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Review of Architecture and Construction Details · Roofs · Vol. 2015 · 1

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Review of Architecture
Vol. 1, 2015 ° Roofs

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Discussion
4 Editorial

6 Roof and Space

Christian Schittich

Reports
16 The Cutting Edge of Research – EPFL’s SwissTech Convention Center
Frank Kaltenbach

18 Exhibitions, Books

Documentation
20 The Vieux Port Pavilion in Marseille
Foster + Partners, London

24 Holiday Home on Lagnö

Tham & Videgård Arkitekter, Stockholm

28 Swimming Pool for a School in Beaconsfield

Duggan Morris Architects, London

34 Art Museum in Ahrenshoop

Staab Architekten, Berlin

39 Terraced Housing in Brugg

Ken Architekten, Zurich

44 Education Centre in Vrchlabí

Petr Hájek Architekti, Prague

48 Forum for a Secondary School in Adelsheim

Ecker Architekten, Heidelberg/Buchen

55 Fondation Pathé in Paris

Renzo Piano Building Workshop, Paris

Technology
64 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris
Matt King, Jaques Raynaud

Products
74 Roofs and Drainage
82 Interior Walls, Ceilings & Acoustics
88 Wall and Floor Tiles
94 Textile Architecture
96 On the Spot

98 Service
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Editorial
Roofs
Only seldom is the roof an essential component of a
building’s design – its decisive architectural element. This
edition of DETAIL presents buildings in which the roof
defines both the building’s form as perceived from the
exterior and the space below it. Examples include: the
folded, load-bearing wood structure creating a complex
space above a swimming pool near London; a series of
pitched concrete roofs serving as the playful culmination
of a vacation home near Stockholm; and the shimmer-
ing-gold hip roofs crowning a museum in Ahrenshoop
and making subtle reference to the region’s reed roofs
through the use of irregularly bent-to-shape brass. More-
over, a polygonal green roof atop an education centre in
Vrchlabí in the Czech Republic absorbs the contours of
the surrounding landscape, and an apartment complex
on a sloping site in Brugg reinterprets terraced housing –
in both senses of the term.
Discussion
 6 2015 ¥ 1 ∂
Roof and Space
Christian Schittich
In 1955, when his design for the pilgrimage
church Notre Dame du Haut in Ronchamp
was completed, Le Corbusier irritated the
architectural world and the wider public to
an equal degree. The very man who had
been the champion and leading protagonist
of a rigorous, right-angled machine aes-
thetic had now conceived of a wilful, ex-
pressive sculpture with an interior space
bordering on the mystical. Both the exterior
and the interior of the sculpture are marked
by the heavy, forceful roof. A roof that, as
the anecdote goes, was inspired by a
crab’s shell found by chance on the beach
(ills. 1, 2).
At the time – the height of classical mod-
2
ernism – the choice of the proper roof form
was still an ideological matter: anyone
wanting to appear progressive would typi-
cally select the horizontal version.
Le Corbusier, of all people, who, prior to
Ronchamp had been among the greatest
proponents of the flat roof (whenever possi-
ble, as roof terrace) – and it was one of the
essential components of his five points for a
new architecture – now surprised the archi-
tecture circuit with a shapely three-dimen-
sional construct with overt references to the
surrounding landscape. Though the master
had renounced his tenets, at least he car-
ried out the design – and in particular, the
design of the roof – in a thorough and con-
sistent manner: outside he employs it to
emphasise the desired sculptural appear-
ance; inside he uses the heavy, downward
vaulting to decisively reinforce the chapel’s
cave-like character. The external form of
this wilful roof is continued inside the
church. It is undoubtedly a special quality
in a work of architecture when the form of a
characteristic roof can be experienced in-
side the building – in other words, when the
roof and the space below it correspond.
Striking roofs have, of course, been em-
ployed for ages as a means of architectural
expression that has a decisive impact on
the building’s image. But only rarely does
the space below correspond to the roof.
 ∂ 2015 ¥ 1 Discussion 7

3 4 5

The roof debate that took place among the component in the overall massing. Roofs can make a space more concentrat-
architects of modernism is a thing of the No one expects the space beneath a roof ed, a quality that has long been employed
past, and there are no limits to the potential crowning a four- or five-storey apartment in spaces where people convene. By con-
forms. With the support of the computer, house to be a significant element in the ex- trast, visible roof structure can be a sign of
extravagant forms can be designed, di- perience of that building. The roof of a the- modesty or poverty, as exemplified in the
mensioned and erected. atre, church or museum, on the other hand, basilicas of the Franciscans, and particular-
But do these nearly boundless technical is a different matter entirely, especially ly at Santa Croce in Florence.
possibilities truly lead to a corresponding when the design problem calls for a small, Mise-en-scène is at the other end of the
level of spatial qualities? This essay takes a single-storey structure. spectrum – at its most emphatic in the ba-
look at the relationship between roof form Over the centuries, particularly in ceremoni- roque and rococo eras. By partially exag-
and architectural space. al or official buildings, we find – albeit
sparsely – examples of roofs that are
Roof and space throughout history “open”, or, in other words, visible from be- 1, 2 Notre-Dame-Du-Haut in Ronchamp,
In earlier cultures the house consisted pri- low. Here too symbolism plays a role, as Le Corbusier, 1950 –1955
3, 4 Pilgrimage Church of Wies in Steingaden,
marily of a roof – there was no differentia- does the desire for special aesthetics, or, Dominikus Zimmermann, 1745 –1754
tion between roof and living space. This is subsequently, special interior spaces. 5, 6 Temple of Heaven in Beijing 1421
evidenced by traditional dwellings in re-
mote regions – for example, the yurts of
Central Asia – that have been in use for mil-
lennia. Later, as the size of houses gradual-
ly increased and interiors were subdivided,
the roof space typically remained open;
stemming from this custom, in many places
the roof acquired symbolical – even mytho-
logical – significance. Hence, in the reli-
gions of people of the most far-flung re-
gions, it became the favoured abode of de-
mons and ghosts. For example, in some re-
gions of Japan, for symbolic – but also aes-
thetic – reasons, when a new farmhouse (in
Japanese: minka) was built it was custom-
ary to use one or more crooked beams in a
the roof structure. While Japan’s farmhouse
roofs could be experienced inside the
building, in Europe beginning in the Middle
Ages, due to heating, the two were increas-
ingly separated. The function of the roof
was reduced to umbrella and thermal buff-
er; the attic space was increasingly used
for storage.
That didn’t change until the Mansard roof
spread in the early modern era – and par-
ticularly during the nineteenth century when
the population in cities surged and land be-
came increasingly costly. As a result, the
thermal buffer was sacrificed to make room
for more apartments.
We must keep in mind, however, that there
is a difference between a roof atop a tall
building and one that constitutes a major 6
 8 Roof and Space
7 8
gerating the height of the roof of the
“Wieskirche”, a pilgrimage church in the
Bavarian town Steingaden, Architect
Dominikus Zimmermann implied that this is
no ordinary church. Despite this hint, upon
entering it, visitors are stunned by its mag-
nificence. The interior – more stage set than
structure – is uncoupled from the roof.
The largely horizontal ceiling – which is
suspended from timber beams – has
rounded edges; the sophisticated painting
covering it creates the illusion of a celestial
dome (ill. 3, 4).
But this phenomenon, while pronounced
during the baroque era, was also in evi-
dence in earlier periods: Gothic churches,
10
9
for example, are also crowned by steep
roofs – with brick or stone tiling – that serve
primarily to shield the worship space from
the elements. The interior appearance only
roughly corresponds to the exterior.
Later, in the nineteenth century, such corre-
spondence between the roof form and the
interior is found primarily in industrial archi-
tecture – in train stations, factories, huge ex-
hibition structures, and greenhouses. In
such structures there is often complete pari-
ty between roof form and interior (ill. 5).
Sometimes it is the sheer scale alone that
lends expression to a visible roof structure.
And such a structure can both leave a mark
on and organise the space. In many in-
2015 ¥ 1 ∂
stances this effect is achieved by employing
extensive glass surfaces that facilitate a vis-
ual connection between inside and outside.
Two-shelled domes: authority and harmony
Outwardly a powerful symbol, inwardly, a
harmonic space: this apparently contradic-
tory demand is often placed on domes,
which are a special category of roofs. A
variety of cultures have arrived at solutions
involving two-shell construction, often with
an enormous space between them – for
example, in the mausoleums and mosques
of Samarkand. Over time, this tendency
becomes stronger in Europe and later in
the Americas. While the two shells of
Brunelleschi’s famed dome in Florence
largely correspond, in later buildings, they
diverge significantly. That is particularly
true of the era beginning in the late eight-
eenth century, when iron was increasingly
employed in the load-bearing structure of
the outer shell, as, for example, in the huge
rotunda – inspired by the dome of St. Pe-
ter’s in Rome by Michelangelo – topping
the Capitol in Washington, D.C., and at Otto
Wagner’s art nouveau church, known as
Steinhof, in Vienna (1907, ill. 9).
Some seventy years later, even Le Corbusi-
er employs a wilful reinterpretation of a
dome in his design for the Assembly in
Chandigarh – with a construction in the
form of hyperboloid of revolution. Legend
has it that he was inspired by the cooling
tower of a power plant (1953 – 63, ill. 8).
Nevertheless, with this vaultless “dome” –
its top sliced off obliquely and the skylight
equipped with sculptural forms – he in-
creases the height of the assembly cham-
ber and calls attention to the building. In
the process he not only creates a distinc-
tive interior, but also successfully elicits a
contemporary rapport between interior and
exterior. Le Corbusier was aided, of course,
by India’s mild climate, as well as by the
building standards: the exposed concrete
that was painted according to his designs
has no thermal insulation whatsoever, and
only the lower third is equipped with acous-
tic panels.
 ∂ 2015 ¥ 1
11
From geometric shell to expressive form
At the time Chandigarh is built, the flat roof
belongs to a progressive architect’s world-
view. But impressive roofs were also real-
ised during the late modernist era following
World War II – and not only in association
with residential projects – among them a
number of impressive sloped roofs, in most
cases, for special buildings. This also in-
cludes the striking self-supporting curved
concrete shells by Eduardo Torroja, Felix
Candela, and later, Heinz Isler. The incredi-
bly thin load-bearing shells are composed
of forms derived directly from the distribu-
tion of forces. In pre-computer days, these
typically economical structures were em-
12
bodiments of the most elegant way to span
from one exterior wall to the other. Owing to
the choice of material and method of con-
struction, their geometry can be experi-
enced inside and out and is most remarka-
ble when – assuming a simple program and
the right climate – no additional layers of
materials are required to master the build-
ing physics.
An exceptional role was played by Pier Lui-
gi Nervi, an Italian architect and engineer
who developed a formal language all his
own. He used geometry to arrive at a new
type of shell construction. His preference: a
spatial network of concrete ribs topped with
a concrete surface. In this way he gives the
Discussion 9
inner surface of his roofs (for example, at
the Palazzetto dello Sport in Rome, 1957,
ill. 10) a highly distinctive structure.
Soon thereafter, however, simple geometri-
cal forms gave way to dynamic, expressive
roofs.
7 L’Oceanogràfic in Valencia,
Felix Candela, 1994 – 2002
8 Legislative Assembly in Chandigarh,
Le Corbusier, 1953 – 63
9 Kirche am Steinhof in Vienna,
Otto Wagner, 1907
10 Palazzetto dello Sport in Rome,
Pier Luigi Nervi, 1960
11, 12 Philharmonie in Berlin,
Hans Scharoun, 1963
 10 Roof and Space
13, 14 TWA-Terminal, New York,
Eero Saarinen,1962
15, 16 Sydney Opera House, Sydney,
Jørn Utzon, 1973
17, 18 The Crystal Museum in Toronto,
Daniel Libeskind, 2007
The TWA Terminal in New York (1962, ills.
13, 14) is a classic case in point: here the
architect succeeds in uniting the functional
requirements of a terminal and a futuristic
envelope. This essentially consists of a
sweeping, curved roof that can be experi-
enced inside and outside the building and
appears to defy gravity.
Correspondingly, the entire building came
to be seen as a symbol of air flight – at a
time when it had not yet become such a
routine part of modern life. With his build-
ing, Eero Saarinen creates a prototype of
the sculptural roof, but in contrast to many
recent examples, form and function are still
in harmony.
14
13
Building massing and roof as sculpture
With his Philharmonie in Berlin (1963,
ills. 11, 12), Hans Scharoun succeeds in
creating an extraordinary spatial construct.
For the development of the concert hall, the
architect coalesces the logic of the acousti-
cal requirements with his ideas for the
space. This is the first example of a concert
hall in which the audience and the orches-
tra are not situated directly opposite one
another. Scharoun, who likened his con-
cept to terraced vineyards, placed the mu-
sicians in the middle, and around them, in
ascending rows, the audience. He also
subordinates the organic forms of the ceil-
ing to acoustical requirements: the three
2015 ¥ 1 ∂
convex – and seemingly sagging – shells
evenly distribute the sound. The exterior of
the sculpted roof results from this require-
ment, as well. Despite the presence of a
storey-high interstitial space, the basic con-
cept he devised for the interior space is
legible when the building is viewed from
the exterior.
Hans Scharoun’s Philharmonie exercises a
profound influence on the architects of sub-
sequent concert halls, and Utzon – whose
work on the Opera in Sydney (1973, ills. 15,
16) roughly coincides with Scharoun’s in
Berlin – is no exception.
But despite numerous similarities, including
the organic vocabulary, Jorn Utzon’s ap-
 ∂ 2015 ¥ 1
15
proach for the Sydney Opera is completely
different from Scharoun’s. The latter con-
ceived of the building by working from the
inside toward the exterior, but Utzon did the
opposite. For a site on a spit of land, he de-
signed the building – which was to become
the symbol of an entire continent – as free-
standing sculpture consisting of overlap-
ping shells.
Thus, the exterior silhouette does not really
reflect the spatial definition of the interiors;
the shells are – if you will – freely positioned
above them. Although there is no real con-
nection between the interior space and the
silhouette, in this design the position of the
two concert halls can be clearly discerned
in the shape of the building. That is not the
case at the small festival hall in Erl, in the
Tyrolean Alps, by Delugan Meissl (2012,
ill. 22). Here, too, the architects have creat-
ed a convincing sculpture, derived from the
mountainous setting and the contrast to the
existing building adjacent to it. Not only is
the concert hall itself well done, but the
publicly accessible lobby spaces also pos-
sess a charged tension. However, there is
no correspondence whatsoever between
the roof’s outer form and the building’s
function. The building envelope’s striking
tip, which from some perspectives brings to
mind a rocket, holds only inconsequential
auxiliary spaces.
The formal dictate
In many quarters, Gehry’s Guggenheim
Museum in Bilbao (1992– 97, ill. 19) is still
considered the ultimate built sculpture, but
at the same time, it stands for the wasteful-
ness of an expensive form. Thanks to its
spectacular appearance it quickly became
a tourist draw and a catalyst for an entire
region. The Bilbao Effect has long stood for
the great influence that a single building
can have. Gehry is an avowed admirer of
Utzon’s Sydney Opera, and it served with-
out a doubt as inspiration for this, his most-
renowned building. But while Utzon’s build-
ing is a coherent whole, in Bilbao every-
thing is subordinate to the overarching
form. The integration of the function is not
Discussion 11
16
wholly satisfactory, because no matter how buildings to be completed in recent years.
fascinating the gleaming silver sculpture is, It is the work of Coop Himmelb(l)au, a firm
how masterfully it stakes out its position in that, like Frank Gehry’s, has been deemed
the city – on a site that is a true “non-place”: Deconstructivist. But despite this apparent
the building only works to a degree as a mu- connection, the two firms’ most prominent
seum, because the exhibition spaces must buildings have little in common. Because
defer to the “packaging”. The interiors are while Gehry’s Guggenheim Museum is truly
by and large banal and have irregular an- a strong sculpture, on the exterior – and
gles. The poorly proportioned spaces prove this is the sole reason that it has become a
to be unsuited to presenting art. major attraction – the exterior of Coop
Daniel Libeskind’s The Crystal (2007, ill. 17, Himmelb(l)au’s monumental and somewhat
18), however, is a much more extreme in- sterilely detailed BMW World is not particu-
stance of this. The Royal Ontario Museum larly convincing. But it does have impres-
had become slightly stodgy, and the num- sively staged interiors of gigantic propor-
ber of visitors was decreasing. At the be- tions. One would not surmise that a build-
ginning of the millennium it wanted an addi- ing with a dynamic, sculptural interior
tion that would reverse this trend. Libeskind
delivered the desired effect. The crystalline
object, as dramatic as it is powerful, pro-
trudes into the vibrant Blour Street. It beck-
ons to Torontonians from a great distance –
and constitutes a striking accent in the het-
erogeneous urban fabric. Overlapping
bands of dark glass cut open the explosive
form, which consists entirely of oblique sur-
faces. Not a single wall contained within the
sparkling aluminium envelope is plumb. Yet
in the first spaces that visitors encounter,
there is little of this drama: they pass
through a dark tube containing the ticket
counters before entering a banal foyer. The
latter shares its back wall with the existing
historicist building. But the exhibition spac- 17
es are the real tragedy, above all in the nat-
ural history department – the heart of the
museum. Pitiable dinosaurs must compete
for attention with a fussy lighting concept.
It’s hard to imagine a greater disparity be-
tween exterior and an interior. Having said
that, the sculptural form can indeed be felt
inside the building. But it doesn’t lead to
convincing spaces; instead they vie for the
attention that should be directed to the
items on display. On the dark top floor,
where the roof forms could have been most
strongly felt, for conservation reasons the
light slits (which elsewhere produce glare)
have been closed off.
The BMW World in Munich (2007, ill. 21) is
another of the most spectacular recent 18
 12 Roof and Space
19
would have a flat roof. That puts this build-
ing in the lineage of the pilgrimage church
in Steingaden. But, while the one pays
homage to the glory of the Creator, the oth-
er worships the automobile. Zaha Hadid’s
Riverside Museum in Glasgow (2011,
ills. 24, 25) demonstrates that parametrical-
ly designed buildings can function well as
museums. Situated in a former industrial ru-
in adjacent to the river Clyde, the wave-
shaped building consciously makes refer-
ence to water. But the spiked roofline also
brings to mind a factory hall. Inside, the
dramatic roof form, in combination with fluid
floor plans, produces a dynamism well suit-
ed to a transport museum. And that very
21
20
roof is the crucial component in moulding
the interior space: a person’s impression of
the largely unpartitioned space changes
continuously as he or she moves through it.
The load-bearing structure determines
the space
This is also applicable to the comparatively
small school swimming pool in Alfriston,
England, by Duggan Morris Architects (see
page 28). Here, too, the spatial effect
changes depending on the perspective.
And the building massing also enters into a
relationship with the context: this essentially
consists of a single uniformly folded roof
whose individual segments make reference
2015 ¥ 1 ∂
19 Guggenheim Museum in Bilbao,
Frank Gehry, 1998
20 King’s Cross Station in London,
John McAslan + Partners, 2012
21 BMW World in Munich,
Wolf Prix /Coop Himmelb(l)au, 2007
22 Festival hall in Erl,
Delugan Meissl, 2012
23 Japanese pavilion at the Expo in
Hanover, Shigeru Ban, 2000
to the steep roofs capping the existing
school building.
The impressive roof can be experienced
both inside and outside. But a person’s im-
pressions of the two will vary significantly,
because seen from the school grounds the
roof appears ordered; its separate compo-
nents can be discerned. Inside, however,
the folded surfaces – which are also advan-
tageous to the acoustics – create a dramatic
space. The surfaces are in great measure
generated by the load-bearing timber struc-
ture. To this day, roofs whose structural sys-
tems define the space tend to be the most
awe-inspiring. Shigeru Ban’s Japanese pa-
vilion for the Expo 2000 in Hannover (ill. 23)
has, in the meantime, become a classic: its
interior is crowned with a latticework made
of paper tubes. The sensitive structure
called attention to the fleeting nature of a
pavilion, which, in the particular execution,
constituted an incredibly beautiful yet
ephemeral space circumscribed by a deli-
cate envelope. By skilfully employing the
optical effects of “condensation” in a struc-
ture that is in fact highly regular, Ban calls
attention to the cross-sectional modules.
Equally impressive are roofs with long spans
that have structural concepts that determine
how the space is experienced. Like in the
nineteenth century, today’s glazed train sta-
tion halls present an opportunity to design a
roof that can be experienced, as well as a
structural system that organises – or even
elevates – the space. Nicholas Grimshaw’s
Waterloo Station is a case in point, as is
Santiago Calatrava’s train station in Liège,
Belgium. The new Western Concourse at
King’s Cross Station in London (2012, ill. 20)
is another example. Its amplified construc-
tion enables it to contrast clearly with the
adjoining existing station, but above all, cre-
ate an impressive space.
Not even the rather coarse detailing of the
kiosks and shops placed in the station seri-
ously detracts from it. When their structural
systems are visible, the free-form roofs so
en vogue today also draw strength from
this principle. But the structure doesn’t
necessarily have to be expressive to pro-
 ∂ 2015 ¥ 1 Discussion 13

