they have time
when they return, they might take a look at
the exhibition, browse in the shop, or have a
coffee. The functions can be changed any
time if needed. The floor area for sales or for
the exhibition can be enlarged, the entrance
relocated.
DETAIL: The flexible use, with multiple points
of access, almost allows visitors to pass
through the building without buying a ticket.
Was that your intention?
Heneghan Peng: We spent a lot of time discussing how to organise the access and the
ticketing. Ultimately we tried to casually
guide the visitors into the building without
putting up fences. To us it seemed fair to
charge for parking. In contrast, hikers coming from the other side via the grass ramp
past the building can head directly to the
Causeway. But its impossible to close off
the entire coast anyway. Our client, the National Trust, must bring in money with the
visitor centre. After all, the organisation
manages the World Heritage site on a long
stretch of coast, and, in addition to covering
the construction costs, is also responsible
for the maintenance of the paths and much
more. Doing this requires having a considerable number of employees on location. To
keep the costs down, the building is intend-
ed to animate visitors to come in and buy

a ticket. The National Trust proceeded on
the assumption that about 70 per cent of the
visitors would buy a ticket, but it turns out
that nearly everyone does.
DETAIL: Was the ticketing already foreseen
during the competition phase?
Heneghan Peng: The competition brief foresaw free entrance. Thats why we situated
the main entrance on the side, accessible
directly from the parking area. The second
entrance at the tip of the building was originally only intended for the caf. But the parameters have changed since then. The adjacent land with the hotel and the stretch of
the coast belongs to the National Trust,
which was not the original client. The government of Northern Ireland held the competition, so we had to stay within the sites
boundaries. When the National Trust took
over the project, we could share some resources. For example, we relocated the delivery to the hotel and the extended the floor
surface slightly towards the hotel. But the requirements changed and ticketing became
a stipulation of the program.
DETAIL: How did the change of clients come
about?
Heneghan Peng: Thats a complicated story
that has to do with politics of Northern Ireland. At first the government of Northern Ireland was the client. But in order to avoid a
conflict of interest between the public and
private sectors, it put the project on hold,
which, in turn, angered the citizens.
Then the National Trust, an organisation that
fosters nature conservation and historic
preservation, took on responsibility for the
project. The National Trust is very interested
in a high-quality, sustainable implementation, and has local contacts, as well as employees on location and experience with
UNESCO World Heritage sites in Great
Britain. Consequently, they knew which
problems might arise when a large number
of visitors shows up at once. They were able
to give us very practical tips regarding how
to make it work.
Concept 2016 3
Process
263
A Aerial photo
B Site plan
1 Visitor centre
2 Parking area
3 Causeway Hotel
4 Giants Causeway
5 The Nook (pub)
C Sketch of design principle
D Giants Causeway, volcanic stone
E Rendering of design
DETAIL: The Trust supported the pared-down

design. The facility manager praised the design, calling it strikingly simple.
Heneghan Peng: Of course! The National
Trust is involved, above all, in the preservation of historic buildings. The visitor centre is
probably one of the first buildings that they
have developed within a World Heritage
site. Through the work with landmarks the
employees have considerable knowledge,
including of highly specific details. For example, they are very knowledgeable about
green spaces. We had intended to implement a standard green roof, with sealing
layer, substrate layer and the standard
grass seed, and had discussed it with the
subcontractor. But for ecological reasons
we couldnt execute it that way. For two
years employees of the National Trust collected grass seed on site and tested how
well the lawn would hold up to intense use.
We never could have accomplished that
without the National Trust employees on location. In addition to the extensive vegetation with local grasses, the Trust placed
great value on the use of locally sourced lava stone for the facade.
DETAIL: Wasnt the basalt stone facade already part of your competition design?
Heneghan Peng: Yes, we did choose basalt
for the competition design, but did not go into detail. The client was determined that locally sourced basalt from the same lava flow
as the Giants Causeway should be used.
Stone testing was carried out, and we were
aware that the stone blocks had a lot of
crack, which carried risks for the procurement of the stone. In addition, the stone was
weak in tension and could not be cut thin
enough to be used in a conventional cladding scenario. So we had to stack the stone
to obtain supporting columns. We had no
guarantee whatsoever that we would find
enough material at the quarry in the quality
and size we needed. And in the end it did
turn out that we had to use smaller formats
than planned.
DETAIL: What kind of support did you have in
the development of the structural system?
Heneghan Peng: We worked with, among
others, an architect who advises the Trust,
and he in turn, had a geologist as advisor.
The geologist supervised the tests that de-
termined the dimensions of the modules.

But the idea to stack the modules came
from an engineer who was actually working
on the glazing. He determined that the stone
can withstand compression loads well. In
combination with stainless-steel rods for the
tension loads, the result was workable. The
specialists spent months at the quarry
choosing the stone piece by piece. Then
they further processed the rough-hewn
pieces in the workshop. In addition to the
considerable effort required to process the
material, there was a high percentage of
stone waste: 60 per cent. At first we had our
doubts about the sustainability of the local
basalt as compared to a low-maintenance
stone that has to be transported from a
great distance. In the end, by using smaller
pieces and using the leftover pieces for
the floors, overall it is clearly a sustainable
material.
DETAIL: The link between the columns in the
facades and the Causeway seems obvious to
me. Why dont you ever mention this reference?
Heneghan Peng: Sometimes design pro-
264
2016 3 Concept
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scale 1:750
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cesses take place in ones sub-conscious.

By no means did we want to try to copy Giants Causeway. The facade came about
through the idea to make a cut into the
ground in order to lift the surface at one corner. Resulting from this logic, we conceived
of the grass roof as continuation of the
ground that reveals what is beneath it in
other words, the locally sourced lava stone
used in the facade where it is cut open.
During the planning, we first tested the basalt. Then we tried it with steel, and in the
end landed back with basalt, because the
experts at the National Trust were so supportive of it. After the decision was made,
the testing began; we developed the ar-
rangement of the modules and the sizes.

And in this way the facade that gradually
came into being resembles the stone formations of the causeway.
DETAIL: Wasnt it very costly to make columns of so many different sizes?
Heneghan Peng: In fact, the facade is to a
great extent made up of small number of
different column types that are employed
repeatedly. We developed a series of basic modules with a set of rules for the firm
commissioned to do the work: one column
can never contain more than half of the
total number of the same format, and the
module dimensions are multiples of 15 cm
d
c
5
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14
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3
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2
12
a
b
d
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15
Grass ramp
Entrance
Lobby/ Tickets
Caf
Office
Personnel
Storage
Building services
9
10
11
12
13
Kitchen
Sales
Exhibition space
WC
Entrance from
parking/
Outdoor area
14 Exit /Access to
Giants Causeway
15 Passage
16 Parking area
in height and width: 30, 45 and 75 cm.

Based on these rules, the firm cut the available basalt to size, numbered the pieces and
assembled them there were about
14,000 on site. We classified the columns
in three basic types according to size and
build-up: S, M and L. The cores of the largest columns are reinforced by steel columns
and sheathed in a self-supporting layer of
stone.
DETAIL: The surfaces of the basalt elements
also appear to vary. How were the stones
processed?
Heneghan Peng: At first we wanted to have
it coarsely sanded so that the basalt would
Concept 2016 3
Process
265
cc
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not appear deep black. We thought that

the blackness of the surface would produce
an overly homogeneous facade. Architects
tend to have an aversion to high-gloss
surfaces. We prefer lively structures with
patina. So we experimented with sanded
textures to check the effect with varying
amounts of precipitation. At the same time
the stone specialists tried very hard to convince us to choose a polished surface.
At our meetings they always brought samples that had been sanded in different
ways each time a bit finer, and the samples became larger and larger until one day
they laid a huge stone with a deep black
polished surface on the table that was so
beautiful that we immediately unanimously

changed our minds.
DETAIL: When one visits the site the surfaces
seem matt, porous, even brownish! Only the
interior surfaces seem polished! How did this
come about?
Heneghan Peng: In fact, all surfaces were
polished the same way. But the climate
changes the texture. The conditions there
are quite harsh: it rains often, it is windy, it
freezes, and the air has a high salt content.
The surfaces are usually directly exposed to
the elements. When it rains the stone again
turns as black as a concert piano. For the
floor we used the rough-sanded surface, as
we had originally foreseen for the facade.

The difference is substantial: the floor
seems much lighter and coarser than the
facade.
DETAIL: Why were you commissioned with
the furnishings in the shop, but not for the exhibition concept?
Heneghan Peng: From the beginning of the
design process, the exhibition furnishing
was a variable. Thats why designers who
specialise in exhibition design took care of
this aspect. The furnishings can be replaced at any time. Unfortunately, at the moment the back wall of the exhibition space
serves as projection surface, and so we had
266
to close off one of the skylights with a membrane. During the construction phase we
had the opportunity to experience the effect
of the side lighting on the wall that draws the
visitors into the buildings interior.
DETAIL: The slender columns terminate in
skylights. Are the different dimensions a result
of structural requirements or did design concepts play a role as well?
Heneghan Peng: For the design we imagined a large, simple roof with long skylights
that zone the different areas. It was not a
simple task to design the columns and the
connections in a way that does not interfere
with the simplicity of the space. But the dimensioning was determined solely by the
structural engineering. The long slits created
by the skylights cut the roof slab into strips.
Consequently, the columns at the edges
2016 3 Concept
must transfer larger loads than those in the

middle of the slab. The oblique geometry of
the cross-sections, in contrast, was determined by design considerations.
It results from the main directions of the design axes, which also determine the columns in the facade.
DETAIL: Do you think that the visitors
really notice the set of rules organising the
design axes?
Heneghan Peng: We wanted a uniform geometry for the building, because although
the design is simple, quite a few elements
make an appearance. The visitors might not
notice the geometry, but we think that the order contained in the design holds everything
together subconsciously. We definitely prefer a geometrical design to organic forms. In
the very first design, the two cuts in the
ground revealed the geometrical logic of the

design, determining the buildings location
once and for all. Everything else is determined by the four resultant directions, all the
way down to the columns cross-sections.
DETAIL: Did the large exposed-concrete roof
create much more work for you than conventional suspended ceilings would have?
Heneghan Peng: We wanted the buildings
interior to make visitors aware of the ruggedness of the outdoors. This idea also led
us to develop the skylights. Therefore the
concrete had to remain free of cladding. As
a consequence, we integrated all of the installations in the concrete slab and ensured
that they were precisely carried out, because nothing can be changed after the
fact. The coordination of all of the wiring and
pipes was truly a challenge.
Concept 2016 3
Process
267
J
F
Horizontal section of column

scale 1:25
7 30 mm steel flat, bolted
G Grass roof with skylights
H Entrance to visitor centre/caf,
with grass ramp
J Partial view of facade
scale 1:100
Distribution of basalt stone modules
K Exhibition space
450 mm
Modul
150 mm
Modul
300 mm
Modul
900 mm
Modul
Sabine Drey conducted the interview in Dublin.
0.00
DETAIL: In retrospect, were there measures

or decisions made during the construction
process that you now regret?
Heneghan Peng: We substituted somewhere
between 60 and 70 per cent of the cement
in the concrete roof with GGBS (ground
granulated blast-furnace slag). That is a
very high percentage which we wanted to
reach to improve the sustainability. We
should have tested it in advance! The disadvantage is that on account of the GGBS, it
takes a long time for the concrete to set and
it must stay in the formwork. When we were
finally able to remove it, the entire surface
was blue! We are not entirely certain whether
GGBS alone created the colour, or whether
a number of different factors interacted. The
experts at Arup advised us against painting
the ceiling; they were convinced that the
spots would disappear. And the National
Trust wanted to wait, too. We waited eighteen months, and the concrete did indeed
turn a lighter shade of grey, and the spots
disappeared. Next time we would use only
50 per cent GGBS. Imagine our surprise
when a colleague of ours asked us how we
managed to get this beautiful shade of blue!
the roofs edge. The edge of the roof slab is

visible through the glazing when one views
the facade, but the glass continues up to
the top, and thanks to the distance between
glass and concrete, the edge fades into the
background. The edge of the roof was to be
a thin line; as a consequence, we had to
grapple with the insulation and stone coping
at the edge. And in this case, the thick slabs
of basalt stone made the detailing of the thin
edge difficult. The edges of the columns alternate with the glazings edge, and with it,
the physical parameters. But the edge still
always had to have the same thickness.
For the railing at the roofs edge we had
originally intended to use simple glass elements that would have barely been discernible to the eye. But since this is a World Heritage site, glass was not an option because
it would have produced reflections. We then
DETAIL: Did you begin working with the firms

that would execute the work early on?
Heneghan Peng: We were happy to work
closely with the specialists from the very beginning, because the implementation was
quite complex. Not just the stone, but also
the glazing in the skylights turned out to be
difficult. Where the tall columns terminate in
the openings, the glass has to function as
bracing. But in addition to the firms, we also
had a very cooperative contractor on our
side who had previously done commercial
projects and wanted to add this unusual
building to his portfolio. We dont think that
he earned much money because he invested a great deal of time and energy in the
project.
DETAIL: Which other solutions deviate from
basic construction standards?
Heneghan Peng: Among other things, we
paid a lot of attention to the development of
selected duplex steel, which can support

considerably larger loads than stainless
steel, making it possible to have very thin
profiles. Thanks to the contractors commitment, the profiles with trapezoidal crosssections align with our system of axes. Duplex steel doesnt weather, even in the harsh
maritime climate along Northern Irelands
coast. Standard stainless steel doesnt rust,
but the salty air would leave traces on its
surface. On the whole, we could hardly use
any standard products. The many tests,
mock-ups, samples and prototypes helped
us develop the elaborate details. All in all it
has been worth the effort. We probably will
never again meet with so much commitment
from all sides and such ideal conditions as
at Giants Causeway Visitor Centre.
After all, the building was planned for a hundred-year life span!
268
2016 3 Concept
The Concept is Strikingly Simple!

The Clients Perspective
The very first sentence spoken by Brandon

Kelly, facilities manager of the National
Trust, was in praise of the spirit of the working relationship between the client and the
architects: Our relationship was based on
respect and this did not change over the
course of the seven years in which the project was realised! This is noteworthy considering how many teams working together
on large projects become mired in battles.
The original client was the regional government of Northern Ireland: it only intended to
build a large parking deck and a shop to replace the small entrance pavilion that had
burned down in the year 2000. But because
interest from people around the globe in
UNESCO World Heritage sites steadily increased, the decision was made to hold an
anonymous competition for a visitor centre:
the design by Heneghan Peng received first
prize. Before construction began, the National Trust assumed responsibility for the
new centre and supported the winning project from the beginning. When asked what
the National Trust found convincing about
the project, he responds, with obvious enthusiasm, Their proposal was strikingly simple! On top of that, Heneghan Peng was the
only participant that fully adhered to the
competitions regulations. And at the same
time they came up with a solution in which
the focus in not on a building, but on Giants
Causeway. The exemplary design of the
parking lot for 200 vehicles was also in line
with the new clients notion of integrated
planning. Restraint is one of the National
Trusts guiding principles, but not as a
means to cutting costs. On the contrary,
achieving the pared-down appearance of
the building required a concerted effort,
as is in evidence in the development of the

lava stone facade, which involved detailing
the material stone by stone. The fact that
for two years seeds were collected for the
grass roof is another vivid example of this.
Brandon Kelly continues, We certainly
didnt want to end up with something that
could be mistaken for an airport, so we cut
back strongly on the amount of light used at
night, and at the moment the pub and the
hotel are more brightly lit than the visitor
centre.
The hotel, The Nook (a restaurant) and another existing building also belong to the
National Trust and mark the three corners
of the site. The client was not able to nor
did it want to extend the building footprint
any farther. As a result there was not much
room for the large equipment required for
building services, for example, for heating
tanks. There was only room for heat pumps,
operated via ground-heat collectors, and
a system that conditions the fresh air that
enters the building directly through slits in
the facades.
For this 18.5 million pound project, the operator wanted a sustainable heating system
with passive cooling. Instead of a single
high-performance thermal pump, three
brine-to-water heat pumps were installed,
each with a smaller capacity: their partial
load performance is excellent. A horizontal
collector 1.5 metres below the visitor centres parking lot provides the buildings heating and cooling in a system of 5-kilometrelong plastic pipes (the pipes are equipped
with an anti-microbial coating). Displacement ventilation supplies air at a temperature of 19 to 21 C at low airspeed. As the air
warms, it rises and exits via exhaust openings in the ceiling. The round vents are distributed evenly throughout the floor surface;
this allows for changes in how the space is
used.
The ventilation system with controlled airflow
responds to the internal CO2 concentration
and, thereby, to the number of people in the
space. Next to its efforts regarding sustainability, the National Trust also placed value
on functional flexibility which is not surpris-
Concept 2016 3
Process
269
Client: National Trust

Competition: 2005
Open to public: Juli 2012
Annual CO2 emissions: 22.9 kg/m2
Caf area: 183 m2
Capacity of caf: 90
Retail area: 227 m2
Parking spaces: 209 (cars) /5 (buses)
Construction costs: 18.5 million pounds
BREEAM Excellent award
Site plan
scale 1:5000
Geothermal ground collector

