DETAIL Review of Architecture and Construction - Materials + Finishes - Vol. 2011 erat J IU | | | fs FET AY Mites TTTDETAIL Review of Architecture Vol 5, 2011» Materials + Finishes Eli cxlatocestalida. Tol: +49 (0) 50 152057 Chvstan Sete fedorr-hi ‘Sabine Dray. Anckeas Gabi Frank katenach, la Lese, ‘Tramse Maclenes ath Wat Had Wess Chiste Schickerfeetrce asst) Michaela Linco, Pots Popo Mar Grate, Errata M Kesze Noa Kelmarn, Sion Kram kangs Pract Make Regis Weber cornish Tir Westphal, Jos wis athon Eke (i, 0A 6S. 18 52 (, d62-47e. 490-805, S21-S47, SOS Mac Sewey S05 5) (alsh barsicns) Advertsing: Fall anesiganadetalle Tel: =A (8088 162020 Uc Rocresortatie Advertsing Synergy Group Media matt deallsynersiem.com Tel 948 (0) 2002552121 Deruton ensmarating tt seta da Tul: +49 (0) 8088 16200 Subserotin contact ard customer Vaitetaurien Mower Grosso ib 19 84 Chale, Oarmany (Esk detalshogiertlebsuniancn Ta naa (ergenaeots Fax 240 0) e1-2000.08012 Putihar and edt ofl rattat ur intrationsi hone: Cotumertstor GmbH Co KG Fackerorowse 5595 prion Tals =40 (0) 0.38 16200, Fax 149 0) 80-996 70 ‘oor deal. delengian. ‘rca de translation Discussion 460 Eoitrial Chistian Schitich 462 Taking Secend Look: Si Pius Cathalle Church in Meacen, Frank Katentach 405 ese Sheen = The Aes 7 Frank Kaltenoach 473. ColestiaL Blue ~The Ties ot lz. Goan Karaka Gozdo Sovimt Reports 4480. Sttangth Through Sulptiaty: Dave ibinstain Atrium at Lingain Centar. New Yor. Nee Leroux 483 Boos. Exhititions, 484 4 a u si u Graphic Design Ofice in Eindhoven’ Stationary Shop in Prague Documentation 490 Restaurant iaNew York, Solnastian Mariscal Studio, San Diego 494 Huong Bubble in Beling MAD Arahtects, Boling 497 Sohnolin Badin. AFF arcnitoicon, Born 902 Youth and Neighbourhood Canta in Amteciam. Atelier Kempe Til, Rottedem 900 Environmental Uni Heaciousrlers in Zaragoza Magén Arqutectos, Zaragoza 511 Obsenatinnand Research Gentre.on Furnas Lake, Sn Miguel Maruol and Francisco Aires Metous, Lisoon 618 Jewish Gommunty Gentrein Mainz Maruol Herz Archteen, Se0el Technology 628 Forging Ahmad with ntastrutural Projects — "Tho Stacnus Passage in. Municn, Lusig Wappner, Heide Wossely 690 Tha Dango: Polonia of Bulding Materials —Bisks, Sogulatons and Bamificaions. ‘leaner Rudolph Products 5395 Gladding anc Surfaces. 544 Solar Ponerand Solae harm 962 Litsand stam, 554 (niorio Dasion. 361 OntheSoct 562 Sanice. ‘562 Persons and organizations inuolectin he planning ~ Gantvaciors and supers. 870 Programme. Photo orecits* Eitorial and aublishing data 871 Ptesiow,Editorial “Today's architecture is distinguished by a variety of materials never before known to man ~ and! trete is no sigh thatthe influx cf new ‘materials wil let up ary time soon. Materials that have found their ‘way into the conection sector on account ef their particular optical ‘seneual, oF technical cnaracteritic, cr simply reeulting trom the pure enioyment to be had in experlmentaon. Correspondingly, the ‘colour and texte of matetials determing the building's appearance, Aistic pattems and oramentation are also increasingly employed to structure surfaces, but are intended to give us semething to identty with, a well. n special cases, ornamentation also conveys ‘meaning. The synagogue of tne new Jewish Community Centre in Mainz, whose wall and ceiling surfaces have been completely ‘covered In a shirmering, brenze-oned, clowing stucco patter consisting of letters ofthe Hebrew alphabet, is a case in point Manuel Herz's sensitive choice of materials helps create a sacred atmosphere for his place of worship. But he building's facades are the real proot of wnat materiality has to offer: the building skin is a bas roliof made of glazed ceramic tes. Tho material, which has. been used to cloak buldings for tiousands of years, Is currently undergoing a revival (see p. 486), and at the community centre, the glistening surfaces have a highly complex, animated presence. Depending on the incidence of ight and the beholder’ standin, ‘ho groon, sparking coramic protilos -allwitn the same crose ‘sation - either empnasiee the bulding’s contaure, or causo the building to soem to merge withthe foliage. “The other examples we have selected for this edition also showcase ‘materials and finishes. They range from rustic wall and calling clad ding in a restaurartin New York City to reclaimed shelving used to ‘tout interiors, Anotner project employe a highly textured ineulating ‘stucco, With regard to applications of materials new and old, the ‘y's th limit, ‘Ghvistan SchittichTaking a Second Look: St. Plus Catholic Church in Meggen Frank Kaltenbach 5 Qu Over the course of tity years, DETAIL has portrayed countless noteworthy buiaings, ‘each with a story ofits own, Same have not ‘changed ai al since ther comptetion, others have besn aitered beyond recoanitin. ln mary of them, the structure that was exper! mental ints day has stcod the test of te; in ‘others, after a certan period of tme, the plan ang users have had 10 ad thar ings {dd not tum cut quis as intended. Because the bulkings are normaly publéned shortly alter their completion, data en how they wih ‘Stand wear andl tear are aot yet available. DETALL's 50th Annwersary provides the edt- Tors an cecasion to take a second look at ut eng builings rom tho last fve decades. How havo the concept and the suucture hak up? And what became ofthe technological avelcoments that sparked these buildings at the tone? Carresponcing tothe topic Mates ais and Fines, in this 810 we retu t ‘St Pus’s in Moggen, A person driving through Meggen, which borders on Lucerne on tne nerthern coast cf Lake Luceme, fe not likely to take note of Si, Pius’s chron. But nose who viit be building will be astonished by the intense presence emanated by the entire complex. ‘The geomebical rigour and the clarity ofthe proportions help itasser this presence in the majestic - and dynamic ~ Alpine setting ‘nd, more immodiatoy, in 2 heterogenoaus residential quarter. Te white in Ure marble appears to enter into a dialogue with the distant glaciers. This Galactic is set forth in- side the church with the contrast between tha rhytrim of tho 74 stoel colurnns ~ made cf rold stosl with high-precision edges - 2nd the cloudetice painterly eructure of the stone panels. From the exterior the polished walls appear to be pure white, while at ight the interiors are cast na noney-yellow glow, ‘and their velvety curtaces radiate warmth ‘and prtyaleal presence. 21108 DETAR Bi a ERE ELE DE De Pa en rs 5 hy & pe ie Oe ia St. Pius’s has remained something of a well kept secret, even in professional circles. In contrast ta the expressive churches by Foog's contemporaries Walter Forderor and GGotttied Bohm, ithas been included in only very few architectural lexica, In the 1980s Fuleg, whose work is mere inline with Mies van der Rone's, founded the Solothuen ‘School with his colleagues Alfons Berth, Hane Zaugg, Fitz Hallo and Max Schivp While Haller, the most prominent member of the group, realized several acclaimed lesions employing modules, 2s well as his, USM fumture —to this day ane of the most widespread tumiture designs in production — Frane Fuce!s design for Moggen was his only lasting contibution. This Gesamikurist work, consisting of church, parsonage, reo- tory and the outdoor elements is also basect (on a overriding grid: 7.68 x 1.68 m. T same steel column are employed in all bouldinge, But tie ho building envelope ot twanslucent marble ~ defining all four sides of the sanctuary ~ that leaves a lasting im pression; lke Gothic stained-glass windows, fr baroque stuceo deccration, as omarnent rooted in nature, t makes the space glow. At frat, the congregation found the church tac sober and austere, goin the mid-18708 they installed fcur baroque statues of saints below the reinforced concrete choir left In ‘citicn, they clad the restrained tabernacle In glass mosaic thes and replaced tre del cate, unpreposseasing cross witha large suspended ove. However, this appropriation by te congregation In no way detracts from the overwhelming maression the space makes on these inside it ‘The congregation's esteem fer he church Is ilustrated by tre fact tnt it appears to have just recontly boon complstod ~ and although the commurity has grown steady the appearance has not been allered. Addi tional racms for the church's youth have been caretuly stowed in the concrete base ‘and are barely diecernble. Even the new ‘bus stop pays detoronce to the design: it employs the same steel profes and white stone inf, Larger structures that have become necessary ware located on other DETAR 2106 Blasona ute chet crane: DETAL 2. Parsonage 8 Rectory t Troreeas Cope! & Sirkercourvara 7 Your grog voare ste oln alo 1500 Floorplan» Secon sites nearby, another sign of the respect for the design. Glass painting without the oless ‘The architect is now 90 years ol, yet he de- scribes the bulling as iit had been com- pleted yesterday. A purist, he rejects glass painting, because he considers it ornament ‘that obscutes the design intention. Fueg originally intonded to use oryx or alabaster, but tere were concerns about their resist ance to weathering, When he visited Car©ra- ra, one of the largest commercial stone cen- tres, Pentelic Dionysos marble caught his at tention. About 2600 years ago, blocks of tis stona wore sete bulld the Partnencn. In order to determine the optimal vith respect to translucence, he tied out slabs of cifferent thicknesses In a darkened space by having them held in front a the only window. Tne result ¢ apellbinding to thle very day. Tne architoct golocted 28 mm thick slabs forthe walls. For the infil the Uppermestiviaze, 20 mm slabs are used so that inside the church the roo! appears to float. However, the diferent degrae at trans: lucence is not discerible trom the exterior. The stone in the steel deortramas is alsa 20mm thick. The intensity of thelr low and Colour tone depends on the tine of day and year. When artical ightis employed, the bttect is reversed: 6 usher in the new miler ‘rium, the congregation insisted that allo te ‘32 newly inetalled 500 watt halogen spot lights bo turned on ~ undimened ~ causing tne otheruige restrained church to glow tke a lantern made of parchment paper. Above all, the arrangement o the stone slabs helps transform the cleamly structured space into a meaningful antty. Groups of eleven stabs ara stacked in tro same arrangement thoy had in stu - before they were cut aut of the block of stone. In this way, the impression created is that of ultra-thin sections through the depths of the earth's many layers, recat Ing a computer tomogram. Flog employed ‘the varying colour tones of tne stone's veins to structure the altar wal three stipes of the darkest blocks emphasise the ceriral ais, adjoined en beth sides by twa rows of the‘tol Teleng Saterd Looe ©. Pie Cahole Grurchn Megan ‘oot classingone ner rot atx TOmm eeotfat oc edgevarsar 21106 DETAR div aes angle 4 rrmand 0 nm gach tip ra S00 es Fegprone boaregsutocw Ma heagonal bok or eror use DETAR 2106 lightest stone. The slabs are sanded on the surface facing outward to protect against ‘weathering and to minimize the area vulner- able to golling; the surface facing inward is rough-saun to lnprove the acoustic and to avoid light reflection, ment, but not to Minergle standaras makes. The Minergie standard had not yet been implemented inthe 1980s: the bile ing envelope i, in fact, one big thermal bilge. Originally condensation was direct fd 10 a guiley running along the base's en- tie perimeter, The streamlets of conde! liom have been done away with toa great degree: at temperatures below 8 °C the new heating system is activated and heats the space to a maximum of 16 °C. The space Is heated for some Ume after the congregation has departed go that the molsiure that nas accrued can fully evaporate. ‘The steel members! criginal coatings were with micaceous Iron the orighal 888 fequiring them to be replaced. The slabs do not rest upon one another, but are held in place in steel brack- ets that are welded tothe colurms. Continuty and innovation For tho design, Franz Fug was inspired by ‘early Romanesque churches, the cathedral in his native Solothurn, and above all, by rohtact Frans Fog Stucturl erga Marcel Gesu Sectons. scale 1:20 Stetonal dette "eeale 7:5 Ferthe aawegs ara escnse of oral ascarbee Otto Bartning’s steel church witha frieze of painted glass, which was erected on the ‘grounds of the international Press Exhibition holdin 1928 in Cologne: this is manifest in the alternation between expansive and tight spaces, as well as the sacrosanct axis of symmetry, which Flleg employed as an o- dering too, but isnot to be walked along St architecture of th day: He steeple reduced to a dalicate wuss, the introduction ofthe free-standing choir to structure the cubetka interior, or the fully dematerialized building envelone — be it In tho torm of satirized glase or as marble veneer sot betwaen two parce ot St Pius's status as best-kept secre! be a thing of the past. ud PY e —| Lo] aA = s : ai =Thousand-Year Sheen - The Rediscovery of Glazed C Frank Kaltenbach On cis For thousands of years, glazed ceramics have been the material cf choice for tem ples, churches and palaces. At the begin ring of vie wertieth cervury, wen fully glazed curtain-wall facades became feas'- ble and modernist tenets held that structural members should be visible, it appeared that the mysterious, veling, cramental thes ‘nich could be likened to elental carpets ~ would forever be barinod trem high-minded works of architecture. And yet, bulldings clad in glazed ceramics are once again en vogue. What isthe explanation for this? Firstly, there is currently a general tend to- ward sane.oue materiale, a8 wel as a dosiro 10 bo unique. Thore ssems to be a con. sensuis thatthe potential of glazed facades has been exhausted ~ perhaps this is the chance for a new beginning for glazed ce: ramigs, Ceramics, which In the form of a dot max merely fulfled a sun-protection func tion in glazing and appeared, al most, as a decorative patter, are once again taking Center stage ~ with all of ts sensual quaities ‘and colours ~ material that retains its luster for trousands of years. In contrast to enamel, Inwhich glags fbres are melted ~ unalter- ably—on sheet steal, glazed ceramics can be executed in three dimensions. Diino shine ‘Tho oarliost known fired ceramics can be tuaced back about 18 000 years and were developed by Japan's Jémon culture. The fast sun-ctied bricks made thelr debut in the thd millennium BG in the Indus Valley, anc the fst thes win tree colours appeared at ‘about the samo tim in Uruk in Mesopota mia, The oldest glass shards evor axcavat- ‘2d were found in the Near East and date back more than 4000 years. Babylon home to the mast ancient surviving glazed tle facades: they were erected in the 6th ‘century BC, Life-sized terra cotta bas-relief lions ling the 180-metre-4ong walls on both sides of the processional street. The Ishtar Gate is also embellished with bulls and im- aginary creatures - in bas-reliet on other wise smooth blue thes (il. 1) In Borman times, cther materials were preferred: the brick walls wora clad in marblo or ombo! lished with frescoes, and the mosaic floors ~ typically in biack and white — were made of small pieces cf cut stone. Byzantine art heigitered tre profane character trough tho transcendental, dematerialzed sffoct of the mesales ~ small square tiles of glass. come backed with gold, that were deliberat- ed pressed obliquely nto the moist stucco so thatthe ight they reflect weuld shimmer mystenicusly. From checkerboard pattems to depictions Glazed coramics appeared throughout the Islamic world in the twelh century, From there the tlas continued to spread ~via the 21108 DETAR ik Road, as well as through the Islamic ‘conquests ~ to the Mediterranean islands, the loerian Penincula, as well as the Bal kane, even reaching Vienna, [At frst these ceramics did not have com- pletely glazed surfaces, The patchwork-ike ‘omamental facades were made up of small, glazed ceramic pillars and vessels, but there were otner components, as wel in cluding elomants of brick and etena. Those ceramic elements frst tuned up in the ext rier facade of a building on the western bor der of the tenitory under Islamic influence: In Marakesh’s minaret. From there this tec nique spread throughout tho lborian Penin- ula. To the east, atthe Black Sea — for ox ample, on Nessobar Island ~ small green Ceramic vessels frame the arches of the or thodox churches’ tacadas; these churches, ‘executed in the so-called picturesque style, date fo the thirteenth centy il. 3). Socn toroattor, geomotnc patterns made of ‘square or diamond-shaped, rnonochromatic tiles covered countless floors, walls, fa cades and roots. The patterns range trom ‘metts that remain two-cimansional, te ats fers, for examele prisms that jut cut into the third dimension, Sevilla and Granada wore the centres of production. The Alcazar and the Alhambra, the palaces of the rulers in these cities, constitute the era's most aut- standing examples of glazed ceramics: the tes contrast stikingly