22

23
 14 Roof and Space
24
duce a powerful effect. This is in evidence at
the small, pre-fabricated foyer of the
Museum of the Bavarian Kings in Hohen-
schwangau (2011, ill. 26) by Volker Staab.
With both modern restraint and oriental
charm, he sets up a bridge between old and
new, whereby the rhomboid lattice shell
plays a dominant part in creating the interior
ambience. By structuring the roof in three
“naves”, he succeeds in giving the interior a
distinctive quality: the room below the cen-
tral barrel vault, which has no direct lighting,
provides optimal conditions for the items on
display, while the two “side aisles” open up
toward the landscape and provide views of
castles and the lake.
26
25
Another project by Staab Architekten is the
art museum in Arhenshoop (see page 34).
Working with contextual material and form,
the architects inserted a museum in the fab-
ric of this fishing village in northern Germa-
ny. That was possible thanks to the forms of
the individual structures – but above all, the
uniform brass building envelope. Depending
on the incidence of light, its tone – which
brings to mind the colour of the reed roofs
nearby – appears to alternate between gold-
en-yellow and brown. The individual roofs
are also responsible for the lighting: their
cross-section was developed to provide the
optimal light distribution for exhibitions. This
building shows that even when the structure
2015 ¥ 1 ∂
is concealed, roofs can decisively shape in-
terior space. But it also demonstrates that
small roofs covering an un-partitioned space
can achieve a strong correlation between a
building’s exterior and interior – as can long-
span structures. In contrast, the spaces in
many of today’s sculptural roofs are not
commensurate with the effort and expendi-
ture. When roofs have corresponding interi-
ors and exteriors, the architecture as a
whole will almost always be compelling.
24, 25 Riverside Museum in Glasgow,
Zaha Hadid Architects, 20011
26 Museum of the Bavarian Kings in
Hohenschwangau, Staab Architects, 2011
Reports
16
The Cutting Edge of Research – EPFL’s
SwissTech Convention Center
Frank Kaltenbach
Architects:
Richter Dahl Rocha & Associés Architectes,
Lausanne
One of the most noted buildings of recent
years sports an undulating roof and curved
courtyards of varying sizes: the Rolex Learn-
ing Center by the Japanese architecture
firm SANAA. On the campus’s northwest
corner, following a three-year construction
phase, a further striking component has now
opened that demonstrates École Polytéch-
nique Lausanne’s status as a top university
research facility and decisively enlarges its
space offerings: this new conference facility
accommodates up to 3000 people. The fi-
nancing model for the entire Quartier Nord
is a public-private-partnership (PPP): the
federal government supplied the site, and a
Swiss bank raised 225 million franks for the
construction.
With facets nearly as sharp as a diamond’s
and a roof that cantilevers impressively to
the south, the SwissTech Convention Center
at first appears to be a solitaire. But in com-
bination with the neighbouring block – which
houses a shopping centre, restaurants, a
70-room hotel and residence for 516 stu-
dents – it is part of the energy-filled ensem-
ble envisioned in the 2006 competition de-
sign also authored by Richter Dahl Rocha &
Associés.
Despite their divergent formal vocabularies,
the two buildings clearly belong together.
The architects achieved this unity by em-
ploying the same materials in both of them,
as well as by using the two buildings to
frame the adjoining square. While the con-
ference centre is clad in a building envelope
of anodised aluminium reminiscent of scale
armour, the aluminium panels sheathing the
student lodging are deliberately techno, yet
still invitingly domestic. In conjunction with
the metro station, which has been erected
right in front of the foyer, the building be-
comes the new gate to the entire university
campus.
Transparent solar cells as artwork
Catherine Bolle’s polychromatic building en-
velope installation introduces warm colours
that contrast with the otherwise technologi-
cal palette of the interior surfaces. She and
her colleague Daniel Schlaepfer implement-
ed their concept of translucent strips of col-
our extending as high as 15 metres in front
of the west facade, where the glazing fol-
lows the sloped ceiling of the foyers. On
foggy days the view of the single-family
homes of the neighbouring village is blurred;
in the evening sun it brings to mind the col-
our filters accompanying spotlights. In addi-
tion, the installation causes colourful strips
of light to be projected on the floor through-
out the entire hall, bathing the sober space
in mystical light.
The function of the colourful glass louvers
extends beyond solar control. From the
technological point of view, a world pre-
miere, for this is the first large-scale applica-
tion of electro-chemical thin-film solar cells.
These so-called Grätzel cells are named
after EPFL professor Michael Grätzel, who
developed this innovative technology. The
chemical composition of the dyes makes it
possible to produce electricity even on days
when the sky is overcast. The orientation to
the sun does not play a decisive role. The
dye-sensitized solar modules are integrated
in stacked, 41 x 210 cm aluminium-glass
panes that were mounted in different angles
to the facade. Despite their advantages
(greater freedom in the design process and
comparably sustainable production), the ef-
ficiency factor is still far inferior to that of
conventional silicon cells.
State-of-the-art technology developed at
the EPFL was also utilised below ground.
Five of the 200 foundation pilings are
equipped with glass-fibre cables and pres-
sure sensors and serve as geo-thermal
probes. These tools are employed here to
further pursue the research and develop-
ment of this technology. The building’s
spaces can be cooled in summer and
heated in winter by means of heat exchange
and the geo-thermal pump. Moreover, the
energy generated by the solar modules
can be stored to compensate for seasonal
fluctuation.
Kinetic spatial machine
The ample daylight in the auditorium and
great degree of flexibility in arranging the
2015 ¥ 1 ∂
rooms make the SwissTech Convention
Center a versatile “machine for holding
events in.” The two large space trusses rest
on cores in the north and in the middle of
the building and cantilever about 50 metres
beyond the foyer. In just 15 minutes the
2000-seat auditorium can be transformed in-
to a 1900 m2 banquet hall with a level floor.
This is made possible by pivoting the seat-
ing affixed to the adjustable-height floor
planks down into the cavity. The balcony,
which seats 865, can be separated from the
auditorium, as well, and transformed into a
room seating 468.
At both the Rolex Learning Center and
the SwissTech Convention Center, the exte-
riors contrast with the respective everyday
workings of the interiors in complementary
fashion. While from the exterior, the former
appears elastic and flexible, in reality its
sloped floors and ceilings, as well as close
proximity of a variety of un-partitioned uses
pose significant challenges. But the Rolex
Center also holds surprises in store for its
visitors, for example the way it has been
appropriated by the students, who sit and
recline on the carpeted floor: “form evokes
function”. By contrast, while the SwissTech
Center’s exterior makes a hard-edged,
bulky impression, it is supple inside and
accommodates any number of spatial ar-
rangements.
Pluralism and creativity
But the inauguration of the SwissTech
Convention Center is by far not the final
step in the restructuring of the EPFL from a
labyrinthine science center into an attractive
campus. In 2010 Dominique Perrault won
the competition for the department of neuro-
prosthetics and the university’s central
administrative center. He has already con-
verted the former main library into an office
building and clad it in a new rainbow-
coloured ceramic facade. By 2018 he will
have transformed the old mechanical engi-
neering halls into cutting-edge laboratories
replete with a generously scaled atrium and
metal-mesh skin. But the most ambitious
structure – which is certain to become the
∂ 2015 ¥ 1
Section scale 1:1000
Site plan scale 1:20,000
campus’s third landmark – will be the multi-
storey Teaching Bridge: as the highest
building on campus it will span the new
boulevard that leads south until intersect-
ing with the east-west boulevard running
along the north facade of the Rolex Learn-
ing Center.
A new allée will improve orientation on street
level, provide an attractive pedestrian link
from the metro station to the SwissTech
Convention Center, and connect nature and
architecture. The best way to take in the
whole campus at once will be to climb up
the Teaching Bridge’s glazed platforms: to
the south, behind the soft curves of the
Rolex Learning Center, the view stretches to
Lake Geneva and alpine summits. To the
northeast, in contrast, the diamond-cut roof
of the SwissTech Convention Center con-
trasts with the gentle moraine hills surround-
ing Lausanne.
The new EPFL campus is coming closer to
achieving its stated goal: to compete with
the world’s most renowned research institu-
tions. In contrast to the homogeneous plan-
ning that Ludwig Mies van der Rohe imple-
mented at the Illinois Institute of Technology
in Chicago in the 1960s, these grounds in
Switzerland will become a new symbol of
creativity and plurality in the sciences. To
meet the challenges of the future – challeng-
es that have yet to be defined.
Reports 17
1
2
3
6 5
10
8
9
1 SwissTech Convention Center, conference
center, 2014, arch: Richter Dahl Rocha &
Associés
2 SwissTech Convention Center, student resi-
dence, hotel, supermarket, restaurants, 2013,
arch: Richter Dahl Rocha & Associés
3 Metro station
4 Teaching Bridge, 2018, arch: Dominique Perrault
Architecture
5 Conversion of former main library into central
administration, 2014, arch: Dominique Perrault
6 Conversion of mechanical engineering halls into
a department of neuro-prosthetics, 2018, arch:
Dominique Perrault Architecture
7 Rolex Learning Center, arch: SANAA, 2010
8 Student apartments, 2009,
arch.: Esposito Javet
9 Hotel, 2010, Ferrari Architectes
10 Quartier d’Innovation, 2010, arch: Richter Dahl
Rocha & Associés
18 Exhibitions, Books
Lina Bo Bardi 100:
Brazil’s Alternative Path to Modernism
Journalist, illustrator, designer and architect
Lina Bo Bardi lived a life of many facets. To
mark the 100th anniversary of her birth, the
Architecture Museum at TU Munich is cele-
brating the life’s work of the Italo-Brazilian
architect with an original, detailed and sen-
sitive exhibition curated by Vera Simone
Bader in collaboration with Brazilian archi-
tect Marina Correia.
A high wall of bare Ytong blocks is the first
thing to catch the visitor’s eye. It divides the
room into zones and serves as a backdrop
for sketches and plans. Its rough surface
references Bo Bardi’s passion for exposed
concrete. Even during her lifetime, her sim-
ple and immediate language of form found
great public acceptance, even though Bo
Bardi never had a fixed formal repertoire.
For her, design meant an intensive engage-
ment with the culture. She put the social sig-
nificance and relevance of her buildings
front and centre, a fact nowhere more evi-
dent than in her SESC Pompeia project. The
sports and culture centre, a complex of
buildings linked by bridges, is still a vibrant
meeting place for all strata of society.
With her architettura povera, Lina Bo Bardi
blazed new trails that are once more regain-
ing relevance. Long in the shadow of her
Brazilian colleagues Oscar Niemeyer and
Lucio Costa, Bo Bardi chose an alternative
path, one that has now been translated into
a lively exhibition concept. Handwritten texts
on the bare walls recall her daily conversa-
tions with the workers on site, lending the
exhibition a personal note. Photographs,
plans, models, video and audio recordings
and 100 original hand drawings bring Bo
Bardi and her architecture to life. Her formal
language is conveyed via lovingly chosen
details and materials. It is rare to be able to
experience the life and work of an architect
in such an immediate and authentic way.
Annika Schröck
Until 22 February 2015,
Architecture Museum of TU Munich,
www.architekturmuseum.de
Uneven Growth:
Tactical Urbanisms for Expanding
Megacities
In 2030, the world’s population will comprise
a staggering eight billion people. Of these,
two thirds will live in cities. Most will be poor.
In the face of limited resources, this uneven
growth will be one of the greatest challeng-
es confronting societies across the globe.
Over the coming years, city authorities, ur-
ban planners and designers, economists,
and many others will have to join forces to
avert social and economic catastrophes and
to ensure that these expanding megacities
remain habitable.
Uneven Growth: Tactical Urbanisms for Ex-
panding Megacities, a 14-month initiative to
examine new architectural approaches to
addressing the rapid and uneven growth of
six global metropolises – Hong Kong, Istan-
bul, Lagos, Mumbai, New York and Rio de
Janeiro – has culminated in an exhibition at
the Museum of Modern Art.
In recent years, tactical modes of urbanism
have arisen in the form of everyday, bottom-
up approaches to local problems as a coun-
terpart to the classic notion of top-down
planning. Uneven Growth asks how current
practices of architecture and urban design
can learn from such developments by pre-
senting design scenarios based on this type
of urbanism, while also mapping emergent
modes of tactical urbanism around the
world. The exhibition features design visions
in the form of drawings, renderings, anima-
tions and videos produced by six interdisci-
plinary teams of local practitioners and inter-
national architecture and urbanism experts,
each focusing on a specific city.
Tactical urbanism is a highly pragmatic
movement that involves a spectrum of de-
signers, from those who perform guerrilla in-
terventions of short-term change to those
who seek to prod, provoke or stimulate the
political process towards an incremental
realization of fragments of what might be
larger networks.
Until 10 May 2015, The Museum of Modern
Art, New York, www.moma.org
EMPOWERMENT –
Social change through building
“Architecture is for everybody” is a mantra
that most architects would probably sup-
port, but in fact the profession serves only a
tiny fraction of the global population. The
exhibition at the Lighthouse explores how
architecture and architects can engage a
wider population and play a part in effecting
long-term social change in the developing
world, where architecture is a process rath-
er than a product.
Until 1 March 2015,
The Lighthouse, Glasgow,
www.thelighthouse.co.uk
2015 ¥ 1 ∂
Best of DETAIL Wood
Institut für Internationale Architektur-
Dokumentation, Munich 2014, 200 pp.,
paperback, German/English,
ISBN 978-3-95553-214-7,
€49; £40; US$69
With its positive qualities and wide range of
applications, wood excels in several areas:
it meets the holistic evaluation criteria of
sustainable construction, it is perfect for
outdoor use in sophisticated designs and
facades, and it lends itself equally well to
being used in interiors. It allows rapid con-
struction and is relatively inexpensive, and
builders and architects alike appreciate its
sensuous charm and familiar nature. These
attributes are turning this traditional con-
struction material into one of the most
sought-after materials for innovative pro-
jects. The publication offers a theory section
and a comprehensive section on projects.
Function Follows Strategy
Eduard Sancho Pou, Institut für Inter-
nationale Architektur-Dokumentation,
Munich 2015,192 pp., hardcover,
ISBN 978-3-95553-196-6,
€ 39, £32; US$55
For the past several years, architects have
been confronted with a changed market,
new tasks and unfamiliar requirements. In
this new environment, what strategies can
they adopt to get commissions or spark in-
terest in their projects? The author analyses
some key approaches taken by individual
architects since the 1950s.
Transformations in society and politics,
changed client requirements and the state
of the economy all influence the work of ar-
chitects. While the focus of the profession
used to be purely on physical construction,
today’s architects must adopt a wide variety
of roles in relation to clients – ranging from
consultant to mediator to brand designer.
The book is intended to inspire architects to
consider new options and unusual paths.
Documentation
20
The Vieux Port Pavilion in Marseille
Architects:
Foster + Partners, London
Team:
Norman Foster, Spencer de Grey, Grant
Brooker, Andy Bow, Roger Ridsdill Smith,
Jurgen Kuppers, Max Neal,
Merino Ranallo, Adeline Morin, Caroline
Tarling, Andy Coward
Structural engineers:
Foster + Partners, London
Ingerop Mediterannee, Marseille
Others involved in the project: see page 104
The old port, in an elongated bay, is the his-
toric heart of Marseille and was for centuries
an important centre of trade. Today count-
less yachts and excursion boats are an-
chored in the Vieux Port, surrounded by the
apartment buildings and restaurants of the
historic centre that were long separated
from the port basin by a multi-lane street.
One of the most prominent public works
projects featured within the framework of the
European Capital of Culture 2013 involved
making the district better accessible to the
public and redesigning the esplanade for
pedestrians. The design is the work of
Foster + Partners and the landscape archi-
tect Michel Desvigne; they have created a
generously scaled esplanade which is now
also the site of performances and events. To
keep the quay walls free of technical instal-
lations, the team situated them in platforms
in the water. The flow of traffic was also re-
worked: the multi-lane street was reduced to
two lanes. The unobtrusive and subtly differ-
entiated new space in the port zone covers
an area of 100,0000 m2; it has quickly be-
come a beloved, vibrant piazza.
The lightweight roof, situated on the eastern
edge of the port basin, seems to float above
the ground plane. The 46 ≈ 22 m pavilion
shields visitors from the sun and rain. But
the structure is also a fascinating architec-
tural folly. Clad in stainless steel with a su-
2015 ¥ 1 ∂
2
1
3
per-mirror polish, the underside reflects the
activity beneath it and intensifies the ever-
changing quality of light. The steel structure
must withstand the north-esterly wind known
as the Mistral Eight. Despite that fact, its di-
mensions are exceedingly slender: hollow
steel-section columns support a framework
of primary beams; set within that framework
are secondary beams reminiscent of the
frames used in boat construction. The bases
of the columns – which, with a diameter of
only 27 cm at a height of 6 metres, are truly
of slight build – are restrained and their tops
are welded to the roof frame in a flexurally
rigid connection columns. To increase their
stability they were filled – with the exception
∂ 2015 ¥ 1 Documentation 21

www.detail.de

Site plan scale 1:7500 1 Vieux Port

Sections, Structural plan 2 Pedestrian area
scale 1:400 3 Pavilion aa

of a downpipe – with concrete. Both sides –

the one facing the sky and the one facing
the plaza – of the 1012 m2 roof surface con-
sist of stainless-steel sandwich panels con-
taining rigid foam.
On the gently curved top they are fastened
along the edges of the panels; the seams
are sealed with silicone. The panels making
up the smooth underside were attached us-
ing adjustable bolt connections – the butt
joints are barely perceptible. On all four
sides the roof cantilevers five meters; its
cross-section tapers toward the edge and
becomes so thin that it appears to be no
thicker than a line – reinforcing the immateri-
ality of the pavilion.

bb

b b

a
22 The Vieux Port Pavilion in Marseille 2015 ¥ 1 ∂
∂ 2015 ¥ 1 Documentation 23

8
c
7

9 3 2

5 6 5 4
c

10

Vertical section 5 steel point supports

scale 1:20
Section through fastening of
sandwich panels
scale 1:5
1 sandwich panel at edge of roof
(2000/5000 mm):
1.5 mm stainless-steel sheet,
super-mirror polish
XPS rigid foam
1.5 mm stainless steel sheet,
super-mirror polish
2 sandwich panel on upper roof surface
(2000/6000 mm):
1.5 mm stainless steel sheet, shot peened
20 mm XPS rigid foam
1.5 mm stainless steel sheet
3 steel profile beam, welded of
180/10 mm steel flats, 8 mm steel flats,
and 180 mm steel channel (UPE 180)
4 edge beam: 120 mm steel channel (UPE 120)
6 sandwich panel on roof underside
(2000/6000 mm):
1.5 mm stainless-steel sheet
40 mm XPS rigid foam
1.5 mm stainless steel sheet,
super-mirror polish
7 gutter: 2 mm stainless steel
sheet, perforated, as cover
1 mm EPDM membrane as lining of drain
2 mm stainless steel sheet
8 column head, steel, welded
9 360/30 mm steel profile primary beam
10 column: Ø 273/25 mm stainless steel CHS
50 mm concrete
downpipe
11 120 mm granite paving
in 40 mm sand bed
12 400 mm steel profile; frame (HEB 400)
13 foot plate, steel
14 silicone joint
15 butt joint, gap < 1 mm

2 14

11

12 13

12

cc

6 15
24
Holiday Home on Lagnö
Architects:
Tham & Videgård Arkitekter, Stockholm
Bolle Tham, Martin Videgård
Assistant:
Anna Jacobson
Structural engineers:
Sweco AB, Stockholm
Mathias Karlsson
Others involved in the project: see page 104
Colourful wood homes, scattered between
water, boulders and trees, are an integral
part of the idyllic image associated with
Stockholm’s coastal landscape.
On the island of Lagnö, between a forest
and the Baltic Sea, a holiday domicile of a
different sort has recently been completed.
Like a row of boathouses, the five pitched
roofs, each of a different height – its gables
unimpeded by eaves – form a striking sil-
houette against the natural background.
Transversely spanning the elongated, or-
thogonal building massing, they order the
volumes and, in this manner, pick up on the
shape and scale of the traditional building
types.
Seen from the north, the ensemble appears
closed. The sculptural massing is interrupt-
ed by a transparent element – one of the
gable roofs is articulated as steel and glass
construction – that creates a fascinating en-
trance situation with framed view of the
ocean.
From here one decides whether to enter the
separate guest apartment, which also
serves as atelier, or the main house. The
private spaces are situated along the rear
facade, only receiving light from the roof-
lights flush with the plane of the roof. Slid-
ing partitions of hardwood open toward the
generously scaled living room, which, in
turn, is separated from the outdoors by
2015 ¥ 1 ∂
sliding glass doors; the house opens up
gradually to daylight and to the sea.
The architects selected concrete – not
typical of the local building tradition – as
predominant building material. It has an
advantage over wood: resistance to weath-
ering.
Correspondingly, and in keeping with the
clients’ request, it holds maintenance work
to a minimum. With its massivity and colour
tone, concrete sets up a connection to the
granite formations dating to the Pleistocene
Epoch and makes the building appear to
grow right out of the rocky ground. In con-
trast to the walls, the roof is not constructed
in concrete, but of an insulated steel struc-
∂ 2015 ¥ 1 Documentation 25

aa

b c

3 4 5 5 5

a a
1 2 6

b c

ture that is supported by the cast-in-place

concrete walls.
The slate-coloured roofing furnishes a uni-
form grey tone that preserves the monolith-
ic impression.

