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GLASS & TRANSLUCENTMATERIALS05.19

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Glass & translucent materials supplement

CONTENTS

05.19

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Editor’s letter

COMMENT: The fledgling market for bird-safe glassBirds colliding with glass on building facades is one of the leading causes ofavian mortality across the globe, however it’s an issue that has often flownunder the radar in the UK. Leo Pyrah of Pilkington discusses howspecifying the right glazing can minimise this problem

COMMENT: Natural light for natural learningJens Christoffersen of Velux looks at why natural light is so important inlearning environments, and discusses various design interventions forincreasing it

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Building a cultural bridgeJack Wooler spoke to Antti Nousjoki of ALA architects about howFinland’s biggest library combines an inviting ‘bridge’ structure withshifting timber and glass facades

A funnel of lightA central London office regeneration sees a melange of Art Deco and ArtModerne reinstated and illuminated from within through a glass lightfunnel. Sébastien Reed writes

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Simpler facade solutionsSimon Boocock of CRL Europe discusses how advances in installationtechnology are making glass facades easier and quicker to install withoutputting people at risk

Floating an ideaArchitectural glass specialist OAG gives an insight for designers into thepossibilities, as well as practical implications, of ‘oversize’ glass float runs

Bringing light insideJade Cottee of IQ Glass Solutions discuss the different options available tomaximise light with the use of internal glazing

Achieving peace of mindSean Haynes of FireGlass UK discusses the importance of recentaccreditation and certification systems when it comes to specifying thecorrect fire-rated glass

PROJECTS

FEATURES

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4 NEWS

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FROMTHE EDITORGlass-clad, steel-framed towers have been flavour of the month for major urban centres, and their

Central Business Districts, for the past few decades. The ultimate symbol of corporate strength,their glittering facades maximise space, light and construction efficiencies. However New York’s

mayor has them in his sights, believing them to be part of an energy-inefficient past which he is trying tomake a concerted move away from.

Bill De Blasio, making a stand against President Trump’s long-established climate change scepticism, hasannounced that he will be stopping the construction of more glass towers in the city, based on their CO2

emissions. However the ‘takeaway’ from what he actually said is somewhat opaque: “We are going tointroduce legislation to ban glass and steel skyscrapers that have contributed so much to global warming.They have no place in our city, or in our earth anymore.”

The Mayor then caveated with: “If a company wants to build a big skyscraper, they can use all the glass, ifthey do all the things needed to reduce the emissions.” The overall emphasis is clearer than some facades inNew York may in future be though – that buildings that are purely “monuments to themselves,” i.e. whichdo not consider energy use in every facet, will “no longer be allowed in New York City.”

He has added further clarification, that rather than ban glass buildings, the energy code for building willbe tightened. So it may be a case of the devil (for climate change activists), being in the detail. The stats onNew York do perhaps bear out that glass buildings bear the lion’s share of the city’s carbon footprint. Thismay be more due to the sheer floor area they represent than intrinsic energy-take of glass buildings, but it’sa truism that glass buildings absorb huge amounts of heat and need commensurate cooling. Half of NYC’sCO2 emissions comes from two per cent of the built environment – large glass skyscrapers.

Driven by the global alarm on climate change, and a seemingly new sense of purpose on halting it beforeeffects are irreversible, The Green New Deal is major new driver in building specification, its goal toachieve net zero emissions by 2030 making the UK’s 2050 target look somewhat lukewarm. Harking backwith nostalgic weight to Roosevelt’s New Deal, it is this initiative which is underpinning De Blasio’sresolve to make major interventions to stop the built environment being such a large part of the problemin the future. If the goal is to be hit, there’s going to need to be some serious self-examination across thebuilding industry.

Spacious interiors can be achieved without having complete transparency, but architects will still want toexplore the possibilities offered by all-glass facades. Brick and concrete buildings are of course not thepanacea – the large numbers of such heritage buildings in New York have been contributingproportionally large amounts of CO2 for decades. Whatever the case, architects working in the city, arelikely to find the way to erecting glasstowers is considerably more obstacle-strewn than it has been in the past.

James ParkerEditor

ON THE COVER...1 New Oxford Street is an office regeneration that considerably enhances the original Art Deco and ArtModerne architecture, including adding a glass atrium

For the full report on this project, go to page 17Cover image © Timothy Soar – Orms

GLASS & TRANSLUCENTMATERIALS05.19

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COMMENT

Colliding with glass doors and windows, while embarrassing,rarely causes people lasting harm. Unfortunately it’s arather different story for birds, which often fly headlong

into glazing in residential and commercial buildings because theysimply don’t realise it’s there. Given that these collisions kill millions of birds each year,

it’s clear that avian protection is a challenging – but vital –conservation issue for architects and specifiers to address. As glass continues to make up more and more of the external

building envelope, it is highly likely that the number of birdsaffected by this issue will increase in the years ahead. Taking acloser look at the glazing specified would therefore be crucial intackling the deadly impact buildings have on avian populations.

Bird safety: A growing regulatory issueThe problem of birds striking buildings is, thankfully, beginning toattract the proper level of attention in our increasingly ethicallyconscious society.

Building Regulations and guidelines focused on bird-protectionfor new builds and major renovation projects have becomeincreasingly common, particularly across the US and Canada,where it is estimated that up to 600 million birds a year die fromcolliding with windows. The US Congress recently reintroduced the Bird-Safe Buildings

Act (2017), which stipulates, among other things, that at least 90per cent of the exposed facade material on new public buildings(up to 40 ft – the primary bird-collision zone) should either bemade up of glass employing bird-safe elements, or not be made ofglass at all. Despite the UK lagging behind from a regulatory perspective, it’s

highly likely that similar regulations will begin to make their wayacross the Atlantic in the near future, meaning it’s worth beingprepared. Indeed, recent revisions to Building Standard 8560 –

governing the design of buildings incorporating safe work at height– specifically reference bird protection measures as a design factor;is this an indicator of events to come?

Bird-friendly glass is taking flight The main reason that birds fly into windows is that they will oftenfly towards objects reflected in the glass – unaware that what theysee is merely a reflection.

Birds colliding with glass on building facades is one of the leading causes of avianmortality across the globe, however despite this fact it’s an issue that has often flownunder the radar in the UK. Here Leo Pyrah of Pilkington discusses how specifying theright glazing can minimise this problem

The �edgling market for bird-safe glass

Bird-safe Building Regulations – andwhether major commercial developmentsadhere to them – are becoming anincreasingly hot topic in the media

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While efforts to fix this have been made by adding visible shapesor decoration (such as a printed dot pattern) to windows in orderto alert birds, this can naturally interfere with glazing’s effectivenessas a window, and a building’s wider aesthetic appeal.Specialised bird-friendly glass fixes this issue by using a

ultra-violet (UV) enhanced patterned coating to break up thereflectivity of the glass surface. Because many birds see the worldthrough UV rays of varying wavelengths – virtually invisible to thehuman eye – the coating creates a barrier for birds to avoid, withlimited effect on the window’s visibility for humans. In terms of the pattern itself, research has found that birds will not

fly through spaces less than two inches high and four inches wide.This led to the creation of the popular ‘2x4 rule’ where the patternsapplied to the glass are spaced no wider than these dimensions, oftenresembling a spider’s web.