with te high relet of the stalactte vaults of stucco and ster But cortinued use of glazed ceramios ~ up to the present day —is most widespread in Portugal: nearly every palace, monastery land train station is clad in azulejes {in Ars bic, al2ulalj means small, polished stone), Pattorns employing monochromatic tilos havo been replaced by more refind toch riques which make it possible to use @ umber of diferent lead glazes on an indi vidual tle, cr, in other words, to produce a tile possessing @ variety of colours that co rot run together. In the cuertia seca tech nique, for example, grooves are made in the clay, andi the aris techrique, elevated ribs Separate the different colours, With these techniques, pattems inspired by DETAR 2106 Mose n Boktara Uren, 15th camry Clee "oom ns aca ofthe Chucho (Chvat Partoorutay, Nesartt, 1th earhuy Balustrade a Plaza de Espa, Bovile 1305, Mica House, Ene Wana, Verna 1208 retest Ove Wagner © Poros & re irtoror ngs rm Viera, 1000 remot ax Fabart 7. Genvercn fa Fecher vor Each vaut nto a ala acheter We, Miseusauarter, Viens 2001 Drees: Lacan Yossal ih Foidoache’ & Seehot Moorish or Gothic ormamentation can be alized. The roits tend to be floral, or they bring fo mind Gathie masorry, or are re interpretations of brocade patterns. And go 2 change of materials ~ as Gottirled Semper described in the nineteenth century in his Metatsclism Theory - from tapestries to ceramics took place. During the fitesrth century, n Faenza (tay) and on the Island of Mallerca (Spain), a de Cieive innovation took hokd end came Into full bloom. To this very day, these tiles are Keown as “Fayence® and *Majcica". To make them, an opaque white giaz@ is ap- piled to pre-tred ties. This provided an ide al surface for exquistoly painted scones. that wore subsaquonly trod with the glaze, What sets it apart from earlier techriques? Like in fresco, the modularity is sup pressed. The image painted on the tes is Iberated trom the dimensions of the indivi Ual ties. Coramic cladding Is by no means Iimited to two-dimensional surfaces: the col tmns in the cloister at St. Clara's In Naples (aly) for example, stunningly showcase polychramatic Fayence ties. In Seuile, the balustrades on the Plaza de Espana. blue and white, a mix berrowed trern Gh nese porcelain. This colour combination be- ‘came custornary in Spain and Portugal after its arrival by way of Deift and Antwerp (il 4 From tsbon to Baling twas not only in Europe that glazed ceram: ice reached thot cimax betwaon the thr teenth and seventeenth centuries. In Bukhara, an Uzbek city located on the Sik Road, glazed ceramic facades fst ap- peared in he tweith century: the current restoration work uses a glazo recip dating to tho fourteonth cantury. The typical blue of the lustrous dames and gates signifies tre dematetialized ify of heaven and human existence. The ash of desert plant — Timi nid grasses give the tes their incompars- blo magical shaan (i. 2). In China, he ro {lective surtace of glazed root tes sats off prestigious buildings frorn the sea of nondo- script buildings decked out in nor-glazed ties. A strict codex determines which colour oFtiles may be used: Hes with a blue glaze the colaur ofthe sky ~ cover the Temple of Heaven's three-tiered root: green rocf tes indicate pubic buildings; and yellow ones: are reserved for the 890 palaces within the Forbidden City. The very finest examples of ceramic tes ‘ean be found in Barigkok's termple pre cincts, where countess stupas are decked out in floral “dresces" mado of thousands of Uiny, delicately formed tiles ta, perhaps counterintuivaly, withstand the annual monscon season. Art Nouveau and Art Daco were the last mavements ta use glazed ce- ramics extensively — outdoors and indoors ~ for both geometic and floral pattems, Although this period lasted only a tew dec: fades, tsproad to cties an nealy every Continent. Not only the tran stations, con- Cort halls and hotels in Munien, Vienna, Prague, Barcelona, Paris or Brussels were sheathed in Hles beating colourful images, but even early skyscrapers in New York fr Ghicago and prestigious buildings in Mumbai, Tokyo and Snanghal were err bollshed with coramic inlays. Glazed ceramic shel, modem cor interest here is the superimposition of a traditional envelope and an innovative stu ture. In Park Guell, Anton! Gaul eclecticaly ‘omploys al forms of mosaic - from chacker-{io __Theveard Your chosn ~The Recacovay of Glazed Ceramics board patterns to shard mosaics - to clad the convex and concave forms. In contrast, for Auguste Perret, a ploneer in the use of concrete, the maja tles served a prag- matic role: they are intended to rake the avantgarde structure and typology of his partment building on Fue Frankinin Paris ‘more pleasing tothe eye of a ~typically Conservative - potential buyer. Secession fra Vionna has bequeathed us two oppos: ing stances on tho transtien from adlional te modem soctely. Inthe first, the Majolica House (1838), the floral omamertation is independent ot ie tacade cpenings. The ‘facade aetonisnes through te contrasting ‘organic forms, calling to mind a two-dimen sional version of a woodearving {il 5). The fallowing year, Max Fabioni ~an architect who had werked for Otto Wagner completed Portis & Fix. The equare tes’ diferent shades of green create an ilusion of depth {il. ©). Upon its completion, this abstract facade’s complete lack of ornament caused astirin Vienna, but tom today’s vantage pol, it appears retreshingly up-to-date anc reminds mora of a 1960s werk of Op Arty ‘Victor Vasarely than the Wiener Werkstatte. Glazed ceramics and crime When Locs banished ornament from the architectural vocabulary, glazed ceramics ‘also came into ciscredit. The age-old, hand 21108 DETAR crafted buleing material no longer seemed suited tothe dynamic formal language ot lightwelght construction methods that were Ingoired by aiplanes, ralload cars, and au- tomobiles. Facades with glazed ceramics were supplanted by exteriors whose miled Steel sections and aluminium panels were Salf-consciously on display, oF by reinforced ‘concrete, or indeterminate white or mono ‘chromatic euriacze, Yet even Le Corbusior prized the gparkiing effect tat came about in combination with water reflections, of as 2a resultof the poston of the light source, uihetner up high or as backlighting, In Vile Savoye Ne ingertod a sculpture betwoon tho ‘bedroom and tre washbasin that amounts DETAR 2106 8 Enthroor in ila Savoye, oui Pai, 1220 9 Augvtn Paton Expo shang 2010 frohtoct: SPAN, Sarda Mannnges Malas {el Care, Zaytrogs ZT 40 Gass da Minin, Rta, 2005, nchtecs: OMA, Re Kenta, Er van Loon vn ANC Sree Jorge Cana ‘ortiatoa toad, eonaan at Tames m Bhenger, 20% faced! Gack aron white trchtec: Sarton Letinger 48 Yoku Moku Gale Tago, 1370, ohtect Denchi kek versial to use colouitul ceramic tes on @ facade than almost any cther material. The materials Ane Lacaton and Jean Philipps Yaseal chose for the low-budget project to transform the baroque vauited space in Vienna's museum distictinto a cate caused fa sensation, Instead of the plastic panels ‘one had come to expect ofthe cutting-ecge architects, they opted for a cheerful Turkish caté (7). Craftspeople trom Turkoy cov fred the celing in tes bearing traditional comamentation; a concrete-block partion wall separates the café from the kitchen, ‘The juxtapostion at divergent matenals symbolizes Vienna's role a8 maciator be |woon Islamic and Westem cutur. In the to the superimposition ofa grid on curved forms ~ en miniature ~ ond, at the same time, foreshadows LG4, the celebrated stgeHtube chaige longue, bul executed here in masomy. The hard-edged bathtub sheathed in blue ties is used to set up a tense dislogue with the curvlinear day bed the latter nas black tles on Its edges and grey ones on tep, whien make tne impres: sion of a *coramic towel” {il 8), Inthe 1980s, however, ceramic facades made a comeback: latget buldings and fever entire lengths of city blocks were clad in tle, From the Stalin allée {in whet was ‘en East Borin), vath Its classiotst omamon: tation, to elagant icons of madornism such asin the cladding ofthe Pirelli Tower, by Gio Ponti, or the accentuation of interior columns by Alvar Aalto. In his design for the Sainajoki Cty Hall (1962), Aalto set a standard thats til vali: a homageneous rotlactive facade In radlant blue morges tne cubotke massing (wate the city council adjourns) with a Sevlight~ the result brings to mind an abstract sculpture. In contrast to these organic, expressive gestures, wich are reinforced by tre matena’s sensuous nega, ratlonaiat architects like Oswald Mathias Ungers doungraded ceramic te, viewing It merely as a square module to be uilized in designs dominated by the eri. But then Memphis and Etlore Sottsass ‘came along and reinvigorated the matetial by dressing up thetr showrooms in brigat colourul tes with extravagant textures ~ the palterns were identical to tie ones on their furviture, (Ceramics today = traction and high technology Subsoquontly, tes were generally om ployed when gurlaces had to be practical fasy to clean and maintain — and econami- cal. However, a racm in which all surfaces are clad in whit tiles makes seme people Uneasy, a8 thoy have come to associate tre material with gory scenes in whodunit fms. On the other hand, many design profession- als reject Hundertwasser's fanciful ceramic columns. To this very day, itis rmore contro- 13 Dow Casa da Mtisica in Port's historic centre, om Koolhaas’s similar approach also ‘caused consternation. While the exposed cconcrota building ervelope underscores the lack of scale ofthe salary, prismatic bulld- ing massing, the collage-tke interior surfac es asthe tles were glued to a model ~ make reference to architectural ceramics tong vadition in Portugal (ll. 10}. Inthe matin ‘concert all, Kacinaas offers a new taka on historic veneere: he employs one with an oversized, gilded plywood grain. The floors, walls, and ceilings are covered with tie ppatiers in a variety of styles: a bleck-and- vwhite checkerboard patton embelisnos tho torrace cut cut o the roo: a geomatic{10 Theveard Your thean— The Recacovery diamond pattern in dark green, dark blue, and white bles emphasises the effect of the oblique cellng n one of the foyers anc makes the room appear to be otter. The most staagering effect, however, Is and-white Rococe-Fayence tieza, which, like a stage set, frames a meandering glass wall and makes it appear ta be the slage curtain World expositions are, on the one hand, an ‘occasion to elaborate upon the cultural les to the host county, and, on the other hand, to show what sets one's own nation apart from the others. The porcelain used in the cladding of the trop-form Austrian pavilon at tho Expo 2010 in Snanghal - by Sandra 14-16 Leryn Nem 17 Wosirine Sead of he Nain Dangoor (Cairn Udon, 2007 stehects: Alford Hal eraghan Moris 40 New Yon Tne Toro York Oy 2007; Frente Arc 7 Manninger and Matias del Campo ~ symbol izes the historical and cultwal signticanos the material nas for bath countries. Small hexagonal mosale tiles facilitate emooth tvansitions between the red and the white areas and simpliy the creation of a contin ‘us skin covering convex and concave forms, yet without tne efor ypically re ‘ited to determine the shapes needed. The facade: horn modular arid to patchwork In contrast to conventional techniques in hich tes are sat in mortar or glued to TIGS, In recent years comprehensive tacade systems have boon developed. Renzo Piano is ono ef the pioneers of these non gor 08 DETAR, jad-bearing, ventlated:-cauity, terracotta facades. He first employed unglazed terra cotta panels in an apartment complex on Fue de Meaux in Pars - as a sensuous filing ofa facade framed by flbre cement ‘elements, AtPatsdamer Platz in Berlin, the innovation in colour nuances and textures ‘made an important contribution to the Inn ty of an entire district. The mixture of rec and white clays provides the basis for a va: riety of colours, which may or may not have a glazed surface. As opposed to engobes, \which are applied to unfired clay bricks and thus require only one ie, tor glazed bricks ‘wo ftes aro necessary. The role of tho ‘azo is not to improve the brick’s durablity (oF weather resistance, but to expand upon the colour paleto, and in particular, to eve a shimmering surface, as well as In protection ofthe four 230-metre high facades ot hie comalotaty glazod Naw York Times Tower, Pano used a curtain screen of horizontal ceramic rods with 2 white glaze, held at a distance from the facade (gee DETAIL German Edition 2/200; 1p. 983}, The building massing, broken dos to multiple slabs, appeare lofty and trane: parent — unusual for a skyscray York. Nevertheless, the facades do not ‘seem unapproachably sleek: because the building envelope is composed of tou: ‘sands of rods, the rections almost seem to have physical presence, a feature that ‘ne often encounters in Now York and that sefg ts skyscrapers apart fom those in ot er cities. Depending on the weather and the time of day, the neural white surfaces adopt the colours ofthe surraundings, seeming bby tums dul or shiny, but most importantly, thoy refloctsuniight all tho way down to street level (il. 18) Ih Piano's most recent large-scale project a rixedsise devel towers are up to ti Works witn ix saturated colours, Including bright green, yollow, orange and tod. The building massing is made to appear less massive trough the use of colourful terra cota shields, Despite the tact that the col rs and materials were chosen with an to contestualism, the glanng colours, in ‘combination with their high-gloss surfaces, 0M as artificial as a clagsiciet bullding ighl rellective facade elements are made ‘of 120.000 diferent ceramic profil these were pre-fabricated ~ incorporating ceramic cladding, Insulation and windows and hung on the building frame. Recalling the zolgaist of te 1970s, te out- ‘skin of Westirinster Abbey Academy ‘endan, by Alferd Hall Menaghan Mons, is ‘8 composition of fish horizontal stips ot windows and parapets running the entre srimstor of the building. Considering te rather low budget, the glazed cerarrics, .0d bot on the exterior and interior, were a relatively costly ~ but, the long tun, all the mete prudent ~ choice: they are robust ‘and eagy to clean, important trate in 8 nelgntbournood pprone to vandalism and raf jour coneapt for the parapet and opaque elements fs gradated, ranging from dark green on the ground storey to ye: low at roof level. When the surface reflacts the sky, the building dematerializes emia the tr288, Seen from up close, the delicate pattern created by te jolts between thes, which vary in length and width, enriches the building both sensually and with respect to Seale (see DETAIL English Edition 6/2009, », 690). Bur this materials pethaps predes tined to bring the thd dimension tof sados, Because chunks of clay with a dept ‘greater than 30 om crack cr even explode inthe kh, larger elements have cavitias and are reinforced with webs; such tiles can be produced ecenomcally trough extrusion In adation to the conceptual aspects ofthe tos, thought must be glen to tho moans. cf connection to the supperting structure, While at Planc’s Potsdamer Platz and the New Yerk Times Building the tena cotta tubes span te length of 3 facade axis and fre supported at tho nds, atthe Jewish Community Contra in Mainz, to support ho Continuous hollow elements with angular cross section, a different technique was re hired. To find the eptiral salutien, Manu! Herz and his team ~ consisting ofa facade planner and ceramics man facture - 6x perimented for five years. In the completed sia, the complex supporting structure so- lution that connects to 8 groove on the ba of the so-called “ceramic baguettes" is now hidden rom view. Thanks to the overlapping montise-and-tenon joint, the vertical seams are inconspicuous the herizental seams are offsot. Consaquenti, the dynamic, siantod ribs do not evoke associations with the inl vielal, linear elements of a ventilated cavity facade, but seem lke a colage cf nemoge- Is surfaces, The iridescent glaze under- ‘8c0r08 tne effect and, even wnea tho aky IS ast, gives risa to an interplay of ight land shadow corresponding to the rusting leaves of the nearby trees (il. 20): in a day ‘and age in whicn ceramic figurines are painted” by a robot and flatware is glazed (on the conveyor belt, these profiles for te Jewish Community Centra were painted by hand, The greater the rurmber of layers ap- piled, the mare intense tne colour is. With this manual process, colour gradation cay bo achioved in each individual eloment, fur ther emphasising the painterly impression of the overal facade. Because the pigments ‘graitate from the sharp edges to the the edge Is articulated and resemoi raised, ight toned tne, The lazad ooramic Facadoe of the Brand.172 Theveard Your chosn ~The Recacovay a Glazed Ceramics horst Museum in Munich boast the widest range of colours realized to date. Three tam- lies of coloure structure the building enve- lope: the taller section is in shades of pastel the Upper level of tie longer ving in medium