Earth pipe matrix
ing considering the ever increasing number

of visitors from all over the globe, each with
his or her own expectations. Many of the uses can only be tested and subsequently
adjusted while the building is in operation.
The majority of the visitors only remain in the
region from one to three days. The number
of visitors is unevenly distributed throughout
the year, and this is one of the greatest challenges to be contended with by the client
and the planners. Tourists from the southern
hemisphere tend to travel during the winter
season, and the National Trust did not want
to withhold the Natural Heritage site from
them, and therefore it remains open all year.
During the summer, about ten times as
many guests visit the centre as many as
5000 per day. The number of contracts with
the coaches in other words, the organised bus tours has also increased consid-
erably during the first years immediately following the opening. To avoid back-ups at
the entrances, the large tourist groups,
which arrive by bus are kept separate
from the individual travellers. We take the
coach tourists through the bypass entrance
to the most direct path down to the coast so
that families who enter from the front (where
the caf is situated) may approach the
building in a calm atmosphere, explains
Brandon Kelly. To keep the number of people inside the building at any one time as
small as possible, in summer additional restrooms that are accessible from the exterior
are made available to the groups. A small
bus takes tourists with walking impediments
and older guests to the stone formations,
which are clearly the centrepiece of the
overall concept.
The current exhibition documenting the sto-
ry of the origin of Giants Causeway, including the myths and the environs, is based on
a concept by Event, a design agency, and
its formal vocabulary contrasts significantly
with that of the architects. Nevertheless,
Brandon Kelly defends the conception: We
gave the agency control of the design because we view the storyline and the educational concept as the same task. It appears
that in his eyes this part of the building assumes the role of a temporary installation
that will be changed as time passes, which
seems quite realistic for a building designed
to last 100 years. The building is holding up
well. Signs of wear and tear, for example,
of lavatory plumbing, or a minor touch up in
the form of additional safety railing, were to
be expected in a building with so many visitors. A very optimistic statement in light of
the 97 remaining years.
270
2016 3 Concept
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Concept 2016 3
Process
271
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14
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Vertical sections
Horizontal
section
scale 1:20
1 coping:
200 mm basalt
2 lawn:
domestic grass seed
250 mm substrate
EPDM sealing layer
250 mm extruded
polystyrene thermal
insulation
waterproofing
500 mm reinforced
concrete with
70 % GGBS in cement
3 200 mm basalt column
cladding
4 280/280 mm steel
SHS column
5 stainless-steel tie
plate
6 20 mm stainless-steel
tension rod
7 coping:
3 mm stainless-steel
sheet
8 100/12 mm duplex-steel
railing
9 double glazing:
8 mm toughened glass +
16 mm cavity +
2 4 mm laminated
safety glass
10 solid column:
200 mm basalt
sealing layer
60 mm insulation
sealing layer
2 225 mm basalt
11 stainless-steel dowel
12 200 mm basalt cladding
60 mm rigid foam
insulation
500 mm reinforced
concrete
sealing layer
60 mm rigid foam
insulation
subsoil
13 50 mm screed with basalt
chips,
polished
14 frame welded of
6/115 mm steel flat
15 nylon isolator
272
2016 3 Concept
3
1
Skylight
Facade with grass ramp
Facade adjoining ancillary rooms
Vertical sections
scale 1:20
1
lawn:
domestic grass seed
250 mm substrate
EPDM sealing layer
250 mm extruded polystyrene
thermal insulation
waterproofing layer
500 mm reinforced concrete with
70 % GGBS in cement
stainless-steel grating
100 mm gutter
3 skylight, withstands foot traffic,

anti-slip coating:
2 12 mm laminated safety glass +
16 mm cavity + 10 + 12 + 10 mm
laminated safety glass
4 1500/210 mm column
of 7 30 mm steel flats
5 coping:
3 mm stainless-steel sheet
6 100/12 mm duplex-steel railing
7 18 mm plywood
8 LED strip
9 double glazing:
8 mm toughened glass
+ 16 mm cavity +
2 4 mm laminated safety glass
10 70 mm basalt base
150 mm rigid foam insulation
11
12
13
14
15
16
300 mm reinforced concrete

sealing layer
subsoil
50 mm basalt strips
sealing layer
sealing layer
20 mm plywood
150 mm steel -section
frame:
75 mm steel T-sections
70 mm basalt cladding
50 mm screed, with basalt chips,
polished
300 mm reinforced concrete
180/360 mm masonry
Concept 2016 3
Process
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273

Ritter Jockisch, Munich
A few years ago, archaeologists found several animal figurines made

of mammoth ivory, the oldest of them dating back about 40,000 years,
in the Vogelherd Cave, located some 30 kilometres northeast of Ulm.
The new visitor centre, erected close to the archaeological dig, serves
first of all as a reception building that offers the visitors a shop and a
cafeteria, and second, as an exhibition on the archaeological site and
contemporaneous events. The exhibition contains a dimly lit Schatzkammer a treasury in which two figurines that were discovered on
the grounds and which count among the worlds oldest works of art
are on display, including the only one excavated here to have survived intact: a mammoth ivory with a height of just 3.5 centimetres.
And, last but not least, it serves as a landscape element of exposed
concrete embedded in a gently arching grass mound the start and
conclusion of the painstakingly choreographed tour through the archaeological park developed by an interdisciplinary design team.
This park allows visitors to engage all five senses in a quest to gain
knowledge of life during the Upper Paleolithic Period. Among other installations, there are five themed spaces (on the topics hunting, encampments, religion, fire and art) situated along pathways lined with
sparse plantings. Further elements accompanying these pathways
are rubber cubes and oak sleepers bearing inscriptions in some
cases, surprising questions and answers that give glimpses into the
world of prehistoric man.
276
2016 3 Concept
Self-confident Insertion: The Building

as Part of the Landscape
When walking from the parking lot, along

fields, toward the archaeological park, one
will at first barely notice the visitor centre,
which is tucked into a crescent-shaped
grass mound. There are two incisions in the
centres reinforced concrete. The wider
opening is recognisable as the cafeterias
terrace thanks in part to the outdoor furniture found here. The narrower one turns out
to be the main entrance. After passing
through the entrance tube, visitors do not
end up in an underground space; on the
contrary, they enter a glazed lofty space.
Through the extensive glazing they see
out beyond the archaeological parks outdoor spaces the Vogelherd hillside.
The view down from the hillside back to the

visitor centre reveals how thoroughly the
new building and the outdoors meld into
one. The concrete-and-glass facade of the
low-slung, semi-circular building inserted in
the landscape creates a courtyard, which is
used for both leisure activities such as barbequing and playing, and for exhibitions,
workshops and events. It also provides the
spatial definition and culmination of the
eastern edge of the park. The fact that the
visitor centres architecture, the entire exhibition scenography, and the design of the
outdoor space all exhibit the same restrained succinctness has to do with the fact
that the three different teams involved in the
planning worked in close cooperation. The

basis for this work was the approach of a
team whose members were, from the very
beginning, able to think beyond the limits of
their respective disciplines: the design they
arrived at together was awarded first prize
in the competition that marked the beginning of this process.
Client: City of Niederstotzingen, represented
by Mayor Gerhard Kieninger
Effective floor area: 299 m2
Competition: 2011
Opened to public in: 2013
Caf, entrance area: 64 m2
External area: 5.3 ha
Net construction costs: 1,500,000 (without VAT)
Concept 2016 3
Process
277
Plan of outdoor spaces

scale 1:1500
1
2
3
4
5
6
7
8
9
Trail to visitor
parking
Entrance
Cafeteria terrace
Grass mound
Barbeque area
Circular route
Oak sleepers
Themed space
Vogelherd Cave
8
7
8
6
4
2
4
3
278
2016 3 Concept
Simplicity and Complexity:

a Broad Spectrum of Uses
There are no typological precedents for visitor centres at archaeological parks, but
there are a number of defining parameters
that the architects have translated into an
exceedingly functional building and, at
the same time, a building that is sensitively
inserted in its environs. The municipalitys
modest budget and Vogelherd Caves surroundings a conservation area played
important roles in limiting its size: the allowable effective area was only 400 m2. All the
same, it was necessary to accommodate a
number of different functions: personnel
rooms, storage areas, a cafeteria, and a
foyer, as well as space for an exhibition on
the site and its history, an auditorium, and a
Schatzkammer (treasury), where the original ivory figurines are on display. Consequently, fulfilling the requirements for the
different functions was a challenge.
Thanks to the seamless transitions and

frameless floor-to-ceiling glazing, the visitor
centre is inviting and open. The spaces are
bathed in daylight and are naturally ventilated. The latter is made possible in part by
the cantilevered roof that extends beyond
the glazing to shade the interiors from the
hot summer sun. And during the warm seasons the exterior doors remain open.
As a result the interior does not overheat. In
winter the building may be visited by reservation only, and from January to March it is
closed.
In accordance with the stipulations of the
University of Tbingen, which owns the two
figurines, the Schatzkammer required a
higher level of security. The measures included installing burglar-proof doors. Moreover, it was necessary to protect the works
of art from temperature fluctuation, which is
why they can only be exhibited in a climatecontrolled environment. It would have been
too costly to provide climate control in the
entire visitor centre. Thus, only the two display cases in the Schatzkammer are
equipped with it. Should the system malfunction, an alarm system will notify the museum operators. In this way it was possible
to forgo a back-up climate control system.
Cost considerations were also the reason
that the least expensive class of exposed
concrete was stipulated in the specifications. But thanks to the commitment of the
contractor, it was executed at a high
standard.
In the end a building has been created that
is thoroughly integrated in the journey of
discovery through the archaeological park
and which will certainly pose no hindrance
to its becoming a World Heritage Site.
Concept 2016 3
Process
279
X ;yy
scale 1:500
1
2
3
4
5
6
7
8
9
10
Entrance
Tickets/Shop
Cafeteria
Cafeterias outdoor
terrace
Office
Storage
Building services
Exhibition
Auditorium
Schatzkammer
(Treasury)
d
7
a
9
10
a
b
8
c
aa
3
7
6
bb
cc
dd
280
2016 3 Concept
my *y
scale 1:20
1
two-layer bituminous seal

250 mm reinforced concrete,
underside as exposed concrete
intensive vegetation
200 mm substrate
filter mat 150 g/m2
8/16 mm lava drainage layer,
anti-capillary,
moisture-storing
moisture-diffusing separating layer 80 g/m2
160 mm thermal insulation
two-layer bituminous seal
250 330 mm reinforced concrete
underside to falls
90/80 mm facade profile
made of two 80/5 mm steel flats
and synthetic insulator
double glazing:
12 mm (alarm glass)
toughened glass + 16 mm cavity +
10 mm toughened glass
vertical sealant with silicone and
silicone seal
column:
193.7 mm steel CHS, primer,
micaceous iron oxide coating
20/80 mm steel flat facade profile,
mounted on unfinished floor
with angles,
with mounting and sealant system
positioned atop them
85 mm cement screed, powertrowelled, clear seal
35 mm impact-sound insulation
system with
heating pipes and separating layer
bituminous seal
250 mm reinforced concrete slab
on grade
50 mm lean concrete sub-base
geo-textile fleece separating layer
150 g/m2
300 mm crushed-glass fill
12.5 mm plasterboard
80 mm foam-glass thermal insulation
250 mm exposed concrete
Concept 2016 3
Process
281
282
2016 3 Concept
Arousing Curiosity A Conversation

with Susanna Lutzenberger, Artist and
Scenographer
DETAIL: What made working on the scenographic concept for the archaeological park in
Niederstotzingen of particular interest to you
as an artist?
; y y y
the possibility to develop and realise, in cooperation with the architects, a holistic concept in which the scenography, the visitor
centre and the park form a unified whole.
And the topic interests me immensely. Anyone who has not yet looked into what life
was like some 40,000 years ago during the
Upper Paleolithic period probably imagines
dim-witted cave dwellers, and he or she certainly wouldnt link the period to the figurines
found in the Vogelherd Cave. Producing
such figurines requires fine motor skills. At

the same time, it is also very challenging intellectually. Ultimately, a person who can
chisel such a figurine must also be capable
of thinking in three dimensions. And complicating matters, the mammoths didnt stand
still for the artists, which means than the
prehistoric person also had to have quite
precise knowledge of their anatomy. All of
these aspects fascinated us and the architects and allowed us to develop a sensitive scenographic concept.
DETAIL: What means did you employ to convey this fascination to the visitors?
;yyy
them in so that they actively interact with the

exhibit, and to encourage them to be keen
to all of their senses in order to in the literal
sense of the word grasp the concepts.
The tents, furs, tools, and weapons that one
encounters at the themed areas tell quite a
bit about the day-to-day lives of Paleolithic
man. And at other spots along the path to
the Vogelherde Cave one experiences the
sounds and scents of the animals of the period. And then there is the sense of touch.
All of the texts are either carved out of the
material, for example, of the rubber cubes,
or added as raised relief to the surface, for
example, to the sleepers that are embedded
in the ground of the pathway at different in-
Concept 2016 3
Process
ee
my *y
through display case
scale 1:20
1
2
3
4
5
6
7
e
1
2
6 7
3
5
8 mm heat-strengthened,
prestressed glass
(outer pane), weight: ca. 80 kg
40 mm concrete base
vibrating alarm (acoustic signal)
steel tab for bolted connection to steel
frame running on all sides
ventilation duct
built-in speaker
perforated-plate cover of
incoming air vent
283
284
2016 3 Concept
Since studying at the Staatliche Akademie der Bil 9 Xy Xyy ;

has worked as an artist. In 1991, she and Bernhard
; y ; ;er; the duo pursues projects at the interface between
art and architecture. Their focus lies on the design of
religious spaces.
The interview was conducted by Roland Pawlitschko

in Niederstotzingen.
tervals. In this project, scenography and architecture are obviously closely intertwined.
DETAIL: Please tell us a little bit about how
you went about your work with the architects.
; ; y y
we produced by putting nails in the oak
sleepers as a case in point. Of course, as
artists, we were responsible for developing
the nail lettering just like we were responsible for the rubber cubes and finding a way
to put lettering on them. We worked with
nails and made samples in which we hammered them into the sleepers.
But what is most important is the stance that
backs the work up. What do we want to
achieve with this approach? We were all in

complete agreement that we wanted a path
of questions and that, from todays vantage
point, no clear-cut answers would be supplied, but rather information that visitors can
collect as they make their way through the
park. We developed all of the questions, as
well as all of the other content, in cooperation with Ritter Jockisch. We also intensely
discussed the concepts with the archaeologists from the University of Tbingen.
DETAIL: What do you think about the fact that
some of the nailed-in inscriptions are difficult
to read when they are covered up by the
gravel used to define the paths?
; n yyy
park as an opportunity for the visitors to
have a wide variety of experiences. That
means that its alright to overlook something.
If everything could be taken in at first
glance, there would be nothing left to discover. Here the visitors have the chance
to take a journey of discovery, but they may
also choose not to. And its OK, for example,
if its not until the visitor exits the Vogelherde
Cave that he or she notices the first cube, or
discovers the nails in the sleepers. Experiencing the archaeological park in Niederstotzingen cannot be reduced to simply having
read all of the text and visited all of the
themed stations.
Products
286
2016 3
Building
for the Community
The architectural realisation of the Paul & Henri Carnal Hall at the Institut Le Rosey in Rolle
With its new Carnal Hall extension, Switzerlands oldest private school, the Institut Le
Rosey, is aiming to provide a new platform
for artistic education. Besides an auditorium
with 900 seats for concerts, theatre performances and conferences, the domed building has a diameter of 80 m and secondary
rooms for music lessons and workshops.
The unusual architecture of the building is
impressive on account of its simplicity, modernity and beauty. The stainless-steel roof
covers an area of 4900 m2 and spans a
570-tonne steel structure. The integrated
skylights have a glass surface of 150 m2.
French-Swiss architect Bernard Tschumi
from Bernard Tschumi Architects, New York,
has paid particular attention to the material
aspects of the building. Inside, steel, glass
and wood dominate, while externally a shimmering stainless steel shell covers the entire
roof structure and cleverly stands out from
the large glass fronts. Developed with the
engineers of Arup in New York, the sophisticated geometry of the dome structure with
its arches and axis system that runs from top
to bottom not only complicated the structural
analysis of the entire building by engineering
firm Alberti Ingnieurs SA, Lausanne, it also
required steel construction specialists Tuchschmid to provide detailed static calcula-
tions for every single joint. Even during the

planning phase thought had to be given to
the assembly concept and the material logistics. The planning work for the radial, arched
and round intersections and joints was particularly challenging. The planning of the
stainless steel cover, too, was very complex,
as the joint lines run diagonally at regular
parallel distances to each other across the
roof structure, and with the exception of the
edge sheets, all the stainless steel parts
have the same dimensions.
Using the geometric data provided by the
architect, Tuchschmids planning department created a 3D model of the steel structure. The dome comprises a regularly arranged axis system with 24 main axes. The
purlins are made up of welded 4-edged
hollow profiles (700 300 mm) and are
supported by a total of 26 steel columns
( 300 mm) connected to each other on the
concrete. Round steel pipes ( 406 mm)
were used as steel rafters, which were inserted and screwed into the purlins. In the
upper dome area, a steel structure made of
massive H-beams was created, which is recessed with HEB girders. The encircling axis
structure is interrupted by three skylight
strips that follow the geometry in the upper
part of the building.
One challenge was the incisions in the

southern and northern areas of the building
for the respective roof terraces and balcony
rows that break through the set geometry
and which had a major impact on the statics
and arrangement of the steel structure. In
the central, upper roof area, a special,
curved steel structure made of welded Hplate girders and HEB beams was created.
This steel structure was covered with
150-mm-thick corrugated sheets and thus
forms the substructure for the concrete slab
that lies on it, which serves as soundproofing
for the concert hall. Another important element for the statics and planning was the encircling steel canopy construction, which
connects to the main structure.
Besides the steel substructure, Tuchschmid
remit also encompassed the entire complex
roof structure. The elements were manufactured according to the field size and precisely fitted onto the encircling field structure. The roof structure consists of a central
wooden sandwich panel with integrated insulation and a suspended, perforated
acoustic sheet, and a structure comprising
insulation, a membrane and a standingseam metal sheet. The knobs of the standing-seam metal sheet have special aluminium profiles for receiving the stainless-steel
sheets. The rectangular, folded stainlesssteel roof panels were clamped at various
points and screwed onto the profiles. They
form the external edge of the roof. Stainlesssteel sheets were used for all roof and terrace soffits as well as for the balcony balustrades. Three skylights were installed in the
roof structure that conform with the geometry
of the roof. A steel frame forms the connection to the roof structure. The trapezoidal insulating glass with its sun-protection coating
was installed later and has a pane size of up
to 2 m.
Tuchschmid AG, Swizerland
+41 52 728 81 11
www.tuchschmid.ch
Edition
NEW
Bauen fr
Buil
Children
best of DETAIL:
Building for Children
NEW May 2016
Christian Schittich (Ed).
200 pages with numerous drawings
and photos. Format 21 29.7 cm.
Bilingual English/German.
ISBN 978-3-95553-310-6
Paperback: 49,90 / 40. / US$ 70.
+ postage/packing
+ VAT, if applicable
best of series
Forward-looking architectural concepts