Some bird-safe glazing products on the market, while effective,may still reduce the transmission of natural light through glass andpotentially affect views from inside the building – obviously a keyconsideration for architects and specifiers to bear in mind forbuilding users. However, these effects are being minimised as the fledgling

bird-safe glass market takes flight and the technology continuesto advance. We’re already seeing the trade-off between specifyingbird-friendly glass and overall glazing functionality lessen, asbird-safe coatings are increasingly used alongside other glazingtechnologies (such as solar control), for a multi-functional solutionthat combines the best of both worlds.

Opportunities for architectsMaking buildings safer for our avian friends – for example bydesigning windows in recesses to block light and reflections – iscritically important. However, it could also previously be costly,difficult, and require a degree of compromise. This combined witha lack of awareness and UK-applicable Building Regulations,means that bird-friendly buildings have traditionally been a rarityin this country.However, bird-safe Building Regulations – and whether

major commercial developments adhere to them – are becoming an increasingly hot topic in the media. For example, conservation groups branded the Minnesota Vikings’ glass-platedstadium a ‘death trap’ for birds in 2017, which made national news headlines both in the US and abroad. Due to this, it is likelythat environmentally conscious customers may begin to askabout how their development can be made more bird-friendlyahead of time. As the technology behind bird-friendly glazing products

continues to advance, we’re likely to see it used increasinglyfrequently throughout the built environment.This in turn presents a tremendous opportunity for architects

to specify bird-friendly glass as a simple, cost-efficient meansof making buildings more environmentally friendly without impacting building aesthetics, performance, and overallend-user experience.

Leo Pyrah is product manager at Pilkington UK

6 COMMENT



WE DON�T JUST MAKEGLASS. WE MAKE ITSOLVE CHALLENGES.

It�s a fast-moving, ever-changing world we live in. So at Pilkington we are always looking for ways to evolve our products to meet the challenges of the present and the future.

By identifying emerging social trends, keeping abreast of customer needs and constantly seeking out new technologies, we equip ourselves with the knowledge required to lead the next step-change. This helps us shape the future and solve some of tomorrow�s most pressing issues.

In our drive to constantly question what�s possible and in our determination to offer the best and broadest range of products, we ensure that glass is and always will be the world�s material of choice.

pilkington.co.uk/innovation


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www.euroview.glass

Acommon antidote to the ‘winter blues’ is often a break in awarmer, sunnier climate, preferably with white sandybeaches and clear blue waters. The reinvigorating effect of

natural light and warmth can also be felt on a smaller scale, and ina wide range of environments, from homes and offices to publicbuildings, schools and universities. It is perhaps no surprise then,that when a recent study looked at how the physical design ofeducational buildings affects student performance, one of thesignificant individual parameters found was lighting.

Why daylight?Several studies have shown that daylight is not only good forchildren’s overall health and wellbeing, but that it can alsosignificantly improve academic performance.One such study was ‘Impact of Lighting on School Performance

in European Classrooms,’ conducted by the Sorbonne Universityusing SINPHONIE Study data. It covered 13 European countrieswith a total of 2,387 children participating, concluded thatacademic performance can increase by up to 15 per cent whenstudents work in classrooms with larger windows – due both toincreased daylight, and a better view to the outside world. TheClever Classrooms study conducted by the University of Salford,UK, concluded that good daylight helps to create a sense ofphysical and mental comfort, its benefits are more far-reaching thanmerely an aid to sight.

How to design with daylightWhile daylight does need to be supplemented by ample, highquality artificial lighting when outside light levels are low, wherepossible we should aim to make daylight the main source oflighting in schools. When windows or skylights face north, the daylight entering a

space tends to be softer and more diffused, with subtle changes inlight levels and colour texture throughout the day. With otherorientations, sunlight enhances the overall brightness of interiors,with specific areas of concentrated light. The challenge of designingwith daylight is particularly evident in deep-planned classrooms,where there is a considerable distance between windows and theback of the room. Here there is often a disparity in light levels –bright near the windows, and darker further back.In situations where the shape or size of classrooms does not

allow for adequate light levels throughout, and/or where thepossibility of window space is limited, skylights are often theoptimum solution. Where there is no direct access to the sky, lightshafts are an effective alternative. A skylight typically providesmore than twice the amount of daylight than a facade window ofequal size.

Controlling excessive glareGlare is created when areas that are too bright are located within thefield of view, or when the contrast ratio is high. The recommended

Jens Christoffersen of Velux looks at why natural light is so important in learningenvironments, and discusses various design interventions for increasing it

Natural light for natural learning

COMMENT

Merlet College, The Netherlands, by Ector Hoogstad Architects © Arjen Schmitz

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‘luminance ratio’ between visual task and near surroundings is a1:10 within the field of view. (This ratio is an expression of the ratiobetween the luminance within the central vision and the peripheralvision of the surroundings.)Glare caused by daylight differs from glare caused by electric

light sources in terms of the size, complex luminance distribution,and acceptance of the users (e.g. people tend to be more tolerant ofglare in a daylit environment).The orientation of the windows can help control glare and

contrast. Larger expanses of glazing could face north, allowingdiffused daylight to penetrate throughout the day/year. Theinstallation of opaque blinds can help to control daylight levels,as can permanent external shading.

Facade windows vs roof windowsGood daylight distribution across a room is best achieved by usingseveral different daylight sources, like a combination of skylightsand roof windows. For spaces where glazing will not allow enoughdaylight to penetrate, or where installation is not possible – such aslarge classrooms, lecture theatres or areas in the centre of a building– skylights are a great alternative. Operable skylights, strategicallylocated, allow plenty of daylight during winter months, and providefresh air year-round, improving indoor air quality and helpingregulate temperature.

Building standards & light levelsDaylight performance in an interior space depends largely on theavailability and properties of daylight at the building’s location(i.e. the prevailing climatic conditions). The proposed EuropeanDaylight Standard (FprEN 17037) suggests changing the basisof daylight evaluations to ‘daylight factor targets’ based onthe occurrence of outdoor illuminance levels from recordedclimatic data.The ‘climate connectivity’ of the proposal states that a space

should achieve a target daylight level at work-plane height across aspecified percentage of the relevant floor area for half of thedaylight hours in the year. The target daylight level is based oninterior illuminance higher or equal to 300 lux, corresponding tothe requirement for lighting at workplaces.The absolute light levels that are needed for a particular visual

task will depend on the character of the task and the visualenvironment where it is performed. European Standard EN12464-1: ‘Light and lighting – Lighting of work places – Part 1:Indoor work places’ provides information on the indoor light levelsapplicable for a school environment.Generally, the following interior light levels are recommended:• 100 lux where visual tasks are limited to movement and casualperception, e.g. circulation areas, corridors, etc

• 300 lux where visual tasks are fairly simple, e.g. classrooms,tutorial rooms, computer practice rooms. This should be thegeneral minimum for all areas of school classrooms

• 500 lux where visual tasks are moderately difficult, and wherecolour judgment may be required, e.g. auditoriums, lecture halls,practical rooms and laboratories, libraries (reading areas), etc.In classrooms, this should be the level of light on theblackboard/whiteboard

• 750-1,000 lux where visual tasks are very difficult, requiringsmall details to be perceived.