8
Site plan 2 Pergola
scale 1:1250 3 Entrance
4 Kitchen
XбŨýĩğś ° #Čĩĩœ ĻČyğ 5 Bedroom
scale 1:250 6 Living / Dining
7 Swimming pool
1 Guest/Atelier 8 Sleeping loft

bb cc
 26 Holiday Home on Lagnö 2015 ¥ 1 ∂

Vertical sections
scale 1:20

2
7

dd
∂ 2015 ¥ 1 Documentation 27

1 roof construction:
bituminous sealing layer with granulated
slate surface
20 mm mineral fibre board
20 mm corrugated steel
150 mm mineral fibre insulation between
150 mm steel Z-sections
vapour barrier, two layers
110 mm corrugated steel (insulated)
70/22 mm battens
9 mm plywood
12 mm plywood
13 mm plasterboard
2 wall construction:
180 mm reinforced concrete wall
290 mm rockwool insulation
vapour barrier
12 mm plywood
d
13 mm plasterboard
3 sliding door, hardwood frame,
double glazing
4 column: Ø 83 mm steel CHS,
lacquered
5 90 mm reinforced concrete,
power trowelled, waterproofed
6 2≈ 6 mm laminated safety glass,
low-iron on
100/60/5.6 mm and
100/50/3 mm steel RHS
7 door: 60 mm steel frame clad in
d sheet steel, insulated
9 8 ridge beam:
200/200/5.5 mm steel SHS
9 100/180/5.5 mm steel RHS
28 2015 ¥ 1 ∂

Swimming Pool for a School in

Beaconsfield

Architects:
Duggan Morris Architects, London
Mary Duggan, Joe Morris
Project architect:
David Storring
Structural engineers:
Elliott Wood Partnership, London
Others involved in the project: see page 104

Alfriston School, a special-needs secondary

school, is located outside London, on the
edge of a residential neighbourhood. The
existing school building is organised as line-
ar cluster, running from the street to the veg-
etation in the rear, with small-scale gabled
roofs of varying orientation. To its north a
new swimming pool structure with expres-
sive crown docks onto a sports hall with
steep pitched roofs. Dark-grey rendered wall
and plinth surfaces, and, in the longitudinal
elevation, corresponding sloping roofs tie
aa
this new sports complex together. Mature
trees provide a screen to the schoolyard.
The roof geometry, which consists of serial
and interlocking pitched-roof elements, is a
reinterpretation of the roofs present nearby.
B
Inside, the sculptural form creates a ceiling
with an undulating roofscape. The ceiling al-
so serves an acoustic purpose: it reduces
the noise level – thereby fulfilling an impor-
tant requirement from the client’s brief. A
band of glass just one metre in height ac-
bb
centuates the roof. This type of connection
to the outdoors also provides the children a
measure of privacy. Moreover, the glazed
ribbon affords them a panoramic view of the
surroundings as they jump in the pool. The
roof is made up of 26 triangular wood pan-
els, which, once they have been mounted, 4
constitute a stiff roof structure. The fabrica-
tion, construction sequence, and transport, a
however, all posed challenges. To guaran-
tee precise execution and high-quality sur- 5
faces, the architects decided to have the A
panels produced off site. There was only 8
one exception: due to its size, it was neces-
sary to construct one gable element on site. 9
Through the use of 3D modelling, in combi- 11 b
9 12
nation with 5-axis CNC milling, it was possi- 3
b
ble to secure a high degree of fitting accura-
cy with small dimensional tolerances; mock- 8 10
ups were employed to test individual joints.
The load-bearing elements were equipped
with a weathertight membrane so that the 6 7
roofing could be installed right after mount-
ing was completed. The coatings on the in-
ner surfaces were applied at the woodwork-
ing shop. Thus, assembly took just four a
weeks, and no scaffolding was required.
∂ 2015 ¥ 1 Documentation 29

Site plan
scale 1:5000
XбŨýĩğś ° ;yƑĩŵŨĻČyğ
scale 1:400

1 School building
(existing)
2 Natatorium
3 Sports hall 2
(existing) 3
4 Fitness room
(addition) 1
5 Building services
6 Access ramp
7 Main entrance
8 Shower
9 Dressing / Lockers
10 Office
11 Storage / Closet
12 Pool
30 Swimming Pool for a School in Beaconsfield 2015 ¥ 1 ∂

3
1 2 5

A 7

1 through-coloured render, on masonry 6 down pipe

2 double glazing, frameless, 7 column: Ø 140 mm steel CHS,
structurally bonded to aluminium painted
angle 8 roof construction:
3 installation shaft (concealed) 140/18 mm hardwood cladding,
4 edge beam wood element (bolted to thermally treated
counterpiece): battens, tanalised,
glue laminated softwood, coated painted black,
5 wall construction: mounted on standing seam roof with
140/18 mm hardwood cladding, aluminium clamping system
thermally treated aluminium standing seam roof
battens/counterbattens, 206 mm thermal insulation
tanalised, painted black vapour barrier
vapour permeable membrane 21 mm cross-laminated softwood panel,
120 mm thermal insulation coated
vapour barrier 9 70/220 mm softwood rafters,
21 mm cross laminated softwood panel, coated
coated 10 gutter
∂ 2015 ¥ 1 Documentation 31

Horizontal section
Vertical section
scale 1:20

10
9

5
32 Swimming Pool for a School in Beaconsfield 2015 ¥ 1 ∂

7 8

3 6

5
3

1
∂ 2015 ¥ 1 Documentation 33

Drawings of a node: to ensure that in

the finished state the load-bearing
structure makes a homogeneous im-
pression, the connecting plates are
placed within it in such a manner that
they are not visible once assembly is
completed. The screws are concealed
with wood spiles. Installations are con-
cealed, as well.

10

6 3

Vertical sections
4 scale 1:20 vapour permeable membrane
120 mm thermal insulation
1 through-coloured render on ce- vapour barrier
ment board, 21 mm cross-laminated softwood
metal stud supporting structure panel, coated
2 triangular aluminium plate over 8 edge beam wood element:
rainwater outlet, glue laminated softwood,
5 powder coated, perforated, coated
removable 9 140/18 mm hardwood cladding,
3 aluminium sheet, thermally treated
powder coated battens, tanalised,
4 double glazing, concealed painted black, mounted on
aluminium frame standing seam roof with
5 3 mm vinyl sheet flooring, slip aluminium clamping system
resistant aluminium standing seam roof
6 LED light strip 206 mm thermal insulation
7 140/18 mm hardwood cladding, vapour barrier
thermally treated 21 mm cross-laminated softwood
battens/counterbattens, panel, coated
tanalised, painted black 10 70/220 mm rafters, coated
34
Art Museum in Ahrenshoop
Architects:
Staab Architekten, Berlin
Team:
P. Pedersen, A. Hafner (Project architect),
S. Hehemann, M. Zeeh, D. Angly,
M. Ebener, H. Groß, J. Jensen,
M. Jochheim, Z. Kaluzna, D. Karg,
D. Schendel, T. Steib, F. Weber,
S. Zoske, N. Braune (Site supervision)
Structural engineers:
ifb frohloff staffa kühl ecker, Berlin
Others involved in the project: see page 104
Ahrenshoop, located on a chain of islands in
the Baltic Sea named Fischland-Darß-
Zingst, is known for its artists’ colony, which
was established back in the 1880s. From
the era of classical modernism to the pre-
sent day, numerous artists have lived in this
former fishers’ village and, through their
work, responded directly or indirectly to the
surrounding landscape. The museum, es-
tablished in 2005 through the initiative of a
society named Kunstmuseum Ahrenshoop,
devotes its attention to these artists and
their works. With the completion of this
building, it now has spaces in which the ex-
tensive collection, consisting of more than
500 paintings, graphics and sculptures, can
10
aa
8 9
bb
be presented to the public in appropriate
fashion.Taking the artists’ rootedness in this
place as point of departure, the design of
the museum building also picks up on re-
gional characteristics; it is inserted harmoni-
ously in the fine-grained built fabric on the
edge of town. The five low-slung structures
appear to be grouped around a square –
like a village – and their steep hip roofs are
reminiscent of the reed roofs typical of this
region. But the individual structures, which
house the exhibition spaces, are in fact
linked by the foyers: this produces a larger
complex. The choice of material also makes
reference to traditional models, yet only in
the figurative sense: what from a distance –
4
b
7
8
2015 ¥ 1 ∂
on account of the stripe-like structure and
golden brown tone – might be interpreted as
reed, turns out to be irregularly folded brass
sheet that sheathes not only the museum’s
roofs, but also its facades. The individual
panels of wood that accompany the win-
dows are the only interruption in the homo-
geneous envelope. However, the exhibition
spaces receive light primarily from above:
the seemingly truncated roofs are topped off
with coffer-like skylights. The resulting con-
struction provides the interiors with diffuse
light. Thus, the white wall and ceiling surfac-
es, in combination with light-grey screed
floors, provide a restrained background for
the works by Ahrenshoop’s artists.
a
4
2 3
b
5
1
4
a
∂ 2015 ¥ 1 Documentation 35

Site plan
scale 1:4000
XбŨýĩğś ° ;yƑĩŵŨĻČyğ
scale 1:500

1 Entrance
2 Foyer
3 Ticket sales
4 Exhibition
5 “Kabinett“
6 Terrace
7 Office
8 Building services
9 Storage
10 Toilet
36 Art Museum in Ahrenshoop 2015 ¥ 1 ∂

1 2 3 4 5 6

7 8

10

c c

11 14

12 13 15
∂ 2015 ¥ 1 Documentation 37

Vertical section
16 scale 1:20

1 maintenance catwalk, steel, supporting structure, bent to shape

galvanised 140 mm mineral wool thermal insulation
2 triple glazing: 250 mm reinforced concrete wall
8 mm toughened glass + 15 mm undercoat plaster
20 mm cavity with prisms + 3 mm fine filler
6 mm toughened glass + 11 wood frame door, oiled oak,
16 mm cavity + 20 mm laminated with triple glazing:
safety glass, satin-finish on lowermost 6 mm toughened glass +
pane 12 mm cavity +
3 steel T-profile of 60/15 mm and 6 mm toughened glass +
85/15 mm welded steel flats, lacquered 12 mm cavity +
4 glare protection, cable guided 18 mm laminated safety glass
5 5 mm sheet steel, bent to shape, 12 paving:
lacquered in situ concrete with white cement
6 parapet: aggregate
0.7 mm brass sheet, untreated, 13 50 mm cast stone
bent to shape 20 mm drainage mat
7 fluorescent lamp 120 EPS mm thermal insulation
8 electric channel for object beam two-layer bituminous seal
9 roof construction: 250 mm reinforced concrete
0.7 mm brass sheet, untreated, 14 wood frame door, covered in voile
bent to shape 15 floor construction:
85 mm ventilated cavity / aluminium 20 mm screed flooing of white cement
sheet with stone aggregate
supporting structure, bent to shape 68 mm underfloor heating screed
sarking membrane 32 mm + 50 mm insulation
15 200 mm mineral wool thermal insulation 250 mm reinforced concrete slab
200 mm reinforced concrete with 16 roof construction:
thermally active building components 50 mm gravel
15 mm undercoat plaster two-layer bituminous seal
3 mm fine filler 80 mm minimum thermal insulation
10 facade construction: to falls
0.7 mm brass sheet, untreated, vapour barrier
bent to shape 250 mm reinforced concrete deck
85 mm ventilated cavity / 15 mm undercoat plaster
aluminium sheet 3 mm fine filler
38 Art Museum in Ahrenshoop 2015 ¥ 1 ∂

Horizontal section
scale 1:20

Facade construction wood studs

1 0.7 mm brass sheet, untreated
85 mm ventilated cavity / aluminium
sheet supporting structure,
bent to shape
140 mm mineral wool
thermal insulation
250 mm reinforced concrete wall
15 mm undercoat plaster
3 mm fine filler
2 28/135 mm oak planks, oiled,
butt jointed
28 mm battens / ventilated cavity
140 mm mineral wool thermal
insulation between
250 mm reinforced concrete wall
15 mm undercoat plaster
3 mm fine filler
3 wood frame door, oiled oak,
with triple glazing:
6 mm toughened glass + 12 mm cavity +
6 mm toughened glass + 12 mm cavity +
18 mm laminated safety glass
4 wood frame door,
covered in voile
5 gusset:
0.7 mm brass sheet, untreated,
bent to shape
(multiple bends)

1 2 3 4 5
cc
∂ 2015 ¥ 1
Terraced Housing in Brugg
Architects:
Ken Architekten, Zurich
Team:
Jürg Kaiser, Lorenz Peter, Martin Schwager,
Gian Andri Mohr, Friederike Wisler,
Charles Wülser
Structural engineers:
Heyer Kaufmann Partner, Baden
Others involved in the project: see page 104
This robust residential complex is located in
heterogeneous residential fabric on a south-
erly slope on the edge of the Swiss town of
Brugg. A perimeter wall of exposed con-
crete holds together 16 condominium apart-
ments in an irregular form that responds
boldly to the topography of the slope. The
surfaces surrounding the new structure –
meadow and asphalt – abut the building. On
the building’s southeast corner, the asphalt
even flows into the lobby. The sloping eleva-
tor situated here serves the eight living lev-
els; the ceiling deck right above the elevator
shaft doubles as cascading stair that leads
to the communal terrace and playground on
the uppermost level. Together, stair and ele-
vator form the spine, which is clearly legible
on the exterior as concrete band. On both
sides of it the apartment units are arranged
in layers of space that run parallel to the
slope and are oriented to the spacious roof
terraces. Both the thick concrete parapets
with oblique tops and the concrete walls
shield these outdoor spaces from noise and
visual contact with passers-by and neigh-
bours. Moreover, the ground-level parking
garage screens the entire ensemble – and
in particular, the roof gardens of the first
floor flats – from the street. Each unit has
two entrances: a large entrée connected di-
rectly to the elevator at the rear of the apart-
ment and, adjacent to the facade, a link to
Documentation 39
Site plan
scale 1:4000
the stairway. From there the living area ex-
tends along the completely glazed front –
between apartment and terrace – to the out-
er wall. Should separate rooms be desired,
lightweight wall construction may be em-
ployed. The zone situated between the en-
trée and the bathroom contains auxiliary
spaces and separates the living spaces
from the slope-side basement; unheated
storages spaces and laundry rooms serve
as a buffer. Small bathroom and basement
windows, which are arranged in an irregular
pattern, perforate the perimeter walls. Simi-
lar openings in the wall facing the street and
along the spine allow daylight and fresh air
to enter the garage and stairway.
40 Terraced Housing in Brugg 2015 ¥ 1 ∂

14

9 7 11 13

2 1 3
aa

bb
∂ 2015 ¥ 1 Documentation 41

13

12
11
4

8 7 6
5

Sections
Floor plans
scale 1:500

Fifth floor
First floor
13 Ground floor

12
11
4
8 1 Entrance hall room
6 7 2 Parking garage 9 Roof terrace
3 Shelter 10 Roof garden
5 4 Entrée to unit (from 11 Storage (not heated)
oblique elevator) 12 Laundry
9 5 Entrance (not heated)
(from stairway) 13 Basement /
6 Kitchen Building services
7 Living/Dining 14 Playground /
8 Non-programmed Communal terrace
11
10

b a

3
1

a
42 Terraced Housing in Brugg 2015 ¥ 1 ∂

1 3

4 5

cc
6

Horizontal section
Vertical section
scale 1:20

1 250 mm reinforced concrete exterior wall

(type II), lazure coating
180 XPS thermal insulation board
25 mm gypsum fibreboard, trowelled
and painted
2 105 mm lightweight construction wall:
15 mm plasterboard
50 mm mineral wood
15 mm plasterboard
3 140/70 mm steel column
4 triple glazing in wood-aluminium frame
5 aluminium flashing, annealed
6 600 mm exposed concrete parapet
(type II), lazure coating
7 36 mm cement board
40 mm grit filling

c c

9 5
11

10
∂ 2015 ¥ 1
10 mm laminated filter fleece,
geotextile
5 + 5 mm sealing layer elastomeric
bitumen, two layers
140 mm rigid polyurethane foam
insulation; aluminium foil facing
5 mm elastomeric bitumen vapour
retarder
240 – 310 mm reinforced concrete
to falls
10 mm gypsum plaster
8 10 mm gypsum plaster
40 mm XPS thermal insulation board
edge stripping
(placed in formwork)
Documentation 43
9 10 mm parquet
80 mm cement screed with
underfloor heating
polythene sheeting
40 mm creped glass-wool impact
sound/thermal insulation board
260 mm reinforced concrete
180 mm XPS thermal insulation board
10 5 mm gypsum plaster
10 mm roughcast plaster
200 mm brick
160 mm glass-wool thermal insulation
board with woven glass fabric facing
11 stainless-steel gutter in grit 6
12 planter
12
8
44 2015 ¥ 1 ∂

Education Centre in Vrchlabí

Architects:
Petr Hájek Architekti, Prague
Team:
Jaroslav Hulín, Cornelia Klien, Jan Kolář,
Andrea Kubná, Ondřej Lipenský,
Helena Línová, Martin Prokš, Martin Stoss,
Michal Volf
Structural engineer:
Jan Kolář, Prague
Others involved in the project: see page 105

www.detail.de

At first glance one would not guess that the
green roofscape – its silhouette inspired by
a mountain range – in Vrchlabí’s city park
encloses a two-storey research and educa-
tion centre. More than fifty years ago,
Krkonoše National Park was established in
the nearby Krkonoše Mountains (also known
as the Giant Mountains) along the border
between Poland and the Czech Republic.
With the realization of this building the na-
tional park has a well-appointed platform for
the research and discussion of environmen-
tal topics.
The aim of the design was to arrive at a hy-
brid – part building, part landscape – whose
polygonal roof form echoes the region’s hilly
terrain. With the aid of computer modelling
the architects developed a struc-ture that, in
turn, also acts as abstract model. The en-
trance to this new facility – which contains
an auditorium, laboratory, and library, as
well as exhibition and instruction spaces – is
right across from the existing administration
centre. The glazed facade in the west and
two cuts in the roof break open the other-
wise solid contour and direct sufficient day-
light into the spaces, most of which are dou-
ble height. The rough surface of the ex-
posed concrete ceilings give the interiors a
cave-like aura; the floor-to-ceiling veneer on
the walls and the bespoke furniture made of
pine provide a foil to the concrete.
∂ 2015 ¥ 1 Documentation 45

Site plan 6 Porter

scale 1:4000 7 Garage/Gallery
Sections 8 Bicycles
Layout plans 9 Classroom
scale 1:500 10 Laboratory
11 Exhibition
1 Foyer 12 Building
2 Library services
3 Terrace 13 Connecting
4 Auditorium tunnel to
aa bb 5 Interpreters’ administration
booths building

cc
b
a

c 2 c
8
1

6
7
3

4
5
b

Ground floor
a

13

10

11

4 12
5

Basement
46 Education Centre in Vrchlabí
1 2
3
4 5
6 5 7
Vertical section
scale 1:20
1 15 mm sedum vegetation mat
green roof substrate in
80 anti-slip system consisting of
bearers and sills
8 mm protection and storage mat
5 mm separating and
protection mat
sealant
220 mm thermal insulation
vapour barrier
260 mm reinforced concrete
2 gutter:
4 mm sheet steel
3 fire-resistant glazing in
post-and-rail facade:
8 mm toughened glass +
16 mm cavity +
22 mm laminated safety glass
2015 ¥ 1 ∂
4
with silk screen dot pattern,
translucent
4 grating above drainage
channel
5 grating above convector
6 20 mm veneer plywood
90 mm reinforced concrete
separating layer
40 mm impact sound
insulation
80 mm thermal insulation
150 mm reinforced concrete
500 mm gravel layer
7 acrylic glass above LED lamp
8 30 mm veneer plywood on
supporting structure
215 mm reinforced concrete
sealant
160 mm thermal insulation
75 mm lightweight concrete
block
∂ 2015 ¥ 1 Documentation 47
48 2015 ¥ 1 ∂

Forum for a Secondary School in Site plan 5 Seating corner

scale 1:3500 6 Threshold to
Adelsheim XбŨýĩğś ° ;yƑĩŵŨĻČyğś existing building
scale 1:500 Ţ ;ý¦œyœƑ
Architects: 8 Study hall
ij ;ĩƎÐœ ÐğŨœyğ±Ð 9 Upper entrance
Ecker Architekten, Heidelberg / Buchen 2 Cloakroom 10 Internet counter
Dea Ecker, Robert Piotrowski 3 Hall ijij ;ĩŵğéÐ
Team: 4 Multi-purpose room 12 Café
Joachim Schuhmacher, John Ruffolo,
Tom Jin, Sophie Hartmann, Peter Borek
Structural engineers:
WSP Deutschland, Munich
Rehle Ingenieure, Stuttgart
Others involved in the project: see page 105

www.detail.de

The underside of the reinforced concrete
roof – whose entire surface is visible – atop
the new structure, known as the Forum, at
this secondary school in Adelsheim is stud-
ded with circular coffers. The school addi-
tion takes the shape of a bright, two-storey
hall along the street; at its rear a gallery with
café and library links different levels of the
addition to the existing structures, which
date to the 1960s and 1970s.
The main load of the roof is borne by a row
of three central columns. From their bearing
surfaces, the square concrete deck spans
to a row of smaller columns at the juncture
to the older building, as well as to the posts
in the south facade, whose T-shaped sup-
port heads are incorporated in the ceiling
deck. Outwardly identical to the non-load-
bearing facade posts on the other two
sides, these tapered steel profiles have a
greater material thickness. The glazing and
solar protection are positioned just beyond
the plane of the edge of the roof and end
where the solar control encasement begins.
The solar protection housing – whose nor-
mal front and back are mounted inversely
here – also fulfils a role in the roof flashing.
Weight and deflection of the long-span ex-
posed-concrete deck are reduced by
means of four different types of coffers; as a
desirable side effect, they also significantly
improve the building’s acoustics. In the re-
spective middle zones of the two rectangu-
lar ceiling areas, circular skylights in two siz-
es, in part equipped with metal-halide
lamps, bring light into the inner zones of the
space. The regular pattern, in the form of
cycloid depressions, continues through the
structurally crucial zone near the columns
and the edge of the roof. The coffers were
created by mounting domed pieces of styro-
foam (prepared by means of milling) to the
formwork. Corresponding to the geometry,
two thirds of the reinforcement between
them runs diagonal to the edge of the roof.
The concrete’s marble-white tone is pro-
duced by iron cinder; following removal of
the formwork, a lazure was applied to even
∂ 2015 ¥ 1 Documentation 49

aa bb

out the slight surface irregularities associat-

ed with the formwork. The three tapering
main columns made of centrifugal concrete
are held in place by large pier foundations.
Drainage from the roof flows within their in-
12
ner cavities. The characteristic support
heads were originally intended to direct the 11
loads from the ceiling deck. Over the course
of the planning process, this role was as-
sumed by puncture-shear reinforcement in
9 10
the ceiling. The funnel-shaped, precast rein- 6
forced concrete units no longer play a role
in the structural system, but were retained
and, like classical capitals, articulate the
transition between two fundamental archi-
tectural elements: column and roof.