In all debates on school system reform,
teaching methods, care facilities for young
children or individual funding opportunities,
educational objectives are almost always
at the fore. The more often issues of allday schooling and inclusion are dealt with,
the more important spatial concepts and
aspects of aesthetics become. Results of
international performance tests and findings
from the field of developmental psychology
have revealed the considerable influence
that quality architecture exerts from professional handling of design, colours, light
and more to ones ability to learn, including self-determined learning and working.
Therefore, the time has come for architects
to deal with these issues and to familiarise themselves with the appropriate design
principles.
In addition to brief theoretical asides best of
DETAIL: Building for Children provides a wide
range of completed projects from crche
to high school and community centres for
children to youth centres that demonstrate
fascinating solutions for diverse construction
projects for children and adolescents.
Design principles consistent with

modern education concepts
12
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Schn tt Klassenz mmer
Mastab 1 20
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Sect on through classroom

scale 1 20
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Polyca bonat Hohlkammerwellpla te 177/5176 mm

Sparren 50/200 mm mit Blechabdeckung
Dachneigung 5 Dachabd chtung Kunststo f
bahn UV bestndig vlieskasch ert 10 mm
Wrmedmmung EPS 2 120 mm
Dampfsper e b tumins
Schalung F chte sgerau 24 mm Winddichtung
Festverglasung ESG 8 + SZR 16 mm +
ESG 6 mm n Rahmen Kiefer
Schiebetr 2300/2100 mm m t Isol erverglasung
Bre tsch chtholz Lrche 40 mm
Dre schichtplatte ge t 40 mm
Sttze Stahlrohr brandschutzbesch chtet
114 3/8 mm
Akustikplatte HWL 35 mm Mineralwolle 30 mm
Leuchstoffrhre Abdeckung
Acrylglas 1200/90/4 mm
Stah betondecke 295 mm
L chtkuppel dreischalig 1000/2000 mm
Laibungsverkleidung Akustikpla te G ps
karton perfor ert 12 5 mm Dmmf lz Hanf
F chtenschalung Nut und Feder sgerau 35 mm
kontrollierte Be und Entl tung fr Klassenz mmer
Schrank Birkensperrholz geschlitzt rckseitig
Akustikvlies
S ch fenster zum Flur Festverglasung
Scha lschutzglas VSG 8 mm
S tzbank Brettsch ch holz ge t 80 mm
Stabparkett E che gelt 15 mm Heizestrich
70 mm PE Folie 0 2 mm Wrmedmmung
EPS 140 mm gebundene Schttung 65 mm
Feuchtigkeitssperre 10 mm Voranstr ch
Bodenpla te 250 mm Sauberkeitssch cht
177/5 176 mm corrugated polycarbonate slab
50/200 mm rafters w th sheet metal cover ng
roof w th 5 slope UV resistant plast c seal ng layer
with 10 mm qu lted layer
2 120 mm expanded polystyrene thermal
insulation bituminous vapour ba rier
24 mm sawn softwood boarding w ndproof layer
f xed double glaz ng in pine frame
8 + 6 mm toughened glass + 16 mm cavity
2300/2100 mm double glazed sliding door
40 mm larch hree ply lam nated sheeting
40 mm three ply laminated board ng o led
114 3/8 mm tubular steel strut with
f re res stant coat ng
35 mm acoustic slab 30 mm m ne al wool
fluorescent tube 1 200/90/4 mm perspex cover
295 mm re nforced concrete roof
1 000/2 000 mm three layer domed rooflight
12 5 mm perforated plasterboard acoust c
surround on hemp nsulat ng fe t
35 mm sawn softwood boarding
regulated classroom vent lation
cupboa d unit b rch plywood grooved
acoustic fe t back
window w th v ew to corridor
8 mm lam safety glass sound nsulat ng f xed
glaz ng
80 mm laminated t mber bench oiled
15 mm oak block parquet oiled 70 mm screed
with underfloor heat ng 0 2 mm polythene
Architecture you can touch

Building concepts for crches,
kindergartens, schools
Inspirational project examples
65 mm bonded fi l ng 10 mm damp proof layer

undercoat 250 mm concrete loor bl nd ng
22
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www.detail.de/b-children
288
2016 3
Light and shade
Improved performance follows theatre refurb
The 15 million extension to The Whitworth

gallery in Manchester employs a solar shading solution coupled with an intelligent lighting control system provided by Levolux. Designed by London-based architecture studio
MUMA, the extension comprises two new
wings formed from brick and glass.
An extensive refurbishment programme for

Liverpools Royal Court Theatre has seen
Phase 2 reach its conclusion, resulting in a
more energy-efficient, sustainable building.
New box office and public areas were created by extending the ground floor to fill the
space under the existing canopy. The aim
was to enable the theatre to stay open as
much as possible during the refurb; the
building services design was carried out by
Steven A Hunt & Associates, which worked
closely with architects Allford Hall Monaghan Morris and the theatres team to build
this requirement into the design.
The BREEAM Excellent rated, two-storey

extension doubles the size of the gallery,
learning and storage zones, and benefits
from large expanses of glazing to maximise
natural daylight and allow good visibility
across Whitworth Park to the south. To prevent excessive glare and unwanted solar
heat gain, 48 roller blinds and 30 Skyvane
systems are all motorised and linked to an
intelligent control system.
Unguided, guided and zipped roller blinds
are fitted with a range of fabrics chosen for
their particular light transmission or light exclusion properties. The Skyvane system, a
form of non-retractable Venetian blind, has
been applied internally against inclined
glazed openings in three vaulted ceilings:
the 85 mm wide extruded aluminium slats,
with a pitch of 75 mm, have a natural anodised finish and can be rotated through approximately 100 from fully open to fully
closed. When closed they interlock for maximum light exclusion.
The power distribution was still operating

from the original 1938 panel board no
longer fit for purpose, it was isolated and
made safe but retained for historical interest. The new distribution system involves
amalgamation of the two existing switch
rooms into one, and work to move over to
the new supply had to be delivered out of

hours to avoid any risk of power outages.
Rewiring and lighting refurbishment of the
auditorium had already been completed in
the first phase of works but, as the whole
building is on the same network, upgrades
to the electrical distribution in Phase 2 had
to be designed to ensure that any isolations
did not affect performances.
The lighting theme is black and gold and
there are twin recessed downlights throughout the foyer with black and gold wall lights
in the stairways and break-out spaces. Hidden lighting in the lobby pelmets provides a
soft ambient light, and glass pendants over
the lobby were included to add drama. The
lighting is linked to scene-setting controls to
enable adjustments depending on the time
of day and the type of event being held.
All fittings are LED, including the rewired
and re-lamped existing fittings in the basement. PIR presence and absence detection
has been included for the toilets. Externally,
recessed striplights in the terrace floor light
the facade, with further striplighting under
handrails and recessed downlights lighting
the entrance to the foyer, all controlled by
timers and photocell daylight sensors.
The solar shading is linked to a lighting control system monitoring multiple internal and
external light sensors and presence detectors that can be individually configured. The
control system automatically adjusts the
lighting and blinds, taking into account the
position of the sun, the changing seasons
and the museums opening and closing
times, thereby generating significant reductions in energy consumption.
The heating system utilises the existing gasfired boiler, now enhanced with a weathercompensated, variable temperature radiator
circuit with intelligent controls to maintain a
constant optimum temperature and ensure
energy is not wasted. Flat panel radiators
around the building optimise heat circulation
and are designed into furniture where possible to blend unobtrusively into the interior
design. A mechanical ventilation system
with high-efficiency heat recovery units further limits demand on the heating system.
Levolux
United Kingdom
+44 (0)20 8863 9111
www.levolux.com
Steven A Hunt & Associates

United Kingdom
+44 (0)151 427 8009
www.stevenhunt.com
Edition
Practice
NEW
Flooring
Volume 1
Standards
Solution principles
Materials
Jos Luis Moro
Flooring Volume 1
NEW June 2016
Jos Luis Moro.
120 pages with numerous
drawings and photos.
Format 21 29.7 cm.
ISBN 978-3-95553-301-4
Paperback: 52.90 / 42. / US$ 74.
+ postage/packing
Practice series
Functions and technology

The surfaces and composition of flooring
make a decisive contribution to the perceived atmosphere, quality and appreciation of rooms. At the same time, flooring
must be capable of bearing the enormous
loads expected of it.
Volume 1 of the publication should aid in
the construction and the design of flooring. In addition to a fundamental theoretical basis, it offers decision-making tips and
background information on various types
Anforderungen, bauphys kalische Wirkungen und konstruktive Lsungsprinzipien
Anforderungen, bauphysika ische Wirkungen und konstruktive Lsungsprinzipien
P atte
Scha absorpt onsg ad _
Scha absorpt onsg ad _
porser Stoff
Raumart
Nachhallzeit
Tons ud os
03s
Brorume
0 35 s
Klassenzimmer > 125 m3
05 06s
Vor ragsrume sle

Konzer sle > 19 000 m3
Spo tha len
28 a
Frequenz [Hz]
und zumeist auch gegen mechanische

Beschdigungen empfind ich lassen
sie sich auch mit akustisch durchlssigen
Verkleidungen versehen, etwa perforier
ten Platten oder Text lien Ihre Wirksam
keit wird dadurch kaum beeintrchtigt
Auch nicht porse Materialien (z B Glas)
knnen m t M kroperforationen zu Schall
absorbern umfunktioniert werden
Resonanzabsorber beruhen im Gegen
satz dazu auf dem physikalischen Masse
Feder Prinzip (siehe Schallschutz,
ten derart gemeinsam schwingen, dass
bei einer bestimmten Resonanzfrequenz
Scha l stark absorbiert wird Baupraktisch
lsst sich diese Methode mithi fe biege
weicher dnner Platten umsetzen, die mit
einem Abstand vor ein Flchenbauteil
Frequenz [Hz] 29
gngige Bdenbe ge
17 22s
1 3 s 20 %
Der Fuboden als Schallabsorber

Als porser Schallabsorber kann der
Fuboden eine gewisse Wirksamkeit
entfalten Wenngleich seine Gesamtober
flche immer kleiner als die Summe der
Wand und Deckenf chen ist, machen
Fubden dennoch stets einen betrcht
lichen Anteil der raumumschlieenden
Flchen und somit der quivalenten
Scha labsorptionsflche eines Raums
der
Bodenoberflche lsst sich vornehmlich
tisch wirksame Porositt fester Fuboden

oberflchen ist besonders aus hygieni
scher Sicht eingeschrnkt Aus den glei
chen Grnden verbietet es sich meist,
Bden aus stark porsem Material auszu
fhren und sie dann zwecks Nutzbarkeit
beispielsweise mit gelochten Platten
abzudecken Deshalb knnen hohe Ab
sorptionsgrade, wie sie bei Wnden und
Decken mittels vor oder untergehngter
Lochplatten mit Hohlraumdmpfung aus
Faserdmmstoff zu erzielen sind, bei Fu
bden kaum umgesetzt werden
Das Resonanzprinzip lsst sich bei Fu
bden durch elastische, auf Hohlraum
verlegte Bodenplatten oder tafeln reali
sieren (z B Parkette auf Lagerhlzern)
Werden Letztere schwimmend auf feder
weichen Streifen aus Filz oder Kunststoff
verlegt, erhht sich der Absorptions
Frequenz [Hz]
125
250
500
1000
2000
4000
Park t fuboden au gek ebt
0 04
0 04
0 05
0 06
0 06
0 06
0 20
0 15
0 10
0 09
0 06
0 10
Park t fuboden hohll eg nd
07 13s
18s
durch textile oder zumindest durch weich

federnde Belge steigern, die als porse
Absorber wirken Je hher beispielsweise
der Flor eines Teppichbodens, desto
hher ist die Schallabsorption, doch sind
diesem Ma nutzungsbezogene Grenzen
Parke tfuboden auf Bl ndboden
Teppichboden b s 6 mm Florhhe
Mehrzweckhallen
(Wand, Decke, Boden) montiert werden

Der Absorptionseffekt erhht sich zustz
lich bei Fllung des Hohlraums mit Faser
material Er macht sich bei dieser Art von
Absorbern allerdings nur in den tieferen
Frequenzen bemerkbar
Absorbertyp
0 15
0 02
0 08
0 04
0 07
0 07
0 06
0 19
0 06
0 29
0 06
0 35
Teppichboden 7 10 mm F orhhe
0 04
0 07
0 14
0 30
0 51
0 78
PVC Fubodenbelag (2 5 mm) auf Betonboden
0 01
0 02
0 01
0 03
0 05
0 05
Linol um auf Beton
0 02
0 02
0 03
0 03
0 04
0 04
den Schall
einiger
Fubden sowie zum Vergleich Werte
herkmm icher schallabsorbierender
Wand und Deckenverkleidungen
Nadelfi z 7 mm
0 02
0 04
0 12
0 20
0 36
0 57
5 mm Teppich mit 5 mm Fi zunterlage
0 07
0 21
0 57
0 68
0 81
0 72
PVC Belag Linoleum
0 02
0 03
0 03
0 04
0 06
0 05
0 30
0 10
0 05
0 07
0 09
0 08
hheren Frequenzbereichen ist die Funk

tionsweise des jeweiligen Belags als por
ser Absorber oder Resonanzabsorber
erkennbar Die Kombination beider Wirk
prinzipien im selben Belag ermglicht
eine Maximierung der Schallabsorption
ber das gesamte Frequenzspektrum
0 70
Thermische Raumkonditionierung und Lftung
Wand und Deckenverk eidungen (zum Vergle ch)

Gipskartonplatten 0 5 mm dick 60 mm Wand
abstand Hoh raum kassettiert
Rasterdecke 8/18 Rundlochung 15 5 % 200 mm
Akus ikvl es 20 mm Minera wol auflage
30
0 50
0 65
0 70
0 65
0 60
4 mm Hartfaserplatte kasset iert m t 40 mm

M neralwollplat e Wandabstand 60 mm
0 63
0 25
0 14
0 08
0 06
0 05
40 mm Minera wol matte (20 kg/m3) mit Loch

blechabdeckung (18 %)
0 11
0 36
0 69
0 95
0 81
0 70
22
of flooring and materials as well as how to

plan proper structural connections and
transitions.
Volume 2 will be published in November
2016 and focusses on historical developments, with a particular emphasis on flooring as an architectural design element,
sustainability concerns and issues often
faced during renovations/modernisation.
Corresponding case studies of successfully
completed projects can serve as inspiration
for the readers own projects.
Der verh tnismig groe Ante l des