Jens Christoffersen is senior researcher at Velux Daylight, Energyand Indoor Climate Centre

While daylight does need to besupplemented by ample, high qualityartificial lighting when outside lightlevels are low, where possible we shouldaim to make daylight the main source oflighting in schools

Merlet College © Arjen Schmitz

10 COMMENT



The new Oodi Library in Helsinkiis a modern take on the buildingtypology, offering residents and

visitors a host of publicly accessible functionsover its three floors. Named after the Finnishword for ‘ode,’ the 17,250 m2 buildingincludes amenities such as a restaurant andcinema on its ground floor, 3D printingmachines and games rooms on its second,and a traditional library reading space on itsthird, nicknamed ‘book heaven’ by the teambehind the project.

The building was in part commissionedto celebrate the centenary of Finnishindependence in 2017. While the mainstructure was built in time for thecelebrations, this completion target wasdeemed too optimistic, and the library wasinstead fully opened a year later on 5December 2018, a day before the country’s101st birthday.

Now open to the public, the buildingdisplays a fluid geometry of curved, shiftinglines. The design of the €98m project features

OODI LIBRARYHELSINKI

BUILDINGPROJECTS

Jack Wooler spoke to Antti Nousjoki of ALA architects about how Finland’s biggestlibrary combines an inviting ‘bridge’ structure with shifting timber and glass facades

Building a cultural bridge

© Tuomas Uusheimo



an innovative steel bridge which houses itssecond floor, holds the third floor up, andallows the ground floor to be column-free. The library is owned, developed and

operated by the city of Helsinki, and is partof the city’s almost 40-strong network oflibrary facilities. Not intended to be theadministrative core or focused on thetraditional storage of books – with thecity’s collection already existing in otherbuildings and available through onlinebooking – the vision was to create apublicly open and contemporarycentrepiece for the area, concentratingmore on the amenities offered.To fulfil this vision, ALA Architects

were hired through a rigorous 548-entrantopen design competition, which wasanonymous up until the end of the project’ssecond phase. The architect’s design nowhaving been realised, the building responds tolocal calls for a new public space, providingvisitors, residents and commuters alike aplace to meet and relax.

One remaining siteThe site that was chosen is in the centre ofHelsinki, just across the road from the stone-clad columns of The Parliament House, andsurrounded by multiple large scale culturalattractions such as the Helsinki Music Centreand the Museum of Contemporary Art. Sitting in the most densely urbanised area

of the city, the library is surrounded byoffice space to the north, the main railwayand metro stations to the south, the city parkto the east, and urban areas to the west,including the aforementioned cultural andpolitical buildings. Formerly a rail depot, the transport

functions on the site were moved furtheraway from the centre, and it was left asempty brownfield land. Inaccessible andundeveloped, according to the projectarchitects it was the last site left available inthe ‘heart’ of downtown Helsinki. The area around the site is fairly densely

planned, and mostly comprises 6-8 storeyoffice and commercial developments,which residents have reportedly begun to tireof. “Being the final block of themasterplan for the area, there was publicpressure to not turn this into anotherheadquarters, but instead to create a publicspace for the citizens,” says Antti Nousjoki,principal at ALA.“Alongside this new public building,

a large square was planned facing theHouses of Parliament, creating a centre for public and civic institutions, so thiswas the final piece of that puzzle.”

© Tuomas Uusheimo

© Iwan Baan

12 OODI LIBRARY, HELSINKI



A fluid exteriorWhen facing the library’s large glass entrance, timber claddingappears to grow out of the ground from either side of the glazing,stretching over the second floor and above visitors’ heads to acantilevered balcony. Above this warping timber-clad wall sits theporous box of the third floor.

Antti explores why this fluid shape was chosen: “We had tofollow the existing masterplan, which dictated how the volumesits in relation to the other buildings in the area. We tried toleave the geometry of the surrounding cityscape somewhat behindus, however.”

He continues: “What we needed to do then was to break out ofthat box as much as we legally could, so the building twists out ofthe given box shape and cantilevers out of the given footprint,without touching the ground outside the masterplan limit.”

Taking a step back from this glazed entranceway and out fromunderneath the shade of the balcony, visitors can take a look atthe whole building from its western side. From this angle, each ofthe library’s three levels are visually defined thanks to the varyingmaterial palette – the open glass elements of the bottom floor,the timber-clad middle floor, and the expansive glazing of therectilinear box on the third floor, the proportions of all of whichshift with the building’s flowing shape.

The middle volume was one of the more complex elements,not just because of the significant process of getting the fire andweatherproofing of the light finished birch wood claddingapproved, but also due to the interesting structural properties ofthe steel framing underneath. Antti explains: “The second flooracts as a kind of double arched bridge, with the third floor builtup on top of this. Because of this, the ground floor has very littlevertical structure, and is column free, both inside and out.”

Looking above the bridge and the glazed structure atop it, theroof is supported by steel columns and beams, and within thebeams are timber infill elements. Utilising steel across the roof, theaccumulation of its intended patina is already visible, the ‘wearand tear’ upon which “makes it look even more beautiful,” saysthe architect.

The ground floor has very little verticalstructure, and is column free both insideand out

© Tuomas Uusheimo

13OODI LIBRARY, HELSINKI


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Now fully completed, thedesign of the buildingresponds to local calls for a new public space,providing visitors,residents and commutersalike a place to meet and relax

White glassThanks to the envelope’s large areas oftransparency, the interiors allow a significantamount of daylight. On the entranceway, thisis mitigated somewhat by shading from thelarge balcony canopy.

The building’s copious glazing is formed ofmultiple large insulated panels of differingsizes, with the often harsh Finnish climatenecessitating high U-values. The lateral windloads and parts of the horizontal wind loadsare taken by these glass columns, and werepart of the fulfilment to the building’sintended 150 year lifespan. The building hasbeen engineered to endure the maximumpotential number of snowstorms likelyduring that period, with the weather expectedto get more extreme each year.

“The glass wall detailing is “quiteinteresting,” explains the architect, “becausethe walls are not of equal height – it is out ofproportion a little bit, something you might

see in typhoon zones,” which in part explainswhy the panels needed to be shaped around ashifting geometry.

As the building is airtight, there was noneed for point fixing of these glass panels.Instead the fixing has been integrated in theflooring’s detail, and glued in.

In order to restrain the high level ofsolar gain on the top floor, the architectsused software to generate a gradientpattern from totally transparent to analmost solid colour at different pointsacross the facade, which was then printedonto the glass panels.

“That print has a big effect on how whitethe building is from the outside – not blacklike typical glass buildings,” says Nousjoki.He adds: “Because of this light control, thecurtains are rarely used.”

Above the third floor, the surroundingdaylighting is also complemented bycircularskylights which ‘puncture’ through the roofs




at carefully chosen intervals. Unlike on the other two floors, here thebuilding’s timber volume incorporates a small band of gaps betweenthe cladding, providing more restricted daylight to the second floor.

InteriorsOn the street level, the ground floor has been designed as anextension of the nearby open space, with the intention of itbecoming an integral part of the city’s public sphere. As there is alot of visual as well as audible noise around this area, the moregroup-oriented functions are located on this floor, including therestaurant, along with an acoustically insulated space for theNational Audiovisual Institute’s cinema. Both of these can be seenfrom the street level exterior.