7 8

5
4
6

3
2

b
1
a
50 Forum for a Secondary School in Adelsheim 2015 ¥ 1 ∂

3
1

Section
scale 1:20

Reflected ceiling plan

scale 1:500

1 50 mm gravel
plastic sealing layer
separating layer
130 – 80 mm PS rigid foam
thermal insulation to falls
(for fire safety considerations:
mineral wool in edge zone near
existing building)
bituminous sheeting vapour barrier
450 mm reinforced concrete deck,
lazure coating
2 PMMA triple glazed rooflight dome
3 double-walled GRP curb, insulated
4 metal-halide lamp
5 solar control encasement at
roof’s edge
2 mm aluminium sheet, bent to shape
6 coping: 1 mm aluminium sheet,
bent to shape, anodised
7 double glazing, opaque
8 double glazing
9 1 mm aluminium sheet cladding,
anodised, bent to shape on
supporting structure/
ventilated cavity
160 mm mineral wool thermal insulation
360 mm reinforced concrete
10 sliding glass door in
aluminium frame

a Ø 1400 mm roof opening with

operable rooflight dome
b Ø 1000 mm roof opening
metal-halide lamp
c Ø 2000 mm cycloid coffer
d Ø 1500 mm cycloid coffer

a
b
c
d
∂ 2015 ¥ 1 Documentation 51

10
52 Forum for a Secondary School in Adelsheim 2015 ¥ 1 ∂

1 2 3

6 5

Vertical section
scale 1:20 8

1 50 mm gravel
plastic sealing layer
separating layer 9
130 − 80 mm PS rigid foam thermal
insulation to falls (for fire safety
considerations: mineral wool in
edge zone near existing building)
bituminous sheeting vapour barrier
450 mm reinforced concrete deck,
lazure coating
2 roof gully
3 puncture shear reinforcement,
steel double-headed anchor on
sheet-steel connecting strip
4 connecting plate support head
Ø 440/30 mm steel ring with
shear connectors
5 10 mm expanded polystyrene
separating layer
6 support head:
precast unit
7 grout
8 Ø 740 − 600 mm centrifugal
concrete column, fixed,
conical
9 Ø 80 mm double-walled downpipe,
sound insulated, stainless steel
10 floor construction:
20 mm terrazzo screed,
smoothened
200 mm reinforced concrete slab
with integrated thermally active
components
200 mm compacted gravel fill
reinforced concrete pier foundation

10

7
∂ 2015 ¥ 1 Documentation 53
54 Forum for a Secondary School in Adelsheim 2015 ¥ 1 ∂

Vertical sections
Horizontal section
scale 1:10

1 3

9 16 17
9

11 10 10

12 13 14 12 13

15

cc dd

1 2 mm solar control encasement at

roof’s edge, aluminium sheet, bent to shape
2 2 mm aluminium sheet coping, anodised,
bent to shape 10
3 350/350/5 mm sheet steel angle, bent to shape
4 100/50/3 mm sheet steel angle, bent to shape
5 40 mm mineral wool thermal insulation c c
6 stainless steel solar control microlouvers
7 guiderail for solar control, aluminium, polished
8 100/30/3 mm sheet steel angle,
bent to shape
9 T-shaped support head, steel, welded
10 column south facade:
280 –160/80/18 mm steel profile,
welded, conical 18
11 solar glazing: 8 mm float + 16 mm cavity +
6 mm float (coated opaque grey in 10
ceiling surface), in aluminium post-and-rail
construction, polished
12 4 mm sheet steel
13 column foot plate:
280/180/12 mm steel
14 10 mm mortar bed
15 1 mm aluminium sheet cladding,
anodised, bent to shape,
on supporting structure / ventilated cavity 11 7
160 mm mineral wool thermal insulation
360 mm reinforced concrete
16 8 mm rubber strip with slipfoil
17 stirrup reinforcement welded to end plate
18 column east/west facades:
280 –160/80/12 mm steel profile,
welded, conical
∂ 2015 ¥ 1 Documentation 55

Fondation Pathé in Paris

Architects:
Renzo Piano Building Workshop, Paris
Bernard Plattner, Thorsten Sahlmann
Team:
Giorgio Bianchi, Alexandre Pachiaudi,
Silvia Becchi, Till Kamp, Sophie Moreau,
Emanuel Ntourlias
Structural engineers:
VP+Green, Paris
Others involved in the project: see page 105

Die Fondation Jérôme Seydoux-Pathé holds

the archive of one of the film industry’s old-
est firms. The foundation’s headquarters
have been inserted as a new core in a trian-
gular block in Paris’s thirteenth arrondisse-
ment. The entrance facade, which is on the
historic preservation register, was restored
with great care. Behind it a glazed reception
space presents a view of a garden court-
yard and the organic forms of the main
building. Resting on just a few columns the
latter rises up above a glazed ground sto-
rey. It docks onto the neighbouring build-
ings via the stairway and the three snout-like
protrusions. Accordingly, the garden court-
yard and the neighbouring buildings are
supplied with plentiful fresh air and sunlight.
In addition to the archive rooms, the build-
ing contains exhibition space, a screening
room for silent movies with piano accompa-
niment, and, beneath the glass roof of the
two upper levels, the offices of the founda-
tion employees. The glass roof is made up
of three layers: arched glue-laminated-tim-
ber beams, the glazing, and perforated alu-
minium louvers as external solar control. The
cross section of the wood beams changes
in response to the span; hinged steel feet
transfer the forces to a circumferential steel
profile. The glazing is supported by curved
circular hollow sections that also serve to
stiffen the load-bearing structure. No two of
the double-glazed panes, which were dou-
ble-curved by means of hot-bending, have
the same form. The external solar protection
keeps the interiors from overheating. But
there’s another reason: if the panes were to
become too hot, the glass might break.
The curved, perforated aluminium louvers
are mounted on an aluminium supporting
structure.
The 70 cm distance between louvers and
glazing allows for cleaning and mainte-
nance. As a second skin, the louvers also
cloak the storeys below – which have a
massive exterior wall – and, in this manner,
give the building form its homogeneity. By
day the crest peeks out unobtrusively above
the urban fabric, and at night it casts a glow
that makes it visible from a great distance.
56 Fondation Pathé in Paris 2015 ¥ 1 ∂

3
a a
1 2
5
4

Ground floor
∂ 2015 ¥ 1 Documentation 57

Site plan
scale 1:5000

Layout plans
scale 1:500

1 Entrance 10 Mechanical
2 Reception services
3 Porter 11 Depot
4 Temporary 12 Workshop
exhibition 13 Archival
5 Garden cabinets,
courtyard movable
6 Storage 14 Work table
7 Projection room 15 Kitchen
8 Screening 16 Copying
room 17 Office
9 Permanent 18 Conference room
exhibition 19 Group office

13
14 19

10

Second floor Fifth floor

17
15 16
17
17
9 17
18
11
10
12

First floor Fourth floor

13
8 14
4 7

6 14
10
10

Basement Third floor

58 Fondation Pathé in Paris 2015 ¥ 1 ∂

Section scale 1:500

Sectional detail scale 1:20

On account of the unique shapes of the

glazed panels, the double-glazed units,
which are up to 3.2 ≈ 0.9 m in size, could A
not be tempered; therefore, the outer pane
is also of laminated safety glass.

aa

1 Ø 76/8 mm aluminium CHS
2 variable/10 mm aluminium profile
3 3/250 mm aluminium sheet, curved, perforation
(Ø 6 mm grid),
degree of transparency: 30, 40 or 50 %
4 EPDM sealant; 200 mm thermal insulation
vapour barrier; 230 mm reinforced concrete
5 Ø 30/4 mm steel CHS, galvanised
6 aluminium grating
7 double-curved double glazing:
outer pane: metallic solar-control coating,
inner pane: low-e coating
2≈ 6 mm laminated safety glass +
15 mm cavity + 2≈ 6 mm laminated safety glass
8 Ø 50/7 mm steel CHS, colour coated
9 steel distancer, automated weld, coated
10 100/180 – 280 mm glue laminated timber beam,
arched
11 30 mm oak parquet, glued
90 mm heating screed
30 mm impact sound insulation
150 mm reinforced concrete deck bonded to
corrugated metal
12 300 mm wide-flange I-beam

7 8

10

6
11

12

4
A
∂ 2015 ¥ 1 Documentation 59
60 Fondation Pathé in Paris 2015 ¥ 1 ∂

Sectional detail scale 1:50

Section scale 1:500

B
∂ 2015 ¥ 1 Documentation 61

1 EPDM sealant
200 mm thermal insulation
vapour barrier
200 mm reinforced concrete
465 mm air space B
20 mm composite wood board, oak veneer
2 Ø 273/8 mm steel CHS, circumferential
3 3/250 mm aluminium sheet, curved, perforated
Ø 76/8 mm aluminium CHS supporting structure
4 double-curved double glazing:
2≈ 6 mm laminated safety glass +
15 mm cavity + 2≈ 6 mm laminated safety glass
Ø 50/7 mm steel CHS load bearing structure
steel distancer:
100/180 – 280 mm glue laminated beam
5 Ø 30/4 mm steel CHS, galvanised
6 glazing element, motor operated
7 suspended luminaire

The exterior aluminium louvers have three levels of

transparency: 30, 40 and 50 %. A parametric 3D
model (Arnold Walz, designtoproduction) was
employed to rationally manufacture the more than
7000 louvers, each with a shape of its own; the
model determined each louver’s placement and ge-
ometry. bb
62 Fondation Pathé in Paris 2015 ¥ 1 ∂

Sectional detail
scale 1:20

1 2 3

1 3/250 mm aluminium sheet, curved,

perforated (Ø 6 mm grid),
degree of transparency: 30/40/50 %
2 double-curved double glazing, 4
outer pane: metallic solar control coating;
inner pane: low-e coating, 5
2≈ 6 mm laminated safety glass + 15 mm cavity +
2≈ 6 mm laminated safety glass
Ø 50/7 mm steel-tube supporting structure,
colour coated
steel distancer, coated
3 100/180 – 280 mm glue laminated beam, arched
4 gutter, walkable,
with aluminium grating 6
5 hinged connecting element, steel,
automated weld, coated
6 Ø 273/8 mm steel CHS,
circumferential
7 EPDM sealant
200 mm thermal insulation
vapour barrier 7
230 mm reinforced concrete
465 mm air space
20 mm wood composite board, 8
oak veneer
8 30 mm oak parquet, glued
90 mm heating screed
30 mm impact sound insulation
150 mm reinforced concrete deck
bonded to corrugated metal
9 suspended ceiling:
2≈ 12.5 mm plasterboard
10 295/10 mm aluminium profile
11 double glazing with low-iron glass:
2≈ 8 mm laminated safety glass +
14 mm cavity + 8 mm toughened glass
steel-profile system, coated

10

11
Technology
 64
Enveloped by Sails of Glass –
the Fondation Louis Vuitton in Paris
Matt King, Jaques Raynaud
Others involved in the project: see page 105
The Fondation Louis Vuitton, designed
by Frank O. Gehry, is a museum for con-
temporary art, located next to the Jardin
d’Acclimatation in the Bois de Boulogne. It
houses around 3500 m2 of exhibition space
in eleven galleries of varying size and vol-
ume, a 350-seat auditorium, a bookstore, a
restaurant, and administrative areas. Its
mission is to “enable a broad public to
enjoy a multitude of artistic creations, deep-
ening LVMH’s ongoing commitment to pro-
moting culture”. The building is organised
on three main levels; basement, ground
floor and first floor. Its principal interior gal-
leries are relatively simple, box-like volumes
constructed in concrete. Around these are
1 materials.
situated smaller-scale side galleries whose
forms are more playful and sculpted. These
spaces are connected by a circulation zone
that acts as a central element of the experi-
ence, offering multiple opportunities to
pause, with views out to the surrounding
woods. The journey through the museum is
completed by an external circulation route
leading to a series of terraces on three lev-
els, stepping up from east to west. The en-
tire building is wrapped in a series of glass
sails, or “verrieres”, which serve as a per-
meable enclosure for the terraces and exte-
rior circulation zones, defining their volumes
and sheltering users from the elements. The
resulting spaces are unique, while the na-
2015 ¥ 1 ∂
ture of the glazed surfaces themselves are
ethereal, blurring the sense of enclosure
and breaking down the distinction between
the building and the sky.
Verrieres
There are twelve verrieres – each one an in-
dependent structure – supporting a total of
around 13,400 m2 of glazing. They vary in
size from the largest, at over 3,000 m2 and
nearly 500 tonnes, to the smallest at 500 m2
and 60 tonnes, and range in orientation
from horizontal to vertical. They are a cen-
tral element in the external form and identity
of the building, taking their inspiration from
the sails of racing yachts. A photo of the
America’s Cup J class yacht Susanne
served as a focal image for the project
(ill. 4). The form of each verriere is part of a
global composition, developed by the ar-
chitect largely through the medium of scale
models. The project took shape through
multiple iterations, spanning a number of
years; studies progressed from simple
massing models to models of the whole
building at the scale 1:50, and eventually to
larger-scale detail models. While each verri-
ere is unique, ten of the twelve have a very
particular form, generated by two intersect-
ing, broadly developable surfaces. At the
head of the vertical verrieres the intersec-
tion is marked by a sharp fold that flattens
out, moving down the verriere, to a central
point. Beyond that the intersection changes
direction and approaches a perfect conti-
nuity or tangency between the two surfaces.
Each component of the system plays its
part in the composition of the verrieres.
Structure is laid out to enhance the percep-
tion of movement and tension in the surfac-
es, and create the sense of space and vol-
ume below. Surfaces are given a strong di-
rectionality by emphasizing the principal
tertiary support elements, or mullions, evok-
ing the seams of traditional sails. A distinct
hierarchy is maintained between systems
(glazing, tertiary supports, and principal
structure), with each one clearly identifiable
and differentiated in terms of its scale and
 ∂ 2015 ¥ 1
Technical challenges
The vertical verrieres are hung up to 20 me-
tres out from their supports on the building
and the largest horizontal verriere cantile-
vers 25 metres from the building. Given this
scale, one of the principal challenges of the
project was to evoke the lightness and ten-
sion of a sail. Furthermore, this structural
feat had to be accomplished while thread-
ing the supporting structure of each verriere
through the circulation and terrace spaces
to support points whose locations were se-
verely restricted by the capacity of the pri-
mary building structure. The goal was to
create a coherent family of structures, with
similar detailing and scale of components,
3
but the reality was that each verriere was
so unique in its support configuration that
its structural behaviour bore little or no
resemblance to that of its neighbours. A
second major challenge for the design of
the structures was the classification of the
building as a monumental structure with
a 100-year design life. This issue was par-
ticularly delicate for the timber elements of
the structure, whose durability depends
principally on their degree of exposure to
humidity.
The mix of timber and steel also generates
issues of differential movements, either un-
der thermal loads, where the steel expands
and contracts at more than 2.5 times the
Technology 65
1 Entrance on the south side
2 Section scale 1:1500
3 North elevation at dusk
rate of timber, or due to changes in the
moisture content of the timber. Timber has
a tendency to creep and slip at connections
under long-term loads, changing the
balance of forces in various elements of
the structure, while also displaying time-
dependent strength characteristics.
Creating structures of this scale and geo-
metrical complexity in timber posed multi-
ple challenges, particularly in the develop-
ment of structural connections. These
introduce a degree of fragility into the sys-
tem, due to their non-ductile failure charac-
teristics, that must be compensated by an
increased level of global robustness in the
structure. The building authorities also re-
 66 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris
quired that each verriere have an enhanced
performance under fire conditions, above
and beyond classic code criteria, such that
they are stable and remain in place under
any realistic fire scenario. Finally, the geom-
etry of the verrieres created complex wind
flows that had to be carefully assessed to
ensure that they did not provoke a resonant
dynamic response in the structures.
Constructive systems
The verrieres are comprised of four key
sub-systems, described below:
° %ČyƖÐÄ śĊýğ
The glazing panels are typically rectangu-
lar, hot-bent cylinders, roughly 3 m ≈ 1.5 m
5 by bracing its surfaces to form a rigid shell.
in size. They are supported, only on their
long sides, by an integrated stainless-steel
support stiffener.
° ]ÐœŨýyœƑ śƑśŨÐĘ
The panels are carried by a high-strength
Duplex stainless-steel grid. The principal el-
ements of this grid run in the direction of the
panels’ long sides and are typically fabri-
cated sections formed from an 80 mm di-
ameter tube and a 120 mm deep flat plate
stiffener. A simple 70 mm diameter tube
forms the grid in the other direction. The
system is completed by complex fabricated
tube and plate sections running along the
edges, and intersections of the two surfac-
es. These integrate a gutter and downpipe,
2015 ¥ 1 ∂
forming the principal drainage elements of
each surface.
° XбĩğÄyœƑ śŨœŵ±ŨŵœÐ
The main load bearing system of the verri-
eres is named the secondary structure (as
opposed to the primary structure of the
building). Timber is adopted for the princi-
pal elements, framing the external perimeter
of each verriere and typically tracing the in-
tersection of the two surfaces. Infill second-
ary beams in steel are configured to en-
hance the sense of movement and tension
in the sails. The system is completed by
lightweight bracing, made up of painted
steel tubes and stainless tension rods.
° ]œýĻĩÄś
The secondary structure is supported by a
series of struts and ties, called the tripods,
arranged individually or in groups of two or
three. Their configuration determines how
each verriere functions structurally, but the
location of each tripod also had to be care-
fully chosen to suit the use and sense of
space below each verriere.
Structural function
One of the key principles in developing the
structure was to follow as closely as possi-
ble the visual hierarchies in the architecture.
Thus the tertiary system supporting the glaz-
ing was isolated from secondary structure to
ensure that the structural demands imposed
on it were minimised. A significant jump in
scale between the two systems was main-
tained through this logic, enhancing the
sense of lightness of the glazing system in
keeping with the image of a lightweight sail.
The desired architectural image is of a bil-
lowing sail – a flexible tension form generat-
ed by lateral wind pressure. The glazed,
panelized skin of the verrieres is not partic-
ularly coherent with this image, as it re-
quires a relatively rigid support. This incon-
sistency is further exacerbated by the fact
that the principal load on the verrieres is in
reality gravity, which is around three to five
times greater than the lateral wind loads.
To mitigate this, the inherent rigidity of the
sculptural form of each verriere is exploited
∂ 2015 ¥ 1 Technology 67

4 Susanne, America’s Cup Yacht,

J Class (photograph 1911)
5 View from a roof terrace to
“La Defense”
6 3D model of the overall structure
7 Details of the wood secondary
structure of a verriere