tonas, and the ground level in dark, saturat ed tones. In tum, each of these three areas was executed with an eye tothe finest level of detal, and is a mosaic of richly variegat- ‘80, complomentary coloure: the csciiating colours make the box-like building massing seem to meltinto air (See DETAIL English Ecition 6/2008, p. $90). Sauerbruch Hutton originally wanted to cover the building In a throe-cimensionalekin koa knit pulover. ‘lose ceatly vorsion was raalizeds i n volved layering the outermost vertical ce: ramic tubes ~whose square cross section measures 40 x 40 mm ~ and the suaporting ructure consisting of horizontally mounted: ‘metal sips suspended obliquely and at a constant distance from the actual facade. ‘The fine-tuning required canying cut court less trials: by mixing the pigments with a white, basic component of tne glaze — known as it~ semi-transparent colours were created in which the rough eand and the clay’ inherent colour can sill be seen. The dark, cpaque tones were attained through the combination of multiple coats (of plgmont and a transparont laze. ARCHEA Avcnitects achieves a livaly, an 21108 DETAR 198. Glos. carrreroalong hous daveuprar Cordon, 2011 frohtocesRorze Plano Bulag Woahop 20 Soushcarmunty Canton Main, 2010, lrchtece Marval Her 21 Patent Qalry Chichester free: Gain os Mean in aeacion ‘wah Long & Kenten Arcntots 22.25 Wazour stanchereh Mune, 2008; arghtoce Saveroven Huton ‘mated shia simply be developing a system ta support the design's square, carmine-red ‘ceramic plates. In order to convert arnine- {eent-century building nto a library they lwoduced a three-storey, completely glazed structure ~ housing the stacks ~ that change 8 the horse-shoe complex into a courtyard building (ls. 1416). The square ceramic, plates are 96 x 36 om and nave a thickness Of 1.2 om: they are threaded asymmatrically (on steel rods and are pesitioned at diferent angles to serve as sun protection, butare: also a poetic reference to tuming the pages (of albock. Contemporary tacades employ- Ing ceramics are often a synthoais of ago: (ld metnods and state-of the-art technology. For the opaque facades of the Trumpf om: ployee cafeteria in Ditzingen, Frark Barkow and Ragine Leibinger were in search of a surface whose texture would harmeniza with the large-format polygonal “noneycomos" Cf the root etructure. Alded by computer medots, thoy dovoloped a prismatic cubist rmeduie i. 11, see DETAIL English Edition 2/2008, pp. 168). However, the process with which the tes were created was archai: the clay was pressed manually into wood rmeuide. The ventlated curtain wall facade Is clad in larger, bluist-black tls that have flanges on the Back so that they can be al- tached to the supperting structure. Inside, the smaller, predominanty write tles are Solid, For hyglenle reasons, the Joints of the \white tiles are sealed with filer compound, Green material ofthe fuure (Other buildings making use of glazed co- ramics are in the design stage, or are under Construction: this matera's potential has yet tbe exnausted, Whethor the project takes recourse to age-old craftsmanship cor involves the development of high-tech facades erected in aviomated processes, {glazed ceramics make it possible to create 2 unique, customised building envelope tat speaks to us an an emotional level. In a faw snort dacados, the vitual images stored Con our computers wil have disappeared, lout the gloss of a ceramic facade wil last for thousands of years, beta 106 Celestial Blue - The Tiles of Iznik Gokhan Karakus, Guzde Sovini Not many building materia's withstand hun- rods of years as unaltered as the ceramic tes embelishing the palaces and mosques Cf lianbul and Editne, Their shiny surtaves, ‘ree of cracks to this very day, are a source cof amazement, as are tl bright colours. ‘The attentive observer, homever, will notice that individual tleshave taded and become brite: hese are the newer, ower qualty tos trat have boon used t2 replace org): nals fost to fre or earthquakes. Knowledge of thelr production, which reached its artistic {and technical peak during the late sixteenth ‘century, was lost shortly thereafter = not fo 'b9 rediscovered for about 400 years. How ‘ver, the quality achioved in the sbxteonth ‘century was never again attained, and it ‘was not unt twenty years ago tat the lai Foundation set aside funds for research cf ceramics used in buildings. This has allowed acholars and scientists to recreate the elusive formula that was used centuries ‘ag@ in bie Ottoman Empire. The Ottoman Enpire At the end of the eleventh century, the Sele Sultanate in Asia Minar was conquered by the Otioran Empire, whose populace pre dominantly spoke Turkish ‘The dymasty’s founder and name-alver was (Osman | {1258~1326}. Under his rule, the Cittomans pushed ever father west into the Byzantine border region. Mehmed I ‘conquered Istanbul - then the capita of the Roman Empire ~ in 1453, datiniively positioning the Otoman Empire as a form able power. During the sixteenth century, when the empire reached its politcal, eco. nomial and cultural peak, a large number ‘of mosques and palaces were bul, particu larly in captal cities istanbul, Edimo and ‘Bursa. During his tanure, Sinan, the famed ‘master builder lo the Otfoman court, com pleted AD mosques and more than 80 palac esinchly embelished with ceramic tes, lens workshops In addition tothe imperial court's atellars ~ known as Nakkashane — which had their own workshops, there were also free guilds Diewuesen 479 2 Suton Aeros Meeaue (lve Mozava), 1510-1617, ieuareut Doma a faye sas frac Mehmet AgaS74 Caleta uo ~The Tee ot en Fredvoton of en tee 3 Hard paring a corame pata pioto burg. oni Francorrng Uw dcign wth coal dust eaucirg Pe blocks o qua poieg the primer Fret fe bore gazing) Parsing totes, 10. Fate win Moar mot ate eateortn corte, Muste natunal dela Penatsarce, Ecouen that often received their commissions from the court and were, in turn, contalle to a large degree by It. The areas of northwest Turkey ric in potter's clay — and with near- by forests that could supply the wood for the kiln ~ provided favourable conditions for lami and Kitahya, the twa most important reducers of ceramics. In lznik, a small city Southeast of Istanbul lnown in ertquity as. Nicda, craftson alroady produced redaish potters’ goods (Milet wares) inthe pre-Otto- rman era. inthe lale fiteenth century, the su: tan’s court commissioned these workshons te produce high-quality ceramics. Chinese pporcolain —that had amived in Ietanbul et thor by ship or via the Sikc Road and had a PF aa Ba” 2 = ] a ey Ca become a highly sought after laxury good served as the medel. Accordingly, the Craftamen tied to dlacover ite secret formu Ia, The mystery of the material's translucent ualty was not to be solved for 300 years: the Chinese added the mineral petuntse to the sllicecus Kaolin clay to obtain the glass- lke effect. nation, the rrateral sted ‘ata very high, constant temperature to pro- duce hard, pure-white poreolain. The Otto: rman masters, In contrast, used a powdered, ‘quartz additive. In this way, they produced sercalled fitted percalain; a clay slury was ‘applied ta giveit an even, white surtace, In 1860, eratemon in Iznik developed the un doralazo painting technique, which played {an important rale in thelr breakthrough. The Glaze consists of a fit compound with lead as tux. This intansties and protects the ap- colour. The ceramics that were creat- 13y bring ta mind the Ghinose prototype. In tho oldest products, dark blus [cobaltoxide basis) was used for ‘embalishment. Overtime, however, the co ur palette was expanded upor: later ad tions were a dlaphanous turquoise copper (xd), black (chromite) for contours, and pale violet manganese oxide). After 1555, 2 brigit red —known ag Bolus red — was Created utllzing a thick, slumy-tke plgment Finally, emerald green ~a colour that was partic. larly dificult to produce - completed: ‘me palette. Tho styles of the Ottornan Court The applied arts of he Ottoman Empire cama under many influences: Seljuk, Per sian, Byzantine, Chinese, and later Europe- {an examples all served Important roles. Due to Islam's ban on figurative an, Ortoman aniste steored clear of such imagery. Gon ‘sequently, Islamic calligraphy, ofamenta- tion, and depictions of plants related to the (Quran's conception atthe paradise garden bbecame the focus of art In Ottoman cutture, religion wae at groat significance. At the samo tio, calligraphy was considered 2 prestigious form of art. Therefor, itis not ‘suprising that the Gur'an was typically tran- seibed in Suius (Arabic: Thuluth), a cursive 21108 DETAR form of script, both in profane and sacred contexts. Accordingly, in addition to rel gious objects, tiles also bear Arabic inecrip tions and are part of tie oramantation of every mosque. The artists employed at the time inthe sultan’s cout eft their imprint on the empire's artistic styles. Atthe close of the fttesnth century, dark, opaque cobalt blue ona white background was predom! rant; the motifs wore foral or incorperatad ‘ther plants in keeping with the conception cf the paradise garden, But duting ths per (0, artists also copied Chinese motifs, such {a8 small blessoms or animals. During this ‘aly phage, Baba Nakkas hoacied tne im poral workshop. His succossor Shah Kulu was educated at the Persian court and was cone of the most famous artists. Feathery leaves, floral paknettes, and plants with deli cate stems (saz style, Hatay! style) bring his designe to life. Kara Mom), Ku's student, was te frst to compose designs incorpor: Ing local plarts: tulips, hyacinths, honey. suckle, carnations and roses decorate his ties and flatware. Because these ceramics were 80 valuable, they were used strictly ‘as ornamentation. At this time, the Ottoman artists produced neltner table services nor serial goods; only he tas needed for the mosques and palaces were produced in large quantities. (Mosques and palaces ‘cause the artists responsible for buildings wore working wit other teenniques, coraim leg from lznk were at fst rarely used in ar- cchitecture. Glazed bricks, monachrematic bastelie ties, and elatorately chiselled mosaics predominated, Later, tiles were produced using the simplcr cuerda seca technique, in which in ona fra the respec tive patches of colour are kept separate bby applying an olly pigrient tothe profiles Inthe mould. Sericus compettion fortis method di not come along until 1560, when ‘transparent glaze was developed that was applied to colour eurfaces and then fred (the underalaze painting technique). At this time, lznik became the Ottoman Empire's centre for ceramics produscticn. The Murad DETAR 2106 I Mosque in Ediene (1437-1447) possesses tiles produced using the cuerda seca tec ricue, as well as tles with underglaze paint ing. The discovery of new coloure also played a role in lznik’s breakthrough. Kara Memi's fest mulb-colour ceramic tiles with ficral motis trom I2rik were used in the SU- leymaniye Mosque (1850-1557) designed by Sinan for Suttan Suleyman |. The main space is to 2 great dogrso stil restrained, its Imeetone surfaces unadorned, but in the courtyard ambulatory there are panels of lenik tes bearing religious inscriptions, and seme of the walls are embellished with ar bosques mado of towors, an example of tne Hatay' style. The mosque dodicated to tie ‘grand vizier Risto Pasha ~ alzo designed by Sinan - was erected from 1861 to 1863. Inthis much smaller building, tles new cov: er nearly every vertical surface. Many artists had a hand in cresting the 80 atterent pat totre; together tho designs conettute a gan- lal patchwork of idoas. The wniled borders create a coherent whole. The patterns were in part inspired by fabric designs, but the sa atyle also employed foliata patterns, anc garden flowers played an important rote in Kara Memi’s designs. The rich emerald cgreen had not yet been added to the reper toire. A few short years late, tle décor reached its climax, In 1856, Suleyman’s tomb was erected, and tram 7569 to 1575, the Selim I Mosque in Edne followed ~ both designed by the court master builder Sinan. In the latter ho created two auxiliary spaces in which the tles are showcased. The level of perfection attained ~ both tack rically and artistically —is particularly high, as evidenced, for example, in the jxtapost tion of a sublime tone of red with a radiant green. During Murad ll’ reign the colour red, which had previously served merely to accentuate the ornament, gained new sig nificance. It isthe deminant colour in nis mosque, a6 well ae in te adaitions ho over: aw to tne Topkapi Palace, where berders with red backgrounds ‘tame the larger fields of floral mois, At present, all sats of Lnexceptional les of more recent vintage are to be found at these magnificent ada tions to tne palace. Many of the exquisite originals were destroyed by ire, or nave been trareplared to embeligh other buld- Ings. The hey-day of ceramics was short lived: by the end of the sixteenth century, the discovery of siver led to # devaluation of the currency, which ultimately contributed 10 economic decline, linesses caused by ccantact with silica dust and lead fumes, combined with major fre and @ malaria epidemic, brought the tle production to a halt. These elaborate luxury goods became scarce, and, inorder to survive, the arsts| wore torcad to preduce tiles of lower quailty ‘As a rosult, tne tochniquos and formulas “@ thathad been developed overt many years wore lost. The lank Foundation In 1998, tie lznik Foundation was founded to.conduct resaarch en the ctiginal tes, 2x- ccavations, and the tle fragments found in lanik’s century-old kins. Te tes produced in the Ottoman Empire have been proven to bo particularly resistant to climatic inion. ; they are unusually Nard, were primed to coblain a pure white background, and have a seratch-resistant glaze. The surface was painted, The bles were laid end to end — vith no space left nenwoon thm, On the ba: fs of te laboratory tests and oxporiments16 Caleta uo ~The Tee ot en with diferent chemical compositions and production processes, the researchers are tying to make the as sirilar tothe original 8 possible Electric kins now ease preduc- tion, which otherwise stays very close to the age-old work mathods of the cxaftspa0ple, Tada, the conceptual work takes place In tne design office in istanbul a parallel to te Imperial court's atelers ~ and tne designs aro thon sont to the mastor crafts people in lank for production. Tha format for brik tes ‘The process used to produce a single lzik tie lasts 70 days. Each tle has tour sepa- rate layers: quartz te, costing, pairting, and glaze, The actual te body is known as the bisque, which is made up of quartz (85%) and clay (15%). Craftsmen manually reak the quartz -a nigh standard of stone Is used — into pieces. At tie same tine, the clay is placed in water for 24 hours. Then itis heated and stained through a piece tt cloth, Next the precise amounts ofthe two components are mixed together. The paste thatrocuits is manually patted Into the ‘mould to ty for seven to ten days. To arrive atthe desired clnensions, and to ensure a precise ft while installing, the edges are [processed manually with sandpaper. ‘Atnick paste made of puro quartz powder ‘nd clay Is poured eventy over each shost 21108 DETAR 11-18 Eshibion erganics by tho ‘Hagia Sota Misoum 2008 ty Design by Zane eae 2 18 nbn space, reogeurd by Ain Akoya land guarantees that each quart tie wil have ‘an immaculate surface. Drying and priming takes an additonal ten days, after which the tiles are ready tobe fred in the kiln - ata emmperature of 830 °C. As s00N as the tes cco! down, the artists entar into the process. The patters are printed on sketch paper. ‘An artist pokes holes in the paper along the Contours of te drawing and sprines coal dust on tho drawing, thoraby transtorring te pattern to tre bisque. He or she then Uses the miniscule grains of coal dust as the basis forthe drawing’s dark-blue or black cantours. The fields cf colour are opt apart by those contour ines. tAetal oxide pigmonts craate colours reminiscont cf semi-precious stones: coral red, ral ciile green, turquoise and lapis lazuli The glaze is composed of a mixture of quartz, metal oxides and sada ash. The so- liked, glase-‘ke matonal is then treken Ito email ploces, washed, elovod, ana iad. A water-basad organic bonding agent i intrecuced to facitate pouring the ‘mixture evenly on tothe painted bles. Then, the fina fire completes the process. In 2005, an exhibition crganised by the lznik Foundation in cooperation with anit, designers, and architects trom around the lebe was showm atthe Hagia Sofla Muse Lm. Their novel werk demonstrated impres- Sively how a single moti on a standard format le Is the basis of a system that brings forth complex structures. The modern ‘mete itustrato te potential of this sustaina ble, natural, resilient building material fer Use in contemporary architecture. In star boul, Abu Dhabi, Beirut, Tokyo er Montreal we once again encounter colourtl es fram lznik that not only adorn rocanty comploted ‘monuments, but also mosques, metro sta