Heading inside from the main entrance, visitors first encounterthe checkout and returns functions, with a restaurant and themain staircase to their left, and to the right an information desk toguide them around the three levels. Next to the information desk arethe escalators and drop-in computers, and there are also lifts on both

© Tuomas Uusheimo

‘BOOK HEAVEN’The top floor delivers typical library functions in untypical surroundings

15OODI LIBRARY, HELSINKI


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sides of the ground floor.On this floor, the interior palette is based

on whites, greys and black, and the ceilingis a continued part of the building’s timberbridge arched over it, and as such is clad infinished spruce.Going up what the architect describes

as a “dramatic double staircase, almostlike a drill bit going through the solidmiddle floor,” visitors are led to themiddle layer, a more closed, modularvolume of individual rooms and specificfunctions that require certain conditionssuch as acoustic isolation, or in thecase of the urban workshop spacesprovided, specific air control andventilation systems. “Such functions of a contemporary

public library don’t do well in openspaces, and are not that comfortable in achanging daylight condition,” says Antti.“As such, the middle floor is a collectionof the programme that would have beencompromised on the other levels.” Thesefunctions include reservable group rooms,recording studios, games rooms, 3Dprinters, learning spaces and workstations,all intended to provide valuable but freeamenities to the public.With this closed volume necessitating

daylighting be kept to a minimum, LEDshave instead been used to offer controlledlighting, as the ever-changing sunlight canbe troublesome when working withscreens, and some working environmentsrequire differing levels of light that cannotbe guaranteed from daylighting alone.Finally, back to the spiral staircase

and up to the top floor – which likethe first is more open – is where ‘bookheaven’ is found, delivering a moretraditional library function. While it isconnected visually to the city centrethrough the extensive glazing, the glasssimultaneously separates the floor fromthe noise of street level thanks to its highinsulation performance.Here are the usual racks of books,

along with an event space and ‘storyroom.’ Surrounding this area is thecontinued theme of timber, coveringall the flooring, including embedded andraised sections, as well as trilateral panelsconnecting them wherever timber stairsare not, creating a shifting space thatmimics the building’s exterior. Using the same spruce material as on

the floor below was not suitable herehowever, because it’s a relatively softwood. Instead, the architects specified animported oak to offer durability against

the effects of numerous daily visitors.The ceiling here helps to aid the

expansive glazing surrounding it toemphasise the sense of bringing theoutdoors in, with a fluid curvature thatebbs and flows as the roof does. Antti provides further detail: “There’s

constantly a slight mood change of goingfrom a taller to a lower space. The acousticsimperceptibly change every metre becauseof this movement, and visually you can’t seethe whole ceiling anywhere from within thefloor, so as your vantage point shifts thegeometry of the ceiling changes when newcurves are exposed.”

Challenges & reactionsOverall, the reception has reportedly been“overwhelmingly positive,” with thebuilding reaching the 1 million visitormarkin just over three months – particularlyimpressive in a city of around600,000 people. Antti reflects on some of the key

challenges that led to this success: “Forus, the most challenging part was towin the competition, especially thesecond phase. Otherwise, the woodcladding of the twisting cantilevered westfacade was probably the main challenge,production-wise. “Our office has good experience of

taking a 3D model and turning it intoproduction drawings however, and so wewere able to produce the final documentsthat went directly into the CNC machines,straight from our office into the logger.”He muses further on architects’

changing role: “There has been a lot of talkin our industry about how architects havebecome distanced from the constructionprocess, but I would strongly argue againstthat. At least from our office’s point ofview, it’s an almost historical level ofinvolvement when you consider that wedesigned the building and its shape, andwere then able to turn that shape into a setof production data that went directly intothe milling machines.”Though the project was stuck slightly

behind schedule, making the last six monthsof work “pretty frantic,” the building had tobe, and was, completed and opened duringthe centenary year, which Antti in partdedicates to this level of involvement. He concluded: “That was both fun

and exciting, and also made me proud ofour young data team, who are reallydisplaying how architects can be moreinvolved in the contemporary world ofdigitalised construction.” �

© Tuomas Uusheimo

© Tuomas Uusheimo

© Iwan Baan




The prow clock tower at No 1 NewOxford Street has long been afamiliar feature of London’s

‘midtown’ streetscape. Designed byEnglish-born, Swiss and French educatedarchitect and planner Henry Philip Cart DeLafontaine as an ‘ultra-modern building ofimposing appearance’ that exhibits amelange of Art Deco and Art Modernestyles, Commonwealth House – thebuilding’s original name – was completed in1939. Based on these design merits, thebuilding had long been noted as a positivecontributor to the local area’s cultural value.The scheme occupies the prominent nose

of a tight corner junction where HighHolborn meets New Oxford Street – “thegateway to the west-end”, says JohnMcRae, director of Orms, the practice thatled the refurbishment and extension to thebuilding. Orms were approached afterbeing recommended to client Nuveen RealEstate (formerly TH Real Estate) by officeagency Bluebook on the basis of theirconsiderable accrual of experiencerenovating commercial buildings, whichinclude recent projects such as MediusHouse, Forum St Paul’s, and 160 Old Street.“The building had been held in various

investment vehicles over the last 30 years –all managed by the Nuveen Real Estateteam during that time – and more recentlyin a joint venture with British AirwaysPension Fund,” explains McRae. As someof the office floors were becoming vacant,the architect’s first contact with the projectwas focused around how best to renovatea single typical floor of the building, inaddition to repositioning the officeentrance. McRae continues: “The ambitionof the client was always to do a full refurbjob, however the rental profile of the

NO 1 NEW OXFORD STREETLONDON

BUILDINGPROJECTS

A central London office regeneration sees a melange of Art Deco and Art Modernereinstated and illuminated from within through a glass funnel. Sébastien Reed reports

A funnel of light

17



HEXAGONAL LEGACY The project enabled the original architect Henry PhilipCart De Lafontaine’s rejected specification for greenhexagonal tiles to be fulfilled

building had never been sufficient tosupport one.”Later, circumstances changed. The

impending arrival of Crossrail triggered anincrease of occupier demand and a hike inrental prices across central London – to theextent that a comprehensive refurbishmentof Commonwealth House could be moreseriously envisioned.

Plan & provision“We did the single floor study and then wewere asked to do a feasibility exercise toexamine the opportunities, should theentire building become vacant,” explainsMcRae. Over time, what was first intendedto be a low-key interior renovationmorphed into a brief to refurbish a largeportion of the building.The perimeter of the building remains

unchanged from its original footprintresembling a right-angle triangle, whichoccupies the tight corner – much like NewYork City’s Flatiron Building. In elevation,No 1 extends to 10 stories with anadditional roof garden fitted with liftaccess. From basement upwards, theprogramme houses a cycle facility withstorage and changing rooms, the groundfloor is composed predominantly of retail

spaces, in addition to the new full heightoffice entrance and reception area on NewOxford Street. The first floor and upwardsare devoted entirely to office space.Everything from ground-floor up to level

six slab was retained from the originalbuilding: “What we did was remove levelseven and level eight, then we rebuiltthem to a larger footprint and added anextension to level nine,” says McRae,allowing for precious commercialfloorspace to added to the scheme.Prior to the refurbishment, a light well

cascading down onto an external courtyardhousing lavatory facilities was situated atthe heart of the building’s plan. Takingadvantage of the existing form, with everyfurther level heading upwards, Orms’design gradually expands each floor furtherinto the space on the eastern side, sculptinga full height, glazed “light-funnel” atriuminto the scheme. A bank of four lifts andbridge decks were installed at the westernside of the space, which extend the entireelevation of the scheme from ground floorto roof garden.In terms of structure, core samples of the

concrete were taken to validate the loadingsof the original building. The test resultsshowed that the quality of the concrete was