Fubodens an den raumumschlieenden
Flchen prdestiniert ihn neben seiner
akustischen Wirksamkeit auch fr die
bergabe von Wrme oder Khle an den
Standards (intended functionality,

safety features, design)
28 Abhngigke t des Schallabsorpt onsgrads von

der Scha lfrequenz jewei s bei
a porsen Absorbern
b Resonanzabsorbern
29 grob anzus rebende Richtwe te fr Nachhall
zei en in verschiedenen Raumarten
30 Schallabsorpt onsgrade in Abhng gkeit der
gng gen Bden sowie Wand und Decken
verkle dungen zum Vergleich
31 ausgelegte Heizkreise vor Verguss des Heiz
estr chs
Innenraum Bei insgesamt gleichbleiben

der zu oder abgefhrter Wrmemenge
erlaubt die groe Bodenf che geringe
Temperaturd fferenzen zwischen Raum
luft und Heiz bzw Khlflche Dies ist ein
physiologisch gnstiger Faktor Wegen
der gleichmigen Wrmebergabe m t
geringen Temperaturgradienten, dem
hohen Wrmestrahlungsanteil, der gerin
gen Luftzirkulation und der Wrmezu
oder abfhrung in Krpernhe knnen
Fubden aus physiologischer Sicht als
ideale Heiz und Khlflchen ge ten Da
sich die Personen im Raum nahe der
thermisch konditionierten Bodenflche
befinden und der Wrmebergangskoeffi
zient am Boden hher ist als an Wnden
oder Decken, lassen sich die Raumtem
peraturen unter Einsatz eines Heiz oder
Khlsystems im Fuboden jeweils um ein
bis zwei Grad niedriger oder hher ha ten
als bei konventionellen Systemen Die
operative oder Empfindungstemperatur
erg bt sich nmlich aus dem M ttelwert
zwischen der Raumlufttemperatur und
den gemittelten Oberf chentemperaturen
des Raums Dies ist gesundheitlich vor
teilhaft und spart zudem Energie [35]
Ferner entfallen gegebenenfalls zustzli
che raumbeanspruchende Heizelemente
Der nur geringe Temperaturgradient zwi
schen Raumluft und F chenheiz oder
khlflche gestattet niedrige Vorlauftem
peraturen beim Heizen bzw hohe beim
Khlen Auerdem tritt an der Heiz oder
Khlf che ein Se bstregeleffekt auf:
Nhert sich die Raumlufttemperatur dem
Sollwert, sinkt die Wrmeabgabe oder
aufnahme an der Oberflche von selbst
Es gengt in solchen Fllen, die Oberfl
chentemperatur konstant bei rund 23 C
zu halten Liegt die Raumtemperatur dar
unter, erfolgt eine Beheizung, befindet
sie sich darber, setzt Khlung ein Aus
diesen Grnden gilt eine Flchenheizung
oder khlung grundstzlich als eine
energieeffiziente Art der Raumkonditio
31
nierung und erlaubt zudem den Einsatz

erneuerbarer Energiequellen Natrliche
Wrme oder Khle aus Erdsonden oder
Gewssern lsst sich dann effizient fr
Heiz oder Khlzwecke heranziehen
Dies kann entweder passiv erfolgen,
indem die Umweltwrme oder khle ber
einen Kreislauf und eine Umwlzpumpe
in das Gebude gefhrt wird, oder aktiv
unter Einsatz von Kltemaschinen oder
umschaltbaren Wrmepumpen
Wegen der stark f chenmig verteilten
Wrmebergabe an der Bauteilf che ist
bei Flchenheizungen und khlungen
darauf zu achten, dass keine Strahlungs
asymmetrien entstehen Dies geschieht
bei ungengend temperierten H lflchen
wie etwa schlecht gedmmten Auen
wnden oder Fenstern bzw Ganzglas
fassaden In diesen Fllen sind entweder
kompensierende Zusatzheizelemente
lokal anzubringen oder an den kritischen
Stellen die Heiz bzw Khlleistung der
Flchenheizung zu erhhen, beispiels
weise durch dichteres Verlegen der Heiz
und Khlleitungen
Wrme wird an thermisch aktiven Raum
flchen mithilfe von flchenintegrierten
Wasserkreislufen dem Raum zugefhrt
oder bei Kh betrieb entzogen Flchen
heizungen lassen sich darber hinaus
auch elektrisch betreiben Wasserkreis
lufe haben den Vorteil, Heiz und Khl
funktion in einem Kreislaufsystem zu ver
einen Entscheidend fr die thermische
Funktionsweise von Flchenheizungen
oder khlungen ist die Art, wie die Rohre
des Wasserkreislaufs im F chenbauteil
integriert sind Bei Fubden besteht
teilung ber den Estrich zu gewhrleisten,

wegen seiner verhltnismig geringen
Speichermasse thermisch reaktionsfhig
zu sein und die Wrmeabgabe auf den
Raum oberha b der Decke zu beschrn
ken Dies erhht die Regelbarkeit und
erleichtert die Abrechnung der Heizkos
ten Den Wrmedurchlasswiderstand der
Fubodenbelge sollten im Sinne einer

effizienten Wrmebergabe an der Boden
oberf che grundstzlich ber eine gute
Wrmeleitfhigkeit verfgen, ansonsten
ist die Heiz und Khllast entsprechend
zu steigern Text le Bodenbelge weisen
in dieser Hinsicht Nachteile auf Richt
werte zur Wrmeleitfhigkeit verschiede
ner Belge auf Fubodenheizungen zeigt
dnnen Estrich einzubetten und diesen

gegen die restliche Konstruktion mit einer
Wrmedmmschicht thermisch abzutren
nen, die sich m t einer gegebenenfalls
vorhandenen Trittschalldmmung kombi
Bei flchenintegrierten Khlsystemen ist

stets darauf zu achten, dass kein Tau
wasser an der Oberflche anfl t Dies
geschieht immer dann, wenn die Tau
punkttemperatur an den khlen Bauteil
flchen unterschritten wird In diesem Fall
muss die Temperatur des Khlmediums
erhht oder das System zeitweilig abge
schaltet werden Auch eine Abfhrung
der Feuchte mithilfe einer geeigneten Lf
tung ist mglich
Innerha b eines gewissen Rahmens lsst
sich die Trgheit des flchenintegrierten
Heiz und Khlsystems durch die Vergr
erung der Estrichdicke steigern Dies
stt allerdings an Grenzen Alternativ zur
Verlegung in einem mithilfe einer Dmm
schicht thermisch getrennten Estrich las
sen sich Flchenheizungen auch derart
einbauen, dass die Masse der Tragkon
struktion fr die Raumkonditionierung her
angezogen bzw aktiviert wird Man spricht
in diesem Fall von Bauteilaktivierung oder
auch von thermoaktiven Decken (TAD)
Hierbei sind verschiedene Ausfhrungs
den Vorteil, eine ausreichende Wrmever
Eine Bauteilaktivierung erhht die thermi
Structural solution principles,

connections and transitions
Materials, floor coverings, substances
Types of flooring
Flooring in a structural context
23
www.detail.de/p-flooring1
290
2016 3
Resilient flooring
Flexible design
Handrail options
Offering a variety of community-based services, Old Trafford Youth Centre in Manchester needed a warm, easy-to-maintain
floor for a multi-use area that could be used
as a nursery during the day as well as hosting a number of activities, such as sports, at
other times. The centres Jill Carding commented, We have 16 members of staff in
every day, with 40 to 50 families using our
facilities every week, and having suitable
flooring is a must for us.
Walsall Arboretum in the West Midlands is

benefiting from a new visitor centre, with its
internal space maximised by the use of
moveable partitioning walls. The Victorian
public park is set in 73.5 hectares of land,
with iconic buildings and structures such as
a clock tower, boathouse and bandstand,
and has undergone significant redevelopment, with the new visitor centre located at
the heart of the park.
SG System Products designs, manufactures

and installs handrails and balustrades for
public and other sectors. Stargard, a Disability Discrimination Act (DDA)-compliant,
warm-to-the-touch handrail suited to the education sector, comprises a tubular system
of galvanised steel sleeved with 4 mm-thick
PVC. It can be teamed with either Stargard
or Sentinel (stainless steel) balusters for a
robust and minimal maintenance solution.
Single and double handrails and infill panel
options add to the design possibilities.
Trafford Borough Council is already using

Gerflor products in some of its schools and
community centres, and Taraflex MultiUse 6.2 was chosen for this project. In a
wood-effect design in five colourways, benefits include a P1 category shock absorption
with indentation resistance said to be twice
that required by EN Standard 14904, an
abrasion resistance three times the standards requirement and high resistance to
static and rolling heavy loads providing
25 to 35 % of shock absorption. Environmentally friendly, it has anti-bacterial properties
and doesnt need polishing.
Gerflor
United Kingdom
+44 (0)1926 622600
www.gerflor.co.uk
The building provides educational areas for

schools, as well as recreational spaces, a
spacious caf and offices. Moveable walls
were specified so that the caf can be divided to accommodate the needs of the local community. Two continuously hinged
sliding/folding walls allow smaller rooms to
be quickly created and opened out for
larger gatherings. In light grey laminate to
complement the decor, the SWG folding
walls, for which Style is sole UK supplier,
are fitted with double PVC seals for high
acoustic integrity between adjacent spaces.
They slide into place along a ceiling track,
creating a firm wall with pass door within
minutes.
Style, United Kingdom
+44 (0)1202 874044
www.style-partitions.co.uk
A recent addition to the companys portfolio

is the Illumine handrail with discreet LED inserts, which provides direct lighting to stairs
and can be specified on Stargard, Sentinel
and Citadel handrails and all balustrade
products. Sentinel offers a range of infills including glass and perforated metal sheet,
whilst Citadel is a brass handrail and balustrade system for a rich, traditional appearance in buildings of all types. In bright or
satin polish finish or with a clear lacquer applied after polishing, it is complemented by
a range of infill panel options.
SG System Products
United Kingdom
+44 (0)1473 240055
www.handrailsuk.co.uk
2016 3
291
Colourful cladding lets the light in
Ducting solution
Six colours of translucent polycarbonate

rainscreen cladding from Rodeca have enabled the creation of an unusual shop front
at Mandeville Secondary School in Aylesbury, Buckinghamshire. More than 100 PC
2540 double-height 40 mm Kristall wall panels as outer and inner faces were specified
by Jacobs Architects in varying hues of
blue and green, and featuring graphic silhouettes of sportspeople and dancers, for a
new 3.2 million sports and music building.
Kingspan KoolDuct was used in the redevelopment of the main library at the University of Hull, in a major project to provide a
light, modern facility. With over a million
books, the Brynmor Jones Library has been
a focal point for students for nearly 60 years,
and Sheppard Robsons design helps create new open learning zones and improves
the flow between the original front section
and the rear extension constructed in 1969.
Along with improved IT systems and flexible
areas, a public space for exhibitions also
houses the universitys art collection.
The steel-framed, two-storey building comprises a new entrance foyer, four changing
rooms, dance/fitness and music studios and
administration offices. Part of the brief from
the county council was the requirement for
wheelchair access throughout and this involved connecting two existing buildings
with a height difference of 1.3 m without the
use of steps.
Said architect Anthony Corke: The dance,
fitness and staff areas all face the main entrance to the school. We wanted to provide
these spaces with as much light as possible
but still retain privacy. The Rodeca product
allowed us to achieve both these factors.
The main works included demolition of existing buildings and the construction of a new
steel-framed building with external envelope

incorporating significant areas of glazing
and curtain walling.
Developments in the thermal performance
of the panels mean they can now be manufactured with U values as low as 0.71 to
0.77 W/mK as a single-wall construction
and 0.36 to 0.43 W/mK as a double-wall
construction. As such, they can be used to
allow natural daylight (with light transmission
of up to 66 %) into a building without compromising its thermal integrity and are capable of reducing energy losses by as much
as 80 %, states the company.
Rodeca cladding was also chosen for two
buildings which form the new Sacred Heart
School, a mixed Roman Catholic voluntaryaided comprehensive school in Camberwell,
London (seen below, left). In the sports and
assembly halls, where they have been used
as a clerestory feature, and in two light wells
in the new teaching block, the panels form a
double-wall construction of 40 mm PC 2540
panels in Kristall finish.
The same panels form a double-wall construction to a clock-faced lightbox on top of
the teaching block, which acts as a lantern
at night, providing a community focal point
of reference. In addition, an entrance courtyard is clad with 60 mm PC 2560 panels in
Opal finish on all sides at first floor level,
whilst 25 mm PC 2625 wall panels form an
outside canopy.
The 9,200 m2 site was remodelled by main
contractor Balfour Beatty to provide new
and larger accommodation and increased
form of entry. Cottrell & Vermeulen Architecture designed the two new buildings, which
are clad mainly in brick.
Rodeca
United Kingdom
+44 (0)1268 531466
www.rodeca.co.uk
Said Richard Cardiss of fabricator and installer Western Thermal, As the KoolDuct
panels are pre-insulated we were able to
skip the process of installing a traditional
duct system and installed the boards direct
to the riser walls, which was necessary due
to the access requirements. Its premium
performance insulation core allows the system to achieve very low thermal conductivities and it can be used to produce ductwork
with minimal air leakage, for considerable
energy savings over time, it is claimed.
Kingspan Insulation
United Kingdom
+44 (0)1544 387384
www.kingspaninsulation.co.uk
292
2016 3
Art of waterproofing
Acrylic stone helps blend the old with the new
Kemper System Kemperol 2K-PUR has replaced the failing waterproofing membrane
at a National Historic Landmark housing an
important art collection in New Canaan,
Connecticut in the USA. This was under
threat from an inherent problem of the basement structure: moisture infiltration and inconsistent temperature and humidity levels
had resulted in mould growth. Dating back
to 1965, the earth-berm structure, designed
as a modern interpretation of the Treasury of
Atreus in Mycenae, was built to house Philip
Johnsons private art collection and was
later donated to the US National Trust.
The public services areas of Almere Town

Hall in the Netherlands, above, have been
completely refurbished and include extensive use of Hi-Macs acrylic stone from LG
Hausys. The brief for architects Fokkema &
Partners was to emphasise the original characteristics, and at the same time create an
interior with unique touches. Previously it
was a dark building, and its concrete structure and height and the gold slabs embedded in the columns were not very visible,
but the remodelling has highlighted and enhanced the main features.
Test pits were dug to determine the condition of the waterproofing beneath the earthberm roof; the existing membrane had undergone piecemeal repairs over the years,
and sections that were intact were assessed
as at the end of their useful life. It was held
in place by 50 red coping stones, each
weighing up to 650 kg, and these had to be
removed by crane and returned to their exact location on site following installation of
the new Kemperol membrane.
Kemper System
United Kingdom
+44 (0)1925 445532
www.kempersystem.co.uk
A new layout for the ground floor means the

public services are accessed straight from
the main entrance, creating a more dynamic
space along its length. The public counters
and consultation and waiting rooms are located in an open environment, whilst the
vast proportions of the reception area stand
out due to the light diffused with the use of
Arctic White acrylic stone, which combines
well with the original structure. As well as
the counters, the touch screens for public
use are in the same material, creating a visual consistency across the whole area.
Hi-Macs has also been employed in the
transformation of the Tourism Office seen
below, located in the Casa de la Panadera
in Madrid, Spain. There are two areas the

vaulted space where the old bakery stood
and the area that was the courtyard of the
house. Although viewed as a whole, it has a
number of separate sections including a
general information area, a shop selling souvenirs, bus and theatre tickets etc. and an
audiovisual set-up for use by visitors. Underfloor heating and LED lighting have been
installed, but the brick archways and plastered walls have been retained.
Alpine White and Opal acrylic stone were
used to create an innovative design that
blends seamlessly with the historical characteristics. The counter winds around the
columns in both directions to create areas to
serve the public; in this way, visitors can go
to any point easily and, in addition, the continuous surface presents different heights to
accommodate people standing, seated or in
a wheelchair. The material properties mean
joints are invisible, and its durability and
strength were also major factors for both
projects, as well as the non-porous surfaces
being hygienic and easy to clean.
LG Hausys
United Kingdom
+44 (0)1892 704074
www.himacs.eu
2016 3
Living roof on eco lodge
Cost-cutting results of streamlined system
Peace and reconciliation charity ASHA UK

has used Firestone's RubberGard EPDM
roofing membrane as part of a green roof installation for a new eco lodge within its sustainable development in Gloucestershire. A
centre for inter-cultural activities, including
educational, performing arts and environmental programmes, it offers an inspirational
place that welcomes people of all faiths and
cultures. The lodge has been constructed in
the 4.5 acre gardens to provide a space for
meditation, observing nature or for use as a
break-out area during meetings and educational programmes.
Technical support and acoustic expertise

from Knauf has helped deliver a school that
provides an exciting mix of learning environments and social spaces, despite being
built to a tight budget, states the company.
A new-build, secondary 1,100-place Catholic girls school in Croxteth in Liverpool, the
St John Bosco Arts College has delivered
15 % more area than the traditional BB98
school, and enabled greater flexibility in the
use of space.
A green roof was specified for the timberframe building and flat roofing specialist Envirotek suggested the 1.5 mm fully-bonded
waterproofing membrane and accessories
for the warm roof system. A vapour barrier
was installed on to the 120 m2 plywood roof
followed by 120 mm rigid PIR insulation
board. The membrane was then adhered to
the insulation board using Bonding Adhesive, and the QuickSeam Splice Tape
system was used to securely seal the joins.
Custom-made brackets were fitted to support the green roofs retaining angle, using
QuickSeam FormFlash to waterproof these
details. The green roof medium was then installed by Landmark Living Roofs to complete the project. Said Enviroteks Neil
Jones, We have been using Firestones
EPDM roofing membranes for more than 20
years and always feel confident in recommending them for installation where the waterproofing membrane will be used underneath another element. The ASHA Centre is
a very special and peaceful place and the
completed eco lodge reflects its natural surroundings with an attractive green roof that
will remain waterproof for decades.
Firestone Building Products
United Kingdom
+44 (0)1606 552026
www.firestonebpe.co.uk
Acoustically, the challenge was to provide

a mix of environments within a 91 55 m,
three-storey, single-span and column-free
environment that is focused on an open
space at the centre of the school. This public atrium space has a green hill at its heart
that acts as the hub around which cellular
classrooms and break-out spaces are clustered to suit various educational functions
but all of which set different requirements in
terms of achieving compliance with the
BB93 acoustic guidelines.
Built on a budget of just 1,191/m2, the aim
was to combine value engineering with simplicity, streamlining the design so that the
number of wall and ceiling types was kept to
a minimum, thereby reducing the number of
components required as well as simplifying
293
management on site. The number of partition types was reduced from 10 to six.
Knauf Soundshield Plus plasterboard has
enabled the teaching areas to meet the
strict acoustic standards; Performer partitions clad with the plasterboard and using
the Resilient Bar technology are said to
achieve up to 65 dB (Rw) within an overall
width of just 164 mm. The companys Impact Panel is installed in corridors and circulation areas and workshops. Designed
to rovide a durable finish that is easily repaired, it can be combined with other Knauf
products to give an acoustic performance of
up to 57 dB (Rw).
Both products are mounted on frames of
70 mm C Studs. The conventional means
of achieving this would be to install two
12.5 mm boards either side of a partition,
whereas the same performance is possible
with just one layer of 15 mm Soundshield
Plus. Similarly, Impact Panel also means
one board can be installed rather than two
layers or more.
Knauf
United Kingdom
+44 (0)1795 424499
www.knauf.co.uk
2016 3
294
Facades
Colours make connections to the landscape
Height of technology
First prize in the Architecture category in the