tions and private residences. kaya 1990 wth he aim ofcordscing vesearch the praducton pracesens nate conpostin of fon ios ht were posoed ne eran [spre hac oacarmart In iarou angler an eee with oneal Unvarty, Miner Stan Unt ‘yr Tubitax and Prneeten chery. Gaiman rata an achtctural Peart wring ‘raphe ad object desig near! Got Seve {Ss canmurcaions eonsutert and tksgger Gira Esprit New frame variant GIRA Gira Esprit ‘Aluminium black Gira is expanding the material and colour diversity of the Esprit ‘The natural ground structure of the material remains visible switch range, With the new aluminium black, aluminium brown inthe frames made of anodised aluminium. Thus, the tee! of the and walnut-aluminium frame variants, the successful design concept is being pursued consistently: clear forms, carefully Se lected matatials and porfect surfaces. More than 280 functions are available for Ge Esprit surface do9¢ justice to its high-aualty appearance. The new lesign variant in matt black is particularly suitable for modern Interior design concepss. ‘Aluminium brown Various brown tones are a tend and part of morn colour concepts fat sophisticated interiar design, Gira adopts this trend inthe Gira Esprit switen range with cover frames of anodiced aluminium in matt Brown, Wolnut aluminium Walnut is one of the mast popular woods for manufacturing furniture. The combination with a cover frame made of anodised ‘aluminium gives the new walnut aluminium design variant an Drganic and modern appearance.DETAIL Kelle) -acoustics ola Coles 1 Ideal oe designs Order online at www.detail.de/p: soeStrength Through Subtlety: David Rubenstein Atrium at Lincoln Center, New York Nic Lehoux echoes: Tod Vis Ge Telan rchract, Naw Yate In 7967, New Vork City adopted @ pro {gramme known as POPS (Privately Owned Public Spaces) with the alm of promoting progressive urbanism and invigorating tie Colyseape. The programme, now entering its sith decade, allows for the designation of Certain spaces, both outdcors and within ex isting bulldings, as areas for the use and en Joymert ofthe public. Privately o#ned pub: lic spaces, which Include plazas, arcades tend concourses, are intendad to breathe air ight and ie into the high-density envi- rarment of the city’s commercial and resi- lentil districts, Zoning incentives offer developers the opportunity to bul tallar buildings in oxchange for providing and maintaining such public spaces. ‘The present project consists of a 700- squate:metre atrium ~a grand interice boulevard forming a passageway between Broadway and Gelumbue Avenue — located ‘207038 tho street from eprausling Lincoln Center. A smalr passage branches out fream the space to cive functional access te 62nd Street. The previously existing Har- mony Atium* had lost its purpose: it was being used as a fledgling rock-climbing gym and a de facto hamelass shelter. Lincoln Center selected Tod Willars Bil Taian Architects to revive the arium based con their ‘Garden in the City" concept. Cen- tral to thelr design was the idea of a space Create witn refined materials and open to everyone. Program, Space and Atmosphere Functionally, the David Rubenstein Atrium at Linceln Genter provides a ticketing venue for various performances, a cato,tloxble seating, and a performance area whora fros ‘musical presentations offer a stoet-smart, democratic counterpoint to the more estab- lished, conservative and rarefied atmos phere of the adjacent Lincoln Center. Empnasizing this sense of openness, over- ‘ized glass doors and transparent exterior walls help to blur the boundary between street and au. Large cantilevered cano 21108 DETAR the entrances give the space an enticing imprint, merging inta the interior ing and drawing the eye upward. Shite cocull, conical skylights canted at various an- les, perforate the gold-coloured ceiling along the length af the atrium, defining the path from Broadway to Columbus ‘As soon as they step through the door, vis: tors experience the architects’ tour de force Conan almost subliminal level. Tho space sirikes @ delicate balance between the sen sory stimuli provided by varied installations {and textures, and the peaceful, almast med ative atmespnere that invites one to slow down and lingor. The effect simuttaneouely ‘energizing and calming - rovoats itso max loarly to te observer who leaves analytical considerations aside forthe moment and ‘imply watches the interaction of patrons land space. Here, the energies of the melting pot of cultures are palpable: these vistors Inhabik the space win an unetfconscious nonchalancs that reveals the design's sue cess, This is an overtly inviting space that celebrates diversity Matenas, Textures, Instalations ‘Atbot1 main entrances to the atrium, ten- rmeve-high plant walls composed of fem ‘bromeliads, moss and flowering vines (see also p. £79) absorb sound and calm the frenzy of the New Yor street scene. The air resonates wit the sound of water taling from a fountain In te celing. The fountaln’s sculptural steal rods onhance the verticality Of the space. The place de résistance of the instalations hangs on bath walls cf the at: Lum, Artist Glaudy Jengstra worked closely with ne architects to create grey and yellow folt wall tapestries. The undulating forms of textured matorial cn one wall ae rominis cent of cascading waterfalls or of a flowing river, wile the grey ellipses on yellow felt on the facing installation craw the eye towards the ceiling ard tne atrium's 16 cul, The conical openings that punctuate the colling sorve a passive role by day of bring Ing natural light into the space, contibuting to the blurring of te line between exterior and interict. The ocul evoke sott, angled eae ae eo182 tranat Tough Suoty: David Fubenetelr Aiur st Lncon Carta, N¥ stage lights, giving he vistor he whimsical sensation of being on stage. This effect provides the most important symbolic lnk te Lincoln Center, The atrium-stage is ani- ‘mated by the movernent ofthe sun and by changes in the weather. The infite variety of light conditions thus created interact with the vertical garden, sculptural watertall and ‘elt walls in auch a way that no two visits to tho space are over the samo; the rogular Visitor is constantly rediscovering the inter play of light, colour and materials. During evening perfarmances, the ocull and caling arelt by coloured LED lights, transforming ‘tho atrlum into a performance voru with 3 rightelub foal 1 Simpl, lager een marble benches inf ‘verte part wal composed o'er, Boma ft, reas ang foiteg vines. "ara votes leet th ‘gust ‘The beautiful juxtaposition of materials that isthe firm's trademark isin evidence throughout the space. The effect of the sim ple, elegant green marble benches in con- Cort with tre textured limestone walls and. the installations described above speaks for the architects’ wisdom in selecting highly durable materials. Indeed, tis the long-term functionality of the floor, walls and benches that renders the space succossful: despito the aimospnere of refinement, delicacy and subtlety that permeates the altium, it is above all a volume on wich intensive human flow and activity wil not take their tall. Tho overall attect is one of delicate strength, of stoic subtlety iam /Teen fo conte ttre alain uring evering pertmarces. the conical rect poregs are It by varcualy oobuod LEDs 21108 DETAR ‘The materials, the design and the plethora of textural experiences combine with the ‘changing cycles ofthe day to create a cha: rmeleon of a space that senually rewards its ppatrone with every viel Its only fiting that this abium, vith its carefully crafted combi ration of installations and atmosphere, hes ‘gone far beyond its primary function as a ticketing venue to achieve immense popu: larity witn Now Yorkers, quickly becoming tthe most visited of more than 800 euch privately ouned public spaces inthe city The David Rubenstein Atrium at Lincoln Genter is an especially successful balanc- Ing act pertormed by Tod Willams Ello 4. ered alin the nd cf hea shows Information set ever t ircoin Center at {5 ee eresoratons. Te space intortot te DETAR 2106 Material Design: Informing Architecture by Materiality Thomas Schripfer, Sirkréuser, Basle 2011, 4192 pp., harcicover, ISBN 978-3-0346- (0035-4, USSH9.95; £45; €58:30 Toking matorial qualties and properties such as toxturo, elastily, transparency and fluidity 2s 2 point of departure, the cancapt described and employed here transcends the conventional datintians of building ma trials Instead, the foous is on a multitude of material operations such as folding and bending, carving and cutting, weaving and koitting, mirroring and screening. The featured design strategies and methods address established and new materials alike. The scales at which they are applied range from the detail evel to that of a whole building. The examples comprise prototype structures as well as large building projects. Nine chapters deal with surfaces and layers, jaints and junctions, weaving and texturing nanoscale transfermations, responsiveness, and the integration of ephemeral factors such as wind and ight, as well as providing 2 registy of materials and professional re- sources. Wirten by renowned experts in the field, the book features many examples from contemporary internaticaal architecture, Material World 3: Innovative Materials {for Architecture and Design Blodie Ternaux, Frame Publishers, Amster dam 2011, 232 pp., hardcover, ISBN 978- 90-77174-26-6 USS59; 995.44 €44.09) Tho third edition in the Material World serios offers more than a hundred adctional mate- Fials and serrifnished products carefully selected by matériO, a library of emerging materials. Highlights cf tris collection, which covers materials witn a wide variety of prop erias and aesthetle qualities, are modular, Undulating wall coverings, flsh-skin leathers, photovoltaic texas, and LED lighting sys tems powered by walerthin batteries, In adaition to inspiration, the reader wil tind Information on tre history and specifications of cortain materials 28 well as contact de: tals for supers, ‘The Articulate Surtace: ‘Ornament and Technology in Contemporary Architecture Bon Poll, Birkavser, Basle 2010, 200 pp. hardcover, ISBN: 972-3-0346-0291-1, Uss99, £63; €74 79 Materiality and Interior Construction .Jmm Pestall, Nancy Gesinondo, John Wiley & Sons, 2011, 448 pp,, hardcover, ISEN 978-0-470-44644-0, US$AO; 955; €64 NAI, museum of architecture “The revamped Nethoriands Architactus In situ (NAN) nas reopened this summer as, the NAl, museum of architecture. Architect Jo Coanen refurbised his original bulcing, ‘completed almost 20 years ago, adding a redesigned entrance eked by an expan. f8Nv0 dack, Visitors can explore two now por- manent inetallaions: the Hands-on Deck, an ‘experimental workshop for adults, young people and children alke; and Dutchuile, which allows one to experiance how a typi foal Dutch city affects and shapes people's feelings, using scale models rom the NAI's collaction as woll as stots of how rosidonts ‘experience ther city. In adaltion, there are two temporary exhibitions (see below) Netherlands Architecture Insitute (NA), Rotterdam, vaww.nal TESTIFY! ‘The Consequences of Architecture Over the years, our relationships with and atitudes towards food, health, energy, space, time, social relationships and eco nomic} value have spiraled out of conta Facod with tne consaquences cf over ccongumption, we are seeking to redress the balance, Can architecture help us to build a mare sustainable society? Testiy! presents 25 intemational projects that axidrosa trose Issues. Residonta and Users aro given a chanes to comment on whether oF not they think the architects! vi sion is a success — and why. The projects range from actual buildings to experimental designs By interdisciplinary think tanks and research groups. (Unt 13 November 2071, Nethoriands Architoctura Institute (NAD), Rottordam, vw pail DARINGDESIGN - Chinese and Dutch designers with guts, This exhibition presents eight innovative yet realistic designers, including Al Weinel, Hella Jongerlus, and Rem Koolhaas/OMA, Until 8 January 2012, Netherlands Arcritec- ture Institute (Nal), Rotterdam, wu.cai.cl Postmodernism: Style and Subversion 1970-1990 “The ideas of postmodernism fist emerged in architecture as interest in buildings from the past re-emerged and the minimalism of modemam was abandoned. These early Ideas began to infusnee cther areas of do sign, Including not only furitura and graph ics but all aspects of popular culture, Postmecorrism: Style and Subversion 1970- 1890 brings together more than 250 objects ‘rom all genres of ert and design, including the original presentation drewings for Philp, Johnson's AT&T building (1978) 24 September 2011 to 15 January 2012, V&A South Kensington, Lenden, vwuvam. ac. London Design Festival 2011 The ninth annual Londen Design Festival will bo the largest and most significant yet, with an expected 180 partners and more than 250 events. includes an installation by Jann Pawson at St Paul's Cathectal as Wall as a series of events at the V&A; an oak laticework apiral by Amanda Lovote Archi tocts at tho South Kensington ontrance rep. resents arguably the most prominent piece. 17 28 September 2011, London vw londendesigafestival.com, vontnvam.ac. This is Dosian Alter over five years of being catalogued, conserved and documented, highlights from the Design Museum's collection wil ence again be on display. Prototypes, drawings, couture samples, models, frst ecitions and finished industrial abjocts will be exhibited. Including highlights such as tie original Mini, UK road signs, and large-scale archi- tectural models such as Si Norman Foste’s HSBC Bank headquarters i Heng Kong, (Until 22 January 2012, Design Museum, London, www.designmuseum.org. Design with the Other 90%: CITIES. This second exhibition inthe series wil ex- famine the complex issues arising from the Unprecedented rate of urban grouth pro- Joctod to tako place over tho noxt 20 years, primarily inthe inforral settlements of tha southern hemisahere. The exhibition will explore the mulbiciscipinary, overlapping relationships ameng urban plarning and design, education, social entrepreneurship, climate change, santaton and water, migra tion, public health and affrdable housing in thase communitias, The musoum will make the information it gathers accessible through ‘an enline cpen-network database. 16 October 2011 to 9 January 2012, Cooper Hewitt, National Design Museu New York, wat.coaperhi arg Buildings = Energy Using fullscale installations, models, and Interactive diagrams, Bulaings = Energy educates design professionals and the publi about measures intended to improve building performance and the environment 1 October 2011 to 24 Janvary 2012, AIA NY, Center for Architecture, New Yerk, bbtn/cta.alany.org SUPERTALL! This international survey of towers exceed ing a height of 980 metres feaiures projects completed since 2001 ar expected to top out by 2016, The exhibitien updates 8 2007 study, removing buildings that were not but Cor that dla nat achiave tho required hela, and adding 26 now projects Until January 2012, The Skyscraper Museum, New York, yawn skyscraper ctot 21108 DETAR DETAR 2106 Recone 488 forms and genty raling ane fod tho architects to croate this .g@ got tosh rm @ collection in Melbourne, Aus: tralia, For the implementation of the design, the architects used 154 pairs cf tights, transforming an everyday item of women's Clothing into a form of docoration. Distibuted in ovary conceivable pormuta: tion throughout the space, the tights were Gate In New York. ‘Temporary Shop in Melbourne crystal swab setting tobe. In det er collection on display, the architects used neural and demure col reritactes ‘ours. Tho playful intallation existed for a Edinros Meare, Wataoune mere three days. The bock motif may not be an unusual ce of design concent to a cate ina Manhattan bockshop, but here, the fished designis cerainy out of the ordinary: ‘books, eaded either singly or in fon steel rods, hang suspended from the ceiling, The curved wall ot he cafe area looks as though its eae 1100 Tigwe Fastening bracket, ‘a trompe lil effect. Books, both open and closed, kenise served as the inspiration forthe sll folding reading tables ot walnut ettached to the wails wih leather196 gor 08 DETAR, [Art Gallery Extension in Oxford ch SFM Aromat, Londen 1985 to venue ter cantemporan Ibitione, events, and werksho} isaum on a mote active streat front ntval Oxford. It's hoped that it wil ing delivery yard gallery space new to the UK: a gallery’ verve, The new, ramped lobby, measuring tioned a8 ai structed trom is post lation work, caretuly con ive enginocrad tim 1g shuttorinvitos passers-by DETAR 2106 Recone 487 Graphic Design Ottice in Eindhoven im i q i ih il % sawed and cut, andit can be recycled when terial typically used in temporary structures for the theatre, trade fairs and exhiation, bout t continually ingoires new ideas for ap- A taphic desion house commissioned ‘okshelves and partir of this stable, economical vith plasterboard, The freetardant ‘and lightweight material, which required by