This is achieved by the addition of light- static solutions were not typically feasible. complex structural interaction with the pri-
weight, high-capacity tension-rod bracing Moreover, the potential support points were mary structure. While this created its own
(of stainless steel) in the planes of the often ill-adapted to an isostatic solution on set of technical concerns that had to be re-
secondary structure. This bracing has the account of the numerous constraints im- solved, due to the increased robustness it
effect of increasing global stiffness by a posed on them by the building and primary provides, it did offer one significant advan-
factor of around 5 to 10. More importantly, structure. tage over an isostatic solution. This robust-
the approach radically reduces the bending The only process that facilitated developing ness gives a structure a capacity to absorb
demand on the principal structural ele- and testing solutions was a painstaking accidental damage without collapse, as it is
ments, which in turn has a significant im- case-by-case effort involving the entire de- able to develop alternative load paths to
pact on the size of these elements. In the sign team. Each verriere presented its own compensate for the loss of components.
case of the timber elements without this particular set of problems, and what worked Clearly this is a significant advantage in
bracing, the beams would have to be for one was rarely applicable to the next. terms of the security of the verrieres.
around three times deeper – not only archi- The resulting structures were typically hy-
tecturally unacceptable but quite simply perstatic, brought into play issues of inter- Glazing panels
outside the range of feasibility. nal stresses caused by differential tempera- Notwithstanding the evident architectural
But this approach brings with it a certain ture and moisture movements, and a more benefits of adopting curved glazing, it was
degree of complexity, particularly due to
the highly variable nature of the geometry
of each verriere. Stiffness depends on the
degree of curvature in the surfaces, and
each verriere has its own specific set of
characteristics. Not only does this create
differences between verrieres, but also sig-
nificant variation in stiffness over the area of
each one. The verrieres typically have a
very rigid zone at their heads, where the
fold geometry is most acute, and this de-
creases down towards their bases, where
curvature is gentler.
With the concept for the secondary struc-
ture fixed, the challenge posed was to find
a configuration of tripod supports adapted
to the particular characteristics of each ver-
riere. At the scale and stiffness of the verri-
eres there is a risk of a significant structural
interaction with the primary structure. This is
ideally avoided and at minimum must be
controlled.
Typically this is achieved for a rigid body by
developing an isostatic support solution –
one in which the number of supports is lim-
ited to the theoretical minimum required to
prevent the structure becoming a mecha-
nism. In such a case the system is unaffect-
ed by differential movements of its sup-
ports, and is free to expand or contract un-
der temperature loads without generating
internal stresses.
In practice the variable curvature and rigidi-
ty of each verriere meant that perfectly iso- 7
 68 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris
8 9
clear from the earliest stages of the project
that the fabrication of the panels would
pose a major challenge. The classic fabri-
cation technique of heating and softening
glass and then forming it onto steel moulds
is adapted to small-scale, repetitive geome-
tries, but would be prohibitively expensive if
applied to such a large surface area (in this
instance, in excess of 13,000 m2).
Furthermore, the technique results in an-
nealed glass, with a low characteristic
strength and a susceptibility to rupture pro-
voked by thermal shock under differential
solar loads. The search for a fabrication
process that could produce curved, high-
strength tempered glass was of fundamen-
10
8 Axonometry of the secondary structure of a sail
9 Section through connection of
glazing to the tertiary system, scale 1:5
a extruded aluminium cap
b glass-supporting stainless-steel profile
c laminated safety glass of low-iron glass
(toughened glass) 6 mm + 8 mm,
glued to stainless steel profile
d stainless steel fastening ring, spherically
formed, gliding in slit
e stainless-steel pin
f stainless-steel joint plate
g Ø 70 mm stainless steel CHS
h Ø 80 mm stainless steel CHS
10 Verriere with different
specific curvatures
11 Vertically oriented verriere
tal importance to the project in order to min-
imise the thickness of glass required. This
not only presents an economy of material,
but also increases the flexibility of the pan-
el, making it more tolerant to movements of
the structure. This, in turn, allows for a soft-
er structure, leading to further economies,
and, critically, to a reduction in the visual
bulk of its elements.
Theoretically this could have been achieved
by cold-bending tempered glass to the re-
quired form: by first fabricating flat panels
and then forcing them onto a curved sup-
porting frame on site. However, many of the
panels had a very tight curvature, which
would have generated excessive stress in
2015 ¥ 1 ∂
a
b c
e
f d
g
h
the glazing to take up the desired form,
leaving insufficient residual capacity for re-
sisting wind loads. The solution to this deli-
cate problem was found in the latest gener-
ation of industrial bending and tempering
ovens that can produce tempered-glass cy-
lindrical panels at a high standard (ill. 14).
At the core of this technology is a quench-
ing module whose complex mechanism is
able to bend hot glass to a chosen radius,
then rapidly blow cool air on its surface,
while rocking the panel back and forth to
ensure that the cooling of its surface is as
homogeneous as possible. It is computer-
controlled and thus makes it possible to
bend each panel to its own unique radius
without significant added cost. Furthermore,
each panel may be introduced into the ma-
chine at a specific angle, so that its axis of
curvature is not parallel to its sides.
The decision was taken to engage as early
as possible with a glass transformer, and
Sunglass of Italy was chosen on account of
its extensive experience with glass-bending
machines. This proved invaluable to the de-
velopment of the technology, as not only
was the team able to test solutions and fea-
sibility at an early stage, but Sunglass was
also able to upgrade its ovens to produce
larger panels.
While the machine opens up the possibility
for each panel to have a unique radius and
angle to its axis of curvature, it still has a
significant geometrical limitation in that it
can only produce cylindrical forms. But
none of the project’s panels are cylindrical:
this limitation was overcome by a geometri-
cal approximation in which the best-fitting
cylinder was found for each panel (ill. 12).
The approximation inevitably leads to theo-
retical steps between panels, whose magni-
tude depends not just on the geometry of
the panel itself, but also on that of its neigh-
bours. Thus, in order to control and mini-
mize steps it was necessary to find an ap-
propriate set of cylinders for the whole of
each surface. This was achieved using an
iterative computational technique that ran
until the steps in all panels were limited to a
visually acceptable tolerance.
 ∂ 2015 ¥ 1 Technology 69

11
 70 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris
12
This kind of cylindrical discretization provid-
ed very good results for the great majority
of the surfaces. However, for some extreme
cases – typically where the design surface
was doubly curved or strongly conical – the
steps between panels were significant and
constituted an important constraint for the
design of the glazing system. Along the
long edge of panels, where the joint was
covered by a decorative cap, the maximum
step was limited to 10 mm. In the other di-
rection, where the joint is a simple silicone
seal, the step was limited to 5 mm, which
was not visually perceptible. The nature
and composition of the panels was the sub-
ject of extensive trials and research, com-
13
pleted in close collaboration with Gehry
Partners and Studios Architecture, the pro-
ject architect of record. The architect was
searching for a subtle degree of translu-
cence to give a presence to the glazing
and ensure that it captured light and shad-
ows. Additionally, the glass had to provide
solar protection to people on the terraces.
Extra-white, low-iron glass was adopted in a
two-ply laminated build-up of 6 mm plus
8 mm to ensure that the panels would re-
main in place if accidentally broken. A white
frit with a 50 % coverage of 2 mm diameter
dots was incorporated, combined with a
24 % reflective coating, creating a panel
whose transparency changes radically in
2015 ¥ 1 ∂
12 Simulation model of bending radii of
the glazing
left: surface of a reference sail with colour-
coded designation of the minimal curvature
right: assignment of the glazing panels to the
corresponding cylindrical bending form (the
central cylinder edges are represented as
grey lines)
13 Installation of a glazing element
14, 15 Axonometry of glass-bending equipment
16 Producing the curved glulam trusses
different light conditions. In all, more than
3,600 panels, each one unique, were pro-
duced over a period of around one year to
cover all the surfaces of the twelve sails.
Tertiary system
The design of the glazing system is found-
ed on the principle that the panel supports
should be as close as possible to isostatic.
This not only ensures that each panel is iso-
lated from interaction with the supporting
structure, but also that the system adapts to
a wide range of geometrical conditions. The
technical implementation of this theoretical
principle was achieved by silicone-bonding
stainless steel stiffener plates to the long
sides of each glass panel, enabling it to be
supported on only 4 fixing points. These in-
corporate sliding spherical bearings, ensur-
ing that each only provides a restraint nor-
mal to the panel surface (ill. 9). The panel is
then held in its plane by 3 adjustable bear-
ing fixings. The relative sophistication and
complexity of the system represented a sig-
nificant investment on the part of the con-
tractor, ECM, given that the detail is repeat-
ed around 14,000 times. However, it more
than paid this back due to its universal ap-
plicability and the resulting ease of glass in-
stallation.
The principal element of the tertiary system
is a fabricated stainless steel profile com-
posed of an 80 mm tube and a 120 mm
deep plate stiffener. The laser-cut plate of-
fers geometric control of fabrication, while
the tube readily absorbed the variation in
twist between the various components. A
70 mm tube completes the structural grid in
the other direction. The verrieres required
about 12 km of these structural profiles. To
minimise their dimensions and ensure the
highest level of corrosion resistance and
durability they were fabricated in Duplex, a
high-strength stainless steel.
Timber secondary structure
The use of timber as a component of the
secondary structure was integrated into the
project relatively early both to introduce a
warm contrast to the steel and glass, and
 ∂ 2015 ¥ 1
14
because it was perfectly adapted to the
complex curved geometries of the verriere.
It was laid out to trace the principal lines of
each surface, requiring a total of around
800 m3 of timber. This introduced a series
of challenges into the project, primarily due
to its non-uniform material characteristics. It
has a marked directionality, being much
stronger in the direction of the grain than
perpendicular to it. It expands and con-
tracts with changes in its moisture content,
particularly in the direction perpendicular to
the grain. This can cause the timber to split
on drying, or, with curved profiles, to warp
or straighten. Its strength depends on the
duration of load, and it tends to creep and
16
15
slip at connections over time. Timber is nat-
urally highly durable, but can degrade over
time due to fungal attack, depending criti-
cally on its exposure to moisture. Although
exterior, the majority of the timber is pro-
tected from direct exposure to rain, placing
it in a Service Class 2 Environment, as de-
fined by Eurocode.
The architects wanted to use timber from
sustainable European sources, precluding
the use of tropical or exotic species, which
tend to have the best durability. Conse-
quently, it was decided to use larch, a res-
inous softwood well adapted to Service
Class 2 environments. Where parts of the
beams were exposed directly to rain, closer
Technology 71
to a Service Class 3 environment, local pro-
tection was provided by covering the area
with a stainless-steel cladding. In more ex-
treme cases, the timber was substituted
with steel. The timber also needed protec-
tion from termite attack, as well as a lazure
to protect the surface from UV degradation
and limit its permeability to moisture.
The structure’s scale necessitated glulam
technology. This offered numerous advan-
tages in fabrication: the specific curva-
ture required for each beam was readily
reproduced by bending the planks on com-
puter-controlled jigs during gluing. Beam
sections were typically 400 mm wide and
ranged in depth from 600 mm to 1200 mm.
72 Enveloped by Sails of Glass – the Fondation Louis Vuitton in Paris
17, 18 Axonometry of a joint of the glulam truss and
the steel connecting elements
19 Actual joint
20 Details of the verriere and its wood
secondary structure
21 Air space between verrieres and
the building massing
The majority of the elements are only
curved in one plane, but at the intersection
between surfaces, a more complex twisting,
doubly curved geometry is generated.
These sections are fabricated by producing
a curved planar beam, then cutting it into
25 mm thick slices and re-gluing these to-
gether on a jig with the required curvature
in the other axis. The section is then fin-
ished using a computer-controlled five-axis
milling machine. The glulam approach can
also generate higher-strength sections, as
each individual plank can be graded and
specifically chosen, creating a more uni-
form section less prone to natural defects in
the wood. Relatively high-strength GL28
17
18
2015 ¥ 1 ∂
Matt King is partner in the engineering firm T/E/S/S.
From the very first sketches, King was involved in the
technological development of the Fondation Louis
Vuitton; he prompted the team to develop the large
glass sails that envelop the building. In 2012 he re-
ceived the “Grand Prix National de l’Ingénierie”.
Jaques Raynaud is an architect and engineer and
was responsible for the geometry and technical con-
figuration of the glass sails. After accruing more than
20 years’ experience in the development of complex
structures and facades at the RFR Group, an engi-
neering firm, he established its Department of Struc-
tural Design, which develops optimised solutions for
extraordinary architecture.
19
timber was produced in this way, sourcing tion so that the pre-drilled holes for the pins
the planks from high-altitude forests in Aus- in the timber aligned perfectly with those in
tria, and only employing planks with a high the twin plates. Stainless steel was used in
density ranging from 500 to 700 kg/m3, and all of the pins and plates to ensure maxi-
an average density of 585 kg/m3. mum durability of the assembly. The theo-
To reduce the risk of fissuring and split- retical strength of the connections was then
ting of the timber over time the moisture justified by full-scale testing.
content of the timber was also carefully
controlled. Over a period of years the Both the construction system selected and
moisture content of external, sheltered the detailing and execution of the verrieres
timber in the Paris climate will settle down for the Fondation Louis Vuitton support the
to around 14 %. For the project, all of the architect’s intention to create a rich and
planks were pre-dried to a controlled varied experience combining contemporary
moisture content of 9 % to 14 %. This en- art display with a strong connection to
sures that the timber’s moisture content the surrounding woods and the Jardin
will tend to increase over its lifespan, reduc- d’Acclimatation.
ing the risk of fissuring due to drying.
The fabrication process adopted for the
double-curved beams also has the advan-
tage of introducing glue planes close to the
surface in both directions. This tends to
slow down changes in moisture content of
the section, making it less sensitive to cycli-
cal changes in the external environment,
both reducing the risk of fissuring, and limit-
ing crack depth to the outer layer of timber.
In the end, this form of double lamination
was adopted even for the planar curved el-
ements to enhance their durability and re-
sistance to fissuring.
In timber design the connections are typi-
cally the system’s most critical elements,
and this was certainly true of this project. 20
The nature of the structure meant that con-
nections had to be continuous, transferring
principal loads in the strong direction for
timber (axial and bending forces in the di-
rection of the grain). However, due to the
structure’s geometrical complexity, eccen-
tricities were inevitable, and these tended
to introduce additional secondary torsional
and bending forces. The classic connection
detail involves slotting a vertical steel plate
into the timber section and linking the two
with a grid of 16 mm diameter transversal
pins. This approach had to be adapted to
incorporate two plates in order to generate
the push-pull necessary to transfer the sec-
ondary torsion and bending forces. This
technique required high-precision fabrica- 21
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74
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Conservation considerations make slate top choice
Del Carmen roofing slates from SSQ have
recently been specified for a range of pro-
jects where heritage requirements were a
major factor. Linden Homes’ developments
at Kilmersdon Hill, Somerset and Hereford
Road, Abergavenny demanded the use of
sympathetic materials to meet these require-
ments. Aesthetic considerations were also
important and the blue/black slate with its
faintly rippled riven texture provides a rustic
look that works well with the houses and the
surrounding landscape.
Some 13,500 slates were installed using a
hook and spike fixing method on houses
and garages at Kilmersdon Hill (above, left),
and 60,000 at Hereford Road (below, cen-
tre) with a copper nail fixing. This traditional
slate doesn’t vary too much in thickness, so
less time is spent grading prior to installing,
and it offers a flat, uniform appearance.
The Del Carmen Ultra slate has been in-
stalled across the pitched roofs of two new
apartment buildings in Castle Lane, Swan-
sea, seen bottom, right. Said Julian Morgan
of Holder Mathias Architects, “SSQ proac-
tively supplied samples and photographs
from previous installations to help assist us
in discussions with the local planning au-
thority. Castle Lane is located within a con-
2015 ¥ 1 ∂
servation area immediately adjacent to
Swansea Castle, which is Grade I listed and
a Scheduled Ancient Monument. Whilst her-
itage acceptance was obviously very impor-
tant, we needed to be sure the chosen ma-
terials would not look out of place with the
surrounding architecture. SSQ’s Del Carmen
blends in beautifully with the look of the
landscape.”
Ultra slate is tested to NF228 standards in
France, which ensures that NF certified
slates will not rust or leach and will not fade
over time. Whilst this standard is not obliga-
tory in the UK, the certified slates offer
greater quality and provide a much better
level of traceability, says the company.
The roof of Hope House at the Royal High
School, Bath (top, right) also features Ultra
slates to minimise the visual impact of the
new building, particularly as it is close to a
listed Victorian building. Durability and cost
were other key factors on all these projects,
and the slates are said to be a cost-effective
choice and carry a 100-year guarantee.
¥ SSQ Group
United Kingdom
 +44 (0)20 8961 7725
www.ssqgroup.com
VISION IS A NEW EVENT
FOR DESIGNERS,
SPECIFIERS, CLIENTS,
AND SUPPLIERS.
Held annually, Vision is the place where
these communities will be able to
come together to discuss, debate and
showcase the latest innovations and
developments in architecture, design
and the built environment.
Vision is an event focusing on
innovative building products, materials
and technology. Vision will provide
ideas for new and inventive ways to
VISIONLONDON.COM
achieve better building design and
comply with changing legislation.
The event provides a unique
opportunity for suppliers to showcase
their innovative building solutions.
Through a series of lectures, live
debates and practical seminars,
alongside a carefully curated exhibition
of cutting edge products,
Vision will provide the meeting place
for professionals connected to the built
environment.
Learn more about exhibiting,
sponsoring, speaking and visiting
at www.visionlondon.com
or contact Michael Costain on
michael.costain@visionlondon.com
+44 (0)20 3633 2237
Watch the interview Scan
with Peter Murray this code
76 Roofs and Drainage
Panels provide required fall with minimal build-up
Meadowfields Extra Care Housing Scheme
in Thirsk, North Yorkshire has been built
through a partnership between North York-
shire County Council, Hambleton District
Council and Housing & Care 21. There are
52 apartments along with a number of com-
munity features such as a restaurant, hair-
dressers and a new public library. The roof
comprises pitched sections either side of a
flat roof, which sits above a central corridor.
Even with premium performance, rigid ther-
moset insulation there was insufficient space
in the central area to create the necessary
fall whilst maintaining a target U-value of
0.15 W/m²K. To resolve this, Kingspan’s
30 mm Optim-R Roofing System and Ther-
mataper TT47 LPC/FM were specified, to
give optimum thermal performance and the
required tapered fall with minimal build-up.
The roofing panels use vacuum insulation
technology to achieve an aged thermal con-
ductivity of 0.007 W/m²K, said to be far
lower than traditional insulation alternatives.
With LABC Registered System approval, the
system can help minimise the Building Con-
trol checks and approvals process when in-
stalled to company recommendations. Said
Jason Lynn of Langtry-Langton Architects,
“One of the main conditions of the project’s
grant funding was that the Housing Scheme
attained a BREEAM rating of ‘Very Good’.
Fabric performance was therefore a key
consideration and the Kingspan Optim-R
Roofing System helped us to achieve the re-
quired thermal performance without com-
promising the building design in any way.”
A further layer of Thermataper was installed
above the panels, providing a mitred 1:80
fall to the drainage outlets. Work on the pro-
ject has been overseen by Keepmoat with
the first phase about to open and additional
work set to be completed by the spring. The
apartments include a bathroom, lounge,
kitchen and bedroom and are offered with a
range of tenure types with 24-hour staff for
planned and emergency care.
Victoria Barclay, regional director for the
North East at Housing & Care 21, com-
mented, “We promote sociability, independ-
ent living and choice for older people and
always ensure that our apartments are de-
signed and built to the highest standard to
meet their needs.”
¥ Kingspan Insulation
United Kingdom
 +44 (0)1544 387384
www.optim-r.co.uk
2015 ¥ 1 ∂
Waterproofing roofs
Elastoflex Liquid Waterproofing System
(LWS) from Icopal is a reinforced cold-ap-
plied system, weather resistant within
30 minutes and designed primarily for use
within the commercial refurbishment and
new-build sectors, and for where more tradi-
tional methods of waterproofing prove diffi-
cult. Used on its own or in conjunction with
the company’s high-performing roofing
membranes, it benefits from ‘wet-on-wet’
application. This offers greater internal bond
strength between coating layers and, since
drying is not required, the primary water-
proofing elements can be applied in a sin-
gle process, saving application time.
The company states the effectiveness of its
Noxite product in converting nearly 90 % of
surrounding nitrogen oxides into harmless
nitrates has been validated by the British
Board of Agrément. The lightweight water-
proof roofing membrane has been proven to
reduce air pollution by purifying harmful
NOx particles in the air. The range is now
extended to include a dark grey finish, as
seen below.
¥ Icopal
United Kingdom
 +44 (0)161 865 4444
www.icopal.co.uk
 7KHWLPHRIXWRSLDVXUEDQYLVLRQVDQGIXWXULVWLFVFHQDULRVLVRYHU

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Strategic partners: Research partners:

78 Roofs and Drainage
Traditional values
Roofing from Welsh Slate features on three
showhomes designed by The Prince’s Foun-
dation for Building Community to demon-
strate the suitability and desirability of tradi-
tional house types for modern living. The
product was specified because it is suited
to the traditional type of slate used in Scot-
land. More than 1,000 m² of Celtic extra-
heavy grade Penrhyn Heather Blue slates
were used alongside vents and vent adap-
tors on the roofs of these showhomes.
All three houses are built according to The
Prince’s Foundation’s natural house model,
which avoids complex system eco technolo-
gies by combining traditional ways with new
techniques and passive technologies. Using
materials such as clay, wood, lime and
sheep’s wool it creates an efficient, sustain-
able shell that is warm in the winter and cool
in the summer.
They were exhibited at last year’s Ideal
Home Show in London and at the Scottish
Exhibition and Conference Centre in Glas-
gow, and are now permanently located on
the Dumfries House estate in East Ayrshire
where they will accommodate employees of
the Dumfries House Trust. The house and its
estate were saved for the nation by HRH
The Prince of Wales in 2007 when he led a
consortium of organisations and individuals
to stop it from being sold at auction.
Since then it has opened to the public with
widening access and facilities, creating one
of the region’s most unique visitor attrac-
tions, and a hub of educational activity for
many of the Prince’s charities.The slate,
which is guaranteed for a lifetime of 100
years plus, was also used to re-roof the sta-
bles and coach house, and for the roofs of
the laundry and newly built visitors’ centre.
¥ Welsh Slate
United Kingdom
 +44 (0)1248 600656
www.welshslate.com
Access all areas
Quantum aluminium roof access hatches
and walkways from M.R. Site Services have
been installed in railway stations across the
UK. A total of 42 bespoke access hatches
were specified for Edinburgh Waverley and
Haymarket stations, whilst 70 m of 600 mm-
wide aluminium walkway was supplied and
installed at Derby. London contracts include
110 m of walkway for Paddington, for main-
tenance access to the roof-mounted solar
PV system, and nine hatches with inner and
outer soakers for Thameslink.
Access hatches are specially designed and
developed for all types of flat roof, particu-
larly aluminium and steel standing seam
roofs. With standard soakers, weathering
can be achieved without additional flashing
and as the weight of the hatch is transferred
through the soaker to the building construc-
tion it does not interfere with the thermal
movement of the roof. The lightweight, low-
profile walkway provides access for mainte-
nance for any standing seam roof. T-sec-
tions, 90 ° and 45 ° corner sections permit
changes in direction.
¥ M.R. Site Services Ltd
United Kingdom
 +44 (0)1905 755055
www.mrsiteservices.co.uk
2015 ¥ 1 ∂
Seamless performance
Students at King’s College School in Wim-
bledon, south-west London are guaranteed
a dry start to the new term, following the
application of Kemperol liquid waterproofing
on the roof of the sixth-form centre. The roof
structure itself was in good condition, but
the ageing felt roof was beginning to break
up. If the roof had been fully stripped and
re-felted, then a considerable amount of air
handling equipment on the roof would have
had to be removed.
By choosing the Kemper System product,
the equipment could be raised to allow the
waterproofing system to be installed and
lowered once cured. Also, the numerous
skylights were more easily incorporated into
the seamless membrane with the liquid sys-
tem. Paul Brown from contractors Avant-
Garde Roofing pointed out a further benefit:
“It can be very difficult for some felt roofing
contractors to get insurance on these types
of roofs because of the fire risk associated
with the torches. Kemper System is cold ap-
plied, so there is no fire risk whatsoever.”
Kemperol completely saturates a non-woven
reinforcement fleece and cures to form a
seamless, monolithic membrane that is
tough, flexible and bonds permanently to
the substrate.
The client was also very happy with the final
result – King’s College head of maintenance
Jason Sprague commented, “Avant-Garde
and Kemper did such an excellent job that
we asked them to re-roof the cricket pavilion
balcony roof, which had started to leak.” It
would have been too expensive to replace
the asphalt balcony roof entirely, and so the
liquid system was specified, with rubber
matting on top for extra protection against
shoe studs.
¥ Kemper System
United Kingdom
 +44 (0)1925 445532
www.kempersystem.co.uk
 Edition

Flat Roof Construction Manual

2010. Klaus Sedlbauer, Eberhard Schunck,
Rainer Barthel, Hartwig Künzel.
208 pages with numerous
drawings and photos.
Format 23 × 29,7 cm.
Paperback: € 79.90 / £ 66.50 / US$ 106.–
+ postage/packing + VAT if applicable
∂ Construction Manuals

An indispensable aid for constructing flat roofs

The flat roof, beloved by architects and often plementation of such roofs is in practice not
described as ‘the fifth facade’, is designed always as simple as it sounds, this publication
mainly to protect the space beneath it from provides planners with the basic rules of con-
the weather. Integrating a flat roof, whether struction and an overview of the kinds of uses
as a green roof terrace, publicly-accessible and constructions and standards for flat roofs.
area or even as a profitable solar panel roof, In addition to the most important norms, rules
optimises the profits and benefits derived and standards, construction plans of the main
from the building. Because professional im- connection points round out this publication.