Tile of Spain Awards went to a multipurpose
school hall with a ceramic latticework sliding
facade, which also enhanced the acoustic
and thermal insulation. The Gavina School in
Picanya, near Valencia in Spain, has a busy
extracurricular programme of sporting competitions and theatrical and musical performances, and the existing building could no
longer accommodate all events under one
roof, so a key requirement for the new
stand-alone structure (below) was versatility
and easy adaptation to a variety of uses.
The Crown is an installation commissioned

and created by the ceramics manufacturer
Casalgrande Padana to a design by Daniel
Libeskind, and has been installed near the
companys production facility in Italy. Devised as a ventilated facade anchored to an
extremely slender steel structure, its threedimensional design experiments with innovative new uses for the latest generation of
ceramics, being clad entirely with Fractile
porcelain stoneware tiles with a raised fractal motif, and surging upwards with a spiral
measuring 25 m in height.
Architects Carmel Gradol Martinez, Arturo

Sanz Martinez and Carmen Martnez Gregori also had to consider the aesthetics of
the present building and surrounding rural
scenery, as well as putting sustainability at
the forefront, in line with the schools commitment to best environmental practices. To
visually connect the new building to the
original school block, the architects chose
to echo its shape and hue whilst offering
new structural solutions, such as the sliding
ceramic facade and an internal wall system
that maximises acoustic absorption.
The upper section of the facade features
lightweight Perspex, screened behind louvres that span the entire wall, and both the
framework and the flooring are finished in

white concrete. The facade is constructed
from 90 sq.m of Estartit glass-filled clay
blocks by Cermica Ferres. Each of these
volumetric ceramic pieces has a circular
cavity in the centre filled with a safety glass
disc, in a random colour combination, thus
allowing colourful shadows to play across
the hall floor. Carmen Martinez Gregori commented that this has created a playful touch,
making the space inviting for children without being too overpowering and that the
building feels almost translucent, whilst in
fact it is a solid structure.
Tile of Spain is the voice of the Spanish tile
industry, encompassing more than 100 tile
manufacturers, and the awards celebrate
the creative use of Spanish ceramics in interior design and architecture internationally.
Among the shortlisted finalists was a municipal building in Alicante, Spain (top), designed by architects CrystalZoo and covered entirely in hexagonal ceramic tiles by
Ceramica Cumella in shades of green that
echo the surrounding hills and trees.
The shape is described as emphasising the

verticality of a sort of volumetric projection
that combines an almost hand-sketched feel
with a construction expertise showing that
an ecologically friendly, flexible material
such as porcelain stoneware can be used in
even the most unexpected context. This
new landmark follows on from the Ceramic
Cloud created by Kengo Kuma and the
structures are sited on two roundabouts in
an area linking Casalgrande and Sassuolo
in the Emilian ceramics district.
Tile of Spain
United Kingdom
+44 (0)20 7467 2385
www.tileofspain.com
Casalgrande Padana
Italy
+39 (0)522 9901
www.casalgrandepadana.it
Edition
in
Designing
Circulation Areas
Stairs, ramps, lifts
Routing
Planning principles
Designing Circulation Areas
Christian Schittich (Ed.)
Edition Detail
Christian Schittich (Ed.), 2013.

ISBN 978-3-920034-89-8
Hardcover: 74.95 / 60. / US$ 105.
+ postage/packing
in series
Pleasant and inviting Circulation Areas

A necessary evil or a fascinating design task?
Providing for circulation is about making
building components and spaces accessible
in the horizontal and vertical direction while
taking into account a wide variety of requirements. When architects make it into the pivotal element of their concepts, they often create
compelling yet surprising room constellations:
Spectacular lifts and escalators, unusual floor
plan arrangements or stairway sculptures that
define the space provide staging for the required pathways. Circulation areas take on the
characteristics of an amenity and become an
exciting spatial experience as well as a crucial

criterion of a successful design. The separation between circulation areas and space dissolves, because circulation areas become a
space of sojourn and communication.
Alongside extensive project documentations
that provide a great deal of inspiration and
stimulate new ideas, theoretical contributions
of renowned specialist authors illuminate the
topic in regard to planning basics, route guidance, steering of visitor flows, orientation in
space, accessibility for the disabled and the
important task of light planning.
AachenMnchener-Direktionsgebude
in Aachen
15
Architekten: kadawittfeldarchitektur Aachen
Projektdaten
Nutzung
Erschlieung
Bro
Hauptzugang n der Mitte
des Quartiers Foyer m t
sku ptu aler Treppe
interne Verbindung ber
Boulevard
Anzahl Geschosse
7 + 1 UG
l ch e Raumhhe
2 75 m (Bro)
2 90 m (Boulevard)
Bru torauminha t
122 100 m3
Bru togeschossflche 34 900 m2
Baujahr
2010
Bauzeit
35 Monate
Bestandsgebude und Neubauten fgen sich

durch einen zentralen Boulevard zu einer Einheit
und sind in die gewachsene Stadt eingebunden.
Das Versicherungsunternehmen AachenMnchener wollte
seine Geschftsbereiche die bisher auf verschiedene
Standorte in der Stadt verteilt waren in einem zusammen
hngenden Gebudekomplex bndeln Die Herausforderung
bestand darin eine Brolandschaft mit 30 000 m2 in ein
bestehendes stdtisches Gefge unter Bercksichtigung des
vorhandenen Bestands einzubinden ohne das Areal von der
ffent ichkeit abzuschirmen Den Architekten gelang es
sowohl den Ansprchen des Bauherrn nach einem reprsen
tativen zentralen Firmensitz zu entsprechen als auch die
Belange der Stadt und ihrer Bewohner zu erfllen Diese
wnschten sich eine Verbindung zwischen dem umgestalte
ten Bahnhof und der Aachener Altstadt die lange Zeit durch
die beiden zehngeschossigen Broscheiben der Versiche
rung aus den 1970er Jahren und diverse Anbauten verbaut
war Deshalb wurden auf dem an sich privaten Grundstck
an den entscheidenden Stellen ffentliche Wege angelegt
und so die fu ufige Verbindung Via Culturalis zwischen
Hauptbahnhof und Innenstadt geschaffen Differenzierte
Rume auf dem Grundstck zu denen kleinere Pltze und
eine grozgige Freitreppe zhlen stehen den Brgern als
ffentlicher Raum zur Verfgung
Boulevard als Raum fr Kommunikation

Es entstanden insgesamt vier Huser die die Brorume der
Versicherung aufnehmen und ein fnftes Gebude in dem
fremdvermietet Funktionen des tglichen Bedarfs wie Post
Grundrissausschni t
Erdgeschoss
Mastab 1 1250
Lagep an
Mastab 1 4000
Staged paths and exciting

communication spaces
14
13
12
AachenMnchener Pla z
13
Haupte ngang
14
Foyer
15
Zufahrt T efgarage
16
Bestandsgebude
17 19 Neubauten
20
fremdvermieteter Neubau
12
Lden und Gastronomie untergebracht sind die zur Belebung

des Areals beitragen Um dem Wunsch nach einem kommu
nikativen Viertel mit Transparenz und Durch ssigkeit zu
entsprechen wurde das Volumen auf unterschiedlich
geknickte Baukrper verteilt die ber einen verglasten Steg
den sogenannten Boulevard zusammengeschlossen sind
Im Inneren der Bauten steht diese Verbindung den Nutzern
mit seinen Aufweitungen und Verengungen als Raum fr
zufllige Begegnungen und Kommunikation zur Verfgung
Hier befinden sich zudem a le Gemeinschaftsbereiche wie
Mitarbeiterrestaurant Cafeteria Konferenz Schulungs und
Seminarrume Alle notwendigen haustechnischen Einbauten
wie z B Sprinkler und Rauchmelder sind hinter einer abge
hngten Decke aus wei lackiertem Streckmeta l verborgen
Fr grozgige Ausblicke in die urbane Umgebung sorgt die
geschosshohe Verglasung des Stegs die ber die Dachrn
der weitergefhrt ist
Innovative concepts for

providing infrastructure
New space strategies
Grozgige Treppenanlage
Durch den neu entstandenen offenen AachenMnchener
Platz erhlt die Firmenzentrale eine adquate Adresse an der
Borngasse Hier ist der Boulevard ber eine ausladende
20 m breite Freitreppe an das Straenniveau angebunden
und ffnet sich mit einem reprsentativen zweigeschossigen
Foyer zum Stadtraum Mit der Entscheidung den Hauptzu
gang in die Mitte des Quartiers zu legen wurde die Platz
folge um einen wertvo len stdtischen Freiraum ergnzt
Die grozgige Treppenanlage mit Zwischenpodesten
durchzieht serpentinenartig eine Rampenstruktur die die
Durchwegung des Areals auch mit Fahrrdern und Kinder
wgen problemlos ermglicht
Spectacular lifts and escalators

Typological spectrum of
project examples
3
1
Via Cultura is
1 Dom
2 Mnsterplatz
3 E isenbrunnen
4 Theater
5 A exianergraben
6 Kapuzinerkarree
7 AachenMnche
ner P atz
8 Treppenanlage
9 Pocketpark
10 St Marien
11 Hauptbahnhof
114
20
7
19
12
9
10
17
18
11
16
115
www.detail.de/circulation
296
2016 3
Facades
Mountain shelter
Glass and aluminium combine to distinctive effect
During an architecture seminar at Harvard

University, a design was developed for a secure, durable and architecturally appealing
bivouac to be sited at an altitude of over
2,000 m in the Slovenian Alps. In co-operation with OFIS Architects, concrete specialist Rieder supported the students with the
design and implementation of the prototype
shelter, and the outer shell was made using
the companys ko skin glass fibre-reinforced concrete.
The design of the Wintergartenareal building

(above), the new headquarters of Leipzigs
Housing and Construction Association, was
the result of an architectural competition
and features a facade of Novelis aluminium.
Architects Schaltraum Leipzig in co-operation with GMP Architects Hamburg successfully fulfilled the brief for an office building
with an innovative facade that would blend
harmoniously with the cityscape.
With a thickness of only 13 mm, the comparatively low panel weight means the concrete
can be used in difficult-to-access areas,
and the high level of prefabrication and fast
installation were also decisive for this construction on the mountain using a helicopter.
It replaces a 50-year-old bivouac made from
iron sheet, and the colour and texture of the
new shelter harmonise well with the rugged
landscape. The panels are claimed to be
easy to install and require no maintenance,
being extremely durable, and do not have to
be stripped or painted for at least 50 years;
they are also non-combustible.
Rieder Smart Elements GmbH
Austria
+43 (0)6542 690 844
www.rieder.cc
Ceilings, walls and columns of reinforced

concrete are the main supporting elements
for the seven-storey complex, whilst the facade consists of glass elements combined
with coil-coated aluminium ff2. The prepainted 2 mm panels in bronze, beige and
grey are designed to provide outstanding
weather resistance and colour retention due
to the durable PVdF coating.
The vertical columns at the sides extend
over two floors, with the horizontal columns
connecting to the building edges, and the
three-dimensional intersections posed a major challenge. Artmann Consult Geomatik
undertook the detailed planning of the 3D
facade, which is fastened with screws in the
bottom beads of the cassettes. The north
and west elevations invite natural light into
all floors and with the opposite facade sur-
faces only rising to three floors it allows the

inner courtyard to enjoy the daylight.
The new corporate hq of Cockerill Maintenance & Ingnierie in Seraing, Belgium
boasts a golden champagne skin of Novelis
aluminium. The Castle Cockerill development project has seen the transformation of
the former industrial building into an administrative and technical centre to house 600
staff. The new building is appropriately
called LOrangerie as a nod to the castles
history when in the 18th century its greenhouses and orangery supplied the court
with exotic fruits and vegetables.
The J57S aluminium in anodising quality
was specified to provide a high-quality surface with metallic brilliance and consistent
colour and gloss levels. The combination of
glass elements and batch-anodised 2 mm
aluminium in champagne makes a lively
play of natural light and shadow. A second
layer of suspended aluminium in the same
colour provides a visual highlight due to the
reflection from the exterior facade.
Novelis
Germany
+49 (0)551 304-0
www.novelis.com
2016 3
Facades
297
Eye-catching screened facades now showing on new retail outlets

Seen here are two examples of Levolux
screening solutions that played a major role
in the facade designs. Above is a multiplex
cinema in Farnborough, Hampshire, designed by Lyons Sleeman Hoare Architects
to achieve a BREEAM Very Good rating.
Linked to an existing multi-storey car park
and shopping centre, the cinema occupies
a prominent position and the screening
serves as an architectural feature that also
obscures the view of existing unsightly
structures and a roof plant area, as well as
accommodating key building signage.
The distinctive, curved facade projects outwards and upwards, and is approximately
12 m across and 10 m high. There are 40
extruded aluminium fins measuring 200 mm
deep by 50 mm thick, each arranged vertically and formed from two pieces. For
added protection expanded mesh panels
are fitted to the rear, preventing birds from
penetrating the facade and further obscuring the view from passers-by.
vations with a combination of 200 mm rectangular fins and 300 mm twisted aerofoilshaped fins formed from single-piece aluminium extrusions.
The projecting entrance element has been
extended in height and fitted with a central
glazed section and aerofoil-shaped fins set
at a pitch of 310 mm and twisted through
180 from first floor to roof level. The rest of
the facade features the rectangular fins set

at an angle of 45 and a pitch of 250 mm.
The shiny bronze anodised finish contrasts
with the black powder carrier rails, and the
array of fins is emphasised at night with the
help of subtle integrated LED lighting.
Levolux, United Kingdom
+44 (0)20 8863 9111
www.levolux.com
Competence has a name.
The aluminium mesh is finished in a durable,

light grey powder coating, whilst the fins
themselves have a contrasting black and
white finish; a black powder coating was applied first, with a matt white vinyl covering
then applied to the leading edge of each fin.
Steel brackets were incorporated into the installation to accept the VUE signage that
was added later.
High-street brand Primark recently opened
a store at the Fort Kinnaird shopping park in
Edinburgh, which also has a distinctive external screening solution from Levolux. The
UKs second largest shopping park has
more than 500,000 sq.ft of open A1 retail
and leisure space and the new store, designed by architects 3D Reid, occupies an
existing retail unit that has been comprehensively refurbished and refitted. This included
redressing the buildings exterior, with the
addition of glazing, illuminated signage and
custom screening on the front and side ele-
Botanical Garden, CH-Grueningen
www.tuchschmid.ch
Partner for challenging

projects in steel and glass
298
Facades
2016 3
Construction first
Metal mesh offers protection on a sliding scale
The Portakabin Group is working on a 14

million design and build contract for the
UKs first university technical college to be
built off site. The Global Academy in Hayes,
London will provide academic and vocational training for 14 19 year olds wishing to
work in the broadcast and digital media industries. Facilities include radio and TV studios, and a sports hall, theatres and a cinema linked to a four-storey modular building
by a full-height central atrium space.
The Ecole Polytechnique Fdrale de Lausanne in Switzerland is one of the fastestgrowing universities in the world, with space
requirements to match. Shown above and
below is the recent extension of the Institute
for Mechanical Engineering, which has been
merged with the Centre for Neuroprosthetics
(CNP) founded in 2008. The Ple de bio-ingnierie, designed by Dominique Perrault,
owes its appearance to a three-dimensional
zig-zag facade that consists of sliding solar
protection elements made of a metallic fabric from GKD.
A Yorkon solution integrates the modular

and site-based constructions, and an expanded metal mesh of anodised aluminium
from first floor to roof level will cover both
elements, acting as a screen across the
whole length. The ground floor will feature a
polycarbonate finish in an opal shade as
well as areas of curtain walling. The upper
floors to the front elevation will have a deep
aluminium framing, with coloured lighting
around the windows to the radio studios,
whilst the rear elevation will feature longspan composite insulated wall panels with
large-scale vinyl graphics.
Yorkon
United Kingdom
+44 (0)845 2000 123
www.yorkon.info
The four-storey facade features 630 panels,

each measuring 1,100 3,600 mm, which
form a vertical and horizontal pattern that
spans the entire building like awnings. The
panels are alternately affixed at the top and
bottom and are made of natural-coloured,
anodised Escale aluminium fabric, which is
fixed in place by means of a stable frame
construction using clip bolts.
Arranged in groups of three, two panels in
each group are motorised and move on rails
behind the fixed element in a telescopic
manner. When closed, the panels guarantee
efficient solar protection, freeing workplaces
from the glare of the sun whilst offering unhindered views to the outside. The open
structure of the fabric also allows daylight

into rooms and enables natural ventilation. It
supports energy-efficient climate management throughout the building, and panels
can be adjusted on a room-by-room basis to
suit usage and the time of year.
For Perrault the decisive factor in the choice
of material was its visual appearance. The
spirals, each measuring 7 150 mm, reflect
sunlight particularly intensely and lend the
panels a Mediterranean lightness. Escale
7 1 mesh was specified for the upper
three stories; for the ground floor Escale
7 2, with 2 mm flat wire, offers greater protection from vandalism.
For static reasons, a stainless steel fabric
was chosen for the entrance area. The delicate lateral bars and thin, round supports
upon which the frame is mounted on one
side also carry enormous loads at the canopy. In order to allow for the snow load typical of the region, additional central fastening
fixtures were added to the panels at the
overhang using special brackets.
GKD
Germany
+49 (0)2421 803-0
www.gkd.de
Edition
NEW
best of DETAIL:
Concrete
NEW February 2016
Christian Schittich (Ed).
ISBN 978-3-95553-286-4
Paperback: 49,90 / 40. / US$ 70.
+ postage/packing
best of series
Architectural highlights from DETAIL