18 NO 1 NEW OXFORD STREET, LONDON




www.idsystems.co.uk/theedge20

by no means optimal, precipitating somestructural challenges given the plans toextend the building upwards and expandusable floorspace inside. The removal of the7th and 8th floor slabs and roof slaballowed for the construction of new steelfloors, including an additional floor andnew roof terrace. The partial infill of the atrium was

achieved with a new steel frame insertedinto the courtyard, along with newreinforced concrete lift cores. The retainedconcrete beams and columns to the lowerlevels were strengthened using steelstiffening plates and angles. This requiredtemporary propping throughout the lowerfloors and added further complexity to theconstruction.In light of the added floors, the

architects also had to develop a solution tosensitively make the extension look like anintegral part of the building. McRaecomments: “Part of what we did wastinting the whole facade from the firstfloor to the eighth, to make it look likean original composition.” In addition,new stonework was carefully added tocomplement the chromatic alterations.What became apparent as the architects

studied the original marketing brochures of

the building was that the elevation facingNew Oxford Street was designed to be moreArt Deco inspired, while the High Holbornelevation seemed to draw influence from theArt Moderne aesthetic. In addition to thesestylistic references specified in Lafontaine’soriginal designs, the architects uncoveredproposals for hexagonal glazed green tiles toclad the building.The tiles were not permitted by Sir Giles

Gilbert Scott, the architect advising theCrown, who perceived them to be tooinnovative at the time. BreathingLafontaine’s legacy back into the building,Orms reinstated the tile design usingpyrolave tiles – volcanic stone extractedfrom a lake in France and hand glazed toproduce the chosen emerald colour. Portlandstone skirts the building’s ground floor levelfacade below the tinted brickwork claddingabove, acting as a canvas for further bandsof hexagonal emerald tiles decorating thefacade towering over New Oxford Street.

GlassworkAs with any commercial office space,ensuring that interior spaces are sufficientlyilluminated was key to the project. This isachieved in practice through the new glazedatrium, which allows natural light to fill the

The significant use ofblack trims and horizontalfeatures was inspired bythe Art Moderne movement

20 NO 1 NEW OXFORD STREET, LONDON




www.alufolddirect.co.uk

FACING PAGEThe glazed atrium which works as a light funnel greetsusers as they enter

ABOVEOffice space is light, airy and flexible

Images © Timothy Soar

PROJECT FACTFILE

Architect: OrmsClient: Nuveen Real EstateSize: 9,500 m2

Planning consultant: DP9Structural engineer: AKT IIHistoric building consultant: Donald Insall

building’s interiors, as well as providing aninspiring entrance to users as they approachthe reception. “Laminated safety glass wasused for the atrium and towards the nose ofthe building the atrium’s corners are curved,allowing the softness of art-deco andart-modern to be played out,” says McRae.Given the combination of No 1’s

busy urban location and the wellnessrequirements of offices, the architects hadto design sensitively to shield users fromnoise, as McRae remarks: “The upperfloors have been fitted with new glazingthat we specified on the basis of theirU-values and acoustics due to the heavilytrafficked roads below.” The ground floorretail units are installed with a series ofsingle-glazed panels with curved edges; “wewanted to reinstate the Art Deco style inthe shop fronts,” says McRae. Upon examining photographs of

Commonwealth House from the 1930s, thearchitects discovered that the iconic nose ofthe building originally featured single-glazedcurved panes on each floor, which were laterreplaced by faceted glass in the 1960s.Following Orms’ refurbishment, the glasswas again substituted for double-glazedcurved panels.“Because the glass is curved, the two

panes have two different radii. There’s agreat deal of complexity in making sure thateach pane fits within the other,” explainsMcRae. In order to achieve the horizontalaesthetic of Delafontaine’s 1930s design,spacer bars were fitted within the cavity ofthe double glazed units, and cosmetic barswere fitted to the outside of the glass toreplicate the horizontal window divisions.In the central bay of the New Oxford

Street entrance, “there are extremely tightglass corners of around 250 mm – one of thetightest that you can achieve with doubleglazing,” according to McRae. Through trialand error, Spanish curved glass specialistCricursa were able to produce the desiredcurvature, but not without slight distortionof the glass. In discussion with the planners,it was made clear that the curved cornersfrom the original design had to be retainedso the architects had to run with thedistorted effect on the glazed corners.

Interior qualitiesInternally, again No 1 nods to the Art Decoand Art Moderne periods. The architectsused solus stone for the reception floors andfluted glass – essentially a profiled glassmanufactured using original 1920s methods.“It gives a really lovely texture. Rather thanbeing a smooth flat surface, it has a series of

concaves and shells.”Other interior materials include brass on

the reception desk, and dark stained oak asreferences in keeping with the Art Decoperiod. The significant use of black fortrims and horizontal features, were inspiredmore by the Art Moderne movement. “Wewere using findings from our research intothe Moderne and Deco styles to create ournew aesthetic,” says McRae.Maximising the building’s sustainability

potential was also a priority. Bicycle storagefacilities, photovoltaic cells at the top of thebuilding, and a localised air source unit oneach floor in each corner of the building –meaning that air can be cooled locally whenrequired, rather than centrally – are some ofthe features that contribute to No 1’sBREEAM Excellent rating.The attention to detail has already

secured the client two key tenants; fashionretailer COS, whose relationship with thescheme began on a prelet basis before itscompletion, and technology brand Twitch.The office spaces are light and airy, withplenty of flexibility designed in as well as arange of outdoor spaces. Altogether theydemonstrate Orms’ sensitivity to thediversity of potential activities and brandsthat might set up shop at No 1. �

23NO 1 NEW OXFORD STREET, LONDON



All-glass buildings are a commonsight in urban areas, making adramatic architectural statement.

Glass is a popular facade choice forcommercial and increasingly domesticbuildings too, being chosen as much for itspractical qualities as for the aestheticadvantages it offers. In any building where a feeling of

openness, plus brightness and views of theoutside world are important, glass is likelyto be the predominant material used for theexterior cladding. The reasons for thisbecome clear as soon as the advantages ofthis material are analysed: glass combineslight, transparency and appearance withpractical features such as thermal insulation,solar control, acoustics, fire protection,safety and security. On top of this is the

physical versatility of glass – it can workalongside virtually any other material andwithin any landscape. While the results of specifying glass for

building facades are visually and practicallybeneficial, installing glass to buildingexteriors is of course not without itschallenges. The use of appropriate systemsand solutions that ensure safety of theinstallers and end users while enabling aquick, seamless installation is vital. First ofall, consider how the glass will be fitted:if it is to be fitted from the outside of thebuilding, scaffolding will be required. Thisnot only increases the installation timebut it also adds costs to the project andmakes the whole process somewhat trickierthan if the facade can be installed frominside the building. Wet fit systems are also time consuming

and messy to fit, usually requiring cementto hold them firmly in place, while systemswith vast amounts of architecturalhardware not only remove some of theaesthetic benefits of the glass, but can alsoprove heavy, cumbersome and a chore toinstall, particularly when working atawkward angles or at a height. Luckily,advances in installation technology aremaking installation a lot easier, quicker andmore straightforward, while not puttinginstaller or user safety at risk. One solution is to use a special clip

design system that fixes the individual glasspanels in place without the requirement forglass cut-outs, to create a protective andattractive envelope around the buildingwhich is very straightforward to installcompared to conventional methods.Suitable for use on new builds or forregenerating an existing building, thesecreate a modern impression with a highlydurable and long-lasting finish, providing abreathable barrier that protects the originalmaterial of the building while still retainingits visibility. Spider fittings and standoffs are

alternative options for creating modernbuildings with all the qualities of glass, yetmake ‘all-glass’ walls installation easier, as