Example 11 Apartment Mound

10 1 1 10 2
Planning-related basics on the
3 construction, materials and building
physics of flat roofs
2 2

Detailed presentation of individual

Section perpend cular to slope
layers of construction and roof types
scale 1 20 6

1 145/22 mm ye low poui boarding

2 50/30/2 mm steel RHS galvanized
3 50/30/4 mm steel RHS galvanized
4 galvan zed gu ter
5 art ficial turf
100 mm c ushed sand levelling layer
f lter mat on drainage element
100 mm extruded polystyrene
bituminous sealing two layers
Flat roofs as accessible areas
60 100 mm foam glass insulation to falls
bituminous seal coat
220 mm reinf concrete underside pa nted
6 145/22 mm ye low poui boarding
10 mm fire res stant boa d
200 mm insulat on

7
200 mm reinforced concrete painted
22 mm yellow poui deck ng untreated
25/120 mm battens on counte battens
f re resistant seal
100 mm extruded polystyrene
10
Renovating flat roofs
bituminous sealing two layers 8
60 100 mm foam glass insulation to falls
220 mm reinforced concrete
8 30/50/4 mm steel RHS galvanized
on 900 mm centres 11
9
9 4 mm aluminium cladd ng

7
10
11
plast c planter
50/50/4 mm steel RHS galvanized
7
11
The most important details on
building flat roofs and connection
points as a basis for planning
178 179

Clear descriptions of construction

solutions showing built examples

www.detail.de/cm-flat
80 Roofs and Drainage
Setting a benchmark
ACO’s StormBrixx stormwater management
system has been awarded British Board of
Agrément (BBA) certification, which the
company states will provide reassurance to
industry that the product is ‘fit for purpose’
and a credible choice for surface water
infiltration and storage. Brickbonding and
crossbonding techniques are employed to
give the product its stability and strength for
fast construction and installation times. Such
strength is critical for the high static and dy-
namic loads the systems are subjected to
and ensures long-term, reliable and efficient
stormwater management.
Whilst geocellular systems are not yet re-
quired to meet a specific European or Brit-
ish standard, BBA certification does offer a
performance benchmark when looking for a
Sustainable Drainage Systems (SuDS) solu-
tion. The certificate was presented at Llan-
moor Homes’ Rogerstone site in Newport,
Monmouthshire, where the StormBrixx man
access system has been installed. The de-
velopment of 22 three and four-bedroomed
properties is one of the first installations of
this access solution, which addresses the
access and maintenance requirements of
the Flood and Water Management Act.
It is claimed to be one of the few systems
available that is designed and manufac-
tured in accordance with the CIRIA C680
guidance document issued by the Con-
struction Industry Research and Information
Association. This gives best practice for the
structural design of modular geocellular
drainage tanks. StormBrixx also addresses
fundamental issues of access and mainte-
nance required by the forthcoming National
Standards for SuDS, which the company
says cannot currently be met by most geo-
cellular drainage systems.
¥ ACO Technologies plc
United Kingdom
 +44 (0)1462 816666
www.aco.co.uk
Blue range cuts noise
Marley Plumbing and Drainage solutions
were chosen for the University of Northamp-
ton’s new student accommodation, which
consists of 462 en suite bedrooms and com-
munal kitchen and living areas. Said Bob
DeGennaro from mechanical contractors In-
tegral: “This project was constructed from
pods built off site, which were then lifted
and lowered into place. All pipes were then
connected in situ, before a wall was built up
around them. This created a compact work-
ing environment and therefore we needed
products that would be easy to handle in
constrained spaces.
“We chose Marley’s competitively priced
dBlue, HDPE and PVC soil and waste prod-
ucts for this project because of their durable
yet lightweight constructions, which ulti-
mately led to easier handling on site and,
going forward, the ability to withstand high
daily usage.” The products were particularly
suitable for this multi-occupancy project △
for example, the dBlue triple-layered acous-
tic pipe is designed to dramatically reduce
noise generated by the flow of water.
¥ Marley Plumbing and Drainage
United Kingdom
 +44 (0)1622 858888
www.marleyplumbinganddrainage.com
2015 ¥ 1 ∂
From the ground up
Plastic media company Hewitech UK has
announced that with ever-increasing num-
bers of stormwater projects it is taking con-
trol of the installation of its stormwater atten-
uation tanks in-house. Managing director
Dave Fozzard explained, “This is very much
part of our continuing growth plan for the
company. Installing our own products on
site means that we have better control over
quality and health and safety, and at the
same time we can be even more competi-
tive on complete project costs.”
Its Variobox product, used in making storm-
water attenuation tanks, has a compressive
strength of 700 kN/m² vertically and
200 kN/m² laterally, tested to RAL stand-
ards. To carry out installation work, Hewitech
has invested in both people and equipment:
state-of-the-art Demtech welders will be
used for welding the LLPE membranes
around the assembled modules before cov-
ering with 300 gm protective fleece. The
company also uses air testing equipment to
test the tanks for water tightness, and will
thereafter be able to warrant all installations.
Control boxes are also included in the Vari-
obox tanks by the installation team to ensure
ease of future access and maintenance.
Hewitech installs other Sustainable Drain-
age Systems (SuDS) applications such as
membranes under permeable pavements
and open-pond lagoons. Recent stormwater
management projects include those for
Brookfield Multiplex, Rydon, Carillion, Keir
and GB Building Solutions. With its expan-
sion into installation work, the company
says it is well placed to take advantage of
business under AMP6 from the utilities mar-
ket, in addition to servicing specifiers and
customers in the construction, retail, office,
defence, housing and school markets.
¥ Hewitech UK
United Kingdom
 +44 (0)1242 821678
www.hewitech.co.uk
∂ 2015 ¥ 1
Rainwater systems overcome challenge posed by curved roofline on new build
A self-build property in the east of Scotland,
shown above, has put Alutec’s Evolve
Deepflow range of aluminium rainwater sys-
tems to the test with its contemporary de-
sign and unusual roofline. Owned by David
Maxwell, managing director of George Mar-
tin Builders and designed by architect
Fraser Middleton of ARKTX, the 500 m2
house features a curved roofline and even a
section of guttering with a positive gradient
to accommodate the front entrance.
The design and location presented two main
challenges for the rainwater systems, the
first being the curved roof, which was over-
come by using a sequence of straight
600 mm segments and angles, and David
said this has gone beyond his expectations
in creating a beautifully seamless sweeping
curve. He went on: “The second challenge
was the strength and durability needed from
the guttering due to the heavy snowfall com-
monly experienced in the region, and I knew
that Alutec’s products, despite being excep-
tionally lightweight, were robust enough to
withstand the Scottish elements.
"Not only this, but for aesthetic reasons I
decided to hang chains from the guttering
instead of fitting downpipes; this meant the
guttering had to be extra-strong to cope
with both the weight of a deep snow cover-
ing and the hanging chains.” Made from
marine-grade aluminium, the guttering is de-
scribed as virtually maintenance free, and
the systems installed also have a flow per-
formance rating of 4.9 l/s to cope with the
heaviest of water run-off. Sustainability was
an important factor for David, as he com-
mented: “Building my own home, I was very
conscious that I didn’t want to compromise
on quality and that impact on the environ-
ment was kept to a minimum – with this in
mind Alutec fitted the brief perfectly.”
Deepflow guttering, together with the Evoke
fascia and soffit system, has also been used
as part of a major refurbishment of Hornsea
School & Language College in the East Rid-
ing of Yorkshire. Built in the 1950s it needed
extensive works to bring it up to modern
thermal efficiency standards, address build-
ing defects and improve its aesthetics. The
aim was to see the building through to the
end of its service life, and the project in-
cluded the replacement of rainwater and
eaves systems which are guaranteed to last
the 40-year estimated lifespan.
Because of the building’s limited life sustain-
ability was high on the agenda and the ma-
terials chosen needed to be easily recycled,
Roofs and Drainage 81
so aluminium was the ideal solution and was
used for the replacement windows as well
as the rainwater systems, to provide an eco-
friendly and complementary solution.
Paul Bentley, assistant principal building
surveyor at East Riding of Yorkshire Council
Infrastructure and Facilities, said that the
company and its products have been a key
component of the refurbishment at the
school: “Not only did Alutec help us at the
design stage of the project but its products
have created the modern, clean finish we
were hoping to achieve to bring the building
into the 21st century.”
The company has recently re-launched its
roof outlet range, which covers all applica-
tions from standard roof outlets to balcony,
car park and parapet systems and again is
made from marine-grade cast aluminium,
with a life expectancy of 50 years or more.
Integral grates prevent debris from entering
the outlets and, in addition, all of them can
benefit from its patented anti-vortex system,
which further increases the flow rate.
¥ Alutec
United Kingdom
 +44 (0)1234 359438
www.marleyalutec.co.uk
82
Interior Walls, Ceilings
and Acoustics
Decorative laminate
The Nuance range of waterproof laminate
wall panels from Bushboard offers an alter-
native to tiling, with large expanses of deco-
rative surfacing that can be used to create
wetrooms and level-access showering, as
well as for conventional shower enclosures
and around baths. This collection comprises
25 designs, which includes eight True Scale
effects that mirror the large-scale luxury
veining found in natural stone, granite and
marble. Shown here is the Silver Travertine
True Scale effect.
They are fitted without any extrusions, which
is claimed to be a unique benefit over other
panel types. The panels are 2,420 mm high,
and come in a range of widths offering
greater flexibility for design and installation,
and can be fitted from floor to ceiling. They
are bonded and sealed using the specially
developed BB Complete adhesive, which
validates the 15-year guarantee. The pat-
ented polyurethane core board is said to be
totally water-impervious. With no grout lines
to clean, the products combine high perfor-
mance with ease of installation.
¥ Bushboard
United Kingdom
 +44 (0)1933 232200
www.bushboard.co.uk
Focus on the linear option in acoustic ceilings
Ecophon’s Focus Lp, an acoustic ceiling
that is described as encapsulating the
beauty of linear design, is now available in
both standard and premium options, and
the system additionally features a new
Connect Wall spring and Connect Space
bar connector, to further sharpen its accu-
racy and stability. In its Standard option, the
product is available in various panel sizes;
most recently, a 300 mm panel has been
added to the range.
By utilising the additional options offered by
the Premium ceiling, designers can inte-
grate all technical ceiling components such
as lighting, ventilation, sprinklers and smoke
detectors. There is also the option to inte-
grate its own Line LED recessed luminaire
suitable for applications including open-plan
work spaces and walkways, lunch areas
and restrooms, and conference and meet-
ing rooms. In office environments reducing
sound propagation is often key and this sys-
tem is designed to help reduce sound levels
and shorten the distance speech travels;
with an Articulation Class (AC) value of 180
it is said to be ideal for open-plan offices.
Seen below, centre is the new Advantage
ceiling tile, which features an improved core
material using Ecophon’s 3RD technology
2015 ¥ 1 ∂
made from high-density glasswool combin-
ing more than 70 % recycled glass with a
plant-based binder. Advantage Generation
II also has an improved surface finish, bring-
ing a smoother, whiter look to the tile for an
enhanced aesthetic appearance and offer-
ing 83 % light reflectance.
Said to be highly durable and easy to cut,
the tile retains its Class A acoustic perfor-
mance, meeting the EN ISO 354 acoustic
classification. Available in two sizes, 600 ≈
600 mm and 1,200 ≈ 600 mm, it aims to pro-
vide effortless handling and straightforward
installation with easily demountable tiles, of-
fering a flexible product for suspended ceil-
ing applications.
The marketing manager, Will Jones, com-
mented: “The Ecophon Advantage ceiling
tile utilises the latest technology to achieve
best-in-class environmental performance,
and guarantees a combination of quality
and outstanding value for money regarding
acoustic performance, moisture resistance
and mechanical strength.”
¥ Saint-Gobain Ecophon
United Kingdom
 +44 (0)1256 850977
www.ecophon.com/uk
 Pri e 2014

The winners have been chosen!

343 projects from 41 different countries were submitted as entries for the DETAIL Prize 2014.

The DETAIL Prize jury, including Werner Frosch (Henning Larsen Architects), Dorte Mandrup-Poulsen
(Dorte Mandrup Arkitekter), Valerio Olgiati, Enrique Sobejano (Nieto Sobejano Arquitectos) und Gerhard
Wittfeld (kadawittfeldarchitektur) decided on the best project as the winner of the DETAIL Prize 2014.

Our readers voted for their favourites to choose the winner of the DETAIL Reader Prize 2014.

The DETAIL Prize Winners 2014:

DETAIL Prize: Danish Maritime Museum, Helsingør, Denmark
BIG - Bjarke Ingels Group
DETAIL Reader Prize: Kwel Kah Baung Migrant Learning Center, Mae Sot, Thailand
a.gor.a architects

The winners are being presented online at www.detail.de/detailprize

We would like to thank our readers for their generous support in selecting the winner of the DETAIL Reader Prize!

Institut für internationale Architektur-Dokumentation GmbH & Co. KG, Hackerbrücke 6, 80335 München, Germany

Premium partner: Main sponsor: Product-placement sponsor: Patron:

ARCHITEKTUR EINRICHTUNG
84 Interior Walls, Ceilings and Acoustics
Lined up for noise control in public areas
Armstrong Ceilings now offers a standard
range of metal and mineral baffles, previ-
ously available as bespoke solutions, which
provide a flexible approach to noise control
in public areas such as airports (an airport
cafe is seen above), schools, factories, hos-
pitals and office buildings. Suspended di-
rectly from the soffit via cables or grouped
using standard grid systems, they are said
to provide excellent sound absorption where
the soffit needs to be exposed to optimise
thermal mass, whilst their vertical linear aes-
thetic delivers a directional comparison to
continuous suspended ceilings.
The baffles are precision engineered with a
regular perforation pattern and a high-per-
formance glass wool insert for optimised
acoustics, providing an aw between 0.45
and 0.55 (H), depending on size and void
depth. Light reflectance is 65 %. With up to
30 % recycled content, they are washable,
scratch-resistant and resistant to fire (Euro-
class B-s1, d0) and humidity (90 %).
In white or a range of RAL colours, these
metal baffles are said to be equally suitable
as a plenum mask where continuous ser-
vices access is required, in a semi-exposed
environment such as a station platform, or
as an aesthetic ceiling solution for open-
space areas. The mineral Optima baffles
range, which comprises 80 % recycled con-
tent, is available off-the-shelf in standard
white (with up to 87 % light reflectance) or in
bespoke colours and sizes. These provide
between 1.00 and 1.45 sabines of sound
absorption as discrete absorbers, depend-
ing on size, spacing and void depth.
The company’s Axiom Classic canopies
have been specified for the auditorium of a
new community church in Amersham, Buck-
inghamshire, which is mechanically venti-
lated and acoustically attenuated to reduce
the noise impact on the surrounding hous-
ing. The 1.8 m square canopies and triangu-
lar ones half that size each comprise white
mineral Dune Supreme tiles within a 24 mm
Prelude exposed grid, with some of the
square canopies incorporating LED lighting.
The Axiom Classic canopies are an easily
relocatable modular system comprising an
aluminium grid with a choice of highly light-
reflective mineral, metal or soft fibre tiles
made from up to 82 % recycled content.
¥ Armstrong Ceilings
United Kingdom
 +44 (0)1895 251122
www.armstrong-ceilings.co.uk
2015 ¥ 1 ∂
Capital collection
Rekki in Reykjavik is a new collection by Ella
Doran featuring strong visuals and bold col-
ours inspired by a trip spent “soaking up the
raw energy and radiant colour palette of na-
ture in the South of Iceland around Vik”. She
added, “I was fascinated by the hills and
waterfalls of Skogafoss and loved the dis-
tinct texture of the architecture of Reykjavik.”
The collection captures the juxtaposition of
the eye-catching colours and corrugated
steel found on Icelandic houses.
The houses themselves feature on fabric
and household items, and the range in-
cludes the two wallpapers shown, which are
digitally printed on FSC high-grade paper
by an environmentally responsible produc-
tion-to-demand method. Wood Grain Blue is
available in a 10 m roll in a width of 52 cm,
whilst Corrugated Chic comes in a 5 m roll
in a width of 112 cm; the latter is described
as a literal interpretation of the rugged look
of the corrugated steel used on walls and
roofs in the region. Near the coast its patina
is extra-rich and colourful from the battering
of salty seaside air, said Ella.
¥ Ella Doran
United Kingdom
 +44 (0)20 7254 4744
www.elladoran.co.uk
 Edition
A travel guide to unique places and accommodation
throughout the Alps
Fascinated by the Alps, the authors spend
most of their free time in the mountains.
Always searching for new and special places,
ranging from stop-offs on a trip, through to
final destinations for a peaceful stay, they have
now compiled a wide variety of different kinds
of accommodation.
Buildings in the book range from houses that
have been owned by one family for genera-
tions and been shaped by its various charac-
ters, through to chalets renovated to the most
modern standards and solitary huts. The au-
thors have chosen projects built using materi-
als and sustainable construction methods in
01
WIESERGUT
Hinterglemm, Salzburger Land (AT)
Auf einem F ecken Erde n den Bergen,
Inhaber: Martina und Josef Kro l
Baujahr: Dezember 2012 auf dem se t 1350 e n Gutshof steht: Wiesern. Ein
Typ: Neubau Ort, an dem Werte bewahrt werden. Wo eine Fami-
Z mmeranzahl: 24 l e das Land bestellt. Und doch brechen wir immer
Architekten: Gogl & Partner Arch tekten w eder zu neuen Ufern au : Architektur so ur-
sprüng ich w e archa sch.
Lage: XXXX m ü N N Berg Dorf Und doch klar und reduziert. Räume aus L cht, Luft
W esern 48 A 5754 H nterg emm und Natur, die einem gut tun. Wo Verz cht ein Ge-
www wiesergut com w nn ist. Und tiefe E n- und weite Ausblicke mög ich
Cl ent: Mart na & Josef Kro l werden. Wo die Natur Akzente setzt: Unbehan-
Year of Construct on: December 2012 de te Hö zer und ze tloser Naturste n. Wetterge-
Typ: Neubau gerbtes Leder und kusche ige Naturstoffe. Nahe ei-
Rooms: 24
ner Verschmelzung von Innen und Außen. Wo
Architects: Gogl & Partner Architekten
bewusster Genuss aus der Reg on komm : Knusp-
Lage: XXXX m ü N N riges W esernbrot aus dem Holzbackofen. Von
Hand gemacht. Herzhaft und gesund.
Auf e nem F ecken Erde in den Bergen,
auf dem se t 1350 ein Gutshof steht: W esern. E n
Ort, an dem Werte bewahrt werden. Wo eine Fami-
lie das Land beste lt. Und doch brechen w r immer
w eder zu neuen Ufern auf: Arch tek ur so ur-
sprüngl ch wie archa sch.
Und doch k ar und reduz ert. Räume aus Licht, Luft
und Na ur, d e einem gut tun. Wo Verzicht ein Ge-
w nn st. Und tie e E n- und weite Ausb icke mögl ch
werden. Wo d e Natur Akzente setzt: Unbehan-
del e Hölzer und zeit oser Naturstein. Wetterge-
gerbtes Leder und kusche ige Naturstoffe. Nahe ei-
ner Verschmelzung von nnen und Außen. Wo
bewusster Genuss aus der Region kommt: Knusp-
riges W esernbrot aus dem Ho zbackofen. Von
Hand gemacht. Herzha t und gesund.
NEW
AlpenOrte / AlpineRetreats
NEW November 2014
Hannes Bäuerle, Claudia Miller.
192 pages with numerous
drawings and photos.
Format 25 × 23.5 cm.
Bilingual German/English.
ISBN 978-3-95553-181-2
Hardcover: € 49.– / £ 40.– / US $ 69.–
+ postage/packing
+ VAT, if applicable
keeping with the Alpine environment that also
represent successful spatial and atmospheric
concepts. But this book is not only about
architecture; the authors also tell stories of the
houses’ owners and the buildings’ develop-
ment and management over the years, as well
as tales of Alpine life and people.
Background information on construction and
tips on travelling in the Alps, general maps, a
range of different projects presented in brief
portraits, and a list of addresses make this
book an outstanding travel guide for readers
interested in architecture and for anyone who
loves the Alps.
LINKS
Aussenansicht des Gebäudes im Winter
Front View of the bu lding in win er
RECHTS
Innenraum des Restaurants
Restaurant
Exemplary architecture both in
and beyond tourist spots
Far far away, behind the word mountains, far from
the countr es Vokal a and Consonant a, there ive the
blind texts. Separated they ive n Bookmarksgrove
Essays on living, travelling and building
r ght at the coast of the Semant cs, a arge language
ocean. A sma l r ver named Duden flows by the r
place and suppl es it with the necessary ege ialia. It
s a paradisematic country, in which roasted parts of
sentences f y nto your mouth. Even the a l-powerful
(incl. conversion/renovation) in the Alps
Point ng has no control about the blind texts t is an
almost unorthograph c ife One day however a sma l
ine of blind text by the name of Lorem psum deci-
ded to eave or the far World of Grammar. The Big
Oxmox advised her not to do so, because there were
thousands of bad Commas, wi d Question Marks and
dev ous Sem ko i, but the Li tle B ind Text d dn’t is-
ten. She packed her seven versa ia, put her n tial into
Far far away, behind the word mountains, far from
the countr es Vokal a and Consonant a, there ive the
blind texts. Separated they ive n Bookmarksgrove
r ght at the coast of the Semant cs, a arge language
On the fascination of the Alps,
ocean. A sma l r ver named Duden flows by the r
place and suppl es it with the necessary ege ialia. It
s a paradisematic country, in which roasted parts of
sentences f y nto your mouth. Even the a l-powerful
Point ng has no control about the blind texts t is an
»family histories« and traditions
almost unorthograph c ife One day however a sma l
ine of blind text by the name of Lorem psum deci-
ded to eave or the far World of Grammar. The Big
Oxmox advised her not to do so, because there were
thousands of bad Commas, wi d Question Marks and
dev ous Sem ko i, but the Li tle B ind Text d dn’t is-
ten. She packed her seven versa ia, put her n tial into
www.detail.de/alpine
86 Interior Walls, Ceilings and Acoustics
Metallic mesh incorporates acoustic fleece layer
As sound-reflecting surfaces such as glass,
stone or concrete are increasingly used for
walls and floors so the ceiling is gaining in-
creasing importance in open-plan room de-
sign. Two years ago, GKD made a break-
through in large-scale ceiling design for ap-
plications with high visual and acoustic
demands with the launch of its CMP (com-
posite) mesh. The Silentmesh range of me-
tallic mesh acoustic ceilings combines opti-
cal and functional properties designed to
improve the internal environment.
The sandwich panel design of aluminium
honeycomb base plate with a laminated me-
tallic surface layer and acoustic fleece as an
intermediate layer is said to combine out-
standing stability with an attractive visual
appearance. The acoustic effectiveness has
been improved further through the latest de-
velopment: with a 25 mm-thick honeycomb
supporting plate – the original version had a
thickness of 12 mm – and the intermediate
acoustic fleece layer of the mesh achieves
sound absorption values of up to aw = 0.9
(NRC = 0.85) without any additional insula-
tion material, thus eliminating the need for
mineral wool insulation.
As well as offering acoustic comfort, the
overall structure is also fibre-free, and the
new CMP variant increases the cost-effec-
tiveness of assembly and adjustment work.
Rigid panels up to 4 m long and 1.25 m
wide enable the design of high-quality, grid-
free ceilings without sagging.
The large panels reduce the number of
joints and underline the monolithic two-di-
mensionality of the ceiling structure through
their butt joint design, whilst a surface layer
made of lightweight aluminium mesh makes
the composite system easy to handle. The
back-mounted perforated plate allows hid-
den mounting of the mesh to the clamping
profile using simple L-shaped brackets.
The mesh appearance and system design
are individually adapted to requirements,
thus allowing it to be used in a wide variety
of applications, and especially for refurbish-
ment, renovation and modernisation pro-
jects. The Silentmesh range comes in both
stainless steel and aluminium mesh, and the
ceiling systems allow lights and sprinklers to
be integrated easily, via the recesses incor-
porated during production.
¥ GKD Gebr. Kufferath AG
Germany
 +49 (0)2421 803-0
www.gkd.de
2015 ¥ 1 ∂
Seeing both sides
Glass artist Yorgos Papadopoulos created
these illuminated glass panels for the bath-
room of a prestige London property as a so-
lution to the lack of natural light in the bath-
room and they also add colour and interest
to a rather plain and neutral hallway. The
panels are lit on both sides, so this architec-
tural fitting offers two viewing experiences,
and the 1.8 m ≈ 70 cm nature-inspired pan-
els are the first thing to be seen upon enter-
ing the apartment.
“Whenever I use Yorgos’s work for my pro-
jects, it is always as part of the architectural
structure rather than just a decorative fea-
ture,” said property developer Martin Reiss
of Iverna Investments. “The artwork has to
blend in with the architecture. I trust him im-
plicitly to come up with a concept that will
solve whatever issue it is that I am con-
cerned about.” To create these feature pan-
els the pattern is first sandblasted on to the
glass, then it is smashed according to a
carefully sketched-out design, after which
specialist glass paint is applied to the
cracks and the surface.
¥ Yorgos Glass
United Kingdom
 +44 (0)20 8885 2029
www.yorgosglass.com
∂ 2015 ¥ 1
Moveable wall system
A partition wall in a domestic situation offers
a flexible alternative to open-plan living or
individual rooms, and partitioning experts
Style said it is experiencing a noticeable in-
crease in enquiries from interior designers
and house builders wanting to incorporate
such walls into larger residential properties.
Commented Style group managing director,
Julian Sargent, “With hi-tech moveable walls
now delivering impressive levels of acoustic
privacy, homeowners can successfully en-
joy aspirational open-plan living without los-
ing any of the benefits of individual rooms
whenever required.”
An example of how the design and installa-
tion of a modern moveable wall system can
transform living arrangements is shown here
as part of the refurbishment of a substantial
family home in Manchester. With a 44 dB
acoustic rating the Dorma Variflex was se-
lected as the best solution. Designed to be
effortless to open and close, the lightweight
panels can easily be moved into place, and
they are available in a vast array of finishes
to match any interior. An added advantage
is that they come separate to the frame, so
allowing damaged or scuffed panels to be
replaced at any time. If a complete redeco-
ration is desired in the future, all panel fin-
ishes can be updated at the lowest possible
cost, says the company.
Variflex also provides a wide choice of
stacking/parking arrangements. Said Andy
Gibson, Style director, north of England. “In
this house, the arrangement was relatively
straightforward but when you encounter
more complex room proportions, where
sloping ceilings or circular spaces have to
be accommodated, it’s a pleasure to work
with. This is a great example of how families
can create flexibility within their home.”
¥ Style
United Kingdom
 +44 (0)1202 874044
www.style-partitions.co.uk
Totally tropical
Newly launched is Amazilia, a collection of
wallcoverings and fabrics from Harlequin
based on extravagant motifs in vibrant col-
ours. Channelling the trend for bringing the
outdoors in, they encompass delicately de-
picted hummingbirds (the collection derives
its name from a species of hummingbird),
botanically drawn butterflies, fashionable
feathers, oversized leaves and flowers, seed
pods bursting into fruit and a loosely painted
artistic interpretation of vegetation.
Explained designer Louise Collis, “The initial
idea began with research into fashion and
interior trends; I noticed a pronounced tropi-
cal influence developing in fashion, with the
use of exotic imagery and opulent hues,
whilst in interiors there is a move to darker,
sultry tones and more maximalist prints –
large-scale tropical flowers, stylised foliage
and botanical references.” Louise undertook
research at Kew Gardens, studied tropical
birds and insects and also experimented
with various painting techniques. There are
eight wallpapers, complemented by printed
fabrics, weaves and a luxurious velvet.
¥ Harlequin
United Kingdom
 +44 (0)845 123 6815
www.harlequin.uk.com
Interior Walls, Ceilings and Acoustics 87
Stylish glass surfaces
Washrooms in a refurbished office tower in
the middle of the City of London have been
given a stylish and hygienic makeover with
the installation of Vitrio backpainted glass
walls and vanity units from Glassolutions.
This UK processor, distributor, installer and
repairer of glass and glass systems, which
is part of the Saint-Gobain Group, supplied
and fitted the white Vitrio backpainted glass
to washrooms on 10 floors of the 11-storey
building in Bishopsgate, built in 1991.
Kevin Finch, project supervisor at the com-
pany, said: “The building lies at the heart of
the City of London’s tower cluster, close to
the Gherkin and the Shard, so access was
restricted. The refurbishment was planned
in stages, which meant careful coordination
of surveying, ordering, deliveries and instal-
lations, but good communication and good
project management ensured a smooth and
efficient service.“
Vitrio coloured, backpainted glass is de-
signed to offer striking solutions for walls,
surfaces and borders. Manufactured to or-
der in the UK, it enables a high degree of
flexibility in any interiors scheme in terms of
application, colour, design, size and shape
in order to achieve a bespoke layout within
an environment that is safe, hygienic and
easy to maintain, says the company.
Matt Bidson at fit-out company Harrison
Jorge, who awarded the contract, com-
mented: “Vitrio is the perfect product for the
washrooms as it is easy to maintain, looks
modern and stylish and is hygienic. Glasso-
lutions provided the highest levels of service
from start to finish – from providing product
samples and specification know-how to the
efficient coordination of site deliveries,
which was spread over three months.”
¥ Glassolutions
United Kingdom
 +44 (0)2476 547400
www.glassolutions.co.uk
88
Wall and Floor Tiles
Porcelain stoneware tile ranges create a wide variety of sophisticated effects
Ceramiche Supergres produces floor and
wall tiles for the medium-high residential
and retail markets, which divide into porce-
lain stoneware tiles for indoor and outdoor
installation and white body wall tiles for
bathrooms and kitchens. Seen here are sev-
eral examples from the Gotha and Norlith
porcelain stoneware ranges.
As part of the Concorde Group, the second
largest Italian ceramics manufacturer, the
company says it is well placed to take ad-
vantage of the results of cutting-edge re-
search and to use large investments to be
able to produce successful products with in-
novative solutions as regards technology
and design. The tile ranges are said to com-
prise a comprehensive selection of styles
and sizes for creating distinctive living
spaces, from the glamorous to the classic,
romantic to refined and modern to elegant,
with a varied palette of colours and a wide
choice of finishes and details.
Gotha, top and below, left is described as a
merger between the technology of porcelain
stoneware, the refinement of marble and the
natural look of stone. Every single piece is
different and unique and the resulting sur-
face is perfectly poised and well balanced,
says the manufacturer. Gotha is available in
Diamond, Quartz, Platinum, Bronze and
Gold in two surface finishes: a natural finish
in 60 ≈ 60 cm, 30 ≈ 60 cm, 30 ≈ 30 cm and
9.5 ≈ 30 cm, offering a natural appeal with
stone look for both floors and walls; and the
Lux surface, which with a ‘mirror-like’ honed
finish makes the collection delicate and
elegant. This comes in 59 ≈ 59 cm, 29.5 ≈
59 cm and 19.5 ≈ 59 cm.
Besides this broad range of sizes, it offers,
in the Lux version, various decors, insets,
pencil tiles, rose tiles and mosaics that allow
for a variety of solutions on floors and walls.
The series will soon be Ecolabel certified
and the Bronze colour contains recycled
material contributing to the allocation of
LEED MR4 credits.
Norlith is characterised by four colours in-
spired by different quartzites: Iceberg re-
flects a white quartzite from the Bosphorus;
Dune (below, right) reproduces the look of
the stone found in the mountains of Pied-
mont; Volcano is a black Indian quartzite en-
hanced by the processing done in Italy; and
finally there is River, resembling a grey
stone of Norwegian origin.
Every image to be reproduced has been
carefully chosen to obtain a natural floor,
2015 ¥ 1 ∂
where graphics and contrasts are handled
to achieve a balanced solution that is easy
to use in interior schemes. Each of the col-
ours is available in a natural surface in five
sizes, for residential as well as commercial
applications. Additionally, there are two
sizes in a textured, anti-slip version, for out-
door installations; this also means a scheme
can be carried through in continuity from the
interior to the exterior.
Mosaics and three-dimensional effects are
available to match all the colours of the se-
ries: below, centre is a fire surround in 3D
Iceberg, teamed with River flooring. Norlith
also comes in the 60 ≈ 60 cm, rectified T20
version that is 20 mm thick and can be laid
directly on gravel and grass or used for
raised installation, as with natural stone.
Unlike stone, however, these porcelain tiles
are non-absorbent, resistant to chemicals
and salt, and are said to be easy to clean
and easier to install, being rectified and hav-
ing no difference in thickness between the
individual pieces.
¥ Ceramiche Supergres
Italy
 +39 (0)522 99 7411
www.supergres.com
 Edition

NEW

best of DETAIL:
Single family homes
NEW February 2015
Christian Schittich (Ed.).
200 pages, with numerous
drawings and photos.
Format 21 × 29.7 cm.
Bilingual German /Englisch.
ISBN 978-3-95553-235-2
Paperback: € 49.– / £ 40.– / US$ 69.–
+ postage/packing
+ VAT, if applicable
best of ∂ series

Architectural highlights from DETAIL

Despite a growing trend towards sharing,
and an increasing number of single family
households combined with a growing need
for flexibility, the individual single family home
remains an extremely popular choice. In ad-
dition to following building guidelines, private
single family homes are also expected to ful-
fil high standards when it comes to energy,
and often cost efficiency. Nevertheless, they
continue to provide considerable scope for
architects and designers.
“Best of DETAIL: Single family homes” brings
together a collection of relevant highlights
from DETAIL.
The publication is made up of theoretical
articles and a comprehensive section con-
taining examples of projects which provide
unique insights into the various applications
of wood, concrete or masonry in a range of
passive houses, bungalows, double- and
semi-detached houses, and villas with swim-
ming pools, from the simple to the luxurious.
What these projects have in common is
an ambitious aesthetic quality, which can
be summed up as good architecture,
providing readers with a great deal of in-
spiration and constructive solutions for their
own practice.

Planning guide and source

of inspiration
6 2 6

1 Wel blech Aluminium 18/76 mm

Lattung 60/60 mm
Konterla tung 80/60 mm
D ch ungsbahn UV beständig
Small residential dwellings –
1 Sparren 220/100 bzw 200/100 mm

2
dazw schen Wärmedämmung
Minera wol e 200 mm
Damp bremse OSB P at e 22 mm
Gipskartonp atte gespachtelt 12 5 mm
Wel blech Aluminium
in the city and the country
gelocht 18/76 mm auf Rahmen
Stah rohr verz nkt ¡ 40/60 mm
3 Holzdie e K efer geölt 32 mm
Damp sperre Holzba ken 180/80 mm
dazw schen Wärmedämmung
Minera wol e 180 mm

4
D ch ungsbahn Lattung 20 mm
Holzscha ung Douglasie sägerau 24 mm
Gussaspha testrich zwe lagig 55 mm
mit Fußbodenhe zung
Wärmedämmplatte h tzebeständig 30 mm
Single family homes reinterpreted
Wärmedämmung Har schaum 140 mm
Ausgle chsschüttung 0 10 mm
2 Abdichtung
Bodenplatte Stahlbeton (Bestand)
5 Sperrholzplatte schwarz gebe zt 40 mm
6 Wel blech 18/76 mm Lattung 50/30 mm
Konterla tung 80/60 mm Dichtungsbahn
Wärmedämmung Minera wolle 140 mm
Ausgle chsputz ca 25 mm
Mauerwerk (Bestand) 300 mm Putz 15 mm
7 Stülpscha ung Lärche 24 mm
5 Lattung 50/30 mm

1 18/76 mm corrugated a uminium sheet

60/60 mm battens
80/60 mm counterba tens
3 1 seal ng layer UV resistant
200 mm mineral wool he mal nsu at on
between
220/100 mm or 200/100 mm rafters
vapour re arder 22 mm OSB board
12 5 mm plasterboard smoothened
2 18/76 mm corrugated a uminium sheet
perfora ed on frame
40/60 mm steel RHS ga van sed
3 32 mm pine planks o led
vapour barrier 180 mm mineral wool he mal
nsu at on between 180/80 mm wood beams
seal ng layer 20 mm ba tens
24 mm Douglas fir board ng rough sawn
4 55 mm asphalt screed two ayers
w th underf oor heat ng
30 mm insula ion board heat resistant
140 mm r gid foam thermal insula ion
4 Horizontalschni t 0 10 mm eve l ng fi ler
Süd assade seal ground slab (ex st ng)
Vert kalschnitt 5 40 mm plywood stained black
Mi te trakt 6 18/76 mm corrugated sheet
Maßstab 1 20 50/30 mm battens
80/60 mm counterba tens sea ing ayer
Horizontal section 140 mm mineral wool he mal nsu at on
South acade ca 25 mm leve ling ender
Ver ical sect on 300 mm ex st ng masonry 15 mm plaster
M dd e structure 7 24 mm bevel siding arch
sca e 1 20 50/30 mm battens