code is a reasonable lable in varl-_congession to human safety, albor Incos ly boperforated, sistant with tno project's ecological aims.21108 DETAR Mery Shop in Prague StetioRestaurant in New York Architects: Sebastian Mariscal Studio, San Diego Tear Sebastian Mariscal, Jett Stak, arias de ia Mora Structural enginoet: Fizuan Salam, New Yorks Obners involved in the project: see page 508 ‘This restaurant in Manhattan serves reason ably priced Poruvian culsine and oscupiog ‘wo lower levels ofa new apariment tower whose exterior is dominated by alurrinium and glass. it compensates fer lacking pres- lence at street level with eye-catching mate rialty neide. For example, the reception ‘pace oppeste the entrance is clad in wood ‘sourced from shelves originally used in ‘mushroom culivation. A marble desk con- trasts withthe rustic matetial. The same stone reappears in the lounge, this time in ‘combination with polisnedt brass: this wall ‘alsa contains the doors to the cloakroom {and the restrooms. A 12-metre-long mone lithic bar rests on a hand:hewn exposed 106 DETAR conerete floor; this floor leads to the rear Of ho restaurant, From ths vantage poi. ‘customers can peer into tne dauble-height, dining space. A focal point of the space is a central concreta column whose surface Js also hand-wreught. Walls and ceilings are covered ln amesn of Octo twigs. Tre Ccotlio ls a desert tree that tives in north ‘om Moxico. Tho twigs were cut and pla Inthe sun to dry for months. Howover Cause the residual moisture content in the wood was too high, upen their arival in New York the twigs were oven-dried fer an ada tional 2 weeks, On elte a team of 30 con- struction workers removed the bark ftom the ‘wigs and then cleaned and plalted them. emraroe Sroakroon Service sccess Be Bots Baleeny Bulg owicos aver Bor390, 3 estore rat pare 11 Walkin coor Cavera bar DDocumantaen02 ostauartn New Yore 21106 DETAR heats, im plywood sheet ‘hocl caver ‘ee foc sera “9 mm pynood shee. panies lees ‘Om teciamed wees ising ‘9m orarod shang bond 22 mme-sectorvaecste inulin ‘Simm travers gum SSmmthivse cameos backs board E1284 mm ame cs piotios Terre rrm stoo' SHS coun ‘load 152/62 re bectpate Bea-piate acco dng to structural spectators velcedto? easter piace corerts in ‘Ruiprenan coor frre ‘Ommresiamed wees on ‘9m riaatcemerttove backer board ‘ret Sus ‘Sm iecianed wood SOmm overt san board SS im tp sarees, chipped, pany ean coteg Geotistaigs Soted th pamoaiaccatoeato 19 "2m soe shao! supparing sctue, welded ren aoc shect, Hacker pheloon laser coating beta 106 Decumantaien 409 seqa0090% ¢ redoad0C looono0s¢s BoHutong Bubble in Belling Architects: MAD Architects, Being Ma Yansong, Dang 0: Tear Dai Pu, YU Kul, Stefanie Helga Paul He Wel, Sran Jlanghal ‘Structural enginoer: Beijing Nade Ervirorenental Art Dasa) Others involved inthe project: see page 5t8 Inthe past few decades, numerous sections ot Beijing's Hutongs — the historic central districts whose delicate urban fabric is made up of narrow eireets and courtyard bbuldings —have been destroyed. Many of the single-storey courtyard residences have b laced by much taller buildings. However, more recently, a new trend has ‘emerged: new residential disicts are being bull to look tke the cnas that nave bocn lost, and the Hutongs whiet have survived are now considered worthy of preservation tnd are, accordingly, being retained. More specifically, hese historic districts are being dlaceverod by the city’s woalthy residents, ‘nd, atthe same time, ate becoming a tour @ ist ottraction. Ih 2006, MAD Architects pre pared a study addressing the future of the Hutongs. It proposed small-scale interven jong in the forrn of metalic bubbles, im. planted in the urban fabric, which are in tendad to act as magnets, or in ather words, te attract addtional target grcups and to re Invigocate the districts, The architect’ trst this concept was completed in 2009: it cantaine a wine shop. ‘The adjacent existing Nouse was retu- bished and serves - as does a new one: storey structure on the oppesite end af the Courtyard — as retall space. The bubble cud: les up to me new Dulicing: ts minoxed sur face reflacts tho older building and the lush gor 08 DETAR, foliage and almost seems cisappeer. It houses a stair that leads to the root terrace. ‘and the patron's WG. The bubble was pre fabricated off site. The structural framework. onsists of steel hollow section; the skin is ‘made of 2 mm thick sheet steel that was, uelded to the framework and chromed, a process requiring tne controlled conditions (of aworkanop. Inthe final step, the skin was palishad to create the uniiad, shiny surface which brings to mind the contemporary works of sculpture preminently displayed in a variety of metropolises, Interior surfaces received a coat of white latex paint, The largo oval skylight gives tha ermal apace a lofty, weightless tar. outvard oa) beta anos06 Huteng Eubbio Fr Bala fae 21106 DETAR ‘tromed, waided to 2x 20/20 nm tee 8 ctoparting 5'Srmm pactaboord Soated niet pe, ‘site Din gazing Bywood eo) ‘Matera contng Fanchst: 2 1080 wm Gmm cheauered pis costa Daven larmated Exe lees qed to ‘tom steal fare beta 106 ‘School in Bertin Architacts: AFF arcitekton, Berlin Martin Frahich, Sven Frohlich, Alexander Georgi Tea Jan Musikowsk! (project architect), Frangasca Boninsegna, Monic Frahn, Ubrko Dix, Franziska Sturn, Sascha Schulz, Robert Zeimet ‘Structural engineer: HEG Beratende Ingenieure, Bern (there involved in the project: see page 86 ‘Snes Germany's disappeinting sheaving in the PISA Study 2000, its sixteen states have been revamping the school system, and Berlin also @ state unto itself ~ is no ex: ception. Although the city is stugating with 2 giant pile of debts tis investing in new school buildings that will make it possible to merge callege-prep secondary schools vith *Hauptscrulen” (erally "main scn00\ whose graduates do nat qualify for univer sily) to create compretensive secondary schools, as wall as lo accommodate pupils during the longer school dey. Anna Seghers. ‘Shoal inthe Adlershot borough ot Berin is paar of a pilot project; curently the lower {grades use the building. The shorter log Decumartaien 407 of the U-shaped, asymmetrical schoo! sponds to the scale of the neighbounng res: dential buildings. By alternating the plane of the glass — elvier flush with the inner surface or the outer surface — and the postion of the perforated sheat-metal panels that conceal the sash to the left and right of he fixed glazing, a playtul impression is brought about. This is reinforced by the small win dows puncturing the skin tat are szomingly randomly cistrbuted tiroughout the facade. ‘The wooden frames are sel deep in the re- veal and are thus protected from the rain For the fixed glass panels, the outer pane fof the double glazing is glued tothe trame 10 protect tne wood. On first glance the pat tems in the rendering appear to be mpres: sions embossed in the surface and evoke ‘associations with a handcrafted, render facade. Upon closer inspection, however, Itbecomes evident trat the texture was ap- pled to he TICS as a layer of paint. The three stencils were inspired by @ Swedish army camouflage net. inside the scrool ts very material tums up inthe curtains cover Ing tha yollow lockors. Th classrooms aro white, wile the stairways and hallways — with thei bespoke soid-surface-material benches ~are bright yellow. twould cer tainly come as a surprise to the teachers ‘and the schoolchildren that this achool was built on a low budger,08 eroothn Bern 21106 DETAR DETAR 2onGs Decumantaien 400500 Seroot in Bern —ARAALAA 21106 DETAR ‘sectens soa 120 DETAR 2onGs Decumartaien S01 SES CINSEICIE) eC 1 root eorewuston portato, mat acguares ‘Sdn grave fh 4 Gaubbegbtng wm {mm uber gandate at tabbed edge weed burro 5 Sim acrid scld-sutece thetrg twolayers m ‘colcapaileg setradhesive Umbercare scons ‘paina membrane 15 tr carat Sao mm (mmm) Simm inion Freuatan e eenmacrese : rolrwne ‘aoe rato Sten urpactsornd insulator corre Polewecore sia rental nau ir 2 wel Bro wm rerarcnd-ecn So halgwoore lob 280m rte eonerato 7 sey tig 3 Gad nm 991 HS, S Smer aumnum ence, gehanzea, parted ooYouth and Neighbourhood Gentre In Amsterdam Architects: Atelier Kempe Thil, Rotterdam André Kempe, Olver Til, David van Eck Tear: Ancriue Raguotis, Blanca Sanchez Babe, Ruud Smeclen, Giorgio Terraneo Structural engineer: BREED Integrated Design, Den Haag thers invalved in the project: see page S68 1 ote Meeting place Csdeep is a borough on the western edge of ‘Amsterdam that was developed atter the ‘Second World Wer and is characterised by social Pousing estates and cat-tianaly infra- sstucture ~ in otner words, Ithas nothing in ‘common with the usual clichés associated uth Amsterdam. Since the 1980s, Osderp has been undergoing urban renewal; tre fim is 0 i Itt the remnants cf atalled ur ban planning model, whila maintaining post tive elements, such as the nelghbourneod's Iwxuriant pocket parks. Atelier Kempe Thill won the iuited competition, and their de- sign for De Heed, a youth and neighbour hood contr, is now situated in one such {arson zone. Carefully insorted amid tre tres, with suficiontcistance to the perime- ter block fabric, the cube is clearly aticuat- fed, both with respect to crm and material ‘The spatial concept is clear and simple: a fully glazed ground storay opens to the eur roundings: the intorior visually annoxos tho ppatk. Tho activities occurring In His ‘public living toem’ are perceptible froma stance and provide a stimulus to interact uith the public realm. In contrast, the hall on the up. 21108 DETAR per storey is completely enclosed: there is no visual connection to the outdoors, which |g intended to focus attention on events tak Ing place inside the space. The daylight tat passes through two sevights in the roo Is reilected by the neutral white surfaces and makes the rocm seem surprisingly bright ue to the tight budge, a variety of eco: rnomical techniques and materials were ‘amployod. A simolo industrial construction {ype, a see rare filed with stone slabs, vias selected. On the ground storey, a low cost, al-glass system with panes up to 5 metres in length was used, The neign- ‘bourhood centre's characteristic appoar- ‘ance Ie, however, detormined primarily by the use polyurethane as facade material This syntietic material, often used to insu late tanks ot bams, was sprayed an the calcareous sancistone in a liquid state: it foamed and ecified in usta tew hours ‘An ultromilat protective coating was then appliod tothe otnenwiso robust mata. ‘The floating box, with its rough, imegular surfaces creates a striking contrast to the ‘lass base's smacth, reflactive surfaces. DDocumantaen504 _Youtnond Nolpbouhoos Canes in Areorcim rr __] Soa 20 Hesizoral - Versa sectors btumrous ehesting { BL 21106 DETAR “srthetie rin coating wth Unerttor nest {35 ren tormal reuaton omoesgenrebetane, ‘oar rarvacescorcrete composts Semert '25 mm gypsum boat ‘2 saut-absorbert pastor lacs olateraly m aumeum pros, DETAR 2106 DDocumantaenEnvironmental Unit Headquarters in Zaragoza Architects: Magén Arquitectos, Zaragoza aime Magen, Javier Magen Tear: Boatviz Olona, José Lule Sanchee, Femando LJerénez, Rataol Goneslez, José Sainz Structural engineer: Ferrovial Agroman, Madkid thers involved in the project: see page S86 OS an Browns cor fy 21108 DETAR beta 106 Step ‘ 6 Feo: pars 7 Sectors 8 Enwance haliFoyer Seale 1750 8 Mule 1 Gaase For tne Expo 2008 in Zaragoza, a number of projects were also realized outside the exhi- bition grounds. One such project enhances the bank of te river Ebro. On the edge of the newly designed riverside park, the env ronmental conte is an element connecting tho urban fabric to ve lelsure and recroa: tional area situated five matres below it Correspondingly, the envirorment and the landscape became the defining themes for the building concept. The architects extend 10 the park's plantod aroas to Include the rootscape, while also using itt genorato energy; the planted surfaces alternate with ‘wooden ramps, bleachers for resting or for events, solar collectors and phatoveltaic ppanele, From the foyer ~ situated on street level, itis the crux ofthe bulding’scircula- tion system visitors also have accass 10 the rootscape. The foyer also separates the environmental centre's mult-purpese hall ‘rom tne administrative wing anc loads 10 tho garage situated on the lowor park level These diferent functions are also discern bile from the exterict. The cladding coveting the garage and storage spaces consists of black-tinted precast concrete units; togeter ‘they form a massive base that isthe contin ation of an existing wall ofthe adiacont transformer station. The canerete elements have different characteristics: where views In-and cut are desired, they take the for of Decumantaien S07 lowers, wile in enclosed zones, smocth surfaces are contvasted wit crcoved sur- faces, Above the base, a strip of frameless windows topped by a wooden ertablature calls attention to the hal's public role and offers viows of tho park. Visitors to th con: tro encounter the omnipresent yaliow pout in the facades’ vertical boarding and the solar lowers, as well as on the roof and inside the building: the fcors, walls and ceilings of the spaces accessible to the public are all covered inthe wood. At night, the building {lows in the dark park landscape. Tre oloc tricity consumed by these lights, which are recessed in the floor, is provided by the photovoltaic system.as DETAR 201) 210 DETAR510 Eniorwereal UntHeadauarers me Zaragcza Drm igrewagnt concer on rm povairat stg ayer (geotonte rm corer eeraed bo mm riven concrete mm yelp boarng Shi Eo reuaten setweon steel sheet, galvan 3 a22 mm yall fed wth 4 cohen © 20) mm sel HS hmm yolou cou park ‘seve with 70" rm ower earn wth core a 125m planes, 6 Am precast constee us ‘ted buck timed buck rosea Bo0r100 men seat SHS 00 mmrsirfaced concrete 4omm gavel 21106 DETAR DETAR 2106 Observation and Research Centre on Furnas Lake, $40 Miguel Architoct: Manuel and Francisco Aires Mateus, Lisbon Team Paiticla Marquoe, Valentino Capote de Sousa, Matlaria Barbosa Matous, Catarina Bolo, Francieco Gaseiro, Jodo Catia Lopes ‘Structural engineers: afaconsult, Rui Furtado, Vila Nova de Gaia Others invaived in the project: see pane 589 Hot vapours and gases streem trom fume roles along the coast of Fumas Lake on the Island S80 Miguel in the Azores. Theis land's vclcanie and seierrolagical character makes It of special interest to scientists. To accommodate such visitors en extended slays tothe island, a small quest house with Tour flexible, tumisned uns was built ext to the rescarcn cenvre. The buildings are a par of a saris of intervantions to onhanca the crater lake's coast. The phase creating 2 new hiking path around the entire lake has nly been completed. The next phase, Introducing inrastructure for hikers as wel as several boathouses, will bo comploted son, The arcnitocts litod the number ‘of materials in their palette in their quest to achiove a harmonic relationship between the new building mageing and the surround Ing lush landscape. The various structures are clad in locally sourced, roug-san basalt; this unifies the respective pavilions fanci makes them appeer to be monoitic, A slightly distorted square serves as the basis forthe floor plans: the facades and hipped roofs ara almost fuly closed. Tne Island's pine eee tumished the reduist wood for the interirs. Light enters the inte Fiors trough the doors ard the courtyards cut out ofthe "blocks" of stone: therefore, thing intorupte tno immaculate surtace fof the stone mantio, Decumartaien $11 Ste pen |) Guesthouse 5 Serageuldeg sees210 DETAR DETAR 2106514 Obeoratin and Recoorch Cons en Furas Laks, S20 Mlgul 21106 DETAR DETAR 2106 Documartaien 18 L _ pf” om 772)CObearaten an Rcosrch Co 21106 DETAR DETAR 2106Jewish Community Centre in Mainz Architects: Manuel Herz Architekten, Basle Tearn Eltsa Lacaze, Hania Michalska, Michael Scheuvene, Peter Sandmann, Cornelia, Rodoker, Svon Rttgar, Sona Starke Structural engineer: Arup, Dossaldort Others involved in the project: see pace 569 Tucked behind a lush allée in Neustadt, 2 late-nineteenth-century neighbouthood In Mainz, isthe remarkable, shimmering, sulptural Jewish Community Centve, It was bouton the site ofthe city's former main synagogue, which was destroyed in 1958, during Kristallnacht. Along the strest, the bulding, recalling a meandering slbon creased at intervals, responds to the pe- rimater-black fabric. At the sito's east sido, where the rituon reacties its highest point, the building culminates in a public fore court. The expressive silhouette is fil ta the adioining dense building massing: twas Inspired by tne Hebraic word Keduscha, which means “to clovato" or "to bless", The form of the building was liter ally determined by the letters, a eterence 10 the great significance of the writen word in the history of Judaism. Aside from tie form, Itie the ridescent, dark-green facade that characterises the building, The ceramic ele- ments are arranged in concenbic patterns around window openings and the elements, with