Simon Boocock of CRL Europe discusses how advances in installation technology aremaking glass facades easier and quicker to install without putting people at risk

Simpler facade solutions

CLIP DESIGN Clip design systems are ideal to regenerate existingbuildings, creating a modern impression with a highlydurable and long-lasting finish

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they can usually be fastened directly to steel, concrete or wood –protecting the building against weather and air pollution while stillenabling the original materials to be seen. This is a popular optionfor refurbishment projects as it helps create the high-end andcontemporary look often seen on new structures such as airportsand hotels.Frameless glass is also in demand for use on balconies on

high-rise buildings, becoming an increasingly popular option forapartment buildings as an attractive and functional solution.The same issues over installation apply here of course, making theneed for systems that can be fitted safely and to time just as vital.Providing a fast and safe way to install glass balustrades, adry-glazed system will eradicate the need for cement andscaffolding and can usually be installed from the ‘safe side’ or inother words internally, for added safety.Such systems tap into the big trend for frameless glass on the

exterior of buildings and result in an improved aesthetic withminimal fuss.

Simon Boocock is managing director at CRL Europe

DRY GLAZEA dry glaze system can be installed from the ‘safe-side’ of the balustrade, reducing significantly labour times while being a safeoption for installers

While the results of specifying glass forbuilding facades are visually andpractically beneficial, installing glass tobuilding exteriors is not without itschallenges

25



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Within the specialistglazier trade, handling oversize glass is now anecessary part of firms’repertoire with demandever-increasing

During the past two decades, featureglass entrances and double heightground and first floor facades have

risen in popularity. Due to this increase, glassitself is becoming synonymous with some ofLondon’s best-known landmarks andprestigious institutions.

From over 13,000 m² of glass beinginstalled at the Battersea Power Stationredevelopment in phases two and three, tothe 250 metre long facade at London Bridgestation, new build and redevelopmentsalike are becoming accustomed to theincreasing trend for stronger, larger higherperforming glass types. For both domesticand multinational contractors sourcing,designing and installing oversize glass unitsis a challenge in itself.

Within the specialist glazier trade, handlingand situating oversize glass is now anecessary part of firms’ repertoire, withdemand ever-increasing. From 7 metre highglass fins on the recent Aviva Tower project,to 7.6 x 3 metre toughened panes at WarnerBros Head Office, Grays Inn Road, thebespoke and oversized nature of the glassspecialists now have to handle makes themthe authority on ‘Jumbo’ glass sheets,measuring 6000 mm x 3210 mm.

Sheets over this size are produced subjectto the manufacturer initiating an oversize‘glass float run’, usually only permitted threeor four times a year.

However, as manufacturers plan oversizeruns, they canvas the glass processors togauge what the demand is. If there issufficient demand, they will then carry outthe scheduled run. Other factors such asstrong buyer relations often also influence theoutcome. Buyer relations are paramount forglass suppliers in approving float runs, asthey must have unwavering confidence in thesupplier’s ability to handle, install andproperly care for the glass provided.

During a production run, when theglass sizes proposed are over and abovestandard jumbo size, often the actual makeup of the DGUs (double glazed units) stillneeds to be determined. Glass specialists canengineer this throughout the design process –

finite calculations are prepared to suit thespecification requirements.

A vast number of methodologicaldeliberations must be taken into account,outside the ordinary constructioncompliance. On site logistics must becarefully thought over, especially whendelivering oversized DGUs into a built-uparea. Road closures lift options and weightmust all be high up on your glazingspecialist’s agenda. All this highlighting theimportance of early involvement andlogistical planning as well as well trainedspecialist on site operatives to carry the task,from delivery right through to installation.

When minimising risk, the worst-casescenario must always be the starting pointfor any method statement, outlining the mosthazardous dangers first. For example, whencontemplating safety within a glass lift plan,risks can be minimised when determining themakeup of the DGU itself. Laminated glasspanes will not shatter, helping prevent anunsafe site environment as well as avoiddelaying yourself and other contractors.Laminated DGUs only crack within thelaminate and glass will be retained within asingle pane. This demonstrates a risk that can

Architectural glass specialist OAG gives an insight for designers into thepossibilities, as well as practical implications, of ‘oversize’ glass float runs

Floating an idea27


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be eliminated not only in the logistics, but asearly as the design phase.

For example, the DGU is likely to be madefrom glass sheets laminated together on boththe outside and inside faces. The thickness ofglass panes such as these is something thatwas determined through innovative designengineering. The glass thicknesses andDGUs will be prepared and specified toproject-specific requirements beforeapproaching the glass processors andseeking float run availability and subsequenttime frames.

This would normally be tackled byappointing a glazing specialist early, so thatthe design and engineering process can beprogressed. The advantage is you can planwell ahead and tie into an oversize float runat the first opportunity.

Load bearing on glass sheets needs to behigh on the list of design considerations.Glass fins and support systems are becomingmore common within glass feature entrancesand facades. Structural glazing specialists canadvise on considerations and limitations ofstructural glass support structures and shouldbe heavily integrated with your team duringthe design phase right through to handover.

Glass ordered well in advance can be

stored and held in reserve – this is commonpractice for specialist glaziers and also allowsa thorough product check of all units prior toinstall. This minimises the risks associatedwith availability and potential postponementof a float run through lack of demand.Glazing specialists also allow inspectionby all involved parties to minimise anyrisk of wasted time and resource on busy,multi-contracted sites.

After the glass is received well ahead oftime, specialists are able to observe and planwith the glass coating plants, who havedistinct criteria for oversize coating runs.They are applied to certain surfaces of theglass to assist with solar and thermal control;in addition anti-reflection and self-cleaningcoatings are becoming more common intoday’s market. Again, these coatings arerun on cycles and require well thought outlogistical planning and resource allocation toachieve the required finish.

The emphasis has to be on engaging withdesign process early, which permits a longer,more methodical lead into the oversizecampaigns and coating runs. This allows allrisks associated with the manufacture andinstallation of oversize glass to be managedand minimised.