2 3

www.detail.de/familyhomes
90 Wall and Floor Tiles
Natural good looks
Naxos and Century are two of the compa-
nies that make up the Fincibec Group of tile
manufacturers. Between them they provide
a wide choice of styles to meet contempo-
rary decorative needs. Above is Stoneway
by Naxos, fine porcelain stoneware which
offers a mix of differing tones, shades and
materials that can be used to create individ-
ual floors and walls for residential use. Sizes
range from 30 ≈ 60 cm to 50 ≈ 100 cm and
there is also a mosaic version and matching
skirting. Colours are Silver Moon, Light
Stone and Multiway.
Columbia by Century is a new stoneware
collection with a wood effect that repro-
duces the warm appearance of old wooden
floors, for use in residential and commercial
settings. The appeal of wooden floorings is
often closely connected with the past, and
the company says this range is the result
of meticulous aesthetic research carried out
on reclaimed materials. Two sizes, 16.2 ≈
100 cm and 20 ≈ 120 cm, with a natural sur-
face and a rectified edge, come in Alberta,
Alaska, Calgary and Vancouver.
¥ Fincibec S.p.a.
Italy
 +39 (0)536 861 300
www.fincibec.it
Inlaid designs stand out
The Opus collection from Lithos Design is
described as a modern-day expression of
industrial stone design applied to the art of
inlay work. There are 25 types of marble,
five patterns and more than 10 colour
ranges from soft to bright, all suitable for
use on both walls and floors.
This is a sequence of 60 ≈ 60 cm modules
with patterns that can be extended, de-
pending on the design requirements, in the
two dimensions in the form of serial se-
quences that display continuous and non-
continuous geometric shapes, scattered
graphical compositions and tartan patterns,
for example. They have been created using
techniques which, although produced on an
industrial scale, obey the traditional rules of
inlay, in the same way as artists have done
for centuries, states the company.
It says it has switched the production focus
for the collection from a sculptural approach
to one which is more pictorial and, in addi-
tion to the search for three-dimensional re-
sults there is now a desire to design with
colours, with shadows and chiaroscuro ef-
fects, with an emphasis on the hues and
shapes of natural stone.
Each module is said to be easy to fit, deliv-
ered in a completely finished form, and to
offer the same artistic appeal as for a tradi-
tional work of inlay, but with the following
benefits: the ability to choose between dif-
ferent patterns whose graphical and chro-
matic format is pre-defined because it has
been subject to careful prior assessment by
people with a thorough understanding of the
material; the freedom to be able to apply the
design to horizontal or vertical surfaces of
any dimension; and what are claimed to be
‘exceptionally short’ fit-out times.
¥ Lithos Design
Italy
 +39 (0)444 687 301
www.lithosdesign.com
2015 ¥ 1 ∂
Neutral palette
The heavily marked vein pattern of Sequoie
tiles from Ceramiche Coem is a flexible tool
for use in interior design, enhanced by the
variety of available sizes, finishes and col-
ours: White Sherman (above), Grey Grant,
Dark Stagg and Black Boole come in sizes
60 ≈ 120 cm, 20 ≈ 120 cm, 45 ≈ 90 cm,
15 ≈ 90 cm, 60 ≈ 60 cm and 30 ≈ 60 cm,
and all are available in the natural/rectified
and lapped/rectified finishes.
Area50 project tiles are aimed at designers
who like to use neutral tones for interiors,
but with an extra sophisticated touch: “We
believe it is possible to blend the neutral
tone-on-tone colour and obtain visual effects
by fading whites and greys which are slight
yet highly intense at the same time.” De-
signed by architect Luigi Romanelli, the vari-
ation and mixture of tones increases the
number of possible combinations to com-
plement furnishing elements. The 60 ≈
60 cm tiles come in 50White and 50Grey
with an unpolished/rectified finish or with an
original Texture decoration, seen below.
Skirting tiles are also available.
¥ Ceramiche Coem
Italy
 +39 (0)536 993 511
www.coem.it
 Edition
New Paths for Architects
In past years, architects have been confron-
ted with a changed market, changed sets
of tasks and also new requirements. Which
strategies can they adopt to get commis-
sions or spark interest in their projects? With
selected examples, the author analyses the
processes of individual architects since the
1950s. Beginning with the commencement
of marketing in the North American post-
war era he proceeds to then cast his view to
contemporary times.
01
WIESERGUT
Hinterglemm, Salzburger Land (AT)
Auf e nem Flecken Erde in den Bergen,
Inhaber: Mart na und Josef Kroll
Baujahr: Dezember 2012 auf dem seit 1350 ein Gutshof steht: W esern. E n
Typ: Neubau Ort, an dem Werte bewahrt werden. Wo e ne Fami-
Zimmeranzahl: 24 ie das Land beste lt. Und doch brechen w r immer
Arch tekten: Gogl & Partner Architekten wieder zu neuen Ufern auf: A ch tektur so ur-
sprüngl ch wie archaisch.
Lage: XXXX m ü N N Berg Dorf Und doch k ar und reduz ert. Räume aus Licht, Luft
Wiesern 48 A 5754 Hinterglemm und Natur, d e e nem gut tun. Wo Verzicht e n Ge-
www wiesergut com winn st. Und tie e Ein- und we te Ausb icke mögl ch
Client: Martina & Josef Kroll werden. Wo d e Natur Akzente setzt: Unbehan-
Year of Construction: December 2012 delte Hölzer und zeit oser Naturstein. Wetterge-
Typ: Neubau gerbtes Leder und kuschel ge Naturstoffe. Nahe ei-
Rooms: 24
ner Verschme zung von nnen und Außen. Wo
Arch tects: Gogl & Partner Architekten
bewusster Genuss aus der Region kommt: Knusp-
Lage: XXXX m ü N N r ges Wiesernbrot aus dem Ho zbackofen. Von
Hand gemacht. Herzhaft und gesund.
Auf einem Flecken Erde in den Bergen,
auf dem seit 1350 ein Gutshof steht: Wiesern. Ein
Ort, an dem Werte bewahrt werden. Wo e ne Fami-
ie das Land bestel t. Und doch brechen wir mmer
wieder zu neuen U ern auf: Architektur so ur-
sprünglich wie archaisch.
Und doch klar und reduziert. Räume aus Licht, Lu t
und Natur, die e nem gut tun. Wo Verzicht e n Ge-
winn ist. Und t efe Ein- und we te Ausbl cke möglich
werden. Wo die Natur Akzente setz : Unbehan-
delte Hölzer und ze tloser Na urstein. Wetterge-
gerbtes Leder und kuschel ge Natursto fe. Nahe ei-
ner Verschme zung von Innen und Außen. Wo
bewuss er Genuss aus der Region kommt: Knusp-
r ges Wiesernbrot aus dem Holzbackofen. Von
Hand gemacht. Herzhaft und gesund.
NEW
Function Follows Strategy
NEW December 2014
Eduard Sancho Pou.
200 pages with numerous
drawings and photos.
Format 19 × 23.5 cm.
ISBN 978-3-95553-196-6
Hardcover: € 39.– / £ 32.– / US $ 55.–
+ postage/packing
+ VAT, if applicable
Transformations in society and politics,
the changed requirements of clients, and
also the crisis in the economy and financial
circles all influence the professional exis-
tence of architects. While pure construction
itself was the focus in previous times, today‘s
architects must adopt a wide variety of roles
in relation to clients – ranging from consultant
to mediator and brand designer. The book
is intended to inspire architects to consider
new options and unusual paths.
L NKS
Aussenansicht des Gebäudes im Winter
F ont View of the bu lding in winter
RECHTS
Innenraum des Restaurants
Res aurant
Exemplary architecture both in
and beyond tourist spots
Far far away, beh nd the word mountains, far rom
the countries Vokalia and Consonantia, there l ve the
b ind texts. Separated they l ve in Bookmarksgrove
Essays on living, travelling and building
right at the coast of the Semantics, a large anguage
ocean. A small river named Duden flows by their
p ace and supplies t w th the necessary regel a ia. t
is a parad semat c country, n wh ch roasted parts of
sentences fly into your mouth. Even the all-powerful
(incl. conversion/renovation) in the Alps
Po nting has no cont ol about the b ind texts it is an
a most unorthographic l fe One day however a small
l ne of b ind text by the name of Lorem Ipsum deci-
ded to leave for the far Wor d of Grammar. The Big
Oxmox adv sed her not to do so, because there were
thousands of bad Commas, w ld Ques ion Marks and
devious Semikoli, but the Litt e Bl nd Text didn’t l s-
ten. She packed her seven versal a, put her init al into
Far far away, beh nd the word mountains, far rom
the countries Vokalia and Consonantia, there l ve the
b ind texts. Separated they l ve in Bookmarksgrove
right at the coast of the Semantics, a large anguage
On the fascination of the Alps,
ocean. A small river named Duden flows by their
p ace and supplies t w th the necessary regel a ia. t
is a parad semat c country, n wh ch roasted parts of
sentences fly into your mouth. Even the all-powerful
Po nting has no cont ol about the b ind texts it is an
»family histories« and traditions
a most unorthographic l fe One day however a small
l ne of b ind text by the name of Lorem Ipsum deci-
ded to leave for the far Wor d of Grammar. The Big
Oxmox adv sed her not to do so, because there were
thousands of bad Commas, w ld Ques ion Marks and
devious Semikoli, but the Litt e Bl nd Text didn’t l s-
ten. She packed her seven versal a, put her init al into
www.detail.de/strategy
92 Wall and Floor Tiles 2015 ¥ 1 ∂

Bold colours give definition to the bathroom Monochrome mosaic

Imperfetto from Marazzi is a striking new
range of high-performance wall tiles with a
good depth of colour and a wide choice of
appealing finishes. The company says it
drew its inspiration and colour palette from
those used on old tableware. A versatile col-
lection both in terms of these colours and
the accompanying decor tiles, it is said to
be ideal as a wallcovering for residential
bathrooms and kitchens, as well as for bath-
room facilities in restaurants, offices, hotels
and wellness centres/spas.
The white-body, single-fired porcelain tiles
with a semi-matt surface are 6 mm thick and
are available in plains, stripes, florals and a
textured finish. The solid colour comes in
White, Pearl, Royal Blue (above), Pottery
(above, right), Clay and Bone. These are
32.5 ≈ 97.7 cm rectified tiles, as are all the
decorative elements, comprising: Decor
Structure in White, Pearl, Pottery and Bone;
the lace-effect Decor Brocade, in White and
Clay; Decor Stripes in White, Pearl, Pottery
and Bone; and Decor Floral, which is Royal
Blue on a Pearl or Clay ground. Additionally,
there is a mesh-mounted mosaic tile in a
size of 32.5 ≈ 32.5 cm and this is available
in all the colours.
Special trims comprise a riser tile of 32.5 ≈
15 cm and a chair rail tile, which is 32.5 ≈
5 cm. The company is a member of the
Green Building Council Italia and the tiles
have LEED credits as an environmentally
sustainable product made using a closed-
cycle production process. The collection is
said to team well with its Treverk range of
porcelain stoneware floor tiles.
¥ Marazzi
Italy
 +39 (0)59 384111
www.marazzi.it/en
Atelier is a range of distinctive black, white
and grey mosaic tiles from L’Antic Colonial,
part of the Porcelanosa Group. The mosaics
are hand-cut and assembled glass tiles, cut
into geometric shapes such as squares, cir-
cles, ellipses and stars then formed into in-
tricate designs, and laid on mesh for ease of
installation. They are suitable for a range of
applications including indoor floors (light
traffic) and walls, shower and outdoor walls,
swimming pools/spas and worktops, and
the company says whatever the space to be
clad the mosaic composition can be ad-
justed to offer optimal functionality: there are
no maximum or minimum measurements.
Ranging from the light and elegant white
mosaics through shades of grey and on to
the impactful, modern black tiles, this con-
temporary collection is made up of a range
of patterns with names such as Organic,
Noveau, Glamour, Code and Gradient. Two
of the black mosaics are shown here: above
is Floral and below is Intuition, the latter also
having jewelled-coloured glass shapes in-
cluded within the design.

¥ Porcelanosa
United Kingdom
∂ Subscription information
 +44 (0)8444 818952
www.porcelanosa.co.uk

The subscription prices from 01 January 2015 will be:

Annual subscription (8 issues) including 2 issues DETAIL green:

€ 129.– / £ 90.50 / US$ 176.–
incl. postage/packing (and VAT, if applicable)
Student subscription (8 issues) including 2 issues DETAIL green:
€ 80.90 / £ 57.50 / US$ 107.80
incl. postage/packing (and VAT, if applicable)
∂ 2015 ¥ 1
Atmospheric appeal
Schlüter-Systems has introduced an illumi-
nated profile technology system that allows
the individual lighting of various structural
components, such as platform edges, giv-
ing a wide choice of design options using
light with ceramic tiles. The Liprotec system
is said to have enormous potential, as this
accentuated lighting ‘from within the wall’
can create the desired atmosphere at any
time, whether daylight, warm white light or
coloured ambient lighting,
The LED lighting strips are manufactured
specifically for the company and comply
with IP 65, suited for use in moist environ-
ments. The strips retain their protection
class rating even when they are cut to size,
a benefit for individual design, and the light-
ing technology is embedded in high-quality
aluminium profiles, which are anchored in
the tile adhesive during tile installation. The
system can be used for a variety of applica-
tions as shown here, operated via wireless
switches with on/off and variable dimmer
function, and switch covers are in high-qual-
ity glass, or brushed stainless steel.
¥ Schlüter-Systems
United Kingdom
 +44 (0)1530 813396
www.schluter.co.uk
Recreating the past is a present attraction
ABK ceramic tiles are designed to project a
strong identity based on attention to detail,
combining stylish aesthetics with innovative
technology in order to keep pace with
changing tastes and evolving market de-
mand, says the Italian manufacturer. The
on-trend designs reflect the current thinking
in architecture and interior design and an
example of this is Downtown, a modular col-
lection which is suitable for residential and
light commercial use.
This is inspired by a wide variety of materi-
als, and intended to reflect the history of ur-
ban pedestrian areas – including stones,
pebbles and well-trodden pavements – in
the five colours of Ivory, Ecru, Earth, Ash
and Graphite (shown below, right), so that
the past is used to create a interior which
looks completely contemporary.
The porcelain tile collection comes in six
modular sizes of 80 ≈ 80 cm, 40 ≈ 80 cm,
20 ≈ 80 cm, 60 ≈ 60 cm, 30 ≈ 60 cm and a
30 ≈ 30 cm mosaic, with rectified edges,
and 60 ≈ 60 cm and 30 ≈ 60 cm in natural
edges, in matt or honed finishes.
Additionally, Downtown is offered in the
Random design, as seen above, which is an
entirely decorated floor tile for seamless in-
Wall and Floor Tiles 93
stallation available in Ivory and Ecru and
sizes 60 ≈ 60 cm and 30 ≈ 60 cm. Finally in
this range is the Walk tile, which with its tex-
tured surface is designed for exterior use
and comes in a 30 ≈ 60 cm size in Ivory,
Earth and Ash.
In contrast, for the Soleras collection the
company has chosen to recreate in a porce-
lain tile the grain and colours of the wooden
staves of barrels used for the ageing of
prestigious wines and spirits, which in them-
selves would be impossible to use because
of the curved nature of the wood.
The plank and square tiles come in six col-
ours (Grigio, Antracite, Naturale, Beige,
Avana and below, centre, Bianco) on a
substrate with a manually planed appear-
ance in the following sizes: 40 ≈ 170 cm,
20 ≈ 170 cm, 20 ≈ 80 cm, 13.5 ≈ 80 cm and
60 ≈ 60 cm rectified, and in 20 ≈ 80 cm rec-
tified French pattern (for ‘French herring-
bone’ or chevron installation). They are suit-
able for use on floors and walls in residential
and light commercial situations.
¥ ABK Group
Italy
 +39 (0)535 761311
www.abk.it
94
Textile Architecture
Glazed membrane
The Energy Efficiency Centre in Wuerzburg,
Germany serves as both a location at which
new materials for energy saving are re-
searched and tested and as a showroom
demonstrating ideas for reducing energy
consumption in buildings. Its softly curved
membrane roofscape plays a central role in
the design, the white textile covering allow-
ing daylight to enter the building from above
whilst at the same time serving as an adjust-
able climate zone to reduce heat loss or
cooling loads. Translucent ceiling elements
of glass and plastic optimise the natural illu-
mination, so reducing the requirement for
artificial lighting.
The numerous ceiling elements in the foyer
of the upper floor feature Okagel glazing
from Okalux. The translucent silica aerogel
in the cavity between the panes is said to
provide extreme heat- and noise-insulating
qualities and to diffuse incidental daylight
evenly in the room. Rendered glare-free
through the functional glass, the light bathes
the rooms in a comfortable and inviting at-
mosphere.
¥ Okalux GmbH
Germany
 +49 (0)9391 900-0
www.okalux.com
Undercover benefits whilst out in the open air
What is described as the world’s largest air-
supported single-chamber membrane air
cushion was recently unveiled in the Swiss
town of Aarau. Designed by Zurich archi-
tects Vehovar & Jauslin together with engi-
neers from FormTL of Germany, a specialist
in lightweight structures, the new central
bus terminal has a roof covering more than
1,000 m² and is designed to create a haven
of calm between the busy Bahnhofstrasse
and the new railway station.
The organic shape of the canopy, referred
to by locals as the ‘cloud’, offers a clear
view to the sky at its centre – this intensifies
the feeling of lightness and being out in the
open yet essentially protected from the
weather. This impression is encouraged by
a number of elements, including the use of a
translucent ETFE membrane, both clear and
blue-dyed, the supports with their slight
slant towards one axis that disappear into
the cushion and carry the cloud, and a tech-
nical infrastructure fully integrated into the
steel construction.
FormTL was brought in at an early stage to
deal with the support structure and mem-
brane skin. By fastening the three-part up-
per and lower membranes to the curved
outside tubing separately, it was possible to
2015 ¥ 1 ∂
achieve the simple, structurally clean detail-
ing. Four 120-m long polyethylene tubes un-
der the road supply the pneumatic cushion
with recirculated clean, dry air and another
four take air back to the control unit.
The company was also responsible for the
overall planning of the membrane envelope
on the Splash & Spa Tamaro waterpark in
Rivera, Switzerland. Its three domes offer
swimming, slides and a wellness centre. The
largest (below, right), at around 2,500 m²,
also houses a pool bar and restaurant. The
structure supporting the domes features
steel lattice girders arranged radially, which
run hidden between two membranes.
The silicone-coated glass fibre inner mem-
brane and the outer membrane of PTFE and
glass fibre composite are fastened to the
steel structure. A higher air pressure in the
interspace causes the outer membrane to
form outwards into a flat curve, taking up the
dome’s curvature. An aluminium vapour-
coated low-e sheet between the membrane
layers reduces thermal radiation loss.
¥ FormTL
Germany
 +49 (0)7732 9464-0
www.form-TL.de
∂ 2015 ¥ 1
Sporting all-rounder
The Fisht Olympic Stadium in Sochi, Russia,
with a Texlon® ETFE roof from Vector Foiltec,
was a focal point of the last Winter Olympics
and Paralympic Games, and its legacy will
continue when the country hosts the FIFA
World Cup in 2018. The ETFE material was
specified to meet the complex construction
and maintenance needs at a cost-effective
price. In particular, when weight considera-
tions became paramount, its low mass
meant that additional structural allowances
could be utilised elsewhere.
Two-layered cushions (alternating transpar-
ent and white foils) and three-layered cush-
ions (alternating white and transparent foils
with a central transparent foil) were used:
the more translucent foil helps bring the
feeling of the outdoors into the stadium,
whilst the more opaque foil disperses direct
sunlight for spectator comfort. Another ben-
efit is that the translucency, combined with
the roof height, size, orientation and latitude,
helps ensure the grass around the stadium
will not be affected by shade. At night, LED
lighting creates a spectacular display.
¥ Vector Foiltec
United Kingdom
 +44 (0)20 8821 2900
www.vector-foiltec.com
Designed to keep cool when the heat is on
What is claimed to be a global design first
for a retractable fabric roofing system fea-
tures on the Qatar FIFA Fan Zone in Doha.
The roof by Fabric Architecture™ can be
completely, partially or fully opened to cre-
ate a comfortable interior environment. The
fan zone opened in June and broadcast the
last 16 matches of the FIFA World Cup in
Brazil to crowds of 2,000 people on Qatar’s
largest LED panoramic screen.
The structure is part of the research and de-
velopment plans for testing cooling technol-
ogy in the build-up to the 2022 FIFA World
Cup in Qatar. The open-air design had to
provide spectators with protection and res-
pite from the high temperatures and had to
be constructed within a short timescale.
The roof has eight fabric canopies fixed on
to 12 m-long tracks and each canopy can
be retracted individually or in tandem. The
low-e fabric canopy features a solar trans-
mission factor of just 4 %.
The tracks sit atop four towers △ air condi-
tioning ducts are installed within these tow-
ers and also in several cooling tables under
the stage and the seating, helping to reduce
the interior temperature by 19 ° when com-
pared with the external temperature. Fabric
Architecture design director Nigel Browne
Textile Architecture 95
commented, “We have worked on a number
of kinetic architecture projects and have
created beautiful yet practical structures;
however, the World Cup fan zone repre-
sented a unique set of design, performance
and environmental challenges.
“We are incredibly proud of what has been
achieved and we have played an integral
role in demonstrating that an open-air arena
can be cooled from 45 °C to 26 °C; in the
case of this project it was even surpassed.
We fully expect this to become an exemplar
project for different open air stadia around
the world.”
Said Nic Merridew, programme manage-
ment consultant, Supreme Committee for
Delivery & Legacy, “Delivering a roofing
system that had never been attempted be-
fore and in such a short time frame was, of
course, a real challenge. Fabric Architec-
ture’s expertise, enthusiasm and experience
as well as the company’s collaborative,
hands-on approach was absolutely crucial
to the project’s success.”
¥ Fabric Architecture
United Kingdom
 +44 (0)1452 612800
www.fabricarchitecture.com
 96
On the Spot
DETAIL Prize 2014 – Impressive award ceremony at the Museum for Communication Berlin
The DETAIL Prize 2014 has been awarded
at a gala event held at the Museum for
Communication Berlin. The distinguished
guests present included not only interna-
tionally-recognized architects and the
other nominees for the DETAIL Prize
2014, but also representatives from the
fields of research, politics, culture and
industry.
For the second time, the DETAIL Prize
award ceremony has been held in Berlin,
under the patronage of the Federal Ministry
for the Environment, Nature Conservation,
and Nuclear Safety Construction (BMUB). In
2014, the chosen event location was the ar-
chitecturally-impressive Museum for Com-
munication Berlin. Around 100 guests were
invited by DETAIL and the co-sponsor of the
DETAIL Prize 2014, BAU 2015, the world’s
leading trade fair for architecture, materials
1 The delighted winners of the DETAIL Prize 2014
(from left to right): Jan Glasmeier, David Zahle,
Lucia Rocchelli, Bjarke Ingels and Albert Com-
pany Olmo.
2 Werner Frosch from Henning Larsen Architects,
as the representative of the entire jury, gave the
speech in honour of BIG - Bjarke Ingels Group.
3 The prize was presented by DETAIL Publishing
Director Meike Weber and Editor-in-Chief Christian
Schittich. Bjarke Ingels and David Zahle were de-
lighted to accept the award.
2 3
and systems. Alongside the opportunity to
participate in a brief tour of the Museum,
guests could also examine the award-win-
ning and nominated projects more closely at
an exhibition. The casual get-together at the
end of the evening also gave everyone a
chance to interact personally with the win-
ners and nominees.
Karin Lang, Managing Director of DETAIL,
opened the evening by warmly thanking all
the partners and sponsors. DETAIL Editor-
in-Chief, Christian Schittich, then explained
the procedure for the two-stage competition
and the main selection criteria for the nomi-
nations. He drew attention to the surprisingly
wide range of submissions, which is also re-
flected in the two winning entries.
Afterwards, there followed the first highlight
of the evening – an entertaining yet thought-
provoking presentation by the architecture
critic, Hanno Rauterberg. He described ar-
chitecture as a special form of happiness,
referring to the enrichment that occurs when
buildings are constructed that are convinc-
ing not only from an aesthetic and technical,
but also from a social point of view - build-
ings that manage to reconcile our daily be-
haviour with the often differentiating notions
of aesthetics: »Our consumer selves live
2015 ¥ 1 ∂
modern, mobile, globalized lives. Our aes-
thetic selves require our homes to be anti-
modern, immobile and regionalist«, ex-
plained Rauterberg succinctly. For this bal-
ance to be more successful both today and
in the future, Rauterberg called for greater
political will beyond design statutes, and
also for more opportunities for participation
by alleged lay people. The two winning pro-
jects both showed this in a special way.
After a few words of greeting by Dr. Rein-
hard Pfeiffer, Vice-Chairman of the Manage-
ment Board of Messe München GmbH,
Frank Küsters, as the representative of Josef
Gartner GmbH, and Gunther Adler, Secre-
tary of State in the BMUB, there followed the
actual award ceremony, overseen by Chris-
tian Schittich and Meike Weber, DETAIL
Publishing Director. First, Christian Schittich
handed over this year’s Readers’ Prize to
Jan Glasmeier, Albert Company Olmo, and
Lucia Rocchelli from a.gor.a architects, for
the Kwel Kah Baung Migrant Learning
Center project in Thailand. In his brief eu-
logy, Schittich emphasized the simplicity,
regional materiality and particular sustaina-
bility of the project, brought about through
the revival of old craft techniques and the
training of local craftsmen.
On behalf of the entire jury, Werner Frosch
from Henning Larsen Architects in Munich,
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