the triangular cross-section, give the ‘xtorior wall surfaces a parspectival,throo dimensional effect, The synthesis even cre- ‘ates optical illusions: rom cerlain angles, although they are plumb, some parts of the facades appear to be oblique. Tho nand-glazed ceramic cladding has an ‘astonishing range of colours. Depending on 21108 DETAR the incidence of light and the position of the ‘beholder, the colour tones are perceived {38 spanning from nearly black t sliver. ‘The architect joined up wit) ceramics ex pert Nels Dietrich and a tle manufacturer te develop the prototype. The exuded! sections were then produced in varying lengtns and beveling angles to achieve the design's zigzags. The elements are fastoned to the supporting structure via alu rminiumn rail that are glued to thelr backs. Employing the mortise-and-tenon principle and adhering to the highly detailed installa- tion drawing, they cloak the long sides of the bulding, while the zine shooting that ‘cheathes the root is extended to inetude tho DETAR 2106 short sides Inside the building one also per- ccelves this sculptural quality, and the difer lent areas intersect with ane another, while the slanted wall surfaces and celings of the foyer, cultural hal, patlsh, and office have restrained, white fishes, the synagogue is fs space Unto itself ands coated in golden colour tones. Light enters the space through the giant skyligrt, whose hom shape is rem- iniscont of the Shofar ~ racitionally a ram's horn - used on the High Holy Days. The skylight’s mulions also make subtle refer. ence to the holy teachings, and the design lof the syragague's interior surfaces is @ gypsum ba8-rellet depletion of leters of he Hobrew alphabet. Layout plane + Sections fea 11000 1 Entrance 2 Fragrerts fhe ferrersyragogze 8 Foyer 4 Syracogue 5 Convair 8 Kitchen Year 10 Gor 1 Vad 13 Acminitraton 14 Leary acne Documartaien 19LeaRROO BARB pera eee : ot Ee | line ve524 Joulon Communty Contam Maine The design of the synagogue's interior {As the spiritual neart of the building, the ‘synagogue is elaborately embellished. Iie wall and celling surfaces are clad in @ delicate, mosaic-Ike texture coneisting of densely packed letters of the Hebrow ab pphabet. The bas-relief stucco panels are 15 mm thick and textle reinforced; they are 50 x 120 omin size and were cast mn sixteen ‘moulds, each with a diffrent pattor. The jpanels were bolted to the supporting suc lure, and the ints smocthened. Finally, the surface was spray-ccated tree times. The lating between gold tha space a tostive aura, 3 3 mm and are erootn ‘and bronze - 9 Tho lettre are rai % a faa (pAlb eel ality mENES Rbaald the spaces between igh ~ an effect tat was achieved by placing sandpaper Inthe mould, In some areas, the letters are legs danse, and the abstract patterns trans- form into Piyutim — the medieval reigious texts by Mainz’s rabbis are a raference to city's significance centuries ago as 2 European centre of Judaic teaching and ligion. During construction, recesses wer ‘mad in tho portions of the walls that would eventually bear the versee; the panels were installed laler~ at the end of the fing out yt in tne architect's ming’ copper and silver ont ‘colour tone ye, amxture of gol, 106 DETAR mscetal.datlis more than fiteen mock-ups were crested In oder to emphasise the contrast between the coarse background and the mocth sur {aco of the lelors, the paints consistency iad to be extremely t incidence of ight, dla, of, when the ight chang! ‘opposite is the case. The desired tide chimmer was achieved witr acrylic paint applied as a high-pressure spray. This pro cedure produced an urwanted spray mist, which the craftspeople were able to reduce by applying three to four coats ot uthich had to dry botore the next one cous applied. entForging Ahead with Infrastructural Projects ~The Stachus Passage in Munich Luduig Wappner, Heide Wessely Light, bright, dlaight — this was the motto for the renovation ofthe Stachs Passage that reopened in Munich in May of this year. The subterranean shopping cenire on the edge of Munich's historic centre is teeing with shops, eateries and customised senices. As Luding Wappner of Almann Sattler Wapener ‘reports, he process required fo achieve these results was not an easy one. Infrastructure buting trom the 19708 ‘When the Slachus Passage opensd in 1970, itwas the largest and busiest structure of ts kind in all of Europe; its 350 meng, 150m wide, and reaches 40 m bolow street lovel In adaition to the entrances to the subway ‘and the suburban trains, the fist level con tains the passage, shops and restaurants situated immediately below tis a building services level: the next three storeys accom rmedate a parking garage and a variety of technical equioment, Upon its completion, Polo Nestler's design forthe shopping cen- tre was considered the state of the artand Inspired countless copies in cites tar and \wido. Tho building was forward-Icoking from a technical standpoint as well twas the fast to be executed using the cover-and-cut rmethed ~ planned and structurally dimen- sioned by Lecnnard Obermeier (Ohermaier Pranan und Barston) Today, tno Stacnus Passage Is roprosontative of many hybrid 21108 DETAR ig 2 structires — serving simultaneously as shop- ping centre, distributor for the rapid vanst, ‘and pedestrian thoroughfare disengaged from automobile trafic dating to te 19603, 4970s and 1980s; in the meantime, mary of them have lost theiradiance, ard wil re hire refurbishment inthe next few years. For this reason, Allnann Sattler Wappner readily engages with infrastructure project from this era and cooks to rointagrate them Inthe urban organign by utiizing simple means. Allman Sater Wappner is currently atwerk on number af such projects: the “Domplate” (Cologne's pedestrian zone in the historic contre), tne relocation bolow ground of Karleruhe’s suburban train tine, DETAR 2106 and the redesign of the rapic-transit station bbolow Marienplatz in Munich, a task similar to ths one that will benefit fram tne experi ences made in te Stachus Passage. Th existing buieing In 2007, LBBW Immobilien, areal estate developer, acquired a.33-year lease tom Munich's municipal works fora shopping contre In the Stacrus Passago. The fst challenge ASW faced was toimegrate the 19 points of access, rapid transit hub, retail space (7500 r*), and an inaccessible inter- mediate level in one all-encompassing con ‘cept. Prior to the refurbishment, tho shop: ping centre had lost its appeal and podestr jrolona erovston Fouran an karspa'? Si access to Shu Passage Foor pant te mate fans did not want to spend time in it. This was clue, on the one hand, to the preva lence ofthe 46° angle, a characteristic of many 1970s designs. But the shops were also dark, In many cases difficult to find, and, at 3.05 metres, te celing height was toc low for a space of such scale. This underground realm ~ that was criginally Intended to tunction primarily as rapid transit hub and shopping centre ~ was to bee transformed once again into a space the public would embrace. The concept The architeots attempted to entor into a dla logue with both tne existing spatial continu Tectrobay $27 Um and the essence of he enginal circular structures inhabiting tne historic Kariplatz Under the rondel square and the accompa: rnying fountain, in the largest of the under- ‘ground spaces, a circular stucture - a clear tectonic element ~ has been centrally pos'- tioned. The circle, weose bul form stands ut distinctly, is the recurring element trat the users can identfy with all ofthe impor tant paths load to this spaco. Two paths one heading toward te main elt station, the other toward Senclinger Tor (a medieval ‘gate on the sauthern edge of the historic Centre which survived Werld War Il intact) ~ ‘operate on the principle ot visual contact. COriontation is of prime concer: accordinaly,528 __Forgng Arad wth ntosruural Prjscts ~The Sachus Fascage In Munich Temee20 foo" Slgnaga system ntaranzo ter Suoctkt Paceage no oronovaion Forgun aeayses, ‘ecets 1 Sachs Passage throughout the passage one can see points of egress. To this end, we worked with uedi Baur to develop a new signage system fortis project. ‘The circle also plays the major role in the design ot the caling, because the mary spatial sequences produce a wide variety ot angles, and, consequently, a directional ordering fool was out of te question. The srcnitocts developed a systorn with sovoral ‘Common muliales with which the polygonal segments could be mastered, Because of the many exceptions to the ceil ing’s geemetry, there were ificuities with running the project on tho computor, 90 we ‘came up with our own sot ofrulos. Based ton them, eng of the members of our project team spent a year developing the reflected cealing plan. Nive inclviduial elements with cltferent ciametars are arranged in & mar ar making it possible to integrate two ters of sprinlers lighting, cameras and anten: has. The signal white suspended coiling which is designed to be easily accessible for maintenance ~ is highly relecve and creates, in combination with the white coer posite floor, a bright, spacious environment in which one foals eate and at ease. In add: tion, pedestians and shoppers perceive the colling height 2s greater than tis, and spe- cial artical ight reflecting ff the floor and Celling surfaces maximizes the daylight effect. Thanks to tre white surfaces, the umber of linaires could be reduced by {30% in comparison to the original design, tnd less energy is consumed. Bronzetoned, metalle display windows connect the celling and floor of the pas ‘sage; this glazing is intanded to extend the trectevel urban space into the passage. The stairs and escalators that bring the pe- estrians back up to sreet level reinforce this concopt. They bocoms - in combination vith the backlit signage posts - urban furniture and are the only such cues in the public space. The goal~to guarantee a high stardar< for this special site - was ‘made more challenging by the fact tat the passage remained open during tho con sttction work: up to 180 000 people use it per day, and the constuction measures were continually at odds with the pedestr fans’ anc commuters’ need to pass through te space, Muce of the work was done dur Ing tne tedious night ehit. Tho work nad to bbe dono in stagos, and tho planning Nad to bbe adapted to the actual conditions on sto, The concrete used in the 1970s for tis builaing was in much worse condition than anticipated, and due ta the use of thawing cal, there was severe corrcelen that was (only discovered once the wall cladding and floor covering were completely removed. White terazze During the competition phase ~ or, in other words, from the very stat of the design - the architects had a seamloss,lighttoned floor ‘Matta In mind, It appeared to be the right choice sce light‘toned tiles were out of the question due to the expected soiling of their [eints, Another plus was logistical in nature: ‘surfaces of up to 100 me are feasible, an im. pportant advantago vhnen tho turnaround tiene ‘must be kept toa minimum, The terrazzo that was selected {ullled the requirements of a nigh trequented building: iti resistant ta wear-anc:tear and friction, not sliopery {octing tho stipulated Ra 10 R11) oF 60: 0UG, resistant to nigotin and fluids, highly impervious, and has the highest standard of surface hardness. All ofthese properties had to be veriied ever a shvmarth test peri= 21108 DETAR Cod. For this sample, the floating technique was employed. ‘Because the new flooring had to comper- sale for tne uneveriness (subylooring with a thickness ranging from 2 10.9 cm was required) of the existing concrete sub-floor (caused by comesion), a composite tevazz0 was necessary. The composite consists of a ‘cementtious screed base and a top layer of torazzo, which must be appliad wat-on-wt. Itis vary important that tie existing surface bbe thoroughly prepared. I has to be abso lutely clean, once this is achieved, the primer 's applied, a process which requires pains taking safeguarding. The first pours took placa in lat fll, which turned out to be ‘prablerrati: the material was exposed to large fluctuations in temperature due tothe atts inthe open passage. Because the surface drying and surface stress of a ce ‘menttious building material siverges conic ‘rably from that of tne layare lnenoath ft, spe Gl protective measures are requited fllow: ing the instalation, Cracks appeared just ix ‘ments after the frst pours. The frst hypoth ‘esis was that the terrazzo had not been sui ciently protected dung the instalatn, T floor, which had been prepared and poured atnight, nad ulelble deficiencies that were the result of poor werkrranship. While itis true thatthe terrazzo arrives atthe building ite industrially premised, the processing is then purely a matter of workmanship and ‘must be carried out in precise sequences, ‘There was reason io expect that tls would ‘be brought under corivol for the next seq- ments, and so it was decided to install tie remaining surfaces in the same manner, because the overarching conceptual goat spatal perception, brightness, relectons — was achiaved. But cracks continued to ap pear, they were net-tke, ine and directional ‘Tris made it clear thatthe components of the highly compacted terrazzo “topping” had unusually hign density and jew fraction Weight. and consequently, dterent shrink ‘209 bohaviout from tat of tie lower- grado ‘composite soreed. Next, the formula was re fined so thatthe terrazzo and the composite ‘Scread have about the same standard. But DETAR 2106 Spatial cones we this did not solve the problems stemming from tne uneven surface below the terrazzo: sitesses and divergent drying behaviour were the result Fire protection codes fer buildings that are part of tre transportation netwerk are particularly high, and therefore no epoxy resins could be added tothe ter- razzo mix, This material would have helped ‘compensate forte shrinkage and drying bbohaviour of the rigid matorial. in eamplo drlings,itwas also discovered that cavities had formed within the teraazo, because the bonding between the existing surface and the composite flcor was insufficient, and this ‘caused funnel-shaned cracks. In aden, though ita known tnat thore wore tine cracks in the oxisting floor stucture, but their location could net be determined; cons quently, twas not possible to correct them in advance. However, they made themselves known — and were visible onthe surface of ‘he tarrazzo once Itwas installed. Finally, 110 movamant of the building isoif exacerbated the situation: the entire Stachus structure Is, of course, capable of moving below ground these measurable vibrations are caused, {or example, by tre streetcar which travels above it as well as by the subway and sub: Urban lines. When the same tetrazz0 was employed offsite to prefabricats landhnos @5x15m), nota single crack appeared — proct thatthe material could be produced to ‘our speciticatlons under conditions in which temperatures and setting time could be con trolled. Consequently, tie flooring contrac tor is presently responsible for overhauling the new terrazzo flee. twill nt receive final approval until this work is complete, A number of dierent techniques wil be em: ployad: syrthatic rin wil be njacted into the unintended cavities: rasin wilalso be ap: plied to treat cracks on the surface. During the revisions, the construction workers must ascertain thatthe flanks ofthe cracks are clean and free oF fatty residue so that bend: Ing e possible. In some areas, large portions ibe sanded and now material will bo add ed and then sandad once again inrmuttiple passes wih different sanding pads and grils. Incase these measutes do net bring Proiteaton ot eomectons mall 0 pit access about the desired results, other firms have already received contracts to propose alter native techniques based on the diferent sur vveys made of the floor inits present cond tion. In the meantime, cracking and cupping hhave become common problems in cemen tious fcors. This is certainly due to the fever tighter construction schedules. Instead of alowing enough drying time, all of ne participants are undor prossure to speed Up the process; consequently, acceleration additives and strengtheners are used. But deficits stemming from pacr workmanship during riving and installation also lead ts dieappotnting results Outlook Of course, as an architect, one asks oneself why the comparable foor surfaces at, for Tectrobgy $20 Zoning and yout Sarre or So ‘Seath comnusm example, Kennedy Aitpor in New York or the Pinakathok der Mademe in Munich are neatly ftee of cracks, The explanation may boo that epory resins were used in viese terrazzo floors. In Gerrrany, bulldings such as the Stachus Passage that are part of the transportation network may nct contain epoxy resins because they are prone to smouldering. Now Allmann Sattler Wappacr once again faces a similar challonge: the firms wor a competion for the renova tion of the subway and suburbarvine station below Matienplatz, also in Munich. There is no doubt thatthe flocring there should also bo in light tone. We have not yet decided which material wil be employed. There will be careful deliberation and a number of mock-ups. One thing is already cerlain: there willbe no Stachus encoreThe Danger Potential of Bullding Materials - Risks, Regulations and Ramifications Alexander Pudolphi A trequently asked question is: “Must cients, {and planners be wary of toxin in moder day bulling products?" The answer is, “Yes, the impartant thing is ta be able to reconize, evaluate, and minimize rks to the greatest degree technically feasible.” In Germany and throughout the European Union, a dense netwerk of regulations and Ccompllance with them are the guarant for to Europoan CE quality seal and the German seal, the "U-Kennzelennung*, both are attached, as labels, crecty to the prod- cts. For mast substances or formulas, risk te humans and the ervircnment is depend: fenton the dosage, environmental cond: ‘ions, te manner in wAich iis employed, at. Bulging materials no longer contain hazard ‘us substancas ~ such as asbestos, DOT, PO's" or PAK? - that are known to b= hattn- ful tohealtn. Ettons are underway to identity ‘euch toxbra and root them out of the building stock. Terminology In Germany's statutes - Ghem& §1 and 9 the term hazardous materialsis defined as dangerous substances or preparations that have any one of te folowing properties: + ranging from flaimable to explosive + ranging from dangerous to health to highly tox + caustic, rttart, causing sensitization + carcinogenic + dangerous 1 reproductive health + mutagenic, and/or + hazardous to the environment. This detintion distinguishes more sharply bbetwoon ths dangers. Blocides are subjoct to soparato regulations. it bocomes evident that every potential isk must be included and evaluated, Inmany instances, however, this is a dificult and controversial task Assessing rk To asses risk, too criteria aro decisive: 1. Estimation othe probability of 2 risk 0.0. improper usage er accidents in transport 2. Assessment of impact: n this category, pie} T=) recttication of the damage is the key ‘save. If the potential damage can easily be repaired, the rik may be deemed acceptable. If vie potential damage ‘would be more severe or permanent (e.g, if serious harm to health would result, the risk is considered unaccept- able, regardless of the probably that it will occur. 