Multi-layered, multi-faceted and malleable like
no other building material concrete offers
enormous potential for the future.
Depending on its composition, the uses for
concrete range from simple furnishings to
impressive interior designs, from fascinating
faades to wide-spanning support structures.
Love it or hate it, concrete is part of the building culture and whether filigree, sculptural
or massive its here to stay thanks to the
wealth of construction and design possibilities

it offers our urbanised environment.
Best of DETAIL: Concrete brings together
highlights from Detail magazine from the past
few years about this expressive building material. In addition to interesting professional insights and articles, the publication provides a
comprehensive section of case studies from
train stations to family homes to churches
that offer inspiration for individual design work.
Highly expressive surfaces

Massive, sculptural, filigree
Types of concretes and their uses
Comprehensive selection
of completed projects
www.detail.de/b-concrete
2016 3
300
Bathrooms and
Sanitaryware
Flowing design
Slimline porcelain surfaces create overall impact
Luxury bathroom brand Keramag Design is

reflecting the trend for solid surfacing in the
bathroom with its premium Varicor material
that offers a streamlined design and contemporary aesthetics. Two sizes of washbasin, 1,400 and 1,600 mm wide, are available
in its avant-garde Xeno collection. The
seamless, ultra-smooth surface is said to be
warm to the touch and easy to clean and
maintain. The basin is just 12 mm thick and
features a gently flowing inner surface.
Developed by Fiandre to echo the warmth of

wood floors, Woodsy Maximum has a natural appearance and a soft structure said to
feel pleasing underfoot. It is manufactured
using the Maximum Fiandre Extralite technology, which combines the established
characteristics of high-performance porcelain stoneware in terms of exibility, durability and strength with light weight. Its 6 mm
thickness simplifies installation and allows it
to be laid on top of existing floors.
Matt finishes are reported to be increasingly

favoured over gloss, and the white ultra-matt
texture vanity unit teams well with the new
basin, as seen below. Storage units also
come in matt grey or in the darker Scultura
Grey wood veneer, as well as in a white
gloss finish if preferred.
The Pearl, Cream and Tobacco colourways,

in a semi-polished finish, feature realistic
veins, knots and details that characterise
their appearance without limiting their use
with other materials. The panel format in
size 180 21.5 cm shows to advantage
both as a single colour pattern (top, right,
Woodsy Cream floor with Marmi Premium
White marble-effect wall tiles) as well as a
mix of all three (below, right).
The company has recently launched a fully

updated specification manual, providing an
easy-reference guide to its entire product
portfolio. Hard copies are available on request and a digital version can be downloaded online from the website.
Keramag Design
United Kingdom
+44 (0)1270 871756
www.keramagdesign.com
Aqua Maximum is a complete system of

washbasins, plus a shower tray and counter
top, that can be customised with all products made with Maximum Fiandre Extralite.
A total look combining floors, surfaces and
sanitaryware can therefore be used to create a space with harmony and aesthetic
continuity. Customising the accessories be-
gins by selecting the desired model and the

effect the various materials can achieve, including marble, stone, concrete and resin.
Where materials with a distinct vein are selected, such as marble, the washbasin or
shower tray will appear monolithic due to
the book matching of the visible vein.
Within the Aqua Maximum range, these
washbasin models are available: single and
double integrated basin, up and down; single and double integrated basin, waterfall;
and a pedestal basin. Basins, shower tray
and counter top can all be made in various
sizes to suit requirements.
The components are made individually and
assembled by hand using traditional craftsmanship and retain over time the technical
and aesthetic features typical of 100 % porcelain stoneware surfaces: flexural strength,
resistance to deep abrasion, chemical and
stain resistance, colour fastness and ease
of cleaning. Each fitting contains a core of
Wedi high-density extruded polystyrene, for
extra rigidity and water tightness.
GranitiFiandre SpA
Italy
+39 (0)536 819611
www.granitifiandre.com
Edition
Practice
Bathrooms
and Sanitation
Principles
Design
Implementation
Bathrooms and Sanitation

Sibylle Kramer
Sibylle Kramer, 2015.

120 pages, with numerous
Format 21 29.7 cm.
ISBN 978-3-95553-232-1
Paperback: 52.90 / 42. / US$ 74.
+ postage/packing
Practice series
Contemporary sanitary planning

Customised bathrooms are a basic requirement these days for every house, apartment and hotel room. In addition to personal
hygiene, bathrooms also have an important
function at the emotional level when it comes
to taking time out, indulging and relaxing. The public sector can also benefit from
appealing and hygienic sanitary areas. Planners are increasingly required to deal with
customer desires and offer personalised
solutions, in addition to knowing about the
technical requirements and movement areas
of sanitary facilities. Besides producing well

designed floor plans, experts need to take
into account sustainability and accessibility,
as well as materials, light, colour, fixtures and
fittings.
Bathrooms and Sanitation provides comprehensive information on the basic principles
of contemporary sanitary planning, as well
as detailed solutions for state of the art
execution and fitting. A selection of successfully completed projects offers readers
inspiration for their own work.
Comprehensive design principles

and planning tools
Examples of successful projects
Sanitary areas as a sign of quality
when evaluating buildings
Renovation, modernisation
and accessibility
Fittings, materials and lighting design
www.detail.de/p-bathrooms
302
Bathrooms and Sanitaryware
2016 3
Comprehensive wall panel and tap ranges
Treading safely
For shower, bath and basin areas, Flight

Modular Wall by Mira Showers is a range of
waterproof panels designed to achieve a
high-quality professional installation that
saves time over traditional tiling. Once in
place, the wall panels are a realistic alternative to tiles and remove the need for grouting and /or any visible silicone sealant when
used with upstand shower trays or baths. A
leak-proof corner profile offers complete integrity where panels butt together.
Aiming to support multi-generational living

and aid with accessibility, Twyford has extended its Opal bath range to include a
tread pattern, adding seven new variations
to this range. The tread covers the full
length of the base, and the bath comes in
the standard 1,700 700 mm size shown
here and a more compact, space-saving
1,500 700 mm model.
Manufactured from acrylic-capped ABS for

high impact resistance, the panels incorporate Biocote antimicrobial technology to
help keep mould at bay and eliminate the
risk of grout discoloration or porosity. The
company describes this as a fit and forget
product, combining low maintenance with a
stylish appearance, and making it suitable
for applications from social housing to hotels and student accommodation.
The 2.01 m high shower panels come in a
choice of three notional widths: 760, 800
and 1,200 mm. Actual dimensions are 735,
775 and 1,175 mm tolerances being provided for by the complementary 25 mm corner profile, inclusive to the panels package.
The bath splashback is 500 mm high, whilst
that for basins is 250 600 mm. Also new
from Mira is the Aspects collection of taps

comprising seven designs, from the chunky,
square-edged Honesty range to the authentic Victorian appearance of the Virtue, to
cover every style of bathroom. Three examples are shown here. Fluency, top, offers
ease of use with its raceway shaped control lever that can be operated with just a finger or the side of the hand. Evolve (bottom,
left) is geometrically styled and designed to
remove the usual wedge cut-out from the
back of the lever and also the bite-out from
the spout for the aerator.
Below is Revive, offering a contemporary
pastiche of Victorian styling with features
such as the capstan taps, but designed to
complement both period and modern newbuild homes. The handle design has touch
points that feel generous between the fingers. Each of the seven designs covers the
full range of product types: monobloc, basin
and bath pillars, bath filler, and bath/shower
mixer. They work on all pressures, have integrated push-button diverters, and flush-fitting aerators for ease of cleaning.
Mira Showers
United Kingdom
+44 (0)1242 221221
www.mirashowers.co.uk
The company says the extra choice will provide greater design flexibility for developers
and social housing contracts. The tread pattern is also available with the low-volume
model, which saves up to 90 litres of water
each time, and there is additionally the option of chrome handgrips. The range carries
a 25-year guarantee.
Made of acrylic, to be warm to the touch
and offer good heat-retention properties,
the baths can be fitted with the new twinskinned Endurance front and end panels for
added robustness. The front panel fits any
1,700 mm bath and the end panel is available in 700 and 750 mm widths.
Twyford Bathrooms
United Kingdom
+44 (0)1270 879777
www.twyfordbathrooms.com
Edition
Museum Buildings
NEW
Construction and Design Manual

NEW April 2016
Christian Schittich (Ed.).
Hans Wolfgang Hoffmann.
352 pages with approx. 500 graphics
(illustrations and photos).
Format 22.5 28 cm.
ISBN 978-3-95553-295-6
Hardcover: 78. / 62. / US$ 110.
+ postage/packing
In cooperation with DOM publishers
Museums: Workshops of the Future

The museum as a building type and architectural space bear a complex relationship
to each other. Architecture competes with
the exhibited objects on the one hand and
gives way to them on the other, enabling the
museum to develop as regards content.
This manual guide has its point of departure between both poles and targets both
designers and users. The aim of the publi-
cation is to facilitate communication in the

planning process of a museum, whether this
is during the conceptual stage, the competition, or the design and construction phase.
In addition to an introduction on the architectural history of the museum, the authors
examine the key planning parameters involved
in the conception and design of a contemporary museum. Buildings and projects provide
inspiration for individual design work.
From the treasure chamber to the

public forum via the White Cube:
the history of museum construction
Examples from museums of art,
territories, knowledge and events
New constructions and converted
buildings: successful concepts for
dealing with actual locations
Overview of the various demands
placed on designers
www.detail.de/museumbuildings
304
2016 3
Textured tiling
The shape of things
Added dimension
A new three-dimensional texture and tile

size, as well as new matt surfaces, have
been added to the Lumina white body, total
white wall tile collection by FAP Ceramiche
designed for contemporary decor solutions.
The 3D Diamante structure (seen above) is
available in both a matt and polished finish,
and creates a delicate movement on the
walls. This completes the comprehensive
range of Lumina textures: Line (below),
Curve and Square, also now in a choice of
matt or polished, and Rose, in polished finish only, all in size 25 75 cm.
The Premium Collection is a new luxury line

from the Porcelanosa Group and the concept of the collection has been pioneered
by the creative direction of Spanish architect Ramn Esteve. This, together with the
quality, innovation and design of its materials, have combined to produce an exclusive
and unique range of high-end products,
states the company. The collection showcases the latest bathroom trends such as
natural stone flooring, wall tiles and basins,
white and black bathroom furniture and the
innovative use of its own Krion solid surface material.
The Rug shower tray by Glass 1989 is made

of PlyLite, a composite multi-layer material
claimed to offer exceptional resistance and
superior performance. It has a Soft-Touch
polyurethane vinyl finish, and the non-slip,
anti-mould and anti-bacterial coating is designed to ensure maximum safety and optimal hygiene. Colours available are white,
hemp and grey.
Additionally, Diamante and Line, along with

the base tile, are available in the new tile
size introduced by the company: the 50
110 cm RT is designed for large contract
and residential settings with a sophisticated
flavour. The result is described as a broad,
versatile collection able to meet a range of
different design needs, offering a perfect
harmony of textured effects and light. The
Lumina collection is completed with a range
of special pieces, including two steel listels,
Silver Cromo and Silver Satinato.
Seen above is the Krion bathtub t801, with

Amsterdam 2D Hexagon Beige limestone
wall covering and Ottawa polished limestone flooring by Lantic Colonial. Below is
the Minim basin in Grey Stone with wall and
floor in Habana Grey Classico, also by
Lantic Colonial; the brassware is Lounge by
Noken. The eight group companies offer an
extensive range that also includes kitchen
designs and advanced construction solutions for contemporary architecture.
FAP Ceramiche
Italy
+39 (0)536 837511
www.fapceramiche.com
Porcelanosa
United Kingdom
+44 (0)8444 818952
www.porcelanosa.co.uk
The tray is said to be simple to install, being

lightweight and easy to handle, and therefore suitable for retrofitting. It has been
awarded a Consumers Award by European
Consumers Choice, an independent, nonprofit-making organisation based in Brussels, which chooses products for their design, innovation and ease of use.
Tray dimensions range from 70 to 180 cm in
length and from 70 to 100 cm in width, and
it can be ordered in any size within this
range to the nearest centimetre. The height
is 45 mm. There is a concealed accessible
drain, and a waste cover in matching finish
is included.
Glass 1989 srl
Italy
+39 (0)422 7146
www.glass1989.it
2016 3
The answer could be 42
New bath and basin shapes are in the frame
With its wall-mounted Vitus tapware, manufacturer Schell aims to provide a solution for
every requirement in public, commercial
and sensitive sectors of application. A total
of 42 designs forms a range of modern and
futuristic fittings with regard to operability,
protection against scalding and ease of
cleaning and disinfection, as well as saving
water and energy. As a mixed-water fitting
or with a thermostat, which can immediately
attain the temperature set using the rotary
handle, all designs have a pivoting outlet in
a choice of 210, 270 or 330 mm lengths.
German enamelled steel bathroom specialist Bette has launched a number of new
products into the UK over recent months,
including the BetteLux Shape range: a
baths and washbasin concept that places
the soft and flowing shape of the BetteLux
bath and basin in an open steel frame. They
are enamelled on both the inside and outside, in white or black, allowing the eye to
focus on the shape, which is visible from all
sides and is accentuated with a choice of
colours in the steel frame.
The taps are suitable for both new and retrofitting; with the latter, existing pipework can
be utilised, speeding up installation and so
reducing noise and disruption. Operation is
either by using the ergonomic single lever,
via open/closed function, self-closing function, sensitive electronic CVD button or a
clinic arm lever, below, which persons with
a handicap and restricted movement can
also use easily. To protect against scalding,
the warm water temperature can be restricted at the thermostat to 38 C.
Schell GmbH & Co KG
Germany
+49 (0)2761 892-0
www.schell.eu
The range features complementary furniture

and accessories, and has won several
awards including a Design Plus Award at
the ISH trade fair and the Iconic Awards
Best of Best from the German Design Council. The hidden drainage and overflow system was developed to ensure the on show
inside/outside design was not compromised, and means the bath does not have a
visible overflow and yet cannot be overfilled.
All Bette enamelled steel products have a
30-year warranty.
The company has created the BetteComodo
(below) for those who like to take frequent,
long baths. It is available in white and other
colours in three sizes, with matching enamelled steel washbasins. The bath features a
305
comfortable width at the head end, whilst

the edge serves as a support for the arms.
Steep sides at the foot end provide generous space for lying down as well as a secure standing surface for when the bath is
used for showering, and the depth is generous at 45 cm.
Lastly, the BetteModules furniture concept
flexibly connects individual products in the
Bette range and also allows bathrooms to
blend into bedrooms. The modular range
shown top, right and below, has a minimalist
design, with push-to-open fittings instead of
handles, and with the surfaces finished in
high-sheen gloss white varnish, five matt
varnish shades or with three natural wood
oak veneers.
The system provides a high level of flexibility and vanity unit modules can be put on
top of or next to each other, depending on
the storage space required. Sideboards are
also available providing complementary
storage and can be used alongside the
free-standing monolithic basins.
Bette
United Kingdom
+44 (0)844 800 0547
www.bette.co.uk
2016 3
306
Landscaping and
Outdoor Living
Oak appearance
Streamlined external storage solution
Millboard wood-free outdoor flooring is

moulded from real oak to reproduce the look
of the natural grain, for an attractive surface
that wont warp, splinter, rot, fade or lose its
appearance. The Lastane surface is nonporous and anti-fungal with a high anti-slip
rating, and is designed to withstand challenging weather conditions. The low-maintenance, eco-friendly polyurethane resin and
mineral composite decking (RMC) material
comes in a wide choice of colours and designs for both residential and commercial
applications examples include university
campuses and hotel decking projects.
The Live Out storage system of aluminium

profiles and doors from Sistemi RasoParete
is specifically designed to equip and enclose an external space elegantly, whether
its a terrace, veranda, deck or a portico.
The company is already known for its concealed systems for interiors described as
disappearing systems which offer functionality in a discreet, non-invasive way.
The Enhanced Grain range comes in a 176