Structural glazingspecialists can advise onconsiderations andlimitations of structuralglass support structuresand should be heavilyintegrated with your teamduring the design phaseright through to handover

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Recent redevelopment of the food court at Kings Mall Shopping centre, on a five-acre site in London’s

Hammersmith area, exposed up some interesting and complex challenges. As part of the ongoing development,

the new residential apartments above theshopping centre were being adversely affectedby light pollution and lack of privacy from visitors looking through the food court atrium. To solve this problem, owners and

developers Schroders decided to installKalwall translucent cladding around thewhole of the atrium. This screened theexternal courtyard above, thereby mitigatingthe issues around privacy, while maintainingthe maximum levels of interior daylight.Installed in a Verti-Kal pattern, the Kalwall

panels complement the industrial feel of the redevelopment and its hard concrete and stone surfaces, while providing severalbenefits for shoppers and residents alike. This project perfectly illustrates the

advantages of Kalwall over traditionalglazing. Here it offers complete line-of-sight

protection, maintaining privacy for theresidents and controlling light pollution,while bathing the interior with diffuseddaylighting, regardless of the weather. Thepanels are lightweight but very durable withexcellent resistance to impact and scratching.They are also vandal resistant with goodprotection against windborne debris. In addition, Kalwall’s insulating properties

mean that U-values down to 0.28 can beachieved while daylight is driven deeper intothe interior space below, thereby reducing

energy costs for both artificial lighting andtemperature control.The exterior face is colour stable and

includes a UV resistant, self-cleaning surface.This means that normal rainfall helps to keepthe surface free of dust and dirt while at thesame time retaining the original colour duringthe weathering process. All this helps toreduce the costs of maintenance and cleaning.

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Internal glazing systemscan be used in interiordesigns to create versatileopen and ‘broken plan’living spaces

Light is the new luxury in many architectural and interior designs.Improving light within the home has

been said to boost happiness, as naturaldaylight makes us feel more connected tothe outdoors. It has often been the casethan many homeowners think that the onlyway to achieve this is by removing theamount of vertical obstructions (walls)within their homes.

This is not the case; internal glazingsystems can be used in interior designs tocreate versatile open and ‘broken’ planliving spaces. Whether it’s frameless orframed glazing, light can still flow throughinto all the living spaces. Pocket doorsystems are often available with internalglazing systems as well as external, enablinghomeowners to open up or close off certainrooms as and when they desire.

Steel glazing systemsSteel framed glazing is a growing design trend and many architects and

specifiers across the UK are looking toinclude these industrial, tactile systemswithin their architectural designs. Not only are these glazing products being used on the exterior of buildings, but they are also used within interior design to create a contemporary aesthetic forprojects internally.

Steel framed glazing systems in interiordesign schemes are often seen as internaldoors or steel screen partitions forbroken plan living spaces that allowthe natural light to continue to flowthroughout each area. These steel glazingsystems add an artisan style to the designof interior spaces, which helps to addcharacter to the rooms.

Due to the robust strength of steel,internal steel glazing can be manufacturedwith exceptionally slim frames. This elegantdesign character can be used for fixed areasof glazing, internal doors and windows, fora cohesive design throughout living spaces.

Although steel achieves an authentic

Jade Cottee of IQ Glass Solutions discuss the different options available to maximise light with the use of internal glazing

Bringing light inside30



Art Deco style, it does come with a price tag due to the processinvolved in making these systems. Many steel systems are manufactured bespoke to each order and require a lot ofhands-on processes.

Aluminium glazing systemsThere are many alternative options that achieve a similar aestheticto the steel systems, such as aluminium systems with glazing barsthat mimic the Bauhaus style. Aluminium systems often come witha broader choice of colours and configuration options, as they areeasier to work with than steel systems.

Aluminium is a lightweight and versatile material that can befabricated into a whole array of designs. Aluminium glazingsystems can be easier to slide, push or open, as the material isslightly lighter that steel – which is ideal when you need to slide orfold several panes of glass.

Frameless glass systemsWithin vibrant interior designs it is sometimes the case that ‘less ismore.’ Therefore, frameless glazing systems can be the idealsolutions as they don’t offer any additional visual obstructionswithin the room, instead providing a sophisticated finish to theliving space.

Frameless glazing systems come in a whole plethora ofconfigurations as they are usually manufactured bespoke to thespecific location. These single glazed systems can be installed asfixed glass walls that break up an open plan space, for an elementof privacy. Frameless glass doors can be integrated within thedesign to further enhance the frameless appearance.

There are many frameless systems out there that help tomaximise the light within the living spaces, especially framelessproducts that don’t interrupt views or natural light.

Frameless glass balustradesFrameless glass balustrades can be used internally to provide aprotective barrier for internal floor level changes while allowinglight to continue to flow throughout the home. These glazingsystems compliment the interior design as their framelessconstruction doesn’t obstruct views at eye level, and gives theillusion that the space is larger than it is as you can see beyond theglazing. There are many options for internal glazing, but thechoice ultimately comes down to the aesthetic, location andbudget limitations.

Jade Cottee is marketing assistant at IQ Glass Solutions

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Insulated glass units (IGUs), includingdouble glazed units, are individuallysealed units which are made up of

multiple panes of glass. The glass isseparated by an air vacuum or gas filledgap; usually made up of two (doubleglazed) or three (triple glazed) panes.Energy efficient and insulated against bothheat and noise, the sealed air vacuum orgas filled gap between each pane acts asan added layer of insulation.

These IGUs can be made up ofdifferent kinds of specialist glass. But, iffire-rated glass is to be used, units must bemanufactured in accordance with thecertification known as Attestation Level 1.

Attestation is a term that is used toindicate a type of certification which hasprocesses of conformity, in order todemonstrate that certain requirementshave been met.

In construction, and especially theglass industry, Attestation of Conformity(AoC) is a declaration of performancethat confirms compliance with therelevant standards. The certification wasintroduced to harmonise performanceinformation across the EuropeanEconomic Area (EEA).

The level of conformity given isdependent on the nature of the product inquestion. Specialist safety glass productslike fire-rated glass units are classed as asafety-critical product, and therefore mustmeet Level 1 standards. Attestation Level1 (and 1+) have the most demandingrequirements, whereas Level 4 is the leastdemanding and is given for less criticalapplications, like decorative glass.

The declaration of performance relates toessential characteristics of the manufacturedor processed product and includes a declaration in relation to the inspection ofthe manufacturing facility, and continuousassessment and evaluation of factoryproduction control. For fire-rated IGUs theaccreditation of Attestation Level 1confirms consistency of the product’sperformance. Manufactured productswhich meet these standards carry themandatory CE marking – visual evidencewhich gives you peace of mind that you areusing a product that is tested andmonitored for performance and consistency.

Holding this accreditation confirms that fire-rated units are manufactured to the highest safety standards each and every time, to strict guidelines with certified consistency, allowing projects tomeet Building Regulation standards –where applicable.

Sean Haynes of FireGlass UK discusses the importance of recent accreditation andcertification systems when it comes to specifying the correct fire-rated glass

Achieving peace of mind32



If fire-rated units have been installedand the performance certification has notbeen checked, Building Regulationsinspectors can demand they are taken outunless evidence of correct certification canbe provided. This can waste valuableproject time and money.

StandardsAccreditation is important to companiesthat wish to maintain professionalism as ithas a direct impact on public safety. Ithelps to determine if a company meets orexceeds minimum standards of quality andgives the consumer confidence in choosinga company that puts them first.Certification makes sure products andservices meet standards, too. Within theconstruction industry, they help to makesure projects run smoothly and thatquality products which meet BuildingRegulations are chosen and used.