3, Ascossment that responds to varying ‘conditions and pre-existing defeats: This is equally valid for heath risks, dam- age to ora and tauna, ct bodies of water, soil and the atmosphere. A substance thats innocuous in ono setting could cause savers damage in another. Accordingly, isk assessment is usually in- separable ftom the precise locaticn, pcint in time, and program at the construction project in question Tho rarity of tho substances that wo on counter on an everyday basis in tie con Sttuction process have the potertial fo ‘cause harm, Legislation no longer suffices totule out every conceivable instance, How lever, by prohibiting tiem or placing restic: {ons on the use, laws do sill equate substances with properties that are a clear anger toman and environment indepenc- lento the setting. Fisk assessment also ‘often comes Fo conic wth goals related ta protecting the envirorenent and human health, a6 well as with technical functions. ‘and attempts to contain bung costs. 4n example of this 's evident inthe discus- sion surrounding the terpenes. These natt- ral, plant-based resins occur in coniferous ttp0s, such as fits and pinos, and can cause ‘some pereons wha come into contact with them to develop severe allergies. This ore- ates a conflict with respect to goals: wood from coniters constitutes ane of he mast im- portant rexewable building materals, anc broad restrictions are theretore unrealetls, In addition, wood surfaces are high in demand, particularly for interiors (On the other hand, persons who are vulner= able cr have a medical condition, of course, 21108 DETAR Justiably expect o be protected! rom these substances. One possible solution isto set tolerable limits for permanent contact with Individual substances that pose potential risks to health, The target group is abvays the unprotected user ofthe interior, Howev: cr, this option runs up against obstacles, because the number of ~ in mest cases — synthetic, cherrical individual substances which aro used in the contruction industry Is very Nah. The number of voatle gub- stances criginating in bulding products nor- rmally detected in interior air measured as separate values ~ is about 160. The number (of formulas and blends on the market in tho form ot coatings, adhesives, plastics, otc. Is much higher, and consequently, so are the combinations and interactions which are fencaunterad, The total number ef building products available in Europe is estimated at ‘300 000, though the etfects of globalisation may not be fully accounted tor. ‘To determine acceptable levels of a sub stance, the correlation between exposure to the substance and is effect on human health must be identiiable, This requires data on experience with the substance over the course of several years, or, nthe deval- ‘opment of new produs, elaborate tests 10 determing toxicity Ifa clear lik is identined, itis deemed a “specific health disorder" rmanitestatons include allergies and asthma (formaidenyde, comman household dust, rmcuid, etc) or afferent types of cancer (tobacco emake, benzale, radon, asbustos fibres, et) But the health diserders are often vague responses tothe interaction ofa number fof rarmful influences. These may include advorse soncory effects (percelving a foul Codour, feeling unio), neurovogetative symptoms (headache, fatique, dificlty concentrating) or irritation of te nose, threat, eyes, skn, etc. Correspondingly, the Classifications of nesses are also vague: + siok-building syroreme (SES) + bulaing related itnoee (ERD + multiple chemical sensitivity (MCS) + chronic fatigue syndrome (CFS) In determi DETAR 2106 1 DONE: German quatty solr sustaiable bulsra 22 luo Ano0 @ Gorman oco abet reguttesnaz- Srdeusmaterae, predominantly hore wth VOC Gnuneavy mes cortere 5 Fuiter exams of envionment eaiesion OSs (patchlrnates biphenyl) acouin stares, Seaing somasunds, coats pastes {Paks pehivelc eromate hyrocarbons) ccc n tarbetad brumncce part and gion ardin che" the degree of sensitivity among users varies considerably must be taken into account ‘There are substantial cifferences between children and aduts, persons who have already suffered hat related to toxins or have a chronic ithess, and persons with special sensitivity to certain substances, Pan for ection Pranning hoatthy, sustainable buildings re utes continually optimising building prod- Lcts ~ spanning all phases, from production, to selection, to applications. Knonledge of chemical makeup, properties and risks is 2 prerequisite. Consequently, the substanoss: must be fully declared. To recolve authorisa tion to sell building products in the EU, thoy are subject to the CPD [Construction Prod Lcts Directive] ~ which harmoniss the re- quirements. Products that fulfl te eniteria receive the CE quality seal, which guaran: {tees conformity, and may be sold n the EU. Tho 2011 vorsion (which is oxpacted to bo approved this year) of the CPD has been expanded upon to include “Sustanable use fof natural resources” ‘According tothe CPD, the tallowing Information rust be declared: 4. mechanical stergih, stabilly 2.ireprooting 3. hygiene, health and environmental protection sateguarding usage noise abatement joneray savings and thermal protection responsible, sustainable use of natural The third item ofthe original GPD agenda ygione, neath anc environmental protec- tion - reas ae follows: “The building must bbe designed and constructed in such a manner that it neither endangers the hy- giene nor the health of he tenants and neighbours during its entre Ite cycle. In paanioular, neither te conetruction nor ts 0.3-1 male hygienic standard stil acceptable, in- creased ventilation necessary. Level: TVOC value >1-3 mgr detectable shortcomings in hygienic stand ard, upper lit for roume that are intended for extended stays (maximurn: 12 months) Lavel 4: TVOC value »3~10 mg/tn® Unacceptable hygienic standard, room to be Used only temporarily (maximum: + month). In practice ithes Deen demonstrated that ~ In addition to selecting emission-free miner a-based surfaces — by consistent using Ccotied products, anindoor climate can be created which has acceptable levels with respect to environmental health, The TVOG emissions mit is usually set at 0.3-0. mg/m: (measuromont taken of the product ina tost chamber immaciately fl lowing fabrication) Corresponding tothe TVOC valves, litle by Iie, individual substances are ncw also tre subject target values. The Ac-hoc Task Force at the German Federal Environmortal ‘Agency is developing these intrie air benchmarks. There are two categaries of benchmarks (i6); Benchmark is a precautionary refer~WECOBIS lence vale. Benchmark lis based on the impact - srould this level bs reached or exceeded, the health of eensitve persons ‘could be harmed. At present, berichmarks exist for about 15 Individual substances: these include componants often encoun in building products, such as toluene, ene, teppene, naphthalene, banzalde: hyde, eto. ll of these volatle-organic-com pound target values for Interior climates aro recommendations for Germary. Thare are gal technical regulations stipulating Upper lets or target values for interiors. At present, @ European commission is Gevel ‘ping requirements for the emission proper ties of building products. This is the nec: sary respence te the third item af tre CPO, Therefore, in the longer term iis to be ex- pected thal tne emission properties wil also became a component of the harmonisation in laboting — in otnor werd, willbe taken Into account by the CE goal. Ae part of the _autiorisation process for floor covering, tho Gorman Institute of Construction Technolo gy (DIBY has systemised the requirements. They stipulate that the flooring prodct mission benavicurbe tested indifferent lens, Some of the values to be ined are: the content of carcinogenic substa 28, substances with higher boling points, as well ag TVOC values. Ifthe limits are con pied wits the tlooring material is deemed “sulted to Installment in intoriors Enirormantai Product Deskaration In order to implernent the Gr item on CPO's agenda, “Hygiene, health and environmental ppretection, the makeup of building prod- Lots must be revealed. Ths also applies to “Consarving Resources’, tha soventh itm, whlcn exeands upen the eriginal agenda. When the draft for the 2017 version of the CPD was submit to the European Parla ment in 2008, a proposal aiming specifically teharmorise the assessment of sustainable Cconetnction was also approved, creating tho Environmental Product Declaration, PDs have bean around fer years: manufac: turers of some building preducts have pro- vided them voluntal. The Institute Con: Bulling Matrle— Fs, eal buldng mas uate ‘Alexander Ralph attended TH Darstack ard ‘business-unk marager at &rcaule-GFOB in Bern iment (81), the Federal Ministry of Transpo, Building and Urban Development, and the Federal Environmmen ial Agency are responsible for Germany's EPD program, which provides a good basis, fer salecting and evaluating building prod: ics. EPO contain al relevant information (on global environmental impact (eco-bal ‘ance data, consumption of resour voll as the makeup, production processes, {and emission measurements inthe test tamiber. At present 16 EPDs are availa bile, and the number continues to grow. Canincaton sysioms for sustatrable tion ‘ensive catiication s ‘ave different appr sing the related to bulling products have been about ten years: LEED Gentiication (Leadership in Enoray {and Environmental Design): Used in the United Statos, makes enqutios of tho onl ronmental qualities of the mateials and their impact on interiors as well as on usage; this ystem is based on US cedes and even when earnest attempts are made, many jcegrmenta do not lend themselves to precive comparisons with German or European ics or requltlons. BREEAM (Building Research Establishment Envircrmental Assessment Method) ter Cent atrangemert of te categories, DU also places demands on material election, visu al quali (daylight), Ighting, vention, and Indoor climate (nygiene}. Formaldehyde and overall VOC content are singled out for Viduel declaration. There are no target val Les, For materials and products it must be domonstratod that groan principios were achorad to fer tne extraction of raw mater: als and during the manufacturing process. There is no evaluation of the danger a project poses to the environment, nor are re declaration systems, a protocel for the eco-balance at a building, or an application of oxsting rks. + In Switzerland (Minetole-Eco) and France HOE) there are federal certification systems, gor 08 DETAR, + Since 2007, the German DGNB has con ‘erred the seal of quality for sustainable constuction fil. 1) With ite DGNB syetem, Germany is the only of these counties to heed the cuter approaches to setting standards for sustain- fable construction, he declaration systems ‘mentioned above, the EPDS, and in peti lar, re current recommendations on indoor air quality. DGNB is the most racont and up. {u-dale certfcation eystem and makes sep- arate enquities, in each case with multiple quirements, pertaining tothe ecological goals (global and regional), social and user ‘goals, econamc goals, as well a tho qual ty of tho process and the techroleay am. loved, Requirements of matorials are in corresondence with protection goals andi the category global envirormertal impact must be evaluated through lite-cy- le-oriented eco-balance. The qualities ot consorvation of resources and extraction ‘and productivity process are therewith roa istared. In order to protect the environment and human health, volatile orgaric com: pounds and certain other toxins such as heavy metals, biocides, or haloge banned, or tough restictions have been in posed. Within the scope of safeguarding i terior air quality for humankind, and come ‘sponding fo the target values and individual substances documentation described here In, TVOG value ot <0 mg/m ~ consi fered innocuous ~ has been determines as the target valve. The German certiication 1d by tre OGNE aver a lang petiod of time in cooneratica with the Federal Ministry of Transport, Building and Urban Develop: ‘ment. Many of tte topies mantioned hore are olaborated upon {in Gorman) at sss. ‘hachhaligashauende, A futher source is the webcobis information system (i. 7, see DETAIL German Eaition 5/2008, p. 496). GN is presently developing an publish Ing the Product Navigator. On this platform, manufacturers can publish their products and daclarations ~a necessary step in ag olcation-oriented product evaluation, and ne that is required for DGNB certification. todCladding and Surfaces 21108 DETAR A Ab Decorative wall finishes offer luxurious hard-wearing natural looking effects ‘Armourcoat polished plaster has been used {o-good effect at the Aviator Hotel in Farn- bborough, Hampsike. Architects Hamilions designed a sleek, curvaceous building, ‘hich was inspired by the shape of a pro- pelle, for TAG Aviation at Farnborough Ale por. Hotel operator Ken McCulloch's ven tur isa stkng architectural statement and ‘one that reflects Its aeronautical location. The intevirs throughout the hetel are by Ken MeOulloch's wife, award-winning designer ‘Amanda Rosa, and nor schome retlocts tho cubtie curves and restrainad elegance ct the exterior. ‘The polished plasters have been used in the lobby, where taupe stone fearing is comple: ‘mented by horizontal bande of milk enoco- late-coloured Smooth and Spatuata wall, tho lat nist superimposed over the pri mary layer of Srmcoth plastar. The result is a stking contrast between two smooth fin- Ishes, one patterned with a glassy surface {and the other uni and lgntly polished ‘This seamless, naturallocking effect offers fe hoauricus, hardavearing frish. Bering the stairwell a glass-encased fireplace Is set into the wal, giving views trough to the brasseria whero more polished plastor is displayed to effect. Natural, trowe!