3,600 32 mm board size, in Coppered,
Limed, Golden and Smoked Oak as well as
Jarrah (from the Australian hardwood of the
same name). The Weathered Oak range is
moulded from 100-year old reclaimed oak
timber, creating a distinctive worn look, in
Driftwood and Vintage colourways as 200
3,600 32 mm boards. Other ranges are
available, together with matching fascia
boards and edging to complete the look.
Millboard
United Kingdom
+44 (0)2476 439943
www.millboard.co.uk
This concept has now been extended to exploit external spaces that may not otherwise
be fully utilised due to the weathering effects of rain, snow, wind and sun, and also
the corrosive action of salt on properties in
coastal locations, all factors that can accelerate the deterioration of outdoor furniture
and fittings.
The Live Out system provides a host of options from precision-made shelving, single
doors and small storage to entire, fully customised systems. It can be used to construct entertaining facilities, such as an outdoor kitchen or a barbecue area, or storage
for lounging chairs and pool towels, which
can be completely closed up and protected
from the elements after use.
As well as being able to utilise outdoor
space effectively that is otherwise not used
for much of the year, the tailor-made aluminium storage will allow the homeowner to recover valuable internal space from items
that could be kept outside if well protected:
for example, the folding door system can
become a sheltered area for a boiler/utility
room or for laundry appliances, as well as
outdoor shoes and clothing.
The aluminium profiles and doors are preassembled in the factory to verify that the
units are constructed to the highest standard, with regard to the coplanarity of the
cabinets and the fluidity of the mechanisms.
Where possible they can be shipped already assembled to site and are fitted in the
same way to both brickwork and drywall, so
simplifying installation.
With a thickness of 19.8 mm, and resistance
to temperatures of -30 to +60 , the aluminium system is pre-painted with two coats of
primer ready for completion with the desired
finish. Panels are also customisable with
etchings and screen prints, for a potentially
infinite range of products.
Sistemi RasoParete
Italy
+39 0571 57446
www.sistemirasoparete.it
308
2016 3
Contemporary seating style moves outside
All angles covered
Ethimo has added a new piece to its Costes

collection in the form of a modular sofa
made from natural teak (below, left), making
it the garden furniture companys most versatile collection, suitable for both public and
private spaces. The emphasis is on material
quality and colours of wood, with products
in varnished mahogany or with a pickled
teak finish, as well as the natural teak option. The collection ranges from sofas to a
round table with a lazy Susan in the middle,
and from dining chairs to sun loungers,
through to the large 3 m table.
Available in sizes up to 15.25 m in width and

61 m in length, GeoGard EPDM lining
membrane from Firestone is described as a
built to last solution for applications as diverse as irrigation reservoirs, fire reservoirs,
storm water attenuation, artificial wetlands
and waste water reservoirs. The product is
designed to be suitable for installation even
at low temperatures, and flexible enough for
complex shapes or on undulating ground; it
is chemically stable with approval for use
with fish life and exhibits excellent chemical
resistance, says the company.
structure extends up and over, and is

wrapped in a sail through which the light filters. With completely waterproof cushions,
Swing eliminates the barrier between indoors and out, treating garden furniture with
the same attention to detail, including contemporary shapes, as is usually reserved for
the home.
The companys renewed collaboration with

French designer Patrick Norguet has resulted in the creation of new furnishings and
extensions to some existing ranges. The
new range is Swing (seen above), a sophisticated lounge collection characterised by
its dual structure of black-painted aluminium
and pickled teak slats. The idea behind its
conception is based on repetition of the teak
element to create a comfortable seating solution and has produced a set of elegant,
durable chairs for outdoor environments.
For his Knit collection, Norguet decided to

work on a type of chair with no specific territory but rather with a versatile use and
also defined by the nature of the materials,
such as the synthetic braided flat rope, a
highly weather-resistant fibre, and teamed
with teak or black mahogany. These highperformance chairs and tables are designed to fit seamlessly into any environment. Described as the star collection in the
wide range of offerings from Ethimo, Knit
was created in 2014 and has now been expanded with new elements: a sun lounger,
love seat, rectangular coffee table and a
bergre-style armchair with high backrest,
accompanied by a lightweight footrest for
optimum relaxation.
The collection comprises a sofa available in

two sizes, an armchair and complementary
low tables, also in two versions, as well as a
swing seat the companys first: the metal
Ethimo
Italy
+39 (0)761 300 444
www.ethimo.com
A new strategy has led to the establishing of

a stockholding base in Rotterdam; commercial manager John McMullan explained: As
EPDM continues to grow in popularity as a
more flexible and U/V stable alternative to
PVC, HDPE and LLDPE liners, we are strategically focused on developing our market
share for larger civil engineering, utilities
and construction projects by simplifying the
supply chain. In this way, we can ensure
that contractors have the product they need
on site in the right quantity and within the
right timeframe.
Historically, there has been significant
crossover between GeoGard and the PondGard EPDM lining membrane for residential and smaller landscaping schemes, and
the company will continue to advise architects and engineers on the most appropriate
solution for specific projects. Added John
McMullan, Our distributor network will continue to offer both PondGard and GeoGard
but, by developing closer relationships with
specifiers and contractors for GeoGard installations, we are able to offer earlier technical support engagement for more complex
projects, ensuring the most effective, longterm solution.
Firestone Building Products
United Kingdom
+44 (0)1606 552026
www.firestonebpe.co.uk
2016 3
309
Paving the way to effective water dispersal
High-tech lighting
Sudstech porous paving is one of the latest

products introduced to the SuDS (Sustainable Drainage Solutions) market, with the
ability to transfer up to 50,000 litres of water
per sq.m/hr. Created using natural stones
sourced in the UK, it is suitable for private
and public usage, including domestic driveways, public footpaths, golf clubs and car
parks, where it can be used as an alternative to standard asphalt hard landscaping
materials, with the added benefit of a costeffective water management service.
Designer Enzo Catellanis new collection of

outdoor lighting fixtures for Italian specialist
Catellani & Smith is intended to recreate the
warmth and atmosphere of indoor lighting.
The glass plays a key role in this collection,
with the use of industrial glass shaped by
hand, as with all the companys lighting. The
most striking piece is Medous (above) that
consists of overlapping glass hemispheres.
When switched off the light is green, complementing the surrounding landscape, and
when switched on it turns white.
In a wide range of colours and finishes to

complement or contrast with architectural
colour schemes, product applications can
be modified to meet specification requirements, such as weight-loading capacity,
and can provide up to nine BREEAM credits. Due to its SuDS compliancy, planning
permission is not required.
The stones are combined with a specially
developed resin that allows rainfall to soak
evenly through the surface into the ground,
eventually finding its way to the water
course. Three recycled car tyres per square
metre are used to form the sub-base layer;
this is not only an environmentally friendly
solution, but means it can also be taken up
and reused to form a base layer for future
projects. Varying grades of angular aggregates are used to deliver maximised

strength and durability for a surface that can
withstand all usages without compromising
the quality of the material, claims the company. Sudstech is said to be unaffected by
severe weather conditions, with the rubber
sub-base layer allowing any expansion and
contraction caused by the constant freeze/
thaw process of water within its voids, so
eliminating delamination.
Trailflex (below, centre), also available from
Langford Direct, is a one-part, cold-pour
paving system said to be particularly suitable for public footpaths, cycle routes and
car parks where tree root intrusion is present. The rubber and stone mix material is
designed to flex to 90 without damaging
the performance or appearance of the surface, adapting to the contours of the terrain,
and will flex to allow the movement of the
roots in search of moisture, whilst maintaining a solid and attractive surface. It is also
fully SuDS compliant and accepts up to
50,000 litres of water per sq.m/hr.
In co-operation with Architettura Sonora,

this is also available with integrated audio
speakers, thereby creating a high fidelity
object which has been crafted using the
characteristic manual techniques that make
each Catellani & Smith piece unique, says
the company. The fixture seen below is
called Gocce di Luce (drops of light), which
is supported by an oxidised copper rod and
seems to emerge from the surrounding
landscape. The lighting is designed to move
with the wind, so that the drops resemble
the fruits on a tree.
Langford Direct Ltd

United Kingdom
+44 (0)161 212 1617
www.sudstech.co.uk
Catellani & Smith

Italy
+39 (0)35 656 088
www.catellanismith.com
2016 3
310
On the Spot
SeSa Build 2016 in Istanbul focuses on the sustainable city

plausible and easy to implement that many
of the around 800 visitors to the forum were
puzzled as to why there werent many more
of them.
Two years ago for the first time, Messe Mnchen together with its Turkish subsidiary
launched an international trade fair focusing
on earthquake-resistant construction: Seismic Safety, with a congress organised by
DETAIL. The response was extremely positive, and the concept was extended. The fair
is now called SeSa Build and was held together with the SeSa Talks international
trade forum from 25 to 27 February 2016 at
the Congress Center Istanbul.
For example, in Istanbul. The city is growing

at a phenomenal pace: Between 1950 and
2000 the number of inhabitants increased
from one million to 10 million. According to
Prof. Dr. Murat Gven, Director of the Istanbul Studies Center at Kadir Has University, around 17 million people currently live
on a strip of land approximately 110 kilometres in length from east to west, and approximately 50 kilometres from north to south. For
the years after 2020, a population increase
of around 20 million is forecast. The current
construction boom in the city is immense,
even in the areas designated as earthquake-prone, and infrastructure projects
and public spaces have little chance of
keeping pace. Another bridge across the
Bosphorus and a third airport are planned.
Both will stimulate construction activity and
population influx to these regions. Planners
and scientists such as Prof. Dr. Murat
Gven, Prof. Dr. Hseyin Kaptan, Atolye
Yetemis and Dr. zdemir Snmez from
Yildiz Technical University Department of
Urban & Regional Planning, who have analysed and documented the construction
Once again the focus was on earthquakeproof planning and construction, structural
engineering and IT solutions, along with topics such as urban requirements and concepts, which link together social circumstances and the resilience of ecosystems. As
part of the SeSa Talks, top speakers from
architecture, science, politics and industry
reported on innovative ideas and solutions.
The general conclusion was as follows: To
overcome the growing challenges of climate
change, specialists such as architects,
landscape architects, urban designers and
engineers need to work together. Projects
need to be planned in an interdisciplinary
way in order to make efficient use of increasingly scarce public spaces and financial
resources given the increasing densification
of cities. Some of the projects appeared so
process and its impact on the city for many

years, are somewhat critical of this uncontrolled growth. Dr. Snmez, who is in favour
of more decentralizations of the centres in
Istanbul, wants a rethink with regard to public spaces and an increased appreciation of
them in his country.
The social discourse and the political conditions in Northern Europe are totally different.
Here planners are (once again) opting for
densification. The 'City in the City' links public space and living, working and learning
even more closely. Buildings open to the
outside, include passages and space for interactions with the public, consciously integrate landscapes or themselves create new
green spaces. They offer users a pleasant
atmosphere, and are popular places at
which to meet or to which to retreat. Nature
and daylight are important components of
this integrated approach.
A Swedish showcase project for sustainable
urban development is SymbioCity, which
was presented by Bo Jerlstrm, former ambassador and head of the office for project
exports at the Swedish Foreign Ministry in
Istanbul. The concept has virtually become
self-sustaining, and can be transferred to
many other regions of the world.
3
2
Panel discussion on urban renewal with Prof.

Dr. Asuman Trkin, Dr. zdemir Snmez, Prof.
Dr. Erol Kktrk, Cemal Gke, Assist. Prof. Dr.
idem ahin (from left to right)
Viggo Haremst, Werner Frosch, both Henning Larsen Architects, Sofie Kvist, Gehl Architects, and
Barbara Di Gregorio, Rare Office (from left to right)
Prof. Thomas Auer, Transsolar, Julian Weyer,
C.F. Mller Architekten and Ferhan Tinli, MMI Eurasia (from left to right)
2016 3
The topic of Julian Weyer, partner at C.F.

Mller Architekten, was integrated design.
C.F. Mller always seek to gain an understanding of the processes behind projects.
They begin by developing the landscape
and the public space so that the building
has as much added value as possible for all
involved. This may mean high energy efficiency or integrated flood protection. The Danes have used state-of-the-art tools and planning methods such as BIM for many years. The panel discussion on BIM and Smart
Buildings, which was well attended by experts from Turkey and Qatar, showed how
interesting BIM is for local planners and how
it is also hotly discussed in these countries.
Context-sensitive planning, the influence of
simple geometries, and open spaces are
also all a matter of course for Werner Frosch
from Henning Larsen Architects. Specifically, this also encompasses the microclimate on site, the influence of sunlight, and
cooling effects through intelligent, multiglazed facades. The objectives of Prof.
Thomas Auer, CEO of Transsolar and Professor of Building Technology and Climatefriendly Construction at the TU Munich, are
the improvement of the environment and
the achievement of CO2 neutrality. This is
possible with technology and computer modelling. Ultimately it is just 'hardcore engineering'. Transsolar supports architects
worldwide with the realisation of technically
complex designs.
The topic of Dirk van Peijpe and his team
from de Urbanisten was city and water.
Here the city planner sees parallels to Istanbul. The office in Rotterdam develops strategies and concepts to protect people, buildings and infrastructure from flooding, storm
surges and heavy rain. Among the projects
that have made the Dutch team famous beyond the countrys borders is Benthemplein
Water Square in Rotterdam. Projects such
as these are robust and ensure a high quality of life in public spaces despite tight budgets, with different financing models such
as crowd-funding.
Sofie Kvists topics were roads, which nowadays account for around 80 percent of public spaces, and walking and cycling spaces.
She is careful not to demonize the car, and
believes with the right planning both can
work together. Sofie Kvist works as a city
planner for Gehl Architects in Copenhagen
and her projects are underlined by figures
from countless studies, analyses and discussions with stakeholders. Together with
municipalities, local organizations and architects, she develops concepts for making
public spaces accessible again. The next
SeSa build is planned for 2018.
www.sesa-build.com
Edition
best of DETAIL: Wood
Holz

200 pages with numerous
Format 21 29.7 cm.
ISBN 978-3-95553-214-7
Paperback:
49.90 / 40. / US $ 70.
+ postage/packing
best of series
Traditional construction material

for the architecture of the future
With its positive qualities and wide range of applications, wood excels in several areas: It meets the holistic evaluation criteria of sustainable construction and
is perfect for outdoor use in sophisticated designs and
facades, as well as for use in interiors. It enables short
construction times, is relatively inexpensive and both
builders and architects alike appreciate its sensuous
charm and familiarity. Even todays high standards for
acoustic insulation and fire safety in multi-storey buildings can be met by wood. These outstanding qualities
are increasingly turning this traditional construction
material into one of the most sought-after materials
for innovative projects of the future, while its structural
design potential, combined with a pure solution,
allows the building of mixed and composite structures.
Best of DETAIL: Wood brings together highlights
from DETAIL about wood as a material. Besides a
theoretical basis, the publication also offers a comprehensive section on projects, ranging from experiments to elaborate details, which provides abundant
inspiration and examples of successful architectural
design using wood.
Wood as a material:
architectural highlights
from DETAIL
Multi-faceted material
with future potential
Contemporary use of traditional
building materials
www.detail.de/b-wood
Edition
NEW
Martin Rauch: Refined Earth

Construction and Design of Rammed Earth
NEW November 2015
Otto Kapfinger (Ed.), Marko Sauer (Ed.).
160 pages. Format 22 28.4 cm.
ISBN 978-3-95553-273-4
Hardcover: 59. / 47. / US$ 82.
+ postage/packing
A fundamental guide to building with earth

For over 25 years, Martin Rauch has been at
the forefront of research and development in
all aspects of rammed earthed construction.
As proper design with earth can only come
from truly understanding the material, he
would now like to share his experience and
knowledge of this construction material in a
design manual.
The publication goes beyond projects to
focus on structural elements, such as the
design and layout of floors, walls, ceilings
Beim unsichtbaren Sturz hngt der Lehm ber die Schrauben befestigt am
Schrauben ha ten die Lehmschicht am
Trger aus Stahlbeton oder Trasskalk Wenn die Konstruktion an der Innen
Trger aus Trasskalk oder Stahlbeton fest
seite verkleidet ist kann der Trger an diesem Rand der Stamplehmwand
liegen wie dies beim groen Atelierfenster im Haus Rauch der Fall ist Da
and openings, which are clearly explained

with detailed project information from structures previously realised by Martin Rauch.
Various examples help to illustrate how to
overcome structural engineering difficulties
in earth construction and the design possibilities that result from these solutions.
Essays about earth as a material and its
particular aspects in the areas of building
biology, building physics and construction
permits complete this fundamental work.
S e werden vor dem Verguss in den