Testing glass for certificationFire resistance tests should always becarried out by independent test companiesand comply with all relevant fire teststandards. All fire-rated glass should beinstalled as per the test evidence, in terms

of the fire resistant glazing system usedduring the test (including sizing, frameand installation materials); only then willit provide the protection as per its officialfire protection rating.

If the specified glass is installed into adifferent frame or installed with differentmaterials (for example a different seal)then this will negate the protection andfire rating of the product; having access tothe relevant test evidence when purchasingfire-rated glass is therefore fundamental.A FIRAS-certified company providesinstallation that demonstrates competencyin the installation of such products andsystems and then can provide a certificateof authentication.

Investing in the right supplier that hasthe same vision on safety, quality andservice can make sure a project iscompleted to the best possible standards.If using a fire-resistant glass then it mustonly be used as part of a previouslyapproved glazing system. There is nosecond chance with safety, make sure youget it right first time.

Sean Haynes is managing director ofFireGlass UK

33


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Aluminium Glazing Project CertaintyArchitects, specifiers and developers involved indomestic or commercial, new-build construction orlarge-scale refurbishment projects can achievealuminium glazing project certainty by workingdirectly with AluFoldDirect. The Aluminium

Glazing Projects service gives essential project management support withone expert contact at AluFoldDirect, supporting you every step of theway, from initial discussions and specification, to creating achievablework schedules and ensuring accurate surveys. The Aluminium GlazingProjects team will co-ordinate a planned delivery strategy, with productsarriving on site, right first time, on time, every time.

01706 260700 [email protected]

BRE approved rooflightsHambleside Danelaw, the pioneering GRProoflight manufacturer, has once again led theway with the completion of an EnvironmentalProduct Declaration (EPD), approved by theBRE, for its ZENON in-plane GRP rooflights.

The EPD recognises the sustainable benefits of Zenon and gives projectdesigners a minimum of 1.5 points from the Material category inBREEAM rated projects. This achievement, the first from a rooflightmanufacturer, are points that can offered in addition to the metal roofsystem. Specifying Zenon rooflights can also lead to contributions inother BREEAM categories including Health and Wellbeing and Energy.

01327 701 900 www.hambleside-danelaw.co.uk

Slim fire rated glazing solutionA new residential property built on Passivhausprinciples in Devon, utilises Promat SYSTEM-GLAS® Celare fire resistant glazing system fromfire, thermal and acoustic solutions specialistPromat UK. The contemporary house, named“The Walled Garden” was designed by McLeanQuinlan architects for its self-building owners.

The project was constructed by Goulden & Sons, who are a Promat-approved SYSTEMGLAS® installer. By choosing SYSTEMGLAS®, thearchitect and builder have been able to benefit from Promat UK’s ‘360degree wheel of assurance’ for fire rated glazing systems.

0800 588 4444 www.promat-glass.co.uk

Maximising daylight with RoofglazeRoofglaze offers everything that you need tobring natural daylight into your home and livingspaces. Their market-leading range of Flatglassrooflights can be used to illuminate and ventilateareas that would otherwise be dark and dingy.They can also be used to access roof terraces or

as walk-on units above basements and cellars. Roofglaze can provideyou with Secured by Design compliant rooflights, as well as glass rooflanterns, polycarbonate domes and aluminium bi-fold doors for yournext project. To discuss your requirements with the expert team atRoofglaze, send your enquiry to [email protected]

01480 474 797 www.roofglaze.co.uk

StoVentec Glass Rainscreen System chosenThe StoVentec Glass Rainscreen System supplied bySto UK was chosen for a museum collections centreextension project in Edinburgh, thanks to itsoutstanding aesthetic properties and its durablenature. The black infused colour StoVentec Glass

was installed on the new extension to the National Museums CollectionCentre in Granton, Edinburgh. StoVentec Glass provides effectivethermal insulation for the facade by creating a ventilated cavity whichkeeps the wall dry and allows it to breathe. It can also be used to createa highly attractive bespoke finish for each individual project, with panelsizes and shapes manufactured to fit specific design requirements.

01418 928000 www.sto.co.uk

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Due to recent events in the fireprotection industry, it is more imper-ative than ever to make sure your

supplier of fire rated products is an expert intheir field. With ever-changing standards,rules and regulations, it’s important you havean expert team behind you to help younavigate the world of fire-rated glazing.

Drawing on two decades of commercialexpertise, and synonymous with quality andinnovation throughout the sector, London-based OAG is fast-becoming one of the UK’smost sought-after structural and fire-ratedglazing specialists.

The firm’s ever-growing client list includesmarket-leading main contractors such asMace, SRM, Costain and more, with projectsas prestigious as London Bridge Station, O2Headquarters and Tate Modern.

Having supplied and installed fire-ratedglazing for the past two decades, OAGwanted to develop a new fire solution,providing not only safety but aestheticallypleasing profiles. The aim was simple – toprovide clients and architects with a productthat gives both the end user and the supplierconfidence, without compromising thearchitectural vision.

OAG looked into the testing and criterianeeded to badge a fire rated system of theirown, and in 2016 Fortiglaze was born.

OAG’s first task was to understand the

protective aspects they would need to adhereto – fitting 60 minutes of fire safety within aminimally framed system.

To achieve this, they liaised closely with theInternational Fire Consultancy, who advisedon the best materials needed to achieve a safesystem, and how those could be used mosteffectively within their framing.

OAG wanted Fortiglaze to be versatile:offering 30, 60, 90 and 120-minute configurations. They provide both ‘Integrityand Insulation’ and ‘Integrity-only’ options.‘Fortiglaze Slim’ versions offer minimalframes and maximal glazed areas, whilestandard models can be paired with heavier glass types and security options for additional protection.

OAG has carried out a number ofpersonalised project-based tests on theresulting system. All testing is carried outaccording to BS 9999 Part 1 and 2 standards,and all products have also been tested to meetCE European standards. A range of premiumquality Fortiglaze Smoke Doors are alsoavailable, offering smoke protection to BS476: Part 31, Section 31.1.

OAG has a number of future tests in thepipeline, with its Slim systems pushing theboundaries of protection time, door sizes and finish options. These are currentlyassessed up to 3 metres, a feat rarely seen infire-rated glazing.

To further highlight its experience andknowledge in this field OAG has completedthe FIRAS accreditation, which providesevidence of its competence to install fire-ratedsystems safely and in-line with all relevantBuilding Regulations.

OAG fabricates Fortiglaze in its ownfactory, providing end-to-end quality control.The factory has streamlined the assemblyprocess by creating a seamless ‘fab and hang’system, capable of handling large scale orders.

OAG also wants its clients to have the mostcomprehensive understanding of the range aspossible. To achieve this, the company developed the ‘Interactive digital specificationguide’. This allows users to not only spec theproduct and be provided with extensiveproduct info and capabilities, but also beshown a real-life example of their product atthe end of the user journey.

The company hopes this will allow clientsto make sure they have the right system andaesthetic features for their project, and install them with confidence. It also offersfully-fledged maintenance contracts on all fire& non-fire rated products.

Fortiglaze is currently being used in severalhigh-profile London-based projects, such as 22 Bishopsgate and 135 Bishopsgate.

01494 492700 www.oag.uk.com/fortiglaze

Fortiglaze – the future of �re-rated glazing



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