-applied finishes combine fan ancient skil wth modern materials and retnac application techniques, to give tho ‘appearance of a ssamioss stone surtace, and a wide choice of polished plaster eHfecis can be created, whether used ind- viduially, in contrast ar combined with bleck ark or a banded technique, as in he project depicted bolow let. The company says that emulatng quarried stone such as ‘marble and limestone ean also be achieved easly, convincingly and costetiectively ~ particularly for colurnns and curves = and th signiticanty less weight ‘The polished plasters are supplied and in slalled by valned applicators in order to ‘maintain strict standards of workmanship, {and this allows the company to offer a 10: year guarantee. The hardness and curabilty Is sald to ensure years of maintenance-free service without cracking or facing CGustom finishes ean be created to sult epe- Gif brats, or clients can match their te quirements from the Selector range, which has been develaped to ofter the solution to most polished plaster specication do- mands, and ig claimed to be the largest range available in the world today. ‘The finishes comprise Smocth and Spat lata, as used on the Aviator Hotel project, {and also Armuraia, Pitted, Dragged and Travarine, thereby offering a choice tat wil blond or contrast with almost ary setting, whether classical or modern. Each is avala- bile in an extensive range of colours, and the Pitted or Dragged finishes can be further ‘enhanced by tho application of a colour- vas, ruling in a two-tone effect ‘Amongst other decorative wallfirishes from ‘Armourcoatis the Scuiptural® range ot seamless sculptural wall surface designs. (above), which are constructed froma series of pre-cast panels bonded to the eub- strate. The panel joints are then fled and sanded and a inal deceration is applied to the surface, The effects are achieved by Ccomining computer-aided design vitn ta ditional nana sculpting, and this results In asians that fit tegother with total accuracy Some are based on a single panel that cra- ates a repeating patter; others are made from a sequence of diferent panels that can ‘bg integrated togetrer in many afferent ways, for unique sculpted wall. The com: pany says the multiple panel designs make it possible to create nor-tepetiive, seam less sculptural walls vhere the designs flow land enange acress tre surface, just as in nature, aid consequently no two walle need ever be identical Described as extremely dense and hard with a smocth, ceramec-like surface, the panels are mineral based and incorporate Lp to 30% post-consumer recycled content (depending on desigr), are non-toxic and non-combustible, Names of the current range of designs ate largely selexplana- tory, including Flew, Flow Wave, Flow Straight, Coral, Hour Glass, Doodle, Leaves, inbons, Jet Stream and Shook Wave, a3 oll as several cthers, including a rather curvy pattom named Menrgel Custom serv ice is available rom design to manufacture {and installation, to produce bespcke, one otf desigrs. 1D Amourcoat Lita United Kingdom, +44 (0)1732 400 008 saw armourccal com 4 | a A amt \C) ) ae pal AY TT « pat ) J ¥ mJ ‘The titanium dioxide coating on EcoLogic tiles s a Marley Eterit innovation ‘that soaks up nitrogen oxide (NOx) pollutants, the nasty stuff that aggravates respiratory problems like asthma (One average roof removes as much NOx from the air ins lifetime as 2 car produces in 100,000 miles. And, even better, it converts it into a solution that acts as a plant fertiliser. It's also made from over 50% recycled materials and can ‘achieve an A+ rating in the Green Guide. Pretty amazing fora tile made from concrete, ‘Speaties interested in EcoLogic and other great ideas should {90 to marleyeternit.co.uk/ecologic1 or call 01283 722588, OEY Sa an Ste 018 # company —Designs on glass Unlimited options in glass design for inter rs and exteriors isthe claim for Okacolor, {an innovative type of dita glass printing technology trem Okalux. Any colour and any moi can be superimposed onto surfaces in izes Up to 2,050 x 6,000 mm, to gle phato- realistic image reproduction and high-colour boiliance, This printing process can be combined wit rmoncctarame lacquering ~ ransparent translucent or opaque — depending on the look required tor a panioular project. Ina dition, te procece allows printing on 10 thar materials 2¢ wall as glass, Foyers, luminated celings, art cbjacts, as well as race fair stancis and furniture, sigh posting eysteme and advertising aro just suggested, a3 wal © unis, parapets, Curtain vall facades and other exterior applications The high printing cuslity, at 00 dpi resolu tion, even allaws the identical replication of marble, wood or other materials on glass, says the company, A spacialy dew oped primer is designed to ensure tne colour adneres strongly to the lass, and each indvicual print is then sealed with a durable translucent or opaque topcoat to give a finish that is resistant to boots weather and wear and also protected from UV rays, This method of high-quality mago reproduc: tion Is said t be a cost-offactive epticn, and particularly when compared to sik-screer printing, All specifiers need to supply is a ‘igital template in pct or sc Yoemat aid out target dimensions, as well as tals ofa intonded purpose. © Okalux GmbH, Germany (0}9391 960-0 vwwaviokaluix.com, Solid surface LLG Hausys has donsted its solid sutacing ‘material fora recent project at tho Broobly Museum In New York. The museum is a last- ing landmark in the New York area that borings mare than 450,000 visitors annually ta seis acclaimed anistic temporary exh btions and permanent collections. The Great Hall ofthe museum, located on the loo, I & 10,000 equare foot room filed with 18 giant colurmns. The hall, which is po: Sioned between the café, museum book store and ether creative exhibits, acts ‘common area for museum visltore and per ‘sonnol and is currently hosting an exhib calad reOrder, a site-specific instalation created by architectural design studi, Siu Stud The installation alters the current classical architecture te help visitors underatand the Impressive scale of the main entrance, a wall as explore the architectural oramantae ion that allows the Grand Hall to be fu tonal as well as artuly decorated, In order to create the entire installment, LG Hausye' sold eurfachia was used to con ‘stuct furniture around the base of the 16 large classical columns. ‘A specialised computer was used to pre- cisely cut pieces of HLMACS®, which were then thermofarmed into a range of curved ‘and brought together in wedges to the base of the columns. The fn ar as extensions to the ral crnamenta cotiraly now type tion wo Is also functor The designers chose the White Quartz color variation fam the Classic callecticn, and 2 sub-contractor finalised the thermoforming ‘and seating inetalation, 1 LG Hausys, United Kingdom sm +44 (0)1732 424 240 vaaienacs gor 08 DETAR, Textural impressions Texture is important, tcan add another congo tothe surroundings, enhance a sim ple plain colour surface and add an extua dimension toa design that wil create a 19 impression, ‘The Formica Group offers four premium tex {rosin its Plain Colour High Prossure Lami tale (HPL) range: Rigato™, MicroDot™, Sculpted™ , and AR Plus® Rigato is a modem classic, cffering ani pretation ata pinstipe combined wth an embossed texture which ade depth to the urface, The subtle contrast between matt and gloss firiches creates visual and tactile interest, providing an eatra dimension fora broad range ct vertical applications. Souloted (oletured) offers an on-trond ap pearance, answoring tho demand for sculpted, scraped and wire-brushad sur faces. It can be used cn interior wal cover Ings, furniture and fitings or as door fac ings, Available in 12 colours, including trale of Kaahnir and St ante and Caseis, this surface fish cre- ates an interesting dimension tc plain colcur su MicroDot ads a visval depth to a range of fashionable sold coloure with an appealing ‘optical afect trom a distance. It offers fashionable and modern surface, with subtle concave circles arranged in a tight grid for: mation, and 2 low sheen, satin finish Ideal for acicing empha |AR plus high gioss plain colours is a high less firish available in a range of colours from a monoctrome to a bright zesty pal- tite, offering twice the pertermance of adi tional gless, Ideal for acing emphasis and fa luxurious tien 1 Formica Group, United Kingdom s@ +44 (0)207 831 2225 encore composite translucent ‘combine lgnt weight wit high rigidly and 3 ly worked materials able for commercial and domestic interiors Examples are bar fascias and office part and in shoptiting for retail display lings and changing 'are isa wide choice ef colours and types and the panels can be edged vith the same m: units, shelving, false used for be external wen Pee Ree Pee Re’ = te — ee oe © a ee Rn a ad St i} } i) i] f t f A p i Pe | p r] 3 rd vy Cudergard sutoose $22 layers. Thelr green credentials are apparent Lastly, the Hexabert® range {above right ‘due to thelr LEED certlicato combines an aluininien honeyconb core with an acrylic covering alving afferent 1 Statight® collection was the fist tobe effects as tha Hight hits it; moreover the ac veloped and comes in Basic, Extra, Plus, tual cell sizes may also be specified from Floor and Maxi depending an tre required Small, Small Plus, Large and Large Pus, ssructutal performarice. Ligntben® wien cylin drical calls is particularly suitable for back 1 Bancore, aly lighting and is avaliable in mary designs, +39 586 830120 test being Kacs, [above lef) wawubencoreit| Haver Architectural wire Cloth combines functionality with high aesthetic features. A combination which opens new perspectives to creative design and allows for fascinating architectural solutions. Used as solar shading, view protec- tion, sound absorption, security or simply to enhance @ building. IMAGIC WEAVE, a combination of LED technology and Haver Architectural Wire Mesh, enables to create individually programmable lighting effects in all colours including video presentations on @ new or existing fagede. PN ed FACADES. CLADDING IDEAS. :50 Clasdng sna surtaose 21108 DETAR New concert hall uses white oak for floor, roof lining, balconies and seating ‘Anew concert hal has recently been bulld in te town of Bury St Edmunds in the east of England. The inerior of the Apex perform. ing atts centre has been lined largely with ‘American white oak ‘The hall needed to be accusticaly Isolate, and offer visitors a good acoustic experi tence. vim Greaves, Director at Hopkins Architects, in charge of tie project, com ments, “Connoisseurs of concert spaces may also spot a smilanty tothe Snape Malt- Inga concort hall in Aldeburgh, designed ny ‘Arup Associates in the 1960s. This is not co- incidental. Snape has famously qacd acous- tics, so echoing its form makes sense. Both have internal rocts that slope bath cree: tions, with a relatively small flat element at the top. It does all the acoustic reflection tor Us." The nov, concert hall i part of the red ‘evelopment of a markot town, cn the sto of 2 fore calle market. Hopkins dasigned SUES: Na the scheme, and deliberately placed the hall bbetwoon shape with flats above, 60 that it faced a new square. In this way, it prevents the square becoming a dead space at right, wher the shops are shut Hopkins worked with theatre consuitarts CCarr and Angier to work out tne functionalty ‘atthe audliorium needs to offer. Itean ac- commodate 1,000 standing of 600 sitting The enclosure has @ structural brickwork Glapnragm wall, with a heavy concrete rac. ‘Tho bricks, which aro exposed on tho walls cf th concort hall, are handmade Cham. wood Hampshire Red. Some of the exposed headers have a special relief pattem, which is part of the acoustic strategy to disperse reflections, ‘There aro two lovols ot balcony, made of ppracast concrete, which cantlevor from beams concealed within the diaphragm Wal, and are ted back with large steel rods, alse contained within te dlaphrage wall ‘Amexican white cak lies the root, and forme the floor, Vis also used on the front of the balconies and for the seating, On the floors and the roof, 18 mm thick cal is fixed to a plywood backing of the same thickness. The acousticians decreed that booth should be resiliently eusperied so that they can absorb low-frequency sound. The flat area at te top of the root isa targe root light, ¢0 that when the space is used for events such as weddings, daylight can pen- erate the space below. A blind is drawn ‘across itfor performances. ‘Another element ofthe design that has been alfected by acoustic considerations is the Seating. There are openings in the balcony fronts to permit scund to pass through and ‘make them lese retlectve, The tact that the floor can be convortod trom flat to raked ‘means that the raised flooring consists of ‘wagons’ ~ biecks with seating attached hich can be stored away beneath the fat floor. The seats on the blacks are bench ‘coats, in groupe cf tw cr four. This means that although each seat has is individual arms, they have level tops, so that looked at from both in front and behind they create a ‘simple repeating rhythm. Hughes designed the seats in a mx of solid Ametican wate (oak elaments and venger. "The great thing about American white oak is Wat itis cor sistent in ts colour and tone,” said Hughes, “and more to the point in this instance is that itis consistent with te palette thatthe arch tecthad chosen” ‘The seating uses very few elements ~ a sim- ple steel structure, timber and leather. Dur bilty is important, particularly where the chairs wille moved around frequertly on the wagon, Equally importants aveiding any elements of beepoke or contemporary ltonmongory ita chair is damagod and needs replacing in 15 or 30 years time, itis likely that matching elements will no longer bbe available ‘There isa similar economy of materials in the nall gal, For instance, there is ro duet- Ing, ll tye alr moves through a plenum In the diaphragm wal. Fresh air comes in through small holes i the other side of the aphragm wall, exposed in the foyer, ana there are outlets from the plenum through ‘some of tho isnver paneling atthe base of the root, This just appears o be a pattern of holes in the timber. All air extraction is at the top of the space. ‘Similarly toto aro no technical walkways Uwithin the volume of the ral, Instoad thoy {are contained within te void of te root ‘space. The galleries are stored away, and suspended from a mechanism in the root when needed. 1 American Hardwood Council United Kingdom +44 (0)20 7620 4111 wanwamericanharcwcod cr. DETAR Zoos. Wood surfaces on-trend ‘Taupe, Natural, ‘Used’. Cool and Exotic are the latest International rends for decors 2c cording to Wedego, subsiciaty of Pieiderer. ‘The company effers engineered wood mate- Vials for both decorative and construction re- uttement tor interior titings. Fetiecting in ternational sve, Is latest lines reflect ron {ects intorior dosignors and retaller and furniture makers’ requirements. Solid, earthy colours have bacome fim fa- \vountes and taupe grey/browns fit neatly Into iis gamut. Legno In Dark, Tabac and Light achioves real doptn with its Rustica S:D affect, Timbars are from certified sus- tainable forestry management according to the Programme for the Endorsement of For est Certification (PEF) system. 1 Prioidorer Indusvie Ltd, United Kingdom 2 +44 (0}625 €60 410 vwannwswodaga.com. Light display options De Christo has launched Lurinoso, a new ‘wood-based product witha translucent sur- face. Fibre optics, which conduct Lah, are embedded within layers of adhesive and) solid wood lamella, creating a translucent material which transtorms the wood surtace Into glowing display. Using sunlight or arifical ight to provide the light source, any type of customised graph is logos, leters or designs, can be apaliad tothe back ofthe weed to block the trans- mission of light, creating otfecte and Images that seem to appoar from inside the wood. The use of fibre optics also allows forint red lights such as TV and Hi-Fi remote con- trols to operate through the wood. The procd- Uctis available in a variety of timber fishes 1 De Christo, United Kingdom 2 +44 (0}20 8868 8055 vw dachristo.ca uke Cladeing ard sureose 641 Versatile step tile The ceramic step tle trom Porcelanosa joins the existing Par-ker$ collection of tes tat are designed to combine te look ofa real- istic waod surface with all the benefits of a porcelain stoneware tle. Being highly imper- Ieable and resistant to temperature chan: ‘ges and staining, the te collection Is suit blo for all domestic situations, particulary bathrooms or kitchens where steam or water willbe a constant factor. hele anti-slip qual= ities mean they lend themselves well fo. out door areas, such as swimming poo! su rounds and terraces. Otner applications for |which these wood-efoct tes are eultable include commercial settings where there is alot of human traffic and ‘wear-and-tear, for example i restaurants and shopping centres, 1D Porcolansea, United Kingdom 2 +44 (0)1923 601 607 vam porcalannsa coke 01732 884 12352 Clasdng srasutaose Clay plaster A stunning new gallery complex has been created from five 17ti century clay barns at Kestle Barton on tre Lizard Peninsula fa Cornwall. This restoration project used only original crnatural materials —trom the clay for re cob walls, excavated on site, to the seantle slate roof, using the original slates — ‘and spocitied pigmented topcoat clay plas {ers irom Clayworks. The projet won archi- tect Alison Bunning a gold award at the 2011 Green Apple Awards for the Bult Env ronment and architectural Hertage. {An oxwirormentally riondly altomative to Conventional plasters and paints, these ready-lo-use topocat plasters have given the desited smooth, modern finish to the Contemporary interiors ofthe restored foams. The aestnetic Io aubtly drerent to Conventional friching, with a three-

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