Stamplehm geschraubt
Martin Rauchs experience of over

25 years of practical application
in earth construction
durch bleibt die Lehmschicht gegen auen strker

ber den fnungen der breiten Tore beim Kruterzentrum in Laufen
tragen zwei thermisch getrennte Stahltrger den Sturz Da diese Fassade
aus vorgefertigten Elementen gefgt ist wurde der Trger schon in der Ele
mentproduktion miteingestampt und nicht erst vor Ort montiert Diese
Konstruktion ist aber ohne weiteres auch in einer vor Ort gefertigten Wand
umzusetzen Der Stahlsturz muss in beiden Fllen mit einer leichten ber
hhung eingebaut sein Die Last des darberliegenden Lehms drckt ihn
anschlieend in die Endposition Um die Kante der Lehmwand zu schtzen
ist am unteren Flansch des Trgers ein Winkelprofil befestigt das eine przise
Kante des Sturzes bildet und den Lehm an der Kante vor zu starker Erosion
schtzt
Ein mit in die Konstruktion eingebauter Sturz erfnet dem Lehmbau
From design details and

craftsmanship to prefabrication
and industrial production
formal neue Wege Lange Zeit bildeten breite fnungen eine groe Heraus
Plan links Deta lschnitt des Sturzes n
forderung erst in der Kombination mit einem anderen Material sind liegende
der Kape le der Vershnung D e Lehm
Fenster und breite Strze mglich
wand ist auf be den Se ten sichtbar
Plan links Der beidseitig n Stamplehm

ausgefhrte Sturz ber der Tre der Kapelle
der Balken st auf der Unterse te mit
in Batschuns Schn tt im Mastab 1 10
Lehm kaschiert Detailplan Sturz im

Plan rechts Der Regelschn tt im
Mastab 1 10
Haus Rauch Fassade aus Stamplehm

Innenwand Lehmputz Schnitt m
Plan rechts D e Tore des Kruter
Mastab 1 10
zentrums in Laufen mit e nem ns

Element mit eingestampten
Stahltrger Schnitt im Mastab 1 10
Trasskalkmrtelleiste
Stamplehmfassade 45 cm
Stamplehmwand 45 cm
Lehm Fe nputz 1 cm
Lehm Unterputz 3 cm
Stamplehmwand
60 cm
Schilfrohrdmmung 2 x 5 cm
L Proile 200 x 20 therm sch getrennt

Thermische Trennung
Lehmmrtel
Ziege le ste
Stahlbetonsturz
Stamplehmwand 45 cm
20 x 32 cm
Armierter
Trasska ksturz
Armierter
Winkelproil (Kantenschutz)
Tragrahmen aus Rechteckproilen
Trasskalkmrtelsturz
Schrauben
30 x 20 cm
30 x 32 cm
96
A wide range of various solutions

for specific design tasks using
completed structures as examples
97
www.detail.de/refined-earth
2016 3
313
Product Information Index

The architectural realisation of the Paul & Henri Carnal Hall
at the Institut Le Rosey in Rolle (Tuchschmid)
Light and shade (Levolux)
Improved performance follows theatre refurb (Steven A Hunt)
Resilient flooring (Gerflor)
Flexible design (Style)
Handrail options (SG System)
Colourful cladding lets the light in (Rodeca)
Ducting solution (Kingspan)
Art of waterproofing (Kemper)
Acrylic stone helps blend the old with the new (LG Hausys)
Living roof on eco lodge (Firestone)
Cost-cutting results of streamlined system (Knauf)
10 years of the DETAIL Prize

From 17 May to 30 June 2016, completed
projects that are characterised by innovative
details within a coherent overall concept
can once again be submitted as entries for
the DETAIL Prize 2016 competition. For the
past ten years the DETAIL Prize has been
awarded to future-oriented, innovative and
pioneering projects that have outstanding
architectural and technical qualities. The
prize is awarded every two years by DETAIL
in cooperation with BAU 2017 as the premium partner, Gartner as the main sponsor,
conceptual partners from the political arena,
and industry sponsors. This year for the first
time construction software manufacturer
Orca is also on board.
Over the years, various special prizes have
been offered alongside the main prize as a
way of reacting to current trends and developments. In 2016, two special prizes, DETAIL inside and DETAIL structure, will be offered for the first time. These two new categories are aimed at the core target group of
architects as well as at interior designers,
designers, civil engineers and structural engineers. The DETAIL Readers Prize in contrast, the winner of which is voted by the DETAIL readership, has become firmly established. The DETAIL editorial team nominates
the most compelling entries for the main and
special prizes. The respective winners will
ultimately be voted by a jury of renowned
experts, which in recent years has included
star architects such as Carlo Baumschlager,
David Chipperfield and Lord Norman Foster.
The winning projects and offices will be announced and awarded at a gala ceremony
in Berlin on 11 November 2016, and exhibited in Munich during BAU, the worlds leading trade fair for architecture, materials
and systems.
For more information visit: www.detail.de/
detailpreis and www.detail-online.com/detailprize
Entries via: www.detail.de
and www.detail-online.com
Facades
Colours make connections to the landscape (Tile of Spain)
Height of technology (Casalgrande)
Mountain shelter (Rieder Smart Elements)
Glass and aluminium combine to distinctive effect (Novelis)
Eye-catching screened facades now showing on
new retail outlets (Levolux)
Construction first (Yorkon)
Metal mesh offers protection on a sliding scale (GKD)
Bathrooms and Sanitary Ware
Flowing design (Keramag)
Slimline porcelain surfaces create overall impact
(GranitiFiandre)
Comprehensive wall panel and tap ranges (Mira Showers)
Treading safely (Twyford)
Textured tiling (FAP Ceramiche)
The shape of things (Porcelanosa)
Added dimension (Glass 1989)
The answer could be 42 (Schell)
New bath and basin shapes are in the frame
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Oak appearance (Millboard)
Streamlined external storage solution (Sistemi RasoParete)
Contemporary seating style moves outside (Ethimo)
All angles covered (Firestone)
Paving the way to effective water dispersal (Langford)
High-tech lighting (Catellani & Smith)
306
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309
On The Spot
SeSa Build 2016 in Istanbul focuses on the sustainable city
10 years of the DETAIL Prize
310
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Up-to-date information on architecture and construction

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Concept 2016 3
The architecture firm Heneghan Peng was established in 1999 by

Risn Heneghan (seated) and Shih-Fu Peng (kneeling).
Two years later they moved their main office from New York to Dublin.
Risn Heneghan
1987
bachelors degree in architecture at
University College Dublin, IRL
1992
degree in architecture from Harvard University,
Cambridge
19922001 collaboration and senior associate at
Michael Graves & Associates
1999
partnership with Shih-Fu Peng
20012007 lecturer at Design Studio, University College Dublin
2005
visiting lecturer in design, Cornell University, Ithaca
2010
visiting lecturer at Massachusetts Institute of Technology,
Cambridge
2011
visiting lecturer at GSD, Harvard University
Shih-Fu Peng
1989
bachelors degree in architecture from Cornell University, USA
1992
masters degree in architecture from Harvard University,
Cambridge
1992 1996 collaboration with Michael Graves
1996 2001 collaboration and associate at SOM
1999
partnership with Rosn Heneghan
20012007 lecturer at design studio, University College Dublin
2005
visiting lecturer in design, Cornell University, Ithaca
2010
visiting lecturer at Massachusetts Institute of Technology,
Cambridge
2011
visiting lecturer at GSD, Harvard University
319
The architects Olga Ritter (right) and Killian Jokisch (left) head
the Munich-based office Ritter Jockisch Architektur Innenarchitektur.
Their office covers a wide range of planning aspects, from architecture to
sceonography.
Olga Ritter (*1963)

1985 1990 studies in interior design at Munich Academy of
Arts and Design
1990 1991 collaboration with Ateliers Jean Nouvel
19912008 project management of competitions with
Allmann Sattler Wappner Architects
20072008 lecturer at the University of Stuttgart
2008
founded Ritter Jockisch Architektur Innenarchitektur with
Killan Jockisch
Kilian Jockisch (*1974)

1994 2000 studies in architecture at Munich Academy of
Arts and Design
2000 2006 project management at
Allmann Sattler Wappner Architects
2006
design critique at Munich Institute of Technology
20072008 lecturer at the University of Stuttgart
2008
founded Ritter Jockisch Architektur Innenarchitektur
with Olga Ritter
Prizes
2015
2014
Selected Prizes
2001
American Institute of Architects Award
2014
RSUA Design Award, Building of the Year
2015
shortlisted for RIBA Stirling Prize, University of
Greenwich School of Architecture and Library
2014
2011
2008
Selected Projects
2011
Central Park Bridges, Olympic Park, London
2012
2014
School of Architecture and Learning Centre
Greenwich University
2018
Grand Museum of Egypt, Cairo
2008
Vogelherd Visitor Centre nominated for the

architecture award of the German state
Baden-Wrttemberg
The First House, prize awarded for the
Vogelherd Visitor Centre by Bauwelt magazine
Vogelherd Visitor Centre is included in the
2014/2015 yearbook of German architecture
published by DAM
(German Architecture Museum, Frankfurt)
First prize in the architecture competition for the
Vogelherd Visitor Centre
renovation of Liebfrauen Church, Dortmund
renovation of Kirchgaden Thgersheim with
Plan_Z Architekten, Munich
Persons and organizations involved in the planning Contractors and suppliers
page 236
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2016 3
322
Cover 3_2016:
Architects: Ritter Jockisch, D Munich
Black-and-white photos introducing
main sections:
p. 221:
Mahyar Caravansary, route from
Isfahan to Shiraz, Iran, 1840
Artist: Eugne Flandin
p. 229:
Unterlinden Museum in Colmar
Architects: Herzog & de Meuron,
CHBasel
p. 235:
Visitor Centre in Pombal Architects:
Comoco Arquitectos, PCoimbra
page 259:
Architects: Heneghan Peng Architects,
GB Dublin
page 285:
Architects: Ritter Jockisch, D Munich
Photo credits:
Photos for which no credit is given were
either provided by the respective architects or they are product photos from the
DETAIL archives.
p. 234 top right:

Courtesy Fondazione MAXXI
pp. 236 241 bottom:
Jill Tate, GBNewcastle upon Tyne
p. 241 top:
Filip Dujardin, B Gent
pp. 246 248:
The Greypixel Workshop, HPcs
pp. 253 top, 254, 255 top, 255 bottom:
Adam Mrk, DKKopenhagen
pp. 253 bottom, 255 middle:
Helene Hyer Mikkelsen, DKAarhus
pp. 249 252:
Jos Campos, PPorto
pp. 256258:
Jan Bitter, DBerlin
pp. 259, 261, 264/265, 266 top,
268 bottom, 271, 272 top, 273:
Hufton+Crow
p. 263 top:
Sabine Drey, DMunich
pp. 266 bottom, 267, 269 bottom, 270,
272 bottom:
Marie-Louise Halpenny,
GB Dun Laoghaire
pp. 275, 277282, 283 bottom,
284 bottom, 285:
Brigida Gonzlez, DStuttgart
pp. 220, 242, 243:

Brian Zhang Li, CHN-Bejing
pp. 276, 284 top left:

Keller Damm Roser Landschaftsarchitekten, DMunich
pp. 221, 222 bottom:

from: Eugne Napolon Flandin:
Voyage en Perse, Boston 2002
p. 283 top:
Ritter Jokisch, DMunich
p. 223 top:
Curators Office, Yellowstone National
Park, WY/from: Michael Gross & Ronald
Zimmermann: Interpretative centres.
Stevens Point 2002
p. 223 bottom:
from: Heinrich Klotz:
Von der Urhtte zum Wolkenkratzer.
Munich 1991
p. 224 top:
Milla & Partner with Sasha Waltz
p. 222 top:
NPS Historic Photograph Collection/
www.nps.gov
pp. 224 bottom, 235, 244, 245:
FG + SG fotografia de arquitectura,
PLissabon
p. 225 top:
Heinrich Helfenstein, CH-Zurich
p. 225 bottom:
Reiulf Ramstad Arkitekter, NOslo
p. 226 top:
Gettysburg National Military Park
p. 226 bottom:
Wikipedia/Scott Basford
p. 227 top:
Hans Schlupp, AUS Neutral Bay
p. 227 bottom:
Frank Kaltenbach, DMunich
p. 228 top:
Wikipedia/Acroterion
p. 228 bottom:
Jrgen Mayer H., DBerlin
p. 229:
Herzog & de Meuron, CHBasle
pp. 230 top, 232 bottom:
Jakob Schoof, DMunich
pp. 230 bottom, 231, 232 top:
Ruedi Walti, CHBasel
p. 234 bottom:
Robert Baudin for Hornibrook Ltd.
Courtesy Australian Air Photos
p. 283 middle:
Lutzenberger + Lutzenberger,
DBad Wrishofen
p. 284 top right:
Roland Pawlitschko, DMunich
p. 286:
Tuchschmid AG, Hans Ege,
www.artege.de
p. 291 top right, bottom right:
Mark Park, University of Hull
p. 292 top centre, top right:
Horizon Photoworks Rotterdam
p. 292 bottom centre, bottom right:
Jess Granada
p. 294 top centre:
David Frutos
p. 294 bottom left, bottom centre:
Mariela Pollonio
p. 296 top left, bottom left:
Anze Cokl
p. 296 top centre:
Peter Usbeck
p. 296 top right:
Jens Schlter
p. 296 bottom centre, bottom right:
Desmoulins
p.305 top left, bottom left:
Schell GmbH & Co KG
p. 310 top:
Osman Emiroglu, Istanbul
p. 310 bottom:
Heike Kappelt, D Munich
p. 319 left:
Heneghan Peng Architects, GBDublin
p. 319 right:
Myrzik und Jarisch, DMunich
CAD drawings
All CAD drawings contained in the
Documentation section of the journal
were produced with VectorWorks.
Review of Architecture +
Construction Detail
DETAIL English appears in 2016 on 16

January, 1 March, 2 May, 1 July, 1 September, 2 November.
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Edition
Asian Flavours
Creating Architecture for Culinary Culture
144 pages. Format 25 23.5 cm.
ISBN 978-3-95553-267-3
Hardcover: 39. / 31. / US$ 55.
+ postage/packing
A restaurant and travel guide for Asian food enthusiasts

Ceremonies, rituals und traditions as well
as the fascinating combinations of flavours
and unusual ingredients, the culinary customs of Asian countries also arouse great
interest in Western cultures. But how are
spaces for Asian eating and cooking traditions and processes designed? What kind
of surroundings are these kinds of food and
drinks consumed in?
This book presents the projects of Asian
and European architects on both continents,
ranging from tea houses and sake bars

through to entire restaurants. How are architects adapting and interpreting this cuisine
in our latitudes? How do they respond to
the conditions and cultures in these spaces
without simply simulating an Asian decor?
Enhanced with information about individual
dishes and essays on various Asian cuisines
and culinary cultures, the book is also a
travel guide to Europes many special Asiatic
spaces.
30 projects in Asian and

European cities
Background information and history
behind the restaurant concepts
Things worth knowing about Asian
dishes and traditions
www.detail.de/asian
What keeps building owners one layer ahead

when returning to business?
As a leading global supplier of polymer solutions in the chemical industry,
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ISSN 1614-4600 MAY JUNE

Visitor Centres Review of Architecture and o

ruction Details Vol. 2016 3

Instrumentalised Otherness On the Origins of the Visitor Centre

Refurbishment of and Addition to the Unterlinden Museum in Colmar

Community Centre in London

Community Centre in Aalst

Visitor Centre in Yushu

Visitor Centre in Pombal

Civic Centre in Visegrd

Cultural Centre on the Azores

Visitor Centre in Middelfart

Visitor Centre in Cuxhaven

Giants Causeway Visitor Centre

Visitor Centre in Niederstotzingen

Building for the Community

Instrumentalised Otherness On the

The topic visitor centre could hardly be

proving that well-equipped facilities can direct migration flow.

Lookout Studio, Grand Canyon National Park,

product of the Industrial Revolution, which

1878. The municipality chooses a site in the

first venture into building for society at large.

Instrumentalised Otherness On the Origins of the Visitor Centre

were erected through the late 1950s in,

USA is the forerunner: in the late 1860s,

sights to be seen. The designers, who are

Monument to Freedom and Unity, Berlin, 2011

head architect of the National Park Service

Deal, the programme with which President

Instrumentalised Otherness On the Origins of the Visitor Centre

9 Cyclorama Building, Gettysburg, 1962

Shocking Truth about our National Parks,

come assembly rooms, in which groups are

with a closed rotunda surrounding a tinsoldier re-enactment of the Battle of 1863. In

working with investors is initiated; and target

such example is the Infobox on Berlins

Even patterns of settlement have an influence on visitor centres, for example at

Instrumentalised Otherness On the Origins of the Visitor Centre

13 Wright Brothers Memorial Visitor Center,

Hans Wolfgang Hoffmann studied architecture at TU

blurring of responsibility. The perspective of

Refurbishment of and Addition to the

With a population of nearly 70,000, Colmar

former art nouveau municipal bath house

Refurbishment of and Addition to the Unterlinden Museum in Colmar

temporary exhibitions. Its volume corresponds to that of the existing convent

joining convent buildings pointing out a

the museum ultimately reminds us that

STRONG RESISTANCE TO WEAR AND TEAR,

Engineering the World: Ove Arup and

As part of the V&A Engineering Season, the

Pier Luigi Nervi. Architecture for Sport

Community Centre in London

ages and is used for community activities of

residents were involved in the design of the

Site area: 249 m2

Community Centre in London

Modular composition utilising the former

Community Centre in Aalst

For many years, the presbytery garden in

Community Centre in Aalst

Site area: 6,200 m2